Location: Engineering Library- QA76.9.A25T474 2016

Location: Engineering Library- QA76.76.D47C6675 2016

Location: Engineering Library- TP492.7.S27 2016

After an update of Office, Outlook now displays the navigation buttons for Mail, Calendar, Contacts, Tasks, etc… on the left side next to the Folder List.

These Navigation buttons used to be displayed within the Folder List at the bottom.

Where is the option to move the Navigation buttons back to their original location?

Our Mission Is To Save Lives Speed Recovery And Serve The Community Careflight Is Dedicated To Providing The Highest Standard Of... Jeff Konemann, Training Manager, Sydney, NSW, Australia

Systems Engineering Job At Boeing Systems Engineer National Team Missile Defense Radar Analyst –

College Park, GA United States Description Menzies Aviation is seeking a full time diligent Ramp Agent to join our International and Domestic Team. The Ramp Agent plays an important role in ensuring that flights run on time by maintaining detailed records of shipped goods moving baggage and cargo from aircraft and guiding aircraft to and from their gates. Essential Duties and Responsibilities: + Comfortably and continuously lift/move 70 lbs. of cargo and baggage on and off aircraft and transport it between aircraft airport terminals and air cargo facilities. + Frequent bending stretching push/pulling stacking and kneeling in small confined locations. + Operate motorized equipment. + Read and interpret aircraft weight and balance loading instructions hazardous material identification labels aircraft loading manifests and baggage and carg

College Park, GA United States Description Menzies Aviation is seeking a full time diligent Ramp Agent to join our International and Domestic Team. The Ramp Agent plays an important role in ensuring that flights run on time by maintaining detailed records of shipped goods moving baggage and cargo from aircraft and guiding aircraft to and from their gates. Essential Duties and Responsibilities: + Comfortably and continuously lift/move 70 lbs. of cargo and baggage on and off aircraft and transport it between aircraft airport terminals and air cargo facilities. + Frequent bending stretching push/pulling stacking and kneeling in small confined locations. + Operate motorized equipment. + Read and interpret aircraft weight and balance loading instructions hazardous material identification labels aircraft loading manifests and baggage and carg

2012 Defense Intelligence Agency document: West will facilitate rise of Islamic State “in order to isolate the Syrian regime”

All That's Left to Them by Abdulkhaleq Jewari (documentary in Aramaic, Arabic and English)

A Man Before His Time: The Unsung Story of Freydun Atouraya

Refusing to Name the Enemy

Left Exposed By Middle Eastern Upheaval, Christians Are Fleeing Region

El Segundo, CA United States - Job Description At Boeing, we innovate and collaborate to make the world a better place. From the seabed to outer space, you can contribute to work that matters with a company where diversity, equity and inclusion are shared values. We’re committed to fostering an... View

According to preliminary results published today by International Post Corporation (IPC), postal operators worldwide saw revenue increase by 2.1% on average in 2023 , despite weaker economic growth rates globally. 

At this point, it may be fair to say President Joe Biden’s criticisms of his predecessor have nothing to do with principles. It was all politics, all the way down.

Conservative lawmakers across the country are set to introduce novel laws limiting the reach of gender ideology in 2024.

California became the first state on Monday to offer comprehensive health insurance to all undocumented immigrants, a plan expected to expand to roughly 700,000 residents living in the Golden State.

Washington, D.C., Mayor Muriel Bowser forgot which lines on the D.C. Metro service Capital One Arena while trying to argue against the NBA's Washington Wizards and the NHL's Washington Capitals moving to a new arena in Virginia.

Washington Examiner Commentary Editor Conn Carroll joins Investigations Editor Sarah Bedford to discuss how Washington, D.C., has been wrecked by crime and why the Wizards and Capitals are moving out of the district, as well as the border talks occurring in the Senate.

Dr. Mark Ghaly will be stepping down as head of the California Health and Human Services Agency, Gov. Gavin Newsom announced.

'Climate Anxiety and the Kid Question' asks: With American society feeling more socially and politically polarized than ever, is it right to bring another person into the world?

An AI chatbot was able to persuade people to reconsider their beliefs in conspiracy theories about the JFK assassination, the moon landing and election fraud.

Entrepreneur Emmet Stephenson and his daughter are giving $150 million to City of Hope to fund an award for innovation research in pancreatic cancer. It's the largest single gift the center has received.

The House welcomed two new members to its ranks on Tuesday, putting the chamber at near-full capacity as lawmakers prepare for another spending fight and Democrats look to pass any final pieces of legislation before Republicans take control of Congress next year.  Reps. Tony Weid (R-OH) and Erica Lee Carter (D-TX) were sworn into office […]

The Capitals were upset with a lot of calls on Sunday in a 1-0 loss to the New York Rangers. Maybe a better way to say it – they were upset about non-calls. New York, the most disciplined team in the NHL this season, wasn’t whistled for a single penalty. Washington took five – two of them obvious, and dumb, retaliation penalties.

Capitals defenseman Jeff Schultz has requested a trade, according to his agent, Jarrett Bousquet.

Rep. Jamie Raskin (D-MD) railed against the GOP Sunday regarding the recent national response to antisemitism on college campuses. He took specific aim at Rep. Elise Stefanik (R-NY) and former President Donald Trump on the topic.

Democratic leader Hakeem Jeffries (D-NY) and his deputies in the House endorsed Rep. David Trone's (D-MD) run for Senate on Monday, further dividing the party in what has become a two-person race in Maryland.

California lawmakers are trying to get ahead of AI in the workplace, but are already playing catchup

Keke Palmer defends Angela Simmons after the reality TV star faces scrutiny for her promotional post featuring a video of her lounging in an Oreo-filled bathtub.

The governor said he seeks to balance his desire to preserve California's role as the vanguard of technology against his job to shield society from potential harm.

This is not goodbye for me; I’m only about to enter a two-week hiatus before joining the Washington Post on July 1 to continue doing what I’ve done for a long time: write about the Redskins, focusing heavily on analysis. Safe to say I can’t wait to get started; they’re putting me in position to improve the way I report.

Nuclear architecture investigation provides insights into the role of nuclear bodies in RNA processing.

Posters need to incorporate scientific communication and graphic design principles to reach their full potential.

Zymo Research, Unravel Biosciences, and Channel Islands Marine & Wildlife Institute team up to combat increasing cases of domoic acid poisoning in sea lions.

Scientists discovered a mechanoreceptor that triggers the distinctive shake-off behavior observed in mice when they become wet.

The steps leading up to the Lincoln Memorial were vandalized with a message that read “Free Gaza” in red paint.

Washington, D.C., Councilman Charles Allen is facing a recall effort led by a former government worker, who cited that the representative of Ward 6 should be more focused on curbing crime.

A Jersey City councilwoman refused to step down from office Wednesday night amid outcry over an alleged hit-and-run last month.

A former top aide to the mayor of Washington D.C. sexually harassed a female employee, according to an internal probe.

On Tuesday, Metro General Manager and CEO Randy Clarke proposed a budget for the next fiscal year that includes massive layoffs and dozens of service cuts as the agency faces a $750 million deficit.

The Okemos school board in Michigan voted Monday to drop its teams' name, no longer calling them the “Chiefs.”

It wasn't about power plays. It wasn't about missed calls. In the end, it was all about blown chances and missed opportunities.

Defenseman requests a fresh start elsewhere

It’s not often that something almost universally unexpected happens in American politics. Frequent public opinion polls and a variety of political media usually give political junkies a good idea of what to expect next.

Nvidia is ready to replace its GeForce Experience app on Windows with its new Nvidia app, which is now officially out of beta.

The post New Nvidia App is Ready to Replace GeForce Experience appeared first on Thurrott.com.

In between playing defense and scheming to win back Seattle’s voters over the next few election cycles, we should carve out some time for self-reflection. It’s tempting to think of the present moment as a backlash against progress, a temporary deviation in the arc of the moral universe—or perhaps, for the pessimist, to doubt the notion of progress altogether. But was this reaction really inevitable? by Katie Wilson

It’s a trying time for Seattle’s left.

The city’s new council members are rounding the curve on their first year in office, and I don’t know about you, but I’m wishing it was time to pass the baton. It’s depressing enough that City Hall is no longer a laboratory for progressive policy innovation. But it’s the Bad Idea Whac-A-Mole that’s truly exhausting: rolling back minimum wages and renter protections; defunding community-driven development; reinstating so-called SOAP and SODA zones; turning our big business tax into a slush fund. The left is having to fight like hell just to defend the achievements of the past decade.

In between playing defense and scheming to win back Seattle’s voters over the next few election cycles, we should carve out some time for self-reflection. It’s tempting to think of the present moment as a backlash against progress, a temporary deviation in the arc of the moral universe—or perhaps, for the pessimist, to doubt the notion of progress altogether. But was this reaction really inevitable? Can we draw any lessons from it? What should the left do differently in the future to regain influence and maintain it?

Critics of progressive-left political culture, as it’s developed over the past dozen or so years, often emphasize its supposed impotence: its penchant for loudness on social media, insistence on ideological purity, and zeal for “canceling” individuals instead of changing systems. Its adherents operate mainly in the symbolic realm and can’t break out of their echo chamber long enough to affect the real world.

Whatever the merits of this kind of critique, it doesn’t fully capture what’s happened in Seattle. Precisely what characterizes our city (and just a handful of others) is that the progressive left has been effective, relatively speaking, at winning real things. But our success is not due to some special organizing prowess or because we’ve avoided the pitfalls of the wider culture. It has more to do with our city’s demographic peculiarities.

Over the past several decades, progressive politics have come to correlate ever more strongly with educational attainment, while “dealigning” from markers of working class status. The gradual replacement of old Seattle’s blue collar workforce, displaced by rising housing costs and the dwindling of maritime and industrial jobs, with the younger, more affluent tech worker set hasn’t made Seattle any less blue; perhaps the opposite. Add to that some political self-selection among new arrivals, and the average normie non-activist voter just happens to be a flaming lib. On top of all that, union density in Washington state is among the highest in the country, and when Seattle’s labor unions decide to throw their weight around in local elections, left-leaning candidates tend to get a leg up.

With these advantages, Seattle’s left hasn’t had to be extraordinarily smart or strategic to win a modicum of political power. And a movement with power faces different problems than a movement in opposition. From the outside, it’s easy to lambaste the status quo and its obvious failings. But actually governing is more complicated. It means passing policies, implementing them, defending their results. It also means being vulnerable to blame for whatever’s going wrong in the city, whether or not it’s your fault or within your power to fix.

Of course, even at its strongest, Seattle’s progressive left held only partial power—through a city council majority that was often undermined by more centrist mayors. In such circumstances, governing also means having to decide when to remain oppositional, and when to compromise and win what you can. Either way, you have to tell a good story, explaining what you’ve done and why you couldn’t do more, to avoid being seen as ineffective.

All this means that the progressive predisposition of Seattle’s electorate is a trap, as well as an advantage. If it were harder to get lefties into office, that might force us to be more strategic about what they should do when they get there—and to build the kind of movement that can support them when the going gets rough.

Winning power is one thing, holding it is another.

Over the last two election cycles, the left lost it. The backlash began in 2021 with the victories of Mayor Bruce Harrell, Councilmember Sara Nelson, and City Attorney Ann Davison. Last fall finished the job, ushering in the most conservative city council Seattle has seen in a long time.

In my new column for The Stranger, I plan to look both backward and forward. I’ll dig through the past ten-plus years in search of lessons that can help Seattle’s left into the future. I write as someone who’s been involved in many—though by no means all—of the progressive policy battles of this period, primarily through my work with the Transit Riders Union. But I’m speaking for myself, not for any organization, and I don’t expect that all my opinions will be popular. There is too much groupthink on the left; so let’s disagree!

The backlash elections of 2021 and 2023 centered most obviously around the issues of homelessness, policing, and public safety. I will start the journey there, looking critically at the question of what our goals should be and how we frame and explain these goals.

These are themes we share with other progressive big cities, but our politics have a unique side, too. No look back at the past decade of Seattle’s left can bypass an assessment of Kshama Sawant’s tenure on the council, and the influence of her former organization, Socialist Alternative.

And these discussions will raise larger questions about progressive-left organizing. Who is “the left,” anyway, and does “progressive” mean anything anymore, if it ever did? Whom are we trying to organize and how? Toward what ends?

The left is not a monolith. In practice, Seattle’s left today is an uneasy alliance of labor unions, community organizations from the long-established to the ad-hoc, issue-based advocacy groups, service-focused nonprofits, parties and other overtly political formations, and freelance activists, coalescing imperfectly and temporarily around specific campaigns or policy goals. Between and also within these entities there exists a multiplicity of worldviews, theories of social change, and visions of a future, better social order.

When someone on the left (like me) talks about what “we” should be doing, only in the most abstract sense are they speaking to and about this whole constellation of actors. But throughout these institutions and broader left milieu there are individuals who, to a greater or lesser extent, can choose to do things differently, or to do something new.

There is a gleam of light on the horizon. In next Tuesday’s special election for citywide council position 8, the left looks poised to claw back a seat. Next year will bring a larger opportunity, with the mayor and city attorney up for re-election as well as the two citywide council positions. But progressives won’t have a chance at a reliable governing majority until 2027.

So let’s make sure that when we win that majority, we’re prepared to hold onto it. It’s easy to bemoan the hypocrisy of Seattle liberals, the reactionary and ungenerous impulses too often hiding behind those “in this house we believe” yard signs. I’ve done that myself. But if the left can’t maintain the edge in a city where your average voter is at pains to prove his progressive bona fides, what chance do we have at power anywhere?

One Really Great Way to Cope Every Day of the Week by Megan Seling WEDNESDAY 11/6  

Drink Sad Girl Shots and Eat Cheese at Situ Tacos

(SHOCK) In a state of post-election shock? Me, too. Lean into the overwhelm with a bracing gulp of el Jimador tequila and a salty cube of Tillamook cheese—otherwise known as the Sad Girl Shot. Situ Tacos owner Lupe Flores claims this combination got her through the pandemic, and it’s likely an ideal salve for our current despondent situation, too. I generally try not to suggest alcohol as an antidote to despair—as wine writer Marissa A. Ross wrote in the wake of Anthony Bourdain’s death, “Drink to celebrate life, not to deal with loss”—but the Sad Girl Shot is just too perfect an invention. Plus, Situ Tacos is also hosting Floaters, an exhibition of artist Devin Liston’s bubbly, surreal, Dali-esque paintings of everyday objects like billiard balls, in their glitzy gold back bar Tilda’s Lounge tonight. Instead of doom-scrolling, go feast your eyes on art and knock back a few drinks, and if you’d prefer to abstain from booze, you can always skip the shots and opt for a tub of Situ’s divine queso. Best of all, 25 percent of the night’s proceeds will go to the Lebanese Red Cross, so you’ll be fighting nihilism by supporting a worthy cause. Sad girls por vida! (Situ Tacos, 5239 Ballard Ave NW, Sad Girl Shots are $6, chips and queso are $10) JULIANNE BELL

Go to Another World with SIFF’s Cinema Italian Style Film Festival

(DENIAL) What’s America? You don’t live there. In fact, you’ve never even heard of the United States. You live in a bubble. Your days are steeped in simplicity and unbroken serenity, untouched by the ever-looming threat of Christofascism and student loan repayment. Your life is bliss. And what you have heard of are the sun-dappled olive groves of Italy. Consider snagging a seat at one of SIFF's chic Cinema Italian Style screenings, particularly if you’re into guised critiques of the bourgeoisie. Or amp up the distraction factor at Art of Studio Ghibli, which celebrates the legendary Japanese animation studio’s poetic, intelligent approach to nature and the more-than-human world. (Thanks, Miyazaki—you’re giving us a reason to live right now.) Sean Baker’s Anora, which follows a sex worker who marries a Russian oligarch, might feel a little too “real world-y” at the moment, but his clear-eyed approach and lush visuals are always a draw. (See full film listings on EverOut) LINDSAY COSTELLO

Break Shit

<a href="https://file13records.bandcamp.com/album/hamburgers-ep">Hamburgers - EP by Atom & His Package</a>

(ANGER) Ever since I saw Bob Trevino Likes It at SIFF this year, I’ve wanted to visit a “rage room,” especially as a woman who, like the main character in the film, has always been taught to be kind and polite, never violent. Lucky for us, we have our own version up in Lake City that invites you to smash glasses, sledgehammer a toilet, and more. We recommend emptying your mind and listening to this absurd little song while you do it. If you’re not into destruction, you can punch out your anger at Cappy’s Boxing Gym in Central District or Seattle Boxing Gym in Interbay (they both offer your first class free!). And if you’d rather drink a beer while throwing sharp objects, there’s always axe throwing in Capitol Hill and White Center. (Rage Industry, 13333 Lake City Way NE, sessions start at $40) SHANNON LUBETICH

Have You Tried Being Less of an Asshole?

(BARGAINING) DO BETTER. It’s the directive that has echoed through social media comments for years as the quick quip that critics post anytime anyone does anything that even mildly rocks their delicate sensibilities. It usually (understandably) is met with eye rolls. But… have you tried it? Have you actually tried to do better? Maybe if we’re all the best versions of ourselves, we can cancel out some of the 72 million selfish bigots who voted for the racist rapist and preserve some goodwill in this world. Lead with kindness. Have patience. Smile at dogs. Randomly text your pals and tell them that they’re the most gorgeous and hilarious beings on the planet. Offer to bring a meal to a sick friend or rake up leaves for an elderly neighbor. Hold open a door, pay for someone’s coffee, and don’t laugh when a tourist falls off their rented scooter. Be everything those 72 million (and counting!) motherfuckers are too selfish to be. Fake it ‘til you make it—or uncontrollably collapse into a crying, shaking heap of blood, guts, and flesh on the floor—baby! MEGAN SELING

Live That “Two Benadryl and a Lifetime Movie” Life

(DEPRESSION) Several years ago, I heard about “Two Benadryl and a Lifetime Movie” on the C-Word podcast and never forgot it. The depression cocktail has since become the remedy I give to myself and my loved ones who are experiencing insurmountable amounts of sadness. While it doesn’t necessarily need to be those little pink pills and Lifetime’s Ladies of the '80s: A Divas Christmas (although it’s a great combination, TBH), pick any mind-numbing film or television show and pair it with an indulgent (but safe) amount of sleep-inducing potion. Other variations include two cups of chamomile tea and an Adam Sandler movie, two hits of weed and a Martha Stewart Living marathon, or two bowls of ice cream and an old season of Project Runway. Personally, I will be taking two melatonin and watching Lifetime’s adaptation of Flowers in the Attic before drifting into a sweet slumber (or dissociative oblivion, we’ll see). AUDREY VANN

Go for a Long Walk and Discover Who You Are Now

(TESTING) This is my cure-all for when I feel out of control and need to take back my agency because it’s simple, and you set all the parameters. You control when you walk, how fast you walk, how long you walk, and how many steep inclines you choose to brave or creatively avoid. You can break out into a run or sit down on a wet park bench in the morning drizzle to absorb the book, podcast, or music you’re listening to. Counting steps is nice if you’re into goal setting, but so is leaving your phone at home and soaking in the quiet. Let disinhibition lead you. Screw the clock. Fuck obligations. Clear your schedule and just go. Walking is one of the simplest ways to connect with your autonomy and the human spirit, whatever that means to you. Turn home when your legs ache, and when you get that restless, sick feeling, get your ass off the couch and go walk again. VIVIAN MCCALL

Prepare for Battle

(ACCEPTANCE) This is here. It’s real. Donald Trump will be the 47th President of the United States. A lot of bad shit is going to happen, so we need to donate and fight and organize. Don’t get complacent in our blue state. I know a lot of you out there will legitimately be fine, but don’t let your privilege get in the way of seeing that many, many others will not. Donate to the ACLU. Donate to abortion funds in Florida, Nebraska, and South Dakota. Donate to the National Immigrant Justice Center. Do whatever Pramila Jayapal tells you to do. Organize a friend group to attend this talk at Town Hall on Thursday about taking collective action and building civic community. Join a mutual aid group (like Super Familia, South & East King County, and Homies Helping Homies). Give food to a community fridge. Volunteer. Foster dogs. Do literally anything to give back to your community. Tell people you love them, and mean it. It’s time to show the fuck up, Seattle. SHANNON LUBETICH

"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.