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Week in Pictures for June 21

Here is a slide show of photographs from the past week in New York City and the region. Subjects include a police dog graduation at Grand Central Terminal, Sal F. Albanese campaigning in Queens, and workers atop St. Patrick’s Cathedral.

This weekend on “The New York Times Close Up,” an inside look at the most compelling articles in Sunday’s Times, Clyde Haberman will speak with The Times’s Ginia Bellafante, Eleanor Randolph, Michael Powell, Mchael Barbaro and Javier C. Hernández. Also, John Doherty, the New York City sanitation commissioner, and Ron Gonen, the deputy commissioner for sanitation, recycling and sustainability. Tune in at 10 p.m. Saturday or 10 a.m. Sunday on NY1 News to watch.

A sampling from the City Room blog is featured daily in the main print news section of The Times. You may also read current New York headlines, like New York Metro | The New York Times on Facebook and follow us on Twitter.



Rattlestick Season Includes World Premieres and Five-Play Cycle

Rattlestick Playwrights Theater’s 2013-14 season will include new plays by such Off Broadway veterans as Charles Fuller and Craig Lucas alongside works by the rising stars Samuel D. Hunter and Halley Feiffer, the theater has announced.

The world premiere of Mr. Fuller’s “One Night…,” about women in the military, begins on Oct. 16, with Clinton Davis Turner directing. Mr. Fuller won the 1982 Pulitzer Prize in drama for “A Soldier’s Play.”

“Ode to Joy,” written and directed by Mr. Lucas (“The Dying Gaul”), “tells the sory of love, heartbreak, addiction, and illness” through the eyes of a painter and her two lovers, according to the Rattlestick announcement. Performances begin Feb. 12.

Kip Fagan will direct Ms. Feiffer’s “How to Make Friends and Then Kill Them,” about two troubled sisters and the “limping wallflower” they draw into their world. Performances start Oct. 23.

Coming off his New York success with “The Whale,” Mr. Hunter will premiere “The Few,” about the employees of a struggling newspaper for truckers. Davis McCallum directs, with performances beginning April 16.

The Rattlestick lineup will also include “The Correspondent,” by Ken Urban, which was postponed from this season; and “The Hill Town Plays,” five works, some previously produced in New York, by Lucy Thurber, which will be presented at five West Village theaters between Aug. 14 and Sept. 28.

The “Hill Town” cycle is the inaugural event in a Rattlestick initiative to simultaneously present five plays centered on one playwright or theme in different West Village theaters.



Prospect Park Lake, 8:45 A.M.

Anne-Katrin Titze

On Thursday, the mallard ducklings hatched. On Friday they went for a walk and soaked in the sun.

Anne-Katrin TItze


The Train Line Fixer

As assistant chief transportation officer for New York City Transit, Pamela Elsey plans repairs, maintenance and capital improvements on all 24 subway routes, which run over 660 miles of track and serve more than 5.4 million riders daily. Ms. Elsey, 59, started as a railroad clerk in 1985, selling tokens. She was soon promoted to a tower operator and then a train dispatcher. In her nearly 30-year career with the transit agency, she has been superintendent of all but one of the departments she now oversees. A Brooklyn resident, Ms. Elsey rides the subway daily.

Pamela Elsey.Joshua Bright for The New York Times Pamela Elsey.

Q:
Tell me about a typical day.

A:
I’m always in meetings. Maybe once or twice a week Ido see my office, just to gather up all of this information and make sure what I’ve taken in is appropriately disseminated among my groups. There are other times where I have to respond to incidents like derailments, floods. My unit is also in charge of winter operations. When there’s a snowstorm, we’re the ones who get all of the equipment out there on the right of way. Even if the trains aren’t running, we’re running up and down the tracks to keep them clear.

We played a big role in Sandy. When everyone else wasn’t working, we were working. We were taking those pump trains to the tunnels and pumping out the water, so I was up making sure that everyone got on those trains and got out there to get this done because it was 24/7 for us. So, at times like that, I’m actually boots on the ground.

Q:
To repair the system, you have to inconvenience some riders. How do you decide who?

A:
We actually have a whole group called ! Operation Planning, and they go out and they do surveys and customer counts and they try to do the least amount of impact to the customer. I mean, they know everything about the riders, the communities, who’s there, how often people use the line. They use information from the swipes, so they know if they do something on any one day how many customers will be inconvenienced. That determines whether we do something midday, on a weekend, etc. But some jobs, they need to be done. We need to do the work. It’s all about work and getting the work done. It’s not about one community or another.

Q:
What about Hurricane Sandy repairs?

A:
We have a two-year plan to get the Sandy work done, which includes the Montague tube, the Greenpoint tube, the Canarsie tube, the Joralemon tube, the Clark Street tube. I think they may be doing some work in the 148th Street yard, the Coney Island yard and the Rockaways, which ha already been mostly repaired.

When we brought back the Rockaways, it was a really nice day. You could see the bay, you could see the airport, you could see the ocean. I’d never looked at it in that sense of being something that people loved. I only looked at it as: the A train goes across the flats. One goes this way and one goes that way.

Q:
What’s happening with the R train?

A:
Everyone knows it took a while for us to assess how we would do the work on the Montague tube. We knew it would have a great impact on our customers, so we looked at it very, very closely. We drew up the plan on how it would be done on the service side, the operation side, the reconstruction side â€" but the Montague tunnel was one of the worst damaged tunnels, and they’ll be working in there for 14 to 15 months, 24 hours a day, which is something normally we do not do. We usually work on weekdays or weekends.

Q:
Fift! een month! s? How is that possible?

A:
It’s a big hit, but the tunnel is in a state of almost total disrepair. The signal system, almost daily we have disruptions in that tunnel because something’s not working. You have components which are totally corroded. The water sat in there a long time â€" seawater almost up to the ceiling. We were pumping, but the major components â€" the trackway and the signal system â€" were underwater. And it totally undermined it. It’s an inconvenience, but it’s a must because it’s unsafe. The tunnel will be totally deconstructed and rebuilt.

The plan, of course, is to use the adjacent lines and to direct those people to where those lines are. We’ll be highlighting the transfer points and where they can continue their ride. There’s going to be a lot of media, a lot of signage, direction.

Q:
What do the yellow trains do?

A:
We have a vacuum train that goes along the trackway nd it vacuums up garbage. We have the refuse trains, which go from station to station, and they actually put the garbage on those trains. That’s done nightly. We have the trains that have the cranes on it and move the rail. We have balance regulators. We have tampers. Hoppers full of stones, and we’ll bring that to the site. We have the snow throwers. We have rail grinders, which actually make sure the rail is smoothed out. Some of these you might not see unless you’re at a work site, and we may pull them to a work site so they can do their work.

Q:
Which line has the oldest cars?

A:
The oldest cars I believe are the R32s. I think they have some on the C line. So I think I would be safe to say the cars on the C line are now the oldest.

Q:
I see countdown timers on the numbered lines, but not all the lettered lines. Why?

A:
It’s all technology. The countdown counters ! come with! the station rehab projects. For instance, the countdown clocks that actually tell you the minutes the train is going to arrive in the station are part of the technology that comes along with the automatic train system, which exists in the rail control center, and the trains are actually talking to the right of way in the track. The countdown clocks are in the numbers side of the trains. So that work has been achieved. On the letters side, we’re trying to put other remedies in place. Like, you’ll see, some stations will tell you that the next train is two stations away or something like that, but it can’t really tell you the time because the technology hasn’t arrived. It helps. Remember, we’re overlaying all of this technology on a system that is more than 100 years old, and it takes time, so we’re trying to catch up. You come back in 5, 10, 15 years: they’ll all have countdown clocks. It’s all in the planning.

Q:
If you could change one behavior of the train iding public, what would it be?

A:
I’ve thought about this a lot! Isn’t there an etiquette rule that when you’re walking you should walk to the right, instead of just smashing into people? The other one I hate is when the people take up residence at the door and you try to get on and they don’t move. There should be a book on train etiquette. It’s courtesy.

This interview has been condensed and edited.



Bright Spots Amid the Low Ratings for ‘Hannibal’

The ratings for NBC drama “Hannibal,” which stars Mads Mikkelsen as the serial killer Hannibal Lecter, have almost been as scary as the character himself.

The Season 1 finale on Thursday drew only 1.9 million total viewers, according to preliminary Nielsen ratings, a low for the series. Fortunately for the show and its viewers, it has already been renewed for a second season, currently scheduled for next year, and the poor numbers can be offset by other factors.

The recent drop only occurred when the drama aired opposite the NBA playoffs on ABC. The season finale in particular had little hope of drawing much of an audience: 21.6 million people watched Game 7 of the NBA Finals. “Hannibal” hovered between 2.4 and 2.7 million total viewers for seven weeks, suggesting a steady, dedicated fan base.

Another bright spot is the DVR factor, which takes into account viewership within seven days of broadcast: when it comes the advertiser-covete demographic of 18- to- 49-year-olds, those ratings have gone up by an average of 77 percent, the highest percentage increase among all broadcast network programming for the 2012-13 season.



Quinn Goes to Bat for Theater Troupe Over Parking Fees

The play is apparently not the thing to catch the conscience of the New York City Department of Transportation, which has billed the Drilling Company for the parking spaces the theater troupe uses for its free Shakespeare in the Parking Lot performances, and has required the company to purchase automobile liability insurance.

But the troupe’s travails have caught the imagination of Christine C. Quinn, the City Council speaker and mayoral candidate, who said that she is determined to see that the issue costs the company nothing.

“Our office is in touch with the commissioner of DOT, Janette Sadik-Khan,” said Jamie McShane, a spokesman for Ms. Quinn. “We asked them to consider reversing course, and grant the waiver that the group has applied for.”

Mr. McShane said he did not know the outcome of that request. spokesman for the agency did not respond to an email seeking comment. But should the department refuse it, Ms. Quinn has a Plan B.

She has enlisted the aid of Jonathan Sheffer, a composer and conductor who, for a decade starting in 1995, led (and privately funded) the adventurous Eos Orchestra. These days Mr. Sheffer is an arts patron and an ex officio member of Lincoln Center’s board of directors. He has agreed to pay the company’s parking and insurance bills if the city does not relent.

The total bill is not huge: the parking spaces - eight for each performance, billed at $8 a day, or $64 a performance, will cost $1,152 for the company’s full summer run of 18 shows. The insurance brought the cost to $2,400.

Mr. Sheffer was at a memorial service for a family member and could not be reached, but left a statement with Ms. Quinn’s office.

“The City should be doin! g all that it can to encourage the creation of art at the grassroots level, not hinder it,” Mr. Sheffer said.

Ms. Quinn, in a statement, offered similar sentiments. “We need to recognize the importance of keeping the arts alive for all New Yorkers, not just a lucky few. I’m so glad to have been able to help this group. Shakespeare in the Parking Lot represents the creative spirit that fuels New York City’s innovation, energy and greatness.”

Hamilton Clancy, the artistic director of the Drilling Company, was pleasantly surprised when informed of the announcement by a reporter.

“It’s news to me,” he said. “But I’m thrilled to get the information. We, of course, welcome the support of the city, and of people like Ms. Quinn. What makes this city great is that people look out for each other, and in our communication with the DOT, we felt there was a lapse of that.”



Quinn Goes to Bat for Theater Troupe Over Parking Fees

The play is apparently not the thing to catch the conscience of the New York City Department of Transportation, which has billed the Drilling Company for the parking spaces the theater troupe uses for its free Shakespeare in the Parking Lot performances, and has required the company to purchase automobile liability insurance.

But the troupe’s travails have caught the imagination of Christine C. Quinn, the City Council speaker and mayoral candidate, who said that she is determined to see that the issue costs the company nothing.

“Our office is in touch with the commissioner of DOT, Janette Sadik-Khan,” said Jamie McShane, a spokesman for Ms. Quinn. “We asked them to consider reversing course, and grant the waiver that the group has applied for.”

Mr. McShane said he did not know the outcome of that request. spokesman for the agency did not respond to an email seeking comment. But should the department refuse it, Ms. Quinn has a Plan B.

She has enlisted the aid of Jonathan Sheffer, a composer and conductor who, for a decade starting in 1995, led (and privately funded) the adventurous Eos Orchestra. These days Mr. Sheffer is an arts patron and an ex officio member of Lincoln Center’s board of directors. He has agreed to pay the company’s parking and insurance bills if the city does not relent.

The total bill is not huge: the parking spaces - eight for each performance, billed at $8 a day, or $64 a performance, will cost $1,152 for the company’s full summer run of 18 shows. The insurance brought the cost to $2,400.

Mr. Sheffer was at a memorial service for a family member and could not be reached, but left a statement with Ms. Quinn’s office.

“The City should be doin! g all that it can to encourage the creation of art at the grassroots level, not hinder it,” Mr. Sheffer said.

Ms. Quinn, in a statement, offered similar sentiments. “We need to recognize the importance of keeping the arts alive for all New Yorkers, not just a lucky few. I’m so glad to have been able to help this group. Shakespeare in the Parking Lot represents the creative spirit that fuels New York City’s innovation, energy and greatness.”

Hamilton Clancy, the artistic director of the Drilling Company, was pleasantly surprised when informed of the announcement by a reporter.

“It’s news to me,” he said. “But I’m thrilled to get the information. We, of course, welcome the support of the city, and of people like Ms. Quinn. What makes this city great is that people look out for each other, and in our communication with the DOT, we felt there was a lapse of that.”



Big Ticket | A Floor Full of Light, Sold for $13.5 Million

All the units from the 11th floor up at the Franklin Tower in TriBeCa, a building once known as the Corn Exchange Bank, occupy an entire floor.Sara Krulwich/The New York Times All the units from the 11th floor up at the Franklin Tower in TriBeCa, a building once known as the Corn Exchange Bank, occupy an entire floor.

An elegant loft that commands the entire 15th floor of the Franklin Tower, an 18-story luxury condominium at 90 Franklin Street in TriBeCa, sold for $13.5 million and was the most expensive sale of the week, according to city records.

The 5,027-square-foot loft, No. 15, spent just over a month on the market and was last listed at $15.5 million. As on every floor from the 11th and up, it enjoys light from four exposures, has 10-foot ceilings, and showcases ciy and Hudson River views from its 28 windows.

The four-bedroom, four-and-a-half-bath residence is entered from a private elevator landing that opens onto a gallery suitable for displaying super-size art. The Boffi kitchen has a center island, a separate pantry and stainless-steel appliances by Gaggenau, Sub-Zero and Bosch. In the spirit of a great room high in the sky, the kitchen is fully visible from the 23-by-33-foot living/entertainment space, which in turn connects, via pocket doors, to a 23-by-13-foot library with a fireplace and a surround-sound audio system.

A hallway leads to the corner master suite, which has cedar-lined closets and a separate dressing room, as well as a sprawling Waterworks bath with double sinks, a glass shower and the ever-popular claw-foot soaking tub. Another wing off the entrance gallery houses three guest bedrooms and two bathrooms. There is also a staff suite with its own entrance. Franklin Tower, which began as a blan! d-faced brick building known as the Corn Exchange Bank in 1930 and underwent a conversion at the turn of the millennium, has a rooftop fitness facility and deck, an Art Deco marble lobby, and ample storage for its residents’ bicycles, scooters and other mobile devices (but no parking garage).

One of the first buyers at 90 Franklin was the pop chanteuse Mariah Carey, who in 2001, just after being turned down uptown at the Ardsley, where she had offered $8 million for Barbra Streisand’s penthouse, paid $9 million to combine the top three floors into a stunning triplex penthouse. The diva-esque proportions of her residence are epitomized by a 38-foot-long master bath/spa. Ms. Carey’s opulent triplex constitutes No. 15’s one and only upstairs neighbor. Other notable Franklin Tower residents have included the actor Ben Stiller and Bob Vila of “This Old House” renown, who has since sold his 14th-floor domicile, perhaps because he got bored living in a turnkey apartment where nothing needed his Mdas touch with power tools.

The seller of No. 15, Stephen Kahn, who traded his Manhattan aerie for the higher elevations available in Aspen, Colo., was represented by Richard Orenstein of Halstead Property.

The buyers, a bicoastal couple who used the limited-liability company 90 Franklin Street Fifteen, were represented by Yael Dunsky of Yael Dunsky Real Estate. Ms. Dunsky said they had rented an identical loft on the 11th floor for several years and had been unable to persuade its owner to sell. “For the past five years they looked at everything else in TriBeCa, anything up to $20 million,” she said. “But they never saw anything with the kind of 360-degree views they had on Franklin. They really wanted to stay right where they were.”

So they did, only better: now they own a home with superior views and more elaborate details than the one they had rented. It was definitely, Ms. Dunsky said, a kismet trade-up.

Big Ticket includes closed sales from the previous week, end! ing Wedne! sday.



Popcast: The Idea of Bonnaroo

Paul McCartney performing at the Bonnaroo music festival in Manchester, Tenn., on June 14.Wade Payne/Invision, via Associated Press Paul McCartney performing at the Bonnaroo music festival in Manchester, Tenn., on June 14.

This week: The 12th Bonnaroo music festival, which wrapped up last Sunday in Manchester, Tenn.

Bonnaroo has held steady since 2002 as one of America’s largest music festivals; it sells out most years at 80,000. It has not expanded into double weekends and boat cruises, like Coachella, or sprouted versions in other countries, like Lollapalooza. But the look of its lineup has changed since its early days as a jam-band summit, the festival at which you were assured of hearing msic descending from the Grateful Dead. And it has changed not so much toward a package of sellable indie cool for college kids, which is the big-festival norm (i.e., favorites from the last few editions of South by Southwest, plus a few platinum-selling headliners to insure ticket sales), but toward a kind of broad and principled omnivorousness. Aside from its headliners â€" Paul McCartney, Jack Johnson, Tom Petty â€" this year’s Bonnaroo had a slate of West African music, progressive bluegrass, new hip-hop, old R&B, southern metal, and a memorable set of Swans’ symphonic negativity. So: what is the current center of Bonnaroo’s identity? Or to ask the question a different way: what kind of music wouldn’t work at Bonnaroo? Jon Caramanica debriefs Ben Ratliff, who reviewed the festival this year for The Times.

Listen above, download the MP3 or subscribe in iTunes.

RELATED

Ben Ratliff’s review of Bonnaroo 2013.



Top D.J.s to Headline the TomorrowWorld Festival

The organizers of one of Europe’s largest electronic dance festivals plan to stage a three-day concert near Atlanta in September, and they have signed up a lineup that includes most of the top DJs in the world, including Tiesto, Afrojack, David Guetta and Calvin Harris.

The event, called TomorrowWorld, will be an attempt to establish a foothold in the United States for ID&T, the company behind a well-known yearly festival in Belgium â€" TomorrowLand. That festival takes place in July and draws 180,000 people.

The American. version will take place in Chattahoochee Hills, Ga., from Sept. 27 through Sept. 29. Organizers have said the roster of producers will rival the lineups at American festivals like Electric Daisy Carnival, Electric Zoo and the Ultra Music Festival. The list released on Thursday features more than 300 producers from most subgenres of electronic dance music. The full lineup can be found on the festival’s Web site (http://www.id-t.be/en/Tomorrowland/).



Top D.J.s to Headline the TomorrowWorld Festival

The organizers of one of Europe’s largest electronic dance festivals plan to stage a three-day concert near Atlanta in September, and they have signed up a lineup that includes most of the top DJs in the world, including Tiesto, Afrojack, David Guetta and Calvin Harris.

The event, called TomorrowWorld, will be an attempt to establish a foothold in the United States for ID&T, the company behind a well-known yearly festival in Belgium â€" TomorrowLand. That festival takes place in July and draws 180,000 people.

The American. version will take place in Chattahoochee Hills, Ga., from Sept. 27 through Sept. 29. Organizers have said the roster of producers will rival the lineups at American festivals like Electric Daisy Carnival, Electric Zoo and the Ultra Music Festival. The list released on Thursday features more than 300 producers from most subgenres of electronic dance music. The full lineup can be found on the festival’s Web site (http://www.id-t.be/en/Tomorrowland/).



Billboard Will Not Count Jay-Z’s Sales From Samsung Deal

Billboard has decided it will not count in its chart tally a million albums that Jay-Z plans to distribute through Samsung as free downloads to owners of its Galaxy mobile phones.

Jay-Z , who has not spoken to reporters about the deal, suggested in a Twitter message that the album downloads should be counted as sales because Samsung paid him for them. The message provoked a debate among bloggers and music writers about what constitutes an album sale.

But Bill Werde, the editorial director of Billboard, made it clear in a column posted on Friday that a promotional giveaway like the one Samsung and Jay-Z have planned is not equivalent to a million customers forking over their hard-earned cash for an album. Mr. Werde noted “nothing was actually for sale â€" Samsung users will download a Jay-branded app for free and get the album for free a few days later after engaging with some Jay-Z content.”

“Retailers doing one-way deals is a fact of life in the music business,” Mr. Werde wrote. “When Best Buy committed to and paid upfront for 600,000 copies of Guns N’ Roses’ ‘Chinese Democracy’ in 2008, those albums didn’t count as sales â€" not until music fans actually bought them. Had Jay-Z and Samsung charged $3.49 â€" our minimum pricing threshold for a new release to count on our charts â€" for either the app or the album, the U.S. sales would have registered.”

Mr. Werde added that the decision will not necessarily r! ob Jay-Z of a yet another No. 1 album. His recent albums have all sold 400,000 to 450,000 copies in the first week, easily enough in this market to top the chart.

The magazine’s decision also has no impact on Jay-Z’s profit. The Wall Street Journal has reported that Samsung paid the Brooklyn hip-hop mogul $5 for each download, and since artists generally get paid only a royalty percentage of each wholesale album sale, he may stand to make more from the Samsung deal than he would have selling the albums through his label. Though details of the deal have not been made public, Mr. Werde wrote that it appears that Jay-Z may have “pulled off the nifty coup of getting paid as if he had a platinum album before one fan bought a single copy.”

In 2007, Prince pulled off a similar feat when he distributed three million copies of his album “Planet Earth” with editions of the The Daily Mail in Britain. People got the albums for free when they bought the newspaper, which had reportedly paid Princ $500,000 over and above the royalties he would have made off each CD. Cutting the label and music distributors out of the deal proved profitable.

It remains to be seen if Jay-Z’s gambit with Samsung will create a new template for distributing music, but some marketing experts are watching the deal closely. Samsung’s advertising budget of $4.6 billion dwarfs anything major record labels can spend, and if Jay-Z ends up selling more albums than he usually does as a result of the partnership, other major stars may follow suit.



Billboard Will Not Count Jay-Z’s Sales From Samsung Deal

Billboard has decided it will not count in its chart tally a million albums that Jay-Z plans to distribute through Samsung as free downloads to owners of its Galaxy mobile phones.

Jay-Z , who has not spoken to reporters about the deal, suggested in a Twitter message that the album downloads should be counted as sales because Samsung paid him for them. The message provoked a debate among bloggers and music writers about what constitutes an album sale.

But Bill Werde, the editorial director of Billboard, made it clear in a column posted on Friday that a promotional giveaway like the one Samsung and Jay-Z have planned is not equivalent to a million customers forking over their hard-earned cash for an album. Mr. Werde noted “nothing was actually for sale â€" Samsung users will download a Jay-branded app for free and get the album for free a few days later after engaging with some Jay-Z content.”

“Retailers doing one-way deals is a fact of life in the music business,” Mr. Werde wrote. “When Best Buy committed to and paid upfront for 600,000 copies of Guns N’ Roses’ ‘Chinese Democracy’ in 2008, those albums didn’t count as sales â€" not until music fans actually bought them. Had Jay-Z and Samsung charged $3.49 â€" our minimum pricing threshold for a new release to count on our charts â€" for either the app or the album, the U.S. sales would have registered.”

Mr. Werde added that the decision will not necessarily r! ob Jay-Z of a yet another No. 1 album. His recent albums have all sold 400,000 to 450,000 copies in the first week, easily enough in this market to top the chart.

The magazine’s decision also has no impact on Jay-Z’s profit. The Wall Street Journal has reported that Samsung paid the Brooklyn hip-hop mogul $5 for each download, and since artists generally get paid only a royalty percentage of each wholesale album sale, he may stand to make more from the Samsung deal than he would have selling the albums through his label. Though details of the deal have not been made public, Mr. Werde wrote that it appears that Jay-Z may have “pulled off the nifty coup of getting paid as if he had a platinum album before one fan bought a single copy.”

In 2007, Prince pulled off a similar feat when he distributed three million copies of his album “Planet Earth” with editions of the The Daily Mail in Britain. People got the albums for free when they bought the newspaper, which had reportedly paid Princ $500,000 over and above the royalties he would have made off each CD. Cutting the label and music distributors out of the deal proved profitable.

It remains to be seen if Jay-Z’s gambit with Samsung will create a new template for distributing music, but some marketing experts are watching the deal closely. Samsung’s advertising budget of $4.6 billion dwarfs anything major record labels can spend, and if Jay-Z ends up selling more albums than he usually does as a result of the partnership, other major stars may follow suit.



The Sweet Spot: ‘Cinematic Kryptonite’

In this week’s episode, A. O. Scott and David Carr talk about the sour experience of seeing a movie that’s “not very super.”



Cecil Taylor Wins the Kyoto Prize

The improvising pianist Cecil Taylor, a pioneering, influential and highly experimental musician and a longtime Brooklyn resident, is one of this year’s recipients of the Kyoto Prize, awarded each year by the Inamori Foundation in Japan, the foundation announced on Friday. Mr. Taylor, 84, is this year’s laureate in the category of Arts and Philosophy; different fields across technology, science, art and philosophy are considered on a rotating basis, and there has been a recipient in music every four years. (The last musician laureate, in 2009, was the conductor and composer Pierre Boulez.) The prize comes with a cash gift of 50 million yen (approximately $510,000), to be given at a ceremony in Kyoto in November. This year’s other laureates are the electronics engineer Dr. Robert H. Dennard and the evolutionary biologist Dr. Masatoshi Nei.

Yeah Yeah Yeahs Take to the Top of the Empire State Building in New Video

We talked to frontwoman Karen O, the video’s director Patrick Daughters, and Anthony E. Malkin, president of the company that manages the Empire State Building, about shooting a video 86 landmarked floors up.

This Week’s Movies: ‘World War Z,’ ‘Monsters University’ and ‘A Hijacking’

In this week’s video, Times critics offer their thoughts on “World War Z,” “Monsters University” and “A Hijacking.” See all of this week’s reviews.



Video: Slow-Moving Burglar Carries a Cane

The plastic brace on the man’s right foot is trailing straps, and there is a cane in his hand. He takes little steps, and his hip rolls each time he sets down his right foot. There is nothing furtive about the man, whose image was captured by a surveillance camera for a few seconds as he hobbled down a sunlit street in Fort Greene, Brooklyn, one morning last month. So why are the police looking for him?

The answer is that he is thought to be a burglar, a job that calls for a certain amount of stealth. The footage, according to the police, shows him at 9:45 a.m. on May 24 moments before he entered a basement apartment through an open window.

While the man was inside the apartment, the woman who lived there returned home “and startled him,” the poice said in a statement. “The suspect then escaped through the window he came in,” leaving empty-handed.

It was not immediately clear whether the injured foot was real or a ruse to deflect suspicion.

Anyone with information about the man is asked to contact Crime Stoppers.



Who Knew the Empire State Building Was So Hip?

In its 82-year history, the top of the Empire State Building has been the site of countless family outings, marriage proposals and, of course, one very memorable date gone awry. But as near as we can tell, it had never been the site of an indie rock performance, not a preapproved one anyway.

Then one windy night in April, the Yeah Yeah Yeahs, the New York trio led by the glittering dervish singer Karen O, positioned themselves on the observation deck 86 floors up. Brian Chase had his drum kit, Nick Zinner his guitar. From 2 a.m. until just past sunrise, they performed one of their latest songs, as a crew of just two dozen watched.

The group was recording the video for “Despair,” the second single off their new album, “Mosquito.” For logistical an creative reasons, the shoot was a well-kept secret. It began with a sort of cinematic preparty in a nearby Irish pub and ended with a helicopter buzzing the skyline. A clip is above; the full video will premiere on Monday on Noisey, Vice.com’s online music channel.

It’s the first music video shot atop the Empire State Building. And to hear Anthony E. Malkin, the president of Malkin Holdings, operator of the Empire State Building, tell it, it’s about time. “The way I look at it is, why hadn’t this been done before?” he said. “Credit to them for having the gumption to ask.”

Mr. Malkin said he agreed to the video to garner some cool points for his landmark. “To make sure that the Empire State Building isn’t frozen in people’s minds in ‘An Affair to Remember’ and ‘Sleepless! in Seattle’ â€" we’re live, we’re vibrant, we’re 82 years young,” he said.

Karen O, lead singer of the band Yeah Yeah Yeahs, filming a music video on the observation deck of the Empire State Building.Courtesy of Patrick Daughters Karen O, lead singer of the band Yeah Yeah Yeahs, filming a music video on the observation deck of the Empire State Building.

For Karen O, filming there presented a capstone to her musical career in New York.

“It’s definitely not just another cool day in the life of the Yeah Yeah Yeahs,” she said Thursday. “It was definitely an iconic moment. It’s hard to do something like that and not to feel like it’s symbolc - it’s like the American dream for us, singing your song on top of the Empire State Building, feeling like: man, where were we 10 years ago, when we were sitting around in some punk rock dive bar, thinking about what to name our band, and New York City, and now here we are at the top. It really felt dreamlike.”

She added: “I feel like I want to stop talking, because I think anything I say is not going to do justice to how cool it was.”

Ms. O had never been to the top of the building; nor had Patrick Daughters, the video’s director. “I don’t like heights,” he said. Fear aside, filming on the narrow deck proved technically challenging, so a crew was dispatched to a helicopter to shoot concurrently.”

The video starts with the band members converging on the building via subway and taxi. The idea, Mr. Daughters said, was that it would feel “like the end of an epic night out in New York City.”

!

Though! music videos typically involve lip-syncing and mock instrument-playing, in this case the band really went for it, as they performed on risers around the building. “It was plenty loud,” Mr. Daughters said. “I don’t think they had to worry about the neighbors.”

The idea to film at the Empire State came from an executive at Vice, which co-produced the video via Noisey. Other groups have approached the building’s managers to shoot there, but none met its strict production requirements, Mr. Malkin said.

“It was not casual,” he said of approving the Yeah Yeah Yeahs. “We did review the lyrics, we understood what the song was about, we understand the treatment. It had to be appropriate for the building, and it was.” (Don’t count him as a follower of the group, though: “Never heard of them before in my life,” he said. He vetted them with his 20-something children.)

Mr. Malkin said despite its title, “Despair,” to him, was an uplifting song, a sentiment Ms. O agreed wih. “It’s about overcoming despair,” she said, “acknowledging that it’s always going to be there, making room for it. Unhappiness is just another form of happiness, is what I read in a book recently.”

“It’s a pretty appropriate song to be singing into the wind up there,” she added.

The shoot was nearly canceled, though, when a tourist jumped off the observation deck earlier that night. He fell one floor, and survived. For Mr. Daughters and the band, this added an unexpected resonance as they filmed into the dawn.

“We’re all on the edge,” Ms. O sings. “There’s nothing to fear, nothing to fear, inside. Through the darkness and the light, some sun has got to rise.”



Working to Again Light Up the Big Screen in a Majestic Home

A fund-raising campaign is under way to allow movies to be shown again at the United Palace, an opulent theater in Washington Heights that opened in 1930.Todd Heisler/The New York Times A fund-raising campaign is under way to allow movies to be shown again at the United Palace, an opulent theater in Washington Heights that opened in 1930.
The original pipe organ inside the theater was damaged by water and pyrotechnics.Todd Heisler/The New York Times The original pipe organ inside the theater was damaged by water ad pyrotechnics.

Mike Fitelson is trying to bring something back to Washington Heights that it hasn’t had in decades â€" movies on the big screen.

Mr. Fitelson is the executive director of a nonprofit organization that began what he calls a “40-40-40-Plus” campaign on May 31. The goal is to raise $40,000 in 40 days to regularly present films at the United Palace Cathedral in Washington Heights for the first time in more than 40 years.

Forty-four years, actually, because the talk around the United Palace is that the last movie there â€" “2001: A Space Odyssey” â€" was shown one night in 1969. The next day, having handed over more than a half-million dollars, the new owner, the Rev. Frederick J. Eikerenkoetter II, took over. And if the preacher, better known as Reverend Ike, was flamboyant, so was his church’s new home.

The United Palace, at 4140 Broadway at West 175th Street, was a Depression-era riot of architecture that almos! t defies description. Reverend Ike called it “fantabulous,” and with its gilded statues and grander-than-grand staircase, it seemed to symbolize an everything-and-the-kitchen-sink approach to design. In his book “On Broadway: A Journey Uptown Over Time,” David W. Dunlap, a reporter for The New York Times, summarized it as “Byzantine-Romanesque-Indo-Hindu-Sino-Moorish-Persian-Eclectic-Rococo-Deco.”

Astonishing as the theater originally was, Reverend Ike added to the lavishness, buying Louis XV and Louis XVI furniture for what had been the men’s smoking room. (He used it as his library.)

The Rev. Frederick J. Eikerenkoetter II, better known as Reverend Ike, made the building his church for years.Librado Romero/The New York Times The Rev. Frederick J. Eierenkoetter II, better known as Reverend Ike, made the building his church for years.

Now the United Palace stands as a survivor, still owned by Reverend Ike’s church. The building made it through the crack epidemic of the 1980s, which transformed the neighborhood into one of the city’s toughest.

The United Palace was also untouched by a scourge of a different kind, one that upset cineastes: the multiplexing of theaters. It still has every one of its 3,400 or so original seats. It also has the original balcony and the original dressing rooms for the vaudevillians who performed there.

With 20 days to go, the 40-40-40-Plus campaign has raised $21,335 on Indiegogo, a crowdfunding Web site. He said $700 more in checks had come in.

The campaign is focused on raising money to buy the digital projection system that the United Palace used at the premiere of “200 Cartas” on June 12. The film is a romantic comedy starring Lin-Manuel Miranda, who wrote the Tony Award-win! ning scor! e for the musical “In the Heights”; Jaime Camil, a Mexican telenovela star; and Dayanara Torres, a former Miss Universe.

Mr. Fitelson also wants to clean the 50-foot-wide screen at what he says would be the only theater in Manhattan north of 128th Street. Still, he does not see the United Palace as a first-run movie theater, but a home for special events â€" premieres of movies like “200 Cartas,” film festivals and films in Spanish as well as in English.

The theater opened in 1930, a year or so before a neighborhood-changing event, the completion of the George Washington Bridge. The United Palace was the fifth and one of the last of the Loew’s “Wonder Theaters” built in New York, and it opened with a Norma Shearer movie.

In 2001, one of the three ancient projectors in the booth was still cued up with a reel from a black-and-white movie starring Audie Murphy. (He was a World War II hero who had played himself in “To Hell and Back,” the film version of his memoir. But most f his movies were Westerns.)

Like many theaters of its day, the United Palace had a pipe organ. The instrument did not weather the passing years as well as the building. “The story is a rock band was in here, and their pyrotechnics lit the organ on fire,” Mr. Fitelson said. “The bad part was that when the sprinklers came on, they ruined the pipes.”

Mr. Fitelson said 5,000 people squeezed into the United Palace in Reverend Ike’s early years there. But the congregation dwindled in the 1990s, and Reverend Ike, who moved to Los Angeles in 2007, died in 2009. His son, Xavier Eikerenkoetter, 48, said only 100 or so worshipers attend Sunday services nowadays â€" so few that the services are no longer held in the theater, but in a small room that was originally a storefront.

The church has maintained the building’s tax-exempt status over the years, although it occasionally rented it out to outside promoters for events like indie rock concerts. Mr. Fitelson’s organization, the ! United Pa! lace of Cultural Arts, is officially separate from the church, though there is an overlap. The founder and president is Xavier Eikerenkoetter.

Mr. Fitelson said the theater could handle everything from hip-hop performances on the mezzanine to a circus-arts camp for children.

“Part of the concept is this was a deluxe movie theater and a vaudeville house,” he said. “What is vaudeville in the 21st century? It’s a mash-up of different artistic forms, and that’s what we’re doing.”

The United Palace was one of several movie halls opened by Loew's in New York City. Todd Heisler/The New York Times The United Palace was one of several movie halls opened by Loew’s in New York City.


Working to Again Light Up the Big Screen in a Majestic Home

A fund-raising campaign is under way to allow movies to be shown again at the United Palace, an opulent theater in Washington Heights that opened in 1930.Todd Heisler/The New York Times A fund-raising campaign is under way to allow movies to be shown again at the United Palace, an opulent theater in Washington Heights that opened in 1930.
The original pipe organ inside the theater was damaged by water and pyrotechnics.Todd Heisler/The New York Times The original pipe organ inside the theater was damaged by water ad pyrotechnics.

Mike Fitelson is trying to bring something back to Washington Heights that it hasn’t had in decades â€" movies on the big screen.

Mr. Fitelson is the executive director of a nonprofit organization that began what he calls a “40-40-40-Plus” campaign on May 31. The goal is to raise $40,000 in 40 days to regularly present films at the United Palace Cathedral in Washington Heights for the first time in more than 40 years.

Forty-four years, actually, because the talk around the United Palace is that the last movie there â€" “2001: A Space Odyssey” â€" was shown one night in 1969. The next day, having handed over more than a half-million dollars, the new owner, the Rev. Frederick J. Eikerenkoetter II, took over. And if the preacher, better known as Reverend Ike, was flamboyant, so was his church’s new home.

The United Palace, at 4140 Broadway at West 175th Street, was a Depression-era riot of architecture that almos! t defies description. Reverend Ike called it “fantabulous,” and with its gilded statues and grander-than-grand staircase, it seemed to symbolize an everything-and-the-kitchen-sink approach to design. In his book “On Broadway: A Journey Uptown Over Time,” David W. Dunlap, a reporter for The New York Times, summarized it as “Byzantine-Romanesque-Indo-Hindu-Sino-Moorish-Persian-Eclectic-Rococo-Deco.”

Astonishing as the theater originally was, Reverend Ike added to the lavishness, buying Louis XV and Louis XVI furniture for what had been the men’s smoking room. (He used it as his library.)

The Rev. Frederick J. Eikerenkoetter II, better known as Reverend Ike, made the building his church for years.Librado Romero/The New York Times The Rev. Frederick J. Eierenkoetter II, better known as Reverend Ike, made the building his church for years.

Now the United Palace stands as a survivor, still owned by Reverend Ike’s church. The building made it through the crack epidemic of the 1980s, which transformed the neighborhood into one of the city’s toughest.

The United Palace was also untouched by a scourge of a different kind, one that upset cineastes: the multiplexing of theaters. It still has every one of its 3,400 or so original seats. It also has the original balcony and the original dressing rooms for the vaudevillians who performed there.

With 20 days to go, the 40-40-40-Plus campaign has raised $21,335 on Indiegogo, a crowdfunding Web site. He said $700 more in checks had come in.

The campaign is focused on raising money to buy the digital projection system that the United Palace used at the premiere of “200 Cartas” on June 12. The film is a romantic comedy starring Lin-Manuel Miranda, who wrote the Tony Award-win! ning scor! e for the musical “In the Heights”; Jaime Camil, a Mexican telenovela star; and Dayanara Torres, a former Miss Universe.

Mr. Fitelson also wants to clean the 50-foot-wide screen at what he says would be the only theater in Manhattan north of 128th Street. Still, he does not see the United Palace as a first-run movie theater, but a home for special events â€" premieres of movies like “200 Cartas,” film festivals and films in Spanish as well as in English.

The theater opened in 1930, a year or so before a neighborhood-changing event, the completion of the George Washington Bridge. The United Palace was the fifth and one of the last of the Loew’s “Wonder Theaters” built in New York, and it opened with a Norma Shearer movie.

In 2001, one of the three ancient projectors in the booth was still cued up with a reel from a black-and-white movie starring Audie Murphy. (He was a World War II hero who had played himself in “To Hell and Back,” the film version of his memoir. But most f his movies were Westerns.)

Like many theaters of its day, the United Palace had a pipe organ. The instrument did not weather the passing years as well as the building. “The story is a rock band was in here, and their pyrotechnics lit the organ on fire,” Mr. Fitelson said. “The bad part was that when the sprinklers came on, they ruined the pipes.”

Mr. Fitelson said 5,000 people squeezed into the United Palace in Reverend Ike’s early years there. But the congregation dwindled in the 1990s, and Reverend Ike, who moved to Los Angeles in 2007, died in 2009. His son, Xavier Eikerenkoetter, 48, said only 100 or so worshipers attend Sunday services nowadays â€" so few that the services are no longer held in the theater, but in a small room that was originally a storefront.

The church has maintained the building’s tax-exempt status over the years, although it occasionally rented it out to outside promoters for events like indie rock concerts. Mr. Fitelson’s organization, the ! United Pa! lace of Cultural Arts, is officially separate from the church, though there is an overlap. The founder and president is Xavier Eikerenkoetter.

Mr. Fitelson said the theater could handle everything from hip-hop performances on the mezzanine to a circus-arts camp for children.

“Part of the concept is this was a deluxe movie theater and a vaudeville house,” he said. “What is vaudeville in the 21st century? It’s a mash-up of different artistic forms, and that’s what we’re doing.”

The United Palace was one of several movie halls opened by Loew's in New York City. Todd Heisler/The New York Times The United Palace was one of several movie halls opened by Loew’s in New York City.


Book Review Podcast: Grading Higher Education

O.O.P.S.

This week in The New York Times Book Review, Andrew Delbanco reviews two new books about the state of higher education in the U.S. Mr. Delbanco writes:

More than a century ago, the president of Harvard, A. Lawrence Lowell, issued a warning to America’s colleges and universities. “Institutions,” he said, “are rarely murdered. They meet their end by suicide. . . . They die because they have outlived their usefulness, or fail to do the work that the world wants done.” Most of the institutions he had in mind are still around today, but the doosday talk is back. William J. Bennett, secretary of education under President Reagan, and Jeffrey Selingo, an editor at The Chronicle of Higher Education, believe our system is self-¬destructing. Their tones are different â€" Bennett and his co-author, David Wilezol, write in an expectant mood of good riddance, while Selingo is sympathetically alarmed â€" but their views are grimly consistent. College costs are up. Learning and graduation rates are down.

On this week’s podcast, Mr. Delbanco discusses college; Julie Bosman has notes from the field; Andrew O’Hehir talks about “The Fall of Arthur,” by J. R. R. Tolkien; and Gregory Cowles has best-seller news. Pamela Paul is the host.



Autopsy on Gandolfini Finds Actor Died of ‘Natural Causes,’ Family Spokesman Says

The Fred R. Conrad/The New York Times The “Sopranos” star James Gandolfini.

An autopsy on James Gandolfini, the “Sopranos” star and actor who died on Wednesday, has found that he died of a heart attack, a spokesman for the actor’s family said on Friday.

The spokesman, Michael Kobold, made the remarks in a statement to the news media in Rome. The statement was also distributed to reporters by HBO.

In the statement, Mr. Kobold said that Mr. Gandolfini came to Rome “on a vacation with his family” where “he had a wonderful day.” Mr. Kobold continued, “He visited the Vtican and had dinner at the hotel with his son awaiting the arrival of his sister. Today we received the results of the autopsy, which stated he died of a heart attack, of natural causes. The autopsy further states that nothing else was found in his system.”

The statement concluded, “We are all devastated by this loss. James was a devoted husband, a loving father of two children, a brother and cousin you could always count on. We thank you for the privacy you have afforded us during this difficult time.”

Mr. Gandolfini had been staying at the Bocolo Exedra Roma Hotel on Wednesday, where he experienced a medical emergency at about 10 p.m. that night, hotel personnel have said. Emergency crews were summoned to administer first aid, and Mr. Gandolfini was taken to the Policlinico Umberto I hospital in Rome, where additional attempts to revive him were unsuccessful and he was pronounced dead at 11 p.m. Mr. Gandolfini was 51 years old.



A Wardrobe Malfunction

Dear Diary:

The uptown No. 6 subway car I boarded at Union Square had very few passengers, giving me an unimpeded view of the man sitting opposite me. He was well groomed and neatly dressed, except that his foulard tie hung down over both lapels of his sport coat and his business shirt had the top two buttons undone.

As if he had suddenly become aware of his dishabille, he knotted his tie, for him a complicated process. It wasn’t until he finished that he realized he had knotted it inside his shirt; he tried to tug it out and push it under his collar, but to no avail. So he untied it, buttoned up his shirt and patiently tied it over again.

All this time I had been watching him considering whether he might be rehearsing an old Jacques Tati routine. He seemed to finally get himself all put together, and, when the train slowed to a stop, grabbed his briefcase and hurriedly exited in time for me to see that one half of his jacket collar was standing up against the back of his ear.

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