The Genius Of… Orange Rhyming Dictionary by Jets to Brazil - Guitar.com - Dictionary

If you are of a certain vintage, the regular online clamour from fans and stans desperate for success to fall in the laps of their indie favourites will likely have struck an odd chord with you. Haven’t they heard of selling out? “Am I so out of touch?” you muse to yourself. “No, it’s the children who are wrong.”

You think back to the good old days of the mid-1990s, when signing to a major label was verboten and you were entirely justified in wishing failure and ruin on any band who chose to go down that route. Bands such as Jawbreaker. Especially Jawbreaker. “You’re not punk and I’m telling everyone,” they once sang – and no-one got the joke.

One of the most important and influential Bay Area punk bands, their excellent, slightly cleaner and more adventurous final LP Dear You was released by DGC in September 1995 and swallowed whole by the discourse surrounding it. “Dear You… eventually wound up on some nameless secondhand store’s shelf to inflict its half-life of misery on someone else,” ran a retrospective 2.3 Pitchfork review in 2004, and that writer used to like the record back in the day. This shit lingered and mutated.

Jawbreaker folded soon after the album’s release, and their charismatic punk-poet guitarist and vocalist Blake Schwarzenbach binned the whole being-in-a-band thing for a while, moving east and settling in Brooklyn, where he met Handsome vocalist Jeremy Chatelain through his girlfriend. They didn’t know it at the time but they had plenty in common.

Hurt before

Like Jawbreaker, Handsome had been chewed up and spat out by the major label machine. A post-hardcore meeting of minds featuring members of Helmet, Quicksand and Cro-Mags, their sole album is a monument to a sound that bands such as Far would take further into the public consciousness: dense, heavy, atmospheric guitars paired with emotionally intuitive vocals.

Chatelain and Schwarzenbach began working on new music, bringing in another bruised musician in Texas is the Reason drummer Chris Daly, whose own band had gone to the grave with a major label deal on the table. The songs came together quickly and bled beyond boundaries regularly, wilfully. Jets to Brazil’s first moves were part exorcism, part provocation, and people were desperate to hear them.

They recorded a demo early in 1998 and signed to Jade Tree before heading out on tour with Milwaukee emo heroes the Promise Ring. By the time they hit the studio to record an album proper, things were in place and humming along.

Orange Rhyming Dictionary was assembled in the summer of 1998 at Easley McCain Recording in Memphis, Tennessee – previously home to indie-rock luminaries Sonic Youth, Guided by Voices, Wilco and Pacer – with producer J Robbins, another punk who’d gone to the dark side by teaming with Atlantic to release Jawbox’s For Your Own Special Sweetheart in 1994. He, though, had found some manner of acceptance among the band’s faithful. “They cut us slack,” he told Dan Ozzi in the book Sellout. “But Jawbreaker fans did not cut them that same slack.”

“We all liked the idea of going out of town to record, to fully immerse ourselves in the making of this thing,” Schwarzenbach told Punk Rock Theory. “It was really a perfect arrangement – I can’t imagine that record happening anywhere else. The main room at Easley was so enchanting: lots of lamps, space and a piano. It just encouraged late-night experimentation as a space.”

And now for something completely different

The first thing to note about Orange Rhyming Dictionary is how quickly it makes the furore around Dear You look silly. That made you want to spit in someone’s mouth/throw beer bottles at them/ban them from your venue? Wait ’til you get a load of this. Even Accident Prone, that record’s six minute centrepiece, didn’t have all this going on.

“We all lived together during that week in Memphis,” Chatelain told Punk Rock Theory. “We charted the record out and discussed the parts in detail. J attended rehearsals and made suggestions. He played a few guitar parts and sang some harmony. There are a few very J Robbins vocal harmonies on the record. He has a sound that is all his own.

“In general, he made all of us feel comfortable during the process of tracking our first record. He does this thing where he puts his palm on his forehead and asks, ‘Are you married to that part?’ He’s great, very diplomatic about the process. He helped us feel good about the outcome.”

Opener Crown of the Valley employs snaking lead lines, octave riffs, playful wah and surging drops built around Schwarzenbach’s use of open strings. A left-handed player most commonly associated with a series of Les Pauls and a JCM800, Schwarzenbach’s meticulous style meshes with Robbins’ off-kilter framing, creating a multi-tracked latticework of guitars that is only amped up by the explosive Morning New Disease, which “seems like the ur-Jets track” according to its writer.

But there’s also an appreciation for space and pacing, something felt most keenly on the spare, affecting Sea Anemone. With a guitar line only a step removed from alt-country, the song hangs in the air at the album’s midpoint, using only a few motifs across its five minutes and making the jumbles on either side feel all the more pointed, excited and bristling with ideas.

Blake Schwarzenbach. Image: Jim Bennett / WireImage

Jawbreaker reunion

According to Jade Tree boss Darren Walters, Orange Rhyming Dictionary became the label’s biggest-selling release. Jets to Brazil subsequently added Van Pelt guitarist Brian Maryansky to the line-up, allowing Schwarzenbach to play keys more often, and toured regularly and without ego, appearing all over the place like any other punk band earning their stripes.

Their two later records, 2000’s Four Cornered Night and 2002’s Perfecting Loneliness, went further and deeper into melody, stately keys and rock bombast. They are quite lovely but don’t feel as alive as the band’s opening statement.

Twenty years later, Jawbreaker have done the unthinkable and reformed, Chatelain has served time playing the heaviest of low ends in Helmet, and Jets to Brazil’s music can be viewed free from ties and expectations. They were a great band – different to some other great bands that came before and afterwards but great all the same.

Jeremy Chatelain. Image: Chad Buchanan / Getty Images

Infobox

Jets to Brazil, Orange Rhyming Dictionary (Jade Tree, 1998)

Credits

• Blake Schwarzenbach – guitar, vocals, keys
• Jeremy Chatelain – bass, backing vocals
• Chris Daly – drums
• J Robbins – producer

Standout Guitar Moment

Morning New Disease

For more reviews, click here.

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How Automation Affects the Translation Profession - Slator - Translation

Translation technology, which aims to partially or totally automate the translation process, has been undergoing development at high speed in recent years.

The control of the translation process is being transferred from translators to computers, according to the European Language Industry Survey 2022, with 45% of language company respondents reporting that more than 25% of their projects are run using automated workflows.

Machine translation (MT) is the first thing that springs to mind when “automated translation” is mentioned; nevertheless, MT is only one type of automation. Translation management, especially, is less about automatic translation and more about automating the process.

According to Bert Esselink, Strategic Account Director at RWS, language service providers (LSPs) use automation for the following:

• Reducing or eliminating manual steps in the translation process, such as file conversions, word counting, and quality checks
• Using business rules or artificial intelligence (AI) to apply certain workflow steps or automated content modifications based on content submitted for translation (e.g., pretranslation using MT)
• Connecting content platforms to translation systems (i.e., connecting a content management system or CMS to a translation management system or TMS, automating the transfer of content to and from translation)
• Automating and routing file transfers (i.e., routing translatable content to external translators or reviewers, ensuring strict quality control or compliance by ensuring steps are not skipped in the process)

But not all automation is created equal. Not all levels of automation are the same based on a study by Tina Paulsen Christensen, Anne Schjoldager, and Helle Dam Jensen, Associate Professors at Aarhus University, along with Kristine Bundgaard, Assistant Professor at Aalborg University. The researchers adapted a taxonomy outlined by the Society of Automotive Engineers to the field of translation and proposed it as a useful framework for describing different levels of translation automation (TA).

Levels of Translation Automation

The proposed taxonomy operates with six translation automation levels ranging from no TA (level 0) to full TA (level 5). Each level is determined by which TA features are activated — such as translation memory (TM), termbase (TB), MT, or the concordance feature. According to the authors, “Adopting the idea of features as a defining principle makes the taxonomy flexible enough to accommodate future TA developments.” 

The taxonomy specifies whether it is the translator or the system that performs source-text analysis and target-text production, checks for and corrects errors and inadequacies, and responds to system failure. In addition, it specifies whether or not the performance of the system is domain-specific.

From levels 0–2, it is the translator who actually translates the text, constantly monitors the translation task, corrects any errors and inadequacies, and takes over in case of system failure. 

(Even if in levels 1 and 2, parts of the process, such as source-text analysis, are handed over to the TA system.)

Features activated at levels 1–2 might be referred to as support features, and include TMs, TBs, and concordance, among others.

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At levels 3–5, the translator hands over the entire translation process to the system; meaning it is the system that performs the translation. Features activated at these levels might be referred to as automated translation features, and include, for instance, MT and automatic post-editing. Hence, levels 1–2 basically involve human-centric features, while levels 3–5 involve machine-centric features.

The authors suggest that this standard would be useful for LSPs, software developers, users of translation automation technologies, as well as researchers.

Of Pessimists and Optimists

Translators have been affected by the various ways in which language tasks are automated, according to research.

“The pessimists” among them, fear that translation technologies will eventually take over translator jobs, leading to a dehumanization of translation.

“The optimists” on the other hand, underline the benefits of TA; these include saving time, increasing productivity, minimizing errors, standardizing processes, ensuring compliance, increasing scalability, and delivering better customer experience, according to István Lengyel, the CEO of BeLazy. Moreover, they expect that an increasing use of technology might lead to “less mechanical and more dynamic” human roles and, thus, to new and rehumanized processes. 

Antony Pym, Distinguished Professor of Translation and Intercultural Studies at Rovira i Virgili University, and Ester Torres-Simón, Associate Professor of Korean Language and Translation at Universitat Autònoma de Barcelona, highlighted the effects of TA on the translation profession in a 2021 study.

Besides the wage dispersion in translation services, which can be attributed to growing translation automation, their analysis revealed a deeper change in the concept of translation itself.

Pym and Torres-Simón specifically noted that, as automation is widely accepted, the skill sets expand and the term “translation” embraces a broader set of tasks until the point is reached where the word “translation” disappears from job titles or is joined to other activities.

In addition, they observed that interactive, interpersonal skills, which are not (yet) automated, are being upwardly valued. “Rather than actually doing the translations, these interactive skills are used to talk about machine translations and interact with them in various ways,” they said.

“The more translators are aware of automation and prepared to work with it, the more they seek to have their multilingual interactive skills valued,” they said. That way, translators can either make the results of automation more reliable or explain and humanize the benefits of technology.

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The Genius Of… Orange Rhyming Dictionary by Jets to Brazil - Guitar.com - Dictionary

If you are of a certain vintage, the regular online clamour from fans and stans desperate for success to fall in the laps of their indie favourites will likely have struck an odd chord with you. Haven’t they heard of selling out? “Am I so out of touch?” you muse to yourself. “No, it’s the children who are wrong.”

You think back to the good old days of the mid-1990s, when signing to a major label was verboten and you were entirely justified in wishing failure and ruin on any band who chose to go down that route. Bands such as Jawbreaker. Especially Jawbreaker. “You’re not punk and I’m telling everyone,” they once sang – and no-one got the joke.

One of the most important and influential Bay Area punk bands, their excellent, slightly cleaner and more adventurous final LP Dear You was released by DGC in September 1995 and swallowed whole by the discourse surrounding it. “Dear You… eventually wound up on some nameless secondhand store’s shelf to inflict its half-life of misery on someone else,” ran a retrospective 2.3 Pitchfork review in 2004, and that writer used to like the record back in the day. This shit lingered and mutated.

Jawbreaker folded soon after the album’s release, and their charismatic punk-poet guitarist and vocalist Blake Schwarzenbach binned the whole being-in-a-band thing for a while, moving east and settling in Brooklyn, where he met Handsome vocalist Jeremy Chatelain through his girlfriend. They didn’t know it at the time but they had plenty in common.

Hurt before

Like Jawbreaker, Handsome had been chewed up and spat out by the major label machine. A post-hardcore meeting of minds featuring members of Helmet, Quicksand and Cro-Mags, their sole album is a monument to a sound that bands such as Far would take further into the public consciousness: dense, heavy, atmospheric guitars paired with emotionally intuitive vocals.

Chatelain and Schwarzenbach began working on new music, bringing in another bruised musician in Texas is the Reason drummer Chris Daly, whose own band had gone to the grave with a major label deal on the table. The songs came together quickly and bled beyond boundaries regularly, wilfully. Jets to Brazil’s first moves were part exorcism, part provocation, and people were desperate to hear them.

They recorded a demo early in 1998 and signed to Jade Tree before heading out on tour with Milwaukee emo heroes the Promise Ring. By the time they hit the studio to record an album proper, things were in place and humming along.

Orange Rhyming Dictionary was assembled in the summer of 1998 at Easley McCain Recording in Memphis, Tennessee – previously home to indie-rock luminaries Sonic Youth, Guided by Voices, Wilco and Pacer – with producer J Robbins, another punk who’d gone to the dark side by teaming with Atlantic to release Jawbox’s For Your Own Special Sweetheart in 1994. He, though, had found some manner of acceptance among the band’s faithful. “They cut us slack,” he told Dan Ozzi in the book Sellout. “But Jawbreaker fans did not cut them that same slack.”

“We all liked the idea of going out of town to record, to fully immerse ourselves in the making of this thing,” Schwarzenbach told Punk Rock Theory. “It was really a perfect arrangement – I can’t imagine that record happening anywhere else. The main room at Easley was so enchanting: lots of lamps, space and a piano. It just encouraged late-night experimentation as a space.”

And now for something completely different

The first thing to note about Orange Rhyming Dictionary is how quickly it makes the furore around Dear You look silly. That made you want to spit in someone’s mouth/throw beer bottles at them/ban them from your venue? Wait ’til you get a load of this. Even Accident Prone, that record’s six minute centrepiece, didn’t have all this going on.

“We all lived together during that week in Memphis,” Chatelain told Punk Rock Theory. “We charted the record out and discussed the parts in detail. J attended rehearsals and made suggestions. He played a few guitar parts and sang some harmony. There are a few very J Robbins vocal harmonies on the record. He has a sound that is all his own.

“In general, he made all of us feel comfortable during the process of tracking our first record. He does this thing where he puts his palm on his forehead and asks, ‘Are you married to that part?’ He’s great, very diplomatic about the process. He helped us feel good about the outcome.”

Opener Crown of the Valley employs snaking lead lines, octave riffs, playful wah and surging drops built around Schwarzenbach’s use of open strings. A left-handed player most commonly associated with a series of Les Pauls and a JCM800, Schwarzenbach’s meticulous style meshes with Robbins’ off-kilter framing, creating a multi-tracked latticework of guitars that is only amped up by the explosive Morning New Disease, which “seems like the ur-Jets track” according to its writer.

But there’s also an appreciation for space and pacing, something felt most keenly on the spare, affecting Sea Anemone. With a guitar line only a step removed from alt-country, the song hangs in the air at the album’s midpoint, using only a few motifs across its five minutes and making the jumbles on either side feel all the more pointed, excited and bristling with ideas.

Blake Schwarzenbach. Image: Jim Bennett / WireImage

Jawbreaker reunion

According to Jade Tree boss Darren Walters, Orange Rhyming Dictionary became the label’s biggest-selling release. Jets to Brazil subsequently added Van Pelt guitarist Brian Maryansky to the line-up, allowing Schwarzenbach to play keys more often, and toured regularly and without ego, appearing all over the place like any other punk band earning their stripes.

Their two later records, 2000’s Four Cornered Night and 2002’s Perfecting Loneliness, went further and deeper into melody, stately keys and rock bombast. They are quite lovely but don’t feel as alive as the band’s opening statement.

Twenty years later, Jawbreaker have done the unthinkable and reformed, Chatelain has served time playing the heaviest of low ends in Helmet, and Jets to Brazil’s music can be viewed free from ties and expectations. They were a great band – different to some other great bands that came before and afterwards but great all the same.

Jeremy Chatelain. Image: Chad Buchanan / Getty Images

Infobox

Jets to Brazil, Orange Rhyming Dictionary (Jade Tree, 1998)

Credits

• Blake Schwarzenbach – guitar, vocals, keys
• Jeremy Chatelain – bass, backing vocals
• Chris Daly – drums
• J Robbins – producer

Standout Guitar Moment

Morning New Disease

For more reviews, click here.

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How to translate speech to a different language in Google Meet - TechRepublic - Translation

Google Meet offers a translation feature for business and educational users. Here’s how it works.

Image: Cybrain/Adobe Stock

You’re running a conference call in Google Meet, and one or more of the participants speaks a different language. No problem. With the right version of Google Meet, you can display captions translated from one language to another as each person speaks. The translation feature requires a business or educational version of Google Workspace and can translate between English, French, German, Portuguese and Spanish.

SEE: Feature comparison: Time tracking software and systems (TechRepublic Premium)

Must-read CXO coverage

To use the translation feature, you’ll need one of the following paid editions of Google Workspace: Business Plus, Enterprise Starter, Enterprise Standard, Enterprise Plus, Education Plus or Teaching & Learning Upgrade. With the right plan, you can use and see the translations in Google Meet on a PC or Chromebook as well as in the iOS/iPadOS and Android apps for Google Meet.

You first need to enable the translation feature. In a Google Meet meeting from your computer, click the More options button at the bottom and select Settings (Figure A).

Figure A

At the Settings window, select the option for Caption. Turn on the switch for Translated captions. Click the dropdown menu for Translate To. Assuming your default language is English, you can set the target language to French, German, Portuguese or Spanish. When done, close the Settings window (Figure B).

Figure B

Each of the other meeting participants can also enable translation captions on their ends if they wish. On an iPhone, iPad or Android device, you would tap the More options icon and select Settings. Turn on the switch for Live Captions, tap the option for Translation Language, and then choose the target language. Close the Settings window to return to the meeting (Figure C).

Figure C

As people speak in the default language for the meeting, the live captions display the translation in whatever language was chosen by each person (Figure D).

Figure D

Each person’s translation appears on the screen briefly and is then replaced by the next translated sentence. If no speech is heard, the last translation disappears from the screen after a few seconds. As you see each translation, click the option for your default language to read the original spoken words. You can switch back and forth between the source and target languages (Figure E).

Figure E

To discontinue the translation on a PC, click the gear icon and turn off the switch for Translated Captions. To dispense with the live captions altogether, click the button at the bottom for Turn Off Captions (Figure F).

Figure F

To stop the translation on a mobile device, tap the More Options button and select Settings. At the Settings screen, select the option for Translation Language and change it to Don’t Translate Captions (Figure G).

Figure G

To turn off live captions on a mobile device, tap the More Options button and select Hide Captions (Figure H).

Figure H

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TRANSLATION/INTERPRETATION AGENCY FOR GLOBAL SUMMIT 2022 - ReliefWeb - Translation

Background

The International Treatment Preparedness Coalition (ITPC) is a global coalition of PLHIV and community activists working to achieve universal access to optimal HIV, HCV and TB treatment of those in need. Formed in 2003 by a group of 125 HIV activists from 65 countries at a meeting in Cape Town, ITPC actively advocates for treatment access in eight regions across the globe. ITPC believes that the fight for treatment remains one of the most significant global social justice issues.

The Make Medicines Affordable Campaign works to bring down the price of HIV, TB, Hepatitis C, and potential COVID-19 medicines and vaccines, specifically in middle-income countries (MICs). Make Medicines Affordable (MMA) believes it is every person’s right to access the treatment they need, and that intellectual barriers (IP) preventing access must be removed. The MMA campaign is a civil society-led initiative made up of civil society organizations from over 20 countries. These organizations include patients, lawyers, health experts and activists, who have chosen to challenge the IP measures through successful legal and technical interventions, in-line with the TRIPS (Trade-Related Aspects to Intellectual Property) agreements, and working to change patent laws to improve access to medicines.

In the over two decades of TRIPS implementation, civil society and particularly community-based groups like people living with HIV, HCV and cancer have played a key role in advocating for, ensuring the use of, and even directly implementing TRIPS flexibilities through patent oppositions and litigation. The extent of work and expertise of CSOs and the critical role they play in balancing WTO mandated IP rules with public interest and health while also resisting the onslaught of TRIPS-plus measures is underappreciated and under-resourced.

The Global Summit will coincide with the anniversary of the Doha Declaration adoption and shall serve as a platform to reflect, discuss and strategize on over two decades of the implementation of the TRIPS Agreement and Doha Declaration, its impact on health and access to medicines and to both imagine and reimagine what the next two decades of TRIPS implementation will or could bring. The recognition, preservation and sustainability of the work of civil society in this regard is central to the theme and sessions at the Global Summit. The Summit will take place in a hybrid in-person and virtual format for 3 days on 8-10 July, in Istanbul, Turkey.

Consultant Scope of Work and Deliverables

ITPC is seeking a translation/interpretation agency capable of providing interpretation for the Global Summit on Intellectual Property and Access to Medicines 2022 in a hybrid format following language combinations:

· French/English

· Spanish/English

· Portuguese/English

· Russian/English

· Thai/English

Duration of Consultancy

· 1 June to 10 July 2022

· 3-day meeting held 8-10 July in Istanbul, Turkey (with participants attending virtually) and written translations in the lead-up to the event

Deliverables

· Provide simultaneous interpretation in the aforementioned languages for 3 days

· 5 interpretations booths for 3 days

· Approximately 100 headsets

· Provide written translation of agenda, concept note and subtitles as requested

Education & Experience Requirements

● Degree or certification in translation

● Minimum 2-5 years-experience providing interpretation and translation services in most of the requested languages

● Experience providing interpretation and translation services in French, Portuguese, Russian, Spanish and Thai is a plus

● Experience providing interpretation and translation in-person and through online platforms (i.e. Zoom)

● Experience of participation in technical summits/workshops as well as high-level events in professional settings is a plus

● Experience providing interpretation and translation services on the topics of global health, intellectual property and access to medicines, drug manufacturing and trade issues is a plus

● Previous experience working with civil society and international organizations and agencies is a plus

● Demonstrated effective organizational skills and ability to work flexibly and adapt to changing requirements

Method of Selection

Competitive Negotiations method shall be used to determine the winner. The following selection criteria with relative weight of criteria showed in percentages shall be used for selection for the bidders’ proposals that meet all obligatory qualification/eligibility requirements above and that essentially meet the above scope and deliverables:

1. Degree of completeness of services proposed in response to Request of Proposals (ToR): number of languages proposed, written translations and coordination services (relative weight of criteria 30%) – shall be assessed based on received proposal documents;

2. Quality and relevance of experience in translating at events and/or of materials on the topics of HIV/AIDS, public health or related field (relative weight of criteria 20%) – shall be assessed based on CV and;

3. Quality and relevance of experience in translating at events and/or of materials on topics of access to medicine and intellectual property topics (relative weight of criteria 20%) – shall be assessed based on CVs of translators or short description of translation team experience with description of previous works;

4. Value for money (relative weight of criteria 30%) – shall be assessed based on provided quotation and scope of the work.

Instructions to Tenderers

Tender proposal validity should be no less than 60 days counting from the closing date of receiving proposals indicated below.

Tenderers shall have the right to seek written clarifications on any aspect of the tender documents and receive responses from ITPC in good time before the deadline for submission of tenders, not less than 2 days prior to the deadline.

The starting date of this tender is 27 April 2022. Closing date for receiving proposals is 23 May 2022 23:59 SAST.

Questions should be sent by potential bidders before 20 May 2022 to the same email address as indicated below.

Expected proposal acceptance date is 29 May 2022, although this deadline could be extended by ITPC, if needed.

Tender proposals shall be evaluated by ITPC and the outcome of the selection procedure shall be notified to tenderers by email.

Compensation

Applicants are invited to submit a quote with daily rate for simultaneous translation and fixed fee or daily rate for coordinator with total budget for simultaneous translation for translators and coordinator, and separately please provide price per word for written translations (for written translations the total). Payment will be made within 30 days upon delivery of the monthly invoice.

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Post-Editing Machine Translation Limits Creativity in Literary Translation — Research - Slator - Translation

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Post-Editing Machine Translation Limits Creativity in Literary Translation — Research  Slator

California man charged for threats to dictionary publisher - CTPost - Dictionary

BOSTON (AP) — A California man's online threats of violence against dictionary publisher Merriam-Webster Inc. over updated gender definitions have landed him in a Massachusetts federal court.

Merriam-Webster closed its main office in Springfield, Massachusetts, and another in New York City for five business days last year in response to comments from Jeremy David Hanson, prosecutors said. An email seeking comment was left Monday with a Merriam-Webster spokesperson.

Hanson, 34, of Rossmoor, California also allegedly made anti-LGBTQ threats to other organizations.

Hanson was charged last week with interstate communication of threats to commit violence, according to statement from the U.S. attorney's office in Boston. He is scheduled to appear in federal court on Friday in Springfield.

Prosecutors say Hanson threatened a shooting and bombing at the publisher, however the affidavit did not specify whether any weapons or explosives were found during the investigation.

If convicted, Hanson faces up to five years in prison.

In an interview with the FBI on Oct. 27, Hanson said he has obsessive-compulsive disorder, Asperger’s syndrome, anxiety and depression, and struggles with impulse control. He said he understands the threatening remarks he makes online are illegal, but is unable to control himself. His mother said in an interview with the FBI in May 2021 that he had no access to weapons.

No defense attorney is listed in court records. A home phone number for Hanson had been disconnected.

Prosecutors say Hanson sent Merriam-Webster threatening messages and comments between Oct. 2 and Oct. 8 using the website’s “contact us” function and in the comments section on its webpages that corresponded to word entries such as “girl,” “woman,” and “female," prosecutors said.

One definition of “female” is “having a gender identity that is the opposite of male."

“It is absolutely sickening that Merriam-Webster now tells blatant lies and promotes anti-science propaganda,” Hanson wrote in one comment, according to prosecutors. “There is no such thing as ‘gender identity.’ “

The statements were traced back to an IP address linked to Hanson, the FBI said.

“Some statements expressed hostility toward different gender identities and some threatened bodily harm to people,” according to an FBI affidavit in the case.

The investigation identified several related threats over the past few years, according to prosecutors, including to the American Civil Liberties Union, Amnesty International, Land O’ Lakes, Hasbro, and the president of the University of North Texas.

“Hate-filled threats and intimidations have no place in our society,” U.S. Attorney Rachael Rollins said in a statement. “We believe Hanson sent a multitude of anonymous threatening and despicable messages related to the LGBTQ community that were intended to evoke fear and division."

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