Question: What was the projected second quarter growth rate revision

That put the seasonally adjusted annual rate at an estimated $1.08 trillion, the highest level since May 2008. The report also revised the June increase in construction spending to 0.7 percent, from 0.1 percent previously. Groundbreakings for houses, apartment complexes and commercial centers have helped improve overall economic growth. The government said last week that the economy expanded at an annual rate of 3.7 percent in the April-to-June quarter, after edging up just 0.6 percent in the first quarter. “We expect housing activity will continue to strengthen, underpinning greater residential investment in the coming quarters,” said Gregory Daco, head of United States macroeconomics at the forecasting firm Oxford Economics. After the construction spending report, analysts at Barclays projected that the economy was on track to grow 2.6 percent in the third quarter and that the second-quarter growth rate would be revised up to 3.8 percent.

Answer: up to 3.8 percent

That put the seasonally adjusted annual rate at an estimated $1.08 trillion, the highest level since May 2008. The report also revised the June increase in construction spending to 0.7 percent, from 0.1 percent previously. Groundbreakings for houses, apartment complexes and commercial centers have helped improve overall economic growth. The government said last week that the economy expanded at an annual rate of 3.7 percent in the April-to-June quarter, after edging up just 0.6 percent in the first quarter. “We expect housing activity will continue to strengthen, underpinning greater residential investment in the coming quarters,” said Gregory Daco, head of United States macroeconomics at the forecasting firm Oxford Economics. <hl> After the construction spending report, analysts at Barclays projected that the economy was on track to grow 2.6 percent in the third quarter and that the second-quarter growth rate would be revised up to 3.8 percent . <hl>

That put the seasonally adjusted annual rate at an estimated $1.08 trillion, the highest level since May 2008. The report also revised the June increase in construction spending to 0.7 percent, from 0.1 percent previously. Groundbreakings for houses, apartment complexes and commercial centers have helped improve overall economic growth. The government said last week that the economy expanded at an annual rate of 3.7 percent in the April-to-June quarter, after edging up just 0.6 percent in the first quarter. “We expect housing activity will continue to strengthen, underpinning greater residential investment in the coming quarters,” said Gregory Daco, head of United States macroeconomics at the forecasting firm Oxford Economics. After the construction spending report, analysts at Barclays projected that the economy was on track to grow 2.6 percent in the third quarter and that the second-quarter growth rate would be revised <hl> up to 3.8 percent <hl>.

After the construction spending report, analysts at Barclays projected that the economy was on track to grow 2.6 percent in the third quarter and that the second-quarter growth rate would be revised <hl> up to 3.8 percent <hl> .


Question: Who designed the "Jungle V.I.P" chandelier?

Moderne An organic and natural modern approach to furniture is on view at Moderne Gallery of Philadelphia, which is showing a sofa designed in 1968 by Wharton Esherick, a leading midcentury craftsman. Made of cherry and walnut, the biomorphic shape recalls sculptures by Alberto Giacometti, Barbara Hepworth and Henry Moore, and functions as both sculpture and sofa. When the wood along the back of the sofa expands because of temperature and humidity, it reveals red paint, creating a kind of striped effect. Friedman Benda Nature is corralled in a more humorous way by the Brazilian designers and brothers Humberto and Fernando Campana in their “Bolotas” (2015) chairs at Friedman Benda, near the entrance to the fair. “Bolotas” means “acorns” in Portuguese, and the chairs, covered with chestnut-colored sheep’s wool, do simulate the look of acorns, as well as of unshaven sheep, shag carpeting or bean bags. They are, nonetheless, shockingly comfortable. David Gill Arguably the goofiest object at Salon is the “Jungle V.I.P.” chandelier from 2014, designed by Barnaby Barford. Made with crystal, brass, sculpted foam and wire, the fixture hangs at a tilt, thanks to a black crystal monkey dangling from its rim. In another context, it might read like a sculpture by Maurizio Cattelan or any number of young artists given to sight gags. Like many of the objects in this show, however, the chandelier is a strong statement against taking art or design too seriously, and for mixing materials, histories, traditions and sensibilities as irreverently as possible.

Answer: Barnaby Barford

Moderne An organic and natural modern approach to furniture is on view at Moderne Gallery of Philadelphia, which is showing a sofa designed in 1968 by Wharton Esherick, a leading midcentury craftsman. Made of cherry and walnut, the biomorphic shape recalls sculptures by Alberto Giacometti, Barbara Hepworth and Henry Moore, and functions as both sculpture and sofa. When the wood along the back of the sofa expands because of temperature and humidity, it reveals red paint, creating a kind of striped effect. Friedman Benda Nature is corralled in a more humorous way by the Brazilian designers and brothers Humberto and Fernando Campana in their “Bolotas” (2015) chairs at Friedman Benda, near the entrance to the fair. “Bolotas” means “acorns” in Portuguese, and the chairs, covered with chestnut-colored sheep’s wool, do simulate the look of acorns, as well as of unshaven sheep, shag carpeting or bean bags. They are, nonetheless, shockingly comfortable. <hl> David Gill Arguably the goofiest object at Salon is the “Jungle V.I.P.” chandelier from 2014, designed by Barnaby Barford . <hl> Made with crystal, brass, sculpted foam and wire, the fixture hangs at a tilt, thanks to a black crystal monkey dangling from its rim. In another context, it might read like a sculpture by Maurizio Cattelan or any number of young artists given to sight gags. Like many of the objects in this show, however, the chandelier is a strong statement against taking art or design too seriously, and for mixing materials, histories, traditions and sensibilities as irreverently as possible.

Moderne An organic and natural modern approach to furniture is on view at Moderne Gallery of Philadelphia, which is showing a sofa designed in 1968 by Wharton Esherick, a leading midcentury craftsman. Made of cherry and walnut, the biomorphic shape recalls sculptures by Alberto Giacometti, Barbara Hepworth and Henry Moore, and functions as both sculpture and sofa. When the wood along the back of the sofa expands because of temperature and humidity, it reveals red paint, creating a kind of striped effect. Friedman Benda Nature is corralled in a more humorous way by the Brazilian designers and brothers Humberto and Fernando Campana in their “Bolotas” (2015) chairs at Friedman Benda, near the entrance to the fair. “Bolotas” means “acorns” in Portuguese, and the chairs, covered with chestnut-colored sheep’s wool, do simulate the look of acorns, as well as of unshaven sheep, shag carpeting or bean bags. They are, nonetheless, shockingly comfortable. David Gill Arguably the goofiest object at Salon is the “Jungle V.I.P.” chandelier from 2014, designed by <hl> Barnaby Barford <hl>. Made with crystal, brass, sculpted foam and wire, the fixture hangs at a tilt, thanks to a black crystal monkey dangling from its rim. In another context, it might read like a sculpture by Maurizio Cattelan or any number of young artists given to sight gags. Like many of the objects in this show, however, the chandelier is a strong statement against taking art or design too seriously, and for mixing materials, histories, traditions and sensibilities as irreverently as possible.

David Gill Arguably the goofiest object at Salon is the “Jungle V.I.P.” chandelier from 2014, designed by <hl> Barnaby Barford <hl> .


Question: How much did John Rakis spend on care for his mother-in-law?

She spent about $65,000 of her own money and her mother’s in the five years before her mother died. As for her mother’s money, by the time she died, “it was gone,” Ms. Olson said. John Rakis, a consultant in New York, spent more than $189,000 in less than two years for caregivers and other expenses for his mother-in-law, 92, who has dementia and lives in a housing project in Manhattan. He promised his wife, who died in January 2013, that he would take care of her mother. She left a portion of her life insurance and death benefit money to her mother, and Mr. Rakis spent it on her care. Until it was gone. “The money ran out in June,” Mr. Rakis said. “I was losing sleep.”

Answer: more than $189,000

She spent about $65,000 of her own money and her mother’s in the five years before her mother died. As for her mother’s money, by the time she died, “it was gone,” Ms. Olson said. <hl> John Rakis, a consultant in New York, spent more than $189,000 in less than two years for caregivers and other expenses for his mother-in-law, 92, who has dementia and lives in a housing project in Manhattan. <hl> He promised his wife, who died in January 2013, that he would take care of her mother. She left a portion of her life insurance and death benefit money to her mother, and Mr. Rakis spent it on her care. Until it was gone. “The money ran out in June,” Mr. Rakis said. “I was losing sleep.”

She spent about $65,000 of her own money and her mother’s in the five years before her mother died. As for her mother’s money, by the time she died, “it was gone,” Ms. Olson said. John Rakis, a consultant in New York, spent <hl> more than $189,000 <hl> in less than two years for caregivers and other expenses for his mother-in-law, 92, who has dementia and lives in a housing project in Manhattan. He promised his wife, who died in January 2013, that he would take care of her mother. She left a portion of her life insurance and death benefit money to her mother, and Mr. Rakis spent it on her care. Until it was gone. “The money ran out in June,” Mr. Rakis said. “I was losing sleep.”


Question: Who worked on a book on civil procedure?

RBG: Justice O’Connor once said: “Suppose there had been no discrimination when we finished law school. We’d be retired partners from large law firms today.” She got her first job working for free for a county attorney, and she was very high in her class at Stanford. GS: The great thing about obstacles is that they cause you to identify with other groups of people who are facing obstacles. PG: When did you start thinking seriously about women’s equality? RBG: When I was working on a book about civil procedure in Sweden, in 1962 and ’63. GS: For which she learned Swedish. Is that not incredible?

Answer: RBG

<hl> RBG : Justice O’Connor once said: “Suppose there had been no discrimination when we finished law school. <hl> We’d be retired partners from large law firms today.” She got her first job working for free for a county attorney, and she was very high in her class at Stanford. GS: The great thing about obstacles is that they cause you to identify with other groups of people who are facing obstacles. PG: When did you start thinking seriously about women’s equality? RBG: When I was working on a book about civil procedure in Sweden, in 1962 and ’63. GS: For which she learned Swedish. Is that not incredible?

<hl> RBG <hl>: Justice O’Connor once said: “Suppose there had been no discrimination when we finished law school. We’d be retired partners from large law firms today.” She got her first job working for free for a county attorney, and she was very high in her class at Stanford. GS: The great thing about obstacles is that they cause you to identify with other groups of people who are facing obstacles. PG: When did you start thinking seriously about women’s equality? RBG: When I was working on a book about civil procedure in Sweden, in 1962 and ’63. GS: For which she learned Swedish. Is that not incredible?

<hl> RBG <hl> : Justice O’Connor once said: “Suppose there had been no discrimination when we finished law school.