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Lead vocalists have gotten quieter over the decades, compared with the rest of the band, according to a new study. Beck says it's part of the "volume wars."

A new report from the American Lung Association finds just 1% of eligible Californians have gotten screenings.

The Northern Lights, known scientifically as auroras borealis, are triggered by geomagnetic activity from the sun. They typically occur closer to the North Pole, near Alaska and Canada.

The election conspiracy theorist said he has no intention of paying the arbitration panel's order of $5 million and that he expects the dispute to land in court.

Since their self-titled debut album seven years ago, Ibeyi’s stunning parallel harmonies and integral minimalist Latin percussion has shared a message of power and possibility across airwaves around the globe, cutting through an individualist framework that emphasizes self over society and success over soul. Ibeyi’s artistic expression of visuals and sound broke through the cultural zeitgeist to become one of the most original and recognizable sounds of our time. An ever evolving duo, they are unafraid to be in their multitudes, at once daughters, sisters, icons, philosophers, composers, singers, fashion gods, and prophets. It is no surprise then that "Spell 31" speaks to us as a prophecy, one we are on the cusp of realizing if only we dared to embrace the magic and step into the supernatural that Ibeyi so easily inhabits. Their former albums were portals. Ibeyi worked through grief, dismay, family and love with gothic gospel frequencies; it was a confrontation with the personal. "Ash," their second album, grappled with the realities of race and gender, it examined the human condition, weaving West African and Yoruban tradition into its message. It grappled with the political. "Spell 31" embraces the whole. It is the other side of the portal, an anchor when we feel our most aimless and adrift. With the world still reeling in the aftermath of a pandemic, another racial reckoning, climate fueled existential dread, and moral decay accelerated by crumbling democratic structures, Ibeyi’s "Spell 31" is their boldest offering yet, an antidote to apathy in a divided world. Ethereal, crystalized signature Ibeyi harmonies are fused with gospel, persuasive percussion, momentous deeply resonant bass, and electronic neo soul expressions, transporting us into a sublime rawness that is refined by Richard Russell’s precise hand and synthesized into astonishing clarity. "Spell 31" casts with conviction, transmuting nihilism into sangoma, binaries into endless dualites, moral austerity into abundance. A subversive and halcyonic manifesto from queens of a sovereign land, Ibeyi occupies the liminal, the space between life and death, past and present, right and wrong, and calls for the interior revelations that create the systemic revolutions we long for. We are invited into a new world where the hewers of wood and drawers of water are sacred, where the divine heals the divided, and growth is worth more than gold. The prophecy is a call to action: it is not yet too late to be the person you always thought you could be. "Spell 31" is spirit setting, reminding us that the meaning of life can only be achieved through the magic of living. Madison McFerrin is a singer-songwriter based in Brooklyn. In December 2016, her solo debut EP, "Finding Foundations: Vol. I," introduced her soulful take on a cappella to the world. After one listen, Gilles Peterson signed up her standout track, ‘No Time to Lose’, for his Brownswood Bubblers compilation. Madison bears the torch of three generations of vocal pioneers. As the LA Weekly noted, she employs her jazz virtuoso father, Bobby McFerrin’s vocal techniques “to more soulful ends”, and her use of electronic music stylings reflects the influence of her brother, Brainfeeder producer, Taylor McFerrin. With her latest release Finding Foundations: Vol. II, Madison intends to explore more ways to create experiences that engage and empower her community. As a female, independent artist of colour, she sees this as vitally important to her practice. An “understated, compelling testament to the power and dexterity of the human voice” – Pitchfork. ibeyi on Instagram

Catch up on key developments and the latest in-depth coverage of Russia's invasion of Ukraine.

The Chicago rapper and poet is among the greatest lyricists of her generation. In asking tough questions of the art she practices, her third album reveals a fearless and visionary performer.

From the gallery: "I ate and ate and nothing happened" is the product of conversations about converging and diverging practices, showcasing the past year of Yorty and Cantrell’s interdisciplinary collaboration parallel to their individual work. Their reflections on the complex nature of manufactured objects reveal a narrative of deceit assumed in the buying and selling of things that speaks to something unavoidably vulnerable and human. Ultimately, the work in this exhibition aims to produce a mix of reactions that shouldn’t work well together, but do. Some of their collaborations refer to Yorty’s expansive collection of small mirror shelf objects as a ground for the creation of wall-hung sculptural assemblages that include found objects and hacked electronics. Cantrell programs the electronic portions of the works to create movement and sound that are simultaneously comical and unsettling. The larger of the collaborative works is a sculptural sound installation that brings together Yorty’s stockpile of imitation stone garden speakers and Cantrell’s collection of found answering machine tapes. This collaboration comments on the tensions between ephemerality/permanence and nature/technology while touching on themes of overconsumption, the absurd, and simulation. Also included are a video piece from Yorty that uses super 8 footage displayed across three different tv sets stacked on top of one another and Fan Club - an installation from Cantrell that creates soundscapes at odds with their physical nature as discarded, low-quality junk. About the artists: Joe Yorty is an artist who employs a range of materials, objects, and methods to make work that largely addresses the anxieties and absurdities of American domestic culture. Including sculpture, collage, video, and photography his studio practice grapples with the stuff of thrift store refuse, last-minute estate sale deals, and the occasional dumpster dive to rub against the pathos of the ceaseless search for fulfillment in the accumulation of things that, to a large extent, defines the American experience in the 21st century. His work has been shown on both coasts of the United States and some places in between. Yorty was born in southwest Utah, raised in Southern California, served 11 years in the U.S. Navy, and received an MFA in Visual Art at UCSD in 2013. He currently lives and works in San Diego where he serves as the founding Creative Director for the not-for-profit gallery and project space BEST PRACTICE. Joe Cantrell is a sound artist and musician specializing in installations, compositions and performances inspired by the implications and consequences of technological and mass-produced objects. His work deals with four things: media, technology, money, and trash. In other words, the shiny new tech we consume can also be viewed as future garbage. With this mind, he uses technology as a raw material that allows our relationship with obsolescence and decay to be felt. As a sound artist, Cantrell has performed and installed in numerous venues globally, as well as artist residencies in New York, London, Rotterdam, Beijing and the Bemis Center for Contemporary art in Omaha. His work has also been honored with grants from the Creative Capital Foundation and New Music USA among others. Cantrell hold a BFA in music technology from the California Institute of the Arts, an MFA in digital arts and new media from UC Santa Cruz, and a PhD in music from UC San Diego. Cantrell was born and raised in Los Angeles and is currently based in San Diego (though he still has a 213 phone number). Related links: Bread and Salt on Instagram Bread and Salt website

The bill would require tech companies to share advertising revenue drawn from reported content with those news outlets.

Virginia is the eighth state to leave the bipartisan ERIC compact amid fringe conservative reports and conspiracy theories attempting to connect the system to liberal activists.