"As pure and virginal nuns, they lived the ascetic life in an unknown monastery near Rome. When a persecution of Christians arose under the wicked Emperor Diocletian, they fled to Campania and settled near the town of Nola. Their holy life could not be concealed, and people from nearby began to come to them for counsel, instruction and help in various trials and sicknesses, and they were finally seized by the pagans and taken for trial. They publicly and freely confessed their faith in Christ. When the judge, Leontius, questioned the holy Archelaïs about the Christian faith, she replied: 'It is by the power of Christ that I overcome the power of the devil and teach the people understanding and knowledge of the one, true God. By the name of my Lord Jesus Christ, the only-begotten Son of God, it is given that, through me His servant, the sick find healing.' All three maidens were whipped, flogged with heavy staves, left to languish in prison and finally beheaded. When they were led out to the scaffold, angels appeared to them, which were seen by some of the executioners and inspired such fear in them that they dared not lift up their swords against the holy maidens. They, however, urged the executioners to finish their task. And thus, as lambs, were they beheaded in the year 293, and went to the Kingdom of Christ to rest in eternity and delight in beholding the face of God." (Prologue)

"This Saint, who was born in Spain, was the Archdeacon of the Church of Rome, caring for the sacred vessels of the Church and distributing money to the needy. About the year 257, a harsh persecution was raised up against the Christians by Valerian. Pope Sixtus, who was from Athens, was commanded to worship the idols, and refused; before his martyrdom by beheading, he committed to Laurence all the sacred vessels of the Church. When Laurence was arrested and brought before the Prefect, he was questioned concerning the treasures of the Church; he asked for three days' time to prepare them. He then proceeded to gather all the poor and needy, and presented them to the Prefect and said, "Behold the treasures of the Church." The Prefect became enraged at this and gave command that Laurence be racked, then scourged with scorpions (a whip furnished with sharp iron points — compare II Chron. 10:11), then stretched out on a red-hot iron grill. But the courageous athlete of Christ endured without groaning. After he had been burned on one side, he said, "My body is done on one side; turn me over on the other." And when this had taken place, the Martyr said to the tyrants, "My flesh is now well done, you may taste of it." And when he had said this, and had prayed for his slayers in imitation of Christ, he gave up his spirit on August 10, 258." (Great Horologion). His icon shows him stretched on the grill.

"As pure and virginal nuns, they lived the ascetic life in an unknown monastery near Rome. When a persecution of Christians arose under the wicked Emperor Diocletian, they fled to Campania and settled near the town of Nola. Their holy life could not be concealed, and people from nearby began to come to them for counsel, instruction and help in various trials and sicknesses, and they were finally seized by the pagans and taken for trial. They publicly and freely confessed their faith in Christ. When the judge, Leontius, questioned the holy Archelaïs about the Christian faith, she replied: 'It is by the power of Christ that I overcome the power of the devil and teach the people understanding and knowledge of the one, true God. By the name of my Lord Jesus Christ, the only-begotten Son of God, it is given that, through me His servant, the sick find healing.' All three maidens were whipped, flogged with heavy staves, left to languish in prison and finally beheaded. When they were led out to the scaffold, angels appeared to them, which were seen by some of the executioners and inspired such fear in them that they dared not lift up their swords against the holy maidens. They, however, urged the executioners to finish their task. And thus, as lambs, were they beheaded in the year 293, and went to the Kingdom of Christ to rest in eternity and delight in beholding the face of God." (Prologue)

"This Saint, who was born in Spain, was the Archdeacon of the Church of Rome, caring for the sacred vessels of the Church and distributing money to the needy. About the year 257, a harsh persecution was raised up against the Christians by Valerian. Pope Sixtus, who was from Athens, was commanded to worship the idols, and refused; before his martyrdom by beheading, he committed to Laurence all the sacred vessels of the Church. When Laurence was arrested and brought before the Prefect, he was questioned concerning the treasures of the Church; he asked for three days' time to prepare them. He then proceeded to gather all the poor and needy, and presented them to the Prefect and said, "Behold the treasures of the Church." The Prefect became enraged at this and gave command that Laurence be racked, then scourged with scorpions (a whip furnished with sharp iron points — compare II Chron. 10:11), then stretched out on a red-hot iron grill. But the courageous athlete of Christ endured without groaning. After he had been burned on one side, he said, "My body is done on one side; turn me over on the other." And when this had taken place, the Martyr said to the tyrants, "My flesh is now well done, you may taste of it." And when he had said this, and had prayed for his slayers in imitation of Christ, he gave up his spirit on August 10, 258." (Great Horologion). His icon shows him stretched on the grill.

Fr. John Oliver reflects on how helping others helps us fight our own battles.

Across the centuries, the Lord has raised up such unusual saints in order to shock us out of our complacency about the alleged harmony between the narrow way leading to the Kingdom and what passes for a conventionally respectable life in any time or place.

How do we understand God’s wrath, when there is also His love and peace?

Why is Rahab such an important figure in the NT, found in Hebrews, Matthew and James? Two of our passages for this divine Liturgy mention her! Consider what the NT authors say about her, her place in salvation history, and the remarkable story in the book of Joshua concerning this disreputable woman who came to live “outside the camp” with the Hebrews.

Fr. Ted takes a closer look at three of the individuals listed in the genealogy of Christ.

Fr. Ted challenges us to embrace the teaching of Jesus that leads us into a different way of living and being.

Fr. Theodore Paraskevopoulos describes the irony in the Palm Sunday story.

Fr. Theodore Paraskevopoulos calls us to humble ourselves and have faith in others.

Fr. Theodore Paraskevopoulos talks about the importance of looking only at our own sin as we enter into the Triodion in preparation for the Great Fast.

Listen to three short reflections about interactions at St. John the Compassionate Mission, reminding us that all lives are worth living.

Bobby interviews Annalisa Boyd, the author of the new AFP book The Ascetic Lives of Mothers: A Prayer Book for Orthodox Moms.

Dr. Rossi explores how the fire of God's healing presence can flow right through us to others.

Part of becoming a healing presence is to share our lives with others without the expectation of reward or acknowledgement. Dr. Rossi shares the story of Johnny Appleseed as an example.

In his last episode, Dr. Rossi reflected on the character Fr. Zosima from the Fyodor Dostoyevsky novel The Brothers Karamazov. Today he talks about the brothers themselves and the correlation with our own lives.

Dr. Rossi interviews Fr. David Mezynski about a course he taught at St. Vladimir's Orthodox Theological Seminary about the Desert Mothers of the Church.

Dr. Albert Rossi shares a metaphor for how we can put the name of Jesus on those we come in contact with.

St. John Chrysostom's preaching is filled with practical advice on living a Christian life in the world, and in this broadcast we look at four sayings in which he addresses commonplace issues in the Christian's dealings with others: combating envy, overcoming offence, learning to conquer anger with love, and living in unity to the glory of God.

St. John Chrysostom’s preaching is filled with practical advice on living a Christian life in the world, and in this broadcast we look at four sayings in which he addresses commonplace issues in the Christian’s dealings with others: combating envy, overcoming offence, learning to conquer anger with love, and living in unity to the glory of God.

Highlights from the newly unsealed election interference case against Donald Trump. / Politico

Some 56 percent of divorced men support Trump—more than single men, married men, and women of any relationship status. / The Cut

Jessica Grose: The misogyny of young Gen Z men has been overstated. / The New York Times [+]

Emails sent to Springfield, Ohio's city officials reveal threats and racist disinformation, but also offers of support. / 404 Media

A judge acquits two environmental activists, saying that gluing themselves to a painting is "proportionate in view of the climate crisis." / The Art Newspaper

When a climate scientist criticizes his own research, suddenly Fox News wants an interview. / Grist

Related: TMN's Rosecrans Baldwin profiles a Bay Area startup "retromodding" old cars to go electric. / GQ

In 2019, an estimated 53,000 juveniles were charged in adult criminal courts because judges, prosecutors, or state laws transferred them there. / ProPublica

In 1976, 40 percent of high-school seniors said they had read at least six books for fun in the previous year, compared with 11.5 percent who hadn't read any. By 2022, those percentages had flipped. / The Atlantic [+]

See also: A high school graduate in Connecticut blames her inability to read and write on "shocking" educational neglect. / ct mirror

Quantum physicists show that photons can seem to exit a material before entering it, demonstrating "negative time." / Scientific American


Listen to a new version of OpenAI order 400 chocolate-covered strawberries by calling a store (around the 4:00 mark). / X

A researcher explains the sex lives of pygmy seahorses: "Not all seahorses are the portraits of domestic bliss that we assumed." / Nautilus

Some notes on furniture's influence on love: "We should live in rooms and on chairs built to our measure." / Chartbook

Laura Hall does another pop-up newsletter dedicated to Halloween. / 31 Days of Halloween

"It's decorative gourd season, motherfuckers." / McSweeney's Internet Tendency

View Post →

Fr. Pat looks at the story from Mark 2 of the paralytic being lowered through the roof.

What sort of life we live is determined by who we think we are. If we are servants of God, that means that not one of us belongs to himself. His time, his energy, his resources, all belong to the King that he serves.

"One who every hour prepares himself to give answers for his own sins will not quickly lift up his head to examine the mistakes of others.” (St. Gennadius of Constantinople) It's easy to point our finger at someone else's mistakes, rather than focus on our own. Why? We'll explore the Parable of the Unmerciful Servant and the two big things that make it easy to judge others. As a special bonus, we've prepared a FREE downloadable workbook to help you focus on your sins, not others. https://mailchi.mp/goarch/bethebee149

When you compare the account of the healing of the two men with demons, with the accounts on either side of this story, you will notice two very different attitudes of those who came before the Lord in their attitude to prayer for others. Where do you fall? Matthew 8:28 - 9:1

Players were subjected to online abuse after their shock cup final defeat on Sunday.

Nigel, from Somerset, decided to become a foster parent aged in his 80s after his wife died.

Patients and staff say they fear for the future of mental health access in Derbyshire.

A parking area shut during Covid is reopening to help offset the spaces lost during regeneration work.

Boundary anomalies, ahoy!

This paper reports on the outcomes from a pilot study targeted at mothers of school children in Melbourne, Australia. The aim of the study was to engender a positive view of technology in the participants and to introduce the concept of Information Technology (IT) as a potential career. Mothers were given the opportunity to develop basic IT skills and learn about different IT career pathways for their children with an emphasis on their daughters’ choices. Mothers were offered an evening course over a four week period that was designed to introduce them to a range of social media and Web 2.0 tools. Their opinions were documented using both questionnaires and informal discussions. It explored whether their attitudes towards IT can be changed by up-skilling and introducing them to the technologies their children commonly use. The findings of the pilot study suggest that addressing this demographic has the potential to make the participants question their pre-conceptions about IT careers for women.

THIS Hari Raya, The Gardens Mall is bringing the comfort of home and the memories of celebrations with loved ones to its mall decor. With many unable to travel back to their kampung to visit grandparents and other loved ones, the Mall decided to bring elements of grandma’s eclectic home to the mall for all to enjoy this year.

Step into the mall and be greeted by a burst of colour and patterns with traditional woven pandanus ware and hand-sewn patchwork fabric. Snap photos with friends and family at the various vignettes set-up along the Ground Floor. Much like atok’s garden, there is much greenery around
to coax nostalgia for the simple kampung life.

Not forgetting the underprivileged this season, over at the South Palm on the Ground Floor, The Gardens Mall is collecting your unwanted denim to donate to the single mothers of SURI. SURI is a social enterprise that employs single mothers from low-income communities to turn unwanted denim material into fashionable apparel and other household items. SURI also believes in protecting the environment through upcycling.

As part of the partnership during Hari Raya, The Gardens Mall has pledged RM10,000 to SURI for its efforts in helping these single mothers gain financial independence.

Extensive research highlights the anxiety and stress working mothers face while balancing their work and family life.

One of 43 monkeys bred for medical research that escaped a compound in South Carolina has been recovered unharmed, officials said Saturday.

The Charity Commission and Pro Bono Economics surveyed more than 2,400 people

Central stations and the monitoring professionals who work there offer inspiration and exemplary ideas to the security industry, through their knowledge, work and achievements.  

London — People who are aware that their co-workers are using employer-provided mental health benefits may be more likely to use them too, researchers say.

Washington — The Environmental Protection Agency, in accordance with the Frank R. Lautenberg Chemical Safety for the 21st Century Act, is seeking comment on proposed significant new use rules for six chemical substances that are subject to agency premanufacture notices.

From the earliest days, Ruggieri Brothers of Cranston, R.I., was a hometown, family business.

Children's Geographies; 08/01/2021
(AN 152310092); ISSN: 14733285
Academic Search Premier

Children's Geographies; 10/01/2023
(AN 173035628); ISSN: 14733285
Academic Search Premier

Children's Geographies; 08/01/2024
(AN 178911407); ISSN: 14733285
Academic Search Premier

Volume 64, Issue 3, June 2023. Read the full article ›

The post From forced to coerced labour: displaced mothers and teen girls in post-World War II Australia was curated by information for practice.

The post Feeling close to others? Social cognitive mechanisms of intimacy in personality disorders was curated by information for practice.

Culture &Psychology, Ahead of Print. This study sought to understand the process of construction of the vocational identity of university students. Assuming cultural psychology as a theoretical reference, a qualitative methodology was adopted, with a narrative perspective. In-depth interviews were conducted with 20 participants, male and female engineering, and psychology students from two universities in […]

The post Narrative construction of vocational identity in university students: The role of influential experiences and significant others in the framework of cultural psychology was curated by information for practice.

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.