Trump nominee to lead National Institutes of Health questioned on funding cuts, vaccines

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By LAURAN NEERGAARD

WASHINGTON (AP) — A health economist who once famously clashed with officials at the National Institutes of Health and now is the nominee to lead the agency faced questions from senators from both parties Wednesday about drastic funding cuts and research priorities.

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Dr. Jay Bhattacharya, a Stanford University professor, was an outspoken critic of the government’s COVID-19 shutdowns and vaccine policies. Now he’s poised to become director of the NIH, long called the government’s crown jewel, as it faces mass firings and drastic funding cutbacks.

“I love the NIH but post-pandemic, America’s biomedical sciences are at a crossroads,” Bhattacharya told senators.

He laid out priorities including a bigger focus on chronic diseases, including diabetes and obesity. But he also said the agency needs to be more open to scientific dissent, saying influential NIH leaders early in the pandemic shut down his own criticisms about responses to COVID-19.

While Republicans warmly welcomed Bhattacharya, Sen. Bill Cassidy of Louisiana, who chairs the Senate health committee, pressed him about vaccine skepticism that is fueling a large measles outbreak that already killed a child in Texas.

Cassidy strenuously urged Bhattacharya not to waste NIH dollars reexamining whether there’s a link between standard childhood vaccines and autism. There’s no link — something that’s already been proven in multiple studies involving thousands of children, the senator stressed.

Bhattacharya called the measles death a tragedy and said he “fully supported” children being vaccinated but added that additional research might convince skeptical parents.

“People still think Elvis is alive,” a frustrated Cassidy responded. He told Bhattacharya any attempt to revisit the debunked issue would deprive funds to study autism’s real cause.

Some Senators, including Sen. Susan Collins, a Republican from Maine, and Tammy Baldwin, a Democrat from Wisconsin, expressed deep frustration that turmoil at the nation’s largest funder of medical research — mass firings and funding cuts and freezes — threatens the development of cures and new treatments for cancer, Alzheimer’s disease and host of other disorders. They pushed Bhattacharya about how he’d reverse those losses, including one set of funding cuts — currently paused by a federal judge — that they said is forbidden by a congressional spending law.

Bhattacharya said he’d had no part in those cuts and if confirmed as NIH’s director, he’d look carefully at the concerns to make sure researchers “have the resources they need.” He also said some of the Trump administration’s cuts are a signal of distrust of science.

Until recently, the $48 billion NIH had strong bipartisan support. NIH scientists conduct cutting-edge research at its 27 institutes specializing in diseases including cancer, chronic illnesses such as heart, lung and kidney disease, aging and Alzheimer’s. Most of the agency’s budget is dispersed to universities, hospitals and other research groups through highly competitive grants to conduct everything from basic research to clinical trials.

NIH-funded research has played a part in the development of most treatments approved in the U.S. in recent years.

Bhattacharya gained public attention as one of three authors of the Great Barrington Declaration, an October 2020 open letter maintaining that pandemic shutdowns were causing irreparable harm and argued that people at low risk of COVID-19 should live normally while building up immunity through infection.

At the time — before vaccinations had begun – that view was embraced by some in the first Trump administration but was widely denounced by infectious disease experts. Then- NIH director Dr. Francis Collins called it dangerous and “not mainstream science.”

Bhattacharya became a plaintiff in a Supreme Court case, Murthy v. Missouri, arguing he was “unfairly censored” on social media as part of government efforts to combat misinformation. While the case gained national attention, it was ultimately unsuccessful in a 6-3 ruling.

Bhattacharya, who will face a vote of the full Senate at a later date, holds a medical degree but is not a practicing physician. His own research on the economics of health care has been funded by the NIH.

The Associated Press Health and Science Department receives support from the Howard Hughes Medical Institute’s Science and Educational Media Group and the Robert Wood Johnson Foundation. The AP is solely responsible for all content.

CDC invites back about 180 fired employees, including some who help fight outbreaks

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By MIKE STOBBE

NEW YORK (AP) — The nation’s top public health agency is inviting about 180 employees back to work, about two weeks after laying them off.

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Emails went out Tuesday to some Centers for Disease Control and Prevention probationary employees who got termination notices last month, according to current and former CDC employees.

A message seen by the AP was sent with the subject line, “Read this e-mail immediately.” It said that “after further review and consideration,” a Feb. 15 termination notice has been rescinded and the employee was cleared to return to work on Wednesday. “You should return to duty under your previous work schedule. We apologize for any disruption that this may have caused,” it said.

About 180 people received reinstatement emails, according to two federal health officials who were briefed on the tally but were not authorized to discuss it and spoke on condition of anonymity.

It’s not clear how many of them returned to work Wednesday. And it’s also unclear whether the employees would be spared from further widespread job cuts that are expected soon across government agencies.

The CDC is the latest federal agency trying to coax back workers soon after they were dismissed as part of President Donald Trump’s and billionaire Elon Musk’s cost-cutting purge. Similar reversals have been made among employees responsible for medical device oversight, food safety, bird flu response, nuclear weapons and national parks.

The Atlanta-based CDC is charged with protecting Americans from outbreaks and other public health threats. Before the job cuts, the agency had about 13,000 employees.

FILE – A sign marks the entrance to the federal Centers for Disease Control and Prevention (CDC) in Atlanta, on Oct. 8, 2013. (AP Photo/David Goldman, File)

Last month, Trump administration officials told the CDC that nearly 1,300 of the agency’s probationary employees would be let go. That tally quickly changed, as the number who actually got termination notices turned out to be 700 to 750.

With 180 more people now being told they can return, the actual number of CDC employees terminated so far would seem to stand somewhere around 550. But federal health officials haven’t confirmed any specifics.

Health and Human Services Secretary Robert F. Kennedy Jr. last month pledged “ radical transparency ” at the department, but HHS officials have not provided detail about CDC staff changes and did not respond to emailed requests on Tuesday and Wednesday. An agency spokesman, Andrew Nixon, previously told the AP only that CDC had more full-time employees after the job cuts than it did before the COVID-19 pandemic.

Those who received reinstatement emails included outbreak responders in two fellowship programs — a two-year training that prepares recent graduates to enter the public health workforce through field experience and a laboratory program that brings in doctorate-holding professionals.

U.S. Sen. Raphael Warnock celebrated the reinstatements, but said it’s not enough.

“Today’s announcement is a welcome relief, but until all fired CDC employees are restored, our country’s public health and national security will continue to be at risk,” Warnock, a Georgia Democrat, said in a statement Wednesday.

Associated Press writer Michelle R. Smith in Providence, Rhode Island, contributed to this report.

The Associated Press Health and Science Department receives support from the Howard Hughes Medical Institute’s Science and Educational Media Group and the Robert Wood Johnson Foundation. The AP is solely responsible for all content.

Federal judge blocks drastic funding cuts to medical research

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By LAURAN NEERGAARD and MICHAEL CASEY

A federal judge on Wednesday blocked the Trump administration from drastically cutting medical research funding that many scientists say will endanger patients and cost jobs.

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The new National Institutes of Health policy would strip research groups of hundreds of millions of dollars to cover so-called indirect expenses of studying Alzheimer’s, cancer, heart disease and a host of other illnesses — anything from clinical trials of new treatments to basic lab research that is the foundation for discoveries.

Separate lawsuits filed by a group of 22 states plus organizations representing universities, hospitals and research institutions nationwide sued to stop the cuts, saying they would cause “irreparable harm.”

U.S. District Judge Angel Kelley in Boston had temporarily blocked the cuts last month. Wednesday, she filed a preliminary injunction that puts the cuts on hold for longer, while the suits proceed.

The NIH, the main funder of biomedical research, awarded about $35 billion in grants to research groups last year. The total is divided into “direct” costs – covering researchers’ salaries and laboratory supplies – and “indirect” costs, the administrative and facility costs needed to support that work.

The Trump administration had dismissed those expenses as “overhead,” but universities and hospitals argue they’re far more critical. They can include such things as electricity to operate sophisticated machinery, hazardous waste disposal, staff who ensure researchers follow safety rules and janitorial workers.

Under prior policy, the government negotiated those rates with institutions. As an example, an institution with a 50% indirect cost rate would get another $50,000 to cover indirect expenses for a $100,000 project. The NIH’s new policy would cap indirect costs at a flat rate of 15% instead, calculated to save the agency $4 billion a year.

The Associated Press Health and Science Department receives support from the Howard Hughes Medical Institute’s Science and Educational Media Group and the Robert Wood Johnson Foundation. The AP is solely responsible for all content.

Making Space: The Harlem-Raised Stylist to the Stars

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Courtesy of Terrell Jones

In ‘Making Space’ we talk to some of the notable people who call New York home—about their lives, their work, and how the city has shaped them.
Want to suggest our next subject? Email editor@citylimits.org

Terrell Jones has made a name for himself as a stylist to the stars.

But before he was dressing celebrities like Fat Joe and DJ Khaled, Jones was taking outfit inspiration from the streets of New York City, where he grew up.

“Harlem, to me, is the most fashionable [neighborhood] in New York City,” he said. “The streets were basically just like a moving runway.”

Jones recently spoke to City Limits about how he got his start, how the city influences his style, and why New York weather offers more fashion opportunities than Los Angeles.

This conversation has been condensed and edited for clarity.

How did growing up in Harlem influence your sense of style?

I grew up around a lot of style, both on the east side of Harlem, that’s where I was born and raised, and the west side of Harlem was where my grandparents and my parents were from, so I had the connection to both, and they both have very different styles, but very similar, if that makes any sense to you.

The streets were basically just like a moving runway, because everyone had their own sense of style. Obviously we had people who were fashion icons in Harlem. So whether it was Dapper Dan, or whether it was me being at my grandmother’s house, which is in Striver’s Row, watching the people go back and forth to all the different churches…I was always surrounded by tons of style.

I went to a performing arts school, but I’m a twin, and my twin brother went to Catholic school, so I would even get some inspiration from him. Obviously they always had to wear a shirt, tie and pant, but the way that they were actually able to dig deeper for their inspiration, that was always very inspiring for me, because their canvas was basically the same, but it was all over how they accessorized it. So I was just surrounded by tons of influence being in Harlem, and that’s where I was able to kind of mold my personal style.

So you went to a performing arts high school here in the city?

Yes, I started out in elementary school, and that’s where my love for fashion sort of kicked in. I started out in Catholic school with my brother, and in fourth grade, I realized that that just wasn’t for me. So I spoke to my parents about it, and at first they didn’t like the idea, but then my mom decided to not register me again, and I went to a public school and I auditioned for the performing arts division, and I got in. I was a dance major, and I did that all the way up until high school.

But for me, one of the things that really affected me going to Catholic school was wearing the same clothes every day, because at that point, elementary school was a uniform. And my mother asked me, ‘Why don’t you like this school?’ And I said, ‘I just don’t like the idea of wearing the clothes every day.’ And she said, ‘Well, school is not a fashion show.’ When you fast forward, for me, it obviously became one.

When did you first start getting into styling people, and how did that career begin?

I had a few different moments, but one of the ones that stands out to me the most was—obviously, I went to a performing arts high school, and I had a girl who had gone to my school who was extremely fashionable, and she had the best taste, and she was the prettiest girl. She had graduated, she had moved on, but she lived in the neighborhood, so I would see her, and she’d always compliment me and say, ‘You look so nice. You look so fly.’

I found out that she was actually a stylist. And not only was she a stylist, but she was Mary J. Blige’s stylist. And she said to me, ‘You should help me out. You should work with me.’ And I’m like, ‘What does that even mean? I’m in my last year of high school.’ And she said, ‘You should just meet me after school. And like, let’s just go shopping, take me places, tell me what you know.’ And I did it and I became her assistant, and I started to work for Mary J. Blige, and that’s where by journey actually began.

You’ve dressed a lot of well known names in your career, both New Yorkers and celebrities from other places. Is there anything about New York fashion that you think is very quintessentially New York?

New York Fashion is different because we have four seasons, so you’re able to dig a little bit deeper into fashion and style. I feel like Los Angeles only has, kind of two seasons, summer and I would say fall. But for New York…spring was really your spring. So it was all about introducing beautiful colors. It was all about introducing some patterns, some prints. And then you would usher into fall, which was little bit of layering different textures, heavier fabrics, maybe richer, darker tones.

Then you went into winter, where you got to introduce all your accessories: So it was boots, it’s gloves, it’s scarfs, it’s sweaters. Smooth coats, outerwear, which is a beautiful thing. And then you have summer. A New York summer, you can either do something very light, or you have flowy things, just lighter fabric and less, but less is more. So I think New York, the advantage that we have is to be able to transition into different seasons and explore different styles.

City Limits tends to write a lot about housing, and about affordability. How do you see the cost of living here in New York, especially around housing, impact its creative sector?

I’m in a space of pure creatives. a lot of creatives don’t start off with stability, or don’t have stability when it comes to finances, because obviously in the creative space, it’s an ever evolving world and journey, so that can make it very tough for someone to actually make it in New York City, because the rent and to purchase and to live in New York is sort of astronomical.

What I would love to see is more luxury creative housing, where those buildings would exist for all different creators, whether they’re artists, musicians, fashion designers, actors, actresses, chefs, different things like that, but anything that’s in a creative space where they could actually live affordable luxury housing, but also be surrounded by other creatives, because I think that places like that are magical. Magic is born in those spaces because of the exchange of creativity, and the exchange of energy.

And then obviously you can do it without the stresses of trying to own your craft and then also having to have one or two different other hustles just so you can survive. I think it’s pretty tough to actually be an artist, or even try to become an artist in New York City, and live here with the way that our rent and with the way that housing is set up. The prices are just through the roof.

How does the city inspire your work?

Basically because it’s just a melting pot for all different people. I love the idea of being able to jump on the subway and get to see all these different types of style, all these different types of personalities, all these different types of energy moving through the city. That was someplace I was able to draw lots of creativity.

I love New York because it’s also a place where you can walk—some of the cities I go to, you don’t have the freedom of just kind of getting out and walking. I remember trying to take a walk in Beverly Hills in Los Angeles one time, and I just felt like I was walking forever, and literally, there was nothing to look at. Now, there were beautiful homes, but no people. Beautiful, beautiful cars were driving by, beautiful homes, beautiful landscaping and greenery, but absolutely no people to actually see, because everyone drives out there.

So I feel like the fact that you can get out in a New York City street and get out on a particular avenue, whether it’s Fifth Avenue, Madison Avenue, obviously, throughout all the streets of Harlem, that’s an energy that you just can’t get anywhere else.

Is there anything coming up for you this year that you’re most excited about?

One thing that I’ve had the joy of doing is building a career out of dressing men of a certain size. So I’ve been toying with the idea of maybe doing a how-to guide—I don’t even want to really call it a book—I would want to call it a guide to big style. It’s basically just teaching men of a certain size that they don’t really have any ceilings on what they could do. Really just supporting men, and obviously women can take tips from it as well, just really a book of encouragement for guys of a certain size, and welcoming them into the style conversation, and welcoming into the fashion space.

I’m definitely looking to go and do some creative direction in the TV and film space, telling my story and expressing myself differently through character. And I’m also looking forward to putting myself in front of the camera, and who knows where that might land, whether it’s a little bit of acting or personality work. But that’s some stuff that I’m really excited about exploring in 2025. And then also working on my own clothing collection, which would be like a capsule line for men, luxury street wear for men.

To reach the editor, contact Jeanmarie@citylimits.org.

The post Making Space: The Harlem-Raised Stylist to the Stars appeared first on City Limits.