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Another woman has accused Russell Simmons of rape, the latest of at least a dozen allegations of sexual misconduct against the hip hop mogul that began surfacing last year. In a largely first person account published by Variety on Tuesday, Alexia Norton Jones said that in 1990, she and Mr. Simmons, a co founder of Def Jam Recordings, went on a first date, at the end of which he invited her to see his new Manhattan apartment. Once inside, she said, he quickly attacked her. "I remember being pushed up against a wall," Ms. Jones said. "He pulled my dress up. I must have said no seven to 10 times." Ms. Jones said she finally acquiesced, and then left, shaken. Ms. Jones, a granddaughter of the founders of the publishing house W.W. Norton and a daughter of Clarence B. Jones, a lawyer and confidant for the Rev. Dr. Martin Luther King Jr., said that she and Mr. Simmons ran in the same social circles. After the encounter, "there was nobody to tell, because we had the same friends," she said, adding that she grew depressed and her sense of self esteem "eroded." "I was a gem," she said. "And he turned me into dirt." (She eventually confided in her therapist, with whom Variety confirmed the substance of their conversations.) In a telephone interview on Tuesday, Ms. Jones said that until other women began coming forward with allegations of rape and assault against Mr. Simmons, "I thought I was the only one." Mr. Simmons has steadfastly denied the multiple accusations against him, and in a statement to The New York Times on Tuesday in response to Ms. Jones's account, he said: "I have respectfully, factually and comprehensively denied the charges of sexual violence against me." He added that he had supplied statements from witnesses attesting to his innocence, concluding: "It is certainly true that there were and remain hurdles to calling out abusers. I have said from Day 1 that I support and advocate truth telling and holding abusers fully to account." Mr. Simmons told Variety that he and Ms. Jones had dated and "attended multiple events together" after that night in 1990. Ms. Jones said that Mr. Simmons continued calling her, and they ran into each other occasionally. But "his idea that we dated is preposterous," she said in the telephone interview, adding that she had her calendar datebook from those years, noting her whereabouts, and a diary where she referenced what happened that night and how she felt seeing Mr. Simmons afterward. "I was disgusted by him," she said. Mr. Simmons, 60, stepped down from his companies in November, after Jenny Lumet, a screenwriter, wrote an account in which she said Mr. Simmons "sexually violated" her at his apartment in 1991. In December, The Times published an investigation in which three women accused Mr. Simmons of raping them at his Manhattan apartment. The New York Police Department began interviewing women who said Mr. Simmons had assaulted them, but several of the women said they were told by the police that their allegations were outside of the statute of limitations for rape. The police took the reports in case more recent and prosecutable complaints surfaced, a law enforcement official said at the time. Ms. Jones also filed a report with the police this spring, she said, and went over her calendar and diary entries with a detective. She said that she hoped that even if her complaint was too old to be prosecuted, it would still spur others to come forward. Though she had forgiven Mr. Simmons for his alleged attack "Russell doesn't get to be my jailer," she told Variety she said she was motivated to speak out because of his continued denials. "It just infuriated me," she said. "I can't be quiet."	N24News: A New Dataset for Multimodal News Classification	Music
BROTHERS OSBORNE at Terminal 5 (Jan. 23, 8 p.m.). For those who appreciate their country music with a healthy dose of roadhouse ready rock, this Maryland based duo have released a series of up tempo, guitar heavy singles that have earned them both critical acclaim (including five Grammy nods) and a considerable following. Their rough around the edges sound relative to the slick Nashville aesthetic that's currently in vogue has endeared them to those country fans alienated by the genre's radio driven conformity. The show is sold out, but tickets are available through the resale market. 212 582 6600, terminal5nyc.com CAM'RON at S.O.B.'s (Jan. 19, 8 p.m.). This Harlem based M.C. will bring his collection of irresistible, party starting tracks to this intimate club in SoHo. As a member of the Diplomats, best known for their earthshaking self titled anthem, Cam'ron helped shape the sound of uptown rap in the late 1990s. Soon after, his solo efforts translated into two massive crossover hits: the indelible "Oh Boy" and "Hey Ma." Since then, he has remained beloved among rap aficionados for his bombastic, club ready tracks, but he has enough memorable songs and collaborations to appeal to those newer to the genre. 212 243 4940, sobs.com ANTHONY HAMILTON at Kings Theater (Jan. 19, 8 p.m.). This R B singer retains the aura of a different time his rich, smooth voice and defiantly traditional instrumentation have long set him apart from many peers in the genre. His breakthrough in the early 2000s, for example, was fueled by an appearance on the bluesy, rustic Nappy Roots hit "Po' Folks." He has continued to draw on everything from classic gospel, with his 2016 single "Amen," to barbershop harmonies, releasing a series of viral covers of rap hits with his quartet, the Hamiltones. 718 856 5464, kingstheatre.com KING PRINCESS at Warsaw (Jan. 23, 7 p.m.) and Irving Plaza (Jan. 24, 7 p.m.). "I hate it when dudes try to chase me," sings Mikaela Straus at the opening of her hit single "1950," which she released under her stage name, King Princess and somehow that's not even the song's most memorable line. Catchy, romantic pop confections are quickly becoming the 20 year old singer songwriter's specialty, despite the fact that she has yet to put out a full length album. What she has created so far, though, stretches the boundaries of pop norms with titles like "Pussy Is God" and stories about women falling in and out of love with one another. Both shows are sold out, but tickets are available through resellers. 212 777 6800, mercuryeastpresents.com LARAAJI at the Park Church Co op (Jan. 24, 7 p.m.). Though this septuagenarian's big break came with the release of his Brian Eno produced album "Ambient 3: Day of Radiance" in 1980, in recent years he's garnered a number of new fans thanks in part to a series of reissues from the trendy electronic label Leaving Records. Laraaji makes serene New Age music on an array of instruments including the zither, the hammered dulcimer and the piano. This meditative set will, fittingly, take place in a Brooklyn church. Rachika S, a local ambient electronic composer, opens. eventbrite.com THIS IS HIP HOP at the Apollo Theater (Jan. 18, 8 p.m.). Hip hop, with its generally spare instrumentation, has long been a good fit for festival style concerts that squeeze in a number of acts. The legendary lyricist Rakim and a slew of local rap groups active from the 1980s to the early 2000s the Lox, E.P.M.D., Black Moon and Brand Nubian will be sharing the turntables and microphones at this old school affair. For New York rap fans, it's a head nodding trip down memory lane; for those new to the genre, it's a vital history lesson. 212 531 5305, apollotheater.org NATALIE WEINER AARON BURNETT AND THE BIG MACHINE at the Cell (Jan. 19, 9 p.m.). Boisterous and urgent, the tenor saxophonist Burnett sounds like he could be living on the jazz avant garde of the 1970s, or surviving a cyborg apocalypse three decades in the future. His new album with the Big Machine is "Anomaly," full of original compositions with a weird, seductive darkness from ballads to scorching, unsettled postbop. Burnett celebrates the disc's release with an iteration of the Big Machine that includes Joel Ross on vibraphone, Carlos Homs on piano, Nick Jozwiak on bass and Dan Nadeau on drums. 646 861 2253, thecelltheatre.org GEORGE COLEMAN QUINTET at Jazz Standard (though Jan. 20, 7:30 and 9:30 p.m.). Particularly well known for his stint in Miles Davis's band during the 1960s, this tenor saxophonist uses a lissome, slippery tone to craft melodies of scattered beauty. Now 83, Coleman appears this weekend in a band of straight ahead jazz stalwarts: Harold Mabern on piano, Yotam Silberstein on guitar, Gerald Cannon on bass and George Coleman Jr. on drums. 212 576 2232, jazzstandard.com KEYON HARROLD at the Blue Note (Jan. 21 23, 8 and 10:30 p.m.). Harrold is technically gifted enough to have recorded the Miles Davis trumpet parts heard on the soundtrack to the 2016 film "Miles Ahead." He's also a ruggedly modern thinker, whose own most recent album draws inspiration from radio hip hop, classic quiet storm, cinematic scores and contemporary jazz. He has long performed in the backing bands for figures like Maxwell, Jay Z and Rihanna, but these days he is focusing more squarely on his own bandleading career. A native of Ferguson, Mo., Harrold here will perform a program titled "Jazz for Reflection, Protest, Justice and Unity." 212 475 8592, bluenote.net INGRID JENSEN QUINTET at the Birdland Theater (Jan. 23 26, 7 and 9:45 p.m.). A trumpeter who's as versatile as she is vigorous, Jensen released a standout album last year with the tenor saxophonist Steve Treseler. Titled "Invisible Sounds," it pays tribute to Kenny Wheeler, an influential trumpeter and composer who died in 2014. Jensen and Treseler reinterpret nine of Wheeler's compositions, which tend to be lyrical and songlike, whether moving at a quick clip or drifting as slowly as cloud cover. Though Jensen is the nominal bandleader for the gigs on Wednesday and Jan. 24, Treseler will also be there; they'll be joined by Christine Tobin on vocals, Gary Versace on piano, Martin Wind on bass and Jon Wikan on drums. On Jan. 25 and 26, Jensen will revisit the material from her 2003 disc, "Project O," with the pianist Gary Versace, the bassist Richie Goods and the drummer Jon Wikan. (The tenor saxophonist Joel Frahm will sit in on Jan. 25 only.) 212 581 3080, birdlandjazz.com KASSA OVERALL WITH JASON MORAN at the Jazz Gallery (Jan. 18, 7:30 and 9:30 p.m.). In December, Overall a drummer, producer and sometime rapper launched a monthly residency at the Gallery called "Time Capsule." He is welcoming a different high profile pianist each month and will record every performance. The resulting tapes will form a capstone product, a hybrid recording that blends chopped up elements from different performances. (There's a visual element, too: Overall is collaborating with the artist Nate Lewis, who will create a work to accompany the record.) For this month's show, Overall welcomes the eminent pianist Jason Moran. 646 494 3625, jazzgallery.nyc	N24News: A New Dataset for Multimodal News Classification	Music
A heady amalgam of youthful beauty, charm and skill flooded the Ailey Citigroup Theater on Tuesday during a 90 minute program shared by the Royal Ballet School and American Ballet Theater Studio Company: a showcase of the pre professional skills of young dancers at a very high level. The performances were part of an exchange. A similar program by the two groups took place in New York two years ago, while last year the Ballet Theater youngsters danced with the Royal Ballet School in London. Though performance itself must always be a climax, probably the best aspects of this collaboration have been offstage when teachers and coaches are shared. I felt a frisson just to see the great ballerina Irina Kolpakova in the auditorium. This former luminary of the Kirov Ballet is now part of the American Ballet Theater institution, and I envy all young dancers who are brushed by her artistry. The evening's introductory speeches by Kate Lydon (director of the ABT Studio Company) and Christopher Powney (artistic director of the Royal Ballet School) set the evening's happy mood; Mr. Powney said his dancers had not stopped smiling since they touched down in New York. Each institution performed three items. It became fascinating to see what the Royal and Ballet Theater troupes had in common and what features seemed national specialties. On Tuesday (casts were to change for all but one piece in Wednesday's performance), the abundance of sheer good looks across the program was extraordinary and these were always supported by dance technique, style and sheer performing skill. On two occasions in the Royal performance of Liam Scarlett's "Classical Symphony" (made for this school in July 2014), I spotted moments of strain in partnering. What was impressive was how well, especially in a theater as small as this, these were disguised. The Ballet Theater dancers perhaps because of sheer experience, having already danced some items they have performed in New York before had more individuality. In an extended series of excerpts from "Le Corsaire," Rachel Richardson (dancing Medora) and Jin Zhang (Gulnare) showed why they have already become apprentices with American Ballet Theater (the Studio Company's parent troupe). Ms. Richardson, despite her modest stage manners, is an enchantress with wonderful delicacy, while Ms. Zhang brings a marvelous fullness to her choreography. No less striking was the skinny, beaming Rinaldo Venuti as the "Corsaire" slave Ali. He certainly has panache; better, he also has timing, with the ability to find musically hairbreadth pauses within phrases that many dancers would deliver in an undifferentiated rush. The six eager dancers who performed half of Merce Cunningham's "Duets" (1980, and in Ballet Theater's repertory since 1982) weren't ideal Cunningham stylists in weight or dynamics. And yet they were wonderful, full of rhythmic continuity, suspense and brio, apparently loving the choreography's wit. Breanne Granlund and Aran Bell ("like Hansel and Gretel," remarked my companion of their playful innocence) gave their dance the fresh naivete of a Bournonville duet, and Hanna Bass and Samuel Rodriguez both closest to the choreography's manner drew the audience into the moment by moment tension. The Royal dancers showed more particular features of style. My American companion drew attention to the greater lift they showed in their upper body. There was much to see in Mr. Scarlett's "Classical Symphony" (set to Prokofiev's eponymous work), not all of it good. Over all, this ballet (ladies in white tutus, men in dark tunics and tights, academically classical steps for a formally hierarchical gathering) looks like a cheap imitation of George Balanchine's "Symphony in C." Moments of it are ghastly: At one point four ballerinas, lying on their backs, extend their stretched legs vertically in the air and twiddle them in entrechats. But the choreography's finest sections, chiefly in the first movement, are the best indication I have seen of Mr. Scarlett's compositional sophistication and of his feeling for the nice points of Royal style. Here were the charming harmony of head and leg as women advanced on point in emboites, the face turning briskly left, right, left to match the foremost foot. Here was epaulement (shouldering) as a primary effect, as men stood, their arms raised like halos, and alternated the angles of their shoulders (left, right, left, again). And here were arms extended in low lines to continue the slope of the shoulders a favorite touch of the Royal's founder choreographer Frederick Ashton and often employed by his most celebrated successor, Kenneth MacMillan. The "Classical Symphony" lead pair Leticia Dias Domingues and Harry Churches and the "Chanson" couple Giulia Frosi and Lukas Bjorneboe Braendsrod all exemplified these features of traditional British ballet style. Like their Ballet Theater counterparts, they also showed redoubtable standards of delivery.	N24News: A New Dataset for Multimodal News Classification	Dance
Peter De Cupere's "Tree Virus" sculpture wasn't much to look at: a dead, black tree rooted in a craggy white ball suspended over a dirt pit, all of it covered by a plastic igloo. Built on a college campus in the Netherlands in 2008, the whole thing might have been leftover scenery from a Tim Burton film if it weren't for the outrageous smell. Inside the igloo, a heady mix of peppermint and black pepper saturated the air. It flooded the nose and stung the eyes. Most visitors cried; many ran away. Others seemed to enjoy it, laughing through the tears. Such is the strange power of olfactory art. "When you walk into an installation with scent, you cannot hide. Your body starts to react," said Mr. De Cupere, a Belgian artist who has been using odors to trigger visceral reactions for nearly 20 years. "When you look at something, you start to think about it. I want people to also feel how work can impact you." Yes, Mr. De Cupere makes art that stinks. Sewage, sweat, rotten fish, cigarettes, urinal cakes. But also grass, toothpaste, candy, flowers and soap. All have figured prominently in the installations, paintings, perfumes, performances and even an iPad app of this provocateur. He is just one of several contemporary artists using odor to create art that delivers an intensely personal, emotional and sometimes physical experience. Smell has an unfair advantage over the other senses when it comes to eliciting a response, researchers say. "There is a unique and directly intimate connection between where smell is processed in the brain and where memory is stored," said Rachel Herz, a psychologist at Brown University and the author of "The Scent of Desire: Discovering Our Enigmatic Sense of Smell." The olfactory bulb the bundle of neurons that transmits information from the nose to the brain is part of the limbic system, which supports emotion, long term memory and adrenaline flow. "This is where that special characteristic that really distinguishes olfaction comes from." Just as Proust's madeleines opened a floodgate to childhood memories, scents can recall different feelings depending on how a person first encountered them. "The classic example is wintergreen mint," considered a very pleasant odor in the United States but unpleasant in Britain, Dr. Herz said. "In the U.K., wintergreen is the scent of bathroom cleaning products or medicine. In the U.S., it's candy." Dr. Herz added that she had always enjoyed the smell of skunk, because before she learned its source, she recognized it as the smell of the woods. Mr. De Cupere, 44, is well aware of the physiology he exploits. By using smells that are both familiar and out of place like a cityscape carved out of soap or a gas station with pumps that smell like grass he not only comments on environment, beauty and climate (three of his favorite topics), but interacts with people's memories. "With odor, I can make work that's universal, that everyone can understand, but still there will be a personal aspect to it," he said in a telephone interview. "It's more intimate than seeing, and it's very subjective. It adds another dimension to the work." Art that incorporates scent has always been an outlier, and not without reason. Smells, which start with microscopic chemicals floating through the air, are hard to control and susceptible to environmental conditions. In 1902, a poet and art critic named Sadakichi Hartmann tried using perfume and a fan to stage a "scent concert" in New York, but was foiled by clouds of tobacco smoke and was eventually booed offstage. Smell o Vision, a method developed decades later for pumping odors into a movie theater, failed in part because the smells took too long to reach the balcony. Even today, Mr. De Cupere needs galleries showing his work to take it easy on the air conditioning. Mr. De Cupere discovered the power of scent at a young age. At 9, he distilled grass from his backyard to make a perfume, and saw it brighten the mood of people on the bus. "It's 7 o'clock in the morning, everyone is tired, but you enter the bus and there's this smell of fresh cut grass, and people start to smile," he said. Though there is a definite ick factor to much of his work last year he distilled his bodily fluids to produce a cologne he calls "Own Smell" Mr. De Cupere has a playful side. In 1999, he installed 333 bronze clown noses in a children's cancer clinic in Brussels, then pumped in the scent of Fruittella, a European candy. Working with Cartamundi, a Belgian card game manufacturer, he recently produced Olfacio, billed as the first smell recognition app for the iPad, in which a drawing by Mr. De Cupere appears to react when scratch and sniff cards are placed on the screen. (In reality, the screen is reading a special ink in the cards.) More often, he uses smells to provoke. He has made statues of the Virgin Mary out of urinal cakes, holy water and vaginal secretions. And "Warflower," on display at the Courtauld Institute of Art in London, is a grotesque plant that smells of gunpowder, growing out of a soldier's helmet. Mr. De Cupere has a high profile in his home country, and there is evidence his appeal is spreading. He is having his first exhibition in Cuba, and will have others in Switzerland, Italy, the Netherlands and Germany this year. He's never exhibited in the United States a tough market, given Americans' conventional tastes in both art and odors, said K.J. Baysa, chief strategy officer of the Institute for Art and Olfaction in Los Angeles. Mr. De Cupere's work "is certainly not what one thinks of when one mentions artworks that involve scent, because we are accustomed to its association with the pleasing notes of perfumes," Mr. Baysa said. "Art with an edge is not meant to appeal to the masses." Mr. De Cupere is more optimistic. "People are not used to it yet," he said. "They find it crazy. But smell has a lot of possibilities."	N24News: A New Dataset for Multimodal News Classification	Science
THE MIRAGE FACTORY Illusion, Imagination, and the Invention of Los Angeles By Gary Krist Illustrated. 402 pp. Crown. 27 It's rare in history to be able to see a city grow and metamorphose like a stop motion flower unfolding or a landscape changing before our eyes. Founded next to a river in 1781 by 44 Spanish settlers, Los Angeles became a part of an independent Mexico in 1821 and, with California, part of the United States in 1848. By 1910, when the leafy temperance town of Hollywood merged with its big sister to the east, the enlarged city's population was over 300,000. Los Angeles thus has a short history, but a dense one. In the first decades of the 20th century it was an entrepreneur's dream. Unlike San Francisco, its more established and establishment rival to the north, Los Angeles had an openness to schemes and self invention, for good and ill. An overwhelming proportion of those self inventors came from elsewhere. Charles Fletcher Lummis hiked across the continent from Cincinnati, while sending daily dispatches to a fledging newspaper that would become The Los Angeles Times, owned by Harrison Gray Otis, a Civil War captain from Marietta, Ohio. Frances Marion moved from San Francisco in 1914 to work with the pioneering film director Lois Weber and became the first person to win two Academy Awards for script writing. Walt Disney was born in Chicago, William Andrews Clark Jr., the founder of the Los Angeles Philharmonic, in Montana, while the Viennese architect Rudolf Schindler arrived in 1920 to work on Frank Lloyd Wright's Hollyhock House. Encouraged by Schindler, his school friend Richard Neutra relocated as well a never ending list of transplants that continues today. Gary Krist chooses three of these early 20th century icons of Los Angeles art and commerce to tell his story in "The Mirage Factory." They are William Mulholland from Ireland, the self taught engineer who brought water to the semidesert city and enabled its explosive growth; D. W. Griffith, the Kentucky born director who helped fashion a new vocabulary for movie storytelling; and Aimee Semple McPherson, the evangelical preacher from Canada, whose congregation came to number in the tens of thousands because of her adroit mixture of media savvy and personal charisma. Through this towering trio from early Los Angeles history, Krist, a novelist who has more recently written nonfiction, particularly about the scandalous pasts of Chicago and New Orleans, turns his focus to a tumultuous period in Angeleno history, beginning roughly from Mulholland's planning of the Los Angeles aqueduct through Griffith's notorious "Birth of a Nation" and into the heyday of McPherson's ministry in the 1920s. As he moves back and forth among his subjects, Krist draws upon some of the best books about the era and its people, enriching them with a virtuoso deploying of detail gathered from deep dives into primary material. Some of these events and individuals are more familiar than others. Griffith's career has been the subject of numerous studies and the saga of the Los Angeles water wars is, in a distorted form, familiar to anyone who has seen "Chinatown." Only McPherson's story is more of a local phenomenon. Using individuals to focus historical trends has its virtues and problems. Some 20 years ago Otto Friedrich compellingly profiled the Los Angeles of the 1940s, in part through the seemingly unlikely pairing of Ronald Reagan and Bertolt Brecht. Having a limited chronological spotlight helps, as, for example, in the case of Rosemary Ashton, who recently pulled together Dickens, Darwin and Disraeli through London's "great stink" of 1858. Coordinating Krist's cast is a more ambitious undertaking. There is precious little direct interaction among the three of them, and the time frame aligning them often goes awry for dramatic purposes. One also wonders whether another threesome might have given us a very different picture of the period Frank Lloyd Wright, F. Scott Fitzgerald and Anita Loos perhaps? The possibilities, if not endless, are many, like the multiple lives of the city itself. Perhaps more of a drawback, although one that often recedes as Krist's narrative gains momentum, is what the title metaphor implies an insubstantial and fleeting fiction. "It was no sensible place to build a great city" sets the tone for an initially moralistic take on the existence of Los Angeles, feeding into so many still enduring cliches about the city, "an obscenely wasteful but alluring garden in the desert." This utopia/dystopia tension has always been part of the city's DNA, and in these early pages, Krist leans heavily on the negative side. A moralistic inclination also sets much of the tone for the biographical interplay of Mulholland, Griffith and McPherson. For Krist, Mulholland represents the physical and economic needs of the city, Griffith the artistic and McPherson the spiritual. But their stories don't just bubble out of the complex cultural mix of early 20th century Los Angeles. They are also cautionary tales of larger than life individuals complete with tragic or at least melodramatic flaws. All three, Krist writes, "paid a price for their ambitions," as "each self destructed in the late 1920s." What then do these admittedly captivating stories add up to? Griffith's work has receded into the syllabuses of film classes as the movie business moved decisively on. McPherson's preaching style and her concern for the less fortunate can be easily detected as a pioneering model for evangelicals around the country. And Mulholland's aqueduct continues to flow, while the availability of water remains a Los Angeles (and a California) preoccupation. As Krist acknowledges in his epilogue, Los Angeles too has moved on to become the multicultural world city of today. Watered with imagination and invention, some mirages evidently can sink their roots deeply into reality.	N24News: A New Dataset for Multimodal News Classification	Books
THE BUYERS Andrea Trabucco Campos and Shana Chock Goldman in their new two bedroom in Clinton Hill, Brooklyn. Shana Chock Goldman and Andrea Trabucco Campos met at a party in Stuyvesant Town, in Manhattan, eight years ago. She had just graduated from Connecticut College and was living with roommates in Bushwick, Brooklyn, and he was a senior at New York University. Afterward, she walked him to his dorm, and within minutes he called and left her a message. Soon they began dating, and then living together. For a time, the couple rented in Carroll Gardens, Brooklyn, before moving to Italy, where Mr. Trabucco Campos grew up, for graduate school. Returning to Carroll Gardens, they found another rental, a charming one bedroom apartment where they knew most of their neighbors and paid 2,400 a month. "We had this fantasy that we would be able to own an apartment like the one we were renting," said Ms. Chock Goldman, 30, who is from Irvington, N.Y., in Westchester, and is a designer of health care facilities at Ewing Cole. (Mr. Trabucco Campos, also 30, is a graphic designer at Pentagram.) "For us, nesting is important," she added. "We didn't want just a launchpad. We wanted a place we could settle into." In the kind of small building they favored, Ms. Bondy said, "it's hard to get the kind of light they wanted, unless you're on the top floor." And then it appeared: a two bedroom unit in Fort Greene, on the fifth (and top) floor of a 20 unit co op building, priced at 745,000, with maintenance in the mid 800s. The couple dropped their Sunday plans and rushed to the open house, thinking an early arrival would give them an advantage. They offered the asking price, but the apartment sold quickly to someone else for 782,000. "When you get really excited, the fall is that much harder," Mr. Trabucco Campos said. Ms. Bondy urged them to expand their search to the sort of buildings they hadn't initially considered. In Clinton Hill, Brooklyn, they checked out the Clinton Hill Cooperative Apartments, dating to the 1940s, and found a unit they liked on a high floor, with a second bedroom fashioned from a dining area. The asking price was 599,000, with maintenance in the mid 900s. But they wanted overhead lighting and learned they couldn't add it unless they dropped the already low ceilings. And the layout seemed less than ideal for the placement of floor lamps. "That became a deal breaker for us," Ms. Chock Goldman said. "In retrospect, it seems silly. We were trying to find mature reasons why it couldn't work, instead of just saying, 'Nah, we don't love it.'" That apartment later sold for 640,000. They visited another apartment in Clinton Hill, a two bedroom on the top floor of the nearby Willoughby Walk co ops, built around 1958. As they waited for Ms. Bondy to arrive, people smiled and said hello, which they liked. "Why was everybody being so nice?" Ms. Chock Goldman said. "This was our introduction to the building." The apartment, which was in foreclosure, had great views and big windows. Both bedrooms were sizable, unlike those in the brownstones they admired, which usually included one nursery size bedroom, Ms. Bondy said. A second bathroom was a bonus, as was the balcony. The price was 750,000, with maintenance in the 1,100s. The couple planned to make an offer, but on a subsequent visit they noticed a buzz coming from the bathroom vents. "It was like being on a prop plane," Mr. Trabucco Campos said. The problem seemed to be the rooftop fans, but while the management company brought in engineers and maintenance workers to fix it, the buzz persisted. The couple decided to move on, and the apartment later sold for the asking price. By now, Ms. Chock Goldman and Mr. Trabucco Campos have met many of their neighbors, some of whom have lived in the building for decades, and they converse in the elevator and the hallways. "We wanted the charm, warmth and intimacy of a brownstone," Mr. Trabucco Campos said. And in their large postwar mid rise, they found it.	N24News: A New Dataset for Multimodal News Classification	Real Estate
In a commissioned episode, Nate DiMeo, creator of the podcast the Memory Palace, invites guests of the Freepoint Hotel in Cambridge, Mass., to cross the street and wander around Fresh Pond while he tells a story. It's a dreamy story that reaches well into the pond's past in the 19th century when the entrepreneur Frederic Tudor managed to create an empire in the ice trade, shipping frozen blocks from the pond to distant, sweltering climes. The ice found its way into "the drinks of Maharajahs, of men and women in waterfront bars in midsummer in Martinique," he says, over soft music that mixes in sounds referencing the industry and export geography. "He had turned pond water into a luxury item." The 14 minute recording, available free from the hotel, represents the vanguard of engagement in the travel realm long saturated in the written word for practical advice and increasingly reliant on video to provide a you are there simulation. For travelers in situ versus armchair travelers listening can stimulate the imagination to make the leap from present to past. "People like finding things," said Dave McCaslin, the executive vice president of H.H.M., which owns the Freepoint and worked on its podcast portfolio available on RadioPublic, a mobile app for podcasts. It also includes a fitness channel with an episode on the Boston Marathon and a bedtime channel featuring relaxing jazz music and a discussion of how dreams work. In the Memory Palace commission, "We wanted something hyper local that people can't really get anywhere. The ideal is to experience something that isn't canned." Taking travel to another dimension in a way that may encourage positive reviews and build a brand is the goal of many podcasts now proliferating across the web, and mostly free to access. The Carlyle, a Rosewood Hotel in New York is launching a podcast in January featuring interviews with celebrity guests in advance of the 2018 movie Always at the Carlyle on the subject. The Detroit Foundation Hotel, opened last spring, houses a podcast studio where Hillary Sawchuk, the host of A Drink With podcasts, has interviewed Detroit personalities, entrepreneurs and artists, sessions that are available on the hotel website. In its first episode released in October, the new travel podcast Unmapped offers the aural travel diary, complete with bumps in the road, of the blogger Angelina Zeppieri. In an age when virtually every smartphone has a voice recorder, podcasting is a cost effective medium, which could help explain its surge in listeners. In its 2017 report, Edison Research, which tracks digital audio and podcast consumption among other new media, found that 40 percent of Americans over the age of 12 have listened to a podcast, and 24 percent have listened to one in the prior month, up 21 percent versus the year before. Six in 10 respondents said they were familiar with the term "podcasting," a 22 percent increase over two years. When it launched its World Nomads Podcast earlier this year, the travel insurance company World Nomads spent less than 4,000 to construct a professional recording studio. The podcast, which has covered topics that include how small towns in Croatia are being overrun by tourists, costs under 200 a month to edit and 20 for podcast hosting. "There will always be a place for a few friends sitting around a kitchen table with a USB microphone and a laptop, as long as they talk about interesting stuff. It's the wonderfully democratized end of broadcasting," wrote Phil Sylvester, the communications manager for World Nomads, in an email. Traditional media, including Conde Nast Traveler magazine (Travelogue), The Associated Press (Get Outta Here) and Frommers.com (Frommers.com Podcast), also publish podcasts. There are location specific podcasts such as Londonist Out Loud and others devoted to forms of travel like the RV Family Travel Atlas. This Week in Travel explores current events and No Vacancy with Glenn Haussman focuses on the travel business. Travel related companies are hopping onto the podcast platform as a millennial marketing tool. In addition to publishing a travel magazine, the luggage company Away has a podcast, Airplane Mode, that explores "the reasons we travel and places we find ourselves." A recent episode covered "narrow brushes with danger, souvenirs with a back story, and trips that end in unexpected situations." Among newcomers putting story ahead of service, hotels have been especially active in the podcast arena; some of the best have used the contemporary medium to explore the past. Originally opened as a men's sports club in 1893, the Chicago Athletic Association hotel has used its Storytelling Series of live interviews as a way to examine the history of the building and the culture of Chicago. With many episodes newly available on iTunes, the series includes conversations with a Great Lakes surfer and local artists and musicians. Some audio tours have also taken a more sound rich approach to storytelling, including a new series that Mr. DiMeo of the Memory Palace did at the Metropolitan Museum of Art in New York. As an artist in residence, he produced eight compelling recordings available on the museum's website that provide the back stories on objects ranging from early American portrait paintings to the Egyptian Temple of Dendur. There's even a scavenger hunt that includes directions to "find me a picture of a child and wonder for a moment who she or he grew to be." The audio tour company Detour has used film and television producers to capture and mix place specific sounds on its walking tours, now available in 17 cities. Most are narrated by experts and figures associated with the locales, including the documentarian Ken Burns on the Brooklyn Bridge tour, the comedian Jenny Zigrino on a pub crawl around Faneuil Hall in Boston to taverns associated with Revolutionary War plotting, and the novelist George Dawes Green, also the founder of the Moth storytelling series, on the squares of Savannah (most downloads cost 7.99). "The technology allows you to have an immersive experience," said Stacey Book, the director of content for Detour. "You get something unique from someone speaking who you wouldn't have access to." Professionally mixed sound and scoring enrich the stories and help create Detour's aural landscapes. As Ms. Book said, "You can shoot a blank wall and still have an interesting story to tell with audio."	N24News: A New Dataset for Multimodal News Classification	Travel
Potsdamer Strasse, one of the busiest streets in Berlin before World War II, has long been known for its abundance of streetwalkers, sordid sex shops and strip clubs. But in recent years, art galleries have gravitated to this district, abutting a namesake park. And in the last few years, stylish restaurants, cafes and bars have followed. The sex shops are still here, though fading. Now the Potsdamer Strasse crowd has evolved into a hodgepodge of artists, hipsters, older Turks, and the occasional woman sporting stilettoes, fishnet stockings and a come hither glance. This sophisticated Art Deco cocktail spot began creating libations on Potsdamer Strasse long before the artists discovered the area. The extensive beverage list includes the classics, such as the martini and Negroni, as well as the more original tea infused gin drink, Earl of Victoria.	N24News: A New Dataset for Multimodal News Classification	Travel
Twyla Tharp is writing about rehearsing, touring and creating new work, 50 years after her first dance concert. BLOOMINGTON, Ind. We arrive in Bloomington on Monday evening for two days of activities with Indiana University. There will be a technique class, a session with students from the dance and theater departments and a dinner at which I will receive the university president's highest honor, all on Tuesday. The performance will be Wednesday evening. For me, these two days are a sort of homecoming. My family moved to San Bernardino in Southern California when I was 8. Born in Indiana, I had spent many happy summers on my grandparents' farms as a child and so when we left for the desert, I had already programmed many of the farm's working verbs into my muscles: sweep, bale, gather, hoist, haul, plow, plant. Later, I would reclaim them in the vocabulary of dance. Squeezing in a bit of time between the class and the dinner on Tuesday, I drive with Ricardo, who works with the I.U. concert bureau, to find a farm that looks like how I remember a farm. It is a rainy day and Jay County, where I was born, is a bit to the northeast of Bloomington but after an hour or so of driving I see something that feels believable to me. We stop and I get out, grateful to be slipping on the uneven earth as I guide the camera over the horizon for this panorama. I won't lie I did not actually plow fields by hand as a child. But I did love my mud pie plots, a tin pie plate into which I endlessly arranged flowers from my grandmother's kitchen garden. In the larger fields I watched seeds I had set into the earth grow, the arc of the drama afforded by the seasons sweeping through. As I tromp back through the muddy field to Ricardo parked by the side of the road, I am still and forever the child feeling plugged into the current of the earth. The next day our tech rehearsal starts onstage at 2:15. Every opening night has been preceded in the afternoon by a complete run of the show for the new stage crew and new spot operators in each theater. And while the dancers do not dance full tilt, they still walk their paths in these rehearsals marking the entire show in real space and time. I take advantage of this lowered energy level to come close to them with my camera and this is what I see, in our "Preludes and Fugues" rehearsal. Chances are, no one would see or describe these performers as branching, swaying, sweeping, rooted. But for me, the earth is literally my stage as I see the open field of my panorama inside the theater walls, a proscenium bounded by wooded copses stage right and left. As for the words describing the dancers, I try to be a responsible witness. And I try to be very careful with my words. I have heard from several readers, referencing my last blog (which dealt with the difficult task of translating a non verbal medium dance into words), about how suspect language with its inadequacies can be. Still, without it, how can we help the non dancer understand what it is we do? I ended my last blog with "shut up and dance," which may be truthful to the process, but left nondance readers confused. Wanting to help the people in the audience feel they have a right to think about dances without knowing how they are made, and wanting to give back a bit to my honorary alma mater, I offer a spontaneous Q A after the Wednesday night show. I guide the dialogue with a single question: "What did you see?" "The men's legs didn't go as high as the girls." "Outfits wrong why are the men all the same beige and the girls different colors? Is this fair?" There are numerous reasons this choice was made but they all have to do with stagecraft and came after lengthy deliberations, so I simply say this was a decision made by our designer, Santo Loquasto. Someone loves Reed Tankersley in the "Yowzie" trio with the two big girls because he's so good and so cute. Yes, I say to myself, and such bad casting if you want to punish a villainous womanizer who indiscriminately chases every skirt on the block. Instead Reed's gaining the audience's sympathy. But hold on. Maybe the audience has pinned my real intention since most of the men of this ilk I have known are extremely attractive and charming, so I let this one slip by with a simple, "Yes, Reed is wonderful." Someone sees abstractions, negative space. I question, "Did anyone think of a painter here?"	N24News: A New Dataset for Multimodal News Classification	Dance
PARIS Tropical flowers dripped off the gilded balconies and balustrades of the Palais Garnier. Huge parrots presided over the brightly hued display, and a tiger prowled through the plant filled basin of a fountain. French pop stars and actors posed for photographs; women in couture on needle sharp heels negotiated the crowds. (The parrots and tiger were stuffed. The women were real.) All the effort was for Saturday night's gala opening of the Paris Opera Ballet season, with a new piece, "The Seasons' Canon," by Crystal Pite, and William Forsythe's recent "Blake Works I," following the traditional "Defile," a ceremonious presentation of the Paris Opera Ballet School and the company. But the show was only partly onstage. It's the second year that the Opera has put on a splashy season opening event. The inaugural gala, last year, celebrated the start of the first season planned by Benjamin Millepied, who had become the director of dance in 2014, and who introduced, among other things, the notion of a glamorous, American style event that would attract major donors, corporate sponsors and a glittering crowd. It was a celebrity studded, spectacular affair, with the French president, Francois Hollande, in attendance, as well as Natalie Portman, Mr. Millepied's wife, and it made the most of the opulence and history of the Palais Garnier. But before the end of that season, Mr. Millepied announced his resignation, and in July he left, replaced by the former Paris Opera etoile Aurelie Dupont. It was Ms. Dupont, with Stephane Lissner, the director of the Paris Opera, who presided over this year's event, and although the ballets on the program were commissioned by Mr. Millepied, and his gala format was closely followed, his name was never mentioned. (An Opera spokeswoman said that the gala raised "about the same" amount as last year, around 1.12 million.) In a post performance speech, Ms. Dupont praised the diversity of the company's repertory as "unique in the world"; it's worth remembering that whatever Mr. Millepied may have done well or badly during his short tenure, it was he who convinced Mr. Forsythe to create his first ballet in 17 years for this company, and he who invited the Canadian born Ms. Pite, an established figure in the Anglo Saxon dance world who was virtually unknown in France. The audience leapt to their feet (unusual here), applauding wildly at the end of "Seasons' Canon," set to Max Richter's adaptation of Vivaldi's "The Four Seasons." It's not hard to understand why. Working with 54 dancers, Ms. Pite has created massed blocks of movement that focus on large scale patterning to often thrilling effect. Bodies ripple in waves across the stage; complex formations swirl headily as multiple groups run in different directions, taking up sequential positions, then abruptly running again. Dancers fall like dominoes; line up and windmill their arms down; stop suddenly and twitch heads, necks and upper bodies in abrupt, robotic unison. It's tribal, futuristic and a bit like an opening ceremony for a post apocalyptic Olympics. The performers, dressed by Nancy Bryant, each wear baggy khaki green trousers; the women have sheer flesh toned tops, the men are bare chested. Their throats are painted blue green; the only flash of color on the dark stage, animated to often brilliant effect by a backdrop of smoky swirling lights and glowing color. (The set is by Jay Gower Taylor, lighting by Tom Visser.) But the piece feels all about effect. (It is not helped by the rousing familiarity of Mr. Richter's score, which is inexplicably not played live.) Ms. Pite has done this visceral crowd stirring stuff before, both in "Emergence" (2009) and in "Polaris" (2014), and there is no doubt of her expertise. Oddly, the result reminded me of work by the provocative choreographer Maurice Bejart, hugely popular in France from the 1960s through the '80s. This is not a likely association with the ballet trained Ms. Pite, who danced with Mr. Forsythe's Frankfurt Ballet for five years early in her career, and whose earlier repertoire has included works of far more intimacy, dramatic subtlety and choreographic invention. There is little in "Seasons' Canon" to suggest an interest in movement innovation or in using the Opera dancers' advanced ballet technique. Although there are several principal dancers (Marie Agnes Gillot, Francois Alu, Ludmila Pagliero and Alice Renavand among them) in the piece, and solos or duets for them pop up briefly, mass movement keeps swamping all. The bombast of "Seasons' Canon" feels all the more marked next to Mr. Forsythe's "Blake Works I," a detailed and joyous homage to French classicism, beautifully danced by its original cast on Saturday. "Seasons' Canon" will be a hit for the Paris Opera Ballet, but I wish Ms. Pite had choreographed something really new.	N24News: A New Dataset for Multimodal News Classification	Dance
WASHINGTON If you want to live in a more equal community, it might mean living in a more moribund economy. That is one of the implications of a new study of local income trends by the Brookings Institution, the Washington research group. It found that inequality is sharply higher in economically vibrant cities like New York and San Francisco than in less dynamic ones like Columbus, Ohio, and Wichita, Kan. The study, released on Thursday, comes as a number of cities across the country are trying to tackle income inequality and expand opportunity through measures like increasing the minimum wage, which President Obama has promised to do at the federal level. In no city is the effort more prominent than in New York, where the new mayor, Bill de Blasio, has promised higher taxes for rich families and better services for poor ones, including expanded early childhood education and affordable housing developments. "The truth is, the state of our city, as we find it today, is a tale of two cities, with an inequality gap that fundamentally threatens our future," Mr. de Blasio said this month, echoing his campaign speeches. "It must not, and will not, be ignored by your city government." Local officials here in Washington and in Boston, New Haven, San Francisco and Seattle have also seized on the issue. But in some cases, higher income inequality might go hand in hand with economic vibrancy, the study found. "These more equal cities they're not home to the sectors driving economic growth, like technology and finance," said its author, Alan Berube. "These are places that are home to sectors like transportation, logistics, warehousing." He added, "In terms of actual per capita income growth, these are not places that would be high up the list." That does not mean that measures intended to mitigate inequality will necessarily reduce the vibrancy of a local community. But the study confirms what many others have shown: The country's big cities tend to have higher income inequality than the country as a whole. For instance, in the 50 biggest American cities in 2012, a high income household which the study measured at the 95th earnings percentile, putting it just into the top 5 percent earned about 11 times as much as a low income household, at the 20th percentile. Nationally, that ratio was 9 to 1. Some places tend to have much more intense income inequality than others. A high income family might earn 15 or 16 times what a low income family earns in San Francisco or Boston, compared with earnings multiples of six or eight in places like Virginia Beach or Wichita. Elizabeth Holmes Hones Her Defense in Day 2 of Testimony Kevin Spacey was ordered to pay 31 million to the 'House of Cards' studio after sexual harassment allegations. Low inequality cities, the study found, tend to be located in the South and the Midwest. They also tend to be geographically large, encompassing neighborhoods that in many other cities would be considered suburbs. Generally, the average for the top income group in such cities tends to be lower than it is in high inequality cities 150,000 to 200,000 a year, compared with 354,000 in San Francisco and 280,000 in Atlanta. The driving force behind spiraling inequality at a national level is the rich getting richer. But in many cases, the Brookings numbers indicated, poverty is as important a factor at the local level. In Miami, for instance, a household in the bottom 20th income percentile earned just 10,000 a year in 2012. Inequality in the 50 biggest cities grew modestly from 2007 to 2012, the study found. The effect was not primarily because of rapid income growth among the richest families generally, earnings for the top 1 percent of the income distribution have not yet surpassed their prerecession peak. Rather, it was because poor families, saddled with debt and high unemployment rates, have suffered through the recession and the recovery. The single biggest increase in inequality over that period occurred in San Francisco, where earnings for the typical low income household dropped 4,000 and soared 28,000 in inflation adjusted dollars for a high income household. But in most other places, inequality intensified because the poor got poorer, including in Cleveland, Sacramento, Tucson and Fresno, Calif. "High income households did not lose much ground during the recession," Mr. Berube of Brookings said. "Low income households lost ground and haven't gained it back. And the pressures around cost of living are higher at the low end than they are at the high end." Researchers say local inequality trends are related to national inequality trends, but are not the same. Any individual city's earnings ratios might be more defined by who can afford to and wants to live there whether a family of relatively low skilled new immigrants, or a computer programmer in high demand or a financier from abroad than by tidal economic trends like unionization and technological change. But New York and many other cities have promised to tackle inequality, in part by shifting the tax burden, but also through initiatives aimed at attracting middle class families with cheaper housing and better schools.	N24News: A New Dataset for Multimodal News Classification	Economy
Got Crystals? Gem Mining Could Be Your Full Time Job Moonstones in Montana, amethyst and emeralds in North Carolina, garnet and quartz in upstate New York. At pay to dig mines around the United States, visitors can paw through piles of mine tailings to uncover crystals and gemstones on "finders, keepers" terms for as little as 10 a day. At Herkimer Diamond Mines in central New York, home to an especially clear and unusually hard type of quartz crystal known as the Herkimer diamond, a 14 admission price includes a day of prospecting and the rental of a rock hammer. (Children under 4 mine for free.) In a typical year, one fifth of the mine's customers are international tourists, so when the coronavirus halted travel and delayed the start of this year's April to November digging season, the mine's proprietor Renee Scialdo Shevat worried about what the loss in revenue may do to the 40 year old family business. Even before the pandemic sent people searching for road trip destinations and outdoor adventure, interest in prospecting and rockhounding (or "fossicking," as it is called in Britain and Australia) was already ticking upward. That has prompted some mines that had long been closed, like the Ruggles Mine in Grafton, N.H., toward new life. From 1963 to 2016, Ruggles hosted tourists and hobbyists seeking mica, aquamarine, rose quartz and other treasures in its underground chutes and caverns. (It closed in 2016 when its owner, then 90, retired.) Late last year, New York City developers snatched it up with plans to reopen it as a tourist attraction, with major upgrades. Mine owners aren't the only ones with bright prospects. Some entrepreneurs are finding ways to carve out new careers in gemstones, too. For example, after having their jobs and schooling upended by the pandemic in the spring, Frank and Kyndall Stallings, 22 and 27, of Charleston, Mo., pivoted to digging for crystals. "It all started in February, when Frank took me to the diamond mine in Arkansas for Valentine's Day," said Ms. Stallings, of the couple's visit to a 10 a day public mine called Crater of Diamonds State Park in Murfreesboro. While they didn't bring home a diamond, they did find a tiny piece of quartz. The experience was a thrill of life changing proportions. By mid March, Mr. Stallings's work as a financial adviser had slowed significantly, Mrs. Stallings's classes for a bachelor's degree in horticulture had gone remote, and a job she had recently been offered data entry at a hospital never started. With their newfound time, the Stallingses were mining nearly every day. By mid April, the couple had sold everything they owned on Facebook, burned everything they couldn't sell in a bonfire, packed up their truck and hit the road to work as freelance crystal miners. "Fifty dollars a day to dig, and if you dig really hard you find 2,000, 3,000, 5,000 worth of crystals," Mr. Stallings said, referring to Ron Coleman Mining, a crystal mine in Arkansas where the couple recently unearthed a "once in a lifetime" 15 pound clear quartz point, which they later sold for 1,500. While 5,000 days are extremely rare, the Stallingses do earn a living selling specimens of gold, amazonite, pyrite, quartz, fluorite, shark teeth and obsidian out of the back of their Toyota RAV4 and on eBay. To keep overhead low, they are camping full time, but expect this "tent life" phase to be just a rite of passage. Ms. Stallings recently emailed from a campsite on the Upper Peninsula in Michigan, where the couple was hunting iridescent yooperlite by UV flashlight at night. "We are just getting started and foresee huge success with this business we are building," she wrote. A dedicated rockhound may, in theory, make up to 10,000 a month selling his or her finds on the internet. A mineral or crystal that is hand collected at a domestic, noncommercial site may fetch several times the price of one imported from a commercial mine abroad, especially in countries where the gemstone trade is known to finance conflict and genocide. Sellers can sometimes charge even more if they capture their finds on video (and hype them on social media). One of the kingpins of this business model is Bryan Major, a.k.a. the Crystal Collector, a shaggy haired prospector who posted his first crystal digging video to YouTube nine years ago. Video after video show him brandishing an amethyst cluster the size of his torso or an aquamarine crystal the length of his forearm not only courting potential buyers, but also luring rockhounding newcomers with what they could achieve. To make a career of digging crystals and gemstones, a nomadic life isn't mandatory: Patrick and Samantha Krug, 32 and 30, go rockhounding multiple times a week a stone's throw from their own backyard in Fonda, N.Y. "There's nothing like birthing a crystal that has been in the dark for 500 million years, being the first one to bring it into the light, not knowing what you have until you get it out and clean," Mr. Krug said. He and his wife fell in love with digging Herkimer diamonds while in college at SUNY Cobleskill. (The couple goes by "Him Herk" on Instagram.) Two years ago, the Krugs were granted a rare privilege by a local landowner: their own Herkimer land claim, a fraction of the size of a public mine, but one they have all to themselves. They use traditional mining techniques, not power tools, the way their mentors taught them and pay a small fee 5 per day that they dig to use the claim exclusively, carting their 16 pound hammers, flat steel, rakes, hoes, safety goggles and other crystal digging gear on a little wagon. Herkimer diamonds often form in free floating, double terminated crystals, which means they have a point on both ends, causing them to resemble a cut diamond. After a rain, searchers may find them sparkling all over the ground, the size of a poppy seed or a pencil eraser. Or, they may need to bust through walls of dolomitic limestone to find a pocket an air chamber in the rock where crystals form where one might find a "palmer" (a palm sized Herk), or maybe one even bigger. The clearer and cleaner edged they are, the more value Herkimer diamonds have, and good specimens are increasingly popular both for their use in healing rituals and in jewelry. (Meghan Markle wore Herkimer diamond rings, stud earrings and a bracelet to Princess Eugenie's wedding last October.) Despite the Herkimer diamond's cachet, the Krugs haven't fully cashed in. They are keeping their operation small and holding onto most of what they find. "We're trying to collect every formation Herkimers make," Mr. Krug said. "If it speaks to us, we're going to keep it." "Right now, we mainly only sell on social media," Ms. Krug added. "I'd like to have a stronger personal collection before really selling them." In recent years, crystals once relegated to the New Age fringes have formed the bedrock of a mainstream market. As celebrities including Katy Perry, Kylie Jenner, Kim Kardashian West and others espoused the healing properties of crystals and gemstones, the price of small specimens rose fivefold over the past decade. Between 2017 and 2019, U.S. demand doubled. Some stars, like Gwyneth Paltrow and the former "Hills" stars Spencer Pratt and Heidi Montag, have spun the crystal craze into business opportunity. Mr. Pratt, in a recent interview, said the couple's home is filled with "at least 1,000" crystals. Ms. Montag had 27,000 worth of them placed at her bedside during the birth of the couple's first child. In 2018, they started a web store, Pratt Daddy, which peddled hundreds of healing gemstones per week for as much as 300 apiece. And just as many people are asking more questions about the origins of their food, there are growing questions about the origins and ethics of mining crystals and semiprecious gemstones the mine to market journey, which has been clouded with social and environmental concerns. Brianna Cannon, a jewelry designer on Long Island, said her customers find added value in the fact that, "for the most part, we know who pulled the stone out of the ground, from where, and when." She said items made with Herkimer diamonds are far and away her best seller for this reason. "People love to hear that we mine them ourselves, and that they naturally form so nearby," Ms. Cannon said. Ally Sands, the founder of Aquarian Soul, which makes crystal infused bath and beauty products (available at stores including Urban Outfitters), also sells crystals on an individual basis, with a marketing emphasis on ethical sourcing. "We have strong ties to each of our mineral and crystal suppliers, many of whom are small family run businesses that gather material from their own land," Ms. Sands, 33, wrote in a blog post last year. Her quartz, for instance, comes from a family that has been collecting on their Arkansas property for five generations. The family that provides her kunzite were her neighbors in San Diego until they moved to their native Afghanistan. Ms. Cannon and Ms. Sands both regularly attend gem shows, including the country's largest, in Tucson, Ariz., in order to make connections with freelance miners and rockhounds from whom they can source whatever they don't dig on their own. For his first six years digging crystals, Mr. Murray said he was "too attached" to part with anything he found. But this year, upon returning home to Seattle, he planned to keep the top 5 percent of his harvest, and sell everything else. "Very few people can do this," he said. "It takes stamina. It takes knowledge. It takes masochism." Like many others who share his passion for crystal hunting, he calls it an addiction one propelled by the unshakable thought that the next pocket of untold treasure may open up on the next swing. He recalled the legend of a Herkimer Mines regular who once found a flawless, water clear, perfectly terminated Herkimer point worth 50,000 and traded it for a 35,000 sports car. Then there is the story of "Diamond Jim," the retired fifth grade schoolteacher who, upon his passing, left his children with a collection of Herks worth an estimated 1 million. These stories just fuel the obsession, Mr. Murray said. "There are a lot of broke prospectors out there."	N24News: A New Dataset for Multimodal News Classification	Style
Pressure on Exxon Mobil and the energy industry increased on Wednesday with the release of a new cache of decades old industry documents about climate change, even as Exxon pushed back against efforts to investigate the company over its climate claims through the years. The new documents were released by an activist research organization, the Center for International Environmental Law, which published the project on its website. The documents, according to the environmental law center's director, Carroll Muffett, suggest that the industry had the underlying knowledge of climate change even 60 years ago. "From 1957 onward, there is no doubt that Humble Oil, which is now Exxon, was clearly on notice" about rising CO in the atmosphere and the prospect that it was likely to cause global warming, he said. The American Petroleum Institute, energy companies and other organizations had created a group, the Smoke and Fumes Committee, to monitor and conduct pollution research, and to "use science and public skepticism to prevent environmental regulations they deemed hasty, costly and unnecessary," according to the center's description of the documents on its website. Those actions, Mr. Muffett suggested, would be echoed in later efforts to undermine climate science. The center's work was first reported by Inside Climate News, which has published stories, as did The Los Angeles Times, suggesting that Exxon Mobil understood the risks of climate change from its own research, which it used to plan activities such as drilling in the Arctic, while it funded groups into the mid 2000s that denied serious climate risks. Those earlier investigations led to a surge in activism against the company and the energy industry, using the hashtag exxonknew. The investigations also have been cited by attorneys general, including Eric T. Schneiderman of New York, who have demanded information from Exxon about its internal research and its funding of climate denial. Inside Climate News announced that Wednesday's article is the first of a series based on the work of the environmental law center and documents it has amassed on its own. Alan Jeffers, a spokesman for Exxon Mobil, called the new allegations absurd. "To suggest that we had definitive knowledge about human induced climate change before the world's scientists is not a credible thesis," he said. Four attorneys general are investigating Exxon Mobil's public statements and private scientific knowledge over the years, and the company struck back on Wednesday in a filing in Texas against Claude Earl Walker, the attorney general of the United States Virgin Islands, and a private law firm working with his office on the investigation. The filing called Mr. Walker's actions a "flagrant misuse of law enforcement power" that "violate Exxon Mobil's constitutionally protected rights of freedom of speech, freedom from unreasonable searches and seizures, and due process of law and constitute the common law tort of abuse of process." The company, it noted, has no "physical presence" in the Virgin Islands, and its courts have no jurisdiction over the company.	N24News: A New Dataset for Multimodal News Classification	Science
Legal scholars were as startled as anyone by the scale of the damages awarded by a Florida jury on Friday to the retired professional wrestler known as Hulk Hogan in his suit against Gawker.com for posting a sex tape. But several experts on the First Amendment said on Saturday that the 115 million award was very likely to be reduced and that even if the verdict against Gawker survived scrutiny in higher courts, any wider effect on press freedoms was likely to be limited. The celebrity former wrestler and reality television star, whose real name is Terry G. Bollea, sued Gawker for invasion of privacy after the website posted in 2012 a black and white tape made in 2007 that showed Mr. Bollea having sex with the wife of a friend of his at the time, Todd Clem, a radio shock jock who had legally changed his name to Bubba the Love Sponge Clem. Mr. Bollea said the videotape was made and distributed without his permission. The jury's award of damages was greater than Mr. Bollea asked for, an indication of how strongly the six jurors condemned Gawker for posting the intimate scenes. The court could still add punitive damages. In the end, either the trial judge or an appeals court can reduce the damages. But the case will be watched intently by legal experts because it touches on hazily defined boundaries of constitutional law in the Internet era: What is newsworthy? Where is the line between privacy and freedom of the press? Whether this case has any direct implications for press freedoms depends on what happens next. A jury decision in one lower court does not set a precedent. Because it came from a trial court, Friday's verdict "doesn't in itself move the bar on the constitutional question in any significant way," said Geoffrey R. Stone, a professor at the University of Chicago Law School. Lawyers for Gawker Media say they have strong grounds for an appeal. Before that happens, though, the company faces a series of legal hurdles as the trial comes to a close. Once the jury sets punitive damages, a process that will probably begin in the coming week, the judge in the case must set a bond that the company will have to post. In Florida, such bonds are capped at 50 million, a figure that would require the company to raise significant money. Gawker plans to appeal if the bond is set high, or try to have the bond stayed entirely while it appeals. In its appeal, Gawker plans to argue that a federal court and the state appeals court have already ruled that what it published was newsworthy, and thus that the case should never have gone before a jury. Gawker is also set to argue that, in any case, the jurors were not allowed to hear material evidence, some of which was unsealed on Friday. An appeals court generally does not question a jury's assessment of the facts. But if the court were to overturn the verdict, it would point to legal errors in the trial judge's instructions or rulings. Appeals courts tend to give more weight to First Amendment protections than trial courts do, experts said. Netflix buys a visual effects company in a move to support its global ambitions. 15 minimum wage for federal contractors will take effect Jan. 30. But even if the decision against Gawker is upheld, several legal experts say, its effect on wider press freedoms is very likely to be limited. "I think the damages are crazy, but I just don't see this as a terrible blow to the First Amendment," said George Freeman, the executive director of the Media Law Resource Center, a trade association of law firms and media companies, including Gawker Media. Mr. Freeman is a former assistant general counsel of The New York Times Company. "This was an unusual and extremely private matter," Mr. Freeman said. If Friday's decision stands, he said, "that could be bad for the future of sex tapes, but I'm not sure it would be a threat to anything else." Erwin Chemerinsky, an expert on the First Amendment and the dean of the law school at the University of California, Irvine, also said that any consequences for privacy law would be narrow. "I think this case establishes a very limited proposition: It is an invasion of privacy to make publicly available a tape of a person having sex without that person's consent," he said. "I don't think it goes any further than that and I do not see a First Amendment basis for claiming that there is a right to do this."	N24News: A New Dataset for Multimodal News Classification	Media
MICHAEL LETWIN, a lawyer living in Brooklyn, went to sign into his Facebook account, as he does almost daily, and received a surprising and unpleasant message. "Your account has been disabled," it said. "If you have any questions or concerns, you can visit our F.A.Q. page." Mr. Letwin, who besides his personal page also helps administer a Facebook page for the group Jews for Palestinian Right of Return, clicked onto the F.A.Q. page and found a reference to Facebook's community standards, none of which he felt he violated, along with the option to appeal. He did. And then he waited. And waited. Mr. Letwin's situation is not unusual, or new. The question of what role social media companies should play a hands off observer that steps in only in extreme circumstances, or a curator that decides what goes up and what comes down has long been debated. Recently, Twitter refused to allow posts with links to videos of the beheading of the American journalist James Foley. Facebook is involved in a battle with drag queens whose accounts were disabled because they used their stage names in their profiles. Using anything but your real name is a violation of the company's rules. The furor led this week to a meeting with Facebook representatives and a news conference called by a San Francisco supervisor. "We don't realize how ingrained Facebook is in our everyday lives," a drag queen named Heklina told KNTV in San Jose, Calif. "I was shut out of Facebook for 24 hours and felt like I had a limb chopped off." But few users, until they are faced with a similar situation, are aware of how little control they actually have over something they view as their own their pages, their posts, their photos. "When Facebook makes a termination decision, it's potentially life altering for some people," said Eric Goldman, a professor of law at Santa Clara University in California and co director of the High Tech Law Institute there. "They're cut off to access to their communities" and possibly to their clients. That is not to say that Professor Goldman thinks social media platforms should be completely unregulated. And, he said, Facebook and other social media companies largely do a good job of monitoring so many users and posts. His and others' main criticism focuses on transparency. "The average person's soapbox is now digital, and we're now in a world where the large social media companies have a governmentlike ability to set social norms," said Lee Rowland, a staff lawyer with the American Civil Liberties Union. "It's a massive power and it comes with a responsibility." These questions arise with all social media, but the relationship users have with Facebook is particularly passionate, Professor Goldman said. Even as some say its impact is waning, it still provides 1.3 billion people compared, say, to Twitter's 271 million active monthly users with access to news about their friends and to community groups. "Our goal has always been to strike an appropriate balance between the interests of people who want to express themselves and the interests of others who may not want to see certain kinds of content," Monika Bickert, head of Facebook's global policy management, wrote in an email. Social media companies have every legal right to take down content or kick someone off, said Danielle Citron, a professor of law at the University of Maryland School of Law. Facebook, like other social media companies, has a list of standards that users agree to abide by when they set up their accounts, even if they never read the standards. Among other things, they prohibit posting of hate speech (which means individuals or groups cannot attack others based on race, ethnicity, national origin, religion, sex, gender, sexual orientation, disability or medical condition), encouragements of self harm, graphic content or threats of violence. And the user's real name must be used. Anyone can easily file a report against a user. And Facebook has hundreds of people working globally, around the clock and in 30 languages, reading and responding to reports of violations. Obviously, many of these categories are open to interpretation. Breast feeding, for example, is something Facebook has grappled with in the past essentially, how much of the breast can you show before it becomes graphic? If Facebook decides to remove content, it sends a warning to the user about the action. People can also be locked out temporarily for a few days or a week. Grounds for immediately disabling an account include using a fake name or promoting child exploitation. But Heather Dorsey, who lives in Milwaukee, had not done any of those things when she found herself barred from logging onto Facebook three years ago. "My profile didn't break any rules. I hadn't done anything out of the ordinary prior to getting temporarily kicked off," she wrote in an email. "It was frustrating not knowing how long it was going to take to get the issue resolved, as I do use Facebook to stay connected, particularly with friends and relatives who live out of town. I am a freelance writer and social media consultant, so it was also an issue for my work." She tried to call, but ended up in an endless circle of recordings. She found an email address for advertisers and contacted it, asking what she had done wrong. And as suddenly as she was taken off, she was allowed back on. In 2012, the website Gawker published a far more detailed list of Facebook's Abuse Standards Violations used by the company's regulators. Facebook refused to confirm that the list was valid. While the community standards are global, the company does obey a country's laws. For example, visually or verbally insulting Turkey's first president, Mustafa Kemal Ataturk, is illegal in Turkey. If Facebook is notified of such a post, it limits the visibility of that post in Turkey. The same with Holocaust denial in countries where that is against the law. Facebook would not release the number of reports it receives nor how much content it takes down. But it does not take more than a quick search on the Internet to see that many users are confounded when they try to log in and find they cannot. That includes the American Civil Liberties Union. The organization last year posted a photo of a bare chested bronze female statue in an article on its Facebook page about controversial public art in Kansas. Facebook took the post down, telling the organization that it had violated Facebook's community standards. It then blocked the A.C.L.U. from posting for 24 hours, contending it had posted again, which it had not. Once the A.C.L.U. contacted Facebook's public policy manager, apologies were given and the post was allowed back up. But as Ms. Rowland said, "Our ultimate success is cold comfort for anyone who has a harder time getting their emails returned than does the A.C.L.U." Professor Citron, author of "Hate Crimes in Cyberspace," said of Facebook, "I think it's a positive thing that they're allowed to set community norms." The problem is a lack of "technological due process," she said. Ms. Bickert of Facebook acknowledged that "one area where we're focusing is improving the information we share with people about our community standards and when we take action on reported content." For Mr. Letwin, that can't come soon enough. A month after his account was disabled, he received an email apologizing, saying it had all been a mistake on Facebook's part. A Facebook spokesman said a report was filed against Mr. Letwin for using a fake name, which he had not done, and a reviewer looking at his account then mistakenly thought it violated Facebook's standards regarding promotion of violence and terrorism. But the process took far longer than it should have, he acknowledged, saying that typically, an appeal should be responded to within a few days. "It was a Kafkaesque thing," Mr. Letwin said. "You don't know if you did too many posts, too many likes. The rules are constantly changing."	N24News: A New Dataset for Multimodal News Classification	Your Money
A road movie that opens into a political allegory, "3 Faces" is filled with unexpected turns. It is the latest from the Iranian filmmaker Jafar Panahi, a master of narrative diversion, who again has taken the twinned roles of director and driver, as he did in the documentary "Taxi" (2015). Here, playing himself, or a version of the filmmaker Jafar Panahi, he spends a large part of the movie behind the wheel of an S.U.V., motoring through the Iranian countryside to help an actress find a missing, possibly dead woman. They succeed but also find other women, including one who's a ghost in a haunted world. The story is streamlined, simple and elegant, but the plot is thickly layered. The actress, Behnaz Jafari, has received a video of a distraught young woman, Marziyeh Rezaei, who seems to have committed suicide on camera. (The main performers share their names with their characters.) The shaken Behnaz has walked away from her latest role mid production and enlisted Jafar to help her search for Marziyeh. Their quest takes them to northwest Iran, where he speaks Turkish to Azeri villagers. He and Behnaz easily track down the missing woman, a discovery that enriches and complicates the inevitable gender divide that runs through this movie like a volatile fault line. Panahi's storytelling is direct, even obvious, and his visual approach looks similarly straightforward to the point of being utilitarian. But little is as it first appears in "3 Faces," including the short, alarming video of Marziyeh killing herself that dominates the movie's opening scenes. A teary, visibly shaken Behnaz repeatedly watches the video as Jafar drives, offering a running commentary on it. She's flooded with despair, anger, confusion and guilt, but can't stop watching it, perhaps especially because Marziyeh makes an on camera appeal to Behnaz for help that now feels like an accusation. In becoming the video's audience, the actress has become inescapably complicit.	N24News: A New Dataset for Multimodal News Classification	Movies
On Wednesday night, Louis Vuitton landed in Kennedy Airport with a blur of black S.U.V.s and celebrity stardust, clogging the tarmacs outside the old T.W.A. terminal with LV clad guests who ogled Eero Saarinen's ode to the space age and clattered into the arrivals lounge in towering LV ankle boots. The cruise show circus had touched down, and suddenly the most unchic part of New York City had a new look. The newlyweds Sophie Turner and Joe Jonas were there, clutching each other's limbs. Emma Stone schmoozed with Julianne Moore, who was wearing a jacket with some sort of emerald green capelet flying off the back (Louis Vuitton, of course). Cate Blanchett, who hadn't made it to the Met Gala earlier in the week, made it to the airport. Laura Harrier swiveled her head and looked excited. The terminal, an architectural landmark that opened in 1962 and quickly became a symbol of the dream of soaring into the sky, was abandoned in 2001 and mostly has been out of the public eye. MCR and Morse Development got the rights to redevelop it in 2016 and have been restoring it to full midcentury glory; later this month it reopens as a hotel. A ship may be baptized with a bottle of Champagne, but this was baptism by fashion.	N24News: A New Dataset for Multimodal News Classification	Fashion & Style
Washing cars is enough of a chore that many people simply don't bother. But what if the car didn't have to be washed, but would still look clean? Nissan is testing a European market version of its Note that is coated with a new type of paint called Ultra Ever Dry. The super hydrophobic and oleophobic paint repels water and oil, maintaining a layer of air between the paint and water, mud and grimy road spray. Nissan says the paint "has responded well to common use cases including rain, spray, frost, sleet and standing water." Nissan produced a video showing tests of the car. Water and mud roll right off the paint in big beads, creating an effect not unlike the one Rain X creates on windshields. The manufacturer of the new coating is UltraTech International. Nissan says it doesn't have plans to use the self cleaning paint technology on its production cars, but will consider it as an aftermarket option.	N24News: A New Dataset for Multimodal News Classification	Automobiles
WASHINGTON Momentum within the Federal Reserve this week continued to build toward resuming purchases of huge amounts of government debt to help the flagging economic recovery. The president of the Federal Reserve Bank of New York, the most powerful of the 12 Fed regional presidents, made a significant argument for the strategy Friday, joining similar expressions of cautious support this week by his counterparts in Boston and Chicago. Their statements helped solidify a belief on Wall Street that the central bank was likely to resume large scale purchases of Treasury securities after the Nov. 2 elections. The Fed has kept short term interest rates, its main policy tool, near zero since December 2008. The theory behind the new debt buying strategy is that the central bank can free up credit by creating money to buy long term assets and therefore make the cost of long run borrowing, already low, even cheaper. Gridlock over fiscal policy in Washington has most likely added pressure on the Fed to use monetary policy to support the economy, though Fed officials have not publicly said that. What the officials are saying, in increasing unison, is that inflation is undesirably low, well below the implicit target of about 2 percent, and that unemployment, at 9.6 percent, is far too high. "Viewed through the lens of the Federal Reserve's dual mandate the pursuit of the highest level of employment consistent with price stability the current situation is wholly unsatisfactory," the New York Fed president, William C. Dudley, said in a speech in Midtown Manhattan. He suggested that the Fed should act unless economic conditions noticeably improve soon. His perspective is believed to be in line with that of Janet L. Yellen, who was confirmed Wednesday as the Fed's vice chairwoman. Ben S. Bernanke, the Fed chairman, is increasingly viewed as sympathetic to that thinking but he has not disclosed his stance. Other Fed officials backed Mr. Dudley's view. On Friday, Charles L. Evans, president of the Chicago Fed, said in Rome that it "would be desirable" for the Fed to provide additional monetary stimulus. "We still have a long road ahead before we catch up to the level of activity we would have achieved in the absence of the crisis, or any other shock," he said. And on Wednesday in New York, Eric S. Rosengren, president of the Boston Fed, sounded a similar note. "While the economy is growing, it is currently growing too slowly to significantly reduce the unemployment rate or stem disinflationary pressures created by the high degree of slack in the economy," he warned. The Fed bought 1.7 trillion in long term securities a mixture of mortgage linked bonds and Treasury securities from January 2009 to March 2010 to put downward pressure on long term rates. But the slowdown in economic growth in recent months has caused the Fed to contemplate a second dose of monetary medicine. Critics, notably a small but vocal minority of inflation hawks among the Fed's leaders, believe that the medicine could have dangerous future side effects. But the consensus seems to be coalescing around the position of the doves a group Mr. Dudley has apparently joined that the persistently high unemployment rate is unacceptable, particularly at a time when inflation is so low. Mr. Dudley discounted a much discussed alternative to quantitative easing: using the Fed's public communications to make it clear it intended to keep the benchmark short term rate the federal funds rate at which banks lend to one another overnight at nearly zero for even longer than the markets already expect. That approach could help lower inflation expectations, which play a crucial role in determining future price movements. But those expectations are already very low, and Mr. Dudley said the approach might merely create uncertainty about future inflation instead of lowering expectations further. Instead, Mr. Dudley spoke favorably about quantitative easing, citing calculations suggesting that " 500 billion worth of purchases would provide about as much stimulus as a reduction in the federal funds rate of between half a point and three quarters of a point." That effect would be dependent on how long the markets expected the Fed to hold onto the assets, he added. Lower long term rates would support home prices and household net worth, ideally making housing more affordable, permit more homeowners to refinance their mortgages, and reduce the cost of borrowing for businesses, Mr. Dudley said. Mr. Dudley did outline two potential drawbacks to quantitative easing. One is that expanding the Fed's exceptionally large balance sheet even further could unsettle inflation expectations a concern Mr. Dudley said could be allayed with a demonstration by the Fed that it had the tools and willingness to return to normal monetary policy when the time came. The other objection is that additional asset purchases would expose the Fed to fluctuations in short term rates. When those rates eventually rise, the Fed will have less money to turn over to the Treasury each year. Mr. Dudley made it clear that he did not consider either concern insurmountable. "My assessment is that both the current levels of unemployment and inflation and the time frame over which they are likely to return to levels consistent with our mandate are unacceptable," he said, adding, that "the longer this situation prevails" the greater the risk that a new shock could unmoor the economy further and push it "closer to outright deflation." But skeptics have been equally outspoken. On Friday, Richard W. Fisher, president of the Dallas Fed, said a new round of debt buying "could flood the engine of the economy with gas that might later ignite inflation." Charles I. Plosser of the Philadelphia Fed said Wednesday in a speech in Vineland, N.J., that "it is difficult, in my view, to see how additional asset purchases by the Fed, even if they move interest rates on long term bonds down by 10 or 20 basis points, will have much impact on the near term outlook for employment." (A basis point is one hundredth of a percentage point.) Mr. Plosser warned that additional action could hurt the Fed's credibility and create the impression that the Fed was trying to "monetize" the deficit by printing money. Mr. Dudley on Friday called that fear "fundamentally mistaken," saying the Fed would be creating money only to help get the recovery back on track, not to relieve the country's fiscal strains. Even as some Fed officials staked their ground, others appeared to be on the fence. Narayana R. Kocherlakota of the Minneapolis Fed said on Wednesday in London that a new round of quantitative easing would be less powerful than the last one because the financial markets had stabilized, but he did not rule out the approach.	N24News: A New Dataset for Multimodal News Classification	Economy
With 'The Weekly,' The New York Times Gets Serious About TV The New York Times is going Hollywood. The cable channel FX announced on Wednesday that it would be making a new weekly documentary series centered on stories that appear in The Times and the journalists who report them. The show, which will be called "The Weekly," builds on the success of the podcast "The Daily," which began last year and generally examines a story a day from the Times newsroom. FX has given "The Weekly" a 30 week commitment and a Sunday night time slot. The show, at 30 minutes per episode, is expected to debut later this year, possibly in time for the midterm elections. Hulu has the rights to stream the new series, giving the program a dedicated streaming platform the day after it premieres on cable. Unlike "The Daily," which is hosted by Michael Barbaro, the television version will not have a dedicated host, FX said. But in keeping with the podcast's format, "The Weekly" will follow a reporter or team of journalists as a Times story makes its way toward publication. For The Times, the FX show signals a turn toward the entertainment world. The company recently made a deal with Netflix to turn a feature from The New York Times Magazine into a documentary series called "The Diagnosis," with Scott Rudin producing. Megan Ellison's Annapurna Pictures and Plan B, a production company co founded by Brad Pitt, have gobbled up the rights to make a movie about how The Times broke the Harvey Weinstein story. Later this month, "The Fourth Estate," a four episode series from the documentary filmmaker Liz Garbus chronicling the Times newsroom during the first year of the Trump administration, will premiere on Showtime. Times leaders have been sending signals that this would be the year it would be aggressive in entering the crowded television space. "We think this could be a way both of directly generating revenue but also again of getting Times journalism in front of new audiences and further building the reputation and the influence of The New York Times," the Times Company chief executive, Mark Thompson, said on a quarterly earnings call last week. The Times receives most of its revenue from subscriptions, and has said in recent years that it is making a concerted effort to get its product in front as many potential subscribers as possible. In a statement, Meredith Kopit Levien, the chief operating officer of the Times Company, said: "Our ambition with 'The Weekly' is to bring the authority and excellence of New York Times journalism to the largest possible television audience. Partnering with FX and Hulu together for distribution represents an entirely new and uniquely powerful way do just that." In a memo to the staff, Dean Baquet, the executive editor of The Times, and Joseph Kahn, the newspaper's managing editor, said that the show "represents one of our big bets of the year." 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. "With it," they added, "we expect to reach entirely new audiences, tap new revenue streams and gain entry into new parts of people's lives beyond the time reserved for reading news all of which should give our journalism even greater impact." The three Times people who worked on developing "The Weekly" and finding distribution partners for it were Sam Dolnick, an assistant managing editor; Jake Silverstein, the editor in chief of the Times Magazine; and Stephanie Preiss, the director of strategy and business development. The planned series also breaks ground for FX, a cable network known for critically acclaimed scripted shows like "The Americans" and "Atlanta": It is the network's first foray into unscripted content in some time. Rivals like Showtime, Netflix and HBO have been making documentary series for years. FX, like nearly every other cable channel in the streaming and cord cutting era, has had declining ratings in recent years, but is still available in 90 million homes. Hulu announced last week that it now has more than 20 million subscribers. Partnerships between publications and traditional cable players are nothing new. Buzzfeed has a dedicated studio division, and recently made a deal with Netflix to create a new series featuring its reporters following a story. Vice has a daily newscast on HBO, though that series has had trouble breaking through the din. And two cable channels built on journalism based brands Viceland and Esquire premiered in recent years but fizzled.	N24News: A New Dataset for Multimodal News Classification	Media
This fall, two ambitious festivals, Crossing the Line and Performa, will try to take over New York: not only in theaters and gallery spaces but also on sidewalks. Havens for multidisciplinary performance and dance, each dispenses with convention in favor of adventurous programming that makes you think as much about your place in the world as about the art itself. The coup of Performa 15, which runs from Nov. 1 through Nov. 22 and also includes a collaboration between the Italian artist Francesco Vezzoli and the American dancer David Hallberg, is a new work by the French choreographer Jerome Bel. For "Ballet (New York)," Mr. Bel will present 15 local performers, trained and untrained and of different ages and backgrounds, with a sequence of tasks. Performed at three spaces a theater, a dance studio and a gallery Mr. Bel's piece, with his contrarian impulsive intelligence, explores what can make a theatrical world bland and a pedestrian one riveting. Performa, a biennial, has been led since 2004 by the art historian and curator RoseLee Goldberg; the ninth edition of Crossing the Line, running from Sept. 10 through Oct. 4, is presented by the French Institute Alliance Francaise and organized by the usual team: Lili Chopra, Simon Dove and Gideon Lester. The guiding principle for both is championing artists who push boundaries cultural, political and personal. Crossing the Line will present Miguel Gutierrez's entire "Age Beauty" trilogy, which takes on middle age and queerness: Can they coexist? It also plans three United States debuts. Ali Moini, an Iranian born artist based in Paris, offers "Lives," a look at identity and oppression that he performs while tethered to a crisscrossing set of strings designed by the Greek visual artist George Apostolakos. Alessandro Sciarroni, an Italian choreographer, presents "Folk s, will you still love me tomorrow?": Six dancers perform a Bavarian folk dance that is reduced to its essence in a piece in which acts of endurance and ritual are intertwined, with a special twist at the end.	N24News: A New Dataset for Multimodal News Classification	Dance
Trekking into the great unknown is exhilarating for most, but if you are the parent of a child with special needs, the unknown is your biggest obstacle, said Meghann Harris, 47, the senior founder of SpecialGlobe.com, a new travel website for families of children with physical and cognitive challenges. "These families just aren't traveling," she said. "They fear what services are out there, whether their child will be welcomed by the world; they get caught up in thinking their child is too loud, too impatient, a runner." Ms. Harris's daughter, Eliza, 8, has atypical Rett syndrome, a neurodevelopmental disorder. Her issues, mainly cognitive, "are hard to quantify on the road, so for us it's about how the world accepts her. Is the hotel staff trained in sensitivity? Are they helpful when she's having trouble waiting in line?" In her early research, Ms. Harris found resources for families like hers to be scarce or focused on mobility issues. So she and a friend, Jonathan Yardley, began building the website to serve as "a sort of TripAdvisor for special needs families," she said. Following are edited excerpts from a conversation with Ms. Harris Q. What's the first step to preparing for a trip with a special needs child? A. Planning. That means locating the closest hospitals, pharmacies, equipment rental companies, service organizations that can provide one to one assistance if necessary. Really plan out your time well. Be realistic in your goals. Parents want to jam everything they can into one trip, but you have to allow your kids downtime. If a parent is charging around, kids will feel that stress.	N24News: A New Dataset for Multimodal News Classification	Travel
A roundup of motoring news from the web: In an effort to increase sales in China, Volvo is trying to appeal to potential customers' sensibilities regarding that country's often dangerous air pollution. As part of a five year, 11 billion plan, Volvo will promote a filtration technology it introduced 10 years ago to keep tree pollen out of passenger compartments that can also protect occupants from other air pollutants. (The Wall Street Journal, subscription required) A visit by Japan's prime minister, Shinzo Abe, to a war memorial shrine on Mao Zedong's birthday has many Japanese automakers wary of consumer backlash in China. Among those honored by the shrine are Japanese World War II leaders convicted of war crimes that, even today, cause tension between the two Asian nations. (Bloomberg) When an ice storm brought a tree crashing onto power lines, electric service went out for days in Toronto's High Park neighborhood. One resident there made the best of a bad situation, storing her Christmas turkey in the trunk of her car to keep it cold. (The Province) According to recent figures, Volkswagen may edge ahead of General Motors in Chinese market sales, the first time that has happened in nine years. During the first 11 months of 2013, Volkswagen was 70,000 units ahead of G.M. in sales volume, and both automakers sold more than three million vehicles each in the world's largest automotive market. (Automotive News, subscription required)	N24News: A New Dataset for Multimodal News Classification	Automobiles
LUIS CEREZO's eyes welled up as he awaited the outcome of his latest attempt to resolve the 18 month backlog of mortgage payments he owes on the town house in Elizabeth where he and his wife and son have lived for the last 16 years. "I couldn't sleep last night knowing that today we've got to make the decision, do we stay in the house or not," said Mr. Cerezo, holding hands with his wife, Marjorie, after the two met with a Bank of America mortgage specialist to plead their case for a loan modification. The Cerezos were among the hundreds of people who filtered through a three day homeowner assistance program held by Bank of America at the Hilton Hotel here in early August. A second Bank of America event was scheduled for the following week at the Atlantic City Convention Center, and several more will be held throughout the country this year. Wells Fargo held a similar public workshop at the Meadowlands Exposition Center in Secaucus this month. The goal of these sessions is to use in person meetings to help underwater or delinquent homeowners find a solution short of foreclosure. "We're a bank," said Tamika Eubanks, a vice president of Bank of America in charge of the recent New Jersey events. "We're not in the business and have no desire to foreclose on anyone's home. We want to do everything we can to keep you in that house." Preparing for the Newark session, the bank contacted 6,000 customers who lived within a 30 mile radius of the city and were more than 60 days in arrears on their mortgage payments, urging them to attend. By the start of the event, 375 people had registered for meetings with one of 50 bank officers on site. The workshops also involve independent financial counselors, so participants can get help with other money issues. The process takes three to four hours, with about 40 percent of cases being resolved on the spot, Ms. Eubanks said. Options include an interest rate reduction, an extension of the terms of the loan, and a temporary suspension of mortgage payments. Those who can't work out a solution may be directed to consider a short sale of their property, or to begin the foreclosure process. Mr. Cerezo, 58, a native of Ecuador, was hoping his case didn't fall into the latter category, though the numbers were not in his favor on his three bedroom town house. He bought it in 1996 for 82,500, but now, after twice refinancing the loan, owes 320,000. The house is in Elizabeth City Gardens; it was once assessed at 470,000, which the couple borrowed against to remodel, according to their son, Favio. In the last 18 months, Mrs. Cerezo lost her job as a medical assistant and Mr. Cerezo, who has worked in ramp services for American Airlines for 26 years, lost his second job as a truck driver. Mr. Cerezo said they had come to the workshop after several frustrating phone attempts at resolution with the bank. "Many times we'd send them lots of papers, spending lots of money to make copies," Mr. Cerezo recalled. "Then they wouldn't get back to us for a month, and they'd say, 'Those papers are old, we need new copies.' " Although Nair Corbo's situation is not as dire as the Cerezos', she, too, came to the Newark workshop after becoming frustrated by her previous dealings with the bank. Ms. Corbo, 38, a paralegal, said she was up to date on the 1,193 monthly mortgage payments on her Roselle condominium, but was carrying close to 50,000 in credit card debt to cover those payments. Ms. Corbo bought her condo five years ago for 148,000. She still owes 139,000, though she said the home was now valued at 80,000. With her hours at her law firm having been cut back, she was hoping to reduce her monthly payments to Bank of America. "I'm not looking for a freebie," Ms. Corbo said. "I'm looking for something I can be comfortable with, being able to pay my bills and not have to use the credit cards." At the end of June, New Jersey had 33,576 houses either in the foreclosure process or already owned by the banks, according to Daren Blomquist, a vice president of RealtyTrac, an online home foreclosure database. New Jersey has the 15th highest rate of foreclosure in the country, with one in every 106 housing units facing this fate, Mr. Blomquist said. The state also has the second longest time frame, behind New York, for completing the foreclosure process, taking an average of 940 days, versus a national average of 378 days, according to RealtyTrac. With the persistently high foreclosure rates, and the recent 25 billion paid by the nation's five largest banks to settle federal charges of fraudulent mortgage practices, bank run workout sessions like the one in Newark which have been ongoing since 2009 have become more frequent and are attended by more people. In addition to Bank of America, the banks that settled are Wells Fargo, JPMorgan Chase, Citigroup and Ally Financial. Wells Fargo will hold 33 "home preservation" workshops around the country this year. For its program at the Meadowlands on Aug. 8 and 9, the bank contacted 38,000 customers, 760 of whom registered to attend. The bank's last New Jersey workshop, in Newark in January 2011, drew 542 customers. Marie Day, a regional service director for Wells Fargo Home Mortgage, said that two thirds of those who attend these events "will find an option that doesn't include foreclosure." The Cerezos had been hoping to get an answer before leaving the Bank of America workshop in Newark, but were told the wait would be a bit longer, because the Federal Housing Administration holds their mortgage. Even so, Favio Cerezo said, the session provided the family with some relief. "They gave him a lot of hope that there's not just one way out," he said, speaking of his father. "It looks like it's going to be accepted. Now we just have to wait."	N24News: A New Dataset for Multimodal News Classification	Real Estate
MOMENTS after walking into a Chelsea cafe the choreographer Emily Johnson accepted a compliment for her vintage black and white brocade coat. But there was a catch. "You do," she said as her blue eyes twinkled mischievously, "have to take it off awkwardly." Ms. Johnson slipped her arms out of the sleeves, lowered the fabric to the floor and stepped out of it. "It's really a dress," she said. Fittingly, Ms. Johnson's richly detailed dance installations are full of surprises too. A Minneapolis artist originally from Alaska, Ms. Johnson returns to New York to present "Niicugni," the second piece in a trilogy of works related to her Yupik heritage, at the Baryshnikov Arts Center beginning Wednesday. The presentation is part of Performance Space 122's Coil Festival. "Niicugni," which means "listen" or, more specifically, "to pay attention," is Ms. Johnson's follow up to "The Thank you Bar," a Bessie award winning work that focused on ideas of displacement, as well as stereotypes about American Indians through a ritualistic layering of dance, music and storytelling. Even though she's been choreographing since the mid 1990s, this work was the first in which she addressed her culture. "I was just in physical pain missing Alaska," she said. " 'The Thank you Bar' came out of that time." She had also begun working at Birchbark Books, an independent bookstore in Minneapolis owned by the author Louise Erdrich that specializes in American Indian writers. It was there that Ms. Johnson began to immerse herself in her heritage; it "brought me home," she said. While Ms. Johnson, who still works at the bookstore, didn't set out to create a trilogy, it soon became apparent that "The Thank you Bar" was just the beginning. Structurally Ms. Johnson sees her new "Niicugni" (nee CHOOG nee) as encompassing "The Thank you Bar." Within an installation of 51 handmade fish skin lanterns, created by Ms. Johnson and participants from workshops held in conjunction with residencies around the country, the work explores ideas about how a place, including a body, can tie everything and everyone together. It focuses on the wholeness of land, rather than its territorial borders. "I know what it feels like to walk on the land I grew up on," she said. "It's very spongy. The trees and the ground smell earthy and piney. I'm really interested in not forgetting that there's ground underneath this floor, and that we are all connected, via land, via ground, even in the sense that the ground is made of the remains of all creatures that have ever existed, including our ancestors." In "Niicugni" Ms. Johnson performs intricate duets with the dancer Aretha Aoki; some of the choreography is rooted in improvisations that required them to imagine they were dancing on earth. Part of the inspiration for the piece came from a picture of a mountain. "You see a huge physical structure that seems so permanent and so still, but then you can see where there was maybe a rock slide," Ms. Johnson said. "You can see the precariousness of it. The contradiction between presence and movement is a possibility at every moment." There's also a political current running throughout the piece. One story she tells relates to land in a remote part of the state that her father was given through the Alaska Native Claims Settlement Act. "It's so far away from where we live," she said. "How do we build a relationship to this land? What does it mean to be given land that was taken away and comes back?" Ms. Johnson is the anchor of this installation of movement, stories and song. As with "The Thank you Bar" her presence, at first, seems gentle. Ms. Johnson's soft, clear voice makes her a seductive storyteller. Still, her words and, at times, disembodied delivery have bite. In "Niicugni," a tale about how a monster bit off her ear, is a metaphor for how territory is dismantled throughout the world. "My body has come from colonization," she explained. "That holds a lot of monsters. I couldn't think about my connection to land and disregard that." As with "The Thank you Bar" the musicians the violinist Rachel Golub and the work's composer, James Everest perform movement sequences as they play. (Mr. Everest is also Ms. Johnson's husband.) And even though the proscenium arrangement of "Niicugni" presents challenges, Ms. Johnson is intent on creating a single space that blurs the separation between the performers and the audience. A canopy of lanterns stretches from the stage to the seats. Several contain speakers; the effect, Mr. Everest said, is like a pipe organ. "Each speaker has its own sound, and we can move the sounds, meaning from the back of the space to front," he said. "Or it can go in a circle. It has many parts, but they become a whole. They play as one." Ms. Johnson has also enlisted a group of about 40 people who will sit in the audience but appear onstage from time to time to perform simple gestural movements. The result is a cycle of energy, in which audience members spill in and out of the piece. "You start to look to the side and notice oh, we're all in this room together," Ms. Johnson said. "Can we pay attention to the fact that we are all here, and we will all be gone? What is our presence, and what is our absence?" Finding such participants has been a crucial part of "Niicugni." The lanterns were created at a residency at Vermont Performance Lab. "I think it's very brave in the contemporary dance world to let all these others into your work," the lab director, Sara Coffey, said. "You don't always have control of what that's going to be. I think Emily, as an artist, wants a place to rub off on her work as much as she wants to rub off on the place where she's performing." As Ms. Johnson sees it, the lanterns carry stories. "There is the story of the fish that migrated for thousands of miles, the fish that fed people," she said. "There is all the energy put into the object, and then the relationships and conversations that developed during the workshops. That process is the dance itself. It is as important as what is onstage. If you're sitting in an audience, you might not get that whole story, but that story is there."	N24News: A New Dataset for Multimodal News Classification	Dance
The Buyers Mike Taylor and Kathie Nurena like living near a park with Shakespeare and Shorty. For Kathie Nurena and Mike Taylor, the decision to move was 100 percent canine driven. The couple and their two dogs lived in a two bedroom detached townhouse in a condominium association in Stamford, Conn. Mr. Taylor, who works from home in the field of market research, usually tended the dogs during the day. They were close to Dr. Nurena's office she is a physician in downtown Stamford so it was easy for her to drive home at lunchtime if Mr. Taylor, 54, was traveling. They were also near their dog day care center. But a neighbor was scared of the younger and bigger of their two dogs, a Bouvier des Flandres named Shakespeare, who sometimes barked at activity outside. The smaller, older dog, Shorty, is a Maltese. On two occasions last year, the neighbor put notes in their mailbox, complaining about the dog. "I just knew we needed to move," said Dr. Nurena, 45. "I was always going to be worried about it. He is not a vicious dog, but he does bark and he's scary, he's big. I get it." So, with the help of David Harris, an agent at Halstead Property in Stamford, the couple embarked on the hunt for a new home. Their budget was 500,000 to 600,000. The house needed to be similarly close to Dr. Nurena's office, and on a street without a double yellow line. The line would indicate relatively heavy traffic, which was to be avoided. Glenbrook Stamford, Conn., was the city of choice, and a house in the Glenbrook neighborhood was very nice. But it was too expensive. Jane Beiles for The New York Times When Mr. Harris sent listings, "Kathie would go and drive the street," he said, to check the suitability for dog walks. Sometimes she used Google maps instead. The couple wanted plenty of carpeting, because the dogs find it hard to walk on slippery hardwood floors, and central air conditioning, which is not always present in Stamford houses, many of which were built from the 1940s through the 1960s. They were willing to add dog friendly features if need be. "It sounds ridiculous, but the big breed can overheat," Dr. Nurena said. "The Bouvies are known to have laryngeal paralysis, which makes it hard for them to pant." Last fall, one of the first houses they saw was a 1966 three bedroom split level with a fenced yard on a cul de sac in the Springdale section of town. The price was 549,000. The fenced yard was adjacent to a park and not too far from Dr. Nurena's office. The house didn't have central air, but except for that and some minor details "the hardware reminded me of the 'Brady Bunch' house," Mr. Taylor said it was just what they wanted. But they were "hesitant about putting in an offer and having two mortgages until their home was sold," Mr. Harris said. Having found a place they liked so early in the hunt "made seeing all the other houses a little bit harder," Dr. Nurena said. She anticipated that by the time the townhouse sold, the Springdale house would be gone. "I was mentally prepared to lose it," she said. North Stamford A split level in a leafy section of the city had a lot going for it, including a large yard. But the place was too near the Merritt Parkway. Jane Beiles for The New York Times The couple turned down a place with a pool that consumed most of the yard, and a house near a school bus stop, because children spook the big dog. In the Glenbrook section, a pretty three bedroom colonial style house, circa 1946, was beautiful, with many recent upgrades. But the price seemed inflated at 640,000. (It was later lowered to 599,000.) Dr. Nurena's second choice was another three bedroom split level, circa 1950, on a cul de sac in North Stamford. It had a bedroom suite on the lower level that could be used as an indoor training room for the dogs. There was more than an acre of land. The price was 639,000. But it came with the constant thrum of the Merritt Parkway at the end of the street. For more than a half million dollars, an always audible highway was unacceptable to Mr. Taylor, he said. "I am from the Midwest, and the prices out here are astounding to me. You've got to at least set some minimal standards." Though Dr. Nurena didn't notice the noise, "the Merritt would have been the pebble in his shoe," she said. The fact that it bothered him would have bothered her. They were also concerned about being too near wetlands. Friends in North Stamford had experienced flooding from Hurricane Sandy. What's more, "wetlands mean mosquitoes and infectious diseases for the dogs," Dr. Nurena said.	N24News: A New Dataset for Multimodal News Classification	Real Estate
The presidential race was not far from the minds of executives from America's biggest brands and advertising agencies last month in Orlando, Fla., at the annual conference held by the Association of National Advertisers. The industry leaders had traveled from cities like New York, Chicago and San Francisco, and any political conversation seemed to be premised on the assumption that Hillary Clinton would win. There was some talk about how to best market to Donald J. Trump's supporters after Nov. 8 and debate about what a potential Trump media organization might look like. Many were aghast that the race was close at all, criticizing aspects of Mrs. Clinton's branding and messaging for holding her back in what they thought should have a no brainer for voters. So when Mr. Trump won the election last week, an industry that prides itself on always knowing what motivates and excites the American public was in a state of shock. Marketers now find themselves asking serious questions about how they study consumers, use data and quantify the value of facts questions about the fundamental nature of their business. Advertisers, like many others, "may have found ourselves in bubbles of our own making," said Rishad Tobaccowala, chief strategist for the Publicis Groupe. Sarah Hofstetter, the chief executive of the digital agency 360i, said the disconnect between Mr. Trump's win and the predictions from polls and forecasters threw into question "the rules of market research," traditionally rooted in surveys, interviews and discussions with focus groups in controlled settings. That information should now be supplemented with "social listening" on Twitter, Reddit and other parts of the internet, and behavioral data including what people are searching for online, said Ms. Hofstetter, whose agency has worked with brands like Oscar Mayer and Toyota. "It's a wake up call," she said. "One data set is not going to give you the full picture, because with people, what people say is not always what they think or what they do, whether intentional or not." At the same time, advertisers are prepared for a new period of second guessing any customer data, whether it has been gathered internally or supplied by the brands they work with. Some of that is rooted in recognizing the one sided nature of the world they experienced on Facebook and Twitter during the election. Rob Schwartz, chief executive of TBWA Chiat Day New York, said: "There's going to be scrutiny on data and a big demand from clients saying, 'Yes, there's data, and what do we really know? Who's been to Kansas to understand what they're consuming in Kansas, and is it the same in Nebraska? And don't just Google it.'" 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. Some marketers have been left wondering if facts and reason matter less than they expected a counterintuitive discovery in the age of information. Wendy Clark, the chief executive of DDB North America and a former Coca Cola marketing executive, said the election showed "facts are somewhat negotiable." Ms. Clark spent some time working with Mrs. Clinton's campaign last year, a rumor confirmed last month when an email she wrote about the importance of Mrs. Clinton's logo was disclosed by WikiLeaks. "Facts are sort of, 'I might take them or I might not,'" she said. "They're certainly discretionary now, so there is that notion as a marketer and advertiser of understanding we live in a postfactual democracy." Mr. Tobaccowala remarked that "emotion brings people out, reason probably doesn't." "You had a candidate who was more experienced and probably had a resume better than anyone to be president of the United States defeated by a candidate with a resume who is least likely to be president of the United States," he said. "One spoke to reason and the other spoke to emotion." Mr. Schwartz said he saw that reflected in how Mr. Trump was able to fashion himself as the protagonist of a David and Goliath story, appealing to those looking for an "outsider" to "fix the system," he said. It was akin to what Bernie Sanders offered voters, he said. "The story of 'I'm taking on big government' was more compelling at this point in history than the story of, 'I'm going to keep this thing going and make it incrementally better' and the story of experience," he said. "Sometimes the story of experience can be really soothing for people and really be the thing that captures people's imaginations. The Bernie narrative and the Trump narrative is the same." Some see a broader lesson in the rejection of experience by the electorate. Richard Edelman, the chief executive of the public relations company Edelman, said Mr. Trump's use of Twitter which he often used to forcefully attack Mrs. Clinton and the news media and reduced reliance on traditional TV ads showed the power of "peer to peer" communication. "The more effective messaging might be from the mass population as opposed to using celebrities and using media and academics," he said. Ms. Clark said on Thursday that she was eager for people to "lean back into being Americans," especially after "the level of dialogue that took place," a reference to the often ugly nature of the campaign. She anticipates more ads highlighting values like the importance of diversity as the nation works to find common ground. "Brands can shape culture, so I think in that sense brands have a responsibility to represent their values and talk about them," Ms. Clark said. "And if you're an inclusive brand there's nothing more democratic to me than inclusion."	N24News: A New Dataset for Multimodal News Classification	Media
Re "Trump Backs Away From Further Military Conflict With Iran" (nytimes.com, Jan. 8): Iran could have reacted two ways to the assassination of Maj. Gen. Qassim Suleimani. It could have bombed the hell out of us, killing hundreds of Americans. That would have forced America to respond in kind, and the end result would have been the feared war that nobody wanted. Or the Iranians could phone in a warning and then lob a bunch of low rent missiles into an unoccupied part of two Iraqi bases. Obviously, that's the option it chose. The president killed General Suleimani for two reasons: because President Barack Obama wouldn't, and because he knew it would take the emphasis off his impeachment trial and bolster his ratings with his followers. The schoolyard bully poked and prodded a hostile enemy until it responded, then made up a story about pending terrorist attacks and his awesome response to the threat. As a former military member, I cried when I heard about the attacks on our bases. I thought of all those young American men and women who were going to die in the name of Donald Trump's maniacal bravado. Then I realized that Iran didn't target the Americans; it targeted Mr. Trump's ego. And in the process both sides got what they wanted. Iran won't get an ill fated U.S. attack on its critical infrastructure. Mr. Trump hopes this boosts his chances of getting re elected by followers who honestly think he saved us from Iranian terrorism.	N24News: A New Dataset for Multimodal News Classification	Opinion
Henrik Lundqvist has been a prominent New York athlete over a sterling career with the Rangers, with 459 career wins and myriad philanthropic efforts to boot. Now, the end of his 15 year era is at hand as the Rangers announced Wednesday they would buy out the last season of his contract. Lundqvist finished his Rangers career by playing the first two games in their three game defeat against Carolina in this summer's qualifying round. He had started only one of the team's last 19 regular season games, and just four of their last 30 en route to a career worst 10 12 3 record. His final appearance at Madison Square Garden was a five save effort in relief of Igor Shesterkin in a 6 4 loss to the Devils on March 7, the last game at the Garden before the coronavirus led play to be suspended. His storied Rangers career also included winning the Vezina Trophy after the 2011 12 season and making 129 straight postseason starts through Game 2 against the Hurricanes. "Few players have been as important to the Rangers franchise as Henrik Lundqvist, and we are incredibly grateful for all he has done for our organization," James L. Dolan, the executive chairman of MSG Sports, said in a statement. Lundqvist now becomes an unrestricted free agent with an uncertain future. With the buyout, he will receive over the next two years part of the remaining 5.5 million he was owed to finish a seven year contract extension he signed in December 2013 which commenced in 2014 15. The buyout also gives the Rangers 3 million of additional salary cap space for 2020 21 and adds 1.5 million in dead cap space for 2021 22. If Lundqvist does choose to continue playing, he joins a glut of free agent goaltenders on the market, including the Stanley Cup winners Braden Holtby and Corey Crawford, plus Robin Lehner, Jimmy Howard and Anton Khudobin, who led the Dallas Stars to the 2020 Stanley Cup finals. The Rangers carried three goaltenders on their roster for part of the 2019 20 season, with Lundqvist, 38, alongside two emerging 24 year olds. They have the rising star Shesterkin, who was 10 2 0 in his first N.H.L. season, and Alexandar Georgiev, whom they would still have to re sign as a restricted free agent. The Rangers committed to a rebuild late in the 2017 18 season, to the point of sending a letter to fans. Lundqvist vowed to be part of the revamped roster despite his veteran status. Youth has become especially prevalent for the Rangers under Coach David Quinn, who was hired from Boston University in May 2018. And by trading defenseman Marc Staal, 33, to Detroit last Saturday, the Rangers made the roster even younger while creating needed salary cap space. Still, his No. 30 will surely be added to the Garden's rafters and his plaque almost a given to grace the Hockey Hall of Fame in Toronto. Former coaches and teammates said his legacy of spectacular play under pressure and unyielding decency will live for generations. When Lundqvist debuted in 2005, the Rangers had not made the playoffs since 1997 and had a new look squad led by Jaromir Jagr, Michael Nylander and Martin Straka up front and Renney behind the bench. Expectations, though, were not particularly high. Yet the Rangers shocked the pundits that season. They had 44 wins and 100 points behind Jagr's franchise record 54 goals and 123 points plus Lundqvist's stellar first year performance in goal with a 2.24 goals against average and a 30 12 9 record. "He commanded the net from his very first game,'' Renney said. "Very composed, competitive and confident." Kevin Weekes, the team's veteran goalie that season, remembers being instantly aware something special was percolating. "From camp on, Hank was amazing," recalled Weekes, who is now the lead analyst with the N.H.L. Network after an 11 year career with seven teams including the Rangers, Islanders and Devils. "And he looked so different the way he did his pads, the way he stood in the net, his stance and the way he attacked the puck. I knew he was going to be the guy." Lundqvist had played five seasons for Frolunda in his native Sweden before joining the Rangers, who had selected him in the seventh round of the 2000 draft after 21 other goaltenders were selected. Lundqvist could still reach 500 career wins and third place on the career list behind Brodeur (691) and Patrick Roy (551) if he continues his career elsewhere. He has played entirely in the shootout era, which means, unlike other goalies with 400 wins, he has no ties on his record. What comes next for Lundqvist is uncertain. "You want to be where you are loved and celebrated where you are wanted,'' said Weekes, who recorded 14 wins at Lundqvist's backup in 2005 06. "And that's what Hank has known for the majority of his career. He has been incredible for them."	N24News: A New Dataset for Multimodal News Classification	Sports
No one has scored more goals for Mexico than Javier Hernandez. Javier Hernandez, a high scoring Mexican striker who had been rumored to be heading to Major League Soccer for years, finally arrived in the league on Tuesday. The Los Angeles Galaxy, who lost the scoring and outsize personality of striker Zlatan Ibrahimovic when his contract expired after last season, announced Tuesday that they had replaced him with Hernandez, 31, a popular forward who has played at Manchester United and Real Madrid and remains a fixture on Mexico's national team. Hernandez, who is known as Chicharito, or Little Pea, is a hero to fans of the Mexican national team. The son and grandson of former Mexico players, the baby faced Hernandez is the national team's career goals leader and its most popular drawing card. He played most recently for Sevilla, but he struggled to make an impact, scoring only once in nine league appearances. "People are going to say it was because I couldn't make it, but sometimes in football there are things that are not in your hands," Hernandez told The Los Angeles Times. "The last two years, the managers decided on giving confidence to other players rather than me." A big name veteran player coming to M.L.S. and to the Galaxy, in particular is nothing new, of course. In the years before Ibrahimovic arrived in 2018, the star hungry Galaxy employed 30 something stars like Robbie Keane and Landon Donovan (who both had won the league's Most Valuable Player Award) and Steven Gerrard and Ashley Cole (whose tenures were far less memorable). The team was also the landing spot for the biggest M.L.S. signing of them all: David Beckham, who suited up from 2007 to 2012. The league will be hoping Hernandez will have the same effect that Beckham, and to a lesser degree Ibrahimovic, had on everything from ticket sales to fan engagement to, perhaps most important, sponsorship opportunities and television ratings. Ibrahimovic was a scoring success in M.L.S., collecting 52 goals in 56 games, though the Galaxy won only a single playoff game in his two seasons in Los Angeles. One of Hernandez's assignments will be to restore the Galaxy's pre eminence in a nascent city rivalry with Los Angeles F.C., which posted the league's best record last season behind another Mexican star, Carlos Vela, and then knocked the Galaxy out of the postseason. Hernandez's success as a drawing card with Mexico is surely not lost on the Galaxy and M.L.S., which controls the Mexican team's marketing rights through a subsidiary, Soccer United Marketing. Mexican Americans make up a significant part of the United States soccer audience, but have not fully embraced the American league. In the United States, television ratings for broadcasts of Mexico's top league, Liga MX, routinely surpass not only those for M.L.S. but also for the Premier League and other European leagues. Mexico draws large crowds whenever it plays in the United States, however, and the presence of Hernandez, probably the most popular player on the team, on any American field can lead to a notable increase in ticket sales and television ratings. When he signed with Manchester United in the summer of 2010, for example, the move came just before the club was to play a team of M.L.S. players in the league's annual all star game in Houston. The mere prospect that Hernandez might make his United debut in the match helped sell more than 20,000 tickets in the weeks before the game.	N24News: A New Dataset for Multimodal News Classification	Sports
SYDNEY, Australia More than seven months have passed since Australia imposed one of the world's toughest laws for tobacco warning labels, swapping iconic packaging for graphic images of mouth ulcers, cancerous lungs and gangrenous limbs. And though experts say it is too soon to know what impact the law has had on tobacco use, one thing is certain: Smokers think the cigarettes taste off. Complaints started to roll in about the flavor of cigarettes almost immediately after the law went into effect on Dec. 1. That could mean a lot for health advocates' efforts to prevent smoking. "Of course there was no reformulation of the product," the Australian health minister, Tanya Plibersek, said in an interview. "It was just that people being confronted with the ugly packaging made the psychological leap to disgusting taste." She said it would be a number of years before she could say that the effort decreased smoking rates and improved residents' health. "But the best short term indication I have that it's working is the flood of calls we had in the days after the introduction of plain packaging accusing the government of changing the taste of cigarettes," Ms. Plibersek said. All parties in the battle over smoking in Australia have their own take on the law's effects. The most reliable sales figures are proprietary and guarded by the tobacco companies, while the government's latest figures will not be released until September. Australia has been out in front in requiring graphic imagery on tobacco labels. European Union ministers agreed last month on new rules that would require a health warning that would combine pictures and text and cover 65 percent of the front and back of all cigarette packs, up from 40 percent. The rules require approval by the European Parliament. In the United States, a 2009 law empowered the Food and Drug Administration to require large graphic and text warnings on the top half of the front and back of cigarette packs. But as federal courts have wrestled with the details of that law in challenges by the tobacco industry, the F.D.A. has not yet imposed a final set of labeling requirements. Tobacco is taxed heavily in Australia, where smokers spend about 16 Australian dollars, or 14.70, for a pack of cigarettes. Partly as a result, smoking rates in Australia have declined. Last year, according to the latest figures from the Australian Bureau of Statistics, 20.4 percent of adult men were smokers and 16.3 percent of adult women smoked. In the United States, the most recent data from the Centers for Disease Control and Prevention showed that the smoking rate was 21.5 percent among adult men and 17.3 percent for adult women. Smoking is also banned in nearly all enclosed public spaces in Australia, including restaurants, bars, sporting facilities and places of business. Open or closed on Thanksgiving? Here are stores' plans for Thursday and Friday. The high cost of gas is forcing families to cut back on activities and essentials. Clearview AI does well in another round of facial recognition accuracy tests. The new labeling law, which bans brand logos and requires health warnings to cover 75 percent of the front of cigarette packages and 90 percent of the back, aims to remove the allure of well known brands. Last year, a challenge to the law brought by British American Tobacco, Imperial Tobacco, Japan Tobacco and Philip Morris Australia arguing that it was a violation of their intellectual property rights was dismissed by the Australian High Court. The packaging law is quickly becoming an international trade issue. Philip Morris Asia, whose headquarters are in Hong Kong, is challenging the legislation under a broad 1993 bilateral trade agreement aimed at promoting and protecting trade between Australia and Hong Kong. Philip Morris argues that by stripping its products of their brand identity, the law hurts its intellectual property in violation of that agreement. Cuba, the world's dominant producer of fine cigars, filed a "request for consultations" in May with Australia through the World Trade Organization, the first time the country has used the forum to confront another nation directly over its commercial laws. The Dominican Republic, Honduras and Ukraine have already challenged Australia over the issue at the W.T.O., citing "technical barriers" to trade and violations of intellectual property rights. In another closely followed move, Japan Tobacco, Asia's biggest publicly listed cigarette maker, said at the end of June that it had filed suit against the Thai government over its plan, announced in April, to increase the size of graphic health warnings to 85 percent of the cigarette pack cover, from 55 percent. The taste issue comes into sharp focus at Sol Levy Tobacconist. Evelyn Platus, whose grandfather was the founding Mr. Levy, has managed the shop on a prime strip of real estate in what is now Sydney's booming Chinatown for more than 20 years. On a recent afternoon, it was nearly empty. Her business, she said, has been hurt by high taxes and restrictive rules governing tobacco. But when it comes to plain packaging, the ire she normally reserves for the "nanny state" is pointed at Big Tobacco. "The cigarette companies will deny it, but all of our customers are telling us the cigarettes taste different. The government's spruiked it as a mind over matter thing, but I don't believe so," Ms. Platus said, using Australian slang for making a pitch. She said, "With all of the changes they were forced to make, there was no way to recoup their money, so the cigarette companies appear to have taken advantage of it and sourced their product from somewhere else." It is a common refrain among Australian smokers and is repeated on Internet forums dedicated to the issue. In some versions of the conspiracy theory, the government is responsible for changing the taste; in others, the state is accused of having colluded with the tobacco companies. Scott McIntyre, a spokesman for British American Tobacco, dismissed concerns about flavor. "It's the same tobacco, being made in the same way, in the same Australian factories by the same people as it always has been made for a very long time," he said in an interview at the company's headquarters here. The new restrictions have had no effect on tobacco sales, he said, but he declined to provide any numbers, citing confidentiality. Some experts quietly predicted such an outcome before the law was enacted, said Simon Chapman, a professor of public health at the University of Sydney. That smokers are citing an unpleasant reaction to their longtime brands is a positive early sign for antismoking advocates, he said. "You can influence the perception of taste by the packaging that something comes in. The most obvious example of that is wine," he said. In any given liquor store, "you don't know most of the wines, and you kind of go, 'That one looks like it'll be good.' Packaging really does cue taste."	N24News: A New Dataset for Multimodal News Classification	Global Business
A roundup of motoring news from the web: After a sinkhole roughly 40 feet wide opened beneath the National Corvette Museum in Bowling Green, Ky., that swallowed eight display cars, museum officials considered leaving a portion of the hole open for posterity. But Wendell Strode, the museum's executive director, said Saturday that the hole would be filled completely because "the costs outweighs the benefit." Chevrolet said it planned to restore three of the wrecked cars, leaving what was left of the other five on display in the museum. (CNN) Aston Martin Lagonda announced this week that Andy Palmer, a Nissan executive, will take over as chief executive after leaving Nissan on Sept. 15. Aston has been without a chief for the last nine months. Nissan says its business will not be affected by the departure of Mr. Palmer, who had been its chief planning officer and oversaw the Infiniti luxury brand. (Bloomberg) In other Aston Martin related news, the British company says it is recalling 440 DB9 and Rapide S models manufactured from June 2013 to July 2014 because an electronic defect could cause the transmission to shift into neutral without driver input, causing a loss of power. The automaker said it discovered the problem after receiving a report, after which it conducted an investigation. (Aston Martin) Ford has become the latest automaker to abandon the practice of manipulating pickup truck curb weights in order to bolster the payload rating. The automaker said the change would affect the payload ratings on F Series trucks by about 150 to 240 pounds. (USA Today)	N24News: A New Dataset for Multimodal News Classification	Automobiles
The premieres of new works by Olga Neuwirth and Sarah Kirkland Snider were among the most crushing losses of the canceled final months of the New York Philharmonic's season this year. "Cancellations are devastating, and musicians everywhere are feeling it," Ms. Snider said in an interview. "Pressing pause on something this meaningful is hard." She and Ms. Neuwirth are part of Project 19, the Philharmonic's initiative to commission pieces from female composers to mark the centennial of the 19th amendment, which brought women the right to vote. The project is an important step toward diversifying the orchestral repertoire, a steep challenge for a classical field largely glued to the music of European men. The writers of the Philharmonic's governing documents, drafted in 1842, wanted to look beyond the emerging Austro German canon by cultivating local composers. "One especial object, which we had in view," Harvey B. Dodworth, a conductor and one of the writers, recalled in 1879, "was the founding, if possible, of an American school of composition, and it was required that at least one American work should be performed during each season." At the same time, the composer William Henry Fry was working as a correspondent in Paris for Horace Greeley's Tribune newspaper. When he returned to New York in 1852, Fry staged an elaborate series of public lectures on the history of music, featuring soloists, choirs, bands and a full orchestra. (Bristow conducted.) The final lecture, delivered before thousands of people, concluded with a fiery speech arguing that the vitality of music in the United States required deliberate cooperation between composers, performing organizations and patrons. Fry would soon be able to test this notion. A virtuosic London orchestra led by the French conductor Louis Antoine Jullien arrived in the United States in August 1853 and immediately began commissioning and performing new American works. According to the musicologist Katherine Preston, Jullien performed Fry's symphonies, including "Santa Claus," on nearly 40 separate occasions in five cities. Just as Jullien was ramping up his efforts, Fry criticized the Philharmonic for programming weaker pieces by Europeans. "If it be an almighty fiat," he sniped in the Tribune, "that nobody here, native or naturalized, can write a piece of music as poor as Mendelssohn's 'Happy Voyage,' then the cause of music is hopeless in this country, and the sooner the Philharmonic Society shuts up the better." The critic Richard Storrs Willis threw barbs of his own. "Mr. Fry's 'Santa Claus' we consider a good Christmas piece," he wrote in The Musical World magazine after the premiere, "but hardly a composition to be gravely criticized like an earnest work of Art." Fry responded in an angry public letter that went on for four pages in Willis's magazine and condemned standard symphonic writing, including pieces by Mozart and Beethoven. "'Santa Claus' is the longest instrumental composition ever written on a single subject with unbroken continuity," he wrote, "and such a work merits extended criticism in a musical journal." The Boston critic John Sullivan Dwight joined the fray in the anti Fry camp, noting that American composers would be deemed worthy "just so soon as their audiences shall feel that there is genius, inspiration, beauty and poetry of music in their symphonies, at all proportioned to the audacity of their designs." An exasperated Fry snapped back, saying that the Philharmonic had surrendered its obligation to perform American works, leaving audiences unable to decide for themselves. This accusation prompted members of the Philharmonic's board to reply that they had performed Bristow's music on two occasions (hardly a stellar record). Bristow, who was also a board member, came to Fry's defense, pointing out in a public letter to Willis that Jullien had no problem finding American pieces to perform and bring back to Europe, "although members of the Philharmonic Society have never been able to discover any such works during 11 years, and under such fostering care as theirs, none would ever attain to existence in eleven hundred years." In the same letter, Bristow also accused the board of deliberately ignoring American compositions: "If all their artistic affections are unalterably German, let them pack back to Germany and enjoy the police and bayonets and aristocratic cuffs of that land." He resigned from the orchestra at the next board meeting. Bristow returned to the violin section two seasons later, but only after the board agreed to perform his Second Symphony a piece Jullien had commissioned. Fry's "Santa Claus" wasn't heard for a century, until the Philharmonic programmed it on a Young People's Concert in 1959. The monthslong conflict over "Santa Claus" established patterns of canonization that privileged even the least worthy music of European men over work by Americans. And while white American men eventually appeared more frequently on orchestral programs, particularly by the first half of the 20th century, it would take decades for New York audiences to get even glimpses of music by women like Amy Beach of Boston and Cecile Chaminade of France.	N24News: A New Dataset for Multimodal News Classification	Music
That's true, of course. They also could not have imagined that it would cover sexual harassment of male employees and yet in 1998 the Supreme Court found unanimously that it did. "Statutory prohibitions often go beyond the principal evil to cover reasonably comparable evils, and it is ultimately the provisions of our laws rather than the principal concerns of our legislators by which we are governed," the court said then, in an opinion written by Justice Antonin Scalia. Justice Gorsuch, who succeeded Justice Scalia on the bench, reiterated this basic concept on Monday: "The limits of the drafters' imagination supply no reason to ignore the law's demands. When the express terms of a statute give us one answer and extratextual considerations suggest another, it's no contest. Only the written word is the law, and all persons are entitled to its benefit." While we're on the subject of legislators' intentions, it is worth noting the historical irony behind the inclusion of "sex" in the civil rights law which was, after all, targeted primarily at racial discrimination. The term was added at the last minute by Representative Howard Smith, a staunch segregationist from Virginia, in the hope that lawmakers would see it as a bridge too far and vote down the entire bill. Mr. Smith's failed gambit continues to pay off in ways that he surely never could have dreamed. Still, there are reasons to be cautious. Justice Gorsuch's commitment to textualism, a method of interpreting laws by looking solely to their plain words, achieved a just result in this case, but when applied too rigidly it can lead to very unjust results. In his previous job on a federal appeals court, then Judge Gorsuch wrote an opinion holding that a trucker could legally be fired for abandoning his broken down truck in subzero temperatures based on a wooden reading of the word "operate." In short, this particular victory for gay rights was based not on the fundamental equality or dignity of gay and transgender Americans, as previous Supreme Court decisions have been; it was based on the meaning of a single word. The opinion also hints at a potentially serious obstacle on the horizon: claims by employers that being prohibited from discriminating against gay and transgender workers violates their religious convictions. Such claims are likely to find a sympathetic ear among this Supreme Court's conservative majority, which has repeatedly voted to protect if not promote religion and religious objectors. For now, however, Monday's decision is a victory to savor, the next major step in a line of gay rights decisions stretching back nearly a quarter century, and until now written solely by Justice Anthony Kennedy. Justice Brett Kavanaugh, who succeeded Justice Kennedy in 2018, graciously admitted as much in his own dissent. Although he disagreed with the majority's opinion, he wrote: "It is appropriate to acknowledge the important victory achieved today by gay and lesbian Americans. Millions of gay and lesbian Americans have worked hard for many decades to achieve equal treatment in fact and in law. They have exhibited extraordinary vision, tenacity and grit battling often steep odds in the legislative and judicial arenas, not to mention in their daily lives. They have advanced powerful policy arguments and can take pride in today's result."	N24News: A New Dataset for Multimodal News Classification	Opinion
Most New Yorkers would barely know what to do with 1,000 square feet of space, let alone 1,000 acres. But what's to stop us from trying to figure it out. Buying a ranch is the stuff of childhood cowboy fantasy riding horseback past herds of bison or standing knee deep in a rushing stream filled with trout. And while foreign investors and tech billionaires drive the New York market, in places like Colorado and Montana, it is cattle shortages and the price of grain that hold sway. If you are in the market for ranch land and the ultimate anti Hamptons getaway, there are three types of purchases you can make: farmland, where crops are plowed to yield a harvest; working ranches with large cattle herds that convert grass into beef; and recreational ranches, also called executive ranches or retreats, according to James H. Taylor, who is a principal of Hall and Hall, a real estate company based in Billings, Mont., that specializes in the sale, management and financing of rural property. Eric O'Keefe, the editor of The Land Report, a quarterly magazine based in Dallas, said: "Recreational ranches don't have any income streams associated with them. Think of it like buying a Chateau Margaux or a Picasso, just something to enjoy." Prices for recreational ranches soared during the last real estate cycle, but plummeted when the recession hit. So a few million dollars now can buy you acres and acres with panoramic views.Take Chimney Rock Farm on the Tennessee Kentucky border. The 1,000 acre property includes a historic log cabin that is thought to be the oldest continually occupied log cabin in Kentucky, and was once occupied by President Harry S. Truman's grandparents. "When he was a child, President Truman would spend the summers with his grandparents at the cabin," said Earl Tally, Chimney Rock Farm's owner. And at 3.9 million, it's a relative bargain. If you want to spend a bit more, 24.25 million can buy you Elk River Ranch, an 800 acre property in Colorado that overlooks the Rocky Mountains and is close to big game hunting, fly fishing and skiing at Steamboat Resort a few miles down the road. It is owned by John Q. Adams Sr., the man responsible for bringing the cold medication Mucinex to market. While they may be beautiful, these recreational ranches have failed to return the same level of investment as farmland and working ranches in recent years. Farms have benefited from several years of skyrocketing prices for corn and wheat, although prices for these commodities have dropped over the last year. The prices of working cattle ranches, meanwhile, have also gone up because of several droughts that have caused a nationwide beef cattle shortage. "The U.S. cow herd is at a historic low right now, the last time it was at this level was 1952," Mr. Taylor said. "When coupled with the increased demand by growing worldwide populations for high quality protein, such as beef, it has caused the price of beef, and therefore, the demand for ranch land, to go through the ceiling." Prices for recreational ranches, on the other hand, have fallen 35 percent to 50 percent since the market peak, Mr. Taylor said, and there are now several properties available at steep discounts. The Crazy French Ranch (owned by, you guessed it, a French couple), recently slashed its asking price by nearly 25 percent to 59 million. The ranch is 62 square miles, or nearly triple the size of Manhattan, and offers 4,000 feet of elevation change. "There are a whole bunch of different biospheres, from meadow planes to juniper trees and forests," said Henry S. Field, the broker who is representing the property. "It is a wild place. On my first trip up there I saw four bears, and I wasn't even looking for them." The singer Carole King put her ranch in Stanley, Idaho, near Sun Valley on the market back in 2007 for 19 million. The 128 acre Robinson Bar Ranch, which Ms. King has owned for more than three decades, is now priced at 9.9 million. Adjacent to the Salmon River, it includes a 7,000 square foot lodge, guest cabins, and of course, a professional recording studio. While the market for these ranches remains soft, there are compelling reasons to buy them, including the possibility of creating conservation easements. In these instances, a ranch owner sells or donates the development rights on the property to a land trust in exchange for a tax deduction. "One of the most notable trends we've been following is the increasing appeal of conservation properties to high net worth individuals," Mr. O'Keefe said. The tax benefits are the main draw, he said, but many are also compelled by "the social component to preserving open spaces." Consider Louis Bacon of Moore Capital, a New York City hedge fund honcho who broke a record in 2007 when he paid 175 million for a ranch in Colorado owned by the Forbes family. In 2012, Mr. Bacon placed 167,000 acres of the 171,400 acre Trinchera Blanca Ranch into a conservation easement with the United States Fish and Wildlife Service. It was the largest single conservation easement in the agency's history, and the largest conservation easement in Colorado, Mr. O'Keefe said. Mr. Swan is marketing Forked Lightning Ranch in New Mexico, which belongs to the Oscar winning actress Jane Fonda, for 19.5 million. Ms. Fonda is also selling separately her personal collection of antiques, artwork and even her literary collection. Speaking of Ms. Fonda, no column on ranches would be complete without mentioning her ex husband, Ted Turner, the country's second largest landholder with two million acres. (The media mogul John C. Malone surpassed him in 2011 when he bought one million acres of timberland in Maine, putting his total acreage at 2.2 million, according to the Land Report.) "Ted Turner was the first to spend a significant amount of money for a ranch the first big ranch he bought was for 21 million," said Mr. Taylor, who worked with Mr. Turner on many of his ranch purchases, including his first in 1987. "Before that, a 6 million sale was considered a large transaction." While owning thousands of acres out West may be a dream come true, there are a number of complications to consider, such as ancillary costs. If you have a large ranch of a few hundred thousand acres, for example, you'll need to hire a ranch manager to help you run the property, with a base salary of up to 250,000 a year, according to Mr. Taylor. And pay attention to things like water rights, mineral rights, deed encumbrances, county zoning, soil profiles and property access, Mr. Swan added. "After the recent recession," he said, "buyers have become more cautious and are doing extensive research on properties before they engage."	N24News: A New Dataset for Multimodal News Classification	Real Estate
When we all began to learn more about the spread of the new coronavirus in January, we knew it was only a matter of time before it would find its way to our nation's shores. While the thought of preventing it from infecting any of our residents was optimistic, it quickly grew unrealistic against the backdrop of our interconnected world. We each aggressively prepared, assessing how this virus could affect our states. No one doubts that the coronavirus is here and in force. We are in a full scale war against this virus, an invisible enemy fueling a global pandemic, and our individual efforts have been focused exclusively on emergency response and mitigation in the states we govern. Our preparedness efforts are tested daily, and we have engaged teams of experts to help us try to stay one step ahead. Our states are densely populated, with bustling economies, active public transportation and international airports we understand that for New Jersey and Massachusetts, the risks are significant. The war we're fighting requires unprecedented action, making decisions that in many cases have never been made. We have had to shut down, practically overnight, entire sectors of our economies, putting hundreds of thousands out of work or limiting how much they can work. We have closed schools, leaving millions of schoolchildren to learn remotely from home, without the familiar trappings of their classrooms and the in person leadership of their educators. We've canceled gatherings, including weddings and funerals. We've asked millions of our residents to stay at home unless they need to go out or are essential to our front line responses. And when they do, we have asked them to practice social distancing. For us, these decisions are personal. We know the faces we have affected, because they are those we would see on the daily basis as we traveled our states. And we have done all of this knowing there is no deadline for when we can return their lives to normal. This is what makes direct support from Washington so essential. Foremost, we need the federal government to support states' efforts to secure personal protective equipment and lifesaving items like ventilators. The government must boost private sector manufacturing of these critical supplies now and get out of the way of states when we seek private sector suppliers and release more materials from the national stockpile to meet our pressing needs. Our current state resources have not only been stretched to their limits; with our economies currently at a standstill, there are no new revenues coming in to support their continuation. And with no idea when this emergency will end pandemics are stubbornly ignorant of calendars we cannot risk the collapse of the systems our residents are relying on to maintain their homes and feed their families. Even when we are able to lift our states of emergency and direct our businesses to reopen and our people to once again move freely, it will take time for our economies to recover. We can already estimate the impact of our actions to date in billions of dollars in lost economic activity. We can't simply make this up when the emergency ends and we begin to restart our states. We made these decisions to protect our residents. It would be cruel for us to slash the programs our residents are depending on to get their lives back to normal. This is what has made the federal rescue bill a crucial first step in supporting our states' survivals, let alone our nation's. But to be clear, our states will need more support. And we will continue to fight for more. Our work in this effort has only just begun. With more than 150 billion in direct financial assistance to states in the relief bill, we can start making up for some of the loss of revenues we had projected for our budgets and ensure our ability to provide core services. We can begin backstopping our unemployment systems and protect their solvency at a time when record numbers of residents are overwhelming our state websites. We can help protect our public transit systems from collapsing many of them were already planning long term capital investments that relied on growing ridership. And providing a majority of our residents with a direct cash payment is a needed step in ensuring that families will have housing security and be able to support the economy during this emergency. We will need more to continue to fully support the front line heroes who have emerged in our fight against the coronavirus: the doctors, nurses and public health workers tending to the sick; the members of law enforcement and public safety operations who are looking after our communities; the grocery store workers keeping a supply of food and other essential goods on the shelves; the janitors and custodians cleaning our buildings; and the many others who have put serving their fellow residents above serving themselves.	N24News: A New Dataset for Multimodal News Classification	Opinion
'THOMAS BAYRLE: PLAYTIME' at the New Museum (through Sept. 2). In the digital fever dream of Mr. Bayrle's work, pixelated pictures twist and bend and resolve into fuzzily warped images. Abstract films and videos pulse with psychedelic patterns. But if Mr. Bayrle's art seems like the ultimate in early computer design, most of the 115 paintings, prints, films and sculptures in his first major New York retrospective are actually handcrafted, generally using his signature "superform" of a large image made up of hundreds or thousands of smaller ones. Ultimately, Mr. Bayrle's work instead offers a window into digital thinking or, it could be said, how we got to where we are now. (Martha Schwendener) 212 219 1222, newmuseum.org 'HUMA BHABHA: WE COME IN PEACE' at the Metropolitan Museum of Art (through Oct. 28). This spare and unsettling sculptural installation for the Iris and B. Gerald Cantor Roof Garden Commission includes two figures: one that is somewhat humanoid but with a ferocious mask face and that visually dwarfs the jagged Manhattan skyline behind it, and another bowing in supplication or prayer, with long cartoonish human hands and a scraggly tail emerging from its shiny, black drapery. The title is a variant on the line an alien uttered to an anxious crowd in the 1951 science fiction movie "The Day the Earth Stood Still," but it ripples with other associations: colonization, invasion, imperialism or missionaries and other foreigners whose intentions were not always innocent. The installation also feels like an extension of the complex, cross cultural conversation going on downstairs, inside a museum packed with 5,000 years of art history. (Schwendener) 212 535 7710, metmuseum.org 'CANOVA'S GEORGE WASHINGTON' at the Frick Collection (through Sept. 23). When Canova's statue arrived in Raleigh, N.C., in 1821, the American press went wild for the likeness by the Italian neoclassical sculptor of the first president, wearing Roman military dress and drafting his farewell address. Ten years later it was destroyed by fire but the Frick has brought the full scale plaster model of the lost statue over from Italy for this smashing show that reveals how European artists were inspired by American revolutionary ideals. Canova's Washington, looming all alone over the Frick's circular gallery, wears thickly curled hair instead of the pulled back style he sports on the dollar bill, and in both his costume (leather skirt, strappy sandals) and his bearing, he embodies the ideals of the new republic, where principles come before power. Supplementary materials include a life mask of Washington and several smaller Canova models, including a nude Washington with some rather nice pecs. (Jason Farago) 212 288 0700, frick.org 'MEL CHIN: ALL OVER THE PLACE' at the Queens Museum (through Aug. 12). Spanning nearly 40 years of work and sprawling through the Queens Museum, Times Square and the Broadway Lafayette Street subway station, this survey offers a consistent and excellent display from this skillful maker of objects that often highlight social injustice. A few standouts include Mr. Chin's recent "Unauthorized Collaboration," in which he reconfigured formal portraiture he purchased on eBay into objects that critique cultural authority; "Cross for the Unforgiven" (2002), a wall sculpture made with AK 47 assault rifles; and a community project, "Flint Fit," created with citizens of Flint, Mich., using discarded plastic water bottles to make fabric as well as garments (fashioned by the Michigan born designer Tracy Reese) that accentuate the water crisis in that city. Even the Queens Museum's beloved scaled down layout of New York City is part of Mr. Chin's show. A disturbing video memorializes 9/11, but Mr. Chin's panorama intervention commemorates "all victims of terrorism," reminding us of how humans are bound together, globally, by a growing awareness of injustice and acts of violence. (Schwendener) 718 592 9700, queensmuseum.org 'SUE COE: GRAPHIC RESISTANCE' at MoMA PS 1 (through Sept. 9). In the East Village in the early 1980s, this British American artist showed some of the strongest political art of the day, and in the most traditional of media: figurative painting, drawing and printmaking. But her kind of directness has had a hard time in a market driven world that favors the convenient slipperiness of ambiguity. As a result, Ms. Coe was left out of many of the big "political" shows of the 1980s and '90s, and has had spotty visibility since. Some the artist's great early pieces are in this long overdue survey, including the 1983 mural size collage painting titled "Woman Walks Into Bar Is Raped by Four Men on the Pool Table While 20 Watch." The show also features later pictures like "Road to White House" (1992) and selections from her recent sketchbooks. Together they indicate that her style has changed over the years, growing at once more abstract and more naturalistic, but her view of the ethical mission of art has not. (Holland Cotter) 718 784 2084, momaps1.org 'CROWNS OF THE VAJRA MASTERS: RITUAL ART OF NEPAL' at the Metropolitan Museum of Art (through Dec. 16). Up a narrow staircase, above the Met's galleries of South and Southeast Asian art, are three small rooms of art from the Himalayas. The space, a bit like a treehouse, is a capsule of spiritual energy, which is especially potent these days thanks to this exhibition. The crowns of the title look like antique versions of astronaut headgear: gilded copper helmets, each studded with gems, encrusted with repousse plaques and topped by five pronged antennas the vajra, or thunderbolt of wisdom. Such crowns were believed to turn their wearers into perfected beings who are willing and able to bestow blessings on the world. This show is the first to focus on these crowns, and it does so with a wealth of compressed historical information, as well as several resplendent related sculptures and paintings from Nepal and Tibet. But it's the crowns themselves, the real ones, the wisdom generators, set in mandala formation in the center of the gallery, that are the fascinators. (Cotter) 212 535 7710, metmuseum.org 'THE FACE OF DYNASTY: ROYAL CRESTS FROM WESTERN CAMEROON' at the Metropolitan Museum of Art (through Sept. 3). In the African wing, a show of just four commanding wooden crowns constitutes a blockbuster in its own right. These massive wooden crests in the form of stylized human faces with vast vertical brows served as markers of royal power among the Bamileke peoples of the Cameroonian grasslands, and the Met's recent acquisition of an 18th century specimen is joined here by three later examples, each featuring sharply protruding cheeks, broadly smiling mouths and brows incised with involute geometric patterns. Ritual objects like these were decisive for the development of Western modernist painting, and a Cameroonian crest was even shown at MoMA in the 1930s, as a "sculpture" divorced from ethnography. But these crests had legal and diplomatic significance as well as aesthetic appeal, and their anonymous African creators had a political understanding of art not so far from our own. (Farago) 212 535 7710, metmuseum.org 'GIACOMETTI' at the Solomon R. Guggenheim Museum (through Sept. 12). This museum filling outing for the signal sculptor of Western modernism is rather cautious but revisionism can wait another day when the art looks as good as it does here. The Swiss artist's witty and erotic early sculpture, such as the still shocking "Disagreeable Object" (a phallic torture device with a spiked business end), enraptured the Surrealists in early 1930s Paris, but Giacometti was never content with an art of ideas, and in his filthy studio, he soon started making elongated, emaciated humanoids that have since become emblems of Europe's postwar trauma. If you know Giacometti best for the bronzes that now go for obscene sums at auction, it's a particular pleasure here to see his work in plaster, a medium he adored; the humility of the handwork testifies to his anxious mastery. (Farago) 212 423 3800, guggenheim.org 'HEAVENLY BODIES: FASHION AND THE CATHOLIC IMAGINATION' at the Metropolitan Museum of Art and the Cloisters (through Oct. 8). Let us pray. After last year's stark exhibition of Rei Kawakubo's irregular apparel, the Met Costume Institute is back in blockbuster mode with this three part blowout on the influence of Catholicism on haute couture of the last century. The trinity of fashion begins downstairs at the Met with the exceptional loans of vestments from the Vatican; upstairs are gowns fit for angels in heaven (by Lanvin, Thierry Mugler, Rodarte) or angels fallen to earth (such as slinky Versace sheaths garlanded with crosses). The scenography at the Met is willfully operatic spotlights, choir music which militates against serious thinking about fashion and religion, but up at the Cloisters, by far the strongest third of the show, you can commune more peacefully with an immaculate Balenciaga wedding gown or a divine Valentino gown embroidered with Cranach's Adam and Eve. (Farago) 212 535 7710, metmuseum.org 'THE JIM HENSON EXHIBITION' at the Museum of the Moving Image. The rainbow connection has been established in Astoria, Queens, where this museum has opened a new permanent wing devoted to the career of America's great puppeteer, who was born in Mississippi in 1936 and died, too young, in 1990. Henson began presenting the short TV program "Sam and Friends" before he was out of his teens; one of its characters, the soft faced Kermit, was fashioned from his mother's old coat and would not mature into a frog for more than a decade. The influence of early variety television, with its succession of skits and songs, runs through "Sesame Street" and "The Muppet Show," though Henson also spent the late 1960s crafting peace and love documentaries and prototyping a psychedelic nightclub. Young visitors will delight in seeing Big Bird, Elmo, Miss Piggy and the Swedish Chef; adults can dig deep into sketches and storyboards and rediscover some old friends. (Farago) 718 784 0077, movingimage.us 'HISTORY REFUSED TO DIE: HIGHLIGHTS FROM THE SOULS GROWN DEEP FOUNDATION GIFT' at the Metropolitan Museum of Art (through Sept. 23). This inspired foundation is dispersing around 1,200 works by black self taught artists from the American South to museums across the country. The Met's exhibition of 29 of the 57 pieces it received proposes an exciting broadening of postwar art. It is dominated by the dialogue between the rough hewed relief paintings of Thornton Dial and the geometrically, chromatically brilliant quilts of the Gee's Bend collective. But much else chimes in, including works by Purvis Young, Joe Minter and Lonnie Holley. (Roberta Smith) 212 535 7710, metmuseum.org 'ALEJANDRO G. INARRITU: CARNE Y ARENA' at 1611 Benning Road NE, Washington (through Aug. 31, 9 a.m. 9 p.m.). Perhaps the most technically accomplished endeavor yet in virtual reality but closer in form to immersive live theater, created by a two time Oscar winner has arrived at a former church in Washington after outings in Cannes, Milan, Los Angeles and Mexico City. In "Carne y Arena" ("Flesh and Sand"), you explore the exhibition on your own with a motion sensitive headset that transports you to Mexico's border with the United States; brutal encounters with border guards interweave with surreal dream sequences, which you can perceive in three dimensions. The characters are computer renderings of the bodies of actual migrants; the landscapes are photographed by Mr. Inarritu's brilliant longtime cinematographer, Emmanuel Lubezki. It remains too early to say whether virtual reality will reshape art institutions, but this is a rare achievement, and not only for its political urgency. Tickets will be released only on the website at 8 a.m. Eastern Time on the 1st and 15th of each month of the exhibition's duration. (Farago) carneyarenadc.com 'THE INCOMPLETE ARAKI' at the Museum of Sex (through Aug. 31). It remains a bit of a tourist trap, but the for profit Museum of Sex is making its most serious bid yet for artistic credibility with a two floor exhibition of Japan's most prominent and controversial photographer. Nobuyoshi Araki has spent decades shooting Tokyo streetscapes, blossoming flowers and, notably, women trussed up in the baroque rope bondage technique known as kinbaku bi, or "the beauty of tight binding." Given the venue, it's natural that this show concentrates on the erotic side of his art, but less lustful visitors can discover an ambitious cross section of Mr. Araki's omnivorous photography, including his lastingly moving "Sentimental Journey," picturing his beloved wife, Yoko, from honeymoon to funeral. (Farago) 212 689 6337, museumofsex.com 'THE LONG RUN' at the Museum of Modern Art (through Nov. 4). The museum upends its cherished Modern narrative of ceaseless progress by mostly young (white) men. Instead we see works by artists 45 and older who have just kept on keeping on, regardless of attention or reward, sometimes saving the best for last. Art here is an older person's game, a pursuit of a deepening personal vision over innovation. Winding through 17 galleries, the installation is alternatively visually or thematically acute and altogether inspiring. (Smith) 212 708 9400, moma.org 'OBSESSION: NUDES BY KLIMT, SCHIELE AND PICASSO' at the Met Breuer (through Oct. 7). The highlight of this uneven but jewel studded show of erotically charged nudes from the bequest of an eccentric woolen goods heir is Egon Schiele's incandescent "Seated Woman in Chemise." The 1914 drawing shows a nearly naked model seated on the floor holding apart her folded legs with her hands. From the top of her egg shaped, doll like head, so idealized it's practically inhuman, to the blunt exposure of her sex, rendered as simply and honestly as the medium allows, she's an unresolvable contest of fantasy and reality. (Will Heinrich) 212 731 1675, metmuseum.org 'GEORGIA O'KEEFFE: VISIONS OF HAWAI'I' at the New York Botanical Garden (through Oct. 28). Finding out O'Keeffe had a Hawaiian period is kind of like finding out Brian Wilson had a desert period. But here it is: 17 eye popping paradisal paintings, produced in a nine week visit in 1939. The paintings, and their almost psychedelic palette, are as fleshlike and physical as O'Keeffe's New Mexican work is stripped and metaphysical. The other star of the show, fittingly, is Hawaii, and the garden has mounted a living display of the subjects depicted in the artwork. As much as they might look like the products of an artist's imagination, the plants and flowers in the Enid Haupt Conservatory are boastfully real. On Aloha Nights every other Saturday in July and August, the garden is staging a cultural complement of activities, including lei making, hula lessons and ukulele performances. (William L. Hamilton) 718 817 8700, nybg.org 'RENOIR: FATHER AND SON/PAINTING AND CINEMA' at Barnes Foundation, Philadelphia (through Sept. 3). Jean Renoir transformed the history of cinema with humanistic, precisely edited films like "The Grand Illusion," and especially "The Rules of the Game" considered one of the greatest films ever made, though it was a box office flop on its release in 1939. Yet the critic he strove most to please was his father, the Impressionist painter Pierre Auguste Renoir. This terrific dad and lad exhibition, organized with Paris's Musee d'Orsay, interweaves painting and cinema into a heartfelt survey of Jean Renoir's career, and finds paternal influence in the pastoral romance of "A Day in the Country" or the bright landscapes of his 1959 color film "Picnic on the Grass." The irony? It is Jean Renoir who now seems the more inventive artist, even if he was convinced that "I have always imitated my father." (Farago) 215 278 7000, barnesfoundation.org 'SCENES FROM THE COLLECTION' at the Jewish Museum. After a surgical renovation to its grand pile on Fifth Avenue, the Jewish Museum has reopened its third floor galleries with a rethought, refreshed display of its permanent collection, which intermingles 4,000 years of Judaica with modern and contemporary art by Jews and gentiles alike Mark Rothko, Lee Krasner, Nan Goldin, Cindy Sherman and the excellent young Nigerian draftswoman Ruby Onyinyechi Amanze. The works are shown in a nimble, nonchronological suite of galleries, and some of its century spanning juxtapositions are bracing; others feel reductive, even dilettantish. But always, the Jewish Museum conceives of art and religion as interlocking elements of a story of civilization, commendably open to new influences and new interpretations. (Farago) 212 423 3200, thejewishmuseum.org 'THE SENSES: DESIGN BEYOND VISION' at the Cooper Hewitt, Smithsonian Design Museum (through Oct. 28). There's a serious, timely big idea at this exhibition: As social media, smartphones and virtual reality make us ever more "ocularcentric," we have taken leave of our nonvisual senses and need to get back in touch, literally. Thus "The Senses" features multisensory adventures such as a portable speaker size contraption that emits odors, with titles like "Surfside" and "Einstein," in timed combinations; hand painted scratch and sniff wallpaper (think Warhol's patterned cows but with cherries cherry scented, naturally); and a device that projects ultrasonic waves to simulate the touch and feel of virtual objects. The show also presents commissions, videos, products and prototypes from more than 65 designers and teams, some of which address sensory disabilities like blindness and deafness, including Vibeat, which can be worn as a bracelet, brooch or necklace and translates music into vibrations. And if you bring the kids, they will likely bliss out stroking a wavy, fur lined installation that makes music as you rub it. (Michael Kimmelman) 212 849 8400, cooperhewitt.org 'CHAIM SOUTINE: FLESH' at the Jewish Museum (through Sept. 16). The Russian Jewish artist Chaim Soutine (1893 1943), who spent most of his life in Paris, is best known for bloody, ecstatic paintings of beef carcasses. But it wasn't death that interested him it was the immaterial life force of the material world. Along with an instructive lineup of naked fowl, silver herring and popeyed sardines, this indispensable tribute to the transcendent but still undervalued painter centers on a stupendous 1925 "Carcass of Beef," glistening scarlet, streaked with orange fat and straddling a starry sky. (Heinrich) 212 423 3200, thejewishmuseum.org 'WAYNE THIEBAUD: DRAFTSMAN' at the Morgan Library Museum (through Sept. 23). Mr. Thiebaud has won a place in American art history for his densely slathered paintings of cakes, pies, ice cream cones, burgers, fruits and crudites. His drawings have been less celebrated, and this sweet show at the Morgan is the first devoted to his work in pen, charcoal and pastel. Mr. Thiebaud trained in commercial art and came to New York to work as a cartoonist. You can see the influence in his still lifes of the 1960s: The watercolor "Nine Jelly Apples" (1964) depicts the candied fruits to advantage from a high angle, while the pencil drawing "Ice Cream Cone" (1964) places the titular treat front and center, its edges as carefully teased as a model's coiffure. Mr. Thiebaud is sometimes called a realist, but that's not precise; his drawings (and paintings too) rely less on artful imitation of appearances and affects than on a translation of low advertising into high art. (Farago) 212 685 0008, themorgan.org 'THROUGH A DIFFERENT LENS: STANLEY KUBRICK PHOTOGRAPHS' at the Museum of the City of New York (through Oct. 28). This exhibition of the great director's photography is essentially Kubrick before he became Kubrick. Starting in 1945, when he was 17 and living in the Bronx, he worked as a photographer for Look magazine, and the topics that he explored are chestnuts so old that they smell a little moldy: lovers embracing on a park bench as their neighbors gaze ostentatiously elsewhere, patients anxiously awaiting their doctors appointment, boxing hopefuls in the ring, celebrities at home, pampered dogs in the city. It probably helped that Kubrick was just a kid, so instead of inducing yawns, these magazine perennials struck him as novelties, and he in turn brought something fresh to them. Photographs that emphasize the mise en scene could be movie stills: a shouting circus executive who takes up the right side of the foreground while aerialists rehearse in the middle distance, a boy climbing to a roof with the city tenements surrounding him, a subway car filled with sleeping passengers. Looking at these pictures, you want to know what comes next. (Arthur Lubow) 212 534 1672, mcny.org 'TOWARD A CONCRETE UTOPIA: ARCHITECTURE IN YUGOSLAVIA, 1948 1980' at the Museum of Modern Art (through Jan. 13, 2019). This nimble, continuously surprising show tells one of the most underappreciated stories of postwar architecture: the rise of avant garde government buildings, pie in the sky apartment blocks, mod beachfront resorts and even whole new cities in the southeast corner of Europe. Tito's Yugoslavia rejected both Stalinism and liberal democracy, and its neither nor political position was reflected in architecture of stunning individuality, even as it embodied collective ambitions that Yugoslavs called the "social standard." From Slovenia, where elegant office buildings drew on the tradition of Viennese modernism, to Kosovo, whose dome topped national library appears as a Buckminster Fuller fever dream, these impassioned buildings defy all our Cold War vintage stereotypes of Eastern Europe. Sure, in places the show dips too far into Socialist chic. But this show is exactly how MoMA should be thinking as it rethinks its old narratives for its new home next year. (Farago) 212 708 9400, moma.org 'DAVID WOJNAROWICZ: HISTORY KEEPS ME AWAKE AT NIGHT' at the Whitney Museum of American Art (through Sept. 30). This artist was there when we needed him politically 30 plus years ago. Now we need him again, and he's back in this big, rich retrospective. Wojnarowicz (pronounced Voyna ROH vich), who died at 37 in 1992, was one of the most articulate art world voices raised against the corporate greed and government foot dragging that contributed to the early AIDS crisis. But he was far from a one issue artist. From the start, he took outsiderness itself, as defined by ethnicity, gender, economics and sexual preference, as his native turf. And from it he attacked all forms of exclusion through writing, performing and object making. In the show, we find him working at full force in all three disciplines, and the timing couldn't be better. Not long before his AIDS related death, during the culture wars era, he wrote, "I'm convinced I'm from another planet." In 2018 America, he would have felt more than ever like a criminal migrant, an alien combatant. (Cotter) 212 570 3600, whitney.org 'WORLD ON THE HORIZON: SWAHILI ARTS ACROSS THE INDIAN OCEAN' at the National Museum of African Art, Smithsonian Institution, Washington (through Sept. 3). The Swahili coast of East Africa is home to a crossroads culture. For millenniums, the port cities in Somalia, Kenya, Tanzania and Mozambique have been centers of long distance trade and cultural exchange from multiple directions. To the west, they were anciently connected by caravan with Central Africa; to the east, by ship with India, China and Japan; to the north, with an Arab world that included Oman, Iran and Yemen; and to the south, via roundabout shipping routes with Europe and the Americas. This exhibition makes evident both the great beauty and the deep disturbance of those connections East Africa was a nodal point on the international slave trade. (Cotter) 202 633 4600, africa.si.edu 'VISITORS TO VERSAILLES (1682 1789)' at the Metropolitan Museum of Art (through July 29). Visit the famed chateau outside Paris and you'll have to maneuver through crowds of fellow tourists; here at the Met, a different obstacle stands between you and the gilded furniture, ornate tapestries, and embroidered suits and gowns of France's ancien regime. That barrier is a recommended free audio guide whose moderately nifty engineering (a binaural stereo technology oversold as "3 D" sound) hardly compensates for its insulting soundtrack of actors portraying awe struck ambassadors and gossiping aristocrats. So leave the guide at the entrance. A real show is hiding in here one that observes the French court from the 1660s to the fall of the Bastille through the eyes of out of towners. (Farago) 212 535 7710, metmuseum.org	N24News: A New Dataset for Multimodal News Classification	Art & Design
How Much Watching Time Do You Have This Weekend? None Every Monday and Friday, Margaret offers hyper specific viewing recommendations in our Watching newsletter. Read her latest picks below, and sign up for the Watching newsletter here. This weekend I have ... an hour, and I want a drama Iain De Caestecker, left, and Hugh Laurie in the British political drama "Roadkill." 'Roadkill' on Masterpiece When to watch: Sunday at 9 p.m., on PBS. (Check local listings.) Hugh Laurie stars as a conservative politician who is flying high off a legal win but also hiding some unsavory secrets from his constituents and family. As far as political soaps that think they're political thrillers go, this four part British series hits all the marks: ample scheming and shouting, troubled people in loud nightclubs with red walls, improbable investigative strategies from sad reporters, a moody score, shoes clacking in somber hallways you know the drill. Because "Roadkill" is about politics but not the actual politics of this moment, it feels like a transmission from a different, easier planet. Not happier or more just, but easier. ... a few hours, and call me Jackie Daytona Charlotte Ritchie and Kiell Smith Bynoe, foreground, in a scene from "Ghosts." 'Ghosts' When to watch: Now, on HBO Max. This comedy isn't quite as clever as "What We Do in the Shadows," but it has a similar setup, in which modernity clashes with the supernatural in ordinary, day to day contexts. Here, Alison and Mike (Charlotte Ritchie and Kiell Smith Bynoe) inherit an old, decrepit house that is "haunted" by all the people who ever died there, including a scout leader with an arrow through his neck, a moony poet, a fussy noblewoman and a witch who was burned at the stake. There's a warm, silly vibe to everything and occasional moments of real wistfulness. If you wish Unfrozen Caveman Lawyer would cross paths with Phoebe Waller Bridge's "Crashing," or you love "Miracle Workers," watch this. ... a few hours, and I want an epic 'Blood of Zeus' When to watch: Now, on Netflix. For something that scratches a "Game of Thrones" itch but feels special and dazzling, watch this anime that is inspired by Greek mythology but tells a story of its own. Heron (voiced by Derek Phillips) discovers he is more than a lowly outcast: His father is Zeus, but his mother is mortal, and Hera did not take kindly to his conception. Also, there are demons lurking, and somebody will need to fight them off. The eight episodes are fantastically engrossing, and the imagery is gorgeous, adding layers of beauty to righteous rage. I will warn you, though, if you are weird about eyeball violence, proceed with caution.	N24News: A New Dataset for Multimodal News Classification	Television
Stephanie Small spent months thinking about what kind of countertop to get for a new wine bar she will soon open with a partner in Somers, N.Y., part of Westchester County. Besides mulling over the durability and price, Ms. Small thought long and hard about how the 16 foot bar would look, not just in the inside, but through the window from the outside. "I spent hours trying to visualize things and I just couldn't," she said. Then a friend who worked for Cambria, a countertop manufacturer based in Eden Prairie, Minn., told her about the firm's new augmented reality app, which lays digital images on top of the real world when people look through a smartphone lens. After downloading the app onto her cellphone, she pointed the device to where the counter would be installed. An image of the bar appeared in its intended spot and she quickly realized that one of her most recent picks a dark gray marble top would look too much like the concrete floor. "It was remarkable to see it in the real space," she said. "It changed my whole vision." Cambria, along with home furnishers like Ikea and Wayfair, are at the forefront of the home augmented reality revolution. By superimposing a computer generated image of an object into real life, augmented reality is allowing consumers to see what a potential purchase will look like in its exact location. Some experts predict that in just a few years, mobile augmented reality tools will surpass the use of virtual reality, where one is fully immersed in a computer generated world via goggles or a headset. Although the technology behind augmented reality has been around for years, the average consumer had little to do with it until last summer, when Apple released ARKit, a tool kit that allows developers to make augmented reality apps. Then Apple also made its latest operating system augmented reality compatible, suddenly allowing millions of people to use any augmented reality tool available through the app store. Tim Merel, managing director of Digi Capital, a Menlo Park, Calif. based augmented and virtual reality adviser, predicted that by the end of 2018, there could be as many as 900 million smartphones and tablets capable of supporting augmented reality apps created from tool kits like Apple's ARKit, Google's ARCore and Facebook's Camera Effects. And that number could grow to more than three billion by 2021. At the moment, developers are creating simple tools. For example, MeasureKit is essentially a digital ruler, while PLNAR helps a user take dimensions of a room to create a floor plan. And Homesnap, a real estate search engine, has a "Walk the Property Lines" tool that shows the property lines around any home. When you're able to swap or move images at a push of a button, you can convey the "what ifs instantaneously" to clients, making the decision making process quicker, said Matthew Miller, the founder of StudioLAB, a Manhattan architectural and design firm. With new technology, it's all about the ease of use, said Brian Peters, chief marketing officer at Cambria. "I made sure both my 12 year old daughter and my 41 year old wife were able to use the app," he said. Augmented reality is also helpful for home goods manufacturers who need to send out samples or swatches, Mr. Peters said. "We think our customers will be able to narrow their choices further on the app, before requesting a sample." Michael Schroeder, the director of virtual design and construction at SGA, an architectural and design firm with offices in New York and Boston, said that augmented reality could also help fill a major data gap for developers. For example, a tool could be created to show traffic patterns at a building site, or another could depict the texture of various building materials, which a developer could then quickly change on an iPad as while walking around a raw space. "There's a lot of data that architects and builders need to assess at the design phase and changes are made constantly," he said. "If I'm able to stand at the site and see the shadow impact a building has on the surrounding area, it might alter the height of the building." To help builders and engineers, Daqri, a Los Angeles based augmented reality firm, has been promoting its Smart Helmet, where augmented reality glasses are part of the construction helmet. The helmet allows the user to see data about machinery, including a generator's rotation speed and when it was last inspected. It also has a thermal camera, which shows the temperature of pipes. Colleagues in a remote location can also see a repair as it happens and send instructions, if needed. Clelia Warburg Peters, the president of Warburg Realty, thinks augmented reality has the possibility to become a key tool in the home buying process. Virtual reality, which has been used by brokers to entice customers to buy homes in faraway cities, conveys what the builder wants to show. However, augmented reality puts the buyer in the actual space, which can take people from the, "'what is', to the 'what it could be,'" she said. "Buying a home can be very emotional. If you can change and personalize things, it can help with the decision making process," she added. Pandora Reality, an augmented reality developer based in New York and Istanbul, builds augmented reality tools for brokers and developers who want to show the potential of an unfinished space. Alper Guler, Pandora's head of operations in the United States, thinks real estate marketers could use technology to help keep their client's attention. "Home buying is a weekslong process. You can keep clients engaged with augmented reality much more than a link to a website," he said. One current drawback, experts said, is the lack of realism of the computer generated image. They still look too fake, Mr. Miller said. "I think augmented reality will find a large audience when people can't tell the difference between the real thing and the computer generated image," he said. "But I'm sure that's right around the corner, like all things tech."	N24News: A New Dataset for Multimodal News Classification	Real Estate
The Food and Drug Administration said on Tuesday that it had approved a new generic version of the widely used blood pressure drug Diovan, or valsartan, which has been in short supply following recalls made because of chemical contamination. The new version is being made by Alkem Laboratories Limited, based in Mumbai, India. "The F.D.A. prioritized the review of this drug application to help relieve the recent shortage of this critical medicine as a result of multiple recalls of generic valsartan products from several manufacturers," the agency said in a statement. The recalls began in July when the F.D.A. found that some valsartan products contained a potentially cancer causing chemical, a type of nitrosamine called N nitrosodimethylamine, or NDMA. European regulators had already made the same discovery. The substance can form during manufacturing if the chemical reactions used to make the drug are not carefully controlled and monitored, the F.D.A. said. Nitrosamines can cause tumors in the liver and other organs in lab animals and are thought to be carcinogenic in humans as well.	N24News: A New Dataset for Multimodal News Classification	Health
Glenne Headly, whose acting career took shape at the renowned Steppenwolf Theater Company in Chicago and found its biggest audience in Hollywood with films like "Dirty Rotten Scoundrels" and "Dick Tracy," died on Thursday in Santa Monica, Calif. She was 62. The cause was complications of a pulmonary embolism, her husband, Byron McCulloch, said. Ms. Headly moved easily from comedy to drama and from stage to screen. Not often cast in lead roles, she played her parts with a subtle, scene stealing panache. She was nominated twice for Primetime Emmy Awards for supporting roles in the mini series "Lonesome Dove" (1989), in which she played Elmira, the sheriff's wife, and the television movie "Bastard Out of Carolina" (1996), in which she played the sister of Jennifer Jason Leigh's character. Her high pitched, girlish voice gave her a spacey, sometimes ditsy, quality that worked well in comic roles. But for her dramatic work she could lower its register, as she did to play a prostitute in the Lanford Wilson play "Balm in Gilead," in New York and Chicago. "But day to day, if someone meets me, they'll think I have this breathy, airy, airhead voice," she told the industry publication Backstage in 2001. "I thought for a long time I should just change my voice. I should just work at it, since I'm so good at accents. I should just focus and do it all day long. But I can't do it." Her facility at accents came into play on the set of "Dirty Rotten Scoundrels" (1988), in which Steve Martin and Michael Caine played con artists who target her character as their latest mark. During a break in filming on the French Riviera, New York magazine reported, Mr. Martin cajoled her to do some imitations. "Steve, I'm not one of those people who put on shows for you," she told Mr. Martin. But when she relented and conjured a thick Long Island accent, Mr. Martin was so excited that he rushed to tell the director, Frank Oz, and the voice became integral to the finale, when Ms. Headly's character turns the tables on the con men. Two years later, when she played Tess Truehart in Warren Beatty's "Dick Tracy," she took the character's name literally. "I think 'Truehart' suggests to me a very caring and largehearted woman," she told The Los Angeles Times, "one that does things because she believes in them, because it's actually the character's credo." In his review of the movie, Vincent Canby of The New York Times wrote that Ms. Headly was a "terrific comedienne" who had the "placid beauty of a Renaissance Madonna." Glenne Aimee Headly was born on March 13, 1955, in New London, Conn., and grew up with her mother, the former Joan Ida Sniscak, in Greenwich Village. By second grade, she had declared her goal of becoming a movie star. And in grade school she performed skits a cocktail party, a beauty contest, an operation in which she played all the roles. "Just for close friends, though," she told New York magazine. "I felt uncomfortable unless I knew the people real well; I still do." She graduated from what was then the School of Performing Arts in Manhattan and the American College of Switzerland. When she returned to New York, she took acting classes and waited tables at a restaurant with the actress Ellen Barkin before leaving for Chicago. In the late 1970s, Steppenwolf was fast becoming one of the most acclaimed regional theaters in the country. Ms. Headly worked there with Laurie Metcalf, Joan Allen, Gary Sinise and the actor and director John Malkovich (who became her first husband), and had roles in "Goodnight Gracie," "Mother Courage" and "Born Yesterday," in addition to "Balm in Gilead, for which she was also the costumer, shopping in thrift stores to stay within a tiny budget. Ms. Headly made her Broadway debut in 1985 in Shaw's "Arms and the Man," as the heroine, Raina, in a cast that also included Kevin Kline and Raul Julia. In his review in The Times, Frank Rich wrote, "Miss Headly plays her hand with a winning, newly awakened adult poise that reduces both Mr. Kline and Mr. Julia to helpless tots." In addition to her husband, she is survived by her mother and a son, Stirling. Her marriage to Mr. Malkovich ended in divorce. In recent years, she appeared on the television series "Monk," "E.R." and "The Night Of," and in the films "Don Jon" and "The Circle." At her death she was filming the Hulu series "Future Man" with Ed Begley Jr. According to Deadline.com, her part will not be recast.	N24News: A New Dataset for Multimodal News Classification	Theater
When the artist Fred Tomaselli moved to New York from Los Angeles in 1985, he joined an early wave of his peers beginning to colonize the Williamsburg section of Brooklyn. "It was really ugly but it was cheap," Mr. Tomaselli, 62, said, lounging in the well lived in and now valuable house he shares there with his wife, Laura Miller, and their grown son. On every wall and bookshelf are artworks, a collection hovering near 300 objects that the couple has accumulated from friends, colleagues, teachers and students. Some pieces were wedding presents, like a geometric abstract etching by James Siena, who hooked up Mr. Tomaselli with a frame shop job when he was new to New York, and a watercolor of a pale pink oval by Spencer Finch with the handwritten text: "Trying to remember the color of Jackie Kennedy's pillbox hat." "Spencer did a whole wall of these that are all slightly different colors of pink," Mr. Tomaselli said. "It's a funny, beautiful piece I think." The inventory of gifts and trades from other close friends includes works by Amy Sillman, Allen Ruppersberg, Tom Burckhardt, Byron Kim and Kurt Hoffman. Alison Elizabeth Taylor, who lives across the street, once arrived at his doorstep bearing one of her wood inlay pictures in appreciation for all the vegetarian burgers she'd eaten there.	N24News: A New Dataset for Multimodal News Classification	Art & Design
Liza Colon Zayas, left, and Carrie Coon in "Mary Jane," in which a child's illness raises existential questions. The play, by Amy Herzog, is at New York Theater Workshop. Plays don't usually come with content advisories, but "Mary Jane," by Amy Herzog, should: Parents strongly cautioned. Or maybe not just parents. "Mary Jane," which opened on Monday at New York Theater Workshop, is a heartbreaker for anyone human. That's in part the result of a very delicate sleight of hand Ms. Herzog executes in shaping the story, which at first seems to turn on a movie of the week premise about a very sick child named Alex. Born after just 25 weeks of gestation, he was expected to die within days. That he has made it to 2 years old is a double edged miracle, living as he does with multiple serious conditions, including cerebral palsy, that require round the clock attention and an armamentarium of specialized equipment. But we never see or even hear Alex, who cannot speak; he is implied by the ping of his monitors and the slurp of his suction machine. Instead, the play is about (and is named for) his mother, a woman in her 30s who was working toward a teaching degree when the need to care for Alex put her plan "on hold for a minute." That chipper phrase is a clue to Mary Jane's character. Though she has turned the bedroom of her Jackson Heights apartment into a pediatric ward, and makes do with a foldout sofa in the living room, she is so uncomplaining and willfully blase that her refusal to surrender to distress seems almost pathological. She expresses more concern about the effects of heavy rain on a visitor's garden than about her precarious income and Swiss cheese sleep. Anger and why me ism are beyond her; she even forgives the husband who, unable to deal with the calamity, fled. "I hope he finds some peace; I really do," she says. All of this is portrayed in a rush of upbeat charm by Carrie Coon, a notable Honey in "Who's Afraid of Virginia Woolf?" and more recently acclaimed for simultaneous performances on "The Leftovers" and "Fargo." Here, she is excellent surfing the crests of the character's chatter regardless of the tides churning beneath. The upshot feels like mania or at least denial: In the series of home visits by four other women that structure the first half of the play, she all but enforces a convivial tone, as if they were besties meeting post work at a wine bar. Without undercutting the weird dignity of that response, or squashing the humor it sometimes produces, the director Anne Kauffman keeps the audience anxiously awaiting a plunge. This anxiety is introduced surreptitiously, with just sound (by Leah Gelpe) and light (by Japhy Weideman). How strange and pregnant are those implacable beeps from the bedroom, how sharp the shards of moonglow that greet Mary Jane when she wakes up to respond. By comparison, the dialogue at first seems merely random, as do the visitors; Ms. Herzog is emphasizing the one thing then another dailiness of extended disaster. But a pattern soon emerges. Ruthie, her building's super, worries about the tension Mary Jane is absorbing in her body. ("That's how my sister got cancer," she offers.) Sherry, Alex's primary home care nurse, makes more of the boy's temperature spikes than Mary Jane dares. Amelia, Sherry's niece, is startled by Mary Jane's exuberant warmth. And Brianne, the mother of a child with a similar condition, almost collapses under the weight of a can do pep talk. These women, brought to beautifully detailed life by Brenda Wehle, Liza Colon Zayas, Danaya Esperanza and Susan Pourfar, act as a four part treble chorus, reflecting Mary Jane's disowned emotions. That they range in age from 21 to 70 ish suggests that Ms. Herzog is also exploring a larger issue, one that for Mary Jane predated Alex's birth and, we begin to dread, will outlast him. That larger issue comes into focus halfway through the play, when in a terrifying and beautifully staged moment, the set, by Laura Jellinek the reigning Off Broadway master of Transformers style reconfiguration turns itself inside out just as the drama does. Now we are in a hospital, where Mary Jane can no longer domesticate her fears. The four supporting actors recur in new and symmetrical guises as her medical and spiritual advisers. Ms. Herzog has often built her plays, from "4000 Miles," to "After the Revolution" to "Belleville," on the fault lines of belief: the lies, secrets and ideologies we all straddle to get by. Here, she goes further, approaching the most difficult matters of faith. In encounters with a sharp tongued Hasidic mother of seven (Ms. Pourfar again) and a novice hospital chaplain (Ms. Wehle), Mary Jane begins to understand that the life or death questions her child's illness has raised were always there anyway. Being a mother (the medical staff relentlessly refers to her not by name but as "Mom") does not protect her, or anyone, from them. This is why Chaya, the Hasidic mother, tells Mary Jane it is a relief to be in the hospital with her sick daughter: Everything else "wasn't real." And why the chaplain, a recent convert, admits that her checkered religious history isn't the only thing that makes her life seem arbitrary. In fact, she says, "It's pretty far down on that list." These two scenes feel brutally honest in part because they are brutally inconclusive. The play, under Ms. Kauffman's ideally detailed direction, is not out to answer any questions. In that sense "Mary Jane," with its ordinary name, is a character study, an Everywoman story, despite its origin in specific personal experience. Ms. Herzog and her husband, the director Sam Gold, have a child who was born in 2012 with a muscle disease called nemaline myopathy.	N24News: A New Dataset for Multimodal News Classification	Theater
LEVIDI, Greece Gregoris Skouros stepped out of the sawed off cargo container that hard times have forced him to make his home in on an agricultural plain near this tiny village, a two hour drive south of Athens. When a visitor raised the issue on everyone's minds Greece's future in the euro zone Mr. Skouros pursed his lips for a long moment before speaking. "The problem has now gone beyond whether we remain in the euro or not," said Mr. Skouros, 54. "The issue is, Can Greece be fixed?" That question has taken on new urgency as Prime Minister Antonis Samaras makes a renewed effort this week to assemble an austerity budget package that can persuade Greece's creditors to release a 31.5 billion euro ( 41.1 billion) loan installment for the country in October. Even now, auditors from Greece's troika of international lenders are examining the books in Athens to determine whether the country is on track to repair its tattered finances. But even if Greece receives yet another lifeline from its European partners, many Greeks have reached their own conclusion: It doesn't matter. While the economics of everyday life continue to erode, the big concern is that Greece's leaders are doing almost nothing to root out deep seated problems that hobble a return to growth, including bureaucracy and bribery. That dark public mood also evident in widespread work stoppages in Greece this week and a general strike planned for next week could make it all the harder for Mr. Samaras's government to push through Parliament his 11.5 billion euro package of austerity measures. A budget deal could be the country's last, best hope for getting the next round of international loans it needs to stay part of the euro union. Recognizing the domestic political challenges facing Mr. Samaras, whose shaky three party coalition came to power in June after two national elections, European officials seem willing to give him a bit more time. European finance ministers meeting in the Cypriot capital of Nicosia last weekend signaled that willingness, and on Monday so did the German chancellor, Angela Merkel. Given the political alternatives in Greece, European leaders might see little choice but to continue betting on Mr. Samaras. Right now, in fact, it may be the increasingly impatient Greek public that is the prime minister's bigger challenge. The popularity of the neo fascist Golden Dawn party, which won 18 parliamentary seats in the last election, has climbed in recent weeks. The main leftist opposition party, Syriza, is now virtually tied with Mr. Samaras's New Democracy party in the polls. Mr. Skouros, who voted for the socialist Pasok party that was ousted from power this year, said he was no longer sure for whom he would vote if elections were held yet again. "The problems of Greece are so widespread," he said, shielding his eyes from a blazing sun as he looked across the stretch of farm country that he now calls home. "It would take a Marshall Plan with outside inspectors coming into every government operation and looking over people's shoulders to make sure that change really happens." The Greek economy, already in the fifth year of recession, has slumped even further in recent months as a series of earlier state salary and spending cuts, together with sharp tax increases, take their toll on an austerity weary public. Growth contracted 6.2 percent in the second quarter and is expected to decline nearly 7 percent this year, far worse than the 4.2 percent forecast just a few months ago by the so called troika of international lenders: the International Monetary Fund, the European Central Bank and the European Commission. Unemployment rose to 23.6 percent last month. Today in On Tech: Imagine not living in Big Tech's world. Dollar Tree will raise prices to 1.25 by the end of April. With the Samaras government's latest proposals to cut state salaries and pensions even more, Greeks including doctors, firefighters and large swaths of the national police force have taken to the streets. So far the demonstrations have been peaceful. But some people are bracing for the possibility of civil unrest on Sept. 26, when a planned nationwide strike is expected to bring things in Greece grinding to a halt. While Mr. Samaras has promised that this latest austerity package will be the last round of cuts on his watch, critics say the bigger issue is that too little is being done to rehabilitate the competitiveness of the Greek economy or attract foreign investment. The troika has been signaling as much by insisting that the government take bolder steps to slim the bloated state sector; clamp down on waste, inefficiency and corruption; and reduce the thickets of administrative hurdles that stifle entrepreneurship in Greece. Mr. Skouros agrees. Without fundamental changes, he says, Greece may have little hope of being anything more than a ward of the European state for years to come. He speaks from experience, having run the Greek gantlet when he tried to restart his life two years ago. That was after the elevator parts and service business he had owned and run in Athens for a decade began slumping along with the economy, after the extent of Greece's debt crisis became evident. He and his son, Tassos, 24, looked for ways to make a fresh start. After studying a variety of business prospects, Mr. Skouros moved in 2010 to this vast agricultural swath of Arcadia to set up a snail farming enterprise. Escargots, it turns out, can be a lucrative export, snapped up by the truckload as a culinary delicacy by restaurants and shops in Italy and France. To save money, he settled into a trailer that he combined with half a cargo container to make his homestead on a small plot he bought, joining a rising number of urban Greeks who are returning to the countryside as jobs and business opportunities dry up in big cities. But Mr. Skouros faced obstacles from the get go. Escargots might be a potentially lucrative cash crop, but banks would not take the risk of lending to him. And obtaining a business permit turned into its own 18 month odyssey, with numerous visits to government offices and the occasional request for bribes. "In Greece, it has always been the case that you pay a bribe to get your driver's license, at the hospital, and even when starting a business," he said. "Now things have gotten so bad, the trend has become even worse." He said the corruption and nepotism that the troika had also identified as hurdles to reviving the economy were all too apparent even here in rural Greece. In many agricultural regions, it is not uncommon for people with Civil Service jobs to grow crops on the side while continuing to collect their pay from the state. He spoke of one man who often tended to his tomato crop during the summer instead of going to work in the office where he was a civil servant. The tomatoes bring in an estimated 25,000 euros a year, much of it collected in cash to avoid paying full taxes. The local tax collector was a close friend of the man, "so it's no wonder that full taxes are not imposed," Mr. Skouros said. "In the meantime, this man is getting a paycheck from the state even while he is working in the field." Mr. Skouros said he was not certain the Samaras government or any government, for that matter would be able to surmount the culture of corruption that taints even the most basic functions of Greek society. As it is, he said, the prime minister now seems more focused on an international audience than on his country's own voters, trying to forge the austerity plan that will placate the troika and begin repairing the international reputation of Greece. Fingering an escargot shell in his palm, Mr. Skouros said he still hoped his business would take off. But so far, given all the delays, he said he had not yet been able to start exporting or generating any revenue. He cast a long, silent stare across the farmland. Whether or not Greece stays in the euro, or gets yet another lifeline from the troika in the coming months, he finally said, corruption, bribery and bureaucracy are weighing on Greece even more than the debt on which outsiders are so fixated. "Are we ever going to be able to change things?" he asked. "Probably not without a revolution."	N24News: A New Dataset for Multimodal News Classification	Global Business
Motorists who live in New Jersey and have a major problem with a new vehicle have a handy tool: the best lemon law in the land. But about a third of the states have such weak lemon laws that consumers will have a tough time getting a fair deal, according to a study released this month by the Center for Auto Safety. All 50 states and the District of Columbia have "something that is arguably a lemon law," but too many fail consumers, said Jason Levine, the executive director of the center, a nonprofit consumer advocacy organization founded by Ralph Nader. In the worst states, Mr. Levine said, there might as well be no lemon law on the books. The states differ on what constitutes a lemon. But in general, a lemon car or truck has a single, serious defect impairing its safety, use or value. A vehicle could also be a lemon if it had a series of problems and could not be used for a long period often set at 30 days because it was at the dealership. Given the cost of new vehicles, consumers should be angry that too many states "have decided they are not going to give anything but mediocre rights" to consumers, said Ronald Burdge, a lawyer from Dayton, Ohio, whose firm has specialized in lemon laws for decades.	N24News: A New Dataset for Multimodal News Classification	Automobiles
A coalition of 10 news organizations, including The New York Times, The Washington Post and NBCUniversal, has formed a partnership with Virginia Tech to test drones for news gathering, the companies said on Thursday. The partnership, the companies said in a statement, is "designed to conduct controlled safety testing of a series of real life scenarios where the news media could use small U.A.S. technology to gather the news." The college is one of six sites designated by the Federal Aviation Administration for testing of unmanned aircraft systems, or U.A.S. The other members of the coalition are Advance Publications, A. H. Belo, The Associated Press, Gannett, Getty Images, E.W. Scripps Company and Sinclair Broadcast Group.	N24News: A New Dataset for Multimodal News Classification	Media
How do New York Times journalists use technology in their jobs and in their personal lives? Sam Ezersky, the assistant editor of puzzles for The Times, discussed the tech he's using. What is your process for making a crossword puzzle, and what are the most important tech tools that you rely on? Some crossword grids are easier to flesh out than others, but they tend to follow a similar design approach: brainstorming a "theme set" around an interesting idea for wordplay, building the puzzle grid's skeleton around this set and filling it with all the answers through trial and error. Once the grid is complete, the final step is writing clues for every answer, keeping clarity, variety and the right difficulty in mind. The most important aspect of this process is remembering the solver throughout; the puzzle should not just check the boxes for its creator, but be enjoyable for its target audience. The puzzle design program I use is a Mac only application, CrossFire, which allows me to lay out, tweak and save my puzzle grids with ease. I personally view the tool as an alternative to the tedious sketching, shading and erasing on graph paper how I first explored puzzle making though it does feature many bells and whistles that other crossword creators find helpful, such as "autofilling." Many of my peers curate master word lists that contain hundreds of thousands of crossword worthy answers scored by a perceived enjoyment factor. A fresh, lively phrase might receive a 75; a familiar, normal word, 50; a bit of esoteric trivia, 30. Puzzle makers are constantly adding to their own word lists, which can be imported into CrossFire and used for quick, computer assisted filling of an optimal solution based on a set scoring threshold. While autofilling certainly doesn't guarantee that a solution is possible, the technique eliminates concerns of human oversight, and is especially useful with a well maintained word list. As my methods for finding answers are done manually, I rely on querying strings of known and unknown letters using puzzle and word databases like XWord Info and OneLook. For instance, if I type the pattern N??B? into a database, the query will return possibilities like NUMBS, NOOBS, NUBBY, NIOBE, the partial phrase NOT BY (as in " a long shot!"), and various obscure proper nouns and abbreviations. It's up to me to determine which option is optimal, as both an answer itself and as a constraint on the rest of the puzzle grid. Although this approach is quite time consuming, I find it strengthens my abilities to recognize patterns in words, and I'm up for the challenge. What does it mean to be assistant puzzles editor for The Times, and how does technology assist you in your daily tasks? The puzzles I create are all done on my own time. My daily routine involves working with the puzzles editor, Will Shortz, and the digital puzzles editor, Joel Fagliano, with the three of us making up The New York Times Crossword's editorial team. All crossword puzzles published in The Times have been accepted through our open submission process. The backbone of my job consists of reviewing puzzle manuscripts that are sent our way, and then corresponding with the puzzle makers to inform them of our decision, as well as offer constructive feedback where appropriate. Each puzzle is judged holistically, under the same considerations discussed with crossword creation: the interest of the theme, the quality of the surrounding grid and answers, the appropriateness of the clues. If we like a puzzle, we accept it and file it into our queue; its clues will be edited for style and accuracy in the weeks before publication. At the forefront of this entire process is a need for information, which is now quickly and readily available in the internet era. Sometimes I'll need to verify an answer unfamiliar to me; Will's bookshelves are lined with trusted reference works, but a simple web search on a term can be done with the click of a button, and it can sometimes lead me down a rabbit hole that ultimately inspires an interesting clue. With smartphones in our hands, there are now many ways for people to solve the Times crossword. How has this changed puzzle solving? There is certainly something to be said for solving a newspaper crossword in pencil, just as there is for holding a physical book to read. However, solving online offers a truly enhanced experience. Crossword neophytes may find digital only features like Check and Reveal to be especially helpful for moving through a puzzle more quickly, perhaps learning a new word or two with minimal frustration. The built in timer serves not only as a barometer of puzzle progress, but as a data collection device for showing solvers how a time compares with their average on a given day of the week. All can appreciate the beauty of immediately seeing the clue that corresponds to selected squares in the grid, as opposed to searching through the columns of clues in print. A digital platform for solving also comes with a digital archive of all past puzzles, as well as other daily offerings, like Joel's Mini Crossword and our latest word game, Spelling Bee, which I edit. A print solver is generally finished for the day once the corresponding puzzle page has been completed, but an online solver has the ability to start, stop and continue many puzzles at leisure. Progress is always saved in an account, and a login allows access on any electronic device. On the editorial end, the cohort of online solvers adds a new ripple to our review process when we consider how a puzzle should be presented. This has always been simple in print; the solution grid is displayed in the next day's paper, and solvers can check their work manually. However, with online solvers entering their answers against a solution key in our back end, things can get complicated, especially with tricky theme ideas that can be interpreted in various ways. We have published puzzles in the past with squares that contain multiple letters, different correct letters for Across and Down, or no letters at all. Outside of your work, what tech product are you obsessed with? I'm a big sports nut, and have gotten super into the app Clutchpoints for keeping up to date with pro scores and analysis. The elegant, easy to use interface is its selling point, and game updates display better in real time than they do in any official apps l've tried in the past. Clutchpoints isn't just for one sport, either; the user can toggle between major league baseball, the N.B.A. and the N.F.L. with ease. My favorite part of the app are the game feeds themselves. Next to each box score is a Stream tab that integrates the live play descriptions with social media updates from professional fan pages and well known analysts. The game might already be on my TV, but now I can have its details peppered with Twitter GIFs and hot takes in the palm of my hand. Sam Ezersky currently edits The Times's newest word game for digital subscribers, Spelling Bee. Follow him on Twitter: thegridkid.	N24News: A New Dataset for Multimodal News Classification	Technology
The first design for the building was too industrial looking. The second was too glassy. But the third was just right. At least that's how the design progressed for the seven story condominium rising at the intersection of Seventh Avenue South and West 10th Street. The site for the building, now known as 175 West 10th Street, is a small triangle that was created when Seventh Avenue was extended on a diagonal south from Greenwich Avenue in 1919, slicing through city blocks and leaving irregularly shaped lots on either side. Originally known as 130 Seventh Avenue South, the site is just over 2,900 square feet, with its longest side on the commercial thoroughfare. Although triangular sites elsewhere in the city have given rise to extraordinary architecture the Flatiron Building, for instance the odd lots along Seventh Avenue were for many decades largely ignored by developers, who favored sites with more buildable sizes and conventional configurations. Gas stations and other single story structures were erected on some of the sites. In 1937, the Texas Company built a one story building on this lot, and over the years different businesses have occupied it, most recently a restaurant and nightclub named Veranda.	N24News: A New Dataset for Multimodal News Classification	Real Estate
The path to an Oscar can be long and winding or sudden and short, but whatever the route, it ends on a red carpet guarded by hundreds of photographers. "I literally walked in here and the first person I saw was you," Lucas Hedges, a best supporting actor nominee for "Manchester by the Sea," said to Ryan Seacrest, the evening's unofficial interrogator in chief. Before the stage, before inevitable delays, before teary speeches, there is the question of costume: Who are you wearing? (It is one of the evening's odd ironies that this is the one question Mr. Seacrest habitually forgets to ask.) So they come and parade, divided, by and large, between the princessy and the sultry: those who maneuver their massive ball skirts (Janelle Monae in Elie Saab, Kirsten Dunst in Dior, Leslie Mann in Zac Posen) and those who strut in dresses sleek, slinky, often high slit or sheer (Nicole Kidman in peachy Armani Prive, Naomie Harris in white sequined Calvin Klein, Taraji P. Henson in plunging, blue velvet Alberta Ferretti, the evening's early standout). They clutched evening bags and suffered in silence in what were almost certainly uncomfortable shoes save Octavia Spencer, the "Hidden Figures" best supporting actress nominee, in feather frilled Marchesa, who said her forgiving Stuart Weitzman shoes made her "a very happy woman right now." Several outfits were pinned with a blue ribbon, to show support for the American Civil Liberties Union. Trends tend to fall by the wayside, though this year many stuck to black (Ms. Dunst, last year's best actress winner Brie Larson), white (Ms. Harris, the model Karlie Kloss, Chrissy Teigen) and optimistic Oscar gold (Emma Stone, in flapper fringed Givenchy). Ruth Negga, a best actress nominee for "Loving," was a welcome flash of color in red Valentino; likewise Viola Davis, in red Armani Prive. "I'm in love," Ms. Negga told the cameras on her way into the show with her dress. That love is the work, months in the making, of a small army of stylists, designers, agents and publicists conspiring to dress the evening's stars and drape them in millions of dollars' worth of borrowed jewels. ("There's like 20 bodyguards following me around for this," Dakota Johnson, a presenter, told Mr. Seacrest about her Cartier jewelry.) An entire industry spins around securing the starlets and a moment of media airtime in which they dutifully recite their labels. The days of Edith Head, the great midcentury costume designer (and eight time Oscar winner), whipping up a gown for one of her actresses are long in the past. Dresses are big business, and Oscar dresses the biggest of all. Not for nothing did the costume designer Lizzy Gardiner show up to collect her Oscar in 1995 in a sheath custom made of Amex Gold cards. With machinery so grand, competition is fierce and tempers run hot. Just before the Oscars, Karl Lagerfeld, the designer of Chanel, touched off an international incident by claiming, in Women's Wear Daily, that Meryl Streep commissioned, and then declined to wear, one of his gowns, saying she had been paid to wear one by another designer. Ms. Streep fired back, in no uncertain terms, in People. (Mr. Lagerfeld apologized.) Ms. Streep, for the record, there to celebrate her 20th Oscar nomination, ultimately chose a gown by Mr. Saab. "Nice dress, by the way," Jimmy Kimmel, the evening's host, called out from the stage. "Is that an Ivanka?" Next to these flaring passions, most men wisely embrace a policy of decorous restraint. A foray into navy from basic black was as far as many men dared. (Pharrell Williams, in chain bedecked Chanel, is not many men.) Casey Affleck, a best actor nominee, had gone to the Independent Spirit Awards the day before wearing, in a more independent spirit, a shirt of his own design that spelled out "love" in Arabic. Here he opted for a Louis Vuitton tuxedo with the classic bow tie and studs. Mahershala Ali, who took the best supporting actor trophy early in the evening, went, as he often has this awards season, for Ermenegildo Zegna, this time in black on black.	N24News: A New Dataset for Multimodal News Classification	Fashion & Style
You know those paisley Vera Bradley duffels beloved by sorority sisters and grandmas nationwide? I dragged one with me for the first four legs of my impossible, wonderful 52 Places trip because it was the only luggage I owned that fit all the things I thought I needed. It went home just before I left the United States, which made up the first few legs of my trip, along with some 20 pounds of clothes, according to my luggage scale. (I eventually ditched that, too.) Blogs, travel writers, foreign correspondent friends, and flight attendants all gave me great advice, but the past five months of hopscotching through climates and national borders have been figuring out what works for me, with trial and a ton of error. Here are my most important takeaways on packing and prepping for long term solo travel. I had to wait 40 days to get approved for a Chase Sapphire Reserve widely considered the best card for international travel, despite its 450 annual fee (you can make it up with a 300 annual travel credit and quick points accumulation) and instead use a Citibank Prestige ( 450 annual fee, and a lot of similar benefits) that only came with a 7,000 limit. Between the costs of this trip, and huge deposits required by Latin American rental car companies, I was paying down my balance every other day. (And spending more time crying on the phone to customer service reps than talking to my family.) Points and perks are great, but you need cards that work in real life. Three, each with no foreign transaction fees, are worth consideration: the Reserve (mine came with a 27,000 limit); Capital One Quicksilver (a good backup with modest cash back and no annual fee); and something from this list with chip PIN capabilities since you can't use automated kiosks in Europe without one. Also consider a Charles Schwab Investor Checking Account they reimburse your A.T.M. fees. For more, the team at Wirecutter, a New York Times Company, has an in depth guide to travel rewards cards and their perks. First, ask the question: What kind of traveler am I? Rugged backpacker? Chic minimalist with a spinner bag? Then pick luggage that helps you realize that. Wirecutter has suggestions here depending on what you need and how you travel. I'm a grown woman multimedia journalist hauling (and keeping an eye on) all my own stuff. So I needed the most compact, most capacious bags I could actually lift myself. My kit: a roller carry on for clothes and toiletries, a backpack for some 20 pounds of computing and camera gear, and a small purse because I don't know how to live without one. As important as credit cards are, my number one concern going into this trip was: What happens when I get my period? Like many people with a uterus, it sometimes ruins my life for up to a week every month. And I almost never see it mentioned in travel writing, which is overwhelmingly dominated by men. OB Ultra Tampons, the only ones that work for my heavy flow, are hard enough to find in New York City, let alone on the road. So I've been trying menstrual cups (greater capacity, re useable) paired with Thinx (cutest of the period underwear I tried and Wirecutter approved; order a size up) and the results have been dismaying. I've bled on clothes and hotel sheets from Montgomery, Ala., to Oslo. Emptying the cup in public restrooms is also an embarrassing dance I haven't mastered. There's a definite upside to cups. On my one successful week, I went on an eight hour hike in Peru and never once had to squat behind a bush to change a tampon. But you need a lot of test runs before hitting the road. One menstrual cup advocate told me it took her 3 years to find the right fit! 4. If you cherish it, leave it at home. High heels, bomber jackets, good dresses and my favorite leather handbag all went back in the first shipment home. My new motto: A trip like this will ruin any object you love. Since then I've lived out of my LeSportsac Essential Crossbody purse. It's virtually theft proof and holds all my essentials (wallet, phone, external batteries, Ray Bans, lip balm, passport) in well organized compartments. Plus, it's washable, which has proved crucial in disasters involving powdered sunscreen and melted chocolate. 5. Pick bags that can take a beating. For a suitcase, I very intentionally chose a two wheeled Briggs Riley Baseline International Carry On (acquired at the wonderful Luggage Super Outlet near Disney Springs). Sure, it's a tad heavy (9.13 pounds) and expensive ( 399 wholesale). But it also has a unique soft bodied design that makes it roomy and easy to pack. I can sit on it in train stations, drag it over cobblestones and check it whenever I want. Plus, those sturdy two wheels won't roll away from me if I get distracted, which gives me one extra layer of protection against theft. Backpacks were trickier, but I'm happy with the third one I bought, the 170 Osprey Fairview 40, which features a spine saving aluminum frame, waistband and chest strap. (Remember to get a rain cover.) Check out a full review of the Osprey here.	N24News: A New Dataset for Multimodal News Classification	Travel
In June, the YouTube star Etika was found dead in the East River, a suicide. My 15 year old son was a fan, and I watched him process the loss without saying much. A few weeks later, the Disney Channel actor Cameron Boyce died at age 20. "People can just die so young?" my son asked. I nodded. I admit, I was really terrible at this part of parenting. The adults in my life when I was a teenager had always framed death around religion, saying that people had "gone to a better place," something that never brought me a sense of peace. I didn't want to make those same mistakes. Then on Dec. 8 the rap artist Juice WRLD died after a seizure at a Chicago airport. Juice WRLD was my son's favorite rap artist. His music was a regular part of my son's day, playing in his headphones on the way to school. The shock hit my son hard, and this time I reached out to experts for advice on how to support him. "Generally, when it comes to grief, particularly with teens, the impulse for the support person is to try to make them feel better," said Jana DeCristofaro, community response program coordinator of the Dougy Center, a national center for grieving children and families. "But by jumping in" and attempting to assuage the grief, "we are really communicating that their grief makes us uncomfortable." The Dougy Center, in Portland, Ore., provides peer support programs for children, teenagers and their families grieving a death. Its philosophy is that teens respond better when parents and other adults choose to be companions in the grieving process rather than attempting to direct it. The parental instinct to try to make everything O.K. can actually backfire. "Teens are going to be really sensitive to the fact that a parent is uncomfortable," Ms. DeCristofaro said. "Then, they're just going to say 'I'm fine.'" Instead, talk through these feelings in a way that gives your teen the reins. For this generation of teenagers, the deaths of their icons are bigger than adults might realize. "When a star dies who's around the same age, it can bring up a lot of thoughts about mortality," Ms. DeCristofaro said. Reminders of these deaths are all over social media, and teens are inundated daily with news and commentary on what happened and why. Ms. DeCristofaro said this might trigger teenagers' questions about the purpose of their own lives. Parents also have to keep in mind that fan relationships are different now. The deaths of previous pop idols, like Michael Jackson in 2009 and Prince in 2016, devastated fans all over the world. Many worshiped them and felt emotionally connected to them through their music. But now, with platforms like Snapchat, teens are immersed in the world of their celebrities like never before. Ms. DeCristofaro said that one of the factors that influences a person's grieving process is how much the person who died was a part of the day to day life of the person grieving. Teens watch their favorite musicians' Instagram stories, follow their thoughts and musings on Twitter, and see or hear from their favorite celebrities on one social platform or another. This adds to the level of connection teens feel they have with celebrities. What parents can do differently, she said, is acknowledge how the daily routine of teens whose favorite celebrity just died will change. Treating these deaths like far removed tragedies is dismissive. "They feel like they lost a friend," said Ebony White, director of the addictions counseling program and assistant clinical professor of the counseling and family therapy department at Drexel University. "Sometimes parents and teachers lose teens because we don't connect with how personal it was for them." Dr. White recommends that parents start with a simple question: "What do you need from me?" Other well intentioned questions, such as "Why are you upset?" or "What's wrong?" can come across as dismissive to grieving teens. Acknowledging the pain they are experiencing without attempting to fix the feelings may help leave the door open for teens to lean on their parents through the process. To continue the conversation, Ms. DeCristofaro advises that parents be what she calls curious learners. "Show some interest and curiosity in the celebrity," she said. "'Could we listen to something together? What do you like about their music?' Just so you can learn a little about what you child is connecting with." Such questions help teens put the focus back on the lives of the icons they've lost instead of their deaths. Sometimes news reports tie a celebrity's death to an accidental drug overdose, as with Mac Miller, Lil Peep and most recently Juice WRLD. Dr. White said parents should avoid shifting into lecture mode, because it may seem to diminish the child's grief. "You don't have to explicitly say, 'I hear he overdosed on drugs," she said. "Ask, 'Do you know what happened, and do you want to talk about it?'" Ms. DeCristofaro added that parents can also create space for teens to take the lead in talking about drugs by asking what conversations are coming up among their friends on the topic. That space, however, needs to be free of advice or judgment, she said. Dr. Indra Cidambi, a psychiatrist who specializes in addictions and medical director of the Center for Network Therapy, an outpatient detoxification program in New Jersey, urged parents to pay close attention to the celebrities their teens idolize.	N24News: A New Dataset for Multimodal News Classification	Well
As the pandemic goes on, stay at home guidelines are forcing many families into day upon day of togetherness. Might some families at least be making the best of things by talking to each other more? Really talking? Not likely. Even during good times, children of all ages tend to feel that their parents talk at them, or past them, not with them. And children can certainly be unfathomable to parents. If there ever was an exception, it should have been the Macleans of 1920s Missoula, Mont., the family in the 1992 film "A River Runs Through It," adapted from Norman Maclean's semi autobiographical novella. In the Robert Redford directed drama, John Maclean, the head of the family, is a stern but kindly and fair minded Presbyterian minister (played by Tom Skerritt in a beautifully restrained performance). His life seems rooted in words: a love of poetry and literature, close readings of Scripture, hours spent drafting elegant sermons. After all, the first line of the Book of John states, "In the beginning was the Word." It also speaks to me as the son of a very different type of father, an Italian immigrant who was voluble, full of injunctions, quick with warnings to keep on track and be sensible, someone who read newspapers but hardly any books. This film has come back to me because Frank Tommasini, my father, died recently at 99, feisty and active almost to the end. As a little boy he moved from a rural village in southern Italy to Greenwich Village in Manhattan. He was an industrious and pragmatic man whose family business combined kitchen and bathroom renovations with sales of appliances and cabinets. He was a generous provider and an overprotective patriarch. And he supported my passion for music even though he didn't understand it. But when I went through a preordained period of young adult rebelliousness, my father, nothing like John Maclean, took a combative approach to shaping me up. We particularly fought, back then, over my coming out as gay. But he mellowed, in time, as did I in my feelings toward him. We bonded deeply over the death of my mother from cancer when she was only 67. I was with him at her hospital bed when she died; in tears, he called her "my beautiful Irish girl." Finally, something had happened that he couldn't control. My dad grew to be fond of my husband, Ben. We now had a doctor in the family! Looking back, I have to say: my father's patriarchal bluster and certainty about how the world worked may have been infuriating, but you have to give him credit for trying, for getting involved. Frank Tommasini celebrating his 99th birthday last fall with Anthony Tommasini. I admire the character of John Maclean in "A River Runs Through It" and sense the deep, if unspoken, closeness within his family, which emanates especially from their modest mother (the always affecting Brenda Blethyn). Yet what still baffles me about this erudite father is that he seems not only unable to help Paul, but almost unwilling to try. It's as if, according to his understanding, the Christian way is to respect the free will of every adult, even when it's your reckless son. As we see in early scenes, John Maclean brings up his two boys, Norman, three years older, and Paul, by imparting strict moral and educational codes and instilling in them his own devotion to fly fishing. Norman, narrating the story years later (voiced by Redford), explains: "In our family there was no clear line between religion and fly fishing." After all, as the father liked to point out, Jesus' disciples were fisherman. John home schools the boys. And if the lessons include any math or science, we see no evidence. Their curriculum seems focused on reading books and writing essays about what they read. John Maclean would have been a brutally effective newspaper editor. He takes the essays, makes corrections, then tells his sons to rewrite them so they're half as long. When they do so, he makes more corrections, then demands they trim by half again! Only when the daily essays are concise and clear are the boys free to catch trout from the river. Both sons wind up choosing writing professions. Norman (a stalwart, sensitive Craig Sheffer), attends Dartmouth and is away for six years. When he returns, Paul has become an enterprising reporter for a newspaper in Helena. He has also grown into a master fly fisherman, devising techniques unknown even to his father. As children the boys routinely fished with their father. Now that the brothers are independent adults, these outings, filmed with plush, enthralling imagery, have become intense male bonding sessions where feelings are deep but words are few. It's sad, yet true to character that Norman has inherited some of his father's reluctance to intervene with Paul. At a turning point, Norman tells Paul that he's in love with Jessie. The brothers go out for a rowdy celebration that winds up at that remote bar. The other gamblers forcibly rebuff Paul. But when Norman gets in the car to leave, Paul tosses him the keys and insists on staying. Norman knows the truth, as he tells his brother: that Paul's in debt and receiving threats. "It's my debt," Paul answers. Every time I see the film I want Norman to stand up to Paul and insist they leave, to drag him home and make him talk with their father, who may not realize the full extent of Paul's troubles. Instead he drives away, furious and worried, but acquiescent. The inevitable happens. Paul is beaten to death one night with the butt of a revolver. But not before the three Maclean men take one last fly fishing trip and Paul, after being dragged through fierce river currents, finally lands a huge rainbow trout. Holding the prize by the gills, he poses gloriously for a photograph. Norman has been offered a job teaching literature at the University of Chicago and moves there with Jessie. Years later we see the aging John giving a sermon about how hard it is to help our loved ones, those we should know best, when they don't seem to want our help, or we don't feel we can provide the help they need.	N24News: A New Dataset for Multimodal News Classification	Movies
FLORHAM PARK, N.J. Shortly before he was fired by the Miami Dolphins, Adam Gase requested a favor from one of his former pupils. He knew he would need some help convincing another team to take a chance on him so quickly after a disappointing three years as head coach of the Dolphins. Fortunately, a powerful voice was willing to intercede: Peyton Manning. It has been five years since Manning and Gase first joined forces in Denver, setting records and bringing the Broncos to a Super Bowl at MetLife Stadium. But a phone call last week from Manning to the Jets' chairman and chief executive, Christopher Johnson, went a long way for Gase, who will find himself back at MetLife in a different capacity this fall. On Monday, at Gase's introductory news conference as the Jets' new head coach, Johnson signaled a shift in the organization's philosophy, which has centered on defense for the past two decades. With Gase, the Jets have finally stepped in line with the league's curve. "To paraphrase Wayne Gretzky," Johnson said, "he's coaching to where football is going." There was some inherent awkwardness as Gase arrived in front of a packed auditorium filled with team executives, former players, and fans. As coach of the Dolphins, he went 5 1 against the Jets, including two wins this season. And since the deal was announced last week, reports have surfaced indicating that talks had broken down between the Jets and another top candidate, Matt Rhule, over staffing issues, although Johnson denied on Monday that the team intended to dictate any staff hires.	N24News: A New Dataset for Multimodal News Classification	Sports
Tom Hanks has never been like other Hollywood celebrities. Though he first made his mark donning a dress in the 1980s sitcom "Bosom Buddies," Mr. Hanks became America's everyman thanks to a goofy, relatable on screen persona that never seemed all that different from his off screen personality. And even as he rose from TV actor to movie star to two time Academy Award winner, his humble attitude seemed to remain the same. Update: Tom Hanks and Rita Wilson are released from the hospital. "You would never know from Tom if he has 1,000 or 1. He's just that person," said Michael Rosenberg, the co chairman of Imagine Entertainment, the studio that produced "The Da Vinci Code" and other projects with Mr. Hanks. "He's smart, authentic, real and honest. It's hard to find all of those things in one person these days." So when Mr. Hanks announced on Wednesday night that he and his wife, the actress Rita Wilson, had tested positive for the coronavirus, the reaction was swift and emotional. The pandemic might mangle the stock markets, shut down colleges and bring worldwide travel to a halt. But infecting the beloved Tom Hanks? That was too far, especially for many people who have not been personally affected by the spread of the virus.	N24News: A New Dataset for Multimodal News Classification	Media
The afternoon market on the grounds of Imam Bonjol Stadium in Padang, Indonesia, lasts just one month a year and looks like a nibbler's paradise. Padang is known across Indonesia for its cuisine and it showed: mountains of fried noodles studded with shrimp chips and whole fried eggs; heaps of snails spiced with turmeric; mounds of tiny silvery anchovies with green chiles; beef long simmered in coconut milk to become tender rendang; es campur, an icy dessert full of unfamiliar fruits and fluorescent cubes of gelatin. But there are no free samples for the Muslim clientele (nor any tables at which to dine) because in this would be gourmand's paradise, eating is discouraged. Not by the vendors but by the Quran; Chapter 2, Verse 185 to be precise, for the month is Ramadan, when Muslims fast from dawn to dusk. So the meals are strictly to go, a way for families to avoid the tiresome and tempting task of cooking during the waning hours of the daily fast. "By afternoon, people lazy for cook, not have energy," said Benny, my wiry, diminutive, pay what you wish guide who took me there, cruelly, at about 3 p.m. Even for non Muslims, eating and drinking publicly are taboo (or at least quite rude) during daylight hours, so I could only salivate and plot a return when our tour was over to pick up dinner. None of this is to say I was disappointed this was why I had made Padang, on mostly Muslim Sumatra, the first stop on a four island Indonesia trip. The next three stops would be in predominantly Christian and Hindu areas. (Though Indonesia has the world's largest Muslim population, 33 million of the country's 250 million people are of other faiths). While in town, I spoke to many residents about fasting and was surprised to hear that most people do not find it a hardship, and in fact look forward to the time spent with family, in prayer and remembering the poor (though one complained it was a surprisingly ineffective weight loss plan). Others sheepishly admitted to not fasting despite significant peer pressure. Returning alone to break my own informal fast at 6:15 p.m., I found the noodles and anchovies and snails gone and the market closing. I scrambled to buy a whole fish caked in red chiles, an es campur and a few other items for a total of 15,000 rupiah, 1.15 at 13,084 rupiah to the dollar. Each item was unceremoniously dumped into a plastic bag. Back in my hotel, I promptly made a complete mess of the meal. Because the items were meant to be eaten at home, there were no plates or napkins, and no silverware because in Padang you eat with your hands. The now melted es campur I did not even dare open, and it went to waste. I found Benny through my hotel, the shiny new HW, a good deal at 365,000 rupiah a night (including an excellent Indonesian breakfast, served post dawn for non Muslims). He had a deep and quirky knowledge of the city, informed by the one week a month he spends collecting recyclables for the government, but his price was annoyingly undefined: "free, just pay what you want at the end." (I paid 200,000 rupiah for about five hours, at the hotel manager's suggestion.) Our tour had begun in the colonial quarter along the Arau River, now reduced to mostly dilapidated Dutch colonial buildings, including the still somewhat glorious gambrel roofed former regional headquarters of the Netherlands Trading Society. Benny also pointed out World War II cement bunkers overgrown on the side of the road the Japanese took over from 1942 to 1945 and a mix of speedboats and ancient looking wooden cargo ships at docks along the river. Both went to the Mentawai Islands, which lie in a chain about 95 miles offshore. "The speedboats take surfers," Benny said. "The wooden boats bring seaweed, sugar, ginger and clove back." Ramadan and the 90 degree weather seemed to have dulled the town to hibernation levels, at least on this side of the Arau. (Benny, not fasting and seemingly impervious to the heat, made a point of walking on the sunny side of the street.) But across the river, where houses were wedged between the bank and a hill, people seemed to be milling about under the glint of a metallic domed mosque. I asked if we could cross over a traffic bridge. "Sure! Let's go!" he said, which is pretty much what he said anytime I asked about anything. The far side had a homier, small town feel, though with a touch of Ramadan infused slowness. Along the bank, where fishing boats were lined up, there was little activity; a lone crew was unloading its catch, as an official looking fellow recorded its weight into a notebook. A misspelled food stand offering "GFC Pried Chicken" was closed for Ramadan. The most notable ruckus was the incessant birdcalls emanating from a nearby building; Benny told me it was a trap, meant to trick swallows through an open window into a net. I had what I thought was a long shot idea: Could I go out on an overnight fishing boat? "Sure, let's ask!" But a group of fishermen, having iced tea at a ramshackle stand in the shadow of the bridge, informed us that their boats go out two weeks at a time, looking for marlin and other big catches near the Mentawais. The overnight trips I was looking for left from Bungus Harbor, outside of town. "Can we try there tomorrow?" I asked Benny. Farther down the shore we headed back over a wooden plank suspended footbridge. Benny led me along old train tracks to a minuscule building that had served as a colonial era train station. From a block away the air was suffused with clove, one of the once precious spices that drew the European powers to the East Indies in the first place. Inside, men were shaking a stretcher shaped sieve to remove impurities from the brown buds and then dumping them into a pile. Seeing a gargantuan pile of what arrives in Western supermarkets in tiny bottles was intoxicatingly disorienting. We were to have lunch in predominantly Buddhist Chinatown. "How much further?" I asked, sounding alarmingly childish as I looked out for Chinese characters, ducks hanging in windows, or perhaps a Qing dynasty inspired gateway. "We're here," Benny answered. I hadn't realized it because this was not an American Chinatown. The Chinese had been present in Indonesia since long before Europeans set foot in America (and were subject to discrimination and violence, even in modern times). So even though the neighborhood is locally translated as Chinatown, it didn't feel particularly distinct to me, but rather simply a concentration of a religious minority (where the restaurants stay open during Ramadan). And so the restaurant we ate in, Ombak Puruih, served Padang cuisine in classic Padang style, which meant putting a bunch of plates or bowls on the table, allowing you to choose what you want with your left hand and eat with your right. (Bowls of water are always provided for washing.) We had beef rendang, fish caked in red chile, and vegetables, and the meal cost us 92,000 rupiah for two, including a 17,000 rupiah pack of cigarettes for Benny. (Keeping your guide steadily supplied with cigarettes seems to be part of Indonesian law; restaurant smoking prohibitions are definitively not.) The next afternoon Benny picked me up and we went out to Bungus Harbor. The beach was littered with trash; the water, though, was dotted with the most extraordinary wooden fishing boats, with wide outriggers that looked like wings, painted red, white and blue. I was optimistic, but Benny less so, because the moon would be full that night. He explained that many boat owners won't raise anchor during a full moon, when catches tend to be smaller. But by the shore we met the owner of one vessel who was considering sending the crew out that night. That a woman was presiding over a male crew should not have surprised me: the Minangkabau, the majority ethnic group in the region, are a famously matrilineal society. Benny pleaded my case, and the woman agreed the crew would go out if I would reduce her risk of a loss by paying for fuel (250,000 rupees) and food for the crew (which turned out to be about 80,000). Ah, and I would take photos of the owner's 3 month old granddaughter and send it to her mother on Facebook. At a total of about 25 (plus another 15 or so for Benny's time), it seemed a reasonable deal. Soon, the ship putt putted off into the water, hugging the coast as the sun set and the full moon rose. A pink cloud sat like a plume of volcanic ash directly behind a green mountain; one crew member dozed on the massive net piled on deck. In the dark, lights from a few other fishing boats glittering not far away, we set up shop near Pagang Island, a sandy escape where a different, perhaps smarter kind of traveler day trips (or overnights in basic cabins) and plays on paradisiacal beaches. But, at least for me, things were close to perfect on board. A breeze cooled things off as we tried fishing for squid and stingrays with lines; when that was unsuccessful, the crew began attaching the net to the outriggers, silhouetted in the moonlight as they balanced precariously on the narrow beams out on the "wings." The others then lowered it into the water with a winch.	N24News: A New Dataset for Multimodal News Classification	Travel
PHILANTHROPICALLY minded people regularly try to donate stuff cars, catamarans, collections of all sorts to nonprofits. In the best of circumstances, they believe that their donations will help a cause. Other times, they are just looking for an organization to take junk off their hands or validate their taste. Then there is the case of Jason Wolff. At the end of 2007, Mr. Wolff, who considers himself a value investor, bought 16 radio stations in the greater Los Angeles area. He did very well with them, and this year he got an offer to sell them. But after the transaction was completed, he still had one left. "My wife said, 'Why don't we just give it to NPR?'" Mr. Wolff said. "My first response was, 'Because we can make a lot of money selling it.' But then I thought about it. Intellectually, this felt good. This felt like a value donation if there is such a thing." So he called the president of KCRW, the National Public Radio affiliate in Los Angeles, and asked if she wanted his radio station in San Luis Obispo, Calif. "It was so weird," said Jennifer Ferro, president of KCRW. "I didn't understand what he meant." Radio stations are generally owned by conglomerates that are not in the business of giving them to public radio stations. But in this particular case, the offer seemed stranger still: Weeks before Mr. Wolff's offer, KCRW tried to buy a station in the same area but was outbid. Ms. Ferro called her board and explained what was happening. "They said, 'Wait, you said we weren't going to be able to buy this station.'" The time between Thanksgiving and New Year's Eve is the giving season, when Americans make the bulk of their charitable donations. Most of those gifts are checks written to favorite causes. But some come in the form of orphan radio stations, junked cars, unwanted boats or collections of baseball cards. And many charities are more than happy to accept gently used or even broken down goods that can be sold, like old cars. The proceeds go toward their mission. "We bring in 500,000 a year from cars," Ms. Ferro said, adding that a station in San Diego gets more than 1 million from unwanted automobiles. "Normally on a pledge drive, you'd get 10 a month. But that same person would say, 'I have this car.' Someone may only give you 400 for that car, but that's 400 to KCRW." According to a recent survey by U.S. Trust, a banking company that caters to the wealthy, only 10 percent of people make nonfinancial gifts like works of art, land or collections of all sorts. More than 80 percent write checks, and half of those donations are made online. Still, more than twice as many people, the study found, give items rather than appreciated securities. "I have a client who gave over a whole building, a rental apartment building, in the downturn," said Claire Costello, national practice executive for philanthropic solutions at U.S. Trust. "The charity ran the building and used the proceeds for its operations. It had nothing to do with social services." As with any gift, advisers caution, people need to know what they want to accomplish with their donation before they make it, no matter what form it takes. And they need to understand the needs of the nonprofit. "We were involved once when someone wanted to donate a building to a small arts nonprofit," said Melissa Berman, president and chief executive of Rockefeller Philanthropy Advisors. "But the building needed so much work that it wasn't clear they could remodel a building that had so much asbestos in it. In the end, it wasn't in the nonprofit's best interest to take the building without more support than was being offered." When the gifts and needs match, it works well. For potential heirs, it can also ease the worry about whether to keep something or sell it and the speculation about what mom or dad would have done. Ms. Costello thought of a client who had given a sizable collection of sports memorabilia to charity, a collection that probably cost the client more than it was worth. "The charity has zero investment in it, so what do they care what it's worth?" she said. "They're not looking to recoup their investment, like the collector was. It's like the junk car. Who wants the junk car? But it's valuable." Many of these donations are one offs. You have only one radio station or so many junked cars to give. But there are other helpful ways to give away unwanted items. Ken Shubin Stein, a doctor turned investor, started Crutches 4 Kids with his sister and brother in law, both orthopedic surgeons. The premise is straightforward: collect no longer needed crutches and send them to the developing world, where lack of mobility is a public health problem for 50 million children. Mr. Shubin Stein started the charity after the 2010 earthquake in Haiti, when he saw a wave of children having legs amputated. Since then, the foundation has collected and distributed about 10,000 pairs of crutches. "One of the things about crutches is you can definitely solve the problem," he said. "They're low cost, lightweight, and there's no lucrative black market value, so they're not likely to be stolen." There are also schools and hospitals that serve as ready made collection points for used crutches. Mr. Shubin Stein said he and his family had been paying for the organization's annual budget, which is about 100,000. They have also relied on groups like Americares and MedShare International to transport the crutches that last mile. "Our landed and delivered cost for children's crutches is about 10," he said. "It seems like the ultimate return on investment." What has limited this effort, he said, is the logistics of collecting the crutches more widely and then getting them to places in need. And this can be a challenge for anyone or any organization that wants to give or get: It's a lot harder to get things from one place to another than it is to use a credit card to make a financial donation. This is often true in the case of a natural disaster, when people send care packages. "Even if these places need things like tents or canned goods, it may often be easier for the groups that can reach the afflicted to get local merchandise than deal with customs to get goods off the plane," Ms. Berman said. "You may be creating more of a headache than it's worth when you send the canned sweet potatoes." That is not to say that small things aren't appreciated. Ms. Berman said donating toiletries to local homeless organizations can be helpful. James Dondero, the founder of Highland Capital Management in Dallas, came up with a solution: When his company gets expensive bottles of wine or the use of an event space as thanks for its 3 million in annual giving, it gives them to another organization in need. The wine, for example, goes to the American Heart Association's annual wine auction. The space, in places like the Dallas Zoo or the Perot Museum of Nature and Science, goes to smaller organizations that couldn't afford to rent such space themselves. "We make large gifts, so we have access to tables, admissions and golf tournaments," said Linda Owen, director of Highland's charitable giving program. "We've calculated that there is value in this, and we thought, 'How can we give nonfinancial gifts to other organizations?'" She said the firm supported Education Is Freedom, which helps underserved children finish high school and get into college. It took the access it had to the Dallas Zoo and gave it to the group for its graduation ceremony, which the company also underwrote. This matchmaking is not always easy. "It is labor intensive," Ms. Owen said. "On one level, the easiest thing to do would be to decline these opportunities. But we try to be mindful and thoughtful about the access that we have." Mr. Wolff said the radio station donation was surely bigger than any other gift he had made. He said he was still waiting for the appraiser to give him the final value, though he sold an inferior station in the same market for 600,000. And, like many people who get more involved in an organization, he said the gift felt different. "It's like 'The A Team': 'I love it when a plan comes together.'" he said, quoting a line from the 1980s television show. "These guys are going to be able to fulfill their mission."	N24News: A New Dataset for Multimodal News Classification	Your Money
Credit...Jenny Riffle for The New York Times BELLINGHAM, Wash. The year is 2019, the place is the United States, and a black man walks into a foundry wanting to cast some bronze grenades. This is how the American artist Ed Bereal , 82, recaps preparing for his first retrospective at the Whatcom Museum here. Creating new work for his politically charged exhibition "WANTED: Ed Bereal for Disturbing the Peace" raised some eyebrows in this predominantly white coastal city 20 miles from Canada. There was the foundry, Mr. Bereal said, where the staff was hesitant to serve him until a friend who happened to come in vouched for Mr. Bereal's artistic intentions. And that was before Mr. Bereal had explained that the grenades would stand in as testicles in an installation about the apocalypse. Then there was the print shop. Mr. Bereal said that when the owner realized the images the staff were printing for him likened President Trump to the Antichrist, the cost of services quadrupled. Mr. Bereal found another printer. None of this surprised the artist. The Riverside, Calif., native described Bellingham as conservative, preserving a 1950s way of life, albeit with a small but vocal left wing contingent. What did surprise Mr. Bereal was that Patricia Leach , executive director of the museum , approached him to do the show in the first place. "Patty was very conscious of the fact that I'm edgy for them," Mr. Bereal said. "I kept asking her, 'Are you sure?'" Ms. Leach said that Mr. Bereal is well known outside of Bellingham perhaps most so for when he was living and working in Los Angeles, a time that included his assemblage pieces using bones, pipes and Nazi imagery; the 1961 exhibition "War Babies" ; and the radical activist performance troupe the Bodacious Buggerilla, which performed in places that included laundromats and Richard Pryor concerts. In Bellingham, however, people primarily know him as a retired Western Washington University art professor . In 1993, Mr. Bereal and his wife, the artist Barbara Sternberger , moved to Bellingham. They live on a farm with an art studio in Whatcom County. His current exhibition runs through Jan. 5 at the Whatcom Museum, a Smithsonian Institution Affiliate, featuring six decades of work, much of it new or never seen by the public. The oeuvre of Mr. Bereal, a self described political cartoonist, is painterly, sophisticated and explosive. Over the decades, it has only become more confrontational, grotesque and darkly satirical, exploring themes of gun violence, racism, police brutality, corporate greed, complicity, the military industrial complex and, most recently, climate change. Mr. Bereal said a woman at the exhibition opening described him as an anarchist Boy Scout, a grand compliment. The observation is apt as one of Mr. Bereal's greatest influences since he was a child is Norman Rockwell, the de facto illustrator of white nostalgia. "He was probably the most political artist that I have ever known and maybe that is still true. He was showing a kind of America that was really kind of alien to me," Mr. Bereal said. "He was on the sunny side of the street, and I was on the shady side." "Wanted" can be seen as a lifetime of Mr. Bereal answering the question provoked by Mr. Rockwell: What does America look like from my side of the street? Or, as the artist has personified it, what does "Miss America" look like? Mr. Bereal's answer is a grim, industrial spin on Lady Liberty, with skeletal metal fingers, sneering teeth and a nail crown. Miss America is Bereal's puppet master and appears frequently, such as in the installation "Miss America: Manufacturing Consent (Upsidedown and Backwards)," where docile Americans queue to have their heads nailed on upside down and backward by the matriarch. Ms. Leach said that when she was planning the retrospective, she conferred with David Doll, the Bellingham police chief , the city's mayor, Kelli Linville, City Council, the museum board and other community leaders. "It wasn't so much convincing the community that we had to do this show," Ms. Leach said. "It was very important that we prepare people, especially policymakers and community leaders." Preparation also included partnering with the Whatcom Dispute Resolution Center to train staff in how to work through conflict. The museum's curator of art, Amy Chaloupka, said that this level of training is unusual for the museum. "I can do some gallery talks, but it's really the docents and our front line staff who are going to come across that person who walks in the door and doesn't know what they are getting into and maybe feels confronted," Ms. Chaloupka said. The training was to help the staff feel equipped to talk with museum visitors about pieces like "Exxon: The Five Horsemen of the Apocalypse, a 40 foot holographic and mirrored installation reimagining the Bible's Four Horsemen of the Apocalypse. In Mr. Bereal's version, five figures stand at attention, each with a top half constructed from a mirrored letter and an oil spill at their feet. Together, they spell Exxon. Viewers are confronted with Donald Trump as the Antichrist, holding a Bible with an inverted cross; War wears a Nazi uniform; Plague and Famine take the shape of Ronald McDonald; Death is the Grim Reaper, and Bereal's fifth addition, Predatory Capitalism, is in business attire. Here the bronze grenades hang with gas nozzles as male genitalia.	N24News: A New Dataset for Multimodal News Classification	Art & Design
We know domestic violence is spiking under lockdown we just don't know the details. Here are women who do. Within the first few weeks of states' going into lockdown, reports began flooding in from domestic violence hotline centers throughout the country: They were seeing spikes in calls. But as sheltering in place dragged on, the calls for help dropped off. To those familiar with the dynamics of intimate partner violence, this was not a good thing. That domestic violence is part of the story of this pandemic is well known: Lockdowns have made it more difficult for domestic violence survivors to distance themselves from their abusers; orders of protection often take longer to come through because courts aren't operating at full capacity; experts have viewed the decline in calls for help with alarm, as it suggests survivors might not be able to get away from abusers long enough to reach out. But if covering domestic violence, which takes place mainly behind closed doors, is difficult in normal times, telling the story of its rise during a time of lockdowns and quarantines poses an even bigger challenge. That is why Christopher Lee, a photographer, opted to focus on the hotline workers. He began photographing them in the Austin, Dallas Fort Worth and Houston metro areas in May. According to Dr. Noel Busch Armendariz, director of the Institute on Domestic Violence and Sexual Assault at the University of Texas at Austin, 38 percent of adult women in Texas in 2011 reported having been in an abusive relationship. The stay at home orders have had a severe effect on the most vulnerable women, and domestic violence centers are bracing themselves for the worst. In Texas, which reported record numbers of daily cases of Covid 19 four times last week, the governor signaled on Friday the possibility of a new economic "lockdown" if the state cannot curtail its outbreak. Like so many people around the globe, those who answer phones for domestic violence hotlines are working from home during the coronavirus pandemic. With the benefit of technology, advocates and counselors have been fielding calls, texts and emails from survivors from their kitchen tables and living rooms. Their experiences on one end of these calls help shed light on stories going untold. Veronica Hernandez, a hotline operator and advocate at SAFE Austin, says she's seen an uptick in reports from a wider array of survivors than usual: men who've been abused, youth who've been trafficked and people who've been hurt by nonromantic partners such as roommates. She's also sensed that those who call have grown more desperate she hears more frequently from women who are actively fleeing danger or have already had violent interactions with their abuser. Before the pandemic, callers would be more likely to say they had experienced non life threatening behavior or abuse, such as emotional or psychological abuse or behavior that could evolve into something violent. Now they are getting calls that go from zero to 60 in an instant. As the stories have grown more desperate, the work has grown more challenging. Hotline workers who once counted on the commute between office and home to decompress from stressful professional lives no longer have that sense of separation. "Bystander trauma is real," said Milisa Alexis Flores, the managing attorney for the Houston office of Aid to Victims of Domestic Abuse, a nonprofit that provides legal aid to domestic violence survivors. "We all experience it doing this line of work when you consume other people's trauma for a living. That's just the nature of the job and it's always challenging, but it's more challenging in a different way when you're doing it at home." But "I at least am still able to try to decompress in the safety of my home, which my client cannot do," Ms. Alexis Flores said. These images don't quite shed light on the domestic violence that is currently on the rise in private spaces around the world. What they do highlight is the parallel world of the hotline operators, working from their homes, speaking over the phone to survivors calling from rooms that at first glance probably look very similar; what sets them apart is the danger.	N24News: A New Dataset for Multimodal News Classification	Opinion
Season 3 of Netflix's beloved nostalgia creep out "Stranger Things" premiered over the long weekend, bringing Hawkins, Ind., into the summer of 1985. In towns that didn't have a portal to the Upside Down, those months may have been memorable for films like "Back to the Future," cultural events like Live Aid and landmark sports victories , like the Lakers defeating the Celtics in the N.B.A. Finals. Here's a playlist of 19 hits and one iconic musical broadcast that were floating in the musical ether back then. Katrina and the Waves were underground vets: The guitarist Kimberley Rew was in Robyn Hitchcock's wildly influential psychedelic punk band the Soft Boys, and the other three members had gigged around England as a cover band called Mama's Cookin'. Their early singles didn't land, but the Waves got some attention when the Bangles covered their 1982 album track "Going Down to Liverpool." A slick production and a horn arrangement on another old tune turned "Walking on Sunshine" into a giddy smash. Katrina Leskanich told The Guardian in 2015, "I'd been this sulky goth and suddenly I was 'Chrissie Hynde with a smile' fronting 'the new Monkees.'" The 'Til Tuesday leader Aimee Mann would ultimately maintain a long career as a songwriter of beloved, literate indie rock, writing an Oscar nominated song for the 1999 film "Magnolia" and releasing seven albums on her own SuperEgo Records. But in 1985 she was a Boston ex punk who scored this Top 10 single, which she said was "like the first or second or third song I ever wrote by myself, except for a couple terrible garbagey things when I was 16." The song would stick around; however, the long blond rattail she sported on the album art and in the music video would not. "I think it may be in a cigar box somewhere," she told Rolling Stone in 1996. Lisa Lisa and Cult Jam Featuring Full Force, 'I Wonder if I Take You Home' The biggest hit from these protegees of the superfreaky funkateer Rick James was a Top 10 pop smash. Lines like "I'll be your sugar in the morning/And the sweet stuff you need at night" raised the eyebrows of the Parents Music Resource Center, which Tipper Gore helped found, and this buoyant dance tune ended up on its Filthy 15. "At the time, I also felt that this was just a feeble attempt at 'censorship' to the music that was created by Rick James," the group's leader, Jojo McDuffie, told Rolling Stone. R.E.M., 'Can't Get There From Here' A warm message of acceptance housed in a chilly industrial production. Already established in their native Britain, the synth pop pioneers Depeche Mode had their first American pop hit with this ice cold collection of keyboards, drum machines, tape loops and clanging metal. Dave Gahan told Entertainment Weekly about this era: "We used to go into studios, and the first thing we'd do, we'd ask where the kitchen was literally for pots and pans and things that we could throw down the stairs, and record the rhythms they would make crashing around, and then make it into loops." After watching a PBS documentary about Vietnam veterans dealing with post traumatic stress disorder, the British producer Paul Hardcastle sampled some of the bleak dialogue and stuttered it out into an unlikely electro hit. Inspired by the music of Afrika Bambaataa, and with a hook tapped out on an early sampling synth, it was a stark hit that was less about the politics of dancing and more for dancing about politics. The Harlem hip hop trio Boogie Boys had produced one of the better 12 inches from hip hop's disco era with "Rappin' Aint No Thing" (1981). But the group really took off in the age of drum machines. The producer Ted Currier recycled the drums from another song that he had made, Sly Fox's "Let's Go All the Way." "Totally different song but same track with some overdubs and omissions," Currier told Red Bull Music Academy. "The pulse of the record demanded attention. And how often does that happen?"	N24News: A New Dataset for Multimodal News Classification	Music
PARIS With France widely expected to lose its vaunted AAA credit rating any day now, the government here is bracing for the fallout. But as President Nicolas Sarkozy heads into a tough re election fight, for financial damage control he is increasingly reliant on a civil servant of whom few people outside France have ever heard: Ramon Fernandez. Mr. Fernandez, the head of the Treasury within the Ministry of the Economy, Finance and Industry, has already been through a similar crisis management exercise. That came in early August, when Standard Poor's cut the top credit rating of the United States government while most of the French elite was on vacation. Within hours on a summer Saturday morning, Mr. Fernandez helped organize a series of emergency calls with his boss, Finance Minister Francois Baroin, and others in Paris's circle of policy makers, to prevent the American crisis from sending a financial tsunami across the Atlantic. Later that day, Mr. Baroin appeared on French television to question the validity of the United States downgrade. President Sarkozy interrupted his vacation in a show of engagement. But behind the scenes, Mr. Fernandez did much of the heavy lifting. It was not the first time in the two year long European crisis that Mr. Fernandez has quietly kept things moving. And it probably will not be the last. As France and Germany take the lead in trying to hold the euro currency union together, Mr. Fernandez has emerged as one of Paris's top power brokers whether in promoting the French position on the banking sector's participation in a Greek bailout, or the creation of a rescue fund for troubled countries, or the recent deal by most European Union governments to shore up the foundations of the euro zone. So much confidence has been placed in Mr. Fernandez that the French news media have started calling him the "guardian of the triple A." But Mr. Fernandez, at 44 a youthful technocrat whose soft blue eyes belie an inner sang froid, chuckles about the moniker with an almost embarrassed air. "I'm a civil servant," he said demurely. "I do what I have to do." What he must do now could prove crucial to how well France weathers the country's seemingly inevitable debt downgrade. Because the demotion has been widely telegraphed by the three major credit rating agencies, Mr. Fernandez and other officials do not expect the impact to be devastating. Still, a lower credit rating will probably make it more expensive for France to service its debt, and more difficult for the Europewide rescue fund of which France is a major backer to operate. That, in turn, could renew tensions between France and Germany over how to manage the euro crisis. For every photo op in which Mr. Sarkozy and Chancellor Angela Merkel of Germany trumpet a new step forward, Mr. Fernandez has spent countless hours behind the scenes with an influential man in the presidential cabinet, Xavier Musca, Mr. Sarkozy's powerful chief of staff, and Berlin's point man, Jorg Asmussen, to smooth and soothe the sometimes testy French German relationship. Mr. Fernandez also exchanges e mails frequently with officials at the Treasury Department to keep up on developments across the Atlantic. And his ability to parse mind numbing financial issues better than nearly any other French civil servant helped French leaders look smart during the Group of 20 meetings to which France played host in 2011. Doing all this largely below the public radar is apparently the way Mr. Fernandez prefers to work. In a country where discretion is a highly prized commodity, his effectiveness comes from operating in the shadows. "Ramon is the right man in the right place," said Christine Lagarde, who worked with Mr. Fernandez until last summer, when she resigned as France's finance minister to become the managing director of the International Monetary Fund. "He is smart, experienced, a good negotiator, but also a critical part of a close knit network of advisers to the leading political figures," Ms. Lagarde said. For Mr. Fernandez's efforts, he was made a chevalier of the French Legion of Honor in December, in a ceremony under the gilded ceilings of the Elysee Palace. Mr. Sarkozy cited Mr. Fernandez as a pillar in the management of France's future. Yet such moments are rare. Mr. Fernandez generally eschews the elitist trappings embraced by most other government dignitaries. He rides a motor scooter to work, for example. The idea of being chauffeured around "gives me a headache," he said. On the scooter, "you take some fresh air, and you are forced to focus on just one thing." In a rare interview, he described himself as a mere player in a vast French government apparatus. In reality, he is a central part of a remarkably well oiled machine in which the top officials of nearly every ministry went to the same exclusive French universities (his was the prestigious Ecole Nationale d'Administration) and are all on cozy terms that facilitate easy dialogue. The setup may be unabashedly elite, but the intimate structure allows the government to close ranks against attacks from "outsiders" for instance, by starting rapid investigations against market speculators or, more recently, Standard Poor's. Whether that proves to be an effective strategy remains to be seen. Last month, the three major ratings agencies Standard Poor's, Moody's and Fitch said they would review European Union countries, including France, for possible downgrades. That word came after a summit meeting of European leaders in early December was widely declared a flop. There, after hard negotiations, officials had agreed to a Europewide pact aimed at stabilizing the euro zone only to see Prime Minister David Cameron of Britain refuse to sign on. The breakdown led to a war of words between Paris and London, with Mr. Baroin and several other French officials speaking out within hours of one another to suggest that Britain was more deserving of losing its gilt edged status than France. Mr. Fernandez, not surprisingly, kept out of the skirmish. Instead, he said in the interview, by telephone, that the agencies and skeptical investors had a point: Euro zone governments France's included had not done a good enough job explaining what he saw as significant progress toward strengthening the euro zone. "We need to communicate better with a language that's spoken by the markets," he argued. "Otherwise, it makes no sense to think we have a solution, if others don't think we have one." The son of a French novelist and a renowned French academic, Mr. Fernandez used an art metaphor to elaborate on the conundrum. "It's become difficult for observers to see the global picture anymore," he explained. "People are looking at it almost like a pointillist tableau, where you see one dot here that represents reforms to the euro architecture; another dot there that's the European bailout fund; a third one that's a recapitalization of European banks; and so on. "But the global picture is being created day after day," Mr. Fernandez continued, "and the challenge now is to get people to step back and look at all of the facts together, and recognize that we have dealt with the fundamental causes of the crisis." One of the biggest current challenges is figuring out how to restore investor confidence during the long period it will take for new treaties strengthening the euro bloc's foundations to be approved and put into effect. For example, plans to leverage the crucial bailout fund for the euro zone, the European Financial Stability Facility, to as much as 1 trillion euros, or 1.3 trillion, are still being fine tuned after numerous false starts. The International Monetary Fund is expected to help, but the fund is waiting to hear the details of how the euro zone countries will put together a new contribution of up to 200 billion euros. Another meeting between Mr. Sarkozy and Mrs. Merkel is scheduled for next Monday to address this and other issues a get together that risks raising yet another round of investor skepticism.	N24News: A New Dataset for Multimodal News Classification	Global Business
SAN FRANCISCO Two men pleaded guilty in federal court in San Jose, Calif., to charges of computer hacking and an extortion conspiracy on Wednesday, capping a thorny legal saga that ensnared tech companies like Uber and LinkedIn in data breach scandals. The resolution of the case comes as Americans grapple with theft and misuse of their personal information amid serious data breaches at companies from Facebook and Equifax to Target and Marriott over the past decade. Lynda.com, which is owned by LinkedIn, disclosed to its users in December 2016 that it had a data breach. Officials said some 55,000 accounts were affected, and the company warned another 9.5 million customers about the breach. On Wednesday, Brandon Glover, a 26 year old Florida resident, and Vasile Mereacre, a 23 year old Canadian national, appeared before Judge Lucy Koh of the United States District Court for the Northern District of California. In their plea agreements, the men said that they gained access in 2016 to the private databases of Uber and Lynda.com. They said they were able to enter by using the credentials of the Amazon Web Services accounts belonging to Uber and Lynda.com employees, which the hackers stole by using an elaborate ruse to break into those employees' GitHub accounts. The men searched the GitHub accounts for AWS credentials, stole them and then used the credentials to gain access to the Amazon servers that stored data for those companies. The men said that they then downloaded private customer information, anonymously contacted security officials at the companies and tried to extort them for hundreds of thousands of dollars in bitcoin. In 2016, Mr. Glover and Mr. Mereacre, using pseudonyms and untraceable accounts, contacted security officials at Lynda.com and asked for payment in exchange for the data. Instead, Lynda.com security officials disclosed the leak to customers; the hackers stopped communicating with the company. Uber took a different approach. According to court filings, the hackers anonymously contacted Uber's security team in November 2016 and said they had downloaded the account information for 57 million Uber customers. The hackers demanded a six figure payout to delete the data. Uber officials tried to reach a deal with the hackers by paying them through a "bug bounty" website, according to court filings. Technology companies commonly pay bounties to scrupulous hackers to find security vulnerabilities in their systems. But in this case, Uber sent Mr. Glover and Mr. Mereacre two payments of 50,000 in bitcoin and asked them to sign nondisclosure agreements. "Companies like Uber are the caretakers, not the owners, of customers' personal information," David L. Anderson, United States attorney for the Northern District of California, said in a statement. All 50 states and United States territories have enacted laws that require companies to immediately notify customers of unauthorized data breaches that compromise users' personal information. "Don't be so concerned with your image or reputation ," Mr. Anderson said of companies that might try to keep data breaches secret. "Be concerned with the real losses others have suffered. Report the intrusion promptly. Cooperate with law enforcement." Uber executives revealed the data breach in late 2017. The ride hailing company ousted Joe Sullivan, the chief security officer who presided over the payments, for arranging the deal and not alerting the public . Uber later settled a nationwide investigation of the breach and the company's behavior surrounding the incident for 148 million. Mr. Sullivan and Travis Kalanick, Uber's former chief executive who oversaw the payments, claimed at the time that the security team treated the incident like an authorized disclosure as part of Uber's "bug bounty" program. Uber's security team used data uncovered during the payment negotiation to find Mr. Glover at his home in Florida, according to the filings. In January 2017, members of Uber's security team showed up in Florida and Canada to find both men and make them sign confidentiality agreements. "In order to take on those people on the front lines of the cyber security battle, we rely heavily on our valued relationships and open dialogue with private sector companies in cyber industries," said John Bennett, Federal Bureau of Investigation special agent in charge, who worked on the case. "Their willingness to speedily report intrusions to our investigators allows us to find and arrest those who commit data breaches."	N24News: A New Dataset for Multimodal News Classification	Technology
Black History Month this year brings with it a significant addition to the history of African American literature: "Amiable With Big Teeth," a "lost" novel by the notable Harlem Renaissance writer Claude McKay. In 2009, Jean Christophe Cloutier, now an assistant professor of English at the University of Pennsylvania, was working toward his Ph.D. at Columbia University when he came across a double spaced manuscript that appeared to be by McKay among the archived papers of Samuel Roth, a publisher who had often found himself in First Amendment battles. When The Times reported on the manuscript's authentication in 2012, the writer and Harvard professor Henry Louis Gates Jr. said McKay's lost novel was important, in part, for the way it extended our view of the Harlem Renaissance, which "continued to be vibrant and creative and turned its focus to international issues" as the 1930s progressed. "Amiable With Big Teeth" with a subtitle equal to its wonderful title ("A Novel of the Love Affair Between the Communists and the Poor Black Sheep of Harlem") is about a group of activists in that neighborhood who banded together to support Ethiopia against Mussolini's occupation. In their introduction, Cloutier and Brent Hayes Edwards call the book a "caustic, even overtly polemical, depiction of the complex Harlem political landscape in the mid 1930s as it shifted in the shadow of international events."	N24News: A New Dataset for Multimodal News Classification	Books
BEVERLY HILLS, Calif. "Vinyl" wasn't worth it anymore, "Game of Thrones" will run for two more seasons, and "Curb Your Enthusiasm" will be back next year. Those were some of the topics that HBO's new president of programming, Casey Bloys, addressed at a Television Critics Association event here on Saturday. In addition to discussing programming decisions, Mr. Bloys confronted heated questions about whether HBO depicted sexual violence against women far too frequently. Speaking about the premium cable channel's expensive flop, "Vinyl," Mr. Bloys said that executives had decided to cancel it after taking a hard look. "Quite frankly, if I've got limited resources, there are other things I want to do," he said. "We didn't think it was worth the producers' time, our time, our resources to try to move the needle just a little bit more." He also said that "Game of Thrones" would conclude after its eighth season, and he acknowledged that next season's summer premiere date would mean the show would not be eligible for the 2017 Emmys. "That's just something we have to live with," he said. For 16 straight years, HBO has led all TV networks with the most Emmy nominations, and "Game of Thrones" has been the most nominated show for the last three. With the final seasons of "The Leftovers" and "Girls" also coming up, Mr. Bloys said he was hopeful that the network's new slate of shows including the limited series "The Night Of," the Sarah Jessica Parker dark comedy "Divorce" and the science fiction drama "Westworld" would make up the difference. HBO has been subjected to pointed criticism recently for several scenes featuring sexual violence against women, particularly in "Game of Thrones," "The Night Of" and "Westworld." Throughout a 30 minute news conference, television critics returned to the issue of violence against women. 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. Though Mr. Bloys acknowledged the criticism ("Point taken," he said at one point), he also seemed unmoved by the charge and said several times that violence was "spread equally" among men and women. "Is there a lot of violence in 'Westworld' and 'Game of Thrones'?" he asked. "I don't necessarily think it's isolated to women." Later on Saturday, Lisa Joy, an executive producer of "Westworld," told reporters and critics that any sexual violence in the show was treated with care and it was "not about the fetishizing of those acts it is about exploring the crime." HBO also announced on Saturday that its beloved 1990s comedy "The Larry Sanders Show" would be available on its apps HBO Go and HBO Now and would be on demand beginning in September. The show's creator and star, Garry Shandling, died in March. Mr. Bloys said that "Curb Your Enthusiasm" would go into production this fall, and the network later confirmed that the show's ninth season would begin at some point next year. And Mr. Bloys did not rule out that "True Detective" could return for a third season, after a disappointing second season. Mr. Bloys also talked briefly about the network's long gestating animation project with Jon Stewart, saying it would be a parody of a cable news channel. He said he hoped it would be "up and running" in September or October, though HBO had originally said it would premiere earlier this year. And HBO's devoted interest in politics is not going anywhere. When Mr. Bloys was asked whether the network would be interested in updating its successful TV movie "Game Change" about the 2008 election for this year's wild campaign cycle, he suggested that was a possibility. He said that the makers of "Game Change," Jay Roach and Danny Strong, had been at the Republican National Convention "poking around."	N24News: A New Dataset for Multimodal News Classification	Media
Is it fashion's role to offer an escape from the drear of the everyday? Karl Lagerfeld apparently thinks so. On Tuesday he built a rocket in the middle of the Grand Palais for the Chanel show and prepared for liftoff. White walkways snaked around the base, anchored on either end with inflatable igloo like structures. Out marched models in sparkle covered spectator boots and twinkling tights. At the end of the show, the ship launched, compressing upward like a giant lipstick tube in reverse. The birds on the other side of the glass ceiling flapped around as if they could not believe what was going on. And just like that, the iPhones appeared and the pictures started posting. Up, up and away! So what if the clothes most often variations on boucle tunics with funnel collars orbiting the neck over matching bike shorts, or visual puns involving silver foil leathers, spaceman silk prints and planetary pastels felt awfully grounded? The galaxy of star speckled night sky evening dresses was very pretty. Betcha they will get a lot of likes. Even space tourists need something to wear. Despite all that hoo ha last year about how too much social media was ruining the industry, and what should we do, and woe is us, there have been very few major Instagram moments in Paris this week. Models with followings like the Kendall Jenner/Gigi Hadid contingent were all over Milan but have been generally AWOL here, Balmain aside. In the absence of Kardashians (for whatever reason Kim's bad experience last time; the fact their good friend Riccardo Tisci has left Givenchy and isn't showing this season), Nicki Minaj's exposed left breast at Haider Ackermann was about as viral as things got. The only name that even tried to compete with Chanel in the smartphone stakes (if not the style substance ones) was Rihanna, who transformed the classical 17th century reading room of the Bibliotheque Nationale de France into a School of Rock for her third Fenty x Puma collection with a parade of jocks, goths, skate kids and bad girls in tartan hoodies, shrunken cheerleader uniforms and varsity knits. Also teddy bag backpacks, silk basketball shorts and "detention card" sweats. Atrium long wood reading tables had been set up in the vaulted, book lined space, and down them stomped models in suede stiletto thigh high boots and platform winkle pickers as the audience played student and Joe and Nick Jonas and a newly platinum Cara Delevingne craned their heads and giggled. The puffas, with their elongated arms, were cool. The rest of it was mostly silly. In the end, paper rained down from balconies as if pages had been torn from books. It made for a great video, but up close the sheets were all blank except for the words "Fenty Class of 2017." It made for a tempting metaphor. Generally, it has been a season of smaller gestures; progress too subtle or minor to show up on the small screen. That's O.K. What matters, after all, is what shows up on the body. Content, when it comes to clothes, should refer to the values they represent, not the digital distraction they provide. At Hermes, Nadege Vanhee Cybulski tried to break out of the strictures of good taste that have been smothering her since she arrived, mining the 1960s and '70s for her mustards and greens. Her pink and black tartan and ribbed knits. A pair of navy leather shorts came with a teal shirt, a long violet and burgundy shearling vest and romper stomper knee high boots (the heavy tread boot has been a thing this season). A white turtleneck appeared under a floor sweeping pale pink leather coat, a camel mini and ribbed tights. Together, it was a surprise: Welcome, if not entirely successful. Taken apart, it was full of classic Hermes isms. Hidden in Giambattista Valli's patisseries little black and white coquette dresses, often paired with corset belts in sheer tulle were two of the weirder moments on a runway this season: a pair of black taffeta blouses, ruched and elaborate, atop ... Nike dry fit leggings. Had something gone wrong with the pants? Was he trying to say something about the worlds of sport and society? Who knows, but at least they were a sign of something new going on beyond the cocktail ruffles with cherries on top though not as many signs as contained in the embroidery at Alexander McQueen. There Sarah Burton continued the exploration of paganism and community she started last season via the Shetland Islands, this time going south, to Cornwall, and the minutiae of handworked detail.	N24News: A New Dataset for Multimodal News Classification	Fashion & Style
From top right: The bar at Tambua Sands Beach Resort on the Coral Coast; the adults only pool at Fiji Marriott Resort Momi Bay; sandbar off Malolo Island where I went snorkeling; sunset driving on the Coral Coast. Our columnist, Jada Yuan, is visiting each destination on our 52 Places to Go in 2018 list. This dispatch brings her to Fiji, which took the No. 24 spot. It is the 45th stop on Jada's itinerary. I tried to remember my Fijian instructor's directive: "The most important thing is to breathe." Weighted down with an air tank and a belt of stones around my waist, I sank below the surface of the South Pacific on my first ever attempt at scuba diving. My breathing was fine; my mind just couldn't compute that this was possible. I surfaced and ripped out the mouthpiece. "I can't do this," I said. I grew up in landlocked New Mexico and qualify as a "reluctant swimmer," according to the YMCA where I took swimming lessons for the first time since childhood last year. Snorkeling comes easy to me close to the surface, a constant source of air but going deeper didn't cross my mind until I got a message from a friend who'd spent his honeymoon on a dive boat in Fiji with his equally scuba loving wife. Fiji's 333 islands and the warm ocean between them have some of the most colorful soft coral reefs in the world, home to turtles, sharks and a gazillion twirling, neon fish. If my friends John and Heather had traveled across the world to see those underwater treasures, how could I miss out? Being in an unfamiliar environment is the perfect time to try new things, and I can think of few places on this 52 Places trip that have been as different from where I'd been living (New York City) as Fiji. Back home, I loved my routines. But here on the road, I've felt a freedom to push myself, whether it's been paragliding in Lucerne, Switzerland, eating an ant taco in La Paz, Bolivia, or jumping off a cliff into a freezing river while "canyoning" in Megeve, France. Emboldened, I signed up for a tandem scuba dive with Captain Cook Cruises, which would let me try the experience without going through a certification process. (See also: Whitetip Divers.) Once my initial freak outs dissipated, my instructor, Joe Lum On, helped me descend a little at a time, flashing an O.K. sign with his fingers and asking me to nod and flash one back at each stage. My ears hurt from the pressure as we linked arms, like we were doing a square dance, and moved forward. I had to stop myself from gasping as we came upon schools of tiny blue devil damselfish, or my favorites, parrotfish, in such a riot of neon they could have been crafted in Las Vegas. Joe picked up a sea cucumber and a blue starfish and let me pet them. We didn't dare touch the sea urchins poking their spines out of coral nooks and giant clams that I'd heard could cut a person's limbs off. When Joe pulled out a loaf of bread and the fish began to swarm around us, I was so fascinated I didn't notice that I'd stopped reminding myself to breathe. So much of Fiji felt thrillingly, spectacularly unfamiliar. Unlike many tourist destinations on this 52 Places trip, the real Fiji never seemed far away. Each day, I'd set out for a drive on the left side of the road, with horses and cows and dogs crossing at will. At Fiji Marriott Resort Momi Bay, I befriended a hotel worker, Inia Nailiko, who'd proven particularly helpful when my rental car broke down. As a thank you, I took him and his wife, Sera, for a ride down the coast. They told me about their courtship process, which involved meeting in church and dating chastely for a year before Inia declared his intentions, in traditional Fijian fashion, by presenting a whale's tooth and several drums of kerosene to Sera's family. They'd spent the morning before our drive hitchhiking to the market and back with their two children since, as Inia explained, it would take a Fijian at least 10 years of working hard to earn enough money to buy a car. Most people seemed to get around by bus, horse, hitchhiking or on foot. On a wonderful jet boat safari along Fiji's longest river, the Sigatoka, I visited a village of around 70 inhabitants, where we ate a home cooked meal, sang and danced, and drank kava, a ceremonial drink made from a dried root that makes your tongue numb. And I sated my newfound addiction for all things under the sea with half a day on a private boat with a local islander, Nox. For 400 Fijian dollars ( 186, a steal), he took me to a sandbar in the middle of the ocean next to a reef so full of shapes in bright greens and purples it could have been drawn by Disney cartoonists. I jumped in without hesitation. "Are you ready to catch some waves?" asked the Fiji Surf Co. instructor Koto Vakamoce when he picked me up in the company van, surfboards stacked on top. I was not ready, I said, half joking, but I had already paid for an introductory lesson and we were on our way, so it seemed like this was happening. Koto is from the small island of Fulaga, so far south it's practically Tonga. There's no tourism there, only fishing; he'd grown up in the water, but hadn't seen a surfboard until he made it to the big island eight years ago. That's also when he met his wife, Mary, who was in the van with us and took a nap while we surfed. An hour south of the city of Nadi, Koto turned onto a hilly dirt road, which led to beautiful Natadola Beach, where loose horses moseyed around. Our surfing spot would be in front of the Intercontinental Hotel, where the waves broke far from shore at high tide gentle enough for a newbie like me. Koto wasn't much of a talker, which helped make for simple instructions. On shore, he ran through his four basic commands. "On your board," "ready," "paddle" and "stand up!" I would start out on a super buoyant, 10 foot board and, if all went well, would graduate to a nine footer. And without much ado, we were in the water, Koto leading me through small waves that appeared utterly massive. I was freaking out, until I realized that the water was shallow enough for my feet to touch the bottom. For the first few waves, all I remember was staring straight ahead as I lay face down on the board. Koto held me still until the right wave came along, and suddenly he said, "ready!" and "stand up!" And then I was flying toward the shore, knees bent, arms out, feet firmly planted like a champ. (Or at least I thought I was killing it, until a nice, real surfer who had been in the water with us joked, "I could use a push like the ones you're getting.") Wave after tiny wave went fantastically, and then one didn't, and I fell off my giant board and was "eating water," as I came to call it. Koto taught me to hold my breath from the second I knew I was falling until the time I surfaced. By the end of three hours with Koto, I had stood up more times than I could count. I loved the feeling of flying across the water, past kayakers and boogie boarders. I loved it when Koto high fived me after a particularly good ride and told me, "That was your best wave. I didn't push you. You paddled it all by yourself." As the sun set, Koto asked me if I wanted to go in. "One more wave," I told him. "Or two, or three, or four." Sun protection If you are prone to getting sunburned, go snorkeling and surfing in a long sleeved shirt and leggings. No matter how strong your SPF, sustained sun exposure can do you in. Let my painful, bright red upper back and thighs be a lesson. Money matters Credit cards are accepted all over the mainland, but every transaction, in my experience, was subject to a 3 to 5 percent surcharge. That includes your seven day bill at a fancy resort. Carry wads of Fijian dollars to avoid it.	N24News: A New Dataset for Multimodal News Classification	Travel
A roundup of motoring news from the web: The next generation Ford F 150 will have a body made of lightweight aluminum, but the new material which the automaker says will help improve the fuel economy of its popular pickup truck by reducing its weight by about 700 pounds won't help reduce the price. The base 2015 F 150 will start at 26,615, up 395 from the 2014 model. The price of the F 150 King Ranch, one of several premium trim levels, will rise 3,515, to 49,460. (The Detroit Free Press) Suzuki said this week that it was recalling about 26,000 Verona sedans from the 2004 6 model years for a defective daytime running lights module that could melt and possibly catch fire. The recall expands upon an earlier recall of more than 184,000 Suzuki Forenza sedans and Reno hatchbacks for a similar problem. (Newsday) Although the name of Toyota's hydrogen fuel cell vehicle has not been officially released, a report from Bloomberg News said that the automaker has decided to call the car Mirai, the Japanese word for future. Toyota has said the car, which is a departure from the all electric alternative fuel strategies of automakers like Nissan and Tesla, will be priced at about 69,000 when it goes on sale in Japan next year. (Businessweek) The Wanxiang Group, the Chinese company that bought Fisker Automotive after it went bankrupt last year, said last week that it wants to introduce another Fisker vehicle to join the Karma luxury plug in hybrid, which Wanxiang is already working to revive. Although Lu Guanqiu, the chairman of Wanxiang, said he hoped to roll out the new model in three years, he did not offer further details. (Automotive News, subscription required)	N24News: A New Dataset for Multimodal News Classification	Automobiles
"Girl" sounds like a film that transgender moviegoers might rally around. It depicts a teenage trans girl, Lara, raised by a single father who supports not only her dreams of becoming a ballerina but also her gender confirmation surgery. It's set in Belgium, so much of Lara's health care is paid for and her doctor and therapist are encouraging caregivers. And it's a prize winner that is up for a best foreign language Golden Globe on Sunday. Yet "Girl," which has been picked up by Netflix, faces a firestorm, one that pits the director, Lukas Dhont; the trans woman who inspired it, the dancer Nora Monsecour; and the film's supporters against trans activists and others who consider its scrutiny of a trans character's body so dangerous that they urge no one to see it. Stuck somewhere in the heated debate are those who say that shunning "Girl" risks turning off cisgender viewers who might benefit from seeing a young trans character who's as likable as she is complicated. (Cisgender is a term describing someone whose gender identity matches the sex they were assigned at birth.) Not long ago, when trans people showed up in movies, if at all, they were victims or predators. As advocates demanded increased visibility, shows like "Pose" made waves with more truthful depictions written and portrayed by trans performers. Problems persist, for sure. But the days seem to be gone when a movie like "Dressed to Kill" assumed trans women were psychos in skirts. "Girl" asks a provocative question: Have we gotten to a place where a film can explore dark aspects of an individual trans character without feeling regressive? No one should have the burden of representing a class of people in a film; real people are complicated. But what happens when a movie is both art and a trigger? That's the question behind the two main criticisms of "Girl." One is that neither Dhont nor his co writer, Angelo Tissens, nor the young actor who plays Lara, Victor Polster, are transgender. (Dhont said he auditioned more than 500 performers, including trans actors.) Adding salt to the wound, Polster won an acting award at the Cannes Film Festival. The other objection, the one that has prompted foes to label the film "traumatizing" and "sickening," involves scenes near the end. In a single long take, Lara calls paramedics, picks up scissors and cuts off her penis. Her back is to the camera, so viewers hear her screams but see neither the act nor blood. She recovers from her injury, and the final shot is of her smiling face. But there had been no obvious cues that Lara would harm herself, and it's unclear why she takes this horrific step other than the fact that her gender confirmation surgery has been postponed and, like many teenagers, she's impatient and impulsive. The outrage has played out ferociously online. The film critic Oliver Whitney wrote in The Hollywood Reporter that "Girl" is the "most dangerous movie about a trans character in years." Whitney, who identifies as trans masculine, told me that seeing a trans girl mutilating herself suggests "it's part of her survival, and that's harmful." He said he was most upset that the film "sends a damaging message to all audiences, but especially to trans folks suffering from dysphoria who may not have access to medical care or information about medical transitions." Some opponents are framing "Girl" as a matter of life or death. Nick Adams, the director of transgender media at Glaad, a media advocacy group for L.G.B.T. people, warned that the scissors scene "might provoke a young person to harm themselves beyond repair or even end their life." When I spoke with Monsecour, she sounded tired of having to defend the film. "I know what the truth is, and 'Girl' is my truth," she said. She also said the reactions surprised her. "The words people have used to describe 'Girl' came close to my heart because the scenes they are criticizing are scenes that I had in mind during my transition," she said. "To criticize Lukas for portraying those things made me think, am I the only person who had suicidal thoughts or was bodily focused?" As she has noted before, Monsecour said the scissors scene was fiction, not biography. "That didn't happen to me," she said. "I wouldn't want to encourage anyone to do that." Dhont told me that the film comes from a place "of love and empathy for Nora," and that he stands by it "100 percent." He said he was happy the film "is part of a conversation," and added, "I think of cinema as a medium that can present dark ideas or thoughts. We don't hide away from them." Three trans women who saw the film at a screening in Los Angeles said it was the film's dark territory that made it compelling. Crystal Stull told me "Girl" was "the closest that cis people in society will ever get to understanding just how bad dysphoria can really get." Jessica Hogan said: "Some films are made for trans people and some are made to help cis people understand." Ann Thomas, the founder of Transgender Talent, a talent listing service for trans people, chastised the campaign against it. "The message these arrogant trans activists are saying is that Nora doesn't have the right to tell her story," said Thomas, who also defended "Girl" in an opinion piece for The Advocate. One idea that foes and fans of the film might agree on is a content advisory card that tells viewers the R rated film is for mature audiences. Netflix added a similar message to the TV series "13 Reasons Why" after it faced criticism from mental health professionals who said the show glorified suicide. Netflix reached out to Trans Lifeline, which runs a suicide prevention hotline, and other organizations for suggestions about advisory language, but nothing has been finalized. Several trans people I spoke with urged Netflix to be specific about what they said were medical inaccuracies in "Girl."	N24News: A New Dataset for Multimodal News Classification	Movies
BOA Steakhouse Is Where Influencers Go to See and Be Seen We spend a lot of our days chatting with each other about things we see online, trying to make sense of it all. This week in the Styles newsletter, Wait ..., our reporter Taylor Lorenz talked to the manager of BOA Steakhouse, the Los Angeles restaurant that has attracted Gen Z influencers and their fans. Sign up here to get Wait in your inbox. For Gen Z influencers looking to see and be seen in Los Angeles, there's only one place to go: BOA Steakhouse. On any given night, the crowd at the West Hollywood restaurant is a who's who of the internet. YouTube stars including Tana Mongeau, Jake Paul and James Charles have dined there, and A list TikTokers have made it their go to spot. When one of the Sway Boys has a birthday, or a Hype House member wants to celebrate reaching 20 million followers, BOA is the spot. Paul Antosca, who has been the manager at BOA Steakhouse for two and a half of its 20 years in business, said the restaurant's popularity with internet personalities started with FaZe Clan, the gaming collective. In 2018, FaZe Banks and his crew came in for dinner. Mr. Antosca struck up a friendship with the group, and they began dining there regularly. When a group of Hype House members took over FaZe Clan's sprawling 12,000 square foot mansion in the Hollywood Hills this spring, they continued the BOA tradition. "The first time they came in we wrote 'Hype House' on a plate, and they all raved and posted about it," said Mr. Antosca. Before long, every major Gen Z influencer began dining there. Mr. Antosca said that part of the reason he thinks influencers love BOA is because of the celebrity treatment they get. While they might be C listers at hot spots like Catch or Craig's, they're stars at BOA. "A lot of these influencers have my phone number and they know they can call and there's no having to explain who they are," he said. The staff also takes great care to protect its high profile clientele. "There are guests now that try to potentially get a picture with these stars, but we have security on site at all times," Mr. Antosca said. "We don't allow photos other than at your table. If anyone aims a camera at another table, we don't allow that." BOA's staff has been working hard to keep the restaurant safe. Servers wear face shields, gloves, and masks for protection. Guests are encouraged to socially distance while dining on the outdoor patio. Mr. Antosca said that since TikTokers began showing up he's noticed a lot more young guests coming in with their parents. They've seen BOA on YouTube videos and Instagram posts from influencers and want to post about the experience themselves. "The younger generation try to take TikToks in the building," he said. "That's a common thing now." Teens flock to BOA in the hopes of spotting TikTok stars like Charli D'Amelio, Addison Easterling and Noah Beck. "It's like going to Disney World: You know you're going to see a character at some point, it's part of the experience," Mr. Antosca said. The BOA Instagram account itself has gained 10,000 new followers in the past few months from the publicity. For influencers, dinner at BOA often includes a photo op, too. Fletcher Greene, the paparazzo behind the Hollywood Fix, is usually parked outside the restaurant, catching stars on their way in and out. He's become such a staple that many fans have questioned whether he and the restaurant coordinate plans. Mr. Antosca said there's no truth to those rumors, and if guests want to enter through the side door to avoid Mr. Greene, he'll happily accommodate them. The BOA to Hollywood Fix pipeline is real, however. "One day I'm pulling up to BOA and imma convince Hollywood Fix I'm famous," one Twitter user posted. "How do I secure an ambush interview with the Hollywood Fix guy do I just loiter around boa steakhouse?" another recently joked. Mr. Antosca said you don't have to be an influencer to dine at BOA. He strives to give all customers a memorable experience and said that the restaurant does not comp meals as a policy. Many people have tried, unsuccessfully, to catch the restaurant slipping up or providing preferential treatment. "We get five calls a day where people say they're Charli D'Amelio or Addison Rae," he said. "They're tape recording it and want to see how we respond." When it comes to the food, Mr. Antosca said that the Snow Beef Wagyu is most influencers' go to dish. "It's expensive and they want to feel like they're doing big things," he said. "A lot of influencers that want to show off get the Snow Beef. It's 50 and our highest priced item."	N24News: A New Dataset for Multimodal News Classification	Style
Hotel bars may be as ubiquitous as A.T.M.s these days, but how many cater specifically to queer patrons? No Bar, which opened in February at the Standard hotel in the East Village, is one. In addition to the usual gay bar trappings ("RuPaul's Drag Race" viewing party and bingo night), it also hosts speed dating and a Wednesday lesbian night called "Slather!" While some visitors hail from the five boroughs, others come down from their rooms. "I really considered the history of the area, what the neighborhood needs, and the future," said Angela Dimayuga, the creative director of food and culture for the Standard, who calls the project her baby. "We're reimagining what a New York City gay bar is." The bar is just south of Cooper Triangle, on the ground floor of the Standard, East Village hotel part of a mini campus that includes a restaurant, cafe and garden. Inside, round lighting fixtures hang from the ceiling like fat drops of water. Sky blue tables are scattered around the front. An L shaped marble bar anchors one side, and semicircle banquettes line the other. A large disco ball sends flecks of light bouncing off a wall of mirrors. On a recent Saturday, a half dozen 20 somethings in space buns, baby doll ruffles, a Pikachu backpack and other 1990s adornments held court on the dance floor. As the night progressed, others joined, and many seemed to know each other. Two young men arrived from Chinatown and Harlem. One of them, shirtless in overalls, said he came alone but wasn't anymore.	N24News: A New Dataset for Multimodal News Classification	Style
The Bacall collection at Bonhams includes a painting of a pelican in the style of Audubon, as well as furniture. She loved animals. And piecework quilts. And Louis Vuitton suitcases. So exalted was Lauren Bacall's affair and subsequent menage with Humphrey Bogart, it threatened at times to overshadow her acting career, as well as her other passions: for politics, literature and, yes, material possessions. Mr. Bogart died on Jan. 14, 1957; Ms. Bacall on Aug. 12, 2014, and against the title of the movie on whose set they first fell in love, her credo during the intervening years seems to have been "To Have, and Have a Lot." "Literally every tabletop had things on it," said Jon King, a vice president and the director of business development at the auction house Bonhams New York, describing the 4,000 square foot apartment in the Dakota building on 72nd Street in Manhattan that Ms. Bacall bought for tens of thousands of dollars in 1961 and crammed with art and antiques including (and this is but a small sample) Henry Moore and Robert Graham sculptures, David Hockney photographs, Picasso pottery, Chinese bronze figures, Congolese head rests, Louis XV bureaus, Edwardian bamboo, Victorian needlework and Majolica china notably two nut dishes presided over by nibbling squirrels. "Her taste was really eclectic," Mr. King said with a note of understatement, describing a panoply for her many visitors and friends, who included Anjelica Huston, Mr. Graham's widow; Barbra Streisand; and Ted Kennedy, who gave "Betty," as Ms. Bacall was called by almost all, a signed lithograph of a daffodil painting he did for his wife Victoria. "Every time they turned, something caught their eye." Most of the apartment's contents, including that lithograph and a couple by Chagall, will be auctioned over four sessions spread over March 31 and April 1 at Bonhams, in whose Madison Avenue window currently looms an enormous black and white portrait of a young Bacall: hair waved, mouth painted, eyes cast upward in a signature expression (affected to conceal nerves, she avowed) that came to be known as the Look. "The Look" is also the title of a small but magnetic exhibition that has been staged by the Museum at the Fashion Institute of Technology and runs through April 4, displaying a fraction of the 700 garments Ms. Bacall donated there from 1968 to 1986. F.I.T. got the bulk of her clothes, though among the offerings at Bonhams, viewed as they were being set up against felted walls on March 20, is the brown, toga like Yves Saint Laurent dress Ms. Bacall wore while accepting her lone, honorary Oscar in 2009 (the dress is estimated to sell for 600 to 800), as well as a pantheon of pantsuits and those suitcases, from the much missed era when luggage was hoisted by handsome bellhops and redcaps rather than ploddingly rolled on the ground. There is also a small selection of jewelry, including a long 14 karat gold chain from Tiffany with little hearts spelling out a personal message from Ron Field, Ms. Bacall's director in the hit musical "Applause"; two Jean Schlumberger bracelets in gold ropework; and cough drop like rings and earrings by Amy Moss, to whom Ms. Bacall was introduced by her daughter with Mr. Bogart, Leslie, now 62 and a nurse and yoga teacher. (The couple also had a son, Stephen, 66, an author and producer, and Ms. Bacall had another son, Sam, 53, an actor, with her second husband, Jason Robards.) "Anything that she bought, she pretty much had a relationship with the person," Mr. King said of his late client's approach to collecting. And diffused many times over that is also surely what some attendees of a celebrity auction aspire to feel that by, say, plunking their rear ends on a blue and white "contemporary overupholstered sofa" once owned by a famous actress (at 400 to 600, Ms. Bacall's is priced on a par with those at Jennifer Convertibles, with matching club chair in lieu of sofa bed) that they are somehow sprinkled with her stardust, part of her history. Others just want the stuff. But how much does such provenance inflate prices? "That's what we call the wild card," Mr. King said. Certainly Ms. Bacall's art holdings are likely to draw stronger attention than her baubles, which are far more modest than the "legendary" assortment amassed by Elizabeth Taylor and auctioned by Christie's over two weeks in December 2011, realizing 156,756,576, according to that house. Though Ms. Bacall's approach to decorating might have been maximalist to the point of overflowing, her personal style tended toward the sleek and chic, the F.I.T. show evinces. Flitting over the 1940s, when she was encouraged as a model by Diana Vreeland, then the Harper's Bazaar editor, and photographed for that magazine by Louise Dahl Wolfe, it focuses more closely on 1956 to 1973, featuring designs by Saint Laurent (also showcased along with Halston in a larger exhibit downstairs), Marc Bohan for Christian Dior, Emanuel Ungaro, Pierre Cardin and Norman Norell. The actress appears with the first four men in a daffy filmed show advertising the fall collections in Paris, nicknamed "Bacall and the Boys," that aired on CBS as a special in 1968, in the era Before E! Entertainment Television, or B.E., that has been archived at the Paley Center for Media. Unlike the others, Norell's brand has been left fallow, excepting a fragrance sold at Sears, and viewing his designs here invited the question: Why? Ms. Bacall wore one of his hot pink ensembles with rhinestone buttons, outside her normal, neutral color palette, while appearing in the 1964 movie version of Helen Gurley Brown's book "Sex and the Single Girl." A kelly green coat came with a matching kerchief, a touch that still resonates in the realms of Kate Spade and Milly. And a "subway" evening set done with Teal Traina would be great for the ladies of the L train: a beige jacket above allowing the wearer to travel discreetly, and when she opens it: shazaam! Sequins. "How to Marry a Millionaire," in which Ms. Bacall starred with Marilyn Monroe and Betty Grable, further demonstrates her sartorial range. Her multiple costume changes include power gray flannel suit, chiffon topped cocktail dress and Peter Pan collared blouse with balloon sleeves aloft enough, seemingly, to propel her straight to heaven. By the time Mr. King got to know the actress, though, she had long since abandoned such fripperies. Indeed, during his visits, he said, "she'd be wearing sweats and no makeup."	N24News: A New Dataset for Multimodal News Classification	Style
The image of the American factory floor is as classic as Henry Ford's Model T assembly line and just as enduring in the popular imagination. For decades, manufacturing jobs have been the ladder to the middle class for Americans of modest means and education. So when Made in NYC, a group that promotes local manufacturing, began an advertising campaign this spring, its goal was more than just to draw attention to items produced in the city. Supporters of that group and others like it around the country are trying to redefine what American manufacturing means in the 21st century. They hope to capitalize on a newfound embrace of artisanal and handcrafted goods and urge consumers accustomed to big box globalization to think of their shopping habits in the context of local economic investment. "Urban manufacturing creates opportunity," said Adam Friedman, director of the Pratt Center for Community Development, which developed Made in NYC. "We're coming out of a recession, which really drove home the point that you need a strong manufacturing base to create jobs." When Made in NYC was conceived in the aftermath of the Sept. 11, 2001, terrorist attacks, "this was a strategy to both encourage consumers to shop more locally and to get companies to buy from each other to strengthen local supply chains," Mr. Friedman said. Growth was initially slow, until four or five years ago. "Something dramatic changed," he said. "I think there was really a shift in consumer preferences. It coincided with the whole locavore movement." Seizing on this trend, and with 750,000 from the New York City Council, Made in NYC introduced its recent campaign with "Dreams, Jobs and ," and, "Made Here in NYC." "We're helping businesses learn how to market themselves a little more, but also doing a public branding campaign," said Melissa Mark Viverito, the City Council speaker. "We're raising that level of consciousness and awareness." This quest to revitalize urban manufacturing is not limited to New York City. Founded in 2011, the Urban Manufacturing Alliance is a grass roots effort to help small manufacturers. Led by the Pratt Center and an alliance of manufacturers in San Francisco called SFMade, it has members in 115 cities, including Cincinnati, Detroit and Seattle. This year it formed a committee to focus on local marketing strategies, said Lee Wellington, the group's founding executive director. "Within the economic development movement, there isn't always a recognition that branding is a viable strategy," Ms. Wellington said. Urban manufacturers are realizing that, along with issues like zoning regulations and land use rules, marketing plays a role in advocacy retaining industrial zoning in gentrifying neighborhoods, for instance as well as increasing sales. "That's an important element to this whole movement," Ms. Wellington said. "It creates a stronger relationship between the consumer market in these cities and the maker movement." Netflix buys a visual effects company in a move to support its global ambitions. 15 minimum wage for federal contractors will take effect Jan. 30. Ms. Wellington predicted that the New York City campaign would attract attention from other members. "We're seeing a lot of interest in how this can be replicated," she said. Since modern urban factories are more high tech and nimble than their predecessors, manufacturers today can create a wide array of products in smaller spaces, and Made in NYC wanted to communicate that in its campaign. "Our main objective was to highlight the diversity of things that are made here," said T. J. McCormick, partner and executive creative director at Eyeball, a strategic design and branding firm that is working with Made in NYC. Antonio Reynoso, a city councilman whose district includes the North Brooklyn Industrial Business Zone, has supported the Council's involvement in the campaign. "About 40 percent of my district that I represent is manufacturing," he said. "We have chair makers. We have belt makers. We have food distributors and packagers." The challenge was portraying that diversity in a cohesive way. In the new ads, the blank representing the final word of "Dreams, Jobs and " is variously filled in with examples as diverse as guitars and gourmet food. Similarly, there was a deliberate choice to use the word "made" in the ads instead of "manufactured." "There are a lot of associations with it that it's just old school tooling and heavy machinery and stuff, which is why we ultimately landed on the word 'made,'" Mr. McCormick said. "It softens it a little bit, makes it feel more broad." The campaign includes a social element, which uses geography to focus ads and incorporates a quiz about locally made products, said Noreen O'Loughlin, Made in NYC's program director. The group is also investing in targeted digital advertising, created by Eyeball, to increase its reach, especially among young adults. To reach New Yorkers while they are commuting or running errands, the campaign uses billboards and advertisements on kiosks and subways in places like Manhattan's garment district and the Lower East Side, along the Long Island Expressway and in neighborhoods in Brooklyn and Queens. "We felt we needed to be on the street and in front of people," Mr. McCormick said. "Educating that consumer base is, I think, what the Made in NYC campaign is all about, and so much of what we're trying to do with our entire member base across the country," Ms. Wellington said. "It's communicating the value of manufacturing."	N24News: A New Dataset for Multimodal News Classification	Media
VIKINGS 9 p.m. on History. Bjorn Ironside's ambitions and struggles as the king of Kattegat continue in a new season of "Vikings." In the two hour long first episode, Bjorn (Alexander Ludwig) finds difficulty in trusting his mother, Lagertha (Katheryn Winnick), while Ivar (Alex Hogh Andersen) is put to the test by the ruthless Prince Oleg (Danila Kozlovsky). Mike Hale wrote in his review for The New York Times that the series benefits from the modesty "Game of Thrones" lacks. "'Vikings' was admirably focused and engaging, its story easy to follow and its requisite elements of family soap opera and philosophizing relatively restrained," he wrote. AMERICAN WOMAN (2019) 6 p.m. on HBO. After her teenage daughter goes missing, Deb a single mother in rural Pennsylvania played by Sienna Miller attempts to pick up the pieces. With the help of her sister, Katherine (Christina Hendricks), and her mother, Peggy (Amy Madigan), Deb raises her grandson and navigates the challenging relationships she is left with. This film, directed by Jake Scott and written by Brad Ingelsby, is a "character study" of the working class, Glenn Kenny wrote in his review for The Times, adding that "the performances are excellent, and Ingelsby's dialogue largely rings true." "American Woman" will be available for streaming on HBO Thursday.	N24News: A New Dataset for Multimodal News Classification	Television
The professional skateboarder Nyjah Huston, 23, is a seven time X Games gold medalist and the reigning Super Crown champion. With the X Games Norway underway this month and skateboarding added to the Tokyo 2020 Olympics, Mr. Huston's star is only rising. Now based in Los Angeles, Mr. Huston is also settling into his style groove. Here are some of his favorites. I have a black Cleveland Cavaliers short sleeved T shirt. I'm a big basketball person, and they're my favorite team. I'm not super good at playing myself, although some of my friends and I will sometimes go play. Mainly, I'm a fan and I love LeBron his personality and style of playing. He's such a beast. I'm more in jeans than I am in pants. I'm usually in Levi's skinny jeans, probably black. They're really stretchy. I've found they're the best jeans to skate in. Overall, I have an athletic style but some of my buddies are actually fashion designers. I've noticed the scene in skateboarding is changing, though. Everyone has gotten a lot wilder with what they wear. Being different is the cool thing now. I do like things that not everyone else has, but you're not going to see me in a pink or purple jumpsuit like some of my friends would wear.	N24News: A New Dataset for Multimodal News Classification	Style
Our columnist, Jada Yuan, is visiting each destination on our 52 Places to Go in 2018 list. This dispatch brings her to two places: Australia's Top End, which took the No. 12 spot on the list; and Tasmania, which took the No. 33 spot. They are the 42nd and 43rd stops on Jada's itinerary. "What do you want? What are you doing?" my riverboat guide, Miyakoo Garnarradj, asked a crocodile who had slid off the muddy bank and was gliding through the water behind us, like a scaly Jean Valjean. Presumably, the croc was hoping to snack on the small children onboard, or perhaps lodge a complaint about the indignities of having to make his home in northern Australia's East Alligator River, which, according to local lore, got its name from a 19th century British colonialist who couldn't tell his aquatic reptiles apart. Miyakoo, who is handsome, in his 20s, and also goes by Tyrone, grew up along this river in Australia's Top End, the northernmost part of the country's Northern Territory. His people, the aboriginal clan of Barrbinj , can trace their roots back to these subtropical wetlands for some 65,000 years, and live much as they did before Europeans showed up to give dumb names to places that already had names "in language," as Miyakoo put it. The East Alligator River runs between Kakadu, with its campers set for hikes and waterfall plunges, and Arnhem Land, 75,000 square miles of outback that the Australian government set aside to be run by aboriginal custodians in 1930. Both fall under Unesco World Heritage designation as sanctums of aboriginal culture. Kakadu is traditional land that the parks department leases for recreational and educational purposes, while Arnhem Land requires a permit to enter and feels like a separate country that you can only reach by driving through the river, water splashing up to your windows. On an escarpment on the Arnhem Land side of the river, Miyakoo pointed out rock art. For thousands of years, his ancestors have been using mineral pigments, such as red hematite and yellow limonite, mixed with adhesives like water, blood and animal fat, to illustrate aspects of their culture on the sides and ceilings of rock shelters used during monsoons. Kakadu has two protected rock art sites, Nourlangie and Ubirr, set along walking paths and behind barriers. But in Arnhem Land, new art shows up constantly, often painted on top of older images. Miyakoo said he uses the paintings to find fish: "When I see a rock art on an escarpment I don't know, I know this is where I can find barramundi," he said. The company that runs the Guluyambi cruise also offers an Arnhemlander four wheel drive tour that visits rock sites rarely seen by tourists, as well as Injalak Arts, where you can watch women weave traditional baskets and men paint intricate spirit stories on bark with brushes made of grass. Injalak and the tours make up an important source of revenue and employment for a community that struggles with alcoholism and homelessness. So do movies. One, called "High Ground," about Australia's horrific history of indigenous murder, and starring a mostly aboriginal cast, plus Simon Baker of "The Mentalist," was shooting in Arnhem Land while I was there. If the color green had a flavor, I imagine it might taste like fresh asparagus picked on a tiny countryside farm in southern Tasmania. I'd never known asparagus to taste like it did that day it reminded me of the sugar snap peas I used to eat off the vine when I was a kid visiting the home of a Kenyan woman named Wairimu, who had somehow managed to grow an African garden in the high desert of New Mexico. "I think it's one of the great food experiences," said Rodney Dunn, who co founded The Agrarian Kitchen Cooking School Farm 11 years ago with his wife, Severine Demanet, on the grounds of an old schoolhouse, about a 40 minute drive from Hobart, the capital of Tasmania. Last year, they opened a farm to table restaurant nearby, in a building that was once a mental asylum. The key to the flavors I was experiencing, Rodney said, was Tasmania's uniquely hot summer days and cold nights. Here, vegetables ripen slowly and gain complexity. "It's amazing what these vegetables that people treat with disdain can teach us when we have them the way they're supposed to be." He picked a purple leaf out of the ground and handed to me. It was mustard greens, which I've always appreciated for their spicy kick, but had never known to be this subtle on the tongue. The contrast between Top End, with its sweltering heat and camper van aesthetic, and Tasmania's farmer chic sophistication was jarring. Traces of indigenous culture are also notably harder to find, the result of massacres and mass resettlements; Tasmania's history in that regard is particularly bleak. Several Aussies I'd met had made jokes about Tasmania seeming to be a tad behind something that can happen when a state is founded as a colony of convicts that builds a society in isolation. But as I visited its wild coastlines, its cheese makers and vodka distillers, I wondered if the island state of Tasmania had fallen so far behind the rest of Australia that it had inadvertently become the leader of the country's agrarian movement. When Rodney and Severine moved to this area after running restaurants in Sydney, the state already had a reputation for amazing produce, but unless you turned up at farmers' houses and asked to peruse their gardens, it wasn't obvious. "People in Tasmania know that at a certain time of year they go down the road and Jim grows pink eyed potatoes, and from Don down the other way, I can buy peas from his front gate," Rodney said. They'd founded the Agrarian Kitchen to fill that gap, but couldn't have anticipated the way the food market would move to all artisanal all the time. "That culture of people growing their own produce came back into fashion," Rodney said. "But here it never went away." Rodney and others told me they can trace Hobart's foodie renaissance to the opening of Mona, on an old winery on a peninsula outside the city. The name stands for Museum of Old and New Art, and just getting there on a ferry painted in black and white camouflage, with four plastic sheep that people can use as seats, is an event. Inside the museum was an atrium size installation in which keywords from current news stories dropped from the ceiling in bursts of water droplets ("Harry" and "Meghan," for example, since the royals and I had almost identical, simultaneous itineraries). The stream of art tourists who come to see Mona and then make a week of it, was enough to sustain the kind of restaurant culture that Tasmania's half a million residents could not. Over six days, I ate better than any other single destination on this 52 Places trip. On the hipster stretch of Elizabeth Street, it took me four tries to find a place where I could just get a takeout sandwich instead of table service. And that sandwich was an artisanal veggie burger with a cauliflower patty and a matcha bun from an "innovative plant based" vegan restaurant. Armed with my weight's worth in brochures from the tourism information center, I drove to gorgeous, fertile Bruny Island for fresh Camembert in a microbrewery that made a lovely I.P.A., and to the Tasman Peninsula for lunch on a lavender farm just a short drive from the kind of sea cliffs that inspire epic poems. In the apple dominated Huon Valley there are cider tastings and Grandvewe, which makes a sheep whey vodka that was the top winner in the 2018 World's Best Vodka Awards. And if you don't have time to drive, the Salamanca Market on Saturdays and the Farm Gate Market on Sundays, brings all those growers to Hobart. Timing Locals will tell you Top End only has two seasons, dry and wet or hot and hotter and during the height of wet, some of Kakadu's floodplains are only passable by boat. I rearranged my itinerary to get there by the end of the dry season in early October, and even then, many tourism companies were starting to shut down. Planning I did a combination of self driving and day tours that I set up through Tourism Top End, which offers free booking services. Palms City Resort in Darwin was the perfect, affordable, urban hide out for getting over my jet lag. Within the park, my base was Kakadu Lodge, an outback motel with communal bathrooms in the town of Jabiru. On Thursdays and Saturdays in Darwin, you'll find most of the city at Mindil Beach Sunset Market, a delightful mix of live music, Asian food stands and delicious fruit smoothies. Eats Be sure to try barramundi, fresh fish and oysters. In Kakadu, there's good Thai food at Ubirr Border Store and Anbinik Kakadu Resort (from the same owners). Their lime crush slushies and lemongrass iced teas are life changing in the heat. Side trips Forty minutes outside of Darwin on the way to Kakadu are several companies that offer jumping crocodiles cruises. Another half hour down the road you can do the Corroborree Billabong Wetlands Cruise, which offers good bird sightings. Set aside a full day to explore the waterfalls wonderland that is Litchfield National Park, or Darwin's beach, as one resident called it. Crowds are bigger than in Kakadu, but when you're plunging into a pool next to a waterfall, do you really care? Stay By the time I left the 150 year old Hadley's Orient Hotel in Hobart, I felt like I was leaving my family. It had a faded glamour and the nicest, most helpful staff.	N24News: A New Dataset for Multimodal News Classification	Travel
Re "Weighing an Immense Bailout for Businesses, With Strings" (front page, March 19): As the federal government moves to help save states, communities, businesses and individuals with financial assistance, scant notice has been given to the needs of our many nonprofit educational, arts and service organizations businesses and individuals vital to the national welfare, but that depend so much on grants and donations for survival. Attention must be paid to those groups by corporations, foundations, individual donors and government support. We are, as often noted, all in this together. Re "Don't Feel Sorry for the Airlines," by Tim Wu (Op Ed, nytimes.com, March 16): U.S. airlines support President Trump's decisive actions to stop the spread of the novel coronavirus. The safety and health of our passengers and employees are our top priority. Before this crisis, record numbers of people were flying more than 2.5 million passengers daily. Yet those numbers are deteriorating rapidly. Carriers are taking flights off their schedules. Cancellations are outpacing new bookings. It's dire times for an industry that was healthy weeks ago.	N24News: A New Dataset for Multimodal News Classification	Opinion
Last night Eleven from "Stranger Things" and the Snapchat deer filter may have dominated the Halloween streets, but at parties beforehand a number of celebrities went their own way. Following, our survey of the most creative costumes. Beyonce and Blue Ivy Carter have worn mother daughter costumes for the last three years, but this time, they invited Grandma to join their Salt N Pepa cover band. The former Destiny's Child member also looked to the '90s for costume inspiration, dressing as Dionne from "Clueless." The fashion designer took on the form of a female bodybuilder named Stacie while his boyfriend Charlie Defrancesco played his fitness counterpart, Larry, at Bette Midler's Halloween party. Another throwback costume came in the form of Christina Aguilera's 2002 "Dirrty" music video look, replicated all the way down to the crotchless pants. Kim Kardashian is on a social media hiatus. Her sister, on the other hand, posted plenty of photos of her comic book couple costume, Storm and Black Panther. Ryan Lochte's silver Olympic hair, among his other Rio 2016 antics, made the swimmer a star of the Halloween costume rotation, with Mr. Lautner, Nina Dobrev and more assuming his guise. Katy Perry, who sang at the Democratic convention this summer, attended a Halloween party dressed as Hillary Clinton, accompanied by Michael Kives as Bill Clinton. Ms. Perry's boyfriend, Orlando Bloom, followed behind as Donald Trump. Ms. Schumer's boyfriend was one of many Elevens, while the comedian costumed herself as another "Stranger Things" character: Dustin. The lifestyle expert Instagrammed a photo of J. Seward Johnson's Marilyn Monroe statue in Los Angeles last week, asking, "Think I can do it?" Is there anything she can't do?	N24News: A New Dataset for Multimodal News Classification	Fashion & Style
It's no secret that classical music institutions are struggling to attract new audiences. This challenge is often on my mind, but I had something of an epiphany about it on Sunday afternoon at Carnegie Hall. The place was packed for a concert performance of Handel's opera "Rinaldo." It was the latest in a series of nearly annual Handel performances at Carnegie by Harry Bicket and his English Concert ensemble; since 2013, this has become a beloved ritual for many. The exceptional cast of singers included the superb countertenor Iestyn Davies in the title role. (He had a busy Sunday: After "Rinaldo" he had to dash to the Belasco Theater for his closing night as the voice of a legendary castrato in "Farinelli and the King" on Broadway.) The Handel performance could not have been better. If I were recommending a program to someone fairly new to classical music, I wouldn't immediately think of "Rinaldo" in concert. It's long (nearly three hours of music) and, hewing to the conventions of Italian opera seria, it's structured as a seemingly endless series of so called da capo arias. Taken at face value, the story a love tangle set during the Crusades is full of improbable plot twists designed to let the characters milk some emotion and display their voices. Yet perhaps because Americans are enduring a period of fractious partisanship, disinformation and social media hysteria, performances that offer honesty and insight are like salves. The authenticity of this "Rinaldo" was like a clarifying gift. I kept thinking that even newcomers to classical music would "get" what's profoundly true about Handel's work and these fine artists. If the libretto contorts itself again and again, Handel seizes each opportunity to explore complex emotions through wondrous music. This comes through in the first aria for Rinaldo, a Christian hero, who loves Almirena (the radiant soprano Joelle Harvey), the winsome daughter of Goffredo (the dark voiced mezzo soprano Sasha Cooke), the captain of the Christian armies intent on seizing Jerusalem from the Saracen king Argante (the robust bass baritone Luca Pisaroni). Contemplating the coming battle and his future with Almirena, Rinaldo feels the sting of fear along with the pain of love delayed. Handel's music conveys that confusion with vocal lines that seem at once weighed down with poignancy and restless with skittish flights. Mr. Davies sang with a beguiling mixture of lustrous sound and vulnerable intensity. Even in seemingly melodramatic scenes, Handel digs deep and explores multilayered emotions. Armida, the queen of Damascus and a willful sorceress, has a furious aria when, after having fallen for the handsome Rinaldo, she vents her anger at his cold rebuff. The music suggests that conquest over someone is a driving element of love, and the soprano Jane Archibald brought to it cool intensity and big, bright sound. The young countertenor Jakub Jozef Orlinski also deserves mention for his winning performance as Eustazio, Goffredo's brother. I'm not suggesting that "Rinaldo" is an entirely enlightened work for our time. We're supposed to cheer the Christian forces prevailing over the Saracens and their religion. But by embracing every element of this work and performing it so sensitively, the musicians made the opera's humanity and greatness come through. Authenticity matters, more than ever.	N24News: A New Dataset for Multimodal News Classification	Music
As snow fell on the Greenpoint section of Brooklyn in mid December, a dozen or so people gathered inside a room at the Brooklyn Expo Center to uncover the truth about their past lives. Seated on folding chairs around a large red rug, they closed their eyes and followed the teacher's instructions to imagine themselves stepping through a door connected to their bedroom and into their former selves. The promise that comes with uncovering your past life is that of healing, said Trish Burger, who was leading the workshop. She added that hypnosis acts as an X ray of the consciousness, and shared how she had once helped a client whose ankle was mysteriously hurting. "Under hypnosis his higher consciousness told me that he had broken it in a past life," Ms. Burger said. Once she, the client and the client's consciousness were on the same page, the ankle stopped hurting, she said. Part of the challenge in the workshop was to let go of the immediate surroundings, which included upbeat thumping music coming from next door, where other students were learning how to belly dance. Another said: "Maybe we were all belly dancers together in a past life." After the final round of meditation, one student volunteered her vision, of having been her mother in the past. Others stayed quiet but took lots of notes, and at least one said her taste for hypnotherapy had been whetted. "I would definitely be open to doing it again," said Mary Davis, 46, a photographer. "I go to reiki and acupuncture, but I felt drawn to this. I think it can definitely help you." She had also gone to a chakra workshop earlier in the day. "I didn't know that much about my chakras," she said. "It was great." No, this was not the Brooklyn arm of the Goop conference. This was Bust magazine's Craftacular, a fair founded by Debbie Stoller, 55, and Laurie Henzel, 53, that brings together vendors hawking handmade and vintage products. The Bust Craftacular is in its 12th year and takes place in New York, Los Angeles and London over the course of the year. "It started as a small fair in a club in a Greenpoint," said Ms. Stoller, who founded Bust with Ms. Henzel and Marcelle Karp in 1993. "It grew and grew and grew as the whole D.I.Y. community grew." For the latest fair, Ms. Stoller and Ms. Henzel decided to offer talks by various speakers including Amber Tamblyn and Lindy West, and workshops. For 10 to 15 each, or for 40 for an entire day, participants could duck into the Goddess room or the Vibes Lounge or other satellite spaces and learn how to interpret tarot cards, get access to their chakras, read the stars, decipher the lines on a palm and cast spells using the power of their orgasms. "It's such a moment in the culture for those kinds of things," Ms. Stoller said, referring to mystical crafts. "People feel like it's hard to make a difference in the political climate, so they look for some other way to make a difference. It's a way of dealing with a sense of powerlessness." Ms. Henzel elaborated: "Tarot and witchcraft give you a sense that you have other powers you can tap into." Those looking for a more grounded way of fighting for their beliefs had plenty to inspire them, including talks that focused on storytelling, patriarchal narratives and consent. Activism was on prominent display all across the large main room, where shoppers circulated among tables. Visitors were greeted by free temporary tattoos of a stylized gold ovary from the Lady Parts Justice League, a nonprofit organization that fights for reproductive rights. Farther along, wanderers in search of statement gifts could pick up a "No Means No" cap from Believe Me; a T shirt with "It's my body, it's my choice" written across it from My Sister; and a bracelet with shepersisted carved on it from Activated NYC. Beyond that, the fair was a home for the niche: Products on sale included crystals (many, many of them); pins depicting a crying Drake; homemade vegan beauty products; a tea whose profits go to artisans in Kenya; earrings with covers of books including "The Thing Around Your Neck" by Chimamanda Ngozi Adichie; and drawings of Frida Kahlo. One booth offered kits with instructions and materials for making pillows, bracelets and necklaces using needlepoint. "I can't do anything else," said Jenny Henry, 43, their creator, referring to needlepoint, out of which she has built a 20 year career. Not far from Ms. Henry's booth was Aela Alchemy, where Micaela Foley, 26, and Kaela May, 29, were selling crystal and clay jewelry, as well as biodegradable glitter bombs (little tubs of glitter and wax that you can spread across your skin). "I was really heavily into glitter for a while," said Ms. May, who used to perform with a hula hoop at music festivals. "But I hated that it was littering. I made glitter bombs for myself with regular glitter, and I was like, 'I can't keep doing this, it's littering, it's killing my soul,' and I ended up doing a lot of research and finding a good source for biodegradable glitter." She and Ms. Foley were also offering packets of pre mixed herbs with names like the Lovers and the High Priestess, to add to "other herbs you might smoke," Ms. May said. D.I.Y. enthusiasts who wanted to create their own beauty and skin care products had an array of classes at their disposal. In one, a handful of students stirred a mixture of Himalayan and Dead Sea salts, seaweed and oils in matching bowls as Leslie Mullin, who owns a beauty company called Dirty Mermaid, explained why a carrier oil is critical to a bath salt recipe. "It carries the essential oils," she said. "Your carrier oil is very personal to you." Ms. Mullin asked the women at the table what they do to relax. "I wish I could say I do yoga," one said. "Face plant on the bed," said another, clearly less laden with yoga guilt. Later, Ms. Mullin circled the table, sniffing the scent combinations her students had chosen, and suggested that those who live in New York could use the salts in a bath for their feet rather than their full body. "New Yorkers don't have bathtubs, or they share them with lots of people," she said, eliciting knowing nods. The women around the table had various reasons for attending. "We never really take time for baths," said Heather Morowitz, 30, a masseuse and performance artist who periodically pretends to be a pre feminist, time traveling ghost named Madame Ovary (accessorized with a large "biological clock"). "It's nice to have a good reason to." Seated opposite Ms. Morowitz was Danielle Lam, 28, a government relations manager who lives in Brooklyn. In addition to the bath salts workshop, Ms. Lam had learned how to make a face scrub and was planning on checking out Intro to Embroidery later that day. Like many others who have recently embraced pottery, craft making and D.I.Y., Ms. Lam was searching for a way to unwind, recharge and tap into a part of her brain that she does not use in her daily life. "I don't get to do a lot of creative stuff," she said. "Now I get to do marbling."	N24News: A New Dataset for Multimodal News Classification	Style
This article is part of the Debatable newsletter. You can sign up here to receive it on Tuesdays and Thursdays. On Tuesday, President Trump formally began the process of pulling the United States out of the World Health Organization, having accused the organization of not holding the Chinese government to account for its handling of the coronavirus. The withdrawal would not go into effect until next July. But the prospect of losing the United States as a member, far and away the W.H.O.'s largest donor, is a big blow to the organization, and comes just a day after 239 scientists in 39 countries wrote an open letter claiming its guidance on airborne transmission was outdated. What exactly is the W.H.O.? The World Health Organization was founded as part of the United Nations in the wake of World War II, at the dawn of what some call Pax Americana, or the American Century. A product of that era's heady faith in international cooperation, the W.H.O. stated as its founding objective "the attainment by all peoples of the highest possible level of health." In practice, this broad mandate has translated to alerting the world to potential public health threats, preventing the spread of diseases, and championing universal health care policy. During emergencies like the coronavirus, the W.H.O. is meant to act as a coordinating body, employing its 7,000 workers spread over 150 offices worldwide to organize a global response, guide containment, declare emergencies and make recommendations in cooperation with member nations. If a vaccine is ever discovered for the coronavirus, the W.H.O. will play an important role in coordinating its distribution and influencing its pricing. But the W.H.O. was never vested with any direct authority over its members, as my colleagues Daniel Victor and Christine Hauser explain, so its mission often exceeds its abilities. And like any governing body, the organization is subject to budgetary and political pressures, especially from powerful nations like the United States and China, as well as from private funders like the Gates Foundation. The W.H.O.'s track record of responding to emergencies is uneven, The Times editorial board writes. While it boasts many momentous achievements including the eradication of smallpox, the near eradication of polio, the development of an Ebola vaccine and a huge expansion of basic health care services in low income countries it also suffers from institutional sclerosis. The W.H.O.'s sluggish response to the West African Ebola outbreak in 2014 was primarily responsible for the severity of that epidemic, which killed 11,000 people in two years. According to ProPublica, the Obama administration was so displeased with the W.H.O. that it largely bypassed the agency to coordinate its Ebola response with other countries. The timeline of the W.H.O.'s response matters because of the exponential nature of the coronavirus's spread. In New York City, for example, researchers have estimated that acting even a week or two earlier might have reduced cases by 50 percent to 80 percent. To prevent a similar calamity from occurring again, the Wall Street Journal editorial board argues, the W.H.O. must either be reformed to gain more independence from China or be defunded. Despite its flaws, the W.H.O. has been proved a force largely for good over its 72 year life, the Times editorial board argues. But with an annual budget of only 4.8 billion, the organization clearly does not have the resources to adequately serve its mission. "It's not a failed bureaucracy," William Foege, a former director of the Centers for Disease Control and Prevention who worked on the international campaign to eradicate smallpox, told ProPublica. "If you go there and see all they do every year, and they have a budget for the entire world that's smaller than many medical centers in this country." The answer to this problem, the board says, it to give the W.H.O. more power and funding, not less: "The United States and other member nations like Brazil, which also recently threatened to leave the organization should try seeing the W.H.O. for what it is: a reflection of the countries that created it and that wrote its bylaws. If they don't like what they see, they should work to improve that reflection." More funding could also help the W.H.O. become less dependent on China, Yu Jie Chen and Jerome A. Cohen write in The Japan Times. Beijing's influence is not primarily financial. Rather, it stems from Beijing's talent for building coalitions within the organization, which affords it significant sway over the body's decisions, including the selection of its leader. So in withdrawing funding, they argue, the United States would be forfeiting its primary point of leverage. Experts also told The Times that while the W.H.O. has made some missteps during the pandemic, it has done well overall given its organizational constraints. Dr. Ashish Jha, director of the Harvard Global Health Institute, said that the withdrawal "will both harm global public health and harm the health of the American people." Fixing the W.H.O. begins with funding, but it won't end there, writes Zeynep Tufekci in The Atlantic. "We must save the W.H.O., but not by reflexively pretending that nothing's wrong with it, just because President Trump is going after the organization," she argues. "It needs to be restructured, and the first order of business is to make sure that it's led by health professionals who are given the latitude to be independent and the means to resist bullying and pressure, and who demonstrate spine and an unfailing commitment to the Hippocratic oath when they count most." The W.H.O. may even need to be transformed rather than fixed, according to Kelley Lee, a researcher at Simon Fraser University in British Columbia who published a book about the organization. As she explained in Vox, the W.H.O. and the United Nations were conceived during a period when nation states and particularly the United States were the primary agents of global power. While states won't be going away anytime soon, the rise of the internet and multinational tech giants like Facebook mean they aren't the only important actors on the world stage anymore. As an analogy, she suggested, think of an old computer: You can upgrade it over the years, but at a certain point, you'll need to buy a new one. Instead of trying to retrofit your Macintosh II to stream Netflix, you might be better off getting an iPad. Related: Can We Reimagine Global Health in the Post Pandemic World? But what would "this new, iPad version of the W.H.O." look like? Dr. Lee thinks it should probably take the form of a supranational authority that requires countries to cede power at the state level in exchange for global security. An example of such an institution is the World Trade Organization, which was created in the 1990s and has the power to enforce sanctions. But even the World Trade Organization has been hobbled by the Trump administration's refusal to appoint judges, and right now many countries are seeking to wrest power from international institutions, not cede it. "Some countries may decide that, no, we're going to retreat into our castles," Dr. Lee said. "And obviously that didn't work when the Black Plague came along." Christopher from Indiana: "Without the 600, I will not be able to afford health insurance. It is critical that you emphasize that point in your relief bill debate coverage. "My company, Jadcore Inc. of Terre Haute, Ind., a plastics recycler, stayed open during Indiana's lockdown, as 'a supplier to essential businesses.' I worked for them for 14 years, was arguably their top operator with the highest production out of 24 operators, and my pay rate started at 8 per hour in 2005, and was at 17 per hour in April of this year, a pretty good wage for factory work in Indiana. "My employer gave me two weeks paid sick leave, then told me I could take two weeks unpaid personal leave, then return to work, or be fired, or I could quit right then. H.R. also told me I could not apply for unemployment while on unpaid personal leave. I couldn't afford to not be paid, so I quit (April 15), and applied for unemployment. "My situation was a nightmare, and my case remained open and unpaid for eight weeks, due to 'voluntary quit.' My savings were exhausted during this time and I was about to go under financially, and my employer supplied health insurance was gone. I could not, and cannot, afford 953 a month COBRA coverage."	N24News: A New Dataset for Multimodal News Classification	Opinion
I knew something serious was afoot in May when my friend Eric Priestley called from West Hollywood and left a phone message: "E, you would not believe this!" He was almost shouting over the swelling street noise in the background. Eric tends to the dramatic on any given day, but he sounded different urgent, astonished and not a little anguished. In the message, and several more that he left, he told me what he was seeing: swarms of Black Lives Matter protesters, George Floyd's name scrawled everywhere, glass shattering. A veteran of civil unrest in inner city Los Angeles the last 50 years, it seemed that Eric was experiencing something like PTSD. Eric was born in South Central and grew up around family in Watts. I met him shortly after the 1992 unrest following the not guilty verdicts in the criminal trial of the four police officers who had beaten Rodney King, a Black man, nearly to death. I had just started my first reporting gig for The L.A. Times after it realized in hindsight literally, after the smoke cleared that it didn't have a staff diverse enough to anticipate, much less cover, what was happening in Black neighborhoods. I came on to report on the aftermath of the unrest and to fill in the narrative blanks, the details of day to day living, in the process. I assumed the story I would tell overall would be one of recovery, a digging out from under the ashes and debris and also a digging out from under the racism that had fueled the unrest in the first place. This racism would now be a character in our national narrative, I thought. It had been exposed by the crisis, and it would stay exposed. Eric knew better. He'd been on the scene in 1965 for the Watts protest and conflagration, touched off by an encounter between the L.A.P.D. and a 21 year old Black man named Marquette Frye. Eric, also 21, unwittingly walked into the growing maelstrom along Central Avenue; he says it was like entering an alternate universe that he'd never seen or felt before. The seething, spiraling anger of the mob was thick, almost palpable. The sound of broken glass was relentless, enveloping, a voice of protest all its own. The urgency and ugliness of that moment, the way it affirmed Black anger but also confirmed systemic Black oppression, shocked Eric awake. He joined the Watts Writers Workshop, founded by legendary screenwriter Budd Schulberg, started with poetry and expanded to memoir and fiction. Twenty seven years later, 1992 struck; Eric was still in Watts, and still writing. The kinetic Black anger accompanied by fires and looting was like deja vu, though this time it spread well beyond Watts into South Central, Crenshaw, Inglewood, downtown. Eric found some work in Hollywood, joined the Writers Guild and began focusing on screenplays and fulfilling the ultimate L.A. dream; his day job became camping out at the Writers Guild library at 3rd Street and Fairfax, across the street from the Farmers Market. There he read, researched, fleshed out stories about Black life that were rooted in his upbringing and his family history in rural Louisiana. He never stopped tracking the damning reality for Black people on the ground. And then in May, the George Floyd protests erupted on the heels of the murders of Breonna Taylor and Ahmaud Arbery not in L.A. this time, but in Minneapolis. But by 2020 the place didn't matter. The unvarnished racism, the unarmed Black suspect, the unjustified shooting or killing by a police officer or a white vigilante caught on video all of it has become the same incident, the same players, the same place. The good news is that those opposing the killing are not the same people. The powerful but insulated Black rage that Eric saw up close twice before has expanded its geography, and leapt the usual bounds of demography. Thousands of white and other nonblack people got into in the streets, from Hollywood to other unlikely white places like Santa Monica and Glendale, embracing Black rage as valid: Instead of trying to minimize it or argue it down, they have claimed it as theirs. They have finally accepted the rage as both Black and American. This is a tremendous development in our story. After that disorienting day in West Hollywood ("I wasn't ready for what I saw," Eric confessed to me later. "Scared the hell out of me.") he told me he has emerged with a new kind of hope about the younger Black generation, something he hasn't felt in a long time. He admires this generation's conviction, its determination to keep up pressure. Yet he continues to worry about the bigger political picture in which all this is happening. In his view, "Things are going to get worse before they get better." He reminded me that it's still unclear whether and how Derek Chauvin, the former Minneapolis police officer who killed Mr. Floyd, will be punished. "That policeman hasn't been charged correctly," Eric said. "What I saw was first degree murder." What he means is that white participation in the protests has been encouraging and historic, but then there are white conservatives, the kind that enabled Mr. Trump and continue to support him on principle, the people whose movements Eric continues to chart with outrage and alarm. In short, there are still great forces arrayed against social equality, which Eric believes is the only thing that can make America whole. He has believed it since 1970, when he had a kind of post 60s epiphany about the meaning of racism, what it was really meant to quash not just fair voting practices or fair treatment by police, but a relationship between Black and white that is equal in the most mundane yet most profound ways. Social equality, Eric says, is our holy grail. It's possible, I told him, that 55 years after that first wake up moment in Watts, enough of us in L.A. and far beyond are having the same epiphany. It just took time. 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
Oscar nominations are coming on Tuesday! Will Meryl be snubbed? Will "Get Out" get a lot of love? Unclear. But we have early answers to some of the other pressing questions of the season. Have the awards been horribly depressing with so many accused sexual harassers exposed? Not so much! At least not the noir chic Golden Globes, despite a dip in the ratings. What are the chances of another repeat of OscarsSoWhite? Slim, thanks to smashing performances by Mary J. Blige ("Mudbound"), Octavia Spencer ("The Shape of Water") and Daniel Kaluuya ("Get Out"). Could "All the Money in the World" twice redeem itself, first after erasing all traces of the alleged harasser Kevin Spacey, and second after paying its male star 1,500 times more than its female star to reshoot crucial scenes? Yes! And, to be determined. And: Can a man win an Oscar once his name is the first to come up in a Google search for "vagina guard"? The fellow in question is, of course, James Franco, who this month won a Golden Globe and a Critics' Choice Award for his performance in "The Disaster Artist." He was also the subject of a Los Angeles Times article last week in which five women accused him of "inappropriate or sexually exploitative behavior." One of them said he had removed clear plastic shields from actresses' private parts while filming an orgy scene in 2015 for a yet to be released project. Accusations against Mr. Franco began surfacing on Twitter days earlier, during the Golden Globes, where Mr. Franco wore a pin in support of Time's Up, the female led anti harassment initiative. Among the women raising the question of impropriety that night was the actress Ally Sheedy, who posted and then deleted a few cryptic tweets that said, among other things, "Why was James Franco allowed in?" These days every man in Hollywood seems to have a potential target slapped on his back, but the accusations followed a public incident in New York in 2014. That's when Mr. Franco, then 35, tried to arrange a hookup with a 17 year old tourist via Instagram, and later admitted to having used bad judgment. Onto the present mess. Mr. Franco addressed the Golden Globes tweets last week on "The Late Show With Stephen Colbert," saying, "I have no idea what I did to Ally Sheedy." He also said: "If I've done something wrong, I will fix it. I have to." He also insisted that he fully supported women speaking out, and later told Seth Meyers in an appearance on his show that the tweets were inaccurate, but that "this is a conversation that needs to be had." Then on Jan. 11, The Los Angeles Times published its article, in which several women said Mr. Franco got peeved when they refused to remove their shirts during filming. Another woman, whom Mr. Franco had been seeing romantically, said that once, while they were sitting in a car, he had nudged her head down to encourage her to perform oral sex, and that "the power dynamic was really off." Mr. Franco's lawyer told The Los Angeles Times that the claims "were not accurate." (The actor's representatives directed The New York Times to statements on the late night shows.) But since the Los Angeles Times article came out, the actor has laid low, skipping the Critics' Choice Awards, where he was named best actor in a comedy. His representatives did not immediately confirm reports that he will attend the Screen Actors Guild Awards on Sunday night. Still, those in the Oscar tea leaf reading game have concluded that chances are pretty good that Mr. Franco's name will be on the list when Oscar nominees are revealed next week. The window for nomination voting opened Jan. 5 and closed Jan. 12, just one day after the article ran. The acting nominations are decided by the actors' branch at 1,218 members, the largest one in the Academy of Motion Picture Arts and Sciences and many had already submitted their ballots by the time the article appeared. Interviewing some of those voters, Glenn Whipp of The Los Angeles Times found that several regretted casting ballots for Mr. Franco yet, per academy rules, couldn't take them back. But the Bagger is also hearing that some in the actors' branch met the accusations against Mr. Franco with little more than a shrug, and felt they were small potatoes, especially compared with the alleged misdeeds of, say, Harvey Weinstein, to name just one. Mr. Franco's widely praised performance as real life oddity Tommy Wiseau, the man behind the cult hit "The Room," had also already earned a best actor nomination from SAG Aftra, the union behind the Screen Actors Guild Awards. The awards projection site Gold Derby still has Mr. Franco squeaking in, in fifth place, among the likely best actor Oscar nominees. With Gary Oldman ("Darkest Hour") and Timothee Chalamet ("Call Me by Your Name") dominating the race, Mr. Franco was always a long shot to win. The latest allegations make his odds even longer, the academy being particularly sensitive to how it is perceived. But still. Mr. Franco could easily be in the running, which would hand the Oscars host, Jimmy Kimmel, a ready made joke if there ever was one, whether Mr. Franco shows or not. But the ceremony isn't until March 4, with each day bringing a shift in the MeToo terrain, and each new allegation being met with a torrent of conflicting reactions. Consider all that has happened just in the week and a half since the Golden Globes: Mark Wahlberg and his agency donated 2 million to Time's Up after the news broke that he'd been paid 1.5 million to reshoot "All the Money in the World" scenes, while his co star Michelle Williams earned less than 1,000. Ashley Judd, one of the early Weinstein accusers and a deeply involved supporter of Time's Up, told the BBC that Mr. Franco's response was "terrific." She added, "We've all behaved at a certain level unconsciously, and done things that were insensitive, inappropriate, without necessarily understanding that they were." Mr. Franco now counts among the very few accused men to publicly garner support. Catherine Deneuve and more than 100 Frenchwomen signed an open letter denouncing MeToo for conflating sexual assault with harmless flirtation. Amid the ensuing uproar, Ms. Deneuve apologized to victims she'd offended. Rebecca Hall and Timothee Chalamet donated their salaries from the forthcoming Woody Allen film "A Rainy Day in New York" to anti abuse causes. In December, Mr. Allen's adopted daughter, Dylan Farrow, who has accused him of molesting her, wrote a letter asking why MeToo had spared him. And then there are the controversial accusations, followed by a backlash, and a backlash to the backlash, against Aziz Ansari, made by an anonymous woman. (He has said he "took her words to heart and responded privately.") All of which is to say, who the heck knows what the climate will be like when Oscars day dawns on March 4. Just think, the awards season last year felt like a guilty diversion from the craziness unfolding on the national stage. How far we've come, eh?	N24News: A New Dataset for Multimodal News Classification	Movies
Q. Last year I opened a Facebook account, and as I entered my information I soon decided I didn't want to continue. I deleted the app on my phone and tablet. Occasionally, I receive a "Welcome back to Facebook" message and realize I've not cut the cord. Is there way to sever this connection for good? Completely? A. Removing the Facebook app from your mobile devices does not delete the user account connected with it. To fully sever your ties with the social network, you need to visit the site's Account Deletion page and log back in; you can do this from a web browser if you do not want to download the mobile app again. Use the box on the page to officially request that Facebook delete your account. Facebook's settings page also offers an account deactivation option, which removes your profile page from view but is not permanent. Accounts are reactivated when you log back in. If you deactivated your account and then started up a laptop that was set to automatically log into Facebook, your account may have revived itself.	N24News: A New Dataset for Multimodal News Classification	Technology
The private art collection of Roberto Toscano and his wife, Nadia Toscano Palon, features works by artists including Daniel Turner, Anish Kapoor, James Turrell and Oscar Tuazon. Since 2012, the collection has grown to more than 100 works, which are partly in storage because of renovations and, like most private collections, are rarely seen by anyone outside of the couple's immediate circle. This is a problem for many collectors, Mr. Toscano included, who want to show their work to broader audiences or believe that there's a public good to sharing the work they own. Though collectors at the highest end of the market are increasingly opening private museums, it can be difficult to afford or staff a space. Private collections can often be so opaque, Mr. Toscano said, that even artists don't know where their own works are part of his motivation to make that general information public. "If I don't put them in some kind of public database, these works essentially disappear from the planet," he said. Enter Collecteurs, a website and social media platform that's boldly billing itself as "The Collective Museum of Private Collections." Collecteurs, based out of the New Museum's NEW INC., a cultural incubator, is a public benefit corporation with a stated mission to bring artwork into the light at least, the light of the internet. Its founders are Jessica and Evrim Oralkan , married collectors who became overwhelmed by the size of their own trove of art. They were struggling to manage it, and share it with the public. "You get to a point where your walls can't take anymore art," Mr. Oralkan said. The Oralkans have uploaded their personal collection online, as have Mr. Toscano and about 1,200 others. Anyone with a computer can now scroll through images of the work they own. Using and accessing it at a basic level is free. But users can sign up for two higher tier plans (one at 15 a month and another at 125 a month) that provide access to features like passes to art fairs and the opportunity to to be interviewed for the site's editorial platform. In addition to sharing, art collectors are seeking tools to organize growing collections, connect online with gallerists and curators and, perhaps, to humblebrag about what's on their walls. "Collecting used to almost be like a private club with people who were very traditional in their privacy and comportment," Ronald Varney, an independent fine art adviser in New York, said in an interview this week . "Nowadays, it's often, 'How much publicity can I get out of this?'" Collecteurs is attempting to harness the energy of social media without all of its associated noise, and offer a window into the secretive and exclusive world of private collections. Though the amount of art in private hands is unquantifiable, art sales have been increasing, reaching 67.4 billion in 2018, much of it passing between private hands. Mr. Varney called the world of private collections a "murky universe" since private sales are not reported, and auction houses are not required to divulge the names of winning bidders. Merely by its nature, Collecteurs has an obvious limitation: The art can only be seen online. "Not everybody has the resources to open a private museum," Mr. Oralkan said. "So people are looking for alternative options, and those are most likely going to be digital." Collecteurs is trying to be at once a management software; a social media platform; an online magazine with plans for print books down the road; and, more nebulously, an online museum for the public. Its founders say that the platform isn't geared toward buying and selling, but rather it's another way of getting access to information about where art is. The concept of a "digital museum" isn't really new. Many museums have long been digitizing their collections so that anyone with an internet connection can scroll through images of the art. But when does something grow from a collection of images online to an online museum, and does Collecteurs qualify? "This is really not a museum by any stretch of the definition," said Claire Bishop, a professor of art history at the Graduate Center at the City University of New York, who has researched and written about the effects of digital technology on visual art. She said the lack of emphasis on research, the shortage of contextual information about objects and the absence of extensive curation make Collecteurs more social network than museum. The information on the website is self reported, so it can be as robust or as limited as a collector chooses; often, collectors include dimensions, medium, artist, materials and exhibition history. Sometimes, they add notes and can curate digital exhibitions of their works. "If the minimum definition of a digital museum is a collection of jpegs online, then an online archive like Artstor is the greatest digital museum on earth," Ms. Bishop said, referring to a nonprofit digital image library that has amassed millions of images for scholarly use. The use of the word "museum," she said, is a misnomer, and lends the project cachet while misrepresenting its aims. Mr. Oralkan emphasized that Collecteurs is a hybrid platform, one that's driven by aspirations to change how art can be seen and shared. "I think we really have a chance to recreate the idea of what a museum can be," he said. Ms. Oralkan said, "If we're looking at either not being seen at all or being seen digitally, digital is a very strong point to make." In recent years, Instagram has become a favored way for collectors to share and search for new work. It has also helped some artists, like Cj Hendry, start their careers outside of traditional channels . Mr. Toscano used to rely on Instagram to seek out artists, but he said he's grown frustrated with the algorithm. "Every four posts someone is trying to sell me something that has nothing to do with any of my interests," he said. Collecteurs is semi exclusive; anyone can join and post images, but some members are preapproved based on the content of the collection, allowing them to show up in the site's search function. (Quality matters to the founders: "We don't want a Mickey Mouse collector showing Donald Duck art, " Mr. Oralkan said.) Viewers can search the site by artist, by collection, by keyword, by hashtag a feature that Mr. Toscano has used to search for other work by the artists he collects art that might be in other collections . But not everyone is interested in showing off what they have in vaults or on their walls. "People aren't necessarily looking for the sharing aspect," Justin Anthony, one of the founders of a Denver based company called Artwork Archive, said. Theirs is a cloud based inventory system, used by artists, collectors and large institutions for organization and management: Users track what they have and where the works are, along with deeds of title and insurance papers. "I would say there's kind of a sexy, interesting aspect to this and a practical aspect. The unsexy side, the management side, is a more common itch than the desire to share." She said that they had instituted a feature to allow people to share anonymously, and that as the platform has grown, it has been easier to convince prospective users to join the site. The two are planning a book of uploaded collections , "Socially Conscious Collectors," which has been an incentive for users, especially given the death of some glossy home magazines where homes and art might have been featured in splashy spreads. ( Ad revenue in magazines fell to around 28 billion in 2017 from 46 billion dollars in 2007, according to Statista, an industry newsletter.) Mr. Varney said he does believe social media will open up the art market and add more transparency . "Things just sort of vanish into private collections," he said. "When things appear on the market, especially older things that have been off the market forever, it's almost like a discovery story."	N24News: A New Dataset for Multimodal News Classification	Art & Design
'It's Going to Be the Image of the Revolution' None Every once in a while an image appears that so viscerally frames the human story in a time of social or political paroxysm that it becomes a symbol. Such was the case this week with a smartphone photo taken during a demonstration in Sudan against the repressive regime of President Omar al Bashir, as the protests that have been going on intermittently since December reached a new intensity. In the picture, a woman in a white thoub and gold disc earrings stands on the roof of a car. She is caught in profile, mid speech, one arm raised to the heavens, finger pointing upward, the other clutching her waist, amid a sea of heads and arms waving phones to record the moment. Posted on Twitter Tuesday by Lana H. Haroun, it had 50,000 likes by Wednesday morning and had taken on a life of its own. Though the speaker has since been identified as Alaa Salah, a 22 year old student, some people have dubbed her the Sudanese Statue of Liberty, others simply "the woman in a white thoub." Either way, her picture has had resonance far beyond its place of origin. "I'm pretty sure it's going to be the image of the revolution," said Hind Makki, a Sudanese American anti racism educator in Chicago who reposted the photo on all of her platforms. She wasn't the only one who thought so. Part of its power, Ms. Makki argued, derived from the symbolism inherent in the shot, much of it contained in the visual shorthand of what Ms. Salah is wearing. Her earrings, which reflected the light, are, Ms. Makki said, traditional wedding jewelry meant to symbolize femininity. The choice of a white thoub, a garment no longer popular among young Sudanese (who associate it with an older generation), reflected a connection to mothers and grandmothers "who dressed like this during while they marched the streets demonstrating against previous military dictatorships." The white thoub also has been, Ms. Makki said, a democratic garment, worn by secretaries and lawyers alike. And white was the color adopted by female student protesters, beginning in March, when many involved in a sit in at Ahfad University for Women (AUW) wore white thoubs, inspiring others to show their support by wearing similar garments (and producing a hashtag). Since then, these women in white have often been called Kandakas, a reference to ancient Nubian queens, connecting their power to the power of the women who are now helping lead the protests. None of this could have escaped Ms. Salah, whose mother is a fashion designer who specializes in thoubs. And though, as Ms. Makki has pointed out, these references give white its own history in Sudan , it is also generally seen as the color of new beginnings, the color of American and British suffragists, and the color adopted most recently by the women of Congress, who wore white to the State of the Union address earlier this year to demonstrate their own solidarity and moment of change. "The response has been phenomenal," said Ms. Makki of reaction to her posts. "It's a little overwhelming." It is also, however, dangerous; on Wednesday, after her identity became known, Ms. Salah wrote on Twitter that she had received death threats. "I will not bow down," she wrote. "My voice can not be suppressed. Will hold Al Bashir responsible if anything happens to me." Similarly, Ms. Haroun posted a video noting she wanted to respond to all the people who had asked her how she felt about her photograph's power. "Pray for Sudan," she said. Riot police raced toward Ieshia Evans during a protest against police brutality outside the Baton Rouge Police Department in Louisiana in 2016. The reaction to Ms. Haroun's picture puts it firmly in line with a series of images that have become synonymous with the historical moments they represent, including, most recently, the "woman in a sundress" who faced down the riot police in Baton Rouge, La., during the 2016 protests against the shooting of Alton Sterling; the "woman in a red dress" who turned her head away as Istanbul police tear gassed protesters in 2013 during an anti development demonstration; and the young man in shirt sleeves facing the tanks that were rolling into Beijing's Tiananmen Square in 1989. A protester turned away as Turkish riot police sprayed tear gas during a 2013 anti development demonstration in Istanbul's Taksim Square. In each case, the images derive their power in part from the sheer quotidian nature of the individual, armored not in defensive gear or in depersonalizing military garb but in the clothes of the everyday. It's one of the ways viewers connect to the figures in the frame; they feel immediate, and recognizable, because they are wearing recognizable colors and costumes. A demonstrator blocked the path of a tank convoy near Tiananmen Square in Beijing in 1989. And it is no accident that such photographs are referred to by the garments involved. It's not just how we identify the pictures, but how we identify with them. Indeed, though some comments on social media have expressed irritation about the fact that it took a photograph to capture the attention of the world and draw it to Sudan, Arthur Asseraf, a historian at Cambridge University in Britain, wrote of the reaction to Ms. Haroun's picture: "this is incredibly frustrating. But it is also very useful. The images of these women is a huge strategic resource for these movements to grab attention. So go out and dress up! Use your phones! Seize the means of representation!" The effect is, as Susan Sontag wrote in her essay "On Photography," "to democratize all experiences by translating them into images." There's a through line linking one picture imprinted on the memory to the next, a shared sense of sisterhood and humanity, though they were taken across oceans, and time.	N24News: A New Dataset for Multimodal News Classification	Fashion & Style
A Noted Musician's Instrument Was Ruined. Not by Us, Says T.S.A. A renowned Malian musician said when he came back to Paris on Monday from a concert tour in the United States, he opened the case to his kora and found the instrument in pieces. The musician, Ballake Sissoko, 53, blamed the Transportation Security Administration, prompting outrage among his fans on Facebook and international headlines. But the T.S.A. said on Thursday that the agency hadn't opened the case holding the kora, a delicate long necked harp lute. "It is most unfortunate that Mr. Sissoko's instrument was damaged in transport," the agency said in a statement. "However, after a thorough review of the claim, it was determined that T.S.A. did not open the instrument case, because it did not trigger an alarm when it was screened for possible explosives." Mr. Sissoko flew from Kennedy International Airport in New York to Paris on an Air France flight on Sunday evening, after he wrapped up the two week tour, according to his manager, Corinne Serres. When he opened the case to his kora, which had been custom made for him, Ms. Serres said, he found it destroyed. The instrument was in pieces, a photo provided by Ms. Serres shows the neck ripped from the body, the strings yanked and the bridge taken off the leather soundboard. Inside the case, Ms. Serres said, was what appeared to be a T.S.A. advisory, written in Spanish, telling Mr. Sissoko that his case had been picked for a physical inspection to search for "prohibited items." (Mr. Sissoko speaks French.) The notice also appeared to have tape around it. Ms. Serres said by email on Thursday that Mr. Sissoko was "heartbroken" when he saw the damaged kora. "His instrument is part of him," Ms. Serres said. "That's why it's so precious." Ms. Serres said she was "very shocked" that the T.S.A. denied damaging the kora. "It is totally ridiculous to say that the kora can have been disassembled by transport," she said. "This kora travels worldwide and recently went to India, China, Japan, Finland." Ms. Serres said that it was possible the kora could have been damaged in flight, but that it was highly unlikely that it could have been taken apart "without the help of some bad people touching it." She had earlier released a statement about the incident that called the destruction "an unprovoked and sad act of aggression, a reflection of the kind of cultural ignorance and racism that is taking over in so many parts of the world and that endangers the best of musicians from Africa and elsewhere." The statement said that "in Mali, the jihadists threaten to destroy musical instruments, cut the tongues out of singers, and to silence Mali's great musical heritage." But it was a United States agency that "in their own way managed to do this," the statement said. "Would they have dared do such a thing to a white musician playing a classical instrument?" But the T.S.A. said on Thursday that officials had examined the bag tag that was affixed to the case and crosschecked it with its checked baggage screening records. They then learned that the instrument case had been screened through a scanner but had not triggered an alarm, the T.S.A. said. That "means that T.S.A. did not open the case," according to the T.S.A. A decal was placed on the case to show it had been screened and cleared, the T.S.A. said. The case was then moved to a conveyor belt and sent to the airline baggage room so it could be loaded on the plane, according to the T.S.A. On its website, the T.S.A. explains that it screens 1.4 million checked bags daily for explosives and other dangerous items. Most bags are not physically searched by an agent, but if a bag is opened, the T.S.A. will place a notification inside saying that the bag was opened and checked. Once the screening process is finished, the airline brings the checked bags on to the flight. Mr. Sissoko had been performing with his band 3MA, a trio of musicians that also includes Driss El Maloumi, an oud player from Morocco, and Rajery, a valiha player from Madagascar, according to the statement released by Ms. Serres and Mr. Sissoko's website. Following the process Mr. Sissoko normally takes when flying, the musician and his tour manager on Sunday night dropped off the kora at the oversized luggage desk at Kennedy Airport, where the case was scanned, Ms. Serres said by email. Nobody at the counter expressed any concerns, she said. On its site, the T.S.A. states that "musical instruments must undergo screening when transported as carry on or in checked bags." If an instrument requires any special instructions or handling, passengers should tell a T.S.A. agent, the agency says. Ms. Serres said the kora's case "is tagged with fragile tags so it is obvious that the instrument should not be manipulated." A spokesman at Air France, Arturo Diaz, said on Thursday that the airline at Kennedy Airport "confirmed that all checked luggage is given to the T.S.A. for screening immediately after it is checked in." "After screening," he said, "luggage is given back to our airport team to load onto the plane." "As a matter of policy our staff do not open checked luggage," Mr. Diaz added. "If we have any concerns about the contents, we address them at check in by having the customer open their luggage in front of our staff. By all indications, the damage to the instrument does seem to have occurred during the T.S.A. screening given the presence of the note." Mr. Sissoko arrived in Paris on Monday morning and went to bed, Ms. Serres said. When he woke up, he opened his case and found the broken instrument, she said, adding that he immediately called her and sent her pictures of the destroyed kora. Ms. Serres said that despite the agency's denials, Mr. Sissoko would press on with a formal complaint with the T.S.A. "We will go on fighting," Ms. Serres said. Mr. Sissoko has been touring all over the world for 30 years and has never had a problem traveling with the kora, Ms. Serres said. "T.S.A. sincerely regrets having to do this, however T.S.A. is not liable for damage to your locks resulting from this necessary security precaution," the notice says. It does not say anything about what the agency's responsibility might be toward other personal property that could be damaged during a search. On its website, the T.S.A. instructs passengers who believe their property was damaged during a screening to fill out a claim. Investigations into claims can take up to six months. "All claims are investigated thoroughly and the final decision to approve a claim rests with T.S.A.," the agency says on its site. Millions of inspection notices have been placed in bags since the agency was established 18 years ago, the T.S.A said on Thursday. "It is very easy for someone to get ahold of one of these inspection notices," the agency said. "Anyone could have placed the notice inside the instrument case."	N24News: A New Dataset for Multimodal News Classification	Music
TRICKLE DOWN economics has its detractors, but a rising tide did seem to lift all cars at this year's whirl of Arizona collector auctions. A year ago, only the high end of the market seemed to have much life: collectors with ready cash mostly snapped up the rarest and best cars. Since then, the prosperity at the top has filtered down to the middle of the market. At the five major auctions that took place around Phoenix on Jan. 18 23, even entry level cars did well, and prices seemed to firm up across the board. What's more, buyers signaled a nascent market trend by enthusiastically bidding for unrestored cars in original, but well preserved, condition. "Over all, the market seems quite stable, and there is even some spiking on certain cars taking place," said Charlie Goodman, a collector from San Rafael, Calif. "It's getting harder for auction companies to feed the demand for high quality cars, because people are holding onto these cars, seeing them as investments that can be enjoyed as well." Barrett Jackson started the party with bidding on Tuesday, Jan. 18, with its usual policy of no reserves, meaning every car that reached the block went to the high bidder. As the Barrett Jackson sale has evolved into a lifestyle event with gavel to gavel cable TV coverage, it has become a gateway for new collectors. The chief executive, Craig Jackson, said more than half of both bidders and consigners this year were first timers at a collector car auction. What could have been this year's high sale at Barrett Jackson, a 1963 Pontiac Bonneville ambulance presented as the vehicle that carried President Kennedy's body from Andrews Air Force Base to Bethesda Naval Hospital, brought 132,000 (including the 10 percent buyer's premium) after its provenance was questioned. Before the sale, the buzz in Scottsdale was that the Pontiac could bring close to 1 million. Barrett Jackson's 70 million in sales were up 11 percent from 2010. The second highest total was 35 million for Gooding Company, and third place went to RM Auctions with 31 million. At Gooding in particular, bidders responded strongly to unrestored cars. A 1931 Rolls Royce Phantom II Henley Roadster sold for 935,000, a 1953 Fiat 8V Supersonic for 1.7 million and a 1962 Mercedes Benz 300SL roadster for 951,500. All three were largely original, unrestored cars and all broke world auction records, exceeding by comfortable margins the established prices for meticulously restored examples. RM also had several surprising sales, including a record breaking 1.375 million for a pristine 1955 Mercedes Benz 300SL Gullwing. None of these graceful cars with roof hinged doors had previously topped 1 million at an auction. Russo Steele, whose 2010 sale here was disrupted by a violent storm that blew down its tents and damaged dozens of cars, made an impressive comeback. Its total sales of 21 million included a remarkable 1.7 million for a 1970 Plymouth Hemi 'Cuda convertible.	N24News: A New Dataset for Multimodal News Classification	Automobiles
The South of France, the Amalfi Coast of Italy and Spain's Costa del Sol are just a few of the seaside European destinations known as the summertime haunts of well heeled travelers. From June through September, prices for a night's stay in a hotel are sky high, and jockeying for reservations at popular restaurants is something of a full time sport. Come October, however, these places are significantly more affordable but equally desirable. And they stay that way through much of November; some are even suited to visiting during winter. Value, flexibility and a more relaxed time are in store for travelers who visit these upscale destinations in the fall, said Shawna Huffman Owen, an owner of Huffman Travel, a travel consultancy in Chicago. "Hotels drop prices by as much as 50 percent, and instead of making dinner reservations a month in advance as you would have to do in July or August, you have the flexibility of deciding in the afternoon where you want to eat that night," she said. Worry not, water lovers. Ms. Owen says that boating and taking a dip in the ocean are possible through October, when temperatures are still mild and days are sunny. And the slightly cooler climate thereafter is a time to take advantage of other attractions.	N24News: A New Dataset for Multimodal News Classification	Travel
SAN DIEGO The film was scary, but that's not why people at a sneak peek screening of a new horror movie called "The Woods" here on Friday night were screaming: In a master stroke of stunt marketing, it turned out that "The Woods" was not "The Woods" at all, but a top secret Lionsgate sequel to "The Blair Witch Project." There is nothing unusual about a studio trying to dust off an old franchise. (There were two "Blair Witch" movies, released in 1999 and 2000.) But Lionsgate's tactics in this instance were unorthodox. Lionsgate is betting that the payoff will come at the box office in September, with moviegoers drawn to the film because it feels both new and nostalgic in other words, not just another tired sequel. First, the studio kept the sequel a secret by referring to it throughout a two year development and production process only as "The Woods." Actors were given fake scripts at auditions. Everyone working on the film had to sign a nondisclosure agreement. Character names and details were changed in shooting scripts to prevent association with the "Blair Witch" world. Then, Lionsgate mounted a fake marketing campaign. Posters for "The Woods" were released. A trailer for "The Woods" began running in theaters. At Comic Con International, the movie, television and comics convention now underway in San Diego, Lionsgate's booth included ads for "The Woods." And there was the sneak peek screening at a San Diego theater.	N24News: A New Dataset for Multimodal News Classification	Media
Nathalie Bondil, the first female director of the Montreal Museum of Fine Arts, is credited by some to have put the museum on the map internationally. She has worked there for more than two decades, rising to become a high profile leader in the art world while maintaining close ties with art museums in Europe where she once worked. It is perhaps not surprising, then, that the minister of culture and communications for the province of Quebec would declare earlier this month, when Ms. Bondil's job security was questioned, that "the Montreal Museum of Fine Arts is Nathalie Bondil!" But it did startle many in the art world when the museum announced three days later that Ms. Bondil's contract had been terminated, effective immediately. Her departure has unleashed a tempest in the art circles of Canada, where the Montreal museum is viewed as something of a national treasure; the debate over why she was let go has led to such confusion and rancor that the government has stepped in to investigate. Museum directors at the Musee d'Orsay and Palais de Tokyo in Paris denounced the board's decision. The director of the Louvre told a French newspaper that "no head of a museum should be treated like this." Some of the museum's paying subscribers called for a special assembly at which they said they intend to pull back the curtain on Ms. Bondil's dismissal. "I always say that I wanted to end on a high note," Ms. Bondil said in an interview. "This isn't a high note it's an explosive note." Ms. Bondil, on the other hand, said it was her unwillingness to publicly praise a recruiting process that resulted in the promotion of Mary Dailey Desmarais to the role of a "director of the curatorial division." The Canadian press has questioned whether the elevation of Ms. Desmarais, a respected curator, was influenced by her family's wealth. Ms. Bondil has not embraced that view, but she has said that her support for another candidate was seen as "insubordination" and led to her dismissal. Both sides say the other is constructing a story to distract from what really happened. Both have welcomed the government's investigation as an opportunity to air out the truth. "The president rules the museum and does not respect checks and balances," Ms. Bondil said. "The investigation will help us understand the true reason for the firing decision." According to Mr. de la Cheneliere's account, the chain of events that ultimately led to Ms. Bondil's termination on July 13 began with the union that represents museum employees approaching the board last year with complaints about the workplace environment. The museum then hired an outside human resources management consultant to assess the situation, according to the news release that accompanied the announcement that Ms. Bondil had been let go. The consultant reported back a "significant and multilayered deterioration of the workplace climate, described by some employees as 'toxic,'" the release said. Mr. de la Cheneliere said in an interview that the thrust of the complaints was that there was too much pressure on the employees in the curatorial department, and that pressure came, in good part, from Ms. Bondil. The board's solution, he said, was to introduce a position called director of the curatorial division, which was intended to lighten Ms. Bondil's workload. (Ms. Bondil's held two titles: both director general and chief curator of the museum.) "It was also to put somebody between Ms. Bondil and the 70 people of this department," he said, "to have somebody to settle the problems." Enter Ms. Desmarais, the curator of international modern art. A committee of the museum's board selected her as their choice for the curatorial position, and the museum said that the full board of trustees approved the choice unanimously. But days after the promotion was publicized, a Montreal newspaper reviewed an internal scorecard that assessed the candidates for the job, including Ms. Desmarais. She had been given the lowest score of the four contenders, the newspaper said. Ms. Bondil has said that she did not see Ms. Desmarais as the best person for the job; instead, she wanted the new position to be split into two and for Ms. Desmarais to occupy a deputy role. The museum has vigorously defended its decision to appoint Ms. Desmarais. They have pointed to her Ph.D. in art history from Yale and her years of experience in the museum's curatorial department, starting with her position as an associate curator in 2014. It put forward a declaration of support for Ms. Desmarais signed by 11 employees who make up the main curatorial team. The Canadian press, though, raised the question of Ms. Desmarais's connections. In 2008, Ms. Desmarais, 39, became part of one of the richest families in Canada when she married Paul Desmarais III, the grandson of Paul Desmarais Sr., a deceased financier who had close ties to Canadian prime ministers, including Pierre Elliott Trudeau. The museum's Jean Noel Desmarais Pavilion, which opened in 1991, is named, in part, after Paul Desmarais Sr. His son, Andre Desmarais, has been involved with fund raising for the museum. Ms. Desmarais did not respond to a request for comment. The museum's board president said he laments that Ms. Desmarais has been "caught in the crossfire" of the institution's public feud with its former director. Ms. Bondil said she also thought it was unfortunate that Ms. Desmarais had become part of the conversation, saying she has nothing against her. But she said that she believes her dismissal was precipitated by her unwillingness to endorse an announcement that described the search as rigorous. Ms. Bondil said that when Mr. de la Cheneliere asked her to endorse such a statement, "I could not agree." "I said, 'I can't write that,'" she continued. She said that she and other museum staff members had been excluded during the decision making process. Mr. de la Cheneliere acknowledged that there was a disagreement about what Ms. Bondil would say in the announcement about the promotion but that it had nothing to do with her termination several days later. "It was a consequence of her management style," Mr. de la Cheneliere said. The inquiry by the Quebec government will be conducted by an outside firm and is expected to take three to four weeks, Mr. de la Cheneliere said. The investigators will interview museum employees, members of the board and former employees who left the museum because, he said, they wanted to escape the workplace culture. The province's culture ministry has justified its intervention by pointing out that the government of Quebec is the museum's largest funder. Nathalie Roy, the minister of culture and communications, has asked for access to the human resources report that was used to help explain Ms. Bondil's dismissal, but the museum has refused, citing promises of confidentiality to the participants. With the outpouring of support from museum leaders, Ms. Bondil is expected to land easily at her next job. Still, she didn't plan to end her 13 year tenure as museum director in a public battle with the institution where she has spent a good part of her career. She said that she sees the whole mess as, partly, a result of muddled communication and lack of person to person contact because of teleworking during the coronavirus lockdown. "I do think that there is something with Covid that has created an unusual emotional and professional environment," she said. "There is something with these virtual interactions which show the necessity of having direct connection."	N24News: A New Dataset for Multimodal News Classification	Art & Design
Cynthia Erivo was downstairs at the Bernard B. Jacobs Theater last Sunday, preparing for her final performance as Celie in the Broadway show "The Color Purple." By now, she was used to the muffled noise of theatergoers slipping into their seats before the show began. But this afternoon the clatter was altogether different. First there was a rumble of heavy footsteps, followed by a burst of applause and cheers that reverberated deep into the theater's subterranean dressing rooms and lasted nearly 10 minutes. Someone famous had arrived. And Ms. Erivo knew who it might be. "Hillary's in the building," she told a colleague. Hillary Clinton and former President Bill Clinton were winding their way to their seats through a crush of well wishers, including Gayle King, Debra Messing and the Vogue editor Anna Wintour, many of whom clapped and shouted "We love you, Hillary," and "God bless you." Onlookers captured the racket on their iPhones as Mrs. Clinton waved and posed for selfies. Ms. Erivo had invited the couple (via a Clinton staff member the actress knew) to see "The Color Purple" weeks after Mrs. Clinton's defeat in the November presidential election. "I thought this might be a wonderful thing for her," Ms. Erivo said in an interview on Tuesday. "It's healing a way for her to forget for an evening." Many people might have expected Mrs. Clinton to hole up in her Westchester County compound for months after a brutal campaign season and election loss to her Republican rival, President elect Donald J. Trump. But in recent weeks, Mrs. Clinton has emerged from the Chappaqua woods with her husband and family in tow, much to the delight of New Yorkers who have embraced her as a battle scarred heroine, and seem to want to help the former Democratic presidential candidate get over her election blues. In late November, she made a surprise appearance at Unicef's Snowflake Ball, where she presented an award to the pop singer Katy Perry, a prominent supporter of her campaign and who sang at the Democratic National Convention last summer. Weeks later she was photographed greeting friends at her granddaughter's dance performance in Manhattan. On Dec. 13, the rapper Fat Joe posted a selfie with Ms. Clinton on Instagram after he ran into her at dinner at Rao's. (According to Page Six, Mrs. Clinton was dining with the Hollywood producer Harvey Weinstein and his wife, the fashion designer Georgina Chapman.) And that same week Mrs. Clinton supped with Ralph Lauren at the Polo Bar as other diners, including Christie Brinkley, orbited her table. One of those in attendance was Laura Brown, the editor in chief of InStyle, who wrote on her Instagram account that Mrs. Clinton and Mr. Lauren ate hamburgers that night: "Big, juicy, fantastic burgers. And wine, and chocolate sundaes." Ms. Brown said hello to Mrs. Clinton and hugged her twice, writing on Instagram, "'I love you Hillary Clinton,' I said." For some, the appreciation is more than political. Steve Tyrell performs at the Cafe Carlyle every Christmas, where he croons Frank Sinatra hits and old standards for a holiday crowd. In early December, he got word that Marc Mezvinsky, the husband of Chelsea Clinton, made a reservation for him and his wife. They were a no show. A few days later, Mr. Tyrell said in an interview, Ms. Clinton made a reservation for four. Mr. Tyrell knows the Clintons; they have exchanged letters about his music for years. Chelsea played the singer's recording of the classic "The Way You Look Tonight" at her wedding, he said. So when Mrs. Clinton, her husband, her daughter and her son in law arrived for the 8:45 show on Dec. 17, they were seated at a prime table near the stage. "It was the first time they'd been out to see music, and I was completely knocked out," Mr. Tyrell said. He sang Ira Gershwin's "I Can't Get Started" and told a story about how he changed the lyrics on his 1999 album "A New Standard" to reflect the Clinton presidency. He sang "The Way You Look Tonight" for Chelsea. And he dedicated the last song of his set, "That's Life," to Mrs. Clinton. When he got to the lyrics about picking oneself up after falling flat, Mr. Tyrell said the crowd of 100 or so leapt to their feet and cheered. Mrs. Clinton beamed and clapped her hands overhead. "It was a very personal performance," Mr. Tyrell said. "It gave everyone this feeling that they were seeing something special." Whatever one's politics, said Mr. Tyrell, Mrs. Clinton's decades of public service should be recognized. "I think she should be appreciated," he said, "not be told: 'Lock her up. Lock her up.'" Mrs. Clinton has, of course, emerged for more formal affairs. On Tuesday, she attended the opening of a new exhibition and museum space at the State Department where the Hillary Clinton Pavilion bears her name. (The ceiling is made of glass.) She and her husband are expected to attend Mr. Trump's inauguration on Jan. 20. And on Feb. 16, Mrs. Clinton will speak at a ceremony at Grand Central Terminal to mark the issuing of a stamp honoring the fashion designer Oscar de la Renta, a close family friend. Through a spokesman, Mrs. Clinton declined to comment on her outings around New York. There have also been more private family moments that onlookers have found themselves unexpectedly witnessing. On Dec. 27, Mike Smith, a fund raiser for Episcopal Relief Development and a former reporter for The New York Times, was with his family and friends at Mohonk Mountain House in New Paltz, N.Y., when one of the women in his group told him that Chelsea Clinton was working out on a treadmill. Later, at about 6:30 p.m., Mrs. Clinton and the former president, along their daughter and their son in law, sat down to supper in a semiprivate alcove in the dining room. During the evening, Mr. Smith said, "the awareness of their presence built; we decided to send them a bottle of wine." (It was Chianti.) Chelsea Clinton and her husband left after they finished their meal. "Everyone was buzzing but being respectful, keeping their distance," Mr. Smith said. "But once Bill and Hillary got up and moved to the hallway, people started standing and applauding and, at that point, they stopped, and started greeting people." One of the women in Mr. Smith's group introduced herself to Mr. Clinton. "Hey Hillary!" Mr. Smith recalled the former president's telling his wife. "Look! These are the people who bought us the wine!" Mrs. Clinton, Mr. Smith added, posed for photographs and "seemed to be very moved, taking the time to greet every person."	N24News: A New Dataset for Multimodal News Classification	Style
Paul Taylor made 147 dances, a large number of which were already considered classics during his lifetime "3 Epitaphs" (1956) and "Aureole" (1962) to "Promethean Fire" (2002) and "Beloved Renegade" (2008). But every Taylor season would also bring premieres and revivals of works about which opinions differed sharply. You didn't care for "Le Sacre du Printemps (The Rehearsal)"? Hmm. Yet you were knocked out by "The Word"? With such a vast and varied repertory Mr. Taylor's dances could be flippant, savage, idyllic, among many other moods it would be jarring if there were consensus. And if we're lucky, debates will continue long into the future. Mr. Taylor has many popular pieces, but his work is broader and sometimes stranger than those. Here our writers choose dances that offer keys to his genius. ALASTAIR MACAULAY Paradox lies very near the heart of most of Paul Taylor's choreography. Like a master juggler who keeps contrasting objects spinning from hand to hand, he loved to combine music and subjects that seemed to have nothing in common. I've often wondered how taken aback Corelli, Bach, Schubert, Wagner, Stravinsky and other composers would be by the alien visions he married to their scores in mysterious but uplifting harmony. Debussy was one of the composers he revisited most. Yet he seldom contradicted a composer's stated intention more explicitly than when he used Debussy's "Children's Corner" for his "Brief Encounters," in 2009. Debussy's six part score was dedicated in 1908 to his little daughter; Mr. Taylor uses the 1911 orchestration by the composer's friend Andre Caplet. There's no doubt that Debussy sought in this music to enter a child's mind: to give six nursery views of the world. So what did Mr. Taylor do? He cast his dancers as near naked adults in black underwear, in situations of narcissism, sexual desire and emotional perplexity. Yet this didn't prove antimusical; and, to me, it was the signal revelation of "Brief Encounters." Even more clearly than in his many other works, he took us deep into the nature of expression in music: He showed how music can show things beneath and far apart from the intentions that composers state. We're taken into the mystery of things; we feel connections at odd and profound levels. Listen to the loons. Mr. Taylor's 1983 work about soldiers on leave is set to Elgar's Elegy and Serenade for Strings, but in the middle, that plangent music is replaced by the recorded cries of loons. Who but Taylor would do such a thing? It's not the craziness, the looniness of the idea that's most distinctive, though elsewhere Taylor could be plenty whimsical or willfully perverse. Rather, it's the audacity of taking a stock sentimental situation, applying a sentimental score, then adding a sound of potentially greater sentimentality. Loons! And it's exactly right. What makes the work so haunting is its ambiguity, its dreamy elusiveness. As in Mr. Taylor's "Company B," there's a sense of imminent death, but it's much less explicit in "Sunset," which is not just a highly articulate man's vision of inarticulate men. It's a poem that's eloquent in the unsaid, expressing through the means of dance something untranslatable, like the sound of those birds. After the curtain falls on Paul Taylor work "Big Bertha" (1970), you're frozen in your seat; you can't quite believe what you've seen. The basic setup is this: A seemingly innocent family goes to the fair and stops by an old fashioned barrel organ ornamented with a herky jerky dancing automaton. The young daughter skips and swishes her skirts, a bit too heartily. The parents waltz. An exaggerated American wholesomeness reigns. Then, gradually, the machine takes over, and the family begins to do terrible things. The father gropes his daughter as the mother looks on impassively. Before he returns with the little girl's prone, bloodied body, she undresses and performs a strange, compulsive hoochie coochie dance, as if her own baser instincts had been ignited. How did this image of American innocence devolve into such a blood bath? This, it seems, was Paul Taylor's view of humanity. As he wrote in his memoir, "Private Domain," "in my good guy roles there was usually a demonic element." In "Big Bertha," he really let his id out. He lures us in with nostalgia and colored lights and jaunty tunes, but what we're left with is the monstrousness inside us all. That's why "Big Bertha" turns your blood cold like no other dance I've seen. MARINA HARSS In the topography of Paul Taylor's imagination, "Speaking in Tongues" (1988) can be found in the territory marked by the maniacal and bleak. It's an unsparing, hourlong look at a repressed, hypocritical society that gets the leader it deserves: a charismatic preacher not the first in the Taylor canon who is also an irredeemable sinner. His brooding presence dominates a world in which perky popular dances and conventional unison fragment into flailing, contorted violence. Set to a juddering electronic score by Matthew Patton punctuated by a preacher's voice and muffled shouts "Speaking in Tongues" gives us nameless characters and an America of fanatical extremes. Rape is ignored while a mother reprimands her daughter; a nonbeliever is viciously attacked by the crowd; and a woman is abused by her husband. The narrative, which goes back in time, is murky, but the movement is utterly clear. In the neat, stylized ensemble dances with their primly patting hands, Mr. Taylor suggests both the tamping down of feeling and a robotic conformity. With the preacher's shuddering, convulsive movements, he offers fragmented human motion as a metaphor for social disintegration. Rape, abuse, intolerance, fear of the other, religious fanaticism: 30 years after its creation, "Speaking in Tongues" seems to be talking directly to our time. ROSLYN SULCAS	N24News: A New Dataset for Multimodal News Classification	Dance
Agyness Deyn on Moving From the Runway to the Big Screen Not long before he began filming "Sunset Song," an adaptation of the novel by Lewis Grassic Gibbon, the director Terence Davies was told that his leading lady had been a model in a former life. "I didn't care," Mr. Davies recalled recently, his shrug a tacit acknowledgment that models turned actors didn't generally fare well in the movie trade. Moments after recounting that conversation to a postscreening crowd at the Museum of the Moving Image in Queens, he welcomed his ingenue, the former model Agyness Deyn. At 33, she is a very different creature from the coltish, artfully tarted up young woman who, less than a decade ago, had parlayed her peroxided blond thatch, Dr. Martens, suspenders and neon accessories into a kind of demi celebrity. Now with several film roles to her credit (she played Aphrodite in "Clash of the Titans" in 2010 and snared a small part this year in "Hail Caesar!"), she has shed her punkster trappings and, with them, the sedulously cultivated aura of cool that may have stunted her career. These days, she's not hiding her ardor. "I feel like I have to bring myself to the fullest to the table," she said last week, a few days after the screening. She was perched on a park bench outside the Van Leeuwen ice cream shop on East Seventh Street, a neighborhood haunt. She was sharing the bench with her sister, Emily, a partner in Title A, their fashion line; Etta Mae, Emily's cherubic 5 month old cradled in her lap; and Sweet Pea, her dog, frisking at her feet. "When I started, I thought: 'Who knows what a model is? I don't,'" she said. "I was pretending to be what I thought a model should be." She proved a quick study. "I learned that you're a blank canvas," she said. "Everyone projects onto you. They're trying to create perfection. So you have the pressure of feeling like you have to be perfect. Then it comes out that you don't want to be perfect." The steady pounding of a nearby jackhammer and the low din of passing strangers, some of them shamelessly gawking, didn't faze her or derail her thoughts. By the time she was 10, said Ms. Deyn, who grew up in Manchester, England, she was used to the gaze of random passers by. "I was very aware of being a cute little girl," she said. "I felt it was a lot of responsibility." The attention chafed. So one day, she asked to have her long hair sheared into a boyish crop not unlike the one that would later propel her to cover girl status. Newly shorn, "I could relax," she said. "I was relieved at not having to be that cute little girl anymore." With that, she leapt to her feet, stopping at a nearby cafe table to greet a cluster of friends before dropping into Trash and Vaudeville, the venerable punk clothing emporium, which had recently migrated from its grittier home on St. Marks Place. "My sister and I used to shop here," Ms. Deyn said wistfully as she darted past a wall festooned with leather and chains, making her way familiarly toward a rack of concert T shirts. She contemplated several, including one that was garishly emblazoned with an image of Mickey Mouse about to spear himself with a syringe. "I can't wear that," she said with a hoot. "They'll think I'm on the needle." After pawing idly through the racks, she finally settled on a Sex Pistols shirt stamped with the group's trademark popcorn box logo. Back on the street, the late afternoon sun caught a glint of the Cartier solitaire on Ms. Deyn's left hand. Turns out that in August she will marry her boyfriend, Joel, a pianist turned hedge fund manager. The wedding will be a low key local affair. "I've never been one for the fairy tale, storybook wedding," Ms. Deyn said. Still, there will be trimmings, not least a food truck lavishly stocked with Van Leeuwen's vegan desserts, Ms. Deyn said, exchanging a conspiratorial glance with her sister, who stood at her side. Her sister flashed a wicked grin. In preparation for the great event, "We'll be working our way through everything on the menu," she said.	N24News: A New Dataset for Multimodal News Classification	Fashion & Style
Days after the authorities in Minnesota announced that no one would be criminally charged in the 2016 overdose death of Prince, his next of kin are suing an Illinois hospital that treated the singer for an opioid overdose the week before his fatal incident, according to a suit filed on Monday. Prince's family, under the name of a trustee, Michael A. Zimmer, charge in the suit that the singer received improper medical care in the early morning hours of April 15, 2016, after Prince's private plane made an emergency landing in Moline, Ill., following a show in Atlanta. The suit claims that Prince's death was a "direct and proximate cause" of the hospital failing to appropriately diagnose and treat the overdose, as well as its failure to investigate the cause and provide proper counseling. Based on documents related to the criminal investigation released on Friday, prosecutors believe that Prince had likely overdosed that night on what he believed to be prescription opioids like Vicodin, but were actually black market versions containing the much more powerful synthetic opioid fentanyl. Authorities determined that, without knowing, Prince most likely took a counterfeit drug containing fentanyl again six days later at home in Paisley Park, leading to his death at 57. Carver County prosecutors in Minnesota said they could not determine where exactly he had obtained the tainted drugs and declined to charge anyone in the death. Lawyers for Prince's family, George Loucas and John Goetz, said in a statement Monday: "What happened to Prince is happening to families across America. The family wishes through its investigation to shed light on this epidemic and how to better the fight to save lives. If Prince's death helps save lives, then all was not lost." The lawsuit names Trinity Medical Center, the Illinois hospital where Prince was treated, along with its parent companies. Also named is Nicole F. Mancha, a doctor who provided Prince care at the hospital, as well as an unidentified pharmacist or pharmacy employee "that consulted" in the care provided to Prince. A representative for the hospital said it does not comment on pending legal matters. The family is also suing Walgreens, charging its employees with "dispensing narcotic prescription medications" to the singer for an invalid medical purpose and failing to conduct the appropriate drug utilization review. Upon landing in Illinois, Prince, who was barely breathing, was carried off his jet by his longtime friend and employee Kirk Johnson, who told paramedics that the singer may have taken a Percocet after his concert, according to police reports. (A Minnesota physician, Michael Schulenberg, settled with the federal government on Thursday, after telling investigators that he had written Prince a prescription for Percocet in Mr. Johnson's name; as part of the settlement, the doctor admitted no liability.) It took two shots of Narcan, a medication used to reverse an opioid overdose, to revive the singer, and he was transported to Trinity Medical Center. Dr. Mancha, in an interview with those investigating the musician's death, said Prince told her he had taken two Percocet, though she believed he was lying, she added, because the amount of that prescription drug would not have required two shots of Narcan. The singer refused all testing, including having blood drawn and undergoing a urine toxicology report, in what his friends later said was an effort to conceal his addiction to painkillers from the public. Prince, who was known for his privacy, left the hospital without further treatment and returned to his Paisley Park home in Minnesota, according to investigators. Alexander Stein, a professor at Brooklyn Law School who writes about medical malpractice, said that while "in some states this would be a very difficult case to win," Illinois tends to be "pro patient." According to the investigators' report, Judith Hill, a singer who was on the flight that landed in Illinois, said Prince had told her he had taken an unidentified pill stored in a Bayer aspirin bottle. Dr. Mancha said that the pills resembled hydrocodone (or Vicodin) and that she sent one to a pharmacy to be identified. The pill, which had the inscription Watson 853, was identified at the pharmacy as hydrocodone, though it was not tested for its authenticity, Dr. Mancha said. After Prince's death, investigators discovered a Bayer bottle from his nightstand at Paisley Park containing 64.5 pills labeled Watson 853. Those pills were found to be counterfeit and contained fentanyl, though investigators did not definitively say whether they were the exact painkillers that had caused Prince to overdose.	N24News: A New Dataset for Multimodal News Classification	Music
You could call it deja vu, but everyone knew it was just a matter of time before it would happen again: another mass shooting, unanswered questions and, inevitably, another locked phone that could hold some answers. But how can I say it any more clearly? The safety of our nation does not depend on giving Attorney General William Barr the keys to spy on anyone with a mobile phone. In fact, it's the opposite. Yet in another fatuous speech, the kind of which he seems to specialize in, Mr. Barr attacked Apple on Monday for not helping to unlock two iPhones that he claims the government needs to scrutinize, saying the company has given him "no substantive assistance" with an important criminal investigation. Apple rightly pushed back against Mr. Barr's claims, pointing out that the company had, in fact, helped the government by turning over information on the dead gunman from its servers. What does Mr. Barr specifically want from Apple? He doesn't say, of course. There is nothing Apple can actually do to unlock the gunman's phones that government tech geeks cannot do, short of a systematic change that would weaken the security of all phones. Thus, his aim is clear: He wants the power to go in and out of any phone, any time. Believe nothing Mr. Barr says. We should question how long the government has taken to make these requests of Apple (I'm told that the company was made aware of a second phone only last week). And, perhaps most important to keep in mind, the government can probably already break into our phones if it wants to. It has before, even if Mr. Barr seemed to indicate on Monday that the government could not pull it off without help from Apple. That was what happened when federal investigators battled with the company over iPhone encryption after the mass shooting in San Bernardino, Calif., that killed 14 people in 2015. In that case, the government was trying to get Apple to "break" the protection of the suspect's phone by demanding it create what Apple called in a court filing a "GovtOS" (that is, a government operating system), giving it that metaphorical key to a backdoor to all phones. The F.B.I. director at the time, James Comey, and President Barack Obama pressed Apple to help it crack into a device that one of the gunmen had owned. The Apple chief executive, Tim Cook, refused to do it, in what was probably the most difficult decision of his career. He stuck to the principle espoused by his predecessor, the Apple founder Steve Jobs, who had long maintained that the ultimate act of patriotism is to protect the privacy of Apple customers against unnecessary search and seizure. Over the years, Apple has increased security for consumers through encryption. In the most simple terms, phones were built to be opened only with a user's passcode (this tech is also what enables fingerprint and face identification), and the company has built in no power to bypass that. The iPhone has been engineered to offer more and more user control. That's why Apple would not bend in the San Bernardino case. In the end, reports say, an Israeli firm unlocked the phone for the government, and the collision between Apple and the F.B.I. was averted. In the Pensacola case, Apple has said it has given up all the data it has to the government. But law enforcement officials, as all law enforcement officials tend to do, are asking for more, claiming this time that they want only to look at the particular phones in the Pensacola case, and are not seeking a back door for all phones or a special operating system. The problem? There is no breaking into a single phone without showing the government how to break into all iPhones. While public safety is important, we have to ask whether getting into these phones is the only avenue the government has to pursue justice or find the truth. We must trust our public officials with confidential and sensitive information to allow them to do their jobs. But the need to guard users' data especially in an age when hackers and more autocratic governments can use it for more nefarious reasons still trumps the public safety concerns Mr. Barr is raising. He said in his news conference, "This situation perfectly illustrates why it is critical that the public be able to get access to digital evidence." Really? Does it also perfectly illustrate that the United States government did a bad job vetting the Pensacola gunman, a radicalized Saudi cadet? Does it also perfectly illustrate that American officials missed his public postings that indicated an interest in jihadism? Does it also perfectly illustrate that the Saudi government has backed a lot of the type of extremism that might have led to this attack? I don't know the answers to these questions. I don't know how to deal with phones that have become much more secure. But the issues raised here most definitely require real cooperation between tech companies and the government; we may even need legislative solutions. But first we need a whole lot of substantive public discussion and debate about the trade offs we face as real progress in potentially dangerous surveillance is only increasing. Apple clearly feels strongly about this matter. The company has benefited from Trump administration policies the tax cuts, among others and has little apparent incentive to pick a fight with the attorney general. Mr. Cook has met with Mr. Trump many times and has been cordial, even solicitous. Those days seem to be over. The government appears to be trying to make everyone more vulnerable to privacy violations, which is completely backward. A private company should not have to protect us from the government. The government should be protecting us and the fact that it's not should be the scariest thing of all.	N24News: A New Dataset for Multimodal News Classification	Opinion
Is there a story behind the "I AM A MAN" poster? These were the signs carried in the sanitation workers' strike in Memphis, the one that King went to support when he was assassinated. One of the earliest text paintings I made used that as its basis. I've been looking for one for a very long time. When that came up at auction, I thought, "I have to buy it." Where was your photograph of dancers taken? At the Savoy, by Roy DeCarava. He produced a portfolio for the Studio Museum in Harlem when I was an intern there in my 20s. I was too poor to buy it, but I wish to God I had just had the foresight to think, "This is a once in a lifetime opportunity." I've never seen that kind of dancing. I've heard my mom describe going to clubs in Harlem and this kind of transition from vaudeville to performers doing these very bold comic dancing routines. Who are some artists you trade works with? Byron Kim. Lorna Simpson. Lynette Yiadom Boakye. Duro Olowu, who's a fashion designer and Thelma Golden's husband. He made a beautiful shirt for me. Byron and I are always talking about our trade I'm going to give you this thing and you're going to give me that thing, but one or the other will just forget about it. We'll be in the old folks home and it'll be like, "Byron, remember you were going to give me that 30 years ago?"	N24News: A New Dataset for Multimodal News Classification	Art & Design
Land Spreading Out, but Not So Far and Wide MORE than a century ago, many universities created extension departments expressly to help farmers improve their crops. Over the years, these departments have broadened, with farming still taught but sometimes overshadowed by classes covering every corner of the sciences and humanities. Now more continuing education classes are returning to their agricultural origins, as people living in cities, towns and suburbs express interest in small scale farming. "We've offered classes on how to grow stuff since the beginning of time," said Dennis Lukaszewski, urban agriculture program coordinator for Milwaukee County University of Wisconsin Extension. But in just the last few years, more beginning farmers with small plots of land have stepped into the mix. Just a few years ago, the Milwaukee campus began offering a beginning farming class in response to demand. That requires a different kind of lesson plan than one for a commercial farmer with hundreds of acres, or a family farmer who has been steeped in agricultural knowledge since birth. Students in urban agriculture classes can range from seasoned gardeners looking to expand, to people seeking a wholesale career change to farming, Mr. Lukaszewski said. He gives better odds to those who hope to supplement their income while holding onto their day jobs. As an income boost, small scale gardening on at least an acre of land can work, he said. If you put in 20 hours a week, it's possible to make 7,000 to 8,000 a year in the Milwaukee area, he said, with the added benefit of free food. Trying to make it full time with a smaller plot is a harder proposition, he said. "Unless you've got equipment and reasonable acres and good markets, it's going to be rough," he said. Many people "just don't realize the intensity and the amount of work," he said. In urban agriculture classes, students learn techniques to maximize their time and space, for example how to rotate crops through the seasons. With preference running high for organic produce, the university's Organic Learning Center offers classes that cover proper methods of planting, fertilizing, composting and pest control. Students of urban agriculture can learn fundamentals of entrepreneurship and marketing, including the ins and outs of farmers markets, the sales vehicle of choice for many small scale operators. His classes in "market gardening" teach commercial production "on a scale larger than a home garden, yet small enough that many of the principles of gardening can be applied," and they focus on local markets, according to the course description. Mr. Kluson teaches a course for beginning farmers that is partly financed by the Agriculture Department. And he helped set up a program called Annie's Project for women who want to be "agri preneurs." Heightened interest in the local food movement, which encourages small scale operators to offer fresh produce while supporting the local economy, has drawn students to these and other classes. Mr. Kluson has taught classes to large scale farmers; his market gardening classes are much different. You will not need a giant John Deere tractor to do your work, for one thing. For the small scale farmer, he favors a walk behind tractor with attachments. He also helps his students confront zoning issues that are peculiar to city and suburban areas. "I want to make sure everyone knows what the regulations are so they don't get fined" and perhaps work with officials to allow more farming in these areas, he said. Mr. Kluson started a network of small farmers because he found that many of them fell prey to isolation. It works because "in small ag, everyone's very generous with their information and their time." Among larger farmers, "Everyone tends to think of their neighbor as their competitor," he said. The hope of finding a community of farmers is one reason Aluna Michelle decided to attend the seven monthlong Growing Agripreneurs Program at Oregon State University in southwest Oregon. Sponsored through a grant from the Oregon Department of Agriculture, the new program is for people who want to break into farming but have other careers, said Shaina Bronstein, facilitator for Oregon State's small farms program. Ms. Michelle, 35, lives in Medford, Ore., and also runs an organic food gardening business. She has a bachelor's degree in biology and a master's in environmental science. Although she has previous farming experience, she took the Oregon program because "I wanted hands on practical experience in farming in this particular location; farming here is new to me." And she wanted to connect with other farmers in the area, known as the Rogue Valley. Ms. Michelle farms three and a half acres in Medford along with a business partner. Vegetables in the ground include turnips, napa cabbage, arugula, purple mustard, parsley, brussel sprouts, cabbage, broccoli, Swiss chard, kale, peas, radishes, carrots and potatoes. The Oregon State program, she said, "helped build the support and camaraderie that is so crucial to both our individual and shared success as farmers" in the area, she said, adding, "The connections that I made during the program have already grown in ways that support my farming and business ventures."	N24News: A New Dataset for Multimodal News Classification	Education
BERLIN Well over a decade after filming started, and a year after its chaotic rollout as an immersive installation in Paris, "DAU" has finally made it here to Berlin, the city where it was supposed to first be seen. The Russian director Ilya Khrzhanovsky's unwieldy biopic of the Soviet scientist Lev Landau has found its way into the 70th Berlin Film Festival, not as a single project but as two feature films screening through Sunday. "Natasha" and "Degeneratsia" ("Degeneration") have a combined running time of eight and a half hours. But that represents only a sliver of the 700 hours of footage shot for the project. "DAU" grew out of a multiyear experiment in which hundreds of nonprofessional actors lived and worked in a replica of a Soviet research institute, what may be the most ambitiously immersive film set ever made, in Ukraine. People played versions of themselves, transposed to lifestyles and careers of the Soviet Union. Artists, scientists and religious leaders visited the set, becoming part of the production and even holding lectures and workshops. There were no scripts, rehearsals or reshoots. Khrzhanovsky claims that not a single line of dialogue was written; the German cinematographer Jurgen Jurges compared the process to making a documentary. "DAU" was to arrive in Berlin in 2018, as an immersive exhibit that included movies cut from the filmed material. But city officials nixed the project at the last minute over plans to erect a 1.5 mile long concrete barrier through the city. Aside from the two titles being shown at the Berlinale, there are 11 planned features on the way, which Khrzhanovsky hopes to roll out at festivals, in cinemas and on a dedicated digital platform in the future. Carlo Chatrian, the Berlinale's artistic director, said in an interview that he had watched about 50 hours of the "DAU" footage before selecting "Natasha" which has a relatively modest running time and straightforward narrative for the main competition. He programmed "Degeneratsia," which screens in the noncompetitive Berlinale Special section, because he wanted to give audiences here a taste of what was in Paris. "After watching the film, you understand it's so strong because it's so immersive," Chatrian said. Powerful, gripping and uncompromising, both films rank among the festival's best. They're also so different from each other that it hardly makes sense to think of them as companion pieces. "Natasha," one of 18 films in competition, has become the scandal of the festival for its graphic scenes of sex and sexualized torture. Considering the monstrous ambitions and immense scale of "DAU," the film is an unexpected introduction to the project. As co directed by Jekaterina Oertel, it is an intimate chamber drama that follows a handful of characters over the course of a few days. The film centers on a middle aged canteen waitress at the institute in the early 1950s, played by Natalia Berezhnaya, who seems a shoo in for the festival's Silver Bear for best actress. After a drunken affair with a visiting French scientist, she is promptly hauled in by the security services for interrogation. The film has faced a hostile backlash over allegations that the nonprofessional actors were coerced and mistreated on set, and subjected to both psychological and physical torture. Chatrian defended his decision to program the film in the absence of proper legal challenges against it. One moment in particular has gained notoriety: "the bottle scene." Here Natasha's tormentor, played by Vladimir Azhippo, a real life former K.G.B. officer who died in 2017, forces Natasha to insert an empty cognac bottle into her vagina. The director has maintained that the action is simulated, unlike the inebriated sex between Natasha and the French scientist earlier. In Berlin, the film has won both praise and condemnation. In Russia, where none of the "DAU" films have yet been shown, "Natasha" has recently been banned as "propaganda for pornography." In "Degeneratsia," set 15 years after the events in "Natasha," Azhippo, the K.G.B. general, takes over as director of the institute. He brings in a group of right wing youths, led by Maxim Martsinkevich, a real life neo Nazi known as Tesak who is currently serving a decade long sentence at a prison in Moscow. Growing weary of the institute, where alcohol and sex seem to have become more important than research, Azhippo enlists the far right extremists to keep the institute's staff in line. Eventually, he directs them to raze the place. With a larger cast of principal characters who cover far more of the institute grounds, "Degeneratsia" gives a much greater sense of the relationships and dynamics that developed over the three years of filming "DAU." Co directed by Ilya Permyakov, it is fluid, furious and, despite its 355 minute running time, constantly absorbing. Like "Natasha," it has its share of wrenching images, including cutaway shots of babies in cages who are hooked up to electrodes. The most excruciating scene is a lengthy segment in which Martsinkevich slaughters, decapitates, guts and dismembers a pig on a living room carpet, a sacrifice that brought the "smell of death" on set, Khrzhanovsky said. Shortly after, Martsinkevich's gang murders everyone at the institute in a brief yet bloody denouement. As excellent as "Natasha" is, this is the "DAU" film that should have been shown in competition. A more courageous curator would have programmed it. In a candid interview over several whiskeys, Khrzhanovsky spoke about his artistic vision, his working methods and the controversies surrounding "DAU." He defended his practice of asking personal and "existential" questions during casting calls nearly 400,000 people auditioned for the project and of guiding his nonactors to emotionally dangerous ground in the service of verisimilitude and uncompromising honesty. Referring to the two films screening here as "a particle" of the full project, Khrzhanovsky said that both "Natasha" and "Degeneratsia" were good fits for Berlin. "One film is about ordinary life under a totalitarian system," he explained. "And the other is about right wing extremists getting into power." He added that the project related not specifically to Russia or Ukraine, but more broadly to the "general sickness of amnesia" in Europe. Khrzhanovsky denied the numerous charges of onset maltreatment and abuse from people involved in "DAU" that have appeared mostly anonymously in news reports. Yes, he had created a controlled environment in which nonactors were driven to extremes. And yes, the production has been handsomely bankrolled by the Russian telecom oligarch Sergey Adonyev. (The film's budget has not been disclosed. Khrzhanovsky said it was significant for a foreign art house film but small by Hollywood standards. A Russian TV report from last year put it at 70 million.) The director and his team have been less forthcoming in the past, often giving vague or seemingly contradictory answers in interviews and public appearances. It's difficult to tell whether this caginess for instance, about how much of a script or outline ever existed is fuel for the film's mystique, or simply the result of linguistic shortcomings.	N24News: A New Dataset for Multimodal News Classification	Movies
WHAT IS IT? A compact wagon that daydreams of being a rally car. HOW MUCH? Base price, 17,244; as tested, 17,644. WHAT MAKES IT RUN? A 2 liter 4 cylinder (148 horsepower, 140 pound feet of torque); 6 speed manual or continuously variable automatic transmission. IS IT THIRSTY? Relative to its competitors, only slightly more so. FOR the American "Top Gear" segment Big Star, Small Car, the professional skateboarder Tony Hawk recently put a Suzuki SX4 SportBack through some hot laps at a former airstrip in Southern California. The segment will feature a different celebrity each week in the SportBack, attempting to go faster over a course than previous guests had managed. Afterward, Mr. Hawk told a Suzuki representative that the SportBack was almost too good for the task at hand. Indeed, the Suzuki is something of a pleasant surprise, taking cues from mud romping rally cars rather than the Heathrow rental fleet econoboxes featured on the equivalent segment of the British "Top Gear," Star in a Reasonably Priced Car. The SportBack has aggressive front and side aero skirts; 17 inch, 10 spoke alloy wheels; prominent fog lamps; and a pert little rear spoiler all included in the base price. This SX4 differs markedly from the version that was reviewed on these pages three years ago. That model, now called the SX4 Crossover, is the country's least expensive passenger car with all wheel drive. The SportBack eschews that system for front wheel drive, and also receives stiffer springs and shocks, Dunlop sport tires and a slightly lower suspension, shedding more than 150 pounds in surgery. Each celebrity tackling El Toro's turns will have to master the SportBack's standard 6 speed manual transmission. The overdrive sixth gear hints at straightaway gobbling prowess, but as I learned during a recent trip through the Hudson Valley of New York state, it merely lowers the engine's revs and ever so slightly bumps up the fuel economy. With the stick shift, the SportBack is rated at 22 m.p.g. in town and 30 on the highway, but thanks partly to miles of backups approaching the Woodbury Common outlet mall, I averaged a gentleman's 25. (I also bought three shirts.) Both on the New York Thruway and on two lane roads wending through the Catskills, the car's steering was precise and confident, traits that should inspire the show's track neophytes to attack the corners. A good thing, considering they will need as much exit velocity as their nerves can bear. The SportBack's 2 liter, 148 horsepower 4 cylinder engine is, I was informed by a Suzuki representative, related to the 2.4 liter unit powering the brand's nimble Kizashi sedan, but here it bleated and chugged, sending interior plastics abuzz as it approached its peak horsepower churn of 6,200 r.p.m. And for all the noise, the SportBack labored to build speed, reinforcing the manufacturer's estimate of 0 to 60 m.p.h. acceleration in a lackluster 10.8 seconds. Meanwhile, gear changes snapped my head backward for all the wrong reasons. If timing the shifts on a 500 horsepower, 135,000 Porsche 911 Turbo can be mastered in an afternoon, surely those on a 17,000 Suzuki should be, too. I, however, did not succeed. Despite its dynamic faults, the 2011 SportBack is a compelling package, with generous headroom, a handsome center console, robust safety features and, a 400 option on my test car, the latest in Bluetooth hands free telephone technology. If only that feature could dial in more powertrain grunt and a better shift linkage, the SportBack would truly be in the words of Tony Hawk almost too good.	N24News: A New Dataset for Multimodal News Classification	Automobiles
The American Psychological Association has released several guides for psychologists who work with people belonging to certain groups members of ethnic and linguistic minorities, for example, or women and girls. It did not have a guide for working with males, in part because they were historically considered the norm. But in August, the A.P.A. approved its first set of official guidelines for working with boys and men. The guidelines, 10 in all, posit that males who are socialized to conform to "traditional masculinity ideology" are often negatively affected in terms of mental and physical health. They acknowledge that ideas about masculinity vary across cultures, age groups and ethnicities. But they point to common themes like "anti femininity, achievement, eschewal of the appearance of weakness, and adventure, risk, and violence." The document was written in academic language not built to go viral. But last week, an A.P.A. article about the guidelines, and then a tweet about that article, captured widespread attention. Negative comments flooded in on Twitter, as well as from conservative news outlets. "If men are struggling more the farther we move from those traditional norms, is the answer to continue denying and suppressing a boy's essential nature?" David French, a senior writer for National Review, wrote in an article about the guidelines on Monday. "Traditional masculinity seems to be, in this report at least, conflated with being a pig, or a creep, or a Harvey Weinstein kind of person," said Laura Ingraham on her Fox News show on Tuesday. Released in the wake of the MeToo movement, the new set of guidelines seemed to reflect contemporary conversations about gender, bullying and harassment. But the guidance has been in the works since 2005. The A.P.A., the biggest organization of psychologists in the United States, approved guidelines for girls and women back in 2007, and for various other groups as defined by age, gender identification, ethnicity and sexuality. The primary purpose of the new guidelines, said Fredric Rabinowitz, one of the lead writers and a professor of psychology at the University of Redlands, was to help men and boys lead happy, healthy lives. "We see that men have higher suicide rates, men have more cardiovascular disease and men are lonelier as they get older," he said. "We're trying to help men by expanding their emotional repertoire, not trying to take away the strengths that men have." And the document's critics? "They're taking a very binary perspective," he said. Judy Y. Chu, who teaches about boys' psychosocial development at Stanford University and is the author of "When Boys Become Boys," was not involved in drafting the document but said it contained good insights into the needs of boys, who are often taught to avoid showing emotion. "All of us are born needing, and being able to develop, close personal relationships," she said. "And those are essential to our health. So what does it mean that we socialize boys away from that inherent need?" The guidelines note that men sometimes avoid seeking help from others, including from psychologists, because it could make them look weak. And they note that even when men do seek help, psychologists sometimes err by diagnosing them in outward looking ways with substance abuse problems, for example rather than with more internalized disorders like depression. The guidelines also cite research on health risks that are particular to men. They die sooner than women, in part because of poorer diets and more risky behaviors like smoking. They commit the vast majority of violent crimes in the United States and make up most of the reported victims, even though men have "greater socioeconomic advantages than women in every ethnic group." The document acknowledges that the issues faced by men and boys can be compounded by other things, like race and income. For example, men in the United States go to jail more often than women, but men from minority ethnic groups are more likely to be incarcerated than white men, even when crime rates are the same. The guidelines add that men and boys have historically been considered a "normative referent" for psychology. In other words, men especially white, heterosexual men were overrepresented in Western studies, and their psychological needs and habits were considered more universal than they actually were. That flattened the field of psychology for everyone, said Matt Englar Carlson, a professor of counseling at California State University at Fullerton who is also a lead writer of the new guidelines. "The feminist movement in the '60s and '70s began to encourage us to look at women as gendered beings, and the men's movement in psychology really benefited from that," he said. So it is no surprise that the A.P.A. guidelines for girls and women came out so much earlier, according to Dr. Chu. "When boys and men challenge patriarchal constructions of gender, they're at risk of being perceived as failures, or as weak," she said. But she added that when women, girls and nonbinary people criticized patriarchal systems that oppressed them, another idea began to take shape: Maybe those systems hurt men, too, even as they conferred certain privileges. "It brought to light issues that were being overlooked because there was a taboo against talking about it," Dr. Chu said. The new guidelines will expire in about 10 years to make room for evolving ideas. Until then, the writers said, they are meant to serve as a resource for psychologists, whose practice should still be defined by the needs of the individual people they work with. "Psychologists are encouraged to see men as being impacted by culture, by race and by relationships, rather than just assuming that there is one sort of standardized set of behaviors," Dr. Rabinowitz said. "We want people to be aware that men are complex beings."	N24News: A New Dataset for Multimodal News Classification	Science
Dance Theater of Harlem will receive a 4 million gift from the Andrew W. Mellon Foundation, the organization announced on Tuesday. The company's board of directors will also raise 1 million as part of a matching grant agreement with the Mellon Foundation, for a total infusion of 5 million. Virginia Johnson, a founding member of Dance Theater of Harlem who was named artistic director in 2009, said the gift would go toward increasing the size of the company from 18 to 20 dancers, supplementing the organization's lean staff and further encouraging the development of works by women and people of color. In a statement, Elizabeth Alexander, the Mellon Foundation's president, said "the Foundation enthusiastically offers its support to Dance Theater of Harlem's visionary leaders as they guide the company to a bright and flourishing future." Dance Theater of Harlem was founded by the New York City Ballet star Arthur Mitchell in 1969 to increase opportunities for dancers of color in the ballet world. By 2004, it employed 44 dancers, but all were laid off that year when it was announced that the company was more than 2 million in debt. The bleeding was stanched, and by 2009, Laveen Naidu, the organization's executive director at the time, reported that the debt had been reduced by more than half.	N24News: A New Dataset for Multimodal News Classification	Dance

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