Nameplates never die at Pagani. We’re fully in the era of the Utopia, the brand’s third model now, but the Huayra still has some life left in it. On Tuesday, Pagani debuted the Huayra Codalunga Speedster, an extremely limited, manual-transmission hypercar that pays tribute to 1960s prototype race cars. Unsurprisingly, it’s gorgeous.
Pagani debuted a Huayra Codalunga coupe a couple of years ago and built five examples. This time, it’s building 10, homologated worldwide, and it plans to begin customer deliveries next year. “The Huayra Codalunga Speedster is a tribute to those who imagine their sports car as an icon of lightness and momentum, shaped by essential lines that transcend time with ease,” says Horacio Pagani in a statement.
Photo by: Pagani
The name Codalunga translates to long-tail in English. It’s a tribute to the long-tail sports prototype race cars of the 1960s, whose longer bodywork attempted to improve top speed at tracks like Le Mans. Think cars like the Porsche 908 LH, Alfa Romeo Tipo 33/2, Alpine A220. Pagani’s Codalunga is 193.3 inches long—over 11 inches longer than a “standard” Huayra coupe.
Unlike most Huayra models and even the previous Codalunga coupe, the Speedster is available with a choice of transmissions—seven-speed manual or sequential. Pagani only made its first manual Huayra last year, the Epitome. Here, the transmission is paired with Pagani’s exclusive Mercedes-AMG twin-turbo V-12. Displacing 6.0 liters, it makes the same 864 horsepower and 811 pound-feet of torque as it does in the Utopia.
Somewhat surprisingly, this Huayra Codalunga Speedster doesn’t have much exposed carbon-fiber trim. That fits in with its 1960s aesthetics. Inside, the car debuts a new interior trim that features an embroidery inspired by Pagani’s signature quad-exhaust arrangement. The steering wheel and shifter also feature mahogany inserts, which really help complete the mid-century vibe.
Photo by: Pagani
Photo by: Pagani
The Codalunga Speedster is a creation of Pagani’s Grandi Complicazioni department, which develops one-offs and limited models like this. For when your “regular” Pagani isn’t quite rare enough, these are the folks you call.
We’ve reached out to Pagani to confirm if all 10 examples are spoken for, but typically, by the time the public sees a car like this, it is long since sold out. Understandably so.
Individuals with bronchiectasis face an increased risk of exacerbation and mortality following recovery from COVID-19, particularly after severe cases, according to a study published in ERJ Open Research.1
Past research determined that COVID-19 may trigger exacerbations in this population, even after recovery.2 However, these studies were limited by small sample sizes, a focus on mild to moderate cases, and a lack of data on long-term mortality.1 As a result, the impact of COVID-19 severity on severe exacerbation and mortality risk in patients with bronchiectasis remained unclear.
Patients with bronchiectasis face heightened risks of severe exacerbation and mortality after COVID-19 recovery, especially following severe cases. | Image Credit: Production Perig – stock.adobe.com
To address these gaps, the researchers evaluated long-term risks of exacerbation and mortality among patients with bronchiectasis following recovery from both severe and nonsevere COVID-19 cases. They used data from the Republic of Korea’s National Health Insurance Service, a mandatory universal health care provider covering about 97% of the population.3Eligible individuals were diagnosed with bronchiectasis between January 1, 2015, and October 7, 2020.1
The study’s primary outcomes were the long-term risk of severe bronchiectasis exacerbation and all-cause mortality. To evaluate exacerbation risk, patients were followed until the first occurrence of severe exacerbation, death, or December 31, 2021, whichever came first. For the mortality analysis, follow-up continued until death or September 30, 2022.
Among 48,342 eligible individuals with bronchiectasis, 2711 had recovered from COVID-19. After 1:1 propensity score matching, a COVID-19 cohort (n = 2711) and a matched cohort (n = 2711) were included in the final analysis.
The COVID-19 cohort was further stratified by disease severity: 536 had severe COVID-19, and 2175 had nonsevere COVID-19. Patients in the severe COVID-19 cohort were more likely to be older (median age, 73 vs 67; standardized mean difference [SMD], 0.39) and male (52.4% vs 40.0%; SMD, 0.17) than those in the nonsevere COVID-19 cohort.
Over a median follow-up of 70 days (IQR, 31-216), including a median 14-day COVID-19 recovery period, the incidence of severe bronchiectasis exacerbation was 305.6 per 10,000 person-years in the matched cohort and 402.2 per 10,000 person-years in the COVID-19 cohort. Stratified by COVID-19 severity, the incidence was 273.3 per 10,000 person-years in the non-severe cohort and 855.9 per 10,000 person-years in the severe cohort.
As a result, the severe COVID-19 cohort had a significantly higher risk of severe exacerbation compared with the matched cohort (adjusted HR [aHR], 2.38; 95% CI, 1.25-4.51). However, this increased risk was not observed in the nonsevere cohort.
Similarly, during a median follow-up of 71 days (IQR, 32-129), including the 14-day recovery period, the all-cause mortality rate was 221.2 per 10,000 person-years in the matched cohort and 342.9 per 10,000 person-years in the COVID-19 cohort (P = .001). The researchers highlighted that the COVID-19 cohort exhibited a significantly higher mortality risk than the matched cohort (aHR, 1.46; 95% CI, 1.06-2.01).
When broken down by COVID-19 severity, the mortality rate was 149.6 per 10,000 person-years in the non-severe cohort and 1132.1 per 10,000 person-years in the severe COVID-19 cohort (P < .001). Therefore, the severe COVID-19 cohort had a significantly higher mortality risk than the matched cohort (aHR, 2.99; 95% CI, 2.08-4.28). In contrast, the nonsevere cohort did not demonstrate a significantly higher mortality risk.
Lastly, the researchers acknowledged the limitations of their study, including the potential lack of generalizability due to its single-country setting. Still, they expressed confidence in the findings and their clinical implications.
“Our findings suggest that guidelines should emphasize vigilant monitoring…and include specific recommendations for managing COVID-19 in individuals with bronchiectasis,” the authors wrote. “Early and appropriate management may help prevent severe exacerbations. Furthermore, interventions such as pulmonary rehabilitation should be explored to prevent subsequent exacerbations.”
References
Kim SH, Kim JS, Kim MJ, et al. Exacerbation and mortality risk in individuals with bronchiectasis post-COVID-19 recovery. ERJ Open Res. 2025;11(3):00866-2024. doi:10.1183/23120541.00866-2024
Kwok WC, Ho JCM, Tam TCC, Ip MSM, Lam DCL. Increased exacerbations of bronchiectasis following recovery from mild COVID-19 in patients with non-cystic fibrosis bronchiectasis. Respirology. 2024;29(3):209-216. doi:10.1111/resp.14664
Shin DW, Cho J, Park JH, Cho B. National general health screening program in Korea: history, current status, and future direction: a scoping review. Precis Future Med. 2022;6(1):9-31. doi:10.23838/pfm.2021.00135
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A little over two years ago, the ubiquitous tech company Dyson made headlines for their highly innovative, if not slightly absurd, pair of air-purifying headphones. But if the $949 Dyson Zones — through which air (and of course, sound) flows into the ear cups, funnels into a visor and blows clean air into your face — seemed unrealistic at the time, it now seems like merely a pre-cursor to their first pair of audio-only headphones, the Dyson OnTrac.
Dyson’s first-ever pair of audio-only headphones officially launched last July and are now now on sale for $299 — a 40% discount off its typically hefty $499 price tag.
It’s no surprise that the top-of-the-line designers and engineers at Dyson, who have reimagined basic engineering in appliances from vacuums to hair dryers, brought their innovative tech to their latest launch. And best of all, the high-tech cans are no more expensive than other noise-cancelling headphones on the market from competing brands such as Apple, Bose and Sony.
So, what are the headlining features of the Dyson OnTrac? Most importantly, they boast best-in-class noise cancellation, with noise cancelled 384,000 times per second and reducing up to 40dB. Plus, real audiophiles can even track and report external noise in real-time through the MyDyson app.
And the sound that does come through enjoys an enhanced sound range. Thanks to a deep sub-bass and high-end brilliance, you’ll be able to hear even the most hidden details out of your favorite songs and other audio. It also features up to 55 hours of listening time and customizable caps and cushions in a variety of a vibrant colors for every type of style, aesthetic and mood.
“Dyson’s audio engineering mission is to preserve the integrity of the artist’s sound wave, free from interference,” Jake Dyson, the company’s chief engineer (and son of Dyson’s eponymous founding inventor, James Dyson), said in a statement. “We also wanted to create a set of headphones that people would cherish, be excited by, and be proud of. With over 30 years of experience in aeroacoustics, we’ve mastered sound physics. By reducing noise through in-house anechoic chambers and expert engineers, we’ve applied and further expanded our audio knowledge to develop the Dyson OnTracTM headphones. Our first over-ear audio only headphones deliver best-in-class ANC, exceptional sound quality and all-day comfort through unique materials, design and customization.”
Aside from audio, the most exciting, and unique, aspect of the Dyson OnTrac are the wide range (20,000 to be exact) of color combinations. It’s a great feature for indecisive shoppers, who can buy separate outer caps and ear cushions in different color combinations and switch them out whenever they want. Shop through all of Dsyons’s OnTrac offerings on their website, and look through some of the best options below:
It’s a great time to buy a new TV during Amazon Prime Day (or, days, rather), but that doesn’t mean you should only consider 2025 models. You can get huge discounts on last year’s models without compromising on much. For example, the excellent 2024 Samsung S90D OLED is available for its lowest price ever.
The 65-inch S90D is available for less than $1,200 at both Amazon and Best Buy, while the 55-inch model is under $1,000 at Amazon. If you want to go with something even bigger, Amazon and Best Buy have the 77-inch model for just under $1,800.
The Samsung S90D is a QD-OLED, which uses quantum dots on top of an OLED layer to create a brighter and more color-vibrant image than traditional OLED designs. Explosions in movies and TV shows burst with crisp reds and oranges, skin tones look more natural, and since it’s an OLED, light is controlled at a pixel level, allowing for deep, inky blacks.
Samsung has also invested in making all of its TVs, the S90D included, great for gaming. It has a 144Hz native refresh rate panel, supports FreeSync, and is G-Sync Compatible for high refresh rate gaming on PC. Modern consoles can go up to 120Hz — don’t blame Samsung, it’s a console limitation. When you’re gaming, its Auto Low Latency feature will switch the TV into game mode to ensure input lag is at its lowest. The Samsung Gaming Hub also puts all of your gaming content in one place, with the option for cloud gaming via an Xbox Game Pass Ultimate subscription, Nvidia GeForce Now, and Amazon Luna, among others. Resolution and responsiveness via cloud game streaming won’t match local gaming, but having the freedom to play without a console is a big benefit.
There are some frustrations with the S90D you should consider before buying. Tizen OS is a bit cumbersome to navigate, often requiring multiple button presses to achieve what other TVs accomplish in one (input select being the biggest culprit), but all the built-in apps are right on the home screen. Some niche apps, such as F1 TV, are not available on Tizen. The S90D doesn’t support Dolby Vision, instead opting for HDR10+ as a dynamic HDR format.
The 2025 model, Samsung’s S90F, has slightly better processing than the S90D and is brighter, but it also doesn’t have the same deep discounts we’re seeing on the S90D (you can get a 77-inch S90D for the price of a 65-inch S90F). The S90F’s minor improvements don’t justify their significant price difference. Unless you’re incredibly susceptible to FOMO, the S90D is a much better purchase during Prime Day.
The third and final season of Netflix’s global hit show “Squid Game” has reportedly broken the streamers 10-day viewing record and become the first show to ever rank as the No. 1 most watched show across all Netflix-served countries in its first week.
Participants perform during the Squid Game Season 3 finale fan event in Seoul, South Korea, … More Saturday, June 28, 2025.
Copyright 2025 The Associated Press. All rights reserved
Key Facts
“Squid Game” Season 3 has held the No. 1 most-watched spot among non-English shows since it first released last week and has smashed the streamer’s 10-day viewership record by racking up 106.3 million views since June 27, according to Variety.
The record is just the latest achievement from the season—”Squid Game” also broke the Netflix three-day streaming record with 60.1 million views and became the first ever show to rank No. 1 in its first week in all 93 countries where Netflix has a Top 10.
This is a developing story and will be updated.
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For decades, scores of paintings by 20th-century masters shared shelf space with family photos, books, and knickknacks in the Cambridge home of Arthur and Marny Solomon. Works by Claude Monet, Edgar Degas, and Paul Cézanne hung on their walls. And in a carriage house turned gallery in the backyard, more contemporary works by abstractionists such as Kenneth Noland, Jules Olitzky, and Larry Poons shone.
Now, those works are on display for the public to enjoy in Harvard Art Museums’ exhibition “The Solomon Collection: Dürer to Degas and Beyond.”
“We are deeply grateful to Arthur and Marny Solomon for their careful stewardship of these artworks over many years, and for their generous impulse to share them with the Harvard Art Museums, a place in the community that was always near and dear to their hearts,” said Micha Winkler Thomas, deputy director of the Harvard Art Museums.
“Woman Washing Herself” (far right), lithograph by Henri de Toulouse-Lautrec, French (Albi 1864-1901 Malrome).
The Solomons were both lifelong art collectors with intricate ties to Harvard. Arthur was a professor of biophysics at Harvard Medical School, while Marny worked throughout her life as a teaching fellow for various Harvard professors after earning her A.B. in art history from Radcliffe in 1958. In 1985, after collecting both individually and as a couple for decades, the Solomons promised their collection to the Art Museums. It wasn’t until after Marny’s death in 2020 that the acquisition was made final. Arthur had passed away in 2005.
From the beginning
Arthur K. Solomon was born in 1912 in Pittsburgh into a tight-knit and wealthy Jewish family. His childhood, according to Marina Kliger, the Rousseau Curatorial Fellow in European Art and one of the curators of the Solomon exhibition, was filled with art and aesthetics. The Solomons’ crowd, including influential department storeowner Edgar J. Kaufmann, were “cultural leaders in Pittsburgh.”
Kaufmann’s son, Edgar Kaufmann Jr., would later become curator of industrial design at the Museum of Modern Art, while another neighborhood boy, A. James Speyer, would become curator of 20th-century art at the Art Institute of Chicago.
Arthur, on the other hand, would go on to study chemistry at Princeton. But he still held onto his more artistic interests, taking New York-based photographer and modern art promoter Alfred Stieglitz as a mentor. Stieglitz introduced Arthur to the New York art scene and the popular realist paintings of American artists at the time.
In 1934, Arthur came to Harvard to pursue his Ph.D. in chemistry. While there, he made the first two purchases in his collection — watercolors by American artists Edward Hopper and Charles E. Burchfield that he had first seen with Stieglitz.
Family Group, 1945, bronze by Henry Moore, British (Castleford 1898-1986 Much Hadham).
Verso view in foreground of untitled (For Marny and Arthur), 1983, Jules Olitski, American (Snovsk, Russia 1922-2007 New York).
Harvard helped his collection grow when he audited courses in the fine arts department. One of those was the famous “Museum Work and Museum Problems” seminar that met at both the Harvard Art Museums and in Professor Paul Sachs’ home. According to Kliger, Sachs arranged student visits to the homes of distinguished collectors in New York and Philadelphia.
“I think that was probably the most important part of my becoming a collector — seeing these great collections,” Arthur was recorded saying in a series of interviews by the Oral History Committee of Harvard Medical School.
His art collection grew throughout the ’30s, when he went to Cambridge, England, for postdoctoral work and was introduced to German art dealer Justin Thannhauser. Through Thannhauser, Arthur collected works by Van Gogh, Degas, and Cezanne.
In the 1950s and ’60s he made most of his acquisitions through the New York and London-based dealer Julius Weitzner. Arthur then took a brief hiatus from collecting after the death of his first wife, Jean, in 1963.
That was until he met Marny — a collector in her own right.
The earliest documentation of Marny collecting was in July 1962, 10 years before her marriage to Arthur. According to Kliger, it’s documented that Marny brought two works to the Department of Conservation at Harvard’s Fogg Museum: a drawing of an unspecified subject by 17th-century Italian painter Pietro Francesco Mola and a print by 17th-century Italian printmaker Stefano della Bella.
View of etching and engraving with drypoint on off-white antique laid paper by Albert Flamen, Flemish (Bruges c. 1620-1692 France).
Marny was close friends with Marjorie “Jerry” Cohn — curator emerita and former acting director of the Harvard Art Museums. They met in the early 1960s, when Cohn was a conservation assistant at the Fogg. Marny would send works directly from dealers to Cohn at the museum, where she would mat and frame them. Cohn also served as a confidant on Marny’s subsequent acquisitions.
Marny mostly collected prints. When she met Arthur, however, the two began collecting a new form of art.
“When they met in the late 1960s both were already serious collectors. Arthur focused on 19th- and early 20th-century European art, while Marny was a dedicated print collector,” Kliger said. “After they married in December 1972, the Solomons experienced what they would come to describe as a ‘contemporary awakening.’”
One of their first joint purchases was in 1974, when they bought a 10-ton, 10-foot-long steel sculpture by Michael Steiner called “Betonica.”
“The Solomons installed their new acquisition in their spacious yard at 27 Craigie St., where the sculpture weathered years of New England winters and became part of the Solomons’ lives.” Kliger said
Their other purchases were displayed in their 19th-century Italianate revival home. In the early 1980s, the Solomons began running out of showing space and converted the historic carriage house on the property into a two-story art gallery.
Kliger calls the collection “three collections in one.” Between the two individual collections, and the Solomons’ joint purchases, more than 260 of their prints, paintings, and sculptures were donated to the Harvard Art Museums.
Many of the works will be on display through Aug. 17. The galleries are free every day, and open Tuesday through Sunday, 10 a.m. to 5 p.m.
In a city known for artists repurposing disused spaces into studios, those wishing to glimpse Lorna Simpson‘s former Brooklyn–based home studio now have the chance to see it.
The four-story, 22-foot-wide building located at 208 Vanderbilt Avenue in Brooklyn’s Fort Greene neighborhood was designed in 2006 by British architect David Adjaye for Simpson and her now ex-husband, the photographer James Casebere.
Pitch Black, as the architect dubbed it, boasts a sleek design with the front featuring black polypropylene panels and the back made almost entirely of glass windows that lead out to more than 800-square-feet of garden space.
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Inside, the home features three bedrooms and two-and-a-half baths that previously served as a bedroom and separate studio spaces for the artists across roughly 3,300-square-feet.
Though Simpson relocated a few years ago to a larger commercial space close by, the building has still served as archival and storage space, as well as a spot for hosting and entertaining guests.
Simpson opted to create the space when she couldn’t find one that suited her.
“I could not find something that I liked that felt spacious and that did not feel like a tight traditional townhouse domestic space with limited free-wall space,” Simpson told the New York Times.
“The outdoor space is tranquil day or night,” Simpson added, explaining that the “natural light throughout the building is extraordinary. I could work until the daylight fades.”
While the cost of an artist’s dream might be priceless, the townhouse is currently on the market with the Corcoran Group for a whopping $6.5 million, with annual property taxes coming in at just above $12,000.
The property is situated among Fort Greene Park and other notable art locales like the Brooklyn Academy of Music (BAM) and Pratt Institute.
Simpson is known for her alluring and elusive surfaces that form images of Black women in an exploration of gender, race, and culture. She rose to prominence during the 1980s and ’90s with her photography on the same subjects. Her work is currently on view in the exhibition “Source Notes” at the Metropolitan Museum of Art in New York through November 2.
This is hardly the first notable artist’s studio to hit the market within recent years. Andy Warhol‘s former New York studio and apartment, where Jean-Michel Basquiat lived and worked from 1983 until his death in 1988, was up for grabs in late 2022 before it was taken over by Atelier Jolie in 2023. In 2021, the Gramercy Park home and studio of Anselm Kiefer, and subsequently Julian Schnabel, also appeared on the market for $10 million.
Thirty years ago, ASUS engineers started work on our very first graphics card. In the three decades since, users around the world have enjoyed ASUS graphics card innovations and unparalleled PC gaming hardware. In celebration, and as a gesture of thanks to users everywhere, we’ve launched a special “Cheers to 30 Years” giveaway event running from July 8, 2025 to October 7, 2025. Join the event for the opportunity to win exciting prizes including Republic of Gamers (ROG) peripherals, apparel, and NVIDIA® GeForce RTX™ 50 Series graphics cards.
Explore the ASUS virtual amusement park
At the ASUS Cheers to 30 Years virtual amusement park, you’ll find a variety of virtual attractions, and more are coming as the event progresses. Ride the attractions, collect points, and then use those points to enter raffles for ROG gear. You can also earn points toward raffle entries by completing tasks such as sharing content on social media.
Participants can hop on the Graphics Card Express to witness 30 years of ASUS graphics card milestones, including the story of the legendary dual-GPU ROG Mars and ROG Ares graphics cards; the ROG Poseidon 780, the first graphics card to pack a combined water block and air cooler; and the heavy-hitting ROG Matrix Platinum GeForce RTX 4090.
We want to hear your stories, too, so don’t miss the Memory Ferris Wheel, which lets you share a story about your favorite ASUS graphics card. Discuss a card’s best feature, the greatest gaming feat you achieved with it, or whatever deeply resonates with you about this piece of hardware. Starting August 19, we’ll hold a public vote, and the top four story submissions will be selected to win big prizes. These prizes include the ProArt GeForce RTX 5080, ROG Strix GeForce RTX 5070 Ti, and TUF Gaming GeForce RTX 5070, alongside the latest and greatest ASUS power supplies. Additionally, there’ll be a top-secret grand prize that will be announced on August 19. Stay tuned.
The Memory Ferris Wheel operates from July 8 to August 18, and voting ends September 16. Winners will be announced on October 28.
Get in on some exciting raffles
Raffle drawings take place on July 31, August 31, and October 28, 2025. Users will have a chance to win ASUS Dual GeForce RTX 5060 Ti graphics cards, an ROG Strix Z890-A Gaming WiFi motherboard, ROG Delta II or ROG Pelta wireless gaming headset, ROG Azoth Extreme wireless gaming keyboard, and ROG Harpe Ace Extreme wireless gaming mouse. There will also be raffles for ROG gear and apparel, including the ROG Slash Backpack 4.0, ROG Ombre Hoodie, ROG Archer ErgoAir gaming backpack and ROG Apex Windbreaker. For a complete list of prizes, check the Cheers to 30 Years campaign page.
Even more graphics card prizes are dropping on October 28, in addition to the raffles. Stay tuned for details on how to win more elite ASUS gear.
Celebrate a legendary 30 years
ASUS has been building graphics cards for a long time. In 1996, we released the ASUS 375 for commercial use. In 1998, the ASUS AGP-V3000 was released. Built for hardcore 3D gaming, it kickstarted a longstanding partnership with NVIDIA. In 2006, we formed the Republic of Gamers (ROG), a move to help take our graphics card ambitions to new heights.
Since then, we’ve released countless record-smashing cards that set the bar for high-end PC gaming performance. The most recent victory is the ROG Astral GeForce RTX 5090 OC’s hefty assortment of world records. But these accomplishments are only possible because of you. More than a celebration of ASUS graphics cards, this is a celebration of everything that we’ve accomplished together. We hope you’ll take the time to visit the Cheers to 30 Years event site to take your shot at winning cutting-edge GeForce RTX 50 Series cards and other prizes.
Copper entering the US from other countries is set to face a new tax of 50%, President Donald Trump has said.
The decision carries through on tariff threats he made earlier this year, when he ordered an investigation into how imports of the metal were affecting national security.
Similar probes are looming over other sectors, including pharmaceuticals, semiconductors and lumber, as part of a wider tariff plan that Trump claims will protect and boost American industry.
Copper prices in the US jumped after his announcement of the new import tax, which Commerce Department Secretary Howard Lutnick said he expected would come into effect around the end of the month.
Lutnick said he expected Trump to sign documents in the coming days to formalise the decision, which the president revealed in an offhand remark at a televised meeting of his cabinet.
“Today we’re doing copper,” Trump said. “We’re going to make it 50%.”
The US imported about 810,000 metric tons of refined copper last year, about half of what it consumed, according to the US Geological Survey.
Chile was the biggest supplier, followed by Canada.
The metal is seen as a key component in military equipment, as well as electric vehicles and construction.
The 50% rate set for copper matches the US levy on steel and aluminium products, after Trump raised it last month.
Trump’s plans for copper come as the White House is also preparing to start raising tariffs on goods from countries around the world from 1 August.
Trump has already imposed a 10% tariff on most products, but called off his more aggressive plans to allow for trade talks after financial markets recoiled at steeper tariffs and business groups in the US pleaded for reprieve.
Trump sent letters to leaders of 14 countries on Monday, including South Korea and Japan, warning them of plans to institute new levies ranging from 25% to 40%.
Many trading partners are still hoping to strike deals before 1 August.
Trump on Tuesday said talks were going well with the European Union and he was “probably two days off” from sending a letter unveiling a new tariff rate.
In his remarks Trump also said he planned to move forward with tariffs of up to 200% on pharmaceuticals, but said he would give the industry at least a year to adjust.
