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      Audience Snapshot: Four Years After Shutdown, a Mixed Recovery

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      Covid brought live performance to a halt. Now the audience for pop concerts and sporting events has roared back, while attendance on Broadway and at some major museums is still down.It was four years ago — on March 12, 2020 — that the coronavirus brought the curtain down on Broadway for what was initially supposed to be a monthlong shutdown, but which wound up lasting a year and a half.The pandemic brought live events and big gatherings to a halt, silencing orchestras, shutting museums and movie theaters and leaving sports teams playing to empty stadiums dotted with cardboard cutouts.Now, four years later, audiences are coming back, but the recovery has been uneven. Here is a snapshot of where things stand now:Broadway audiences are still down 17 percent from prepandemic levels.On Broadway, overall attendance is still down about 17 percent: 9.3 million seats have been filled in the current season as of March 3, down from 11.1 million at the same point in 2020. Box office grosses are down, too: Broadway shows have grossed $1.2 billion so far this season, 14 percent below the level in early March of 2020.Broadway has always had more flops than successes, and the post-pandemic period has been challenging for producers and investors, especially those involved in new musicals. Three pop productions that have opened since the pandemic — “Six,” about the wives of King Henry VIII, “MJ,” about Michael Jackson and “& Juliet,” which imagines an alternate history for Shakespeare’s tragic heroine — are ongoing hits, but far more musicals have flamed out. The industry is looking with some trepidation toward next month, when a large crop of new shows is set to open.Many nonprofit theaters around the country are also struggling — attracting fewer subscribers and producing fewer shows — and some have closed. One bright spot has been the touring Broadway market, which has been booming.— More

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      Philadelphia Orchestra’s Home to Be Renamed Marian Anderson Hall

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      Because of a $25 million gift, the venue, Verizon Hall, will be renamed to honor Anderson, a pioneering Black opera singer.Marian Anderson, the renowned contralto and civil rights figure who broke racial barriers in the arts and helped pave the way for other Black artists, is being honored in her hometown, Philadelphia.The Philadelphia Orchestra’s home will be renamed Marian Anderson Hall in recognition of a $25 million gift in her honor, the ensemble announced on Wednesday.Anderson, who was born in Philadelphia in 1897 and died in 1993, became the first Black singer to perform a leading role at the Metropolitan Opera in 1955, at a time when Black artists in the United States faced rampant racial discrimination.Matías Tarnopolsky, the president and chief executive of the Philadelphia Orchestra and the Kimmel Center, which oversees what is now known as Verizon Hall, said in an interview that Anderson was an “extraordinary artist who used her artistry fearlessly in the fight for civil rights.”“We hope to inspire everyone who comes through our doors with this idea that the arts are a transformative force for good in the world,” he said. “We also want to show through this gesture that everyone is welcome.”The naming rights for the hall expired in January. (Verizon contributed $14.5 million through its foundation to the construction of the Kimmel Center, which opened in 2001.)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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      How Do You Get Acoustic Instruments to Play Electronic Music?

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      The composer Matthew Sheeran, brother of the pop star Ed Sheeran, discusses how he translated microtonal electronic music for a chamber orchestra.If you start at the middle C of a piano and strike every key on your way up to the next C on the keyboard, you will play each of the 12 notes that make up an octave. Those 12 semitones are the foundation of most Western music.But what if they were not? What if that same octave were equally divided into 14 tones, or 16? What if Beethoven had written the “Eroica” Symphony with a scale of 19 notes, or Schoenberg had written tone rows with 23? What would their music sound like?Those were the questions that the composer Easley Blackwood Jr., a pillar of the Chicago new music community who died last year, asked in his “Twelve Microtonal Etudes for Electronic Music Media” (1979-80). Composed for a project funded by the National Endowment for the Humanities, each of Blackwood’s “Etudes” shows off the qualities of different, often alien microtonal octaves.It was an endeavor that took Blackwood, a composer of predominantly atonal music, in an odd new direction, said James Ginsburg, the founder and president of Cedille Records, which has released recordings of many of Blackwood’s works, including the “Etudes.”“He became so fascinated with tonal writing through writing for other tunings,” Ginsburg recalled, “that after he did this, he suddenly changed gears as a composer, and started writing everything tonally.”Blackwood recorded the “Etudes” on a synthesizer, and performing them live on acoustic instruments was practically impossible. But technology has evolved, and a new recording on Cedille, “Acoustic Microtonal,” illustrates to astonishing effect what this music might sound like if it were played by a chamber orchestra.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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      These Keyboard Musicians Are Thinking Beyond the Piano

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      Phyllis Chen began studying the piano at age 5, learning from a strict, traditional teacher who taught her the standard repertoire. She was a passionate musician, but sometimes wondered how much of her playing was artistic, rather than purely athletic.“I never found it to be entirely fulfilling,” Chen said in a video interview. “I always thought there was something missing.”Chen, 45, was pursuing graduate studies at Indiana University when she first encountered the toy piano, an instrument with a brittle, xylophone-like sound usually around 20 inches long, with a range of three octaves. Her teacher, the virtuoso pianist André Watts, was a Liszt specialist but encouraged her to pursue her own interests.Once, Watts tried Chen’s toy piano; the keys were so small and his hands so big that he struggled to play a single note at a time. But for her, playing the unusual instrument was liberating. “I was very excited to be able to explore without all of the traditional boundaries being tied to it,” she said. “No one was going to tell me: ‘This is the canon of works. This is how it needs to be played.’”She is among the growing number of keyboardists expanding their practice beyond the modern piano — that instrument so central to classical music, with its large and historically important repertoire, orchestral heft and essential role in teaching. But for these pianists, learning to play other keyboards has been invigorating. On these less prominent instruments, they have explored unfamiliar timbral terrain, re-examined their approaches to canonical works and created new repertoire. They return to the modern piano with greater aural and tactile sensitivity, feeling a renewed sense of freedom and purpose at the instrument.Chen was a founding member of the International Contemporary Ensemble in 2001. A few years later, she was extremely busy, traveling between New York and Chicago to perform and attending university in Bloomington, Ind., when she got tendinitis in both arms.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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      5 Classical Music Albums You Can Listen to Right Now

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      Igor Levit’s response to tragedy, Ethan Iverson’s first piano sonata and a personal recording by Gidon Kremer are among the highlights.‘Lieder Ohne Worte’Igor Levit, piano (Sony)Music doesn’t have the power to end wars. Peace, said Daniel Barenboim, whose West-Eastern Divan Orchestra brings together Israeli and Palestinian artists, “needs something else.”But that doesn’t mean musicians are powerless. On this album, recorded and released with white-heat urgency following the latest conflict in Israel and Gaza, Igor Levit documents a personal reaction while using his platform as a star pianist to support two organizations against antisemitism that are based in Berlin, where he lives.In the past, Levit has been accused of opportunistic political posturing, but his philanthropic projects have been virtually apolitical — and too substantial to dismiss. Early in the pandemic, he spun his “house concert” livestreams into a marathon of Satie’s “Vexations” that raised money for artist relief. And this album’s proceeds will go directly to the Berlin organizations.Levit wanted to record selections from Mendelssohn’s “Lieder Ohne Worte,” or “Songs Without Words,” because, he has said, “there is a certain melancholy about them which really helped me a bit.” That doleful mood pervades these interpretations: a sadly beautiful tone; an emotional climax that evaporates rather than reaching a resolution; a heartbreakingly simple plunk of high keys.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?  More

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      The Life and Courage of Daniel Ellsberg, ‘a True American Hero’

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      More from our inbox:Setbacks in the Fight Against Maternal MortalityA Trump Victory in 2024 Would Be ‘a Dark Day for Us All’‘A Small Slice of Hope’Diversity in OrchestrasDaniel Ellsberg and his wife, Patricia. His disclosure in 1971 of the Pentagon Papers and its fallout left a stamp on history that defined the bulk of his life.Donal F. Holway/The New York TimesTo the Editor:Re “Daniel Ellsberg, 1931-2023: Whistleblower Who Unveiled U.S. Deceit in Pentagon Papers” (obituary, front page, June 17):Thank you for the excellent obituary recounting the life, career and legacy of Daniel Ellsberg.I had the pleasure and honor of meeting Mr. Ellsberg in 2010 during one of the Portland, Ore., screenings of the documentary film about him, “The Most Dangerous Man in America.”After the Q. and A., I approached him and began to thank him, but even as I was about to tell him that I was born in Saigon during the Tet offensive of 1968, I began to lose my composure and eventually broke down in front of the entire crowd.Through my tears, gasps for air and apologies, I tried to convey my gratitude for a life that might have been drastically altered if it were not for his acts of courage, which I believe helped bring about the end of U.S. involvement in Vietnam. With a patient smile, one palm gently placed on my shoulder, and the other still engaged in our handshake, he whispered his response, “Thank you.”It’s impossible to know where I would have ended up as the half-American child of a U.S. soldier if the U.S. had not gotten out of Vietnam a couple of years after the Pentagon Papers were released.Where would my mother and I have found ourselves, as well as those thousands of U.S. service personnel and millions of refugees and noncombatants whose destinies were tethered to the clandestine decisions of bureaucrats, politicians and war planners?It’s really hard to calculate, but fortunately in part because of Mr. Ellsberg, I’ll never have to do the math.Mien YockmannVancouver, Wash.To the Editor:The obituary of Daniel Ellsberg is a heroic story of courage, character and determination, when those virtues are sorely missing on the current American political scene. His efforts leaked the story of government deception and led to a Supreme Court decision in favor of a free, uncensored press, and to the Watergate crimes and the fall of President Richard Nixon.What a difference between Mr. Ellsberg’s unauthorized possession of classified documents and that of our ex-president, who did not risk his freedom for the American people, but for his vulgar self-interest.Robert S. AprilNew YorkTo the Editor:Thanks for your excellent obituary of Daniel Ellsberg. His speaking truth to power has been a powerful gift to humanity!I was a good friend of Dan’s and had the privilege of being arrested and going to jail with him for protesting nuclear weapons and the wars in Central America, Iraq and Afghanistan. He devoted his life to speaking out and acting to prevent and stop wars and the suicidal nuclear arms race.Preparing for and threatening nuclear war is unconscionable. Inspired by Dan’s life, we need to step up to the plate and work to stop this crime against humanity before it is too late. Hopefully others will be inspired by Dan’s courage to become whistleblowers and speak truth in the face of the lies and half-truths by politicians and the mass media.Thanks, Dan, for inspiring us to continue the good work you had been doing.David HartsoughSan FranciscoThe writer is a co-founder of World Beyond War and Nonviolent Peaceforce.To the Editor:As I read about Daniel Ellsberg, my first reaction was gratitude. A man willing to speak truth to power, whatever cost he might personally pay. A true American hero. One can only wish there were more like him today.Lisa DickiesonWashingtonSetbacks in the Fight Against Maternal MortalityYeabu Kargbo, 19, rests post-delivery at a rural health center in northern Sierra Leone.Photographs by Malin Fezehai for The New York TimesTo the Editor:Re “Sierra Leone Is Giving Me Hope,” by Nicholas Kristof (column, June 4):Mr. Kristof is right to highlight the achievements in improving maternal and child health and reducing extreme poverty. Too much “doom and gloom” can mask all the good we have achieved and can drive donor fatigue and complacency.Yet even as we celebrate those achievements, the combination of Covid-19, humanitarian crises, climate change and the rising cost of living have been rolling back progress. The decline in maternal deaths by an average of 2.7 percent per year between 2000 and 2015 has paused: Maternal mortality did not decline globally between 2016 and 2020.Donor aid for reproductive, maternal, newborn and child health, which shot up by 10 percent from 2016 to 2017, has been on a downward trend, with a 2.3 percent decline between 2019 and 2021.And still today, seven of every 10 maternal deaths are in Africa, and Black women in America are almost three times more likely to die in childbirth than non-Hispanic white women.We can be proud of progress earlier this century, but a series of crises has shown us how fragile that was. We need new commitments, action and strong advocacy to reverse the recent negative trends.Helen ClarkAuckland, New ZealandThe writer is a former prime minister of New Zealand and the chair of the Partnership for Maternal, Newborn and Child Health.A Trump Victory in 2024 Would Be ‘a Dark Day for Us All’ Doug Mills/The New York TimesTo the Editor:Re “Trump Allies Plan to Stifle Justice Dept.” (front page, June 16):For me, the scariest thing about the former president’s candidacy is not Donald Trump himself — there have always been demagogues in American politics. Nor is it the craven politicians who enable his anti-American views for their own gain, or even the tens of millions of Americans who fervently support these views. The scariest thing is the quiet preparation in the Republican Party to take actions based on these views if Mr. Trump becomes president again.Last time, Mr. Trump chose underlings like Jeff Sessions and William Barr — well-known figures who possessed at least a shred of honor, and who refused his most extreme demands. He won’t make that mistake if elected a second time.Mr. Trump has always brought out the worst in people, and he has bent and twisted the Republican Party into something unrecognizable. A Trump victory in 2024 would allow him similarly to twist all of America into something nightmarish. It would be a dark day for us all.Tim ShawCambridge, Mass.‘A Small Slice of Hope’A photograph taken with a prism lens of a television image of Donald Trump after his federal court arraignment. Damon Winter/The New York TimesTo the Editor:Re “I Won’t Let Trump Invade My Brain,” by David Brooks (column, June 16):It is difficult to retain a sense of optimism about the future these days when surrounded by the narcissism of our politicians, the angry voices of our fellow citizens and our decaying planet.Mr. Brooks’s column brought me some comfort and a small slice of hope that maybe there are still enough of us who believe in ethical behavior and a real commitment to the common good that there is some hope for our planet and our collective future.Chris HarringtonPortland, Ore.Diversity in OrchestrasSaul Martinez for The New York TimesTo the Editor:Re “Diversity Improves, but Not for All” (Arts, June 17):So orchestras are now eager to find more Black players? For generations, while these orchestras were using cronyistic and outright discriminatory hiring practices, Black musicians found greater meaning and commercial success in their own traditions, from the blues and jazz to soul and hip-hop.If orchestras are now truly intent on supporting Black Americans, rather than simply making their own enterprises appear more visibly inclusive, perhaps they could consider programming more Black music.Ben GivanSaratoga Springs, N.Y.The writer is an associate professor of music at Skidmore College. More

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      Our Latest Covid Poll

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      Americans on the left end of the political spectrum have become less anxious about Covid.Almost six months ago, when my Morning colleagues and I released our last poll about Covid, the deep anxiety among Americans identifying as “very liberal” was one of the main findings.Forty-seven percent of very liberal adults said that they believed Covid presented a “great risk” to their own personal health and well-being. That was a significantly larger share than among conservatives, moderates or even liberals who stopped short of calling themselves very liberal. Particularly striking was the level of concern among liberals under age 45, even though the virus’s worst effects have been concentrated among older people.I understand why attitudes about the virus vary so sharply by ideology. Our country is polarized on most high-profile issues today. In the case of Covid, Donald Trump and some other Republicans exacerbated the divide by making a series of false statements that downplayed the threat or misrepresented the vaccines.To many liberals, taking Covid seriously — more seriously, at times, than the scientific evidence justified — became an expression of identity and solidarity. As one progressive activist tweeted last year, “The inconvenience of having to wear a mask is more than worth it to have people not think I’m a conservative.”This morning, we’re releasing the results of our latest Covid poll (which, like the earlier ones, was conducted by Morning Consult). This time, one of the central findings is how much attitudes have changed since the spring. Americans are less worried about the virus today — and driving that decline is the receding level of anxiety among the very liberal, including many younger adults.The share of the very liberal who say the virus presents a great risk to their own personal health has fallen to 34 percent. The 13-point drop since March was larger than the drop among any of the six other ideological self-identifications in the poll:Share of adults who say Covid presents a great personal risk More

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      The Accusations Against Scott Stringer

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      [Want to get New York Today by email? Here’s the sign-up.]It’s Monday. Weather: Chance of an early sprinkle, then gradually clearing. High in the mid-60s. Alternate-side parking: In effect until Thursday (Solemnity of the Ascension and Eid al-Fitr). Sarah Blesener for The New York TimesLess than two weeks ago, the mayoral campaign of Scott M. Stringer, the New York City comptroller, appeared to be on the upswing.But on April 28, a woman who had worked unpaid on Mr. Stringer’s unsuccessful 2001 campaign for public advocate, Jean Kim, accused him of sexual misconduct, upending the mayor’s race some eight weeks before the June 22 primary.During an interview with my colleague Katie Glueck last week, Ms. Kim, shown above, described several advances that she said were unwanted.[Mr. Stringer has denied allegations that he misused his position of power with Ms. Kim.]The allegationsMs. Kim moved to New York in 1998, she said, and later became active in a political club, the Community Free Democrats, that Mr. Stringer was also involved in. In 2001, she took an unpaid role in Mr. Stringer’s unsuccessful campaign for public advocate.In a cab that summer, Ms. Kim said, Mr. Stringer grazed her knee. He touched her leg again — it was “a little bit more insistent”— a few weeks later as they shared another cab, she said.About a week before the scheduled primary in September, Ms. Kim said, Mr. Stringer kissed her at a bar. Ms. Kim said she tensed up, then Mr. Stringer kissed her again more passionately.Days later, Ms. Kim said, she shared one more cab ride with Mr. Stringer, during which he made more advances, asking why she would not have sex with him.“He constantly reminded me of his power by saying things like, ‘You want me to make a phone call for you to change your life,’ ‘You want me to make you the first Asian district leader,’” Ms. Kim said. “There was no doubt in my mind that he was powerful and he could make or break me.”The responseMr. Stringer has denied making unwanted sexual advances.He said he never suggested he could give Ms. Kim a political position.“Virtually every one of my friends volunteered on the campaign,” Mr. Stringer said in a statement. “There was no sense in which they were subordinates. While I obviously can’t speak to how any individual felt, I don’t think most people who were part of our social circle would say there was a power dynamic at play.”Mr. Stringer said Ms. Kim’s description of unwanted advances amounted to “a fundamental distortion of what happened.”He offered an account of what he has said was a consensual relationship.“I would estimate that on at least a dozen occasions over four to five months, an evening out ended with us kissing,” he said.Ms. Kim denied that she and Mr. Stringer ever had a consensual relationship.From The TimesA Photographer Captures ‘Generation Covid’No Scrum for Seats. No Quiet-Car Brawls. Is This Really My Commute?After Times Square Shooting, Adams and Yang Stress Support for N.Y.P.D.Who’s the ‘Comeback’ Candidate? 5 Takeaways from the Mayor’s Race.Want more news? Check out our full coverage.The Mini Crossword: Here is today’s puzzle.What we’re readingA right-wing Brooklyn radio host running for New York City Council pleaded guilty to directing a crowd to attack a journalist. [Gothamist]The head of New York City Transit said she expected that the subways will be safer after ridership numbers rise. [N.Y. Post]A 28-year-old man walked into a police station and confessed to killing his mother in her Queens home, police said. [NBC New York].css-1xzcza9{list-style-type:disc;padding-inline-start:1em;}.css-3btd0c{font-family:nyt-franklin,helvetica,arial,sans-serif;font-size:1rem;line-height:1.375rem;color:#333;margin-bottom:0.78125rem;}@media (min-width:740px){.css-3btd0c{font-size:1.0625rem;line-height:1.5rem;margin-bottom:0.9375rem;}}.css-3btd0c strong{font-weight:600;}.css-3btd0c em{font-style:italic;}.css-w739ur{margin:0 auto 5px;font-family:nyt-franklin,helvetica,arial,sans-serif;font-weight:700;font-size:1.125rem;line-height:1.3125rem;color:#121212;}#NYT_BELOW_MAIN_CONTENT_REGION .css-w739ur{font-family:nyt-cheltenham,georgia,’times new roman’,times,serif;font-weight:700;font-size:1.375rem;line-height:1.625rem;}@media (min-width:740px){#NYT_BELOW_MAIN_CONTENT_REGION .css-w739ur{font-size:1.6875rem;line-height:1.875rem;}}@media (min-width:740px){.css-w739ur{font-size:1.25rem;line-height:1.4375rem;}}.css-1dg6kl4{margin-top:5px;margin-bottom:15px;}#masthead-bar-one{display:none;}#masthead-bar-one{display:none;}.css-12vbvwq{background-color:white;border:1px solid #e2e2e2;width:calc(100% – 40px);max-width:600px;margin:1.5rem auto 1.9rem;padding:15px;box-sizing:border-box;}@media (min-width:740px){.css-12vbvwq{padding:20px;width:100%;}}.css-12vbvwq:focus{outline:1px solid #e2e2e2;}#NYT_BELOW_MAIN_CONTENT_REGION .css-12vbvwq{border:none;padding:10px 0 0;border-top:2px solid #121212;}.css-12vbvwq[data-truncated] .css-rdoyk0{-webkit-transform:rotate(0deg);-ms-transform:rotate(0deg);transform:rotate(0deg);}.css-12vbvwq[data-truncated] .css-eb027h{max-height:300px;overflow:hidden;-webkit-transition:none;transition:none;}.css-12vbvwq[data-truncated] .css-5gimkt:after{content:’See more’;}.css-12vbvwq[data-truncated] .css-6mllg9{opacity:1;}.css-1rh1sk1{margin:0 auto;overflow:hidden;}.css-1rh1sk1 strong{font-weight:700;}.css-1rh1sk1 em{font-style:italic;}.css-1rh1sk1 a{color:#326891;-webkit-text-decoration:underline;text-decoration:underline;text-underline-offset:1px;-webkit-text-decoration-thickness:1px;text-decoration-thickness:1px;-webkit-text-decoration-color:#ccd9e3;text-decoration-color:#ccd9e3;}.css-1rh1sk1 a:visited{color:#333;-webkit-text-decoration-color:#ccc;text-decoration-color:#ccc;}.css-1rh1sk1 a:hover{-webkit-text-decoration:none;text-decoration:none;}And finally: The New York Philharmonic’s new reality The Times’s Zachary Woolfe writes:There are no seats at the moment in David Geffen Hall, the New York Philharmonic’s home at Lincoln Center. There is no lobby, no stage, no stairs. The theater — currently in the midst of a long-delayed renovation — is a raw shell of concrete and steel; the only music within it, the shouts of workers and the deafening screech of metal being sawed.If some part of us believes that life over the past 14 months has been waiting to be resumed more or less intact — on ice, just needing a thaw — the gutted Geffen speaks to the other part, the sense that things have fundamentally changed, or should.Late Friday afternoon, the Philharmonic was in an empty lot at Domino Park, on the Brooklyn waterfront just north of the Williamsburg Bridge, making a rough, modest sketch of some of those changes. As construction continues at its hall, the orchestra has produced a sequel to its mobile Bandwagon program, an avatar of a more nimble, responsive, community-connected organization. With performances now staged from a shipping container, it will travel over the remaining weekends of May for three-day stints in parks in Upper Manhattan, the Bronx and Queens.This reflects a new sense of how our large legacy classical arts institutions should interact with their cities. Those interactions are not new for opera companies and orchestras, but they’ve often had a permeating sense of noblesse oblige: The big symphony deigns to play at an acoustically subpar neighborhood high school or community center, and expects community organizations to bring in a local (read: diverse) audience. (This comes complete with a moralizing whiff of the “elevating power of classical music” and such.)It’s Monday — hit the road.Metropolitan Diary: Gaming away Dear Diary:I was on a downtown No. 1. The young man across from me was furiously playing a game on his phone and didn’t notice when one of his gloves dropped to the floor.An older man who was sitting next to the young man picked up the glove and held it out to him, but he was so absorbed in his game that he still didn’t notice.The older man balanced the glove on the young man’s knee. A few minutes later, it fell to the floor again and, again, he didn’t notice.By this time, the older man was standing by the doors and waiting to exit the train. He leaned toward the young man.“Your glove is on the floor,” he said loudly while pointing.Without looking up from his screen, the young man reached down and picked up the glove.“Thank you,” he said, eyes still on the screen. “Appreciate it.”The older man looked toward me, rolled his eyes and smiled.— Elisabeth LadensonNew York Today is published weekdays around 6 a.m. Sign up here to get it by email. You can also find it at nytoday.com.What would you like to see more (or less) of? Email us: nytoday@nytimes.com. More