Your voice as biometric data, and how marketers are using it to manipulate you Only three decades ago, it was inconceivable that virtually entire populations would be carrying around wireless phones wherever they went, or that peoples’ exact locations could be tracked by those devices. We now take both for granted. Even just a decade ago the idea that individuals’ voices could be used to identify and draw inferences about them as they shopped or interacted with retailers seemed like something out of a science fiction novel. Yet a new business sector is emerging to do exactly that. The first in-depth examination of the voice intelligence industry, The Voice Catchers exposes how artificial intelligence is enabling personalized marketing and discrimination through voice analysis. Amazon and Google have numerous patents pertaining to voice profiling, and even now their smart speakers are extracting and using voice prints for identification and more. Customer service centers are already approaching every caller based on what they conclude a caller’s voice reveals about that person’s emotions, sentiments, and personality, often in real time. In fact, many scientists believe that a person’s weight, height, age, and race, not to mention any illnesses they may have, can also be identified from the sound of that individual’s voice. Ultimately not only marketers, but also politicians and governments, may use voice profiling to infer personal characteristics for selfish interests and not for the benefit of a citizen or of society as a whole. Leading communications scholar Joseph Turow places the voice intelligence industry in historical perspective, explores its contemporary developments, and offers a clarion call for regulating this rising surveillance regime.

Filled with guilt over his younger sister's kidnapping, teenaged Fin tries to rescue her and in the process learns about a dark family secret.

The Catcher in the Rye," written by J.D. Salinger and published in 1951, is a classic American novel that explores the themes of adolescence, alienation, and identity through the eyes of its protagonist, Holden Caulfield. The novel is set in the 1950s and follows Holden, a 16-year-old who has just been expelled from his prep school, Pencey Prep. Disillusioned with the world around him, Holden decides to leave Pencey early and spend a few days alone in New York City before returning home. Over the course of these days, Holden interacts with various people, including old friends, a former teacher, and strangers, all the while grappling with his feelings of loneliness and dissatisfaction. Holden is deeply troubled by the "phoniness" of the adult world and is haunted by the death of his younger brother, Allie, which has left a lasting impact on him. He fantasizes about being "the catcher in the rye," a guardian who saves children from losing their innocence by catching them before they fall off a cliff into adulthooda. The novel ends with Holden in a mental institution, where he is being treated for a nervous breakdown. He expresses some hope for the future, indicating a possible path to recovery..

Radical Chic and Mau-Mauing the Flak Catchers is classic Tom Wolfe, a funny, irreverent, and "delicious" (The Wall Street Journal) dissection of class and status by the master of New Journalism The phrase 'radical chic' was coined by Tom Wolfe in 1970 when Leonard Bernstein gave a party for the Black Panthers at his duplex apartment on Park Avenue. That incongruous scene is re-created here in high fidelity as is another meeting ground between militant minorities and the liberal white establishment. Radical Chic provocatively explores the relationship between Black rage and White guilt. Mau-Mauing the Flak Catchers, set in San Francisco at the Office of Economic Opportunity, details the corruption and dysfunction of the anti-poverty programs run at that time. Wolfe uncovers how much of the program's money failed to reach its intended recipients. Instead, hustlers gamed the system, causing the OEO efforts to fail the impoverished communities.

Edward Curtis was charismatic, handsome, a passionate mountaineer, and a famous photographer, the Annie Leibovitz of his time. He moved in rarefied circles, a friend to presidents, vaudevill stars, leading thinkers. And he was thirty-two years old in 1900 when he gave it all up to pursue his Great Idea: to capture on film the continent's original inhabitants before the old ways disappeared.

Introduction: Personally speaking -- Baby talk -- Origins -- Emotion -- Language -- Sex and gender -- The voice in society -- The voice of leadership & persuasion -- Swan song.

When her widower father inherits a castlelike estate in the mountains of West Virginia, 12-year-old Jen is thrilled. It seems like a wish come true. But she quickly realizes that not all change is positive. Her dad has a mysterious new girlfriend, Moura, who slowly drives a wedge between Jen and her father. Furthermore, Moura has an unusually strong—almost obsessive—interest in the antiques that fill the mansion, especially a beautiful glass globe that Jen finds hanging in a window. When Jen’s cat accidentally breaks the globe, which Moura calls a “witch catcher,” strange things begin to happen. . . . An odd-looking girl wearing a torn dress appears, seemingly out of nowhere, and Moura’s behavior becomes more sinister, leading Jen to believe that her father is a pawn in an evil scheme. Soon Jen finds herself caught in the midst of a supernatural war, with the fate of an enchanted race—and her family—at stake. Inspired by the age-old legend of witch catchers, Mary Downing Hahn brings a magical cast of characters to life in this compelling fantasy adventure. Author’s note.