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    Gloves Lincoln Wore to Ford’s Theater Sell for $1.5 Million at Auction

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    More than 100 relics connected to President Abraham Lincoln brought in $7.9 million, auctioneers said. The proceeds will help a presidential foundation repay a loan.A pair of leather gloves worn by President Abraham Lincoln to Ford’s Theater on the night of his assassination fetched $1.5 million at auction this week, part of a trove of relics from his life and death that a debt-saddled presidential foundation had put on the block.One of two handkerchiefs that Lincoln had with him on that fateful date in American history, April 14, 1865, sold for $826,000, according to Freeman’s | Hindman in Chicago, the auction house that handled Wednesday’s sale.Like the gloves, which a friend of the Lincolns had framed for display on his dining room wall, the handkerchief was described in an auction catalog as having been potentially stained with the president’s blood.And a cufflink-style gold and onyx button with the letter “L” on it, which a doctor removed to check for Lincoln’s pulse as he lay on his deathbed, went for $445,000.The auction of the items from the Lincoln Presidential Foundation, which was conducted in person, online and by phone, raised nearly $7.9 million, the auctioneers said.The total included a 28 percent buyer’s premium, which auction houses tack onto the hammer price to help cover expenses from sales.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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      Marco Rubio Adds a New Title Under Trump: Interim National Security Adviser

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      The former senator from Florida is now the head of four government bodies. He has outdone Henry Kissinger and even Xi Jinping, China’s leader, who has only three main titles.Secretary of state. Acting administrator of the U.S. Agency for International Development. Acting archivist for the National Archives and Records Administration. And now interim national security adviser to President Trump.Like a Christmas tree bedecked with shiny ornaments of every shape and size, Marco Rubio, 53, has accumulated four titles starting with his confirmation as secretary of state on Jan. 20, the same day that Mr. Trump took his oath of office.It very well could be a record in the modern history of the U.S. government. And it adds to the immigrant success story that is core to the narrative of Mr. Rubio, a former senator from Florida whose father worked as a bartender and mother toiled as a housekeeper after they left Cuba for the United States.But the proliferation of titles raises questions about whether Mr. Rubio can play any substantial role in the administration if he is juggling all these positions, especially under a president who eschews the traditional workings of government and who has appointed a businessman friend, Steve Witkoff, as a special envoy handling the most sensitive diplomacy.Mr. Trump announced Mr. Rubio’s newest position in a social media post on Thursday afternoon, a surprise twist in the first big personnel shake-up of this administration. The president had just ousted Michael Waltz from the White House national security adviser job as well as Mr. Waltz’s deputy, Alex Wong. In the same post, Mr. Trump said Mr. Waltz would now be his nominee to be ambassador to the United Nations.Mr. Rubio’s appointment to yet another job — as if he were cloned in a B-grade sci-fi movie — was so sudden that Tammy Bruce, the State Department spokeswoman, learned about it when a reporter read Mr. Trump’s social media post to her during a regular televised news conference.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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      The Actress Candy Clark Captured Some of the Most Famous Faces. Then She Put Them in a Drawer.

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      The actress Candy Clark documented her unlikely journey through 1970s Hollywood in a series of Polaroids, now published in a memoir.Jeff Bridges taught her how to drive in his Volkswagen bus. Steven Spielberg refused to flirt with her. She successfully talked the actor Rip Torn out of assaulting the director Nicolas Roeg on a movie set. While lying on a beach in Mexico with the painter Ed Ruscha, she was grazed by a stray bullet on the thigh. Once, she pinched David Bowie’s nipples.In Los Angeles, a city built on oversize lore and swaggering legend, where does one file away stories like these? Revealing but not gossipy. Candid but not lurid. Occasionally surreal but consistently sweet.“It’s a confessional era, right?” said Candy Clark, a former actress who wears a neat blonde bob and Warby Parker glasses, sitting in a booth at the Sunset Tower Hotel in West Hollywood, Calif. It was a recent Sunday afternoon, and Ms. Clark — the one behind the wheel of Mr. Bridges’s van, the starlet who tried to flirt with Mr. Spielberg, the peacemaker, the bullet-wound victim and the nipple-twisting culprit — was nibbling on pita and hummus.Dodging a life of mundane midcentury expectations, she started a modeling career in New York and went on to become a darling of the “New Hollywood” era in the 1970s. During her five decades onscreen, she collected over 80 film and television credits, establishing herself as a ubiquitous face who played mostly free-spirited lovers and burnouts like Debbie Dunham in “American Graffiti,” the part that earned Ms. Clark an Oscar nomination. It was her second-ever acting role.“It was my arrival,” she said, recalling the nomination. “You’re just the center of the universe, and it’s really wonderful.”A young Ms. Clark with the X-70 Polaroid camera she used to take photos of her fellow actors, before many of them became mega-famous.Candy ClarkWe 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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      Were the Kennedy Files a Bust? Not So Fast, Historians Say.

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      The thousands of documents posted online this week disappointed assassination buffs. But historians are finding many newly revealed secrets.In June 1973, a C.I.A. employee wrote a memo at the request of William E. Colby, the agency’s director, listing various ways the C.I.A. had, to put it delicately, “exceeded” its charter over the years.The seven pages matter-of-factly described break-ins at the French Consulate in Washington, planned paramilitary attacks on Chinese nuclear facilities and injections of a “contaminating agent” in Cuban sugar bound for the Soviet Union. The memo ended with an offhand aside about John A. McCone, the agency’s former director.“Finally, and this will reflect my Middle Western Protestant upbringing, McCone’s dealings with the Vatican, including Pope John XXIII and Pope Paul VI, would and could raise eyebrows in certain quarters,” the author wrote.It was just one paragraph in the roughly 64,000 pages the National Archives posted online this week as part of the latest — and supposedly final — release of its vast collection of documents related to the assassination of President John F. Kennedy.But for some of the scholars who immediately started combing through the documents, the brief passage, seen unredacted for the first time, raised eyebrows for sure.“This opens a door on a whole history of collaboration between the Vatican and the C.I.A., which, boy, would be explosive if we could get documents about,” said Peter Kornbluh, a senior analyst at the National Security Archive, an independent research center at George Washington University.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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      J.F.K., Blown Away, What Else Do I Have to Say?

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      Why the newly released documents won’t put out the fire.On his third day in office in January, President Trump ordered the release of documents from the National Archives related to the assassinations of John F. Kennedy, his brother Robert and the Rev. Dr. Martin Luther King Jr. As Trump declared on the campaign trail, “It’s been 60 years, time for the American people to know the TRUTH.”The truth is that nothing in the archives is going to dispel the fog of hypothesis, rumor and speculation that swirls around these killings. The assassinations of the 1960s — President Kennedy’s in particular — remain the source and paradigm of modern conspiratorial thinking, a style of argument to which the current president is passionately committed. Whatever details emerge now are unlikely to settle the ongoing debates, which are less about what happened in Dallas in 1963 (or Memphis and Los Angeles five years later) than about the character of the American state and the nature of reality itself.Was Kennedy killed by the Mafia? By the C.I.A.? Was he an early, liberal victim of what modern conservatism has come to call the Deep State? A lot of people think so, and there may be unanswered questions hovering around his death. But there’s a thin line between skepticism and paranoia, between reasonable guesses and wild invention. The American imagination often gravitates to the far side of that line, and the Kennedy assassination was one of the shocks that pushed us over it.By 1963, we were already headed in that direction. Suspicion was part of the atmosphere of the Cold War years, when what Kennedy himself called the “twilight struggle” between the United States and the Soviet Union was accompanied by the rapid growth of the American security state, which rested equally on paperwork and secrecy. Through the years of McCarthy, Sputnik and the quiz show scandals, paranoia was in the air.Kennedy’s killing was almost immediately folded into a narrative structure that had already surfaced in popular culture as well as politics, a mode of storytelling that treated public events as the expressions of secret plots. Richard Condon’s Cold War thriller “The Manchurian Candidate” (published in 1959 and adapted by Hollywood in 1962) and Thomas Pynchon’s shaggy-dog experimental whodunit “V.” are among the best-known pre-assassination examples of this paranoid style in American fiction. (The phrase “paranoid style” comes from an influential essay on political conspiratorialism by the Columbia University historian Richard Hofstadter, originally delivered as a lecture shortly before the assassination and published in Harper’s in 1964.)That same year, the Warren Commission Report emphatically concluded that Oswald was the sole shooter and the only party responsible for Kennedy’s killing. Yet the report did anything but close the case. Through the years that followed, the commission was subjected to a steady stream of revisionism and rebuttal, carried out first by journalists and politicians and later, perhaps more decisively, by novelists and filmmakers.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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      Activists Sent to Prison for Pouring Powder Over Case Holding U.S. Constitution

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      One climate activist was sentenced to 18 months in prison, the other to two years. They said that they had meant to draw attention to climate change.Two climate activists who dumped red powder over the display case that holds the U.S. Constitution at the National Archives Museum in February were each sentenced this week to more than a year in prison.Judge Amy Berman Jackson of U.S. District Court for the District of Columbia on Tuesday sentenced one activist, Jackson Green, 27, of Utah, to 18 months in prison to be followed by two years of supervised release.On Friday, Judge Jackson sentenced the other activist, Donald Zepeda, 35, of Maryland, to two years in prison with two years of supervised release.They must pay $58,607.59 in restitution to the National Archives, according to court records.In an episode that was captured on video, Mr. Green and Mr. Zepeda poured powder over the display case in the rotunda of the National Archives Museum on Feb. 14 in what prosecutors described as a “stunt” that was meant to draw attention to climate change.The two men also poured powder over themselves and stood in the rotunda, calling for solutions to climate change.The Constitution was not damaged, according to the National Archives Museum, which said that the powder was made of pigment and cornstarch.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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      F.D.I.C. Says Banks Need to Keep a Record of Their Fintech Customers

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      Banks holding customer funds for money management apps should keep track of customers’ identities and balances, the agency says.When a banking software company collapsed this spring, thousands of people keeping cash in online money management apps found themselves cut off from their own money for months. On Tuesday, the Federal Deposit Insurance Corporation proposed new rules designed to prevent that from happening again.Customers often choose to put money they would otherwise hold in a bank checking account into an online app. Some apps offer higher interest rates on deposits than traditional banks do, while others offer customers new saving and investing plans or small loans ahead of their paydays.But money that customers send to online financial companies almost always ends up in a brick-and-mortar bank — and sometimes it is pooled into a single account. Customers often do not know which bank has their money.Banks are under no obligation to keep track of the identity of fintech customers. The federal bank regulator’s proposal would require the banks to pay more attention.Traditional banks holding funds for fintech customers would have to know each person’s identity and keep daily tabs on their balances. They would have to make sure that, no matter what happened to the other companies in the chain linking customers to their funds, the banks had a record of those funds and could share their identities and balances with regulators.This change would also help if a bank at the end of one of those long chains of software companies were to fail, the regulators said on Tuesday. At present, it is hard for the F.D.I.C. to determine whose money is covered by the $250,000 deposit insurance guarantee.Senior F.D.I.C. officials said in a briefing held for journalists on Tuesday that while they had been contemplating such rules for years, the collapse this spring of Synapse Financial Technologies, which operated banking software for online lenders, provided a good real-world example of how customers could be harmed.When Synapse filed for bankruptcy and shut down its services, it said it had only $2 million in cash on hand. But customers who had funds at the online lenders Synapse supported were collectively cut off from $300 million of their own money. The F.D.I.C. said it had received more than 1,000 customer complaints related to Synapse since May.The banks that take deposits from fintech customers are often small institutions trying to grow. Their managers could complain about having to meet new record-keeping requirements. Regulators said on Tuesday that any new requirements would apply narrowly to banks taking the kinds of deposits that could get lost in a chain of software companies.There are other methods smaller banks use to swap deposits and increase their customers’ deposit insurance coverage that would not be affected by the new proposal, the regulators said.The proposal made Tuesday was the first step toward putting the new rules in place. Regulators now want banks and other members of the public to provide feedback to help shape it. More

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      The Woman Who Tried to Make Porn Safe for Feminism

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      How the archive of Candida Royalle, a porn star turned pioneering director, landed at Harvard — and inspired a new book challenging the conventional history of the sexual revolution.Harvard’s Schlesinger Library is the nation’s leading repository for women’s history, home to the papers of suffragists and social reformers, poets and politicians, the collective behind “Our Bodies, Ourselves” and iconic figures like Amelia Earhart, Angela Davis and Julia Child.But in its basement vaults, carefully preserved in a box, you can also find a rather different artifact: a costume from the 1978 pornographic comedy “Hot & Saucy Pizza Girls.”The movie, starring John C. Holmes as a pimp who oversees a prostitution ring masquerading as a pizza delivery service, was history-making in its own way, as one of the earliest examples of what became a classic trope — porn with pepperoni. But the costume is at the Schlesinger because of another name on the bill: Candida Royalle.Royalle, who died in 2015, was a minor celebrity in her day. She was a porn star from the 1970s golden age who moved to the other side of the camera, producing feminist erotica that focused on female fantasies, and female audiences.During the so-called sex wars of the 1980s, Royalle faced off against anti-porn feminists like Andrea Dworkin and Catharine MacKinnon, who dismissed women in the profession as stooges of the patriarchy. And in the 1990s, she became a godmother to the mediagenic sex-positive feminists riding feminism’s third wave.Today, Royalle’s name may ring few bells. But her voluminous archive is now housed at Harvard, where the trove of diaries, letters, photographs, scrapbooks, videos and memorabilia is opening up a new window onto the sexual revolution.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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      2 Charged After Pouring Red Powder Over Case Holding U.S. Constitution

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      Two activists poured the powder over the protective case at the National Archives Museum last month to call attention to climate change, prosecutors said.Two climate activists who dumped red powder over the display case that contains the U.S. Constitution at the National Archives Museum last month were charged on Thursday with destruction of government property, prosecutors said.The activists, Donald Zepeda, 35, of Maryland, and Jackson Green, 27, of Utah, poured the powder over the display case in the rotunda of the building on Feb. 14 as part of a “stunt, which was intended to draw attention to climate change,” the U.S. Attorney’s Office for the District of Columbia said in a statement on Friday.During the episode, which officials said was captured on video by supporters of Mr. Green, the two men also poured red powder over themselves and then stood before the Constitution as they called for solutions to climate change.The Constitution was not damaged, according to the National Archives Museum, which said that the powder was found to be a combination of pigment and cornstarch.“Fortunately, the four pages of the Constitution on display were not at risk for damage by this incident,” said Stephanie Hornbeck, a national preservation program officer.The rotunda was closed after the episode, which cost more than $50,000 to clean up, prosecutors said.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