Division of Social Sciences

Exploring selfish incentives for pursuing climate policy

Rachel Sauer — Tue, 14 Jan 2025 01:02:56 +0000

Exploring selfish incentives for pursuing climate policy Rachel Sauer Mon, 01/13/2025 - 18:02

Bradley Worrell

CU ��«��Ƶ economist Alessandro Peri makes the case that empowering the young can meaningfully affect climate policy and climate outcomes

The consensus opinion in previous research—that future generations are the major beneficiaries of proactive climate policies—tends to emphasize the importance of intergenerational altruism. However, that perspective largely ignores the idea that selfish incentives of current young and old generations can be an important driver to undertake climate policy, says Alessandro Peri, assistant professor in the ��«��Ƶ Department of Economics.

Recent studies indicate that peak global warming occurs within a decade of emissions. Thus, current climate policy could benefit young generations later in their lifetimes, says Peri, a macroeconomist whose research focus includes computational and environmental economics.

CU ��«��Ƶ economist Alessandro Peri argues that selfish incentives of current young and old generations can be an important driver to undertake climate policy.

Meanwhile, climate policy may benefit the current old generations by reducing the damages associated with climate change and therefore increasing the value of their assets.

In the paper, “Selfish Incentives for Climate Policy: Empower the Young!” recently published in the Journal of the Association of Environmental and Resource Economists, Peri and his two co-authors advanced what they say is the first study to examine the direction and magnitude of the selfish incentives of young and old to undertake climate policy.

In the economic model Peri and his co-authors developed, the younger generation (ranging from infants to those aged 35) and the older generation are both part of solutions addressing the climate crisis. The older generation tends to control most of the world’s physical assets, such as factories, he notes.

“What we found after we analyzed, theoretically and quantitively, this question of selfish incentives for climate policy is that incentives of the younger generation can be an important driver for climate policy to address the challenge of global warming,” says Peri.

Abatement measures related to reduced carbon emissions can affect the asset owners’ wealth and, accordingly, the old generation’s selfish incentives to support or oppose climate policy, but the effect is quantitatively small. Hence, Peri says, the exhortation in the title: “Empower the Young!”

When climate policy is a win-win

To explore the selfish incentives for climate policy, the model Peri and his co-authors developed uses a two-generation overlapping generations model, rather than the more common infinitely lived agent model. Peri says the two-generation structure permits a clear distinction between the two types of self-interest: the younger generation’s concern for its future consumption and the older generation’s desire to protect its wealth.

For the incentives of the current young and old generations to undertake climate policy to be aligned (a win-win situation), climate policy must increase the value of the assets owned by the old generations.

“Think about it like if you own a house in front of a lake,” Peri explains. “You don't really like the lake, but someone else decides to clean the lake. Well, the value of your house close to the lake is going to increase; you’re going to benefit indirectly from the cleaning of the environment on your wealth. The (increase) of this price allows the older generations to engage in climate policy and be happy about climate policy.”

For this to happen, Peri and his co-authors created an economic model that uses endogenous asset prices, relaxing the assumption of fixed asset price adopted by most models in the climate literature.

As wealth is transferred from the older generation to the younger one, for the asset price to increase it has to be the case that current young generations want to save more.

“With the new evidence that has shown that emissions today will have an impact in our lifetime in terms of global warming, we wanted to add our new part … looking at how selfish incentives can help mitigate this great human challenge," says CU ��«��Ƶ researcher Alessandro Peri.

“They (the young) are willing to consume a little bit less today and save for tomorrow, so that they can consume more tomorrow,” as a result of climate policy, Peri says. “And what we show is that for that to happen, it means the young have to have a high elasticity of intertemporal substitution, which is just a fancy way of saying that they are willing to transfer more consumption from today to tomorrow” as a result of the effect of climate policy on the value of consumption over time.

Still, based upon the results of computational research done for the research paper, Peri says he and his co-authors determined that selfish incentives for the younger generation proved more quantitatively important for climate policy than those of the old generation.

Goal to spur further research and discussions

Peri says he hopes the economic model for addressing climate change that he and his co-authors created will complement existing research on economic policy related to climate change, including those that rely on altruistic motivations. He says he does not expect lawmakers to adopt the model as policy, but he hopes the paper will spur further research by economists and prompt discussions among policymakers.

Discussions about combatting climate change are particularly timely now, Peri says, given that in 2024 the temperature of the earth reached 1.5 degrees Celsius hotter than in the pre-industrial era—before heat-trapping fossil fuels began accumulating in the atmosphere. The Paris Climate Accords, signed by representatives for numerous countries in 2016, aims to keep warming below that level when looking over multiple years.

“This is the great challenge we are facing nowadays, with the announcement in 2024 that we reached 1.5 degrees Celsius above pre-industrial times. So, it’s been the hottest year that we’ve observed since the pre-industrial era,” Peri says. “With the new evidence that has shown that emissions today will have an impact in our lifetime in terms of global warming, we wanted to add our new part … looking at how selfish incentives can help mitigate this great human challenge.”

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CU ��«��Ƶ economist Alessandro Peri makes the case that empowering the young can meaningfully affect climate policy and climate outcomes.

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Who lives in a pineapple and announces football games?

Rachel Sauer — Fri, 10 Jan 2025 15:30:05 +0000

Who lives in a pineapple and announces football games? Rachel Sauer Fri, 01/10/2025 - 08:30

Jared Bahir Browsh

The success of simulcasts means that fans can expect to see more creative takes on traditional sports, including SpongeBob SquarePants calling Saturday’s NFL Wild Card game

As the final seconds of Super Bowl LVIII ticked off, according to social media, the biggest star was not MVP Patrick Mahomes, Travis Kelce or even Taylor Swift; it was a sea sponge and his starfish best friend. The Nickelodeon alternate broadcast of the Super Bowl starring SpongeBob SquarePants and Patrick Star as commentators was a huge hit, with on-field graphics and animations featuring Nickelodeon stars and, of course, slime.

This was not the first time a media conglomerate aired or streamed a simulcast as a companion to its main broadcast to attract more fans. ESPN’s first basic simulcast was in 1987 after the network gained partial rights to the NFL—the first cable network to air the NFL—agreeing to simulcast the game on local networks of the competing teams. When ESPN2 launched in October 1993, it offered a second ESPN network to sports fans and within a year ran its first alternative broadcast, bringing in-car views to IndyCar fans as a companion to the main broadcast on ESPN.

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

In 2006, the network created “ESPN Full Circle,” later renamed the Megacast, leveraging the popular basketball rivalry between Duke University and the University of North Carolina to offer local broadcasts and alternative camera views for the game. The previous year, ESPN had launched its college-focused ESPNU and ESPN360, its broadband broadcast service, and used these newer platforms along with its existing networks to offer eight different ways to watch the game.

ESPN offered statistics and other data on its high-definition networks, which were still separate from the standard-definition networks, and even offered polling through ESPN mobile before social media exploded.

These simulcasts and “Megacasts” aimed to give dedicated fans a more in-depth look at the game or event that was being broadcast. At the same time, leagues and sports broadcasters were looking for different ways to attract young and casual fans who enjoyed sports but were not the obsessive fans at which these Megacasts were targeted.

Courting younger fans

For a long time, leagues took young fans for granted, relying on parental, peer and geographic influence to produce new fans. In today's expanding media environment, young and casual fans have infinite options for entertainment, so leagues and their broadcasting partners have had to strategize new ways to attract new audiences.

One of these efforts debuted in 1973: Peter Puck, an anthropomorphic hockey puck created by NBC executive Donald Carswell and animated by Hanna Barbera. NBC had just obtained the rights to the NHL, which was struggling to grow its audience in the United States. Carswell thought Peter would be a great way to teach U.S. audiences the rules of professional hockey through three-minute shorts between periods. Although NBC stopped airing the NHL in 1975, Peter’s legacy lives on more than 50 years later.

The 1980s brought a sea change for sports as cable and improved marketing began to create the enormous sports media environment we experience today. As networks competed for viewers, sports became a reliable form of entertainment to attract audiences who had more choices than ever. As football continued to dominate the sports landscape, buffered by the 1984 Supreme Court decision to allow college football broadcasting to expand beyond the control of the NCAA, other leagues strategized to draw fans to television, stadiums and arenas.

Throughout the 1970s, teams had built larger stadiums and debuted mascots like the Phillie Phanatic to entertain fans. The following decade, as the NBA struggled to find a broadcaster to air its championship games live, David Stern—who took over the league as commissioner in 1984—“Disneyfied” the NBA experience, making attending games more family friendly with more timeout and halftime entertainment.

It just so happened that same year that the most marketable athlete of all time came into the league. Michael Jordan was not only a boon for adult basketball fans, but also kids who wanted to “Be like Mike.” In 1992, Jordan co-starred with Bugs Bunny in the Nike advertising campaign “Hare Jordan.” He retired the next year to play baseball before returning to the NBA in March 1995. The following summer, Bugs and Jordan reunited to film Space Jam, which grossed more than a quarter of a billion dollars after it premiered early into the NBA season in November 1996.

Announcers Noah Eagle and Nate Burleson with SpongeBob SquarePants and Patrick Star announcing Super Bowl LVIII. (Screenshot: Nickelodeon/YouTube)

As a part of this effort to draw new fans, leagues also produced shows aimed at younger fans like “The Baseball Bunch,” which debuted in 1980 and featured MLB players and managers teaching baseball fundamentals. Ten years later, “NBA Inside Stuff” premiered on NBC’s Saturday morning schedule, joining a growing sports media industry aimed at kids that included publications like Sports Illustrated for Kids and video games like the Madden, FIFA and NBA 2k series, among the most popular video game series of all time.

Primetime slimetime

The consolidation of the U.S. media system throughout the 1980s and 1990s led to massive media conglomerates. Unsurprisingly, NBC held the network broadcast rights for the NBA when “NBA Inside Stuff” aired. As broadcast and cable networks came under the same corporate umbrella as film and animation studios, new opportunities for cross promotion emerged. Disney bought ESPN and opened the ESPN Wide World of Sports Complex, named after the anthology series that aired under one of their other subsidiaries, ABC, from 1961 until 1997 . Disney also founded an NHL team, the Mighty Ducks of Anaheim, in 1993—named after the popular 1992 kids hockey movie—and in 1996 debuted “Mighty Ducks: The Animated Series” on ABC, which featured anthropomorphic hockey playing superhero ducks.

The success of Space Jam and the continued media conglomeration strengthened the relationship between animation and sports. NASCAR rights holder FOX debuted “NASCAR Racers,” an animated action series featuring NASCAR branding, a day before the 1999 race season finale. Cartoon Network aired the marathon “NBA All-Star Slam” in 2003, featuring interstitial interviews with NBA players in the lead-up to the All-Star Game, which aired the evening of the game on TNT (both networks were owned by Warner subsidiary Turner).

In 2016, LeBron James appeared on the Cartoon Network series “Teen Titans Go!” the same night as a TNT basketball doubleheader and a few days before the All-Star Game. Later, the Teen Titans offered commentary of the 2023 NBA Slam Dunk Contest in the lead-up to the NBA All-Star Game airing on TNT.

Although these series and specials expanded the visibility of league branding and special events, the engagement with actual games was limited. When Viacom and CBS merged again in 2019, after splitting 14 years earlier, they began strengthening the relationship between former Viacom network Nickelodeon and broadcast network CBS. They began featuring Nickelodeon content on CBS All-Access, now Paramount+, and in 2021 Nickelodeon aired an NFL simulcast of the Wild Card playoff game between the Chicago Bears and New Orleans Saints featuring Nickelodeon live-action and animated stars joining the real-time NFL broadcast with alternate announcers Nate Burleson and Noah Eagle. Current Denver Broncos coach Sean Payton, then the coach of the Saints, volunteered to be slimed, similar to the traditional Gatorade shower.

Current Denver Broncos coach Sean Payton, then the coach of the New Orleans Saints, gets "slimed" after a 2020 Wild Card win against the Chicago Bears. (Screenshot: Nickelodeon/YouTube)

The following season, “NFL Slimetime” premiered on Nickelodeon, a highlight show hosted by Burleson that strengthened the relationship between the NFL and Nickelodeon. This relationship exploded during last years’ Super Bowl as the Nickelodeon simulcast on the cable network and Paramount+ was credited for a growth in game viewership, especially among younger and casual fans who appreciated the irreverent approach to the game.

A pineapple under the arena

As media conglomerates continue to leverage sports rights to attract audiences and increase subscriptions to their streaming services, they have also leaned into the popularity—and meme-making possibilities—of these simulcasts. Several months after the Nickelodeon simulcast of the Wild Card Playoff, Disney leveraged its Marvel Cinematic Universe to produce a simulcast, “Marvel Arena of Heroes,” on ESPN2 and its streaming service, which was similar to the Wild Card game on Nickelodeon and featured special graphics and superhero-themed content related to the real-time NBA games between the Golden State Warriors and New Orleans Pelicans. ESPN and Genius Sports, the company behind augmented games like the Arena of Heroes simulcast, extended their contract in the summer of 2024.

In 2023, Disney aired its own fully animated simulcasts with the “Big City Greens Classic” NHL broadcast in March and the “Sunday Funday” Toy Story-themed NFL game in September. Both regular-season games included a rendering of the real-time broadcasts featuring stars from its animated franchises. Disney followed this up in December 2024 with another “Sunday Funday” featuring “The Simpsons” and the Christmas Day “Dunk the Halls” animated simulcast featuring classic characters like Mickey Mouse and Donald Duck. In between these two games, NBC’s Peacock service offered an alternate stream of the game between the Kansas City Chiefs and Houston Texans featuring graphics from the popular video game series Madden.

As SpongeBob and Patrick prepare to announce the Nickelodeon simulcast of the 2025 NFL Wild Card game between the Houston Texans and Los Angeles Chargers Saturday, fans should be prepared for more of these simulcasts as networks and streaming services try to market these games to young and casual fans, boosted by social media memes like Patrick roasting the starting quarterback and Lisa Simpsons scoring a touchdown against Homer.

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

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The success of simulcasts means that fans can expect to see more creative takes on traditional sports, including SpongeBob SquarePants calling Saturday’s NFL Wild Card game.

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‘She remains a touchstone’

Rachel Sauer — Thu, 09 Jan 2025 18:42:08 +0000

‘She remains a touchstone’ Rachel Sauer Thu, 01/09/2025 - 11:42

Clay Bonnyman Evans

CU ��«��Ƶ anthropologist says ‘Lucy’ is pivotal to the science of human origins a half-century after her discovery

A half-century after her discovery in Ethiopia, the 3.2-million-year-old hominin popularly known as “Lucy” remains a critical touchstone in humanity’s understanding of its origins.

Matt Sponheimer, a CU ��«��Ƶ professor of anthropology, notes that the Australopithecus afarensis skeleton known as Lucy is "instantly recognizable in a world awash in fossils."

Officially labeled A.L.288-1, Lucy extended humanity’s ancient history by almost a million years, and she remains a standard to which decades of discoveries have been compared.

“Lucy is instantly recognizable in a world awash in fossils,” says Matt Sponheimer, a ��«��Ƶ professor of anthropology whose research focuses on the ecology of early hominins from the African continent. “She is in many ways a touchstone.”

American anthropologist Donald Johanson first noticed what appeared to be a human-like elbow while out looking for fossils with a graduate student on Nov. 24, 1974, at Afar, Ethiopia, and soon spied multiple fragments nearby. He and his team eventually unearthed 47 remarkably well-preserved bones—about 40% of a complete skeleton—including skull fragments, a mandible with teeth, ribs and pieces of an arm, leg, pelvis and spine.

Lucy was eventually revealed to be an early hominin—a member of a hominid subfamily that includes humans, chimps and bonobos—with a brain about one-third to one-fourth the size of modern humans who walked upright. Research suggests that Lucy’s kind thrived in a wide range of ecosystems, from woodlands to grasslands and riverine forests.

Sharing characteristics of both Australopithecus africanus, a previously discovered hominin from South Africa, and chimpanzees, Lucy was assigned to a new species, Australopithecus afarensis.

Lucy's well-preserved skeleton, comprising about 40% of her body, provided unprecedented insights into early hominin anatomy.

A singular discovery

When Lucy was discovered, she was “singular,” Sponheimer says. But subsequent research has uncovered hundreds of fossils from Australopithecus afarensis as well as other distinct hominin species and footprints of bipedal hominins preserved in volcanic ash.

A sculptural reconstruction of the hominin known as Lucy by artist Elisabeth Daynes. (Photo: Elisabeth Daynes)

Despite fifty years of major discoveries, anthropological consensus still considers Lucy a likely ancestor to modern humans.

Beyond her monumental significance to the scientific understanding of human origins, Lucy has played a key role in educating people about evolution and anthropology.

Her fame and wide recognition have helped spur generations of children’s and students’ interest in the field. Johanson’s best-selling 1981 book, Lucy: The Beginnings of Humankind, is still widely read by popular audiences.

“A huge number of anthropologists were inspired by that book,” Sponheimer says. “When I read it, I remember thinking, ‘Wow, this is the kind of thing I would like to pursue.’”

Years later, he considers not just anthropology but also research in the broader humanities, arts and sciences to be critical to human knowledge and flourishing. He cautions against the unforeseen consequences of American culture’s gradual shift to a more instrumental, economic view of the world.

“Exploring is part of what it means to be human. What’s more human than experiencing wonder and trying to understand the world around us? Tens of thousands of years of archaeology teaches us that. Channeling exploration into a narrow economic field of vision misses the point, I think, and is ultimately self-defeating on the economic front,” he says.

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CU ��«��Ƶ anthropologist says ‘Lucy’ is pivotal to the science of human origins a half-century after her discovery.

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Top image: model of a Australopithecus afarensis skull (Photo: iStock)

Rebuilding lives after the headlines fade

Rachel Sauer — Wed, 08 Jan 2025 20:03:03 +0000

Rebuilding lives after the headlines fade Rachel Sauer Wed, 01/08/2025 - 13:03

Cody DeBos

CU ��«��Ƶ researcher Lori Peek emphasizes that the impact of natural disasters can be multiplicative

Six-year-old Samantha’s new ballet slippers, ready for her first dance class, sat untouched as Hurricane Katrina tore through New Orleans in 2005. Five years later, another disaster—the Deepwater Horizon oil spill—compounded her family’s challenges.

“Losing everything and having to start over, that has happened to me so many times, it just feels like I lost my childhood,” she reflected when talking with Lori Peek, ��«��Ƶ Department of Sociology professor.

CU ��«��Ƶ researcher Lori Peek (center) with participants in the Gulf Coast-based youth empowerment program called SHOREline, which she co-created and that was designed to make fundamental changes in the lives of youth and their communities, including reducing inequality before and after natural disasters.

Stories like Samantha’s illuminate a deeper truth: The harm caused by disasters doesn’t fade when the news cycle moves on. Hers is one of many stories Peek has heard while conducting research for more than a decade in the Gulf Coast region.

Peek, who also serves as director of CU ��«��Ƶ’s Natural Hazards Center, has dedicated her career to understanding how disasters shape the lives of children and families.

Out of the spotlight, families across the country are fighting against systemic challenges, emotional tolls and inadequate support to get their lives back on track. Peek’s research focuses not just on immediate devastation, but also on the long road to recovery that so many disaster survivors must travel.

The compounding effects of disaster

Most natural hazards leave visible scars when they sweep across a landscape—flooded homes, shattered schools and shuttered businesses. Peek’s ethnographic approach reveals the experiences of people and the hidden struggles they face while navigating the aftermath of major disasters.

Her long-term, collaborative research along the Gulf Coast, recently highlighted in a Journal of Child and Family Studies article titled “Adverse Effects of the Deepwater Horizon Oil Spill Amid Cumulative Disasters: A Qualitative Analysis of the Experiences of Children and Families,” underscores how compounded disasters can upend entire communities for decades.

“One disaster can obviously wreak havoc on a young person’s life,” Peek explains. “But now we are living in an age of extremes, where families and communities may be affected by multiple disasters in a relatively short period.

“The impact of these events isn’t additive—it’s multiplicative.”

Peek’s longitudinal study of Gulf Coast children illustrated this phenomenon. After Hurricane Katrina, countless families were just beginning to rebuild their lives when the Deepwater Horizon spill once again devastated local economies and ecosystems.

Children like Samantha, Peek notes, are particularly vulnerable in such contexts. They absorb not only the immediate chaos of a disaster but also the long-term stress of financial insecurity, familial upheaval, displacement and disrupted support systems.

Peek and her co-authors use the term “toxic stress” to describe this chronic strain. Its effects can lead to serious health and developmental challenges that persist for years—or a lifetime.

Lori Peek, a CU ��«��Ƶ professor of sociology and director of the Natural Hazards Center, conducts fieldwork with a child after Hurricane Katrina; the child was later affected by the BP Deepwater Horizon oil spill as well.

Samantha’s story isn’t isolated. Rather, it’s one of many narratives underscoring the profound sense of loss that lingers long after the immediate crisis concludes.

Peek believes these stories must be heard and addressed if communities and families are to build resilience against future disasters.

“Until relatively recently, the recovery phase of disaster was the most understudied,” she says. “That started to change after Katrina. But now we are in a new era, where disasters are becoming more severe and intense, and communities are being hit more often.”

This not only makes studying disasters more complicated, but it also can lead to recovery resources being averted just when they are needed most, she adds.

The role of support systems

Peek’s research emphasizes that recovering from a disaster cannot be an individual journey. Robust support systems are necessary.

“For children to recover from disasters, they need support from their family members, peers, teachers and broader community. Strong institutions—such as stable housing, quality health care and safe schools—are equally crucial,” she says.

Yet many children lack these foundational supports even before disaster strikes, Peek notes. When a catastrophe does occur, it magnifies pre-existing inequalities, and vulnerable families often find themselves in even more precarious situations.

On the bright side, Peek says, “disasters can be catalysts for change. But only if recovery funding is targeted toward the people and places that need it most.”

A call to action

Peek’s findings highlight the imperative to ensure that recovery efforts reduce inequalities both before and after disasters occur. She co-created a Gulf Coast-based youth empowerment program called SHOREline that was designed to make such fundamental changes in the lives of youth and their communities.

By bringing together policymakers, educators and community leaders, Peek aims to create frameworks that protect communities before the next disaster strikes.

She also emphasizes the importance of not just studying disaster recovery but acting before communities are devastated by the next hurricane, flood or wildfire. To achieve this, Peek advocates for policies that prioritize equity and resilience, emphasizing the need for long-term planning and cross-sector collaboration.

"One disaster can obviously wreak havoc on a young person’s life. But now we are living in an age of extremes, where families and communities may be affected by multiple disasters in a relatively short period."

“Recovery frameworks are still designed as if a single disaster is affecting a place, and as if recovery is occurring in a neat, stepwise fashion. That’s simply not the reality.”

Through her work, Peek hopes to reshape how communities and policymakers approach disaster recovery. As Samantha’s story reminds us, disasters leave marks that linger far beyond the headlines. The disruption of her childhood dreams reveals a profound need for systems that protect society’s most vulnerable.

With the right support, Peek notes, children like Samantha can regain their footing and even thrive in the aftermath of disaster.

Peek’s vision for the future—one where no child’s dreams are washed away by hurricanes or tarnished by oil spills— enters on resilient communities safeguarded by robust support systems and programs that address systemic issues rooted in poverty and racial inequality.

“If we can use the small windows for change opened by disasters to make progress in reducing—rather than exacerbating—inequality and suffering, that would be a real win for current and future generations.”

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CU ��«��Ƶ researcher Lori Peek emphasizes that the impact of natural disasters can be multiplicative.

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Top image: Lori Peek with participants in the SHOREline program

Learning the recipe for grizzly gourmet

Rachel Sauer — Thu, 12 Dec 2024 14:30:00 +0000

Learning the recipe for grizzly gourmet Rachel Sauer Thu, 12/12/2024 - 07:30

Doug McPherson

CU ��«��Ƶ anthropology PhD candidate Sabrina Bradford has been learning what’s on the menu for grizzlies in Montana

If you’re ever heading to Montana’s backcountry, you’d be hard pressed to find a better guide than Sabrina Bradford, a ��«��Ƶ PhD candidate in biological anthropology.

Bradford has spent more than a decade in the area’s countryside, mostly on horseback, studying conflict between humans and wildlife, social-ecological systems, livestock damage and the grizzly-bear diet.

Lately she’s been getting noticed for that last item.

Anthropology PhD candidate Sabrina Bradford (left) wrote Grizzly Bear Foods: Reference Guide to the Plants, Animals, and Fungi in the Montana Grizzly Bear's Diet, published by Montana Fish, Wildlife and Parks.

This fall, Montana Fish, Wildlife and Parks published her new 100-page book, Grizzly Bear Foods: Reference Guide to the Plants, Animals, and Fungi in the Montana Grizzly Bear's Diet, which will be part of the state’s “bear aware” education program for the public in 2025.

“I saw a lot about how grizzlies used the landscape,” says Bradford, who sometimes has ridden 20 miles a day in the backcountry doing research and working as a guide and bear education specialist. “I took plenty of photos of grizzly bear signs―areas where it looked like a tiller had rolled through the soil, over rocks and torn up trees. I wanted people to be able to see the landscape similar to the way I did. It’s really important to me that the public understands what bears are actually doing on the landscape.”

Of course, that landscape is a massive buffet for grizzlies, whose four food groups are plants, animals, fungi and trash from humans. A few specific examples of their diet: grasses, shrubs, seeds and fruits of trees, mushrooms, ducks, bird eggs, trout, salmon, squirrels, beaver, moose, bison, elk, deer, bighorn sheep, ants, termites and bees.

Bradford, who graduates this month, says grizzlies serve an important role as seed dispersers within the ecosystem there, and many of the shrubs grizzlies eat produce berries (e.g. huckleberry, raspberry, serviceberry, grouse whortleberry, buffaloberry) that are dispersed via scat.

‘Pretty cool animals’

“Bears are pretty cool animals,” Bradford says. “They have incredible spatiotemporal memory [they can recall where and when food was presented], and they use social learning. Mom teaches her cubs food acquisition strategies. This is key for people to understand, those who question why cubs were removed from an area as well as when the mother is removed for dumpster diving. She’s just teaching her cubs how to access a reliable food resource.”

Bears are also not above stealing other animals’ food stash, an activity called kleptoparasitism.

Grizzly bears sometimes steal other animals' food stashes, an act called kleptoparasitism. (Photo: Montana Fish, Wildlife and Parks)

“People who hike in grizzly country with their dogs off the leash say their dog will protect them. That doesn’t really work,” Bradford explains. “Kleptoparasitism is one of the food-source acquisition strategies grizzlies use, and they’ll steal food from packs of wolves. Wolves will yield to grizzly bears, and your dog is nowhere near as tough as a pack of wolves.”

Bradford says while she’s seen many grizzlies, she’s never had to use her bear spray. Her advice to avoid attacks: “Realize that the human voice is the most powerful deterrent out there, not radios or bear bells. Talk loud in areas of low visibility so the bears can hear you coming. It’s critical to understand that you shouldn’t surprise a bear, that they’ll do anything to protect their cubs. And be aware of magpies or ravens in the forest because they’re a sign you might be hiking up on a carcass.”

And while grizzlies’ sense of hearing is strong, their sense of smell is astounding. “The size of the olfactory bulb, the part of the brain that processes scent information in grizzlies, is more than five times larger than humans’ olfactory bulb.” She advises people to sleep in clothes they haven’t cooked in: “Just because you can’t smell food on your clothes doesn’t mean bears can’t.”

Bradford adds that there is a common misunderstanding that grizzlies are looking to wipe out the first person they see and that livestock producers want to kill all grizzlies.

“That isn’t true,” she says. “Yes, livestock loss to grizzlies does occur, but ranchers I interviewed said over 80% of the grizzlies out there never cause any trouble. And other ranchers reported that it’s common to see grizzlies grazing grass in the same fields that the cattle use.”

She recalls one rancher telling her, “’Wildlife is embedded deep in our traditions. We don't hate grizzly bears; they're amazing animals. I don't want to give up all I have to the grizzly bear but I'm willing to share it.’”

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CU ��«��Ƶ anthropology PhD candidate Sabrina Bradford has been learning what’s on the menu for grizzlies in Montana.

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Exploring the ‘musical audacity’ of funk

Rachel Sauer — Mon, 09 Dec 2024 15:30:16 +0000

Exploring the ‘musical audacity’ of funk Rachel Sauer Mon, 12/09/2024 - 08:30

Rachel Sauer

In a newly published book, CU ��«��Ƶ Professor Reiland Rabaka delves into the culture and sound of music’s ‘best-kept secret’

Barely two months into the ‘70s, Funkadelic—led by George Clinton, Jr.—released something of a musical manifesto with the song “Good Old Music”:

Everybody’s gettin’ funky

In the days when the funk was gone

I recall not long ago

When the funk it was goin’ strong.

CU ��«��Ƶ Professor Reiland Rabaka (left) recently published The Funk Movement: Music, Culture, and Politics.

In hindsight, the lyrics hint not only at funk’s musical and cultural impact, but at the forgotten shadows in which funk has often lived.

“One of the many reasons funk frequently is not understood to be funk has to do with its ghettoization within the music industry and White music critics’ tendency to lazily lump most post-1945 Black popular music under the ‘rhythm & blues’ moniker,” writes musicologist Reiland Rabaka.

“In other words, because White music critics often serve as musical gatekeepers for White music fans, telling them what is ‘hip’ and ‘hot’ and what is not, most White folks never developed an ear for, or serious appreciation of, classic funk in the ways they did for pre-funk Black popular music such as blues, jazz, rhythm & blues or even soul music.”

Rabaka, a ��«��Ƶ professor in the Department of Ethnic Studies and director of the Center for African and African American Studies, aims a scholar’s eye at funk in his newly published book The Funk Movement: Music, Culture, and Politics. Originally scheduled for 2025 release, a deluge of pre-orders prompted publisher Routledge to release it in late October.

“(Funk is) this musical gumbo, where you’ve got all these different kinds of music and not just distinctly Black music,” Rabaka explains. “African American culture is a hybrid heritage—we’re talking about an incredibly creolized culture, and as Black folk in America, we’re not searching for some sort of purity. Music reflects our multiple traditions and heritages and also allows us to live out loud. The musical audacity in funk, even if it’s just for three minutes and 30 seconds, when Parliament Funkaldelic says dance without constrictions, we’re dancing without constrictions.”

No rap without funk

The Funk Movement joins Black Power Music! Protest Songs, Message Music, and the Black Power Movement, released in 2022, and Black Women's Liberation Movement Music: Soul Sisters, Black Feminist Funksters, and Afro-Disco Divas, released in 2023, in Rabaka’s ongoing exploration of the confluences of music, culture, identity, politics, place and people.

"It’s not a coincidence that James Brown comes out and says, ‘Say it out loud, I’m Black and I’m proud’ after Martin Luther King was assassinated,” says Reiland Rabaka. (Photo: James Brown performing in the Musikhalle in Hamburg, Germany, February 1973. Heinrich Klaffs/WikiCommons)

He comes to this work not only as a scholar, but as a musician: “I was the kid from the projects who got bussed to these incredible creative arts schools,” he says. “From there, I was able to get a truckload of music scholarships, which is how I became the first person in my family to go to college.

“I really feel like my musicology is coming full circle, coming back to where I started. I was a performing jazz musician and have a performing arts degree, so in a way I’m what social scientists call a participant researcher—I’m deeply involved in a lot of the music I write about. It lends my work a kind of insider’s knowledge, a kind of intimacy with my subject. I’m not just somebody writing to achieve tenure; these are passion projects to me.”

Rabaka came to funk not only loving the music but fascinated by its place at the nexus of the women’s liberation movement, the sexual revolution, the Black power movement, the evolving civil rights and gay rights movements and all the other political and social upheavals of the 1970s. However, he acknowledges in his book that funk—both the music and the culture—is often subsumed into musical movements that are more broadly familiar to non-Black audiences.

“Most funk, both as a genre of music and a cultural movement, has not resonated with non-Black fans of Black popular music the way a lot of pre-funk Black popular music has,” Rabaka writes. “It is like funk is one of the best kept secrets of Black popular music, even though it, more than any other post-war Black popular music genre, laid the foundation for the mercurial rise of rap music and hip-hop culture in the 1980s and 1990s.”

In other words, Rabaka says, “there’s no rap, no hip-hop, without funk.”

Award winner

Reiland Rabaka’s book Black Women's Liberation Movement Music: Soul Sisters, Black Feminist Funksters, and Afro-Disco Divas was recently named Best History in the category Best Historical Research in Recorded Blues, R&B, Gospel, Hip Hop or Soul Music in the 2024 Association for Recorded Sound Collections (ARSC) Awards for Excellence.

The goal of the ARSC Awards Program, according to the organization, “is to recognize and draw attention to the finest work now being published in the field of recorded sound research.”

In the book, Rabaka, a professor in the University of Colorado Department of Ethnic Studies, critically explores the ways the soundtracks of the Black Women’s Liberation Movement often overlapped with those of other 1960s and 1970s social, political and cultural movements, such as the Black Power Movement, Women’s Liberation Movement and sexual revolution. His research reveals that “much of the soul, funk and disco performed by Black women was most often the very popular music of a very unpopular and unsung movement: The Black Women’s Liberation Movement.”

Rabaka and his fellow award winners will be recognized at an awards ceremony during ARSC’s annual conference in Tulsa, Oklahoma, in May.

Say it out loud

However, funk—like the broader umbrella of “art” under which it lives—can be difficult to define; listeners know it when they hear it. And it’s more than music: “It’s the sound and the aesthetics of Black bohemia,” Rabaka says.

In his book, Rabaka approaches the funk movement as it encapsulates both the music and the culture of funk, focusing on the golden age of funk that’s generally categorized between 1965 and 1979. He notes that while funk is often dismissed as simple party music, it addressed and embodied the upheaval and frustrations of the times in which it was born.

“To adequately interpret funk, one needs to understand key moments in African American history and culture, especially the struggle to end racial segregation that culminated in the 1960s and the beginning (and unfulfilled promises) of the era of racial integration in the 1970s,” Rabaka writes.

“Funk can be interpreted as ‘a discourse of social protest’ and ‘the critical voice of a post-Civil Rights Movement counterculture’ that challenged mainstream histories that attempt to nicely and neatly paint the 1960s as the decade of racial segregation and the 1970s as the decade of racial integration, ‘equal opportunity,’ and ‘ubiquitous optimism.’”

When Marvin Gaye asked “What’s Going On,” Rabaka says, Sly Stone answered several months later with “There’s a Riot Goin’ On.”

“In the book I say it’s not a coincidence that James Brown comes out and says, ‘Say it out loud, I’m Black and I’m proud’ after Martin Luther King was assassinated,” Rabaka says. “There was mass disillusionment, mass depression, so funk is also a deeper and darker sound, a grittier sound. It exists in a lot of levels, where it can be good-time music, sure, but sometimes there are a lot of heavier topics and themes that go on in funk.”

Rabaka is particularly fascinated with the women of funk and is already working on a book that brings them out of the shadows.

“Funk, I argue, was a Black popular music response to the hippie movement, to the women’s movement, to Stonewall even,” Rabaka says. “Black America has a way of refracting things that are going on in mainstream America, saying, ‘How does that speak to us?’”

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In a newly published book, CU ��«��Ƶ Professor Reiland Rabaka delves into the culture and sound of music’s ‘best-kept secret.'

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Top image: Earth, Wind & Fire perform in 1982 (Photo: Chris Hakkens/WikiCommons)

That red nose still guides us to Christmas

Rachel Sauer — Thu, 05 Dec 2024 17:43:58 +0000

That red nose still guides us to Christmas Rachel Sauer Thu, 12/05/2024 - 10:43

Jared Bahir Browsh

Sixty years after the debut of the Rudolph the Red-Nosed Reindeer stop-motion animated classic, the yearly flood of holiday films can thank the small reindeer for their success

As we spend the Christmas season binging on Hallmark movies and holiday specials, one diminutive reindeer has been part of Christmas media longer than any other figure.

Rudolph the Red-Nosed Reindeer was created as a coloring book in 1939 by Robert L. May for Montgomery Ward when the retailer decided to produce its own coloring books after distributing books from other publishers for years. May faced pushback on the story, since red noses were associated with drinking at the time, but ultimately Montgomery Ward distributed more than 2 million copies of the story that celebrates individuality and courage.

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

The first Rudolph cartoon debuted in 1948, directed by Max Fleischer and sponsored by Montgomery Ward. The next year, the famous song written by May’s brother-in-law Johnny Marks debuted behind the vocals of Gene Autry, hitting number one—the first top song of 1950 that was added to Fleischer’s cartoon when it was reissued in 1951.

Autry’s beloved version of “Rudolph the Red-Nosed Reindeer” sold more 1.75 million copies in 1949 alone, and altogether Autrey’s and every other version of the song have sold more than 150 million copies, behind only Bing Crosby’s “White Christmas” in total Christmas song sales. It is also the only No. 1 song to fall completely off the charts the week after it peaks.

In 1958, Chuck Berry recorded "Run Rudolph Run,” with Marks receiving a writing credit after suing for trademark infringement. Autry also wrote and sang "Here Comes Santa Claus."

The growth of the recording industry after World War II was part of a larger post-war economic boom in the United States that supported the increased commercialization of Christmas, which had started a century earlier with depictions of Santa in the 1840s and his first in-store appearance at the New York City Macy’s in 1862. His appearance in the first Macy’s Thanksgiving Day Parade in 1924 was thought to kick off the holiday shopping season, with his modern image confirmed by Coca-Cola advertisements in 1931. A decade later, Rudolph joined Santa on his sleigh as a Christmas icon.

Stop-motion animation

In the first 25 years after May created Rudolph, the reindeer with the light-up nose became a multimedia legend, inspiring comic and children’s books in addition to the original coloring book and 1948 cartoon. But the small animation studio Rankin/Bass—founded as Videocraft and going by that name until 1974, when it rebranded as Rankin/Bass—helped Rudolph reach generations of kids and produced the longest continuously running Christmas special in United States television history.

The unique stop-motion animation style Rankin/Bass used was called “Animagic,” crafted by Japanese artist Tadahito Mochinaga and his MOM Production Studio. The process debuted in the United States in 1961 in a syndicated series called The New Adventures of Pinocchio, but the Rankin/Bass 18 Christmas specials helped the stop-motion animation approach become legendary. Rankin/Bass was one of the earliest studios to outsource its animation to Japan, which became common practice in later animated productions.

Since its debut in 1964, the Rudolph special has gone through a number of edits. In 1965, the song “Fame and Fortune” was added, to the chagrin of fans of the original; the song and the scene were removed and Santa’s visit to the Island of Misfit Toys was added in 1966.

Since its debut Dec. 6, 1964, Rudolph the Red-Nosed Reindeer has gone through a number of edits. (Image: Rankin/Bass)

Yukon Cornelius’ visit to the peppermint mine was also edited out of the original and would not return until 2019, when the network Freeform obtained the rights to this and several other Rankin/Bass specials as a part of its 25 Days of Christmas.

Rudolph the Red-Nosed Reindeer aired on NBC, its original network, until 1971, when CBS purchased the broadcasting rights, which it held until 2023. For the film’s 60th anniversary this year, NBC will air the full film in a 75-minute broadcast on Dec. 6, the same date the original debuted in 1964. Unlike other Christmas specials, the film is not available as a part of any streaming service and must be purchased to view it outside the NBC or Freeform telecasts.

The stop-motion Rudolph film not only became an instant classic, but also led to a wave of classic Christmas visual media in television and film. A Charlie Brown Christmas debuted in 1965, followed in 1966 by the animated How the Grinch Stole Christmas!, which was adapted from the 1957 Dr. Seuss book. Rankin/Bass would continue to produce holiday specials, including traditionally animated specials based on the Charles Dickens Christmas novella The Cricket on the Hearth (1967) and The Mouse on the Mayflower (1968), a Thanksgiving special.

The studio’s greatest successes, however, were its specials based on popular holiday songs and traditional stories. Later in 1968, The Little Drummer Boy debuted, a stop-motion special based on the song written in 1941 by Katherine Kennicott Davis and first recorded by the Trapp family in 1951. The song became a holiday standard in the United States through the later version by The Harry Simeone Chorale, who also recorded the popular version of “Do You Hear What I Hear?” as a plea for peace during the Cuban Missile Crisis. “The Little Drummer Boy” was also covered by Frank Sinatra and Bing Crosby with David Bowie.

The film The Little Drummer Boy is fairly dark for an animated special of the time, featuring the drummer boy Aaron’s family being murdered before he is kidnapped, forced to perform and escaped to join the Magi and ultimately performing in Bethlehem.

A holiday deluge

Rankin/Bass studio produced Frosty the Snowman in 1969, which was drawn to look like a Christmas card. (Image: Rankin/Bass)

In subsequent years, Rankin/Bass continued to produce specials that became staples of various holidays, including the traditionally animated Frosty the Snowman (1969), which studio artists wanted to look like a Christmas card. The studio also produced a number of other stop-motion specials, including Santa Claus is Coming to Town (1970) and Here Comes Peter Cottontail (1971). The partnership between Arthur Rankin Jr. and Jules Bass resulted in more than two dozen holiday specials and numerous other films and series, including the original ThunderCats series.

What used to be special, sprinkled throughout late November and December, has become a massive media industry leading to most regularly scheduled series taking a midseason break as a torrent of holiday specials and sporting events dominate television from Thanksgiving through the college football bowl season in January. The holiday season is now overrun by a collection of animated specials, holiday episodes and cheesy rom-coms. The latter of these were popularized by Hallmark, which has been sponsoring specials for broadcast since 1951, making what is now known as the Hallmark Hall of Fame the longest-running anthology series on television.

Hallmark’s low-budget holiday specials have been a staple of the holidays since 2000 and dramatically increased when Odyssey Network was rebranded the Hallmark Channel in 2001. Since then, the channel, which has grown in popularity over the last two decades, has produced more than 300 holiday specials created around formulaic narratives largely focused on family-appropriate romance. Other media outlets, including Lifetime Network and Netflix, have also joined this trend, leading to a deluge of specials of varying quality dominating the holiday season.

However, many of these specials rooted in nostalgia and familiar formulas can thank Santa’s ninth reindeer for using his shining nose to lead the way in establishing our holiday watching habits.

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

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Sixty years after the debut of the Rudolph the Red-Nosed Reindeer stop-motion animated classic, the yearly flood of holiday films can thank the small reindeer for their success.

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These princesses aren’t just waiting around for their prince

Rachel Sauer — Fri, 22 Nov 2024 15:57:28 +0000

These princesses aren’t just waiting around for their prince Rachel Sauer Fri, 11/22/2024 - 08:57

Adamari Ruelas

Looking at two of Disney’s most famous female characters, Anna and Elsa, with a critical eye with CU lecturer Shannon Leone

Nov. 22 marks the five-year anniversary of the release of Disney’s global phenomenon Frozen 2. This film, and the first Frozen, are widely considered some of Disney’s most progressive works, changing how the studio depicts their female characters.

Many applaud the films for giving young women and girls new and better role models than those previous generations had in Cinderella, Snow White and Sleeping Beauty. However, are Anna and Elsa really that different from the princesses who came before them?

Shannon Leone, a CU ��«��Ƶ lecturer, teaches a popular course in the Department of Women and Gender Studies called Disney’s Women and Girls.

Shannon Leone, a lecturer at the ��«��Ƶ who teaches a popular course in the Department of Women and Gender Studies called Disney’s Women and Girls, notes, “If you look at more traditional Disney films, they have encouraged an idea of both girlhood and womanhood that celebrates traditional feminine passivity, the quintessential example being the damsel in distress. With more recent female protagonists, they have become arguably more empowered and express desires outside of romance.”

Yet there still is debate about how the women and girls of Disney are influencing their youngest viewers and fans.

“Younger children have more choices in who they can align their identities with—characters they can celebrate and characters that they can look at with a more critical eye. They have more choices than previous generations,” Leone says.

Some scholars have noted that Disney previously taught young girls that the only pleasure and purpose in life was finding a man to love them—a message that many women have questioned and rebelled against.

Now, Disney creates “progressive” princesses like Tiana from The Princess and the Frog and Moana from Moana, who will appear on screen again Nov. 27 when Moana 2 opens

Something different

One thing that makes the Frozen films—and their heroes Anna and Elsa—different from their Disney predecessors is its focus on love, but not necessarily romantic love.

“Frozen is an example of a film that portrays sisterly love, which unfortunately continues to be rare in Disney films,” Leone says. Most Disney films with a female protagonist are centered around an idea of love—specifically romantic love. By focusing on the love shared between sisters, instead of a man and a woman, Frozen and Frozen 2 present a broader picture of love and the things to which girls can aspire, Leone says.

Moana, who has been praised for having a more realistic figure, will return to theaters Nov. 27 in Moana 2. (Image: Disney Enterprises Inc.)

And the film Moana didn’t have a romantic subplot at all, instead focusing on Moana’s dreams of exploration. Moana also has been widely praised for having a more realistic figure compared with the impossible dimensions of previous Disney heroines.

It’s not just the romantic plotlines of Disney films that have changed, but also how the female characters are portrayed in the first place, Leone says. She cites Elsa from Frozen as an important example: a woman who is depicted more like a traditional Disney female villain than a princess.

“Elsa was supposed to be a villain, and having some traces of what would have made her an antagonist in the film actually produces more of a multifaceted human being, which I think young viewers responded to,” Leone explains.

Another notable example is Tiana from The Princess and the Frog, who made history by being Disney’s first African American princess. Despite breaking down barriers, many critiqued the movie for Tiana’s Eurocentric features.

“The film is self-aware of traditional expectations of beauty in association with the princess type. With that being said, I don’t want to undermine the significance of that film in its representation of Black American identity,” Leone says, emphasizing that despite its flaws, the movie still made important progress in representation.

While younger generations of little girls may have better role models in the Disney princesses of today, it’s still important to consider what these movies are teaching young viewers. “Contemporary films seem to still have to contend with these racialized and gendered expectations of the damsel in distress and the masculine hero,” Leone says, adding that it's easy to overlook the deeper meanings in Disney movies that children may latch onto.

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Looking at two of Disney’s most famous female characters, Anna and Elsa, with a critical eye with CU lecturer Shannon Leone.

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Kinship may not mean what you think it does

Rachel Sauer — Mon, 18 Nov 2024 19:52:34 +0000

Kinship may not mean what you think it does Rachel Sauer Mon, 11/18/2024 - 12:52

Bradley Worrell

CU ��«��Ƶ anthropologist Kathryn Goldfarb spearheads new book that examines the difficult aspects of family connection.

Historically, anthropologists defining kinship tended to begin with who people are related to by birth and by marriage. Family was often considered a bedrock of society.

Over time, the idea of what constitutes kinship has evolved, but a key underlying assumption has remained largely unchanged when it comes to the idea of families being a source of caregiving support, says Kathryn Goldfarb, an associate professor in the ��«��Ƶ Department of Anthropology, whose research focuses on social relationships, including kinship.

“The literature in anthropological scholarship on families often still supports this notion that, definitionally, family is what keeps us together,” she says. “There is a perception that kinship is where social solidarity lies, how social continuity works, how society hangs together.”

Kathryn Goldfarb, an associate professor in the CU ��«��Ƶ Department of Anthropology, researches social relationships, including kinship.

The problem with that idea, Goldfarb says, is that empirical data, including Goldfarb’s own fieldwork in Japan connected to the child-welfare system, often contradicts that idealistic portrayal. That, in turn, posed a problem when assigning readings to her students.

“As I’ve taught kinship over the years, I had this increasing sense that many of my students don’t see themselves reflected in the literature,” she says. “We often talk about diversifying our syllabi, making sure that the authors come from diverse backgrounds and have diverse perspectives. That was really lacking in the materials that I had available to assign to students, because a lot of the reading doesn’t take serious the fact that some people’s lives with their families are really problematic and really hard.”

Goldfarb’s solution was to spearhead the book Difficult Attachments: Anxieties of Kinship and Care, which was recently published by Rutgers University Press. Goldfarb led the conceptualization of the book’s theme, served as co-editor and co-author of the introduction, and wrote one of the chapters.

As Goldfarb and her co-author, Sandra Bamford, note in the book’s introduction, “If family is, by definition, about nurturing and caregiving, then how do we understand kinship when it is not?” The authors do not attempt to redefine kinship, but instead seek to expand the types of scholarship that can be considered central to the field.

Recently, Colorado Arts and Sciences Magazine spoke with Goldfarb about the book. Her responses were lightly edited for style and condensed.

Question: What is kinship, exactly? And how has the idea of kinship changed over time?

Goldfarb: The term ‘kinship’ is fairly academic and is taken to mean the systematic level of family relationships. In the old anthropology literature, it was about trying to discern what sort of kinship system each society had, allowing researchers to produce a systematic understanding of how people reckoned their social ties.

One of the reasons anthropologists cared about this was that they believed ‘primitive’ societies didn’t have politics; they just had kinship. Anthropologists were often tasked by colonial governments to determine these key social structures so colonizers could more effectively govern. …

From my perspective, now when we talk about kinship and anthropology, it is about how we think about relatedness more broadly—beyond just heterosexual reproduction and marriage. For example, if I ask my students to depict their own kinship networks, they may draw a genealogy, but when you actually find out what their real relationships are like, those may not be reflected in either their genealogies or legal documents. …

If you are just basing things on genealogy, you’re not seeing the foster child who is part of a family; depending on the local legal regime, you may not be seeing the same-sex couple; you’re not seeing the ghost of the grandmother who is still a part of a family’s daily life. These are all aspects of human life that you wouldn’t actually see if you are just looking at relationships that map onto a normative genealogy. So, definitionally, we need to be more open-minded about the ways that we categorize social relationships in order to analyze them.

Question: And the book specifically grapples with the idea that familial kinship doesn’t always carry the positives that many people tend to associate with it, correct?

Goldfarb: A very stubborn assumption continues to exist in both the academic literature and the popular imagination that kin ties are—or should be—loving, forever, unconditional and nurturing, and that the obligation to care should exist in perpetuity. The chapters presented in this collection paint a different picture.

In Difficult Attachments: Anxieties of Kinship and Care, authors seek to expand the types of scholarship that can be considered central to studying kinship.

In the ‘Ambiguities of Care’ section, we were thinking about situations where normative frameworks of caregiving were destabilized in some way, which often meant that care was delegated to nonfamilial others—so, either the carceral, the child welfare system, long-term care facilities or medical systems. …

For example, one essay looked at recidivism rates for older adults in Japan, where people tend to commit petty crimes so they can be re-arrested and incarcerated, as prison offers more comfort than life ‘outside’ if their family is not able to care for them. In those cases, they find being incarcerated more ‘homey’ than being at home.

The section ‘Toxic States’ is about the ways state formations shape the types of relationships that are possible, or that people produce in spite of these state formations. So, for example, one of the essays is about people who have been incarcerated after being caught at the U.S. border, and how American border policies impact kinship relationships and possibilities for connection and disconnection.

And the third section is ‘Negative Affects.’ The main idea in that section is that types of affect or emotion that are often considered negative, like anger or envy or favoritism, are actually constitutive aspects of how we understand ourselves in relation with others. …

My own essay, in that last section, talks about how in child-welfare contexts, the idea may be that family is a dangerous place; when children have been removed from their homes, it may be because their family of origin is not safe for them. From my fieldwork in Japan with child welfare institutions, I observed that one of the goals of those spaces was to produce what I call ‘sanitized relationality’—something that was not family, that was safe, not contaminated by arguments or worry and everyone was equal and was treated the same.

The argument I make in the essay is that that type of relationship is not the sort that helps people understand in adulthood how to maintain social ties. If you are going to continue to have a relationship with someone, you have to work through difficult things; you can’t just prohibit those things and you can’t have a substantive relationship that can be sanitized of all those things. So, it’s hard to grow up in a situation like that and know how to have relationships. To be able to argue with someone and still continue that relationship is a type of privilege.

Question: By extension, it seems that when kinship works like people envision it’s supposed to, it should be recognized and maybe respected because it’s not automatically the norm?

Goldfarb: Exactly. At least, the recognition that kinship relationships that feel positive and good take a lot of work; there is nothing natural or automatic about kinship ties being caring or based upon positive sociality.

Question: How did the idea for this book come together?

Goldfarb: We had proposed a session for the 2020 American Anthropological Association conference, which ended up being canceled because of COVID. … When the conference was cancelled, we decided to do two online workshops instead. For that, we had people send in drafts, and we grouped the participants in thematic groups. …

"If you are going to continue to have a relationship with someone, you have to work through difficult things; you can’t just prohibit those things and you can’t have a substantive relationship that can be sanitized of all those things."

We asked the authors to think about: What irritates you about the way kinship has been talked about in the literature? How can you think against the grain of typical arguments? …

For the volume as a whole, I wanted something that would be accessible to undergrads and good materials for graduate students; something that would be ethnographically rich and also theoretically exciting. We wanted these to be short, delicious essays of between 4,300 and 6,000 words, which is quite short for academic articles. …

And one thing that I love about the book is that there’s such diversity in the contributors. Some of them are junior grad students and others are emeritus professors.

Question: Who is the intended audience for this book? And, have there been any reactions to it thus far?

Goldfarb: As an academic press, it’s probably academics in general who are the audience. So, undergrad students, graduate students and faculty. But I also feel the essays are quite accessible, so I really hope that people beyond academia read it.

I taught portions of the book this fall in my undergraduate Kinship seminar, and the students have reacted really positively to it; some of them said they found it very validating of their own experiences.

We did a book launch on Oct. 24, where the first half was a cabaret performance by Ronan Viard, who is French actor and singer who lives in ��«��Ƶ. His story is exactly what the book is about. It was about him being abducted by his father and brought from France to the United States when he was a child. The story is about his experiences with that, but it’s also about his relationship to the United States, where he lives now, and his relationship with his father after all these years, and his children’s relationship with his father.

It was a powerful performance, and it brought up all these questions that were at the center of the book, like: How do you grapple with the types of family inheritances, including inherited trauma, that are perhaps unwelcome but hard to escape?

Ronan’s cabaret also raises questions about belonging that are very anthropological: How do we theorize belonging? How do we think about belonging to a nation or to a family or a community or to a language?

Kathryn Goldfarb’s solo-authored ethnography, Fragile Kinships: Child Welfare and Well-being in Japan, is forthcoming from Cornell University Press.

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CU ��«��Ƶ anthropologist Kathryn Goldfarb spearheads new book that examines the difficult aspects of family connection.

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Floating like a butterfly, stinging like a bee

Rachel Sauer — Mon, 11 Nov 2024 17:30:13 +0000

Floating like a butterfly, stinging like a bee Rachel Sauer Mon, 11/11/2024 - 10:30

Jared Bahir Browsh

Fifty years after the famed ‘Rumble in the Jungle,’ Muhammad Ali is remembered not only as the heavyweight champ, but as a champion of civil rights

It is hard to imagine, but coming off of his more than three-year exile from boxing, Muhammad Ali spent four years regaining his position as the top heavyweight in boxing. He lost everything by taking his stance against being drafted into the Vietnam War—not just his boxing career and his promotional business, but also derailing his budding advertising and media career.

Ali was born in Louisville, Kentucky, winning the light heavyweight gold medal at the 1960 Rome Olympics before turning professional as a heavyweight. A myth emerged that he threw his gold medal into the Ohio River after returning to his home city as Olympic champion and was still denied service in a restaurant.

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

His experiences negotiating racism and segregation as an Olympic hero would inform his outspoken approach to civil rights and make him a hero to millions across generations.

Ali won his first 20 professional matches—and became heavyweight champion—at age 22, defending the championship across nine challenges before he was stripped of his championship and exiled from the sport in 1966. He appealed his draft reclassification, which happened in spite of his dyslexia and his position as a conscientious objector. Other athletes who were draft-eligible were placed with National Guard units or protected by their teams, as in the NFL, so it was particularly curious that the most popular athlete in the country was reclassified and drafted.

Conscientious objector

After winning the heavyweight championship against Sonny Liston in 1964, the boxer then known as Cassius Clay changed his name first to Cassius X and then to Muhammad Ali. He had befriended Malcolm X and joined the Nation of Islam, but did not reveal his conversion until he was secure in his boxing career after winning the championship. He fell out with Malcolm X after the civil rights leader left the Nation following revelation that leader Elijah Muhammad had children out of wedlock; Malcolm assumed Ali would support him, but Ali remained loyal to the Nation.

In 1966, Ali founded Main Bout Inc. to promote his fights and oversee the closed-circuit broadcasting of his fights. The Nation of Islam held many of the shares in Main Bout Inc., including through Ali’s manager, Jabir Herbert Muhammad, third son of the Nation’s leader; other shareholders included football legend Jim Brown. To help forge relationships, boxing promoter Bob Arum was included and after the company folded due to Ali’s arrest, Arum and Muhammad went on to found Top Rank Boxing.

Ali’s religious conversion and his perspective that America should not be involved in the Vietnam War led to his refusal to be inducted. He was arrested and convicted of breaking Selective Service laws, and he continued to protest the war as he appealed. His conviction was overturned in June 1971, although he returned to boxing in late 1970 as sentiment against him softened and boxing commissions granted Ali licenses to fight again. He fought three matches before the Supreme Court ruled in his favor, including the first loss of his career against Joe Frazier.

As Frazier and Ali worked toward a rematch, a young boxer rose up the ranks after winning the heavyweight gold medal at the 1968 Mexico City Olympic Games. George Foreman entered the fight against Joe Frazier at 37-0, emerging as champion and disrupting the planned rematch between Frazier and Ali. Ali also lost his second match, this time against Ken Norton, but after Foreman beat Norton, Don King signed contracts with both Ali and Foreman for a superfight promising each boxer a $5 million purse.

Defending world champion George Foreman goes down in the eighth round during his Oct. 30, 1974, bout against Muhammad Ali in Kinshasa, Zaire. (Photo: Richard Drew/Associated Press)

King did not have the money on hand, and the huge monetary promise to both boxers led other promoters to avoid working with King to organize the event. King, who had been released from jail in 1972 after being convicted of second-degree murder, forged a relationship with Ali after promoting a charity fight, but was unable to come to agreement with any venue in the United States to stage the fight. As a result, he looked at other countries to stage it. Fred Weymar, who was an advisor to Zairean dictator Mobutu Sese Seko, convinced Seko that funding and staging the fight would help garner support for his regime, an effort known today as sportwashing. King also pulled in funding from Risnelia Investment, the Hemdale Film Corp. and Video Techniques Inc., with Hemdale and Video Techniques Inc. as official co-promoters. Color commentators included Brown, Frazier and journalist David Frost.

Rumble in the Jungle

Promoted as the Rumble in the Jungle, the fight was an incredible spectacle, even by today’s sporting standards. Originally scheduled for Sept. 25, 1974 (it would have been broadcast Sept. 24 in the United States due to the time difference), it was pushed back to Oct. 30 due to a cut Foreman got while sparring. A three-day music festival called Zaire 74 took place between Sept. 22-24, originally scheduled to precede the match, which included James Brown, Bill Withers, B.B. King, The Spinners and Celia Cruz alongside more than a dozen African artists.

Although Ali arrived in Zaire as a 4-1 betting underdog, he was the overwhelming favorite of the Zairean/Congolese people. Foreman arrived in Zaire with his German shepherd, which was the dog breed used by the Belgian occupying forces against the Congolese people, further cementing his status as the villain. Foreman and Ali were polar opposites, with Ali seen by many as unpatriotic in America, but a hero in Africa. Foreman, on the other hand, represented Cold War nationalism after beating Soviet Jonas Čepulis in the 1968 Olympic gold medal match, leading to the famous image of the very large Foreman waving a tiny American flag after his victory in Mexico.

Fans chanted "Ali boma ye," or “Ali kill him,” throughout his visit and the fight. Although the event itself did not go as planned—King assumed hundreds of high-profile boxing fans would travel to Zaire, but only a few dozen ended up making trip—the fight is seen as one of the greatest. The match earned more than $100 million from closed-circuit broadcasts in U.S. theaters and other broadcasts rights globally, leading to an estimated audience of more than 500 million people worldwide.

The legendary status of the fight was cemented by Ali’s upset win against the younger and stronger Foreman. Ali and his trainers understood that he would be unable to outpunch Foreman, so they relied on Ali’s skill and speed. By the second, round Ali was leaning against the ropes, avoiding and absorbing blows with his arms and body, which did not earn Foreman points with the judges since they were not clear blows against Ali. Eventually, Foreman exhausted himself and Ali took advantage, knocking out the future grill entrepreneur in the eighth round.

In one of the most famous photos of Muhammad Ali ever taken, the boxer stands over Sonny Liston during a May 1965 bout in Lewiston, Maine. (Photo: John Rooney/Associated Press)

Approaching retirement

In his next bout, Ali fought Chuck Wepner and was knocked down in the ninth round, at least partially due to a light training schedule. Ali still won, and the fight would inspire Sylvester Stallone to write Rocky, with the character Apollo Creed based on Muhammad Ali.

Ali retained the heavyweight title for more than three years, a run that included the Thrilla in Manila, the third match in the trilogy between Ali and Frazier that saw the champion employ the “rope-a-dope” again, as both fighters struggled in the heat of Quezon City, near the Philippine capital of Manila. Ali lost to Leon Spinks in February 1978 on a split decision, before beating Spinks in their rematch seven months later.

Ali sent his letter of retirement to the World Boxing Association before returning to the ring to face his former sparring partner Larry Holmes for the vacant World Boxing Commission title, reportedly taking the fight partially due to money issues. Before the fight, he was ordered to undergo examination at the Mayo Clinic because there was a concern as to whether he was fit to return to the ring—he had begun to display symptoms of what would be diagnosed as Parkinson's syndrome in 1984.

The fight was so one-sided that Holmes reportedly voiced concern to the referee, who refused to stop the match. Holmes went on to win after Ali’s long-time trainer finally stepped in to stop the fight. Stallone attended the fight in Las Vegas and compared it to “an autopsy on a man who's still alive.” Ali fought one more time before ultimately retiring.

As time went on, Ali struggled with the impact that Parkinson’s had on his health—a condition related to taking an estimated 200,000 hits over his amateur and professional boxing career. He continued to make public appearances, including his inspiring lighting of the Olympic torch in the 1996 Atlanta Games. He continues to be a revered sports and civil rights legend, considered the greatest heavyweight boxer of all time.

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

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Fifty years after the famed ‘Rumble in the Jungle,’ Muhammad Ali is remembered not only as the heavyweight champ, but as a champion of civil rights.

Traditional

In a bout called "Rumble in the Jungle," Muhammad Ali, left, and George Foreman, right, fight on Oct. 30, 1974, in Kinshasa, Zaire. (Photo: AFP/Getty Images)

White

In a bout called Rumble in the Jungle, Muhammad Ali, left, and George Foreman, right, fight on Oct. 30, 1974, in Kinshasa, Zaire. (Photo: AFP/Getty Images)

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