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The car, an Austrian built 1910 Graf Stift double phaeton powered by a 32 horsepower 4 cylinder engine, was owned by Count Franz von Harrach, who was an officer in the Austrian army's transport corps. According to "Das Auto von Sarajevo," a book written by Christian Ortner and edited by Thomas Ilming, the Austrian army in 1914 faced budget restrictions, so instead of riding in a military car, the archduke was provided with a private one. Count von Harrach was with the car in Sarajevo and witnessed the shooting. Many accounts of the assassination say the Graf Stift did not have a reverse gear, which slowed the car as it changed direction, a delay that allowed the killer, Gavrilo Princip, to approach the car and shoot. Mr. Ilming, an arms and technology expert at the Austrian Military Museum, where the car is on display, said in an email that the car does have a reverse gear, but that it "takes a while to shift the gear because of the technical standards of this time." Mr. Ilming also said that Count von Harrach gave the car to Emperor Franz Joseph as a gift after the killings, and the emperor subsequently donated the Graf Stift to the museum. Manfred Litscher, a public relations officer at the museum, said the rumor that the car had been involved in other deaths seemed to have come from an English newspaper, although he could not provide more information. It has been sitting in the museum, unused, since 1914. Today, the car is still part of the museum's Sarajevo exhibit, which also includes the archduke's bloodstained uniform from the assassination.	N24News: A New Dataset for Multimodal News Classification	Automobiles
Baltimore County's schools had embarked on an ambitious technology makeover, committing more than 200 million to providing laptops for students and millions more on no bid contracts for learning apps. The Times found that tech industry funded groups or vendors paid for flights to conferences, as well as hotels and dinners, for school officials. Mr. Dance actively negotiated the terms of a 875,000 no bid contract between his school district and Supes Academy, a school leadership training service, while he worked for Supes and a related company called Synesi, according to the indictment. Mr. Dance also made false statements on financial disclosure documents, the indictment said, to conceal about 90,000 in earnings from those companies. The prosecutor also said that Mr. Dance concealed about 12,000 in payments he received through his consulting work in 2015, including 4,600 from an organization called the Education Research and Development Institute ERDI for short that pays superintendents to attend meetings with educational tech companies. As part of its services, ERDI has in the past charged companies 13,000 to facilitate a meeting with five superintendents or other school leaders to discuss products, according to documents obtained by The Times. After Mr. Dance participated in confidential meetings with two of his district's tech vendors at an ERDI conference last year, the district extended both companies' contracts. Officials in Maryland and Ohio have begun looking superintendents' relationships with ERDI. Andrew Jay Graham, a lawyer representing Mr. Dance, declined to comment on the case. Mr. Dance faces a maximum penalty of 10 years in prison for each of the four counts against him, according to the indictment.	N24News: A New Dataset for Multimodal News Classification	Technology
In May 2008, when Christina Randall was released from prison after serving nearly three years for battery, robbery and escape, she had nothing but 30 and the brand new, ill fitting clothes on her back. She took up in a women's shelter in South Florida, eight hours away from her friends and family, with a plan to start fresh. First, she got a job as a line cook at Wendy's . "I worked my butt off cooking chicken nuggets and French fries," Ms. Randall, 35, sa id, in order to save for a car. Then she enrolled in an undergraduate program, where she studied social work while employed as a janitor. "I've always wanted to help people," she said. But after graduation, she couldn't get hired; history always seemed to get in the way. Once, she said, she was offered a role working with children, but the organization promptly rescinded the offer after running a background check. "I went home and cried for like three days," she said. "I felt like I'd hit a brick wall." For a long time, Ms. Randall didn't think she would ever get to do the work. Then she started a YouTube channel. In the three years since, she's brought more than 400,000 subscribers "my lovelies, my beauties, my friends," as she calls them in her videos. She's a lot like other creators in the lifestyle category, except that in addition to sharing beauty tips, wedding day memories and unboxing videos, she also talks candidly about life behind bars and the process of re entry. Ms. Randall is one of a handful of former prisoners building an audience on YouTube. She has explained the "unspoken rules of prison," showed her viewers how to turn coffee grounds and water into makeshift jailhouse mascara, and interviewed a former correctional officer about corruption among prison guards. But most importantly, she has offered an empathic, first person perspective on incarceration. "I have a lot of sons, mothers, daughters, fathers, aunts, uncles, grandparents of people in prison who watch my videos to understand better what the person might be going through," she said. Most of Ms. Randall's viewers are American, in the 18 to 34 age bracket and women (92 percent, according to data from YouTube). Some of them send fan mail. Earlier this year, Ms. Randall received a note from a woman who saw her story as a cautionary tale. "I was starting to walk a bad path and I started to hang around the wrong sort of people," the viewer wrote, "but seeing your videos and hearing your story helped me find the right path and better friends." Dr. Aaron Balick, a psychotherapist and the author of "The Psychodynamics of Social Networking," said that there are "pros and cons" to people like Ms. Randall sharing their stories online with a potential audience of millions. "It offers access and insights into people's experiences and stories that may be otherwise difficult to access," he said. "This can increase an individual's sense of belonging and inclusion, and decrease a sense of loneliness or isolation." "The downside," Dr. Balick continued, "is that we cannot be sure about the narratives that are being produced. Are they honest? Are there commercial or other attention seeking incentives that pull the story away from authenticity?" Ms. Randall earns money from the ads that play alongside her videos, and also has about 270 donors on Patreon who each pay at least 5 a month for access to extra content. Her videos are now her main source of income, but she doesn't believe that making money compromises her channel's integrity. "My channel is raw and real," she said. "I am brutally honest with these people." Patrons who pay Ms. Randall 50 a month get one on one Skype chats with the YouTuber, while those who pay 10 get priority when they private message her. Emily Salisbury, an associate professor of criminal justice at the University of Nevada, Las Vegas, said she sees "nothing wrong" with Ms. Randall being financially compensated for her work, and that her online community could be invaluable for former prisoners. "One of the things that oftentimes happens when somebody is released from prison is that they're told that they can't hang out with other known offenders. That really harms women in particular, because women are so relationally based," Dr. Salisbury said. She also said that the videos, which have a casual, friendly feel, could be more effective than outreach programs led by professionals who may be perceived, by people who have been in the system, "as just not getting it." Since 1978, women's incarceration has climbed at twice the rate of men's in the United States, with 834 percent more women locked up than 40 years ago, according to a report from the Prison Policy Initiative. "There are far too many women who are incarcerated who don't need to be," Dr. Salisbury said. The process continued on the outside. About a year after her release, Ms. Randall reunited with one of her high school crushes and became a stepmother to his s on Jordan, who is now 18. The couple's second son, Jaden , is 8 years old and has his own YouTube channel, with 4,000 subscribers. He posts videos about regular kid stuff like school, as well as back flip tutorials. Viewed together, their channels present an optimistic but realistic view of re entry. "It's a beautiful life on this side," Ms. Randall said. "I know. I'm living it."	N24News: A New Dataset for Multimodal News Classification	Style
Daniel Kaluuya in London in December: "I am definitely not a household face," he said.Credit...Tom Jamieson for The New York Times LONDON Daniel Kaluuya, the "Get Out" star whose huge, tear spilling eyes have imprinted themselves on our collective consciousness, was looking rather less vulnerable on a recent wintry day than he does in that memorable scene in which he is hypnotized into terrified, regressive submission. Crunching nuts and drinking water during an interview here just before Christmas, the actor was in turn frank, guarded and intense: a movie star who hasn't yet acquired the smooth sheen of the experienced interviewee. Mr. Kaluuya, 28, is British and has been acting since he was in his teens, but "Get Out" the Jordan Peele spine tingler that has been described as a mash up of "Guess Who's Coming to Dinner" and "The Stepford Wives" has thrown him into an entirely new kind of spotlight. Which he is sort of ignoring. "I am definitely not a household face, and I don't expect to be one" he said firmly. "I don't think you become a name with just one job." Some might disagree. Mr. Kaluuya's performance in "Get Out" as Chris, a black photographer on an increasingly nightmarish weekend visit to his white girlfriend's parents, might as well be labeled "Break Out." Both he and the box office smash have figured prominently on 2017 best of lists and in prize conjecture; his performance drew an Oscar nomination for best actor (along with multiple nods for the film). "He is victim and avenger, a surrogate for the filmmaker and the audience," A. O. Scott wrote in The New York Times, adding, "He can't believe his eyes, and you can't take yours off him." In person, Mr. Kaluuya seems physically tougher he is built like a boxer, a role he has played as well as warier than Chris, a photographer trying hard to believe that white people (probably? perhaps?) mean well. Born to Ugandan parents, Mr. Kaluuya grew up with his mother and an older sister on a council estate, the British equivalent of a housing project, in north London. (His father lived in Uganda, he said, and he didn't connect with that side of his family until he was 15.) Although his mother wasn't particularly interested in the arts, a primary schoolteacher noted that he was a "very busy" child and recommended acting as an outlet. "So, I wrote a play," he said matter of factly. "The teacher said I was difficult, and I thought, 'I'll show you.'" The play won a local competition and was performed at the well known Hampstead Theater, where Mr. Kaluuya would later write and perform as a teenager. But after that triumph at age 9, he dropped theater for soccer, later finding his way back through improvisation classes at the Anna Scher Theater, a neighborhood institution that offered inexpensive drop in sessions. "Being young, working class and black, everything you do is policed," Mr. Kaluuya said. "If someone hits you and you hit back, you are aggressive. If you cry, you are weak. You are kind of always pretending to be something. But in those improv classes, there was no pressure to be anything except honest, and that made me happy." Although he knew he had "caught the bug," he didn't have the confidence, he added, to express a desire to act. "If you are from the estates, you don't say that," he said. "Actually, the biggest problem is that you don't know it's possible. You don't have the vocabulary, conceptually, to articulate that wish." Seeing fellow students get parts on television shows, he began to attend auditions, and at 16 won a role in the BBC drama "Shoot the Messenger," starring David Oyelowo. Then came "Skins," the BBC's controversial, long running series about hard partying teenagers. Mr. Kaluuya didn't just co star in "Skins," he was also part of the writing team for the first two seasons, even as he was writing plays for the Hampstead Theater's youth program and completing his A levels, the graduating examinations in the British school system. (Drama was one of his subjects; his former teacher has written that he was the most talented actor he has ever come across.) Mr. Kaluuya wanted to go to drama school but couldn't afford it. Instead he kept writing for "Skins," and in 2008 got a part in a play, "Oxford Street," at the Royal Court. "That was a breakthrough for me," Mr. Kaluuya said. "I couldn't get seen for theater because I had no training. But that play led to 'Sucker Punch,' which changed everything." For "Sucker Punch," written by Roy Williams, Mr. Kaluuya played one of the two leads, both young boxers. "I'd always been overweight and out of shape, but for this I trained for months and lost three stone" or more than 40 pounds, he said. "I gave it my all." He won rave reviews and several awards, and drew the attention of a number of industry figures, among them the director Steve McQueen, who cast Mr. Kaluuya in his coming movie "Widows." "I had noticed him on 'Skins,' and then saw 'Sucker Punch,'" Mr. McQueen said in a telephone interview. "He did this monologue while jumping rope which was amazing, and I was kind of mesmerized. He has that gift you don't see often, a presence even in his stillness. You feel what he is feeling, you see what he is seeing. When I was casting 'Widows,' I knew it was him." After "Sucker Punch," Mr. Kaluuya was cast in, among other things, the television series "Black Mirror," but he felt frustrated by the response from the British movie and theater industry. "I wasn't trained, I was too big, they didn't want black leads, I don't know," Mr. Kaluuya said, clearly exasperated even at the memory. "You end up thinking, it's just a glass ceiling, isn't it?" He decided to set his sights on the United States, found an American agent and won a part in the 2015 thriller "Sicario." Before shooting "Sicario," he read the script of "Get Out," sent to him by his agent. "I was like, how do I make this happen?" Mr. Kaluuya recounted. "I totally loved it. I knew it spoke to me and my friends. That rage at the end; I know that." He thought for a moment. "I was fortunate that I had acting," he said. "If you had that anger on the street and let it out, you get arrested. I get applause." As it turned out, Mr. Peele had seen Mr. Kaluuya in "Black Mirror," in the episode "Fifteen Million Merits." In an email, Mr. Peele wrote: "It's a soul crushing performance in which he brilliantly performs the full spectrum of emotions I needed for Chris. Through most of the episode he's restrained and subdued, but by the end his passion explodes into a primal unhinged monologue that is a thing of beauty." Although Mr. Peele was initially hesitant about casting a British actor instead of an American (a decision subsequently criticized by Samuel L. Jackson), he said that Mr. Kaluuya convinced him over a Skype conversation. "He put to bed my fears of any cultural rift in regards to race relations," Mr. Peele said. "He really GOT the script in ways many didn't. The risk excited him, where it made other American actors nervous." After Mr. Kaluuya flew to Los Angeles and performed the hypnosis sequence as his audition, the rest, Mr. Peele wrote, was history.	N24News: A New Dataset for Multimodal News Classification	Movies
Emily Gellis Lande is leading an Instagram campaign against Tanya Zuckerbrot, the creator of the F Factor diet. Much of this summer, an influencer named Emily Gellis Lande has been on a campaign, posting on Instagram dozens of times a day about the dangers of a diet called F Factor. Ms. Gellis, 34, has never been on the diet. She relays anonymous stories from women who say that after beginning the diet they experience long lasting rashes, intense cramps, even indications of metal poisoning, and that the diet encourages disordered eating. The stories are anonymous, she said, because the women are afraid to criticize Tanya Zuckerbrot, the Instagram famous registered dietitian who created the diet. Ms. Zuckerbrot, 48, has built a substantial business around the diet, with clients who have paid as much as 25,000 for her help in getting on the high fiber diet. She has a product line of powders and bars and books that lay out her systems. And she has extreme wealth that she puts on ample display. She has a 22 million Park Avenue apartment and an Instagram account loaded with bikini beach bod photos taken in luxurious spots like Dubai and the Seychelles. But now, since Ms. Gellis's campaign began, Ms. Zuckerbrot and her husband, Anthony Westreich, a corporate real estate investor, have been harassed and defamed, she said. She has brought in lawyers. On Sunday afternoon, she hired Lanny Davis, once the White House special counsel to former President Bill Clinton; his client list more recently includes Michael Cohen. Ms. Zuckerbrot said that, with 176,000 purchase orders since she began selling the powders and bars two years ago, she has received just 50 complaints about gastric distress or rashes. Ms. Zuckerbrot said her diet and products are safe; she questioned Ms. Gellis's authority. "I believe in her mind she thinks she's helping people and that the lifestyle I lead is poisoning everyone and giving them anorexia," Ms. Zuckerbrot said of her online antagonist. "But she's a fashion blogger. She doesn't work for the World Health Organization. If this was Barbara Walters or John Stossel, maybe I would have paid attention sooner. But this is a young woman who has no credential in health and wellness or any medical or clinical experience. The girl sells clothing for a living." Ms. Zuckerbrot's success has come from making the diet more than a weight loss rule book. It's a lifestyle she said she has worked with Megyn Kelly and Katie Couric and is the official dietitian to the Miss Universe Organization with the attendant merch. Among the half shirts and sweatshirts sold on the diet's website, there is an F Factor "intentions bracelet," to be worn on the "hand that will either undermine your intentions or honor them" as it "holds the fork, reaches for the bread basket or dips into the candy dish." It costs 18. Ms. Gellis said that she did not anticipate that her posts would spiral. "Never in my life did I imagine I would be wrapped up in the story line I am right now," she said. But in receiving messages from hundreds of women, and speaking on the phone with many of them about their physical and emotional pain, "I realized I simply could not let them down," she said. "I wish the F Factor team would acknowledge that pain," she said. "But that's simply not how this story goes." Ms. Gellis, who posts about easygoing, moderately priced outfits and cosmetics, was inspired to action by an anonymous Instagram post from someone who said she was a former client of Ms. Zuckerbrot's. That client said she had been told she should consider going off antidepressants because they could be contributing to weight retention or gain. "This is a lie, this never happened and it never would happen," Ms. Zuckerbrot said. After seeing the Instagram post, Ms. Gellis flipped on her camera to make videos about the importance of mental health care and doctor prescribed antidepressants. Soon, she found that the more she posted about F Factor, the more dieters she heard from women who agreed that Ms. Gellis could share their experiences if she just kept their names private. "I got this onslaught of messages from people," she said. Some women who fed Ms. Gellis tips recounted their stories to The New York Times. One said she was 32 when she went on the diet and within a month developed abdominal pain so severe that she went to the doctor and to the emergency room and underwent two CT scans. (She shared her F Factor receipts and medical records with The Times.) Another woman, who said she was underweight, paid 20,000 to become Ms. Zuckerbrot's client. (She also shared her receipts.) The regimented nature of the program exacerbated her issues with food, she said, and after eight months of drinking shakes made with the F Factor powder, the woman developed excruciating red spots that required a biopsy. Both these women said these symptoms disappeared when they stopped the diet. Ms. Zuckerbrot said she rarely accepts underweight clients. Via her lawyer Mr. Davis, she named two previous clients who matched the description of the underweight woman, and provided their weight and health details, saying that in both cases she helped the women gain, not lose, weight. "I don't understand why people would not come forward publicly if they believe my product has hurt them," Ms. Zuckerbrot said. Probably the two most distressing charges received by Ms. Gellis was that the diet and its products caused women to miscarry. This accusation was also published by The New York Post, Refinery 29 and PerezHilton.com. But one of those tips, at least, was a sting. After Ms. Gellis and others published about miscarriage, Ms. Zuckerbrot and Eva Chen, an Instagram executive, received an email saying the story was fake and taking credit for the trick, from the address crazycancelculture gmail.com. But last fall, Ms. Brettschneider said, her Instagram account was disabled without notice. She immediately reached out to higher ups at Instagram and was told it was because of three posts that had violated their guidelines. "They said my language was bullying," she said. She is now suing Instagram. Her lawyer is Lauren Faraino, who represented Mr. Woods. (Instagram declined to comment on the specifics.) Why did she send the email? Ms. Brettschneider said she couldn't stand by silently and watch Ms. Zuckerbrot be attacked by anonymous sources, even knowing she may be attacked herself when her trick was revealed. "Someone has to sacrifice themselves," she said. As it happens, she is also no stranger to Ms. Zuckerbrot. Her cousin, Amanda Karp, is F Factor's head dietitian. "If someone makes up a lie in order to discredit the voices of thousands of women who have suffered, in order to be a part of an Upper East Side 'cool moms' clique, I think that speaks to exactly what that person stands for," Ms. Gellis said. "This isn't 'Mean Girls.' This isn't high school. There are women's lives on the line." Elizabeth Savetsky, an influencer, has been doing F Factor since becoming a client of Ms. Zuckerbrot's in 2018. "I had heard amazing things about it from my fellow mamas on the Upper East Side," Ms. Savetsky, 34, wrote in an email. She said she'd experienced a second pregnancy loss and was suffering with other health issues before she found the diet. But on the diet, she said, her "lifelong issues around food went out the window." Ms. Savetsky's fees were waived by F Factor in exchange for sharing her "journey on social media," said Mr. Davis, an arrangement that ended in June, 2019. Medical professionals have had concerns about the diet for years, said Dr. Tom Hildebrandt, the chief of the Center of Excellence in Eating and Weight Disorders at the Icahn School of Medicine at Mt. Sinai. "Our patient population is particularly vulnerable to diets with highly branded promises," he said. The messaging is particularly concerning "when you match it with a diet like this one that requires you to eat very little nutrition and to approach food in a very regimented, controlled way." Ms. Zuckerbrot questioned the doctor's sincerity and concern. "Why hasn't he reached out to me and said, 'Tanya, your program is harming people? If he has such altruistic motivations, why hasn't he reached out to me?" She also pointed out that the back cover of her diet book is heaped with praise from doctors. ("Tanya's scholarly approach is a gift that gives forever," said Dr. Jerome Zacks, a cardiologist and associate clinical professor at the Mount Sinai Health System, in one blurb. "Her contribution to preventive health care is immeasurable.") Two former staff members of her clinic spoke about their time with Ms. Zuckerbrot. Alix Turoff, now a registered dietitian, worked as an intern in 2009. She credits Ms. Zuckerbrot as an inspiration, but also said that the culture inside the office, where she said dressing up in heels and form fitting clothes was encouraged and eating a lot was not, created the foundation for the work the dietitians did with clients. "The culture was a pursuit of thinness at any cost," she said. In her own practice now, Ms. Turoff said, she sees many patients wanting help to create normal eating habits after trying, sometimes for years, to live the F Factor way. "They often are in patterns of bingeing." Ms. Zuckerbrot shared a Dropbox folder with 53 social media videos and screenshots of text message exchanges between her and Ms. Turoff that document Ms. Turoff's appreciation of opportunities offered by Ms. Zuckerbrot and detailed Ms. Turoff's recommendation to her own clients to try a high fiber diet. Lisa Moskovitz, a registered dietitian, also worked for Ms. Zuckerbrot, about 10 years ago. "I learned a lot from her," Ms. Moskovitz said. "She is an incredible businesswoman." She said the values around glamorized wealth and extreme thinness have only been proselytized wider as Ms. Zuckerbrot's renown has grown. "Because of all the misinformation and accusations of high levels of lead," she said, "our true customers are now concerned." She also said via Mr. Davis that this experience has led her to believe she should be "more thoughtful about the images I have showed about myself and my lifestyle" and she planned to be more mindful in the future. "The goal of my message is to always look and feel your personal best regardless of weight because you are so much more than a number on a scale," she said. For her part, Ms. Gellis is asking her followers to mail her samples of Ms. Zuckerbrot's products bought before the public scrutiny on their safety began, and plans to have those products tested. Ms. Gellis was on vacation in August in Montauk, N.Y. with her husband, Michael Lande, but didn't take a break from her Instagram campaign. "Trust me, I haven't even scraped the surface of how much this person sucks," Ms. Gellis said on Instagram this week (adding a profanity). She promised there was more to come. "Honestly it's gossip but like I'm pretty sure a lot of it is true." She is inflamed by what she sees as Ms. Zuckerbrot's refusal to acknowledge that perhaps the women registering complaints, anonymously or not, are credible. "At first I was like, 'What the hell is she doing?" Mr. Lande said of his wife's avocation. "'Why is she getting involved?' Then I started reading these stories from these poor girls with body dysphoria and all sorts of physical problems, and I changed my mind. There needs to be some discourse on this diet. Ultimately, I feel like my wife has become a modern era Erin Brockovich."	N24News: A New Dataset for Multimodal News Classification	Style
Let's try to look on the bright side of coronavirus politics. OK, that sounds ridiculous. Let's look on a less neurosis inducing side. Sure, Donald Trump has been a terrible leader. But drop the bar a little. Unlike the king of Thailand, he hasn't moved to a luxury Alpine hotel with a huge entourage of retainers. And he hasn't demanded the permanent right to rule by decree, like Prime Minister Viktor Orban of Hungary. Truly scary to think of Trump ruling by decree. "Today, I want everybody to go out shopping and boost the economy," he'd begin the day. Then after all the health experts reminded him about sheltering in place, he'd announce that anyone caught shopping would be guillotined. Followed by a retraction that was coupled with a press conference in which he introduced America to some of the nation's most prominent guillotine manufacturers. See? Things could be worse. Trump watchers have actually noted a welcome presidential transformation this week. Gone are all the claims that the coronavirus is just like a flu. Now he's somber and serious, predicting "a hell of a bad two weeks ... and maybe even three weeks." Actually, maybe even three months. But you've got to take improvement where you can get it. And those flu comparisons? Trump was not denying reality! He explained it was ... a psychological strategy. "I'm not about bad news. I want to give people hope," he said. "I'm a positive person." Yeah, a positive person who positively rejected the idea of giving uninsured Americans a chance to sign up for Obamacare. And who, in his spare time, managed to further water down future fuel efficiency standards. Because global warming is actually just ... mediocre air conditioning. OK, Trump may not be our best bright light. Maybe our quest for good news needs to focus on the governors. This is not a country that has been trained, in times of crisis, to look to the state capitols for leadership. But now they're sounding, in the main, pretty smart and sensible. A lot of people now know that the governor of Washington is Jay Inslee, and that the governor of Ohio is Mike DeWine. And that the governor of Michigan is Gretchen Whitmer, who became nationally famous when Trump said he'd told Mike Pence not to call "the woman in Michigan" after she complained about the administration's failure to get hospital equipment to the states. Now Whitmer is being widely discussed as a possible running mate for Joe Biden. In fact, she is possibly being discussed more widely than Joe Biden himself, who's stuck in a basement studio like so many other prominent public people. And to be honest, he's not handling it as skillfully as Trevor Noah or Stephen Colbert. Sadly, all governors are not created equal. Ron DeSantis of Florida was still dithering about a shelter in place order when the state was hovering around 7,000 coronavirus cases. DeSantis said he'd make the call if the White House told him to, and Trump, even on Tuesday, was saying that it was up to DeSantis. On Wednesday DeSantis finally gave the order, but history is going to remember him as the guy who didn't see any point in banning partygoers from the beach during spring break. A lot of corporate leaders have risen to the moment, throwing their companies into the race to produce masks, hospital gowns and other critically needed equipment. That's been a plus although we're still waiting for all those testing sites Walmart and CVS were going to be welcoming to their parking lots. But the president has filled up his press conferences with so many titans of business and industry most of them lining up for an introduction that we're on titan overload. One high point in the we love business Trumpathon came when the president brought up Mike Lindell, the head of MyPillow. ("Boy do you sell those pillows.") Lindell then launched into a short infomercial for his company, followed by a eulogy to Trump as the man who had rescued a nation that had "turned its back on God." It wasn't inspiring, but it was definitely a break in the routine. Lindell is a Fox celebrity, a big Trump donor, and the president would like to see him run for governor of Minnesota. No way right now of knowing whether his political future will be affected by a 2017 Better Business Bureau decision to revoke MyPillow's accreditation. We should be grateful that the president at least realizes that he has to spend some airtime with medical experts. (How long will it take before he's driven crazy by the great press Dr. Anthony Fauci is getting? Feel free to place your bets.) But you know he always was, and always will be, a guy who likes pretending everybody in the Fortune 500 is just a comrade in commerce. "They're big people. I know their names very well, from watching business and studying business all my life," said Trump.	N24News: A New Dataset for Multimodal News Classification	Opinion
'ARTISTS RESPOND: AMERICAN ART AND THE VIETNAM WAR, 1965 1975' (through Aug. 18) and 'TIFFANY CHUNG: VIETNAM, PAST IS PROLOGUE' (through Sept. 2) at Smithsonian American Art Museum in Washington. Everything in "Artists Respond," a big, inspiriting blast of a historical survey, dates from a time when the United States was losing its soul, and its artists some, anyway were trying to save theirs by denouncing a racist war. Figures well known for their politically hard hitting work Judith Bernstein, Leon Golub, Hans Haacke, Peter Saul, Nancy Spero are here in strength. But so are others, like Dan Flavin and Donald Judd and Barnett Newman, seldom associated with visual activism. Concurrent with the survey is a smaller, fine tuned show by a contemporary Vietnamese born artist, Tiffany Chung; it views the war through the eyes of people on the receiving end of aggression. (Holland Cotter) 202 663 7970, americanart.si.edu 'AUSCHWITZ. NOT LONG AGO. NOT FAR AWAY' at the Museum of Jewish Heritage (through Jan. 3). Killing as a communal business, made widely lucrative by the Third Reich, permeates this traveling exhibition about the largest German death camp, Auschwitz, whose yawning gatehouse, with its converging rail tracks, has become emblematic of the Holocaust. Well timed, during a worldwide surge of anti Semitism, the harrowing installation strives, successfully, for fresh relevance. The exhibition illuminates the topography of evil, the deliberate designing of a hell on earth by fanatical racists and compliant architects and provisioners, while also highlighting the strenuous struggle for survival in a place where, as Primo Levi learned, "there is no why." (Ralph Blumenthal) 646 437 4202, mjhnyc.org 'BRAZILIAN MODERN: THE LIVING ART OF ROBERTO BURLE MARX' at the New York Botanical Garden (through Sept. 29). The garden's largest ever botanical exhibition pays tribute to Brazil's most renowned landscape architect with lush palm trees and vivid plants, along with a display of paintings and tapestries. In the late 1960s and early '70s, Marx (1909 94) planted bright bands of monochrome plants along Rio's Copacabana Beach and the fresh ministries of Brasilia, the new capital. For this show, the garden and its greenhouses synthesize his achievements into a free form paean rich with Brazilian species, some of which he discovered himself. (Alcantarea burle marxii, one of many thick fronded bromeliads here, has leaves as tall as a 10 year old.) Check the weather, make sure it's sunny, then spend all day breathing in this exuberant gust of tropical modernism. (Jason Farago) 718 817 8700, nybg.org 'CAMP: NOTES ON FASHION' at the Metropolitan Museum of Art (through Sept. 8). Inspired by Susan Sontag's famous 1964 essay, "Notes on 'Camp,'" the latest spectacular from the Met's Costume Institute attempts to define this elastic, constantly evolving concept, which leaves taste, seriousness and heteronormativity in the dust. The show researches camp's emergence in 18th century France and 19th century England, examines "Sontagian Camp" and culminates in an immense gallery of designer confectionaries from the 1980s to now that calls to mind a big, shiny Christmas tree barricaded with presents. (Roberta Smith) 212 535 7100, metmuseum.org 'LEONARD COHEN: A CRACK IN EVERYTHING' at the Jewish Museum (through Sept. 8). The curators of this show, John Zeppetelli of the Musee d'Art Contemporain de Montreal and Victor Shiffman, commissioned artists of various disciplines to develop pieces inspired by Cohen. Some are simple and quiet, like "Ear on a Worm" from the film artist Tacita Dean, a small image playing on a loop high in the space that shows a perched bird, a reference to "Bird on the Wire" from Cohen's 1969 album "Songs From a Room." Some are closer to traditional documentary, like George Fok's "Passing Through," which intercuts performances by Cohen throughout his career with video that surrounds the viewer, suggesting the songs are constant and eternal while the performer's body changes with time. Taken together, the layered work on display has a lot to offer on Cohen, but even more to say about how we respond to music, bring it into our lives, and use it as both a balm and an agent for transformation. (Mark Richardson) 212 423 3200, thejewishmuseum.org 'CYCLING IN THE CITY: A 200 YEAR HISTORY' at the Museum of the City of New York (through Oct. 6). The complex past, present and future roles of the bicycle as a vehicle for both social progress and strife are explored in this exhibition. With more than 150 objects including 14 bicycles and vintage cycling apparel it traces the transformation of cycling's significance from a form of democratized transportation, which gave women and immigrants a sense of freedom, to a political football that continues to pit the city's more than 800,000 cyclists against their detractors today. (Julianne McShane) 212 534 1672, mcny.org 'DRAWING THE CURTAIN: MAURICE SENDAK'S DESIGNS FOR OPERA AND BALLET' at the Morgan Library Museum (through Oct. 6). Drawn from Sendak's bequest to the Morgan of his theatrical drawings, this succinct yet bountiful exhibition offers an overview of a dense, underappreciated period in this artist's career, undertaken with his most celebrated books well in the past and his life in uneasy transition. "Fifty," Sendak said, "is a good time to either change careers or have a nervous breakdown." The new midlife career he took on in the late 1970s was that of a designer for music theater. His rare ability to convey the light in darkness and the darkness in light brought him to opera. It's the focus of this show, which is aimed at adults but likely delightful for children, too. Five of his productions emerge before our eyes from rough sketches to storyboards, polished designs and a bit of video footage in those unmistakably Sendakian colors, watery and vivid at once. (Zachary Woolfe) 212 685 0008, themorgan.org 'THE JIM HENSON EXHIBITION' at the Museum of the Moving Image (ongoing). The rainbow connection has been established in Astoria, Queens, where this museum has opened a new permanent wing devoted to the career of America's great puppeteer, who was born in Mississippi in 1936 and died, too young, in 1990. Henson began presenting the short TV program "Sam and Friends" before he was out of his teens; one of its characters, the soft faced Kermit, was fashioned from his mother's old coat and would not mature into a frog for more than a decade. The influence of early variety television, with its succession of skits and songs, runs through "Sesame Street" and "The Muppet Show," though Henson also spent the late 1960s crafting peace and love documentaries and prototyping a psychedelic nightclub. Young visitors will delight in seeing Big Bird, Elmo, Miss Piggy and the Swedish Chef; adults can dig deep into sketches and storyboards and rediscover some old friends. (Jason Farago) 718 784 0077, movingimage.us 'ILLUSTRATING BATMAN: EIGHTY YEARS OF COMICS AND POP CULTURE' at the Society of Illustrators (through Oct. 12). Batman turned 80 in April, and now the character is being celebrated with this visual feast of covers and interior pages, teeming with vintage and modern original comic art that shows the hero's evolution. The exhibition includes "Bat Manga!: The Secret History of Batman in Japan," a display devoted to a Batman story originally printed in Japan, and "Batman Collected: Chip Kidd's Batman Obsession," featuring memorabilia belonging to the graphic designer Chip Kidd. (George Gene Gustines) 212 838 2560, societyillustrators.org 'ALICJA KWADE: PARAPIVOT' at the Metropolitan Museum of Art (through Oct. 27). This shrewd and scientifically inclined artist, born in Poland and based in Berlin, has delivered the best edition in five years of the Met's hit or miss rooftop sculpture commission. Two tall armatures of interlocking steel rectangles, the taller of them rising more than 18 feet, support heavy orbs of different colored marble; some of the balls perch precariously on the steel frames, while others, head scratchingly, are squinched between them. Walk around these astral abstractions and the frames seem to become quotation marks for the transformed skyline of Midtown; the marbles might be planets, each just as precarious as the one from which they've been quarried. (Farago) 212 535 7710, metmuseum.org 'LIFE: SIX WOMEN PHOTOGRAPHERS' at the New York Historical Society (through Oct. 6). In the 36 years Life magazine published as a weekly, only six of its full time photographers were women. On the face of it, "LIFE: Six Women Photographers" at the New York Historical Society is half an excuse to air some gorgeous, previously unpublished silver prints, half a broad hint about how much talent we've lost to discrimination over the years. But cheery photo essays, produced by professional women, about other women hesitating to join the work force make a subtler point: that the actual mechanics of discrimination tend to be more complicated than they appear from a distance. (Will Heinrich) 212 873 3400, nyhistory.org 'NOBODY PROMISED YOU TOMORROW: 50 YEARS AFTER STONEWALL' at Brooklyn Museum (through Dec. 8). In this large group show, 28 young queer and transgender artists, most born after 1980, carry the buzz of Stonewall resistance into the present. Historical heroes, including Marsha P. Johnson and Sylvia Rivera, are honored (in a film by Sasha Wortzel and Tourmaline). Friends in life, Johnson and Rivera are tutelary spirits of an exhibition in which a trans presence, long marginalized by mainstream gay politics, is pronounced in the work of Juliana Huxtable, Hugo Gyrl, Amaryllis DeJesus Moleski and Elle Perez (who is also in the current Whitney Biennial). (Cotter) 718 638 5000, brooklynmuseum.org 'OCEAN WONDERS: SHARKS!' at the New York Aquarium (ongoing). For years, the aquarium's 14 acre campus hunkered behind a wall, turning its back to the beach. When aquarium officials last year finally got around to completing the long promised building that houses this shark exhibition, maybe the biggest move, architecturally speaking, was breaking through that wall. The overall effect makes the aquarium more of a visible, welcoming presence along the boardwalk. Inside, "Ocean Wonders" features 115 species sharing 784,000 gallons of water. It stresses timely eco consciousness, introducing visitors to shark habitats, explaining how critical sharks are to the ocean's food chains and ecologies, debunking myths about the danger sharks pose to people while documenting the threats people pose to sharks via overfishing and pollution. The narrow, snaking layout suggests an underwater landscape carved by water. Past the exit, an outdoor ramp inclines visitors toward the roof of the building, where the Atlantic Ocean suddenly spreads out below. You can see Luna Park in one direction, Brighton Beach in the other. The architectural point becomes clear: Sharks aren't just movie stars and aquarium attractions. They're also our neighbors as much a part of Coney Island as the roller coasters and summer dreams. (Michael Kimmelman) 718 265 3474, nyaquarium.com Read about the events that our other critics have chosen for the week ahead. 'PLAY IT LOUD: INSTRUMENTS OF ROCK ROLL' at the Metropolitan Museum of Art (through Oct. 1). Presented in collaboration with the Rock Roll Hall of Fame, this exhibition offers a vision of history in which the rock music that flowered in the 1960s and '70s sits firmly at the center. The format of the rock band provides the structure of the show, with one room given over to the rhythm section and another showcasing "Guitar Gods." Yet another room has a display highlighting the guitar's destruction, with pieces of instruments trashed by Kurt Cobain and Pete Townshend. To the extent that it shifts focus toward the tools of the rock trade, the show is illuminating. Of particular interest is the room set aside for "Creating a Sound," which focuses on the sonic possibility of electronics. The lighting in "Play It Loud" is dim, perhaps reflecting rock music as the sound of the night. Each individual instrument shines like a beacon, as if it's catching the glint of an onstage spotlight. It makes the space between audience member and musician seem vast, but that doesn't diminish the wonder of browsing the tools once used by pop royalty. (Richardson) 212 535 7710, metmuseum.org 'CHARLOTTE POSENENSKE: WORK IN PROGRESS' at Dia Art Foundation in Beacon, N.Y. (through Sept. 9). This Hudson Valley institution continues its satisfying enlargement of its roll call of Miminalists and Conceptualists with a major showcase of this German artist, who showed her modular, industrially inspired sculptures alongside Donald Judd and Frank Stella in the late 1960s, but then abandoned art for sociology. Posenenske's most important works were free standing pipes, made of sheet steel or cardboard, that look almost exactly like commercial air ducts. Unlike some of the control freaks whose art is also on view here, Posenenske made her art in infinite editions, out of parts that can be arranged in any shape you like: a generous distribution of authorship from the artist to her fabricators and collectors. (Farago) diaart.org 'PUNK LUST: RAW PROVOCATION 1971 1985' at the Museum of Sex (through Nov. 30). This show begins with imagery from the Velvet Underground: The 1963 paperback of that title, an exploration of what was then called deviant sexual behavior and gave the band its name, is one of the first objects on display. Working through photos, album art and fliers by artists like Iggy Pop, the New York Dolls, Patti Smith and, yes, the Sex Pistols, the exhibition demonstrates how punk offered a space for sexual expression outside the mainstream. In the story told by "Punk Lust," much of it laid out in placards by the writer and musician Vivien Goldman, one of the show's curators, graphic sexual imagery is a tool for shock that frightens away the straight world and offers comfort to those who remain inside. While some of the power dynamic is typical underage groupies cavorting with rock stars images from female, queer and nonbinary artists like Jayne County and the Slits make a strong case for sex as an essential source of punk liberation. (Richardson) 212 689 6337, museumofsex.com 'SCENES FROM THE COLLECTION' at the Jewish Museum (ongoing). After a surgical renovation to its grand pile on Fifth Avenue, the Jewish Museum has reopened its third floor galleries with a rethought, refreshed display of its permanent collection, which intermingles 4,000 years of Judaica with modern and contemporary art by Jews and gentiles alike Mark Rothko, Lee Krasner, Nan Goldin, Cindy Sherman and the excellent young Nigerian draftswoman Ruby Onyinyechi Amanze. The works are shown in a nimble, nonchronological suite of galleries, and some of its century spanning juxtapositions are bracing; others feel reductive, even dilettantish. But always, the Jewish Museum conceives of art and religion as interlocking elements of a story of civilization, commendably open to new influences and new interpretations. (Farago) 212 423 3200, thejewishmuseum.org STATUE OF LIBERTY MUSEUM on Liberty Island (ongoing). Security concerns stemming from the Sept. 11 attacks led the National Park Service to restrict the number of people who could go inside the Statue of Liberty's massive stone pedestal and up to the crown. So the Statue of Liberty Ellis Island Foundation wanted to offer something more for visitors who found the outdoor view less than satisfying: a stand alone museum on the island that would welcome everyone who wanted to hear the story behind Lady Liberty. Going beyond the vague and often dubious ideal of American "liberty," the museum's displays highlight the doubts of black Americans and women who saw their personal liberties compromised on a daily basis in the 1880s, when the statue opened. These exhibits also spotlight a bit of history that is often forgotten: that the French creators intended the statue as a commemoration of the abolition of slavery in the United States. (Julia Jacobs) statueoflibertymuseum.org 'STONEWALL 50 AT THE NEW YORK HISTORICAL SOCIETY' (through Sept. 22). For its Stonewall summer, the society offers a bouquet of three micro shows. One is devoted to relics of L.G.B.T.Q. night life, from the 1950s lesbian bar called the Sea Colony to gay male sex clubs like the Anvil and the Ramrod that sizzled in the 1970s. Another documents the founding in 1974 by Joan Nestle, Deborah Edel, Sahli Cavallero, Pamela Olin and Julia Stanley of a compendious and still growing register of lesbian culture called the Herstory Archives. And a third turns a solo spotlight on charismatic individuals: Storme DeLarverie (1920 2014), Mother Flawless Sabrina/Jack Doroshow (1939 2017), Keith Haring (1958 90) and Rollerena Fairy Godmother. (Cotter) 212 873 3400, nyhistory.org 'TOO FAST TO LIVE, TOO YOUNG TO DIE: PUNK GRAPHICS, 1976 1986' at the Museum of Arts and Design (through Aug. 18). Many of the objects on display in this exhibition were first hung in record stores or in the bedrooms of teenagers. Posters promoting new albums, tours and shows are mixed in with album art, zines, buttons and other miscellany. Most of the pieces are affixed to the walls with magnets and are not framed, and almost all show signs of wear. The presentation reinforces that this was commercial art meant for wide consumption, and the ragged edges and prominent creases in the works make the history feel alive. (Richardson) 212 299 7777, madmuseum.org 'T. REX: THE ULTIMATE PREDATOR' at the American Museum of Natural History (through Aug. 9, 2020). Everyone's favorite 18,000 pound prehistoric killer gets the star treatment in this eye opening exhibition, which presents the latest scientific research on T. rex and also introduces many other tyrannosaurs, some discovered only this century in China and Mongolia. T. rex evolved mainly during the Cretaceous period to have keen eyes, spindly arms and massive conical teeth, which could bear down on prey with the force of a U Haul truck; the dinosaur could even swallow whole bones, as affirmed here by a kid friendly display of fossilized excrement. The show mixes 66 million year old teeth with the latest 3 D prints of dino bones, and also presents new models of T. rex as a baby, a juvenile and a full grown annihilator. Turns out this most savage beast was covered with believe it! a soft coat of beige or white feathers. (Farago) 212 769 5100, amnh.org '2019 WHITNEY BIENNIAL' at the Whitney Museum of American Art (through Sept. 22). Given the political tensions that have sent spasms through the nation over the past two years, you might have expected hoped that this year's biennial would be one big, sharp Occupy style yawp. It isn't. Politics are present but, with a few notable exceptions, murmured, coded, stitched into the weave of fastidiously form conscious, labor intensive work. As a result, the exhibition, organized by two young Whitney curators, Rujeko Hockley and Jane Panetta, gives the initial impression of being a well groomed group show rather than a statement of resistance. But once you start looking closely, the impression changes artist by artist, piece by piece there's quiet agitation in the air. (Cotter) 212 570 3600, whitney.org 'VIOLET HOLDINGS: LGBTQ HIGHLIGHTS FROM THE N.Y.U. SPECIAL COLLECTIONS' at Bobst Library (through Dec. 31). With the Stonewall Inn now a National Historic Landmark (and a bar again; it was a bagel shop in the 1980s), nearby New York University has produced a homegrown archival exhibition at Bobst Library, across the park from Grey Art Gallery. Organized by Hugh Ryan, it takes the local history of queer identity back to the 19th century with documents on Elizabeth Robins (1862 1952), an American actor, suffragist and friend of Virginia Woolf, and forward with ephemera related to the musician and drag king Johnny Science (1955 2007) and the African American D.J. Larry Levan (1954 92), who, in the 1980s, presided, godlike, at a gay disco called the Paradise Garage, which was a short walk from the campus. (Cotter) 212 998 2500, library.nyu.edu 'JEFF WALL' at Gagosian (through July 26). Rumination and risk taking, in equal measure, mark this conceptual photographer's spellbinding new exhibition. The show, Wall's first at this Chelsea gallery since ending a 25 year run with the rival dealer Marian Goodman, feels decidedly introspective. Figures alone in contemplative trances, or alienated from their partners in scenes of evident tension, define most of the works. The encyclopedic visual literacy that has long characterized Wall's pictures (with their compositional echoes of old master paintings) has been pared back, allowing more psychological complexity to emerge. Just as new is an emphasis on narrative and sequence; among the pieces are two diptychs and an enveloping, cinematic triptych. (Karen Rosenberg) 212 741 1717, gagosian.com 'ART AFTER STONEWALL, 1969 1989' at Grey Art Gallery (through July 20) and at Leslie Lohman Museum (through July 21). For this summer's half century anniversary of the 1969 Stonewall riots, substantial displays of art produced in the long wake of the uprising are filling New York City museums and public spaces. The largest is this two part exhibition, organized by Jonathan Weinberg and shared by Grey Art Gallery at N.Y.U. and Leslie Lohman Museum. The Leslie Lohman half, which focuses on the 1970s and has lots of archival matter, feels tight and combustible. Much of what's in it was hot off the political burner, responsive to crisis conditions. The pace at Grey, where much of the work dates from the 1980s, is more measured, but has tensions of its own as the story encompasses AIDS and the culture wars. (Cotter) 212 998 6780, greyartgallery.nyu.edu 212 431 2609, leslielohman.org 'LOVE RESISTANCE: STONEWALL 50' at New York Public Library (through July 13). Organized by Jason Baumann, this archival show functions as a timeline of the gay rights movement from the founding of the Mattachine Society in the 1950s through Stonewall and its immediate aftermath. Pictures by Diana Davies and Kay Tobin Lahusen, lesbian photojournalists, mark a forward path that is lined with protest posters, dance club fliers and L.G.T.B.Q. publications (Transvestia, Demi Gods, Third World Women's Gayzette). (Cotter) 917 275 6975, nypl.org 'HITO STEYERL: DRILL' at the Park Avenue Armory (through July 21). This German ironist may be the art world's most compelling investigator of technology, politics and war, but she comes up short with "Drill," a major new three screen video that fills the armory's huge central hall. Her subject is American gun violence, examined through interviews with survivors and historians and set to a score by a precision marching band; though impassioned, it jettisons the artist's keen gaze on systems of power for up with people smugness. Better, and more urgent, are earlier works here that plumb the wild world made by contemporary technology above all "Duty Free Art," a 2015 lecture performance that maps bewildering (and mostly real!) connections among the Syrian civil war, art world tax evasion and Justin Bieber's Twitter account. (Farago) 212 616 3930, armoryonpark.org	N24News: A New Dataset for Multimodal News Classification	Art & Design
If a Car Is Going to Self Drive, It Might as Well Self Park, Too TECHNOLOGY may soon render another skill superfluous: parking a car. Sensors and software promise to free owners from parking angst, turning vehicles into robotic chauffeurs, dropping off drivers and then parking themselves, no human intervention required. BMW demonstrated such technical prowess this month with a specially equipped BMW i3 at the International CES event. At a multilevel garage of the SLS Las Vegas hotel, a BMW engineer spoke into a Samsung Gear S smartwatch. "BMW, go park yourself," and off the electric vehicle scurried to an empty parking spot, turning and backing itself perfectly into the open space. To retrieve the car, a tap on the watch and another command, "BMW, pick me up," returned the car to the engineer. No smartphone was needed. The Samsung watch includes its own cellular connection, so commands are sent to a BMW server, which then relays the instructions to the car, said Yves Pilat, one of BMW's engineers developing the feature. BMW calls it fully automated remote valet parking. Several other companies have demonstrated similar self parking cars, including Toyota, Valeo and Volkswagen. In many ways, the development is an extension of existing parallel parking assist technologies. In such systems, the driver remains behind the wheel, but with a push of a button, the vehicle measures the parking space and then swings backs into it without any input from the human operator. "Now, the concept is you can do any kind of parking spot," Mr. Pilat said, and without a driver. Aside from preventing Ferris Bueller like joy rides by garage attendants, the advantage of introducing autonomous car features to handle parking has several benefits, foremost being to win over skeptical consumers. Parallel parking was "the first step in getting drivers to understand that there are some tasks the car might be able to do better than you," said John Hanson, Toyota Motor Sales USA's national manager for advanced technology and business communication. Letting the company's electronic park assist do the tricky maneuvering can eliminate dings, wrinkled fenders and embarrassing scrapes. But cars that park themselves without a driver in the front seat are still research projects, which may face more regulatory than technological hurdles. Valeo says consumers will see its self parking technology introduced in a production vehicle within the next 12 months. To overcome possible regulatory objections, Valeo includes one additional piece of technology: a 360 degree, bird's eye view video camera. The live video view is displayed on the owner's smartphone, and the user must keep a finger on the screen until the car is finished parking. If the finger is lifted, the car will stop automatically. "So the driver remains in control of the operation to conform to current regulations," said Guillaume Devauchelle, Valeo's vice president for innovation and scientific development. The camera is also used to recognize blue lines demarcating handicapped zones and other restricted parking spots. That sense of control may seem like a mere technicality when standing 100 feet away from the car. But not being behind the wheel does have one distinct advantage: There is no trepidation about being trapped inside a robotic car that might crash. Then there is the matter of simply finding an available spot. Several companies, like Parkopedia and ParkMe, have been working for the last couple of years to collect that information in real time. There are smartphone apps to help drivers find a spot, and last year Volvo began offering a feature that enables drivers to find the closest available space and pay for it. Parkopedia has parking information including real time availability and prices for 6,000 cities in 52 countries, said the company's chief executive, Eugene Tsyrklevich. He said that drivers could even set preferences, like selecting the nearest available spot or least expensive space. Gathering the information has presented some challenges. Garage owners were initially reluctant to share their pricing information online, but more operators are realizing that if they are not included in apps or on dashboards, they may lose business. "Right now we have close to 15 percent of all parking lots across the nation with refreshed information," said Mark Pendergrast, director of product management at the traffic firm Inrix. "Two years ago that number was zero." Inrix uses information from Parkopedia and ParkMe and says that in metropolitan areas the percentage of garages covered is closer to 30 to 40 percent. But there is still the issue of including available street parking. Several municipalities, like San Francisco and Washington, have worked on trying to solve the problem using sensors and networked payment systems to deliver real time information on availability. Simply tracking payment information is not enough to guarantee accuracy, however, because some drivers will park illegally or exceed their allotted time. So cameras with software intended to recognize open spaces may have to be used. Even the cars themselves, peppered with sensors and connected to the Internet, could report on available spots near them, Mr. Pendergrast said, much in the way that cars can automatically report their location and speed to provide information about traffic conditions. Indeed, BMW is working with another company, Parkmobile, and is considering integrating parking location and payment features with its robotic valet in the future. It would mean that drivers would never have to worry about finding a spot or learning how to parallel park. Such parking nirvana may still be years away, however, said Mr. Devauchelle of Valeo. The reason: The real challenge for autonomous car technology isn't pulling into an empty spot in a garage, it's pulling out of a space on the street into traffic. "And the difficulty is to do it 100 percent of the time," he said. "It would be a disaster to put something on the market that works 95 percent of the time."	N24News: A New Dataset for Multimodal News Classification	Automobiles
Bryce Dessner's "Triptych (Eyes for One on Another)," a meditation on the photography of Robert Mapplethorpe, at Walt Disney Concert Hall this week. LOS ANGELES Robert Mapplethorpe's photographs are pristine and painful, witty and wicked, forbidding and seductive. The mild mannered Bryce Dessner is not the first composer I would have thought of to set them to music. Mr. Dessner whose hourlong meditation on Mapplethorpe, "Triptych (Eyes of One on Another)," had its premiere at Walt Disney Concert Hall here on Tuesday before touring worldwide achieved fame as a member of the rock band the National, and has sought a parallel career in the concert hall. Mellow and unobtrusive, with a heavy debt to Minimalism and its rock infused progeny, his music is at its best when he's his own softly suggestive electric guitar soloist. And on a small scale a bright, vivid set of "Murder Ballades" (2013); the gentle percussion solo "Tromp Miniature" (2014) his work can be charming. Longer pieces, though conscientiously constructed, tend to go prettily nowhere. (The New York Philharmonic will play "Wires" in November.) Mr. Dessner was a teenager in Cincinnati in 1990 when a Mapplethorpe exhibition that traveled there, "The Perfect Moment," became caught up in a classic culture war conflagration over censorship and government support for the arts. The city's Contemporary Arts Center and its director faced obscenity charges; they were acquitted in a trial viewed as a victory for free speech. "The Perfect Moment" drew from three Mapplethorpe portfolios: "X" (images of gay S M activity), "Y" (flower studies) and "Z" (nude portraits of black men). This tripartite structure in turn suggested a form for "Triptych," which very loosely moves from a mythologizing overture ("it was said he had face of a god / yet some saw a demon with rope shoes") to reflections on the obscenity trial and issues of race in his work. The elliptical libretto, by Korde Arrington Tuttle, draws on texts by the poet Essex Hemphill, who argued that Mapplethorpe continued a long tradition of objectifying black bodies, and by Patti Smith, whose book "Just Kids" is a memoir of her friendship with the artist. The language is stylized and extravagantly poetic, matching the photographs' explicit sexual content while meeting their cool elegance with punk Romanticism ("worship the almighty / target practice / tells me to flex / tighten my torso"). These texts, while occasionally overwrought, do evoke the brew of objectification, glorification, aggression, submission, risk and reward in Mapplethorpe's photographs, particularly those of black men. The words are not always easy on the artist; they draw an uncomfortable parallel between different meanings of "shooting" someone, and, in one section constructed as a dialogue, suggest Mapplethorpe exploited his models. It's heady, ambitious stuff. But Mr. Dessner, perhaps treading cautiously as a white composer in a potential racial minefield, keeps the music performed by 10 vocalists and 10 instrumentalists resolutely lukewarm. He mines the vocal ensemble Roomful of Teeth for close harmonies, undergirding their singing with a wan wash of strings, the barest touch of propulsion. (The Los Angeles Philharmonic's New Music Group was conducted by Sara Jobin.) The tenor Isaiah Robinson, a featured soloist, made soulful wails; his voice was richer, the emotion in it both plainer and more complex, than that of mezzo soprano Alicia Hall Moran, his female counterpart. There was little sense of this blandly brooding, affectlessly luminous score shifting as the libretto did, leaving the words only a handful of which were audible, with murky amplification partly to blame adrift. The music can't match the words' nuanced portrayal of Mapplethorpe's vision and personality, reducing the work's impact to dreary sanctification. (I could have done without the facile queer utopianism of the finale: "Every time we kiss / we confirm the new world coming.") A slideshow of Mapplethorpe's images was projected on a screen above the ensemble during the performance, and a young black actor moved slowly around the stage. These are perhaps suggestions of the fuller production of "Triptych" (directed by Kaneza Schaal, who replaced the originally announced Daniel Fish) that will have its premiere on March 15 in Ann Arbor, Mich., and travel to the Brooklyn Academy of Music in June. A fleshed out production may well enliven the piece. But if the music isn't propelling the drama, visuals will ultimately always be window dressing. I know critics aren't supposed to review performances that existed only in our imaginations. But on the drive home from Disney Hall, my mind kept wandering to what the composer Georg Friedrich Haas might have done with this material. Known for plunging his players and audiences alike into long, disconcerting stretches of total darkness, Mr. Haas is gifted at sonic evocations of control, oppression and extremity; his work shares the classicism of Mapplethorpe's work, and its brutality. These indelible photographs deserve better music than Mr. Dessner's thin, earnest worship.	N24News: A New Dataset for Multimodal News Classification	Music
Anyone above a certain age who has drawn a blank on the name of a favorite uncle, a friend's phone number or the location of a house key understands how fragile memory is. Its speed and accuracy begin to slip in one's 20s and keep slipping. This is particularly true for working memory, the mental sketch pad that holds numbers, names and other facts temporarily in mind, allowing decisions to be made throughout the day. On Monday, scientists reported that brief sessions of specialized brain stimulation could reverse this steady decline in working memory, at least temporarily. The stimulation targeted key regions in the brain and synchronized neural circuits in those areas, effectively tuning them to one another, as an orchestra conductor might tune the wind section to the strings. The findings, reported in the journal Nature Neuroscience, provide the strongest support yet for a method called transcranial alternating current stimulation, or tACS, as a potential therapy for memory deficits, whether from age related decline, brain injury or, perhaps, creeping dementia. Like the Science Times page on Facebook. Sign up for the Science Times newsletter. In recent years, neuroscientists have shown that memory calls on a widely distributed network in the brain, and it coordinates those interactions through slow frequency, thrumming rhythms called theta waves, akin to the pulsing songs shared among humpback whales. The tACS technology is thought to enable clearer communication by tuning distant circuits to one another. The tACS approach is appealing for several reasons, perhaps most of all because it is noninvasive; unlike other forms of memory support, it involves no implant, which requires brain surgery. The stimulation passes through the skull with little sensation. Still, a widely available therapy is likely years away, as the risks and benefits are not fully understood, experts said. "This study suggests that age related impairment in one particular form of short term memory largely reflects a failure of synchronization," said Michael Kahana, a brain scientist at the University of Pennsylvania who was not involved in the research. If the technique can boost other forms of memory, "it could be a game changer for the treatment of age related memory decline and possibly even dementia," Dr. Kahana said. In the new study, Robert M.G. Reinhart and John A. Nguyen, neuroscientists at Boston University, invited two groups of subjects, young adults and people in their 60s and 70s, to the lab for baseline measures of their neural firing rhythms. The scientists tailored the tACS program to optimize rhythmic "coupling" between frontal and temporal cortex areas in each individual's brain. These brain regions specifically support working memory. After 25 minutes of gentle stimulation, delivered by electrodes built into a skullcap, the older subjects performed just as well on memory tests as young adults. The participants tested their own working memories repeatedly, completing 10 sessions on a computer based program that mimicked the old Highlights magazine game: stare at an image, then decide if subsequent images are identical or have subtle differences. They performed under several conditions, including without stimulation; with "sham" stimulation, as a placebo control, and with the targeted tACS. The results were striking. Young people reliably outperformed their elders in the no stimulation and sham conditions. But with the aid of the tACS, the older participants did just as well as their younger counterparts. And their working memory remained sharp for as long as the researchers continued testing it, for 50 minutes. "We show here that working memory decline in people in their 60s and 70s is due to brain circuits becoming uncoupled, or disconnected," said Dr. Reinhart, in a call with reporters. He added that the findings "show us that negative, age related changes in working memory are not unchangeable. We can bring back the superior function you had when you were much younger." The tACS tuning prompted greater improvements in older people than in younger ones, the study found, which suggests that the tool is more a corrective than an enhancer of memory. In another experiment, Dr. Reinhart and Dr. Nguyen found that, by using the tACS technology to decouple key brain regions, they could temporarily muddle the working memory of young participants. The new findings come at a time when increasing numbers of people are experimenting with brain stimulation at home, placing electrodes on different areas of their skull, depending on how they're feeling. They share tips online about how best to use stimulation when feeling depressed, or impulsive, or mentally foggy with mixed results. Experts said that the sort of stimulation used in the new study is far from a do it yourself approach. "Reinhart and Nguyen use a very complex, sophisticated system here in a very carefully controlled environment," Bradley Voytek, a neuroscientist at the University of California, San Diego, said in an email. "Do not try this at home! This is a promising start, not a panacea for memory problems."	N24News: A New Dataset for Multimodal News Classification	Health
A constellation of Starlink satellites seen in the night sky over the Netherlands, nearly 24 hours after being launched by SpaceX in May 2019. This article has been updated to reflect estimates of satellites potentially appearing in images taken by a telescope that were revised after it was published. Last month, SpaceX successfully launched 60 500 pound satellites into space. Soon amateur skywatchers started sharing images of those satellites in night skies, igniting an uproar among astronomers who fear that the planned orbiting cluster will wreak havoc on scientific research and trash our view of the cosmos. The main issue is that those 60 satellites are merely a drop in the bucket. SpaceX anticipates launching thousands of satellites creating a mega constellation of false stars collectively called Starlink that will connect the entire planet to the internet, and introduce a new line of business for the private spaceflight company. While astronomers agree that global internet service is a worthy goal, the satellites are bright too bright. "This has the potential to change what a natural sky looks like," said Tyler Nordgren, an astronomer who is now working full time to promote night skies. And SpaceX is not alone. Other companies, such as Amazon, Telesat and OneWeb, want to get into the space internet business. Their ambitions to make satellites nearly as plentiful as cellphone towers highlight conflicting debates as old as the space age about the proper use of the final frontier. While private companies see major business opportunities in low Earth orbit and beyond, many skygazers fear that space will no longer be "the province of all mankind," as stated in the Outer Space Treaty of 1967. Sign up to get reminders for space and astronomy events on your calendar. The Starlink launch was one of SpaceX's most ambitious missions to orbit. Each of the satellites carries a solar panel that not only gathers sunlight but also reflects it back to Earth. Elon Musk, SpaceX's founder and chief executive, has offered assurances that the satellites will only be visible in the hours after sunset and before sunrise, and then just barely. But the early images led many scientists to question his assertions. The first captured images, for example, revealed a train of spacecraft as bright as Polaris, the North Star. And while a press officer at SpaceX said the satellites will grow fainter as they move to higher orbits, some astronomers estimate that they will be visible to the naked eye throughout summer nights. Whenever a satellite passes through a long exposure picture of the sky, it causes a long bright streak typically ruining the image and forcing astronomers to take another one. While telescope operators have dealt with these headaches for years, Starlink alone could triple the number of satellites currently in orbit, with the number growing larger if other companies get to space. One estimate suggests that the Large Synoptic Survey Telescope an 8.4 meter telescope under construction on a Chilean mountaintop that will soon scan the entire sky might have to deal with one Starlink satellite in every couple of images it takes during the first few hours of twilight. And astronomers don't yet know how they will adjust. "We're really at that point where we have to assess what we're going to do," said Ronald Drimmel, an astronomer at the Turin Astrophysical Observatory in Italy. Not only do these satellites reflect light, they also emit radio frequencies which a number of astronomers find troubling. Dishes used in radio astronomy are often built in remote locations far from cell towers and radio stations. But if Starlink is launched in full with the ability to beam reception toward any location on the planet those so called radio quiet zones might become a thing of the past. Moreover, some are worried that Starlink plans to operate on two frequency ranges that astronomers use to map the gas throughout the universe allowing them to see how planets as large as Jupiter assemble, and how galaxies formed immediately after the Big Bang. "If those frequency channels become inaccessible, it's extremely limiting to what we can learn about the early universe," said Caitlin Casey, an astronomer at the University of Texas at Austin. Similar concerns emerged in the 1990s when Iridium launched dozens of satellites which made their own flashes in night skies to provide global satellite phone coverage. The Iridium constellation's impact was ultimately minimal as technologies changed, and because it never grew larger than 66 satellites. The most reflective of its satellites are now gradually falling from orbit. The National Radio Astronomy Observatory, a federally funded research center that operates facilities across the world, said on Friday in a statement that it has been working directly with SpaceX to minimize potential impacts. The group is discussing what it called exclusion zones around some radio astronomy facilities, where SpaceX's satellites would power down when traveling overhead. Dr. Casey worries that this could still restrict where radio astronomers can work. This week on Twitter, Mr. Musk said that Starlink will avoid using one of those two frequency ranges. But Dr. Casey said it's possible that the adjacent frequencies the satellites will use might spill into areas astronomers study even if they're technically blocked. Despite the outcry, Dr. Drimmel said he wasn't calling for Starlink to be brought to a halt. "I don't presume that astronomy should be held more important than everything else," he said. "So there may be some give and take, and compromises that need to be made." But he does worry about the irrevocable impact on human culture should internet satellites forever alter the face of the night sky. "What I find astounding is that whatever we do will affect everyone on the planet," Dr. Drimmel said. Alex Parker, a planetary astronomer at the Southwest Research Institute, noted on Twitter that if nearly 12,000 of these satellites orbit, they could soon outnumber all of the stars visible to the naked eye. And even if just 500 are observable at any given time, Dr. Drimmel warns that it will be difficult to pick out constellations among those moving lights. Most of the frustration stems from the fact that discussions about the impact of this project did not take place before launch. And it may only be the beginning. "It truly is the tip of the iceberg, especially as we get into a world where you have multibillionaires with the ability and the desire to do things like this," Dr. Nordgren said. So astronomers are hopeful that today's conversation might shape the future. "I think it's good that we're making noise about this problem," Dr. Drimmel said. "If we're not aware of the threat, so to speak, this will all happen as planned and then it will be too late." Already, Mr. Musk has asked SpaceX to work on lowering future satellites' brightness. And other companies seem to be taking not e. A press officer at Amazon said that it will be years before Project Kuiper the company's plan to place more than 3,000 internet satellites into orbit is available. But Amazon will assess space safety and concerns about light pollution as they design their satellites, the press officer said. Ultimately, many agree that the risks are far too great for this decision to be made by one company. And Dr. Casey is hopeful that SpaceX will take a cooperative approach with major astronomy organizations. "The idea that one or two people somewhere in some country in some boardroom can make the decision that the constellations hereafter will suddenly be fluid, and move from night to night and hour to hour well, I don't think that's their decision to make," Dr. Nordgren said.	N24News: A New Dataset for Multimodal News Classification	Science
Crowdsourced: Some authors cultivate an especially collaborative relationship with fans. Janet Evanovich has let readers title her books; Neil Gaiman has solicited story ideas on Twitter. And the suspense novelist whose new book, "Right Behind You," jumps straight to the top in its first week on the hardcover fiction list turned to Facebook back when she was still trying to decide which of her regular protagonists the novel should feature. "I wasn't sure who I wanted to write about," she told the New Hampshire public radio host Peter Biello this month. "Did people want the F.B.I. profilers? I've written some books with them. What about Boston detective D.D. Warren, who had a very successful book last year? What about Tessa Leoni? I really thought it would be between those two characters, so I was as surprised as anyone to have the readers choose the F.B.I. profilers." The profilers in question are the husband and wife team of Pierce Quincy and Rainie Conner only one of whom, Quincy, has actually worked as an F.B.I. profiler. (Conner, his frequent sidekick, is a former homicide investigator with the police department in Bakersville, Ore.) In "Right Behind You," the two are hunting for a rampage killer who's fled into the forests of the Pacific Northwest, and who may be the older brother of the girl they're trying to adopt. If you think that sounds like a knotty ball of yarn to untangle, Gardner doesn't necessarily disagree. "I hadn't written those books in a good eight years," she told Biello. "So it was homework for me. I got to reread my old novels. I had to catch up on my own characters. It was a lot of fun, though. It was a lot of fun to go back to, almost like old friends." False Witness: "The Blood of Emmett Till," by the historian Timothy B. Tyson, enters the hardcover nonfiction list at No. 13. The book has made news for its revelation that the white woman at the center of the case who claimed the 14 year old Till flirtatiously grabbed her before his 1955 murder now admits she made that story up. But the confession only confirms what many people had long assumed. "We already knew her story was a lie," the Chicago Tribune columnist Dahleen Glanton wrote last month. "So did the judge who presided over the murder trial of her husband and another man. . . . So did most of the people who lived in the tiny town of Money in the heart of the Mississippi Delta. But the all white jury acquitted them anyway." Glanton doesn't spare a lot of sympathy for the woman's delayed spasm of conscience: "She was a coward then and she's a coward now. If you want to know what courage is," she continues, look at Till's mother, who "was brave enough to use her sorrow to reignite a movement." At Last: Paul Auster published his first book over 30 years ago, but he's never hit the hardcover fiction list until now. "4 3 2 1," his new novel, debuts at No. 13.	N24News: A New Dataset for Multimodal News Classification	Books
Here's What Recovery From Covid 19 Looks Like for Many Survivors Hundreds of thousands of seriously ill coronavirus patients who survive and leave the hospital are facing a new and difficult challenge: recovery. Many are struggling to overcome a range of troubling residual symptoms, and some problems may persist for months, years or even the rest of their lives. Patients who are returning home after being hospitalized for severe respiratory failure from the virus are confronting physical, neurological, cognitive and emotional issues. And they must navigate their recovery process as the pandemic continues, with all of the stresses and stretched resources that it has brought. "It's not just, 'Oh, I had a terrible time in hospital, but thank goodness I'm home and everything's back to normal,'" said Dr. David Putrino, director of rehabilitation innovation at Mount Sinai Health System in New York City. "It's, 'I just had a terrible time in hospital and guess what? The world is still burning. I need to address that while also trying to sort of catch up to what my old life used to be.'" It is still too early to say how recovery will play out for these patients. But here is a look at what they are experiencing so far, what we can learn from former patients with similar medical experiences, and the challenges that most likely lie ahead. What problems do patients experience after leaving the hospital? There are many. Patients may leave the hospital with scarring, damage or inflammation that still needs to heal in the lungs, heart, kidneys, liver or other organs. This can cause a range of problems, including urinary and metabolism issues. Dr. Zijian Chen, the medical director of the new Center for Post Covid Care at Mount Sinai Health System, said the biggest physical problem the center was seeing was shortness of breath, which can be the result of lung or heart impairments or a blood clotting problem. "Some have an intermittent cough that doesn't go away that makes it hard for them to breathe," he said. Some are even on nasal oxygen at home, but it is not helping them enough. Some patients who were on ventilators report difficulty swallowing or speaking above a whisper, a usually temporary result of bruising or inflammation from a breathing tube that passes through the vocal cords. Many patients experience muscle weakness after lying in a hospital bed for so long, said Dr. Dale Needham, a critical care physician at Johns Hopkins School of Medicine and a leader in the field of intensive care recovery. As a result, they can have trouble walking, climbing stairs or lifting objects. Nerve damage or weakness can also whittle away muscle strength, Dr. Needham said. Neurological problems can cause other symptoms, too. Dr. Chen said that Mount Sinai's post Covid center has referred nearly 40 percent of patients to neurologists for issues like fatigue, confusion and mental fogginess. "Some of it is very debilitating," he said. "We have patients who come in and tell us: 'I can't concentrate on work. I've recovered, I don't have any breathing problems, I don't have chest pain, but I can't get back to work because I can't concentrate.'" The center also refers some of these patients for psychological consults, Dr. Chen said. "It's really common for patients to have PTSD after going through this nightmares, depression and anxiety because they're having flashbacks and remembering what happened," said Dr. Lauren Ferrante, a pulmonary and critical care physician at Yale School of Medicine who studies post I.C.U. recovery outcomes. Emotional issues may be heightened for Covid 19 patients because of their days spent hospitalized without visits from family and friends, experts say. "This experience of being extremely sick and extremely alone really amplifies the trauma," said Dr. Putrino, adding that many patients were contacting his program to ask for telemedicine psychology services. "They're saying, 'Listen, I'm not really myself and I need to speak with someone.'" To describe the wide variety of recovery challenges, experts often use an umbrella term, coined about a decade ago: post intensive care syndrome or PICS, which can include any of the physical, cognitive and emotional symptoms patients encounter. What makes someone more likely to face recovery challenges? Studies of people hospitalized for respiratory failure from other causes suggest recovery is more likely to be harder for people who were frail beforehand and for people who needed longer hospitalizations, Dr. Ferrante said. Who should get a booster shot? It depends, Dr. Scott Gottlieb says. Virginia's new lieutenant governor elect says she won't force vaccines. But many other coronavirus patients not just those who are older or who have other medical conditions are spending weeks on ventilators and weeks more in the hospital after their breathing tubes are removed, making their recovery hills steeper to climb. "You have prolonged lengths of stay on a ventilator and in the I.C.U. that are now longer than we've ever seen before," Dr. Ferrante said. "One worries that this is going to have repercussions for physical function and that we'll see more people not recovering." Another factor that can extend or hamper recovery is a phenomenon called hospital delirium, a condition that can involve paranoid hallucinations and anxious confusion. It is more likely to occur in patients who undergo prolonged sedation, have limited social interaction and are unable to move around all common among Covid 19 patients. Studies, including one by a team at Vanderbilt University Medical Center, have found that I.C.U. patients who experience hospital delirium are more likely to have cognitive impairment in the months after they leave the hospital. What is the trajectory of recovery? Ups and downs are common. "It's absolutely not a linear process, and it's very individualized," Dr. Needham said. Perseverance is important. "What we don't want is for patients to go home and lie in bed all day," Dr. Ferrante said. "That will not help with recovery and will probably make things worse." Patients and their families should realize that fluctuations in progress are normal. "There are going to be days where everything's going right with your lungs, but your joints are feeling so achy that you can't get up and do your pulmonary rehab and you have a few setbacks," Dr. Putrino said. "Or your pulmonary care is going OK, but your cognitive fog is causing you to have anxiety and causing you to spiral, so you need to drop everything and work with your neuropsychologist intensively." "It really does feel like one step forward, two steps back," he added, "and that's OK." How long do these issues last? For many people, the lungs are likely to recover, often within months. But other problems can linger and some people may never make a full recovery, experts say. One benchmark is a 2011 New England Journal of Medicine study of 109 patients in Canada who had been treated for acute respiratory distress syndrome, or ARDS, the kind of lung failure that afflicts many Covid 19 patients. Five years later, most had regained normal or near normal lung function but still struggled with persistent physical and emotional issues. On one crucial test how far patients could walk in six minutes their median distance was about 477 yards, only three quarters of the distance researchers had predicted. The patients ranged in age from 35 to 57, and while younger patients had a greater rate of physical recovery than older patients, "neither group returned to normal predicted levels of physical function at five years," the authors wrote. The patients in the study had ARDS from a variety of causes, including pneumonia, sepsis, pancreatitis or burns. They had a median stay of 49 days in the hospital, including 26 days in the I.C.U. and 24 days on a ventilator. Research led by Dr. Needham of Johns Hopkins found that "patients have prolonged muscle weakness that lasts months or longer and that muscle weakness is not just limited to their arms and legs it's also their breathing muscles," he said. Another study by Dr. Needham and his colleagues found that about two thirds of ARDS patients had significant fatigue a year later. Psychological and cognitive symptoms can also linger. About half of the patients in the 2011 Canadian study reported at least one episode of "physician diagnosed depression, anxiety, or both between two and five years of follow up." And a study of patients treated in the 2003 outbreak of SARS, another type of coronavirus, found that a year later many had "worrying levels of depression, anxiety, and post traumatic symptoms." What are the consequences? Among other things, patients may have trouble going back to their jobs. A team led by Dr. Needham found that nearly one third of 64 ARDS patients they followed for five years never returned to work. Some tried but found that they couldn't do their jobs and stopped working altogether, Dr. Needham said, and others "had to change their occupation, specifically for a job that's less challenging and probably less pay." Dr. Chen said he was worried that the long term consequences of Covid 19 could resemble the chronic health effects of the AIDS epidemic or the Sept. 11 attack on New York City. "A new disease that's severe or a catastrophic event causes symptoms that last a long time," he said. "This is shaping up to be something that may be worse than both of those." There may be "hundreds of thousands who are going to be afflicted with these chronic syndromes that may take a long time to heal, and that's going to be a very big health problem and also a big economic problem if we don't take care of them," Dr. Chen said. What are hospitals doing to help patients when they go home? Recovery programs for Covid 19 patients are cropping up at Mount Sinai, Yale, Johns Hopkins and elsewhere, offering patients telemedicine consultations and sometimes in person appointments. Some patients require medication to help with shortness of breath, heart problems or blood clotting. Dr. Ferrante said people should check medications with their doctors because some medicines they were given in the hospital may not be appropriate for patients to continue at home. But medication may not be necessary, or may not work, for many issues. Practicing breathing exercises and using a spirometer, a device that measures how much air a person can breathe and how quickly, can improve respiratory issues. Physical therapy can help restore muscle strength, movement and flexibility. Occupational therapy can help people regain the ability to do everyday tasks, like grocery shopping and cooking. Speech therapy can help with swallowing and vocal cord issues. Physiatrists, doctors who specialize in physical rehabilitation, are likely to be increasingly in demand, experts say. So are neurologists and mental health therapists. "I think the main take home here is that post Covid care is complex," Dr. Putrino said. "It's hard enough to rehabilitate someone with a broken leg where one thing is wrong." "But with post Covid care," he said, "you're dealing with people with some cognition issues, physical issues, lung issues, heart issues, kidney issues, trauma and all of these things have to be managed just right."	N24News: A New Dataset for Multimodal News Classification	Health
SoftBank has decided it will not buy 3 billion in WeWork stock from other shareholders, a board committee of the office space company said Wednesday night, dealing a blow to shareholders, including Adam Neumann, the company's co founder and former chief executive, who had hoped to sell their stock. SoftBank, a Japanese conglomerate and the dominant shareholder of WeWork, had offered to buy the shares as part of its rescue of WeWork, which withdrew its initial public offering last fall and came close to running out of cash. Since the coronavirus spread widely in recent weeks, WeWork's buildings have been virtually empty, raising questions about demand for its locations when the pandemic is brought under control. Two weeks ago, SoftBank, which has already poured billions of dollars into the company, threatened to pull out of the stock purchase in part because of government investigations into the company. SoftBank's payment for the shares would not have gone to WeWork but to the selling shareholders. The offer had an April 1 closing date. WeWork leases vast amounts of space in office buildings and then sublets it to freelancers, small businesses and large corporations. But the cost of the leases and the expense of converting the locations has consumed billions of dollars. WeWork's financial burdens were expected to increase this year, as the company continued its breakneck expansion, opening spaces it had already agreed to lease.	N24News: A New Dataset for Multimodal News Classification	Economy
How Much Watching Time Do You Have This Weekend? None Every Monday, Wednesday and Friday, we offer hyper specific viewing recommendations in our Watching newsletter. Read the latest picks below, and sign up for the Watching newsletter here. This weekend I have ... an hour, and I don't believe in love In "Love Fraud," a group of women seek justice against the same man. When to watch: Sunday at 9 p.m., on Showtime For two decades, women say, Richard Scott Smith romanced them, married them, then took what little money they had. In this four part documentary series, from the directors Heidi Ewing and Rachel Grady, several fleeced ladies hire Carla, a grizzled female bounty hunter, to track him down. After hearing their stories, she offers her services pro bono. "If Richard Scott Smith came in and robbed me like he did these other women, I'd be in prison," Carla rasps. "I'd have slit his throat and watched him bleed to death." A tale of crab cakes and treachery, set mostly in Kansas, it's less lurid than "Dirty John," another recent series based around a fraudster, but maybe more seductive in its twisty structure and unpeeling of multiple layers of deceit. In the early episodes, Carla and her clients try to track Smith down. Later, other mysteries emerge. ... 90 minutes, and I want to bust somebody Phineas and Ferb return in a new movie. 'Phineas and Ferb the Movie: Candace Against the Universe' When to watch: Premieres Friday on Disney In a rare upside of the Covid 19 lockdowns, my kids have discovered "Phineas and Ferb," a semiprecious gem of a Disney series about two S.T.E.M. adept stepbrothers and the teen sister always trying to catch them in the act. It's smart and dumb in all the best ways, and there are musical numbers, too. The series wrapped up in 2015, after 222 episodes, but its creators have now briefly revived it. In this movie, Candace accidentally blasts onto another planet and it's up to her brothers with a possible assist from a spacewalking platypus to rescue her. (Assuming she even wants to be rescued ... and who says she can't rescue herself?) The movie probably works better if you know the show well and can enjoy the formula beats and the jaunty callbacks. But it will likely delight the uninitiated, too, especially when Ali Wong shows up to voice the alien baddie. ... a few hours (maybe more for the preshow), and I want my MTV The Weeknd will be among the performers at the 2020 MTV Video Music Awards. When to watch: Sunday at 8 p.m., on MTV In a moment when live performance is either illegal or a really bad idea, the MTV Video Music Awards are a nice reminder that music has been enjoyed remotely since phonographs were high tech. Still, the logistics for the 2020 ceremony have skittered around like a middle aged dad trying to do the Toosie Slide. Originally scheduled to take place in the Barclays Center in Brooklyn, the event will now unfold in outdoor locations across New York's five boroughs. Then last week J Balvin, who contracted Covid 19, and Roddy Ricch announced that they would not appear. So what will Sunday's broadcast include? Keke Palmer as host, some new categories, like Best Music Video from Home and Best Quarantine Performance, plus performances by Lady Gaga, Ariana Grande and The Weeknd, who are all up for the Video of the Year award. At least social distancing means no "I'mma let you finish" episodes. (Or is that a bad thing?)	N24News: A New Dataset for Multimodal News Classification	Television
Welcome to Best of Late Night, a rundown of the previous night's highlights that lets you sleep and lets us get paid to watch comedy. If you're interested in hearing from The Times regularly about great TV, sign up for our Watching newsletter and get recommendations straight to your inbox. Stephen Colbert and other late night hosts chewed over the most recent allegations against Dr. Ronny Jackson, the Trump administration's pick to lead the Veterans Affairs Department. "On an overseas trip in 2015, Jackson 'was intoxicated and banged on the hotel room door of a female employee.' Now, we don't know the full story. Maybe he was just warning her that there was an aggressive, drunk doctor outside her door." STEPHEN COLBERT, quoting from a CNN report	N24News: A New Dataset for Multimodal News Classification	Television
Kim Jong un was still in college in 2006 when the United Nations Security Council, in a resolution drafted by the United States, imposed economic sanctions on his father's regime to stop North Korea from becoming a nuclear power. Washington enlisted the cooperation of China, the only country with the capacity to sever North Korea's economic lifeline. Ratcheting up the punishment last year, Congress passed the North Korea Sanctions and Policy Enhancement Act, aiming for the nation's economic jugular. It failed. This month, Mr. Kim supreme leader since the death of his father in 2011 tested an intercontinental ballistic missile that could feasibly deliver a nuclear warhead all the way to Alaska. This week Congress is expected to add to its arsenal of international deterrents, writing into law a panoply of economic penalties against Russia and critically curtailing President Trump's ability to lift them on his own. Annoying Vladimir V. Putin could be considered in and of itself a worthy goal. Or, as Gary Hufbauer of the Peterson Institute for International Economics noted, "a big part of the bill is a slap to President Trump for his close association with Russia." Whatever the case, legislators might want to explain what they are after. If there are members of Congress who believe that the package will change Mr. Putin's behavior convince him of the merits of returning Crimea to Ukraine, perhaps, or persuade him to stop his hacker friends from tinkering with foreign elections they might be interested in a decommissioned North Korean reactor I have for sale. Mr. Hufbauer and his colleagues studied more than 200 cases of economic sanctions imposed since the Allied blockade of Germany in World War I. One critical conclusion: Better keep the goals modest. When sanctions "have modest objectives and are aimed at countries that are not terribly powerful but have tasted a little flavor of democracy and have close economic connections to the sanctioning coalition," Mr. Hufbauer told me, they succeed in changing countries' behavior about half the time. But when the goal is ambitious, the economic ties not overwhelming, the target country powerful, and the target government autocratic think Russia, Ukraine, hacking their track record is not particularly good. "A very small fraction of those end in success," he added. But the haul is meager. On the other end, Bashar al Assad is still in power in Syria, as is Robert Mugabe in Zimbabwe despite more than a decade's worth of economic sanctions by the United States and the European Union. Then there is the tale of Cuba, in which a half century embargo has failed to bring about regime change in a tiny, economically fragile country only 100 miles off the coast of Florida. Sanctions have proved powerless to push Turkey out of Cyprus; to move Colombia, Venezuela or Nigeria to comply with Washington's war on drugs; to persuade India or Pakistan to abandon their nuclear arsenals. Stocks rise after President Biden says Jerome Powell will stay atop the Fed. Retail earnings and Black Friday: the week in business. Even the ostensible "successes" of sanctions should be scrutinized with some skepticism. Supporters like to argue that sanctions were instrumental in bringing Iran to the negotiating table. Even if sanctions imposed by President Barack Obama in 2014 did not compel Russia to leave Crimea, they add, without them Mr. Putin might have felt emboldened to send Russian forces across the Baltic republics. And yet one could argue that Mr. Putin hasn't moved on the Baltics because they are not as critical to Russia as Ukraine, a country through which it pumps 80 percent of the natural gas it sells to Western Europe; which was home to its Black Sea fleet before the move on Crimea; and which was flirting with moving out of the Russian orbit into the hostile arms of NATO. Crediting sanctions with bringing Iran to the negotiating table also overlooks Iran's choices. Leaders in Tehran knew that if the country developed a nuclear weapon, it faced a decent chance of a military strike by Israel, the United States or both. Coming to the negotiating table would not forestall its nuclear ambitions forever. And it might actually set the stage for what could prove to be a productive relationship with Washington. There are good reasons that sanctions do not work as advertised. They often leak, as targeted countries can redirect trade to countries that are not in on the punishment. They can, indeed, bring misery to a target country especially when they are multilateral rather than imposed by the United States alone but their impact weakens over time. Critically, misery often does not extend to the ruling class which can even benefit from the burst of patriotic fervor that sanctions bring about. Despite the economic hardship wrought on ordinary Russians by the combination of international sanctions and the decline in the price of oil and gas, the annexation of Crimea bolstered Mr. Putin's popularity. The case of North Korea suggests that even in the absence of nationalistic fervor, autocratic regimes can maintain control through repression. It is a bit perplexing that despite their shortcomings, economic sanctions became such a popular tool of international statecraft. They remain all the rage in Washington. Maybe it is that the alternative military intervention is just too risky to stomach. And the nation's leaders must be seen to be "doing something." As Mr. Hufbauer and his colleagues point out, American presidents impose sanctions to "dramatize their opposition to foreign misdeeds, even when the likelihood of changing the target country's behavior is remote." The action may be ineffectual, but it's better than inaction. And, of course, there are domestic politics to consider. When Congress in 1996 tightened an economic embargo that had failed for 36 years to bring down Fidel Castro's regime in Cuba, it could hardly have expected that the new tweaks would succeed where the previous incarnation had failed. Indeed, the backlash against the Helms Burton Act, which sought to punish companies from third countries that did business in Cuba, arguably weakened the international legitimacy of American policy. But the law still served a purpose: to signal to politically powerful Cuban American constituencies in Florida and New Jersey that Congress stood behind them. Here is where we might find a rationale for Congress's move against Russia today. It is not intended to change Russian behavior or even to demonstrate leadership to American allies. (Indeed, the European Union is dead set against the sanctions, which could harm European companies.) It looks like a signal to American voters that if Mr. Trump sees Mr. Putin as an ally, Congress disapproves.	N24News: A New Dataset for Multimodal News Classification	Economy
PARIS Anticipating huge waves of visitors, officials at the Louvre Museum in Paris have said that reservations will be required for entry to an exhibition this fall to commemorate the 500th anniversary of Leonardo da Vinci's death. The Louvre the most visited museum in the world last year, with more than 10 million spectators said it would begin offering specific time slots through its online booking service, starting June 18. Adult tickets cost 17 euros, or about 19. Visitors who qualify for free entry will also have to reserve places. It was unclear whether the show, which starts Oct. 24, would include "Salvator Mundi," a painting of Jesus Christ attributed to Leonardo that has been surrounded by intrigue and mystery about its whereabouts and ownership. It was sold at auction in November 2017 for 450.3 million to an anonymous bidder who turned out to be a close ally and possible stand in of the crown prince of Saudi Arabia, Mohammed bin Salman. Also, the Italian authorities have not announced formally whether they will lend some state owned works to the exhibition the Louvre had delayed the show until October in the hope of securing those pieces. An announcement about those loans will probably be made when President Emmanuel Macron of France hosts President Sergio Mattarella of Italy on Friday in Amboise, in the Loire Valley in central France, on the anniversary of Leonardo's death there.	N24News: A New Dataset for Multimodal News Classification	Art & Design
It will be tempting for some to see Senator Kamala Harris of California's place on the Democratic presidential ticket as a result of her race and gender, and to characterize it as an affirmative action selection. Others may see this moment as an isolated event rather than the result of the hard work of Black female candidates, political strategists and voters who have participated in the building of the Democratic Party. Both would be a mistake. Ms. Harris is the embodiment of the growing political power of Black women to make demands within the Democratic Party and the political sophistication to ensure that those demands are met. In many recent elections, Black women voters have turned out at higher rates than any other demographic. More than 90 percent of Black women have cast their ballot for the Democratic candidate in the last three presidential elections. In 2008 and 2012 they had the highest turnout rate among all racial, ethnic and gender groups. No other major demographic is as loyal to either party as Black people. And Black women have become increasingly organized and focused on making that support meaningful for themselves and their community.	N24News: A New Dataset for Multimodal News Classification	Opinion
The Jewish Week, a 45 year old newspaper serving New York's large Jewish community, announced Tuesday that it would put its print edition "on hiatus" as it moved to emphasize its website amid a steep decline in advertising related to the coronavirus pandemic. "Life online offers opportunities for engagement, flexibility and information sharing that can't be matched by print products, even daily ones," wrote Andrew Silow Carroll, the editor in chief, and Kai Falkenberg, the board president of the nonprofit Jewish Week Media Group, in an editorial. "Recognizing both what we've learned from the coronavirus crisis and how it has hurt our bottom line and that of our advertisers, The Jewish Week has decided to move faster in the direction of a digital first enterprise," they added. The final print issue for the time being will be the July 31 edition though Mr. Silow Carroll said in an interview Wednesday that the print newspaper could someday return. The editor confirmed that The Jewish Week had laid off workers this month, though he declined to say how many.	N24News: A New Dataset for Multimodal News Classification	Media
He said his application was denied by his current lender, GMAC, and about five others. Their reasons ran the gamut. GMAC told him it was because he had lender paid mortgage insurance. Another told him that his "loan to value ratio" was too high that is, the loan amount, divided by the home's value even though HARP 2.0 eliminated the cap. (Previously, only borrowers with ratios of 125 percent or less, meaning they owed 25 percent more than their homes were worth, could refinance.) Another told him he was not eligible for an appraisal waiver, and would need to get one showing that the property was worth at least 206,000, which Mr. Janas knew was unlikely. But he is still trying, and is now working with a smaller lender who is more optimistic about his prospects. "I haven't given up," said Mr. Janas, who is getting married next month and would like to pocket the 400 a month he expects to save with a lower rate. Still, the number of success stories is edging higher. In the first quarter, HARP loans accounted for about 14 percent of all refinancing activity on loans backed or owned by Fannie Mae or Freddie Mac, according to Inside Mortgage Finance. That's up from about 12 percent of refinancing activity for each of the last two years. According to the Federal Housing Finance Agency, Fannie and Freddie's regulator, HARP 2.0 has only been fully available since mid March, "and the early results are dramatic," said Meg Burns, a senior associate director at the agency. About 180,000 loans were refinanced through the program in the first quarter, nearly double the 93,000 loans in the fourth quarter of 2011. Refinancing among borrowers with loans that are more than 105 percent of their home's value has increased to 41,000 during the first quarter, up from 13,000 in the fourth quarter. So how can you gauge your chances of refinancing your mortgage through the HARP 2.0 program? First, you need to meet some basic requirements: Your mortgage must have been owned or guaranteed by Fannie or Freddie, and it must have been sold to either one before May 31, 2009. You must also have less than 20 percent equity in your home (that is, a loan to value ratio above 80 percent). And you cannot have had any late payments in the last six months, and no more than one late payment in the last year. HARP is also generally a one shot deal: this has to be your first HARP refinancing. Shopping around for a HARP refinancing may be frustrating, however, particularly if you're trying to compare prices among the big banks. That's because many of them, including Bank of America, Chase and Citigroup, are providing HARP refinancing only for their own customers. Why? Experts say it is still riskier for the banks to take on new customers, particularly those who are far underwater. It also makes sense for the banks to start with their existing clients, and several are expected to begin marketing campaigns aimed at them next month. But the regulator of Fannie and Freddie said that it should not make a difference whether a new or existing customer was seeking to refinance because it relaxed the rules that leave the banks responsible should a loan sour. Still, experts said, the lack of competition among banks has led to higher prices. It varies by lender, but HARP borrowers could pay more on their interest rate than with conventional refinancing, according to Laurie S. Goodman, a senior managing director at Amherst Securities Group. "The economics of origination would suggest lower rates are in order," Ms. Goodman said, because mortgage servicers that are refinancing existing customers are relieved of certain risks. Nor, she said, do they have to do much to document the new loans since they already have the customers' information. "And borrowers have little choice but to pay the higher rates." Wells Fargo is working with both new and old customers though it isn't accepting new customers with mortgage insurance since it can be difficult to transfer the insurance to the new loan. (Experts said there had been problems reported with some mortgage insurers refusing to reassign its insurance to the new HARP loan.) And if Wells buys a loan from a smaller bank or broker, it must have a loan to value ratio of 105 percent or less, meaning the borrower cannot be more than 5 percent underwater. Those limits do not apply to Wells's own customers.	N24News: A New Dataset for Multimodal News Classification	Your Money
You know 190 proof by reputation. The bartender's equivalent of jet fuel, this high octane neutral grain spirit is more than twice the strength of standard vodka, and is illegal in 11 states. It's been mythologized by generations of fraternity parties and celebrated in song, Art Alexakis, the frontman of the 1990s post grunge band , once referred to the liquor as "pure white evil." Bushwick Bill, the late rapper from the Geto Boys, claimed that he shot himself in the eye in 1991 while plastered on and PCP. How strange, then, that this storied party propellant has become a tool against the pandemic. In an upside down coronavirus economy where big ticket indulgences (Caribbean cruises, luxury hotel suites) collapsed in value, and ordinary household items like toilet paper and flour started to trade like Bitcoin, was suddenly flying off liquor store shelves, as a substitute for drugstore hand sanitizers and other disinfectants. With the household sanitizer shelves plucked clean, and 7.99 bottles of Purell at one point going for more than 100 on eBay, represented an ideal D.I.Y. germ killing alternative, particularly when even standard rubbing alcohol, a key ingredient in many hand sanitizer recipes, was also hard to find.	N24News: A New Dataset for Multimodal News Classification	Style
Read all of our classical coverage here. Happy Friday! What a relief to be at the end of a week of depressing news that included even the world of classical music. On Tuesday, the Frick Collection's expansion and renovation plans were approved by New York City which means that the music room, one of my favorite spaces for chamber music, will be eliminated and converted into an art gallery. Also saddened by this is our critic Anthony Tommasini, who wrote in an elegiac piece that the room "is the closest thing to a 19th century music salon this city has to offer." In happier news, David Allen's profile of the visionary opera director Stefan Herheim included a casual announcement that he would make his Metropolitan Opera debut in a coming season with his production of Verdi's "Les Vepres Siciliennes," originally staged for the Royal Opera in London. You can watch a clip here: If you need something to binge watch this weekend, try the Detroit Symphony Orchestra's YouTube channel. That ambitious ensemble has put videos of all its world premieres from the past season online. One in particular that I keep coming back to: Christopher Cerrone's violin concerto, written for Jennifer Koh. (I'm always eager to hear what this adventurous violinist is up to, and was able to observe some of her insightful rehearsals with composers earlier this year.) Mr. Cerrone's concerto, "Breaks and Breaks," is full of pain, but also beautiful lyricism. Keep an ear out for the final movement, which has the feel of looping. Ms. Koh plays pizzicato or glides her bow across a string with a pure, ornament free sound. Each pitch is sustained in the orchestra, creating a swirl of sound typically reserved for electronics and improvisation. For all this sonic density, the movement gracefully arrives at a serene chord that brings this all to brief concerto to its end. There were plenty of moments marking the end of Simon Rattle's 16 year reign as chief conductor of the mighty Berlin Philharmonic. His last concert in the post was an open air performance Sunday at the Waldbuhne, Berlin's equivalent to the Hollywood Bowl. His final concerts at the orchestra's home, the Philharmonie, were of Mahler's Sixth Symphony, which he had made his Philharmonic debut with some three decades earlier. But I was drawn to a different kind of farewell last month: watching him rehearse an orchestra of 101 amateurs from all over the world, playfully called the Be Phil, for a free performance of Brahms's First Symphony. It was just the kind of thing that distinguished Mr. Rattle's pathbreaking tenure, in which he got the Philharmonic to play dance extravaganzas starring schoolchildren, conducted Berlin school orchestras at the Philharmonie and generally tried to open things up a bit. Watching him rehearse the amateur players mixing charm, cajolery and steel, and never seeming to speak down to them was not just a master class in conducting, but also communicating. MICHAEL COOPER And read what he's up to now in London. Recently, the brilliant violinist Miranda Cuckson again demonstrated her long, deep involvement with contemporary music in an adventurous recital at Spectrum, an alternative space (a converted garage) in Brooklyn. The only downside of gaining notice as a new music champion, as Ms. Cuckson has, is that audiences may not know how superbly she plays the standards. Her vast repertory includes concertos by Elliott Carter and Alfred Schnittke, as well as the Romantic staples by Mendelssohn and Brahms. Here, for example, is Ms. Cuckson in 2012 performing the Sarabande from Bach's Partita No. 2 in a Washington, D.C., recital. She draws out the lilting, dancing elegance from this wistful music, while also highlighting daring elements of the piece that show Bach's timeless genius. ANTHONY TOMMASINI Read our review of the concert. New Amsterdam Records is getting serious about the albums it is offering to fans who "subscribe" to the label, by way of Bandcamp. In the past two months, the imprint has delivered a pair of recordings to only its most committed admirers. (The label's cheapest subscription level is 85, and nets digital copies of a year's worth of the more public facing releases, subscriber exclusives and some back catalog items.) So far, these bonus recordings are proving up to the label's usual high standard. One current subscriber only album, "Until My Last," comes from the Indianapolis based composer and performer Jordan Munson; his pieces merge acoustic melody and electronic rhythm with thrilling purpose. And the other recent exclusive "Siren Islands," from the composer and multi instrumentalist Arooj Aftab is easily one of my favorite releases from the first half of this year. When recording, Ms. Aftab looped her own singing, synth lines and electric guitar playing. She describes her compositional goals here as involving "spiraling soundscapes for lo fi dreaming." She more than meets that objective. But to me, what's most interesting is the way her ethereality can feel paradoxically active. On "Island No. 2," quickly moving guitar and synth lines provide some tension when layered next to more gradually developing vocal patterns. Sometimes "dreamscape" pieces can sound like they're coasting. Not so here. (You can hear a brief taste of one finished track on Ms. Aftab's Instagram account. You can also see the composer performer at work in another recent post.) SETH COLTER WALLS In 2014, the gifted young violinist Benjamin Beilman impressed me as a rhapsodic soloist in Barber's Violin Concerto with the New York Youth Symphony at Carnegie Hall. Now 28, he is enjoying an international career. Mr. Beilman will play Tchaikovsky's Violin Concerto on Saturday with the Orchestra of St. Luke's at the Caramoor Festival in Katonah, N.Y. He's also a personable, well spoken artist, as this video suggests. He begins with a dazzling account of the Presto finale of Eugene Ysaye's Sonata No. 4 for solo violin. Then, before giving a melting performance of the Largo from Bach's Sonata No. 3, he charmingly talks about having played the piece at his sister's wedding. You could hear this music, Mr. Beilman says, as a conversation between two players, perhaps a violin and a viola da gamba. But to him it also suggests an introspective conversation between "two people in a room talking to each other." He makes it sound that way. It must have been ideal music for a wedding. ANTHONY TOMMASINI	N24News: A New Dataset for Multimodal News Classification	Music
PARIS The 17th century philosopher Blaise Pascal once wrote: "The sole cause of people's unhappiness is that they do not know how to stay quietly in their rooms." Yet at a time when much of the world has been forced to hunker down, French theater makers are fighting to fill the void by making noise online. They're producing so much alternative content, in fact, that it is nearly impossible to keep up. Since France imposed a nationwide lockdown on March 17, each day has brought new announcements from prominent theaters. In addition to releasing archive recordings, some are making podcasts and videos; others are offering direct interaction with performers through one on one phone calls. The country's oldest troupe, the Comedie Francaise, has even started an online channel, "The Comedie Continues," offering several hours of programming each day beginning at 4 p.m. Under the circumstances, it would be churlish to complain about artists' desire to connect with audiences in some fashion. Theater, which depends on crowds gathering to watch performers at close quarters, is experiencing significant loss and upheaval, with many stagings either delayed indefinitely or canceled outright. But a sampling of stopgap offerings often left me underwhelmed. Many institutions are going beyond stepping out of their comfort zone by experimenting with formats that are firmly outside their area of expertise. Standards are high for audio and video productions these days, and onscreen improvising requires a different skill set than performing existing plays onstage, as the Comedie Francaise's first day of streaming suggested. The company has a busy schedule, offering new content from 4 p.m. to 6:30 p.m. and then two archive recordings a mix of talks and house productions. A different actor serves as host every day: Serge Bagdassarian opened the run by lifting a tiny red curtain in front of the camera to start, mimicking a stage performance. His colleagues then presented scheduled segments like poetry readings, literary commentary for high school students and interviews. The quality was uneven. An actor is asked to share a favorite French alexandrine every day, and Denis Podalydes's choice a desolate verse by Charles Baudelaire, "Adorable spring has lost its scent!" proved thoughtful and apt. Others seemed to be awkwardly filling time, and an interview with the company's director, Eric Ruf, suffered from both poor audio quality and stilted questions. The Comedie Francaise isn't the only institution that appears to be rushing out content without fully thinking it through. La Commune, a venue in Aubervilliers, has asked four local young people to share short daily vlogs a laudable idea to reflect life in an underprivileged suburb of Paris but the absence of editing means the result is no different from an incoherent series of Instagram stories. So close to current events, the thought feels overwrought. Mouawad himself admits he lacks perspective, adding: "Taking stock is impossible. I don't know how I feel." As if to underscore that point, the best podcast offering so far was inspired by a work from the 14th century. For the surprising, delightful "Decameron 19," the theater director Sylvain Creuzevault has asked artists from around Europe to read a different story from Giovanni Boccaccio's "The Decameron" every day. This collection of tales is narrated by 10 characters who shelter together in Italy to avoid the Black Death. The parallels with the current situation are obvious, but "Decameron 19" doesn't feel the need to spell them out, and the audio is beautifully produced, with soundscapes that match each voice. A handful of episodes so far have been in German or a mix of languages, and the rest in French. Other companies are banking on theater audiences' desire for more personal interaction. Anyone can join various initiatives at the Comedie de Valence, a venue in southeastern France: A giant round robin story offers opportunities for creative writing submissions, while the director and performer Silvia Costa and the visual artist and musician Stephan Zimmerli respond to thoughts and fragments shared with them through drawings. And then there is phone theater, led by the Theatre de la Colline and the Theatre de la Ville. If you've ever dreamed of a help line manned by artists offering a poem, an excerpt from a play or a chat, you're in luck, but there's a catch: Online registration is required, and, as of the end of March, there was at least a week's wait. Still, none of this is a substitute for live theater. Many institutions appear to operate on the premise that lockdown means boredom. For practical reasons, that's untrue for many. Furthermore, the notion that theatergoers are starved for entertainment is misguided. On the contrary, the sheer amount of content available online is fostering a new kind of fatigue. Theater professionals probably have a variety of reasons for adding to the pile. It may be a way to earn salaries while venues are closed, or to signal continuity in a struggling sector. For freelancers, it may also provide a new source of income, although the artists working with the Theatre de la Colline and the Comedie de Valence are currently volunteering their time.	N24News: A New Dataset for Multimodal News Classification	Theater
Alexa, We're Still Trying to Figure Out What to Do With You SAN FRANCISCO These days, you can find virtual assistants like Amazon's Alexa or Google's Assistant in all sorts of things, from smart speakers and smartphones to washing machines and bathroom mirrors. The challenge isn't finding these digitized helpers, it is finding people who use them to do much more than they could with the old clock/radio in the bedroom. A management consulting firm recently looked at heavy users of virtual assistants, defined as people who use one more than three times a day. The firm, called Activate, found that the majority of these users turned to virtual assistants to play music, get the weather, set a timer or ask questions. Activate also found that the majority of Alexa users had never used more than the basic apps that come with the device, although Amazon said its data suggested that four out of five registered Alexa customers have used at least one of the more than 30,000 "skills" third party apps that tap into Alexa's voice controls to accomplish tasks it makes available. But while some hard core fans are indeed tapping into advanced features of virtual assistants, like controlling the lights in their homes, for the most part, "people are still using these speakers for very routine tasks," said Michael J. Wolf, the founder of Activate. "It's not clear that there is something that's going to drive people to use these." Apple popularized the virtual assistant concept in 2011 when it introduced technology called Siri in its iPhones. About three years later, Amazon debuted the Echo, a speaker packed with microphones to capture and decipher what we're saying to Alexa. Soon, various technology companies were betting that speaking to machines through virtual assistants would be an essential way for consumers to interact with devices and services in the future. There is a reason tech companies think virtual assistants are so important: They want to control an indispensable "platform" a crucial piece of technology other services or devices must rely upon. Some believe virtual assistant technology can be that sort of platform, and the company with the most useful assistant will gain an advantage for their other services like internet search or online shopping. Lose that competition, however, and a company could be at the mercy of its rivals. With those stakes in mind, tech giants have been scrambling to make their assistants omnipresent. Since smart speakers are the main way for people to deal with virtual assistants, Amazon and Google stoked holiday sales with heavy discounts, dropping the price of their entry level models to 30, from 50. At the same time, tech companies have been putting their assistants inside products of all shapes and sizes. Before last week's International CES tech conference in Las Vegas, Amazon announced a string of new Alexa partnerships. Hisense will put the assistant into its television sets, while Kohler said a new bathroom mirror will have built in microphones so people can use Alexa to dim the lights and fill a bathtub using voice commands. PC makers like HP, Asus and Acer said they were integrating Alexa into their computers, while Panasonic, Garmin and other electronics makers will do the same for devices that go into cars. Amazon also announced an agreement with Toyota to integrate Alexa into some Toyota and Lexus vehicles. Ditto for a new smoke alarm from First Alert. Google said LG Televisions, headphones from Sony and smart displays from Lenovo will tap into its Assistant. For now, consumers' satisfaction with their smart speakers and by extension, the onboard assistants is helped in part by the fact they didn't pay a lot to get them into their homes. Justin Hosseininejad, an engineering consultant from Medina, Ohio, said he bought his first Amazon Echo Dot for 50 last year and got a second one free a few months ago with another internet connected device, the Nest thermostat. He uses them to listen to news in the morning and play music throughout the day. He recognizes that he's not asking Alexa to do a lot, but considering how little he paid, he is fine with that. "There's only certain things I use it for, but I'm happy with it," he said. "I'm not doing my taxes with it." Paul Erickson, a senior analyst at the research firm IHS Markit, said the next step for these devices will be to become the hub of a connected home, controlling internet connected lights, thermostats and other basic home appliances. "The more interesting functionality is yet to come," Mr. Erickson said. "Part of that will come as more integration happens this year and next year. This is the first year we're going to see real advances with the assistants because of competition in the marketplace." Competitors of Google and Amazon are also spreading their assistants far and wide. Apple now has Siri running across its universe of devices, along with an upcoming smart speaker called HomePod. Samsung has its own assistant, Bixby, available in its phones and televisions, and Microsoft has Cortana as a feature built into its Windows software. Amazon has turned its Echo family of products and the Alexa assistant that powers them into the unlikeliest of success stories although it is hard to say exactly how successful because it shrouds its disclosures about devices sales in fuzzy language. Amazon would say only that it sold "tens of millions" of Alexa devices during the recent holiday season, millions more than the same period last year. Analysts estimate that Echo accounts for over 70 percent of sales in the smart speaker category, with Google a distant second. Google was also coy about revealing exact sales of Google Home. In a statement on Jan. 5, Google announced it has sold one Google Home smart speaker every second since it started shipping a smaller version of voice controlled device on October 19 or about 79 days. That works out to roughly seven million units. In the 20 months since it first started making the Google Assistant available as part of its Allo messaging app, Google said its Assistant is now accessible on more than 400 million devices including washing machines, dryers, air conditioners, refrigerators and dishwashers from LG, headphones from Bose and a range of speakers from 15 different companies. Google said the Assistant can now accomplish more than one million tasks, or "actions," such as asking for photos from Halloween or adding events to a calendar. It created a directory searchable, of course to highlight these capabilities, hoping to remind users that the Assistant can do more than set a timer.	N24News: A New Dataset for Multimodal News Classification	Technology
Unlike the brownstones of Park Slope and Cobble Hill, the vinyl sided rowhouses of North Brooklyn have never quite garnered the admiration of borough tastemakers. If anything, most new developments in North Brooklyn seem to make a point of distinguishing themselves from these structures. But at 139 Meserole Street, a condominium in East Williamsburg, the architect Anthony Morena opted for a zinc shingle facade that recalls the neighborhood's much maligned exteriors an approach that the development blog New York YIMBY called "vinyl revival." "For better or worse that is the look and feel of the 'old' neighborhood the vinyl or wood clad townhomes," said Mr. Morena, who heads Mortar, a Manhattan based architecture and development firm. "I liked the concept of using modern materials to mimic the original style and updating it, making it part of the design rather than an afterthought." Mr. Morena's fondness for the architecture of East Williamsburg may owe something to the fact that he grew up there in the late 1970s and early 1980s, when it was a working class community largely populated by Italian immigrants like his parents. Now 40, Mr. Morena lives with his family in Bergen County, N.J., but he has focused his career on the neighborhood, which many view as across the Brooklyn Queens Expressway from Williamsburg proper. Since 2001, acting as either the architect or architect and developer, Mr. Morena has completed 12 condominium projects in the area, and has another nine under construction or in the early stages of development. Of those, only 139 Meserole is done in the "vinyl revival" style, but all meld with the local architectural milieu in different ways. The Meserole Street project was designed for the developer Dragonfly Design Build. "I try to work within the neighborhood's constraints and fit its context," said Mr. Morena, who had worked for the architect Joseph Pell Lombardi and the Moinian Group before hanging out his shingle. "You want the people in the area to be happy with what you're doing." In another East Williamsburg project by Mr. Morena, at 167 Devoe Street, a gut renovation of a walk up building, limestone bricks give the exterior a subtle distinction. Sales there begin this month. His 10 unit 245 Manhattan Avenue, meanwhile, takes inspiration from the garage that once occupied the site, channeling a haute industrial vibe with enormous loft windows and Shou Sugi Ban charred wood that carries over from the exterior into the lobby. "The neighborhood is not aesthetically beautiful like an old street in Cobble Hill, but it's much more leafy and beautiful than the rest of Williamsburg," said Ari Harkov, an agent with Halstead Property who lived in the area from 2007 to 2014 and is selling 167 Devoe's six units with his partner Warner Lewis. "The vibe is calmer, chiller, not as crazy hectic." When Mr. Morena bought land for his first project on Ainslie Street and Bushwick Avenue in 2001, there were no condos on that side of the expressway for a pricing comparison, he said, but "construction has exploded in the last 10 years, especially the last five." Prices, though still lower than those in Williamsburg, have risen substantially since the condo boom in the early to mid 2000s, with creative types and young professionals drawn to the neighborhood's less expensive housing and tree lined streets. And though buyers have traditionally been singles or young couples starting out, there also has been a recent influx of families, brokers say. "Condos are selling at 900 to 1,200 per square foot; around the Bedford L, it can be as high as 1,800 to 2,000 per square foot," said Mr. Harkov, referring to the Bedford Avenue subway station that will stop service to Manhattan for 18 months starting in January 2019 for major repairs to the L line. Prices at 167 Devoe start at 795,000 for a 714 square foot one bedroom. The impending L train shutdown may spook some developers, but Mr. Morena said he doesn't plan to do anything differently. Brokers, however, may need to amend their sales pitches. Although some say that brokers invented the name East Williamsburg to help drive sales, it may not be that much of a selling point, Mr. Harkov said. "If you say, 'I'm selling a building off the L train Graham stop,' people will say, 'Oh, cool,' " he said. "But if you said East Williamsburg, they'd be like, 'I don't really know where that is.' "	N24News: A New Dataset for Multimodal News Classification	Real Estate
Louis Gritsipis insists he will never sell his diner in Hell's Kitchen, although developers have had their eyes on it for years. "I'll never retire," Mr. Gritsipis, 79, said. "If you retire, you're dead." And why should he? "This is my palace," he said after a recent lunch service at 42nd Street Pizza, the old school Greek diner on the ground floor of his four story, white stucco building. People come for pizza by the slice, or choose from the 220 item breakfast lunch and dinner menu. But Mr. Gritsipis's kingdom is under siege from rising expenses, changing tastes and developers who are trying to buy smaller and more unusual lots to assemble enough land for residential and mixed use projects. His building, near the ultraluxury Hudson Yards development, is surrounded by glassy high rises occupied by transient renters and owners, few of whom order gyro platters. Such are the forces encroaching on the city's vanishing diners. While their disappearance has been lamented for years, diners along the margins of Manhattan and in parts of other boroughs previously thought impervious to redevelopment are closing because of increasing rents and enticing offers that are hard to pass up. While Mr. Gritsipis's diner is in a four story building, many are the lone tenants in single story buildings. The land and unused development rights above them are lucrative, as a developer can use those rights to gain more height or bulk for new towers, many of them luxury apartments. Since 2014, 15 diners, many in stand alone buildings, have been sold in New York, according to an analysis by Ariel Property Advisors, a commercial real estate brokerage. There were six sales in Queens, six in Brooklyn, two in the Bronx and one in Staten Island. There were no sales in Manhattan. But that does not account for the diners whose owners lost their leases. Riley Arthur, a photographer who has visited nearly every diner in the five boroughs, estimated that there are 419 left in New York City. In the three years since Ms. Arthur began photographing them for her Instagram page, 39 have closed an average of 13 a year. In many cases, they didn't close because of dwindling customers. "It's just the other factors" like rising rents and shrinking profit margins that "are insurmountable," she said. "You just can't make up that difference selling eggs." The diner's heyday was in the 1920s, followed by a surge after World War II that was driven by immigrants, many of them Greek, said Richard J.S. Gutman, the author of four books on diners. In recent years, a number of Latin American, South Asian and Middle Eastern owners have joined their ranks. Mr. Gutman offers a narrow definition of the classic diner as the factory made "lunch cars," often with stainless steel finishes and neon signs, that New Yorkers used to see on street corners. By his count, there were once as many as 300. Now there are about 80. Recent closures include the 38th Street Diner in Midtown (to make way for a hotel); the Market Diner in Hell's Kitchen (replaced by a new rental building); the Crown Diner in the Bronx (bought by J.P. Morgan Chase); the original Georgia Diner in Queens (to make room for a mixed use apartment building); and Kane's Diner in Queens (bought by a residential developer). Others are operating on borrowed time. The Neptune Diner in Astoria, Queens, which sits on a 100 by 90 foot lot, was sold in October for 10.35 million. While the diner, with its Mediterranean tile roof and neon sign, occupies a fraction of the lot, a developer could build more than 44,000 square feet on the property, thanks to unused development rights enough for a six story apartment building with commercial space on the ground, said Michael A. Tortorici, an executive vice president at Ariel Property Advisors. Nick Tsoromokos, a partner at the law firm Tsoromokos Papadopoulos, who represented the buyers, said the diner's lease will expire at the end of August, but might be extended on a monthly basis. A manager at the diner said they expect to stay in business for four more years, but Mr. Tsoromokos said that was unlikely. To some, the diner's decline was inevitable. "The diner is a 747," said Paul Fetscher, an agent with Coldwell Banker Commercial NRT, who specializes in restaurant sales. "It needs tremendous velocity to continue to make money," he added, noting that many are open 24 hours a day. He attributed part of the pressure to rising taxes and to the 15 minimum wage law in New York that cuts into owners' margins. And as many owners are nearing retirement age, he expects the pace of sales to accelerate. Some are trying to adapt. Bill Tsibidis, 42, an owner of the Crosstown Diner in the Throgs Neck section of the Bronx, is often at odds with his father, Peter, who bought the prefab diner on Bruckner Boulevard in 1982. "We were fighting tooth and nail and he is still stuck in his ways," Mr. Tsibidis said. His father, who is from Sparta, Greece, was opposed to taking delivery orders, because he thought it would tarnish the restaurant's reputation. Now deliveries make up about 40 percent of their business. Recently, Mr. Tsibidis has added other kinds of food to the diner's Greek American fare, including pernil, a Puerto Rican roast pork dish, and he is in talks to bring in a sushi chef. He also runs Facebook, Twitter and Instagram accounts to promote the diner. "You either change or you're dead," Mr. Tsibidis said, noting that one of their competitors, the Pelham Bay Diner, sold in January after 37 years in business. Wharton Properties, a commercial developer, paid 10.25 million for the diner and its parking lot. But even when diners succumb to the forces of redevelopment, their legacy sometimes lives on. When the Frontier Diner, at 39th Street and Third Avenue, burned down in a five alarm fire in 2010, it was the only business that Elias Kougemitros had ever known. It opened in 1976, the year he was born. There was no shortage of offers. They received more than three dozen bids over the years, Mr. Kougemitros said. He and his siblings and cousins spent two years interviewing developers. They chose Charles Blaichman, of CB Developers, because instead of insisting on an outright sale, he agreed to a 99 year lease that allowed the family to keep the land and collect rent on a new rental tower to be built on the site. Its name: The Frontier. That was the beginning of Mr. Kougemitros's foray into development. By the time the lease was signed in 2012, he was studying real estate at New York University. "After we made the deal, I told him, 'When you get out of school, if you're interested, come talk to us,'" said Mr. Blaichman, who hired Mr. Kougemitros later that year as a project manager. "He's been a great asset to us ever since." Mr. Kougemitros's time at the diner was formative training. When Mr. Blaichman and his development partners wanted to build another property on the same block, they discovered that Mr. Kougemitros already knew the owners. These days, he is determined not to sell, partly on principle. When he first rented the restaurant, the block was desolate after 3 p.m. and crime was rampant; he was held up 27 times, he said. Now that the neighborhood is filled with luxury towers, basking in the glow of nearby Hudson Yards, he feels he is being pushed out. He pays almost 70,000 in annual property taxes, while many of his new high rise neighbors receive tax abatements. He has no desire to stop working, he said, and the cost of starting a new business would be too high, even if he were to sell the building. He does have a contingency plan, in case his son decides he doesn't want to run the diner: The narrow 21 by 100 foot lot might be able to support a boutique hotel of about 20 stories. But because the property is boxed in by other buildings, the floor plan options would be limited, and the construction could be costly. Sitting in the back of the diner on a recent afternoon, a blue cap on his head and a matching apron around his waist, he praised his son, Andreas, who takes a crosstown bus and the subway every weekday to attend Saint Demetrios Greek American School in Astoria, Queens. Andreas wants to go to culinary school, Mr. Gritsipis said. (Actually, his son later clarified, he's interested in business school.) Mrs. Gritsipis walked into the dining room with a message from Andreas: He thinks about the diner's future all the time. "I tell him, 'This is going to be yours one day,'" she said. "And he says, 'What am I going to do? Can I be strong like my father? Can I resist?'" For weekly email updates on residential real estate news, sign up here. Follow us on Twitter: nytrealestate.	N24News: A New Dataset for Multimodal News Classification	Real Estate
College pennant over your bed? Recent graduate available to answer questions? Rooms decorated in the school colors? Hotels near college campuses are gearing up to attract graduation weekend crowds, just as they compete throughout the year to attract visiting high school families, graduates attending reunions and parents dropping off freshmen. Large chains are increasingly joining established independent hotels by tailoring their decorations and amenities to the college calendar. "The hospitality industry is focused on the customer experience right now," said Michael Giebelhausen, assistant professor of marketing at the Cornell University School of Hotel Administration. "Hotel managers are integrating local elements and upping their games on unique offerings." This includes syncing those offerings with the rhythms of the local college. Universities are a stable source of business with a predictable seasonality, Mr. Giebelhausen said. "They can help protect hotels from the ups and downs of the economy." Hotels are varying their efforts to pursue college related business. The Holiday Inn Elmira, near Elmira College in upstate New York, gets into the spirit by offering purple drinking water, among other things. And for the last two years, guests arriving for the Western State Colorado University graduation and staying at the nearby Holiday Inn Express Hotel and Suites have arrived to lobby decorations, gift bags in their rooms and a letter from the president of the university thanking families for their support. A family's first visit to the college can be important to a hotel. "If you can create a memorable experience for the family in the beginning of their freshman year, then you can ideally earn a loyal guest for the four years or six years the student is in college," said Bryan Barbieri, director of public relations for the Revere Hotel Boston Common, which is near Suffolk University, Emerson College, New England School of Law and Tufts University. Leah Kronthal of Short Hills, N.J., stayed at the Best Western Plus Country Cupboard Inn in Lewisburg, Pa., throughout her daughter's time at Bucknell University. "The hotel was always decorated for freshman move in, parents weekend, and they gave out cards with next year's events so we could reserve early," she said. "Friends would recommend this or that cute B B, but the hotel did all the college events so well we always went back." The Revere started offering college themed packages for freshman move in in 2012 and last year started offering graduation gifts. A welcome package available throughout the year for families includes college merchandise, museum tickets and other Boston centric activities. The hotel keeps a supply of themed items from the local schools. Some hotels go far beyond the gift mug or color coordinated balloon arch and tie their interior decoration to the school year round. On one wall are mathematical equations; the other has vintage school football helmets. Table linens for meetings are often Vanderbilt's black and gold. "Becoming a close partner with the university has made for more camaraderie between their faculty and staff and our hotel," said Jodi Pfeiffer, the hotel's director of sales and marketing. "They recommend us to their colleagues coming in for meetings, or to families coming to see the school." The Hotel Commonwealth in Boston near Boston University is opening the Terrier Suite, named for the school's mascot, this summer. The suite will feature a photo montage depicting scenes of the university gleaned from the school's archives, a minibar that looks like a Boston University locker with monogrammed glassware, and other themed elements. The hotel bills the suite as "an homage to Boston University and all it's done for the Kenmore Square neighborhood." Other hotels also enlist the creativity of students. At the Revere, senior design students at the Massachusetts College of Art and Design designed the staff uniforms as part of a yearlong curriculum. Four Seasons Hotel Austin near the University of Texas has a U.T. Concierge, a recent graduate who helps families with questions about the university.	N24News: A New Dataset for Multimodal News Classification	Real Estate
Yes, these are hard times, and everyone is stressed, but new data suggest that young adults both those who are going back to college and those who are not may be suffering particularly hard when it comes to mental health. The Centers for Disease Control and Prevention recently released survey data on adult mental health, looking at a national sample of adults during the last week in June. Unsurprisingly, the stress level is high, with 40.9 percent overall reporting at least one "adverse mental or behavioral health condition." One question asked whether the person responding had seriously considered suicide in the past 30 days, and more than one in 10 respondents said yes, with higher percentages among unpaid adult caregivers, essential workers, and Hispanic and Black responders. And 25.5 percent of the young adults surveyed the 18 to 24 year olds answered yes. The young adults also reported the highest levels of symptoms of anxiety and depression 62.9 percent reported either or both. Their rates of having started or increased substance use to cope with pandemic related stress or emotions was way up there as well at 24.7 percent (it was equal or higher only among the essential workers and the unpaid caregivers). In all, 74.9 percent of those 18 to 24 years old reported at least one bad symptom. So the young adults are definitely not OK. And interestingly, the occurrence of these symptoms decreased with increasing age; among the respondents 65 and up, who have their own set of anxieties to deal with, only 15.1 percent reported at least one of these symptoms. Sign up for the Well Family newsletter Rashon Lane, a behavioral scientist at the C.D.C. who was an author of the study, said symptoms of anxiety disorder and depressive disorder had increased significantly relative to 2019, with a disproportionate impact on young adults. It's important to identify the populations at increased risk, Ms. Lane said, to provide them with services and support, and also to recognize that many people fall into more than one risk group some young adults are also essential workers, members of the minority groups that are disproportionately bearing the brunt of the pandemic or people with pre existing mental health conditions. Dr. Sarah Vinson, an associate professor of psychiatry and pediatrics at Morehouse School of Medicine, said that it's normal for older adolescents and young adults to be thinking seriously about what they are going to do with their lives. "Maybe they're not all anxious, but they're all thinking about this and feeling uncertain about next steps," she said. And now they find themselves going through this transition at a moment when the ground feels shaky. "The people they normally go to for advice haven't gone through something like this before parents, professors, mentors," Dr. Vinson said. "Our college students are emerging adults," said Betty Lai, an assistant professor of counseling psychology in the Lynch School of Education and Human Development at Boston College. At this age, you are still learning, still figuring things out as you go, she said, including what career you are going to pursue, and "who are the people you are going to have as part of your life long term? All of these important developmental tasks come up." The pandemic is changing their opportunities to figure out those issues, and also, of course, changing their opportunities to go to school, to see their friends, to live away from home. Dr. Lai studies mental health in the aftermath of disasters, like Hurricane Katrina or the Boston Marathon bombing. She said that in a recent study of college students, 91 percent reported moderate to high stress levels, and 39 percent reported moderate to severe anxiety, while 53 percent reported moderate to severe depression. The current pandemic, she said, is "a breeding ground for mental health disaster," with unprecedented levels of risk factors. "This exposure period is prolonged, longer than anything we've seen before," she said, and the social isolation makes everything worse. Some college students are going to be on campus this fall, but much of their learning will be remote, and they face strict safety rules limiting social activity. Other students face another semester of staying home. Either way, parents should be alert for signs of stress and isolation. Stressors are heightened, Dr. Vinson said, and many people find themselves without their usual coping strategies. This combination of uncertainty about their personal future and worry about the larger future can leave some people without much sense of hope or promise about what is coming next. "Hopelessness is one of the big drivers of suicide," Dr. Vinson said. "It's normally not about wanting to be dead; it's about not wanting to live like this, whatever this is." In addition, Dr. Vinson said, suicide risk can be related to impulsiveness, and "we know people will often act more impulsively if they are using substances, which exacerbate mental health issues." Parents or friends or family members who are worried about young adults or adolescents should check in on them, ask how they're doing, and should not worry that by asking about depression, mental health or suicide they are creating or exacerbating the problem. Tips for Parents to Help Their Struggling Teens Are you concerned for your teen? If you worry that your teen might be experiencing depression or suicidal thoughts, there are a few things you can do to help. Dr. Christine Moutier, the chief medical officer of the American Foundation for Suicide Prevention, suggests these steps: Look for changes. Notice shifts in sleeping and eating habits in your teen, as well as any issues he or she might be having at school, such as slipping grades. Watch for angry outbursts, mood swings and a loss of interest in activities they used to love. Stay attuned to their social media posts as well. Keep the lines of communication open. If you notice something unusual, start a conversation. But your child might not want to talk. In that case, offer him or her help in finding a trusted person to share their struggles with instead. Seek out professional support. A child who expresses suicidal thoughts may benefit from a mental health evaluation and treatment. You can start by speaking with your child's pediatrician or a mental health professional. In an emergency: If you have immediate concern for your child's safety, do not leave him or her alone. Call a suicide prevention lifeline. Lock up any potentially lethal objects. Children who are actively trying to harm themselves should be taken to the closest emergency room. Resources If you're worried about someone in your life and don't know how to help, these resources can offer guidance:1. The National Suicide Prevention Lifeline: 1 800 273 8255 (TALK) 2. The Crisis Text Line: Text TALK to 741741 3. The American Foundation for Suicide Prevention "The most helpful thing you can do for somebody who might be struggling is ask them," Dr. Lai said. "Parents often don't have as good a sense as they think they might of how their child is doing." Parents can also help by encouraging young adults to find safe ways to stay connected. Even people who are physically apart, Ms. Lane said, can "stay socially connected, checking in with friends and family often to talk about these concerns." Parents don't have to pretend to have answers. It's fine to acknowledge your own worries and uncertainties, Dr. Vinson said; it's important for young adults to understand that their parents haven't got it all figured out and that they're willing to talk about it and try to work through their questions. Dr. Maya Haasz, an assistant professor at the University of Colorado School of Medicine, said that for the past few years, every child over age 10 who comes to the emergency room at Children's Hospital Colorado, where she is an attending physician, is screened for suicide risk, using a questionnaire. "Somewhere between 5 and 10 percent of our patients presenting for nonmental health concerns screen positive," she said and this was true before the pandemic. Some of these children, who were perhaps coming in for injuries or abdominal pain, have needed to be hospitalized for mental health issues. Screening children for suicide risk in the emergency room also gives the staff a chance to talk with parents about how to make the home safe, Dr. Haasz said. "It gives us an opening to talk to parents about restricting lethal means," she said. Try to make your home as safe as possible for someone who may be struggling. If you know or suspect that there have been issues with substance use, don't keep liquor or leftover prescription medications around.	N24News: A New Dataset for Multimodal News Classification	Well
Of all the major category nominees at this year's Grammys, none were more surprising than Brandi Carlile, the 37 year old folk rock or rockin' folk singer and songwriter who earned six nods, including album of the year. But when she appeared on the Grammys stage, things became clear. Her performance of "The Joke," a defiant anthem about tolerance, was genuinely startling (and vastly superior to the album version). Carlile's vocals were robust, ragged, full of sneer and hope. On a night curiously light on impressive singing, it was an uncomplicated, genuine, cleansing thrill. JON CARAMANICA Hear our pop music team break down the Grammy highs and lows. Drake, who pointedly did not perform on Sunday night, claimed just his fourth Grammy in 42 tries best rap song for "God's Plan" and he deigned to show up to accept it, taking the winner's podium for the first time. (His previous awards were not televised, and he's even clowned the show for giving "Hotline Bling" the best rap song trophy in 2017 "maybe because I've rapped in the past or because I'm black," he said.) This time, he pulled a Fiona Apple and told the world it didn't matter: "We play in an opinion based sport, not a factual based sport," he said, seemingly legitimately nervous. "This is a business where sometimes it's up to a bunch of people that might not understand, you know, what a mixed race kid from Canada has to say, or a fly Spanish girl from New York, or anybody else, or a brother from Houston." It was part motivational speech, part rebuke of gatekeepers, and all Drake, the most famous guidance counselor in the universe. "The point is, you've already won if you have people who are singing your songs word for word, if you're a hero in your hometown," he added. "You don't need this right here, I promise you." But when he gathered his breath to finish the sentiment, the show cut to commercial. Drake was not seen at the Grammys again, and given how hard it was to get him there in the first place, he might not be for a while. JOE COSCARELLI If the tensions at last year's ceremony left the Grammys in knots, Alicia Keys was a CBD oil rubdown: a soothing, self assured earth mother prepared to "Kumbaya" the show into a place of solidarity and affection. "Do you feel that love in the building?" she announced at the top of the ceremony. "This is love, this is life, this is living, this is light, and all because of music." She brought out Lady Gaga, Jada Pinkett Smith, Michelle Obama and Jennifer Lopez to speak about music as a vessel for empowerment and empathy. She twirled in a variety of outfits. She joked around with John Mayer and harmonized with Smokey Robinson. She had already logged oodles more screen time than any host in recent memory when she perched on a stool between two grand pianos and played one with each hand in a demonstration of technical badassery, then took a tour through songs she wished she had written (Roberta Flack's "Killing Me Softly," Juice WRLD's "Lucid Dreams," Kings of Leon's "Use Somebody"), wrapping on her own Jay Z collaboration "Empire State of Mind" like a humblebrag come to life. But she still ended the show on a note of grander uplift: "Let's keep listening and loving each other." CARYN GANZ At a ceremony dominated by female performers and presenters, women took center stage. For a show that has traditionally shunted aside Latin music (leaving it to the Latin Grammys, a separate event altogether) and has yet to really acknowledge the rising urbano wave Camila Cabello's opening number covered a lot of ground. Sure, it was centered around "Havana," a No. 1 pop hit, but Cabello's Cuba via Miami roots shone through, and she also managed to ground a performance that featured both Young Thug and Ricky Martin. (Guess which one was wearing diamond encrusted boots.) J Balvin, the pop reggaeton star from Colombia, popped up for an interlude of his hit "Mi Gente" and held up a newspaper that read "Build bridges not walls" while the Cuban American jazz trumpeter Arturo Sandoval made himself heard throughout. For a show that's traditionally a ballad loving affair, the energy was welcome, as was diversity that didn't just feel like lip service. COSCARELLI Never miss a pop music story: Get our weekly newsletter, Louder. Best No Show: Childish Gambino's Song of the Year Win Childish Gambino's "This Is America," the first ever hip hop song to be honored with a Grammy for song and record of the year, is fittingly self conscious: rapped in clipped, referential phrases, with melodic sections and a smattering of uncredited ad libs by some of the genre's true recent innovators (Young Thug, 21 Savage, Quavo, BlocBoy JB). That none of them including the song's lead artist and writer, Donald Glover bothered to show up and accept the trophy for the songwriters was also apt for a show that has long struggled with its handling of hip hop, dating back to the first ever rap award in 1989, when a number of the nominees boycotted. (Kendrick Lamar and Drake, the most nominated artists of the night, also declined to perform; the "This Is America" producer Ludwig Goransson accepted the second award.) But the first no show led to an awkward dead air moment as the presenters, Alicia Keys and John Mayer, shuffled around the stage, trying to figure out what to do next. One of Childish Gambino's managers tweeted a shrug emoji. But what really underlined the sharp elbow of a nonappearance was that Glover did appear as part of the Grammys telecast, after all starring in a cellphone commercial that aired more than once. COSCARELLI The first song on Kacey Musgraves's album of the year winner, "Golden Hour," is "Slow Burn," a slightly psychedelic country ballad about how chill she can be in love, in her career and just in general. Critically respected but largely ignored by the Nashville establishment, Musgraves spent most of Grammys night edging her way, patiently, into the spotlight. Her first appearance, to perform her song "Rainbow," betrayed some nerves. As part of the Dolly Parton tribute, Musgraves's hair had gotten bigger but she was still muscled over by a vocally pushy Katy Perry on "Here You Come Again." By the time she took center stage to accept the show's final award, though, having won best country album and then beaten out pop stars like Drake, Cardi B and Kendrick Lamar for the top all genre prize, the Grammys had come to her, and Musgraves delivered a simple, effective moment of gratitude that showed just how easy she is to root for. In a room used to having the air sucked out of it by all sorts of try hards and egomaniacs, Musgraves just let it breathe. COSCARELLI The Grammys, structurally, still look like they could be filmed in the 1970s. The camera setups are fairly flat, and the performances are tightly controlled. So credit Travis Scott for taking a much needed wrecking ball to the format. He began his performance with a coolly tempered "Stop Trying to Be God," backed by James Blake duetting with Philip Bailey (of Earth, Wind and Fire). But then the scene switched: Scott reappeared inside a tall cage rapping "No Bystanders," and was swarmed by dozens of ecstatic revelers, some of whom began scaling the cage walls. Eventually Scott climbed up, hopped over the top and landed on the outstretched arms of his faithful. For a show that likes to pretend music moves in one direction from the stage outward this was a welcome reminder that it can also go up, down, around, and explode in plain sight. CARAMANICA	N24News: A New Dataset for Multimodal News Classification	Music
"Perfume today has lost its soul. It is far too mass and too marketed, lacking in personality." That was Michael Burke, chairman and chief executive of Louis Vuitton, talking last month about why, after a 70 year hiatus, the French luxury house has been quietly plotting a high profile return to the global fine fragrance market. "We see a big growth opportunity in offering artisanal fragrance that harks back to the ways they used to be conceived of and purchased," he said. "But that means doing things the right way, and the right way takes time." It also takes, apparently, a new home base in Grasse, a picturesque town nestled amid fields of roses, lavender, jasmine and tuberose in the sun soaked hills above the French Riviera and the perfume capital of the world. That's where, in 2013, Vuitton bought Les Fontaines Parfumees, a terra cotta hued 17th century perfumery surrounded by lush lawns, fountains and more than 350 species of flowers and plants. The estate had spent much of the 20th century in a state of disrepair, having opened its doors as a perfumery in 1640. Vuitton renovated it and installed a state of the art laboratory on its top floor, with Jacques Cavallier Belletrud, a third generation Grasse born perfumer and industry supremo, at its helm. There, Mr. Cavallier Belletrud, 54, was given free rein: "no brief, no budget," he told reporters assembled in New York in July. What scents have blossomed from these hefty investments remain highly confidential. The expectation is that there will be seven new perfumes, infused with notes including leather, tuberose and other florals, housed in crystal bottles designed by Marc Newson and unveiled this September in Vuitton's 473 boutiques worldwide. "We cannot share exactly what will be inside these bottles with more than a handful of people before they arrive in the stores," said the otherwise jovial Mr. Cavallier Belletrud, who is famed for past fragrance creations like L'Eau d'Issey by Issey Miyake, Midnight Poison by Christian Dior and Stella by Stella McCartney. "At the highest end of the market, perfume is a world based on secrets." "The best noses in the world are based in these hills, but there are deep, deep rivalries in Grasse, as well as in the wider sector," he said in the perfumery in Grasse, framed by sun soaked droplets of color from a newly restored Art Deco stained glass window. "What we are doing here is not just chemistry. It is alchemy. We keep our cards close to our chest." He held a bottle of jasmine extract in his hand. With a value of over 130,000 for a 35 ounce bottle, he said, the content is three times more expensive than gold. That said, some friendly faces linger. Across the hall from Mr. Cavallier Bellutrud's office is one occupied by Francois Demachy, the perfumer for Parfums Christian Dior, which is (not coincidentally) also owned by the parent company of Louis Vuitton, LVMH. Dior has similarly raised the ante this year when it comes to strengthening its position in the fragrance market. In the spring it unveiled its own blockbuster Grasse renovation project. About 12 miles from the town center lies Chateau de La Colle Noire, a gorgeous Provencal house and gardens bought by Christian Dior in 1951, which later became the countryside retreat where he spent his twilight years before his death in 1957. The house of Dior bought the estate in 2013 and set about painstakingly refurbishing all of the rooms, including Dior's office and the entrance hall, as well as reimagining 21st century additions, such as the Chagall, Bernard, Picasso and Dali bedroom suites, treats for the lucky few brand ambassadors, LVMH executives and members of the press invited to stay overnight. The chateau it is not open to the public, but those curious to get a sense of the place can pick up a new fragrance inspired by the property, also called La Colle Noire and with notes of Grasse's local rose de mai, now on sale at 210 a bottle. Frederic Bourdelier, the heritage director at Dior Parfums, said, "This project was essential for the house of Dior, because we realized how important it was that we understood and captured the taste of Dior the man, and the mark he wanted to make on the world, for generations to come." He was speaking days after a party at the chateau in celebration of the house, attended by Bella Hadid and Charlize Theron, among others. "This place, which he loved so dearly and which proved so influential to him both personally and professionally, is part of our past, present and now our future," Mr. Bourdelier said. The re estabishment of these fragrant roots in Grasse by two behemoth brands at a time when a potent cocktail of geopolitical unrest, exchange rate volatility and economic uncertainty have weighed on many parts of the luxury market is not surprising. Global sales of premium perfumes are expected to hit 29 billion this year, and are set to grow 3 to 4 percent annually through 2020, according to the research group Euromonitor International. But beyond bolstering its product arsenal, Louis Vuitton also stresses that for the company, perfume is the final piece of the puzzle. "Over the last 20 years, we have extended our reach everywhere from shoes to accessories to jewelry and beyond," said Mr. Burke, the Vuitton chairman and chief executive. "And fragrance a fundamental aspect of dressing, and telling the world who you are every day was our last major frontier. It is of no real surprise we decided to go into this in a big way." "Don't forget that when it comes to scent, we are in the business of carefully conjuring up, then encapsulating, characters, dreams, memories and emotions," he said. "And there are few things more powerful than that. If we get the right formula, we will get the lasting relationship, because our wearer will keep coming back for her refill."	N24News: A New Dataset for Multimodal News Classification	Fashion & Style
Left, Elizabeth Cecil for The New York Times; right, Mustafah Abdulaziz for The New York Times Left, Elizabeth Cecil for The New York Times; right, Mustafah Abdulaziz for The New York Times Credit... Left, Elizabeth Cecil for The New York Times; right, Mustafah Abdulaziz for The New York Times Just after the 2016 election, an anonymously run Twitter account emerged with a plan to choke off advertising dollars to Breitbart News, the hard edge, nationalist website closely tied to President Trump's administration. The account, named Sleeping Giants, urged people to collect screenshots of ads on Breitbart and then question brands about their support of the site. Sleeping Giants correctly guessed that many companies did not know where their digital ads were running, and advertisers were caught off guard as the account circulated images of blue chip brands in proximity to headlines like "Birth Control Makes Women Unattractive and Crazy." As hundreds of brands blocked their ads from appearing on Breitbart, and the account expanded to put pressure on certain Fox News shows, the people behind Sleeping Giants maintained their anonymity until this week. Matt Rivitz, a freelance copywriter in San Francisco who has worked with a range of advertisers, was identified as the account's creator against his wishes on Monday by The Daily Caller, the conservative news and opinion website co founded by the Fox News host Tucker Carlson. Mr. Rivitz, 45, confirmed the report on Twitter, where Sleeping Giants has more than 160,000 followers. He runs the account with Nandini Jammi, 29, a freelance copywriter and marketing consultant, along with other still anonymous contributors. "The way it happened sucks, but I'm super proud of this thing and of all the people who worked on it and all the people who followed it," Mr. Rivitz said in his first interview since his involvement in the account was revealed. "We're happy that we made advertisers think a little bit and realize what they're supporting." Mr. Rivitz did not expect to rock the ad and media worlds with Sleeping Giants, which he viewed as an apolitical crusade against hate speech. While he is a registered Democrat, he said he had never been politically active outside of attending "maybe two marches pre election." Most of his work for advertisers was focused on television commercials and did not involve social media. He wasn't a particularly active Twitter user. But Mr. Rivitz said he was struck by what he viewed as "incredibly bigoted and racist and sexist" content on Breitbart News, including in its comment sections, after his first visit to the site in November 2016. The site had gained prominence because of its ties to Stephen K. Bannon, its former chairman, who was Mr. Trump's chief strategist. "I was pretty amazed at the stuff they were printing, and my next thought, being in advertising, was, 'Who is knowingly supporting this stuff?'" he said. "I thought maybe it would be two to three companies, and I quickly realized within a couple hours it was all placed programmatically." Mr. Rivitz was referring to the automated systems that place most online ads and tend to target consumers based on who they are, rather than which site they are visiting. "It didn't seem like the advertisers would want to be there," he said. "I just set up this anonymous Twitter handle and set up an anonymous email and just went for it, because I wanted to contact one advertiser a progressive loan company from San Francisco." (The company, Social Finance, quickly pulled its ads.) Brian Glicklich, a spokesman for Breitbart, said, "The specific allegations they make about our content being racist, sexist or bigoted are false." Sleeping Giants contributed to a broader industry reckoning around how the automated placement and scale of online ads could fund toxic content and extremism. It also highlighted the challenges that companies face in controlling where their ads end up. Early on, it flagged an advertisement from Workable, a start up that sells recruiting software, above the Breitbart headline "There's No Hiring Bias Against Women in Tech, They Just Suck at Interviews." A screenshot made its way to Nikos Moraitakis, Workable's chief executive, who said he "nearly had a heart attack" when he saw it. The company, which appeared on the site through one of the Google companies that broker web ads, added Breitbart to its "opt out" list. Ford and Rivian no longer plan to work jointly on electric vehicles. Elizabeth Holmes took the stand in her trial. Follow along with our reporters. Ken Griffin, head of Citadel, bid highest for a copy of the Constitution. The account also gained attention when it highlighted the presence of Kellogg's ads on Breitbart, which resulted in the breakfast cereal company's blacklisting the site. In response, Breitbart attempted a DumpKelloggs campaign. The Sleeping Giants Twitter account, which was started after the 2016 presidential election. Mr. Rivitz said the idea behind Sleeping Giants was to inform advertisers, rather than to force boycotts. Breitbart News saw the account's mission differently. "Sleeping Giants' political playbook is to attack opposing speech through harassment and false claims to try to drive it out of business," Mr. Glicklich said. "They and others have failed at this every time it has been attempted. Democracy flourishes from more conversation, not less, which is why Matt Rivitz's speech suppression through economic force is among the most reviled techniques of coercion." Shortly after Mr. Rivitz started the account, it caught the attention of Ms. Jammi, an American who lives in Berlin. She also visited Breitbart after the election and was startled to see ads from major companies there, thanks to her browsing history. Mr. Rivitz contacted Ms. Jammi through Twitter after seeing a post she had written for Medium on how marketers could blacklist Breitbart, and the two joined forces. Ms. Jammi, who said her previous interest in politics had amounted to nothing more than following the news, discussed anonymity "early and often" with Mr. Rivitz. "Initially, we were kind of freaked out at the alt right influence, and, obviously, one of our primary concerns was staying safe," she said. Knowledge of their involvement was limited to a tight circle of family and friends. Mr. Rivitz and Ms. Jammi, who have met in person once, said they each spent three to eight hours a day on Sleeping Giants posting tweets and corresponding with companies and advertisers while working at their day jobs. They were vague about how many other people help run the account and its Facebook page, citing privacy concerns and threats. Since Sleeping Giants got its start, a great number of brands have taken steps to make sure that they do not appear on Breitbart. The site had about 649 advertisers on its website last month, showing around 1,902 different display ads, according to data from Moat Pro, a digital ad intelligence product. That was down from 3,300 advertisers and 11,500 display ads in November 2016. (Sleeping Giants' count of departed advertisers is closer to 4,000.) As Sleeping Giants expanded, it broadened its mission to making "bigotry and sexism less profitable" over all. In April 2017, it rallied its following to join the widespread pressure on companies that advertised on "The O'Reilly Factor" after The New York Times reported that Bill O'Reilly, the Fox News show's host, had settled with at least five women who had accused him of harassment. This year, the account added to the pressure on brands whose commercials appeared on "The Ingraham Angle," the Fox News show hosted by Laura Ingraham, after she ridiculed a student survivor of the Parkland, Fla., school shooting. Critics have accused Sleeping Giants of engaging in a form of censorship, a criticism that Mr. Rivitz rejected. "There are plenty of conservative and liberal leaning news organizations that are doing everything in good faith and are talking about policy without bringing divisiveness and racism into it, and that's where the break is with some of these websites," he said. He added that he had received a barrage of threats and harassment in the wake of the Daily Caller article, which also named his wife and friends. Ms. Jammi, who was not named by The Daily Caller, said she wasn't sure what kind of harassment to expect, now that her role had been made public. She added that she hoped the attention would raise scrutiny of the big tech platforms that kept advertisers in the dark. "Breitbart is where we started, but ultimately the problem is not Breitbart or The Daily Caller the problem is the tech companies," Ms. Jammi said. "I fully support that right for them to write whatever they want. What I have a problem with is Facebook and Twitter monetizing it." Mr. Rivitz said the Sleeping Giants community had grown so robust that he felt like an administrator. Still, he said, its mission remains the same. "People can use their free speech to say whatever they want and print whatever they want, and that's what makes this country great," Mr. Rivitz said, "but it doesn't mean they need to get paid for it, especially by an advertiser who didn't know they were paying for it."	N24News: A New Dataset for Multimodal News Classification	Media
If previous outbreaks of coronavirus are any indication, the Wuhan strain that is now spreading may eventually be traced back to bats. Dr. Peter Daszak, president of EcoHealth Alliance, who has been working in China for 15 years studying diseases that jump from animals to people, said, "We don't know the source yet, but there's pretty strong evidence that this is a bat origin coronavirus." He said, "It's probably going to be the Chinese horseshoe bat," a common species that weighs up to an ounce. If he's right, this strain will join many other viruses that bats carry. SARS and MERS epidemics were caused by bat coronaviruses, as was a highly destructive viral epidemic in pigs. One bat can host many different viruses without getting sick. They are the natural reservoir for the Marburg virus, and Nipah and Hendra viruses, which have caused human disease and outbreaks in Africa, Malaysia, Bangladesh and Australia. They are thought to be the natural reservoir for the Ebola virus. They also carry the rabies virus, but in that case the bats are affected by the disease. Their tolerance of viruses, which surpasses that of other mammals, is one of their many distinctive qualities. They are the only flying mammals, they devour disease carrying insects by the ton, and they are essential in the pollination of many fruits, like bananas, avocados and mangoes. They are also an incredibly diverse group, making up about a quarter of all mammalian species. But their ability to coexist with viruses that can spill over to other animals, in particular humans, can have devastating consequences when we eat them, trade them in livestock markets and invade their territory. Learning how they carry and survive so many viruses has been a deep question for science, and new research suggests that the answer may be how the bats' evolutionary adaptations to flight changed their immune systems. In a 2018 paper in Cell Host and Microbe, scientists in China and Singapore reported their investigation of how bats handle something called DNA sensing. The energy demands of flight are so great that cells in the body break down and release bits of DNA that are then floating around where they shouldn't be. Mammals, including bats, have ways to identify and respond to such bits of DNA, which might indicate an invasion of a disease causing organism. But in bats, they found, evolution has weakened that system, which would normally cause inflammation as it fought the viruses. Bats have lost some genes involved in that response, which makes sense because the inflammation itself can be very damaging to the body. They have a weakened response but it is still there. Thus, the researchers write, this weakened response may allow them to maintain a "balanced state of 'effective response' but not 'over response' against viruses." How to manage and contain the current outbreak of the virus officially known as 2019 nCoV, is, of course, of paramount importance now. But tracing its origin and taking action to combat further outbreaks may depend partly on knowledge and monitoring of bats. "The outbreak can be contained and controlled," Dr. Daszak said. "But if we don't know the origin in the long term then this virus can continue to spill over." Scientists in China were already studying the bats carefully, well aware that an outbreak like the current one would most likely happen. Last spring, in an article on bat coronaviruses, or CoVs, a group of Chinese researchers wrote that "it is generally believed that batborne CoVs will re emerge to cause the next disease outbreak." They added, "In this regard, China is a likely hot spot." This wasn't clairvoyance, but conventional wisdom. Certainly, rodents, primates and birds also carry diseases that can jump and have jumped to people; bats are far from alone in that regard. But there are reasons they have been implicated in several disease outbreaks and are likely to be implicated in more. They are numerous and widespread. While bats account for a quarter of mammalian species, rodents are 50 percent, and then there's the rest of us. Bats live on every continent except Antarctica, in proximity to humans and farms. The ability to fly makes them wide ranging, which helps in spreading viruses, and their feces can spread disease. People in many parts of the world eat bats, and sell them in live animal markets, which was the source of SARS, and possibly the latest coronavirus outbreak that began in Wuhan. They also often live in huge colonies in caves, where crowded conditions are ideal for passing viruses to one another.	N24News: A New Dataset for Multimodal News Classification	Science
CHARLESTON, S.C. The first glimpse viewers had of Patricia Altschul on "Southern Charm," a Bravo reality show about the lives of the rich and reckless in Charleston, was consistent with all of her future on screen appearances. A martini glass in her hand, and hair arranged in what her friend Andre Leon Talley describes as "Veronica Lake style coiffure," Mrs. Altschul enters her son's bedroom to complain about his guitar playing. "My head is vibrating," Mrs. Altschul says. "I could feel it in my teeth." "It's rock n' roll, Mom," responds Whitney Sudler Smith, her 40 something year old offspring and the creator and executive producer of the show. Mrs. Altschul goes on to express her distaste at the "trail of women" Mr. Sudler Smith brings through her house, a historic property in downtown Charleston that she bought for 4.8 million in 2008. Mr. Sudler Smith offers a solution: "a stabbin' cabin" in town. Since "Southern Charm" premiered in 2014, Mrs. Altschul, 78, has emerged as a tart tongued matriarch doing the work of a Greek chorus for a cast in which half the members can barely figure out how to get out of bed before noon (and once there, how to proceed without a beer). "It's been like learning a new language," Mrs. Altschul said of her interactions with other members of the ensemble, most of whom are several decades younger than she is. She was seated on a couch in her mansion wearing a breezy pink caftan decorated with flamingos and fringe, a piece from her upcoming ready to wear line. Mrs. Altschul has also capitalized on her sudden fame by writing a memoir slash advice guide called "The Art of Southern Charm" and creating a company that prints images of pets onto caftans, blankets, pillow cases, pajamas, yoga mats and towels. Nearby, Micha el Kelcourse, 65, Mrs. Altschul's butler of 15 years and a scene stealer on the show, hovered with a tray of still and sparkling waters. Mrs. Altschul hired Mr. Kelcourse soon after his previous employer died in 2004. Worried that someone else would get to him first, she dropped decorum and called immediately. "I don't think she'd even been buried yet, had she?" Mrs. Altschul said. Reflecting on new concepts that "Southern Charm" has exposed her to, Mrs. Altschul described a recent episode of the show, in which several of the women explained to he r a rhyming expression that refers to photos of male genitalia that often arrive unsolicited via dating apps or Instagram. "As it turned out, I was the only one getting them out of the group," Mrs. Altschul said. "I was impressed, too, when I heard they didn't get any. They said, 'Are they old men?' And I said, 'No, some of them are, like, 19 years old.'" Not One For Settling Down Before "Southern Charm" premiered, Mrs. Altschul was a known name in society circles in New York and Washington D.C. She taught art history at George Washington University in the '60s and '70s and was a private dealer of late 19th century American art in the '80s. Mrs. Altschul married her first husband, Lon Smith, when she was 20 years old. Mr. Smith is Whitney's father . Her second husband was Edward Stitt Fleming, the founder of the Psychiatric Institutes of America, with whom Mrs. Altschul spent a year and a half traveling on a yacht. She disembarked from the yacht and the marriage around the same time. Mrs. Altschul moved to New York in the late '90s after marrying her third husband, Arthur Altschul. Mr. Altschul, who died in 2002, was an investment banker, art collector and philanthropist. Whether a fourth husband is on the horizon is unclear. "I don't know if I'm ready to settle down just yet," Mrs. Altschul said. In New York, the Altschuls had lived in Southerly, an eight bedroom mansion on Long Island with rose gardens, a swimming pool and a servants' wing, and an apartment on Fifth Avenue that overlooked the Metropolitan Museum of Art. Mrs. Altschul appeared regularly in society stories in publications like W Magazine, Vogue and The New York Sun, and in Bill Cunningham's columns. Mr. Talley, a contributing editor to Vogue, recalled riding together to the Met Gala in 2005. "Pat wore a vintage Chanel, strapless couture dress, with a skirt so wide, when we got in the sedan car, she couldn't see over her skirt," Mr. Talley wrote in an email. "The dress had a crinoline, well crinolines. I suppose the skirt suggested to her something very Scarlett O'Hara." Mr. Talley wrote that he thinks Mrs. Altschul sees something of herself in the "Gone With the Wind" heroine. Mrs. Altschul does not know much about her mother's first husband. Her mother told Mrs. Altschul that she left him after four months. "He was controlling, and she told me that he raised his voice to her," she said. "That was it. Out the door. I tell these young girls who put up with stuff: My mother always said to me, 'This man raised his voice to me and that was it.'" When dating men, she said, women should worry less about how they appear and more about the person across from them. "He should be proving himself to her," she said. "Her main concern should be, 'Is he good enough for me?'" Some of Mrs. Altschul's points of view may seem out of touch, especially when she uses terms like "shameless strumpet" or "whore of Babylon." But her commentary can also be incisive and funny, sparking roundups of her zingers across the internet. There is also a sense, whether real or manufactured by the show's producers, that Mrs. Altschul is able to evolve her views. In early seasons of the show, she positioned herself on the side of Thomas Ravenel, a former state treasurer for South Carolina who was charged with cocaine distribution and was sentenced to 10 months in jail several years before the show filmed, and who fathered two children with another "Southern Charm" cast member, Kathryn Dennis. Mrs. Altschul expressed her strong dislike of Ms. Dennis and once said of Mr. Ravenel: "He has more than paid for it." Later on, when most of the cast began to take Ms. Dennis's side over Mr. Ravenel's, Mrs. Altschul did, too. Known for throwing dinner parties just for men (to avoid drama, she said) Mrs. Altschul hosted a gathering of women this season. "It's the MeToo movement," she explained on camera. "I should get with the program. I'm going to have a girls' dinner." Last year, multiple women accused Mr. Ravenel of sexual assault, and he was arrested on suspicion of assault and battery in the second degree. Ms. Dennis has since filed a petition in court to modify her custody arrangement with Mr. Ravenel. The day before Mrs. Altschul sat for this interview, she had spent hours in a court deposition for the case, something she noted several times, with hints of restrained exasperation. Asked to elaborate, Mrs. Altschul said, "Legally, I can't make a comment because this is ongoing. My hands are tied." She added: "I'd like to say a lot."	N24News: A New Dataset for Multimodal News Classification	Style
Back in 2016, the soccer legend was honored at the ESPY Awards with two other newly retired athletes, Kobe Bryant and Peyton Manning. "As I watched those men walk off the stage," she writes in "Wolfpack" a women's advice book inspired by her viral 2018 commencement speech at Barnard "it dawned on me that while the three of us were stepping away from similar careers, we were facing very different futures" because of salary disparities. She says now, "I realized that their hustling days were over but mine were just beginning. And that's when I finally acknowledged what had been simmering inside me for years: anger." That was the night Wambach became an activist. "Because women are told in a million different ways that the only thing they are allowed to do is be grateful," she says. She's not just talking about sports: "The truth is that on average every woman in every industry in every state and every country around the world will earn significantly less than men in equivalent positions throughout her career." Wambach has never calculated what being a female athlete cost her in actual dollars, "but I've imagined it in terms of freedom, because dollars represent respect, and deliver freedom," she says. "If you work the same as a man, but you don't earn what he earns because of institutionalized discrimination, then at the end of a day, and the end of a career you have less freedom than he does." Though the U.S. Soccer Federation "invests more in the men's program, the women still earn more for the federation, and are paid significantly less," she points out, adding that she's proud of the American women's team for recently filing a lawsuit over this discrimination.	N24News: A New Dataset for Multimodal News Classification	Books
City Center will present staged concert revivals of "Assassins," "The Bubbly Black Girl Sheds Her Chameleon Skin" and "Really Rosie" this summer through the Encores! Off Center season. The season, the first put together by the program's new artistic director, Michael Friedman, will explore "different versions of the American dream," Mr. Friedman said. "What kind of America do we have?" he asked. "What kind of America do we want?" First up is "Assassins," a musical about men and women who have tried to kill American presidents. Stephen Sondheim wrote the music and lyrics, and John Weidman wrote the book; the show ran off Broadway, at Playwrights Horizons, in 1991, and then had a Broadway production (delayed for years because of the Sept. 11, 2001, terrorist attacks) presented by the Roundabout Theater Company in 2004. The Off Broadway production received tepid reviews, but attitudes toward the show have changed considerably, and the Broadway production fared better, winning five Tony Awards, including for best musical revival. The City Center production is to be directed by Anne Kauffman, and will run from July 12 to 15.	N24News: A New Dataset for Multimodal News Classification	Theater
CHICAGO Five days into a teachers' strike that halted classes for 350,000 public school students across this city, leaders on both sides of the contract dispute said on Friday that they had reached the outlines of a deal. While details of the agreement had yet to be formally drafted and leaders in the Chicago Teachers Union still need to vote on whether to lift the strike, schools in the nation's third largest school district were expected to reopen as early as Monday. "The heavy lifting is over and the framework is in place," David J. Vitale, president of the Chicago Board of Education, said as he emerged from what had been days of tense, private negotiations while tens of thousands of teachers marched in red shirts outside schools, in neighborhood rallies and down Michigan Avenue in the city's showcase business district. Both sides said they planned to complete the deal over the weekend. If they do, it will bring a relatively quick end to what had become a chaotic situation for hundreds of thousands of families forced to find emergency child care and to the largest crisis so far in Rahm Emanuel's first mayoral term. Mr. Emanuel had pressed for longer school days, more control for principals in picking teachers, and an expansion of the city's charter school system. For teachers, the week on picket lines their first strike in a quarter century here was a show of force for a group that said it felt under siege and disrespected, under threat of school closings, packed class sizes, and an evaluation system that judged them by the test scores of their students, 87 percent of whom come from low income families. A swift return of children to classrooms here would also help lift politically awkward imagery for President Obama, who has not taken sides in the showdown between Mr. Emanuel, a close ally, and unionized teachers, a bloc that Democrats depend on in election years. Robert Bloch, the lawyer for the teachers' union, who had taken part in negotiations, said that both sides were still working out the details but that union officials were hopeful that they could present a complete agreement to the union's House of Delegates which has nearly 800 members on Sunday. But he cautioned that the decision to lift the strike did not rest with the negotiators. "It's for the House of Delegates to determine whether we will suspend the strike so kids can go back to school," he said. "This has been one of the most difficult labor contracts negotiated in decades," he said when asked why negotiations had taken so long. If the delegates lift the strike on Sunday, the union's nearly 26,000 members could begin voting on whether to ratify the contract as early as Monday. Much of the contract dispute has focused on teacher evaluations and job security, but few details of the deal were made public a striking change of tone from previous days when those on both sides had openly argued over specific elements of their proposals. The newfound resolve of all involved to keep the details of the agreement private seemed to be an indication that both sides were intent on finishing the plan and putting an end to the dispute. Even at a closed meeting of the union's House of Delegates on Friday afternoon, union negotiators did not share details of the proposed agreement among those assembled. The agreement appeared likely to maintain several provisions Mr. Emanuel and school officials had pressed for a longer school day, principals' ability to hire teachers and a teacher evaluation system that would, at least in part, include student test scores as one consideration. But many details were not known, including a final agreement on raises for teachers one proposal had suggested an average teacher get 16 percent over four years and on benefits. Despite a fiery, often contentious back and forth here over the last tense week, remarks seemed sober and measured on Friday. Mr. Emanuel, who canceled a public appearance on Friday morning as he kept tabs on the negotiations, issued a written statement that said, in part, "This tentative framework is an honest and principled compromise that is about who we all work for: our students." Karen Lewis, the often outspoken president of the Chicago Teachers Union, who had early in the week described the sides as far apart, seemed upbeat on Friday. "It looks like something we can figure out a way to work out, as long as we have the language to support it," Ms. Lewis said. A team of lawyers was expected to work through the weekend, racing to draft language of the deal in time to secure a vote from union leaders before Monday. Even though teachers and union leaders did not get to see the outline of the proposed deal, many said they had renewed hope that they could soon be back in their classrooms with students. Still, some said they were waiting for the details before they allowed themselves to grow too invested in the notion. And despite the outlines of a deal, the union said it still intended to go forward on Saturday with a rally "Wisconsin style" it said, alluding to the protests over collective bargaining rights in 2011 that was expected to draw the largest crowds since the strike began, including labor members and teachers from other states. "We're not going to rush it," said Sara Echevarria, who works at the union as a coordinator for grievances. "We're not desperate." She added, "We are very excited, but it has to be the right deal to bring us back." For families across Chicago even those who had vehemently supported the striking teachers, joining the line of pickets near every school or honking as they drove past clusters of teachers all in red the thought that school may reopen on Monday came as a huge relief. Many described a week of chaos behind them: missed days of work, a patchwork of pleading for baby sitting favors, and children who seemed to be confused about suddenly be missing what was to be for many of them the second week of a new school year. "All I can say is that it has been a horrific week a nightmare of a week," said Karen Miles, who had tried to find ways to juggle her two first graders while also attending numerous meetings she had scheduled for her job. She had to cancel three meetings. She took her daughters to her father's house on one day, and for several other days to one of more than 100 schools that were being staffed on an emergency basis by nonunion workers. "As a parent, I'm ecstatic that they're going back if they really are," said Ms. Miles, a former teacher, who said she could see both sides of the debate, but was most focused now on her own children. One week, she said, would likely be quickly forgotten, but much longer might have left a lasting effect on her daughters' year. "I feel like they were completely used as pawns in this."	N24News: A New Dataset for Multimodal News Classification	Education
Unless you drive in a neighborhood frequented by millionaires, you may never have seen a car made of carbon fiber composites, though they have been on the road for more than two decades. The reason is simple: the models available with carbon fiber structures are mostly exotic sports machines from makers like Ferrari and Lamborghini that carry price tags well into six figures. The situation will be different next year, when BMW's electric city car, the i3, goes on sale in the United States for roughly the price of the company's 3 Series models, which start at about 33,000. Carbon fiber's high strength and low weight make it ideal for applications where the finished product needs to be as light and strong as possible. Jetliners and fighter planes, made in small numbers where the material's slow and complex production process is not such an impediment, use these composites extensively. Designers of racecars and high end sports gear turn to carbon for the same properties. Until recently, however, there was no way that cars with everyday price tags could contain substantial amounts of carbon fiber. Electric vehicles in particular would benefit, as the weight reduction would translate into longer driving distances on each battery charge. That is how BMW ended up plunging far deeper into the lightweight materials world than executives might have expected a decade ago when the company started making carbon fiber roof panels for the high performance M3 CSL. Now BMW is not only producing carbon fiber body structures for the passenger cell of the i3 E.V. first shown as a design study in 2011 and due to be presented to the media in Germany this week but it will manufacture the basic material itself. This is something of a throwback to Ford making its own steel in the Model T days. BMW took the initiative because it saw little progress from carbon fiber suppliers in bringing the material's cost low enough for mass production cars. The automaker says it can supply carbon fiber to the i3's highly automated assembly line in Leipzig, Germany, at about one third the market price per pound. The sporty i8 plug in hybrid will also take advantage of the technology. BMW produces the fiber in a joint venture with another German company, the SGL Group, in Moses Lake, Wash. The plant uses low cost electricity from nearby hydroelectric dams to turn fine white filaments of a precursor material known as polyacrilonitrile, or PAN, into shiny black filaments of resin coated carbon fiber. "I'm not telling you that BMW will still be in this business in 10 years, but at this time it had to happen," Joerg Pohlman, an SGL managing director, said. In the production process, PAN filaments tens of thousands at a time are slowly pulled through a long oven. Following a serpentine path defined by guide rollers, the fibers turn amber, then black, in the oven's 460 degree heat. The temperature must be precisely controlled at this step: if it's too hot, the fibers catch fire. Next, the fibers run through back to back carbonization ovens, where they are heated to 1,300 degrees and then 2,550 degrees in an inert nitrogen atmosphere that prevents them from burning. At this point the fibers are 95 percent carbon and have the properties the i3 designers want, yet weigh half as much as the precursor material. A surface etching step follows, and then the fibers are sprayed with an epoxy solution before being shipped to Wackersdorf, Germany, for processing into flexible sheets. Designing the i3 body with a passenger cell of carbon fiber and a lower "drive module" of aluminum saved about 550 pounds compared with a steel structure, helping to wring the most miles from the battery. BMW says the car will have a range of 80 to 100 miles; a 2 cylinder range extender engine will be optional. The car's carbon upper frame is formed using a process called resin transfer molding. Multiple layers of the flexible carbon fiber textile are placed into molds by robots. Resin and catalyst are injected under pressure, followed by a period of heat and pressure; the pieces harden into rigid structures in minutes. Next, the carbon parts are joined to one another, and to metal parts used in some of the assemblies, by an adhesive bonding process. The showers of sparks and unrelenting din of a traditional steel bodymaking operation, which relies on thousands of robotic welds, are eliminated. Even though the carbon fiber material is still much more expensive than steel, differences in the overall bodymaking process yield cost savings that help to offset the cost. For starters, the i3 body structure uses just 130 carbon fiber pieces, compared with about 400 for a steel body. The smaller number is partly explained by the ability of engineers to design very complex parts for the molding process that would not be feasible with the huge stamping presses and dies used to make steel parts. Often a single complex carbon part can replace four or five metal parts that would be welded together. "We can produce an i3 in about 20 hours, versus about 40 hours for a 3 Series car and using just one half the space needed for a steel body shop," said Daniel Schaefer, who oversaw development of the i3 production process.	N24News: A New Dataset for Multimodal News Classification	Automobiles
The Metropolitan Museum of Art has long been a repository of dance related artworks (looking at you, Edgar Degas), but next season for the first time it will invite a choreographer to be its artist in residence: Andrea Miller, the founder and artistic director of Gallim Dance. Ms. Miller will create a number of works at the museum, including "Stone Skipping," a site specific dance that will be performed at the Temple of Dendur in October, the museum said Tuesday when it announced the 2017 18 season of MetLiveArts, its performance series. The Met has been under financial stress and managerial turmoil this year its director and chief executive, Thomas P. Campbell, announced in February that he was resigning under pressure and next season it will offer fewer performances than it did this season. But the performance series, which has been reimagined in recent years under the leadership of Limor Tomer, will continue to offer unusual fare, with a heavier than usual emphasis on dance. In addition to Ms. Miller's residency, Faustin Linyekula, the Congolese dancer and choreographer, will create a work for the Velez Blanco Patio, the Met's 16th century Spanish courtyard; the choreographer Eiko Otake will create pieces for the Met, the Met Breuer and the Cloisters; and "The Museum Workout," a collaboration between Monica Bill Barnes and Maira Kalman, will return after this season's sold out run.	N24News: A New Dataset for Multimodal News Classification	Dance
In her new audiobook "Self Tanner for the Soul," the quasi reformed party girl tells listeners that you can , in fact, run away from your problems. These days, Cat Marnell wakes up at 9 a.m. "early for me," she said. She had been providing examples of her reformed life , including that she does Pilates videos on YouTube and sleeps every night, "for, like, a long time." She was sitting atop a picnic table in an empty private courtyard in Alphabet City, an impromptu interview setting she landed on after an hourlong, failed search for the treehouse where she used to smoke angel dust. That was the old Cat Marnell, which she chronicled in her best selling 2017 memoir, "How to Murder Your Life." The book showed her juggling an intense career as an up and coming magazine writer (at Lucky, xoJane, Vice) with an even more intense dependency on prescription pills; in defiance of other hard partying confessionals, she didn't pretend to have conquered her addictions by the end. After she finished this anti recovery memoir, she hit rock bottom. That's where her latest project, an Audible Original audiobook called " Self Tanner for the Soul," picks up. "It's said that you can't run away from your problems," Marnell, 37, said into a microphone in Audible's Newark studios in July, wearing an off the shoulder peasant dress, her black eyeliner thick, her wig platinum. She was reading aloud from the diary she kept during her two year solo tour of the youth hostels, all night supermarkets and grimy public beaches of Europe and Asia. "But guess what, babes? Untrue. Of course you can. You can do it fabulously." Back in June 2017, when she impulse bought a one way ticket from J.F.K. to Lisbon the first of several flights she would miss the problems she had to run away from were many. She had achieved a kind of downtown Manhattan notoriety writing articles with headlines like "The Cockroach and the Cokehead" and "Trippy Terror Tuesday: Fantastic Hemp Based Beauty for Vaguely Consensual Very Stoned Hippie Sex Cult Orgies," all in deliciously strung out prose. The only thing was, she was strung out. One night in 2017, just before she was set to start promoting her book, she burned off all her hair and flooded her Chinatown apartment while high on Adderall. "It was complete beauty Chernobyl," she said, the culmination of substance abuse that stretched back to when she was 15. "Everything that I'd been doing my whole life caught up with me. All of a sudden, the inside matched the outside." A few months later , she left New York City with little more than a Samsonite suitcase (nicknamed " Sammy ") packed with neon wigs and amphetamines. 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. "Self Tanner for the Soul" a title Marnell came up with forever ago, and here was the perfect chance to use it is a rambling tale of bus rides and breakfast buffet binges, from Naples to Krakow and every consonant laden town in between. As she recorded it in the studio, she interrupted herself with asides: "Cool, Cat, another airport? Fascinating." But she was committed in this project to authenticity, to telling it like it was. "This one was meant to be a break from writing writing," she said. In the introduction, she wrote a disclaimer that has since been cut: "These diaries are NOT what I'd call 'well written.' They're just ... ME." Her agent Byrd Leavell said that because of the debauchery, the drugs and the self deprecation, people constantly underestimate Marnell . "There's this magnificent brain that's inside that whole package," he said. "Cat is the first one to dismiss it, to always joke about whatever she's doing. But you realize, with the level of drug addiction she was essentially surviving, and then going to work, way back in the day, how tough she is, and how driven she is." For Marnell, it is important that we not look at "Self Tanner" as her Next Big Book, but as a real time account of a journey that helped her get, if not quite healthy ("I'm definitely not in recovery"), then at least "the healthiest I've ever been," she said. The result? "I think it's the most honest thing I've ever written," she said. "Because it's not glamorous at all. It's just a tired person moving through the world. And that's real." As she describes in the audiobook, she begins as "still the crazy person I was in New York" but finds that Europe doesn't have the same tolerance for an adult woman parading around in a green wig, oversleeping past checkout time. "Also I was miserable because there's nothing going on at night anywhere," she said. "When I got there, I was dressed like I was in New York, it was like costumes, and by the end of it I dressed really normal. I just wanted people to like me. It really, really helped me." After visiting more than 60 countries in two years, she felt she needed to come back to reality. "Actually, travel is kind of empty. That's what I've learned," she said. Since finishing the audiobook, she has been staying at her mother's house outside Washington. "She's very different now," said her mother, Stacey Marnell, certain that her daughter is no longer using. "I knew her in all the dark days of her book as someone who couldn't keep a routine, couldn't focus," she added. "She's so focused now. If anything it's a little bit annoying, because her day revolves around an exercise class that she's doing on the floor of my living room." But for Cat, reconciling herself to a more sober, more "normal" life has been a challenge. She started to well up recalling what came before: the "devastating" end of a toxic, eight year on again off again relationship ; the 97 pound frame she had at her sickest ("I'm trying to embrace the fact that I'm never going to have that drug addict body again, but of course I want it"); the dissolution of her so called friendships with the graffiti artists who never knew she was smart or funny because they "never talked to me like a normal person." "I've really lost all my confidence," she said. But then she tapped into that nonchalant resilience, the same instinct she must have used to whirl around the world alone, or to save her own life O.D. after O.D. "I need to let go of this stuff," she said, like she really meant it. Maybe she'll date, have a kid, move to London, maybe she won't. "What I'm excited about now is actually being a writer again." A man appeared at the gate of the courtyard to tell us he was locking up, and stared at Marnell, as almost every passer by does. "You look like an anime character with those lashes," he said to her. "Thank you! Anime is always what I'm going for," she sang back, brushing past him onto the sidewalk. Marnell slipped out of cartoon doll mode just as easily as she'd slipped into it. "This next book I'm going to do is going to be so good. I'm not doing it voicey and bubbly. I'm doing it real tight, and focused, almost like poems are," she said. "I can do that. I know I can." Follow New York Times Books on Facebook, Twitter and Instagram, sign up for our newsletter or our literary calendar. And listen to us on the Book Review podcast.	N24News: A New Dataset for Multimodal News Classification	Books
Placido Domingo, seen here at the Metropolitan Opera in 2014, will debut his 150th role this week at the Salzburg Festival in Austria. The great tenor Enrico Caruso sang about 60 roles; the storied diva Maria Callas, roughly 50. Renee Fleming, the most famous soprano today, says she has sung about 55. But Placido Domingo has blazed past them all. And on Thursday, when he takes the stage for a concert performance of Bizet's "The Pearl Fishers" at the Salzburg Festival in Austria, Mr. Domingo will reach a virtually unheard of milestone in opera history: He will sing his 150th role. "If you look at the history of singers in opera, he stands by himself," Joseph Volpe, the former general manager of the Metropolitan Opera, said. "If there was ever a giant in any industry, it's Placido Domingo. He's unmatched." Now 77, well past the age at which most star singers retire, Mr. Domingo has performed nearly 4,000 times in a six decade career, recorded more than 100 albums, and become a household name as one of the Three Tenors and in appearances on "Sesame Street" and "The Simpsons." And he has continued to add voraciously to his repertory, choosing roles to match his changing voice, while also becoming a prominent conductor and arts administrator. It's as if Tom Brady were still winning Super Bowls in his 50s while playing three sports at once. Mr. Domingo's resilience has had its detractors. As early as the 1970s, he was told to slow down or risk burnout. (In a 1972 New York Times Magazine profile, Callas told him, "You're singing too much.") As he entered his 60s, then his 70s, critics and peers repeatedly suggested he should retire with dignity. Nothing has stopped him. "When I rest, I rust," he said in an email interview, and when his tenor high notes began to give out, he moved down to baritone roles. Mr. Domingo's debut in his 149th role, as the baritone Miller in Verdi's "Luisa Miller" at the Met last spring, was sold out as are most of his performances around the world and widely praised. "His voice sounds healthy; he moves with fluency," Zachary Woolfe wrote in his New York Times review. "If he'll never be a true Verdi baritone, and always an aging tenor in baritone's clothing, it is still a display not to be missed: someone of Mr. Domingo's stage of life taking on a new Verdi role at a great opera house and doing himself no small degree of honor with it. You almost don't believe your eyes or ears." Peter Gelb, the Met's general manager, said that Mr. Domingo's recent appearances with the company have shown that people haven't lost their appetite for his performances. "He's a legend," Mr. Gelb said. "If you're a baseball fan, who wouldn't want to see Babe Ruth in the final years of his career? And, like Babe Ruth, Domingo has delivered." Mr. Domingo, who was born in Spain but moved to Mexico with his zarzuela singing parents as a young boy, swiftly rose to fame after what he considers his debut, in Verdi's "Rigoletto," in Mexico City in 1959. Within a decade, he arrived at the Met unexpectedly, filling in for an ailing Franco Corelli in Cilea's "Adriana Lecouvreur" alongside Renata Tebaldi. "As that performance went on," said Mr. Volpe, who was a carpenter at the Met that night 50 years ago, "everybody realized that this was history in the making, no question." From there, Mr. Domingo deftly navigated new roles across diverse operatic styles, from Wagnerian weight to bel canto lightness. Among his signatures was Verdi's Otello; Ms. Fleming, who sang Desdemona with him in the 1990s, said that even when she was supposed to be playing dead onstage, her "tears were running" at the beauty of his voice. Helga Rabl Stadler, the president of the Salzburg Festival, said she had no hesitation about inviting Mr. Domingo this summer for his debut as Zurga in "The Pearl Fishers," an opera he has already both sung in (as Nadir, a tenor role) and conducted. He is a bit too old for the character, but Ms. Rabl Stadler said that "he is such a handsome man, you never think about his age; he's so seductive onstage." Mr. Domingo said he has spent his summer preparing for the role, as well as for his recent conducting debut at the Bayreuth Festival in Germany, where he received largely negative reviews for Wagner's "Die Walkure." In learning Zurga, he played the opera alone at the piano until he had it in his head. "I can tell you that it's much harder to memorize text and music now than it was 30 or 40 or 50 years ago," he said. "But I won't let that stop me." Only after internalizing the score does he begin to sing in earnest. This, he said, has helped throughout his career to conserve his voice and energy. (Other habits, he added, include nothing out of the ordinary: sleep, only occasional alcohol and a balanced diet without too many sweets, which he loves.) He also doesn't talk much the day before a performance. Mr. Gelb recalled Mr. Domingo sitting in his dressing room, somber and more nervous than usual, before the Met's live broadcast of "Luisa Miller" this spring. Mr. Domingo said he'd been up since 4 a.m., praying the performance would be a success.	N24News: A New Dataset for Multimodal News Classification	Music
After getting roughed up in the north, he came south to see some old friends. They bucked him up. People here know him. They know that Joe Biden is good people. You can see it in some of the images below. Early last week, at a swanky state Democratic Party dinner, the candidates gave the requisite nods to Jim Clyburn, the congressman who presides like a grandfather over the party's renaissance here. All sought his benediction, but when Mr. Biden took the stage and began by saying hello to "my old friend," it didn't sound perfunctory. It sounded real. They go way back.	N24News: A New Dataset for Multimodal News Classification	Opinion
Fans of AMC's "The Walking Dead" will be meeting a new group of survivors next year in a new spinoff that will center on two young women. The spinoff was cocreated by Scott M. Gimple, chief content officer of The Walking Dead television universe, and Matt Negrete, a writer and producer on "The Walking Dead." The original TV series, which is based on the Walking Dead comic book created by Robert Kirkman and published by Image, had its debut in 2010 and completed its ninth season in March, and will return later this year. A spinoff, "Fear the Walking Dead," began in 2015 and ended is fourth season in September last year. It is scheduled to return in June. Read more about Andrew Lincoln of "The Walking Dead," who left the show in the fall but will return in a series of movies.	N24News: A New Dataset for Multimodal News Classification	Television
The labor market is stumping even the experts. The unemployment rate is near a 16 year low, and employers are fretting about their inability to find reliable workers. That shortage of workers should prompt an increase in wages. Remember that supply and demand curve: When the demand (for workers) exceeds the supply, prices should rise. Yet wages have stubbornly resisted the pressure. As Janet L. Yellen, chairwoman of the Federal Reserve, noted in congressional testimony this week, the relationship between a tight labor market and wage pressure "has become more attenuated than we've been accustomed to historically." So why don't employers offer more? That was a common question readers posed after an article last week about the government's monthly jobs report quoted Sarah M. Smith, an owner of Rooforia Home Exteriors in Omaha. Ms. Smith depends on a federal program that gives temporary visas to guest workers known as H 2B visas because she is unable to find Americans to take a seasonal job repairing roofs that pays 17 an hour. The work is tough, she said, but "the pay is fair." Many people including some economists disagreed. By definition, they argued, if no one is willing to work for that wage, then the wage is too low. Others complained that allowing in guest workers pushes down the wages that American workers can get. (Employers have to advertise on a state website of job listings and at least twice in a local newspaper before they can apply to hire foreign workers on H 2B visas.) Ms. Smith's viewpoint, however, is echoed by thousands of employers, large and small, throughout the country. We asked this small business owner to explain the financial constraints she confronts. Her answers shed some light on why wages are not going up. One reason is that while people want higher wages, they don't want to pay higher prices. Average hourly wages have increased only 2.5 percent since last year, but prices of most goods and services have not risen much either. Year over year inflation is under 2 percent. Ms. Smith's responses have been edited and condensed. How much does it cost to repair a roof in Omaha? Residential roofing jobs vary so much based on different factors, including the size, how high it is, how steep it is, the materials being installed. I would say, just by guessing, that our average roof replacement costs about 8,000. Usually we try to aim for 40 percent profit margin. A couple thousand for labor; the rest for materials, sales commission, taxes, insurance and overhead. How did you arrive at the 17 an hour rate? We have offered the 17 an hour wage because it is the prevailing wage determination for this type of work, according to the United States Department of Labor. We do offer incentives and bonuses above that. And just to note, Nebraska's minimum wage is 9 an hour. If you can't get workers at 17 an hour, why don't you offer higher pay? In response to the article, I got an email that said if we were to offer 35 an hour with health care benefits, we would definitely get people to apply; it said people who were highly qualified applicants with years of experience would probably line up at our door. My response is: We would love to be able to offer 35 an hour as starting pay, but are you in turn willing to pay premium prices for your next roof replacement? A lot of customers we get through online lead services like Thumbtack are people looking for the best deal. They want to collect proposals from four to five businesses and most of the time choose the cheapest one. Covid's impact on the supply chain continues. The pandemic has disrupted nearly every aspect of the global supply chain and made all kinds of products harder to find. In turn, scarcity has caused the prices of many things to go higher as inflation remains stubbornly high. Almost anything manufactured is in short supply. That includes everything from toilet paper to new cars. The disruptions go back to the beginning of the pandemic, when factories in Asia and Europe were forced to shut down and shipping companies cut their schedules. First, demand for home goods spiked. Money that Americans once spent on experiences were redirected to things for their homes. The surge clogged the system for transporting goods to the factories that needed them and finished products piled up because of a shortage of shipping containers. Now, ports are struggling to keep up. In North America and Europe, where containers are arriving, the heavy influx of ships is overwhelming ports. With warehouses full, containers are piling up. The chaos in global shipping is likely to persist as a result of the massive traffic jam. No one really knows when the crisis will end. Shortages and delays are likely to affect this year's Christmas and holiday shopping season, but what happens after that is unclear. Jerome Powell, the Federal Reserve chair, said he expects supply chain problems to persist "likely well into next year." We want to compensate our employees fairly for the work they do and the risk they take, but we wouldn't be able to stay in business if we doubled the hourly rate. It's not just their hourly wage that becomes a factor. Insurance in the roofing industry is extremely expensive. Not only are we required to carry expensive general liability insurance, we also have to have workers' compensation insurance for employees on the roof. That comes to 40 percent of their wage. And on top of that, there's payroll tax. We also do a lot of insurance restoration work like hail damage claims, and in those cases the insurance provider determines what they pay for labor and we work with it. If we come back saying it's going to cost us way more on labor to do the job, the homeowner isn't likely to want to cover the extra cost, especially not above their out of pocket deductible. What do you think would happen if you did raise your prices to pay your workers more? At the end of the day, if I were to say, "We're a great company; we pay people double the prevailing wage, pay our insurance and taxes, buy the best materials for your house, and we give back to our community (we donate a percentage of our profits to our raise a roof initiative to donate roofs to families in need), but that means we're going to charge you double for your roof," I'm sure people (like the emailer) aren't going to say: "Oh, that's so great they pay their employees 35 an hour. Let's write them a check for twice as much as their competitor because it makes us feel good!" They're going to do what's best for their bank account and their budget. If you want to have lower wage people paid more, you have to expect the price of the services to cost more; it's not going to just come out of nowhere. That's where the literal buck stops because no one wants to pay more of their hard earned dollars. We still want to make a profit and not risk losing business because of increased prices. Lastly, I would be willing to make a large bet that even if we did post a job for 35 an hour to do roofing in Omaha (it was 92 degrees this week), it would still be slim pickings. That's why for us the H 2B program is a win win: We get great workers whom we pay well above the minimum wage, and they are low risk temporary immigrants who come here to do the job and go home to their families at the end of the season.	N24News: A New Dataset for Multimodal News Classification	Economy
JOHN LINDER had a career as a senior human resources manager, but he wanted something more. "It was a good job, but I didn't want to be in an office anymore or in a corporate environment," he said. He also did not want extensive schooling, since he already had a master's degree. He loved to travel, and knew his strong people skills would translate well. His answer: a two week immersion course at the International Tour Management Institute. Now he is a certified tour director, planning itineraries and providing insights into local cultures while leading tour groups in the western United States and Canada. Many like Mr. Linder, who is 42 and from Tucson, are choosing careers in travel because the industry has job openings and training, making it especially attractive at a time of persistently high unemployment. The American travel industry employs 7.7 million people and added more jobs in 2012 than many other industries, according to the U.S. Travel Association, a trade group. "It is a field with extraordinary mobility, across jobs and geography," said Bjorn Hanson, divisional dean of the Preston Robert Tisch Center for Hospitality, Tourism and Sports Management at New York University. "It's among the strongest growth industries globally." Every sector of the industry offers instruction, including degree programs or short term certificate programs, provided by community colleges, universities and professional associations, he added.	N24News: A New Dataset for Multimodal News Classification	Education
Kobe Desramaults may have earned cult chef status and a Michelin star with his middle of nowhere restaurant In de Wulf (which he plans to close in December 2016), but by the Belgian chef's own admission, "I'm a pretty lousy baker." Which explains why he enlisted the skills of Sarah Lemke, a Michigan native trained in artisanal bread making. She first journeyed to the Flemish countryside for a temporary stint, where she developed In de Wulf's bread program and ignited Mr. Desramaults's excitement for naturally leavened bread made with stone milled local grains. Soon a bigger plan was being hatched. "He said, 'Why don't you come back to Belgium and we'll do this project to bring the craft of real bread back,' " Ms. Lemke recalled. "We didn't really set out with this clear cut idea. We knew we wanted to build an oven and make really good bread." The result is De Superette, a bakery and restaurant that opened in 2014 in an old neighborhood grocery in Ghent. A giant wood fired oven, which Ms. Lemke helped build, is the cornerstone of the convivial space, but De Superette evolved into much more than a loaf shop. A third partner, Rose Greene, the chef de cuisine at In de Wulf at the time, took charge of lunch, brunch and dinner, creating locally sourced menus that are also reasonably priced.	N24News: A New Dataset for Multimodal News Classification	Travel
NORTH PORT, Fla. As the Minnesota Twins prepare for this season, Rocco Baldelli, their field manager, and Derek Falvey, their president of baseball operations, have been talking with their team about the usual preseason topics, such as expectations and workplace culture. This year, though, they plan to specifically address one more issue before opening day, on March 26: what the rules of their sport allow and what constitutes cheating during a game. The reason for doing so is, of course, one of the biggest scandals in sports history: the Houston Astros' illicit sign stealing, which has tainted their 2017 World Series title. The fallout has cost four people their jobs: General Manager Jeff Luhnow and Manager A.J. Hinch of the Astros; Manager Carlos Beltran of the Mets, who was an Astros player in 2017; and Manager Alex Cora of the Red Sox, the Astros' bench coach in 2017. Perhaps the most controversial aspect of Commissioner Rob Manfred's ruling last month on the scheme was his granting immunity from punishment to Astros players in exchange for their cooperation with Major League Baseball's investigation. That decision has not been popular across the sport especially among other players, many of whom have made a rare break from union solidarity with harsh comments about their Astros counterparts. But the guideline for whom to punish was established in a 2017 memorandum about illegal electronic sign stealing that Manfred sent to teams. It stated that club management, and not players, would be held accountable for any such cheating. As a result, Luhnow and Hinch were suspended for a year by M.L.B., then quickly fired by the Astros. But Manfred did not discipline Beltran, who later agreed to part ways with the Mets. So as rival general managers and managers have watched the fallout from the Astros scandal, they have wrestled with their own roles in policing their teams' conduct and with how to prevent this sort of thing from happening again as well as how to keep themselves from suffering the same fate as Hinch and Luhnow. "It's tough," the Twins' Falvey said. "When you have so many people in the organization, people may do some things you're unaware of. Ultimately, I believe, as the leader of the organization, it's my responsibility to create the right environment. Whether you like it or not, when you sign up for this job, it's part of what you sign up for." Each club's management controls a baseball operations department that can include at least a few hundred employees. They are spread throughout the United States at the facilities for spring training, for the regular season of the 30 major league teams and for minor league clubs plus overseas, such as in the Dominican Republic, where each franchise has a complex. Keeping tabs on cheating has only become more difficult in recent years. New ways to skirt the rules emerged in 2014, when M.L.B. expanded its use of replay review, establishing rooms near each team's dugout with live video feeds to help coaching staffs decide whether to challenge a play. Players were also allowed to visit these rooms during games to consult video of their pitching or hitting. (Any use of technology to decode or relay opponents' signs during a game is prohibited.) Although concern had been building, the first big public sign that technology was being abused came in 2017, when the Yankees accused the Red Sox of relaying signs from video replay personnel to the dugout via an Apple Watch. After investigating and fining the Red Sox, M.L.B. admitted that it had become increasingly difficult to monitor the inappropriate use of electronics. The league has since taken steps beyond its 2017 memorandum to curb sign stealing, including placing an official in the replay room starting with the 2018 postseason and requiring general managers to sign a document stating that their teams were not knowingly cheating. More changes may be on the way for the 2020 season: M.L.B. and the players' union are negotiating new rules regarding sign stealing, including severe limits on access to the replay review room during games. "We have made it clear to M.L.B. that no issue is off the table, including player discipline," the union's executive director, Tony Clark, said in a statement on Tuesday. One reason that Astros players escaped official punishment was that they had not been notified of M.L.B.'s policies in 2017, though some have admitted they believed what they were doing was wrong. "Luhnow did not forward the memoranda and did not confirm that the players and field staff were in compliance with M.L.B. rules and the memoranda," Manfred wrote in his report on the Astros, which was released last month. Players said there was some ambiguity in the rules: Do they apply if, for example, a hitter tells his teammates about a catcher's signs he happened to see while legally examining video during a game? Some players also said they weren't explicitly told of the regulations. "We have meetings about every new rule and everything in spring training," said infielder D.J. LeMahieu, who spent seven years with the Colorado Rockies before signing with the Yankees ahead of the 2019 season. "Every possible thing we have a meeting about, and I've never had a meeting about the video room. So I guess there's a lot of gray area." Among the changes under discussion for this season by M.L.B. and the players' union is a requirement that each team certify that its players had been presented with the regulations. Just being around, though, does not guarantee that managers or general managers see any rule breaking, let alone stop it. According to Manfred's report and subsequent news media reports, Luhnow failed to police his own team, while Hinch knew of the cheating schemes but never explicitly told his players to stop it. "You try to make yourself as aware as possible," Falvey said. "In the cases that have transpired to date, as best I could tell, maybe there were some signs." Among managers, there is a careful balancing act between being meddlesome and respecting the clubhouse as the players' sanctuary. "It's important that they police it among themselves, but it is also important that I understand, implement and hold them accountable to policies," said Mike Shildt of the St. Louis Cardinals, the 2019 National League manager of the year. He added that he had had several casual conversations with his players and staff about rules and conduct since the Astros scandal but expected to hold a formal talk before the season began. Manager Aaron Boone of the Yankees said recently that he did not feel the need to remind his players or staff about the rules because they already understood them. "Hopefully," he said, "our culture is something that handles those kinds of things." Brian Cashman, the longtime Yankees general manager, said he had often told his employees to operate as if there were no secrets. "If anything is going on that isn't above board, it's going to come out," he said. "That's obviously why the Houston Astros are going through what they're going through." Brodie Van Wagenen, the Mets' general manager, said his first message to his staff in spring training was a reminder to remain competitive but within the rules. And if not, he vowed to take immediate action. To Avila, that message isn't necessary. "After all this, if it ain't clear already, there's something wrong with you, as a person," he said. "Every single person in baseball is aware. And quite frankly, as a group, general managers have resolved to put a stop to it."	N24News: A New Dataset for Multimodal News Classification	Sports
There's a ballet dancer on the television show "The Americans," but she doesn't dance one step. And that makes for a happy ballerina. Irina Dvorovenko, a former principal with American Ballet Theater, has been quietly forging a second career as an actress since she left the company in 2013. The same month that she retired from Ballet Theater, she triumphed as Vera Baronova in the Encores! production of "On Your Toes" at City Center. Her success was a surprise even to her. While Vera is a standard part for a ballet dancer George Balanchine choreographed the first Broadway production in 1936 what really stood out was Ms. Dvorovenko's unassailable comic timing. She was hooked. Acting turned into a passion, just as ballet had once been. Since then, her most prominent role had been as a drug addicted ballerina on the Starz series "Flesh and Bone." But with this season of FX's "The Americans," on which she plays the Soviet emigre Evgheniya Morozova, the game has changed. "It's a different character for me," she said in a recent interview at Cafe Fiorello near Lincoln Center, where her name along with that of her dancer husband, Maxim Beloserkovsky, and their daughter, Emma is inscribed on a plaque in one of the booths. "I really want to be seen as a different person and to show an absolutely different side of me. Nothing related to dance." On "The Americans," which stars Keri Russell and Matthew Rhys as undercover Soviet spies in the United States during the Cold War, Ms. Dvorovenko plays a forlorn, isolated woman with a depressed son and a husband who has embraced his new country. Ms. Dvorovenko is somewhat unrecognizable in the role: Sallow and drawn, her usually glittering sapphire eyes disappear into the camera with piercing melancholy. As it happens, it's not the biggest stretch. "It's my childhood," she said. Ms. Dvorovenko, born in 1973, grew up in Ukraine with dancer parents and studied gymnastics before entering ballet school at 10. For her, the show's time period has brought back a flood of memories. Many have to do with hunting for food. (In the transcript of our interview, that word comes up 21 times.) In one scene, her character shows dismay at the abundance of groceries in the United States; Ms. Dvorovenko said she understands Evgheniya's shock. "When perestroika happened, the stores were completely empty," she said, adding that her husband remembers waiting, at the age of 10 or 11, for a store to open and grabbing whatever he could. "They were literally bending the metal cages to grab the raw chicken. We never had gyms the workout was eight or 10 hours a day to run all over the area to find the food in any possible store. Women never smiled." While on tour with the National Opera and Ballet Theater of Ukraine in the early 1990s, she said she and her fellow dancers were on a mission: to bring home as much food as possible. Ms. Dvorovenko pointed to a table to indicate how large her bag was. "You unzip, unzip, unzip?" she said, with a giggle. "You have, like, a dead body in it." The show's wardrobe brings back memories, too. Ms. Dvorovenko's description of it? Ugly. "The only colors people were wearing were brown, black and dark gray," she said. "My parents were different because they were traveling to the West to perform, and they were buying fancy clothes. I was embarrassed to wear them because none of my childhood friends had any." Clearly Ms. Dvorovenko had the experience to play Evgheniya. But before she could nail the role, she had to tone down her look. Willowy and seductive, with a deep voice and a contagious smile, Ms. Dvorovenko is no wallflower. After her first audition, she was deemed too glamorous. Her husband gave her some advice. He told her to take a ballet class, clean the apartment, have a fight with their daughter and cry. "He said, 'Then you'll be totally miserable,'" she recounted. Instead, she took off her makeup, pulled out her cellphone and shot a video of herself. "I put on a different attitude and I just said a few words: 'My name is Irina Dvorovenko, and I'm auditioning for the role of Evgheniya.'" Chris Long, an executive producer and director, said: "We made her work hard to get this part. It was very important to us that this family worked. One of the great things about casting these Russians is you never want to see them in any way act. She has a beautiful naturalness to her." Ms. Dvorovenko appears in nine of 13 episodes this season and doesn't yet know if she will return for the show's next and final season. But in the fall, she'll participate in her second workshop of Susan Stroman's "The Beast in the Jungle," a story told through music, dance and narration that is loosely based on the Henry James novella. Ms. Dvorovenko portrays May, a ballerina, at ages 20, 40 and 60. "It was incredible to live the full life of the character," she said. Ms. Stroman, in an email, noted Ms. Dvorovenko's depth and warmth, which allowed for May's "curious nature and her intellect to shine through." And Ms. Dvorovenko is eager to continue acting. "I've been talking all my life onstage inside my head," she said. "Even for nonstory ballets, I would talk inside. And now I have a crazy urge for people to be able to see me closely. Not just my movements, but to look in my eyes." Or, it seems, the ballet world. "Through my career, I never felt important," she said. But making "The Americans" feels different. "Here is a team of people who actually believe in you, and they know their business and they navigate and nourish you." She recalled a look that a veteran cameraman gave her after a difficult scene. "It was a little glimpse of something like, 'Kid, you're doing well,'" Ms. Dvorovenko said. "Little things sometimes make such a huge difference, right? It gave me so much encouragement and strength."	N24News: A New Dataset for Multimodal News Classification	Dance
I'm Ryan Coogler, co writer and director of "Black Panther". This scene is an extension of an action set piece that happens inside of a casino in Busan, South Korea. Now, T'Challa is in pursuit of Ulysses Klaue, who's escaped the casino. He's eliciting the help of his younger sister, Shuri, here, who's back home in Wakanda. And she's remote driving this Lexus sports car. And she's driving from Wakanda. She's actually in Wakanda. T'Challa's in his panther suit on top of the car in pursuit. These are two of T'Challa's comrades here. It's Nakia who's a spy, driving, and Okoye who's a leader of the Dora Milaje in the passenger's seat in pursuit of Klaue. The whole idea for this scene is we wanted to have our car chase that was unlike any car chase that we had seen before in combining the technology of Wakanda and juxtaposing that with the tradition of this African warrior culture. And in our film we kind of broke down characters between traditionalists and innovators. We always thought it would be fun to contrast these pairings of an innovator with a traditionalist. T'Challa, we kind of see in this film, is a traditionalist when you first meet him. His younger sister, Shuri, who runs Wakanda's tech, is an innovator. So we paired them together. In the other car we have Nakia and Okoye, who's also a traditionalist innovator pairing. Nakia is a spy who we learn is kind of unconventional. And Okoye, who's a staunch traditionalist, probably one of our most traditional characters in the film, you know, she doesn't really like being in clothes that aren't Wakandan. And this scene is kind of about her really bringing the Wakandan out. One of the images that almost haunted me was this image of this African woman with this red dress just blowing behind her, you know, spear out. And so a big thing was, like, you know, for me was getting the mount right so that the dress would flow the right way. It wouldn't be impeded by the bracing system she was sitting on. So that took a lot of time. We had to play with the fabric and the amount of the dress to get it right. A jolt of a movie, "Black Panther" creates wonder with great flair and feeling partly through something Hollywood rarely dreams of anymore: myth. Most big studio fantasies take you out for a joy ride only to hit the same exhausted story and franchise expanding beats. Not this one. Its axis point is the fantastical nation of Wakanda, an African Eden where verdant green landscapes meet blue sky science fiction. There, spaceships with undercarriages resembling tribal masks soar over majestic waterfalls, touching down in a story that has far more going for it than branding. Wakanda is home to Black Panther, a.k.a. T'Challa (Chadwick Boseman), the latest Marvel hero to leap off the comic book page and into his own movie. Created in 1966 by Stan Lee (script) and Jack Kirby (art), the original Black Panther a hepcat in a slinky suit with claws and ears debuted alongside the Fantastic Four in an adventure in Wakanda, which is powered by a mystery metal, vibranium. It was a splashy, timely entrance (the revolutionary group that shares his name officially formed that same year), and by the end of his first escapade, the Four had assured T'Challa "there's no reason for the Black Panther's career to come to an end!" In the decades since, Black Panther has undergone a variety of costume alterations and adventures in the comics, some under the direction of the filmmaker Reginald Hudlin and, more recently, the author Ta Nehisi Coates. To direct the first Panther movie, Marvel tapped Ryan Coogler, who with his last outing, "Creed," shook the dust off the Rocky series by giving it an African American champion played by Michael B. Jordan. For "Black Panther," Mr. Coogler brought back both Mr. Jordan and some former crew members including Rachel Morrison, the director of photography on his first feature "Fruitvale Station" continuity that may help account for this movie's intimacy and fluidity. As with all Marvel screen ventures, the story has a lot of moving parts, but in general the results don't register as the same old superhero busywork, the kind that makes for forgettable stories and strenuously overinflated running times. Written by Mr. Coogler and Joe Robert Cole, "Black Panther" brings T'Challa's story up to the present, sketches in his past and looks to his future, all while clearing room for the Marvel Cinematic Universe and its other unitard wearing warriors. (Black Panther was first wedged into the forgettable "Captain America: Civil War.") The movie also rather too breezily establishes Wakanda as a militaristic monarchy that is nevertheless fair and democratic. The story initially involves a satisfying if obvious cartoonish villain, Ulysses Klaue (Andy Serkis, having a conspicuously very good time), an underworld arms dealer with a weaponized arm, an Afrikaans sneer and a rampaging cohort that includes Erik Killmonger (Mr. Jordan). As his name announces, Killmonger has, well, issues to go with his striking body ornamentation. The band's evildoing ways attract the attention of the Black Panther and an international lawman in the person of a friendly C.I.A. agent (the customarily cuddly Martin Freeman), whose good guy status is just one reminder that "Black Panther" adheres to at least some dubious Hollywood conventions. For a while, as the story and the Black Panther veer here and there, jumping from Wakanda to Busan, South Korea, the filmmakers seem as if they're simply going to deliver a remix of James Bond with a touch of Spidey shenanigans. The Black Panther even slinks into a swank casino with some backup and before long the place has erupted with the kind of choreographed mayhem that as legs and gowns twirl achieves liftoff. There's also the inevitable chaotic car chase that turns Busan into a video game and, dispiritingly, a car commercial, an egregious tie in that is somewhat alleviated by the amusing image of a woman warrior's bare foot putting pedal to the metal. Flourishes like this (along with an amusingly airborne wig and, later, rampaging rhinos) and the Wakandan backdrop give the action scenes kick and actual personality, but Mr. Coogler's directing strengths are more intimate. There are sequences in "Black Panther" that may make you cry because of where they go and what they say, but also because of the sensitivity he brings to them. He makes some savvy story choices too. And so, before Mr. Serkis can steal too many scenes, Mr. Coogler turns his attention to Killmonger and pushes the movie in another direction, away from a white villain wronging black people to black people living their lives. Part of the movie's pleasure and its ethos which wends through its visuals is how it dispenses with familiar either/or divides, including the binary opposition that tends to shape our discourse on race. Life in Wakanda is at once urban and rural, futuristic and traditional, technological and mystical. Spaceships zoom over soaring buildings with thatched tops; a hover train zips over a market with hanging woven baskets. In one of the most striking locales, an open air throne room is horizontally lined with suspended tree limbs, creating a loose pattern that pointedly blurs the divide between the interior and exterior worlds and is echoed by the fretwork in costumes and other sets. The rejection of the either/or divide extends to Killmonger, whose emotional, fraught back story gives the movie more heft and real world friction than any of Marvel's other superhero blowouts. Like a lot of adventures, "Black Panther" turns on a familiar father and son drama there's an assassination, a power vacuum and a somewhat reluctant heir a patrilineal intrigue that is filled in here with intense face offs involving questions of ancestry, identity, the African diaspora, the new world and the old. One particularly moving narrative thread features Sterling K. Brown, a tremulous, vibrantly sensitive actor who conveys entire chapters of grief. (He could out weep Juliette Binoche.) Mr. Jordan is a terrifically charismatic presence and there are times when you wonder if he might have made a better Black Panther. Mr. Boseman's magnetism is more slow burning and his performance is more physically restrained than Mr. Jordan, even deliberate, though he has his splashier, freewheeling moments, including some hand to hand grappling. (Wrestling is big in Wakanda, hence a few sexy smackdowns featuring acres of bare skin and jumping muscle.) Like many other Wakandans, he speaks in English with a South African lilt, an accent that vividly summons up Nelson Mandela and suggests that T'Challa will soon be assuming the role of international diplomat. It's important to the movie's politics and myth building that he is surrounded by a phalanx of women, among them a battalion of women warriors called the Dora Milaje. These aren't moviedom's irritatingly token strong chicks, the tough babes with sizable biceps and skills but no real roles. For all his father issues, T'Challa is enveloped by women who cushion him in maternal, military, sisterly and scientific support. A female general (Danai Gurira) stands by his side; his baby sister (a vivacious Letitia Wright) provides gadgets and withering asides a la Bond's gadget guy. Angela Bassett swans in as the royal mother, while Lupita Nyong'o, as a spy, makes the case for her own spinoff. Buoyed by its groovy women and Afrofuturist flourishes, Wakanda itself is finally the movie's strength, its rallying cry and state of mind. Early on, a white character carelessly describes it as "a third world country textiles, shepherds, cool outfits." Part of the joke, which the movie wittily engages, is that Wakanda certainly fits that profile except that its shepherds patrol the border with techno wizardry, and its textiles and costumes dazzle because of the country's secret vibranium sauce. More critically, having never been conquered, Wakanda has evaded the historical traumas endured by much of the rest of Africa, freeing it from the ravages of both colonialism and postcolonialism. Race matters in "Black Panther" and it matters deeply, not in terms of Manichaean good guys and bad but as a means to explore larger human concerns about the past, the present and the uses and abuses of power. That alone makes it more thoughtful about how the world works than a lot of mainstream movies, even if those ideas are interspersed with plenty of comic book posturing. It wouldn't be a Marvel production without manly skirmishes and digital avatars. Yet in its emphasis on black imagination, creation and liberation, the movie becomes an emblem of a past that was denied and a future that feels very present. And in doing so opens up its world, and yours, beautifully.	N24News: A New Dataset for Multimodal News Classification	Movies
An amateur men's hockey club claims the ice at Sky Rink at Chelsea Piers in Manhattan at 4 p.m. each Saturday during the fall, winter and spring for a brisk 80 minute scrimmage, with the skaters divided into two teams, and no officials, face offs or heavy checking. When these players first step onto the ice, they look like any other group of weekend warriors, but the giveaway is the crest on a few of their jerseys: a shamrock with St.N and 1896. This is the St. Nicholas Hockey Club, formed in 1896, one of the nation's first amateur hockey clubs. The players are mostly New York businessmen in their 20s and 30s from Ivy League universities, and they play only a few games a year, but St. Nick's lives on as an elite club. "There's a constant influx of players who replace the people who grow up, if you will," said Jim Morrissey, 42, a former defenseman at Yale known as Moose, who now lives on the Upper East Side, works in finance and joined St. Nick's after he moved to New York in 1999. Morrissey sustained a knee injury during a St. Nick's skate last year, putting him on the shelf. "It's probably a sign that I'm too old to do this anymore," he said. But he has vowed to return to the ice. He just loves hockey too much. And these are his friends, his "buds," as St. Nick's players call one another. He invited 15 of them to his wedding eight years ago. "It's not a beer league," said Kevin Kaiser, 31, who joined St. Nick's in 2011, after playing as a forward at Princeton. "Oh, we definitely drink after. But it's high level hockey, for sure." Participation is by invitation, and only former college and pro players with strong hockey pedigrees are asked to join. (St. Nick's recently invited a woman who had played college hockey to join, but she declined.) Annual dues are about 1,000, most of which covers the ice time at Chelsea Piers. Although professional hockey began to eclipse amateur hockey nearly a century ago, teams like St. Nick's, especially in New York, formed a foundation for the sport's growth outside Canada. According to "Metro Ice," a 1999 book by Stan Fischler and Tom Sarro, the St. Nicholas Hockey Club joined the New York Athletic Club, the Crescent Athletic Club of Brooklyn and the Skating Club of Brooklyn to form the American Amateur Hockey League in 1896. St. Nick's had won three A.A.H.L. championships 10 years before the New York Americans entered the N.H.L. in 1925. (The Rangers joined the N.H.L. a year later.) Hobey Baker, whose name graces the annual award that goes to the N.C.A.A.'s top men's hockey player, played for St. Nick's from 1914 to 1916. Then Baker joined the United States Army Air Service and became a captain and a commander of an aero squadron in World War I. Baker, 26, was killed in a plane crash in 1918 about a month after the armistice. In 1945, he was the first American inducted into the Hockey Hall of Fame. The N.H.L. had only six teams from 1942 to 1967, so there were limited professional opportunities for hockey players, especially Americans. Curt Bennett and Herb Boxer were the first American born players to be selected in the N.H.L. Entry Draft in 1968. So amateur teams were popular among American born players who had exhausted their collegiate eligibility. St. Nick's, which has long outlasted its three original A.A.H.L. colleagues, drew players from the Ivy League and other Eastern colleges who landed jobs in New York. The St. Nick's club played for many years at the St. Nicholas Arena, located at 66th Street and Columbus Avenue and built by the likes of Cornelius Vanderbilt and John Jacob Astor. The arena had one of the first refrigerated ice plants in the world. The club eventually moved to Princeton and to Westchester County, then to Chelsea Piers in 2006. Pete Bostwick, now 84, played for St. Nick's from 1959 to 1984 after starring at Middlebury College. He was a stockbroker who lived and worked in Locust Valley on Long Island, but he would join St. Nick's teammates for practices at Hobey Baker Rink at Princeton, nearly 80 miles away. "It was so much fun," Bostwick said. "These guys were really into hockey." St. Nick's spans generations of players. The brothers Steve and John Cook joined in the mid 1960s after playing at Princeton. Their father, Peter, played for St. Nick's beginning in the 1930s. "It was a club with a long tradition," said Steve Cook, 74, a spinal surgeon who lives in Florida and Connecticut. "Everybody knew each other. It was pretty much an Ivy League event." John Cook, 80, who played for St. Nick's before and after he played professionally in Germany in the late 1960s, said, "It was a nice way to meet different guys in different businesses who also had an interest in hockey." "You kind of grew up on St. Nick's stories," said Matt Cook, a credit trader who lives on the Upper East Side. "I didn't know they still existed. It was like a new lease of life." St. Nick's used to play several Eastern colleges regularly, but its schedule now consists of a handful of games against other elite level clubs. This season St. Nick's played a game against the Wissahickon Skating Club, of Philadelphia, and two against a team in Vail, Colo., in February. The club no longer has a physical headquarters like St. Nicholas Arena, which closed in 1962 and was replaced later by WABC TV studios. But the team does have an email list with a pool of more than 50 potential players for its weekly scrimmages. St. Nick's does not have the hockey reputation it had a century ago, or even more recently, when it won 10 national amateur titles in the senior elite, senior and open divisions from 1994 to 2005. But the players are determined to extend the club's rich history. "Some of us like to limp to work for a couple of months," Morrissey said.	N24News: A New Dataset for Multimodal News Classification	Sports
It's the early 1960s in rural Oklahoma, where the wind really does sweep down the plain, just like the song says. There, the teenage Iris (Kara Hayward), a bookish introvert, is trying to keep her head down. The only child of a rancher and a bored, restless housewife (Shea Whigham and Jordana Spiro), Iris is a loner, though it's unclear if that's by choice or inclination. Some nights, she runs off to a swimming hole, where she floats under a canopy of stars. She's primed for some kind of change, which arrives with Maggie (Liana Liberato), a spirited newcomer with a murky past. A drifty, overly sleepy coming of age story, "To the Stars" (which starts streaming Friday) tracks the inevitable friendship that arises the moment that Maggie appears onscreen to defend Iris from some bullies. It takes Iris a while to warm to Maggie, partly because Iris's mother has done a number on her self esteem. She isn't used to kindness from other people, especially those her own age. But Maggie is one of those somewhat sainted free spirits who light up everyday dreariness (at least in the movies), stirring things up while inspiring clucks of disapproval and censure. Like almost everything else in this movie, Maggie is at once likable and exceedingly familiar. Part of the character's appeal comes from the alluring tug of the rebel, the figure who promises freedom and who will blaze intensely before flaming out or burning her world to the ground. Whatever happens, you know that something has to give; it always does. And it's this expectation of trouble ahead that gives the story its light pulse, enlivening both the proceedings and Iris as she follows her genre destiny: With Maggie's help, Iris blooms and experiences joy, discovers a fragile sense of self worth and then suffers the inevitable heartache and disappointment. The director Martha Stephens, working from a script by Shannon Bradley Colleary, handles this material smoothly, creating a solid, tangible sense of place with landscapes, gusts of wind and a blue sky that feels more confining than sheltering. Stephens, whose movies include "Land Ho!" (directed with Aaron Katz), is particularly sensitive to Iris's surroundings, her family's weather beaten house and barn, and the dusty road where Maggie rescues her. In one scene, Maggie and Iris take off down that road in a car, enjoying a much needed if frustratingly brief escape. Then it's back to their mean little town with its small minded dictators and frustrated, hothouse desires. It's always nice to see characters break free, but you need to care whether they do. One insurmountable problem with this story is that Iris just isn't interesting enough and certainly not developed enough either as a character or in terms of the performance. She isn't simply closed off, like a turtle in lockdown; she's devoid of spark, personality, and it leaves you searching for someone to care about. Maggie fits that role for a while. But the movie's great missed opportunity can be found at a beauty parlor, where another loner, Hazel (a very good Adelaide Clemens), styles hair and opens up another world with a few words, darting looks and gentle, seductive grace. Not rated. Running time: 1 hour 49 minutes. Rent or buy on Amazon, Apple TV and other streaming platforms and pay TV operators.	N24News: A New Dataset for Multimodal News Classification	Movies
The Olympics Want Tiger Woods. He Wants to Go. But There's a Catch. None In November 2008, two officials from the International Golf Federation traveled to Switzerland to make a case for returning their sport's athletes to the Olympics after a century long hiatus. But as the men made their presentation to members of the International Olympic Committee, they quickly realized they were pitching to an audience fixated on a single player. Never mind the sport's global reach or its charitable impact and cornerstone values of honesty and fair play. To Ty Votaw, who was helping make golf's case for inclusion, it was clear from the start what the I.O.C. considered golf's greatest asset. "The very first question asked was, 'Will Tiger Woods play?'" Votaw said. Twelve years later, the Olympics still covet Woods now, perhaps, more than ever. The problem is that there may not be a spot for him. In 2008, Woods's participation seemed foreordained. He stood alongside Usain Bolt and Michael Phelps as one of the world's most dominant athletes, and was coming off a season that had included his 14th major title. For the 10th time in 11 years, he ended the year ranked No. 1. Woods, with his star power, and the Olympics, with their global stage, looked like a marriage brokered in a corporate boardroom. Yet while Woods's spirit was willing, a back injury sidelined him for most of 2016, sinking his hopes of qualifying for that summer's competition in Rio de Janeiro. Golf returned to the Games without him, and the Englishman Justin Rose won the gold medal. Now, four years later, Woods is the closest he has been to the Olympics since he attended an archery event at the 1984 Games in Los Angeles with his father. To qualify, he must be one of the top four American players ranked inside the world top 15 as of June 22. Woods is currently seventh in the world, but he is only the fifth best American heading into this week's Farmers Insurance Open at Torrey Pines in San Diego. At the moment, Brooks Koepka, Justin Thomas, Dustin Johnson and Patrick Cantlay hold the four Olympic tournament places reserved for Americans. Woods, 44, spoke last fall of his desire to participate in the Tokyo Games, describing it as a "once in a lifetime experience." "And especially at the age I'll be, I don't know if I have many more chances," he said. Woods is no stranger to international competition, having played in the Ryder Cup and the Presidents Cup. It may comfort Woods that in the post World War II era, two United States Olympians, the sailors Paul Smart in 1948 and Everard Endt in 1952, have won gold medals in their 50s. So it's not necessarily now or never for him. But for an Olympic movement ravaged by the cancers of corruption and cheating, and reeling from the retirements of Bolt and Phelps, there would be no time like the present to plug into Woods's transcendence. "I know TV companies for obvious reasons are excited about it," said Peter Dawson, the International Golf Federation's president. So, it would appear, is the host country. In October, roughly 60 miles from the Olympic venue, Japanese fans cheered louder for Woods than they did their native son, Hideki Matsuyama, at the inaugural Zozo Championship, which Woods won wire to wire. Yes, Woods is currently the odd man out among Americans. But that is, as Dawson joked, "nothing that another Masters win wouldn't cure." In 2016, the top four men in line to headline the Olympic field Jason Day, Jordan Spieth, Rory McIlroy and Johnson chose not to compete for reasons that included the fear of contracting the mosquito borne Zika virus. This year, it's possible an American player or two could be sidelined by something else: money. The men's competition in Tokyo will take place two weeks after the British Open and two weeks before the start of the three tournament FedEx Cup playoffs, which offer a 60 million total purse, including a 15 million payoff to the eventual winner. The first playoff event is outside Boston, 14 time zones from Tokyo, and so it is not unthinkable that a top player, prioritizing majors over medals or playoff riches over Olympic gold, might decide that it's not worth making the round the world journey to Japan at such a key moment in his season. Could somebody also stay home because of outside pressure to step aside to make room for Woods? "There may be some of that," Dawson said, though he quickly added, "I'm sure Tiger wouldn't want to get into the Games that way." It has happened before, though. At the 2004 Australian swimming trials, the superstar Ian Thorpe, the world record holder and reigning Olympic champion in the 400 meter freestyle, was disqualified from his heat for a false start after he lost his balance on the blocks and fell into the water. The top two finishers in the final qualified for the Athens Games, and scores of Australians soon were publicly calling on Craig Stevens, the runner up, to relinquish his spot to Thorpe. There was no danger that Stevens or Thorpe would miss the Games; both had qualified in other events. But a month later, during a televised interview for which he was paid a six figure sum, Stevens announced that he was ceding his spot in the 400 freestyle to Thorpe, who went on to successfully defend his Olympic title. For the moment, Woods still controls his fate. After his victory last year at the Masters, he described the Olympics as "a big goal," but he admitted "getting there and making the team is going to be the tough part." One option, Woods acknowledged, was that he might have to play more than he would like in the first half of 2020 in the pursuit of Olympic qualifying points. A strong finish this week, at an event he has won seven times, would be a great start. "I just know that if I play well in the big events like I did this year," Woods said last year, "things will take care of itself."	N24News: A New Dataset for Multimodal News Classification	Sports
A Cuvier's beaked whale recently spent almost four hours underwater, or nearly seven times longer than scientists say its body size and metabolism should allow. The 1959 movie "Ben Hur" runs some three and a half hours long. A Cuvier's beaked whale could watch the entire film underwater, never taking a gulp of air, with time to spare. "They are remarkable divers," said Nicola Quick, a marine biologist at Duke University. These pointy snouted cetaceans, which frequent the world's deep waters, have clocked the longest and deepest dives of any marine mammal ever recorded, plunging nearly 10,000 feet below the surface of the sea. Dr. Quick's latest paper, published Wednesday in the Journal of Experimental Biology, documents the whales' most impressive observed descent to date: 3 hours 42 minutes, trouncing the previous record by over an hour. The new record is nearly seven times longer than scientists expect the mysterious mammals should be able to dive, based on scientific understanding of their body size and metabolic rate. "This is just so beyond what we've seen before," said Andreas Fahlman, a physiologist at the Oceanographic Foundation of the Valencian Community in Spain and an author on the study. "They're not supposed to be able to do this, but they do." Most people, on the other hand, can't hold their breath for more than a couple of minutes, although the Guinness Book of World Records documented one free diver who went more than 24 minutes without coming up for air. The biology bending stunts of beaked whales come with serious perks. By swooping down into light starved layers of the ocean, the animals can find and feast on droves of fish and squid that are not accessible to most other predators. But this predilection for the deep also places beaked whales among the least well understood mammals in the world, Dr. Quick said. Although they do occasionally ascend to breach, often it is only for a couple of minutes at a time, just enough to suck in a few breaths of fresh air. The whales are also boat shy. Still, with some nimble maneuvering, Dr. Quick and her colleagues were able to tag two dozen Cuvier's beaked whales near Cape Hatteras in North Carolina. Between 2014 and 2018, the team tracked the whales' movements as the animals undertook 3,680 foraging dives. Previous calculations have estimated that Cuvier's beaked whales, which can grow as large as 5,000 pounds and 20 feet long, should be able to store enough oxygen to sustain dives of 33 minutes. But the majority of the dives executed by the whales in Dr. Quick's study lasted about an hour, with a small handful stretching past the two hour mark. Remarkably, the whales seemed unfazed by these feats: There was almost no relationship between the duration of their dives and the amount of time they spent recovering at the water's surface. "These guys blow right past the limit that's seen with other species," said Eric Angel Ramos, a marine biologist at the City University of New York who was not involved in the study. One oddball whale managed two extreme dives, with one lasting 2 hours 53 minutes and the other for 3 hours 42 minutes. These numbers might be knocking up against the animals' physiological limits, Dr. Quick said. But they are probably not typical, she added; both dives were recorded in the weeks after the whale had been exposed to a Navy sonar signal, a sound that is known to discombobulate and disturb marine animals. At least a couple adaptations likely help the marine mammals survive and thrive during their deep dives, Dr. Fahlman said. For one, the whales are probably shunting blood flow away from their liver, kidneys and guts to free up oxygen for their brains, hearts and muscles tissues essential for deep dives. At the same time, they might be lowering their heart rates to ramp down metabolism. Lucia Martina Martin Lopez, a marine mammal ecologist at the University of St. Andrews in Scotland who was not involved in the study, said that beaked whales might have an unusual muscle composition that makes their tissues less reliant on oxygen. Then, when oxygen stores eventually run low, the animals might have a way of tolerating the toxic chemicals that tend to accumulate in tired muscles. Three hour plus long dives might stretch the boundaries of human imagination. But to beaked whales, with their unique physiology, these deep sea journeys may be just a walk in the park, Mr. Ramos said: "This shows how extreme mammalian physiology can get."	N24News: A New Dataset for Multimodal News Classification	Science
Yuval Sharon, the new artistic director of Michigan Opera Theater, in the parking structure that will be used for his first production there next month.Credit...Brittany Greeson for The New York Times Yuval Sharon, the new artistic director of Michigan Opera Theater, in the parking structure that will be used for his first production there next month. Yuval Sharon, who has established himself as perhaps the most innovative opera director in the United States through his experimental Los Angeles company, the Industry, has been named the next artistic director of a more traditional outfit: Michigan Opera Theater in Detroit. This Chicago native, 40, who won a MacArthur "genius" grant in 2017 and became the first American to direct a production at the Bayreuth Wagner Festival in Germany in 2018, will take over immediately, offering his first production Wagner in a parking garage next month. Over his five season contract, he will plan four to six stagings a year at and around the Detroit Opera House, directing at least one himself each season. "With everything else going on, it just wasn't the time to withdraw from the world and go off into a tranquil, peaceful, reflective mode," said Mr. Sharon, who had planned to spend this year on a writing sabbatical in Japan before the coronavirus pandemic intervened. "Detroit feels like the right city and the right company to help model what opera might look like for a 21st century city and country." Mr. Sharon will be the second artistic leader of Michigan Opera Theater, a relatively nimble company with a budget of about 15 million. It was founded in 1971 by David DiChiera, who served as chief executive until 2014 and artistic director until 2017, and made efforts to engage Detroit's Black community and program new work. It's an unexpected move, if a coup for Detroit. Although Mr. Sharon has worked at the Berlin and Vienna state operas, he has never directed at a major American house. Instead, he has made his reputation with orchestras, chiefly the Cleveland Orchestra and the Los Angeles Philharmonic, and with the Industry, which has won a following by creating opera outside the opera house. His iconoclastic productions in Los Angeles have included "Hopscotch," which chauffeured audience members in limousines to scenes sung around town; "Invisible Cities," which unfolded amid commuters at Union Station; and "Sweet Land," an exploration of colonialism staged in a park, whose run was cut short by the pandemic lockdown in March. "It's certainly not what I was anticipating doing six months ago, but it does seem like a real change is called for," Mr. Sharon said, reflecting on the Covid 19 crisis, the national reckoning over racism and the impact of both on opera. "If I have this opportunity to bring about that change from inside an institution, as opposed to pushing on change somewhat from the outside with the Industry, then this is the time to take it." Mr. Sharon's first staging, one of the few American opera productions scheduled this fall while European houses reopen, will marry his outsider flair with his love of Wagner. "Twilight: Gods" will have three performances starting Oct. 17, with the audience driving through a parking garage owned by Opera Theater for a one hour, six scene, English language gloss on "Gotterdammerung," the finale of the "Ring." Part installation, part drive through radio broadcast, the premiere will feature poetry from the local artist Marsha Music and will star Christine Goerke as Brunnhilde, a role she has sung at the Met and elsewhere. I felt it was important that what we would present would not feel like some sort of an apology, that we could not be creative in the time of Covid. It was important that it was an ambitious piece: not just a couple of sweet little arias stretched out, but something that would hold together and be meaningful and that would also offer something between catharsis and exhilaration. It might sound like an audacious stunt, but "Twilight of the Gods" is so appropriate. It's the part of the "Ring" I've had the hardest time with, but I think about it in relation to Covid and Black Lives Matter, and this call for all of these structures that are no longer serving us to be torn apart. This notion that Brunnhilde is this powerful woman, who is the one to dismantle that system so something new can arise, is an incredibly apt and inspiring story for right now. You have spoken before about the problems the opera world has with relevance. How do you plan to overcome that in Detroit? When I think of what it means to come back, after hopefully only a year without going into a theater, if all we get is light entertainment and pretty music no attempt at engagement, no attempt at grappling, no attempt at trying transfigure everything that we've been experiencing into an aesthetic experience then I think opera really is lost. Detroit has been such an important intersection for music in this country, and I would love to figure out how, as soon as you see a picture or even hear the music, you think, that's opera in Detroit. It'll be a process for me to learn what's exciting for people here, what are people afraid of, and then craft a program that will really be in dialogue with them, and not like I'm coming to Detroit with my bag of tricks and deploying them one by one. So what will an ideal season look like? I don't think the way to have it all is to do 90 percent comfort and 10 percent "maybe this is not for you." I'm not saying that's what Michigan Opera Theater has been doing, but that's the conventional wisdom. The imprint of time should be felt on opera, as it is on every other art form. I think that is the only way to save it from what are very justified calls for opera to be "decolonialized," to confront the racist ideology within these works. Opera is not fixed, it's not a statue that needs to be torn down, but instead it is an organism that needs new sustenance. The whole spirit of right now has to inflect everything about how we do it. How will we know if you have succeeded? I'm sure there are going to be metrics that will give a picture that none of us can anticipate until we do it, so instead of thinking about that, my sense of what success is going to look like is that at the end of my tenure it has become the most progressive opera company in the country. That means representation onstage, in the pit, in the creative staff, but also in terms of how the inherited repertoire is handled, what new pieces are being presented. It's an 83 percent African American community here in Detroit. I'm not saying that the audience has to be 83 percent African American, too; however, it certainly can't be as white. I think about the people who have been here through all of these turbulent times and what histories they have to tell. That doesn't have to mean it's an opera about the uprising; it's about retelling classic stories with an accent so that it speaks to this particular community. It would be great if they felt that opera represented their life in some way.	N24News: A New Dataset for Multimodal News Classification	Music
LAKE BAIKAL, Russia Yury Azhichakov set out early by bike for Senogda Bay, his favorite beach, on the northwestern shore of Lake Baikal in Siberia. The world's oldest, deepest and most voluminous lake, Baikal holds 20 percent of the planet's unfrozen freshwater. It is often described as the world's cleanest lake. As Mr. Azhichakov discovered, that is no longer the case. Senogda's once pristine sands were buried under thick mats of reeking greenish black goo. "This stuff stretched far into the distance, for several kilometers," said Mr. Azhichakov, 61, a retired ecological engineer. "The beach was in terrible condition." The muck, scientists have discovered, follows mass algal blooms at dozens of sites around Lake Baikal's 1,240 mile perimeter. Confined to shallow water and shores near towns and villages, the problem seems to stem from an influx of untreated sewage the result of inadequate wastewater treatment. Algal blooms threaten iconic freshwater bodies around the world, including the Great Lakes, Lake Geneva, and Lake Biwa in Japan. But Lake Baikal is especially precious: a World Heritage site home to more than 3,700 species, more than half found nowhere else. "People are dumping sewage, waste and rubbish around the lake, creating pretty appalling conditions in some places," said Anson MacKay, an environmental scientist at University College London. Runoff from fertilizers and other pollutants leads to so called eutrophication, an excessive growth of algae. These blooms eventually deplete the water of oxygen, suffocating aquatic plants and animals. Russian scientists had assumed that Lake Baikal is simply too vast to suffer such a fate, but recent growth in tourism and development seem to be changing the calculus. Dr. Timoshkin and his colleagues have found that Spirogyra, a type of green algae that had rarely grown in Lake Baikal's shallow zones, accounts for the outbreaks. In Severobaikalsk, Mr. Azhichakov's town, the researchers traced Spirogyra blooms to locations downstream of the town's wastewater facility, as well as to an illegal sewage dumping site. The researchers also found little difference in phosphorus and nitrogen content indicators of synthetic detergents and fecal material in treated and untreated water entering the lake. And, as it turned out, Russian Railways had been adding industrial grade waste to the town's sewage system, overwhelming it. Despite remedial action, high levels of phosphorus and nitrogen in Severobaikalsk's wastewater persist even today, and fecal bacteria in treated wastewater have turned up at various sites around Lake Baikal. Dr. Timoshkin's team is trying to figure out which nutrients are fueling Spirogyra's growth. Spirogyra smothers other species of algae, and thousands of empty snail shells gastropod cemeteries, as Dr. Timoshkin calls them regularly wash up alongside the blooms. But the damage is more extensive than that. Underwater forests of native Lake Baikal sponges have begun dying off. In nearly 90 dives around the lake, researchers have found that 30 to 100 percent of sponges are affected in a given area. The green stalks some a century old are turning a dull brown, reminiscent of cattails. The cause of death is unknown, although Dr. Timoshkin and his colleagues suspect that pathogens from sewage may be causing disease outbreaks, or that the influx of nutrients is causing symbiotic algae to vacate the sponges. Without intervention, the researchers believe that the environmental damage will worsen. Algal blooms, for instance, can produce neurotoxins that are harmful to fish and crustaceans and the humans who consume them. Last year, the largest algal bloom ever recorded shut down the crab and clam fisheries along the West Coast of the United States. Along Lake Baikal, some locals say they can no longer drink water from their taps during blooms. Fishermen complain of Spirogyra tangling in their nets. "Will Baikal be able to attract the same amount of tourism, which is a major part of the economy, if tourists show up and see a green lake?" said Ted Ozersky, a limnologist at the University of Minnesota Duluth. In 2014, Dr. Timoshkin testified before the Duma, Russia's Parliament, about Lake Baikal's problems. Earlier this year, he and his colleagues also published their findings in The Journal of Great Lakes Research. They are calling for an immediate ban on synthetic detergents and for help from the federal government in reforming sewage facilities around the lake. But such fixes will probably be slow to come. Some government officials and academics insist that the problems are caused by climate change, not pollution; others blame mud volcanoes, or even say that Lake Baikal's eutrophication is a lie made up by scientists to gain funding. Russia's Ministry of Natural Resources and the Environment has yet to formally acknowledge that the lake's health is in question at all. "One of the tragedies of Baikal is that top level, senior scientists who are themselves never on a field expedition mistakenly believe that the lake can never be eutrophied because it is too huge, too pure and full of too much water," Dr. Timoshkin said. "It's an easy idea to have, but it's wrong." Even as federal aid stalls, some people are attempting to address the problems where they live, organizing beach cleanups and trying to find ways to put the thousands of pounds of washed up Spirogyra to use as fertilizer or material for making traditional Siberian paper. Marina Rikhvanova, an award winning environmental activist in Irkutsk who helped raise initial awareness about the Spirogyra outbreaks, persuaded a local investor to fund a plan for a prototype sewage treatment plant. "More and more people with various specialties and interests are working together for the lake," she said. "This, at least, is a source of optimism." Eutrophication, however, is not the only threat to Lake Baikal. Mongolia is planning to build up to eight hydroelectric dams on the Selenga River and its tributaries, the source of 50 percent of Lake Baikal's surface water. Despite hearings and protests in Russia and Mongolia, the Mongolian government which imports around 8 percent of its energy from Russia and 12 percent from China argues that the dams will help achieve energy independence and cut back on coal use. Some experts think there must be a better way. Mongolia can technically produce around 100 gigawatts of power from wind and solar in their part of the Gobi Desert alone about 90 times the country's current capacity, said Eugene Simonov, an international coordinator with the nonprofit Rivers Without Boundaries Coalition. "Instead, the plan is to first build dams, then to develop a huge capacity to produce thermal energy from coal, then to build the next generation of big dams to offset the negative effects of coal on the climate and then, finally, to use some of the proceeds to build true renewables." Another unanswered question is how the triple stressors of pollution, dams and climate change might combine to produce even greater effects on the lake. As Dr. Moore said, "Correcting the problems that we do have control over will help the lake respond as best it can to climate change." But that first requires acknowledging that Lake Baikal is "absolutely ill," Dr. Timoshkin said. "Will we Russians be able to show the world that Baikal can avoid the common fate of so many other lakes? That is a question I ask from the bottom of my heart."	N24News: A New Dataset for Multimodal News Classification	Science
In the absence of live dance performances, interviews with artists in the field, presented online, have become a way to stay connected until it's safe to gather again. A new series in that spirit, Black Dance Stories, favors storytelling over interviewing, while giving artists a chance to meet and chat the way they might have in a theater lobby. Created by the performer, producer and dance writer Charmaine Warren, with the dancers Kimani Fowlin and Nicholas Hall, the series features two guests per episode who overlap for a few minutes about halfway through. Ms. Warren, a big hearted host beloved by her peers as the delightful first two episodes indicate mostly cedes the floor (or, rather, the screen) to the artists, inviting them to tell any story, however they wish, about their lives in dance. The virtual gatherings shed light on lineages, personal and cultural, and on the importance of laughter in a time of isolation. Ms. Warren's emphasis on levity she keeps a glass of wine nearby and urges guests to do the same goes hand in hand with the project's deeper archival and educational purposes. "Historically, Black stories, Black dance, are written out of dance history," Ms. Fowlin, also a choreographer and educator, said in an interview with Ms. Warren and Mr. Hall. "And so I think it's important, it's empowering, for young dancers and dancers of all ages to hear these stories and to hear what it took for someone to come through."	N24News: A New Dataset for Multimodal News Classification	Dance
A veteran director of music videos for Jay Z and Alicia Keys, Chris Robinson made his feature debut in 2006 with "ATL," a coming of age story set in Atlanta, one of America's great metropolitan music scenes. Although it takes place in Chicago, Robinson's new Netflix movie, "Beats," otherwise represents a return to familiar territory for the filmmaker, and too familiar territory for the audience. Khalil Everage stars as August Monroe, a happy high schooler who becomes a recluse after the shooting death of his sister. The music he creates on his bedroom computer catches the ear of Romelo Reese (Anthony Anderson of the TV series "black ish"), a former record producer turned school security guard. Romelo hears a better future for them both in the teenager's beats. But August's post traumatic stress and Romelo's ethically dubious desperation to get back in the game stand in the way. There's little said here about violence or the arts that you can't find in an after school special, and the music isn't half as ingenious or impactful as the plot demands. Robinson has an eye for smeary, hazy afternoon sunlight that gives "Beats" a memorable visual signature. But his attempts to represent August's condition with camera trickery fall flat.	N24News: A New Dataset for Multimodal News Classification	Movies
The hotel has high rise views of Lake Michigan and a prime location in t he city's Gold Coast neighborhood, a short walk to the Magnificent Mile. Built at the site of the former 1920s era Cedar Hotel, the V iceroy Chicago has a distinctive architectural twist: it melds the reconstructed brick and terra cotta facade of the old hotel with a new 18 floor pleated glass high rise tower. The reimagined hotel, operated by the Viceroy Hotel Group and the company's first property in the city, has a soaring lobby with marble floors, a sleek two story restaurant and bar and a rooftop lounge. There are 180 guest rooms, including a 1,675 square foot penthouse suite complete with views of Lake Michigan. The hotel, which opened in September of 2017, is in the Gold Coast neighborhood, within the Near North Side community area, one of the toniest parts of the city. Guests are a short walk from the Magnificent Mile, the stretch of North Michigan Avenue known for its designer stores and heavy crowds. There is an abundance of night life options nearby, especially along Rush Street and Division Street. Next door to the Viceroy, there's a full service outpost of the famed Lou Malnati's Pizzeria, which made this deep dish pizza aficionado very happy. I arrived at the hotel in September hours before the 3 p.m. check in time, so I wasn't expecting that my room would be ready. However, the staff quickly checked me in, stored my luggage and informed me that they would call when my room was available. An hour later, I was in my room, with my suitcase waiting for me. I stayed in a spacious Deluxe Grand King room, which featured well apportioned retro elements: a cabinet with curvy Art Moderne flourishes and pendant light fixtures. Bold triangular patterns are prominent throughout the room. In lieu of standard electrical switches, guests can select a range of individual light settings by pressing various buttons around the room. Each room contains a minibar, along with Nespresso machines. The bathroom was spacious, with two sinks, a glass enclosed shower and a large tub, featuring luxury Natura Bisse body products and hair care from ROIL. There is free Wi Fi throughout the hotel. The fifth floor contains a well maintained fitness center, and there is a popular seasonal pool on the 18th floor that offers amazing views of the surrounding cityscape. Pets under 25 pounds are allowed, but there's a 50 charge for each night and a limit of two pets per room. The Somerset, the hotel restaurant, offers a range of American fare in a modern setting. Breakfast options range from buttermilk pancakes with whipped ricotta ( 12), which I enjoyed, to ham and cheddar omelets ( 14); lunch and dinner items include oysters ( 19), smoked beet tartare ( 16) and the hanger steak, with broccolini and chimichurri ( 21 during lunch hours and 31 for dinner). The hotel offers 24 hour room service, with a limited overnight dining menu. On the 18th floor, the Devereaux, a snazzy craft cocktail lounge, exudes the energy of the city in a charming atmosphere. There is a small food menu, and drinks like the Devereaux Daiquiri, with rum and aguardiente ( 14), and the Gold Coast Classic Martini, with vodka, dry vermouth and genever ( 15), truly shine. For an upscale experience where you can feel the pulse of the city, the Viceroy Chicago fits the bill. As for personal service, I was pleasantly surprised when a parking valet, usually occupied taking care of the guests' cars, addressed me by name especially considering that I had arrived by mass transit. Follow NY Times Travel on Twitter, Instagram and Facebook. Get weekly updates from our Travel Dispatch newsletter, with tips on traveling smarter, destination coverage and photos from all over the world.	N24News: A New Dataset for Multimodal News Classification	Travel
There Is a Right Way to Wash Your Hair None Washing your hair should be as basic as slipping on your favorite bluejeans. After all, the process would seem rote at this point. But if the clients at Christophe Robin's Paris salon are any indication, there is plenty of confusion. "That's my most asked question at the salon now: 'How do I wash my hair?'" said Mr. Robin, the star colorist who tends the locks of Catherine Deneuve and Tilda Swinton. Part of the problem is the baffling messaging about shampooing: Women have been told they are both overwashing and underwashing. "A lot of this is also from all the products we have out there now," Mr. Robin said. "And women are so often in a rush. You have to cleanse properly. You have to take time to make sure you rinse all the products out." Here, Mr. Robin offers a tutorial on the right way to shampoo. He also has some tips for maximizing shine and volume, all without styling products: Step 1: First detangle hair with a quality brush. Mr. Robin recommends starting at the ends. Then double back to the roots to finish the process. "You detangle first so that way you don't have to detangle hair after, when it's wet," he said. "You never should use a comb on hair that is wet. It's very stressing on the hair." Step 2: Before shampooing, apply a vegetable derived oil to the ends of hair and brush to disperse. Mr. Robin uses themoisturizing hair oil with lavender( 44) from his namesake line, but he said pure almond oil or argan oil would do as well. Ideally, you would leave the oil on overnight, but even a good 15 minutes will be beneficial. Then you can skip the conditioner. "I don't love conditioners," Mr. Robin said. "They can weigh your hair down." Step 3: Wash with the cleanser best suited to your hair type. "The problem is, some women are not choosing the right shampoo for their hair," he said. Considering the sulfate free trend in hair care lately, he noted that colored hair should never be treated with sulfate products but that sometimes a sulfate shampoo, which has a stronger detergent, is appropriate "for someone who has virgin hair and greasy roots." Curlier hair, he explained, tends to be drier and can benefit from co washing that is, washing with a nonfoaming, conditioning cleanser as a substitute for shampoo. Mr. Robin released one of the first luxury brand co washes some 20 years ago, his cleansing mask with lemon ( 49). Mr. Robin said most women used too much product: "You should use only about a teaspoon and then you emulsify that with water." Lather only the roots of your hair with your fingertips (not your nails), avoiding the ends. To increase volume and circulation, shampoo with your head upside down. Step 4: Rinse thoroughly. "This is actually a big problem because people are not taking enough time to rinse out all the product," Mr. Robin said. "Hair should be squeaky clean." Step 5: If you decide to add a conditioner, apply only to the ends. Mr. Robin recommends a deep conditioning mask once a week to address various hair issues, including brittleness or brassy color. Step 6: Don't rub hair dry. Mr. Robin demonstrated a Moroccan tip he learned to detangle and lift the roots: "Flip your head upside down and run a towel over it from both sides quickly," he said. The towel's flicking motion will also remove excess water. Bonus Tip: Mr. Robin acknowledges that his washing process may take more time than the usual regimens, but that if done correctly, the method can make each shampoo last longer. "Most women should not be washing more than twice a week," he said. That is not to say that dry shampoo is the answer for the other days. "Dry shampoo should only give you maybe one night or one day extra," he said. Instead, especially for active women, a few spritzes of a vinegar solution at the roots will remove oil. (Just add five drops of apple cider vinegar to five ounces of water in a spray bottle.) Mr. Robin added, "Unlike dry shampoo, there's no residue, and the vinegar is a wonderful tonic for the scalp." Click here to see the full "how to wash your hair" tutorial video. Continue following our fashion and lifestyle coverage on Facebook (Styles and Modern Love), Twitter (Styles, Fashion and Weddings) and Instagram.	N24News: A New Dataset for Multimodal News Classification	Fashion & Style
For a few years now three? five? the most interesting thing about the Emmys broadcast hasn't been the speeches or the gowns or even the awards themselves. It's been the spectacle of broadcast television nervously, and a little desperately, dancing on its own grave. That was true again Sunday night, when Fox gamely played host to a telecast in which all but two awards (both for NBC's "Saturday Night Live") went to cable networks or streaming services. (Just for good measure, Disney announced during the broadcast that pre orders could be made for its Disney Plus streaming service.) Like a three hour magnifying glass, the Emmys show focuses the changes that are scorching the television business. What's revealed is that no one's sure what works at the moment. There's more good TV (broadly defined) than ever, but it's too multifarious, too out of control, for the old awards show format, and no one's found the answer yet. So the best thing you can do is keep the show moving along, which Fox and the producers did, more or less. (How long will it be until the movie and mini series category gets trimmed down, to speed the show's long middle section?) They latched onto the idea of going without a host, which worked well for the Oscars this year, but they weren't completely sure about it, so they opened with a labored sketch about the lack of a host. They came back and scratched the itch later in the show, with a slightly more amusing gag in which Stephen Colbert and Jimmy Kimmel deplored the no host decision, before being replaced as presenters by the voice of Amazon's personal assistant, Alexa. Other tweaks to the broadcast were more straightforwardly unsuccessful, like the continually mystifying musical choices (are orchestras officially dead?) and Thomas Lennon's strained and unfunny voice over commentary, which had the virtue of being hard to hear. And while we're probably lucky to be living in the post production number era of Emmy telecasts, it would have been nice to see some more energy and invention put into the few "special" moments the show offered, like the tacky looking in memoriam segment and the ruinously uninspired musical tribute to variety formats. In the absence of a host, or any sense of a unified production, it was up to individuals to provide the highlights. Billy Porter whose dramatic check mark of a hat was a highlight in itself brought the show alive with his exuberant acceptance of the drama lead actor award for "Pose." Patricia Arquette gave a touching, tearful tribute to her sister, the transgender actress Alexis Arquette, who died in 2016. Michelle Williams, accepting a lead actress award for "Fosse/Verdon," delivered a fierce call for pay equity for women. The presenters' material tended to be overwritten and overly long, but crack performers like Bob Newhart and Maya Rudolph made it work. The lack of a host also had the effect of making the mood in the room (the Microsoft Theater in Los Angeles) a stronger presence in the broadcast. You could feel the indifference, bordering on hostility, when Ben Whishaw won a supporting actor award for "A Very English Scandal" over three nominees from the popular mini series "When They See Us." And moments later you could feel the swing to joy when Jharrel Jerome of "When They See Us" won for lead actor in one of the strongest Emmy fields you'll ever see, beating out brilliant performances by Sam Rockwell, Hugh Grant and Mahershala Ali. What was evident, as the show went along, was that the people making television the Emmy voters themselves were further along in decoding the new world of TV than the Television Academy or the award show producers. Four awards, including best comedy, for Amazon Prime Video's nervy, dirty, brainy "Fleabag," rather than a valedictory send off for a routine final season of HBO's "Veep," was the most exciting and significant development of the night. For that, you can put up with just about any amount of tawdry shilling for "The Masked Singer."	N24News: A New Dataset for Multimodal News Classification	Television
LOS ANGELES A legend of martial arts cinema, a film editor with 60 years of experience, a celebrated documentarian and the casting director for films like "Tootsie" and "Fiddler on the Roof" will receive honorary Oscars from the Academy of Motion Picture Arts and Sciences at the organization's Governors Awards on Nov. 12. The academy announced its selections Jackie Chan, Anne V. Coates, Frederick Wiseman and Lynn Stalmaster Thursday morning. The group's 54 member board, which represents about 7,000 members, picked the recipients in a vote Tuesday night. Cheryl Boone Isaacs, the academy's president, called the four honorees "true pioneers." Frederick Wiseman, who made films with social and cultural themes. Last year, the academy used its Governors Awards, one of which went to Spike Lee, to emphasize a need for greater diversity in the movie business. The new selections continue that theme, but are also notable for spreading the recognition among an array of cinematic specialties. Casting directors, in particular, have long felt overlooked, largely because no competitive Oscar is awarded for their craft. Mr. Chan, 62, has starred in (and sometimes written, directed and produced) more than 30 martial arts films, most of them made in his native Hong Kong. He received crossover success in the 1990s with "Rumble in the Bronx" and "Rush Hour." Lately, he has contributed voice over work to the "Kung Fu Panda" animated series. He has never been nominated for an Oscar. The academy has been stung this year by criticism about a lack of diversity among nominees and for jokes during the last Oscars ceremony that some Asian members found offensive. Anne V. Coates won a film editing Oscar in 1963 for "Lawrence of Arabia." Ms. Coates, 90, was nominated for five film editing Oscars and won once, in 1963, for her work on "Lawrence of Arabia." In her six decade career, she has worked on films as varied as the 1980 movie "The Elephant Man," directed by David Lynch and the 2015 erotic thriller "Fifty Shades of Grey." Mr. Stalmaster, 88, who began working in casting in the 1950s after trying his hand at acting, has contributed to more than 200 movies, including "Inherit the Wind," "In the Heat of the Night," "The Graduate" and "Deliverance." He got his start in television, working on such seminal shows as "Gunsmoke." Mr. Wiseman, 86, has made almost one documentary a year since 1967, with a focus on social, cultural and governmental issues. Although widely seen as a force in nonfiction filmmaking his first film was "Titicut Follies," which went behind the scenes at a hospital for the criminally insane Mr. Wiseman, who works from Massachusetts, has never been nominated for an Oscar. Lynn Stalmaster, who began casting movies in the 1950s. Once a sleepy affair, the Governors Awards, which are not televised, have become a major stop on Hollywood's awards circuit. Actors, producers and directors hoping for attention from Oscar voters zealously work the ballroom, often leaving their food untouched, while publicists try to steer entertainment reporters toward their clients. The honorary Oscars are handed out toward the end of the evening. The Governors Awards are billed as noncompetitive, but lobbying by board members does occur. This year, more than 100 people were put forward as potential honorary Oscar recipients. Although there were candidates for two other honorary Oscars one for philanthropy and another for producing the academy chose not to bestow those prizes this year. (Each is given intermittently.) In other academy news, the group said on Wednesday that it had renewed a contract with ABC to televise the ceremony. The deal, set to expire in 2020, will now extend through 2028, which will be the 100th anniversary of the Academy Awards. The two partners gushed about their ties in a news release, but ABC and its parent company, Walt Disney, have been unhappy with ratings for the show in recent years. Viewership tumbled to near record lows last year. Academy officials have been laboring to find producers (who will then work on finding a host) with a resuscitation plan.	N24News: A New Dataset for Multimodal News Classification	Media
Liz Garbus's new true crime documentary series, "I'll Be Gone in the Dark," tracks one woman's search for the Golden State Killer.Credit...Bryan Derballa for The New York Times Liz Garbus's new true crime documentary series, "I'll Be Gone in the Dark," tracks one woman's search for the Golden State Killer. Hollywood may love neat, cathartic resolutions, but the filmmaker Liz Garbus has always been drawn to open ended stories. "You have to deal a little bit with the discomfort of the gray areas in the world," she said in a recent phone conversation. Don't look to Garbus's 22 year career for easy answers. Ambiguity is woven into the fabric of such films as "Who Killed Garrett Phillips?" (don't ask the police) and "There's Something Wrong With Aunt Diane" (nobody knows exactly what). Garbus's Academy Award nominated documentary about Nina Simone, tellingly titled "What Happened, Miss Simone?," is energized by the often contradictory complexity of its prodigiously talented but mercurial subject. Even Garbus's recent scripted debut, Netflix's "Lost Girls," was marked by a disquieting restlessness the movie was based on Robert Kolker's nonfiction book about the unsolved killings of Long Island sex workers. Now she's turning Michelle McNamara's true crime best seller about the Golden State Killer, "I'll Be Gone in the Dark," into a six episode documentary series for HBO that debuts on June 28. The complex story of how the series came into being full of twists and tragedies all its own is less about yet another deranged male killer than about another subject of deep importance to Garbus: who gets to tell women's stories and how. "I'll Be Gone" is very much of a piece for Garbus, 50, with its troubling sense of unfinished business. McNamara, who died in 2016, had spent a half decade attempting to uncover the identity of the killer, a serial rapist and murderer who terrorized multiple Californian communities in the 1970s and '80s, pouring her painstaking but fruitless efforts into a book published almost two years after her death. As HBO bought the rights and approached Garbus for the project, the elusive criminal appeared safely tucked away on the cold case shelf. Then came a plot twist in April 2018, just two months after McNamara's book was published. "After that first day of filming, unexpected by any of us, they actually arrested somebody," said Nancy Abraham, the co head of HBO's documentary and family programming with Lisa Heller. That somebody was a former cop named Joseph James DeAngelo (as of mid June he was expected to plead guilty soon), but Garbus did not let him hijack her series: She knew that her take on "I'll Be Gone in the Dark" was, and had to remain, about women. Garbus devotes time to survivors of DeAngelo's assaults, but it's McNamara, her presence both spectral and earthy, whom we really get to know the book, after all, is subtitled "One Woman's Obsessive Search for the Golden State Killer." McNamara's voice is heard often in the series, pulled from various archives. But her words are also articulated by the actress Amy Ryan, who played a mother searching for her missing daughter in "Lost Girls." "Mostly Liz and I talked about Michelle's caffeinated energy," Ryan said in a recent phone interview. "She's really on the cusp of figuring this out, and this driving force is keeping her up late at night, going down these rabbit holes of investigation. I listened to a lot of existing recordings, her podcast. When you layer in the emotional side of it, I think the audience will forgive that it's not exactly a dead on impersonation." McNamara wrote about pursuing leads and digging into reams of police reports, but she also revealed quite a bit about herself. She did hold back, however, on the extent of her prescription drugs use: Suddenly, the book abandons the first person to inform readers that she died in her sleep, discovered in her bedroom by her husband, the comedian Patton Oswalt. She had an undiagnosed heart condition, and Adderall, Fentanyl and Xanax were found in her bloodstream. The documentary fills in some of those blanks as it reveals more of the toll McNamara's quest took on her mind and body. "It was very, very hard to watch these episodes," Oswalt said on the phone. "I told Liz: 'I don't think I'll be able to watch Episode 5. I just can't deal with that level of grief again.' "Michelle was amazing at adding the personal elements of her successes and failures trying to solve the case, and how it affected her physically and psychologically," Oswalt continued. "If she was able to do it in the book, it was hard for me to shy away from it in a portrait of her. I wanted her courage, I guess." Garbus said that Oswalt "shared endlessly" with her and her team. "He wanted us to be able to get into Michelle's head," she added. "That is a huge responsibility. What do you include, what do you not include? How much of Michelle's discussion about addiction do you show? This is not a cop out because I don't think there's one answer." Good documentarians must balance ethics with entertainment: They don't want to sacrifice integrity, but they also need to keep viewers viewing. Amy Hobby, the executive director of the Tribeca Film Institute and a producer of "What Happened, Miss Simone?," recalled that she and Garbus who cited Janet Malcolm's 'The Journalist and the Murderer' as one of her favorite essays often talked about how to deal with sensitive material. "She has a road map for that and is aware of the ethical decisions she's making," Hobby said. "It's important to her." Garbus has often used her films to examine the major fault lines underlying American ideals, institutions and rituals, having delved into subjects including health care, politics or the media. (For her 2018 Showtime docu series "The Fourth Estate," she embedded herself for 16 months at The New York Times.) Several of her past works have shined a light on the criminal justice system: Her directorial debut feature, from 1998 (with Jonathan Stack and Wilbert Rideau), "The Farm: Angola, USA," goes inside a Louisiana state penitentiary on the site of a former slave plantation; earlier this year, she oversaw three episodes to the Netflix docu series "The Innocence Files," directing one herself. "I'll Be Gone in the Dark" creates discomfort and suspense in part by playing off the discrepancy between the horror of the crimes and the placidity of the suburban locales. Asked if the series, the first true crime series overseen entirely by her, was another examination of systemic dysfunction, Garbus hesitated. "In some ways there were systemic failures in the investigations of these murders and rapes first the rapes, of course, weren't taken seriously enough," she said. "But thinking about Michelle, there's a larger story about a society of avoidance we are living in. There is not a lot of time for introspection, which can be painful and hard. "Michelle was not alone; there are so many Americans from richest to the struggling who rely on prescription drugs and are addicted. The silence around it makes things quite worse." It's hard not to wonder how Garbus, herself, manages to maintain a modicum of sanity and forbearance. "Avoidance," Garbus said, laughing. "I don't have a procrastination thing, so I can kind of complete, which I think is really important because otherwise things will haunt you. And my kids keep me grounded and give me tremendous joy, and so I manage to compartmentalize." (She lives in Brooklyn with her two children and Dan Cogan, her husband and partner in the production company Story Syndicate.)	N24News: A New Dataset for Multimodal News Classification	Television
The Poetry Foundation announced on Wednesday that its president and board chairman are resigning, several days after an open letter signed by more than 1,800 poets and others criticized the foundation's recent statement on the Black Lives Matter movement and called for them to be replaced. The president, Henry Bienen, a former president of Northwestern University, resigned, effective immediately, according to a statement. The foundation's board chairman, Willard Bunn III, a retired bank executive, will also be stepping down. The Chicago based foundation is one of the nation's wealthiest literary organizations, with an endowment that exceeds 250 million. The letter, posted online over the weekend, was issued by 30 poets connected with the foundation, including Ocean Vuong, Eve L. Ewing and Danez Smith. It referred to "numerous critiques" of what it characterized as the foundation's failures to support poets from marginalized communities, and called on it to "redistribute more of its enormous resources" to social justice and antiracism efforts. The letter was prompted by a brief, four sentence statement the foundation issued on June 3, expressing "solidarity with the Black community" and declaring faith in "the strength and power of poetry to uplift in times of despair." Almost immediately, the statement drew criticism and ridicule on social media. In the letter, the poets called it "worse than the bare minimum" and an insult to George Floyd, Breonna Taylor and other African Americans whose deaths in encounters with police prompted the protests. 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. "As poets, we recognize a piece of writing that meets the urgency of its time with the appropriate fire when we see it and this is not it," the letter said. "Given the stakes, which equate to no less than genocide against Black people, the watery vagaries of this statement are, ultimately, a violence." The letter called for "an official, public response" within a week. On Saturday, the foundation issued a statement by Bunn, the board chairman, pledging to "honor that timing" and offer a detailed plan of action. On Wednesday, Sarah Whitcher, a spokeswoman for the foundation, declined to comment further on the resignations. On Tuesday, before the leadership changes were announced, she confirmed that the foundation "will continue building a detailed plan of action to be announced." The organizers of the open letter, in a statement issued Wednesday after the resignations were announced, said they "are glad to hear this momentous news and we look forward to seeing how the Foundation responds to our remaining demands in coming days." Since the protests began, there have been many statements of solidarity from predominantly white arts groups, along with petitions and pointed calls for change from artists of color in various disciplines, like a recent online letter signed by more than 300 prominent theater artists calling American theater "a house of cards built on white fragility and supremacy." The letter to the Poetry Foundation stands out both because of its direct riposte and the extent of the demands, which range from the specific (diversification of the foundation's staff, more support for poets from marginalized groups) to the sweeping. "Ultimately, we dream of a world in which the massive wealth hoarding that underlies the foundation's work would be replaced by the redistribution of every cent to those whose labor amassed those funds," the letter declares. The call for broad reparation also stands out because of the size of the foundation's endowment, which is not mentioned directly in the letter but has long been a source of conflict. In 2002, when Poetry Magazine received a headline making gift of more than 100 million from Ruth Lilly, a great granddaughter of the pharmaceutical magnate Eli Lilly, it was a small but respected journal with a staff of four. Today, the foundation has a staff of more than three dozen, and annual expenditures of more than 4 million on prizes, fellowships and public programs like the Chicago Poetry Block Party. The block party, founded with Ewing and Nate Marshall (another poet who spearheaded the letter) in partnership with the foundation, is an annual event held in neighborhoods well beyond the city's wealthy enclaves. In separate Twitter posts, both Ewing and Marshall said they would no longer participate.	N24News: A New Dataset for Multimodal News Classification	Books
American fashion may be about to experience its biggest redefinition in decades. On Tuesday, in yet another example of the upheaval in the fashion world (Hedi out at YSL! Dior still without a designer! Men's wear in turmoil!) Calvin Klein announced that its men's and women's wear creative directors of more than a decade, Italo Zucchelli and Francisco Costa, were leaving the company, to facilitate a "new global creative strategy." Both lines, as well as all the other categories of the business presumably including jeans, underwear, fragrance and others would be united under one "vision," with said visionary to be named "in due course." The company declined to say what that course would be, though it did say that the men's collection in June and the women's in September would be done by the in house creative team, and that they would not be shown on the runway. The Calvin reorganization had been rumored since the end of last year, along with the now much repeated as fact speculation that Raf Simons, the former artistic director of Dior, was in line for the job. Mr. Simons, not surprisingly, did not return emails for comment. He was traveling, and, in any case, he has a noncompete with Dior that extends through the summer. Whether or not he gets the job, however, the news creates the potential for Calvin Klein, a brand that has largely stepped back from the fashion conversation since its founder sold the company to the current owner PVH in 2003 and retired, to start shaping the industry again. Indeed, it's not exaggerating to say that if the fashion house picks the right person for the job (and Mr. Simons is a good idea) and supports that person, it could radically redesign New York fashion. After all, since the 1980s advent of the Big Three (Calvin Klein, Ralph Lauren and Donna Karan), the designers that burst onto the international stage and made sportswear a global phenomenon, American fashion has stayed pretty much the same. As those brands have matured and gradually lost their stranglehold on the national aesthetic, however, whether through retirement (Ms. Karan) or simple repetition, other names have not risen to take their place. The next generation Marc Jacobs, Narciso Rodriguez, Michael Kors got distracted by jobs in Europe, and then globalization. The group after that (Proenza Schouler, Rodarte, Altuzarra), though artistically adventurous, is still too small to have much global impact. But with sales of 8.2 billion in 2015, Calvin Klein could. That it has not thus far is a function largely of the fact that PVH, which also owns brands such as Tommy Hilfiger, Izod, Warner's and Speedo, has clearly been more focused on the broad appeal and financial possibilities of the accessible end of the market. Even though Mr. Costa and Mr. Zucchelli were generally applauded for their collections, with Mr. Costa twice winning the CFDA women's wear designer of the year award and Mr. Zucchelli's winning men's wear once, they were siloed and had little impact on the broader Calvin business. There was the sense that the clothes appeared on the catwalk and were rarely seen again. The red carpet business and Mr. Costa usually snagged one to two big names per awards show, the most recent being Saoirse Ronan at the Oscars in a bottle green sequined slip dress seemed to have little relation to the more intriguing runway. Indeed, sales of men's and women's collections combined accounted for less than 5 percent of the label's total business. Three years ago, I did a video interview with Tom Murry, then chief executive, for The Financial Times, and he told me, on camera, that the collection lines were classified as a "marketing expense" on the balance sheet. The better to sell perfume, you know. Ask anyone what Calvin Klein ads they remembered and odds are they would name the Justin Bieber/Kendall Jenner jeans campaign. Collection? Huh? What's that? Opportunity: To fill the hole in New York fashion and make an aesthetic statement strong enough, coherent enough and loud enough to echo not only through the city but also beyond. If Calvin Klein does so, it will signal a real break not only from the last 12 years, but from anything PVH has done.	N24News: A New Dataset for Multimodal News Classification	Fashion & Style
When I think of Ann Reinking, I see legs. Legs in shimmering black tights. Legs in heels. Legs that extend effortlessly to a 6 o'clock extension. They weren't the only thing that made her dancing so resplendent, but they were the anchor to her daring. Aside from their shape, they had a strength that rooted her body, giving her pelvic isolations a silky sort of groove and her precision a natural, teasing sensuality. Even stretched out on a bed, her legs could tell a story. Ms. Reinking, who died in her sleep at 71 while visiting family in Seattle over the weekend, was one of Bob Fosse's most important dancers and, for a time, his lover. That bed comes into play in a non dancing scene from Fosse's semi autobiographical film "All That Jazz," in which Ms. Reinking plays a thinly veiled version of herself. In that moment, all she wants is for Joe Gideon (Roy Scheider, in the role based on Fosse) to stop sleeping around. The dialogue is funny, but her legs steal the scene: Leaning back, she drapes them, bare, across the mattress. Her power is enhanced by her piercing blue eyes and long, glossy dark hair, parted in the middle to '70s perfection. (Is there anything cooler than a 1970s dancer?) But really, it comes down to those legs. Ms. Reinking made her career on Broadway and, especially, in the work of Fosse, for whom she was a muse. She met Fosse officially at an audition for "Pippin," but she was already an admirer of his work. In an interview, speaking about seeing "Chicago," she said: "I was transfixed. It went beyond interest. I don't know why it just kept my attention. And it was a quiet roar when they were done." In 1977, two years before "All That Jazz" was released, Ms. Reinking, then 27, created a roar in "Chicago" herself when she replaced Gwen Verdon Fosse's wife, who starred in many of his important Broadway shows, including "Damn Yankees" and "Sweet Charity" as the chorus girl Roxie Hart, a role she reprised in 1996 when she staged the show in the style of Fosse for an Encores! presentation at City Center. During the 1990s, Ms. Reinking became a keeper of the Fosse legacy: The Encores! revival led to a production on Broadway, for which she was awarded a Tony for best choreography. "The hope is that in rediscovering 'Chicago,' audiences will rediscover what theater was," Ms. Reinking said in a 1996 interview in The Times. "It was sophisticated, complicated, adult." (At the time of the coronavirus shutdown, "Chicago" was still running.) In 1998, she conceived, with Richard Maltby Jr. and Chet Walker, "Fosse," a revue that played on Broadway from 1999 through 2001. While she was most recognized for her work in musical theater, Ms. Reinking known as Annie, at least in her "Dancin'" days started out in ballet. (Before the unveiling of the 1996 version of "Chicago," she said that her choreographic approach was more balletic than Fosse's.) When she arrived in New York as a young woman, she had a scholarship with the Joffrey Ballet. On the West Coast she is from Seattle she had studied with the San Francisco Ballet and learned ballets of George Balanchine. That isn't spoken about so much when talking about Ms. Reinking's career path, but you can see it in her dancing: There is an ingrained elegance, an internal organization of the body that you sense even when it's not pronounced. One reason Margaret Qualley, who brought Ms. Reinking to glittering life in the TV series "Fosse/Verdon," was so good was that she shares that elegance; she was once a ballet dancer, too. Ms. Reinking may be gone, but her dancing lives on: lush, full bodied, sumptuous. And it's not all Fosse. I had forgotten about "Annie," but in that 1982 film, Ms. Reinking plays Grace Farrell, the secretary of the billionaire Oliver Warbucks, who encourages him to adopt Annie. In the number "We Got Annie," Ms. Reinking dances up a storm. Wearing a silky yellow dress it swirls around her legs like a partner she begins with a jazzy, playful walk, pausing every few beats for a shoulder shimmy or a whirl. She kicks and wilts like a rag doll. Dashing through a hallway, she hops over a chair, plays the harp with a couple of finger snaps and continues forward, spinning through space as if she's gliding on wind blurry, gleaming but indelibly articulate. What a daredevil! What abandon! In her exuberance, it feels like Ms. Reinking is showing us the sound of laughter. It's over too soon, but it's appropriately named: At least in these couple of minutes we have our Annie, too.	N24News: A New Dataset for Multimodal News Classification	Dance
The last time the Backstreet Boys had a No. 1 album, in fall 2000, CD sales were at their commercial peak and iTunes did not exist; even "American Idol" was still two years away. Since then, of course, the music business has been transformed. CDs are now a mere niche, and positions on Billboard's weekly album chart are largely determined by billions of clicks on streaming services, each worth just a fraction of a penny. But this week, the Backstreet Boys its five members now well into their 30s and 40s benefited from the music industry's last ditch strategy to move CDs: concert ticket sales bundles. Following in the footsteps of Ariana Grande, Travis Scott, Bon Jovi and the Dave Matthews Band, the Backstreet Boys offered fans copies of their latest album, "DNA" (K BAHN/RCA), with tickets to their summer tour. That deal helped sell 227,000 copies of "DNA" in the United States last week, according to Nielsen. Back in 2000 that amount would have barely made a dent; the Backstreet Boys' "Black Blue" sold 1.6 million copies in its first week on sale that November.	N24News: A New Dataset for Multimodal News Classification	Music
WASHINGTON Janet L. Yellen, the Federal Reserve's departing chairwoman, will preside over her final policymaking meeting on Tuesday and Wednesday where, in a fitting finale, the Fed is expected to leave its benchmark interest rate unchanged as the economy continues to gain strength. Ms. Yellen's four year tenure has been defined by her campaign to stimulate job and wage growth by holding interest rates at low levels for much longer than markets had expected. Her patience was rewarded: Unemployment steadily declined while inflation remained low. Now, as Ms. Yellen makes way for her successor, Jerome H. Powell, who was confirmed by the Senate last week, the challenges confronting the central bank also are starting to change. The unemployment rate was 4.1 percent in December, and the Fed does not expect it to fall much further. Instead, as economic growth continues, it expects faster inflation. After hiking rates three times last year, Fed officials have predicted that they will raise rates another three times in 2018. "Yellen had the uncharted territory of getting an economy going with low inflation," said Seth Carpenter, a former Fed economist who is now chief United States economist at UBS. Mr. Powell, he said, "is going to be in a very different world: Fiscal stimulus when you're already at full employment." Analysts and investors are unruffled by the impending departure of Ms. Yellen and installation of Mr. Powell. They have accepted Mr. Powell's assertions during the confirmation process that he intends to continue the Fed's current approach to monetary policy. "The way I think about it is, Jay Powell will be a reassuring force of continuity," said Vincent Reinhart, chief economist for Standish Mellon Asset Management. Ms. Yellen is also leaving a clear road map. When the Fed began in October to reduce its holdings of Treasuries and mortgage bonds, which it purchased as part of its post crisis stimulus campaign, it announced a multiyear timetable that it said would remain unchanged barring emergencies. The Fed has made clear that the January meeting will be a place holder, not least because of the transition in leadership, and markets have taken the message. The headline on Morgan Stanley's preview of the January meeting: "Where's the Snooze Button?" But markets are equally convinced that the Fed will tighten policy for the sixth straight quarter at its next policy meeting in March, which will be Mr. Powell's first meeting as the chairman. Ms. Yellen's priority was ensuring that the Fed did not raise rates too quickly; Mr. Powell could face the challenge of making sure that the Fed does not move too slowly. Fed officials said as they embarked on the tightening process that they wanted to avoid the mechanical predictability of the previous tightening cycle between 2004 and 2006. Like the proverbial frog in the stovetop pot, investors found it easy to ignore the slow and steady increases. But the Fed, wary of surprising markets, has once again fallen into a pattern of carefully signaling each rate hike and markets, once again, are largely unconcerned. The ease of borrowing has increased over the last year, according to measures of financial conditions. 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. "They said that policy was too gradual and predictable" during the last tightening cycle, said Mr. Reinhart, who played a key role in the last round of rate increases when he was head of the Fed's division of monetary affairs. "And now it is predictable and gradual and even slower." Under Ms. Yellen, the unemployment rate has declined to 4.1 percent from 6.7 percent in February 2014, while inflation has remained below the Fed's 2 percent target. During the first three years of her tenure, in particular, Ms. Yellen repeatedly found reasons to argue that the Fed should delay raising interest rates, extending the Fed's stimulus campaign. Scott Sumner, an economist at George Mason University, wrote in an October appraisal that Ms. Yellen's performance was "near perfection." He added that, at the end of her tenure, Ms. Yellen will likely have achieved the Fed's dual mandate of maximizing employment and stabilizing inflation "better than any other chair in history." There were plenty of critics along the way. A coalition of labor and community groups, the Fed Up campaign, pressed Ms. Yellen throughout her term to increase the Fed's stimulus campaign. Republicans and conservative economists fretted that the Fed was doing too much. Chris Rupkey, chief financial economist at MUFG Union Bank in New York, said that the persistence of low interest rates had been painful for banks and other financial firms, many of which also resented Ms. Yellen's focus on strengthening financial regulation. "It's not goodbye, good luck from Wall Street," he said. "It's don't let the door hit you on the backside on your way out." Eleanor Herlands, a 92 year old retiree in Stamford, Conn., said that she and other savers had suffered during the long years of low interest rates. "They pushed people to buy stocks, people that knew nothing about the stock market," said Mrs. Herlands, who opted instead to keep her money in savings accounts. "I made my own choices, but I never dreamed that it would go on this long. Now I'm pleased that I'm finally getting at least a little relief." She said she was now earning an average of 1.6 percent on her accounts. Ms. Yellen, 71, is the first person in modern history to serve a four year term as Fed chairman without being appointed to a second term. She has not said what she plans to do next. She leaves behind some challenges for her successor. Fed officials in recent months have begun to debate whether the central bank should adjust its approach to monetary policy before the next downturn. The Fed's traditional approach is to stimulate growth by reducing interest rates. But rates, which reflect real borrowing costs and inflation, are expected to remain low for the foreseeable future.	N24News: A New Dataset for Multimodal News Classification	Economy
LOS ANGELES The former Fox News chairman Roger Ailes is coming back to television, but perhaps not in a way he will like. The writer director Tom McCarthy, whose journalism drama "Spotlight" won multiple Academy Awards in February, including the one for best picture, has agreed to be the executive producer for a mini series about Mr. Ailes, who was ousted from Fox News in July after multiple women accused him of sexual harassment. Producing the series will be Jason Blum, who is best known for horror movies like "The Purge." Mr. Blum has also shepherded TV projects like HBO's Emmy Award winning "The Jinx," which chronicled the deaths or disappearance of three people close to the real estate scion Robert Durst. Mr. Durst was subsequently arrested, convicted and sentenced on gun charges and now faces a murder trial in California. Joining them in creating the still untitled series: Gabriel Sherman, the journalist who doggedly pursued Mr. Ailes and his allies starting in 2011, when Mr. Sherman was working on a biography about the cable TV titan. Mr. Ailes, as reported by CNN, was so eager to discredit Mr. Sherman and silence his sources that a 400 page dossier was compiled on him.	N24News: A New Dataset for Multimodal News Classification	Media
How do New York Times journalists use technology in their jobs and in their personal lives? Ali Watkins, who covers crime and law enforcement in New York, discussed the tech she's using. What are your go to tech tools for work? I'll be the first to admit: I'm a curmudgeon when it comes to tech. I like printing out and reading documents (and recycling them!) and mapping out stories on paper. But some organizational tech tools have become critical for me to keep track of stories. I was a begrudging, late adopter of Slack, but it's been a godsend in the midst of breaking news. We can immediately create channels and pull in coverage lines for fast moving stories like Jeffrey Epstein's death. My reporting gets organized in the Google suite: Docs, Sheets and Drive. I'm probably too millennial with voice recording I record interviews on my iPhone, email the voice memos directly to myself and use iTunes to review them. I carry a recorder with me in case of an emergency, but rarely use it. As far as reporting on the police and the city, there is a whole library of tech and data tools that I use. One of the most valuable is CompStat, which is the Police Department's crime data hub. I've never seen such a user friendly police data tool at any other department . Anyone has access to the CompStat website, which is produced by the department (and therefore needs to be taken with appropriate skepticism) but, on its face, is a wealth of data and story ideas. If you want to compare shooting rates in a specific precinct in the Bronx over a decade, CompStat gets you those numbers in seconds. It saves us so much time on research, and has provided us with story leads and ideas. For example, if you start to see clusters of a certain crime in a precinct or neighborhood, that could be an interesting story. I also use the Citizen app, which is essentially a crowdsourcing tool for crime and emergency incidents. We don't rely on Citizen to report facts, but it becomes important for us during breaking news, when initial wire reports are often wrong or confusing. Citizen allows anyone with a user profile to post what he or she is seeing, and even live stream from a crime scene. Say a report comes across the wire that a shooting happened in Brooklyn. Details are sparse: multiple shots fired, one victim in unknown condition. Someone could be dead or someone's arm might have just been grazed. I'll check Citizen and see if anyone is streaming from the scene to decide if I should flag for the desk and head to the scene, or just monitor the situation remotely. I do keep an old school police scanner at home (passed down from my editor, Jim McKinley). Sometimes I'll turn it on and listen to traffic, usually for nearby precincts. But it's pretty clunky and not very efficient. How does New York City's criminal justice system use technology? And how is it changing? The city's embrace of tech is manic. There are elements of New York's criminal justice system that are up to date and streamlined, like electronic court records and crime data. CompStat, for example, was a watershed development in data policing. But police use of technology is fraught. We're not talking about a private entity embracing a new interoffice communication system. We're talking about a very powerful institution the New York City Police Department using extremely powerful technology in ways that affect people's lives (and have a disproportionate impact on brown and black lives). In some of the cases we know about, like the N.Y.P.D.'s use of facial recognition software, the technology is too new to inspire full confidence, and it is so new that the tech industry isn't even sure what a coherent law enforcement policy should look like. It's fertile reporting ground, but it should give pause to both departments and the people who are covering them. As soon as I get a name associated with a crime, I scrub social media. If a victim, did he or she post anything before the crime that would give us a lead? Did friends post any cryptic Instagram story, or tweet something strange? What about perpetrators? Sometimes it's still surprising to me how much of a narrative we can piece together just by going through people's social media accounts. In many cases, we're looking at the same open source material the police are looking at. What are some of your tech best practices for protecting the confidentiality of sources? Burner phones are the only way I ever feel remotely confident, and even those aren't fail safe. You could do everything right with a burner buy it in cash, register it under a different name, keep any identifying information off it and the second it plugs into the Wi Fi in the office, it's toast. My best advice is to go as old school as you can. Meet sensitive sources in person. Before you go, look at everything you're carrying, everything you're wearing, and don't take anything that has electronic components. (Smart watch? Take it off.) Don't Uber. If you have to drive, take a cab and pay in cash. (License plate readers? E ZPass? Don't chance it.) Never pay with a credit card. Reverse engineer every sensitive meeting: If I were an institution and wanted to find out about this, what electronic trail would I be able to follow? Nothing is too paranoid. How do you unplug from tech? I love unplugging. Everyone should do it, as often and responsibly as possible. I make semiregular efforts to go places where there is zero cell service, just so I'm not tempted to check Twitter. I'll use GPS to get wherever I'm going, and I use an offline GPS tracker when I'm out somewhere remote alone (a request from my mother), but that's it. I've actually found that unplugging helps clarify my reporting instincts. It's such a critical reminder that as journalists, so much of our worldview is shaped by the weird media bubble the algorithms create for us. Getting outside of that can be productive.	N24News: A New Dataset for Multimodal News Classification	Technology
4 Classical Music Concerts to See in N.Y.C. This Weekend Alex Wroblewski for The New York Times MAKE MUSIC NEW YORK at various locations (June 21). New York's immense all day summer street festival returns for its 12th iteration, with over 1,000 free events many of them participatory besieging the city with sound. The highlights are endless but include Bach's "Well Tempered Clavier" performed at the corners of the 9/11 Memorial Plaza during the evening rush hour; Mozart's "Requiem" at the National September 11 Memorial at noon; the premiere of Pete M. Wyer's "Twilight Chorus (for Humans)," in which a choir singing birdsong will spread around the Brooklyn Botanic Garden; a program of Minimalism at Pier 1 in Riverside Park South; and a kayak flotilla making its way up the Gowanus Canal playing a new piece by Elliott Sharp. makemusicday.org/location/new york/ ORCHESTRA OF ST. LUKE'S at Merkin Concert Hall (June 19, 7:30 p.m.). The capstone of this ensemble's Facets of Brahms Festival looks at Brahms in the shadow of Beethoven, with a chamber arrangement of Beethoven's Symphony No. 2 preceding a version of Brahms's Serenade No. 1, in a version reconstructed in its original nonet form. Consider, too, a chamber program at the Brooklyn Museum at 2 p.m. on Sunday, for which the pianist Pedja Muzijevic joins the St. Luke's Chamber Ensemble for an exploration of the influence on Brahms by the Schumanns both Robert and Clara. 212 594 6100, oslmusic.org 'TIME'S ARROW: WEBERN PART 2' at St. Paul's Chapel (June 18, 19 and 21, 1 p.m.; through June 23). Barely a week goes by that Julian Wachner's music program at Trinity Wall Street is not putting on something rare and important. This time, the second part of a festival devoted to performing the canon of Anton Webern, a composer of vast influence on 20th century music and yet one whose works are almost never heard. Of these three free concerts, note especially Thursday's, which sets some of Webern's chamber and solo music next to more recent work by Marti Epstein, Heinz Holliger and Christopher Rouse. Mr. Wachner oversees the proceedings. 212 602 0800, trinitywallstreet.org/music arts WET INK at St. Peter's Church (June 15, 8 p.m.). This strong new music ensemble showcases open score and partially improvised works at this church in Manhattan's Chelsea neighborhood. The program includes music by Ingrid Laubrock, Lea Bertucci, Darius Jones and Charmaine Lee, as well as Peter Ablinger's "Black Series," for clarinet and rock trio. wetink.org	N24News: A New Dataset for Multimodal News Classification	Music
SAN FRANCISCO Facebook has been fighting for months the perception that it did not do enough to protect people's privacy. On Thursday, the company said it had again failed to keep the information of millions of users private. As many as 14 million Facebook users who thought they were creating private posts last month that only a small group of friends could see were, in fact, making public posts that anyone could view. Facebook blamed a software bug for the problem. The company did not say how it had found the bug, or how it knew the problem was limited to 14 million people. In a statement, Facebook said the bug affected users from May 18 to May 22, while the company was testing a new feature. By May 27, the company had changed the affected posts from a public setting back to a private one.	N24News: A New Dataset for Multimodal News Classification	Technology
In 1949 he had his first full blown manic attack in Chicago, where he supposedly dangled a friend out the window while shouting poetry. Later, when he was screaming obscenities through the open window, it took four police officers to handcuff him. "I was completely out of my head," Lowell wrote. "Strange physical sensations I was a prophet and everything was a symbol; then in the hospital: shouting, singing, tearing things up." Provided at last with a diagnosis of acute mania, he was admitted to a psychiatric hospital. He remained for three months. After electroshock treatments he was released, but soon had another attack. By that time he'd divorced Stafford and married the critic Elizabeth Hardwick, who proved to be the strongest, most loving force in his life always standing by him even as the attacks kept coming. For the next decade Lowell was hospitalized again and again. "I didn't know what I was getting into," Hardwick later told an interviewer, "but even if I had, I still would have married him. He was not crazy all the time most of the time he was wonderful." The couple had a daughter, Harriet, whom they both adored, and she proves to be a valuable and forthcoming source for Jamison and a refreshing presence for the reader. Lowell was a wonderful father, Harriet says, "present and loving . . . whatever his mental state, and wonderfully odd." But his recurring illness was exhausting for everyone close to him. Lowell's agonizing episodes would continue until 1967, when he was given the new wonder drug lithium to balance the extremes of elation and depression in his brain. Lithium seemed to have no side effects, and provided relief from his madness. Lowell was productive in those years. He wrote poetry, worked on translations, taught at Harvard but he was also restless. With lithium, Helen Vendler tells Jamison, he wanted to create another life "with someone who would not think of him as a potential madman." By 1970 he'd moved to England and fallen in love with Lady Caroline Blackwood, a ravishing Anglo Irish writer formerly married to the painter Lucian Freud and then the composer Israel Citkowitz. Blackwood's aristocratic background rivaled Lowell's own Boston Brahmin heritage. Hugely privileged from a shattered childhood, she had "reckless blood," she said, "which seethed and tingled like Champagne." The two were happy for a while. They married and had a son, and Blackwood became Lowell's "muse," Jamison writes. His 1973 book "The Dolphin" was inspired by her, and his final book, "Day by Day" (1977), was about the end of their relationship. Caroline had grown terrified of his rages; she hadn't realized he was slowly going mad again. The lithium stopped working. Lowell became poisoned with it and had to be hospitalized. He and Caroline were fighting constantly; she was drinking. They separated. He flew to America in the hope of reconciling with Hardwick. They spent the summer in Maine together, and all the while he kept writing and rewriting. His work was everything to him, Harriet says. Even at his most jittery and disheveled, when his life seemed a total mess, he'd escape into writing and be healed. What this makes clear is that the breakdowns aren't the entire story: "The real life was full of unknowns and possibilities," Harriet tells Jamison at one point. It's a lesson Jamison might have done more to heed. Two narratives are at war in this book: one about Lowell's mania and one about his enthralling private life separate from the psych wards.	N24News: A New Dataset for Multimodal News Classification	Books
LOS ANGELES In some ways, Meredith Monk's "Atlas," which the Los Angeles Philharmonic is presenting in a lavishly glowing production through Friday, is as traditional as opera gets. It has arias, duets, trios, choruses, instrumental interludes. It has dance sequences. It has spectacle here at Walt Disney Concert Hall, an extraordinary sphere, 36 feet in diameter, seems to float over the stage and a female protagonist facing adversity. It even has that rarity in contemporary music: earworm tunes, little cells of melody that stick with you for weeks. What it doesn't have is words . Read about the process of bringing "Atlas" back to life. At its premiere, at Houston Grand Opera in 1991, "Atlas," the parable like tale of a girl's maturation into an explorer, brought into an old school opera house for the first time the avant garde style that Ms. Monk had by then been cultivating for three decades. Starting with luminous solos, she had detached her voice from text, but not from storytelling instead conveying meaning through tone, speed, rhythm, volume, texture, vowels, wild shrieks, low coos, flowing babble, rapid fire stutter. This made them indelible and, often, unrepeatable. The group would move on to the next show, usually without having made full notated scores of the last. Even if Ms. Monk had sanctioned it, others couldn't take on these sprawling, complicated, idiosyncratic pieces. But as the years went on and Ms. Monk, now 76 and still very much creating, got no younger, the question began to be whispered: Could you do Meredith Monk without Meredith Monk? What, in other words, would happen to such personal work largely made by and for her and her close circle after she was gone? The Philharmonic's "Atlas," the opera's first production since the original in the early 1990s, is the beginning of an answer. Never before has Ms. Monk entrusted that seems the most appropriate word to other artists one of the theatrical works she masterminded. And Yuval Sharon's new staging, the culmination of this adventurous director's three year residency with the orchestra, is both a radical transformation of the piece and an essentially modest conservation of it. Revived with the assistance of close Monk collaborators but not Ms. Monk herself, the bones, and much of the flesh, remain in an opera that's somehow simultaneously bustling and meditative, calm at its core as action and music swirl. The main character, loosely based on the world traveler Alexandra David Neel, leaves a cozily ordinary existence with her parents to see the world with a band of companions. Led by spirit guides, they encounter farmland, ice, forest and desert, trials of courage and premonitions of destruction, before entering an otherworldly realm that Ms. Monk calls The Ringing Place. The scenes are poetic, almost entirely wordless, and sometimes surreal, but their narrative content is clear; they don't pose abstract enigmas, like "Einstein on the Beach," and Mr. Sharon has more or less stuck to them. He has hewed close to Ms. Monk's original scenario and the original presentation even the original appearance of the characters. Danielle Agami's fluid choreography evokes Ms. Monk's graceful movement vocabulary. The results are often properly sensitive, with mystical import, but, given the production's looming, high tech set, the action can also sometimes feel inadvertently quaint, a tad cautious. I thought, for example, that Mr. Sharon might reinterpret and modernize the fairy tale beings that the explorers come across: Hungry Ghost, Ice Demons, Lonely Spirit, Ancient Man. What might a lonely spirit, for example, be in 2019 guise? But these were the same storybook figures they were in 1991. A few tweaks have been made. Apocalypse is now imagined as an internet era digital explosion, and the climate crisis is suggested by images of fire trailing bodies and a temperature tracking map superimposed on the sphere. But if this isn't fully tribute band Meredith, it's a faithful cover. With one overwhelming intervention: that set, the immense orb that's arresting from the moment you see it through the doors to the auditorium. Serving as projection screen and playing space, with internal corridors visible through shifting panels, it is the work of the designer Es Devlin, best known for light boxes that dominated the stage in Beyonce and Kanye West stadium shows. The projections, by Luke Halls, conjure globes and deep galaxies, chalk drawings and the surface of the moon. It's eye popping, and its extravagance gives rise to some tension between medium and message: A work that pleads the virtues of simplicity and poverty is being told in a way that hardly lets you forget how complicated and fantastically expensive it is. But it also often matches the mysterious beauty, the combination of sophistication and childlike wonder, of the score; when performers were first revealed within the sphere, I giggled in sheer delight. Especially at the beginning, there was a sense of the talented cast trying to do the piece "correctly" an ever so slightly stilted quality, a degree of self consciousness but that eased as the evening went on and the calligraphic vocal lines began to course with more confidence and personality over the mellow orchestra. In the end, this "Atlas" was an experience a little cooler than the original production as it comes across on video, at least but still radiant. Three performers play the main character as she ages. As the middle Alexandra, the part once played by Ms. Monk, Joanna Lynn Jacobs has a more slender instrument than her matchless predecessor, but a bright tone and smiling energy. The entire cast sang beautifully warmly and offhandedly, too, once they forgot to be overly diligent. Ms. Monk's music should feel like conversation; it did, once this performance really got going. The L.A. Phil New Music Group, in a subtly expanded orchestration of the piece, played with spacious flexibility, with fullness yet delicacy, under Paolo Bortolameolli. The score's repeating figurations were propelled forward but never pushed. Near the end, the a cappella section "Earth Seen From Above" was simply exquisite, the ensemble making a softly hovering, kaleidoscopically shifting drone as an image of our planet, wrapped around the sphere, filled in with color. While the classic recording of "Atlas" ends on that transcendent note, the opera returns its protagonist to earth. Ms. Monk writes, at the end of her description of the action of "Atlas," that Alexandra, now an old woman back at home, "has fearlessly lived a life inspired by her wish to seek the unknown. She has learned that the unknown dwells in every moment and to honor it is to live life fully."	N24News: A New Dataset for Multimodal News Classification	Music
DARWIN, Australia When the dry season spreads over the tropical savannas of Australia's Northern Territory, rangers start watching for the so called firehawks: flocks of black kites, whistling kites and brown falcons that hunt near bushfires, snapping up small animals flushed out by the smoke and sparks. If a fire begins to flicker out, locals claim, some of the birds will keep it going by carrying burning sticks to new locations. "We get a lot of humbug" from the birds, said Robert Redford, a ranger who is an Aboriginal Australian. "We make firebreaks, and sometimes that bird makes another fire and he makes a lot of trouble." "He do a lot of damage for us sometimes, and rangers have a hard time firefighting with all that." The idea that birds intentionally manipulate fire has long been greeted with skepticism in scientific circles. But a recent paper published in Journal of Ethnobiology gathers reports that all three species do spread wildfires for hunting purposes. Over the course of two years, Bob Gosford, an ornithologist, and Mark Bonta, an assistant professor of earth sciences at Penn State Altoona, and their colleagues team collected older ethnographic reports and conducted detailed interviews with six eyewitnesses, including Aboriginal firefighters and academics. They told stories of raptors stealing burning twigs from cook fires and transporting the brands up to a kilometer (about a half mile) away. One firefighter reported seeing a flock spread a wildfire all the way up a small valley. A cattle station caretaker described a small group of raptors moving a fire front across a river, resulting in a blaze that wiped out much of the station infrastructure. Stories like these are part of the reason black kites and other raptors are illegally shot on sight by irate station managers, Dr. Bonta said in an interview. It's unclear how common the behavior is or whether it exists at all. As yet, no conclusive photographic or video documentation exists. Even without direct evidence, though, formerly skeptical ornithologists have found the combination of ethnographic research and firsthand accounts compelling. Raptors are already well known for "smart" hunting approaches, including following human vehicles that might flush prey to dropping stones on tough eggs, said Steve Debus, an adjunct lecturer at the University of New England in Armidale, Australia. Black kites, one of the species implicated in fire spreading, have a reputation for being particularly clever. "They seem intelligent and quick to learn ways of obtaining food," Dr. Debus said. "They've been known to take food from schoolyards, even from children's hands, and use bread scraps at picnic areas to bait fish within capture range." Dr. Bonta believes that fire spreading is not observed more often because only a few birds in any large flock understand how to do it. "It's notable that we did not receive credible reports from casual tourists or others who might have simply gotten lucky," he said. "It appears that one needs to have spent a lot of time in the bush, and a fair amount of it close to wildfires." Aboriginal peoples, on the other hand, know the bush intimately and are no strangers to wildfire. The idea that some birds spread fires is common among indigenous groups in the Northern Territory, Dr. Bonta said. An Aboriginal boy with a young, fallen whistling kite in the Arnhem Land. Firebirds are of special significance to indigenous people, whose lore tells of birds gifting fire to humanity. Mr. Redford pointed out that the birds are ceremonially important. According to Aboriginal lore, human knowledge of fire dates to the Dreaming, the time before time, when the firehawk brought embers to people in a burning stick. In complex Dreaming ceremonies, like the hollow log ritual Lorrkon, those with special knowledge re enact the story. "We still repeat, same way, what the old people did," Mr. Redford said. "He used to play with that firestick, too, that bird. That's feeding time for him." Fire spreading birds came to mainstream attention in 1964 with the publication of "I, The Aboriginal," the purported autobiography (it was ghostwritten) of indigenous activist Waipuldanya, which described firehawks spreading wildfires to hunt. While the account raised scholarly interest, no follow up research appeared. Many scientists dismissed accounts of fire spreading as accidental, a misperception about birds mistakenly snatching smoldering material. Firehawks have also tended to be regarded as folklore by government officials, Dr. Bonta said, becoming scapegoats for fires that have been improperly managed. When Mr. Gosford reread his copy of the book in 2011, however, the section on fire spreading caught his eye. As an amateur ornithologist and lawyer working on indigenous cases in the Northern Territory, Mr. Gosford said, he'd developed a deep respect for Aboriginal knowledge of the landscape. He wrote a pair of blog posts on the subject that received media attention in 2016. He and Dr. Bonta, a frequent correspondent, decided it was time to collaborate on a peer reviewed paper. While the indigenous practice of controlled burns was largely suppressed during Australia's colonial period, legal decisions that delivered land back to Aboriginal ownership have fueled a return to traditional strategies that more closely mimic natural processes. For these strategies to be successful, Dr. Bonta said, officials need to take local expertise seriously about animal habits, including firehawks. "Aboriginal people like the peoples of New Guinea and Amazonia and many other places often have far better knowledge of local flora and fauna than outsiders, built up over the course of millennia," Dr. Bonta said. "What possible reason could there be to not put enormous effort into helping them preserve what they know and collaborate to improve our overall understanding of nature?" Perhaps the Australia's firehawks are enacting a process similar to the one humanity used to control fires. Or perhaps, as the Aboriginal people say, the birds' activities lit the spark for people in the first place. "I'm glad that others are now talking about co evolution and learning from birds," Dr. Bonta said. "Fire may not be so uniquely human after all."	N24News: A New Dataset for Multimodal News Classification	Science
For the most part, the houses that Harriet Beecher Stowe lived in have been carefully preserved and protected from the Brunswick, Me., residence where she wrote "Uncle Tom's Cabin" to the Hartford house where she spent her last years. But if you have a few hundred thousand dollars lying around, you can log on to eBay and buy the house where she was born. That house built in Litchfield, Conn., in 1774 and purchased by the Rev. Lyman Beecher, the author's father, in 1810 has been the subject of much dispute in recent years. Stowe lived there until she was 13, when she became a student at the Hartford Female Seminary. The house now sits disassembled in storage lockers in Massachusetts and Connecticut. Art Pappas, an antiques dealer and the house's co owner, listed it on eBay this month for 400,000, but it did not attract any bids. On Monday, he relisted it. Mr. Pappas said he hoped the house would be restored and made open to the public. "I've had people say, 'We'll take the house,' but with no proof that they can do anything with it," Mr. Pappas said. "Our goal is for someone to do a proper restoration job."	N24News: A New Dataset for Multimodal News Classification	Art & Design
BERLIN With the crisis in Japan raising fears about nuclear power, Germany and Switzerland said on Monday that they would reassess the safety of their own reactors and possibly reduce their reliance on them. Doris Leuthard, the Swiss energy minister, said Switzerland would suspend plans to build and replace nuclear plants. She said no new ones would be permitted until experts had reviewed safety standards and reported back. Their conclusions will apply to existing plants as well as planned sites, she added. Swiss authorities recently approved three sites for new nuclear power stations. Germany will suspend "the recently decided extension of the running times of German nuclear power plants," Chancellor Angela Merkel told reporters in Berlin. "This is a moratorium and this moratorium will run for three months." She said the suspension would allow for a thorough examination of the safety standards of the county's 17 nuclear power plants. "There will be no taboos," Mrs. Merkel said. Even when the three months is over, Mrs. Merkel warned, there would be no going back to the situation before the moratorium.	N24News: A New Dataset for Multimodal News Classification	Global Business
In 1972, in one of the early finds of marine archaeology, researchers discovered a trove of clay figurines on the seabed off the coast of Israel. The figurines hundreds of them, accompanied by ceramic jars were assumed to be the remains of a Phoenician shipwreck that had rested under the Mediterranean for 2,500 years. The artifacts were never fully analyzed in a scientific study, and were filed away and mostly forgotten for decades. But a new analysis by Meir Edrey, an archaeologist at the Leon Recanati Institute for Maritime Studies at the University of Haifa in Israel, and his colleagues indicates that the items were not deposited all at once in a wreck. Rather, they accumulated over roughly 400 years, between the 7th and 3rd centuries B.C., in a series of votive offerings, as part of a cult devoted to seafaring and fertility. "These figurines, the majority of them, display attributes related to fertility, to childbearing and to pregnancy," Dr. Edrey said. The ancient Phoenicians were a seafaring merchant culture that stretched across the Mediterranean. Their first city states arose nearly 5,000 years ago, and the culture reached its height during the millennium before Carthage was defeated by Rome in 146 B.C. In the 1970s, a number of the Phoenician figurines began turning up on the illicit antiquities market. Researchers at the time tracked down the vendor and persuaded him to reveal the source; the details led to the discovery of hundreds of figurines and amphorae, or clay jars, at a site called Shavei Zion, off the coast of western Galilee. The items were ascribed to a shipwreck dating to the 6th century B.C. But Dr. Edrey's team examined thousands of pottery shards and found they were quite different in style. Such variation typically indicates that pots come from different time periods, suggesting the site was not the result of a single event. "I'm completely convinced that their understanding of this site is correct," said Helen Dixon, a historian at the East Carolina University who was not involved in the recent study but did some work on the early findings at Shavei Zion as part of her doctoral research. "They're being cautious and scientific, but I'm sold." Dr. Edrey and his team also looked at more than 300 figurines, which fit within several themes. Many of the figurines carried symbols associated with Tanit, a goddess of the Phoenician pantheon and the main goddess of Carthage by the 5th century B.C. Others bore dolphin symbols, also associated with Tanit, while some of the figures showed a pregnant woman carrying a child. "Tanit was the mother goddess for the pantheon," said Aaron Brody, director of the Bade Museum at the Pacific School of Religion; he has published work on Phoenician religion but was not involved with the new study. "She quite literally was the mom of the family of deities." Dr. Edrey speculated that practitioners of a fertility cult came to this area periodically to cast offerings into the water. The figurines might represent common people, and casting them into the sea could represent a type of sacrifice that substituted for the real thing, he said. In some figurines the right hand is upright, and the left sits below the mouth. This could indicate some sort of vow in exchange for a divine favor, such as safe passage on a voyage, Dr. Edrey said, which would have been particularly important for the seafaring Phoenicians. "The figurines are in some ways kind of a bridge between the earthly world and the divine," Dr. Brody said. Knowledge of Tanit and of Phoenician religion is limited, as most of the papyrus from that period has not survived. Still, Dr. Dixon said, the Shavei Zion figurines add to what researchers have learned from similar figurines found in tombs. "In the same way that figurines might be part of ritual going on into a dangerous part of the sea, they might be part of a burial, preparing for a journey to the afterlife," she said.	N24News: A New Dataset for Multimodal News Classification	Science
Welcome to Best of Late Night, a rundown that lets you sleep and lets us get paid to watch comedy. What do you think of it? What else are you interested in? Let us know: thearts nytimes.com. President Trump tweeted on Tuesday that he would be announcing mock awards next week for the "most dishonest" and "corrupt" members of the media. Late night hosts found that one irresistible. "'The stupid people's choice awards' is what they're calling it. This is a real dilemma for the president because on one hand, you know, he loves awards and trophies. But will he be physically able to give a trophy to someone other than himself? I don't think so." JIMMY KIMMEL Stephen Colbert who is always hungry for Mr. Trump's disapproval would really like one of those awards. He bought a "for your consideration" ad in Times Square, and tweeted about it himself. On "The Daily Show," Trevor Noah made a commercial on Mr. Trump's behalf advertising the event or, nonevent. A 67 year old man in Louisiana was arrested this week and charged with operating an email scam claiming to be a "Nigerian prince." Mr. Noah was appalled to hear that the scammer was actually a white American man. "I can't believe that this guy is the Nigerian prince white people take everything from black people! Music, fashion and now they stole our stealing. Are you expletive me?" TREVOR NOAH "He is basically accused of being the Rachel Dolezal of crime. I bet somewhere out there she's like, 'I don't get it, he looks like a Nigerian prince to me!'" TREVOR NOAH "Mitt Romney is reported to be considering a run for the Senate in Utah to replace retiring Senator Orrin Hatch. If elected, he promises to bring some much needed boringness back to the Republican Party. I like to imagine Mitt Romney gearing up for a Senate run, furiously ironing his Dockers while 'Eye of the Tiger' blasts out of his Amazon Echo." JIMMY KIMMEL "This afternoon, Trump fired back hard: 'Steve Bannon has nothing to do with me or my presidency. When he was fired, he not only lost his job, he lost his mind.' Now all he has to do is lose his dog, and he's going to have an awesome country song." STEPHEN COLBERT, on Mr. Trump's reaction to statements made by his former strategist in a new book about the administration Jimmy Kimmel decided to add closed captioning to his monologue, in an attempt to more equitably serve California's stoned viewers. Hollywood women will be wearing black to the Golden Globes on Sunday, in solidarity with victims of sexual harassment and abuse. And many of them are also getting involved in the cause through an organization known as Time's Up, which has created an action plan to combat sexual harassment.	N24News: A New Dataset for Multimodal News Classification	Television
Amber, or fossil tree resin, exists in rock layers all over the world. But for some reason, paleontologists never found much of it in Australia or New Zealand. That's why it was exciting when Jeffrey Stilwell, a paleontologist at Monash University in Melbourne, and a group of students, found a stash in southern Australia in 2011. The find led Dr. Stilwell to mount a search for more amber at sites across Australia and New Zealand, with one of the specimens more unusual than all the rest: It contained two insects frozen in the act of mating. "I looked at the piece under the microscope, and when I looked at it, I said, 'This looks really important, because it looks like they're almost attached or something,'" he said. "I couldn't believe it it looks like they're mating." Dr. Stilwell and his colleagues detailed their findings in a paper published Thursday in Scientific Reports. Dr. Stilwell calls this "frozen behavior." Such a thing is exceptionally rare in the fossil record, because it means absolutely nothing happened in the moments between when the flies were living and when they died and became entombed. It's comparable to what happened to humans in 79 A.D. at Pompeii, when volcanic ash from the eruption of Mount Vesuvius smothered and froze some Romans in a flash. It's possible that the flies are not in the precise position they were when they died but they're close. "It's true and valid information," said Victoria McCoy, a paleontologist at the University of Wisconsin, Milwaukee, who was not involved in the discovery. "It's possible one fly was trapped in the amber and the other was a little excited and tried to mate." The first amber samples the team found came from Australia's Otway Basin, a site where Dr. Stilwell led students for research in May 2011. He did a double take when they first stumbled upon the amber. "I started to see bits of gold, 'clear gold,' if you want to call it that," said Dr. Stilwell. "I knew exactly what it was. I knew it was amber. I could not believe my eyes when I saw that." They discovered ants that are between 42 million and 40 million years old, which are the first fossil ants ever found in Australia, and which are part of a group of ants that's still alive today. They discovered a cluster of spiders though they don't yet know what kinds of spiders they are and they discovered mites as well as springtails that seem to preserve their original colors. The rock layers from which the in flagrante flies and the other creatures come from is made of coal, which, as the pressurized remains of ancient plant life, tells Dr. Stilwell and his team that the creatures lived somewhere that once teemed with plants including the trees that smothered the animals in resin that then turned to amber. The oldest amber in the team's haul comes from the Triassic Period, which stretched from 252 million to 201 million years ago. During that time, Earth's separate land masses formed one supercontinent, Pangea. Australia and Antarctica, stitched together, comprised part of Pangea's southern reaches, Gondwana. It eventually split from the supercontinent. That means the amber entombed animals lived in what are today polar and subpolar latitudes, hinting at the environment that once prevailed on what was then a unified landmass. Why fossil rich amber seems to be so rare from this part of our planet discovered only now after more than a century of paleontologists working in places like Australia remains to be seen. "It's not clear if this is due to a lack of fieldwork in the Southern Hemisphere, or a lack of amber producing forests," Dr. McCoy said. More fieldwork could help resolve this, but for now, Dr. McCoy says, the next stage of the team's discovery can begin: describing each of the animals in the amber specimens, which might include species from never before seen groups of animals. "We might see lineages that we never knew existed," she said.	N24News: A New Dataset for Multimodal News Classification	Science
It seems significant that one of the most heart stopping characters on the London stage over the last 12 months went simply by "Her." Billie Piper may have loomed especially large as this anguished, motherless character, but the luminous actress was by no means alone during a theatrical year in which women held pride of place. Ms. Piper's vehicle was the 1934 Federico Garcia Lorca classic "Yerma," refashioned for the present in a Young Vic production from the Australian writer director Simon Stone. She played a young married Englishwoman rendered so bereft by her inability to have children that she careered toward madness. Her apple cheeked robustness seemingly hollowed out by the final curtain, Ms. Piper vaulted in a single performance to the top ranks of distaff talent in a town where women across the spectrum of age and experience reigned supreme in 2016. That was certainly true of Glenda Jackson, the two time Oscar winner who, at 80, returned to the theater after a quarter century in politics to lend a gravelly authority to the title role in King Lear, in a feisty modern dress version directed by Deborah Warner. Striding onto the Old Vic stage like someone who meant business, Ms. Jackson's steely eyed monarch was at no point more affecting than in those passages of the play where the psychically battered Lear fears he might go mad "he" being the operative word, as Ms. Jackson assumed the gender from first sight; this was no Queen Lear. Up the road at the National Theater, a youthful and relative unknown by the name of Sophie Melville lent a lippy sense of occasion to Gary Owen's mesmeric solo play "Iphigenia in Splott," about a brash young Welshwoman determined to carve out her place in the world. Less feral but every bit as commanding was the great Helen McCrory as the abject Hester Collyer in the National's revival of the 1952 Terence Rattigan play "The Deep Blue Sea," a portrait of romantic despair of unfathomable depths. There wasn't a guy to be seen in the ensembles of Phyllida Lloyd's trio of Shakespeare plays, all set in a female prison and headed by the heroic Harriet Walter, or in the quartet of older adults who gather in Caryl Churchill's quietly cautionary "Escaped Alone" to sip tea and ponder the coming apocalypse. The third and final of Ms. Lloyd's trilogy, "The Tempest," will open in Brooklyn early this year with the same cast, at St. Ann's Warehouse, followed soon after by "Escaped Alone" at BAM, also with its astonishing cast headed by Linda Bassett, a longtime interpreter of this maverick playwright intact. The onetime "Glee" star Amber Riley crossed the Atlantic to bring some serious vocals, and not inconsiderable acting chops, to the part of the lovesick, plus size Effie in the long overdue West End premiere of the 1981 Broadway musical "Dreamgirls." Meanwhile, the producers of the year's commercial leviathan, the hugely entertaining two part "Harry Potter and the Cursed Child," should be commended for thinking outside the box and choosing the Olivier award winning black actress Noma Dumezweni to play Hermione Granger onstage. Cheers, too, to the mighty J. K. Rowling, whose tweets on the subject silenced all naysayers: "We found the best actress and she's black. Bye bye, now," read an especially pithy one. Paul Thornley and Noma Dumezweni in "Harry Potter and the Cursed Child." Not that men were in any way denied a viewing. Ian McKellen returned to the West End in an invaluable revival of "No Man's Land," Harold Pinter's 1975 play whose signature moment came in the first act, when Mr. McKellen's shambolic poet, Spooner, recounted having once been described as "a betwixt twig peeper" the actor savoring every syllable of a phrase that makes me smile even now. Ralph Fiennes impressed not once but twice, with his staunchly self satisfied Solness in "The Master Builder" at the Old Vic followed shortly after by a Richard III at the Almeida Theater in north London fairly dripping with coercion and contempt, much of it turned against his own damaged self. Still at the Almeida, Paul Rhys spared no emotional expense in an Anglicized "Uncle Vanya" with the title character in the director Robert Icke's version of Chekhov's play here called Johnny that took an intermission between each of its four acts, presumably so that the audience could catch its breath. And the fast rising Scottish actor James McArdle, playing the eponymous social gadfly at the frantic center of Chekhov's early play "Platonov," exhibited charm to spare as a libidinous schoolmaster who finds himself fending off women at every turn. The director Jonathan Kent's production was the first and best of a riveting triptych of Chekhov titles, all in versions by David Hare that came to the National during the summer under the collective banner "Young Chekhov." On the musical front, the two time Tony nominee Andy Karl vanquished all thoughts of Bill Murray in his British musical debut in the Tim Minchin scored "Groundhog Day." Mr. Karl plays the dyspeptic Pennsylvania weatherman Phil Connors, who learns to accommodate humanity to a degree that one wishes the world at large might take time to heed. Matthew Warchus's Old Vic production begins previews on Broadway in March. And in a year in which Andrew Lloyd Webber seemed to be everywhere (his "Phantom of the Opera," for one, marked its 30th London birthday in October), a slightly built dynamo named Tyrone Huntley scorched the night sky as Judas in the director Timothy Sheader's alfresco revival this past summer of "Jesus Christ Superstar" at the Open Air Theater in Regent's Park. Mr. Sheader's vital reappraisal of one of Mr. Lloyd Webber's and Tim Rice's earliest works is scheduled to return to that address in the summer. It's unclear whether or not that will be with Mr. Huntley, who has moved on to "Dreamgirls" to play (and very well) Effie White's songwriter brother, C. C. Inhabiting a class all its own was the English director Dominic Cooke's National Theater revival by turns devastating and ravishing of "Ma Rainey's Black Bottom," the career defining August Wilson play first seen on Broadway in 1984 that remained as fearless as ever in its depiction of a stealthily toxic racism. No praise was too high for Sharon D. Clarke as the eponymous Ma Rainey, the so called mother of the blues, and a woman worth reckoning with from the moment she made a majestically belated entrance, her cowed entourage in tow. Mr. Cooke will return to the National in the fall to stage the first production there of "Follies," the 1971 Stephen Sondheim/James Goldman musical that offers a host of acting opportunities for women. If he can elicit from that pioneering show about dreams deferred anything like the muscular power he found in "Ma Rainey," it looks as if to co opt a lyric from "Follies" we really are going to love tomorrow.	N24News: A New Dataset for Multimodal News Classification	Theater
At its heart, the documentary "Museum Town," is a love letter to the Massachusetts Museum of Contemporary Art, to artistic experimentation and to North Adams, the struggling factory town where the institution is situated. The film's main thread follows the staff of Mass MoCA as they prepare for "Until," a colossal exhibition by the Black sculptor Nick Cave that includes an eclectic mix of found materials like ceramic birds and 10 miles of crystals. The project, which was on display from October 2016 to September 2017, perfectly encapsulates Mass MoCA's mission: to help contemporary artists realize their wildest dreams and to curate in ways not dictated by the art market. Between scenes of Cave approving different ceramic trinkets and the staff maneuvering the moving pieces of the exhibition are two other stories, narrated by Meryl Streep: The history of Mass MoCA's uneven development and the story of how North Adams went from a bustling working class factory town to a divested one.	N24News: A New Dataset for Multimodal News Classification	Movies
He was known across the internet as "Pompeii's Unluckiest Man." But the story that spread about his demise may have been greatly exaggerated, a new finding suggests. In May, archaeologists uncovered the ancient remains of a man who had been seemingly crushed by a flying boulder while fleeing from the eruption of Mount Vesuvius in 79 A.D. Only his skeletal legs and lower torso protruded from beneath the 600 pound block. At the time, the team reported that a volcanic cloud had launched a stone door jamb toward the man, decapitating him. What appeared to be the Wile E. Coyote esque nature of the man's final moments made him an instant, meme worthy celebrity some 2,000 years after his death. But further digging has unearthed the man's intact skull with his mouth wide open (and full of teeth), suggesting he was not crushed by a volcanic projectile. The skull and the man's upper torso and arms were found about three feet nearly directly below the rest of the body and the gigantic stone. The team said they knew the bones belonged to the same person because of their proximity to each other and because the two halves matched up. The archaeologists from the Pompeii Archaeological Park announced their finding Thursday.	N24News: A New Dataset for Multimodal News Classification	Science
Sometimes the wrong jockey gets on the right horse. Ask Robby Albarado. Last week, if you had said the name of the 47 year old journeyman from Cajun country known as southwest Louisiana outside of horse racing you would have been asked: "Whatever happened to him?" The answer could be found on Saturday in the winner's circle of the Preakness Stakes after Swiss Skydiver became just the sixth filly, and the first since Rachel Alexandra in 2009, to beat the boys in the 145 year history of the race. But a series of injuries, including two skull fractures, derailed his career. Bones snapped from his ankle to his shoulder on an annual basis, making him far more regular in physical therapy sessions than jock rooms. Albarado last won a top level race three years ago and, until Saturday, he could be found riding inexpensive horses on the grits and hard toast circuits at Indiana Grand in Shelbyville and Turfway Park in Florence, Ky. But Swiss Skydiver's trainer, Kenny McPeek, is a second chance type of guy. Peter Callahan, Swiss Skydiver's owner, entrusted McPeek with good horses when no one else would. And McPeek had won a lot of races with the healthy and wealthy Albarado. And this summer, McPeek found himself in trouble. Like all of sports, the coronavirus had upended the Triple Crown. The Preakness Stakes, normally run on the third weekend in May as the second leg of thoroughbred racing's Triple Crown, had become its final race, on the first Saturday of October. Swiss Skydiver and McPeek were without a rider. Throwing his filly into the deep water with the boys had been a last minute decision. Tyler Gaffalione, who won the Alabama Stakes in Saratoga and finished second in the Kentucky Oaks aboard Swiss Skydiver, already had commitments to ride at races at Keeneland on the day of the Preakness. Albarado, though. was not even McPeek's second choice: He reached out to the Hall of Fame rider Mike Smith first. Smith, however, could not get to Baltimore in time to do the testing and quarantining required by Maryland racing officials for the Preakness. "We had to call him in at the last minute," McPeek said of Albarado. It was the lifeline Albarado had been awaiting. He and McPeek spent long days at Pimlico Race Course, with Albarado walking and galloping Swiss Skydiver. The trainer and jockey only left for meals, which they shared with each other. Bettors at least, never gave Swiss Skydiver a shot. Authentic was sent off as the 3 2 favorite. The colt had won the Kentucky Derby last month and was trained by the Hall of Fame trainer Bob Baffert, who has recently made more headlines involving his run ins with the sport's regulators. Last spring, Arkansas regulators suspend Baffert for 15 days and disqualified two of his winning horses after they tested positive for a banned substance. In addition, the Baffert trained Justify failed a drug test after winning the Santa Anita Derby nearly a month before the 2018 Kentucky Derby. It should have disqualified him from the series, but California racing officials investigated the failed test for four months, allowing Justify to keep competing long enough to win the Triple Crown that year. As the field of 11 headed into the far turn, it appeared that Authentic was going to give Baffert his eighth Preakness title, breaking a tie for most wins by a trainer with Robert Wyndham Walden, who saddled seven winners between 1875 and 1888. Authentic had an easy lead. But Albarado old, broken up and a habitue of the bush circuit summoned his instincts of old. He dived Swiss Skydiver inside to the rail and zipped her right pass Authentic. "If I make that move now, I got a shot," Albarado recalled thinking. "If I wait, I get smothered." In a spectator less clubhouse, properly socially distanced, McPeek understood what had just happened on the track. "It was genius move by Robby," he said. "He saw a hole and the rail, and she took him there." Yes, Swiss Skydiver did. With Albarado scrubbing her neck, the old jock and the allegedly outclassed filly stayed a neck ahead of Authentic all the way down the stretch. In the end, Swiss Skydiver, the well traveled daughter of Daredevil, covered the one and three sixteenths mile race in 1:53.28, rewarding her backers with 25.40 on a 2 bet. It was her sixth victory in 11 tries at seven different racetracks, and it pushed her career earnings past 870,000. Each Triple Crown leg this year took on a different character in this strange era of sports. The Belmont, which kicked off the series for the first time in history, marked the return of a major sporting event to New York. The Kentucky Derby was run against a tense backdrop of protests. Before the race began in Louisville, hundreds of people calling for racial justice circled Churchill Downs, and several members of a Black armed militia knelt in front of Louisville police officers stationed inside a fence erected around the track. It was the 101st day of protests in the city over the death of Breonna Taylor, a Black emergency room technician who was shot and killed in her home by police officers during a botched raid of her apartment. The Preakness has earned the reputation for its easygoing meets anything goes atmosphere. But with its sprawling infield devoid of its usual raucous, beer drinking crowds and the popular music acts performing on a stage, this Triple Crown season came to a quiet conclusion. But at least the right rider wound up bring it to a conclusion with what many had considered to be the wrong horse. "She's so neat," McPeek said of his winner. "I'm really proud of Robby."	N24News: A New Dataset for Multimodal News Classification	Sports
For all the talk since 2016 of foreign election interference and Russian "meddling," it seems few people really understand the information war and how not to play into the hands of our enemies. Last week, The Times and others reported that intelligence officials warned House lawmakers that Russia was trying to get President Trump re elected. On Friday we learned the interference was bipartisan: The Washington Post first reported that Senator Bernie Sanders was briefed by U.S. officials that Russia was "attempting to help" his campaign as well. Both reports were understandably alarming and dominated headlines. And yet they offered very little information about the scope of the interference. Here's all we know, days later: Donald Trump berated the outgoing acting director of national intelligence, Joseph Maguire, for holding the briefing. A Times story said that "current and former officials speculated that the briefing might have played a role" in Mr. Maguire's recent replacement as director. We also know that Senator Sanders condemned any Russian meddling while also using the news to take pressure off his online supporters (a subject that came up in last week's debate). "Some of the ugly stuff on the Internet attributed to our campaign may well not be coming from real supporters," he said. But there's a lot more we don't know about this Russian interference, including: What exactly do these intelligence officials mean by "interference"? Is it an uptick in the garden variety attempts to sow discord via fake social media accounts or large, hyperpartisan Facebook groups or pages? Or is it a deeper, more sophisticated attempt at infiltrating electronic elections systems? Both? Did officials feel compelled to brief lawmakers because they noticed an anomaly in the volume of inauthentic accounts or posts? Or because of tactics they'd never seen before? We don't know, and officials can't even seem to agree on the scope of the meddling. Of course ignorance hasn't prevented the scant news from being weaponized by interested parties. On Friday Hillary Clinton reacted to the news on Twitter by suggesting that Mr. Trump is "Putin's Puppet" and "taking Russian help for himself." Over 23,000 people amplified the tweet. Over the weekend, the news of potential Russian assistance for the Sanders campaign prompted its own breathless speculation. The Bloomberg campaign used the news to attack Mr. Sanders's brand of socialism as appealing to Russians. Others went even further. "If Bernie Sanders secures the Dem nomination 11 days from now, as is possible, the Russians will have succeeded in hacking our democracy," the author and professor Walter Isaacson tweeted on Friday. He later deleted the tweet. Still, this narrative made its way to cable news. On Saturday, as it became clear Senator Sanders would win the Nevada caucuses, the Democratic strategist James Carville said the caucuses were going "very well" for President Vladimir Putin of Russia. A tweet of Mr. Carville's MSNBC appearance summarized the interview bluntly: "James Carville: Putin is trying to help Sen. Sanders because Putin wants President Trump to win. It's a straight line." These claims aren't just irresponsible, particularly coming from high profile politicians and media figures. They also play directly into the hands of adversaries already seeking to divide. Foreign election meddling vague a term as it is is a continuing process. It has ebbed and flowed since 2016, but it has never stopped. Alarm over new reports ought to be regarded proportionally. "This should not be a surprise to anyone," Clint Watts, a research fellow at the Foreign Policy Research Institute, tweeted after the Sanders news broke. In a follow up report, Mr. Watts described the Kremlin's 2020 strategy as "simple, straightforward and openly available for all to see: Secure the base, split the opposition." Part of splitting the opposition, he wrote, is sowing division "by pitting populists against the establishment." As Wired's Brian Barrett wrote last week, it appears "no one has learned anything since 2016." Yes, fake news, disinformation and "meddling" are again top of mind in politics, but few seem to understand the complicated dynamics of propaganda and how to engage in the information war without becoming unwitting participants themselves. The first mistake many make is to assume that foreign interference is wholly separate from domestic propaganda and partisan news. Renee DiResta, who studies networked propaganda as the technical research manager at the Stanford Internet Observatory, has tracked foreign efforts to manipulate voters online. Recently she cautioned in a long Twitter thread about 2016 election interference that "most material was drawn directly from real pain points, then repeatedly reinforced. And that is why when we look at foreign influence operations, we do have to recognize that the overwhelming majority of the narratives do not come from outside they are just exacerbated by outsiders who intentionally build communities to reinforce insecurity and distrust," she wrote. A great deal of the Russian troll farm content in 2016, especially the content directed at black voters, wasn't even directly related to an election candidate. Instead, foreign actors created social justice Facebook groups like "Black Matters US," "Blacktivist" and "Don't Shoot Us" to try to amplify existing tensions. As the KGB defector Yuri Alexandrovich Bezmenov said in an interview all the way back in 1984, the end goal of meddling is to demoralize citizens so that "exposure to true information does not matter anymore." The author Peter Pomerantsev offered an updated explanation last year, writing that Russian propaganda seeks to seed "doubt and confusion, evoking a world so full of endlessly intricate conspiracies that you, the little guy, had no chance to work out or change." Foreign interference, then to the extent that we can quantify it is less a battering ram than it is a chisel meticulously aimed at pre existing cracks in a weakened facade. The effect of such interference is, in large part, determined by our response to it. Unfortunately, many of the systems we rely on (intelligence leaks, amplification via social platforms and cable news, electoral politics) seem out of step with the current moment. When news leaks from intelligence sources, the press arguably has an obligation to report such things, even if the motivation of the leaks is unclear or political in nature. But news reports without many details leave an information vacuum. And in our platform powered misinformation universe, that vacuum is naturally filled by media incentivized to amplify the controversy, jaded party leaders attempting to score political points and bad faith trolls. It helps deepen divisions and sows chaos. I can't claim to have a lot of easy answers, especially on an internet that incentivizes engagement and rewards controversy. Asking the press or politicians to ignore such news is arguably wrong and certainly unrealistic. But we can ask that they not provide ideal conditions for division and misinformation to grow. That might mean expecting leaders of the intelligence community to find ways to publicly disclose and declassify information on election interference so that citizens have a realistic understanding of the threats facing their democracy. It might mean developing a more precise vocabulary that moves away from vague, ominous sounding terms like "meddling" and "interference" toward specific terminology (some online propaganda accounts are created to build audience and content, and others are purely about dissemination). For the press, it might mean listing all the information we don't know up front and urging caution when reporting on partial leaks. If we don't adapt to this information war, our panic over election meddling could become self fulfilling. And we will become useful idiots in the undermining of our own electoral legitimacy. That, more than electing any one leader, is the true goal of Russian interference. 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
Read all of our classical coverage here. Dear classical listeners! Like many of you, I suspect, I spent Thursday in a rabbit hole of Aretha Franklin music and YouTube videos. (It seemed like the only way to mourn the "Queen of Soul," who died on Thursday at 76.) In the process I revisited one of her greatest and most unusual performances: when she filled in, at the 11th hour, for an ailing Luciano Pavarotti at the 1998 Grammy Awards. She sang "Nessun dorma" from Puccini's opera "Turandot" a kitschy aria so overdone it was even used by President Trump on the campaign trail in 2016. "Rimsky Korsakov and His World" is the focus of the Bard Music Festival, which continues this weekend with a multifaceted reappraisal of this Russian composer, who in the West is known only for a tiny fraction of his output. The concerts and lectures I attended last Saturday and Sunday gave me a new understanding of the forces shaping Russian music at the time, even if I did not come away agreeing with Mr. Taruskin's verdict, quoted above. What did seem shockingly underrated was the Fourth Symphony by Sergei Taneyev, which the American Symphony Orchestra performed under the direction of Leon Botstein. Written in 1901, it's an alluring synthesis of Eastern and Western European styles, with lush melodies woven into a dense score of Brahmsian heft. Taneyev studied composition under Tchaikovsky and there is something of that composer's succulent flow in the first movement, which opens with a fanfare of dark majesty that is answered, about 1:26 in, by a gorgeous, waltzable cello tune. CORINNA da FONSECA WOLLHEIM It's not the first time Mr. Botstein and Bard have championed Taneyev; they did his mighty opera "Oresteia" in 2013. And Dmitri Hvorostovsky, the beloved Russian baritone who died last year, sang five of his elegant songs at a Carnegie Hall recital in 2011. Facebook isn't always a social or individual good, but it's been invaluable over the years in making connections with music new to me. I'm friends on the platform with the composer Anthony Cheung, who this week posted a link to the guitarist and composer Miles Okazaki's surprise new recording, for guitar solo, of the Thelonious Monk songbook. Listening to these is such an intimate, warm, enigmatic, playful, gentle experience; I'm still working my way through them. Here's his gorgeous rendition of "Ugly Beauty":	N24News: A New Dataset for Multimodal News Classification	Music
ON a recent afternoon, Timothy Sheard, a 62 year old mystery novelist, was leaning against his cherry red car, which was drawing attention from passers by on an otherwise quiet Brooklyn street. The car was a 1969 Avanti II. It looked both retro and futuristic, something that might have been driven by Serge Gainsbourg in 1960s Paris, or perhaps by Neo from "The Matrix." In 1963 Studebaker introduced the Avanti as a halo model, Mr. Sheard said. When the company faced financial troubles in the following years and shifted production to Canada, two car dealers in South Bend, Ind., bought the tooling, the remaining parts and the rights to the Avanti name and resumed building the car, renamed the Avanti II, in 1965. "They continued to manufacture it with the same guys that were building it for Studebaker," Mr. Sheard said. "And they made it for about 20 years." Mr. Sheard was in jovial spirits. He wore a pink polo shirt, tan khakis and chestnut boat shoes. Between responding to questions, greeting neighbors and flicking away random detritus that had fallen from tree branches overhead, Mr. Sheard described a rather ambitious book tour. "I was a little bit foolish, a little bit romantic," he said of the three week, 3,000 mile journey to promote his third novel, "A Race Against Death" (Five Star Books, 2006). "I decided to go on the book tour driving the Avanti," he explained. "Which was ridiculous, because you know it's going to break down." He added, "Of course it broke down." "I lost the front brakes in the mountains of northern Pennsylvania," Mr. Sheard recalled. "There was no problem because I had the rear brakes, so I was O.K." "I called Studebaker International and said, 'I need a brake part,'" he continued, referring to a company that specializes in Studebaker parts. "Well, they still had parts for it most of the parts, not all of them." The part arrived the next day. "I found a little, tiny mechanic, no name, two young guys," Mr. Sheard said. "The U.P.S. guy came right after lunch. He came barreling down this little road. They fixed the brakes, and I'm on the road again." Mr. Sheard traveled as far north as Milwaukee, then crossed Lake Michigan on a ferry and drove to Ann Arbor, Mich., where the radiator sprang a leak. ("No problem," he said. "A little stop leak and I was good to go.") After getting a jump start, he drove to another "tiny little garage," where the mechanic made a diagnosis of alternator failure. "So he goes in the back," Mr. Sheard recalled, "and he just happens to have an alternator for the small block Chevy engine from the '60s. It had been rebuilt. It was like the 'Twilight Zone.'" Mr. Sheard said he enjoyed the challenge of taking a long trip in a 40 year old car. "My wife doesn't get this it's a guy thing," he said, distilling the challenge to four simple words: "Can we make it? Can we make it? Can we make it? "But I don't think I'll do it again. Next time, I'll rent a car." Mr. Sheard is tall and has a gift for storytelling. Like his books, the stories come with a twist, including his own life story. After graduating from college with a philosophy degree, Mr. Sheard attended nursing school and went to work as a hospital nurse in Philadelphia and then New York. "When I hit 40," he said, "I realized that I was in a habit of telling stories about my favorite patients and my favorite co workers." TIME TRAVELER The Avanti's shape, both retro and futuristic, was supervised by Raymond Loewy. He wrote down the stories illustrating the spirit of his subjects and sold them to publications for medical professionals. "When I tried to sell a collection as a memoir, I couldn't get a publisher," he said. "I couldn't sell it." His wife, Mary Lonergan, suggested that he adapt the stories into a fictional setting. "And you know, mystery novels sell, right?" he said. "They're big. They're big!"Mr. Sheard published his first mystery novel, "This Won't Hurt a Bit," in 2001 (Creative Arts); his latest, "Slim to None," was released in March by Hardball Press. The main character, as always, is an unassuming hospital janitor and amateur sleuth named Lenny Moss."I love Miss Marple," Mr. Sheard said, referring to the Agatha Christie character. "Because she's this little old lady and the killers and the upper class villains they look at her and they think that she's harmless, Mr. Sheard said. "She's sitting there knitting, but she sees everything. And she sees through everybody's masks. So I wanted a Miss Marple character, that's what I wanted. Someone that people would overlook and undervalue." A few minutes later, Mr. Sheard answered a telephone call just as a young man and woman noticed the Avanti, smiled and drifted toward the car. "What is that?" one of the pair asked. But seeing the car's owner occupied, they started to turn away. Mr. Sheard, still on the phone, looked up and darted a few steps after them. "It's an Avanti," he said. "They were built in South Bend, Ind." Afterward, Mr. Sheard said his mother influenced his decision to buy a vintage sport coupe. "My mom drove a Mini Cooper S," he said. "Do you remember the S types from the 1960s? They won a lot of the time trials." After the Mini Cooper, he said, she bought a two seat Honda with a 5 speed transmission. "She didn't do too badly." Mr. Sheard remembered that when he was a boy his mother took him and his siblings to racetracks at Watkins Glen in upstate New York and Lime Rock in Connecticut. "I remember being down in the pits," he said, "and there was a guy racing a Lotus 7, and he only had one guy assisting him. "So I said, 'Can I help?' Twelve years old! What do I know? And he won! I ran the victory lap with him. Mr. Sheard said he bought his Avanti after visiting relatives of his wife in northern Michigan. They had spotted a For Sale sign in a driveway. He gave the car a test drive, but it was in bad shape. Mr. Sheard was seriously thinking of buying the car until he drove it to a mechanic, who told him the Avanti was in such bad shape that it needed a frame off restoration. But Mr. Sheard knew an Avanti was the car for him. He searched the Internet and found one in Florida. He bought it sight unseen for 15,000. "On the phone he just sounded like an honest guy," he said. The Avanti's style is tough to pin down. From the front it looks like a spaceship. From the back, it's an Italian grand tourer. In profile, it's an American muscle car, especially with spiffy wheels like the ones on Mr. Sheard's car. The Avanti is a peek into the future, imagined by one of the greatest talents of the era, Raymond Loewy, the legendary industrial designer and champion of streamline shapes. "He designed it to have a Coke bottle shape," Mr. Sheard said. The car has square trim surrounding the headlights (earlier models had round trim), an asymmetrical hood scoop and a grille that's hidden below the front bumper. "This broke speed records back in the day, stock, you know about that?" Mr. Sheard remarked. "Andy Granatelli took a stock Avanti with a supercharger, which was an option," he said of top speed runs in Utah by the man who went on to become a winning Indianapolis racing team owner. "And all he did was put a roll cage in and he took it to the Salt Flats, and he did like 168 miles per hour, stock, in an Avanti." Mr. Sheard marveled at the thought of it. "You could go 160 miles per hour in 1962," he said.	N24News: A New Dataset for Multimodal News Classification	Automobiles
2 Chainz, the host of "Most Expensivest," paid a visit to Christie's on the eve of a record breaking auction. The Rapper 2 Chainz Sizes Up the Art at Christie's The rapper 2 Chainz has a thing for luxury, so when he was in New York earlier this month to promote his new Viceland TV show, "Most Expensivest," he made a beeline for Christie's New York, on the eve of its postwar and contemporary art sale. Wearing a black Supreme hoodie, red and white track pants, white Balenciaga sneakers and maybe five pounds of gold chains, 2 Chainz rolled into the auction house a few minutes after 4 p.m. on a windy Tuesday, with a crew that included a stylist, a personal photographer, a publicist and a bodyguard. "I'm a creative soul so I'm intrigued by this all," he said to Ana Maria Celis, a Christie's vice president and specialist in postwar and contemporary art, who met him in the lobby of the airy, museum style space at Rockefeller Center. 2 Chainz wasn't having it. "We're going to be friends," he said, as he wrapped his arm around her. "Let's walk and talk." He moved through Christie's with the eager, excitable air of a dutiful student, fist pounding and taking selfies with security guards. He respected fine art but knew little about it. "This is the best thing I've ever seen in my life," said 2 Chainz, temporarily struggling for words as he gazed at the gargantuan piece of art. "This makes me want to be a billionaire. Can you imagine having this over your dining room table? Oh my God. You'd have to have the longest dining room table in history." The group walked to Gallery One, and as Ms. Celis was describing another painting, 2 Chainz was distracted by a 40 carat yellow diamond ring displayed behind a wall of glass. As his stage name suggests, 2 Chainz is a jewelry fanatic. "Put it on me! I'm going to marry myself next year," he said, taking a detour into the jewelry section. A call was placed to Caroline Ervin, a junior jewelry specialist, who promptly arrived and fetched the ring. The rapper was taken aback by the 2.5 million price tag. "I got a couple dollars laying around, but Jesus I better start rapping all night." He's accustomed to working for his riches. 2 Chainz, born Tauheed Epps, grew up in the poor Atlanta suburb of College Park and played basketball at Alabama State University before dropping out and selling drugs at a carwash. He started rapping and fell in with the local rapper Ludacris, who signed him to the Disturbing Tha Peace label as part of a duo called Playaz Circle. In 2007, Playaz Circle had a small hit with the song "Duffle Bag Boy," which featured Lil Wayne, but it wasn't until Mr. Epps changed his name to 2 Chainz around 2011, and made luxury and outsize riches a part of his brand, that his career took off. He contributed quotable, often comical guest verses to songs by Kanye West and Nicki Minaj, and released his debut album, "Based on a T.R.U. Story" with Def Jam Recordings in 2012. It went platinum and was nominated for a Grammy for best rap album. "That helped me take care of my family," said 2 Chainz, who is now 40, married and has three children. His latest album, "Pretty Girls Like Trap Music," hit No. 2 on the Billboard 200 chart in June. "But really, I'm still grinding. I'm still learning." In 2014, 2 Chainz started a GQ online video series on the most expensive stuff in the world, and over three seasons he sampled outrageously priced items including a 1,000 ice cream sundae and a 4,000 German toothbrush. A weekly 30 minute version of the show debuted on Viceland on Nov. 15. Christie's certainly has its share of outrageously expensive items. In Gallery One, 2 Chainz was drawn to Jean Michel Basquiat's "Il Duce," a manic and surreal rendering of a demented face, valued at 25 million. He summoned his photographer to take a picture of him posing in front of it, and when the rapper sensed other patrons were put off by this behavior, said: "I'm making these white people mad right here." After he got his photo, 2 Chainz moved along to "Paramount Pictures," a collaboration between Basquiat and Warhol that reimagines the film studio's iconic logo. He took a selfie in front of the work, and contemplated buying it. "Tell me, if I spend a million on a painting, what do I think when I wake up the next morning?" he asked Ms. Celis. "Oh my God. 100 million," 2 Chainz said, referring to the estimated value and shaking his head in disbelief as he gazed upon the revered painting of Christ. (It would sell the next day for a record shattering 450.3 million.) "This is essentially the most famous painting in the world," Ms. Celis said, before outlining the multiyear painstaking process involved in authenticating it. A crowd of roughly 20 people still hovered around "Salvator Mundi," but with Christie's set to close in 10 minutes, security guards informed everyone it was time to leave. Being a keen arbiter of luxury, 2 Chainz remained skeptical of the painting's worth. "So," he said turning to face Ms. Celis. "Tell me one more time, how do we know it's not a copy of a copy?"	N24News: A New Dataset for Multimodal News Classification	Style
I've had hard conversations this week. "Look me in the eye," I said to my neighbor Karen, who was spiraling to a dark place in her mind. "I make this personal promise to you I will not let your children die from this disease." I swallowed back a lump in my throat. Just the image of one of our kids attached to a tube was jarring. Two weeks ago our kids were having a pizza party and watching cartoons together, running back and forth between our apartments. This was before socialdistancing was trending. Statistically, I still feel good about my promise to Karen because children do not seem to be dying from Covid 19. There are others to whom I cannot make similar promises. A few days later, I got a text from another friend. She has asthma. "I'm just saying this because I need to say it to someone," she wrote. She asked that if she gets sick and has a poor prognosis, to play recordings of the voice of Josie, her daughter. "I think it would bring me back," she said. Josie is my 4 year old's best friend. Today, at the hospital where I work, one of the largest in New York City, Covid 19 cases continue to climb, and there's movement to redeploy as many health care workers as possible to the E.R.s, new "fever clinics" and I.C.U.s. It's becoming an all healthy hands on deck scenario. The sky is falling. I'm not afraid to say it. A few weeks from now you may call me an alarmist; and I can live with that. Actually, I will keel over with happiness if I'm proven wrong. Alarmist is not a word anyone has ever used to describe me before. I'm a board certified surgeon and critical care specialist who spent much of my training attending to traumas in the emergency room and doing the rounds at Harvard hospitals' intensive care units. I'm now in my last four months of training as a pediatric surgeon in New York City. Part of my job entails waking in the middle of the night to rush to the children's hospital to put babies on a form of life support called ECMO, a service required when a child's lungs are failing even with maximum ventilator support. Scenarios that mimic end stage Covid 19 are part of my job. Panic is not in my vocabulary; the emotion has been drilled out of me in nine years of training. This is different. We are living in a global public health crisis moving at a speed and scale never witnessed by living generations. The cracks in our medical and financial systems are being splayed open like a gashing wound. No matter how this plays out, life will forever look a little different for all of us. On the front lines, patients are lining up outside of our emergency rooms and clinics looking to us for answers but we have few. Only on Friday did coronavirus testing become more readily available in New York, and the tests are still extremely limited. Right next to my office in the hospital, a lab is being repurposed with hopes of a capability to run 1,000 tests a day. But today, and likely tomorrow, even M.D.s do not have straightforward access to testing across the country. Furthermore, the guidelines and criteria for testing are changing almost daily. Our health care system is mired in situational uncertainty. The leadership of our hospital is working tirelessly but doctors on the ground are pessimistic about our surge capacity. Making my rounds at the children's hospital earlier this week, I saw that the boxes of gloves and other personal protective equipment were dwindling. This is a crisis for our vulnerable patients and health care workers alike. Protective equipment is only one of the places where supplies are falling short. At our large, 4,000 bed New York City hospital, we have 500 ventilators and 250 on backup reserve. If we are on track to match the scale of Covid 19 infections in Italy, then we are likely to run out of ventilators in New York. The anti viral "treatments" we have for Covid 19 are experimental and many of them are hard to even get approved. Let me repeat. The sky is falling. I say this not to panic anyone but to mobilize you. We need more equipment and we need it now. Specifically gloves, masks, eye protection and more ventilators. We need our technology friends to be making and testing prototypes to rig the ventilators that we do have to support more than one patient at a time. We need our labs channeling all of their efforts into combating this bug that means vaccine research and antiviral treatment research, quickly. We need hospitals to figure out how to nimbly and flexibly modify our existing practices to adapt to this virus and do it fast. Doctors across the globe are sharing information, protocols and strategies through social media, because our common publishing channels are too slow. Physician and surgeon mothers are coming together on Facebook groups to publish advice to parents and the public, to amplify our outrage, and to underscore the fear we feel for our most vulnerable patient populations, as well as ourselves and our families. Please flatten the curve and stay at home, but please do not go into couch mode. Like everyone, I have moments where imagining the worst possible Covid 19 scenario steals my breath. But cowering in the dark places of our minds doesn't help. Rather than private panic, we need public spirited action. Those of us walking into the rooms of Covid 19 positive patients every day need you and your minds, your networks, your creative solutions, and your voices to be fighting for us. We might be the exhausted masked face trying to resuscitate you when you show up on the doorstep of our hospital. And when you do, I promise not to panic. I'll use every ounce of my expertise to keep you alive. Please, do the same for us. Cornelia Griggs is a mother, writer and pediatric surgery fellow in New York. 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
Credit...Alejandro Villanueva for The New York Times One sweltering night last July, I found myself inside a small auditorium in a Norwegian valley called Setesdal for a community concert. A young woman stood in the right aisle, dressed in the valley's traditional bunad dress, a billowing black skirt with red and green stripes at the hem, a full sleeved white blouse, and a kerchief that covered her hair. Her crystalline soprano voice unfurled across the room. From the other side of the auditorium, a middle aged woman, also in full costume, sang in reply, and then a robust voice entered the conversation, a strapping young man singing a lyric that made the audience burst into laughter. Onstage, a girl replied, followed by an older man who sat to one side in traditional costume, black pants with a leather clad rear and a vibrant green and red embroidered bib, a fiddle in his lap. They sang in a dialect so foreign that it wouldn't be easily understood by the average Norwegian. And their songs employed a four line poetic form called stev that is also unique to this valley. When the brief poems are sung as they were that night, the practice is called stevjing, and it becomes a musical call and response, often improvisational, in which singers may celebrate, mourn, argue and tease one another. Beyond the auditorium's floor to ceiling windows, a swaying birch tree and the soaring blue mountains served as a reminder of where we were, listening to singers who descended from centuries of farmers who had tilled the local soil and grazed their livestock in summer meadows high in those mountains. My husband, who is native to a town further down the Otra River, told me that one song was a beautiful paean to their lush valley. Even without understanding the words, I could hear ethereal and haunting moods. It was easy to imagine the ancestors of these singers calling to one another about love and heartbreak across a meadow or around a crackling fire in the dark days of winter. It is an interesting moment for Setesdal, long considered by fellow Norwegians as a fascinating but provincial region whose stubborn inhabitants spoke a difficult dialect and clung to outmoded ways. Now, the very distinctions that once prompted urbanites to mock the valley's rural inhabitants have become sources of interest and pride. In a sign of the changing times, the Norwegian televised equivalent of "America's Got Talent" last year awarded third place to Vetle Hoslemo, a Setesdal boy then 13, who sang traditional songs in dialect. He was one of the stars of the Friday night concert, which was directed by Kirsten Braten Berg, an internationally renowned folk singer who lives in Setesdal. Even as there's a rekindled interest in the old ways, though, the steep sided valley which embraces the upper reaches of the Otra River and is known for its stunning natural beauty is losing inhabitants. In the last few decades, the population of Setesdal's three core townships, Bygland, Valle and Bykle, has dropped by 20 percent, leaving fewer than 3,500 residents today. The economy has shifted from traditional agriculture and forestry, toward service jobs, tourism and hydropower, and many of the youth who leave for college don't return. At the same time, the older generation underscores the urgency of keeping their youth engaged and employed at a time when the internet and urban jobs are tugging them away. The result is that the historically insular valley is now opening itself to visitors, recognizing that community survival depends on diversifying its economic base and sharing Setesdal's natural beauty and cultural wealth with outsiders. "We have a problem. The youth are leaving and not enough are coming back," said Leiv Rygg Langerak, the mayor of Bygland, who added that tourism is important, but economic diversity is essential. "If you take an education, you want to work in your field." What will help, he said, are some of the very changes that also threaten traditional culture: an improved highway and widespread internet access. The heart of the narrow valley is less than 100 miles from the southern city of Kristiansand, a thriving port and a popular summer destination for tourists. The valley's southern end is marked by a huge fjord that abuts steep cliffs. Further north, vertical rock faces that ascend nearly 2,000 feet above the valley floor draw climbers from all over Europe, one of the attractions the valley has begun to promote. Some of the best hiking trails in southern Norway, traversing routes dating back to medieval times, are in the Setesdalsheiene Mountains. Travelers can stay overnight in fully stocked tourist cabins, and the lakes are stocked with fish and open to anglers. This is the second largest protected area in Norway, and is the southernmost habitat for herds of wild reindeer. Until recently, the valley interior and the mountains above were difficult to reach because the narrow, winding access roads were not designed for modern cars, but the last decade has seen major road improvements. We drove up from the south on a radiant summer day and found the once treacherous road easy to navigate. North of the village of Byglandsfjord, we stopped briefly at the Ardal Church, a small octagonal structure of white wood with a classic steeple, built in 1828. The famed 19th century Norwegian folklorist Johannes Skar, who compiled eight volumes about Setesdal folk culture, is buried beneath a monument in the tiny churchyard. Further on, we sidled along a steep rock wall and then entered a modern tunnel that bypasses the old road, which clung to the cliff above the fjord. We entered the village of Bygland, where we stopped at a small open air museum beside the road and explored the dark interiors of some of the old dwellings, one with an open hearth that dates back to 1650. In an evocative mingling of old and new, a row of Tesla electric car charging stations stood across the driveway from the old farm buildings, and a sports company was launching colorful paragliders out over the fjord from the grassy field beside the buildings, pulling them into the air by motorboat. Down by the water, a restored, 19th century steam boat powered by birch logs offered day trips up the fjord. As it happens, the valley's architecture includes more buildings from the medieval period than any other district in Norway, said Anders Dalseg, a consultant for the Setesdal Museum who restores the old lofts and teaches courses in restoration. Twenty percent of Norwegian buildings constructed before 1650 are in Setesdal, including 18 built before 1350, he said. The medieval buildings are only the most visible sign of Setesdal's deep cultural roots. Perhaps more significant is the valley's fiddle tradition, which encompasses some of the oldest music in Norway and has long drawn interest from musicologists and musicians from around the world. The weekend celebration we attended included a concert by two of Norway's master fiddlers, Hallvard T. Bjorgum and Gunnar Stubseid, both of whom live in their native Setesdal villages. For the concert, an upstairs room in the Setesdal Museum, built 25 years ago as a cultural center, was packed with people sitting on the floor and standing at the fringes. Some had driven for hours to hear the men perform. The fiddlers sat on folding chairs, casually dressed in T shirts and conversing with the audience between numbers. Their instruments were Hardangerfeles, beautifully decorated fiddles with double sets of strings tuned in unique ways for different songs. The upper strings are fingered and bowed much like any fiddle, while the lower strings vibrate sympathetically and create a continuous, droning melody. The effect, along with thematic repetition and rhythmic intensity, is mesmerizing. (In fact, one subset of Setesdal tunes is called rammeslatt, or strong stroke, and is said to cause trances both in the fiddler and the audience.) On this Saturday night the melodies varied from rollicking to plaintive, with percussion created by the performer's stamping feet. Mr. Bjorgum, who was knighted in 2016 by the Norwegian King Harald V for his significance to Norwegian folk music, explained that many of the songs had been saved from extinction by a fiddler named Dreng Ose, who traveled to Minnesota's Red River valley early in the 20th century to learn tunes that had been carried by emigrants to the United States. It was a critical rescue mission because the music could be learned only by one fiddler from another. (In a modern twist, one young Setesdal fiddler told me that he now learns tunes on Spotify and then visits his teacher for refinement and correction.) And in keeping the culture alive, everyone seems to agree that adaptation is just as urgent as preservation. The old family farms may be having a tough time economically, but some are finding new income by creating artisanal products based on local food traditions. Some have turned to the boutique farming of heritage breeds of short tail Norwegian sheep, which provide flavorful meat that can be smoked and salted in the traditional way. The sheep's unusual wool which dates back to Viking times is also prized by crafters because the outer coat is exceptionally strong and water resistant, while the fine inner coat can be sorted for softer yarns. But the two layered coat means it's challenging to sort by machine. Mr. Langerak, the Bygland mayor, keeps a small flock of heritage sheep on the farm that's been in his family for generations, but also presses for economic and cultural diversification. "If you present a culture and say, 'that is how this culture is,' then that culture is dead," he said, adding that a measure of progress is creating opportunities for the next generation. "If we don't, it's just a question of time before we cannot uphold our society."	N24News: A New Dataset for Multimodal News Classification	Travel
A small hourglass stands next to the computer on Dr. Iwan James's office desk. No symbolism is intended the device is actually a cheap 10 minute egg timer, exactly the length of a routine appointment in Dr. James's general practice in a small Welsh town. It was donated by an annoyed patient specifically to embarrass the doctor. Dr. James has a habit of fiddling with that hourglass, though, or flipping it repeatedly during a prolonged conversation with a patient. Inevitably, it becomes a subtle reminder of life's brevity despite all the small triumphs and failures in that room. That egg timer would be a difficult detail for any writer short of Chekhov to pull off. So would many of the other images in "The Bad Doctor," Dr. Ian Williams's roman a clef, like the giant black sunglasses worn by a menacing patient in which the doctor sees only a reflection of his own inadequate self, or the many flashbacks to the doctor's troubled past, or even the doctor himself, a pallid, almost transparent individual who seems at ease only when he is compulsively biking the Welsh hills. Patients discovered the power of the graphic memoir decades ago. Some classics like Marisa Acocella Marchetto's "Cancer Vixen" are the work of professional comic artists, but amateurs have also turned to comic art to analyze an experience with illness. The medium is particularly well suited to a territory complicated by many different versions of the truth, one in which both the said and the unsaid demand equal attention. Dr. Williams gives his alter ego, Dr. James, the mild manner of Clark Kent and an abbreviated version of Jughead's nose. Dr. James's workdays are humdrum in the extreme. He counsels patients and writes prescriptions. He tries his best to avoid doing either for an incessantly demanding relative. On house calls he helps the homebound feel a little better. Even his professional heroics are muted: An old man collapses on the road outside Dr. James's office, and the doctor races to resuscitate him, only to discover that the corpse has recovered and boarded a bus, where he vehemently rejects the doctor's attentions. The entire episode is recorded on a bystander's cellphone and posted online to amuse the community for weeks. The real drama in the doctor's life is all in his head, where one imaginary lurid scenario after another unfolds. Signs and portents, runes and bizarre rituals are everywhere in this parallel universe. It turns out that this doctor is nearly as ill as his patients, struggling to ignore a diagnosis of obsessive compulsive disorder that has threatened his equilibrium for decades. The territory of doctor as patient has been visited before, but Dr. Williams's iteration and its resolution are as subtle and thought provoking as the best of them, with the always worthwhile message that the roles into which humans sort themselves are as mutable as the rituals they accept and reject, and the calls for help they choose to hear or not. Dr. Williams is a physician based in England, one of an international cadre of scholars and health care professionals whose enthusiasm for the graphic depiction of medicine is creating a new scholarly discipline. In "Graphic Medicine Manifesto," six of them, including Dr. Williams, describe the theory behind its genesis in essays far more absorbing and accessible than the usual academic fodder, thanks to a rich assortment of comic illustrations. The authors explain themselves in both words and pictures (five sketch themselves as standard issue professionals, and one as a small, cheerful chicken). They each outline what drew them to graphic medicine and append excerpts from favorite works. The casual reader is unlikely to be familiar with any of these, which range from one man's account of his devastating experience with genital herpes to a few memoirs of an old parent's decline, similar to Roz Chast's acclaimed "Can't We Talk About Something More Pleasant?" Among the most intriguing uses they propose for graphic medicine is a role in education. Medical students are now routinely encouraged to examine the complex emotions elicited by their first immersion in the world of illness. Doing so aloud or in prose works for some, but not for all, and it turns out that sketching a set of comic panels can be a powerful alternative. Some of the authors offer samples of student work to prove their point. In one, a student draws herself dressed in tights and a cape: "Have no fear," she announces smugly, "the medical student is here!! With my power of naive optimism, I will make emotional connections to all my patients!" Then she meets her kryptonite: one angry, mean little girl on the pediatrics ward. In another set of panels, a student muses on a summer vacation spent working in Africa, where the role of bystander and observer among so much illness made her feel intensely guilty, like a predatory bird "lurking, watching, contributing nothing." One of these students is a proficient artist, while the other is clearly not too comfortable with a pen. But that makes no difference: The renditions of student as hero and of student as predator are both priceless.	N24News: A New Dataset for Multimodal News Classification	Science
The next breakout star from China is not an actress or a pop idol, but rather a photographer. Signed in 2016 by Creative Artists Agency, home of Meryl Streep, Will Smith and Jennifer Lopez, Chen Man has already drawn comparisons to Mario Testino and Annie Leibovitz. Ms. Chen, known for her high wattage clients and a dramatic, vivid style that melds contemporary Chinese imagery with historical symbols and spaces, was honored last Sunday in New York at the China Fashion Gala, an annual event co hosted by the China Institute and the China Beauty Charity Fund. The gala benefits a design competition and a scholarship at the Fashion Institute of Technology, with an advisory board this year that included Valentino Garavani, Vivienne Tam, Christian Louboutin and Zang Toi. Ms. Chen, 36, began her career in 2003 while working on her bachelor's degree at the Central Academy of Fine Arts in Beijing with a series of rich, striking covers for Vision, a Chinese fashion magazine. She has photographed Rihanna, Victoria Beckham and Nicole Kidman for the Chinese versions of Vogue, Elle, Harper's Bazaar and Grazia, and works regularly with such Chinese stars as Fan Bingbing, Li Bingbing and Zhang Ziyi. For a glimpse into her background as a painter, how she compares to Ms. Leibovitz, and the place of Chinese art on a global stage, read on. Q. How did you end up working as a photographer? A. My parents sent to me to professional children's painting classes since I was 3 years old. While other children went on holiday, I was always painting. I always stared at people. People were actually uncomfortable about that. I used to want to draw court portraits, like for the wanted posters. I'm still painting a lot. Because I drew people a lot in my childhood, I'm very attuned to details. When I shoot celebrities, I make them look better. So for most of the top of the line celebrities, I became the top choice. If you Google "Who is the Chinese Annie Leibovitz?" you will find me. Speaking of Annie Leibovitz, how would you compare her work to yours? I have more of a fusion style. Annie Leibovitz shoots more reality, documentary. I like more drama. I went to a school for theater and worked as a graphic designer to earn extra money before going to Central Academy of Fine Arts. I'm a painter and a graphic designer as well as a photographer. I use a lot of postproduction. A few years ago, I shot models with the type of face that was not popular in China at the time. We call it the Asian face. Not the girl with big eyes, white skin, not so sweet, but the real Asian woman. And I shot them in contemporary Chinese scenes, like the Great Wall, Shanghai Bund and Tiananmen Square. Who are the celebrities you work with the most? I shoot them all, all the time. I kind of came up with Fan Bingbing, Li Bingbing, Zhang Ziyi. And right now I'm shooting what we call the 'fresh meat' actors. I have shot Nicole Kidman, Victoria Beckham, Benedict Cumberbatch. The age range is wide. Sometimes I'm shooting four covers a day. How do you manage to maintain quality and efficiency with so many shoots and subjects? Before I'm shooting, I already have an image in my mind. We are so lucky to have WeChat, so everybody is prepared for what it will be. I send directions into the group chat. During the shoot, I try to show the best the subject can be, to show the best angles, the best emotions. They become addicted. Do you think that Chinese art is well represented globally? International icons come to China to shoot for the exposure. Conversely, for Chinese designers and artists, there is a giant microscope. The world is interested in China and what we're doing. The more exposure there is, the more opportunities there are for people to have conversations. But sometimes things get lost in translation, so what I hope to do is use a visual language, which doesn't need translation, to convey a more well rounded, three dimensional story. I'm actually developing a short video based app right now that's a little bit like Instagram, and that's my slogan: The visual language is a language that does not need translation. I'm hoping that when people use an app that solely uses short videos and clips, people are using what they see to communicate rather than a language that puts up walls and boundaries between different countries. The app aims to create a visual dialogue. I want people inside and outside of China to recognize that we're moving at the same pace as everyone else. Who is a photographer that you look up to? Liu Xiangcheng is an artist I follow a lot. He is a news photojournalist. He was the first Chinese person to win a Pulitzer for photojournalism. But the reason why I like him is not because he won a Pulitzer but because he grew up in a time when it was very difficult in China, during the Cultural Revolution, yet he was able to maintain his humor. Our parents' generation grew up in the shadow of the Cultural Revolution, and that was a hard life they experienced. He caught the sense of humor in that time. That inspires me.	N24News: A New Dataset for Multimodal News Classification	Fashion & Style
Early on Feb. 1, John Inglis picked up his phone and checked Twitter, as he does most mornings. He was shocked at what fresh hell awaited. Since 2013, Dr. Inglis, executive director of Cold Spring Harbor Laboratory Press in New York, has been helping manage a website called bioRxiv, pronounced "bio archive." The site's goal: improve communication between scientists by allowing them to share promising findings months before their research has gone through protracted peer review and official publication. But the mess he was seeing on Twitter suggested a downside of the service provided by the site, known as a preprint server, during the emerging coronavirus pandemic. The social media platform was awash with conspiracy theories positing that the new coronavirus had been engineered by the Chinese government for population control. And the theorists' latest evidence was a freshly submitted paper on bioRxiv from a team of Indian researchers that suggested an "uncanny similarity" between proteins in H.I.V. and the new virus. Traditionally, the Indian researchers would have submitted a paper to a peer reviewed journal, and their manuscript would be scrutinized by other scientists. But that process takes months, if not more than a year. BioRxiv, medRxiv another site co founded by Dr. Inglis and other preprint servers function as temporary homes that freely disseminate new findings. For scientists on the front lines of the coronavirus response, early glimpses at others' research helps with study of the virus. But there is a growing audience for these papers that are not yet fully baked, and those readers may not understand the studies' limitations. Views and downloads on medRxiv, for instance, have increased more than 100 fold since December, Dr. Inglis says. People with little scientific training, or none at all, are desperate for new knowledge to better inform their day to day decisions. The news media wants to keep readers and viewers updated with the latest developments. And agents of disinformation seek to fuel conspiratorial narratives. "Anyone who reads a preprint will embrace it almost in a blind fashion," and they might cherry pick information that fits their worldview, said Eric Topol, director of the Scripps Research Translational Institute in San Diego and a member of bioRxiv's advisory board. The use and misuse of what's posted on preprint servers is challenging the normal operations of these sites, and raising questions about how these and other forms of scientific publishing should function during a pandemic. "Science is a conversation," said Dr. Ivan Oransky, a physician and co founder of Retraction Watch, a blog that reports on retractions of scientific papers. "Unfortunately people in times of crisis forget that science is a proposition and a conversation and an argument. I know everybody's desperate for absolute truth, but any scientist will say that's not what we're dealing with." In November 2013, Cold Spring Harbor Laboratory a 130 year old research institution launched bioRxiv. Inspired in part by arXiv, a preprint server focusing on the physical sciences that started in 1991, Dr. Inglis and Richard Sever, a colleague at Cold Spring, hoped that the rapid dissemination of new biological research findings could help other researchers around the world validate or use that data. Interest in bioRxiv then drove the launch of medRxiv, which focuses on health sciences, in July 2019. To submit a paper to these two servers, researchers simply need to get all co authors on board. MedRxiv authors need to declare that their study had ethical approval and participant consent, state any conflicts of interest and if the study was a clinical trial. Once a paper gets uploaded, it's subject to a screening process: Was it plagiarized? Is it science? Manuscripts that make a health claim on bioRxiv for instance, if they say doing something could increase the risk of developing a disease or condition are not permitted. MedRxiv won't accept individual case reports or manuscripts with small sample sizes. Both servers decline manuscripts with findings that may cause harm by changing human behavior. "We are trying to be responsible," Dr. Inglis said, "to not create expectations that are overblown, or are even potentially risky or dangerous." Manuscripts that pass the screening are generally posted on bioRxiv within 48 hours, while medRxiv screening is more complex and takes longer. According to Dr. Inglis, at least 70 percent of preprints on bioRxiv are published in peer reviewed journals within two years; medRxiv is less than a year old, so its rate so far is much lower. Authors can withdraw their manuscript if they no longer stand behind the work. Among the Covid 19 papers that have been uploaded to both servers 1,558 and growing two have been withdrawn from bioRxiv and two from medRxiv. Although preprints can rapidly add to important scientific discourse a necessity during a pandemic they often read like first drafts, and may contain language that risks misleading people who lack scientific expertise, says Samantha Yammine, a science communicator in Toronto. She says this creates problems when media outlets pick up on these studies. On Feb. 2, the day after Dr. Inglis discovered the swarm on Twitter around the study comparing H.I.V. and coronavirus, the Indian researchers withdrew their paper after other scientists knocked down its findings. Faced with the public misuse of the Indian team's findings, Dr. Inglis and Dr. Sever decided to add a more prominent notice to readers than was already on the site for those who might not be familiar with preprints. Now, a yellow banner on every manuscript at bioRxiv warns readers that coronavirus papers on the site are "preliminary reports that have not been peer reviewed. They should not be regarded as conclusive, guide clinical practice/health related behavior, or be reported in news media as established information." Although preprint servers might try to alert the public of the limitations of uploaded studies, they have no control over how the public, or journalists, might interpret preliminary findings before they get published in a peer reviewed journal. One manuscript to medRxiv uploaded on March 10 examined how the new coronavirus endures on surfaces and in aerosols. The following week, the New England Journal of Medicine published a peer reviewed version of the paper. But by then, numerous news articles had been written based on versions of the paper that had not been formally scrutinized by other scientists. Dr. Inglis and his colleagues at bioRxiv and medRxiv have placed more limits on coronavirus submissions. On bioRxiv, scientists with expertise in outbreaks are taking a look at those papers. Since mid February, they are rejecting manuscripts that propose possible coronavirus treatments solely based on computer modeling. Some authors denied publication on the servers are understandably disappointed. "We might have been more willing to take this kind of work in the past," Dr. Inglis said, "but now people are so desperate for things to work, I think it's entirely OK for us to raise the bar to show more evidence."	N24News: A New Dataset for Multimodal News Classification	Science
Q. The center seems to have needed a top to bottom renovation, especially given complaints about leaks. It had some issues from almost the day it started almost 30 years ago. I think the design was perhaps ahead of the materials that we used at the time. So in terms of things like roof leaks, which had become a real issue, simply being able to address that and get this taken care of was a huge leap forward. It sounds like a simple thing, but that was a real important aspect of what was done. Q. What were some of the other important changes? A. We spent close to 20 million to bring the building up to speed in terms of Internet and Wi Fi access. This will allow us to attract more of the financial conferences that have heavy use of Internet and Wi Fi. Q. So are you attracting more business as a result? A. I think two things have happened. First of all there were a couple of events that had left the city that have now come back. Fancy Food Show has now returned to New York. It went to Washington, D.C. Lightfair International is returning to New York. Q. What are your thoughts on all the new development in the area, particularly Hudson Yards? A. We welcome it. We've been on the Far West Side for a long time; now it feels as if we're in Midtown West. The whole development is changing the dynamics for us. The fact is that the No. 7 subway line extension, which will open sometime this year, will finally connect us to the city, and we haven't been connected before. The extension of the No. 7 line, conceived for the benefit of Hudson Yards, will have a huge impact on the Javits Center and its operation. With the development of the High Line and of Hudson River Park by Related, I refer to this as the "Golden Age of Javits." Finally. We've been there for a long time waiting, and now it's suddenly coming to us, and we're in a very different place and we'll be appreciated in a very different way. Q. When the center's renovations are completed, will there be a celebratory bash? A. We had a soft event back in November, primarily to acknowledge the role the hotel community had played with helping the development. I think at this point we'll probably be happy enough to have it end.	N24News: A New Dataset for Multimodal News Classification	Real Estate
"We have to step outside to get a little bit of peace," said Rene Redzepi, the chef and co owner of Noma in Copenhagen, one of the most acclaimed restaurants in the world. Dinner service was hours away, but the sprawling kitchen was already abuzz with activity and classic rock, so we stepped outside to chat. Sipping green tea, Mr. Redzepi, 40 , asked me how my family including my 6 year old daughter was faring on our first trip to Copenhagen. Like other Europeans, he was a little shocked to hear that we were only in town for a week. "For kids, a week is nothing," he said. There are people, he had heard, "who sit in the airport and wait for their souls to arrive. I like the thought of that. Traveling is so fast and so easy. A part of you needs to catch up." Mr. Redzepi has had to do a lot of catching up. After Noma won the No. 1 spot on San Pellegrino's Best Restaurants in the World list four times in five years, he closed it, reopening it in February in a new location. In the interim, he had managed pop ups in Tokyo, Sydney, and Tulum, Mexico, each of which had given him and his extensive team inspiration for the 20 or so course tasting menu the theme of which changes with the season (we sampled the summer version, which was almost entirely created from vegetables; fall has seen a switch to game) at what followers are calling Noma 2.0. One of the features of the new space is a dedicated fermentation lab, which itself has spawned a new book, "The Noma Guide to Fermentation," written by Mr. Redzepi and David Zilber, the chef who runs the lab (or "bunker," as Mr. Redzepi calls it).	N24News: A New Dataset for Multimodal News Classification	Travel
There are many good reasons to buy a swivel chair in particular, the ease of movement. But Ghislaine Vinas, an interior designer in New York who frequently uses them in her projects, thinks one of the best is the sense of play they create. "They're fun," she said. "I've put them in family lofts where the kids just use them as entertainment." And in a difficult space, she added, a swivel chair can be the most pragmatic choice. Ms. Vinas said she often installs them in living rooms with multiple seating areas, so the chairs can rotate between various conversation groups. She also uses them in bedrooms with a view. "You want that great sculptural corner chair, facing into the room," she said. And if the chair has a swivel base, she noted, it can easily pivot to face windows beside or behind it.	N24News: A New Dataset for Multimodal News Classification	Real Estate
CASTING DEEP SHADE An Amble Inscribed to Beech Trees Co. By C.D. Wright C.D. Wright, renowned poet and essayist, completed "Casting Deep Shade" just before her sudden death in January of 2016. This posthumous book might have been read strictly as elegy, yet Wright, as if presciently marking a trail through the woods for future readers, came up with a sly signpost of a title as "pre amble" to her work, briskly excluding melancholy even while taking stock of crimes against nature. The title is a trick or a kind of riddle. The gerund points to a "Macbeth" like conspiracy of tree and human, each "throwing shade." Here, for example, is Wright on privacy in an all witnessing age: "For the moment, I can locate you, whosoever you are, or re imagine you in a keystroke. I can see the tree that cast your lawn in deep shade when you were wearing a linen dress, a string of seed pearls, and no underpants." You get her drift? The book's subtitle reaffirms the need to witness what briefly lives and breathes: "An Amble Inscribed to Beech Trees Co." "Amble" is how Wright describes her strategic moseying through forests, old growth bowers and backyards, taking notes. Yet just as "ambling" trundles forward, "inscribed" stays still, denoting words written (or carved) on a surface, in witness. This shifting mediation between dark and light, velocity and stasis, poetry and root based reporting, informs a style, a tour through what Wright refers to at one point, quoting Verlyn Klinkenborg, as an "arboretum of the mind." Wright's amble began when she was commissioned, years ago, to write an essay on a single beech tree. She became entranced by beeches (and their fellow trees, their "Co."), which led to decades of wide ranging research, including interviews with naturalists, historians and arborists sometimes even "interviews" with trees themselves. Her book could be read alongside Annie Proulx's novel "Barkskins" and other recent literature that considers the complicated relationship between humans and trees. Wright casts a familiar linguistic spell with her thinking aloud genre bending voice here: a signature elliptical "prosimetric" style. Yet her book serves a practical purpose too, as an approximation of a field guide (or eccentric "field homage") to beeches and their world. "Casting Deep Shade" is less a conventional text than a facsimile of a tree's growth outward a cumulative chronology in rings of thought.	N24News: A New Dataset for Multimodal News Classification	Books
It's official: There will be no Broadway shows in New York this summer. The Broadway League, a trade organization representing producers and theater owners, said Tuesday that Broadway's 41 theaters would remain shuttered at least through Labor Day. The announcement is not a surprise; the coronavirus pandemic is continuing to kill more than 150 people a day in New York state (down from the peak of 800), and Gov. Andrew M. Cuomo has put arts and entertainment in the last phase of his reopening plan. It remains unclear when Broadway might reopen. Many industry officials believe it will be considerably later than Labor Day. The practical effect of Tuesday's announcement is that box offices and authorized ticket sellers should now refund or exchange tickets for shows through Sept. 6. Industry leaders have been extending the shutdown incrementally as a way of managing cash flow, as well as managing expectations. "As we've been put in phase four of the governor's plan, we felt that Sept. 6 was a reasonable distance of time for refunds and exchanges, while we fully understand that we may not be back at that time," said Charlotte St. Martin, the Broadway League's president. "Broadway will be back when the governor tells us it's safe to be back we're working closely with his office and with experts to know when that will be."	N24News: A New Dataset for Multimodal News Classification	Theater
How can it be that the United States spends so much money fighting poverty and still suffers one of the highest child poverty rates among advanced nations? One in five American children is poor by the count of LIS, a data archive tracking well being and deprivation around the world. By international standards that set the poverty line at one half the income of families on the middle rung of the income ladder, the United States tolerated more child poverty in 2012 than 30 of the 35 countries in the Organization for Economic Cooperation and Development, a grouping of advanced industrialized nations. The percentage of children who are poor is more than three times as high in the United States as it is in Norway or the Netherlands. America has a larger proportion of poor children than Russia. So what's going on? We may spend a lot of money, but we don't spend it well. It turns out that the most generous federal programs for families with children barely help the nation's unluckiest children. Rather, they generally push money to their counterparts higher up the ladder of well being. The 58 billion child tax credit that reduces a tax bill by 1,000 a child is more progressive. But families in the bottom fifth get only a tenth of the money, each receiving an average of 120 a year. To be sure, tax credits make a difference for many poor families, cutting the child poverty rate by almost a third, according to the Census Bureau's new Supplemental Poverty Measure, which considers the effect of taxes and transfers on poverty. Still, children whose parents don't work are left to rely mostly on food stamps. The American safety net has little else to offer. But perhaps this is poor children's lucky year. Hillary Clinton, who, according to most polls, will be the next American president, unveiled a set of programs last week to help families with children. She proposed to double the child tax credit to 2,000 for each child up to the age of 4 and to restructure the benefit so more of it flows to very low income families. Today, the credit is worth only 300 to a mother of two who earns 5,000 a year. Under Mrs. Clinton's proposal, it could be worth 2,250. According to the Center for Budget and Policy Priorities, a left leaning policy research center, Mrs. Clinton's proposals could lift 1.5 million people out of poverty. It is not a bad start. But there is an opportunity for even bolder action. Why not get rid of the child tax credit and the child deduction entirely, and instead provide a monthly check of 250 for every child in the country, to guarantee a minimum level of well being? "This is an old idea whose time has come," said Timothy Smeeding, a professor at the University of Wisconsin, Madison, who directed the Institute for Research on Poverty there from 2008 to 2014. Daniel P. Moynihan, who advised former President Richard Nixon and was a Democratic senator from New York, actively supported this idea. So did Milton Friedman, the guru of conservative economic thinking from the 1960s through the 1980s. Now the idea is being pitched in a forthcoming article for the Russell Sage Foundation by nine experts on poverty and child well being including Luke Shaefer from the University of Michigan, Jane Waldfogel from Columbia University and Professor Smeeding. Kevin Spacey was ordered to pay 31 million to the 'House of Cards' studio after sexual harassment allegations. Netflix buys a visual effects company in a move to support its global ambitions. The proposal rows against the flow of American policy over the last few decades. The benefit would be universal, like Social Security, rather than aimed at low income families alone. And it would decouple government assistance from work, a sharp departure from the track followed since the welfare reform of the 1990s, when cash assistance was replaced with tax credits. It offers a better deal than Mrs. Clinton's for the poorest families. But more important, it also points the way to rethinking the nation's antipoverty strategy, which allows far too many Americans to fall through the cracks. "We might be coming into a moment where there could be some common sense policy changes," Professor Shaefer said. "There is a policy window that wasn't open a year or two years ago." Austria, Britain, Canada, Denmark, Finland, France, Germany, Ireland, Luxembourg, the Netherlands, Norway and Sweden all already have some sort of child allowance. In Germany, the benefit for a family with two children adds up to 5,600 a year. In Canada, it is worth 4,935 per child under 6, and 4,164 for children ages 6 to 17. Providing 250 a month a child or 3,000 a year "puts us in the ballpark of where our peer countries are," Professor Waldfogel said. Provided monthly, rather than annually in a lump sum at tax time as current tax credits are delivered, it would be easier to manage. According to the researchers, it would cut child poverty by over 40 percent and deep poverty by half. It is not even that expensive. Critics will argue that a universal child benefit squanders money on parents who don't need it. Yet many struggling middle income families could do with the help. For taxpayers in higher brackets, a significant chunk of the benefit would be taxed away, returning it to the Treasury. Best of all, a universal program would avoid the bad incentives of targeted credits, which discourage work because they are phased out as parents' earnings rise. Eliminating the current tax exemptions would pay for much of it. Professor Shaefer and his colleagues estimate that at 250 a month a child (they also offer a few other options), their proposal would cost a little over 190 billion a year. Over half of that could be covered by dropping the child tax credit and the tax deduction, leaving a net price tag of about 90 billion, or about half of 1 percent of the nation's gross domestic product. That's only about 30 billion more than Americans spend on pets.	N24News: A New Dataset for Multimodal News Classification	Economy
This year's Booker Prize is shared by Bernardine Evaristo, left, for "Girl, Woman, Other," and Margaret Atwood, for "The Testaments." LONDON Margaret Atwood and Bernardine Evaristo have both won this year's Booker Prize, it was announced at a ceremony on Monday, after the judges for the literary award rebelled against its rules. "We were told quite firmly that the rules state you can only have one winner," Peter Florence, the chairman of the Booker judges, said at a news conference. But the "consensus was to flout the rules and divide this year's prize to celebrate two winners." Evaristo, who won for her novel "Girl, Woman, Other," is the first black woman to win the Booker Prize. "I hope that honor doesn't last too long," she said in her acceptance speech. Atwood, who won in 2000 for "The Blind Assassin," was considered a front runner this year for "The Testaments," the sequel to her 1985 dystopian classic, "The Handmaid's Tale." It is not the first time the award has been shared. In 1992, Michael Ondaatje's "The English Patient" shared it with Barry Unsworth's "Sacred Hunger," but the prize's organizers then changed the rules to only allow one winner to avoid undermining either book. Several judging panels had tried to split the prize since, said Gaby Wood, the Booker Prize Foundation's literary director, but settled on single winners after being told they had to. The decision to rebel and award the prize to two writers this year was not taken lightly. The judges, who included the author Xiaolu Guo and editor Liz Calder, spent over three hours trying to pick a winner before asking if they could choose both. They were told they couldn't. The judges then to the Booker organizers' "horror," Florence said spent another "hour and a half agonizing how to resolve the issue," before deciding it was the only result they wanted. They were again told it was unacceptable. It was only at a third attempt, 30 minutes later, that the Booker Prize's trustees accepted the decision. Wood dodged the question when asked if she supported the final result. "I support the mechanism by which the judges made their decision," she said. She then joked the judges would not be paid for their involvement, which included reading 151 submitted books. For Atwood, the prize comes at a moment of renewed cultural relevance for "The Handmaid's Tale," which has sold more than 8 million copies worldwide in English. The novel was adapted into a hit television series on Hulu, and the story has taken on fresh political resonance, as women dressed as handmaids have flooded Congress and state capitols to protest new restrictions on reproductive rights. In "The Testaments," Atwood weaves together the stories of three female narrators in Gilead, a religious autocracy in what was formerly the United States.	N24News: A New Dataset for Multimodal News Classification	Books
There are few items of clothing as politically, socially and racially charged as the hoodie. Long a linchpin of streetwear and, more recently, the advertising campaigns and catwalks of high fashion, the hoodie is a contemporary wardrobe staple, a declaration of fealty to a school or team, a comfortable garment for a plane ride and a sight that can trigger fear and panic. Desired and derided in equal measure, regularly misunderstood, the hoodie is now heavy with associations of social inequality, youth culture and police brutality, even banned from certain streets, schools and institutions worldwide. And, as of next month, it will be embraced by a museum. "The Hoodie," the first exhibition devoted to its powerful and political nuances, opens Dec. 1 at the Het Nieuwe Instituut, the Dutch institute for architecture, design and digital culture in Rotterdam, the Netherlands. A mixed media show of photographs, music, magazines covers and film footage, as well as more than 60 hoodies, it aims to frame the hoodie as a garment that Lou Stoppard, the curator of the exhibition, calls "unparalleled in its loaded tensions and contradictions." (Ms. Stoppard is also a journalist and an occasional contributor to The New York Times.) Ms. Stoppard said she had wanted to curate a show about the hoodie for some time but had struggled to find a suitable site in more conventional fashion capitals like London or New York. The Instituut, with its focus on design objects and digital culture, proved a good fit for exploring the evolution of the hoodie as a sociopolitical carrier.	N24News: A New Dataset for Multimodal News Classification	Fashion & Style

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