Fully automated by the Rizon 4 adaptive robot, the solution utilizes a combination of computer vision and force-control to identify and shape breaded fish fillets, so that consumers receive portions of a uniform size and shape.

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The post Communist psychology in Argentina: Transnional politics, scientific culture, and psychotherapy (1935‐1991) Luciano Nicolás García Springer. 2022. pp. 208. $109 (cloth). ISBN: 978‐3‐031‐15620‐5 was curated by information for practice.

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Psychedelic-assisted therapy is still awaiting official approval, but private firms are already using patents to corner the market. Government-funded research shouldn’t yield big profits for Big Pharma. Above: A laboratory technician displays hallucinogenic psilocybin mushrooms at Rose City Laboratories in Portland, Oregon

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Nordic Studies on Alcohol and Drugs, Ahead of Print. Aim: The aim of this study was to identify and elucidate the differences between highly affiliated and low/non-affiliated participants in Alcoholics Anonymous (AA) meetings. Methods: A qualitative study of 24 participants was conducted in Romania between March and June 2021. Data were collected by means of […]

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An old school Japanese ASICS sneaker is revived from the archives with a colorful palette curated by Danish brand HAY's co-founder, Mette Hay.

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Ahead of the hardcore band's sold out show at Revolution Hall, Johnny Whitney and Jordan Blilie tell us what the group's intense, abstract song lyrics really mean. by Suzette Smith

Like any fan of Seattle hardcore band the Blood Brothers, I have found myself at a show, pressed up against a wall of people, shouting the wrong lyrics to their songs. For instance, on their hit "USA NAILS" there's a hook where you think you're singing a cheer-style "one, one, and two!" but the lyrics are actually: "These pigs locked me up to see what color I'd rot into!"

The energetic screamo group was active from 1997-2007, during which time they released five critically-acclaimed albums, completed several European tours, and even played a set on Jimmy Kimmel Live, overcoming the reservations of the show's freaked-out producers. Perhaps the best indicator of their success is the fact that their US reunion tour—which hits Portland on November 12—is completely sold out.

Ever ones to cut the bullshit, Blood Brothers don't have a new record; they're playing the fucking hits. Still, the tour is timed with Epitaph's anniversary reissue of one of their biggest albums Crimes (2004) on vinyl.

When we sat down to talk to Johnny Whitney, who fronts the band with fellow singer/screamer/guttural whisperer Jordan Blilie, he noted that plenty of lyrics websites list incorrect verses for Blood Brothers songs. "It's hilarious how wrong some of them are," Whitney said. "The lyrics on Spotify are not even close to what I'm actually saying. Just buy the fucking CD, and look it up. Come on, people."

We spoke with Whitney and Blilie separately, over sprawling phone calls that we have organized into this piece. For clarity, we're listing their responses together, as we seek to get into the nitty gritty of this group's  danceable, screaming-nightmare material.

Blood Brothers in San Francisco, on the first night of their reunion tour. They were incredible. Photo by Suzette Smith Jordan Blilie (left) and Morgan Henderson (right) Suzette Smith

Foremost, Whitney and Blilie both began by gushing about the other three members of their band: frenetic drummer Mark Gajadhar, vigorous guitarist Cody Votolato, and ultra-versatile bassist Morgan Henderson, who is currently best known as a member of Fleet Foxes.

Related: Multi-instrumentalist/Ultramarathoner Morgan Henderson Is Busier Than You

"I cannot fucking believe that I got to work with these guys," Whitney says. "I just took all those things for granted at the time. Everybody was, and still is, coming from totally different places [musically], but there was always something really special about all of us together that was there from the moment that we started."

PORTLAND MERCURY: Johnny, I've always gotten the impression that you're the major force behind the lyrics.

JOHNNY WHITNEY: I came up with the majority of the lyrics, but it certainly was collaborative between Jordan and I. I would freewrite as much as I could, to have material to draw from, and going back to those notebooks kept things as free and fresh and not contrived as possible. The drawback of that approach is the lyrics are very abstract and hard to parse direct meaning from, but that's also kind of the point. I found myself writing about the absence of answers, or the absence of concrete truths that you can hold onto.

A lot of times, my process would center around coming up with a cool idea: a song name or some common refrain that we would want to work into a song, like "Burn Piano Island, Burn." Something that has a hook or conveys an image or feeling. Then we would reverse engineer the lyrics from that.

JORDAN BLILIE: I would absolutely say that I felt like Johnny was the driver, and for good reason. He's really good. When you see someone who is in a flow state, you do your best to accentuate and collaborate, to help mold and shape and add your pieces. It was always stuff that I was really excited to dig into. It was just that rich and that vibrant. The challenge for me was what can I add to it, you know? It always pushed me to try and come up with the most creatively-inspired stuff that I could.

You two have such an engaging stage style. People would call it sassy, but that has always felt like a description from people who have never been to a play and can't recognize theater. Do either of you have a background in theater arts?

WHITNEY: I wanted to be a child actor—I actually auditioned for that movie Blank Check (1994). Actually, a year after Jordan and I met, we were both in a Jr. High production of Alice in Wonderland. He was the Mad Hatter, and I was the Mock Turtle.

BLILIE: Why would you say that? [Laughs]

Jordan Blilie (left) and Johnny Whitney (right) Suzette Smith Jordan Blilie screams on the tour's first night in San Francisco. Suzette Smith

"USA NAILS" was such a hit, and it involved a phone number everyone could scream. How did that come to be?

WHITNEY: The name and the "1-900-USA-NAILS" comes from the chain nail salon, but we reverse-engineered it into a song about somebody using their one phone call from the county jail to call a phone sex line. It's the idea of loneliness, disaffection, and parasocial relationships with things that exist solely for their own profit or gain.

And yet it's also danceable. There are these moments live where you have an audience of people shaking their asses and shouting "to see what color I'd rot into!" Did you start with that idea and work backwards, or just jam it into that moment of the song?

WHITNEY: At that time, the band would all sit together in a room and have a kind of song tribunal about how each part should go. Then, at some point, we'd have a semi -finished version and [Jordan and I] would just try to fit lyrics to the songs. Especially on Burn, Piano Island, Burn. Some of those songs needed an editor so bad, right? I wouldn't change a thing about it, but looking back, there are parts where it sounds like everybody's playing a different song at the same time, but it kind of works, right? And for the lyrics, sometimes we just had to make it work.

That wasn't the first time Jordan whispered his lyrics in a guttural tone, but it's one of the more emblematic, right? How did that start?

BLILIE: By necessity—I don't have much of a range, you know? I have this weird baritone. Very early on we were drawing from crust punk, where you just have two voices screaming. And we didn't put a whole lot of thought into even what the other person was doing. But then, as we continued to develop, the stuff became more complex, and there was more room for different sorts of shadings of what we could do vocally. So it was just finding out: What is it I can do other than scream at the top of my lungs?

WHITNEY: Jordan's part at the end just works right? He was very inspired by Jarvis Cocker.

BLILIE: Yeah, you can trace that right back to Pulp. If you listen to any Pulp song, there's gonna be some whispery storytelling, with the compression cranked up so you can kind of hear every lick of the lips.

<a href="https://thebloodbrothersofficial.bandcamp.com/album/burn-piano-island-burn">Burn, Piano Island, Burn by The Blood Brothers</a>

BLILIE: Some of my favorite moments of writing with Johnny are the ones that we would where we would crack each other up.

Can you give an example?

BLILIE: Every lyric of "Guitarmy." We really got a kick out of the idea of opening our major label debut with the words, "do you remember us?" Because of the audacity, the absurdity of it.

So you guys all started this band when you were in your teens.

BLILIE: Yeah, we started when we were like, 15-16.

Are there any lyrics that have not aged well, in your opinion?

BLILIE: I'm sure they're the ones that we're not playing. [Laughs.] This question reminds me of something one of my professors said. It was my first class at UCLA, Queer Lit from Walt Whitman to Stonewall. In class discussions my fellow classmates would critique writing from the 1800s for not satisfying certain criteria, and our professor would say: You cannot look at the text backwards. You have to look at it forwards. You can't apply current day criteria to something that was written when that criteria didn't even exist. You have to engage with it in the context of when it was written. I don't think anything we wrote is in a canon warranting that level of examination, but it's useful nonetheless. It's a way for me to remind myself that I was 20, and I had the tools of a 20-year-old. It helps me to not beat myself up too much about it.

WHITNEY: There's a story behind this. When we were doing the song "Camouflage, Camouflage" on Young Machetes, Jordan and I were going back and forth on the lyrics. He was like, "Yeah, I'm great with all this." But he put a line through one verse, where I say: "All the girls in Montreal are smashing skateboards in the street." And I was just like: Fuck you, dude. I'm gonna keep this in. But he was right, because it sounds stupid, and it's like, really horny and makes me want to light my skin on fire. So I'm changing it to something else, probably something different every night.

Johnny Whitney (left) holds a crowd member's hand for support. Suzette Smith The crowd supports Johnny Whitney while he sings. Suzette Smith 

I wonder about imagery in Blood Brothers' songs that seems to be responding to beauty standards at the time. Like, in "Ambulance, Ambulance" you've got this blistering segue to the chorus: "What is love? / What is scam? / What is sun? / What is tan?"

WHITNEY: That's a double meaning. Because it's like tan—like suntan—but also tan is a blah color, right? It's like the color of a dentist's office wall. If you think of the idea of love being something that could feel on-fire, passionate, the color of a dentist's office wall is the opposite. Although, tanning does come into play in a lot of our lyrics. I've noticed as well.

Or on "Beautiful Horses" the lyrics are "gallop into your romance novels / dance atop heavy pectorals."

BLILIE: I think we were seeing an increasingly vapid culture, and we were trying to dig into that—dig into: What does it do to someone when they're bombarded by these sorts of images and messages? There was a lot of that in that writing; I can't say specifically with "Beautiful Horses," but I think "Trash Flavored Trash," would probably fit under that umbrella.

<a href="https://thebloodbrothersofficial.bandcamp.com/album/crimes-bonus-track-version">Crimes (Bonus Track Version) by The Blood Brothers</a>

In "Rats and Rats and Rats for Candy" there's an ongoing narrative of rats living inside a woman. It's like a play. There are characters. And the rats eventually chew out of her and try to find a new body to live in. I wondered if that was also about beauty standards or body dysmorphia?

WHITNEY: That song, it's about that, but it's also about manipulation, right? Not to get too personal, but I grew up with somebody who weaponized being sick—faked being sick—for their entire life in order to manipulate people and extract something they needed out of them. The character in that song is kind of a victim, but like a siren at the same time. They're trying to lure somebody in.

Is that person the rats, or are they Candy?

WHITNEY: The rats are in Candy. I mean, it's both.

What about "The Shame?" Your group resonates so much with "everything is gonna be just awful / when we're around" that you're putting it on t-shirts 20 years later. What does it mean?

WHITNEY: The whole premise of that song is having to sell yourself—how to commoditize yourself. It's about how you function in a capitalist society. You sink or swim by your ability to market yourself, make yourself desirable—whether it be in relationships, job market, blah blah blah. I've always been repulsed by that and was especially at the time we wrote it, which was in Venice Beach, while we were recording Burn, Piano Island, Burn. It was the longest time I'd ever been in LA, and that's the epicenter of being a self-salesman. That line encapsulates the feeling of being sold something. And you're in a position where, in order to survive, you have to be your own salesman.

Salesmen show up in other songs, like "The Salesman, Denver Max." That's another one that almost feels like a short story.

WHITNEY: I initially cribbed the idea for that song's lyrics from the Joyce Carol Oates short story, "Where Are You Going? Where Have You Been?" It follows a narrative of a very dangerous, predatory man in the process of stalking and kidnapping somebody. “Denver Max” was a huge, uncomfortable gamble for me, because I wrote the entire song on my acoustic guitar, recorded it to a 4-track, and then played it for the guys—totally expecting them to hate it. It was really daunting to try to contribute as a songwriter; Cody, Morgan, and Mark are such talented musicians. I think they may have hated it; I don't really remember how we ended up recording it. It was nobody's favorite thing, but we just tracked it, and it sounded great and worked.

Have you read anything by playwright Caryl Churchill?

WHITNEY: Never heard of her.

"Live at the Apocalypse Cabaret" has a lyric in it that reminds me of her play Far Away, which has a scene of milliners making hats for people to wear at a public execution, so I always felt a symmetry there, because of the lyrics "the cross-eyed map of the afterlife is knitting tiny neck ties." 

WHITNEY: I'm going to be super honest, the songs that I'm the most familiar with the lyrics of, at this very moment, are songs that were going to be playing, because I've been rehearsing them. But I do remember, with that song, we were trying to be funny without being silly. Like, a cross-eyed map is a map that makes no sense, where you don't know where you're going. Knitting tiny neckties are noose ties. It's like dressing yourself up for death, right? It's trying to dress up something that's really heinous and horrible and incomprehensible, and also trying to navigate that, through a map that makes no sense.

At this moment you have cracked my understanding of a play you haven't even read. But I digress, I've read that "Celebrator" was a direct response to Toby Keith's "Courtesy of the Red, White and Blue."

BLILIE: That pumped up patriotism felt gross when taken in context with the images and much of the information that we were seeing come out of Iraq and Afghanistan.

Is that why there are so many mentions of amputated limbs on Crimes?

BLILIE: The bulk of Crimes was trying to engage with war so that's where you get a lot of that grizzly imagery.

Related: The Blood Brothers Set Expectations Ablaze at Last Night’s Surprise Black Lodge Show

Well, personally, it's so nice that you're touring right now. Blood Brothers are great for when you need to scream, but you can't. You can scream along to the Blood Brothers in your head, or out loud at a show.

BLILIE: I'm glad that we could be of service, in that regard. It's hard for me not to go into a really bleak mindset when I look at our current political landscape. I find myself equal parts enraged and terrified. And there are times when I have to just close all news down. I guess it is a good time to get up and scream.

The Blood Brothers play Revolution Hall, 1300 SE Stark, Tues Nov 12, 8 pm, SOLD OUT, all ages.

Global pandemic treaty negotiators are hashing out cooperation plans this week and considering rushing the process out of fear that the Trump administration would pull the U.S. out of negotiations.

(June 8, 2012)

The recently published Trotter Review examines political gains made by African American politicians at the beginning of the 21st century. Also, specific essays on why Boston has not elected a black mayor while the city of Denver has done so twice, and how Deval Patrick has served the interests of black communities while not alienating the larger population.

Our panelists:
- Latoyia Edwards, anchor, New England Cable News
- Kim McLarin, assistant professor of writing, literature and publishing, Emerson College
- Phillip Martin, senior reporter, 89.7 WGBH Radio
- Ravi Perry, political science professor
- Kenneth Cooper, editor, The Trotter Review

April 5, 2013:

With Mayor Menino's announcement that he would not seek a sixth term, the race for the next mayor of Boston has officially begun. Even as the slate of candidates takes shape, questions are emerging, among them: what is the opportunity for emerging leaders of color; what are the benefits to the city of Boston of new leadership, regardless of race; has the Menino administration left anything undone in communities of color that can now be addressed?


Our panel:
- Callie Crossley, host, Under The Radar, WGBH
- Phillip Martin, senior reporter, 89.7 WGBH Radio
- Kim McLarin, assistant professor of writing, literature, and publishing, Emerson College
- Kevin C. Peterson, founder/director, New Democracy Coalition
- John Barros, executive director, Dudley Street Neighborhood Initiative


(Photo source: FreeFoto.com)

May 17, 2013

In the headlines this week: a discussion of the Boston mayor's race and how communities of color are poised to make their coalitions heard. Also, this is not the first time the IRS has come under fire for targeting political activity; we'll take a look at the IRS, the NAACP and the black church.


Panelists:
- Callie Crossley, host, Under the Radar, 89.7 WGBH Radio
- Kim McLarin, author, Divorce Dog: Men, Motherhood and Midlife
- Phillip Martin, senior reporter, 89.7 WGBH Radio
- Kevin Peterson, executive director, The New Democracy Coalition
- Kenneth Cooper, editor, The Trotter Review, Trotter Institute, UMass Boston

MPR News political editor Mike Mulcahy looks ahead to Tuesday’s primary election in Minnesota. He’ll discuss the races to watch and how politics and voting has changed during the pandemic.

The front-runners in Minnesota’s 1st and 3rd Congressional Districts took part in telephone debates on Politics Friday.

Is there really such a thing as a "shy Trump voter"? Who is contacted to take part in pre-election polls? And are they reliable or not?

Buffer zones around abortion facilities went into effect in England and Wales, a development that pro-life advocates contend criminalizes silent prayer and offering pregnancy help information to women and families in need of resources. 

Two Christian activists urged fellow believers to remain active in politics, contending that they have an obligation to become “major influencers” in American society by restoring civility to political discourse. 

The documentarian who recently went viral when Tucker Carlson told him he was "physically mauled" by a demon last year pushed back against those who would dismiss the former Fox News host's claims about spiritual warfare.

One of the creators of a Christian nonprofit effort aimed at “better Christian politics” claims President-elect Donald Trump’s victory in the 2024 election is a “disaster” for the United States.

Max Abner and Dahlia Nayar, Ph.D. candidates in performance studies, will present their in-progress dissertation research.Max Abner is a PhD candidate, musician, and curator who hails from Louisville, KY, has deep roots in Chicago, and is currently based in Oakland. Working from an anti-colonial settler positionality, he draws together discourses from sound studies, Indigenous studies, and critical theory to approach what he calls settler sound, a concept that accounts for the ways in which contested relations to colonized land play out in aural aesthetics. His dissertation attends to settler sound in the Bay Area experimental music/sound art scene. He has essays set for publication in Revealing Posthuman Encounters in Performance (Routledge) and Power in Listening: The Sound Out! Reader (NYU Press), his recorded curations can be heard on his music label Pontac Publications, and his live performance curations can be experienced at Beauty Supply Arts in Oakland. Dahlia Nayar’s project studies embodied manifestations of Quiet in multiple mediums of minoritarian performance. Her study curates a constellation of contemporary artists working in dance, theater, sound, and visual art with an attention to how Quiet emerges through bodies in relation to layered contexts and multiple subjectivities. She proposes that, as a minoritarian aesthetic, Quiet activates an ephemeral commons through resonance and attunement that allows expansive possibilities of relationality. Prior to her doctoral studies, Dahlia toured nationally and internationally as a choreographer, performer, and multimedia artist. She is a recipient of the Jacob Javits Fellowship, Massachusetts Cultural Council Fellowship in Choreography, and the National Dance Project Touring Award.

89.7 NPR News's weekly sports show After The Score is back after taking most of the summer off. This week we talk with an Upper Arlington native competing at the Summer Olympic in Rio. We also look check in on Ohio State's football team as they start training camp and talk about an OSU world championship in powerlifting. Then we'll get an update on the first place Cleveland Indians.

Ukrainian figure skaters Artem Darensky and Sofia Golichenko, who perform in pair skating, chose to speak Russian at the Beijing Olympics, despite the ban from Ukraine's Ministry of Sports, RIA Novosti reports. The athletes stated that it was up to them to decide in which language to communicate at the Olympics. "We can speak Ukrainian, Russian and English. It's just that it's really hard for us to speak Ukrainian, and in order for people to understand us more, we speak Russian,” said Darensky.

Russian federal TV channels may refuse to broadcast the 2018 Winter Olympics from South Korean Pyeongchang should the Russian delegation be suspended, the Vedomosti newspaper wrote. For the time being, Russia's three major TV channels - Channel One, Rossiya-1 (part of VGTRK) and Match TV (part of Gazprom Media) plan to broadcast Winter Olympics from South Korea. Yet, if the Russian national team is excluded from the Games, Channel One and Rossiya-1 will most likely refuse to broadcast the Olympics. Naturally, Russian people watch Olympic Games to support Russian athletes in the first place. If no Russian athletes take part in the Games, the audience of the major sports event of this winter will decease sharply, representatives of the above-mentioned channels say. It makes no sense for major channels to pay millions of dollars for the rights to broadcast the Games, if they make no money from advertising because of low ratings.

Boston Dynamics presented the new robot. The company refused from the old hydraulic platform to introduce the new electric one under the same name, Atlas. The new robot is completely electronic, there are no hydraulic systems involved. The new robot will be stronger and more maneuverable as all developments of the previous generation of the robot will be improved. The company is ambitious to introduce humanoid robots and create infrastructure for them, including software.

The fact that President of Brazil Lula is not attending the BRICS summit in Kazan has given rise to rumours of internal contradictions within the bloc. Brazilian sources debunk this myth and explain why there is a queue to join BRICS. According to Western media, Brazil was against the participation of Venezuelan President Nicolas Maduro in the BRICS summit in Kazan, since Brazil did not recognise the presidential election in this country. In an interview with the O Globo, Celso Amorim, special adviser to President Luiz Inacio Lula da Silva on foreign policy, said that Brazil's position on Venezuela "is not a moral or political judgment." "I am not concerned about Venezuela's accession, we do not make moral or political judgments about the country itself. BRICS has countries that practice different types of regimes, the question is whether they have the potential to contribute to a more peaceful world, given their political weight and ability to form relationships," Amorim said.

The BRICS summit in Kazan has formalized Russia's leadership in real decolonization and creation of developed economies based on its own strength. First steps have been named and are clear to everyone. Russia accepted as a new leader in the world The fact that 32 heads of state and UN Secretary General Antonio Guterres gathered in Kazan, Russia, during the times of the special military operation has demonstrated the decline of US influence in the world and the emergence of Russia as its leader. A country with 3.5 percent of global GDP in purchasing power parity was able to withstand harsh sanctions and three years of war with NATO at the hands of Ukrainians. The West that dominates the world economy with 40 percent is clearly losing the game to Russia on all fronts. It is about the ability, desire and readiness to defend one's national interests on the battlefield and mobilize one's economy. This is valued and respected in the world, and no one saw this in the Western camp.

In Kazan, employees of several companies were asked not to use their old cars during the days of the BRICS summit. People were also asked to minimize the use of personal cars, since "their old, rusty and excessively loud cars will tarnish the look of the city," 116.ru reports. According to an unnamed employee of one of the companies, the management suggested that employees should use public transport and leave their personal cars in garages or at least park them further away. In addition, students of one of Kazan technical schools were advised not to drive their "rattlers with loud music on not to disgrace the city."

The June Issue features a Special Technology Report looking in depth at the latest developments in the world of Automatic Identification and Data Capture/Mobile Computing solutions.

Also included is a ‘Cover Story’: Gartner forecasts spending on cloud security to grow 24% in 2024, making it the highest growth of all segments in the global security and risk management market.

By Umar Butt, CEO of UK and Europe at Aramex.

The pre-loved market is taking the fashion industry by storm. Reminiscent of the continued popularity of charity shops, thrift stores or vintage boutiques, the appetite for second hand clothes has been a constant for centuries, however in recent years a paradigm shift has moved this growing market into the mainstream.

BRICS+ Fashion Summit, the International Forum, came to an end in Moscow. It took place from 28 November to 2 December. This event powered by Fund of Fashion and supported by the Moscow Government, was attended by delegations from 60 countries. On the last day of the Forum, all the key events took place in the underground exhibition space of Zaryadye Park. 120+ brands from Argentina, Brazil, Italy, Burundi, Egypt, India, Indonesia, China, Libya, Nigeria, Serbia, Tunisia, Turkey, and other countries took part in the B2B-showroom on the final day of the event. Designers and buyers once again met for business matchmaking there. Speakers from Russia, India, Columbia, Nigeria, and Sri Lanka participated in the fashion intensive course. During the lectures and seminars included the speakers talked about collaborations, brand philosophy, zero waste production, and inclusivity.

Advantech, provider of AIoT platforms and services, has launched ARK-3533, a compact fanless edge computer tailored for kiosk and robotics applications.

This issue features a Special Technology Report looking in depth at the latest developments in the world of Printing and Labelling solutions.

Also included is a ‘Cover Story’: Gartner explains that by 2026, 30% of enterprises will automate more than half of their network activities, an increase from under 10% in mid-2023.

In the recent 2-3 years, an increasing number of malls and retail chains have adopted real-time video analytics and facial recognition to enhance security, customer experience and footfall analysis.

Some of these technologies are showcased this week at the NRF Protect Conference in Long Beach, California.

The Top Supply Chain Projects 2024 (formerly known as SDCE 100) profiles innovative application success projects designed to automate, optimise, streamline and improve the supply chain.

KEENON Robotics presented its latest smart service solutions with embodied intelligence at the 2024 World Robot Conference, held at the Beijing Etrong International Exhibition and Convention Center, from 21-25 August 2024.