Aurelia Butler

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    Why the Fed’s Job May Get a Lot More Difficult

    President Trump’s plans risk stoking inflation and denting growth, an undesirable combination that economists warn could lead to much tougher trade-offs for the central bank.When inflation was too high and the economy was resilient in the aftermath of the pandemic, the Federal Reserve’s decision to sharply raise interest rates beginning in 2022 seemed like a no-brainer. The same was true just over two years later when inflation had fallen sharply from its recent peak and the labor market had started to cool off. That paved the way for the central bank to lower borrowing costs by a percentage point in 2024.What made those decisions relatively straightforward was the fact that the Fed’s goals of achieving low and stable inflation and a healthy labor market were not in conflict with each other. Officials did not have to choose between safeguarding the economy by lowering rates and staving off price increases by either keeping rates high or raising them further.Economists worry that could soon change. President Trump’s economic agenda of tariffs, spending cuts and mass deportations risks stoking inflation while simultaneously denting growth, an undesirable combination that could lead to much tougher trade-offs for the Fed.“We’re getting to a harder decision point for the Fed,” said Nela Richardson, chief economist at ADP, the payroll processing company.Jerome H. Powell, the Fed chair, indicated little concern about this dilemma on Wednesday after the Fed’s decision to keep interest rates unchanged for a second-straight meeting in light of a highly “uncertain” economic outlook.Mr. Powell did warn that “further progress may be delayed” on getting inflation back to the central bank’s 2 percent target because of tariffs. A combination of rising inflation and weaker growth would be “a very challenging situation for any central bank,” he conceded, but it was not one the Fed currently found itself in.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    Hamas Fires Rockets at Tel Aviv as Israel Expands Gaza Ground Operations

    A two-month cease-fire in Gaza collapsed this week amid a renewed Israeli bombardment. The fighting now looks like it is escalating back to full-scale war.Hamas fired its first barrage of rockets in months into Israeli territory on Thursday as Israeli troops expanded their ground raids in northern Gaza in what looked increasingly like a slide back into full-scale war.There were no reports of casualties from the rockets, which were fired at Tel Aviv. The Israeli military said they were either intercepted or fell in open areas. But the barrage served as a show of resilience from the Palestinian armed group despite more than a year of war with Israel.A two-month cease-fire collapsed this week with an Israeli aerial bombardment of Gaza, which the military said had targeted Hamas. Israel argued that the truce could not continue unless Hamas released more hostages, while Hamas accused Israel of violating the cease-fire agreement.Israel’s renewed assault has killed more than 500 people in Gaza in three days, including scores of children, the Gaza health ministry said on Thursday. Those figures do not distinguish between civilians and combatants.Earlier on Thursday, the Israeli military said its forces had begun conducting “ground activity” near Beit Lahia, in northern Gaza. That came less than a day after Israel announced that it had recaptured part of the Netzarim corridor in central Gaza, which divides the north of the territory from the south. Israel had withdrawn from the corridor as part of the truce.Hamas said at least five of its top leaders in Gaza were among about 400 people killed by Israel on Tuesday in a heavy bombardment, according to Gaza officials. Hamas rarely provides information as to whether those killed in Israeli attacks were members of the armed group.Benjamin Netanyahu, the Israeli prime minister, has vowed to step up pressure on Hamas until the group capitulates and releases the dozens of Israeli and foreign hostages still being held in Gaza.Hamas officials say Israel will not gain more favorable terms for a cease-fire by resuming the war.The first phase of the January cease-fire ended in early March. Mediators like the United States were trying to broker a deal between Israel and Hamas on the next steps in the truce, including a permanent end to the war and the release of the remaining living hostages in Gaza.But Israel has been unwilling to end the conflict permanently as long as Hamas remains in power in Gaza. Hamas is refusing to disband its armed battalions, send its leaders in Gaza into exile or release many more hostages unless Israel commits to a permanent end to the war.About 24 living Israeli and foreign hostages — as well as the remains of more than 30 others — are believed to still be in Gaza, according to the Israeli government.Hamas and its allies abducted about 250 people during the Oct. 7, 2023, attack on Israel that ignited the war. More

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    The Frick Collection is Reopening. Here’s a Sneak Peek.

    Holland Cotter is the co-chief art critic and a senior writer for the Culture section of The Times, where he has been on staff since 1998.Produced by Maridelis Morales Rosado and Josephine Sedgwick. Design and development by Leo Dominguez and Gabriel Gianordoli. Images: The Frick Collection (All Artworks); The Frick Collection/Frick Art Research Library Archives (Adelaide H. C. Frick); The Frick Collection Archives (Helen Clay Frick) More

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    ‘Buena Vista Social Club’ Brings the Thrill of Music Making to Broadway

    A new musical inspired by the 1997 hit album gives a fictional back story to the veteran performers of the Havana music scene.The spirit of the musical “Buena Vista Social Club” is evident in its opening scene. Audience members have barely settled into their seats before a group of onstage musicians strikes up the number “El Carretero,” with the rest of the cast gathered around and watching. Some are leaning in from their chairs, others get up and dance on the side. The music is center stage, and we immediately understand its power as a communal experience that binds people.Therein lies the production’s greatest achievement. For a place where music so often plays a crucial role, Broadway hardly ever highlights the thrill of music making itself.Oh, there have been shows that have effectively pulled the curtain on the process — David Adjmi’s play “Stereophonic” takes place inside recording studios, and the most effective scenes in “Beautiful: The Carole King Musical” are set in one as well. But the interconnections between musicians, songs and a society have rarely been evoked as vividly, and as lovingly, as they are in “Buena Vista Social Club,” which opened on Wednesday at the Gerald Schoenfeld Theater. (This improved version follows the show’s Off Broadway run at Atlantic Theater Company, which premiered in December 2023.)As its title indicates, this production, directed by Saheem Ali, is inspired by the 1997 hit album “Buena Vista Social Club,” on which veterans of the Havana scene performed beloved sons, danzones and boleros from the traditional Cuban repertoire. Many of those songs and others are in the musical (a booklet in the Playbill introduces each one, with illustrations by the flutist Hery Paz), along with most of those musicians and singers. Or at least versions of them are. Tellingly, the book by Marco Ramirez (“The Royale”) identifies the characters by their first names only, as if to underline that this is more of an evocative flight of fancy than a biomusical — Ramirez makes the most of musical theater’s notoriously loose relationship with facts.The action travels back and forth between 1956, in the tense time leading up to the toppling of the autocratic Batista regime, and 1996, when the young producer Juan de Marcos (Justin Cunningham) assembles a backing band for the older singers he’s brought into the studio. (The British executive producer Nick Gold and the American guitarist and producer Ry Cooder played important parts in the “Buena Vista Social Club” album and the Wim Wenders documentary that followed, but the musical doesn’t mention them. Instead it focuses on de Marcos’s role in putting together the band and singers.)The show toggles between 1996 and 1956, where the young performers Compay (Da’von T. Moody), Omara (Isa Antonetti) and Ibrahim (Wesley Wray) bond over their love of traditional Cuban music.Sara Krulwich/The New York TimesWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    NYT Crossword Answers for March 20, 2025

    You won’t know which way you’re going with Daniel Grinberg’s puzzle.Jump to: Today’s Theme | Tricky CluesTHURSDAY PUZZLE — All I can say is, “Wow.” Normally, I don’t appreciate someone who pushes personal boundaries, but, by all means, please push crossword construction boundaries. And that’s exactly what Daniel Grinberg, the constructor of today’s puzzle, has done. This is a very elegant execution inside a 15×15 grid, a seemingly impossible feat to pull off without sacrificing much of the fill.On most Thursdays, the constructors and editors can let their collective hair down after a few days of relatively straightforward puzzles and present crosswords that make us use our lateral thinking skills. Lateral thinking is a form of creative problem solving and, when applied to puzzle solving, is best demonstrated when we ask ourselves, “What else could this clue or entry mean?”This is Mr. Grinberg’s eighth crossword in The New York Times, and he really impressed me with this one. I’ll wait until the theme section to spill the beans, but a word of advice: Once you’ve solved this puzzle, go back and look at it again. There’s more to it than is apparent.Today’s ThemeI’m going to discuss Mr. Grinberg’s theme, but first a story.Once upon a time (i.e., after 1993, when Will Shortz became editor of the Times Crossword), there were maybe two Schrödinger puzzles in The Times’s archive. In a Schrödinger puzzle, each theme entry can have two possible correct answers in the same slot that differ by one or more letters, and the crossing answers work with either entry. They were difficult to make, so not many constructors bothered with them.On Nov. 5, 1996, Jeremiah Farrell had a puzzle published that somehow magically predicted who would win the United States presidential election, but the puzzle would be correct no matter who won. And everyone who had solved the puzzle collectively lost their minds.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    Reinstated, but Not Back to Work: Fired Workers Linger in ‘Limbo’

    Erin Cagney was supposed to hear on Monday that she could go back to doing the job she loved — as an archaeologist with the National Park Service in Washington, D.C. But the day came and went without a word.Ms. Cagney finally learned her fate on Wednesday evening. She was being reinstated, but immediately being placed on administrative leave.“I desperately want to return to my job,” she said in an interview on Wednesday. “I don’t want to be on administrative leave, in limbo, for some unknown duration of time.”Ms. Cagney, first ensnared in the Trump administration’s purge of thousands of probationary employees, now finds herself caught in the slow-motion chaos playing out across the government as 18 federal agencies contend with two court orders requiring workers to be rehired.In interviews, more than a dozen fired probationary workers described a kind of purgatory in which information about their livelihoods and what might happen next was difficult, if not impossible, to come by. Most of the fired workers interviewed for this article spoke on the condition of anonymity, fearing for their future job prospects and citing their desire to get back to work.In some cases, fired employees say they have received emails informing them of their reinstatement. Some have seen back pay appear in their bank accounts.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    Nonprofit’s Leader Convicted of Siphoning Off $240 Million in Federal Food Aid

    Aimee Bock was accused of overseeing a scheme that exploited lax pandemic-era controls, and reaped millions with fake invoices for nonexistent meals.The leader of a Minnesota anti-hunger nonprofit was convicted in U.S. District Court on Wednesday of masterminding a brazen scheme that reaped more than $240 million in pandemic relief funds with a network of bogus food kitchens that billed the government for 91 million meals.The nonprofit’s leader, Aimee Bock, 44, was convicted by a jury of seven counts, including wire fraud and bribery. Another defendant, Salim Said — a 36-year-old who oversaw one of the bogus kitchens — was convicted of 20 counts, also including wire fraud and bribery.When Ms. Bock was charged in 2022, federal prosecutors said her scheme was the largest known fraud against the government’s Covid-19 relief programs.At least 70 people were charged in the scheme, and more than 40 have already pleaded guilty or been convicted. Last year, another case related to the same scandal made national news, when someone attempted to bribe a juror in a separate trial by leaving about $120,000 in cash at her home in a Hallmark gift bag. Five people were later charged with bribery in that case.After Wednesday’s verdicts were read, Judge Nancy Brasel ordered that Ms. Bock and Mr. Said remain in jail to await their sentencing, according to a report from the courtroom by The Sahan Journal, a nonprofit newsroom. The charges carry potential sentences of more than a decade in prison.The fraud scheme targeted two programs meant to feed hungry children, which were funded by the U.S. Department of Agriculture but administered by the state of Minnesota. The system relied on nonprofit groups called “sponsors” to be its watchdogs. They were supposed to oversee individual kitchens and feeding sites and make sure they were not inflating the number of children they served.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    “We Had a World” Review: A Poignant New Play From Joshua Harmon

    Joshua Harmon’s new play features uniformly standout performances and tells a poignant story of family dynamics.At the onset of Joshua Harmon’s wonderfully textured new play, “We Had a World,” Josh (played by Andrew Barth Feldman) is in his tighty-whities, scribbling in a notebook with a mechanical pencil at a desk on a corner of the stage. Just then his Nana — his dying Nana, to be specific — shows up onstage with a request. She has an idea for a play her grandson should write, a vicious “Who’s Afraid of Virginia Woolf”-style work about their family.The play we’re seeing, in the intimate basement-esque New York City Center Stage II of the Manhattan Theater Club, is the playwright’s answer to his grandmother’s request. It’s not as vitriolic as Nana had asked for, but it is an all too relatable unpacking of the longstanding resentments and challenging dynamics of a family, particularly the ones between two of the central women in his life, his mother and his grandmother. If there’s viciousness here, it’s the complex, often vicious nature of the truth.“We Had a World” is a memory play in which Josh breaks the fourth wall to guide the audience through notable incidents of his childhood and adult life relating to his mother and grandmother. Though the play opens with a phone call between Josh and his Nana at the end of her life, he jumps back chronologically to explain growing up with his grandmother, Renee (Joanna Gleason), an eccentric Manhattanite who takes him to the theater to see “Medea” and to exhibitions of the work of Robert Mapplethorpe. She sneaks them in to catch movies for free and they make regular visits at the Met Museum. He credits his grandmother with helping him find his future vocation in the theater. But it’s not long before he discovers a secret about Renee: she’s an alcoholic, which is the source of years of animosity between her and Josh’s mother, Ellen (Jeanine Serralles), a tough lawyer with a chip on her shoulder.“We Had a World” gradually works its way back to, and a little bit past, Renee’s decline and death, though not in a way that’s at all predictable or even linear. Josh remembers and cleverly revises the story as he goes, with Renee and Ellen appearing onstage not just as puppets in his story, manipulated by his telling, but also as autonomous characters who express their own opinions (often, hilariously, at his expense) and intrude to offer their perspectives on events.Harmon’s script doesn’t feel as didactic or self-consciously stagy as many contemporary memory plays can be; it strikes an impressive balance of negotiating a story with many adverse emotional perspectives and moving parts while also maintaining a sense of honesty. I don’t just mean honesty in the sense of facts — though the verifiable biographical facts in Harmon’s story, and a bit of recorded material at the end, lend a gravitas to the characters and occurrences. I mean honesty in the sense of emotional transparency, the very real mix of love and resentment and insecurities and doubts that define all relationships, especially those within a family.Though the script successfully condenses several eras of Harmon’s life and captures the quirks and particularities of his mother’s and grandmother’s personalities, the performances really give the material its extra emotional heft. It takes less than 15 minutes to fall in love with Gleason as Renee, the native New Yorker with a dark sense of humor, a love for ornate French furniture and an inexplicable pseudo-British accent. And Serralles’s Ellen feels most real when she is at her most defensive and sardonic, though her shifts into the character’s more openly vulnerable moments still show some seams.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More