[Leadership] The director-general, Securities and Exchange Commission (SEC), Dr Emomotimi Agama and an Octogenarian, Senator Felix Bajomo were among the 80 Stockbrokers invested as Fellows by Chartered Institute of Stockbrokers (CIS).

The new feature was ostensibly designed to help airlines find lost luggage and items during travel. #apple #findmy #airtags

Nicholas Green's organ donation legacy lives on 30 years later.

Meat producer BrucePac is recalling nearly 10 million pounds of meat and poultry products sold at Trader Joe's, Target, Kroger and other retailers because they might be contaminated with listeria.

There really is gold in them thar hills.

Tech giants including Meta, Snap, Google and others are racing to build smart glasses. It could change our lives for the better or worse.

"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.

Bonnie and Michael Quinn started Rockin’ 4 Heroes four years ago, to honor the men and women who helped their son, Michael Patrick Joseph “P.J.” Quinn, in his fight with cancer…

Meanwhile, 'The Predator' actor Keegan-Michael Key and 'The Queen's Gambit' star Anya Taylor-Joy have been set to host the final episodes of the NBC show's current season.

T.J. Osborne and his bandmate John invite chair of the House Republican Caucus to meet them in person for discussion after conservative politicians block plans to honor T.J.

T.J. Osborne and his bandmate John invite chair of the House Republican Caucus to meet them in person for discussion after conservative politicians block plans to honor T.J.

Help save lives by donating to our charity, AMMALIFE, in this summer's Big Give

The new funding will support Wheelocity’s plans to expand operations across 20,000 towns and villages in southern India over the next year, aiming to reach a user base of 10 million.

The public funeral for opera star Jessye Norman has been set for Saturday in Georgia and will feature tributes from actor Laurence Fishburne, civil rights activist Vernon Jordan and Tony Award-winner Audra McDonald. The funeral will be at the William B. Bell Auditorium in Augusta. A private interment will follow. There are two public viewings — on Thursday and Friday.

French Horn Rebellion makes music that is an irresistible fusion of funky electronic pop and retro flair, where the grooves are as infectious as the melodies are catchy. Hailing from…

Watching the Avett Brothers in concert is a liberating voyage of the soul. Some moments are tender, others winking and at times it often feels like a Sunday morning revival.

MerleFest, presented by Window World, has announced the initial lineup ahead of the annual event, taking place April 24-27, 2025

We explore reasons why and talk to experts to address it.

The police say they were unintended victims.

Several leaders looked back at his contributions.

The tennis star is gearing up for the US Open on Aug. 30.

[Written by Stephen Wright] Local bodybuilder Ross Caesar hopes his recent impressive achievements on the international stage have inspired others to chase their goals. Caesar followed up his superb third-place finish in the men’s classic physique at the prestigious IFBB Pro League Masters Olympia in Cluj, Romania, last weekend with a second place in the […]

The Simons Brothers Band has released a new music video for their song ‘Swing,’ directed by Amhed Navarro and produced by MK Video. The video description says, “Travel back in time with ‘Swing,’ another captivating musical masterpiece by The Simons Brothers. With direction from the talented Amhed Navarro and production by MK Video, experience a fun, […]

[Written by Patrick Bean] The advantage available to Wesley and George Bryan as trick shot artists on video are staged scenes that allow for multiple takes to be edited into a single, flawlessly constructed final image of perfection. However, there’s a reason why those prone to attempting crazy stunts belying convention rarely make it to […]

Learn Spells the Easy Way! Click HERE!

Dear GreyWolf,

I have a dilemma.  I’m out as a witch to my friends, and most of them have asked me to do spells for them.  Last night, I got two requests.  The first came from a friend who’s mom has pneumonia and may have cancer. She’s very worried, and she wanted to know what all she could do, and what I could do.  I gave her some practical advice, told her to pray and to get as many people as she could to pray, and I told her that my husband and I would so a healing spell for her mother, if she got her mother’s permission, which she did.  Her mother is also in the hospital, so she’s under medical care.

The second request is the one I have the problem with.  Another friend had asked me a while back to do a spell to keep her ex from terrorizing her and her son.  I told her to first go to the police, tell them what was going on, and get an order of protection.  I told her that if she followed through and showed that she was really serious, then I would do a spell of protection for her.  She’s in a very sick relationship with this guy, and I really don’t want her blaming me if he ever leaves her for good.  Last night, she said she didn’t want me to do a spell of protection anymore. She wants me to do a spell that makes him treat her better.  I have some qualms about any spell that “makes” someone do anything.  It gets worse though; then as we were doing some other things, she says under her breath, “It’s a sin, you know.”  I said, “If you think it’s a sin, why would you want me to do a spell for you in the first place?”  Then she said, “Oh, it’s not a sin.”  I’ve pretty much made up my mind on the whole business of doing any spells for her, but I don’t know how to tell her without losing a friend.  She’s not very bright, so no conversation we’ve ever had has gone smoothly.  I have to repeat myself all the time and backtrack on everything to make myself clear to her, and even then, I’m not sure I’m getting through half the time.  Anything I did tell her would have to be broken down into its simplest elements.  Any advice you give me would be well appreciated.

Blessed Be,
Spider

Dear Spider,

I really appreciate your high ethical value. It is a sign of competency and strong professional standards that you want to talk through a dilemma. Doctors and counselors do it all the time. The professionalism comes in knowing when to ask questions, not in always knowing the answers–so I applaud you!

In the first situation, I would do the same thing you did. Any time I’m doing a spell, I want to get everyone’s permission, and you absolutely had permission to do a healing spell. Studies show that prayer actually works, and I know from personal experience that magic, spells, lighting a candle, and raising energy do too. By not limiting your healing to magic, you are helping the spell to work even better–that is, getting medical care is what she needs too.

As for your other friend, well…I feel sorry for her. It’s like someone asks for your help, and then yells at you for doing it wrong. She wants spells done for her, but she believes it is a sin? She doesn’t need magic, she needs a priest, in whatever religion she feels most comfortable. Your magic is not going to work on someone who doesn’t want it to work or who thinks it is wrong–and I don’t care how good a spellcaster you are! The deeply held beliefs about sin are difficult to get rid of, even for new converts to Paganism, and if she’s not converting and doesn’t plan to address these ideas, she won’t get out of them with your help.

Sometimes, ethically, we have to just say no.

This will be hard for you–you’re gifted and people come to you for help. But we can’t learn lessons for other people. You know she’s in a bad relationship, and even if you try and help–no matter how wrong it is–if she doesn’t want it, it won’t work. Ask any Alcoholic working on recovery–she must help herself first. Likely, she’ll have to hit rock bottom, or find some deeply rooted boundary where going back to her terrible relationship is no longer an option.

But, can you have some sympathy for her? She’d rather be abused than be alone, and she’s living with some serious fear. In scary situations, adrenalin tells us to fight or fight…and also freeze. Even though she knows the way out is just like you said, calling the police and getting a protection order, etc, she still doesn’t see the way out. The question for you is this: can you honor her inner divinity to believe that she can solve her own problems?

Being blunt with people by being direct and addressing problems head on actually honors the inherent divinity in another. It means you believe that they don’t have to be coddled or protected, but can handle things if they just have enough information. By asking her to go to the police, you have done your ethical duty and are not required to do more. (Unless you are a mandatory reporter such as a teacher or counselor, and then it depends on your state requirements, so find out what you are required to report. For example, in my state, I’m required to report child abuse but not adult or elder abuse, and I’m required to report suicidal or intent to harm another. But in a pastoral counseling capacity, I am not required to report anything under most circumstances–KNOW YOUR RULES!). Anything after that, magically, is like throwing your energy down a bottomless pit, or running into a brick wall.

If you did a spell for her, and it worked, she’ll blame you. If you do a spell for her and it doesn’t work, she’ll blame you. Because she has to learn her own lessons. She has to take responsibility for herself and her child. By asking you to do it for her is a way of being passive and she is not learning a lesson. It sounds like, for you, she’s hard to talk to, so it may take her a little longer to learn what she needs to do. I guarantee you that many many people both more and less intelligent than her have figured out what they needed to do in her exact situation. And it doesn’t matter how many times somebody told them what they needed to do–they must choose their own path. You want her to change and have the tools to make it happen, but she has to want to. She has to use the tools for herself. And frankly, some people are not ready to change. But if we, as helpers, hold others to the highest standard they are capable of meeting, they will eventually meet it, and may even thank you for it.

We can’t always do the spells that other people want. Sometimes it is not ethical or in the client’s best interest. I often won’t because I don’t want to get involved in their drama spiral, or I don’t want to reward bad behavior with attention. Magically, if you feel you must do something, you can always do a spell for general wellness and gentle spiritual growth. I’ll do something relatively passive, like light a healing candle in their name. The magic will go where it is needed. You feel good because you’ve done something, which will return to you three-fold, theoretically, and you won’t lose any sleep thinking you’re tied up in an ethical dilemma with a person you really don’t want much to do with.

As a counselor, if I had a client like the one you are talking about, I would do either one of two things: 1) refer her to another clinician, since she is not getting what she thinks she wants with me and we are making no headway. It is not ethical for me to continue taking money from someone who is not getting anything out of services after a reasonable amount of time, if another clinician might be able to do more. 2) close her file, and give her the option to return when she commits to therapy. The Witch and the Counselor are essentially in the same business, we just use different tools to help clients create change. Closing a client file, or refering out to another does not make you a failure in any way. It proves that you are holding their needs above your own. Not every spell will work for every body, nor every therapist for every client.

And now, I honor you enough to know that, with enough information, you’ll be able to figure out the best course of action for you. If I had a client like that, she’d be pushing all my buttons. Good luck!

1. New program will see pregnant mothers and babies protected from life-threatening virus  SBS
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The Eerie Brothers and the Witches of Autumn Sheldon Higdon Scary Dairy Press LLC (September 4, 2023) Reviewed by Nora B. Peevy The Eerie Brothers and the Witches of Autumn finds Horace and Edgar, the twin Eerie brothers, battling monsters to stop Hex from collecting one of the four globes to absorb the abilities of […]

I was surprised this wasn't on here already, or maybe it is and I can't find it.  I preordered it last Thursday and it arrived today so it's legit.

https://geekalliance.com/products/super-mario-bros-wonder-us?variant=45520998236476

Looks like they still have over 100 of them in stock.  

The post Russian Grandmothers Who Break the Social Norms appeared first on English Russia.

The Princeton microbiologist has also created a non-infectious version of the COVID-19 virus that researchers can study safely.

Please join the BusinessToday Seminars Team as we present Mr. Fred Cooper, Senior Vice President of Strategic Partnerships at Toll Brothers. Toll Brothers (NYSE: TOL) is a ~$10 billion revenue and ~$15 billion market cap, Fortune 500 Company founded in 1967 and ranked the 4th largest U.S. home builder by revenues. Toll is also among the largest multifamily rental apartment developers, and land and community developers in the U.S. In addition, Toll is one of the nation’s largest urban high-rise/high-density condo and rental tower developers, with 50+ buildings and over 7,000 units completed.

The following article, EMBARRASSING: Big Election Misses by Never Trumpers and Others, was first published on The Black Sphere.

I love metaphorically rubbing my crotch in the faces of these smug Leftist pukes and know-it-alls after they get their asses handed to them.

Continue reading EMBARRASSING: Big Election Misses by Never Trumpers and Others ...

‘Hong Kong is now in the hands of its people – they cannot rely on others to stick up for them now.’ Expert comment sysadmin 29 June 2017

Kerry Brown on ‘one country, two systems’, the UK’s diminishing influence and the territory’s future, 20 years after the handover.

1 July marks the 20th anniversary of the transfer of Hong Kong’s sovereignty from Britain to China. Kerry Brown speaks with Jason Naselli about what the future holds for the territory.

How sustainable is the ‘one country, two systems’ framework? Will the arrangement last the full 50 years (until 2047) as originally envisioned?

It is questionable whether the arrangement that exists today was the one envisioned in 1997 when the handover happened. It was always a very abstract, flexible system, granting Hong Kong a high degree of autonomy, meaning it could maintain its capitalist system. Of course, in the lead up to 1997 all these things were broadly seen as being in Beijing’s interests to preserve.

But these days, the one thing that few said in 1997 has come to pass – the People’s Republic has maintained one-party rule as a political system, but become one of the world’s great economies. It has been so far a huge success.

Hong Kong therefore has diminished in importance over the years to the point that maintaining at least some semblance of one country, two systems is almost like an act of charity. It has been nibbled at, compromised and seems to grow weaker by the day. Most in Hong Kong would say there is a system: one country, one system. That’s the deal.

The central government’s deepening involvement in the territory’s politics is a subject of growing controversy in Hong Kong. Does the Chinese government need to alter its approach?

Not particularly. It doesn’t want to see Hong Kong fail as an economy. That doesn’t suit its interests at all. But nor does it want a truculent, disobedient polity that is meant to be part of its sovereign territory.

So it has increasingly set political parameters. Hong Kong can have its unique system – as long as it is obedient. And on the whole, that is the deal that all of the city’s chief executives until now have internally understood perfectly.

As part of the 1997 handover, the UK has ‘a continuing moral and political obligation’ to Hong Kong. How will this relationship play out as Brexit shifts Britain’s place in the world?

The Foreign Office offers a six-monthly report to Parliament, updating on how the handover deal is going. As the years go on, however, it becomes increasingly illusive how the UK has any real locus to say much about the situation on Hong Kong. It did say, rightly, that the detainment of one of the booksellers taken in in 2015 was a violation of the treaty because he was British. This was the strongest wording that has ever appeared from an official British source. But with dependence on creating a new kind of relationship with China now foremost in people’s minds because of Brexit and other economic pressures, it is not surprising that the priority increasingly lies elsewhere.

With direct management of Hong Kong gone, the UK was always going to be more and more irrelevant. That has happened. And in any case, relations with China have had to become more complex and multifaceted. Hong Kong was always the tail wagging the dog for the UK relations with China. Now there has been a rebalancing, the calculation always has to be how much unilaterally supporting Hong Kong will damage relations with Beijing. This has become an increasingly asymmetrical question: in a playoff, preserving links with Beijing will always prevail. That’s just the reality of the new world we are seeing come into being.

Hong Kong has played an important financial role for China over the past 20 years, but where will it fit as markets and financial institutions on the mainland mature?

It maintains is role as a major RMB hub, and as a finance centre. But it is surrounded by competition. Singapore, and Sydney, and other places in the region have RMB deals. Shanghai and Tianjin aspire to be portals for entry to the domestic Chinese market. Hong Kong every day has to think of new ways to maintain its relevance and beat back competition. So far, it has done well. But this is an issue it can never be complacent about.

What has been the most significant change in Hong Kong society since 1997?

The rising cultural and linguistic influence of the mainland on Hong Kong. Hong Kong has maintained its difference – but it has had to change. It is clear that Hong Kong is now in the hands of Hong Kongese – they cannot rely on others to stick up for them now. The culture, identity and future of the territory are in their hands. In that sense, they have autonomy.

New cross-species research suggests a theory of mind is one thing that sets humans apart from apes

Campaigns to get rid of police in schools catch a wave of momentum in some communities, but activists still face deep resistance from educators nationally.

Dominic April fell in love with forging after his career in the military came to an end in 2015. Now operating a blacksmith studio near Quebec City, he hopes to help other veterans dealing with PTSD find creativity and purpose.

A jury has found a Naramata, B.C., man guilty on two counts of second-degree murder in the deaths of two brothers. Wade Cudmore, 35, was one of two men accused in the May 2021 drug deal killings of Kamloops, B.C., brothers Erick and Carlo Fryer.

Twins from Maine Grow Up Tinkering, Become Prime Defense Contractors

On 12 May, 130 people in Atlanta, Georgia, participate in a hike at to benefit trafficked and exploited women across our world.

After listening to the Gospel a self-proclaimed atheist encouraged Christians to go tell others this Good News.

Kids' Games in Pakistan challenge children to take a step of action in their lives and to consider others above themselves.

After a trip to repair war damaged churches in the east, construction workers share their experience in order to inspire others to go.

A local Chinese mother teaches Cantonese to three Pakistani mothers before they all watch the film 'Magdalena: Released from Shame' together.

The experiences of Costa Rican OMer Yamileth Morales have given her God's heart for people isolated by HIV and AIDS.

Pason lost his family when he fled Myanmar. By playing football with OM team members, he finds friendship and hope.