From the New England Journal of Medicine (February 13, 2020):
In our opinion, the current recommendation to greatly increase consumption of dairy foods to 3 or more servings per day does not appear to be justified…When consumption of milk is low, the two nutrients of primary concern, calcium and vitamin D (which is of particular concern at higher latitudes), be obtained from other foods or supplements without the potential negative consequences of dairy foods.
For calcium, alternative dietary sources include kale, broccoli, tofu, nuts, beans, and fortified orange juice for vitamin D, supplements can provide adequate intake at far lower cost than fortified milk. Pending additional research, guidelines for milk and equivalent dairy foods ideally should designate an acceptable intake (such as 0 to 2 servings per day for adults), deemphasize reduced-fat milk as preferable to whole milk, and discourage consumption of sugar-sweetened dairy foods in populations with high rates of overweight and obesity.
For adults, the overall evidence does not support high dairy consumption for reduction of fractures, which has been a primary justification for current U.S. recommendations. Moreover, total dairy consumption has not been clearly related to weight control or to risks of diabetes and cardiovascular disease. High consumption of dairy foods is likely to increase the risks of prostate cancer and possibly endometrial cancer but reduce the risk of colorectal cancer.
Painting Edo — the largest exhibition ever presented at the Harvard Art Museums — offers a window onto the supremely rich visual culture of Japan’s early modern era. Selected from the unparalleled collection of Robert S. and Betsy G. Feinberg, the more than 120 works in the exhibition connect visitors with a seminal moment in the history of Japan, as the country settled into an era of peace under the warrior government of the shoguns and opened its doors to greater engagement with the outside world. The dizzying array of artistic lineages and studios active during the Edo period (1615–1868) fueled an immense expansion of Japanese pictorial culture that reverberated not only at home, but subsequently in the history of painting in the West.
Wes Anderson’s new movie, “The French Dispatch,” which will open this summer, is about the doings of a fictional weekly magazine that looks an awful lot like—and was, in fact, inspired by—The New Yorker. The editor and writers of this fictional magazine, and the stories it publishes—three of which are dramatized in the film—are also loosely inspired by The New Yorker. Anderson has been a New Yorker devotee since he was a teen-ager, and has even amassed a vast collection of bound volumes of the magazine, going back to the nineteen-forties. That he has placed his fictional magazine in a made-up French metropolis (it’s called Ennui-sur-Blasé), at some point midway through the last century, only makes connecting the dots between “The French Dispatch” and The New Yorker that much more delightful.
Beginning in the early 1960s, Peter Saul began to incorporate imagery borrowed from a range of pop-cultural sources into his exuberant, brightly colored paintings, adopting a style that has proven to be far ahead of its time. His work developed independently from concurrent art historical movements like Pop art, with which it shares some superficially similar concerns. Instead of the cool detachment of Andy Warhol and Roy Lichtenstein, however, Saul crafted his own unique blend of Surrealism, history painting, vernacular illustration, and the real-life shock and horror of current events.
Hear the latest from the world of science, brought to you by Nick Howe and Shamini Bundell. This week, uncovering the structure of materials with useful properties, and quantum entanglement over long distances.
Every artist needs to learn and master the still life. Written by a well-known artist and expert instructor, The Art of Still Life offers a comprehensive, contemporary approach to the subject that instructs artists on the foundation basics and advanced techniques they need for successful drawing and painting. 
manual and a visual treasure trove of some of the finest still life art throughout history and being created today.
In this analysis of commercially insured patients who had undergone elective surgery with an in-network surgeon at an in-network facility, approximately 1 in 5 received an out-of-network bill, with a mean potential balance bill of $2011.
Script: Iva Tasic
The Hudson Italia is an automobile styling study and a limited production two-door compact coupé that was produced by the Hudson Motor Car Company of Detroit, Michigan, in cooperation with Carrozzeria Touring of Italy, and subsequently marketed by American Motors Corporation during the 1954 and 1955 model years. Designed by Frank Spring with input from Carlo Felice Bianchi Anderloni of Carrozzeria Touring, and introduced 14 January 1954,
Boomers Daily 