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Our news quiz is back and ready to roll, just in time for... well, a week that feels like it might be kind of important! by Sally Neumann & Leah Caglio

The right has been spreading outrageous lies, claiming that kids are going to school as one gender and coming home as another after "impromptu surgeries." The writer points out how absurd this idea is: surgeries, especially gender-affirming ones, aren’t done in schools, don’t happen on a whim, and certainly aren’t performed on minors without extensive parental involvement. It’s a scare tactic with no basis in reality. by Vivian McCall

Lately, Donald Trump has been spreading a ridiculous lie that kids are going to school one gender and arriving home another.

I wanted to explain how a person doesn’t have to know anything about transgender people, schools, or medicine to know this isn’t true. A little boy isn’t going to come skipping home from school a little girl after an impromptu genital gender-affirmation surgery because gender-affirmation surgeries are not impromptu, are rarely performed on minors, and are never performed on minors without parental consent. They’re not performed in schools at all because schools don’t have operating rooms. Even if there was enough time in a school day to rush a kid to the hospital, this is not a check-up. Nobody waltzes out of the hospital after a major surgery. Think for one second and it makes no fucking sense.

Then I heard Trump say that the Democrats want gender surgeries for “almost everyone in the world” because they’re evil. Suddenly, it felt kind of futile and stupid to write a sarcastic, reasonable explanation of the facts because the floor for what Trump is willing to say about transgender people is a chasm. 

By his telling, the people cheer him on when he mentions “transgender” at his rallies, and he’ll do anything for the applause. This fervor is also why the hundreds of failed anti-trans bills—or polling that shows Americans by and large don’t really give a shit about trans issues and would rather talk about the economy—won’t dissuade Republicans from launching more anti-trans campaigns and introducing hundreds more bills restricting LGBTQ civil rights. During the World Series, viewers were subjected to anti-trans and anti-abortion ads so graphic that networks issued content warnings explaining that legally they have to air anything a qualified political candidate pays for.

We’re not having a rational conversation about trans issues in this country, we’re watching a panic attack about the threat trans people supposedly pose to the concept of gender and the nuclear family.

My better angels want me to tell conservatives about the trans people who want children with their spouses, or still love the ones they had before coming out. But if someone believes Big Gender is an evil enterprise, it’ll take someone they love coming out for them to recognize the groomer talk as the manipulative fiction it is. It will always be easier to hate some blue-haired apparition lurking in the shadows of your mind than your childhood buddy Jim when she tells you to call her Linda.

For obvious reasons, the possibility of a Trump victory is freaking out people in the queer community, even here in Washington, with our protective laws and Democrat-dominated Legislature. Because what Trump says and does are often different things, they’re unsure of the implications for their health care, their families, their marriages, and their futures. 

What We Can and Should Worry About at the Federal Level

In 2023, Penny Nance, CEO of the Christian nonprofit Concerned Women for America, asked Donald Trump to sign a pledge that if he won in 2024, he’d direct all federal agencies to uphold that a person’s “gender identity” doesn’t overrule their “sex.” Pledge or no pledge, nothing Trump did as president or has said during this campaign indicates he wouldn’t.

While in power, Trump appointed a slate of anti-LGBTQ judges. He banned transgender people from serving in the military and weakened their already tenuous access to gender-affirming care. How much farther he could go is another question. The man’s mind is an enigma. No matter who wins, the courts will remain a chaotic x-factor for us all.

By the time Trump took office in 2017, federal courts had recognized existing civil rights laws banning sex-discrimination protected gay and trans people, reasoning that anti-LGBTQ discrimination was, at its core, a reaction to people deviating from the norms of their sex. But the words “sexual orientation” or “gender identity” are not in the Civil Rights Act of 1964, or Title IX, a 1972 law prohibiting sex discrimination in education, or Section 1557 of the Affordable Care Act (the ACA, also known as Obamacare) outlining groups protected from discrimination.

Those rights exist, but they’re not codified. Their existence depends on a broader legal interpretation of what sex discrimination even means. 

Trump’s administration rejected that interpretation. It rolled back Obama-era non-discrimination protections for LGBTQ people and plotted to erase the word “sex” from federal civil rights laws. In 2019, the House passed the Equality Act, a bill that would add “sexual orientation” and “ “gender identity” to the Civil Rights Act, on a bi-partisan vote, but the Senate didn’t take up the bill after Trump said he wouldn’t sign it. The bill passed the House again with only three Republican supporters, but did not survive a Senate filibuster. 

Then at the end of Trump’s presidency, the conservative US Supreme Court delivered a stunning 6-3 ruling in Bostock v. Clayton County that found Title VII of the Civil Rights Act protected gay and trans people from employment discrimination. As Trump’s handpicked appointee Justice Neil Gorsuch wrote in the majority opinion, “it is impossible to discriminate against a person for being homosexual or transgender without discriminating against that individual based on sex.” Trump, whose White House filed two briefs urging the court to rule the other way, admitted to reporters it was a “very powerful decision, actually.” Not that its “power” changed his thinking. 

Yipee! All solved, right? Gay people have rights forever? Gorsuch is competing in International Mr. Leather next year and drinking with us at the Stonewall Inn? Right? 

Not quite. 

Bostock laid an important legal precedent and textualist argument that’s been cited in hundreds of sex-discrimination cases around the country.  The ruling prompted President Joe Biden to issue an executive order on his first day in office that directed all federal agencies to consider policies banning sex discrimination to apply to gay and trans people. It remains at the core of its interpretations of Title IX, the Violence Against Women Act, the ACA and the federal Fair Housing Act.

But Bostock did not end the fight, and its narrow scope leaves some rights potentially vulnerable should Trump take control. Say he’s elected and makes good on his pledge to Nance. The Supreme Court was clear on workplace protections, but Trump’s lackeys could say their ruling doesn’t apply to housing, healthcare, access to public accommodations, and education.

Mirroring Biden’s executive order to federal agencies, Trump said he’d reverse Title IX protections for trans students on day one of his presidency. He’s also vowed to ban gender-affirming care for minors, which he’s called child mutilation, and cut federal funding for schools that push “gender ideology.” His running mate, Ohio Sen. JD Vance, introduced five anti-trans bills between 2023 and 2024, which included criminalizing healthcare for trans kids. Saving his most deranged takes for the race’s photo finish, Vance appeared on Joe Rogan’s podcast and suggested middle- and upper-class white kids become trans to get into good schools, so they can, I guess, piss their pants in the lecture hall if a state revokes their bathroom access. As CNN pointed out, trans kids are actually a lot less likely to get into good schools because all the bullying, harassment, and dark thoughts tend to bring down the ol’ grade point average.

Harris, Harris, Harris, Harris, Harris. In the 2019 primary, she said she supported gender-affirming surgeries for trans migrants in custody. She’s not special for that–federal law requires the government to provide necessary medical care to inmates, and documents show Trump’s Federal Bureau of Prisons acknowledged that law–but people have made a lot of her apparent lack of support this cycle. When asked about transgender rights, Harris’s canned answer is that she’ll “follow the law.” Without a crystal ball or Ouija board handy, I’d hazard to guess she’d likely follow in Biden’s footsteps and his “follow the law” line is a dodge —perhaps part of her plan to nab all the Republican-leaning voters who can’t stand Trump but may not get trans issues. After all, trans issues have been a fruitful wedge issue precisely because people don’t understand them – and people fear what they don’t understand.

That said, laws are not virtues, and trans people are pissed about her lack of commitment. They’re scared because they’ve been pilloried in this election, and following the law in certain states means they don’t have civil rights. Plenty have fled those laws. Her running mate, Minnesota Gov. Tim Walz has one of the best records on gay and trans rights of any Democratic governor, from his time as a football coach sponsoring a Gay-Straight Alliance in a small town to signing an executive order to make Minnesota a “trans refugee state.” I don’t trust politicians as a rule, but Walz has been an ally much longer than it’s been cool or even acceptable.

Now for the part that made me go uh-oh out loud.

No matter who wins, these anti-discrimination protections are up against federal courts stacked with conservative appointees, and conservative think tanks have the money, the time, and the zealous devotion to launch sophisticated attacks to invalidate LGBTQ rights and restrict the legal definition of sex in perpetuity.

Jaelynn Scott, Executive Director of the Lavender Rights Project, a Seattle-based LGBTQ legal advocacy organization, is convinced the broad interpretation of Title VII will face continual legal challenges until lawmakers amend the Civil Rights Act to include “gender identity” or pass the Equality Act.

Federal judges have already blocked Biden’s Bostock-backed interpretations of Title XI and the ACA’s non-discrimination protections. The same Supreme Court justices who ruled in favor of Bostock also blocked the administration's Title IX rules. The court’s recent decision on Chevron Deference compounds the problem. It not only weakened the power of federal agencies to enact new rules that comply with often vague laws from Congress, but it also made challenging federal regulations much easier and shows we can’t count on the Justices to adhere to binding legal precedent, which sucks because this all may come down to if or when the Supreme Court sets limits on Bostock. 

We know it will soon decide if laws restricting gender-affirming care violate the US Constitution’s Equal Protection Clause. On December 4, the Court will hear US v. Skrmetti, a challenge to Tennessee’s ban on puberty blockers and hormone therapy for minors.

The case is important because it could determine what level of protection trans people have under the Equal Protection Clause. Elana Redfield, Federal Policy Director at the Williams Institute, a LGBTQ public-policy research center at the University of California, Los Angeles, says the issue at the heart of this case is whether it is unlawful for the state to ban these treatments in the way that it did. 

Recent cases show the state might be able to legally prove no sex discrimination took place. The first is Dobbs, the case that struck down abortion. In the Dobbs decision, the court cited an old case called Geduldig v. Aiello, which found a state could legally deny insurance coverage for medical complications during pregnancy, even though it would have almost entirely burdened cis women, to say states could prohibit abortion. The Eleventh Circuit Court of Appeals applied Geduldig to Adams, a case that upheld a state’s right to enact trans bathroom bans. In Skrmetti, The Sixth Court of Appeals again applied the same exact legal reasoning to gender-affirming care. It ruled the Bostock decision applied only to workplace discrimination and lawmakers had the right to regulate medical procedures as long as they did so without discriminatory intent. 

“I know, it's pretty in the weeds, but it is also important,” Redfield said in an email. “In part because it provides a pathway for courts to avoid finding sex discrimination, and in part because they are citing back to cases decided before “intermediate scrutiny” for sex discrimination was even established.”

It’s not all bad news. This April, the Fourth Circuit Court of Appeals affirmed lower court decisions that North Carolina’s and West Virginia's bans on gender-affirming care were unconstitutional. 

Trump’s focus on trans people has obscured his position on gay rights, which enjoy broader support from the American electorate than trans rights.

But would a party more aligned with the religious and extreme right than ever abandon the positions they’ve consolidated power over for decades, just like that? The supposedly “softer” Republican platform that claims the party will leave abortion to the states has not convinced millions of women across the country. Omitting a direct reference to same-sex marriage in that same platform, while still invoking its “sanctity,” shouldn’t convince gays, either. 

A second Trump administration would be filled with pre-vetted loyalists. The aides, staff, bureaucracy, and institutions that inhibited his most destructive impulses during his first turn have been foxed out of the henhouse. If Trump follows the plan outlined in Project 2025, he’ll reconstitute the administrative state as a faithful engine of Trumpism. If decisions from the Washington Post’s and Los Angeles Times’s billionaire owners are any indication, institutions may be folding in advance. Trump is promising to throw his political enemies in jail, for God’s sake. When have gay people ever emerged from a regime like that unscathed?

Um, What About Washington?

Even if everything goes to hell and Trump or the courts change how the government interprets sex-based anti-discrimination protections, Washington State will probably remain a good place to be gay and trans, legally speaking. Though there’s always uncertainty in the brackish waters between federal and state law, we're pretty Trump-proofed.

The Washington Law Against Discrimination (WLAD) broadly guards against anti-gay and anti-trans discrimination in housing, places of public accommodation, employment, credit transactions, healthcare, and other areas. 

Meaning you should be able to sign a new lease, take out a massive home loan, celebrate with fine dining and heavy drinking, stumbling and falling on your way out the door, breaking your arm, calling an ambulance, arriving at the hospital, and having a qualified medical professional examine you without anyone throwing your gay or trans ass into the street.

The WLAD also guarantees access to gender-affirming care and requires insurers to cover it, a protection the Gender Affirming Treatment Act (GATA) strengthened in 2022.

The state also allows those born here to change the gender marker on their birth certificate from M to F, F to M, or from either to X. In 2023, Governor Jay Inslee signed laws that sealed name changes for transgender people and protected trans runaways in the shelter system. He also signed a shield law that protects people who seek gender-affirming care and abortions in Washington from the authorities in states that have banned or criminalized their healthcare.

Even if the Supreme Court struck down Obergefell v. Hodges, gay marriage would remain legal in Washington, save the Supreme Court losing its mind and allowing for a federal prohibition on same-sex unions, another can of worms that would be litigated to hell along the lines of states rights. Gay couples would still be able to adopt, too. Lesbian couples could count on the law to protect access and insurance coverage for fertility treatments.

Adrien Leavitt, a staff attorney with the ACLU of Washington, says in many regards our state constitution is also more protective than the US constitution, that we have a strong State Supreme Court, and that our lawmakers have shown an ongoing commitment to upholding and strengthening protections for LGBTQ people.

Our Democratic lawmakers did let the right take one victory on LGBTQ issues this year, however, when it passed Let’s Go Washington’s legally ambiguous, but dog-whistle-y Parents Bill of Rights ballot initiative I-2081.

Concerned the law may allow parents to access their child’s counseling records, the ACLU of Washington, QLaw and Legal Voice filed suit. A King County Superior Court Judge later blocked that provision. But passing the law might have been a political calculation in Olympia. HadDemocrats let it go to voters, and it passed, the Legislature couldn’t amend it next session.

We still don’t have all the answers. Rebekah Gardea, QLaw’s director of community advocacy and outreach, raised I-2081 as an example in a pattern of attacks on LGBTQ rights across the country able to infiltrate even a progressive state like Washington. Even if advocacy groups can be fairly confident laws banning gender-affirming care would die in committee here in Washington, the right can always introduce an initiative if there’s the money and motivation to do so. In the event of a second Trump presidency, Gardea says her organization is concerned about how our shield law would hold against a federal investigation, or what potential data privacy gaps the state may have. It’s a question the Legislature may have to answer next session.

“There’s a lot of unknowns that we’re still looking into,” she said. “We’re trying to figure out how we strengthen those protections as soon as possible so there’s really no room for interpretation.”

Should the storm come, the best thing Washington could do is adopt the position that it will live up to its progressive values by vigorously defending them against outside actors, including a federal government that imposed restrictions on LGBTQ rights. Bob Ferguson, the Attorney General and Democratic frontrunner for the governor’s race, said in a statement he’d be ready on “day one” to combat a Trump presidency.

That’s all well and good for us, but sanctuary state thinking is a trap. Your civil rights are tenuous if they can disappear at the state line.  

These progressive state laws do not regulate hate and intimidation, and if the federal government goes screwball, there’s no telling how that would change the social dynamics in this country. They’ve already changed so much in a short period of time.

Eight years ago in 2016, lawmakers nationwide had only introduced 55 anti-trans bills nationwide. That same year, North Carolina's passage of a single anti-trans bathroom bill prompted the NCAA to ban college sports championships in the state, PayPal to cancel plans for a new office and Beatle Ringo Starr to cancel a massive concert. The Associated Press determined the state stood to lose $3.76 billion dollars over the bathroom policy, which is why lawmakers repealed it the next year. In the last two years, we’ve seen between 1,000 and 1,200 bills. Most fail, but plenty are passing. Where are those boycotts now? The only transgender-related social contagion in this country is ignorance. When it comes to hate, state borders are astoundingly porous.

I’m very confident Washington won’t pass a gender-affirming care ban in the next five years, or even the next 10 years. But 15? A lot can change. Fifteen years ago, Donald Trump was hosting Season 8 of The Celebrity Apprentice. 

The world changes and complacency is one way to speed up that change. There’s a snide attitude in blue states about red states, like the only reason regressive laws get passed is because all the people there are stupid and backward enough to let it happen. I hear variations of this contemptuous position in gay bars and on gay couches at parties all the time, and it totally ignores decades of disenfranchisement and manipulation that have tilted the balance of power in red states. 

So the next time you think something to the effect of, “at least I’m safe,” think about the woman going septic in the hospital parking lot, or the trans kid weighing suicide in their bedroom. If you’re not for them, you’re not for anything at all.

Jones’s musical legacy—and devotion to his Seattle roots—carries on. by Alexa Peters

In 2017, during a performance from local garage-jazz quartet Industrial Revelation at Upstream Music Festival, I noticed a commotion near the stage as people huddled around the VIP seats. I stood on my toes and looked—Is that Quincy Jones?!

While Jones, the legendary musician, producer, and alumnus of Seattle’s Garfield High School, had given a keynote address earlier in the festival, I didn’t expect to see the mastermind behind Michael Jackson’s Thriller sitting amongst the crowd. But there he was, shaking hands, taking pictures with fans, and even sharing generously with a young musician who asked him about score orchestration. Then, it was my turn to thank him. He grasped my hand and grinned, wrapped in one of his iconic striped scarves.

On Sunday, Jones passed away at his home in Los Angeles. He was 91. Though it’s been many decades since he lived in Seattle, and he was only a resident from 1943 until 1951, Jones continuously nurtured his ties to the city over the course of his life and inspired generations of local musicians.

“Sometimes, in today's musical world, there can be a level of superficiality, and Quincy was the opposite of that,” says Riley Mulherkar, a graduate of Garfield High School and rising jazz trumpeter who released his acclaimed debut record earlier this year. “[He had] mastery of the form at a young age—and then he was able to take that into all sorts of musical situations, and literally change the world.” 

Jones was born on March 14, 1933, in Chicago. After a tumultuous early childhood with his mother, who had schizophrenia, Jones’s father, Quincy Jones Sr., moved Jones and his brother to Bremerton, Washington. When he was 12, Jones began playing trumpet at Bremerton’s Coontz Junior High. 

In 1947, after Jones’s father remarried, he moved his sons, his new wife, and her three children, to Seattle. Jones started at Garfield High School and quickly met fellow student Charlie Taylor, who played saxophone.

Taylor was one of the sons of Evelyn Bundy, a trailblazing Seattle jazzwoman who formed one of the city’s first jazz bands in the 1920s. At Garfield, Taylor was ready to put together his own group. He invited Jones to become a member of his band, and Jones agreed, joining a cast of elite musicians at Garfield including Oscar Holden Jr. and Grace Holden, two children of pianist and Seattle jazz scene patriarch Oscar Holden.

After their first few gigs as the Charlie Taylor Band, Bumps Blackwell, a bandleader, songwriter, arranger, and record producer (who would go on to mentor Ray Charles, Ernestine Anderson, and Sam Cooke, among others), offered to manage them as the Bumps Blackwell Junior Band.

As Paul de Barros notes in his book Jackson Street After Hours: The Roots of Jazz in Seattle, the Bumps Blackwell Junior Band was a “focal point” in people’s memories of Jackson Street, which was home to a bustling jazz scene in the years around World War II until 1960. 

The time in the band was influential for Jones, too. Jones got to perform frequently, including opening for Nat King Cole at Civic Auditorium, and the group allowed him to befriend other notable musicians who worked on Jackson Street at the time, like Ray Charles or “R.C.”, who first taught Jones about arranging.

Jones left Seattle in 1951 to attend Berklee School of Music. He soon dropped out to tour with Lionel Hampton’s orchestra and eventually form his own band. From there, Jones’s career is one milestone after another. 

Some highlights from Jones’s career include working as musical director, arranger, and trumpeter in trumpeter Dizzy Gillespie’s band, becoming the first African American vice president at Mercury Records in 1964, composing film scores for dozens of films, composing for iconic TV shows including Roots, and serving as producer and arranger for top-tier talent including, of course, Michael Jackson. 

Jones also founded Quincy Jones Productions, an all-encompassing media and artist management company that helped jumpstart the careers of artists like Jacob Collier.

With all his accomplishments and fame, Seattle organizations have bestowed Jones with various honors, including Lifetime Achievement Awards from both the Northwest African American Museum and the Seattle International Film Festival. Likewise, Jones kept up his connection to the Emerald City, often supporting the local music scene and returning home for visits. 

As far back as 1959, when Jones was hired to form his own band, he hired musicians from Seattle he admired, including pianist Patti Bown, trumpeter Floyd Standifer, and one of his lifelong friends, bassist Buddy Catlett. 

Upon Catlett’s death in 2014, Jones tributed his “brother and bandmate” on Facebook, calling him “one of the greatest bass players to ever take the stage. From Charlie Taylor's and Bumps Blackwell's bands when we were starting out in Seattle to my Free and Easy tour of Europe, we traveled the world playing the music we love.”

Jones has stayed especially linked with Garfield High School. In 2008, when Garfield High School decided to name their freshly renovated performing arts center after Jones, he flew in for the dedication ceremony. As recently as last year, Jones donated $50,000 to Seattle’s Washington Middle School, which feeds into Garfield High School, to help keep their jazz program alive. 

“Today, I had the pleasure of visiting my old school in Seattle, Garfield High, and man did it bring back some memories!!,” Jones wrote in a 2017 Facebook post. “I can't believe it’s been 70 years since I walked these halls as a student...Moving to Seattle forever changed me for the better...and finding music here showed me that I could be more than a statistic...”

Mulherkar, like Jones, found music at Garfield High School, where Jones is now embedded into the lore of the school.

In 2009, as a high school junior playing trumpet in Garfield’s jazz band, Mulherkar had the chance to meet and work with Jones when the legendary producer came into their rehearsal. He conducted the students in a couple songs, including a swingin’ Jones original and one of Mulherkar’s favorites called “Stockholm Sweetnin’.”

“It was hard to even wrap our minds around, because there's Quincy Jones, the celebrity,” said Mulherkar. “It felt so special to have this personal connection to the man, as a Garfield student, as a trumpet player, and [as] someone who wanted to make my life in the music.”

Mulherkar, who now lives in New York, still finds it special that the beginnings of his career were so touched by the icon.

“As a jazz musician from Seattle who went to Garfield… I love that he was able to make such a tremendous impact starting from a place that, for me, is so relatable,” said Mulherkar.

Through Garfield students like Mulherkar, and the countless other artists Jones mentored as a producer and music executive, Jones’s musical legacy—and devotion to his Seattle roots—carries on. 

P.S. The best blowjob is 25-50% handjob. by Dan Savage 1. This debate is raging again, Dan, and we need you to issue a ruling: Do straight women belong in gay bars? Some (straight women, gay bars), not all (straight women, gay bars). 2. Why do men keep ghosting me after sex? I’m a 25-year-old woman. No clue. You could’ve had a string of bad luck — and fucked a dozen (or more) shitty guys in a row — or it could be something you’re doing wrong. Even if you don’t think you’re doing anything wrong, once you’ve noticed a pattern of behavior and/or results that makes you unhappy, it’s a good idea to make some changes. Try meeting different kinds of guys in different kinds of ways, try slowing your roll/hole, etc., and take time along the way to engage in constructive introspection and make further changes/course corrections, as needed. 3. How do I stop people from falling in…

[ Read more ]

Well, something sure has happened. And frankly, if we have to read one more fact about that man and his sycophantic oligarchical cabal, we will lose our shit. So we’re going to do some radical self-care by cooking a cauldron of Strega Nona-style pasta and writing about all the joyful things, and scraps of progress we can find. Here are some (relatively! Low bar, but it’s what we have!) GOOD things to have come out of this election. Let’s start off with Washington: our very own Big Blue House. by Sally Neumann & Leah Caglio

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"These pigs locked me up to see what color I'd rot into!" 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 Seattle on November 14 and 15—is selling out in several cities.

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.

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.

"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."

THE STRANGER: 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]

"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.

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.

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 the Showbox Thurs, Nov 14 and Fri, Nov 15. Thursday's show is all ages, and Friday's is 21+. 

This story was originally published in our sister paper, Portland Mercury.

I kept waiting for Kamala to say what we're not going back to is Trump. We've paid our dues. He's had enough of our attention.

Government should do its work quietly, making things better for the people and that's all, and until there's a crisis that demands our attention, stays out of the way.

This week's rounds are Music (Intros), Cetaceans, Football Club Nicknames (Quickfire), Places and an extra Prize Round!
There is no music this week because of the prize round.
Prize Round Picture Question:

Which country?

This week's rounds are Music (Connections), Aviation, Famous Voices, and Music Too.
The music is Lady of My Dreams by Jay Tobin.

This week's rounds are Music (Themes), Julius Caesar, International Border Rivers (Quickfire), and the Natural World.
The music is Star Caesar from Possimiste.

This week's rounds are Music (Annual Anthems), Famous Roads, Languages, and Art.
The music is from Punk Rock Opera with a song called The Road.

This week's rounds are Music (Classical), Dragons, Cartoon Families (Quickfire), and Who Am I?
The music is Gone in the Wind by Dragon.

This week's rounds are Music (Connections), Atlanta, Movies and History.
The music is Peach Tree by Matteah Baim.

This week's rounds are Music (Mashup Madness), Trees in Literature, Animated Disney Movies (Quickfire), and Sport.
The music is from Springtide with the Teahouse and Bamboo Trees.

This week's rounds are Music (Annual Anthems), Microstates, Television, and Geography.
The music is Liechtenstein with Roses in the Park.

This week's rounds are Music (Christmas Songs), The Nativity, Food Origins (Quickfire), and Science and Technology.
The music is Greg Atkinson with Pantomime Cow.

This week's rounds are Music (Connection), 2019, Musical Instruments, and Literature.
The music is New Year A by Lobo Loco.

This week's rounds are Music (Intros), Dictionaries, Dog Idioms (Quickfire), Transport and an extra Prize Round!
There is no music this week because of the prize round.
Prize Round Picture Question:

Which letter of the Greek alphabet?

This week's rounds are Music (Annual Anthems), Copper, Famous Voices, and Television.
The music is Copper Kettle by Kathleen Martin.

This week's rounds are Music (Covers), Ethiopia, TV Animals (Quickfire), and Pot Luck.
The music is Handheld Recordings, with Wolaita & Derashe, Ethiopia 2009.

This week's rounds are Music (Connections), Bananas, Mystery Sounds, and Famous People.
The music is from The Vivisectors with a song called Loco Banana.

This week's rounds are Music (Terrible Twins), Quotes, A Year in the Life (Quickfire), and Food and Drink.
The music is Anitek, with a song called Drums.

This week's rounds are Music (Annual Anthems), The A-Team, Old News, and Anagrams.
The music is Shane by Orca Team.

This week's rounds are Music (Mangled by MIDI), Creation Myths, TV Theme Songs (Quickfire), and Places.
The music is from saQi with a song called Creation's Call.

This week's rounds are Music (Connections), The Vietnam War, Movies, and Music Too.
The music is Turn Me Back from Vietnam Cowboy.

Celebrating fifteen years of PodQuiz, this week's rounds are Music (Backbeat), the Number Fifteen, Directorial Debuts (Quickfire), and the Natural World.
The music is The Pendulum Swings's (It Must Be) Somebody's Birthday.

This week's rounds are Music (Annual Anthems), Bags, Languages, and Who Am I?
The music is Josh Woodward, with Bags of Water.

This week's rounds are Music (Intros), Singing, World Firsts (Quickfire), Art, and a Prize Round.
There is no music this week because of the prize round.
Prize Round Picture Question:

Which country?

This week's rounds are Music (Connections), 1970s Rock Music, Literature, and History.
The music is Elvis Depressedly, with Rock n Roll.

This week's rounds are Music (Lyrical Linguist), Bears, Religious Festivals (Quickfire), and Sport.
The music this week comes from Mountain High, with a song called Russian Bear.

This week's rounds are Music (Annual Anthems), Fictional Games, Famous Voices, and Geography.
The music this week comes from The Friendly Dimension, with a song called Just Your Game.

This week's rounds are Music (Classical Covers), The Himalayas, Late Sequels (Quickfire), and Science and Technology.
The music is Edoardo Romani Capelo's Himalaya.

This week's rounds are Music (Themes), Tulips, Movies and Literature.
The music is The Flowers by Elephant Funeral.

This week's rounds are Music (Sample Sinners), Beetles, IATA Airport Codes (Quickfire), and Famous People.
The music is from Blue Dot Sessions with a song called An Introduction to Beetles.

This week's rounds are Music (Connections), Aromas, Places, and Transport.
The music is Faint Smell of Moss from Dark Meat.

This week's rounds are Music (Guitar Solos), The Knights Templar, TV Cop Duos (Quickfire), and Food and Drink.
The music is The Miseryslims, with a song called Knights Out.

This week's rounds are Music (Annual Anthems), Cuba, Old News, and Television.
The music is El Capitan by Cuban Cowboys.