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And in spelling out these issues, the show inverts some familiar situations and characterizations. We've seen a powerful person's downward spiral play out in a room with multiple hookers, cocaine and embarrassing dancing, but that person usually isn't a woman. We've seen protagonists whose bottled up anger turns them sullen, violent and heedless of others, but they're usually men. We've seen the heroes of mystery thrillers worry about their investigations putting loved ones in danger, but heroines not so much. (Conversely, traditional roles are preserved in a plot element involving Walker's past as a child star that explicitly invokes MeToo.) These depictions are interesting to parse and refreshing to see. But a cliche is still a cliche, whether it's presented from a female or male point of view. And the early episodes of the season make a lot of room for fairly static character development, with proportionally less attention paid to the traditional genre pleasures, like atmosphere and action, which were central to the first season's invigorating noir superhero synthesis. (The noir part of the equation is still present, but dimly, in Jones's occasional voice overs and in a preponderance of detective work that's pretty basic and arbitrary, a step or two above Googling when it isn't simply Googling.) It appears that Season 2 will be an origin story of sorts, with Walker forcing Jones to delve into her past and learn how she was given her unwanted powers, a dark history involving medical experimentation by a mysterious corporation. Men, in this narrative, are relegated to supporting roles: Jones's loyal assistant, Malcolm (the excellent Eka Darville); a rival private investigator (Terry Chen); a building superintendent and possible love interest (J.R. Ramirez). What's missing in that list is a villain, which brings up the biggest, and in some ways most uncomfortable, comparison with Season 1. Because the most distinctive thing about that season was David Tennant's portrayal of the mind controlling psychopath Kilgrave. And the emotional and narrative center of the story, its juice, wasn't Jones's anger or her power it was her fear, the terror she felt at Kilgrave's hold over her. (That terror also galvanized Ms. Ritter's performance in Season 2, so far, she's more one dimensional and less interesting to watch.) How would the Kilgrave story line, with its emphasis on rape, predation and Jones's nearly season long helplessness, play in 2018? Not well, perhaps, but the series misses the character's captivating presence. Mr. Tennant is reportedly returning at some point in Season 2, even though (spoiler alert) Jones snapped Kilgrave's neck in the Season 1 finale. But he's not in the early episodes, and the apparent new villain is murkier in motivation, less overtly frightening and less charismatic. That's the most significant onscreen change in the show, and it's a bummer.	N24News: A New Dataset for Multimodal News Classification	Television
CAMBRIDGE, England Robert Macfarlane was partway up a mountain in Scotland when a fellow climber decided to lighten the mood by reciting some William Carlos Williams: "The descent beckons / as the ascent beckoned." At the time, "the descent very much beckoned," said Macfarlane, who then recalled the couplet when he began work on his latest book, "Underland: A Deep Time Journey." "There is a logic that I began on the mountaintops with my first book," he said in an interview earlier this month, "and that I've ended up as far below ground as I could with this one." Macfarlane's 2003 debut "Mountains of the Mind" was an inquiry into why people would be willing to die for love of rock and ice. Since then his output has included "The Old Ways" (2012), about routes and trails around the world, and "Holloway" (2013), about walking sunken paths. In "Underland," set to be released in the United States by Norton on June 4, Macfarlane turns his attention to the subterranean world. He explores an underground laboratory in Yorkshire where scientists attempt to study the dark matter formed at the universe's birth, and an icy hiding place in Olkiluoto, Finland, where preparations are underway to store nuclear waste. "Much of the underland is massively regulated space," he said. "It's where states and individuals and corporations have gone to put things that are most precious and dangerous to them." But in some of these spaces, climate change is leading to what he calls "unburials." "We are seeing it yield the bodies of 50,000 year old wolf pups," he said, "perfectly preserved." 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. All of this seems far removed from the airy, book lined office at Emmanuel College where we met a few weeks ago. But Macfarlane, 42, who has taught literature here since 2001, has grown adept at combining his activities. "My books take five, six or seven years to write and tend to become pretty consuming," he said. "They become the ways I organize my time and also part of the conversation I have with my students when I teach." Macfarlane, who won the E.M. Forster Award for Literature in 2017, is primarily known as a nature writer, but it is not a term he is altogether comfortable with, especially regarding "Underland." "The nature here is rock and ice and time and nuclear waste and human activity," he said. "So if it is nature writing, then it is a dark kind of nature writing, but I'm quite happy for it not to sit easily in a genre." In "Underland," as in his previous books, he insists on experiencing things for himself. He navigates precarious underground passageways in the Paris catacombs or ancient burial tombs in the Mendips of Somerset. Gradually he became fascinated by "the idea that claustrophobia might possess this vicarious power to move people, grip them," he said. "The body comes to know places in ways that can't be known by reading or remote sensing." When he was younger, he was an avid rock climber, though he qualifies this with self deprecation: "I was very bad at it, but I was quite bold, and that's a bad combination." After an aborted Alps expedition "I just reached a point on a knife edge at a ridge where it was impossible to proceed" he has dialed back. He also has his wife, the writer and China scholar Julia Lovell, and their three children, Lily, Tom and Will, to consider. Macfarlane grew up in rural Nottinghamshire, but his love of nature and landscape bloomed when his parents began taking the family on walking holidays in Scotland. "That was the country that's drawn me back and back as a writer and as a walker and a climber," he said. "'Underland' is the first book I've ever written that has no Scotland in it." Altogether there have been nine books. To his surprise the one that has had the most impact is a children's title, "The Lost Words." Published in 2017, it began when Macfarlane and the British artist Jackie Morris were told that the latest edition of the Oxford Junior Dictionary had dropped nature words like "acorn," "dandelion" and "kingfisher" in favor of technological terms. Together they created "The Lost Words" as a book of poetry or "spells," with his writing and her illustrations. Morris, who lives in Pembrokeshire, Wales, said that Macfarlane's writing challenged her to alter some of the work that she had already done for "The Lost Words." "I thought that nothing he could write would change the way I saw a raven," she said in an email. "They fly over my studio, so close that I can hear the air pass through their feathers. So I painted. And even though the raven I had painted was O.K., I knew that I had to begin again and put an egg in the raven's mouth." The book has since become a cultural phenomenon in Britain, selling over 100,000 copies according to Nielsen BookScan. It is widely distributed in Scottish and English schools and will be set to music in August as part of the BBC's Proms series in London. "Like a lot of the work I've done up to this point, 'The Lost Words' has been about re wilding or reanimating an available language for place and for nature," Macfarlane said. "I only wrote 800 words for it, and I'll probably never write another 800 words that live in the world so much." Macfarlane and Morris are now working on a follow up called "The Book of Birds," which is scheduled to come out in the U.K. in 2022. This time he plans to use prose, not poetry, to describe the turtle dove, cuckoo, lapwing, curlew and other endangered birds in Britain. "Right to the summit of the calving face itself," he writes, is "a black shining pyramid, sharp at its prow, thrusting and glistening, made of a substance that has to be ice but looks like no ice we have seen before, something that resembles what I imagine meteorite metal to be, something that has come from so deep down in time that it has lost all color." It is both an appalling and exciting vision, one that Macfarlane was glad to have witnessed for himself. "It's difficult to get a sense of catastrophe happening immediately," he said. "There's a deferral of the problem to an unspecified future, but actually it's happening all around us now." Follow New York Times Books on Facebook and Twitter ( nytimesbooks), 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
LONDON Just after 10 a.m. on Saturday, Daniel Huchard, 53, a French ski instructor visiting Tate Modern in London, stood on the 10th story viewing terrace and admired one of the gallery's more unusual sights: the apartments opposite. In one, a middle age man wearing a gray T shirt and shorts could be seen through the floor to ceiling windows eating breakfast. It appeared to be a slice of toast. In another, a different middle age man sat on a green sofa, a weekend newspaper sprawled around him. There were no signs of life in the many other apartments, some of which are only around 60 feet from the viewing terrace. "They're very nice flats a lot of light, very expensive probably," Mr. Huchard said. But he would not live in one, he added, even if he had a spare 4.5 million, the asking price of an apartment currently on sale. "They are like animals in a zoo," he said. Tate Modern's viewing terrace has been popular since it opened as part of the gallery's extension in 2016. It offers one of London's best views, taking in St. Paul's Cathedral; the Leadenhall Building, a skyscraper better known as the Cheesegrater for its distinctive appearance; the Houses of Parliament; and a swath of South London. Visitors take hundreds of selfies every day. But the ability to walk around one side of the terrace and peek into the apartments is being challenged. In 2017, four apartment owners in the buildings, part of a development called Neo Bankside, sued Tate, the organization that runs Tate Modern and other museums in Britain, for what they claim is the "relentless" invasion of privacy from visitors to the terrace. The viewing platform stops the apartments being "a secure home for young children" because of the onlookers, they said in court papers. In response, the gallery pointed out that plans for the construction of the platform were public knowledge when the apartments were sold. The gallery received its original planning permission for its development before the apartments, it added. At a news conference in September 2016, Nicholas Serota, then Tate's director, said that there was a simple answer to the problem: Hang curtains. But Tate's arguments did not stop the case. This month, it reached the High Court. A judgment is expected soon. Appropriately, the case has prompted an artwork. This month, Max Siedentopf, a conceptual artist, tied 10 pairs of binoculars to the terrace opposite the apartments for people to use. He called the unauthorized intervention "Please Respect Our Neighbors' Privacy," the same message that appears on signs in Tate Modern. Mr. Siedentopf said in a telephone interview that he wanted to provoke thoughts about issues surrounding the case including privacy and entitlement. "I do think it's ironic that people buy apartments that have a great view of the Tate, but the Tate is not allowed to have a great view of the apartments," he said. But he also just wanted to make people laugh, and highlight an uncomfortable fact for Tate: "I think the funny part of the story is that the neighbors' apartments are actually more popular than any work on display," he said. Sometimes the gawking crowd "almost resembles photos you see at the Louvre where hundreds of people gather to look at the Mona Lisa," he added. Neither the apartment owners contacted through Forsters, their lawyers, nor Tate would comment while the court case was continuing. Several residents coming in and out of the building declined to be interviewed when approached. One said he lived on the opposite side of the building to Tate Modern. "Thank God," he added. But on Saturday evening, there was little sympathy for the apartment owners' case from people on the viewing platform. "If you can afford to live there, you can afford to live somewhere else, can't you?" said Nimai Inniss, 24, who was showing two Spanish friends the view. "I think the sheer gall of people to move in somewhere like that and then complain about the fact there's a museum across the road tells you a lot about where London's going." Reinholds Bunde, a software engineer in London who is originally from Latvia, pointed out that the residents could look into each others' homes and anyone could look into many of the apartments from the street below. "I don't think they have a point," he said, when asked about the case. "If you live in a city, and you have windows, people look in." "I've seen naked people from my flat, across the road, just getting dressed," he added. "If you don't close the blinds people look in. Someone's probably seen me naked." As he spoke, a woman appeared in one of the windows and put some items into a dishwasher. "That's the first person I've ever seen," said Mr. Bunde, a regular visitor to the gallery. "They're always empty."	N24News: A New Dataset for Multimodal News Classification	Art & Design
SAN FRANCISCO Until recently, China was a center of Bitcoin activity while the rest of Asia looked on with little interest. Now, the tables have turned. The Chinese government has been clamping down on virtual currency activity at the same time that hundreds of thousands of Japanese have thrown themselves into Bitcoin trading, making Japan's main Bitcoin exchange, bitFlyer, the largest in the world in recent weeks by some methods of counting. South Koreans have also shown a sudden interest in virtual currencies, though they have generally opted for Bitcoin competitors like Ethereum and Ripple. Trading has been so popular that two South Korean exchanges, Bithumb and Coinone, have set up storefronts in Seoul that people can visit to buy and sell in person. Since Bitcoin was created in 2009, it has become increasingly popular around the world because of its anti establishment appeal a virtual currency that is challenging governments and financial institutions. But in South Korea and Japan, the countries' most important institutions have been leading the way. Japanese trading took off after the government approved legislation in April that creates the first national licensing program in the world for virtual currency exchanges. On Friday, the government announced that it was giving the first licenses to 11 exchanges, including bitFlyer. "Japanese people tend to be very conservative with their investments, but once they get triggered they go all in," said Yuzo Kano, the founder and chief executive of bitFlyer. In South Korea, trading ticked up after the country's largest company, Samsung, announced in May that it had joined a large alliance of global companies aimed at finding corporate use for the software behind Ethereum. The South Korean government moved last week to curb some of the frenzy. Korean regulators announced on Friday that new virtual currencies, being sold through so called initial coin offerings, will be banned in the country. The regulators also said they would exercise stricter oversight of online exchanges. But trading in the most valuable coins went on after the announcement. (Regulators in the United States and Switzerland also took steps on Friday to crack down on the offerings.) Companies in both Japan and South Korea have been experimenting with the blockchain, the technology introduced by Bitcoin that allows multiple parties to keep shared digital records. And a consortium of Japanese banks announced last week that they were preparing to introduce a national digital cash, J Coin, that shares some qualities with Bitcoin. Even North Korea is getting in on the game, with reports suggesting that people with ties to the government have been trying to "mine" new Bitcoins and to hack into virtual currency exchanges in South Korea and elsewhere. Digital money like Bitcoin, which exists outside the traditional financial system, could be useful for a country trying to evade financial sanctions. So far, though, virtual currency trading in Japan and South Korea has not been tied, in any significant way, to buying or selling things with Bitcoin or any of its competitors. Instead, interest in both Japan and South Korea appears to be linked to a longer history of speculative financial trading as a recreational pastime and to the general interest in virtual goods. "Word just spreads really fast in Korea," said Tony Lyu, the founder and chief executive of Korbit, a Korean exchange. "Once people are invested, they want everyone else to join the party. There's been this huge, almost a community movement around this." At various points in the past few years, China has been thought to account for over three quarters of all Bitcoin trading. The government, though, has stepped in several times to cool the speculative fever. The latest measures appear to be the most serious yet. All Bitcoin exchanges have been told to stop trading by the end of October. Some in the Chinese Bitcoin community believe that business will be allowed to resume after the annual meeting of the People's Congress, the national legislative body, takes place in mid October but there have been no clear indications of that. The price of most virtual currencies dropped sharply after the Chinese government's moves leaked out in September. But it did not put a damper on interest in Japan and South Korea, and the prices of digital tokens recovered most of their losses. The price of Bitcoin recently stood around 4,300, down 12 percent from the high earlier last month. But that was up about 50 percent from the low last month and still up more than 340 percent since the beginning of the year. Bitcoin has been used most controversially to buy drugs online and make virtual ransom payments to hackers. More recently, it has provided a way for investors to put money into new starts ups through initial coin offerings. Beyond all that, though, it is a speculative asset. People buy and sell it because it is scarce only 21 million Bitcoins will ever be created and investors hope it will gain real world applications in the future. Japan might have seemed like an obvious place for Bitcoin to catch on earlier. The anonymous creator of Bitcoin carried a Japanese name, Satoshi Nakamoto. But most people from Bitcoin's early years believe that the person or people behind Bitcoin were not from Japan. Japan was also home to the first major Bitcoin exchange, Mt. Gox. But Mt. Gox was run by a Frenchman living in Tokyo, with mostly foreign customers. Perhaps more important, Mt. Gox was run very poorly, leaving it vulnerable to thieves who eventually stole most of the Bitcoins the exchange held for its customers some 500 million worth at the time. Corporations like Samsung are generally interested in using the Ethereum software without using the internal virtual currency, Ether. But the announcement set off a summer of feverish trading in Ethereum and a number of other Bitcoin alternatives. In recent days, the heaviest trading has been in a competitor to Bitcoin that was introduced in August, known as Bitcoin Cash, which can handle more transactions. Trading volumes have been amplified in both South Korea and Japan because many of the exchanges offer leverage, which amplifies both positive and negative swings. Jeff Paik, the founder of Finector, a research firm in Seoul, said the trading had been worrisome because it had been dominated by older pensioners, not tech geeks. These traders, he said, have been deciding what coins to buy and sell not because of the underlying technology, but because of the number of other people trading the same thing. "There's no logic to it," Mr. Paik said. "As long as there is an open market, and a currency to be traded, people will flock into it. It doesn't matter which coin."	N24News: A New Dataset for Multimodal News Classification	Technology
The much talked about elephant in Hu Bo's "An Elephant Sitting Still" never appears onscreen, but it isn't an imaginary beast. The sedentary pachyderm is rumored to live in Manzhouli, a city in the Inner Mongolia region of northern China, some distance from the gray industrial city where the film's characters struggle and suffer. The elephant is a lure and a metaphor, a teasing reminder of a natural wonder and creaturely variety that is otherwise barely in evidence. This rigorously bleak, powerfully absorbing feature nearly four hours long, shot in subdued colors and slow takes posits a world from which nearly all fellow feeling has been drained. Envy, mistrust, manipulation and blunt aggression govern human relations. Pleasure is scarce. Taking place over a single day and following the overlapping, increasingly desperate itineraries of four people, "An Elephant Sitting Still" encompasses two suicides, several beatings, a shooting and the death of a dog. If anything, this summary undersells the misery. Those periodic eruptions of violence are like bubbles breaking the surface of a steadily simmering pot. Cruelty and alienation go all the way down. Yu Cheng (Zhang Yu), a handsome, hollow cheeked midlevel gangster, is having an affair with his best friend's wife. The friend comes home and discovers the adulterous pair together, and jumps out the window to his death. Wei Bu (Peng Yuchang), a student at a second rate high school, plots revenge against the bully who torments and humiliates him. (The bully happens to be Yu Cheng's younger brother.) Their plan fails, but also succeeds in the worst possible way. Meanwhile, Wei Bu's classmate Huang Ling (Wang Yuwen) is involved in a tawdry relationship with a school administrator. Wang Jin (Liu Congxi), a retired military officer, is being pressured to move into a retirement home by his upwardly mobile son and daughter in law.	N24News: A New Dataset for Multimodal News Classification	Movies
LONDON Last week, the lights went out on Broadway. On Monday, London's West End the last global theater stronghold to remain open through the growing coronavirus pandemic went dark. London's performance spaces were some of the last to shut down among their international counterparts, as arts institutions across the United States and Europe New York's dozens of theaters, Italy's famed Teatro alla Scala opera house, Paris's Louvre museum all shut their doors amid the virus's rapid spread. But after Prime Minister Boris Johnson of Britain urged patrons to avoid theaters and other crowded public spaces in a speech on Monday afternoon, cultural mainstays across the United Kingdom began to follow suit. "Now is the time for everyone to stop nonessential contact with others and to stop all unnecessary travel," Mr. Johnson said in the speech. "We need people to start working from home where they possibly can. And you should avoid pubs, clubs, theaters and other such social venues." After the speech, it was announced that some prominent theaters would temporarily close. The Royal Court, in London, said in a statement on Twitter that many in Britain's art world "will struggle to weather the crisis" and urged financial support. Within hours, the entire West End had shut down, including the Royal Opera House. The Society of London Theater and U.K. Theater, two trade bodies that represent independent commercial theaters in London, cited "official government advice" in shuttering their venues. The theaters will stay dark indefinitely. "Closing venues is not a decision that is taken lightly, and we know that this will have a severe impact on many of the 290,000 individuals working in our industry," Julian Bird, the chief executive of both trade bodies, said in a statement on Monday. Faiz Gafoor, 60, was outside the Shaftesbury Theater, one of the society's venues in the West End, when he learned the performance he had tickets to that evening " Juliet," a jukebox musical that led this year's Olivier Award nominations would not go on. The performance had been "canceled in line with government advice," read a sign posted on the door of the theater. "We're from South Africa on holiday and very disappointed," Dr. Gafoor said. "We asked on Sunday when we purchased the tickets, and they said it'd be O.K. They should have sorted it earlier." Claire Parker, 27, came to the Shaftesbury to see " Juliet" for the 17th time. "I'm devastated," she said. "Some of my friends have traveled two hours to be here." Instead, they planned to stand outside and sing through the show's soundtrack, Ms. Parker added. The Royal Opera House, in announcing its immediate closure on Monday, added that it would begin broadcasting free performances online. The venue, which did not specify when it may reopen, was one of several opera houses to cancel or postpone performances after the prime minister's speech, including the English National Opera, the Welsh National Opera and the Scottish Opera. "This suspension of performances will impact not only our loyal audience but also our committed and talented work force," Alex Beard, the chief executive of the Royal Opera House, said in a statement on Monday. "We will work within the government guidelines to ensure the safety and well being of our staff and artists during this difficult time. Our employees, permanent and casual, are reliant on the income, which we derive through ticket purchases." And Sadler's Wells, one of London's primary dance theaters, also canceled performances at its three venues for up to 12 weeks. The organization hopes to resume performances by June 9, it said in a statement on Monday noting that the timing could change depending on further guidance from the government. But there was still some uncertainty among Britain's other cultural venues. The British Museum was still waiting for clarity from the government on whether it should close, a spokeswoman said in a telephone interview on Monday. Tate which operates the popular Tate Modern and Tate Britain museums was also uncertain about whether it had to close. (An employee at the Tate Modern tested positive for the coronavirus last week, The Art Newspaper reported.) The prime minister's order to stay away from theaters and pubs was a warning for the British public, not necessarily for institutions, but a meeting will be held on Tuesday between Britain's culture ministry and museums, where some expect a closure to be ordered. Alex Marshall reported from London. Nancy Coleman reported from New York.	N24News: A New Dataset for Multimodal News Classification	Theater
CONFESSIONS OF THE FOX By 329 pp. One World. 27. "Some time ago never mind how long precisely I slipped off the map of the world," Dr. Voth, a transgender professor and the principal narrator of 's "Confessions of the Fox," announces on the first page of this debut novel, in a hat tip to "Moby Dick." The alternate world into which Voth slips is not a watery abyss but rather a "living diorama of flesh worship," which he implores his reader to join. As cetology is to Melville, so quim (18th century slang for female genitalia) is to Rosenberg. Quim's cognates tuzzy muzzy, boiling Spot, monosyllable, Water Mill are scattered through these pages, expanding conventional usage to "signify any loved point of entry on the body, irrespective of gender or sex," a description of sorts of Rosenberg's novel. How does Voth reach this utopia of the flesh? His journey begins when he stumbles upon a mysterious manuscript at a university book sale. The papers purportedly contain a true account of the life of the infamous jailbreaker Jack Sheppard. You may recognize Sheppard as Mack the Knife from Brecht's "The Threepenny Opera," but with a few significant alterations: Jack is now transgender, and his London is no longer exclusively white and straight. Enter Bess Khan, a prostitute of South Asian descent who helps Jack realize his ambition as "King Screwsman" by encouraging his ever more daring heists like stealing from London's ruthless "Thief Catcher General," Jonathan Wild as well as his emerging queerness. "A wonderful, fetching Something," Bess calls Jack, and it is through her physical intervention that Jack forges the body he is meant to have. What ensues is a picaresque adventure through a London rarely seen in literature of the period, one filled with sentinels and fear of plague but also with a thriving subculture of mollies (18th century slang for queer men) and prostitutes and a celebratory aura of sexual freedom. Jack's adventure may not be immediately accessible to all audiences. Voth informs the reader that his manuscript may only be decoded by someone who can "cry a certain kind of tears," by which he means someone who has lived on the margins of society. Someone who also, I might add, enjoys queer theory, 18th century frame narratives, prison abolition literature, Marxist historical readings, a surprisingly lengthy subplot involving a copy of Spinoza's "Ethics" and a running footnote hall of mirrors to rival Borges. Perhaps representative of the novel's aim is a marbled page midway through the book, a homage to "Tristram Shandy." Like Sterne's marbled page, Rosenberg's offers a key to his narrative. It serves primarily as a rebuttal to an indignity many transpeople have faced at some point in their lives: the intrusive gaze of a non transperson eager to glimpse their genitals. This novel is an antidote to that gaze.	N24News: A New Dataset for Multimodal News Classification	Books
Credit...William Widmer for The New York Times After Coach Paul Trosclair won a Louisiana high school football championship in December 2018, he and his family walked from the Superdome in New Orleans to celebrate with a bowl of late night gumbo. He mused about retiring, but no one took him seriously. For five seasons, Trosclair had endured fatigue and other effects of multiple myeloma, a treatable but incurable blood cancer, missing only a single game. He coached from a golf cart when the burning sensation in his feet made it too painful to stand. And when he was sidelined that one Friday night after a blood clot required surgery, he phoned his players from his hospital bed to wish them luck. With a state title at Eunice High School, after runner up finishes there in 1997 and 1998, Trosclair had reached the pinnacle of a long, successful career. He was one of Louisiana's winningest coaches. Back home on the Cajun prairie, he rode in a convertible during the town's victory parade, holding the championship trophy. He had nothing left to prove, but he stayed on for the 2019 season, elevating his career record to 247 victories even as medication left him with muscle cramps so severe at times that his fork fell from his fingers. "I couldn't pull the trigger," Trosclair, 64, said in a telephone interview. "It's hard to walk away." Now, he feels compelled, becoming one of a number of older coaches across the country who are choosing to retire rather than risk their health in the coronavirus pandemic. In June, he gave his retirement notice after 40 years of coaching, the last 25 years at Eunice High. His cancer was in remission but his immune system was compromised. He did not think he could remain safe when a new school year and a new football season began. Not in a locker room where his players dress shoulder to shoulder. Not in the weight room. Not in crowded school hallways. "My doctors thought it was in my best interest not to coach," Trosclair said. "I was on the edge; the coronavirus got me to jump over." While young athletes are considered less vulnerable to Covid 19, the disease caused by the coronavirus, aging coaches are at higher risk of infection and having a severe response. At least 30 high school and club team coaches have died of coronavirus related causes, according to a search of online obituaries. Though some were in their 70s, one was 27, another 30. Countless other coaches have been forced to reconsider whether it is worth risking their health to continue their careers. None Week 11 Predictions: Here are our picks against the spread. N.F.L. Tightens Covid Protocols: As cases rise and Thanksgiving approaches, the league is requiring masks inside team facilities and increasing testing. The Packers' Defense Is Their M.V.P.: Green Bay's oft overlooked defense has kept the team from falling out of the Super Bowl chase. The Long Path to the Super Bowl: With 18 weeks in the regular season and fewer teams earning byes in the playoffs, the Super Bowl is still a long way off. Playoff Simulator: Explore every team's path to the postseason, updated live. It remains unclear how many coaches have retired for reasons related to Covid 19. The N.C.A.A., the National Federation of State High School Associations, state athletic associations and coaching organizations said they have not kept such figures. But a number of states have reported an uptick in teacher retirements, even if it is uncertain how many are related to the coronavirus. Louisiana, for instance, reported 335 retirements in August compared with 196 that month in 2019. In Ohio, the retirement rate more than doubled from July 1 through mid August, compared to that period a year ago. "More so than in previous years, we are hearing about coaching staff retirees," said Jennifer Mann, a data technician with the Clell Wade Coaches Directory, a well regarded national networking tool for coaches that tracks collegiate, high school and junior high school sports. Even so, they may represent a fraction of coaches, though their departures often are deeply felt in their communities. "There are hundreds of thousands of high school coaches across the country in various sports, so even if there are hundreds who have retired, it is a pretty small number," Bruce Howard, a spokesman for the national high school federation, said in an email. Norm Ogilvie, 60, Duke University's longtime track and field coach, said in a statement that he felt "there needs to be a final meaningful chapter for the remaining years I have on our rapidly changing planet." Mike Fox, 64, retired after 22 years and seven trips to the College World Series as the baseball coach at the University of North Carolina. The coronavirus, he told the school, made him realize "it is time for me to be a full time husband, father and grandfather and do other things with my life." Joe Bustos, 57, who won two Arizona state basketball championships in 23 seasons coaching at North High School in Phoenix, stepped down, expressing frustration with virtual teaching and concern after two Arizona teachers died over the summer of Covid 19, including a 61 year old high school swimming coach. "I'm just afraid; I don't want to be playing Russian roulette," Bustos said in an interview. "I love coaching and teaching, but at the end of the day you've got to look out for yourself." Peter Kingsley, 54, taught middle school for nearly three decades in Boulder, Colo., and coached football, basketball, wrestling and track. But he has epilepsy and a circulatory condition that leaves him predisposed to strokes. His wife urged him to retire because of the pandemic. And he was influenced by spending 22 days in hospice with his father, who died this summer of bone cancer. "I had a choice to make whether to potentially die or keep coaching and teaching," Kingsley said in a telephone interview. "I just needed to stay safe." In spring 2014, he began to experience dizzy spells and fatigue. His blood pressure rose and his kidneys began to fail. The diagnosis was multiple myeloma, which begins in the bone marrow and limits the body's ability to fight off infections, weakens bones, reduces kidney function and lowers a person's red blood cell count. Trosclair began chemotherapy and taking a corticosteroid called Decadron, which left him intensely focused, insatiably hungry and agitated from extreme insomnia followed by bouts of crashing. He recalls his oncologist at the M.D. Anderson Cancer Center in Houston saying that he might lose his job in such a severe state. He jokingly replied, "They already think I'm crazy, so they'll give me a pass." He asked one of his assistant coaches to remain vigilant in case his temper flared. Some days he felt 20 years old, he told a Louisiana reporter. Other days he felt 100. Still, Trosclair coached every game in the 2014 football season. In early 2015, he underwent a stem cell transplant. His own blood making stem cells were harvested, frozen, then reintroduced after chemotherapy to produce new, healthy blood cells. He spent six weeks in Houston for the treatment and recovery. "People in Eunice raised some money and it was a big help," Trosclair said. Months later, though, a mix up over blood thinners during the 2015 football season led to a blood clot in his left leg and forced him into intensive care at a hospital in Lafayette, La. His left foot swelled to three times its normal size. Three surgeries were required, causing him to miss his only game in 25 seasons. Trosclair spoke to his team beforehand by phone, saying, "I love you. Go out and play." Irma Trosclair, his wife and the superintendent of schools in Lafayette Parish, one of Louisiana's largest school districts, still keeps a video of the bedside pep talk. "When I saw him doing that, with all those tubes he had going, I knew that coaching wasn't just work," she said. "It was what was going to pull him through." In 2018, Eunice High unexpectedly reached the Class 3A state championship game and prevailed, 59 47, with Trosclair's Wing T offense, an intricate symphony of misdirection and strategic passing. After a quarter century at the school and five seasons of fighting cancer, he claimed his biggest football victory. Trosclair told a television interviewer, "It was like the universe opened its doors and said, here you go, here's a gift for you." The high school and its football team confirm that Eunice still measures up, even as its population and student enrollment continue to shrink and a third of its 9,800 residents live in poverty. It is the only traditional public high school in St. Landry Parish to carry an A rating of academic performance from the state and has maintained its diversity a half century after desegregation. When the Eunice city council honored him, his wife went in his place. His grandchildren have not visited since March. When his youngest son, Trenon, 26, got married in June, Trosclair sat in an isolated section of the church, then left through a side door and skipped the reception. "I'm really sad right now," he texted his wife. Louisiana's delayed high school football season is set to begin on Oct. 1. Trosclair would like to remain involved with the team in some manner. He has studied plays at the dining room table with Trenon, the team's secondary coach. Perhaps he will help with game planning. He would like to attend games, if he can stand away from everyone, but his wife is skeptical. She has another idea. "Hopefully they'll let me keep my same parking spot," Irma Trosclair said. "Then we can watch the whole game from my vehicle. Surely they'll grant that for Coach."	N24News: A New Dataset for Multimodal News Classification	Sports
Connie Chung, the longtime television news anchor, said on Wednesday that she was sexually assaulted about 50 years ago, lending yet another high profile voice of support to Christine Blasey Ford. In an opinion piece in The Washington Post, written as a letter to Dr. Blasey, Ms. Chung said that she was in college when she was assaulted by the very physician who delivered her in 1946. "I, too, was sexually assaulted not 36 years ago but about 50 years ago," Ms. Chung, who has worked for all three major broadcast news networks, CNN and MSNBC, wrote. "I have kept my dirty little secret to myself. Silence for five decades." In the piece, Ms. Chung said that she was still a virgin at the time and had visited the doctor, whom she did not name, to inquire about contraception. He assaulted her during a gynecological examination, she said.	N24News: A New Dataset for Multimodal News Classification	Media
A movie about the supernatural with Jim Gaffigan in a starring role could go either way horror or comedy but "Light From Light" refuses to be either. Even the setting, with spooky fog over the Smoky Mountains in Tennessee, is offset by a gentle, plucky score. In the film, Richard (Gaffigan), a recent widower who thinks his wife is trying to communicate with him from beyond the grave, calls on a paranormal investigator, Shelia (Marin Ireland), to help. Experienced though she may be in her field, Shelia is not the celebrity ghost hunter we've been led to believe. A single mother with a teenage son, she supplements her income by working at a car rental company, and, in fact, she doubts her beliefs in the otherworldly .	N24News: A New Dataset for Multimodal News Classification	Movies
Sleepy LaBeef performing at the Damrosch Park Bandshell in New York in 1996. The New York Times once called him "a living, breathing, guitar picking history of American music." Sleepy LaBeef, an early and enduring rockabilly artist who helped fuel a resurgence of that genre in the 1970s and '80s, especially with his propulsive live shows, died on Thursday at his home in Siloam Springs, Ark. He was 84. His daughter Jessie Mae Lynn LaBeff confirmed his death. A cause was not given. In 1991, at which point Mr. LaBeef was 35 years into his musical career, The New York Times called him "a living, breathing, guitar picking history of American music." He claimed to know 6,000 songs and played, as he put it at the time, "root music: old time rock 'n' roll, Southern gospel and hand clapping music, black blues, Hank Williams style country." Elvis Presley was a contemporary (six months older), and, like Presley, Mr. LaBeef made his first records in the 1950s. He was living in Texas at the time, recording on small labels there, but in the mid 1960s he moved to Nashville. Eventually he signed with Presley's original label, Sun Records. In the 1970s and '80s Mr. LaBeef maintained a particularly exhausting touring schedule 200 to 300 shows a year playing clubs all over the United States and also finding surprising success in Europe, which embraced rockabilly. "He has played bullrings in Portugal in Spain," The Boston Globe wrote in 1983, "music halls in Germany, Italy and England, and a festival in Finland within earshot of the Soviet Union." He continued to record and perform until recently, working a rich basso profundo voice and an onstage versatility that made each show unique. He made a point of adjusting his sets to the mood of his audience, throwing in more blues, or more upbeat rock, or whatever, as needed. "I don't plan anything," he told the music writer Peter Guralnick, who devoted a chapter to him in his book "Lost Highway: Journeys and Arrivals of American Musicians" (1979). "It's all trial and error, I guess. If the first two or three things don't work, then we just move around and try something else." Bobby Rich, one of many drummers who backed him, once said, "Every night he'll play songs I've never heard, and I follow the best I can." Mr. LaBeef in an undated photo. A contemporary of Elvis Presley, he signed his first record contract in 1964. Thomas Paulsley LaBeff was born on July 20, 1935, in Smackover, Ark. "Sleepy" was bestowed upon him by schoolmates because of his droopy eyelids; "LaBeef" was the later suggestion of one of his early record companies. He was the youngest of 10 children. His father, Charles, was a farmer who later worked the oil fields, and his mother, Jessie (Coke) LaBeff, was a homemaker. He said his upbringing in the United Pentecostal Church was his strongest musical influence. He left school in eighth grade. At 14, according to "Lost Highway," he traded a rifle to his brother in law for a guitar, and soon he was playing in church. He moved to Houston at 18 for a land surveyor job and in 1954 married Louise Barstow. The two of them sang in gospel groups around town. Hearing Presley's first Sun records, recorded in 1954, was a revelation. "I said: 'Hey, this is crazy. This is what I'm singing,'" he told The Boston Globe in 1983. "Except he was singing blues lyrics and country lyrics with the same gospel beat I was using." Mr. LaBeef switched to secular music and began playing and recording in Texas, work that caught the interest of Columbia Records in Nashville, which signed him in 1964. By the end of the decade he had switched to the Plantation label. He had also managed an unusual career detour: He acted in a low budget 1968 movie called "The Exotic Ones," also marketed under the title "The Monster and the Stripper." The plot: Hunters capture a swamp monster and exhibit it at a strip club. Mr. LaBeef, who was an imposing 6 foot 6, played the monster. Mr. LaBeef never had what would be considered a hit record, though "Every Day," a 1968 Columbia single, and "Blackland Farmer," released by Plantation in 1971, briefly made the country charts. His albums for Sun included "Western Gold" (1976) and "Downhome Rockabilly" (1979). He also released albums on Rounder and other labels. But he was always defined more by his performances than by his recordings. The vast repertoire, he said, came naturally. "I don't know why," he said, "I used to just listen to a song twice on the jukebox, and I'd have it." In addition to living in Arkansas, Texas and Tennessee, Mr. LaBeef spent a stretch of years in Massachusetts the result, as he told the story, of a disastrous road trip. Heading out of Maine, bound for a show at Alan's Fifth Wheel Lounge in Amesbury, Mass., on New Year's Day 1977, his tour bus caught fire. His clothes and many other possessions were destroyed, though the bus was somehow still operable enough that he made it to Amesbury and played the show. The club's owners offered him a room and an open ended booking. He stayed in Amesbury for years before returning to Arkansas.	N24News: A New Dataset for Multimodal News Classification	Music
Spring seems to arrive out of nowhere each year, a sudden and implausible 30 degree leap in temperature from what is always, somehow, the worst winter the city has ever seen. If not the coldest, the longest. If neither notably cold nor notably long, still somehow the grimmest. New Yorkers wake up one morning to find the weather insisting on certain activities. We have been starved, and now we must feast. At long last, we remember what it's like to not just tolerate but enjoy being outside. We remember what it's like to sit outside at a restaurant, a baseball game, a park or a bar. We remember that it can be O.K. to expose significant expanses of skin to the elements. We recover items that have been balled up in drawers and buried at the bottom of closets for half a year. Remember those white shoes? That lightweight shirt that fit just right and which Uniqlo decided to stop selling even though it's very obvious that it is a perfect shirt and should be available forever? They might even still fit. It is time to put the casseroles and soups aside. Now we want fresh fruits and vegetables. And the Northeast is home to many of the most springlike ones: fresh peas, asparagus, delicate greens, ramps, strawberries, rhubarb. The farmers' markets are an essential part of the summer and fall to New Yorkers and tourists alike, from wealthy Upper East Siders to the tens of thousands of New Yorkers who use SNAP benefits at the markets. But spring produce is not quite what you think it is. Looking at the "What's Available" chart on the GrowNYC website this is the organization that runs the city's farmers' markets is usually helpful. In April, it is mean. The green blobs, which indicate food that is harvested that month, are restricted to two items: mesclun and parsnips. Many of the items listed as coming into season in May take a very loose interpretation of the months. If you can find fresh summer squash in the month of May, the date can't be much earlier than the 30th or the 31st. Asparagus does not start appearing until mid May; strawberries don't come until late May or even early June. The spring farmers' markets are a bizarre mishmash of items that range dramatically in quality and provenance. The apples come from refrigerated storage facilities, placed there in November. Most every farmer either rents or owns refrigerated storage space in order to keep selling through the winter and into the misleading spring. The root vegetables may be freshly harvested, but they are winter's bounty, insulated by snow and burlap until recently. Tomatoes and cucumbers are grown in hothouses; they are as misleading as wax beans. (Wax beans are the same as green beans. Do not be fooled. They are just yellow.) Much of the activity at a spring farmers' market is appropriately non transactional. Plenty of people at the farmers' market, even in the height of late summer glory, are not really there to shop. At your own risk, of course. A long walk through one of the botanical gardens, Prospect Park or Central Park is likely to be spoiled by an impossibly hard rainfall. Four dollar street umbrellas have not improved in quality since last year. The ground may be too raw and muddy for sitting in the park. Unlike people on the West Coast, East Coasters are unused to large changes in temperature from day to night; the few weeks of spring are a rarity in that they require frequent alterations in layering. An after work outdoor drink sounds great until the temperature goes from 70 to 50 in the span of a drink and a half. The cool nights are pleasant, to be sure, but "pleasant" can be jarring in a city used to extremes. Sometimes you will play a game of chicken at an outdoor bar, when the temperature has dropped far too low for comfort and the attire that was appropriate earlier in the day. Who will be the first to suggest we move inside? The debate of hot coffee versus cold coffee is not likely to be resolved in any satisfactory way during the spring. Sometimes the correct answer will be one and sometimes it will be the other. Sometimes you will choose wrong, and find you have completely lost feeling in your fingers for attempting to grasp a cup full of ice in 45 degree rain. Sometimes you will correctly choose hot coffee and be sort of annoyed that the right answer was not iced coffee. Sometimes you will correctly choose iced coffee and be so, so happy.	N24News: A New Dataset for Multimodal News Classification	Style
In which we bring you motoring news from around the Web: The 1940 Buick phaeton Ingrid Bergman stood in front of as she and Humphrey Bogart filmed the final, emotional scene of "Casablanca" is scheduled to be auctioned at the end of November. The auction house, Bonhams, estimates the car will sell for 450,000 to 500,000. (Hemmings Daily) A number of custom theme Ford Focus STs will be displayed at the annual Specialty Equipment and Marketing Association show in Las Vegas next month. Among the fantastic liveries to be displayed on the tiny hot hatch will be Gulf Racing, vintage Team Lotus and rally police car. (Edmunds) Ford announced this week that it would idle its assembly plant in Wayne, Mich., for a week at the end of October and another week in mid December. The factory assembles Focus compacts and C Max hybrids. (Automotive News) According to a report from The Associated Press, thieves posing as truckers are stealing hundreds of thousands of dollars worth of merchandise. Their tactic is simple: they arrive for a pickup in an empty tractor trailer, load it as if they are supposed to be there and drive off. (ABC News)	N24News: A New Dataset for Multimodal News Classification	Automobiles
After more than a month of quarantine culture, most of us have some sense of what being on a desert island feels like. So we've had plenty of time to consider what we'd like to hear in our infinite leisure, beyond the roar of the surf. It is, in fact, just what we've been listening to, with gratitude, during these many weeks. If you're like us, you may have compiled your own lists already. See how they stack up against the 20 albums we've chosen. Even though most of these recordings are tattooed onto my memory, they are still the ones I play the most, and every time I listen to them, I hear new things. Some of them were the basis for my fantasy life when I was a child. Today, all of them offer perspectives on life as I have come to know it since, and there's enough variety here to match nearly all of my shifting chameleon moods. John Kander and Fred Ebb's sardonic take on the American justice system is musical satire at its most sophisticated. This is one case in which I'm going with the recording of a revival (the deathless version that opened in 1996 and was still running on Broadway before the shutdown), in which Bebe Neuwirth, Ann Reinking and James Naughton have a wonderful time proving that crime pays. It's the first Broadway show I ever saw, and the older I get, the richer it sounds. Stephen Sondheim's many splendored score for this story of the reunion of Ziegfeld Follies style performers deconstructs nostalgia and specifically, the way we hear the songs of our past. The 1971 original cast recording features such jewels as Alexis Smith singing "The Story of Lucy and Jessie" and Dorothy Collins doing "Losing My Mind." In this 2006 musical, inspired by the documentary film of the same title, Christine Ebersole's performance as the eccentric society recluse Edie Beale (and as her own mother in an earlier time) is one of the most nuanced and deep burrowing of all Broadway interpretations, ranging from antic exhibitionism to heartbreakingly quiet loneliness. And Scott Frankel and Michael Korie's score provides a primer in the art of defining character through song. Of all American musicals, this 1959 collaboration among Arthur Laurents, Jule Styne and Stephen Sondheim may well be both the greatest and most perfect (attributes that are not always synonymous in art). It also provides peerless examples of song as psychodrama, gloriously evident in the fearsome, utterly un self conscious performance of Ethel Merman, as the mother of all stage mothers, in the original Broadway cast recording. The hip hop version of the American Revolution, as delivered by the impossibly talented Lin Manuel Miranda, has a musical momentum as propulsive as history itself. This is a work that's almost as exciting to listen to as it was to see, and it's a guaranteed cure for inertia. The most engagingly literate of musicals, with the team of Alan Jay Lerner and Frederick Loewe translating George Bernard Shaw's "Pygmalion" into impeccably cadenced song. Rex Harrison, as the arrogant master of phonetics, Henry Higgins, and Julie Andrews, as his cockney flower girl pupil, redefine the nature of romantic star chemistry in the 1956 recording. This seamless masterpiece from Richard Rodgers Oscar Hammerstein II forever changed the form of the American musical, and it's far from the simple, sunny portrait of frontier life that it's sometimes made out to be. You can still hear the fear and uncertainty as well as the robust passion in the characterful interpretations of the now classic songs from the original Broadway version of 1943. Vengeful, bloodletting rage churns magnificently through Stephen Sondheim's score for this story of murder by tonsorial means in Victorian England. It also features some of Sondheim's wittiest pastiche work and, in the 1979 album, two of the greatest musical performances ever recorded by Len Cariou, in the title role, and Angela Lansbury, as his demented helpmate. Abrasive, snarling, didactic and downright irresistible when you're in a misanthropic state of mind. Kurt Weill and Bertolt Brecht reworked John Gay's 18th century "Beggar's Opera" into a deliciously mordant indictment of the capitalist class system. The cast recording of the fabled 1954 Off Broadway version lets you hear the incomparable Lotte Lenya sing "Pirate Jenny." Some of the most beautiful sounds I have ever heard are in Leonard Bernstein's music for this groundbreaking show from 1957 about rival street gangs in New York. And when Chita Rivera leads the sardonic anthem "America," in the original recording, it's with a visceral energy that turns song into dance, so that you can imagine Jerome Robbins's original choreography. An Egyptian military band gets stranded in a dull Israeli desert town. What proceeds from this unlikely premise is a game changing 2017 musical about the ways people cannot connect and they ways they can, mostly through music. Avoiding Golden Age excess, David Yazbek's urgent, exquisite score, with its lean song forms and its Israeli and Arab soundscape, maintains its mystery over many listenings. The social conflicts of 1963 and their expression in the pileup of musical styles of that era make this 2004 musical about a black woman who works as a maid for a well meaning Jewish family in Louisiana as dense and wrenching as documentary. Yet with its allegorical figures (a bus, a washing machine, the moon) and its sliver of a happy ending, Jeanine Tesori and Tony Kushner's great work is also a great deliverance. For exercise, one needs a dancy beat on that desert island, and the songs by Marc Shaiman and Scott Wittman for this 2002 musical all but defy you not to move. But they are more than just clever reworkings of period grooves appropriate to the show's 1962 setting, in which a Baltimore teen hair hops her way to love and racial harmony. Like the best pastiche, they improve on what they copy, creating new standards in the process. I've never seen a version of this 2001 musical by Jason Robert Brown that didn't move me, but the original cast album is still the one I listen to, for the eccentricity, emotional pitch and daredevil vocalism of Sherie Rene Scott and Norbert Leo Butz. As a couple breaking up and coming together at the same time (she in reverse chronology, he in the regular kind) they are so raw and vivid you feel like part of the therapy they obviously needed but failed to get. Kelli O'Hara has to be on my island somewhere, and how better than with Victoria Clark, as daughter and mother, in this 2005 musical that has a romantic yet spiky score by Adam Guettel? On vacation in Italy the two women encounter and their beautiful songs extend into an almost philosophical realm, the many kinds of love humans experience: new, transactional, faded, obsessive, hopeless, hopeful. The story of a waitress who becomes the "mail order bride" to an older grape farmer gave Frank Loesser the raw materials for the most capital R Romantic musical ever. Its roster of styles, including tarantellas, comedy showstoppers and Puccini pastiches, is beautifully captured in 2 hours and 15 minutes of nearly continuous song highlighted by the operatic baritone Robert Weede's enormously affecting performance in the 1956 original. Because Ben includes "Sweeney Todd" on his list an obvious choice for mine as well, given the incredibly rich sound world it creates I'll cheat with my other favorite recording of a Sondheim score. That's "Passion," the much disliked 1994 musical drama about the impossible yet possible love between a sickly, ugly woman and a handsome, strapping soldier. There is simply no bottom to its depth of empathy for (and Donna Murphy's vocal characterization of) the emotionally dispossessed. Often referred to as a jewel box for its suite of glittering songs, this 1963 musical is actually built like a truck a very pretty truck. The story of two clerks who hate each other by day but unknowingly love each other by mail provided Jerry Bock and Sheldon Harnick with the setting for one of the most polished musicals ever, and Barbara Cook with the material for one of her most brilliant performances. Maybe that's why they call it a jewel box. Few cast albums offer more hilarity per cut than the recording of this 1996 gay (in both senses) revue by Dick Gallagher and Mark Waldrop. Whether sending up the homophobe archvillains of the day in a series of lovers' laments ("Newt," "Strom," "Rush") or celebrating change with a "Hawaiian Wedding Song," the album documents a moment when great loss (including the death of the show's animating spirit, Howard Crabtree) was finally shading into hope. Assuming I'll be able to hear Ben playing "Chicago" at full blast on his nearby island, I'll take a different Kander and Ebb cast album to mine: the thrilling 1968 recording of "Zorba." Herschel Bernardi is unforgettable as the man who lives every second as if he would never die, and the rest of the cast delivers some of Kander's earthiest melodies with power and pathos that time cannot seem to diminish.	N24News: A New Dataset for Multimodal News Classification	Theater
CARRIE AHERN at various locations (Oct. 10 12, 8 p.m.; through Oct. 19). In 2016, Ahern read Simone de Beauvoir's 1949 seminal feminist treatise, "The Second Sex," and found in it answers to many of the questions she had about femininity, authenticity and power. She then created "Sex Status 2.0," an exploration of gender expectations and desire that premiered last year and now returns for an encore. To enhance the intimacy, and as a comment on how female identity is often tied to domestic spaces, Ahern and six other dancers perform the work in private homes in Brooklyn, the locations of which will be shared with ticket buyers upon purchase. sexstatus20 borrowedprey.nationbuilder.com DANCE HEGINBOTHAM at Baryshnikov Arts Center (Oct. 10 12, 7:30 p.m.). In 2017, in a most unlikely partnership, the choreographer John Heginbotham collaborated with the author and illustrator Maira Kalman to create a whimsical dance theater work based on Kalman's musings. They've teamed up again for "Herz Shmerz," a new dance play, this time inspired by the writings of the posthumously appreciated early 20th century Swiss writer Robert Walser. Heginbotham handles the quirky movement, and Kalman, the charming design. Like their previous project, this one also finds humor and pathos in small, simple moments and big, profound questions. 866 811 4111, bacnyc.org AUTUMN KNIGHT at Danspace Project (Oct. 5, 3 and 8 p.m.). In "WALL," a work recently acquired by the Studio Museum in Harlem, Knight looks at physical barriers and their impact on personal and social psychology and spirituality. The walls in question are the Western Wall in Jerusalem, a contentious holy site, and the Galveston sea wall, a 10 mile hurricane barricade not far from Knight's native Houston. Through abstract sounds and gestures, Knight and the performer Natasha L. Turner, joined by a supporting ensemble, create a sense of ritual that becomes a physical examination of the power of place. 866 811 4111, danspaceproject.org	N24News: A New Dataset for Multimodal News Classification	Dance
LOVE ISLAND 8 p.m. on CBS. The British dating show's American spinoff returns for a second season tonight with a two hour premiere. The host Arielle Vandenberg welcomes a new cast of single men and women to an isolated location where they'll live together in proximity under the watchful eye of the show's many cameras. For this installment, participants will be sequestered in the Cromwell hotel in Las Vegas, not an exotic international site, because of the coronavirus pandemic, which also delayed the season's debut. A provisional coupling will kick things off, then the contestants will have be paired up at each subsequent recoupling ceremony to remain in contention for the 100,000 prize. They'll also have to ingratiate themselves to viewers and their fellow "islanders," whose votes occasionally determine who departs. I MAY DESTROY YOU 9 p.m. on HBO; stream on HBO platforms. The first season of Michaela Coel's critically acclaimed series about an up and coming writer's experience with sexual assault concludes with a cathartic finale. Plagued by flashbacks of the rape, but also frustrated by the gaps in her memory she'd been drugged before the attack Arabella (Coel) has been stuck in a terrible limbo state while trying to heal from her ordeal. This week, her recollection of that night returns and she has the opportunity to solve some of the central mysteries she was left with. But Arabella's movement toward reclamation and reconciliation isn't limited to her assault. As Mike Hale pointed out in his review for The Times, the show's "real theme is Arabella's progress toward regaining her memory in every area of her life." Coel, he writes, is ultimately "less interested in a tidy resolution than in the story Arabella is building for herself."	N24News: A New Dataset for Multimodal News Classification	Television
SAN FRANCISCO When Apple unveils its new top of the line iPhone on Tuesday, it isn't just expected to offer features like infrared facial recognition and wireless charging for the first time. The company will also enter new territory on price: The latest phone will start at about 1,000, compared with the 769 minimum for its current top phone, the iPhone 7 Plus. "It's a whole new threshold," said Debby Ruth, a senior vice president at the tech consulting firm Frank N. Magid Associates. I really do think it's going to make people pause." From the iPhone's introduction a decade ago, Apple has always priced it as a premium product a more refined and polished alternative to the legions of cheaper smartphones available in the market. But this time, the company is pushing into luxury territory. The new phone will cost as much as the company's entry level MacBook Air laptop. "They're doubling down on their strategy: They are going much more to the high end," Ms. Ruth said. Apple declined to comment before the product announcements scheduled for Tuesday. (On Saturday, Steven Troughton Smith, a developer who combed through the iOS 11 software, found references indicating that the new high end phone will be called the iPhone X.) Investors are betting that Apple's move up the price ladder will pay off with much higher profits, especially in mature markets like the United States and Western Europe, where many of the buyers will be people upgrading from older iPhones. The company's stock has risen by nearly 50 percent over the past year as anticipation has built about the 2017 models. Apple's strategy carries risks, however, especially in developing countries where smartphone sales are growing briskly but its market share is a blip compared with devices running Google's Android software. In Brazil, for example, Apple devices will account for just 8 percent of the 125 million active smartphone subscriptions this year, according to Forrester, a research firm. Steep taxes, higher retail profit margins, and added costs from a botched attempt at building iPhones in Brazil have pushed the price of an iPhone 6s, a two year old model, to more than 1,000 at Casa Bahia, a store in the Copacabana neighborhood of Rio de Janeiro. In late August, the retailer was selling Apple's most basic smartphone, the iPhone SE, for more than 600, while a Samsung Galaxy J1 Mini, which runs Android, was just 136. At another Rio store recently, Vanessa Perreira, 25, a university student, was browsing the 65 models on display, looking at the offerings from Samsung and LG but ignoring the six from Apple. She once owned an iPhone, she lamented, but could not afford to continue buying them. "Price is the most important factor for me," she said. Still, the iPhone is coveted by wealthier Brazilians, many of whom buy the phone while traveling abroad to avoid their country's high costs. "There will always be users in Brazil that will be interested in buying it," said Tina Lu, a senior analyst with Counterpoint Research. China's reception to the 1,000 iPhone will be even more crucial to Apple. The Greater China region, which includes Hong Kong and Taiwan, contributed 8 billion to Apple's revenue last quarter, but sales have been sluggish. The new iPhone has the potential to reverse that trend. More than any other tech product, the iPhone has long denoted status in China. If a new iPhone looks the same as the previous one and won't be recognized by others as new it often doesn't sell well. "If the phone's appearance changes, I think people are going to be crazy about it, because we've seen the iPhone with a similar look for such a long time now," said He Peihuan, a Shanghai based financial analyst. Apple has also faced pressure from the Chinese government. State run media outlets have called attention to a feature that tracked a user's most commonly visited locations and also criticized the company's after sales policies. And government employees and leaders at state run companies try to avoid being seen using foreign technologies like the iPhone. For all that, Zhang Xiang, a phone reseller and repairman in Shanghai, said that he still expected strong demand for the new iPhone. "I think when people can afford it and want a high end phone with good features, they'll still choose to buy an iPhone," he said. One important factor offsetting the next iPhone's expected high price is the increasing prevalence of financing options for buyers around the globe. In the United States, most phone carriers allow customers to spread the cost of a new phone over two years, and the new phone would add less than 10 a month to the payments a customer would make on an iPhone 7 Plus. "There's not that much difference in the monthly fee you have to pay," said Brian Blau, a technology analyst at Gartner, a research firm. Similar installment purchase plans are emerging in China, Brazil and other countries, making Apple's products more affordable there.	N24News: A New Dataset for Multimodal News Classification	Technology
Federal Reserve officials are looking for a new way to reassure investors that they are not ready to start raising interest rates, according to an account of the most recent meeting of the Fed's policy making committee released on Wednesday. The Fed, pleased that the economy is improving and more Americans are finding jobs, plans to finish its latest bond buying campaign at the end of October. But most officials at the September meeting said that they were far from satisfied with the economy's progress. And the account said some officials expressed concern that the slow growth of other major economies would start to weigh on the United States. The Fed sees a need to replace its guidance that it plans to keep short term rates near zero for a "considerable time" after the end of its bond buying campaign. The account suggests that officials are trying to find a new way to say the same thing. Most officials want to preserve the general perception that a first increase is most likely around the middle of the year. But they also are going out of their way to emphasize that the timing could change if job growth either exceeds or disappoints their expectations. "The consensus view is that liftoff will take place around the middle of next year," William C. Dudley, the president of the Federal Reserve Bank of New York and the influential vice chairman of the Fed's policy making committee, said on Tuesday. "That seems like a reasonable view to me. But, again, it is just a forecast. What we do will depend on the flow of economic news and how that affects the economic outlook." Narayana Kocherlakota, president of the Federal Reserve Bank of Minneapolis, said on Tuesday that if the economy maintained its present trajectory, it would be "inappropriate" to raise rates at any point during 2015. Tim Gruber for The New York Times Investors appeared to welcome the cautious tone. Stocks rose sharply after the Fed released the account at 2 p.m. The Standard Poor's 500 stock index closed at 1,968.89, up 1.8 percent for the day. The interest rate on the benchmark 10 year Treasury bond fell to its lowest level in more than a year, closing at 2.32 percent. The account, along with speeches by Fed officials in the three weeks since the meeting, show that the central bank is playing for time as it seeks greater clarity about the economy. Patience has become the Fed's new watchword. Job growth has been relatively strong this year, and the unemployment rate is fast falling toward what the Fed regards as a normal level. The economy added 248,000 jobs in September as the unemployment rate fell to 5.9 percent. But inflation has been relatively weak. That's a problem in its own right; moderate inflation would encourage borrowing and spending and facilitates economic adjustments. The absence of wage inflation also suggests that the labor market is still slack and that most workers have little leverage to demand higher pay. The growth of other large economies is also lagging that of the United States, and some of those countries are pushing to devalue their currencies. Some Fed officials at the meeting expressed concerns these trends could undercut exporters and further suppress inflation. The Fed's staff reported it did not expect inflation to rise to the Fed's preferred 2 percent annual pace within the next several years. "Some participants expressed concern that the persistent shortfall of economic growth and inflation in the euro area could lead to a further appreciation of the dollar and have adverse effects on the U.S. external sector," the account said. "Several participants added that slower economic growth in China or Japan or unanticipated events in the Middle East or Ukraine might pose a similar risk." Most officials also agreed that problems in the labor market remain "significant," citing the depressed rate of labor force participation and the unusually large proportion of part time workers, along with the low rate of wage inflation. Charles L. Evans is among the Fed officials who worry the central bank will retreat too soon. The Fed appears to be moving closer to dropping its "considerable time" language, which is widely interpreted as meaning at least six months; most officials at the September meeting said they wanted to eliminate any reference to a timeline, and instead describe the decision as dependent on progress in increasing employment and raising the sluggish pace of inflation. This steady course has frustrated Fed officials who say the Fed should retreat more quickly, two of whom dissented at the committee's September meeting. More recently, however, frustrations have appeared greatest among the group of Fed officials who worry the central bank may retreat too soon. Narayana Kocherlakota, president of the Federal Reserve Bank of Minneapolis, said on Tuesday that if the economy maintained its present trajectory, it would be "inappropriate" to raise rates at any point during 2015. Charles L. Evans, president of the Federal Reserve Bank of Chicago, spoke in the same key on Wednesday, warning that, "I believe that the biggest risk we face today is prematurely engineering restrictive monetary conditions." An important unknown is the extent of slack remaining in the labor market. The Fed's chairwoman, Janet L. Yellen, and her supporters appear inclined to wait in the hopes that the data will help clarify the issue. Historically, wages and prices start to rise as the unemployment rate falls below 6 percent, as it has now done. If inflation instead remains sluggish, that would suggest a need for maintaining the Fed's stimulus.	N24News: A New Dataset for Multimodal News Classification	Economy
The lament that high end hotels are beginning to look the same the globalization of interior design cannot be applied to G Rough. Opened in March 2015, the boutique hotel is in a 17th century Roman palazzo that has been renovated, thankfully, without the heavy hand that often turns beautiful old buildings into impersonal properties. Many of the 10 suites, spread over five floors, have original wood beam ceilings and mosaic tile floors. And all feature gorgeous antique furnishings from the '30s, '40s and '50s, original pieces from Italian designers like Ico Parisi, Gio Ponti, Venini and Seguso. On a small square in the centro storico, the hotel is a block from Piazza Navona. Roma Termini, the central railway station, is a 20 minute bus ride away; the nearest bus stop is a two minute walk from the hotel. In lieu of a room number, my third floor suite was called "Joe," after the late designer Joe Colombo. A heavy door opened onto a small sitting room with a crimson love seat and armchair by Carlo di Carli, a marble topped coffee table and an Ico Parisi dressing table with a flip up mirror. In the adjoining bedroom, a polished chestnut bed frame with built in bedside tables and a matching wardrobe were designed by Silvio Cavatorta. The bedroom walls, a pale turquoise hue roughly sanded to impart an aged patina, appeared as old as the rustic coffered wood ceiling from the 1600s. The wall mounted television was more art than entertainment, cloaked in a tapestry cinematically embroidered with "Fine" (Italian for "The End"). And on the king size bed were a pile of oversize pillows and white linen sheets so luxurious I wished that they were sold on site.	N24News: A New Dataset for Multimodal News Classification	Travel
In a shifting of priorities at NASA, the Trump administration's proposed budget for next year adds 600 million for an outpost high above the moon and the beginning of development for landers to take astronauts back to the lunar surface. But in keeping with the administration's preference for the private sector, the proposal emphasizes a more commercial approach for moon exploration as it seeks budgetary reductions in other areas. It postpones a major upgrade for the giant rocket NASA is developing, and NASA's science missions could face a 10 percent reduction, including another attempt to cancel an upcoming flagship telescope. Congress has restored such cuts in earlier years. While many other domestic programs face sizable cuts in the Trump administration's budget, NASA overall fares well by comparison. The budget seeks a little more than 21 billion for fiscal year 2020, which starts Oct. 1. That is 1 billion more than the administration proposed for this fiscal year, but 500 million less than the 21.5 billion that Congress ultimately decided. Sign up to get reminders for space and astronomy events on your calendar. In an address at NASA's Kennedy Space Center in Florida, Jim Bridenstine, the space agency's administrator, repeatedly described the budget as "strong" and said, "We have strong bipartisan support in both chambers of Congress."	N24News: A New Dataset for Multimodal News Classification	Science
If in 2017 the play seems to be stacking the deck, offering so many kinds of sickness needing so much care, there is a perfectly good 1991 reason for it: AIDS. Mr. McPherson did not have the disease when he wrote "Marvin's Room"; it was based more on memories of Florida relatives in fact named Marvin, Bessie and Ruth. Still, AIDS was all around him. His companion, Daniel Sotomayor, died of it in early 1992, during the play's original New York run; Mr. McPherson himself died nine months later. Both men were 33. These losses, and the auguries of them haunting the play, could not have been separable from the reception it received. The New York theater world was likewise surrounded and beleaguered by AIDS at the time. Challenged, too: While some people and institutions were running, like Lee, from their duty to care for those in need, many others stepped up. "Marvin's Room," with its all too familiar procedures and pills and bedside hoverings, reflected that reality, leavening it with what lightweight humor it dared. And its lesson for there is one in some ways thanked the survivors who kept the faith. Without that heightened and emotional context some of the play's flaws are more evident now. They seem to have been evident to Mr. McPherson even then. The 1996 movie version, for which he wrote the screenplay just before his death, excises a lot of the whimsy and more carefully delineates the process by which Lee (Meryl Streep) comes to understand the value of the sacrifice that Bessie (Diane Keaton) has made. In the play, this change seems to come out of nowhere, at least partly because Ms. Garofalo is such a brilliant underplayer that I could hardly tell the difference between Lee's awfulness and her kindness. It's unfair, of course, to hold anyone up to Ms. Streep, but if the movie's cast (which also includes Leonardo DiCaprio as Hank and Robert De Niro as Dr. Wally) acts up a storm, the play's cast acts up a calm. Ms. Taylor is lovely as Bessie but is almost too honest, abjuring any theatrics that might spark a fire in the 726 seat American Airlines Theater. (The old Playwrights Horizons space, where the New York production originated, seated 146.) Only Ms. Weston, in a part that could not survive too much naturalism, achieves the right balance of silly and moving; she's divine. Even so, this production of "Marvin's Room" languishes in the gap between the powerful, absurdist comedy Mr. Rich saw and the histrionic (but effective) excess of the three hanky film. Perhaps Ms. Kauffman, the terrific director of new plays like "Marjorie Prime" and "A Life," felt there was no avoiding that pitfall with this material and so determined to make the best of it. Her production is smart and refined, with an elegant set design by Laura Jellinek that is dominated by a cloverleaf breeze block wall suggesting both separation and permeability. (And Florida!) Everything, really, is perfect. But unlike some other dramas arising from the same milieu "Angels in America," "The Baltimore Waltz," "The Normal Heart," to name three "Marvin's Room" may suffer from such perfection. Its wound, shockingly deep though it was, seems to have healed over itself. It would take a great deal more guts, in the production and in us, to risk reopening it now.	N24News: A New Dataset for Multimodal News Classification	Theater
Even when he played alone, Prince thought like a full band. That's clear from the opening notes of "Piano a Microphone 1983," the first album released by the Prince estate with material from his immense archive, the Vault. He starts "17 Days" as a funk gospel vamp, immediately propulsive, attacking its two chords differently with each repetition and syncopating them against his stamping foot. It's like a band warming up both itself and the crowd, awaiting the star's big entrance. Prince takes his time, teasing with some vocal beat boxing before launching into the verse. When he does, he's every bit the lonely, forlorn ex lover of his lyrics, moaning smoothly even as his hands (and foot) keep driving the beat. He's the frontman, rhythm section and instrumental soloists, all at once. "Piano a Microphone 1983" contains nine songs that were recorded on a cassette at his home studio the year before "Purple Rain" would multiply the size of his audience. It's just Prince on his own (with an engineer) for about 35 minutes, brainstorming while tape ran, segueing from song to song until it was time to turn over the cassette. While the session is informal he sniffles now and then, and at times something rattles in the piano the performance is not sloppy for a moment. The one take, real time vocals are exquisite. Prince probably never expected these recordings to be made public. The album feels like eavesdropping, as Prince the songwriter delves into nuances and Prince the pianist cuts loose. He's exploring and playing around, not constructing taut commercial tracks. Yet the album also turns out to be a compendium, or at least a thumbnail, of Prince's boundless musicality and of his lifelong themes: romance, solitude, sensuality, salvation, sin, yearning and ecstasy. He shifts musical styles and vocal personae at whim melancholy, playful, devout, flirtatious yet it's all Prince. Never miss a pop music story: Sign up for our weekly newsletter, Louder. The album includes familiar songs (a brief excerpt from "Purple Rain"), B sides ("17 Days," which was the B side of the single "When Doves Cry" in its band version), album tracks ("Strange Relationship," "International Lover"), covers (Joni Mitchell's "A Case of You," the gospel standard "Mary Don't You Weep"), and previously unreleased songs and sketches ("Wednesday," "Cold Coffee Cocaine" and "Why the Butterflies.") "Piano a Microphone 1983" is the first release from Prince's storied archive of music. Nearly all of the lyrics are, in some way, about longing. Prince sings about post breakup loneliness in "17 Days," offers a slow motion come on in "International Lover" and depicts a love hate seesaw in "Strange Relationship." He performs "International Lover," which had already been released on "1999," as a suspenseful, impulsive constellation of sounds and silences, chords and clusters and single notes answering his falsetto vocal; the lyrics jettison the airplane metaphors of the studio version for single entendres. Prince plays "Strange Relationship," which he would rework for eventual release on "Sign 'o' the Times" in 1987, as a jazzy rhythm workshop, a two minute experiment in percussive chords and vocals that devolve into grunts. He even reshapes "Mary Don't You Weep" a spiritual that, as he must have known, Aretha Franklin turned into a catharsis on her gospel album "Amazing Grace" from a profession of faith into a bluesy warning that "Your man ain't coming home." The major new find on "Piano a Microphone 1983," though it's less than two minutes long, is "Wednesday," a song that at one point was intended for the "Purple Rain" movie and album. Its limpid piano accompaniment points toward Joni Mitchell and jazz ballads as Prince sings, in an utterly guileless falsetto, about being alone and nearly suicidal: "If you're not back by Wednesday/There's no telling what I might do." "Piano a Microphone 1983" wasn't recorded as a finished artistic statement. It was a studio worktape, and its two final tracks may well be songs at the moment of conception. "Cold Coffee Cocaine" is comedy; Prince puts on a scratchy, tough guy voice and starts a choppy, bluesy piano vamp. "That's the last night I spend at your house," he complains, and without stopping the piano, he asks himself, "What rhymes with house?" He comes up with "mouse"; they can't all be masterpieces. But the piano part has a life of its own. "Why the Butterflies" is even more embryonic. Prince sets himself a tempo with finger snaps and foot taps, and he tries stray chords around the keyboard before settling on one dissonant, repeated cluster. At the eeriest edge of his falsetto, he croons an open ended question "Mama, what's this strange dream?" and pursues it, maintaining that minimal piano pulse as he intones new questions with new drama: "Mama, where is father?" It's the sound of a search guided by rhythm and instinct, patiently and diligently courting inspiration. For Prince, it was just another night in the studio, an unfinished rough draft he saw no reason to release. Now that he's gone, it's a glimpse of a notoriously private artist doing his mysterious work.	N24News: A New Dataset for Multimodal News Classification	Music
As the United States attorney for the Southern District of New York for more than seven years, Preet Bharara, 48, was perhaps the most powerful federal prosecutor in the country. He prosecuted politicians on both sides of the aisle and earned a reputation for aggressively going after insider trading on Wall Street. He has repeatedly said he has no plans to seek political office, but that has not stopped the murmurings. So joining an upstart media company and hosting a podcast might not seem the next logical step in Mr. Bharara's career. Vinit Bharara, 45, said he projected that Some Spider would have more than 12 million in revenue this year and double that next year. And the company has made a bunch of hires in the last several months, including a new creative director who previously worked at BuzzFeed. One of its websites, Scary Mommy, is a hit among the parenting set. Preet Bharara does have other postprosecutorial plans. In April, he joined the New York University School of Law as a distinguished scholar in residence. He is also working on a book about the search for justice, which the publisher Alfred A. Knopf plans to publish in early 2019. Mr. Bharara acknowledged in a joint interview with his brother at Some Spider's headquarters in the Flatiron district of Manhattan that joining the company did not represent the typical career path for a former federal prosecutor. But he said he was drawn to Some Spider because it would allow him an unfettered platform to pursue what he has always done: raise issues of justice and hold people accountable.	N24News: A New Dataset for Multimodal News Classification	Media
Dr. Tarduno and his team published their findings on Monday in the journal Scientific Reports. Scientists aren't sure why Earth was stifling hot for several million years during the Cretaceous period, but according to Dr. Tarduno, the prevailing hypothesis is that the atmosphere was filled with heat trapping carbon dioxide, most likely the result of extraordinary volcanic activity. The resulting greenhouse effect would have transformed the polar ecosystem into a place where Tingmiatornis arctica and its prey could thrive. The warming period, known as the Turonian age, is estimated to have lasted from 93.9 million to 89.8 million years ago. At its coldest, it is estimated that the Arctic got around 57 degrees Fahrenheit. In his time exploring the snowcapped brown hills and thick glaciers of Nunavut, in the Canadian Arctic, Dr. Tarduno has come across two wing bones belonging to this species of bird. He uncovered the first humerus in 1999. It was relatively small and he didn't pay it much mind until he found a second, larger bone a few years later. But even the second humerus didn't catch his attention at first. Instead, he and his team were preoccupied with a large turtle shell that was on the other side of the same rock. "We took it back to camp and went, 'Oh, wait a minute, there's another spectacular fossil on the other side,' " Dr. Tarduno said.	N24News: A New Dataset for Multimodal News Classification	Science
THE SECOND FOUNDING How the Civil War and Reconstruction Remade the Constitution By Eric Foner Why does the brief period known as Reconstruction, a century and a half ago, still influence the state of the Union so heavily? As the eminent historian Eric Foner explains in "The Second Founding," the failure of the United States "to build an egalitarian society on the ashes of slavery" between 1865 and 1877 the years conventionally associated with Reconstruction left defining national issues unresolved: who should have the right to vote; who should get citizenship and the imprimatur of belonging in the United States; and how to provide equal opportunity for people who lack wealth and power. A generation ago, in his masterly account "Reconstruction: America's Unfinished Revolution," Foner detailed why the attempt to rebuild the country on a racially egalitarian footing after the Civil War failed: political factionalism, financial corruption and the vindictive President Andrew Johnson's efforts to subvert reform; an economic depression that triggered "a resurgence of overt racism"; and a campaign of terror against blacks that went unchecked by law enforcement. The enormous consequences of these events the re establishment of white supremacy, extreme disparities of wealth and power between whites and blacks, the entrenchment of racism were divisive for the nation and devastating for blacks. The 13th abolished slavery, in 1865. The 14th guaranteed equality and also citizenship for anyone born in America, in 1868. The 15th gave black men who were citizens the right to vote, in 1870. (The 19th gave female citizens that right, in 1920.) Foner agrees with the abolitionist senator Charles Sumner that the Reconstruction amendments were "sleeping giants," and notes that they provided the foundation for the civil rights revolution of the 1960s. Foner argues that they can do the same today, enabling us to resolve those key issues they were formulated to address. By concentrating on the history of these three amendments, Foner makes an outstanding scholarly contribution, showing how they helped fulfill the Constitution's democratic promise while intensifying the contest over its meaning. 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. His book recounts the indifference and outright hostility of the Supreme Court to the issue of full racial equality for almost a century, starting soon after Reconstruction, when it should have deferred to Congress's view of the amendments. The court treated the 13th Amendment as ensuring only what James A. Garfield, in a speech as an Ohio congressman before he became president, called "the bare privilege of not being chained," rather than, as Foner puts it, "a new fundamental right to personal freedom, applicable to all persons in the United States regardless of race, gender, class or citizenship status." It interpreted the 14th Amendment as a narrow ban on state laws that blatantly discriminated against blacks, not as a guarantee against racial violence or segregation. After regarding the 15th Amendment as creating a voting right for black men, the court nullified this view by upholding state laws that imposed poll taxes, for instance, as long as the laws didn't mention race. The justification for this approach was that Reconstruction was unnatural, immoral and reckless. A commanding theme of Foner's book is how much American law relied on a racist account called the Dunning School, after the historian William A. Dunning. Its followers, Foner writes, believed that "blacks lacked the capacity to participate intelligently in political democracy," thus providing the intellectual rationale for the South to overthrow Reconstruction and the North to disown it. "The Second Founding" reflects Foner's rigorously researched, now mainstream view that Reconstruction was "a massive experiment in interracial democracy"; the changes wrought by the Civil War amendments were the product of decades of debate and so radical that they represented, in the words of one Republican leader, "a constitutional revolution." Though opponents grossly misstated the amendments' potential harms the 13th "involves the extermination of the white men of the Southern states, and the forfeiture of all the land and other property belonging to them," Fernando Wood, a New York congressman, said former Confederate states were compelled, despite their reluctance, to join the North in initially supporting Reconstruction. By 1877, around 2,000 black men had held public offices, ranging from justice of the peace to senator. Most, Foner wrote in a directory of these leaders called "Freedom's Lawmakers" (1993), "proved fully capable of understanding public issues and pursuing the interests of their constituents and party." Then Jim Crow laws gutted the number of Southern black officials. Their number didn't rebound until after the Voting Rights Act became law in 1965. Foner's authority and magnetism as a Bancroft and Pulitzer Prize winning scholar stem partly from his conviction that history is neither primarily about the past nor, as he put it in "Who Owns History" (2002), "simply a series of myths and inventions." "The Second Founding" reveals how an exemplary historian can plumb The Congressional Globe and other primary sources to capture the ideas and intentions of those who shaped the Civil War amendments. The result is scholarship that is disciplined, powerful and moving. Since 2013, when the Supreme Court gutted federal enforcement of the Voting Rights Act, with five justices on the right in the majority and four on the left dissenting, nine, mostly Southern, states no longer need federal approval to change their election laws. The New York Times reported that "at the core of the disagreement was whether racial minorities continued to face barriers to voting in states with a history of discrimination." Last year, the Brennan Center for Justice found that states no longer needing approval "have purged voters off their rolls at a significantly higher rate" than other jurisdictions and that those states "have enacted a series of laws and other measures that restrict voting." The 2013 ruling has been terrible for voting rights. Fundamentally, the dispute was about the meaning of the Civil War amendments, in particular that of the 14th, on equality, and the 15th, on the right to vote. Did these provisions transfer the authority to define citizens' rights from the states to the federal government, so that it could establish and enforce equal rights for blacks? (This is what the court found in 1966 when it upheld the Voting Rights Act, rejecting a complaint from the State of South Carolina that provisions of the act "encroach on an area reserved to the states by the Constitution.") Or did the amendments largely preserve state sovereignty as it existed before the war, blocking Congress's ability to act on their promise? In 2006, Congress, by unanimous vote in the Senate and an overwhelming majority in the House, and exercising the power granted it by the 14th and 15th Amendments, reauthorized the requirement under the Voting Rights Act for federal approval of any changes in election laws in those states where the government found extensive proof of continuing discrimination. But seven years later, the Supreme Court overrode Congress, basing its 2013 decision on the novel judicial doctrine of "equal sovereignty" of the states, thus rolling back the legal clock to the 1860s. Foner wrote this important book to show how these competing views of Reconstruction and the Civil War amendments have shaped incompatible interpretations of the Constitution. Supreme Court justices on the right now have a majority to impose their anti democratic vision. The court increasingly leaves the impression that in many high profile cases the law it makes is really a form of politics, so that controlling the Constitution requires controlling the voting booth. These realities make Foner's argument seem starry eyed: The court's new term will be its 51st as an ever more right leaning Republican body. Yet, looking to the future, and to what he calls "the enduring power of constitutionalism," Foner argues that the historical record suggests very different conclusions about the amendments' purposes and their potential power as law. The history he unearths here supports employing the Civil War amendments to realize the promise of equal citizenship for all.	N24News: A New Dataset for Multimodal News Classification	Books
His buildings have risen in Tokyo, Milan, Shanghai and even Butwal, Nepal, but Tadao Ando, the Japanese architect lauded for his artistry and elegance, has never designed one in New York City until now. At the corner of Elizabeth and Kenmare Streets at the edge of NoLIta, demolition work began in early March to make way for a seven story condominium, Mr. Ando's first stand alone project in the city, although he has designed a restaurant (Morimoto in Chelsea) and residential interiors in Manhattan. Fans of Mr. Ando, a Pritzker Prize winning architect, have already weighed in, with the project, at 152 Elizabeth Street, receiving about 200 inquiries from potential buyers, according to Leonard Steinberg, the president of Compass, which is marketing the property. Sales are expected to begin in April, with prices for the seven units starting at around 6 million for a half floor apartment and likely to rise to more than 30 million for the four bedroom penthouse, according to Mr. Steinberg. The boutique condominium is expected to open in November 2016. The building's design will resemble a glass jewel box suspended in poured in place concrete classic Tadao Ando, who typically likes to blend buildings with their natural surroundings and almost invariably employs concrete. The southern facade along Elizabeth Street will have a garden wall planted with vines, including Virginia creeper, which turns a brilliant red in the fall. With 152 Elizabeth Street, Mr. Ando joins an exclusive club of celebrity architects who have made their mark on the city's landscape. Developers competing for buyers willing to pay stratospheric sums for new construction tend to select architects with star power, especially for smaller buildings that lack the impressive views of a skyscraper. Mr. Ando is currently designing another ground up condo elsewhere in Manhattan, though he declined to elaborate on the specifics of that project in an email interview. Jonathan J. Miller, the president of Miller Samuel, an appraisal company, said, "A building like this at this price point wouldn't be built without a starchitect. It's almost like a requisite for entry into the market." Sumaida and Khurana, the condominium's developer, recently tapped the Portuguese architect Alvaro Siza, another Pritzker laureate, to design a 400 foot tall residential tower at 11th Avenue and West 56th Street, a building that will be his first in the United States. Big names certainly draw attention, particularly for small developments. Last summer, Mr. Steinberg said he was relaxing in a hotel pool in Capri, Italy, when another guest asked him if he had heard anything about a Tadao Ando building coming to Manhattan. "All of a sudden the entire pool started talking about Ando and his magic," Mr. Steinberg said. A self taught architect, Mr. Ando has won not only the Pritzker Prize, often called the Nobel Prize of architecture, but also the Praemium Imperiale, a prize awarded by the Japan Art Association; the Kyoto Prize from Japan; and the Carlsberg architecture prize from Denmark. When Mr. Ando won the Pritzker in 1995, Paul Goldberger wrote in The New York Times that "Mr. Ando's work possesses a degree of moral authority not seen in architecture" since Louis Kahn. His buildings are found mostly in Asia, but he has designed notable ones in the United States, including the Modern Art Museum of Fort Worth and the Pulitzer Foundation for the Arts in St. Louis. He recently worked on the expansion of the Clark Art Institute in Williamstown, Mass., including a visitor and exhibition building, the Clark Center, which opened last July. Natural materials like granite are planned for the interiors. In his use of concrete, "I want to create a space which no one has created before with a very common material which anyone is familiar with and has access to," Mr. Ando wrote in an email interview through a translator. "Concrete can be made anywhere on earth." The corner of Elizabeth and Kenmare Streets is near NoLIta, Chinatown, the Lower East Side and Little Italy. The immediate neighborhood is a mix of gritty Chinatown storefronts, 19th century tenements and trendy boutiques. "When I saw this site, I said, this is the opportunity to bring Ando san to New York," said Amit Khurana, a founder of Sumaida and Khurana, of his initial impression of the four story brick parking garage at the site. "It was that industrial energy feel of it. Everything about this site is concrete." Persuading Mr. Ando, who is 73 and works exclusively out of his office in Osaka, Japan, to take on the project required some finesse. Mr. Khurana shortened a trip to Madrid to meet with representatives of Mr. Ando at a NoLIta restaurant in September 2013. He arrived directly from the airport, soaked from the rain and still carrying his luggage. A week later, he flew to Japan, bringing Mr. Ando, who had been a professional boxer in his youth, a book about Muhammad Ali. During their first encounter, he said, Mr. Ando drew a sketch of what would become 152 Elizabeth Street. "It was amazing, he sketched it right there on the spot," Mr. Khurana said. It took the architect a week to agree to the project. Soon after, Mr. Khurana reached out to Michael Gabellini, an architect and interior designer who redesigned the Rainbow Room at Rockefeller Center. "Amit called and said, 'I have Ando,' " said Mr. Gabellini, a partner of Gabellini Sheppard Associates, who is designing the interiors with Kimberly Sheppard. "And, of course, with that we began a very intense and very passionate discussion about what the possibilities were. Very clearly, it's a collaboration of kindred spirit." Mr. Gabellini's minimalist style, like that of Mr. Ando, frequently draws on space and light to build a serene environment. Residents will enter the building on Elizabeth Street, passing through a vestibule lined with a water wall with grooved glass panels that allow the light to filter through. The lobby will feature a fog and light sculpture visible through floor to ceiling glass. "I wanted to create intimate space," Mr. Ando said. "The water element acts as a buffer and transition from the busy and loud urban fabric to the quiet and private residence." Units will have floor to ceiling windows, exposed concrete and 250 year old Danish oak floors with 20 inch wide planks. The kitchens will have custom cabinetry, an expandable island and countertops of honed Fango stone. Units on the second and third floors will have backsplashes made of translucent glass, offering a glimpse onto the exterior garden wall. The hallways will be paneled in wood from floor to ceiling with movable pocket doors. Even some walls between rooms can be removed, enabling, say, the living room to be enlarged by taking out a bedroom wall.	N24News: A New Dataset for Multimodal News Classification	Real Estate
After the initial conversation, what's next? It's a very rational process. The perfumer submits options, and you smell these things in a very concentrated way. You always have this back and forth between your perceptions, or what you might call your gut feelings, and then this technical side. Maybe I can say, "Oh, I liked this flower, but you should put more aldehyde and less of that." This is the way I work, because I am very technical. This is my strong point and my weakness. There are a lot of creative directors out there, but I would say 99 percent of them, they don't have this technical background. Most of them will say something like, "It's too sweet." For the new men's grooming line, why pick Vetiver Extraordinaire out of all your scents? I made this fragrance because this was going to be the ideal Vetiver for myself. I project much more of myself in the men's fragrances of the line. For women's, I often think of someone in my life; it's a way to stay on track. What of the unisex movement in fragrance, though? I could see women wearing Vetiver. My goal when I started the brand in 2000 was to do the exact opposite of the market. I decided to eliminate the image associated with the fragrance. When you think about the perfume market, it's extremely focused on sex. Think about Obsession, which had a fragrance for women and one for men. You had an ad saying, "Girl, if you wear this, every man will run after you." And then you had an ad saying: "Oh, Monsieur! If you wear this, every girl will run after you." Except they were almost the same fragrance! What happened was, Musc Ravageur, a most sensuous thing I associated with a sexy girl, was being bought by men, gay and straight. Or the customers who are buying Portrait of a Lady, about 40 percent of them are men. The other extreme is CK One or, for us, Cologne Bigarade, which sort of says, "I'm squeaky clean." You're not talking about sex there. You're just talking about being groomed and feeling that way for an entire day. These also work for both men and women. So, yes, more and more people talk about unisex, but, in fact, it was only imagery that was added. These are old rules. We're living in a much more gender fluid society today.	N24News: A New Dataset for Multimodal News Classification	Fashion & Style
Monae said she was intrigued by the opportunity to "center Black women, who carry the burden of deconstructing systemic racism and white supremacy every single day."Credit...Rahim Fortune for The New York Times Monae said she was intrigued by the opportunity to "center Black women, who carry the burden of deconstructing systemic racism and white supremacy every single day." The filmmakers Gerard Bush and Christopher Renz were only in Los Angeles a short time when they were suddenly at the center of a bidding war over their ambitious debut movie, "Antebellum." "It really surprised us," Bush recalled. "We found ourselves in the tornado of studios pursuing us and the script." And to think, the horror film from a pair best known for social justice videos like one about police brutality, "Against the Wall," featuring Michael B. Jordan came from a nightmare that Bush had. In it, a Black woman named Eden was screaming for help in a way that he described as "cross dimensional." She referred to her tormentor only as "Him." "When I came out of it, I was really upset and wished that I could reach her or get back to her," Bush said. Like Bush and Renz, Monae has been a longtime activist and her work including performances in the dramas "Hidden Figures" and "Moonlight" often tackles systemic oppression. So, she felt compelled to take on the challenging roles in "Antebellum" to help bring more attention to historic atrocities that continue to reverberate. "There's no way to talk about the racial injustices we're experiencing right now without taking a look at the past," Monae said. As timely as its themes are, particularly in this Black Lives Matter era, some critics have been less than enthusiastic about "Antebellum," which opens Sept. 18 on major streaming and on demand platforms. Polygon called it "easily 2020's worst movie so far," citing its "needless brutality" and "misguided twist." The Hollywood Reporter said it was "more interested in making a Big Point than digging meaningfully into its subject." And Indiewire described it as "spliced together in a way that runs counter to its message." Considering the moment we're in, do you think people are finally ready to face the past? GERARD BUSH I think people were in a lull in the Obama years in thinking that America had made tremendous strides when it comes to race. It's not to say that we didn't, but we continue to slide backward because of our unwillingness to confront the truth. We spent a tremendous amount of time in this country sheltering white fragility, and we need to treat the white population the privileged class as adults that can confront the truth of the past, instead of creating these lies about what America's founding was based on. This warping of history that makes them feel superior is a fallacy. Janelle, because the film is so gigantic in scope and it is your first leading role in a feature, did you have any trepidations about being a part of it? JANELLE MONAE Well, I was blown away by the script. I found myself sitting in a tub reading, start to finish, wrinkled fingers and toes. I think that this film did such an important job reminding us that the past is not the past. Getting an opportunity to center Black women, who carry the burden of deconstructing systemic racism and white supremacy every single day, was something that I felt we had not seen onscreen. Being African American and watching the protests and how we show up for everybody else and not get the love and peace we deserve is something that I wanted to highlight. "Antebellum" also points to how success like Veronica's does not protect Black people from racial trauma. As a Black woman who's enjoyed a great deal of success, what does her book, "Shedding the Coping Persona," mean to you? MONAE In the film, she says, "Liberation over assimilation" and she uses the Assata Shakur quote: "We have nothing to lose but our chains." I think Veronica is in a space where her job is not to bow down or assimilate into institutions that were not built with us in mind. I am at a place where I'm not interested in fitting into systems that never had me in mind when they were building them. I'm more interested, and I think Veronica is more interested, in burning those systems down and starting fresh, and coming to the table and saying, "Here is what we need." The end of the film reveals a major twist that debunks what we think is happening in the story. What did you ultimately want Veronica to achieve? BUSH We want people to understand that it is not revenge that Veronica was seeking; it was justice. Often in America, we as Black people are unable to achieve justice through the authorities or government. And when we do, that is misinterpreted as revenge. She needed to correct the record, the abuse, for both herself and her ancestry. She is on that horse swinging that ax, bloody, and has really been through it. But that also represents that she didn't make it out of that situation unscathed. That has been our entire existence in America. And by going through this experience, she can move forward in her own life? BUSH She needs to get back to her daughter and husband, but the only way that she's going to make herself whole is by confronting this head on and achieving that justice. That's the only way. Janelle, as a Black woman who viscerally recognizes that ancestral link, what was it like for you to immerse yourself in Eden's setting? MONAE When I stepped onto that plantation, it was difficult. I felt a lot of rage, a lot of hate in my heart for everyone who stole our people and forced them to come to America and work. I want white folks not just to talk about why we're screaming that Black Lives Matter, as though Black people are objects and not subjects to study until the end of time. The fact that we're even saying that is dehumanizing. This is not new to me, or to Gerard and Chris and other folks who constantly do the research and have to relive the nightmare of seeing how white supremacy has killed so many of us. CHRISTOPHER RENZ In the American school system, Black history begins at slavery and there is nothing before. So, it was important for us, through Veronica, to provide that modern context of that before. BUSH That this woman was a mother, a wife, that she fought for community, that she RENZ Showed fully in her power and BUSH Had full agency over herself and her life. We don't know about the before. The film suggests that the before is what makes Veronica's very existence, her success, so superheroic. MONAE I think that this film does a great job of humanizing Veronica. It is not all heavy. There are so many beautiful moments of joy. I was really happy to work with Black women, in particular Gabourey Sidibe, who was such a light as the best friend of Veronica. You see these two letting their hair down, encouraging each other, drinking wine, laughing, talking about intellectual things, as well as the work it takes to be a great mom and wife. These are conversations that Black women have all the time with each other. I love seeing that she felt safe with a Black woman. It is a welcome reprieve in a film that also highlights a deeply traumatizing era, particularly for Black audiences. BUSH For me, it's really uncomfortable seeing people that look like me in bondage. But what I've come to understand is that it is a detriment to us when we are participants in the erasure of the truth because of our discomfort with confronting it. I look at our wonderful Jewish community and how they are vigilant in the protection of the truth and making sure that the horrors of the Holocaust are examined and re examined. We do ourselves a gross disservice in our unwillingness to explore these stories. The past is going to continue to haunt our present and rob us of our collective future if we don't confront it.	N24News: A New Dataset for Multimodal News Classification	Movies
In Downtown Brooklyn, New Rentals Go Head to Head As rents in Brooklyn slip but inventory continues to mount, landlords are locked in a fight to fill their apartments. After lavishing their buildings with outdoor cinemas, high end markets and spa caliber pools, landlords have decided to offer hefty freebies, like several months of rent and other concessions. Particularly pitched, brokers say, is the battle playing out along the Flatbush Avenue corridor in Downtown Brooklyn, where rental complexes have quickly sprung up. "The market seems oversaturated, but I like to use the word oversupplied with my clients so as to not create a panic," said Marie Bromberg, a Corcoran Group agent. Among the benefits to consumers, she added, is that commission fees, usually paid by renters, are being covered by landlords. If an abundant supply is undercutting the market, Hub, developed by Steiner NYC and designed by Dattner Architects, may be opening at a tough time, even as it cuts a dazzling figure. Dominating nearly a city block, the high rise has two distinct sections, one glass and one brick, which are divided roughly along a diagonal. To maximize views of the Statue of Liberty, Fort Greene Park and Lower Manhattan, 85 percent of its studios and one and two bedrooms are corner units. In living rooms, floors are white oak. In baths, they're black slate. Every unit comes with stacked Bosch washers and dryers. Amenities, covering about 40,000 square feet, include a 75 foot swimming pool and a lawn lined terrace with a movie screen painted on a wall, a "modern day drive in," as Hub's marketing materials put it. That camaraderie will cost 2,655 a month, the starting price for studios, and 3,130 a month, the starting price for one bedrooms, said Mr. Steiner. The company is also covering broker fees and throwing in a free month's rent on a 12 month lease. A quarter of the 600 apartments, reserved for those making below a certain income level, are available at reduced rents via a lottery; Steiner has received about 80,000 applications. Still, leasing 450 market rate apartments in 18 months, as Mr. Steiner hopes to do, will be difficult, according to some brokers. After a year, rental buildings often start competing with themselves. Indeed, a renter who is considering renewing an existing lease and who hears about discounted empty apartments in the same building might demand a similar bargain, said David J. Maundrell, the executive vice president of new developments for Brooklyn and Queens at Citi Habitats. Mr. Maundrell added that the rental market may be shallower than many think. "It gets to the point where you start to wonder, how many people are out there that can afford rents like this?" he said.	N24News: A New Dataset for Multimodal News Classification	Real Estate
DUBLIN, Ohio Playing his first hole on the PGA Tour in 151 days, Tiger Woods on Thursday smashed a driver 327 yards off the tee, hit his approach shot from 145 yards to within 10 feet and then sank a curling, downhill birdie putt. He walked off the green with a bemused expression that seemed to say: What? This is supposed to be hard? Two holes later, he was at it again, knocking a wedge shot from 107 yards that landed on a devilishly contoured green and stopped 13 inches from the hole for another birdie. Woods's comeback after a five month layoff because of the coronavirus pandemic was about 45 minutes old and he was two under par. The rest of the day was not quite a romp to the top of the leaderboard at the Memorial Tournament, where Woods is a five time champion. But by any measure it was still a success, especially since Woods looked fit and his swing relaxed and fluid. He finished the day at the Muirfield Village Golf Club with a one under par 71, good enough to tie him for 18th, five strokes behind the first round leader Tony Finau. "It's been a while," Woods said with a grin afterward. "I felt the same eagerness, edginess, nervy ness. And it was good. I was a little bit rusty, but overall it was a good start." It was also Woods's first round in the fan free environment the PGA Tour has implemented since it resumed play on June 11 after a 90 day suspension. At times, he appeared almost preoccupied by the paucity of distractions in elite golf's new setting. Playing in the noiselessness of a Hollywood sound studio, where a cacophony of chirping birds would drown out the sound of crisply struck iron shots, Woods frequently searched the empty hillsides next to fairways as if longing for the galleries he normally attracts. When nine people jammed onto the back porch of a home next to the eighth fairway rowdily called out to him, he paused his stride long enough to wave with his left hand overhead and smile. Occasionally, he made eye contact with the roughly two dozen tour officials, volunteers and media that followed him, which was highly unusual but never as a professional had such a small gaggle of people accompanied him on a round. Still, renowned for his steely determination, Woods insisted he never lost his fundamental focus. "I didn't have any issues with energy or not having fans' reactions out there," he said, adding that he even enjoyed the less chaotic walks between holes since the lack of spectators meant golfers could take the most direct routes from greens to tees. "Usually, I'm meandering roundabout," he said with a laugh. Woods had four birdies and three bogeys Thursday, fitting for a day that had an uneven character throughout. He striped drives into the middle of the fairway but flubbed chips and squandered multiple makable birdie opportunities that were often set up by spectacular iron play. But Woods's return to the tour was more about assessing his fitness level and the overall health of his game than assigning a score for consistency. By that measure, Woods's 18 holes should be entirely encouraging to his legion of fans. His swing was compact, unhurried and powerful. He loped around the steep and undulating terrain without any of the ungainly, awkward strides so evident during his last tournament in mid February when he finished last among the golfers who made the cut and later blamed stiffness in his surgically reconstructed back. Woods's iron play sparkled, and he ranked eighth in Thursday's field in shots gained from approach shots to the green. The vast majority of Woods's setbacks were on or near the greens. After his two birdies on the first three holes, Woods did not have another birdie until the par 5 15th hole when he nearly holed his third shot from 109 yards away but instead left it four inches from the cup. But on the next hole, a par 3, Woods bladed a sand wedge from a greenside bunker that soared over the green and he scrambled to make bogey. He missed a 22 foot putt for birdie on the 17th hole after a fabulous recovery from a fairway bunker then stroked a deft approach shot to the 18th hole and sank a twisting 14 foot birdie to close his round. Ascending the knoll that surrounds the final green with a broad smile, Woods looked happy to be back. He was asked if he expected any difficulty playing and walking 18 holes for a second consecutive day. "No," Woods said emphatically, and with haste. "I've gotten ready for this."	N24News: A New Dataset for Multimodal News Classification	Sports
"Hi, my name is Destin Cretton. I'm the director of 'Just Mercy.' This is a scene between Walter McMillian. Played by Jamie Foxx, and Herbert Richardson, played by Rob Morgan. And they are in cells on death row in Alabama. They share a wall. They're directly next to each other. And one of the really interesting things that I learned from speaking with Anthony Ray Hinton, who was on death row in Holman Prison for 30 years for a crime he did not commit, was the camaraderie and relationships that they had between jailmates that were completely based on conversations they were having without being able to see each other. Bryan Stevenson said in his book that you cannot really fully understand a problem unless you allow yourself to get very close to it. And that was something that we were playing with with the camera, was leading up to this very scene. The cameras started off wider on these characters. And this was the scene where we actually bring the camera as close as possible to both Walter McMillian and Herbert Richardson. And I mean, you'll see how close we are. Their eyes are in focus. Their nose is out of focus. And the camera was literally a couple inches from their faces." "In and out." BREATHING DEEPLY "Now close your eyes." "Our DP, Brett Pollock, was really wanting to shoot all of these jail cells scenes as close to reality as possible. So in this scene in particular, there really is just the light source that's coming in from outside the jail cell, which gives this kind of amber hue. That is really going to be a big contrast to the moment when we go outside through Walter McMillian's escape vision in his mind that takes him back to the moment in the beginning of the movie when he is out in the forest and looking up at the trees. To capture the performances of this scene, we actually shot with two cameras running simultaneously, with Jamie Foxx in one cell and Rob Morgan in the other which was very helpful for a scene like this, because it was quite loose. And it allowed the two actors to really be in it and respond to each other. And both sides of the conversation were captured. So we didn't have to do too many editing tricks for this scene." "I don't want you to think about nothing else. Just keep your mind on that. Everything gonna be aight."	N24News: A New Dataset for Multimodal News Classification	Movies
The coronavirus quarantine has prompted boredom, impatience and aggravation. But it has clearly not dampened rich buyers' love for jewelry ... at least not judging from the success of recent online jewelry auctions. Some of these buyers may well be moneyed housewives who have become online addicts during the pandemic. Some may be skittish about the stock market and want to put their money in jewels. And others are active professional women used to doing their own research and buying. "In my experience many of our private buyers are women who are successful in their own right and are passionate about jewelry,'' said Nan Summerfield, the senior vice president and director of California for Doyle Auctions. For devoted collectors, the quarantine may be an added incentive. "I am a jewelry alcoholic, especially when you can't go out many places," said Irina Maleeva, an actress who lives in Beverly Hills. Doyle has chosen not to auction many of its more expensive jewels during the pandemic, but over the years Ms. Maleeva has bought other pieces including a multicolored white gold, moonstone, sapphire and diamond bracelet for 16,250. "l like to wear things that have an impact," she said. Poised to pack considerable oomph is the Cartier Tutti Frutti bracelet: a confection of sapphires, rubies and emeralds in a platinum setting of diamonds, onyx and enamel that Sotheby's sold on April 28to an undisclosed buyer for 1.34 million (including a 20 percent buyer's fee), after listing an estimate of 600,000 to 800,000. Sotheby's has said that its online jewelry auctions have been surprisingly robust. The 12 online sales since March have generated 19.6 million well above estimates of 13 million to 18.1 million. Tutti Frutti bracelets have done well for the house, with one selling three years ago in Hong Kong for 1.8 million, near its high estimate. Another owned by the late Evelyn Lauder, the former wife of Leonard Lauder, chairman emeritus of the Estee Lauder Companies, was sold for 2.165 million in December 2014, probably benefiting from the Lauder cachet. "The prices in the recent sales were designed to be inviting," said Catharine Becket, senior vice president and head of Sotheby's "Magnificent Jewelry" division. "In decades of collections we know that conservative pricing yields the higher price and attracts more bidders." She added that 30 percent of the bidders at the auction were age 40 or under and a comparable percent were new to Sotheby's. The majority of pieces that Sotheby's put up for sale at its April auction were under 20,000 because the house believes that buyers shopping in that price range are often what it calls "self purchasers" that is, bidders who don't need to consult family members before they buy. But the house is now considering raising the lot values at coming auctions. As for Christie's, at an online auction that began June 16 and ends two weeks later, the house is auctioning a 28.86 carat VVS1 white, emerald cut diamond ring with an estimate of 1 million to 2 million. The decision to put the diamond up for auction is particularly interesting because it is not from one of the famous jewelers, although it does have a report from Gemological Institute of America evaluating its quality of the diamond using color, clarity, cut and other metrics. Many pieces at the leading auction houses bear the pedigree of a Graff, Buccellati, Chopard or Harry Winston. Indeed, when Christie's held its last jewel auction in late April, almost all of the first 25 pieces listed were from brand name designers: Bulgari, Van Cleef Arpels and Graff, among others. That approach may offer buyers a feeling of security that they are getting a pedigreed piece. Until now, in fact, the highest priced jewel sold at Christie's online was a pair of ruby and diamond Graff hoop earrings that went for 187,000. But the earrings had been available to see live before the auction. To make quarantined bidders more comfortable with pieces that they cannot see in person, auction houses are providing more guidance on the phone and online, with private Zoom viewings for major pieces and striving to make the online action livelier. Ms. Summerfield said that Doyle used a live auctioneer at its two May online sales. Working in a closed space, a camera followed the auctioneer as she recognized bids placed by Doyle employees on behalf of clients. To hold the attention of bidders, the auction house, which formerly assembled as many as 500 lots for an auction, has cut that number in half. "It was too many lots," Ms. Summerfield said. "Now we are doing fewer lots and having more frequent auctions." Jewelry lovers are quickly adapting to not just bidding online, but also doing so without having seen the goods in the flesh. Ellen Safir, who manages money for endowments and pensions, just bought a pair of diamond and platinum clip earrings in an online auction at Freeman's, the Philadelphia auction house. She has already bought objects she has not seen in person, including an Art Deco style bracelet from 1stdibs, the online marketplace. "A jewelry auction is similar to the auction of any other high priced thing,'' said Ms. Safir, who is in her 70s. "The auction houses do a lot more than just having you click. They have Zoom meetings, and you get condition reports." A Beverly Hills doctor who requested anonymity because she is concerned about discussing jewelry in the current environment, said she has been buying online since eBay and continues to shop. She feels she is familiar enough with brands to know how to look for great copies of pieces even by designers like Bulgari. Recently she bought a pair of earrings from Doyle for 8,000 that were in the style of Van Cleef Arpels.	N24News: A New Dataset for Multimodal News Classification	Style
The run of the mill documentary "The Great American Lie" fires shots at the American Dream, criticizing a country that has failed its promise. The movie uses a broad array of talking head interviews to argue that the rich are allowed to become richer as women and people of color toil in poorly compensated service jobs. The film's alignment with Democratic Party talking points is implied, but never directly stated. There are criticisms of Ronald Reagan and Republican tax plans, and the movie uses archival news footage to suggest parallels between Ku Klux Klan meetings and President Trump's political supporters. Interviews are seamlessly strung together, which gives the movie a polished feel. But this practice does a disservice to the speakers. The economist Joseph Stiglitz might not advocate the same solutions to inequality as the critical race theorist Kimberle Crenshaw, yet the movie makes no distinctions between their scholarship.	N24News: A New Dataset for Multimodal News Classification	Movies
The alt reality show on the screen this week, a Republican National Convention without platform or ideas, mixed Dear Leader adoration with primal fear jabs aimed at the weary American voter. And it may work. But the reality outside the screen was a perfect fusion of elements central to the master con of Trumpism. The trick of tying the president to something more than the blimp of his ego to religion, family, guns, a border wall, support for the forgotten man and woman, law and order was exposed as an elaborate fraud in elaborate detail. Even the riots in the cities, framed by the choreographers of fear as a preview of Joe Biden's America, could not be time traveled beyond the irrefutable: The violent dystopia is happening in Donald Trump's America. The guns of August 2020 are his. Credit Trump's television hagiographers, veterans of vanity art from years of crafting the fiction of "The Apprentice," with trying to make a stump of rotted timber into a golden throne. But they could not whittle away the real events of the summer. The words of Trump's own sister, the former federal judge Maryanne Trump Barry, hung over the opening day of the convention. "He has no principles," she said in a leaked recording from midway through his presidency. "None! None!" Many a past president has been burdened with siblings who drank too much, talked too much, or grifted too much. But I cannot think of one who was a central witness against the president's character. Add Judge Barry's words to those of Michael Cohen, Trump's former fixer and one of numerous felons from the law and order president's inner circle. "I was complicit in helping conceal the real Donald Trump," he says in a new ad. "And I'm here to tell you he cannot be trusted, and you shouldn't believe a word he utters." On convention's eve, Trump had tried to divert attention from the historic tragedy of his presidency, the death of nearly 180,000 Americans from Covid 19, by promoting a miracle therapeutic. But by day one of the party infomercial, the food and drug commissioner, Stephen Hahn, had been forced to apologize for vastly overstating, in a disgraceful news conference with Trump, the curative effect of blood plasma treatment. Day 3 of the convention marked the six month anniversary of Trump's assertion that the coronavirus might soon disappear. As of that day, August 26, more than 5.8 million Americans had contracted the deadly disease. In the spiritual realm, the downfall of the president's most forceful evangelical promoter fit the pattern of the big scam. Jerry Falwell Jr., was ousted from Liberty University after reports that he liked to watch his wife having sex with a former Miami pool boy. This after Falwell had posted a photo on social media of himself with his pants unzipped, standing next to a young woman on a yacht. Hypocrisy among holy rollers in high places is as old as the stones of Rome's first church. But in this case, the tie to Trump's world is telling: Becki Falwell, wife of the disgraced evangelical, was on the advisory board of Women for Trump. She appeared in a campaign video last year promoting What else? traditional family values. Let's look away from that tawdry spectacle to a pair of bigger grifts, the border wall and the gun lobby. Was anyone surprised when Steve Bannon was charged with defrauding the poor saps who gave millions to his We Build the Wall campaign? Mexico did not pay for Bannon's bail. But his arrest is a reminder of the foundational fraud of Trump's 2016 campaign: that Mexico would pay for a border wall. Over at the gun lobby, another insider is telling all in a forthcoming book. The National Rifle Association was "rife with fraud and corruption," writes Joshua L. Powell, who was the chief of staff to the N.R.A.'s leader, Wayne LaPierre. "We only knew one speed and one direction: sell the fear." Ah yes, sell the fear: the message of this convention. And using the powerful prop of the federal government, in a Hatch Act crime spree, didn't bother anyone at the top of this den of defalcators. "Nobody outside the Beltway really cares," said Mark Meadows, the president's chief of staff. He may be right. Even Trump's biggest propagandist, Sean Hannity, is in on the con. He thinks the president is "crazy," with a qualifying expletive, according to a new book by Brian Stelter of CNN. Surely many of Trump's supporters know they're getting played. And they don't mind, so long as they can "own the libs." The libs, certainly, give them much to want to own. But this is a deadly game Republicans are playing. On one night, the convention trotted out a pair of gun toting white suburbanites to scare people into taking up arms against protesters. One night later, a white teenager with a semiautomatic rifle was arrested on a charge of gunning down several protesters. At the same time, California is burning and the South is underwater. If you play the sucker, you won't notice that this confederacy of con men has been unable to gaslight the seasonal rage of climate change. Nor would you care. 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. Timothy Egan ( nytegan) is a contributing opinion writer who covers the environment, the American West and politics. He is a winner of the National Book Award and author, most recently, of "A Pilgrimage to Eternity."	N24News: A New Dataset for Multimodal News Classification	Opinion
Jaap van Zweden, the New York Philharmonic's new music director, could have began the season opening gala concert on Thursday with something festive and familiar. Instead, he seized the occasion to make a strong statement of artistic purpose. To open the program, he led the premiere of "Filament," a dark, strange, exploratory work by the American composer Ashley Fure. Mr. van Zweden's artistic daring as he introduced himself to New York was an encouraging sign of things to come at a moment when the Philharmonic is facing multiple challenges: a declining subscriber base; pressure to finalize a renovation plan for David Geffen Hall; and, just last week, the move to dismiss two players because of unspecified misconduct. In "Filament," a 14 minute work for three soloists, orchestra and moving voices, Ms. Fure sought, as she writes in the score, to "create a dynamic spatialization of sound whose angles and arrays shift around the audience in real time." It's an aural environment yet, for all its calm, shimmering stretches, the music is kinetic and disruptive, even needling, by turns dreamy and dangerous. One strand, played by the orchestra onstage, is for the most part precisely notated. It unfolds in thick, undulating waves and piercing sustained sonorities, interrupted with fragments that appear and evaporate. Three soloists perform from platforms: Rebekah Heller, bassoon (from the middle of an aisle in the hall); Brandon Lopez, bass (on the left side of the stage); and Nate Wooley, trumpet (behind the orchestra). The soloists have leeway in terms of what they play, and when. In addition, 15 members of Constellation Chor, an improvising vocal ensemble, sing and whisper through acoustic megaphones. At the beginning of the performance they stood in various places throughout the hall; near the end, they walked slowly down the aisles to the lip of the stage. The vocal harmonies were sometimes so astringently captivating, I was convinced they must have been carefully composed. Not so. One can't help trying to discern recurring themes, development or narrative sweep. But Ms. Fure has something else in mind: making acoustic and amplified sounds push against one another within the concert hall's space, and affecting listeners on a physical level. There, she succeeded. The sounds were often ravishing and eerie, even when I grew impatient to know where the piece was heading. I can hardly remember anything specific about it. But I loved being part of this enveloping sonic and communal experience. Mr. van Zweden acted like a group leader, drawing the players and audience into the work. He was in effect announcing, right at the start of his tenure, that he intended to take chances with the Philharmonic and bring emerging creators into its circle. (It's crucial that this was the first in a series of new and modern works that Mr. van Zweden will conduct throughout the season.) Then he turned to more typical gala fare: Ravel's jazz infused Piano Concerto in G, with the brilliant Daniil Trifonov as soloist. This engrossing performance made clear that, for all its scintillating colors and jazzy riffs, modernist complexities run through the score. Mr. Trifonov was manically exciting in dispatching the piano part's spiraling passages and glissandos, its pummeling chords and jerky rhythms. When the first movement moved into a wistful, bluesy episode, Mr. Trifonov shaped the phrases with unabashed Russian Romantic rubato. That's not the way I think of the music. But his honest, elegant playing beguiled me. In the slow movement, which begins with a long piano solo, a kind of sad waltz, Mr. Trifonov played with affecting intimacy and tenderness, subtly highlighting the rhythmic twists in the melodic line while maintaining the overall gentleness. And in the breathless finale, he was uncommonly serious. During passages of oscillating piano chords, you might have thought this was Prokofiev. The program ended with "The Rite of Spring." Mr. van Zweden was brought to the Philharmonic in part because of his dynamic approach to the staples of the repertory, including this 1913 Stravinsky shocker. But this was a tale of two "Rites." During hard driving, brutal episodes, like the all hell breaks loose climax of the "Dance of the Adolescent Girls" and the crazed "Glorification of the Chosen One," Mr. van Zweden drew incisive, blazingly powerful and vehement playing from the Philharmonic, though the sheer mass of sound was sometimes loud and raw. But in the work's mysterious and murky sections, including the introductions to each of its two parts, Mr. van Zweden seemed intent on bringing out depths, inner voices, unusual colorings, tectonic harmonic shifts and other details. Perhaps he tried too hard; the performance lost tension and became weighty, almost ponderous. For an encore with a gala flourish, Mr. van Zweden led an aggressively feisty account of Wagner's "Ride of the Valkyries." Again, he sometimes pushed the orchestra to play with harsh, blaring sound. This tendency in his work is a warning sign.	N24News: A New Dataset for Multimodal News Classification	Music
Every Friday, pop critics for The New York Times weigh in on the week's most notable new songs and videos. Just want the music? Listen to the Playlist on Spotify here (or find our profile: nytimes). Like what you hear? Let us know at theplaylist nytimes.com and sign up for our Louder newsletter, a once a week blast of our pop music coverage. It's perfectly obvious that Prince's 1979 acoustic demo for "I Feel for You" which originally appeared on his self titled album, and went to No. 3 on the Billboard Hot 100 when Chaka Khan recorded it in 1984 would be stunning. Here is Prince singing sweetly but softly, and playing a more intricate rhythmic line on guitar than the eventual popularized version had room for. And yet after those first two minutes comes two and a half minutes of something else: pure vamping, light scat singing, an easy lesson in getting lost in the rhythm. The first part of this recording has the affirming feel of the familiar; this second part is full of hope for things not yet and maybe never to be heard. JON CARAMANICA Tiptoeing, then marching, then swelling, then pounding in double time through two chords, "Walking on a String" is, as Matt Berninger of the National notes at the end of the video clip, a "spider metaphor": romance as a foredoomed meeting of predator and prey. But with Berninger's low purr and Phoebe Bridgers's knowing whisper, they do sound fond of each other, fatal or not. JON PARELES A tender, almost whimsy filled read on the electro of early to mid 1980s Los Angeles by the producer Vegyn. A Frank Ocean collaborator on "Blonde" and "Endless," earlier this year he released "Text While Driving if You Want to Meet God!," a cluster of synth pop vignettes that show curiosity about what happens when the tones of dance music are reconfigured and put in service of emotional sketches. On this new song, he extracts the sentimentality of quiet storm R B and sets it to an uplifting bop, like being swaddled by a firm gust of wind. CARAMANICA "Memory is a most unusual thing," the alto saxophonist Matana Roberts muses on "As Far as the Eye Can See" as the scrape of violin strings and what sounds like a mouth harp create a drone beneath her. Yet despite all its mystery, memory also feels palpably alive in Roberts's music: Stories from the distant past are vested with a kind of heady impatience usually reserved for the present. Roberts has just released the fourth volume in her "Coin Coin" suite, a planned 12 album exploration of the story of her family (and, by extension, her country) through a mix of singing, spoken words, group improvising and electronics that she calls "panoramic sound quilting." GIOVANNI RUSSONELLO Katy Perry's search for a sound that's both au courant and also not ill fitting continues with "Harleys in Hawaii," a convincing enough quasi SoundCloud R B number with light reggae swing. Her singing is breathy and casual, and in moments, sweet. But her presence is vague, melting into the groove. It's what happens when you primarily inhabit other people's ideas not in and of itself a meritless thing, but dangerous territory for a top shelf pop star losing her grip. It doesn't help that the video is vividly derailed by what appears to be very prominent product placement by Cheetos. CARAMANICA A looped vocal sample shuttles back and forth in stereo, chirping and trilling. It interrupts and defamiliarizes the sustained melody that Chloe Kaul coos over a few piano notes and a chattering beat. It also acts out the way that the lyrics have her shuttling between separation "I never want to be the stop in your life plans" and reunion "never say never." The song's last dissonant notes don't guarantee any outcome. PARELES Two jazz piano masters whose studious, tradition grounded styles have always made them a little too easy to take for granted, Kenny Barron and Mulgrew Miller gave a smattering of rare duet performances in Europe in the years before Miller's untimely death in 2013. Recordings from those concerts have just been released as "The Art of Piano Duo: Live," a three CD set full of lively, tussling renditions of jazz standards. Barron and Miller are two nonpareil accompanists, but they're also freewheeling improvisers who relish a good disruption: They can give each other breathing room, and then cut in swiftly to fill it all up again. The collection ends with a fleet take on "Joy Spring," by Clifford Brown. RUSSONELLO "A Fossil Begins to Bray" materializes like a force of nature: a tsunami or a monsoon arising deep underwater. It's the title track of a Nov. 8 album by Nicky Mao, who records her electronic instrumentals as Hiro Kune. At first there are slow, subsurface currents two minutes of a deep bass undertow that gradually induce cello like melodies splashed by white noise. Eventually, tremoloes and distortion heave into the atmosphere and the track suddenly ends, opening the question of what cataclysm may impend. PARELES	N24News: A New Dataset for Multimodal News Classification	Music
In April 1955, on the final weekend before he left office for the last time, Winston Churchill had the vast canvas of Peter Paul Rubens's "The Lion and the Mouse" taken down from the Great Hall at the prime ministerial retreat of Chequers. He had always found the depiction of the mouse too indistinct, so he retrieved his paint brushes and set about "improving" on the work of Rubens by making the hazy rodent clearer. "If that is not courage," Lord Mountbatten, the First Sea Lord, said later, "I do not know what is." Lack of courage was never Churchill's problem. As a young man he was mentioned in dispatches for his bravery fighting alongside the Malakand Field Force on the North West Frontier, and subsequently he took part in the last significant cavalry charge in British history at the Battle of Omdurman in central Sudan. In middle age he served in the trenches of World War I, during which time a German high explosive shell came in through the roof of his dugout and blew his mess orderly's head clean off. Later, as prime minister during World War II, and by now in his mid 60s, he thought nothing of visiting bomb sites during the Blitz or crossing the treacherous waters of the Atlantic to see President Roosevelt despite the very real chance of being torpedoed by German U boats. Churchill had political courage too, not least as one of the few to oppose the appeasement of Hitler. Many had thought him a warmonger and even a traitor. "I have always felt," said that scion of the Establishment, Lord Ponsonby, at the time of the Munich debate in 1938, "that in a crisis he is one of the first people who ought to be interned." Instead, when the moment of supreme crisis came in 1940, the British people turned to him for leadership. Here was his ultimate projection of courage: that Britain would "never surrender." If courage was not the issue, lack of judgment often was. Famous military disasters attached to his name, including Antwerp in 1914, the Dardanelles (Gallipoli) in 1915 and Narvik in 1940. So too did political controversies, like turning up in person to instruct the police during a violent street battle with anarchists, defying John Maynard Keynes in returning Britain to the gold standard or rashly supporting Edward VIII during the abdication crisis. His views on race and empire were anachronistic even for those times. The carpet bombing of German cities during World War II; the "naughty document" that handed over Romania and Bulgaria to Stalin; comparing the Labour Party to the Gestapo the list of Churchillian controversies goes on. Each raised questions about his temperament and character. His drinking habits also attracted comment. Such is the challenge facing any biographer of Churchill: how to weigh in the balance a life filled with so much triumph and disaster, adulation and contempt. The historian Andrew Roberts's insight about Churchill's relation to fate in "Churchill: Walking With Destiny" comes directly from the subject himself. "I felt as if I were walking with destiny," Churchill wrote of that moment in May 1940 when he achieved the highest office. But the story Roberts tells is more sophisticated and in the end more satisfying. "For although he was indeed walking with destiny in May 1940, it was a destiny that he had consciously spent a lifetime shaping," Roberts writes, adding that Churchill learned from his mistakes, and "put those lessons to use during civilization's most testing hour." Experience and reflection on painful failures, while less glamorous than a fate written in the stars, turn out to be the key ingredients in Churchill's ultimate success. He did not get off to a particularly happy start. His erratic and narcissistic father, Lord Randolph Churchill, saw the boy as "among the second rate and third rate," predicting that his life would "degenerate into a shabby, unhappy and futile existence." His American mother, Jennie, was often not much kinder, sending letters to him at Harrow that must have arrived like a Howler in a Harry Potter novel. Parental judgments became an obvious spur to fame and attention. "Few," Roberts writes, "have set out with more coldblooded deliberation to become first a hero and then a Great Man." 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. After stints in Cuba, India and Sudan, Churchill achieved instant fame during the Boer War after a daring escape from a South African P.O.W. camp in 1899. That renown propelled him into Parliament, where he soon added notoriety to his reputation by crossing the floor of the House of Commons, abandoning the Conservative Party for the Liberals. Thereafter, wrote his friend Violet, daughter of the future prime minister H. H. Asquith, he was viewed as "a rat, a turncoat, an arriviste and, worst crime of all, one who had certainly arrived." "We are all worms," Churchill told her. "But I do believe that I am a glowworm." And glow he did, becoming in 1908, at 33, the youngest cabinet member in 40 years and subsequently the youngest home secretary since Peel in 1822. As First Lord of the Admiralty he was credited with making the navy ready for war his single most important achievement in government before 1940. Even when disaster befell him, Churchill always managed to bounce back. A new prime minister, David Lloyd George, returned him to the wartime cabinet despite the catastrophe of the Dardanelles. When the Liberal Party disintegrated after the rise of Labour, Churchill conveniently "re ratted" back to the Conservatives, where Prime Minister Stanley Baldwin put him unhappily in charge of the nation's finances. By the late 1930s, out of office and despised for his opposition to appeasement, Churchill seemed finished once and for all. But he was ready. "The Dardanelles catastrophe taught him not to overrule the Chiefs of Staff," Roberts writes, "the General Strike and Tonypandy taught him to leave industrial relations during the Second World War to Labour's Ernest Bevin; the Gold Standard disaster taught him to reflate and keep as much liquidity in the financial system as the exigencies of wartime would allow." Less well known is that Churchill also learned from his successes. Cryptographical breakthroughs at the Admiralty during World War I led him to back Alan Turing and the Ultra decrypters in the second war; the anti U boat campaign of 1917 instructed him about the convoy system; his earlier advocacy of the tank encouraged him to support the development of new weaponry. Research for a life of Marlborough (a book that Leo Strauss called the greatest historical work of the 20th century) taught Churchill the value of international alliances in wartime. If Churchill's entire life was a preparation for 1940, "the man and the moment only just coincided." He was 65 years old when he became prime minister and had only just re entered front line politics after a decade out of office. It would be like Tony Blair returning to 10 Downing Street today, ready to put lessons learned during the Iraq war to work. Had Hitler delayed by a few years, Roberts suggests, Churchill would surely have been away from front rank politics too long to "make himself the one indispensable figure." That turned out to be the whole ballgame. After the Battle of Britain was won and, first, the Russians and, then, the Americans came into the war, Churchill knew that "time and patience will give certain victory." But it also meant a gradual relegation to second if not third place. Britain had entered the war as the most prestigious of the world's great powers. By its conclusion, having lost about a quarter of its national wealth in fighting the war, Britain had become the fraction in the Big Two and a Half, and was effectively bust. Sic transit gloria mundi. Roberts tells this story with great authority and not a little panache. He writes elegantly, with enjoyable flashes of tartness, and is in complete command both of his sources and the vast historiography. For a book of a thousand pages, there are surprisingly no longueurs. Roberts is admiring of Churchill, but not uncritically so. Often he lays out the various debates before the reader so that we can draw different conclusions to his own. Essentially a conservative realist, he sees political and military controversies through the lens of the art of the possible. Only once does he really bristle, when Churchill says of Stalin in 1945, "I like that man." "Where was the Churchill of 1931," he laments, "who had denounced Stalin's 'morning's budget of death warrants'?" Some may find Roberts's emphasis on politics and war old fashioned, indistinguishable, say, from the approach taken almost half a century ago by Henry Pelling. He is out of step with much of the best British history being written today, where the likes of Dominic Sandbrook, Or Rosenboim and John Bew have successfully blended cultural and intellectual history with the study of high politics. But it would be foolish to say Roberts made the wrong choice. He is Thucydidean in viewing decisions about war and politics, politics and war as the crux of the matter. A life defined by politics here rightly gets a political life. All told, it must surely be the best single volume biography of Churchill yet written.	N24News: A New Dataset for Multimodal News Classification	Books
In December 2002, the skaters came for Deitch Projects, or maybe it was the other way around. For the exhibition "Session the Bowl," a huge skate bowl was built into the gallery's Wooster Street space, and on the opening night, and for weeks afterward, you could find skaters hanging out and dropping in. They were on the walls, too: The gallery was displaying work by skate friendly artists like KAWS and Ed Templeton. (Alife took over Deitch's Grand Street location around the corner for a complementary installation.) Left, Kelow LaTesha, 24, an artist from Maryland, arrived at the opening early and did an impromptu photo shoot outside. "I've never been to a Supreme store, just came through to show some love," she said. How would she describe Supreme clothes: "fly, chilling but doing the most." Greg Stephans, 17, and Mikey Duncan, 17, are students from New Hope, Pa., who drove almost two hours to stand outside the store and get a glimpse of the new merchandise. "We are hoping to get some clothes tomorrow," said Mr. Stephans, who had plans to camp out until the store opened at 11 a.m., despite the fact that the sign up for allotted shopping times was already booked days before. They were really hoping to get one of the store's exclusive box logo tees. "Where we come from, it's a really small town," Mr. Duncan said. "We have a little group of about 15 people that are really dedicated to Supreme." Rebecca Smeyne for The New York Times By that point, the original Supreme store on Lafayette Street had been open for eight years, and the brand had helped codify the New York skater, tougher and scrappier and with better taste in music than its California brethren. But a decade and a half later, all the signifiers are now mixed up: Supreme has been woven into the fashion firmament, thanks to a series of shrewd partnerships, both in the high fashion and street wear worlds. It recently collaborated with Louis Vuitton on a capsule collection. The Lafayette store has become a tourist attraction and a generator of long lines, requiring high levels of emotional fortitude to navigate. Skating feels ancillary. And so the bowl that takes up the back half of the new Supreme store in Williamsburg, Brooklyn which had its opening party on Thursday night has some of the performative qualities of that Deitch Projects exhibit. (By coincidence, it was built by Steve Badgett, who worked on the Deitch Project bowl.) There is a bowl in Supreme's Los Angeles store, too, but this one looms larger. Within minutes of the party's start, skaters were feeling out its contours, while nonskaters were taking to the cameras on their phones, to show the world that they were near skaters. The later it got, the more people were squeezed around the bowl's rim, participants and observers in symbiosis. Down on the floor, Supreme was showing off its latest collections, which include collaborations with the artist Andres Serrano, the Italian outerwear specialist Stone Island and the conglomerate Nike. There were things to be had for under 50, and also for more than 10 times that, reflecting the brand's role as both entry point and end goal. It is also the raw material for a vibrant and thirsty resale ecosystem with prices that can rise exponentially on the internet's gray markets. Putting a Supreme in Brooklyn doesn't mean what it might have in the bleeding edge Williamsburg of two decades ago, or in its partly gentrified late 2000s version. It's a family neighborhood now a wealthy family neighborhood with seven figure condominiums and Michelin starred restaurants. With square footage that's about three times the Lafayette store, this location figures to be more relaxed than the flagship: a place where the brand can breathe, a reclaiming of the hometown, a maturation without surrender. In the crowd, there were skaters (Mark Gonzales, Sage Elsesser), celebrities (Amar'e Stoudemire, James Franco), avatars of good taste (Mister Mort, Venus X), at least two people in hyper chunky Balenciaga Triple S sneakers, a troop of public relations representatives and, out on the street, security alternating between pushing people off the sidewalk and back on it. (And also children: There were probably more attendees under the age of 13 than, say, between 13 and 20.) And of course, there were the hounds. Nothing was available for sale at the party the store officially opens Thursday but there was a special T shirt made for the occasion, with a yellow, green and black camouflage box logo, exactly the sort of limited item the brand's loyalists salivate over. And indeed, late in the night, some of them were out on the street, sidling up to people who walked out with white Supreme bags and offering them cash. Not long after, some shirts were already selling on eBay for more than 1,000. A live sculpture, to be sure.	N24News: A New Dataset for Multimodal News Classification	Fashion & Style
Cristobal Montoro, the Spanish treasury minister, said on Tuesday that the country might be cut off from borrowing. FRANKFURT Under growing international and financial market pressure to fix the region's bank problems, European officials took a step on Tuesday toward surrendering a cherished national prerogative by proposing to knit banking systems together more closely. If endorsed by European leaders, the plan by the European Commission could spread the cost of bank rescues and demonstrate that governments are willing to cede power to the strong, centralized institutions that many economists say are needed to stabilize the currency union. Pressure for bold action by the German chancellor, Angela Merkel, and other euro zone leaders escalated Tuesday after a conference call of finance ministers and central bankers from the Group of 7 nations, which include Germany, Japan and the United States. While participants said little about the conversation afterward, it is likely that European leaders were urged to move more forcefully to quell a banking crisis in Spain and to keep Greece from leaving the euro zone. "There's no question that markets remain skeptical that the measures taken thus far are sufficient to secure the recovery in Europe and remove the risk that the crisis will deepen," Jay Carney, the White House press secretary, said on Monday. The European Commission's proposal for banks aims to avoid future situations like the one in Spain, where the ills of one institution, Bankia, threaten to destroy what little credibility the government has left with financial markets. But the plan will not do much to help the banks in Spain and Portugal that require immediate assistance. The proposals would require formal approval from European governments and the European Parliament, and one of the most important measures would not be expected to go into force until 2018. In that sense, the move is yet another example of the bloc's inability to keep up with the fast moving pressures created by the crisis that began in Greece and is now threatening Spain. Doubts about Spain deepened Tuesday after the treasury minister, Cristobal Montoro, suggested that the government's borrowing costs were rising to levels that might eventually cut the country off from debt markets. "The risk premium says Spain doesn't have the market door open," Mr. Montoro told Onda Cero radio, Reuters reported. "The risk premium says that as a state we have a problem in accessing markets, when we need to refinance our debt." The risk premium describes the extra interest rate that investors demand to hold Spanish debt, compared with German debt, which is considered the safest in the euro zone. Spain's 10 year bonds now yield about 6.3 percent, compared with Germany's 1.2 percent; thus, the risk premium stands at about 5.1 percentage points. Mr. Montoro said Spain needed help from European institutions to recapitalize, though he did not give an indication of how much money was required. Spain is planning a bond auction on Thursday that could help decide whether the country must seek a full bailout package. Endorsing the plan for a more integrated banking system would show that European leaders were willing to endow centralized institutions with powers that in the past were closely guarded by national governments. The proposals "form one of the cornerstones of a future banking union for Europe," Michel Barnier, the European commissioner responsible for the internal market, said during an interview on Tuesday, a day ahead of the formal announcement. The detailed proposal for steps toward a so called banking union comes a day after Germany indicated it might provide greater support for its most indebted euro zone partners in exchange for more centralized control over government spending in Europe. Ms. Merkel has made similar statements in the past, but they take on added weight in the current crisis. While the German economy has been impervious to the problems so far, the country conducts most of its trade with other European countries and cannot remain aloof forever, economists say. 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. "They'll start to give way," said Richard Barwell, an economist at Royal Bank of Scotland. "They realize they can't let the Spanish go and the whole euro zone crumble into pieces." But while European leaders have demonstrated good intentions in recent days, they still face electorates skeptical about a more powerful European government, as well as the built in inertia that comes from having to find consensus among 17 nations that use the euro. "I wouldn't be expecting in the next weeks or months total capitulation" by Germany, Mr. Barwell said. Mr. Barnier said his proposals on banking were expected to be acceptable to Germany and to most other member states because he had reviewed the contents with ministers and diplomats over recent weeks. The main point of his proposals, Mr. Barnier said, is to shield taxpayers from the kinds of bills they have faced after a string of bank collapses in recent years in Britain, Belgium and Ireland. "Prevention is far less expensive than cure in the case of banks," Mr. Barnier said. "But even if there are failures in the future, taxpayers shouldn't have to foot the bill." Mr. Barnier's proposals would require countries that have not yet done so to set up so called resolution funds, with the money possibly shared by countries. The law would also require national authorities to intervene in troubled banks by firing management or forcing sales. The plans also require some private investors in failing banks to bear the costs previously borne by governments and ultimately taxpayers. That measure would take effect on Jan. 1, 2018, to ease concerns in the financial community that the measures would hamper lenders' ability to raise new capital during a period in which many banks were already facing difficult business conditions. "We are taking away the implicit state guarantees for banks, so that is adding to the need for a transitional period," Mr. Barnier said. "It's important to wait until 2018 as we wanted to avoid mixing this up with the current problems." Most of the other rules are supposed to go into force in 2015. Pressure on Europe is also coming from the administration of President Obama, which is concerned about the effects of the euro zone crisis on the United States economy. American officials have pressed European ministers to act quickly and forcefully to prevent financial contagion from Spain and Greece. Japan, too, has its concerns about Europe. Its finance minister, Jun Azumi, said in Tokyo on Tuesday that he had agreed with his Group of 7 counterparts to cooperate in addressing the European crisis. He said he had also voiced concern about the crisis's influence on the yen's volatility.	N24News: A New Dataset for Multimodal News Classification	Global Business
Mostly searching variations of Daniel Anonsen's name, The Times found 65 profiles on Facebook and Instagram that used his photos.Credit...Video by "The Weekly"/FX/Hulu Facebook Connected Her to a Tattooed Soldier in Iraq. Or So She Thought. Mostly searching variations of Daniel Anonsen's name, The Times found 65 profiles on Facebook and Instagram that used his photos. FORT PIERCE, Fla. On a Monday afternoon in June 2017, Renee Holland was draped in an American flag at Philadelphia International Airport, waiting for a soldier she had befriended on Facebook. The married 56 year old had driven two hours from Delaware to pick him up. Their blossoming online friendship had prompted her to send him a care package and thousands of dollars in gift cards. She also wired him 5,000 for plane tickets to return home. Now she was looking for a buff, tattooed man in uniform, just like in his Facebook photos. But his flight was not on the airport arrivals board. Then a ticket agent told her the flight didn't exist. From there, Ms. Holland said, it was a daze. She walked to her car, with "Welcome Home" written on the windows, and sobbed. She had spent much of her family's savings on the phantom soldier. "There's no way I can go home and tell my husband," she remembered telling herself. She drove to a strip mall, bought sleeping pills and vodka, and downed them. "That job is not finished and we are committed to sharing our progress," Facebook said in a statement. Kim Joiner, a deputy assistant to the secretary of defense who oversees the military's social media accounts, said her team works with Facebook to remove impostors and was pleased with the company's response. "I'm absolutely satisfied," she said. When shown that searches by The Times for three top American generals on Facebook and Instagram had yielded more than 120 impersonators, Ms. Joiner said it was "disturbing." She said she did not know why the fakes were not eradicated. "I mean, the numbers are astounding," she said. To her friends and family, Ms. Holland was known as trusting and impulsive. Born in Philadelphia, she had spent time in Arizona and Missouri, working as a gardener and in an auto shop. She met her fifth husband, Mark Holland, when she offered him a ride off the side of the road. In 2001, she moved to Delaware to care for her sick mother. When her mother died in September 2016, Ms. Holland found herself depressed and with free time. She noticed her sister glued to her smartphone, scrolling through Facebook. So she bought a smartphone, too, and created a Facebook profile. A few weeks later, Ms. Holland got a Facebook message from a stranger. The profile showed a man in uniform named Michael Chris. He told her he disarmed bombs in Iraq. A selfie of Mr. Anonsen that impostor accounts used on Facebook and Instagram. Ms. Holland said she initially felt uneasy, but the conversation flowed. Mr. Chris told her about life at war. She made him laugh. "He kept saying, 'You're really funny. And you make it easier for me just to know that somebody is at home that I can talk to," she said. "How cool is this that I could really make somebody feel better?" Over several months, their relationship deepened. Ms. Holland said she felt motherly. Mr. Chris began calling her "my wife." What Ms. Holland did not know was that the man in Mr. Chris's photos was actually Mr. Anonsen and that his images were all over the internet. Mr. Anonsen grew up in suburban Maryland, about two hours from Ms. Holland's Delaware home. The oldest of four boys, he said he had "wanted to be in the military since the day I could remember." After graduating high school in 2006, he joined the Marines. In 2010, while browsing Facebook, he discovered hundreds of unsolicited messages from women he did not know. Many said they loved him. They asked why, after months of correspondence, he was not responding. They implored him to write back. Confused, Mr. Anonsen searched for his name on Facebook and found dozens of impostor accounts. The problem quickly mushroomed. The women who thought he had duped them harassed his parents online. A new real life girlfriend grew suspicious. "She started questioning everything about what I was doing," said Mr. Anonsen, now 31. "It actually ended our relationship." Mostly searching variations of his name, The Times found 65 profiles on Facebook and Instagram that used Mr. Anonsen's photos. When The Times reported the fakes to the sites, 24 were removed over more than six months . Many more accounts have used Mr. Anonsen's photos with different names. One used the name Michael Chris and began messaging Ms. Holland in late 2016. Several months into their online chats, Mr. Chris asked Ms. Holland for money. She bought him iTunes gift cards so, he said, he could buy more minutes on his cellphone. She sent money for beer for his birthday. And she paid for medicine for what he said was a sick daughter, Annabelle, in California. A boarding pass that was edited to include the false flight details the scammer gave Ms. Holland. In June 2017, she wired 5,000 for Mr. Chris and a friend to fly to Philadelphia from Iraq. She sneaked the money from a pile of cash she and her husband hid in their bedroom, which represented their life savings. Mr. Chris promised to pay her back when he got there . He never arrived. That was when Ms. Holland took the sleeping pills and vodka. Days later, she awoke in a hospital bed. "You open your eyes, and the person you didn't want to face the most is sitting next to you," she said. "Mark." "I don't know what else we can be doing," said Ms. Joiner, the Defense Department official. She called Facebook impostors "the new norm" and said the Pentagon combats them with education and reporting fake accounts to Facebook. On Facebook and Instagram, The Times recently found more than 120 accounts impersonating three of the military's highest ranking generals. One Instagram account posing as Gen. Joseph F. Dunford Jr., chairman of the Joint Chiefs of Staff, had posted a photo of a child in a hospital bed, asking for donations to Nigeria via Western Union. Ms. Joiner said when the Pentagon reported fakes, Facebook took them down. Yet when The Times reported 46 of the accounts to Instagram, the site responded within 24 hours that none violated its rules, without explaining why. The Times later provided the list of impostors to the Pentagon. Four months later, 25 accounts were still active. "I just don't know how to influence it more than we are," Ms. Joiner said. The Army's Criminal Investigation Command, which investigates crimes involving Army personnel, said it fields calls from hundreds of victims of romance scams a month. But it said its investigators cannot look into those reports because the perpetrators and victims are civilians. "Our jurisdiction stops there," said Chris Grey, a spokesman for the division. He said they distribute public warnings and urge service members to protect their identities. In an email to Ms. Waters and Colonel Denny last year, a Facebook spokeswoman wrote, "I understand what it must look like to you guys. I hope we can redeem ourselves." Ms. Holland left behind a trail of clues about Mr. Chris. It started with receipts from Western Union and MoneyGram, which wire money around the world. Those revealed that Ms. Holland had not sent money directly to Mr. Chris, but to people in places like New Mexico and Puerto Rico. Mr. Chris had told Ms. Holland they were "Army agents." In reality, the F.B.I.'s Mr. Barnacle said, they were probably "money mules" who laundered payments to confuse victims and the authorities. They could be accomplices or victims themselves. One of the names on Ms. Holland's receipts was Maria, a Greek immigrant in New Jersey. She spoke on the condition of anonymity to hide her involvement in the scam from her adult children. Maria, 57, said she joined Facebook after her husband died in 2010. She quickly heard from men in uniform and developed a relationship with a supposed Army sergeant named Jacob. He showered her with compliments, called her "my Queen" and then requested money. Over two years, Maria sent roughly 15,000. She pawned her jewelry and stopped paying her mortgage. When her bank blocked her from sending more, her scammer persuaded her to forward a payment from someone else: Ms. Holland. "Am tired disappointed depressed I lost everything I don't know what ales to do ," Maria wrote to her scammer in messages reviewed by The Times. Three Nigerian men, age 25 , who spoke on the condition of anonymity, said they conned people on Facebook to pay for their education at Lagos State University. They said they previously made 28 to 42 a month in administrative jobs or pressing shirts. With love hoaxes, the money was inconsistent but more plentiful. One estimated he made about 14,000 in two years; another took in 28,000 in three years. Nigerian authorities have publicized raids on Yahoo Boys, but the scammers said they do not worry. Some said they paid bribes to evade arrest. Facebook was becoming tougher on their profession, they added, but Instagram was easy to elude. If their accounts were blocked, they bought new ones; a six month old profile cost about 14, one said. Adedeji Oyenuga, a senior lecturer in criminology at Lagos State University who has studied Yahoo Boys, said Nigeria's older generation largely rejects the scammers, but many youths embrace them. "Girls would rather date a Yahoo Boy," he said. During his cash pickups at banks in Owerri, Mr. Ohaja left four nearby addresses and three phone numbers, according to an official at a money transfer company, who declined to be identified because the information was confidential. There was another name. Maria's scammer had once instructed her to send a package to an Orji James Ogbonnaya at a different Owerri address. Her scammer also sent a phone number for Mr. Ogbonnaya that was the same number that Mr. Ohaja left during one of his pickups. In Owerri, the addresses led to dead ends: a convenience store, an electronics shop, a DHL location and an office building. "There's no name like that here," said Peace Benjamin, the building's security officer. "It's a trick. Don't you understand?" When The Times tried the phone numbers, one left by Mr. Ohaja was disconnected; another went to a lecturer at the local university, who expressed confusion. The number linked to both Mr. Ohaja and Mr. Ogbonnaya was answered by a deep voiced man who identified himself as Mr. Ogbonnaya. He hung up when he learned The Times was calling.	N24News: A New Dataset for Multimodal News Classification	Technology
Matt Lauer, who was fired by NBC on Wednesday over a sexual harassment allegation, was one of the network's most high profile journalists and the face of one of its most valuable programs, "Today," since the mid 1990s. Mr. Lauer spent 21 years at "Today," the longest tenure for the show, and was often at the center of rumored tension among other anchors on the program. In his role, he led NBC's coverage during major news events, including on the morning of Sept. 11, 2001, and engaged in memorable interviews, such as his combative questioning of Tom Cruise in 2005. After several years as the news reader on "Today," Mr. Lauer replaced Bryant Gumbel as the co anchor on Jan. 6, 1997. His first week was full of jitters and awkwardness, but those five days were the second best rated week in the show's history at the time. In 2001, he covered the attacks on Sept. 11. On the morning of Sept. 11, 2001, Mr. Lauer was talking to the writer Richard Hack about a new Howard Hughes biography. The interview stopped, and Mr. Lauer said he had a photograph to show viewers, but after a technical problem, he said he would discuss the breaking news after a commercial break. When the show returned, Mr. Lauer was seated next to his co anchor, Katie Couric, and the pair began to figure out on air what had just happened in Lower Manhattan. During Mr. Lauer's years on the show, he remained one of the few steady parts in a revolving door of new reporters and anchors. But no transition turned more tense and awkward or filled more New York tabloid pages with rumors of infighting on the show than the promotion of Ann Curry in 2011 as co anchor alongside Mr. Lauer. Her stint as an anchor was very brief, lasting only a year before she was pushed out in June 2012, after ABC's "Good Morning America" gained ground in the ratings. Ms. Curry signed off in a tearful goodbye as her co hosts looked on. A few months after her departure, The New York Times interviewed Ms. Curry about what unfolded during her brief time next to Mr. Lauer: Many executives at the network never grasped how profoundly hurt and humiliated Curry remained not just by her televised dismissal but by all the backstage machinations that led to that fateful morning. Curry felt that the boys' club atmosphere behind the scenes at "Today" undermined her from the start, and she told friends that her final months were a form of professional torture. The growing indifference of Matt Lauer, her co host, had hurt the most, but there was also just a general meanness on set. In 2012, he was slammed for an Anne Hathaway interview. The actress Anne Hathaway was interviewed in December 2012 to discuss her new movie, "Les Miserables," for which she later won an Oscar for best supporting actress. The day before her interview, some celebrity gossip sites had published an upskirt photo of Ms. Hathaway exiting a car. "Seen a lot of you lately," Mr. Lauer said as he began the interview. He continued, "Let's just get it out of the way. You had a little bit of a wardrobe malfunction the other night." Ms. Hathaway was praised for her response. In 2016, he grilled, and interrupted, Hillary Clinton. Mr. Lauer was the host of one of the major presidential forums in 2016 between Donald J. Trump and Hillary Clinton. During the one hour debate, Mr. Lauer interviewed the candidates separately, and he was criticized for asking Mr. Trump softer questions while he spent considerable time pressing Ms. Clinton about her use of a private email server, and interrupting her repeatedly. "Mr. Lauer found himself besieged on Wednesday evening by critics of all political stripes, who accused the anchor of unfairness, sloppiness and even sexism in his handling of the event," The Times wrote afterward. In 2017, he interviewed Bill O'Reilly about being accused of sexual harassment. In September, Mr. Lauer interviewed the former Fox News host Bill O'Reilly about the multiple allegations of sexual harassment against him and his dismissal from the network. Mr. Lauer noted that Mr. O'Reilly had been the face of Fox News's prime time lineup and that his show, "The O'Reilly Factor," had been a ratings and revenue juggernaut. "Doesn't it seem safe to assume that the people at Fox News were given a piece of information or given some evidence that simply made it impossible for you to stay on," Mr. Lauer asked him.	N24News: A New Dataset for Multimodal News Classification	Media
An Rong Xu for The New York Times An Rong Xu for The New York Times Credit... An Rong Xu for The New York Times When asked recently to describe her trademark style, the drag performance artist Bianca Del Rio called it "erotic clown." "Basically," she said, "I want the most unnatural look possible." It was late on a Friday afternoon, and Ms. Del Rio, otherwise known as Roy Haylock, was sitting in a dressing room in the Gramercy Theater on East 23rd Street, tending to her makeup and doing her hair. She wore a black zip up hooded sweatshirt, a black Topman tank top and gray Zara sweatpants ("Plug those," she said, "so they'll send me some swag"). Underneath were four pairs of Capezio tights topped with nude colored fishnet stockings. "I have to hide my candy," said Ms. Del Rio, 39, last May's winner of "RuPaul's Drag Race," as she put the final touches on the night's outfit. She plucked a pair of eyelashes the size of butterflies from a makeup table in front of her, then began painting on her eyebrows. This required four different colored pencils as well as heaps of glitter. After that, she started in on her blond wig, which she spun and spiked and sculpted and sprayed until it took on the shape of a Calatrava building, one that could collapse and kill people at any moment. By the time she was done, the room smelled like a Florida retirement home, and an ever larger hole had been burned through the ozone layer. On the sixth season of "Drag Race," Ms. Del Rio beat out 13 contestants for the 100,000 grand prize (" 4 after taxes," she said). Many looked prettier in their dresses, many could kick their legs higher, and many were better than she was at channeling the spirits of Beyonce and Barbra and Britney. Her competitors' somewhat conventional approaches to the grand tradition of men in dresses mirrored some past seasons, when winners like Tyra Sanchez and BeBe Zahara Benet strode to victory not by lampooning womanhood and divadom but by approximating it. "It sometimes feels like drag has evolved into something polished and P.C.," Mr. Barbato said. "Bianca reminds people that it should also be funny and dangerous and challenging." And Ms. Del Rio is reaching a much bigger fan base as a result. After 20 years of scrounging around in relative obscurity, first designing costumes for shows in New Orleans (where she's from) and then doing small time gigs in the club XL in New York (she moved here about a decade ago and now rents a 2,000 a month apartment in Hell's Kitchen that's "the size of a closet"), Ms. Del Rio has become an in demand celebrity on the global gay scene. She hosts nightclub openings in cities as far away as London and performs her cabaret act at nearly sold out spaces all over the United States. There she hurls insults at her surprisingly diverse audience, which regards her as a kind of Joan Rivers in drag and embraces her undiscriminating discriminations. "People line up to be offended," the drag performer Lady Bunny said in an interview. "They cheer." Certainly, that was what they did on that Friday afternoon as Ms. Del Rio began her victory lap with the start of her "Rolodex of Hate" tour. Ms. Del Rio slipped into a black velvet dress and headed out front to do meet and greets with a long line of ticketholders. One man in his 20s was of Lebanese descent and came from Salt Lake City. Another was from Recife, Brazil, and promptly asked why the tour was not headed there. "You get me a gig in your rain forest and I'm ready to go," Ms. Del Rio replied. "Did you actually come here for this? You are insane." As the man walked away with an autograph, Ms. Del Rio moved on to a pair of 40 something lesbians from D.C. and a woman in her 20s from New Jersey. "It's all right," Ms. Del Rio said, referring to the Garden State. "We all have things we're ashamed of." (The woman laughed.) Around 7 p.m., having just about worn out the Sharpie being used to sign nearly 100 people's merchandise, Ms. Del Rio headed back to the dressing room, changed into a red sequined gown (think: Ronald McDonald by way of "Dynasty") and headed upstairs to begin her set. The content was unrepentantly filthy and included a monologue about having had an affair with her uncle while she was still a minor ("I had many good years with that man"), a shout out to a black drag queen who had shown her the ropes early on ("the Toni Morrison of her day") and one very politically incorrect joke about Asians that she refused to apologize for when people in the audience actually booed. ("I can say that," Ms. Del Rio said. "My hair's from China.") The show ended around 8 p.m., and Ms. Del Rio again retired to her dressing room. This time, she got pensive, almost philosophical. There had been several jokes at her parents' expense, but Ms. Del Rio did not seem worried about offending them when the show hits her hometown this month. "I'm their star child," she said. "The tides change." With much of the tour selling out, might she consider hiring a makeup artist so she can sit back and relax before going on stage? "No," she said. "It sounds grand, but really it's awful. It's like having sex with the lights off and then you turn them on after and go: 'Aaah! That's not what I wanted.' " (Ms. Del Rio, for the record, is single.) She took a pair of pantyhose from her duffel bag, dabbed on some rubbing alcohol and began removing the smudges from her fingernails. Her iPhone was buzzing with text messages from friends, including one from Courtney Act, Ms. Del Rio's runner up on "Drag Race." It read, "I hope you break both your legs and wind up in the E.R." Waiting on the other side of the door were the drag performers Sherry Vine and Joey Arias, who came to offer congratulations. Ms. Arias has not been always been a fan of "Drag Race," saying that it is too dominated by people impersonating Britney Spears and Madonna. But she said she began watching it again last season because of Ms. Del Rio, whose victory, she believed, was a shot across the bow, an indication that drag may be about to get more interesting and more outrageous again. "She pushed herself way out there in a way that's different," Ms. Arias said. "She's fast and alert and not politically correct. If she was a boy, it wouldn't work, but she's so alien looking, so out there, that you're hypnotized. It all just comes together. I love her."	N24News: A New Dataset for Multimodal News Classification	Style
Finally finally the N.B.A. off season is here. Sure, it's October, months removed from when the off season would typically begin if there wasn't a pandemic. And of course, the Los Angeles Lakers are still trying to figure out if they can throw a Zoom championship parade after conquering the Walt Disney World bubble. This means that 30 N.B.A. teams are about to reload, retool or reset through trades, free agency and the draft, though the league still needs to sort out the financial impact of the pandemic and set the salary cap for next season. The Western Conference is a particularly tough nut to crack. The Lakers won the championship and should be assumed to be the favorites to win again, given their dominant playoff run. But other teams with young stars might have something to say about that. So for all the general managers out there, we have some suggestions for one thing every team in the West needs to do this off season. Anthony Davis has a player option this off season, and if the Lakers persuade him to sign an extension, that's a success. With Davis and LeBron James, the team would remain title favorites even with Statler, Waldorf and me rounding out the starting lineup. The Clippers were an expensive Hollywood production with A list stars meant to win it all during awards season. But instead, they were upstaged by less established talent. In other words, they were Netflix's "The Irishman." Their path forward is not ideal: They probably won't have much cap space. Montrezl Harrell, the sixth man of the year, and Marcus Morris are unrestricted free agents. They don't have a first round draft pick, and their two stars, Kawhi Leonard and Paul George, can leave after the 2020 21 season. The Clippers have to bank on one thing: fixing their chemistry. It was an issue all season, so in theory, a new coach could come along and mend that, given Leonard and George's talent. The Nuggets are in one of the better positions in the league: Their franchise cornerstone, Nikola Jokic, is locked up through 2022 23. He has a solid, if inconsistent, secondary player in Jamal Murray, signed through 2023 24. They have some big contracts coming off the books, freeing cap space. But their most crucial move might be right under their noses. Jerami Grant was a solid contributor on both ends and can test the free agent market. The Nuggets would do well to keep him. All the Warriors have to do this off season is wrap Stephen Curry in cellophane. If the Warriors are healthy next season this means a rested Curry, Klay Thompson and Draymond Green Golden State will be a solid title contender. The Rockets need to surround James Harden and Russell Westbrook with shooting. They showed that their miniball style can work, but Westbrook's jump shooting woes became an issue in the postseason, and Houston needs someone to take the pressure off Harden. The Rockets, with no cap space, will have to solve this either through trade or free agency on the cheap. Kyle Korver and Isaiah Thomas might fit the bill here offensively, but defensively yikes. This is an attractive franchise: a bevy of future draft picks, compelling young talent like Shai Gilgeous Alexander, a head coach opening. And Chris Paul, at 35, showed he was still one of the best point guards in the game. There is not much for the Thunder to do, other than try to hit home runs with their two late first round draft picks. Relax and enjoy the ride. See the light at the end of the tunnel. They do not have enough cap space to attract a top tier free agent to play alongside Paul. The team's most tradable asset is Steven Adams, who has a roughly 27.5 million expiring contract. But the team is best off letting it expire rather than taking on other contracts. Be as competitive as you can until 2021 22, when you will have cap space, draft picks and maybe Paul to make a legitimate run. The Jazz are capped out, both in salary and their talent ceiling. They're not good enough to play with the Lakers, but they're not bad enough to get lottery picks. Rudy Gobert has a 27.5 million expiring contract, and given his pandemic related tensions with Donovan Mitchell, it's worth asking whether the team would be better off with a center who can space the floor. Upgrade defensively. They'll have their midlevel exception and a first round draft pick to do so. They have two franchise blue chips in Luka Doncic and Kristaps Porzingis, but the team was 18th defensively last season. (A caveat: Porzingis just had surgery to repair a meniscus injury in his right knee. He has had trouble staying healthy for most of his career, but he really showed his potential in the playoffs.) Bonus: Give Boban Marjanovic more playing time. Because the world is suffering and we need a smile. This team barely got to an eighth seed, an underwhelming campaign. But if Jusuf Nurkic and Zach Collins can be healthy for a full season, the Blazers will be formidable. Maybe. Or Portland can hope that an opposing star insults Damian Lillard's rap talents, fueling an aggrieved run for the ages. Move the team's home arena to Walt Disney World, where the Suns went 8 0 in the bubble. Aside from that, the Suns are one of the few teams with lots of cap space and a lottery pick. It's a less top heavy draft class than usual, but Danilo Gallinari and Montrezl Harrell are legitimate free agent targets for them. Promise Coach Gregg Popovich that he won't have to do any more sideline interviews, and the Spurs will go 82 0. Aside from that, much of their off season will hinge on whether DeMar DeRozan will opt in for the final year of his contract. The Spurs should hope he stays. Under the radar, DeRozan has played some of the best basketball of his career in San Antonio. Trade Buddy Hield, who has not so subtly suggested he wants out of Sacramento, and hand the keys over to Bogdan Bogdanovic, a restricted free agent. Hield is a young, talented guard on a reasonable contract who can net the Kings some assets. If this drags on, the Kings will lose leverage. Find the right coach for Zion Williamson. Players are more likely than ever to force their way off teams, even when locked into contracts. Any year of Williamson's prime squandered with a coach who doesn't mesh with him is an invitation for Williamson to try to leave when he can, as LeBron James did in Cleveland. Minnesota has the No. 1 pick in the draft, as well as a Nets first rounder. The Timberwolves have one of the best young players in the league, with Karl Anthony Towns, and a talented guard beside him, D'Angelo Russell. Minnesota cannot whiff on the first pick. Go get James Wiseman. His athleticism will allow him to play three positions on the floor and Minnesota needs both wing and frontcourt help.	N24News: A New Dataset for Multimodal News Classification	Sports
THE idea that luxury car sales are outpacing the industry at large may spark a knee jerk reaction: The rich seem to be sailing right along in a bumpy economy. But over all, the picture is more nuanced. Even people who can afford whatever they want seem allergic to anything that smacks of fun and frolic. Sports cars, luxury coupes and convertibles are gathering cobwebs. Sales of the Corvette, often America's most popular sports car, were fewer in 2009 than in any year since 1961. As a class, luxury car sales are up 14.8 percent this year, according to WardsAuto.com, almost double the gains for mainstream models, helped along by low interest rates that have brought on a leasing comeback. But even with that increase, sales are off 30 percent from 2007, the year before the recession choked the market. Analysts say it's not surprising that bold statements are out of fashion. "When everyone is suffering, it doesn't feel right to buy a flashy 80,000 car," said Jesse Toprak, vice president for industry trends for TrueCar.com, a site that offers to help consumers find the best deals in their area. Some big, fashionable S.U.V.'s, including the Range Rover, Land Rover LR4, Lexus GX 470 and Mercedes GL Class, have staged comebacks as well. Yet the smaller luxury crossovers including the Audi Q5, Cadillac SRX and Volvo XC60 are the industry's fastest growing segment. Starting around 35,000, these models offer an S.U.V. in a more modest, fuel efficient package. Sensible sedans are also doing well. Among Mercedes Benz's eight car lineup (not counting its crossovers and S.U.V.s), its two most affordable, conservative sedans are responsible for more than 80,000 of the brand's 94,000 car sales through August: the entry level C Class, Mercedes' lowest priced model at less than 35,000, and its E Class, whose redesign has sparked a 70 percent sales jump in 2010. Yet Mercedes' more decadent models are largely in the tank: Only 5,000 buyers combined for the SLK and SL convertibles, the rich CL Class coupe and fashionable CLS Class. Perhaps no car illustrates the current dynamic better than Porsche's new Panamera, its first ever sedan. As with its Cayenne S.U.V. in 2001, Porsche drew howls from sports car purists. But despite criticism of the Panamera's bulbous styling, the car's spacious back seat and otherworldly performance have impressed buyers, even with prices starting at 75,000 and ranging up to 150,000 for the 500 horsepower Turbo edition. Porsche executives frankly call the Panamera an easier sell for today's families than an indulgent toy, like its classic 911. The Panamera's motto may well be: "See, honey? There is room for the kids." "No one really 'needs' a 911," said Tony Fouladpour, a Porsche spokesman. "That's a purely discretionary purchase." The Panamera has quickly outsold all Porsche sports cars, with nearly 5,000 buyers through August, compared with fewer than 4,000 for the 911. Together, the practical Panamera and redesigned Cayenne have grabbed nearly 60 percent of all Porsche sales. A Cayenne Hybrid, on sale early next year, is among a group of electric assisted luxury cars designed to meet the coming regulatory standards and snare the green minded. Nearly every top shelf brand, including Ferrari, Mercedes, Audi, Porsche, BMW and Lotus, has electric or plug in hybrid models in the works. Of course, even in flush times, relatively few people are willing or able to spend six figures on a car. Before the financial crisis, Bentley rode hits like the 170,000 Continental GT to tenfold sales gains in the United States but that still amounted to under 4,000 cars sold in 2007. In this ultra luxury segment, which includes Bentley, Rolls Royce, Ferrari, Lamborghini and Aston Martin, sales nearly halved to 6,151 last year from almost 12,000 in 2007. Even in 2010, with the segment revived by 15 percent, only about 2,000 Americans will feel ready to splurge on a Bentley. Yet "even in a bad economy, people don't give up their dream," Christophe Georges, president and chief operating officer of Bentley Motors, said hopefully as he discussed Bentley's Mulsanne, a striking 285,000 flagship sedan. Robert Herjavec would agree. The Toronto based car enthusiast and technology entrepreneur has a new 200,000 Mercedes SLS AMG gullwing, a 420,000 Rolls Royce Phantom Drophead Coupe and for everyday driving, a 90,000 BMW 750Li. Yet in early 2009, Mr. Herjavec held off on new vehicles. "The pervasive attitude was, what's the point of all this cool, fun stuff if the world's coming to an end?" said Mr. Herjavec, a cast member on the ABC reality show "Shark Tank." "But now there are some fantastic new cars, and the people who love them are coming back."	N24News: A New Dataset for Multimodal News Classification	Automobiles
'HILMA AF KLINT: PAINTINGS FOR THE FUTURE' at Solomon R. Guggenheim Museum (through April 23). This rapturous exhibition upends Modernism's holiest genesis tale that the male trinity of Kandinsky, Malevich and Mondrian invented abstract painting starting in 1913. It demonstrates that a female Swedish artist got there first (1906 7), in great style and a radically bold scale with paintings that feel startlingly contemporary. The mother of all revisionist shows regarding Modernism. (Roberta Smith) 212 423 3500, guggenheim.org 'ARMENIA!' at the Metropolitan Museum of Art (through Jan. 13). The first major museum exhibition ever devoted to the art of Armenia officially its "medieval" era, but in fact spanning nearly 1,500 years bulges with weighty stone crosses, intricate altar frontals and flamboyantly illuminated Bibles and Gospel books unlike any manuscripts you've seen from that time. Armenia, in the Caucasus Mountains, was the first country to convert to Christianity, in the fourth century, and the richly painted religious texts here, lettered in the unique Armenian alphabet, are a testament to the centrality of the church in a nation that would soon be plunged into the world of Islam. By the end of the Middle Ages, Armenian artists were working as far afield as Rome, where an Armenian bishop painted this show's most astounding manuscript: a tale of Alexander the Great that features the Macedonian king's ship swallowed by an enormous brown crab, hooking the sails with its pincers as its mouth gapes. (Jason Farago) 212 535 7710, metmuseum.org 'CONSTANTIN BRANCUSI SCULPTURE: THE FILMS' at the Museum of Modern Art (through Feb. 18). This show is built around works by the Romanian modernist (1876 1957) that have been longtime highlights of the museum's own collection. But in 2018, can Brancusi still release our inner poet? The answer may lie in paying less attention to the sculptures themselves and more to Brancusi's little known and quite amazing films, projected at the entrance to the gallery throughout the duration of the exhibition. MoMA borrowed the series of video clips from the Pompidou Center in Paris. They give the feeling that Brancusi was less interested in making fancy museum objects than in putting new kinds of almost living things into the world, and convey the vital energy his sculptures were meant to capture. (Blake Gopnik) 212 708 9400, moma.org 'CHAGALL, LISSITZKY, MALEVICH: THE RUSSIAN AVANT GARDE IN VITEBSK, 1918 1922' at the Jewish Museum (through Jan. 6). This crisp and enlightening exhibition, slimmed but not diminished from its initial outing at Paris's Centre Pompidou, restages the instruction, debates and utopian dreaming at the most progressive art school in revolutionary Russia. Marc Chagall encouraged stylistic diversity at the short lived People's Art School in his native Vitebsk (today in the republic of Belarus), and while his dreamlike paintings of smiling workers and flying goats had their defenders, the students came to favor the abstract dynamism of two other professors: Kazimir Malevich and El Lissitzky, whose black and red squares offered a radical new vision for a new society. Both the romantics and the iconoclasts would eventually fall out of favor in the Soviet Union, and the People's Art School would close in just a few years but this exhibition captures the glorious conviction, too rare today, that art must serve the people. (Farago) 212 423 3200, thejewishmuseum.org 'CROWNS OF THE VAJRA MASTERS: RITUAL ART OF NEPAL' at the Metropolitan Museum of Art (through Dec. 16). Up a narrow staircase, above the Met's galleries of South and Southeast Asian art, are three small rooms of art from the Himalayas. The space, a bit like a treehouse, is a capsule of spiritual energy, which is especially potent these days thanks to this exhibition. The crowns of the title look like antique versions of astronaut headgear: gilded copper helmets, studded with gems, encrusted with repousse plaques and topped by five pronged antennas the vajra, or thunderbolt of wisdom. Such crowns were believed to turn their wearers into perfected beings who are willing and able to bestow blessings on the world. This show is the first to focus on these crowns, and it does so with a wealth of compressed historical information, as well as several resplendent related sculptures and paintings from Nepal and Tibet. But it's the crowns themselves, the real ones, the wisdom generators, set in mandala formation in the center of the gallery, that are the fascinators. (Holland Cotter) 212 535 7710, metmuseum.org 'DELACROIX' at the Metropolitan Museum of Art (through Jan. 6). The first full dress retrospective in North America devoted to the enigmatic giant of French Romanticism is a revelation of nearly 150 paintings, drawings and prints. Their staggering range of often traditional themes from crucifixes to historic battles to rearing, almost kitschy stallions and damsels in distress are belied by a radical use of color and paint that inspires artists still. (Smith) 212 535 7710, metmuseum.org 'DOWN THESE MEAN STREETS: COMMUNITY AND PLACE IN URBAN PHOTOGRAPHY' at El Museo del Barrio (through Jan. 6). This show's title comes from the 1967 autobiography of the New York writer Piri Thomas, a community organizer of Puerto Rican and Cuban descent who grew up in what was then called Spanish Harlem. Five of the show's photographers Frank Espada (1930 2014), Perla de Leon, Hiram Maristany, Winston Vargas and Camilo Jose Vergara took as their beat that neighborhood, or Latino sections of Washington Heights, the South Bronx and Brownsville, Brooklyn. Others were working in Los Angeles. The pictures are a blend of documentary and portraiture. They see what's wrong in the world they record the poverty, the crowding but also the creativity encouraged by having to make do, and the warmth generated by bodies living in affectionate proximity. (Cotter) 212 831 7272, elmuseo.org 'EMPRESSES OF CHINA'S FORBIDDEN CITY' at the Peabody Essex Museum, Salem, Mass. (through Feb. 10). Every emperor of the Qing dynasty had dozens of wives, concubines and serving girls, but only one of them could hold the title of empress. The lives of women at the late imperial court is the subject of this lavish and learned exhibition, which plots the fortunes of these consorts through their bogglingly intricate silk gowns, hairpins detailed with peacock feathers, and killer platform boots. (The Qing elite were Manchus; women did not bind their feet.) Many empresses' lives are lost to history; some, like the Dowager Empress Cixi, became icons in their own right. Most of the 200 odd dresses, jewels, religious artifacts and scroll paintings here are on rare loan from the Palace Museum in Beijing you will not have a chance to see these again without a trip to the People's Republic. (Farago) 978 745 9500, pem.org 'THE FUTURE' at the Rubin Museum of Art (through Jan. 7). It flies and flows and creeps. You measure it, spend it, waste it. It's on your side, or it's not. We're talking about time, and so is the Rubin. It is devoting its entire 2018 season and all its spaces to time as a theme, with an accent on the future. There's a fine historical show devoted to the Second Buddha, Padmasambhava ("lotus born"), subtitled "Master of Time." Judging by the images and models of him, Padmasambhava was a genial, if mercurial, teacher, alternately baby faced and beaming or stern in a nice dad way. Before he moved on from the mortal realm to a mystical mountain palace, he left karmic extensions of himself called "treasure revealers" also represented here in painting and sculpture who reach from the past into the present to change the future. This era leaping dynamic is operative in all parts of the Rubin's multifloor thematic installation. (Cotter) 212 620 5000, rubinmuseum.org 'THE JIM HENSON EXHIBITION' at the Museum of the Moving Image. The rainbow connection has been established in Astoria, Queens, where this museum has opened a new permanent wing devoted to the career of America's great puppeteer, who was born in Mississippi in 1936 and died, too young, in 1990. Henson began presenting the short TV program "Sam and Friends" before he was out of his teens; one of its characters, the soft faced Kermit, was fashioned from his mother's old coat and would not mature into a frog for more than a decade. The influence of early variety television, with its succession of skits and songs, runs through "Sesame Street" and "The Muppet Show," though Henson also spent the late 1960s crafting peace and love documentaries and prototyping a psychedelic nightclub. Young visitors will delight in seeing Big Bird, Elmo, Miss Piggy and the Swedish Chef; adults can dig deep into sketches and storyboards and rediscover some old friends. (Farago) 718 784 0077, movingimage.us 'BODYS ISEK KINGELEZ: CITY DREAMS' at the Museum of Modern Art (through Jan. 1). The first comprehensive survey of the Congolese artist is a euphoric exhibition as utopian wonderland, featuring his fantasy architectural models and cities works strong in color, eccentric in shape, loaded with enthralling details and futuristic aura. Kingelez (1948 2015) was convinced that the world had never seen a vision like his, and this beautifully designed show bears him out. (Smith) 212 708 9400, moma.org 'THE LONG RUN' at the Museum of Modern Art. The museum upends its cherished Modern narrative of ceaseless progress by mostly young (white) men. Instead we see works by artists 45 and older who have just kept on keeping on, regardless of attention or reward, sometimes saving the best for last. Art here is an older person's game, a pursuit of a deepening personal vision over innovation. Winding through 17 galleries, the installation is alternatively visually or thematically acute and altogether inspiring. (Smith) 212 708 9400, moma.org 'SARAH LUCAS: AU NATUREL' at the New Museum (through Jan. 20). Lucas emerged in the 1990s with the YBAs (Young British Artists), a group that included Damien Hirst and Tracey Emin and that didn't focus on a particular medium or style. They were postpunk which is to say, more focused on attitude than aptitude with a Generation X nihilism and malaise, as well as the clear message that anything, artistically, could be borrowed, stolen or sampled. Self portraits are among Lucas's weapons. Instead of sexualized, made up or fantastic portraits, hers are plain, androgynous and deadpan. And this exhibition, with its 150 objects many of them sculptures created in plaster or from women's stockings and tights stuffed with fluff is populated with penises and with cigarettes penetrating buttocks, rather than the breasts and vulvas modern artists have used to demonstrate their edginess. At just the right moment the MeToo moment Lucas shows us what it's like to be a strong, self determined woman; to shape and construct your own world; to live beyond other people's constricting terms; to challenge oppression, sexual dominance and abuse. (Martha Schwendener) 212 219 1222, newmuseum.org 'FRANZ MARC AND AUGUST MACKE: 1909 1914' at Neue Galerie (through Jan. 21). Marc and Macke worked at the forefront of German art in the early 1900s, experimenting with audacious simplifications of forms, infusing colors with spiritual meanings and, in Marc's case, specializing in dreamy portraits of otherworldly animals. With the Russian born Wassily Kandinsky, the two friends also helped found a hugely influential circle of Munich painters known as the Blue Rider. But this dizzying, overstuffed exhibit at the Neue Galerie ends abruptly: Both men were killed in combat in World War I, Marc at 36 and Macke at only 27. (Will Heinrich) 212 628 6200, neuegalerie.org 'BRUCE NAUMAN: DISAPPEARING ACTS' at the Museum of Modern Art (through Feb. 18) and MoMA PS1 (through Feb. 25). If art isn't basically about life and death, and the emotions and ethics they inspire, what is it about? Style? Taste? Auction results? The most interesting artists go right for the big, uncool existential stuff, which is what Bruce Nauman does in a transfixing half century retrospective that fills the entire sixth floor of the MoMA and much of MoMA PS1 in Long Island City, Queens. The MoMA installation is tightly paced and high decibel; the one at PS1, which includes a trove of works on paper, is comparatively mellow and mournful. Each location offers a rough chronological overview of his career, but catching both parts of the show is imperative. Nauman has changed the way we define what art is and what is art, and made work prescient of the morally wrenching American moment we're in. He deserves to be seen in full. (Cotter) 212 708 9400, moma.org 718 784 2084, momaps1.org 'ODYSSEY: JACK WHITTEN SCULPTURE 1963 2017' at the Met Breuer (through Dec. 2). A handsome exhibition adds a new chapter to the achievement of this revered American abstract painter: His objects in carved wood and found materials revisit and reclaim the forms, rituals and spirituality of African sculpture. All were made over numerous summers spent on the island of Crete and, until recently, remained there. (Smith) 212 731 1675, metmuseum.org 'THE PROGRESSIVE REVOLUTION: MODERN ART FOR A NEW INDIA' at Asia Society (through Jan. 20). The first show in the United States in decades devoted to postwar Indian painting continues a welcome, belated effort in Western museums to globalize art history after 1945. The Progressive Artists' Group, founded in Bombay (now Mumbai) in the afterglow of independence, sought a new painterly language for a new India, making use of hot color and melding folk traditions with high art. These painters were Hindus, Muslims and Catholics, and they drew freely from Picasso and Klee, Rajasthani architecture and Zen ink painting, in their efforts to forge art for a secular, pluralist republic. Looking at them 70 years on, as India joins so many other countries taking a nativist turn, they offer a lovely, regret tinged view of a lost horizon. (Farago) 212 288 6400, asiasociety.org/new york 'SCENES FROM THE COLLECTION' at the Jewish Museum. After a surgical renovation to its grand pile on Fifth Avenue, the Jewish Museum has reopened its third floor galleries with a rethought, refreshed display of its permanent collection, which intermingles 4,000 years of Judaica with modern and contemporary art by Jews and gentiles alike Mark Rothko, Lee Krasner, Nan Goldin, Cindy Sherman and the excellent young Nigerian draftswoman Ruby Onyinyechi Amanze. The works are shown in a nimble, nonchronological suite of galleries, and some of its century spanning juxtapositions are bracing; others feel reductive, even dilettantish. But always, the Jewish Museum conceives of art and religion as interlocking elements of a story of civilization, commendably open to new influences and new interpretations. (Farago) 212 423 3200, thejewishmuseum.org 'SOUL OF A NATION: ART IN THE AGE OF BLACK POWER' at the Brooklyn Museum (through Feb. 3). It will be a happy day when racial harmony rules in the land. But that day's not arriving any time soon. Who could have guessed in the 1960s when civil rights became law that a new century would bring white supremacy tiki torching out of the closet and turn the idea that black lives matter, so beyond obvious, into a battle cry? Actually, African Americans were able to see such things coming. No citizens know the national narrative, and its implacable racism, better. And no artists have responded to that history that won't go away more powerfully than black artists have. More than 60 of them appear in this big, beautiful, passionate show of art that functioned as seismic detector, political persuader and defensive weapon. (Cotter) 718 638 8000, brooklynmuseum.org 'THROUGH A DIFFERENT LENS: STANLEY KUBRICK PHOTOGRAPHS' at the Museum of the City of New York (through Jan. 6). This exhibition of the great director's photography is essentially Kubrick before he became Kubrick. Starting in 1945, when he was 17 and living in the Bronx, he worked as a photographer for Look magazine, and the topics he explored are chestnuts so old that they smell a little moldy: lovers embracing on a park bench as their neighbors gaze ostentatiously elsewhere, patients anxiously awaiting their doctor's appointments, boxing hopefuls in the ring, celebrities at home, pampered dogs in the city. It probably helped that Kubrick was just a kid, so instead of inducing yawns, these magazine perennials struck him as novelties, and he in turn brought something fresh to them. Photographs that emphasize the mise en scene could be movie stills: a shouting circus executive who takes up the right side of the foreground while aerialists rehearse in the middle distance, a boy climbing to a roof with the city tenements surrounding him, a subway car filled with sleeping passengers. Looking at these pictures, you want to know what comes next. (Arthur Lubow) 212 534 1672, mcny.org 'TOWARD A CONCRETE UTOPIA: ARCHITECTURE IN YUGOSLAVIA, 1948 1980' at the Museum of Modern Art (through Jan. 13). This nimble, continuously surprising show tells one of the most underappreciated stories of postwar architecture: the rise of avant garde government buildings, pie in the sky apartment blocks, mod beachfront resorts and even whole new cities in the southeast corner of Europe. Tito's Yugoslavia rejected both Stalinism and liberal democracy, and its neither nor political position was reflected in architecture of stunning individuality, even as it embodied collective ambitions that Yugoslavs called the "social standard." From Slovenia, where elegant office buildings drew on the tradition of Viennese modernism, to Kosovo, whose dome topped national library appears as a Buckminster Fuller fever dream, these impassioned buildings defy all our Cold War vintage stereotypes of Eastern Europe. Sure, in places the show dips too far into Socialist chic. But this is exactly how MoMA should be thinking as it rethinks its old narratives for its new home next year. (Farago) 212 708 9400, moma.org 'ANDY WARHOL FROM A TO B AND BACK AGAIN' at the Whitney Museum of American Art (through March 31) and 'SHADOWS' at Calvin Klein Headquarters, 205 W. 39th Street (through Dec. 15). Although this is the artist's first full American retrospective in 31 years, he's been so much with us in museums, galleries, auctions as to make him, like wallpaper, like the atmosphere, only half noticed. The Whitney show restores him to a full, commanding view, but does so in a carefully shaped and edited way, with an emphasis on very early and late work. Despite the show's monumentalizing size, supplemented by an off site display of the enormous multipanel painting called "Shadows," it's a human scale Warhol we see. Largely absent is the artist entrepreneur who is taken as a prophet of our market addled present. What we have instead is Warhol for whom art, whatever else it was, was an expression of personal hopes and fears. (Cotter) 212 570 3600, whitney.org diaart.org	N24News: A New Dataset for Multimodal News Classification	Art & Design
Many of our primate ancestors probably ended up in the bellies of big cats. How else to explain bite marks on the bones of ancient hominins, the apparent gnawing of leopards or other African felines? Big cats still pose a threat to primates. In one study of chimpanzees in Ivory Coast, for example, scientists estimated that each chimp ran a 30 percent risk of being attacked by a leopard every year. A new study suggests that the big cats may be getting some tiny help on the hunt. A parasite infecting the brains of some primates, including perhaps our forebears, may make them less wary. What does the parasite get out of it? A ride into its feline host. The parasite is Toxoplasma gondii, a remarkably successful single celled organism. An estimated 11 percent of Americans have dormant Toxoplasma cysts in their brains; in some countries, the rate is as high as 90 percent. Infection with the parasite poses a serious threat to fetuses and to people with compromised immune systems. But the vast majority of those infected appear to show no serious symptoms. Their healthy immune systems keep the parasite in check. Mammals and birds can also be infected. But cats in particular play a crucial part in the life cycle of the parasite: When a cat eats an infected animal, Toxoplasma gondii ends up in its gut. It reproduces there, generating offspring called oocysts that are shed in the cat's feces. The oocysts can last for months in the environment, where they can be taken up by new hosts. In the 1990s, scientists discovered that mice and rats infected with Toxoplasma gondii lose their natural fear of cat odors and in some cases even appear to become attracted to them. It was possible, researchers speculated, that the parasite had evolved an ability to influence the behavior of its rodent hosts, to raise the chances they might be eaten by cats. Subsequent studies have shown that the parasite can change the wiring of fear related regions of the rat brain. Robert M. Sapolsky, a biologist at Stanford University, said that these findings led many researchers to see Toxoplasma gondii as a parasite exquisitely adapted to rodents. According to this view, he said, "Toxo being able to infect a zillion nonrodent species is just some sort of irrelevant evolutionary dead end." Even so, Toxoplasma gondii can cause intriguing changes in our brains as well. In a 2015 study, for example, researchers found that women infected with the parasite are more aggressive than those without it; infected men behave more impulsively than parasite free men. Clemence Poirotte, an evolutionary biologist at the Center for Functional and Evolutionary Ecology in Montpellier, France, wondered if our understanding of Toxoplasma might be limited by the paltry number of species in which its manipulations had been studied. She and her colleagues decided to focus on chimpanzees, running an experiment on 33 apes at a primate research center in Gabon, nine of which had Toxoplasma infections. Instead of testing the reactions of chimpanzees to the odor of house cats, Ms. Poirotte and her colleagues turned to leopards, their natural predators. A veterinarian at a Gabon zoo supplied them with leopard urine, and they poured drops of it on the fence enclosing the space in which the chimpanzees lived. Stepping back from the fence, the scientists observed the apes to see how they responded. They also ran the same experiment with urine from three species that are not chimpanzees' natural predators: humans, lions and tigers. Sometimes, the chimpanzees would approach the fence and investigate the smell; other times, they would ignore it. Ms. Poirotte and her colleagues found that chimpanzees not infected with Toxoplasma investigated the smell of leopard urine less than the smell of humans. That's the sort of behavior you would expect if the smell of leopard urine alarmed the chimpanzees a healthy instinct that could keep them out of leopard territory and reduce their chances of getting killed. The Toxoplasma infected chimpanzees, on the other hand, checked out the leopard urine more often than that of humans, not less. They appeared to have developed the same recklessness observed in Toxoplasma infected rodents. "It's so interesting to see that Toxo seems to have evolved the same manipulation ability in an ape with respect to its natural feline predator," said Dr. Sapolsky, who was not involved in the new study. Other experts were also intrigued by the report. But Michael B. Eisen, a biologist at the University of California, Berkeley, said he didn't think it was powerful enough to rule out other explanations for how the chimpanzees behaved. There might be innate differences in how the chimpanzees respond to odors, for example, that have nothing to do with being infected with Toxoplasma. "I'd have to file this, at best, in the 'interesting but nowhere near convincing' file," Dr. Eisen said. Ms. Poirotte acknowledged that it might be possible to tease apart these different possibilities by testing the chimpanzees before and after being infected with Toxoplasma. That would be a very challenging experiment to set up, however. But the current study provided another piece of evidence that the parasite really was manipulating the chimpanzees. "It works only with leopard urine, and not with other felines which aren't their natural predator," Ms. Poirotte said. That's the kind of precision you'd expect from a parasite that has evolved a strategy for getting into one particular animal. "It's so specific that it suggests it's Toxoplasma causing the behavior modification," Ms. Poirotte said. She added that it would be useful now to study Toxoplasma's effects on other primate species. It may even turn out that our primate ancestors were once the primary targets of the parasite. When domesticated cats emerged several thousand years ago, the parasite might have expanded into a new host population that favored rodents rather than primates. "It certainly suggests that Toxo's behavioral effects in humans may be less of an irrelevant dead end than was always assumed," Dr. Sapolsky said.	N24News: A New Dataset for Multimodal News Classification	Science
And through all this, they just will not wear their goddamned masks. Haven't there been moments when I've thought, like a child wishing her mother dead: Let a hurricane wipe Lake Charles off the map! Good riddance! But now, my God, I take it all back. I love Southwest Louisiana in all its exasperating, hardheaded, soul crushing glory. Because here's what else the place is: It's the house my mawmaw and pawpaw built alongside our Cajun neighbors with whom we traded squirrels for electrical work, figs for rosary blessings. It's the Landrys, Joyce and Dan, who told my mother, unmarried and pregnant at 21, "If your mama and daddy kick you out, chere, cross the street and stay with us." It's the image of Joyce and Dan now elderly, unable to evacuate bedded down together in a hallway closet, their son crouching just outside the door, praying in the dark that the screaming winds wouldn't bring the house down around them. It's my favorite, most punk rock cousin, Dyann, and her unflappable good humor when she saw the limb that crashed through the roof of her house. "I always wanted an outdoor kitchen," she said, "but I thought I'd have an indoor kitchen at the same time." It's Ellen and her family with their grocery store in North Lake Charles, finding more community among their Black neighbors than among their white ones. Even so, after my mother lost her job at a pipe and supply warehouse when I was a kid, they had the grace to tell us, more than once: "Come to the store. Take whatever you need." It's another friend, Jeremy Boudreaux a drummer who survived Stage 3 Hodgkin's lymphoma and now, 10 years later, runs the Village Music School. He posted photos on Facebook of his ruined business the day after the storm, roof gone, instruments buried under ceiling tiles and insulation. "My Pawpaw didn't say a thousand Hail Marys when I was doing chemo for me to lay down when times got hard again," he wrote. Much of Southwest Louisiana is still uninhabitable. Its 200,000 residents are clearing fallen trees and power lines, tarping their roofs, scrambling for water to drink and food to eat and hotel vouchers and gas to get there. They're filling out applications for FEMA aid and wading through the mud of insurance claims. The high drama images, the "disaster porn" a casino boat lodged under the rickety I 10 bridge, toxic smoke pluming from a petrochemical plant, the fallen Confederate monument, a "skyscraper" (I mean, there's really just the one) shredded by the gale they don't capture the real devastation, its pervasiveness and likely longevity. I know you're tired. We're all tired. Every one of us is suffering our own losses, of every size and kind. This storm was, as one hurricane researcher said, "really, really bad instead of apocalyptic," and in a year like this one, apocalyptic seems to be the threshold for newsworthiness. Even in an ordinary year, an extraordinary hurricane holds this country's attention for only so long. Two whole years after Hurricane Maria cut its brutal path through Puerto Rico in 2017, tens of thousands of survivors were "still living under leaky tarps," The Times reported. Distance geographic and political makes it easy to forget about these places. But please put aside some space to remember that hurricane victims are suffering. We need public pressure on insurance companies and government agencies (I'm looking at you, FEMA) to offer help in a timely fashion. We need to know that our fellow citizens are rooting for us, and that compassion can reach even as far as a difficult to love place like Southwest Louisiana. Stephanie Soileau is the author of the story collection "Last One Out Shut Off the Lights." 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
John Bizimungu, a cobbler in Kampala, Uganda, has a cancer that has disfigured his right foot. He takes morphine for pain, but 25 million people worldwide die in agony each year without access to such pain relief.Credit...Charlie Shoemaker for The New York Times John Bizimungu, a cobbler in Kampala, Uganda, has a cancer that has disfigured his right foot. He takes morphine for pain, but 25 million people worldwide die in agony each year without access to such pain relief. KAMPALA, Uganda Pain is only the latest woe in John Bizimungu's life. Rwandan by birth, he has lived here as a refugee since his family was slaughtered in the 1994 genocide. A cobbler, Mr. Bizimungu used to walk the streets asking people if he could fix their shoes. Now, at 75 and on crutches, he sits at home hoping customers will drop by. But at least the searing pain from the cancer that has twisted his right foot is under control. "Oh! Grateful? I am so, so, so, so grateful for the morphine!" he said, waving his hands and rocking back in his chair. "Without it, I would be dead." Mr. Bizimungu's morphine is an opioid, closely related to the painkillers now killing 60,000 Americans a year a situation President Trump recently declared a "health emergency." The American delegation to the International Narcotics Control Board, a United Nations agency, "uses frightening war on drugs rhetoric," said Meg O'Brien, the founder of Treat the Pain, an advocacy group devoted to bringing palliative care to poor countries. "That has a chilling effect on developing countries," she said. "But it's ridiculous the U.S. also has an obesity epidemic, but no one is proposing that we withhold food aid from South Sudan." Uganda has implemented an innovative solution. Here, liquid morphine is produced by a private charity overseen by the government. And with doctors in short supply, the law lets even nurses prescribe morphine after specialized training. About 11 percent of Ugandans needing morphine get it. Inadequate as that is, it makes Uganda a standout not just in Africa, but in the world. Yet there is very little opioid abuse here; alcohol, marijuana and khat are far bigger problems. A recent major study by The Lancet Commission on Global Access to Palliative Care and Pain Relief described a "broad and deep abyss" in access to painkillers between rich countries and poor ones. The United States, the report said, produces or imports 31 times as much narcotic pain relievers it needs whether in legal or illegal form: morphine, hydrocodone, heroin, methadone, fentanyl and so on. Haiti, by contrast, gets slightly less than 1 percent of what it needs. And Nigeria, on a per capita basis, gets only a quarter of what Haiti gets: 0.2 percent of its need. Even in big countries with domestic pharmaceutical industries, citizens still get shortchanged on pain relief, the report said. India and Indonesia, the second and fourth most populous countries on the planet, each supply only 4 percent of their own needs. Russia is at 8 percent. China, at 16 percent, barely beats Uganda. "Each country has its own barriers," said Dr. James F. Cleary, director of pain and policy studies at the University of Wisconsin's medical school and a member of the commission that produced the Lancet study. In some countries, doctors get no palliative care training; in others, legislators or the police oppose importing narcotics or deliberately make prescribing them difficult because of what the report deems "opiophobia." Moreover, to treat all the children underage 15 needing it for severe burns, surgery, car accidents, pain from sickle cell disease, cancerous tumors crushing spinal cords and so on would cost a mere 1 million. "This is a pittance," the authors wrote, "compared with the 100 billion a year the world's governments spend on enforcing global prohibition of drug use." Some pharmaceutical companies do try to market patented time release oxycodone and other highly profitable opioids in middle income countries but governments are often wary because of the epidemic of drug abuse that has swept the United States. "You only have to see one Time magazine cover, and countries say, 'This isn't something we want,'" Dr. Cleary said. Demand for pain relief "needs a champion in each country," said Felicia Marie Knaul, a health economist at the University of Miami and lead author of the Lancet report. "Most people don't want to talk about pain and dying," she said. "And what makes it different from cancer is that the people who need it most are right about to die, and then they can't speak out." Uganda has had a national pain relief policy since the mid 1990s. It succeeded for several reasons: The policy had outspoken local champions: Dr. Anne Merriman, a former missionary nun who in 1993 founded Hospice Africa Uganda to care for the terminally ill; Rose Kiwanuka, the first nurse trained in palliative care in this country, who now heads the Palliative Care Association of Uganda; and Dr. Jack Jagwe, a health ministry official who recognized the need. Uganda's president, Yoweri Museveni, who has been in office since 1986, accepted the import of opioids after Dr. Jagwe endorsed them. Mr. Museveni's response to AIDS was also forward thinking; when other presidents were denying their countries even had it, he pioneered "ABC prevention" Abstain/Be Faithful/Use Condoms. And perhaps most important: the only opioid the government permits outside hospitals is pint bottles of morphine diluted in water. The drug is distributed free, at government expense, undercutting incentives for pharmaceutical companies to fight for market share. The bottles are a simple and ingenious way to prevent addiction. Getting high would require drinking gallons of the bitter, slightly nauseating solution. Distilling enough morphine to inject would require boiling away gallons. "You can drink a whole bottle and all you'd get is some nausea and constipation, and be sleepy," said Rinty Kintu, the Uganda coordinator at Treat the Pain. At the Cancer Charity Foundation, a hospice for adults with cancer in Kampala, liquid morphine is easing the last days of John Kanakura, 55, whose colon cancer has spread to his liver. "Since the cancer started about a year and a half ago, I have never really gotten relief," said Mr. Kanakura, who raised three children on his small farm after his wife left. "It is like someone is cutting me with a knife." Mr. Kanakura's daily bottle gives him about eight hours of pain relief, letting him get some sleep, his son, Philip Mutabazi, 18, said. Morphine is not prescribed nearly as freely in Uganda as opioids have been in the United States. "The U.S.'s addiction problem didn't come out of cancer wards, it came out of orthopedics and dental," said Dr. O'Brien. "Developing countries don't give opioids for sprained ankles or wisdom tooth extractions." The nonprofit, which is now part of the American Cancer Society, paid about 100,000 for machines to sterilize water, make plastic bottles, fill them and attach labels. Further mechanization is needed. On a recent visit to the operation, a pharmacist whisked powder and water together in what looked like a 40 gallon pasta pot, and medical students screwed caps onto the bottles. The line can churn out 5,400 bottles a day, "and everything is automated except putting the caps on," said Christopher Ntege, the chief pharmacist. "That is a small challenge compared to what we faced before." Despite its imperfections, the Ugandan model inspires others. "Many countries come here to learn how they should rewrite their laws and medical policies," said Dr. Emmanuel B.K. Luyirika, executive director of the African Palliative Care Association, an advocacy group. "This is a low cost initiative that should be used everywhere."	N24News: A New Dataset for Multimodal News Classification	Health
When American painter Bob Ross said, "There are no mistakes, only happy accidents," he was ostensibly referring to paint on a canvas. But Mr. Ross's mantra is just as true for fish from coral reefs, where the eggs of one species of fish and the sperm from another can sometimes combine to produce hybrid offspring with colors even more startling than that of their parents. Think of them as the happy little shrubs of speciation. Take, for example, the multibarred angelfish (Paracentropyge multifasciata), which boasts black and white stripes like window blind slats, and the purple masked angelfish (Paracentropyge venusta), which resembles a lemon drop with a brilliant purplish blue backside. When the two fish breed, they produce a blue and yellow hybrid swirled with white, almost like a slice of babka. When Yi Kai Tea, a graduate student at the University of Sydney and the Australian Museum Research Institute first saw this squiggly angelfish, he suspected it was a hybrid. Although coral reefs may appear to be a panoply of bright hues, many coral reef fish have colorful patterns as distinct as stamps. So when a hybrid happens, it's easy to spot. To find potential subjects, the researchers pored through photographs, old studies and museum archives. Mr. Tea even asked to see someone's pet fish. After comparing the mitochondrial DNA of 37 hybrids to that of their parents' species, the team found that a lofty 48 percent of marine angelfishes can hybridize, more than any other group of coral reef fish. This data topple the previous record holders, the butterflyfishes, a family in which more than a third of species are capable of producing hybrids. "Hybridization in reef fishes has been a conundrum for some time," Hugo Harrison, a molecular ecologist at James Cook University in Australia who was not affiliated with the paper, wrote in an email. The hybrid process was historically dismissed as a rare phenomenon among coral reef fish, but a growing body of research in the past few decades has uncovered a surprising abundance of hybrid reef fish, according to a 2015 paper in Current Zoology. In the case of butterflyfish, most hybrids happen in the narrow edges where two different populations meet. If a butterflyfish strays too far from its own kind, it may have trouble finding a mate of its own species. "So they'll mate with someone that looks the most like them," said Luiz Rocha, curator of fishes at the California Academy of Sciences, who provided examples of hybrids for the paper. But the new paper found that the majority of angelfish hybrids occur between species that live on the same reefs. At first glance, sympatric hybridization makes no evolutionary sense, and even poses a threat to species diversity. If a fish of one species could repeatedly produce viable offspring with another species living on the same reef, the two species could erode into one. One possible explanation is that angelfish reject monogamy. Unlike butterflyfish, which mate for life, angelfish live in harems where multiple females mate with a single male. "When the male identifies one female in his harem, they will rise up in the water column and release their sperm and eggs," Mr. Tea said. Once adrift, an egg is fair game for fertilization by a sperm from any other species. Although this can technically happen for all reef fishes, the chances of fluke fertilization are much higher with several angelfish species squatting on the same reef. "In the ocean, accidents happen," Dr. Rocha said. One of the paper's most surprising findings is that angelfishes can produce hybrid offspring with species possessing as much as 11 percent difference in mitochondrial DNA. "This is extremely remarkable," Mr. Tea said, noting that this evolutionary distance was equivalent of a liger (but not quite as far flung as the sturddlefish). Reef fish rarely hybridize across more than 6 percent difference, Mr. Tea added. "What's fascinating about this study is that hybrids are so common, not just geographically but also among species lineages." Dr. Harrison said.	N24News: A New Dataset for Multimodal News Classification	Science
LOS ANGELES Ejecting directors from its movie galaxy is starting to become a regular occurrence for Lucasfilm, which said on Tuesday that Colin Trevorrow would no longer direct the ninth chapter in the "Star Wars" saga. Mr. Trevorrow's departure follows another Lucasfilm shake up. In June, Kathleen Kennedy, Lucasfilm's president, fired Chris Miller and Phil Lord as directors of a coming Han Solo spinoff movie even though filming had already started and hired Ron Howard as their replacement. As with Mr. Lord and Mr. Miller, best known for "The Lego Movie" and "22 Jump Street," the ouster of Mr. Trevorrow was draped in Hollywood's usual public relations niceties. "Lucasfilm and Colin Trevorrow have mutually chosen to part ways," a statement posted on StarWars.com said. "Colin has been a wonderful collaborator throughout the development process, but we have all come to the conclusion that our visions for the project differ."	N24News: A New Dataset for Multimodal News Classification	Media
Kenneth Lewes in 2018. "I remember finding my way to the local public library and checking out books on psychology and human development," he said, "in hopes of finding some reassurance that my interest in handsome boys was only a stage that I would soon pass through." This obituary is part of a series about people who have died in the coronavirus pandemic. Read about others here. Kenneth Lewes grew up after World War II in a working class neighborhood of the northeast Bronx, the son of an immigrant couple who never got beyond grade school. He guessed even before he entered junior high school that he was gay. But it wasn't until he was nearly 50 and publishing what would become a critically acclaimed takedown of post Freudian psychoanalytic theories of homosexuality that he confided his sexual orientation to his parents. "I remember finding my way to the local public library and checking out books on psychology and human development," he said in an interview in 2019 with the Journal of Gay Lesbian Mental Health, "in hopes of finding some reassurance that my interest in handsome boys was only a stage that I would soon pass through." Dr. Lewes (pronounced LOO ess) was married at 23 and divorced by 32 the age when he had his first homosexual experience. "It seemed only natural for me to be out of the closet to my friends, colleagues and family," he said, "with the important exception of my parents, who, it had become clear over the years, did not want to hear anything on that particular subject. I came out to them almost 15 years later." Dr. Lewes died of the new coronavirus on April 17 in a Manhattan hospital, his partner, Gary Jacobson, said. He was 76. He is also survived by his sister, Noreen Vasady Kovacs. Dr. Lewes's major work, "The Psychoanalytic Theory of Male Homosexuality" (1988), traced the evolution of the prevailing view that homosexuality was a curable illness and explored what he called the psychoanalytic establishment's "century long history of homophobia." (The book's title was changed to "Psychoanalysis and Male Homosexuality" in later editions.) Drawing on some 500 primary sources, Dr. Lewes's book, which expanded on his doctoral dissertation, found that most analysts had adhered to "popular prejudice" against gay people and cliches about them. "Many analysts," he concluded, "have violated basic norms of decency in their treatment of homosexuals." He said he had been unable to find a single analysis of the subject written by a psychoanalyst who identified as gay. In his review of the book in The New York Times Book Review, Richard Green, a professor of psychiatry and the law at the University of California, Los Angeles, wrote: "A major fault in the bedrock of analytic theory has been, according to Mr. Lewes, a monumental misunderstanding of the Oedipus complex, long considered the rite of passage to normal, healthy heterosexuality. This misunderstanding created a false dichotomy between heterosexual wellness and homosexual sickness." Dr. Lewes found that the complex could lead to 12 alternative resolutions, six of them heterosexual and six homosexual. "All results of the Oedipus complex are traumatic," he wrote, "and, for similar reasons, all are 'normal.'" Dr. Green (who died last year), one of the earliest critics of psychiatry's classification of homosexuality as a mental disorder, praised Dr. Lewes for tracking "the politicized, moralistic and occasionally objective evolution of psychoanalytic theories of male homosexuality from the enlightened flexibility of Freud to the benighted dogmatism of his disciples," adding that "the history of how the single most influential school of psychology and psychiatry abused its power and mishandled the most politically and morally controversial of behaviors" constituted Dr. Lewes's "telling impact." Kenneth Allen Lewes was born on June 8, 1943, in Charleston, W.Va., to Joseph and Anne (Harvin) Lewes. His father was an English born furniture maker and antique restorer for the National Trust for Historic Preservation; his mother, born in Czechoslovakia, was a homemaker. The family moved to New York in 1947. There, intending to become a mathematician, Kenneth enrolled in the Bronx High School of Science, graduating in 1960. He then shifted gears, earning a bachelor's degree in English from Cornell University in 1964 and a doctorate in Renaissance English literature from Harvard. At the age of 36, after seven years as a professor of Renaissance literature at Rutgers University in New Jersey and without ever having taken a psychology course he made another transition and enrolled at the University of Michigan, where he earned a second doctorate, this time in clinical psychology, in 1982. His study of English proved surprisingly serviceable, though. "Literary criticism is generally better equipped to understand the depth and complexity of symbols," Dr. Lewes explained in the 2019 journal interview. "I vividly remember the first time I conducted a therapy group in a closed ward of a state mental hospital. I felt instantly at home. Here were people trying to put into words their deepest intuitions about life, much as people in the 17th century were obsessed with theological debate. The people in my therapy group, however, had not been dead for 300 years." He welcomed the greater acceptance of gay men by the psychiatric profession and society in general in recent decades. But with that progress he also lamented something lost what he called "the gay outlaw, the defier and challenger of traditional social values, the person who insisted that we find our own ways of being in society and not subscribe to the traditional values and limitations that stunted so many lives." "Instead of him," he said, "we now have the friendly next door neighbor, who may have adopted a child or two as well as an obligatory dog, and who would never think of challenging values that most Americans assume are timeless and part of nature."	N24News: A New Dataset for Multimodal News Classification	Science
Let's say you were a composer, and you wrote a symphony that received universal praise, deep academic study, performances by the most prestigious orchestras. Critics called you an heir to Bach and Beethoven. But you had a secret: Before you were famous, the music that spoke to you most was "MacArthur Park," "I Would Do Anything for Love" and other bombastic tunes of passion and loss. You outgrew it, sure. But between the notes, in the deep recesses of your symphony, that early taste for trash was still there. Something like that happened with European modern art and it's a tale historians have often resisted telling. The development of abstraction at the start of the last century is often told as a steady, formal progression, but many pre World War I artists were not thinking only about color and line. They were infatuated, too, with unhinged emotion and mystical mumbo jumbo, and the art that inspired that generation was, often, spiritualist schlock. It's on view in the Solomon R. Guggenheim Museum's revelatory and brilliantly tasteless "Mystical Symbolism: The Salon de la Rose Croix in Paris, 1892 1897," which plunges viewers into a Symbolist painting salon that shocked and enraptured viewers in the last decade of the 19th century. While Cezanne and van Gogh were down in Provence analyzing mountains and apples, up in Paris artists allied with a strange writer/spiritualist/charlatan named Josephin Peladan turned away from observation and toward over the top religious fantasy. All the paintings in this Guggenheim show were displayed in Peladan's annual, highly publicized exhibition: plaintive Orpheuses; pale femmes fatales; virginal maids in the wilderness, their pallid skin rendered in soft, vaporous brush strokes. All of them are excessive. Many are simply gross. But they are weirdly compelling, and for a host of later modernists writers like Pound and Yeats, artists like Mondrian and Kandinsky this sort of garbage spiritualism came like a breath of life after the rigors of realism. Hung at the Guggenheim against deep carmine walls, and with Wagner's "Parsifal" overture occasionally blasting from speakers overhead, "Mystical Symbolism" goes all in on the decadence of the Salon de la Rose Croix. (It has been organized by Vivien Greene, a Guggenheim curator, who also edited an illuminating catalog.) Peladan (1859 1918) was an author, critic and leader of a secret society, the Ordre de la Rose Croix du Temple et du Graal, that was one of several occult sects to arise during the Belle Epoque. He was also an avowed monarchist in republican France, and bestowed upon himself the bogus honorific of Sar: "leader" in Assyrian. Two portraits of him here give a sense of his showmanship. One, from 1891, pictures him with a fur hat and a dandyish lace collar; by 1895, his colleague Jean Delville painted him as a saint in white robes, eyes locked on the heavens, his finger extended forth as if preparing to bestow a revelation. Was Peladan serious? Parisians in the 1890s couldn't tell a case of clippings here includes mocking reports from newspapers of the day but he certainly acted the part, and the artists he invited to exhibit in the Rose Croix salons had to obey strict precepts: no still lifes, no landscapes, only art in the service of the divine. Often that took a Catholic turn, as in the divisionist "Vision," by Alphonse Osbert, in which a shepherdess gazes upward while a halo springs from her head and a lamb nuzzles her leg. But Peladan's spirituality was omnivorous, and other paintings here invoke Greco Roman motifs, especially the myth of Orpheus, and esoteric rites. The Rose Croix artists' other deity was Wagner, whose long operas, especially the late "Parsifal," treated art itself as a religious practice. Etchings after that opera by the Spanish artist Rogelio de Egusquiza, who met Peladan at Wagner's custom built theater in Bayreuth, appeared in the 1896 edition of the salon. The Guggenheim is exhibiting his gassy rendering of the holy grail, radiating light while a dove spreads its beneficent wings. These artists shared the spiritual inclinations of the Symbolists before them, among them Gustave Moreau and Pierre Puvis de Chavannes. They also dovetail with the Pre Raphaelites across the English Channel, who had similar tastes for knights' chalices and longhaired maidens. But there's a profligacy and messiness to much of the Salon de la Rose Croix that makes it stand apart from those more refined predecessors. Photographs can do only so much to convey how overwrought some of these paintings are and how they can beguile as much as they nauseate. For example, in "Orpheus in Hades," a large painting from 1897, Pierre Amedee Marcel Beronneau pictured that mythical lyrist with marmoreal flesh among the dusky condemned, and used a palette knife to chop the surface into a craggy hellscape. ("Orpheus in Hades" also appears on the front cover of the Guggenheim's catalog, whose backside is swaddled in plush red velvet.) "The Dawn of Labor" (circa 1891), one of several loony allegories by Charles Maurin, unites more than a dozen nudes into a disorderly, Rubens esque tumble, but their bodies are rendered as flat as the Japanese prints then in fashion. It is an incomprehensible painting, though it would have offered a rare hint of socialism in Peladan's largely right wing salon. Now we all gawp at these paintings, tsk tsk their misogyny and dismiss the salon's spiritual pretensions. But Peladan was ahead of his time in some ways, not least in his use of branding and personality to win publicity for his artistic endeavors. And world spirituality is making a comeback in contemporary art sometimes as an object of analysis, and sometimes, I fear, by true believers. The 2013 Venice Biennale featured at its heart the untidy blackboard drawings of Rudolf Steiner, while the 2015 Istanbul Biennial took its structure from the theosophical musings of Annie Besant, who believed thoughts had physical forms. This year's Venice Biennale, organized by the French curator Christine Macel, gives a prominent place to seers and shamans, to the point of being compromised. "The true artist helps the world by revealing mystic truths," reads one of the most famous works of Bruce Nauman, cast in brilliant neon in 1967. He meant it ironically but that expectation for artists to transport us from the everyday to the infinite has a pesky hold on us alleged moderns. In that way, the Guggenheim's sordidly fascinating show offers more than a gaze at an off ramp of art history; it lets us face up to the hunger, common today but usually disavowed, for an art that promises an escape from the world at hand.	N24News: A New Dataset for Multimodal News Classification	Art & Design
PLANET EARTH: BLUE PLANET II 9 p.m. on BBC America. "Never has there been a more crucial time to reveal what is going on beneath the surface of the seas," Sir David Attenborough says in the introduction of this sequel to the blockbuster nature series "The Blue Planet." It arms itself with a more direct appeal for conservation than its predecessor did, but it's still mostly observational and what a spectacle to observe! Dolphins, giant turtles and coral reefs are all captured in impossibly clear shots. Despite the high production values, there's a sense of primal delight, evident in an early scene featuring a pod of dolphins as they ride the waves in the Red Sea. "They surf," says Mr. Attenborough, "And, as far as we can tell, they do so for the sheer joy of it." SATURDAY NIGHT LIVE 11:30 p.m. on NBC. Jessica Chastain, who recently starred in "Molly's Game," will host "S.N.L." for the first time. The Australian singer songwriter Troye Sivan (whom The New York Times's Jon Caramanica called "an easeful polymath who manages to make big moments feel intimate") is the musical guest.	N24News: A New Dataset for Multimodal News Classification	Television
AT the 2001 Detroit auto show, before he was pulled back into the family business like the movie mobster Michael Corleone, General Motors' godfather for hire, Robert A. Lutz, gravely assessed the design studies on display: "A whole family of angry kitchen appliances, demented toasters, furious bread machines and vengeful trash compactors." Mr. Lutz, 80, is now retired from G.M., again. But I thought of him when I drove the new Chevrolet Spark: Mr. Lutz, your toast is served. With a nice coating of green marmalade. Yes, the Spark looks as though it's about to spit a load of brioche from its roof. But as strange as this mini city car may appear, the oddest thing about the Spark is the Chevy bow tie that gleams from its grille and hatch. Mr. Lutz, long associated with steroidal specials like the Dodge Viper, once pronounced global warming a "total crock." Yet the Berkeley educated former Marine fighter pilot always a blend of contradictions was soon shepherding the Chevy Volt plug in hybrid to production, saying the electrification of the automobile was inevitable. This Spark is not battery powered, not yet, though the model will lead G.M.'s electric car efforts with a low volume, limited market edition set to arrive next year. But the Spark's name, styling and park anywhere size did lead one Manhattan onlooker to assume that a cache of batteries was on board. Whether a gasoline version or electric, the Spark also suggests a road to Damascus experience for G.M. The company's obsession with paramilitary Hummers and other expressions of S.U.V. overkill nearly brought it to ruin when fuel prices ran up and buyers ran away. Currently earning billions as the "new" G.M., the company is not out of the woods. But while this 1.2 liter 84 horsepower urban runabout is about the slowest thing on wheels and as much a niche car in America as any Hummer its very existence says something good about G.M. On all fronts, the company is at least trying to anticipate market trends, rather than propagate an action movie fantasy worthy of Michael Bay. That is not to say there isn't room for cinematic Camaros or modern S.U.V.'s. What it does mean is that the parochial Midwestern bubble that once surrounded G.M. and in which Chrysler and Ford happily floated as well seems to have popped for good. The Spark also illuminates G.M.'s greater global focus, having been designed, engineered and built in Korea. The littlest Chevy, which replaces the larger Aveo, has been on sale internationally since 2009. This demented toaster is barely larger than a breadbox, 14 inches shorter than Chevy's Sonic hatchback and roughly 2 inches shorter than a Mini Cooper. Although a Mini or a Fiat 500 is sexier, sportier and much more expensive than the Spark, neither has a back seat nearly as habitable. The Spark is ultra affordable, starting at 12,995, rising to 15,795 for the line topping 2LT, and it never feels cheap or chintzy. That's especially true of the interior, which mimics style leaders like the Mini with swoopy shapes, body color trim and an instrument pod that sprouts from the steering column. My test car was laden with standard features that included stability control, 10 air bags, Bluetooth, cruise control, keyless entry and a leather clad steering wheel with audio and phone buttons. The styling follows a trend of cars like the Nissan Leaf E.V., which, deciding they can't be pretty, choose to be out there instead. That defiantly frumpy approach can be charming, as Nissan has managed with its Juke crossover. But I confess to feeling more silly than edgy at the wheel of this narrow, squashed face carnival buggy, even as it showed me a responsible 42 m.p.g. on the highway and about 37 m.p.g. over all. The manual shift Spark easily topped federal estimates of 32/38 m.p.g. in city and highway use. The green paint didn't improve my self esteem, either. Chevy calls it Jalapeno, but I'd never touch tongue to any chili with this irradiated shade. But then the Spark isn't aimed at people like me, who thought '80s hatchbacks were small. Instead, Chevy seems convinced that millennials, the much sought demographic segment ranging in age from about 16 to 31, are the Spark's natural audience. I picture more Gulf Coast retirees than Brooklyn hipsters in the Spark, but what do I know? I still think of Pabst Blue Ribbon as factory town swill. To that youthful end, the Spark's cabin is rich with connected technology that may well make its way to top luxury models rather than the usual trickle down from posh to poor. Its Chevrolet MyLink system integrates all its functions phone, music, video and navigation through an iPhone or Android phone. There's not even a slot for CDs. It's all managed, with reasonable smoothness, through a passive 7 inch display screen that doesn't require navigation or other systems to be embedded in the dashboard. Those systems can add thousands of dollars to the window sticker, and their maps and other features can quickly grow obsolete. In contrast, a phone based system can be updated as easily as downloading a new app. SiriusXM satellite service, as well as apps for Pandora and Stitcher Smart radio, are installed at the factory. There are pitfalls to current phone based systems: they can eat up cellphone minutes, and smartphone antennas are not as good as a car's antenna. Spark's apps, including route guidance, won't work in a tiny town or barren wilderness with no cell service. The familiar "Can you hear me now?" will become "I'm lost, can you find me now?" The Spark could also use one or two more dedicated buttons on the dashboard or screen, including a simple map button to return to the main view and an easy access volume control. But one thing is certain: the Spark's controls were more advanced and easier to operate than those of many cars that cost more. If only the Spark drove as well as it dialed calls or summoned Nick Cave and the Bad Seeds from the bowels of, um, an iPhone. The barely 2,200 pound microcar gets the job done on city or suburban streets for which it's intended. There's decent bump control and just enough urge to keep up with traffic, despite a 0 60 m.p.h. time well into the double digits.	N24News: A New Dataset for Multimodal News Classification	Automobiles
SEATTLE In August, nearly 300 employees of the running shoe and apparel company Brooks Sports Inc. will head to work at the company's new global headquarters, three miles north of downtown Seattle. Instead of nondescript buildings in an office park, they will cross the George Washington Memorial Bridge to encounter a sculpted troll underneath, a 16 foot statue of Vladimir Lenin, art walks and running trails. The neighborhood's motto is De Libertas Quirkas, or freedom to be quirky. While this artsy enclave isn't an obvious choice for building a 120,000 square foot corporate flagship, it's apropos of the company's decade long transformation from a troubled mass market shoe company to a premier running brand. This new ultra energy efficient building overlooking Lake Union puts Brooks exactly where it wants to be, in every sense. "You can access some of the best running trails in the city from right here," said Jim Weber, the chief executive of Brooks, pointing across the street to the Burke Gilman Trail, a 27 mile thoroughfare for runners and cyclists. "The opportunity to be right here, so close to our customers, is amazing." When Mr. Weber stepped in as chief executive in 2001, Brooks was struggling to find its footing in the marketplace. Despite early success making running shoes in the 1970s, bankruptcy and a revolving door of owners had taken it on a different path, mainly selling inexpensive shoes for a range of sports to discount retail chains. Mr. Weber scrapped the other divisions and turned the company's attention to developing premium running shoes and apparel, and in the process has increased revenue an average of 18 percent a year during his tenure. Brooks is now the top selling brand in independent running stores, recently reaching 500 million in annual revenue. Berkshire Hathaway bought its then parent company, the Russell Corporation, in 2006, and spun it out in 2012 as its own entity, though still owned by Berkshire Hathaway. In the meantime, Mr. Weber was faced with a new challenge where to put his growing army of designers, product managers, customer service representatives and marketing gurus. The company, which had taken over a floor in a second building in a Bothell, Wash., office park, was again squeezed for space, and its lease would soon be up for renewal. Staying wasn't an option, Mr. Weber said, "and we didn't want to be in another plain vanilla office park." Mr. Weber personally toured nearly 50 office sites in Seattle and surrounding cities, looking for just the right space to accommodate his growing team, help recruit top talent and make a statement about the Brooks brand. "It's a big deal to move a company," he said. "We had to be right about this." It was around this time that Lisa Picard, executive vice president of Skanska USA Commercial Development's Seattle office, heard that Brooks was in the market for office space. Ms. Picard, a runner and cyclist, wanted to build space for Brooks from the ground up. "I said, 'Let's get closer to the runner and try to create a trailhead,' " said Ms. Picard, who had been vice president for real estate and development at Canyon Ranch, which operates destination health spas and resorts. The office is across the street from the Burke Gilman Trail, which is popular with runners and cyclists. Stuart Isett for The New York Times Ms. Picard and her team narrowed the search to the Fremont and Wallingford neighborhoods, identified a one acre commercial lot suitable for the project and took their idea to Mr. Weber. Skanska would build a space that would resonate with Brooks, which agreed to a 10 year lease, with the right to renew. "I signed a lease on a building that didn't exist yet," Mr. Weber said, something his lawyers said was rare. The project wasn't entirely seamless. For one, it required moving Brooks employees to a temporary headquarters for 15 months during construction. "No company wants to do a double move, but we had no other option," he said. There was also a question of space. To build something large enough to accommodate Brooks for at least a decade, Skanska needed the city's blessing to build 20 feet higher than permitted by zoning. The city ultimately agreed, with the condition that the building meet rigorous environmental standards. These include capturing and reusing at least 50 percent of storm water on the site and using 75 percent less energy than a typical commercial building in the city. (The building is also on track to receive LEED Platinum status, the U.S. Green Building Council's highest designation for environmental features.) Some of these energy savings will come from the building's design. A hydronic heating and cooling system, for example, uses circulated water to control the building's temperature. High windows maximize natural light, while LED lighting and motion sensors further trim energy use. Other savings will come from changes in behavior. Most employees will swap their desktop computers for more efficient laptops and turn off everything at the end of the day. While taking the elevator is an option, a five story staircase is one of the building's most prominent features. It's enclosed in glass and visible from the lobby and the street. The parking garage has a dedicated bike lane and dozens of secure bike spots. First floor showers make human powered commutes more feasible, though showers time out after five minutes. "You take all of these things in combination and the environmental impact is significant," Ms. Picard said. Dashboards throughout the building will broadcast real time statistics on energy consumption. To further underscore the importance of conserving energy, Skanska commissioned the Seattle based artist Casey Curran to make a 7 foot by 8 foot kinetic sculpture for the lobby. The sculpture, which is tied to the building's energy grid, features brass flowers that gradually change position. When the building is running efficiently, the flowers bloom. When energy use is too high, they wilt. Absent from these plans is a large corner office for Mr. Weber, who will work out of a modest corner cubicle with a window looking onto the street. The best views facing Lake Union and downtown Seattle to the south are reserved for conference rooms and communal space. The move will include the opening of the brand's first retail location, which occupies a prominent spot on the building's first floor. The 4,600 square foot concept store is geared more toward connecting runners via events, lectures and clinics than selling merchandise. Still, Mr. Weber thinks everyone upstairs will benefit from daily interaction with customers. "We're going to learn a lot," he said. When Brooks invited runners to send in medals to be cast for a sculpture just outside the store, runners sent 1,500 medals from around the world, collected on every continent with the exception of Antarctica. It will be just one of the features, including edible plants, water fountains and quirky bike racks, on the large plaza outside the building, a fitting trailhead for Fremont.	N24News: A New Dataset for Multimodal News Classification	Real Estate
With clothing, Marine Le Pen casts herself as the mother of France, Ms. Friedman writes: On Wednesday, when the far right presidential candidate of France Marine Le Pen took the stage in the circular television studio in La Plaine Saint Denis north of Paris for a potentially decisive debate against her centrist rival, Emmanuel Macron, she did so in a neat navy jacket, collarless V neck white blouse, pegged trousers and spiky heels. Her makeup was soft, her signature blond flip gently curled at the edges. The classic C suite palette telegraphed a pulled together professionalism (she almost matched with Mr. Macron), the shoes suggested an unapologetic femininity and the hair added a motherly halo. For the country glued to the TV, it made for a strategic statement, even before she said a word. And it underscored the point made by Samir Hammal, a professor of constitutional law at Sciences Po (the Paris Institute of Political Studies), who said that while "our male presidents have traditionally cast themselves as the fathers of the nation, she has cast herself as the mother." To this end, she has been a master at dressing the part. After all, one of the things the 48 year old lawyer and mother understood from the very beginning of her political career was just how large a role her own style could play in reshaping perception, not just of herself and her family, but of their party itself. Whatever you think of her politics, and the broader implications of her rise and that of the far right in Europe, that she has gotten so far means it is important to consider the way she has gone about normalizing what was once dismissed as fringe. In this, clothes have played a central role. Just because they did so in a country where dress is not deemed an unseemly consideration for serious people, and self expression through fashion is practically a sacrament, does not make her tactical use of her wardrobe any less resonant for us all. Since 2011, when Ms. Le Pen took over the party her father built and moved it away from its anti Semitic, racist and xenophobic roots to make it a palpable, if uncomfortable, force in French politics, she has been deft about using her own image as a tool in separating herself from the French elites, and about making her formerly toxic party look ... well, like everybody else. Literally. She has transformed herself, as Mr. Hammal said, from the extremist next door to the "woman next door." "All past leaders, from Louis XIV to Napoleon, have used costume to create legitimacy for their power," Mr. Hammal said. "But Marine Le Pen is one of the best." She realized early on, he said, that dress could be a tool to help legitimize her party. And that as a woman, with all the greater wardrobe choice and freedom that suggests, she was the ideal person to wield it. It began with a haircut. In 2007, when Ms. Le Pen became the director of strategy for her father's presidential campaign, she lopped off her Farrah Fawcett locks and adopted her shoulder grazing flip, going from seductive to Doris Day with a touch of the curling iron. Like Hillary Clinton and Angela Merkel, she adopted a uniform of basic pantsuits, though she alternates them with straight, above the knee skirts to emphasize her femininity (see her much discussed campaign poster with its flash of thigh) and the occasional jeans and trench coat. The message was generic female executive with a patriotic color palette: red, blue and white, the tones of the tricolor, set off against black and white. She has made something of a signature out of being unbranded, abandoning her Dior sunglasses along with the couture trappings of the patrimony that have long been embraced by the French female political establishment. Christine Lagarde, the managing director of the International Monetary Fund and a former finance minister, for example, is known for her Chanel jackets and Hermes bags. Rachida Dati, a former justice minister in Nicolas Sarkozy's cabinet, was shown in a Dior dress on the cover of Paris Match. And Nathalie Kosciusko Morizet, a former mayoral candidate in Paris, wore Dior when she attended the Celine show during her campaign. (She lost, which may have been a signal that things were changing.) Even Brigitte Macron, the wife of Mr. Macron, recently came under fire for borrowing clothes from Louis Vuitton, a practice she began when her husband was finance minister. By contrast, Ms. Le Pen went so far as to rent a caped, halter neck blue gown (designer: who knows?) to wear to the Time 100 gala in 2015. Though there was some head scratching about the choice, the message was meant to resonate with her base at home, not her fellow partygoers. Indeed, she has been adept at adopting her clothes to her constituencies: wearing a bright red jacket, navy shirt and pumps at a party rally; wrinkled black trousers and a zip up jacket on the streets of Amiens while talking to striking factory workers. Mr. Hammal calls this "mirroring," and for a politician running on a populist ticket, claiming to feel the pain of marginalized working men and women, it has been indubitably effective. "If you listened to the same speech coming out of the mouth of a man, it would not have the same effect," he said. "But because of how she looks when she says it, how maternal she seems, it's much easier to hear." After all, in the encyclopedia of political tactics, makeover comes just after Machiavelli. Or, perhaps it should from now on. He is the teacher's pet, or chouchou, who once dressed like the big kid who literally married his high school instructor. He is an economics geek with a degree in philosophy who headed a government finance ministry while clad in the strictly tailored power suits favored by members of the Grandes Ecoles elite. He is athletic and mediagenic, a Kennedy style maverick, a candidate for the digital age and also one whose pretty boy looks helped propel him onto GQ France's best dressed list just as his pragmatic and business friendly rhetoric carried him to the head of a field of seasoned politicians in the French elections. He is Emmanuel Macron, the centrist candidate who faces off this week in the second and final round of voting for the presidency against his rival, the far right candidate Marine Le Pen. As a 39 year old political novice, Mr. Macron has repeatedly demonstrated that a lack of experience running for public office is no deterrent to an ability to manipulate image and shift shape on a dime. His clothes have been one of the many platforms he has used to convey his message to the divided population. "His style and self presentation reek of health, vigor and physical prowess," Anja Aronowsky Cronberg, a senior research fellow at the London College of Fashion and an expert on fashion semiotics, said in an email. "The sharp suits make him look disciplined, but also energetic," Ms. Cronberg added, and they offer a defining visual contrast with the rumpled and often fumbling appearance of the departing president, the Socialist Francois Hollande. Superficially, Mr. Macron's sober two button suits are all but indistinguishable from those favored by most high level French businessmen and politicians. Yet they have been modified and altered repeatedly as his poll numbers shifted and he sought to look more although never too baldly presidential. In other words, when the dapper tailored suits the candidate wore in both his ministry days and at the start of his campaign invariably with a sky blue shirt and Windsor knotted, solid color four in hand tie first drew attention for their obvious price tags, he promptly ditched them. "No ordinary person wears suits that cost 1,000 euros," Mr. Macron's right hand aide, Ismael Emelien, said. "That's too expensive." When his natty midnight blue suits began attracting the perhaps unwanted attention of the French fashion news media, the candidate immediately lowered his sartorial profile and his expenses. Soon he was spotted dressed as a midprice version of his former self, clad in clothes made for him by Jean Claude and Laurent Toubol, whose small tailoring shop in the Paris garment district has become a default outfitter of French tyro politicians, from Guillaume Larrive, 40, a member of the French National Assembly, to Patrice Bessac, 39, the Communist mayor of Montreuil.	N24News: A New Dataset for Multimodal News Classification	Fashion & Style
When Jason Biggs and Jenny Mollen bought their TriBeCa loft in 2013, they weren't concerned that the living room windows were on the side of the building that bordered the adjoining property. In fact, they were perfectly positioned to offer views of the Hudson River over the parking lot next door. Then the parking lot owners got bought out. Related Companies began construction on a 10 story luxury rental building on the site and, within a year, the couple's wide shot of the river became a close up of a wall. In 2017, according to public records, the couple, who are both actors, sold the home for just a sliver above the 2.55 million they originally paid even though TriBeCa prices had soared during the years they owned it. "I wasn't even sure if we were going to be able to sell it," said Frances Katzen, who represented the pair with fellow Douglas Elliman broker Maggie Zaharoiu. "It was definitely a little bit stressful." "Lot line is no joke," Ms. Katzen said. Most New Yorkers understand that their views will change, for better or worse, over time. But lot line windows are by definition temporary, allowed to exist and provide light and a view, on the condition that the next door neighbor doesn't want a new building or addition. Owning or renting a property with a lot line window means living in limbo. It also means that sales transactions can be more complicated and that what is happening next door can have a big effect on your property's value. The windows appear mostly in older buildings that were originally erected next to empty lots or lower structures, said Tom Fariello, first deputy commissioner for the New York City Department of Buildings. Some newer buildings will put them in and submit a document filed with the deed so that anyone, including future potential buyers, can know that if something is built next door, the windows will have to be blocked up. And occasionally, residents will install one off lot line windows, which explains some of the odd walls that appear across the city, studded with one or two seemingly random openings. Louise Asher and her husband added one of these windows to the side of their townhouse in Windsor Terrace, Brooklyn. When they had their second child, they decided to expand their apartment from the third floor to include part of the second floor, and move their kitchen downstairs. "These buildings just have the light in the front and the back, and we had the space, so we thought it would be nice to have a window in the kitchen," she said. Their lot line window looks onto Our Lady's Field, a community sports field owned by the nearby Holy Name of Jesus Roman Catholic Church. "Of course, that won't stop them from selling the field and building a building," Ms. Asher said. While lot line windows may be legal, they can't be counted for light and air, because they might not be there tomorrow, Mr. Fariello said. A living room or bedroom with lot line windows must also have legitimate windows elsewhere to be considered legally habitable space. There are cases that are grandfathered in, said Andrew Berman, executive director of the Greenwich Village Society for Historic Preservation. "Going back to the late 19th century, it was perfectly legal to build bedrooms that had no windows whatsoever," he said. Later laws required windows, but they could open onto a small air shaft that provided very little light or air. Buildings that predate modern regulations may be permitted to have bedrooms whose windows have very little clearance, he said. But the city's rules about windows aren't arbitrary. "This is a way of controlling fire moving from one place to another," said Keith Wen, a technical adviser for the Department of Buildings. When new construction comes within three feet of a lot line window, the window has to be made to behave like a regular wall. Fire resistant windows are an option, but it is often cheaper to fill the openings with brick, masonry or other suitable materials. Just how temporary a lot line window is depends largely on what is next door, said Jonathan J. Miller, president of the real estate appraisal firm Miller Samuel. "If you're in an apartment on a floor high enough to have a nice view and there's a landmark church next door, then in your lifetime you're probably not going to lose that view," he said. "If there's a gas station or a low rise building that's old and derelict, the pendulum swings in the other direction." Broader market forces also have an effect. In boom times, empty lots are more likely to be filled, and smaller, shabbier buildings bought and replaced. In the current market, chances are dwindling that lots and low rises will stay that way. According to the New York Building Congress, an industry association, the city has been in the midst of a construction boom of a magnitude likely not seen since the early 1970s. Though the Department of Buildings doesn't track the number of lot line windows, Mr. Wen said he believed Manhattan residents were most likely to be affected. "But nowadays Downtown Brooklyn as well," he said. And "eventually, some areas in Queens where you start to have taller buildings." Mithun Islam, an executive vice president at Outsource Consultants, which specializes in expediting building permits in New York, said numbers were on the rise. In the last 10 years, he estimated, about 20 percent of buildings with lot line windows have been affected by construction, an uptick from prior years. Anecdotes provide perspective on the pervasiveness of lot line windows and there are a lot of anecdotes. On the Upper West Side, many renters at West River House, whose 22 stories replaced the main sanctuary of All Angels' Church in the early 1980s, were startled when the modest retail space next door was razed for a condominium building designed by Robert A.M. Stern. Leslie Bottrell, a 43 year old physician, moved into West River House with her husband and two children in 2016. Their real estate broker had been thorough, Dr. Bottrell said, so they knew that the building next door was marked for demolition. "But it could be years from now, whatever. It was zoned for good schools. So we took it," she said. Their 20th floor apartment had views on three sides, including a glimpse of Central Park to the east. Within a year, blasting had begun. When their lease came up for renewal, the family tried to negotiate with the landlord. "There was heavy, heavy construction," she said. "Noise. We said to them, 'We are likely to lose our view. How about a rent reduction to reflect that?' They said, 'We don't do that.'" They returned from Christmas vacation to find that the windows in their kitchen and master bathroom had been blocked with plywood, which was later covered by drywall. In the bathroom, the lack of ventilation soon triggered mold growth, Dr. Bottrell said. The family felt the building had botched the repairs and recently moved out. A representative for the building owners declined to comment. The answer can have significant ramifications. Sellers might have to lower expectations; buyers or renters might have more leverage to bargain. "A corner apartment with a lot line window on one side does it behave like a corner apartment?" Mr. Miller said. "In most cases it doesn't; it's something less." A buyer or renter shouldn't take at face value any assurances about the view from landlords, sellers or brokers, assuming they even make them. Sellers have no obligation to point out that a property has lot line windows, said Jamie Heiberger Harrison, a real estate attorney. Developers, however, do: They're required to disclose them in the "special risks" section of an offering plan. "It's part of the due diligence, finding this out," Ms. Heiberger Harrison said. That might involve contacting an architect to learn about local zoning restrictions, hiring a title company to find out who owns various rights and examining public records. "We can only work with the information that's available current day," she said. "I would never make a guarantee to somebody about the future." On the flip side, not all lot line views are destined to disappear. "It's not necessarily a bad thing as long as you're aware of what it is and what it isn't," said Ms. Katzen, who once sold a penthouse loft that had lot line windows on one side. "The land next door was so narrow that it was very unlikely a developer would build it up. There's no value there." Either way, lot line windows come with zero rights. "There is a somewhat commonly held misconception that lot line windows are in some way protected," said Mr. Berman, of the Greenwich Village Society for Historic Preservation. But even in a landmark district, he noted, "it doesn't mean that nothing can be built under any circumstances." The neighbors have no obligation to build around lot line windows or to pay for any changes to your side of the line. Sanae Robinson Guerin wishes she had taken action 20 years ago. Ms. Robinson Guerin, a creative director, lives in "an amazing little jewel of an apartment" in the West Village, which she shared with her husband before he died. "When I moved to New York, the corner had a parking lot and an auto body shop, or some other low lying building," she said. "You're kind of are aware that this is New York, real estate is incredibly precious, and that probably won't be there forever. But then you just put it out of your mind." The building wrapped around the corner lot, giving Ms. Robinson Guerin's sixth floor apartment views of Perry Street to the south and the Hudson River over the parking lot to the west. A development team that included Richard Born, Ira Drukier and Charles Blaichman bought the lot and commissioned Richard Meier to design what would become 173 Perry Street, which opened in 2002. The construction noise made plates of food dance on the table, Ms. Robinson Guerin said. And eventually cinder blocks replaced the view from one of her bedroom windows. "You have to get used to the lack of ventilation, the lack of light in the room," she said. "For a while it was like, 'This is really going to change my life.'" The developers offered to fix up Ms. Robinson Guerin's side of the window by plastering it over or turning it into a built in bookcase. She opted for the former, although she later had shelves put in. She misses her view, but the Meier building "has acted as a sound buffer," Ms. Robinson Guerin said. "There's sort of a silver lining in that." Erik Wicker, a 42 year old freelance graphic designer, also discovered some upsides to having a lot line window blotted out. When he moved into his one bedroom walk up in Astoria, Queens, five years ago, one of the two empty lots nearby was slated for a new building. "The broker didn't mention it at all," Mr. Wicker said, and "I didn't ask." Several months later, a neighboring mosque began building on the land. After years of stop and start construction, the structure covers one of Mr. Wicker's three bedroom windows, which used to look out on Steinway Street. "Now I'm facing the wall of their building, which is a very distinctive pink," he said. Still, the room no longer overheats in the afternoon sun, and there is less noise from Steinway Street. And Mr. Wicker is the rare person who appreciated the prospect of a dimmer life. In his 20s, he had Ramsay Hunt syndrome, a form of shingles that left him with mild nerve damage and makes him sensitive to light. "I still get daylight," he said cheerfully, of the room. "It's not a blackout effect or anything. I still have houseplants." 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
WARSAW Does Poland have the last healthy economy in Europe? With robust economic growth, rising foreign investment and a new luxury high rise, designed by Daniel Libeskind, redefining the Warsaw skyline, it certainly feels like a different world from most of its neighbors, troubled by the debt crisis and recession fears. Not being part of the euro zone turns out to have been a blessing for Poland and a lesson in how a national currency can help a country absorb international shocks. But business executives and government leaders are rightly nervous about how long this country of 38 million, the only one in the European Union to avoid recession in 2009, can again escape the euro area's pain. "Poland remains an island," said Lucyna Stanczak, country director for the European Bank for Reconstruction and Development. "The question is, Is it going to remain this way? The slowdown in Western Europe will affect Poland one way or another." Trouble is already spilling over the border. Many of Poland's banks are expected to change hands as their West European parent companies, like Commerzbank of Germany, struggle to raise cash. The country's main stock index is down 24 percent since April as international investors reflexively lumped Poland into the same category as ailing East European countries like Hungary or Romania. While there is officially no credit squeeze in Poland, small business loans are increasingly hard to come by. "Small companies are not getting financing unless they have a 10 year history and a factory," said Anna Katarzyna Nietyksza, president of Eficom, a Warsaw consulting firm that provides advice to companies on how to apply for European Union funds or for listing on the Warsaw Stock Exchange. "If you don't have collateral, something concrete, you don't get financing." Although Poland remains staunchly pro European, there have been stirrings of discontent, particularly in the main opposition Law and Justice Party led by Jaroslaw Kaczynski, the former prime minister. A rally against closer European integration led by Mr. Kaczynski drew about 3,000 people to the streets of Warsaw on Tuesday, according to a police estimate cited by The Associated Press. For now, though, Warsaw seems to be one of the few boomtowns left in the European Union. Leveled in World War II and rebuilt with a heavy hand by the Communists, the city is in the midst of a big expansion. New ring roads, mass transit and bridges may eventually relieve the chronic traffic jams. An undulating 54 story apartment complex designed by Mr. Libeskind, who is based in New York but was born in Poland, will finally offer a challenge to the Palace of Culture and Science, built by the Russians as a monument to Stalin, for supremacy on the Warsaw skyline. Piotr Czarnecki, chief executive of the Polish operation of Raiffeisen Bank International, an Austrian bank, complains that his daily commute, which should take 20 minutes, often takes an hour and a half because of the city's jammed roads. "I was born in Warsaw, my whole family comes from Warsaw for many generations," he said. "I have never seen such a tremendous scale of investment." There are other signs of emerging wealth. The city has a Gucci outlet and a Ferrari dealership, the latter occupying part of a building that was once headquarters of the Polish Communist Party. Next to the Ferrari showroom, the Warsaw Stock Exchange gained 38 new listings in the three months through September. As a result, Poland ranked behind China and ahead of the United States in the number of initial public offerings during the third quarter, according to a tally by the consulting firm Ernst Young. Measured by the amount of capital raised, Poland ranked fourth with 2 billion, behind the United States but well ahead of Britain or Germany. Poland is expected to grow 2.5 percent in 2012, according to the Organization for Economic Cooperation and Development. That is a marked slowdown from more than 4 percent in 2011, but still vibrant compared with Western Europe, which is heading toward recession. Poland even outshines much of Western Europe in terms of political stability. In October, Poles re elected a government led by Prime Minister Donald Tusk. It was the first time since the fall of the Iron Curtain that Poles had given a government a second consecutive term, and it contrasts with Western Europe, where turmoil related to the debt crisis has led to the removal of leaders in several countries. Officially, Poland is still moving toward adopting the euro. In fact, membership is mandatory under the terms of the agreement that allowed Poland to join the union in 2004. "The official view is yes, we would like to be in the euro zone," said Andrzej Raczko, a member of the management board of the National Bank of Poland, the central bank. "But it's difficult to tell now when." The timing depends on how quickly Poland meets the economic and budgetary criteria to join, he said, as well as the scale and speed of euro zone reforms. The earliest Poland might be ready would be around 2015, officials say, but they have not set a target. Poland has on balance benefited from a decline in the value of the zloty against the euro, economists say, helping the country's exports remain price competitive on world markets. The advantages of having a national currency are not lost on local business people. "We intend to join the euro," said Ludwik Sobolewski, chief executive of the Warsaw Stock Exchange. "But it would make sense to wait until the euro zone is healthier." Still, Poland is economically inseparable from Western Europe. More than half of Polish exports go to the euro area, and more than one quarter to Germany, which is by far the largest trading partner. The Polish banking market is dominated by institutions like UniCredit of Italy, Santander of Spain and Commerzbank, which are under severe pressure from regulators to bolster their cash reserves. Despite assurances by the banks that they stand by their subsidiaries, policy makers fear that the foreign owners might starve the Polish units of capital or be tempted to sell to less savory buyers.	N24News: A New Dataset for Multimodal News Classification	Global Business
Death stalks us always. It is a bitter truth we tend to shove from our thoughts in typical times. But during a pandemic, we cannot. It is before our eyes daily, in the news, in our communities, sometimes in our homes. We lose beloved public figures every year, of course. But this year we lost them with an awful and steady rhythm, often for reasons that had nothing to do with the coronavirus. Sports was not immune. Who can forget the helicopter crash in January that killed Kobe Bryant, his daughter Gianna and seven of their friends? Their obituaries reminded us of athletic greatness, better days and brilliance too often overlooked. Joe Morgan, Don Shula and John Thompson. But also Vicki Wood, among the first women to compete in NASCAR. And Nancy Darsch, the brilliant basketball coach. And Eva Szekely, a Jewish swimmer from Hungary who survived the Holocaust and won Olympic gold. Our personal sports icons have a way of living alongside us, enduring and powerful in our memories. We marvel at their talent, their ability to perform during the tensest moments. Their stories become guides. Their victories and bitter losses become signposts marking the march of time. Last week, I lost such an icon. The great decathlete and humanitarian Rafer Johnson died at age 86. When I read the news, I shuddered. I bowed my head and said a prayer of thanks for the way his story had shaped me and for the one time we met. My memories of Rafer Johnson stitch well into my childhood, my teens and beyond. I remember 1984, sitting in front of a television with my parents as we watched the opening ceremony of the Summer Olympics. Johnson, then 49, strode the stairs of the Los Angeles Memorial Coliseum to light the Olympic torch. If you want to be like someone, my father said, reiterating something he had been telling me for years, "be like Rafer Johnson." Growing up, as I did, with idealistic parents who crossed the color line to marry in 1954, athletes like Johnson, Jackie Robinson and Arthur Ashe were held up as the ideal. Such reverence was about how these sports stars carried themselves as African Americans and the way they blended sports with scholarship, committed to helping others and embraced all parts of humanity. How perfect that Johnson burst onto the world stage at the 1960 Summer Olympics in Rome. With the Cold War raging and the battle for civil rights gaining steam in the United States, Johnson became the first Black athlete to carry the U.S. flag at the Olympics. The role was a symbolic retort to the Soviet Union, which delighted in highlighting America's segregation, and a signal that change was on the way. "Rafer Johnson, the person and the athlete, was viewed as a powerful antidote to the otherwise irrefutable poison of American racism," David Maraniss writes in "Rome 1960: The Olympics That Changed the World." "No one could question his sense of purpose or his good will." Johnson ended up capturing the gold medal in the decathlon by fending off his close friend and U.C.L.A. training partner, C.K. Yang, who was competing for Taiwan. Their battle was among the most stirring in Olympic history and with the victory, many considered Johnson to be the greatest all around athlete in the world. It was Johnson's last competition, but he hardly shrank from the stage. After the 1960 Olympics, having met at an awards ceremony, Johnson grew close to Robert F. Kennedy, who, as it happened, was the one politician who held saint like status in my household. During Kennedy's race for the White House in 1968, Johnson was a regular in the candidate's entourage. "My old friend, if I may, Rafer Johnson, is here," Kennedy announced to supporters during the joyous speech delivered after his victory in California's Democratic primary. Moments later, as the two men passed through the kitchen of the Ambassador Hotel in Los Angeles, gunshots flashed. Johnson, who had been just feet behind Kennedy, helped to tackle Sirhan Sirhan and wrestle the assassin's .22 caliber revolver away. At Kennedy's funeral, Johnson was among the pallbearers. In the weeks that followed, he struggled against the urge to wall himself off. But another Kennedy, Robert's sister Eunice, drew Johnson into her effort to create the Special Olympics for people with disabilities. It would become his calling. "Mrs. Shriver would tell me that 'even if people had disabilities, they could still be the best they could be,'" Johnson told a reporter. "'Nobody should be denied that opportunity.'" "That's all I needed to hear. I was in." For the next five decades, Johnson became a leader in the Special Olympics movement. The role was a glovelike fit for a man who became known as much for helping others as for his exploits in sports. "Everyone blessed enough to be around Rafer, their lives were improved," said Valorie Kondos Field, the former U.C.L.A. women's gymnastics coach and a close friend of Johnson's. She added, when we spoke last week, that he was always there for those in need, whether on campus or in the community. "But Rafer took it a step further," she said. "He didn't just help make you better he lifted you up when you needed it."	N24News: A New Dataset for Multimodal News Classification	Sports
WASHINGTON Sundar Pichai, Google's chief executive, toured the nation's capital this week trying to assuage concerns from both parties about the company's size and influence, and whether its search results have political bias. Mr. Pichai, who had largely avoided meeting with lawmakers, will be coming back. Representative Kevin McCarthy of California, who organized a meeting with Mr. Pichai on Friday, said he expected him to attend a congressional hearing later this year. The hearing will address questions of political bias, as well as Google's potential plans to re enter the Chinese market, said Mr. McCarthy, the House majority leader. Mr. Pichai confirmed in a statement that he would testify in "due course." In addition, he has agreed to participate in a discussion with other tech industry leaders and President Trump, said Larry Kudlow, the director of the National Economic Council. Google had declined to send Mr. Pichai to testify this month at a Senate Intelligence Committee hearing about foreign manipulation of social media. The absence upset many lawmakers, leading to his visit this week.	N24News: A New Dataset for Multimodal News Classification	Technology
Hi, I'm Jay Roach. I am the director of the film "Bombshell." So in this scene, we see Margot Robbie, who's playing Kayla, take a call from clearly, from Roger Ailes' office. And Kate McKinnon, who's playing Jess, in the cubicle with her. We have just seen, a few scenes back, that Roger is harassing Kayla right this minute and is now pressuring her to come back up. We've also seen that Kate McKinnon's character has warned her not to talk about it. So right away, it's about staying silent. The score is playing this sort of haunting, all women's voices as the instrumentation, almost Phillip Glass thing that Teddy Shapiro came up with to emphasize how alone she is on this walk. And she walks into this elevator and thinks she can be alone. But in walks her actual idol, Megyn Kelly, played by Charlize Theron. And now, two women, who both have secrets, who both have been harassed, are in the same tight space and won't say a word to each other. And they're going to ride this elevator up to the floor where Roger Ailes is. And this shot here is such a great example of Barry Ackroyd's incredibly humanistic operating. He's just watching the people and paying attention to what they're reacting to, and finding the composition off of the performance. In comes Gretchen Carlson, played by Nicole Kidman, who's now a third woman in a different level of predicament, a different level of being harassed by Roger. And they're all stuck in this space. So this was a very important scene, because it's the only time in the whole movie when all three women are in the same place. And we wanted a kind of combination of capturing the predicament of them being in the elevator but not supporting each other, and seeing that in the wide shot, that you could actually jump around to watch each woman's face in the three shot and compose for that. And as Megyn watches them walk away, she knows that Margo, especially, is walking into Roger's lair, where almost all of the harassment happened at Fox. Bright and bouncy until it turns grim, "Bombshell" is a fictionalized account of the women who brought down Roger Ailes, the chairman and chief executive of Fox News. Helped bring him down is probably more accurate given that he was ousted by Rupert Murdoch, who founded Fox News in 1996 before handing the reins to Ailes. Since then, the network has become a ratings powerhouse and hothouse of right wing talking points, a sea of white faces and dolled up women in skirts and high heels. Ailes is now gone but the talking points, high ratings, skirts and heels remain. The movie's title is clever, cleverness being its modus operandi. The story, after all, is about female employees who, with icy smiles and iron ambition, worked for a conservative political force who institutionalized the harassment of women. So, how do you make heroines out of characters that some in the audience will see as deeply compromised if not outright villainous? For starters, you cast on the offensive by having Charlize Theron play Megyn Kelly, Nicole Kidman do Gretchen Carlson and Margot Robbie break hearts as the fictional Kayla Pospisil. The stars, with their unimpeachable talent, filmographies and feminist cred, are a shrewd way of blunting skepticism. Even so, the characters are tricky, especially Megyn and Gretchen, who come with ideological baggage that complicates Hollywood's holy grail of relatability. The movie wants, needs us to like them, which may be why it breaks the fourth wall early on with Megyn directly addressing the audience, looking into the camera as she tours the network offices in a slightly tight red, white and blue dress. One man yells out a compliment, another looks her up and down. She keeps on walking, focused, hips swinging like knives. Having her talk to the viewer immediately makes the audience part of a very special Megyn Kelly tour group. It creates intimacy, almost a little conspiracy between you and her, so when she starts chatting about Roger (John Lithgow, galumphing with verve), including his history advising Richard M. Nixon, Ronald Reagan and George H.W. Bush, you lean in and listen. Tell us more. You're getting the inside dope from one of the network's biggest stars. When Megyn says that Roger is always watching and we see the many surveillance monitors inside his own personal panopticon, it brings a shiver. Tell us everything. Directed by Jay Roach, from a script by Charles Randolph ("The Big Short"), "Bombshell" opens not long before the first Republican presidential candidates' debate in August 2015. Kelly moderated it with two other Fox News anchors, but she was the one who drew national attention because of her questioning of Donald J. Trump and what it wrought. "You once told a contestant on 'Celebrity Apprentice' it would be a pretty picture to see her on her knees," Kelly said. "Does that sound to you like the temperament of a man we should elect as president?" Afterward, Trump said she had "behaved very badly" and went on a Twitter rampage against her. Here's the thing about sexism: It doesn't discriminate. It's an equal opportunity prejudice that cuts across history, culture, political affiliation. "Bombshell" gets this. And part of what works in the movie is that it does a good job of presenting the ordinary assaults that women, even those with great privilege, can endure simply to get through a day, including dehumanizing "compliments." When Megyn walks through the network as men size her up, she doesn't break stride. She keeps marching. She's a warrior and Theron makes you believe that with her ramrod posture and absolute assurance, Megyn could lead an army or maybe a rebellion, if she chose. Will she or won't she? That's the question teased for a long time in "Bombshell," which gains steam as Trump's assault stirs up trouble for Megyn. (Roach incorporates archival material of the real candidate throughout, amping up the movie's historical bona fides.) Narratively, Megyn's insistence on calling Trump out for his treatment for women and then dealing with the ominous backlash becomes a prelude to the looming crisis with Roger. She is the network's biggest female star and she's willing to take on a presidential candidate; as Roger says, it's good TV. But when Gretchen sues Roger for sexual harassment, Megyn at first lets the other woman twist in the wind. Roach started out directing comedies and his background generally works for him in "Bombshell," which he gives a lightness of touch in the beginning that promises (rightly, sometimes wrongly) everything will work out just fine. He even brings a sense of breezy fun to Fox that suggests everyone will soon be amusingly skewered. (The cinematographer Barry Ackroyd brings the texture, shadows and professional sheen.) With its big hair, shiny sets and the gun packing Sean Hannity, the network is grist for parody, though it can be tough to tell who's in on the joke. (The cast includes Kate McKinnon, Richard Kind, Allison Janney and a devilish Malcolm McDowell.) "Bombshell" works as well and as long as it does largely because of its actors, Theron most of all. One of her qualities as a performer is that she never begs for the audience's love. She can come across as remote, but she also reads as supremely self contained: She's a fortress of one. She shows you her characters' existential isolation, which is often where their humanity lies. You see that in "Bombshell," which strengthens its realism and is finally more impressive than the prosthetics she wears that, with a husky scrape in her voice, turn her into Kelly's uncanny double. Even when the movie puts some feminist lite uplift on this ugly world, Theron doesn't soften Megyn. Kidman is comparatively sidelined, though it's Gretchen who knocks over the first domino. (The Showtime limited series about Ailes's downfall, "The Loudest Voice," foregrounds Carlson.) For the most part, Kidman plays Gretchen sincerely, though Roach over sentimentalizes the character, especially with periodic cutaways to her children. But Kidman also makes Gretchen ever so slightly ridiculous, adding a sharp sliver of comedy that underscores how self serving and futile her rebellious gestures at the network are, like when she appears on camera wearing no makeup. You will never win the war, the movie implies, by working for the enemy. That critique only goes so far in "Bombshell," which finally can't deal with the story's uncomfortable contradictions. So instead it makes you cry, notably with Kayla, a self described evangelical millennial in the "Jesus space." Robbie deepens the movie's emotional stakes as its persuasively sweet golden girl, who is brutalized by Roger. Roach handles this well enough, including in an upsetting scene in which Roger orders her to bare her white panties, a queasy emblem of surrender. But it is Robbie with her panicked, darting eyes and tensely resistant, then capitulating physicality who conveys the horror of sexual harassment, a degradation that seeps into body and soul. Kayla is the movie's sacrificial lamb and, to an extent, a representation of female victimization and innocence. The problem in "Bombshell" is that Megyn and Gretchen have for years gone along with abusive male power to get along, at least while it was expedient for them. The movie personalizes this by having one woman call out another late in the story, rightly saying that if someone had sounded the alarm earlier maybe other victims might have been spared. But that wasn't in Megyn and Gretchen's self interest, a truism that the movie can't fully face. Ailes was awful, but he also had a lot of smiling help from the very women he made rich and famous. Rated R for scenes of sexual harassment against women and crude language. Running time: 1 hour 48 minutes.	N24News: A New Dataset for Multimodal News Classification	Movies
Scenes from Baltimore. Clockwise from top right: "David Klein's Pez Collection" at the American Visionary Art Museum; the (original) Washington Monument at Mount Vernon Place; Club Charles; a sharecropping display at the National Great Blacks in Wax Museum. Our columnist, Jada Yuan, is visiting each destination on our 52 Places to Go in 2018 list. This dispatch brings her to Baltimore; it took the No. 15 spot on the list and is the 19th stop on Jada's itinerary. "So, I'm in Baltimore for a few days, what should I do?" I asked eagerly, at an airport rental car counter. "Um, go to Washington, D. C.?" said the employee, laughing. I swear, the next four people I spoke to, even in the city proper, had the exact response. Baltimoreans have a deep pride in their hometown. But coming here reminded me of Bogota, another city whose residents love where they live, but seem perplexed at its appeal to outsiders, especially, in Baltimore's case, with the nation's capital 30 minutes away. More than any other destination on this 52 Places trip, visiting Baltimore my last stop in the United States before heading to Europe felt like peeling an onion. And I hadn't even gotten the skin off before I had to leave. To me, that was the real charm of Charm City. It is built, unapologetically, for the people who live there, not for tourists, and movement in that direction seems to meet with admirable resistance. A Wax Museum Like No Other Down in the basement of The National Great Blacks in Wax Museum in a recreation of a slave ship Nat Williams, a tour guide, was explaining the concept of branding to a group of African American teenagers. "Branding," he said, "is when you heat up a piece of metal and you push it onto someone's skin so it burns and leaves a permanent mark." Illustrating this was a statue of an angry faced white sailor holding down a brown man in shackles screaming in agony. The frankness was shocking and powerful. Mr. Williams had more ground to cover. "Moving on!" I've never understood the appeal of wax museums, but this homespun educational gem had my number the minute I walked in, greeted by a life size wax statue of the ancient North African military commander Hannibal atop an elephant, opposite Bessie Smith, the first licensed black woman pilot, in her plane. Back in 1983, the academics Elmer and Joanne Martin took the money they had saved up for a down payment on a house, and instead bought four wax figures (including Nat Turner and Mary McLeod Bethune), which they then took as a traveling exhibition to churches, schools and shopping malls. The project eventually grew to include 150 figures and a permanent home. The Martins are planning a new facility that will occupy the entire block. Aside from the slavery ship and a gruesome look at lynching, most of the museum was hopeful and expansive. Malcolm X and Sojourner Truth got spotlights, as did Shirley Chisholm, the first American woman to run for president with a major party, and even Ben Carson, the secretary of housing and urban development (highlighted for his pioneering neurosurgery work at Johns Hopkins Hospital). "He holds a cabinet position given to him by your president, Donald Trump," said Mr. Williams. Every adult chaperone burst out laughing, and didn't stop for a full minute. "The man! Barack Hussein Obama," said Mr. Williams, pausing in front of his statue to get serious with the students. "I have a message for you. Get all the education that you can, because they can take your house, they can take your job, they can take your car, but they can never, never take from you what you have learned." "They say it's chicken, but it's not chicken, but it tastes good," said Lagrown Stafford, a Baltimore native and fervent meat eater I met on the light rail. When I asked Baltimoreans where to eat, the name that kept coming up was The Land of Kush, a black owned business serving up vegan soul food. Stepping inside the small counter joint felt like a hug; I immediately understood why Stevie Wonder showed up unexpectedly two years ago and then came back the next day. The walls were covered in Afro centric murals. Teenagers from a job placement program worked the counter. A regular, who had brought his mom, steered me toward barbecue "ribs" and macaroni and "cheese." Soon, I met the owner, Gregory Brown, who opened this place seven and a half years ago with his wife, Naijha Wright Brown. A longtime vegan, he had started off with a vegetarian food booth at a local jazz festival in 2004 while he was working at Verizon Wireless. Other chefs had turned down the gig under the assumption that the majority black crowd wouldn't buy the food. Mr. Brown sold out every night. His wife had the idea to concentrate on soul food. They're doing so well they're opening a second spot in a part of East Baltimore near Johns Hopkins Hospital. The name of the restaurant, by the way, comes from an ancient Nile civilization, Mr. Brown said. "I wanted people to know that black people had a rich history before slavery." In the Steps of an Abolitionist Legend This year marks the 200th anniversary of Frederick Douglass's birth. A great way to honor the famed abolitionist is the "Path to Freedom" walking tour, led by the guide Lou Fields through Douglass's home in historic Fells Point, Baltimore's original waterfront community. We walked along the cobblestone streets where Douglass, born into slavery, spent his teenage years, teaching himself to read and write from discarded newspapers. As a young man, he toiled in the shipyards, earning money for his owner. From a pier, Mr. Fields pointed toward the site of an old railroad where, one day in 1838, Douglass disguised himself as a sailor and jumped on a northbound train to freedom. He went on to become a famous orator, publish three books (largely responsible for educating the wider public to the abominations of slavery), edit five newspapers and become the first black man to have a one on one meeting with a president (Abraham Lincoln). He's the only person in Maryland with four statues and two museums dedicated to him, one of which you can visit with Mr. Fields. But the most interesting part of the tour was seeing a row of houses Douglass bought late in life in the 1890s. Accounts seem to show they were money losers, but they are built on the same ground as the demolished Methodist church where Douglass found spirituality in his youth; it was the first place he had returned to in Baltimore when slavery ended, 26 years after he had left. The biggest lessons I learned in Charm City, though, all came from people I met by chance. Walking toward Inner Harbor, I heard a beautiful voice singing behind me. Keith Stanford, 28, was 10 days out of prison; he plans to try out for "The Voice" and "American Idol." He had gotten into gangs, he said, and wanted to set a good example for his son, and even seemed grateful for his stint because it kept him off the streets last year when Baltimore's murder rate was the highest in the country. "I think everything happens for a reason," he said. Another night, I got in a Lyft driven by a woman named Andrea Neal, who I wished I could take with me on this trip for motivational pep talks. I told her how much trouble I was having with the writing part of this job, and she told me that the best thing I could do was surrender control and follow God's guidance. "Don't worry about perfection. There is none," she said. "Let God intervene and create a wonderful masterpiece out of what you're doing, so you can give him credit. He just wants the credit." My last night in town, I wound up in the car of Adrian Smith, another Lyft driver, who spends his days cooking in a nursing home. He was happy about some of the city's changes, but had issues with a rerouting of bus lines that made it harder for people outside of downtown to get to work. Then he showed me the 14 inch Rambo knife he keeps in his car, and the finger he can't lift because he cut a ligament throwing a potential robber out the window. "I got to do what I got to do," he said. "I'm 40 years old. I got two kids and a wife. You want to know what Baltimore is? People like myself that hustle. We're survivors." Survivors who carry knives at all times? "Welcome to Baltimore," he said. I returned my rental car after a day; parking was expensive and I am too much of a wimp for Baltimore driving. Public transportation is as bad as locals say. Walking in the daytime and doing rideshares at night worked out for me. Don't skip a hike up Federal Hill for beautiful views of the harbor. A Baltimore visit wouldn't be complete without a trip to the American Visionary Art Museum, dedicated to self taught artists, and encompassing the beating heart of weirdness that gave us the director John Waters, a Baltimore native. Covered in an elaborate mosaic of mirrors, the building has a glittery, twirling, 10 foot tall sculpture of drag queen Divine, by the British artist Andrew Logan and an impressive Pez dispenser collection featuring three versions of Elvis. Make sure to stop by Mr. Waters's favorite dive bar, Club Charles (also known as Club Chuck), in the Station North neighborhood, newly reopened after a mysterious shutdown last July. It glows red with Art Deco inspired murals, and has the best jukebox in town. Dine or stay in new luxury hotels like The Ivy or the Sagamore Pendry, in a landmark building on a pier from 1914. Hotel Revival, where I stayed in the historic Mount Vernon neighborhood, has terrific views from its rooftop restaurant and bar. Butchery fanatics adore Parts Labor. My best night of food and conversation was at Clavel, a hipster dream of a Mexican restaurant down a block I never would have gone without a tip from, yes, a Lyft driver. You obviously need to have a crab cake. G M Restaurant made a believer of this non crab lover and is a beautiful short drive from the airport. Faidley's Seafood comes with the bonus of being in the amazing Lexington Market, founded in 1782 and one of the longest running markets in the world.	N24News: A New Dataset for Multimodal News Classification	Travel
SAN FRANCISCO Men are dogs, some more so than others . There are those, for example, who wear puppy hoods, harnesses, chain collars and tails while out and about. Sometimes they appear in packs. While hardly as mainstream as walking the red carpet with kink adjacent accouterments, dressing up doggy style has become more visible in San Francisco and beyond . Puppy play enthusiasts are part of a larger community interested in bondage, dominance, sadism and masochism, collectively known as B.D.S.M. Participants primarily consider it a form of sexual role play, because they get to act like puppies friendly, frisky, often nonverbal and gain pleasure from doing so. Adherents, lots of whom are young gay men, adopt pet names: Pups named Turbo, Wonkey, Level, Twitch, Trigger, Cakes, Amp and Mowgli spoke to me for this story. "You stop using words and start communicating in growls. It's really fun," said Phillip Hammack, 42, a University of California Santa Cruz psychology professor who goes by Pup Turbo. "You're disconnecting from the human side of thinking about every little thing you're doing. You're being instinctual and playful." "I was always nuzzling and whimpering like a puppy," he said. "Sometimes words are hard to assemble in the right way to express emotions. If I'm feeling lonely or sad about something, and I'm cuddling next to my partner, I'll give him a whimper and a nuzzle to engage him." Jason described himself as an "emotional support puppy." "My dog was there for me when I was depressed as a child, so I guess I'm trying to project that back into the world," he said. Puppy play isn't new, but it is newly popular. "Pup play has exploded in the past few years. We can't keep up with demand," said Rob Gammel, an inventory manager who has worked at Mr. S. Leather for seven years. The store sells fetish gear and sex toys in San Francisco's South of Market neighborhood, and it's the commercial heart of the puppy play lifestyle. Every man I spoke to had purchased gear there. "We used to stock only one or two hoods as part of a bigger mask section. Now we've expanded to 20 different colors and materials. We've even re formatted part of the store to focus on it," Mr. Gammel said. The expanded section is called Mr. S. Kennel. "It's a playful kink. It's not so dark, not so brooding, not so dungeony where people are tied up and being whipped," said Amp Somers, a 29 year old designer for Mr. S. who goes by Pup Amp. Mr. Somers was the first runner up for the Leather Heart Award (that's puppy Miss Congeniality) in the Mr. SF Leather competition the first weekend in March. He also produces a YouTube series on kink education and said his videos on puppy play are consistently his most viewed. San Francisco has long been a home for sexual subcultures. The Folsom Street Fair, an annual outdoor festival in the city focused on B.D.S.M., now teems with pups, where once there were few. The fair is the Coachella of kink the fetish community's biggest event, the place to see and be seen flogging someone who's begging for more. Patrick Finger, executive director of the fair's parent organization, said that puppy play has become the fastest growing subgenre of B.D.S.M. in the past five years, though he remembers seeing pups at the fair for at least 10 years. He attributes the fetish's success to the internet. "The world has become so much smaller due to technology, which has made a huge difference in kink being accessible online," Mr. Finger said. "And something eye catching like a guy wearing a puppy hood is going to get attention both in photos and in person." Pups are the cousins of some other dogs you might meet as you walk down the street. Furries, who dress up in mascot esque animal suits, also venture out in packs. Their aesthetic is more "Lady and the Tramp" than "50 Shades of Grey," though, and multiple pups said there was little overlap between the two communities. Pups both leather and fur once found a home on Tumblr, but in the wake of the social network's ban on sexual content, they've migrated to Instagram and Twitter. Their conversations take place under hashtags like pupplay, humanpup and gaypup, and their user names draw from their pup identities. People like Mekele , a Washington, D.C., resident who goes by Wonkey, indulge their desire for public puppy displays on Instagram. Wonkey poses at the beach, naked save for his hood, or in Times Square. He said he bought the mask just six months ago and describes his alter ego as "wild and crazy and random" in opposition to his "anxiety ridden" everyday self. (The Times agreed to not use his last name.) "Pup play has morphed into my own therapy session. It's me surrendering to the mind set of who Wonkey is," he said. "The pup community is the best community I've come across. If you see a new pup, you'll definitely say hi and probably bark." When sexual fetishists form communities around their shared pastimes, their bedroom interests often manifest in nonsexual settings. Pup play is no exception. Scott Friesen, 37, asked to be identified as "Gunner," his pup name, for more than four years at his job at the San Francisco AIDS Foundation except, of course, in legal contracts. And for a time he asked co workers and friends to refer to him by the pronoun "pup." He belongs to a pack called the Pedal Pups that's raising money for H.I.V. research through the AIDS/LifeCycle fund raiser. A handler or an alpha can act as sexual partner and/or life coach to his pup. Mr. Hammack, known as Pup Turbo, is one of two alphas of the Fog City Pack, a four year old group of nine pups in San Francisco who together run an event business. "Our pup identities are integrated into our everyday identities. They're natural extensions of ourselves," he said. "The alpha/beta dynamic extends beyond the sexual and romantic dynamics. It's a mentoring concept. Our alphas are 10 or so years older than the other pups." Mr. Hammack identified himself as a beagle. His puppy hood matches the breed's coloration. "A beagle is a family dog, very protective. It's got a very good sense of smell, and I'm very much a scent hound. It's medium sized, which I am, and has a deeper bark and growl, which I do," he said. In addition to personal identity and group affiliation, pup play also presents a financial opportunity: The pup community will pay to play, and leather purveyors are happy to oblige. A leather puppy hood from Mr. S. Leather in one of four staid color combinations black and gray, black and tan, black and brown, or all black costs 320, but a custom version with wilder options like crimson and electric blue is 350. A neoprene hood costs 140 in any of 16 standard colors camouflage, lime and aqua among them or 170 if you want a personalized colorway. Mekele estimated he's spent more than 2,000 on kink gear. The Fog City Pack and bars throughout San Francisco throw puppy play events, sometimes charging for admission. On the first Saturday of the month, there is Woof, an afternoon pup oriented event at the SF Eagle hosted by the San Francisco K9 Unit, a nonprofit. In the evening, the bar becomes home to a party called Frolic, which, according to its Facebook page, is for "puppies, bunnies and furries!" Puppy play has even found its way into the most traditional expressions of love. One married couple in San Francisco, Pup Twitch and Pup Trigger, wore dog collars to show their commitment to one another before their wedding. Twitch, whose given first name is Will , tattooed a dog bone on the inner side of his right bicep. Within it he inked the geographic coordinates of City Hall, the couple's wedding venue. They still wear their collars, in part to identify themselves to others as pups a symbol of commitment more visible than a ring, and more specific.	N24News: A New Dataset for Multimodal News Classification	Style
A makeshift shrine sprawls across the base of an imposing concrete facade flowers, stuffed animals, deflating balloons, a profusion of glowing candles. The wall is chalked with graffiti, and placards lean against it: "RIP Eteocles," "say his name," "black lives matter." But in Sophocles' "Antigone," now getting a brisk and very handsome staging from the Classical Theater of Harlem, only lives given in service of the king are worthy of mourning. Eteocles died that way; thus the public display of grief. His brother, Polyneices, was killed fighting on the other side in hostilities that have only just ended. By cruel order of the king, his body is to be left to rot, unlamented. Anyone who honors him with burial does so on pain of death. Defiance, of course, is the fuel this play feeds on. Antigone sister to the dead men, and niece to Creon, the king is determined to do right by both of her brothers. A chalked message, projected in ghostly white letters atop the ones for Eteocles, spells out her goal: "Justice for Polyneices."	N24News: A New Dataset for Multimodal News Classification	Theater
It was time to tell the story again, and who better to tell it than Cicely Tyson? She was there, after all, in 1968, just after Martin Luther King Jr. was assassinated, when the African American ballet star Arthur Mitchell called her to his apartment at 2 a.m. She was there when he asked, "What should we do?" and when he said, "I have an idea." The idea, and what became of it, was the reason that the 94 year old Ms. Tyson, glamorous and charming, was at New York City Center on Wednesday. The occasion was the 50th anniversary gala of Dance Theater of Harlem, the company that Mitchell formed (with the ballet teacher Karel Shook) to show that African Americans could dance ballet and excel at it. And Ms. Tyson was telling the origin story because Mitchell could not. He died in September. So the gala and the three performances that followed were not only anniversary celebrations, but also tributes to him. His voice and image were present, courtesy of an excellent film, directed by Daniel Schloss, tastefully mixing historical footage with re enactments that flash through his life: the boyhood tap dancing, the pathbreaking with George Balanchine and New York City Ballet in the 1950s and '60s, the fateful decision to start a ballet school and company. It captures his immense charisma: how he could "expect too much" and expand the possible. Some of what came after was suggested at the gala, in what Virginia Johnson, Dance Theater of Harlem's artistic director, called a trip down memory lane. These were excerpts from company triumphs: a solo from Balanchine's "Agon" (1957), solos from John Taras's "Firebird" (1982), part of a pas de deux from "Creole Giselle" (1984). Thirty years ago, during the company's 20th anniversary season, those ballets were danced in full. The current excerpts were a mark of more recent hard times. But, despite slips and imperfections, they were performed with care and pluck. You could imagine them as teasers for more revivals like that of Geoffrey Holder's "Dougla" (1974), the theatrically vivid Trinidad meets Broadway pageant that the company reconstructed last year and used as a surefire finale for every program this season. The Friday and Saturday programs included a new revival: a version of Mitchell's 1971 "Tones" that he started reimagining before his death. "Tones II" is a relic and a revelation of the early years. From the first dissonance of the score by Tania Leon (the company's former musical director, who, amazingly, also composed the vastly different "Dougla"), this ballet is stark modernism in the midcentury style of Balanchine. The borrowings from Balanchine are so thick as to become pastiche, but what matters is how "Tones II" preserves Mitchell's initial vision: a City Ballet of black and brown bodies, uncompromisingly modern against a backdrop of stars. That vision subsequently broadened to include "Dougla" and "Creole Giselle" and (also on the City Center programs) the pas de deux that Mitchell made to "The Greatest Love of All" in 1977, the year that anthem of self love came out. That larger mix, Balanchine with a Harlem twist, is the tradition that Robert Garland, the troupe's longtime resident choreographer, takes up in his new "Nyman String Quartet No. 2." Titling the dance after its score is a nod to Balanchine, as are understated allusions to the opening and closing of "Agon." But "Nyman" isn't Balanchine pastiche. As in his signature 1999 work "Return," set to funk and soul tracks, Mr. Garland isn't content with heightening the aspects of rhythm and line that Balanchine took from black dance; he wants to juxtapose ballet against black vernacular motion, Balanchine against James Brown. Compared with Mr. Garland's ballet steps, though, his boogieing ones are too perfunctory. The Harlem dancers are too stiff to pull off true casual cool, so the vernacular side looks amateur, a break from dancing rather than a mode equal to ballet. Exacerbating this problem is the score, derivative minimalism that gives this sensitively musical choreographer no help. Still, Mr. Garland shows off the company's ever improving leading man, Da'Von Doane. An Arthur Mitchell figure, Mr. Doane raises his fist, black power style, as John Wesley Carlos did at the Olympics the same year Mitchell had his idea. And at the end of "Nyman," the cast turns away, as at the end of "Agon," but they raise fingers skyward. They might be pointing to Mitchell, somewhere in the stars: People need someone to look up to. Or maybe they're just being aspirational, finding strength in love. Either way, onward and upward is the right idea.	N24News: A New Dataset for Multimodal News Classification	Dance
With a 39.1 million domestic opening, Pixar's "Onward" was considered a box office disappointment last weekend, at least by the animation label's elevated standards. Disney usually puts out only one Pixar film a year, but that's not the plan for 2020. "Soul" is slated to come out in June, and the studio just released the film's first full trailer. Judging by this promising clip, Pixar may be back on track. Jamie Foxx voices Joe Gardner, a New York City middle school band teacher who's about to get his big break as a jazz musician when he falls down a manhole. He lands in the Great Before, an ethereal world where new souls are assigned personality traits before heading to Earth. There, he meets the cynical 22 (Tina Fey), a soul who doesn't believe life is worth living. As Joe tries to convince 22 otherwise, he realizes he may have a shot at returning to his old body. Directed by Pete Docter, who's been responsible for some of Pixar's most emotionally mature films (like "Inside Out" and "Up"), "Soul" gives off an "It's a Wonderful Life" vibe. The film features jazz tunes by Jon Batiste, the bandleader for "The Late Show with Stephen Colbert," as well as an original score by Nine Inch Nails' Trent Reznor and Atticus Ross, who won an Oscar for "The Social Network." "Soul" is scheduled to hit U.S. theaters on June 19.	N24News: A New Dataset for Multimodal News Classification	Movies
There are ballets that choreographers return to again and again, fine tuning and recalibrating, as if trying to get at something essential they missed before. The Russian American choreographer Alexei Ratmansky first tried his hand at "The Fairy's Kiss," a ballet based on Hans Christian Andersen's "The Ice Maiden," in 1994, when he was in his 20s. He has just completed his third version, this time for Miami City Ballet, where it will premiere on Friday. It is a curious tale: An infant boy is saved from a blizzard by the kiss of a fairy. He grows up to be a strapping young man, falls in love. Then, on his wedding night, the fairy returns to claim him, sealing his fate with an icy kiss. Igor Stravinsky, who wrote the music in 1928, saw it as an allegory of the artist's destiny, an idea that has resonated with choreographers ever since. "It's a nice metaphor, a skeleton, about the realm of art," Mr. Ratmansky said recently in New York. "At the end there are four minutes of white on white music" an almost translucent, evenly paced descending figure in the strings "it really shows you the land without time or space." It is reminiscent, in some ways, of the ending of Stravinsky's other ballet from the same period, "Apollo." To achieve a more abstract effect, Stravinsky simplified the particulars of the story in his scenario. He also dedicated the music to Tchaikovsky, a composer he greatly admired and associated with his youth in St. Petersburg. In the dedication, he wrote that he related the fairy to Tchaikovsky's muse, "for the Muse similarly marked him with her fatal kiss." He wove a dozen or so Tchaikovsky songs and piano pieces into the score, as if channeling the older master.	N24News: A New Dataset for Multimodal News Classification	Dance
Bret Stephens: Hi Gail. Have I ever mentioned the fact that I'm a big fan of the film "Gladiator?" It has so much that's relevant to the Trump era: a mad emperor; his terrified female companion; a cowed Senate; bread and circuses and blood sport; and an eerie resemblance between the Proximo character (the great Oliver Reed) and Steve Bannon. Lately, I've been reminded of another terrific line in the movie, this one uttered by the hero, Maximus, as he's about to fight in the Colosseum: "Marcus Aurelius had a dream that was Rome, Proximo. This is not it. This is not it!" That pretty much sums up my feelings about unidentified federal agents in military camo seizing protesters in Portland and throwing them into unmarked vans. Gail Collins: Bret, that's a damned good conversation starting analogy. Did you know Oliver Reed died after a heavy bout of drinking while he was making the movie? I suspect more and more Americans are feeling like they're ready to go the same way. Gail: Seriously, the idea of a president sending federal forces into a city that told him not to intervene is scary. It'd be scary under any president, but this is the one who's about to go into an election that he seems likely to lose. So many people are envisioning him going out on the balcony the next morning, summoning his troops and announcing the vote didn't count. Bret: I have invincible faith that our soldiers, officers, Secret Service, D.C. police and Melania Trump herself wouldn't allow that to happen, even if some Department of Homeland Security goon squads support him. I also think Trump doesn't have the guts. A guy who can't fire people to their face is too much of a coward to attempt a coup. Gail: Thanks for reminding me of that. A guy who became famous pretending to fire people on TV very clearly doesn't have the guts to do the real thing. It's all up to some junior assistant intern to deliver the bad news. Bret: That said, the way in which the feds are handling the Portland protesters is one of the uglier spectacles in recent U.S. history. And I say this as someone who, obviously, isn't politically sympathetic to the more extreme protesters, much less to the vandalism and violence some of them have perpetrated. That said, the civil rights of some obnoxious people mean a lot more to the Constitution of liberty than whether a federal building gets spray painted. Gail: The whole point of the Constitution is to protect the irritating, right? If everybody thinks you're adorable you can get away with anything. Bret: I think that's also the rationale for my writing for The Times. Bret: On the plus side, it's fair to say that this stunt in Oregon is going to go down with middle of the road voters about as well as Trump's walk to the Washington church. In other words, it's more of a sign of political weakness than impending fascism. Gail: I give thanks every day that when the country got stuck with a bigoted, dictatorially inclined president, he turned out to be so inept on the job. Bret: Right. It's like he bought a copy of "Mussolini for Dummies" but never made it past the first chapter. Gail: By the way, I believe you've acquired a new family dog, right? Does it give you any more insight into the fact that Trump also can't stand pets? Bret: Yes! An adorable 10 week old goldendoodle named Lucky, which was also the name of my childhood dog in Mexico City. Our whole family is besotted. I didn't know Trump hated pets, but I'm not surprised. He generally hates people, too, most recently a certain doctor named Anthony S. Fauci. Do you think the good doctor will be fired? Gail: Well, I certainly hope not. But Trump is clearly unhappy with both his opinions and his national celebrity. So you'd expect Fauci to go, particularly when there's another infectious disease expert, Dr. Deborah Birx, who actually seems to support the president's it's all working out worldview. But Trump's perfectly capable of just continuing to bounce around randomly. And anyway, haven't you heard? Controlling the national epidemic is all up to the governors. Bret: The silver lining here is that the pandemic has been Trump's nemesis, the way by which he's been exposed as the con artist he's always been. I upset some readers a few weeks ago when I said that I didn't think the course of the pandemic would have been much different if Hillary Clinton had been in charge, and I stand by that: Too many of the worst early decisions like the mayor of New York, Bill de Blasio, urging people to go about their daily lives or Gov. Andrew Cuomo sending infected patients back to nursing homes would have been outside of any president's hands. Gail: There's a big difference between people who might make bad early decisions and people who are utterly incapable of evaluating an outcome and then changing course. Gail: If Hillary was in charge I absolutely guarantee you that mask wearing would be a national policy. Bret: I'm not so certain. Sarah Palin would be leading the resistance. Their motto would be Breathe Free or Die. But where Trump failed catastrophically was in projecting any sense of leadership. First China was doing a great job. Then it was "the Chinese virus." First he was the great decider. Then it was all up to the governors. First the travel ban was going to solve the problem. Then it wasn't. First the virus was going to just vanish one fine day. Then it didn't. First we had turned the corner. Then we hadn't. Gail: If you asked the president why we haven't turned the corner, he'd probably say the Chinese moved the street signs. Bret: The result is that Americans, even some people who six months ago might have been tempted to vote for Trump on account of a good economy or doubts about Joe Biden's capacity, see the president for who he is: not just erratic and malicious, but incompetent, too. By the way, speaking of Biden's capacity, does this at all, um, worry you? Gail: Do I hear a murmur of ageism here? Biden is, as the world knows, 77. If my theory of aging is right, he's become wiser about the things he cares most about, while losing traction on the rest. Bret: My mother just whipped me over a chessboard, so I have full respect for the wits of the elderly. But I'm not quite as confident about your aging like fine wine view of Biden's mental agility. Gail: What you want in a president at this point in our history is an experienced, relatively calm and well balanced politician who can bring the country together, focus on the big problems and hire smart people to run the administration. That's Biden at his best. If you're looking for a charismatic leader with exciting new ideas who'll take America to a whole new level, I'm sorry to say he isn't the guy. Bret: There you go again, Gail, making me agree with you. I'd add that a president who doesn't denigrate his opponents, embarrass his supporters, degrade our institutions, trash our political culture, insult our intelligence, and humiliate America in the eyes of its people and the world would be an immense step up. Even if he raises my taxes and takes a lot of naps. My only regret in this election is that I already live in a state where Biden's sure to win anyway. I can't say I ever planned to live in Florida before I turn 80 but suddenly it's looking tempting. Gail: Well Bret, it's been a pleasure conversing as always. Starting next week we'll be doing it on Mondays. And looking forward to your column in its new Tuesday slot. Gail: Maybe next time we can go back to the dog topic. Did you know Biden has a rescue German shepherd named Major? He posted a picture once on Twitter saying: "It's time we put a pet back in the White House." In 2021 when we're fighting about the new administration's health care legislation I can always remind you that a man who loves animals can't be all bad. Bret: I'm cool with any kind of slobbering, barking creature in the White House so long as it isn't also the president.	N24News: A New Dataset for Multimodal News Classification	Opinion
Whether you are a football lover or not, there's plenty to like about each one of the N.F.L.'s 32 host cities, and fans will be flocking to several of them this weekend for Week 2 of the 2017 season. If you're one of them, but looking for more to do than just the game or if you're just curious to learn more about some of these great American cities here are seven to explore. The Steel City's charms are often hidden from view. While the revitalization of downtown Pittsburgh has earned lots of attention, much of the action is found farther out, in once overlooked neighborhoods like Lawrenceville and East Liberty. It's a place where abandoned buildings reveal art museums in the making, where decaying industrial sites prove ripe for urban exploration, where residential streets hide restaurant kitchens turning out remarkably fresh, local food. Built on Steel, Pittsburgh Now Thrives on Culture The allure of Baltimore lies not in its built for tourists Inner Harbor, where you'll find chain restaurants like Hard Rock Cafe, but in its abundance of 19th century architecture and hip cocktail bars not to mention its welcoming outdoor spaces and world class art museums. Exploring Baltimore, a City With Style to Spare, on a Budget This monument filled, sports mad city rebuilt its urban core in 2013 with a recreational trail linking cultural sites and introduced the broadest electric car sharing program in the country in 2015. Entrepreneurs upcyclers making shoulder bags from fabric culled from the old RCA Dome, nationally lauded chefs redefining Midwestern fare share a green streak, and a plethora of outdoor activities will appeal to fans of parks and recreation. It's such a revered barbecue destination that it's one of the major regional styles typically cited (along with the Carolinas, Texas and Memphis) when people talk about smoked meats. But there's also a fantastic music scene, some satisfying museums, well made local beers and great shopping. There are many different sides to this great city in America's heartland that truly seems to be coming into its own. Long overshadowed by its dolled up big sister across the Bay, Oakland is its own town. Even as its status as one of the most diverse cities in the country is threatened by tech boom era gentrification, its vibrant cultural heterogeneity remains its greatest strength. The city's rather dull skyline belies its architectural splendor from glamorous movie palaces to the Kevin Roche designed midcentury modern Oakland Museum of California to the 135 acre Mills College campus, where Beaux Arts and Spanish Colonial Revival buildings are set among eucalyptus trees. Despite pop culture portrayals of Los Angeles as either comically superficial or darkly dystopian, the nation's second largest metropolis is a vivid, soulful, eclectic city. It's home to year round blooms and captivating street murals, musical innovation and outsider art, deeply rooted communities and world class food cooked by chefs from around the globe. The greatest challenge for visitors is not what to do, but which version of this vast city to embrace. How to Do Beverly Hills on a Budget The signs of Denver's economic high times as a pot boomtown and bastion of progressive urban policies are everywhere. There is the B cycle bike share program, among the most affordable and best run systems in the country, and the recently renovated Union Station, which has taken a still in use 1881 train station and made it the focal point of the thriving LoDo neighborhood. And there are the inconspicuous marijuana dispensaries that dot nearly every neighborhood, and more stunning public spaces from Washington Park to the Cherry Creek bike path than one city has a right to.	N24News: A New Dataset for Multimodal News Classification	Travel
Much is uncertain about New York City's future amid coronavirus the timeline for reopening, the timeline for development of treatments and a vaccine. But one thing has remained clear: In order to safely reopen, cities like New York must develop the capacity to regularly test portions of the population, trace the spread of the virus and isolate those who have been exposed. And as the count of those struggling both in health and finances continues to mount, time is of the essence. New York needs contact tracing quickly. By now, multiple localities have proved the importance of contact tracing in an effective Covid 19 response. South Korea and Hong Kong have used it to contain their outbreaks, and Massachusetts last month became the first American state to invest in a contact tracing program, budgeting 44 million to hire 1,000 people who can identify pockets of infection and prevent infected people from transmitting the virus to others in their community. New York City is well positioned to undertake an ambitious program of this nature: The city's health department has led contact tracing efforts for decades for diseases such as tuberculosis, H.I.V. and Ebola. It regularly oversees similar efforts to contain outbreaks of sexually transmitted diseases, tuberculosis and other communicable diseases. But instead of turning the authority over to the New York City Department of Health and Mental Hygiene, to retrace its well trod territory, Mayor Bill de Blasio determined a pivot was in order. He decided to entrust the program to the public hospital system, Health and Hospitals, which oversees the city's 11 public hospitals.	N24News: A New Dataset for Multimodal News Classification	Opinion
Dustin Pittman's gaze roamed the bustling back office of Century 21 on Cortlandt Street, where Kim Shui was prepping her fashion show. In an instant, he found his mark. She was China Lee, who would be modeling one of the giddily mismatched plaids and brocades Ms. Shui planned to unveil a couple of floors below. Moments later, Mr. Pittman was hustling Ms. Lee into a nearby restroom, propping her against a suitably uncluttered wall and, camera raised, sweet talking her into a series of poses, some coy, others as steamy as a night in Belize. "I want a little bit more you, not model y," he said. "Kind of play with the dreads. Look at me, intense that's nice, fire in the eyes, that's it, that's it." If he's brash, even a little over the top, well, that's a privilege he has earned. Mr. Pittman has forged a career of stalking the weird, the bold and the sublime in dimly lighted basements, galleries and stray pockets of Manhattan's after hours life. A veteran of publications including Women's Wear Daily and W, and various Conde Nast magazines, he has been photographing the intersecting worlds of fashion, music and art since the late 1960s. His Instagram feed, dustinpop, some 30,000 followers strong, contains nothing less than a capsule history of New York fashion and night life. Among its cast of characters are Velvet Underground stars and Warhol divas; fashion legends including Betsey Johnson, Stephen Sprouse, Tina Chow and Marc Jacobs the latter long before he was a marquee name; concert idols in the making, including David Bowie, Bryan Ferry and Iggy Pop; and louche habitues of the fabled nighttime haunts Area and the Mudd Club. Mr. Pittman updates that catalog regularly with fresh party shots and images of designers poised somewhere near the edge of fame. Nimble, wiry and quick to pounce, Mr. Pittman, wearing a Ramones denim jacket, was bent as usual last week on unearthing the kind of "downtown" talent that hovers just below the radar. Yes, there is still is a downtown, he is apt to insist so what if a string of patently commercial shows would seem to argue otherwise. There is plenty of creativity to be mined. His mission remains what it always was. "I'm old school," he said, more than once. "I want to get back to the roots of things." A dozen years ago, well before the fashion pack anointed them, he staked out renegades like Rio Uribe of Gypsy Sport, Shayne Oliver of Hood by Air and Telfar Clemens of Telfar, getting to know the designers and the casting agents who helped put them on the map. "I watched these guys grow up," Mr. Pittman said. "They were all about breaking boundaries. They were casting with diversity, working with models no one else would touch. I gravitated toward that. I stuck with them." And they stuck with him. "You trust his instincts," said Ms. Shui, who studied at Parsons and Central Saint Martins in London. She was confident that Mr. Pittman would capture her intention. It was, as she explained, "to explore the fine line between accident and plan." Her designs, spliced, sashed and knotted every which way, are shape shifters, she said. The next day, twitchy as a dowsing rod, he followed his vibrations to the Bridget Donahue gallery on the Bowery, where Raffaella Hanley, the designer behind Lou Dallas, was applying last minute flourishes to her fairy tale like collection. "Raffaella stokes my imagination," Mr. Pittman said. "She's an original from the roots." With a nod toward the rear of the gallery, where seamstresses were still tugging at the fabrics, executing Ms. Hanley's 11th hour instructions, he added: "Raffaella is hands on. I love that." With its hand dyed fabrics in a palette of mostly yellow and lime, the collection had a whimsical aura. "I wanted to create a cinematic experience," Ms. Hanley said. "I thought about a field of sunflowers with a castle in the background." For Mr. Pittman, the behind the scenes ambience alone was inspiring. "You feel a sense of community with the models and the people who work with the designer," he said. "There's not the frenetic craziness you find in so many places." Not that he is put off by more riotous or raunchy scenes. Another evening found him at Maison the Faux, the collection by the Dutch designers Joris Suk and Tessa de Boer, a crazy quilt of fabric and pattern. "We think it reflects a cut and paste culture," Ms. de Boer said of the largely conceptual, gender bending show of chaps, laced bondage style; clashing tweeds; and fake Mongolian lamb sweatshirts worn over fishnets and little else. Similar themes filtered into the denim based Hardeman presentation at the Chinatown Soup, a gallery on Orchard Street, inspired by American biker culture. Mr. Pittman was snapping away as one model posed gamely in jeans that exposed his backside. The show, an installation really, was risque. But for Sophie Hardeman, the designer of the label and a native of Amsterdam, it was all meant in fun. "You see pregnant women and older men, girls who are girlie and girls who are boys," she said. "All of them having a jolly good time."	N24News: A New Dataset for Multimodal News Classification	Fashion & Style
THE NEW MAP Energy, Climate, and the Clash of Nations By Daniel Yergin In the 1990s Daniel Yergin emerged as one of the great chroniclers of our day. Both "The Prize," his epic history of oil (which won the 1992 Pulitzer Prize in general nonfiction), and "The Commanding Heights: The Battle for the World Economy," written with Joseph Stanislaw, were turned into blockbuster television series. "The New Map" is Yergin's effort to chart the world of 2020. The challenge is enormous. Familiar schemes for understanding international politics and power are in flux. Even before Covid, market driven globalization, under the sign of Western hegemony, was in question. A sense of increasing disorder and multipolarity pervades "The New Map." Indeed, it is implied in the book's organizing idea the map. Maps are ordering devices. But they are also perspectival. There are as many maps as there are mapmakers. What Yergin offers us is not one map, but an overview of the many maps contending for influence in the world today. Yergin's selection follows the contours of the fossil fuel economy, as seen from the point of view of the major oil and gas suppliers. Putin's Russia has a map on which the lost boundaries of the Soviet Union are marked in red. The Chinese assert their control over Central Asia and the South China Sea. Saudi Arabia and Iran vie for influence across the Middle East. The Kazakhs, the Brazilians, the Mexicans all get a look in. But what about the rest? If energy is the theme, why does Yergin concentrate only on the producers? Oil and gas are worthless without demand. But the world's big consumers India, Europe and Japan barely figure in his book. No less striking is Yergin's treatment, or rather nontreatment, of the United States. One might expect him to start with the strategies of the American oil majors. But Exxon and Chevron play almost no part in the narrative. Yergin's main American subjects are the shale frackers. But they are small fry. They matter as a herd, not as individuals. They have changed world markets by vastly increasing quantity and flexibility of supply. This encouraged some American strategists to talk of "energy dominance." But if that is a map, it has turned out to be utterly misleading. Grand visions for the export of the frackers' liquefied natural gas have run up against the harsh realities of market competition. No big producer, not even Russia or Saudi Arabia, any longer controls the market. What this multiplicity of sources gives Washington is not dominance but flexibility. That is only of value if you know how to use it. And on American strategy Yergin is surprisingly silent. 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. Perhaps Yergin assumes that we have that map in our heads. Perhaps he wants to spare us the embarrassment of reviewing the shambles of Washington's grand strategy since the war on terror. Perhaps he himself is conflicted, torn by America's painful polarization. In the era of Trump there is not one American map. Yergin's own position seems uncertain. He seems at odds with the recent turn against China. But he does not elaborate an alternative. On Russia, he merely notes that it has become a hot button issue. The result is a history without a center. A collage in which pigheaded Texan oil men, aspiring tech whizzes, Saddam Hussein, Qaddafi dead in a drain pipe Xi Jinping and his guy pal Vladimir Putin, Saudi dynasts and vast arctic gas plants pass in review. The chronology is similarly helter skelter. One minute we are pitching ideas to Elon Musk in Silicon Valley, the next we are back in 1916 peering over the shoulder of the diplomats who carved up the Ottoman Empire. At times it feels as if we are being whirled through a remix of the greatest hits from "The Prize." No less jarring is the alternation of voices. Here is Yergin the master storyteller transporting us to the Saudi desert in the late 1930s. And there is Yergin transcribing bullet points on the future of auto tech. At times the juxtapositions are so disorienting that they evoke surreal associations, for instance, between Syrian suicide bombers and the question of how we might regulate self driving vehicles. As for those vehicles, Yergin asks earnestly, what are we to do "about insurance? Currently, drivers are insured because they have personal liability. But if an accident happens with a driverless car, will it be a matter of product liability?" The saga of entrepreneurship, great power politics, the climate crisis, the tech economy any one of these could have provided an organizing frame, but Yergin never commits. If "The Prize" was an epic, "The New Map" is a miscellany. Perhaps the key to the problem is to be found in Yergin's other role, not as an author, but as an energy consultant. In that capacity Yergin actually inserts himself into the flow of the narrative, not just as the omniscient narrator but also as one of the mapmakers the co author of a 2019 report on clean energy and breakthrough technologies. His thinking about transport futures, he tells us, is informed by a planning scenario developed by IHS Markit, a firm of which he is vice chairman. "The New Map" might best be thought of as the narrative elaboration of a scenario planning exercise, a collection of unusually well written backgrounders for managerial role play (if you are Abu Dhabi's crown prince, this is what you need to know about the Houthis). Maybe it is wrong, therefore, to complain about the lack of narrative coherence. What Yergin is doing is holding up a mirror in which we see ourselves, the disillusioned survivors of the end of history moment, torn between the pros and cons of Uber, and vague worries about such problems as the historic impasse of Shia Sunni relations or Putin's revanchism. Yergin leaves it up to us to make what we will of his panorama. He is not going to do that work for us. "The timing of what eventuates," he concludes sagely, will depend upon many things talent, financial resources, "commitment, sheer grit and the well of creativity upon which to draw. These will lead to the new technologies, disruptive and otherwise, that will shape the new map of energy and geopolitics." Perhaps in the confusion of the current moment it is vain to expect more from master narratives. But Yergin's indecision has a price and this is most evident with regard to his treatment of climate politics. He oscillates between insisting on the vital importance of the issue and dismissing environmental activism as a pesky nuisance. Ultimately, he is ambivalent. "The debate over how rapidly the world can and must adjust to a changing climate ... is unlikely to be resolved in this decade." Given the timeline that we face, this blithe acceptance of indecision is a road map for catastrophe.	N24News: A New Dataset for Multimodal News Classification	Books
MUMBAI, India When India's richest man completed his extravagant 27 story new house here last year, it incited a public debate along the lines of "What's he trying to prove?" Now, the chatter involves a different question: Why hasn't he moved in? The owner, Mukesh Ambani, and his spokesman have declined to discuss the matter, leaving the theorists plenty of room to ruminate. One popular explanation is that, despite the time and money lavished upon it, the building does not conform to the ancient Indian architectural doctrine known as Vastu Shastra. (More on that below.) Certainly the home which is called Antilia and according to Indian news reports has three helipads, six floors of parking and a series of floating gardens looks lived in. At night, the cantilevered tower is lit up bottom to top, inside and out. Members of the city's moneyed class report attending movie screenings in the theater and eating dinners in the grand ballroom, served by a staff trained by the luxury Oberoi hotel chain. Yet, friends of the family say that after the last canapes have been served and the guests bidden goodbye, the Ambanis often decamp to Sea Wind. That is the more modest, 14 story apartment tower at the south end of the city that Mr. Ambani, his wife, Nita, and three children, share on different floors with his mother and his estranged younger brother, Anil, and Anil's family. When does Mukesh Ambani plan to actually move into Antilia? "I have asked him the question twice," said a friend who has attended several parties there. He asked not to be identified for fear of ruining his relationship with Mr. Ambani, whose net worth Forbes has estimated at 27 billion. "He said, 'Yes, we'll go next month. Let it be done.' They don't talk about it." Another close family friend confirmed that the Ambani family did not live at Antilia but said they did sleep there "sometimes." This friend, who also insisted on anonymity to avoid offending Mr. Ambani, had no explanation. Tushar Pania, a spokesman for Mr. Ambani's company, Reliance Industries, dismissed questions about whether the family was living at Antilia as idle gossip. "It's a private home. There is no reason to discuss it in public." He said the family had moved in, but when asked whether the family still lived at Sea Wind, he revised: "They live in both places." But why would someone build what is widely considered the world's most expensive private residence and then use it as a pied a terre? Some friends, business associates and Ambani watchers posit the Vastu explanation, which gained wider currency earlier this year when DNA, an English language newspaper in Mumbai, published an article about it citing "sources in the know." Vastu, a philosophy particularly significant in Hindu temple architecture, emphasizes the importance of directional alignments that create spiritual harmony. Many Hindus believe that living in a building not built according to vastu principles brings bad luck. Basannt R. Rasiwasia, a Vastu expert whose clients include prominent businessmen and their families although not Mr. Ambani said Antilia appeared to run afoul of one of the key principles of Vastu: the building's eastern side does not have enough windows or other openings to let residents receive ample morning light. "From the outside what I see is that the eastern side is blocked while the western side is more open," he said. "This always leads to misunderstanding between team members or sometime may create issues. This also indicates more hard work to achieve moderate success. There is more negative energy coming from the western side." Mr. Rasiwasia cautioned that he could not provide a full analysis since he had not been inside the building, which was designed by the architectural firm Perkins Will and the interior design firm Hirsch Bedner Associates, both American. Officials from the firms declined to comment, citing confidentiality agreements. Even before it was built, Antilia was clouded by controversy. Mr. Ambani acquired the plot where the tower sits, on Altamount Road, in 2002. He bought it for 215 million rupees ( 4.4 million) from a Muslim charitable trust that elsewhere operated an orphanage.	N24News: A New Dataset for Multimodal News Classification	Global Business
The notion that streaming services afford wide audiences a chance to sample overlooked pockets of world cinema gains some support with the release of "Lionheart," a Nigerian feature now on Netflix. For many American viewers, the film will be an introduction to Genevieve Nnaji one of the biggest stars of the Nigerian movie industry, or Nollywood, who has more than 100 credits. In "Lionheart," which is also her directorial debut, Nnaji plays Adaeze, the logistics director of a family transportation business that is working to win a critical state contract. Her father, Chief Ernest Obiagu (Pete Edochie), publicly praises Adaeze's abilities at the pitch meeting then suffers an apparent (but nonfatal) heart attack on the spot. That contrivance offers a sense of the movie's storytelling, which tends toward the earnest and the functional.	N24News: A New Dataset for Multimodal News Classification	Movies
With New Nonstick Coating, the Wait, and Waste, Is Over CAMBRIDGE, MASS. If a glue did not stick to the inside of the tube or bottle, you might think it must not be a very good glue. On the other hand, clinging glue has annoyed generations of parents and children attempting to scoop out the remaining bits with their fingers. This is one of life's little problems. LiquiGlide, a company started by a professor at the Massachusetts Institute of Technology and one of his graduate students, has come up with a solution: a coating that makes the inside of the bottle permanently wet and slippery. The glue quickly slides to the nozzle or back down to the bottom. LiquiGlide, in Cambridge, Mass., has also licensed its technology to a packaging company in Australia. The idea there is to make the inside surface of paint can lids slippery so paint would slide back into the can instead of sticking to the lid and drying there. The dried bits fall into the paint and not only end up as bumps on a painted wall, but can also clog painting equipment. The technology could also have major environmental payoffs by reducing waste. In a few years, "we expect it to be ubiquitous," said J. David Smith, the graduate student turned chief executive of LiquiGlide. Tests by Consumer Reports in 2009 found that much of what we buy never makes it out of the container and is instead thrown away up to a quarter of skin lotion, 16 percent of laundry detergent and 15 percent of condiments like mustard and ketchup. "It's pretty crazy, getting mayonnaise out," said Kripa K. Varanasi, a professor of mechanical engineering at M.I.T., who is Mr. Smith's thesis adviser and co founder of LiquiGlide. What makes it hard to get mayonnaise and toothpaste out is that they are what scientists call Bingham plastics. A Bingham plastic, named after Eugene Bingham, a chemist who described the mathematical properties, is not made of plastic; the term describes a highly viscous material that does not flow without a strong push. Dr. Varanasi did not set out to solve the problem of clingy glue and mayonnaise. Rather, he was thinking of larger scale industrial challenges, like preventing ice formation on airplane wings and allowing more efficient pumping of crude oil and other viscous liquids. How to make a slippery surface has been an interest for many scientists and engineers with many potential uses. When water or other liquids flow through a pipe, the layer of liquid next to the pipe wall typically sticks, not moving. Farther from the pipe wall, the liquid flows, fastest at the center. "Different layers of water are sliding past one another, and therefore there is friction, which is viscosity, and that is why you need to pump it," said Neelesh A. Patankar, a professor of mechanical engineering at Northwestern University, who is not involved with LiquiGlide. The trick is to find a way around the so called no slip boundary condition. "What people have tried to do is, can we have something between the solid surface and the liquid which will help the liquid slide?" Dr. Patankar said. Dr. Patankar and other scientists have been investigating superhydrophobic surfaces. A hydrophobic surface repels water; a superhydrophobic surface, as one might imagine, really repels water. Inspired in part by lotus leaves, the surface of a superhydrophobic material looks rough, at least under a microscope. Water rolls up into balls, sitting on the tips of the rough surface, but mostly on air trapped between the droplet and the rough surface. The droplets roll off easily. That technology has had some success. Rust Oleum, for example sells a superhydrophobic treatment developed by a company called NeverWet in Lancaster, Pa. But the microscopic roughness can be damaged, and then water flows in, displacing the pockets of air, and sticks to the no longer slippery surface. Because air dissolves into water, superhydrophobic surfaces can also lose slipperiness when submerged for long periods. That makes it impractical for ship hulls, for instance. But Dr. Patankar and his colleagues have shown that with a clever choice of texture, trapped water vapor could serve as the persistent layer separating the water from the surface. LiquiGlide's approach is similar, but it uses a liquid lubricant, not a gas. "What could be a solution that provides sort of universal slipperiness?" Dr. Varanasi said. "The idea we had was, Why not think about trapping a liquid in these features?" Dr. Varanasi and Mr. Smith worked out a theory to predict interactions among the surface, the lubricant and air. Essentially, the lubricant binds more strongly to the textured surface than to the liquid, and that allows the liquid to slide on a layer of lubricant instead of being pinned against the surface, and the textured surface keeps the lubricant from slipping out. "We're not defying physics, but effectively, we are," Mr. Smith said. The approach also allows them to vary the ingredients of the textured layer and the lubricant to fit the properties of different liquids for food applications, the coatings are derived from edible materials. (The company does not divulge the specific ingredients. "We use things that are, maybe, parts of foods, you'd say," Mr. Smith said. "You wouldn't make a meal out of our coatings.") The shift from industrial applications to packaging started when Dr. Varanasi's wife was having trouble getting honey out of a bottle and asked him, because he was an expert on slipperiness, whether he couldn't do something about that.	N24News: A New Dataset for Multimodal News Classification	Science
NEW MILFORD, CONN. It's a reality of auto restorers' existence that their handiwork is often scattered far from where the makeover was performed. Seldom are the cars reunited in the way that the creations of a painter or sculptor are assembled for a retrospective show. But here, parked outside an unremarkable industrial building, were three showstoppers making the case for the craftsmanship of Frank Nicodemus, known to collectors and his clients as Mr. Cadillac. All three cars were 1960 Cadillacs, which was fitting because Mr. Nicodemus, 68, who grew up fixing cars at his parents' auto business in the Bronx, specializes in the fin and chrome 1959 and 1960 models. He restores all sorts of cars, but it is the owners of older Cadillacs who speak of him with special reverence. The Elvis era models have a mythology of their own. With some trepidation, Cadillac introduced modest tailfins on 1948 models, after the designer, Harley Earl, was inspired by the Lockheed P 38 fighter plane. A fin war ensued among American automakers, and the styling trend reached its pinnacle of expression with the 1959 Cadillac, which finished each huge rear blade with bullet shaped taillights. Ken Gross, an automotive historian and museum curator, said that airplanes and rocket ships were a major influence on car design in the postwar era. "Cadillac's fins didn't look like anything anyone else had in 1948," Mr. Gross said. "They were something new, different and exciting." Auto restorations can vary greatly in quality, but Mr. Nicodemus, who works with a combination of old school hammers and dollies and the latest plasma cutters and grinders, produces Cadillacs intended to hold up under a judge's magnifying glass. Panel fit is critically important; Mr. Nicodemus said that aligning a door properly can take five hours. "Poor metal work such as grind marks will show up under the paint unless your finishing is absolutely perfect," he said. "And you pick up a lot of points with the judges if you go the extra mile and restore the underside of the car to the same standard as the body." Details matter. When the paper labels for late 1950s Cadillac windshield washer fluid bottles proved unobtainable, Mr. Nicodemus had them reproduced, as he has done for other parts like floor mats. "What I can't get, I can make," he said. His childhood dreams were realized many times over; at onetime he owned more than 40 Cadillacs. Among Mr. Nicodemus's favorites is a red 1955 Eldorado Biarritz convertible nicknamed Bad Girl that he said was driven, with Mick Jagger at the wheel and the rest of the Rolling Stones enjoying the view, over the Brooklyn Bridge to announce the 1997 "Bridges to Babylon" tour. Mr. Nicodemus, who was an auto insurance appraiser at one point, has had at least nine cars win first place awards at the huge Hershey classic car show in Pennsylvania. He has also provided cars for the Robert Redford period movie "Havana," and for Brian De Palma's "Wise Guys" with Danny DeVito. "They wanted a 1959 Cadillac convertible, with three extra front fenders and three doors because it was going to have several accidents," he said. The Cadillacs here in New Milford two Eldorado Biarritz convertibles and a Coupe de Ville were polished to a high gleam. The stunning Coupe de Ville, owned by Joe Terico of New Rochelle, N.Y., was sold in Brooklyn; at one time it was driven by an Elvis impersonator in Canada. Mr. Nicodemus had two Cadillacs competing at Hershey last year a 1936 model and the Biarritz owned by Gerald Lambert, of New Rochelle, and both won awards. Mr. Lambert's Eldorado Biarritz, a top of the line model that cost 7,400 in 1960, was a first place winner at last year's Greenwich Concours d'Elegance in Connecticut. Jack Haverty's Eldorado, which has factory bucket seats, took top honors at the Rhinebeck Car Show in New York last May. According to Mr. Nicodemus, only about 100 to 200 Biarritz convertibles were made with bucket seats in 1960. (The records are imprecise.) Mr. Haverty, of Pleasant Valley, N.Y., bought his Cadillac at an estate sale two years ago, and it only recently emerged from Mr. Nicodemus's shop as a national show winner . "Chevrolet attached its fenders with 12 bolts; Cadillac used 24," he said. "My restorations are fully photo documented, because I want everything to go back on the way it came off." Even so, Mr. Nicodemus works quickly in this rarefied sphere. Many of his restorations take a year or less. Mr. Nicodemus co owned and operated a restoration shop and parts business in Wappingers Falls, N.Y., until several years ago; it was housed in a castlelike 22,000 square foot building that included storage space for cars on three levels. That shop is in the hands of a court appointed receiver, caught up in Mr. Nicodemus's divorce and estate settlement. He is now working from temporary quarters in Westchester and Dutchess counties, and he hopes to reunite his old restoration crew in a new shop. A full off the frame restoration by Mr. Nicodemus on a 1950s or 1960s car is not for the casual enthusiast. It's likely to cost from 90,000 to 150,000, though extras, from air conditioning and continental kits to upgraded engines and stainless steel exhausts, can push up the total as much as an additional 40,000, he said. Mr. Nicodemus says he gets satisfaction from seeing a neglected wreck resurrected. "To have the car come in on a truck, not running, needing a full restoration, and then go out the door as a work of art, that's a great thing," he said.	N24News: A New Dataset for Multimodal News Classification	Automobiles
Actually: Anyone who utters an argument like this is mixing up climate and weather. When Senator James Inhofe famously threw a snowball across the Senate floor in an attempt to undermine the validity of climate science, people who practice that science for a living pretty much rolled their eyes. Yet the Republican senator from Oklahoma, chairman of the environment committee in the Senate, is hardly alone is mixing up weather and climate. On comment boards, at public meetings and even in college classrooms, some version of the question is heard again and again: If global warming is real, how can it be so cold in my back yard? Adam H. Sobel, a climate scientist at Columbia University who wrote a recent book on Hurricane Sandy and extreme weather, reminds people to make sure to differentiate between weather and climate. If you really want to know what is going on with climate change, he said, look at the long term averages over large areas. Do not be fooled by short term weather fluctuations, or by distractions like snowballs. The senator "is setting up a straw man trying implicitly to make the claim that scientists who say the climate is changing are also saying there's not going to be any more cold weather," Dr. Sobel said. "But of course, that's not what we're saying." Temperature measurements going back to the 19th century show, unfortunately, that global warming is real. As of the end of last year, the warming to date was about 1.8 degrees Fahrenheit over the entirety of Earth's surface, including the oceans, which pull down the average. The results of that seemingly modest change have been pretty spectacular: millions of acres of dying forest, melting of land ice all over the planet, a rapid collapse of Arctic sea ice. Scientists project that continued high emissions of greenhouse gases could lead to as much as five or six degrees of additional warming over the course of this century, with potentially drastic effects on food production, sea level and weather. Yet even in a far warmer climate, scientists expect that winter will continue to exist meaning there will always be someone who can hurl a snowball. Some places could even cool as the world warms overall. Climate scientists sometimes make an analogy to smoking and cancer. Most people know that it is possible to get lung cancer even if they have never smoked; they know that smoking greatly increases the odds; and they know that even some of the heaviest smokers manage to beat those odds. Similarly, scientists expect continued emissions to cause a huge shift in the odds of, say, record setting heat waves, but that does not mean it will be hot all the time or in every part of the world. Moreover, only the earliest of these changes have been felt so far; unless emissions fall sharply, the biggest effects are still decades away. "We're kind of like the smoker who hasn't smoked too many cigarettes a day for too many years yet," Dr. Sobel said. "The signal relative to the noise is going to be larger in the future." This past winter was pretty warm in the United States, but the Eastern part of the country endured several cold winters before that. It was during a cold spell in February 2015 that Senator Inhofe was moved to fling his snowball. "It's very, very cold out very unseasonal," he said on the Senate floor. Yet even as he spoke, only the East was cold the West was bizarrely warm, and most of the rest of the planet was above average, too.	N24News: A New Dataset for Multimodal News Classification	Science
IN this dense and congested city, nirvana usually translates into bright, light flooded spaces and eye catching vistas. The real estate ads promise it all: "Brilliant light!" "Dazzling river view!" "Light and bright!" But a few people didn't get the memo. Some New Yorkers seek dim, dark spaces that admit little sense of the throbbing city just outside their doors. Maybe they work nights and need darkness and quiet so they can sleep during the day. Maybe they're writers or composers or computer programmers and need to be able to concentrate. All these people seek some version of the cork lined room in which Proust wrote so many of his greatest works. Real estate brokers tactfully describe these cavelike places as "light challenged," and to be sure, some people occupy them because they can't afford anything better. But especially in an economy in which ever more work gets done at home in an ever more raucous city, a tranquil space, even if hemmed in by brick walls, is some people's idea of heaven. Here are a few people who have enthusiastically embraced the dark. Katherine Leiner, an author, has spent much of her life in California and Colorado, but she didn't always love the sounds of nature. "In California," she admitted, "I was sometimes even bothered by the crashing of the waves." When Ms. Leiner, 60, moved to New York and rented an apartment in Carnegie Hill, she didn't love the noise, either. "Even though I was on the ninth floor," she said, "it was extremely noisy. The bus would rumble by every 20 minutes. I could hear the lights change." So when she decided to buy and made a list of her priorities, "on the top of the list was quiet and space," she said, "because I worked at home." Being dog friendly was important too, "but light was at the bottom." Ms. Leiner finds this interesting because she suffers from seasonal affective disorder, and the seventh floor Classic 6 on Park Avenue that she bought in 1999 for 625,000 was a rear apartment that offers little in the way of light or views. Fern Hammond, the Halstead broker who found the apartment for Ms. Leiner, describes it as her nest. "You'd think light would have been No. 1 on my list," Ms. Leiner said. "But I have lots of ambient light, and I'm not bothered by the darkness because I'm so happy working on my books." Ms. Leiner, who shares the apartment with her partner, Andrew Lipton, an environmental lawyer, describes the view from her living room as Hitchcockian think "Rear Window" and although her office faces a garden, no city views can be seen anywhere. "But the apartment is extremely quiet, and I need peace and quiet in order to write," said Ms. Leiner, the author, most recently, of "Growing Roots: The New Generation of Sustainable Farmers, Cooks and Food Activists." "I can't have any distractions. In fact, it's so quiet you don't know you're in New York. And it's magic what you can do in a dark apartment by means of lighting and fabric." Anthony Innarelli, who describes himself as a night owl, works the 4 p.m. to midnight shift as an editor at NBC television and sleeps well into the morning. In his old apartment, which faced West 85th Street, he was regularly awakened at the crack of dawn by traffic and other street noises. And so he is delighted with the rear second floor apartment at West End Avenue and 96th Street that he bought eight years ago for 280,000. "When I get home," Mr. Innarelli said, "it's already been dark for hours, so it doesn't matter if the apartment is dark. But I do need quiet so I can sleep during the day, and this apartment is extremely quiet. Quiet was at the top of my list. I'd take quiet over light anytime." Mr. Innarelli, who is 43, admits that the rooms can be gloomy, especially in winter. But he doesn't care. "The living room gets no light, which is fine," he said, "because all I do is watch TV there." As for views, "if you look through the trees, you can see a sliver of river, but you have to have someone point it out to you." Mr. Innarelli now shares the space with his girlfriend, Alison Orford, a fellow television editor at the sports channel SNY who works the same hours he does. With the one bedroom bursting at the seams, the two are seeking something larger, although whatever they choose will have to be equally quiet to accommodate their sleeping schedules. And dark needn't mean drab, as visitors who have admired the couple's glittering array of Emmy awards can attest. "If it's a dump and dark, that's one thing," Mr. Innarelli said. "But if it's a nice place, that makes up for the darkness." The noisiness of a series of New York apartments had worn him down. He envied musician friends who lived in quiet and peaceful settings. "Many of these places were dark," he said, "but my friends said to me they didn't mind the dark one bit." Given the city's stock of prewar apartment houses with thick walls, he thought it would make more financial sense to find a place in such a building than to pay for soundproofing. So last June he bought a 339,000 one bedroom apartment in the rear of a 1925 building on Riverside Drive at 77th Street. From inside, a person would never know if it was morning or evening, sunny or overcast. Windows face a pair of courtyards and the wall of the building next door. "The only thing I can see," Mr. Marder said, "is the super taking out the trash." When he was viewing the apartment, the broker made a point of switching on all the lights. She needn't have bothered. Mr. Marder was adamant about his priorities. All he cared about was quiet. Like many musicians, he works unpredictable hours, and the quiet afforded by the location of the apartment in the rear of the building is well suited for his schedule. "And since I moved, I do more composing than ever," said Mr. Marder, whose apartment is outfitted with a grand piano, multiple synthesizers and computers, and other tools of his trade. "The lack of noise is very important in allowing me to concentrate." Mr. Marder recently married, and his wife, Sarah Spool, a hospital administrator, has settled happily in his dark and tomblike space. "After we married last January," Mr. Marder said, "we redid the kitchen, because she is passionate about cooking. But she's O.K. with everything else. Having the lights on a lot is just fine with us." Martin O'Brien, who grew up in suburban New Jersey and lived for a time in California, moved to New York in October. When he and his roommate, Janelle Hefley, began apartment hunting, the main thing they wanted was plenty of room, and they settled on a three bedroom in a small apartment house on 116th Street in East Harlem. All the windows faced brick walls, but the apartment, which they rent for 2,000 a month, was extremely quiet, and they are savoring the peacefulness. "It's a dark space," admitted Mr. O'Brien, 26, who works as a visual merchandiser. "And there's no light in my bedroom. I have lights on timers so it feels like morning when I wake up. Otherwise it would seem like night all the time." For the first time since he was a child, he also has a nightlight, to add a glow to the wee hours. But Mr. O'Brien finds tranquillity in his denlike lair. "It's very quiet and peaceful," he said. "I wanted a New York City lifestyle, but I didn't want to be surrounded by the noise. I guess I'm more of a wannabe New Yorker than the real thing." Ms. Hefley, who is 31 and works as a retail store manager, shares these feelings. "She grew up in New Mexico, so she's used to a relaxed lifestyle," Mr. O'Brien said. "For her, this feels like a home away from home, and she finds this place very calming." So does their newest roommate, Kristen LeFevre, 29, an arts administrator who arrived from Paris a few weeks ago and enjoys reading works of art history in the pale end of the day light. After Jennifer and Ed O'Connor were married two years ago, she moved into his one bedroom on 76th Street near York Avenue. But then they began thinking about starting a family, said Ms. O'Connor, who is 34 and works for a theatrical management company. "And we realized that we needed a second bedroom." In October, she and her husband, who works as a senior vice president for finance of Armani Exchange, bought a two bedroom unit on 86th Street near Park Avenue. The apartment was in the rear, and the second bedroom was just three feet from the building next door "so close you could reach out and touch the wall," Ms. O'Connor said. Although none of the rooms had a view, the second bedroom also had the least natural light. "That room had zero views and light because it faced an air shaft," Ms. O'Connor said. But the current occupant, a lively 3 month old with red hair and bright blue eyes named Kieran, isn't complaining. "It will be the baby's room until he grows up," Ms. O'Connor said, "and babies could care less about views." The couple installed an extra lamp, and the walls, decorated with underwater decals, were kept white to make the space seem brighter. "We figure we're set for a while," Ms. O'Connor said. "Even toddlers don't want to be stuck in their rooms." Brokers love to trade horror stories about the challenges of finding takers for midnight dark spaces. Some brokers even apologize when showing these properties. But some of the stories have unexpectedly happy endings, like the one told by Debra Hoffman of Corcoran about a one bedroom at Broadway and 110th Street. A first floor apartment, it was in the rear of the building, and every window faced a different air shaft. There were bars on the windows, although the rooms were so dim, they were barely visible. "It was dark, dark, dark," Ms. Hoffman said. "Everyone on the West Side talked about this place. "I finally showed the apartment to a couple in which the husband was a research professor and the wife was a professional dog trainer," she said. "They wanted a first floor because they had a dog and wanted easy access when the dog got elderly or fell ill. The same thing applied to other special need dogs she trained. "The moment they walked in the front door, they said to each other, 'It's a keeper!' They said they didn't care about light since they worked long hours and were never home during the day. And on weekends they were away in their country home, so the light didn't matter then, either.	N24News: A New Dataset for Multimodal News Classification	Real Estate
"We Shall Overcome" may be headed for a trial. The song, famous as a civil rights anthem and revived in recent years for numerous vigils across the country in response to gun violence is the subject of a lawsuit that challenges the validity of the song's copyright. Along with the recent suits involving "Happy Birthday to You" and Woody Guthrie's "This Land Is Your Land," the case has focused attention on one of the central questions in copyright: finding a balance between protecting intellectual property on behalf of private owners, and giving the public access to famous songs whose origins may be murky. For "We Shall Overcome" and "This Land," the issue is also freighted with politics at a time when the songs are being embraced by protesters and activists on multiple sides of major issues. The suit over "We Shall Overcome" was filed in April on behalf of a nonprofit group called the We Shall Overcome Foundation, and later joined by the producers of the 2013 film "Lee Daniels' The Butler." It argues that the song which was adapted from a 19th century black spiritual, although its origins may date back even further should be declared part of the public domain.	N24News: A New Dataset for Multimodal News Classification	Media
IT should come as no surprise when the headlines coursing out of news conferences during this week's press previews of the Los Angeles auto show turn out to be strongly flavored with terms like hybrid and electric. As automakers scramble to meet coming rounds of federal fuel economy standards, alternative powertrains are sure to be among the highlights of the show, which opens to the public on Nov. 18 and runs through Nov. 27. Hybrids, plug in hybrids and battery electric vehicles are only part of the solution to raising the efficiency of the nation's vehicle fleet, however. Their disadvantages, including high initial cost and a scarcity of charging stations, have helped to keep engineers at work improving conventional piston engines. That is especially true at smaller automakers like Mazda, which has no hybrid system of its own and says it has no plans to bring hybrids or electric vehicles to the United States. At the Los Angeles show, Mazda will introduce the CX 5, a compact crossover that will also serve as the showcase for a portfolio of technologies the company calls Skyactiv. The package includes high efficiency 6 speed transmissions, lighter bodies and, for some markets outside the United States, a diesel engine. But the most daring advance is the 2 liter Skyactiv G gasoline engine. That 4 cylinder power plant made its North American debut in the 2012 Mazda 3, where it raised the fuel economy rating to 28 m.p.g in town and 40 on the highway with an automatic transmission, from 24/33 for the 2011 model sedan with a 2 liter engine. In the Mazda 3, the engine develops 155 horsepower at 6,000 r.p.m. and 148 pound feet of torque at 4,100 r.p.m. on regular grade gasoline. At first glance, the engine seems to follow a well established path for improving efficiency: raising the compression ratio, or the amount that the mixture of air and fuel in the cylinder is squeezed as the piston travels to the top of its stroke. But where ratios of around 10:1 are typical today, the Skyactiv G in the Mazda 3 wrings more work out of the gasoline by compressing the cylinder's contents at a ratio of 12:1. When the 2013 CX 5 arrives in showrooms early next year, it will be the first vehicle to get all of the Skyactiv features. Revisions to its engine include a higher compression ratio of 13:1. (That specification applies to the United States market; a ratio of 14:1 will be used in Europe where drivers tend to be more diligent about using premium fuel.) Mileage estimates and output for the CX 5 have not been released. Dave Coleman, a Mazda product development engineer, explained the reasoning behind Mazda's decision in a telephone interview. First, he said, a high compression engine costs less; a turbocharger, which has precision internal parts that spin at very high speeds, is an expensive part. Second, turbos take some time to build pressure when the accelerator is pressed, so even in the latest designs some lag may be noticed. Finally, Mr. Coleman says, with a high compression ratio combustion is efficient under a wide range of conditions, including low speed, high load situations, where turbocharged engines may be inefficient. While raising an engine's compression ratio is a proven way to increase efficiency, it can also bring problems. As air entering the cylinders is compressed, its temperature naturally increases contributing to knocking, a condition in which combustion inside the cylinders proceeds abnormally. While the temperature rise caused by compression cannot be avoided, other factors can be controlled. For example, there are ways to minimize the heat left behind by the combustion process. The CX 5 is equipped with specially designed exhaust plumbing that Mazda calls a 4 2 1 system. The lengths of the tubes that carry the exhaust away from the engine four long primary pipes that feed into two secondary pipes, which then empty into a single exhaust were selected to minimize the possibility of burned gases re entering the cylinders, a naturally occurring effect. The exhaust system is too large to fit under the hood of the Mazda 3, which is why its engine has a lower compression ratio than the engine of the CX 5. Direct fuel injection, an increasingly common feature on new models, also helps prevent engine knocking because one result of gasoline being sprayed into the cylinder is a cooling effect. To make the most of this property, the Skyactiv G engine injects fuel two times for each combustion cycle. And by varying the timing of the sprays, drivability and cold starting are improved. Mazda engineers increased the engine's compression ratio in the standard manner, adding a raised area to the top surface of the piston. But that bump can literally block the progress of combustion in the cylinder, so the engineers designed a cavity in the piston that helps promote quicker burning. In addition, the engine has a relatively narrow cylinder bore, which lets the combustion flame reach the cylinder's edge sooner. While high compression and the supporting technology are key features of the Skyactiv G engine, other factors contribute to its efficiency. For instance, it uses variable valve timing, which adjusts valve opening and closing in accordance with speed and load. In addition, Mazda adopted modern lightweight design strategies to trim pounds, and internal friction was cut by 30 percent compared with the previous 2 liter engine. A brief drive in a Mazda 3 with the 2 liter Skyactiv G engine and a manual transmission found this combination to be flexible and responsive. Accelerating up an incline at full throttle in fourth gear from 1,200 r.p.m. a test that would have caused severe engine knock before electronic sensors were invented to detect the condition and make adjustments to the ignition timing and fuel injection yielded an unflustered response. The engine took a few seconds to reach 1,800 r.p.m. and then soldiered on rather willingly. In brisk driving, it lived up to Mazda's zoom zoom credo. The engine's agreeable nature and excellent mileage are important to Mazda, because for now gasoline power will be the only choice for the vehicles it sells in the United States. But as Mr. Coleman, the Mazda engineer, noted, a naturally aspirated engine, being less costly to produce, makes a better partner for a hybrid drive system than a turbocharged engine, so a hybrid is at least a possibility.	N24News: A New Dataset for Multimodal News Classification	Automobiles
Trend proposals come flying down the runway during New York Fashion Week at incredible speed, but even among that melee, "hydroponic space agriculture" is bound to stand out. Will space farming dictate the look of fall 2016? At Opening Ceremony, at least, it will. For fall, Humberto Leon and Carol Lim teamed up with Syd Mead, the futurist artist whose conception of tomorrow helped illustrate "Blade Runner," "Tron" and the first "Star Trek" movie. Mr. Mead's designs provided the backdrop to the Opening Ceremony show, as well as prints for its T shirts, sweatshirts, sweaters and dresses in its collection. (The show was held, "Blade Runner" enthusiasts noted gleefully, on Feb. 14, 2016, the date that Pris, the comely replicant from the film, was incepted.) The collection, with its patch pocketed outerwear and Day Glo knits, trooped through a congested runway of inflatable hovercraft. They were based on those in Mr. Mead's illustrations and created by Desi Santiago, a set designer who has worked with Marc Jacobs on exhibitions for Louis Vuitton and with the hairstylist Guido Palau on headpieces for the Alexander McQueen "Savage Beauty" exhibition. Opening Ceremony, which has made a habit of extravagant sets and setups, had ginned up nothing less than a wholesale vision of the future. (The gender nonconforming heartthrob of the future, Jaden Smith, was there to take it all in.) In the long lead up to the show, which began almost a full hour late, rumor traveled through the crowd that some technical difficulties with these crafts were responsible for the delay.	N24News: A New Dataset for Multimodal News Classification	Fashion & Style
Daniel Barenboim and Edward Elgar have made for one of classical music's most unusual love affairs in recent years. Outside England, the music of Elgar (1857 1934) still has a crusty, flag waving reputation, despite the efforts of musicologists and the advocacy of musicians. But over the past eight years, Mr. Barenboim, 77, and his Staatskapelle Berlin have released accounts of Elgar's two symphonies, the oratorio "The Dream of Gerontius" and the Cello Concerto, with Alisa Weilerstein. It's a connection of long standing: Mr. Barenboim's first wife, the cellist Jacqueline du Pre, collaborated with the conductor John Barbirolli on a classic recording of the Cello Concerto in 1965, and she and Barbirolli in turn inspired the young Argentine born Mr. Barenboim to learn and record much of Elgar's work with the London Philharmonic. Why do you love this music so much? It's a difficult question to answer, because one has to admit that, historically, Elgar is not so important. If Elgar had not come through this earth, the development of music would have been the same. One also has to forget that he was somewhat anachronistic, when you think what else was being written at the time Schoenberg, Stravinsky, etc. But there is a unique quality in his music which appeals to me tremendously: something emotional, in the best sense of the word. Not outward, but something very, very deep and sincere, which has to do, I suppose, with the modulations with the harmonic language, which is unlike that of many other composers. The closest is Strauss. Should we then think of Elgar not as a radical, like Schoenberg or Stravinsky, but as a progressive, like Strauss or Mahler? Even in England, "Falstaff" is not that often played compared with some of Elgar's works, and if music lovers know the "Falstaff" story, it's primarily through Verdi. Verdi, of course. But you know, I take very slight objection to the fact that Elgar's nationality is always mentioned in relation to his music, as if it was not to be expected that one could be English and be a great composer. Nobody talks about the nationality of other composers as much as they talk about Elgar being English; of course, there is a certain Englishness about it, but it's not the most important element. What is the most important element? The harmonic language, the orchestration, is remarkable, if the conductor balances the orchestra properly and the orchestra has familiarity with the music, which is very rarely the case, because Elgar is not played that often. The English saying "familiarity breeds contempt" is totally out of place; we forget that orchestras and publics alike need familiarity with music in order to love it. One of the things that you seem to be saying is that Elgar was part of a European not just an English tradition. Absolutely. Wasn't that the point you were trying to make when you played his "Land of Hope and Glory" at the BBC Proms with the Staatskapelle, the year after the Brexit vote? "Land of Hope and Glory" at the Proms had nothing to do with a political thing; it was totally misinterpreted. We played both symphonies at the Proms, and I wanted to show that you don't have to be English to play this music well. I am a firm believer in the European idea, and I am a firm believer that a lot of the problem with the European Union is that many people forget that it was not only a financial or economic idea. Let us not forget that whether it is France, Germany, Italy, England or Spain, culture is the greatest contribution, historically, of the continent. It is a different contribution from the other continents, and therefore culture European culture is a very important point for today's world, too. That raises the issue that Elgar is usually thought of as a quintessentially English composer because of his association with the British Empire. Yes, but do you think that Elgar's connection to the English part of it is more important than, shall we say, Debussy's to France? No. But as someone who loves Elgar's music, I still have trouble with it historically, as I love and still have trouble with Wagner's music. Yes, but your problem with Wagner's music, I imagine, has to do with his profile as a person, as a human being, which is not the case with Elgar. Elgar still wrote works like "The Crown of India" and the "Imperial March," though. So how do you think about performing him today, during a global reckoning with racism, slavery and empire? Should we ignore that part of Elgar? Should we confront it? No, I think we have to place it in context. Let's be a little bit more neutral in our remarks. We realized a long time ago that slavery was a horrific thing, and we did away with it, but at the time that it was there, it was there. The English Empire quality is only a part of some moments of Elgar's pieces. Let's not dwell on the "Pomp and Circumstance Marches," because that's a "piece d'occasion," like the ballet in "Aida," but in the serious works "The Dream of Gerontius," the symphonies, "Falstaff," the Cello Concerto, the "Sea Pictures" that element is only a part of it. So we can play him today by accepting that part and moving on? Is that what you are saying? Yes, I don't think we have to play Elgar and pay special attention, as it were, not to forget that there was a British Empire and that that was the expression of it. That is part of the whole.	N24News: A New Dataset for Multimodal News Classification	Music
The Covid 19 pandemic struck the Caribbean at the height of high season, when snow birds, primarily from the United States, pack the beaches for winter and spring break, and provide the revenue to see resorts and sometimes entire countries through the lull of summer and fall. But in recent years, islands like Puerto Rico and the Bahamas have developed a strong summer business, fueled by bargain seekers, adventure travelers and families. Now, as the region begins to reopen to international travelers, it faces not just the challenge of the pandemic, but the financial blow dealt by the absence of cruising and the onset of hurricane season. Excluding Guyana, the Caribbean economy is expected to contract by 3 percent in 2020, according to the World Bank. "We're not fooling ourselves. We fully expect to see a slow return of travel," said Frank Comito, the chief executive and director general of the Caribbean Hotel Tourism Association, which represents 33 national hotel associations in the region. "We expect those that do open up in the coming months will take some time to see hotel occupancy levels even approach 50 percent." As countries reopen, most are mandating face masks indoors and social distancing. Other restrictions vary widely. Aruba reopened to Canadians, Europeans and most Caribbean nationals on July 1, and will open to visitors from the United States on July 10. St. Maarten reopened its airport on July 1. The Cayman Islands, a nation much less reliant on tourism (about 30 percent of its economy) compared to many of its neighbors, will wait until September. St. Barts is among several islands requiring a negative Covid 19 test of arrivals or offering one on the spot (for 155 euros, or about 175). Bonaire and Curacao reopened July 1, to some Europeans. "The U.S.A. is not part of this reopening phase due to the fact that it is still considered high risk," according to a letter from Bonaire tourism to its travel partners. As governments have clarified their policies, airlines, including American, Delta, JetBlue and Southwest, plan to resume service to many Caribbean destinations in July. When they do, they'll be flying into a hurricane season that the National Oceanic and Atmospheric Administration predicted could be above normal. In May, it forecast 13 to 19 named storms, including three to six major hurricanes at Category 3 and above. The region has been experiencing above normal storm levels since 1995 because of warmer ocean temperatures, weaker trade winds and other factors. Caribbean nations, perennially watchful, hope to salvage a summer season before the peak of storm season in September. "We're hoping to get going June, July and August to give the economy an injection we need and then hopefully get through hurricane season," said Joseph Boschulte, the commissioner of tourism for the United States Virgin Islands. The following are plans for five island destinations reopening now. On July 1, the Bahamas entered Phase 2 of its reopening, welcoming overseas visitors. Travelers age 2 and older must present a negative Covid 19 test taken within seven days of arrival. They must also submit an electronic health visa that asks questions, including where they have traveled in the last six weeks, and receive clearance to travel. "As we look at the return of tourism, all data is showing Americans are interested in domestic travel, but because of proximity they are considering the Bahamas a domestic stop," said Joy Jibrilu, the director general of the Bahamas Ministry of Tourism, adding that 82 percent of visitors are from the United States. "That's working to our advantage." Some resorts, including Baha Mar, the luxury development on Nassau, will remain closed until October. Resorts are reopening gradually. Sandals Montego Bay reopened June 16; five more Sandals siblings will roll out through October. The Tryall Club, the 2,200 acre property with 75 rental villas in Montego Bay, has announced it will reopen Aug. 1. The all inclusive Sunset at the Palms in Negril plans to reopen July 9. The 55 room boutique Jamaica Inn in Ocho Rios has yet to name its date, though management expects it may be in late July. "We don't feel we have the level of demand to warrant opening," said Kyle Mais, the general manager of the Jamaica Inn. "Airlines are a big part of the formula. We're seeing more demand in the later part of the month as more flights are being announced." Puerto Rico has announced it will reopen for inbound tourism on July 15. Arriving travelers will have to show the results of a negative Covid 19 test taken within 72 hours, or be tested on site and, if positive, go into quarantine for 14 days at their own expense. Beaches on Puerto Rico are open, though the island wide curfew, in effect from 10 p.m. to 5 a.m., has been extended to July 22. Restaurants are operating at 75 percent capacity and casinos, set to reopen July 1, are administering temperature checks at entry. To encourage travel, several hotels are offering deals, including the Caribe Hilton in San Juan, which is offering a three night stay for the price of two through the end of the year (from 199 a night). Saint Lucia officially reopened its borders on June 4 and expects its first international flights in July. Beginning July 9, passengers arriving from outside the Caribbean region must provide the results of a negative Covid 19 test taken within seven days of arrival. About a dozen hotels on the island have applied for a new, required Covid 19 cleaning certification that includes protocols for sanitizing luggage on arrival, maintaining a nurse's station, updating housekeeping standards, dispensing hand sanitizer and reorganizing dining areas to meet social distancing requirements. The Moorings, which offers crewed and bareboat yacht charters, will reopen its St. Lucia base on Aug. 1 with disinfected boats, linens provided in sealed bags and the advice to passengers to bring their own snorkel gear as it will no longer be provided. "Saint Lucia is fortunate to have strong occupancy year round and a number of hotels are keen to reopen because they still have business on the books," said Karolin Troubetzkoy, the president of the Saint Lucia Hospitality Tourism Association. On June 1, the United States Virgin Islands entered the fourth of its five reopening phases, which include welcoming tourists who must undergo temperature checks and health screenings upon entry. Tourism authorities are hoping that the increase in scheduled flights in July and the recent reopening of such high profile resorts as the Ritz Carlton, St. Thomas will encourage travelers to take a summer vacation in the islands. "The U.S.V.I. is ripe to benefit from people who want to stay under the U.S. flag," said Mr. Boschulte, the tourism commissioner. Until the pandemic, the islands were on track to host 1.5 million cruise passengers this year, 1.4 million of them to St. Thomas. While many of the ship dependent shops on the main street in the capital of Charlotte Amalie remain closed, other businesses are carrying on. "Our key restaurants are open with proper precautions and Gladys' callaloo soup is as great as ever," said Gerard Sperry who guides St. Thomas Food Tours, naming a popular downtown restaurant. On St. Croix, the Buccaneer resort remained open throughout the pandemic to essential workers and reopened to tourists June 1 with a glass shield on the front desk, restaurant capacity reduced by 50 percent and a closed bar, though cocktails may be delivered to your chaise longue.	N24News: A New Dataset for Multimodal News Classification	Travel
The wide scale return of Lil Wayne one of the most popular rappers of his generation, but one who has been stuck in record business purgatory for years has been received enthusiastically, to say the least. "Tha Carter V," his first major release since 2013 and the fifth installment in a series that last arrived in 2011, debuted with the third largest overall sales week of the year and the second biggest streaming total ever on its way to No. 1 on the Billboard chart. The album tallied 480,000 album equivalent units, according to Nielsen Music, including 433 million streams and 141,000 in traditional physical and digital sales. Lil Wayne's fourth No. 1 album, "Tha Carter V" landed behind only "Scorpion," by the Lil Wayne protege Drake, and "Astroworld," by Travis Scott, in the rankings of this year's first week blockbusters. It found most of its success on streaming services, where only "Scorpion" was listened to more across a seven day period (746 million streams in July). Of the Top 10 songs on streaming services last week, six were by Lil Wayne, including the top four, led by "Mona Lisa" featuring Kendrick Lamar (43 million) and "Don't Cry" featuring XXXTentacion (36 million), according to Nielsen.	N24News: A New Dataset for Multimodal News Classification	Music
Because marriage is an ever evolving experience, we constantly shift, change, love harder, love less and, in some cases, start over. In It's No Secret, The Times highlights couples who share thoughts about commitment and what they have learned about themselves and each other along the way. Occupations The couple own Gib's Farm in Catawissa Pa. The couple married May 9, 1976 in the living room of the bride's parents in Utica, N.Y. "We designed our own invites, which her mother didn't like, so they went to our friends. Formal ones that her parents did went to theirs," Mr. Knoebel said. "We had 100 people, who we invited in stages since everyone couldn't fit into the living room at once. People came from 1 2 p.m., 2 3 p.m. and 3 4 p.m. Her mom was a big entertainer." The couple have two daughters in their late 30s, both of whom are married and have children. "I rented her space while she was away, and when she came back, she had to rent a different spot next to me," said Mr. Knoebel, who grew up Elysburg, Pa. "There was something in her voice that caught my heart. She was engaging. She opened up something in me that hadn't been opened up before. She had, and still has, a terrific, full bodied laugh that I love." Two months later they moved into a raw space with a leaky roof and made it livable. To earn money Mrs. Knoebel drove a cab and later a horse drawn carriage, while Mr. Knoebel worked in construction. "We were kids when we met," said Mrs. Knoebel, who is from Utica. "We were friendly and we became lovers, and it grew into something more. Five months after living together we were a couple. A year into the relationship he asked about marriage. I wasn't ready. We were countercultural. Then I got pregnant and I lost the baby. I realized I didn't want to live this way, I wanted to get married." Mrs. Knoebel: I wasn't ready to get married, but things happened, and life had other plans. I proposed, and David said yes. Many times I thought this isn't working. But I was blessed with two beautiful girls. They kept me together. Marriage is hard. I'm the difficult one in the relationship. I was always running to get to some other place. I thought I'd never measure up to my own expectations. I set the bar too high, but David loved me. He had faith in me. That was very liberating and I felt stronger. I learned you can be still. That it's O.K. to depend on someone. That when David praised me I should realize it's not to flatter me, he really means it. I learned to see what David saw in me, and that helped a lot. He's very generous and devoted and selfless. He's a wonderful father. His love and security keep me here. I'd be lost without him. My life began with David. It took a long time to realize that. I've learned a lot about myself by being with him. When I come home and he's not there, I have an empty feeling. I'm attached. I realized I needed the structure of the marriage, and to be recognized as part of a couple. We complement each other and have achieved a balance because we are so different. I've learned you can't run away from things. I didn't want to be conventional, but it helped me in the outside world to say I have a husband and a family. Our love is really deep. It's carried over into our children and their spouses and their kids. Mr. Knoebel: I was 26 when we got married. She was 22. These were the Joni Mitchell years. We don't need a piece of paper. Marriage was not the goal. We were going to live together and prosper. Then the parents got involved and both gave the same advice: Get married. We didn't exchange rings at the ceremony, or for the first 15 years. Our daughters bought us them. It's the only piece of jewelry I can bring myself to wear. It's a symbol of commitment and I'm shy of symbols that reflect society at large. Laurie is the same. That I can wear this ring and feel that way about it, makes it all that more significant. We both wear them. It's a connection to each other. We were two hardheaded people learning to cooperate, and that was a learning process. Stepping back was hard to learn, but I did. She challenged me. I learned I wasn't the one to make all the decisions. Even now I have to stop and remind myself I'm not the only one here. I also had to let her be her. She thrives on big projects; I don't. I'm a solo worker so I learned to lend a hand and get involved. I don't want to be left behind. I learned I want to share what she's doing. I learned that it's fun to work with a partner I love. I found I could do both. She's a fascinating woman. Her kindness, her willingness to go the extra mile, with me and with others, are things I love. I'm never sure what's going to come out of her mouth, but it's usually something I'm glad to hear. I was not lonely before I met her, but I discovered how great a partnership could be. I didn't feel incomplete before I met her, but I did feel more complete, and that feeling has continued through the years.	N24News: A New Dataset for Multimodal News Classification	Fashion & Style
SEOUL, South Korea Growing up here in the 1970s, Kyungah Ham would occasionally find propaganda leaflets sent from North Korea via helium balloons. Like her classmates, Ms. Ham turned in the leaflets at school, where she was given a reward for doing a small part in South Korea's simmering ideological war with its neighbor. In 2008, when Ms. Ham found another North Korean leaflet this one under the gate of her parents' home it felt like an alien object, blown in from a different planet. By then, she was a multimedia artist who had come to distrust much of the history she'd been taught, and she knew that South Koreans were sending leaflets of their own over the border. That got her wondering: Could she communicate directly with people who, through a geopolitical tragedy now 65 years old, she is forbidden to contact? It was the birth of what might be the art world's most extraordinary, ongoing collaboration. For a decade, Ms. Ham has been producing designs on her computer that are printed and smuggled into North Korea through intermediaries based in Russia or China. Then a group of anonymous artisans, whom she has never met or spoken to, are paid to convert them into embroideries, using exquisitely fine stitching. With bribes and subterfuge, the works are smuggled back out. Ultimately, they are shown and sold at galleries and exhibitions. The most ambitious pieces are large scale renderings of luminous, glittering chandeliers, some nearly 12 feet wide and 9 feet high, that from a distance look like photographs set against black backdrops. Get closer, and a filigree of stitches appear. Both chandelier and backdrop have been painstakingly composed of silk thread. A lot of artists talk about taking risks, but few mean it as literally as Ms. Ham. International sanctions prohibit commerce with the Hermit Kingdom, so at least theoretically, she could face criminal prosecution for these cash for work transactions. The potential penalties for her collaborators are far graver. If caught, these residents of the world's most repressive regime could be imprisoned or executed. The dangers facing the North Koreans raise ethical issues that, intended or otherwise, become part of Ms. Ham's art. "With Kyungah's work, it's difficult to separate the object from the process of making the object," said Rosalie Kim, a curator at the Victoria and Albert Museum in London, which acquired one of Ms. Ham's embroideries in 2016. "The risk isn't the point, but the risk emphasizes the consequences of the separation of the peninsula and what is at stake in trying to overcome it." Ms. Ham protects the covert network in her employ with a spymaster's care, and would not discuss the size of the lump sums that cover the cost of intermediaries, artisans and bribes. But she hides neither her art nor the basics of her methods. The Embroidery Project, as she calls it, has been part of museum group shows in London, Vienna and Singapore, and wall labels beside each piece succinctly explain how it was made. On first meeting, Ms. Ham seems wildly miscast for the role she has created for herself. She would be the first to admit that she is lousy at coping with stress, now a permanent feature of her life. Once, on a flight to meet an intermediary, she collapsed with a stomach ailment so painful and severe that as soon as she landed, she was put on the next plane back to Seoul and admitted to a hospital. If her nerves are fragile, other parts are made of steel. During interviews in both Paris and Seoul in recent months, she was adamant and particular about nearly everything. Before dinner at a brasserie, she rejected three different tables offered by a host. (Her final choice, it must be said, was superior to the others.) She issued demands about virtually every aspect of this article, including who would photograph her. And though an introvert by nature, once she overcomes her natural shyness, she is bursting with words. "If we take it step by step," she said with a smile early in our first meeting, preparing to describe her life and work, "this will take five hours." As Ms. Ham explained, her chandeliers are a symbol of the foreign powers that divided Korea along the 38th Parallel after three years of fighting the Korean War. (The golden age of those powers passed, she said, which is why these chandeliers are either falling or already on the ground.) The border was largely imposed on the peninsula by non Koreans; Ms. Ham's favorite word to describe this fact is "absurd." As she conceived her embroideries, she was inspired in part by a moment in a documentary about the Mass Games, Pyongyang's socialist realist extravaganza of tightly choreographed music, dance and gymnastics. The production includes a crowd, thousands of people strong, holding flip books in front their faces with blocks of colors on each page. The pages are turned in uncannily timed unison, a vast human billboard of seamlessly changing words and images. Ms. Ham watched and saw the face of a young boy peeking over his color book. "He was like a pixel in a digital image," she said. "I wanted to bring this idea to my chandeliers. Behind them are highly skilled embroidery workers, whom you can't see, but they memorialize themselves, stitch by stitch." Ms. Ham is not idle while she waits, and the embroideries are just one facet of a varied career. Since earning an M.F.A. from the School of Visual Arts in New York, in 1995, she has been making videos, sculptures, photographs and an assortment of installations. One recurring impulse is to highlight the ways power is abused, and for whatever reason, she is drawn to methods that give her agita. With an installation called "Museum Display," in 2010, theme and practice were combined. She has long been irked by the many Western museums filled with cultural treasures from other countries think of the Elgin marbles, originally part of the Parthenon in Greece, which have spent the last 200 years in the British Museum. With wit and irony, Ms. Ham pilloried this tradition by stealing hundreds of mundane objects from museums around the world, including forks, saucers, knives, vases, salt and pepper shakers. She then displayed them in a huge glass case, under lights, labeling each item with the gravity befitting a looted masterpiece. "Sign, 'These doors are alarmed,' 10cm x 10 cm, the British Museum, 2009," reads one. Her other great passion is connecting to strangers, and the Embroidery Project is an expression of that urge. Among the first images she conceived for her artisans were stylized words, rendered in both Korean and English, and set against abstract and colorful designs. One simply read "I'm sorry," in the two languages. "I wanted to tell these artisans, 'I'm sorry about the situation,'" she said. "'I am sorry about what history has done to us.'" Later, she began what she calls the "SMS Series in Camouflage," in which she weaves faint words, in script, into almost psychedelic oil slicks of color. One of these not so secret messages reads "Big Smile," an instruction for performers during the Mass Games. When a gallerist urged her to employ embroiderers in China, arguing it would be far quicker and easier, she felt misunderstood enough to create a new message: "Are you lonely, too?" "There are a lot of beautiful things you can buy at Art Basel, and there are a lot of clever conceptual strategies out there," said Roger Buergel, the German born artistic director of the 2012 Busan Biennale, which featured work by Ms. Ham. "She unites these two poles in a singular way. The pieces themselves are spectacular." Though she has given interviews in the past, she spent months wavering about whether to speak to The Times. Friends have told her "Don't get too famous." Citing fatigue, she stopped answering texted questions a few weeks ago, including one about the summit between President Trump and Kim Jong un in Singapore last month. Would a rapprochement change or even end her project? After a long silence, she sent a text a few day ago that said that if North Korea joined the brotherhood of nations, her work would be reinterpreted in a new political context and, she wrote, "stay alive in history." Today, her pieces sell for prices ranging from 25,000 to 300,000 in the Carlier Gebauer Gallery in Berlin and the Kukje Gallery in Seoul. But the largest collection of her work is in her storage facility outside Seoul. During a visit in February, Ms. Ham offered a tour of what is little more than a large and bare room, with embroideries neatly stacked against each other on the floor. Ms. Ham roamed around the space, beaming. She is somewhat ambivalent about parting with her chandeliers, especially if they are just going to hang on someone's wall. Her preference is to lend pieces to exhibitions, or sell them to museums, where the largest possible audience can consider their improbable journey and marvel at their virtuosity. "I don't tell the galleries about everything I have," she said with a grin, "because they will sell it."	N24News: A New Dataset for Multimodal News Classification	Art & Design
The chickenpox vaccine not only protects against chickenpox: A new study has found it also lowers the risk for shingles. Shingles, sometimes called herpes zoster, is a painful nerve infection and rash that can occur after recovery from a case of chickenpox or after immunization with the vaccine. It is more common in older people and can occur decades after recovery from chickenpox, but children can get it, too. The study, in Pediatrics, included 6.4 million children under 18, half of whom had the chickenpox vaccine. The researchers calculated rates of shingles from 2003 through 2014. They found that over all, the vaccinated children had a 78 percent lower rate of shingles than their unvaccinated peers. The Centers for Disease Control and Prevention recommends two doses of the vaccine, at age 1 year and then between 4 and 6. Among children who had both doses, rates of shingles were even lower.	N24News: A New Dataset for Multimodal News Classification	Well
She is somewhere in her 40s or 50s, has more than 119,000 followers on Twitter (where she can sometimes be quite flirtatious) and enjoys summering along the Jersey Shore and the Hamptons. She weighs about 4,000 pounds and is around 17 feet long. If you're a seal or a squid, you had better be careful when she comes around. Meet Mary Lee, a great white shark identified in fall 2012 by Ocearch, an organization that researches and tracks marine species. In the five years since the team first pulled Mary Lee out of the waters near Cape Cod, in Massachusetts, to tag her and collect blood and tissue samples, she has traveled nearly 40,000 miles. Ocearch traces the path by plotting the pings that occur every time Mary Lee's dorsal fin surfaces; it is tagged with a device linked to a satellite. During the past three summers, Mary Lee has been a regular on the Northeastern Seaboard, cruising along the Jersey Shore and the Hamptons, Fire Island and Montauk, in New York, attracting the attention of residents and tourists with each visit. "She has become sort of a mascot," said Andy Brosnan, the chairman of the Eastern Long Island chapter of the Surfrider Foundation. "Even before she showed up last time, people were like, 'Has anybody seen anything about Mary Lee?'" In June, Mary Lee appeared near Atlantic City. Though she surfaces often on Ocearch's interactive map, it is hard to say whether any person has actually encountered Mary Lee since the marine biologists dropped her back into the water in 2012. But even a map of Mary Lee's movements is enough to help scientists shed more light on a mysterious species. For example, to find the location of a great white nursery last year, the Ocearch crew had to piece together several clues. "We first got an idea of where the sharks were mating, and because females have an 18 month gestation period, you can follow them for 18 months and get an idea of where they're birthing," said Chris Fischer, the founder of Ocearch. From the group's work in the Pacific, they gathered that for great whites, mating occurs in late fall to early winter, which would mean birthing happens around May or June. In May of last year, Mary Lee traveled past Fire Island and into the waters off East Hampton, N.Y., leading the researchers to hypothesize that a nursery could be nearby. They found it not far from Montauk, where they tagged nine pups, allowing the researchers to trace the migratory patterns of great whites in their early years. Neil Hammerschlag, a research assistant professor in the Shark Research Conservation Program at the University of Miami, suggested that some of Mary Lee's popularity had to do more with the high profile efforts of Ocearch and the category of shark that Mary Lee belongs to. "Ocearch coupled a TV show with their work," Dr. Hammerschlag said, referring to the 2012 History Channel program "Shark Wranglers," "and they had a strong social media campaign." And there is no denying that great white sharks are the ultimate predators. "Great whites generate more public attention than other species," Dr. Hammerschlag said. "They're responsible for the most fatalities on people worldwide. People are afraid of them, and this feeds the public's curiosity." According to the International Shark Attack File, sharks attacked humans with no provocation 81 times in 2016. In contrast, an average of 3,536 unintentional drownings occur in the United States each year, according to federal Centers for Disease Control and Prevention. "Sharks strike an inherent survival instinct and a primal fear," Mr. Fischer said. "Nobody wants to be eaten. But it's an irrational fear that doesn't statistically exist." "We're trying to undo everything that 'Jaws' did," he added. "If we don't have a lot of Mary Lees, our children won't be able to eat fish sandwiches. If they go, the entire system goes." The great white population on the Northeast Coast, which includes Martha's Vineyard, Mass., where "Jaws" was filmed, has rebounded in recent years. In 2003, scientists concluded that the great white population had dropped by 79 percent between 1986 and 2000. But conservation efforts in the 1990s, including a federal law prohibiting the removal of fins from sharks' bodies, have brought the creatures back within feeding distance of the Hamptons and Cape Cod. A resurgence of seals, a favored snack of the great white shark, may have encouraged the sharks' return, as well. "All of a sudden they're in people's backyards, not in Australia or South Africa," Dr. Hammerschlag said. "Great white sharks make news. Great white sharks in your backyard make news even more." As for whether the fear that drives human fascination with great white sharks is justified, most people who study them agree that these predators are not out to have you for brunch. "If white sharks wanted to eat humans, there would be tens of thousands of humans eaten every day," Mr. Fischer said. Dr. Hammerschlag is, however, taking no chances. "Because they're large and can pose a risk to humans, I would generally not swim in a spot where you know sharks are," he said. "It's the same as when you're driving on the highway and if you know there's a reckless or drunk driver. It's smart to not drive near them. But you're not going to stop driving on the highway altogether."	N24News: A New Dataset for Multimodal News Classification	Style
MUMBAI, India "Bollywood" conjures images of ubiquitous stars, but every movie produced in Mumbai is made possible by an army of men and women toiling in the shadows: the extras, the carpenters and caterers, the tailors bent over sewing machines creating glittering costumes, the men putting up movie billboards, the men sitting in the ticket window at the local theater. India has been under a strict lockdown since March 25 to fight the coronavirus outbreak. The complex machinery of Bollywood has come to a halt, affecting about a million people according to the Producers Guild of India who are directly or indirectly employed by the movie industry. Many are without work and wages. The worst hit are about 35,000 daily wage workers. A March report by the Federation of Indian Chambers of Commerce and Industry and Ernst Young estimates that 1,833 movies were released in India in 2019. India makes movies in as many as 28 languages. More than 200 of them are produced by the Hindi film industry in Mumbai, which is popularly known as Bollywood. Movie studios, production offices, editing and sound suites, and stars' homes are mostly in north Mumbai. The more palatial homes are traffic landmarks. Ask someone for directions and you could easily hear the reply, "Take a U turn at Shah Rukh Khan's house." Every Sunday for years, crowds have gathered in front of the actor Amitabh Bachchan's house for a sighting. The 77 year old actor, surrounded by security guards, dutifully steps out and waves to his admirers. The coronavirus outbreak has put an end to the ritual. The film industry effectively shut down in mid March when the producers' guild decided to stop filming and most of the movie theaters across India were closed. Bollywood has a calendar tightly packed with release dates for new movies. As the pandemic closed down the theaters, some of the year's biggest films, scheduled to open in March and April, have been indefinitely postponed. It is impossible to predict when theaters will open, and even when they do, when audiences will feel safe enough to venture in again. Bollywood has long been accused of peddling escapist, overblown fantasies and having little connection to reality, but when the pandemic hit Mumbai, the movie industry came together to protect its most vulnerable. Several movie trade associations have been raising funds and providing financial assistance. Some of the wealthiest actors donated to coronavirus relief funds run by the Indian government. The actor Salman Khan made direct transfers to bank accounts of the workers in the film industry. On May 3, Bollywood's leading actors, musicians and singers recorded performances and messages from their homes for a digital concert and raised over 6.8 million to fight the virus. The pandemic also brought into focus the curiously cordial relationship between the movie industry and the Bollywood paparazzi. The Mumbai paparazzi are less feral than their London and Los Angeles counterparts. Yet they doggedly cover every entertainment event, from movie trailer releases to parties to premieres. They feed the insatiable demand for the stars by taking photos of them outside gyms, bars, restaurants and especially the Mumbai airport. Stylists responded by designing "airport looks" for their celebrity clients. The paparazzi play a vital role in creating the chimera of relevancy and buzz around actors and films. After the coronavirus outbreak, the Bollywood paparazzi, who make about 15 to 20 after a long day, had little work. The filmmaker and producer Rohit Shetty and the actor Hrithik Roshan donated money to support them. Bollywood's complex publicity machinery is dormant. The actors, models, filmmakers and fashion designers who relentlessly fill India's media and mind space are stuck at home and trying to stay alive in public memory through Instagram livestreams, Zoom interviews and curated glimpses of their quarantined lives on social media. Every third celebrity has turned into a chef and a poet. All of this provides momentary distraction from the mounting dread and anxiety about the extent of damage the coronavirus outbreak will inflict on Bollywood. India has a mere 9,527 movie screens, and a majority 6,327 screens are in single screen theaters. Some of them will close permanently in the post pandemic world. Given the uncertainty surrounding the pandemic, no one is willing to predict the exact amount of loss, but experts estimate that Bollywood will lose between 1 billion and 1.3 billion. I called Karan Johar, arguably Bollywood's most successful filmmaker and producer, who currently has three films in postproduction. Mr. Johar's "Takht," an ambitious, historical movie set in the Mughal era, was scheduled to start filming in Italy in April. "All creators are optimists," Mr. Johar said. "You have to believe that it will all work out. But right now, we also have to be realists. I have told everyone in my company: Please don't think of growth, think of survival." The movie industry that emerges after the pandemic will be necessarily altered. Perhaps the movies will as well. Until there is a vaccine, how can anyone film a spectacular song sequence with 200 dancers in the background? Our stories and the way we tell them will change. In India, movies define Mumbai and politics define Delhi, the capital. In a horrifically overcrowded city, where over 41 percent of the population lives in slums, Bollywood provides a unique, fairy tale sparkle. I have never understood how they arrived at this number, but industry old timers will tell you that every day, 200 aspirants come to Mumbai hoping to break into show business. That is why the city is also called Mayanagri, or the City of illusions. I have long maintained that Hindi cinema is a necessary comfort and a collective expression of hope. Even as Bollywood scrambles to survive, we have to believe that a happy ending is a possibility. Anupama Chopra is the editor of Film Companion, an Indian cinema portal, and the author of "Sholay: The Making of a Classic." 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
One morning earlier this month , a group of 10 men and teenage boys gathered for a photo shoot in a small studio on the Lower East Side. The overall mood was chill; as the music of Nipsey Hussle, 50 Cent and Wale filled the room, they chatted amiably in between shots, laughing, joking and moving along to the beats. The occasion for this gathering was bittersweet: Five of the subjects were Korey Wise, 46; Kevin Richardson, 44; Raymond Santana, 44; Antron McCray, 45; and Yusef Salaam, 45, known collectively as the Central Park Five. Their stories are being retold in "When They See Us," a new Netflix mini series created and directed by Ava DuVernay. In 1989 the men then teenagers were arrested in connection with the rape and assault of a white female jogger, and eventually convicted in a case that came to symbolize the stark injustices black and brown people experience within the legal system and in media coverage. The y were convicted based partly on police coerced confessions, and each spent between six and 13 plus years in prison for charges including attempted murder, rape and assault. The other five in the studio that day were the actors tasked with the challenge of portraying their younger selves in the series, premiering May 31: Jharrel Jerome, 21 ; Asante Blackk, 17; Marquis Rodriguez, 22; Caleel Harris, 15; and Ethan Herisse, 18. A reporter reflects on the true story of the Central Park Five . As they gathered for a group photo, Wise looked on and observed that they were in the stages of their lives when everything had stopped for him and the other men. "Amazing. Just beautiful looking at them," he would say later when we sat down for an interview. He added, "This is life after death. I always say that. From now on I know what Biggie was talking about. There's life after death." In a series of chats, the Central Park Five and their onscreen counterparts discussed the pain, pride and emotional toll of revisiting those fateful events 30 years later. These are edited and condensed excerpts from those conversations. Santana was 14 when he was arrested in 1989 and was incarcerated for close to seven years for the jogger case. In 2015, he tweeted the idea of a Central Park Five drama to DuVernay, who messaged him back with interest. SANTANA Ava was always my choice to do this series. I never met the woman, I didn't even know who she was, but I'd watched "Selma" there's a part where Martin Luther King, Jr. is confronted by his wife Coretta with recordings of him with another woman , and I felt like that was bold to put in the film. By showing that, it showed the human side of this man who was put on a pedestal. And it told me that she had no fear of telling the truth. Reliving these events brings back the pain; it brings back the memories. But it's necessary. I was ready and I was willing to relive, to go through that pain again, to cry because it's necessary. It's a sacrifice. You want to change the culture, you've got to be engaged. This is how we got engaged. RODRIGUEZ That first day at the table read, I was immediately struck by how much of a light you are in a room, how engaged he is when he speaks to people, how bright and smiling and happy. That was one of the most important things for me. Knowing where the story goes, how can I capture, at least for a moment, the levity of his childhood, when it was allowed to be a childhood? One of my biggest fears as a person of color in this city, in this country is what happened to these men. There's nothing more terrifying than telling your truth and telling it over and over and over again, but having people refuse to honor it as the truth. In that scene when Raymond, Kevin, Yusef and Antron are in the holding cell , you're literally watching four boys have to work through really adult issues and they decide to tell the truth from there on out. But they shouldn't have to do that. That should not be their burden, to have to disentangle themselves from adult lies. It's often children of color's work. SANTANA My father still probably blames himself, but he doesn't speak about it. Our relationship is good, but it's a little different because, as a parent, when you have a child, you want to instill these values and morals on how to navigate through life. And he never got that chance to give me that; I grew up in the system. And then here I was, I come back and now I'm a man who doesn't want to take orders. And I think that might be the only issue that we still have. I don't call him and say, "I got this problem, how do I solve it?" RODRIGUEZ As a cast we were vulnerable with each other, we wept with each other and talked about the work with each other. We absolutely formed a brotherhood between us, and I think I'm so grateful for it. SANTANA I told Marquis just today: We watch them, the way they interact with each other we really sit there and go, "That's us." And Antron, when I said it, he started to tear up. He's like, "Come on, Ray, man!" You see the brotherhood. We were like, "Wow, that's us, the childhood that we lost is being displayed right in front of us." WISE "What if?" That's a bitter taste. Because what if I hadn't met Reyes, I'd just be doing 15 years , wondering. I'd still be working for my little pennies, for commissaries. Yusef that's my boy. That's my little childhood brother there. We were just baby boys, we were just trying to be entrepreneurs, having fun being kids. I had him out with me, riding him around, went to a barber shop, little haircut, little touch up. If someone had told me , "You, little expletive , yo. You stay here, you don't go with him," I wouldn't have went. JEROME The hardest part of playing Korey was finding his happy moments and finding his moments where he's flirting with Lisa played by Storm Reid , chilling with the homies or hanging out, smiling. It was hard to find those moments because you don't see that unless you actually meet the man and see him smile yourself. He's unique, and everything about him is unique. So it wasn't about being Korey Wise, it was about embracing him. JEROME They are the strongest men on this planet. Their chests are high, their shoulders are up, their heads are held up high, and no matter what pains I go through in life, I'm going to channel the spirit of Korey Wise. WISE This series is talking to my pain. I'm enjoying it; at the same time, it hurts. But I guess when it comes down to it people are going to enjoy it. They're going to enjoy this summer blockbuster. JEROME "This summer blockbuster." He just called himself a summer blockbuster. Salaam was 15 years old at the time of his arrest, and spent more than six years in prison. He is now a motivational speaker. HERISSE I knew nothing about these events before I was cast . When I watched the Ken Burns documentary "The Central Park Five" I was shocked, because I had no idea that something like this could happen to anyone especially people who were my age at the time. I tried my hardest, from the audition on, to bring out that anger and disappointment in the justice system that I felt. I'm at a different place now, where seeing that this thing happened and is still happening, even now if I were going to be put anywhere near our system, I wouldn't feel completely safe. SALAAM We had all gone through hell. But when I saw this series, I immediately realized that we were in paradise compared to the hell that Korey was in. His was unrelenting. I went to jail and I was able to get a college degree. He never got an opportunity to breathe, to meditate, to just say, "Phew, man, that was really crazy today. Let me kick my feet up a little bit and read this magazine." That reality that pain, I think, is a better word is knowing that he came because of me. Offering an "I'm sorry" doesn't seem adequate. And I've been able to say that to him, but I also realized that that's not adequate enough to know what he went through, or that he could have been killed in prison. He almost was. It's not enough. And I have a direct role to play in that. HERISSE It was emotionally taxing at times to embody that weight . I feel like I speak for all of us when I say that we just wanted to get it right. We really want to tell their truth as best as possible for these men, for this story. This is the justice that they didn't get in '89. McCray was 15 years old when he was arrested and served six years in prison. Though he maintained his innocence, his father, Bobby (played by Michael K. Williams), convinced him to tell the police what they wanted to hear, believing that they would let him go. HARRIS I did get "the talk" from my parents, and I was somewhat aware of how this country is run. But as a teenager, I'm still figuring out how this world is operated and just learning about this case and meeting these men it opened my eyes a lot as to what's really happening and how far we still have to go. McCRAY Watching the series was hard to get through. Caleel did a great job. Actually, he did too good. It took me right back, because my father was my best friend, my hero at the time. And it was real painful. I cried on my wife's shoulders. I don't know when was the last time I cried. I struggle with my feelings toward my father . Sometimes I love him. Most of the time, I hate him. I lost a lot, you know, for something I didn't do. He just flipped on me, and I just can't get past that. It's real hard. I did seven and a half years including time spent detained during the trial for something I didn't do, and I just can't get over it. BLACKK It was a challenge trying to snap out of the emotions on set . It was really easy to feel the pressure of what was happening, but once "cut" was called in the courtroom scenes I found myself still angry and still really emotional. I couldn't even imagine myself going through what you went through, and it made me angry for you. This should have never happened. RICHARDSON It's a struggle that I deal with every day. But I didn't want to be an older, bitter man, even though I am angry, yes. But we did want to channel that energy and turn this to something positive so we could build for our future generation. BLACKK These five guys are human. They're not the "wolf pack," the monsters they were portrayed as by the media in 1989. These are guys that have families, that have goals, aspirations, things they want to do with their lives, and they shouldn't just be brought down to a headline or something to be afraid of because they're not at all. If you see something and it confirms your biases, you might want to take a step back before you jump to a conclusion, because there's a huge chance it isn't true. RICHARDSON That's why I love the title "When They See Us." When they see us as black and brown people, we're judged already from the color of our skin. So like Asante said, take a step back and think. I want everybody to know that we're survivors of this and we don't want to see another Central Park Five. We don't want to see another Scottsboro Boys. We don't want to see another Emmett Till.	N24News: A New Dataset for Multimodal News Classification	Television
But Robert is far from the sole object of Edna's desire. Their liaison eschews monogamy in more ways than the obvious infidelity, taking as lovers the moon, the gulf and its spirits. In the moonlit sea Edna "walks for the first time alone, boldly and with overconfidence" into the gulf, where swimming alone is "as if some power of significant import had been given to control the working of her body and soul." Solitude is essential to Edna's realization that she has never truly had control of her body and soul. (The novel's original title was "A Solitary Soul.") Among Edna's more defiant moments is when she refuses to budge from her hammock, despite paternalistic reprimand from both Robert and Leonce, who each insist on chaperoning, as if in shifts. Edna's will blazes up even in this tiny, hanging room of her own, as Virginia Woolf would famously phrase it nearly 30 years later. Within the silent sanctuary of the hammock, gulf spirits whisper to Edna. By the next morning she has devised a way to be alone with Robert. Chopin's novel of awakenings and unapologetic erotic trespass is in full swing. Upon her return home to New Orleans, Edna trades the social minutiae expected of upper crust Victorian white women receiving callers and returning their calls for painting, walking, gambling, dinner parties, brandy, anger, aloneness and sex. She shucks off tradition and patriarchal expectations in favor of art, music, nature and her bosom friends. These open her up, invite her to consider her self, her desires. One friend offers the tattoo worthy wisdom that "the bird that would soar above the level plain of tradition and prejudice must have strong wings." Is Edna such a bird? This is the novel's central question, one it refuses to answer definitively. Chopin gives Edna the freedom to feel and yet not know herself. The women in the novel draw forth Edna's intuition they take the sensual and braid it with the intellectual. Eventually, the body and the mind are one for Edna. "The Awakening" is a book that reads you. Chopin does not tell her readers what to think. Unlike Flaubert, Chopin declines to explicitly condemn her heroine. Critics were especially unsettled by this. Many interpreted Chopin's refusal to judge Edna as the author's oversight, and took it as an open invitation to do so themselves. This gendered knee jerk critical stance that assumes less intentionality for works made by women is a phenomenon that persists today. Especially transgressive was Edna's candor about her maternal ambivalence, the acuity with which Chopin articulated the fearsome dynamism of the mother's bond with her children: "She would sometimes gather them passionately to her heart, she would sometimes forget them." This scandalized and continues to scandalize readers because the freedom of temporarily forgetting your children is to find free space in your mind, for yourself, for painting, stories, ideas or orgasm. To forget your children and remember yourself was a revolutionary act and still is. Edna Pontellier does what she wants with her body she has good sex at least three times in the book. But the more revolutionary act is the desire that precedes the sex. Edna, awakened by the natural world, invited by art and sisterhood to be wholly alive, begins to notice what she wants, rather than what her male dominated society wants her to want. Edna's desire is the mechanism of her deprogramming. The heroine's sensual experience is also spiritual, and political. Political intuition begins not in a classroom but far before, with bodily sensation, as Sara Ahmed argues in her incendiary manifesto "Living a Feminist Life": "Feminism can begin with a body, a body in touch with a world." A body in touch with a world feels oppression like a flame, and recoils. For gaslit people women, nonbinary and queer people, people of color people who exist in the gaps Cauley describes between the accepted narrative of American normal and their own experience, pleasure and sensation are not frivolous or narcissistic but an essential reorientation. The epiphany follows the urge. Feeling her own feelings, thinking her own thoughts, Edna recalibrates her compass to point not to the torture of patriarchy but to her own pleasure, a new north. Like Edna, Kate Chopin did what she wanted with her mind, whatever the cost, and it cost her almost everything. In 1899 "The Awakening" earned her a piddling 102 in royalties, about 3,000 in today's money. Shortly after its publication the now unequivocally classic novel fell out of print. Chopin's next book contract was canceled. Chopin died at age 54 from a brain hemorrhage after a long, hot day spent at the St. Louis World's Fair with her son. Her publishing career lasted about 14 years. And yet she established herself among the foremothers of 20th century literature and feminist thought. She showed us that patriarchy's prison can kill you slow or kill you fast, and how to feel your way out of it. She admired Guy de Maupassant as "a man who had escaped from tradition and authority," and we will forever argue whether Edna is allowed this escape, whether she shows us not the way but a way to get free. As for Chopin, there is no doubt that she was free on the page, free to let her mind unfurl. None of this is accident or folly, not caprice nor diary. She knew what she was doing. She was swimming farther than she had ever swum before.	N24News: A New Dataset for Multimodal News Classification	Books
Brightness flickers fitfully in the bleak, beautiful landscape of "Girl From the North Country," a rich and strange marriage of the talents of the Irish playwright Conor McPherson and the American songwriter Bob Dylan. The setting for this haunting musical melodrama of unmoored lives is, after all, a premature winter. In Minnesota. During the Great Depression. So when something like joy or hope or love promises to light up the night in this ravishing production, which opened on Monday night at the Public Theater, it doesn't stand much chance against the prevailing darkness. This is a story of an age of privation and separation, in which homes are lost and families riven. Yet when the people onstage sing, huddled together before old time microphones as if they were campfires, they seem to conjure light and warmth out of the cold, cold night that surrounds them. These fleeting moments register with the glow of retinal afterimages, as though they were happening behind closed eyes. As for the sweet, sorrowful voices, backed by fiddles and piano, they seem to come, beseechingly, from half remembered family histories you might have been told by your grandparents. If you're a hard core Dylan fan, you've heard these songs before. But, for me at least, they've never sounded quite so heartbreakingly personal and universal at the same time. As arranged and orchestrated by the British composer Simon Hale in collaboration with Mr. McPherson, the show's director as well as its writer the songs exist in self sufficient independence of their creator's gravelly, much imitated voice. You hear them ripening into new fullness. Those who scoffed when Mr. Dylan received the Nobel Prize in Literature in 2016 may find they have to think again. "Girl From the North Country" debuted at London's Old Vic Theater in the summer of 2017, eight months after the prize had been announced. Five years earlier, Mr. McPherson was approached by representatives of Mr. Dylan about using the songwriter's catalog as the basis for a musical. It seemed like a bizarre conjunction, that of a Gaelic dramatist and an American balladeer. But in plays like "Shining City" and "The Night Alive," Mr. McPherson has shown a mystical appreciation of music as an expression of the numinous in life. That respect for the ineffable has been translated into the most imaginative and inspired use to date of a popular composer's songbook in this blighted era of the jukebox musical. In unfolding his portrait of the desperate tenants of a boardinghouse in Duluth, Minn. (Mr. Dylan's birthplace), in late 1934, Mr. McPherson never uses songs as a substitute for or extension of dialogue, a la "Mamma Mia!" Only occasionally does a number like the 1966 classic "I Want You" seem to echo directly the thoughts of the characters singing it. Instead, nearly every ensemble member becomes part of a choir, with soloists, that is as persuasive a latter day equivalent of the Greek chorus as we're ever likely to see. What's created, through songs written by Mr. Dylan over half a century, is a climate of feeling, as pervasive and evasive as fog. It's an atmosphere of despair with lyrics about lost chances, lost love and enduring loneliness that finds grace in the communion of voices. coming together. Certainly, the script is as forbiddingly fatalistic as that of a Greek tragedy. At its center is Nick Laine (Stephen Bogardus), who rents out rooms in his ramshackle house in the hope of forestalling foreclosure. His family includes an alcoholic young son, Gene (Colton Ryan), who hopes to be a writer, and an adopted daughter, Marianne (Kimber Sprawl), who is pregnant, though how or by whom no one seems to know. Nick's wife, Elizabeth (Mare Winningham), is there and not there, suffering from a dementia that has turned her into a dependent, unruly child with a sailor's mouth. So Nick seeks comfort in the arms of a boarder, Mrs. Neilsen (Jeannette Bayardelle), who expects to come into some money. Most everybody here has such expectations; nobody really believes in them. Images of lost and murdered children haunt the narrative, specters of snuffed lives and broken hopes. Also living on the premises are the Burkes the blustery, big talking father (Marc Kudisch) and the louche mother (Luba Mason) of Elias (Todd Almond), a grown man with a toddler's mind. The newest arrivals are a self described man of God, Reverend Marlowe (David Pittu), and an ex convict and boxer, Joe Scott (Sydney James Harcourt). These elements might have come from a build your own vintage American social realist drama assembly kit. I regard the 47 year old Mr. McPherson as perhaps the finest English language playwright of his generation. But last year, when I saw "Girl" on its opening night in London, with a British ensemble straining for Americanness, the script often felt labored and imitative. With a uniformly excellent American cast that wears its roles like confining and prickly skins, and on a smaller stage, "Girl" feels far more convincingly of a piece. The work of the same team of designers Rae Smith (set and costumes), Mark Henderson (lighting) and Simon Baker (sound) comes together here with the self containment of a poem. Within the production's alternating visions of the claustrophobic boardinghouse and desolate roadscapes, the fraught denizens of Duluth seem perched precariously on the brink of infinity. There's a mythic quality to the silhouetted figures who step from the shadows to sing and play instruments. (Lucy Hind's movement direction is superb.) And how they sing, every one of them. Moments I seem destined to recall forever include Ms. Winningham delivering "Like a Rolling Stone" as a curse and "Forever Young" as an elegy; Mr. Harcourt leading "Hurricane" like a rampant force of nature; and Ms. Mason (who doubles as a drummer) singing "Is Your Love in Vain?" with the wounded cynicism of a seen it all barroom chanteuse. Oh, and I haven't mentioned how Ms. Sprawl turns "Idiot Wind" into a philosophic half acceptance of romantic attraction. Or the miraculous moment when Mr. Almond's stunted Elias croons "Duquesne Whistle" in the style of a big band heartthrob. The show's most heartbreaking moments, though, are perhaps its happiest. I'm thinking in particular of the jubilant performance of "You Ain't Goin' Nowhere" that begins the second act. It's performed as a sort of hoedown celebration, with dancing that defines each participant as an idiosyncratic individual and as part of a synchronized whole. You may find yourself thinking that this is as close as mortals come to heaven on Earth. And for just a few, infinitely precious moments, a radiance eclipses the all devouring night.	N24News: A New Dataset for Multimodal News Classification	Theater
Dr. Christopher Lewandowski, principal investigator of a clinical trial that found an effective treatment for stroke. Two decades later, he still finds himself explaining the data to doubters in the medical community. For Many Strokes, There's an Effective Treatment. Why Aren't Some Doctors Offering It? It was one of those findings that would change medicine, Dr. Christopher Lewandowski thought. For years, doctors had tried and failed to find a treatment that would preserve the brains of stroke patients. The task was beginning to seem hopeless: Once a clot blocked a blood vessel supplying the brain, its cells quickly began to die. Patients and their families could only pray that the damage would not be too extensive. But then a large federal clinical trial proved that a so called clot buster drug, tissue plasminogen activator (T.P.A.), could prevent brain injury after a stroke by opening up the blocked vessel. Dr. Lewandowski, an emergency medicine physician at Henry Ford Health System in Detroit and the trial's principal investigator, was ecstatic. "We felt the data was so strong we didn't have to explain it" in the published report, he said. He was wrong. That groundbreaking clinical trial concluded 22 years ago, yet Dr. Lewandowski and others are still trying to explain the data to a powerful contingent of doubters. The skeptics teach medical students that T.P.A.is dangerous, causing brain hemorrhages, and that the studies that found a benefit were deeply flawed. Better to just let a stroke run its course, they say. It's a perspective with real world consequences. Close to 700,000 patients have strokes caused by blood clots each year and could be helped by T.P.A. Yet up to 30 percent of stroke victims who arrive at hospitals on time and are perfect candidates for the clot buster do not receive it. The result: paralysis and muscle weakness; impaired cognition, speech or vision; emotional and behavioral dysfunction; and many other permanent neurological injuries. Stroke treatment guidelines issued by the American Heart Association and the American Stroke Association strongly endorse T.P.A. for patients after they've been properly evaluated. But treatment must start within three hours (in some cases, four and a half hours) of the stroke's onset, and the sooner, the better. A number of medical societies also endorse the treatment as highly effective in reducing disability. The drug can cause or exacerbate cerebral hemorrhage, or bleeding in the brain a real risk. But in most stroke patients it prevents brain injury, and in any event, rates of cerebral hemorrhage have declined as doctors have gained experience over the years. Without treatment, "many patients end up permanently disabled," said Dr. Gregg C. Fonarow, a cardiologist at the University of California, Los Angeles. "The stroke neurologists who are involved in chronic care see the devastating consequences." "For some reason, the emergency medicine doctors are not factoring this in," he added. While the vocal disbelievers are a minority, it is increasingly easy for them to spread their message on social media, said Dr. Edward C. Jauch, a professor of neurosciences at the Medical University of South Carolina. "The way information and opinion is now communicated to the younger generation of physicians is much more through web and social media and less through peer review journals, journal clubs or live debates," Dr. Jauch said. Dr. Charles R. Wira III, a professor of emergency medicine at Yale, said that when he talked to residents about T.P.A., they often start citing blogs and podcasts "as the divine word for why T.P.A. is harmful," he said. "They have not read the articles or practice guidelines." Skepticism has spread around the world, Dr. Jauch said, and he has come to expect naysayers wherever he goes. In Saudi Arabia, where he was lecturing at a conference, a Saudi doctor said over dinner that he simply did not believe in T.P.A. A leader of the skeptical contingent, Dr. Jerome Hoffman, an emergency medicine specialist and emeritus professor at U.C.L.A., believes that while the initial trial and a second one were positive, both were flawed. He reviewed the raw data from the federal study and concluded that more patients who got T.P.A. had the least severe type of stroke and fewer had the most severe type. The treatment and control groups were dissimilar that is, those getting T.P.A. were less badly affected from the start. Experts disagree with this analysis. The failure of those efforts, they say, does not mean T.P.A. cannot help patients like those in the original clinical trials. A charismatic, riveting speaker, Dr. Hoffman has given educational courses across the country and many medical professionals have listened to informational tapes in which he presented his critique of the evidence. And his influence has spread. At U.C.L.A., he said in an interview, he has spoken to stroke patients and their families even as their medical teams headed into the emergency room. He has told the patients that although the stroke team would strongly recommend T.P.A., there actually was debate over whether the treatment benefits patients in the long term. In addition, no study suggested that a clot buster was lifesaving, he told them, and it may cause bleeding in the brain in a small number of patients. "In my experience, almost no one after hearing a neutral version and then a positive version chose T.P.A.," Dr. Hoffman said. Dr. Hoffman said he has debated renowned neurologists about the benefits of T.P.A. at several meetings. Afterward, audiences voted overwhelmingly against the drug. "This is not a testament to any debating skill of mine, but reflects how people react when they are shown the actual evidence," he said. At Sierra Vista Regional Medical Center in San Luis Obispo, Calif., Dr. Scott Bisheff, an emergency medical physician, tells patients there is great uncertainty about whether T.P.A. helps or harms. If it caused bleeding in a patient's brain, the consequences could be catastrophic. About half of his stroke patients decline the treatment, Dr. Bisheff said. For neurologists, the worst scenario by far is the patient who is never even asked if he or she wants the clot buster. At Yale, Dr. Wira said, patients sometimes are transferred from community hospitals where they have not received T.P.A. Usually, it's far too late to try. Dr. Wira and other staff do not tell the family about the missed opportunity. "We try not to raise issues that may lead to litigation," he said. But sometimes family members cannot help knowing what went on. It happened to Dr. Lewandowski. About a decade ago, Dr. Lewandowski was at work when he got a call that his father had had a stroke his right side was paralyzed. But his father had gotten to the hospital within 45 minutes, well inside the window to receive T.P.A. Dr. Lewandowski told his mother to make the family's wishes very clear. They wanted the emergency room doctor to give the clot buster to his dad. The doctor refused. "He told my mom that he doesn't believe in the drug and he is not giving it. He doesn't care who I am," Dr. Lewandowski said. "I got in my car and drove 400 miles to the hospital," he recalled. But by the time he got there, it was too late. The treatment window had closed. His father had a facial droop and slurred speech. His right arm and right leg flopped about uselessly. His stroke scale was 7, moderately disabling, but he survived for a few more years. "It was very difficult for me personally," Dr. Lewandowski recalled. "I had spent so much of my professional life working on this treatment. It actually worked." "I felt like I had let my dad down."	N24News: A New Dataset for Multimodal News Classification	Health
Read all of our classical coverage here. This week the classical music world lost Olivier Knussen, the influential British composer and conductor, who died on Sunday at age 66. Read our obituary, and stay tuned below for remembrances from our critics and writers. I was in the Berkshires last weekend for the opening of the Boston Symphony Orchestra's Tanglewood season, where I heard Lang Lang play Mozart's Piano Concerto No. 24 in D minor his first major performance since injuring his left hand more than a year ago. Here's what I thought of the concert; you can hear his recording below. Oliver Knussen has rightly been celebrated this week for his concise yet invariably telling compositions, but his influence as a conductor was just as immense. His genius for programming, so often with the newest of new music at its heart, was rivaled perhaps only by Pierre Boulez. In the last few years at the BBC Proms, where his annual concerts had taken on a mythic attraction, he led evenings of Dukas, Turnage, Schuller and Scriabin; Henze, Stravinsky and Tippett; Honegger, Bridge, Berg, Castiglioni and Debussy. Too few of his insights were caught on record, too little of his breadth. But I still cherish his release dedicated to the American modernist Ruth Crawford Seeger, above all for the incision and intensity of its "Andante for Strings." DAVID ALLEN Have Wild Things ever sounded so ravishing? When Oliver Knussen turned Maurice Sendak's storybook "Where the Wild Things Are" into an opera, he took the material every bit as seriously as the children who have long been entranced, delighted and frightened by it. No line is more delicious, or terrifying, than the Wild Things' plea to the young hero, Max, not to return to his home: "Oh please don't go we'll eat you up we love you so!" Mr. Knussen scores it as what he calls a "barbershop quintet" giving the monsters ethereal harmonies that briefly call to mind Benjamin Britten magic before veering off into entirely different directions. Wild, indeed. MICHAEL COOPER Though it can seem like New York's classical music scene goes into hibernation during the summer months, the pleasing reality is that smaller scale enterprises rush to fill the void while major players like the Metropolitan Opera and the New York Philharmonic are taking a breather. Over the last week, I attended five intriguing shows, three of which were free to the public. (Yes, that's another summertime trend, in the city's classical culture.) First, following up on my recent enthusiasm for a series of concerts at National Sawdust led by John Zorn, I followed the composer saxophonist to his takeover of the Frick Collection's popular "First Friday" series. Mr. Zorn and his close collaborators roamed across the museum for several hours, setting up in various chamber music configurations, in different galleries and foyers. I caught up with them in the building's celebrated, intimate music room which is set for repurposing in a coming renovation. There, it was possible to hear a pair of artists making a strong case on behalf of the space's current iteration. The cellist Michael Nicolas played Mr. Zorn's "As Above, So Below," a febrile work full of contrasting energies. (The piece is one of several that Mr. Zorn will be bringing to concerts accompanying the Guggenheim's coming exhibition of paintings by Hilma af Klint.) Then Mr. Zorn performed some contrasting lines of his own, on alto saxophone. Billed on the program as a continuation of his long in process solo saxophone series, "The Classic Guide to Strategy," he initially mirrored some of the quick changing style heard during the work for cello as he let raunchy lines of harshly overblown texture alternate with brief legato phrases, suggestive of mellow balladry (if only for a moment). Though at the end of his solo, as he found the center of the room, Mr. Zorn simply aimed the bell of instrument toward the ceiling, and let rip for a while. With this rough cry, it seemed he was performing his own sonic renovation of the space: getting under the decor, making the room vibrate on his frequency. The most recent recording from his "Strategy" series features blood soaked reeds on its cover. And you can get a sense of the way Mr. Zorn commits the body, during these performances, in a live video of a 2009 solo, hosted on the site of the radio station WQXR. (Mr. Zorn's retinue will return to the Frick's First Friday series on October 5.) The next morning, I took the ferry to Governors Island, to see the electric guitar quartet Dither, in a program presented by the Rite of Summer festival. This particular quartet has also recorded some of Mr. Zorn's raucous "game pieces." But the highlight of Saturday's set was their take on "The Garden of Cyrus," by composer Eve Beglarian (whose work I recently wrote about, in light of a fascinating concert at the Morgan Library). Originally written for electronics, Ms. Beglarian retrofitted "Cyrus" at this quartet's request. By merging "rigidly serial" techniques with some Minimalist ideas about presentation, the composition manages to stake a claim on peaceable beauty, even when chaotic. (Rite of Summer will next present a concert at Governors Island on August 18.) Tuesday brought a doubleheader. First up was a free concert at the Drawing Center by Robert Aiki Aubrey Lowe an artist who works with a modular synth as well as his own voice. His way of building up gently droning miasmas was familiar to me, from a prior gig at Roulette with the composer percussionists Susie Ibarra and YoshimiO (later released by Thrill Jockey, as the album "Flower of Sulphur"). In the solo setting, I was better able to focus on the variety of ways he folds his voice into these performances. Drier vocalizations were incorporated into the mix through what looked like a contact microphone, pressed underneath Mr. Lowe's chin or at the side of his throat while deeper, more resonant tones were amplified using more traditional vocal microphones. Perhaps you have heard that Radiohead is a very good band? I held this to be true, myself, before the concert I heard at Madison Square Garden on Wednesday. But I felt it even more strongly, after the show which included a vigorous house music version of "Everything in Its Right Place." (Incidentally, that's one of the tunes that Steve Reich adapted in his work "Radio Rewrite.") I was even more excited when I learned that the Radiohead guitarist Jonny Greenwood would be opening for himself, as part of the group Junun. A collaboration between Mr. Greenwood, the Israeli composer guitarist Shye Ben Tzur and musicians from India known as the Rajasthan Express, the group's 2015 debut recording on the Nonesuch label has long been a favorite of mine. It was a pleasure to watch Mr. Greenwood take up an electric bass, in one song, and work in a joyously syncopated partnership with the Rajasthan Express rhythm section. After that, he could retreat to an electronic setup to supervise a digital arrangement that supported a flute solo by Mr. Ben Tzur, during a piece like "Kalandar." If you're seeing Radiohead tonight, or on Saturday, it's well worth showing up early to hear this ensemble, too. This week I also received a startlingly fine album from the Seattle Symphony, due out next Friday. On it, conductor Ludovic Morlot and his orchestra dig into Luciano Berio's "Sinfonia," alongside the vocal ensemble Roomful of Teeth. That's news in and of itself as it was when the Teeth singers collaborated with the New York Philharmonic on the piece this spring.	N24News: A New Dataset for Multimodal News Classification	Music
In the presence of the "Mona Lisa" at the Louvre in Paris, digital photography, rather than looking at the painting, has become the primary experience. PARIS The young couple moved to the front of the crowd to look at the painting. After a few seconds, the woman turned around, smiled into her cellphone and took some selfies. Next, she handed her device to her husband, who took more formal shots of her in front of the work. The two then posed arm in arm for selfies together, turned to have a last brief look at the painting and moved away. "It's too small, and it's too crowded to get close to look at the detail," said the woman, Jeannie Li, 28, a financial analyst in Shanghai, unimpressed by her first sight of Leonardo da Vinci's "Mona Lisa." "I can see it better in a book or on the internet." The way the couple interacted with the 500 year old painting exemplifies how differently the digital generation experiences art. Most of the roughly 150 people crowded around the painting at the Louvre were taking photographs of the piece, or of themselves in front of it. In the presence of the "Mona Lisa," digital photography, more than looking at the actual artwork, has become the primary experience. Ms. Li and her husband, Steven, were in Paris for their honeymoon. Why had she wanted to visit the Louvre and see this particular artwork? "Because it's famous, because of its mysterious smile, and because I read 'The Da Vinci Code,' " Ms. Li said, referring to the best selling novel by Dan Brown, which opens with the shooting of a curator in the museum's Grand Gallery. In 2017, the Louvre attracted 8.1 million visitors, retaining its long held status as the world's most visited museum. Leonardo's enigmatic, infinitely reproduced portrait of a woman thought to be Lisa Gherardini, the wife of a Florentine cloth merchant, is the star attraction. Made in oil on wood in the early 16th century, the painting is presented in a temperature controlled capsule behind bulletproof glass and a protective barrier. "A lot of people take photos and post them on Twitter or Facebook," Ms. Li said. "It's evidence that 'I've been there.' " In October 2014, the American megastars Jay Z and Beyonce, and their daughter Blue Ivy, had the privilege of visiting the Louvre on their own. The resulting smartphone photo session drew huge attention on Instagram, prompting Buzzfeed to declare: "No Picture Matters More Than Beyonce And Jay Z Posing In Front Of The Mona Lisa," and adding, "It might very well be the best picture of our generation. Or any generation." It would be easy enough for a critic or curator to dismiss the "Mona Lisa experience" as nothing more than selfie tourism. Yet Jay Z and Beyonce, like pretty much everyone who visits the Louvre, did actually look at the painting. The way the "Mona Lisa" is viewed is, in fact, soberingly representative of the way most art is viewed in today's saturated, digitally mediated, visual culture. How many more (or fewer) seconds do cellphone wielding visitors spend looking at individual works at a commercial art fair or exhibition than at the Louvre? How is an artistic reputation made these days, other than through Instagram? "She is older than the rocks among which she sits; like the vampire, she has been dead many times, and learned the secrets of the grave," the British critic Walter Pater wrote in 1873, evoking the timelessness of the "Mona Lisa" long before the advent of mass tourism, mobile phones, apps and fragmented attention spans. "She is older than the rocks among which she sits; like the vampire, she has been dead many times, and learned the secrets of the grave," the British critic Walter Pater wrote of the "Mona Lisa" in 1873. Mr. Pater's much quoted description of "La Gioconda" (as the painting is also known) is redolent of a culture in which a privileged few would spend hours with masterpieces to try to divine their profoundest meanings. But mechanical and digital reproduction has changed things. Another British critic, John Berger, wrote in his influential 1972 book, "Ways of Seeing," that in an age of digital reproduction, "the meaning of paintings is no longer attached to them; their meaning becomes transmittable." Mr. Berger, who died last year, might have noted with interest that Beyonce's 2014 Instagram post of her making a peace sign in front of the "Mona Lisa" attracted almost 840,000 likes. Similarly, a wealthy art collector does not need to spend hours in front of a Christopher Wool, Rudolf Stingel or Gerhard Richter abstract freshly purchased for a few million dollars. The collector knows exactly what it looks like, having already seen the image many times in digital reproduction. While the instantly recognizable quality of brand name contemporary art reassures collectors and by extension bolsters the pieces' value other works can be diminished by their reproducibility. The "Mona Lisa" is a prime example. "It's very underwhelming. It's small and dark," Katie Qian, 33, an engineer from Salt Lake City, said after seeing the "Mona Lisa" for the second time in her life. Christie's, by contrast, offered viewers a quasi religious experience at the pre auction viewing of the much restored panel painting "Salvator Mundi," which had recently, not incontrovertibly, been re attributed to Leonardo. The auction house, with the help of the advertising agency Droga5, promoted what it called "The Last da Vinci" with a video of people moved to tears by the painting. It went on to sell for an all time high of 450.3 million. "The bogus religiosity which now surrounds original works of art," Mr. Berger wrote in "Ways of Seeing," "is ultimately dependent on their market value" and "has become the substitute for what paintings lost when the camera made them reproducible." Back at the Louvre, the millions of visitors who trudge through the Grand Gallery every year on their way to the "Mona Lisa" tend to walk straight past "The Virgin of the Rocks," a fully documented Leonardo masterpiece from the early 1480s. Then again, perhaps not many tourists are aware that it is a painting that, in the unlikely event of it ever appearing on the market, would also sell for hundreds of millions of dollars.	N24News: A New Dataset for Multimodal News Classification	Art & Design
More Child Suicides Are Linked to A.D.D. Than Depression, Study Suggests Attention deficit disorder is the most common mental health diagnosis among children under 12 who die by suicide, a new study has found. Very few children aged 5 to 11 take their own lives, and little is known about these deaths. The new study, which included deaths in 17 states from 2003 to 2012, compared 87 children aged 5 to 11 who committed suicide with 606 adolescents aged 12 to 14 who did, to see how they differed. The research was published on Monday in the journal Pediatrics. About a third of the children of each group had a known mental health problem. The very young who died by suicide were most likely to have had attention deficit disorder, or A.D.D., with or without accompanying hyperactivity. By contrast, nearly two thirds of early adolescents who took their lives struggled with depression. Suicide prevention has focused on identifying children struggling with depression; the new study provides an early hint that this strategy may not help the youngest suicide victims. "Maybe in young children, we need to look at behavioral markers," said Jeffrey Bridge, the paper's senior author and an epidemiologist at the Research Institute at Nationwide Children's Hospital in Columbus, Ohio. Jill Harkavy Friedman, the vice president of research at the American Foundation for Suicide Prevention, agreed. "Not everybody who is at risk for suicide has depression," even among adults, said Dr. Harkavy Friedman, who was not involved in the new research. Yet the new research does not definitively establish that attention deficit disorder and attention deficit hyperactivity disorder, or A.D.H.D., are causal risk factors for suicide in children, Dr. Bridge said. Instead, the findings suggest that "suicide is potentially a more impulsive act among children." Other experts cautioned that it was hard to draw definitive conclusions from such a small population. David N. Miller, the president of the American Association of Suicidology, applauded the new research for insight into "an understudied population." But he questioned whether impulsiveness was a large factor in child suicide. "There is a lot of evidence it isn't," he said. Researchers used a database with detailed suicide reports from coroners and medical examiners. It was unclear whether mental health professionals had diagnosed attention deficit problems in each case. Dr. Nancy Rappaport, a child psychiatrist and part time associate professor at Harvard Medical School, said she suspected that children listed as having A.D.D. or A.D.H.D. often might not have had the conditions. Children with bipolar disorder "are often undiagnosed under 12," she said, and their conditions are "often confused with A.D.H.D." Last year, researchers from Nationwide Children's Hospital, among others, reported that the suicide rate among black 5 to 11 year olds had almost doubled since 1993, while the rate for their white peers had declined. The new report found that about 37 percent of elementary school aged children who committed suicide were black, compared with just 12 percent of adolescents who did so. Still, Dr. Rappaport said, "This study shouldn't raise alarms for African American families that have children diagnosed with A.D.D. that they need to worry that their child will impulsively kill themselves." "It's usually a much more complicated picture," she added. The new study detailed a convergence of circumstances before suicide deaths in the very young. The children most commonly had fought with a relative or peer before dying by suicide. About a third of the children and adolescents had experienced a problem at school. A similar percentage had gone through a recent crisis.	N24News: A New Dataset for Multimodal News Classification	Science
Overshadowed by the holiday rush, Crystal Cruises launched its newest ship, the 62 passenger yacht, late last month in the Seychelles Islands. With its new Crystal Esprit, the luxury line adds a third and entirely new boutique class of ship to its fleet. Featuring contemporary decor with sea blue accents, the ship provides a swim deck off the stern; dining areas indoors and out; a top deck pool, sauna and bar; and generous bathrooms, including double sinks and deluge showers, adjoining its 31 guest rooms. It also carries a deep sea submersible vessel with which guests can explore underwater. Through mid March it will cruise the Seychelles with nine day trips from 4,960 a person, and thereafter will spend most of summer and fall in the Mediterranean. Crystal is amid a major expansion with the expected introduction of private charter jet service in March and five river cruise ships coming next summer. The high speed passenger rail service Eurostar has begun a winter sale from London to France and Belgium. Until Jan. 12, passengers can book fares starting at PS29 ( 42) one way to Lille, Calais and Paris in France, and to Brussels in Belgium. Fares to Belgian cities Bruges, Ghent and Antwerp start at PS35 one way. The sale is good on bookings between Jan. 15 and March 23. A similar sale to the French destinations Lyon, Avignon and Marseille start at PS40 one way for travel Jan. 9 through Sept. 30 if booked by Jan. 12. Though it won't hit the water for another two years, MSC Cruises' new ship, the MSC Seaside, is open for booking now. The 4,140 passenger ship will launch in December 2017 and sail year round from Miami to the Caribbean. The new ship defies norms by placing the pool, normally found on the top deck, at ocean level with a promenade ringed in windows. Some staterooms, designed for families and groups, will accommodate up to 10 people, and luxury suites will include private hot tubs and hanging gardens. Other amenities include a full size bowling alley, a kids only restaurant, and a water park with five slides. Seven night itineraries will visit St. Thomas, the Bahamas and Puerto Rico on eastern sailings, and Jamaica, the Cayman Islands, Cozumel and the Bahamas on western Caribbean routes. Prices start at 589 a person. Virgin America and China Southern Airlines have announced a code share agreement between the two airlines that will offer one stop booking, check in and seamless baggage handling on itineraries that involve both airlines. China Southern is the only airline offering nonstop service between the United States and Guangzhou and Wuhan. Its flights to and from Los Angeles and San Francisco will link up with Virgin America routes from those California airports to and from Boston, Chicago, Dallas, Fort Lauderdale, Las Vegas, Newark, New York, Seattle, San Diego and Washington, D.C.	N24News: A New Dataset for Multimodal News Classification	Travel
The three bedroom triplex penthouse in the Clock Tower in Dumbo, Brooklyn along with its fantastic views was listed at 25 million when it was first put on the market in 2009. A new team from Corcoran is listing the aerie for 18 million. For the past six years, Dan Neiditch has carefully cultivated the image of the Atelier, the glassy 46 story tower that hugs the far west side of Midtown Manhattan. As president of River 2 River Realty and a resident of the building, Mr. Neiditch has rented to celebrities like Lindsay Lohan, Brendan Fraser and Jeff Goldblum, many of whom stay there while doing stints on Broadway. He has organized seven apartment combinations, with the approval of the condo board, even selling one of his own units to create a triplex for a Hong Kong based television company. Now Mr. Neiditch wants the Atelier to play on a larger stage with best of the best luxury buildings like 15 Central Park West and One57, where a few apartments have sold for more than 85 million. Earlier this year he approached the owners of all nine apartments on the 45th floor of the Atelier with a proposal: Sell now so that he could list one giant 10,000 square foot residence for 85 million, or 8,500 a square foot. Was this a publicity stunt? Mr. Neiditch, 35, assured me when I visited him this week at the Atelier, at 635 West 42nd Street, that he was in his right mind. The listing, he said, was a response to market demand. Since last year people have approached him about buying full floors he didn't have on offer. "If you have it, I will give you 50 million," he said one prospective buyer told him. So Mr. Neiditch decided to create something unique in a 469 unit tower that was not designed to offer such grand spaces. He isn't the first, or surely the last, to try to capitalize on the booming New York luxury market. With demand for larger and more opulent apartments on the rise and a painful lack of megamansion supply developers and marketers in New York are designing ever more spectacular penthouses and town houses in new condo developments. But they are also trying to cobble together trophy homes in buildings that never had them in the first place. On the Upper East Side, the developer Gary Barnett is building a duplex penthouse on the top of the Helmsley Carlton House, which he is converting to condos, and a five story town house on the side of the building. He is asking 65 million for each. Aby Rosen is marketing what he calls a sort of internal town house on the second floor of his conversion project at 530 Park Avenue, combining two 6,000 square foot apartments. He is listing it for 40 million. "There is definitely trophy listing fever spreading across the market right now," said Kelly Mack, the president of the Corcoran Sunshine Marketing Group. "But for these properties to trade at these really high prices," she said, "the product has to be great. It is not enough to market yourself as a trophy listing by slapping a price on it that may be completely out of whack with reality." In the case of Mr. Barnett and Mr. Rosen, their offerings seem at least reasonable given their locations. Most people who have been willing to pay at least 50 million are looking to be around Central Park or, more recently, in the emerging downtown luxury market, Ms. Mack said. Nothing has traded even close to 85 million in the Midtown West neighborhood (some would call it Hell's Kitchen) where the Atelier sits. The neighborhood hasn't traditionally been much of a draw for families. And the Atelier was designed with that in mind: about 65 percent of the units are studios or one bedrooms. The rest were designed to have two bedrooms, the largest being 1,050 square feet (a few combinations have produced three bedroom units). None Testing the Limits: Only three of New York's 25 tallest residential buildings have completed safety tasks required by the city. The Downside to Life in a Supertall: 432 Park faces some significant design problems, and other luxury high rises may share its fate. Luxury Developers' Loophole: Soaring towers are able to push high into the sky because of a loophole in the city's labyrinthine zoning laws. An Evolving Skyline: The high rise building boom has transformed the city's skyline in recent years. Its impact will echo for years to come. Hidden Feats: Our critic looks at some supertall N.Y.C. buildings and how the ingenuity of engineers helped build landmarks. Location, of course, matters a lot. Even the most interesting of trophy property creations, like the loft penthouse in the Clock Tower in Dumbo, can become orphans if you can't lure a Russian oligarch or a tech billionaire. On the market since 2009, when it was listed at 25 million, the three bedroom triplex penthouse in a former industrial building has been the site of several celebrity filled gatherings, and has been billed by brokers and publicists as "the ultimate bachelor pad." Yet despite having a glass walled elevator, 16 foot high ceilings and the four distinctive 14 foot glass clocks not to mention breathtaking views of the Brooklyn Bridge and New York Harbor the penthouse loft just can't seem to catch a break, or a buyer. A new team from Corcoran is now listing the aerie for 18 million. "People don't normally equate a trophy property with Brooklyn," said Aaron Lemma, a broker with Corcoran. "It was just overlooked previously." Back in Manhattan, Mr. Neiditch is unfazed by the naysayers. He boasts of the Atelier's expansive views of the Hudson River, of the Empire State building, of the Statue of Liberty. They certainly are spectacular and can be enjoyed by all residents on the common roof deck, since there is no true penthouse in the building. The Atelier has just about any amenity you can think of, including a 24 seat theater, an outdoor tennis court and a golf driving range. The management serves residents a free continental breakfast every morning. The building even has a green profile. After it opened in 2007 the Atelier's condo association installed 70,000 worth of solar panels; sunlight now furnishes about 10 percent of its electricity needs. The condo association has lowered common charges three times, partly fueled by the revenues created by renting out its rooftop "sky lounge" for parties, including ones hosted by Hillary Rodham Clinton and Ms. Lohan. The owner of the 45th floor would pay about 10,000 in monthly condo charges and taxes, Mr. Neiditch said. Still, as I studied the 11 foot ceilings and relatively modest bathrooms and kitchen finishings (by megaluxury standards) of a two bedroom apartment that would be part of the combination (for which there is still no proposed floor plan), I struggled to see 8,500 a square foot in value. Where were the starchitects? Or the design touches one finds at 15 Central Park West that hark back to Upper East Side yesteryear glamour? Central Park was barely visible in the distance, and the view was hardly the rolled out carpet that billionaires are paying more than 9,000 a square foot for at the top of One57. Would views of the Hudson ever be worth that much? Yet in the end, Mr. Neiditch may not be so crazy. In the first 10 days the combo listing was active, he said, he received an offer for 38 million from a prospective foreign buyer. "It was a little on the low side," he said. "But we are definitely negotiable on the price." To sweeten the deal, River 2 River is offering a 2 million construction credit to knock down all those walls and do away with all those kitchens. Sold separately, the nine apartments would get about 18 million, Mr. Neiditch said. Persuading the owners to sell was not tough. "For them this is free money," he said. "Who wouldn't want to more than triple their investment?"	N24News: A New Dataset for Multimodal News Classification	Real Estate
Certain dances especially those packed with details warrant intimacy. The Mark Morris Dance Group grants that wish with a spring season at its Brooklyn quarters, with new and vintage works by the stellar Mr. Morris and, as always, live music. Along with the return of "Foursome" (2002), a suite of dances for four men featuring music by Erik Satie and Johann Nepomuk Hummel, and "Cargo" (2005), set to Darius Milhaud's "La Creation du Monde," Op. 58, the company presents the premiere of "A Forest." The new dance, for nine, is set to Haydn and includes costumes by the former company member Maile Okamura. Mr. Morris wraps things up with "The," first shown last summer at Tanglewood Music Center. In that work, to Bach, same sex couples run with clasped hands; there are raised fists. Does "The" have to do with marriage equality? One thing is sure: The close quarters will make Mr. Morris's details shine. (Tuesday, May 17, through Sunday in Fort Greene, Brooklyn; 929 399 6634, mmdg.org/dancecentershows.)	N24News: A New Dataset for Multimodal News Classification	Dance
Fidel Castro delivered a lecture on "the virtues of agriculture and the evils of bureaucracy" at the Ciudad Libertad, a military base turned school center, in 1964. MIAMI As most people who have grown up Cuban in the United States over the last six decades would attest, asking their parents about the Cuban Revolution tends to elicit one of three reactions: silence, suspicion or enthusiastic invocations of gratitude that you are not in Cuba. As a Cuban born in New York and raised in Kansas and Miami, I would ask questions of my parents, who just responded with questions of their own: "Who have you been talking to?" "Which of your teachers is a Communist?" Later, as a scholar, I discovered that the complexity of Cuba's history explains why talking about the country remains largely inconvenient, if not entirely forbidden, both in Cuba and in my home state of Florida. For both island Cubans and American Cubans, history is the central axis of identity, and yet it is also the primary taboo that shapes, limits and defines us. One reason is that for decades, favoring Fidel Castro's version of the revolution required endorsing the Communist state's view that his rise to power did not just represent the culmination of all Cuban history until that point, but its conclusion as well. This left citizens with little to do besides defend, enjoy and obey. For Castro's critics and opponents, however, Cuban history offered no relief from revolution or fiery forms of nationalism. Discussing the past often entailed dredging up inconvenient facts about how the United States' pre 1959 role in Cuba helps explain why Castro came to power and why he stayed in power. This is why such facts remain taboo. Throughout most of the 20th century, being a nationalist, criticizing the United States and considering oneself a "revolutionary" were essential aspects of what it meant to be Cuban on the island. Equally essential were the rights to protest, to organize without fear of reprisal and to dissent, clearly and loudly. While the exiled Cuba of Miami often condemns any criticisms of the United States because they echo Castro's, the leaders of Communist Cuba criminalize any criticisms of themselves. Yet generations before them fought to fuse anticolonial nationalism and protection from American machinations to liberal democracy not the one party Fidelista dictatorship of Communism or the relentless ideological homogeneity characteristic of right wing Trumpista. Being a revolutionary before Castro came to power in 1959 meant being committed to building a nation even more democratic than the United States. Revolution as a goal, a history became folded into the fabric of daily political life and Cubans' personal identity long before Fidel. The Cuban government called those who left "deserters" and even "anti Cubans." The Cold War created a with us or against us paradigm for both Cuba and the United States, and the absence of debate or even friendly discussion left the average Cuban with official narratives. Exiles' narratives argued that Castro had either betrayed the moderate revolution Cuba really needed or, that in 1959 there was no need for a revolution at all. From 1959 to 1972, Cuba lost roughly 8 percent of its population to exile. The first and wealthiest of these groups not only opposed the Revolution but also supported the Batista dictatorship. The politics, money and historical amnesia of the First Wave Exiles thus quickly became the foundation of Miami's political culture. From 1960 1965, the University of Miami became the site of the world's largest C.I.A. station, outside of Langley, Virginia, employing several thousands Cuban exiles a month. The C.I.A. also subsidized Cuban owned businesses in South Florida. It funded front organizations and newspapers to promote right wing views. Simultaneously, the Cuban Refugee Program provided direct cash payments to families, bilingual education programs, Spanish language recertification exams and university scholarships. Being a Cuban American meant being everything that an island Cuban was not. Still, the notion of Cuban political unity in the United States is as false as it is on the island. It is an illusion that is the result of trauma, amnesia and a regularly renascent fear of defying and confronting one's neighbors. Today, about half of the two million Cubans in the United States live in Florida. While 60 percent are American citizens, only 18 percent of all Cubans who have arrived in the United States since 1990 are citizens. These Cubans represent the least prosperous segment of the community and the most connected to the island. They have the most to lose from right wing Republican administrations that disdain public spending almost as much as they despise exchanges with Cuba. So why don't the hundreds of thousands of Cubans who are not members of the Miami exile generation rebel? One reason is that the vast majority of Cubans in South Florida resist the hyperpoliticization that surrounds them by retreating into apathy. Similarly, on the island, Cubans have a saying: "Hay que ser apolitico para sobrevivir esta locura." (One has to be apolitical to survive this insanity.) Florida, where Republicans have controlled all branches of government for nearly three decades, can sometimes seem not so different from that other one party state. These paradoxes explain why questions about Cuba are often so hard to ask, let alone answer. So long as Florida and Cuba's political cultures share many of the same features, they will also share the same political fate. That fate must change, for the sake of democracy in Cuba and the United States. Lillian Guerra is a professor of Cuban and Caribbean history at the University of Florida. She is the author of "Heroes, Martyrs Political Messiahs in Revolutionary Cuba, 1946 1958," and "Visions of Power in Cuba: Revolution, Redemption, and Resistance, 1959 1971." 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

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