She earned her bachelor’s degree in medical anthropology and Slavic studies and a master’s in politics, development and democratic education. As a biracial woman who identifies as Black, she has experienced people’s negative perceptions firsthand. As a child, she lived for a time in Moscow and Ukraine, but she spent her most formative years in the United States. Her father, Ukrainian, and her mother, Nigerian, were living in Kyrgyzstan before her birth. Martschenko brings her life experiences to her work. She wants to stop “the unintended consequences of our research from playing out,” she says. She looks at the downstream effects of the research, especially social harms, and develops strategies to prevent those harms. Martschenko’s work focuses on how genomics research can be conducted in a way that is social and ethical, can include community engagement and can be clearly communicated. A white gunman who killed 10 Black people in a Buffalo supermarket in 2022 cited a genetic study to support his heinous act. Today’s science tells us that race has no basis in genetics, but genetics has been invoked throughout history to justify slavery, racial discrimination, forced sterilization, xenophobic immigration policies and more. But such studies can be prone to bias and can be misinterpreted or co-opted to promote unscientific and even harmful ideas. With abundant access to genetic information, researchers can now ask new questions about what influences human behavior. Now a bioethicist at Stanford University, Martschenko is interested in how findings from social and behavioral genomics - the study of how genetic differences among individuals influence complex behaviors and social outcomes - affect society at large, including inequity and injustice and how we respond to them. in education, but today her work goes beyond that field. The show’s second encore, meanwhile, was the “payoff” for those who wanted the hits, a breezy and breathless half-hour blast through “Lullaby,” “The Walk,” “Friday I’m in Love,” “Close to Me,” “Why Can’t I Be You?,” “In Between Days,” “Just Like Heaven” and the concluding “Boys Don’t Cry.” There were far more smiles than tears by that point, and without question a hope among the 15,000 or so that it won’t be another 19 years before we see the Cure in these parts again.She ultimately pursued a Ph.D. The bulk of the night, however, focused on the Cure’s 80s material, and who wasn’t there for that? Playing in front of a multi-section video screen and curating the show to build in intensity as the skies darkened, the Cure dug in deep for the likes of “Burn,” “Cold,” “At Night,” “39,” the rocking “Shake Dog Shake,” “A Strange Day” and a particularly epic “One Hundred Years,” lightening the proceedings by dotting in occasional favorites such as “Pictures of You” and “Lovesong.” Bassist Simon Gallup was, as usual, the physical foil on stage, while drummer Jason Cooper was both steady and explosive and Smith, Gabrels and Perry Bamonte crafted a murky soundscape with their guitars, accented by Roger O’Donnell’s keyboards. The Cure performs Tuesday night, June 13, Tuesday night, June 13, at the Pine Knob Music Theatre (Photo by Mike Ferdinande) With a new album, “Songs of a Lost World,” promised - but not yet released, though it gave this tour its name - Smith and company also introduced the Detroit metro audience to the dense groove of “A Fragile Thing,” the textured, hypnotic “Endsong,” the emotive “I Can Never Say Goodbye” and the gauzy and hypnotic “And Nothing is Forever.” All fit nicely within the Cure’s particular brand of sturm und drang, with Reeves Gabrels’ avant guitar heroics featured on most. There were more where that came from, too. Frontman Robert Smith - sporting an Eraserhead T-shirt and his trademark mane of high-piled hair now salt-and-pepper - took a full three minutes to bask in the applause before leading the band into “Alone,” one of several new songs on the set list that began ironically, with the lyric “This is the end of every song we sing.” DSO’s ‘Black Panther’ concerts lead busy music weekendįollowing the Twilight Sad’s solid opening set, the Cure came on stage to a rapturous welcome from the sold-out Pine Knob crowd.
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