From their founding, Historically Black Colleges and Universities (HBCUs) educated as many as 90 percent of Black college students in the United States. Although many are aware of the significance of HBCUs for expanding Black Americans’ educational opportunities, much less attention has been paid to the vital role that they have played in enhancing American democracy. Drawing on six years of mixed-method research that informs The Power of Black Excellence: HBCUs and the Fight for American Democracy, this book talk considers the history of HBCUs and the unique role they have played in shaping American political development since 1837. Moreover, it considers the lessons that HBCUs offer the broader higher educational landscape as we consider the essential role that colleges and universities can play in helping to promote democracy.Deondra Rose is the Kevin D. Gorter Associate Professor at the Sanford School of Public Policy at Duke University, with secondary appointments in the Department of Political Science and the Department of History. Her research focuses on U.S. higher education policy, political behavior, American political development, and the politics of inequality, particularly in relation to gender, race, and socioeconomic status. In addition to her newest book, The Power of Black Excellence: HBCUs and the Fight for American Democracy, Rose is also the author of Citizens by Degree: Higher Education Policy and the Changing Gender Dynamics of American Citizenship, which examines the development of landmark U.S. higher education policies and their impact on the progress that women have made since the mid-twentieth century. A summa cum laude, Phi Beta Kappa graduate of the University of Georgia, Rose received her M.A. and Ph.D. in Government from Cornell University, with a specialization in American politics and public policy.

Publication date: November 2024 Source: Child Abuse & Neglect, Volume 157 Author(s): Jiaqi Deng, Jiaqi Liu, Jianyu Luo, Yuhong Pi, Jiabing Pan, Zhongfang Fu, Xinfeng Tang Read the full article ›

The post Social anxiety and bullying victimization: A three-level meta-analysis of cross-sectional and longitudinal studies was curated by information for practice.

Publication date: October 2024 Source: Journal of Contextual Behavioral Science, Volume 34 Author(s): Sunkyung Yoon, Sooyeon Kim, Sinhae Cho, Hyewon Choi Read the full article ›

The post Avoiding the unwanted: A cross-cultural comprehensive analysis of experiential avoidance and a meta-analysis was curated by information for practice.

Abstract Through the lens of evolutional psychology, mate preferences are posited into a three “G” framework (good genes, good resources, and good persons/parents/partners) that captures genetic quality, resource acquisition, and personality and caregiving qualities. Previous research acknowledged that adult children had different mate preferences from their parents, but had no consensus on how such differences […]

The post Parent–child discrepancies in mate preferences: A three‐level meta‐analysis was curated by information for practice.

Erica Sellers, co-founder of Studio S II, joins us for Friday Five to tell us about her beloved grandmother, her favorite artworks, a creative duo + more.

Suchi Reddy curates an exhibition celebrating Indian embroidery at Salon Design, Crafting Topographies, in collaboration with Morii Design.

Fabien Cappello collaborates with overlooked industry artisans to create unexpected objects that reshape how we view design in a colorful exhibition.

Designed by UO for the Nakajimaya Grand Hotel, Nakajimaya Crossing is an installation that blends traditional crafts in innovative ways.

The post Civic Activism in South Korea: The Intertwining of Democracy and Neoliberalism was curated by information for practice.

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It’s interesting how things have changed in the last few months, with every single one of my school assemblies, parent workshops, and speaking at conferences postponed. I’ve given more people ZOOM attention in the last 8 weeks than in the last 8 years combined. So here’s an opportunity to get some screen-to-screen love (which isn’t …

Continue reading "Getting Jonathan Screen-to-Screen"

The post Getting Jonathan Screen-to-Screen appeared first on Jonathan's Blog From The Source.

In May 2024, the Centers for Disease Control and Prevention (CDC) released its annual HIV surveillance reports. The new data show a continuation of year-over-year reductions through 2022 in the estimated number of new HIV infections in the United States.1 But disconcerting trends among Latino people — the country’s second-largest racial or ethnic group after […]

The post The U.S. Latino HIV Crisis — Ending an Era of Invisibility was curated by information for practice.

The post An increasing number of Dutch people have completed higher education was curated by information for practice.

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The post States’ Share of Medicaid Costs Remains Low but Is Set to Increase was curated by information for practice.

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The post States Should Spur Use of “Direct Pay” Tax Credits to Advance Clean Energy in Low-Income Communities was curated by information for practice.

The post Applying an Equity Lens to Policies Designed to Decrease Youth Vaping: A Student Perspective was curated by information for practice.

The post New York Child Care Subsidy Staff Describe How Policy Implementation Influences Latino Families’ Receipt of Subsidies was curated by information for practice.

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The post Gov. Justice awards over $16 million in Victims of Crime Act grants to 82 agencies was curated by information for practice.

The post NIHR launches pipeline of Mental Health Research Groups across England [ £27 million to support mental health research teams in nine regions ] was curated by information for practice.

Accurate reporting of outcomes is crucial for interpreting the results of randomized controlled trials (RCTs). However, selectively reporting outcomes in publications to achieve researchers’ anticipated result… Read the full article ›

The post Impact of selective reporting bias on stroke trials: potential compromise in evidence synthesis – A cross-sectional study was curated by information for practice.

Sustained financing for Universal Health Coverage (UHC) has been a concern for the Cameroon government. Household contributions have been considered as a financing mechanism, but this raises concerns on the wi… Read the full article ›

The post Factors associated with household willingness to pay for Universal Health Coverage in Cameroon: a nationwide cross-sectional analysis was curated by information for practice.

The post Cognitive Remediation and Transcranial Direct Current Stimulation in Severe Mental Illness (SMI) (HEADDSET+) was curated by information for practice.

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Design Milk Associate Editor Aria Lee joins Take 5 sharing delectable cakes, Mondrian-esque stained glass, a shoe collaboration + more!

Volume 34, Issue 5, September-October 2024, Page 323-347. Read the full article ›

The post A Comparison of Perspectives of Inmates vs. Staff in Determining Critical Content for Occupational Therapy Transitional Programming with Female Inmates was curated by information for practice.

Journal of the American Psychiatric Nurses Association, Ahead of Print. Background:Alcohol use disorder (AUD) is common and deadly. Naltrexone is a treatment for AUD. Previous research examined factors that predict Ohio Advanced Practice Registered Nurses’ (APRNs) utilization of naltrexone to treat AUD. Inclusion criteria included APRNs’ endorsing receipt of the X-waiver, a designation indicating providers’ […]

The post Analysis of Ohio Advanced Practice Registered Nurses’ Rate of Prescribing Naltrexone for Patients With Alcohol Use Disorder Since Elimination of the X-Waiver was curated by information for practice.

Publication date: January 2025 Source: Research in Autism Spectrum Disorders, Volume 119 Author(s): W.C. Su, S. Srinivasan, A.N. Bhat Read the full article ›

The post Effects of creative movement, general movement, or seated play interventions on motor performance in children with autism spectrum disorder: A pilot randomized controlled trial was curated by information for practice.

Abstract Background Taken together, prior publications on the association between symptoms of depression and anxiety and contact with the criminal justice system (CJS) suggest a bi-directional relationship, but all the studies only focus on one direction in this relationship. Aims To examine, in longitudinally collected data, period-specific within-individual change in anxiety and depression measures preceding […]

The post Examining the reciprocal associations between symptoms of depression and anxiety and contact with the criminal justice system was curated by information for practice.

The post Call for expression of interest: National Centre for Research Methods (NCRM) was curated by information for practice.

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Creatives Marina Braginskaya and Marina Baisel unite on a Dubai home full of calm, neutral hues and graphic, energetic elements.

Cheeky colors and elegant design are no longer just for interiors. The Tivoli Tech tile collection by Cristina Celestino takes the fun outside.

In Narrative Arc: Volume II, MOUS crafts a collection that merges ancient architectural influences with celestial inspiration in new, unexpected ways.

First Reported: Wednesday, 13 Nov 2024 23:28:00
Status: GOING
Region: 1

Musical Arts Center
Thursday, December 5, 2024, 7:30 – 9:30pm

Premiering just last year, Jacobs faculty choreographer Sasha Janes’ updated, stereotype- shattering version of this most popular ballet tells the story from the perspective of curious young Marie.

With the help of her Aunt Drosselmeyer, Marie learns to unleash the power of her imagination to take the audience with her on a wild adventure.

This fresh take on a fantastical story still features the incomparable score by Pyotr Ilyich Tchaikovsky.

“It was hands down the most magical version of The Nutcracker I have ever seen.” – Pointe Magazine 2023 Readers’ Choice

Cost: $25-$45
Ticket Web Link: operaballet.indiana.edu…
More info: operaballet.indiana.edu…

Buskirk-Chumley Theater
Saturday, November 30, 2024, 7 – 8:15pm

Bloomington’s own Nutcracker Ballet, danced by children for children and families! This slightly abridged version of the classic Nutcracker Ballet follows Clara through her adventures after receiving a magical gift from her Uncle Drosselmeyer. Watch Clara and the Nutcracker battle the evil Mouse King, dance through a swirl of snowflakes into the night and arrive in the magical Land of the Sweets presided over by the Sugar Plum Fairy and her sweet courtiers. Was it all a dream? Or was it the magic of Uncle Drosselmeyer and his gift?

Doors open 30 minutes before each performance.

Children 3 and younger that can sit on a parent's lap and don't need their own seat do not need a ticket.

Presenter: MotionArts Dance Academy
Contact: BCT Box Office, boxoffice@buskirkchumley.org
Cost: $15 -$20
Ticket Phone: 812-323-3020
Ticket Web Link: buskirkchumley.org…
Communities: Bloomington

Plus, Nils Frahm and More Event Updates for October 31 by EverOut Staff

It’s Halloween! Treat yourself to tickets to see Tyler, The Creator on his Chromakopia tour. Country pop princess Kelsea Ballerini has also announced a stop at Moda Center next spring. Plus, Berlin-based pianist, composer, and producer Nils Frahm will set up his elaborate vintage gear at the Schnitz. Read on for details on those and other newly announced events, plus some news you can use.

ON SALE FRIDAY, NOVEMBER 1

MUSIC

Amyl and The Sniffers: Cartoon Darkness Tour
Crystal Ballroom (Mar 25, 2025)

Ashe: The Trilogy Tour
Revolution Hall (June 17, 2025)

Daily Bread – Flash Flood Tour
Wonder Ballroom (Mar 22, 2025)

Allee Willis was your favorite artists’ favorite artist decades before Chappell Roan. Allee Willis was a truly fascinating, wildly-creative artist who worked almost exclusively behind the scenes. She was your favorite artists’ favorite artist decades before Chappell Roan. Allee Willis: creative force behind the Friends TV Show Theme, Dangerous Woman to Soviet newspapers Allee Willis: Creative Force, Dangerous Woman, Queer Songwriter Behind Friends' Theme Further Proof That Friends Is Queer-Coded by Melissa Locker

Whether you watched the show or not, you can probably hum the theme song to Friends. Do you know who wrote it for the Rembrandts? And "September"—the Mercury's second favorite song—do you know who co-wrote that with Earth Wind and Fire's Maurice White?

Not to sound like a weird TV pitchman, but what if I told you they were written with the same person. Specifically,  Allee Willis—who was once dubbed “the most dangerous woman in the world” by Pravda, the the official newspaper of the prelapsarian Soviet Union.  

Willis is the star of a new documentary, The World According to Allee Willis, which celebrates its Oregon premiere at the QDoc Film Festival on November 16. The doc is worth your time to burnish your bar trivia skills, but also because Willis was a truly fascinating, wildly-creative artist who worked almost exclusively behind the scenes. She was your favorite artists’ favorite artist decades before Chappell Roan.

Willis had insisted on documenting her life, since 1978, long before reality TV was a thing, so there's plenty of her archival video found in the film. "I've always known that my final art piece would be someone putting together the trail I've left behind," she says in one clip. 

In 2019, Willis died at age 72, and director Alexis Manya Spraic became responsible for following that trail. Spraic intersperses the footage with a cavalcade of famous faces—Paul Reubens, Lily Tomlin, Cyndi Lauper, Pamela Adlon, Paul Feig, Sex and the City director Michael Patrick King, Devo’s Mark Mothersbaugh, as well as—somewhat inexplicably—billionaire Mark Cuban. Their interviews confirm that Willis really was a Hollywood power player, even if you don’t know her name.

Raised in Detroit as Alta Willis, the artist admits that growing up in the shadow of Motown influenced her work. She also did a stint in New York where she wrote her one and only album, Childstar, which had “great reviews and zero sales.” Eventually Willis moved to California because “if she was going to starve to death, she was going to do it in the sun.” ["Not me!" -Portland creatives.]

Willis lived on welfare in that sun, until "Godmother of Soul" Patti LaBelle heard her music, and kickstarted Willis’ songwriting career. Then came Earth Wind & Fire and “September,” the track that made Willis a songwriting star.

"Allee said she was lucky to meet us. We were lucky to meet her, too,” the group's bassist Verdine White says in the film. “That was life-changing for all of us.”

Earth Wind & Fire followed the success of "September" by co-writing another hit “Boogie Wonderland” with Willis, helping her become the music industry’s go-to “rock doc” who could fix up a song and turn it into a hit. 

Courtesy of Magnolia Pictures

In addition to being a wildly successful songwriter, Willis was also an art director and set designer, creating the backdrops for Debbie Harry music videos, among others. She continued to collaborate on songs, behind the scenes, and won both a Grammy and a Tony for her work on the musical The Color Purple.  The Friends theme was nominated for an Emmy, but didn't win.

While Willis was able to find professional success, that never quite translated into financial solvency. She also faced challenges in her private life—partially because she was queer at a time when it was extremely difficult to be open and out. She struggled with loneliness for much of her life, Lauper says during one of the film's interviews.

Willis did eventually find love, and then had to contend with the near-universal struggle of balancing work, creativity, and her personal life. When you’re looking at The World According to Allee Willis, it's a wild,  wonderful, and sometimes painful view, but well worth watching.

The World According to Allee Willis screens as part of QDoc Film Festival at Hollywood Theatre, 4122 NE Sandy, Sat Nov 16, 4:30 pm, $12, tickets here. Some streaming starting Nov 22. Visit alleewillisdoc.com for more.

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.

The Portland-area hot sauce company celebrated 20 years of flavorful, spicy sauciness with a new snack. by Suzette Smith

Beloved local hot sauce makers Secret Aardvark celebrated 20 years of spiciness, in both seasoning and spirit, on Saturday at the Landmark Saloon, where—between sets by two of her favorite local groups, Silver Lake 66 and Ashleigh Flynn and the Riveters—Aardvark owner Stacy Moritz introduced a new product to the crowd, Aardvarks Nuts: Habanero Hazelnuts.

"Who doesn't like a hot nut?" she asked the crowd, wryly. 

Hazelnuts are the state nut of Oregon, but as it happens, Moritz told the Mercury she didn't enjoy them until her team made them hot. And that desire—to make the filbert something she likes—is the reasoning she gave for the snack experiment to be born.

To our taste buds, the Aardvarks Nuts are more flavor-forward than they are eye-watering hot, but the spice does sneak up, thanks to the folie à deux between the nut's oil and Aardvark's secret spices. It's a nice, unique mix that transforms the sweetness we'd generally expect from a hazelnut with the carrot and chili pepper profiles we love in Aardvark's original Habanero Hot Sauce.

Aardvark Nuts stay true to the company's local focus, starting out as Laurel Tree hazelnuts, which are grown in the Willamette Valley.

"We took the bougiest nut we could find, and made them Aardvark habanero spicy," Moritz said. "It's fun, it's hard, it's sweaty, it's hot." Much of that sentiment can also be found on the nut packaging, which stays true to Moritz's well-documented, saucy humor.

In a 2013 Mercury profile Moritz mused, "My dream is one day to have a guy in an Aardvark costume running down Hollywood Boulevard with his dick hanging out." Moritz remembered the profile and said that particular dream hasn't ever been realized, but if they were to do it now, she'd have to be the one wearing the costume.

Related: Secret Aardvark Could Become a National Sensation. (So Maybe You Should Stop Stealing It?)

Saturday's nut drop was a celebratory sneak peak. The company is still working to make the packaged snacks available for purchase, but they will be, at the very least, on the Secret Aardvark site by the new year. A representative from the company said they were just waiting on final approval of the product's non-GMO certification.

In the meanwhile, Aardvark fans can keep their eyes peeled for other upcoming sauces the company has in the works: Moritz said we could expect a serrano ranch sauce and a spicy mayo "that will actually be spicy."

by Courtney Vaughn

The Mercury provides news and fun every single day—but your help is essential. If you believe Portland benefits from smart, local journalism and arts coverage, please consider making a small monthly contribution, because without you, there is no us. Thanks for your support!

Good morning, Portland! Take a deep breath. Hold for six seconds. Exhale. 

We might be treated to some fleeting morning sunshine, but for the most part, expect more rain with a high of 54 degrees and a low of 50. 

Let's catch up on what's happening in our city and around the world.

In Local News: 

• Important fox update! The young arctic white fox spotted in Portland a few weeks ago is now in the care of the Bird Alliance of Oregon. Last Friday, the Bird Alliance posted an update, noting the fox was likely illegally kept in captivity in Oregon. And while the fox sniffed out and found several mice hidden for her around her enclosure, it’s unlikely she’d survive in the wilderness. The organization reports the fox is in good health and they’re looking for a permanent home for her with a wildlife agency.

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• The body of a missing hiker was found in Mt. Hood National Forest last Friday. Police say 33-year-old James Robert MacDonald was found by search and rescue crews after his family reported he didn’t return from a hike Wednesday, Nov. 6. KATU reports MacDonald had four children, including 1-year-old twins, and was finishing a radiology residency at OHSU.

This is the second major search conducted for a missing hiker in Mt. Hood National Forest in less than two weeks. Last Tuesday, the Clackamas County Sheriff’s Office found a missing mushroom hunter in densely forested terrain as he exited the Eagle Creek Trail. He was found “cold and wet” but otherwise in good health.

• Dozens of Portlanders and local organizations have signed on to a letter urging the Portland City Council to postpone a vote on a contract that would funnel more money into the Portland Metro Chamber. This Wednesday, City Council is likely to approve the expansion of one of the city’s Enhanced Service Districts, Downtown Clean & Safe. The expansion also accompanies a $58 million contract renewal for Clean & Safe. Enhanced Service Districts are special districts where property owners pay a tax to fund extra security services and cleanups around the district. If it were any other organization or even any other ESD, few would bat an eye at the contract renewal, but Downtown Clean & Safe is essentially operated by the Portland Metro Chamber (formerly the Portland Business Alliance). The city funnels millions of district tax dollars into this no-bid contract, to give ESD ratepayers–most of which are downtown businesses–an added layer of private security, as well as trash and graffiti removal. While plenty of folks are supportive of the extra services, quite a few Portlanders, including condo owners in the district, say the contract arrangement is barely ethical, and serves primarily to funnel taxpayer money into the Metro Chamber, which is one of the most powerful lobbying groups in the city. There are few, if any, checks and balances on the contract. Aside from ethical concerns, condo owners in the Downtown Clean & Safe ESD say they are being charged for services they already pay for through their Homeowners Associations and city taxes. 

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A post shared by Tom Toro (@tbtoro)

• Oregon has repeatedly failed to protect or keep data about the kids in its foster care system who wind up being sex trafficked. If you have an Oregonian subscription, this heartbreaking story is worth a read. The series shines a light on a disjointed foster care system in Oregon that failed to protect more than two dozen foster care children from being sold for sex or "anything of value," including one woman, who's now 21 but ran away with men multiple times and was forced to perform sex acts when she was 16. Multiple teens in foster care are at risk of being sold into prostitution, but for years, the state has been slow to respond and/or failed to identify those at risk, despite federal requirements to keep data on the high-risk teens in state custody.

• It’s World Vegan Month, and Veganizer is partnering with local restaurants to offer fun menu items with a portion of the proceeds from those items going toward local nonprofits. Pssst…going vegan is a great excuse to skip Thanksgiving dinner with any family members you don’t like, or those you’re just not ready to stomach after the election.

• And if you need other things to distract yourself or just need a reason to get out of the house, check the Everout weekly rundown for the best in dining, live music, film, and miscellaneous outings. Looking for a show tonight? Consider watching Salami Rose Joe Louis deliver an experimental fusion of electro-jazz rock (if that's not a thing, it is now) at the Jack London Revue.

In National/World News:

• Yesterday was Veterans Day, and perhaps the most notable event of the day was the posthumous military rank awarded to Civil War-era activist and abolitionist Harriet Tubman. Tubman escaped slavery and went on to help rescue an estimated 70 other people from slavery via the Underground Railroad. Aside from her activism and liberation of others, she's also regarded as the first woman to lead an armed combat regimen for the Union during the Civil War. In 1863, Tubman led 150 African American Union soldiers in a raid that ultimately rescued an estimated 700 slaves. For her efforts, Tubman was named a one-star brigadier general in the Maryland National Guard.

•In a move that feels like the Trump agenda is already setting in, the Intercept lays out a bill scheduled to be voted on next week with bipartisan support that would essentially allow the government to revoke tax exemption from any nonprofit organizations it deems to have a connection to terrorism or support terrorism. HR 9495, the Stop Terror-Financing and Tax Penalties on American Hostages Act, would give the US Treasury secretary the power to notify any organization that its tax-exempt status will be revoked. The nonprofit will have 90 days to appeal. The ACLU is sounding the alarm, noting a bill of that magnitude would only serve to chill free speech and other activities of orgs that don’t align with Trump’s political allies or agenda. The fact that this bill was introduced is a likely indicator that members of Congress and US government officials already have a few nonprofits in mind. 

I want to be absolutely clear. Having reviewed the text of the law, it is, quite possibly, the most unconstitutional bill I have ever encountered during my time as a legal professional. It makes the Patriot Act look like an appropriations bill. It’s the modern equivalent of the Sedition Act of 1798.

— ????️‍⚧️ June Licinio ✡️ (@jwlicinio.bsky.social) November 11, 2024 at 2:15 PM

• With just over three months left in President Biden's term, chatter among Democratic senators suggests US Supreme Court Justice Sonia Sotomayor should step down so Biden can make a SCOTUS appointment before he leaves office. Sotomayor, 70, hasn't indicated her intention to retire from the court, but with a current Democratic majority in the Senate, some say the time is now for her to step aside and allow for another justice to be appointed by a Democrat president. At least one senator is pushing back on that suggestion. On a recent episode of Meet the Press, Sen. Bernie Sanders of Vermont told NBC's Kristen Welker he doesn't think it's a good idea. Dems are trying to avoid a repeat of what happened in 2020, when Justice Ruth Bader Ginsberg ignored calls for her to step down, then died while still serving. Trump was president, and replaced Ginsberg—often revered as a feminist icon—with conservative Justice Amy Coney Barrett.

@postpuunkonline

 

• US transportation safety officials are investigating whether certain models of Hondas and Acuras are prone to engine failure. The AP reports the National Highway Traffic Safety Administration is looking into rod bearing failures that can cause the engines on several makes and models to fail. Honda last year issued a recall to fix the engine problem, but the NHTSA says nearly 175 complaints from vehicle owners who experienced the same engine failure issues, but whose vehicles weren’t included in Honda’s 2023 recall. The issue covers the Honda Pilot and Acura MDX (2016-2020 model years); the Honda Odyssey and Acura TLX (2018 through 2020), and the Honda Ridgeline (2017-2019).

@livviathepig

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