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• Riot police to guard all polling stations in Hong Kong for first time - South China Morning Post
• Jason Zucker's third-period goal lifts Wild past Avalanche 3-2 - Minneapolis Star Tribune
• Judges give themselves time to deliberate suspension of Hong Kong mask law - South China Morning Post
• Giroux's two-goal night carries Flyers past Hurricanes - Reuters
• Asia stocks attempt to stabilize following days of declines - CNBC
• Samsung Suddenly Exposes Radical New Galaxy Smartphone - Forbes
• Ducks let a four-goal lead get away in OT loss to Panthers - OCRegister
• T. rex costume stuns pedestrians in viral prank video - Fox News
• Leaked Samsung Galaxy A71 renders reveal quad-camera setup - Android Authority
• Gender equity won the fifth Democratic debate - Vox.com
• Pedri: The 'new Iniesta' that Barcelona moved quickly to sign - Goal.com
• United CEO on 737 Max Groundings and Business Plan for 2020 - Bloomberg Markets and Finance
• Former Disney actress was 'not Asian enough' for 'Asians' role - New York Daily News
• Millions in Hong Kong head to the polls amid protests, in what could be a 'barometer' of public sentiment - CNBC
• Ypsilanti joins Ann Arbor in carbon neutral goal - MLive.com
• Don't Let Your Major Financial Goals Pass You By - Forbes
• Avengers: Infinity War Writers Reveal Cut Hulk/Doctor Strange Scene - Heroic Hollywood
• T-Mobile customers' personal information exposed in hack - CNET
• Wipe out credit card debt by setting SMART goals - Minneapolis Star Tribune
• Facts show talk of recession is way overblown, United Airlines CEO says - CNBC
• Universality and diversity in human song - Science Magazine
• Who Plays Jessie on 'Supernatural'? — Meet Actress Alex Sturman - Distractify
• Marvel - Endgame writer reveals only Black Widow death "regret" - digitalspy.com
• Fitchburg police searching for wanted man considered dangerous - WMSN Fox 47 Madison
• Everything Bernie Sanders Said During the Democratic Debate in Atlanta | NBC New York - NBC New York

Riot police to guard all polling stations in Hong Kong for first time - South China Morning Post Posted: 21 Nov 2019 08:36 PM PST [unable to retrieve full-text content] Riot police to guard all polling stations in Hong Kong for first time  South China Morning Post China says 'external rumors' about the trade talks are not accurate  CNBC European stocks close lower amid mixed signal on U.S.-China trade  CNBC Hong Kong's crisis is not over — nor are Xi's troubles | TheHill  The Hill Trade war tensions aren't going away, so why are markets stable?  South China Morning Post View full coverage on Google News Top stories - Google News November 21, 2019 at 03:00PM https://ift.tt/37spAFI Riot police to guard all polling stations in Hong Kong for first time - South China Morning Post Top stories - Google News https://ift.tt/2FLTecc Shoes Man Tutorial Pos News Update Meme Update Korean Entertainment News Japan News Update

Jason Zucker's third-period goal lifts Wild past Avalanche 3-2 - Minneapolis Star Tribune Posted: 21 Nov 2019 08:19 PM PST Other teams in the NHL have had lapses like the Wild, skids that have lasted three-to-four games – or even longer. Take the Sabres, who the Wild upended 4-1 earlier in the week. They had a six-game rut end just last week. And the Wild's most recent opponent, the Avalanche, dropped five games in a row earlier this season. The reason why most clubs remain above the Wild on the leaderboard, though, is because those squads have also assembled win streaks, a run that's been missing from the Wild's repertoire. But after holding off the Avalanche 3-2 Thursday in front of 17,574 at Xcel Energy Center, the team finally has a chance to start climbing since it's posted back-to-back wins for just the second time this season. The Wild also had consecutive victories Oct.20 and 22 against Montreal and Edmonton. Overall, the team is 3-0-1 in its last four and it extended its point streak on home ice to seven games (5-0-2). This was also the Wild's first win this season against the Central Division after starting 0-6-1 against its rivals. Against the rest of the NHL, the team is 8-5-1 – perhaps a source of confidence as the Wild gets ready to return to the road for three games vs. the Eastern Conference. Winger Jason Zucker nixed a 2-2 tie in the third period at 9 minutes, 58 seconds, this after the Avalanche scored twice late in the second period to erase a two-goal deficit. Both of Colorado's goals came from rookie standout Cale Makar. At 14:19, his blistering shot from the shot on the power play sailed top shelf while defenseman Matt Dumba was in the penalty box for cross-checking. Then with 1:11 remaining in the period, Makar skated in from the right faceoff circle, toe dragged around a sprawled Joel Eriksson Ek and then wired the puck past goalie Alex Stalock. But the Wild rebounded in the third. Goalie Philipp Grubauer stopped center Eric Staal, but the puck remained loose and Zucker buried it behind an unsuspecting Grubauer for his seventh goal of the season. After racking up 11 shots in the first, the Wild opened the scoring 1:48 into the second on the power play when captain Mikko Koivu set up winger Mats Zuccarello for a redirect in front of the net. The helper was Koivu's fourth in his last four games. Defenseman Ryan Suter also earned an assist on the play, this after he recorded his 100th career power-play assist Tuesday – becoming the first Wild defenseman to reach the plateau. Suter also assisted on Zucker's goal. The Wild finished 1-for-4 with the man advantage; Colorado went 1-for-2. Only 53 seconds later, the Wild doubled its lead when winger Jordan Greenway skated past Grubauer and shot into a yawning net for his second goal of the season. Since Nov.1, a span of nine games, the Wild has scored 15 goals in the middle frame – ranking first in the NHL in that category. Staal had a glorious opportunity to tack on a 16th, getting the puck while he was alone in front of the net, but Grubauer kept out Staal's backhand attempt. And not growing its lead stung the Wild because the Avalanche closed the gap before the period expired, setting up a decisive third that the Wild ultimately won. Stalock ended up with 25 saves, while Grubauer made 28. Let's block ads! (Why?) "Goal" - Google News November 21, 2019 at 07:42PM https://ift.tt/2s92LqD Jason Zucker's third-period goal lifts Wild past Avalanche 3-2 - Minneapolis Star Tribune "Goal" - Google News https://ift.tt/35TEe8t Shoes Man Tutorial Pos News Update Meme Update Korean Entertainment News Japan News Update

Judges give themselves time to deliberate suspension of Hong Kong mask law - South China Morning Post Posted: 21 Nov 2019 08:11 PM PST [unable to retrieve full-text content] Judges give themselves time to deliberate suspension of Hong Kong mask law  South China Morning Post Hong Kong protester recounts terror of university siege as riot police encircle campus  Global News Congress passes Hong Kong rights bill as Trump tries to strike China trade deal  CNBC This is not just a fight between students and police – the people of Hong Kong are now living in terror  The Independent Watershed moment for rule of law in Hong Kong  EUobserver View full coverage on Google News Top stories - Google News November 21, 2019 at 03:02AM https://ift.tt/349Tw7N Judges give themselves time to deliberate suspension of Hong Kong mask law - South China Morning Post Top stories - Google News https://ift.tt/2FLTecc Shoes Man Tutorial Pos News Update Meme Update Korean Entertainment News Japan News Update

Giroux's two-goal night carries Flyers past Hurricanes - Reuters Posted: 21 Nov 2019 08:09 PM PST EditorsNote: Reworked 10th graf; Added missing word 'at' in 12th graf Nov 21, 2019; Raleigh, NC, USA; Carolina Hurricanes right wing Andrei Svechnikov (37) battles for the puck with Philadelphia Flyers right wing Kevin Hayes (13) during the first period at PNC Arena. Mandatory Credit: James Guillory-USA TODAY Sports Claude Giroux scored his second goal of the game with 8:44 remaining to break a tie and lift the Philadelphia Flyers to a 5-3 victory against the Carolina Hurricanes on Thursday night in Raleigh, N.C. Giroux was left unattended and had a tap-in goal for his game-winner. He has seven goals this season, and he added two assists Thursday. Ivan Provorov, Morgan Frost and Kevin Hayes also scored for the Flyers, who ended a four-game losing streak (0-2-2). Hayes scored into an empty net in the waning seconds. Philadelphia's Travis Konecny picked up three assists, and Frost also had an assist. Sebastian Aho, Teuvo Teravainen and Lucas Wallmark scored for the Hurricanes, who had a four-game winning streak snapped. Flyers goalie Brian Elliott made 33 saves, allowing only one goal while facing 29 shots across the final two periods. Carolina goaltender Petr Mrazek stopped 18 shots. The Hurricanes, who also lost 4-1 to the Flyers earlier this month in Philadelphia, scored twice in the opening five minutes. Aho and Teravainen found the net 80 seconds apart, with the latter of those two on a power play. Carolina nearly scored again in the next minute, but video review upheld the ruling that Warren Foegele's attempt didn't cross the goal line. The Flyers got right back in it when Giroux scored 6:31 into the game. He took a feed from Konecny for a tap-in. The score was even on Provorov's goal with just less than seven minutes to play in the opening period. The Flyers built momentum late in the first period. They had nine of the final 10 shots on goal. The Hurricanes were more active in the second period, holding a 19-4 advantage in shots, but Frost's short-handed goal at 2:51 was the only scoring. It was Frost's second NHL game and his second game with a goal after he scored in Tuesday night in the Flyers' 5-2 loss at Florida. The 20-year-old was a 2017 first-round draft pick. Slideshow (18 Images) Wallmark tied the game 3:24 into the third period. Carolina was coming off a historic road trip, having swept three games for the first time in franchise history. —Field Level Media Our Standards:The Thomson Reuters Trust Principles. Let's block ads! (Why?) "Goal" - Google News November 21, 2019 at 07:01PM https://ift.tt/34chJtU Giroux's two-goal night carries Flyers past Hurricanes - Reuters "Goal" - Google News https://ift.tt/35TEe8t Shoes Man Tutorial Pos News Update Meme Update Korean Entertainment News Japan News Update

Asia stocks attempt to stabilize following days of declines - CNBC Posted: 21 Nov 2019 07:51 PM PST Stocks in Asia steadied in Friday morning trade following days of declines this week amid U.S.-China trade confusion. The Nikkei 225 rose 0.67% in morning trade while the Topix index was 0.47% higher. Shares of gaming firm Nintendo, however, fell more than 2.5% after Morgan Stanley downgraded the stock to equal-weight from overweight. Mainland Chinese stocks rose in early trade, with the Shanghai composite up about 0.3% and the Shenzhen component gaining 0.57%. The Shenzhen composite also added 0.528%. Hong Kong's Hang Seng index gained 0.6%. In South Korea, the Kospi was 0.37% higher. Meanwhile, shares in Australia rose as the S&P/ASX 200 gained 0.7%. Shares of Westpac declined about 1% after Goldman Sachs cut its price target for the stock by 10%, according to Reuters. The lender's stock has slipped in the past few days. Australia's anti money-laundering and terrorism financing regulator filed for civil penalty orders against the firm, alleging its "oversight of the banking and designated services provided through its corresponding banking relationships was deficient." Overall, the MSCI Asia ex-Japan index traded 0.39% higher. Markets have had a rocky trading week amid mixed headlines on U.S.-China trade. The Wall Street Journal reported Thursday that Chinese Vice Premier Liu He, during a phone call thought to have been made late last week, had invited U.S. Trade Representative Robert Lighthizer and Treasury Secretary Steven Mnuchin to Beijing to sit down for further talks. It was not clear whether U.S. negotiators had accepted Liu's invitation. However, the Journal's report said that U.S. trade officials were willing to meet with their Chinese counterparts. Meanwhile, the South China Morning Post said both countries are on the "doorstep" of reaching a deal, citing a source close to the Trump administration. "I think the phase one agreement is important. One, because it would put a trade truce between China and the United States. Two, it'd build a little confidence and certainty in the trading system," Myron Brilliant, executive vice president and head of international affairs at the U.S. Chamber of Commerce, told CNBC's "Squawk Box" on Friday. "It is a step in the right direction if the deal can get done," Brilliant said. "There's a little bit of an impasse right now after the enthusiasm expressed by President Trump when Vice Premier Liu He visited Washington and I had a chance to sit down (with) Liu He. And I explained to him: 'You're gonna have to have some give and take here, but China has to bring more to the table to get the final package,'" he added. The matter has been further complicated by U.S. legislation on Hong Kong, which has been rocked by months of protests. The U.S. House of Representatives passed a bill on Wednesday intended to support protesters in Hong Kong. It prompted Beijing to accuse the U.S. of interfering in domestic affairs. U.S. President Donald Trump has yet to sign the bill. "China has called on the President to veto the bill but with unanimous Senate and House support, its highly unlikely that he will do so," Kathy Lien, managing director of foreign exchange strategy at BK Asset Management, wrote in an overnight note. "They have threatened forceful measures if the bill is signed so expect to tensions to escalate when that happens," Lien said. Currencies and oil The U.S. dollar index, which tracks the greenback against a basket of its peers, was at 97.950 after dipping to levels below 97.8 yesterday. The Japanese yen traded at 108.67 per dollar after strengthening from levels above 108.9 seen earlier in the trading week. The Australian dollar changed hands at $0.6793 after declining from highs around $0.681 yesterday. Oil prices declined in the morning of Asian trading hours, with international benchmark Brent crude futures shedding 0.41% to $63.71 per barrel. U.S. crude futures also slipped 0.53% to $58.27 per barrel. — CNBC's Fred Imbert contributed to this report. Let's block ads! (Why?) Top stories - Google News November 21, 2019 at 03:38PM https://ift.tt/2s7e9Dn Asia stocks attempt to stabilize following days of declines - CNBC Top stories - Google News https://ift.tt/2FLTecc Shoes Man Tutorial Pos News Update Meme Update Korean Entertainment News Japan News Update

Samsung Suddenly Exposes Radical New Galaxy Smartphone - Forbes Posted: 21 Nov 2019 07:46 PM PST

Ducks let a four-goal lead get away in OT loss to Panthers - OCRegister Posted: 21 Nov 2019 07:29 PM PST Florida Panthers center Jonathan Huberdeau (11) and Anaheim Ducks center Troy Terry (61) skate for the puck during the first period of an NHL hockey game, Thursday, Nov. 21, 2019, in Sunrise, Fla. (AP Photo/Brynn Anderson) Anaheim Ducks left wing Max Jones (49) celebrates after scoring during the first period of an NHL hockey game against the Florida Panthers, Thursday, Nov. 21, 2019, in Sunrise, Fla. (AP Photo/Brynn Anderson) Sound The gallery will resume inseconds Florida Panthers defenseman Mike Matheson (19) and Anaheim Ducks right wing Ondrej Kase (25) fight for the puck during the first period of an NHL hockey game, Thursday, Nov. 21, 2019, in Sunrise, Fla. (AP Photo/Brynn Anderson) Florida Panthers defenseman Mike Matheson (19) and Anaheim Ducks right wing Ondrej Kase (25) fight for the puck during the first period of an NHL hockey game, Thursday, Nov. 21, 2019, in Sunrise, Fla. (AP Photo/Brynn Anderson) Anaheim Ducks left wing Max Jones (49) celebrates after scoring during the first period of an NHL hockey game against the Florida Panthers, Thursday, Nov. 21, 2019, in Sunrise, Fla. (AP Photo/Brynn Anderson) Florida Panthers right wing Evgenii Dadonov (63) fights for the puck against Anaheim Ducks center Troy Terry (61) during the first period of an NHL hockey game, Thursday, Nov. 21, 2019, in Sunrise, Fla. (AP Photo/Brynn Anderson) Anaheim Ducks center Troy Terry (61) passes the puck during the first period of an NHL hockey game against the Florida Panthers, Thursday, Nov. 21, 2019, in Sunrise, Fla. (AP Photo/Brynn Anderson) Florida Panthers goaltender Sergei Bobrovsky (72) saves a goal during the first period of an NHL hockey game against the Anaheim Ducks, Thursday, Nov. 21, 2019, in Sunrise, Fla. (AP Photo/Brynn Anderson) Anaheim Ducks right wing Carter Rowney (24) volleys the puck during the first period of an NHL hockey game against the Florida Panthers, Thursday, Nov. 21, 2019, in Sunrise, Fla. (AP Photo/Brynn Anderson) during the first period of an NHL hockey game against the, Thursday, Nov. 21, 2019, in Sunrise, Fla. (AP Photo/Brynn Anderson) Anaheim Ducks defenseman Josh Mahura (76) skates with the puck during the first period of an NHL hockey game against the Florida Panthers, Thursday, Nov. 21, 2019, in Sunrise, Fla. (AP Photo/Brynn Anderson) Florida Panthers defenseman Mike Matheson (19) and Anaheim Ducks right wing Ondrej Kase (25) fight for the puck during the first period of an NHL hockey game, Thursday, Nov. 21, 2019, in Sunrise, Fla. (AP Photo/Brynn Anderson) Anaheim Ducks center Troy Terry (61) skates with the puck during the first period of an NHL hockey game against the Florida Panthers, Thursday, Nov. 21, 2019, in Sunrise, Fla. (AP Photo/Brynn Anderson) Anaheim Ducks defenseman Josh Mahura (76) skates with the puck during the first period of an NHL hockey game against the Florida Panthers, Thursday, Nov. 21, 2019, in Sunrise, Fla. (AP Photo/Brynn Anderson) Anaheim Ducks left wing Nicolas Deslauriers (20), Anaheim Ducks right wing Carter Rowney (24) and Florida Panthers right wing Brett Connolly (10) skate to the puck during the second period of an NHL hockey game against the, Thursday, Nov. 21, 2019, in Sunrise, Fla. (AP Photo/Brynn Anderson) Anaheim Ducks goaltender John Gibson (36) protects the goal agains the Florida Panthers during the second period of an NHL hockey game, Thursday, Nov. 21, 2019, in Sunrise, Fla. (AP Photo/Brynn Anderson) Florida Panthers center Frank Vatrano (77) skates for the puck during the second period of an NHL hockey game against the Anaheim Ducks, Thursday, Nov. 21, 2019, in Sunrise, Fla. (AP Photo/Brynn Anderson) Anaheim Ducks defenseman Cam Fowler (4) skates during the second period of an NHL hockey game against the Florida Panthers, Thursday, Nov. 21, 2019, in Sunrise, Fla. (AP Photo/Brynn Anderson) Anaheim Ducks right wing Carter Rowney (24) reacts after the puck hit the goalpost during the second period of an NHL hockey game against the Florida Panthers, Thursday, Nov. 21, 2019, in Sunrise, Fla. (AP Photo/Brynn Anderson) Florida Panthers celebrate after scoring during the second period of an NHL hockey game against the Anaheim Ducks, Thursday, Nov. 21, 2019, in Sunrise, Fla. (AP Photo/Brynn Anderson) The Anaheim Ducks reacts after scoring against the Florida Panthers during the second period of an NHL hockey game against the, Thursday, Nov. 21, 2019, in Sunrise, Fla. (AP Photo/Brynn Anderson) The Florida Panthers celebrate after scoring in overtime during an NHL hockey game against the Anaheim Ducks, Thursday, Nov. 21, 2019, in Sunrise, Fla. Panthers win 5-4. (AP Photo/Brynn Anderson) The Florida Panthers celebrate after scoring in overtime during an NHL hockey game against the Anaheim Ducks, Thursday, Nov. 21, 2019, in Sunrise, Fla. Panthers win 5-4. (AP Photo/Brynn Anderson) SUNRISE, Fla. — The Ducks didn't need brass knuckles when they hit the ice Thursday at BB&T Center. They didn't need a towel either. Sticks and skates and the rest of their gear sufficed. Funny what happens when teams stick to hockey. The Ducks' 5-4 overtime loss to the Florida Panthers barely resembled the bare-knuckled brawl that was their loss to the Washington Capitals on Monday. The Ducks excelled initially because the Panthers allowed them to skate where they wanted and create plays when they needed to make them. The Capitals were far more physical and menacing, and not always in a good way. Happily, there was no repeat of the spitting incident that cost Washington's Garnet Hathaway a well-deserved three-game suspension from the NHL. There were no fights, period. Thursday's game was played at an eye-pleasing pace that suited the Ducks just fine for the better part of two periods. Max Jones, Nick Ritchie, Rickard Rakell (power play) and Ondrej Kase scored to stake goaltender John Gibson to a 4-0 lead by the closing moments of the second period. Rakell's goal was the Ducks' second man-advantage goal in as many games after Sam Steel scored Monday. The Ducks couldn't hold onto their lead, however. Florida's Brett Connolly scored twice in the closing minutes of the second period to cut it to 4-2, and then Aaron Ekblad and Dominic Toninato scored in the third to rally the Panthers from a four-goal deficit to force the game to OT. Ekblad then won it 22 seconds into OT. Much more to come on this story. 🚨 .@AnaheimDucks GOAL 🚨 Some great work to keep it in the zone and it's Max Jones who collects a rebound and finishes!#LetsGoDucks pic.twitter.com/wHoYvtdK8i — FOX Sports West (@FoxSportsWest) November 22, 2019 RIGHT OUTTA THE FACE OFF! Nick Ritchie extends the @AnaheimDucks lead in the 2nd!#LetsGoDucks pic.twitter.com/FGbHAm321Y — FOX Sports West (@FoxSportsWest) November 22, 2019 What a SNIPE by Rickard Rakell as the @AnaheimDucks cash in on a penalty by the #Panthers!#LetsGoDucks pic.twitter.com/KdUHY6uCVr — FOX Sports West (@FoxSportsWest) November 22, 2019 Let's block ads! (Why?) "Goal" - Google News November 21, 2019 at 06:58PM https://ift.tt/2KGh38j Ducks let a four-goal lead get away in OT loss to Panthers - OCRegister "Goal" - Google News https://ift.tt/35TEe8t Shoes Man Tutorial Pos News Update Meme Update Korean Entertainment News Japan News Update

T. rex costume stuns pedestrians in viral prank video - Fox News Posted: 21 Nov 2019 07:16 PM PST A video of an Instagram prankster scaring people on the streets of London with a T. rex costume has gone viral. The compilation video, posted by London-based social media personality Goubtube, shows pedestrians agog as they're confronted by the faux dino. The clip starts with a man in a cap dashing around a street corner as he's being chased by the fake dinosaur. When bystanders see what the man is running from, they quickly make a run for it, too. One man even falls flat on his face. GRINCH SCARES CHILDREN TAKING CHRISTMAS PHOTOS IN HILARIOUS VIDEO PRANKSTER'S PRE-RECORDED FUNERAL MESSAGE FROM THE GRAVE GIVES FAMILY ONE LAST LAUGH In one clip, a man in blue scrubs is so startled that he falls to the ground and drops his food. The video became a hit online with over 24 million views on Twitter. "Imagine trying to explain to your employer that your late because you got chased by a dinosaur, they'll send you home," one Twitter user commented. "Life comes at you fast," another person wrote. A model of the predatory dino. (Photo by Christophe Gateau/picture alliance via Getty Images) CLICK HERE TO SIGN UP FOR OUR LIFESTYLE NEWSLETTER But it was the man in scrubs that sparked the most online reactions. "Can we start a gofundme for the last man to get his meal back safe," someone tweeted. Another Twitter user wrote, "I think in the end he just decided to play dead." CLICK HERE TO GET THE FOX NEWS APP Goubtube said he decided to prank the public with the T. rex because "I fancied having some harmless fun with the public," according to MailOnline. Let's block ads! (Why?) "viral" - Google News November 21, 2019 at 06:40PM https://ift.tt/2ObH8hG T. rex costume stuns pedestrians in viral prank video - Fox News "viral" - Google News https://ift.tt/2BCxygM Shoes Man Tutorial Pos News Update Meme Update Korean Entertainment News Japan News Update

Leaked Samsung Galaxy A71 renders reveal quad-camera setup - Android Authority Posted: 21 Nov 2019 07:06 PM PST Last week, we saw leaked renders of Samsung's upcoming Galaxy A51 device. Now, notorious tipster @OnLeaks has partnered with CashKaro to release several exclusive CAD renders and a 360-degree video of another one of Samsung's upcoming mid-rangers — the Samsung Galaxy A71. These renders show what looks like a quad rear-camera setup, a single hole punch front-facing camera, and a 3.5mm audio jack. It also looks like the device will tout USB-C, and CashKaro claims it will have an FHD 6.7-inch display. The overall dimensions of the Samsung Galaxy A71 will supposedly be 163.5 x 76 x 7.9mm — 9.2mm for the camera bump. And as far as specs are concerned, it's expected to come with the Snapdragon 675 SoC, the Adreno 612 GPU, a 4,500mAh battery, and 8GB of RAM. What really sets the Samsung Galaxy A71 apart though, is its rear camera layout. Similar to what we saw in the recent Samsung Galaxy A51 renders, the L-shaped camera array sports a 48MP main shooter accompanied by a 12MP wide-angle sensor, a 12MP telephoto sensor, and a 3D TOF sensor. Read also: The Mi Band 3i is Xiaomi's affordable new fitness tracker for India Akin to the Galaxy Note 10 line, the front-facing camera on the Galaxy A71 will be a centered hole-punch style camera with a 32MP sensor. It's also said to launch with Android 10, undoubtedly with Samsung's One UI skin on top. There is no official word on when we can expect to see the Samsung Galaxy A71 in person, but hopefully, we will hear from Samsung sooner than later. In the meantime, what do you think of the design of the phone, based on these renders? Are you content with the supposed specs list? More posts about Samsung Let's block ads! (Why?) Top stories - Google News November 21, 2019 at 09:43AM https://ift.tt/2D4ElAH Leaked Samsung Galaxy A71 renders reveal quad-camera setup - Android Authority Top stories - Google News https://ift.tt/2FLTecc Shoes Man Tutorial Pos News Update Meme Update Korean Entertainment News Japan News Update

Gender equity won the fifth Democratic debate - Vox.com Posted: 21 Nov 2019 06:36 PM PST In a marked contrast from several past debates, gender equity took center stage at Wednesday's Democratic debate, which featured wide-ranging discussion about paid family leave, abortion rights, and the higher standards that women candidates must meet. Though Democrats' 2020 presidential field is one of the most diverse in history, addressing gender disparities hasn't always been a major focus on the debate stage, as Vox's Anna North has written. Previous debates have barely glanced over subjects including equal pay. This week's debate, only the third primary debate to ever feature an all-female panel of moderators, was different. It kicked off with a major moment on paid family leave, following a question on the subject of child care from the Washington Post's Ashley Parker. As Parker noted, the costs of child care can be substantial for families. "There are only two countries in the world that don't have paid family leave for new moms. The United States of America and Papua New Guinea," entrepreneur Andrew Yang emphasized. "That is the entire list and we need to get off that list as as soon as possible." Yang's comment highlighted a startling reality: Among developed countries, the US is the only one that does not have a paid leave program, a policy that's been shown to increase women's workforce participation, reduce family's reliance on public assistance, and improve children's health outcomes. Sen. Kamala Harris emphasized just as much in her response on the topic, which called out the extensive work that women do on caregiving and how transformative paid leave could be for women's ability to return to work. "Many women are having to make a very difficult choice about whether they're going to leave a profession for which they have a passion to care for their family, or whether they're going to give up a paycheck, which is part of what that family relies on," she said. In her response, Harris also called out the persistence of the gender wage gap and how it's even wider for women of color. Throughout the night, she was a leading voice on the subject of tackling such inequities, later highlighting how African American women are seen as one of the most dedicated voter bases for the Democratic Party, but neglected when it comes to policy priorities: When black women are three to four times more likely to die in connection with childbirth in America, when the sons of black women will die because of gun violence more than any other cause of death, when black women make 61 cents on the dollar as compared to all women who tragically make 80 cents on the dollar, the question has to be where you been and what are you going to do? And do you understand what the people want? Harris was among the lawmakers to return to this subject during the evening, but she was far from alone. Not only did the moderators raise numerous questions about these topics, several candidates highlighted the need to tackle the gender disparities that persist in America today. It's a dynamic that spoke to the expansive representation of both the journalists and candidates onstage. Abortion rights was extensively discussed during the debate as well, in the wake of Louisiana Governor John Bel Edwards's recent reelection victory. Although Edwards is a Democrat, he is anti-abortion and has helped sign one of the most stringent abortion laws in the country. Candidates were asked whether Edwards's leadership still has a role in the party, to which Sen. Elizabeth Warren offered a fiery response defending abortion rights. Warren emphasized that access to abortions was also an economic issue, and that potential bans would likely hurt low income women the most. "I believe that abortion rights are human rights. I believe that they are also economic rights," Warren said. "Understand this. When someone makes abortion illegal in America, rich women will still get abortions. It's just going to fall hard on poor women." In addition to the focus on a slew of policies, Sen. Amy Klobuchar emphasized that the presidential race itself was an uneven playing field for male and female candidates, when confronted with comments she had previously made referencing Mayor Pete Buttigieg's candidacy. "Women are held to a higher standard," she said. "Otherwise we could play a game called name your favorite woman president, which we can't do because it has all been men. And all vice presidents being men." Let's block ads! (Why?) Top stories - Google News November 20, 2019 at 09:20PM https://ift.tt/2KFeNyr Gender equity won the fifth Democratic debate - Vox.com Top stories - Google News https://ift.tt/2FLTecc Shoes Man Tutorial Pos News Update Meme Update Korean Entertainment News Japan News Update

Pedri: The 'new Iniesta' that Barcelona moved quickly to sign - Goal.com Posted: 21 Nov 2019 06:34 PM PST For 16-year-olds as talented as Pedri, life tends to move quite fast. Prior to August 18, 2019, the midfielder had never made an appearance in competitive senior football. Within 15 days he had played three times for Las Palmas and become a €5 million (£4.3m/$5.5m) player destined to join Barcelona at the end of the current campaign. Article continues below Editors' Picks Eriksen to thrive but Dele to be jettisoned? What we can expect from Mourinho's Tottenham Barcelona identify Lautaro & Haaland as primary targets in bid to find Suarez successor Disrespectful, misguided, ungrateful? Irony of Bale flag criticism lost on Madridistas Madrid? Man Utd? Messi & Argentina? Pochettino has no shortage of suitors following shock replacement by Mourinho Given Ansu Fati's Camp Nou breakthrough earlier this season, excitement is palpable that the Blaugrana are building a new generation of talent to rival that of the Pep Guardiola era. Born in Tenerife in November 2002, Pedri's footballing education began at CF Juventud Laguna before being picked up by Las Palmas in 2018. A year on, he was plucked from the youth ranks to join the senior squad for pre-season, with head coach Pepe Mel eager to see what the teenager could offer despite his 5'8" (1.73 metres) frame. "I have always cared little about age. I look more at the attitude and performance that the player gives," the former West Brom boss told Goal in an exclusive interview. "Last year, when me and my staff arrived [at Las Palmas], we saw youth matches and we thought that if [Pedri] was able to do the same with professionals, he could be era-defining." Having impressed in friendlies against La Liga opposition in the shape of Granada and Real Betis, Pedri was rewarded with a place in the Las Palmas starting line-up for their Segunda Division season opener against Huesca. A week later, having again been named in Mel's XI, he laid on the assist for Ruben Castro to open the scoring against Malaga. Amid mounting interest in his services, Barcelona moved quickly to secure Pedri's signature, announcing on September 2 that his two-year contract would begin in July 2020. Real Madrid had also considered making a move but they hesitated, allowing Barcelona to seal a deal by promising Las Palmas up to €15m (£12.8m/$16.6m) in total should certain clauses be met during what they hope is a long career at Camp Nou for Pedri. "Barcelona has made a good investment," insists Mel, who has picked Pedri from the start in every match the Tenerife native has been available for this season. The Under-17 World Cup robbed the 56-year-old coach of his precocious young talent over the past month, with Las Palmas picking up just one point from the five matches Pedri missed. Given they were previously on a four-match winning run, it is clear just how influential the teenager has already become, even if he was not the only key man unavailable for selection in recent weeks. In 10 starts, Pedri has contributed three goals and three assists playing predominantly off the left-hand side, though he has also been used sparingly by Mel in a central attacking midfield role. No matter the position, though, Pedri excels. "He understands the spaces very well, when he has to go inside and leave space on the outside or when to realise you have numerical superiorities in certain areas of the pitch," Mel said. "Everything he does with the ball, he understands the placement and how to make things easier for his team-mates with his simple game. "He is able to see that pass between lines that takes out opponents, and he does not need many touches to find those plays. "Despite his age and having few games in professional football, he is able to see, always with his head up, all the options he has, and he always chooses the best one." "Pedri can play in either of the two positions, although you have to take into account that he feels more comfortable on the left – a bit like Andres Iniesta," Mel added, further fuelling those comparisons to the 2010 World Cup winner. "Pedri is very similar to Iniesta, in fact. "He will fit perfectly at Barcelona. He can grow even more because he makes those around him better. He also stands out more when quality football players are around him." If Pedri can have half the success at Barcelona as Iniesta did, then he will go down in Blaugrana folklore. For now, he might be hidden away in the second tier, but it will not be long until he becomes a household name in both Spain and around the globe. Let's block ads! (Why?) "Goal" - Google News November 21, 2019 at 04:00AM https://ift.tt/2O7ZVuw Pedri: The 'new Iniesta' that Barcelona moved quickly to sign - Goal.com "Goal" - Google News https://ift.tt/35TEe8t Shoes Man Tutorial Pos News Update Meme Update Korean Entertainment News Japan News Update

United CEO on 737 Max Groundings and Business Plan for 2020 - Bloomberg Markets and Finance Posted: 21 Nov 2019 06:21 PM PST Let's block ads! (Why?) Top stories - Google News November 21, 2019 at 01:41PM https://ift.tt/2s8Qoeb United CEO on 737 Max Groundings and Business Plan for 2020 - Bloomberg Markets and Finance Top stories - Google News https://ift.tt/2FLTecc Shoes Man Tutorial Pos News Update Meme Update Korean Entertainment News Japan News Update

Former Disney actress was 'not Asian enough' for 'Asians' role - New York Daily News Posted: 21 Nov 2019 06:06 PM PST Unfortunately, our website is currently unavailable in most European countries. We are engaged on the issue and committed to looking at options that support our full range of digital offerings to the EU market. We continue to identify technical compliance solutions that will provide all readers with our award-winning journalism. Let's block ads! (Why?) "Actress" - Google News November 21, 2019 at 04:50PM https://ift.tt/2OE4T0W Former Disney actress was 'not Asian enough' for 'Asians' role - New York Daily News "Actress" - Google News https://ift.tt/31HZgDn Shoes Man Tutorial Pos News Update Meme Update Korean Entertainment News Japan News Update

Millions in Hong Kong head to the polls amid protests, in what could be a 'barometer' of public sentiment - CNBC Posted: 21 Nov 2019 06:06 PM PST Pro-democracy supporters hold their phone's flashlight in a rally to show support for students at The Hong Kong Poytechnic University on November 19, 2019 in Hong Kong, China. Anthony Kwan | Getty Images More than 4.13 million voters in Hong Kong will head to the polls on Sunday as the city holds its district council election. It will be the first governmental polls since the city's social unrest began in June. District councils are lower level government bodies looking after local matters — such as bus routes and recreation facilities. They have a four-year term, and one council is in charge of each of Hong Kong's 18 districts. With the ongoing anti-government protest that has dragged on for more than five months, political considerations may come across more important than local agendas when voters cast their ballot on Nov. 24. "The election will be the barometer to reflect the social sentiment and also whether people support the government or the protesters, or they are tired of the violence," said Bruce Lui, Senior Lecturer at the Department of Journalism, Hong Kong Baptist University. Lui expects some voters to show sympathy toward protesters or be reluctant to stand with the police due to accusations of officers using excessive force when tackling protesters. He predicts the pro-democracy camp might win over some of their opponents' seats — though they may not be able to break the current pro-Beijing dominance in the councils. However, protests could intensify if the status quo remains. Others may disagree. "A couple of months ago, I may expect the opposition candidates to win big," says Lau Siu-kai, vice chairman at the China Association of Hong Kong and Macao Studies, a Beijing-based think tank. "But now, I think the margin of victory will be smaller, and it will be getting smaller and smaller if the escalation of the violence continues." Hong Kong's election hierarchy Since Hong Kong returned to China from Britain in 1997, the international financial hub has been operating under the "one country, two systems" principle. It gives Hong Kong self-governing power and various freedoms, including limited election rights. Hong Kong citizens also enjoy a higher degree of autonomy than citizens of mainland China. Under the current electoral system, only 94% of the district council seats and half of the seats at the legislative council — the city's parliament that's commonly referred to as the Legco — are elected by general public voters. Hong Kong's chief executive, the city's top leader, can only be nominated and elected by a committee that consists of 1,200 members, mostly pro-Beijing elites. Hong Kong Chief Executive Carrie Lam speaking at a press conference in Hong Kong on October 4, 2019 where she announced that an emergency law will be invoked and face masks by protesters will be banned. Mohd Rasfan | AFP | Getty Images Opposition members have been pushing for the Chinese government to honor a full democracy that they say had been promised by Beijing in the Basic Law, the city's mini constitution, which gives general public voters the rights to elect their leader. This has also been one of the five demands that the anti-government protesters are advocating. It was the core reason that sparked the 2014 Umbrella Movement, another wave of massive pro-democracy protests. Without the change in political structure, the only way for the public to have a say about their leader is through the district councilors — who make up around 10% of the election committee — and Legco lawmakers, who account for about 6%. Will election take place as planned? Given the escalated violence, attacks on candidates and serious traffic disruptions in Hong Kong, there have been general concerns on whether or not the district council election will take place as scheduled. Lui from the Hong Kong Baptist University thinks the pro-establishment camp has split views on the matter, amid recent pro-Beijing commentaries that seem to set a tone of sticking with the timetable. A protester runs during an attempt to leave The Hong Kong Polytechnic University on November 18, 2019 in Hong Kong, China. Anthony Kwan | Getty Images News | Getty Images But Lau from China Association of Hong Kong and Macao Studies estimates there is only a 50-50 chance for the election to take place as scheduled. "From the government's point of view, to stop the election from taking place will meet a tide of criticisms by both local communities and international communities," said Lau, a former head of central policy unit for the Hong Kong government . He said that continuing the election under unfavorable conditions may also have the problem of generating unfair results. Asked if it's better to go ahead with the elections, he told CNBC: "I don't know because we have to take into account the situation in Hong Kong, particularly on the day of the election, see whether the election can be held smoothly." At a regular media briefing on Tuesday, Hong Kong leader Lam reiterated that the administration hopes to go ahead with the election — as long as it can be carried out in a fair, justified, safe and orderly manner. Let's block ads! (Why?) Top stories - Google News November 21, 2019 at 02:59PM https://ift.tt/2pKBcDe Millions in Hong Kong head to the polls amid protests, in what could be a 'barometer' of public sentiment - CNBC Top stories - Google News https://ift.tt/2FLTecc Shoes Man Tutorial Pos News Update Meme Update Korean Entertainment News Japan News Update

Ypsilanti joins Ann Arbor in carbon neutral goal - MLive.com Posted: 21 Nov 2019 05:54 PM PST YPSILANTI, MI – Ypsilanti will explore how to achieve carbon neutrality in the community by 2035 to locally combat climate change and join Ann Arbor in its sustainability efforts. City Council resolved on Tuesday, Nov. 19, to develop a draft plan by March 31 on how the city could achieve the 15-year goal, The resolution says staff will present a draft plan to the community around Earth Day 2020, in part to coordinate with the holiday's 50th anniversary. Ann Arbor is set to unveil its draft plan at the same time. Ypsilanti officials committed unanimously to the "ambitious and achievable" goal, in part by working with Ann Arbor officials to develop a regional plan. Ann Arbor unanimously approved its 2030 carbon neutral goal on Nov. 4. Washtenaw County also declared a climate emergency in September and on Wednesday night, Nov. 20, allocated $30,000 to hire a consultant to do a greenhouse gas inventory for the county to begin the action plan. Potential steps to the sustainability goal include moving away from fossil fuels, using clean energy, and balancing remaining carbon emissions with offsetting efforts like planting trees to achieve a zero-carbon footprint. At Tuesday's City Council meeting, Ypsilanti officials worried their city staff wouldn't have the same capacity as Ann Arbor to develop a thorough draft in three-and-a-half months. Missy Stults, Ann Arbor's sustainability and innovations manager, told council that a partnership between the two cities can include publicly supporting Ann Arbor's sustainability plans, hosting community feedback events in Ypsilanti, jointly applying for grant funding and more. "I don't want it to be superficial because we don't have time for that," Stults said. "As someone who is a staff member running this initiative, it is both a sprint and a marathon that we are in and it is often hard to hold both of those thoughts in parallel but I happen to think there's no greater issue facing society than figuring out how we'll have an equitable adjustment to carbon neutrality." MORE CLIMATE CHANGE NEWS: Ann Arbor invites residents to '24 Hours of Reality' climate talk Ann Arbor wants to make rental housing, new buildings greener Students grill Schlissel on UM's path to carbon neutrality Let's block ads! (Why?) "Goal" - Google News November 21, 2019 at 10:02AM https://ift.tt/349FWBl Ypsilanti joins Ann Arbor in carbon neutral goal - MLive.com "Goal" - Google News https://ift.tt/35TEe8t Shoes Man Tutorial Pos News Update Meme Update Korean Entertainment News Japan News Update

Don't Let Your Major Financial Goals Pass You By - Forbes Posted: 21 Nov 2019 05:54 PM PST The most upsetting missed opportunities are the ones that you didn't prepare to take. When you set a goal but don't see the destination clearly, it can be easy to let it blow by without taking any action. If you don't have a clear understanding of every aspect of the journey, you may think you can't take the first step. In reality, it's important to set the destination and then trust that you'll make the right decisions to get you there. In three recent conversations with friends — one who didn't meet her goal, one who is pushing to hit the goal and one who surpassed her goal — I've seen how preparation makes the ultimate difference for those who achieve what they want. In all three cases, the goal was specific and detailed, but they approached the next steps with a different attitude. Let's look at each example to see what happened. 1. Buying your dream home. Throughout 2019, my friend talked about buying a house in the next two years. However, she wasn't putting the financial steps into place to ensure she'd be ready to buy one when she found a property she liked. While visiting a friend, she saw a nearby house being prepared for sale and took a quick tour. She loved it. Instead of feeling confident about taking the next step toward her dream, she began scrambling to figure out how to snag it. She didn't have enough saved for a down payment and immediately regretted an extravagant vacation she had taken earlier in the year. She also had credit card debt that she hadn't focused on paying down, and she wasn't able to qualify for the ideal loan for the house. She turned to friends and family for a short-term loan to try to lock down the property, but ultimately, it didn't work out. Although she had the goal of buying a house, she wasn't looking at the options, didn't envision herself finding one she loved, and wasn't emotionally invested in the idea of saving to reach the goal. When the house was available, it was tough to seize the opportunity. When clients tell me about a major financial goal they want to accomplish within a year or two, I tell them to begin today. Don't take that expensive vacation or blow money on an extravagant shopping trip. You never know what may open up next month or next week to bring you to your goal sooner than you think, so it's important to get into the habit of working toward your goal now. Although the end may seem fuzzy, start in the direction that you want, and you'll learn how to move closer over time. 2. Living in your favorite part of town. As the saying goes, "Luck favors the prepared mind." In this example, another friend dreamed about moving to a specific area in southern California that was slightly above her means. It would have been a "stretch" for her financially to ultimately end up there. She thought it was impossible and that she'd never find a property that would fit her budget, especially in such a popular area. However, I suggested that you never know what might happen with real estate, and it's better to be prepared in case an unusual event occurs. With a down payment already in her bank account, she'd be able to move quickly and close as soon as a property came on the market, which might net her a better price. For years, she didn't think it would happen, but a few weeks ago, a house showed up on the market that matched every criteria on her wish list, was located in the ideal area, and matched her budget. She toured the property and couldn't believe it was available. Luckily, she had moved enough in the direction of her dream that, although she wasn't 100% ready to buy, she was able to increase her pace and race toward the finish line. When you put a dream into the world, it's important to be patient. As you think about it and talk about it, your friends, family and co-workers will think about you when the opportunity arises. In this case, I saw the listing pop up and sent it to my friend. Now that she's toured the property, she's pulling together the paperwork, spending time in the neighborhood, and living the reality as if she's already purchased the home in her dream location. By trusting that your goal will happen and saving for it now, you can act quickly when the right circumstances arise. 3. Contributing to an important cause. After attending a Make-a-Wish event last year, one of my friends sincerely wanted to be among the major donors this year who would grant a dream to a child with a critical chronic illness. While watching the recipients on stage, she felt compelled to help others live their own dreams, especially since they wouldn't be able to accomplish them on their own. She didn't know exactly how she'd find enough support in a year's time, but she started talking to everyone about it. She outlined a clear idea of how much a "wish" would cost, hosted events, asked others what they could do to help, and was open to being introduced to new acquaintances involved with community philanthropy in our town. In fact, her step-by-step actions created so much momentum that not only did she reach her goal, she surpassed it. In the end, she granted two wishes. When my clients want to set a lofty financial goal to reach a major dream, I encourage them to nail down their "why" at the same time. In this case, my friend felt the emotional drive to help these children. She saw the achievement as something that was bigger than herself. When people create a goal that includes others — whether family, friends or those in need — it's easier for them to share the idea and ask for help or connections. Once others know about the goal, partnerships can align, which creates its own momentum that gets you there sooner than if you try to do it alone. In the end, these life-changing financial goals aren't that different in terms of probability of success, but the preparation that my friends implemented during the one- or two-year stretch before the goal is what ultimately led to success or falling short.   Let's block ads! (Why?) "Goal" - Google News November 21, 2019 at 11:51AM https://ift.tt/2s6iK8R Don't Let Your Major Financial Goals Pass You By - Forbes "Goal" - Google News https://ift.tt/35TEe8t Shoes Man Tutorial Pos News Update Meme Update Korean Entertainment News Japan News Update

Avengers: Infinity War Writers Reveal Cut Hulk/Doctor Strange Scene - Heroic Hollywood Posted: 21 Nov 2019 05:51 PM PST Avengers: Infinity War writers Christopher Markus and Stephen McFeely described a deleted scene involving Bruce Banner and the Hulk in Doctor Strange's mindscape universe. Throughout Avengers: Infinity War, Bruce Banner struggled the summon the Hulk after the Green Goliath suffered a devastating defeat at the hands of Thanos. While the resolution to this struggle would have to wait until Avengers: Endgame, writers Christopher Markus and Stephen McFeely revealed the conflict between Banner and Hulk originally came to a conclusion by the end of Infinity War. During an interview with Vanity Fair, Christopher Markus and Stephen McFeely discussed how certain scenes were cut because they would have taken the focus away from Thanos' storyline. As the Infinity War writers explained, one of those scenes involved Hulk and other heroes entering Doctor Strange's mindscape universe: "There was a sequence in the first movie where they went into the places in the Doctor Strange universe called the mindscape and everyone faces themselves. It was great but had absolutely nothing to do with anything." McFeely added that the scene would have seen Banner confront the Hulk before the two arrived in Wakanda merged together, as seen in Avengers: Endgame: "Banner meets the Hulk, I think in the arena from Ragnarok. Only one of them was getting out of there, and then that one showed up in Wakanda [in Infinity War] and he had merged. That merging that currently happens in [Endgame] in a diner, and he's eating a huge stack of pancakes? That initially happened at the end of Infinity War." Would you have preferred to see Hulk and Banner merge in Avengers: Infinity War? Do you want to see the mindscape universe in the upcoming Doctor Strange sequel? Lets us know in the comments! Details on Doctor Strange in the Multiverse of Madness are currently limited, though it is said to be Marvel Studios' first true foray into the horror genre. Furthermore, the Disney Plus mini-series WandaVision will also serve as the lead-in to the Doctor Strange sequel. Directed by Scott Derrickson from a script written by Jade Bartlett, Doctor Strange in the Multiverse of Madness stars Benedict Cumberbatch, Rachel McAdams, Benedict Wong, and Elizabeth Olsen with a scheduled released date on May 7, 2021. Here is the official synopsis for Avengers: Infinity War: "An unprecedented cinematic journey ten years in the making and spanning the entire Marvel Cinematic Universe, Marvel Studios' Avengers: Infinity War brings to the screen the ultimate, deadliest showdown of all time. The Avengers and their superhero allies must willing to sacrifice it all in an attempt to defeat the power of Thanos before his blitz of devastation and ruin puts an end to the universe." Directed by Anthony and Joe Russo, Avengers: Infinity War stars Robert Downey Jr., Chris Hemsworth, Mark Ruffalo, Chris Evans, Scarlett Johansson, Benedict Cumberbatch, Don Cheadle, Tom Holland, Chadwick Boseman, Paul Bettany, Elizabeth Olsen, Anthony Mackie, Sebastian Stan, Danai Gurira, Letitia Wright, Dave Bautista, Zoe Saldana, Josh Brolin, and Chris Pratt. Avengers: Infinity War is now available on 4K Ultra-HD, Blu-Ray, and DVD. Source: Vanity Fair New 'Titans' Photos Show Off Aqualad And The Original Team DC Universe has released eight brand new images from the upcoming fourth episode of the second season of Titans entitled, "Aqualad". "Aqualad" will explore the dynamic among Dick Grayson/Robin (Brenton Thwaites), Donna Troy/Wonder Girl (Conor Leslie), Hank Hall/Hawk (Alan Ritchson), Dawn Granger/Dove (Minka Kelly) and Garth/Aqualad (Drew Van Acker) and how four years prior, their tight-knit family dynamic developed only to have their personal feelings bleed more into their work only to be exacerbated by the arrival of a new villain. These new images give fans a new look at Drew Van Acker as Aqualad as well as a couple of new looks at the original team united together for action. In particular, we get our best look at how the Aqualad suit translates onscreen in live-action form. You can check out the rest of the gallery for "Aqualad" by clicking "Next". Here is the official synopsis for season two: In Season 2, following the aftermath of their encounter with Trigon, Dick reforms the Titans. Under his supervision in their new home at Titans Tower, Rachel, Gar and Jason Todd train together to hone their hero abilities and work together as a team. They are joined by Hank Hall and Dawn Granger aka Hawk and Dove and Donna Troy aka Wonder Girl. Although these original Titans attempt to transition into a regular life, when old enemies resurface everyone must come together to take care of unfinished business. And as this family of old and new Titans – including Conner Kent and Rose Wilson – learn to co-exist, the arrival of Deathstroke brings to light the sins of the old Titans which threaten to tear this new Titans family apart once more. The series stars Brenton Thwaites as Robin/Nightwing, Anna Diop as Starfire, Teagan Croft as Raven, and Ryan Potter as Beast Boy. Newcomers for its sophomore outing include Joshua Orpin and Esai Morales playing Superboy and Deathstroke, respectively, while Chella Man and Chelsea Zhang have also joined the cast as Deathstroke's children Jericho and Ravager. Natalie Gumede has signed on to play Mercy Graves and Game of Thrones star Iain Glen is on board as Bruce Wayne. Titans season two is now airing on DC Universe. Source: DC Universe Let's block ads! (Why?) Top stories - Google News November 21, 2019 at 11:02AM https://ift.tt/33aLIBl Avengers: Infinity War Writers Reveal Cut Hulk/Doctor Strange Scene - Heroic Hollywood Top stories - Google News https://ift.tt/2FLTecc Shoes Man Tutorial Pos News Update Meme Update Korean Entertainment News Japan News Update

T-Mobile customers' personal information exposed in hack - CNET Posted: 21 Nov 2019 05:49 PM PST T-Mobile said a hack exposed the personal information of its prepaid wireless customers. Jaap Arriens/Getty Images T-Mobile said Thursday that hackers gained access to the personal information of prepaid wireless customers, including their names, phone numbers and account information. The wireless provider said no financial information was exposed and no passwords compromised. T-Mobile didn't say when the hack occurred or how many customers were exposed, but it said it had blocked off the unauthorized access. The company also said it had begun emailing affected customers and had notified law enforcement authorities. "We take the security of your information very seriously and have a number of safeguards in place to protect your personal information from unauthorized access," T-Mobile said in a statement to customers posted on its website. "We truly regret that this incident occurred and apologize for any inconvenience this has caused you." T-Mobile suffered a similar data breach last year when names, phone numbers and account information for about 2 million customers was also exposed. In that case, however, T-Mobile said that encrypted passwords had also been exposed. The most recent hack was revealed three days after T-Mobile CEO John Legere announced he would step down from his role on May 1, confirming longstanding speculation that he would leave the post. T-Mobile didn't immediately respond to a request for additional information on the hack. Let's block ads! (Why?) "Mobile" - Google News November 21, 2019 at 05:17PM https://ift.tt/2D4s0fI T-Mobile customers' personal information exposed in hack - CNET "Mobile" - Google News https://ift.tt/2P9t7Cg Shoes Man Tutorial Pos News Update Meme Update Korean Entertainment News Japan News Update

Wipe out credit card debt by setting SMART goals - Minneapolis Star Tribune Posted: 21 Nov 2019 05:44 PM PST Shatoria Smith was tired of the $5,000 in credit card debt she felt was blocking her from reaching her financial goals. She couldn't see an easy path to being debt-free, so she drew herself a map by adapting a goal-setting framework she'd first heard about in a college business class: the SMART method. "The SMART goal framework helps you dig deep and devise a plan of how to actually accomplish it," says Smith, who lives in Florida and writes about debt, budgeting and personal finance on her blog, Coin Countin Mama. "I was very motivated." SMART was created by management consultant George T. Doran in the early 1980s as a tool for helping businesses set performance objectives. Over the years, it has been adapted for goal-setting situations beyond the workplace. Smith applied it to her finances in late 2014. WHAT IT MEANS TO BE SMART As originally laid out by Doran, the SMART acronym calls for goals to be specific, measurable, assignable, realistic and time-related. Here's how to apply it to credit card debt: — Specific. Define exactly what you want to accomplish and how you will do it. Smith set a different strategy for each of her three credit cards. For one of them, she wrote that she wanted to pay off $2,450 within a year so she could free up money to pay student loans. Her budget included $300 every month toward that goal. — Measureable. Track your progress. You could do so with pen and paper, a spreadsheet, an app or whatever works for you. Smith used an app with a goal-tracking feature. — Assignable. Make clear where responsibility lies at each step. This is especially relevant if you're paying down debt with a partner. (Some modern versions of SMART replace "assignable" with "achievable," meaning the goal should be realistic.) — Realistic. Set goals that are achievable with the resources available. You can dream big, but the smaller steps that lead up to that dream should be within reach. At this stage, stop using credit cards while paying down debt to get results. (Some versions replace "realistic" with "relevant," meaning the goal is worth pursuing.) — Time-related. Set a deadline. The timeline should be based on what you can do, not just your desires. Smith says she crunched the numbers to establish the deadline that she met toward the end of 2015. CONFRONT YOUR BUDGET Getting an accurate picture of your finances, such as overall expenses and the money available to pay down debt, is the key to setting SMART goals, says Adam Hagerman, a Maryland-based certified financial planner and educator who uses the method to help clients meet financial goals. "What people think they spend is usually way different than what they actually do," Hagerman says. "That's why it's important to take a step back and say, 'How have I spent my money over the last 30 days?'" Once you get that accurate picture, he says, you may need to revise your original goals. You can also consider get-out-of-debt strategies if you can't keep up with your debt payments. For instance, you might consider transferring a balance to a new credit card with a 0% introductory offer, consolidating debt to a personal loan or seeing if you qualify for a credit card hardship program. UNPACK YOUR MOTIVATION No matter how well-defined your goal, it's only achievable if you're motivated enough to put in the work. A 2019 study in the Journal of Financial Planning found that establishing an emotional connection to an item of sentimental value could motivate people to save more money. The same idea could apply to credit card debt, according to a contributor to the study, Bradley Klontz, a financial psychologist and associate professor at the Creighton University Heider College of Business. For example, to eliminate debt to fund your kids' college, a photograph of your kids in your wallet or on a mobile device could guard against goal-shattering purchases. "It really helps anchor our emotions and our values to what essentially requires us to override our natural wiring," Klontz says. "The way to override that is to actually have something that is more important, so then the sacrifice becomes easy to make." You can also name your goal. Try something like, "$5,000 to Debt-Free and Stress-Free," and change the number as the debt shrinks. It's harder to steal from a goal when its name has an emotional attachment, he says. ___________________________________________ This article was provided to The Associated Press by the personal finance website NerdWallet. Melissa Lambarena is a writer at NerdWallet. Email: mlambarena@nerdwallet.com. Twitter: @lissalambarena. RELATED LINKS: NerdWallet: 3 steps to spring-clean your debt http://bit.ly/nerdwallet-credit-card-debt Journal of Financial Planning: The Sentimental Savings Study http://bit.ly/sentimental-savings-study Consumer Financial Protection Bureau: Setting SMART goals http://bit.ly/FTC-SMART-Goals Let's block ads! (Why?) "Goal" - Google News November 21, 2019 at 08:25AM https://ift.tt/33ftIpy Wipe out credit card debt by setting SMART goals - Minneapolis Star Tribune "Goal" - Google News https://ift.tt/35TEe8t Shoes Man Tutorial Pos News Update Meme Update Korean Entertainment News Japan News Update

Facts show talk of recession is way overblown, United Airlines CEO says - CNBC Posted: 21 Nov 2019 05:31 PM PST Fears of the U.S. economy falling into a recession are significantly misguided, United Airlines CEO Oscar Munoz told CNBC's Jim Cramer on Thursday. "I've never seen a wider gap between what is being discussed and trying to be pushed and the facts and the figures that we see," Munoz told the "Mad Money" host, who asked if he thought a recession was lurking. "The answer is no," Munoz said. Concerns that the U.S. and the world economy could sink into a recession have been commonplace for much of the year, brought on, in part, by the U.S.-China trade weighing on global growth. They arguably reached a fever pitch in August, when the yield curve — considered by some a reliable recession indicator — hit levels not seen since 2007. It is no longer inverted, and sentiment has generally improved as the Federal Reserve cut rates and stocks reached record highs in recent weeks. United is always monitoring data and trends, in order to be prepared for any downturn, Munoz noted, "but we're not seeing it." Conversely, United is seeing strong demand heading into the holiday season, Munoz said. "December is very strong," he said. "So it's nice to be there. And we don't take it for granted." Shares of United closed at $90.97 on Thursday, down .8% for the session. In what has been a tough year for many airlines with the grounding of Boeing's 737 Max jet following two fatal crashes, United is up 8% year to date. The Chicago-based airline announced last week that its fleet of 737 Max planes will remain grounded into early March. Munoz told Cramer that United is handling the 737 Max situation with intense care and will implement its own process to quell safety concerns once regulators clear the planes to fly. Munoz has previously said he will be on United's first flight with the 737 Max and that passengers will be notified when they purchase a ticket if their plane is scheduled to be a Max. They will be able to switch at no cost if they don't feel comfortable. "It's going to be a safe aircraft, but again it's not our view. Regulators have to weigh in on that," Munoz said. Let's block ads! (Why?) Top stories - Google News November 21, 2019 at 03:33PM https://ift.tt/2XCspzN Facts show talk of recession is way overblown, United Airlines CEO says - CNBC Top stories - Google News https://ift.tt/2FLTecc Shoes Man Tutorial Pos News Update Meme Update Korean Entertainment News Japan News Update

Universality and diversity in human song - Science Magazine Posted: 21 Nov 2019 05:31 PM PST Cross-cultural analysis of song It is unclear whether there are universal patterns to music across cultures. Mehr et al. examined ethnographic data and observed music in every society sampled (see the Perspective by Fitch and Popescu). For songs specifically, three dimensions characterize more than 25% of the performances studied: formality of the performance, arousal level, and religiosity. There is more variation in musical behavior within societies than between societies, and societies show similar levels of within-society variation in musical behavior. At the same time, one-third of societies significantly differ from average for any given dimension, and half of all societies differ from average on at least one dimension, indicating variability across cultures. Science, this issue p. eaax0868; see also p. 944 Structured Abstract INTRODUCTION Music is often assumed to be a human universal, emerging from an evolutionary adaptation specific to music and/or a by-product of adaptations for affect, language, motor control, and auditory perception. But universality has never actually been systematically demonstrated, and it is challenged by the vast diversity of music across cultures. Hypotheses of the evolutionary function of music are also untestable without comprehensive and representative data on its forms and behavioral contexts across societies. RATIONALE We conducted a natural history of song: a systematic analysis of the features of vocal music found worldwide. It consists of a corpus of ethnographic text on musical behavior from a representative sample of mostly small-scale societies, and a discography of audio recordings of the music itself. We then applied tools of computational social science, which minimize the influence of sampling error and other biases, to answer six questions. Does music appear universally? What kinds of behavior are associated with song, and how do they vary among societies? Are the musical features of a song indicative of its behavioral context (e.g., infant care)? Do the melodic and rhythmic patterns of songs vary systematically, like those patterns found in language? And how prevalent is tonality across musical idioms? RESULTS Analysis of the ethnography corpus shows that music appears in every society observed; that variation in song events is well characterized by three dimensions (formality, arousal, religiosity); that musical behavior varies more within societies than across them on these dimensions; and that music is regularly associated with behavioral contexts such as infant care, healing, dance, and love. Analysis of the discography corpus shows that identifiable acoustic features of songs (accent, tempo, pitch range, etc.) predict their primary behavioral context (love, healing, etc.); that musical forms vary along two dimensions (melodic and rhythmic complexity); that melodic and rhythmic bigrams fall into power-law distributions; and that tonality is widespread, perhaps universal. CONCLUSION Music is in fact universal: It exists in every society (both with and without words), varies more within than between societies, regularly supports certain types of behavior, and has acoustic features that are systematically related to the goals and responses of singers and listeners. But music is not a fixed biological response with a single prototypical adaptive function: It is produced worldwide in diverse behavioral contexts that vary in formality, arousal, and religiosity. Music does appear to be tied to specific perceptual, cognitive, and affective faculties, including language (all societies put words to their songs), motor control (people in all societies dance), auditory analysis (all musical systems have signatures of tonality), and aesthetics (their melodies and rhythms are balanced between monotony and chaos). These analyses show how applying the tools of computational social science to rich bodies of humanistic data can reveal both universal features and patterns of variability in culture, addressing long-standing debates about each. Studying world music systematically. We used primary ethnographic text and field recordings of song performances to build two richly annotated cross-cultural datasets: NHS Ethnography and NHS Discography. The original material in each dataset was annotated by humans (both amateur and expert) and by automated algorithms. Abstract What is universal about music, and what varies? We built a corpus of ethnographic text on musical behavior from a representative sample of the world's societies, as well as a discography of audio recordings. The ethnographic corpus reveals that music (including songs with words) appears in every society observed; that music varies along three dimensions (formality, arousal, religiosity), more within societies than across them; and that music is associated with certain behavioral contexts such as infant care, healing, dance, and love. The discography—analyzed through machine summaries, amateur and expert listener ratings, and manual transcriptions—reveals that acoustic features of songs predict their primary behavioral context; that tonality is widespread, perhaps universal; that music varies in rhythmic and melodic complexity; and that elements of melodies and rhythms found worldwide follow power laws. At least since Henry Wadsworth Longfellow declared in 1835 that "music is the universal language of mankind" (1), the conventional wisdom among many authors, scholars, and scientists is that music is a human universal, with profound similarities across societies (2). On this understanding, musicality is embedded in the biology of Homo sapiens (3), whether as one or more evolutionary adaptations for music (4, 5), the by-products of adaptations for auditory perception, motor control, language, and affect (6–9), or some amalgam of these. Music certainly is widespread (10–12), ancient (13), and appealing to almost everyone (14). Yet claims that it is universal or has universal features are commonly made without citation [e.g., (15–17)], and those with the greatest expertise on the topic are skeptical. With a few exceptions (18), most music scholars suggest that few if any universals exist in music (19–23). They point to variability in the interpretations of a given piece of music (24–26), the importance of natural and social environments in shaping music (27–29), the diverse forms of music that can share similar behavioral functions (30), and the methodological difficulty of comparing the music of different societies (12, 31, 32). Given these criticisms, along with a history of some scholars using comparative work to advance erroneous claims of cultural or racial superiority (33), the common view among music scholars today (34, 35) is summarized by the ethnomusicologist George List: "The only universal aspect of music seems to be that most people make it. … I could provide pages of examples of the non-universality of music. This is hardly worth the trouble" (36). Are there, in fact, meaningful universals in music? No one doubts that music varies across cultures, but diversity in behavior can shroud regularities emerging from common underlying psychological mechanisms. Beginning with Chomsky's hypothesis that the world's languages conform to an abstract Universal Grammar (37, 38), many anthropologists, psychologists, and cognitive scientists have shown that behavioral patterns once considered arbitrary cultural products may exhibit deeper, abstract similarities across societies emerging from universal features of human nature. These include religion (39–41), mate preferences (42), kinship systems (43), social relationships (44, 45), morality (46, 47), violence and warfare (48–50), and political and economic beliefs (51, 52). Music may be another example, although it is perennially difficult to study. A recent analysis of the Garland Encyclopedia of World Music revealed that certain features—such as the use of words, chest voice, and an isochronous beat—appear in a majority of songs recorded within each of nine world regions (53). But the corpus was sampled opportunistically, which made generalizations to all of humanity impossible; the musical features were ambiguous, leading to poor interrater reliability; and the analysis studied only the forms of the societies' music, not the behavioral contexts in which it is performed, leaving open key questions about functions of music and their connection to its forms. Music perception experiments have begun to address some of these issues. In one, internet users reliably discriminated dance songs, healing songs, and lullabies sampled from 86 mostly small-scale societies (54); in another, listeners from the Mafa of Cameroon rated "happy," "sad," and "fearful" examples of Western music somewhat similarly to Canadian listeners, despite having had limited exposure to Western music (55); in a third, Americans and Kreung listeners from a rural Cambodian village were asked to create music that sounded "angry," "happy," "peaceful," "sad," or "scared" and generated similar melodies to one another within these categories (56). These studies suggest that the form of music is systematically related to its affective and behavioral effects in similar ways across cultures. But they can only provide provisional clues about which aspects of music, if any, are universal, because the societies, genres, contexts, and judges are highly limited, and because they too contain little information about music's behavioral contexts across cultures. A proper evaluation of claims of universality and variation requires a natural history of music: a systematic analysis of the features of musical behavior and musical forms across cultures, using scientific standards of objectivity, representativeness, quantification of variability, and controls for data integrity. We take up this challenge here. We focus on vocal music (hereafter, song) rather than instrumental music [see (57)] because it does not depend on technology, has well-defined physical correlates [i.e., pitched vocalizations (19)], and has been the primary focus of biological explanations for music (4, 5). Leveraging more than a century of research from anthropology and ethnomusicology, we built two corpora, which collectively we call the Natural History of Song (NHS). The NHS Ethnography is a corpus of descriptions of song performances, including their context, lyrics, people present, and other details, systematically assembled from the ethnographic record to representatively sample diversity across societies. The NHS Discography is a corpus of field recordings of performances of four kinds of song—dance, healing, love, and lullaby—from an approximately representative sample of human societies, mostly small-scale. We used the corpora to test five sets of hypotheses about universality and variability in musical behavior and musical forms: 1) We tested whether music is universal by examining the ethnographies of 315 societies, and then a geographically stratified pseudorandom sample of them. 2) We assessed how the behaviors associated with song differ among societies. We reduced the high-dimensional NHS Ethnography annotations to a small number of dimensions of variation while addressing challenges in the analysis of ethnographic data, such as selective nonreporting. This allowed us to assess how the variation in musical behavior across societies compares with the variation within a single society. 3) We tested which behaviors are universally or commonly associated with song. We cataloged 20 common but untested hypotheses about these associations, such as religious activity, dance, and infant care (4, 5, 40, 54, 58–60), and tested them after adjusting for sampling error and ethnographer bias, problems that have bedeviled prior tests. 4) We analyzed the musical features of songs themselves, as documented in the NHS Discography. We derived four representations of each song, including blind human ratings and machine summaries. We then applied machine classifiers to these representations to test whether the musical features of a song predict its association with particular behavioral contexts. 5) In exploratory analyses, we assessed the prevalence of tonality in the world's songs, found that variation in their annotations falls along a small number of dimensions, and plotted the statistical distributions of melodic and rhythmic patterns in them. All data and materials are publicly available at http://osf.io/jmv3q. We also encourage readers to view and listen to the corpora interactively via the plots available at http://themusiclab.org/nhsplots. Music appears in all measured human societies Is music universal? We first addressed this question by examining the eHRAF World Cultures database (61, 62), developed and maintained by the Human Relations Area Files organization. It includes high-quality ethnographic documents from 315 societies, subject-indexed by paragraph. We searched for text that was tagged as including music (instrumental or vocal) or that contained at least one keyword identifying vocal music (e.g., "singers"). Music was widespread: The eHRAF ethnographies describe music in 309 of the 315 societies. Moreover, the remaining six (the Turkmen, Dominican, Hazara, Pamir, Tajik, and Ghorbat peoples) do in fact have music, according to primary ethnographic documents available outside the database (63–68). Thus, music is present in 100% of a large sample of societies, consistent with the claims of writers and scholars since Longfellow (1, 4, 5, 10, 12, 53, 54, 58–60, 69–73). Given these data, and assuming that the sample of human societies is representative, the Bayesian 95% posterior credible interval for the population proportion of human societies that have music, with a uniform prior, is [0.994, 1]. To examine what about music is universal and how music varies worldwide, we built the NHS Ethnography (Fig. 1 and Text S1.1), a corpus of 4709 descriptions of song performances drawn from the Probability Sample File (74–76). This is a ~45-million-word subset of the 315-society database, comprising 60 traditionally living societies that were drawn pseudorandomly from each of Murdock's 60 cultural clusters (62), covering 30 distinct geographical regions and selected to be historically mostly independent of one another. Because the corpus representatively samples from the world's societies, it has been used to test cross-cultural regularities in many domains (46, 77–83), and these regularities may be generalized (with appropriate caution) to all societies. Fig. 1 Design of the NHS Ethnography. The illustration depicts the sequence from acts of singing to the ethnography corpus. (A) People produce songs in conjunction with other behavior, which scholars observe and describe in text. These ethnographies are published in books, reports, and journal articles and then compiled, translated, cataloged, and digitized by the Human Relations Area Files organization. (B) We conduct searches of the online eHRAF corpus for all descriptions of songs in the 60 societies of the Probability Sample File and annotate them with a variety of behavioral features. The raw text, annotations, and metadata together form the NHS Ethnography. Codebooks listing all available data are in tables S1 to S6; a listing of societies and locations from which texts were gathered is in table S12. The NHS Ethnography, it turns out, includes examples of songs in all 60 societies. Moreover, each society has songs with words, as opposed to just humming or nonsense syllables (which are reported in 22 societies). Because the societies were sampled independently of whether their people were known to produce music, in contrast to prior cross-cultural studies (10, 53, 54), the presence of music in each one—as recognized by the anthropologists who embedded themselves in the society and wrote their authoritative ethnographies—constitutes the clearest evidence supporting the claim that song is a human universal. Readers interested in the nature of the ethnographers' reports, which bear on what constitutes "music" in each society [see (27)], are encouraged to consult the interactive NHS Ethnography Explorer at http://themusiclab.org/nhsplots. Musical behavior worldwide varies along three dimensions How do we reconcile the discovery that song is universal with the research from ethnomusicology showing radical variability? We propose that the music of a society is not a fixed inventory of cultural behaviors, but rather the product of underlying psychological faculties that make certain kinds of sound feel appropriate to certain social and emotional circumstances. These include entraining the body to acoustic and motoric rhythms, analyzing harmonically complex sounds, segregating and grouping sounds into perceptual streams (6, 7), parsing the prosody of speech, responding to emotional calls, and detecting ecologically salient sounds (8, 9). These faculties may interact with others that specifically evolved for music (4, 5). Musical idioms differ with respect to which acoustic features they use and which emotions they engage, but they all draw from a common suite of psychological responses to sound. If so, what should be universal about music is not specific melodies or rhythms but clusters of correlated behaviors, such as slow soothing lullabies sung by a mother to a child or lively rhythmic songs sung in public by a group of dancers. We thus asked how musical behavior varies worldwide and how the variation within societies compares to the variation between them. Reducing the dimensionality of variation in musical behavior To determine whether the wide variation in the annotations of the behavioral context of songs in the database (Text S1.1) falls along a smaller number of dimensions capturing the principal ways that musical behavior varies worldwide, we used an extension of Bayesian principal components analysis (84), which, in addition to reducing dimensionality, handles missing data in a principled way and provides a credible interval for each observation's coordinates in the resulting space. Each observation is a "song event," namely, a description in the NHS Ethnography of a song performance, a characterization of how a society uses songs, or both. We found that three latent dimensions is the optimum number, explaining 26.6% of variability in NHS Ethnography annotations. Figure 2 depicts the space and highlights examples from excerpts in the corpus; an interactive version is available at http://themusiclab.org/nhsplots. (See Text S2.1 for details of the model, including the dimension selection procedure, model diagnostics, a test of robustness, and tests of the potential influence of ethnographer characteristics on model results.) To interpret the space, we examined annotations that load highly on each dimension; to validate this interpretation, we searched for examples at extreme locations and examined their content. Loadings are presented in tables S13 to S15; a selection of extreme examples is given in table S16. Fig. 2 Patterns of variation in the NHS Ethnography. (A to E) Projection of a subset of the NHS Ethnography onto three principal components. Each point represents the posterior mean location of an excerpt, with points colored by which of four types (identified by a broad search for matching keywords and annotations) it falls into: dance (blue), lullaby (green), healing (red), or love (yellow). The geometric centroids of each song type are represented by the diamonds. Excerpts that do not match any single search are not plotted but can be viewed in the interactive version of this figure at http://themusiclab.org/nhsplots, along with all text and metadata. Selected examples of each song type are presented here [highlighted circles and (B) to (E)]. (F to H) Density plots show the differences between song types on each dimension. Criteria for classifying song types from the raw text and annotations are shown in table S17. The first dimension (accounting for 15.5% of the variance, including error noise) captures variability in the Formality of a song: Excerpts high along this dimension describe ceremonial events involving adults, large audiences, and instruments; excerpts low on it describe informal events with small audiences and children. The second dimension (accounting for 6.2%) captures variability in Arousal: Excerpts high along this dimension describe lively events with many singers, large audiences, and dancing; excerpts low on it describe calmer events involving fewer people and less overt affect, such as people singing to themselves. The third dimension (4.9%) distinguishes Religious events from secular ones: Passages high along this dimension describe shamanic ceremonies, possession, and funerary songs; passages low on it describe communal events without spiritual content, such as community celebrations. To validate whether this dimensional space captured behaviorally relevant differences among songs, we tested whether we could reliably recover clusters for four distinctive, easily identifiable, and regularly occurring song types: dance, lullaby, healing, and love (54). We searched the NHS Ethnography for keywords and human annotations that matched at least one of the four types (table S17). Although each song type can appear throughout the space, clear structure is observable (Fig. 2): The excerpts falling into each type cluster together. On average, dance songs (1089 excerpts) occupy the high-Formality, high-Arousal, low-Religiosity region. Healing songs (289 excerpts) cluster in the high-Formality, high-Arousal, high-Religiosity region. Love songs (354 excerpts) cluster in the low-Formality, low-Arousal, low-Religiosity region. Lullabies (156 excerpts) are the sparsest category (although this was likely due to high missingness in variables associated with lullabies, such as one indicating the presence of infant-directed song; see Text S2.1.5) and are located mostly in the low-Formality and low-Arousal regions. An additional 2821 excerpts matched either more than one category or none of the four. To specify the coherence of these clusters formally rather than just visually, we asked what proportion of song events are closer to the centroid of their own type's location than to any other type (Text S2.1.6). Overall, 64.7% of the songs were located closest to the centroid of their own type; under a null hypothesis that song type is unrelated to location, simulated by randomly shuffling the song labels, only 23.2% would do so (P < 0.001 according to a permutation test). This result was statistically significant for three of the four song types (dance, 66.2%; healing, 74.0%; love, 63.6%; Ps < 0.001) although not for lullabies (39.7%, P = 0.92). The matrix showing how many songs of each type were near each centroid is in table S18. Note that these analyses eliminated variables with high missingness; a validation model that analyzed the entire corpus yielded similar dimensional structure and clustering (figs. S1 and S2 and Text S2.1.5). The range of musical behavior is similar across societies We next examined whether this pattern of variation applies within all societies. Do all societies take advantage of the full spectrum of possibilities made available by the neural, cognitive, and cultural systems that underlie music? Alternatively, is there only a single, prototypical song type that is found in all societies, perhaps reflecting the evolutionary origin of music (love songs, say, if music evolved as a courtship display; or lullabies, if it evolved as an adaptation to infant care), with the other types haphazardly distributed or absent altogether, depending on whether the society extended the prototype through cultural evolution? As a third alternative, do societies fall into discrete typologies, such as a Dance Culture or a Lullaby Culture? As still another alternative, do they occupy sectors of the space, so that there are societies with only arousing songs or only religious songs, or societies whose songs are equally formal and vary only by arousal, or vice versa? The data in Fig. 2, which pool song events across societies, cannot answer such questions. We estimated the variance of each society's scores on each dimension, aggregated across all ethnographies from that society. This revealed that the distributions of each society's observed musical behaviors are remarkably similar (Fig. 3), such that a song with "average formality," "average arousal," or "average religiosity" could appear in any society we studied. This finding is supported by comparing the global average along each dimension to each society's mean and standard deviation, which summarizes how unusual the average song event would appear to members of that society. We found that in every society, a song event at the global mean would not appear out of place: The global mean always falls within the 95% confidence interval of every society's distribution (fig. S3). These results do not appear to be driven by any bias stemming from ethnographer characteristics such as sex or academic field (fig. S4 and Text S2.1.7), nor are they artifacts of a society being related to other societies in the sample by region, subregion, language family, subsistence type, or location in the Old versus New World (fig. S5 and Text S2.1.8). Fig. 3 Society-wise variation in musical behavior. Density plots for each society show the distributions of musical performances on each of the three principal components (Formality, Arousal, Religiosity). Distributions are based on posterior samples aggregated from corresponding ethnographic observations. Societies are ordered by the number of available documents in the NHS Ethnography (the number of documents per society is displayed in parentheses). Distributions are color-coded according to their mean distance from the global mean (in z-scores; redder distributions are farther from 0). Although some societies' means differ significantly from the global mean, the mean of each society's distribution is within 1.96 standard deviations of the global mean of 0. One society (Tzeltal) is not plotted because it has insufficient observations for a density plot. Asterisks denote society-level mean differences from the global mean. *P < 0.05, **P < 0.01, ***P < 0.001. We also applied a comparison that is common in studies of genetic diversity (85) and that has been performed in a recent cultural-phylogenetic study of music (86). It revealed that typical within-society variation is approximately six times the between-society variation. Specifically, the ratios of within- to between-society variances were 5.58 for Formality [95% Bayesian credible interval, (4.11, 6.95)]; 6.39 (4.72, 8.34) for Arousal; and 6.21 (4.47, 7.94) for Religiosity. Moreover, none of the 180 mean values for the 60 societies over the three dimensions deviated from the global mean by more than 1.96 times the standard deviation of the principal components scores within that society (fig. S3 and Text S2.1.9). These findings demonstrate global regularities in musical behavior, but they also reveal that behaviors vary quantitatively across societies, consistent with the long-standing conclusions of ethnomusicologists. For instance, the Kanuri's musical behaviors are estimated to be less formal than those of any other society, whereas those of the Akan are estimated to be the most religious (in both cases, significantly different from the global mean on average). Some ethnomusicologists have attempted to explain such diversity, noting, for example, that more formal song performances tend to be found in more socially rigid societies (10). Despite this variation, a song event of average formality would appear unremarkable in the Kanuri's distribution of songs, as would a song event of average religiosity in the Akan. Overall, we find that for each dimension, approximately one-third of all societies' means significantly differed from the global mean, and approximately half differed from the global mean on at least one dimension (Fig. 3). But despite variability in the societies' means on each dimension, their distributions overlap substantially with one another and with the global mean. Moreover, even the outliers in Fig. 3 appear to represent not genuine idiosyncrasy in some cultures but sampling error: The societies that differ more from the global mean on some dimension are those with sparser documentation in the ethnographic record (fig. S6 and Text S2.1.10). To ensure that these results are not artifacts of the statistical techniques used, we applied them to a structurally analogous dataset whose latent dimensions are expected to vary across countries, namely climate features (for instance, temperature is related to elevation, which certainly is not universal); the results were entirely different from what we found when analyzing the NHS Ethnography (figs. S7 and S8 and Text S2.1.11). The results suggest that societies' musical behaviors are largely similar to one another, such that the variability within a society exceeds the variability between them (all societies have more soothing songs, such as lullabies; more rousing songs, such as dance tunes; more stirring songs, such as prayers; and other recognizable kinds of musical performance), and that the appearance of uniqueness in the ethnographic record may reflect underreporting. Associations between song and behavior, corrected for bias Ethnographic descriptions of behavior are subject to several forms of selective nonreporting: Ethnographers may omit certain kinds of information because of their academic interests (e.g., the author focuses on farming and not shamanism), implicit or explicit biases (e.g., the author reports less information about the elderly), lack of knowledge (e.g., the author is unaware of food taboos), or inaccessibility (e.g., the author wants to report on infant care but is not granted access to infants). We cannot distinguish among these causes, but we can discern patterns of omission in the NHS Ethnography. For example, we found that when the singer's age is reported, the singer is likely to be young, but when the singer's age is not reported, cues that the singer is old are statistically present (such as the fact that a song is ceremonial). Such correlations—between the absence of certain values of one variable and the reporting of particular values of others—were aggregated into a model of missingness (Text S2.1.12) that forms part of the Bayesian principal components analysis reported above. This allowed us to assess variation in musical behavior worldwide, while accounting for reporting biases. Next, to test hypotheses about the contexts with which music is strongly associated worldwide, in a similarly robust fashion, we compared the frequency with which a particular behavior appears in text describing song with the estimated frequency with which it appears across the board, in all the text written by that ethnographer about that society, which can be treated as the null distribution for that behavior. If a behavior is systematically associated with song, then its frequency in ethnographic descriptions of songs should exceed its frequency in that null distribution, which we estimated by randomly drawing the same number of passages from the same documents [see Text S2.2 for full model details]. We generated a list of 20 hypotheses about universal or widespread contexts for music (Table 1) from published work in anthropology, ethnomusicology, and cognitive science (4, 5, 40, 54, 58–60), together with a survey of nearly 1000 scholars that solicited opinions about which behaviors might be universally linked to music (Text S1.4.1). We then designed two sets of criteria for determining whether a given passage of ethnography represented a given behavior in this list. The first used human-annotated identifiers, capitalizing on the fact that every paragraph in the Probability Sample File comes tagged with one of more than 750 identifiers from the Outline of Cultural Materials (OCM), such as MOURNING, INFANT CARE, or WARFARE. Table 1 Cross-cultural associations between song and other behaviors. We tested 20 hypothesized associations between song and other behaviors by comparing the frequency of a behavior in song-related passages to that in comparably-sized samples of text from the same sources that are not about song. Behavior was identified with two methods: topic annotations from the Outline of Cultural Materials ("OCM identifiers") and automatic detection of related keywords ("WordNet seed words"; see table S19). Significance tests compared the frequencies in the passages in the full Probability Sample File containing song-related keywords ("Song freq.") with the frequencies in a simulated null distribution of passages randomly selected from the same documents ("Null freq."). ***P < 0.001, **P < 0.01, *P < 0.05, using adjusted P values (88); 95% intervals for the null distribution are in parentheses. View this table: The second set of criteria was needed because some hypotheses corresponded only loosely to the OCM identifiers (e.g., "love songs" is only a partial fit to ARRANGING A MARRIAGE and not an exact fit to any other identifier), and still others fit no identifier at all [e.g., "music perceived as art or as a creation" (59)]. So we designed a method that examined the text directly. Starting with a small set of seed words associated with each hypothesis (e.g., "religious," "spiritual," and "ritual" for the hypothesis that music is associated with religious activity), we used the WordNet lexical database (87) to automatically generate lists of conceptually related terms (e.g., "rite" and "sacred"). We manually filtered the lists to remove irrelevant words and homonyms and add relevant keywords that may have been missed, then conducted word stemming to fill out plurals and other grammatical variants (full lists are in table S19). Each method has limitations: Automated dictionary methods can erroneously flag a passage containing a word that is ambiguous, whereas the human-coded OCM identifiers may miss a relevant passage, misinterpret the original ethnography, or paint with too broad a brush, applying a tag to a whole paragraph or to several pages of text. Where the two methods converge, support for a hypothesis is particularly convincing. After controlling for ethnographer bias via the method described above, and adjusting the P values for multiple hypotheses (88), we found support from both methods for 14 of the 20 hypothesized associations between music and a behavioral context, and support from one method for the remaining six (Table 1). To verify that these analyses specifically confirmed the hypotheses, as opposed to being an artifact of some other nonrandom patterning in this dataset, we reran them on a set of additional OCM identifiers matched in frequency to the ones used above [see Text S2.2.2 for a description of the selection procedure]. They covered a broad swath of topics, including DOMESTICATED ANIMALS, POLYGAMY, and LEGAL NORMS that were not hypothesized to be related to song (the full list is in table S20). We find that only one appeared more frequently in song-related paragraphs than in the simulated null distribution (CEREAL AGRICULTURE; see table S20 for full results). This contrasts sharply with the associations reported in Table 1, suggesting that they represent bona fide regularities in the behavioral contexts of music. Universality of musical forms We now turn to the NHS Discography to examine the musical content of songs in four behavioral contexts (dance, lullaby, healing, and love; Fig. 4A), selected because each appears in the NHS Ethnography, is widespread in traditional cultures (59), and exhibits shared features across societies (54). Using predetermined criteria based on liner notes and supporting ethnographic text (table S21), and seeking recordings of each type from each of the 30 geographic regions, we found 118 songs of the 120 possibilities (4 contexts × 30 regions) from 86 societies (Fig. 4B). This coverage underscores the universality of these four types; indeed, in the two possibilities we failed to find (healing songs from Scandinavia and from the British Isles), documentary evidence shows that both existed (89, 90) despite our failure to find audio recordings of the practice. The recordings may be unavailable because healing songs were rare by the early 1900s, roughly when portable field recording became feasible. Fig. 4 Design of the NHS Discography. (A) Illustration depicting the sequence from acts of singing to the audio discography. People produce songs, which scholars record. We aggregate and analyze the recordings via four methods: automatic music information retrieval, annotations from expert listeners, annotations from naïve listeners, and staff notation transcriptions (from which annotations are automatically generated). The raw audio, four types of annotations, transcriptions, and metadata together form the NHS Discography. (B) Plot of the locations of the 86 societies represented, with points colored by the song type in each recording (blue, dance; red, healing; yellow, love; green, lullaby). Codebooks listing all available data are in tables S1 and S7 to S11; a listing of societies and locations from which recordings were gathered is in table S22. The data describing each song comprised (i) machine summaries of the raw audio using automatic music information retrieval techniques, particularly the audio's spectral features (e.g., mean brightness and roughness, variability of spectral entropy) (Text S1.2.1); (ii) general impressions of musical features (e.g., whether its emotional valence was happy or sad) by untrained listeners recruited online from the United States and India (Text S1.2.2); (iii) ratings of additional music-theoretic features such as high-level rhythmic grouping structure [similar in concept to previous rating-scale approaches to analyzing world music (10, 53)] from a group of 30 expert musicians including Ph.D. ethnomusicologists and music theorists (Text S1.2.3); and (iv) detailed manual transcriptions, also by expert musicians, of musical features (e.g., note density of sung pitches) (Text S1.2.4). To ensure that classifications were driven only by the content of the music, we excluded any variables that carried explicit or implicit information about the context (54), such as the number of singers audible on a recording and a coding of polyphony (which indicates the same thing implicitly). This exclusion could be complete only in the manual transcriptions, which are restricted to data on vocalizations; the music information retrieval and naïve listener data are practically inseparable from contextual information, and the expert listener ratings contain at least a small amount, because despite being told to ignore the context, the experts could still hear some of it, such as accompanying instruments. [See Text S2.3.1 for details about variable exclusion.] Listeners accurately identify the behavioral contexts of songs In a previous study, people listened to recordings from the NHS Discography and rated their confidence in each of six possible behavioral contexts (e.g., "used to soothe a baby"). On average, the listeners successfully inferred a song's behavioral context from its musical forms: The songs that were actually used to soothe a baby (i.e., lullabies) were rated highest as "used to soothe a baby"; dance songs were rated highly as "used for dancing," and so on (54). We ran a massive conceptual replication (Text S1.4.2) where 29,357 visitors to the citizen-science website http://themusiclab.org listened to songs drawn at random from the NHS Discography and were asked to guess what kind of song they were listening to from among four alternatives (yielding 185,832 ratings, i.e., 118 songs rated about 1500 times each). Participants also reported their musical skill level and degree of familiarity with world music. Listeners guessed the behavioral contexts with a level of accuracy (42.4%) that is well above chance (25%), showing that the acoustic properties of a song performance reflect its behavioral context in ways that span human cultures. The confusion matrix (Fig. 5A) shows that listeners identified dance songs most accurately (54.4%), followed by lullabies (45.6%), healing songs (43.3%), and love songs (26.2%), all significantly above chance (Ps < 0.001). Dance songs and lullabies were the least likely to be confused with each other, presumably because of their many contrasting features, such as tempo (a possibility we examine below; see Table 2). The column marginals suggest that the raters were biased toward identifying recordings as healing songs (32.6%, above their actual proportion of 23.7%) and away from identifying them as love songs (17.9%), possibly because healing songs are less familiar to Westernized listeners and they were overcompensating in identifying examples. As in previous research (54), love songs were least reliably identified, despite their ubiquity in Western popular music, possibly because they span a wide range of styles (for example, the vastly different Elvis Presley hit singles "Love Me Tender" and "Burning Love"). Nonetheless, d-prime scores (Fig. 5A), which capture the sensitivity to a signal independently of response bias, show that all behavioral contexts were identified at a rate higher than chance (d′ = 0). Fig. 5 Form and function in song. (A) In a massive online experiment (N = 29,357), listeners categorized dance songs, lullabies, healing songs, and love songs at rates higher than chance level of 25%, but their responses to love songs were by far the most ambiguous (the heat map shows average percent correct, color-coded from lowest magnitude, in blue, to highest magnitude, in red). Note that the marginals (below the heat map) are not evenly distributed across behavioral contexts: Listeners guessed "healing" most often and "love" least often despite the equal number of each in the materials. The d-prime scores estimate listeners' sensitivity to the song-type signal independent of this response bias. (B) Categorical classification of the behavioral contexts of songs, using each of the four representations in the NHS Discography, is substantially above the chance performance level of 25% (dotted red line) and is indistinguishable from the performance of human listeners, 42.4% (dotted blue line). The classifier that combines expert annotations with transcription features (the two representations that best ignore background sounds and other context) performs at 50.8% correct, above the level of human listeners. (C) Binary classifiers that use the expert annotation + transcription feature representations to distinguish pairs of behavioral contexts [e.g., dance from love songs, as opposed to the four-way classification in (B)] perform above the chance level of 50% (dotted red line). Error bars represent 95% confidence intervals from corrected resampled t tests (94). Table 2 Features of songs that distinguish between behavioral contexts. The table reports the predictive influence of musical features in the NHS Discography in distinguishing song types across cultures, ordered by their overall influence across all behavioral contexts. The classifiers used the average rating for each feature across 30 annotators. The coefficients are from a penalized logistic regression with standardized features and are selected for inclusion using a LASSO for variable selection. For brevity, we only present the subset of features with notable influence on a pairwise comparison (coefficients greater than 0.1). Changes in the values of the coefficients produce changes in the predicted log-odds ratio, so the values in the table can be interpreted as in a logistic regression. View this table: Are accurate identifications of the contexts of culturally unfamiliar songs restricted to listeners with musical training or exposure to world music? In a regression analysis, we found that participants' categorization accuracy was statistically related to their self-reported musical skill [F(4,16245) = 2.57, P = 0.036] and their familiarity with world music [F(3,16167) = 36.9, P < 0.001; statistics from linear probability models], but with small effect sizes: The largest difference was a 4.7–percentage point advantage for participants who reported that they were "somewhat familiar with traditional music" relative to those who reported that they had never heard it, and a 1.3–percentage point advantage for participants who reported that they have "a lot of skill" relative to "no skill at all." Moreover, when limiting the dataset to listeners with "no skill at all" or listeners who had "never heard traditional music," mean accuracy was almost identical to the overall cohort. These findings suggest that although musical experience enhances the ability to detect the behavioral contexts of songs from unfamiliar cultures, it is not necessary. Quantitative representations of musical forms accurately predict behavioral contexts of song If listeners can accurately identify the behavioral contexts of songs from unfamiliar cultures, there must be acoustic features that universally tend to be associated with these contexts. To identify them, we evaluated the relationship between a song's musical forms [measured in four ways; see Text S1.2.5 and (12, 31, 32, 91–93) for discussion of how difficult it is to represent music quantitatively] and its behavioral context. We used a cross-validation procedure that determined whether the pattern of correlation between musical forms and context computed from a subset of the regions could be generalized to predict a song's context in the other regions (as opposed to being overfitted to arbitrary correlations within that subsample). Specifically, we trained a least absolute shrinkage and selection operator (LASSO) multinomial logistic classifier (94) on the behavioral context of all the songs in 29 of the 30 regions in the NHS Discography, and used it to predict the context of the unseen songs in the 30th. We ran this procedure 30 times, omitting a different region each time (table S23 and Text S2.3.2). We compared the accuracy of these predictions to two baselines: pure chance (25%) and the accuracy of listeners in the massive online experiment (see above) when guessing the behavioral context from among four alternatives (42.4%). We found that with each of the four representations, the musical forms of a song can predict its behavioral context (Fig. 5B) at high rates, comparable to those of the human listeners in the online experiment. This finding was not attributable to information in the recordings other than the singing, which could be problematic if, for example, the presence of a musical instrument on a recording indicated that it was likelier to be a dance song than a lullaby (54), artificially improving classification. Representations with the least extraneous influence—the expert annotators and the summary features extracted from transcriptions—had no lower classification accuracy than the other representations. And a classifier run on combined expert + transcription data had the best performance of all, 50.8% [95% CI (40.4%, 61.3%), computed by corrected resampled t test (95)]. To ensure that this accuracy did not merely consist of patterns in one society predicting patterns in historically or geographically related ones, we repeated the analyses, cross-validating across groupings of societies, including superordinate world region (e.g., "Asia"), subsistence type (e.g., "hunter-gatherers"), and Old versus New World. In many cases, the classifier performed comparably to the main model (table S24), although low power in some cases (i.e., training on less than half the corpus) substantially reduced precision. In sum, the acoustic form of vocal music predicts its behavioral contexts worldwide (54), at least in the contexts of dance, lullaby, healing, and love: All classifiers performed above chance and within 1.96 standard errors of the performance of human listeners. Musical features that characterize the behavioral contexts of songs across societies Showing that the musical features of songs predict their behavioral context provides no information about which musical features those are. To help identify them, we determined how well the combined expert + transcription data distinguished between specific pairs of behavioral contexts rather than among all four, using a simplified form of the classifiers described above, which not only distinguished the contexts but also identified the most reliable predictors of each contrast, without overfitting (96). This can reveal whether tempo, for example, helps distinguish dance songs from lullabies while failing to distinguish lullabies from love songs. Performance once again significantly exceeded chance (in this case, 50%) for all six comparisons (Ps < 0.05; Fig. 5C). Table 2 lays out the musical features that drive these successful predictions and thereby characterize the four song types across cultures. Some are consistent with common sense; for instance, dance songs differ from lullabies in tempo, accent, and the consistency of their macrometer (i.e., the superordinate grouping of rhythmic notes). Other distinguishers are subtler: The most common interval of a song occurs a smaller proportion of the time in a dance song than in a healing song, which suggests that dance songs are more melodically variable than healing songs (for explanations of musical terminology, see Table 2). Similarly, it is unsurprising that lullabies and love songs are more difficult to distinguish than lullabies and dance songs (97); nonetheless, they may be distinguished by two features: the strength of metrical accents and the size of the pitch range (both larger in love songs). In sum, four common song categories, distinguished by their contexts and goals, tend to have distinctive musical qualities worldwide. These results suggest that universal features of human psychology bias people to produce and enjoy songs with certain kinds of rhythmic or melodic patterning that naturally go with certain moods, desires, and themes. These patterns do not consist of concrete acoustic features, such as a specific melody or rhythm, but rather of relational properties such as accent, meter, and interval structure. Of course, classification accuracy that is twice the level of chance still falls well short of perfect prediction; hence, many aspects of music cannot be manifestations of universal psychological reactions. Although musical features can predict differences between songs from these four behavioral contexts, a given song may be sung in a particular context for other reasons, including its lyrics, its history, the style and instrumentation of its performance, its association with mythical or religious themes, and constraints of the culture's musical idiom. And although we have shown that Western listeners, who have been exposed to a vast range of musical styles and idioms, can distinguish the behavioral contexts of songs from non-Western societies, we do not know whether non-Western listeners can do the same. To reinforce the hypothesis of universal associations between musical form and context, similar methods should be tested with non-Western listeners. Explorations of the structure of musical forms The NHS Discography can be used to explore world music in many other ways. We present three exploratory analyses here, mindful of the limitation that they may apply only to the four genres the corpus includes. Signatures of tonality appear in all societies studied A basic feature of many styles of music is tonality, in which a melody is composed of a fixed set of discrete tones [perceived pitches as opposed to actual pitches, a distinction dating to Aristoxenus's Elementa Harmonica (98)], and some tones are psychologically dependent on others, with one tone felt to be central or stable (99–101). This tone (more accurately, perceived pitch class, embracing all the tones one or more octaves apart) is called the tonal center or tonic, and listeners characterize it as a reference point, point of stability, basis tone, "home," or tone that the melody "is built around" and where it "should end." For example, the tonal center of "Row Your Boat" is found in each of the "row"s, the last "merrily," and the song's last note, "dream." Although tonality has been studied in a few non-Western societies (102, 103), its cross-cultural distribution is unknown. Indeed, the ethnomusicologists who responded to our survey (Text S1.4.1) were split over whether the music of all societies should be expected to have a tonal center: 48% responded "probably not universal" or "definitely not universal." The issue is important because a tonal system is a likely prerequisite for analyzing music, in all its diversity, as the product of an abstract musical grammar (73). Tonality also motivates the hypothesis that melody is rooted in the brain's analysis of harmonically complex tones (104). In this theory, a melody can be considered a set of "serialized overtones," the harmonically related frequencies ordinarily superimposed in the rich tone produced by an elongated resonator such as the human vocal tract. In tonal melodies, the tonic corresponds to the fundamental frequency of the disassembled complex tone, and listeners tend to favor tones in the same pitch class as harmonics of the fundamental (105). To explore tonality in the NHS Discography, we analyzed the expert listener annotations and the transcriptions (Text S2.4.1). Each of the 30 expert listeners was asked, for each song, whether or not they heard at least one tonal center, defined subjectively as above. The results were unambiguous: 97.8% of ratings were in the affirmative. More than two-thirds of songs were rated as "tonal" by all 30 expert listeners, and 113 of the 118 were rated as tonal by more than 90% of them. The song with the most ambiguous tonality (the Kwakwaka'wakw healing song) still had a majority of raters respond in the affirmative (60%). If listeners heard a tonal center, they were asked to name its pitch class. Here too, listeners were highly consistent: Either there was widespread agreement on a single tonal center or the responses fell into two or three tonal centers (Fig. 6A; the distributions of tonality ratings for all 118 songs are in fig. S10). We used Hartigan's dip test (106) to measure the multimodality of the ratings. In the 73 songs that the test classified as unimodal, 85.3% of ratings were in agreement with the modal pitch class. In the remaining 45 songs, 81.7% of ratings were in agreement with the two most popular pitch classes, and 90.4% were in agreement with the three most popular. The expert listeners included six Ph.D. ethnomusicologists and six Ph.D. music theorists; when restricting the ratings to this group alone, the levels of consistency were comparable. Fig. 6 Signatures of tonality in the NHS Discography. (A) Histograms representing 30 expert listeners' ratings of tonal centers in all 118 songs, each song corresponding to a different color, show two main findings: (i) Most songs' distributions are unimodal, such that most listeners agreed on a single tonal center (represented by the value 0). (ii) When listeners disagree, they are multimodal, with the most popular second mode (in absolute distance) five semitones away from the overall mode, a perfect fourth. The music notation is provided as a hypothetical example only, with C as a reference tonal center; note that the ratings of tonal centers could be at any pitch level. (B) The scatterplot shows the correspondence between modal ratings of expert listeners with the first-rank predictions from the Krumhansl-Schmuckler key-finding algorithm. Points are jittered to avoid overlap. Note that pitch classes are circular (i.e., C is one semitone away from C# and from B) but the plot is not; distances on the axes of (B) should be interpreted accordingly. In songs where the ratings were multimodally distributed, the modal tones were often hierarchically related; for instance, ratings for the Ojibwa healing song were evenly split between B (pitch class 11) and E (pitch class 4), which are a perfect fourth (five semitones) apart. The most common intervals between the two modal tones were the perfect fourth (in 15 songs), a half-step (one semitone, in nine songs), a whole step (two semitones, in eight songs), a major third (four semitones, in seven songs), and a minor third (three semitones, in six songs). We cannot know which features of a given recording our listeners were responding to in attributing a tonal center to it, nor whether their attributions depended on expertise that ordinary listeners lack. We thus sought converging, objective evidence for the prevalence of tonality in the world's music by submitting NHS Discography transcriptions to the Krumhansl-Schmuckler key-finding algorithm (107). This algorithm sums the durations of the tones in a piece of music and correlates this vector with each of a family of candidate vectors, one for each key, consisting of the relative centralities of those pitch classes in that key. The algorithm's first guess (i.e., the key corresponding to the most highly correlated vector) matched the expert listeners' ratings of the tonal center 85.6% of the time (measured via a weighted average of its hit rate for the most common expert rating when the ratings were unimodal and either of the two most common ratings when they were multimodal). When we relaxed the criterion for a match to the algorithm's first- and second-ranked guesses, it matched the listeners' ratings on 94.1% of songs; adding its third-ranked estimate resulted in matches 97.5% of the time, and adding the fourth resulted in matches with 98.3% [all Ps < 0.0001 above the chance level of 9.1%, using a permutation test (Text S2.4.1)]. These results provide convergent evidence for the presence of tonality in the NHS Discography songs (Fig. 6B). These conclusions are limited in several ways. First, they are based on songs from only four behavioral contexts, omitting others such as mourning, storytelling, play, war, and celebration. Second, the transcriptions were created manually and could have been influenced by the musical ears and knowledge of the expert transcribers. (Current music information retrieval algorithms are not robust enough to transcribe melodies accurately, especially from noisy field recordings, but improved ones could address this issue.) The same limitation may apply to the ratings of our expert listeners. Finally, the findings do not show how the people from the societies in which NHS Discography songs were recorded hear the tonality in their own music. To test the universality of tonality perception, one would need to conduct field experiments in diverse populations. Music varies along two dimensions of complexity To examine patterns of variation among the songs in the NHS Discography, we applied the same kind of Bayesian principal components analysis used for the NHS Ethnography to the combination of expert annotations and transcription features (i.e., the representations that focus most on the singing, excluding context). The results yielded two dimensions, which together explain 23.9% of the variability in musical features. The first, which we call Melodic Complexity, accounts for 13.1% of the variance (including error noise); heavily loading variables included the number of common intervals, pitch range, and ornamentation (all positively) and the predominance of the most common pitch class, the predominance of the most common interval, and the distance between the most common intervals (all negatively; see table S25). The second, which we call Rhythmic Complexity, accounts for 10.8% of the variance; heavily loading variables included tempo, note density, syncopation, accent, and consistency of macrometer (all positively) and the average note duration and duration of melodic arcs (all negatively; see table S26). The interpretation of the dimensions is further supported in Fig. 7, which shows excerpts of transcriptions at the extremes of each dimension; an interactive version is at http://themusiclab.org/nhsplots. Fig. 7 Dimensions of musical variation in the NHS Discography. (A) A Bayesian principal components analysis reduction of expert annotations and transcription features (the representations least contaminated by contextual features) shows that these measurements fall along two dimensions that may be interpreted as rhythmic complexity and melodic complexity. (B and C) Histograms for each dimension show the differences—or lack thereof—between behavioral contexts. (D to G) Excerpts of transcriptions from songs at extremes from each of the four quadrants, to validate the dimension reduction visually. The two songs at the high–rhythmic complexity quadrants are dance songs (in blue); the two songs at the low–rhythmic complexity quadrants are lullabies (in green). Healing songs are depicted in red and love songs in yellow. Readers can listen to excerpts from all songs in the corpus at http://osf.io/jmv3q; an interactive version of this plot is available at http://themusiclab.org/nhsplots. In contrast to the NHS Ethnography, the principal components space for the NHS Discography does not distinguish the four behavioral contexts of songs in the corpus. We found that only 39.8% of songs matched their nearest centroid (overall P = 0.063 from a permutation test; dance: 56.7%, P = 0.12; healing: 7.14%, P > 0.99; love: 43.3%, P = 0.62; lullaby: 50.0%, P = 0.37; a confusion matrix is in table S27). Similarly, k-means clustering on the principal components space, asserting k = 4 (because there are four known clusters), failed to reliably capture any of the behavioral contexts. Finally, given the lack of predictive accuracy of songs' location in the two-dimensional space, we explored each dimension's predictive accuracy individually, using t tests of each context against the other three, adjusted for multiple comparisons (88). Melodic complexity did not predict context (dance, P = 0.79; healing, P = 0.96; love, P = 0.13; lullaby, P = 0.35). However, rhythmic complexity did distinguish dance songs (which were more rhythmically complex, P = 0.01) and lullabies (which were less rhythmically complex, P = 0.03) from other songs; it did not distinguish healing or love songs (Ps > 0.99). When we adjusted these analyses to account for across-region variability, the results were comparable (Text S2.4.2). Thus, although musical content systematically varies in two ways across cultures, this variation is mostly unrelated to the behavioral contexts of the songs, perhaps because complexity captures distinctions that are salient to music analysts but not strongly evocative of particular moods or themes among the singers and listeners themselves. Melodic and rhythmic bigrams are distributed according to power laws Many phenomena in the social and biological sciences are characterized by Zipf's law (108), in which the probability of an event is inversely proportional to its rank in frequency, an example of a power-law distribution (in the Zipfian case, the exponent is 1). Power-law distributions (as opposed to, say, the geometric distribution) have two key properties: A small number of highly frequent events account for the majority of observations, and there are a large number of individually improbable events whose probability falls off slowly in a thick tail (109). In language, for example, a few words appear with very high frequency, such as pronouns, while a great many are rare, such as the names of species of trees, but any sample will nonetheless tend to contain several rare words (110). A similar pattern is found in the distribution of colors among paintings in a given period of art history (111). In music, Zipf's law has been observed in the melodic intervals of Bach, Chopin, Debussy, Mendelssohn, Mozart, and Schoenberg (112–116); in the loudness and pitch fluctuations in Scott Joplin piano rags (117); in the harmonies (118–120) and rhythms of classical music (121); and, as Zipf himself noted, in melodies composed by Mozart, Chopin, Irving Berlin, and Jerome Kern (108). We tested whether the presence of power-law distributions is a property of music worldwide by tallying relative melodic bigrams (the number of semitones separating each pair of successive notes) and relative rhythmic bigrams (the ratio of the durations of each pair of successive notes) for all NHS Discography transcriptions (Text S2.4.3). The bigrams overlapped, with the second note of one bigram also serving as the first note of the next. We found that both the melodic and rhythmic bigram distributions followed power laws (Fig. 8), and this finding held worldwide: The fit between the observed bigrams and the best-fitting power function was high within each region (melodic bigrams: median R2 = 0.97, range 0.92 to 0.99; rhythmic bigrams: median R2 = 0.98, range 0.88 to 0.99). The most prevalent bigrams were the simplest. Among the melodic bigrams (Fig. 8A), three small intervals (unison, major second, and minor third) accounted for 73% of the bigrams; the tritone (six semitones) was the rarest, accounting for only 0.2%. The prevalence of these bigrams is significant: Using only unisons, major seconds, and minor thirds, one can construct any melody in a pentatonic scale, a scale found in many cultures (122). Among the rhythmic bigrams (Fig. 8B), three patterns with simple integer ratios (1:1, 2:1, and 3:1) accounted for 86% of observed bigrams, whereas a large and eclectic group of ratios (e.g., 7:3, 11:2) accounted for fewer than 1%. The distribution is thus consistent with earlier findings that rhythmic patterns with simple integer ratios appear to be universal (123). The full lists of bigrams, with their cumulative frequencies, are in tables S28 and S29. Fig. 8 The distributions of melodic and rhythmic patterns in the NHS Discography follow power laws. (A and B) We computed relative melodic (A) and rhythmic (B) bigrams and examined their distributions in the corpus. Both distributions followed a power law; the parameter estimates in the inset correspond to those from the generalized Zipf-Mandelbrot law, where s refers to the exponent of the power law and β refers to the Mandelbrot offset. Note that in both plots, the axes are on logarithmic scales. The full lists of bigrams are in tables S28 and S29. These results suggest that power-law distributions in music are a human universal (at least in the four genres studied here), with songs dominated by small melodic intervals and simple rhythmic ratios and enriched with many rare but larger and more complex ones. Because the specification of a power law is sensitive to sampling error in the tail of the distribution (124), and because many generative processes can give rise to a power-law distribution (125), we cannot identify a single explanation. Among the possibilities are that control of the vocal tract is biased toward small jumps in pitch that minimize effort, that auditory analysis is biased toward tracking similar sounds that are likely to be emitted by a single sound-maker, that composers tend to add notes to a melody that are similar to ones already contained in it, and that human aesthetic reactions are engaged by stimuli that are power law–distributed, which makes them neither too monotonous nor too chaotic (116, 126, 127)—"inevitable and yet surprising," as the music of Bach has been described (128). A new science of music The challenge in understanding music has always been to reconcile its universality with its diversity. Even Longfellow, who declared music to be humanity's universal language, celebrated the many forms it could take: "The peasant of the North … sings the traditionary ballad to his children … the muleteer of Spain carols with the early lark … The vintager of Sicily has his evening hymn; the fisherman of Naples his boat-song; the gondolier of Venice his midnight serenade" (1). Conversely, even an ethnomusicologist skeptical of universals in music conceded that "most people make it" (36). Music is universal but clearly takes on different forms in different cultures. To go beyond these unexceptionable observations and understand exactly what is universal about music, while circumventing the biases inherent in opportunistic observations, we assembled databases that combine the empirical richness of the ethnographic and musicological record with the tools of computational social science. The findings allow the following conclusions: Music exists in every society, varies more within than between societies, and has acoustic features that are systematically (albeit probabilistically) related to the behaviors of singers and listeners. At the same time, music is not a fixed biological response with a single, prototypical adaptive function such as mating, group bonding, or infant care: It varies substantially in melodic and rhythmic complexity and is produced worldwide in at least 14 behavioral contexts that vary in formality, arousal, and religiosity. But music does appear to be tied to identifiable perceptual, cognitive, and affective faculties, including language (all societies put words to their songs), motor control (people in all societies dance), auditory analysis (all musical systems have some signatures of tonality), and aesthetics (their melodies and rhythms are balanced between monotony and chaos). Methods summary To build the NHS Ethnography, we extracted descriptions of singing from the Probability Sample File by searching the database for text that was tagged with the topic MUSIC and that included at least one of 10 keywords that singled out vocal music (e.g., "singers," "song," "lullaby") (Text S1.1). This search yielded 4709 descriptions of singing (490,615 words) drawn from 493 documents (median 49 descriptions per society). We manually annotated each description with 66 variables to comprehensively capture the behaviors reported by ethnographers (e.g., age of the singer, duration of the song). We also attached metadata about each paragraph (e.g., document publication data; tagged nonmusical topics) using a matching algorithm that located the source paragraphs from which the description of the song was extracted. See Text S1.1 for full details on corpus construction, tables S1 to S6 for annotation types, and table S12 for a list of societies and locations. Song events from all the societies were aggregated into a single dataset, without indicators of the society they came from. The range of possible missing values was filled in using a Markov chain Monte Carlo procedure that assumes that their absence reflects conditionally random omission with probabilities related to the features that the ethnographer did record, such as the age and sex of the singer or the size of the audience (Text S2.1). For the dimensionality reduction, we used an optimal singular value thresholding criterion (129) to determine the number of dimensions to analyze, which we then interpreted by three techniques: examining annotations that load highly on each dimension; searching for examples at extreme locations in the space and examining their content; and testing whether known song types formed distinct clusters in the latent space (e.g., dance songs versus healing songs; see Fig. 2). To build the NHS Discography, and to ensure that the sample of recordings from each genre is representative of human societies, we located field recordings of dance songs, lullabies, healing songs, and love songs using a geographic stratification approach similar to that of the NHS Ethnography—namely, by drawing one recording representing each behavioral context from each of 30 regions. We chose songs according to predetermined criteria (table S21), studying recordings' liner notes and the supporting ethnographic text without listening to the recordings. When more than one suitable recording was available, we selected one at random. See Text S1.1 for details on corpus construction, tables S1 and S7 to S11 for annotation types, and table S22 for a list of societies and locations. For analyses of the universality of musical forms, we studied each of the four representations individually (machine summaries, naïve listener ratings, expert listener ratings, and features extracted from manual transcriptions), along with a combination of the expert listener and manual transcription data, which excluded many "contextual" features of the audio recordings (e.g., the sound of an infant crying during a lullaby). For the explorations of the structure of musical forms, we studied the manual transcriptions of songs and also used the Bayesian principal components analysis technique (described above) on the combined expert + transcription data summarizing NHS Discography songs. Both the NHS Ethnography and NHS Discography can be explored interactively at http://themusiclab.org/nhsplots. Supplementary Materials References and Notes ↵ H. W. Longfellow, Outre-mer: A Pilgrimage Beyond the Sea (Harper, 1835). ↵ L. Bernstein, The Unanswered Question: Six Talks at Harvard (Harvard Univ. Press, 2002). ↵ ↵ ↵ ↵ A. S. Bregman, Auditory Scene Analysis: The Perceptual Organization of Sound (MIT Press, 1990). ↵ ↵ S. Pinker, How the Mind Works (Norton, 1997). ↵ ↵ A. Lomax, Folk Song Style and Culture (American Association for the Advancement of Science, 1968). A. P. Merriam, The Anthropology of Music (Northwestern Univ. Press, 1964). ↵ B. Nettl, The Study of Ethnomusicology: Thirty-Three Discussions (Univ. of Illinois Press, 2015). ↵ ↵ ↵ ↵ ↵ B. Nettl, in The Origins of Music (MIT Press, 2000), pp. 463–472. ↵ M. Hood, The Ethnomusicologist (McGraw-Hill, 1971). ↵ ↵ M. Hood, in Musicology, F. L. Harrison, M. Hood, C. V. Palisca, Eds. (Prentice-Hall, 1963), pp. 217–239. ↵ ↵ S. Feld, Sound and Sentiment: Birds, Weeping, Poetics, and Song in Kaluli Expression (Duke Univ. Press, 2012). N. Harkness, Songs of Seoul: An Ethnography of Voice and Voicing in Christian South Korea (Univ. of California Press, 2014). ↵ ↵ ↵ T. Ellingson, in Ethnomusicology, H. Myers, Ed. (Norton, 1992), pp. 110–152. ↵ ↵ ↵ ↵We conducted a survey of academics to solicit opinions about the universality of music. The overall pattern of results from music scholars was consistent with List's claim that music is characterized by very few universals. For instance, in response to the question "Do you think that music is mostly shaped by culture, or do you think that music is mostly shaped by a universal human nature?", the majority of music scholars responded in the "Music is mostly shaped by culture" half of the scale (ethnomusicologists, 71%; music theorists, 68%; other musical disciplines, 62%). See Text S1.4.1 for full details. ↵ ↵ N. A. Chomsky, Language and Mind (Harcourt Brace, 1968). ↵ M. H. Christiansen, C. T. Collins, S. Edelman, Language Universals (Oxford Univ. Press, 2009). ↵ P. Boyer, Religion Explained: The Evolutionary Origins of Religious Thought (Basic Books, 2007). ↵ ↵ ↵ ↵ ↵ A. P. Fiske, Structures of Social Life: The Four Elementary Forms of Human Relations: Communal Sharing, Authority Ranking, Equality Matching, Market Pricing (Free Press, 1991). ↵ ↵ ↵ J. Haidt, The Righteous Mind: Why Good People Are Divided by Politics and Religion (Penguin, 2013). ↵ S. Pinker, The Better Angels of Our Nature: Why Violence Has Declined (Viking, 2011). ↵ A. P. Fiske, T. S. Rai, Virtuous Violence: Hurting and Killing to Create, Sustain, End, and Honor Social Relationships (Cambridge Univ. Press, 2015). ↵ ↵ ↵ ↵ ↵ ↵ ↵ ↵ ↵ D. E. Brown, Human Universals (Temple Univ. Press, 1991). ↵ ↵ ↵ G. P. Murdock, C. S. Ford, A. E. Hudson, R. Kennedy, L. W. Simmons, J. W. M. Whiting, Outline of Cultural Materials (Human Relations Area Files Inc., New Haven, CT, 2008). ↵ P. Austerlitz, Merenge: Dominican Music and Dominican Identity (Temple Univ. Press, 2007). C. Irgens-Møller, Music of the Hazara: An Investigation of the Field Recordings of Klaus Ferdinand 1954–1955 (Moesgård Museum, Denmark, 2007). B. D. Koen, Devotional Music and Healing in Badakhshan, Tajikistan: Preventive and Curative Practices (UMI Dissertation Services, Ann Arbor, MI, 2005). B. D. Koen, Beyond the Roof of the World: Music, Prayer, and Healing in the Pamir Mountains (Oxford Univ. Press, 2011). ↵ ↵ A. D. Patel, Music, Language, and the Brain (Oxford Univ. Press, 2008). A. P. Merriam, in Cross-Cultural Perspectives on Music: Essays in Memory of Miczyslaw Kolinski, R. Falck, T. Rice, M. Kolinski, Eds. (Univ. of Toronto Press, 1982), pp. 174–189. ↵ F. Lerdahl, R. Jackendoff, A Generative Theory of Tonal Music (MIT Press, 1983). ↵ ↵ ↵ ↵ M. Singh, Magic, explanations, and evil: On the origins and design of witches and sorcerers. SocArXiv (2019). doi:10.31235/osf.io/pbwc7 ↵ ↵ R. C. Lewontin, in Evolutionary Biology, T. Dobzhansky, M. K. Hecht, W. C. Steer, Eds. (Appleton-Century-Crofts, 1972), pp. 391–398. ↵ ↵ ↵ ↵ R. Karsten, The Religion of the Samek: Ancient Beliefs and Cults of the Scandinavian and Finnish Lapps (Brill, 1955). ↵ M. J. Murphy, "A sprain." In Manuscript 1503 (serial #QBA7800250), pp. 237–238 (1957). Available from the Manuscript Collection of the National Folklore Collection, University College Dublin. ↵ S. Arom, African Polyphony and Polyrhythm: Musical Structure and Methodology (Cambridge Univ. Press, 2004). ↵ B. Nettl, Theory and Method in Ethnomusicology (Collier-Macmillan, 1964). ↵ J. Friedman, T. Hastie, R. Tibshirani, Lasso and Elastic-Net Regularized Generalized Linear Models. Rpackage Version 2.0-5 (2016). ↵ ↵ ↵ ↵ A. Barker, Greek Musical Writings: Harmonic and Acoustic Theory (Cambridge Univ. Press, 2004). ↵ ↵ ↵ ↵ ↵ H. von Helmholtz, The Sensations of Tone as a Physiological Basis for the Theory of Music (Longmans, 1885). ↵ D. Cooke, The Language of Music (Oxford Univ. Press, 2001). ↵ ↵ C. L. Krumhansl, Cognitive Foundations of Musical Pitch (Oxford Univ. Press, 2001). ↵ G. K. Zipf, Human Behavior and the Principle of Least Effort: An Introduction to Human Ecology (Addison-Wesley, 1949). ↵ H. Baayen, Word Frequency Distributions (Kluwer Academic, 2001). ↵ ↵ ↵ ↵ ↵ ↵ M. Rohrmeier, I. Cross, Statistical Properties of Tonal Harmony in Bach's Chorales. in Proceedings of the 10th International Conference on Music Perception and Cognition (2008), p. 9. ↵ ↵ ↵ ↵ ↵ ↵ ↵ G. D. Birkhoff, Aesthetic Measure (Harvard Univ. Press, 2013). ↵ B. Manaris, P. Roos, D. Krehbiel, T. Zalonis, J. R. Armstrong, in Music Data Mining, T. Li, M. Ogihara, G. Tzanetakis, Eds.(CRC Press, 2012), chapter 6. ↵ M. R. Schroeder, Fractals, Chaos, Power Laws: Minutes from an Infinite Paradise (Dover, 2009). ↵ ↵ MIMO Consortium, Revision of the Hornbostel-Sachs Classification of Musical Instruments (2011). O. Lartillot, P. Toiviainen, T. Eerola, in Data Analysis, Machine Learning and Applications, C. Preisach, H. Burkhardt, L. Schmidt-Thieme, R. Decker, Eds. (Springer, 2008), pp. 261–268. C. McKay, I. Fujinaga, in Proceedings of the International Computer Music Conference (2006), pp. 302–305. ↵ Acknowledgments: We thank the hundreds of anthropologists and ethnomusicologists whose work forms the source material for all our analyses; the countless people whose music those scholars reported on; and the research assistants who contributed to the creation of the Natural History of Song corpora and to this research, here listed alphabetically: Z. Ahmad, P. Ammirante, R. Beaudoin, J. Bellissimo, A. Bergson, M. Bertolo, M. Bertuccelli, A. Bitran, S. Bourdaghs, J. Brown, L. Chen, C. Colletti, L. Crowe, K. Czachorowski, L. Dinetan, K. Emery, D. Fratina, E. Galm, S. Gomez, Y.-H. Hung, C. Jones, S. Joseph, J. Kangatharan, A. Keomurjian, H. J. Kim, S. Lakin, M. Laroussini, T. Lee, H. Lee-Rubin, C. Leff, K. Lopez, K. Luk, E. Lustig, V. Malawey, C. McMann, M. Montagnese, P. Moro, N. Okwelogu, T. Ozawa, C. Palfy, J. Palmer, A. Paz, L. Poeppel, A. Ratajska, E. Regan, A. Reid, R. Sagar, P. Savage, G. Shank, S. Sharp, E. Sierra, D. Tamaroff, I. Tan, C. Tripoli, K. Tutrone, A. Wang, M. Weigel, J. Weiner, R. Weissman, A. Xiao, F. Xing, K. Yong, H. York, and J. Youngers. We also thank C. Ember and M. Fischer for providing additional data from the Human Relations Area Files, and for their assistance using those data; S. Adams, P. Laurence, P. O'Brien, A. Wilson, the staff at the Archive of World Music at Loeb Music Library (Harvard University), and M. Graf and the staff at the Archives of Traditional Music (Indiana University) for assistance with locating and digitizing audio recordings; B. Hillers for assistance with information concerning traditional Gaelic music; D. Niles, S. Wadley, and H. Wild for contributing recordings from their personal collections; S. Collins for producing the NHS Ethnography validity annotations; M. Walter for assistance with digital processing of transcriptions; J. Hulbert and R. Clarida for assistance with copyright issues and materials sharing; V. Kuchinov for developing the interactive visualizations; S. Deviche for contributing illustrations; and the Dana Foundation, whose program "Arts and Cognition" led in part to the development of this research. Last, we thank A. Rehding, G. Bryant, E. Hagen, H. Gardner, E. Spelke, M. Tenzer, G. King, J. Nemirow, J. Kagan, and A. Martin for their feedback, ideas, and intellectual support of this work. Funding: Supported by the Harvard Data Science Initiative (S.A.M.); the National Institutes of Health Director's Early Independence Award DP5OD024566 (S.A.M.); the Harvard Graduate School of Education/Harvard University Presidential Scholarship (S.A.M.); the Harvard University Department of Psychology (S.A.M. and M.M.K.); a Harvard University Mind/Brain/Behavior Interfaculty Initiative Graduate Student Award (S.A.M. and M.S.); the National Science Foundation Graduate Research Fellowship Program (M.S.); the Microsoft Research postdoctoral fellowship program (D.K.); the Washington University Faculty of Arts and Sciences Dean's Office (C.L.); the Columbia University Center for Science and Society (N.J.); the Natural Sciences and Engineering Research Council of Canada (T.J.O.); Fonds de Recherche du Québec Société et Culture (T.J.O.); and ANR Labex IAST (L.G.). Author contributions: S.A.M., M.S., and L.G. created and direct the Natural History of Song project; they oversaw all aspects of this work, including the design and development of the corpora. S.P., M.M.K., and T.J.O. contributed to the conceptual foundation. D.K. designed and implemented all analyses, with support from S.A.M. and C.L. S.A.M., D.K., and M.S. designed the static figures and S.A.M. and D.K. created them. C.L. and S.A.M. designed the interactive figures and supervised their development. S.A.M. recruited and managed all staff, who collected, annotated, processed, and corrected data and metadata. S.A.M., D.M.K., and D.P.-J. transcribed the NHS Discography into music notation. S.A., A.A.E., E.J.H., and R.M.H. provided key support by contributing to annotations, background research, and project management. S.A.M., J.K.H., M.V.J., J.S., and C.M.B. designed and implemented the online experiment at http://themusiclab.org. N.J. assisted with web scraping, music information retrieval, and initial analyses. S.A.M., M.S., and L.G. designed the overall structure of the manuscript; S.A.M., M.S., and S.P. led the writing; and all authors edited it collaboratively. Competing interests: The authors declare no competing interests. Data and materials availability: All Natural History of Song data and materials are publicly archived at http://osf.io/jmv3q, with the exception of the full audio recordings in the NHS Discography, which are available via the Harvard Dataverse at https://doi.org/10.7910/DVN/SESAO1. All analysis scripts are available at http://github.com/themusiclab/nhs. Human Relations Area Files data and the eHRAF World Cultures database are available via licensing agreement at http://ehrafworldcultures.yale.edu; the document- and paragraph-wise word histograms from the Probability Sample File were provided by the Human Relations Area Files under a Data Use Agreement. The Global Summary of the Year corpus is maintained by the National Oceanic and Atmospheric Administration, U.S. Department of Commerce, and is publicly available at www.ncei.noaa.gov/data/gsoy/. Let's block ads! (Why?) Top stories - Google News November 21, 2019 at 10:58AM https://ift.tt/2rkkhaL Universality and diversity in human song - Science Magazine Top stories - Google News https://ift.tt/2FLTecc Shoes Man Tutorial Pos News Update Meme Update Korean Entertainment News Japan News Update

Who Plays Jessie on 'Supernatural'? — Meet Actress Alex Sturman - Distractify Posted: 21 Nov 2019 05:16 PM PST Talking about her next big role, the actress explained to the outlet, "I love playing tough women who know how to fight and take care of business. I got to do all my own fighting and stunts, so that was really fun and satisfying." Additionally, the action film should be hitting film festivals in 2020.  Alex previously appeared in Mary Poppins Returns (2018), Treasure Hunters (2017), and numerous short films.  Let's block ads! (Why?) "Actress" - Google News November 21, 2019 at 02:43PM https://ift.tt/2KKDEkp Who Plays Jessie on 'Supernatural'? — Meet Actress Alex Sturman - Distractify "Actress" - Google News https://ift.tt/31HZgDn Shoes Man Tutorial Pos News Update Meme Update Korean Entertainment News Japan News Update

Marvel - Endgame writer reveals only Black Widow death "regret" - digitalspy.com Posted: 21 Nov 2019 04:21 PM PST The writer of Avengers: Endgame has admitted his one "regret" over killing off Black Widow in the movie. Scarlett Johansson's character sacrifices herself around two thirds of the way through the Marvel movie in order for Hawkeye to obtain the Soul Stone. However, co-writer Stephen McFeely has reflected on the moment, suggesting that its placing in the movie diluted its impact. Marvel Studios "She jumps on the grenade," he told Vanity Fair. "I'm really proud of that moment. I don't have any regrets. "The only regret is that it comes at the end of Act Two. So you can't really roll around in the grief because we've got another hour of movie and we haven't solved the A-plot problem. So that's the downside." Meanwhile, co-director Anthony Russo has revealed why they changed Black Widow's death scene from one they originally shot. Marvel Studios "We started talking about it in post-production with our editor Jeff Ford," he said. "We started spit-balling: Isn't the best version of this scene Hawkeye versus Black Widow? We have two heroes, neither of whom is gonna let the other die? "They both know they have a mission that involves one of them sacrificing themselves and these characters had such a rich relationship throughout the MCU. So why don't we just make the conflict between these two characters?" Avengers: Endgame is out now on DVD, Blu-ray, 3D, 4K and digital download. Avengers: Endgame 4K Includes Bonus Disk [Blu-ray] [2019] [Region Free] Disney/Marvel Studios Amazon £25.00 Avengers: 1-4 Complete Blu-ray Boxset Includes Bonus Disk [2019] [Region Free] Disney/Marvel Studios Amazon £29.99 Avengers Collection (1-3 Box-set) [UHD] [Blu-ray] [2018] [Region Free] Disney/Marvel Studios Amazon £38.59 Avengers Triplepack Boxset [DVD] [2018] Disney/Marvel Studios Amazon £24.99 Marvel Studios Collector's Edition Box Set - Phase 3 Part 1 [Blu-ray] [2018] [Region Free] Disney/Marvel Studios Amazon £33.99 Marvel Studios Collector's Edition Box Set - Phase 3 Part 1 [DVD] [2018] Disney/Marvel Studios Amazon £25.29 Marvel Studios Collector's Edition Box Set – Phase 2 Blu-ray [Region Free] Disney/Marvel Studios Amazon £59.95 Marvel Studios Collector's Edition Box Set – Phase 2 [DVD] Disney/Marvel Studios Amazon £39.85 Marvel Studios Collector's Edition Box Set – Phase 1 Blu-ray [Region Free] Disney/Marvel Studios Amazon Marvel Studios Collector's Edition Box Set Phase 1 [DVD] Disney/Marvel Studios Amazon £23.99 Digital Spy now has a newsletter – sign up to get it sent straight to your inbox. Want up-to-the-minute entertainment news and features? Just hit 'Like' on our Digital Spy Facebook page and 'Follow' on our @digitalspy Instagram and Twitter accounts. Let's block ads! (Why?) Top stories - Google News November 21, 2019 at 03:19AM https://ift.tt/2XALjXD Marvel - Endgame writer reveals only Black Widow death "regret" - digitalspy.com Top stories - Google News https://ift.tt/2FLTecc Shoes Man Tutorial Pos News Update Meme Update Korean Entertainment News Japan News Update

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