Amstill Roofing CEO Sam Stilley shares his perspective on the importance of adopting technology and the roofing industry’s future.

Kauffmann Quality Construction owner Ivan Kauffmann shares his roofing journey and how his company continues to weather supply shortages amid a slow pandemic recovery.

RC caught up with SPFA President Bonnie Strickler to learn about the pathways spray foam can offer to professionals.

Wisconsin-based roofing contractor creating a legacy with quality work, giving back.

In this Q&A, industry experts speak on the state of roof coatings and what aspects roofing contractors should know about a product that can diversify their offerings.

Roofing Contractor catches up with Chris Huettig, national director of technical services with KARNAK, about the state of the coatings industry.

Learn more about the state of the coatings industry in 2023 with this Q&A featuring Kyle Stavish, national business development manager with Mule-Hide Products Co. Inc.

Roofing Contractor catches up with Joel Shealey, vice president of Operations at Bitec, Inc., about the state of the coatings industry. 

The 2020 Residential Contractor of the Year speaks candidly about her start in roofing and how she hopes to inspire the next generation of skilled workers.

Kevin Kennedy and Joe Bazzano's first book, The Contractor's 60 Minute Exit Plan, is a 82-page book offers a guide for roofing contractors to navigate the scary and sometimes treacherous process of exiting their business when the time is right.

Leaders weigh in on the new challenges and innovative solutions that await a roofing industry continuing to evolve as a new year gets underway.

PIMA President Justin Koscher discusses how polyiso can play a role in a roofing contractor’s success this year.

ABC Supply continues to invest in its people, technology and communities. Learn more in this exclusive Q&A with RC.

Mule-Hide Products Co. continues efforts to train and educate roofing contractors while developing innovative products.

Huntsman Building Solutions offers reasons for roofing contractors to remain optimistic when it comes to spray foam roofing and coatings systems.

The Spray Polyurethane Foam Alliance (SPFA) anticipates changes in policy and products in the near future. Is the roofing industry ready?

Westlake Royal Roofing Solutions has new products and programs to engage with customers this year.

Catch up with Beacon's 2024 Female Roofing Professional of the Year, Brooke Laizure, and get a glimpse into her pathway to success in roofing, and where she's heading next.

Dan Bodner, Verint chairman and CEO, sat down for a far-reaching interview with DestinationCRM.com during the Verint Engage 2024 conference in Orlando, Fla., answering questions on everything from the growth and future of the company to the outlook for the contact center industry. (Featured on DestinationCRM.com.)

A Q&A with Ria Madrid of Wurl - she discusses BrandDiscovery, their new tech that makes it possible for marketers to precisely match CTV ads with the emotion and context of what viewers are watching to create positive attention, using Plutchik's Wheel of Emotions. Partners like Media.Monks are already driving impressive results for their clients through Wurl's solution, which uses scene-level contextual targeting to help advertisers align the emotional sentiment of their campaign creatives with content closest to the ad break.

In this wide-ranging interview with Monica Williams, NBCUniversal's SVP of digital products and operations for the company's content distribution business, we discuss how the proliferation of digital platforms across the OTT, CTV, and online ecosystems has brought new content distribution challenges, the boon of metadata for improving customer experiences, and the 17-day everything-must-go-perfectly marathon of distributing the Olympics.

In this expansive interview with Simon Crownshaw, Microsoft's worldwide media and entertainment strategy director, we discuss how Microsoft customers are leveraging generative AI in all stages of the streaming workflow and how they're using it in content delivery and to enhance user experiences in a range of use cases. Crownshaw also digs deep into how Microsoft is building asset management architecture and the critical role metadata plays in effective large-language models (LLMs), maximizing the value of available data.

Even if you're not competing on a world stage, learning to fuel your body and mind like an Olympic or Paralympic athlete may help you boost your own game.

There's no surer way to start a fight than to talk politics with someone who disagrees with you. But UCSB psychologist Tania Israel says it doesn't have to be that way. She sees as an opportunity to help bridge America's political divide.

"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]

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.

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.

Don't let anyone tell you that you can't go home again…

Leather…

Learn Astral Projection Easily-CLICK HERE!

1. What is Astral Projection?

Astral Projection or Out-of-body experience is a process through which our consciousness leaves our physical body and is free to travel anywhere, unrestricted by  our normal physical boundaries. We all unconsciously travel outside our bodies every night when we are asleep. But with the right guidance and practice, we can train ourselves to achieve this with 100% consciousness and awareness.

2. Is everyone able to do Astral Projection?

As I mentioned, everyone does Astral Traveling at night when they sleep. But since they are asleep, they are doing it unconsciously. And when they wake-up, their astral experiences get distorted and they feel they have just had a dream. But with training and guidance, almost anyone can have a conscious Astral Projection.

3. When one does Astral Traveling, what is it that "projects" out of his body?

We are made up of several bodies. The grossest and the densest body is our physical body. The next one is the etheric body or the astral body. This is much less dense compared to the physical body. So during Astral Traveling, it is the astral body that gets “projected”.   I should also mention that for each these bodies, there is a corresponding “plane”. So there is a physical plane, astral plane and so on. So during Astral Projection, the astral body is projected into the astral plane.

4. Should we be really doing Astral Projection?

When we are born on this physical plane, we all come with a specific purpose. That purpose may be different for different people. But as we grow older, we forget why we are here. So we wander aimlessly and often end up wasting our lives.
Astral Projection is one way to help us know why we are here in the first place. So I sincerely feel we all should learn this amazing art and give a positive direction to our lives.

5. How much does Astral Projection cost?

You would be surprised, but there were actually 4 people who asked me this question!
The answer is - Astral Projection doesn’t cost you anything in terms of money. It is not something that you purchase. It is an art that you learn. The only real cost  involved is your time, effort and dedication.

6. What is the best, easiest, infallible and fastest method that works for  everyone?

Everyone is different, with different personalities and beliefs. So unfortunately, there is no best and easiest method that works for everyone. There are hundreds of Astral Projection techniques available. You need to see which one suits you best.

7. What are the best visualization techniques for reaching the vibration stage quickly?

As I said earlier, there is no best technique that will help everyone to achieve the vibration stage. However, Robert Monroe’s vibration technique is the most popular since many people have reported great success with it.

8. How can I learn to project quickly without having to take herbs such as  Salvia
Divinorum?

I never recommend taking herbs or drugs to achieve Astral Projection. It is safest to practice without any external aids. Also, unfortunately, there is no “quick” way to achieve Astral Projection. You will require patience and dedication. But if you follow the right guidance, you can drastically cut down on your learning curve, and often see success in a few weeks instead of years. Also, I would recommend staying away from anyone who claims to teach you “techniques” that can help you  project “instantly”

9. How to get into a trance easily for intentional OBEs

A good way to get into a trance is to comfortably lie down at night, and watch yourself going to sleep. Try to relax your physical body, but at the same time, try not to  go to sleep. For the first few nights, you might end up sleeping. But with practice, you will learn how to control your mind and stay awake during the entire process.

10. Can Astral Projection actually be done?

Yes, Astral Projection is definitely possible, and can actually be done consciously. There are thousands and thousands of people who can do it at will.                  

Learn Astral Projection Easily-CLICK HERE!
11. How often should you project?
Once you learn how to Astral Project at will, you can project as often as you want to. But don’t forget that you have a life on the physical plane too. You need to  maintain a balance.
12. What is the real trigger to leave the body? Where it is located?
No one really knows where the real trigger to leave the body is located. But I believe that out of the seven major Energy Chakras in our spiritual body, the trigger lies in
the most active Chakra for that person. Most people report leaving through the Third-eye Charka, the Solar Plexus Chakra or the Heart Chakra
13. What can I do about my belief that I can only perceive through my physical senses?
Since our birth we have perceived everything through our physical senses. So it is very difficult to imagine that we can have other senses as well. The only way to shed that belief is to experience Astral Projection yourself. Once you are out of your body, you will realize that you can actually perceive your surrounding without the physical senses that we are so used to. Moreover, you will realize that your new set
of senses is much more enhanced and powerful.
14. While Astral Projecting are we able to use our senses? See in color, hear, feel cold or heat etc?
As mentioned in the answer to the previous question, in the astral plane, we do not use our physical senses. We can see, hear, and feel using our astral senses. I should also mention that we do not feel cold or hot in our astral body. If we do feel them, it is because our physical body is feeling hot or cold, and that feeling is  transferred to the astral body via the Silver Cord.
15. Can Astral Projection be done without being taught by some one specialized who knows what is going to happen?
Yes, Astral Projection can be done without being taught by someone. It might take you longer or you might do it the wrong way. But it can be done. There are many people who have done it alone consciously or unconsciously. But it always helps to have the right guidance.
16. What is the best time to practice Astral Projection? Day, night, or early in the
morning?
There is no best time to practice. But because of our busy lives, most people prefer to practice early in the morning or at night, before going to sleep. But if you have time, you can very well practice during the day.
17. Should I practice lying down or sitting cross-legged?
Astral Projection can be done in any position you are comfortable with. But I recommend the lying down posture, because this is the way we sleep, and it is very
natural. This position also distributes our weight throughout the body, and makes it easier for us to relax. But as I said, you can choose any position you want to. As long as you are comfortable                                   
18. I have heard of people who can Astral Project at will, like a normal daily activity. Can I do the same, whenever I command? If yes, when will I succeed?
Yes, there are many who can Astral Project at will. You can do it too. But to get to that stage, you have to project several times, get rid of your fears, get used to the astral environment, and you should have also learnt to control your thoughts.
19. Do I need to meditate first, enter a supportive state of mind to successfully Astral Project? If yes, for how long should I meditate?
For a proper, conscious out of body experience, you should be in a meditative state where your physical body is completely relaxed and your mind is completely clear of unwanted chattering. This will give you good control over your thoughts, and help you focus on Astral Projection.
20. What triggers Astral Projection? And when does it actually happen?
Your goal is to reach a stage where your physical body is completely  relaxed and your mind is completely awake. And then deepen that stage using visualization exercises. This is the magic moment where the separation of the Astral body from the physical body takes place.
21. How can I avoid being anchored to my body when I go into trance?
If you go into a deep trance, where your body is asleep and mind awake, your astral body WILL separate – either partially or fully. If it is a partial separation, you need to exercise a strong will power and visualization exercises so that you can achieve a full  separation.                                   

Archaeologists are working to understand how astronauts really use their space on the ISS—and help improve space habitats of the future.

BBC F1 correspondent Andrew Benson answers your questions as we approach the final three races of the 2024 season.

Q&A: Maria Kolesnikova The World Today rescobales.drupal 29 September 2021

The jailed Belarusian opposition activist says: ‘It’s worth it’

Earlier this month, the Belarusian opposition activists, Maria Kolesnikova and Maxim Znak, were sentenced to long prison terms on charges of conspiring to seize power and crimes against national security. Both Kolesnikova, a prominent musician, and Znak, a lawyer, are supporters of Sviatlana Tsikhanouskaya, who ran against President Alexander Lukashenka in last year’s election and is now in exile in Lithuania. European Union countries have called for all political detainees, including Kolesnikova, to be released, but so far these calls have fallen on deaf ears. Alistair Burnett interviewed Maria Kolesnikova.

What is your response to the verdict and the 11-year sentence handed down to you?

My conscience is clear. We didn’t break the law. We followed the law at all the stages of the electoral campaign.

After the verdict, we applauded when the judges left the courtroom. They fulfilled their despicable role in this historical process – now this decision is on their conscience.

It is impossible to take the court and the verdict in any way seriously. This is not a verdict on Maxim and me but on the authorities themselves, on the system itself.

It is evidence not only of a legal default, but of a system-wide default. I feel sorry for those who did not understand what happened and did not learn history’s lessons.

Your trial was held behind closed doors and you were charged with conspiring to seize power and crimes against national security. What can you tell us about the prosecution’s case against you?

If there had been any evidence against us, the trial would have been open.

The very existence of accusations like this denies people the potential to participate in election campaigning and in political activity generally. It also prohibits public criticism of the authorities.

Such a judgment and verdict is a Pandora’s box with far-reaching negative consequences.

After the crackdown over last year’s protests and now your sentencing, what is the state of the opposition within Belarus?

I am in prison, so it is hard for me to judge objectively people’s attempts to fight for their freedom and basic human rights. According to what I see on TV, as well as the mood of those few people I have had a chance to talk to, I can say that the authorities are scared by the people’s activism.

They understand that though they can put down protests, they can’t change people’s mindsets. I see the fear in their eyes. I also believe that even those outside of Belarus can do a lot, and it’s important to continue opposition activity both inside and outside the country.

Sviatlana Tsikhanouskaya has been visiting European countries and the United States to maintain their support. Has international pressure, including from human rights groups, had any effect on the Lukashenka government?

I will use this opportunity to say hi to Sviatlana: ‘You are amazing. Keep it up.’

I’m sure Lukashenka is scared. He turned from a person who meets presidents to talk about Ukraine into an outcast no one wants to shake hands with.

It is traumatic for him, but the fear will pass. He will get used to it.

That is why it’s important to think about the next step, to understand what American and European partners are ready to offer Lukashenka in return for him to change course. If they aren’t ready to offer him anything – it’s important to know how long they are ready to maintain the pressure.

It concerns Russia as well. Maybe they simply don’t understand that Lukashenka and his government are in a bad way.

To what extent do you believe the futures of the Lukashenka and Russian President Vladimir Putin are now intertwined?

Lukashenka is a famous manipulator. Almost 30 years in power has made his self-preservation instincts automatic. It’s a tactical choice. There’s nothing behind it besides the willingness to stay in power till he dies.

But a trapped person is a dangerous and unreliable partner. It won’t remain like this for a long time. His partners will sooner or later face unpleasant surprises.

What can the international community do?

Hundreds of political prisoners, thousands in exile, tens of thousands arrested, fined, subjected to violence, and the media and businesses are being destroyed. The authorities are at war with their own people and leading the country into an abyss.

The support of the international community is very important for Belarusians. We need to look for an opportunity to start a dialogue, both within the country and with international partners.

Why did last year’s protests last as long as they did? Was it the relative youth of the protesters; the use of social media; the prominence of women; and did COVID restrictions play any part?

For me, the protests aren’t the main thing. The transformation of Belarusian society is the most important thing.

Most Belarusians decided what they want to see in their county: Belarus as a free, democratic, sovereign country. And the current authorities aren’t able to provide that.

Regarding new technology, of course, it gives more opportunities for people to organize, however, social media users are still the minority in Belarus. Everything happened on a deeper level after being built up over time through people’s real-life experience.

Throughout the campaign, I have been surprised by the fact that most of the activists are middle-aged people from different professions. There were plenty of women who expressed their objection first.

Through the situation with COVID, we gained a new experience of solidarity and mutual assistance, so when the government turned against the people, we realized then how many we were.

Looking back now at the protests, would you do anything differently and have you learned lessons for the future?

We definitely have more appreciation for what we already have. We appreciate our amazing journalists, our civil society, and private businesses. And, of course, our upcoming victory.

What could we have done differently? We could have been more consistent in terms of our willingness to resolve the crisis quickly and painlessly for the country. We were calling for dialogue in August, and then we had this unfortunate period of ultimatums that damaged both sides.

The situation is different now, and everything is more complicated. The moment has gone, and I don’t think that negotiation or national dialogue in the form we expected a year ago is possible anymore.

We had to make very hard choices many times, but the most important thing is that we never deviated from our principles and values - the fairness of the law, kindness, respect and love. I believe it is the only right way.

How can you now achieve your goal of removing President Lukashenka from power?

To be a politician in Belarus nowadays means to be in prison. In this way, I can contribute to the common endeavor. It’s not our objective, though.

Our objective is a country free of current and future forms of authoritarianism.

How to free the country? On the one hand, we all have to maintain our effort, cohesion and solidarity. We should try not to lose that. On the other hand, we should focus on limiting the political space for the government. We should show that the system will have to deal with us, the Belarusians.

Thirdly, we have to think about the future of Belarus. We have to dream about it, believe in it and stay active. Everything is up to us.

You were a musician before becoming active in politics. Has music shaped your approach to political activism and have you had the chance to continue playing in detention?

The artistic path shapes the personality. Of course, teamwork, looking for unusual solutions, and the ability to stay concentrated and work for a long time in critical situations, as well as performing in public, is what I’ve been learning my whole life as a musician.

Management of contemporary art projects and partnerships with businesses, like with Viktar Babaryka, the former presidential candidate, for example, gave me even more experience.

I miss music a lot, but in Belarusian prisons, even books aren’t really allowed. I don’t have an opportunity to play.

Do you have any regrets about your decision to become involved in opposition politics?

I consider my decision to participate in the campaign the most important and responsible one of my life. I knew it would be hard, but the future of the nation is at stake. So it’s worth it. My love for Belarus and Belarusian people didn’t allow me to stay aloof.

All Classroom Q&A posts sharing classroom-management advice (from the past nine years!) are described and linked to in this compilation post.

All Classroom Q&A posts sharing advice on Facing Gender Challenges in Education (from the past nine years!) are described and linked to in this compilation post.

After four years as chair of the Penn State Board of Trustees, Matt Schuyler’s leadership term officially ends during the trustees’ meeting today (Nov. 8). Schuyler first joined the board in 2015 as an at-large trustee and will continue serving as a member of the board through the end of his term in 2026.

All Classroom Q&A posts on Science Instruction (from the past nine years!) are described and linked to in this compilation post.

Sixty posts—including commentaries, videos and infographics—are listed, with practical advice for teachers dealing with remote teaching now and in the future.

Romit Maulik, an assistant professor in the Penn State College of Information Sciences and Technology, was granted a three-year, $360,000 Early Career Program Award from the Army Research Office. 

The next episode of "HumIn Focus," a web series from Penn State’s Humanities Institute, will focus on “Teaching Humanity: The Social Value of Higher Education.” It premieres at 9 p.m. on Oct. 24 on WPSU TV and will be available for streaming.

All Classroom Q&A posts offering advice on Reading Instruction (from the past eight years!) are described and linked to in this compilation post.

All Classroom Q&A posts on Reading Instruction (from the past nine years!) are described and linked to in this compilation post.

A team of researchers led by Nanyin Zhang, the Dorothy Foehr Huck and J. Lloyd Huck Chair in Brain Imaging and professor of biomedical engineering at Penn State, recently published their findings about how blood flow changes to different brain regions relate to what is happening with the brain's neurons.

Check here each week to keep up with the latest from John MacArthur's pulpit at Grace Community Church.

Check here each week to keep up with the latest from John MacArthur's pulpit at Grace Community Church.

Check here each week to keep up with the latest from John MacArthur's pulpit at Grace Community Church.

Check here each week to keep up with the latest from John MacArthur's pulpit at Grace Community Church.

A sovereign exposure exchange is a cost-effective risk management tool used by multilateral development banks (MDBs) to reduce sovereign portfolio concentration risks. It provides capital relief for MDBs by exchanging loan guarantees on credit exposure from borrowing countries where an MDB is highly concentrated for exposure to countries where the MBD’s exposure is lower or nonexistent.