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Michigan Wolverines guard Jordan Poole (2) celebrates with his teammates including
Moritz Wagner (13) after making the game-winning three point shot to defeat the Houston
Cougars in the second round of the 2018 NCAA Tournament at INTRUST Bank Arena.
PETER G. AIKEN-USA TODAY SPORTS
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WICHITA, Kan. -- Michigan freshman Jordan Poole drained a long 3-pointer at the buzzer
after Houston squandered a chance to lock up a spot in the Sweet 16, giving the third-
seeded Wolverines a heart-stopping 64-63 victory in the second round of the NCAA
Tournament on Saturday night. Devin Davis had a chance to seal the win, but the Cougars'
gritty forward missed a pair of foul shots with 3.6 seconds left.
The Wolverines (30-7) called timeout to set up a final play, and Muhammad-Ali Abdur-
Rahkman found Poole on the wing, and the shot hit nothing but net.
The officials reviewed it to make sure, but Poole had clearly gotten the shot away.
Abdur-Rahkman and Moe Wagner scored 12 points apiece for Michigan, but it was the
unheralded freshman who stole the show. Poole's flair for the dramatic earned coach John
Beilein's team a trip to Los Angeles for a West Regional semifinal against North Carolina
or Texas A&M next week.
Rob Gray scored 23 points and Davis finished with 17 for the Cougars (27-8), who were
trying to reach their first Sweet 16 since the last of the Phi Slama Jama teams went to the
Final Four in 1984.
They just about did it.
Davis gave the Cougars the lead when he made two free throws with 44.1 seconds left. He
pushed the advantage to 63-61 when he made the second of two more foul shots with 24.9
seconds to go.
Abdur-Rahkman and Charles Matthews came up empty at the other end for Michigan, and
Davis pulled down a crucial rebound, and then stalked to the foul line.
The senior forward missed both.
The down-to-the-wire outcome was hardly surprising given the way the rest of the game
went. There were 17 lead changes and 12 ties, including 28-all at halftime.
After his huge performance against San Diego State, the Wolverines were wary of Gray
every time he touched the ball. They blanketed Houston's star on the perimeter, cut off
lanes to the basket and held him to just eight points on 2-for-11 shooting in the first half.
Wagner continued to struggle after a poor NCAA Tournament opener, scoring just three
points while dealing with foul trouble. Abdur-Rahkman was 2 of 8 from the field,
including 0 of 5 from the arc.
Michigan air-balled three 3-pointers in four possessions spanning the break.
Whistles became constant as the second half wore on, and both teams soon found
themselves in foul trouble. Wagner picked up his fourth with 8:43 to go, and Breaon Brady
soon took a seat with his fourth for Houston as the game turned into a glorified free-throw
shooting contest.
Michigan converted eight straight at one point to take a 57-53 lead with 3:42 to go.
Armoni Brooks answered with a 3-pointer, and Davis converted a three-point play after
fouling Duncan Robinson out with 2:06 left, giving the Cougars a 60-59 lead.
Wagner answered with a putback basket for Michigan with 1:41 left, but after the teams
swapped 3-point misses, Davis grabbed a crucial rebound and made two foul shots to give
Houston the lead.
His night would have been a whole lot better if the game ended there.
BIG PICTURE
Houston showed remarkable poise down the stretch, led by a pair of seniors and three
juniors in its starting lineup. But the cracks showed when Davis went to the foul line with
a chance to ice it.
Michigan won its 11th straight game in the most dramatic of fashions, even without its top
players at their best. Abdur-Rahkman finished 4 of 15 from the field and Matthews was 5
for 12.
UP NEXT
Michigan heads to the West Region semifinals in Los Angeles, where it will face the
winner of Sunday's game between the second-seeded Tar Heels and No. 7 seed Aggies.
© 2018 The Associated Press. All Rights Reserved. This material may not be published,
broadcast, rewritten, or redistributed.
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NEWSMAKERS
Larger than life displays by French photographer JR

60 MINUTES OVERTIME
Artist's hidden message on Ellis Island
Larger than life displays by French photographer JR
Anderson Cooper speaks with the man behind giant works of art displayed around the
world, sometimes illegally
2018
Feb 25
CORRESPONDENT
Anderson Cooper
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When a giant photograph of a child appeared looming over the U.S.-Mexico border near
San Diego this fall, art aficionados knew right away it was the work of an artist who calls
himself JR. You may have never heard of JR, but his giant photographs have appeared in
some 140 countries, sometimes in fancy art galleries, but more often than not pasted
illegally on sidewalks and subways, buildings, and rooftops. Plenty of famous artists like
Basquiat and Keith Haring started out scrawling their work on the streets often in the dead
of night, but few have continually displayed their art in public spaces on the scale of JR.
This is the photograph that popped up in September along the U.S./Mexico border. A 64-
foot tall picture of a Mexican child named Kikito who lives just on the other side of the
fence -- built on scaffolding on Mexican soil, there was nothing U.S. border patrol agents
could do about it.
jr-screengrab-1.jpg
JR's work at the U.S.-Mexican border CBS NEWS
It was classic JR, a person's picture, pasted in a public place, that made everyone stop and
stare. JR's been doing this kind of thing all over the world for the past fourteen years. He
put the faces of Kenyans on rooftops in a Nairobi slum. In Cuba, where oversized images
of Castro and Che are the norm, JR put up enormous pictures of everyday people. On New
York sidewalks, and Istanbul buildings, in Tunisia during the Arab Spring in a looted
police station. JR has pasted his pictures, often without permission, and at risk of being
arrested.
We met up with JR in a suburb of Paris in front of a giant mural he'd made out of
photographs of more than 700 local residents. We don't know his real name and that's just
how JR wants it. In public he never takes off his glasses or hat, there's a practical reason
for it, but a little mystery also builds mystique in the world of art. What we do know is that
JR is 35 years old and was born in France, the child of Tunisian immigrants.
Anderson Cooper: I don't think I've ever done an interview for 60 Minutes when I didn't
actually know the name of the person I'm interviewing. You're not gonna tell me your
name?
JR: Would it help, you know? I mean, in a lot of countries--
Anderson Cooper: It would help me.
JR: In countries where I got arrested, you know--
Anderson Cooper: It's important for you to be anonymous?
JR: Yeah, because unfortunately when I travel in lot of other countries where what I do,
just paper and glue, is not considered as art, I get arrested, deported, put in jail--
Anderson Cooper: What-- what's art in one country is a jailable offense in another?
JR: Exactly.
JR's been committing jailable offenses since he was a teenager. He says he was repeatedly
kicked out of high school and would sneak out at night with friends, spray painting graffiti
in hard to reach areas.
Anderson Cooper: Graffiti or tagging what was the appeal of that?
JR: We all have that sense of "I wanna exist. I wanna, like show that I'm here that I'm
present."
Anderson Cooper: graffitiing was saying, "I am here." "I am a person."
JR: Exactly, "I'm here. I exist."
His foray into photography began, he says, by accident.
JR: I found a camera in the subway. Yeah, a tiny camera.
jr-screengrab-9.jpg
JR's work in New York City
Anderson Cooper: You really just found it?
JR: Yeah, no it's true and it's funny, 'cause a lotta friends tease me, "Yeah right, you started
your career-- stealing a camera."
Anderson Cooper: I'm not sure the police would believe that story, but—
JR: I know, but you know, I—
Anderson Cooper: Some things are true?
JR: Exactly.
JR: And at some point, I realized I was not the best in graffiti, you know? I had the balls to
climb any building you want, but I would not do the craziest piece. But I was with friends
who were amazing. Then I realize, "Wait, let me document the journey."
Anderson Cooper: The journey of it?
JR: Yeah, so I went from "I exist" to "they exist," and I realized the power of that.
Anderson Cooper: once photography got into the picture it was about these other people
exist?
JR: Exactly--
Anderson Cooper: They exist.
JR: They exist.
Many of JR's friends in this Paris suburb whom he began taking pictures of, felt they didn't
exist in the eyes of French society. Most of those who live in this neighborhood are of
African or Arab descent, first or second generation immigrants. And few wealthy Parisians
ever venture here.
jr-screengrab-15.jpg
Correspondent Anderson Cooper with JR CBS NEWS
In 2005 riots broke out in this neighborhood after two kids died while being chased by
police. The violence spread across France. JR saw how the young people in this suburb
were being portrayed on television and decided to use his camera to tell a different story.
JR: You would see the riots, everyone had hoodies. And then so any kids coming from the
suburb would look like a monster to you. so that's when I started photographing them from
really close and I said I'm gonna put your name, your age, your building number on the
poster, and I'm gonna paste it in Paris where they see you as a monster. And actually, you
gonna play your own caricature."
Anderson Cooper: Why play your own caricature? Isn't that feeding a stereotype?
JR: It's actually--by feeding it, it breaks it and I wanted them to be in control of their own
image.
Anderson Cooper: And you wanted people in Paris who maybe had never been to this
neighborhood to understand what?
JR: The humanity. When you look at those face it makes you wanna smile by playing the
monster, they don't look like monster anymore.
JR enlarged the pictures and printed them out and with friends began pasting them up
illegally at night around Paris. Most were immediately taken down, but the mayor of one
Parisian district gave JR permission to paste them on a wall outside a museum. It was JR's
first official public art exhibit. He was 23 years old.
jr-screengrab-40.jpg
JR: The people from Paris would go in front of those pictures and take a photo of
themselves with them. And people were trying to find who is who and get a photo with
them, where they're supposed to be the monsters that are about to invade Paris. So it kind
of break the tension that there was.
The idea of breaking tension through photography was a revelation to JR. In 2007 with
money saved from odd jobs he decided to head to Israel. It was after the second intifada,
and his plan was to paste photographs on the wall separating Palestinians and Israelis in
the west bank.
JR: So I started making a list of people doing the same job on each side: hairdresser, taxi
driver, security guard, teacher, student. And then I would go and I would say, "Look, I
wanna paste you playing your own caricature of how the other sees you, but I would paste
you with the other taxi driver."
JR: "Oh yeah, sure. Yeah, take my photo. But the other guy, he is never gonna accept.
They're c-- really close-minded. They're never gonna accept." And when I go there, same
thing.
Anderson Cooper: Each person on each side said, "I'll do it, but the person on the other
side won't do it--?"
JR: Exactly.
Before he could begin pasting the photographs, JR and his team were arrested by Israeli
authorities for not having a permit. They were loaded into the back of a wagon and hauled
off to jail. After some questioning, they were released and given 15 days to leave the
country. Instead, JR went to the Palestinian side of the wall and began to paste.
JR: I paste a giant photo of the taxi driver and the second photo of the other taxi driver.
And you know, a crowd of people very quickly, big crowds. And then the first guy asked
the question. 'But my friend, who is this people?" I say, "oh, one is Israeli and one is
Palestinian. And then you have a big silence on the crowd. And I say, so who is who? And
they couldn't even recognize their enemy or their brother.
On the Israeli side, to ensure he wouldn't be arrested again, JR announced the day and time
he was going to put up his photographs. He says so many reporters and onlookers showed
up to watch the authorities decided to just let him go ahead with his project.
The attention he got from his work in the middle east and france led to some sales of his
photographs... Which then allowed him to begin to travel further afield. Over the next few
years in Kenya, Liberia and Sierra Leone, he focused his lens on women, heroes, he says,
who are often treated as second-class citizens. He photographed women's faces, and placed
them where they could no longer be ignored. A Kenyan woman named Elizabeth Kamanga
asked JR to paste her picture for all the world to see.
JR: The woman ask me, "Make my story travel."
Anderson Cooper: Have my eyes, my story travel around the world.
JR: They want someone that they never heard of to hear, like sending a bottle in the water.
jr-screengrab-41.jpg
Her story did travel, thousands of miles around the world. Jr pasted her eyes onto a
container ship called the Magellan that spent months at sea.
In 2008 he ventured into Providencia, the oldest favela in Rio – a slum perched on a
hillside controlled by a well-armed gang of drug dealers. JR photographed an eldery
woman whose grandson was murdered by a rival gang. She agreed to let him paste her
image on the stairs leading into the neighborhood.
Anderson Cooper: Did you have permission from any-- from the gangs, or--?
JR: No, from nobody. From nobody. We start pasting the stairs like that, great vibe, kids
playing you know, we're just pasting on the stairs. After ten stairs huge, like, fights of gun.
And like, it starts going from all over.
JR and his team were caught in crossfire between police and gangmembers.
JR: We run and we hide. Like it's the last day of my life. And the next day we came back
and we kept on doing the stairs. And I think that what made the people in the community
realize that, okay, we're not just here for a minute.
JR: And-- that first time when that woman was pasted on the stairs everybody in the
community understand what the project was about. It was her, she was standing there
straight and looking strong.
Her photo covered eighty steps and after that other residents allowed JR to post their faces
and eyes on the sides of their homes. A display of strength and dignity, he says, that could
be seen from the wealthier neighborhood below.
Anderson Cooper: That word dignity to you is important.
JR: You know the people made me realize it's important in every single pasting.
Anderson Cooper: Dignity is something that all of us want--
JR: All of us, anywhere--
Anderson Cooper: --no matter what, any walk of life--?
JR: --no matter the background.
Anderson Cooper: Why? Because the issues people are facing are life and death--?
JR: Yeah, of course. Dignity goes through the way we're being seen by the others, the way
we portrayed ourself.
Anderson Cooper: I think some people hearing that are gonna say, "Look-- you're telling
me that people, you know, who don't know where their next meal is coming from, are
struggling to survive-- care about art?"
JR: You know what? Yes.
If you are wondering how JR pays for all these projects, so were we. He now has a team of
about 16 people working for him, out of studios in Paris and New York. He doesn't like to
give details of how much his projects cost, but some of the money comes from the sale of
limited edition prints of his work. He doesn't accept any sponsorship from corporations,
but he does have wealthy art patrons who help him out.
JR: There is amazing people out there. There is people that support me, there's someone
that gave me a building to put my studio that I don't pay rent, so I don't have to look for
sponsors. There are amazing people that I call the shadow philanthropists, the people who
really wanna change--
Anderson Cooper: Shadow philanthropists?
JR: Yeah. And that don't look for return. They don't get into—philanthropy to get more
credit.
JR's work may focus on other people, but it's also made him a celebrity in his own right.
He has more than a million followers on Instagram, and routinely is seen in the company
of rock stars and other artists. Last month, a documentary JR directed, called "Faces
Places", was nominated for an Oscar. Fame has its benefits, JR doesn't always have to
sneak around now. He is often allowed to display his work. A few months ago on Ellis
Island, in New York Harbor – the National Park Service let him paste old photographs of
immigrants at this abandoned hospital.
Anderson Cooper: And what does it mean?
JR: You know I just try to do art in places that it would raise questions rather to give
answers.
JR is now encouraging others to raise questions by pasting their own photographs. He has
a website where groups of people with an idea or a cause can send in their pictures, he
says, he'll enlarge and print them, and ship them back. JR-inspired images have so far
been pasted on walls in dozens of countries around the world.
Anderson Cooper: Are you still an artist if you're not taking the photo and you're just
printing stuff up and sending it out to people, and they're putting it up?
JR: I don't know. I mean, I am. As-- I'm-- as-- much as a printer, then I'm a photographer,
then I'm-- a wallpaper man. You know, that's what I do--
Anderson Cooper: You're a wallpaper man--?
JR: At the end of the day I-- I wallpaper buildings, you know? That's what I do. So that's
why I think the title "artist" is the most prestigious title I'll ever get, because you know, the
truth is I paste building.
Produced by Magalie Laguerre-Wilkinson.
© 2018 CBS Interactive Inc. All Rights Reserved.

Anderson Cooper
Anderson Cooper, anchor of CNN's "Anderson Cooper 360," has contributed to 60
Minutes since 2006. His exceptional reporting on big news events has earned Cooper a
reputation as one of television's pre-eminent newsmen.
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CBS/AP March 18, 2018, 1:41 AM
5 NYC doctors charged with taking kickbacks for fentanyl prescriptions

A box of the fentanyl-based drug Subsys, made by Insys Therapeutics Inc. HANDOUT /
REUTERS
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NEW YORK -- Five New York City doctors were arrested Friday on charges that they
accepted bribes and kickbacks from an Arizona-based pharmaceutical company to
prescribe large volumes of a highly addictive painkiller. Prosecutors say the doctors, four
men and a woman, collected tens of thousands of dollars working for the company's
"Speakers Bureau" over a four-year stretch beginning in August 2012. The company, Insys
Therapeutics Inc., hasn't commented.
They pleaded not guilty in Manhattan federal court to an unsealed indictment charging
them with conspiracy, among other charges.
Manhattan U.S. Attorney Geoffrey S. Berman said the doctors reneged on their oath as
doctors to put the care of their patients above all else. He said they accepted bribes in the
form of speaking fees in exchange for prescribing millions of dollars' worth of a potent
fentanyl-based spray that is 50 to 100 times more potent than morphine and used their
patients as an "instrument for profit."
William F. Sweeney Jr., head of New York's FBI office, said the doctors "were convinced
to push aside their ethical obligations and prescribe a drug for profit to patients who turned
to them for help."
He said doctors and medical professionals everywhere should be reminded "that the health
and safety of their patients is not for sale."
The doctors were identified as Gordon Freedman, 57, of Mount Kisco, Jeffrey Goldstein,
48, of New Rochelle, Todd Schlifstein, 49, of Manhattan, Dialecti Voudouris, 47, of Long
Island City and Alexandru Burducea, 41, of Little Neck. All practiced in Manhattan,
prosecutors said.
Nicholas Kaizer, a lawyer for Burducea, said he looks "forward to the resolution of the
charges in his favor."
Other defense lawyers declined comment after the arraignment.
Prosecutors said the "Speakers Bureau" was created with the purported intent to educate
other practitioners about the fentanyl spray, but it was used instead to induce doctors to
prescribe large volumes of the spray by paying them speaker program fees.
They said that although speakers were supposed to conduct slide presentations, the events
often became mostly social affairs with no educational presentation about the spray.
The government said attendance sign-in sheets at the programs were frequently forged by
the addition of names of health care practitioners who had not actually been present.
In 2016, six Insys executives were indicted on federal charges in Boston in connection
with the alleged scheme to bribe doctors to unnecessarily prescribe the painkilling drug.
Insys' founder, John Kapoor, was charged last year with racketeering, conspiracy, bribery
and fraud.
© 2018 CBS Interactive Inc. All Rights Reserved. This material may not be published,
broadcast, rewritten, or redistributed. The Associated Press contributed to this report.
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