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Coughs or sneezes may not be the only way people transmit infectious pathogens like the novel coronavirus to one another. Talking can also launch thousands of droplets so small they can remain suspended in the air for eight to 14 minutes, according to a new study. The research, published Wednesday in The Proceedings of the National Academy of Sciences, could help explain how people with mild or no symptoms may infect others in close quarters such as offices, nursing homes, cruise ships and other confined spaces. The study's experimental conditions will need to be replicated in more real world circumstances, and researchers still don't know how much virus has to be transmitted from one person to another to cause infection. But its findings strengthen the case for wearing masks and taking other precautions in such environments to reduce the spread of the coronavirus. Scientists agree that the coronavirus jumps from person to person most often by hitching a ride inside tiny respiratory droplets. These droplets tend to fall to the ground within a few feet of the person who emits them. They may land on surfaces like doorknobs, where people can touch lingering virus particles and transfer them to their face. But some droplets can remain aloft, and be inhaled by others. To see how many droplets are produced during normal conversation, researchers at the National Institute of Diabetes and Digestive and Kidney Diseases and the University of Pennsylvania, who study the kinetics of biological molecules inside the human body, asked volunteers to repeat the words "stay healthy" several times. While the participants spoke into the open end of a cardboard box, the researchers illuminated its inside with green lasers, and tracked bursts of droplets produced by the speaker. The laser scans showed that about 2,600 small droplets were produced per second while talking. When researchers projected the amount and size of droplets produced at different volumes based on previous studies, they found that speaking louder could generate larger droplets, as well as greater quantities of them. Although the scientists did not record speech droplets produced by people who were sick, previous studies have calculated exactly how much coronavirus genetic material can be found in oral fluids in the average patient. Based on this knowledge, the researchers estimated that a single minute of loud speaking could generate at least 1,000 virus containing droplets. The scientists also found that while droplets start shrinking from dehydration as soon as they leave a person's mouth, they can still float in the air for eight to 14 minutes. "These observations confirm that there is a substantial probability that normal speaking causes airborne virus transmission in confined environments," the authors wrote in the study. The researchers acknowledged that the experiment was performed in a controlled environment with stagnant air that may not reflect what happens in rooms with good ventilation. But they still had reason to believe their reported values were "conservative lower limit estimates" because some people have a higher viral load, meaning they may produce droplets with several thousand more virus particles than average. The Centers for Disease Control and Prevention says keeping at least six feet away from others can help people avoid contact with respiratory droplets and lower the risk of infection. But many scientists have argued that droplets can travel farther than six feet, depending on the force with which droplets are launched, the surrounding temperature, whether there are air currents that can carry them farther and other conditions. There is also debate about whether the coronavirus can also be transmitted through even smaller droplets less than a tenth the width of a human hair that are known as aerosols, and can remain suspended or travel through the air for longer. In another recent study, the same authors showed that just articulating certain sounds can produce significantly higher amounts of respiratory particles. The "th" sound in the word "healthy," for example, was a very efficient generator of speech droplets. Another paper, published in January by researchers from the University of California, Davis, found the vowel sound "e" in "need" produces more droplets than the "a" in "saw," or "o" in "mood." What researchers don't yet know is whether all speech, cough and sneeze droplets carrying virus particles are equally infectious, or if a specific amount of virus needs to be transmitted for a person to get sick by breathing it in.	N24News: A New Dataset for Multimodal News Classification	Health
Following an investigation by the National Highway Traffic Safety Administration, Mercedes Benz is recalling about 253,000 C Class cars from the 2008 11 model years because the taillights could fail, according to a report the automaker posted Tuesday on the safety agency's website. The recall comes about 27 months after Mercedes determined the cause of the problem and made a manufacturing change for replacement parts but did not recall the vehicles, according to the report. The models affected by the recall are the C300; C300 4Matic; C350 and C63 AMG. Mercedes said oxidation on a ground pin connector could cause the rear taillights to dim or fail completely. The automaker told N.H.T.S.A. that it was not aware of any accidents or injuries related to the problem. But the agency has said it received reports of five trunk fires stemming from the defect. Mercedes said it received its first complaints in 2009, but didn't learn the cause of the lighting failures until December 2011. In January 2012, the automaker made a manufacturing change to replacement parts.	N24News: A New Dataset for Multimodal News Classification	Automobiles
The Orange County Museum of Art on Thursday unveiled the architect Thom Mayne's design for its new building at Segerstrom Center for the Arts in Costa Mesa, Calif. Groundbreaking for the new building is scheduled to take place in 2019 and to open in 2021. The museum will close the Newport Beach location it has occupied for 41 years on June 17 and present temporary exhibitions and programs starting this fall at a gallery space in South Coast Plaza Village in Santa Ana. The design by Mr. Mayne and his firm, Morphosis, gives the museum about 50 percent more exhibition space nearly 25,000 square feet of galleries along with an additional 10,000 square feet for education programs, performances and public gatherings. "Morphosis' design for the museum evolved from both the 'outside in' and the 'inside out,'" said Mr. Mayne in a statement, adding that it aims to give the museum "neutral, flexible exhibition spaces that can complement art of all media."	N24News: A New Dataset for Multimodal News Classification	Art & Design
Flying Taxis May Be Years Away, but the Groundwork Is Accelerating SAN FRANCISCO Flying cars are just starting to inch their way out of science fiction. But that is not stopping some companies from planning for flying taxi services. A growing collection of tech companies, aircraft manufacturers, automakers and investors are betting that fleets of battery powered aircraft will give rise to air taxi services, perhaps as soon as the next decade. Some of those taxis, the companies hope, may even use artificial intelligence to fly themselves. The deal making, technology exploration and perhaps wishful thinking around this new sort of flying transportation please, the companies ask, don't call them flying cars are reminiscent of the work done on self driving cars just a few years ago. No one can say for certain if these new vehicles will turn out to be a real business. But many companies are already worried about being left behind. The European aerospace company Airbus said Tuesday that it was making an investment in Blade, an aviation start up in New York, and forming a partnership to expand Blade's helicopter hailing service in more cities around the world. Last week, Dara Khosrowshahi, Uber's chief executive, said he expected the ride hailing company to start flying passengers on a service called Uber Air in five to 10 years. In November, Boeing acquired Aurora Flight Sciences, a company specializing in flight systems for pilotless aircraft, for an undisclosed sum. Before the acquisition, Aurora had been working with Uber to develop a flying taxi. And Joby Aviation, a start up in Santa Cruz, Calif., building its own air taxi, said this month that it had raised 100 million in venture funding from a consortium of investors including the venture capital arms of Intel, Toyota Motor and JetBlue Airways. "This is the natural progression of the vehicles we make," said Ben Bridge, head of global business for Airbus Helicopters. "We want a seat at the table and a voice in the conversation that is happening." Flying cars even played a bit role in the recently settled legal fight over trade secrets between Uber and Waymo, the self driving car service spun out of Google. In court testimony this month, Travis Kalanick, Uber's former chief executive, said he had heard that Larry Page the chief executive of Waymo's parent company, Alphabet, who has a side project building new types of aircraft was upset because Uber was "doing their thing" with flying cars. Whatever you imagine a flying car to be stop. What these companies envision is something like a helicopter but much quieter and more affordable. Think of a hobbyist's drone, but big enough to fit people. It would, in theory, be welcome in urban environments and affordable to more than well heeled businesspeople. At least, that's the dream. Before there can be too much enthusiasm for these flying taxi services, it's worth noting that self driving cars have yet to turn into a notable business for anyone, despite about a decade of research at tech giants like Google and billions in investment from Silicon Valley and the auto industry. Regulators are just starting to agree on rules for large scale tests of self driving cars on public roads. How would they deal with flying taxis? The details of the future service are far very far from being ironed out. Still, there are some reasons for the new enthusiasm. Battery improvements and the wide use of drones have spawned technological breakthroughs. The taxis would take off and land vertically like a helicopter, so they'd take up less room. Because they would be battery powered, they would be more environmentally friendly. For now, Airbus executives hope to gain from Blade's experience with an app that allows customers to reserve a seat on a helicopter. Airbus is expected to invest up to 15 million in Blade, which would represent about a 10 percent stake in the company, according to a person who is familiar with the transaction but not permitted to discuss the investment details publicly. Both companies see helicopters as an intermediate step until a new type of aircraft and taxi service hits the market. Rob Wiesenthal, Blade's chief executive, said a quieter and less expensive alternative to helicopters "opens up a whole new world." Airbus said it was preparing for a test flight by year end for its CityAirbus aircraft, which carries up to four passengers and can reach a cruising speed of about 75 miles per hour. It plans to deploy the CityAirbus in 2023. Uber has said it expects to begin testing of its urban air taxis in the Dallas Fort Worth area, Los Angeles and Dubai in 2020. The company has landed exclusive deals for vertical takeoff and landing spots with real estate companies, including in the Dallas Fort Worth area. Uber declared its interest with its Uber Elevate initiative in 2016, forecasting a future when it could offer 15 minute Uber Air rides from San Francisco to San Jose for 20. The 50 mile ride with Uber Pool, its car pooling option, usually takes about two hours in rush hour traffic and costs 83. It did not put a date on that future. In a concept video for Uber Elevate, a woman opens the Uber app, which gives her a choice of taking a ride with Uber Pool, UberX or Uber Air. She enters a nearby building and rides the elevator to the top floor, where she boards an air taxi in Uber Skyport. Uber is also establishing performance guidelines for its flying taxis, including asking that the new aircraft make only one quarter of the noise of a small four seat helicopter. Uber also has supplier deals in place with five manufacturers, including Textron's Bell Helicopter. "We believe the best way to get this idea off the ground is to partner with world class companies and stakeholders that have a diverse set of specializations," an Uber spokesman, Matt Wing, said in a statement. Daniel Wiegand, a co founder and the chief executive of the German air taxi company Lilium, said investors considered him totally crazy when he pitched the company in 2015.	N24News: A New Dataset for Multimodal News Classification	Technology
The setting was romantic enough. Sunny spring day. A cherry tree blossoming a vivid pink. One party, the suitor, was dark, fetching and amorous. But the other party lay there like a corpse. It was, in fact, a corpse. So began the first documented human observation of a crow copulating with a deceased member of its own species. In April 2015, Kaeli Swift, a doctoral candidate at the University of Washington who studies crows, was demonstrating one of her experiments for a film crew when she left an expired crow, stuffed by a taxidermist, unattended on the ground. A nearby crow soon swooped down upon the stuffed crow, crouching low, its wings spread wide and attempted intercourse. The move astonished Ms. Swift enough that she spent the next three springs and summers recreating these conditions and documenting the behavior. Ms. Swift and her co author, Dr. John Marzluff, detail that field work in a study published Monday in the journal Philosophical Transactions of the Royal Society B. Exposed to their dead, crows may touch, attack and attempt to have sex with the body, the authors explain. The study adds a new twist to previous observations that the birds primarily respond to crow cadavers as signs of danger. The conduct, the researchers speculate, may be the result of hormonal fluctuations that cause some crows to become confused about how to respond to stimuli. "It was certainly very surprising to me," Ms. Swift said of the newly observed behavior. There is anecdotal evidence that other animals engage in necrophilia, she said. Humans have spotted dolphins, whales and squirrels getting down with their dead. "I never heard of this with crows before and I had never seen it." Past studies by Ms. Swift and Dr. Marzluff of crow behavior toward corpses involved the presence of a potential mortal threat, whether a human being, a stuffed red tail hawk or both. At the sight of a dead crow near possible predators, the birds swarm in large numbers, emitting a cacophony of caws, but never touch the body. The researchers had called the activity a crow "funeral," and surmised that such gatherings are how the birds learn about and process danger. But what they witnessed in the spring of 2015 made it clear that there's more to how crows react to the dead than avoiding harm. Like the Science Times page on Facebook. Sign up for the Science Times newsletter. For the new study the researchers removed the predator element from the equation. After identifying the territory of an adult pair of crows in a Seattle neighborhood, they placed a cadaver on a sidewalk or other exposed area and retreated about 65 feet away. Among the hundreds of crows observed during the study, the majority merely cawed loudly and dive bombed at the corpse without touching it. But 24 percent of the winged subjects pecked, pulled at or dismembered the body. And in 4 percent of the encounters observed, crows attempted copulation. (In one case, a crow mounted a dead pigeon used in the study for comparison.) Kevin McGowan, a professor at the Cornell Lab of Ornithology, and not involved in the study, said he'd never witnessed a sign of necrophilia in more than three decades of observing crows. But he suspects over charged hormones are largely at play. "There's a huge amount of growth and disappearance of bird gonads during the off breeding season," Dr. McGowan said, referring to the way bird testes may expand or shrink, depending on the time of year. That affects the hormones circulating in its system and the reaction to the stimuli the crow encounters. "So it's not surprising that you would see incidental sexual behavior pretty much only in the breeding season." The new study did not record whether the individual necrophiliac crows were male or female, but Ms. Swift agreed that the time of year had a lot to do with the results. The sexual and aggressive behavior she observed was limited to the first half of the breeding season, which ends in mid June. "I think the next line of testing would be to do hormonal profiles and see if there are endocrine differences between the birds that engage in this behavior and the birds that don't," she said. For now Ms. Swift speculates that the behavior may be a blend of potential responses a crow might have to its dead seeing corpses as a sign of danger or a potential mate. Some crows may be incapable of umpiring their own responses to the stimuli, she suggests. So they engage in them all.	N24News: A New Dataset for Multimodal News Classification	Science
As we floated along the river in boats, we passed figures on the shore dressed in costumes from some other time, each absorbed in a riverine activity. Prepped by messages from a loudspeaker at the beginning of the journey, we could almost have been on a theme park ride, like Pirates of the Caribbean or Jungle Cruise. But the people we watched were real. And so was the river. We weren't at Disneyland. We were in the Bronx. More specifically, we were on the Bronx River the star of Paloma McGregor's performance ritual "Building a Better Fishtrap/from the river's mouth." Long mistreated as a garbage dump, the only freshwater river in New York City has been cleaned up and restored in recent years. These days, as a voice on the loudspeaker said and as anyone can see it's full of life and beauty. Twice on Sunday, audience members in life vests gathered at the dock in Starlight Park to board three person canoes for a one hour tour. With her itinerary, Ms. McGregor directed our attention to the river's present revival, yet her carefully orchestrated ritual (presented by New York Live Arts) also blurred the sense of place and time. The all female cast deployed along the tree jammed shore wore white, as if ready to perform the "Take Me to the Water" section of Alvin Ailey's "Revelations." White is a spiritual color in the African diaspora, and many of the women seemed to be sorceresses, adjusting incense and mirrors, cackling, shaking as if possessed by spirits. Looking around warily, they might have been spirits themselves, ghosts of the slaves who once set traps or washed clothes in these waters. They did these things in trees, but also across and under steel bridges or against the backdrop of graffiti tagged concrete walls. And many of their accessories (loops of plastic, plush toys) could have been fished from the river in its garbage dump days. Thus, their actions which included bursts of grounded dancing, with a motif of circling hands or whole undulating bodies, suggestive of fishing and its reeling in seemed to occur somewhere between past and present. They were at once on this particular river and also on a mythic river, anywhere in the territory of the African diaspora, away from an ancestral home. This was picturesque but also all purpose and a little vague. When one of the women tossed an orange peel into the river or another dumped her clothes washing water, was this a natural relationship with the river or the start of pollution? My guide and fellow paddler, Toniann German, interpreted it as pollution. Ms. German is a member of one of the partner organizations, the Bronx River Alliance, and an alumna of another, the youth development program Rocking the Boat. She told me how she had found the river as a teenager in the Bronx, and how it and Rocking the Boat had saved her from bad choices and given her pride in her neighborhood. This story had more specificity than anything in Ms. McGregor's ritual an illuminating connection to the other side of the foliage curtain, the Bronx that intruded on the performance in the form of a stray soccer ball and a boy who asked, "Are there sharks in there?" Yet the presence of Ms. German and other guides spoke to the community effort of "Building a Better Fishtrap." The chance to slip inside this communal love for the river was, along with the river itself, the best part of Ms. McGregor's project, a perspective achievable only while afloat.	N24News: A New Dataset for Multimodal News Classification	Dance
A new production of Mozart's "Don Giovanni" directed by Ivo van Hove, who has led fierce Broadway stagings of "A View From the Bridge" and "The Crucible," will be a highlight of the Paris Opera's ambitious 2018 19 season, announced late Monday. A co production with the Metropolitan Opera, the "Don Giovanni" is part of a broad celebration of the company's 350th anniversary the season's slogan is "Modern Since 1669" and the 30th birthday of the larger of its two theaters, the Opera Bastille. French works will be a focus, including Berlioz's "Les Troyens" (directed by Dmitri Tcherniakov, with Elina Garanca and Bryan Hymel); Rameau's opera ballet "Les Indes Galantes" (staged by the film director Clement Cogitore); and Meyerbeer's "Les Huguenots" (directed by Andreas Kriegenburg, with Diana Damrau and Mr. Hymel). A new opera, "Berenice," composed by Michael Jarrell and based on Racine, will star Barbara Hannigan and be staged by Claus Guth. Other highlights of the director driven season, announced by the company's director, Stephane Lissner, include Romeo Castellucci's version of Scarlatti's rarely seen "Il Primo Omicidio"; Krzysztof Warlikowski's new production of Shostakovich's "Lady Macbeth of the Mtsensk District"; Calixto Bieito's take on Verdi's "Simon Boccanegra"; Simon Stone's staging of "La Traviata"; and Barrie Kosky's of Borodin's "Prince Igor." Mr. Tcherniakov's pairing of Tchaikovsky's "Iolanta" and "The Nutcracker" will return, as will Peter Sellars and Bill Viola's production of Wagner's "Tristan und Isolde," to be conducted by the company's music director, Philippe Jordan. Mr. Jordan, who leaves Paris in 2020 to lead the Vienna State Opera, will also conduct "Les Troyens," "Don Giovanni," "Prince Igor" and "Berenice." The tenor Jonas Kaufmann will sing Cavaradossi in Puccini's "Tosca" opposite Anja Harteros, who also stars in Verdi's "La Forza del Destino."	N24News: A New Dataset for Multimodal News Classification	Music
Re "The Big Ten Failed a Moral Test. Your Move, Pac 12," by Kurt Streeter (Sports of The Times, Sept. 18): The conference commissioner said the decision by the Big Ten universities to reverse their earlier decision and play football this fall was "to return to competition so all student athletes can realize their dream of competing in the sports they love." But as of the moment, members of the men's and women's cross country teams, the women's field hockey and volleyball teams and other so called non revenue sports won't be having their dreams realized this fall. Don't these student athletes want to compete in the sports they love? I've been a Michigan football fan all my life, but I realized that football is going ahead in the Big Ten simply because major college football is a multibillion dollar money machine for the universities, their highly paid coaches and the television and apparel industries that profit from the audiences football provides them. The universities' decision was an economic choice, plain and simple. University leaders speak proudly about their commitment to "equity" and "inclusion." But to be truly equitable and inclusive, there must be fair compensation paid to the student athletes whose talent and effort make the whole extravaganza possible. Pay the athletes! And Go Blue!	N24News: A New Dataset for Multimodal News Classification	Opinion
FRANKFURT The president of the European Central Bank issued a sober assessment of the euro zone economy, saying on Thursday that he was "very, very cautious" about prospects for growth and acknowledging concern about shock waves from the civil war in Syria. "I can't share the enthusiasm" about budding growth in the euro zone, Mario Draghi, the bank president, said at his monthly news conference. "These shoots are still very, very green." The central bank kept its benchmark interest rate at a record low of 0.5 percent on Thursday, which had been expected after recent economic indicators showed the euro zone economy was beginning to recover, albeit weakly. But Mr. Draghi said the bank had not ruled out future rate cuts. "We certainly are alert to the geopolitical risks that may come from the Syrian situation," he added. Mr. Draghi's remarks were unexpectedly pessimistic and could dampen the hopes of some economists and political leaders that the euro zone is finally improving after a stubborn recession that has pushed unemployment to more than 25 percent in Spain and Greece. The central bank also revised its forecast for euro zone growth in 2014 to 1 percent from 1.1 percent. The bank may not welcome undue optimism about the euro zone economy because it could cause market interest rates to rise and make credit even more unaffordable for the businesses and households in Southern Europe that need it most. "Mr. Draghi believes investors are jumping the gun on the state of the euro zone economy and is providing a reality check in an effort to talk down market rates," Nicholas Spiro, managing director of Spiro Sovereign Strategy, said by e mail. On Thursday in Britain, which does not use the euro currency, the Bank of England also held interest rates at a record low, as policy makers there, too, were reluctant to celebrate tentative signs of an economic recovery. Open or closed on Thanksgiving? Here are stores' plans for Thursday and Friday. Mr. Draghi indicated that the bank's Governing Council, which held its monthly monetary policy meeting on Thursday, had not ruled out further cuts in the benchmark interest rate. During the debate on Thursday, he said, some members argued against a cut because of signs of better growth, while others noted that growth remained tentative. Some analysts agreed that it was too soon for optimism about the euro zone economy. The European Central Bank's outlook showed "caution that we think is warranted," Marie Diron, an economist who advises the consulting firm Ernst Young, wrote by e mail. According to official European Union data, the euro zone grew at an annualized rate of 1.2 percent in the second quarter of 2013, ending a recession that began in mid 2011. But the economic recovery has been mostly confined to Germany and a few other countries like Finland and Austria, and even there, signals are mixed. German factory orders fell more than expected in July, figures released on Thursday show. Unemployment has leveled off in the euro zone as a whole, as well as in some of the most troubled countries like Spain, where the number of jobless people declined slightly in August. But unemployment rose in the second quarter in France, to 10.5 percent from 10.4 percent, according to figures released on Thursday, a further sign of an uncertain recovery.	N24News: A New Dataset for Multimodal News Classification	Global Business
Early Monday morning the email arrived. The subject line began, "ALARM AT THE GATE," written in all caps. Someone had died. That is always what that phrasing means. The message came via a group email list maintained by the fraternity I joined in college some 30 years ago. A younger member, a rising chef in his 30s, had died. As the email read, he passed away "due to immune system complications resulting from contracting the Covid 19 virus as a Type 1 diabetic." He was in Detroit, which has emerged as a hot spot for the virus. This was the third death I'd heard about of someone with a connection to my college or a friend who went there. All relatively young, all black men, all diabetics. The two others were in New Orleans, another emerging hot spot. I recalled an arresting article I'd read from "Undark," a Knight Foundation funded, science oriented digital magazine in Cambridge, Mass. (I'm on the advisory board of the magazine.) As the article pointed out, the virus may prove most devastating in the South because of "poorer health, curbed health care access and skepticism of government." What the article doesn't state outright, but I read in the subtext, was that the virus is more likely to be deadly to black people. Most black people in America still live in the South. The states with the highest percentage of black people are in the South. We may be waiting for a racial time bomb to explode with this disease. In the early days of the virus, the relatively few cases on the African continent, I believe, gave black people in America a false sense of security, that black people may be somehow less susceptible to it. But that is not true, and African Americans should not look to Africa as the model. Even as researchers worry about Africans' vulnerabilities some being the same issues that exist in the American South African countries also have advantages that America and, in particular, African Americans don't. As Berkeley economist Edward Miguel explained, "The median age in a lot of countries is 20 or 18, much younger than in Europe, and it appears that young people who are infected are often asymptomatic or just get a cold." The median age in the United States is 38. Furthermore, some African nations have a medical infrastructure experienced in dealing with pandemics, and in many cases people still live in rural areas. But what is most worrisome is the racial disparity in prior health conditions that exist in the United States. As Bloomberg reported about a study of the deaths in Italy: "Almost half of the victims suffered from at least three prior illnesses, and about a fourth had either one or two previous conditions. More than 75 percent had high blood pressure, about 35 percent had diabetes and a third suffered from heart disease." According to the Centers for Disease Control and Prevention, high blood pressure is most common in non Hispanic black adults (54 percent), and black people have the highest death rate from heart disease. As for diabetes, the 2015 National Medical Association Scientific Assembly, held in Detroit, where my friend died, delivered these stark statistics: "African American patients are more likely than white patients to have diabetes. The risk of diabetes is 77 percent higher among African Americans than among non Hispanic white Americans. The rates of diagnosis of diabetes in non Hispanic African Americans is 18.7 percent compared to 7.1 percent." The group went on to say that in 2006, "African Americans with diabetes were 1.5 times more likely to be hospitalized and 2.3 times more likely to die from diabetes than non Hispanic whites." In addition, many Southern states refused to expand Medicaid under the Affordable Care Act, and there is a rural hospital crisis in this country. But that crisis is compounded in the South, where, as the magazine Facing South points out, the rural areas "have higher poverty rates, higher mortality rates, and lower life expectancies than other rural regions of the country." This all worries me, because I take a lesson from the H.I.V./AIDS crisis. In the beginning, it was largely seen as a New York and San Francisco problem affecting white men who were gay. Over the decades, treatments became available, and those cities saw their new infection rates plummet. But the disease remained very much alive, particularly in the South, particularly among black people, where it has reached epidemic proportions. In the United States, more than 40 percent of people living with H.I.V. and 40 percent of people with new infections are black, according to the C.D.C., and "African American men accounted for three quarters of new H.I.V. infections among African Americans in 2016, and 80 percent of these were among African American gay and bisexual men." Black people were already suffering through an epidemic, one with treatments that could have arrested it, and yet it rarely made the news. We know that if a person is under treatment and the H.I.V. is well controlled, meaning undetectable, there is "effectively no risk" of transmitting the virus. We also know that drugs can be taken to prevent contracting the disease. But here, the connection must be made with that refusal to expand Medicaid. As the Kaiser Family Foundation has pointed out: "Medicaid beneficiaries with H.I.V. are more likely to be male (56 percent vs. 42 percent), black (50 percent vs. 22 percent) and between the ages of 45 64 (54 percent vs. 13 percent) than the Medicaid population over all." On some level, H.I.V. is ravaging the South because Southern states have made a policy decision not to care in a sufficient way because the people suffering are poor and black. And many of these people are also vulnerable to this new virus, as Dr. Deborah Birx, the White House's coronavirus response coordinator, said at a news conference a couple of weeks ago. "We are all very worried about" long term survivors of H.I.V., many of whom "still carry a level of immune compromise," she noted. I don't want that to be the future of Covid 19 and black America. The problem we have now is that we don't see the racial demographic data for this virus. I echo the concerns of Senator Elizabeth Warren, Representative Ayanna Pressley and others who wrote Friday to the U.S. Department of Health and Human Services: "The C.D.C. is currently failing to collect and publicly report on the racial and ethnic demographic information of patients tested for and affected by Covid 19. Our concerns echo those from some physicians: that decisions to test individuals for the novel coronavirus may be 'more vulnerable to the implicit biases that every patient and medical professional carry around with them,' potentially causing 'black communities and other underserved groups ... to disproportionately mis s out on getting tested for Covid 19.'" The letter went on: "Although Covid 19 does not discriminate along racial or ethnic lines, existing racial disparities and inequities in health outcomes and health care access may mean that the nation's response to preventing and mitigating its harms will not be felt equally in every community." I have been communicating with my niece, Cortney, a nurse on the front lines of the crisis in Louisiana. (She's actually my niece's half sister, but my brothers and I have always called her our niece as well.) She has seen racial disparities in treatments but also black people being hit particularly hard by the disease, something that she says others in the state are also seeing. As she messaged me: "I can't speak for the U.S. as a whole, but in the South, particularly Louisiana, we are seeing more black cases that aren't responding well to the virus." We need data to know if her observations are anomalous or endemic. People like to say "we're all in this together," but black people have every right to respond, "but will we all emerge from it together?" 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 and Twitter ( NYTopinion), and Instagram.	N24News: A New Dataset for Multimodal News Classification	Opinion
Want more basketball in your inbox? Sign up for Marc Stein's weekly N.B.A. newsletter here. A spirited discussion with a general manager nearly a decade ago helped me form a trusty philosophy for evaluating N.B.A. coaches. This was not long after LeBron James left the Cleveland Cavaliers for the Miami Heat in July 2010, which many around the league view as the launch of the N.B.A.'s player empowerment era. I declared that buy in from players meant far more for coaches in the modern game than strategic acumen. The G.M. reminded me that nothing was more important to a coach's success than talent but agreed with the rest of the premise. I've made a habit of reciting these rankings (and cheekily claiming them as my own) ever since. The No. 1 variable for any new coach's odds of success is the quality of the roster. No. 2 is player belief in the coach's knowledge, messaging and system, and in game mastery of Xs and Os is a distant third. This is not to say that game management doesn't matter in the N.B.A. It will always be a big deal no one knows it better right now than Mike Budenholzer, Milwaukee's under fire head coach and it will almost certainly rank as Steve Nash's biggest weakness as a rookie coach with the Nets next season. Nash, after all, is new to coaching. Yet there are moves that can offset what an inexperienced coach lacks in that area. The Nets can surround Nash with sharp, well traveled assistant coaches to help him with the nuances of in game adjustments, substitution patterns, drawing up plays on the fly and other coaching "feel" matters as he learns them. It's the Larry Bird Model that crystallized 20 years ago, when Bird helped steer the Indiana Pacers into the 2000 N.B.A. finals as an unseasoned head coach with top shelf offensive (Rick Carlisle) and defensive coordinators (Dick Harter) flanking him. Tactical experts like Carlisle and Harter are much easier to find than a coach who, before his first practice, holds deep respect from Kevin Durant. Nash and Durant first bonded after being introduced by Adam Harrington, who is now a Nets assistant coach but played with Nash in Dallas and began training Durant during the 2013 14 season, when Durant won the Most Valuable Player Award with the Oklahoma City Thunder. Nash and Durant then worked together, albeit in brief spurts, throughout Durant's three seasons with the Golden State Warriors, when Nash would drop by the Warriors' practice gym in his role as a part time consultant in player development. It was impossible to miss that Nash was more apt to work with the 7 foot Durant than the guards Stephen Curry and Klay Thompson. Yet when Nash landed the Nets' job last week, another relationship came into focus: Nash's ties to Nets General Manager Sean Marks. Even though I covered Nash at close range for much of his N.B.A. career, I didn't realize how close he and Marks had grown during their brief stint as teammates in Phoenix or how far back the bond stretched. Nash and Marks have known each other for more than 20 years, starting out as international basketball rivals representing Canada and New Zealand. Even so, last week's fiery debate after the Nets hired Nash, as a white coach with zero coaching experience, was understandable and needed. Even if you agreed with TNT's Charles Barkley that criticism of the Nets was overwrought, there is a longstanding diversity issue in the N.B.A.'s coaching and front office ranks. There are only five Black head coaches in a league with a player pool that is an estimated 80 percent Black, although five teams have coaching vacancies including New Orleans, which fired Gentry last month. There are also just seven Black front office executives with varying degrees of lead decision making power: Cleveland's Koby Altman, Detroit's Troy Weaver, Philadelphia's Elton Brand, Phoenix's James Jones, Sacramento's Joe Dumars, San Antonio's Brian Wright and Toronto's Masai Ujiri. Only Ujiri, of that group, holds the title of team president. The numbers are abysmal. They would be disheartening even if this league, and this country, were not in the midst of a national reckoning on race. The N.B.A. may grade well in diversity studies when measured against the other major North American sports leagues, but it is not enough for this league to outpace the N.F.L. and Major League Baseball. So maybe it is time for the N.B.A. to consider crafting its own version of the N.F.L.'s "Rooney Rule" something stronger at the league level to help nonwhite coaching and front office candidates and to address the failings Commissioner Adam Silver acknowledged in June. "There is no doubt there is more we can do internally, the league and our teams, and in terms of hiring practices," Silver said. I nonetheless share Barkley's view that Nash got this job, above all, because he's Steve Nash. He got it because of the exclusive connections he established with two of the Nets' foremost power brokers. I don't believe, as my former ESPN colleague Stephen A. Smith said, that his hiring is an example of white privilege. Who else could the Nets have considered who has such deep buy in from Marks and, most crucially, Durant? It puts Nash on good footing in the climb to earn the same support from the mercurial Kyrie Irving, as well as from Joe Tsai, the new Nets owner. The Nets, though, will surely be asked to explain their hiring process in greater detail Wednesday, when Nash is formally introduced as their new coach in a virtual news conference and they have to know the questions won't stop there. Several significant challenges loom for Nash beyond mastering all the in game ins and outs, like dealing with the intense news media demands that come with any coaching job in New York. Nash's maiden coaching foray also comes with lofty expectations, as Durant will probably be back from an extended injury absence and the Nets will be expected to contend immediately. The long, stressful hours of a head coach's life figure to be another shock to the system after Nash spent the first five seasons of his retirement juggling various part time basketball and soccer jobs that, above all, allowed him to be a largely full time father to his five children. You ask; I answer. Every week in this space, I'll field three questions posed via email at marcstein newsletter nytimes.com. (Please include your first and last name, as well as the city you're writing in from, and make sure "Corner Three" is in the subject line.) Q: You've talked about the price of room service meals at the N.B.A. bubble and also mentioned some of the delivery meals you had and the ice cream sundae bar. But who pays for all this? How are all the expenses divided up for players, team staff, media and even the on site barbers and DJs? Steve Mitzenmacher (Pleasanton, Calif.) Stein: The breakdown is pretty simple. Expenses for members of the news media are paid by the outlets they work for. Expenses for all the teams and most other campus residents (referees, league officials, game operations people, etc.) are covered by the league. It costs 550 per day for the reporters covering the N.B.A. restart. That figure includes lodging, three daily meals, transportation to game venues and practice sites and, of course, daily coronavirus testing. Room service meals and food orders from approved off campus vendors, such as the supplier of my beloved French Dip sandwich, cost extra. When you add up the reporters from independent outlets like The New York Times, both of the league's media partners (ESPN and Turner) and the producers who accompany television reporters on their assignments, there are nearly 30 members of the news media on campus. Another respondent, DeBe 03, tweeted that "Bill Russell has entered the chat." Yet another, martinshama, wrote that H a r d e n is a "weird way to spell Manu Ginobili." Friendly reminder: My All Lefty Team is an annual thing. It comes out every August, in conjunction with International Left Handers' Day, and referring to Harden as the captain of that team was purely a nod to the All Lefty Team of 2019 20. You can see who joined Harden among this season's top six lefties, in this August newsletter. Had we been referring to the all time N.B.A. All Lefty Team, of course it would have included Russell, Robinson and Ginobili as the sixth man with Russell the obvious choice as captain. Harden is the only current All Lefty Team member who would also make my all time southpaw squad. The problem: That would leave just two more open spots for the likes of Tiny Archibald, Gail Goodrich, Chris Mullin, Chris Bosh, Bob Lanier and Artis Gilmore. Q: How is the bubble affecting relationships between players? Are players befriending and interacting with players on other teams that they normally wouldn't? Or are tensions higher? Rich Kordsmeier (Dallas) Stein: It naturally varies from team to team, but players are spending more time with their teammates than ever before. So that will be something interesting to track next season. The chemistry that various teams built at the bubble will surely carry over in some cases. But I don't think it's universal. It can work both ways, because when teams are struggling, there is little escape from basketball or one another. As Danny Green of the Los Angeles Lakers put it: "The bubble is as good as you play. If you're not playing well, walls are going to close in on you." Milwaukee is the most interesting case study to me. As I've written on a few occasions, there was a distinct impression during the seeding games that the Bucks, as a group, were not loving bubble life. Then they fell into a 3 0 series hole against Miami in the second round of a championship or bust season. In between, Milwaukee staged a historic walkout moments before Game 5 of its first round series against Orlando to protest the police shooting of Jacob Blake, a Black man, in Wisconsin. The gumption it took to do that, as well as the momentous wave of protests across North American sports that the Bucks' move inspired, is bound to bond this group forever on some level. Milwaukee, of course, also pulled off an overtime win in Game 4 against the Heat despite losing Giannis Antetokounmpo to an ankle injury, so it's a full on roller coaster now. The Bucks had every reason in the world to finally let go of the rope after losing Giannis. So let's see how much longer they can extend the series and delay the endless noise on the way about Antetokounmpo's future. There is sure to be some second guessing, too, about the decision not to spend what it took to retain Malcolm Brogdon. Only three N.B.A. teams have a Black head coach and a Black lead decision maker in the front office: Cleveland (J.B. Bickerstaff and Koby Altman), Detroit (Dwane Casey and Troy Weaver) and Phoenix (Monty Williams and James Jones). The league's player pool is roughly 80 percent Black. We have already seen three walk off endings in these playoffs, thanks to buzzer beaters by Dallas's Luka Doncic and Toronto's OG Anunoby, and Jimmy Butler's two free throws with no time left on the clock in Miami's Game 2 victory over Milwaukee. The record for buzzer beaters in a single N.B.A. postseason, according to Stathead, is four in 2015, made by Jerryd Bayless, Derrick Rose, LeBron James and Paul Pierce. The aforementioned free throws by Butler wrapped up the first N.B.A. playoff game decided at the line with time expired in 41 years, according to Stathead. Washington's Larry Wright clinched Game 1 of the 1979 N.B.A. finals over Seattle in that manner. The first round of the playoffs lasted 17 days. In October, The New York Times asked a group of eight writers and editors to predict this season's N.B.A. champion. Only one of them yours truly picked the Milwaukee Bucks. But I will own it. I thought continuity and last season's playoff disappointment would fuel the Bucks this season to win the East at the very least. It's difficult to dispute now that their offensive limitations, with no guard capable of consistently creating shot opportunities for himself or his teammates when possessions stagnate around Giannis, became a major problem in the playoffs. Hit me up anytime on Twitter ( TheSteinLine) or Facebook ( MarcSteinNBA) or Instagram ( thesteinline). Send any other feedback to marcstein newsletter nytimes.com.	N24News: A New Dataset for Multimodal News Classification	Sports
Credit...Poras Chaudhary for The New York Times I took a taxi to the Ridge, the large, open space in the heart of the city. It was filled with tourists from across the globe, and newlyweds clearly distinguishable by their bright red chula bangles, sitting and watching the world go by. At Ashiana Goofa, a restaurant run by the Himachal Pradesh Tourism Development Corporation and where we had dinner, the focus is on authentic, regional home cooking. You won't find salt and pepper on the tables instead, you're served onions, chilies and lemon or lime on the side for flavor, along with achar pickles. We feasted on chickpeas with yogurt an unusual combination and a jeera (cumin) rice whose delicious simplicity reminded me of dinners with a childhood friend and her family. The star, though, was the roti, or flatbread, with chickpeas, a simple yet magical combination. The change in scenery was instantaneous. We drove down the valley under the shade of lofty trees and views of the snow covered mountains and traditional villages. The city of Rampur is connected to major trading routes that join Indian markets with those of Central Asia and Tibet. I was told that the place is buzzing in November when the Lavi Fair comes to town: It is the largest trading event in the north Himalayas, and attracts traders from Kashmir, Ladakh, Yarkand in China and other parts of India. Here, you'll find all manner of things for sale: dried fruits, raw wool, pashminas, even stallions. (We traveled in the spring, before India revoked the statehood of Jammu and Kashmir and imposed tight restrictions on communications and movement there, devastating the region's economy.) After a quick lunch of rajma chawal a hearty kidney bean curry with rice we headed out in search of the Bhimakali Temple, said to be 800 years old and dedicated to the ruling deity of the Bushahr region. At an altitude of 6,900 feet, it's not a journey for the fainthearted. The place is steeped in mystery and intrigue: One legend claims that the entire building tilted after an earthquake in 1905, and righted itself with a subsequent tremor. Other stories tell of secret tunnels hidden within, used in centuries gone by for priests to travel to the nearby village of Ranwin. While the better known temples in India are packed full of tourists, pushing and shoving, Bhimakali was genuinely peaceful. The priest told us of an intriguing spiritual walk in the nearby Himalayas, a dangerous path that is only open for two to three weeks a year. He gave us his blessing, and we departed, deciding to take tea at one of the food stalls by Rampur's Bir Bahadur Palace before continuing our journey. While the others were mostly staffed by men, two women smiled at us from this stall. It was clear that the younger woman was a newlywed: her red and white chula bangles, plus her bindi and lipstick which are only worn in public when married revealed her status. The parathas we ate for breakfast at our heritage hotel, Nau Nabh, weren't a patch on those we enjoyed in Shimla, but they did the job before our journey to the Kalasan Nursery Farm, near the tiny town of Karsog. We took the scenic route, which was breathtaking for a number of reasons. The single track mountain road was terrifying. From the car window I spotted a rickety looking pedestrian bridge across the Sutlej River, and, intrigued, I asked the driver to stop. It seemed like a precarious way to cross the river, but I conquered my fear of heights to do so, and was rewarded with some of the most memorable views of the trip: the shining mountains on all sides, the river flowing aggressively through the middle. Weaving our way up a steep and narrow road, we reached the farm where we had booked a farm stay and were greeted by the owner, Vikram Rawat, and his family, who applied a bindi to each of our foreheads, symbolizing honor, love and prosperity, and gave us each a Himachali hat, called a topi. Originally worn to protect the wearers' heads from the biting winter winds, these hats are now a colorful cultural symbol of the state. Vikram then still a banker came to Kalasan 15 years ago. He was encouraged by his wife, Rajni, to establish an orchard and demonstration farm. As she was born in Himachal, they were able to purchase land something that those born outside of the state are not allowed to do. Instead of traditional apple farming, he opted for high density farming. He learned how to grow apples using clonal rootstocks, building up his knowledge over the years. At first, both other growers and the government were critical of Vikram's farming methods, but now, more than 5,000 farmers visit his orchard each year to study it. He and his wife along with their daughters, Vasu and Charu, now employ 38 people. Growing their own vegetables, kidney beans and apples, they also sell apple juice and cider, and raise cows, goats and chickens to provide a supply of milk and eggs. We also made an apple murabba, or chutney, which combined the farm's apples with dried coconut, sultanas, fennel seeds and salt, and is simply eaten with roti or paratha. This combination of flavors impressed me so much that I now make my own version. Kalasan is known for its ancient temples, constructed from wood and stone in the traditional kath kuni style of architecture. Vikram and Rajni took us to see a nearby example, where we saw the locals feasting on traditional Himachali cuisine. We then took off to a local Himachali restaurant where we cooked and tucked into a thali (a plate of various foods, known as a dham in the region) consisting of a Khatta black chickpea curry served with black mustard tarka as the spiced oil or ghee is known; tender dal (lentil) mash; Himachali kadhi , a gravy made of yogurt and chickpea flour with cinnamon and cardamom, to which vegetable fritters are added; and an incredibly sweet dessert of badana, or deep fried chickpea balls made with moong (mung bean) dal as well as local plum wine. The restaurant's kitchen was tiny and dark and the chef didn't weigh a single thing, relying on the feel of the ingredients in his hands. He knew the exact quantities he needed for the number of people he was going to feed, and his eyes lit up as he explained what he was doing it was clear that this was a man who was passionate about food and feeding people. And despite how remote the place was, I felt a real connection with him. Growth is slow and the shoots are small. As a result, the flavor and aroma are strong, the cup color is amber, and the infusion is coppery in color, compared to first flush where the tea is light and bright, with a flowery taste and fruity aroma. I'd told Anamika of my disappointment at the canceled paragliding experience, and she suggested that we head back and try again. First, we took a detour to visit the famous Verma dhaba, one of the roadside restaurant and truck stops common in India. Because it was Navaratri a Hindu festival that celebrates the triumph of good over evil the queue was incredibly long, but we managed to get a seat to enjoy a thali of khadi (a yogurt based curry), rajma (kidney beans), dal and tandoori roti with onion and chili. It was one of the most outstanding meals of my life, and we paid something like 3.50 for four of us. The feelings of exhilaration and accomplishment when I landed were incredible: I experienced a huge rush of adrenaline, and was so proud of myself for facing my fears. But those feelings were nothing compared with seeing the look on my dad's face when he saw me land safely: a combination of pride, happiness and relief that I will never forget. Romy Gill is a British chef and the author of the cookbook, "Zaika: Vegan Recipes from India," published by Seven Dials Press in September. 52 PLACES AND MUCH, MUCH MORE Follow our 52 Places traveler, Sebastian Modak, on Instagram as he travels the world, and discover more Travel coverage by following us on Twitter and Facebook. And sign up for our Travel Dispatch newsletter: Each week you'll receive tips on traveling smarter, stories on hot destinations and access to photos from all over the world.	N24News: A New Dataset for Multimodal News Classification	Travel
From 20 foot anacondas to species that can comfortably fit on a quarter, snakes slither across much of the world today. That's in part because they're remarkably good at adapting to new environments for instance, the Burmese python, native to Southeast Asia, is thriving in Florida's Everglades National Park. Now, researchers have analyzed four fossilized python skeletons unearthed in Germany part of a region that's currently free of the scaly creatures and rewritten the snake family trees. These results were published last week in Biology Letters. Last year during a sabbatical at the French National Museum of Natural History, Hussam Zaher, a paleontologist, pored over a 52 page manuscript written in German that contained an illustration of a skull of an unnamed snake species. Dr. Zaher was intrigued he was studying ancient snakes, and this skull had some but not all of the characteristics of modern pythons. Dr. Zaher tracked down the specimen, which measured just over 38 inches long, in the State Museum of Natural History Karlsruhe in southwestern Germany. With the help of Krister T. Smith, a vertebrate paleontologist at the Senckenberg Research Institute in Frankfurt, he set off looking for more like it. Dr. Zaher and Dr. Smith located four similar skeletons in the collections of history museums and paleontological institutions across Germany. The skeletons, all remarkably intact, had been excavated from the country's Messel Pit, a UNESCO World Heritage Site.	N24News: A New Dataset for Multimodal News Classification	Science
My grandfather was a statistician, and from a young age he taught me to always consider the odds. A pragmatic man, he couldn't help teaching me when to hedge my bets, especially when it came to playing Uno. Unfortunately, he never could have prepared me for the odds I would face in the years to come. Shortly after celebrating my 25th birthday, I was given a diagnosis of Hodgkin's lymphoma. After some research and a healthy dose of naivete, I felt I could kick it pretty swiftly. After all, everyone reassured me that I had the "good kind" of cancer, with an over 90 percent survival rate. Those were odds my grandfather taught me I could get behind. But two months into treatment, the odds changed; my cancer didn't respond to standard chemotherapy and had begun growing out of control. I now truly feared my own mortality. But most of all, I feared the excoriating pain and emptiness my family would feel if I weren't to survive. What would my mom do each year on my birthday? How would my brother and sister feel knowing I would never meet my unborn nieces and nephews? Who would take my place on my best friend's speed dial? Those fears motivated me to fight. My job now was to simply stay alive. I headed south from New York City for Houston to undergo salvage chemotherapy and a stem cell transplant. My life turned upside down, and before I knew it, I no longer recognized myself in the mirror. My hair, including eyebrows and eyelashes, fell out. My face became swollen from steroids while my body grew thin. Purple marks decorated my joints and eye sockets. As my chemo cocktails became stronger, I became weaker. I endured five months of chemotherapy just to prepare me for an autologous stem cell transplant, which marshals my own stem cells. But the transplant left my immune system compromised, forcing me into isolation for over a month. My jail cell was a 10 by 10 foot hospital room, and my restraints were IV poles carrying dozens of drugs. My fevers spiked above 104, sores lined my throat leaving me unable to swallow. I had to get my nutrition through the IV. This was the closest I had ever felt to death, but I was too sick and too weak to be scared. After 10 months, I returned to my old life in New York, but I had left as one person and came back as another. I was surrounded by friends, and a boyfriend who tried to be supportive. But how could they understand the crippling fears of dying I faced almost every waking minute? I was now given a 75 percent chance of survival but never felt as if cancer was done with me. I spent hundreds of hours, and thousands of dollars, on psychotherapy, trying to figure out if my fears were justified. A year later, it turned out they were. I relapsed. No one could tell me my odds of survival now, but I didn't need my grandfather's Ph.D. in statistics to know they were not good. I went back to Texas, where the doctors wanted me to undergo a second stem cell transplant, this time from a donor. There are over 14 million people on the stem cell/bone marrow registry worldwide, but not one was a perfect match for me. Now, I needed to find a way to buy myself a few years, in hopes that the next miracle drug was around the corner. With no traditional options left, I enrolled in a clinical trial. At best only a few hundred people around the world had taken the drug being tested, and no one really knew what it did to you. It made me as sick as traditional chemotherapy, required full body scans every three to six weeks (that's a lot of radiation) and lots of platelet transfusions. But miraculously, it put me into complete remission. They told me I was only one of two people known to achieve this. Doctors didn't know if the drug would keep me in remission, or whether I should stay on it or not. We took a gamble. I went off it and began proton therapy, a new approach to radiation at the time. It was more targeted, with less damage to healthy tissue, but there was little data on its use for lymphomas. I finished 35 rounds of radiation and was still in complete remission. After seven months I was finished with treatment, but now came the hard part: once again living my life scan to scan and playing the cruel mental game of wondering what the chances were that my cancer would return. It's been seven years and I'm still waiting. My doctor and I will never use the word "cure" and while I'm unsure I'll ever fully "move on," I've been living life to the fullest. I moved to Chicago to be closer to family, and there met my husband. My doctors had told me the transplant would leave me infertile, unable to ever conceive, but together we somehow produced the most amazing daughter. We say she was destined to be here, and she is. Like many new mothers, I had postpartum anxiety, anxiety that was amplified by my complex medical history and the unanswered questions that overwhelmed me. How much time do I have before my cancer returns again? What are the odds that I will see my daughter grow up, that I will take her to her first day of school, see her off to college or walk her down the aisle on her wedding day? When my daughter was 8 months old, I ended up in the emergency room the day after Thanksgiving after a terrible headache that had lasted for three days. An hour after I had a CT scan, a young doctor came in and told me I had a large mass on the right side of my brain. She suggested there was a good chance my lymphoma was back and had spread to my brain, telling me this almost with a sense of pride, as if she had solved a great mystery. I was paralyzed by the news and wanted to rip the IV out of my arm and run home to my daughter, but I couldn't move. I felt an arm come around me and looked up to see my husband crying, the only time I've ever seen him shed tears. After several weeks of doctors' appointments and many scans and medical tests later, the doctors concluded there was nothing malignant lurking in my brain. I had suffered a stroke and am now epileptic and often have severe headaches because of it, but I did not have cancer. During this tumultuous time, I had an epiphany that maybe cancer wouldn't be my undoing. I'm still not sure if this is a good thing or not. But what I do know is that bad things can come out of nowhere and at any time. And against all odds, I am still here. So nearly a decade after I was first given a cancer diagnosis, this is my declaration: I'm done with the statistics. I could continue to obsess over cold and unforgiving facts, or I could choose to be present and enjoy all the beautiful moments that make life worth living, from seeing my daughter's face light up every time she hears a song from "Mamma Mia!" to watching how my husband carefully takes her hand to help her walk down the aisles at the grocery store. These are the moments I will fully absorb and be grateful for, rather than counting down how many of them I may have left. If my grandfather were still alive, I'm sure he'd agree.	N24News: A New Dataset for Multimodal News Classification	Well
It all began with a dinner dance. Well, a banquet, really. Long before Swifty Lazar corralled celebrities to join him at Spago or Graydon Carter reigned over Vanity Fair's soiree, the Academy Awards were a party held on May 16, 1929, in a ballroom at the Hollywood Roosevelt hotel. The ceremony lasted barely 15 minutes. The band played all night. What was revealed then would hold true for generations to come: Oscar parties have always been far more entertaining than the awards show itself. At the Vanity Fair party in 2001, for example, a tipsy Courtney Love marched over to a group of photographers and shouted an expletive after one of Mr. Carter's gatekeepers refused to let her manager in. A decade later, Sean Young, who starred in the movie "Blade Runner," was arrested at the Governors Ball, reportedly after she crashed the party and slapped a guard. On more than one occasion, the evening has ended in fisticuffs. There was the time Richard Johnson, then a Page Six editor, published an item claiming that celebrities planned to boycott the Oscar party of the agent Ed Limato because of his client Mel Gibson. Mr. Gibson's project "The Passion of the Christ" had recently been criticized as anti Semitic. Mr. Limato was so insulted he threw a glass of vodka in the editor's face at where else? another Oscar party. The gatherings are often extravagant and, on occasion, homey affairs. And they reflect the hosts who throw them. Thirty years ago, Dani Janssen, the wife of the actor David Janssen, presided over her Oscar party like a Midwestern den mother, dishing up plates of chicken and vegetable casserole in her Century City penthouse. In the late 1990s, Harvey Weinstein, a founder of Miramax, packed his Oscar parties with ingenues and A listers to promote his movies. Mr. Weinstein, who is currently being tried on charges that he sexually assaulted two women, has been the subject of more than 90 sexual misconduct allegations. Now it seems almost every celebrity with sway has a fete: Beyonce and Jay Z took over the parking garage at the Chateau Marmont in 2018. Madonna and the entertainment mogul Guy Oseary host a party, too. "There is always a vacuum between generations," Bronwyn Cosgrave, the author of "Made for Each Other: Fashion and the Academy Awards," said in a recent interview. "But someone always steps in to fill the void." In 1929, an orchestra played big band music in the Blossom Ballroom at the first Academy Awards. Studio bosses had created the Academy of Motion Picture Arts and Sciences in 1927 to promote Hollywood movies. The room was festooned with flowering cherry trees and Japanese lanterns, according to "Made for Each Other." There, MGM starlets like Joan Crawford and Marion Davies mingled with studio executives, including Louis B. Mayer, who presided over the affair. Mr. Mayer, a fine dancer, waltzed across the dance floor. Women wore department store dresses or frocks created by costume designers. Only 270 people were there; actors were required to attend. "There was no paparazzi," Ms. Cosgrave said. "No corporate sponsors. Just power and glamour." But some actors, particularly female stars under contract, refused to go in later years, mostly because they resented that their bosses demanded it. There was no need to campaign for an Oscar then; winners were told ahead of the ceremony. Still, the parties prevailed into the early 1940s, a staple of Hollywood chic echoed in the casual gaiety of today's Golden Globes. With World War II came a shift. The ceremonies were moved to auditoriums. Big bands and opulent celebrations were scrapped as the cultural mood darkened. Organizers who planned after parties tightened their belts, in line with Americans rationing sugar, coffee and meat. (Austerity would re emerge from time to time, most notably in the early 1990s, when Americans were in the thrall of a grueling recession. In 2008, parties were canceled altogether after Hollywood writers walked out in late 2007 and the subprime mortgage meltdown threatened the global economy.) Glamour had returned in full force by 1953, when the Oscars were first televised, on NBC. Then, the ceremonies were held simultaneously on both coasts: at the Pantages Theater in Hollywood and at the International Theater in New York. With television, Oscar viewing parties emerged. "It sparked everyone having a party in their living room," Ms. Cosgrave said. But it was perilous, too, for stars and their fragile egos. "You didn't want to be seen losing," said David Friend, who, along with Mr. Carter, the former Vanity Fair editor, wrote "Oscar Night: 75 Years of Hollywood Parties." "Everybody was watching." One of those was Irving Lazar, known as Swifty, a Brooklyn born deal maker with a voracious appetite for literary culture who represented writers and Hollywood royalty, including Humphrey Bogart, Truman Capote, Ira Gershwin, Lauren Bacall and Cary Grant. He and his wife, Mary, presided over a celebrity packed party from the mid 1960s until his death, in 1993. The party did not disappoint. Andy Warhol documented the festivities with his 35 millimeter camera. Raquel Welch and Walter Cronkite supped on duck, salmon and pizza. Johnny Carson and Barry Diller, the entertainment mogul who throws his own annual Oscar bash, were there, too. "To secure an invitation was tougher than getting a ticket to the Academy Awards themselves," Richard Zanuck, an Oscar winning producer, told Vanity Fair in 1994. As Mr. Friend said in a recent interview, "It was the beginning of velvet rope culture." But while Mr. Lazar's Oscar party may have been the flashiest affair, it wasn't the only exclusive one. Mr. Friend said Mick Jagger attended an Oscar viewing party at Studio 54 in New York in 1978. (Warhol got around: He was there, too.) Elaine's, the now defunct Upper East Side hangout favored by Woody Allen and Tom Wolfe, also held parties. Ms. Janssen told The New York Times Magazine in 2005 that Mr. Lazar wanted to merge his Oscar party with hers, but her husband said no. "Everybody can go out any night and eat dinner anywhere they want," she recalled him telling her. "But they cannot eat your food." Bruce Springsteen came for the sweet potatoes, Ms. Janssen told the magazine. The music producer Quincy Jones fancied her black eyed peas. "Everybody is nutty about my ham because it's so sweet," she said. After Mr. Lazar died in 1993, a number of people stepped in to fill the void with grand scale parties of their own. Elton John founded an Oscar gala and viewing party earlier that year to raise money for people affected by H.I.V. and AIDS. In 1994, Mr. Carter, who had recently been named editor of Vanity Fair, threw his hat in the ring. In an excerpt from "Oscar Night" published in Vanity Fair in 2006, Mr. Carter said he had two ground rules for the Vanity Fair party. First, there would be no V.I.P. area. Second, he would greet guests at the door when they arrived. "My feeling was that if the host appeared to be enjoying himself, others would, too," he wrote. In his early years, he hired a dance band from Havana. Arrivals had to be staggered because so many celebrities showed up.	N24News: A New Dataset for Multimodal News Classification	Style
Ever since "The Crown," Season 4, bowed on Netflix, the stylesphere has been filled with strange declarations of desire for the pie crust collars, novelty sweaters, puffed sleeve floral frocks and 1980s power jackets immortalized by Princess Diana as she ascended to stardom and Princess Anne as she issued caustic asides. Followed pretty much immediately by queries on how to "get the look." Such fantasies are rarely easy to fulfill, involving, as they would, time travel or at least fruitless searching through the pages of Vogues British or American and the social media posts of influencers. But this time around there is actually an answer. It lies in a house in Fitzroy Square in Central London, where Chiara Menage, an elegant 54 year old former film producer, runs an online vintage clothing store from her kitchen table: Menage Modern Vintage. She is the only employee, and until Amy Roberts, the costume designer for "The Crown," discovered her trove of 1970s, '80s and '90s garments, she was pretty much an undiscovered treasure. (She still has only 807 followers on Instagram.) But the Peter Pan collared floral Liberty print dress Diana wears when Prince Charles issues his ill fated marriage proposal? Menage Modern Vintage. The pale yellow puff sleeve midi skirt suit Diana wears for her lunch meeting with Camilla? Hardy Amies from Menage Modern Vintage. The red power suit Diana wears on the way to the Christmas finale? Valentino, Menage Modern Vintage. How did you become the ultimate royal fashion resource? I spent 20 years working in independent movies and then had three boys, took some time and wanted a change. I'd always loved clothes, but I haven't bought anything new since about 2000. I live near Marylebone, which is a quite rich area, and I started shopping in charity shops and discovered people were throwing away beautiful Givenchy outfits that I'd never be able to afford to buy new. The story of Diana, Princess of Wales, continues to fascinate people around the world. Here is how TV, cinema and theater are shaping the narrative around her image: None On Screen Representations: These five productions, including a 2013 movie starring Naomi Watts, offer different perspectives on the life of the princess. A Potent Performance: Kristen Stewart is drawing Oscar talk for her portrayal of Diana in "Spencer." She spoke to our reporter about the role. On Broadway: "Diana, the Musical" opened on Broadway on Nov. 17. Here is what the show's lead actress said about telling the princess's story in song. Diana's Fashion: An online vintage shop run from a kitchen table came to define the style of Emma Corrin's Princess of Wales in "The Crown." I think it's much easier to find a piece you love by accident than to go into a shop like Selfridges with a list. If you go into a charity shop, something just jumps out at you and insists you have it. Later I got much more interested in the sustainability side of things. I just don't understand why you would ever buy anything new. Underwear aside. So I had accumulated a lot. Then about two years ago a friend's daughter said, "Why not set up a website?" My friends also said they had loads of clothes they didn't know what to do with, and I thought, "Why not?" I just blithely set it up. I had no idea what I was doing. Vintage is officially anything over 20 years old. The millennium is a useful benchmark. Now a lot of people try to cash in on the word and say "vintage" in a listing when it's clearly not. I started with a rainbow sequined catsuit by Rifat Ozbek, one of only two ever made the other belonging to Grace Jones that was given to me after a shoot for one of his videos. I did a lot of partying in that suit, but it had been gathering dust in the attic. It was one of the first things I sold, to a collector, and it gave me the money to create a small studio in my basement with a borrowed camera and other things I needed for the business. It also taught me a lot about letting go. This business is not going to make me rich, but I have met a lot of interesting people because of it. I had a client who was a princess. I met Sandy Powell, the costume designer, during lockdown because she was home for the first time in ages. She had a big clear out and gave me 60 pieces, so we decided to sell everything to benefit Refuge, the charity, because we both felt we had been very lucky, all things considered. I met a young woman on a Photoshop course who said, "My granny's gone, will you help me clear out her clothes?" Then she took me to her granny's home, which turned out to be a stately home in the country with a whole floor of clothes from the 1950s. A lot ended up in "The Crown." Now the young woman sends me messages saying how amazed she is her granny's stuff is being worn by Princess Anne. Speaking of "The Crown," how did that happen? Through a mutual friend, who brought in Amy Roberts, the costume designer. I had just taken on five huge storage units of clothes, sight unseen. They were from a woman, an heiress, who had died and been a complete shopaholic and hoarder. She would stay in a hotel, do a load of shopping at places like Balenciaga and Hermes, nick all the hotel toiletries and then buy a Louis Vuitton suitcase to put everything in. It took months to go through it all. We found some suitcases full of 12 year old smoked salmon. Bills from the Dorchester for 14 million pounds. The clothes were pristine. Most hadn't been worn. So Amy came to have a look and then said she was going to set aside a whole day to come back with her assistant, who is also her daughter. She ended up coming three times and took between 80 and 100 pieces. Are there pieces in the show you think are particularly special? There are loads I love! I just did a post about a floral silk two piece pajama set by Ungaro. "The Crown" put it on someone in Mustique. I thought, "I really want it back," but I don't have the lifestyle, and it didn't fit. There was a suit made by Arabella Pollen that was big white and green stripes, and I was really glad because Arabella used to make clothes for Princess Diana, and that one really said it all. The red Valentino suit Diana wears I had actually sold to someone in Italy and hadn't shipped yet, and then Amy saw it, and I had to call the buyer up and ask if we could keep it after all. It's lovely seeing the pieces being worn in actual scenes. Any tips on what is coming? A friend of mine recently told me about being invited to a 21st birthday party at Windsor Castle in the early '80s. She borrowed a dress from her sister Bellville Sassoon, black velvet, backless with boned bodice and huge skirt. It turned out to be identical to the one Diana was wearing at the party. The next day the tabloids went crazy with the headline "Mystery blonde upstages Diana" and camped outside her house for a couple of weeks after bribing a dastardly Etonian to reveal her identity. They offered her the princely sum of 1,000 pounds to pose in the dress getting into a taxi at night, which she refused. She is digging out the dress and the press cuttings from the attic, and I hope to offer it soon.	N24News: A New Dataset for Multimodal News Classification	Style
You know what they say: Three times is a trend. Well, first Canada elected Justin Trudeau prime minister at age 43, and he became something of a political marquee idol thanks to his "because it's 2015" explanation of why his cabinet was half women. Then France elected Emmanuel Macron president at 39 after he upended the establishment political parties with his En Marche! movement (then he and Mr. Trudeau began a bromance of sorts during the G7 meeting in Sicily). And now comes Sebastian Kurz: the 31 year old about to be chancellor of Austria, and the youngest leader of a European Union state. "Austria's answer to Macron and Trudeau?" CNN asked earlier this week. In terms of policy, no. Mr. Kurz swept to power on an anti immigration platform. Unlike Mr. Macron, he worked within an established party the OVP, or People's Party to reshape it, as opposed to starting his own. Unlike Mr. Trudeau, he had no legacy to live up to or exploit. But in terms of presentation? Absolutely. There has been a lot of talk in recent elections about dissatisfaction with politics as usual, and one constant among all three men is that they crystallized the desire for change by connecting it to the look of generational change. They don't dress in established conventions. They don't talk the same. And in the visual culture of a social media world, they understand how, increasingly, that can convince voters that they are not the same. Even if, on closer examination, and certainly in the case of Mr. Kurz, their platforms are not as much of a break with the past and with opponents as they would like voters to think they are. According to Sylvia Kritzinger, a professor at the University of Vienna, the People's Party leader "says almost the same thing the rival Freedom Party was saying things that would normally be labeled extremism about immigrants not being Austrians but makes everyone feel comfortable with it." That's not simply because of his age and unthreatening youthful appearance, but because of the depth of his understanding of the power of a brand an understanding shared by Mr. Trudeau and Mr. Macron. (See the official "behind the scenes" video of Mr. Macron arranging various heavily symbolic items on his desk before his official portrait.) Mr. Kurz branded not only himself, but also his party. He changed its official color from black to turquoise and referred to it as the New People's Party, the better to transform it from a familiar part of a coalition government to a "movement" (a word seemingly borrowed from Mr. Macron) shaped in his own image. During his election night rally, supporters wore turquoise jackets, shirts or sunglasses and carried turquoise balloons emblazoned with "Team Kurz." It wasn't the only thing he gave a specific look. "Everything he does is styled to the last breath," said Eugen Freund, a Social Democratic member of the European Parliament. "Not just on the fashion side. Everything is thought through: every movement of his hands, the way he gazes at people with a slight forward tilt of the head as if to indicate his attention. He does not leave anything to circumstance." It began very early. In 2009, not long after Mr. Kurz became leader of the youth wing of the party, he went on an image ineering campaign, with the tag line "Black is hot," featuring a picture of himself perched on the bonnet of a Hummer, in jeans, an untucked shirt and a come hither look, surrounded by some equally satisfied looking peers. It was broadly mocked, but it was also the beginning of a pattern. Since becoming foreign minister in 2013 at age 27, Mr. Kurz has become known for his slim line suits, a tendency to forgo ties (though he does wear them in debates and during state occasions), open collars and slicked back hair. On his website, Kurz2017, not one of the multiple photographs of him staring soulfully out a window at the future, hard at work and talking to "real" men and women, features a tie. Occasionally he is shown in jeans and a pressed shirt, or a jacket, but never a T shirt. His casual Friday look is not about a rejection of convention, but rather a noncontroversial loosening up. "People can connect to it very easily," Ms. Kritzinger said. "The ties symbolized the idea he was trying to do something different." Though not, it should be said, different from Mr. Trudeau, who is also often tieless (or before him, President Barack Obama). Rather, it's different from his older colleagues. "It's very unlike what you usually see," Mr. Freund said, noting that ties have always been de rigueur in political dress in Austria, a country that hews closely to tradition and formality. "It makes a statement. And the collars are very specific: shark collars, never a button down, the two ends spread wide apart." Mr. Kurz also flies economy class, works at a standing desk, likes to tweet (he has 253,000 followers) and, like Mr. Trudeau, will engage in selfies with fans for hours. Also like Mr. Trudeau, sports are a key part of his image: His website has videos of him biking, playing tennis and solo climbing a mountain under the stars, only to arrive at the metal cross on the summit as dawn breaks over the Alpine vista. Pointedly, the selfie thing, as well as the slightly hipster suits, were also hallmarks of his rivals, but none of them got quite the same credit for it. Indeed, the current chancellor, Christian Kern, was occasionally criticized as a "slim fit chancellor" thanks to his suits. Yet Mr. Kurz wears pretty much the same style with impunity, perhaps because, thanks to his age, it seems authentically chosen, as opposed to adopted out of political calculus. The truth of that is debatable, but it's the appearance that counted. Which is the point. Indeed, Gernot Bauer, the national desk editor at the Austrian newsmagazine Profil, told NPR that Mr. Kurz was like Justin Bieber. On Twitter, a fan compared the new chancellor to James Bond. (His critics use "mini dictator" and even "Baby Hitler.") All of which underscored the message that Mr. Kurz represented something new. That the newness seems to be in fact a swing to the right, and may involve a coalition with the far right populist Freedom Party, has been made palatable by the artful way Mr. Kurz used his image to make the medicine go down. It's not the triumph of style over substance; it's the use of style to convey, or sometimes camouflage, substance. And like it or not, it is increasingly looking like strategy. A spoonful of turquoise, and all that.	N24News: A New Dataset for Multimodal News Classification	Style
The Bloomberg campaign is putting out more memes on private Instagram accounts and running faster than Facebook can keep up. Several high profile Instagram accounts posted sponsored content for Michael Bloomberg's presidential campaign on Wednesday afternoon. World Star Hip Hop, Funny Hood Vidz, Banger Buddy, Nugget, and Wasted, all accounts with millions of followers, posted ads in the form of fake "relatable" tweets and edited videos. The posts do not make use of Instagram's official system for disclosing that money has changed hands. The company has said that all creators posting sponsored content on behalf of presidential campaigns must use the official branded content tool. Branded content is a form of advertising. Many of the accounts the Bloomberg campaign has advertised on are private, which means that followers must request to see the accounts and be approved by the account owners. "Going private" is a known growth hack among meme pages. When a follower sends someone a post from that account, the receiver must request to follow the page to see it. In 2018, many of Instagram's top meme pages locked down their accounts to gain followers in this way. Meme pages often flip between private and public. Some use auto accept programs to manage their flow of followers. Large meme pages also set their accounts to private to avoid scrutiny, denying follow requests from journalists or from people they suspect may report the account for violating terms of service. After posting a Bloomberg ad on Wednesday, Funny Hood Vidz flipped its account from public to private, locking out journalists or others who sought to view the ad. (The account is now public again.) The practice has become so widespread that it has become a pain point with users. After Josh Constine, a reporter for TechCrunch, spurred a debate about the practice on Twitter on Tuesday, Adam Mosseri, the chief executive of Instagram, replied that "the current state is definitely not great, so we're looking into a few ideas." "It's not like we just noticed that large meme accounts often go private," Mr. Mosseri wrote in another tweet. "You'll probably think this is crazy, it just hasn't bubbled up as the next most important thing to do, we've been more focused on Stories, Direct, creative tools, bullying, elections integrity, etc." But the scourge of private meme accounts is particularly thorny when it comes to political ads. When sponsored content for political candidates appears on private accounts, it allows those running the ads to escape the direct scrutiny that comes with a public facing account. It also keeps non followers in the dark about ads being run on the page and prevents users from easily searching for specific content. Liz Bourgeois, a spokeswoman for Facebook, which owns Instagram, wrote in a statement to The New York Times that the company does not "have visibility into financial relationships taking place off our platforms, which is why we've asked campaigns and creators to use our disclosure tools. On the broader topic of political branded content, we welcome clearer guidelines from regulators." The ads posted on Wednesday are just the latest in a campaign that has been orchestrated though Meme 2020, a collective of meme makers who run some of the largest and most influential meme pages on Instagram and have been contracted by the Bloomberg campaign. These meme pages operate as small media companies and make money by posting ads to their feeds. For weeks, Facebook has been scrambling to respond to the Bloomberg campaign's new social media tactics. The company, which has spent years preparing for the 2020 presidential elections, has been caught off guard by the Bloomberg campaign's aggressive and unorthodox use of social media. Facebook's election team learned about the Bloomberg campaign's plan to hire social media influencers through a report in The Times. On an internal message board used by the team, seen by The Times, the story was posted with a question: "Do we know about this?" Immediately, according to a Facebook employee who was at a meeting about it, the group began to scour Facebook and Instagram for examples of influencers who had posted favorable Bloomberg content. With each post, the team checked to see if the photograph or video was clearly labeled sponsored by the Bloomberg campaign. The posts they found were labeled. The group decided it would create an online database through CrowdTangle, a social media tool also owned by Facebook. The tool allowed them to catalog all posts by influencers that had been paid for by the Bloomberg campaign. There was just one problem: Facebook's team was relying on the influencers to label themselves. The memers who created the first round of Bloomberg posts two weeks ago were asked by Facebook to retroactively label their posts through the official tool. However, many ads posted since then have not done so. Facebook is currently investigating how to crack down on these violations. So far, no meme accounts have been penalized. The only disclosure on the Bloomberg advertisement posted to World Star Hip Hop read: "Verified sPoNsoReD: bY mIkEbLoOmbErg."	N24News: A New Dataset for Multimodal News Classification	Style
A good book or festival could now be assembled about the works of art that have been inspired by the films of Alfred Hitchcock. There are, for example, the opera of "Notorious," the play "Hitchcock Blonde," the films "Hitchcock" and "The Girl." I've also seen some remarkable works of dance theater that are complex reactions to Hitchcock movies: Ian Spink's "Further and Further Into Night" (1984) and Matthew Bourne's "Deadly Serious" (1992). Now to that list, I add a third: Sally Silvers's "Tenderizer," a world premiere at Roulette. Ms. Silvers has been choreographing since the 1980s. Some of her work can be dismissed as "quirky" or with whatever patronizing terms are sometimes applied to the work of female artists before it's consigned to oblivion. Except that I can't quite forget it. The first work of the Roulette program, "The Big Now," performed by Ms. Silvers and three dancers no longer in their first youth, is the peculiar, idiosyncratic Silvers I remember from 25 years ago. But the program's other two offerings, "If You Try" and "Tenderizer," are while entirely and wonderfully eccentric important contributions to dance theater.	N24News: A New Dataset for Multimodal News Classification	Dance
The construction site of the Shed, which is scheduled to be completed in spring 2019. The ambitious new arts center known as the Shed, rising in Hudson Yards, has received 75 million from Michael R. Bloomberg, showing just how much the Far West Side continues to be shaped by a small group of influential billionaires. They include Stephen M. Ross, the chairman of Related Companies, and Barry Diller, the media mogul. Mr. Bloomberg on Wednesday added 60 million to a 15 million contribution he had made to the Shed in 2012, which was previously undisclosed. "I've always believed the arts have a unique ability to benefit cities by attracting creative individuals of every kind, strengthening communities, and driving economic growth," Mr. Bloomberg said in a prepared statement. "The Shed will help New York achieve all three goals." Mr. Bloomberg may also indirectly be challenging or upstaging his successor's approach to culture. Mr. Bloomberg, who made support of the arts a cornerstone of his mayoralty, is concentrating millions of dollars of his fortune on a single large Manhattan cultural institution. Mayor Bill de Blasio hopes to funnel more of the city's arts budget to smaller groups in underserved parts of other boroughs and plans to address equity issues with the city's first cultural plan, to be released by July 1. In 2013, just before leaving office, Mr. Bloomberg's administration made a public appropriation to the Shed 50 million, which became 75 million the city's biggest cultural capital grant that year, and an unusually generous contribution to an arts group that had yet to hire staff members or set a construction budget. Mr. Bloomberg's personal and public support has catapulted the Shed ahead of other major cultural efforts. The eight level building along the High Line, designed by Diller Scofidio Renfro in partnership with the Rockwell Group, is a stark contrast to the numerous undertakings that have been postponed (like the Metropolitan Museum of Art's 600 million new wing for Modern and contemporary art); delayed (the New York Philharmonic's 500 million renovation of David Geffen Hall) or protracted (the 240 million performing arts center at ground zero). There has been speculation over the years about whether Mr. Bloomberg would lend his weight to the foundering arts center at the former World Trade Center site, which was included in the 2003 master plan but has been plagued by setbacks. Only last year did another billionaire finally step forward to jump start fund raising: Ronald O. Perelman donated 75 million to the center that will bear his name. As mayor, Mr. Bloomberg ceded ground zero to Gov. George E. Pataki in exchange for a free hand in shaping the Far West Side, viewing its development as inextricably linked to his legacy. Though thwarted in his attempt to build a football stadium or lure the Olympics there, he spearheaded several successes, including the creation of the High Line, the extension of the 7 train, the construction of the new Signature Theater and the move downtown of the Whitney Museum of American Art. Now, in private life, Mr. Bloomberg's gift to the Shed makes clear his continued interest in shaping that part of the city, building on his personal and professional connections in the process. As mayor, in 2005, Mr. Bloomberg and Mr. Doctoroff, then his deputy mayor for economic development and rebuilding, rezoned the West Side, calling for a cultural component. The rezoning included West Chelsea and Hudson Yards, among the largest private developments in the country. (It roughly runs from 30th Street to 41st Street, between 11th and Eighth Avenues.) Mr. Doctoroff later served as chief executive of Bloomberg L.P., the mayor's financial information company, and now is the Shed's chairman and president. "Mike's charge to us was, 'There are 1,200 cultural institutions in New York,'" Mr. Doctoroff said in a telephone interview. "'Try to do something that will keep New York on the cultural edge as more and more people compete with us.'" The Shed's board also includes Mr. Ross, of Related Companies, which is the main developer of the Far West Side, and the fashion designer Diane von Furstenberg, who with her husband, Mr. Diller, has given at least 35 million to the High Line, which will have a direct access point to the Shed's plaza level. In addition, Mr. Diller is funding Pier 55, a 200 million park and performing arts center on the Hudson River at 14th Street, which has come to be known as Diller Island. The chairwoman of the Hudson River Park Trust is Mr. Bloomberg's longtime companion, Diana L. Taylor. The trust and Mr. Diller on Monday appealed a judge's determination in March that the Army Corps of Engineers had failed to consider the pier's effect on a protected fish and wildlife sanctuary. On Wednesday, Mr. Poots unveiled details of the Shed's first visual art commission: a large scale work by the conceptual art pioneer Lawrence Weiner, made of custom paving stones embedded in the building's plaza, featuring the phrase, "In front of itself" in 12 foot letters. The Shed has begun a free, citywide program that explores social justice issues through dance and is collaborating with the M.I.T. Media Lab to help artists in fields like virtual reality and artificial intelligence. Inclusiveness is in its DNA, Mr. Poots said. "Chance the Rapper's audiences are as welcome as Gerhard Richter's," he said. "Both can be supported."	N24News: A New Dataset for Multimodal News Classification	Art & Design
A ladybug's hind wings are sturdy enough to keep it in the air for up to two hours and enable it to reach speeds up to 37 miles an hour and altitudes as high as three vertically stacked Empire State Buildings. Yet they fold away with ease. These seemingly contradictory attributes perplexed Kazuya Saito, an aerospace engineer at the University of Tokyo and the lead author of the study. Working on creating deployable structures like large sails and solar power systems for spacecrafts, he turned to the ladybug for design inspiration. "Ladybugs seem to be better at flying than other beetles because they repeat takeoff and landing many times in a day," he wrote in an email message. "I thought their wing should have excellent transformation system." Previous research could not explain the intricate folding patterns Dr. Saito observed on the beetle's hind wings. And studying them was difficult because the elytra stay down and block the view during folding. "I wanted to know what they actually do under the elytra," he said. Through teeny, tiny surgery, Dr. Saito and his colleagues swapped out a colorful top wing with a transparent, artificial one and filmed what happened with high speed cameras. His team also captured super detailed 3 D X ray images. Together these unmasked the puzzling folding patterns.	N24News: A New Dataset for Multimodal News Classification	Science
Rob Grant's "Harpoon" opens with a voice over paraphrasing Aristotle: Some friendships, the philosopher theorized, are maintained out of convenience, some for pleasure, some for fulfillment. But sometimes, we are friends with people merely because, well, we used to be friends. Those relationships, weakened by the passage of time and the changing of interests, are particularly prone to destruction, and "Harpoon" invites us to watch one such relationship go down in flames. The friendship in question is between Jonah (a slippery Munro Chambers ), a hard luck case mourning the recent loss of his parents, and his old friend Richard ( Christopher Gray , convincing), who bursts through Jonah's door and beats him to a pulp. Richard suspects his pal of sleeping with his girlfriend, Sasha (the disarming Emily Tyra ); when the confusion is cleared up, Richie offers to make amends by taking them out on his pleasure yacht for a day of fun and frolic. It becomes the most ill conceived nautical day trip since "Gilligan's Island."	N24News: A New Dataset for Multimodal News Classification	Movies
IN late September, as workers applied joint compound to new office walls, hoodie clad colleagues who had just met were working together on deadline. Film editors, code writing interns and "edX fellows" grad students and postdocs versed in online education were translating videotaped lectures into MOOCs, or massive open online courses. As if anyone needed reminding, a row of aqua Post its gave the dates the courses would "go live." The paint is barely dry, yet edX, the nonprofit start up from Harvard and the Massachusetts Institute of Technology, has 370,000 students this fall in its first official courses. That's nothing. Coursera, founded just last January, has reached more than 1.7 million growing "faster than Facebook," boasts Andrew Ng, on leave from Stanford to run his for profit MOOC provider. "This has caught all of us by surprise," says David Stavens, who formed a company called Udacity with Sebastian Thrun and Michael Sokolsky after more than 150,000 signed up for Dr. Thrun's "Introduction to Artificial Intelligence" last fall, starting the revolution that has higher education gasping. A year ago, he marvels, "we were three guys in Sebastian's living room and now we have 40 employees full time." "I like to call this the year of disruption," says Anant Agarwal, president of edX, "and the year is not over yet." MOOCs have been around for a few years as collaborative techie learning events, but this is the year everyone wants in. Elite universities are partnering with Coursera at a furious pace. It now offers courses from 33 of the biggest names in postsecondary education, including Princeton, Brown, Columbia and Duke. In September, Google unleashed a MOOC building online tool, and Stanford unveiled Class2Go with two courses. Nick McKeown is teaching one of them, on computer networking, with Philip Levis (the one with a shock of magenta hair in the introductory video). Dr. McKeown sums up the energy of this grand experiment when he gushes, "We're both very excited." Casually draped over auditorium seats, the professors also acknowledge that they are not exactly sure how this MOOC stuff works. "We are just going to see how this goes over the next few weeks," says Dr. McKeown. Traditional online courses charge tuition, carry credit and limit enrollment to a few dozen to ensure interaction with instructors. The MOOC, on the other hand, is usually free, credit less and, well, massive. Because anyone with an Internet connection can enroll, faculty can't possibly respond to students individually. So the course design how material is presented and the interactivity counts for a lot. As do fellow students. Classmates may lean on one another in study groups organized in their towns, in online forums or, the prickly part, for grading work. The evolving form knits together education, entertainment (think gaming) and social networking. Unlike its antecedent, open courseware usually written materials or videotapes of lectures that make you feel as if you're spying on a class from the back of the room the MOOC is a full course made with you in mind. The medium is still the lecture. Thanks to Khan Academy's free archive of snappy instructional videos, MOOC makers have gotten the memo on the benefit of brevity: 8 to 12 minutes is typical. Then this is key videos pause perhaps twice for a quiz to make sure you understand the material or, in computer programming, to let you write code. Feedback is electronic. Teaching assistants may monitor discussion boards. There may be homework and a final exam. The MOOC certainly presents challenges. Can learning be scaled up this much? Grading is imperfect, especially for nontechnical subjects. Cheating is a reality. "We found groups of 20 people in a course submitting identical homework," says David Patterson, a professor at the University of California, Berkeley, who teaches software engineering, in a tone of disbelief at such blatant copying; Udacity and edX now offer proctored exams. Some students are also ill prepared for the university level work. And few stick with it. "Signing up for a class is a lightweight process," says Dr. Ng. It might take just five minutes, assuming you spend two devising a stylish user name. Only 46,000 attempted the first assignment in Dr. Ng's course on machine learning last fall. In the end, he says, 13,000 completed the class and earned a certificate from him, not Stanford. That's still a lot of students. The shimmery hope is that free courses can bring the best education in the world to the most remote corners of the planet, help people in their careers, and expand intellectual and personal networks. Three quarters of those who took Dr. Patterson's "Software as a Service" last winter on Coursera (it's now on edX) were from outside the United States, though the opposite was true of a course on circuits and electronics piloted last spring by Dr. Agarwal. But both attracted highly educated students and both reported that over 70 percent had degrees (more than a third had graduate degrees). And in a vote of confidence in the form, students in both overwhelmingly endorsed the quality of the course: 63 percent who completed Dr. Agarwal's course as well as a similar one on campus found the MOOC better; 36 percent found it comparable; 1 percent, worse. Ray Schroeder, director of the Center for Online Learning, Research and Service at the University of Illinois, Springfield, says three things matter most in online learning: quality of material covered, engagement of the teacher and interaction among students. The first doesn't seem to be an issue most professors come from elite campuses, and so far most MOOCs are in technical subjects like computer science and math, with straightforward content. But providing instructor connection and feedback, including student interactions, is trickier. "What's frustrating in a MOOC is the instructor is not as available because there are tens of thousands of others in the class," Dr. Schroeder says. How do you make the massive feel intimate? That's what everyone is trying to figure out. Many places offer MOOCs, and more will. But Coursera, Udacity and edX are defining the form as they develop their brands. Coursera casts itself as a "hub" Dr. Ng's word for learning and networking. The learning comes gratis from an impressive roster of elites offering a wide range of courses, from computer science to philosophy to medicine. Not all are highbrow or technical; "Listening to World Music" from the University of Pennsylvania aims to broaden your iPod playlist. While Coursera will make suggestions, Dr. Ng says, "ultimately all pedagogical decisions are made by the universities." Most offerings are adapted from existing courses: a Princeton Coursera course is a Princeton course. But the vibe is decidedly Facebook build a profile, upload your photo with tools for students to plan "meet ups" with Courserians in about 1,400 cities worldwide. These gatherings may be bona fide study groups or social sessions. Membership may be many or sparse. No one showed at the meet up that Stacey Brown, an information technology manager at a Hartford insurance company, scheduled for a 14th floor conference room on a Thursday after work, despite R.S.V.P.'s from a few classmates in the area. He's taking three Coursera MOOCs, including "Gamification" from the University of Pennsylvania Wharton School. In addition to the learning and dropping to bosses that he's taking a Wharton course Mr. Brown says, "I hope to get a network." Others like the discipline a group offers. Kimberly Spillman, a software engineer, started taking seven MOOCs and completed three. "The ones I have study groups with people, those are the ones I finish," Ms. Spillman says. She first joined a group for Dr. Thrun's artificial intelligence course, and then ran one for a Udacity course on building a search engine, organizing Thursday evening discussions of the week's material followed by a social hour at a nearby pub. Fifteen people met each week at the Ansir Innovation Center, a community space with big tables and comfortable chairs, in the Kearny Mesa neighborhood of San Diego. Udacity has stuck close to its math and computer science roots and emphasizes applied learning, like "How to Build a Blog" or "Building a Web Browser." Job placement is part of the Udacity package. "The type of skills taught in computer science, even at elite universities, can be very theoretical," Dr. Stavens explains. Udacity courses are designed and produced in house or with companies like Google and Microsoft. In a poke at its university based competition, Dr. Stavens says they pick instructors not because of their academic research, as universities do, but because of how they teach. "We reject about 98 percent of faculty who want to teach with us," he says. "Just because a person is the world's most famous economist doesn't mean they are the best person to teach the subject." Dr. Stavens sees a day when MOOCs will disrupt how faculty are attracted, trained and paid, with the most popular "compensated like a TV actor or a movie actor." He adds that "students will want to learn from whoever is the best teacher." That means you don't need a Ph.D. While there are traditional academics like David Evans of the University of Virginia, "Landmarks in Physics," a first year college level course, is taught by Andy Brown, a 2009 M.I.T. graduate with a B.S. in physics. "We think the future of education is guys like Andy Brown who produce the most fun," Dr. Stavens says. Mr. Brown's course is an indie version of "Bill Nye the Science Guy" filmed in Italy, the Netherlands and England, with opening credits for "director of photography" and "second camera and editor." Whether explaining what the ancients believed about the shape of the earth or, in Dr. Thrun's statistics course, why you are unpopular, statistically speaking, voice overs are as nonthreatening as a grade school teacher. "You feel like you are sitting next to someone and they are tutoring you," says Jacqueline Spiegel, a mother of three from New Rochelle, N.Y., with a master's in computer science from Columbia who has enrolled in MOOCs from Udacity and Coursera. While taking "Artificial Intelligence," she discovered she liked puzzling through assignments in online study groups. The class was tough and took "an embarrassing amount of time," says Ms. Spiegel, who found that consuming lectures by smartphone during her 14 year old's 6 a.m. ice skating sessions worked less well than being parked at a desktop. "I would listen to the lectures, then I would listen to them again." Her effort was huge some 22 hours a week but rewarding. Ms. Spiegel befriended women in India and Pakistan through Facebook study groups and started an online group, CompScisters, for women taking science and technology MOOCs. If Udacity favors stylish hands on instruction, edX aims to be elite, smart and rigorous; don't expect a gloss of calculus if you need it but never took it. Some 120 institutions have been in touch; only Berkeley and the University of Texas system have been admitted to the club. EdX's M.I.T. roots show in its staff's geeky passion for building and testing online tools. They collect your clicks. Feedback from the MOOC taught last spring by Dr. Agarwal (who, students learn, is obsessed with chain saws) revealed that participants would rather watch a hand writing an equation or sentence on paper than stare at the same paper with writing already on it. The focus is on making education logical. "Someone who is consuming the course should know it is not serendipity that the course is chunked in a certain way, but that there is intentionality to sequencing video," says Howard A. Lurie, vice president for content development. With mini notebook in hand, he has been leading the "daily stand up" meeting (so called because attendees lean against walls) to keep course development on schedule. After one meeting, Lyla Fischer, a 2011 M.I.T. graduate and edX fellow, sat at her computer, a tag still dangling from the chair, and edited the answers for problem sets in Dr. Agarwal's course. Last spring, students could download PDFs with brief answers. Now, she says, "there is a full explanation of how to do it, here are the steps," right on the site. "We are trying to use the magic of all the tool sets we have," Mr. Lurie says. Students control how fast they watch lectures. Some like to go at nearly double the speed; others want to slow down and replay. Coming: If you get a wrong answer, the software figures out where you went wrong and offers a correction. Assignments that can't be scored by an automated grader are pushing MOOC providers to get creative, especially in courses that involve writing and analysis. Coursera uses peer grading: submit an assignment and five people grade it; in turn, you grade five assignments. But what if someone is a horrible grader? Coursera is developing software that will flag those who assign very inaccurate grades and give their assessment less weight. Mitchell Duneier, a Princeton professor, is conducting a study that compares peer grading of the final exam in his sociology MOOC on Coursera last summer with the grades he and his course assistants would have given the students. Mr. Brown, the Hartford I.T. manager, does not have confidence in peer feedback. "This could be a 14 year old kid in South Africa answering me," he says, thinking of his 14 year old. The challenge is not just in grading. The diversity of MOOC takers teenagers to retirees, and from across the globe means classmates lack a common knowledge base and educational background. Out of their league students, especially in highly technical courses, can drag down discussions. Which course is right for you? What prerequisites are really needed to perform well? Princeton's "Networks: Friends, Money and Bytes" on Coursera recommends basic linear algebra and multivariable calculus but the "instructor will see if part of the course material can be presented without requiring this mathematical background." "Introduction to Computer Science" from Harvard lists prerequisites as "none" as long as you're Harvard ready. Where are the Yelp reviews? "We desperately need crowdsourcing," says Cathy N. Davidson, a Duke professor of English and interdisciplinary studies. "We need a MOOCE massive open online course evaluation." Most important, what do you get for your effort? Do you earn a certificate? A job interview? Or just the happy feeling of learning something? "If one is going for the knowledge, it's a boon," says Dr. Schroeder of the University of Illinois. "If one is looking for credit, that is one of the challenges. How do we fit this into the structure of higher education today?" Dr. Agarwal predicts that "a year from now, campuses will give credit for people with edX certificates." He expects students will one day arrive on campus with MOOC credits the way they do now with Advanced Placement. The line between online and on campus is already blurring. This spring Dr. Davidson will teach a class called "Surprise Endings: Social Science and Literature" at Duke and as a MOOC, with her Duke students running the online discussions. This fall, San Jose State students are taking Dr. Agarwal's course on circuits and electronics, with professors and teaching assistants on campus leading discussions. They add their own content, including exams. In the spring, Massachusetts Bay Community College in Wellesley will use an edX MOOC in introductory computer science. Dr. Stavens promises more change, and more disruption: "We are only 5 to 10 percent of the way there."	N24News: A New Dataset for Multimodal News Classification	Education
Q. Is a System Restore the same as a backup in Windows? A. While System Restore and backups can both help get your computer back to normal if something goes wrong, the two are different things. (The common technical advice to "restore the system from a backup" can also lead to confusion.) System Restore, which was introduced as a troubleshooting tool back in 2000 with the release of the Windows Millennium Edition (Window ME) operating system, allows users to create and save a "restore point," or a snapshot of their Windows system files at a certain time. Later, if Windows begins to behave erratically because of a corrupted or damaged system file, you can use the restore point to go back to that moment in time when the computer was working properly. The Windows System Restore software automatically creates restore points each week, and makes fresh ones before installing software (like a system update or drivers for new hardware). As a precaution, you can also create a restore point manually.	N24News: A New Dataset for Multimodal News Classification	Technology
Cinephiles, like other mammals, need love. As such, we also need movies about love, and yes, in this category we often expect somewhat higher standards than those reflected in works like "Failure to Launch" or "Friends With Benefits." As Valentine's Day looms, I've compiled my list of outstanding romantic films available on streaming video services. I begin with offerings on FilmStruck and its attendant Criterion Channel. A real find there is the "History Is Made at Night," a still underseen film from 1937 that's never been on a presentable DVD. It's one of the most romantic Hollywood movies ever, also one of the warmest and in some respects the funniest. Any attempts to sum up the plot of this film will sound daft. Story elements include a jealous husband, cheesy ventriloquism used for flirtation, two men who take over a restaurant for the sole purpose of attracting a single client, and an ocean liner forced to plow into an iceberg. But the chemistry between its stars, the ultra Gallic Charles Boyer and Jean Arthur, playing up her cornfed American quality (early on Boyer's character nicknames her "Kansas"), remains remarkable to this day. And Frank Borzage's direction of Gene Towne and C. Graham Baker's far fetched screenplay is a model of seamless conviction. The Michael Powell Emeric Pressburger picture "I Know Where I'm Going!" from 1947, is a strong contender for the most romantic British picture ever made. Wendy Hiller's lead character thinks she knows where she's going off to the Scottish Hebrides to marry for money. A detour in the company of a near penniless laird (Roger Livesey) changes her plans. The raw beauty of the Scottish locations sets off the tumultuous love story in inimitable cinematic style. Other greats in FilmStruck's catalog include Francois Truffaut's sweet and graceful "Stolen Kisses," a 1969 picture in which Jean Pierre Leaud, as the Truffaut alter ego Antoine Doinel, tentatively pursues the lovely Claude Jade, but is intrigued by an older woman, Delphine Seyrig, and Howard Hawks's "His Girl Friday" (1940), starring Cary Grant as a newspaper editor who pursues his ex wife and former star reporter, Rosalind Russell, in frantic, eccentric screwball comedy style. FilmStruck also offers two first rate stories of gay love. "Weekend," the 2011 film written and directed by Andrew Haigh, in which a late night bar pickup turns into something deeper and more intimate. (This is not to be confused with the 1968 "Weekend" on the Criterion Channel, a ragefest directed by Jean Luc Godard that begins with a mutually adulterous husband and wife contemplating homicide.) Donna Deitch's 1985 "Desert Hearts," about two women falling in love in the wide open spaces of 1950s Nevada, is a groundbreaking movie that continues to play beautifully today.	N24News: A New Dataset for Multimodal News Classification	Movies
The lynch mobs that hanged, shot or burned African Americans alive during the early 20th century sometimes varied the means of slaughter by roping victims to cars and dragging them to death. The killers who re enacted this barbaric ritual in Tulsa, Okla., on June 1, 1921, committed one of the defining atrocities of the Tulsa Race Massacre, the bloody conflagration during which white vigilantes murdered at will while looting and burning one of the most affluent black communities in the United States. The helpless old black man who was shredded alive behind a fast moving car would have been well known in Tulsa's white downtown, where he supported himself by selling pencils and singing for coins. He was blind, had suffered amputations of both legs and wore baseball catcher's mitts to protect his hands from the pavement as he scooted along on a wheeled wooden platform. Not far away, in the prosperous black district of Greenwood, white vigilantes systematically torched nearly 40 square blocks. Gone in the blink of an eye were more than 1,000 homes, a dozen churches, five hotels, 31 restaurants, four drugstores and eight doctors' offices, as well as a public library and a hospital. As many as 9,000 black Tulsans were left homeless. Photographs from the period depict shellshocked survivors being marched at gunpoint to temporary concentration camps. From Day 1, many Tulsans believed that the authorities had sought to suppress the true horror of the episode by setting the death toll at a few dozen. Others have estimated that as many as 300 may have died. The number of fatalities seems destined to remain a mystery. Stories emerged featuring bodies stacked up on street corners, ferried out of town on city owned trucks, burned in an incinerator or dumped into a river. In his 2019 book "Tulsa 1921: Reporting a Massacre," the journalist Randy Krehbiel unearths a macabre legend that depicts large numbers of dead ground up for use as fertilizer. Questions that have troubled Tulsa's sleep for nearly 100 years seemed closer to resolution last year when archaeologists identified two possible mass grave sites, one of them at a city owned cemetery. History itself seemed to be taunting Tulsans when the onset of the coronavirus pandemic in March forced the city to postpone a test excavation at the cemetery. Greenwood, whose business district was known as the Negro Wall Street, was the seat of African American affluence in the Southwest, with two newspapers, two movie theaters and a commercial strip featuring some of the finest black owned businesses in the country. White Tulsa's business elite resented the competition all the more because the face of that competition was black. Beyond that, the white city saw the bustling black community as an obstacle to Tulsa's expansion. The white press set the stage for Greenwood's destruction by deriding the community as "Niggertown" and portraying its jazz clubs as founts of vice, immorality and, by implication, race mixing. As was often the case in the early 20th century, a false accusation of attempted rape opened the door for white Tulsans to act out their antipathies. A black man accused of accosting a white woman in a downtown elevator in broad daylight was predictably arrested, and, just as predictably, a mob convened at the courthouse spoiling for an evening's lynching entertainment. Black Tulsans who appeared on the scene to prevent the lynching exchanged gunfire with the mob. Outmanned and outgunned, they retreated to Greenwood to defend against the coming onslaught. The city guaranteed mayhem by deputizing members of the lynch mob a catastrophic decision, given that Oklahoma was a center of Ku Klux Klan activity and instructing them to "get a gun, and get busy and try to get a nigger." The white men who surged into Greenwood may well have been told to burn the district. Greenwood's defenders fought valiantly but were quickly overwhelmed. A 2001 report on the destruction commissioned by the Oklahoma State Legislature included a photograph of Greenwood burning. The telling, misspelled caption reads: "RUNING THE NEGRO OUT OF TULSA." Writing in the same report, the historian Danney Goble likened the attack to the murderous pogroms that the Russian Empire unleashed on Jewish communities during the late 19th and early 20th centuries. In both cases, the authorities hoped to drive out despised minorities by allowing marauders to kill and loot at will. Mr. Goble argued that the Tulsa massacre was best seen against the backdrop of at least 10 lesser known pogroms in other Oklahoma towns that had drenched the decade leading up to 1921 in African American blood. Two other historians, John Hope Franklin and Scott Ellsworth, described the vast scope of the destruction: "Practically overnight, entire neighborhoods where families had raised their children, visited with their neighbors, and hung their wash out on the line to dry, had been suddenly reduced to ashes. And as the homes burned, so did their contents, including furniture and family Bibles, rag dolls and hand me down quilts, cribs and photograph albums." In a less racist judicial system, black Tulsans might have successfully sued the city for encouraging Greenwood's destruction. But as the legal scholar Alfred Brophy told a congressional hearing in 2007, all white grand juries in a 1920s era court system infiltrated by the Ku Klux Klan foreclosed any possibility of justice for African Americans. The remarkable Olivia Hooker was 6 years old the day her family's business, the clothier Elliot Hooker's, was rendered down to ash. She grew up to become the first black woman to enlist in the Coast Guard, and she later joined with other Greenwood survivors in an unsuccessful federal lawsuit that sought restitution from the city and state. Dr. Hooker, a psychologist, offered a harrowing portrait of the massacre when she testified before Congress in 2007. The invaders of Greenwood, she said, raked her neighborhood with machine gun fire. Her mother pointed to the source of the gunfire and said: "That thing up there on the stand with the American flag on top of it is a machine gun. And those are bullets hitting the house. And that means your country is shooting at you." While fleeing the mob, Dr. Hooker's mother paused to lecture white parents who had brought their children to witness the conflagration. Trained in oratory at the Tuskegee Institute, she intoned that this deed "would be visited upon the children unto the third and fourth generation" at which point she was asked to stop, because the white children had grown frightened. The marauders stripped the Hooker home of furs, jewelry, silver and took axes to fine furnishings not easily carried away. Dr. Hooker died in 2018 at the age of 103. Soon afterward, the commission set up to coordinate centennial activities for what was increasingly referred to as a massacre as opposed to a riot changed its name. The 1921 Race Riot Centennial Commission became the 1921 Race Massacre Centennial Commission. Some of the white men who ravaged Greenwood may have convinced themselves that the armed black men who confronted the mob at the courthouse were part of a conspiracy to take over the white city. No such pretense was even remotely available to the killers who roped the helpless pencil seller to a car and dragged the life out of him along Main Street. The event was a carnival of death, staged for their amusement. This atrocity was given a single sentence in a larger news article about the carnage: "One Negro was dragged behind an automobile, with a rope around his neck, through the business district." In recent years, however, the incident has become a bloody shorthand for the hatred of blackness that underlay this massacre as a whole. Consider the critically acclaimed HBO series "Watchmen." While making a new generation of viewers familiar with this bloody episode, the writers used their version of the dragging as a metaphor for white supremacist violence not just in Tulsa but in the country as a whole. In 1921, the white civic elite did its best to shield the city from negative publicity by limiting news coverage. Not long after the conflagration, for example, Tulsa's police chief barred the taking of photographs in the devastated area without police permission as "a precaution against the influx here of Negroes and other critics seeking propaganda for their organizations." The description of the dragging that Undersheriff Maxey shared with Ms. Avery 50 years after the fact offers a window into how this public silencing was achieved. He despised the leader of the killers who was dead by the time of the 1971 interview and seemed to have had genuine affection for the pencil seller. Nonetheless, he declined to name the main perpetrator because he "had people" in Tulsa. Multiply this mind set by the thousands of men who had either participated in the violence or knew someone who had, and you quickly get a sense of how this story was pushed to the margins of public awareness.	N24News: A New Dataset for Multimodal News Classification	Opinion
A roundup of motoring news from the web: A plan by the federal Immigration and Customs Enforcement agency to access commercial databases to track license plates has been canceled by its umbrella agency, the Homeland Security Department. The immigration agency had asked several companies for proposals on how it could be done so the agency could use the information to find fugitives and undocumented immigrants, but Homeland Security halted the process over privacy concerns. (Business Week) Paice, the company that successfully sued Toyota over hybrid vehicle technology patent infringement, is now suing Ford for the same thing. The Baltimore company says that patents it filed for electric motor control technology used in the hybrid and plug in hybrid models of the Ford C Max and Fusion and the Lincoln MKZ were infringed upon by Ford. (Bloomberg) In other Ford news, it has parted ways with Mike Rowe, who appeared in television commercials for Ford and was the host of "Dirty Jobs," the Discovery Channel show. The television program had been canceled at the end of 2012. Mr. Rowe said that his seven years as Ford's pitchman was "a great run." (Ad Age) Elon Musk, chief executive of Tesla Motors, said that the electric car manufacturer had been in discussions with Apple, but did not elaborate. He did, however, say that acquisition of Tesla by Apple or any other company is "very unlikely." (Automotive News, subscription required)	N24News: A New Dataset for Multimodal News Classification	Automobiles
In Silicon Valley and on Wall Street, it has long been a guessing game about which of the most richly valued technology start ups would be next to test the public markets. On Friday, there was an answer: Dropbox, an online file storage company privately valued at about 10 billion, filed paperwork to raise up to 500 million in an initial public offering. While Dropbox may not have the glamour of a ride hailing app like Uber or a streaming music service like Spotify both of which are likely initial public offering prospects the company is in the same broad group known as "unicorns," which are start ups valued at more than 1 billion by the private investors that have so far funded their growth. How Dropbox fares as it goes public could help determine whether other unicorns follow suit. Dropbox will be especially scrutinized after the fizzling of other buzzy tech start ups that went public last year. Shares of Snap, the unicorn behind the popular Snapchat app, surged when it went public last March, but it has since struggled to stay above its offering price of 17 a share. And the meal delivery start up Blue Apron, which went public at 10 a share last June, is now trading at just above 3 a share. Still, the public offering market has gotten off to a fast start this year, with some 34 companies raising 11.87 billion in the public markets to date, according to Dealogic, a data provider. This comes despite a bout of stock market volatility this month that briefly sent the Standard Poor's 500 stock index down more than 10 percent from its high in late January. In total, the number of private companies worth more than 1 billion stands at 228, up from 197 last May, according to CB Insights, a firm that tracks venture capital funding and start ups. "We've been hoping that 2018 and 2019 would be the big year for tech and the unicorn class," said Matt Kennedy, an analyst at Renaissance Capital, a firm that provides data on the public offering market. "Dropbox is definitely going to be a milestone." Goldman Sachs, JPMorgan Chase and Deutsche Bank are among the banks underwriting Dropbox's offering. A spokeswoman for Dropbox declined to comment. Drew Houston and Arash Ferdowsi founded Dropbox in 2007 after meeting as students at the Massachusetts Institute of Technology. They initially named the company Evenflow after a song by the rock band Pearl Jam. Their goal was to make it easier for people to gain access to all their digital information, including documents and photos, on any device, and to automatically keep all those files updated as they were modified. Since then, Dropbox, which is based in San Francisco, has grown into one of the leading file syncing services, though it faces stiff competition from Google, Microsoft and others. In its filing, Dropbox said it had more than 500 million registered users, more than 11 million of whom paid for the service. In its filing with the Securities and Exchange Commission on Friday, Dropbox said it intended to use the money it raises in the offering for a variety of purposes, including potential acquisitions. Dropbox still loses money, but those deficits are narrowing, and its revenue has been rising at a double digit rate. Last year, the company lost 112 million, compared with 210 million the previous year. Its revenue rose to 1.11 billion last year from 845 million the year before. Whether Dropbox can support a high valuation in the stock market is unclear. Its closest point of comparison, a Silicon Valley storage company called Box, has a market capitalization of about 3.2 billion on annual revenue of about 400 million. Dropbox said in its filing that it expected its expenses to rise, and it said its revenue growth rate had slowed. Still, when it goes public, Dropbox will be an important moment, including for early investors such as venture capitalists who have pumped billions of dollars into an array of tech ventures and expect a return when the companies reach the stock market. Sequoia Capital, a prominent Silicon Valley venture capital firm, is the largest institutional shareholder in Dropbox, with about 23 percent of its shares, and another investment firm, Accel, holds just over 5 percent, according to the company's filing. The biggest owners of Dropbox stock are its founders. Mr. Houston, 34, holds about 25 percent of the company's shares, and Mr. Ferdowsi, 32, holds just under 10 percent. Mr. Houston, who is now Dropbox's chief executive, grew up in Acton, Mass., and began programming at a young age and showing early signs of interest in entrepreneurship. As a middle schooler, he beta tested computer games looking for security flaws. As a teenager, he worked for a robotics start up converting its code to Linux. At M.I.T., Mr. Houston, who belonged to the Phi Delta Theta fraternity, would head to the roof of the fraternity's building and sit on a folding nylon chair reading business and marketing books. "I wasn't planning to get my M.B.A. on the roof of Phi Delta Theta, but that's what happened," he said, speaking to M.I.T.'s graduating class in 2013. Mr. Houston took a year off after his sophomore year and started an SAT prep company called Accolade with his former high school teacher Andrew Crick. The start up did not work out, and Mr. Houston went back to school. After graduating, he repeatedly forgot to carry his USB memory sticks and said that inspired him to try to store files in the cloud. So he tapped Mr. Ferdowsi, still a student at M.I.T., to be his co founder. The team received funding from Y Combinator, a Silicon Valley start up incubator, becoming one of the firm's most successful investments. On Friday, in a founders' letter that accompanied their filing, Mr. Houston and Mr. Ferdowsi wrote about how they started Dropbox with the idea "that life would be better if our most important information lived in the cloud." As their business has grown and more people have adopted their technology, Dropbox's mission has now become "about keeping people in sync connecting people and their most important information," the duo wrote.	N24News: A New Dataset for Multimodal News Classification	Technology
On Thursday and Friday, some Google employees said they were dispirited by how some executives accused of harassment were paid millions of dollars even as the company was fending off lawsuits from former employees and the Department of Labor that claimed it underpaid women. Google has said in the past that it had found "no significant difference" in the pay between men and women at the company. Other employees said they tried to calculate how many hours of their work would have gone toward generating the 90 million that Mr. Rubin obtained in his exit package. Mr. Rubin has denied any misconduct and said the report of his compensation was a "wild exaggeration." Some Google employees said they had more questions after Mr. Pichai and Eileen Naughton, vice president of people operations, wrote in an email on Thursday that the company had fired 48 people, including 13 senior managers, for sexual harassment over the last two years and that none of them received an exit package. Some workers said they wanted more data on how many claims were investigated and how many were found credible before the 48 people were terminated, while others questioned the promotion and hiring system that allowed 13 people to become senior managers who harassed in the first place. Liz Fong Jones, a Google engineer for more than a decade and an activist on workplace issues, said in a tweet that judgments over misconduct claims can be clouded by whether a person's boss feels they can "afford" to lose that person. In the case of Mr. Rubin and others, she said, that put Mr. Page in the spotlight. "The decision maker must have been Larry Page," Ms. Fong Jones wrote. "The buck stops there." At Google's employee meeting on Thursday, hours after Alphabet reported another quarter of blockbuster earnings, Mr. Page spoke to employees along with Mr. Pichai and Ms. Naughton. It was unclear how they responded to the question from employees, but the executives struck a conciliatory tone, according to remarks obtained by The Times. During the meeting, Mr. Page and Mr. Pichai did not comment on specific misconduct cases. Mr. Pichai noted that Google had made some "important changes" in how it handles harassment cases, according to the remarks.	N24News: A New Dataset for Multimodal News Classification	Technology
THE settings for the vignettes are workaday and unassuming: a living room where a man surrounded by file boxes and paperwork nods off on the sofa, a compact bedroom where two brothers' very different personalities are on display, an apartment where a father tiptoes from a crib in the single bedroom to a loft bed in the living room. For furniture ads, Ikea's new offerings say remarkably little about furniture. Instead, they say much more about the way the American dream has evolved to fit a postrecession economic reality. The company's new "We Help You Make It" campaign eschews the aspirational gloss of master suites and two story foyers in favor of embracing Americans and their furniture needs where they are today. Ikea's website promises, "No matter who you are, what you do, or how much you make, you can still make the dream yours." It's an inclusive message that, in this fraught political climate, could be a campaign slogan just as easily as a pitch for floor lamps and futons. "Society itself is quite ripe for this message because it is something people are thinking about," said Christine Whitehawk, Ikea's external communications manager for the United States, adding that the examples shown in the ads reflect the way many Americans live today. "That's the reality for many people," she said. "It resonates with people when you do speak to their life situation." Leslie Stone, director of strategic services at Ogilvy Mather, Ikea's agency partner, said the goal was to show "real people in real living situations that anyone could relate to." "The scene with the family who have given the bedroom over to the baby and the mom and dad are sleeping in the living room people loved that we were being so empathetic," she said. Aside from the TV ads, which will be broadcast on local channels and cable outlets like HGTV and the Food Network, the "We Help You Make It" campaign includes print ads in magazines like Architectural Digest, People en Espanol and Real Simple. Ikea is also sponsoring the first Home Design special issue of InStyle magazine. Ikea, which is based in Sweden, is using its website, online ads and social media channels to promote the campaign as well. "Facebook and Instagram are two of the platforms that work really well for us," Ms. Whitehawk said. What happened on Day 2 of Elizabeth Holmes's testimony. Kevin Spacey was ordered to pay 31 million to the 'House of Cards' studio after sexual harassment allegations. Ikea plans to use Twitter to share data from research it commissioned from the Economist Intelligence Unit to find out about Americans' aspirations and concerns in terms of the economy, education and financial benchmarks like homeownership. In the study, "Discovering the New American Dream," researchers found bright spots as well as concerns. Most of the respondents agreed with the statement "People can come from any walk of life and make it in America," but even more of the 2,050 Americans questioned said money was a barrier to achieving what they considered to be the American dream, and about half said it would be harder for future generations to become homeowners and earn a good living. "We started finding information that was suggesting to us that, postrecession, people's opinions on what it means to make it had changed," Ms. Whitehawk said, referring to a "new normal" in which possessions take a back seat to experiences. The ads reflect this, said Kevin Lane Keller, a professor of marketing at the Dartmouth College Tuck School of Business. "This is the reality. They're not trying to romanticize any of this stuff," he said. "They're sort of taking this more democratic view, this more down to earth view, talking about where people are," rather than possibly alienating potential customers by depicting an affluent lifestyle that many people feel is unattainable. "The idea really isn't selling you a dream of what your life should look like, but the dream you're living," Ms. Stone of Ogilvy Mather said. "Price and accessibility kind of go hand in hand. We looked at this as a story of democratizing the American dream, and the fact that Ikea is so affordable was something we had never put into context." Part of that means emphasizing a panoply of ages, ethnicities and family living situations: A middle aged woman makes a face when she opens up a compost bin in her kitchen; a bride flings herself onto a sectional sofa and digs into a carton of ice cream; a mixed race same sex couple cuddle up on the couch to watch TV. "I think the diversity thing is clearly an angle they're bringing out," Mr. Keller said. "That's modern life. People have lots of different things they care about, but basically everybody needs chairs and sofas." Miguel Sahagun, assistant professor of marketing at High Point University, said highlighting diversity and family bonding over consumerism was an especially smart way for Ikea to target younger people. "The messages they're using, they perfectly align with the way millennials, and some Generation X people, think about furniture and goods," he said. "It's about the experience." Because of this, advertisements that play down the actual products can be surprisingly effective, he said. "That's the appropriate way to go if you're targeting that generation," he said. "Don't focus on the technical aspects of the product."	N24News: A New Dataset for Multimodal News Classification	Media
Or consider a different example, one raised by puckish conservatives in the last few weeks: The case of Yale University, named for a 17th century merchant, official and dealer in slaves named Elihu Yale. What is honored and memorialized in the school's name (and this is true of many schools) is exactly one deed from Yale's often wicked and dishonest life the donation of his money to the young college. The name "Yale" doesn't honor old Elihu's slaving; it simply pays the school's debt to him, acknowledging that Yale owes part of its very existence to a rich man's desire to see ill gotten money put to better use. Now some might suggest that Yale's existence is not in fact a good thing, and that honoring the man whose money helped establish it is therefore a mistake. But if Yale is bad in this profound sense, then renaming the school won't magically make it good; it will remain the same bad place, continue taking money from today's Elihu Yales (how much money touched by slave labor in China fills Yale's coffers even now?), and all it will have done is added self righteous amnesia and historical ingratitude to its list of sins. Or consider a case with wider application the monuments to Christopher Columbus, like the one removed from a small park in my hometown, New Haven, Conn., just last week. These statues acknowledge the general debt that the New World's colonists, settlers and immigrants owe to the man who connected Europe and the Americas, along with (in most cases) the specific desire of Italian American immigrants to acknowledge and lay claim to an Italian explorer. And just as Yale's debt to Elihu exists so long as anyone believes that Yale is good and worth preserving, the American debt to Columbus's audacity exists so long as we are grateful to have had ancestors who crossed the seas to settle here notwithstanding his cruelty in governing Hispaniola or any other crime. Again, as in the previous examples, you can believe that gratitude of any sort is the wrong emotion to feel for 1492; you can believe that the settlement of the Americas was a purely wicked project whose fruits should be redistributed and whose legacy abjured. This belief is consistent with taking down the statues of Columbus; indeed it's consistent with smashing them. But unless the endgame of New Haven's removal of Columbus is the expropriation of white property (Yale's property, I suppose, especially) and its redistribution to the Pequots and Mohegans, then a consistent rejection of Columbus's legacy isn't what my city is embracing. Instead, it's just doing the same thing as Princeton: keeping the inheritance, but repudiating the benefactor. Keeping the gains, but making a big show of pronouncing them ill gotten. If this dance eventually falters, and the true radicals take over, maybe I will regret being too critical of its hypocrisies. (The Committee for the De settling of the Americas can wave this column in my face when they come to expropriate my house.) But that possibility is one reason not to accentuate historical ingratitude so glaringly, lest the people who really pine for some genuine Year Zero take you up on the implied offer. Meanwhile, for now the ingratitude is being presented as a clear moral advance, and it is not. To enjoy an inheritance that comes from flawed men by pretending that it comes from nowhere, through nobody, is a betrayal of memory, not its rectification an act of self righteousness that may not bring the revolution, but does make our ruling class that much less fit to rule.	N24News: A New Dataset for Multimodal News Classification	Opinion
The sounds of the 1970s and '80s feel newly alive in pop today. Listen to Beyonce cover Frankie Beverly, or Kendrick Lamar sample the Isley Brothers, or any Teyana Taylor track, and you're also hearing the music of 30 to 40 years ago. The same thing is happening in jazz, maybe to a greater extent. Musicians like Robert Glasper and Thundercat are also embracing hallmarks of the era: technological adventurism; smooth but deep textures; a desire for the comfort of a solid, encompassing groove . What all this tells you is that we're living in Patrice Rushen's world. We just might not know it yet. Ms. Rushen was 23 years old in 1978 when she began recording an impressive run of dance pop albums for Elektra. Already she was the author of three recordings as a jazz bandleader, had played on dozens of other people's albums as a session musician and was touring around the world. Along the way, she'd earned a music degree from the University of Southern California. But what was to come was momentous. The five albums she released on Elektra seemed to confirm the notion that jazz musicians could make good dance music, and mean it, and be successful doing it. Somehow, in the dilemma between pop success and jazz legitimacy, Ms. Rushen never had to choose. (You can hear a spark notes version of that era thanks to "Remind Me: The Classic Elektra Recordings 1978 84," a thoughtfully assembled greatest hits collection due Friday on Strut Records.) "When we were coming up, the prize was to be as versatile as you could be to play with anybody," she said in a recent phone interview before ducking into a rehearsal for her upcoming European tour. "You wanted to be able to play jazz with the greats, but you also wanted to know the nuances that allowed you to play dance music, and create music that people wanted to move to. The challenge became getting enough vocabulary to have that balance." On 1982's "Forget Me Nots," her biggest hit (later reconstituted as the "Men in Black" theme song), the point isn't that anyone takes a blazing solo, or that the harmonies twist and turn surprisingly. It's Rushen's comfort with open space, and the rugged simplicity and sharp execution of her band. In her years with Elektra, Ms. Rushen seemed to be modeling an archetype that never ended up fully taking hold: a musician with an untroubled command of the jazz tradition, and a devotion to sharing that skill set with a popular audience without softening it up. Vested with a major label's resources and an arms length relationship to its executives, she made carefully produced, protean pop records that set dance floors aflame. Then she toured the material with a smallish band, relying on the talents of her ace jazz musicians to create something fresh on the road. In 1982, with "Forget Me Nots" climbing the Billboard charts, Ms. Rushen appeared on the TV show "Soul Train." After singing her hit to a flock of dancers in the show's flashy studio, she stood for a short interview with a moonstruck Don Cornelius. He noted that her latest album, "Straight From the Heart," seemed to come from just as genuine and nuanced a place as her early jazz records. Her eyes brightened at the thought. "It more or less illustrates the change that I think black music is going through," she told Mr. Cornelius. "We're getting back to the groove again, and to the way things really feel kind of blending the complexities with the simplicity, and putting it together for another thing. It's very exciting." Born in Los Angeles in 1954, Ms. Rushen started playing piano at age 3, and she was giving classical recitals by 6. She attended Locke High School, which had a prestigious music program, where instruction often extended beyond the classroom. Reggie Andrews, a young instructor, invited figures like Herbie Hancock and members of Earth, Wind Fire to speak at the school, or to rehearse there. He took his students to studios, to watch producers score movies and TV shows. So Ms. Rushen never felt like she had to choose between jazz or pop or writing for film: It could all be part of the same life. When she was 17, Ms. Rushen and her band won a competition that earned them a spot at the Monterey Jazz Festival, and she found herself swarmed by interested labels. She signed with Prestige, and she released three albums between 1974 and 1976, all while attending U.S.C. From the start, her music was of the fusion zeitgeist: Some of the five original tracks on her 1974 debut, "Prelusion," were full of wound up swing and acoustic instrumentation, but on others, Ms. Rushen doubled her Fender Rhodes keyboard with a woozy ARP synthesizer, while the drummer Ndugu Chancler tended to a slinky rock beat below. By 1976, when she released her third and final Prestige album, "Shout It Out," she was writing funky jazz pop in the mold of the Mizell Brothers or the Stanley Clarke George Duke Band and she was singing on top of it, in a wispy, beguiling, ingenue's voice that betrayed her age in ways that her musicianship never did. She had also become an in demand side musician, playing with jazz fusion titans like Jean Luc Ponty, Stanley Turrentine and Donald Byrd. By the time she signed to Elektra she had a significant following among jazz audiences, and among black radio stations' more open minded listeners. With Elektra , she found that her mixed identity confused even the executives who'd signed her. "Haven't You Heard," a coy disco burner from her 1979 album "Pizzazz," reached No. 42 on the Billboard Hot 100, but when she delivered the follow up, the label told her there were no hits on it. The album was "Straight From the Heart," and its first track was "Forget Me Nots." "Sometimes they wouldn't be ahead of the curve," Ms. Rushen said. She and her management paid to promote the record themselves, and "Forget Me Nots" became a radio mainstay, hitting No. 23 on the Hot 100. When things caught on, the benefits didn't escape her. Learning from jazz history, Ms. Rushen had been diligent about claiming her publishing rights. "That was a very big thing," she said. "To know that the mechanism was in place, if things caught on, for that catalog to be of value."	N24News: A New Dataset for Multimodal News Classification	Music
He proved adept at allaying questions of style while basically avoiding the conversation entirely, so he never came to symbolize any particular turn. The most obvious way to group him would be in a jazz rock fusion conversation (he had a band with Mike Love, you know), but even that never made enough sense to stick. If his tunes can sometimes feel like a species of their own, it's because they so confidently allow you to feel the blues while hearing jazz and listening like you would to pop music. "8: Kindred Spirits," named in reference to Mr. Lloyd's eight decades on Earth, begins with a 20 minute journey through "Dream Weaver," his crossover hit from the mid 1960s. For the first five minutes, the band plays the equivalent of an abstract overture, throwing sounds around Mr. Clayton's jangling ostinatos; Mr. Lage's bright, streaky lines; Mr. Lloyd's restless, wriggling tenor without coming together. At 5:00, with the band cooling to a simmer, Mr. Lloyd repeats a low, downward phrase three times, pulling the curtain down. The sounds have almost died out when he raises himself up to puff out the opening phrase of "Dream Weaver": a simple, singsong melody, all about rhythm and tone. The band falls in behind him, grooving now, but the feeling of scattered friction that it established in the overture still reigns. When you approach rhythm and feel sideways, as Mr. Lloyd does, it presents a dilemma for everyone else. Should a drummer offer a sturdy baseline underneath him, or would it be wiser to match the leader's protean improvising with a dance of cymbal flutters and toms? Maybe there's a third way: wrap and wriggle around him; keep the beat strong but still responsive; follow the elusive spirit of Mr. Lloyd's playing without trying to mirror it. Mr. Harland has become a master at this. He has patter and stutter and groove all tied together in his drumming, and he shares Mr. Lloyd's relationship to rhythm: always ahead, never rushing. It serves him well even on Mr. Jones's composition "Green Onions," which gets a blissful Lloydification here.	N24News: A New Dataset for Multimodal News Classification	Music
When Daniel Panner and Maria Chudnovsky married two years ago, he moved to her two bedroom co op in Morningside Heights from his studio condominium in the Ansonia on the Upper West Side. She was eager to move again. "I was thinking, now that there's two of us, we should probably upgrade our living situation," she said. "I felt, if I alone could afford that place, we could as a couple afford a bigger place." Besides, they were planning for a baby. Mr. Panner was reluctant. "Real estate generally makes me very anxious and I stay away from it," he said. "I thought, is it really worth all the hassle?" One day early last spring, Mr. Panner happened to be listening to a discussion of real estate on National Public Radio. His ears pricked at the mention of a "once in a generation" opportunity to buy, with a combination of low interest rates and housing prices likely to skyrocket. West End Avenue A 1926 co op had a three bedroom with a dining room. But the place was evocative of the previous owners, which was a turnoff. Emon Hassan for The New York Times "Something about the phrase 'once in a generation' really struck me," Mr. Panner said. As he told his wife: "You should have gotten a radio show. I would have paid attention." The Upper West Side was ideal for them. Mr. Panner, 45, a viola player, teaches at Mannes College and the Juilliard School, while Dr. Chudnovsky, 36, a mathematician who specializes in graph theory, is a professor at Columbia University. She won a MacArthur Foundation grant in 2012. Dr. Chudnovsky immediately contacted Javier Amor of City Connections Realty, who had been recommended by a colleague. With a budget of 1.4 million to 1.6 million, the couple wanted more space, or at least space that could be configured to include a baby's room and a study. Dr. Chudnovsky was willing to go with an in building laundry room, but Mr. Panner very much wanted a washer/dryer. The couple needed to sell their old co op to secure the liquidity to close on a new one. They listed the two bedroom in early summer for 848,000. Monthly maintenance was around 1,800. They began looking. In a prewar apartment building on West End Avenue above 80th Street, they saw a two bedroom with a dining room, open and bright. A stacked washer/dryer sat in a kitchen alcove. The asking price was 1.595 million, maintenance around 2,700 a month. It was in near perfect condition. West 84th Street Another three bedroom with a dining room was appealingly decorated, if over budget. Someone else jumped in. Emon Hassan for The New York Times Dr. Chudnovsky loved it. The apartment was empty, which she found helpful. With furniture, "you don't know what the walls behind it look like," she said. "It is much easier for me to imagine it as mine if you don't have other people's stuff in it." Mr. Panner was more guarded. "I did not have as negative a reaction as I usually have," he said. An apartment in the same line a few flights down was for sale for the same price. But that one, below the view break, had less light. It came with abundant built in shelving, but Dr. Chudnovsky preferred a custom built bookcase she already owned. The higher floor apartment was a better bet for resale value, Mr. Amor said. But he continued shepherding the couple around the West Side. "We needed to see more and make sure we were making an informed decision," he said. In their price range, the couple found two bedrooms in great condition or three bedrooms needing work or lacking light. An especially large apartment three bedrooms and a dining room was available in a prewar building on West End Avenue near West 92nd Street. It was listed for 1.595 million, with maintenance just over 2,000 a month. 2025 Broadway A three bedroom at the Nevada Towers, built in 1977, narrowed the search: The buyers decided they preferred prewar. Emon Hassan for The New York Times It seemed a bit lived in. "There were markers of children's heights on door frames," Dr. Chudnovsky said. "These are other people's lives. I want my own life." That one later sold for 1.6 million. They went to see another three bedroom with a dining room in the Alameda, a 1914 complex on 84th Street and Broadway. One of the bedrooms turned out to be tiny, a maid's room. The price was 1.765 million, monthly maintenance around 2,500, plus an assessment of 275 a month for four years. Mr. Panner liked the decor, which was enough to make him like the apartment. But another buyer had an offer in, and the place was already beyond their price range. It sold for 1.7 million. Near Lincoln Square, at 2025 Broadway, the 29 story Nevada Towers had a three bedroom, this one sans dining room, for 1.495 million with monthly maintenance of 3,200, which seemed high. West End Avenue A two bedroom with a dining room had great light and was in move in condition. And almost best of all, it had a washer/dryer. Emon Hassan for The New York Times	N24News: A New Dataset for Multimodal News Classification	Real Estate
LONDON Ten days ago, I was asked to see a patient. I'm a respiratory specialist in an intensive care unit at a hospital in London, so it wasn't surprising that the patient needed a ventilator. It seemed fairly typical. But the patient turned out to have the coronavirus our hospital's first case and one of nearly 2,000 people who have so far tested positive in Britain. I hadn't worn a mask. Soon I developed a cough. Though I experienced neither fever nor breathlessness, I was told to self isolate for 14 days. That's where I am now, in self isolation. And I'm not the only one from my hospital. After just one patient with Covid 19, a quarter of our junior staff are off with coughs and sniffles we would normally work through. A single case of the coronavirus has wreaked havoc in our hospital. It's a microcosm of what may come. Britain has fewer intensive care beds than most other European countries. Occupancy rates are high, and there's a daily struggle to discharge enough people to make space for new patients. Even when a bed is available, we do not have the nurses to staff it. A decade of cuts and underfunding has left us dangerously exposed. This is the perpetual winter of the N.H.S. It's all hands on deck. Rotations to new departments and hospitals have been canceled: I will stay on in intensive care, and doctors in other departments will come join me on the front line. My plans to work part time have gone out of the window. But this is my vocation we are never not doctors. When we are called upon to step up, there is only one answer. As people with the coronavirus flood our corridors, hospitals will be pushed to the breaking point. Britain is a rich country and may fare better than others. But the N.H.S. is creaking at the seams after years of underfunding. A decade of cuts by successive Conservative governments has stripped the service of resources. Staff morale is low and retention is poor. We are already working at capacity. When our hospitals are overwhelmed and we have to decide how to allocate scarce resources, how do we choose whom to ventilate and whom not to? Italy is nearly at that point, and its health service has many more intensive care beds per person than Britain's. Will I have to tell someone we can't treat a loved one because we're out of ventilators, oxygen, tubes, masks, hospitals, staff? Will we then impose an age limit, as some hospitals in Italy are considering, or will some notion of "deservingness" come into play? The government's strategy centers on flattening the peak of the epidemic while ensuring the public doesn't give up on self isolation at just the wrong moment and head outside into the eye of the storm. So unlike some other countries, we are not yet in full shutdown. After a week of cabin fever, I can understand not wanting to enforce isolation sooner than necessary. But I worry about how we know where we are on the epidemic curve. Have we tested enough people? What if lockdown comes too late? Will we be overwhelmed too soon? Across the N.H.S. this winter there have been patients in corridors and canceled surgeries. I am not an epidemiologist. I do not pretend to know the right strategy. But if Britain experiences anything like what we've seen elsewhere, we're on our way to tragedy. What's certain is that with 100,000 job vacancies already, the N.H.S. will not survive this crisis without protecting and respecting its staff. In 2018, two thirds of doctors in their second year of training chose not to pursue specialty jobs. We are being asked to do more with little compensation while colleagues are hung out to dry because the system failed them. To add insult to injury, we have been provided with out of date masks with which to protect ourselves. We already know that our counterparts in Italy, China and elsewhere have given their lives to the vocation they chose. For years, health care workers have been raising the alarm that the N.H.S. is in crisis calling on the government for better funding for our hospitals and better working conditions for ourselves. As the coronavirus crisis intensifies, we must be given the means to protect ourselves and our patients, particularly those most vulnerable. We deserve transparency. We demand honesty. Without that, I don't know how many people will stick around after this is all over. And right now, it feels like we're heading into the abyss. Jessica Potter ( DrJessPotter) is a respiratory specialist doctor working in London and a member of EveryDoctor, an organization that campaigns for the working rights of doctors. 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
"I called the academy today because I really want you to host the Oscars," DeGeneres told Hart. "I was so excited when I heard that they asked you. I thought it was an amazing thing. I knew how important it was and how it was a dream." "So I called them. I said, 'Kevin's on.' I said, 'I have no idea if he wants to come back and host. But what are your thoughts?' And they were like, 'Oh my God. We want him to host. We feel like that maybe he misunderstood or it was handled wrong or maybe we said the wrong thing, but we want him to host.'" She added: "The academy is saying, 'What can we do to make this happen?'" It's unclear whom DeGeneres spoke to. The academy did not respond to a request for comment and has not announced a replacement host for Hart. Hart told DeGeneres that he took responsibility for his past comments, which include a now deleted tweet from 2011 in which he said, "Yo if my son comes home try's 2 play with my daughters doll house I'm going 2 break it over his head say n my voice 'stop that's gay,'" and a 2009 post on Twitter in which he used a homophobic slur. There was also Hart's 2010 comedy special, "Seriously Funny": As part of an extended riff, he said, "Me, as a heterosexual male, if I can prevent my son from being gay, I will." But Hart, who was also promoting his new movie "The Upside," also said the campaign to have him ousted as Oscars host was meant to "destroy" him. "On my side, openly, I say I'm wrong for my past words," Hart told DeGeneres. "I say it. I said it." "I understand that," he continued. "I know that. My kids know when their dad messes up, I'm in front of it because I want to be an example so they know what to do. In this case, it's tough for me because it was an attack. This wasn't an accident. This wasn't a coincidence. It wasn't a coincidence that the day after I received the job that tweets just somehow manifested from 2008." "To go through 40,000 tweets to get back to 2008, that's an attack," he added. "That's a malicious attack on my character. That's an attack to end me." He told DeGeneres that he was re evaluating whether to host the Oscars (it's unclear if that decision is up to him). But on Friday, Variety posted an interview it conducted with Hart, before he had spoken to DeGeneres, in which he shut the door on ever hosting the Oscars. "Would I ever do it?" Hart said, according to Variety. "No, it's done. It's done. In my mind I got the job, it was a dream job, and things came up that simply prohibited it from happening. But I don't believe in going backwards." Hart stepped down as Oscars host two days after it was announced that he got the job. Hosting was one of his top career goals, he told DeGeneres, because "there hasn't been a lot of African American comedians that have been able to do it." As old comments resurfaced, Hart was initially defiant, declining to apologize. "If you don't believe that people change, grow, evolve as they get older, I don't know what to tell you," Hart said in an Instagram video. "If you want to hold people in a position where they always have to justify or explain the past, then do you. I'm the wrong guy, man. I'm in a great place. A great mature place where all I do is spread positivity." But six hours later, he stepped down. "I have made the choice to step down from hosting this year's Oscar's," the 39 year old said on Twitter. "This is because I do not want to be a distraction on a night that should be celebrated by so many amazing talented artists. I sincerely apologize to the L.G.B.T.Q. community for my insensitive words from my past." Hart said on "Ellen" that he initially didn't address the criticism because "when you feed into that stuff, you only add more fuel to the fire." "When it happened, my first thought is, 'I'm going to ignore it,'" he said, adding, "I don't have a homophobic bone in my body." "I've yet to go back to that version of the immature comedian that once was," he said. "I've moved on. I'm a grown man." Hart hasn't addressed his past comments often, but he did so in the case of the joke from his 2010 special about his son being gay. Hart told Rolling Stone in 2015, "I wouldn't tell that joke today, because when I said it, the times weren't as sensitive as they are now." DeGeneres posted clips from the interview on Twitter, with this accompanying text: "I believe in forgiveness. I believe in second chances. And I believe in kevinhart4real." In a follow up tweet, she said, "In this conversation, kevinhart4real was authentic and real, and I'm in his corner. OscarsNeedHart." In the interview, DeGeneres, who is one of the most prominent gay celebrities working today and has also hosted the Academy Awards, played down the criticism that emerged over Hart hosting the ceremony. The interview was originally going to air this coming Monday, but the show decided to broadcast it on Friday.	N24News: A New Dataset for Multimodal News Classification	Television
Call it Chimerarachne yingi, a newly discovered arachnid that crawled around rain forests in what is now Southeast Asia more than 100 million years ago during the Cretaceous period. Its remains were found imprisoned in amber, as if Mother Nature herself tried to lock this tiny terror away from the rest of the world. Two different teams of researchers discovered four specimens of the new species in the amber markets of Myanmar. Their findings were published in two separate papers on Monday in the journal Nature Ecology Evolution. "The material is stunning in the quality of its preservation," said Greg Edgecombe, an invertebrate paleobiologist at the Natural History Museum in London, who was not involved in the study. "It throws up a combination of characters that initially seems alien to an arachnologist." READ: Ticks Trapped in Amber Were Likely Sucking Dinosaur Blood C. yingi is not a spider, but rather a relative that lived alongside ancient spiders for millions of years. Its discovery provides insight into the evolutionary history of the creepy crawlers that have spun webs around the planet.	N24News: A New Dataset for Multimodal News Classification	Science
TAMPA, Fla. Two key Yankees may be out longer than originally expected to start the 2019 season. While pitcher Luis Severino had already been scratched from his opening day start on March 28 because of a shoulder injury, General Manager Brian Cashman gave a clearer estimate on Friday, saying Severino would be out until the beginning of May "at the very earliest." "I can't tell you past that," he added. "If it needs to be more, we need to make sure we don't have a problem with it." Aaron Hicks, who has been dealing with a back injury, may not be available for opening day, either. Cashman said the Yankees had yet to determine whether the center fielder would be available for their first game, against the Baltimore Orioles, but he acknowledged that the team had begun considering how to juggle the roster if Hicks was not ready. When Hicks's back stiffness first emerged two weeks ago, the Yankees believed it would be resolved in a few days. The discomfort persisted, however, to the point that Hicks received a cortisone shot in his back on Monday.	N24News: A New Dataset for Multimodal News Classification	Sports
A day after the Centers for Disease Control and Prevention urged Americans to stay home for Thanksgiving, more than one million people in the United States got on planes, marking the second day that more than a million people have flown since March. Nearly three million additional people have flown in the days since. The high number of travelers speaks to a sense of pandemic fatigue that many people are experiencing. For some, the desire to see family is worth the risk of potentially getting the coronavirus while traveling. But it's important to remember that the current number of people flying, while increasing, pales in comparison to the number who still find the idea of getting on a plane frightening. In the 11 day period around Thanksgiving last year, a record 26 million people flew. This year, fewer than half that number are likely to travel. How safe is flying? Numerous studies on that question have been published in the months since the pandemic brought travel to a halt in March. Many of them suggest that the risk of contracting coronavirus while flying is very low. Read our 2021 Travel questions and answers guide on restrictions, vaccination and more. Infectious disease, health care and aerospace engineering experts say that the studies by the Defense Department, United Airlines, Delta Air Lines and others are accurate, in part, but they all have limitations. One much publicized study on flying, conducted by the Defense Department, found that "overall exposure risk from aerosolized pathogens, like coronavirus, is very low" and concluded that a person would have to be sitting next to an infectious passenger for at least 54 hours to get an infectious dose of the virus through the air. But the "54 hour" number has since been removed from the report at the request of the authors, who worried it was being misinterpreted. Although there has been no evidence of plane flights causing many super spreader events, there have been cases of transmission. In September, a man flying from Dubai to New Zealand tested negative for the virus, but was, in fact, infected and passed it on to other passengers. The flight had 86 passengers and seven of them tested positive for the virus when they arrived in New Zealand, despite having worn masks and gloves. The seven passengers had been sitting within four rows of each other and the virus's genetic sequence in six of seven of the positive passengers was identical. In October, Irish officials, in a report in Eurosurveillance, a journal published by the European Centre for Disease Prevention and Control, said that 13 of 49 passengers on a 7 1/2 hour flight to Ireland tested positive for the virus, and another 46 who came in contact with the passengers in Ireland became infected. How can you make sense of the science? What are the risk points? Here's what we know. What do the numbers tell us? Or, more accurately, what don't they tell us? We know that the coronavirus has been transported by people traveling from one place to another on planes, but we don't know exactly how many people have contracted the virus on a plane, epidemiologists and aviation experts said. In order to know how many people caught the virus on a single flight, everyone on the flight would have to be tested as soon as they got off. "The people who are positive as soon as they got off a plane, were probably positive during their flight," said David Freedman, an infectious disease doctor at the University of Alabama at Birmingham. All the passengers would then need to be tested several times over a few weeks while they were isolated to ensure they didn't get the virus after landing. Experts from various fields agree that the air on a plane cabin is filtered very well and the chances of getting the coronavirus while on a plane in flight are low. That's because most planes have what are known as high efficiency particulate air filters. H.E.P.A. is a designation describing filters that can trap 99.97 percent of particles that are at least 0.3 microns in size. "Hospital grade filtration occurs and there are standards associated with that," said Michael Popescu, a principal aerospace aircraft systems engineer, adding that the fiberglass sheets that make up the filters on planes have diameters between half a micron and two microns. Air is pushed through the filter and particles are trapped inside. Smaller particles are slowed down and kept from passing through the filter when they meet with molecules of gas, increasing the chances of their being trapped. Viruses like the coronavirus are smaller than the filters, but they tend to cluster on the larger droplets of moisture that get trapped. Most planes recycle 25 to 30 percent of cabin air. The air being recycled passes through the H.E.P.A. filter which traps virus particles. The other 70 to 75 percent of air is evacuated overboard every couple of minutes, meaning there is new air in the cabin every two to five minutes, depending on the size of the plane. "The air circulation on a plane is better than in an office building, better than your apartment because the air is changed more times per hour most planes change several times per hour, plus it's filtered, which isn't the case in your office or apartment," Dr. Freedman said. But filtration is not enough. Ventilation is just one piece of the puzzle, said Saskia Popescu, an infection prevention epidemiologist in Arizona. (Dr. Popescu is married to Mr. Popescu.) Distancing and masking are also important to mitigate risk, and are the other key components for keeping the coronavirus from spreading, whether on planes or elsewhere. Earlier in the year, when it first became known that social distancing could mitigate chances of getting the coronavirus, many airlines began leaving middle seats open to create more space between passengers. In recent months, however, many airlines have reversed their policies and begun seating people in all seats and saying that they are mandating mask wearing policies, which will keep passengers safe. Researchers said that airlines should be enforcing both social distancing policies like leaving middle seats open and mask wearing. Having fewer people on a plane means that there's less of a risk of people coming into contact with someone who has the virus, said Qingyan Chen, a professor at Purdue University School's of Mechanical Engineering. "Having fewer people on the plane is key," he said. "Fewer passengers means fewer patients and by keeping the middle seat open airlines might remove 40 percent of the risk." A study done by scientists at the Harvard T.H. Chan School of Public Health said that "when a plane exceeds 60 percent load factors (percent of seats occupied), it is no longer possible to rely on physical distancing alone to mitigate the risk of virus transmission." Dr. Freedman and Dr. Chen emphasized that people should not be flying with homemade masks, bandannas or neck gaiters. "For the purposes of flying, people should be wearing proper surgical/medical grade masks the ones you can buy in boxes of 50 at a time," Dr. Freedman said, adding that it would be wise for airlines to make it standard practice to hand out surgical masks to travelers. And flying isn't just sitting on a plane. Many studies focus on the in air cabin experience, not the parts of traveling that involve interaction with other people, often in proximity. The Harvard study focused on the three phases of air travel: boarding, cruising and deplaning. "Each of these segments involves unique activities, such as storing and retrieving luggage, using seat trays while eating, using entertainment systems, standing in the aisle and using the lavatory," the study's authors wrote. When a plane is on the ground, its air supply can come from a number of places. That air is then mixed and distributed to the cabin. One source is from the airplane auxiliary power unit, or A.P.U., with the plane's engine in operation. That process uses fuel and can cause noise and emissions at the airport. Air supply can also come from an airport ground source like the jet bridge that's known as pre conditioned air, or P.C.A. That means air is not being circulated at the usual rate. Researchers suggest that airlines should use air from the A.P.U. for improved filtration. "This is important since, during that time, people are exerting themselves resulting in increased respiratory levels for a brief period, raising the potential for infectious aerosols to be exhaled into the cabin," the Harvard study notes. Researchers also suggest that people bring smaller and fewer bags onboard, which would cut down on their exertion and reduce encounters with other travelers also putting things in the overhead bins. Over the summer, Michael Schultz, an engineer at Dresden University's Institute of Logistics and Aviation in Germany, and Jorg Fuchte, a senior specialist, at the German aerospace company Diehl Aviation found that the amount and type of hand luggage people brought onto the plane as carry ons affected how long everyone was standing in line and the number of close contacts. They concluded that by reducing hand luggage, the number of close contacts encountered would be reduced by two thirds. The deplaning process tends to be smoother than boarding, since people naturally move in order of rows, so travelers don't have as much to worry about. The jetway, however, can be an area of risk if too many people are allowed on without appropriate distancing, several experts said. Travelers should remain distanced from others during this process, they said, and the plane's ventilation systems should remain on. "The deplaning process can be enhanced by having passengers remain in their seats until directed to leave by a crew member," the Harvard researchers suggest. Eating and using the bathroom pose risks Like in the cabin, air in a plane's bathrooms is continually changed. Toilets on planes use a vacuum system to move waste to the holding tank from the toilet, so when you flush, air is pulled in through the vacuum. "Airplane bathrooms are particularly dangerous for two reasons," said Dr. Chen. First, he said, is the fact that you may touch surfaces that an infected passenger has just touched. "The second thing is that human waste like stool and urine contain Covid 19 and when you flush the toilet it will cause some particles to escape," he went on. "The smaller particles carry over and could enter the air. If I have Covid 19 and use the toilet and flush and someone else comes in immediately after, that's a risk. So far we have no evidence of people getting sick like that, but according to our models we found that this is possible." (Over the summer this became known as "toilet plume.") For those reasons, experts suggest waiting 30 seconds or longer before going into a bathroom that someone else has just exited and using a tissue or paper towel so you aren't touching surfaces like door knobs and faucets with bare hands. Dr. Chen also suggests that airlines stagger eating times so everyone isn't unmasked at the same time. "Airlines serve food to everyone and the same time and it's very bad because it means everyone is taking off their masks at the same time and all the particles are in the air then," he said. Your actions off the plane matter too. Dr. Chen also pointed to the fact that people likely have more to worry about before getting on the plane, when they are in the terminal, going through security or sitting in airport restaurants and bars. Others agreed. "In hospitals, people think patient interaction is highest risk, so they take a break unmasked or do charting unmasked or when they're chatting with colleagues they take off a mask, and that's similar to how people perceive risk in airports," Dr. Saskia Popescu said.	N24News: A New Dataset for Multimodal News Classification	Travel
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. She Said, He Said Elizabeth Warren said on Monday that Bernie Sanders, a rival for the Democratic presidential nomination, told her in 2018 that he did not believe a woman could win a presidential election. Sanders denied Warren's claim during Tuesday's debate, and suggested that recordings from years past contradicted her. "All right, this is completely true: Bernie does have a video that came out from 30 years ago, all right? It's true, he does! Where he said in the video he thinks a woman could be elected president. Then again, we can't really know if this was recorded 30 years ago, because the guy has looked the same his entire life. Like, for all we know, maybe every time Bernie gets in trouble he just records a new video and makes it look old, you know?" TREVOR NOAH "Yes, if you want to see Bernie say nice things about female presidential candidates, go to YouTube. If you want to see his supporters saying terrible things about them, go to the comments section." STEPHEN COLBERT "In his defense, back in 1919, Bernie Sanders was one of the first senators to support a woman's right to vote." JIMMY KIMMEL "I'm surprised Bernie said that to Warren. You think he would have learned his lesson after he said the same thing to Cleopatra." JIMMY FALLON "But this is a rare and unexpected rift between the senators. They're usually on the same page. I mean, up until now, Bernie and Elizabeth Warren have spent just about every debate looking like a married couple at a diner complaining that their soup isn't hot enough." JIMMY KIMMEL "Earlier tonight in Iowa was the first Democratic debate of 2020. Of course, the top candidates are still Joe Biden, Bernie Sanders, and Elizabeth Warren. They look like a '60s folk band that reunited for one final tour." JIMMY FALLON "Six candidates, all of them white, which is amazing odds. I mean, even a carton of eggs will sometimes have a brown one thrown in accidentally." TREVOR NOAH "And for a party that started out so diverse, nobody wanted to see this happen. The only person who was happy was Greta Thunberg. Yeah, because the stage was so white it reflected sunlight back into the atmosphere." TREVOR NOAH "Apparently, caucus is short for Caucasian. What happened? The field of candidates went from looking like a diverse representation of the country to looking like the front row of a Jimmy Buffett concert." JAMES CORDEN "Tonight's debate was so white, people who turned on their TVs were like, 'Wait, I thought the Oscars were next month?'" JAMES CORDEN "It's so white it just got nominated for best picture." JIMMY KIMMEL	N24News: A New Dataset for Multimodal News Classification	Television
Mark Zuckerberg, Facebook's chief executive, appeared before the Senate Commerce and Judiciary committees last April to answer questions about Facebook's failure to protect users' data and to stop Russian election interference. SAN FRANCISCO A decade ago, when the greed and carelessness of the financial industry came close to destroying the American economy, the overwhelming response by politicians and the public was: Meh. Almost instantly, all was forgiven and forgotten. Now the tech industry which, among other impressive innovations, provides the world's knowledge on demand, lets people freely broadcast their diverse opinions and has made shopping as easy as pushing a button has made some mistakes of its own. It has abused privacy, squeezed the competition and casually spread hate. And that's just the beginning of the list. Google, Facebook, Amazon and Apple might not get away as cleanly as Goldman Sachs and Citigroup. Elizabeth Warren, the Massachusetts senator who is seeking the Democratic presidential nomination, released proposals this month that would force tech breakups and impose severe restrictions on what remained. Another Democratic presidential candidate, Senator Amy Klobuchar of Minnesota, covered more briefly some of the same ground, saying, "We have a major monopoly problem." At a moment when nearly everything in America seems wildly contentious, antitrust action against tech is getting a sober look. Antitrust is the nuclear bomb of regulatory policy, but the reaction to Ms. Warren's and Ms. Klobuchar's ideas was surprisingly receptive. For decades, a politician who mentioned "antitrust" was essentially arguing for more government oversight, which has been dangerous territory at least since the Ronald Reagan administration. "Antitrust" was relegated to the shelf with "socialism" and "wealth inequality" and "higher taxes for higher incomes." It didn't help that what could be called "maximum antitrust" when the Justice Department decides a company is abusing its monopoly power and should be broken up has a mixed history. The government dropped such a case against IBM in 1982 after more than a decade. It settled its case against Microsoft in 2001. Only AT T, which agreed in 1982 to dissolve itself into a long distance company and the seven Baby Bells, could be considered an unqualified success from the government's point of view. The political landscape is shifting, however, at a speed that dumbfounds even antitrust experts. President Barack Obama thought of the tech companies in the way they think of themselves: as progressive, smart entrepreneurs who want what's best for America. His administration declined to pursue Google on antitrust charges and hired from the tech industry for top posts. Top staff members later went to work for the tech industry in top posts, too. It was a cozy relationship. "Something has definitely changed," said Geoffrey A. Manne, the founder of the International Center for Law and Economics, a think tank in Portland, Ore. "Most voters are very fond of Amazon, Apple, Google and even Facebook. But I think there's also a growing sense of skepticism about all these companies. The shine has come off." Mr. Manne, who has been a critic of the antitrust arguments against Google and has received funding from the search giant as well as from some of its competitors, including Comcast and AT T, eviscerated Ms. Warren's proposal with his colleague Alec Stapp in a recent blog post. They wrote that the senator's plan to turn the top companies into heavily regulated "platform utilities" would make them as resistant to improvement as sewer systems or Amtrak. And yet, Mr. Manne conceded in an interview, increased regulation is an idea whose time may have come. "There is a long history in America just not a recent one of using the power of the state to counteract the economic power of private enterprise," he said. "We may be at that moment again." The financial firms were predatory last decade, exploiting weak spots in the mortgage markets in a way that undermined their viability. Google and Facebook, by contrast, offer their services for free, while Amazon built its reputation on selling as cheaply as possible. That makes it hard to regulate them by the antitrust consensus, which for a couple of decades has held that there is no injury unless consumers directly suffer by paying higher prices. The headline finding was that "a growing majority now views our online privacy as a crisis." But deeper in the survey was the revelation that more than half the respondents said they were unwilling to pay to keep from being tracked by a service they were using. Twenty one percent said they would pay less than 1 a month, and no more, for the right. Users, it seems, want it both ways: privacy and free services. This is the contradiction at the heart of the internet. Daniel Crane, an antitrust expert at the University of Michigan, said Ms. Warren's proposal might be a hard sell to voters. "The median consumer probably feels that she gets lots of free goodies from Big Tech and will worry about what it would mean to go after them," he said. But Mr. Crane noted that being broken up was the least of the companies' worries. "A likelier consequence is that the next acquisition they want to make will be rejected," he said. "Even just the rhetoric can complicate their lives and put pressure going forward." That is already happening. One of the anti competitive complaints about Amazon is that it prohibited its merchants from selling more cheaply elsewhere. That prevented a new platform from underselling Amazon and gaining a competitive edge. Amazon ended this practice in Europe six years ago, but it continued in the United States. Senator Richard Blumenthal, a Democrat from Connecticut, asked for regulators to investigate in December. Last week, Amazon confirmed that it had dropped the requirement. Antitrust talk emboldens competitors as well. Google controls much of the market for online ads in Australia, just as it does elsewhere. That presents a big problem for News Corporation, which owns eight of the 10 largest papers in the country. The Rupert Murdoch controlled media conglomerate asked Australian regulators last week to take the "very serious step" of breaking up Google in the country because of the "unparalleled power that it currently exerts over news publishers and advertisers alike." In this new environment, winning can soon look a lot like losing. Amazon opposed a proposal in Seattle last spring for a corporate tax to help the homeless, and succeeded in getting it cut in half. Then the retailer decided it just couldn't live with the measure at all. A repeal effort began. The City Council killed the tax just as it was going into effect. At the time, that looked like another triumph for Amazon. But in the months since, even some of those who thought the tax was a bad idea have found their views evolving. "My feelings about Amazon have changed, and not in a good way," said Julie Shapiro, a Seattle University professor of family law. "I think they want the ability to be a bully and, once they have it, they're quite willing to use it." That is the crux of the issue: Can a company be dominant without coming off as a bully? It is no accident that the company that was the subject of the biggest antitrust action in the last quarter century Microsoft had a terrible reputation in the tech community. Voters love innovation, convenience and entrepreneurs. They don't love bullies. Amazon failed to avoid bullying behavior in its now abandoned bid to build a headquarters in New York, and Facebook likewise failed last week when it took down Ms. Warren's posts about Facebook having too much power. The company, which said the posts had violated the use of its logo, quickly restored them, but the public relations damage had been done. "Curious why I think FB has too much power?" Ms. Warren tweeted. "Let's start with their ability to shut down a debate over whether FB has too much power."	N24News: A New Dataset for Multimodal News Classification	Technology
SHENZHEN, China Alibaba, the online shopping giant, is increasingly going offline. That is making some investors nervous. The Chinese company on Friday reported a fall in profit of nearly 30 percent in the latest quarter, the first such decline in a year and a half. One reason: Alibaba got a bump in profit last year from selling its shares in a social media app. Another culprit, however, was heavy spending on Alibaba's businesses outside of e commerce, including cloud computing and brick and mortar retail which the company, counterintuitively, likes to call "new retail." Those ventures are part of Alibaba's plan to broaden its empire and become more of a full service technology company akin to Google. But some investors appear to be fretting about the cost of such expansion to the company's profits. Alibaba has already lost around 60 billion in market value since its shares peaked in January. They remain well above their level a year ago, however, thanks to strength in Alibaba's core online business. In the first three months of the year, total revenue increased by more than 60 percent over the same period last year, the company said Friday. It added that it expects a similar pace of sales growth for the coming financial year. For what has become one of the biggest internet companies on the planet, figuring out how to get even bigger was never going to be straightforward. Or cheap. In March, Alibaba poured an additional 2 billion into its Southeast Asian online emporium, Lazada, which is duking it out with Amazon in the region. Back at home in China, the company is investing heavily in its entertainment and cloud services businesses, both of which lose money. And it is rapidly expanding its footprint in physical retail, to collect more different kinds of data about customers' habits and desires. But compared with being an online middleman, running stores in the real world is costly and complex. Hema, the company's chain of high tech supermarkets, now has dozens of stores across China, a large chunk of which opened in the first four months of this year alone. Modest minimarts these are not. A typical store might feature tanks of live lobsters and crabs, a bar with beer on tap and a grill where steaks are cooked to order. Bags of groceries zip on conveyors above shoppers' heads on their way to being delivered to nearby homes. Fresh food aside, Alibaba has also invested in an electronics retailer, a home improvement chain and a department store operator. Recently, it opened a mall in its home city, Hangzhou. It took control last year of its logistics affiliate, Cainiao, and in April it swallowed up a food delivery service, Ele.me. All of these could someday help turn Alibaba into the vast digital enabler of on and offline commerce that it wishes to be. But for now, they are new and unfamiliar activities for a company that prides itself on not owning much in the way of merchandise, warehouses, delivery trucks or other physical assets. It does not help that the company's archrival in China, the internet conglomerate Tencent, is also storming into many of these same businesses, including traditional retail. "I like Hema," said Tian X. Hou, founder of T.H. Data Capital, a research firm in Beijing. "But Alibaba management is going to have to do a lot of thinking, and go through a lot of trial and error." Despite investors' worries, Ms. Hou said, Alibaba executives are at least sounding more resolute about their commitment to this new, offline future for the company. "They are fully communicating with the Street: 'We're doing it. And we actually do not care what you think, because we think it's great, and it is the way to reach offline customers. It's the way to sell in product categories that are not sold online. It is the way for us to expand.'"	N24News: A New Dataset for Multimodal News Classification	Technology
Who needs yet another smartphone app, let alone one that plots and records your wanderings? You do if you want to explore a city without keeping track of every turn, yet later call up the coordinates of that quaint patisserie you passed on that little cobblestone street whose name you can't recall. Such apps let travelers live in the moment. You don't have to stop and jot down beguiling lanes, restaurants and boutiques the app leaves digital bread crumbs. Also, the routes that these apps ultimately plot are more than maps; they're shareable mementos, be it of your hike through Yosemite or stroll through Barcelona. I like to keep it simple: Press "start" and let the app work in the background while I stroll mapless. But several apps are capable of much more. You can insert photos, videos, notes and audio clips along the way so that you're not merely tracking your route but also transforming it into an interactive diary. View the map on a large computer screen after you're done (the apps allow you to send your maps to others or open them through personal webpages), and you can retrace your adventure. Tracking apps can drain your smartphone battery, though. How much of a drain depends on several factors, including the brightness of your smartphone screen and other apps on your phone, so invest in a portable charger or power pack. And familiarize yourself with the app during a walk or hike in your hometown before using it all day in a strange city. Here are my picks for tracking long outdoor strolls. This comprehensive app logs the details (including distance, duration, altitude, speed, pace, date and time) of any number of activities: walking, hiking, in line skating, cycling, horse riding or driving, to name a few. After selecting your preferred activity and pressing "start" on your phone, Trails begins working behind the scenes, creating a map of the route you travel in a black line on which you can zoom in and out. You need not do anything else to get a map and an array of stats about your walk, but if you want more, you can build a digital scrapbook as you go by, taking photos and marking way points that Trails inserts along your route. For such an exhaustive app, this one is surprisingly intuitive and easy to read. Click on one of your logged walks (you can name them) when you're finished, and you can review the map or share it by sending it as an email, posting it to Facebook or Twitter, or storing it in iCloud. Best for iPhone owners who want a single, easy to use tracking app that provides plenty of details about their walk. I used this app without a glitch every day for a week in Paris and turned to it each night to see precisely where and how far I'd walked. It was a delight to see a beautiful photographic map (as opposed to many other tracking apps, which use graphics) with a fat red squiggle crisscrossing the city, looping back on itself in the places I got lost. The app has a corresponding website where I logged in at the end of the day to view my walks on a larger screen. Like Trails, LiveTrekker lets you add photos, video, notes and audio recordings along your route, which can be shared with friends in real time as you go or later through email or social media. The Basics Available for iOS and Android. Free. Livetrekker.com Best for Lovers of photographic maps, and those who want to share their walks in real time. Glympse is an addictive app that tracks your every move and allows you, with the tap of a single button on a map, to send a copy of it with your current location to anyone you wish. That's handy for when you're trying to meet up with friends or brag that you're on top of the Duomo in Florence. But because Glympse is so precise in tracking your location, even from one end of a building to another, and uses detailed aerial street views to show you exactly where you are, there's no reason not to save a map of your route for yourself. To do this, link the app with Evernote (the note collecting, cloud storage service) by going into "settings," scrolling down to "linked accounts" and tapping "link" next to Evernote. The Basics Available for iOS, Windows Mobile and Android, including the Android Wear watch. You can then view your path on Evernote on any screen or device where you've linked the app. Free. Glympse.com Best for Productivity aficionados and Evernote devotees. This one has a fitness bent: It refers to the particulars of your walk as "workout details" and allows you to log your food choices and integrate music. An easy to read map with a red line denotes your path; you can share your progress with friends who also use the app. Besides the essentials (distance, duration, elevation), there are icons to do things like track the mileage on your sneakers and join fitness challenges, which can make the app feel cluttered. There are sister apps, including MapMyHike. Hikers, however, should check out Gaia GPS Offline Topo Maps and Hiking Trails by TrailBehind. And runners will want to try RunKeeper, another well oiled fitness app that has options for additional activities including walking and hiking. The Basics Available for iOS and Android. Free; 5.99 a month or 29.99 a year for an ad free version as well as features including live location tracking and heart rate analysis. Mapmywalk.com. Best for Those who want to track how much exercise they are getting and want a little motivation to get moving.	N24News: A New Dataset for Multimodal News Classification	Travel
The British developer Christian P. Candy finally sold his triplex atop the Plaza Hotel four years after first putting the lavish penthouse on the market. The price for the apartment, on Fifth Avenue and Central Park South, was 32.7 million, which was far below the 59 million initially sought. But it was still one of the priciest closed sales in October, according to city property records. The sponsor unit has four bedrooms, five full baths and two powder rooms over 5,421 square feet, according to a listing with Douglas Elliman Real Estate. The monthly carrying costs total 21,079. In other notable transactions, the pop star Taylor Swift appears to have closed on a townhouse in TriBeCa. The Central Park South co op that the Italian tenor Luciano Pavarotti had long used as a pied a terre was sold privately. Jonathan Newhouse, the chief executive of the media giant Conde Nast International, sold a penthouse in Kips Bay. THE PLAZA PENTHOUSE, which encompasses the 19th through 21st floors and offers sweeping Central Park and cityscape vistas, was sold to Mr. Candy in early 2012 for nearly 26 million. But he wasn't the first to lay claim to it. While the Plaza Hotel was undergoing a partial condominium conversion in early 2007, Andrey Vavilov, a Russian financier, signed a contract to acquire this penthouse, and another, for a total of 53.5 million. He later backed out of the deal, saying that the finished apartments resembled "glorified attic space." He sued the developer, the Elad Group, over fraud and breach of contract claims; Elad countersued. A settlement was reached in January 2009. Mr. Candy, who with his older brother, Nick, develops luxury properties most notably One Hyde Park in Central London went through with his closing, but he never moved in. He put the unit back on the market months later, for 59 million, after extensive renovations and adding custom furnishings. With no takers, the apartment was eventually reduced to 39.75 million; its monthly carrying charges are 17,736. The buyer was identified as Luxury Team Inc. According to the most recent listing with Sotheby's International Realty, this 6,316 square foot triplex has four bedrooms and five and a half baths. The master suite takes up the entire top floor; it has a terrace that faces the park, a sitting area, walk in closets and a dressing room, and two marble baths. Three en suite bedrooms are on the 19th floor, while the entertaining space, which includes a den and an eat in kitchen, is at the middle level. Elizabeth Sample and Brenda Powers of Sotheby's were the listing brokers. Tree Paine, a spokeswoman for the singer, did not respond to requests for comment. The house was fully renovated under the direction of the designer Leopoldo Rosati. It has 5,148 square feet, with four bedrooms and four and a half baths. The home had been in the spotlight about six years ago when it was rented to Dominique Strauss Kahn, the former head of the International Monetary Fund. Mr. Strauss Kahn had been under house arrest there, accused of assaulting a housekeeper at a New York hotel. (Those charges were later dropped.) Ms. Swift, whose latest album "Reputation" is due out this month, also owns a penthouse in TriBeCa, at 155 Franklin, and she had been renting a townhouse in the West Village, at 23 Cornelia Street. That property is now for sale, for just under 20 million. THE PAVAROTTI PIED A TERRE, at the Hampton House, at 150 Central Park South, between Seventh Avenue and Avenue of the Americas, was sold for 9 million. The buyer was Alva Craft, an actress and singer, who was the wife of Robert Craft, an orchestral conductor who died two years ago. The apartment, unit No. 2301, was first listed for sale in 2014, seven years after Mr. Pavarotti's death. The price was 13.7 million. It was taken off the market and re listed in early 2016 for 10.5 million, then later that year offered briefly as a potential combination with a smaller, neighboring apartment, No. 2302, for a total of 20.5 million. Last month's sale was without a broker. Mr. Pavarotti had purchased this 2,000 square foot apartment, with two bedrooms and two baths, more than 30 years ago. His wife said he was drawn, in part, to the apartment's proximity to the Metropolitan Opera House. It is also close to Carnegie Hall.	N24News: A New Dataset for Multimodal News Classification	Real Estate
Everything old is new again, sort of. Television shows from decades ago are getting the reboot treatment. Animated films from yesteryear are back in theaters with a digital makeover. And now the Razr, the unmistakable slim flip phone from the 2000s, has returned, hoping to ride the fad for foldable tech back into people's pockets. Motorola announced the phone's revival on Wednesday. Packed into its familiar retro clamshell design will be an Android operating system; two screens (a 6.2 inch touch screen one on the inside and a 2.7 inch external one); and a lengthy list of other features that may or may not pull in millennials and lure away iPhone users. The price of this nostalgia is 1,499, slightly more than the most expensive version of Apple's iPhone 11 Pro Max. Consumers can begin preordering the device on Dec. 26 through Verizon, according to a news release . The original Razr, released in 2004, came in nearly every color and was adored by millions for its sleek design. (David Beckham even filmed a commercial for it.) In 2004, the aluminum device was the thinnest phone on the market, according to CNET. For many Razr users, angrily flipping the phone shut no need to press "end" was the best way to cut short an annoying call.	N24News: A New Dataset for Multimodal News Classification	Technology
On assignment in Montgomery, Ala., recently, I toured the Rosa Parks Museum with a capacity student crowd; sang "We Shall Overcome" in the Rev. Dr. Martin Luther King Jr.'s former church with tour goers from Ohio, California and China; and waited 10 minutes in line at the Southern Poverty Law Center museum to buy my souvenir water bottle (for a good cause). My experience, it turns out, is indicative of the current excitement surrounding civil rights tourism in the United States 50 years after the assassination of the movement's leader, Dr. King. "It's a part of American history, not just African American history," said Andrea Taylor, the chief executive of the Birmingham Civil Rights Institute in Birmingham, Ala. "There seems to be a convergence of interest in telling a more complete version of American evolution to include communities of color and particularly African American communities." The institute is part of the U.S. Civil Rights Trail, which launched in January, and identifies 110 locations associated with Civil Rights history in the 1950s and 60s across 14 states. They range from the F.W. Woolworth lunch counter in Greensboro, N.C., where peaceful protesters staged sit ins, to the house of Daisy Bates, an organizer of the desegregation effort at Little Rock Central High School in Arkansas. The trail is expected to draw five million visitors this year; those visitors will spend some 725 million on travel, according to Lee Sentell, the director of Alabama's tourism department who oversees the trail. "The whole purpose is to elevate this group of mostly modest locations, churches and schools where significant events in American history happened, that for the most part have not had a great deal of local support," said Mr. Sentell. On and off the trail, history museums, attractions and destinations around the country are emphasizing the civil rights story in an era of renewed activism around race and equality. "We see parallels between what happened then and what's happening now," said Ms. Taylor. "People are looking for touchstones from history that give credibility and direction and momentum to their current activities." The following trips and attractions bring the era to life. "We've had people come in here and touch the walls and say, 'My mother was arrested here,' and it's emotional," said the owner, Tom Morales, who aims to straddle historic interest with contemporary hospitality. "We wanted to represent the change that people sat in for." In addition to live music in the basement ballroom, Woolworth on 5th holds a monthly program called "The Big Idea" in which the actor Barry Scott pays tribute to the lives of civil rights activists, including Rosa Parks (June) and Fannie Lou Hamer (July), and to the music of the Harlem Renaissance (September) and slaves (October). In Philadelphia, the National Constitution Center is celebrating the 14th Amendment to the Constitution in its 150th anniversary year. The amendment, which guarantees equal protection, was the legal basis of the civil rights campaign and is the theme for the center's annual Constitution Day celebration, Sept. 17. The special programming will include constitutional studies experts discussing "Civil Rights Across the Centuries" on June 11. At the National Underground Railroad Freedom Center in Cincinnati, the virtual reality simulation Rosa Parks Experience, opened in 2016, puts museum goers on the bus and in the seat of Ms. Parks who refused to give it up to a white passenger in Montgomery in 1955, the act that led to the explosion of the civil rights movement. Eight South Carolina cities dot the official Civil Rights Trail, but the Green Book, a mobile travel guide to African American cultural sites across the state, lists more than 300 entries. Originally a national guide to safe places for African Americans traveling between 1936 and 1966, the Green Book was revived in May 2017 as a mobile site (greenbookofsc.com) by the South Carolina African American Heritage Commission. It identifies nationally or state recognized historic places and is searchable via categories such as historic churches, cultural attractions and H.B.C.U.s, or historically black colleges and universities. In New Orleans, a new section of Press Street is being renamed after Homer Plessy, the early Civil Rights activist whose case for riding in a whites only train car led to the Supreme Court's "separate but equal" ruling in Plessy v. Ferguson in 1896. The New Orleans Civil Rights Movement Tour from Tours by Judy follows the story from slave auction sites in the French Quarter to the cemetery where Mr. Plessy is buried and weaves in stories of Canal Street sit ins demanding equal treatment at lunch counters and in shops. Roughly midway between Memphis, Tenn., and Birmingham, Ala., Tupelo, Miss., isn't on the new Civil Rights Trail, but has its own heritage trail that identifies Civil War and Civil Rights sights as well as those related to the indigenous Chickasaw Nation. Though Tupelo is perhaps best known as the birthplace of Elvis Presley, its historical markers identify the site of the Woolworth lunch counter where protests occurred, the Spring Hill Missionary Baptist Church, which served as a gathering place for Civil Rights activists , and the 1964 March of Discontent over voter registration and minority hiring. In April, VisitDallas created a new self guided Civil Rights tour that visits the bungalow home of Juanita Craft, a prominent leader in the movement, the Dallas Civil Rights Museum at the Martin Luther King Jr. Community Center and the trendy Deep Ellum neighborhood, the historic black entertainment district. The itinerary is available online (visitdallas.com/civilrightstour) or in a brochure at the visitor center. For a deep dive into the subject, the educational, nonprofit travel company Road Scholar guides eight day Heart of the Civil Rights Movement road trips. Tours will take place in October and November and visit sites in Atlanta, Montgomery, Selma, Ala., and Birmingham. (from 1,859 a person). For those who can form their own groups, Freedom Lifted arranges custom itineraries to Civil Rights sights primarily in the South. Its past clientele has included students, clergy, activists and families. Groups range between 15 and 45 people. Prices vary based on group size, itinerary and trip length and generally require six months to organize.	N24News: A New Dataset for Multimodal News Classification	Travel
Russia once again poses a threat to American democracy. What will it do to American literature? Our most vulnerable faction our first responders would seem to be the writers in the thriving subgenre of the Russian Jewish emigre novel. Its members among them Gary Shteyngart, Boris Fishman, Anya Ulinich, Ellen Litman and Kseniya Melnik were born in the Soviet Union and left as children or teenagers. In their novels, the disorienting clash between Soviet gloom and American gaud is the source of dramatic tension, exploited for tragedy and, more often, comedy. A Brezhnev baby showing up in Reagan's America is an irresistible fish out of water premise. I experienced it firsthand when my family hosted two boys from the Siberian city of Novosibirsk in a cultural exchange program. On their first night, when we took them to the neighborhood Haagen Dazs, the selection of ice cream flavors cast them into a state of shock from which they never recovered. In fearful whispers, both ordered vanilla. But now, as a Soviet film villain might say, the tables have turned. About half of Americans are beginning to feel that they live in a foreign country (the other half has felt that way for the last eight years). This new country increasingly resembles, and increasingly has ties to, Putin's Russia. Now we're the fish out of water. It's not so funny when it happens to you. Novelists choose the period they write about, but they can't choose the period in which they're read. 's debut novel was composed in the previous era, but its official publication coincides with the presidential inauguration. "The Patriots" is a historical romance in the old style: multigenerational, multinarrative, intercontinental, laden with back stories and historical research, moving between scrupulous detail and sweeping panoramas, the first person voice and a kaleidoscopic third, melodrama and satire, Cleveland in 1933 and Moscow in 2008. It contains a wartime romance, a gulag redemption story, a kleptocratic comedy of manners, a family saga. The author intercedes with history lessons ("In 1934, the Baltic States had yet to be absorbed into the Soviet Union. . . .") and ominous omniscient asides ("Florence had no way of knowing this, but. . . ."). Krasikov had no way of knowing that her novel would be published just as America is witnessing the ascension of a ruler who calls for jailing his opponents, proposes to weaken the First Amendment and uncritically quotes Russian propaganda. But this turn of events gives urgency to her main theme the insidious influence of totalitarianism on the lives of those trapped under its boot. In a clever reversal of the familiar emigre plot, Krasikov sends three consecutive generations of a family from the United States to Russia. We meet its matriarch, the Flatbush born Florence Fein, as a young woman in 1934, peering down on New York Harbor from the upper deck of the Bremen, a steamer bound for Latvia. From there she will travel to Stalin's planned city of Magnitogorsk in pursuit of economic revolution, a classless society, gender equality and a strapping engineer she met while working at the Soviet Trade Mission. Surprising him in his homeland, she announces that she's available for a socialist ("open") relationship. Her youthful dreams end like most youthful dreams do.	N24News: A New Dataset for Multimodal News Classification	Books
DETROIT Most vehicle recalls used to happen only after long, drawn out government inquiries had identified safety defects and required the car companies to fix them. But in the wake of Toyota's extensive recalls, automakers are initiating more themselves rather than waiting for government regulators to step in. The new mind set has produced a flood of recalls, some occurring in reaction to just a few complaints from car owners, or maybe only one. The numbers underscore the sudden shift. Two times as many cars and trucks have been recalled in the last 12 months than have been sold, although many of the recalled cars were from previous years. More than 22.4 million recall notices were sent to consumers in that period, including 10 million from Toyota and 428 from the luxury sports car maker Lamborghini. By comparison, the industry has sold a little more than 11 million new cars and trucks in that time. Industry analysts say that automakers in general are less insistent on disputing the need for a recall, and more aware of the harmful publicity that results from not addressing a safety problem quickly. "Now they're erring on the side of doing a recall, versus not doing a recall," said Clarence Ditlow, the executive director of the Center for Auto Safety, a nonprofit consumer advocacy group. "All the manufacturers want to clean up their act and get defects and recalls behind them so the public doesn't question the safety of their vehicles." Federal regulators have also stepped up their oversight efforts since Toyota's sudden acceleration recalls. Over all, the auto industry is on pace to recall more vehicles in 2010 than in any year since 2004, when a record 30.8 million vehicles were found to have defects. "A higher proportion of recent recalls have been initiated voluntarily by automakers," Olivia Alair, a Transportation Department spokeswoman, said. The 2010 numbers do not include most of the vehicles covered by Toyota's two big recalls, because the first began in late 2009. In addition, Ford expanded the largest recall in its history late last year, adding 4.5 million vehicles to an already long list of older models with faulty cruise control deactivation switches. From November through January, Toyota recalled more than eight million vehicles worldwide six million of which are in the United States and included in the government data in connection with reports of sudden acceleration. In some cases, Toyota said floor mats could interfere with the accelerator pedal, while in others the pedal itself was found to be defective. Some vehicles are covered by both recalls, and as a result are counted twice. In April, the National Highway Traffic Safety Administration fined Toyota an unprecedented 16.4 million, the maximum allowed by law, for waiting too long to initiate a recall for the flawed pedals. Though recalls inevitably create negative attention, especially after Toyota's problems put a brighter spotlight on far more minor recalls, many of the companies have decided it is better to take action than to wait. When recalls are handled promptly and properly, consumers are generally more willing to forgive and forget, said David Champion, the director of auto testing for Consumer Reports. "Many of the manufacturers don't want to be caught in the situation that Toyota was, where they look like they're covering it up," Mr. Champion said. "At one time, manufacturers considered recalls as sort of the kiss of death, but now there's many more," he said. "The average consumer realizes that this is a safety item and they're fixing it for free, so on the whole they're not particularly bothered by it, as long as it's not one now, one three months later, and then another one." Toyota rarely has gone more than a few weeks this year without announcing a new recall. Since Feb. 1, it has started 12 additional recall campaigns covering 1.4 million vehicles for problems other than sudden acceleration. Two Toyota distributors recalled more than 300,000 vehicles that had been sold without load capacity labels, and regulators are investigating whether 1.2 million Toyotas should be recalled in response to complaints about stalling. Toyota quickly recalled and temporarily stopped selling one model, the Lexus GX 460 sport utility vehicle, in April after Consumer Reports discovered a high risk for rollover crashes and declared the vehicle a safety risk. It recalled another Lexus S.U.V., the LX 470, in July after receiving a single report of steering shaft disengagement, Brian Lyons, a company spokesman, said. General Motors, which paid a 1 million fine in 2004, when regulators said it was too slow to recall 600,000 vehicles with defective windshield wipers, has recalled three million vehicles this year. Two of its 11 recall campaigns covered more than a million vehicles each. A G.M. spokesman, Alan Adler, said the 2004 fine "certainly was a catalyst to put a much stronger emphasis on working well with N.H.T.S.A. on issues that were coming up." He added: "If you handle a recall properly with a customer, the chances are greater that you gain customer loyalty than lose it. You will have things that go wrong, and some of those will be safety issues. The important thing is how you take care of it." Safety regulators became most demanding of automakers in the months after Toyota's big recalls. The number of recall campaigns covering more than 500 vehicles, cars or light trucks in the United States doubled in February through April from about seven a month in the previous year. In March, G.M. agreed to recall nearly 1.1 million small cars, the Chevrolet Cobalt and Pontiac G5, because the power steering could fail, although the company argued that did not make the cars unsafe to drive. In July, it addressed a nearly identical issue with the Chevrolet Malibu without a recall, by simply extending the warranty so that owners could get free repairs, but it did not have to pay to repair all one million that could be affected. The financial impact of the surge in recalls is significant. Toyota executives in Japan estimated in February that lost sales and repairs under the sudden acceleration recalls would cost 2 billion. Increased costs also are a result of higher customer responses. Toyota said 72 percent of recalled vehicles are brought in for repair within a year and a half of a notice. The pedal recall, though, has drawn more than 80 percent of car owners affected since it was issued in January.	N24News: A New Dataset for Multimodal News Classification	Automobiles
In the TV business, hit shows inevitably inspire imitators, but ABC's programming department maybe went a bit too crazy at the copy machine after "Modern Family" became a smash in the fall of 2009. Before long, the network had added "The Middle," "The Neighbors," "Trophy Wife," "Fresh off the Boat," "black ish," "The Real O'Neals," "Speechless" and "The Kids Are Alright" all sitcoms about the complications of domestic life, from different perspectives. Black? Asian American? Catholic? Gay? Disabled? Stuck in the '70s? From outer space? For much of the 2010s, ABC gave multiple kinds of families a prime time platform. After seven seasons and counting, "The Goldbergs" (available to stream on Hulu with recent episodes on ABC's website) is one of the last of the shows from this era still airing. Next to "Modern Family" and "The Middle," it's the one that's run the longest, perhaps because it's a distillation of the best parts of the ABC family sitcom formula, combining heartfelt sentiment and cranked up farce. Most of the shows in that big 2010s ABC wave had one unique hook. "The Goldbergs" has two: It's about a Jewish family, and it's set in the 1980s. Based on the creator Adam F. Goldberg's own childhood in the Philadelphia suburb Jenkintown, the series is narrated by the comedian Patton Oswalt as the grown up Adam, who tells semi true stories from an era he calls "1980 something." Some episodes are about life in the time of John Hughes movies and video arcades. Others are about living in a household with a smothering mother, an emotionally distant father and bickering siblings. When "The Goldbergs" debuted in 2013, some early reviews dismissed the series as too loud, too busy and too beholden to nostalgia. But to me it's a finely tuned comic contraption, with an ace multigenerational cast. The great George Segal plays the family's easygoing playboy grandfather, while the improv comedy veterans Wendi McLendon Covey ("Reno 911!") and Jeff Garlin ("Curb Your Enthusiasm") play the parents, Beverly and Murray. Three impressive young actors (Sean Giambrone as Adam, Troy Gentile as Barry and Hayley Orrantia as Erica) each bring an outsize, offbeat energy to the brash, neurotic Goldberg kids.	N24News: A New Dataset for Multimodal News Classification	Television
"Prodigal" returns this week to American Ballet Theater repertory, with two casts; in January it returns to New York City Ballet for five performances, Jan. 17 to 29. Even if you know the 1920s silent movie vamps made famous by Garbo and her predecessors, this Siren is a singular sensation. She flourishes her hands ceremoniously in the air, and she has a gesture where one hand slowly rises behind her crown like the fan of a cobra's hood. (In an earlier and yet deadlier version, the hand stayed closed and pointing upward, in the shape of a snake's head.) When she dances with the hero, she seems to tower over him, and to take possession of him in what remains one of the most overtly sexual pas de deux ever made in ballet. She pins his pelvis to hers with one raised leg, and she clasps his head to her breast in a way that suggests she's also the mother he's been missing. She's a femme fatale all right; she's voluptuous, glamorous, but Balanchine also made her to be cold, snakelike, lethal and brutal. "Prodigal Son" was the last ballet made for Serge Diaghilev's Ballet Russe. The Siren is the last of a Diaghilev series of seductive older women ("Cleopatre," "Scheherazade," "The Legend of Joseph," "Les Biches") who cavort sexually with the athletic but more naive young hero. The tradition goes back, outside ballet, to aspects of 19th century Romanticism: the belle dame sans merci. Yet Balanchine takes an old tradition and makes it newly shocking.	N24News: A New Dataset for Multimodal News Classification	Dance
Charles Busch is performing his new cabaret show, "Native New Yorker," out of drag. "Cabaret is about being real," he remembered thinking, "and I've got to see what it's like stripping off the veil." Perched on a stool on the stage of Feinstein's/54 Below, Charles Busch eased into the first bars of Diana Ross's torchy 1973 hit "Touch Me in the Morning," his voice soft and husky, his delivery relaxed but rueful. Busch became freshly enamored of the ballad after catching a YouTube audio clip of Peggy Lee singing it to a London audience as "this morose, tragic self indictment," he said admiringly. But when Busch performs it in his new show "Native New Yorker," which opens Wednesday at the cabaret club, he won't necessarily channel Lee or Ross at least, not in the way he might have in the past. As an actor and writer, Busch is among the most prolific and influential drag artists of his generation, giving us memorable women (and men) in solo performance, and in plays and films such as "Vampire Lesbians of Sodom," "Psycho Beach Party," "Die Mommie Die" and "The Divine Sister." Busch crafted genre parodies that transcended camp in their fantastical elements and their abiding affection for the classic films and grandes dames who inspired him. But in cabaret, a form Busch has dipped into at various points with his musical director Tom Judson, he began to question his approach. "I started doing it in drag because that's how people know me," said Busch, also known by Broadway audiences for writing the Tony nominated hit "The Tale of the Allergist's Wife." "But I don't have a drag persona like, say, RuPaul. I'd come here to 54 Below and they'd say, 'Charles Busch!' and I'd come out looking like Arlene Dahl, then tell true stories about my life." Starting about a year and a half ago, he thought, "Cabaret is about being real, and I've got to see what it's like stripping off the veil." In response, Busch "called in the Marines" and rang a therapist he hadn't seen in years. Later, "I took the radical move of actually taking some singing lessons. And you know, they work. I'd always approached songs as monologues, where it's about the lyrics, and the melodies are Tom's job," he said. "I've had to learn that the composer also has something to offer, that the melody is also useful as a form of emotional expression." In his last cabaret show, "My Kinda '60s," Busch looked back on his childhood and adolescence, paying homage to the aunt who raised him after his mother died. "Native New Yorker" features music from the following decade, "an interesting and sexy period for me, going from college to figuring out how I'll somehow earn a living in theater and be true to who I am," he said. The songs are culled from pop, film and Broadway, veering from Stephen Sondheim ("Pretty Woman," "In Buddy's Eyes") to Henry Mancini ("Whistling Away the Dark") to Rupert Holmes ("Widescreen") and Jim Croce ("I Got a Name"). To develop his non drag sartorial style, Busch, who describes himself as a "pretty conservative" dresser offstage, went back to his East Village roots and booked a show at the club Pangea in 2017. "I just wore a black shirt and black pants, and it felt great. Then I thought, am I so lacking in imagination in this gender fluid age that I'm either in full drag or dressed as a waiter? So I had this young costume designer, Jimmy Johansmeyer, make me this man's suit, a green paisley thing with rhinestone buttons. I would say it's the place where Bruno Mars meets Judy at the Palace. There's a place, you know?" Busch credits his longtime friend Julie Halston, a collaborator and muse in his earlier work, with helping him enter this next phase. "As people get older, there's a lot more to deal with, and I think Charles has gotten more open to the idea that life is very big," Halston said. Busch has also seen his impact on younger boundary pushing artists, such as the Pulitzer Prize finalist Taylor Mac, whose own Broadway debut as a playwright, "Gary: A Sequel to Titus Andronicus," is set to begin previews in April. "I guess I've given a boost to people, like Charles Ludlam did for me," Busch said, noting that he was greatly moved when Jim Parsons cited Busch as a key influence in a Playbill article about last year's revival of "The Boys in the Band." But Busch added, "I think where drag is going right now is more outrageous, more in your face. For my generation, the word 'drag queen' was a slur on our professionalism. It's so totally different today; younger performers Jinkx Monsoon, Bianca Del Rio, Peppermint honor that word, and have personae they can stay true to, and I think that's fabulous." And Busch has no plans to abandon drag in his primary vehicle for it, theater. Next January, Primary Stages will present his latest play, "The Confession of Lily Dare," in which he'll portray as he did last year, in a staging at Theater for the New City the titular heroine as she evolves, over decades, from a convent girl to a cabaret chanteuse to the madam of a string of brothels. "I wanted to see if we could have outrageous fun with these old movie conventions the gauzy 1930s mother love dramas and get a sophisticated, ironic 2018 audience to be genuinely emotionally affected. And we really did it." In "Native New Yorker," Busch will again nod to the real "embattled woman" who stuck with him through the decade of struggle and adventure traced in the show, which ends with the 1985 Off Broadway opening of "Vampire Lesbians." For "I Got a Name," he took the unusual step of revising a lyric: "I sing, 'And I carry it with me for my aunt to see,'" Busch said, then paused because he was getting choked up. "I was very fortunate to have someone who was always on my side," he said. "I've been fortunate in every way."	N24News: A New Dataset for Multimodal News Classification	Music
Bill Nye engineer, former star of "Bill Nye the Science Guy" and perpetual wearer of bow ties has a new television show that makes its debut April 21 on Netflix. In "Bill Nye Saves the World," he will debunk myths and antiscientific claims made by politicians and others. His latest book, the first in a series for middle grade readers, is titled "Jack and the Geniuses: At the Bottom of the World." He lives in New York but travels frequently to give lectures, so, unsurprisingly, he is a spectacularly organized packer. Though busy, Mr. Nye makes time each year for a family reunion. "Every summer my extended family goes to the beach in Delaware," he said. "Around 20 people, for two weeks, packed into a giant house. We get along fine." It's a rare occasion when he checks luggage. "I can't tell you how many times I've been able to change flights when something's gone wrong with airlines because I do not have checked luggage," he said. "When you check luggage, you're often constrained to ride with it." When traveling for pleasure, he often heads for the great outdoors. One of his favorite destinations is Mount St. Helens in Washington State; he loves the beauty of the Pacific Northwest. "I used to live in Seattle," he said. "People in New York talk about what show they went to see, the movies they've seen. But in the Pacific Northwest everyone has three pairs of skis and we talk about going to R.E.I. It's the same amount of mental energy put into a different thing."	N24News: A New Dataset for Multimodal News Classification	Travel
Re "My Brother Died and Reminded Me of These Life Lessons" (column, nytimes.com, Oct. 14): Like Charles M. Blow, I, too, am a Black Southerner and have relatives buried in racially segregated cemeteries. Not only were they segregated in death, but those whose families could afford it were born in racially segregated hospital wards. As the children of sharecroppers, however, my siblings and I were all delivered by Black midwives. Given the American median age of about 37 years, this once prevalent "cradle to grave" racism is unknown and alien to most white Americans, and to many Black Americans, too. Some even advise us to forget that cycle of exclusion because "it's all behind us now and doesn't really matter since Barack Obama was twice elected president and Kamala Harris is the Democratic candidate for vice president of the United States." Many of us were baptized in the same Christian faith, read the same Bible and sang the same "Star Spangled Banner" as whites but were excluded by law from their lives. Those experiences, although devalued by some, gave essence and direction to us and matter greatly, as do our lives and history.	N24News: A New Dataset for Multimodal News Classification	Opinion
"I think people were looking for inspiration on social media that didn't seem like trite or cliche spirituality," Mx. Michael said. "Things aren't always positive. Life is hard, but you're not alone. When I saw that some of my biggest inspirations were following me SZA, Kehlani, Ilana Glazer people who were supposedly doing so well, still needed help, support, and still struggled, it confirmed that we're all on this journey together." Latest Project: In May, Mx. Michael began hosting "Broadly Hotline," a web series on Broadly, Vice's feminist channel, that offers unorthodox advice and celebrity interviews. The third episode, "How to Deal With Your Ex," features Rachel Bloom, a creator and star of the TV musical comedy "Crazy Ex Girlfriend." Karamo Brown, the resident culture expert on Netflix's "Queer Eye" reboot, appears on a recent episode about sexual health. Next Thing: A podcast is in the works that will offer advice on personal growth, self care and other millennial focused topics, "kind of like Dan Savage, but with Higher Self questions," Mx. Michael said. It will be an extension of a channel on Patreon, a web platform where artists post their work and offer services for "patrons" who have paid a fee. Art Therapy: Mx. Michael, who has performed as a rapper for more than 10 years, recently opened for Fever Ray, a Swedish electronic pop singer songwriter. "I've always rapped about different states of consciousness I'm a surrealist lyricist," Mx. Michael said. "I feel very honored that my work is having an effect on people. I've noticed that having other people relate was very healing to me."	N24News: A New Dataset for Multimodal News Classification	Style
Quick etymology lesson: The word utopia comes from the Greek. It means "no place." So maybe it makes sense that Charles L. Mee's new play "Utopia," produced by San Francisco's Cutting Ball Theater and streaming through Nov. 15, feels so untethered. A whimsical ensemble drama, a dance performance and an online gallery show, it is so dissevered from the terrestrial that it melts into pixelated air. "Utopia," directed by Ariel Craft, begins with a girl (Chloe Fong) and her mother (Michelle Talgarow), framed in separate screens, about to enjoy breakfast. "What are we doing here?" the girl asks. Later, reading up on the show, I would learn that this sequence, like every sequence in the play, took place in a cafe. I didn't guess this because the backgrounds, decorated with art from Creativity Explored, an organization that supports people with developmental disabilities, are so obviously domestic. I also didn't recognize the three other twosomes as fellow patrons. I suppose Don Wood's waiter should have tipped me off. Instead I wondered how he had made his way into people's homes. In duets and the occasional monologue, the characters discuss love, Mee's typical preoccupation. Occasionally the screen shifts to movement sequences shot at a park, a beach, an overlook choreographed by Katie Wong of RAWdance. Mee has had a long relationship with dance, dating back to his early work with the director Martha Clarke and stretching forward to a current collaboration with Anne Bogart and Elizabeth Streb. But here the dance angular, eventful rarely seems in dialogue with the cafe conversations.	N24News: A New Dataset for Multimodal News Classification	Theater
When three wide eyed graduates of Rhode Island School of Design introduced a rough and ready lighting and furniture collection in 2008, it would have been easy to write them off as attention seeking pranksters. Their Excel floor lamp named after the popular software program looked as though it were cobbled together from old broom handles, like a D.I.Y. sculpture. And then there was their firm's name, which bordered on obnoxious: Rich Brilliant Willing, with the preppy sounding monogram RBW. Seven years later, the former classmates have proved they possess not only staying power, but enough talent to fuel rapid growth. The firm's influence is arguably nowhere more visible than in the offices of Silicon Valley start ups, where RBW lights have become de rigueur. The headquarters of Uber, Yelp, Fitbit, Beats, Zazzle and Nest, for instance, all glow from the signature lamps. "When we started, we had a drill press and a certain tongue in cheek flavor and attitude," Mr. Brill said after offering a tour of the firm's new Flatiron district showroom, a Manhattan outpost for the Brooklyn based operation. Since then, Mr. Richardson added: "We've refined our eye, along with the skills and systems necessary to create a polished product. We take some cues from minimalism, but we're not making products that are devoid of character; they're expressive, warm and simple." Their latest products include the Crisp, a puck shaped cast glass ceiling lamp with a surface reminiscent of a rippled potato chip (an additional corrugated brass reflector is an option), and Queue, a modular linear pendant lamp with a stepped profile that could theoretically extend into infinity. In addition to RBW being a Silicon Valley favorite, prominent design firms like Rockwell Group, Meyer Davis, and Yabu Pushelberg are installing its fixtures in upscale residential towers, hotels and restaurants. A range of international retailers, including the Conran Shop based in the Britain, is also ramping up sales abroad. "Their pieces are beautiful and have this attention to detail and craftsmanship that you don't get with a lot of major manufacturers," said Denise Cherry, a principal of the San Francisco interior design firm Studio O A, which conceived the design for the offices of Uber, Yelp and Zazzle. "But they also have that extra level of innovation, technology and sustainability," she noted, which makes the products a natural fit for tech companies. Since 2012, RBW has exclusively used LEDs in its new lights (its older halogen models are in the process of being redesigned). And it puts an emphasis on making the technology easy to use. But just because the company is working with the latest technology, that does not mean its designs are techie. Quite the contrary. RBW products maintain the soul of sculptural, incandescent fixtures with a hint of America's industrial past, using handsome, time tested materials such as handblown glass, perforated metal, and solid oak and walnut. "What I like, and what the tech companies like, is the softness of their fixtures," said Lucas Martin, a senior designer at Rapt Studio in San Francisco. "They almost look like they're made by hand," he added, in a sea of "cold, commercial LED fixtures." The Excel floor lamp, named after the software program. As the lead designer for Fitbit's offices, Mr. Martin used RBW's Radient sconces, which resemble floating circles of wood with concealed LEDs that illuminate the wall behind, to recreate the fitness company's logo behind its reception desk. If there is a handmade quality to RBW's fixtures, it is because the firm's team of 14 people assembles every lamp by hand using custom parts. The firm had tried licensing its products to manufacturers, as most lighting designers do, but found it more profitable to keep the manufacturing in house. The move also allowed it to drastically cut lead times and offer quick customization for special orders, which helps keep clients happy. "We've built a long term relationship with them," said David Rockwell, founder of the New York design juggernaut Rockwell Group. His firm has developed numerous custom fixtures with RBW for luxury residential buildings in Manhattan, Miami and Washington, and for the Lincoln Center's film center. "I like that they're able to create energy efficient fixtures that don't remind you of those remedial shoes people wear when they're trying to be healthy," Mr. Rockwell said. "There's also something about their energy and can do attitude." Indeed, when you talk with the partners, they come off as conscientious hard workers, willing to do just about anything to please their customers. But they also periodically light up with moments of unreserved ambition. "We're just trying to do one thing really, really well," Mr. Richardson said. "The point of our fixtures is not that we love LEDs or technology. It's just that we offer something better."	N24News: A New Dataset for Multimodal News Classification	Style
Panga, on the Azuero Peninsula of Panama, is over 60 miles from the nearest supermarket. "It's like I live on a boat," said Andres Morataya, the restaurant's chef. Yet what Panga lacks is what has helped define it. Panga is on remote Playa Venao. In contrast to his previous stints at the restaurant Manolo Caracol in Panama City and as personal chef to Prince Maximilian of Liechtenstein Mr. Morataya has here had to use only readily available ingredients, including limes and fresh cacao fruit from his dishwasher's yard. He grows what he can in adjacent garden beds and forages for native red berries with sweet, fig like insides that grow along the beach, which he adds to desserts or rubs. His only what's available approach extends to proteins, as well. "I started spending days in the boats with the fishermen," he said, "and noticed all of the things they were throwing back because they couldn't sell it." He persuaded them to sell him those things, like the spider crabs he serves on corn blinis, and the fish scales he toasts to give crunch to roasted red snapper. In other ways the time seemed right for Mr. Morataya to open a restaurant, which he did in June. The beach had seen a wave of new resorts, surf camps and yoga retreats, and seasonal flights to Pedasi, the closest town, cut down travel time from Panama City. Lacking money for a custom grill, Mr. Morataya built his own, with bricks that he rearranges depending on what he is cooking, which might be amberjack or a whole pig; the charcoal is made from driftwood.	N24News: A New Dataset for Multimodal News Classification	Travel
If you're a working journalist and you believe that Donald J. Trump is a demagogue playing to the nation's worst racist and nationalistic tendencies, that he cozies up to anti American dictators and that he would be dangerous with control of the United States nuclear codes, how the heck are you supposed to cover him? Because if you believe all of those things, you have to throw out the textbook American journalism has been using for the better part of the past half century, if not longer, and approach it in a way you've never approached anything in your career. If you view a Trump presidency as something that's potentially dangerous, then your reporting is going to reflect that. You would move closer than you've ever been to being oppositional. That's uncomfortable and uncharted territory for every mainstream, nonopinion journalist I've ever known, and by normal standards, untenable. But the question that everyone is grappling with is: Do normal standards apply? And if they don't, what should take their place? Covering Mr. Trump as an abnormal and potentially dangerous candidate is more than just a shock to the journalistic system. It threatens to throw the advantage to his news conference averse opponent, Hillary Clinton, who should draw plenty more tough minded coverage herself. She proved that again last week with her assertion on "Fox News Sunday" that James Comey, director of the Federal Bureau of Investigation, had declared her to be truthful in her answers about her decision to use a private email server for official State Department business a grossly misleading interpretation of an F.B.I. report that pointed up various falsehoods in her public explanations. And, most broadly, it upsets balance, that idealistic form of journalism with a capital "J" we've been trained to always strive for. But let's face it: Balance has been on vacation since Mr. Trump stepped onto his golden Trump Tower escalator last year to announce his candidacy. For the primaries and caucuses, the imbalance played to his advantage, captured by the killer statistic of the season: His nearly 2 billion in free media was more than six times as much as that of his closest Republican rival. Now that he is the Republican nominee for president, the imbalance is cutting against him. Journalists and commentators are analyzing his policy pronouncements and temperament with an eye toward what it would all look like in the Oval Office something so many of them viewed as an impossibility for so long. You can see it from the minute the television news day starts, on the set of "Morning Joe" on MSNBC. A few months ago media writers were describing a too cozy relationship between Mr. Trump and the show's hosts, Joe Scarborough and Mika Brzezinski. Yet there was Mr. Scarborough on Wednesday asking the former Central Intelligence Agency director Michael V. Hayden whether there were safeguards in place to ensure that if Mr. Trump "gets angry, he can't launch a nuclear weapon," given the perception that he might not be "the most stable guy." Then Mr. Scarborough shared an alarming conversation he said he had with a "foreign policy expert" who had given Mr. Trump a national security briefing. "Three times he asked about the use of nuclear weapons," Mr. Scarborough said, describing one of the questions as "If we have them, why can't we use them?" Speaking with me later, Mr. Scarborough, a Republican, said he had not contemplated sharing the anecdote with the audience until just before he did. "When that discussion came up, I really didn't have a choice," Mr. Scarborough said. "That was something I thought Americans needed to know." Mr. Trump has denied Mr. Scarborough's account. (He told The New York Times in March he would use nuclear weapons as "an absolutely last step." But when the MSNBC host Chris Matthews challenged him for raising the possibility he would use them, Mr. Trump asked, "Then why are we making them?") Mr. Scarborough, a frequent critic of liberal media bias, said he was concerned that Mr. Trump was becoming increasingly erratic, and asked rhetorically, "How balanced do you have to be when one side is just irrational?" Ford and Rivian no longer plan to work jointly on electric vehicles. Elizabeth Holmes took the stand in her trial. Follow along with our reporters. Ken Griffin, head of Citadel, bid highest for a copy of the Constitution. Mr. Scarborough is on the opinion side of the news business. It's much dodgier for conventional news reporters to treat this year's political debate as one between "normal" and "abnormal," as the Vox editor in chief Ezra Klein put it recently. In a sense, that's just what reporters are doing. And it's unavoidable. Because Mr. Trump is conducting his campaign in ways we've not normally seen. No living journalist has ever seen a major party nominee put financial conditions on the United States defense of NATO allies, openly fight with the family of a fallen American soldier, or entice Russia to meddle in a United States presidential election by hacking his opponent (a joke, Mr. Trump later said, that the news media failed to get). And while coded appeals to racism or nationalism aren't new two words: Southern strategy overt calls to temporarily bar Muslims from entry to the United States or questioning a federal judge's impartiality based on his Mexican heritage are new. "If you have a nominee who expresses warmth toward one of our most mischievous and menacing adversaries, a nominee who shatters all the norms about how our leaders treat families whose sons died for our country, a nominee proposing to rethink the alliances that have guided our foreign policy for 60 years, that demands coverage copious coverage and aggressive coverage," said Carolyn Ryan, The New York Times's senior editor for politics. "It doesn't mean that we won't vigorously pursue reporting lines on Hillary Clinton we are and we will." You can fairly say about Mrs. Clinton that no presidential candidate has secured a major party nomination after an F.B.I. investigation into her use of a private email server for, in some cases, top secret national security information. That warrants scrutiny, along with her entire record. But the candidates do not produce news at the same rate. "When controversy is being stoked, it's our obligation to report that," said the Washington Post managing editor Cameron Barr. "If one candidate is doing that more aggressively and consistently than the other, that is an imbalance for sure." But, he added, "it's not one that we create, it's one that the candidate is creating." Some of it was baked into the two candidacies. Mrs. Clinton has been around so long that voters can more easily envision what her presidency would look like. And to say she hasn't been amply scrutinized is to ignore the fact that there are more "gates" affixed to her last name Travelgate, Whitewatergate, now Emailgate than there are gates in the Old City of Jerusalem. Mr. Trump is a political novice who has spent his career running a private company and starring in a hit reality show. He's hardly an unknown, but there is so much we still don't know about his views and his familiarity with the major issues. His positions would be big news even if they didn't so often seem to break with decades old policy consensus (which they do). The media reaction to it all has been striking, what The Columbia Journalism Review called "a Murrow moment." It's not unusual to see news stories describe him as "erratic" without attribution to an opponent. The "fact checks" of his falsehoods continue to pile up in staggering numbers, far outpacing those of Mrs. Clinton. And, on Sunday, the CNN "Reliable Sources" host Brian Stelter called upon journalists and opinion makers to challenge Mr. Trump's "dangerous" claims that the electoral system is rigged against him. Failure to do so would be unpatriotic, Mr. Stelter said. While there are several examples of conservative media criticism of Mr. Trump this year, the candidate and his supporters are reprising longstanding accusations of liberal bias. "The media is trying to take Donald Trump out," Rush Limbaugh declared last week. A lot of core Trump supporters certainly view it that way. That will only serve to worsen their already dim view of the news media, which initially failed to recognize the power of their grievances, and therefore failed to recognize the seriousness of Mr. Trump's candidacy. This, however, is what being taken seriously looks like. As Ms. Ryan put it to me, Mr. Trump's candidacy is "extraordinary and precedent shattering" and "to pretend otherwise is to be disingenuous with readers." It would also be an abdication of political journalism's most solemn duty: to ferret out what the candidates will be like in the most powerful office in the world. It may not always seem fair to Mr. Trump or his supporters. But journalism shouldn't measure itself against any one campaign's definition of fairness. It is journalism's job to be true to the readers and viewers, and true to the facts, in a way that will stand up to history's judgment. To do anything less would be untenable.	N24News: A New Dataset for Multimodal News Classification	Media
The faces here, which look a bit like video game avatars, are actually portraits drawn from DNA. Each rendering was created by plugging an individual genetic profile into a predictive tool created by Mark D. Shriver, a professor of anthropology and genetics at Penn State University. Dr. Shriver and his colleagues have studied the ways that genes influence facial development. Their software yields an image in a matter of minutes, rapidly drawing connections beween genetic markers and points on the face. In less time than it takes to make a cup of coffee, a sketch emerges inferred solely from DNA. How accurate or useful are these predictions? That is something that Dr. Shriver is still researching and that experts are still debating. Andrew Pollack writes about the issues in an article on genetic sleuthing in Science Times. On The New York Times's science desk, we wondered whether it would be possible to identify our colleagues based on the formula that Dr. Shriver has developed. So we tried a somewhat unscientific experiment. John Markoff, a reporter, and Catherine Spangler, a video journalist, each volunteered to share their genetic profile, downloaded from 23andMe, a consumer DNA testing company. The files we sent to Dr. Shriver did not include their names or any information about their height, weight or age. Dr. Shriver processed the genotype data and sent us renderings of the donors' faces. We distributed the images to colleagues via email and a private Facebook group, and asked them if they could identify these individuals. We told them that because age and weight could not be determined from DNA, the person might be older or younger, heavier or lighter than the image suggested. At least a dozen people immediately responded that they could not guess because the images felt too generic. Among the 50 or so people who did venture guesses, none identified the man as Mr. Markoff, who is 65. The man who received the most votes was Andrew Ross Sorkin, a business columnist and editor of Dealbook. A number of other possibilities were suggested, too mostly white men who work on the science desk. When it came to the computer's DNA portrait of Ms. Spangler, 31, staffers had more luck. About 10 people correctly identified her. Although there was no close second, participants put forth the names of nearly 10 other women. About half of them were of European ancestry, half of Asian ancestry. To build his model, Dr. Shriver measured 7,000 three dimensional coordinates on the face and analyzed their links to thousands of genetic variants. Though sex and ancestral mix are not the only predictor of face shape in this model, they are the primary influencers something that has raised concerns about the potential for racial profiling.	N24News: A New Dataset for Multimodal News Classification	Science
These shifts from sugary to shocking are jarring. Yet though Barbie's operatic violence leans perilously close to parody, Schweighofer's urbane monster routine is wickedly diverting. Much more so than watching our halfhearted hero moon over his gentle crush, Emma (an affecting Clemence Poesy), or teach the orphans to hide by climbing trees. An encounter on a train between the two men Marceau, now a member of the French resistance, is evacuating children to the Alps owes the entirety of its suspense to Schweighofer's flickering changes of expression. He would have been superb in silent movies. Bracketed by weirdly redundant scenes of Marceau being celebrated by General George S. Patton (Ed Harris) and his troops, "Resistance" feels disjointed and dated. Lukewarm romantic subplots play like cursory afterthoughts, inserted to pander to audience expectations, and supporting characters are confusingly ill defined and disconnected from one another. There is no doubt that Marceau's wartime exploits he was also a gifted forger who would go on to work with U.S. intelligence services deserve a biopic. This one, though, is too uncomfortably torn between his comic talents and the horrors against which they were deployed. Rated R for multiple atrocities. Running time: 2 hours. Rent or buy on Amazon, Google Play, YouTube and other streaming platforms and pay TV operators.	N24News: A New Dataset for Multimodal News Classification	Movies
When you hear it, it almost makes too much sense: Elaine Stritch reading the selected stories of . Two iconic New York broads known as much for their personas, at this point, as for their work. The recording was made in 1995, but never existed in digital form until now; rather, it was a sort of urban legend, the kind of thing a friend of a friend might have heard on cassette once and then raved about forever. One such fan was David Sedaris, who once described the tape in an interview as his favorite audiobook, prompting Penguin to reissue the stories. But while this is the stuff of a certain sort of nerd's dreams i.e., mine this performance deserves far more than just a cult following. Come into it with high hopes or none, and you won't be disappointed. Yes, you may be tempted to use any number of martini metaphors, but with any luck the mere thought of these women's ghosts curling their lips in disgust at your hackery will keep you in check. , the famous wit, author and doyenne of the legendary Algonquin Round Table, published reviews, short fiction and poetry in The New Yorker throughout the 1920s and '30s (and onward). Her stories were collected in 1930's "Laments for the Living" and, in 1933, in "After Such Pleasures." Her most productive years were behind her by 1939, when she published her collected work in "Here Lies." Although her stories sold briskly at the time of publication, nowadays Parker is too often reduced to a quip on a coffee mug. If she truly uttered even a fraction of the remarks attributed to her, Parker's reputation as a wit was well earned. However, the real worth of her writing extended well beyond what she once dismissed as "calisthenics with words."	N24News: A New Dataset for Multimodal News Classification	Books
WEST HOLLYWOOD, Calif. It was a high wattage room even by this city's standards. Emma Stone and Jessica Chastain were there, dressed to the nines. So were Judd Apatow and Jeff Bridges. As hunky waiters passed out hamachi tacos and mini bottles of Champagne, Kate Beckinsale, Chris Pine, Naomie Harris and Casey Affleck breezed by. But the guests of honor at Catch LA that night in November were three young women who are rich but not yet famous: Sophia, Sistine and Scarlet, the spawn just to be alliterative about it of Sylvester Stallone. Oh, yes. The Stallone Sisters have arrived. The Hollywood Foreign Press Association, which bestows the Golden Globe awards, selected them Sophia, 20, Sistine, 18, Scarlet, 14 to serve collectively as Miss Golden Globe at this year's ceremony, which NBC will broadcast live on Jan. 8. In many ways, getting picked is the Hollywood version of being presented to society. Over the years, the role has gone to such film world offspring as Melanie Griffith (the daughter of Tippi Hedren), Laura Dern (the daughter of Bruce Dern and Diane Ladd) and Rumer Willis (the daughter of Bruce Willis and Demi Moore). "We didn't realize the magnitude of this," a gushing Sophia said that night at Catch, flanked by her sisters, her proud papa, and her mother, the model and skin care entrepreneur Jennifer Flavin. "You're in them all day, from morning rehearsals until the after parties," she said. The honor of Miss Golden Globe is also an openly nepotistic one. The press organization, which is made up of 85 active members, has given the role to celebrity offspring since the 1960s. Publicists typically pitch candidates, said Lorenzo Soria, the group's president. "They will say things like, 'Isn't this one cute?' 'As you can see, this one is interested in theater,'" he said. They end up with a bunch of names and pick one or two. The Stallones were an exception. They caught Mr. Soria's eye last year, when they accompanied their father to the ceremony, where he won the supporting actor prize for the film "Creed." "I remembered seeing the girls on the red carpet: elegant, smiling, fresh, happy," Mr. Soria said. He called Mr. Stallone to float the idea. "I said, 'Discuss it with them and let me know.' And he said: 'I don't need to ask them. The answer is yes.'" After some hemming and hawing that involved five publicists welcome to Hollywood the Stallone family declined my requests for interviews. I inferred that it had something to do with Ms. Flavin feeling protective and with Sistine's handlers holding her back in advance of a publicity push surrounding her budding modeling career. Sistine, at least for now, is clearly the star of this sister act. Sophia, a student at the University of Southern California, has more Instagram followers (293,000 to Sistine's 279,000), but that may change soon. Last month, Sistine hired the P.R. agency 42West, which represents Kylie Jenner (82 million followers), and not long ago she signed with IMG Models. Sistine has already appeared in Teen Vogue and an Express ad campaign; Dolce Gabbana flew her and a flock of other model celebutantes to Milan Fashion Week in September, where she made a splash in a leather bustier and black lace leggings. Town Country magazine put Sistine on its September cover as a "modern swan," a designation the magazine uses annually to describe "world's most stylish and talked about young women." Stellene Volandes, Town Country's editor in chief, said that Sistine came onto her radar about two years ago, when she arrived in the magazine's Manhattan offices accompanied by her mother. The visit had been set up by a mutual acquaintance. "I was impressed with Sistine," Ms. Volandes said. "She was humble. She was polite. She sent a follow up email thanking us for our time." Ms. Volandes added: "You could look at that cynically, but, having met her, I think it was genuine. It's certainly not typical." Sistine's Instagram account finds her in various chic spots. There she is in Venice. Now she's in St. Tropez, club hopping to platinum card spots like La Cave and VIP Room. In one post, she does a two handed cheer from the stairs of a private jet, while Sophia, wearing a floppy hat, looks on. (Caption: "Goodbye London, Hello Ibiza!") All three sisters, sometimes in possession of a Pomeranian, make frequent appearances in videos posted to Mr. Stallone's social media accounts. To the delight of his fans, at least judging by the comments, his daughters often respond to his goofy antics with down to earth eye rolls. "Let's do a video," Mr. Stallone, 70, can be heard saying at the start of one, as Scarlet, seated on a bed looking at her iPhone, comes into view. "Why?" he asks, and later adds, "Don't tell me you're getting shy on me." As Sophia told "Access Hollywood" about her father's video hobby in a recent interview, "I don't know about you, but I don't want a phone in my face when I wake up first thing in the morning." (I'm with you, sister.) Serving as Miss Golden Globe they will most likely rotate coming on stage, although that has yet to be decided, Mr. Soria said may come most naturally to Sophia. She does not appear to be pursuing a career in show business, but she does have experience in the spotlight. In 2012, she had an old fashioned debut at Le Bal des Debutantes in Paris, a diamonds and couture affair that also drew young women like Filippa Brandolini d'Adda, a descendant of Italian nobility, in Ms. Stallone's year. As for the teenage Scarlet, she may have the gait to beat on Golden Globes night: As a high school track star, she apparently goes by the nickname the Flash. At least that's what Mr. Stallone calls her.	N24News: A New Dataset for Multimodal News Classification	Fashion & Style
The Edwardian era never looked quite as beguilingly sinister as it did through the gimlet eyes of Hector Hugh Munro, better known by his pen name, Saki. Celebrated for short stories of filigree sentences and blood freezing endings, Munro (1870 1916) is being reincarnated with suitably macabre elegance at the Fourth Street Theater, where Katherine Rundell's "Life According to Saki" begins previews on Wednesday, Feb. 8. Directed by Jessica Lazar, this production (which took the Carol Tambor Best of Edinburgh Award at last year's Edinburgh Festival Fringe) places the dapper Munro in the trenches during World War I, where he entertains the lads with narratives that twist like a corkscrew. (His fellow Tommies assist in the tale telling, as do some Bunraku puppets.) Evidently, that greatest of concluding Saki lines "Romance at short notice was her specialty" applied to its creator as well. (Through March 5; 866 811 4111, tinyurl.com/Life Saki.)	N24News: A New Dataset for Multimodal News Classification	Theater
The stage adaptation of "Anastasia" will end its Broadway run on March 31, the producers said Tuesday. The musical, powered by the popularity of the animated 1997 film, is about a Russian girl who may or may not be the daughter of a czar. The show began performances on Broadway in March of 2017; at the time of its closing it will have played 808 regular and 34 preview performances. The show was capitalized for up to 15 million, according to a filing with the Securities and Exchange Commission; it has not recouped its capitalization costs. The show has an unusually ambitious touring schedule, especially for a musical that was not a huge success on Broadway, where it was greeted with several negative reviews. It is now on tour in the United States and running in Madrid and Stuttgart, Germany; there are runs planned in Holland, Korea, Japan, Mexico, Australia and Brazil.	N24News: A New Dataset for Multimodal News Classification	Theater
Serena Williams Is GQ's 'Woman' of the Year. Fans Ask: What's With the Quotation Marks? GQ did not name Serena Williams its 2018 Woman of the Year on its cover. It named her its 2018 "Woman" of the Year and the quotation marks made a troubling difference to her fans. The men's fashion magazine unveiled the covers of its upcoming issue this week one cover for Ms. Williams, three others for GQ's Men of the Year and was immediately denounced on social media. Ms. Williams, one of history's most accomplished tennis players, has a muscular physique, which she said last year has resulted in people calling her a man or telling her she belongs in men's sports. Critics said the magazine's use of quotation marks around "woman" on Ms. Williams's cover appeared to call into question her gender or her femininity, a trope with at least a touch of transphobia. "To everyone saying this is a reach, you have to consider the context of Serena's career and the way people have mocked and challenged her and Venus's femininity because of their strength and athleticism," one Twitter user wrote, referring to her sister, Venus Williams. "In that context, this was a bad choice." Another user said GQ should have known better, given the "misogynistic and violent trans insults that Serena (and Venus) have dealt with for the last almost 20 years." Sign up here for Gender Letter, our newsletter that helps you keep up with the world, and the women shaping it. GQ did not immediately return an email seeking comment. But Mick Rouse, a research manager for the magazine, said on Twitter that there was a perfectly reasonable explanation: The word "woman" on the cover was handwritten by Virgil Abloh, a celebrated designer who created Ms. Williams's apparel at this year's U.S. Open, and who frequently uses quotation marks in his work. Mr. Abloh, a longtime creative director for Kanye West and founder of the streetwear label Off White, is a familiar name to many of GQ's fashion conscious readers. In March, he was named Louis Vuitton's artistic director of men's wear. But not all of GQ's readers or the countless others who saw the cover in their social media feeds were familiar with Mr. Abloh's designs or his connection to Ms. Williams. To them, it was a conscious punctuation choice. It might have gotten less notice if someone other than Ms. Williams, who has often discussed struggles with sexism, had been the honoree. Last year, in an open letter to her mother, she said she had been called a man "because I appeared outwardly strong." "It has been said I don't belong in Women's sports that I belong in Men's because I look stronger than many other women do," she wrote on Reddit, adding that she works hard and was born with a body she is proud of. Ms. Williams gave birth to a daughter in 2017 and came back in 2018 to make the finals of Wimbledon and the U.S. Open, losing both. Her next Grand Slam singles championship would tie the record of 24. Her U.S. Open loss was memorable for a heated argument with the chair umpire that was seen by many as an illustration of common sexism. The umpire gave her a warning for receiving help from a coach in the stands, then assessed a penalty after she slammed her racket and broke it.	N24News: A New Dataset for Multimodal News Classification	Media
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 responded with disgust to reports that the White House had ignored allegations of domestic abuse against a high level aide, Rob Porter. Both of his ex wives have accused him of violent behavior. Porter resigned this week, but the White House has been slow to distance itself from him. (Finally, on Thursday, Raj Shah, the deputy press secretary, admitted that "we all could have done better dealing with this over the last few days." Porter has denied the allegations.)	N24News: A New Dataset for Multimodal News Classification	Television
In the Chinese fantasy "Big Fish Begonia," a young woman named Chun faces trials from a world beneath the ocean. Rendered in a crisp mixture of hand drawn and digital animation, the inhabitants of Chun's airy underworld are mystical beings with the power to influence nature, and they guard the balance of life in the human realm above them. Taking the form of a red dolphin, Chun is sent into the human world as part of her initiation to adulthood. But when a boy dies after saving Chun from a fishing net, Chun ventures into the mists of her own world to find the guardian of the afterlife who might be able to grant the boy a second chance. The keeper of souls gives Chun the boy's soul in the form of a fish, which she names Kun. Having acted against the laws of nature by restoring Kun's life, Chun must protect him as the order of the worlds begins to unravel.	N24News: A New Dataset for Multimodal News Classification	Movies
The chef Fabio Trabocchi doesn't have to work hard to get name recognition in Washington . Now he turns his attention to Spain at his new seafood focused restaurant, Del Mar. With four hot ticket Italian restaurants around town, including the Michelin starred Fiola, the chef Fabio Trabocchi doesn't have to work hard to get name recognition in Washington . But can Mr. Trabocchi's translate his success into Spanish? Judging by a recent meal at his seafood focused restaraurant, Del Mar, which opened in November, the answer is a resounding "si." Located at the District Wharf, a mile long new development set on the Potomac River, Del Mar is inspired by Mr. Trabocchi's Spanish wife, Maria, and their home on the island of Mallorca where they spend their summers. "Coastal Spanish cuisine has been a big part of our lives together for the last 20 years, and Del Mar is a nod to that," he said. "When we're in Mallorca, we eat the dishes that are on the menu here." As at Mr. Trabocchi's Italian spots, the ambience is packed and lively, and yet feels something like a mini vacation: a bi level nautical themed space with an open kitchen, towering ceilings, large windows overlooking the water and hand painted forest green tiled walls. You'll want to linger a while and have a n Earl Grey infused gin and tonic maybe two at the glamorous circular bar, but soon enough the nearby seafood display of oysters and whole crustaceans flown in from Spain, New Zealand and other parts of the world will lure you to your table. The menu is extensive, and although Spanish cheeses and charcuterie are also offered, we stuck to the star attractions. From the "Barely Touched" section, the scallop with Meyer lemon and caviar, yellow tail with ponzu sauce and fluke with raw green olives and snow peas attractively presented in a large silver, octopus shaped ice bucket were fresh and had the pop of spring. From "Tapas Temporada" (Seasonal Tapas) the garlic shrimp, laced with brandy and presented in a pot of bubbling oil, was as good as the most memorable versions I've eaten in Spain; the steak like grilled calamari with red peppers and onions was tender, not chewy, as grilled squid can often be. I wanted to order the piquillo peppers stuffed with crab meat and topped with a sea urchin sauce, and my husband was tempted to get round two of the buttery scallop atop curried peas and potatoes, but our main course awaited, and I'm glad we saved some room. Our server recommended that we go for one of the four seafood paellas made with the short grain Spanish rice called bomba or pick a whole fish. The two pound Spanish branzino had just arrived that morning, he said, and looked particularly tasty. We were sold: the simply grilled wild bass took me back to a vacation in Ibiza where I savored this same fish almost daily. Compared with the preceding courses, dessert choices are more limited. In true Spanish style, there's a flan, creamy and presented with a blood orange meringue, and a dairy free house made strawberry ice cream surrounded by a lemon thyme compote. The cool treat was a light and refreshing finish to our short escape to the Spanish coast. Del Mar, 791 Wharf Street SW ; delmardc.com. A meal for two, without drinks or tip, is about 90.	N24News: A New Dataset for Multimodal News Classification	Travel
Follow our latest coverage of the Biden vs. Trump 2020 election. The Fox Corporation these days reminds me a bit of America: The elites have lost control, and partisan noise drowns out almost everything. But there are pockets where traditionalists cling to fading norms. One of those pockets is a new office on the third floor of Fox's headquarters on the Avenue of the Americas in Manhattan, known by employees as the "nerdquarium." That's where a prickly, bespectacled 65 year old named Arnon Mishkin and his staff of data crunching wonks will come to work on Election Day. And this Nov. 3, Mr. Mishkin may be the last bulwark against the most frightening prophecies of electoral insanity. "There will be no one putting their finger on the scale in either direction," he told me with matter of fact confidence in an interview on Friday from his Upper West Side home. Election night is shaping up as a dangerous, high pressure moment for the country and for television journalists, who traditionally play an outsize role in telling Americans who won our decentralized, locally run national elections. But at no place is the tension higher than at Fox, which has served as platform, megaphone and cheerleading squad for Mr. Trump and his counterfactual claims for the better part of four years. And on the night when the stakes are highest, it is up to the unassuming Mr. Mishkin, more than any other individual, to represent reality. "We're going to come under enormous pressure," another top Fox figure told me of election night. The nightmare scenario goes like this: It's a close race, and Mr. Trump leads in the early vote count in Pennsylvania, and needs just that state to win the election. Tens of thousands of votes are still untallied, and the counting may take weeks but Mr. Trump has already declared that he's been re elected. He's demanding that Fox do the same, making calls to Fox Corporation's co chairman, Rupert Murdoch, or working back channels to the executive who effectively runs the network, Viet Dinh. Mr. Trump's most loyal acolytes at Fox, the prime time hosts Sean Hannity and Laura Ingraham, are backing the president's claim on the air. And Fox faces the temptation it often succumbs to: offering its audience the alternate reality it wants. Arnon Mishkin runs Fox News's "decision desk," the team responsible for telling Fox viewers who won the election. "There's real concern about the choice Fox is going to make given its own history," said Vanita Gupta, the president and chief executive officer of the Leadership Conference on Civil and Human Rights, which is among the groups pushing journalists to take their time in covering the vote counts. "Are they going to be a state media organ and sabotage our democracy in the process, or are they going to show up as media that is going to be thoughtful and careful about prematurely calling results before all the ballots are counted?" A Slate headline last week put it bluntly: "The Fox News Decision Desk Controls the Fate of American Democracy." I spoke this past week to Mr. Mishkin and other current and former Fox News employees about whether that nightmare situation could play out. Somewhat to my surprise, many said that while they expect Mr. Mishkin to have to compete with Mr. Hannity and others who will echo Mr. Trump's claims, Fox's bizarre and chaotic internal politics will probably protect him and the decision desk from any actual interference. The problem for a meddling president is this: If you want to speak to Fox News whom do you call? Outsiders often view Rupert Murdoch's right wing media empire as a well oiled machine, but it is, in truth, a shambolic, shoot from the hip organization. These days, it seems more like the creaky court of an aging monarch than a high powered or efficient corporation. 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. It's been unclear who is in charge at Fox since the network's founder, Roger Ailes, resigned in disgrace in 2016. Is it Mr. Murdoch, 89, who has been weathering the pandemic in his country manor in Oxfordshire and who is often asleep by prime time in the United States? Or his son Lachlan, Fox Corporation's chief executive? A better bet may be Mr. Dinh, the little known but influential insider who runs Fox News's parent company for the younger Mr. Murdoch. Or perhaps the network's chief executive, Suzanne Scott, though Fox insiders say she has long since given up on trying to control her on air talent? Mr. Mishkin, for his part, operates independently with an eight man (they are all men) team of statisticians, political scientists, pollsters and journalists. When I asked him whom he reports to, he fell silent and then tried to remember who approves his expenses. "The weird thing is the decision desk doesn't really report to anyone," a person familiar with the operation told me, on the condition of anonymity so as not to be seen as undermining Fox's attempts to present itself as a normal news organization. Mr. Mishkin said that executives in Fox's control room can "kick the tires" when he makes a call. (Mr. Mishkin's team not only declares a winner of the presidential contest, it calls the results in individual states based on live vote tallies and data analysis.) Fox's senior executive vice president of corporate communications, Irena Briganti, who participated in my call with Mr. Mishkin, said the decision desk is part of the news division. Mr. Mishkin and Fox's chief pollster, Dana Blanton, are part of the wonky, reality based community of election nerds who populate similar decision desks and polling operations across the media. Mr. Mishkin and Ms. Blanton have also led the charge to create an alternative to traditional exit polls, the large surveys of voters conducted before and on Election Day called VoteCast, in partnership with The Associated Press. The emergence of Twitter has made much of their work transparent to anyone who wants to follow their abstruse if enthusiastic Election Day debates about historical voting patterns in key precincts in Waukesha County, Wis. And it is clear that Fox's operation is well regarded by its peers. "Arnon and all the people working on their data are really scrupulous, and I think they do a very good job," says Ariel Edwards Levy, the HuffPost's polling editor. Mr. Mishkin came to Fox in 1998 with an elite resume Andover, Yale, Harvard Business School and a background in political polling. He got his start working for the New York political consultant David Garth, who helped elect Mayors Edward I. Koch and Rudy Giuliani and advised a local developer named Donald Trump. Mr. Garth also worked for Mayor Tom Bradley of Los Angeles in his failed race for governor of California in 1982. That election gave birth to the idea of a "Bradley effect," in which white voters lie to pollsters about their intention to support a Black candidate, concealing their racial prejudice and overstating the candidate's standing. Not everyone believes that happened to Mr. Bradley, but Mr. Mishkin said he learned back then that voters disguise their feelings to pollsters. Sometimes they describe themselves as undecided rather than acknowledging that they are backing a "socially undesirable" candidate which, he said, helps explain why polls failed to predict Mr. Trump's victory in 2016. Mr. Mishkin kept his Fox role more or less secret for years because he didn't want it to interfere with his partnership at Boston Consulting Group, where he advised media companies like Forbes and The Associated Press on internet marketing and strategy. He quietly took over at Fox when his friend and predecessor, John Ellis, George W. Bush's first cousin, stepped aside after the messy 2000 election. Many of Mr. Mishkin's friends and business partners told me they had no idea he was even at Fox until election night 2012, when an unexpected and memorable drama unfolded on air: Karl Rove, a Fox commentator, was emphatically objecting to the decision desk's call that Barack Obama would win Ohio, and thus, be re elected. As Mr. Rove fulminated, an anchor, Megyn Kelly, walked off the set, cameras in tow, down a long corridor to Mr. Mishkin's operation, and demanded to know if he was confident in his call. An unwavering if not quite camera ready Mr. Mishkin, his hands in his pockets, calmly pronounced himself "99.95 percent" certain that Mr. Obama had won. Fox stuck with his call and with reality. "It was like Clark Kent and Superman I didn't know he was central to that until Megyn walked down the hall," said Jim Kennedy, the senior vice president for strategy and enterprise development at The Associated Press, who has worked with Mr. Mishkin as a consultant for years. "That's when I realized that's Arnon." Mr. Mishkin was running the desk with equal confidence in the summer of 2016, when, a former colleague said, he and his team were dismissive of Mr. Trump's chances. Eric Bolling, then a Fox Business host who would visit their "nerdquarium" to argue Mr. Trump's case, complained that the nerds weren't taking the possibility of a Trump victory seriously enough, the former colleague said. Mr. Mishkin says that, to the contrary, he took Mr. Trump's prospects so seriously that one of his daughters told him that he was beginning to sound like the innumerate Trump booster Bill Mitchell. This time around, Mr. Mishkin has been skeptical of Mr. Trump's chances on social media and in occasional Fox appearances, echoing Ms. Blanton's polls. One of his friends told me that he's expressed frustration that Fox won't put those views on the air. When I asked him about that, he switched to consultant speak. "As media companies become more and more reliant on subscription revenue, they evolve to telling the readers what they want to hear, and I think that's true of frankly every journalistic organization in America," he said. Mr. Mishkin told me nobody at Fox ever asked him whom he voted for in 2016. Now the question is whether the network will let him do his job when it really matters, on election night. Last time around, 12 million viewers tuned in. Ms. Kelly, who is now the host of an independent podcast, said she was confident he would. "That night, you're going to be able to trust who's out there because it's run by the journalists at Fox News," Ms. Kelly said. If that doesn't give you total confidence, Mr. Mishkin's friends say his unbending personal qualities ought to. This is a man who, after asking for a show of hands from his team, confidently faced down Mr. Rove. "It wouldn't matter who's running Fox or what Donald Trump wants," said his business partner and a Yale connection, Samuel O.J. Spivy. "What Arnon is interested in is who is the winner."	N24News: A New Dataset for Multimodal News Classification	Media
L.A. has gotten a lot cooler and a lot more interesting. You have all the tech companies here now. It's a lot more international, with better food, art and fashion. But the stereotypes are real for a reason. It still remains a wonderfully superficial fantasy land. A lot of my close friends from New York have moved out here in the last five years, and they are always saying, "I'm taking New York with me." But even the hard core New Yorkers end up getting overly attached to their yoga teacher or getting acupuncture for their dog. The culture of L.A. inevitably converts you. In cities as big and crazy as those two, do you get bombarded with material? We get close to 100 submissions a day, by D.M. or email. I do my best to curate it. I like one sentence pearls of wisdom about what younger people are going through on topics such as dating, fitness, work, partying, ennui. I like each post to feel like a six second sitcom. Are the New York "overheards" different from those in Los Angeles? There is definitely a lot more harshness in New York, and the conversations are about the relatable struggle, like the struggles of where you're going to live. The intimate moments come from forced situations between strangers: on the street, in a park, on the subway. In Los Angeles, the material tends to be from another planet: fantasy stuff about your "social media brand," or about longevity fads or your dog's zodiac sign. One quote we recently posted was an effusive dog owner telling her friend, "I was reading my dog his horoscope the other day and I was like 'Oh, my God, Bronson, this is so you.'" Are the two cities still polar opposites? The cities are a lot closer than they ever were before. There are a lot more New Yorkers in L.A., and L.A. has a lot more to offer, the way New York always has. And also, New York is more scattered than it was. The New York where I grew up, everything existed in Manhattan. Now there are seven different "cool" parts of Brooklyn, there are cool parts of Queens. Now you can have a long distance relationship in New York the way people joke about having one in L.A. Even so, in New York, you're searching to get a tiny bit of space to yourself, and in Los Angeles you're lonely and searching to be around people. How do you weed out potential fakes? Honestly, we do our best. I will always ask someone once or twice: Is this real? Is this a friend or a stranger? I'm sure there are people who are drunk or goofing around and just want to get on there to get a laugh from their friends, and we certainly try to vet that out. But at the end of the day, comedy is more important. If it's a genuine piece of gold that represents something funny about the city, I think that is more important than trying to be overly serious or journalistic. It's an Instagram account, not a news source. Is there any topic you won't touch? We've got tons of submissions about things that celebrities have said, but we just don't post them. It's not a gossip page. It's really about comedy, and hopefully, a little bit of community self reflection: "This may be extreme, but I'm 10 percent like this."	N24News: A New Dataset for Multimodal News Classification	Fashion & Style
Black was the indisputable trend of the Golden Globes, but pants were a close second. Pants have a tendency to appear at least once or twice on most award show red carpets, but given the homogeneity of color at the Globes, shape became the place to diversify. Among the pants wearers was Alison Brie, nominee for best performance by an actress in a television series for her role in "Glow," who wore skinny black pants ... under a voluminous sleeveless dress. "Tonight is about women wearing the pants so I chose to literally wear the pants," Ms. Brie said. Debra Messing, an eight time Golden Globe nominee and an actress on NBC's "Will Grace," paired her floor length black pants with an equally long sparkly black and silver dress that had a wide opening in the front. "I am wearing black to thank and honor all of the brave whistle blowers who came forward and share their stories of harassment and assault and discrimination," Ms. Messing told the E! commentator Giuliana Rancic. "To stand in solidarity with my sisters all over the globe." Then, in a moment that shook the internet, she added: "I was so shocked to hear that E! doesn't believe in paying their female co host the same as their male co host," Ms. Messing said. "I miss Catt Sadler, so we stand with her. And that's something that can change tomorrow." Ms. Sadler is a former E! host who left the network in December because she said her male colleague, Jason Kennedy, was paid twice as much. Lena Waithe, the first black woman to win an Emmy Award for Outstanding Writing for a Comedy Series and a member of Time's Up, wore a shiny black suit with a black shirt and a black bow tie. "It may be a small way of showing solidarity, but to me this is extremely important," she said to InStyle magazine. "If someone looks back and wants to know where I stood, they'll see that picture of me on the red carpet wearing nothing but black." Ryan Michelle Bathe arrived with her husband, Sterling K. Brown, in a black suit with dark black stripes down the sides of the pants. "I may never wear a dress ever again," Ms. Bathe said. "She wears the pants in our family so it's only apropos that she wears pants," Mr. Brown said. Another fan of the suit was Susan Sarandon, who attended with Rosa Clemente, a community organizer and journalist. Christina Hendricks took a page from the dress slash pants book, while Alexis Bledel and Maggie Gyllenhaal opted for jumpsuits, one black and white, the other shimmery and sleeveless.	N24News: A New Dataset for Multimodal News Classification	Fashion & Style
India is one of the most vibrant, colorful, exciting places to visit in the world. The diversity of people, culture and cuisine make it a worthwhile destination for any traveler. Here are nine tips to ensure your next (or first) trip to India goes as smoothly as possible. 1. Print your visa. No, the other visa. A double entry tourist visa to India, with a four month window to make your first entry, is fairly easy to obtain through a website run by the Indian government. However, when you receive the confirmation email that your visa has been approved, there's some confusion as to what you actually need to print out and present to the authorities. As it turns out, you aren't actually emailed the document you'll need to print out in order to enter the country and to board the plane to India. At least 10 people on my flight to New Delhi were pulled out of line during boarding and hustled to a small side office at Newark Liberty International Airport to print out the proper Electronic Travel Authorization form needed to enter India. They had a printout of the email confirming their visa that is not what you need. I happened to have a printout of the proper document, but I found it purely by chance. When you've been approved, go back to the visa application site and click "visa status." After entering your information, click "print status" at the bottom of the screen, and the proper form should start to download. It should have your photo and a bar code on it if it doesn't, it's not the right document. In general, you should make it a habit to take printouts of all itineraries, be they for flights or hotels. But also remember to take the credit card with which you purchased the reservation. For flights it's particularly important in the fine print on some airlines, you'll notice that it's actually a requirement. And while my credit card was not checked the majority of the time, on one occasion it was. Don't find yourself in an awkward situation: Make sure you have it with you. If you're going to spend more than a brief time in India, you should invest in a local SIM card. The AT T Passport plan charges a flat fee of 60 for up to 30 days, and gets you a measly one gigabyte of data you can also pay 120 for three gigabytes. And if you go over, prepare to fork over 50 per extra gigabyte of data. Upon landing in India, I headed to the Airtel kiosk and paid 999 rupees for a local SIM card, including all taxes and fees (a little more than 14). The card, good for 84 days, included 1.4 gigabytes of data per day, 100 SMS , or text messages, per day and unlimited local calls. That's just an incredible deal, and worth taking advantage of no matter how long your stay. If you're country hopping, you might want a more flexible option. A data only AIS travel SIM card came in handy when I hopped a flight to Sri Lanka and my Indian SIM card no longer worked. An AIS card provides four gigabytes of data over a period of eight consecutive days and claims to work in 18 different countries (I can only vouch for Sri Lanka and India, however). You'll get to know ride share apps well in India they're convenient and inexpensive, and it beats having to bargain with drivers. Prepare to exercise a bit of patience, however. Uber and Ola Cabs, the two ride share apps I used in India, worked well enough, generally speaking. But I found myself frequently having to cancel or reorder, as drivers frequently just didn't show up or got stuck in horrendous traffic. If you're on a tiny side street, consider walking to the nearest large thoroughfare it will be easier to get a car. Additionally, make sure the credit card you're using to pay for your rides doesn't charge a foreign transaction fee. If you have a credit card attached to your Uber account that does charge a foreign transaction fee, you may find yourself paying extra when you use Uber overseas. The Citi Premier Card and the Chase Sapphire Reserve are two examples of cards that do not impose foreign transaction fees. Sometimes it's quicker and more convenient, however, to take a tuk tuk, or auto rickshaw. In that event, prepare to bargain. Also be aware that tuk tuks can't take you everywhere when I hailed one to drop me at the airport in Delhi, it was an unpleasant surprise when the driver wouldn't take me right to the terminal and I had to take a separate shuttle tuk tuks, he said, were not allowed to drop you off at the actual terminal. I found exchange rates to be decent in airports, and one advantage of exchanging in person as opposed to an A.T.M. is that you can ask for small bills. You don't want to be walking around with a fistful of purple 2,000 rupee notes. Whenever you can make change, do it. Fast food restaurants are particularly good for this. You'll need small bills when you're buying a cup of tea on the street, or taking a tuk tuk ride do not expect your driver to be able to make change. There are plenty of opportunities to attend movies, events and concerts in India. The website Book My Show is quite useful for this, and is widely used throughout the country I booked a concert in Mumbai with no issues. For tours and guides when in a new city, I tried to book directly with a company whenever possible , but also used larger aggregator sites like Viator and Klook simply for the convenience. There are also plenty of opportunities to find tour guides on the ground in a new city. In Mumbai, for example, there are quite a few on the street right outside the Gateway of India. A trusted home stay is also a fantastic way to get suggestions for things to do and places to go I had a lot of luck with this when I rented a room through Airbnb during my stay in Kolkata. I had no safety issues while traveling in India I avoided conspicuously displaying money, didn't walk around too late at night and generally used common sense. But I understand that the experience for female travelers, particularly women traveling alone, might be quite different. Much has been written on the topic, including this National Geographic piece by Neha Dara and this piece by Candace Rardon. I recommend reading personal accounts of women who have traveled to India, or speaking with friends who have gone, if possible, and then making your own assessment. Travel should be an adventure, but it shouldn't make anyone feel unsafe or compromised. Haggling is an art form. And while some people truly don't like doing it (I don't particularly, either), it's worth trying to get in the spirit of it, especially if you're planning to do any shopping. In general, decide what the particular thing a shirt, or a handbag is worth to you. Set a mental ceiling on what you're willing to pay. The first price the seller will throw at you, particularly if you're visibly foreign, will likely be very high. Come back with half of that price, or possibly even less, depending on the circumstances. The seller will dramatically dismiss your reply and come back with a slightly smaller number. From there, it's just a question of how much you want the item. Don't focus on getting to the absolute lowest price a vendor will go if it's between paying 500 or 600 rupees for something, don't make a federal case over that last 100 rupees, which is less than two dollars, and possibly lose the sale. Remember: Objectively, you're still probably getting a good deal, and that money likely means more to them than it does to you. 9. To eat or not to eat? I am an unabashed proponent of street food. I love the flavors, the environment and the fact that it is, by its nature, quite frugal. But street food obviously has potential risks. When I traveled to China earlier this year, some street dumplings gave me some major stomach issues. In India, I had better luck and that's what it is, really: luck. If you eat enough street food, you're going to get sick. It's just a matter of time. For me, the payoff is worth the risk. And if it's something you're going to try, there are ways to reduce the chances you'll get sick. First, don't drink the water. This sounds obvious, but it extends to other activities: Be careful when brushing your teeth with tap water (use bottled if possible) or opening your mouth while showering. I also avoid buying drinks with ice on the street while the fruit juice you order might be perfectly safe, the ice may not. I'll pass on fresh produce, unless it's something that can be peeled. Generally, I look for hot foods, and street stalls that have a lot of turnover. If they're serving a lot of food, there's a greater chance the food is fresh. And things like the wonderfully spiced, milky tea, which is kept at a rolling boil at the many street side tea stands, are likely to be safer than raw items. 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
Ardani Artists, an institution run by the husband and wife Sergei and Gaiane Danilian and presenting ballet dancers and companies internationally, is enjoying a protracted silver jubilee. "Ardani 25" was celebrated in Moscow in 2014, in London in July 2015, and then on Friday and Saturday nights at City Center Theater in New York. London seems to have got the right age; Ardani was founded in 1990. New York is where the Danilians have been based since the early 1990s; the recent performances occurred because their artists were available. Many of the world's foremost dancers often work for Ardani. Friday night began with a film showing several of them, assuring us of their love and gratitude for Mr. Danilian in particular, and hailing his achievement in the highest terms. The City Center program was widely advertised as a vehicle for Diana Vishneva, who was to play the King in "Le Divertissement du Roi." Alas, she had an injured foot on Thursday and was replaced by the Mariinsky male soloist Philipp Stepin, for whom the King role was originally choreographed. He arrived in New York on Friday morning on a red eye flight from California, where he had been on vacation. I wish I could add my voice to these Ardani accolades. Mr. Danilian, the Ardani president and chief executive, has his place in dance history. He has been involved in taking the Merce Cunningham and Jose Limon companies to Russia, and in bringing the Mariinsky, Bolshoi and other Russian companies to the West. Not all Ardani productions are good, however. Friday's was wretched.	N24News: A New Dataset for Multimodal News Classification	Dance
This modern three bedroom house is set on a hillside on the edge of Brockweir, a village in South West England about 25 minutes north of the city of Bristol. Designed by Loyn Co Architects, a Welsh firm, for the current owners, who are artists, the single story, concrete and glass home stretches horizontally across the landscape, providing sweeping views of the Wye Valley below. The rooftop is planted with greenery and merges neatly with an upper meadow to act as an extension of the field. Called the Outhouse (which doesn't mean quite the same thing in England that it does in the United States), the structure "is absorbed within the insulating hillside," said James Klonaris, the prime appraisals manager with the Modern House, an estate agency that has the listing. "Its stealthy profile neither imitates nor entirely juxtaposes its surroundings, but complements them with a lack of ornamentation." There is under floor heating throughout the house, and the airtight construction keeps the interiors at a consistent 70 degrees Fahrenheit year round, Mr. Klonaris said. In the back of the house, three large artists' studios with skylights are arranged around an interior courtyard with a koi pond. Farther down the back side of the gallery is a bedroom with an en suite bath. The front of the house, which faces south toward the valley, contains open plan living areas with polished concrete floors. Enclosed in glass to maximize views, the living and dining space wraps around another courtyard that receives sun through an opening in the roof. The connecting kitchen has a granite island with a stainless steel work top and Gaggenau appliances. A large cold store pantry is off the kitchen. An outdoor terrace separates the living areas from the master suite and a third bedroom. The master suite has a dressing area and a free standing tub in the bedroom, positioned for valley views. The four acre lot also has a garden with raised beds bordered by an original stone wall and a grazing meadow where the owners once kept sheep. The property is in the Forest of Dean district, a section of Gloucestershire County known for its ancient woodlands. This region, which includes the Wye Valley, a protected area straddling the border between England and Wales, is a popular destination for hiking, fishing, kayaking and cycling. The village of Brockweir, which is about seven centuries old, sits on the eastern bank of the River Wye. Just over the border in Wales are the stone ruins of Tintern Abbey, a Cistercian monastery that dates to the Middle Ages, and the bustling town of Chepstow, which has a variety of restaurants, shops and cafes. Thirty minutes south is the English harbor city of Bristol, known for its Georgian architecture and modern shopping district, and for its role as a hub of British music and culture. It offers rail service to various places around England, including London, about 120 miles east, and an international airport, about 45 minutes south of the property. Across the River Severn, Bristol's metro area has become more popular with home buyers as prices in London have stretched out of reach for many. The city has about 460,000 residents and an increasingly vibrant economy, with a mix of tech, engineering and creative media industries, all within a 75 minute train ride of London, said James Petherick, the director of residential development in the Bristol office of the property investment company JLL. Home prices in Bristol have increased rapidly over the last five years, Mr. Petherick said. While ongoing uncertainty around Brexit has recently dampened that, he added, "I think we will still see a 1 or 2 percent increase in prices this year, because we're not building enough new housing to satisfy the demand." As of November 2019, the average price of an attached townhouse in Bristol was 301,488 pounds (about 400,000), according to a market report from Nexa, a local estate agency. Semidetached properties sold for an average of 324,000 pounds ( 425,000), and apartments averaged 242,750 pounds ( 320,000). In all, the report said, while property values in Bristol dipped slightly in 2019, they are nearly 17 percent higher than in January 2016. "Prices are just marginally down from where we were 12 months ago," said Jake Gready, the managing director of Nexa's Bristol office. "We're seeing an awful lot of investment from business and in the city's infrastructure. And a lot of people moving from London." The historic city center and Harbourside districts are in high demand, brokers said. Popular suburbs for buyers looking for homes priced over 700,000 pounds ( 920,000) include Clifton, Cotham, Redland and Abbots Leigh, said Amanda Ake, the Bristol regional director for Stacks Property Search. The city also has a very strong rental market, due in part to demand from students attending the University of Bristol and the University of the West of England. Rents for a two bedroom in the city center average 1,200 to 1,500 pounds ( 1,575 to 1,975), Mr. Petherick said. The Nexa report noted a 3 percent increase in the average rent across the city from November 2018 to November 2019. Farther north, in the rural area that includes the village of Brockweir and the town of Chepstow, home prices range from about 140,000 pounds ( 180,000) for a two bedroom house built in 2004 to 500,000 pounds ( 660,000) for a five bedroom house built in the 16th century. Who Buys in the Bristol Area About 40 percent of buyers in the area are from abroad, Ms. Ake said, but more than half of those are British expatriates who have decided to return to the country. "Some just see the weak pound as an opportunity to invest and use the money made to boost income or fund their retirement," she said. Americans buying in Bristol tend to prefer Clifton, an upscale area known for its Victorian and Georgian architecture, she said.	N24News: A New Dataset for Multimodal News Classification	Real Estate
When the hotel's Austrian owners visited Sutivan 15 years ago, they swooned over this tranquil fishing village on Brac island. Ilic Dvor, a Renaissance mansion from 1505, was the first building they bought and renovated. Over the years, they restored two nearby buildings that also had long histories, the seafront facing Vesna and the tucked away Definis with its stone terraces and passageways. What steals the show is the swimming pool lined with tall palm trees and fragrant gardens with roses, bougainvillea and hibiscus. The 23 suites and 12 rooms, many with private terraces overlooking the garden or the sea, showcase wood furniture by island craftsmen and floors made of renowned Brac marble. Designer finishes like Murano chandeliers and silk fabrics and carpets by Missoni and Paul Smith, together with bold flashes of color inspired by local herbs, give the decor a decidedly Mediterranean mood. I booked a maisonette but got upgraded to a duplex suite, with a coral and sea theme reflected in the color of the carpets and furniture. The marble floored living room had two windows facing the Adriatic Sea, draped in beige and blue curtains; two windows faced the back wall of the hotel. A seating area had striped blue white armchairs and a sofa beneath a sea themed painting. A flat screen television sat on top of a beige cabinet; the mirror above the desk area created a sense of space. The seafront facing bedroom had an armchair, a king size bed with a blue and white headboard and a huge walk in closet stocked with beach towels and bags. Upstairs was a cozy attic bed room with its own walk in closet and a bathroom. Both bathrooms were clad in solid wood and marble. The downstairs one had a roomy shower with a Naturals hair and body wash dispenser, a bidet and, surprisingly, a urinal. The beige marble countertops had generous space. The terry cloth towels and all cotton robes were notably soft. Flooded with light, the upstairs bathroom had a tub, a shower and a two sink counter. In the living room, a tall blue cabinet had a minibar stocked with snacks and drinks. Wi Fi was free but spotty. The reception was staffed until 10 p.m.; when I called at 10:30 to alert them to the hallway lights erratically going on and off, the call got routed to someone in Austria. The hotel's private pine shaded beach was a 10 minute bike or golf cart ride away (both complimentary); it had parasols, lounge chairs, showers and a small bar. The rates included breakfast and dinner, served at the seafront restaurant with interiors featuring citrus inspired fabrics, stones and Bisazza mosaics, and a few tables on the edge of the sea. Breakfast was all made to order; freshly baked croissants hold you over until food arrives. The four course dinner showcased Mediterranean classics with a contemporary twist (I chose an almond crusted John Dory). Vegetables come from the hotel's organic farm on a plateau above Sutivan, herbs are harvested from the garden, and the seafood picked from the fishermen's morning catch. The lounge bar had a colorful interior with sea themed paintings, and served a great white wine spritzer with lemons and herbs from the hotel's garden. An island standout etched into the fabric of a Dalmatian fishing village, this ancient compound blends heritage with luxury but with a slight bend toward kitsch . Riding the wave of small boutique hotel openings that has swept Croatia's Dalmatian coast, Brown Hotels opened Brown Beach House Croatia in 2016, the Tel Aviv based group's first venture outside Israel. Chic and playful, it features 42 rooms and suites on three floors of a former tobacco warehouse inside a white stone building with green shutters. Though the beach across the road is a pretty fab affair (with a full bar, sun chairs and a D.J. setup) and there's a spa for unwinding what steals the show is the gorgeous black and white tiled swimming pool. With bespoke furniture and potted palms, pines and olive trees, the airy ground floor library gives off a decidedly Mediterranean vibe, which extends to the rooms showcasing interior design by the Amsterdam based Saar Zafrir, who created a swank and retro aesthetic. The hotel sits alongside a seafront road a 15 minute walk or a quick bike ride away from the ancient harbor of Trogir town, a Unesco World Heritage Site (bikes are complimentary). The Split airport is just three miles away. My top floor room, a twin double with a seaside view, was sleek and clean lined, though the trio of windows seemed slightly too small and ceilings too low. I had hoped for expansive Adriatic vistas, but the room looked over the narrow channel onto the mainland. As I walked onto the gleaming Indonesian mahogany floors, it was the bed that took center stage, its crisp Egyptian cotton sheets draped casually by blue and white wool pillows and throws. Below a flat screen TV was a walnut wood and faux marble cabinet. In one corner of the room, a large potted plant, though giving the room a fresh feel, obstructed access to the blinds. The windowsill showcased a pile of coffee table books, and the opposite wall was a random collection of mounted art classic drawings of boats, a photograph of Havana and an old map of Asia. Inside the long narrow bathroom clad in marble tiles, the black lacquered wood cabinet beneath the elongated sink had two slim drawers and a dearth of counter space. While the water pressure was decent, the tub's glass partition didn't do a good job of keeping water in when showering. There was a selection of amenities from the Italian company Etro. On the cabinet below the TV, there was an espresso maker with Illy capsules and a kettle for Eilles tea. The minibar had an assortment of drinks and snacks. Wi Fi was free and reliable, with two networks to choose from and no password required. A generous breakfast (included) was served in a long narrow dining room facing the pool, and on poolside tables. The buffet spread was modest but the staff, wearing sporty white outfits, brought a small feast to my table: a bread basket, a tray with cold cuts, cheese and tomato in olive oil, and another with butter, soft cheese and Nutella. A la carte options included egg shakshuka and spinach and feta pastry. The all day restaurant, Cartina, serves lunch and dinner at outdoor tables. My dinner began with warm focaccia straight out of the bread oven; the sea bass fillet with roasted vegetables came smothered in too much olive oil. Room service, available until 9 p.m., included items like spicy salami focaccia and watermelon with feta cheese. Harking back to glamorous 1950s Italian resorts, Brown Beach House Croatia delivers contemporary Mediterranean chic with a touch of nostalgia .	N24News: A New Dataset for Multimodal News Classification	Travel
While the 16 year old Jodi is smart, kind and pretty and comes from a loving, well off family, she is endlessly mocked by her classmates and miserable for it. The reason, in case the title "Tall Girl" left any room for ambiguity, is that Jodi is 6 foot 1. Apparently, Ruby Bridges High School does not have a basketball team, and nobody there has ever seen a teenage girl with a growth spurt. It is undeniably tough to be ostracized, especially because kids zero in on difference with unerring meanness. But Jodi's fate ranks relatively low on the hardship meter. Our heroine, portrayed by the appealingly earnest newcomer Ava Michelle , tries to slink around unnoticed and mostly hangs out with her best friend, Fareeda ( Anjelika Washington ), and the smitten Jack (Griffin Gluck). The uneasy status quo shifts when Jodi starts swooning over Stig ( Luke Eisner ), a Swedish exchange student. In a show of striking imagination, Fareeda and Jack are a free spirited black girl and a nerdy white boy. Stig, meanwhile, is impervious to American social dictates or is he? The one exception to the film's otherwise prefab cast of characters is Jodi's older sister, Harper ( Sabrina Carpenter ), who is a beauty queen but nice.	N24News: A New Dataset for Multimodal News Classification	Movies
Memoir, as a form, seems often to annoy critics. The memoir is like your backhand, or a 1970s Fiat there's always something wrong with it. Every few years, in these very pages, someone writes a cranky omnibus review lambasting the genre. Memoirists, published and would be, were still recovering from Neil Genzlinger's 2011 shot across the bow unambiguously headlined "The Problem With Memoirs" when just a few weeks ago came Alexandra Fuller, breastplate shining, to tell us in no uncertain terms that most memoir material is best saved for the shrink's couch. A really excellent memoir (in her view they're exceedingly rare) ought to be a kind of primer on living. What Fuller wants from a memoir is wisdom. In order to balance its innate narcissism, a memoir ought to instruct. But literature doesn't prescribe, it describes. A good memoir says what happened, not how to live. To read (or write) a memoir as a kind of self help book is fundamentally to misunderstand the project. It is the job of a literary memoirist simply to write down her experiences with as much art and truth as she can muster. In her debut memoir, "Running Home," Katie Arnold does an admirable job of trusting the everyday material of her life. Arnold, an ultrarunner and contributing editor at Outside magazine, could easily have opted for a different approach, one that solely focuses on the extraordinary aspects of her life as an elite athlete and adventure writer. Instead she writes a story exploring how her growing preoccupation with running has been intertwined with loving and losing her father. She takes the risk of being ordinary, and therefore human. The first half of the book toggles between two time periods: Arnold's coming of age in the '70s and a contemporary account of her father's death. She writes throughout with the clear prose of an experienced magazine writer. The depiction of her father's final months and days is affecting and vivid she travels to her dad's side in rural Virginia from her own home in Santa Fe, where she lives with her husband and two young daughters. She makes us feel the displacement of leaving one's adult life to become a child again, and these passages are beautifully detailed. She observes her dad as they clean out the barn, which has long served as his workshop and which he built himself: "He shuffles across the grass to the overflowing dumpster, rests his elbows on the edge, and peers in, surveying the mountain of stuff bound straight for the landfill: the 'Tea for the Tillerman' LP and the Mexican chicken and the decaying scuba kit." These details give us a sense of the free spirit her father once was more than she'd even realized. Arnold's growing understanding of her father's perfidy especially the revelation of his many friendships with women not his wives makes her grief complex and pungent. The book shifts after her dad dies, leaving behind the toggling structure and following Arnold into her new, fatherless life. She feels understandably unmoored. She turns to running for solace. A few years earlier she had somehow completed a marathon, by accident, as she interviewed the runner Dean Karnazes. She also accidentally climbed Half Dome, in Yosemite National Park, again while reporting, as she recounts in an uncharacteristically aimless chapter that might be titled "This One Time? I Climbed Half Dome?" Arnold's missteps seem to take a decidedly positive turn. Her accidental marathon, combined with the extremes of her grief, leads her to toy with the idea of running an ultramarathon. She commits to a 50K race four months away, and she trains as she grieves that first year: "I vary my routes so I don't get bored. I run up Atalaya and along sandy arroyos and only rarely on the road. I prefer slow, long runs to speed work, and hills over flats. No two weeks are ever the same. Grief has its own topography, jagged and unpredictable. In the beginning it was like dragging myself up a vertical face, the surface loose and slippery, trying not to slip backwards into darkness." We learn the emotional terrain, and the practical as well: what she eats for fuel, what she carries during her runs, how she structures her days, how she manages child care. This is the stuff of her life the fact that it is all done in aid of her extraordinary achievement makes it more compelling, sure, but the homely details would be enough. My book editor once explained the appeal of memoir thus: "It's cozy and voyeuristic." In other words, we want to know how other people live, and Arnold shows us. That's part of the memoirist's job, it's true, but in order to defeat narcissism, a memoirist also has to reveal the more brutal realities of, well, there's no nice way to say this, the heart. This is the real moral function of the memoir: to say the uncomfortable, even the unsavory truth of one's inmost being, so the reader might recognize herself and feel less alone. Arnold shares her anguish over losing her father, but she unfolds a more challenging narrative as well: her own story as a mother who runs away, just a little. A mother leaving behind her children, even for a short period of time, is a dangerous thing to write about abandoning one's children is, after all, the great female crime. "Running Home" is at its very best when Arnold writes about finding herself pulled away from her husband and young daughters by her running and her writing. Her mother guilt trips her, and there's something deeper too: She sees her father in her actions. She takes herself on a writing retreat to France and there comes face to face with her father's ghost: "For the first time, lying in my narrow bed, I can see how Dad might have left. He didn't leave for yellow walls in France or for wooden shutters that opened to a steeple and a pond shrouded in mist; he left for another woman, but that woman was an excuse. He left for silence and spaciousness, for freedom, and the idea of it, for staying in bed as late as he pleased. Having this now, I can see how easy it would be to want more." Arnold's life might seem privileged, but her frank self searching keeps the reader solidly on her side. The second half of the book follows her as she reckons with her father's legacy, making her way through the intermountain West on her own two feet, pounding out her own salvation and becoming an elite ultramarathoner in the bargain. The book has a sweet and earned ending. Unfortunately, Arnold can't resist goosing it a bit. Throughout the last 50 pages, she hits us repeatedly with blasts of the abstract, inflated language of wisdom: "The magic was in not trying, in running strong from my heart and bones straight into the heart of the world." That's just one of many revelations that traffic jam the end of the book, each loftier than the last, until the reader starts to feel she is a trail runner making an attack on a Colorado peak and reaching false summit after false summit. These life lessons feel extraneous and are impatient making, because loftiness is not, after all, the job of the memoir. Arnold has already fulfilled that job. She has ushered us into an interesting life and laid bare the darker feelings hidden there. We don't require transcendent wisdom. A writer does not need to be a phoenix.	N24News: A New Dataset for Multimodal News Classification	Books
Follow any trend to its exhausted end, and you may end up at Mr. Purple, a lounge on the 15th floor of the Hotel Indigo on the Lower East Side. It's the kind of place where buzzwords like "reclaimed wood," "small batch spirits" and "regionally brewed craft beer" feel like PowerPoint concepts introduced in a focus group. From the start, Mr. Purple created controversy. Despite claims by Scott Gerber, the chief executive of the Gerber Group, which runs the bar, that the name was a "fictitious artistic character that we've made up," it seemed more than a coincidence that it opened mere blocks from the haunt of Adam Purple, a well known squatter and gardener who died last September. Namesake or not, the real Mr. Purple probably wouldn't have swigged 15 cocktails here. The elevator opens to a dark, spacious room illuminated by filament bulbs and squiggles of neon. The high ceiling has exposed pipes resembling a box of bucatini, framed by a wooden exoskeleton. Below, banquettes and ottomans are flanked by shelves of plants, candles and a woven dreamcatcher y tangle. Two roof decks offer wonderful views of the city, although it's unclear why this particular monolith deserved to be a towering outlier in a mostly low rise area.	N24News: A New Dataset for Multimodal News Classification	Fashion & Style
How Much Watching Time Do You Have This Weekend? None No matter how much free time you have this weekend, we have TV recommendations for you. Come back every week for new suggestions on what to watch. This Weekend I Have ... an Hour, and I Like Stephen King 'The Outsider' When to watch: Sunday at 9 p.m., on HBO. Ben Mendelsohn stars as a sad detective on this new entry into the Dead Kid Show genre, adapted from the Stephen King novel. The show combines three parts "True Detective," one part "Stranger Things," one part "The Missing" and a dash of "Ozark" thanks to Jason Bateman's role as the primary suspect (and director of the first two episodes). "The Outsider" is dark visually, emotionally but absorbing, patient with both its misery and its misdirection. It's a high viscosity show, oozy and murky, spreading itself along unexpected paths. ... an Hour, and I Like Jane Austen Charlotte Heywood in an adaptation of Jane Austen's unfinished novel "Sanditon." 'Sanditon' When to watch: Sunday at 10 p.m., on PBS. Jane Austen never finished her manuscript for "Sanditon," so this is part adaptation, part patchwork quilt. Through a chance encounter, Charlotte (Rose Williams) has the opportunity to leave her home and move to a seaside resort town well, an emerging resort town, anyway, where she encounters friendship, romance, swimming and some scandalous behaviors. The show is lush and fun; Austen purists might not go for every move here, but more flexible fans will appreciate their weekly allotment of furtive glances. (Check local listings for broadcast times.) ... Six Hours, and I Like Sports 'Cheer' When to watch: Now, on Netflix. This six part documentary series about a community college cheerleading team comes from the same creative team as the one behind "Last Chance U," and it shares that show's intimacy and perceptiveness, as well as the heartbreaking back stories for many of the athletes. But unlike the football players, who are motivated by potential career opportunities, the cheerleaders here know that this squad is the final chapter in their cheering lives. Also the coach is not emotionally abusive, which is a welcome change. Be prepared to cry; it's that kind of show in the best possible way.	N24News: A New Dataset for Multimodal News Classification	Television
1. Place the noodles in a large bowl and cover with warm water. Soak for at least 20 minutes, until soft. Drain in a colander and, using kitchen scissors, cut into 6 inch lengths. Set aside within reach of your wok or pan. 2. Combine the broth, soy sauce and rice wine or sherry in a small bowl. Combine the garlic, ginger and pepper flakes in another bowl. Have everything within reach of your wok or pan. 3. Heat a 14 inch flat bottomed wok or a 12 inch skillet over high heat until a drop of water evaporates within a second or two when added to the pan. Swirl in 1 tablespoon of the oil and add the chicken in a single layer. Season with salt and let sit for 1 minute without stirring, then stir fry for another 2 to 3 minutes, until opaque. Scoop out of the wok or pan and set aside in a bowl or on a plate. 4. Swirl the remaining oil into the wok or pan and add the garlic, ginger and chili flakes. Stir fry no more than 10 seconds and add the carrots, turnips and sesame seeds. Stir fry for 1 minute and add the broth, the chicken with any liquid that has gathered in the bowl or on the plate, the salt and the sugar, and stir fry for 1 minute. Add the noodles, reduce the heat to medium high and stir fry 1 to 2 minutes, until the vegetables are crisp tender. Add the cilantro and sesame oil, remove from the heat and serve.	N24News: A New Dataset for Multimodal News Classification	Health
Kenneth Jay Lane, the designer and bon vivant who built a global business from glittering acts of unabashed deception, producing fake and junk jewelry or, as he liked to say, tongue in cheek, "faque" and "junque" has died at his home in Manhattan. He was 85. Chris Sheppard, the executive vice president of Mr. Lane's company, said Thursday that Mr. Lane had died overnight in his sleep. No cause was given. "I myself am a fabulous fake," Mr. Lane once said. The son of an automotive parts supplier from Detroit or "Day twah," as he would pronounce it with a wink he was indeed one of his own most striking creations. He came to be regarded as the first American jewelry designer to make it not only acceptable but also chic to wear fake jewelry, and in reaching that plateau he transformed himself into a high society, jet setting businessman with a lifestyle that was anything but cheap. Darkly handsome in his glory years, always suave and impeccably tailored, an amusing and witty man who frequently poked fun at himself, Mr. Lane unapologetically wanted the best of everything from the luxurious duplex apartment in a Stanford White mansion on Park Avenue to a coveted place on the "A" guest lists for all the best parties everywhere, be they in the United States, England, France, Italy or Spain. (The occasional blowout soiree in Morocco or Egypt also had him on a jet.) It was a persona that began forming when he fell in love with fashion as a boy; he once took an after school job just so he could buy a camel's hair coat, and when he had earned the equivalent of the price tag, he quit. Soon, still a teenager, he left Detroit altogether, bent on a design career, and found his way to New York. To his languid Midwestern voice he soon added a slightly British overtone, acquired at the same time that he discovered British tailors, to whom he was devoted the rest of his life. The wider public knew him from his frequent appearances on QVC, the home shopping network, where his company made a fortune in sales. He often gave viewers a glimpse of his glamorous world and advised them how to wear the different ornaments he peddled. Mr. Lane was self deprecatingly realistic about his designing talent. "My designs are all original," he told The New York Times in 2014. "Original from someone." He believed, however, that much of good design was what he called editorial choosing the right ideas and applying them practically. He "drew inspiration," he said, from all over: the work of celebrated designers like Fulco di Verdura, Jean Schlumberger and David Webb; the museums of the world; the crown jewelry of British and European royalty and of Indian maharanis; and the cornucopia of ethnic pieces found in markets around the world. "I think it's called 'having the eye,' " he told The Times in 1993. "It isn't necessarily reinventing the wheel." His name became so synonymous with fake jewelry that it was even evoked, unflatteringly, in the Lou Reed song "Sally Can't Dance," about a New York fashion model's rise and fall. He was particularly noted for his imaginative and unusual color combinations amethyst and coral, amber and turquoise, sapphire and topaz. Early in his career he came up with such innovations as embroidered earrings, or earrings of peacock feathers and iridescent beetle bodies. Later, when he was a byword among both the moneyed class and the mass market, some of his customers had his "faux masterpieces," as he called them, incorporated into the real thing. If anything, he said to The Times in 1993, "I'm a runner," then added more seriously: "I'm a single man and there are single women, and we balance. Walkers are people who have nothing to do; they just escort women to dinners and parties. I have a business." Mr. Lane was born in Detroit on April 22, 1932, and graduated from Detroit Central High School. A budding interest in design led him to the University of Michigan, where he briefly studied architecture before moving on to the Rhode Island School of Design, from which he graduated in 1954. He set his sights on New York, where designers, he once said, "were treated like celebrities." A brief stint in the art department at Vogue magazine was less than successful. "I'd spill the rubber cement, I'd spill the ink pot, or I'd cut my finger and ruin the layout," he recalled. For the next 10 years, he designed shoes, first at Delman, then with Roger Vivier at Dior, commuting to Paris to study with Vivier for three years. By 1961 he was creating shoes for his designer friends Bill Blass, Norman Norell and Arnold Scaasi. His foray into jewelry came about almost by accident. He had been designing jewelry in his spare time when he was hired to design bejeweled shoes, some with rhinestone toes and heels, for a Scaasi show. Mr. Lane suggested that he also create matching earrings and bracelets, and Mr. Scaasi agreed. Mr. Lane then went to a five and dime store, bought plastic bangles and had the workers in the shoe factory cover them with brilliants. His shoe experience led to another early inspiration: using shoe skins cobra, alligator, lizard to make distinctive coverings for bracelets. Mr. Lane began designing his own jewelry collection in 1962. Soon after, the fashion entrepreneur and ready to wear pioneer Hattie Carnegie bought his company, and he was made design director. The arrangement lasted less than a year, and he then moved into his own space in Manhattan, a small studio apartment on East 38th Street, where he designed and sold jewelry for private customers, fashion editors and, as he put it, "husbands buying gifts for their girlfriends." Within a few years, he was selling to most of the Fifth Avenue stores and had bought a small jewelry factory in Providence, R.I. Quickly, his name was in fashion magazines and society columns. This vintage bracelet by Mr. Lane sold for 225 in 2004. His company made a fortune in sales on QVC, the home shopping network. Mr. Lane became part of his customers' social set, flying to parties around the world and visiting castles, country estates and island houses. "Once one has reached one's goal, one can take inventory and select the things one enjoys doing," he said. His experience with rich women exposed him to real jewels of an extravagant kind, and he began changing the color of his faux stones to more closely resemble them. When the colors still did not satisfy him the rubies were too red, the emeralds too blue and the sapphires too dull he began having his stones made especially for him in Germany. In 1969, his company was acquired by the fashion conglomerate Kenton Corporation, and soon Kenneth Jay Lane boutiques, which had been established in Paris and London, opened in New York. But within five years he repurchased the company. One of Mr. Lane's best known designs is a copy of a Van Cleef and Arpels Maharani necklace given to Mrs. Onassis during her marriage to Aristotle Onassis. Mrs. Onassis asked for the copy, and Mr. Lane offered her a choice: pay for the master model (for about 1,000) or allow him to mass market copies. She agreed to the copies. Some time later, in the 1980s, he said, she had been watching television and told him, "I saw our necklace on 'Dynasty.' " Mr. Lane wrote a memoir, "Faking It," with Harrice Simons Miller, published in 1996 by Harry N. Abrams. A benefactor of the Metropolitan Museum of Art, he was honored when it named a room of European Orientalist paintings after him in 2007, part of the renovated galleries for 19th and early 20th century European paintings. A documentary film about him, called "Fabulously Fake: The Real Life of Kenneth Jay Lane," is expected to be released in 2018. In 1975, Mr. Lane married Nicola Weymouth, a member of London's swinging set who achieved a small piece of cultural immortality as the subject of a portrait by her friend Andy Warhol. She and Mr. Lane were divorced within two years, and no immediate family members survive. "She was an unexportable Englishwoman," Mr. Lane said later. "She couldn't keep a horse and garden in New York." They remained friends. "I'm too selfish to dislike people," Mr. Lane once said. "I find people either interesting or uninteresting. If they're uninteresting, I can't be bothered, they don't exist."	N24News: A New Dataset for Multimodal News Classification	Style
When Cassie Dippo's family moved from the city of New York to the slopes of Alta, Utah, in 1965, she was 9 years old. The snow was dry and white and famously light and often so deep it reached well past her (and her father's) waist. There were four chairlifts. Lift tickets were 4.50. And lining the road up Little Cottonwood Canyon were five simple, family run, ski in/ski out lodges, all opened between 1939 and 1962. All of which, a lifetime later, have remained essentially the same, in aesthetic and spirit and "modified American" meal plans. "Honestly, not much has changed here since I was a kid," said Ms. Dippo, now 63, who remains an owner of the TV free Alta Lodge, her family's property . Until now. Fresh off a 50 million overhaul, the Snowpine Lodge reopens this week as Alta's first ever true luxury hotel. It appears to have everything any luxury ski hotel anywhere has and a lot of things Alta, a world class mountain with a 116 lift ticket and a whopping six chairlifts, intentionally, has never had. Many of its 77 accommodations (including 19 dorm style bunks) come with balconies, because unlike other lodges in the area, the Snowpine will be open year round. There is a heated pool and full spa; an indoor "grotto" and outdoor hot tubs; and firepits, of course. And contrary to tradition, both the Gulch Pub, which will serve standard apres ski fare (wings, burgers, 14 cocktails) and Swen's fine dining restaurant, with a 42 Wagyu zabuton steak with duck fat potatoes, will be open to the public. Snowpine's opening winter rate for a standard king is 569 for two , and 780 with breakfast and dinner; Alta Lodge's regular season rate is 500 for two, including meals. The final touch: A new chairlift and ski valet to welcome home guests at the end of the day. "We're offering a Deer Valley type of lodging at Alta," explained Robin Cohen, Snowpine's longtime reservations manager. That statement alone is sure to make die hard skiers like Alta loyalists, who refer to themselves as "Altaholics," cringe. Ms. Cohen admits she has mixed feelings about her new digs. "I'm old fashioned; people should just ski so hard they eat and crash. I get it: with the world in such chaos, things that don't change are comforting. But it was time," she said. "I mean, we have elevators! And bellmen! I'm never going to have to carry luggage up all those stairs again." What had been the oldest , quirkiest, squattest structure in Alta (22 awkward rooms , warm cookies, rope tow) is now its newest, swankiest and tallest: six stories towering 25 feet above the road, the maximum permitted by local zoning regulations. The only things taller are the mountain peaks. "It's massive. More massive than anyone anticipated," said Tom Pollard, general manager of the Rustler, which previously laid claim to being Alta's most luxurious lodge, with its heated pool and dining room with a wall of windows framing the mountain. (He used the word "massive," or its synonyms, at least 10 times. Ms. Dippo used only one word to describe her first impression: "Whoa.") "It went from being a quaint little lodge to a massive Restoration Hardware," said Mr. Pollard, who moved to Alta in 1981. "My wife says it looks just like every building in Vail." As former mayor of Alta, he oversaw the Snowpine's planning approval process. "I've been getting a lot of 'How did you let this happen?'" he said. "We're still about fostering a communal vibe, that feeling of making friends that last a lifetime. What would really be drastic, would be if Vail Resorts came in and bought up Alta," countered Ms. Cohen, nodding to the seemingly inexorable, industrywide trend of big corporations commandeering privately owned ski resorts, like Alta. "That's what we're all hoping to avoid." At a time when almost every mountain is building a mall like village at its base, many say change like this was bound to happen, and that it is healthy for the long term viability of the resort, which remains one of three in the U.S. to not allow snowboarders on its slopes. "The lodges have been resting on their laurels: their 60, 70, 80 percent return rates," said Connie Marshall, who ran Alta's press office for a quarter century before retiring last year. "This is a gauntlet thrown." She went on: "Millennials like my kids are looking for authenticity as much as older generations, but they also have expectations of, you know, getting a drink at a bar." Middle aged skiers have expectations, too. "You're talking to a 46 year old guy who slept in a van last ski weekend," said Brent Thill of Mill Valley, Calif. A fan of the old Snowpine, he and his family are excited about the new one. "I mean, no one wants Aspen at Alta," he said, "but it's smart to stay with the times. Hopefully they can preserve the charm without bringing the one piece Bogners," referring to the expensive ski suits popular at flashier mountains. Every winter, Anne Williams, from Boston, stays at the Rustler with the same group of women. It costs about the same per night as the Snowpine. (Snowpine said its pricing is intentionally on par with the Rustler this season.) Still, she has no interest in cheating on her lodge. "Swank is my choice for a spa retreat, but when it comes to skiing, I'm a traditionalist. Maybe it was all those Warren Miller films, but I want wall to wall carpeting, too much brown, a circular fireplace," she said. And great service, which the Rustler prides itself on.	N24News: A New Dataset for Multimodal News Classification	Travel
SAN FRANCISCO For close to a decade, supporters of the chip technology that powers mobile phones vowed to shake up the market for computers. For the most part, they made little headway. Now that finally seems to be changing, in a potential power shift over the direction of the computer industry. The change is being driven by Apple and Amazon, two tech behemoths that are cutting their dependence on the Intel chip technology that has long controlled most personal computers and larger server systems. Instead, the companies are increasingly leaning on homegrown chips that were designed using technology that Arm, a British company, licenses for smartphones and other consumer products. Apple fired a salvo last month when it introduced Mac computers that for the first time used its own Arm based chips. In June, Amazon's cloud computing business started marketing a new computing service based on its own Arm based chips, telling customers that the service was both faster and cheaper by one fifth than its Intel based offerings. On Tuesday, Amazon unveiled another computing service for businesses based on those same chips. It also discussed gains made by users of the service that was introduced in June, such as Snap, the maker of the Snapchat messaging app. Amazon added that Twitter planned to begin using the technology as part of a broadened relationship between the companies. "The larger the customer, the more excited they are," said Peter DeSantis, who oversees computing infrastructure for Amazon Web Services. The actions by Apple and Amazon are causing ripple effects across the 400 billion semiconductor industry. Their moves suggest that key decisions in chips may increasingly shift from silicon suppliers, where the power had long resided, to chip users with the resources to make their own components. For computer users, the moves may result in more technology choices, snappier computing speeds and lower costs. "Everyone's like, wow, Apple's totally in, Amazon and others are in," said Keith Kressin, a senior vice president at Qualcomm, a large supplier of Arm based chips. "This is going to happen for real." Intel became a dominant force in computing in the 1990s, emerging as the biggest supplier of processors for PCs and later exploiting its high volume manufacturing to make lower priced chips for servers. But the company did not make chips for smartphones, which became hugely popular starting in 2007. Enter Arm. The 30 year old company, which Nvidia recently agreed to buy from SoftBank for 40 billion, delivered chips that used less power than Intel processors. That difference which meant that mobile phones might run all day on a battery charge, rather than just a few hours attracted makers of chips for mobile phones, such as Qualcomm. Last decade, some backers of Arm technology also began saying such chips could be used beyond mobile phones. Companies such as Broadcom and Qualcomm started designing Arm based chips for data centers to cut down on rising power bills for Intel processors. They later gave up the costly efforts, partly because customers demanded greater computing speed. In PCs, Microsoft has also talked up Arm, with little success. While the software giant has worked with Qualcomm to market an Arm based version of Windows and laptops that use the operating system, sales have been minimal, largely because of a lack of programs created for the laptops, market researchers said. Then came Apple's move. The company, which had previously designed Arm based chips for phones and tablets, said in June that it would gradually shift from the Intel processors it has used in its Mac computers since 2005. Apple said its first chip designed for the Mac, the M1, delivered twice the performance of a comparable Intel chip while using a quarter of the power. "Intel is building on more than 20 years of x86 based ecosystem work," said Lisa Spelman, an Intel corporate vice president. "We ensure software compatibility and high performance, important requirements for both consumers and data center customers." Amazon also continues to expand its use of Intel chips for some jobs. It announced a plan on Tuesday to run Intel powered Mac mini computers in its data centers to help programmers develop software for Apple systems without using Apple hardware. But Arm is increasingly competitive in computing, said Rene Haas, president of Arm's main products group. He said Arm had made key changes to improve the computing performance of each processor core, or the individual calculating engines laid out on each piece of silicon. Cloud style computing chores also can better exploit lots of relatively simple cores and special purpose circuitry, said Amazon's Mr. DeSantis. Its Arm based chip, the Graviton2, has 64 such cores compared with up to 24 more powerful cores on Intel server chips, he said. That helps it perform computing tasks that are done simultaneously, like serving up web pages to different people. Ampere, a chip start up in Santa Clara, Calif., has developed an 80 core Arm server chip and expects to release a 128 core version next year. Renee James, Ampere's chief executive, said its customers and investors included the software giant Oracle, which plans to offer a cloud computing service based on Ampere's chips. Arm "is real with Amazon," Ms. James said. "Their competitors will follow suit." Gerard Williams III, chief executive of Nuvia, another start up promoting Arm based chips, said Arm backers had also benefited as Intel lost the lead in driving manufacturing innovations that make chips do more at a lower cost. Chip producers such as Taiwan Semiconductor Manufacturing Company and Samsung Electronics can now pack more functions on each slice of silicon, which means Arm chip designers that use them can achieve speed advantages. The change is showing up in many forms of computing. In laptop computers, Gartner, the research firm, predicted that Apple's new Macs and rivals' responses would push Arm based PCs to 13.5 percent of the market by 2024, up from 1.1 percent this year.	N24News: A New Dataset for Multimodal News Classification	Technology
TIDYING UP WITH MARIE KONDO on Netflix. If you want to start 2019 with a clean slate, Netflix's new original series may provide some inspiration, courtesy of the minimalist queen of clean Marie Kondo. In the eight episode series, the author of "The Life Changing Magic of Tidying Up" puts her advice into practice, visiting the homes of people who desperately want to declutter and identify the belongings that "spark joy." DOCTOR WHO NEW YEAR'S DAY SPECIAL 8 p.m. on BBC America. The 13th doctor returns for the first "Doctor Who" New Year's Day special. The time lord (Jodie Whittaker) and her companions must defend Earth from "the most dangerous creature in the universe." And, based on the "ex ter mi nate!" heard in the episode's teaser, she might be facing off against some familiar foes: the Daleks. The hourlong episode "Resolution" follows an eight day "Doctor Who" marathon. COLLEGE FOOTBALL on ESPN, ESPN2 and ABC. New Year's Day promises hours of college football, with 10 teams competing in bowl games. You can catch the Outback Bowl in Tampa, Fla., at 12 p.m. on ESPN2, and the Citrus Bowl from Orlando, Fla., at 1 p.m. on ABC. On ESPN, LSU teams up against the University of Central Florida in the Fiesta Bowl at 1 p.m., Washington plays Ohio State in the Rose Bowl at 5 p.m., and No. 15 Texas takes on the No. 5 ranked Georgia Bulldogs at 8:45 p.m. in the Sugar Bowl. 6 p.m. on Animal Planet. See canines of all kinds strut their stuff in one of the largest televised dog shows. This four hour broadcast features breeds from around the world vie not just for best in show but in obedience and agility events, like dock diving and rally. Celebrity dog owners will also get in on the action, with the TV host Mario Lopez and the Olympian Shawn Johnson acting as representatives for their pets' respective groups. LOVE, GILDA (2018) 9 and 11 p.m. on CNN. This moving documentary tribute to the comedian Gilda Radner makes its television debut. With the help of Radner's notes and journals, as well as personal audio recordings and videos, the filmmaker Lisa D'Apolito shares stories from Radner's life, from her work on "Saturday Night Live" to the health struggles that led to her death in 1989, at age 42. The program also features interviews with her close friends Chevy Chase and Lorne Michaels, as well as other "S.N.L." alums influenced by her work, like Bill Hader, Amy Poehler and Maya Rudolph. In his review, the critic Jason Zinoman of The New York Times called "Love, Gilda" "a very affectionate reminder of her brief and brilliant career, a heartfelt love letter whose title might be more accurate without the comma."	N24News: A New Dataset for Multimodal News Classification	Television
A 24 foot sculpture of a trowel by Claes Oldenburg and Coosje van Bruggen sits outside the Meredith headquarters in Des Moines. DES MOINES Steve Lacy greeted me in his office as if we were old friends. A top executive at the Meredith Corporation, he was a main driver of the company's 2.8 billion acquisition of Time Inc. last November. With that deal, the 116 year old Meredith Corporation became the largest magazine publisher in America. When he spoke, it was clear Mr. Lacy took pride in Meredith's unassuming corporate culture, so far removed from the New York magazine scene. "In Des Moines, Iowa, we don't have to prove anything to anybody about the Meredith Corporation," Mr. Lacy said. "We don't have drivers. We'd look silly, and it would be not in keeping with who we are." He added, "I presume you know that if I want a black car, I can get one." Mr. Lacy, 63, is a trim man, born and raised in Kansas, with neat white hair. He steered me to a table by a large framed photograph of a bald eagle. Not far from his office on the 14 acre Meredith campus, a 24 foot sculpture of a trowel sticks out of the earth at an angle, as if tossed by a gardening giant. He managed to keep the company thriving when his competitors were shutting down magazines. And now that the New York approach to the magazine business may have run its course, it seems that Meredith has tortoised the hare. "You have to realize that the vast majority of all media companies' consumers have a life beyond the Hudson River," Mr. Lacy said. "The consumer we sell our product to has a very different life than what goes on on Manhattan Island." Meredith's restraint appears to have been prescient. Before taking on Time Inc., the company already owned some of the most read magazines in the country, including Better Homes and Gardens, with its circulation of 7.6 million. In buying the House of Luce, the company gained People, which fits nicely into its portfolio of lifestyle publications, along with Olympian titles like Time, Sports Illustrated and Fortune, which do not match the company's traditional areas of expertise. Meredith has said that it may not hang on to all of the Time Inc. magazines. Company executives expect to complete their review of the titles this spring. Among the options under consideration are selling off Time and Sports Illustrated, or changing how frequently they are published. Time, for instance, could become a bi weekly or monthly. For now, Meredith owns 40 magazines to go with its 17 television stations and 50 websites. The Time Inc. deal gave new life to Meredith's digital and video operations, increasing the number of unique monthly visitors to its websites from 80 million to 170 million. And Meredith officials say the company will generate 700 million in annual digital advertising revenue. Edwin T. Meredith founded Meredith in 1902 with the introduction of Successful Farming, a magazine that is still going strong, with a circulation of about 400,000. His office lay a mile from Meredith's current headquarters, which houses roughly 1,000 employees. In 1922, after serving as the secretary of agriculture under President Woodrow Wilson, Mr. Meredith introduced Fruit, Garden and Home, later renamed Better Homes and Gardens. After his death, the company went public, moved into the television business and expanded its magazine portfolio with titles including Country Home, Wood and Midwest Living. It has since added Family Circle, Parents, Shape, Allrecipes, Martha Stewart Living and Magnolia Journal, among other publications. The Meredith family remains the company's biggest individual shareholder, with Mell Meredith Frazier, the founder's great granddaughter, serving as the board's vice chairwoman. To make up for the decline in print advertising that has afflicted the industry, Meredith has turned to other sources of revenue, including a retail partnership with Walmart and a Better Homes and Gardens real estate agency. But with a focus on evergreen subjects, it has proved better able to weather the downturn than media companies that chase after the latest news break or trend. More than 60 percent of Meredith's 1.7 billion in revenue comes from its magazine business. The company has also been able to keep costs low in a way that executives at the New York based Conde Nast and Hearst can only envy. "The Midwestern aspect of it the base of it and the headquarters of it being in Des Moines I think does infuse the whole company with a kind of Midwestern practicality," Stephen Orr, the editor in chief of Better Homes and Gardens, said. 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 company has also avoided the upheaval that has affected other magazine publishers: Whereas Time Inc. went through five chief executives in the last eight years "a real problem," Mr. Lacy said Meredith is on its fifth since 1971. And so, as many magazine publishers were cutting costs, the company found itself in a position to go big and elevate its position in the media industry hierarchy. "I couldn't think or come up with another deal that I thought mattered as much to the future of the Meredith Corporation," he said. The deal was something of a last hurrah for Mr. Lacy: In January, he ceded his position as chief executive to the company's president and chief operating officer, Tom Harty, 55. In his new role as executive chairman, Mr. Lacy said he will communicate more with shareholders, but will also help Mr. Harty with the process of integrating Time Inc. For much of the 20th century, Time Inc. was at the pinnacle of American media. It had correspondents all over the globe, and its generously compensated editors gazed out over Rockefeller Center from the Time Life building. When the web's drumbeat rendered its news heavy titles all but irrelevant, the company left its namesake building for less opulent headquarters in Lower Manhattan. But it wasn't enough to stop the bleeding. The Meredith Time deal closed on Jan. 31. That night workers covered the Time Inc. sign on the building's glass facade with a Meredith banner. The next morning Mr. Lacy and Mr. Harty shook hands with their new employees, who received Meredith branded canvas gift bags. The slogan: "Be Bold. Together." Many analysts and executives in the industry also expect Meredith to sell some of Time Inc.'s news heavy titles, including Time, Sports Illustrated and Fortune. "Meredith has had its sights on Time Inc. for a number of years," said Reed Phillips, a managing partner at the investment bank Oaklins DeSilva Phillips. "And it has consistently taken the position that it is not interested in weeklies or men's magazines." Mr. Harty said he has yet to decide the fate of the Time Inc. magazines. "No preconceived ideas that we're going to sell anything," he said. "But at the same time, as I like to say, everything is for sale at the right price." On April 24, Meredith will put aside for one night, at least its distaste for showiness by entering the realm of New York hype and glamour when it hosts the annual Time 100 Gala at Lincoln Center. Most Meredith employees I encountered seemed reluctant to discuss the Time Inc. deal, preferring to extol the company's "collaborative" culture and the splendors of working more than a thousand miles west of New York. "Des Moines is so much more cultured and so much more to do than most any New Yorker would ever imagine," said Mr. Orr, who was the executive editor of Conde Nast Traveler before taking over Better Homes and Gardens in 2015. On the day of my visit, a Wood magazine editor was building a cabinet in the woodworking shop, and the scent of the banana oat muffins wafted out of a company kitchen. Nearby was a test garden filled with crab apple trees and native plants like the Pulsatilla and the Baptisia. Nestled against a bend in the Raccoon River, the Meredith headquarters includes two buildings connected by a skybridge. The older structure, built in 1912, has a tower that once pumped water to cool the printing presses in the basement. If this is the future of the media industry, it looked strangely like the agrarian past. Mr. Lacy said he hoped Des Moines would become "a place where the best and brightest talent in the industry prefer to spend their career." For now, the melding of Time Inc. into the company means long hours ahead. "There's a lot of heads down work to be done for 18 to 24 months," Mr. Lacy said. "But when you've been at this for 116 years, 18 to 24 months isn't very scary."	N24News: A New Dataset for Multimodal News Classification	Media
DETROIT The redesigned 2013 MKZ sedan was meant to herald a new era for Lincoln, the longtime luxury division of Ford that was recently rechristened the Lincoln Motor Company. The MKZ's arrival, originally set for the late fall of 2012, was ballyhooed in an expensive advertising campaign and an insistent public relations blitz. Lincoln dealers started taking orders, but for the most part, MKZs didn't arrive in showrooms as scheduled. Nor did they turn up in time for the showing of two Super Bowl commercials in early February. In fact, cars didn't ship in substantial quantities until spring, roughly four months behind schedule. "They missed the opportunity to strongly launch the brand," Michelle Krebs, a senior analyst for Edmunds.com, said in a telephone interview. "They did the big P.R. pitch; they did the big ad campaign. We saw a big spike on Edmunds.com in shopping consideration. But then the vehicles didn't get to the dealerships, so the interest fell." Joe Phillippi, a former Wall Street analyst who is president of Auto Trends Consulting in Short Hills, N.J., said losses from missed selling opportunities, wasted marketing efforts and the need to make amends with dealers and customers were significant. He estimated the cost of the bungled introduction at 50 million or more. Through the first quarter of 2013, Lincoln sold only 3,758 MKZs, according to Automotive News. Asked in a telephone interview why dealers hadn't received cars on schedule, a Lincoln spokesman, Tom Kowaleski, said that as production began at the assembly plant in Hermosillo, Mexico, the automaker "found some things of a fit, finish and detail nature that were not up to the standards we wanted to achieve." Those standards had been heavily promoted. At a media introduction of the car last November, Rich Kreder, Lincoln's vehicle integration manager, said: "The 2013 MKZ is projected to be a class leader in craftsmanship. Our standards have never been higher." When cars coming off the assembly line didn't live up to that promise, thousands were shipped to a Ford plant in Flat Rock, Mich., for unspecified repairs. Mr. Kowaleski said it was decided "we would be better off bringing some new parts into the vehicles." The automaker has declined to say what new parts were installed. In an interview, Jim Farley, Ford's group vice president for global marketing, said: "We're not going to be specific about what was an issue and what wasn't. All I can say is that our commitment to quality hasn't changed." Asked what had been done to make amends for the delays, Mr. Farley said: "In the first quarter of this year we recognized that some of the delivery issues that we were having with MKZ were going to be an issue for some of our dealers and our customers. We did what you would expect. Some loaner cars and lease extensions. For the dealers, we took action to help support their profitability." Michael G. Kolb, the president of the nation's No. 2 Lincoln dealer, Hines Park Lincoln in Plymouth, Mich., said in an interview at his dealership that the last generation MKZ had accounted for 59 percent of his new car sales. The delayed deliveries of the new model had been painful, he said, but added that the company had been helpful both in supporting profitability and placating customers. A sales consultant at Hines Park, Joe Jenkins, added that the delay could be seen in a positive light. "Before, those cars would have ended up at the dealership and we would have fixed them," he said. As of Thursday, MKZs were no longer being repaired at Flat Rock, according to Mr. Kowaleski. He said that to date more than 10,000 MKZs had been shipped to dealers, and 200 more were going out every day. While the MKZ is crucial to Lincoln, the automaker isn't relying solely on new products to revive the slumping brand. Efforts to improve customer service, including a Web site that puts shoppers in touch with a Lincoln concierge via webcam, are also part of the plan, and Lincoln has encouraged dealership upgrades. I sampled the process by speaking with a Lincoln concierge, Michelle Bujold, on April 16. I asked if she could find a red MKZ with a V 6 engine and all wheel drive at a dealership near my home. She located one at Star Lincoln in nearby Southfield, Mich., and set up a test drive. She later called to say that car had been sold, but similar vehicles were in stock. Indeed, on a visit to the dealership, I saw at least 20 MKZs on the front lot and took an unaccompanied test drive. Patrick Leonhard, a sales consultant, told me he could quickly deliver a car with the equipment and paint I specified. Both Ms. Krebs and Mr. Phillippi said that most Lincoln customers would probably never know the automaker hadn't delivered the MKZ on time, but that reinventing the Lincoln brand would require a continuing effort. "They have to be in it for the long haul," Ms. Krebs said. "They've been just totally in the doldrums. Luxury sales are up, and Lincoln is down."	N24News: A New Dataset for Multimodal News Classification	Automobiles
As a choreographer, Shen Wei is driven by nature. In both his dancers and in his structure, it's all there, just transplanted in bodies: a leafy branch swaying in the breeze, an insect scrambling across a dirt path, powdery clouds floating across a clear sky. It's arresting how viewing Mr. Shen's work in a natural setting at least a verdant edge of Prospect Park heightens that body to nature awareness. Perhaps it has to do with being in open air, surrounded by trees: As dusk fell on Thursday at the Celebrate Brooklyn! festival, the same breezes that brushed the skin seemed to activate the swirling dancers onstage. For the outdoor event, Shen Wei Dance Arts performed a reimagined version of "Map" (2005) and "0 12," a solo from "Collective Measures" (2013). In "Map," set to selections from Steve Reich's Minimalist score "The Desert Music," Mr. Shen investigates aspects, or blueprints, of movement: rotation, bouncing and rebounding, isolation and, ultimately, flow. At first, giant balloons with mysterious markings scrawled on them rested on the stage; once released, they hovered near the top to give the band shell the look of a kooky hot air balloon. The mercurial Kate Jewett, her curls bouncing as she folded herself into crisp shapes or curved her torso like a bow, guided the others in pelvic tilts, rocking buoyantly from side to side. The unbroken flow of her dancing, even in more staccato moments, galvanized the whirling sensation of the group. Throughout the five sections of the dance, the performers converged and scattered whether using their legs to stroke the floor like paintbrushes or standing erect, shoulders rolling and twitching like a pulsating organism.	N24News: A New Dataset for Multimodal News Classification	Dance
PARIS Martina Trevisan's path to the French Open quarterfinals was harder to negotiate than the Arc de Triomphe roundabout. In a women's draw that has seen most of the top seeded players spin out, Trevisan personifies the resilience of those who have found a way through. There were the three qualifying matches that she won just to enter the main singles draw. The questionable line call that went against her while she was trying to serve out her second round match against the teenage phenom Coco Gauff that she weathered. The two match points against her in the third round against 20th seeded Maria Sakkari that she withstood. And her first defeat of a top 10 player, which she walked off with on Saturday in the fourth round against No. 8 Kiki Bertens. But nothing 2020 has unleashed on Trevisan not this year's French Open draw nor the coronavirus pandemic, which ravaged her native Italy and heavily compressed the WTA Tour schedule was harder for her to negotiate, she said, than the eating disorder that stilled her tennis career for four years, beginning in 2010. "I know that I have done a great job," said Trevisan, who recently started to share the details of her harrowing journey, first in July in an athletes' blog, The Owl Post, in which she described trying to be seen by losing so much weight from her 5 foot 3 frame that she all but disappeared. Trevisan, 26, relishes her Tuesday match against Iga Swiatek, 19, of Poland, not just because of the progress it represents she had never won a main draw match in a major before last week but also for the opportunity it presents to help others. "It's a message I want sent to other people that are suffering right now not to give up," Trevisan said on Sunday. "Never give up." Trevisan's mother is a tennis coach, her father was a professional soccer player in Italy's second division and her older brother was a top ranked junior tennis player. By the time she turned 15, Trevisan wrote, she was a high ranked junior tagged for a bright professional future. In 2009, she reached the semifinals at the French Open and Wimbledon in girls' doubles, and finished the year ranked No. 694 in women's singles. Around the same time, her father learned he had a degenerative disease. It consumed his focus, leaving her feeling adrift. His illness, friction with her mother and the increased pressure she felt to succeed overwhelmed Trevisan, who wrote, "I began to feel, strongly, the rush around me to reap all the fruits even before the tree had time to take root." Trevisan said she wanted to live like a teenager, "recovering, perhaps with interest, all that I felt I had lost in previous years." She said she resented her muscular body, which made her stand out, and so she began cutting back on her caloric consumption until she was subsisting on a daily diet of less than half a cup of cereal and one piece of fruit. "Only disappearing," she wrote, "people would be able to see me." On Sunday, looking back at that time, Trevisan said: "I had a really bad moment, and in that moment I forgot everything about tennis. Tennis wasn't my life anymore." Trevisan said she sought inpatient treatment for anorexia after realizing, "I want to live, so step by step I must try." For four years, her focus, she said, "was on Martina and her life. I take my life in my hands." In her post, she wrote that she had to re educate herself about food and "make peace with my wounds." Tennis became part of her healing. First, it was a means to make money by teaching lessons. Then she began to compete again, but this time in a more healthful manner, without pushing her body until it broke down. "When I decided to play tennis again, it was a new chapter of my tennis life," Trevisan said Sunday. In 2014, Trevisan returned to the world rankings, at No. 590. Her climb since then has been steady, and she reached No. 153 in 2019. She advanced to the 2020 Australian main draw as a qualifier and lost in the first round to Sofia Kenin, the eventual champion. Trevisan arrived home from a WTA tournament in Acapulco, Mexico, as Italy was locking down because of the coronavirus outbreak. She spent the next five months working on her mental health with a counselor and on her physical conditioning through Skype sessions with her trainer. "Now I'm in the quarterfinal and everything is perfect for me," she said. "I don't feel any pressure." Ranked 159th, Trevisan is joined in the final eight by another qualifier ranked outside the top 100, Nadia Podoroska of Argentina. It is the first time since 1978 that two qualifiers have advanced this deep in the French Open men's or women's draw. Trevisan's opponent, Swiatek, is the youngest player left on the women's side. Trevisan said she had great empathy for teenagers trying to make their way in a sport where the solo competition can reduce life to what feels like a zero sum game. In the past few months, she said, she has been contacted by a few other players with disordered eating. "They ask me for help, like what did you do when you felt like this?" Trevisan said. "For me, it's a pleasure to help. I know I can recommend something, but the work they have to do by themselves."	N24News: A New Dataset for Multimodal News Classification	Sports
It was yet another epic failure of political punditry. Go back to the early months of Joe Biden's presidential campaign and read what the consultants and commentators were saying about him: His support is just name recognition; he'll fade! He's too old! He's running a zombie campaign! The party has moved left and he's out of touch! He voted for the crime bill! Almost everybody was bearish on Joe. But now look where we are, weeks from actual voting. If the polls are to be believed, Biden will win Iowa, he'll come in second in New Hampshire, he will easily win Nevada, he will dominate in South Carolina. He's now tied for the lead in California and he's way ahead in Texas. I don't know if he'll win the nomination (both he and Bernie Sanders look strong), but this is not where a lot of people six months ago thought we'd be. It's the 947th consecutive sign that we in the coastal chattering classes have not cured our insularity problem. It's the 947th case in which we see that every second you spend on Twitter detracts from your knowledge of American politics, and that the only cure to this insularity disease is constant travel and interviewing, close attention to state and local data and raw abject humility about the fact that the attitudes and academic degrees that you think make you clever are actually the attitudes and academic degrees that separate you from the real texture of American life. Biden didn't just luck into this. He and his team grasped six truths: Understand the year you are running in. Sanders and Elizabeth Warren are running the same basic campaign they would have run in 2012 or 2016. Biden's campaign is completely focused on the central problem of 2020: that Donald Trump is a steaming hot mess in the middle of national life. Biden has fixated his campaign on the Trump problem and fighting for the soul of America. Nearly twice as many Democrats say it's more important to beat Trump than to have a candidate with whom they agree on all issues. Understand your party's core challenge. All around the world parties on the left are losing because they have lost touch with the working class. These parties think they can reconnect with that class by swinging even further left. But Jeremy Corbyn in Britain and Bernie Sanders here are a doctoral student's idea of a working class candidate, not an actual working person's idea of one. Biden has criticized his own party for losing touch with this class. He emerged from it, is focusing his attention on it and is winning support from it. Moderates are still powerful. The Democratic Party is moving left, but about half of Democrats still say they are moderate or conservative. No candidate has ever won a nomination without strong support from these voters, while college town candidates Howard Dean, Gary Hart tend to falter. In every presidential general election that Democrats have won since 1988, they carried moderates by more than 12 percentage points. In every race they have lost, they failed to do that. Biden kept his moderate credentials when many other candidates saw A.O.C. on Twitter and decided to move left. The non elites tend to feel judged and looked down on by the self appointed savior class. "Politically correct" has become the phrase people use to define those who use cultural power to enforce ideological conformity. Seventy percent of Democrats who are not on social media say political correctness is a big problem. These are people silently but vehemently reacting against this social reign of terror. Biden communicates affection, not judgment, acceptance, not expulsion. Have a better theory of social change. Sanders and Warren imagine they can rally movements of progressive supermajorities to transform American politics. The reality is that if they are elected we'll be stuck with the same 42 percent to 42 percent stagnant political war we have now. Biden starts with the understanding that we are a closely divided nation. He understands the elemental fact that if you want to pass laws you have to go through Congress. As Damon Linker pointed out recently in The Week, Biden's argument is that a center left congressional coalition is the best we can do under present circumstances. That's a more realistic theory of change. A beloved legislator like Biden is more likely to transform the political landscape than a down the line progressive. Connection. Connection. Connection. Many candidates pound the podium and lecture at their rallies. It's the big leader onstage and the passionate mass of followers down below. Nobody makes an individual connection as well as Biden. In a time when people feel exhausted, isolated and alienated, a candidate who seems normal and emotionally relatable is going to have a lot of appeal. The ironic fact is that the candidate who can be vulnerable has a surprising power. 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
SAN FRANCISCO On Tuesday afternoon, Twitter added a small blue check mark to the account of Jason Kessler, a move known as verification that indicates a prominent person's real account. The action was quickly met with outrage. That's because Mr. Kessler is a well known white supremacist who has used Twitter to spread his message and organize rallies like Unite the Right's march in Charlottesville, Va., where torch wielding protesters marched through the streets chanting racist rallying cries. Across the Twitterverse, people including the comedian Michael Ian Black came down on the company. Hi Twitter, Hope you realize there's no such thing as being neutral when it comes to Nazis. Verifying Jason Kessler is a political act and one that puts you on the wrong side of history. Simran Jeet Singh ( simran) November 9, 2017 By Thursday morning, Twitter announced it would be halting its entire general verification program. It was yet another situation that the company has had to make amends on, just a week after the accidental deletion of President Trump's Twitter account and testimony in Washington on how Russian agents used its service last year to sow discord. "The system is broken and needs to be reconsidered," Twitter's chief executive, Jack Dorsey, tweeted on Thursday. "And we failed by not doing anything about it. Working now to fix faster." When Twitter puts a verified check mark next to a white nationalist's name, is the company endorsing that person? That was what Twitter was trying to figure out on Thursday. "Verification was meant to authenticate identity and voice but it is interpreted as an endorsement or importance," the company said on Twitter. "We have created this confusion." Twitter originally began verifying accounts to give high profile individuals celebrities, politicians, journalists and others a way to distinguish themselves from impersonators. The blue check mark has since become something of a badge of honor, signaling that someone had reached a certain level of importance. "It's recognition. It's a simple as that," Richard Spencer, a white supremacist who was verified by Twitter in 2016, said in an interview. "The blue check mark is useful." The white nationalist movement has flourished on Twitter, but Mr. Spencer said the platform had been behaving erratically toward his community lately. "It seems to be non algorithmic now," he said. "It seems like there's one person who doesn't like this tweet or that account one day, and it seems like a judgment. It's incoherent." Mr. Kessler's account with the handle TheMadDimension remains verified. Late Wednesday, he responded to the uproar with a tweet wondering if it was still O.K. to be white, and included a poll for people to answer. As of Thursday afternoon, he had gotten nearly 50,000 responses.	N24News: A New Dataset for Multimodal News Classification	Technology
Jacques d'Amboise, the great American ballet dancer, is in possession of laughing eyes and a crop of white hair, and he knows how to turn an interview into a show. Wandering through the art lined hallways of the National Dance Institute in Harlem on a recent afternoon, he gave the best kind of performance around every corner, there was a new surprise, a new story. "I have a barnful of it," he said of his impressive art collection. As he spoke, he pointed out works by Robert Rauschenberg, Alex Katz and Carolyn George, his dancer turned photographer wife who died in 2009. Both danced for the master choreographer George Balanchine at New York City Ballet, where Mr. d'Amboise was a star. One of Balanchine's most famous maxims, for better or worse, was "ballet is woman." Yet at City Ballet, he produced a number of extraordinary male dancers, including Mr. d'Amboise and Arthur Mitchell, both 83, and Edward Villella, 81 American treasures who overcame stereotypes about men and ballet and, on Mr. Mitchell's part, racism, to devote themselves to the art form and to Balanchine. On Feb. 5, Mr. Villella and Mr. Mitchell will join Mr. d'Amboise at the National Dance Institute for "Balanchine's Guys," in which they will share stories about what it was like to dance for him. The program, part of Mr. d'Amboise's Art Nest series, will also feature performances by dancers from the institute and by some of Mr. d'Amboise's favorites from City Ballet's current roster: Sterling Hyltin, Adrian Danchig Waring and Teresa Reichlen. Mr. d'Amboise, who joined the company at 15, said that Balanchine, City Ballet's co founder, was "a woman worshiper." But what about the men? While female dancers are usually front and center in Balanchine works the men, as partners, are responsible for making them shine the men don't always take second place. The repertory has plenty of shining opportunities for them too, like the title roles of "Prodigal Son" and "Apollo" and parts like the Phlegmatic variation in "The Four Temperaments." Mr. Danchig Waring said that as a male principal at City Ballet "there's so much space for self expression." And that he sees, in part, as a testament to Mr. d'Amboise. "It's interesting because he's like this 'bro,' Mr. Danchig Waring said with an affectionate laugh. For the Balanchine men, he continued: "There's this machismo that is sometimes required onstage that bravura, that swagger, that confidence, and we all have to learn to cultivate that and yet it's such a huge canon of work. Within that, there are poets and dreamers and animals. Jacques is a reminder that all of that can be contained in one body." This isn't the first time Mr. Danchig Waring has participated in the Art Nest series, an intimate performance showcase that Mr. d'Amboise started in 2011. For this one, he'll perform a section of "Apollo," which Mr. d'Amboise a revered interpreter of the role has coached him on. "He just brings the dances to life," Mr. Danchig Waring said. "They go from being steps that you've learned to authentic expressions of your personhood." And while spending time with someone with such direct lineage to Balanchine is a gift, it's also just fun, Mr. Danchig Waring said, to have an 83 year old friend who is "tirelessly enthusiastic." Certainly, that part is true. As he talked about the coming program, Mr. d'Amboise narrated bits of his career, which has included decades at City Ballet, where Balanchine created dozens of works for him. Hollywood beckoned he appeared in films like "Carousel" and "Seven Brides for Seven Brothers" but he always remained loyal to City Ballet and to Balanchine. While still a principal, in 1976, he created the National Dance Institute to engage children with dance, no matter their background or ability. Even when he was a student himself, Mr. d'Amboise was quick to recognize talent. He recalled when he first met Mr. Villella at the School of American Ballet in the 1940s. "There were only two or three boys at S.A.B. Eddie and me and another boy," he said. "Eddie was terrific. He went over the stage like a dynamo. The closest to Eddie was Baryshnikov. And, today, Daniel Ulbricht. They're like crossbows bang! Wonderful." Shorthand help: Baryshnikov as in Mikhail, the transcendent Russian dancer. And Mr. Ulbricht is a City Ballet dancer who has inherited some of Mr. Villella's roles. Mr. d'Amboise's memories of Mr. Mitchell, City Ballet's first African American principal, are just as exuberant. "Arthur was, first of all, gorgeous. And inspiring." In 1957, Balanchine choreographed "Agon," set to Stravinsky and featuring a central pas de deux for Mr. Mitchell and a white ballerina, Diana Adams. Mr. d'Amboise recalled that during a tour to the South "a stagehand wouldn't open the curtain because there was a black guy onstage." Instead, the lighting designer stepped in and did it. But when another stagehand refused to aim the spotlight on Mr. Mitchell, Mr. Balanchine had a simple solution: "He said, 'You know, just make light brighter and don't worry.' " If he had to describe Balanchine in just a few words, Mr. d'Amboise said, he would single out "exquisite manners": "Balanchine got what he wanted by good manners and diplomacy." As for who should take over? "I don't care," he said with a shrug. Despite his program's theme of "Balanchine's Guys," Mr. d'Amboise was more eager to talk about the ballerinas he partnered at City Ballet, including Allegra Kent, Suzanne Farrell and, his favorite, the firecracker virtuoso Melissa Hayden. She once told him, Mr. d'Amboise recalled: "Honey, we're going to go dance now: This is our first performance and, buster, it's our last too." You never know, in other words, if you're going to dance tomorrow. When he heard she was gravely ill with pancreatic cancer in 2006, he flew to North Carolina to say goodbye. "She said, 'So you came for my last dance?'" He laughed. "Isn't that great?" When you live to be too old, Mr. d'Amboise said, "you lose a lot of friends." But he's still as indefatigable as Mary Poppins and he could probably cheer up any task, like the one he related about fulfilling his wife's wishes to have her ashes spread at the subway station at 72nd Street and Broadway. He did it on a Sunday morning. "I asked some kids to come in and dance and make a lot of noise," he said conspiratorially. "Then I thought, does she want uptown or downtown? So we went down and I said, 'Go make a lot of noise on the downtown station.'" He sprinkled some of the ashes on the uptown tracks and then repeated the procedure on the opposite side. "It's illegal," he said. "I think lots of people try to do it." As for Mr. d'Amboise? "Spread me in Times Square or the Belasco Theater."	N24News: A New Dataset for Multimodal News Classification	Dance
"Humankind cannot bear very much reality." So said the poet T.S. Eliot. It's an apt explanation for the White House's failure to respond adequately to the pandemic that has swept across America and the rest of the world. Even as reality continues to intrude, President Trump has either largely dismissed or ignored his science and medical advisers. And the result is that the economy, the one thing he seems to care most about, and which he hoped would escort him to a second term, has been devastated. As both history and data from today demonstrate, health and the economy are not antagonistic; they are dance partners, with public health taking the lead. The safer people feel, the more they will engage in economic activity. A recent study of the 1918 1919 influenza pandemic by a member of the Federal Reserve board and economists at the Fed and M.I.T. compared cities that imposed stringent public health measures including school and church closings, public gathering bans, quarantines and restricted business hours with cities that opened faster and imposed fewer restrictions. The more stringent cities not only had fewer deaths but experienced "a relative increase in economic activity from 1919 onward." Containing the virus has allowed many European economies to recover far better than the U.S. Look at Germany, which has an unemployment rate of 6.4 percent. The rate in the U.S. is 10.2 percent. In March and April, according to OpenTable, the reservation booking company, business in restaurants in Germany and the U.S. were in the identical place, down over 90 percent year over year. Since then they have diverged widely: data for Aug. 16 (the latest data at this writing) shows German restaurants enjoyed 9 percent more business than last year, before the pandemic, while U.S. restaurants were down around 50 percent. And in a report last week, the National League of Cities said that precipitous declines in tax revenues were forcing cities to "severely cut services at a time when communities need them most, to lay off and furlough employees who make up a large share of America's middle class, and to pull back on capital projects, further affecting local employment, business contracts and overall investment in the economy." In June the World Bank estimated that global G.D.P. this year would decline by at least 5.2 percent and possibly much more. The Congressional Budget Office expects G.D.P in the U.S. to fare worse, down 5.9 percent for the year, even after factoring in projected third quarter growth of more than 20 percent. But that projection assumes the containment of the virus, a huge assumption. Indeed, a Morgan Stanley model predicts that under current policies the U.S. is currently on track to have 150,000 new cases a day later this year. And that number is not even a worst case. If we do suffer case counts anything like those, dramatic growth in the economy simply won't happen. Bad as the virus has been this summer, it actually spreads better in low temperatures, and when temperatures fall, more people will be inside in poorly ventilated areas where transmission is also more likely. If the U.S. goes into the fall with new daily cases in the tens of thousands, as they are now, then the numbers could explode and the Morgan Stanley prediction could come true. Considering our containment efforts to date, there is little reason for optimism. If that occurs, the economy will not come back. Jerome Powell, the chairman of the Federal Reserve, said as much recently. "The path forward for the economy is extraordinarily uncertain and will depend in large part on our success in keeping the virus in check," he said at a July 29 news conference. He added: "A full recovery is unlikely until people are confident that it is safe to re engage in a broad range of activities." But containment, and the confidence that goes with it, is not remotely where we are at the moment. Among developed nations, the U.S. ranks first in categories one would prefer to be last in: number of cases and number of deaths. It lags well behind in economic recovery as well. As of this writing, the European Union and Britain combined have a population of about 510 million, and 1,924,569 Covid 19 cases. They have had around 8,000 cases for the latest daily count. The United States, population 328 million, just passed 5.4 million cases, with 42,303 the latest daily case count. Bringing the economy back requires precisely the same three measures that controlling the virus does: First, better compliance with social distancing, wearing masks, personal hygiene and avoiding crowds; second, finally finally getting the supply chain and personnel infrastructure in place to support the necessary testing and contact tracing; and, third, the bitter medicine of regional shutdowns. The same Morgan Stanley model that predicts that the U.S. is on track to reach 150,000 cases a day also has a "bullish" scenario in which the U.S. case counts decline to European levels. But for that to happen, the modelers assumed "more strict restrictions and broader interventions" such as lockdowns "similar" to those imposed by China and major European Union countries. Without active, aggressive White House leadership we cannot achieve that and reality again there isn't the slightest hint that will happen. But in 1918 leadership came from cities and states. If governors and mayors act aggressively, especially if they act jointly, we can still make significant progress. In April, I predicted that summer would not bring relief from the virus, and that we would experience not a second wave but continuous swells, depending on how well we complied with public health measures. Unfortunately too many states eased up too early or did little or nothing to control the virus. On the day that prediction was published, April 30, the seven day average of new cases was 28,943. On Aug. 16, the seven day average was 51,523.	N24News: A New Dataset for Multimodal News Classification	Opinion
My television goals were moderately ambitious these past few months under quarantine: "I'm finally going to finish 'The Americans' and start 'The West Wing,'" I told myself. "And then I'll investigate Korean dramas." A quick primer for younger readers. "Columbo" is a vintage television franchise that ran on and off between 1968 and 2003, with its Golden Era in 1971 8. Conveniently, those particular seasons stream free on Peacock and Amazon Prime Video's IMDb TV channel. The show was a procedural in that the title character a permanently disheveled, cigar smoking homicide detective with the Los Angeles Police Department, played by Peter Falk solved a murder in each episode. But "Columbo" isn't a whodunit, or even a howdunit or whydunit. First, we watch the culprit execute his or her dirty deed, then we watch Columbo put the pieces of the puzzle together, often while keeping his prey apprised of his progress. It is formulaic in the best possible way. It also avoids the traps of "copaganda": Columbo never resorts to force and he does not hunt the downtrodden but white elites who want to preserve or increase their status. The episodes are perfectly self contained dives into their rarefied, insular worlds high level chess, winemaking, Shakespearean theater, fashion, pro football and so I watch them in no particular order, guided only by the pull of favorite stars in scenery chewing guest spots: Anne Baxter or Donald Pleasance here, Johnny Cash there. "Columbo" carries a particular nostalgic weight for me because I used to watch it with my father when I was in my early teens and because we were in France, we had a dubbed version. (Amusingly, both Falk and Burt Reynolds at his studly peak shared a French voice, provided by Serge Sauvion). I wasn't sure whether the show would hold its appeal decades later, but happily, it does. Here are just three reasons. The Black Lives Matter movement has rightfully initiated a re evaluation of crime shows and the harmful role they have played in making (anti) heroes out of violent, regulations dodging cops. But "Columbo" eschews both the genre's traditional cliches and the subversions of those cliches which are themselves, by now, conventional. Columbo relies exclusively on observation, deduction and psychology, which gives his police work an abstract quality: Visual signifiers of law enforcement are largely invisible, whether they are uniforms, patrol cars, police stations and jails or, most important, guns. Technology based investigative tools are absent, aside from the occasional fingerprint. Partly this is because we're in the early 1970s, before DNA analysis, ubiquitous surveillance cameras, online databases and cellphones. But mostly it's because the only tool Columbo needs is his brain. Sherlock Holmes, say, used the same approach, but Columbo stands out because of the pleasure he derives not that he would admit to that from taunting suspects in manipulative mind games. The exchanges rely always on the tension between two opposite life philosophies: A self effacing (possibly calculatingly so) working stiff confronts people blinded by hubris. It's a neat way to undermine power, or the projection of it. It is also an entertainingly mischievous strategy that is part of a long tradition encompassing the fools of classical theater and the quirky lawyer Elsbeth Tascioni, portrayed by Carrie Preston in "The Good Wife" and "The Good Fight." Columbo always punches up because he takes down members of the elite. The social ills he uncovers are not caused by, say, drug use or poverty, but by an amoral sense of immunity fostered by affluence and status. Columbo is solidly middle class the 1972 episode "Etude in Black" reveals that he makes 11,000 a year (about 69,000 today), which is respectable. But the same episode's killer, a classical conductor played by the director actor John Cassavetes, pointedly lives in a mansion that at the time cost 750,000. The discrepancy is made even more acute by the fact that our lieutenant always dresses just short of shabbily, slouches about and drives a junker. "Columbo" is one of the very few American series fueled by class warfare. Whether they are driven by coldblooded entitlement, delusions of grandeur or simple greed, the murderers treat the self deprecating, ostentatiously low grade cop with seething annoyance, willful condescension or hypocritical benevolence. It is hard to overstate how satisfying it is to see smug criminals get caught right now. Imagine the joy of seeing a rebooted Columbo go after hedge fund managers, big game hunters, studio chiefs, YouTube influencers, real estate magnates or celebrity chefs who picked killing as an acceptable problem solving method. The best rogue's gallery ever In the end, "Columbo," which relies on the art of conversation as much as a well made play does, is a great source of delight for fans of a certain style of non naturalistic acting. You say hammy, I say stylized. It can't be a coincidence that the show started shortly after New Hollywood took flight in the 1960s. Falk himself was a full fledged member of his buddy Cassavetes's indie gang whose raw, idiosyncratic portrayals of American outsiders blossomed outside the studio system. Falk was in Hollywood but not of it, and his casting subtly underlined Columbo's perpetual outsider status. The show often illustrated the friction between the old and new screen generations. In the gloriously campy "Lovely but Lethal," for example, Vera Miles (playing a cosmetics mogul) kills Martin Sheen (playing the younger chemist who steals a revolutionary skin cream). Miles was among several guest stars aging out of a Hollywood whose Golden Age was, at that time, still close in the rearview mirror. Another memorable one was her "Psycho" co star Janet Leigh. In the episode "Forgotten Lady," Leigh is simultaneously chilling and poignant as a Norma Desmond like older actress who rewatches her past oeuvre including the actual Leigh movie "Walking My Baby Back Home on a loop. And then there are the performances that don't need any meta reading to be magnetic, like Ruth Gordon's steely crime novelist in "Try and Catch Me" or Lee Grant's turn as a preternaturally self possessed lawyer in the visually inspired, psychedelic episode "Ransom for a Dead Man." Thinking of all those great actresses, maybe we don't need a "Columbo" reboot after all: Just give Elsbeth Tascioni her own show.	N24News: A New Dataset for Multimodal News Classification	Television
Anthony Levandowski, the Uber executive accused of stealing trade secrets from Google, is stepping aside from leading some of the company's work on self driving vehicles, amid a bare knuckled legal fight between the two technology giants. Mr. Levandowski, one of the self driving car industry's more experienced engineers, has recused himself from working on Uber's lidar technology short for light detection and ranging, a key hardware component in the operation of any autonomous vehicle. Mr. Levandowski disclosed the change on Thursday in an internal memo that was obtained by Business Insider, adding that he will no longer attend meetings or make decisions about lidar efforts while legal proceedings continue. "We should all be proud that our self driving technology has been built independently, from the ground up," Mr. Levandowski said in his email, which was addressed to his Uber employees. "With this move, I hope to keep the team focused on achieving the vision that brought us all here." Uber confirmed the email and declined to comment further. The move punctuates an increasingly nasty legal battle between Uber and Waymo, the self driving vehicle company that was spun off from Google's parent company. In February, Waymo sued Uber, alleging that the ride hailing company was using intellectual property, including downloaded documents, stolen by Mr. Levandowski when he was an executive at Google. Waymo is asking a federal court to issue an injunction that would halt Uber's work on self driving cars, which the judge in the case is expected to decide on next week. If the decision goes in Waymo's favor, it could seriously impede Uber's progress in autonomous vehicle research.	N24News: A New Dataset for Multimodal News Classification	Technology
Last year, in July, a month after the protests over an extradition bill began in Hong Kong, I renewed the lease on my flat. For the first time since I turned 18, I would be living in the same apartment for more than two years. It felt like an accomplishment, like I was a real adult. My place is almost 300 square feet, and it has a view of trees and steps, which is such an improvement from my last flat that sometimes just looking out the window makes me emotional. I ordered a cheap Ikea carpet and put up old posters. I started buying vinyl records and physical books again. I could be here for a while. It began to feel like home. There are so many reasons Hong Kong is not a particularly habitable city, so many reasons you might want to leave, even without the Chinese Communist Party threatening to throw dissidents in jail. Windowless apartments, subdivided flats, bunk beds. If you have children, your choice is either to send them to local schools, where they face an unforgiving education system, or international schools, which can cost as much as 13,000 a year. The high rents or archaic land regulations and bureaucracy can force out anyone trying to run an independent space for music, art and expression. Rates of depression have recently reached a 10 year high, but quality mental health care is too expensive for ordinary people. I am 27 now, and when I was younger, I desperately wanted to leave Hong Kong. I grew up in a neighborhood that, at the time, felt like a cultural backwater. There were no bookstores, no art, no record shops. I attended a conservative Christian school and never really fit in. I went to concerts alone. I wrote fan fiction and spent all my time on Tumblr. I thought I wanted to go to school in London or New York, where I'd finally find "my people." The longest I've ever managed to be away from the city was four months, for an exchange semester in Scotland. I never really ended up going anywhere. But that was OK, because eventually I did find my people. I met community activists and other young creative types who showed me an alternative way of living in Hong Kong. I became a regular at the cha chaan teng diners in my neighborhood, where I'd be given a second bowl of soup at dinner once the staff found out that I didn't live with my family. There were local musicians whose shows I'd never miss. In university, I began going to protests. There is an annual march on July 1, the anniversary of the British "handover" of Hong Kong to the Chinese, and soon I took it for granted that about this time every year, I would be marching through the streets in the sticky heat. I belonged, and I was proud to be here and not anywhere else. Hong Kong was still unforgiving, but we could expand the space for what is possible here. This year, on the evening of June 30, the condolences started coming in. Earlier that day, China had passed the new national security law, which took effect within hours. The sky had cracked with a coral sunset that seeped into the horizon like a warning. Friends living abroad sent me texts: I'm so sorry, hope you're OK, thinking of you. Restaurants started peeling protest stickers off their glass windows. Some writers I know have been trying to scrub their work from the internet and deleting their chat records. The law is broad and gives China new ways to punish protesters and silence dissent. Former classmates are discussing immigration plans or getting married, so that if they need to, they can flee with their partners. Others are figuring out how to renew their British National Overseas passports, the documents issued to Hong Kongers born before 1997, which could allow them to stay in Britain for five years. Before the new law made the chant "Liberate Hong Kong, revolution of our times" possibly illegal, my favorite place to hear it was at tiny music clubs, "livehouses" that stink of beer and sweat at the end of the night. After the encores, the last guitar note still reverberating, someone would yell the first half of the slogan, and others would answer in unison. At the end of December, I celebrated New Year's Eve at a small pro protest cafe where a friend played the unofficial protest anthem, "Glory to Hong Kong," and everyone sang along. After six months of street protests and police violence, we were all exhausted, but it still felt like we were on the cusp of change. I was 10 when the Hong Kong government tried to introduce a national security law in 2003, and it was quickly withdrawn after half a million people took to the streets in protest. That proposal was a sword that hung over us for nearly two decades, a threat to what Hong Kongers hold most dear a culture of protest, the rule of law, freedom. We've been fighting for "freedom," that abstract concept, for so long, with no idea of what losing it would look like. It was delivered with devastating speed the whole process took less than two months in the form of a 66 article piece of legislation that we had no say in. Hong Kongers, academics and overseas commentators say this is the endgame, that after this law, Hong Kong will be "dead." But not everything has disappeared. The bookshop near my flat posted a message on social media: "Life goes on, resist fear." A reporter I know tweeted, "I'll just try my best to pretend this law doesn't exist, keep calm, and carry on." I don't want to downplay how terrifying the national security law is. People were arrested under that law on the first day, some of them just for carrying a flag bearing suddenly "outlawed" slogans. Courts can deny bail and hold secret trials. No one knows how to navigate this new reality. Yet people are already coming up with cheeky, humorous ways of circumventing the new rules, resisting the temptation to be too obedient and give in to the chilling effect. We will continue to find defiance in unexpected places. Over the past week, I have read report after report about how there would be an exodus of Hong Kongers from the city after the law was passed. But leaving is not an option for the young people who don't already have British or B.N.O. passports or whose families don't have the means to send them abroad to study. Ahkok Wong, a musician social activist I know, actually moved back to Hong Kong recently, telling me, "I think it's an important time to be here." Life in Hong Kong has always been about demanding the impossible, trying to make seeds blossom in cement, he says. I used to see leaving as abandonment, but the cost of staying could now potentially be life imprisonment. When Nathan Law announced that he had left the city, I thought about the last time I saw him, a month ago, canvassing for an upcoming election at Hill Road. I wish I had stayed longer to thank him for trying to make this city more habitable. Four years ago, when elections still seemed to matter, I had voted for him, to make him the youngest legislator ever elected in Hong Kong, before he was disqualified. There will be new forms of resistance, here or elsewhere, and I know he will be a part of them. I remember the night before July 1, it seemed like all my friends were posting the same song on social media, a cover by the Hong Kong band My Little Airport. It goes, In between the verses, there is an archival recording of Chris Patten, the last British governor of Hong Kong, saying, "Now Hong Kong people are to run Hong Kong, that is the promise and that is the unshakable destiny." That promise has been broken, but this is not the end. We will continue to make a home out of an imperfect place. To wipe down the mold, repaint the walls. One day we could be forcibly evicted, or this could all burn to the ground. But for now, we're still here. Maybe we can still try to make this place beautiful. 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
Skateboarding's history and culture in Japan is an echo of the United States imported a generation ago, through rebellious teens skating in the dim corners of polite Japanese society. One big difference from America? Skateboarding, with all its noise and commotion, has never been welcomed on the streets and sidewalks of Japan. But that has not hindered its growth. Skateparks are popping up everywhere, skateboarding's countercultural vibe has hit the mainstream, and Japan is expected to dominate its competitors when skateboarding makes its Olympic debut at this year's Summer Games in Tokyo. This new popularity is met with ambivalence, though, by some of those who were there in the early days. They were part of Japan's first generation of skateboarders, and they still make a living from it through photography, art, magazines and skate shops. Their hope is that the Olympics will make skateboarding even bigger, while somehow keeping it cool. Like roller skating and disco, skateboarding seemed to fade, as fads do. As it had in the United States, the sport wormed its way into the subculture, finding refuge with teens on the fringes. "The majority of those who continued riding into the 1980s were people who didn't always follow the mainstream of music or fashion," Higai said. "For example, if a certain pop song was popular on the radio, they wouldn't like it. They liked punk or hard rock. If a majority of people liked baseball, they didn't like baseball. They did not want to be part of the mainstream." By the mid 1980s, American companies were bringing American skateboarders to Japan for demonstrations sponsored by brands like Converse and Swatch. Tony Hawk, Steve Caballero, Lance Mountain and other members of the so called Bones Brigade rolled into Tokyo wearing striped tube socks and short shorts. Higai began to photograph them. It marked the beginning of his career as a skateboard photographer. His work now fills coffee table books and lines the walls of Nike Dojo, an indoor skatepark that the shoemaker created in Tokyo ahead of the Olympics. The tricks now are more subtle than before, when there were vertical ramps and board grabs. "It's more difficult to photograph now," Higai said. "Because a trick is more complicated. It's very hard to describe by photographs." In a two level building off a side street far from the neon lights and tourists of central Tokyo, a 41 year old artist builds sculptures from the colorful, discarded wooden decks of skateboards. Each deck is less than an inch thick, but otherwise unique from all the rest, distinguished only by colorful decals and artwork on an underside scratched and worn from use. The studio is filled with hundreds of decks, stacked like firewood. They lean on one another for support and sometimes spill across the floor in a clattering, chromatic burst. And when the artist, Haroshi, cuts them into shapes from his imagination, and glues the new shapes into sculptures that rise anywhere from a few inches to many feet, they become art expensive, curated art. Haroshi has done commissions for Nike, Apple and others. This fall, his work was featured at a New York gallery. On the wall of his sawdust sprinkled work room is a piece he has not finished for Tony Hawk. ("Four years," he said. "I'm so sorry.") "Historically, Japan has been an isolated island," Haroshi said. "We have been using what has come from abroad. To me, the sculpture is an interpretation of skateboarding coming from America." His beard hung to his collarbone and he was dressed like a skateboarder khaki pants, plain white T shirt, a black cap spun backward. Haroshi has tattoos on each arm and big holes in each earlobe. In the United States, he would blend in. "But in Japan, I am very different," he said with a laugh. In an upstairs apartment above his workshop, the shelves are lined with art books, including those highlighting pop art icons like Andy Warhol and Keith Haring. Haroshi explained how the Japanese have a deep rooted, postwar affinity for American culture, from Coke to skateboarding. Look how many young Japanese wear T shirts with English on them, he said, even if they do not understand the words. Haroshi worries that the Olympics will sanitize skateboarding. "In my generation, young people on the fringes either went into motorcycle gangs or into skateboarding," Haroshi said. "Skateboarding was regarded as something that young criminals do." He smiled wistfully, the way a New Yorker might when describing the seedy days of Times Square. "This image is changing rapidly," he added. "Nowadays, parents bring their kids to skateboarding class. And my generation are the teachers." Haroshi was a struggling artist when he discovered a low cost medium in discarded skate decks. Most are seven ply maple. At first, he carved them into fashion accessories, like necklaces. They did not sell well. He started to make figurines, mostly to attract attention to the accessories. Those objects got more attention, with their whimsical designs and colorful, striated construction. Burton Snowboards commissioned a large piece from snowboards for an event in Tokyo. Nike wanted shoes. Other companies followed, using skateboard art to evoke rebelliousness in the corporate crowd. One of his popular designs is a middle finger. (Lance Armstrong has one, Haroshi said.) Collectors of pop art know Haroshi well. Some of his pieces sell for hundreds of thousands of dollars. But like any artist, and any skateboarder, he pushes the boundaries. "The skateparks have created less freedom," Haroshi said. "Especially in Tokyo, the security is really tight. We were allowed to skate almost anywhere. Now young people can only skate at skateparks. I feel sorry for them." Akio Homma liked to surf as a teenager, but it took money to get to the beach. A friend gave Homma a skateboard. The streets were free. He skated in the nighttime shadows of alleys and parking lots, under viaducts and railroad bridges. He and his friends learned tricks extrapolated from photographs in recycled American skateboard magazines. But now, at 52, Homma sits on the top floor of a high end, seven story shopping mall in Tokyo, the owner of five skateboard shops called Instant. He planted Instant's flagship store here, and is surrounded by big name American brands rooted in skateboarding: Vans, HUF, Volcom. On the mall's roof is a skatepark, big by Tokyo standards and certainly the one with the best views. It attracts all types the lone 20 something carrying a skateboard in a bag for an after work workout, the fathers who once illicitly rode the streets now teaching their kids how to ride, the young man trying to teach his girlfriend, the pack of boys daring one another into bigger tricks. Homma helped design its ramps, stairs and curbs. "Skateboarding is much bigger than I expected," Homma said. "When I was a kid, I thought it was just skateboarding. But now it's fashion. Now it's the Olympics. I welcome more people." He laughed. "Because I own five skateboard shops," he said. Homma went to college and landed in the business world. Back then he was a "salary man," the moniker for the packs of male office workers that flood Tokyo on weekdays in a sea of white shirted, dark suited conformity. "I saw my future crowded trains, suits to work," Homma said. He quit and toured the United States. He carried a backpack, a guitar and a skateboard. He visited an aunt in Cleveland, skipped between Chicago and New York, and ventured up and down the West Coast. He returned to Japan to make a life in skateboarding. He owns skate shops. He judges competitions. He helps local governments design skateparks. ("Fukui has a curb inspired by the Los Angeles Courthouse," he said, referring to a park in a city in western Japan.) He spends much of his time as an advocate for skateboarding, trying to polish the negative reputation "Three words: Noisy, dangerous and dirty," he said it has in Japan. Japan has about 400 skate parks now, Homma said, most of them tiny. A growth spurt accompanied the coming of the Olympics. That is elevating the international success of Japan's competitive skateboarders, especially among women, who are dominating international park events. Homma worries about losing the underground street culture he knew. He tries to design parks with more elements found in urban environments more handrails and curbs, not just swooping bowls and he wishes more top riders would ride the streets. Most adhere to a code, if not in their sponsorship contracts then understood as an unwritten rule, not to be filmed riding the streets of Japan. "Even Yuto," Homma said of Yuto Horigome, a gold medal favorite, who grew up skating the streets. "If he does street skateboarding, people might film him and say, 'Look, he does illegal skateboarding.' It should be permitted, and should be popular, but a number of kids don't want to go against it. So they go to the park." On a steamy August night, at the indoor Nike skatepark, Horigome was among the half dozen skaters, all young men. He spends much of his time in California, where the weather and the riding are easier. The epicenter of skateboarding's literary culture is a small third floor office on a quiet Tokyo street. Among the few young men working at big computer screens inside on a recent afternoon was Masafumi Kajitani, wearing Vans and a T shirt. Kajitani, 44, is editor of VHS Mag, an online magazine devoted to skateboarding in Japan, and a writer for a slick print magazine called Slider. "We are at least 10 years behind American skateboarding," he said. "Before the internet, we had to wait for all the videos to come out and the magazines to ship out. That means we couldn't keep up with skateboarding the tricks and the fashion. With the internet, the time gap has shrunk. The world is a lot closer and smaller." The sport is growing in Japan, even if it is not obvious on the streets and sidewalks. "It's pretty impossible to practice street skating in the streets, especially in Tokyo," Kajitani said. "People here think that skaters are like punks." Skateparks, once the seedy hangouts of outcasts, are becoming safe havens. That means more girls and young women, Kajitani said. Riders are getting both younger and older. What used to be the domain of teenagers is now filled with toddlers on one end and graying parents on the other. Sometimes, they ride together. But top riders know their reputations among peers are burnished in the streets. Like previous generations, they want to be known for their exploits in the untamed world. "The main job as a pro skateboarder is to come up with videos a 3 minute piece, which might take months, maybe a year, to make," Kajitani said. "That tells what kind of a skater they are, what kind of music they like, what kind of personality they have. As long as you're still putting out these videos, people in the skateboarding community will still respect you." Magazines are aimed at culture, not contests. But now the Olympics are coming, and the worlds are blending through world class skaters like Yuto Horigome, who balances between mainstream star and antihero. "Now when I say that I work in skateboarding, people say, 'Oh, like the Olympics,'" Kajitani said. He laughed. "So I'm not against the Olympics in any way. But if they're going to do it, let's make sure they do it right."	N24News: A New Dataset for Multimodal News Classification	Sports
One morning in 1972, the French author Jean Raspail was at his home on the Mediterranean coast when he had a vision of a million refugees clamoring to enter Europe. "Armed only with their weakness and their numbers, overwhelmed by misery, encumbered with starving brown and black children, ready to disembark on our soil," he wrote. "To let them in would destroy us. To reject them would destroy them." At the time Raspail was a respected writer best known for his travelogues. But the racist novel that resulted from that episode, "The Camp of the Saints," would become his most famous, most controversial and, surprisingly, most influential work. For some 30 years, "'Camp of the Saints' has been one of the top two books in white supremacist circles," said Heidi Beirich, an expert on extremism at the Southern Poverty Law Center. The center leaked emails earlier this month in which the Trump adviser Stephen Miller touted the book to Breitbart staffers as a work with strong parallels to recent waves of migration. Published in 1973, the dystopian novel details how a flotilla of Indian migrants reach France's southern coast to invade the country. Political elites fail to respond to the influx, and the continent is overrun. For nearly half a century, the book has stoked fears of immigration that have, to its supporters, seemed increasingly prescient as growing numbers of refugees and asylum seekers have arrived in Europe in recent years. "Raspail can boast himself about being a prophet," said Jean Yves Camus, an expert on the far right at the French Institute for International and Strategic Affairs. "People now buy 'The Camp of the Saints' because they want to read the book written by the writer who saw what would happen before everybody else." What Raspail described as a "parable" came to be seen as a canonical text in white nationalist circles. Its leader, Marine Le Pen, said "The Camp of the Saints," which she read at 18, "left a great mark on her," and urged French people to read it to understand what she described as the country's "migratory submersion." Steve Bannon claimed that European countries had been confronted with an "invasion" similar to the one described in "The Camp of the Saints." Iowa Representative Steve King argued that the book's story "should be imprinted into everyone's brain." Want to keep up with the latest and greatest in books? This is a good place to start. None Learn what you should be reading this fall: Our collection of reviews on books coming out this season includes biographies, novels, memoirs and more. See what's new in October: Among this month's new titles are novels by Jonathan Franzen, a history of Black cinema and a biography by Katie Couric. Nominate a book: The New York Times Book Review has just turned 125. That got us wondering: What is the best book that was published during that time? Listen to our podcast: Featuring conversations with leading figures in the literary world, from Colson Whitehead to Leila Slimani, the Book Review Podcast helps you delve deeper into your favorite books. In the United States, Beirich said the book stood alongside "The Turner Diaries," a race war novel by William Pierce, former head of the neo Nazi group the National Alliance, as the top fictional references for white supremacists. The recognition of the place held by "The Camp of the Saints" in such circles may have reached a new high last week, when it was revealed that Miller, President Trump's influential immigration adviser, had cited it. In September 2015, while European countries struggled with an immigration crisis, Miller encouraged Breitbart editors to write about Raspail's book. Three weeks later, the conservative website ran a story noting that, like in the novel, contemporary Western leaders were "urging on ever larger waves" of immigration, and may well be "unable to erect walls." "The Trump administration's anti immigration policy is a direct consequence of taking 'Camp of the Saints' as a blue book for governing," Alduy said. The migrants in "The Camp of the Saints" are portrayed as diseased people who eat human feces the group's leader is nicknamed "turd eater" and their arrival is described as an "endless cascade of human flesh" clambering ashore like an "anthill slashed open." Now 94 and a well traveled monarchist , Raspail seems an unlikely hero to the Americans for whom "globalist" is an insult. Indeed, when "The Camp of the Saints" was published, few could have predicted that the book would have such a wide ranging afterlife. The title is taken from the Book of Revelation in the Bible, a reference to the army gathered by Satan who overrun the earth , including the camp of the saints. Raspail drew on his experience documenting endangered communities in Latin America and elsewhere to imagine what waves of outsiders would mean for France's culture, language and population. "The Camp of the Saints" was translated into several European languages but was hardly a runaway hit. It was published as a hardcover in the United States in 1975 by Scribner and in a paperback edition two years later. A 1975 New York Times review described reading it as "like being trapped at a cocktail party with a normal looking fellow who suddenly starts a perfervid racist diatribe." The reclusive heiress Cordelia Scaife May, who used her fortune to bankroll the anti immigration movement, gave 5,000 through her Laurel Foundation in 1983 to a group called the Institute for Western Values to distribute the English translation of the book in the United States. The Social Contract Press, founded by John Tanton, the architect of the modern American anti immigration movement, published an English edition and still sells it online. The publisher's note to the Social Contract edition explains how, unlike in a work of nonfiction, "storytellers can advance notions prohibited to others," predicting that the book could "become the '1984' of the twenty first century," referencing the famous George Orwell novel about totalitarianism. Raspail's book helped inspire "The Great Replacement," the idea that white populations of Western countries could soon be supplanted by newer arrivals. Another French writer, Renaud Camus, developed the theory, which has become increasingly popular in white supremacist circles over recent years. The man accused of killing 51 people in attacks at two mosques in Christchurch, New Zealand, earlier this year, titled his manifesto "The Great Replacement." It was also cited by the shooter at a Walmart in El Paso, Tex. Although he has acknowledged that his book was "dangerous," Raspail has said in recent years that we would not withdraw a single line. He has claimed that the invasion in "The Camp of the Saints" was an accelerated version of what he called the "infiltration" faced by France over the past several decades. In France, a new edition published in 2011 became a best seller. The book was published for the first time in Dutch in 2015. That same year a right wing press republished it in German.	N24News: A New Dataset for Multimodal News Classification	Books
A Gift Guide Featuring Black Owned Businesses, for Those Who Like to Pamper While the holidays may seem different this year one thing that won't change is that Americans love to buy things. Despite the fact that millions of Americans have lost their jobs this year, spending on consumer goods from January to September increased by 7.2 percent, according to the Bureau of Economic Analysis. But this isn't just about the holidays. For everyone who made a vow earlier this year in the wake of the Black Lives Matter movement to be a conscientious shopper, one way to do that is to support Black owned businesses. In the spirit of Beyonce, who compiled her own list of Black businesses for consumers, we have assembled a list of self care gifts from Black owned businesses. Not everything was bad in 2020. BeautyStat, a skin care company, was founded this year by Ron Robinson, a veteran chemist who mixed formulas for Estee Lauder for more than 20 years and has now created his own serum. The Universal C Skin Refiner ( 80 for one ounce) is a 20 percent vitamin C serum that promises to banish dark spots and increase collagen production. When Kanae Branch, the founder of Zipora Scents, was running out of steam while filming a promotional video for her candles and bath products, her boyfriend stepped in and gave her and sales a boost. This 100 percent soy wax candle ( 22.50) has hints of lavender, rose and mint. hoops never go out of style Trust us. These Yam hoops ( 130) do a little more with a hanging pendant. Every piece is made by hand by the label's founder, Morgan Thomas, in New York's most New York borough, Queens. Don't us, Brooklyn. Winter is coming and your homies need a good face oil. Redoux's Borage Ginseng Active Serum ( 84) has a sensual citrusy scent and a blend of oils Founded by Asia Grant and Alejandro Cuevas, the label makes all its products in small batches. Most of us are wearing face masks these days. If you're looking to stand out, this 19 bandanna from Diop, a Detroit label, could do the trick. The designs on the bandannas reminded the founder, Mapate Diop, of Lagos, where he is from. Noirebud was founded by Carolyn Gray after she saw that the marijuana industry was not embracing people of color who have been incarcerated for marijuana offenses. This product ( 45 for 250 milligrams) has only three ingredients: hemp derived CBD coconut oil, olive oil and vanilla. Earrings from On This Rock Jewelry On This Rock Jewelry was founded by Janet Hill Talbert, to inspire and encourage. We all need a little of that these days. These earrings ( 75) do just that. Brown Girl Jane is owned by Tai Beauchamp, Malaika Jones and Nia Jones, who wanted to diversify the marijuana industry. This body butter ( 54) has 400 milligrams of CBD as well as a blend of shea and cocoa butters, chamomile, calendula and aloe. Celebrate Black women with this Philadelphia Print Work sweater honoring the first Black woman to get elected to Congress and run for President: Shirley Chisholm. A percentage of the proceeds from the purchase of the sweater ( 35) will also help support local and national organizations working against mass incarceration and police brutality. Marvina Robinson worked with a vineyard in France to develop the unique taste of Grand Reserve Brut Stuyvesant champagne. She named the bubbly after her home in the Bedford Stuyvesant neighborhood of Brooklyn, but it comes from plots in six villages in Vallee de la Marne. A bottle costs close to 60 but the memories will be forever. Both James Baldwin and Teri Johnson, the founder of the Harlem Candle Co., were inspired by Harlem. The candle ( 60) features a quote from Mr. Baldwin and a scent of sandalwood. Let Jackie help you set the mood There are other candles on this list, but the ones in the Forvr Mood holiday gift set ( 74 for two candles) offer aromas like gingerbread and pine. Not only that but these candles are by the beauty influencer Jackie Aina. Enough said. The set is available on Nov. 27.	N24News: A New Dataset for Multimodal News Classification	Style
At the 54th annual Country Music Association Awards last month, there was Charley Pride, onstage singing his indelible 1971 hit "Kiss an Angel Good Mornin'" alongside the rising country star Jimmie Allen. In the socially distanced audience, Nashville luminaries took in the wondrous spectacle. Eric Church, exuding stoic cool no mask. Brothers Osborne singing along no masks. Ashley McBryde swaying to the music no mask. Here were two kinds of wish fulfillment, tightly holding hands. First, honoring Pride, who also received the Willie Nelson Lifetime Achievement Award that night, was a belated effort at demonstrating sufficient respect for country music's first Black superstar. Pride was inducted into the Country Music Hall of Fame in 2000. In 2017, he received a lifetime achievement award from the Grammys. "I'm going to put this with all the other awards," he said backstage after the show, clutching the trophy. And then there were those unadorned faces, telegraphing a certain blitheness about the coronavirus, which was, at the time of the show, raging through the country. On the day the awards were filmed, 1,576 Covid 19 deaths were reported in the United States, according to the Covid Tracking Project at the time, it was the most in one day this country had seen since mid May, near the end of the pandemic's initial wave. (That daily death count has been topped 15 times since the CMAs.) If you believed what you were watching, you might think that the country music business was a tolerant one, encouraging of Black performers and willing to acknowledge the genre's debt to Black music. And you might believe that it was possible for a gaggle of superstars (and the behind the scenes people who help them navigate the world) to keep the pandemic at bay. The optics were pretty much seamless, the reality less so. Five of the show's planned performers pulled out because they tested positive for the coronavirus, or were exposed to someone who did. And most cruel was the news that this past Saturday, a month after the awards, Pride died, at 86, of complications of Covid 19. It is likely impossible to know whether Pride contracted the virus traveling from Texas to Nashville, or at the CMAs, but many, including the country stars Maren Morris and Mickey Guyton, expressed reasonable concern on Twitter that Pride's appearance on the show might have led to his exposure. (The CMA released a joint statement with Pride's representatives after his death noting that Pride had tested negative for the coronavirus before, during and after attending the awards.) It would not have been the first time Pride risked his well being and safety in the name of country music's embrace. His 1994 memoir, "Pride: The Charley Pride Story," details a litany of microaggressions and macroaggressions he experienced in his career. To be a Black performer in country, especially in the throes of the civil rights era, when Pride was getting his footing, was to put yourself on the line. Opening for Willie Nelson in Dallas in 1967, Pride was warned the crowd was potentially hostile. Not to worry, the promoter told him, because they were prepared to rapidly pull him offstage if the situation turned dire. "My mouth went so dry it felt like it was stuffed with cotton," Pride wrote. "He's not talking about name calling. He thinks something really bad might happen in a room with ten thousand people, and he only has two guys to get me out?" (The show went smoothly.) He had to be careful about his song selection. "There was a time, after all," Pride wrote, "when it was deemed unsafe to sing 'Green, Green Grass of Home' because it was about a condemned prisoner dreaming of his woman with 'hair of gold.'" Pride remembered being called slurs by performers who were his colleagues and friends; how George Jones and another man scrawled "KKK" on his car after a bender; and how he had to remind Webb Pierce who told him it's "good for you to be in our music" that "It's my music, too." Pride mostly relates these stories with dispassion, sometimes even with flickers of affection: These occurrences were simply the cost of doing business as a boundary crashing pioneer. In the book, he is expressly resistant to politics, and seems eager to assure everyone fellow Nashville stars, show promoters and people he meets along the way that he's got no interest in starting trouble, or being near it. Ultimately, Pride was rewarded by the country music business by the end of the 1960s and throughout the 1970s, he was one of the genre's central, crucial performers, a part of the firmament. But he was also, naturally, the exception that proved the rule even with his success as an example, the country music industry remained largely inhospitable to Black performers. He was a one of one. Nashville is ever so slightly more progressive now when it comes to diversity. Still, of all the pressures applied to the save face insistent country music industry this year, the racial justice reckonings of the summer certainly have been the most challenging to face up to. The CMAs are the most revered of the Nashville industry awards shows in 1971, Pride won entertainer of the year, the show's highest honor and its choice to bestow Pride with the lifetime achievement award this year felt, at a minimum, conspicuous. It was of course a lovely gesture on its own terms. Darius Rucker, one of the show's hosts and the most successful Black country singer since Pride, has frequently cited Pride's influence. And Pride's duet partner, Allen, is a promising young pop country talent and one of a handful of Black singers with recent hits. But their performance also had the air of tokenism did no white country star also want to pay tribute to a genre legend? Pride is not the first victim of the coronavirus in country music; the 1990s star Joe Diffie died in March, and John Prine (who wasn't even acknowledged at the CMAs) died in April. But just because the coronavirus has hit close to home has not discouraged country music stars from taking public risks with their health and others'. In June, Chase Rice played a concert for several hundred fans, and was roundly criticized after video appeared online of maskless revelers clustered together near the stage. Around the same time, Chris Janson was similarly criticized for performing for hundreds of fans. (In this, country stars are not alone; an Ohio venue was recently fined for hosting a Trey Songz performance, and New York officials have reported routinely shutting down dance parties in the city.) In October, Morgan Wallen was forced to withdraw from a scheduled appearance on "Saturday Night Live" after video emerged on TikTok of him partying with and in one case kissing fans in Alabama. Wallen ended up performing on the show earlier this month, and even participated in a skit poking fun at his indiscretions.	N24News: A New Dataset for Multimodal News Classification	Music
Buying into "Capone," a freehanded take on the final year of Al Capone's life, requires accepting Tom Hardy's grotesque performance as the notorious Chicago gangster. Hardy embodies Capone during the post prison period when he deteriorated in Miami Beach, demented from neurosyphilis. (After the movie's Capone suffers a stroke, his doctor, played by Kyle MacLachlan, recommends replacing the kingpin's signature cigar with a carrot.) Hardy evidently sees Capone, who died at 48, less as a monster made frail by a human body (a la "The Irishman") than as a boogeyman bloated with body fluids. Prosthetics have helped transform the performer into a repository of ashen skin, eyes with broken blood vessels and a guttural quack better suited to the Penguin. If you hit the character with a baseball bat, he might explode, like a pinata of phlegm and other excretions.	N24News: A New Dataset for Multimodal News Classification	Movies

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