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  • Trump’s Mouth, Not Sex Abuse, Cost Him Nearly $100 Million

    Trump’s Mouth, Not Sex Abuse, Cost Him Nearly $100 Million

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    A Manhattan federal jury found last year that Donald Trump had sexually abused writer E. Jean Carroll in a New York City department store dressing room in the 1990s.

    For the sexual assault, the jury ordered Trump to cough up just over $2 million to the longtime advice columnist.

    “I think they said ‘enough, enough.’ Enough saying horrible, slimy, terrible things about me,” Carroll told “CBS Mornings” of the second Manhattan federal jury, which read its verdict into the record Friday.

    That jury ordered Trump to pay Carroll the bulk of his total legal debt to her, $83.3 million, after he spent years rattling off defamatory remarks and attacks against her.

    This most recent trial differed from last year’s, at which Carroll sued Trump for both the sexual abuse and defamation. Last year’s jury found Trump liable for not only sexually assaulting her, but for defaming her by denying it in an October 2022 Truth Social post. He called Carroll’s allegations a “hoax,” a “lie” and ranted that she wasn’t his “type.”

    The jury awarded Carroll $5 million in total damages in that trial. The largest portion of the awarded damages in that case was the $2 million for sexually abusing her in 1996, as well as another $20,000 in punitive damages.

    For defamation, that jury also awarded Carroll $1 million in damages, $1.7 million to help repair the reputational harm caused by Trump, and $280,000 in punitive damages.

    Compensatory damages are an amount that the jury finds equivalent to what the plaintiff suffered. Punitive damages are awarded to punish the defendant for behavior the jury found was negligent or intentional.

    This recent trial, which wrapped up Friday, centered on defamation claims Carroll brought against Trump involving two statements he made in 2019, while he was president, disparaging Carroll by calling her a liar and insulting her appearance.

    “I’ll say it with great respect: Number one, she’s not my type. Number two, it never happened. It never happened, OK?” Trump told The Hill, denying Carroll’s claims.

    Since Trump was already found liable for sexually abusing and defaming Carroll, jurors in the most recent trial only needed to determine any additional defamation damages.

    The jury in that case returned the stunning verdict last week after less than three hours of deliberation, awarding Carroll a whopping $65 million in punitive damages and $18.3 million in compensatory damages.

    Trump’s refusal to cease his attacks on Carroll in the wake of the first jury’s verdict is likely why a new jury came back with stiffer penalties, defamation experts told Business Insider.

    Representatives for Trump did not immediately respond to a request for comment by Business Insider on Thursday afternoon.

    E. Jean Carroll

    E. Jean Carroll.

    Spencer Platt/Getty Images



    Punitive damages made it a headline-grabbing number

    The compensatory damages concerned Trump’s false 2019 statements. Chris Mattei, a defamation attorney best known for winning a $1.5 billion jury verdict against conspiracy theorist Alex Jones, told Business Insider that jurors may have believed those statements caused more damage because Trump made them from the White House, where they were broadcast around the world.

    “That afforded Donald Trump a different kind of platform from which he could direct his followers to harass and further defame Ms. Carroll,” Mattei said.

    The punitive damages — which comprised the lion’s share of the jury award — allowed jurors to take into account subsequent remarks by Trump, who continued calling Carroll a liar even throughout the trial. That became a substantial focus of the January 2024 trial, where jurors saw numerous statements from Trump attacking Carroll, including a clip from a press conference held during the trial itself, where he called Carroll a liar.

    Trump didn’t attend a single day of the first trial. But in the second one, held in the same lower Manhattan federal courtroom, he was attentive and was in constant communication with his legal team (not always in a good way — Carroll’s lawyers complained to the judge that the jury could hear his loud mutterings).

    He testified on the stand, if only briefly. At times Trump acted out in court, and even as he and Carroll faced off in the courtroom, his Truth Social account blasted out more posts attacking her.

    e jean carroll roberta kaplan shawn crowley

    E. Jean Carroll with her attorneys Shawn Crowley and Roberta Kaplan following the second trial’s jury verdict.

    AP Photo/Yuki Iwamura



    Defamation experts told Business Insider that the jurors in the latest trial were clearly sending a message by awarding such an eye-popping amount to Carroll. They had eyes on Trump this time, and they clearly didn’t like what they saw.

    “Donald Trump did not attend the first trial, as he did here, and did certain things that the jury was able to observe,” Mattei said. “And that may have motivated them in a way that the first jury wasn’t.”

    Carroll “did everything she was supposed to do in going through the course in the first case and getting her award,” according to J. Erik Connolly, a defamation attorney at Benesch Law.

    “And that should have brought her peace of mind, and it didn’t, and this is perhaps the only way the jury says, well, the normal course didn’t bring her the peace of mind and the deterrence that she was entitled to as a victim,” Connolly said. “This, second time now, maybe this will.”

    Carroll’s lawyers argued that Trump showed flagrant disrespect for the rule of law. First by ignoring the earlier verdict and continuing to defame Carroll — even bragging on CNN that his poll numbers went up. And, second, by disrespecting courtroom procedures while attending the second trial.

    “At that point, you are compounding the wrongdoing or the misconduct that the jury would want to deter,” Connolly said.

    Only a massive punitive damages verdict, Carroll’s lawyers argued, would get Trump to actually stop.

    “While Donald Trump may not care about the law, while he certainly doesn’t care about the truth, he does care about money,” Carroll’s attorney Roberta Kaplan told jurors in her closing argument. “As a result, your decision to award a large amount of punitive damages may be the only hope that E. Jean Carroll has to ever be free from Donald Trump’s relentless attacks ever again.”

    That strategy appeared to work. While Trump vowed to appeal the $83.3 million jury decision, as he did with the first verdict, and has complained that the trial was unfair, he hasn’t publicly called Carroll a liar since last week’s verdict.

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  • What Is Skin Flooding? | Eminence Organic Skin Care

    What Is Skin Flooding? | Eminence Organic Skin Care

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    TikTok told me to” seems to be enough of an excuse to try new beauty trends these days and we’re here for it. The platform has taught us about skin cycling, the ancient art of gua sha, the pros and cons of slugging and how to look like a glazed donut (in a good way), among many other skin care hacks and beauty shortcuts. And while these trends are not all ideal for all skin types or beauty goals, many of them are full of benefits. With over 4.2 million results on TikTok (and counting), skin flooding is one of the newest skin care trends to flood our feeds. Let’s see what it’s all about. 

    What Is Skin Flooding? | How To Perform Skin Flooding | Is Skin Flooding For Everyone?

    What Is Skin Flooding? 

    Skin flooding involves layering moisturizing products in a particular order to provide deeper, longer-lasting hydration. The purpose of the exercise is to quench dehydrated skin, with the help of the star of the show: hyaluronic acid. Essentially we’re loading up the skin with a combination of humectants (aka substances that attract water) and then doubling down on moisturizing serums. The last step is locking everything in, all with the goal of achieving hydrated, plump and glowy skin. This ritual can be done before bed to let it really sink in or in the morning to prep your skin for the day. It involves four simple steps: gently cleansing your skin, spritzing on a mist, applying a serum (or two) and then locking it all in with moisturizer.

    A Guide To Skin Flooding 

    Step 1: A Gentle Cleanse

    For best results, you’ll want to start with a gentle face wash that cleanses your skin without stripping it of natural oils. This will leave a perfect skin canvas, ready to receive the onslaught of moisture coming its way. Some good options for a gentle cleanse include our Stone Crop Gel Wash which cleans away impurities without drying out the skin. As well as the hydrating and nourishing stone crop plant, it contains chamomile, which revitalizes, calms and balances the appearance of skin, prepping it for the tsunami of moisture coming for it. Another great option for this step is the Coconut Milk Cleanser. This gentle cream cleanser uses rich coconut milk, coconut oil and calendula oil to nurture skin for a dewy, fresh finish. 

    Our Lemon Grass Cleanser is another gentle option. The olive oil, sunflower and flax seed in this mild formula gently remove impurities from skin while organic and Biodynamic® herbal ingredients help calm and soothe dry skin. 

    Step 2: Prep The Skin With Moisture 

    Applying skin care products like moisturizers and serums on damp skin is always a good idea. According to Byrdie: “Moisturizers absorb water more effectively with a water source to draw from, so damp skin is more effective in this step.” Keep the skin moist after cleansing or double down by spritzing the face with a face mist, toner or essence. A great option is the Stone Crop Hydrating Mist, which is full of nourishing ingredients, including that stone crop again. Another option we love is the Birch Water Purifying Essence.


    Product Picks

    Award Winning

    Mild cleanser for all skin types

    • Stone Crop Hydrating Mist
    Award Winning

    Hydrating and soothing toner


    Step 3: Double Up On Serum

    Now that the skin is ready for the main event, let’s open the floodgates with not one, but two serums! The first one should be heavy on the hyaluronic acid, aka the molecule that attracts and holds water. This moisture magnet is the molecule around which skin flooding was built.

    The Strawberry Rhubarb Hyaluronic Serum is ultra hydrating thanks to our unique Botanical Hyaluronic Acid Complex that preserves and replenishes moisture in the skin. It also contains other hydrating ingredients like cica and marshmallow root. A thin layer on damp skin will get the flood started. A second layer works too if you want to be extra. More is more when it comes to this routine. 

    Layering another serum on top of the hyaluronic layer(s) is the next step in flooding the skin with moisture. We recommend the potent hydration found in our Stone Crop Serum. If hyaluronic acid is the star of the skin flooding trend, stone crop is a great supporting character for its intense hydrating properties. 

    Step 4: Lock It In With More Moisture 

    Once your serums have absorbed, it’s time to apply a moisturizer to really lock in the hydration. There are a few options that will work for this step. If you’re flooding your skin during the day and hoping for a glass or dolphin skin effect, then your final step can include a moisturizer with SPF. The Lilikoi Daily Defense Moisturizer SPF 40 adds hydration while it protects. Another really moisturizing SPF is our Radiant Protection SPF Fluid. This all-mineral sunscreen goes on smooth and leaves skin with a dewy look and feel.

    If you’re more into skin flooding as a nighttime ritual, you have a few options. To stay on the hyaluronic acid train, finish up with our Strawberry Rhubarb Hyaluronic Hydrator. This lightweight gel-cream hydrates and locks in moisture. Our customers love it too. Self-proclaimed skin care junkie, Katie, left a review on our website calling it: “The best skin care product in the universe,” and continuing, “I have tried every product on the market. NOTHING compares to this! … The hydration and glow it gives is equivalent to what you normally need 4 products to do … It’s my absolute favorite step. The glow it gives daily makes you look fresh out of a facial!”

    The Marine Flower Peptide Night Cream is a richer option that adds yet another heavy-handed dose of moisture and locks in the benefits of all the products preceding it. 

    If this trend is reminding you a bit of slugging, you’re in the same wheelhouse. Layering up products and then sealing them in is the basis for both trends. So as a last step, instead of a traditional moisturizer, why not go with the Kombucha Microbiome Leave-On Masque. Melt it in your hands, and evenly roll it over the face. Containing shea butter and beeswax, the mask will act as a coating to lock in hydration and prevent moisture evaporation from the skin. You will wake up with a glow!


    Product Picks

    Award Winning

    Replenishing and hydrating serum


    Is Skin Flooding For Everyone? 

    Like with many viral beauty trends, skin flooding has a target audience. While it’s not irritating and doesn’t involve active ingredients — making it safe for most skin types — it might not be ideal for sensitive skin because it increases product penetration and might just be A LOT. Give it a try but go slow at first. Acne-prone or oily skin might not respond as well as drier skin types because layering multiple moisturizing products could lead to breakouts. That said, the genesis of this idea — applying products to clean, damp skin for maximum absorption — is a takeaway that we can all get behind. 

    Are you ready to give this skin trend a try but not sure where to start? Visit your local Eminence Organics Spa Partner to get started. 

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  • Choosing the Right Style for
– PHIATON

    Choosing the Right Style for – PHIATON

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    Headphones or earbuds? It will depend on your budget and the audio experience that you desire to have. Headphones give better noise cancellation, higher coverage area, and pleasant sound. Earphones are less expensive and more portable; you can casually put earphones in your purse or pocket, while earbuds attract too much attention when used. You can choose over-ear headphones or earbuds according to the price points.

     

    Over-Ear Headphones Vs. Earbuds: What Is The Difference?


    There is a strong perception among the majority of people that headphones and earbuds are absolutely equal, while in reality they have some significant dissimilarities. The clearest distinction is that headsets are used on the outside of the ear, whereas buds – in it.

    Size

    The sizes of earbuds and headphones are different. Earbuds are portable, compact, and lightweight. Alternatively, headphones are typically large and cumbersome. However, some models have become smaller and smaller over time.

    Price

    The price difference between headphones and earbuds is influenced by several factors. This is mostly caused by the fact that headphones typically use bigger drivers than earbuds— an item that comes at a premium price. Since they tend to incorporate bigger elements and have more feature demands, headphones are usually costlier than earbuds. In addition, regarding headphones and earbuds, there is a relationship between the number of specifications in them and their price. This could happen because raising the merit goods needed by manufacturers drives up product prices.

    Sound Quality

     

    Phiaton 900 Legacy headphones

     


    The sound quality is one of the main differences between earbuds and headphones. The sound quality of earbuds is, in general, lower than that of headphones due to the fact their drivers are smaller. Headphones with bigger drivers deliver better sound accuracy. For this reason, headphones usually provide better overall sound quality and bass response than earbuds.

    Comfort

    Comfort is another relevant difference between headphones and earbuds. As earbuds are lightweight and convenient, they can be used for long periods without much discomfort. On the other hand, headphones may be very massive and heavy which might turn into discomfort after long use.

     

    Prefer Over-Ear Headphones if…

     

     


    You need to have the best audio quality.
    If you are looking for the most immersive and best quality sound possible, then investing in high-quality headphones is clearly a better spend of your money. Wireless headphones—particularly over-ear ones with larger drivers are far more capable of filling your ear cavities with a quality sound that is full and loud, thereby bringing out all the small but important details in any favorite song you choose.

    You require a long-lasting battery.
    Generally, large headphones have longer battery life. Many of the best headphones will do more than a full day, whereas most wireless earbuds last you up to five or six hours on just one charge. The extra life that is provided by your earphone charging case with a duration of ten to twenty hours shrinks this gap in battery life. But when it comes to playing uninterrupted music, headphones usually last a lot longer than their smaller relatives.

    You’re looking for noise cancellation.
    Earbuds with electronic “active” noise cancellation may be equally as effective as over-ear headphones. However, many find that over-ear headphones provide a greater barrier against external noise. Alternatively, they rely less on seals than in-ear headphones. Passive isolation is this achievable in the design itself.

    You Should Get Earbuds If…

     

    You’re looking for something small and portable. 
    It may seem apparent, but go for wireless earphones if you want something as lightweight and portable as possible. If you want to keep your headphones, you’ll probably need to put them in a bag. Earbuds, on the other hand, usually come in tiny charging cases that are a little larger than a box of mints.

    You work out regularly.
    As concerns their size and understatement, wireless earphones make perfect training partners. They will not block your way whether you are working out with weights or running.

    You need both performance and cost-effectiveness.
    Comparatively, true wireless earbuds cost less in terms of performance as compared to the typical headphones that are wireless.

    Conclusion
    Given that the decision to use headsets or earbuds is very personal, a few important aspects need to be mentioned before making your final choice. Earbuds are cheaper, more portable, and effective for exercise than canned headphones. Headphones are definitely the best alternative when it comes to more money since they offer superior sound quality, noise cancellation, and extended battery longevity.

    Recommended Reads:

    A COMPLETE GUIDE TO HELP YOU BUY THE BEST PAIR OF WIRELESS EARBUDS

    ELEVATE YOUR WORKOUT: UNVEILING PRO LEVEL WORKOUT HEADPHONES

    DIGITAL NOISE CANCELLING HEADPHONES AND HOW IT DIFFERS FROM ACTIVE AND PASSIVE NOISE CANCELLING

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  • Moooi furnishings “tell a different story on every floor” of Art Legacy Hotel

    Moooi furnishings “tell a different story on every floor” of Art Legacy Hotel

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    Father and son architect duo Luís and Tiago Rebelo de Andrade explain how they furnished Lisbon’s Art Legacy Hotel entirely with Moooi products in this video produced by Dezeen for the Dutch furniture brand.

    Lisbon practice Rebelo De Andrade designed the interiors of the five star Art Legacy Hotel, located in the Baixa-Chiado district in the city’s centre.

    The hotel is notable for its exclusive use of Moooi products and rooms with bold primary colour schemes.

    A suite with a yellow colour scheme in the Art Legacy Hotel in Lisbon
    Art Legacy Hotel is a five star hotel in Lisbon

    “Hospitality is always about image and stories,” said Luís Rebelo De Andrade, founder of the studio, in the exclusive Dezeen video interview. “We wanted the guests, when they come to this hotel, to have a completely unexpected experience.”

    “So, we proposed to our client that we make a hotel with only Moooi products, to give it a very strong identity.”

    Moooi’s products were used throughout the hotel, including carpets, furniture, lighting, wall coverings and art pieces.

    “Moooi is everywhere in the building,” said Tiago Rebelo De Andrade, who is partner and principal architect at the studio and Luís Rebelo De Andrade’s son. “When you enter the hotel, all the colours, all the textures, all the furniture from Moooi helps us to tell a different story in every floor.

    A room with a red colour scheme and Moooi lighting in the Art Legacy Hotel
    Rebelo De Andrade furnished the Art Legacy Hotel entirely with Moooi products

    The project is a renovation of a historical office building. Alongside overhauling the hotel’s interior, Rebelo De Andrade also redesigned its facade.

    According to Tiago Rebelo De Andrade, Moooi’s blend of modernity and classical references suited the studio’s approach to designing the hotel’s interiors.

    “Moooi is classic but in a way that can also be modern,” he said. “It’s a modern-classic building.”

    The facade of Art Legacy Hotel
    Art Legacy Hotel is a renovation of a historic building in Lisbon’s centre

    Luís Rebelo De Andrade decided to partner with Moooi on the hotel’s interiors after visiting the brand’s Museum of Extinct Animals exhibition at Milan design week in 2018.

    Each room in the Art Legacy Hotel has either a blue, red, yellow or green colour scheme, with matching wall coverings, furniture and tiling in the bathrooms.

    “When I first met Moooi’s products, I felt that it uses a lot of primary colours,” he said. “So I used primary colours in a very strong way in the hotel. They are colours that provoke you.”

    Lobby of Art Legacy Hotel in Lisbon
    Moooi’s lighting, furniture, wall coverings and carpets are used throughout Art Legacy Hotel

    In the video interview, the duo also discussed their working relationship.

    “My son, he provokes me,” said Luís Rebelo De Andrade. “We had to educate ourselves on how to work together.”

    “I offer my experience, he offers his youth in projects,” he continued. “So I think it’s a good mix.”

    A room with a blue colour scheme and Moooi furnishings in Lisbon's Art Legacy Hotel
    Rebelo De Andrade used primary colour schemes in Art Legacy Hotel’s rooms

    “It’s difficult because it’s a father and son relationship,” added Tiago Rebelo De Andrade. “We are always arguing, but at the end of the day, we drink a bottle of wine so that we can make peace with each other.”

    Other recent projects from Moooi include the IDEO-designed Pallana suspension lamp, made up of adjustable ring lights, and the rope-like Knitty Chair designed by Nika Zupanc.

    The photography is by João Guimarães.

    Partnership content

    This video was produced by Dezeen for Moooi as part of a partnership. Find out more about Dezeen’s partnership content here.

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  • See the Electric Wagoneer S

    See the Electric Wagoneer S

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    • Driver and passenger each get a screen in the Wagoneer S.
    • The all-electric Wagoneer gets a sleeker design than the gas-powered SUV.
    • Wagoneer S is expected to go on sale this fall.

    The first all-electric Jeep is on its way to dealer lots in 2024, and we just got our first look inside the swanky SUV.

    Jeep released the first interior shots of the electric Wagoneer S this week, which appears to be packed to the gills with tech.

    This screen-laden interior is made possible by parent company Stellantis’s BEV-specific platform, which will underpin the Wagoneer S. This platform is also engineered to deliver performance, reaching zero to 60 mph in roughly 2 seconds at the top end, the company said.

    Jeep hasn’t released pricing for the Wagoneer S, expected to go on sale in late 2024, but it’s likely to be pretty expensive. Jeep has positioned the Wagoneer as the premium extension of the rugged SUV brand, and this EV appears to be no exception.

    The company’s press release highlights Wagoneer S’s “meticulously crafted artisan details” and “tech-focused interior,” which signal the electric SUV will follow in its gas-powered siblings’ footsteps.

    Take a look inside the first fully electric Jeep:

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  • What Safety Experts Say About Its Inspections

    What Safety Experts Say About Its Inspections

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    On January 5, an Alaska Airlines 737 Max 9 door plug broke off shortly after takeoff from Portland International Airport, leaving a gaping hole in the jet’s fuselage. No one was seriously injured.

    The Federal Aviation Administration quickly grounded 171 other Max 9 planes with the same door plug, mostly flown by United Airlines and Alaska.

    Four critical bolts used to secure the door plug were missing from the jet when it left Boeing’s assembly line, The Wall Street Journal reported, representing a massive quality control lapse.

    This oversight has cast renewed scrutiny on Boeing’s family of Max airplanes, which already saw 346 fatalities after two Max 8 jets crashed in 2018 and 2019.

    Three weeks after the blowout, however, the Max 9 is carrying people once again. Alaska’s COO Constance von Muehlen was on board the carrier’s first passenger flight since the grounding and took the seat by the door plug, CNN reported.

    The green light comes as regulators approve new inspection and maintenance processes in relation to the door plug. But questions surrounding Boeing’s safety and quality control still remain on the minds of travelers.

    Here’s what to know about the Max 9 inspections, and how aviation experts view the return to service.

    The Max 9’s enhanced inspection process will take up to 12 hours

    Someone pointing to the door plug bolt on an Alaska Max 9.

    Alaska mechanics carrying out the enhanced inspections of the Max 9 door plugs.

    Ingrid Barrentine/Alaska Airlines



    Last Wednesday, the FAA announced an “enhanced maintenance process” to be completed on the 171 grounded Max 9s before they could return to service.

    This includes visual inspections of the left and right mid-cabin door plugs, as well as inspection of specific bolts, guide tracks, and fittings to ensure all critical components are correctly installed.

    The agency also said it would cap production of the 737 Max, have “increased floor presence at all Boeing facilities,” and ramp up oversight of the planemaker and its suppliers — particularly Spirit AeroSystems (not related to Spirit Airlines), which installed the door plug.

    “The exhaustive, enhanced review our team completed after several weeks of information gathering gives me and the FAA confidence to proceed to the inspection and maintenance phase,” FAA Administrator Mike Whitaker said in a January 24 statement. “However, let me be clear: This won’t be back to business as usual for Boeing.”

    So far, carriers including United, Alaska, and Panama’s Copa Airlines have re-launched their Max 9s after the required inspections, with Copa being the first to do so on Thursday, Reuters reported.

    According to aviation analyst and president of Atmosphere Research Group, Henry Harteveldt, these inspections are “extremely thorough.”

    “There were at least four revisions to the inspection process before the FAA, Boeing, and the airlines agreed on the final procedure to be done to inspect these planes,” he told Business Insider on Tuesday. “The initial inspection procedures were taking two to four hours; the agreed process takes between 10 and 12 hours.”

    Alaska noted the same 12-hour timeframe in a January 26 statement.

    Not all experts agree on the Max 9’s safety

    Image from the NTSB investigation of the Jan. 5 accident involving Alaska Airlines Flight 1282 on a Boeing 737-9 MAX. Captured on Jan. 7.

    The Alaska Airlines Boeing 737 MAX 9.

    National Transportation Safety Board



    It wasn’t long after the Alaska Max 9 blowout that airline customers started voicing concerns about the safety of the plane after its return to service — with some travelers even opting to pay more to avoid flying on the jet.

    According to the Washington Post, the travel booking website Kayak said its filter for the 737 Max significantly increased in the days after the incident.

    Former Boeing senior manager-turned-whistleblower Ed Pierson told the LA Times in an interview published Tuesday that he would “absolutely not fly on a Max airplane.”

    “I’ve worked in the factory where they were built, and I saw the pressure employees were under to rush the planes out the door,” he said. “I tried to get them to shut down before the first crash.”

    Joe Jacobsen, a former engineer at Boeing and the FAA, gave the paper a similar take: “I would tell my family to avoid the Max. “I would tell everyone, really.”

    In a statement to Business Insider, Harteveldt expressed confidence in the Max 9.

    “I understand why people may be concerned about flying on the 737 Max 9 right now, but those planes would not be back in the air if the FAA did not think they were safe,” he said. “No airline is going to dispatch a plane that it does not know to be 100% safe.”

    Harteveldt further explained that the Max 9 problem is not as complex as the fatal Max 8 crashes, which involved flawed flight-control software and a faulty sensor.

    “The [Max 9] problem is isolated; the mechanics and engineers know exactly where to focus — and they did that — so it’s a very different kind of problem for the plane,” he told BI. “All of this certainly undermines the trust we place in Boeing, but, personally speaking, I would not hesitate to fly on a 737 Max 9 if the schedule and fare met my requirements.”

    However, Harteveldt emphasized that those who are concerned about flying on a Max 9 do have options. For example, Alaska and United currently allow passengers to switch their flight from a Max flight to a non-Max flight for no extra charge — similar to what carriers like Southwest Airlines did after the Max 8 crashes.

    Passengers have more control over their personal safety

    Japan Airlines crash

    Part of the reason people survived the firey Japan Airlines crash is because they left behind personal items.

    Richard A. Brooks/AFP/Getty Images



    Embry-Riddle Aeronautical University associate professor and air crash investigator, Anthony Brickhouse, told BI that passengers should focus less on the aircraft they are flying on and more on their personal safety.

    He listed things like wearing a seatbelt at all times, listening to the safety briefings, and leaving personal items behind in case of an emergency evacuation — the latter two helped save the lives of the 379 people on board a Japan Airlines Airbus A350 that caught fire in December.

    “The federal regulators and the NTSB are going to do their job and make sure the aircraft we fly on are as safe as possible,” Brickhouse told BI. “But passengers need to do more to impact their own safety at the end of the day.”

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  • “Decay is a form of preservation”: Asim Waqif

    “Decay is a form of preservation”: Asim Waqif

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    Text by Anish Gawande. Photographs by Asad Sheikh.

    Asim Waqif in his Delhi studio.

    I show up at Asim Waqif’s door in Vasant Kunj in Delhi, only to be told that he’s at his “workshop” in the building opposite. Struggling to contain a chuckle — I’ve never heard of an artist’s studio being referred to as a workshop before — I walk over. I’m not the first to make this mistake this morning; Verve’s photographer Asad Sheikh had also shown up at his residence a few minutes earlier (before being promptly escorted to Waqif by his younger daughter).

    As I enter the apartment — the third and smallest space he’s operated out of after the pandemic — it becomes clear why “workshop” might be a more appropriate moniker for Waqif’s studio. A wide assortment of objects are strewn across the four rooms, with works in varying degrees of completion stacked up on tables and against walls. Hundreds of tools are stuffed into drawers, lying on chairs and occupying pride of place on counter spaces. Crowbars and hammers, screwdrivers and indistinguishable pieces of flat metal all come together in a melange that offers a revealing glimpse into a trademark living, breathing style cultivated over the last two decades.

    Sheets of metal strewn around in Waqif’s studio.

    Perhaps it’s apt that Waqif thrives in such a setting. He studied at the School of Planning and Architecture in Delhi and then worked as an art director on film sets and as a documentary filmmaker before finally taking on the mantle as a full-time “artist”. His practice spans a range of disciplines — from art and architecture to design — and has driven conversations around what constitutes public space and how we occupy these. He’s also quite good at what he does: the reason I’m here is because Waqif is the recipient of the first Asia Arts Pathbreaker Award being presented by the Asia Society India Centre in February.

    As we meander across rooms, he tells me about how his first job after college was as an apprentice at an old-school carpenter’s workshop where he was “taught how to maintain tools before being allowed to use them”. I ask him what his instrument of choice is. The reply comes in an instant: “Knives!” With a gleam in his eyes, he pulls out an impressive collection: scythes traditionally used to hack through fields or forests, curved saws to cut the rounded edges of bamboo, pruning shears with shorter blades but longer and sturdier handles. They’ve been collected from all over the world and used in all sorts of projects over the years. His favourite? A delicate, incredibly sharp Japanese knife. “That,” he assures me, “is for sushi.”

    Glimpses of the artist’s collection of knives.

    Waqif is best known for his work with bamboo. After his first installation baans (2005) — as part of a residency at Khoj Studios and prompted by the Delhi-based arts organisation’s director Pooja Sood — he has gone on to make Durga Pujo pandals out of intricate bamboo mesh in Kolkata and (most recently) a spectacular bamboo shelter for the Hayward Gallery terrace in London as part of the prestigious Bagri Foundation Commission. His most ambitious project, however, is a bamboo plantation in Sylhet, Bangladesh called Bamsera Bamsi. Supported by the Samdani Art Foundation, the plantation — now entering its seventh year — is a living sculpture that Waqif returns to periodically to mould and shape into newer forms, crafting bridges and structures and shapes into a grove that keeps getting denser.

    Eventually, what happens to all these large-scale installations? “My installations take really long to put together — and then they are disassembled and sold to scrap or secondary markets. I like working this way, it’s better than making something that lasts forever and ever,” says Waqif.

    Left to right: A metal sheet that has been reshaped via repeated knife thrusts on its surface; A prototype of an installation.

    A contentious negotiation with the material he uses is at the centre of Waqif’s work. As an architect, he spent time visiting a variety of stepwells across Rajasthan — a passion that’s continued, albeit in a morphed form. With bamboo, Waqif has been at the forefront of a research project started in 2005 that looks at the “prototyping of non-chemical bamboo-seasoning techniques based on vernacular practices in the North-East of India”. Bamboo, Waqif explains, might be natural — but the toxic products used to treat it to prevent it from decaying have a significant negative impact on the environment. The ecological sensitivity intrinsic to his practice, then, demands an ethical commitment towards finding a solution.

    There’s no bamboo around right now, however. “Please write about that,” Waqif mumbles, adding, only half-jokingly, that he’s “tired of being called a ‘bamboo artist’ in all the pieces written on me”. The size of the apartment, and the monumental scale of most of his works involving bamboo, mean that Waqif’s installations are all site-specific. The workshop, instead, is filled with battered sheets of galvanised steel sporting shades of azure blue.

    Cyanotype photograms on galvanized steel — Waqif’s signature work with metal.

    Created in collaboration with a local trunk maker in accordance with paper models fashioned by Waqif, these sheets are part of a new body of work that he’s playing around with. Once bent into shape, these sheets — resembling origami mountain folds — are then shaped using Waqif’s assortment of tools before getting coloured using a remarkable photosensitive cyanotype process in the darkroom within the workshop. The result is beautiful sculptural forms washed over with striking, almost fluorescent tints. Of course, as with everything Waqif does, the aesthetic exists primarily at the service of the political. With bamboo, Waqif turns to the politics of sustainability. With rubber waste, he’s making a statement on consumption. He remarks playfully, “People with more privilege create more trash. So, I want to see if I can put some trash back in their homes in some shape or form — that’s what I’m trying to do with the sculptures.”

    Waqif is deeply troubled by consumption and reminds me that tuberculosis was once called consumption because the disease saw the body eat itself. In the modern world, this analogy runs deeper: we are consumed by what we consume. His work extensively reuses materials that would otherwise be considered worthless — Bordel Monstre, his first exhibition in Europe at the Palais de Tokyo in Paris, used bits and pieces left over from earlier exhibitions; All we leave behind are the memories, presented at the 8th Asia Pacific Triennial of Contemporary Art in Brisbane used reclaimed timber from demolition sites across the city; and Pretty Wrecked at the Chicago Architecture Biennial used discarded rubber tubing from the Chicago Resource Center.

    Left to right: Waqif with his younger daughter; A henna drawing made by his daughters and their cousins on his left hand.

    The conversation now shifts to the living room of the home that we have walked over from. Schools have been shut because of the biting cold and Waqif’s younger daughter’s Zoom class has just ended. Her doting father — whose most prized artwork is a henna drawing made by her in cahoots with her older sister and cousins on his hand — has been summoned back.

    Sipping on a cup of chai that’s just been offered to me, I ask whether Waqif has read the book I sent over when we first spoke a few weeks ago. He hasn’t. The book in question is E. M. Cioran’s remarkable A Short History of Decay, written after World War II, and I’m curious to delve deeper into Waqif’s aesthetic and theoretical engagements with the tortuous, complex ways in which materials come apart at their seams.

    “Decay and destruction usually have a negative connotation in people’s minds. But if you want to build something, you have to break something. Breaking and demolishing can actually be constructive processes,” Waqif muses. “To me, decay is a form of preservation — like fermentation. You can save things by rotting them.” This fascination with rot informs Waqif’s work in Delhi, which — with its constantly shifting demographics and structural transformations — offers an ideal canvas for both observation and creation. As one part of the city falls into disuse, another takes on a new life of its own, igniting the artist’s interest in abandoned spaces. We share our experiences as two migrants to the city — him, an older one from Hyderabad, and me, the newer entrant from Mumbai.

    Clockwise from top left: A framed collection of insects. An animal bone collected during Waqif’s treks. Honeybee hives from Waqif’s apartment complex; the oil painting (below) is by Meenal Singh, Waqif’s classmate from the School of Planning and Architecture in Delhi. A bamboo rhizome, along with rocks from rivers, are placed on an old Enbee speaker refurbished by Waqif.

    Animatedly, Waqif points to how zoning regulations in Delhi (introduced in 1961) prohibiting mixed land use had transformed the character of historic markets. While previously shopkeepers used to live above their stores, a ban on commercial establishments operating in areas marked for residential use reconfigured living and working patterns in the city. These regulations were overturned in 2006, resulting in yet another churn — the latest amongst a long litany constantly reshaping the city over centuries, each obscuring but not entirely erasing the one that came before.

    As we wrap up our interview, I pause to ask how his belief in regeneration and reuse seeps from the artistic and theoretical into the personal. Waqif admits that he’s a hoarder, but insists that he has no sentimental attachments to the things he hoards. In fact, he tells me that over the course of moving to the smaller workshop after the pandemic, he gave away dozens of kilos of bits and bobs to the kabadiwala. At this point, I sense that parental responsibilities are tugging Waqif away from our conversation. I ask my final question: what’s the one thing he’s given away that he still misses?

    “Once, I exchanged a pair of shoes for a sheepskin, on a trek. I then used that sheepskin to make a sculpture — and sold it. I miss that sheepskin.”


    Anish Gawande is a writer and curator. He is also the founder of the Dara Shikoh Fellowship, an interdisciplinary arts residency, and Pink List India, the country’s first archive of politicians supporting LGBTQIA+ rights.



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  • Historic sanatorium in Greek mountain forest transformed into Manna hotel

    Historic sanatorium in Greek mountain forest transformed into Manna hotel

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    Greek architecture offices K-Studio and Monogon have converted the abandoned Manna Sanatorium in Arcadia, southern Greece, into a luxury forest hotel.

    Originally built in the 1920s to give tuberculosis patients access to the healing power of nature, the historic structure is now a five-star wellness retreat.

    Manna offers 32 rooms fitted out with natural materials and neutral tones, plus gym and spa facilities and a restaurant focused on local produce.

    Stone facade of Manna hotel by K-Studio and Mongon
    Manna hotel is housed in a former sanatorium for tuberculosis patients

    The building sits within a fir forest on Mount Mainalo, the tallest peak in the mountainous region.

    The design vision set out by Athens-based K-Studio was to amplify the sense of sanctuary offered by the remote location and enhance the feeling of connection to nature.

    Manna owner Stratis Batayas, a Greek entrepreneur who had spent his childhood summers in the area, wanted to create a year-round destination that stayed true to the building’s history.

    Manna hotel in Arcadia by K-Studio and Mongon
    The building is set in a fir forest in Arcadia, a mountainous region of Greece

    “The client’s ambition was to reinterpret the concept of a sanctuary in the mountains with contemporary terms,” reads K-Studio’s design statement.

    “The hotel would have to be a place for isolation, as well as community-making and participation in the primary activities of everyday living.”

    Lounge at Manna hotel
    Design details include columns with curved corner reveals and ornate gridded ceilings

    The renovation was overseen in collaboration with Athens-based Monogon and involved significant building work, including the reconstruction of a derelict rear wing and the installation of a new roof.

    When the sanatorium closed – made obsolete following the introduction of penicillin in 1938 – the building had been emptied to prevent looting. Stone window sills were stripped out and relocated, while the original roof was removed and repurposed on a hospital in nearby Tripoli.

    Concrete was used to replace the old sills, while the new timber roof was installed over rendered brickwork.

    Bar at Manna hotel
    The bar features neatly crafted joinery

    A reconfigured layout provides a new entrance on the side of the building.

    This leads through into a series of elegant reception and lounge spaces where details include columns with curved corner reveals, ornate gridded ceilings and a herringbone-patterned fireplace.

    Manna’s bar can also be found here, featuring neatly crafted joinery. Elsewhere, the restaurant run by chef Athinagoras Kostakos has a more casual feel thanks to an open kitchen.

    Art is present throughout, with works by Greek artist Nikos Kanoglou, painter Joanna Burtenshaw and ceramicist Diane Alexandre.

    Attic bedroom at Manna
    Attic bedrooms feature dormer balconies

    Bedrooms are located on the upper floors of the main building, including a new attic level, and on all levels of the rebuilt northern wing.

    Attic rooms offer the most modern feel, extending out to balconies set within large gable-ended dormers.

    Bedroom furniture
    Interiors feature natural materials and neutral tones

    The materials palette combines brushed timber with earth-toned textiles. Standout features include the elaborate privacy screens that form a backdrop to the beds.

    Terrazzo flooring is inlaid with marble to define different zones, matching the stone used for wash basins. Room numbers are carved into the floor surfaces in front of each room entrance.

    “Local craftsmen were involved in all construction phases, as they bear the knowhow of stoneworks, joinery and even the characteristic engraved grouting of the exterior stonewalls,” said K-Studio.

    Bath in bedroom at Manna
    Terrazzo flooring is inlaid with marble to define zones

    Manna opened its doors in the summer of 2023 and is represented by Design Hotels, a booking company that specialises in design-led retreats.

    K-Studio co-founder Dimitris Karampataki presented the project at the 2023 edition of The Lobby, an annual hospitality conference in Copenhagen.

    Manna restaurant
    Manna’s restaurant features an open kitchen

    He said the design for Manna “embraces the wear and tear, embraces the natural patina”.

    “When we first arrived we saw something, which took about a century to make,” he said. “We didn’t want to clean it too much, to be selective of its heritage. It was more important for us to embrace the whole story.”

    Balcony view
    The design aims to reconnect people with nature

    Other destination hotels to open recently include the Six Senses Rome, designed by Patricia Urquiola, and the Sanya Wellness Retreat in Hainan, China, designed by Neri&Hu.

    The photography is by Ana Santl.


    Project credits

    Architectural concept: K-Studio
    Technical design: Monogon, CS Architecture
    On-site supervison: Monogon, K-Studio
    FF&E: K-Studio, Monogon
    Art curation: Joanna Burtenshaw
    Branding design: MNP
    Surveyor: Ioannis Charbilas
    Structural engineer: Niki Psilla
    Mechanical engineer: Gerasimos Vasilatos/Alexandra Zachopoulou & Partners
    Lighting design: Eleftheria Deko and Associates Lighting Design
    Sound consultant: Alpha Acoustiki
    Kitchen consultant: Xenex
    Landscape architects: H Pangalou & Associates
    Main contractor: CT Construction



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  • Jam Master Jay Murder Jury Views Graphic Crime Scene Photos

    Jam Master Jay Murder Jury Views Graphic Crime Scene Photos

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    People were screaming, bleeding, sobbing. A video game was still running on a TV set, recessed into the wall.

    And slouched at the foot of a dark green couch was 37-year-old Jason William Mizell — hip-hop legend Jam Master Jay — dead in a pool of his own blood on the floor of his Queens recording studio.

    “He died instantly,” prosecutor Miranda Gonzalez told jurors, shot in the head at such close range, that his hair was singed.

    This was the scene of havoc and tragedy that a federal jury was plunged into in New York on Monday, as testimony began in the 2002 cold-case murder of the Run-DMC star.

    Two men, Karl “Little D” Jordan Jr. and Ronald “Tinard” Washington, are on trial in Brooklyn’s Eastern District of New York, accused of shooting Mizell in the head, execution style, more than 20 years ago in a dispute over 22 pounds of cocaine.

    The trial’s first witness was one of the first police officers at the scene, Detective James Lusk. He told jurors he responded to the shooting minutes later, running up the stairway to Mizell’s second-floor recording studio to the sound of cries and screams. 

    It was early evening, October 30, 2002, and behind the studio’s glass door, in a cluttered, narrow room lined with couches, it was bloody bedlam.

    “I saw a male lying, head toward the window,” against a green couch, Lusk testified of Mizell.

    Another man “was kind of scrunched up on top of that couch,” Lusk said of a second victim. The man, Tony Rincon, had been shot in the leg and was screaming for help.

    Within earshot, maybe in the hallway, a woman was “crying hysterically,” Lusk testified.

    A television set, which Lusk described as “old school,” not a flat screen, “was showing video games.”

    Mizell had been playing video games when Jordan and Washington, both armed, had been buzzed inside, prosecutors allege.

    The shooting happened so fast, Gonzalez said in openings, that Mizell had no time to reach for the .380-caliber pistol beside him, on the armrest of the green couch.

    The two “killed a world-famous musician,” Gonzalez said. Then, “as quickly as they came, they fled,” she told jurors.

    “Did you have the opportunity to observe Mr. Mizell’s body before and during when EMS arrived?” the detective was asked by prosecutor Artie McConnell.

    “Yes I did,” answered the detective.

    Mizell “had a tremendous amount of blood already pooled on the floor,” the detective told jurors. “He was unresponsive” to being shaken.

    “I did see blood to the back of the head and assumed that was the injury,” he added, as the jury viewed a photo of Mizell’s slumped body, displayed for them on a screen.

    Mizell’s killing remained a cold case until Jordan and Washington were charged in 2020 in connection to his murder. Both Jordan and Washington have pleaded not guilty.

    Another man, Jay Bryant, has also been charged in the DJ’s murder and has pleaded not guilty. He will be tried separately at a later date.

    “The defendants allegedly carried out the cold-blooded murder of Jason Mizell,” the then-acting US Attorney for the Eastern District of New York, Seth D. DuCharme said at the time Jordan and Washington were charged.

    DuCharme called it “a brazen act that has finally caught up with them thanks to the dedicated detectives, agents and prosecutors who never gave up on this case.”

    Federal prosecutors allege that Mizell was in his studio in Jamaica, Queens, on October 30, 2002, when Washington and Jordan, armed with firearms, burst into the studio.

    The prosecutors say that Washington pointed his gun at a person inside the studio and demanded that they lie on the floor, while Jordan approached Mizell and fired two shots at close range, with one hitting Mizell in the head, killing him.

    The second bullet struck Rincon in the leg, according to prosecutors.

    Gonzalez promised jurors on Monday that prosecutors would prove that Jordan later boasted “I would kill him again,” and Washington told his girlfriend he was the second shooter and was proud he’d got away with it.

    A lawyer for Jordan, John Diaz, meanwhile predicted in opening statements that the government will fail to prove his client was there at the murder or involved in narcotics dealing.

    “This case will be about 10 seconds, 21 years ago,” a lawyer for Washington, Ezra Spilke, said in openings, highlighting the difficulty in proving a murder that happened so quickly and so long ago.

    “Their version is one version of many,” he said of the government’s case.

    Prosecutors have alleged that Mizell was murdered out of anger stemming from Mizell cutting Washington out of a drug deal.

    “It was an ambush, an execution, motivated by greed and revenge,” Gonzalez told jurors.

    The investigation, according to prosecutors, revealed Mizell had acquired about 20 pounds of cocaine from a narcotics supplier in the Midwest and that the plan was for Washington, Jordan and other co-conspirators to distribute the drugs in Maryland.

    Prosecutors allege that before Mizell’s death, Mizell told Washington that Washington would not be involved in the drug distribution in Maryland, which led the suspects to plot to kill Mizell.

    Mizell’s family has maintained that the DJ was not involved with drugs, according to the Associated Press.

    Washington and Jordan face at least 20 years behind bars if convicted in the case.

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  • Reddit IPO Valuation Targeting More Than $5 Billion, Report Says

    Reddit IPO Valuation Targeting More Than $5 Billion, Report Says

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    Potential investors are advising social media platform Reddit to target a valuation of more than $5 billion as it gears up to go public as soon as March, Bloomberg reported, citing sources familiar with the matter.

    The success of the IPO is contingent in part on the state of the IPO market, which has struggled in recent years. Reddit’s valuation is estimated below the $5 billion figure in private markets, Bloomberg reported. When Reddit first began preparing to go public in late 2021 — a record-breaking year for venture capital — some thought the company could be valued as high as $15 billion in an IPO.

    Investors are hoping that 2024 will be a more active year for the IPO market. IPOs began showing signs of life again last year as profitable tech startups like Instacart and Klaviyo filed to go public. This year’s IPO market may also be helped by the Fed’s promised rate cuts and a weak M&A market. The last time a social media company went public was in 2019. That was Pinterest, and it was valued at $10 billion.

    Reddit’s current target shows that those days of sky-high valuations are gone, for now. Reddit declined Business Insider’s request for further comment.

    Reddit, which some have dubbed “the front page of the internet,” was launched in 2005 by University of Virginia roommates Steve Huffman, Alexis Ohanian, and Aaron Swartz.

    A year later, it became one of the biggest sites in the world in terms of unique visitors. The founders then sold it to Condé Nast for just $10 million. Ohanian went on to launch venture firms Initialized Capital and Seven Seven Six, but Huffman stayed close to the company and has been CEO since 2015 — seeing it through an explosive period of growth during the pandemic, when it birthed the meme-stock craze.

    Still, even Huffman is shocked by how far Reddit has come since its launch. He once said the business felt like a “homework assignment that got out of hand.”

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