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When his youngest child left for college, Lee Rosen decided that he and his co workers could operate his family law firm from their homes around Raleigh, N.C., saving 35,000 a month in rent. Lawyers started writing briefs from their kitchen tables and the local library. Where they worked didn't matter except for one thing. "In our area of practice, people like to meet with their lawyer in person at the outset of representation," Mr. Rosen said. So the firm rented pay by the month meeting rooms, a dozen conference rooms in all, for one third of what the office rent had been. Shared office space is no longer the province of just sole proprietors, start ups and young professionals. Tom Carroll, regional head of research for Jones Lang LaSalle, a global real estate services company, says his company predicts that 30 percent of the market could be flexible space by 2030. And the growing interest in shared space is forcing commercial real estate developers to rethink how they invest in their properties. They need to look at their space and "break down cubicles," Mr. Carroll said, in order to foster collaboration. "The traditional approach to the office is not fit for purpose in today's environment," he said. On the lower priced end of shared working spaces is a basic "hot desk," where a tenant pays for the right to use any available work surface. The higher end might be a reserved private office. What links the diverse offerings are short term, flexible leases and freedom from office related tasks. There is even a virtual office, in which a customer pays for the right to use a business address often an exclusive address without occupying the space at all. A local phone number, administrative support and use of conference rooms are part of the deal. When Jane Barratt's clients search online for the address on her business card, they see the soaring 1 World Trade Center building even though Ms. Barratt left the plush carpet corporate world several years ago and now runs GoldBean, an investment tool for young people, from a hot desk. Her arrangement with Servcorp, an international company offering physical and virtual office space and information technology services, allows her to rent the 85th floor conference room for meetings where she can impress her clients. "I think they're filling a niche," Ms. Barratt said of Servcorp, "a status building with great build out and technology. The physical space and the virtual services, that's a huge differentiator." By inserting itself between the commercial property owner and the building's individual tenants, Servcorp essentially becomes a "professional tenant," according to Marcus Moufarrige, the company's chief operating officer. Servcorp rents space and then carves it up to fill the needs of smaller businesses. In addition, Servcorp supplies three things landlords of conventional offices usually do not: tenant services, collaboration technology and networking opportunities. "There's a broken piece between the landlord and the tenant now. We sign a lease and the landlord disappears," Mr. Moufarrige said. "That's where the opportunity lies." Services more typically seen in the hospitality industry are increasingly in demand in the work space, according to Mr. Carroll of Jones Lang LaSalle. While technology allows people to stay connected anywhere, tenants of co working spaces still want help with administrative tasks. When Norwegian Air Shuttle began offering flights to the United States in 2013, Anders Lindstrom, its United States director of communications, decided to take a co working space at WeWork in Midtown Manhattan. He liked the young, creative vibe and how easy it was to settle in. He's now been in a WeWork space for two years. "We have access to meeting rooms of all sizes, kitchen facilities, printers and other basic needs," Mr. Lindstrom said. Mr. Moufarrige said the next area of business for the co working space operator may be commercial landlords who want to maintain a hands off approach with renters and not have to provide copy machines, mail forwarding and receptionists to individual tenants. Mr. Moufarrige argues that companies like his can offer such services better than landlords can. "We have 150 work spaces and we all run them like they're one building." Numerous other shared office providers are also trying to offer a sense of community to their tenants. Javier Martinez, a real estate developer and founder of the Harlem Collective, a co working space in Manhattan, discovered that he could not be profitable with only small, month to month renters. So he found four large tenants to provide a predictable income while filling the smaller niches, called liquid space, with itinerant clients. He then tries to introduce tenants who have businesses that could work together. "It's cold out there," Mr. Martinez said, "and if you are starting or trying to run a business it's even colder." On a recent summer morning, the jewelry designer Luz Ortiz toured the Harlem Collective, on 152nd Street. She rents space in the Diamond District in Midtown but was looking for something less expensive. She didn't like the lack of natural light in the studio that was available at the Harlem Collective building but was wowed by its courtyard garden.	N24News: A New Dataset for Multimodal News Classification	Real Estate
Re "Austin Is the Wrong Choice," by Jim Golby (Op Ed, Dec. 9): Mr. Golby's Op Ed is especially important as a defense of the supremacy of the United States' civilian leadership in matters relating to the military. As he correctly states, George Marshall and James Mattis were not particularly effective in their performance as defense secretary, at least in part because of the short time since their uniformed service. Further, generals are not necessarily the best big picture strategic minds (e.g., George McClellan, George Patton and Curtis LeMay). There is no guarantee that former officers are especially wise or effective or honest, nor can or should democracy depend on them to be the "adults in the room." This administration has elevated current and former military personnel to security, policy and strategy positions much more frequently than was done previously. As we know, the current president took pleasure in surrounding himself with "my generals." Res ipsa loquitur the thing speaks for itself. It was depressing to see Gen. Lloyd Austin denigrated as being "less known for his political instincts," having "stumbled" in his congressional testimony by admitting that the Defense Department wasted 500 million in a failed attempt to raise an army of Syrian fighters.	N24News: A New Dataset for Multimodal News Classification	Opinion
Little financial information about Ivy Park is available, and it is unclear how successful the brand has been. It was immediately popular upon its release in 2016. On Thursday, its website had been altered to broadcast the Adidas partnership. The Beyonce/Adidas collaboration is perhaps the most notable partnership between a superstar and a sports brand yet, and it indicates the consumer and social power that can be derived from such cross branding. It is also a tribute to the lane Rihanna paved in 2014 when she became a creative director and global ambassador at Puma, back when it was still a novel idea that an entertainer might lend her name to a company best known for athletic apparel. (Rihanna parted ways with Puma and is now said to be working with LVMH on her own luxury brand.) Championing women and girls has become a key part of Adidas's public relations strategy. This month, the company announced a new phase of its "She Breaks Barriers" initiative, which highlights the lack of equal media coverage for women's sports in the United States. Ms. Knowles has positioned herself as a political voice for black Americans and for women, including through her musical examination of her marriage and her 2018 Coachella performance, which gave a platform to historically black colleges. She will amplify these messages, and those Adidas has already pushed, by giving the company her imprimatur. "Beyonce is an iconic creator but also a proven business leader, and together, we have the ability to inspire change and empower the next generation of creators," said Eric Liedtke, a member of the executive board of Adidas AG.	N24News: A New Dataset for Multimodal News Classification	Style
Duncan Keith, 35, is a three time Stanley Cup champion and Conn Smythe Trophy winner, who recently played his 1,000th professional hockey game, all with the Chicago Blackhawks. A small town guy at heart, he splits his time between Chicago and Penticton, British Columbia, where he grew up. He took a moment out of his punishing National Hockey League season (his 14th!) to share his workout and wellness secrets, and why he is obsessed with infrared therapy lights. I get up around 8 a.m. In the 45 minutes before I leave the house, I have a routine: I go upstairs to my lab, where I have a bunch of little things that I do to stay healthy. I try to get as much sunlight as possible, but I also have Joovv lights they're red and infrared lights, which are very healing. Then I lay on my Bemer mat, which has electromagnetic currents, for eight minutes. I also have my supplements like glutathione and vitamin C, and liquid herbs like ashwaganda. Sometimes at night, I'll sleep with a hydrogen inhaler. I'm a biohacker and a part time hockey player. It's basically better living with the help of science. During the season, I don't do a whole lot of heavy lifting. I use PoV Sport, a machine that uses electricity to keep your muscles contracted. It's about feeling strong without me having to do any excess movement. The off season is when I work out the hardest. I'm in the gym about five times a week doing strength training. It's all based on the Evo Ultrafit system that my strength trainer Jay Schroeder does. He's based out of Phoenix. He trains a lot of professional football players and baseball players. It's a lot of body weight stuff and isometrics and speed Russian lunges. I'll start ice skating in July. By the end of the August, I'm skating four to five times a week. For me, the biggest thing for my skin care is the Joovv light. But then my buddy is a real skin fanatic with lots of different things. He told me about this skin care company called Eminence, and once in a while I'll use the exfoliator in the steam shower. I don't love the hotel skin care stuff. I bring my own. I use Ancient Minerals body lotion that has magnesium in it. I order it off Amazon. My skin gets nice and moisturized but also gets a dose of magnesium. I use the Ben Greenfield's serum, which is a mix of vitamin C and a bunch of different herbs. And then I do use cologne. I use the Tom Ford Neroli Portofino Acqua the most. I wouldn't say I'm on any specific diet. I've read Dr. Mercola's books and I followed his nutrition plan for a while. But now, I just eat healthy and the biggest thing is getting a lot of calories in. I'm always burning calories during the season, and I'm trying to keep my mass on. I read a lot of books and I listen to podcasts. My favorite is the Ben Greenfield fitness podcast. I guess you could call him a professional biohacker. I also listen to Aubrey Marcus and Joe Rogan. Right now, I'm reading "Medical Medium" by Anthony William. It's nonfiction and about food and nutrition. I enjoy reading and learning about the body. The first chapter is a little bit goofy, but essentially it's about how important carbs and fruits are. It goes against a lot of things you hear today. I try to dress nice, but I'm not always thinking about it. I really like AllSaints jeans. I get most of my jeans from there. If not that, then I like Hudson jeans or Vince sweatpants. They're like a classier pair of sweats. Lululemon is always comfortable. I've been on ice skates ever since I was maybe 3 or 4. I was always trying to be a hockey player. But to play professionally, you have to have the determination and focus. I remember there were high school parties that I didn't go to because I was always working on my game. I missed a lot of those times. You have to set a goal and not let anything get in your way. This involves not only yourself, but also your family and parents. They are all part of it.	N24News: A New Dataset for Multimodal News Classification	Style
Heartland Health Care Center in Moline, Ill., was the first facility to participate in a large clinical trial of a drug that may protect residents from infection with the coronavirus. The coronavirus crept into Heartland Health Care Center, a nursing home in Moline, Ill., on the last day of July, when a member of the nursing staff tested positive. It was an ominous sign: The virus can spread through a nursing home in a flash. Older people who are often sick and frail and need regular hands on attention are uniquely susceptible. Staff members who care for residents are at high risk of infection and of unintentionally spreading the virus. Although nursing home residents make up just 1.2 percent of the United States population, they account for about 40 percent of Covid 19 deaths. But this time, the nursing home was not defenseless. Heartland was the first facility to participate in a large clinical trial of a drug that might protect residents from the infection in nursing homes and assisted living facilities. Drug companies and the federal government often avoid testing drugs in older people, even if they are the ones who need treatment most. The elderly may have a range of complicating conditions that make difficult to tell if the drug is working, and nursing home and extended care facilities are governed by a raft of complex regulations regarding privacy and access. Experts say the new research, sponsored by Eli Lilly and the National Institutes of Health, is among the first large clinical trials to involve nursing home residents. And the scientists are delighted. "These patients are so underserved," said Dr. Rebecca Boxer, medical director of clinical trials at the Kaiser Permanente's Institute for Health Research in Colorado. "They do not get access to innovative new drugs and trials." The experimental drug is a monoclonal antibody, an artificially synthesized version of coronavirus antibodies produced by the body. In this case, the antibody was "cloned" from those found in the blood of a Seattle man, one of the first patients to survive Covid 19, the illness caused by the coronavirus. Monoclonal antibodies are one of the great hopes in the war on the coronavirus. They already serve as the basis for effective treatments for arthritis, cancer, lupus even Ebola. They are difficult to manufacture, however, and expensive. Despite the obstacles, two companies, Regeneron and Eli Lilly, have forged ahead with clinical trials. The trial in nursing homes is pivotal to Eli Lilly's effort to determine whether its version can stop the coronavirus. "Some people ask, 'If we have a vaccine, why do this?'" said Dr. Myron Cohen, a University of North Carolina researcher who proposed the trial. "But a vaccine will take a month to produce antibodies, and some populations need a more emergent intervention." But it is not easy to do a trial in nursing homes. Because the residents cannot be expected to travel to a clinic for an infusion and subsequent testing and monitoring, the clinical trial must to come to them. Eli Lilly's researchers are watching facilities in which a single case of Covid 19 appears after having no active cases for at least 14 days. Once the case is reported, a sort of medical SWAT team scrambles to the facility as quickly as possible. A nursing supervisor at Heartland called Eli Lilly as soon as the home learned of the employee's positive test. The team wasted no time getting to the facility. The next day, medical personnel pulled up in two vehicles. One was a moving truck carrying infusion chairs, poles for intravenous infusions, bedside tables, and privacy screens. The other was an R.V. with an interior retrofitted as a mobile lab with infusion materials, a centrifuge, freezers and computers to transmit data. The team quickly turned Heartland's large dining room which was not being used, because the pandemic had put a stop to communal dining into an infusion center. The day after the medical team arrived, the first residents and staff who agreed to participate received infusions. Participants are randomly assigned to receive one of two infusions: a placebo, or the monoclonal antibody, designed to latch onto the virus and to block it from entering and infecting cells. At Heartland, 25 of the 80 residents who were approached eventually agreed to join the trial. The drug should remain in participants' bodies for at least a month, and possibly as long as three months, the researchers say. Participants and doctors do not know who is getting the antibody and who is not. Who should get a booster shot? It depends, Dr. Scott Gottlieb says. "It's a little daunting from the patients' standpoint," said Dr. Mark Gloth, chief medical officer at ProMedica Senior Care/HCR ManorCare, a nationwide chain of 222 nursing homes and long term care facilities, including Heartland. "We have been restricting visitors for months. Some family members say, 'I can't even get in there and hold my loved one's hand. I want to be sure it's OK with them.'" For the next two hours, the team monitored Mr. Rouland's vital signs: heart rate, blood pressure, blood oxygen levels. Because he cannot easily travel to a lab for subsequent tests, investigators plan to visit to his home once he leaves Heartland. He's worried, of course. If he got the drug, it might cause adverse reactions. But "somebody has to go first," Mr. Rouland said. The study is being undertaken at nursing homes and extended care facilities across the United States and will enroll 2,400 residents and staff. Eli Lilly hopes to enlist 500 facilities so far, about 125 have agreed to join the study and the company anticipates enrolling 40 to 80 participants at each site. There are obvious advantages to testing the drug in nursing homes. Residents are all in one place, making it easy to do contact tracing. And the rocket pace of a nursing home outbreak makes it easier to see if the coronavirus can be halted with this drug. Monoclonal antibodies are difficult to make. The drug, if it works, is expected to be expensive an infusion of a monoclonal antibody can cost thousands of dollars. Eli Lilly has not announced what it will charge for the drug if it is approved for marketing. There is no guarantee of success, and previous attempts to do studies in nursing homes have fallen short. Nursing home residents can be difficult participants: Many have dementia, or have difficulty seeing and hearing. Yet they or, in some cases, someone designated to make decisions for them, must provide informed consent. "Informed consent is very scripted and can be incredibly challenging, especially with an infused experimental drug," Dr. Boxer said. Potential participants have to read and understand a form that explains the risks and the adverse side effects that can occur. Residents who were infected were dying alone, no visitors allowed, he learned. Staff members were falling ill. Nursing home executives were eager to participate in the study. In Citrus Heights, Calif., a staff member at a nursing home tested positive earlier this month. The moving van and R.V. appeared the next day, and Katy Tenner, 37, a staff dietitian, was among those who volunteered for the study. The infusion and monitoring took so long she had to get the treatment on her day off. Every day for the next 56 days, she has to have her vital signs checked. Every week she has to have a coronavirus test. But she is excited about the study. So often, she said, she drives home from work, listening to news on the radio and "bawling my eyes out, hearing about my fellow health care workers dying from this virus." "This could be a weapon to fight it and maybe outsmart it," she said.	N24News: A New Dataset for Multimodal News Classification	Health
Re "President Says He Takes a Drug Deemed a Risk" (front page, May 19): I am a physician and a retired 31 year veteran of the National Institutes of Health who specialized in the clinical trials of anti infective agents. President Trump's use of hydroxychloroquine to prevent Covid 19 infection without any clinical evidence of its utility is dangerous and will cause untoward toxicities, likely including death, in some people following his lead. He needs to be strongly criticized by the medical community for this reckless action. Michael A. Polis Bethesda, Md. The writer is a fellow of the Infectious Diseases Society of America. There is much that is perplexing and disturbing about Donald Trump's statement that he is taking hydroxychloroquine to prevent Covid 19. The most obvious is that he is using his bully pulpit to say he is taking a drug that has been deemed ineffective and potentially dangerous by medical experts. He may lead others to try the drug and be made ill by it. If he doesn't get the virus, he can say that the drug helped to prevent it and show that he knows more than the experts he so abhors. He also may be trying to get others to take the drug to make money for the company that manufactures it, or he may simply be trying to create more chaos.	N24News: A New Dataset for Multimodal News Classification	Opinion
The mention of Kobe Bryant could instantly start a fight, whether in a bar with friends or a in far flung corner of the internet. In the 2000s, fans angrily discussed whether Bryant, the Lakers superstar guard, was as good as the man he had modeled his game after, Michael Jordan, or even Tim Duncan, the San Antonio big man who would lead the Spurs to three of his five championships that decade. LeBron James entered the conversation in the 2010s, and Bryant's ardent defenders shrugged off the talented James as, indeed, no Kobe look at the rings! By then Bryant had won five titles, including in 2010, and James had not won any. There was still much else to debate: Was Bryant a ball hog? Did he shoot too much? (No, of course not! You trust Smush Parker with those shots?) The peak of such debates came in 2014, when a man in Southern California apparently drove almost an hour to try to fight a Celtics fan who had dared say on Twitter that Bryant wasn't an elite player. Thus the phrase "Meet me in Temecula!" entered the cultural lexicon. Fans of Bryant, who died in a helicopter crash on Sunday at the age of 41, were as relentless in his defense as he was on the basketball court. They felt they had to be. Theirs was a different fandom than what had existed for past N.B.A. greats like Magic Johnson and Larry Bird. It was severe tribalism as a counter to an aversion to Bryant outside of Los Angeles, a reaction to those constantly underrating Bryant's exceptional skill at least in their eyes. "To the degree that they are more aggressive and protective of his legacy or his game, I think that's owed to reflecting his personality," said Harrison Faigen, the editor of Silver Screen and Roll, a Lakers fan site under Vox Media's SB Nation. "He was someone who really was out there in championing himself and talking about how great he was." For each time a sports fan declared that Bryant was an all time good player instead of an all time great, there was an equal and opposite reaction from Bryant's fan base known as the Mamba Army feverishly pointing to his five championships. "They're fanatical in a way where they're unwavering in their devotion to Kobe," said Tyler, the popular Twitter personality DragonflyJonez who has more than 172,000 followers and hosts the Jenkins and Jonez podcast. (He only goes by his first name in public.) "They don't care what you say. They don't care what the numbers say. It always comes down to five rings. At the end of the day, that's what it always comes down to: Were you a winner or were you not?" All of this meant that as Bryant's career progressed, published opinions weren't limited to cranky newspaper columnists. Instead, fans got louder. And louder. Suddenly, there were N.B.A. message boards and Reddit posts where fans could have at it. Twitter amplified those discussions and democratized the assessment of player legacies. It wasn't just up to shows like ESPN's "Outside The Lines" and "Pardon The Interruption." "We had to spend so much time defending him," said Anthony Irwin, who hosts a podcast called "Locked On Lakers." (Until recently, Faigen was his co host.) "It became such a habit," Irwin said. "You saw it even after his career. Any time some player did something incredible on the basketball court, there was always somebody out there who referenced it back to, 'Wait, is Russell Westbrook better than Kobe now?'" Bryant deftly used the digital age to enhance his own brand, targeting international audiences and rapidly expanding his fan base. Part of the reason Bryant devotees seemed to loom large in discussions is that there were so many of them all over the world, especially in China. But that relationship with his enthusiasts was compromised after he was charged with raping a 19 year old woman in 2003. The case was dropped before it went to trial, and a separate lawsuit the woman filed was settled out of court. Even then, many of Bryant's fans stuck by him. "For better or for worse, you get an 'us against the world' mentality," Irwin said. He added: "Over the course of Kobe's career, especially the latter half, if you brought it up, it was, 'Well, he didn't actually get convicted of a crime.' That was the starting point of that conversation. It got kind of gross." For his aficionados, Irwin said, what Bryant "did on the court now carried over to off the court. I'm not saying Lakers fans or Kobe fans handled that well, but where it came from was just, 'He's our guy.'" News media mentions of the case since Bryant's death have angered some of his supporters. The Washington Post reporter Felicia Sonmez tweeted a link to an article about the rape accusation in the hours after Bryant's death and was immediately deluged with criticism and, she said, death threats. Sonmez said later that she had checked into a hotel out of fear for her safety. Other news media that mentioned the accusation in their coverage also have been met with backlash. The intensity of the supporters is likely in part because Bryant hit his prime just when the N.B.A. was desperate for a new torch bearer. Jordan had retired for the third time in 2003. Fans wanted someone to step into an impossible to fill abyss. The problem for Bryant was that several players also vied for that role. Vince Carter, Tracy McGrady and Allen Iverson were all guards with flashes of Jordan's flair. Even on the court, Bryant was a divisive figure. Some opposing fans thought his game lacked aesthetic beauty, even though his brutal competitiveness was universally acknowledged. The gap between Bryant and those players at their best wasn't as large as the canyon that existed between Jordan and the rest of the league in the 1990s. There is even an argument to be made that Bryant wasn't the best player on his Lakers teams during his first three championships. This created more dispute among league observers as to whether Bryant was, as some said, truly the heir apparent to Jordan. There were also simple, more traditional reasons for the loyalty of Bryant's fans. He played for the same team his whole career, allowing him to spend 20 years cultivating a relationship with them. He won more than most other stars in that time frame. And playing for the Lakers, a historic franchise in a large Los Angeles media market, put him right in the middle of Hollywood, filled with celebrities he could hobnob with.	N24News: A New Dataset for Multimodal News Classification	Sports
In a world ruled by media overload, short attention spans and search engine optimization, you have to wonder whether the title of Mike Birbiglia's latest Off Broadway show is inspired or insane: It is simply "The New One." The comedian somehow secured thenewone.com domain, but still, to get a reaction from a friend at a party, you would have to say "The new one by Mike Birbiglia" or "Mike Birbiglia's New One." The last would put the comedian on the same level as, say, Arthur Miller or Harvey Fierstein, whose official Broadway titles now get intelligence insulting fancy possessives: "Arthur Miller's The Crucible," "Harvey Fierstein's Torch Song." At the extreme opposite you will find Jen Silverman's latest, "Collective Rage: A Play in 5 Betties; In Essence, a Queer and Occasionally Hazardous Exploration; Do You Remember When You Were In Middle School and You Read About Shackleton and How He Explored the Antarctic? Imagine the Antarctic as a P and It's Sort of Like That." The length would challenge the Madison Square Garden marquee, let alone the Lucille Lortel Theater's, where the comedy begins performances Aug. 16. "The title of a play is the audience's entry point," Ms. Silverman explained by telephone. "The long title introduces a certain way to come into the room and tell the audience, 'It's going to be a little provocative, and playful, and we're going to have fun together." (Ms. Silverman and the rest of the creative team tend to refer to the show as "The Betty Play." The MCC Theater website uses "Collective Rage: A Play in 5 Betties.") Naming a show or a book, film or series, for that matter can be tricky, but at least playwrights don't resort to the art world's "Untitled." As for Mr. Birbiglia and Ms. Silverman, their latest choices illustrate current competing trends: banality and protractedness. It would be hard to top "The New One" when it comes to a willful blandness that feels not so much tossed off as cannily thought through. And that title is no worse than some that are intended to mean something yet end up nondescript, like "Everybody," "Fire and Air," "If I Forget," "Significant Other," "Kings" and "queens." (Their ordinariness can be topped only by that of Lee Child's Jack Reacher novels, like "Never Go Back," "One Shot" or "Nothing to Lose." I have read most of them and am unable to remember which is which by title alone.) The second and opposite trend, length, is illustrated by such shows as Jackie Sibblies Drury's "We Are Proud to Present a Presentation About the Herero of Namibia, Formerly Known as Southwest Africa, from the German Sudwestafrika, Between the Years 1884 1915," or a Diana Oh production that went by " my lingerie play 2017: THE CONCERT AND CALL TO ARMS!!!!!!!!!" during its New York run last year. As if its length weren't enough, this last title also toys with marks, punctuation and capitalization. Other good examples: the cult musical " title of show " and Yasmina Reza's pithy "'Art,'" whose quotation marks make it simultaneously generic, specific, questioning and ironic. The space between too much and not enough is a treacherous one to navigate. "You don't want to be so unique as to be vague, like 'On a Clear Day You Can See Forever,'" said Ryan Cunningham, a musical theater writer, creative director at the Broadway advertising agency AKA and associate artistic director at Northwestern University's American Music Theater Project. "I like to think of a show as a product you can pick up, and it's much easier to pick up a thing than it is to pick up an idea." Mr. Cunningham came down harshly on the title of his own 2011 musical, "Next Thing You Know," which, he said, "is wrapped in vaguery. The opening number is 'Little Bar on Sullivan Street,' where the whole show takes place, and that would have been a far superior title than 'Next Thing You Know,' which could mean anything and ends up meaning nothing." It is quite difficult to find a title that is descriptive and economical, and in that respect Arthur Miller's "Death of a Salesman" may rank among the very best. Few playwrights, however, can top Tennessee Williams, who could summon a distinctive, sultry hothouse atmosphere in three or four words, as in "The Glass Menagerie," "A Streetcar Named Desire," "Cat on a Hot Tin Roof" or "Suddenly, Last Summer." Even his working titles were superb: An early incarnation of "Streetcar" was titled "Interior: Panic" and a draft was "The Passion of a Moth." Following Ms. Silverman's "Collective Rage" on the MCC Theater slate is an encore run by another fortuitously titled show: Jocelyn Bioh's "School Girls; or, the African Mean Girls Play." That book, in turn, is refracted in the title of Martin Crimp's upcoming play, to debut next year in London with Cate Blanchett: "When We Have Sufficiently Tortured Each Other Twelve Variations on Samuel Richardson's Pamela." This is enough to make you crave unfussy taxonomy where a show is named after the lead character ("Hamilton," "Mary Page Marlowe," "Dear Evan Hansen"), the setting ("Oslo," "Chicago," "Cabaret") or one of the songs ("Head Over Heels," "Beautiful," "Mamma Mia!") all of them make a clear connection between what is on the marquee and what is onstage. So do, in their own way, the unprintables that lead some publications, including The New York Times, to review mysterious shows like " A," " Marry Kill" or "P Sludge." These may feel counterintuitive if you assume part of a title's job is to sell a show. Another, part, however, is to do triage: If theatergoers can take a little cursing on their Playbill cover, they should be fine with the actual production. Profanities are more frequent on smaller stages, so it was a bit of a shock when Stephen Adly Guirgis went ahead with "The With the Hat" for his Broadway debut the first and so far the only time that particular word has been on a Great White Way marquee, albeit with two strategically placed asterisks.	N24News: A New Dataset for Multimodal News Classification	Theater
A newly identified beetle species in the wetlands of South Africa has no direct relatives on the continent, a new study reports. "To the uninitiated, it looks like yet another black beetle," said David Bilton, an aquatic biologist at Plymouth University in England and an author of the report, published in Systematic Entomology. "The thing that's interesting about this one is that it doesn't have any relatives in the whole of South Africa." The diving beetle, Capelatus prykei, is about two fifths of an inch long large compared with other diving beetles. Although diving beetles are found worldwide in ponds, lakes, rivers and streams there are more than 4,000 species DNA analysis revealed that the new species has no relatives in Africa. "It's closest relatives are in Australia and New Guinea, and in the Mediterranean," Dr. Bilton said.	N24News: A New Dataset for Multimodal News Classification	Science
The housing market in New York seems to bring out the fearlessness in some developers. Faced with a dwindling number of desirable development sites, but still wanting to get into this hot market, they are tackling projects that in an earlier era might have been written off as too complicated. To create 10 Bond Street, for instance, a boutique co op in NoHo, the team of SK Development, the Ironstate Development Company and the Chetrit Group has had to contend with various hurdles, including an odd shaped lot, a subway tunnel and property that could not be bought outright but had to be leased. Yet to plant a flag in one of downtown Manhattan's premier residential enclaves, these nuisances were well worth it, said Scott Shnay, a principal of SK Development. "It was a lot to deal with," he said. "It feels great to start." Designed by Selldorf Architects, the terra cotta and steel building, which is rising at Lafayette Street, has 11 apartments, most of them with two or three bedrooms and ranging from 1,900 to 2,700 square feet. With ceiling heights of about 11 feet, and windows nearly as tall, the homes also feature marble kitchen counters and marble baths. Also being offered is a two level townhouse that has a single car garage and a private courtyard equipped with a fireplace and an outdoor kitchen. Sales at the seven story building, which are being handled by the Corcoran Sunshine Marketing Group, began last month; the co op is scheduled to open next year. Prices range from 2,300 to 2,800 a square foot, with a two bedroom starting at around 4.4 million, according to Mr. Shnay. The building, which has a wraparound ground level retail space, will be a co op rather than a condominium because 10 Bond does not own its property, and condos require land ownership. But board packages will not be required at 10 Bond, Mr. Shnay said, and residents will be allowed to sublet. The building will sit on a narrow keystone shaped site that was formed by the widening of Lafayette and the installation of a subway line around the turn of the last century, according to historical accounts. The site has contained gasoline stations or auto repair shops since the 1920s, and has seemed to defy reinvention. Before the recession, plans for the property, which abuts a Belgian block lined street, called for a hotel with rooftop pool. Several of the challenges facing Mr. Shnay, who closed on the parcel in 2012, involved getting approvals from the city and other agencies. The lot is zoned for manufacturing uses, which would have allowed the hotel, so special permission was required to put up a residence. Also, because 10 Bond is next to a tunnel for the 4, 5 and 6 subway trains, the Metropolitan Transportation Authority had to weigh in. Ultimately, developers had to bury pilings 90 feet below the ground, until they rested on solid bedrock, so that the foundation does not to put too much pressure on soil and possibly endanger the tunnel, developers said. The co op is in a historic district, so the city's Landmarks Preservation Commission also was involved. The commission initially thought the building's setback, which allowed for a penthouse terrace, made 10 Bond seem too short in relation to its neighbors, said Annabelle Selldorf, the architect. Ms. Selldorf fixed the problem by adding a pergola that extends from the penthouse to the building's edge, making 10 Bond appear to have a fuller top story. Also, she squared off a building corner that had been rounded, and added some terra cotta elements to make them more prominent. "We had a balanced dialogue and it led to an improved project," she said. Ms. Selldorf's design arrives in an area that has become known in recent years for its eye catching, and financially successful, condos. They include 40 Bond Street, by Herzog and de Meuron, which has a green facade and was built before the block was added to the historic district in 2008, and 41 Bond, whose street wall is lined with flower boxes and was built more recently with Landmarks approval. But perhaps the most challenging part of developing 10 Bond was the issue of the land lease, which has 88 years to go. Typically, residents must pay extra fees in buildings with land leases. Also, there are concerns about what the landowner may decide to do once the lease expires. As a result, property values in these types of projects can be adversely affected, said Stuart Saft, a real estate lawyer. "It's not that apartments lose value the day before the lease expires; they lose value years before the lease expires," said Mr. Saft, who was involved in a deal a decade ago when the co op at 2 Fifth Avenue bought the ground under it for about 30 million.	N24News: A New Dataset for Multimodal News Classification	Real Estate
Chirlane McCray, the first lady, in the Library of Gracie Mansion in New York. From "Catalyst: Art and Social Justice," Nari Ward's "King Mission" (2019). With two years left in Mayor Bill de Blasio's term, it will be some time before the city's first family has to pack up and head back to their three story rowhouse in Park Slope, Brooklyn. But Chirlane McCray, the mayor's wife, is keenly aware of the time remaining "696 days," she said in a recent interview and of the legacy she wants to leave, at least as far as art and culture are concerned. A big part of that effort has been the exhibitions she has spearheaded at Gracie Mansion, the fourth and last of which opens on Feb. 24: "Catalyst: Art and Social Justice." Like her other shows in the mayoral residence on East End Avenue, this one emphasizes equity and inclusion, the general priorities of the mayor and first lady. "When we came here and were surrounded by all these portraits; it wasn't long before I said, 'Where are we?'" Ms. McCray said over strong ginger tea in the mansion's formal dining room. "'How do we fit in here? Where are the people we know? Where are the people of our city and what do we need to do to really be the people's house?'" "Catalyst" looks at transformational New York moments from 1965 to the present, including the civil rights movement, the women's movement and AIDS activism. "We can't do everything," Ms. McCray said. "But I think we've done our best to incorporate as much as we can so that people get to see the variety of the activism in our city." The nearly 80 works in the exhibition include Martine Fougeron's portraits of trade workers in the South Bronx (from auto parts makers to cake bakers), Diana Davies's photographs of LGBTQ activism and Tania Bruguera's project on undocumented immigrants. The more than 50 artists in the show including Nari Ward, Glenn Ligon and Lorna Simpson have strong connections to the city. "I want to make sure we have artists from every borough," Ms. McCray said. "We want this to be as inclusive an exhibit as possible." That emphasis initially caused concern that the administration would neglect or shortchange larger institutions like the Metropolitan Museum of Art and Lincoln Center in favor of smaller ones outside Manhattan. The city, for example, has given bigger funding increases to smaller cultural organizations than to larger institutions to try to level the playing field. But Ms. McCray said there is more than enough to go around. "We have not put any institution in jeopardy," she said. "This is a wealthy city and there is no reason why we need to concentrate on anyone. There are no losers here." Indeed, the pie has increased overall by more than 35 percent, to about 212 million for fiscal year 2020, up from about 156 million for 2014. "Despite record funding for culture these last few years, there hasn't been the sense that the arts are a real passion for the mayor, so it's a net positive that Chirlane seems to care about these issues," said Jimmy Van Bramer of Queens, chairman of the City Council committee overseeing cultural affairs. "She's an influential behind the scenes player when it comes to fighting for the arts." Small arts organizations said there is still progress to be made. "There is a lack of attention and equitable funding to not for profit arts and cultural organizations of color," said Marta Moreno Vega, founder of the Caribbean Cultural Center African Diaspora Institute. Ms. McCray has taken her share of heat in the cultural sphere. Some blame her for the abrupt departure last fall of Tom Finkelpearl, the former cultural affairs commissioner. He resigned amid battles over the city's rethinking of public monuments to honor more women and people of color, an effort led largely by Ms. McCray's She Built NYC commission. While the actor Chazz Palminteri called Ms. McCray a "racist" after the city decided not to devote one of its first statues to Mother Cabrini, a patron saint of immigrants, Ms. McCray said "It has nothing to do with her not being worthy." That discussion became conflated with her efforts to honor "people who were underrepresented, who had no recognition whatsoever," she said. Given the strong feelings around the issues, however, Ms. McCray acknowledged that the public process could use improvement. (Gov. Andrew Cuomo, who often clashes with the mayor, said the state would commission a Mother Cabrini statue.) "We need a more coordinated process for statues," Ms. McCray said. "I've been working on that." Both the first lady and the mayor have also been criticized for not attending as many cultural events as Mayor Michael R. Bloomberg did. While Ms. McCray has attended the occasional gala namely at the Studio Museum of Harlem and Carnegie Hall she said, "that has not been the top priority on my list to be seen at things." Ms. McCray has faced questions over her stewardship of ThriveNYC, a nearly 1 billion plan that addresses mental illness in the city. The initiative, now in its fifth year, includes dozens of programs across numerous agencies; critics, including some City Council members, have questioned its performance and its spending. At the same time, Ms. McCray said she is proud of what they have accomplished with CreateNYC, the city's cultural plan which linked city funding to diversity requirements and the Gracie Mansion exhibitions, which helped draw 40,000 visitors to the residence last year, up from 25,000 in 2016. Jessica Bell Brown, an art historian who curated "Catalyst," said Ms. McCray "has shown interest in art as a bridge for thinking about social justice the way in which artists can offer a window into the most important issues of our time." Ms. Brown also was curator of the first lady's show, "She Persists: A Century of Women Artists in New York," which focused on female and women identified creators. Ms. McCray said she was particularly moved by the appreciation of the artists in "She Persists," some of whom have had "little or no recognition." Thelma Golden, director and chief curator of the Studio Museum, said Ms. McCray's installations have attracted new audiences and "created the opportunity for a broad range of artists, artistic practices and different visions to be on view." Having grown up playing piano, dancing, singing in the school chorus and writing poetry, Ms. McCray who also oversees the city's mental health initiative said she keenly appreciates the value of culture. "I don't think I'd be alive today if it weren't for art," she said. "Everyone needs a healthy way to channel their emotions."	N24News: A New Dataset for Multimodal News Classification	Art & Design
One of America's greatest mistakes over the last century was the war on drugs, so it's thrilling to see voters in red and blue states alike moving to unwind it. The most important step is coming in Oregon, where voters easily passed a referendum that will decriminalize possession of even hard drugs like cocaine and heroin, while helping users get treatment for addiction. The idea is to address drug use as a public health crisis more than as a criminal justice issue. In Arizona, Mississippi, Montana, New Jersey and South Dakota, voters decisively passed measures liberalizing marijuana laws. Marijuana will now be legal for medical use in about 35 states and for recreational use in 15 states. But not all the country is onboard. In Alabama, a disabled military veteran named Lee Carroll Brooker, about 80 years old, is serving a life sentence without the possibility of parole because he was caught in 2011 growing marijuana plants for personal medical use. Because he had been convicted of previous felonies (robberies committed 20 years earlier), the mandatory sentence was life without the possibility of parole. So for marijuana possession, which is legal in much of the country, Brooker is slated to die in prison. President Richard Nixon began the war on drugs almost half a century ago, after legitimate worries about the rise of addiction, especially among Vietnam veterans. Yet many years later a top aide, John Ehrlichman, explained (with some exaggeration) the policy's roots: "The Nixon campaign in 1968, and the Nixon White House after that, had two enemies: the antiwar left and Black people. You understand what I'm saying? We knew we couldn't make it illegal to be either against the war or Black, but by getting the public to associate the hippies with marijuana and Blacks with heroin, and then criminalizing both heavily, we could disrupt those communities." One result of the war on drugs is that today there are as many Americans with arrest records as with college degrees. Yet we still lost the war. Addiction has soared in the United States, and more Americans die from overdoses each year than died in the Vietnam, Afghan and Iraq wars combined. A baby is born dependent on drugs every 15 minutes. Drugs are also an example of a practical issue that this divided country may still progress on even if there is gridlock in Washington. Left and right both recognize the need for new thinking on the topic, and one of the best drug programs I've seen is in a red state: It's the "Women in Recovery" initiative that helps women in Tulsa, Okla., overcome addictions, get jobs and become great moms. Yet here's one thing I worry about: As we celebrate these ballot efforts, there's a risk that we downplay the threat drugs pose. As I've written, a quarter of the kids on my old school bus in Oregon are dead from drugs, alcohol or suicide "deaths of despair" so I strongly believe that decriminalizing drugs should not lead to any relaxation about their dangers. Under the new Oregon measure, manufacturing or selling drugs will still be crimes, but possession of small amounts of heroin, cocaine or methamphetamine would be equivalent to a traffic ticket. The aim is to steer people into treatment so that they can get help with their addictions. That focus on treatment, which Oregon will fund with marijuana taxes, is critical. Seattle has in effect decriminalized possession of hard drugs, by exercising prosecutorial discretion, but it never adequately funded social services for people wrestling with substance abuse. That has led to a backlash among voters irritated by open drug use. "We did miss the boat here in Washington State when we licensed cannabis," Dan Satterberg, the prosecutor in King County, which includes Seattle, told me. "We should have dedicated much more of the tax revenue to building a better public health response to our behavioral health crisis. The states that are just getting into the pot business should learn from our mistake." The new Oregon law is modeled after one in Portugal, which pioneered decriminalization and has emphasized treatment of those with addictions. As a result, Portugal now has, along with Greece, one of the lowest drug fatality rates in Western Europe. I visited Portugal a few years ago to report on its drug situation, and I found that while no narcotics policy works as well as we might hope, Portugal's succeeds much better than others. I hope other states will also experiment with addressing addiction through public health measures. A useful next step would be to provide safe injection sites, thus saving lives of many people who now die from overdoses. "Criminalization of drugs in the United States has failed by every metric," notes Alex Kral, an epidemiologist with the nonprofit RTI International. "Oregon's new policy offers us a much needed opportunity to evaluate alternatives to criminalization of drugs."	N24News: A New Dataset for Multimodal News Classification	Opinion
In India, Ivanka Trump Tried on Some Fashion Diplomacy. Was it a Good Look? Where is the line between culturally appropriate dress and cultural appropriation? It was hard to look at Ivanka Trump's wardrobe during her India trip this week and not ask the question. After all, from her opening mother of pearl embroidered jacket to her final kurta dress, she swerved from her usual pencil skirts and high heels to make her clothes part of the content of her communications. And there were many: two and a half days, six looks, all excitedly chronicled by local style watchers. Indeed, Ms. Trump, in Hyderabad, the capital of the southern Indian state of Telangana, to lead the United States delegation to the eighth annual Global Entrepreneurship Summit, had begun making headlines with fashion even before she arrived. Critics pointed out what they called the hypocrisy of Ivanka Trump (the individual) in making a speech on the importance of female empowerment and equality, when Ivanka Trump (the company) is believed to employ low wage workers in countries such as ... India. Ms. Trump did not address the issue during her various speeches and panels, but she did use dress in a notable way. Unlike her stepmother, Melania Trump, who seemed uninterested in leveraging fashion for political capital during her tour through Asia with President Trump, Ivanka Trump seemed to have embraced the idea wholeheartedly. If, at least at the beginning, a little one dimensionally. Then, on Tuesday, Ms. Trump donned a green brocade Erdem tea length dress with pink and yellow flowers that some commentators likened to traditional Indian anarkali style, complete with keyhole neckline. (Some others likened it to wallpaper). And that evening, though breathless rumors had abounded earlier in the week that she was going to wear a sari gown specially made by the Indian designer Neeta Lulla, a favorite of Bollywood stars, in fact she wore another Tory Burch creation: a long sleeved, round necked gown with stylized gold floral embroidery that again had an ersatz Indian theme. According to a spokeswoman for Ms. Lulla, the sari gown had been made as a welcome gesture. It would have been a pretty big statement if Ms. Trump had worn it, but all the Tory Burch was also interesting, given Ms. Burch's very vocal support of female entrepreneurs her foundation has a fellows program geared specifically to support women starting their own businesses and her brand's contemporary ish price points. (Admittedly, the dress costs 3,498, but it's cheaper than the Dior that Melania Trump favors; plus Ms. Trump wore Zara mules repeatedly during the trip, which is relatively budget conscious of her). Not that Tory Burch (the company) seemed particularly excited about Ms. Trump's patronage. "We don't work with Ivanka at all," a spokeswoman said by email when asked about it. Though Indian style watchers were generally positive about the dinner dress and pleased that Ms. Trump had abandoned her usual garb for more demure, covered up styles, there was some griping. DailyO, an online opinion site from the India Today Group, deemed it all a "superficial assimilation of culture" that was compounded by the "floral gown that looked like a 'me too' of a Kashmiri pheran." Bandana Tewari, the editor at large of Vogue India, said, "If Ivanka's clothes are to be an acknowledgment of an ancient and rich culture like ours, especially as she arrives as a dignitary, then the sartorial 'tribute' should be authentic in its intention. We would rather see her wear a hand woven sari made in our country or a handmade gown made in her own country. But to hybridize the two, in an era of unfiltered diversity, is a superfluous nod to half acceptance." And therein lies the problem. While on the one hand it is nice to see someone in the Trump administration make an effort to leverage the possibilities of tactical dress, the interpretation was largely through the lens of the outsider looking in. The selections had echoes of orientalism and ornamentation just as Ms. Trump's choice of a kimono inspired dress, complete with obi belt, by the Colombian designer Johanna Ortiz, did in Japan earlier this month. And just as Melania Trump's Gucci gown with faux Chinese embroidery did during the Trumps' state visit to China. Instead of wearing work by a designer that spoke to the nuances of the country (a tactic adopted often by Michelle Obama, for example), Ms. Trump opted, at least initially, for the most obvious: clothes by outsiders who dipped into their fantasy of India as opposed to its reality. Which is probably why the dress she wore to a session on Wednesday, by the London based, Bombay born designer Saloni Lodha, a red floral print with black lace trim at the sleeves, stood out. As Ms. Lodha says on her website: "I always keep in mind my Indian heritage while designing but don't translate it literally into our clothes. I think the way we, as a brand, celebrate bold colors and patterns is our way of bringing the spirit of India into the collections." "Spirit," instead of, say, stereotype. Still, from there Ms. Trump went even further: After she appeared in a cream and black lace dress by the Indonesian designer Biyan Wanaatmadja to tour the Golconda Fort in Telangana State, she chose to make her departure in a traditional kurta dress in ivory and green.	N24News: A New Dataset for Multimodal News Classification	Fashion & Style
DALLAS At the preview party for a new exhibit on first ladies at the stately and colonnaded George W. Bush Presidential Library and Museum, located here on the campus of Southern Methodist University, guests clustered around the handful of dresses that were among the 45 items on display. And therein lies the challenge of first lady retrospectives. We only want to see the clothes. In an era when the attire of world leaders' spouses is scrutinized for all manner of overt and covert messaging, the organizers of the exhibit, titled "First Ladies: Style of Influence," sought to tell a different story. "We are trying to go beyond the surface points of fashion and delve into how these women have really shaped history," said Natalie Gonnella Platts, one of the show's organizers and a deputy director at the George W. Bush Institute, the 43rd President's think tank. But judging by what captivated those attending the preview, that will be hard to do. The glass cases containing the clothes were the main attractions, even though they were more utilitarian than dazzling the gray pantsuit Laura Bush wore to Afghanistan, the blue skirt suit Barbara Bush wore on the cover of the book she wrote from her dog's perspective and a dowdy black velvet evening dress worn repeatedly by Eleanor Roosevelt. The most arresting dress in the show was a replica, and possibly apocryphal: a simple, Empire waisted red velvet dress that, legend has it, Dolley Madison had made out of White House curtains that she saved from British arsonists in 1814. Nearby was her actual snuff box. Apparently, offering a pinch of snuff was how she cozied up to political figures when she wanted a favor. "The artifacts that were chosen are really entry points into larger stories of how various first ladies used the platform to create change," Ms. Gonnella Platts. To tell those back stories, the exhibit relied on visitors reading wall placards, which described, for example, Mrs. Madison's "uncanny ability" to put people at ease and thus, practice soft diplomacy. Visitors not fixated on the clothes might also learn about Jacqueline Kennedy's politically laden choice to have her daughter attend an integrated kindergarten. Tapping on the exhibit's interactive video displays, one might discover that Mrs. Johnson held West Wing strategy sessions and lobbied members of Congress on behalf of highway beautification. Or, that Mrs. Roosevelt acted as her disabled husband's eyes, ears and legs while he was in office. The exhibit, which runs through Oct. 1, doesn't broach how first ladies have coped with their husbands' infidelities (Mrs. Roosevelt, Mrs. Kennedy, Mrs. Clinton and Mrs. Trump among them). Curators also didn't acknowledge that many, if not most, of these women were reluctant first ladies and felt stifled and suffocated by the role. Indeed, the first first lady, Martha Washington, wrote to her niece, "I think I am more like a state prisoner than anything else." More than two centuries later, Michelle Obama told Oprah, "It's the little things you miss," like just walking out the front door without discussing it with anyone. At the White House, "Sasha opened her window once and there were calls," she said. "It never opened again." And, of course, there has been much speculation about Melania Trump's low visibility and what some have interpreted as her miserable demeanor, giving rise to FreeMelania memes and conspiracy theories that the president has hired a body double for some of her public appearances following reports of his serial philandering. Still, there were a few first ladies who seemed to relish the role. The Bush Museum's exhibit tells us that Julia Tyler encouraged publicity and was the first first lady to be photographed. She wore look at me feather headdresses and lavish gowns. To receive guests, she sat atop a raised platform with a coterie she called her "maids of honor." Likewise, Frances Cleveland, the youngest first lady, and the only one to marry in the White House, seemed to enjoy the attention. She was so popular that a false news report that she was abandoning the bustle hastened the demise of the faux derriere. Which brings us back to fashion and our fascination with what first ladies choose to wear and not to wear. "Fashion is communication," said Jessica Gavit, 33, a designer and art director, who was at the preview party at the Bush Museusm, wearing glittery block heeled ankle boots. "It speaks as much to the interests, thoughts and values of the person as the quotes," she said, referring to several quotes attributed to first ladies printed on the walls of the exhibit. Upon close inspection of the garments on display, Ms. Gavit noted that some of the seams under the arms appeared a bit stretched and surmised it was due to "all the waving." "I look at the clothes and think, 'I would have worn that,' or 'No, I wouldn't wear that,'" said Julie Young, a stay at home mother who came to the preview party wearing leopard print cigarette pants and claimed to be 58 but looked at least 15 years younger (as women in Dallas often do). Ms. Gonnella Platts said judging first ladies by what they wear was sexist and wrong. "Granted we don't have an example of a first gentleman yet, but if you look internationally at men who have filled this role, the Philip Mays, Joaquim Sauers, Dennis Thatchers of this world, we don't scrutinize what they are wearing, don't scrutinize what they say, don't think about where they may and may not appear," she said. "I think as we continue forward and someday have a female head of state, we may begin to re evaluate our perceptions of the spouse's role." But male spouses of world leaders have, in fact, been similarly scrutinized, albeit maybe not to the same degree. The fashion press has written approvingly of the British Prime Minister Theresa May's husband, Philip's "sexy" suits and the German Chancellor Angela Merkel's husband, Joaquim Sauer's "eclectic layering of tweeds and choice of old fashioned bow ties." Moreover, our Presidents have also been subjected to sartorial critique. President Obama was dissed for his "mom jeans" and President Trump, for his Scotch taped and low hanging neckties. So maybe scrutinizing first ladies' fashion is not so much sexist or vapid as the thing we feel most qualified to judge given we all wear clothes and likely fancy we have some sense of taste. As future first lady Abigail Adams wrote to her husband, John Adams, in 1780, "A little of what you call frippery is very necessary toward looking like the rest of the world."	N24News: A New Dataset for Multimodal News Classification	Fashion & Style
Frank Modell, a classically trained artist who contributed more than 1,400 cartoons to The New Yorker customarily, he said, "of angry men and sexy women and dogs" during an illustrious era for the magazine, died on Friday at his home in Guilford, Conn. He was 98. For more than 50 years, beginning in 1946, Mr. Modell's moon faced characters leapt from The New Yorker's pages in a perpetual state of exasperation or pandemonium, evoking for readers their everyday vexations. "The best compliment I ever had was from a young lady who liked a cartoon of mine," he recalled in 1988. "She said, 'It said something I knew, but didn't know I knew.'" Columbus plaintively appeals to a skeptical Queen Isabella, who demands: "Three ships is a lot of ships. Why can't you prove the world is round with one ship?" Two elephants eye a third dubiously as one says to the other: "You know the type. Remembers only what he wants to remember." A mean looking woman who has just shot her husband says into the telephone: "And one more thing, Lieutenant. Tell your men to wipe their shoes before they come tramping in here." "Modell is the quintessential gag cartoonist," Richard Calhoun, a social historian, wrote in "The World Encyclopedia of Cartoons" (1980). Mr. Modell also drew six covers for The New Yorker, illustrated books for children, drew for Playboy (fewer of the angry men and dogs) and, in 1978, published a collection of his work, "Stop Trying to Cheer Me Up!" He had no illusions about the role his cartoons played at The New Yorker, well known for its long articles: to break up "great slabs of type," as he put it. Frank began to draw at 6, when he was quarantined with scarlet fever. His father had given him pencils, crayons and a sheaf of hotel stationery from his travels. His parents, his doctor and the cleaning woman lauded his illustrations. "It wasn't so much the art I enjoyed," he wrote in "Stop Trying to Cheer Me Up!" "It was the visibility I was getting." His father, an excitable man, became an inspiration for Mr. Modell's future angry men. When Irving Modell became enraged, Frank would watch "the way anger worked on the topography of his face just inches from mine," he wrote, "the narrowed eyes, the vertical furrow between the brows, the inflated nostrils." That he was more interested in art than athletics came to bother his father, Mr. Modell was quoted as saying in "The Life, Loves and Laughs of Frank Modell" (2013), a book by James Stevenson, a fellow cartoonist. But he became popular with his classmates, impressing them with his portraits of Lincoln drawn from pennies. After graduating from the Philadelphia Museum School of Industrial Art, he was drafted into the Army and served in Europe during World War II as a sergeant with a signal radio intelligence company. Mr. Modell was hired as an assistant to the magazine's art editor, James Geraghty. "I was a hit man," he told The New York Times in 2000. "If an idea was O.K.'d, Geraghty would see the cartoonist. But if it was a rejection, he would say, 'Frank will see him.' The mortality rate was worse than for babies in 1910 Egypt." Mr. Modell's first New Yorker cartoon appeared in the issue of July 20, 1946. It depicted a couple at the beach in bathing suits. The man asks the stupefied woman, "I don't suppose you happen to have a match on you, do you?" His cartoons and covers would appear for the next 50 years, under the editors Harold Ross and William Shawn. Mr. Modell, who once said that he had "no expectations for a postdeath social life," took pleasure in mocking mortality in his cartoons. In one, an ornery old man being examined by his doctor demands, "You're going to keep on looking until you find something aren't you?" In another, two women are shopping for get well cards when one says to the other: "He looked dreadful when I last saw him. Maybe I should shoot right for the sympathy cards."	N24News: A New Dataset for Multimodal News Classification	Media
A roundup of motoring news from the web: Nissan began a Spanish language ad campaign Thursday aimed at fans of the World Cup championship. Fred Diaz, senior vice president for United States sales, marketing and operations for Nissan, said the automaker sought to engage Hispanic customers with ads featuring fans watching games, playing soccer themselves and driving a Nissan. (Ad Age) In other advertising related news, Honda announced this week that it would invest heavily in music in an effort to tap into the youth market. Called "Honda Stage," the program curates music content and presents it online. The program is part of an agreement the automaker forged with entertainment companies like Clear Channel Media and Entertainment, Live Nation, Revolt, Vevo and YouTube. (Honda) Ford said Thursday that it was recalling 372 of its 2014 F 150 pickup trucks because the steering could malfunction. Only four of the vehicles have been delivered to customers, and they have been told to stop driving the truck, Kelli Felker, a spokeswoman for Ford, wrote in an email. Dealers were told by Ford to stop offering demonstration drives. The problem was detected during a routine audit, Ms. Felker wrote, and the automaker wasn't aware of any injuries or accidents related to the defect. Mitsubishi said Thursday that its Outlander Sport crossover would get a number of upgrades for the 2015 model year, including LED running lights, an updated continuously variable transmission and electric power steering. The new Outlander Sport will get a 148 horsepower dual overhead cam 4 cylinder engine that Mitsubishi says will when equipped with the C.V.T. produce 25 miles per gallon in the city, 32 m.p.g. on the highway and 28 m.p.g. combined on two wheel drive models, and 24 m.p.g. in the city, 30 m.p.g. on the highway and 27 m.p.g. combined on four wheel drive models. (Mitsubishi)	N24News: A New Dataset for Multimodal News Classification	Automobiles
There's such a disconcerting rush of lush imagery and action in the first 40 minutes or so of "Invisible Life" that one is apt to wonder whether there's any kind of focused narrative. But the casual misdirection is setting the viewer up for an emotional kill. The Brazilian movie, based on a popular novel by Marta Batalha and directed by Karim Ainouz, begins with two sisters sitting on a mountaintop; beyond them, you can see Rio de Janeiro's Christ the Redeemer statue. They lose each other on the way down. But not for good or not yet. Guida (Julia Stockler), lively and small of stature, has just discovered guys, and she's crazy about one in particular, Iorgos, a Greek sailor. Euridice (Carol Duarte), tall, thin, intense, is a talented pianist intent on studying at a Vienna conservatory. This being the early 1950s, their father Manuel, a baker, isn't thrilled about either girl's activities. Their mother, Ana, doesn't dare a word against her husband. So the sisters confide in each other, advise each other, love each other unconditionally although they drive each other crazy in plain sight.	N24News: A New Dataset for Multimodal News Classification	Movies
Never underestimate the wisdom of the chorus during a tragedy, onstage or in life. It may be the ambitious monarchs and vengeful soldiers who always, often disastrously, initiate the action. But it is the chorus, so much more than a backup group, that has always had the long view. The mighty ignore its voice at their peril. The chorus that first mourned the doom of the titular heroine of a deathless work by Sophocles in Athens some 2,500 years ago has been reincarnated on Convent Avenue in Upper Manhattan, where Theater of War's "Antigone in Ferguson" opened this week at Harlem Stage. Though its members sing a different tune from their Greek forebears with soaring gospel strains that make the rafters tremble they remain somber, celebratory and essential to listen to. But as you watch this theatrical event conceived and directed by the classicist cum activist Bryan Doerries in response to the shooting of Michael Brown in Ferguson, Mo., four years ago you'll become aware that there's more than one chorus in the house. In addition to the annotative singers onstage, there are the people sitting around you. In this production, every member of the audience is also a member of a chorus. And in the discussion that follows the reading of the play, Sophocles' tragedy, a portrait of an act of civil disobedience that stirred a nation into convulsive protest, echoes and assumes new forms in the divided America of the 21st century. Employing an ever changing, often starry ensemble of performers, the company has visited military bases and hospitals, prisons and schools, to initiate discussion and, ideally, to inspire the catharsis that has traditionally been the mandate of tragedy. (Mr. Doerries has written about his theories and experiences in his book "The Theater of War: What Ancient Greek Tragedies Can Teach Us Today.") "Antigone in Ferguson," specifically, is meant to open the door on the thoughts and feelings aroused by the shooting of the 18 year old Mr. Brown by a white police officer, and by the protests that followed. The production was first staged two years ago at Normandy High School in Missouri, which Mr. Brown had attended. Then as now, it comprised two parts: a reading of a one hour adaptation of "Antigone," by Mr. Doerries, followed by responses from the audience. Any thoughts that the significance of a death in 2014 might have begun to fade were banished as soon as the focus shifted to the Harlem Stage audience, who included Michael Brown Sr. (Mr. Brown's father) and the St. Louis activist Anthony Shahid. The estimable readers on the night I attended the show were Tamara Tunie (as Antigone), Tate Donovan (as Creon), Chris Myers (as Creon's son, Haemon, among other roles) and Chinasa Obguagu (as Ismene, Antigone's sister, and Eurydice, Creon's wife). With force and focus, they unspooled the events that lead to Antigone's being sentenced to death for daring to bury her brother, an enemy of the victorious state, at the end of a civil war. (I should also mention the guitarist Willie Woodmore, who read the role of the blind prophet Tiresias with a rich mix of gravity and insolence.) It is the gospel chorus, though, reacting to confrontations among these characters, that viscerally lifts the play into timelessness. (New York recently saw a similar mix of African American spirituals and Greek mythology in the brief Central Park revival of "The Gospel at Colonus," about Antigone's father, Oedipus.) Conducted by Phil Woodmore (Mr. Woodmore's son), who also composed the music, this choir includes social workers, law officers and teachers from St. Louis and its environs, among other places. In other words, they know what they're singing about. Lushly blended in layered harmony with detours into virtuosic solos, their voices swell in wonder, praise and sorrow at the mysteries of life and fate. But what lingers most poignantly are the softly intoned concluding words of a paean to victory: And may we Never forget What happened here. And never go to war again. As became clear in the passionate discussion that followed, no one is going to forget what happened to Mr. Brown, or to the other young black men and women who have been killed by police officers since. Some of the speakers were in Ferguson to witness the protests and clashes with police that followed Mr. Brown's death. "It was the first time since my childhood that I saw my city come together as one," said Erica Wright, who photographed what she saw, and who now lives in Brooklyn. That aspect of the aftermath was beautiful, she said. But "it was ugly at night like a war zone." And it always seemed to be raining. Many speakers including a St. Louis police officer (and choir member), Lt. Latricia Allen remarked that it was a woman in "Antigone" who stood up to power, and they saw parallels in the increasing prominence of women in politics today. There were descriptions, from Michael Brown Sr., among others, about how distorted and "disrespectful" they thought the accounts in the media were of the victim's life and death. As for Creon, who lost his family and his kingdom through the rash and arbitrary enforcement of law, at least one speaker a member of the Man Up! Inc. community outreach program in East Brooklyn perceived a very specific contemporary parallel. "When I see that king in that play," he said, "the first name that came to mind was Donald Trump: arrogance, misogyny, tunnel vision." I hesitate to call the second part of the evening a post performance session, as if it were merely one of the talkbacks that have become fashionable in mainstream theater. Mr. Doerries, who last year was named a public artist in residence for New York City, doesn't believe in such formal distinctions. I see his point. As many of the audience members gathered over food and drink to keep talking about what they had seen that night and long before it felt as if any barriers between the pity and terror evoked by atrocities of ancient days, and yesterday and tomorrow, never really existed. A chorus, whatever form it takes, is always with us, to witness and remind.	N24News: A New Dataset for Multimodal News Classification	Theater
The story of how this 335S became the wandering Ferrari begins in May 1957, when Alfonso de Portago crashed a similar purpose built racing model near Guidizzolo, Italy, during the Mille Miglia race. The fatalities included not only de Portago, his co driver and nine spectators, but also the event itself, which had provided Ferrari a showcase for marketing its road cars to private owners. Three of the four Ferrari factory's entries were 335S models. De Portago's car, which used a 3.8 liter V12, was of the 315 series; aside from the engine size the cars were more or less identical, and all, while licensed for road use, were minimally modified racecars. At the time, Enzo Ferrari was focused on competition, and the income from the sale of such cars was vitally needed. With the Mille Miglia gone and a rules change that limited entries for the 1958 World Sports Car Championship to 3 liter engines, the 335S, which had a 4.1 liter V12, was orphaned. Now, with an engine too big for international competition and too complicated for most private teams it had four overhead camshafts, six carburetors and 24 spark plugs Ferrari made the best of the pieces left over from the short model run, building a final car and shipping it to Luigi Chinetti, its distributor in the United States. This car was sold to Alan Connell, a Texan active in Sports Car Club of America racing. Connell drove his 335S in 1958 and part of 1959, but the engine was troublesome, and the car went back to Italy for repairs. The bill is reported by Ferrari historians to have been on the order of 70,000. When the car arrived back in New York, Chinetti didn't want it, and Connell pointed out that a new car cost about 12,000, so there was little sense in retrieving this one. The car languished in a Customs warehouse.	N24News: A New Dataset for Multimodal News Classification	Automobiles
Three seconds into my first episode, I was already confused. "The following advertisement," a voice over says, "is intended for Jim Boonie only." Who is Jim Boonie? Other than a photo of a nondescript individual, we're given no additional information on who this guy is or why Tim Heidecker and Eric Wareheim, the driving forces behind "Tim and Eric Awesome Show, Great Job!," are so determined to give him a free house. "It's free!" they shout, against graphics familiar to anyone who has watched low budget commercials during basic cable programming. "Real estate! We're giving you land! It's free! We're giving you a house! It's real estate, free!" As this faux advertisement continues, some caveats are added: no rugs, no furniture, but hey, there's a pool in the back. One of them notes that they're not going to carry the keys to the house around all day, so Jim better come get his land. Soon Heidecker and Wareheim are screaming and cursing, haranguing poor Jim (whoever he is). Finally, things quiet down, the camera zooms in, and Heidecker whispers, as smug as you please, "It's free real estate." If you're familiar with that bit, it may be because it became the stuff of memes years after its original 2009 airing. Or it may be because, like me, you are a die hard fan of "Awesome Show." Across five seasons and two specials, aired on Adult Swim (home of their recent sitcom parody, "Beef House," which debuted this spring), it was sketch comedy at its most abrasive, bizarre and, for some reason, endearing. Watching an episode is like watching a broadcast from a world even weirder than our own, and it's a fix I've never grown tired of. Here are three reasons this eminently uncomfortable show is my comfort viewing. "Awesome Show" looked like nothing that had ever been seen on television before. (Not in the purposeful, ironic way Heidecker and Wareheim intended, anyway; the Tim and Eric aesthetic drew more from old public access TV and vintage corporate training videos than it did from, say, "Saturday Night Live.") Heidecker and Wareheim's fondness for eye meltingly bright, clashing colors; their incorporation of digital glitches and VHS style low fidelity image warping; their use of deliberately crude graphics and computer animation the show's visual style was as much a part of the comedy as anything that happened in their sketches. At times, the "Awesome Show" aesthetic blossomed into full blown neo psychedelia: Look no further than the Floydian conclusion of Tim and Eric's journey to the edible landscape of Brownie Mountain. Sometimes their goals are less lofty, though: This perfect parody of karaoke videos is an example of how good Heidecker and Wareheim were at mimicking the style of visual artifacts that others simply overlooked. Few TV comedies have placed this much emphasis on a distinctive visual signature; for apt comparisons, you have to reach back to Terry Gilliam's animated sequences in "Monty Python's Flying Circus." Heidecker and Wareheim had an eye for absurdity wherever it lurked and a gift for translating what they found into their own anarchic visual language; many of the shows produced by their company, Abso Lutely Productions, bear their stamp as seen, for example, in the controlled chaos of "The Eric Andre Show." Many of the guest stars on "Awesome Show" weren't stars at all, in the traditional sense. Heidecker and Wareheim developed a sort of repertory company of nonactors and marginal "pros," a strange and sweet natured crew that included the dubiously talented ventriloquist David Liebe Hart, the awkwardly made up stand up comedian James Quall and the sweater clad Richard Dunn, an elderly man who seemed to flub every other word of dialogue. When Dunn died in 2010, I donated to his funeral fund that's how much of a grandfather figure he became to me. But the professional actors who appeared on "Awesome Show" are a veritable who's who of 21st century comedy. Will Ferrell, Paul Rudd ("Computer, load up Celery Man, please"), Bob Odenkirk (an early booster of Heidecker and Wareheim's work), Zach Galifianakis, Patton Oswalt, Maria Bamford and Will Forte are just a handful of the big names who showed up for the "Awesome Show" treatment. From the drama sphere, the "Twin Peaks" star Ray Wise was a notable guest, while frequent cameos by the Oscar nominee John C. Reilly proved so popular that his character, the bizarre and deeply stupid health expert (?) Dr. Steve Brule, earned an excellent spinoff series of his own. Just as with the nonactors, these cameos add a "What will these guys do next, and who will they do it to?" element of excitement to each viewing. "For your health!" I can't think of another television show as contemptuous of commercial culture as "Awesome Show." Using the fictional Cinco brand of products as a touchstone, Heidecker and Wareheim mercilessly attacked the snake oil salesmen, disposable junk and corporate double talk of a culture that treats people first and foremost as consumers a frequent target of sketch comedy, to be sure, but rarely one assaulted with this level of crass vitriol. A recurring series of ads promoted products that, almost as an aside, required all of the consumer's teeth to be pulled out. Another line of products, called "Cinco Brown," was designed to either stimulate, contain, or impede the bowels. One ad urged viewers to save money on eggs by hatching their own. The most vicious satire of all: an ad for Cinco Boy, a child mannequin marketed to bereaved parents. "Isn't he pretty?" coos the guest star Peter Stormare with sinister callousness. (Perhaps unsurprisingly, Cinco's founders are murderers.) In moments of loss, when I'm as mad at the world for exploiting my grief as I am at the source of the grief itself, the garish gallows humor of "Awesome Show" makes it one of the few works of art up to the task of helping me express and exorcise my feelings. It may not be free real estate, but it's worth a lot to me.	N24News: A New Dataset for Multimodal News Classification	Television
'Godzilla: King of the Monsters' Review: For Once, the Title Says It All None The beloved movie monster Godzilla both goes big and goes home in this sequel to the 2014 "Godzilla." For those of you who haven't been keeping your scorecards updated, that movie was a reboot of a reboot, the uninspiring "Godzilla" of 1998. "Godzilla: King of the Monsters" is franchise fodder, however. The series is being steered to encompass a battle between Godzilla and King Kong, like the one the Japanese Big G films from the '60s once enacted. The sort of sideways tie in here is with "Kong: Skull Island" from 2017. While Kong himself appears here in but a glimpse, his home gets a lot of mentions. In this incarnation, a family torn apart by Godzilla takes the foreground. Science people Kyle Chandler and Vera Farmiga use their daughter Millie Bobby Brown as an emotional Ping Pong ball while government agencies and eco terrorists contend with the awakening of a fearsome three headed beast named Monster Zero. It's rather beside the point to note plot goofiness in a Godzilla picture, but this one does push its luck now and then. At one point it seems the film could go full "Kramer vs. Kramer" with Godzilla and Monster Zero (a.k.a. Ghidorah) as attorneys for the parental plaintiffs. This movie is often pretty slack in matters of story construction and direction. (The responsibility for the latter lies with Michael Dougherty.) Spatial relations are superlax, with characters and heavily armed forces showing up here, there and everywhere from out of nowhere. As in the 2014 film, this Godzilla is a stouter fellow than we have seen in previous incarnations. While underwater, he resembles a giant electric eel with bourbon bloat. But he gets the wreaking international havoc job done, as do the many other monsters, including a Mothra almost as delightfully psychedelic as the old Toho version.	N24News: A New Dataset for Multimodal News Classification	Movies
The word "benzodiazepines" and the phrase "widely prescribed for anxiety and insomnia" appear together so frequently that they may remind you of the apparently unbreakable connection between "powerful" and "House Ways and Means Committee." But now we have a better sense of just how widely prescribed these medications are. A study in this month's JAMA Psychiatry reports that among 65 to 80 year old Americans, close to 9 percent use one of these sedative hypnotics, drugs like Valium, Xanax, Ativan and Klonopin. Among older women, nearly 11 percent take them. "That's an extraordinarily high rate of use for any class of medications," said Michael Schoenbaum, a senior adviser at the National Institutes of Mental Health and a co author of the new report. "It seemed particularly striking given the identified clinical concerns associated with benzodiazepine use in anybody, but especially in older adults." He was referring to decades of warnings about the potentially unhappy consequences of benzodiazepines for older users. The drugs still are recommended for a handful of specific disorders, including acute alcohol withdrawal and, sometimes, seizures and panic attacks. But concerns about the overuse of benzodiazepines have been aired again and again: in the landmark nursing home reform law of 1987, in the American Geriatrics Society's Choosing Wisely list of questionable practices in 2013, in last year's study in the journal BMJ suggesting an association with Alzheimer's disease. Benzodiazepine users face increased risks of falls and fractures, of auto accidents, of reduced cognition. "Even after one or two doses, you have impaired cognitive performance on memory and other neuropsychological tests, compared to a placebo," said Dr. D.P. Devanand, director of geriatric psychiatry at Columbia University Medical Center. In 2012, the American Geriatrics Society updated its list of inappropriate medications for older patients and bluntly advised physicians to "avoid benzodiazepines (any type) for treatment of insomnia, agitation, or delirium." The quality of evidence: "High." The strength of the recommendation: "Strong." Not much ambiguity there. Yet when Dr. Schoenbaum and his colleagues dug into a 2008 database that tracked prescriptions at 60 percent of all retail pharmacies in the United States, including mail order operations, they found benzodiazepine use rising sharply with age. "It just goes up and up," he said. Worse, they found that long term use also increased with age. Patients of all ages are cautioned to use benzodiazepines for only a few weeks, but in the people aged 65 to 80, nearly a third had taken the drugs for more than 120 days. "They could have been on that drug for 10 years," said Dr. Mark Olfson, professor of psychiatry at Columbia University Medical Center, a co author of the study. "Once people have started these drugs, it's hard to get them off." An accompanying editorial was pointedly headlined "Why Are Benzodiazepines Not Yet Controlled Substances?" (Some states already impose limits: New York generally restricts prescriptions to a 30 day supply, without refills.) It is hard to think of another class of medications that, after 30 years of warnings, physicians still so frequently prescribe and older people so commonly take. Why the stubborn attachment to benzodiazepines? Psychiatrists and researchers I consulted pointed out several factors: They work, and fast. Older people develop more sleep problems. Take a benzodiazepine and "the first night, you'll get a better night's sleep," Dr. Olfson said. The medically recommended first line treatments improved sleep habits and hygiene for insomnia, antidepressants and brief cognitive behavioral therapy for anxiety work too, research shows, but require far more time and effort. Therapy, often an unpopular option among the older patients, can prove hard to access. "Older patients are socialized to think their prescribers have some magic, a pill for everything," said Joan Cook, a psychologist at Yale University who has published research about benzodiazepine use. Patients and doctors may notice the benefits sleep! but not recognize the downsides, Dr. Olfson pointed out, even when they occur. "If an older person falls out of bed and breaks a hip, benzos may not be seen as the culprit," he said. "They increase the likelihood of events older people are prone to, anyway." Benzos are addictive, though physicians prefer less charged language like "habituating" or causing "dependence." "If we want to help people taper off, we can't seem to be judging or blaming them," Dr. Cook cautioned. Nonetheless, after several weeks' use, people who discontinue them often suffer withdrawal symptoms, the same sleeplessness or sweaty nervousness that sent them to their doctors in the first place. Though it is unclear if these drugs actually provide therapeutic benefit after the first few weeks, users often don't want to consider discontinuing or trying alternate treatments. Dr. Cook's interviews turned up a variety of justifications, fears and underestimations of side effects, among both patients and doctors. Consider a pilot study that Dr. Gregory Simon, a psychiatrist and senior investigator at the Group Health Cooperative in Seattle, and his colleagues decided to undertake nearly 20 years ago. They planned a program to help people discontinue chronic benzodiazepine use and sent letters announcing it to 50 older patients. "Half the people called and said, 'Don't contact me. I don't want to talk about stopping,'" Dr. Simon recalled. Only five people agreed to discuss the pilot; two actually showed up. The study never took place. The health care system hasn't really encouraged older patients to wean themselves. Most prescribers are primary care doctors, struggling to address older people's multiple health problems, and to supervise several medications, during brief visits. They see tapering off as a major undertaking, Dr. Cook found, requiring weeks of visits and monitoring. "They said their patients would fight them tooth and nail," she said. Refilling the prescription was easier. This may be changing. At Group Health Cooperative, for example, the take home documents given to patients taking sedative hypnotics includes a forthright list of risks and warns that the physician may decide that "it is no longer safe or appropriate to continue prescribing chronic sedative therapy."	N24News: A New Dataset for Multimodal News Classification	Health
Here is the full speech: Hi. Stop. Hi. God, I'm full of so much gratitude right now, and I do not feel elevated above any of my fellow nominees or anyone in this room, because we share the same love, the love of film and this form of expression has given me the most extraordinary life. I don't know what I'd be without it. But I think the greatest gift that it has given me, and many of us in this room, is the opportunity to use our voice for the voiceless. I've been thinking a lot about some of the distressing issues that we are facing collectively and I think at times we feel or are made to feel that we champion different causes. But for me, I see commonality. I think whether we're talking about gender inequality or racism or queer rights or indigenous rights or animal rights, we're talking about the fight against injustice. We're talking about the fight against the belief that one nation, one people, one race, one gender or one species has the right to dominate, control and use and exploit another with impunity. I think that we've become very disconnected from the natural world and many of us, what we're guilty of is an egocentric worldview, the belief that we're the center of the universe. We go into the natural world and we plunder it for its resources. We feel entitled to artificially inseminate a cow and when she gives birth, we steal her baby, even though her cries of anguish are unmistakable. And then we take her milk that's intended for her calf and we put it in our coffee and our cereal. And I think we fear the idea of personal change because we think that we have to sacrifice something to give something up. But human beings, at our best, are so inventive and creative and ingenious and I think that when we use love and compassion as our guiding principles, we can create, develop and implement systems of change that are beneficial to all sentient beings and to the environment. Now, I have been I've been a scoundrel in my life. I've been selfish, I've been cruel at times, hard to work with and ungrateful, but so many of you in this room have given me a second chance and I think that's when we're at our best, when we support each other. Not when we cancel each other out for past mistakes, but when we help each other to grow, when we educate each other, when we guide each other toward redemption. That is the best of humanity. I just I want to when you when he was 17, my brother wrote this lyric. He said, "Run to the rescue with love and peace will follow." Thank you.	N24News: A New Dataset for Multimodal News Classification	Movies
Gainesville, Fla., had a thriving rock 'n' roll scene in the 1960s home to Stephen Stills among others but it wasn't a place where aspiring rock stars would reach their ultimate aspirations. As Warren Zanes, author of "Petty: The Biography" put it, "the reason to make it in Florida was to make it out of Florida." Tom Petty, one ambitious young man of the time period, remembered his hometown of Gainesville fondly in the documentary "Tom Petty: Runnin' Down a Dream." He described it as a cross between a university and farming town with a strong "southern contingent." But his Florida childhood was far from idyllic. He lived with an abusive father, and his mother battled epilepsy and cancer. He was looking to escape at an early age. "What I did come to notice was that everything really great seemed to be coming from California," Mr. Petty said in "Petty: The Biography." "The television announcers would say, 'From television city, in Hollywood, it's the Red Skelton Show!' And I thought, 'Television city? Man, that's where I need to be.' This is when I was still a little kid." Mr. Petty, who died on Monday at the age of 66 in Los Angeles, would become undoubtedly part of his adopted city's fabric, with the help of hit songs like "Free Fallin'" and "Into the Great Wide Open," which became anthems of the town. But it was a long road to stardom for Mr. Petty, literally. It all started with the "greatest trip of my life," as Mr. Petty described it to Mr. Zanes, referring to a cross country road trip from Gainesville to Los Angeles in 1974. With him was the bass player Danny Roberts of Mr. Petty's band Mudcrutch, and their roadie, Keith McAllister. The band had gotten as big as it could back in Florida. A look at the city that became his home, and the places that defined him, allows you to chart his journey from struggling musician to rock star. Soon after his arrival, Mr. Petty found himself in a telephone booth outside of Ben Frank's diner at 8585 Sunset Boulevard now the West Hollywood location of Mel's Drive In sifting through a phone book looking for record companies. As luck would have it, he spotted a piece of paper on the ground with a list of 25 local record labels, with addresses and phone numbers, most likely left behind by another rock 'n' roll dreamer. Mudcrutch ended up signing with Shelter Records, whose Los Angeles offices were based in a large, one story building at 5112 Hollywood Boulevard, which now houses apartments and a Lebanese restaurant. Mr. Petty and his crew spent countless hours there hanging out and listening to music. Of the surviving landmark recording industry buildings of Mr. Petty's early days, the Capitol Records Building is the most recognizable. It is a designated Historic Cultural Monument a short drive away from where Shelter Records once existed at 1750 Vine Street. (While Mr. Petty was never on the Capitol Records label, EMI Capitol did end up with the Shelter Records catalog in 1993, though Mr. Petty retained the rights to his music.) From the Capitol Records Building, you're a 10 minute walk from the Hollywood Walk of Fame, which is along Hollywood Boulevard and Vine Street. Tom Petty and the Heartbreakers were inducted in 1999 and fans have been flocking there to pay tribute since hearing of Mr. Petty's passing. After signing with Shelter Records, the label put Mr. Petty and the boys up at the Hollywood Premiere Motel, a less than glamorous accommodation still operating at 5333 Hollywood Boulevard. Mr. Petty described it as "really a hooker place" in the book "Conversations With Tom Petty." It's also where his wife, Jane, informed him that she was pregnant with their first child. If you want a hint of a struggling musician's life, you can book a room there for 90 a night on Booking.com or simply save some money and snap a picture in front. The band moved on to two rental homes in the San Fernando Valley. Each had a swimming pool but the group slept on mattresses on the floor and had no furniture other than the lawn furniture from the backyard. After the release of the unsuccessful single "Depot Street," the group continued recording at the mansion of musician Leon Russell, the hitmaker who was a founder of Shelter Records, and Mr. Petty would house sit for him. He would later have his own Encino mansion, which was notoriously burned down by an arsonist in 1987. But Mr. Petty was still a long way from being able to afford his own mansion. In fact, Shelter Records dropped Mudcrutch from its label while they were still working on music in Mr. Russell's house. Mr. Petty would stay on the Shelter payroll, but soon found himself back in a cramped hotel, this time at The Winona Motel (5131 Hollywood Boulevard), which is now the Hollywood Inn Express North (not to be mistaken for a Holiday Inn Express). It's close to Mr. Petty's star on the Hollywood Walk of Fame. "I'd gone from living in a rock star's mansion to a motel room. Which, for some reason, didn't bother me," Mr. Petty said of that time. "I didn't need much. Shelter was across the street, and my whole social world was there." At around this time, Mr. Petty's daughter, Adria, was born in a hospital in Burbank in November 1974. Shortly after, Jane and Adria would move back to Florida to be closer to family while Mr. Petty tried to pick up the pieces of his music career. "I'd put so much into Mudcrutch, and now it was just dust," Mr. Petty said. "I had nothing, absolutely nothing to show for years of work." But things started to change as Mr. Petty continued to work with Mr. Russell, who took a liking to his work. Before he knew it, he was meeting Mr. Russell's famous friends like Brian Wilson and working with George Harrison and Ringo Starr at Sound City Studios (15456 Cabrito Road.). The studio, which reopened in 2017 after being closed for several years, was the subject of the 2013 documentary "Sound City," produced and directed by Dave Grohl of Nirvana and the Foo Fighters. Several renowned albums were recorded in the studio, including Tom Petty and the Heartbreakers's "Damn the Torpedoes" (1979), Neil Young's "After the Gold Rush" (1970) and Nirvana's "Nevermind" (1991). By the end of 1975, Mr. Petty got back together with several members of Mudcrutch to form Tom Petty and the Heartbreakers. Their first album, self titled, slowly climbed the charts, and songs like "Breakdown" and "American Girl" would become FM radio staples. The album eventually reached gold status in the United States, and Mr. Petty was well on his way to stardom. Though he was now ensconced in Los Angeles, Mr. Petty harkened back to his Florida era in a famous lyric in "American Girl," referencing Route 441, a highway that runs through the state: It was kind of cold that night She stood alone on her balcony She could hear the cars roll by Like waves crashin' in the beach Years later, his 1989 hit "Free Fallin'," the opening track from "Full Moon Fever," would serve as sort of a tour of his adopted city: "It's a long day, livin' in Reseda"; "all the vampires, walkin' through the Valley / move west down Ventura Boulevard"; "I wanna glide down over Mulholland..."	N24News: A New Dataset for Multimodal News Classification	Travel
Credit...Whitney Curtis for The New York Times I don't think most Americans view St. Louis as a tourist destination, but they should. Even as I was enjoying my fall sojourn, activists were protesting current conditions there, and I could see why infrastructure, housing, and wages need serious investment. But my hometown is still beautiful, still full of unique attractions, and, I think, perhaps the most enlightening spot in America for exploring what America really is. There have always been racial and economic inequities here. Because Missouri was a Border State, both slaves and free African Americans walked the streets before and during the Civil War. In the early 20th century, African American districts had some say in city politics because each city district elected its own aldermen and the mayor was mostly a figurehead. Even now, though, St. Louis is one of the country's most segregated cities, according to a 2017 study. There are significant disparities in investment in the city, with black communities being left behind. African American residents live at a poverty rate over three times higher than whites. When I was growing up in the 1950s, public swimming pools were segregated, public transport was not. And while resistance to integrated schools remains strong, it was not even a topic of conversation, as I recall, when African American students showed up at my elementary school (I was in second grade). And there have long been protests over racial injustice, as there are now I would say protests are as much a part of St. Louis history as anything else. Another thing that hadn't changed (much) was the Missouri Botanical Garden, founded by Henry Shaw, who was born in England in 1800, and came to the United States to look for a shipment of his family's metal goods that had been lost in New Orleans. He found it, took a trip up the river to St. Louis, set up a hardware store to import his father's products. He was 19. In 1850, Shaw built himself an estate, started developing his garden. He opened it to the public in 1859. Now the oldest continuously operating botanical garden in the country, it was crammed with trees and plants. As we walked along the paths, I couldn't resist looking at every identifying marker (on the trees, some were 15 feet off the ground). It is 79 acres, every step rich and enlightening. There was a rose garden, an iris garden, an herb garden, a children's garden, a sensory garden (my favorite plant was the chocolate mint). In front of Shaw's original mansion, we peered through the bars at a marble effigy of Shaw. He was on his back, and looked like he would like to roll over onto his side. The family destination that had changed the most since I was a child was the Saint Louis Zoo. The original exhibit, the "flight cage," now houses 15 species of "cypress swamp" birds, that is, birds that inhabit Southern Illinois and southern Missouri, where the Mississippi and the Ohio rivers meet. One of my favorite earlier tourists to St. Louis, Charles Dickens, was supremely disappointed when he arrived at the junction of the rivers in his book American Notes he called the spot "a dismal swamp" and the Mississippi "an enormous ditch." In the 1950s, some of the zoo's animals were housed in small areas surrounded by fake cliffs, others in large cages. There were many shows I remember lions, elephants, monkeys. But zoos now recognize that they must be a refuge for animals, not a display case. We watched the black rhinoceros. His compound had three wings he wandered here and there. His mate and his 6 month old offspring were not with him. The hippos drifted about in a giant tank, visible beneath the surface of the water and above it. There were a lot of spots where no animals appeared, although the zoo houses almost 19,000 individuals (including centipedes, armadillos, catfish, giraffes, lions and woodchucks). I was disappointed and pleased the zoo has done the best it can to transform itself from a place of spectacle to a place of education. Forest Park, which houses the zoo, is 1,293 acres. It has a golf course where my grandfather used to play, tennis courts, the Missouri History Museum, the St. Louis Art Museum, a theater, a skating rink, the zoo and the Jewel Box, an ornate greenhouse built in 1934 and recently refurbished. There is also, as I saw when I crossed the street from the Cheshire Inn and walked around, a thick forest along the southeast end, with paths and huge trees, weeds, falling leaves, probably poison ivy, and signs that said that this part of the park was being returned to the wilderness. We, of course, opted for the toasted ravioli, a St. Louis specialty, and then my husband chose the veal cordon bleu and I chose the six ounce filet Siciliano, rolled in bread crumbs, grilled and served with a secret sauce that includes , the menu said, "cheeses and lemon." We did not expect to be impressed, having been to San Francisco, New York City, Rome. The toasted ravioli was good don't have to try that again. Jack's flattened veal was savory and crisp good enough. And then, my first bite of the filet Siciliano nearly knocked me out of my chair, sublime enough to block every other taste memory, at least for the rest of the evening. The only downside was that the parking lot had no back exit and we could hardly figure out how to maneuver between the brick wall of the restaurant and the tail ends of all the other cars. Brick! If there is anything that screams "St. Louis!" it is brick. And 199 types were made south of Forest Park, not far from the Cheshire Inn, in an area called Dogtown. In this rather small area (six mile periphery), there were at least 14 brick factories. The next morning, when I crossed Clayton Road from the Cheshire and wandered along North Skinker Boulevard, the houses were a panorama of brick choice. I loved the oddest one, small and square, tannish gold, with arches, a second floor balcony, a red tiled roof, a fanciful chimney. I was also struck by a simpler house built of red gold bricks that glinted in the sunlight. The rows of brick houses around Skinker looked old and indestructible, but we saw the downside when we headed into the city many brick houses were boarded up, others had collapsing roofs, smoke stains along the walls. They are much harder to dismantle than clapboard houses. Bricks represent the glory and the danger of St. Louis's history many still graceful and beautiful in the middle class and wealthy neighborhoods, but in the poorer areas, their history is a burden and a reminder. My grandfather worked for International Shoe Company, in the tannery where they turned the hides into leather across the Mississippi, not downtown, in the huge shoe company warehouse that was turned into the City Museum in 1997. This "museum" is something I have never seen before, a playground/junk collection full of children and their parents, designed by Bob Cassilly. I would like to say that I knew him in elementary school in Webster Groves, the St. Louis County suburb where I grew up, because he was about my age, and that we collected fossils down in Deer Creek, but I can't. Surely he had lots of fun with this museum. The vast exhibition, indoors and outdoors, includes "old chimneys, salvaged bridges, construction cranes, miles of tile, and even two abandoned planes!," as well as caves, a 10 story slide, a tree house, a Ferris wheel, a castle turret, and the world's largest pencil. It is one of the most popular museums in the United States, but I could only take it for an hour. We wandered around the four floors, watched the kids explore the outdoor balconies. It also includes a prominent first aid room, and I could see why. Not far away is the Field House Museum, built in 1845 by Roswell Field, the father of Eugene Field, who wrote "Little Boy Blue" and "The Gingham Dog and the Calico Cat." Roswell Field was famous as Dred Scott's attorney when Scott was fighting against being re enslaved in the 1850s. The United States Supreme Court decision against Scott was made public in March 1857 on the steps of the St. Louis Courthouse. Fortunately, Scott was given his freedom that May, but he died at the age of 59, 15 months later. The Dred Scott decision is widely considered one of the worst decisions the Supreme Court ever made. The Field House is the last rowhouse remaining on the street, with narrow, steep stairs, and friendly exhibits of toys, books and the paraphernalia of mid 19th century daily life. We were the only visitors. Then harvests got iffy, local resources were depleted. The now too large population began to die off, had to leave. The Cahokians were ambitious, Lewis and Clark were ambitious, the Louisiana Purchase was ambitious, T.S. Eliot, Maya Angelou , and Chuck Berry, all born here, were ambitious. The St. Louis World's Fair was intended to teach Chicago a lesson. When I looked at the Gateway Arch again, on the way back to the hotel, I realized that I was in what is perhaps the paradigmatic American city, a busy place where history, commerce, art and geography have often connected and often clashed in supremely American ways. And Cahokia, across the river, is the main lesson I learn that nature can do us in if we don't pay attention. Jane Smiley is the author of many novels and works of nonfiction. She was awarded the Pulitzer Prize for Fiction for her novel "A Thousand Acres" in 1992.	N24News: A New Dataset for Multimodal News Classification	Travel
As Tadej Pogacar and Primoz Roglic each took their heads in their hands, seconds after completing Saturday's penultimate stage of the Tour de France, neither man seemed to be able to process what had just happened. Pogacar, 21, had just delivered the best performance of his young career, wiping out Roglic's 57 second lead and opening a most likely insurmountable lead of his own entering Sunday, the race's final day. The result ensured that he will enter Paris for the traditionally celebratory final stage wearing the leader's yellow jersey, and positioned him so that he not Roglic, the leader of the Tour for the past two weeks will become the first rider from Slovenia to win the race. Roglic finished fifth in Saturday's time trial, nearly two minutes behind Pogacar, who earned his third stage win of this year's Tour by turning in one of the most memorable performances in the race's illustrious history. "I think I'm dreaming," Pogacar later said. Then he interrupted himself: Roglic had come to congratulate him, and the two hugged. Roglic was crestfallen. "I didn't push enough," he said. "I rode without the power that I needed." Pogacar, of team UAE Emirates, is set to become the youngest winner of the Tour de France in the post World War II era, and the second youngest champion ever. He also leads in the races for the competition's best climber and best young rider, capping a Tour in which he showed his breadth of skills racing on flat roads, mountain passes and, finally, alone against the clock. The stage on Saturday capped an impressive duel between Pogacar and Roglic, and turned the tables after Roglic had expertly held off Pogacar's attacks for more than a week. Roglic, 30, had led the Tour since its ninth stage, and he never seemed to be threatened. He was backed by his teammates on the Jumbo Visma team, who maintained a fast pace while protecting their leader at the head of the peloton, riding alongside him as he kept Pogacar from breaking free day after day. But as Roglic rode alone on Saturday, he crumbled as much as Pogacar shone, and at the end of the stage, their positions had switched: Roglic, who was leading by 57 seconds in the general classification before the time trial, was left 59 seconds behind Pogacar. "I just went full gas from bottom to the top," Pogacar said of the final hill of the time trial, where he cemented his victory in the stage. The comment epitomized both his performance on Saturday, and his racing throughout the race's three week, pandemic delayed trip across France. The duel between Roglic and Pogacar was joined on the hills of the Massif Central earlier this month, but it fully unfolded in the French Alps when the race entered its final week on Tuesday. By then, it had become clear that the winner of the 2020 Tour de France would be one of the two men. Slovene flags became more present on the sides of the road on the final days, as Roglic and Pogacar kept stalking each other in France's mountainous landscapes, riding side by side or one behind another but never too far away. Roglic was one of the race's favorites since the start, and Pogacar was not an unknown. The winner of the 2019 edition of the Tour of California, Pogacar lit up the Tour de France this year in several mountain stages, winning two of them as he tried in vain to gain time on Roglic.	N24News: A New Dataset for Multimodal News Classification	Sports
A type of private insurance that is used by wealthy business owners to cover unlikely risks and that has been challenged by the Internal Revenue Service is proving to be beneficial as the coronavirus pandemic shuts down local economies. The structure, known as a small captive insurance, allows business owners to self insure against unlikely but costly risks. Because captive insurance has also created incentives for tax avoidance, the I.R.S. has put it on its "dirty dozen" list of the most abusive tax practices since 2014. The criticism against small captive insurance vehicles has been that wealthy individuals use them to write policies for ill defined or ludicrous events, knowing they will never have to pay a claim. Two famous cases that the I.R.S. challenged involved a dentist who used a policy to insure his practice against a terrorist attack and a jeweler who created a policy to cover a dirty bomb attack. Given how improbable those events are, the premiums can accumulate tax free for years. That policy can then become part of the business owner's estate plan, and the value of the policy's assets can be passed on to heirs at a greatly reduced tax rate. But now some of the more common coverage options, like the risk that business will be interrupted or a supply chain disrupted, are claims that business owners need to make. In this economic crisis, captives may be showing their worth. "You have these policies that are loosely drafted," said David J. Slenn, a partner at the law firm Shumaker in Tampa, Fla., and a former chairman of the American Bar Association's captive insurance committee. "They're interpreted in favor of the insured. Even if they're not the strongest policies from a tax perspective, they still have binding contracts to pay claims." But the process is not as easy as policyholders just writing themselves a check. There could be tax consequences, claim considerations and responsibilities to other owners if they are part of a pool of policyholders who share risk. In the last week, lawyers who set up captives and those who defend policyholders from I.R.S. investigations said clients had been calling to ask about coverage. Mr. Slenn said many of these clients also had commercial insurance policies with coverage for business interruption. But he said those clients were finding out that commercial insurers specifically tie coverage to a property loss and limit payouts for pandemics. A captive policy pays a claim based on how the business owner wrote it. A claim could be made if a civil authority ordered businesses to close or if the National Guard was ordered to barricade a town, as happened with New Rochelle, N.Y. "Those things could trigger claims under our policy and probably will," said Susan Euteneuer, general counsel at the Oxford Risk Management Group, which manages about 500 small captives and allows them to share the risk for claims made. "We also have supplier and supply chain coverage. One of the triggering events there is pandemics. We're certainly seeing more claims." Business owners need to file a claim to the manager of a captive as they would to a commercial insurance company. They need to provide documentation to substantiate the claim, but the waiting time to be paid is fairly short. A captive policy, for example, would cover a net loss claim after it was filed. This is a claim that compares revenue in this period with revenue during the same time last year and pays for the difference. But it must be an actual loss to the business, not a projected one. A loss of business caused by a recession would not be considered a valid claim, Ms. Euteneuer said. That's not an insurable event specific to a particular business. A captive insurance policy, however, might cover the costs to find a different supplier or business partner, known as business mitigation risk. "To the extent they're incurring out of pocket expenses, we'll pay those more quickly," Ms. Euteneuer said. "It will cause their net loss to decrease, so we'll provide coverage for mitigation expenses. Those are some of our best success stories." There are other ways a captive could help a struggling business now. Business owners normally keep the captive policy at arm's length to preserve its legitimacy and to maintain its tax benefits. (Collected premiums grow tax deferred.) But a captive could invest its assets in the business itself if the business owner needed the infusion to keep operating. The captive policy could be used to buy stock in the business or make loans to the business, said Jay Adkisson, a lawyer who specializes in these vehicles. "That is ordinarily not a good practice because it might destroy any tax benefits of the captive," he said, "but in that scenario, the business probably isn't generating much in taxable profits anyway." A business owner could also take a distribution from the captive policy. Depending on its size, a distribution may require approval from the insurance regulator, but it cannot risk the solvency of the captive. The owner could also borrow from the captive. "A well financed captive can act as a hidden pool of 'rainy day money' should the business need it," Mr. Adkisson said. "A lot of these captives have been very well financed over the years. Those companies won't have their backs as close to the walls as companies that don't have them." With all of these strategies, a wealthy business owner needs to be aware of tax consequences. In taking a distribution, the business owner would have to pay capital gains taxes on the money. "There is no way to avoid paying taxes when you get out of the captive," Mr. Adkisson said. If the money came in the form of a claim for business interruption, Mr. Slenn said, the business owner would need to seek advice on what was taxable and what was not. "Don't assume that it's not taxable," he said. "If it's restoring property, it's not taxable. If it's lost profits and business interruption, they're going to tax you on the profits." If a financial crisis is pushing a company toward bankruptcy, lawyers said, it would be best to leave the captive alone, lest it be included in any bankruptcy settlement. One thing that may change in this crisis is how the I.R.S. views captive insurance. It announced in January that it was stepping up its auditing of small captives and adding 12 teams of auditors to root out abuses. The announcement came after a settlement offer last year to wealthy individuals whose captives were under scrutiny. That deal was meant to persuade them to come clean and pay their taxes and penalties. Eighty percent of the people who received the offers took them, the I.R.S. said in January. But now, captives are showing the I.R.S. what they were intended to do, said several lawyers who have defended owners of these captive policies. "A lot of captives underwrite low frequency, high severity risks," said Kacie Dillon, a partner at the law firm Woolston Tarter. "They don't happen often, but when they do, they're very large events. I can't think of a time when businesses were told to close because of an outbreak of a virus. Those types of claims are low frequency, but the policy should have been underwritten with that in mind." She added: "It's not great that we have the coronavirus, but it does show how captives can be a useful tool for business."	N24News: A New Dataset for Multimodal News Classification	Your Money
Disney's new live action "Mulan" is coming at a time when the entertainment world is still feeling tremors from the success of "Crazy Rich Asians" and "Parasite." It was a very different landscape when the animated "Mulan" debuted in 1998: American audiences were far less used to the presence of Asians onscreen and many Asian American moviegoers felt less comfortable with depictions of themselves. In the 1990s, Asian representation in Hollywood was even more scarce than it is today. What's more, by the time "Mulan" came out, Asian American activists were still reeling from the failure of "All American Girl" (1994 95), the first sitcom to feature a Korean American family. Some Asian Americans had been buzzing over the show, which starred the comedian Margaret Cho there were even viewing parties for the premiere. But it was a spectacular disappointment, blending stereotypes about multiple Asian cultures, recalled Jeff Yang, one of the TV critics whose reviews contributed to its quick demise. "Everything that had an Asian American face was dumped in the same bucket," Yang said. "The problem with that is it meant we had a limited amount of stories." After the cancellation of the Cho sitcom, there was a dry spell of television and movies starring Asian Americans. So when Disney presented "Mulan," a movie about a Chinese heroine featuring voice actors of Asian descent, it evoked a range of reactions from joy to anxiety. "Every time a studio takes a chance on an ethnic project, we know, 1, we're happy, but 2, we're very worried because if this doesn't do well, heaven help us, they're not going to try anything like it again," Aoki said. He was relieved that the movie, directed by Tony Bancroft and Barry Cook and starring Ming Na Wen as the voice of the title character, was successful: It drew 304 million worldwide at the box office, ahead of "The Little Mermaid" with 184 million, according to Box Office Mojo. The following year, Aoki's organization held a ceremony in Chinatown in Los Angeles to present Disney an award for its inclusion of Asian American actors in "Mulan." Despite the animated movie's success, "Mulan" had no immediate effect on representation in Hollywood; it didn't open doors for its stars in the same way that "Crazy Rich Asians" would. Just a year after its release came the great "whiteout": The 1999 2000 fall season lineup of 26 new TV shows with no actors of color in noteworthy roles, which led to protests. Today, Asian Americans remain underrepresented on the big screen: Out of Hollywood's top 100 movies of 2018, only two lead roles went to Asian and Asian American actors (one male and one female), according to a study by the University of Southern California's Annenberg School for Communication and Journalism. The Census Bureau estimates that Asian Americans make up 5.4 percent of the American population, but the number is probably higher because Asian Americans the fastest growing demographic are the least likely to fill out the census. Experts agree that in the 1990s Asian performers were still proving to Hollywood that audiences would be comfortable seeing them in major roles. Despite favorable reviews for the 1993 adaptation of "The Joy Luck Club," martial arts films like "Rumble in the Bronx" (1995) with Jackie Chan remained the most prominent vehicle for Asian stars. Renee Tajima Pena, a filmmaker and professor of Asian American studies at U.C.L.A., said the decade was also an important time for Asian American filmmakers, who were starting to make features. (Before then, they had focused on documentaries to fight racism.) Among others, Justin Lin, who would make his mark with "Better Luck Tomorrow" (2003) and the "Fast and the Furious" franchise, got his start in 1997 with the indie "Shopping for Fangs." Representation has also improved in terms of accurate portrayals of different cultures. Yang, the critic, noted that Hollywood had evolved to treat inclusion more holistically, hiring more people of color to write, produce and act in shows and movies about them. That's how we ended up with the 2018 adaptation of "Crazy Rich Asians" and TV shows like the recently concluded "Fresh Off the Boat" (which starred Yang's son, Hudson). "Mulan" was just one of many successes that had to happen before representation got to where it is today, he said. "Over the last 15 years we developed that pipeline and all those people were ready to spring," Yang said. The more significant effects of "Mulan" may have been social and psychological. Nancy Wang Yuen, a sociologist and author of the book "Reel Inequality: Hollywood Actors and Racism," said the movie had helped shift beauty standards: Its release was accompanied by a prolific amount of merchandise, including "Mulan" Barbie dolls, McDonald's Happy Meal toys and Mattel figurines. Asian American girls who grew up with Barbies with blond hair and blue eyes now had versions that looked like them.	N24News: A New Dataset for Multimodal News Classification	Movies
Surfing is about to become part of Airbnb in a big way: on Thursday, the home rental and travel company will introduce more than 75 surfing related activities in its Experiences category, a service where travelers can book unique activities and tours with Airbnb hosts in more than 20 destinations worldwide. The new Experiences are launching in collaboration with the World Surf League, the professional sport's global governing body, and cost an average of 50 to 100. Airbnb's chief executive, Brian Chesky, said that it's the first time that the company has officially partnered with a sports organization for its Experiences platform. To start, the surfing activities will be available in 20 major surfing locations globally including Jeffrey's Bay, South Africa; Chiba, Japan; and Pupukea, in Oahu, but Mr. Chesky said that by the end of the year, the number of activities and the locales they're offered in will grow to several hundred. "Surfing is, by far, the largest sports offering in Experiences, and that's why we're making it a stand alone category," he said. According to the company, it had 170,000 guest arrivals in 2017 to surfing communities, an increase of 54 percent from the year before. It was the W.S.L. organization that tipped off Airbnb that many surfers were fans of the company's rentals. The chief executive of the league, Sophie Goldschmidt, said that surfers prefer to stay in homes versus hotels and frequently book their stays through Airbnb. "When you have a big surfboard, it's easier to stay in a house, and many top surfing destinations don't have a lot of hotels anyway," she said. Ms. Goldschmidt also said that the surfers hosting the Experience s are an integral part of W.S.L.'s community and have been vetted by the organization. The activities they are offering on Airbnb range from surfing lessons to surfing photo tours to surfing adventures in the ocean . In Biarritz, France, which is one of Europe's premier surfing destinations, two brothers who are former W.S.L. competitors, Edouard and Antoine Delpero, are offering longboarding lessons through their Delpero Surf Experience. In New York, the well known big wave surfer Will Skudin will offer surfing lessons in Rockaway Beach, Queens. In Haleiwa, Hawaii, on the North Shore of Oahu, the renowned surfboard shaper Carl Schaper will teach guests how to cut foam to create their own surfboard. Most of the surfing activities can be customized for guests to take into account their level of expertise. Mr. Chesky himself is a novice surfer but said that he enjoyed the sport when he tried it last year in Cape Town, South Africa, by booking the Surf with a Purpose Experience, where he took a two hour surf lesson in Muizenberg Beach with the surfer Apish Tshetsha and also learned about the surf therapy that he provides for free to low income children. "It was then that I realized that surfing is an exciting sport even if you're just trying it once in a while," he said. Airbnb isn't the only player in the travel industry that's paying more attention to surfing: several hotels, too, are introducing or have recently launched surfing experiences for guests. This month, Mukul, Auberge Resorts Collection, in Nicaragua, introduced a Surf Sensei program for 165 a person where beginner surfers learn how to advance to the next level in the sport. In June, the property will begin offering a Siren Surf Safari for women that includes a surf lesson, along with meditation (pricing is still to be determined). One Only Palmilla, in Los Cabos, Mexico, has a new Art of Luxury Surfing program where guests can take lessons with famous surfers on select weekends throughout the year the Brazilian born women's star surfer Tatiana Weston Webb is hosting one from June 18 to 20 (nightly rates that weekend start at 890). Hotels may be introducing these surfing options because a growing number of travelers who have never surfed before seem to be showing more interest in the sport. Kristiana Choquet, an adviser with the New York City based travel company Artisanal Experiences, said that, in the last year, many of the company's clients have begun asking for vacations in surf destinations such as Cabo San Lucas and Costa Rica so that they can take lessons. "There's a new allure to surfing," she said. "Travelers are definitely more interested in wellness more than ever before, and surfing is a part of that trend."	N24News: A New Dataset for Multimodal News Classification	Travel
The gold standard for the New York apartment house is the big, lumbering 1884 Dakota, often called the first real apartment house in the city. But to cognoscenti, another building makes a run for that distinction, the 1870 Stuyvesant Apartments at 142 East 18th Street, an oddball little five story walk up with an impeccable pedigree, demolished half a century ago. But instead of the Stuyvesant, should it have been named the Rutherford? Peter Gerard Stuyvesant was a descendant of Peter Stuyvesant, a colonial governor of Dutch New York who had a farm at the northeast end of what is now Stuyvesant Street. When Peter Gerard died in 1847, he left no children, and his will settled a fortune upon 5 year old Stuyvesant Rutherford (sometimes spelled Rutherfurd) as long as he took the Stuyvesant surname. Sources vary as to their relationship, but the boy's mother was a Stuyvesant descendant, and Peter Gerard is often referred to as his great uncle. Take his name the heir did, in 1863. About the newly minted Rutherford Stuyvesant we know little. On an 1863 military roster he gave his occupation as "gentleman." He traveled abroad in 1865, although to destinations unknown. He married in 1870; his wife died in childbirth in 1879. At midcentury, New Yorkers who were comfortably off, but not rich, often lived in row houses. Built deep on narrow lots, they had many stairs to climb, which servants resented. The apartment house, offering knee friendly one floor living, was common abroad but slow to catch on here, suffering from its association with the working class tenement, with its communal toilets and windowless rooms. In 1869 The Real Estate Record and Guide predicted that the "average American is not prepared to live openly in part of a house" and would prefer a long commute to the suburbs. In November 1869 The New York Tribune carried a notice that "Mr. Rutherford Stuyvesant's new building ... is now rapidly approaching completion. It is an attempt to introduce in this city the style of house building almost universal in Paris, that of including several distinct suites of rooms under a single roof. This is wholly different from the plan of the tenement house." What motivated Stuyvesant, then 27, is not known. But he hired the architect Richard Morris Hunt, already famous for bringing back from Paris the latest in French ideas, and Hunt worked out a Victorian Gothic design in brick and stone, with a Parisian style mansard roof. Opened in 1870, the new Stuyvesant had a common doorway serving two tiers of apartments, two apartments per line. Each had an awkward layout of three bedrooms, and a parlor, a servant's room, a bathroom and a kitchen all the way at the rear; cooking smells wafting throughout an apartment were considered a tenement hallmark. The earliest tenants included the sugar importer Albert De Lamontaigne and artists including Worthington Whittredge. Also resident were at least two architects, Peter Bonnett Wight and Maurice Fornachon, an assistant in Hunt's office. Many tenants had servants. According to the 1869 annual report of the Department of Buildings, the rent decreased the higher the floor, from 120 a month on the second floor to 76 on the fifth; there was no elevator. The rents yielded an annual income of 23,000 as against an outlay of 200,000 for the building and land; estimates for expenses are not known. The book "New York 1880," by Robert A. M. Stern, Thomas Mellins and David Fishman, calls the Stuyvesant the "foundation stone" of the apartment movement, and this claim has never been seriously challenged. The apartment house, known at first as a French flat, took off as developers mined a completely new market. According to the Avery Architectural Library's digitization of The Real Estate Record and Guide, that term appears not at all in the 1860s, but 126 times in the 1870s. Although The Record and Guide criticized the Stuyvesant's facade as "rambling and incoherent," it also reported that every apartment had been snapped up before the building was completed and that hundreds of applicants had been turned away. Despite his project's success, Stuyvesant built only minor buildings in New York thereafter, and never with any architect of Hunt's stature. The Stuyvesant itself was soon eclipsed by buildings including the Dakota, but it lasted quite nicely for 90 years in a comfortable old shoe twilight. It was demolished for a new structure, Gramercy Green, built in 1960. Rutherford Stuyvesant married a second time in 1902, and was survived by several children when he died in Paris in 1909. When his grandson, Peter R. Stuyvesant, died in 1970 at 34, his obituary in The New York Times said he had been the "last direct male descendant of the famous Dutch governor of New York." The Stuyvesants and Rutherfords were among the most socially prominent of the old New York families. In the 2012 Social Register, 32 people are listed under Rutherford; under Stuyvesant, there are none.	N24News: A New Dataset for Multimodal News Classification	Real Estate
RICHIE HAWTIN at Avant Gardner (Dec. 8, 10 p.m.). The celebrated Canadian D.J., best known for his minimal Detroit techno, will make his sole stateside appearance this year in Brooklyn. Hawtin's current live project is called Close, for its mission to make audience members, even in a massive warehouse such as Avant Gardner's Great Hall, feel like they're looking over the D.J.'s shoulder. As Hawtin makes music with a variety of synthesizers, drum machines and mixers, six cameras show his hands at work, lifting the veil on his process to onlookers. 347 987 3146, avant gardner.com HOSPITAL FEST at the Knockdown Center (Dec. 8, noon). The poster for this festival promises "noise metal electronic," and that's an apt assessment of what the audience can expect at this all day event, presented by Quo Vadis Productions and the experimental New York based label Hospital Productions. Its founder, Dominick Fernow, is on the bill as Prurient, a moniker under which he creates haunting, ambient soundscapes; he'll be collaborating onstage with the Texas based thrash metal band Power Trip. The festival's widely varied lineup also includes the singer songwriter Zohra Atash, who favors '80s style synth pop; the composer Kelly Moran, who fuses electronic and contemporary art music idioms; and Merzbow, a.k.a. the Japanese noise artist Masami Akita. 718 489 6285, knockdown.center THE KINGS AND QUEENS OF NEW JACK SWING at the Apollo Theater (Dec. 9, 6 and 9:30 p.m.). The producer Teddy Riley grew up in Harlem's St. Nicholas Houses, mere blocks from the Apollo. At 51, he's the recipient of a tribute at the storied theater for his contributions to New Jack Swing, the bouncy fusion of synth pop gloss and hip hop grooves that dominated the airwaves in the late 1980s and early '90s. Riley helped shape the genre through hits for artists like Michael Jackson, Bobby Brown and Keith Sweat. Sweat is on the bill at the Apollo, as are Riley's own trio Guy, Doug E. Fresh, Kool Moe Dee, MC Lyte and members of Blackstreet. 212 531 5305, apollotheater.org MAXWELL at the Beacon Theater (Dec. 9, 8 p.m.). Of the 1990s neo soul artists who made a mainstream impact, the Brooklyn born crooner Maxwell might have been the most unlikely: His delicate, understated style was hardly irresistible radio fodder (though his work has long been a staple of adult R B stations), and his deliberate, complex ballads seemed ill suited to court anyone beyond R B purists. Despite this outlier status, not long after Maxwell returned from a seven year hiatus, he found himself surrounded by artists who took his influence and ran with it, like Miguel, Frank Ocean and Daniel Caesar. Now, Maxwell's sound seems ubiquitous. 212 465 6000, beacontheatre.com THE MIDNIGHT HOUR at the McKittrick Hotel (Dec. 13, 10:30 p.m.; Dec. 14, 12:15 a.m.). The D.J. and producer Ali Shaheed Muhammad (A Tribe Called Quest) and the composer Adrian Younge have long operated in the same circles, but a commission to create the soundtrack for Netflix's "Luke Cage" series helped foster a more official musical partnership. As the Midnight Hour, the duo pushes toward a vision of hip hop that's polished but uncompromising, and complex without being inaccessible. Another explicit source of inspiration is the Harlem Renaissance, so fittingly there's a fair amount of jazz in the mix the boom bap grooves, though, remain central. 212 904 1880, mckittrickhotel.com STEVE MILLER AND MARTY STUART at the Rose Theater at Jazz at Lincoln Center (Dec. 7 8, 8 p.m.). Miller, a Rock and Roll Hall of Famer, will continue his lifelong exploration of the blues during this two night run, which honors the music of Appalachia. He'll be joined by Stuart, a bona fide country legend who spent five years playing guitar and singing backup vocals for Johnny Cash. Stuart's band, the Fabulous Superlatives, will also be present for what promises to be a down home show. 212 258 9800, jazz.org JUSTUS PROFFIT AND JAY SOM at Baby's All Right (Dec. 7, 8 p.m.). Proffit, a singer songwriter, and the multi instrumentalist Melina Duterte who performs under the name Jay Som have achieved indie rock without pretension on their stripped down joint EP "Nothing's Changed." Separately, Duterte's music skews more toward garage rock and Proffit's toward gentler, almost folksy fare; on this project, they more or less meet in the middle. The songs are rough around the edges but still have pop flair thanks to jaunty guitar riffs and retro harmonies. "You have aged and nothing's changed," they sing on the title track, somehow making existential resignation sound appealing. 718 599 5800, babysallright.com NATALIE WEINER DOCFEST BENEFIT CONCERT at the New School's John L. Tishman Auditorium (Dec. 9, 3 p.m.). DocFest is not a documentary festival. Rather, it's a bi municipal gathering (in Houston and New York) honoring the legacy of Robert Morgan known to students as Doc one of the more influential educators in jazz's recent history. He served for over 20 years as director of jazz studies at Houston's High School for the Performing and Visual Arts, shepherding the careers of dozens of professional musicians, including the eminent contemporary pianists Jason Moran and Robert Glasper. This concert features appearances from the trumpeters Randy Brecker and Wallace Roney, the drummer Eric Harland, and the pianists Helen Sung and Aaron Parks. docfestjazz.org IKUE MORI at the Stone (Dec. 11 15, 8:30 p.m.). This percussionist, electronic musician and full scope sound experimentalist can create an entire world of sonic encounter using just her laptop. But she's also endlessly adaptive when placed into a larger context, quick to find her niche in almost any kind of ensemble. In the coming week, she is in residence at the Stone, working with some of today's finest improvisers: the guitarist Mary Halvorson and the trumpeter Nate Wooley on Tuesday, the pianist Craig Taborn on Wednesday, and various others through Dec. 15. thestonenyc.com ANNETTE PEACOCK at First Unitarian Congregational Society (Dec. 7, 8 p.m.). A genre bender and a prophetic force in music since the late 1960s, Peacock is one of the most riveting though overlooked vocal performers in jazz. Her psychotropic albums of the '70s are cult classics, with a style landing somewhere between Anita O'Day and Betty Davis, and she has remained active (though secluded) in recent years, putting out albums on her own record label, Ironic. Her New York performances are rare; this one, presented by Blank Forms and Artists Space, may be the only chance to catch her in the city for years. blankforms.org ESPERANZA SPALDING at the Town Hall (Dec. 12, 8 p.m.). Over the past four years, this bassist and vocalist has been working her way down a jazz rock fusion trail of her own design. For a while, it was unclear where it was going to lead. The release this fall of "12 Little Spells," a bold recording featuring videos accompanying each song, was the reward for her fans' patience: It unifies her prolix, philosophical style of writing with a devotion to groove and ear encompassing orchestration. Spalding and her band will perform music from the album at this show. 800 745 3000, thetownhall.org CECIL TAYLOR MEMORIAL at Roulette (Dec. 11, 7 p.m.). For the second week in a row, New York is mourning the loss of Cecil Taylor with a star studded tribute concert. At this memorial event, presented by Arts for Art, the pianist and free jazz pioneer who died in April will be celebrated with performances by dozens of musicians, including the drummer Andrew Cyrille, the pianist and multi instrumentalist Cooper Moore, the alto saxophonist Oliver Lake and the trumpeter Jaimie Branch. 917 267 0368, roulette.org MYRON WALDEN QUINTET at Smalls (Dec. 7 8, 7:30 and 9 p.m.). Walden is a saxophonist and bass clarinetist of simmering intensity and exacting technique, with a fervid but unflashy approach as an improviser. You are most likely to have heard him whether you realized it or not alongside the famed drummer Brian Blade, whose bands typically feature Walden as a central member. He appears here with the guitarist Mike Moreno, the pianist Adam Birnbaum, the bassist Peter Slavov and the drummer Mark Whitfield Jr. 646 476 4346, smallslive.com GIOVANNI RUSSONELLO	N24News: A New Dataset for Multimodal News Classification	Music
Re "Barr Told U.S. Attorneys to Consider Sedition Charges for Protest Violence" (news article, Sept. 17): Protesters who engage in violence may surely be arrested and charged. But with sedition? Attorney General William Barr's mind set is that of a dictator. It is ironic that he works for President Trump, who encourages his supporters' violence, or, according to Mr. Barr, sedition. In March 2016, The Times published a video aptly called "Trump's History of Encouraging Violence." He can be seen saying such things as "Knock the crap out of them would you?" and "Part of the problem is ... no one wants to hurt each other anymore." His encouragement of violence is awful. But is it also sedition? On April 17, he tweeted "LIBERATE MICHIGAN!" and "LIBERATE MINNESOTA!" at a time when heavily armed protesters were at the Michigan Capitol building. There has been much anti mask and anti lockdown violence. Mr. Barr is part of an administration that is the most guilty of inciting violence in American history.	N24News: A New Dataset for Multimodal News Classification	Opinion
People who bought policies from Centene, a large for profit health insurance company, filed a federal lawsuit on Thursday claiming the company does not provide adequate access to doctors in 15 states. "Members have difficulty finding and in many cases cannot find medical providers," who will accept patients covered under policies sold by Centene, according to the lawsuit filed in federal court in Washington State. "Centene misrepresents the number, location and existence of purported providers by listing physicians, medical groups and other providers some of whom have specifically asked to be removed as participants in their networks and by listing nurses and other non physicians as primary care providers," the lawsuit claims. People signed up for insurance and they " discovered there were no doctors," said Seth Lesser, a partner at the law firm of Klafter Olsen Lesser who is representing some of the policyholders. A spokeswoman for Centene said that the company had not seen the lawsuit. "We believe our networks are adequate and we work in partnership with our states to ensure our networks are adequate and our members have access to high quality health care," she said in an email. Centene, which also provides coverage to low income individuals under the government Medicaid program, has proved to be one of the mainstays of the Affordable Care Act. After many other large insurers abandoned the individual market created by the federal law and as President Trump has sought to dismantle the law, Centene doubled down and has become one of the largest insurers still offering policies. But the lawsuit underscores a critical question about whether Centene offers plans that provide its customers with access to the level of care required under the law. The suit claims that many doctors won't accept patients covered by Centene because of the company's refusal to pay legitimate claims. As insurers like Centene have relied on smaller networks to control costs and better manage the care of patients, consumer advocates have raised concerns about whether some plans offered under the law provide sufficient access to doctors and hospitals. The law requires plans to meet certain minimum requirements. The lawsuit recounts numerous examples of patients unable to find in network doctors. In Washington State, Cynthia Harvey was billed for hundreds of dollars in medical costs after she discovered some of her care was out of network. When Ms. Harvey went to the emergency room last year, she was billed 1,544 by the doctor, and the lawsuit claims Centene had no emergency physicians participating in its network in the Spokane area at the time. The insurer also denied some of the claims from a colonoscopy she had because she was at high risk for cancer, according to the lawsuit. Ms. Harvey successfully appealed many of the denials to state regulators, the lawsuit said. The lawsuit comes on the heels of a decision last month by Washington State regulators to fine Centene up to 1.5 million for having an insufficient network of doctors to treat people who signed up for plans sold under the Affordable Care Act. State officials said they received more than 140 complaints from people who had trouble finding a doctor, particularly a specialist like an anesthesiologist, who accepted the insurance or from individuals who received a surprise bill after they received treatment. In a statement about the consent order the company reached with the state to be allowed to continue selling policies for 2018, Centene said it was committed to addressing "known issues in our network in select regions of the state" and said it had taken actions to make sure its customers had access to services. The company announced this week that it now covers more than 1.4 million people through the state marketplaces, with its chief executive, Michael F. Neidorff, describing its growth in the market as "so dramatic." Centene attributes some of its success to its experience providing care under the Medicaid program or in its low cost networks. Steven A. Milman, a periodontist in Round Rock, Tex., who is one of the plaintiffs, signed up for an Affordable Care Act plan from Centene last year. He and his wife paid about 1,200 a month. Dr. Milman had a previous policy from UnitedHealth Group. "They had a good panel of doctors and easy access," Dr. Milman said in a telephone interview. But UnitedHealth lost money in the market and stopped selling policies. Choosing between the local Blue Cross plan and one offered by Centene, Dr. Milman picked Centene after seeing that its network included a large medical group in Austin and getting recommendations for several doctors at that group. "I bought Centene on that promise," he said. But Dr. Milman soon found out finding a doctor within the network was much harder than he anticipated. The medical group he had picked was no longer in the network. When he called the doctor's office assigned to him by Centene, it turned out to be a obstetrician/gynecologist.	N24News: A New Dataset for Multimodal News Classification	Health
Re "Ocasio Cortez Defies Sexism by Shaming It on House Floor" (front page, July 24): Simply put, Representative Alexandria Ocasio Cortez's words on the House floor denouncing the sexist vulgarity used against her by Representative Ted Yoho, a Florida Republican, were the most powerful and far reaching I have heard in my 79 years. I wish she were my representative. To Mr. Yoho, I suggest that he resign and go into male/humanity rehab to fix himself. I also suggest that any person who feels inclined to treat another as he treated Ms. Ocasio Cortez, please don't. As a woman in the age of the Trump presidency, I watched Representative Alexandria Ocasio Cortez's rebuke of Representative Ted Yoho on the House floor with profound gratitude. Women may be accustomed to experiencing sexist verbal abuse, but that doesn't mean we have to silently accept it. I admire Ms. Ocasio Cortez for speaking up. In fact, every single member of Congress should be publicly denouncing Mr. Yoho's vulgar, sexist remarks directed at one of their peers.	N24News: A New Dataset for Multimodal News Classification	Opinion
The Justice Department, in what it described as its strongest enforcement of an antitrust agreement in 20 years, said Thursday that it and Live Nation Entertainment have agreed to amend and extend the regulatory decree that allowed the giant concert company to merge with Ticketmaster nearly a decade ago. Justice officials said the settlement came after the department found that Live Nation had repeatedly violated the existing agreement. Its investigation focused on complaints from competitors that Live Nation had used its control over the concert touring business to pressure music venues into signing contracts with its Ticketmaster subsidiary. Such behavior, the Justice officials said, violated the terms of the consent decree that the government imposed as a condition of the merger in 2010 a deal that created a colossus in the live entertainment business and has long been criticized for giving the company too much power. Under a proposed amended agreement that the government filed in federal court in Washington, the decree, set to expire in July, would be extended to the end of 2025. Live Nation would also reimburse the Justice Department for its costs in enforcing the regulations, but would not be fined. "Today's enforcement action including the addition of language on retaliation and conditioning will ensure that American consumers get the benefit of the bargain that the United States and Live Nation agreed to in 2010," said Makan Delrahim, the assistant attorney general who leads the Justice Department's antitrust division. "Merging parties will be held to their promises and the Department will not tolerate transgressions that hurt the American consumer." In its statement, Live Nation said: "We have reached an agreement in principle with the Department of Justice to extend and clarify the consent decree. We believe this is the best outcome for our business, clients and shareholders as we turn our focus to 2020 initiatives." The adjusted decree would clarify one of its most contested provisions how Live Nation should conduct itself in the marketplace when it is selling its ticketing services and deciding where its artists should tour. Under the existing agreement, Live Nation is forbidden from using the might of its concert promotion division which puts on tours by stars like Beyonce and U2 to coerce venues into signing exclusive deals to use Ticketmaster, which holds the contracts at roughly 80 percent of major music venues. But the decree also allowed the company to "bundle" its services and gave Live Nation the right to exercise "its own business judgment" in making deals terms that some antitrust experts believe made the decree ambiguous and difficult to enforce. The revised decree would be designed to make clearer the restriction that Live Nation is not allowed to threaten venues in any way, and may not retaliate against venues that decide to use a system other than Ticketmaster. The Justice Department said it would appoint an independent monitor to investigate and report on Live Nation's behavior, and the company agreed to name an internal antitrust compliance officer. In the future, Live Nation will pay an "automatic penalty" of 1 million for any violation of the agreement, the government said. Live Nation has long denied violating the decree, saying that it had not threatened venues and faces a vigorous field of competition in ticketing. The company did not admit to any wrongdoing as part of the new agreement. In a court filing, Justice officials said they had identified "numerous instances" where Live Nation threatened venues with making concerts a condition of a ticketing deal, and other instances in which Live Nation "retaliated against venues by withholding live entertainment events because the venue chose not to contract with Ticketmaster." The filing did not specify locations. But competitors had complained to investigators about several incidents over the years in Louisville, Ky.; Oakland, Calif.; Los Angeles, and other cities, where they said Live Nation had used its power over concert tours by major stars to strong arm venues into using Ticketmaster. In the incident in Louisville, in 2014, managers of the KFC Yum! Center, a 22,000 seat arena, were considering replacing Ticketmaster with a system run by Live Nation's biggest rival, AEG. But officials at AEG told The New York Times last year that they had received a warning from a Live Nation executive, saying the Louisville arena was likely to lose concerts if it dropped Ticketmaster. Live Nation disputed the account and supplied data showing that since 2012, the number of tours it has sent to the KFC Yum! Center has increased. On Wall Street, where Live Nation has been a meteoric stock in recent years, the reaction to the proposed settlement was largely positive. Analysts called the government action relatively mild, and said the settlement had removed a cloud of uncertainty that had been hanging over Live Nation. The company's stock price rose more than nine percent after the settlement was announced, closing at 69.83. "This is a positive outcome," said John Tinker, a media analyst at Gabelli Company. "The clarifications seem relatively modest and reasonable." Response in the music industry was more muted. Independent concert promoters, who vigorously opposed the merger and have complained about the company's dominance since, said they doubted the new decree would make a difference. "It will have no effect, and will allow them to continue their monopoly position at the expense of the consumer and competitors," said Jerry Mickelson, of JAM Productions in Chicago. As concert ticket prices have skyrocketed in recent years, lawmakers and federal agencies have scrutinized the market, concerned about fairness toward consumers and toward competitors. Those efforts have intensified over the last few months. The settlement comes four months after Senators Richard Blumenthal of Connecticut and Amy Klobuchar of Minnesota asked Mr. Delrahim to investigate competition in ticketing, pointing specifically to Live Nation and asking that the decree be extended. In their request, they cited an investigation by The Times last year that discussed the incidents in several cities where Live Nation's competitors had complained to the government that its business practices had effectively stifled competition.	N24News: A New Dataset for Multimodal News Classification	Music
All four limbed, land based vertebrates came from a common ancestor with legs that ended in five toes. Over time, many animals lost some of their digits: Hippos, rhinos and camels have four, three and two toes on each leg. But only one living group of animals ended up with a single toe per foot: the group containing modern horses. A comprehensive new study, published last week in Proceedings of the Royal Society B, lends support to existing hypotheses about the dramatic transformation in horses' hooves through history. Namely, as horses evolved and got larger from their ancestral, dog sized form, it was better to have one very robust toe than several smaller ones to support their increased body mass. Furthermore, having just one toe reduced the weight horses had to carry at the end of each leg, making it easier for them to run and maneuver. The study is a careful examination of "a story everyone had taken for granted and hadn't really tested thoroughly," said Christine Janis, a professor emerita of evolutionary biology at Brown University who was not involved in the research. As told in textbooks and evolutionary biology classes, the earliest horses were small, dwelled in forests and had four toes on their front legs and three on their back legs. Then, more than 20 million years ago, their habitat in North America started to shift from forest to grassland. In these new grasslands, ancient horses needed to move at faster speeds to evade predators and cover more ground for grazing. It made sense that a larger body and longer, more slender legs with fewer toes would help horses achieve that.	N24News: A New Dataset for Multimodal News Classification	Science
There are two surf breaks at the mouth of Ireland's Easkey River which flows into the Atlantic next to a ruin called the Roslee Castle.Credit...Therese Aherne for The New York Times There are two surf breaks at the mouth of Ireland's Easkey River which flows into the Atlantic next to a ruin called the Roslee Castle. In the 1970s and 80s, the California surfer and writer Kevin Naughton and the photographer Craig Peterson traveled the globe "Endless Summer" style searching for perfect waves. When they arrived in Ireland, with its friendly locals and powerful, mostly empty waves, amid a landscape of stone walls and ruins, Mr. Naughton recalled, "there was a sense of disbelief," an improbable feeling that perhaps of all places, on the often frigid island in the North Atlantic they had found what they were looking for. "I've had more great solo days in Ireland than anywhere else," Mr. Naughton said when I called him to research an Irish surfing trip. Over the years Ireland has gained a somewhat mythical reputation in the surf world as a wild and unspoiled place for exploration and crowd free surf. But you can't jump on a flight and count on great waves, which explains why, along with the cold water, it has remained off the mainstream surf travel circuit. The Irish call their beaches strands, and by mid afternoon we'd made it to Inch Strand, in County Kerry, where we witnessed one typical Irish surf scene. The end of the so called Irish Troubles, the bloody conflict in Northern Ireland, and the advent of the Celtic Tiger, the great Irish economic boom, kicked off a surge of surfing around the turn of the century. Seaside beach holidays to the Irish coast began to include surf lessons, made easier and safer by soft foam surfboards and comfortable, warm wet suits. Big, well organized surf schools, offering inexpensive (by American standards) lessons flourished. Now, on any given day, hardy throngs of learners, most frequently in group classes, are braving the waves everywhere in Ireland. On this moody, cool day in June, with rain and sun in a full wrestling match, more than a dozen people splashed in the easy rollers at Inch when we pulled up, a scene we would see repeated at the long, wide beach at Rossnowlagh, in Donegal, and Lahinch, in Clare. Coumeenoole is on the Dingle loop, 30 road miles around this western tip of Europe. It doesn't get the billing of the Ring of Kerry, but the Ring of Dingle has all the history and breathtaking scenery, some half a million sheep and rumors of excellent surf. The road winds past thousands of years of Irish history, abandoned cottages and farms, hillsides divided into a patchwork of stone walls, late Stone Age and Iron Age forts, defensive rampart s a nd ditches. Optimism was high as we rounded Slea Head and Coumeenoole came in to view, a white sand cove amid the cliffs. The sun was high, and the wind was light. Not a surfer in sight, only a handful of beachgoers. A tiny wave peeled across a sandbar. It wasn't much, but we parked, unloaded, and stroked out into the water to catch a few. I could see how on a day with some real swell this place might deliver dream surf. But sparkly and pretty as it was, the waves were barely waist high, and after a few rides we joined the nappers on the beach. One of Ireland's reputations in the surf world is for big, menacing waves, among the most terrifying surf on earth. Surfers from everywhere come to test themselves against the Irish monsters. "Slabs" as the locals call them breaking so big, so hard and so fast that you have no choice but to ride inside the massive breaking "tubes," the perilous interior pockets of a wave. "Slab hunters" make up a small, nervy subset in the surf world, and Ireland has its share. One of these breaks, Aileen's, pitches directly into the dramatic and moody Cliffs of Moher in Clare. Locals had eyed the spot for years before a group summoned up the courage in 2006, scrambled down a narrow cleft in the rocks, and paddled out. John McCarthy, who runs a surf school in nearby Lahinch, was among them. He remembered a friend telling him the spot was so treacherous and complicated that it would become "a career." Which it has been for a few surfers. "Down there." The Irish surfer and filmmaker Kevin Smith, perched on a narrow promontory over the ocean, pointed at a spray of white water some 500 feet below at the northern end of the cliffs. A tiny track snaked down out of sight to a rocky sliver of shore. We had met Mr. Smith in nearby Doolin. "That's the paddle out." There wasn't anything ride able in sight, but I tried to imagine it, the half hour walk and hike down to the boulders only to plunge into an ocean throwing waves the size of houses onto the cliffs. Ireland, from its ruins and cliffs to its sky above, is a spellbinding interplay of lightness and dark, like the Irish story itself. In the village of Ballyshannon in County Donegal an inconspicuous plaque on an old wall in a sun splashed flowery churchyard marks the burial ground for hundreds who died of disease and starvation during the Irish potato famine in the 1800s. The vestiges of British rule and Irish nobles, forts and castles, dot the landscape, along with stone dolmens, built thousands of years ago, but for what purpose and how remains a mystery. We'd obtained a booklet of campsites, places with electric and water hookups, and toilets. But as it turned out we camped on remote headlands and beaches every night, for free and almost always alone. Much of western Ireland remains remarkably wild and , except for the height of summer, with a little effort you can find blessed solitude. The road north winds through Galway and Mayo, around remote Achill and Bel Mullet Islands, which are connected to the mainland. We found mountains to hike and cliff top perches for picnics. We swam every day despite the chilly weather, staying in as long as we could bear it, the water going from tropical to arctic blue as the sun moved in and out of the clouds. We learned to ignore the weather forecasts. One day in The Irish Times: "A cloudy start with some heavy rain which will become more showery in the afternoon." It was sunny that day. At Carna, in a faraway corner of Connemara, the cashier at the country market asked if we knew Marty Walsh, the mayor of Boston. You get this often in rural Ireland, the questions about Irish Americans and our two nations' deeply connected histories, asked endearingly, as if we are all related. "Marty Walsh's parents were born nearby," she said. "He came to visit recently, hundreds turned out, more than they had for Trump." The president came up frequently, too, as he owns a hotel and golf course in Doonbeg, County Clare, directly on a popular surf beach. Mr. Trump's organization's plan for a sea wall there to protect the golf course from erosion has prompted fierce opposition and protests among locals and surfers "Trump's other wall," local media has taken to calling it. Eventually, he married and settled in Bundoran permanently in 2006 where he works as a writer and a teacher. He and his wife live feet from the ocean facing the fearsome Pampa surf break and amid what is quietly described by those who know as one of the most wave rich coastlines (from Enniscrone in Sligo to Rossnowlagh in Donegal) on the planet. Mr. Stott and I connected through the New York surfer grapevine. Following his bread crumb trail of texts, I found a narrow lane through a clutch of barns and farmhouses to a cove. It was a near windless afternoon, with head high waves breaking over a smooth limestone ledge. On my scale it was excellent. For Mr. Stott it was an average practice day, so he surfed his tiny board with the fins removed for an additional challenge. In the lineup with us was only one other surfer, Paul O'Kane, an Australian who'd come to Ireland 20 years ago for his honeymoon and, like so many others, stayed. Starved for it, I stayed in for hours. A contingent of friendly locals rotated through. Ireland is so far north that when I quit it was close to 10 p.m. the sun still just above the horizon. We had dinner, slept right there, and went at it again the next morning. The swell lasted four more days. Between shifts in the wind and downpours we got our fill on that north coast. We moved our camp to near the ruins of the thousand year old Rosslea Castle on a grassy bluff overlooking the two main breaks at Easkey, our only company a family of Germans who'd ferried over in their own van. In quaint little Easkey village we joined the locals at McGowan's pub for a Guinness, and ate nearby at Pudding Row, a hip little award winning restaurant and bakery provisioned from local farms. On the last morning, camping at a beach an hour from Shannon airport, I rose in the predawn to catch a few fading rollers. Alone, with my pick of fun, glassy waves, not another soul in sight, amid miles of beach and dunes, it felt like a throwback to another time when surfing was in its infancy. Surfing in Ireland can feel that way.	N24News: A New Dataset for Multimodal News Classification	Travel
Racist historical figures have had a legacy lashing on campus over the last year. Statues have been toppled and buildings rebranded across the land. After student protests and internal review, at least five universities, from the University of Texas at Austin to the University of North Carolina at Chapel Hill, have renamed buildings that originally honored Ku Klux Klan members. Other universities have not. Students at the University of Alabama unsuccessfully petitioned its president last year to rename Morgan Hall named for John Tyler Morgan, the KKK grand dragon and a senator after the alumna Harper Lee. Buildings named for David Bibb Graves, former governor of Alabama and grand cyclops of the KKK's Montgomery chapter, are at Auburn, the University of Alabama and at least nine other universities. Two, paradoxically, are historically black schools Alabama A M and Alabama State University. Nathan Bedford Forrest is believed to be the KKK's first grand wizard. While Middle Tennessee State University's board of regents voted to remove his name from Forrest Hall after years of student protests, they await a lengthy decision process from a state panel.	N24News: A New Dataset for Multimodal News Classification	Education
The building that houses the Newseum the financially troubled monument to journalism in Washington is being sold to Johns Hopkins University for 372.5 million by the Freedom Forum, the foundation that created the museum. The institution will remain open through 2019 and museum executives will spend that time trying to find a new space for its contents. "This was a difficult decision, but it was the responsible one," Jan Neuharth, the chairwoman and chief executive of the Freedom Forum, said in a statement released Friday. "We remain committed to continuing our programs in a financially sustainable way to champion the five freedoms of the First Amendment and to increase public awareness about the importance of a free and fair press. With today's announcement, we can begin to explore all options to find a new home in the Washington, D.C., area." For Johns Hopkins, the purchase will allow the university to expand and consolidate its presence in the nation's capital. The university said in a statement that, "anchored by the School of Advanced International Studies, Johns Hopkins' expanded presence in Washington, D.C., will increase our capacity to convene and inform decision makers, contribute to national and international policy development and forge exciting new connections to our home city of Baltimore." It added: "Johns Hopkins' acquisition of the building also provides financial support for the Freedom Forum's vitally important First Amendment mission." The decision to sell came after a 16 month review that left the museum's future unclear. The Newseum has struggled financially ever since it moved from Rosslyn, Va., where it originally opened in 1997, to its opulent Pennsylvania Avenue location in 2008. It ran up deficits every year and has hundreds of millions of dollars of debt resulting from the purchase of the building. In 2017, the most recent year for which numbers are publicly available, the museum had a deficit of roughly 5 million. The Freedom Forum has been the primary backer of the Newseum, having donated 600 million over the last two decades. But its endowment has shrunk and the Freedom Forum made clear in recent years that it could not support the museum in the same way. In 2007, the Freedom Forum's endowment was approximately 550 million. In 2009, in the Newseum's first full year of operation in the new space, it dipped to below 400 million. More than a decade later, the endowment remains about the same. Opening amid a recession that hammered newsrooms across the country didn't help. Alternate revenue streams, like the 24.95 admission cost and renting out space in the building, weren't enough. According to the Newseum, it set out to find a partner that would allow it to remain in the building, which the Freedom Forum built for 450 million. But conversations with philanthropists didn't pan out. Museum officials then tried to find a way to share the space in the seven story building, through lease buybacks and other avenues. Ultimately, though, the museum said it found that selling the building was the only path forward. "We stand ready to continue much of the Newseum's important work for decades to come through digital outreach, traveling exhibits and web based programs in schools around the world, as well as hopefully in a new physical home in the area," Peter Prichard, chairman of the Newseum's board of trustees, said in a statement, hinting at what the institution's future looked like. On the same day that the museum made its announcement, BuzzFeed began the process of laying off hundreds of staffers, including several high profile reporters. This was in addition to cuts this week at Verizon Media Group, which includes Yahoo, AOL and HuffPost, and Gannett. Last August, the Newseum faced fierce criticism from journalists after it was discovered that T shirts reading "You Are Very Fake News" were being sold in the gift shop. The museum apologized and pulled the merchandise. Weeks later unrelated to the T shirts Scott Williams, the president and chief operating officer, announced he would be leaving the museum to be closer to family in Tennessee. As for the large tablet that has the First Amendment etched on it on a facade of the building, it will likely not remain once Johns Hopkins moves in. It is considered property of the museum, not the space.	N24News: A New Dataset for Multimodal News Classification	Art & Design
Nicolas Mathieu has won the Goncourt Prize, France's top literary honor, for "Leurs Enfants Apres Eux." The book is to be published next year in English as "The Children Who Came After Them." Nicolas Mathieu has won France's top literary award, the Goncourt Prize, for "Leurs Enfants Apres Eux" ("Their Children After Them"), a portrait of teenagers growing up in a forgotten, hopeless region of France in the 1990s. The novel was a surprise winner when it was announced on Wednesday, but it has already been bought by Other Press for publication in the United States at the end of 2019 with the title "The Children Who Came After Them." "Nicolas understands the destitute, the working class, in a way that most writers don't," Judith Gurewich, the publisher of Other Press, said in a telephone interview. The book would resonate with non French readers, she said, because every country has areas left behind by deindustrialization, where people are angry. "It's also one of the most powerful pieces of writing I've read in years," Gurewich added. The winner chosen by 10 members of the Goncourt Academy, a French literary society receives a symbolic prize of 10 euros, or about 11, but the award usually results in a huge sales increase. The prize has been awarded since 1903 at the Drouant restaurant in Paris, with previous winners including Marcel Proust, Michel Houellebecq and, in 2017, Eric Vuillard. Mathieu won the prize by a vote of 6 to 4. "It is quite a vertigo moment," the 40 year old Mathieu said in a telephone interview. "Writing is a lonely activity, and suddenly I am in the middle of the spotlight." 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. "It's quite disturbing, but it's good for the book," he added. "I'm pleased it will find its audience." "Their Children After Them," Mathieu's second novel, is focused on a group of teenagers who live in a valley in eastern France that has seen better days. The local blast furnaces have just closed; teenagers now throw rocks at the empty buildings rather than expecting to work inside. The novel follows the teenagers across four summers, both their ups such as a first love and their many setbacks, as they try to escape the area. Mathieu's book has been acclaimed in France for shining a light on a forgotten part of the country. "By focusing on the margins of society, Nicolas Mathieu sees what the tinkerers of comforting literature miss," said a report in Le Figaro, the daily newspaper. "This is an important book, whose characters stay with us long after the last pages have been turned," wrote journalist Alexandra Schwartzbrod in Liberation, a left leaning daily, adding that "it gives us the keys to better understand the extent of the current rejection of our political and economic elites." The award comes at a time of growing frustration in France with President Emmanuel Macron's efforts to overhaul the economy, which are seen as favoring the rich. Several political blunders have reinforced that view. Macon was recently captured on video lecturing an out of work gardener in Paris to look harder for a job. "Emmanuel Macron should read this book," Paule Constant, one of the prize's jurors, told Le Figaro. "I wanted to say what it's like to grow up in a world that is finished, with an inheritance you don't want, in a place where you are very far from the big city," Mathieu said. "I wanted to speak for those people, not to judge, but to understand." Mathieu is not the only French author to have received domestic acclaim and international attention for writing about working class youth. Writers like Didier Eribon and Edouard Louis have also been praised for their work. Louis, who went on to find global success, came to attention with "The End of Eddy," about growing up gay in a postindustrial region of northern France. It is a book filled with violence and despair. Mathieu grew up in a small town in eastern France, the son of an electrical mechanic and an accountant. He witnessed the impacts of deindustrialization, too. The novel is not based on his own childhood, he said, "But I know that place." He has been influenced by American authors such as John Steinbeck and Larry Brown, he added, and hoped that would be obvious to any reader. "Their Children After Them" is not trying to provide a solution to the region's problems, Mathieu added. "It's not pessimistic or optimistic. I guess it's realistic," he said. "My part is to write accurately about this world and the people who grow up in that place," he added. "They have a lot of problems, but they have a bit of freedom and they can keep trying to succeed."	N24News: A New Dataset for Multimodal News Classification	Books
The release of a new album by the singer songwriter Ryan Adams has been canceled amid a report that the F.B.I. is looking into his communications with an underage fan. Following an article published by The New York Times on Wednesday about Adams's treatment of women, from a teenage fan to his ex wife, Mandy Moore, F.B.I. agents in the bureau's New York office took the first steps to open a criminal investigation. They are responding to an accusation that Adams exchanged sexually explicit images with the teenager, who said her communication with the singer began when she was 14 and ended when she was 16. They never met in person, and through a lawyer, Adams has denied ever engaging in sexual conversations with someone he knew was underage. Read our report: Ryan Adams dangled success. Women say they paid a price. Adams, a prolific Grammy nominated rock and alternative country singer, had previously announced plans to release three albums this year via Blue Note Records and his own Pax Am label. On Thursday, the first of those new albums, "Big Colors," which had been scheduled for April 19, was put on hold indefinitely, according to music retailers. Bull Moose, a record store chain in Maine and New Hampshire, posted on Twitter a message it had received from a supplier stating the album "has been canceled effectively immediately." A representative for the store confirmed it had been alerted by a sales representative for Universal Music Group that the album was canceled. Capitol Music Group, a division of Universal Music, which was scheduled to distribute Adams's new albums, declined to comment.	N24News: A New Dataset for Multimodal News Classification	Music
For less than the cost of a Starbucks latte, a surprising variety of businesses delis, dry cleaners, mobile phone stores will look after your bags so you can sightsee hands free. You're familiar with the predicament: You've got a few hours before you can check into your vacation rental, or before you leave for your flight, and you want to do some sightseeing but that means slogging along crowded sidewalks with your (undoubtedly overstuffed) luggage in tow. Increasingly, you may not only store your bags for a couple of hours at the usual places (airports, train stations, luggage storage companies), but also with a surprising variety of businesses delis, dry cleaners, clothing boutiques, wine shops, eyebrow shaping salons for less than the cost of a couple of Starbucks lattes. In New York City, for example, you can stash your bags for 2 an hour per bag at Chelsea Bicycles, the Puerh Brooklyn teashop, or an Al Horno Lean Mexican Kitchen (which is convenient if you're also in the mood for a burrito), among hundreds of other untraditional storage locations. Websites and apps that help travelers find these short term spots have likened themselves to Airbnb for luggage: Travelers go online and book a date (it can be the same day) and location (maps show you your options), then drop off their bags. Afterward, some sites allow users to rate the storage location to help fellow travelers pick and choose. (While many places require advance booking, you can usually cancel free of charge.) Each storage network has its own rules, but they all typically provide luggage security seals as well as some version of insurance against damage, theft and loss. Such services aren't just handy for travelers: They're also convenient for local city dwellers who may want to temporarily ditch their bags after work or shopping so they can attend an event or stop by an intimate bar without having to zip home first and unburden themselves. LuggageHero, which offers online booking with a credit card thus, eliminating the need for users to have local currency on hand is one of the most recent players to expand its services. In December the company began operating in New York, where today it has some 250 locations. It was founded in Copenhagen in 2016 and expanded to London in 2017, where there are more than 100 locations. In New York, the fee is 2 an hour per bag for the first 24 hours, which includes up to 2,000 insurance coverage for each bag. (You don't pay more than 12 per bag for the first 24 hours.) The company plans to have a few hundred more locations in New York by the end of the year, and begin operating in more cities as well. It's hardly the only service of its kind, though. Knock Knock City, another site, is planning to expand to San Francisco this year after being introduced in dozens of locations in New York, where it charges 2 an hour per bag. New York City has turned out to be a popular destination for these services. Yet another network, Vertoe, offers luggage storage by the day ( 5.95 per item for credit card payments online; 7.95 for cash), the week ( 35 per item for credit cards online; 50 for cash), even by the month ( 100 per item for credit cards online; 150 for cash). In Britain, Paris, Berlin, Amsterdam and other international destinations , CityStasher connects travelers with local businesses like Mail Boxes Etc and food stores, as well as hotels. And Nannybag, one of the larger luggage storage networks, has locations throughout France and in major cities like London, Rome, Barcelona, Amsterdam, Brussels, Lisbon and Berlin. While storing your luggage at local businesses can make travel easier, allowing users to see more of a city without a suitcase at their heels, the practice raises some questions. For instance, what to do about valuables? Many of these companies say in the fine print not to keep jewelry, cash or other important and fragile items in your bags as they are not covered by the insurance policies. So if you're considering trying one of these networks, be sure to put any jewelry, essential papers, electronics and medicine in a handbag or lightweight tote that you keep with you. And what if there are materials in the bags that could harm store workers and patrons? The storage sites prohibit certain items from being in users' luggage. Vertoe, for instance, has a list of things that cannot be stored, including combustible, flammable, hazardous or toxic materials, chemicals, narcotics, fireworks, explosives, weapons and ammunition. Staff at Vertoe locations may ask you to show the items in your bag. LuggageHero also notes in its fine print that your luggage cannot contain things such as weapons, explosive items and substances, and flammable fluids, and that the shop has the right to ask you to open your luggage so they can make sure that none of those items are inside. Read the rules before you book. As with any sharing economy service, reviews, when available, can make it easier to decide which luggage storage location you'll feel most comfortable trying. You can see on LuggageHero, for instance, when users felt a location made the process friendly and hassle free, and when they felt confused about where to go or didn't like where their bags were being kept. Reviews of the site as well as others such as Vertoe are also available on Yelp and Google (just search the company name and "review").	N24News: A New Dataset for Multimodal News Classification	Travel
Bees cluster at the base of a hive located on an outlying field at Montreal Mirabel International Airport in Mirabel, Quebec. MIRABEL, Quebec A jet taxied down a nearby runway, the roar of its engines merging with the steady buzz of thousands of wings. His head covered with a beekeeper's veil, Alexandre Beaudoin lifted a frame out of one of five buzzing hives, each housing about 70,000 bees. The bees paid no attention to his intrusion they were sedated with smoke first and continued their work. The hives had been in place only a few months, and Mr. Beaudoin seemed pleased with the results. "This frame is full of eggs; this is really nice, really good info," he said. "It tells me my hive is in really good health." To find these hives, you would have to travel the warren of back roads at Montreal Mirabel International Airport, pass through a security gate, and go through a parking lot and onto a grass enclosure where a sign announces: Attention Abeilles. Beyond are the airport's 6,000 acres. Last year, Aeroports de Montreal, the corporation that runs both of the city's airports, Mirabel and Montreal Trudeau International, approached Miel Montreal, a beekeeping cooperative that Mr. Beaudoin helped to found. As part of its environmental initiative Aeroports de Montreal was the first Canadian airport to sell its carbon credits it wanted to start a pilot project placing beehives in an empty field. The hives were installed in June. Mirabel is just the latest in what is becoming a common undertaking keeping beehives on airport green space. For airports, beehives can be an easy way to flaunt green credentials while putting space to work in fields that legally cannot be built on. And bees are endearing in a way carbon credits, cardboard recycling and composting are not. The first was Hamburg Airport in Germany in 1999. Dusseldorf, Frankfurt, Dresden, Hannover, Leipzig/Halle, Nuremberg and Munich followed. Since then, Malmo Airport in Sweden, Copenhagen, Chicago's O'Hare, Seattle Tacoma International and Lambert St. Louis International have all welcomed beehives. The relationship is a symbiotic one: Urban beekeepers need more space, and airports have space to spare. Bees do well in urban environments where there are people to manage the hives, diversity of flowers and no agricultural pesticides. When the Chicago Department of Aviation wanted to expand O'Hare's green initiative the airport was already composting and keeping a grazing herd of rescued animals its commissioner, Rosemarie Andolino, approached Brenda Palms Barber, the founder and chief executive of Sweet Beginnings, a nonprofit group that provides job training to men and women recently released from prison. Ms. Palms Barber, looking to expand (the group has 131 hives around Chicago), requested room for 25 at O'Hare. It now has 75, making it the largest airport apiary project in the world. Copenhagen Airport's plans to become a major Scandinavian hub turned into an opportunity for the city's bees. It bought a large plot of land to build on, but a muddy pond in one corner of the lot is home to the protected European green toad, according to Oliver Maxwell, director of the City Bee Association in Copenhagen. "The nature people came down and said, 'There's absolutely no way you're building on this muddy pond,' " Mr. Maxwell said. "So they were holding this piece of land for the last few years wondering what to do with it, and now it's overgrown and actually this beautiful meadow with wildflowers." There are now 15 hives on the site, installed and tended by Mr. Maxwell's group, and some of the honey is sold in the airport's gift shops. At European airports, the focus is often on using bee products, like pollen and honey, as biomarkers to detect pollutants. Malmo Airport began testing honey and beeswax from its hives in 2009. The results indicate that levels of heavy metals, volatile organic hydrocarbons and polyaromatic hydrocarbons are well below European Union limits, and have remained consistent from year to year. "The environment near the airport is not so bad as people thought," said Maria Bengtsson, the airport's environmental manager. For nearly a decade, scientists have been alarmed by steep drops in honeybee populations. Annual losses of around 30 percent, on average, have been attributed to colony collapse disorder and other pressures, including diseases, pesticides, extreme weather and habitat loss. The toll appeared to ease slightly last year, though researchers cautioned that one year hardly indicated a trend. While airport hives will have only a limited role in propping up bee populations, Elina Lastro Nino, an apiculturist at the University of California, Davis, said that as long as there was no spraying of pesticides, airports could make great environments for honeybees, and could help educate the public. "If you have an airport where you're selling honey that comes from the airport itself," Dr. Nino said, travelers are likely to become "more aware of issues with honey." There is little operational concern about bees interacting with aircraft: If bee and jet meet, the bee will lose. But there have been recent swarming incidents, a natural occurrence when a second queen leaves the hive in search of a new home and around half the hive's bees follow.	N24News: A New Dataset for Multimodal News Classification	Science
The rapper Juice WRLD in Bushwick, Brooklyn. His biggest hit, "Lucid Dreams," has gone as high as No. 3 on the Billboard Hot 100. At the Penthouse Recording Studio just north of Times Square, on the top floor of a commercial building, pinpoint lights are sprinkled across the ceiling, mimicking the ceiling of a Rolls Royce. One night last week, the room had been reserved for Juice WRLD, the breakout Chicago rapper. But really, as these things typically go, it was reserved for the dozen or more people for whom Juice WRLD is their business engineers, management, hype man, girlfriend and those in need of a luxurious couch on which to sleep. Juice WRLD, who is 19, was unfazed. He was wearing a stitched together shirt with characters from "The Flintstones" and "Family Guy" and ostentatiously drapey sleeves and had a Gucci satchel slung around his neck. He plugged his phone in to the speakers and began playing some new songs, ones with less conventional structure than the music he's been getting attention for lately. "It's using the song as your canvas, not just a blueprint," he said. Juice WRLD has died at 21. Read the Times obituary. His biggest hit, "Lucid Dreams," is soothing and intuitive, with a heartbroken melody and a sample of Sting's "Shape of My Heart" it's the "Set Adrift on Memory Bliss" of 2018. Like that P.M. Dawn song one of hip hop's most controversial crossover hits, back when crossover hip hop hits were still controversial "Lucid Dreams" is lush loner music, an inheritor of the emotional hip hop of the last decade, delivered with the raw texture of the SoundCloud rap generation and a deeply keen sense of pop efficiency. "Lucid Dreams" has gone as high as No. 3 on the Billboard Hot 100 it's currently No. 6 and it has been one of the year's biggest streaming songs, among the few to hold their own against the recent Drake deluge. And yet it isn't nearly the most intriguing song on "Goodbye Good Riddance," the full length album Juice WRLD released in May, one of the year's most effective hip hop releases so far. Full of spacey, childlike production, it's about the tug of war between the potency of drugs and the potency of love. Juice WRLD is a compelling narrator, sounding desperate and woeful, swallowed whole by his vices. "I've always been different," he said. "I used to try to hide it a little bit, but now I have a platform for being different." Never miss a pop music story: Sign up for our weekly newsletter, Louder. In high school, Juice WRLD born Jarad Higgins was a bad student with an active imagination (and a passion for Percy Jackson's fantasy novels). He began posting songs to SoundCloud that he'd recorded on his cellphone in his sophomore year, as much a fan of Future, Soulja Boy and Tyler, the Creator, as of pop punk and melodic hard core bands like Escape the Fate, Bullet for My Valentine and Panic! at the Disco. Those influences shine through in his vocal approach, which relies heavily on the confident moping of that generation of rock band frontmen. And unlike some of his generational peers, for whom rapping in the classical sense is an afterthought, Juice WRLD is a strong lyricist. On a visit to Tim Westwood's influential British radio show last month, he freestyled for more than an hour. Even by the standards of the recent major label hip hop gold rush, his rise has been quick. Last year, he released an EP, "JuiceWRLD 9 9 9," on SoundCloud, and at the beginning of this year, he signed a reported 3 million deal with Interscope. He has not been navigating these new waters alone, though. At the beginning of the 2010s, Chicago hip hop had a breakthrough moment thanks to the drill music movement, a far colder, rougher strain of hip hop than Juice WRLD makes. But while there might not be much musical overlap, members of the older generation Lil Bibby and his brother G Money have been steering Juice WRLD's career. In the studio that night, G Money was keeping watch, while Juice WRLD was recording a song with G Herbo, another Chicago rapper of the earlier wave. "I'm the little brother, and I'm fine with that," Juice WRLD said. They treat him lovingly, and with a little amusement. On his Instagram, Lil Bibby recently recorded video of Juice WRLD buying Yu Gi Oh! merchandise. G Money posted video on his Instagram of a new Lamborghini he said Juice WRLD bought for him. Growing up in Chicago, Juice WRLD saw these artists as the local heroes. "Meeting G Herbo and them was like the last time I actually felt, the last time I could feel," Juice WRLD said. That was at the beginning of this year. Everything since then has been slightly blurry, he confessed. While he used Xanax heavily in high school, he said, he's now trying to limit his drug use. "I smoke weed, and every now and then I slip up and do something that's poor judgment," he said. "I have a lot going for me, I recognize it's a lot of big things, a lot of big looks. I want to be there, and you don't have to overdose to not be there." He's just set off on a headlining tour he performs at the Knockdown Center in Queens on Aug. 4.	N24News: A New Dataset for Multimodal News Classification	Music
WASHINGTON Major changes to nutrition labels on food packages became final on Friday, with calorie counts now shown in large type and portion sizes that reflect how much Americans actually eat. It was the first significant redrawing of the nutrition information on food labels since the federal government started requiring them in the early 1990s. Those labels were based on eating habits and nutrition data from the 1970s and '80s and before portion sizes expanded significantly. Federal health officials argued that the changes were needed to bring labels into step with the reality of the modern American diet. The Food and Drug Administration proposed the changes in 2014, but consumer advocates worried that many of the major elements would not survive lobbying by the powerful food industry. A number of companies vigorously opposed, for example, a separate line for added sugars. But the final rule, announced by Michelle Obama on Friday, mostly remained intact, including the line on added sugars. "This has to be scored as a huge win," said Marion Nestle, a professor in the department of nutrition, food studies and public health at New York University. "The F.D.A.'s final rules confirm what the agency proposed originally on the most important elements. The big ones calories, added sugars survived." The changes jump out. The calories are in large bold numbers, and are easier to spot at a glance. A single ice cream serving is two thirds of a cup compared with the current half cup. Most food manufacturers will be required to use the new label by July 2018. Producers with less than 10 million in annual food sales will have an additional year to comply. Millions of Americans pay attention to food labels. The changes are meant to make them easier to understand a critical step in an era when more than one third of adults are obese, public health experts say. The epidemic has caused rates of diabetes to soar and has increased risks for cancer, heart disease and stroke. Comments from companies and trade associations seemed to reflect acceptance. The American Beverage Association said its members had already put clearer calorie counts on the front of beverage bottles as a part of Ms. Obama's "Let's Move!" campaign. But the sugar industry did not relent in its criticism. The Sugar Association said it was "disappointed" by the F.D.A.'s decision to require a separate line for added sugars. It argued that the rule lacked "scientific justification." The association said, "We are concerned that the ruling sets a dangerous precedent that is not grounded in science, and could actually deter us from our shared goal of a healthier America." Getting the original nutrition labels on food packages was a major battle. Dr. David Kessler, the former F.D.A. commissioner, said the fight went all the way to the Oval Office, where the first President George Bush sided with the agency in what was considered a major victory for public health. "They got this right," he said of the new changes in an interview on Friday. "This will affect people's lives. It gives really important information to people who want to use it." It is also important for the food and beverage industry, he said. "By putting added sugars on the label, it creates incentives for industry to make healthier products, because they don't want to look bad with all of that sugar on the label." Michael F. Jacobson, executive director of the Center for Science in the Public Interest, said he believed the new line for added sugars would help change behavior. "A lot of people will be shocked to see how much sugar is in soda," he said. "Teachers and parents will leap at that as something to show their kids." A 12 ounce can of Coke has 140 calories and 39 grams of sugar, which, according to Mr. Jacobson, is about the equivalent of 9.2 teaspoons. He said a shortcoming of the new rules was that companies could still express sugar in grams, not in teaspoons.	N24News: A New Dataset for Multimodal News Classification	Health
Before Andrew Litton, who has led orchestras around the world, became a conductor, his first real job was accompanying ballet dancers: As a student at Juilliard, he was hired as the onstage pianist for one of Rudolf Nureyev's engagements on Broadway. So his newest job will bring him full circle, in a sense: Next season, Mr. Litton will take up the baton as New York City Ballet's next music director. Peter Martins, the company's ballet master in chief, announced his appointment to the orchestra on Tuesday. "I think the City Ballet Orchestra are unsung heroes, because they go through more repertoire in a year than most symphony orchestras that I've ever encountered," Mr. Litton, 55, said in an interview. "And the number of new pieces that are premiered or done by this orchestra it's extraordinary." It is unusual for a symphony conductor of Mr. Litton's stature to decide to lead a ballet company ensemble: He is the music director of the Colorado Symphony Orchestra and the Bergen Philharmonic Orchestra in Norway, and was formerly music director of the Dallas Symphony Orchestra and principal conductor of the Bournemouth Symphony in Britain. But this will be a homecoming: Like Alan Gilbert, the music director of the New York Philharmonic, he grew up on the Upper West Side of Manhattan so two of Lincoln Center's big orchestras will be led by native New Yorkers. Mr. Martins said he was looking forward to collaborating with Mr. Litton, who had a tryout of sorts last winter when he led the orchestra for several performances of George Balanchine and Alexandra Danilova's "Coppelia," with music by Leo Delibes. "It's thrilling for me, because I want to learn, I want to know what I don't know, and he's very smart, he's very sophisticated I am looking forward to taking advantage of that knowledge," Mr. Martins said. "I think it's exciting for our audience to have a conductor of that stature, and that the quality of the orchestra will be even further improved." There will be trade offs to having an in demand music director: Mr. Litton will be able to work with City Ballet for only 13 weeks next season, and 16 the following season which is not uncommon for symphony orchestras, but will be a departure for City Ballet. "We have to now share him a little bit," Mr. Martins said, "but I think it's worth it." Ballet orchestras do not often get a great deal of respect, unless they perform other music as well the way, say, the Mariinsky Orchestra plays not only ballet music but also operas and symphonic works. But the City Ballet orchestra gets to perform a highly varied repertoire: This year it will play the music of Bach, Vivaldi, Gluck, Mendelssohn, Bizet, Tchaikovsky, Stravinsky, Hindemith, Bernstein and John Adams, among others. Mr. Litton, who will become the company's sixth music director, already has big plans. He said he hoped to spend some time rifling through the closets of its home in the David H. Koch Theater, rounding up music that was commissioned over the years by City Ballet but never used in dances there are rumors of an Elliott Carter piece floating around and that he hoped to interest a label in recording the City Ballet orchestra. "We'll see what we can do," he said. "It's certainly not going to be business as usual." Mr. Litton will succeed Faycal Karoui, who held the post from 2006 through 2012. Andrews Sill, who has been the company's interim music director for the past two years, will become its associate music director. Mr. Litton, who will begin in September, spoke with real enthusiasm about working with the company that performs the "Nutcracker" that he saw every year as a child, and that influenced his musical tastes when, as a young man, he dated a dancer there. "I was what did people of my father's generation call it, a stage door Johnny?" he said, recalling when he saw three ballets there a week. Although he had heard Ravel's G major piano concerto before, he said he had never considered learning it until he saw Jerome Robbins use it in his ballet "In G Major." "I completely fell in love with it, and, in fact, would go every time that was on," he said, adding that he went on to play the piece, record it, and tour the world with it. He credits Nureyev with giving him valuable advice when he asked him, just before the curtain went up on their first Broadway performance, if he ever got nervous. Mr. Litton said that Nureyev flashed him an angry look and said: "What a stupid question! Of course I get nervous. You must get nervous. Do you hear all those people outside? They've paid lots of money to see this, and of course it's got to be great, you know?" Then he said something that has stayed with Mr. Litton ever since. "He said you've got to learn to channel your nerves into energy and excitement," he recalled. "And with that the stage manager said, 'Places.' "	N24News: A New Dataset for Multimodal News Classification	Dance
Rembrandt's "Portrait of Arnold Tholinx" (1656) is displayed as part of "Rembrandt's Social Network" at the Rembrandt House Museum in Amsterdam. AMSTERDAM How did Rembrandt die? Considering that he is one of the most famous names in art history, it might come as a surprise that we don't know. He was 63 at the time, but scholars say there is no record of any illness. The poets might say he died of grief, about a year after the death of his only surviving son, Titus. Although Rembrandt enjoyed worldwide fame in his lifetime, in the end he spent far beyond his means, filed for bankruptcy and was living on a pittance. He was buried in a rented, unmarked grave. Later, his remains were dug up and destroyed, and there is no lasting marker of his resting place. With all this renewed focus on this painter, etcher, printmaker, draughtsman, lover, fighter, genius and debtor, it's fair to ask: Who is Rembrandt now? How do we interpret the life and work of the Dutch Golden Age master who knew great fame but also fell out of fashion in his own lifetime, and who has been resurrected again and again by different generations of art lovers who found new meaning in his work? "Very few people know the story of Rembrandt's life," said Taco Dibbits, director of the Rijksmuseum, the national museum of the Netherlands, which is hosting the celebration's centerpiece exhibition, "All the Rembrandts," through June 10. The museum's entire trove of Rembrandt holdings 22 paintings, 60 drawings and 300 prints are all on show. The exhibition is accompanied by the release of a new biography by Jonathan Bicker, "Rembrandt: Life of a Rebel." "Every generation has its own Rembrandt," said Gregor J.M. Weber, who leads the department of fine and decorative arts at the Rijksmuseum. "Eighty years ago people loved Rembrandt as the old man of the soul, the lonely man reaching the highest point in art," he said. "Now we think he's more or less a rebel, who always invented himself anew, who always changed his way of doing things. He struggled and fought against himself and also against the standards of his time." "All the Rembrandts" is not a biographical exhibition on the face of it, but it tracks the artist's progress from his early career in Leiden, the Netherlands, to his last paintings, made just days before he died. It begins with a single room of 30 self portraits that allow us to look into the artist's eyes as he ages from a curly haired youth of 22 to a graying, concerned looking 55 year old. We see how the early sketches and etchings of street beggars, half naked women and hurdy gurdy musicians transform later in his career into figures that populate his biblical scenes. And we can compare the tiny portraits of ordinary citizens he scratched into metal plates with the full scale oil paintings of Amsterdam's merchants and burghers from which he earned his living. Rembrandt in the blood: An obsessive aristocrat, rediscovered paintings and an art world feud. Other exhibitions across the globe span his career, in smaller bites: His early development is traced in "Young Rembrandt 1624 1634" at the Lakenhal Museum in Leiden (later traveling to the Ashmolean Museum in Oxford, England), while his youthful success is explored in "Leiden Circa 1630: Rembrandt Emerges" at the Agnes Etherington Art Center in Ontario, Canada. At the Rembrandt House Museum in Amsterdam, we learn about the artist's personal connections in "Rembrandt's Social Network: Family, Friends and Acquaintances," and, at the Fries Museum in Leeuwarden, the Netherlands, his romantic life in "Rembrandt and Saskia: Love and Marriage in the Dutch Golden Age." Exhibitions are also taking place throughout the year at the Thyssen Bornemisza Museum in Madrid, the British Museum in London, the Mauritshuis in The Hague and the Louvre Abu Dhabi, among others. That so many exhibitions can be held at once is only possible because of Rembrandt's impressive output over a nearly 50 year career, resulting in about 350 paintings, about 300 etchings, and more than 100 drawings. Until the 17th century, most European artists, working in the Italian Renaissance tradition, believed that the job of the artist was not just to imitate nature, but to draw out the most beautiful aspects of any subject, and improve on them, Mr. Bicker, Rembrandt's biographer, said. "One of the reasons he was accused of breaking the rules of art was that he refused to idealize," he said. "Instead of painting or making a print of a beautiful young woman, he would use an ordinary woman, or show an old woman with a lot of wrinkles or a lot of cellulite." The 17th century poet and playwright Andries Pels dismissed Rembrandt as "the foremost heretic in art" because "he chose no Greek Venus as his model, but a washerwoman or treader of peat from a barn" he wrote in 1681, according to the Bicker biography. "Flabby breasts, wrenched hands, yes even the marks of corset lacings on the stomach and of stockings around the legs," he continued, sneeringly, "must all be followed, or nature was not satisfied." For Mr. Bicker, this is precisely the source of Rembrandt's enduring appeal. "He tried to show the truth and didn't adhere to the laws," of art, he said. He was taking risks, he added, without worrying about whom he offended. Mr. Weber of the Rijksmuseum shares that view. Rembrandt "approached the sitter very closely," he explained, "and that is the reason that you feel that the man or woman depicted is close to you; it feels like he's made them for you." That's not just true of the portraits, Mr. Weber continued: "If you look at his Bible scenes you see that he's doing the same thing: depicting Christ and his disciples as normal people from the neighborhood. You have the feeling that he's an artist who speaks to you personally." Mr. Dibbits, the museum's director, said: "Rembrandt is not about impressing, he's about making you feel, making you live that moment. That's a completely different type of rhetorical approach than we were used to from earlier painters. He doesn't monumentalize it; he makes the story internal and makes you feel it. His gods are people, in the end." If Rembrandt brought painting back down to earth, it may have been because his origins were relatively humble. He was the fifth son of 10 children born to a Leiden miller. The eldest son was to inherit the mill, and Rembrandt was apprenticed to a painter at age 15, and recognized as a prodigy by one of the Netherlands' most powerful art brokers, Constantijn Huygens. In the winter of 1631, at age 26, he moved to Amsterdam to run a painting studio. Mr. Dibbits said that what he feels people will understand through all of this year's exhibitions is that Rembrandt, throughout his life, had "a complete obsession with depicting the world around him as it is." "He gets better at it and he gets closer to it as he gets older," he added. "That's why we find his late portraits so compelling: It's because we feel as if we're looking straight into the person. His work is a tribute to humanity and to us as human beings."	N24News: A New Dataset for Multimodal News Classification	Art & Design
MARLBORO, Vt. The projectile whizzed past Tessa Lark's ear just as she was trying to put into words what makes the Marlboro Music School and Festival here so special. Ms. Lark, a violinist, was eating dinner last Saturday at a long table crowded with musicians and their families. Later in the evening, she was to perform Brahms's Piano Quintet alongside the pianist Mitsuko Uchida, Marlboro's artistic director. The pianist Jonathan Biss, noticing my confusion, leaned forward. "It's so intense here," he said, "and you're playing for hours a day, that behaving like an idiot is an essential release." Intensity and freedom may be the defining qualities of Marlboro. (As are the dinnertime paper fights, apparently a tradition.) Since the festival's founding in 1951, this dairy farm turned liberal arts college has become the summer home for a thriving community of musicians who delve into the chamber repertory with a devotion bordering on zeal. Veteran artists and young professionals play side by side and feed off one another's energy and experience. But the most extravagant gift Marlboro offers participants is a commodity that has become only more precious: time. Chamber groups here have the luxury of rehearsing as long as they need. Public concerts each weekend and a Musicians from Marlboro tour during the regular season represent only a fraction of the works studied each session. Some groups spend the whole summer on a single piece.	N24News: A New Dataset for Multimodal News Classification	Music
The crisis at the CBS Corporation over the last few months has featured enough drama to make the prime time shows that will air on its network's new season in two weeks seem bloodless: multiple allegations of sexual assault against its chief executive published in a prominent magazine, a nasty legal showdown with its controlling shareholder and claims by that shareholder that she was physically bullied by a board member. Fighting scandal on several fronts, the CBS board on Sunday worked to resolve all the disputes in one deal. It negotiated the departure of its chief executive, Leslie Moonves; appointed the chief operating officer, Joseph Ianniello, to take his place on an interim basis; and installed six new directors it hopes can lead the company out of trouble. What the revamped 13 member board has planned for CBS depends on how it views the importance of consolidations, as Silicon Valley continues to steal ad dollars and eyeballs away from traditional TV players. It will also depend on what kind of relationship it has with its controlling shareholder, Shari Redstone, who has been agitating for a merger with Viacom, the once lofty cable company behind MTV and Nickelodeon that she also controls. Ms. Redstone and Richard D. Parsons, the former Time Warner chief executive, picked the new board members, according to three people familiar with the process who spoke on the condition of anonymity to discuss internal matters. Mr. Parsons, an ally of Ms. Redstone, had been nominated to become a director earlier this year, and he officially joined on Sunday along with five others. With the exception of Mr. Parsons, the new directors have no significant ties to Ms. Redstone, these people said. After the nominees were interviewed by two independent directors, Bruce S. Gordon and Martha L. Minow, the larger board endorsed the new appointments, the people said. Mr. Gordon was an instrumental figure in negotiating the larger settlement that included Mr. Moonves's removal following allegations of sexual harassment against him, two of the people said. A former head of the N.A.A.C.P., he worked through Saturday night and into Sunday to complete the deal, they said. "This agreement maintains an independent board that is charged with determining the best course for the future of CBS on behalf of all shareholders," Mr. Gordon said in a statement on Sunday. The deal was announced just hours after The New Yorker published an article in which six women accused Mr. Moonves of sexual misconduct. That followed an article by the magazine in July in which six different women accused him of misconduct. Ms. Redstone said in the statement that she was "delighted to welcome our new directors, who bring valuable and diverse expertise and a strong commitment to corporate governance." The directors include two executives who have specialized in merger and acquisitions and a corporate consultant. Candace K. Beinecke, a partner at the law firm of Hughes Hubbard Reed, has handled corporate governance issues and helped broker mergers for corporate clients. Barbara M. Byrne has deep ties to the banking industry as a former vice chairman of Barclays and a former employee of Lehman Brothers. She is also a member of the Council on Foreign Relations. Susan Schuman, the chief executive of the corporate consultancy group SYPartners, has done work for Blackstone, Facebook, Viacom and sits on the advisory council for the MIT Media Lab. In addition to Mr. Parsons, the board added two other men. Brian Goldner is the chief executive of Hasbro, where he expanded the company's media strategy by making deals with film studios such as Paramount Pictures, owned by Viacom, and Universal, to create movies based on Hasbro properties. Strauss Zelnick, the head of the video game publisher Take Two Interactive Software, has deep ties to the media industry. He had led the music publisher BMG Entertainment and had served as president of 20th Century Fox. The departure of Mr. Moonves leaves the board without a chairman. That appointment will be made fairly soon, the people familiar with the process said. Ms. Redstone, who is vice chairwoman, is a likely candidate. Ford and Rivian no longer plan to work jointly on electric vehicles. Elizabeth Holmes took the stand in her trial. Follow along with our reporters. Ken Griffin, head of Citadel, bid highest for a copy of the Constitution. Seven directors remained on the board, including two who are affiliated with National Amusements, the Redstone family company that controls CBS and Viacom. They are Ms. Redstone and Robert N. Klieger, who has worked as a lawyer for National Amusements. Mr. Gordon, Ms. Minow and three other CBS directors also remain on the board. The newly configured group will have to move beyond past skirmishes. In May, CBS, along with Mr. Gordon and four other directors, sued Ms. Redstone, claiming she had breached her fiduciary duty to the company's shareholders by pushing for a merger with Viacom. The lawsuit exposed deep factions within the board, with one group apparently loyal to Ms. Redstone, another to Mr. Moonves and others debating which direction the company should take. The Sunday settlement was intended to resolve not only Mr. Moonves's exit but also the showdown over the potential merger. The lawsuit was withdrawn, and Ms. Redstone agreed to refrain from pushing for a deal with Viacom for two years. The agreement, she said, "will benefit all shareholders, allowing us to focus on the business of running CBS and transforming it for the future." But the terms also allow CBS to independently pursue a deal with Viacom if it determines a merger would benefit shareholders. At least eight of the independent directors not affiliated with Ms. Redstone's family company would have to agree on such a deal.	N24News: A New Dataset for Multimodal News Classification	Media
Chad Batka for The New York Times Every Friday, pop critics for The New York Times weigh in on the week's most notable new songs and videos and anything else that strikes them as intriguing. This week, Andre 3000 returns with a memory of his parents, Pulitzer winner Henry Threadgill releases two anticipated albums and Mitski unleashes a tense love song. 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. A love song that sounds like rowdy ground warfare, "Geyser" is the first song from the forthcoming Mitski album, "Be the Cowboy." Her punchy guitar shredding is gone, replaced with ethereal dream pop cut with industrial tension. "I will be the one you need," she sings, "and I just can't be/without you." But she doesn't sound happy. J.C. Andre 3000, 'Me My (To Bury Your Parents)' On Mother's Day, Andre 3000 of Outkast released two tracks: an extended instrumental elegy for piano (James Blake) and bass clarinet (Andre) called "Look Ma No Hands," and the song "Me My (To Bury Your Parents)." The song is crooned, not rapped, mostly over piano chords reminiscent of Elton John's "Bennie and the Jets," as Andre sings reminiscences of ordinary moments with his parents, both now dead: driving to the grocery store with his mother, driving to a football game with his father. "I was much happier when he was around," he realizes. The chords keep going, as if they might offer solace; a full minute later, he muses, "Me and my mother, me and my father" and then "Me and my ..." They're gone. JON PARELES Henry Threadgill, a Pulitzer Prize winning saxophonist, flutist and composer, released two anticipated albums on Friday. "Double Up, Plays Double Up Plus" features tuba, saxophones, cello, drums and three pianos, all playing parts that feel balanced and spacious and give each other enough room to land a plane. On the other album, "Dirt ... And More Dirt," he's working with a bigger group, 15 pieces, conjuring denser movement and thicker harmony. It has the large scale and stubborn persistence of Walter De Maria's "Earth Room" Mr. Threadgill's inspiration for the album an installation of 140 tons of dirt at a gallery in SoHo, where it has remained since 1977, when Mr. Threadgill's star on the New York scene was just emerging. GIOVANNI RUSSONELLO A melancholy number grand enough to reach the cheap seats in the stadium, "Downtown's Dead" is the first song country superstar Sam Hunt has released since last year's world killer "Body Like a Back Road." It's in the great tradition of country songs that understand that when the person you love leaves a place, the place all but ceases to exist: "As long as you're still in my head/There ain't no way that I can paint a ghost town red." J.C. The Cuban jazz trumpeter Arturo Sandoval earned countless well known fans after he defected to the United States in 1990, and some join him on his pop centric "Ultimate Duets" album, released today. Collaborators include American pop figures like Stevie Wonder and Josh Groban as well as Latin pop names like Juan Luis Guerra and Alejandro Sanz, but the most unexpected names on the roster must be Pharrell Williams and Ariana Grande. Mr. Williams wrote, and Ms. Grande sings, a song praising the trumpeter himself, and while the lyrics strain "His melodies wash up on your mind just like seashells" the music, a reggaeton crisped update of a Latin big band, features plenty of Mr. Sandoval's airborne trumpet. J.P. This new trio of longtime collaborators has achieved something special with "Seraphic Light," a live disc titled after a performance by John Coltrane. Mr. Parker, 66, a quietly indispensable free jazz bassist, does not play delicately. He's in the Charles Mingus tradition, a thumping perambulator, sometimes playing the instrument almost like a guimbri. And on piano, Mr. Shipp works in sharp shots and splatters, leaning hard into Mr. Parker, locking in with the bass but not embracing. Lain across the top, switching between saxophones, trumpet, flute and clarinet, is Mr. Carter, a picture of patience and warm power. G.R.	N24News: A New Dataset for Multimodal News Classification	Music
MONTPELLIER, France "Oh, you're in town for the festival," said a shop assistant, proceeding to detail favorite dance shows seen over the years. There are other festivals here in the summer, but Montpellier Danse is the festival in this city of winding medieval passages and centuries old buildings in the Languedoc Roussillon region of southern France. Founded in 1981 by the choreographer Dominique Bagouet, the festival has been run since 1983 by Jean Paul Montanari. He has made the annual event into one of the most important on the international dance calendar and given the city a high profile cultural identity. Mr. Montanari often takes risks with commissions, but the festival, which has a budget of 1.4 million euros (about 1.55 million), isn't necessarily the place to find the newest trends in contemporary dance. It is, though, a good place to get a broad international overview. At this year's edition, which runs through Thursday, there are well established names from around the globe (Israel Galvan and Akram Khan, Batsheva Dance Company, Anne Teresa de Keersmaeker); some younger choreographers (Trajal Harrell, Bouchra Ouizguen); quirky offerings (Phia Menard, Va Wolfl); and choreographers who are established in France, but not as well known abroad (Christian Rizzo, Maguy Marin, Raimund Hoghe, Rachid Ouramdane). Mr. Ouramdane, who is French and of Algerian descent, made his name as a creator of solo pieces that mediate ideas about torture, war, post traumatic stress and memory through remarkable dance imagery, film and sound. These are tough and unlikely subjects for dance, but he has found a way. He seems less sure of himself when working in more abstract terrain. One of his pieces, "Tenir le Temps" (or "Hold the Time"), for 16 dancers, bears some strong similarities to "Tout Autour" ("All Around"), created for the Lyon Opera Ballet last year. Like that work, it has an electronic score by Jean Baptiste Julien and simple costumes in shades of green by the designer La Bourette. Similarly, too, it sets its dancers in repetitive wheeling circles and geometric formations and sets up repetitive encounters between pairs of dancers, who lift, propel, embrace and support each other. Although the work is divided into four sections, and the music alters substantially in each (synthesized xylophone sounds, drumming, plinking piano notes, organlike sonorities), nothing much changes choreographically from the opening passages that introduce these lifting, pushing, falling dynamics. Often, one dancer begins a movement and is sequentially joined by the others; sometimes this kind of repetition, with its physical enactments of insistence, relentlessness, power and subservience, can accrue into something substantial, but here Mr. Ouramdane still seems to be looking for the zone he wants to enter. The problem is partly one of craft: dealing with large numbers of dancers, getting them on and off the stage, focusing the audience's attention. Right now, "Tenir le Temps" often resembles a movement workshop; Mr. Ouramdane may yet make it something more. The issues in "Tenir le Temps" were all the more exposed for coming immediately after a performance of Ohad Naharin's ominously titled "Last Work," with his Batsheva Dance Company. The piece, which had its premiere last month in Tel Aviv, where he and his company are based, is as opaque and enigmatic as all of Mr. Naharin's choreographies. It opens with a woman in a long blue dress running in place at the back of the stage as a low electronic hum sounds. (The musical collage, which mixes electronic noise and songs, is credited to Maxim Waratt, a pseudonym for Mr. Naharin.) The only decor is a row of screens on each side of the stage. Dancers slowly emerge between the screens and begin to move. There are long periods of slowness and immobility, and sudden lashings of limbs that are both liquid and precise. Solo or duet sections are woven into and between tribal groups, moving in unison with stomping feet and upraised arms. Dancers don, then remove, fabric head coverings that scarily mask their faces, or put on and take off long black robes, but their identities remain fluid. The movement itself, derived from Mr. Naharin's Gaga technique, is extraordinary: dislocated, explosive, propulsive yet precise, bodies as calligraphic curves in space. Toward the end of "Last Work," mysterious figures appear at the back of the stage, alongside the still running woman. A masked man waves a white flag; another swings a sticklike object around and around; a third, with his back to us, appears to be masturbating frenetically, but turns out to be polishing a gun. A fourth pulls masking tape from a microphone to the floor, then wraps it around the dancers, who now stand frozen around the stage. The running woman is given the white flag and the dancers sit down, facing the audience as they put their hands behind their heads. The lights fade. While watching, I thought this ending heavy handed; the next day, it felt haunting. Whatever its meaning (and there are, no doubt, many), the piece is breathtaking for the extraordinary dancing by the Batsheva troupe, and the way Mr. Naharin can evoke states of pleasure, pain, madness and a kind of animality a sheer state of being in the body through his movement. In some ways, the German choreographer Raimund Hoghe is at the other end of the choreographic spectrum. A journalist and a dramaturge for Pina Bausch before he began to create his own pieces, Mr. Hoghe keeps his movement minimal and his meanings clear. In "Quartet," which had its premiere last year in Dusseldorf, Germany, that meaning is derived primarily from the soundtrack: a compilation of arias, songs and recorded monologues by Liza Minnelli, Dalida, Elaine Stritch and Sammy Davis Jr., among many others. The seven performers, often moving very slowly, gesture and move in ways that are sometimes enigmatic, sometimes referential. Mr. Hoghe, tossing Ping Pong balls or tissues around the stage, mimes to the monologues, blank faced, and appears as a more tragic character in the second half of the work. Three hours long, "Quartet" gives you time to sink into the worlds of nostalgia, memory and personal associations that the movement and actions suggest. It's very much a piece of Tanztheater, in a European tradition that doesn't always travel well. But that's what's wonderful about festivals; they compel you to travel to them, with real life temporarily suspended, except as it manifests onstage.	N24News: A New Dataset for Multimodal News Classification	Dance
Are You Middle Class? This Calculator Claims to Tell You We have all heard the grim news. The middle class is shrinking. Income inequality is rising. It raises the question: What does it really mean to be middle class in 2018? Well, that depends on who you ask. And also where you live. According to an updated income calculator created by the Pew Research Center, a before tax salary of 37,106 for a three person household is considered middle class in Jackson, Tenn., the lowest threshold in the country. But in the San Jose Sunnyvale Santa Clara metro area of California, it takes about 20,000 more; households of that size must earn at least 57,443 a year to attain middle income status, the most money required of any area in the United States. "Our determination of whether or not you're in the middle class is based on income alone," said Rakesh Kochhar, a senior researcher at Pew. Read how the recovery threw the middle class dream under a Benz. Pew defines the middle class as a wide range that is two thirds to double the median household income in the United States. Those numbers are then adjusted to account for location and household size. By this standard, about half of American adults live in middle class households. That is why the calculator, which is based on government data from 2016, says a household of three in the New York Newark Jersey City metro area that earns between 55,138 and 165,413, before taxes, is considered middle income. A household earning more than 165,413 is upper income and anything below 55,183 is lower income. "There's nothing magical about twice the median," Elliot B. Weininger, a sociology professor at SUNY Brockport, said. "There's no consensus about this." Although income typically correlates with education, job security, the ability to own a home and saving money, it is only one of many measures that has been used to define class. That is one of the reasons research by Pew and others often refers to "middle income" instead of "middle class." "I think intuitively in people's minds, when people use class terminology it doesn't just refer to purchasing power," Dr. Weininger said. It often relates to the type of work someone does, he added. "They definitely don't imagine blue collar work."	N24News: A New Dataset for Multimodal News Classification	Economy
THE BABY SITTERS CLUB Stream on Netflix. While Alvin Schwartz was raising children's hair with "Scary Stories" in the 1980s and '90s, Ann M. Martin was introducing budding readers to "The Baby Sitters Club." Martin's series centered on a group of girls in suburban Connecticut, following each as they navigated friend and family drama, romance and the operation of their business. The Netflix adaptation moves the characters into the 21st century, but retains a focus on the joys and pains of adolescence. LES BLANCS Stream on nationaltheatre.org.uk. Broadway audiences haven't seen this final play by Lorraine Hansberry since it debuted in 1970, but audiences at the National Theater in London got to see a production from the South African director Yael Farber in 2016. Set in the 1960s in a fictional African country, the play follows an intellectual (Danny Sapani) who has returned home from England to bury his father, and an American journalist (Elliot Cowan) covering the country's fight for independence. In a recent review for The Times, Alexis Soloski called it "a work of the past that speaks lucidly and startlingly to the confusions of the present."	N24News: A New Dataset for Multimodal News Classification	Television
OVERCOATS at Webster Hall (Feb. 4 5, 9 p.m.). Though their close harmonies are rendered in a style associated with traditional country sibling groups, this Brooklyn based duo is neither old fashioned nor related. The singer songwriters Hana Elion and JJ Mitchell layer their tightknit vocals into bright electronic soundscapes a winning recipe that has earned them admiration from a fellow folktronica ambassador, Maggie Rogers, and an opening slot on Mitski's "Be the Cowboy" tour. Overcoats have not released an album since "Young," their 2017 debut, but a recently released EP suggests that the pair are hard at work in the studio. At Webster Hall, they'll open for the Californian indie rock group Cold War Kids. websterhall.com TAYLA PARX at Baby's All Right (Feb. 6, 7 p.m.). Though not a household name, this Texan has already left her mark on pop music as a co writer of numerous Hot 100 hits, including Ariana Grande's record smashing 2018 single, "Thank U, Next." Now, like her fellow writers turned singers Jessie J and Julia Michaels, Parx is attempting to harness her own star power and break down barriers between the studio and the stage. She formally introduced her solo project last spring with "We Need to Talk," a debut record laden with playful pop melody and R B swagger. After opening for Lizzo at Brooklyn Steel in May, Parx returns to New York for an intimate headlining show in Williamsburg, Brooklyn. 718 599 5800, babysallright.com POPPY at Brooklyn Steel (Feb. 6, 8 p.m.). The actor and singer Moriah Pereira is from Nashville, but Poppy, the eerily polished persona she adopts onstage and in popular videos, is, as she told NPR, "from the internet." In 2017, Pereira leveraged her following on YouTube, where her performances have ranged from unnerving but innocuous to undeniably sinister, to secure a recording contract with Diplo's Mad Decent label. Her first few releases leaned into the cloying sounds of bubblegum pop, but her latest effort, released this month, explores her darker side through industrial and nu metal influences. Like the digital world whence Poppy emerged, the album, titled "I Disagree," is hyper stimulating. 888 929 7849, bowerypresents.com GRACE POTTER at the Beacon Theater (Feb. 1, 8 p.m.). This singer earned her stripes as one of rock's most reliable frontwomen: With the Nocturnals, Potter spent years working the festival circuit, lending her signature smoldering vocals to the band's jammy, soul infused roots rock. But her 2015 solo album and the band's subsequent dissolution signaled new endeavors for Potter, both sonically and personally. These changes informed a new album, "Daylight," which she released in October. When Potter performs at the Beacon, expect to hear emotional songs from that track list, documenting Potter's recent life changes, including new love and motherhood, as well as Nocturnals era stompers like "Paris (Ooh La La)." 212 465 6000, msg.com RAPSODY at Elsewhere (Feb. 6, 8 p.m.). This North Carolina based M.C.'s fascination with heritage already evident on her Grammy nominated record from 2017, which she titled "Laila's Wisdom" after her grandmother came to the fore last year with the release of her third album, "Eve." Naming every one of its songs after a prominent black woman and using each one's story as a scaffold for her own, Rapsody traced a powerful lineage spanning from Sojourner Truth to Nina Simone to Michelle Obama. The challenge of such an exercise is not getting lost in the shadows of such luminaries, but cunning lyricism and catchy hooks, which are sure to be on display when Rapsody performs at Elsewhere, affirm her own star power. elsewherebrooklyn.com Read about the events that our other critics have chosen for the week ahead. RODDY RICCH at Brooklyn Steel (Jan. 31, 9 p.m.). If you've opened TikTok lately, you've probably heard the screeching, two note hook that defines this rapper's biggest hit. The Compton, Calif., native has enjoyed an auspicious start to 2020, marked by the ascent of "The Box" propelled, in part, by its popularity on the video sharing app to the No. 1 spot on the Hot 100. He also scored a Grammy for his performance on Nipsey Hussle's "Racks in the Middle." Currently on tour behind "Please Excuse Me for Being Antisocial," a grab bag of a debut that borrows from a variety of regional styles, Ricch is set to perform in Brooklyn on Friday night. The show is sold out, but tickets are available on the resale market. 888 929 7849, bowerypresents.com OLIVIA HORN RAFIQ BHATIA at National Sawdust (Feb. 5, 8 p.m.). It's not enough to call Bhatia a guitarist and leave it at that, just like it's insufficient to simply refer to his new EP, "Standards Vol. 1," by its name. He treats his guitar, synthesizers, drum machines and electronic effects as architectural elements sound becomes contour; music becomes something to step into rather than merely follow. So he has done more than retouch or reinterpret the four jazz standards and pseudo standards that appear on this EP (including two from Duke Ellington). He has found certain elements in each tune to celebrate and center, and others to dump upside down. There's something fascinatingly complete about each track also something unnerving. Bhatia will perform the material here with a group that includes the guest vocalists Vuyo Sotashe and Nina Moffitt. 646 779 8455, nationalsawdust.org DEE DEE BRIDGEWATER at the Blue Note (Feb. 5 9, 8 and 10:30 p.m.). Among the most celebrated Renaissance women in jazz, this vocalist is a Grammy and a Tony winner, a United Nations Food and Agriculture Organization goodwill ambassador and a spokeswoman for jazz across the world. She also has a boisterously personal style and can comfortably inhabit various aspects of the black music tradition without losing her creative grounding. Her most recent albums have included a tribute to Memphis soul, a collaboration with the New Orleans Jazz Orchestra and a Billie Holiday project. 212 475 8592, bluenote.net RAVI COLTRANE at Jazz Standard (Feb. 4 9, 7:30 and 9:30 p.m.). Coltrane has released just one leadership album in the past decade, but he's kept a busy and diverse itinerary as a bandleader in live scenarios. If recording devices have been running, there ought to be enough material by now for a boxed set of live recordings from his past 10 years, full of various bands and projects. The band this saxophonist will bring to New York in the coming week is new, and if the personnel is any indication it suggests an interest in tacking to the center of a certain musical tradition, with help from musicians whose hometowns all boast rich, nurturing jazz histories: the pianist Orrin Evans, from Philadelphia; the bassist Bob Hurst, from Detroit; and the drummer Jeff Watts, known as Tain, from Pittsburgh. (Allan Mednard, a New Yorker, will fill the drum chair from Tuesday to Feb. 6.) 212 576 2232, jazzstandard.com GHIDORAH at the Jazz Gallery (Jan. 31 Feb. 1, 7:30 and 9:30 p.m.). Three of the leading tenor saxophonists in straight ahead jazz come together here in a group named for the three headed monster of postwar Japanese film lore. (The name is also a glancing reference to MF Doom, the underground hip hop heavy, who has used Ghidorah as an alias.) The front line J. D. Allen, Stacy Dillard and Marcus Strickland is certainly qualified to lead a seminar in contemporary, tradition rooted tenor improvising. They'll be joined only by a bassist, Eric Wheeler, and a drummer, Rodney Green. 646 494 3625, jazzgallery.nyc SIGURD HOLE at Weill Recital Hall (Feb. 3, 8 p.m.). This bassist is about to release "Lys/Morke," a ruminative and openhearted album on which his only accompaniment is the ambient sound he recorded on the Norwegian island of Fleinvaer. The swirl of wind or the rushing of water sometimes serve as a backdrop to Hole's playing; elsewhere they close in around his quiet bowing, threatening to overwhelm him. He will perform music from the album at this show, his Carnegie Hall debut, which also features a brief performance and talk from David Rothenberg, a musician and philosopher who studies the interplay between music and nature. 212 247 7800, carnegiehall.org RENE MCLEAN at Zinc Bar (Jan. 31, 7 and 8:30 p.m.). McLean is an adroit alto saxophonist with a perfervid delivery who, despite a distinguished family line, has not enjoyed the kind of sustained critical attention that his peers might tell you he deserves. He appears here with a cohort of top shelf collaborators: Josh Evans on trumpet, Hubert Eaves III on piano, Radu Ben Judah on bass, Neil Clarke on percussion and Darrell Green on drums. The trombonist Grachan Moncur III who recorded often for Blue Note Records in the 1960s alongside McLean's father, the eminent alto saxophonist Jackie McLean will appear as a special guest. 212 477 9462, zincjazz.com GIOVANNI RUSSONELLO	N24News: A New Dataset for Multimodal News Classification	Music
LAWRENCE, Mass. It's got to be hard to fall farther than Lawrence. This old textile mill town, 30 miles north of Boston on the Merrimack River, was once a standard bearer for America's industrial power. That was a long time ago. Over the last decade, the state took over its schools after math and English scores plummeted to the bottom 1 percent of Massachusetts rankings and the dropout rate soared to three times the state average. A textile hub in the early 20th century, Lawrence became one of the poorest cities in Massachusetts in the early years of the 21st. It was overcome by heroin and crime. City Hall was tarnished by corruption scandals. In 2012, Boston Magazine bestowed an unwelcome title: "City of the Damned." Now the coronavirus pandemic has cast an additional pall over Lawrence, as it has on the rest of the economy. But for the many small cities that have long been left behind, struggling to find a place in the new economy, Lawrence offers a glimmer of hope that they may have a shot at recovery. While there are empty storefronts and boarded windows downtown, the estimated value of the typical Lawrence home increased 100,000 over the last five years, to nearly 280,000, according to Zillow. The high school dropout rate, nearly 30 percent a decade ago, is now under 12 percent. And the income of the typical Lawrence family, which five years ago had tumbled to just over 55 percent of the median family income in the United States, inched back to 61 percent. "Even if all of those places can't make it to the level of Los Angeles, research shows that they can do a lot better than they are doing and make it a lot of the way back," said Tamar Kotelchuck, an assistant vice president at the Federal Reserve Bank of Boston, who leads what the bank calls the Working Cities Initiative to assist communities in their reinvention. Urban revitalization is not the Fed's normal line of business. But over a decade ago, as the financial crisis set off by the implosion of the housing market roiled the nation, it decided that the stagnation of so many cities in its region merited attention. In 2013, it issued a challenge: It would offer grants funded by private firms, philanthropies and state governments to poor, smaller Massachusetts cities with promising revitalization proposals. In 2014, the Lawrence Working Families Initiative, which connects parents of schoolchildren with employers, was one of four multiyear grant winners, receiving a 700,000 grant over three years. All four cities have improved. Lawrence tried and failed to lure Emerson College from Boston, said Jessica Andors, who runs the nonprofit Lawrence Community Works. But it succeeded in drawing some trash incinerators to town. It built a mall and parking lots, in the name of modernity and suburbanization, razing many of the handsome old buildings of its heyday. None of this stopped its fall. The proposal funded by the Working Cities grant was comparatively small bore: to offer assistance like job placement and help with financial planning to the parents of needy children in the city's public schools. Lawrence's population is predominantly Latino mostly Dominican immigrants, but also Puerto Ricans and Guatemalans. So English lessons were a critical part of the plan. The direct results of this effort are modest, too. Ms. Andors, whose group helped pitch the project, noted that 269 parents had gone through English programs and that 311 had been placed in jobs, mostly making 13 to 14 an hour at cafeterias, manufacturers, nursing homes and the like. The program has also trained 131 parents as certified nursing assistants, child care professionals and teaching assistants. "Collaborative leadership, getting along, working together, was the secret sauce," said Lane Glenn, the president of Northern Essex Community College, which has a campus in Lawrence and was involved in the challenge. "A city like Lawrence could have dozens, even hundreds of goals, but we needed to get clear about a small number of critical goals." Ford and Rivian no longer plan to work jointly on electric vehicles. Elizabeth Holmes took the stand in her trial. Follow along with our reporters. Ken Griffin, head of Citadel, bid highest for a copy of the Constitution. A board meeting of the Lawrence Partnership, in a conference room at Lawrence General Hospital, offered a taste of this collaboration. Partly in response to the Boston Fed's challenge, the partnership was created as the locus where leaders from business, government and nonprofits could work on common causes, like encouraging local businesses. It has rallied a group of banks to commit 2.5 million for a loan fund for small businesses. It raised money for an internship program for high school students, placing many of them among its corporate members. Together with the community college and a local real estate developer, it is underwriting a test kitchen where entrepreneurial cooks can have a shot at creating a business. Last year, the partnership supported an initiative to help employers draw on the local immigrant work force, which includes many who don't speak English. "We identify local manufacturing employers who need people but are not operating bilingually now," Ms. Andors said. Marko Duffy, a supplier of electroplating chemicals, is one of the operation's assets on the ground. A few months ago, he started visiting local companies, offering bilingual training sessions to their workers on topics ranging from modern nickel plating techniques to how to become a supervisor and advance up the corporate ladder. He offers employers help with how to label equipment on the production line in both English and Spanish, as well as to translate company manuals. "I deal with lots of manufacturers in the region and always hear the same thing," Mr. Duffy said. "How do we replace our aging work force? Where do we get good people?" Many in Lawrence's immigrant community have skills needed in manufacturing processes but can't get over the language barrier. The Boston Fed's challenge has helped mint some solid successes, like 99 Degrees Custom, now the city's only textile company. Founded by Brenna Nan Schneider in 2013 in the hulk of an old mill, it produces activewear for several brands and is expanding into wearable technology clothes bedecked with sensors and gadgets. The Boston Fed would love to see more businesses like hers take root around the region. In total, it has awarded 17 multiyear grants to cities in Massachusetts, Rhode Island and Connecticut. It is looking at broadening the challenge to include rural areas. What's more, its model is catching. The Dallas Fed and the Richmond Fed are considering similar initiatives. But even before the coronavirus outbreak upended life everywhere, Lawrence had tough challenges. Its families are still substantially poorer than the national average. Only about 11 percent of adults have a college degree. Lots of the better paid jobs in Lawrence are taken by out of towners, while many residents work in low wage jobs elsewhere. If the town overcomes this crisis, it is still unclear what could allow Lawrence to prosper in the long run, pulling dollars from the outside. Health care? There are a few hospitals in town, and several education institutions offering training in health related occupations. More light manufacturing? An Amazon warehouse is expected to open this year or next in nearby North Andover, employing 1,500. One prospect that worries many residents is that the city's future will be determined by gentrification affluent young Bostonians fleeing high rents to settle in the new condos being carved out of some of the old mills pushing up housing costs. Derek Mitchell, who runs the Lawrence Partnership, said families in Lawrence faced the steepest housing burden of any city in the state. But to find cheaper rents they would have to move a long way north or west, "taking them even further away from the economic opportunities of the region."	N24News: A New Dataset for Multimodal News Classification	Economy
Credit...Jenna Schoenefeld for The New York Times Once again, the coronavirus is ascendant. As infections mount across the country, it is dawning on Americans that the epidemic is now unstoppable, and that no corner of the nation will be left untouched. As of Wednesday, the pathogen had infected at least 4.3 million Americans, killing more than 150,000. Many experts fear the virus could kill 200,000 or even 300,000 by year's end. Even President Trump has donned a mask, after resisting for months, and has canceled the Republican National Convention celebrations in Florida. Each state, each city has its own crisis driven by its own risk factors: vacation crowds in one, bars reopened too soon in another, a revolt against masks in a third. "We are in a worse place than we were in March," when the virus coursed through New York, said Dr. Leana S. Wen, a former Baltimore health commissioner. "Back then we had one epicenter. Now we have lots." To assess where the country is heading now, The New York Times interviewed 20 public health experts not just clinicians and epidemiologists, but also historians and sociologists, because the spread of the virus is now influenced as much by human behavior as it is by the pathogen itself. Not only are American cities in the South and West facing deadly outbreaks like those that struck Northeastern cities in the spring, but rural areas are being hurt, too. In every region, people of color will continue to suffer disproportionately, experts said. While there may be no appetite for a national lockdown, local restrictions must be tightened when required, the researchers said, and governors and mayors must have identical goals. Testing must become more targeted. In most states, contact tracing is now moot there are simply too many cases to track. And while progress has been made on vaccines, none is expected to arrive this winter in time to stave off what many fear will be a new wave of deaths. Overall, the scientists conveyed a pervasive sense of sadness and exhaustion. Where once there was defiance, and then a growing sense of dread, now there seems to be sorrow and frustration, a feeling that so many funerals never had to happen and that nothing is going well. The United States is a wounded giant, while much of Europe, which was hit first, is recovering and reopening although not to us. Some experts, like Michael T. Osterholm, the director of the University of Minnesota's Center for Infectious Disease Research and Policy, argue that only a nationwide lockdown can completely contain the virus now. Other researchers think that is politically impossible, but emphasize that localities must be free to act quickly and enforce strong measures with support from their state legislators. Danielle Allen, the director of Harvard University's Edmond J. Safra Center for Ethics, which has issued pandemic response plans, said that finding less than one case per 100,000 people means a community should continue testing, contact tracing and isolating cases with financial support for those who need it. Up to 25 cases per 100,000 requires greater restrictions, like closing bars and limiting gatherings. Above that number, authorities should issue stay at home orders, she said. Testing must be focused, not just offered at convenient parking lots, experts said, and it should be most intense in institutions like nursing homes, prisons, factories or other places at risk of superspreading events. Testing must be free in places where people are poor or uninsured, such as public housing projects, Native American reservations and churches and grocery stores in impoverished neighborhoods. None of this will be possible unless the nation's capacity for testing, a continuing disaster, is greatly expanded. By the end of summer, the administration hopes to start using "pooling," in which tests are combined in batches to speed up the process. But the method only works in communities with lower infection rates, where large numbers of pooled tests turn up relatively few positive results. It fails where the virus has spread everywhere, because too many batches turn up positive results that require retesting. At the moment, the United States tests roughly 800,000 people per day, about 38 percent of the number some experts think is needed. Above all, researchers said, mask use should be universal indoors including airplanes, subway cars and every other enclosed space and outdoors anywhere people are less than six feet apart. Dr. Emily Landon, an infection control specialist at the University of Chicago Pritzker School of Medicine, said it was "sad that something as simple as a mask got politicized." "It's not a statement, it's a piece of clothing," she added. "You get used to it the way you got used to wearing pants." Arguments that masks infringe on personal rights must be countered both by legal orders and by persuasion. "We need more credible messengers endorsing masks," Dr. Wen said just before the president himself became a messenger. "They could include C.E.O.s or celebrities or religious leaders. Different people are influencers to different demographics." Although this feels like a new debate, it is actually an old one. Masks were common in some Western cities during the 1918 flu pandemic and mandatory in San Francisco. There was even a jingle: "Obey the laws, wear the gauze. Protect your jaws from septic paws." "A libertarian movement, the Anti Mask League, emerged," Dr. Lincoln of San Francisco State said. "There were fistfights with police officers over it." Ultimately, city officials "waffled" and compliance faded. "I wonder what this issue would be like today," she mused, "if that hadn't happened." Images of Americans disregarding social distancing requirements have become a daily news staple. But the pictures are deceptive: Americans are more accepting of social distancing than the media sometimes portrays, said Beth Redbird, a Northwestern University sociologist who since March has conducted regular surveys of 8,000 adults about the impact of the virus. "About 70 percent of Americans report using all forms of it," she said. "And when we give them adjective choices, they describe people who won't distance as mean, selfish or unintelligent, not as generous, open minded or patriotic." The key predictor, she said in early July, was whether or not the poll respondent trusted Mr. Trump. Those who trusted him were less likely to practice social distancing. That was true of Republicans and independents, "and there's no such thing as a Democrat who trusts Donald Trump," she added. Who should get a booster shot? It depends, Dr. Scott Gottlieb says. Virginia's new lieutenant governor elect says she won't force vaccines. Whether or not people support coercive measures like stay at home orders or bar closures depended on how scared the respondent was. "When rising case numbers make people more afraid, they have more taste for liberty constraining actions," Dr. Redbird said. And no economic recovery will occur, she added, "until people aren't afraid. If they are, they won't go out and spend money even if they're allowed to." As of Wednesday, new infections were rising in 33 states, and in Puerto Rico and the District of Columbia, according to a database maintained by The Times. Weeks ago, experts like Dr. Anthony S. Fauci, the director of the National Institute for Allergy and Infectious Diseases, were advising states where the virus was surging to pull back from reopening by closing down bars, forbidding large gatherings and requiring mask usage. Many of those states are finally taking that advice, but it is not yet clear whether this national change of heart has happened in time to stop the newest wave of deaths from ultimately exceeding the 2,750 a day peak of mid April. Now, the daily average is 1,106 virus deaths nationwide. Deaths may surge even higher, experts warned, when cold weather, rain and snow force Americans to meet indoors, eat indoors and crowd into public transit. Oddly, states that are now hard hit might become safer, some experts suggested. In the South and Southwest, summers are so hot that diners seek air conditioning indoors, but eating outdoors in December can be pleasant. Several studies have confirmed transmission in air conditioned rooms. In one well known case cluster in a restaurant in Guangzhou, China, researchers concluded that air conditioners blew around a viral cloud, infecting patrons as far as 10 feet from a sick diner. Rural areas face another risk. Almost 80 percent of the country's counties lack even one infectious disease specialist, according to a study led by Dr. Rochelle Walensky, the chief of infectious diseases at Massachusetts General Hospital in Boston. At the moment, the crisis is most acute in Southern and Southwestern states. But websites that track transmission rates show that hot spots can turn up anywhere. For three weeks, for example, Alaska's small outbreak has been one of the country's fastest spreading, while transmission in Texas and Arizona has dramatically slowed. Deaths now may rise more slowly than they did in spring, because hospitalized patients are, on average, younger this time. But overwhelmed hospitals can lead to excess deaths from many causes all over a community, as ambulances are delayed and people having health crises avoid hospitals out of fear. The experts were divided as to what role influenza will play in the fall. A harsh flu season could flood hospitals with pneumonia patients needing ventilators. But some said the flu season could be mild or almost nonexistent this year. Normally, the flu virus migrates from the Northern Hemisphere to the Southern Hemisphere in the spring presumably in air travelers and then returns in the fall, with new mutations that may make it a poor match for the annual vaccine. But this year, the national lockdown abruptly ended flu transmission in late April, according to weekly Fluview reports from the Centers for Disease Control and Prevention. International air travel has been sharply curtailed, and there has been almost no flu activity in the whole southern hemisphere this year. Assuming there is still little air travel to the United States this fall, there may be little "reseeding" of the flu virus here. But in case that prediction turns out be wrong, all the researchers advised getting flu shots anyway. "There's no reason to be caught unprepared for two respiratory viruses," said Tara C. Smith, an epidemiologist at Kent State University's School of Public Health. A disease modeling system like that used by the National Weather Service to predict storms is needed, said Caitlin Rivers, an epidemiologist at the Johns Hopkins Center for Health Security. Right now, the country has surveillance for seasonal flu but no national map tracking all disease outbreaks. As Dr. Thomas R. Frieden, a former C.D.C. director, recently pointed out, states are not even required to track the same data. Several experts said they assumed that millions of Americans who have been left without health insurance or forced to line up at food banks would vote for politicians favoring universal health care, paid sick leave, greater income equality and other changes. But given the country's deep political divisions, no researcher was certain what the outcome of the coming election would be. Dr. Redbird said her polling of Americans showed "little faith in institutions across the board we're not seeing an increase in trust in science or an appetite for universal health care or workers equity." The Trump administration did little to earn trust. More than six months into the worst health crisis in a century, Mr. Trump only last week urged Americans to wear masks and canceled the Republican convention in Florida, the kind of high risk indoor event that states have been banning since mid March. "It will probably, unfortunately, get worse before it gets better," Mr. Trump said at the first of the resurrected coronavirus task force briefings earlier this month, which included no scientists or health officials. The briefings were discontinued in April amid his rosy predications that the epidemic would soon be over. Mr. Trump has ignored, contradicted or disparaged his scientific advisers, repeatedly saying that the virus simply would go away, touting unproven drugs like hydroxychloroquine even after they were shown to be ineffective and sometimes dangerous, and suggesting that disinfectants or lethal ultraviolet light might be used inside the body.	N24News: A New Dataset for Multimodal News Classification	Health
One of the titans of 20th century physics, Richard Feynman deciphered the interplay of fundamental particles and forces. He wrote popular books in which he portrayed himself as a charming scientific rogue, and played a key role in the investigation of the loss of the space shuttle Challenger. While brilliant, he was not perfect. That becomes evident looking at some of his papers that go up for auction on Friday. Feynman received the Nobel Prize in Physics in 1965 for key insights in understanding the quantum version of electromagnetism, and the medal and citation that came with it is the centerpiece of the auction, conducted by Sotheby's in New York. But the assorted writings that are also for sale by his family reveal clues into how he worked and thought. "We tend to have this idea of genius being someone who just sprung out of the womb and had these magical capabilities," said Cassandra Hatton, the specialist at Sotheby's in New York who is overseeing the auction. "And Feynman himself denied that fact. He always said, 'Guys, there's nothing. There's no magic here. I'm just somebody who's very interested and worked very hard and was very curious.'" Like the Science Times page on Facebook. Sign up for the Science Times newsletter. Feynman, in his 20s, flew to Oak Ridge to give the talk. Some of these pages may have been notes from that talk. Others may be versions he revised later for other talks to other audiences. "He'll come back to certain themes and work them over and over," Ms. Hatton said , pointing to several versions of this atomic research paper. "I think they're more important because they let us see how he got from A to Z," she said. "They show us the steps. They show us the little mistakes and the things he crossed out and where he changed his mind and what he decided to refine." While some people are very particular about a pen or type of paper, Feynman usually grabbed whatever was closest and started scribbling, usually without noting a title, date or place. That made it challenging to organize the papers as sometimes he continued his thought on a different colored piece of paper with a different pen. The written scribble on this sheet include the "Feynman diagrams" that he developed to quickly summarize a subatomic interaction with lines and squiggles. In recent years, Feynman's reputation as a womanizer has led some critics to re evaluate his academic legacy. Some of his behavior, like dating undergraduates, would likely be grounds for academic sanction today. Included in the random pieces of paper at auction is an example of some of this behavior: place mats from Gianonni's , a strip club in Pasadena, Calif., not far from his home, where Feynman often went. While there, he would scribble on the backs of the place mats. For the mathematical notations on this particular place mat, "We couldn't tie it to any specific problem," Ms. Hatton said. "It seems almost like he was just playing around." In his book "Surely You're Joking, Mr. Feynman," he recalled, "I'd sit in one of the booths and work a little physics on the paper place mats with the scalloped edges, and sometimes I'd draw one of the dancing girls or one of the customers, just to practice." One of Feynman's most famous talks was "There's Plenty of Room at the Bottom" in 1959, which predicted the advent of nanotechnology, creating machines at the scale of molecules. This document, above, was found among the papers that the family had. It appears to have been prepared for a version of the talk given at El Camino College in California. Feynman was also well known as a lecturer, striving to find the clearest way to explain a difficult concept. On March 13, 1964, he gave a talk in a freshman physics class at Caltech about the motion of planets. An archivist found a transcript of the lecture, once believed lost, and it was turned into a book, "Feynman's Lost Lecture: The Motion of Planets Around the Sun." In sifting through the papers that the family possessed, "What we found is a much more extensive version of that lost lecture," Ms. Hatton said.	N24News: A New Dataset for Multimodal News Classification	Science
On this week's Popcast, Mr. Caramanica and Joe Coscarelli, the pop music reporter for The New York Times, discuss the Nicki Minaj conflagration. Then they speak with Janee Bolden, the senior content director for pop culture at iOneDigital and the former managing editor of Bossip, about how the stan armies for Ms. Minaj, Beyonce, Rihanna and others operate. Finally, they are joined by Bobby Finger and Lindsey Weber, the hosts of the Who? Weekly podcast, and Caryn Ganz, The Times's pop music editor, to talk about micro stan armies that support C and D list celebrities. Plus: we learn the names of the secret (or not yet existent) fan armies of various Times staffers! Never miss a pop music story: Sign up for our weekly newsletter, Louder. Email your questions, thoughts and ideas about what's happening in pop music to popcast nytimes.com.	N24News: A New Dataset for Multimodal News Classification	Music
Now that Darrell Wallace Jr., the sole African American driver in NASCAR's top racing series, has persuaded the organization to bar the Confederate flag from its events, he expects his life to be a little different. A text from his father reminded him of that. "He was proud of what I was doing on and off the racetrack, but he was worried about safety, going out in public and whatnot," Wallace, who is known as Bubba, said Friday during a teleconference with reporters. "It's just crazy you have to worry about that side of things. Definitely got to watch your back now." Wallace, 26, received praise and support from other top drivers for making the ban happen amid wider protests about racial injustice in the United States and the rest of the world, prompted by the death of George Floyd in police custody in Minneapolis. But some NASCAR fans are furious at Wallace because they view the Confederate flag as being part of their Southern heritage not as a symbol of racism and thus an integral part of the sport, which has deep Southern roots. "To you, it might seem like heritage, but others see hate," he said. "We need to come together and meet in the middle and say, 'You know what, if this bothers you, I don't mind taking it down.'" There once was a time that a person could not walk 20 paces at a NASCAR race without seeing a Confederate flag. Fans would come to the races with Confederate flag images on their clothing. Flags would also dot the racetrack's infield, because spectators would raise them high above their motor homes that they parked there for a weekend long party. Long ago, the rebel flag was even a part of the victory celebration. At Darlington Raceway in South Carolina, a character named Johnny Reb, created in the 1960s, dressed in a Confederate soldier's gray uniform and would ride on the hood of the winning car to victory lane while waving the Confederate flag. While the more showy celebrations of the flag have disappeared over the years, many fans still flew it during races. They even flew the flag in 2015, after NASCAR officially discouraged them from doing so, in the aftermath of the murder of nine black churchgoers in Charleston, S.C., by the white supremacist Dylann Roof. NASCAR tiptoed its way around the issue, offering fans at its races American flags in exchange for their Confederate ones. Few fans took them up on the offer, and NASCAR continued struggling to balance a new demographic of fans beyond the white and conservative Southern ones that helped NASCAR grow into a powerhouse industry in the early to mid 2000s. Since then, NASCAR has traveled far from its roots, which were planted in dirt tracks in places like Rockingham, N.C., and Talladega, Ala., by drivers who honed their skills by running moonshine and outrunning revenuers. The races once were predominantly in the Southeast, and its drivers hailed from the region. Now, NASCAR races are held on tracks from coast to coast, and only two of the top 10 drivers are from the Southeast. Kyle Petty, the longtime racer and son of the seven time NASCAR champion Richard Petty, called the ban "a huge moment." "As we look at the sport and how the sport has grown, we were way behind the curve," he said on the show "NASCAR America" on NBCSN. And NASCAR's recent efforts to grow, while also trying to make the sport more inclusive, have not been successful: The number of fans who have abandoned the sport since its peak is startling. For example, this year's Daytona 500, NASCAR's marquee race, had 7.3 million television viewers. Just five years ago, in 2015, that number was nearly double, at 13.4 million. The organization also has made efforts to diversify, with programs aimed at hiring minority drivers. Yet when Wallace won a race in 2013 at one of NASCAR's national series, it was the first time an African American had won at that level in 50 years. Matthew Bernthal, the marketing department chair at Florida Southern College, has studied NASCAR, and said the organization has grappled with the flag issue for a while. "I simply don't think they had a choice right now but to ban the flag, given the mood of the country," he said. "But I think the brand's values have shifted because they have chosen to take such a strong stance." With the coronavirus public health crisis limiting fans at racetracks, it might be a long while before NASCAR feels the full impact of its decision. But Darrell Waltrip, the three time Winston Cup series champion who retired in 2000, warned people not to view complaints about the ban on social media as an indication that fans will leave the sport. "Look, how many people said they were going to move to Canada when Trump won the election, and how many of them really did?" he said. "Everybody makes idle threats but very few people that I know follow through." Wallace realizes that his speaking out has already deeply affected the sport and the way it is perceived. He called for NASCAR to ban the flag on Monday. On Wednesday, it happened. That night, he raced at Martinsville Speedway in Virginia, and said it was the biggest race of his career. He felt the country watching. To commemorate the moment, Wallace unveiled a different paint scheme for his No. 43 Chevrolet, with a Black Lives Matter logo emblazoned on its sides and the words "Compassion, Love, Understanding" written on its hood. When he stood on pit road for the national anthem, for the second race in a row, Wallace wore a black T shirt displaying the words, "I Can't Breathe. Black Lives Matter." An avalanche of fans tuned in to see him, some commenting on social media that it was their first NASCAR race. LeBron James tweeted a message to Wallace before the race. Wallace replied: "Let's get it homie. Appreciate you. Respect." Wallace said on Friday that he hadn't given much thought to kneeling during the national anthem, a demonstration that Colin Kaepernick and other players used in the N.F.L. that also garnered passionate reaction from fans. Wallace said he is studying and learning about exactly what message "we are trying to push across, learn, and understand." "I think the messages that I have been putting out there on the racetrack and during the anthem is speaking for itself," he said.	N24News: A New Dataset for Multimodal News Classification	Sports
Robert Sauerberg Jr. and Anna Wintour said Conde Nast wouldn't work with the photographers Bruce Weber and Mario Testino "for the foreseeable future." Conde Nast, publisher of some of the glossiest magazines in the world, is changing the way it does business. Prompted by the sexual harassment outcry that has enveloped fashion and other industries, Conde Nast said it began working in late October on a code of conduct that will go into effect this month. Separately, in response to allegations of sexual harassment and abuse of power from numerous male models against the photographers Bruce Weber and Mario Testino, the media company said in a statement on Friday that it would stop working with the two men, at least for now. In the statement, Anna Wintour, artistic director of Conde Nast and editor of Vogue, and Robert A. Sauerberg Jr., chief executive of Conde Nast, said: "We are deeply disturbed by these accusations and take this very seriously. In light of these allegations, we will not be commissioning any new work with Bruce Weber and Mario Testino for the foreseeable future." Mr. Weber and Mr. Testino have been deeply embedded in the history of image making at Vogue and its peer publications, such as GQ and Vanity Fair. In a statement to The New York Times, Mr. Weber said the allegations of the models were "untrue" and that he had "never touched anyone inappropriately." Lawyers for Mr. Testino objected to the allegations and called the credibility of the men who said they were harassed into question. Conde Nast began working on the code not long after dozens of women accused the Hollywood producer Harvey Weinstein of sexual misconduct in articles by The Times and The New Yorker, the company said. Along with Ms. Wintour, the initiative was spearheaded by Mr. Sauerberg and Jonathan Newhouse, chief executive of Conde Nast International, which will also adopt the code. (It may be modified to make it relevant for different countries and cultures.) "A crisis often results in action," Ms. Wintour said. Though the fashion industry has been known to overlook sexual harassment in the past, there are indications, like the new Conde Nast policy, that it is beginning to push for systemic change. Under its new guidelines, the company will no longer work with models who are younger than 18. There will be no alcohol on photo sets. Photographers will not be allowed to use the set for personal work after a commissioned shoot is completed, and it is recommended that models not be left alone with photographers, makeup artists or other contributors. Any nudity or "sexually suggestive poses" in the shoot will be detailed beforehand and agreed to in advance by the subject. There will be an anonymous reporting line for any violations. After the Weinstein allegations, Hearst Magazines, which owns Harper's Bazaar, Elle, Esquire, Cosmopolitan and others, added a clause to its contributor agreements requiring independent contractors to reveal any harassment claims, informal or formal, pending against them. They must also notify Hearst if they become aware of any such claims while working for the company. "We are extremely concerned and anxious about providing a healthy working environment, which we know is sometimes difficult in the fashion world," said Joanna Coles, chief content officer of Hearst Magazines. Both actions follow a model charter created and signed in September, even before the Weinstein expose, by the two biggest luxury fashion groups in the world: LVMH Moet Hennessy Louis Vuitton and Kering. The charter details rules about the employment of models, including those regarding nudity, health, age and recourse. It comes shortly after IMG Models, home to Gigi Hadid and Karlie Kloss, updated its existing "Model Protection" instructions (chaperones for minors; no nudity or semi nudity unless agreed in writing in advance; and no using a model's image "in a pornographic or derogatory manner") to include a mission statement laying out its approach to harassment. And it coincides with legislative bills being introduced in New York and California this month that address ways to protect models from, and educate the industry about, sexual harassment. "These are not nuanced statements; they are very clear requirements," Mr. Sauerberg said of the new guidelines for Conde Nast, which will apply to everyone working on a company shoot. Antoine Arnault, an LVMH board member and the chief executive of Berluti who was one of the driving forces behind the model charter, has said the group will adopt a zero tolerance stance toward any agency that does not comply with its requirements. But it is unclear what will happen if the Conde Nast guidelines are violated.	N24News: A New Dataset for Multimodal News Classification	Fashion & Style
LONDON Natalia Osipova and Sergei Polunin are ballet's wunder couple. She is the former Bolshoi ballerina of the steel sprung jump and artless impetuosity who has been a principal guest artist with American Ballet Theater, and who surprised the dance world by decamping, first to the Mikhailovsky Ballet in 2011, then to the Royal Ballet here. He is the Ukrainian born, wildly gifted former Royal Ballet dancer who became a principal at 19, then caused a sensation by walking out in 2012 amid mutual allegations of ill treatment. The British press ate up the mildly salacious rumors of drug abuse, tattoos and high living that ensued, and Mr. Polunin about whom a documentary film has recently been made became famous beyond the dance world, hitting a viral streak (close to 17 million views to date) on YouTube in a solo filmed by David LaChapelle. Ms. Osipova, 30, and Mr. Polunin, 26, who will appear together in "Natalia Osipova and Artists" at New York City Center, Thursday through Saturday, never crossed paths at the Royal Ballet. But they met two years ago when Ms. Osipova was looking for a partner for a guest appearance at La Scala. To the delight of the ballet world, they fell in love and have been an offstage pair ever since. Onstage they have had little chance to dance together, since Mr. Polunin, who has been little seen in the United States, hasn't yet been welcomed back at the Royal Ballet. But in June this year, Ms. Osipova followed in the footsteps of older ballerinas like Sylvie Guillem and Diana Vishneva by commissioning under the auspices of Sadler's Wells a program of works, by Russell Maliphant and Arthur Pita, that pair the couple. (Ms. Osipova also dances with James O'Hara and Jason Kittelberger in Sidi Larbi Cherkaoui's "Qutb.") Just before they left for New York, Ms. Osipova (known to her friends as Natasha) and Mr. Polunin spoke in a restaurant near their London home about the challenges and rewards of performing contemporary work, and about their future plans. Here are edited excerpts from the conversation.	N24News: A New Dataset for Multimodal News Classification	Dance
MELBOURNE, Australia The Australian Open, site of epic jet lag and searing heat, has long been a struggle against the elements as much as a tussle against the opponent across the net. Scheduled in the Australian summer, the Open is where the former champion Ivan Lendl donned a Legionnaire's cap to combat the sun and where the ball boys and ball girls still wear them. During my first visit, in 1993, Jim Courier defeated Stefan Edberg in a torrid men's final, and when the photographers returned to the press room, there was an acrid smell. That was because for some of them, the soles of their shoes had started to melt on the court. But this year has brought a different threat: smoke from the bushfires that have devastated some of Australia this summer, destroying property and leaving at least 25 people and millions of animals dead. "A tragedy for Australia," Novak Djokovic, the seven time Australian Open men's singles champion, said on Sunday. "It's really not pleasant to see this many people suffer the consequences of a big force that is hard to stop. At times, nature shows us how, in a way, insignificant we are towards her." Djokovic, Roger Federer, Rafael Nadal, Serena Williams and some of the game's other leading figures combined forces on Thursday for an exhibition at Melbourne Park that helped raise more than 3.5 million for bushfire relief. Some players have donated prize money. Some are making donations for each ace or, in the case of the Swiss star Belinda Bencic, for each double fault (she doesn't hit many aces). Players have repeatedly made the point that their tennis problems pale in comparison with the more elemental issues. After Williams won the singles title in Auckland, New Zealand, this month her first title in nearly three years she donated her prize money of about 43,000 to bushfire relief. On Monday, she defeated 18 year old Anastasia Potapova, 6 0, 6 3, in her opening match at the Australian Open. "It's important for people like me who have a big platform to raise awareness," said Williams, who has been coming to Melbourne since 1998. "For me in particular as a player, it was incredibly devastating because I literally know people who have been affected." Nick Kyrgios, the Australian men's star, said: "If you get down to it, people are losing their families and homes. It's not easy to just completely switch your concentration on the Australian Open 'How is your forehand going today?' when you put it in perspective." But after a number of players complained or suffered because of poor air quality during qualifying last week, there were concerns about a repeat during the tournament itself, which began on Monday and will run for two weeks. "If it does get bad, I can't imagine going out there and everyone going out there and playing three out of five sets," said Denis Shapovalov, a Canadian seeded 13th in the tournament. "You get warnings from the news telling people to stay inside, that it's not good for your health to be outside, to be breathing this stuff, and then you get an email from the tournament saying that it's playable and you guys have to go out there and put your life in jeopardy, put your health in jeopardy. "You see the effects on players it has right now, the last couple days, but you don't know what it's going to do later in our lives, and how it could affect us if we're breathing this air in for two weeks," he said. The prospect of two such weeks is unlikely. The air quality in Melbourne has improved markedly in recent days, and though it is dependent in part on wind direction, the air quality forecast for the early stages of the tournament is promising. On Monday, the tournament even got heavy rain, which postponed matches on outside courts by midafternoon. The retractable roofs were closed in the three main arenas, where play continued. The Australian Open decided that play would be automatically suspended outdoors if the levels of microscopic particulate pollution, called PM2.5, exceeded a threshold of 200 micrograms per cubic meter. According to the United States Environmental Protection Agency, the upper limit of the hazardous form of pollution for air quality to be considered "good" is 12 micrograms per cubic meter over 24 hours. In California last year, when thick smoke from the Camp Fire rolled across the Bay Area, the particulate pollution hit nearly 200 micrograms per cubic meter. The tiny particles are hazardous, and the threshold used by the Australian Open is within what the E.P.A. defines as a "very unhealthy" range, when people are advised to limit outdoor activity. "They are so small they can get right down into the lungs and into the bloodstream and can cause longer term effects," said Kate Charlesworth, a public health physician based in Sydney. When PM2.5 levels are between 97 and 200, play at the Australian Open may continue but under the tournament referee's discretion based on medical input. Under 97, play will most likely continue. According to data released by Tennis Australia, the readings during qualifying play on Tuesday peaked at 165 at 11 a.m. and then dropped off. On Monday, shortly after play began, the Australian Open's on site reading was a practically perfect 2. "I know it was tough last Tuesday, Wednesday," said the American Sam Querrey, who won his first round on Monday, 6 3, 6 4, 6 4, over Borna Coric. "I don't have an opinion on whether they should have played or not. I know it's been all over the media. But if you flew here right now you wouldn't know there were fires in Melbourne. It's fine. They've done a good job now with that air quality system. They've got TVs in the locker room with live feeds of the number so you can look every three, four minutes so you're not just taking their word for it. It was a 1 when I walked out there, which feels like glacier Alaska weather." Craig Tiley, the Australian Open tournament director, said: "Many sports have 300 and higher as hazardous, but will continue below 300 and make a judgment call within that range. We chose 200." Charlesworth said research on the harmful effects of air pollution typically studied cases of long term exposure in heavily polluted cities. She said the effects of short term exposure in a city like Melbourne were much less clear. Petra Kvitova, a women's singles finalist here last year, is asthmatic and said she had been relieved to see the improvement in air quality in Melbourne. "I do have my medicines here, as well," said Kvitova, who said she was "very comfortable" with the approach the tournament had taken. But the problems and lack of detailed communication during the early stages of qualifying have shaken the confidence of some other competitors. "There isn't trust," said Vasek Pospisil, a member of the ATP player council. "Because the air quality is expected to be fine now, I don't think it will really matter at this point. But I think it would get interesting if a similar situation came up." Tiley attended the ATP player meeting on Friday to explain the tournament's actions, saying that air quality was "a very complex and confusing issue" in part because there are many different types of measurements available.	N24News: A New Dataset for Multimodal News Classification	Sports
Taking up temporary residency on the quiet lanes and public squares of Europe offers the sort of civic intimacy that often eludes mere sightseers. Location and a connection to community distinguish each of the following 10 hotels, all of which offer a strong sense of place, both outside and in. The new Hotel des Galeries shares the narrow Rue des Bouchers, once butchers' row, with a jumble of restaurants and cafe terraces. Its own Belgian restaurant opens onto the adjacent Galeries Royales Saint Hubert, a 19th century glass roofed shopping arcade designed in homage to the Italian Renaissance. Inside the hotel, 23 rooms overlook the elegant passageway, or surrounding rooftops near the central Grand Place. Red drapes and modern furniture lend subtle drama to the white walled minimalist rooms. From 130 euros or about 136 at 1.05 to the euro; hoteldesgaleries.be. Just around the corner from the grand St. Stephen's Basilica, Aria Hotel Budapest, which opened last month, adopts a musical design. From the owners of the Library Hotel in New York, Aria inhabits a former 19th century bank with 49 rooms, each designed in the spirit of jazz, contemporary, classical or opera scores, with a music library loaded on in room iPads. Guests can ogle the domed basilica from the hotel's rooftop High Note Sky Bar, featuring a garden terrace and a Hungarian farm to table restaurant. Rooms from EUR216, including breakfast; ariahotelbudapest.com. Two blocks from the Duomo and steps from the Piazza della Santissima Annunziata, anchored by a Renaissance era orphanage, the new 11 room Grand Amore Hotel and Spa, above, is the latest boutique property from the Ricci Collection, operators of other small hotels in Florence. Rooms feature tufted headboards, marble clad bathrooms and vintage black and white photos from the Florentine photo company Fratelli Alinari. Management promises soundproof rooms, and a small spa with a steam room and Jacuzzi for post passeggiata relaxation. Rooms from EUR207, including breakfast; grandamorehotel.com.	N24News: A New Dataset for Multimodal News Classification	Travel
Five of these "fly girls" provide the basis of the text: , Louise Thaden, Ruth Elder, Florence Klingensmith and Earhart. Their backgrounds and experiences are distinct: Nichols is a New York debutante, Thaden sells coal in Wichita, Elder is concealing her divorce, Klingensmith is working on airplane engines and Earhart is running out of options in Boston. Yet physical characterizations of the women tend to run together. One is "blond and young," another "young, tall and slender," still another, "younger and prettier, flirtatious and Southern." Their clothing is frequently described by how it drapes the body, whether a dress is "low backed" or a sweater is "tight." For women whose achievements were discounted based on their sex, the frequency of skin deep descriptions feels jarring, and occasionally makes it difficult to keep track of the characters. These superficialities nonetheless give way to vibrant accounts of airplane racing, with the women speeding around the country, crossing oceans, making fantastic turns around hazardous pylons and flying so high into the air that they carry oxygen tanks beside them. Each struggles for opportunity begging sponsors, borrowing planes, dealing with unscrupulous organizers, and taking risks equal to those of their male colleagues but with fewer rewards to tempt them. O'Brien's prose reverberates with fiery crashes, then stings with the tragedy of lives lost in the cockpit and sometimes, equally heartbreakingly, on the ground. Their sacrifices were not squandered. As O'Brien puts it, "From the beginning, all the women had been connected, whether they liked it or not, building on one another's successes, saddled with one another's failures and pressing on together." The exploits of these daring pilots led to the formation of the Ninety Nines, an early organization of female aviators, as well as the inclusion of female pilots in the military and, eventually, space exploration. "More will gain admittance as a greater number knock at the door," Earhart once explained, adding, "If and when you knock at the door, it might be well to bring an ax along; you may have to chop your way through."	N24News: A New Dataset for Multimodal News Classification	Books
Amanda Katie Glassman and Claudio Emma were married Sept. 1 at the bride's family home in Dorset, Vt. William D. Cohen, a Superior Court judge in Vermont and a friend of the couple, led a ceremony incorporating Jewish and Roman Catholic elements. The bride, 30, is a screenwriter and playwright. Her play, "The Wedding Affair," ran in June at Edward Albee's Last Frontier Theater Conference in Valdez, Alaska. She graduated from Yale and received a Master of Fine Arts in playwrighting from the University of Oxford in Oxfordshire, England. She is the daughter of Mary A. Glassman and Andrew C. Glassman of Simsbury, Conn. The bride's father is a partner in Pullman and Comley, a law firm in Hartford. Her mother served as first selectman of Simsbury from 1991 99, and again from 2007 14. The groom, 29, is an accelerator physicist at SLAC National Lab at Stanford. He graduated from King's College London. He also received a Master of Science degree from Imperial College, also in London, and a Ph.D. in physics from U.C.L.A.	N24News: A New Dataset for Multimodal News Classification	Fashion & Style
Berlioz was 25 years old in 1829, when he submitted "La Mort de Cleopatre" for the Paris Conservatory's prestigious Prix de Rome. This dramatic scene for mezzo soprano and orchestra painted Cleopatra's suicide by snakebite in such lurid colors that the shocked jurors refused to award any prize at all. One professor told Berlioz he would have preferred "soothing music." The young composer retorted: "It's a little difficult to write soothing music for an Egyptian queen bitten by a poisonous snake and dying a painful death in an agony of remorse." The following year, Berlioz won the prize with a much tamer cantata. But, at the same time, he composed "Symphonie Fantastique," a phantasmagoric tone poem culminating in the orgiastic "Witches' Sabbath," which has become one of the wildest exhibits in the 19th century orchestral canon. For most concertgoers, it's the only Berlioz they hear. But on Sunday and Monday at Carnegie Hall, the English conductor John Eliot Gardiner led the Orchestre Revolutionnaire et Romantique in two thrilling Berlioz programs that showed off the breadth of his imagination. "La Mort de Cleopatre" anchored the first program, which also included an overture; extracts from the opera "Les Troyens"; and "Harold en Italie," a Byronesque travelogue for viola and orchestra. Monday's concert paired "Symphonie Fantastique" with its rarely performed sequel, "Lelio," a sprawling work for orchestra, narrator, vocal soloists and choir. No, soothing music is not what Berlioz was about. His works demonstrate a lugubrious fascination with human suffering and society's underbelly. Many composers have written about death, but Berlioz takes on the process of dying like few others: In "La Mort de Cleopatre," slithering figures evoke the asp winding its way up Cleopatra's chest as the music's skin seems to crawl in twitchy shudders. Later, we hear the poison chromatically working itself through her veins. On Sunday, the coolly dramatic mezzo Lucile Richardot gave a fierce performance as the Egyptian queen, and brought touching vulnerability to "Adieu, fiere cite" from "Les Troyens."	N24News: A New Dataset for Multimodal News Classification	Music
Not too many people have worked in the White House and on the set of a fictional White House, but that is the position in which the actor Kal Penn finds himself. Mr. Penn, the former associate director of the Office of Public Engagement under President Barack Obama, currently stars as the press secretary Seth Wright on the ABC drama "Designated Survivor." From his movie roles to his tenure in the White House to acting on television shows including "House" and "How I Met Your Mother," Mr. Penn has spent considerable time in a number of cities, including Los Angeles, New York, Washington and now Toronto where "Designated Survivor" is filmed. Following are edited excerpts from a conversation with Mr. Penn: "Harold and Kumar Go to White Castle" was filmed in Toronto. Now you're back in the city for "Designated Survivor." What has changed the most since you were last there? "Harold and Kumar" was my first huge movie that was on location. Actually, it's funny that I should say that. It was not a big movie. People just ended up seeing it. Toronto, like any city over a 12 year period, changes a lot, but it is an incredibly diverse city. They take in refugees that the United States doesn't accept. It's a totally different experience when you live somewhere as a full fledged adult and the city has grown so much. I came back and saw not just new buildings, but entire neighborhoods that were industrial and have been transformed into living spaces.	N24News: A New Dataset for Multimodal News Classification	Travel
Baby food is sold in every country on Earth, but in poor and middle income countries, its quality is completely unpredictable, a new study has found. Children would be healthier if an international agency tested brands and certified them as nutritious, the study's authors argued. "Some of these products are fine, but some are just awful, and there's no way for consumers to tell the difference," said William A. Masters, an economist with the Friedman School of Nutrition Science and Policy at Tufts University and the study's lead author. "A wonderful food category is languishing for lack of quality certification." His team tested 108 brands of infant porridge from 22 countries and found that less than a quarter met international standards for fat, protein, iron and zinc. The study is to be published soon in the journal Maternal and Child Nutrition.	N24News: A New Dataset for Multimodal News Classification	Health
LOS ANGELES Two female led investor groups are lining up to save the Weinstein Company, which has been straining to avoid bankruptcy since dozens of allegations of sexual harassment and rape were made against co owner Harvey Weinstein. Throwing a lifeline to an entertainment company that has become a symbol of the systemic mistreatment of women in Hollywood would seem like the last thing that feminists like Gloria Allred and Ana Oliveira, chief executive of the New York Women's Foundation, would be interested in doing. But each is involved with a group holding separate acquisition talks with the embattled Weinstein Company with the aim of benefiting sexual misconduct victims. Their interest underscores the fragile position of the company and the factors beyond mere business considerations that must be addressed if it is to have a future. "Can we dare to think about seizing these assets to help institute long term change?" Ms. Oliveira said in an interview. "Can the Weinstein Company see the opportunity to go through a social redemption process?" Neither group is close to making a deal, however, and some longtime media investors and advisers question whether the efforts are more about making a statement than realistically moving the company past its current mess. Ms. Oliveira's organization is affiliated with an acquisition effort being led by Killer Content, a New York company behind art house films like "Carol" and television mini series including "Mildred Pierce." Killer has lined up an investor group that includes Abigail Disney, a documentary filmmaker and philanthropist who is Walt Disney's grandniece, and the futuristic transportation entrepreneur Brogan BamBrogan. In talks with Weinstein Company's sale advisers, the Killer group has proposed a radical notion: It wants to buy parts of the studio in particular, several finished films and television projects that are in development and give profits to organizations focused on ending harassment, sexual abuse and discrimination. The group calls its plan Project Level Forward. The New York Women's Foundation would also distribute proceeds to other nonprofits. Adrienne Becker, Killer's acting chief executive, declined to comment about the talks, citing a confidentiality agreement. In a statement, she said, "It appears that there is a conversation that could be had with the interested parties that have a common agenda." Ms. Becker was referring to a separate acquisition effort made public in recent days by Maria Contreras Sweet, who led the Small Business Administration under President Barack Obama and founded ProAmerica Bank. "I have assembled a first class team of financial partners, advisors and consultants to put together a proposal," Ms. Contreras Sweet wrote in a letter to the Weinstein Company's three member board, which includes Harvey Weinstein's brother, Bob Weinstein. In the letter, Ms. Contreras said that she would rename the company and remove Bob Weinstein as chairman as part of a plan to keep it running. A copy of the letter was sent to The New York Times by Ms. Allred, who said she had consulted with Ms. Contreras Sweet about an unusual component establishing a fund for the women accusing Mr. Weinstein of abuse and a mediation process for reaching settlements. "Her proposal and the way that it is structured would make 'herstory,'" Ms. Allred said in an email. 15 minimum wage for federal contractors will take effect Jan. 30. Jeff Bezos gives 100 million to the Obama Foundation. Ms. Contreras Sweet, who did not identify her financial backers in her letter, declined to comment. Her team has not yet determined what the Weinstein Company might be worth, according to a person briefed on her effort, who spoke on the condition of anonymity to discuss private deliberations. The company's assets include a handful of finished films, a library of old movies and several television series, including "Project Runway." A spokesman for the Weinstein Company did not respond to a request for comment. Through a spokeswoman, Harvey Weinstein has repeatedly denied "any allegations of nonconsensual sex." Most experts believe that bankruptcy remains the most likely outcome for the Weinstein Company, in part because its debt is estimated to total at least 375 million more than the studio is most likely worth. And then there are the lawsuits. The Weinstein Company was already facing court claims before Harvey Weinstein became the subject of multiple police investigations. The studio, for instance, has been battling a 130 million fraud lawsuit over its dealings with Genius Products, a bankrupt home entertainment company once largely owned by the Weinsteins. The trustee overseeing the Genius Products proceedings on Nov. 2 asked a California bankruptcy judge to freeze any efforts by the Weinstein Company to sell assets. Now sexual harassment related lawsuits are arriving, including some filed by Ms. Allred. On Oct. 24, an aspiring actress, Dominique Huett, sued the Weinstein Company in Los Angeles Superior Court, accusing it of negligence. Two other actresses are anonymously suing Harvey Weinstein and the studio on similar grounds. Lawyers representing another actress filed a class action complaint on Nov. 15 against the studio and other parties in United States District Court for the Central District of California. To stay afloat while it pursues a sale the studio employs about 150 people the Weinstein Company at first sought loans from Fortress Investment Group, a private equity firm that has lent money to struggling film companies in the past, and Colony Capital, the private equity firm run by Thomas J. Barrack Jr. Those efforts failed. With the clock ticking, the studio decided to sell a prize asset North American distribution rights to "Paddington 2," an animated movie produced by Studio Canal, a division of Vivendi SA, and set for release in January. Bob Weinstein had been hoping that ticket sales would be strong enough to stabilize the studio. A sale of the rights to Warner Bros. on Nov. 15 raised about 32 million, which will be shared by the Weinstein Company and Studio Canal. The Weinstein Company has a handful of unreleased movies left, including "Polaroid," a teenage horror movie; "The War With Grandpa," a comedy starring Robert De Niro; "The Upside," a comedy starring Kevin Hart and Bryan Cranston; and "The Current War," a period drama. Box office analysts say prospects are mixed for those films, each of which would require marketing campaigns costing tens of millions of dollars.	N24News: A New Dataset for Multimodal News Classification	Media
On Wednesday, Kevin Hart definitively ruled out hosting the Oscars on "Good Morning America," even though he had been prodded to reconsider during an interview with Ellen DeGeneres. So who is going to host the 2019 Academy Awards? Is anyone? Update: The 2020 Oscars will have no host. It's unclear. The Academy of Motion Picture Arts and Sciences has said nothing publicly about it and did not respond to a request for comment. What do we know? The Oscars are slated to be broadcast on Feb. 24 on ABC, a little over six weeks away. If there is to be a host, unless it's a last second reveal, one would have to be announced soon to get ready for the broadcast. The lack of preparation time is one reason Hart gave for not reconsidering the job.	N24News: A New Dataset for Multimodal News Classification	Movies
At 3:45 on Wednesday afternoon, the main characters in the Broadway play "Oslo" were more than halfway through their story, an arc that has them working back channels to broker the accords that came to be the cornerstone of the Israeli Palestinian peace process. But at the Westchester home of the show's playwright, J. T. Rogers, another of his creations, not a masterwork, maybe, but a dazzling production nonetheless, was about to begin. His characters, a dwarven king, a 12 foot tall mountain giant and a half elven chef, were not interested in brokering peace; they and their army were a bloodthirsty lot, with dwindling food stores, hellbent on conquering a nearby population of gnomes. This production is, by far, the most exclusive of any that Mr. Rogers has crafted: Normally, it does not even include an audience, as it makes the actors too self conscious. But just this once, the team made an exception for some neighbors. My son Leo, a fifth grader, and I were allowed to come and watch the production, which is not so much a play as it is an improvisational role playing game, Dungeons Dragons. Leo is obsessed with a variation on the game, known as Pathfinder, but he had never seen either version played with a Tony nominated playwright spontaneously spinning the story, and neither had I. "O.K., lads, focus, we need to focus," Mr. Rogers told the boys, who included his 14 year old son, Henry, and two friends, Liam Mulvihill, 13, and Nikola Kasarskis, 13. He had only an hour or so before he had to leave to rehearse for the Sunday Tony Awards ceremony. ("Oslo" is up for seven prizes, including best play.) He ran his hand over a map colored in pastoral blues and greens, a photocopy of the one he first created almost 35 years ago, when he was a boy playing Dungeons Dragons in Columbia, Mo. Mr. Rogers eventually gave up the game in high school and started spending all his free time acting, but before he was an actor, he said, he was a writer, through the game, although he did not think of it that way at the time. "It was being a world imaginer," he said, "which is what I do now." The game, as Mr. Rogers and his crew play it now, is simple: The boys roll the dice, and he, serving in the role of Dungeon Master, does the same. The young men's fate depends on how high they roll, compared with Mr. Rogers, who invents a plot twist on the spot. The boys still shudder to think of the time they rolled poorly after killing a wizard and ended up sliding down a shaft into a purgatory filled with slime. J.T. Rogers keeping track as he plays "Dungeons Dragons" with his son and others. The game, played around the dining room table, started with his setting the stage: The players were starting out in "a small, elegant mine" in the throne room as the king sat on his hand carved wooden throne. Henry, in the role of king, stood and commenced with a rousing speech, urging them to battle for glory, ending with a modern spin: "And also, any women who want to join our army, it's all cool, fam." Ordinarily, Mr. Rogers takes off points when the kids break character. "They really want to be in the fantasy, but there's this other layer that gets in the way," he said later. "It's irony, it's pop culture." In this instance, his son's overall performance outweighed the slip up. "I'll give you a plus three on that, it was pretty good," he said. At moments, the game was a PG version of "Game of Thrones"; at others, pure Asterix, comic and visual: When Nikola, who specializes in kitchen accouterments that can double as weaponry, suggested that the soldiers all hold massive bags of flour they could use as bludgeons, Mr. Rogers had the fighters landing on the flour to cushion their fall down a steep drop. He somehow conjured perfectly what that sound would be; from there, he imagined the gnomes' confronting the terrifying sight of an army, their faces eerie and ghostlike, covered in the white powder that was expelled from the bags with the fall. Whenever given the choice, Henry opted for bloodletting. "Troops, troops, we're going to surround them and slaughter them all," he said, punching his palm with one fist. "They need to die!" Leo giggled, giddy at the prospect of their awfulness. Out of earshot of the boys, Mr. Rogers's wife, Rebecca Ashley, a photographer, reflected on how much they had grown up since they first started playing; Henry used to run circles around the dining room table in his excitement. "They really have to work together as a group," she said. Lately, with her husband's career taking off, demanding more time away, the game has also offered a reliable way for father and son to connect. "They sit down to play, and they're right there again," she said. "Some people go fishing. They play D D." By 5, the fate of the gnomes was still unclear, but Mr. Rogers had to leave; the gnomes would live to play another day. His most devoted fans sat around the table and tried to think about how to capture what it was like having a playwright and actor on hand to serve as Dungeon Master. Maybe it was like having a great novelist write to you at summer camp. ("The object of love is the best and most beautiful," John Steinbeck wrote his teenage son at boarding school. "Try to live up to it."). Or maybe it was like having a great chef pack your school lunch. "It's like having Beyonce sing you to sleep," Liam suggested. There was a moment of awed silence as the boys contemplated such a thing, and then a burst of laughter. Whatever they had just experienced with J. T. Rogers, it was not quite that; but still, they all agreed, it was better than video games.	N24News: A New Dataset for Multimodal News Classification	Theater
The bleat not only alerts other pandas to the presence of an available mate, it contains important information about the vocalist's size and identity. Given the dense bamboo thicket that limits visual contact in most panda habitats and the brevity of panda mating season females ovulate just once a year and can conceive for only a few days the pandas' ability to perceive the bleat is critical to reproduction among this once endangered species. Now, researchers have determined that the bleat works best as a local call. A panda can discern aspects of a caller's identity. like its size, from a bleat within about 65 feet, but the caller's gender is only perceptible within about 33 feet, according to a study published Thursday in Scientific Reports. Megan Owen, a conservation ecologist at the San Diego Zoo Institute for Conservation Research and an author of the study, offered a human analogy for how this ability works. "If you're walking into a crowded room and someone calls out your name, there's a certain point where you can identify who that is, or maybe you can identify that it's a male or female that is calling your name," she said. "There's information that's encoded in that call, but that information degrades over distance." Like the Science Times page on Facebook. Sign up for the Science Times newsletter. To conduct the study, Dr. Owen and her colleagues including Ben Charlton, another San Diego institute researcher who has studied panda bleats obtained recordings of giant pandas from Chengdu, China, during breeding season. They then played those recordings through a speaker in a section of the San Diego Zoo Safari Park that contains bamboo similar in type and density to a typical panda habitat. By placing recording devices throughout the bamboo, the researchers were able to capture and analyze the bleats from various distances.	N24News: A New Dataset for Multimodal News Classification	Science
I wonder if there's been a play that channels the discontent and despondency of 2020 as perfectly as Studio Theater's sharp and satisfyingly foul mouthed "I Hate It Here: Stories From the End of the Old World." I'd wager not. Written and directed by Ike Holter, "I Hate It Here" is a collection of vignettes from people who, after a year of disease and death, are done with pleasantries. A woman who has carried on her mother's legacy of protesting confronts her friend and his partner for not doing enough; a teacher reflects on the racist parents of a white student in her class; a middle aged couple who started the pandemic "glamping" realize they're now homeless in the woods; and a man struggles to accept the fact that his mentor is a sexual harasser. Issues of race, class, accountability and political engagement come up at a catering job, a fast food restaurant and a pandemic wedding with 18 characters (performed by a cast of seven) having conversations or speaking monologues to an unknown listener. Holter has a well tuned ear for language; his dialogue is sparky and cynical, confrontational and personal, so monologues feel like the casual dinner conversation you'd have with a friend. But just because Holter's text is fluent in the disillusionment that's overtaken this year doesn't mean that it lacks humor or wit. His characters speak in phrases that contort idioms and rhyme and pun and string expletives together like jewels on a necklace yes, his unprintables are as elegant as that (disciples of the profane would be proud). "I Hate It Here" gathers great momentum, especially early in the nearly 90 minute production, as shorter vignettes are delivered in quick succession. Later, some longer sequences start to drag and could use snips in the dialogue, but ultimately these deliver the stories with some of the most heft. The intro and outro music, composed and directed by Gabriel Ruiz, who also stars, could be nixed. And occasionally the actors play the text too loud, so to speak, but it's forgivable, especially given the language's perverse gambols who wouldn't be carried away by these lines? At the end, a woman, recounting the losses she's faced, says she's done pretending things are fine. "I hate it here!" she screeches, culling it from the tips of her toenails. Then she pauses briefly, and is suddenly renewed. That's the sound of catharsis, and I felt it, too. MAYA PHILLIPS Even when the performers have utterly distinct voices, audio plays can be difficult to follow. Absent are the clues of countenance and costuming that usually help viewers track who's who and what their story is. The best way to approach the genre is often just to succumb to the confusion and listen, turning off the part of your brain that wants instant clarity. That's probably also the best way to approach new subjects when they finally hit the stage, or in this case hit your headphones. "Chonburi International Hotel Butterfly Club," by Shakina Nayfack, is that kind of play, telling the story of seven transgender women awaiting, recovering from or seeking to improve the results of gender confirmation surgery. As drama, it may be confusing, even if beautifully cast for vocal contrast. But as a bulletin from the front lines of identity, it's ear opening. The "butterflies" emerging from their cocoons at the (fictional) title hotel, in Thailand, are drawn with heavy outlines to emphasize the diversity of transgender life. Sivan (Kate Bornstein) is an astronomer from Hawaii, joined in Chonburi by her cisgender wife. Jerri (Bianca Leigh), from Australia, also brings her wife, as well as their surprisingly chill 15 year old son. Dinah (Dana Aliya Levinson) is a retired racecar driver; Van (Angelica Ross), a video game designer; Yael (Ita Segev), a former soldier in the Israeli army. You could imagine them in a lifeboat story, and in a way they are. Needing rescuing most is the newcomer Kina, played by Nayfack ("Difficult People") and based to some degree on her own experiences as a transgender woman who crowdfunded her surgery in Thailand with what she calls a "kickstart her" campaign. At first standoffish, and later in pain and anguish, she finds solace in the sisterly ministrations of the butterflies and in the care of a nurse and a bellhop whose back stories conveniently dovetail the main plot. Kina even gets an ambiguous romantic arc, with a Thai sex worker she hires for one last pre op fling. "Chonburi," a coproduction of Audible and the Williamstown Theater Festival, is not one of those plays that's about too little. Though its director, Laura Savia, gives it a fast talking sitcom spin, with jaunty interstitial music, its origins in autobiography make it difficult to shape. Discussions of spirituality, parental rights and the occupation of Palestine, let alone the Thai coup d'etat of 2014, quickly come to feel like tangents. Other scenes, like the one in which Jerri gives Kina (and us) an explicit post surgery anatomy lesson, are riveting. It's here, in the central story of transformation how each woman puts her "body on the altar" to free herself that "Chonburi" achieves the kind of focus it needs to do the same. JESSE GREEN Two couples one a bit more seasoned, the other still fresh get together for a night, and amid too many drinks and dredged up histories, they turn to a feast of insults to sate their appetites. Everyone's bitter. Everyone's unhappy. And it's pretty clear none of these people should be within 50 miles of one another. They are, as the young girlfriend in the new couple observes, animals. No, this isn't an Edward Albee play, though that's an understandable assumption to make. "Animals," written by Stacy Osei Kuffour and directed by Whitney White, has much of the same DNA lust, longing and resentment among lovers and friends, as well as alcohol but instead of improving the formula, it ends up feeling like a rote reconstruction. There is one notable divergence: "Animals," also on Audible as part of the Williamstown Theatre Festival, brings in the matter of race. Henry (Jason Butler Harner), who's white, proposes to his longtime girlfriend, Lydia (Aja Naomi King), who's Black, before a dinner they're hosting but the timing is suspicious: The occasion for the event is Lydia's "anniversary" with her old friend and amour Jason (William Jackson Harper), who's also Black. With Jason is his latest young white girlfriend, Coleen (Madeline Brewer). Henry notes Lydia's code switching and resents her inappropriate familiarity with Jason, who has renamed himself Yaw in an Alex Haley esque a wokening after a trip to Africa. Jason, a pedantic New York University professor, judges Henry, especially when the topic of race comes up, as Lydia attacks Coleen and moons over Jason. This is a therapist's nightmare: There are more deflections and projections than in a carnival house of mirrors. But "Animals" feels burdened with effort; it's too quick to get to the worst of its characters, giving the roughly 90 minute production nowhere deeper to go. No foreplay of nuanced chitchat here, just a relentless barrage of aspersions, which led me to the thought: Do I really believe these people sneering their way through this evening? Not for a second. The interlocking links of insecurity and codependence that supposedly chain these characters to this truly horrendous gathering are less apparent than the play seems to believe. Even during the characters' most bitter invectives, the cast's performances similarly skate over the surface, more ornamental than immersed. It feels like a symptom of the play's inability to extricate itself from the cliches of its genre and successfully surface its more novel elements. Lydia and Jason are connected not just through their history but by their racial experience, and simultaneously want to keep that but also shelter within the privilege and status of their white partners. Interracial sexual politics is a vast McDonald's style playground for a writer to explore (just ask Jeremy O. Harris, whose characters certainly play in his "Slave Play"). But "Animals" struggles to parse out how its characters' racial identities connect to their desires and shames in and out of the bedroom. For large swaths of the play, the white partners feel like afterthoughts, but it also doesn't fully commit to investigating the Blackness of Lydia and Jason and how much of their intimacy is tied to that. When the play reaches its conclusion, it's unclear of its upshot. Proposals and retractions, propositions and rejections, someone breaking something and someone storming off: "Animals" plays the standards but this cover of the theme "misery loves dinner company" doesn't chart. MAYA PHILLIPS Inside Wally World, it's one of the most frantic times of the year and that's saying something for a big box store so vast that thousands of customers prowl its aisles each day. Chaos comes with the territory, especially on Christmas Eve. So it's a bit of a mystery that Isaac Gomez's audio play, "Wally World," is such a pleasantly relaxing experience, even as it thrives on workplace tensions. From the first notes of holiday music at the top of the show (the Vince Guaraldi Trio's jazzy "O Tannenbaum," from "A Charlie Brown Christmas") and the first static off the walkie talkies that keep the store's management team connected, we sense that we're in good hands. Like many a Christmas tale, this sprawling ensemble dramedy directed by Gomez and Lili Anne Brown for Steppenwolf Theater Company has at its center someone who has lost her way. Andy (Sandra Marquez) has spent 23 Christmas Eves at this Wally World in El Paso, Tex., working her way up to store manager, fearsomely bossing a whole team of deputies. Trouble is, the rigor that helped her rise now clouds her vision and stunts her sympathy. A cousin of sorts to the sitcom "Superstore," "Wally World" hits its mark much better than the Off Broadway musical "Walmartopia" did. This play is a fiction, yet for Gomez ("the way she spoke"), a very personal one: His mother, too, worked her way up from cashier to manager at a Walmart in El Paso. "Wally World" is a portrait of a place he knows so well that he neglects to explain some of its jargon. On this Christmas Eve, Andy's store is short handed. You might think the added pressure would send everyone scrambling, but that's consistently true only of the no nonsense Estelle. In a standout performance by Jacqueline Williams, she is the character we root for hardest especially when she reports "actual velociraptors destroying our store." A close second is Jax (the terrific Kevin Curtis), an assistant manager who begins his workday with aplomb by insulting the higher ranking Mark (Cliff Chamberlain), who is a sexual harassment lawsuit waiting to happen. Spiked with sociopolitical point making and rather a lot of day drinking, "Wally World" (which runs two hours and 20 minutes) has a cast of 10, which might have threatened to overwhelm the medium: so many voices to learn. But the performances are almost uniformly strong, and Aaron Stephenson's sound design is remarkably thoughtful. So it's easy to follow along, though Janie (Karen Rodriguez) isn't credibly written as the barely functioning alcoholic of the bunch, while Karla (Leslie Sophia Perez), the sole sales associate we meet, seems more plot device than person. There is, however, a charming romantic subplot, and the ending is satisfying without being too sweet.	N24News: A New Dataset for Multimodal News Classification	Theater
The Suns and the Thunder agreed to a deal for Oklahoma City guard Chris Paul less than an hour after the N.B.A.'s trade market reopened Monday. The long awaited reopening of the N.B.A.'s trade market on Monday delivered an immediate blockbuster that will send Oklahoma City Thunder guard Chris Paul to the Phoenix Suns to join Devin Booker in what has the look of a dynamic backcourt. Oklahoma City will receive the veterans Kelly Oubre Jr., 24, and Ricky Rubio, 30, from the Suns as the headliners of a package for Paul that also includes a 2022 first round draft pick. The deal came together in the first hour after the N.B.A. permitted trades for the first time in more than nine months. On Sunday, the rebuilding Thunder struck a verbal agreement to trade the reserve guard Dennis Schroder to the Los Angeles Lakers, according to two people familiar with the agreement. Oklahoma City will also acquire Danny Green and the No. 28 pick in Wednesday night's draft for Schroder, meaning that Thunder General Manager Sam Presti once the trades are made official will have amassed 16 first round picks over the next seven N.B.A. drafts through 2026. "Chris has been the consummate leader and has left a tremendous legacy in a short period of time," Presti said in a statement Monday announcing the trade. The Thunder were one of last season's overachievers after acquiring Paul in a trade with the Houston Rockets that netted two of those 16 future first round picks as well as the right to swap first round picks with the Rockets in 2021 and 2025. Yet it quickly became apparent, after the Thunder lost a first round playoff series to the Rockets in seven games, that Presti was poised to commission a rebuild. Coach Billy Donovan left the Thunder in September instead of trying to hash out a contract extension and was hired shortly thereafter as the coach of the Chicago Bulls. More recently, Presti told Paul and his representatives that they could try to find a trade partner that would appeal to the All Star guard, according to a person with knowledge of the arrangement who was not authorized to discuss it publicly. Paul, 35, who has two seasons and roughly 85 million left on his contract, wanted to remain in the Western Conference to be near his family, which stayed in Los Angeles last season while he played in Oklahoma City. Paul also has a strong relationship with Suns Coach Monty Williams, according to the person, after playing for Williams for one season in New Orleans. In addition to reuniting with Williams, Paul will now team with the Suns' young cornerstone duo of Booker and Deandre Ayton to try to restore Phoenix to Western Conference relevance. The Suns have missed the playoffs for 10 consecutive seasons, the second longest active playoff drought behind Sacramento's 14. But Phoenix was one of the surprise stories of the N.B.A. restart at Walt Disney World near Orlando, Fla., after arriving with the second to worst record of the 22 teams participating yet only missing the postseason by a half game after the 8 0 flourish. The trade is the latest milestone event in an eventful year plus for Paul. During the 2019 off season, Houston gave up four draft assets to persuade Oklahoma City to absorb Paul's contract. This off season, after Paul played at an All Star level for the Thunder, Oklahoma City was able to acquire a first round pick in trading him away. "Man, I'm 35 years old and I still get a chance to play basketball every day and say that's my way of life," Paul said last week when asked about trade rumors during an appearance in the Time100 speakers' series. "That is crazy in itself, so regardless what happens, I'll be ready." Paul averaged 17.6 points and 6.7 assists per game last season in earning his 10th trip to the N.B.A. All Star Game. Oubre averaged a career best 18.7 points per game for the Suns last season but did not play in the N.B.A. bubble while recovering from knee surgery; Rubio averaged 13.0 points and 8.8 assists in his first season with the Suns after signing a three year, 51 million contract in July 2019. Oklahoma City's Schroder trade, as The New York Times reported Sunday, came together in part because the Lakers fear Rajon Rondo will command offers in free agency after a strong run in the playoffs, making it difficult for them to re sign him given the reigning champions' budget constraints. The Lakers see Schroder, who averaged 18.9 points and 4.0 assists per game as one of the league's top sixth men last season, as a huge boost to their offense. The Lakers also have interest in signing Milwaukee's Wesley Matthews Jr. in free agency to replace Green's defensive ability, 3 point shooting and experience, according to a person familiar with the team's plans who was not authorized to discuss them publicly.	N24News: A New Dataset for Multimodal News Classification	Sports
LOS ANGELES The Disney ABC Television Group, grappling with industrywide upheaval in viewing and delivery, on Friday moved to reinforce its senior management team. Bruce Rosenblum, who formerly served as the No. 1 television executive at Warner Bros., will join the Disney ABC Television Group as president of business operations. Disney said in a news release that Mr. Rosenblum would oversee global distribution, digital media, strategy and other departments for networks that include ABC, Disney Channel, Freeform and Disney XD. (ESPN will not be part of his portfolio.) Mr. Rosenblum, 58, who left Warner in 2013 after being publicly passed over for the chairman job at that studio, will report to Ben Sherwood, 52, president of the Disney ABC Television Group. Mr. Sherwood, who helped produce the movie "Charlie St. Cloud" before joining Disney, said in an interview that he would spend more time on "creative" matters, which is Hollywood shorthand for series conception and execution.	N24News: A New Dataset for Multimodal News Classification	Media
For nearly 15 years, the poets Elizabeth Barrett Browning and Robert Browning lived under the spell of this elegant Renaissance capital and the mark they left remains. They were an unlikely couple: he a young writer, dashing and ambitious, she a highly lauded poet six years his senior, a middle aged invalid whose father kept her housebound. But when Robert Browning sent Elizabeth Barrett a fan letter in January 1845 "I love your verses with all my heart, dear Miss Barrett," he gushed he ignited a romance that defied not only her weak constitution, but also her controlling father's prohibition of marriage, as well as the conventions of Victorian England. After a 20 month courtship conducted mainly within the sickroom that she hardly ever left the pair married secretly and ran away, escaping the forbidding chill of London for a city that could feed their poetic souls with warmth and beauty. They moved to Florence. For nearly 15 years, the Brownings lived under the spell of this elegant Renaissance capital. Inspired by its magnificent architecture and piazzas, embraced by its artistic expatriate community, they produced some of their most famous works including Browning's "Men and Women," and Barrett Browning's "Aurora Leigh" and this period is widely considered the most productive of their lives. But more than 150 years after Elizabeth Barrett Browning's death ended the couple's Florentine idyll, the pair seems largely forgotten by their muse, overshadowed by Dante, Michelangelo's David and the city's other treasures. There is no doubt that Florence left a mark on the Brownings. But during a visit last May, I set out to discover whether the Brownings had left their mark on Florence. Even in the 19th century, Florence was a popular tourist destination, particularly for upper crust Victorians who, continuing the previous century's tradition of the Grand Tour, flocked here to enhance their knowledge of art and the classics. Indeed, the city's touristy reputation initially deterred the Brownings freshly arrived from England, they lingered for months in Pisa, planning only a brief stop in Florence before heading to Rome. But when they arrived in Florence in 1847, they found themselves captured by the city's sublime beauty. "Florence holds us with a glittering eye; there's a charm cast round us, and we can't get away," Elizabeth wrote in a letter to a friend. Armed with a reprint of an antique map, I set out to find some of the Anglo Florentine haunts of the Brownings and their set. At first glance, the city's center its magnificent, well manicured architecture shining with eternal beauty appeared untouched since the Renaissance. But the particular establishments I sought, once popular among the Brownings and their set, had long ago disappeared. At Piazza Santa Trinita, I gazed at the Palazzo Bartolini Salembeni, a majestic structure that once housed the Hotel du Nord, popular among well heeled travelers; today the building is privately owned, its doors firmly shut and bolted. On the elegant shopping street, Via de' Tornabuoni, I looked for the ornate, gilded interiors of the Gran Caffe Doney a British favorite featured in the Franco Zeffirelli film "Tea with Mussolini" but instead found a boutique hotel. Even the British Consulate had vanished; I later learned that it closed in 2011, shuttered after 500 years of diplomatic presence in Florence. At the massive Palazzo Strozzi, I did find the Gabinetto Vieusseux, a private lending library frequented by Robert where, for a hefty membership fee, he read English periodicals and exchanged ideas with other expatriates. But the institute moved to its current location only several decades ago, and the collection is open to visitors solely by appointment. I crossed to the other side of the Arno, pausing to admire the statues on the Ponte Santa Trinita. The river sparkled before me, edged with pastel colored Renaissance buildings, the gaptoothed, medieval clock tower of the Palazzo Vecchio looming above jagged red rooftops. It occurred to me that here, in this "most beautiful of cities devised by man," as Elizabeth once described it, perhaps the luster of the Brownings had simply faded and compared to all this, whose wouldn't? Still endeavoring to retrace their daily footsteps, I entered the Boboli Gardens from a side gate on Via Romana. Their rent at Casa Guidi included free admission to these manicured grounds of the Palazzo Pitti, and the couple often came here with their son, Pen, a beloved only child who was born in Florence in 1849 after Elizabeth had suffered two miscarriages (childhood illness, combined with a lifelong morphine addiction, compounded her health problems). Lined with clipped hedges, dotted with elaborate grottos and serene reflecting pools, the formal gardens seemed like an odd place for a child to frolic. Then again, Pen was surely no ordinary child, dressed by his mother to resemble a Renaissance prince, with embroidered blouses, velvet trousers, and long curls flowing under wide brimmed hats, as was the fashion among the Anglo Florentine coterie. Back on the Via Romana, I turned toward the Casa Guidi, only a few steps away. Sweeping across the first floor of a 15th century palazzo, the Brownings' former apartment is today owned by Eton College, which maintains it as a museum, open three days a week from April to November; the Landmark Trust, a British nonprofit organization, also manages it as a holiday rental. Inside the imposing, high ceilinged rooms I gazed at decor replicated from the Brownings' era, including stiff Victorian furniture, drawing room walls of sea foam green and heavy red curtains. Elizabeth's desk stands in the center of the drawing room, facing a bank of tall windows. In this spot, she wrote some of her finest work, including "Casa Guidi Windows," a book length poem inspired by the pageantry unfolding on the street below. On Sept. 12, 1847 the Brownings' first wedding anniversary the couple watched 40,000 people parade past their windows in an enormous political demonstration heralding the Risorgimento, the movement for Italian unification. The crowd's "joy and exultation," "the white handkerchiefs fluttering like doves," the banners reading "Liberty," "The Union of Italy," and "the Memory of the Martyrs," so deeply affected Elizabeth that she wrote "Casa Guidi Windows" in passionate support of the Italian struggle for liberty: For the heart of man beat higher tumult and desire .... How we gazed while, in trains of orderly procession Which died upon the shout, The Brownings had tiny appetites and unusual eating habits one biography of the couple claims they were once seen sharing a squab. They subsisted largely on coffee, bread, chestnuts and grapes all of which are available at Mercato di Sant'Ambrogio (Piazza Lorenzo Ghiberti), a lively food market. Though it dates to the 19th century, the poets most likely did not shop here; Elizabeth's lady's maid, Wilson, bargained for her. "Flush," by Virginia Woolf, tells the story of the Brownings as portrayed through the biography of Elizabeth's beloved cocker spaniel.	N24News: A New Dataset for Multimodal News Classification	Travel
Ed Sheeran, Eminem, Maroon 5 and Cardi B all performed on Sunday night as part of the iHeartRadio Music Awards, a testament to the company's dominance over the radio business. Its roughly 850 stations, the most of any American broadcaster, still wield considerable hitmaking power, even in the age of streaming. But on Thursday, iHeartRadio's parent company, iHeartMedia, filed for bankruptcy protection in an attempt to restructure part of the 20 billion debt load that has burdened it since a leveraged buyout a decade ago, on the eve of the 2008 recession. The company announced that it had reached agreements with creditors to reduce its debt by more than 10 billion. It said it would continue to operate its stations during the process. According to court filings, iHeartMedia, known as Clear Channel Communications until 2014, paid 1.4 billion last year in interest on its debts. Its media division, which includes the broadcast stations, a popular music app and a unit that syndicates shows by Rush Limbaugh, Sean Hannity and others, had 3.6 billion in revenue and 735 million in operating income.	N24News: A New Dataset for Multimodal News Classification	Media
JON CARAMANICA When we found out that Rick Owens was opening a new store, it seemed like the opportunity for a Critical Shopper first: tag team shopping. KATHERINE BERNARD A particularly fun premise because our bodies, mine and yours, probably wouldn't be grouped together on the same side of any binary. And yet my hypothesis was that we would gravitate toward similar pieces. In fact, we share a history of attraction within the Rick Owens gene pool: long almost dress length T shirts, drape y blacks, leather jackets, drop crotch pants. JC Except for the pants, which connote a level of leisure I do not believe in. But yes, part of the Rick proposition is fluidity. Shopping there together seemed like an opportunity to test that premise in real life, on real bodies. KB The most Rick of the Rick silhouettes are sacks and sleeping bags. Actually, this season he called them Body Bags. Which implies: any body. JC And yet I find Rick almost impossibly body conscious. His silhouette is vague, but also extremely specific. KB You can't necessarily see it on the hanger, but everything is for ... goth scarecrows. JC And we saw a couple of those people in the store! I often see people wearing Rick out in the world, and it looks wrong. That's because he is almost merciless about body type. The drapery doesn't work on someone who is wide (or even broad), or short. KB I thought you and I would co try identical sacks and splattered jackets and emerge from the dressing rooms as twins in cashmere melting off us outfits. But I was surprised that I was drawn to the pieces that were most plainly women's wear. JC Do you think his approach to "women's clothes" spoke to you specifically? KB In the store, among so much concrete, it struck me how many amorphous long sleeve garments I've put on the last few years. This is something we touched on: Rick is so copied. I know all about a buttery shirt and a long blazer/jacket hybrid that tapers around my rear like wasp wings. I'm no longer curious about those things. But the shiny Double Boner loincloth skirt that the saleswoman called "scandalous" that I wanted to try. A knit the sales dude said reminded him of a fire building Patagonian chef featured on the Netflix docu series "Chef's Table" such a specific reference. I wanted you to put that on. JC And so I did. There was a way that cardigan ( 1,306) hung on the body indifferent, regal, nurturing that felt familiar in that space. But there was a naturalistic warmth to it, too, something I don't expect from Rick. KB Rick does not build fires in the mountains in Argentina. He has a polished marble fireplace in Los Angeles with an on/off switch. JC It's like he designs for my long lost Angeleno art gallery twin who pulls a mean espresso. KB Has L.A. gotten cooler, or has Rick gotten less cool? KB He brushed mohair until it almost inflated! Stunning. JC That was a piece we both agreed on, the mohair bomber. It was the first moment I laughed in the store. It exuded heavy Ewok vibes, cuddly and optimistic. It looked as if I'd just stuck my finger in a socket. KB No, less violent touching one of those electricity generating balls in a children's museum. I tried it, too. Sticking arms in silk sleeves feels so creamy. KB The saleswoman helping us handed me that undulating knit and shearling gray dress and said, "All the weight is in the bottom of this, so when you put it on, you might tip." That was hilarious. Even funnier: It cost 6,992. But I put it on, and it looked so beautiful. Like someone took the blankets and shearling out of an Icelandic grandmother's bedside chest and sewed them into an embracing sculpture. JC Yes, you looked extremely swaddled. Like, peak swaddling. Tilda Swinton swaddling. It created a framework in a way that his pieces don't always. KB Speaking of Tilda, I think I simply have the right haircut. Those clothes beg to have a conversation about line, any line, and my hair right now has really good, sharp lines. JC True. You could never grow it out. KB I think Rick is trying to tell us some secrets about himself. He's the author who shrugs when you ask "Fiction or memoir?" JC That's just another boring binary for him. The one that jumped out at me in the store was "modern or primitive"? The piece I connected to most strongly was the sleeveless shearling draped sheath, the one that looked primed for the primordial hunt ( 6,072!). It was violence, it was utility, it was luxury. It's hard to overstate how absurd the look was, and yet, as with your multi shearling dress, it had an ineluctable logic to it. KB While you tried that, I put on a black velvet "body bag" sleeveless velvet overalls with wafty cargo pockets that I could also fit inside. The piece was so, so long. I trailed feet of velvet on the floor behind me when I walked. I don't think Rick is political whatsoever, so the name of the garment may point to the body as a bag. A sack of organs. Which he suggests I spend 2,392 to cover. JC Those overalls, which came in at least three different fabrics, seemed like one of the few concessions to modern trends. It was like a joke about Vetements, taking those hard, big clothes and making them silky and liquid, but it felt like an off note to me. One of Rick's things is reliability. Season to season, the silhouette is roughly the same; the narrative doesn't move much. That felt like the outside world creeping in. KB Maybe the outside inside will actually create an interesting dialogue. Rick has been so singular. Yet contrasts are really the thrust of the label: Paris and Los Angeles, long and cropped, modern and primal, foam and stone.	N24News: A New Dataset for Multimodal News Classification	Fashion & Style
The Florida rapper Kodak Black was sentenced on Wednesday to 46 months in prison on federal weapons charges, though he faced up to 10 years. Prosecutors in Miami had asked for a sentence of 46 to 57 months, while Black's lawyers had requested less, pointing to his guilty plea in August and his history of charitable work. Black, 22, whose legal name is Bill Kapri (though he was born Dieuson Octave), had admitted to lying on background check forms while buying multiple firearms in two different incidents earlier this year. Prosecutors said two of the guns were later found by the police at crime scenes, including one with Black's fingerprints and a live round in the chamber that had been used to fire at a "rival rap artist." Black has not been charged in the shooting. Another weapon was discovered in the trunk of a car as the rapper and his team attempted to cross the Canadian border into upstate New York in April. Black was charged with unlawful possession of marijuana and criminal possession of a firearm. Lawyers for Black did not immediately respond to a request for comment on Wednesday. In court, Black apologized and told the judge, "I do take full responsibility for my mishap," The South Florida Sun Sentinel reported.	N24News: A New Dataset for Multimodal News Classification	Music
Steven A. Cohen's long, arduous pursuit of the Mets is headed toward a conclusion, but New York City may throw up a last minute roadblock. Mayor Bill de Blasio's office notified the Mets and Major League Baseball on Friday that they were looking into whether the team could be legally sold to Cohen, a spokesman for the mayor said on Wednesday. There is no indication that the mayor's office is bent on thwarting the deal. But it has a 30 day window, which began on Friday, to collect information and potentially take action as the leaseholder of Citi Field, the Mets' stadium in Queens. "The Mayor has an obligation to the people of New York City to closely examine new leases on culturally important and incredibly valuable city owned land," said Bill Neidhardt, a spokesman for the mayor. USA Today first reported that the mayor might have the power to determine whether Cohen, as the former employer of a felon, is qualified to be the new owner of a commercial venture on city controlled property. None Everyone Loves Ohtani: The Angels' two way star was a unanimous pick for A.L. M.V.P. and his superfans redefine devotion. Phillie Phavorite: Bryce Harper truly committed to Philadelphia and now he's back on top of baseball, winning the N.L. M.V.P. Cy Young Winners: Milwaukee's Corbin Burnes and Toronto's Robbie Ray had hit rock bottom before they worked their way up to stardom. Baseball Is Stuck in Neutral: The potential of a lockout has a star studded group of free agents waiting for the dust to settle. Free Agency Tracker: Get the latest updates on signings, contract extensions and trades. Cohen, a billionaire hedge fund manager who grew up as a Mets fan in Great Neck, N.Y., entered into an agreement last month to buy the Mets from Fred Wilpon and Saul Katz, the principal owners of the team, for about 2.42 billion. It seemed that the only remaining hurdle for Cohen to clear before taking over the team would be a vote by the owners of the other 29 teams in M.L.B., and many people within baseball expected Cohen to have little trouble getting the requisite approval from 23 owners. But de Blasio could theoretically obstruct the deal based on the 99 year lease agreement between the Mets and New York City, which specifically rules out certain "prohibited" persons as potential owners. The Mets lease Citi Field from the city. The mayor's potential power lies in the language of the lease agreement, which is a public document. It stipulates that if there is a transfer of ownership of the team, the new owner cannot be a felon or a person who has "controlled" a felon. Cohen has never been charged with a crime, but his former company, SAC Capital Partners, was found to have engaged in insider trading in 2014 and was forced to pay 1.8 billion in fines. One of his employees, Mathew Martoma, was convicted of insider trading and sentenced to nine years in prison. The Citi Field lease states that a transfer of ownership is a "permitted transaction" only if the buyer is not a "prohibited person." The lease agreement defines a "prohibited person" as anyone who "directly or indirectly controls, is controlled by, or is under common control with a person that has been convicted in a criminal proceeding for a felony or any crime involving moral turpitude." The Mets declined to comment, as did a representative for Cohen. Whether the mayor can or wants to hold up the sale to Cohen remains to be seen, and any attempt to block the transaction would surely be met with legal challenges. But the process could put on hold some of the hopes of Cohen and legions of Mets fans, many of whom are eager for Cohen to take over the club before the start of the new year and begin pumping some of his billions into the club's operations and roster. Cohen has already announced that he will hire Sandy Alderson, the former Mets general manager, to run his baseball operations department, and the current Mets owners are eager to sell the team before the end of the year. De Blasio previously expressed his favored choice for new Mets owners, and it was not Cohen. In August, he said he supported the bid by a group headed by the singer and actor Jennifer Lopez and her husband, Alex Rodriguez, the former baseball player and current television analyst. "If a very important franchise like the New York Mets ended up being led by a people of color ownership group, I actually think that would be very good for baseball and very good for this country," de Blasio said at the time. Lopez and Rodriguez made a competitive bid, with Lopez as the control person, but the Mets' owners chose last month to sell to Cohen. Another potential beneficiary, in the unlikely case the Cohen agreement falls through, would be the group headed by Josh Harris and David Blitzer, who own the New Jersey Devils of the N.H.L., and the Philadelphia 76ers of the N.B.A.	N24News: A New Dataset for Multimodal News Classification	Sports
ATHENS As European leaders grapple with how to preserve their monetary union, Greece is rapidly running out of money. Government coffers could be empty as soon as July, shortly after this month's pivotal elections. In the worst case, Athens might have to temporarily stop paying for salaries and pensions, along with imports of fuel, food and pharmaceuticals. Officials, scrambling for solutions, have considered dipping into funds that are supposed to be for Greece's troubled banks. Some are even suggesting doling out i.o.u.'s. Greek leaders said that despite their latest bailout of 130 billion euros, or 161.7 billion, they face a shortfall of 1.7 billion euros because tax revenue and other sources of potential income are drying up. A wrenching recession and harsh budget cuts have left businesses and individuals with less and less to give for taxes and growing incentive to avoid paying what they owe. The budget gap is widening as the so called troika of lenders the International Monetary Fund, the European Central Bank and the European Commission withholds 1 billion euros in bailout money earmarked for government financing while it waits to see whether new leaders elected June 17 will honor Greece's commitments. Even if the troika delivers that money, Greece will struggle to cover its obligations. It underscored a harsh reality that is playing out in other troubled euro zone economies. Prolonged austerity is making it harder, not easier, for governments like Greece to become self reliant again. A top Spanish official acknowledged on Tuesday that Spain could not readily return to the markets to raise money because investors are demanding such high rates, highlighting how the debt crisis is spreading to larger economies in Europe. Chancellor Angela Merkel of Germany said a day earlier that European leaders needed to find a way to create the political union that the world is looking for to complement their monetary union. European officials took a small step in that direction Tuesday by proposing a central authority for banking regulation, which would require countries to give up a bit of cherished sovereignty. To understand the difficulty, just talk to Nikos Maitos, a longtime official in Greece's financial crimes investigation unit. When he and a team of inspectors recently prowled the recession hit island of Naxos for tax evaders, a local radio station broadcast his license plate number to warn residents. "One repercussion of the crisis is that people are harder to find," Mr. Maitos, an imposing, burly man, said last week in his sweltering office on the edge of Athens. "And when you do find them, they don't have money." 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. Even tax collectors, who have had to take large pay cuts, find that budget reductions make it hard to pay for the gasoline needed to reach their targets. "After two and a half years of austerity, it's really a difficult time to bring in revenue," said Harry Theoharis, a senior official in the Greek Finance Ministry who helps oversee the country's tax payment system. "You can't keep flogging a dead horse." Salaries and pensions in the private and the public sectors have been cut by up to 50 percent, leaving Greece 495 million euros short of its revenue targets in the four months ended in April, according to the Greek Finance Ministry. With less cash, consumers have curbed spending, leading thousands of taxpaying businesses to fail. Income expected from a higher, 23 percent value added tax required by the bailout agreement has fallen short by around 800 million euros in the first four months of 2012. That is partly because cash short businesses that were once law abiding have started hiding money to stay afloat, tax officials said. Greece's General Accounting Office said recently that the state collected 25 percent less revenue in May than it did a year earlier. And the state has had to slash its goal of raising 50 billion euros from privatizations to just 3 billion euros as foreign investors lose interest. That has left a caretaker government scrambling for a Plan B. One thought is to take billions of euros reserved for recapitalizing Greek banks, which have suffered from a flight of deposits amid political uncertainty and fears that Greece may abandon the euro for its own currency. But using that money would require the troika's approval. Other notions, like i.o.u.'s and scrip, so far are only that ideas. To some extent, government officials said the tax avoiding mentality is starting to change amid an aggressive enforcement campaign aimed at 500 wealthy individuals and companies, including former ministers and heads of state agencies and enterprises. People took notice in April when a former defense minister was arrested on charges of corruption and making false declarations related to his income and taxes. But Nikos Lekkas, a top official at the financial crimes agency where Mr. Maitos works, said Greek banks had obstructed nearly 5,000 requests for account data since 2010. "The banks delay sending the information for 8 to 12 months," he said. "And when they do, they send huge stacks of documents to make it confusing. By the time we can follow up, much of the money has already fled." In the past two years, the agency managed to assess back taxes worth 650 million euros on 210 of the cases, he said. But only 65 percent could be collected. One challenge lies in what Mr. Lekkas calls the big fish 18,300 offshore businesses belonging to wealthy Greek individuals and companies. Authorities are trying to trace the owners through property records, and they recently seized several large properties linked to offshore companies whose owners owe tens of millions of euros to the state. That leaves collectors having to go after mostly smaller tax evaders, often with mixed results. During a surveillance trip on the resort island of Santorini, Mr. Maitos said he and two colleagues observed a gas station owner insisting on cash only transactions to avoid declaring taxes. When confronted, the man lashed at them with a bullwhip while cursing the state for taking his money. Officials said things might improve drastically once Greece's entire tax system is computerized, a move that is supposed to be completed by the end of this year. Charalambos Nikolakopoulos, the head of the Greek tax collectors' union, said there was no need for outsiders to straighten things out. "Yes, we need change," Mr. Nikolakopoulos said. "But things will only improve in Greece when we get a stable government that will impose its political will."	N24News: A New Dataset for Multimodal News Classification	Global Business
For more than 40 years, Ronald S. Lauder collected knights in shining armor. Now he has decided to be one. At a time when cultural institutions all over the world are struggling in the pandemic, the cosmetics magnate and philanthropist is giving 91 pieces of arms and armor to the Metropolitan Museum of Art, which the New York institution is calling the most important donation of its kind in 80 years. The Arms and Armor galleries have long been one of the museum's main attractions, a gateway to culture for children captivated by the majestic warriors on horseback and an internationally renowned collection of chain mail, helmets and breastplates from Europe, Asia, America and the Middle East. Those galleries will be named after Mr. Lauder. "When I was collecting, I was collecting with the Met in mind," he said in an interview. "Many of the things I bought were things the Met did not have." Mr. Lauder, who declined to disclose the donation's value, said he decided to give at a time when so many museums were worried about the future. "It's important to say, 'We still care about institutions,'" he said. "It's an important symbol." The donation, which includes funds to support gallery improvements and educational programs, features an armor made in Tuscany in a workshop patronized by the Medicis and another made in the royal court workshops at Greenwich as a gift to Friedrich Ulrich, Duke of Brunswick Wolfenbuttel both from the 17th century. "Ronald has had a long relationship with the Met," said Max Hollein, the Met's director. "He's literally been the patron saint of the Arms and Armor department." Growing up in New York City, Mr. Lauder recalled being awed by the museum's armor as a youth and said he continued to see those same expressions of wonder on children's faces in the galleries. "The collection had a major effect on me," he said. "I still have the excitement when I come to see it." Mr. Lauder began collecting arms and armor in 1976 and developed a close relationship with Stephen Vincent Grancsay, who served as the Met's curator in charge of Arms and Armor from 1929 to 1964. "He started to get me interested in it," Mr. Lauder said. The billionaire, who founded the Neue Galerie and collects deeply in 16 other categories including 20th century German and Austrian art and design as well as World War II memorabilia said he viewed arms and armor as art. "Some of the greatest artists and sculptors of the 15th and 16th century were working in arms and armor," Mr. Lauder said. "These are not names that people know, but these were some of the greatest artists of their time. "You have to be very, very good at what you're doing," he continued. "Remember, these helmets were usually pounded out of pieces of metal. To make them perfectly round takes great ability." Over the years, Mr. Lauder has built one of the leading armor collections in the world. Pierre Terjanian, who leads the Met's department, which consists of 14,000 objects, said Mr. Lauder "has always been regarded as a giant in the field of collecting European arms and armor." "I knew of him long before I had the opportunity to meet him," Mr. Terjanian added. Two of Mr. Lauder's pieces were included in the Met's recent ambitious show "The Last Knight: The Art, Armor, and Ambition of Maximilian I," which was organized by Mr. Terjanian with Mr. Lauder and his wife, Jo Carole, as lead sponsors. As co chairman of the department's visiting committee, an advisory group, Mr. Lauder has also been part of the discussions about the Met's arms and armor collection. "He knows us well, because in those meetings we discuss our successes and our ambitions and sometimes our limitations," Mr. Terjanian said. "He had many, many years to get to know us, and he has taken advantage of that position to help us." Several of the donated items fill holes in the Met's collection and will allow the museum to present a more comprehensive narrative from the late Middle Ages through the Renaissance. The Greenwich armor's matching gauntlets, for example, will be reunited with the armor to which they originally belonged the now complete outfit will be on view for six months starting early this month. "We had unmistakable gaps where we just couldn't show what happened at certain places at certain times," Mr. Terjanian said. "Those complete armors can anchor groups of objects that we have had but just didn't have much context for. It's a very well rounded ensemble of stories that the gift enables us to tell."	N24News: A New Dataset for Multimodal News Classification	Art & Design
Ruben Dario's homeland is a place of volcanoes and lakes, like the Concepcion volcano and Lake Nicaragua, above.Credit...Federico Rios Escobar for The New York Times Across the country where he was born more than 150 years ago, Ruben Dario, who breathed new life into the Spanish language, is honored and remembered. Ruben Dario's homeland is a place of volcanoes and lakes, like the Concepcion volcano and Lake Nicaragua, above. Once you know him, you see him everywhere. He's in the airport and in the park. He's by the hotel entrance and inside the theater. I even caught a glimpse of him on the side of an armored bank truck in Managua. Now this poet, diplomat and hero of Nicaragua lay at my feet, very much alive at 101 years dead. Almost any Spanish speaker will know the name Ruben Dario. He wasn't just a writer. He was the father of Spanish Modernism, the one who gave them their language back. For that they are grateful. Madrid has a Ruben Dario metro station. You'll find Calle Ruben Dario in Mexico City, Panama City, San Salvador and Tegucigalpa, Honduras. Ruben Dario Middle School sits next to Ruben Dario Park in Miami. But Dario was born in, raised in and died in Nicaragua, and to them he's 100 percent theirs. "He's everything to us!" said a night clerk in Granada. "He's the identity of our culture!" said the musician in Managua. "Want to hear a joke about Dario?" asked the waitress. "It's naughty." I'd come to Nicaragua last January not to surf or hike or do yoga on the beach, but to explore the profound love that Nicaraguans hold for a poet on what would have been his 150th birthday. Politicians would give speeches. There'd be parades and symposiums and recitals. For the moment I was in Leon, the intellectual hub of Nicaragua, where Dario's ghost looms largest. Dario's tomb lay near the altar under a life size sculpture of a lion with a face frozen in anguish. The seal of Nicaragua with its volcanoes and two oceans sat nearby. Ministers had come to lay wreaths. I sat in a pew, alone, watching how no one seemed to come inside for the saints. This is how his story ends, and yet something timeless still lives. To understand who people are, you can flip back through their pages to see where they were. My Dario journey began in earnest a few years ago when I got in contact with a German immigrant who moved to Nicaragua in the 1990s. Immanuel Zerger looks something like a 19th century writer himself, with graying hair and lugubrious eyes. There he had met his wife to be, Nubia, when she was a widow with five children running a small hotel on the Solentiname Islands in Lake Nicaragua. Immanuel started helping her out and things went from there. Samuel Langhorne Clemens wasn't Nicaraguan, of course, but in the early days of his career, in 1866, the man we know as Mark Twain spent three days crossing Nicaragua en route from San Francisco to New York, a trip recounted in "Travels With Mr. Brown." Immanuel recreated Twain's journey on the occasion of its 150th anniversary, in 2016, a moment that caught my attention but that I ultimately missed. "There's another anniversary for another writer you should know," Immanuel told me. "This one is Nicaraguan, a poet, very famous." HEAVY CLOUDS hung over Managua when I arrived. At the time, Immanuel didn't offer a "Ruben Dario tour" he does now but I hired him to help me track down experts and get me to the places where Dario would have been and where his spirit lives on. The Ruben Dario National Theater in Managua came first. Immanuel fetched me from the Los Robles hotel, a relaxed posada with a tropical courtyard in the heart of the capital. Immediately the legacy of the United States' involvement in Nicaragua stood out. A statue of Augusto Cesar Sandino, the guerrilla leader murdered in 1934 and perhaps the only figure more revered than Dario, loomed in the distance. Dario himself was weary of the United States' role in Nicaraguan affairs, particularly during the banana wars from 1898 to 1934. In 1905 he wrote a poem called "To Roosevelt." "You think that life is a fire, / that progress is an irruption?, / that the future is wherever / your bullet strikes," Dario wrote. "No." The theater has bold Bauhaus style lines and sits near the lake across from a plaza where Pope John Paul II delivered a fiery sermon in 1983 when the country was deep in a civil war. The theater survived the earthquake with only cosmetic damage and escaped the war unharmed. "Every side claims Dario as their own," Immanuel said. "He is untouchable." Ramon Rodriguez Sobalvarro, the general director and an accomplished oboe player, welcomed me in his office. He had been rehearsing for a coming performance that would put Dario's poetry to music. A keyboard stood in the corner, and above his desk hung a picture of Dario with broad shoulders and a thinker's stare. "For me Dario is a Nicaraguan artist in the maximum sense," Mr. Rodriguez said as we walked around the theater. "He gave us our cultural identity, something that was ours that we could then project out into the world instead of copying what had already been done." In the theater's early days it was built in 1969 nearly all of the shows were foreign productions: Duke Ellington, Mexican folk ballets, Marcel Marceau. Now 90 percent are Nicaraguan. Today some 40,000 children come for workshops; subsidies help keep most ticket prices in the 5 to 8 range. "The theater, Dario, art, it doesn't just happen inside these walls, you know," Mr. Rodriguez said as led me outside. "It lives out there." DARIO MAY BE THE ONLY NICARAGUAN to have earned worldwide acclaim as a poet, but others like Azarias Pallais, Salomon de la Selva and Alfonso Cortes (who lived, wrote and went insane in Dario's childhood home) come close. All of these men hailed from Leon where Dario grew up. I visited Dario's tomb in Leon on that furnace of a morning at the end of a two day stay in the city, but I got there thanks to a budding architect and translator named Gabriel Galeano, whom Immanuel asked to accompany me. Gabe, as he told me to call him, had a love for banter, and he picked me up in Managua for the 60 mile journey northwest. Soon we were whipping down a highway lined with jicaro. Old American school buses trundled by sporting new green bumpers, chrome horns, blue piping and loud checker wraps. It was if all those Blue Birds were finally free to ditch the school uniform and become their fabulous selves. Leon immediately felt more manageable than Managua, with sidewalks and plazas and people wandering about. Long the left leaning fulcrum of the country, Leon, the country's second largest city with about 210,000 people, was among the first to rebel against Anastasio "Tachito" Somoza DeBayle whose father, Anastasio "Tacho" Somoza, had been gunned down here in 1956 by Rigoberto Lopez Perez. Lopez, a national hero with his own statue in Managua, was a poet from Leon. Gabe led me to the Jose de la Cruz Mena Theater in the southwest side of the city. The lobby buzzed with TV crews. Girls dressed in Greco style costumes with winged hats and fanfare trumpets lined up nervously along the wall. The 15th Ruben Dario Symposium was underway and the who's who of the Nicaraguan literary scene had come to see performances, recite poetry and absorb lectures like "The Metaphysical Sensitivity in the Lyrics of Ruben Dario." "You know Dario said this city was like his Rome or Paris," said Eddy Kuhl, an author of numerous books on history and Dario, who also runs Selva Negra, an ecolodge in the coffee highlands. Mr. Kuhl, who could pass for a senior Indiana Jones, took me through Dario's rise to prominence. Dario taught himself to read at age 3 and wrote poetry not long after. He left Nicaragua for El Salvador at 15. At 19 he moved to Chile where, at age 21, he published "Azul," a collection of poems and prose that came to define the Spanish Modernist movement and catapulted him into literary stardom. The book, which built on the work of other poets like Jose Marti, shattered the stodgy literary norms of the day and breathed new life into the language. "Everything written in Spanish afterward has been affected in one way or another by that great renascence," wrote the Mexican poet and Nobel laureate Octavio Paz in the prologue to "Selected Poems of Ruben Dario," translated by Lysander Kemp. As Francisco Arellano Oviedo, the director of the Nicaraguan Language Academy, told me: "After so many centuries, Dario sent Columbus's caravan back and freed Spanish literature from Spain." After a lunch of fried plantains, chicken and repollo salad at a place called Tan Rico, we headed to the house where Dario had moved in with his aunt when he was just 40 days old. Rosa Sarmiento, his mother, fleeing an abusive marriage, would later end up in Honduras and have no relationship with her son. The house of his aunt, Bernarda Sarmiento de Ramierez, sits on Ruben Dario Street, though back then it was Calle Real. Half of the house is now a museum. A sofa given to Dario from Manuel Estrada Cabrera, the Guatemalan dictator, sat in a main room, along with Dario's diplomatic suits from missions to Argentina and Spain. Two large doors opened to the city outside. DARIO ONLY RETURNED to Nicaragua five times over the course of his career. He spent the bulk of his time traveling on other people's cordobas as a journalist, envoy and diplomat. He edited some of the day's most esteemed literary journals while in Europe and wrote for newspapers in Spain and South America, and The New York Times. All in all he crossed the Atlantic 12 times and explored some 30 countries on three continents. Perhaps Dario's most famous trip was on Nov. 23, 1907, when, now famous, he returned to Nicaragua aboard a steamer that called at the Pacific port of Corinto where a crowd greeted him. More people tens of thousands lined the railroad tracks across the countryside to see him as he toured. Dario's return still stands sure in the Nicaraguan consciousness today there are books and plays about it though I got the feeling the moment carries some wistfulness. "If one's homeland is small, you dream it big," Dario wrote in a poem about his trip, "Retorno," and the refrain today still hangs over the Plaza de la Revolucion in Managua. I said goodbye to Gabe and Immanuel fetched me in Leon. We drove northward toward Chinandega, a sweltering town not far from Honduras, and on to Corinto. The 4,255 foot Momotombo volcano rose behind us, "lyrical and sovereign," as Dario described it. "The return to the native land has been so / sentimental, and so mental, and so divine / that even the crystalline dawn drops are / in the jasmine of dream, of fragrance and song," he wrote. Corinto isn't so sublime. It felt like what it is: Nicaragua's deepest port town, with container yards and cranes and a gray beach lined with tin roofed shacks. The United States has landed marines here numerous times and in 1983 President Ronald Reagan, fearing Nicaragua's Communist rise, had the port mined, illegally. After that the president turned to more clandestine counterrevolutionary measures, and the Iran contra affair was born. OVER THE NEXT FEW DAYS, I'd do more touristy things. I'd meet Immanuel again to visit the beach town of San Juan del Sur. I'd peer into the molten, gurgling belly of the Masaya volcano and I'd stand in the warm Pacific in San Juan del Sur, where Immanuel helped get a statue installed of Dario sitting on a bench with Mark Twain near a lemon tree. Dario had come to San Juan del Sur on a diplomatic mission in the mid 1880s. Twain had passed through here 20 days before Dario's birth. "The two never met," Immanuel said, "but the Nicaraguan muses kissed them both." But for the moment, before leaving Ciudad Dario, Gabe and I worked our way to the main cathedral. St. Peter's had a tired off white facade with sea foam green accents and a Spanish colonial bell tower. Inside, paddle fans beat ripples down banners hanging from the trusses. Townspeople filled the pews. They'd come to bury one of their own, a craftsman who'd died in his 80s. "I am an aged tree that, when I was growing, / uttered a vague, sweet sound when the / breeze caressed me," Dario wrote in his 1907 poem "In Autumn." "The time for youthful smiles has now / passed by: / now, let the hurricane swirl my heart to / song!" At 10:18 p.m. on Feb. 6, 1916, Felix Ruben Garcia Sarmiento, the man the world knew as Ruben Dario, died in Leon. Gravely ill, he had returned to Nicaragua for his fifth and final time. When the "ruler of kings" came for him he was lying on his left shoulder, mouth agape, his body hollowed out by a failing liver. A photographer took a picture of him. A doctor removed his brain. Forty nine years old, and that was that. The funeral lasted a week. Attendants wrapped his body in a double breasted frock coat and slipped black gloves over his lifeless hands. Men with flat brimmed hats and women in long dresses lined the Avenida Central as a carriage ferried his corpse to the cathedral. They lowered him into a tomb carved out of the floor near the altar. "What will you put on my grave, master?" Dario had asked the sculptor Jorge Bernabe Navas Cordonero, a friend from Granada, who'd visited him on his deathbed. "A suffering lion," the sculptor replied. "It is your beloved people, your Leon, that will forever cry for you." More than 10,000 people showed up for his procession, but the immense love that Nicaraguans have for this man would only grow like the modernist movement he helped define. One night near the end of my trip, Immanuel and I drove through Managua to an area packed with food stands, looking for a dish called vigoron: yucca, chicharron and shredded cabbage served on a plantain leaf. The tables along the sidewalk were taken, mostly by talkative men. I couldn't understand a word but they waved their arms wildly and spoke expressively. "I think everyone here is a poet in some way," Immanuel laughed, only half joking. "Did you know that if you ask a couple expecting a child, 'Will it be a boy or a girl?', do you know what they might say?"	N24News: A New Dataset for Multimodal News Classification	Travel
"It doesn't sound so bad until you learn that smoke on stone acts as an acid," the Rt. Rev. Clifton Daniel III, the cathedral's leader, said in an interview on Monday. For months, crews from Maxons Restorations have been scrubbing down walls with special heavy duty brick shaped sponges. Construction lifts driven right onto the slate floor of the nave carry them up to the 125 foot high ceiling. With no room around the high altar to maneuver such heavy machinery, scaffolding is being installed there to put soiled surfaces within arm's reach. The stained glass windows are being vacuumed, the cast bronze entrance doors wiped down. The cathedral, the seat of the Episcopal Diocese of New York, remains open. A rented electronic organ is providing music until the 8,035 pipes of the cathedral's acclaimed Skinner instrument which, incidentally, had recently been cleaned and reinstalled after a more serious fire in the cathedral in 2001 can be packed up and sent away again for cleaning. "It's what you call an M E S S," Dean Daniel said. He hopes the cleaning of the stonework will be completed by Christmas and the cathedral will no longer look like a work site, with the organ restoration taking place next year (total cost: about 10 million).	N24News: A New Dataset for Multimodal News Classification	Art & Design
In 2015, Desus Nice (a.k.a. Daniel Baker) and the Kid Mero (a.k.a. Joel Martinez) attempted to make what the youngs call a podcast. Now, five years after mastering the audio form and fortifying their base (shout out to the Bodega Hive), they are attempting to write what old heads might refer to as a book. It's a logical next step for the Bronx bred duo, who have succeeded in other mediums, from the aforementioned podcast to late night television (Y.K.T.V.) and Twitter (caps lock tweets are a genre). Books, however, are relatively unforgiving when it comes to humor, and as a result present a different kind of challenge. Not everyone can do it, but in "God Level Knowledge Darts: Life Lessons From the Bronx," Desus and Mero prove that they have never really been just anyone. "God Level" takes a wide angle view of life, and Desus and Mero dispense advice that falls somewhere between what they wish they had known and what they definitely think you need to know to avoid being a total "herb." Their voices are distinct (and not just because all of Mero's sections are written in full caps lock) without being dizzying. The first half of the book, which covers drugs, relationships, kids and sports, channels the crackhead energy of their early podcast episodes. Mero goes on long, weed fueled tangents, his analogies tenuous at best ("THINK ABOUT RELATIONSHIPS LIKE YOU WOULD LIFE. LIFE IS MOSTLY CHILL UNLESS YOUR LIFE SUCKS BUT BEING ALIVE IS WAY MORE POPPIN THAN BEING DEAD"), while Desus brings the occasional assist, with actual wisdom masked as a "hot take" ("I think being perpetually single beats being constantly in and out of relationships just because you're afraid of being alone or you need someone to constantly text memes to"), or by waxing poetic about the real ways he's been disappointed in life (mostly by the Knicks). But "God Level" is not all jokes. In chapters like "Survival of the Brokest" and "Roach Blunts (Q A)," the pair demonstrate that growth is real, there might be hope for men and, as Desus has put it time and again, "God's working on all of us." They tackle the thorniness of toxic masculinity, extol the potential benefits of therapy (if you can afford it) and examine the conditions of modern society that have made it so "you have to have a fat bank account for attempting to survive." In "On the Inevitability of Becoming Washed," which is arguably the strongest chapter, they take an earnest turn and manage to balance their signature comedy with the vulnerability and self reflection that make their jokes so relatable. Desus talks hairlines (mostly his, R.I.P.) and Mero speaks to the craziness of having one kid, let alone four.	N24News: A New Dataset for Multimodal News Classification	Books
Working on the new season of "Sex Education" helps the creator Laurie Nunn stave off the "constant sense of low level anxiety and dread in the air," she said. At a time when the world has become defined by unsettling news and social distancing, how is a writer supposed to focus on telling a funny story about physical intimacy? That's the conundrum facing Laurie Nunn, the creator of the acclaimed Netflix comedy "Sex Education." "We're suddenly living in a world where human touch has become something to be feared," she said recently from London, where she is sheltering in place and working on the show's next season. A surprise hit when it debuted in 2019 Netflix said more than 40 million viewers watched at least some of the first season "Sex Education" won over audiences young and old with its breezy charm and unvarnished depictions of teen sexuality. ("Just wish this was around when I was a kid," one presumably older fan noted in a representative post on Nunn's Instagram.) Then the coronavirus pandemic brought most TV production to a halt, along with the rest of society. So as "Sex Education" is probably racking up more fans as much of the world sits inside watching Netflix (the series has shown up on many "best shows to binge in quarantine" lists in recent weeks), Nunn has moved her writers' room online to work on the next chapter with an eye toward filming this summer at the earliest. "I keep trying to remind myself that, despite this horrible pandemic, teenagers will still have a lot of sex and relationship questions that hopefully our show can help answer," she said. It was a similar sense of purpose that led Nunn, 32, to aggressively pitch herself a few years ago to Eleven Film, the company that developed "Sex Education" for Netflix. At the time she was a 20 something writer with no TV experience or particular expertise in adolescent issues, but she believed strongly that she was the right person for the project. "I sent all these photographs of myself as a teenager and basically just begged: 'I have to write this show,'" she said. "I felt instantly it was something I could bring a lot to." Jamie Campbell, a founder of Eleven Film and an executive producer on the series, said Nunn was convincing. "She immediately knew exactly what she wanted to do with the world of the show," he said, "and how to tell it." While Nunn had never written anything specifically about teenagers, she said that everyone has an inner adolescent and she was instinctively drawn to that sensibility. "They feel so much everything feels like life or death the angst is so potent," she said. "As a writer, that gives you a lot to play with because everything is on the surface." In some ways, Nunn is giving voice to her own personal history with "Sex Education." Raised in England and Australia, she was an introvert who took refuge in young adult novels as well as John Hughes films ("Sixteen Candles," "The Breakfast Club") and other teen movies, like "Mean Girls," "Never Been Kissed" and "10 Things I Hate About You." "I know every line," Nunn said. "I was kind of an awkward teenager a bit like Otis." She came into her own when her mother gave her a small video camera Nunn started making her own short movies and eventually immersed herself in boxed sets of TV series like "The Sopranos," "Sex and the City" and "Six Feet Under." She went on to earn a bachelor's degree in film and television from the Victorian College of the Arts at the University of Melbourne in 2007 and a master's in screenwriting from the National Film and Television School in Beaconsfield, England, in 2012. She had just a few projects under her belt namely some short films and her first stage play, "King Brown," which won a 2017 judge's award from the Bruntwood Prize for Playwriting when she convinced Eleven Film to hire her to write "Sex Education." In creating the series, Nunn has mined her own experiences. In Season 2, for example, the character Aimee is molested on a bus, a story line based on Nunn's personal encounter with sexual misconduct. She revealed the connection on Instagram in January, linking to a video conversation with cast members about assault. "I tried to brush it off as an unfortunate random event, but it stayed embedded in my mind and left me feeling shaken and unsafe in my environment," she wrote. "Sadly, this horrible experience isn't the only time I've been made to feel anxious in a public space by an unknown man. "Even sadder is the fact that almost all of my female friends and family members have been through something similar in their own lives," she continued. "In fact, unwanted sexual attention in public spaces is so common to the female experience that it almost feels like a right of passage, and that is a devastating reality." Nunn has approached "Sex Education" with a sure hand, becoming an executive producer on the series in Season 2, making her a rarity in an entertainment industry still dominated by men. And in her writing for the show, she has fearlessly tackled once taboo TV topics like female pleasure, anal douching, abortion and lesbian love. "Young people don't want to be patronized," she said. "They want to be challenged and told difficult stories." The series's straightforward approach to sex is also particularly timely, given increasing cultural awareness about the unrealistic male fantasies perpetuated by online porn.	N24News: A New Dataset for Multimodal News Classification	Television
The modern dance tree has abundant roots, and two of its thickest and oldest belong to Ruth St. Denis and Ted Shawn. Their Denishawn company and school in Los Angeles, which lasted from 1914 to '29, toured the world with a new spirit of dance barefoot and weighted, exotic and spiritual. They were celebrities of their day. Their costumes were often extravagant and the opposite of Coco Chanel's dictum: "Before you leave the house, look in the mirror and take one thing off." That was the cue, at least for St. Denis, to add another bauble. As for their students? One was the beautiful, young Louise Brooks. Another, more important for the art form, was the pathbreaking choreographer Martha Graham. St. Denis, known as Miss Ruth and drawn to the mysticism of Asian culture, sought a spiritual connection in her work; Shawn championed American virility in male dancers. Married in 1914, they separated in 1930; the next year, Shawn bought Jacob's Pillow farm in western Massachusetts, and three years later, formed Ted Shawn and His Men Dancers. That performance, in July 1933, is considered the beginning of the Jacob's Pillow festival. Most of the trunks have been at the Pillow since the festival's beginnings. An inventory was done in 1981, and about 15 years ago, four more trunks were donated by the University of California, Los Angeles. Since January, Caroline Hamilton, a costume specialist and preservationist at Jacob's Pillow Archives, has been cataloging material around 1,600 items to date. "Some of the trunks had 150 pieces," she said. "They were really packed." The majority of the objects, including costumes and props, have not been seen since they were stowed away. As Ms. Hamilton said, "They're often the only surviving thing we have from the actual performances." "They're an embodiment of the dancers," added Kevin Murphy, a curator at Williams College, who worked alongside Ms. Hamilton. Striving to connect the physical with the spiritual, St. Denis and Shawn excavated non Western and indigenous forms. For St. Denis's Orientalist works, she transformed herself into exotic figures inspired by the folklore of Japan, China and India. And in Shawn's "The Feather in the Dawn," he presented his own version of Native American dance. Sometimes their costumes were traditional; in other instances, they reimagined them. "With St. Denis early on, part of what she was projecting was this idea of her authentically inhabiting dances of different cultures," Mr. Murphy said. "Denishawn wanted to be seen as having the authority of authenticity. The costumes and the stories around the costumes helped give them that authority." That "authenticity" strikes us differently today. "People in India, in China, in Britain and Europe and in America were probably thinking that Denishawn was doing these authentic dances when they weren't," Mr. Murphy said. "That's an issue that we explore throughout the narrative of the exhibition. I think they were doing a lot of incredible, rich things that have a lot to say about our contemporary moment, particularly around issues of cultural appropriation. It's a great time to re examine these two figures." Recently, Mr. Murphy and Ms. Hamilton spoke with us about the costumes and what they reveal about the dances and about St. Denis and Shawn. 'Water' from 'Dance of the Ages' (1938) "I had seen all these wonderful photographs, and we have the footage Shawn was a big advocate of documentation but it's all in black and white," Ms. Hamilton said. "So when I pulled out this leotard, I couldn't believe how bright the blue was. There is hand painting on it. That's been interesting: adding color to this black and white world." Ms. Hamilton found the costume, an example of an early stretch leotard, in a touring trunk of the Men Dancers. It had been inventoried in 1981 and wrapped in acid free paper, but, she said, "nothing else had really been done to it." The details are illuminating, especially the hooks and bars on the back. "There are about 24 to get into that costume," she said. "You definitely would have needed help. And that leotard was actually made for him in Chicago, and there's a label inside with all of his measurements, which is really fun. We were able to get the mannequin exactly the right specifications." "For me, this is one of the most stunning pieces," Ms. Hamilton said of the kimono worn in "O Mika," which she found at the bottom of a trunk. "I got down to a certain level in the trunk, and this thing just kept coming out. It's huge." The embroidery is metallic and silk and "as vivid as the day she bought it, I suspect," Ms. Hamilton said. "We think this comes from 1925 when they were on their Far East Asian tour. She wore this over five kimonos underneath; she would take one off and do a dance and then take another one off and do another dance." For Mr. Murphy, St. Denis doesn't get enough credit for having an incredible sense of theatricality and design. In "Kuan Yin," she transformed herself into the Chinese goddess of mercy, or compassion. "She knew that to the audience she would embody this goddess through jewels," he said. "And they're really like buttons." Take a close look at the headdress: "It's covered in buttons and artificial pearls with feathers on it," Ms. Hamilton said. "My colleague described it as looking like her grandmother's button box." On the body, jewelry wraps around fabric, which, in the exhibition, will be a replica of what she wore. "Shawn talks about wherever they went she would be in the department stores looking at the cheapest, trashiest bits of costume jewelry," Ms. Hamilton said. "She had that eye." And Mr. Murphy said that while St. Denis was serious about delving into Eastern religions in performance, she also had the ability to show skimpy outfits in a new light. "She was inscribing them into these very serious, spiritual kind of experiences," he said, subverting the idea of "these costumes being hoochie coochie." A dancer could be taken seriously not in a vaudeville setting, but on the concert stage. As Mr. Murphy said, "She did a lot for liberating the female body in dance." For this one act production, which featured Louise Brooks, Shawn was inspired by Hopi dances. "This was a moment where the United States government was cracking down and suppressing Native American ritual and dance," Mr. Murphy said. "The government's position was that Native American dance was wasteful and that the American Indians should be doing more productive things than having these kinds of rituals that were not Christian." Shawn argued that these traditions were an important seed of American dance. "He called the government crackdown a great artistic crime," Mr. Murphy said. But in his own work, he wasn't trying to replicate native dance. "They're kind of pastiches of it," Mr. Murphy said. "For all of the rhetoric about needing to preserve these, he didn't actually try to do that. On one hand, Shawn is speaking up and on the other hand, he's also destroying it." The detail shown here is from Brooks's costume, an authentic dress from the Hopi tribe made of wool and decorated with colorful embroidery. In the photograph, she stands on the far right. Her role is hardly a surprise: She's the main love interest. "She plays the chief's daughter," Ms. Hamilton said, "who Shawn is trying to woo, and they marry at the end of the work."	N24News: A New Dataset for Multimodal News Classification	Dance
Not many playwrights would rhyme "Brittany" and "kitteny," but then not many have cause. David Ives does, and in "The Metromaniacs," which opened in a handsome Red Bull production at the Duke on 42nd Street on Sunday, he scours the far recesses of English for its most amusing specimens. In his word drunk universe, "news" hooks up with "chartreuse," "strophes" wins "trophies" and "rival" gets "adjectival." If those pairs let alone the possibly illegal conjugation of "comedy" and "Melpomene" sound a bit classical and even foreign, there's a reason. "The Metromaniacs" is the fourth of Mr. Ives's translations of French comedies from the 17th and 18th centuries, three of which were originally directed by Michael Kahn of the Shakespeare Theater Company in Washington. Actually, Mr. Ives calls them "translaptations": translations that are also adaptations, and rather aggressive ones at that. I'll take Mr. Ives's word (as he writes in an introduction to the script) that "The Metromaniacs" is based on "an obscure play from 1738 called 'La Metromanie'." The title refers to a poetry craze then sweeping Paris a craze focused on the work of a Breton poet named Malcrais de La Vigne. But Mlle. de La Vigne was neither a woman nor from Brittany. She was a man living in Paris. On this slender thread, the original playwright, Alexis Piron, hung a farce a clef so complicated it apparently spun in circles. But what Mr. Ives calls its "Champagne" poetry left him hoping to recreate the spell of its language, with only enough plot to keep it aloft.	N24News: A New Dataset for Multimodal News Classification	Theater
These days, when an American brand wants to drum up publicity, it offers some free swag to Instagram micro celebrities, happy to prettify their performed "real life" with whatever product comes their way. A century ago, it was safer to call up an artist. Harold Haliday Costain (1897 1994), trained as an illustrator, became one of the most adroit commercial photographers of the 1930s providing American corporations with a bold, modern image that appeared nearly heroic in the years of the Depression. "Sugar Salt: Vintage Industrial Photographs by Harold Haliday Costain," at this photography space in the gallery rich Fuller Building, includes two suites of his crisp, propulsive images of American industry. In 1934, he was commissioned by the International Salt Company to photograph its operations in Avery Island, La.; there Costain turned his camera on an angle to shoot vigorous views of a bare armed laborer handling a hulking metal wheel, or a pristine metal helix grinding its way through evaporated salt. He also used lamps and spotlights to produce a dramatic view of a worker beneath a towering cliff of salt, so denuded and striated it appears almost like a lunar landscape. The photos of salt ran in the fledgling Fortune magazine; "a white thread through history's tapestry," wrote the magazine's overawed reporter. Costain brought the same high velocity modernism skewed angles, high contrast, shifting depth of field to photographs he took the next year of the facilities of the National Sugar Refining Company in New York and New Jersey. Hundreds of sacks of sugar tower over a worker, recalling levees or even sandbags fronting the trenches of the Great War. A woman on the assembly line looks on beneficently as boxes charge diagonally across the composition. Far from the cautious boosterism of contemporary annual reports, these sugar photos bear a strong resemblance to Soviet photography of the period, by the likes of Boris Ignatovich and Vsevolod Tarasevich. That such similar imagery could advertise such divergent economic systems attests to the slipperiness of photographic style and to the importance of looking past surfaces, even on the feeds of buffed to shine Instagrammers. JASON FARAGO A good conceptual art piece is not very different from a joke, and Karl Haendel's got a million of 'em. His show "Masses Mainstream," at Mitchell Innes Nash, is a torrent of pencil drawings large and small, and all of them revolve, in one way or another, around the artist's ability to make anything in the world into a kind of punch line merely by pointing it out. There are old fashioned gags like "Doorway in a Box," a framed drawing of a wooden cupboard that sits on two wooden blocks on the floor, and ironic jokes about conceptual art, like the winkingly dumb "Baby With Question Mark." Jokes that adeptly split the difference include "Richard Nixon's Childhood Home Annotated by My Daughter" and "Am I Jared Kushner?" The first of these, a meticulous, four foot wide drawing of a photograph ornamented with childish doodles, captures the weird disconnect we often feel between public figures and their private lives; the second, simply a cursive list of similarities and differences between the artist and the president's son in law, sounds the very special anger and despair that Mr. Kushner elicits in progressive Jewish men. But it's the straighter drawings, many of them hugely oversize, that offer the most alluring take on the transformative power of self conscious looking. In them the viewer has room to appreciate Mr. Haendel's relaxed confidence as a draftsman as well as the understated beauty of the found photographs he often uses as source material and of the graphite itself. "Stacked Lawnmowers" pictures four humdrum machines forming an unlikely monolith, and in "Down Box (Football 10)," a dense tangle of football players highlights the sensual appeal of a solid black background. WILL HEINRICH Lynette Yiadom Boakye has contributed to the renaissance in painting the black figure and has benefited from it. Her show, "In Lieu of a Louder Love" at both of Jack Shainman's galleries in Chelsea, follows Charles White's landmark retrospective at the Museum of Modern Art and a new MoMA publication, "Among Others: Blackness at MoMA," which includes Ms. Yiadom Boakye's work. The game changing exhibition "Posing Modernity: The Black Model From Manet and Matisse to Today" at the Wallach Art Gallery at Columbia University is still on view for a few weeks . Despite this momentum, however, Ms. Yiadom Boakye, who won top honors at the Carnegie International exhibition last fall, still has room to grow as a painter. Her coffee brown portraits of fictional people register best as groups, like an arrangement of family portraits. They feature people reading, lounging and resting in traditional poses. Her dark palette and the stillness of the figures gives her work a sense of timelessness that has fast tracked them into contemporary art history: The work already looks timeworn. The flip side of this, however, is a sense of familiarity and inertness; Her subjects can feel trapped in the canvas rather than liberated by it. The best work here features laughing subjects and a hint of movement. Multiple panels with a female dancer in a white leotard, or a singular canvas with male dancers, suggest something beyond the here and now, a perspective on people, history and looking that you expect painting to elicit.	N24News: A New Dataset for Multimodal News Classification	Art & Design
WITH prices low in early 2009, Derek Mason believed it was a great time to buy. Sure enough, he got a deal. Dr. Mason, a radiologist, who had been renting a place with his partner, had his eye on a 1,000 square foot apartment, an estate sale, at Gramercy Park Towers on Third Avenue. Online, the asking price "chased the market down," he said, plunging to 775,000 from 970,000. The apartment, on a high floor, "was a little bland, but it seemed a lot of square footage for the price," Dr. Mason said. Though it needed plenty of work, there appeared to be potential for appreciation. The couple bought it for 640,000. Maintenance was a little more than 1,200 a month. They gutted the apartment and rebuilt it, to the tune of 140,000. Over the long term, however, "I never intended to live in a 20 story white brick building," said Dr. Mason, 37, who is from Southern California. It simply wasn't his style. There were too many rules for his liking people couldn't use a cellphone in the lobby or eat there, he said. Once, while waiting for a contractor, he was told he had to drink his coffee outside. The couple split, and two years ago, Dr. Mason began the hunt for a new place. He preferred a medium size building and a space with an open, lofty feel in a location closer to Chelsea or Greenwich Village. His price range was up to 1.5 million. He especially liked a co op building on West 15th Street with a modern, minimalist lobby. One apartment there, a one bedroom listed at 1.695 million with a maintenance fee of almost 1,600, came close. But the layout seemed backward, with more windows in the bedroom than in the living room. Even when the price dropped, Dr. Mason hesitated. "He didn't want to do the amount of work necessary to have it reconfigured totally," said Chris Toland of the Corcoran Group, his agent, whom he knew through friends. In his old place at Gramercy Park Towers, Mr. Toland said, "every person who came to see it was just blown away by the level of renovation, and I don't know that he had it in him to do that all over again." Dr. Mason passed up the backward seeming apartment, which later sold for 1.375 million. But another listing in the building was intriguing. It was for two apartments combined to create an enormous lofty space, configured as a two bedroom with an artist's studio. The price was around 2.9 million. But the owner was also amenable to returning the apartments to their undivided condition, living in one and selling the other for 1.249 million, well within Dr. Mason's budget. Unfortunately, while he had been thinking about it, the property had been taken off the market. He sent a letter to the apartment's street address: If the owner was still interested in selling one apartment, he was interested in seeing it. The owner invited him over, and Dr. Mason loved the open space and soaring ceilings. "I never found anything that compared to the potential this had in terms of the huge living room and dining room where you can have a party of 40 or 50 people and not feel like it was cramped," he said. Last summer, he negotiated the price to 1.15 million. Maintenance was around 1,300 a month. But several factors made the purchase process drag on primarily the need to separate the apartments. Meanwhile, his Gramercy Park Towers co op was sold by Mr. Toland for 1.02 million. Dr. Mason took a short term furnished rental in a Greenwich Village condo and put his furniture in storage. Months passed. He was never certain the deal would succeed, so he kept looking. He preferred an unattended lobby. Medium size buildings with a doorman tended to have high maintenance fees, he said, and "in a lot of these loft buildings, even though the apartments themselves are really nice, the lobby is grungy." One option was a condominium with 1,400 square feet in the Textile Building on Leonard Street in TriBeCa. The price was 1.449 million, with monthly charges around 1,800. But because the decor was not to his taste, Dr. Mason thought he would wind up spending money on renovations. He moved on. The condo later sold for 1.4 million. Another possibility was an estate sale in a co op building in Greenwich Village. "It hadn't been touched in, I think, 50 years," Mr. Toland said, "and it needed everything." The asking price was 1.075 million. But, with a maintenance fee over 2,100, Dr. Mason said, "I didn't think it was a great investment in terms of appreciation potential." That one sold for 1.04 million. At last, in the spring, as Dr. Mason was starting to think about renting, the sale of the place that had been combined with its neighbor on West 15th Street came through. "Derek has a laser focus," Mr. Toland said. "He knew exactly what he wanted. Sometimes you do find the needle in the haystack." Dr. Mason's move went badly. The items he had put in storage sustained water damage. Some were cleaned; much was discarded. His studio has around 1,200 square feet. He had some renovations done, including the installation of new kitchen appliances. He preferred a glass shower to a curtain, but his new shower door was installed improperly, and water gushed onto the bathroom floor. He decided to redo the entire bathroom. "Whenever somebody comes over, they are, like, 'Wow, this is a really nice apartment,' " Dr. Mason said. "I didn't do an extensive gut renovation, but I put money into it in the right places." His only regret involves the floorboards, which are installed on furring strips. Without a solid surface to rest on, they creak when walked upon. "If I had to do it over again," he said, "I would have taken off the floors." He has encountered two happy surprises. For the first time, he hears no neighbor noise. Also for the first time, he has a washer and dryer of his own. He especially likes having a vented dryer. His friends with ventless condensing dryers complain that they take a long time to finish a load, and they leave wrinkles, too. The vent, however, generated a puzzling problem. It took Dr. Mason a while to figure out why moisture was building up inside the dryer. He realized that the culprit was the back draft from his neighbors' dryers, which all feed into the building's main dryer vent. So he installed something he had never before heard of a back draft damper and "it works like a charm," he said.	N24News: A New Dataset for Multimodal News Classification	Real Estate
When a Broadway show closes, what happens to the choreography? Dance, not as easily documented as music or dialogue, is at a higher risk of eroding as the production sits in storage. Such is the driving concern behind American Dance Machine for the 21st Century, which keeps musical theater dances alive and untarnished through exacting reconstructions. Founded in 2012 by Nikki Feirt Atkins, the current incarnation picks up where the 1970s original, established by the dancer and director Lee Becker Theodore, left off a few decades ago. During an otherwise quiet time for dance (excluding "The Nutcracker"), Dance Machine returns to the Joyce Theater for a two week run directed by the Broadway veteran Wayne Cilento. Performed by dancers from Broadway and beyond, the lineup includes choreography by Agnes de Mille ("Oklahoma!"), Jerome Robbins ("West Side Story") and Bob Fosse ("Pippin"), as well as an Emmy winning duet from "So You Think You Can Dance." (Monday, Dec. 21, through Jan. 3, joyce.org.)	N24News: A New Dataset for Multimodal News Classification	Dance
The American biopharmaceutical company Gilead Sciences will soon start trials of an inhalable version of remdesivir, an antiviral drug that has shown promise as a therapeutic against the coronavirus in early trials, according to a statement released Monday. Remdesivir is currently given intravenously, which restricts its use to hospital settings. "That's been the limitation" with this drug, said Dr. Mangala Narasimhan, a pulmonologist and regional director of critical care medicine at Northwell Health. Gilead's inhalable version of the treatment would be administered through a nebulizer, a device that sends a mist of therapeutic liquid into the airway and is often used by asthma patients. Some nebulizers are portable; Gilead scientists hope that a more convenient treatment would be used by patients at various stages of infection. Nebulizers "are commonly available" compared with IV equipment, said Angela Rasmussen, a virologist at Columbia University. "Pretty much every outpatient urgent care clinic has them. You could potentially treat somebody on the spot who has a positive test" for the coronavirus "but may or may not have symptoms." Remdesivir, which interferes with virus replication, is the first antiviral drug to show effectiveness against the coronavirus in human trials. It was given Emergency Use Authorization by the United States Food and Drug Administration on May 1, allowing physicians to deploy the drug intravenously in hospitalized patients with confirmed diagnoses of Covid 19, the disease caused by the coronavirus. However, this designation does not constitute formal drug approval, and remdesivir's safety and efficacy are still being investigated in several clinical trials. In a study published in May in the New England Journal of Medicine, remdesivir showed modest effects, shortening average recovery time to 11 days from 15 in hospitalized patients with the coronavirus. But the effects on mortality were negligible. Buoyed by these early results, Gilead Sciences now hopes their inhalable iteration of remdesivir will help "stem the tide of the pandemic," Daniel O'Day, Gilead's chairman and C.E.O., said in a statement Monday. Beginning this week, healthy volunteers will be screened for participation in Phase I trials, which will test for safety. Covid 19 patients are expected to enter the lineup as early as August. Who should get a booster shot? It depends, Dr. Scott Gottlieb says. Virginia's new lieutenant governor elect says she won't force vaccines. Convenience could end up being crucial to boosting remdesivir's effects, Dr. Rasmussen said. The drug may be less effective when administered late in infection, after a patient has already sought treatment for serious symptoms. But under ideal circumstances, early doses of remdesivir could nip the disease in the bud. Antivirals are generally thought to be most effective early in infection, before a pathogen can gain a strong foothold in the body and drive some of the most severe and life threatening aspects of disease. The immune response to the coronavirus can be overzealous, at first rousing itself to clear an infectious invader, before spilling over and destroying healthy tissue in a misguided bid to protect the body. "If you could get rid of the virus before they develop those disease symptoms, you would probably have better clinical outcomes across many patients," Dr. Rasmussen said. Still, there is no guarantee that inhaled remdesivir will be an improvement over its injectable form, or even that it will be up to par. Dr. Narasimhan noted that it will be crucial to monitor how well, and how quickly, the drug is absorbed by the parts of the body that need it most. Trials will most likely require researchers to tinker with factors like dose, especially in patients with damaged lungs. Generally speaking, nebulizers are "well tolerated" by patients, including those with chronic respiratory conditions like asthma, Dr. Narasimhan said. But they can irritate some people's airways, or make patients cough. Many physicians have been avoiding the devices out of concern that they could spread viral particles exiting the airways of infected patients into surrounding air, she added. "It brings up a lot of issues," Dr. Narasimhan said. "Can we use this safely? In what setting? Do we need to do this in isolation? We'd have to figure out a way to do it safely." Dr. Louis DePalo, a pulmonologist at Mount Sinai's Icahn School of Medicine, noted that inhaled remdesivir therapies are "a worthy goal, but fraught with issues." Prior treatments that have attempted the inhalation route, including a few delivering gene therapy or insulin, have failed before. Remdesivir can also be toxic if dosed improperly. In the statement, Gilead also announced plans to manufacture two million treatment courses of remdesivir by year's end. The company also hopes to combine the antiviral with other drugs that can modulate the immune system, which, in later stages of infection, appears to be responsible for many of Covid 19's ill effects. Among this group of immunity targeting treatment are steroids like dexamethasone, which reportedly reduced deaths among a group of patients suffering from severe Covid 19. Like the Science Times page on Facebook. Sign up for the Science Times newsletter.	N24News: A New Dataset for Multimodal News Classification	Health
Re "Trump Won't Allow Pentagon to Erase Confederate Names From Bases" (news article, June 11): As your article points out, a number of United States military bases are named for Confederate military officers. This naming occurred during our shameful acquiescence to Jim Crow oppression of black Americans in the South. These Confederate leaders were traitors, seeking to break up the country to preserve slavery. They caused the death and wounding of hundreds of thousands of Americans who served the Union, not to mention their own troops. The willingness of the U.S. military and its civilian leaders to consider renaming these bases is heartening. The fact that President Trump says he will refuse to go along is no surprise. He will always play to the most regressive factions in our country. I applaud Bret Stephens for designating Donald Trump our "national catastrophe" (column, June 6), but in a strangely misguided stab at giving him "credit when I think it's due," Mr. Stephens offers the absurd conclusion that the pandemic would not have been "handled much better" by a Hillary Clinton administration. Any thoughtful reflection compels quite the opposite conclusion. Mrs. Clinton's response, unlike Mr. Trump's, would not have been all about her at the expense of medical science and public need. And she most assuredly would have marshaled federal government resources in ways that would have facilitated a coordinated and equitable access by states to the supplies and assistance needed to more effectively combat the outbreak of illness. Mr. Trump's response, by comparison, has been an unmitigated disaster. Re "The 'Liberal World Order' Was Built With Blood" (Sunday Review, May 31): Vincent Bevins's harsh account of America's behavior during the Cold War is certainly accurate; Washington committed many egregious excesses in that 40 year period. What's missing, however, is any reference to the challenging global context in which the United States was operating, against a Soviet Union bent on global domination, with no regard whatsoever for liberal values. In fact, the one Cold War president who openly shared Mr. Bevins's moral sensibilities, Jimmy Carter, discovered that ending support for "unsavory" allies in Central America, or failing to confront (on humanitarian grounds) Soviet interventions in Africa, simply led to more pro Soviet police states on the model of East Germany. By the time the Soviets invaded Afghanistan in 1979, even Mr. Carter had had enough; U.S. aid was again offered to any regime waving the banner of anti Communism. None of this is to excuse U.S. Cold War misbehavior. But the notion that America exited the standoff morally bankrupt in the eyes of the world is a misreading of history. Tens of millions were freed from tyranny by the defeat of the Soviet Union. Hundreds of millions more have been lifted from poverty in the (admittedly imperfect) liberal order America helped fashion. In the annals of global leadership, it's hard to find anything close. Mental Illness, Out of the Shadows	N24News: A New Dataset for Multimodal News Classification	Opinion
Q. Is possible to bold or italicize text in Outlook for Android? A. Microsoft released its Outlook for Android email app in 2015 with a focus on managing your inbox and scheduling your day. While the app can display formatting in messages you receive, you can compose messages on your device only in plain text which means no bold, italic, underline or other typographical styling. If you press and hold your finger on text in a message you are writing, you get the options to copy and a few other common commands. If you would like to suggest that Microsoft add more commands, you can send the company a request from within the Outlook app.	N24News: A New Dataset for Multimodal News Classification	Technology
Ongoing breakthroughs in cancer care involve personalized medicine, we are often informed. Because every malignancy is unique in terms of its genetics and genomics, one size (or protocol) cannot fit all. A diagnosis of multiple myeloma, cancer of the plasma cells, motivated Dr. C. Anthony Blau of the University of Washington to come up with an innovative approach to his disease. He combined his research in hematology, his physician wife's clinical expertise and crowdsourcing to develop an individualized treatment plan. As a cancer patient whose life has been extended by an experimental drug, I was curious about Dr. Blau's approach. By what methods can medical practices be tailor made? And how do scientists find the ways and means to extend analyses of individual cases to a significant aggregate of patients? Whereas patients conventionally receive treatment options from an oncologist, Dr. Blau's strategy is to help patients learn about treatment decisions and consequences from other patients and from a number of experts whose ideas could then be explored with an oncologist. Let's begin Dr. Blau's story with a romantic encounter over a pencil. In 2000, Dr. Blau, who goes by Tony, met a woman named Sibel (who had trained in Istanbul and then in Cleveland) at Seattle's Fred Hutchinson Cancer Research Center, specifically on the stem cell transplant ward. He was an attending physician; she a senior fellow. His pencil rolled under one patient's closed door; a few seconds later it rolled back out: Sibel and Tony fell in love. She became an oncologist, he a cancer researcher, and they lived so happily ever after that eventually they joined forces to investigate one of the most recalcitrant types of breast cancer. With some dismay, Dr. Blau had observed that he was better equipped to analyze the condition of his lab mice than his wife was to comprehend the state of her patients with metastatic triple negative breast cancer, an incurable condition. In the lab, he had the time and expertise to analyze the data of every mouse's cancer and compare it to that of all the other mice he has studied. With human subjects, most oncologists don't have data on the evolving tumors of each individual patient and of a cohort group. Dr. Blau wanted a way to characterize the effect of various treatments on malignancies in humans at a molecular level. To address the problem, he helped create the Center for Cancer Innovation at the University of Washington in 2013 and the next year he helped design a new type of clinical trial. It brought together clinicians and researchers with nurses, geneticists, specialists in information technology, computational biologists and statisticians, not only at one hospital but globally. Each breast cancer patient would be closely monitored. There would be multiple biopsies of tumors from multiple sites on each patient many enrolled as a last ditch effort to help themselves and future patients as well as DNA and RNA sequencing to produce huge databases. Hypotheses about treatment were put on the cloud; experts around the world could provide input and feedback. Dr. Blau said he discovered that most scientists appreciated the opportunity to offer their arcane knowledge to aid people in dire straits. After Dr. Blau's myeloma was diagnosed in 2015, he decided to apply this approach to himself. "I had 22 biopsies of the tumor in my left pelvis, as well as bone marrow biopsies," he said, "and we compared the genomic profile of the myeloma cells in my pelvic tumor with that of myeloma cells in my bone marrow." In the process, he learned about a molecular feature that kicked him out of the most favorable prognostic category. Because he still had a tiny percentage of myeloma cells in his bone marrow after an arduous autologous stem cell transplant, which uses the patient's own cells, he rejected the advice of specialists and underwent an allogeneic stem cell transplantation, using cells from a genetically matched person. His donor, a brother and a Methodist minister, believes that he infused Dr. Blau with the Holy Spirit. With (possibly related) zeal, Dr. Blau soon started All4Cure, a knowledge sharing platform for clinicians, researchers and myeloma patients who register (without cost) to allow their medical records to be accessed. Once names are replaced by numbers, these files can be tapped to create "a personalized dashboard": a graph depicting all treatments, tests and responses as well as tumor sequencing. Beneath the graph, a discussion panel enables participants to comment on the particular patient's situation. To date, about 150 myeloma patients, 30 clinicians and 20 researchers have enrolled. Personalized medicine depends upon information technology and knowledge sharing. Since every cancer contains a singular collection of mutations that can vary significantly across patients or over time within a single patient, computational analysts map how mutations interact within a specific individual, Dr. Blau explains. When a physician reviews data about a faraway patient, that doctor may draw upon her experience for example, with the synergy of combining three drugs in a similar case to propose an alternative approach. Such global networking has the capacity to break down geographic and institutional barriers to communication. It also enables patients to report outcomes immediately so that protocols with deleterious side effects can be quickly changed. Patients can compare their treatment with those of others; researchers can broadcast breakthroughs. The growing database should help predict which regimens might be most effective for a particular person. Of course maintaining and extending the platform could be expensive. When I asked Dr. Blau how his for profit company was financed, he said that the initial investment came from a house he and his wife sold three years ago. He hopes that future revenue might come from pharmaceutical companies. All4Cure could accelerate the approval of investigational drugs and provide feedback on approved drugs.	N24News: A New Dataset for Multimodal News Classification	Well
LONDON "The Inheritance," a two part, six and a half hour play about the legacy of AIDS in New York, dominated the Olivier Awards on Sunday night, winning four trophies at the British equivalent of the Tony Awards. At the Royal Albert Hall in London, the play, by Matthew Lopez, won best new play, best director for Stephen Daldry, best actor for Kyle Soller, and best lighting design for Jon Clark. It beat strong competition, including "The Lehman Trilogy," the acclaimed family saga about the founders of the financial firm, which is playing at the Park Avenue Armory until April 20, and "Sweat," Lynn Nottage's Pulitzer Prize winning play set in working class Pennsylvania. Mr. Lopez said in an interview that he hoped "The Inheritance" would transfer to Broadway, especially given the play's setting. "We've seen a lot of Brits come over and take home Tonys, so I think it's only fair really," Mr. Lopez said, when asked about the play's success.	N24News: A New Dataset for Multimodal News Classification	Theater
PALAZZONE, Italy The Bulgari name has long been associated with luxury jewelry worn by some of the most famous celebrities in the world, like Elizabeth Taylor and Julianne Moore. But will it mean anything in the world of fine wine? The Bulgari family does not know, but this week it will begin to find out. A new wine venture by two members of the Bulgari watch and jewelry dynasty, Paolo and Giovanni Bulgari, will release its first three wines this weekend at Vinitaly, the international wine trade fair in Verona, Italy. The wines, made at the family's PoderNuovo estate here in southern Tuscany, are the first fruits of the enterprise established by the former chairman of the Bulgari Group, Paolo Bulgari, and his son since the family sold control of the jewelry company through a share swap with the French luxury company LVMH Moet Hennessy Louis Vuitton in March 2011. It is difficult to make a splash in the world of fine wine. It is very competitive and has plenty of venerable boutique brands like Tignanello, produced by Antinori, or Tenuta San Guido's Sassicaia wines. But that has not stopped many celebrities, like the golfer Greg Norman and the actress Drew Barrymore, from entering the business. The Bulgaris are playing down the family pedigree on the bottle, in part because of rules set by their former company that restrict how the Bulgari name can be used in other businesses. The PoderNuovo label is a simple design of blood red stylized vineyards on a white background, with Paolo and Giovanni Bulgaris' names in discreet light gray characters below. Of the three wines, only Sotirio, named after the Greek born founder of the Bulgari dynasty, is a direct nod to the family's illustrious past. "Our first battle is not to be known as the Bulgari wine," said Giovanni Bulgari, 36, chief executive of PoderNuovo, during an interview in the cozy dining area of the farmhouse that is now his part time home. He said he and his father were worried that the wine would be seen as a rich man's lark or an agricultural offshoot of Bulgari's better known jewels, watches, perfumes or other accessories. "The real challenge is to show that we can produce good wine very well," he said. That is not to say that handling jewels for years has not affected how Mr. Bulgari approaches winemaking. "My father taught me how to handle stones, to hold them in my hands without looking at them to get a sense of their temperature, and then to observe how light plays off them," he said. Wine also called for an intuitive perspective: "how it reacts to light, how the color moves in a glass." So far, luck and nature have been on their side, Mr. Bulgari said. The 42 acres of vineyards at PoderNuovo were planted in 2007. Their terrain is rich with clay, sand and chalk in differing proportions, a good match for different varieties of grapes. The Bulgaris also turned to one of Italy's best known oenologists, Riccardo Cotarella, to put his stamp on the three vintage 2009 wines going on the market: a Tuscan red blend, a cabernet franc and a Sangiovese, the indigenous grape of central Italy. Initial production is set for 60,000 bottles, with a goal of doubling that when the vineyard is fully operational. The wines will sell wholesale for 12, 16 or 20 euros (roughly 16, 21 or 24), depending on the wine. Importers and distributors will set the retail price. The family is under no illusion that past successes in one field will guarantee success in another. "It's a very crowded marketplace, and it's a difficult moment to sell anything from wine to cars. The competition is so tough," acknowledged Paolo Bulgari, who nevertheless described himself as optimistic. "Now we're going to have to get out there to sell." 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. The family still has to line up its distributors and importers, although it could have a leg up in landing LVMH, which sells niche wines, Champagnes and spirits and where Paolo Bulgari sits on the board. "Over all, the international market has room for growth for those who offer good products, with good value for the money," said Andrea Rea, who oversees the Wine Marketing Observatory at Bocconi University in Milan. He added, however, that the wine market was undergoing a "bottleneck effect at the distribution level" that made it more difficult for wines to be exported, especially from a crowded market like Italy. Start up companies face the greatest difficulty, and those aiming to grab a share of the high end market may find the economic barriers especially high, Mr. Rea said. "There's no easy way anymore," said John Gillespie, a partner in Wine Colleagues, a wine business consultancy based in St. Helena, Calif., who said the wine market was glutted with celebrity offerings. "It seems like every golfer, every aging rock star has their own wine. Even popular nighttime dramas are considering launching their brand." The Bulgari pedigree could be an advantage if the PoderNuovo wine becomes clearly associated with the luxury brand. "It would depend on who the wine is intended for. When I say Bulgari, for some women who I know, a light goes on and they'd say, yeah I am interested in that," he said. The Bulgaris join other famous families from the world of luxury brands, like the Cavallis and the Ferragamos, in trying to produce wine. When Tommaso Cavalli, the son of the designer Roberto Cavalli, began to sell wine in 2004, the bottles were marked with the fashion brand's recognizable stamp. But Mr. Cavalli always intended to impress wine connoisseurs, not fashion devotees, he said. The labels of recent vintages have no overt links to the fashion brand, although Roberto Cavalli designed the new logo. "I know I have an important name backing me, but this vineyard is my doing," Tommaso Cavalli said in a telephone interview. "The culturally conservative wine world tends to be diffident in the face of a name that is successful in other sectors. My hope is that over time that world will recognize the authenticity of our project." At the Bulgari property on a recent morning, construction was under way on a high tech wine cellar. Giovanni Bulgari deflected questions about the size of the investment in the wine venture, saying only that in general, investments in wines tend not to pay off for some time.	N24News: A New Dataset for Multimodal News Classification	Global Business
Every corpse is an ecosystem. Each fallen bird, landed fish, beached whale, decomposing log, plucked flower is destined to change from a conglomerate of giant molecules, the most complex system in the universe known, into clouds and drifts of much smaller organic molecules. The process of decay is driven by scavengers, in nature beginning with vultures and blowflies and ending with fungi and bacteria. What do ants do with their dead? In many species, if a colony member is badly injured in the field it is carried home and eaten. If injured only moderately, it may be allowed to live and heal. Most ant warriors that die in battle outside the nest never return. They instead fill the jaws and beaks of predators. An ant that dies from old age or disease inside the nest simply comes to a standstill or else falls to the side with her legs crumpled up. In most cases, she is allowed to stay in place. After, at most, a few days, a nest mate picks her up and carries her out of the nest or to a refuse pile in one of the chambers within the nest. In this cemetery chamber is also dumped miscellaneous refuse, including the inedible remains of prey. There is no ceremony. It occurred to me early in my studies of chemical communication in ants that the bodies of the dead are likely recognized by the odor of their decomposition. Of all the substances uniquely present in dead insects, one or more must be the signal that triggers corpse disposal by ants. If live ants demonstrably use such molecules to release other instinctive social behavior in the service of the colony, why not in death also?	N24News: A New Dataset for Multimodal News Classification	Opinion
What Does It Take for a Woman to Be Labeled Mad? Onstage, Not Much. PARIS What does it take for a woman to be labeled mad? Onstage, not much at all. The trope of female hysteria might seem like a hang up from different times, but it still pervades our cultural landscape and often resists reinvention, as a string of new theater productions suggest in Paris. In a matter of weeks, audiences here have been treated to classic examples of women teetering on the edge. "Opening Night," at the Theatre des Bouffes du Nord, gives us Isabelle Adjani as an actress on the verge of a nervous breakdown, lost between fiction and reality. In Marie Remond's "Cataract Valley," sisters grapple with the social constraints felt by mid 20th century American women. The characters in both productions are a type of role actors dream about, at once multifaceted and unsettling. In the director Cyril Teste's "Opening Night," an adaptation of John Cassevetes's 1977 film, Ms. Adjani takes over the role of Myrtle, a middle age performer who goes into an alcohol fueled tailspin. Unable to connect with her role in a play, she's haunted by the death of a teenage fan in a car accident just outside the theater where she works. On paper, "Opening Night" is an ideal vehicle for Ms. Adjani, the French star whose filmography is full of unstable women. Her characters in Francois Truffaut's "The Story of Adene H." and Bruno Nuytten's "Camille Claudel," to name just two, are ultimately committed to mental institutions. A popular TV sketch by the French comedian Florence Foresti even depicted Ms. Adjani as trapped in the role of a mad queen, all the while repeating: "I'm not crazy, you know!" In the event, there is something over the top about her Myrtle onstage, as if the actress is all too aware of her proclivity for roles like this one. She brings a welcome touch of irony to some moments, as when she dramatically collapses to the floor to avoid a slap from her co star, or when she admits: "You know me, I need attention." If Mr. Cassavetes's film blurred the lines between theater and life, Mr. Teste adds another level of Russian doll like complexity to the story. A cameraman follows the characters on the set of the play they're rehearsing as well as "backstage," with the behind the scenes action seen only through video. Mr. Teste also designed his production to be a work in progress. Scenes are cut, swapped or added every night; the performance I attended was listed in the beginning as "Attempt No. 43." As a result, it's often difficult to tell whether what we're watching is Myrtle's story or the play within the play. And the production teases the spectators about the confusion we're supposed to feel. At one point, Morgan Lloyd Sicard, who plays Myrtle's director, looks at us as he discusses his own work on the phone: "I'd say half the audience loves it, and half hates it." That doesn't account for mixed feelings, which are apt for "Opening Night." Its gender dynamics, which closely mirror those of the film's era, are hardly appealing. Myrtle is frequently patronized or dismissed, and the director even kisses her on the lips in a pre MeToo attempt, it seems, to calm her down. While Mr. Cassavetes's conception is a product of its time, it's unclear what Mr. Teste hoped it would mean for current audiences. Ms. Bowles's output is relatively little known. She was often relegated to the shadow of her husband, the writer and composer Paul Bowles, and suffered health problems beginning in 1957, when she was 40, that made her behavior erratic: A 2014 profile of her on the website of The New Yorker ran under the headline "The Madness of Queen Jane." In that context, there is something oddly prescient and truthful about the two sisters at the center of "Cataract Valley." They are both looking for a way out of their narrow lives, yet fail to understand each other. While Harriet has been diagnosed with a nervous condition and plots her freedom from Camp Cataract, where she is recuperating, the rigid Sadie is left at home to serve as a cook and maid for the rest of the family. As they direct abuse at her, suggesting she is also at risk of insanity, she whispers softly: "I'm not going to go mad." Much is left unsaid in Ms. Bowles's taut psychological tale, and the co directors, Ms. Remond and Thomas Quillardet, have resisted the temptation to fill in the blanks, focusing instead on channeling its atmosphere. Evocative of the woods of Camp Cataract, vegetation dominates the stage. At the beginning and again at the end, water pours from the ceiling to suggest nearby waterfalls. Ms. Remond herself plays Harriet with a mix of resolve and fragility that rings increasingly true as the story unfolds. As Sadie, Caroline Arrouas is captivatingly restrained, moving as if in a daze, too numbed by life to listen to her own desires. Audiences relish such performances, and rightly so. Still, these tales of women losing their grip on reality don't exist in a void. They fit into broader cultural narratives. But when female characters grow unhinged, even if gender inequality is identified as the root cause, their unraveling may well reinforce madwoman stereotypes. (Think of it as the Daenerys paradox. The mental breakdown of the Mother of Dragons in the final stretch of "Game of Thrones" may have been both foreshadowed and understandable, but it still smacked of sexism.)	N24News: A New Dataset for Multimodal News Classification	Theater
Gov. Andrew Cuomo has imposed new restrictions on businesses, mass gatherings and places of worship in towns and New York City neighborhoods with high rates of coronavirus infections some of which also have large populations of Orthodox and Hasidic Jews. An Orthodox advocacy group, Agudath Israel of America, has filed a federal lawsuit against the new regulations on the grounds that they violate the right to free exercise of religion. I have devoted much of my career to protecting the free exercise of religion. It is a rare thing for me to side with a government that seeks to restrict anyone's religious practices. But this time, the government is on stronger ground. Few constitutional rights are absolute. Free speech can be censored in extreme cases, as when it incites imminent violence. The right to freely exercise religion includes the right to take religiously motivated actions engaging in worship and rituals and following moral rules. Very occasionally, such actions do serious harm. They cannot be absolutely protected. No one reasonably believes that free exercise of religion protects a right to conduct human sacrifice. Faith healing parents are prosecuted when they withhold medical care from a child, and the child dies. There is no constitutional right to refuse vaccinations for religious reasons. With respect to both vaccinations and withholding medical care, legislatures have enacted protections for religious objectors. But no court has ever protected such conduct under the Constitution. Pandemic restrictions are like these examples. Covid 19 kills some and permanently injures others; the threat to human life is real and immediate. Those who flout the rules endanger everyone around them, and this is sufficient reason for regulating even a worship service. Whether a particular regulation is justified depends on its facts. How widespread is the virus in these neighborhoods? Do the regulated zones closely correspond to places where the infection rate is significantly higher? What regulation is actually needed to save lives? The governor should have to prove his factual claims in the Agudath Israel lawsuit. But assuming that he has the facts approximately right, then the new regulations are mostly justified. The devil is in the details. Under the Supreme Court's current constitutional interpretation, the right to free exercise of religion is a special form of protection against discrimination. Religious exercise can be regulated only if it falls under generally applicable rules. If a restriction has secular exceptions, it must also have religious exceptions. These requirements are a challenge to governments writing Covid rules, which must be deployed quickly, adapted to rapidly changing conditions and applied to a multitude of human activities. Lawyers for religious groups objecting to restrictions can focus on any arguably analogous secular activity that is regulated less intensively than religious activity. But the secular activities comparable to worship services are not retail stores, where few customers linger, but movie theaters, concert halls and other places where people gather in significant numbers and remain for long periods. Nevada had trouble explaining why churches were more tightly regulated than casinos, another place where people come and stay for hours at a time. But in a 5 to 4 vote this summer, the Supreme Court refused to interfere even with Nevada's regulation, and this decision may imply an unusual degree of judicial deference in the face of medical emergency. So Governor Cuomo has wide discretion, but he does need to make sure that any rules are truly nondiscriminatory. And it's unclear whether New York's new rules are. The governor's website says that the rules prohibit all mass gatherings in red zones. There is no discrimination in that. But the actual executive order applies only to "nonessential gatherings of any size." What gatherings are "essential" is not defined. And that is a problem. As compared with a total prohibition, houses of worship in red zones benefit from an exception they are limited to 25 percent of capacity or 10 people, but at least they can meet. In orange and yellow zones, houses of worship can admit larger numbers than other types of gatherings. But some of these other gatherings can claim to be essential, and houses of worship, it seems, cannot. This is a form of discrimination that would normally require compelling justification. In yellow zones, schools and restaurants can open without capacity limits; houses of worship are restricted to 50 percent of capacity. People linger in restaurants, and students stay in school all day; it is hard to see how the governor can defend these distinctions. Political attacks on the new rules have emphasized that the state did not restrict the Black Lives Matter protests over the summer. Those were also mass gatherings, although they were outside, and it appears that more people wore masks, but that was hardly uniform. No large outbreak has been linked to the marches, but that could not have been predicted at the time. Both political free speech and free exercise of religion are at the heart of the First Amendment; speech is not constitutionally more important than religion. The state's failure to regulate the Black Lives Matter rallies was a mistake. But the state is not forever limited to the least restrictive regulation it has ever indulged in. It can restrict both political rallies and worship services if that is truly necessary to protect public health. At the same time, the governor must define, and try to defend, the exception for "essential" gatherings. And he will struggle to rationalize the unequal treatment of schools, restaurants and houses of worship in yellow zones. The lesson here can be briefly stated: Nondiscriminatory rules to protect human life can be applied to the exercise of religion. But the rules must really be nondiscriminatory. Douglas Laycock is a law professor at the University of Virginia. 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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