Ethnic Studies

Exploring what it means to take up space

Rachel Sauer — Thu, 19 Feb 2026 17:26:03 +0000

Exploring what it means to take up space Rachel Sauer Thu, 02/19/2026 - 10:26

Rachel Sauer

Multimedia Takin’ Up Space performance Feb. 21 at Fiske Planetarium will highlight historical, cultural, environmental and social justice narratives as an act of reclaiming Black spaces

There are a lot of ways to take up space. The most basic is simply a function of being born—existing on this planet, possessing mass, moving across its horizontal surfaces.

There’s also taking up space in the cosmological sense: pondering the farthest reaches of the universe, soaring through this spiral galaxy and beyond, transcending gravity as an act of belonging in time and in space.

And then there’s taking up space as an act of taking back. This is a reclamation of spaces previously occupied, of being in them, of filling them as an act of defiance and homecoming.

CU �鶹ӰԺ professors Shawn O'Neal (left) and Kalonji Nzinga (right) envisioned Takin' Up Space, in part, to "revisit our past in order to have a better evaluation of the present and build better futures," O'Neal explains.

Considering these possibilities and more is Takin’ Up Space III: Holding Space, the third iteration of an event envisioned by Shawn Trenell O’Neal, a �鶹ӰԺ assistant teaching professor of ethnic studies and associate faculty director of the Center for African and African American Studies (CAAAS), and Kalonji Nzinga, an assistant professor in the School of Education.

The free event, which will be from 6 to 9 p.m. Saturday, Feb. 21, at Fiske Planetarium, is a multi-act, multimedia performance produced, arranged and performed by O’Neal and Nzinga, with special performances by Denver singer-songwriter Kayla Marque and wellness guide-somatic artist Soraya Latiff.

The title Takin’ Up Space acts, on one level, to “reintroduce us to spaces we’ve been systematically removed from over decades,” O’Neal explains, adding that themes of space and time are intrinsic to African culture.

“Harriet Tubman, when she was leading folks from enslavement on the Underground Railroad, read the stars and nature. So, another aspect of this is realizing we are one with nature, though we’ve been systematically removed from it for decades. I’ve never thought it was a coincidence that 1964 was the year of the Civil Rights Act and the Wilderness Act. In a way, it was opening the door to Black people’s human rights and closing our access to nature and space.”

If you go

What: Takin' Up Space III: Holding Space, a multi-media performance produced, arranged and performed by Shawn Trenell O'Neal and Kalonji Nzinga, with special guests including Denver singer-songwriter Kayla Marque and wellness guide-somatic artist Soraya Latiff

Where: Fiske Planetarium, 2414 Regent Drive

When: 6-9 p.m. Saturday, Feb. 21

The event is free but tickets are required.

Learn more

Takin’ Up Space will include O’Neal’s all-vinyl live scoring of the 1926 silent film The Flying Ace, whose cast members are all Black, followed by an immersive somatic meditation led by Latiff, during which she will guide reflection on the meaning of “holding space.” Nzinga will perform selections from his hip-hop soul catalog, synced with film visualizations aligned with his storytelling, and then Marque will bring “emotive vocals, electronic textures and cinematic storytelling,” inviting the audience “into a shared cosmic dream,” according to event organizers.

Occupying spaces of Blackness

For O’Neal, performing a live score to an almost-forgotten film represents the confluence of art, history and culture that has long motivated his scholarship and creative life. He first scored a silent film in 1998, when he was living in Santa Fe, New Mexico, and realized he had a gift for DJing.

“My friend had this idea that, ‘Hey, we should score a silent film,’” he recalls. They took on the challenge of scoring the 1925 The Phantom of the Opera starring Lon Chaney and Mary Philbin, and each night of the performance was different.

“I realized, ‘Wow, this is a really creative way to mix records and use my record collection in a different way than just dancing,” he says. “It was my way to push against how we collapse all these art forms into very limited, narrow views of what they can be.”

His goal evolved from literal-minded soundtracking to close consideration of subtext, mood and feeling—scoring as an artistic act of composition that embraces what the film shows both on and beneath the surface. So, on a recent Saturday in his home studio in his Denver basement, The Flying Ace is cued on his laptop, and he is a blur between two turntables and a soundboard.

Shawn O'Neal experiments with sound as he composes a score for the silent film The Flying Ace. (Photo: Rachel Sauer)

The scene playing is a joyous moment of flight, when pilot Finley Tucker takes to the air with Ruth Sawtelle, the woman he hopes to marry.

“When the plane is in the air, I want a big, bright blast of sound, probably something Sun Ra-ish,” O’Neal explains, bent over a milk crate of LPs that represent a winnowing from the many hundreds in his collection. “Then from that moment I want a very feminine sound—Mahalia Jackson to Alice Coltrane.”

If the choices are unexpected—leagues from the calliope plinks traditionally associated with silent movies—it’s partly because “something that’s always interested me about public performativity is the opportunity to capture feelings and emotions that are flowing through the audience, maybe even things people didn’t think they were ready to deal with.”

O’Neal says he wants to give people what they’re not expecting, pursuing a goal of introduction and reintroduction: “We’ve allowed Black music and Black art to be sold so short, so as we’re reintroducing ourselves to spaces of Blackness, that includes a musical heritage that is so broad and so deep.”

In fact, the scaffolding of Takin’ Up Space is built from the Africana aesthetics regarding the five pillars of hip hop studies: DJing, MCing, dance, graffiti/visual art and knowledge. O’Neal, Nzinga and their co-organizers also draw deeply from the symbols and stories in African cultures, including Sankofa of the Akan people of Ghana, represented as a bird with its head turned backward and an egg in its mouth, symbolizing the idea of looking back at the past to learn from it and move forward.

“We’re not doing this to say, ‘This is better than anything else,’ but to revisit our past in order to have a better evaluation of the present and build better futures,” O’Neal says. “We intend to take up space.”

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Multimedia Takin’ Up Space performance Feb. 21 at Fiske Planetarium will highlight historical, cultural, environmental and social justice narratives as an act of reclaiming Black spaces.

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Incarceration of 120,000 Japanese Americans holds lessons now

Rachel Sauer — Thu, 19 Feb 2026 14:37:00 +0000

Incarceration of 120,000 Japanese Americans holds lessons now Rachel Sauer Thu, 02/19/2026 - 07:37

Daryl Maeda

The Day of Remembrance, Feb. 19, should focus our attention on how a constitutional republic can shun its first principles

Today is the Day of Remembrance, marking the date that the United States officially marshalled the full force and power of the federal government against Americans whose only offense was being of Japanese descent. This day, which now lives in infamy, holds lessons for us now.

On Feb. 19, 1942, President Franklin Delano Roosevelt signed Executive Order 9066, which led to one of the most notable mass violations of civil liberties in U.S. history: the imprisonment of 120,000 Americans of Japanese descent without due process. Each year, the Japanese American community commemorates this Day of Remembrance to reflect on the lessons of that episode and resolve to advocate for justice for all.

Dressed in his U.S. Navy uniform, World War I veteran Hikotaro Yamada enters the Santa Anita assembly center after being forced to leave his Torrance, California, home. (Photo: Clem Albers/U.S. Department of the Interior)

The attack on Pearl Harbor in December 1941 exacerbated decades of anti-Japanese racism. Japanese immigrants were disparaged from the 1890s onward as an invading “yellow peril” that brought crime and sexual deviance, stole jobs and threatened to impose a foreign culture.

Before 1941, the federal government barred them from becoming naturalized citizens and eventually prevented their migration. Many states prohibited them from marrying white people and buying land, a serious impediment for an ethnic group whose economy relied heavily on agriculture. Despite these barriers, the Japanese American community grew to include Nisei, children born in the United States who possessed natural-born citizenship.

After Dec. 7, government and military officials portrayed Japanese Americans as a monolithic threat to national security, alleging that they could not be differentiated individually and were thus all potential spies or saboteurs.

As the historian Jacobus vanBroek reported, Mississippi Congressman John Rankin told the House of Representatives: “I'm for catching every Japanese in America, Alaska and Hawaii now and putting them in concentration camps and shipping them back to Asia as soon as possible ... This is a race war, as far as the Pacific side of the conflict is concerned ... The White man's civilization has come into conflict with Japanese barbarism ... One of them must be destroyed ... Damn them! Let's get rid of them now!”

New Deal liberals like Secretary of War Henry L. Stimson declared, “Their racial characteristics are such that we cannot understand or trust even the citizen Japanese.”

General John L. DeWitt, military commander of the West Coast, said, “In the war in which we are now engaged, racial affinities are not severed by migration. The Japanese race is an enemy race and while many second and third generation Japanese born on United States soil, possessed of United States citizenship, have become ‘Americanized,’ the racial strains are undiluted ... It therefore follows that along the vital Pacific Coast over 112,000 potential enemies of Japanese extraction are at large today.”

California Attorney General and future Supreme Court Chief Justice Earl Warren called for the mass expulsion and incarceration of Japanese Americans just one decade before issuing the landmark decision barring school segregation in Brown v. Board of Education.

Members of the Mochida family, with government-issued identification tags on their clothes, await a bus that will take them from their California home to an internment camp. Mr. Mochida (back row, left) operated a nursery and five greenhouses on a two-acre site in Eden Township, California. (Photo: Dorothea Lange/U.S. Department of the Interior)

Newspapers added cruelty to the message. The San Francisco Examiner opined, “Herd 'em up, pack 'em off and give 'em the inside room in the badlands. Let 'em be pinched, hurt, hungry, and dead up against it... Let us have no patience with the enemy or with anyone whose vein carry his blood…”[1]

EO 9066 authorized the Secretary of War to remove civilians from areas deemed to be militarily sensitive. It named no class of civilians or ethnic groups and defined no geographic boundaries or criteria for designating sensitive areas.

The vaguely defined yet overwhelming power conveyed by the order resulted in Japanese Americans—accused of no crimes as individuals and receiving no due process—being removed from the West Coast and incarcerated in barbed-wire enclosed prison camps hastily constructed in interior states including Colorado. My uncle and aunt were imprisoned at the Amache camp near Granada, Colorado.

Barracks at the Amache internment camp near Granada, Colorado. (Photo: Tom Parker/U.S. Department of the Interior)

Three legal challenges by Gordon Hirabayashi, Min Yasui, and Fred Korematsu to the removal and incarceration made their way to Supreme Court, which ruled repeatedly that EO 9066 and its implementation were constitutional.

In what has come to be a widely admired dissent from the majority opinion in the Korematsu case, Justice Frank Murphy declared, “I dissent, therefore, from this legalization of racism. Racial discrimination in any form and in any degree has no justifiable part whatever in our democratic way of life. It is unattractive in any setting, but it is utterly revolting among a free people who have embraced the principles set forth in the Constitution of the United States.”

Here at the �鶹ӰԺ, the U.S. Navy established the Japanese Language School, which recruited some Nisei instructors out of the camps to train military translators and interpreters. President Robert L. Stearns supported the establishment of the school and urged the �鶹ӰԺ community to welcome the instructors and their families.

In response to the Denver Post’s propaganda campaign demonizing Japanese Americans, CU students voiced their outrage, writing in the school’s Silver and Gold newspaper, “Now that the Denver Post has embraced Hitler’s doctrines of race and Aryan superiority, now that the Post has converted this war from a battle of principles or even of nations into a battle of peoples, now that the Post has declared war on the Japanese Americans in our cities and internment camps, it’s about time we college students registered our protests against such fascist techniques in our midst.”

Posterity has condemned the mass incarceration of Japanese Americans during World War II. In 1988, President Ronald Reagan signed the Civil Liberties Act, which offered an official government apology for the “fundamental injustice” done to citizens and permanent resident aliens of Japanese ancestry and providing monetary compensation to those still alive over four decades later.

In signing the bill, Reagan said, “[M]y fellow Americans, we gather here today to right a grave wrong. More than 40 years ago, shortly after the bombing of Pearl Harbor, 120,000 persons of Japanese ancestry living in the United States were forcibly removed from their homes and placed in makeshift internment camps. This action was taken without trial, without jury. It was based solely on race, for these 120,000 were Americans of Japanese descent.”

What lessons can be drawn from this sordid episode that occurred eight decades ago?

Justice is not a partisan issue. After all, the incarceration was perpetrated by the administration of FDR, perhaps the most consequential liberal president of the 20^th century.
Unchecked federal executive power can lead to abuses of fundamental civil and human rights, especially when militarized forces are unleashed on civilians.
Compliant courts and legislatures cannot be relied upon to provide the checks and balances necessary to ensure that constitutional rights are protected.
Mass incarceration camps can be built in the United States and filled with both U.S. citizens and aliens alike without due process. Indeed, they have been.
History will remember the words and deeds of those who support justice and due process.

So today, and indeed every day, we are obliged to remember and to learn.

Daryl J. Maeda, interim dean of the College of Arts and Sciences, has been a faculty member at CU �鶹ӰԺ since 2005. He holds a PhD in American culture from the University of Michigan, MA in ethnic studies from San Francisco State University and BS in mathematics from Harvey Mudd College.

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Top image: Boys imprisoned at Manzanar Camp in California (Photo: Toyo Miyatake)

Colorado has the mountains … but not the Olympics

Rachel Sauer — Wed, 04 Feb 2026 17:38:57 +0000

Colorado has the mountains … but not the Olympics Rachel Sauer Wed, 02/04/2026 - 10:38

Jared Bahir Browsh

Fifty years ago, Denver was supposed to host the Winter Olympics, but fiscal and environmental concerns halted plans and highlighted difficult truths about hosting

With its infrastructure, mountains and the presence of the Colorado Springs Olympic and Paralympic Training Center, Colorado seems like the ideal Olympics host—and many wonder why the state has never hosted a Games.

Fifty years ago, Denver was scheduled to host the XII Olympic Winter Games during the state’s 1976 centennial celebration and the United States’ bicentennial. Denver’s bid was accepted by the International Olympic Committee (IOC) in 1970, but in November 1972—after a statewide referendum rejected funding for the games—the IOC was left scrambling to find another host city. Although Salt Lake City, Utah, and Lake Placid, New York, offered to host, the IOC, frustrated by the rebuff by Colorado voters, elected to move the games back to Europe in Innsbruck, Austria, just eight years after the city hosted in 1964.

Jared Bahir Browsh is the Critical Sports Studies program director in the CU �鶹ӰԺ Department of Ethnic Studies.

The Denver episode taught both the IOC and event organizers as a whole to secure funding, infrastructure and the support of stakeholders before granting any city or country the rights to host major events—although Olympic host cities continue to navigate imperfect planning, as the 2026 host, Milana-Cortina, Italy, races to complete the hockey arena in time for the Games.

From underdog to host

Denver was seen as a dark horse when the bid process began, competing against Sion, Switzerland; Tampere, Finland; and Vancouver, Canada, for the rights to host the Olympics. Denver won the first round of votes but came in second to Sion in the second round (Vancouver and Tampere were eliminated in the first and second rounds, respectively). Most of the IOC voters for the Finnish town ultimately shifted to support Denver’s bid, which was granted in May 1970.

After significant cost overruns and losses during the previous two Games in Grenoble, France, in 1968 and Sapporo, Japan, in 1972, Denver was promoted as the economical Olympics. The Grenoble Games posed a loss of more than $250 million, so when Denver submitted a budget of $14 million, the IOC voters may have seen Denver ushering in a new strategy for a more affordable Winter Games.

However, as the planning moved forward, it was clear the $14 million budget fell far short of what would be needed. By 1972, some estimates surpassed $100 million with a number of unanswered questions regarding the venues and facilities. The University of Denver was floated as a potential location for the Olympic Village, but university officials were never informed of this plan, which would have occurred during the school year.

The original plans also called for the alpine events to be held at Loveland Basin and Mount Sniktau, which did not receive reliable snowfall and were airbrushed with “snow” to cover bald spots in the promotional materials. Many of the plans for events like cross-country skiing had routes that ran through residential neighborhoods in Jefferson County, and plans for the biathlon—a mix of cross-country skiing and rifle shooting—included ranges near Evergreen High School.

Planning goes off course as the election nears

Because the IOC preferred bids that allowed for the vast majority of events to occur close to the host city, the original Denver Olympics plans promoted Loveland Basin and Mount Sniktau as being only 45 minutes away from the city—which may have been possible if I-70 was shut down. Officials then decided to move the ski events to Aspen and Steamboat Springs, both more than 100 miles from the originally proposed Olympic Village. They floated plans to have multiple villages and even discussed having a helicopter usher athletes between sites.

Along with having cross-country skiing events in Evergreen, planners wanted to have the ski jump there as well, which would have required demolishing a hill, rerouting a residential road and pouring concrete over Bear Creek. Maybe Evergreen residents would have enjoyed watching events out their windows—and through their yards—even if it meant dodging bullets and finding new roads to get to work or school, but it is doubtful.

Then-state legislator—and future governor—Dick Lamm, political organizer Sam Brown and environmentalist Eileen Brown (unrelated to Sam) formed Citizens for Colorado’s Future (CCF), which campaigned against the Games. The group collected signatures and ran an information campaign in the lead-up to the 1972 election that included a ballot initiative for the $5 million promised by the state hoping to convince voters to not approve the funding.

A bumper sticker produced before Colorado residents voted on a 1972 referendum to fund the 1976 Olympic Games, which voters rejected. (Photo: History Colorado)

The CCF looked to secure a meeting with the IOC, and when group leaders were rebuffed, they traveled to the Sapporo Olympics, where the IOC executive committee was meeting. CCF members ultimately crashed the meeting, to the consternation of the committee, and presented their findings regarding the true cost and environmental impact to the IOC. This caused Avery Brundage, who was attending his last Winter Games as IOC president, to threaten to pull the Games from the Denver Organizing Committee, which quickly put together a presentation to reassure the IOC.

The cost overruns at the 1972 Sapporo Winter Games and the summer games in Munich further reinforced the cost concerns in Denver. Munich also faced one of the worst terrorist events in sports history, which cast a cloud over the Olympics just months before the 1972 election. Groups like Protect Our Mountain Environment (POME) also held well-publicized protests in places that would be impacted by the Games, including Evergreen.

On Nov. 7, 1972, these myriad problems led Colorado voters to reject the $5 million Olympics contribution from the state, with 60% of voters choosing to say no to the state spending the money on the Games. The following week, Denver officially withdrew from the Games and then-Governor John Love, who championed the bid, resigned the following year to serve as “Energy Czar” under President Richard Nixon. In 1974, Lamm was elected governor, eventually serving three terms and running on a campaign focused on environmentalism and limited development.

Ultimately, Colorado voters were proven right. The 1976 Innsbruck Games cost an estimated $58 million, even with the use of existing facilities from 1964. The Montreal Summer Games the same year were one of the worst financial disasters in Olympic history, with the city, its province, Quebec, and Canada shouldering a debt of more than $1 billion, which was not paid off until 2006.

The early ‘70s bid was not the last time that Denver tried for the Olympics. Federico Peña, mayor of Denver from 1983-1991, pushed to bid for the Olympics even as the city faced financial difficulties. Denver also bid to be the United States Olympic Committee pick for the 2002 Winter Games, with plans that had the �鶹ӰԺ campus serving as the Olympic Village. Denver was beat out by Salt Lake City for the 2002 Games, which faced a bribery controversy over its winning bid.

Ultimately, the politics of Colorado, which include ballot initiatives and the Taxpayer’s Bill of Rights (TABOR), create a difficult path for Denver to host an Olympic Games. The concerns of 1976, including rising costs and environmental concerns, have only gotten stronger as some have questioned the long-term impact of hosting. Also, with the 2028 Summer Games in Los Angeles and the 2034 Winter Games in Salt Lake City, it may be decades until another Olympics makes it back to the United States—and odds are Colorado voters would not approve of the exponentially higher cost of the Olympics in the future.

Jared Bahir Browsh is an assistant teaching professor of critical sports studies in the CU �鶹ӰԺ Department of Ethnic Studies.

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Fifty years ago, Denver was supposed to host the Winter Olympics, but fiscal and environmental concerns halted plans and highlighted difficult truths about hosting.

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Faster, higher, stronger (at any cost)

Rachel Sauer — Fri, 30 Jan 2026 21:49:55 +0000

Faster, higher, stronger (at any cost) Rachel Sauer Fri, 01/30/2026 - 14:49

Jared Bahir Browsh

Cheating scandals throughout the Olympics’ 130-year history highlight how the pursuit of victory can often conflict with Olympic values

"Faster, Higher, Stronger." The Olympic motto, chosen by the father of the modern Olympic Games, Pierre de Coubertin, expresses the aspirations of the Games in competition and in morality. However, as the many cheating scandals throughout the 130-year history of the Games have shown, the pursuit of victory can often conflict with the effort to maintain the perceived values of the Olympic Movement.

On Jan. 15, after an 11-month investigation, the International Ski and Snowboard Federation announced an 18-month suspensions for two coaches and an equipment manager from Norway’s ski jump team after they were caught on video manipulating the suits of jumpers following inspection at the Nordic World Ski Championships. Although the two skiers whose suits were manipulated—reigning Olympic champion Marius Lindvik and 2018 silver medalist Johann André Forfang—will still compete, it has cast a cloud over the event just weeks before the Winter Olympics Opening Ceremonies in Italy on Feb. 6.

Jared Bahir Browsh is the Critical Sports Studies program director in the CU �鶹ӰԺ Department of Ethnic Studies.

Cheating is as old as sport, and much like at the ancient games, athletes and their coaches have been willing to bend—or break—the rules to gain an advantage for the sake of Olympic glory. The biggest scandals are often followed by rule changes and more intense oversight by the International Olympic Committee and sport officials.

Hitchhiking and strychnine at the 1904 marathon

The 1904 Games in St. Louis is rightfully considered one of the worst Olympics in history. Though Chicago unanimously won the bid to become the first U.S. host of the Olympics, politicking by the Amateur Athletic Union, the postponement of the World’s Fair to 1904 and opposition to an Olympic Stadium in Chicago led to the Games being transferred to St. Louis.

At the time, St. Louis was about a third the size of Chicago and offered fewer transportation options, leading to decreased participation compared to the 1900 Games in Paris. Also, the associated World’s Fair focused heavily on white supremacy and imperialism, which was reflected in the disorganized Games.

One of the most famous examples of the poorly executed Games was the marathon, which was filled with cheating, scientific misinformation and the same racism that was associated with the World’s Fair. The length and difficulty of the marathon has tempted cheating since the first games, but the marathon in St. Louis was especially controversial.

The 1904 event, which began in the middle of the afternoon as temperatures soared past 90, saw only 14 of the 32 two runners finish the race, including Len Taunyane (ninth) and Jan Mashiani (12th), two members of South Africa’s Tswana tribe who were included in the race to prove white superiority, coming to St. Louis as a part of the Boer War Exhibition. They were the only Black South Africans to represent their country until 1992.

James E. Sullivan, who organized much of the 1904 Olympics, also wanted to prove that dehydration improved performance and had only one water station on the entire route. American runner Frederick Lorz began to cramp and dropped out of the race, soliciting a ride from a local driver. When the car broke down, Lorz finished the route and walked into the stadium, celebrating as the winner before a spectator revealed he had hitched a ride. Another American runner, Thomas Hicks, crossed the finish line more than 20 minutes later, boosted by strychnine sulfate and brandy after his own brush with dehydration. The chaotic race almost led to the elimination of the marathon from the Olympic program.

The straight dope

Thomas Hicks (center) crossed the finish line of the 1904 Olympic marathon with the help of strychnine sulfate and brandy, after a brush with dehydration. (Photo: Wikimedia Commons)

As the 1904 marathon debacle shows, some athletes will risk their health if a substance, including poison or liquor, can give them an edge. Canadian sprinter Ben Johnson may be the most famous individual example of performance-enhancing drug use at the Olympics—disqualified after testing positive for steroids at the 1988 Seoul Games following a world record-setting performance in the 100-meter dash. Carl Lewis, who placed second, was awarded the gold medal after Johnson was disqualified. Johnson had also tested positive for stimulants at the U.S. Olympic Trials, but was still allowed to compete.

The United States was again embroiled in a doping scandal in 2007 when sprinter Marion Jones admitted to steroid use as a part of the larger BALCO banned substance scandal and was stripped of her medals from the 2000 Sydney Games. Cyclist Lance Armstrong was stripped of his bronze from the 2000 Games as well.

However, the largest doping scandal spans more than 74 years, after the Union of Soviet Socialist Republics (USSR) joined the Olympic Movement in 1952. The Soviet Union's promotion of communism put the nation at odds with capitalist nations—specifically with fellow superpower the United States—making the Olympics a proxy battle in the Cold War. The USSR was at odds with many Western countries as the Soviet Union’s athletes were given nominal jobs within the Soviet government, allowing them to train and compete full time through their athletic primes. This often led to competitions between older Soviet and much younger amateur athletes.

It was later revealed many of these athletes were also involved in state-sponsored doping programs, with Soviet labs working to stay a step ahead of testing, especially after testing for steroids began in 1976. In spite of this, East Germany, which had its own doping program, placed second in gold medals at the 1976 games in Montreal, motivating the Soviets to accelerate their own doping program for the 1980 Moscow Games and the 1984 Los Angeles Games, although they boycotted the latter.

The same doctor who signed off on the Soviet doping program for the 1984 Games, Dr. Sergei Portugalov, was instrumental in renewing the state-sponsored doping program through at least 2008, when seven runners from Russia were banned from competing at the 2008 Beijing Games. In 2017, Portugalov was permanently banned from working with athletes by the Court of Arbitration for Sport while Russia was banned from the Olympics for doping from 2019-2023. Russian athletes were allowed to compete under the Olympic Flag—as they did in 2024 and will in 2026, the result of a separate ban related to the invasion of Ukraine.

For many years, Soviet athletes (here entering the opening ceremony of the 1964 Summer Olympic Games in Tokyo) fought proxy Cold War battles with western nations in the Olympics. (Photo: Wikimedia Commons)

Conspiring for glory

As enforcement has intensified, efforts to cheat have become more complex, with multinational conspiracies behind more recent controversies. The most famous of these efforts occurred during the 2002 Salt Lake City Games, which was already clouded in controversy after it was revealed in 1998 that the Salt Lake Organizing Committee had bribed Olympic officials to obtain the bid. Although other bid processes have faced claims of bribery, this was considered the largest corruption scandal in IOC history, prompting an overhaul of the bid process.

During the pairs figure skating competition, Canadians Jamie Salé and David Pelletier performed a near-flawless routine but were awarded silver due to a 5-4 split among judges that favored Russian competitors Elena Berezhnaya and Anton Sikharulidze. Judge Marie Reine Le Gougne alleged soon after the event that she was pressured by the head of the French skating federation, Didier Gailhaguet, to give the Russian pair favorable marks in exchange for Russian support for French ice dancers Marina Anissina and Gwendal Peizerat, who were scheduled to compete later in the Games and ultimately won gold.

Judged sports like gymnastics and figure skating have long faced criticism over their judges, especially during the Cold War, when there were frequent claims of bias for either Eastern and Western bloc nations. Le Gougne eventually recanted her story, but the damage was already done and Salé and Pelletier were eventually named gold medalists alongside Berezhnaya and Sikharulidze, who kept their gold. The incident led the International Skating Union to implement a new system to score performances in an effort to limit impropriety in judging.

Typically, when Olympians cheat, they cheat to win, but the 2012 London Games saw several badminton teams take a different approach. After securing a place in the knockout stage in women’s badminton doubles, two South Korean pairs, along with a pair from China and one from Indonesia, attempted to lose on purpose in their last group stage match to obtain a preferred matchup in the next round. All four teams were disqualified for uncompetitive behavior and future tournaments included another draw for runners-up from each group. Some countered that even though they tried to lose matches on purpose, their intent was to win the tournament.

As the common saying goes, “If you ain’t cheating, you ain’t trying,” which is often quoted after a cheating scandal. However, as the incidents involving the Russian Olympic Committee and others have shown, many of these incidents go beyond mere rule breaking and risk the health and well-being of the athletes involved. The IOC tries to remain free of controversy, but as we have seen across the 130 years of the modern Olympics, the organization is not immune to politics, socioeconomics or human nature. Athletes and even entire federations are so tempted by Olympic glory that they are willing to bend sporting ethics for the sake of winning.

Jared Bahir Browsh is an assistant teaching professor of critical sports studies in the CU �鶹ӰԺ Department of Ethnic Studies.

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Top photo: Vegar S. Hansen/Wikimedia Commons

Exhibit celebrates Black Panther Party in stories and portraits

Rachel Sauer — Thu, 22 Jan 2026 22:52:38 +0000

Exhibit celebrates Black Panther Party in stories and portraits Rachel Sauer Thu, 01/22/2026 - 15:52

The documentary exhibit “Revolutionary Grain,” open now through March 15 in the Macky Gallery, highlights the stories of former Black Panther Party members and ongoing struggles for racial justice

This spring, the �鶹ӰԺ Center for African and African American Studies (CAAAS) and the Department of History, together with the Louis P. Singer Endowed Chair in Jewish History, present the traveling exhibition “Revolutionary Grain: Celebrating the Spirit of the Black Panther Party in Portraits and Stories” in the Macky Gallery.

The exhibition, open now through March 15, was created by California-based artist and photographer Suzun Lucia Lamaina and honors the legacy of one of the most influential movements in Black American history.

As part of Black History Month programming, the exhibition will be accompanied by a panel discussion with former Black Panther Party members Gayle Dickson, Aaron Dixon, Ericka Huggins and Billy X Jennings, alongside Lamaina and CAAAS Director Reiland Rabaka, on Thursday, Feb. 12, at 7 p.m. in the Norlin Library Center for Global British and Irish Studies Room (M549). The discussion will focus on the history and legacy of the Black Panther Party and its relevance in today’s political climate.

Living history

Hear firsthand accounts of the history of the Black Panther Party and the 1960s Black Freedom Struggle—along with their legacies in Trump's America. The program is part of the accompanying events for the traveling exhibit "Revolutionary Grain: Celebrating the Spirit of the Black Panther Party in Portraits and Stories" that is on display through March 15 in the Macky Gallery.

What: A panel discussion with former Black Panther Party members Gayle Dickson, Aaron Dixon, Ericka Huggins and Billy X Jennings, alongside CAAAS Director Reiland Rabaka and photographer Suzun Lucia Lamaina.

When: 7 p.m. Thursday, Feb. 12

Where: Norlin Library Center for Global British and Irish Studies Room (M549)

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Additional programs featuring former Panthers will take place throughout that week on campus.

The “Revolutionary Grain” exhibition features a social-documentary photographic essay of portraits and personal narratives from more than 50 former members of the Black Panther Party. Lamaina spent five years traveling across the United States to interview and photograph participants, offering them the opportunity to tell their own stories.

“This work is meant to spark conversation,” Lamaina explained of the project, noting that the exhibition coincides with the 60th anniversary of the Black Panther Party’s founding and ongoing struggles for racial justice in the United States. The exhibition situates the movement’s history in what Lamaina describes as a new phase of the Black Freedom Struggle in contemporary America.

Founded in October 1966 in Oakland, California, by Bobby Seale and the late Huey P. Newton, the Black Panther Party initially focused on addressing police violence in Black communities. By the late 1960s, the party had become a national and international symbol of resistance, establishing nearly 50 chapters across the United States and an international presence in Algiers, North Africa.

“Putting on the Black Panther uniform and committing our lives to the liberation struggle changed the purpose and meaning of our entire identities,” Dixon wrote in his 2012 memoir My People Are Rising: Memoir of a Black Panther Party Captain. “It was a liberating experience. Societal restriction and conformities dropped by the wayside, leaving a fearless, defiant, powerful human being. We no longer looked at ourselves in the same way, nor did we look at the system and its representatives in the same manner. We were the freest of the free.”

In addition to its revolutionary political stance against capitalism, imperialism and fascism, the party launched “survival programs” that provided free breakfasts, medical services and other essential resources to thousands of Black Americans. Despite its community-based activism, the Panthers were frequently targeted by federal authorities, with the Nixon administration labeling the party “the greatest danger to the internal security” of the United States. A number of its members, among them Fred Hampton in Chicago, died at the hands of police officers.

The exhibition seeks to counter decades of misrepresentation by bringing first-person accounts from former members to the foreground, connecting their experiences to present-day debates over racism, police violence and political organizing.

“At a time during which the Trump administration and its supporters are rewriting history and representing versions of the past that downplay or even erase the critical significance of the Black Liberation Struggle of the 1960s and 1970s—of which the Panthers were an integral part—it is all the more important to shed light on the movement’s complexities and give our students, faculty and the community one more opportunity to engage with aging Panther members in meaningful ways," says Thomas Pegelow Kaplan, a professor of history and the Louis P. Singer Endowed Chair in Jewish History. "This is a university campus, and it is a celebration, but also a reappraisal, with the help of key actors, of a complex struggle that has also problematic chapters. History is messy, but our students deserve better than what many in Washington have in store for them.”

The exhibition is co-sponsored by the departments of English, Ethnic Studies and Women and Gender Studies and the Center for Humanities and the Arts.

All events are free and open to the public. No tickets are required. For more information, contact Thomas Pegelow Kaplan at thomas.pegelow-kaplan@colorado.edu.

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The documentary exhibit “Revolutionary Grain,” open now through March 15 in the Macky Gallery, highlights the stories of former Black Panther Party members and ongoing struggles for racial justice.

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Top image: Former Black Panther Party members Emory Douglas (left), Kathleen Cleaver (center) and Barbara Easley Cox (right). (Photos: Suzun Lucia Lamaina)

Streaming killed the video star

Kylie Clarke — Wed, 03 Dec 2025 00:12:02 +0000

Streaming killed the video star Kylie Clarke Tue, 12/02/2025 - 17:12

Jared Bahir Browsh

Once a cultural phenomenon, MTV ends five music channels in the UK; viewership in the U.S. continues its downward slide

When MTV announced earlier this year that it would be shutting down music channels at the end of 2025, the reaction was nearly unanimous: MTV still plays music?

The digital networks—MTV Music, MTV 80s, MTV 90s, Club MTV and MTV Live— will shut down in the United Kingdom, Ireland and several other countries in Europe. In the United States, MTV’s secondary networks—MTV2, MTV Live, MTV Classic and MTVU—will continue operating for now despite declining viewership and being carried through cable.

The changes are evidence of both the global reach MTV had at its peak and the significant changes that have occurred in television, especially over the last decade as the rise of streaming and cord cutting has led to a dramatic decline in cable and linear viewing.

Jared Bahir Browsh is the Critical Sports Studies program director in the CU �鶹ӰԺ Department of Ethnic Studies.

Music programming has been a part of television since the 1930s, when radio broadcasters transitioned to the visual medium and many of the early experimental broadcasts in the United States and Europe featured live musical performances. As television matured following World War II, music continued to be an integral part of its growth with variety programs like The Ed Sullivan Show, which debuted as Toast of the Town in 1948, and American Bandstand, which debuted as a local program in Philadelphia in 1952 featuring top musical acts.

These shows not only brought musical acts into people’s homes but were one of the few opportunities for African Americans to be seen on the quickly growing medium. The Ethel Waters Show, a variety special that aired on NBC in New York City in 1939, was the first television show to be hosted by an African American. Later, as television spread, Nat “King” Cole hosted his own show, which aired nationally beginning in 1956, but struggled to gain a permanent sponsor in its 13 months on air, causing Cole to comment “Madison Avenue is afraid of the dark.” In spite of this type of prejudice, Ed Sullivan and American Bandstand regularly featured Black artists in the 1940s and 1950s before Brown v. Board of Education overturned segregation in schools.

Musicals before videos

Short musical movies are as old as sound films, with series like Silly Symphonies debuting in 1929 and featuring animation produced around classical music. Warner Bros. followed Disney’s lead with Looney Tunes in 1930 and Merrie Melodies in 1931, featuring music from the Warner Bros. catalog. In 1929, RCA produced the short film Black and Tanwith Duke Ellington and His Orchestra, set in New York City during the Harlem Renaissance. In the 1930s, Paramount produced a series of short films featuring Cab Calloway and His Orchestra, offering visuals as a companion to his music.

In 1964, Top of the Pops debuted on the BBC, airing interviews, live performances and music news based on weekly record charts. The program also featured pre-taped music videos, then known as promotional films, when artists could not perform in the studio live. The Beatles’ film A Hard Day’s Night was also released in 1964, accompanied by the album of the same name and functioning as a promotional vehicle for the band and its music. Inspired by the Beatles’ film, “The Monkees” TV show debuted on NBC in 1966 with a made-for-TV band and their music at the center of the series. In animation, Saturday morning producers took a cue from the popularity of The Monkees with young viewers and made series like “The Archie Show” and “Josie and the Pussycats” following the same model. The fictional band The Archies even scored a No. 1 hit with “Sugar, Sugar.”

In the United States, Ed Sullivan ended his run on television in 1971 and the following year NBC’s “The Midnight Special” and ABC’s “In Concert" debuted, featuring filmed live performances and the occasional music video.

Queen’s Bohemian Rhapsody is often recognized as a turning point in music videos. Released on “Top of the Pops” in 1975, the video’s production value and popularity led to a new age of music video production and to music videos becoming a vital tool to promote singles.

Throughout the 1970s, dedicated music video programs, including Australia’s “Countdown” and “Sounds,” aired more frequently. In the United States, cable television was quickly expanding and USA Network/Showtime’s Video Concert Hall, which debuted in 1978, featured music videos. In 1980, Pop Clips aired as a weekly show on Nickelodeon, produced by former Monkees member and music video pioneer Michael Nesmith.

Nickelodeon, the first children’s cable network, had been launched the previous year, in April 1979, by Warner Cable Communications; American Express purchased 50% of Warner Cable Corp. in September of that year. Soon after, Warner-Amex began to develop a network to attract the underserved teenage audience. Seeing music as a way to connect with the demographic, the company was originally going to purchase and expand Pop Clips, but instead developed its own Music Television network.

MTV launched on Aug. 1, 1981, and fittingly, The Buggles’ “Video Killed the Radio Star” was the first video played on the new network. The new network’s impact on the music industry was nearly immediate, as bands with little radio play like The Human League and Men at Work saw a significant uptick in record sales. It also kicked off the Second British Invasion, as the music video format was featured for years on British television. As U.S. acts scrambled to leverage the format, music videos imported from Britain by bands like The Police filled the MTV schedule.

In spite of the demonstrable cultural impact of MTV, the network still faced challenges from the limited proliferation of cable and the unwillingness of cable companies to carry the station due to concerns over the long-term viability of the network. After negotiations with cable operators resulted in little progress, MTV decided to go directly to the consumer. The “I want my MTV” campaign featured famous musical stars like Mick Jagger and David Bowie to promote the network and persuade television viewers to call their cable providers and pressure them to pick up MTV.

Controversial MTV

MTV’s rise in the early 1980s was not without controversy. Black artists were rarely seen on the channel, a fact Bowie raised in a 1983 interview on the network. Programmers for MTV said that the channel’s rock focus and fears of alienating fans in middle America prevented Black artists from being placed in heavy rotation. When Michael Jackson’s “Billie Jean” was rejected by MTV, the president of his label, CBS Records, threatened to pull all of the label’s artists from the network. MTV relented and the video debuted on March 10, 1983. Boosted by the music videos for “Billie Jean,” “Beat It,” and especially the title track “Thriller,” the album went on to become the highest selling record of all time. The popularity of Jackson’s videos helped him to become the “King of Pop.” The music video for the title track of Jackson’s next album, “Bad” premiered in primetime on CBS, and the premiere for the video for “Remember the Time” was simulcast on multiple networks including ABC, NBC and MTV.

The following year was a turning point for the network. On the business side, Warner spun off Nickelodeon and MTV into their own company, MTV Networks, later buying Amex’s stake in the company and then turning around and selling all of MTV Networks to Viacom, completing the deal in 1986. Several new programs and special events also debuted on the network in 1984, including the MTV Music Video Awards, the Top 20 Countdown and the WWE event The Brawl to End It All, the first live wrestling event on cable. Cyndi Lauper featured wrestler Captain Lou Albano in her 1983 video for “Girls Just Want to Have Fun,” leading to a WWE storyline featuring the pop star and cross-marketing that benefitted both MTV and the WWE.

MTV’s influence spread quickly throughout the 1980s, influencing other media while earning criticism for its effect on the music industry. Shows like Miami Vice introduced the aesthetics and music of MTV into scripted television. On the other hand, MTV was also criticized for leading the music industry to focus more on the visual appeal of artists than their music.

The Cable Communications Policy Act of 1984 helped remove regulations that were slowing cable’s growth, leading to further expansion of MTV and other cable networks into new markets. Throughout the 1980s, the network continued to expand its original programming, moving away from the radio-style format hosted by its video jockeys, or VJs. This included more genre-specific shows like Headbangers Ball, which featured heavy metal, and the alternative rock-focused 120 Minutes, along with Dial MTV, which allowed viewers to call in and vote for their favorite videos.

Even with the expansion of music played on MTV, there were still genres the network overlooked. With MTV playing very little country music, in 1983 both Country Music Television and The Nashville Network launched. The same year, Black Entertainment Television also grew from a programming block on the USA Network into an independent network, airing music videos from Black artists. In 1985, MTV’s sister network VH1 premiered, focused on an older audience with adult contemporary music. All of these networks are now owned by Paramount.

MTV also expanded beyond the United States when MTV Europe launched in 1987. One of the new network’s early shows, Yo!, featured hip-hop artists and became one of its most popular programs, Yo! MTV Raps, which debuted in the United States in 1988 and helped expand hip-hop’s visibility. The genre had been limited on the network to a few artists like Run-DMC and the Beastie Boys, both of which heavily sampled rock music. Also in 1987, This Week in Rock launched MTV News, which originally focused on music and pop culture news but expanded into politics during the 1992 election, focusing on issues impacting its younger audience.

MTV continued to expand their programming in the late 1980s and early 1990s, airing the game show Remote Control and giving young comedians Ben Stiller and Jon Stewart their own shows. In 1992, MTV Sports debuted focusing on extreme sports, helping to bring skateboarding, BMX, and other alternative sports to the mainstream leading to the X Games in 1995. The same year modern reality TV was launched with The Real World. This also marked the beginning of the shift away from music videos as more reality shows and docuseries, like Road Rules and True Life, filled more of the schedule throughout the 1990s.

The last gasp for the music in Music Television was Total Request Live (TRL), which debuted in 1998. Driven by the popularity of boy bands, “pop princesses,” hip-hop, and pop rock, the show aired in the afternoon as teenagers were getting home from school. The program revitalized the role of the VJ and launched the careers of Carson Daly, Hilarie Burton, La La Anthony, and Vanessa Lachey. By the time TRL ended its original 10 year run, most of the music videos on the network were airing in late night.

As MTV moved into other programming, the internet became the primary platform for music videos. The non-linear format offered by early MTV with a playlist of very different videos played back to back forecasted our relationship with YouTube, TikTok, and other social media sites. MTV motivated the evolution of the music industry and the explosion of music videos that continue today, even as Paramount moves away from the M in MTV.

Jared Bahir Browsh is an assistant teaching professor of critical sports studies in the CU �鶹ӰԺ Department of Ethnic Studies.

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Once a cultural phenomenon, MTV ends five music channels in the UK; viewership in the U.S. continues its downward slide.

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Top image: MTV

On Thanksgiving, pass the gravy and a tight spiral

Rachel Sauer — Mon, 17 Nov 2025 19:10:19 +0000

On Thanksgiving, pass the gravy and a tight spiral Rachel Sauer Mon, 11/17/2025 - 12:10

Jared Bahir Browsh

The tradition of football on the fourth Thursday in November is almost as old as the holiday itself, bringing families together in an important cultural touchpoint

As families unite for the Thanksgiving holiday, it is likely the gathering will include watching football before and after the traditional dinner. Thanksgiving football is almost as old as the holiday itself, with more than a century and a half of history on the holiday

Most historians recognize the Nov. 6, 1869, matchup between Princeton University (then The College of New Jersey) and Rutgers University in New Brunswick, New Jersey, as the first official American football game. “Foot-ball” was played much differently then, looking more like a hybrid of soccer and rugby. Rutgers won by a score of 6-4 with about 100 spectators looking on.

Just 11 days later, an advertisement appeared in The Evening Telegraph, a Philadelphia newspaper, announcing a “foot-ball match" between Young America Cricket Club and the Germantown Cricket Club to be played in the Germantown section of the city on Thanksgiving. There are no reports of the game, but considering it took place just 70 miles southwest of New Brunswick, it was likely played under the same rules as the college game.

Jared Bahir Browsh is the Critical Sports Studies program director in the CU �鶹ӰԺ Department of Ethnic Studies.

Abraham Lincoln, influenced by a series of essays written by editor and activist Sarah Josepha Hale, had established Thanksgiving in 1863, proclaiming the last Thursday of November a holiday. Subsequent presidents continued this traditional proclamation until 1939, when Franklin D. Roosevelt named the second-to-last Thursday in November as Thanksgiving to provide an extra week for holiday shopping. This created a political rift with Republicans, who declared that day “Franksgiving” and encouraged Americans to celebrate the holiday the following week.

Congress solidified the date of Thanksgiving in 1941, with Roosevelt signing the bill on Dec. 26, 1942, officially making the fourth Thursday of November the Thanksgiving holiday. By this time, football on Thanksgiving had become a tradition, with some high schools establishing rivalries as early as 1875 and annual intercollegiate games beginning in 1876.

Princeton and Yale played a yearly game on Thanksgiving between 1876 and 1881 before the Intercollegiate Football Association declared its championship would take place on the holiday beginning in 1882. The University of Michigan played annually on Thanksgiving between 1885 and 1905, including a series of games against the University of Chicago that helped firmly establish football’s presence on the holiday. Many New England high schools play their rivalry game, or Turkey Bowl, on the holiday, allowing alumni to come back to root on their alma mater, a tradition that celebrates its 150th anniversary in 2025.

The third edition of the “Border War” between the University of Kansas and University of Missouri in 1893 took place on Thanksgiving in Kansas City, Missouri, a tradition that continued through 1910, when the conference began requiring all games to be played on college campuses. Like many rivalry games, it is now played in late November, typically the weekend after Thanksgiving.

As old as pro football

Thanksgiving games are also as old as professional football itself—the first recognized professional team, the Allegheny Athletic Association in Western Pennsylvania, regularly played on Thanksgiving. Regional professional leagues in Ohio, New York and Pennsylvania scheduled marquee late-season matchups and championships on Thanksgiving. The Ohio League and other professional and semi-professional football organizations did stop holding Thanksgiving games for a short time, given that many of their players were high school coaches whose teams played that day.

From its inception in 1920 as the American Professional Football Association, the NFL began playing games on Thanksgiving. The Detroit Panthers played their first Thanksgiving game in 1925, a tradition carried by several Detroit franchises including the Detroit Lions. In the Lions’ first season in 1934, owner George A. Richards saw a Thanksgiving Day game as a way to market the new team. Richards also owned NBC radio affiliate WJR, and he negotiated that the matchup against the Chicago Bears be broadcast nationally.

The NFL’s hold on Thanksgiving was disrupted in the late 1930s and early 1940s. The Franksgiving controversy led to a political-party split over when states would recognize the holiday, making it difficult for football teams to schedule games across state lines. The one exception in the NFL was the case of the Pittsburgh Steelers and the Philadelphia Eagles; being in the same state, they were able to play the game when Pennsylvania chose to recognize Franksgiving.

Yale and Princeton, here playing at Yale Field on Nov. 20, 1897, had an annual match-up on Thanksgiving between 1876-1881 before the Intercollegiate Football Association declared its championship would take place on the holiday beginning in 1882. (Photo: Wikimedia Commons)

World War II disrupted all sports, with the NFL hit especially hard by the loss of personnel, causing some teams to suspend operations. In one notable case, it led the Eagles and Steelers to combine teams to play as the Steagles for a season in 1943.

When NFL Thanksgiving games resumed in 1945, only the Lions continued the tradition. The All-America Football Conference (AAFC) played on Thanksgiving when the league launched in 1946. Both the AAFC’s Cleveland Browns and the San Francisco 49ers played on Thanksgiving in 1947 before joining the NFL after the AAFC folded in 1949.

The Lions and their rival Green Bay Packers, which play each other on Thanksgiving this year, battled on the holiday every year between 1951 and 1963. During this time, the two franchises’ fortunes seemingly switched, with Vince Lombardi taking over the Packers and leading the team to six NFL championships in the 1960s, of which they won five, including the first two Super Bowls. The Lions were the only NFL team to play on Thanksgiving during this period, except in 1952, when the Dallas Texans, in their only season, were scheduled to play the Chicago Bears. The Texans-Bears game had to be moved to Akron, Ohio, due to a scheduling conflict in Dallas. The Bears, underestimating the expansion team, sent their second unit to Akron and were upset by the Texans in the team’s only win of their sole season.

Not on Friday or Saturday

The Sports Broadcasting Act of 1961 allowed the NFL to negotiate media rights on behalf of the entire league, with the league agreeing to not broadcast on Fridays and Saturdays—a concession made to protect traditional scheduling of high school on Friday and college football on Saturday. Thursdays were an exception, so it did not affect the broadcasting of football games on Thanksgiving, although it would be another four decades until Thursday night games became a weekly fixture for the NFL.

Dallas returned to Thanksgiving in 1966, when Cowboys’ President Tex Schramm saw a holiday game as a way to publicize the team that was founded in 1960. Schramm also felt there would be an advantage for the team, given that the visiting team would have one less day of practice due to travel. The Cowboys joined the Lions as a permanent fixture on Thanksgiving, hosting a game on the holiday every year since 1966, except for 1975 and 1977. In those two years, the St. Louis Cardinals hosted over the much more popular Cowboys, who had become consistent Super Bowl contenders. The Cowboys’ success in the period and their appearance in the nationally televised Thanksgiving game led to their becoming “America’s Team.”

St. Louis also had a long-running tradition of the “Turkey Bowl Game” between high school powerhouses Kirkwood Pioneers and Webster Groves Statesmen. The matchup, which started in 1928, is an example of Thanksgiving’s presence in high school football. Separately, Norwich Free Academy and New London High School in Connecticut have been playing the “Ye Olde Ball Game” since 1875.

The Detroit Lions and the Atlanta Falcons play on Thanksgiving Day in 2005. (Photo: Dave Hogg/Wikimedia Commons)

Historically, many high school sports associations ended their seasons around Thanksgiving, allowing for championship games and rivalry matchups to be held on the holiday. State tournaments and shifts in sports seasons have disrupted this tradition in some places, but Thanksgiving continues to be a major day for high school football, especially in New England and the northeastern United States where these traditions began.

Football fans typically have very few obligations on Thanksgiving, given its status as a holiday. The holiday’s intersection with the end of the high school and college football seasons has meant playing on Thanksgiving quickly became a tradition for football. This has only intensified with the advent of television, as families use sports to come together or even escape tensions, which is why the NFL’s Thanksgiving games are among the league’s highest-rated regular-season contests. This popularity led to a third primetime game being added to the schedule to complement the early afternoon Lions game and midafternoon Cowboys game.

The third primetime game was partially motivated by the limited opportunity for American Football League teams to play in the game. When the AFL launched in 1960, it scheduled Thanksgiving Day games; however, when the league merged with the NFL in 1970, the Lions and Cowboys, two NFC teams, continued to be the sole hosts of Thanksgiving Day games. This meant that fewer AFC teams played on Thanksgiving and could only be the away team.

Playing in primetime

The first primetime Thanksgiving matchup, played in 2006, featured the Denver Broncos and Kansas City Chiefs and marked the premiere of Thursday Night Football. NBC obtained the rights to the primetime Thanksgiving game in 2012, which continued in spite of Amazon gaining exclusive rights to Thursday Night Football in 2022. The following year, the first Black Friday game aired on Amazon, further leveraging the holiday and shopping season. The game is played in the afternoon to avoid conflicts with the Sports Broadcasting Act, which bans the NFL from Friday night broadcasts during the high school season.

While a national audience watched, there have been several memorable games and traditions during the holiday game. The first overtime game on Thanksgiving was in 1980, with the Bears returning the opening kickoff for a touchdown—the shortest overtime in NFL history. The Bounty Bowl in 1989 intensified the rivalry between the Eagles and Cowboys after Philadelphia was accused of offering a reward for injuring the Cowboys kicker. In 2012, the infamous Butt Fumble occurred on Thanksgiving, when New York Jets quarterback Mark Sanchez ran into the backside of his own teammate. The fumble was picked up by the New England Patriots and returned for a touchdown.

Teams often wear their alternative jerseys on Thanksgiving to mark the holiday game, including throwback jerseys and the NFL’s monochromatic “Color Rush” uniforms. Halftime has also become a spectacle during Thanksgiving games, and since 1997 the Salvation Army has kicked off its Red Kettle Campaign during halftime of the Dallas game. A halftime concert has also been added to the games over time, with Shaboozey, Lainey Wilson and Lindsey Stirling performing at the three 2024 games.

Considering football on Thanksgiving is almost as old as the federal declaration of the holiday itself, it is no surprise it has become synonymous with the holiday. With fewer shared cultural experiences in this oversaturated media environment, the NFL remains one of the few forms of popular culture that crosses age, gender and political affiliation, helping to ease possible tensions and, along with food, bring families together during the holidays.

Jared Bahir Browsh is an assistant teaching professor of critical sports studies in the CU �鶹ӰԺ Department of Ethnic Studies.

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The tradition of football on the fourth Thursday in November is almost as old as the holiday itself, bringing families together in an important cultural touchpoint

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Top image: iStock

How Super Mario helped Nintendo level up

Rachel Sauer — Fri, 24 Oct 2025 16:06:55 +0000

How Super Mario helped Nintendo level up Rachel Sauer Fri, 10/24/2025 - 10:06

Jared Bahir Browsh

Forty years after the launch of the Nintendo Entertainment System, the name remains synonymous with worldwide gaming and technological innovation

When Nintendo released the Switch 2 on June 5, it marked the twelfth distinct console the video game company has sold in the United States. Its first, the Nintendo Entertainment System (NES), celebrates its 40th anniversary this month; it launched in New York City on Oct. 18, 1985, before launching in other cities, including Los Angeles, in 1986.

Although they are known primarily as a video game company, Nintendo’s roots date back to 1889, when it was founded in Japan as a trading card company. The company did well enough to stay in business through World War II, but its true turning point was in 1959, when it obtained the license to include characters from the Walt Disney Company on its cards, opening the children’s market to Nintendo. The company ventured into toys in 1968 and introduced the Beam Gun two years later, which was an optoelectrical game in which players shot physical targets with light. Electronics giant Magnovox then hired Nintendo to create a light gun for its video game system, the Odyssey, which came out in 1971.

Jared Bahir Browsh is the Critical Sports Studies program director in the CU �鶹ӰԺ Department of Ethnic Studies.

Like many toy companies making plastic toys, Nintendo struggled during the Oil Crisis of 1973-74, which led to increases in material costs. In response, Nintendo turned its attention to video games, strengthening its partnership with Magnavox to distribute the Odyssey in Japan and also contracting with the company to manufacture microprocessors for its own video game console, the Color TV Game, which launched in 1978. Nintendo was looking to profit from the growing video game market.

Video game consoles at that time were limited and only offered a small number of games, many of which were variations of games like Pong. The cartridge system had been invented in 1974 and licensed to Fairchild Camera and Instrument for its Channel F system in 1976. Jerry Lawson, one of the very few Black game developers, helped improve the design of the cartridges, or “Videocarts,” for release of the Channel F. Unfortunately, the $170 price tag ($950 in 2025) for the system and the $20 ($110 in 2025) for each cartridge, along with limited marketing, led the system to quickly be surpassed by the Atari 2600, released in 1977, which had a similar price point but more action games and arcade ports and a higher marketing budget.

Even as the home console market grew with advancing technology, the arcade market exploded, since arcade cabinets could contain more circuitry and computing power than their home counterparts. Arcades entered their golden age in the late 1970s, with several space-themed games like Asteroids and Space Invaders leading both children and adults to spend quarter after quarter to beat these games. Arguably, the most popular game to emerge in this era was Namco’s Pac-Man, which debuted in 1980. The gameplay was not just addictive, but it was one of the earliest arcade games to feature a marketable character. Inspired by a pizza missing a slice, the little yellow protagonist became a pop culture phenomenon and inspired merchandise, an animated series and even a Top 10 song.

From Jumpman to Mario

Nintendo’s home console, and the company as a whole, struggled financially in the late 1970s. However, two significant events occurred in 1979 that helped the company reverse its fortunes in the electronics market. First, Nintendo opened its American subsidiary in New York City in 1979 and began developing arcade games. Then, the following year, Nintendo released the Game & Watch, one of the first handheld video game systems using technology similar to that in handheld calculators. The success of the Game & Watch, and the introduction of Nintendo’s early arcade cabinets Sheriff (1979) and Radar Scope (1980) in Japan, pushed the company to invest more resources into electronic games.

After Radar Scope’s lower-than-expected U.S. sales, though, Nintendo needed a game to place in the unsold cabinets. In 1981, it released the first platform game in which the main character could jump as they made their way up the level. The game and characters were designed by Shigeru Miyamoto and replaced the hardware in unused Radar Scope cabinets.

Jumpman, as the character was called at the time, climbed ladders and jumped over barrels thrown by a giant gorilla to save the damsel in distress, Pauline. What came to be known as Donkey Kong was also groundbreaking because it featured cutscenes, or non-interactive narrative scenes, that helped to advance the game story.

Donkey Kong was groundbreaking because it featured cutscenes, or non-interactive narrative scenes, that helped to advance the game story and also introduced the world to Jumpman, who became the world-famous Mario. (Photo: Nintendo)

Donkey Kong not only went on to become one of the bestselling arcade games of all time, but when Jumpman was renamed Mario—after the warehouse landlord of Nintendo’s Washington state headquarters—Nintendo suddenly had found its mascot. The Donkey Kong spinoff Mario Bros. was released in arcades in July 1983, introducing the world to Mario’s brother Luigi and other now-ubiquitous characters like turtles that were later renamed Koopas.

Less than two weeks after Mario Bros. was released in arcades, Nintendo’s Family Computer (Famicom) was released in Japan. Home consoles maintained their popularity in Japan even as the video game market crashed in the United States in 1983—largely due to the lack of quality control over the games made for consoles like Atari, causing a flood of badly produced games into the market.

One downward tipping point was E.T. the Extra-Terrestrial, a video game based on the blockbuster movie that came out in the summer of 1982. Atari reportedly paid between $20-$25 million for the rights to “E.T.” and accelerated the production schedule from six months to less than six weeks to ensure it was available for the Christmas season. Atari manufactured 4 million “E.T.” cartridges, but 3.5 million were reportedly either unsold or returned by customers. The surplus was infamously buried in New Mexico.

Oversaturation of low-quality games, along with the introduction of home computers and stagnation in video game technology, led to a drop in the video game market from more than $3.2 billion ($10.5 billion in 2025) in sales in 1983 to $100 million ($300 million in 2025) in 1985. Arcades also faced a decline in 1983 and 1984 but soon recovered as new technology entered arcades.

Surviving the market crash

Prior to the mid-1980s market slump, Sega introduced the Convert-a-Game system in 1981, which allowed for easier conversion of the game software in arcade cabinets, so that players could enjoy new releases without changing entire cabinets. The Nintendo VS. system used this hardware when it debuted in arcades in 1984, introducing the Famicom system to the U.S. market as Nintendo developed the console for the North American market. Games like Tennis and Excitebike debuted on the VS. system as Nintendo decided which games would be available for the U.S. launch.

After the dramatic video game market crash, Nintendo was aware of how retailers and consumers perceived video games, so it marketed the system as a toy rather than a game. Originally titled Advanced Video System, Nintendo altered the console’s design to feature neutral gray and black and altered the system from top-loading one to a front-loading insertion system similar to a VCR, which made it distinct from earlier consoles like the Atari 2600.

To further separate the Nintendo Entertainment System (NES), the company heavily promoted optional accessories. The Beam Gun returned as a light gun, now named Zapper, and the Robotic Operating Buddy (R.O.B.) was added to further sell the NES as an advanced electronic entertainment system rather than a video game console. R.O.B. was short lived, but NES went on to revitalize the home console industry. Gail Tilden, advertising manager for Nintendo of America and one of the early female executives in the video game industry, coined the terms "Game Paks" for the cartridges and console for the "Control Deck," helping to separate it linguistically from the earlier industry.

Originally titled Advanced Video System, Nintendo altered the console’s design to feature neutral gray and black and altered the system from top-loading one to a front-loading insertion system similar to a VCR, which made it distinct from earlier consoles like the Atari 2600. (Photo: Evan-Amos/Wikimedia Commons)

The consistent figure in Nintendo’s eventual domination of the video game industry in the 1980s was Mario. Miyamoto had envisioned Mario as Nintendo’s “go-to” character for various games, leading Mario to become a multimedia star—the video game industry’s Mickey Mouse. Mario has been featured in more than 200 games as well as various TV series, comics and films, including a blockbuster animated film in 2023 with a sequel scheduled for release in 2026.

Super Mario Bros. advanced game development and was ultimately the perfect game to introduce players to the NES and the company’s star. The first level, World 1-1, became a template for all future games, acting as a tutorial for players familiarizing themselves with the game controls and new system. The game has sold more than 58 million copies to date across several Nintendo platforms.

Super for Nintendo

Nintendo’s rise has not always been without controversy, as video games have consistently faced criticism for perceived addiction among young players and the content of games. Nintendo as a business has also faced claims in the North American market of monopolistic practices. To avoid the oversaturation of variable-quality games, Nintendo required approval of games and the NES included a chip in the console that essentially locked out unlicensed games. Although this gave Nintendo oversight of game stock, it also limited outside innovation.

Nintendo’s success also gave the company tremendous power over retailers, blocking out other consoles through threats to remove its stock if retailers like Walmart granted space to other consoles. The company’s dominance further extended to the portable game market with the introduction of the Game Boy in April 1989, which included one of the best-selling games of all time, Tetris.

Nintendo has weathered competition throughout its history, ultimately ceding some market share, but survived on the strength of Mario and its engaging library of games. Sega initiated the console wars that dominated the early 1990s video game market when it released the Genesis in North America in the summer of 1989. Sega struggled initially when the Genesis, which was named Mega Drive in Japan, was released about the same time as Super Mario Bros. 3.

The Nintendo Game Boy, released in April 1989, included one of the best-selling games of all time, Tetris. (Image: Wikimedia Commons)

The competition heated up after Sega, following Nintendo’s approach, introduced its own mascot and go-to character, Sonic the Hedgehog, in 1991, through the eponymous platform game. Nintendo also launched its Super Nintendo Entertainment System (SNES) the same year as the fourth generation of consoles introduced 16-bit technology to the market.

Sega hired Tom Kalinske, who made his name launching Flintstone Vitamins and worked with Mattel to revitalize Barbie, to battle Nintendo head on. He positioned the Genesis as the cooler system, targeting high school and college gamers rather than younger children. Sega’s in-your-face marketing also included targeting retailers who refused to cede space to a Nintendo competitor. The company launched a Sega store in Bentonville, Arkansas, Walmart’s headquarters, and an advertising strategy that included billboards on local highways to force Walmart to relent and give shelf space to Sega.

Ultimately, the competition from Sega—which for a short time won the majority of market share, partly because Sega leveraged controversy to market more mature and violent games like Mortal Kombat—pushed Nintendo to secure its niche as a family game maker while continuing to embrace new technology. This led to Sega’s downfall.

Kalinske had negotiated two separate opportunities for Sega to advance that Sega of Japan, which had a contentious relationship with the brasher Sega of America under Kalinske’s leadership, rejected. The first opportunity was with Silicon Graphics to create a more advanced graphic chip, and the second opportunity was with Sony to develop a new disc-based 3-D system. After Sega of Japan rejected these opportunities, Silicon Graphics partnered with Nintendo on the Nintendo 64 system while Sony went ahead and developed its own system, the Playstation. Both systems far outsold Sega’s next generation system, Sega Saturn, with Playstation becoming the best-selling console of all time after its release in 1994, only later surpassed by Playstation 2.

Meanwhile, Super Mario 64 introduced a 3-D world that Mario could explore, and he continued to star in some of the most popular video game series of all time, including Mario Kart, Mario Party and dozens of sports games including Mario Tennis and Mario Golf. Nintendo’s portable systems continued to evolve, adding color, dual screens and 3-D graphics over time, and following the Nintendo 64 with the disc-based Gamecube and then the interactive Wii. The portable and console systems combined in 2017 when the hybrid Switch was released, allowing both portable play and television docking.

Mario continues to be at the center of everything Nintendo does, and Mario Kart was the featured game when the Switch 2 launched in summer 2025. Now, fans of the plumber can also engage with him and the other members of the Nintendo Universe at Super Nintendo World, a themed land at Universal Studios theme parks, the latest of which opened in Florida in May 2025. Even after over four decades, Mario continues to be super for Nintendo.

Jared Bahir Browsh is an assistant teaching professor of critical sports studies in the CU �鶹ӰԺ Department of Ethnic Studies.

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Forty years after the launch of the Nintendo Entertainment System, the name remains synonymous with worldwide gaming and technological innovation.

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And the heavyweight champion of TV is ... HBO!

Rachel Sauer — Thu, 02 Oct 2025 23:11:23 +0000

And the heavyweight champion of TV is ... HBO! Rachel Sauer Thu, 10/02/2025 - 17:11

Jared Bahir Browsh

Fifty years after the Thrilla in Manila bout launched HBO as a national broadcasting powerhouse, the network continues to shape modern viewing and entertainment

The Thrilla in Manila, fought 50 years ago on Sept. 30, 1975, in Quezon City, Philippines, was the third bout between Muhammad Ali and Joe Frazier and is considered by many as one of the best, most brutal fights in boxing history. It also marked a new era in sports media as the first fight broadcast nationally through Home Box Office (HBO).

Television audiences had been limited in what sports they could watch since the 1930s. Broadcast networks had to fit sports in with their other programming, including news and scripted shows, so audiences that wanted to watch at home were limited to regional offerings or national games of the week. In 1948, a fight between Joe Louis and Joe Walcott was broadcast in theaters through closed-circuit television. Theaters were connected through private telephone or coaxial cable, and viewers bought tickets to see the bout projected from a special receiver.

Closed-circuit broadcasts of boxing matches and other sports events peaked in the 1960s and 1970s, earning millions of dollars for event promoters. Ali’s fights in this era were among the most popular closed-circuit events, but others, like the Indianapolis 500, also drew large audiences of sports fans to movie theaters. The famed Rumble in the Jungle between Ali and George Foreman earned $60 million in theater admission in the United States, with fans paying $20 ($130 today) to watch the event live as it occurred across the world in the former Zaire.

Jared Bahir Browsh is the Critical Sports Studies program director in the CU �鶹ӰԺ Department of Ethnic Studies.

The same year as the Louis-Walcott fight, cable television debuted, connecting rural homes too remote to receive a television signal over an antenna. Northeastern Pennsylvania was a test ground for this form of television, since it was close enough to New York City and Philadelphia to pick up broadcast signals with a strong antenna atop a building or a mountain, then connect households through cable. Later, cities in eastern Pennsylvania like Wilkes-Barre and Allentown were among the first whose residents subscribed to paid cable television outside of major cities like New York.

Businessman Charles Dolan was granted a franchise permit to build the first cable system, Sterling Manhattan Cable, in 1965, obtaining financial backing from Time-Life. A lack of quality programming beyond some events in Madison Square Garden hampered the growth of the system, which cost millions of dollars to install but only attracted a few hundred customers in the city. In 1971, during a cruise to France, Dolan conceived of a network that could be leased to other cable systems, which would air unedited films without advertising and was funded by subscriber costs, tentatively named the “Green Channel.”

Along with convincing Time-Life that this was a viable business, Dolan also had to navigate Federal Communications Commission (FCC) scrutiny, which had limited the programs that could be broadcast on cable due to non-duplications rules and other regulations focused on supporting the broadcast networks. Also, consistent lobbying from movie theater chains and broadcasters hampered cable companies, since customers were bombarded with messages that cable was a threat to both the movie business and to free over-the-air content.

Undeterred, Dolan convinced Time-Life to support the Green Channel, which it did after the FCC gave preemptive authorization to launch a paid television service. Dolan and his Time-Life partners originally planned to launch through the Teleservice cable system in Allentown, but after an agreement to broadcast Philadelphia 76ers games collapsed, they launched through the same service 65 miles north in Wilkes Barre to avoid NBA blackouts. Wilkes-Barre was considered New York Knicks territory, and the network had the right to broadcast Knicks games through its agreement with Madison Square Garden. During this time, Dolan and Time-Life also selected a placeholder name for the network, Home Box Office, as they prepared to launch in 1972. The network was soon made available throughout the northeastern United States by relaying microwaves along towers across the region; some of the earliest programming included movies and New York Rangers hockey.

The following year, Home Box Office, Inc., was spun off from Sterling Communications, with Time-Life increasing its equity in the company. Dolan stepped down as CEO of Home Box Office and Sterling after disagreements with Time-Life, accepting a buyout that enabled him to expand his cable service across Long Island. Time-Life had a tentative agreement with Warner Communications to buy HBO, but ultimately that deal fell through. Time-Life later took over Sterling Communications, but the service continued to struggle, ending in 1973 with fewer than 20,000 subscribers and a high turnover rate as customers found the programming repetitive.

The Thrilla in Manila bout between Muhammad Ali and Joe Frazier marked a new era in sports media as the first fight broadcast nationally through Home Box Office (HBO).

The turning point for HBO came in 1975, when executives made a deal with RCA Americom Communications, a satellite communication company, to relay the HBO signal nationally through UA-Columbia Cablevision. UA-Columbia was a joint venture with United Artists that later took over the entire cable service from Columbia and partnered with Madison Square Garden to form Madison Square Garden Sports Network in 1977, changing its name to USA Network in 1980.

Sports = audience

The partnership between HBO and UA-Columbia, and later the formation of what would become USA Network, showed that even early cable service providers and networks understood live sports would attract audiences. This was confirmed when HBO first transmitted its programming by satellite, debuting the now national network through what is considered by many the greatest boxing match in the sport’s history. Between 1973 and 1980, HBO grew from a regional cable network to a national one, increasing subscribers from 8,000 in the northeast at the start of 1973 to more than 3 million nationally in that seven-year period. HBO’s model was also replicated in local markets through networks like the Z Channel in Los Angeles, which launched in 1974, and Prism in Philadelphia, launched in 1976.

Satellite transmission led to the accelerated growth of cable, with several networks launching in the second half of the 1970s. WTCG became the first superstation in 1976 after Ted Turner learned of the success of the Thrilla in Manila broadcast. He had received approval to buy the Atlanta station six years earlier, and on Dec. 17, 1976, WTCG became the first local station to be retransmitted nationally. The station obtained the rights to broadcast Atlanta Braves baseball games and Atlanta Hawks basketball games—Turner bought the teams in 1976 and 1977, respectively—so when WTCG was renamed WTBS in 1979 and went national, so did the broadcasts for both teams.

The success of WTCG/WTBS led Turner to launch Cable Network News, the first 24-hour news network, in 1980. He launched several other networks through the 1980s and 1990s, including Turner Network Television (TNT) in 1988, Cartoon Network in 1992 and Turner Classic Movies (TCM) in 1994, helping him become the first cable magnate and a billionaire before selling Turner Broadcasting System to Time Warner in 1996—placing TBS and Turner’s other holdings under the same umbrella as HBO.

Competition in sports programming

Boxing had been a cornerstone of HBO’s programming since 1973, when the George Foreman upset of Joe Frazier was made famous by Howard Cosell calling “Down Goes Frazier!” HBO also broadcast the Rumble in the Jungle in 1974 before going national. Many credit “HBO World Championship Boxing” for the sport’s continued growth in the 1970s through the 1990s, even after Ali retired in 1981. The network also launched “Inside the NFL” in 1977, the first league-branded analysis show on premium cable, which was followed by the Major League Baseball-branded “Race for the Pennant” the following year. HBO aired Wimbledon matches starting in 1975 and set a standard for investigative sports journalism with “Real Sports with Bryant Gumble,” which ran for 28 years starting in 1995.

HBO was a fixture in boxing for 45 years, airing its last boxing match in 2018 as it shifted network focus away from sports overall due to competition from sports media companies, including those also owned by Warner Bros. Discovery like CBS Sports and TNT.

ESPN is another sports media company that emerged from the establishment of regional sports cable networks, including the Madison Square Garden Sports Network. It was originally conceived as a Connecticut sports network before founder Bill Rasmussen learned it would be cheaper to broadcast nationally over satellite from Bristol, Connecticut, than regionally, leading to the first national 24-hour sports network launching in 1979.

The same year, a local Columbus, Ohio, children’s cable network, Pinwheel, went national—renamed Nickelodeon for its April 1 launch. Warner-Amex owned Nickelodeon and launched MTV two years later in 1981, three years after HBO’s music video-focused “Video Jukebox” premiered.

Expanding cable

Cable’s growth was still limited through the early 1980s, with many municipalities blocking expansion to protect their own media. The Cable Communications Policy Act of 1984 helped create regulations that ensured local stations would be available on cable while also requiring that a portion of cable subscriptions fund public, educational and government (PEG) access channels. As cable’s spread accelerated, HBO continued to break ground in television programming and larger culture.

The Sopranos (cast pictured) was one of the industry-changing shows that debuted on HBO duringthe late 1990s and early 2000s. (Photo: HBO)

When HBO launched, there were only a handful of comedy clubs in the United States, with only a few venues to see standup comics outside of New York or Los Angeles. On broadcast television, standup comedy was limited to five-minute sets on late-night and variety shows. HBO’s comedy specials changed the industry when comedian Robert Klein debuted on the network in 1975. HBO helped legendary comedians like George Carlin become stars, while providing viewers exposure to future generations of comedians by creating standup comedy shows like Def Comedy Jam. Other networks and platforms like Comedy Central and Netflix followed this lead and expanded their program offerings through standup programs and specials.

One of the draws of these specials was that they were uncensored. HBO and its sister network Cinemax, which launched in 1980, were unique because they aired uncut theatrical films and adult programming. As HBO spread, advocacy groups tried to block the network in some states, due to what they felt was obscene content. Utah passed several laws to try to block HBO, but ultimately, as a premium network that required a subscription, it was not subject to broadcast obscenity laws and was protected by the First Amendment.

HBO was also a pioneer in unscripted programming, becoming one of the top producers of documentary films and series. From concert films to true crime, the breadth of unscripted programming became an inspiration for reality programming across television and helped advance documentary filmmaking. HBO now releases a documentary film or series nearly every month and helped create a template for documentaries, especially those focused on sports or culture.

As other premium and cable networks encroached on HBO’s programming, the network stayed ahead of the pack and produced its own scripted programming in the early 1980s—including Not Necessarily the News, a satirical news program that inspired series like The Daily Show and HBO’s own Last Week Tonight with John Oliver.

One of the true turning points for HBO and the sitcom genre was the debut of The Larry Sanders Show in 1992. The network saw a number of the comedians that launched their careers through HBO—including Jerry Seinfeld and Roseanne Barr—receive their own shows, so HBO worked with Garry Shandling to create the show based on Shandling’s life. The single-camera, behind-the-scenes, laugh track–free show inspired similar series like 30 Rock, The Office and HBO’s Curb Your Enthusiasm.

The true turning point

The true turning point for HBO came in the late 1990s, when the network helped launch what many consider the age of prestige television. Throughout the late 1990s and early 2000s, HBO debuted a string of industry-changing shows including Oz, Sex and the City, The Sopranos, Curb Your Enthusiasm, Six Feet Under, and The Wire, which inspired other networks to focus on higher-quality scripted programming like The Shield on FX and Mad Men on AMC.

During this time, HBO also launched the first video-on-demand service in 2001 through cable providers, initiating a shift away from appointment television and toward the current streaming environment, which HBO helped expand by launching HBO Go in 2010. Although Netflix launched its streaming service in 2007, HBO Go offered the network’s original programming and pushed Netflix to do the same; Netflix aired its first original series, House of Cards, in 2013.

HBO Go was supported by a new wave of highly produced series that brought cinematic-level production to television. Shows like Game of Thrones and Westworld helped support the continued growth of cinematic sensibilities influencing television production. Even with increased competition from streaming platforms like Netflix and Hulu, HBO continues to be an industry leader despite questions regarding parent company Warner Bros. Discovery’s (WBD) future. HBO Max is the streaming home for the corporation offering HBO programming along with news (CNN), sports (Turner/CBS) and scripted and unscripted programming from across WBD’s many brands.

HBO’s growth from a small regional subscription network to the standard bearer of television internationally can be traced to the network’s national debut. That its first national broadcast happened to be one of the greatest boxing matches in the sport’s history is fitting, considering HBO’s impact on modern television.

Jared Bahir Browsh is an assistant teaching professor of critical sports studies in the CU �鶹ӰԺ Department of Ethnic Studies.

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Fifty years after the Thrilla in Manila bout launched HBO as a national broadcasting powerhouse, the network continues to shape modern viewing and entertainment.

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Long live the King in modern music

Rachel Sauer — Wed, 01 Oct 2025 00:51:19 +0000

Long live the King in modern music Rachel Sauer Tue, 09/30/2025 - 18:51

Rachel Sauer

In what would have been B.B. King’s 100^th birthday month, CU �鶹ӰԺ music scholar Shawn O’Neal considers how the legends of blues can be heard in even the fizziest pop of 2025

B.B. King was born to sharecroppers on a cotton plantation in Leflore County, Mississippi, and began his musical career in the church choir, teaching himself to play guitar while listening to the “King Biscuit Time” radio show.

Sabrina Carpenter was born in Quakertown, Pennsylvania, and began posting videos of herself singing Adele and Christina Aguilera songs on YouTube around age 10. As a teenager, she starred in the Disney Channel series “Girl Meets World.”

Culturally and musically, they’re about as different as two artists can be. But if the roots of rock ‘n’ roll and even pop grow from blues—which they do—then it should be possible to hear B.B. King and other legends of blues in the sly pop confections of Sabrina Carpenter.

Shawn O'Neal is a CU �鶹ӰԺ assistant teaching professor of ethnic studies and Center for African and African American Studies executive committee member.

So, Shawn O’Neal, a �鶹ӰԺ musicologist and assistant teaching professor of ethnic studies, cues up Carpenter’s song “Manchild,” currently No. 6 on the Billboard Top 100: “Right away, the first thing I hear is that call and response of where she’s singing something and then answering her own question or statement back to herself,” he notes. “Call and response is such a foundation of blues music—whether Sabrina Carpenter knows that or thinks about it, or even has to, she got that from somewhere.”

Further, he asks, who were some of the first to sing about taking care of business—working all day, making a home at night—while a no-good partner is off catting around? The women of blues.

“They were the first to talk about sexuality, to talk about the issues they were having with their partners, even sometimes to talk about the fact that they were having love interests of the same sex,” O’Neal says. “All of those tropes are very defined in (Carpenter’s) music, and then there’s just that drumbeat, that very four-on-the-floor beat that’s a hallmark of blues. I think you could take that Sabrina Carpenter song and turn it into a blues song very easily.”

And it’s not just Carpenter. Even on current Top 40 lists that seem to owe more to computers and electronics than to the sawdust floors of Delta juke joints, blues touchpoints are audible. B.B. King, who died in May 2015 but would have turned 100 this month, and other legends of blues live in the music of 2025.

“B.B. King, Robert Johnson, Ma Rainey—I hear them in all this pop music,” O’Neal says. “I can’t not hear it, because it’s there; it’s in the DNA.”

‘What they call rock ‘n’ roll’

In 1957, a Hearst interviewer asked rock ‘n’ roll pioneer Fats Domino, “Fats, how did this rock ‘n’ roll all get started, anyway?” and Domino replied, “Well, what they call rock ’n’ roll now is rhythm and blues. I’ve been playing it for 15 years in New Orleans.”

It was an acknowledgment that what felt revolutionary and sonically groundbreaking was actually a long time coming—the latest brick in a long- and well-established foundation.

It’s a direct lineage, O’Neal says: Pop grew from rock ‘n’ roll; rock grew from blues, jazz and gospel; which grew from spirituals and field hollers; and those were first-generation descendants of African musical and narrative traditions brought to North America by enslaved people.

“Spirituals were sung in the cotton fields on the plantations,” O’Neal explains. “People were creating this music as subliminal communication, and the enslavement masters didn’t understand what they were talking about. They had to create a new language, and so much of it was speaking to spirituality—save us, help us, let me find some solace. It comes from pain and struggle and being completely removed from who you are, and we can sugarcoat it and syrup it up, but foundationally that’s where American music is coming from.”

Though the roots of American music are twisting and complex—and also woven of European folk and classical traditions—there’s a through line of African American musical tradition, O’Neal says. Gospel evolved from spirituals and give birth to its lyrically secular offspring of blues, which birthed jazz, rock and pop, as well as the direct descendants that are rap and hip-hop.

CU �鶹ӰԺ music scholar Shawn O'Neal notes that blues legends like B.B. King stood on the shoulders of musical giants such as Sister Rosetta Tharpe (pictured above), Lead Belly and Robert Johnson. (Photo: Wikimedia Commons)

The earliest blues artists began developing a distinctive sound that became known for 12-bar chord progressions—a form based on the I, IV and V chords in a musical key—that are fundamental to the blues genre and are prominent in rock ‘n’ roll, O’Neal says. Classic blues music also followed a pattern of one line being repeated four times in a verse, which 20th-century artists evolved the AAB pattern that became the blues standard: a three-line verse structure in blues music where the first line (A) is repeated, and the third line (B) offers a conclusion or response, often using a "question-question-answer" pattern within a 12-bar blues progression.

Blues legends like B.B. King, who stood on the shoulders of musical giants such as Lead Belly and Robert Johnson and Sister Rosetta Tharpe, experimented with the foundational elements of blues, which also included the “walking bass” rhythms and pitch-flattened “blue notes,” and broadened the sound and scope of the genre. Rock and pop, as well as myriad blues subgenres, were natural progressions, O’Neal says.

Drenched in the blues

Even now, as cross-pollinated and subdivided as music is, O’Neal says, listeners hear the blues regardless of whether they recognize it: “For example, when you think about the foundations of electronic music or EDM, we’re talking about house music, and those DJs were originally playing rhythm and blues records. And in pop, you hear that foundation of disco, and they were also playing soul and rhythm and blues in the clubs.

“None of this music being played today was conjured out of thin air; it’s based on musical traditions that go back 100, 200 years.”

He adds that in hip-hop culture, B.B. King has been sampled from the earliest days of the genre “because those were the records in our parents’ record collections. And obviously it’s never been just Black artists who’ve sampled and built on the blues. If you start at a place like Led Zeppelin, they obviously were heavily influenced by B.B. King and just drenched in blues, Jimmy Page especially. You take songs like ‘Since I’ve Been Loving You’ or ‘The Song Remains the Same’ and slow them down to that really draggy riff—that’s blues.”

When O’Neal has taught students to hear these influences in Reiland Rabaka's Introduction to Hip Hop Studies classes and Critical Survey of African American music, “they come up to me after almost every class saying, ‘I never knew that was in there.’”

The challenge, he says, is respecting the artistic quest for newness and innovation while acknowledging and honoring the foundation on which it lives.

“As an artist, you have to understand that even if you want to think it’s your own original song, it’s still based off things that already happened,” says O’Neal, who also is a renowned DJ and musician. “Taylor Swift? Well, that’s Motown, that’s what she’s doing—three chords, simple progressions, prominent melodies, emotional lyrics. Whether artists now want to acknowledge it or not, the sounds they’re playing started a long time ago.”

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In what would have been B.B. King’s 100th birthday month, CU �鶹ӰԺ music scholar Shawn O’Neal considers how the legends of blues can be heard in even the fizziest pop of 2025.

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Top image: B.B. King playing at the University of Hamburg in November 1971. (Photo: Heinrich Klaffs/Wikimedia Commons)

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