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"slug": "raymond-pettibon-auction-black-flag-fliers-punk-rock-ephemera-fab-mab-on-broadway",
"title": "Hundreds of Raymond Pettibon’s Black Flag Show Fliers Go to Auction",
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"content": "\u003cp>A new auction of Raymond Pettibon’s artwork is about to give punk rock fans a chance to own a piece of Bay Area music history.\u003c/p>\n\u003cp>Pettibon’s signature black and white sketches during the 1980s \u003ca href=\"https://www.kqed.org/arts/13961071/san-francisco-punk-photography-70s-80s-haight-street-art-center\">heyday of California punk\u003c/a> were consistently confrontational and thought-provoking, and often lewd or grotesque. Pettibon’s striking images adorned fliers, posters, album covers, T-shirts, ads and a variety of other ephemera for bands like Black Flag, Flipper and Minutemen. Now, more than 300 of these items are about to go on sale via Wright Auction House in Chicago.\u003c/p>\n\u003cfigure id=\"attachment_13962610\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962610\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Pettibon-scaled-e1723569491786.jpg\" alt=\"A flier featuring black and white drawings of crowds of men in underpants and tank tops.\" width=\"1920\" height=\"1920\">\u003cfigcaption class=\"wp-caption-text\">A 1983 Raymond Pettibon flier advertising Black Flag, Saccharine Trust, NIGhist and Rebel Truth at the On Broadway in San Francisco. \u003ccite>(Courtesy of Specific Object/ Wright Auction House)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though phone and online bidding for \u003ca href=\"https://www.wright20.com/auctions/2024/08/raymond-pettibon-the-punk-years-curated-by-specific-object-david-platzker\">\u003cem>Raymond Pettibon: The Punk Years\u003c/em> \u003c/a>officially opens on Aug. 22, advanced bids have already begun rolling in online. Starting bids across the board are $50, and estimated sale prices range between $150 and $1,500. One yellow \u003ca href=\"https://www.wright20.com/auctions/2024/08/raymond-pettibon-the-punk-years-curated-by-specific-object-david-platzker/165\">“Jealous Again” skateboard\u003c/a>, for example, is anticipated to garner as much as $1,000. Pettibon’s art zines are expected to fetch as much as $600 each, even though some of them are already available to \u003ca href=\"https://archive.org/details/raymond-pettibon-captive-chains-1978/mode/2up\">read on the Internet Archive\u003c/a> and \u003ca href=\"https://www.abebooks.com/servlet/BookDetailsPL?bi=30298694462&ref_=ps_ggl_17738760402&cm_mmc=ggl-_-COM_Shopp_Rare-_-product_id=bi%3A%2030298694462-_-keyword=&gclid=Cj0KCQjw5ea1BhC6ARIsAEOG5pyXvpIYYDbjU13JzzkMmXJVWvx_ClE4ojS53oSjQh4EJTAiH0kca28aArBREALw_wcB\">buy online for less\u003c/a>.\u003c/p>\n\u003cp>[aside postid='arts_13938024']The bulk of the Bay Area-related items up for grabs are Pettibon’s Black Flag fliers for shows at Mabuhay Gardens and On Broadway, historic venues in San Francisco’s North Beach. Pettibon’s work for the band was prolific, in part because his brother Greg Ginn is Black Flag’s guitarist. Items promoting other bands are present here too — the likes of Descendents, Meat Puppets and Hüsker Dü playing lesser-known Bay Area clubs like Palo Alto’s Keystone, which closed in 1986.\u003c/p>\n\u003cfigure id=\"attachment_13962611\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962611\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Pettibon-Kennedys-scaled-e1723570000868.jpg\" alt=\"A flier featuring black and white sketches of four people including John F Kennedy and Lee Harvey Oswald.\" width=\"1920\" height=\"1920\">\u003cfigcaption class=\"wp-caption-text\">A 1979 flier for Black Flag and Dead Kennedys at the Mabuhay Gardens by Raymond Pettibon. \u003ccite>(Courtesy of Specific Object/ Wright Auction House)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The auction was curated by\u003ca href=\"https://specificobject.com/about.cfm\"> Specific Object\u003c/a>, a New York City gallery and bookstore owned by former MoMA curator David Platzker. There is something profoundly surreal about this particular moment in California underground music being presented and sold in this manner, but it’s also an opportunity to get your hands on Pettibon’s most searing work, presented in its original format. And that’s worth bidding on.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.wright20.com/auctions/2024/08/raymond-pettibon-the-punk-years-curated-by-specific-object-david-platzker\">Raymond Pettibon: The Punk Years\u003c/a>\u003c/em>\u003ca href=\"https://www.wright20.com/auctions/2024/08/raymond-pettibon-the-punk-years-curated-by-specific-object-david-platzker\">, \u003c/a>\u003cem>\u003ca href=\"https://www.wright20.com/auctions/2024/08/raymond-pettibon-the-punk-years-curated-by-specific-object-david-platzker\">Curated by Specific Object\u003c/a>’ is open to online bids now through Aug. 22, 2024.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A new auction of Raymond Pettibon’s artwork is about to give punk rock fans a chance to own a piece of Bay Area music history.\u003c/p>\n\u003cp>Pettibon’s signature black and white sketches during the 1980s \u003ca href=\"https://www.kqed.org/arts/13961071/san-francisco-punk-photography-70s-80s-haight-street-art-center\">heyday of California punk\u003c/a> were consistently confrontational and thought-provoking, and often lewd or grotesque. Pettibon’s striking images adorned fliers, posters, album covers, T-shirts, ads and a variety of other ephemera for bands like Black Flag, Flipper and Minutemen. Now, more than 300 of these items are about to go on sale via Wright Auction House in Chicago.\u003c/p>\n\u003cfigure id=\"attachment_13962610\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962610\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Pettibon-scaled-e1723569491786.jpg\" alt=\"A flier featuring black and white drawings of crowds of men in underpants and tank tops.\" width=\"1920\" height=\"1920\">\u003cfigcaption class=\"wp-caption-text\">A 1983 Raymond Pettibon flier advertising Black Flag, Saccharine Trust, NIGhist and Rebel Truth at the On Broadway in San Francisco. \u003ccite>(Courtesy of Specific Object/ Wright Auction House)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though phone and online bidding for \u003ca href=\"https://www.wright20.com/auctions/2024/08/raymond-pettibon-the-punk-years-curated-by-specific-object-david-platzker\">\u003cem>Raymond Pettibon: The Punk Years\u003c/em> \u003c/a>officially opens on Aug. 22, advanced bids have already begun rolling in online. Starting bids across the board are $50, and estimated sale prices range between $150 and $1,500. One yellow \u003ca href=\"https://www.wright20.com/auctions/2024/08/raymond-pettibon-the-punk-years-curated-by-specific-object-david-platzker/165\">“Jealous Again” skateboard\u003c/a>, for example, is anticipated to garner as much as $1,000. Pettibon’s art zines are expected to fetch as much as $600 each, even though some of them are already available to \u003ca href=\"https://archive.org/details/raymond-pettibon-captive-chains-1978/mode/2up\">read on the Internet Archive\u003c/a> and \u003ca href=\"https://www.abebooks.com/servlet/BookDetailsPL?bi=30298694462&ref_=ps_ggl_17738760402&cm_mmc=ggl-_-COM_Shopp_Rare-_-product_id=bi%3A%2030298694462-_-keyword=&gclid=Cj0KCQjw5ea1BhC6ARIsAEOG5pyXvpIYYDbjU13JzzkMmXJVWvx_ClE4ojS53oSjQh4EJTAiH0kca28aArBREALw_wcB\">buy online for less\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The bulk of the Bay Area-related items up for grabs are Pettibon’s Black Flag fliers for shows at Mabuhay Gardens and On Broadway, historic venues in San Francisco’s North Beach. Pettibon’s work for the band was prolific, in part because his brother Greg Ginn is Black Flag’s guitarist. Items promoting other bands are present here too — the likes of Descendents, Meat Puppets and Hüsker Dü playing lesser-known Bay Area clubs like Palo Alto’s Keystone, which closed in 1986.\u003c/p>\n\u003cfigure id=\"attachment_13962611\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962611\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Pettibon-Kennedys-scaled-e1723570000868.jpg\" alt=\"A flier featuring black and white sketches of four people including John F Kennedy and Lee Harvey Oswald.\" width=\"1920\" height=\"1920\">\u003cfigcaption class=\"wp-caption-text\">A 1979 flier for Black Flag and Dead Kennedys at the Mabuhay Gardens by Raymond Pettibon. \u003ccite>(Courtesy of Specific Object/ Wright Auction House)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The auction was curated by\u003ca href=\"https://specificobject.com/about.cfm\"> Specific Object\u003c/a>, a New York City gallery and bookstore owned by former MoMA curator David Platzker. There is something profoundly surreal about this particular moment in California underground music being presented and sold in this manner, but it’s also an opportunity to get your hands on Pettibon’s most searing work, presented in its original format. And that’s worth bidding on.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.wright20.com/auctions/2024/08/raymond-pettibon-the-punk-years-curated-by-specific-object-david-platzker\">Raymond Pettibon: The Punk Years\u003c/a>\u003c/em>\u003ca href=\"https://www.wright20.com/auctions/2024/08/raymond-pettibon-the-punk-years-curated-by-specific-object-david-platzker\">, \u003c/a>\u003cem>\u003ca href=\"https://www.wright20.com/auctions/2024/08/raymond-pettibon-the-punk-years-curated-by-specific-object-david-platzker\">Curated by Specific Object\u003c/a>’ is open to online bids now through Aug. 22, 2024.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Cringy Moves and a White Girl’s Durag Raise Questions About Olympic Breaking",
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"content": "\u003cp>From the Australian b-girl with the meme-worthy “kangaroo” dance move to the silver-medal winning Lithuanian in a durag, breaking’s Olympic debut had a few moments that raised questions from viewers about whether the essence of the hip-hop art form was captured at the Paris Games.\u003c/p>\n\u003cp>Rachael Gunn, or “b-girl Raygun,” a 36-year-old professor from Sydney, Australia, quickly achieved internet fame, but not necessarily for Olympic-level skill. Competing against some b-girls half her age, she was swept out of the round-robin stage without earning a single point, and her unconventional moves landed flat while failing to match the skill level of her foes.\u003c/p>\n\u003cp>[aside postid='arts_13961861']At one point, Gunn raised one leg while standing and leaned back with her arms bent toward her ears. At another, while laying on her side, she reached for her toes, flipped over and did it again in a move dubbed “the kangaroo.”\u003c/p>\n\u003cp>Gunn has a Ph.D. in cultural studies, and her LinkedIn page notes she is “interested in the cultural politics of breaking.”\u003c/p>\n\u003cp>“I was never going to beat these girls on what they do best — their power moves,” said Gunn. “What I bring is creativity.”\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" cite=\"https://www.tiktok.com/@registeredclipz/video/7401992673608977665\" data-video-id=\"7401992673608977665\" style=\"max-width: 605px;min-width: 325px\">\n\u003csection> \u003ca target=\"_blank\" title=\"@registeredclipz\" href=\"https://www.tiktok.com/@registeredclipz?refer=embed\" rel=\"noopener\">@registeredclipz\u003c/a> \u003ca title=\"olympics\" target=\"_blank\" href=\"https://www.tiktok.com/tag/olympics?refer=embed\" rel=\"noopener\">#olympics\u003c/a> \u003ca title=\"olympics2024\" target=\"_blank\" href=\"https://www.tiktok.com/tag/olympics2024?refer=embed\" rel=\"noopener\">#olympics2024\u003c/a> \u003ca title=\"breakdance\" target=\"_blank\" href=\"https://www.tiktok.com/tag/breakdance?refer=embed\" rel=\"noopener\">#breakdance\u003c/a> \u003ca title=\"australia\" target=\"_blank\" href=\"https://www.tiktok.com/tag/australia?refer=embed\" rel=\"noopener\">#australia\u003c/a> \u003ca target=\"_blank\" title=\"♬ original sound - Registeredclipz\" href=\"https://www.tiktok.com/music/original-sound-7401992765594176273?refer=embed\" rel=\"noopener\">♬ original sound – Registeredclipz\u003c/a> \u003c/section>\n\u003c/blockquote>\n\u003cp> [tiktok]\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Clips of her routine have gone viral on TikTok and elsewhere, and many cringed at her moves platformed on the Olympic stage as a representation of hip-hop and breaking culture.\u003c/p>\n\u003cp>“It’s almost like they are mocking the genre,” wrote one user on X.\u003c/p>\n\u003ch2>Some of it was ‘weird to see’\u003c/h2>\n\u003cp>Many Black viewers, in particular, called out Lithuania’s silver medalist b-girl Nicka, (legally named Dominika Banevič) for donning a durag during each of her battles. Durags, once worn by enslaved Africans to tie up their hair for work, are still worn by Black people to protect and style their hair. They became a fashionable symbol of Black pride in the 1960s and 1970s and, in the 1990s and early 2000s, also became a popular element of hip-hop style. But when worn by those who aren’t Black, durags can be seen as cultural appropriation. Banevič is white.\u003c/p>\n\u003cp>https://twitter.com/AUSTRALFrog/status/1822166945480798607\u003c/p>\n\u003cp>Actor Kevin Fredericks responded on Instagram to Banevič donning the headwear by saying it looked “weird to see somebody who don’t need it for protective style or waves to be rocking the durag.”\u003c/p>\n\u003cp>[aside postid='arts_13961542']The 17-year-old breaker ultimately won the silver medal after losing in the final to Japan’s b-girl Ami (Ami Yuasa).\u003c/p>\n\u003cp>For her part, Banevič has credited the breakers from the 1970s in the Bronx — the OGs — or “original gangsters” in hip-hop who created the dance — for her own success and breaking style.\u003c/p>\n\u003cp>“It’s a huge responsibility to represent and raise the bar every time for breaking because they did an amazing job. Big respect for the OGs and the pioneers that invented all those moves. Without them, it wouldn’t be possible,” she said. “Without them, breaking wouldn’t be where it is today. So I’m grateful for them.”\u003c/p>\n\u003ch2>Concerns over losing breaking’s roots\u003c/h2>\n\u003cp>Friday night’s slips “may have alienated too many new viewers to garner the anticipated response from our Olympic premiere,” said Zack Slusser, vice president of Breaking for Gold USA and USA Dance, in a text message to the Associated Press.\u003c/p>\n\u003cp>“We need to change the narrative from yesterday’s first impression of breaking as Olympic sport. There were significant organizational and governance shortcomings that could have been easily reconciled but, unfortunately, negatively impacted Breaking’s first touching point to a new global audience.”\u003c/p>\n\u003cp>[aside postid='arts_13962267']The challenge for Olympic organizers was to bring breaking and hip-hop culture to a mass audience, including many viewers who were skeptical about the dance form’s addition to the Olympic roster. Others feared the subculture being co-opted by officials, commercialized and put through a rigid judging structure, when the spirit of breaking has been rooted in local communities, centered around street battles, cyphers and block parties. Hip-hop was born as a youth culture within Black and brown communities in the Bronx as a way to escape strife and socio-economic struggles and make a statement of empowerment at a time when they were labeled as lost, lawless kids by New York politicians.\u003c/p>\n\u003cp>Refugee breaker Manizha Talash, or “b-girl Talash,” channeled that rebellious vibe by donning a “Free Afghan Women” cape during her pre-qualifier battle — a defiant and personal statement for a 21-year-old who fled her native Afghanistan to escape Taliban rule. Talash was quickly disqualified for violating the Olympics’ ban on political statements on the field of play.\u003c/p>\n\u003cfigure id=\"attachment_13962582\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962582\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2166037532-scaled-e1723484370138.jpg\" alt='An athlete on an Olympic stage stands with her arms outstretched wearing a blue cape that says \"Free Afghan Women.\"' width=\"1920\" height=\"1238\">\u003cfigcaption class=\"wp-caption-text\">B-Girl Talash of Team of Refugee Olympic Team competes while wearing a outfit which reads “Free Afghan women” during the B-girls Pre-Qualifier at the Paris Olympic Games. \u003ccite>(Ezra Shaw/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Both American b-girls were eliminated in Friday’s round-robin phase, a blow to the country representing the birthplace of hip-hop in what could be the discipline’s only Games appearance. B-girl Logistx (legal name Logan Edra) and b-girl Sunny (Sunny Choi) both ranked in the top 12 internationally but came up short of the quarterfinals.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Breaking for the Olympics has changed the way that some people are dancing,” said Choi, referring to some of the flashier moves and jam-packed routines. “Breaking changes over time. And maybe I’m just old-school and I don’t want to change … I think a lot of people in our community were a little bit afraid of that happening.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>From the Australian b-girl with the meme-worthy “kangaroo” dance move to the silver-medal winning Lithuanian in a durag, breaking’s Olympic debut had a few moments that raised questions from viewers about whether the essence of the hip-hop art form was captured at the Paris Games.\u003c/p>\n\u003cp>Rachael Gunn, or “b-girl Raygun,” a 36-year-old professor from Sydney, Australia, quickly achieved internet fame, but not necessarily for Olympic-level skill. Competing against some b-girls half her age, she was swept out of the round-robin stage without earning a single point, and her unconventional moves landed flat while failing to match the skill level of her foes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>At one point, Gunn raised one leg while standing and leaned back with her arms bent toward her ears. At another, while laying on her side, she reached for her toes, flipped over and did it again in a move dubbed “the kangaroo.”\u003c/p>\n\u003cp>Gunn has a Ph.D. in cultural studies, and her LinkedIn page notes she is “interested in the cultural politics of breaking.”\u003c/p>\n\u003cp>“I was never going to beat these girls on what they do best — their power moves,” said Gunn. “What I bring is creativity.”\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" cite=\"https://www.tiktok.com/@registeredclipz/video/7401992673608977665\" data-video-id=\"7401992673608977665\" style=\"max-width: 605px;min-width: 325px\">\n\u003csection> \u003ca target=\"_blank\" title=\"@registeredclipz\" href=\"https://www.tiktok.com/@registeredclipz?refer=embed\" rel=\"noopener\">@registeredclipz\u003c/a> \u003ca title=\"olympics\" target=\"_blank\" href=\"https://www.tiktok.com/tag/olympics?refer=embed\" rel=\"noopener\">#olympics\u003c/a> \u003ca title=\"olympics2024\" target=\"_blank\" href=\"https://www.tiktok.com/tag/olympics2024?refer=embed\" rel=\"noopener\">#olympics2024\u003c/a> \u003ca title=\"breakdance\" target=\"_blank\" href=\"https://www.tiktok.com/tag/breakdance?refer=embed\" rel=\"noopener\">#breakdance\u003c/a> \u003ca title=\"australia\" target=\"_blank\" href=\"https://www.tiktok.com/tag/australia?refer=embed\" rel=\"noopener\">#australia\u003c/a> \u003ca target=\"_blank\" title=\"♬ original sound - Registeredclipz\" href=\"https://www.tiktok.com/music/original-sound-7401992765594176273?refer=embed\" rel=\"noopener\">♬ original sound – Registeredclipz\u003c/a> \u003c/section>\n\u003c/blockquote>\n\u003cp> \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Clips of her routine have gone viral on TikTok and elsewhere, and many cringed at her moves platformed on the Olympic stage as a representation of hip-hop and breaking culture.\u003c/p>\n\u003cp>“It’s almost like they are mocking the genre,” wrote one user on X.\u003c/p>\n\u003ch2>Some of it was ‘weird to see’\u003c/h2>\n\u003cp>Many Black viewers, in particular, called out Lithuania’s silver medalist b-girl Nicka, (legally named Dominika Banevič) for donning a durag during each of her battles. Durags, once worn by enslaved Africans to tie up their hair for work, are still worn by Black people to protect and style their hair. They became a fashionable symbol of Black pride in the 1960s and 1970s and, in the 1990s and early 2000s, also became a popular element of hip-hop style. But when worn by those who aren’t Black, durags can be seen as cultural appropriation. Banevič is white.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Actor Kevin Fredericks responded on Instagram to Banevič donning the headwear by saying it looked “weird to see somebody who don’t need it for protective style or waves to be rocking the durag.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The 17-year-old breaker ultimately won the silver medal after losing in the final to Japan’s b-girl Ami (Ami Yuasa).\u003c/p>\n\u003cp>For her part, Banevič has credited the breakers from the 1970s in the Bronx — the OGs — or “original gangsters” in hip-hop who created the dance — for her own success and breaking style.\u003c/p>\n\u003cp>“It’s a huge responsibility to represent and raise the bar every time for breaking because they did an amazing job. Big respect for the OGs and the pioneers that invented all those moves. Without them, it wouldn’t be possible,” she said. “Without them, breaking wouldn’t be where it is today. So I’m grateful for them.”\u003c/p>\n\u003ch2>Concerns over losing breaking’s roots\u003c/h2>\n\u003cp>Friday night’s slips “may have alienated too many new viewers to garner the anticipated response from our Olympic premiere,” said Zack Slusser, vice president of Breaking for Gold USA and USA Dance, in a text message to the Associated Press.\u003c/p>\n\u003cp>“We need to change the narrative from yesterday’s first impression of breaking as Olympic sport. There were significant organizational and governance shortcomings that could have been easily reconciled but, unfortunately, negatively impacted Breaking’s first touching point to a new global audience.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The challenge for Olympic organizers was to bring breaking and hip-hop culture to a mass audience, including many viewers who were skeptical about the dance form’s addition to the Olympic roster. Others feared the subculture being co-opted by officials, commercialized and put through a rigid judging structure, when the spirit of breaking has been rooted in local communities, centered around street battles, cyphers and block parties. Hip-hop was born as a youth culture within Black and brown communities in the Bronx as a way to escape strife and socio-economic struggles and make a statement of empowerment at a time when they were labeled as lost, lawless kids by New York politicians.\u003c/p>\n\u003cp>Refugee breaker Manizha Talash, or “b-girl Talash,” channeled that rebellious vibe by donning a “Free Afghan Women” cape during her pre-qualifier battle — a defiant and personal statement for a 21-year-old who fled her native Afghanistan to escape Taliban rule. Talash was quickly disqualified for violating the Olympics’ ban on political statements on the field of play.\u003c/p>\n\u003cfigure id=\"attachment_13962582\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962582\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2166037532-scaled-e1723484370138.jpg\" alt='An athlete on an Olympic stage stands with her arms outstretched wearing a blue cape that says \"Free Afghan Women.\"' width=\"1920\" height=\"1238\">\u003cfigcaption class=\"wp-caption-text\">B-Girl Talash of Team of Refugee Olympic Team competes while wearing a outfit which reads “Free Afghan women” during the B-girls Pre-Qualifier at the Paris Olympic Games. \u003ccite>(Ezra Shaw/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Both American b-girls were eliminated in Friday’s round-robin phase, a blow to the country representing the birthplace of hip-hop in what could be the discipline’s only Games appearance. B-girl Logistx (legal name Logan Edra) and b-girl Sunny (Sunny Choi) both ranked in the top 12 internationally but came up short of the quarterfinals.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Breaking for the Olympics has changed the way that some people are dancing,” said Choi, referring to some of the flashier moves and jam-packed routines. “Breaking changes over time. And maybe I’m just old-school and I don’t want to change … I think a lot of people in our community were a little bit afraid of that happening.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Trailer for Disney’s ‘Snow White’ Remake Has Some People Very Grumpy",
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"content": "\u003cp>Heigh-ho, heigh-ho, it’s off to online uproar factory we go. The first teaser trailer for the upcoming live-action remake of \u003cem>Disney’s\u003c/em> \u003cem>Snow White\u003c/em> is here.\u003c/p>\n\u003cp>Starring Rachel Zegler as Snow White and Gal Gadot as the Evil Queen, the pair introduced the highly anticipated teaser at Disney’s D23 Expo Friday evening, with a release scheduled for March 21, 2025. Featuring first glimpses of Zegler singing “Whistle While You Work” and Gadot talking to her mirror, mirror, the trailer also showcased seven CGI dwarfs.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=TbiPcMCz0Ek\u003c/p>\n\u003cp>Written by Greta Gerwig (\u003cem>Barbie\u003c/em>) and Erin Cressida Wilson (\u003cem>The Girl on the Train\u003c/em>) and directed by Marc Webb ((\u003cem>500) Days of Summer, The Amazing Spider-Man\u003c/em>), the people behind the film have emphasized that this latest adaptation features several ‘modern’ twists, alongside new songs from the duo Benj Pasek and Justin Paul (\u003cem>Dear Evan Hansen, The Greatest Showman\u003c/em>).\u003c/p>\n\u003cp>Could this update to the 1937 classic be the — erm — fairest of them all? It may be a tough sell for Disney fans and other extremely online critics, whose scrutiny of the latest adaptation began years before the trailer dropped.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Here is a brief overview of their grievances, explained.\u003c/p>\n\u003cp>\u003cstrong>A Snow White who’s not white enough\u003c/strong>\u003c/p>\n\u003cp>When news broke in 2021 that Zegler, who had her breakout role as Maria in Steven Spielberg’s \u003ca href=\"https://www.kqed.org/arts/13907124/steven-spielbergs-west-side-story-will-make-you-believe-in-movies-again\">\u003cem>West Side Story \u003c/em>\u003c/a>remake, would be playing the titular character, it \u003ca href=\"https://www.npr.org/2023/08/18/1194702228/rachel-zegler-snow-white-disney-remake\">provoked\u003c/a> a string of racist comments on social media. People questioned why an actress of Latin descent would be playing a character with “skin white as snow.”\u003c/p>\n\u003cp>[aside postid='arts_13919105']Zegler, who is of Polish-Colombian background, \u003ca href=\"https://twitter.com/rachelzegler/status/1680225020772057088\">responded to the comments on X\u003c/a> by saying she didn’t want to be dragged into the “nonsensical discourse”about her casting.\u003c/p>\n\u003cp>“I really, truly do not want to see it,” Zegler wrote in a post that included photos of her as a child dressed as a princess. “I hope every child knows they can be a princess no matter what.”\u003c/p>\n\u003cp>\u003cstrong>A reimagination deemed too “woke” by some critics\u003c/strong>\u003c/p>\n\u003cp>In another \u003ca href=\"https://www.youtube.com/watch?v=2RVg3yetTE4\">interview with \u003cem>Variety\u003c/em>\u003c/a> in 2022, Zegler and Gadot talked about how the story of \u003cem>Snow White \u003c/em>was being adapted with a “modern edge” — one that would nix the part about Snow White being saved by a prince.\u003c/p>\n\u003cp>“She’s the proactive one,” Gadot said. “She’s the one who sets the terms. It’s [these factors] that make it so relevant to today.”\u003c/p>\n\u003cp>“She’s not going to be dreaming about true love. She’s dreaming about becoming the leader she knows she can be, and the leader that her late father told her that she could be if she was fearless, fair, brave and true,” Zegler said.\u003c/p>\n\u003cp>[aside postid='pop_112736']In another interview, Zegler referred to the prince as a “stalker” and said the messaging would be updated to reference a woman’s power in the modern world.\u003c/p>\n\u003cp>“The cartoon was made 85 years ago, and therefore it’s extremely dated when it comes to ideas of women being in roles of power and what a woman is fit for in the world,” Zegler said. “So, when we came to reimagining the actual role of Snow White, it became about the ‘fairest of them all’ meaning who is the most just and who can become a fantastic leader, and the reality is Snow White has to learn a lot of lessons about coming in to her own power before she can come into power over a kingdom.”\u003c/p>\n\u003cp>The comments provoked a wave of backlash on social media, notably from “anti-woke” accounts and from several conservative media outlets including the Daily Wire, which responded by saying it was \u003ca href=\"https://www.dailywire.com/news/brett-cooper-drops-new-details-about-bentkeys-snow-white-and-the-evil-queen\">producing its own version of the classic\u003c/a> that would be written “in line with the values in which it was written.”\u003c/p>\n\u003cp>https://twitter.com/EndWokeness/status/1690588204603215872\u003c/p>\n\u003cp>Others, like TikTok user @reubenwoodall, criticized Disney’s attempt to turn Snow White into a “girl boss.”\u003c/p>\n\u003cp>“The point of Snow White’s fairytale isn’t that she’s going to try and become a leader,” Woodall said in a video that amassed more than 1.3 million likes. “She’s not supposed to be this girl boss, leader, queen, feminist icon. And I don’t know why every reimagining, it has to be that the woman is in a position of power, otherwise it’s not feminist.”\u003c/p>\n\u003cp>[aside postid='pop_112074']In an \u003ca href=\"https://www.telegraph.co.uk/world-news/2023/08/18/disney-snow-white-seven-dwarfs-remake-woke-backlash/\">interview\u003c/a> with the British newspaper \u003cem>The Daily Telegraph\u003c/em> in 2023, David Hand — the son of the 1937 animation’s original director — told the paper he felt it was a “disgrace” that Disney was “trying to do something new with something that was such a great success earlier.”\u003c/p>\n\u003cp>“There’s no respect for what Disney did and what my dad did … I think Walt [Disney] and he would be turning in their graves,” Hand said.\u003c/p>\n\u003cp>\u003cstrong>A “backward” story about seven dwarfs\u003c/strong>\u003c/p>\n\u003cp>In a 2022 \u003ca href=\"https://www.npr.org/2022/01/26/1075761231/peter-dinklage-disney\">interview, the actor Peter Dinklage\u003c/a> criticized Disney over its plan to release the live-action remake, stating he was “taken aback” by the studio’s celebration of casting Zegler as a Latina lead while revisiting a story with an unflattering representation of dwarfs.\u003c/p>\n\u003cp>“It makes no sense to me. You’re progressive in one way and you’re still making that f—ing backwards story about seven dwarfs living in a cave together, what the f— are you doing, man?” said Dinklage, who has a form of dwarfism called achondroplasia, during an interview on the \u003cem>WTF With Marc Maron\u003c/em> podcast.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Dinklage’s comments prompted Disney to release a statement saying it had decided to take a “different approach” with the seven characters. “To avoid reinforcing stereotypes from the original animated film, we … have been consulting with members of the dwarfism community,” a Disney spokesperson told \u003cem>Variety\u003c/em>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Heigh-ho, heigh-ho, it’s off to online uproar factory we go. The first teaser trailer for the upcoming live-action remake of \u003cem>Disney’s\u003c/em> \u003cem>Snow White\u003c/em> is here.\u003c/p>\n\u003cp>Starring Rachel Zegler as Snow White and Gal Gadot as the Evil Queen, the pair introduced the highly anticipated teaser at Disney’s D23 Expo Friday evening, with a release scheduled for March 21, 2025. Featuring first glimpses of Zegler singing “Whistle While You Work” and Gadot talking to her mirror, mirror, the trailer also showcased seven CGI dwarfs.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/TbiPcMCz0Ek'\n title='//www.youtube.com/embed/TbiPcMCz0Ek'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Written by Greta Gerwig (\u003cem>Barbie\u003c/em>) and Erin Cressida Wilson (\u003cem>The Girl on the Train\u003c/em>) and directed by Marc Webb ((\u003cem>500) Days of Summer, The Amazing Spider-Man\u003c/em>), the people behind the film have emphasized that this latest adaptation features several ‘modern’ twists, alongside new songs from the duo Benj Pasek and Justin Paul (\u003cem>Dear Evan Hansen, The Greatest Showman\u003c/em>).\u003c/p>\n\u003cp>Could this update to the 1937 classic be the — erm — fairest of them all? It may be a tough sell for Disney fans and other extremely online critics, whose scrutiny of the latest adaptation began years before the trailer dropped.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Here is a brief overview of their grievances, explained.\u003c/p>\n\u003cp>\u003cstrong>A Snow White who’s not white enough\u003c/strong>\u003c/p>\n\u003cp>When news broke in 2021 that Zegler, who had her breakout role as Maria in Steven Spielberg’s \u003ca href=\"https://www.kqed.org/arts/13907124/steven-spielbergs-west-side-story-will-make-you-believe-in-movies-again\">\u003cem>West Side Story \u003c/em>\u003c/a>remake, would be playing the titular character, it \u003ca href=\"https://www.npr.org/2023/08/18/1194702228/rachel-zegler-snow-white-disney-remake\">provoked\u003c/a> a string of racist comments on social media. People questioned why an actress of Latin descent would be playing a character with “skin white as snow.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Zegler, who is of Polish-Colombian background, \u003ca href=\"https://twitter.com/rachelzegler/status/1680225020772057088\">responded to the comments on X\u003c/a> by saying she didn’t want to be dragged into the “nonsensical discourse”about her casting.\u003c/p>\n\u003cp>“I really, truly do not want to see it,” Zegler wrote in a post that included photos of her as a child dressed as a princess. “I hope every child knows they can be a princess no matter what.”\u003c/p>\n\u003cp>\u003cstrong>A reimagination deemed too “woke” by some critics\u003c/strong>\u003c/p>\n\u003cp>In another \u003ca href=\"https://www.youtube.com/watch?v=2RVg3yetTE4\">interview with \u003cem>Variety\u003c/em>\u003c/a> in 2022, Zegler and Gadot talked about how the story of \u003cem>Snow White \u003c/em>was being adapted with a “modern edge” — one that would nix the part about Snow White being saved by a prince.\u003c/p>\n\u003cp>“She’s the proactive one,” Gadot said. “She’s the one who sets the terms. It’s [these factors] that make it so relevant to today.”\u003c/p>\n\u003cp>“She’s not going to be dreaming about true love. She’s dreaming about becoming the leader she knows she can be, and the leader that her late father told her that she could be if she was fearless, fair, brave and true,” Zegler said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In another interview, Zegler referred to the prince as a “stalker” and said the messaging would be updated to reference a woman’s power in the modern world.\u003c/p>\n\u003cp>“The cartoon was made 85 years ago, and therefore it’s extremely dated when it comes to ideas of women being in roles of power and what a woman is fit for in the world,” Zegler said. “So, when we came to reimagining the actual role of Snow White, it became about the ‘fairest of them all’ meaning who is the most just and who can become a fantastic leader, and the reality is Snow White has to learn a lot of lessons about coming in to her own power before she can come into power over a kingdom.”\u003c/p>\n\u003cp>The comments provoked a wave of backlash on social media, notably from “anti-woke” accounts and from several conservative media outlets including the Daily Wire, which responded by saying it was \u003ca href=\"https://www.dailywire.com/news/brett-cooper-drops-new-details-about-bentkeys-snow-white-and-the-evil-queen\">producing its own version of the classic\u003c/a> that would be written “in line with the values in which it was written.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Others, like TikTok user @reubenwoodall, criticized Disney’s attempt to turn Snow White into a “girl boss.”\u003c/p>\n\u003cp>“The point of Snow White’s fairytale isn’t that she’s going to try and become a leader,” Woodall said in a video that amassed more than 1.3 million likes. “She’s not supposed to be this girl boss, leader, queen, feminist icon. And I don’t know why every reimagining, it has to be that the woman is in a position of power, otherwise it’s not feminist.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In an \u003ca href=\"https://www.telegraph.co.uk/world-news/2023/08/18/disney-snow-white-seven-dwarfs-remake-woke-backlash/\">interview\u003c/a> with the British newspaper \u003cem>The Daily Telegraph\u003c/em> in 2023, David Hand — the son of the 1937 animation’s original director — told the paper he felt it was a “disgrace” that Disney was “trying to do something new with something that was such a great success earlier.”\u003c/p>\n\u003cp>“There’s no respect for what Disney did and what my dad did … I think Walt [Disney] and he would be turning in their graves,” Hand said.\u003c/p>\n\u003cp>\u003cstrong>A “backward” story about seven dwarfs\u003c/strong>\u003c/p>\n\u003cp>In a 2022 \u003ca href=\"https://www.npr.org/2022/01/26/1075761231/peter-dinklage-disney\">interview, the actor Peter Dinklage\u003c/a> criticized Disney over its plan to release the live-action remake, stating he was “taken aback” by the studio’s celebration of casting Zegler as a Latina lead while revisiting a story with an unflattering representation of dwarfs.\u003c/p>\n\u003cp>“It makes no sense to me. You’re progressive in one way and you’re still making that f—ing backwards story about seven dwarfs living in a cave together, what the f— are you doing, man?” said Dinklage, who has a form of dwarfism called achondroplasia, during an interview on the \u003cem>WTF With Marc Maron\u003c/em> podcast.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Dinklage’s comments prompted Disney to release a statement saying it had decided to take a “different approach” with the seven characters. “To avoid reinforcing stereotypes from the original animated film, we … have been consulting with members of the dwarfism community,” a Disney spokesperson told \u003cem>Variety\u003c/em>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "a-pressing-question-about-tim-walz-and-jd-vance-who-should-play-them-on-snl",
"title": "A Pressing Question About Tim Walz and JD Vance: Who Should Play Them on ‘SNL’?",
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"content": "\u003cp>Now that Tim Walz has been named the Democratic candidate for vice president, it’s time to tackle the most pressing question left in media and politics: Who will play the earnest ex-schoolteacher-turned-governor-turned-dad jokes magnet on \u003cem>Saturday Night Live\u003c/em>?\u003c/p>\n\u003cp>One favorite has already dropped out: comic actor Steve Martin told \u003cem>The Los Angeles Times\u003c/em> \u003ca href=\"https://www.latimes.com/entertainment-arts/tv/story/2024-08-07/steve-martin-will-not-play-tim-walz-on-saturday-night-live\">he turned down an offer\u003c/a> from SNL executive producer Lorne Michaels to play the Minnesota governor, a fellow balding, white-haired guy with a wide smile.\u003c/p>\n\u003cp>[aside postid='arts_13955101']“I said, ‘Lorne, I’m not an impressionist,’” Martin told \u003cem>Times\u003c/em> columnist Glenn Whipp. “You need someone who can really nail the guy.’ I was picked because I have gray hair and glasses.”\u003c/p>\n\u003cp>Fans had been circulating pictures of Martin online with \u003cem>SNL\u003c/em> alum Maya Rudolph, \u003ca href=\"https://www.npr.org/2024/07/23/nx-s1-5049585/maya-rudolph-kamala-harris-snl\">adding to buzz\u003c/a> she may reprise playing Vice President Harris — this time as the Democratic presidential nominee — when the show returns to new episodes this fall.\u003c/p>\n\u003ch3>Why this discussion matters\u003c/h3>\n\u003cp>Excitement over Martin reminded me of the moment Sarah Palin was named a vice presidential candidate in 2008, prompting loads of comedy nerds to send around emails noting how much Palin looked like another \u003cem>SNL\u003c/em> alum, Tina Fey.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Fey’s \u003ca href=\"https://www.youtube.com/watch?v=vSOLz1YBFG0\">impression of Palin\u003c/a> eventually dominated pop culture so much, people believed the politician — then Alaska’s governor — really said, “I can see Russia from my house,” a line that Fey actually dropped during \u003cem>SNL\u003c/em>’s season premiere in September 2008.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vSOLz1YBFG0&t=118s\u003c/p>\n\u003cp>Images of Gerald Ford as a clumsy doofus, George H.W. Bush as a patrician so stiff his words sounded like gibberish, and Al Gore as a stuffy know-it-all obsessed with the word “lockbox,” all come from devastating \u003cem>SNL\u003c/em> parodies. So who plays Walz — and how — may affect how history remembers him more than anything he actually does.\u003c/p>\n\u003cp>(Ditto for GOP vice presidential candidate JD Vance, whose selection didn’t quite inspire the same level of \u003cem>SNL\u003c/em> fancasting online).\u003c/p>\n\u003cp>I sympathize with purists who insist one of the show’s castmembers should get a shot at playing new figures like Walz or Vance — in the same way James Austin Johnson has electrified viewers with his amazing take on former President Donald Trump.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Izukxr-SfsM\u003c/p>\n\u003cp>But Michaels discovered long ago that stunt casting celebrities brings attention and ratings. Even if they don’t really bother trying to imitate the people they’re playing, like Robert DeNiro and Ben Stiller (as Robert Mueller and Michael Cohen, respectively).\u003c/p>\n\u003cp>So here’s my short list of the folks left who Michaels should consider casting as Walz — along with a couple recommendations for Vance. Because teaching us how to laugh at these people just might help us understand them — or at least learn to tolerate them.\u003c/p>\n\u003ch3>Jim Gaffigan\u003c/h3>\n\u003cp>\u003cstrong>PROS: \u003c/strong>He’s a brilliant standup comic, with multiple Grammy nominations and specials aired or about to debut on Netflix, Prime Video and Hulu. He’s from the Midwest — raised in Indiana, championed by fellow Hoosier David Letterman — with bits centered on being a father of five, married to a wife so devout he calls her a “Shiite Catholic.” He’s got the stocky build and blonde, thinning hair, along with acting chops from loads of TV and film work, including TV Land’s \u003cem>The Jim Gaffigan Show\u003c/em>, \u003cem>Law & Order\u003c/em> and, recently, pal Jerry Seinfeld’s Netflix movie \u003cem>Unfrosted\u003c/em>.\u003c/p>\n\u003cp>[aside postid='arts_13886669']\u003cstrong>CONS:\u003c/strong> He doesn’t seem to be down with the \u003cem>SNL\u003c/em> crew; despite a long career in comedy, he’s never hosted the show.\u003c/p>\n\u003ch3>Tracy Letts\u003c/h3>\n\u003cp>\u003cstrong>PROS:\u003c/strong> A consummate actor and playwright who has won Tony awards and a Pulitzer prize, he’s better known for his self-described specialty playing “a—holes in suits” in films and TV shows like \u003cem>Ford v. Ferrari, Lady Bird\u003c/em> and \u003cem>Winning Time\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong>CONS:\u003c/strong> Though he had early roles in sitcoms like \u003cem>Seinfeld \u003c/em>and \u003cem>The Drew Carey Show\u003c/em>, he’s not really known for comedy.\u003c/p>\n\u003ch3>Melissa McCarthy\u003c/h3>\n\u003cp>\u003cstrong>PROS:\u003c/strong> Hear me out. She’s a brilliant comedic actor with a long history of guesting on the show. And she delivered a sidesplitting take on Trump’s former spokesperson Sean Spicer that perfectly captured his clueless bluster.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=UWuc18xISwI\u003c/p>\n\u003cp>\u003cstrong>CONS:\u003c/strong> Despite his Big Dad Energy, Walz is such a masculine guy — hunter, former football coach ex-military — that, funny as it might be to see McCarthy give it a shot, \u003cem>SNL\u003c/em> may just want a guy in the role.\u003c/p>\n\u003ch3>Will Ferrell\u003c/h3>\n\u003cp>\u003cstrong>PROS:\u003c/strong> Amazing at improvisational and sketch comedy, he’s an SNL alum who has played everyone from George W. Bush to former Attorney General Janet Reno.\u003c/p>\n\u003cp>\u003cstrong>CONS:\u003c/strong> His oddball energy is a little eccentric and sharp for playing a guy who comes off as America’s goofy father figure.\u003c/p>\n\u003ch3>The ghost of Chris Farley\u003c/h3>\n\u003cp>[aside postid='arts_13961732']\u003cstrong>PROS:\u003c/strong> The \u003cem>SNL\u003c/em> star had an over-the-top exuberance, unkempt blonde hair and talent for self-deprecating humor that seemed like a cartoonishly exaggerated version of Walz’s vibe — perfect for a parody sketch.\u003c/p>\n\u003cp>\u003cstrong>CONS: \u003c/strong>Just another reminder of what the comedy world lost in 1997 when he died at age 33 after an overdose. (Though his younger brother, comic and actor Kevin Farley, might also be an able contender).\u003c/p>\n\u003ch3>Jason Sudeikis — as Walz and/or Vance\u003c/h3>\n\u003cp>\u003cstrong>PROS:\u003c/strong> An alum of the show, he knows his way around sketch comedy and political impressions — he played Joe Biden and Mitt Romney at different times. He’s also got a facility with corny, dad-style humor, as evidenced by his time playing the earnest, fictional coach on \u003cem>Ted Lasso\u003c/em>. Anyone who remembers his work as one half of a self-centered yuppie couple in the “Two A-holes” sketches (with another \u003cem>SNL\u003c/em> ace, Kristen Wiig), also knows he has a knack for playing haughty, entitled white guys.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=gUCaOV5nbyk\u003c/p>\n\u003cp>\u003cstrong>CONS\u003c/strong>: He doesn’t quite look like Walz — frankly, he’s a little too thin and good looking. And his success as Vance might be directly proportional to the quality of the fake beard and hairpiece they can slap on him.\u003c/p>\n\u003ch3>My first choice for Vance: Zach Galifianakis\u003c/h3>\n\u003cp>\u003cstrong>PROS\u003c/strong>: He’s got the bushy brown beard, the shock of thick hair and a talent for playing clueless egotists honed on his interview parody show, \u003cem>Between Two Ferns\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong>CONS:\u003c/strong> He’ll be so good we may forget how odd Vance is in real life.\u003c/p>\n\u003ch3>Another great Vance: Jon Hamm\u003c/h3>\n\u003cp>\u003cstrong>PROS: \u003c/strong>An ace dramatic actor whose secret weapon is a sharp knack for comedy (see \u003cem>30 Rock, Bridesmaids\u003c/em>), he’s also great at making audiences love difficult people (see \u003cem>Mad Men\u003c/em>). His turn as a cult leader on \u003cem>The Unbreakable Kimmy Schmidt\u003c/em> proves he can make great comedy out of playing quirky big shots. And he’s also a friend of \u003cem>SNL\u003c/em>, hosting the show three times and making cameos in multiple skits.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>CONS: \u003c/strong>Hamm will also need a convincing wig or two to make this work. And given all the other cool roles he’s been in recently — from \u003cem>Fargo\u003c/em> to \u003cem>The Morning Show\u003c/em> — \u003cem>SNL\u003c/em> might have to work hard to keep him in the mix.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Now that Tim Walz has been named the Democratic candidate for vice president, it’s time to tackle the most pressing question left in media and politics: Who will play the earnest ex-schoolteacher-turned-governor-turned-dad jokes magnet on \u003cem>Saturday Night Live\u003c/em>?\u003c/p>\n\u003cp>One favorite has already dropped out: comic actor Steve Martin told \u003cem>The Los Angeles Times\u003c/em> \u003ca href=\"https://www.latimes.com/entertainment-arts/tv/story/2024-08-07/steve-martin-will-not-play-tim-walz-on-saturday-night-live\">he turned down an offer\u003c/a> from SNL executive producer Lorne Michaels to play the Minnesota governor, a fellow balding, white-haired guy with a wide smile.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“I said, ‘Lorne, I’m not an impressionist,’” Martin told \u003cem>Times\u003c/em> columnist Glenn Whipp. “You need someone who can really nail the guy.’ I was picked because I have gray hair and glasses.”\u003c/p>\n\u003cp>Fans had been circulating pictures of Martin online with \u003cem>SNL\u003c/em> alum Maya Rudolph, \u003ca href=\"https://www.npr.org/2024/07/23/nx-s1-5049585/maya-rudolph-kamala-harris-snl\">adding to buzz\u003c/a> she may reprise playing Vice President Harris — this time as the Democratic presidential nominee — when the show returns to new episodes this fall.\u003c/p>\n\u003ch3>Why this discussion matters\u003c/h3>\n\u003cp>Excitement over Martin reminded me of the moment Sarah Palin was named a vice presidential candidate in 2008, prompting loads of comedy nerds to send around emails noting how much Palin looked like another \u003cem>SNL\u003c/em> alum, Tina Fey.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Fey’s \u003ca href=\"https://www.youtube.com/watch?v=vSOLz1YBFG0\">impression of Palin\u003c/a> eventually dominated pop culture so much, people believed the politician — then Alaska’s governor — really said, “I can see Russia from my house,” a line that Fey actually dropped during \u003cem>SNL\u003c/em>’s season premiere in September 2008.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/vSOLz1YBFG0'\n title='//www.youtube.com/embed/vSOLz1YBFG0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Images of Gerald Ford as a clumsy doofus, George H.W. Bush as a patrician so stiff his words sounded like gibberish, and Al Gore as a stuffy know-it-all obsessed with the word “lockbox,” all come from devastating \u003cem>SNL\u003c/em> parodies. So who plays Walz — and how — may affect how history remembers him more than anything he actually does.\u003c/p>\n\u003cp>(Ditto for GOP vice presidential candidate JD Vance, whose selection didn’t quite inspire the same level of \u003cem>SNL\u003c/em> fancasting online).\u003c/p>\n\u003cp>I sympathize with purists who insist one of the show’s castmembers should get a shot at playing new figures like Walz or Vance — in the same way James Austin Johnson has electrified viewers with his amazing take on former President Donald Trump.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Izukxr-SfsM'\n title='//www.youtube.com/embed/Izukxr-SfsM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But Michaels discovered long ago that stunt casting celebrities brings attention and ratings. Even if they don’t really bother trying to imitate the people they’re playing, like Robert DeNiro and Ben Stiller (as Robert Mueller and Michael Cohen, respectively).\u003c/p>\n\u003cp>So here’s my short list of the folks left who Michaels should consider casting as Walz — along with a couple recommendations for Vance. Because teaching us how to laugh at these people just might help us understand them — or at least learn to tolerate them.\u003c/p>\n\u003ch3>Jim Gaffigan\u003c/h3>\n\u003cp>\u003cstrong>PROS: \u003c/strong>He’s a brilliant standup comic, with multiple Grammy nominations and specials aired or about to debut on Netflix, Prime Video and Hulu. He’s from the Midwest — raised in Indiana, championed by fellow Hoosier David Letterman — with bits centered on being a father of five, married to a wife so devout he calls her a “Shiite Catholic.” He’s got the stocky build and blonde, thinning hair, along with acting chops from loads of TV and film work, including TV Land’s \u003cem>The Jim Gaffigan Show\u003c/em>, \u003cem>Law & Order\u003c/em> and, recently, pal Jerry Seinfeld’s Netflix movie \u003cem>Unfrosted\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cstrong>CONS:\u003c/strong> He doesn’t seem to be down with the \u003cem>SNL\u003c/em> crew; despite a long career in comedy, he’s never hosted the show.\u003c/p>\n\u003ch3>Tracy Letts\u003c/h3>\n\u003cp>\u003cstrong>PROS:\u003c/strong> A consummate actor and playwright who has won Tony awards and a Pulitzer prize, he’s better known for his self-described specialty playing “a—holes in suits” in films and TV shows like \u003cem>Ford v. Ferrari, Lady Bird\u003c/em> and \u003cem>Winning Time\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong>CONS:\u003c/strong> Though he had early roles in sitcoms like \u003cem>Seinfeld \u003c/em>and \u003cem>The Drew Carey Show\u003c/em>, he’s not really known for comedy.\u003c/p>\n\u003ch3>Melissa McCarthy\u003c/h3>\n\u003cp>\u003cstrong>PROS:\u003c/strong> Hear me out. She’s a brilliant comedic actor with a long history of guesting on the show. And she delivered a sidesplitting take on Trump’s former spokesperson Sean Spicer that perfectly captured his clueless bluster.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/UWuc18xISwI'\n title='//www.youtube.com/embed/UWuc18xISwI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>CONS:\u003c/strong> Despite his Big Dad Energy, Walz is such a masculine guy — hunter, former football coach ex-military — that, funny as it might be to see McCarthy give it a shot, \u003cem>SNL\u003c/em> may just want a guy in the role.\u003c/p>\n\u003ch3>Will Ferrell\u003c/h3>\n\u003cp>\u003cstrong>PROS:\u003c/strong> Amazing at improvisational and sketch comedy, he’s an SNL alum who has played everyone from George W. Bush to former Attorney General Janet Reno.\u003c/p>\n\u003cp>\u003cstrong>CONS:\u003c/strong> His oddball energy is a little eccentric and sharp for playing a guy who comes off as America’s goofy father figure.\u003c/p>\n\u003ch3>The ghost of Chris Farley\u003c/h3>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cstrong>PROS:\u003c/strong> The \u003cem>SNL\u003c/em> star had an over-the-top exuberance, unkempt blonde hair and talent for self-deprecating humor that seemed like a cartoonishly exaggerated version of Walz’s vibe — perfect for a parody sketch.\u003c/p>\n\u003cp>\u003cstrong>CONS: \u003c/strong>Just another reminder of what the comedy world lost in 1997 when he died at age 33 after an overdose. (Though his younger brother, comic and actor Kevin Farley, might also be an able contender).\u003c/p>\n\u003ch3>Jason Sudeikis — as Walz and/or Vance\u003c/h3>\n\u003cp>\u003cstrong>PROS:\u003c/strong> An alum of the show, he knows his way around sketch comedy and political impressions — he played Joe Biden and Mitt Romney at different times. He’s also got a facility with corny, dad-style humor, as evidenced by his time playing the earnest, fictional coach on \u003cem>Ted Lasso\u003c/em>. Anyone who remembers his work as one half of a self-centered yuppie couple in the “Two A-holes” sketches (with another \u003cem>SNL\u003c/em> ace, Kristen Wiig), also knows he has a knack for playing haughty, entitled white guys.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/gUCaOV5nbyk'\n title='//www.youtube.com/embed/gUCaOV5nbyk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>CONS\u003c/strong>: He doesn’t quite look like Walz — frankly, he’s a little too thin and good looking. And his success as Vance might be directly proportional to the quality of the fake beard and hairpiece they can slap on him.\u003c/p>\n\u003ch3>My first choice for Vance: Zach Galifianakis\u003c/h3>\n\u003cp>\u003cstrong>PROS\u003c/strong>: He’s got the bushy brown beard, the shock of thick hair and a talent for playing clueless egotists honed on his interview parody show, \u003cem>Between Two Ferns\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong>CONS:\u003c/strong> He’ll be so good we may forget how odd Vance is in real life.\u003c/p>\n\u003ch3>Another great Vance: Jon Hamm\u003c/h3>\n\u003cp>\u003cstrong>PROS: \u003c/strong>An ace dramatic actor whose secret weapon is a sharp knack for comedy (see \u003cem>30 Rock, Bridesmaids\u003c/em>), he’s also great at making audiences love difficult people (see \u003cem>Mad Men\u003c/em>). His turn as a cult leader on \u003cem>The Unbreakable Kimmy Schmidt\u003c/em> proves he can make great comedy out of playing quirky big shots. And he’s also a friend of \u003cem>SNL\u003c/em>, hosting the show three times and making cameos in multiple skits.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>CONS: \u003c/strong>Hamm will also need a convincing wig or two to make this work. And given all the other cool roles he’s been in recently — from \u003cem>Fargo\u003c/em> to \u003cem>The Morning Show\u003c/em> — \u003cem>SNL\u003c/em> might have to work hard to keep him in the mix.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "made-up-olympic-medals-for-paris-athletes-that-deserve-them",
"title": "9 Imaginary Olympic Medals That Paris 2024 Needed",
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"headTitle": "9 Imaginary Olympic Medals That Paris 2024 Needed | KQED",
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"content": "\u003cp>The real Olympic medals are given out according to rules about speed, scores, perfection, actually defeating your opponent, all that boring stuff. But what if they weren’t?\u003c/p>\n\u003cp>What if there were another set of medals we could give to some of the best achievements of the games, even if they weren’t in officially recognized sports? We tried to think of what we’d hand out. So here are nine additional medals — call them the Extra Golds — for some of the additional feats of strength and cleverness that have delighted us in the last two weeks.\u003c/p>\n\u003ch3>The one-man lift of one man\u003c/h3>\n\u003cfigure id=\"attachment_13962361\" class=\"wp-caption aligncenter\" style=\"max-width: 1296px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962361\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/wrestler.png\" alt=\"A gleeful looking wrestler falls to the ground dragging his coach with him.\" width=\"1296\" height=\"860\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/wrestler.png 1296w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/wrestler-800x531.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/wrestler-1020x677.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/wrestler-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/wrestler-768x510.png 768w\" sizes=\"auto, (max-width: 1296px) 100vw, 1296px\">\u003cfigcaption class=\"wp-caption-text\">Mijain Lopez Nunez (R) celebrates with his coach on Aug. 6, 2024. \u003ccite>(Punit Paranjpe/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It would have been enough that Cuba’s Mijain Lopez Nunez won his fifth consecutive gold medal for Greco-Roman wrestling — becoming the first Summer Olympian ever to hit that milestone. After he finished, he unlaced his shoes and set them on the mat to mark his retirement. But it wasn’t all poignancy — he also playfully flipped one coach onto his back, then lifted another and carried him a few steps. It’s one thing to win your match; it’s another to set a record in a grueling event and then celebrate by picking up an entire wrestling coach and carrying him around.\u003c/p>\n\u003ch3>The 400-meter WHAAAAT?\u003c/h3>\n\u003cfigure id=\"attachment_13962362\" class=\"wp-caption aligncenter\" style=\"max-width: 1292px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962362\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Quincy-Hall.png\" alt=\"Five Olympic runners sprinting down a track.\" width=\"1292\" height=\"858\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Quincy-Hall.png 1292w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Quincy-Hall-800x531.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Quincy-Hall-1020x677.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Quincy-Hall-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Quincy-Hall-768x510.png 768w\" sizes=\"auto, (max-width: 1292px) 100vw, 1292px\">\u003cfigcaption class=\"wp-caption-text\">Quincy Hall on the home straight in the Men’s 400m final on Aug. 7, 2024. \u003ccite>(Richard Heathcote/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Team USA sprinter Quincy Hall was going to lose the men’s 400 meters. It was obvious. Heading into the last 150 meters or so, he seemed to have been bested by not one, not two, but three of the other guys in the race. And then \u003ca href=\"https://www.npr.org/2024/08/07/g-s1-15858/quincy-hall-olympic-400m-gold-paris\">he just accelerated.\u003c/a> It looked magical. One of the curious things about sprinters is that when they’re speeding up, it can almost look like they’re slowing down.\u003c/p>\n\u003cp>As Hall pushed toward the finish line, if you were watching him in a vacuum, you might think he was \u003cem>more \u003c/em>spent, \u003cem>more \u003c/em>tapped out. But he was somehow passing everybody! And he leaned at the finish line and just edged out Matthew Hudson-Smith of Great Britain to win the gold medal. We still have to admit: We don’t entirely get what happened.\u003c/p>\n\u003ch3>The athlete drop\u003c/h3>\n\u003cfigure id=\"attachment_13962365\" class=\"wp-caption aligncenter\" style=\"max-width: 1296px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962365\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/athlete-drop.png\" alt=\"Four canoes with people in them being dropped from a great height.\" width=\"1296\" height=\"810\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/athlete-drop.png 1296w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/athlete-drop-800x500.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/athlete-drop-1020x638.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/athlete-drop-160x100.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/athlete-drop-768x480.png 768w\" sizes=\"auto, (max-width: 1296px) 100vw, 1296px\">\u003cfigcaption class=\"wp-caption-text\">The beginning of the Canoe Slalom Women’s Kayak Cross heats on Aug. 4, 2024. \u003ccite>(Alex Davidson/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Olympic sports begin in a lot of ways. A whistle blows, or a pistol bangs, or an athlete runs or serves or jumps. But the gold medal in athlete-dropping can only go to \u003ca href=\"https://www.npr.org/2024/08/02/nx-s1-4927314/kayak-cross-olympic-debut-paris\">the kayak cross.\u003c/a> In this event, several competitors are kept suspended above the course they are about to paddle through. Then they are dropped. Yes, they are flat-out indifferently dumped into the water the way you would release an undersized fish. And, crowded together, they have to navigate a course of buoys and get to the finish line. Anybody can run when a whistle blows or start a game when the referee says so. This is something entirely different.\u003c/p>\n\u003ch3>The 6.25-meter maximum flex\u003c/h3>\n\u003cfigure id=\"attachment_13962367\" class=\"wp-caption aligncenter\" style=\"max-width: 1294px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962367\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Armand-Duplantis.png\" alt=\"A high-jumper glides over the top of a high jump pole.\" width=\"1294\" height=\"862\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Armand-Duplantis.png 1294w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Armand-Duplantis-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Armand-Duplantis-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Armand-Duplantis-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Armand-Duplantis-768x512.png 768w\" sizes=\"auto, (max-width: 1294px) 100vw, 1294px\">\u003cfigcaption class=\"wp-caption-text\">Armand Duplantis set the new Olympic record in the men’s pole vault final on Aug. 5, 2024. \u003ccite>(Kirill Kudrtavtsev/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Swedish-American pole vaulter Armand Duplantis — Mondo — already was guaranteed a gold medal. He didn’t need to jump anymore. But Mondo does not jump because he needs to. No, Mondo jumps because he \u003cem>wishes \u003c/em>to. And at the Paris finals, even when he already knew he had won, he wished to do something more: swipe the world record held by his greatest rival … [checks notes] himself.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Earlier this year, Duplantis jumped 6.24 meters. So what was next? \u003ca href=\"https://www.npr.org/2024/08/05/g-s1-15440/mondo-pole-vault-gold-sweden-paris-olympics\">6.25 meters, obviously.\u003c/a> Never one to deny his loyal audience the drama they crave, he took three jumps to clear the bar at that height, but on that last one, he nailed it. Who knows what he’ll do next? Dare we hope for … 6.26 meters?\u003c/p>\n\u003ch3>Audience participation\u003c/h3>\n\u003cfigure id=\"attachment_13962369\" class=\"wp-caption aligncenter\" style=\"max-width: 1294px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962369\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Le%CC%81on-Marchand.png\" alt=\"A male Olympic swimmer props himself up on a lane divider in a swimming pool and smiles broadly.\" width=\"1294\" height=\"832\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Léon-Marchand.png 1294w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Léon-Marchand-800x514.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Léon-Marchand-1020x656.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Léon-Marchand-160x103.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Léon-Marchand-768x494.png 768w\" sizes=\"auto, (max-width: 1294px) 100vw, 1294px\">\u003cfigcaption class=\"wp-caption-text\">Léon Marchand reacts after competing in the Men’s 400m Individual Medley Heats on July 28, 2024. \u003ccite>(Sarah Stier/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Paris crowds have been thrilling to listen to, overall. Particularly in support of French athletes, they cheer, they yell, they chant, they roar. But they may have peaked when swimmer Léon Marchand was in the pool. Marchand swam in four individual races, and \u003ca href=\"https://www.npr.org/2024/08/03/nx-s1-5062365/leon-marchand-france-swimmer-olympic-gold\">he won four gold medals\u003c/a>. And every time, the crowd didn’t just yell for him; they \u003cem>pulsated \u003c/em>for him. Whenever he was doing a stroke that brought him rhythmically up out of the water, the crowd made sure that every time they saw his head, they gave him a fresh shout. Let’s be honest: It’s hard to know whether any of this is intelligible to a guy whose head is still mostly underwater and who is hyperfocused on things like his own arms and legs. But it was as if the people watching his races wanted you to be \u003cem>sure \u003c/em>they were cheering for no one else, \u003cem>sure \u003c/em>they were there for him. And indeed, we knew.\u003c/p>\n\u003ch3>The out of left field leader\u003c/h3>\n\u003cfigure id=\"attachment_13962370\" class=\"wp-caption aligncenter\" style=\"max-width: 1296px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962370\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Kristen-Faulkner.png\" alt=\"A cycling finish line filmed from above. A lone female cyclist crosses without any other competitors in sight.\" width=\"1296\" height=\"950\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Kristen-Faulkner.png 1296w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Kristen-Faulkner-800x586.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Kristen-Faulkner-1020x748.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Kristen-Faulkner-160x117.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Kristen-Faulkner-768x563.png 768w\" sizes=\"auto, (max-width: 1296px) 100vw, 1296px\">\u003cfigcaption class=\"wp-caption-text\">Kristen Faulkner passes the finish line during the women’s road race of cycling on Aug. 4, 2024. \u003ccite>(Wu Huiwo/Xinhua - Pool/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>U.S. competitor Kristen Faulkner didn’t think until relatively recently that she was going to compete in the women’s road race that runs almost 100 miles through the streets of Paris and surrounding towns. She didn’t even think she was coming to the Olympics until \u003ca href=\"https://www.thecut.com/article/2024-olympics-kristen-faulkner-is-the-underdog-of-the-games.html\">another competitor resigned from the team\u003c/a> in July. As in, this July, last month. But things happen, and there she was.\u003c/p>\n\u003cp>[aside postid='arts_13961967']Late in the road race, she was in a chasing pair with another cyclist, separated by a few seconds from the leading pair. The announcers talked about whether the chasing pair could make a move — did they have enough left to get close? Could they close the gap? Well, they did close the gap. But almost as soon as the two pairs met and became four competitors together, Faulkner \u003cem>took off\u003c/em>. Nobody followed. The announcer yelled, “Nobody is chasing! Nobody is chasing the American, Kristen Faulkner, the gap is exploding!”\u003c/p>\n\u003cp>Faulkner — who only picked up cycling in \u003cem>2016 —\u003c/em> started her move with about two miles to go, and she ultimately won by almost a full minute. She was simply gone. Oh — and a couple days later, she won a gold medal in the track cycling team pursuit, making her the first U.S. woman to win gold medals in \u003ca href=\"https://www.teamusa.com/news/2024/august/07/team-usa-is-golden-in-women-s-team-pursuit-kristen-faulkner-becomes-first-u-s-woman-to-win-olympic-gold-in-two-different-disciplines\">two different disciplines\u003c/a>. Not the August she thought she was going to have in July, huh?\u003c/p>\n\u003ch3>The last-minute lean\u003c/h3>\n\u003cfigure id=\"attachment_13962372\" class=\"wp-caption aligncenter\" style=\"max-width: 1290px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962372\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Noah-Lyles.png\" alt=\"A race track viewed from above as 8 runners all cross the finish line close together.\" width=\"1290\" height=\"734\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Noah-Lyles.png 1290w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Noah-Lyles-800x455.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Noah-Lyles-1020x580.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Noah-Lyles-160x91.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Noah-Lyles-768x437.png 768w\" sizes=\"auto, (max-width: 1290px) 100vw, 1290px\">\u003cfigcaption class=\"wp-caption-text\">Noah Lyles crosses the finish line to win the Men’s 100m Final on Aug. 4, 2024. \u003ccite>(Richard Heathcote/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All of the sprinting events rely on the lean, for the simple reason that the rules state that you cross the finish line with your torso, not your head or your foot. (Quincy Hall, noted above, leaned, too.) Even after the men’s 100-meter dash, many of us believed that Team USA’s Noah Lyles had not won it. We were not even sure he had medaled. When they said he had, in fact, won the gold by five one-thousandths of a second, it felt like … no, he didn’t. He didn’t, did he? As it turned out, he did. Kishane Thompson of Jamaica looked like his essence, his general being, was ahead of Lyles. Your eyes might have told you he was the winner — at least one commentator’s eyes told her he was. Ah, but Lyles has the lean. \u003ca href=\"https://www.npr.org/2024/08/04/g-s1-15308/noah-lyles-gold-100m-final-paris\">He won\u003c/a> by pushing his chest forward just enough. Lyles ran a remarkable race overall; he’d been in last place at the 40-yard mark. But you have to respect the lean that ultimately sealed the deal.\u003c/p>\n\u003cp>A note: It was only after I first added Lyles to this list that the news broke that he had competed in the 200 meters after \u003ca href=\"https://www.npr.org/2024/08/08/nx-s1-5068339/botswanas-letsile-tebogo-noah-lyles-olympic-gold-200-meter\">testing positive for COVID.\u003c/a> It was a sobering reminder of the lingering effects of COVID on these games that what had been such a uniformly great story turned troubling. Lyles is \u003ca href=\"https://www.npr.org/2024/07/29/nx-s1-5055889/covid-british-olympic-swimmer-adam-peaty\">far from the only athlete\u003c/a> who has gotten COVID or competed with COVID. But he has asthma, and particularly given what we know about long COVID, the sight of him leaving the field in a wheelchair was a reminder of the risks that remain, especially in the absence of meaningful precautions.\u003c/p>\n\u003ch3>Use of an accessory\u003c/h3>\n\u003cfigure id=\"attachment_13962373\" class=\"wp-caption aligncenter\" style=\"max-width: 1296px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962373\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Stephen-Nedoroscik.png\" alt=\"A man wearing a track jacket waves a pair of spectacles over his head.\" width=\"1296\" height=\"920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Stephen-Nedoroscik.png 1296w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Stephen-Nedoroscik-800x568.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Stephen-Nedoroscik-1020x724.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Stephen-Nedoroscik-160x114.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Stephen-Nedoroscik-768x545.png 768w\" sizes=\"auto, (max-width: 1296px) 100vw, 1296px\">\u003cfigcaption class=\"wp-caption-text\">Stephen Nedoroscik celebrates after the Artistic Gymnastics Men’s Pommel Horse Final on Aug. 3, 2024. \u003ccite>(Jamie Squire/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Look, by now we all know about Stephen Nedoroscik, \u003ca href=\"https://www.npr.org/2024/07/30/nx-s1-5057146/pommel-horse-stephen-nedoroscik-olympics\">“Pommel Horse Guy,”\u003c/a> who helped clinch the bronze medal for the U.S. men’s gymnastics team. We know that he is great at pommel horse — a specialist, in fact. We know that he was the last to go, that he had to hit and hit hard in order to win the bronze that was obviously so special to those guys that it might as well have been gold. But we must also recognize the power of his accessory game. Nedoroscik has a couple conditions — coloboma and strabismus — that affect his eyesight, and he says that when he competes on pommel horse, he’s doing it by feel, so he leaves his glasses behind. We (his fans) got to the point where the sight of his glasses hanging on the chalk bowl — as they did during the team final, and as they did when he won an individual bronze medal in pommel horse — had an unmistakable, “Oh, it’s HAPPENING” feeling. Like lots of us, he doesn’t wear his glasses for fashion, but that doesn’t mean they can’t be cool.\u003c/p>\n\u003ch3>Enthusiasm management\u003c/h3>\n\u003cfigure id=\"attachment_13962374\" class=\"wp-caption aligncenter\" style=\"max-width: 1296px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962374\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Sammy-Sullivan.png\" alt=\"A blonde woman wearing an Olympic USA t-shirt points at a medal hanging around her neck and looks overjoyed.\" width=\"1296\" height=\"860\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Sammy-Sullivan.png 1296w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Sammy-Sullivan-800x531.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Sammy-Sullivan-1020x677.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Sammy-Sullivan-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Sammy-Sullivan-768x510.png 768w\" sizes=\"auto, (max-width: 1296px) 100vw, 1296px\">\u003cfigcaption class=\"wp-caption-text\">Sammy Sullivan wasn’t ready to celebrate until the win was official. \u003ccite>(Kristy Sparow/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When \u003ca href=\"https://www.npr.org/2024/08/01/nx-s1-5059158/olympics-womens-rugby-sevens-appreciation\">the U.S. women won a bronze medal\u003c/a> by beating Australia in rugby sevens, it was an absolutely classic last-minute sports moment. With Team USA down 12-7 in the closing seconds, Alex Sedrick ran all the way down the field from almost the opposite end and scored a “try,” tying the match at 12. Team USA would still need a conversion — a pretty easy-looking one, but still — in order to actually win. And so, as the team celebrated Sedrick’s score, one face on the sideline was not ready to celebrate. Sammy Sullivan served the very important function of jinx avoider, because as they waited to see whether they would actually get that conversion, she told her teammates: \u003ca href=\"https://www.tiktok.com/@seekclarity.friends/video/7397491452995063082\">“SHUT UP.”\u003c/a>\u003c/p>\n\u003cp>[aside postid='arts_13962267']We’ve all been there, teetering on the edge of jubilation, afraid that other people will ruin it just by admitting it’s happening. We have all lived with the fear that our moment of victory is impossibly fragile and hubris will make it shatter. Sammy Sullivan was all of us: “SHUT UP.”\u003c/p>\n\u003cp>\u003cem>This piece also appeared in NPR’s Pop Culture Happy Hour newsletter. \u003ca href=\"https://www.npr.org/newsletter/pop-culture\">Sign up for the newsletter\u003c/a> so you don’t miss the next one, plus get weekly recommendations about what’s making us happy.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Listen to Pop Culture Happy Hour on \u003ca href=\"http://n.pr/3xNgYt9\">Apple Podcasts\u003c/a> and \u003ca href=\"http://n.pr/3ELR3n6\">Spotify\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "What if there were Olympic medals for audience participation, or the best use of an accessory? Let's dole them out!",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The real Olympic medals are given out according to rules about speed, scores, perfection, actually defeating your opponent, all that boring stuff. But what if they weren’t?\u003c/p>\n\u003cp>What if there were another set of medals we could give to some of the best achievements of the games, even if they weren’t in officially recognized sports? We tried to think of what we’d hand out. So here are nine additional medals — call them the Extra Golds — for some of the additional feats of strength and cleverness that have delighted us in the last two weeks.\u003c/p>\n\u003ch3>The one-man lift of one man\u003c/h3>\n\u003cfigure id=\"attachment_13962361\" class=\"wp-caption aligncenter\" style=\"max-width: 1296px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962361\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/wrestler.png\" alt=\"A gleeful looking wrestler falls to the ground dragging his coach with him.\" width=\"1296\" height=\"860\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/wrestler.png 1296w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/wrestler-800x531.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/wrestler-1020x677.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/wrestler-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/wrestler-768x510.png 768w\" sizes=\"auto, (max-width: 1296px) 100vw, 1296px\">\u003cfigcaption class=\"wp-caption-text\">Mijain Lopez Nunez (R) celebrates with his coach on Aug. 6, 2024. \u003ccite>(Punit Paranjpe/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It would have been enough that Cuba’s Mijain Lopez Nunez won his fifth consecutive gold medal for Greco-Roman wrestling — becoming the first Summer Olympian ever to hit that milestone. After he finished, he unlaced his shoes and set them on the mat to mark his retirement. But it wasn’t all poignancy — he also playfully flipped one coach onto his back, then lifted another and carried him a few steps. It’s one thing to win your match; it’s another to set a record in a grueling event and then celebrate by picking up an entire wrestling coach and carrying him around.\u003c/p>\n\u003ch3>The 400-meter WHAAAAT?\u003c/h3>\n\u003cfigure id=\"attachment_13962362\" class=\"wp-caption aligncenter\" style=\"max-width: 1292px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962362\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Quincy-Hall.png\" alt=\"Five Olympic runners sprinting down a track.\" width=\"1292\" height=\"858\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Quincy-Hall.png 1292w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Quincy-Hall-800x531.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Quincy-Hall-1020x677.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Quincy-Hall-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Quincy-Hall-768x510.png 768w\" sizes=\"auto, (max-width: 1292px) 100vw, 1292px\">\u003cfigcaption class=\"wp-caption-text\">Quincy Hall on the home straight in the Men’s 400m final on Aug. 7, 2024. \u003ccite>(Richard Heathcote/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Team USA sprinter Quincy Hall was going to lose the men’s 400 meters. It was obvious. Heading into the last 150 meters or so, he seemed to have been bested by not one, not two, but three of the other guys in the race. And then \u003ca href=\"https://www.npr.org/2024/08/07/g-s1-15858/quincy-hall-olympic-400m-gold-paris\">he just accelerated.\u003c/a> It looked magical. One of the curious things about sprinters is that when they’re speeding up, it can almost look like they’re slowing down.\u003c/p>\n\u003cp>As Hall pushed toward the finish line, if you were watching him in a vacuum, you might think he was \u003cem>more \u003c/em>spent, \u003cem>more \u003c/em>tapped out. But he was somehow passing everybody! And he leaned at the finish line and just edged out Matthew Hudson-Smith of Great Britain to win the gold medal. We still have to admit: We don’t entirely get what happened.\u003c/p>\n\u003ch3>The athlete drop\u003c/h3>\n\u003cfigure id=\"attachment_13962365\" class=\"wp-caption aligncenter\" style=\"max-width: 1296px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962365\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/athlete-drop.png\" alt=\"Four canoes with people in them being dropped from a great height.\" width=\"1296\" height=\"810\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/athlete-drop.png 1296w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/athlete-drop-800x500.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/athlete-drop-1020x638.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/athlete-drop-160x100.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/athlete-drop-768x480.png 768w\" sizes=\"auto, (max-width: 1296px) 100vw, 1296px\">\u003cfigcaption class=\"wp-caption-text\">The beginning of the Canoe Slalom Women’s Kayak Cross heats on Aug. 4, 2024. \u003ccite>(Alex Davidson/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Olympic sports begin in a lot of ways. A whistle blows, or a pistol bangs, or an athlete runs or serves or jumps. But the gold medal in athlete-dropping can only go to \u003ca href=\"https://www.npr.org/2024/08/02/nx-s1-4927314/kayak-cross-olympic-debut-paris\">the kayak cross.\u003c/a> In this event, several competitors are kept suspended above the course they are about to paddle through. Then they are dropped. Yes, they are flat-out indifferently dumped into the water the way you would release an undersized fish. And, crowded together, they have to navigate a course of buoys and get to the finish line. Anybody can run when a whistle blows or start a game when the referee says so. This is something entirely different.\u003c/p>\n\u003ch3>The 6.25-meter maximum flex\u003c/h3>\n\u003cfigure id=\"attachment_13962367\" class=\"wp-caption aligncenter\" style=\"max-width: 1294px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962367\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Armand-Duplantis.png\" alt=\"A high-jumper glides over the top of a high jump pole.\" width=\"1294\" height=\"862\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Armand-Duplantis.png 1294w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Armand-Duplantis-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Armand-Duplantis-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Armand-Duplantis-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Armand-Duplantis-768x512.png 768w\" sizes=\"auto, (max-width: 1294px) 100vw, 1294px\">\u003cfigcaption class=\"wp-caption-text\">Armand Duplantis set the new Olympic record in the men’s pole vault final on Aug. 5, 2024. \u003ccite>(Kirill Kudrtavtsev/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Swedish-American pole vaulter Armand Duplantis — Mondo — already was guaranteed a gold medal. He didn’t need to jump anymore. But Mondo does not jump because he needs to. No, Mondo jumps because he \u003cem>wishes \u003c/em>to. And at the Paris finals, even when he already knew he had won, he wished to do something more: swipe the world record held by his greatest rival … [checks notes] himself.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Earlier this year, Duplantis jumped 6.24 meters. So what was next? \u003ca href=\"https://www.npr.org/2024/08/05/g-s1-15440/mondo-pole-vault-gold-sweden-paris-olympics\">6.25 meters, obviously.\u003c/a> Never one to deny his loyal audience the drama they crave, he took three jumps to clear the bar at that height, but on that last one, he nailed it. Who knows what he’ll do next? Dare we hope for … 6.26 meters?\u003c/p>\n\u003ch3>Audience participation\u003c/h3>\n\u003cfigure id=\"attachment_13962369\" class=\"wp-caption aligncenter\" style=\"max-width: 1294px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962369\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Le%CC%81on-Marchand.png\" alt=\"A male Olympic swimmer props himself up on a lane divider in a swimming pool and smiles broadly.\" width=\"1294\" height=\"832\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Léon-Marchand.png 1294w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Léon-Marchand-800x514.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Léon-Marchand-1020x656.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Léon-Marchand-160x103.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Léon-Marchand-768x494.png 768w\" sizes=\"auto, (max-width: 1294px) 100vw, 1294px\">\u003cfigcaption class=\"wp-caption-text\">Léon Marchand reacts after competing in the Men’s 400m Individual Medley Heats on July 28, 2024. \u003ccite>(Sarah Stier/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Paris crowds have been thrilling to listen to, overall. Particularly in support of French athletes, they cheer, they yell, they chant, they roar. But they may have peaked when swimmer Léon Marchand was in the pool. Marchand swam in four individual races, and \u003ca href=\"https://www.npr.org/2024/08/03/nx-s1-5062365/leon-marchand-france-swimmer-olympic-gold\">he won four gold medals\u003c/a>. And every time, the crowd didn’t just yell for him; they \u003cem>pulsated \u003c/em>for him. Whenever he was doing a stroke that brought him rhythmically up out of the water, the crowd made sure that every time they saw his head, they gave him a fresh shout. Let’s be honest: It’s hard to know whether any of this is intelligible to a guy whose head is still mostly underwater and who is hyperfocused on things like his own arms and legs. But it was as if the people watching his races wanted you to be \u003cem>sure \u003c/em>they were cheering for no one else, \u003cem>sure \u003c/em>they were there for him. And indeed, we knew.\u003c/p>\n\u003ch3>The out of left field leader\u003c/h3>\n\u003cfigure id=\"attachment_13962370\" class=\"wp-caption aligncenter\" style=\"max-width: 1296px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962370\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Kristen-Faulkner.png\" alt=\"A cycling finish line filmed from above. A lone female cyclist crosses without any other competitors in sight.\" width=\"1296\" height=\"950\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Kristen-Faulkner.png 1296w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Kristen-Faulkner-800x586.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Kristen-Faulkner-1020x748.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Kristen-Faulkner-160x117.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Kristen-Faulkner-768x563.png 768w\" sizes=\"auto, (max-width: 1296px) 100vw, 1296px\">\u003cfigcaption class=\"wp-caption-text\">Kristen Faulkner passes the finish line during the women’s road race of cycling on Aug. 4, 2024. \u003ccite>(Wu Huiwo/Xinhua - Pool/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>U.S. competitor Kristen Faulkner didn’t think until relatively recently that she was going to compete in the women’s road race that runs almost 100 miles through the streets of Paris and surrounding towns. She didn’t even think she was coming to the Olympics until \u003ca href=\"https://www.thecut.com/article/2024-olympics-kristen-faulkner-is-the-underdog-of-the-games.html\">another competitor resigned from the team\u003c/a> in July. As in, this July, last month. But things happen, and there she was.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Late in the road race, she was in a chasing pair with another cyclist, separated by a few seconds from the leading pair. The announcers talked about whether the chasing pair could make a move — did they have enough left to get close? Could they close the gap? Well, they did close the gap. But almost as soon as the two pairs met and became four competitors together, Faulkner \u003cem>took off\u003c/em>. Nobody followed. The announcer yelled, “Nobody is chasing! Nobody is chasing the American, Kristen Faulkner, the gap is exploding!”\u003c/p>\n\u003cp>Faulkner — who only picked up cycling in \u003cem>2016 —\u003c/em> started her move with about two miles to go, and she ultimately won by almost a full minute. She was simply gone. Oh — and a couple days later, she won a gold medal in the track cycling team pursuit, making her the first U.S. woman to win gold medals in \u003ca href=\"https://www.teamusa.com/news/2024/august/07/team-usa-is-golden-in-women-s-team-pursuit-kristen-faulkner-becomes-first-u-s-woman-to-win-olympic-gold-in-two-different-disciplines\">two different disciplines\u003c/a>. Not the August she thought she was going to have in July, huh?\u003c/p>\n\u003ch3>The last-minute lean\u003c/h3>\n\u003cfigure id=\"attachment_13962372\" class=\"wp-caption aligncenter\" style=\"max-width: 1290px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962372\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Noah-Lyles.png\" alt=\"A race track viewed from above as 8 runners all cross the finish line close together.\" width=\"1290\" height=\"734\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Noah-Lyles.png 1290w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Noah-Lyles-800x455.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Noah-Lyles-1020x580.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Noah-Lyles-160x91.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Noah-Lyles-768x437.png 768w\" sizes=\"auto, (max-width: 1290px) 100vw, 1290px\">\u003cfigcaption class=\"wp-caption-text\">Noah Lyles crosses the finish line to win the Men’s 100m Final on Aug. 4, 2024. \u003ccite>(Richard Heathcote/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All of the sprinting events rely on the lean, for the simple reason that the rules state that you cross the finish line with your torso, not your head or your foot. (Quincy Hall, noted above, leaned, too.) Even after the men’s 100-meter dash, many of us believed that Team USA’s Noah Lyles had not won it. We were not even sure he had medaled. When they said he had, in fact, won the gold by five one-thousandths of a second, it felt like … no, he didn’t. He didn’t, did he? As it turned out, he did. Kishane Thompson of Jamaica looked like his essence, his general being, was ahead of Lyles. Your eyes might have told you he was the winner — at least one commentator’s eyes told her he was. Ah, but Lyles has the lean. \u003ca href=\"https://www.npr.org/2024/08/04/g-s1-15308/noah-lyles-gold-100m-final-paris\">He won\u003c/a> by pushing his chest forward just enough. Lyles ran a remarkable race overall; he’d been in last place at the 40-yard mark. But you have to respect the lean that ultimately sealed the deal.\u003c/p>\n\u003cp>A note: It was only after I first added Lyles to this list that the news broke that he had competed in the 200 meters after \u003ca href=\"https://www.npr.org/2024/08/08/nx-s1-5068339/botswanas-letsile-tebogo-noah-lyles-olympic-gold-200-meter\">testing positive for COVID.\u003c/a> It was a sobering reminder of the lingering effects of COVID on these games that what had been such a uniformly great story turned troubling. Lyles is \u003ca href=\"https://www.npr.org/2024/07/29/nx-s1-5055889/covid-british-olympic-swimmer-adam-peaty\">far from the only athlete\u003c/a> who has gotten COVID or competed with COVID. But he has asthma, and particularly given what we know about long COVID, the sight of him leaving the field in a wheelchair was a reminder of the risks that remain, especially in the absence of meaningful precautions.\u003c/p>\n\u003ch3>Use of an accessory\u003c/h3>\n\u003cfigure id=\"attachment_13962373\" class=\"wp-caption aligncenter\" style=\"max-width: 1296px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962373\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Stephen-Nedoroscik.png\" alt=\"A man wearing a track jacket waves a pair of spectacles over his head.\" width=\"1296\" height=\"920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Stephen-Nedoroscik.png 1296w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Stephen-Nedoroscik-800x568.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Stephen-Nedoroscik-1020x724.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Stephen-Nedoroscik-160x114.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Stephen-Nedoroscik-768x545.png 768w\" sizes=\"auto, (max-width: 1296px) 100vw, 1296px\">\u003cfigcaption class=\"wp-caption-text\">Stephen Nedoroscik celebrates after the Artistic Gymnastics Men’s Pommel Horse Final on Aug. 3, 2024. \u003ccite>(Jamie Squire/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Look, by now we all know about Stephen Nedoroscik, \u003ca href=\"https://www.npr.org/2024/07/30/nx-s1-5057146/pommel-horse-stephen-nedoroscik-olympics\">“Pommel Horse Guy,”\u003c/a> who helped clinch the bronze medal for the U.S. men’s gymnastics team. We know that he is great at pommel horse — a specialist, in fact. We know that he was the last to go, that he had to hit and hit hard in order to win the bronze that was obviously so special to those guys that it might as well have been gold. But we must also recognize the power of his accessory game. Nedoroscik has a couple conditions — coloboma and strabismus — that affect his eyesight, and he says that when he competes on pommel horse, he’s doing it by feel, so he leaves his glasses behind. We (his fans) got to the point where the sight of his glasses hanging on the chalk bowl — as they did during the team final, and as they did when he won an individual bronze medal in pommel horse — had an unmistakable, “Oh, it’s HAPPENING” feeling. Like lots of us, he doesn’t wear his glasses for fashion, but that doesn’t mean they can’t be cool.\u003c/p>\n\u003ch3>Enthusiasm management\u003c/h3>\n\u003cfigure id=\"attachment_13962374\" class=\"wp-caption aligncenter\" style=\"max-width: 1296px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962374\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Sammy-Sullivan.png\" alt=\"A blonde woman wearing an Olympic USA t-shirt points at a medal hanging around her neck and looks overjoyed.\" width=\"1296\" height=\"860\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Sammy-Sullivan.png 1296w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Sammy-Sullivan-800x531.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Sammy-Sullivan-1020x677.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Sammy-Sullivan-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Sammy-Sullivan-768x510.png 768w\" sizes=\"auto, (max-width: 1296px) 100vw, 1296px\">\u003cfigcaption class=\"wp-caption-text\">Sammy Sullivan wasn’t ready to celebrate until the win was official. \u003ccite>(Kristy Sparow/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When \u003ca href=\"https://www.npr.org/2024/08/01/nx-s1-5059158/olympics-womens-rugby-sevens-appreciation\">the U.S. women won a bronze medal\u003c/a> by beating Australia in rugby sevens, it was an absolutely classic last-minute sports moment. With Team USA down 12-7 in the closing seconds, Alex Sedrick ran all the way down the field from almost the opposite end and scored a “try,” tying the match at 12. Team USA would still need a conversion — a pretty easy-looking one, but still — in order to actually win. And so, as the team celebrated Sedrick’s score, one face on the sideline was not ready to celebrate. Sammy Sullivan served the very important function of jinx avoider, because as they waited to see whether they would actually get that conversion, she told her teammates: \u003ca href=\"https://www.tiktok.com/@seekclarity.friends/video/7397491452995063082\">“SHUT UP.”\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>We’ve all been there, teetering on the edge of jubilation, afraid that other people will ruin it just by admitting it’s happening. We have all lived with the fear that our moment of victory is impossibly fragile and hubris will make it shatter. Sammy Sullivan was all of us: “SHUT UP.”\u003c/p>\n\u003cp>\u003cem>This piece also appeared in NPR’s Pop Culture Happy Hour newsletter. \u003ca href=\"https://www.npr.org/newsletter/pop-culture\">Sign up for the newsletter\u003c/a> so you don’t miss the next one, plus get weekly recommendations about what’s making us happy.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Listen to Pop Culture Happy Hour on \u003ca href=\"http://n.pr/3xNgYt9\">Apple Podcasts\u003c/a> and \u003ca href=\"http://n.pr/3ELR3n6\">Spotify\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "female-athletes-best-moving-moments-paris-olympics-2024",
"title": "Heartwarming Moments of Women Supporting Women at the Paris Olympics",
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"headTitle": "Heartwarming Moments of Women Supporting Women at the Paris Olympics | KQED",
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"content": "\u003cp>Most of us have an idea of what Earth’s greatest athletes must be like: ultra-competitive, motivated to win at all costs, driven to crush their rivals. Similar things are often repeated about the way women behave with other women. With that in mind, trope-believers might have expected Paris 2024 — the first Olympics to ever embrace \u003ca href=\"https://olympics.com/ioc/news/genderequalolympics-celebrating-full-gender-parity-on-the-field-of-play-at-paris-2024\">gender parity for competitors\u003c/a> — to be one giant “catfight.” Instead, another image has emerged. One of women supporting women at every level.\u003c/p>\n\u003cp>Here are just a few of the most notable examples of stereotype-crushing sports(wo)manship on display during the games.\u003c/p>\n\u003ch2>Ariarne Titmus boosts Katie Ledecky\u003c/h2>\n\u003cfigure id=\"attachment_13962309\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962309\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2164812805_2000.jpg\" alt=\"Smiling female swimmers hold hands with their arms raised high across a pool lane divider.\" width=\"2000\" height=\"1534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2164812805_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2164812805_2000-800x614.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2164812805_2000-1020x782.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2164812805_2000-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2164812805_2000-768x589.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2164812805_2000-1536x1178.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2164812805_2000-1920x1473.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">USA’s Katie Ledecky and Australia’s Ariarne Titmus clasp hands in triumph after the women’s 800-meter freestyle final. \u003ccite>(Xue Yuge/Xinhua via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Stanford graduate Katie Ledecky had already earned seven Olympic gold medals and another 21 world championship golds when she arrived in Paris. On Aug. 3, however, after she won her ninth gold medal and became the most decorated female swimmer and most decorated American female athlete of all time, Ledecky knew she’d crossed a new kind of finish line.\u003c/p>\n\u003cp>[aside postid='arts_11993783']The moment was not lost on the competitor in the swimming lane next to hers, Australia’s Ariarne Titmus, who had just scored a silver medal herself. As Ledecky took a moment in the water to catch her breath, looking lost in her own world, Titmus approached, grabbed Ledecky’s hand across the lane divider and raised it aloft to ensure Ledecky took a few seconds to absorb the cheers of the thrilled spectators. Titmus then offered Ledecky a hug and words of congratulations.\u003c/p>\n\u003cp>It was a perfect end to the race for women who are considered rivals by commentators, but who consider each other inspirations. Just days before the race, Ledecky said of Titmus, “We love competing against each other. It brings the best out of each of us and pushes each of us in training.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After the 800-meter race was over, Titmus said, “[Ledecky]’s made me a better athlete. I totally respect what she has done in this sport more than anyone else … She’s unreal.”\u003c/p>\n\u003ch2>Silina Pha Aphay assists Lucia Moris\u003c/h2>\n\u003cfigure id=\"attachment_13962311\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13962311 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2164914122_2000.jpg\" alt=\"One female runner lies on the track distressed, while another bends down and tries to support the injured runner's leg.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2164914122_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2164914122_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2164914122_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2164914122_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2164914122_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2164914122_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2164914122_2000-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Silina Pha Aphay runs to the aid of Lucia Moris, who was injured during the women’s 100-meter preliminary round. \u003ccite>(Michael Steele/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On Aug. 2, nine female runners from all over the world gathered at the Stade de France in Paris to compete for a place in further 100-meter rounds. Laotian sprinter Silina Pha Aphay was among those competitors. After she crossed the finish line in sixth place, the 28-year-old turned back to the track and noticed one of her fellow runners hadn’t made it. Flat out on the ground and writhing in agony was South Sudan’s Lucia Moris, who had suffered an injury to her right leg during the race.\u003c/p>\n\u003cp>Without hesitating, Pha Aphay ran back to Moris, attempted to make the injured woman more comfortable, and flagged down medics to come and assist. Moris was soon carried away on a stretcher. Though neither woman advanced to further competitions, the moment they shared on the track was pure Olympic gold.\u003c/p>\n\u003ch2>Sha’Carri Richardson and Melissa Jefferson celebrate Julien Alfred\u003c/h2>\n\u003cfigure id=\"attachment_13962310\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962310\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2164815348_2000.jpg\" alt=\"Three female athletes smile triumphantly on a running track holding up their countries' flags.\" width=\"2000\" height=\"1345\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2164815348_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2164815348_2000-800x538.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2164815348_2000-1020x686.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2164815348_2000-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2164815348_2000-768x516.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2164815348_2000-1536x1033.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2164815348_2000-1920x1291.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Julien Alfred (C) of Saint Lucia, Sha’Carri Richardson (R) and Melissa Jefferson (L) of the United States celebrate after the women’s 100-meter final. \u003ccite>(Li Ying/Xinhua via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Julien Alfred won St. Lucia’s first ever Olympic medal — a gold one no less — in the women’s 100-meter final, she was understandably overcome with emotion. Noticing Alfred was sobbing, American bronze winner Melissa Jefferson approached her, attempting to comfort Alfred with a hug.\u003c/p>\n\u003cp>Moments later, when Alfred was doubled over and still visibly overwhelmed, silver medal winner Richardson came over, gave her a warm smile and a pat on the back and encouraged Alfred back onto the track to take a photo for posterity. The move snapped Alfred back into more celebratory spirits. The glorious image above is what followed — an encapsulation of women celebrating each other’s achievements with nothing but joy.\u003c/p>\n\u003ch2>Tamires Morena carries Albertina Kassoma\u003c/h2>\n\u003cfigure id=\"attachment_13962308\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13962308 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2164807711_2000.jpg\" alt=\"Large crowds watch on as a female handball player carries a rival handball player off the court after an injury.\" width=\"2000\" height=\"1477\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2164807711_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2164807711_2000-800x591.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2164807711_2000-1020x753.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2164807711_2000-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2164807711_2000-768x567.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2164807711_2000-1536x1134.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2164807711_2000-1920x1418.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Tamires Morena of Brazil carries Angola’s Albertina Kassoma off the court during the women’s handball preliminary match. \u003ccite>(He Canling/Xinhua via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On Aug. 3, when Angola’s handball team captain Albertina Kassoma collapsed on the court with an injured knee, a series of remarkable things happened. The first person who rushed to Kassoma’s aid was, naturally, the Angolans’ team doctor. But once Kassoma was up on her feet, the next person to come to her aid was from the opposing team: Brazilian goalkeeper Gabriela Moreschi. Moreschi wrapped an arm around the 6-foot-3-inch Kassoma’s waist and got ready to assist her walk off the court. But before Kassoma could even attempt to take a step, in charged Brazilian line player Tamires Morena with an even better idea.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/C-Nc_JgpfMv/\">Morena scooped up her sporting rival\u003c/a> and — with pretty astounding strength — smoothly carried Kassoma from the court to a chair and awaiting medics. As soon as Morena’s selfless act began, the nearly 6,000 handball fans inside South Paris Arena 6 roared their approval. Without missing a beat, after depositing Kassoma, Morena simply returned to the game. She later reported that Kassoma had shown her appreciation for the assist by saying, “Thank you very much, my friend. Only you could lift me up.”\u003c/p>\n\u003ch2>Lindsey Horan comforts Saki Kumagai and Riko Ueki\u003c/h2>\n\u003cfigure id=\"attachment_13962312\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962312\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2165118542_2000.jpg\" alt=\"A woman in a white soccer uniform hugs a woman in black and blue soccer uniform on a field in front of a packed crowd.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2165118542_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2165118542_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2165118542_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2165118542_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2165118542_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2165118542_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2165118542_2000-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Lindsey Horan comforts Japan’s Saki Kumagai after the women’s quarterfinal match. \u003ccite>(Andrea Vilchez/ISI/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On Aug. 3, the U.S. women’s soccer team was victorious after Trinity Rodman scored a show-stopping goal during extra time. As the Americans erupted in celebrations on the Parc des Princes pitch, the members of the defeated Japanese team slowly let it sink in that their Olympic dreams were over.\u003c/p>\n\u003cp>It didn’t take long for U.S. team captain Lindsey Horan to notice their devastation unfolding. After spotting Saki Kumagai prostrate on the field, Horan quickly approached, embraced Kumagai in a warm hug and offered some words of comfort. Horan didn’t stop there either. TV cameras also caught her holding Japanese striker Riko Ueki. Pure class.\u003c/p>\n\u003ch2>Rayssa Leal takes selfies with Coco Yoshizawa and Liz Akama\u003c/h2>\n\u003cfigure id=\"attachment_13962307\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962307\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2163539609_2000.jpg\" alt=\"Three young women gather together and smile for one of their cell phones, held aloft, while atop an Olympic podium, watched by large crowds in the distance.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2163539609_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2163539609_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2163539609_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2163539609_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2163539609_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2163539609_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2163539609_2000-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Bronze medallist Rayssa Leal of Brazil takes a selfie with gold medallist Coco Yoshizawa (C) and silver medallist Liz Akama (L), both representing Japan. \u003ccite>(Kirill Kudryavtsev/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Much was made of the way in which Rayssa Leal of Brazil scuppered Japan’s hopes of scoring all three medals in the women’s street skateboarding competition by winning the bronze. Are there some ticked-off street skaters rolling around Tokyo right now? Maybe. If there are, Leal, gold medalist Coco Yoshizawa and silver medalist Liz Akama clearly couldn’t care less. After accepting their medals on the Paris podium, Leal initiated a selfie with her competitors in front of supportive crowds.\u003c/p>\n\u003cp>The skaters’ togetherness should come as little surprise to anyone who’s been paying attention to this newest of Olympic competitions. Throughout Paris 2024, the female skaters have displayed \u003ca href=\"https://www.youtube.com/watch?v=x3W3vgZyy4c\">unbridled camaraderie\u003c/a> for one another, cheering each other on, clasping hands, chatting, embracing and generally having a great time with each other. That’s how you do it.\u003c/p>\n\u003ch2>Simone Biles and Jordan Chiles worship Rebeca Andrade\u003c/h2>\n\u003cfigure id=\"attachment_13962313\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962313\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2165422760_2000.jpg\" alt=\"An athlete stands arms raised and triumphant on a podium, two fellow athletes bow down in praise on either side\" width=\"2000\" height=\"1368\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2165422760_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2165422760_2000-800x547.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2165422760_2000-1020x698.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2165422760_2000-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2165422760_2000-768x525.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2165422760_2000-1536x1051.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2165422760_2000-1920x1313.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Silver medalist Simone Biles (L) and bronze medalist Jordan Chiles (R) bow down before gold medalist Rebeca Andrade (C) of Brazil after the artistic gymnastics women’s floor competition. \u003ccite>(Naomi Baker/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We couldn’t leave a list of heartwarming Paris 2024 moments without pointing to this: an Olympic scene that will go down in history.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>After Rebeca Andrade of Brazil won her first gold in the artistic gymnastics women’s floor competition, bronze winner Jordan Chiles and silver winner Simone Biles took it upon themselves to bow down in admiration of Andrade at the medals podium. It was a moment of women supporting women so heartwarming, it didn’t need words. Andrade’s delighted smile said it all.\u003c/p>\n\n",
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"excerpt": "Biles and Chiles weren’t the only athletes at Paris 2024 to support their rivals.",
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"title": "7 Times Women Supported Their Olympic Rivals in Paris | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Most of us have an idea of what Earth’s greatest athletes must be like: ultra-competitive, motivated to win at all costs, driven to crush their rivals. Similar things are often repeated about the way women behave with other women. With that in mind, trope-believers might have expected Paris 2024 — the first Olympics to ever embrace \u003ca href=\"https://olympics.com/ioc/news/genderequalolympics-celebrating-full-gender-parity-on-the-field-of-play-at-paris-2024\">gender parity for competitors\u003c/a> — to be one giant “catfight.” Instead, another image has emerged. One of women supporting women at every level.\u003c/p>\n\u003cp>Here are just a few of the most notable examples of stereotype-crushing sports(wo)manship on display during the games.\u003c/p>\n\u003ch2>Ariarne Titmus boosts Katie Ledecky\u003c/h2>\n\u003cfigure id=\"attachment_13962309\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962309\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2164812805_2000.jpg\" alt=\"Smiling female swimmers hold hands with their arms raised high across a pool lane divider.\" width=\"2000\" height=\"1534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2164812805_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2164812805_2000-800x614.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2164812805_2000-1020x782.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2164812805_2000-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2164812805_2000-768x589.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2164812805_2000-1536x1178.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2164812805_2000-1920x1473.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">USA’s Katie Ledecky and Australia’s Ariarne Titmus clasp hands in triumph after the women’s 800-meter freestyle final. \u003ccite>(Xue Yuge/Xinhua via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Stanford graduate Katie Ledecky had already earned seven Olympic gold medals and another 21 world championship golds when she arrived in Paris. On Aug. 3, however, after she won her ninth gold medal and became the most decorated female swimmer and most decorated American female athlete of all time, Ledecky knew she’d crossed a new kind of finish line.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The moment was not lost on the competitor in the swimming lane next to hers, Australia’s Ariarne Titmus, who had just scored a silver medal herself. As Ledecky took a moment in the water to catch her breath, looking lost in her own world, Titmus approached, grabbed Ledecky’s hand across the lane divider and raised it aloft to ensure Ledecky took a few seconds to absorb the cheers of the thrilled spectators. Titmus then offered Ledecky a hug and words of congratulations.\u003c/p>\n\u003cp>It was a perfect end to the race for women who are considered rivals by commentators, but who consider each other inspirations. Just days before the race, Ledecky said of Titmus, “We love competing against each other. It brings the best out of each of us and pushes each of us in training.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After the 800-meter race was over, Titmus said, “[Ledecky]’s made me a better athlete. I totally respect what she has done in this sport more than anyone else … She’s unreal.”\u003c/p>\n\u003ch2>Silina Pha Aphay assists Lucia Moris\u003c/h2>\n\u003cfigure id=\"attachment_13962311\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13962311 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2164914122_2000.jpg\" alt=\"One female runner lies on the track distressed, while another bends down and tries to support the injured runner's leg.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2164914122_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2164914122_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2164914122_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2164914122_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2164914122_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2164914122_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2164914122_2000-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Silina Pha Aphay runs to the aid of Lucia Moris, who was injured during the women’s 100-meter preliminary round. \u003ccite>(Michael Steele/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On Aug. 2, nine female runners from all over the world gathered at the Stade de France in Paris to compete for a place in further 100-meter rounds. Laotian sprinter Silina Pha Aphay was among those competitors. After she crossed the finish line in sixth place, the 28-year-old turned back to the track and noticed one of her fellow runners hadn’t made it. Flat out on the ground and writhing in agony was South Sudan’s Lucia Moris, who had suffered an injury to her right leg during the race.\u003c/p>\n\u003cp>Without hesitating, Pha Aphay ran back to Moris, attempted to make the injured woman more comfortable, and flagged down medics to come and assist. Moris was soon carried away on a stretcher. Though neither woman advanced to further competitions, the moment they shared on the track was pure Olympic gold.\u003c/p>\n\u003ch2>Sha’Carri Richardson and Melissa Jefferson celebrate Julien Alfred\u003c/h2>\n\u003cfigure id=\"attachment_13962310\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962310\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2164815348_2000.jpg\" alt=\"Three female athletes smile triumphantly on a running track holding up their countries' flags.\" width=\"2000\" height=\"1345\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2164815348_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2164815348_2000-800x538.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2164815348_2000-1020x686.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2164815348_2000-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2164815348_2000-768x516.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2164815348_2000-1536x1033.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2164815348_2000-1920x1291.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Julien Alfred (C) of Saint Lucia, Sha’Carri Richardson (R) and Melissa Jefferson (L) of the United States celebrate after the women’s 100-meter final. \u003ccite>(Li Ying/Xinhua via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Julien Alfred won St. Lucia’s first ever Olympic medal — a gold one no less — in the women’s 100-meter final, she was understandably overcome with emotion. Noticing Alfred was sobbing, American bronze winner Melissa Jefferson approached her, attempting to comfort Alfred with a hug.\u003c/p>\n\u003cp>Moments later, when Alfred was doubled over and still visibly overwhelmed, silver medal winner Richardson came over, gave her a warm smile and a pat on the back and encouraged Alfred back onto the track to take a photo for posterity. The move snapped Alfred back into more celebratory spirits. The glorious image above is what followed — an encapsulation of women celebrating each other’s achievements with nothing but joy.\u003c/p>\n\u003ch2>Tamires Morena carries Albertina Kassoma\u003c/h2>\n\u003cfigure id=\"attachment_13962308\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13962308 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2164807711_2000.jpg\" alt=\"Large crowds watch on as a female handball player carries a rival handball player off the court after an injury.\" width=\"2000\" height=\"1477\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2164807711_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2164807711_2000-800x591.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2164807711_2000-1020x753.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2164807711_2000-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2164807711_2000-768x567.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2164807711_2000-1536x1134.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2164807711_2000-1920x1418.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Tamires Morena of Brazil carries Angola’s Albertina Kassoma off the court during the women’s handball preliminary match. \u003ccite>(He Canling/Xinhua via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On Aug. 3, when Angola’s handball team captain Albertina Kassoma collapsed on the court with an injured knee, a series of remarkable things happened. The first person who rushed to Kassoma’s aid was, naturally, the Angolans’ team doctor. But once Kassoma was up on her feet, the next person to come to her aid was from the opposing team: Brazilian goalkeeper Gabriela Moreschi. Moreschi wrapped an arm around the 6-foot-3-inch Kassoma’s waist and got ready to assist her walk off the court. But before Kassoma could even attempt to take a step, in charged Brazilian line player Tamires Morena with an even better idea.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/C-Nc_JgpfMv/\">Morena scooped up her sporting rival\u003c/a> and — with pretty astounding strength — smoothly carried Kassoma from the court to a chair and awaiting medics. As soon as Morena’s selfless act began, the nearly 6,000 handball fans inside South Paris Arena 6 roared their approval. Without missing a beat, after depositing Kassoma, Morena simply returned to the game. She later reported that Kassoma had shown her appreciation for the assist by saying, “Thank you very much, my friend. Only you could lift me up.”\u003c/p>\n\u003ch2>Lindsey Horan comforts Saki Kumagai and Riko Ueki\u003c/h2>\n\u003cfigure id=\"attachment_13962312\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962312\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2165118542_2000.jpg\" alt=\"A woman in a white soccer uniform hugs a woman in black and blue soccer uniform on a field in front of a packed crowd.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2165118542_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2165118542_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2165118542_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2165118542_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2165118542_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2165118542_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2165118542_2000-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Lindsey Horan comforts Japan’s Saki Kumagai after the women’s quarterfinal match. \u003ccite>(Andrea Vilchez/ISI/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On Aug. 3, the U.S. women’s soccer team was victorious after Trinity Rodman scored a show-stopping goal during extra time. As the Americans erupted in celebrations on the Parc des Princes pitch, the members of the defeated Japanese team slowly let it sink in that their Olympic dreams were over.\u003c/p>\n\u003cp>It didn’t take long for U.S. team captain Lindsey Horan to notice their devastation unfolding. After spotting Saki Kumagai prostrate on the field, Horan quickly approached, embraced Kumagai in a warm hug and offered some words of comfort. Horan didn’t stop there either. TV cameras also caught her holding Japanese striker Riko Ueki. Pure class.\u003c/p>\n\u003ch2>Rayssa Leal takes selfies with Coco Yoshizawa and Liz Akama\u003c/h2>\n\u003cfigure id=\"attachment_13962307\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962307\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2163539609_2000.jpg\" alt=\"Three young women gather together and smile for one of their cell phones, held aloft, while atop an Olympic podium, watched by large crowds in the distance.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2163539609_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2163539609_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2163539609_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2163539609_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2163539609_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2163539609_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2163539609_2000-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Bronze medallist Rayssa Leal of Brazil takes a selfie with gold medallist Coco Yoshizawa (C) and silver medallist Liz Akama (L), both representing Japan. \u003ccite>(Kirill Kudryavtsev/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Much was made of the way in which Rayssa Leal of Brazil scuppered Japan’s hopes of scoring all three medals in the women’s street skateboarding competition by winning the bronze. Are there some ticked-off street skaters rolling around Tokyo right now? Maybe. If there are, Leal, gold medalist Coco Yoshizawa and silver medalist Liz Akama clearly couldn’t care less. After accepting their medals on the Paris podium, Leal initiated a selfie with her competitors in front of supportive crowds.\u003c/p>\n\u003cp>The skaters’ togetherness should come as little surprise to anyone who’s been paying attention to this newest of Olympic competitions. Throughout Paris 2024, the female skaters have displayed \u003ca href=\"https://www.youtube.com/watch?v=x3W3vgZyy4c\">unbridled camaraderie\u003c/a> for one another, cheering each other on, clasping hands, chatting, embracing and generally having a great time with each other. That’s how you do it.\u003c/p>\n\u003ch2>Simone Biles and Jordan Chiles worship Rebeca Andrade\u003c/h2>\n\u003cfigure id=\"attachment_13962313\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962313\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2165422760_2000.jpg\" alt=\"An athlete stands arms raised and triumphant on a podium, two fellow athletes bow down in praise on either side\" width=\"2000\" height=\"1368\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2165422760_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2165422760_2000-800x547.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2165422760_2000-1020x698.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2165422760_2000-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2165422760_2000-768x525.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2165422760_2000-1536x1051.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-2165422760_2000-1920x1313.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Silver medalist Simone Biles (L) and bronze medalist Jordan Chiles (R) bow down before gold medalist Rebeca Andrade (C) of Brazil after the artistic gymnastics women’s floor competition. \u003ccite>(Naomi Baker/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We couldn’t leave a list of heartwarming Paris 2024 moments without pointing to this: an Olympic scene that will go down in history.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After Rebeca Andrade of Brazil won her first gold in the artistic gymnastics women’s floor competition, bronze winner Jordan Chiles and silver winner Simone Biles took it upon themselves to bow down in admiration of Andrade at the medals podium. It was a moment of women supporting women so heartwarming, it didn’t need words. Andrade’s delighted smile said it all.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A 17-year-old’s perception of her father is forever altered on a three-day backpacking trip in India Donaldson’s excellent debut \u003cem>Good One\u003c/em>, in theaters Friday.\u003c/p>\n\u003cp>Something happens. And then something doesn’t happen. But that’s more of the tear point on the already delicate fabric of a relationship that has been deteriorating from neglect for years.\u003c/p>\n\u003cp>[aside postid='arts_13962187']The trip to the Catskills was envisioned as a joint family trip. Chris (James Le Gros) and his daughter Sam (newcomer Lily Collias) planned to go with Chris’s old friend Matt (Danny McCarthy) and his teenage son. But when they pull up to Matt’s place, there’s an argument taking place between the father and son, who retreats to the apartment as Matt stomps to Chris’ car. The teenage son is no longer joining them.\u003c/p>\n\u003cp>Donaldson focuses her camera on Sam, whose face and deeply expressive eyes tell you everything you need to know: This is weird and it doesn’t feel right. Suddenly she’s on a boys trip with a pair of sad middle aged men who have known one another for decades and whose lives haven’t worked out the way they thought. Both are divorced. Chris has moved on and has a new baby. Matt is still in the early stages of having his life upended. And, boy, do they talk about their failed relationships, one of whom is obviously Sam’s mother. “I couldn’t make her happy.” “She was the one who started doing things first.” “I didn’t want to get divorced.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZgUOnunBSlc\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Sam rolls her eyes a lot of the time; Other times she responds insightfully. The guys seem to half hear her, but also not. They long ago decided on their own narrative, their victimhood, and Sam is not going to change that with a bit of innocent truth.\u003c/p>\n\u003cp>Are they always this honest with their disappointments, failures and shortcomings around their kids, you wonder? Or is this a new thing happening on this trip? Chris, in particular, has forgotten that Sam, as worldly and wise as she seems, is still ultimately just a kid. You sense that Sam has already started to realize that her father is as flawed as anyone; but on this trip, his full self is on display.\u003c/p>\n\u003cp>[aside postid='arts_13962094']All of the acting is terrific and so naturalistic that it’s easy to forget that these are actors performing lines that they’ve memorized in front of a camera. Le Gros as the fastidious super camper, who freaks out about his daughter’s safety from bears when he discovers that Matt was eating in his tent, but does little later on; And McCarthy as a failed actor and now failed husband who can be charming and fun but is mostly annoying and gross. But the real breakout is Collias. Her face and presence, empathetic and knowing, carries the whole film in an unforgettable depiction of modern girlhood with all of the dreaminess, awkwardness and boredom.\u003c/p>\n\u003cp>Donaldson, like Kelly Reichardt, has a keen eye for the smallest of details; A reaction, a wince, even a blank expression that says everything. She also knows when to turn away from the dialogue and the people and give the audience a nature break. One of many great decisions was to have Sam on her period during the trip, something she deals with silently behind trees and bushes as the guys wait impatiently.\u003c/p>\n\u003cfigure id=\"attachment_13962262\" class=\"wp-caption aligncenter\" style=\"max-width: 1690px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962262\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-07-at-4.16.37%E2%80%AFPM.png\" alt=\"A middle-aged man and teenage girl stand facing each other in the woods, looking tired. Both are wearing large backpacks. \" width=\"1690\" height=\"1118\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-07-at-4.16.37 PM.png 1690w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-07-at-4.16.37 PM-800x529.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-07-at-4.16.37 PM-1020x675.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-07-at-4.16.37 PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-07-at-4.16.37 PM-768x508.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-07-at-4.16.37 PM-1536x1016.png 1536w\" sizes=\"(max-width: 1690px) 100vw, 1690px\">\u003cfigcaption class=\"wp-caption-text\">James Le Gros and Lilly Collias in a scene from ‘Good One.’ \u003ccite>(Metrograph via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At one point the guys are dreaming about what they’d do differently if they had a second chance at life. Matt would be a philosopher. Chris would own a bookstore. What about Sam, they ask. She responds that hopefully she still has a shot at deciding on this life. Indeed.\u003c/p>\n\u003cp>These stakes might seem comparatively small in a movie landscape of deadly tornadoes, apocalypses and multiverses colliding. But that’s what makes it so special. It is humanity, with all of its beauties and disappointments, as most of us experience it. And it’s one that will likely stay with you for some time.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Good One’ is screening at San Francisco’s AMC Kabuki 8 Theater (1881 Post St.) on Aug. 16 and 17, 2024. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>All of the acting is terrific and so naturalistic that it’s easy to forget that these are actors performing lines that they’ve memorized in front of a camera. Le Gros as the fastidious super camper, who freaks out about his daughter’s safety from bears when he discovers that Matt was eating in his tent, but does little later on; And McCarthy as a failed actor and now failed husband who can be charming and fun but is mostly annoying and gross. But the real breakout is Collias. Her face and presence, empathetic and knowing, carries the whole film in an unforgettable depiction of modern girlhood with all of the dreaminess, awkwardness and boredom.\u003c/p>\n\u003cp>Donaldson, like Kelly Reichardt, has a keen eye for the smallest of details; A reaction, a wince, even a blank expression that says everything. She also knows when to turn away from the dialogue and the people and give the audience a nature break. One of many great decisions was to have Sam on her period during the trip, something she deals with silently behind trees and bushes as the guys wait impatiently.\u003c/p>\n\u003cfigure id=\"attachment_13962262\" class=\"wp-caption aligncenter\" style=\"max-width: 1690px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962262\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-07-at-4.16.37%E2%80%AFPM.png\" alt=\"A middle-aged man and teenage girl stand facing each other in the woods, looking tired. Both are wearing large backpacks. \" width=\"1690\" height=\"1118\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-07-at-4.16.37 PM.png 1690w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-07-at-4.16.37 PM-800x529.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-07-at-4.16.37 PM-1020x675.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-07-at-4.16.37 PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-07-at-4.16.37 PM-768x508.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-07-at-4.16.37 PM-1536x1016.png 1536w\" sizes=\"(max-width: 1690px) 100vw, 1690px\">\u003cfigcaption class=\"wp-caption-text\">James Le Gros and Lilly Collias in a scene from ‘Good One.’ \u003ccite>(Metrograph via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At one point the guys are dreaming about what they’d do differently if they had a second chance at life. Matt would be a philosopher. Chris would own a bookstore. What about Sam, they ask. She responds that hopefully she still has a shot at deciding on this life. Indeed.\u003c/p>\n\u003cp>These stakes might seem comparatively small in a movie landscape of deadly tornadoes, apocalypses and multiverses colliding. But that’s what makes it so special. It is humanity, with all of its beauties and disappointments, as most of us experience it. And it’s one that will likely stay with you for some time.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Good One’ is screening at San Francisco’s AMC Kabuki 8 Theater (1881 Post St.) on Aug. 16 and 17, 2024. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Over the years, TV has offered up an entire precinct worth of women cops — from Angie Dickinson’s spicy Pepper Anderson in the ‘70s hit \u003cem>Police Woman,\u003c/em> to Helen Mirren’s flinty Jane Tennison in the great ’90s series \u003cem>Prime Suspect,\u003c/em> to Mariska Hargitay’s driven Olivia Benson, who will doubtless still be solving sex crimes on \u003cem>Law & Order: SVU\u003c/em> long after the oceans have swallowed New York City. We’ve watched so many women with badges that it’s easy to forget there was a time when most men believed there shouldn’t be any.\u003c/p>\n\u003cp>That belief is the starting point of a new Mexican-made TV series, \u003cem>Women in Blue\u003c/em> which is streaming on AppleTV+. Set in the hyper-conservative Mexico of 1971, this lively 10-part drama focuses on four vastly different women who go to work for the police and discover that it’s easier to capture a serial killer than to deal with the assorted misogynies of the men around them.\u003c/p>\n\u003cp>[aside postid='arts_13960144']As the story begins, Mexico City is being terrorized by a woman-killing maniac known as the Undresser, for the way he leaves his victims. To distract from the force’s failure to catch this killer, the police chief cooks up a publicity stunt. He announces that he’s opening up the police department to women, an idea he feels sure will get scads of upbeat coverage.\u003c/p>\n\u003cp>We follow four new recruits. Foremost among them is María, who once dreamed of being a detective but wound up an elegant bourgeois mother with a husband you know is cheating the instant you see him. There’s her sister Valentina, a revved-up feminist who hates the government. There’s Ángeles, a loner who does most of the actual crime solving. And finally there’s Gabina, a born cop whose policeman father slaps her face for joining the force against his wishes.\u003c/p>\n\u003cp>These four shine in training, but when it comes time to do the job — dressed in blue mini-skirts! — they’re treated as a joke. Sent out to patrol a park, they’re given not weapons but a bag with coins — to call the cops if they uncover a crime. Naturally, they \u003cem>do\u003c/em> uncover one — they find the Undresser’s latest victim. And even though they’re ordered not to, they throw themselves into tracking down the killer.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=KqHDHnGq2O0\u003c/p>\n\u003cp>Early on, I got a bit bored watching the relentless sexism faced by our heroines. I don’t doubt its realism, but nothing is more tiresome than having to watch people be bigoted in stupid ways that the world has passed by. This is 2024, and hearing some macho detective snarl that women can’t be cops made me fear that \u003cem>Women in Blue\u003c/em> might be one of those shows that simply flatters its audience by letting us feel more enlightened than the people from an earlier era.\u003c/p>\n\u003cp>Happily, the show grows more interesting, with each of the quartet facing a different form of misogyny, even within their own families. And like them, we discover some startling wrinkles in Mexican law back then — like Article 169 of the country’s civil code. It held that a Mexican woman could be forced to quit a job if it affects the “integrity” of her family — and the person who got to decide on this was her husband. It’s since been repealed.\u003c/p>\n\u003cp>[aside postid='arts_13960317']Although there are original works about the shocking level of femicide in Mexico — most famously \u003ca href=\"https://www.npr.org/2007/04/28/9852989/poets-and-gangsters-discovering-roberto-bolano\">Roberto Bolaño\u003c/a>’s great novel \u003ca href=\"https://www.npr.org/2009/01/27/99517680/a-final-epic-work-from-roberto-bolano\">\u003cem>2666\u003c/em>\u003c/a> — \u003cem>Women in Blue\u003c/em>’s crime plot is pretty generic. It resorts to such tired standbys as the cultivated serial killer who gives them brainy tips from his prison cell and the murderer deciding to target the women in blue who are investigating him.\u003c/p>\n\u003cp>The show’s real strength lies in showing how each of the heroines is transformed by joining the force, be it Ángeles breaking free of her emotional isolation or the idealistic Gabina discovering the brutal, corrupt truth about policing in Mexico. The story’s feminist angle is clearest in María, who, with her nice house, fancy clothes and George Clooney-looking husband, is the one who would seem to have it made. She’s the one who must decide whether she’ll sacrifice comfort to work in a police department whose men don’t want women in it.\u003c/p>\n\u003cp>By the end of \u003cem>Women in Blue\u003c/em>, its heroines — and its audience — come face to face with a radical truth: What drives the Undresser to kill women is grounded in the ingrained patriarchal values that ordinary women lived with every single day.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Women in Blue’ is streaming on Apple TV+ now.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/KqHDHnGq2O0'\n title='//www.youtube.com/embed/KqHDHnGq2O0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Early on, I got a bit bored watching the relentless sexism faced by our heroines. I don’t doubt its realism, but nothing is more tiresome than having to watch people be bigoted in stupid ways that the world has passed by. This is 2024, and hearing some macho detective snarl that women can’t be cops made me fear that \u003cem>Women in Blue\u003c/em> might be one of those shows that simply flatters its audience by letting us feel more enlightened than the people from an earlier era.\u003c/p>\n\u003cp>Happily, the show grows more interesting, with each of the quartet facing a different form of misogyny, even within their own families. And like them, we discover some startling wrinkles in Mexican law back then — like Article 169 of the country’s civil code. It held that a Mexican woman could be forced to quit a job if it affects the “integrity” of her family — and the person who got to decide on this was her husband. It’s since been repealed.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Although there are original works about the shocking level of femicide in Mexico — most famously \u003ca href=\"https://www.npr.org/2007/04/28/9852989/poets-and-gangsters-discovering-roberto-bolano\">Roberto Bolaño\u003c/a>’s great novel \u003ca href=\"https://www.npr.org/2009/01/27/99517680/a-final-epic-work-from-roberto-bolano\">\u003cem>2666\u003c/em>\u003c/a> — \u003cem>Women in Blue\u003c/em>’s crime plot is pretty generic. It resorts to such tired standbys as the cultivated serial killer who gives them brainy tips from his prison cell and the murderer deciding to target the women in blue who are investigating him.\u003c/p>\n\u003cp>The show’s real strength lies in showing how each of the heroines is transformed by joining the force, be it Ángeles breaking free of her emotional isolation or the idealistic Gabina discovering the brutal, corrupt truth about policing in Mexico. The story’s feminist angle is clearest in María, who, with her nice house, fancy clothes and George Clooney-looking husband, is the one who would seem to have it made. She’s the one who must decide whether she’ll sacrifice comfort to work in a police department whose men don’t want women in it.\u003c/p>\n\u003cp>By the end of \u003cem>Women in Blue\u003c/em>, its heroines — and its audience — come face to face with a radical truth: What drives the Undresser to kill women is grounded in the ingrained patriarchal values that ordinary women lived with every single day.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Women in Blue’ is streaming on Apple TV+ now.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Let’s get one thing out of the way first: I did not entirely understand everything that happens in \u003cem>Cuckoo\u003c/em>, a new indie \u003ca href=\"https://www.kqed.org/pop/tag/horror\">horror\u003c/a> in theaters Friday.\u003c/p>\n\u003cp>This could be more of a me problem than with the storytelling, but there are a lot of strange things happening at this particular Alpine resort. It’s run by a bespectacled German hotelier named Herr König, played with an off-kilter menace by Dan Stevens.\u003c/p>\n\u003cp>[aside postid='arts_13962094']Some of the occurrences are underexplained, others underexplored. Herr König seems particularly worried about things that happen after dark, but not so much about guests wandering into the reception and general store in a wobbly stupor and vomit. Are they drunk? Sick? Should someone help them? All we get is: “It happens.” The hospital, too, is eerily empty. Sonic vibrations often ripple through the land, causing scenes to repeat until reaching a violent crescendo. And no one seems to listen to or care about anything 17-year-old Gretchen (\u003ca href=\"https://www.kqed.org/arts/13891785/hbos-euphoria-specials-offer-rare-depths-about-the-lives-of-teen-girls\">Hunter Schafer\u003c/a>) has to say, no matter how banged up she gets. The quick escalation of her injuries, and the widening disinterest of her father, approaches comedy.\u003c/p>\n\u003cp>Ambiguity can be wonderful for mystery and worldbuilding; It can also be frustrating. And more often than not, detailed explanations just make everything lamer. \u003cem>Cuckoo\u003c/em> dips into all of the above. Even so, it is undeniably fascinating, original and even occasionally fun, in a very twisted and deranged way in which laughter is your involuntary response to something horrifying. In her captivating lead performance, Schafer really goes through it, both physically and emotionally.\u003c/p>\n\u003cp>It also features Stevens sporting tiny, rimless glasses with sinisterly scandi-cool monochrome outfits, and a screaming ghoul with Hitchcockian glamour in a hooded trench and white-framed oval sunnies. Rarely is it a bad idea for a horror film to lean into style, and \u003cem>Cuckoo\u003c/em> fully commits.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=NuON7HH0UkQ\u003c/p>\n\u003cp>\u003cem>Cuckoo\u003c/em> is the brainchild of German director Tilman Singer, but credit also goes to Singer’s predecessors: The works of \u003ca href=\"https://www.kqed.org/pop/107430/david-lynch-has-found-a-new-way-to-terrify-us-post-twin-peaks\">David Lynch\u003c/a> and Dario Argento among them. Gretchen is a reluctant resident in the idyllic, modern home with her detached father (Martin Csokas), stepmother (Jessica Henwick) and mute half-sister Alma (Mila Lieu). She leaves increasingly desperate messages on her mother’s answering machine in America.\u003c/p>\n\u003cp>It’s certainly an exaggerated but apt portrait of a new family where the remnants of the old are treated like a nuisance. When Alma starts having seizures during the vibrations, which no one but Gretchen seems to remember or acknowledge, the parents’ attention turns fully to the young girl. They can barely be bothered to care about Gretchen’s miraculous survival of a horrifying car wreck; Alma is in the same hospital because of the episodes.\u003c/p>\n\u003cp>[aside postid='arts_13961732']As with many horrors, the big reveals were, for this critic, a little underwhelming — a strained attempt at a unifying theory for this weird place that doesn’t add much ultimately. And yet the emotional connection to Gretchen and her complex relationship with Alma does pay off in unexpected ways.\u003c/p>\n\u003cp>Also, Stevens deserves special acknowledgement for his contributions to \u003cem>Cuckoo\u003c/em>. This is a man who could have easily languished in blandly handsome leading man roles and instead is becoming one of our great character actors. He is regularly the best and most memorable part of whatever he’s in just by his sheer commitment to going there, whether it’s his Hawaiian shirt wearing titan veterinarian in \u003cem>Godzilla x Kong\u003c/em>, his Russian pop star in \u003cem>Eurovision\u003c/em> or any number of his deranged horror characters. He and Schafer, always a compelling presence, make \u003cem>Cuckoo\u003c/em> very much worth it. They exist far too comfortably in this dreamy, nightmarish world dreamt up by Singer that is well worth a watch.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Cuckoo’ is released nationwide on Aug. 9, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Let’s get one thing out of the way first: I did not entirely understand everything that happens in \u003cem>Cuckoo\u003c/em>, a new indie \u003ca href=\"https://www.kqed.org/pop/tag/horror\">horror\u003c/a> in theaters Friday.\u003c/p>\n\u003cp>This could be more of a me problem than with the storytelling, but there are a lot of strange things happening at this particular Alpine resort. It’s run by a bespectacled German hotelier named Herr König, played with an off-kilter menace by Dan Stevens.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Some of the occurrences are underexplained, others underexplored. Herr König seems particularly worried about things that happen after dark, but not so much about guests wandering into the reception and general store in a wobbly stupor and vomit. Are they drunk? Sick? Should someone help them? All we get is: “It happens.” The hospital, too, is eerily empty. Sonic vibrations often ripple through the land, causing scenes to repeat until reaching a violent crescendo. And no one seems to listen to or care about anything 17-year-old Gretchen (\u003ca href=\"https://www.kqed.org/arts/13891785/hbos-euphoria-specials-offer-rare-depths-about-the-lives-of-teen-girls\">Hunter Schafer\u003c/a>) has to say, no matter how banged up she gets. The quick escalation of her injuries, and the widening disinterest of her father, approaches comedy.\u003c/p>\n\u003cp>Ambiguity can be wonderful for mystery and worldbuilding; It can also be frustrating. And more often than not, detailed explanations just make everything lamer. \u003cem>Cuckoo\u003c/em> dips into all of the above. Even so, it is undeniably fascinating, original and even occasionally fun, in a very twisted and deranged way in which laughter is your involuntary response to something horrifying. In her captivating lead performance, Schafer really goes through it, both physically and emotionally.\u003c/p>\n\u003cp>It also features Stevens sporting tiny, rimless glasses with sinisterly scandi-cool monochrome outfits, and a screaming ghoul with Hitchcockian glamour in a hooded trench and white-framed oval sunnies. Rarely is it a bad idea for a horror film to lean into style, and \u003cem>Cuckoo\u003c/em> fully commits.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/NuON7HH0UkQ'\n title='//www.youtube.com/embed/NuON7HH0UkQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Cuckoo\u003c/em> is the brainchild of German director Tilman Singer, but credit also goes to Singer’s predecessors: The works of \u003ca href=\"https://www.kqed.org/pop/107430/david-lynch-has-found-a-new-way-to-terrify-us-post-twin-peaks\">David Lynch\u003c/a> and Dario Argento among them. Gretchen is a reluctant resident in the idyllic, modern home with her detached father (Martin Csokas), stepmother (Jessica Henwick) and mute half-sister Alma (Mila Lieu). She leaves increasingly desperate messages on her mother’s answering machine in America.\u003c/p>\n\u003cp>It’s certainly an exaggerated but apt portrait of a new family where the remnants of the old are treated like a nuisance. When Alma starts having seizures during the vibrations, which no one but Gretchen seems to remember or acknowledge, the parents’ attention turns fully to the young girl. They can barely be bothered to care about Gretchen’s miraculous survival of a horrifying car wreck; Alma is in the same hospital because of the episodes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>As with many horrors, the big reveals were, for this critic, a little underwhelming — a strained attempt at a unifying theory for this weird place that doesn’t add much ultimately. And yet the emotional connection to Gretchen and her complex relationship with Alma does pay off in unexpected ways.\u003c/p>\n\u003cp>Also, Stevens deserves special acknowledgement for his contributions to \u003cem>Cuckoo\u003c/em>. This is a man who could have easily languished in blandly handsome leading man roles and instead is becoming one of our great character actors. He is regularly the best and most memorable part of whatever he’s in just by his sheer commitment to going there, whether it’s his Hawaiian shirt wearing titan veterinarian in \u003cem>Godzilla x Kong\u003c/em>, his Russian pop star in \u003cem>Eurovision\u003c/em> or any number of his deranged horror characters. He and Schafer, always a compelling presence, make \u003cem>Cuckoo\u003c/em> very much worth it. They exist far too comfortably in this dreamy, nightmarish world dreamt up by Singer that is well worth a watch.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Cuckoo’ is released nationwide on Aug. 9, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Review: Olivia Rodrigo Leads the Choir, Literally, in San Francisco",
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"content": "\u003cp>I believe in the church of pop music. The congregation of an arena crowd, the ceremony of call and response, the big dumb sing-along of radio-hit scripture. I believe in simple human wisdom so perfectly produced that it reaches the spiritual, and I believe in the solace of \u003cem>formula\u003c/em>, which is just another word for tradition.\u003c/p>\n\u003cp>In other words, I believe in Olivia Rodrigo, and in the transcendence of her GUTS tour at the Chase Center in San Francisco on Friday night. And I especially endorse Olivia Rodrigo’s reformist sect within the church of pop music, which preaches that teenage girls deserve redemption too. \u003c/p>\n\u003cfigure id=\"attachment_13962061\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-43_qed.jpg\" alt=\"\" width=\"2000\" height=\"1282\" class=\"size-full wp-image-13962061\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-43_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-43_qed-800x513.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-43_qed-1020x654.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-43_qed-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-43_qed-768x492.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-43_qed-1536x985.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-43_qed-1920x1231.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Olivia Rodrigo performs during her GUTS World Tour at the Chase Center in San Francisco on Aug. 2, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A more agnostic reviewer might tell you facts: that for nearly two hours, the “21-year-old phenomenon” Rodrigo “captivated the crowd” with her “energetic stage presence.” I can’t do that, though, because this was not even a concert, really. It was a \u003cem>ritual\u003c/em>, led by the power of a three-minute pop song to finally put into words what millions of young girls haven’t found the exact language for. \u003c/p>\n\u003cp>That much was evident in the arena’s attendees, a sea of teens and pre-teens in lavender and sequin, screaming along at deafening volume to Rodrigo’s opening song, “bad idea right?” This joyful noise somehow grew even louder for “ballad of a homeschooled girl.” Next came “vampire,” which showed Rodrigo’s talent for embodying a delicate song as first-person narrator while simultaneously inviting an ear-piercing 20,000-piece amateur choir into her personal world. \u003c/p>\n\u003cfigure id=\"attachment_13962059\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-4_qed.jpg\" alt=\"\" width=\"2000\" height=\"1326\" class=\"size-full wp-image-13962059\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-4_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-4_qed-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-4_qed-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-4_qed-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-4_qed-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-4_qed-1536x1018.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-4_qed-1920x1273.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Olivia Rodrigo performs during her GUTS World Tour at the Chase Center in San Francisco on Aug. 2, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We live in an age where finally, women \u003ca href=\"https://www.billboard.com/music/chart-beat/billboard-200-top-five-four-women-taylor-swift-billie-eilish-megan-thee-stallion-chappell-roan-1235725967/\">regularly occupy\u003c/a> the \u003ca href=\"https://www.billboard.com/music/chart-beat/taylor-swift-six-women-billboard-200-top-10-first-time-this-decade-1235720996/\">majority of the top positions\u003c/a> on the Billboard charts. Rodrigo is special, though; it’s almost scary how precise she is in singing about the emotions of adolescence, and isolating small aspects of a relationship to explore them at length.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Case in point: “deja vu,” a gift to any girl who’s watched from afar as her relationship gets copied and pasted. Or “traitor,” a kiss-off waltz performed as Rodrigo’s eight dancers played with shadows and light while she played with the tiny nuances of loyalty and betrayal.\u003c/p>\n\u003cp>Plus, in Rodrigo’s hands, insecurities have never been so \u003cem>fun\u003c/em>. Obsession, jealousy, compulsion, rage, wanting to sleep with your ex-boyfriend — her songs are mini-sermons of validation that say, in essence, “Everyone feels that way sometimes! And it’s \u003cem>great\u003c/em>!”\u003c/p>\n\u003cfigure id=\"attachment_13962058\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-2_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13962058\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-2_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-2_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-2_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-2_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-2_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-2_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-2_qed-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Olivia Rodrigo performs during her GUTS World Tour at the Chase Center in San Francisco on Aug. 2, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This care for her younger fans, this cool older sister thing, ran throughout Friday’s show. “I’m 21 now, and I feel so happy and loved, and excited for the future,” Rodrigo assured the crowd while introducing “teenage dream.” “You have no idea how many wonderful things are right around the corner.”\u003c/p>\n\u003cp>She gave fans the acknowledgment of loved ones on the giant screen, showing the BFFs and significant others in the crowd. She reminded those who came with their parents, who probably spent three paychecks on tickets: “Hug them and tell them you love them!”\u003c/p>\n\u003cp>For two songs, she sailed on a crescent moon above the floor to get as close to the far sections as possible, waving while singing. On stage, her band comprised entirely of women and nonbinary musicians subtly said \u003cem>you can do this too\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13962060\" class=\"wp-caption aligncenter\" style=\"max-width: 1925px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-15_qed.jpg\" alt=\"\" width=\"1925\" height=\"1333\" class=\"size-full wp-image-13962060\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-15_qed.jpg 1925w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-15_qed-800x554.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-15_qed-1020x706.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-15_qed-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-15_qed-768x532.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-15_qed-1536x1064.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-15_qed-1920x1330.jpg 1920w\" sizes=\"auto, (max-width: 1925px) 100vw, 1925px\">\u003cfigcaption class=\"wp-caption-text\">Olivia Rodrigo performs during her GUTS World Tour at the Chase Center in San Francisco on Aug. 2, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And she offered the physical rebirth of letting it all out. Fans sang along to every single word of her songs, very loudly, all night long. During “all-american bitch,” Rodrigo instructed people to think of someone or something that pisses them off the most, and gave them a prolonged moment to scream their guts out about it.\u003c/p>\n\u003cp>Rodrigo’s done this at every show, as part of her tour’s mostly canned patter. But you know what? As a custom in the church of pop music, I even believe in canned patter: the lines about this being the best night ever, or the crowd being the best crowd ever. Because of course, it worked on me once, too — and, in the adrenaline rush of hearing it from your favorite singer, believing it is the greatest feeling in the world. \u003c/p>\n\u003cfigure id=\"attachment_13962062\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-45_qed.jpg\" alt=\"\" width=\"2000\" height=\"1315\" class=\"size-full wp-image-13962062\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-45_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-45_qed-800x526.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-45_qed-1020x671.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-45_qed-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-45_qed-768x505.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-45_qed-1536x1010.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-45_qed-1920x1262.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Olivia Rodrigo performs during her GUTS World Tour at the Chase Center in San Francisco on Aug. 2, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But mainly, the night belonged to emotional precision. By the encore of “get him back!,” while sporting a “Bae Area” tank top, Rodrigo brought her young, multicultural congregation to uncontrollable elation simply by singing about their inner lives, accurately.\u003c/p>\n\u003cp>The crowd chanted along, the confetti shot into the air, and Rodrigo danced with abandon, skipping across the grave of every dumb boy, reassuring the still-screaming throng that their tortured feelings can and will dissipate, and that a better world is possible.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Olivia Rodrigo performs the second of two Bay Area shows on Saturday, Aug. 3, at the Chase Center in San Francisco. \u003ca href=\"https://www.ticketmaster.com/olivia-rodrigo-guts-world-tour-san-francisco-california-08-03-2024/event/1C005F2EEFE15A98\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I believe in the church of pop music. The congregation of an arena crowd, the ceremony of call and response, the big dumb sing-along of radio-hit scripture. I believe in simple human wisdom so perfectly produced that it reaches the spiritual, and I believe in the solace of \u003cem>formula\u003c/em>, which is just another word for tradition.\u003c/p>\n\u003cp>In other words, I believe in Olivia Rodrigo, and in the transcendence of her GUTS tour at the Chase Center in San Francisco on Friday night. And I especially endorse Olivia Rodrigo’s reformist sect within the church of pop music, which preaches that teenage girls deserve redemption too. \u003c/p>\n\u003cfigure id=\"attachment_13962061\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-43_qed.jpg\" alt=\"\" width=\"2000\" height=\"1282\" class=\"size-full wp-image-13962061\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-43_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-43_qed-800x513.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-43_qed-1020x654.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-43_qed-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-43_qed-768x492.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-43_qed-1536x985.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-43_qed-1920x1231.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Olivia Rodrigo performs during her GUTS World Tour at the Chase Center in San Francisco on Aug. 2, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A more agnostic reviewer might tell you facts: that for nearly two hours, the “21-year-old phenomenon” Rodrigo “captivated the crowd” with her “energetic stage presence.” I can’t do that, though, because this was not even a concert, really. It was a \u003cem>ritual\u003c/em>, led by the power of a three-minute pop song to finally put into words what millions of young girls haven’t found the exact language for. \u003c/p>\n\u003cp>That much was evident in the arena’s attendees, a sea of teens and pre-teens in lavender and sequin, screaming along at deafening volume to Rodrigo’s opening song, “bad idea right?” This joyful noise somehow grew even louder for “ballad of a homeschooled girl.” Next came “vampire,” which showed Rodrigo’s talent for embodying a delicate song as first-person narrator while simultaneously inviting an ear-piercing 20,000-piece amateur choir into her personal world. \u003c/p>\n\u003cfigure id=\"attachment_13962059\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-4_qed.jpg\" alt=\"\" width=\"2000\" height=\"1326\" class=\"size-full wp-image-13962059\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-4_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-4_qed-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-4_qed-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-4_qed-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-4_qed-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-4_qed-1536x1018.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-4_qed-1920x1273.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Olivia Rodrigo performs during her GUTS World Tour at the Chase Center in San Francisco on Aug. 2, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We live in an age where finally, women \u003ca href=\"https://www.billboard.com/music/chart-beat/billboard-200-top-five-four-women-taylor-swift-billie-eilish-megan-thee-stallion-chappell-roan-1235725967/\">regularly occupy\u003c/a> the \u003ca href=\"https://www.billboard.com/music/chart-beat/taylor-swift-six-women-billboard-200-top-10-first-time-this-decade-1235720996/\">majority of the top positions\u003c/a> on the Billboard charts. Rodrigo is special, though; it’s almost scary how precise she is in singing about the emotions of adolescence, and isolating small aspects of a relationship to explore them at length.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Case in point: “deja vu,” a gift to any girl who’s watched from afar as her relationship gets copied and pasted. Or “traitor,” a kiss-off waltz performed as Rodrigo’s eight dancers played with shadows and light while she played with the tiny nuances of loyalty and betrayal.\u003c/p>\n\u003cp>Plus, in Rodrigo’s hands, insecurities have never been so \u003cem>fun\u003c/em>. Obsession, jealousy, compulsion, rage, wanting to sleep with your ex-boyfriend — her songs are mini-sermons of validation that say, in essence, “Everyone feels that way sometimes! And it’s \u003cem>great\u003c/em>!”\u003c/p>\n\u003cfigure id=\"attachment_13962058\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-2_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13962058\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-2_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-2_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-2_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-2_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-2_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-2_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-2_qed-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Olivia Rodrigo performs during her GUTS World Tour at the Chase Center in San Francisco on Aug. 2, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This care for her younger fans, this cool older sister thing, ran throughout Friday’s show. “I’m 21 now, and I feel so happy and loved, and excited for the future,” Rodrigo assured the crowd while introducing “teenage dream.” “You have no idea how many wonderful things are right around the corner.”\u003c/p>\n\u003cp>She gave fans the acknowledgment of loved ones on the giant screen, showing the BFFs and significant others in the crowd. She reminded those who came with their parents, who probably spent three paychecks on tickets: “Hug them and tell them you love them!”\u003c/p>\n\u003cp>For two songs, she sailed on a crescent moon above the floor to get as close to the far sections as possible, waving while singing. On stage, her band comprised entirely of women and nonbinary musicians subtly said \u003cem>you can do this too\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13962060\" class=\"wp-caption aligncenter\" style=\"max-width: 1925px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-15_qed.jpg\" alt=\"\" width=\"1925\" height=\"1333\" class=\"size-full wp-image-13962060\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-15_qed.jpg 1925w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-15_qed-800x554.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-15_qed-1020x706.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-15_qed-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-15_qed-768x532.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-15_qed-1536x1064.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-15_qed-1920x1330.jpg 1920w\" sizes=\"auto, (max-width: 1925px) 100vw, 1925px\">\u003cfigcaption class=\"wp-caption-text\">Olivia Rodrigo performs during her GUTS World Tour at the Chase Center in San Francisco on Aug. 2, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And she offered the physical rebirth of letting it all out. Fans sang along to every single word of her songs, very loudly, all night long. During “all-american bitch,” Rodrigo instructed people to think of someone or something that pisses them off the most, and gave them a prolonged moment to scream their guts out about it.\u003c/p>\n\u003cp>Rodrigo’s done this at every show, as part of her tour’s mostly canned patter. But you know what? As a custom in the church of pop music, I even believe in canned patter: the lines about this being the best night ever, or the crowd being the best crowd ever. Because of course, it worked on me once, too — and, in the adrenaline rush of hearing it from your favorite singer, believing it is the greatest feeling in the world. \u003c/p>\n\u003cfigure id=\"attachment_13962062\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-45_qed.jpg\" alt=\"\" width=\"2000\" height=\"1315\" class=\"size-full wp-image-13962062\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-45_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-45_qed-800x526.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-45_qed-1020x671.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-45_qed-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-45_qed-768x505.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-45_qed-1536x1010.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/20240802_OliviaRodrigo_GC-45_qed-1920x1262.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Olivia Rodrigo performs during her GUTS World Tour at the Chase Center in San Francisco on Aug. 2, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But mainly, the night belonged to emotional precision. By the encore of “get him back!,” while sporting a “Bae Area” tank top, Rodrigo brought her young, multicultural congregation to uncontrollable elation simply by singing about their inner lives, accurately.\u003c/p>\n\u003cp>The crowd chanted along, the confetti shot into the air, and Rodrigo danced with abandon, skipping across the grave of every dumb boy, reassuring the still-screaming throng that their tortured feelings can and will dissipate, and that a better world is possible.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Olivia Rodrigo performs the second of two Bay Area shows on Saturday, Aug. 3, at the Chase Center in San Francisco. \u003ca href=\"https://www.ticketmaster.com/olivia-rodrigo-guts-world-tour-san-francisco-california-08-03-2024/event/1C005F2EEFE15A98\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "olympic-boxing-gender-controversy-paris-2024-jk-rowling",
"title": "What to Know About the Gender Controversy Sweeping Olympic Boxing",
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"headTitle": "What to Know About the Gender Controversy Sweeping Olympic Boxing | KQED",
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"content": "\u003cp>Women’s boxing is at the center of the latest Olympics controversy as critics take issue with the participation of two athletes — Imane Khelif of Algeria and Lin Yu-ting of Taiwan — who have failed gender eligibility tests in the past.\u003c/p>\n\u003cp>Both Khelif and Lin identify and have long competed as women, but were disqualified from the 2023 women’s world championships by the International Boxing Association (IBA) for \u003ca href=\"https://www.iba.sport/wp-content/uploads/2023/05/BoD-meeting-minutes_New-Delhi_FV-approved.pdf\">what it called\u003c/a> failure to meet “eligibility rules.”\u003c/p>\n\u003cp>[aside postid='arts_13961967']Olympic organizers are defending their right to compete in Paris and questioning the validity of those unspecified tests and the fairness of their previous disqualification, which they said happened without due process.\u003c/p>\n\u003cp>“The current aggression against these two athletes is based entirely on this arbitrary decision, which was taken without any proper procedure — especially considering that these athletes had been competing in top-level competition for many years,” the International Olympic Committee \u003ca href=\"https://olympics.com/ioc/news/joint-paris-2024-boxing-unit-ioc-statement\">said in a statement\u003c/a> Thursday.\u003c/p>\n\u003cp>The conservative outcry started after Khelif won her match against Angela Carini of Italy on Thursday in somewhat dramatic fashion.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Carini quit just 46 seconds into the bout after Khelif’s punches dislodged her chinstrap and bloodied her shorts. After deciding to withdraw, she fell to her knees sobbing in the ring and refused to shake hands with Khelif.\u003c/p>\n\u003cp>“I have never been hit so hard in my life,” Carini \u003ca href=\"https://x.com/badel_cmail/status/1818964680498393549\">tearfully told reporters\u003c/a> afterward.\u003c/p>\n\u003cp>She \u003ca href=\"https://www.nbcchicago.com/paris-2024-summer-olympics/what-happened-with-imane-khelif-boxer-who-had-gender-test-issue-at-olympics/3508367/\">said she had stopped fighting\u003c/a> because of nose pain, but also said it wasn’t her place to pass judgment on whether Khelif should compete.\u003c/p>\n\u003cp>“If an athlete is this way, and in that sense it’s not right or it is right, it’s not up to me to decide,” Carini added.\u003c/p>\n\u003cp>Khelif didn’t speak to the media other than a quick comment to \u003ca href=\"https://www.bbc.com/sport/olympics/articles/cw0yvln9z00o\">BBC Sport\u003c/a>: “I’m here for the gold — I fight everybody.”\u003c/p>\n\u003cp>[aside postid='arts_13961675']She is set to return to the ring Saturday for a quarterfinal matchup against Hungary’s Anna Luca Hamori.\u003c/p>\n\u003cp>Hamori has accepted the fight, saying she is “not scared” of Khelif. But the Hungarian Boxing Association is striking a different tone: The \u003ca href=\"https://apnews.com/article/olympics-2024-boxing-imane-khelif-f62ac85cba099c549202c80c4a4d3f8c\">Associated Press reported\u003c/a> on Friday that the organization is sending “letters of protest” about the matchup to the IOC and Hungary’s own Olympic committee.\u003c/p>\n\u003cp>On Friday, Lin emerged victorious in her preliminary-round fight against Uzbekistan’s Sitora Turdibekova, winning 5-0 by unanimous decision but without much fanfare in the crowd.\u003c/p>\n\u003cp>She is headed to the quarterfinals on Sunday, one victory away from her first Olympic medal.\u003c/p>\n\u003ch3>Who is Lin?\u003c/h3>\n\u003cp>Lin, 28, a \u003ca href=\"https://www.newsweek.com/lin-yu-ting-olympics-boxing-gender-imane-khelif-1933834\">two-time world champion,\u003c/a> has been competing for over a decade.\u003c/p>\n\u003cp>According to her Olympic bio, Lin joined an athletics team as a child “to achieve good results in athletics and win awards to help out financially.” She switched to boxing in middle school.\u003c/p>\n\u003cp>[aside postid='arts_13961861']She made her \u003ca href=\"https://olympics.com/en/paris-2024/athlete/yu-ting-lin_1887963\">Olympic debut\u003c/a> at the Tokyo Games, though left without a medal.\u003c/p>\n\u003cp>Still, the southpaw has won many other titles — including bronze in featherweight at the 2019 Women’s World Boxing Championships, gold at bantamweight in 2018 and gold in featherweight in 2022.\u003c/p>\n\u003cp>She also won a bronze medal at the 2023 world championships, \u003ca href=\"https://www.taipeitimes.com/News/sport/archives/2023/03/27/2003796795\">but lost it\u003c/a> after she was disqualified. It went to the opponent she had defeated in the quarterfinals, Bulgaria’s Svetlana Kamenova Staneva.\u003c/p>\n\u003ch3>Who is Khelif?\u003c/h3>\n\u003cp>Khelif, at 25 years old and 5’10”, has been competing since 2018. She entered Paris with a 9-5 professional record, according to the \u003cem>\u003ca href=\"https://www.nytimes.com/athletic/5675415/2024/08/01/olympic-womens-boxing-dispute-imane-khelif/\">New York Times\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>She made her first Olympic appearance at the Tokyo Games in 2021, where she lost in the quarterfinal round to Ireland’s Kellie Harrington (and didn’t face any false allegations about her gender at the time, as many of \u003ca href=\"https://x.com/Algeria_FC/status/1819128788862882183\">her defenders are now noting\u003c/a>).\u003c/p>\n\u003cp>Khelif won the African and Mediterranean Championships in 2022 and reached the final of the IBA Women’s World Championships that same year. She took home silver, after a defeat by another Irish boxer, Katie Broadhurst.\u003c/p>\n\u003cp>Khelif also reached the finals of the 2023 world championships in New Delhi but was disqualified by organizers the day before they began in March.\u003c/p>\n\u003ch3>Why were the athletes disqualified last year?\u003c/h3>\n\u003cp>The IBA said in a statement at the time that Khelif and Lin had “failed to meet eligibility rules, following a test conducted by an independent laboratory.”\u003c/p>\n\u003cp>[aside postid='arts_13961542']IBA President Umar Krevlev \u003ca href=\"https://www.washingtonpost.com/sports/olympics/2024/08/01/imane-khelif-algerian-boxer-gender-paris-olympics/\">told Russian state media\u003c/a> that it was “proven they have XY chromosomes” — which is seen in men, as opposed to the XX genotype of women\u003cstrong>.\u003c/strong>\u003c/p>\n\u003cp>It is \u003ca href=\"https://www.cancer.gov/publications/dictionaries/cancer-terms/def/swyer-syndrome\">medically possible\u003c/a> for women to have male chromosomes, \u003ca href=\"https://novonordiskfonden.dk/en/news/more-women-than-expected-are-genetically-men/\">in rare cases\u003c/a>. Separately, there are a number of \u003ca href=\"https://my.clevelandclinic.org/health/articles/22002-androgens\">health conditions\u003c/a> — most notably, polycystic ovary syndrome — that can cause women to produce excess male hormones.\u003c/p>\n\u003cp>In a new \u003ca href=\"https://www.iba.sport/news/statement-made-by-the-international-boxing-association-regarding-athletes-disqualifications-in-world-boxing-championships-2023/\">statement released this week\u003c/a>, the IBA clarified that Khelif and Lin had not undergone a testosterone exam, but were “subject to a separate and recognized test, whereby the specifics remain confidential.”\u003c/p>\n\u003cp>“This test conclusively indicated that both athletes did not meet the required necessary eligibility criteria and were found to have competitive advantages over other female competitors,” they wrote.\u003c/p>\n\u003cfigure id=\"attachment_13962041\" class=\"wp-caption aligncenter\" style=\"max-width: 1296px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962041\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-02-at-2.06.01%E2%80%AFPM.png\" alt=\"Two women in boxing kits inside the ring.\" width=\"1296\" height=\"860\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-02-at-2.06.01 PM.png 1296w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-02-at-2.06.01 PM-800x531.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-02-at-2.06.01 PM-1020x677.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-02-at-2.06.01 PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-02-at-2.06.01 PM-768x510.png 768w\" sizes=\"auto, (max-width: 1296px) 100vw, 1296px\">\u003cfigcaption class=\"wp-caption-text\">Algeria’s Imane Khelif, right, walks beside Italy’s Angela Carini after winning their women’s 66kg preliminary boxing match. \u003ccite>(John Locher/AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Why are they eligible for the Olympics?\u003c/h3>\n\u003cp>The IBA is no longer the governing body of Olympic boxing.\u003c/p>\n\u003cp>The IOC — which had already overseen boxing competitions for the Tokyo Olympics — officially \u003ca href=\"https://apnews.com/article/boxing-olympics-ioc-iba-paris-1338983c3c1d0ccef6936f8a3fe34154\">voted to derecognize it\u003c/a> in June 2023, after a years-long dispute over the integrity of its bouts and judging and transparency of management.\u003c/p>\n\u003cp>Olympic officials took issue with how presidents from Uzbekistan and Russia ran the IBA, as well as the fact that its sole sponsor was a Russian state energy firm, according to the Associated Press.\u003c/p>\n\u003cp>The IOC has repeatedly defended the athletes’ right to compete in Paris, casting doubt on the process that disqualified them last year and pointing to their female legal identities.\u003c/p>\n\u003cp>[aside postid='arts_13904009']“They are women in their passports and it’s stated that this is the case, that they are female,” spokesperson \u003ca href=\"https://apnews.com/article/2024-paris-olympics-gender-boxing-d06c6e06017a535c02a2fd15cacd2e51\">Mark Adams told reporters\u003c/a> earlier this week. Notably, there is no right to \u003ca href=\"https://www.equaldex.com/region/algeria\">change one’s legal gender\u003c/a> under Algerian law.\u003c/p>\n\u003cp>In its Thursday statement, the IOC confirmed that all athletes participating in the boxing tournament “comply with the competition’s eligibility and entry regulations, as well as all applicable medical regulations.” It said it used the Tokyo boxing rules as the baseline for this year’s regulations.\u003c/p>\n\u003cp>It called Khelif and Lin, whom it did not identify by name, “the victims of a sudden arbitrary decision by the IBA.”\u003c/p>\n\u003cp>The IOC said it is “saddened by the abuse that the two athletes are currently receiving,” and stressed the need for National Boxing Federations to “reach a consensus around a new International federation” for boxing to be included in the 2028 Summer Olympics in Los Angeles.\u003c/p>\n\u003cp>On Friday, spokesperson \u003ca href=\"https://deadline.com/2024/08/international-olympics-committee-witch-hunt-boxing-gender-row-1236029886/\">Adams reminded reporters\u003c/a> that the IOC \u003ca href=\"https://www.scientificamerican.com/podcast/episode/sex-testing-in-the-olympics-and-other-elite-sports-is-based-on-flawed/#:~:text=And%20from%201968%20to%201999,you%20go%2C%20whenever%20you%20compete.\">stopped blanket sex testing\u003c/a> in 1999, and that “even if there were a sex test that everyone agreed with, I don’t think anyone wants to see a return to some of the scenes.” He acknowledged that the situation has become a minefield.\u003c/p>\n\u003cp>“And unfortunately, as with all minefields, we want a simple explanation,” he added. “Everyone wants a black-and-white explanation of how we can determine this. That explanation does not exist, neither in the scientific community, nor anywhere else.”\u003c/p>\n\u003cp>For more about sex testing in elite women’s sports, \u003ca href=\"https://www.npr.org/2024/07/12/g-s1-8943/npr-embedded-cbc-testing-in-elite-sports-tested-podcast\">check out the new podcast \u003cem>Tested\u003c/em>\u003c/a>, from NPR and the CBC.\u003c/p>\n\u003cfigure id=\"attachment_13962042\" class=\"wp-caption aligncenter\" style=\"max-width: 1296px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962042\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-02-at-2.07.42%E2%80%AFPM.png\" alt=\"Inside a boxing ring, a referee holds aloft one arm of a female boxer dressed in red. A female boxer in blue looks down.\" width=\"1296\" height=\"860\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-02-at-2.07.42 PM.png 1296w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-02-at-2.07.42 PM-800x531.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-02-at-2.07.42 PM-1020x677.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-02-at-2.07.42 PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-02-at-2.07.42 PM-768x510.png 768w\" sizes=\"auto, (max-width: 1296px) 100vw, 1296px\">\u003cfigcaption class=\"wp-caption-text\">Lin Yu-ting, left, reacts after defeating Uzbekistan’s Sitora Turdibekova in their women’s 57 kg preliminary boxing match. \u003ccite>(John Locher/AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>What are critics and supporters saying?\u003c/h3>\n\u003cp>After Khelif’s win, the backlash was swift, especially in conservative circles.\u003c/p>\n\u003cp>Author \u003ca href=\"https://x.com/jk_rowling/status/1819007216214573268\">J.K. Rowling\u003c/a> — who has been criticized for her \u003ca href=\"https://www.npr.org/2022/08/31/1120299781/jk-rowling-new-book-the-ink-black-heart\">transphobic views in recent years\u003c/a> — falsely labeled her a man, in a tweet that has garnered over 400,000 likes. Former President Donald Trump \u003ca href=\"https://truthsocial.com/@realDonaldTrump/posts/112888066089313688\">shared a video\u003c/a> of the match on Truth Social, writing in all caps, “I WILL KEEP MEN OUT OF WOMEN’S SPORTS!”\u003c/p>\n\u003cp>Riley Gaines, a widely-followed former collegiate swimmer who describes herself as a “leader defending women’s single-sex spaces,” tweeted that “men don’t belong in women’s sports.” Tesla CEO Elon Musk \u003ca href=\"https://x.com/elonmusk/status/1818986936310075743\">amplified her tweet\u003c/a>, adding, “Absolutely.”\u003c/p>\n\u003cp>Vlogger-turned-WWE wrestler Logan Paul also \u003ca href=\"https://www.outsports.com/2024/8/2/24099099/logan-paul-imane-khelif-wwe-paris-olympics/\">slammed Khelif as a man\u003c/a>, tweeting that the match was “the purest form of evil unfolding right before your eyes.” He later \u003ca href=\"https://x.com/LoganPaul/status/1819080702002188783\">deleted his post\u003c/a> and wrote, “I might be guilty of spreading misinformation along with the entirety of this app.”\u003c/p>\n\u003cp>Foreign officials have also weighed in.\u003c/p>\n\u003cp>Italy’s \u003ca href=\"https://www.npr.org/2022/09/24/1124685476/giorgia-meloni-italy-election\">far-right Prime Minister\u003c/a> Giorgia Meloni told the Italian news agency ANSA that the fight between Carini and Khelif was unfair.\u003c/p>\n\u003cp>“I think that athletes who have male genetic characteristics should not be admitted to women’s competitions,” she said, \u003ca href=\"https://www.reuters.com/sports/olympics/boxing-algerian-khelif-advances-after-italys-carini-abandons-fight-after-46-2024-08-01/\">according to Reuters\u003c/a>. “And not because you want to discriminate against someone, but to protect the right of female athletes to be able to compete on equal terms.”\u003c/p>\n\u003cp>[aside postid='arts_11993783']Italy’s family and sports ministers have also \u003ca href=\"https://www.reuters.com/sports/olympics/boxing-algeria-condemns-targeting-boxer-khelif-over-gender-test-2024-07-31/\">voiced concerns\u003c/a> about the lack of clarity around gender eligibility criteria, suggesting that uniform international criteria would assuage “suspicion” and protect athletes’ safety.\u003c/p>\n\u003cp>Algeria’s Olympic committee is defending Khelif, issuing a statement on Wednesday condemning what it called her “unethical targeting” with “baseless propaganda.”\u003c/p>\n\u003cp>“Such attacks on her personality and dignity are deeply unfair, especially as she prepares for the pinnacle of her career at the Olympics,” it added, \u003ca href=\"https://www.reuters.com/sports/olympics/boxing-algeria-condemns-targeting-boxer-khelif-over-gender-test-2024-07-31/\">per Reuters\u003c/a>.\u003c/p>\n\u003cp>Meanwhile, Taiwanese officials have \u003ca href=\"https://www.reuters.com/sports/olympics/taiwan-leaders-back-boxer-olympic-gender-row-2024-08-02/#:~:text=Lin%20is%20a%20double%20world,her%20mother%20suffer%20domestic%20abuse.\">thrown their support\u003c/a> behind Lin.\u003c/p>\n\u003cp>Pan Men-an, secretary-general for Taiwan’s presidential office, said on social media that it is wrong for the athlete to be “subjected to humiliation, insults and verbal bullying just because of your appearance and a controversial verdict in the past.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Tsai Ing-wen, Taiwan’s first female president, \u003ca href=\"https://x.com/iingwen/status/1819255417773645885\">wrote on X\u003c/a> that Lin is “an athlete who is fearless in the face of challenges, whether they come from inside or outside the ring.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Women’s boxing is at the center of the latest Olympics controversy as critics take issue with the participation of two athletes — Imane Khelif of Algeria and Lin Yu-ting of Taiwan — who have failed gender eligibility tests in the past.\u003c/p>\n\u003cp>Both Khelif and Lin identify and have long competed as women, but were disqualified from the 2023 women’s world championships by the International Boxing Association (IBA) for \u003ca href=\"https://www.iba.sport/wp-content/uploads/2023/05/BoD-meeting-minutes_New-Delhi_FV-approved.pdf\">what it called\u003c/a> failure to meet “eligibility rules.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Olympic organizers are defending their right to compete in Paris and questioning the validity of those unspecified tests and the fairness of their previous disqualification, which they said happened without due process.\u003c/p>\n\u003cp>“The current aggression against these two athletes is based entirely on this arbitrary decision, which was taken without any proper procedure — especially considering that these athletes had been competing in top-level competition for many years,” the International Olympic Committee \u003ca href=\"https://olympics.com/ioc/news/joint-paris-2024-boxing-unit-ioc-statement\">said in a statement\u003c/a> Thursday.\u003c/p>\n\u003cp>The conservative outcry started after Khelif won her match against Angela Carini of Italy on Thursday in somewhat dramatic fashion.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Carini quit just 46 seconds into the bout after Khelif’s punches dislodged her chinstrap and bloodied her shorts. After deciding to withdraw, she fell to her knees sobbing in the ring and refused to shake hands with Khelif.\u003c/p>\n\u003cp>“I have never been hit so hard in my life,” Carini \u003ca href=\"https://x.com/badel_cmail/status/1818964680498393549\">tearfully told reporters\u003c/a> afterward.\u003c/p>\n\u003cp>She \u003ca href=\"https://www.nbcchicago.com/paris-2024-summer-olympics/what-happened-with-imane-khelif-boxer-who-had-gender-test-issue-at-olympics/3508367/\">said she had stopped fighting\u003c/a> because of nose pain, but also said it wasn’t her place to pass judgment on whether Khelif should compete.\u003c/p>\n\u003cp>“If an athlete is this way, and in that sense it’s not right or it is right, it’s not up to me to decide,” Carini added.\u003c/p>\n\u003cp>Khelif didn’t speak to the media other than a quick comment to \u003ca href=\"https://www.bbc.com/sport/olympics/articles/cw0yvln9z00o\">BBC Sport\u003c/a>: “I’m here for the gold — I fight everybody.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>She is set to return to the ring Saturday for a quarterfinal matchup against Hungary’s Anna Luca Hamori.\u003c/p>\n\u003cp>Hamori has accepted the fight, saying she is “not scared” of Khelif. But the Hungarian Boxing Association is striking a different tone: The \u003ca href=\"https://apnews.com/article/olympics-2024-boxing-imane-khelif-f62ac85cba099c549202c80c4a4d3f8c\">Associated Press reported\u003c/a> on Friday that the organization is sending “letters of protest” about the matchup to the IOC and Hungary’s own Olympic committee.\u003c/p>\n\u003cp>On Friday, Lin emerged victorious in her preliminary-round fight against Uzbekistan’s Sitora Turdibekova, winning 5-0 by unanimous decision but without much fanfare in the crowd.\u003c/p>\n\u003cp>She is headed to the quarterfinals on Sunday, one victory away from her first Olympic medal.\u003c/p>\n\u003ch3>Who is Lin?\u003c/h3>\n\u003cp>Lin, 28, a \u003ca href=\"https://www.newsweek.com/lin-yu-ting-olympics-boxing-gender-imane-khelif-1933834\">two-time world champion,\u003c/a> has been competing for over a decade.\u003c/p>\n\u003cp>According to her Olympic bio, Lin joined an athletics team as a child “to achieve good results in athletics and win awards to help out financially.” She switched to boxing in middle school.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>She made her \u003ca href=\"https://olympics.com/en/paris-2024/athlete/yu-ting-lin_1887963\">Olympic debut\u003c/a> at the Tokyo Games, though left without a medal.\u003c/p>\n\u003cp>Still, the southpaw has won many other titles — including bronze in featherweight at the 2019 Women’s World Boxing Championships, gold at bantamweight in 2018 and gold in featherweight in 2022.\u003c/p>\n\u003cp>She also won a bronze medal at the 2023 world championships, \u003ca href=\"https://www.taipeitimes.com/News/sport/archives/2023/03/27/2003796795\">but lost it\u003c/a> after she was disqualified. It went to the opponent she had defeated in the quarterfinals, Bulgaria’s Svetlana Kamenova Staneva.\u003c/p>\n\u003ch3>Who is Khelif?\u003c/h3>\n\u003cp>Khelif, at 25 years old and 5’10”, has been competing since 2018. She entered Paris with a 9-5 professional record, according to the \u003cem>\u003ca href=\"https://www.nytimes.com/athletic/5675415/2024/08/01/olympic-womens-boxing-dispute-imane-khelif/\">New York Times\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>She made her first Olympic appearance at the Tokyo Games in 2021, where she lost in the quarterfinal round to Ireland’s Kellie Harrington (and didn’t face any false allegations about her gender at the time, as many of \u003ca href=\"https://x.com/Algeria_FC/status/1819128788862882183\">her defenders are now noting\u003c/a>).\u003c/p>\n\u003cp>Khelif won the African and Mediterranean Championships in 2022 and reached the final of the IBA Women’s World Championships that same year. She took home silver, after a defeat by another Irish boxer, Katie Broadhurst.\u003c/p>\n\u003cp>Khelif also reached the finals of the 2023 world championships in New Delhi but was disqualified by organizers the day before they began in March.\u003c/p>\n\u003ch3>Why were the athletes disqualified last year?\u003c/h3>\n\u003cp>The IBA said in a statement at the time that Khelif and Lin had “failed to meet eligibility rules, following a test conducted by an independent laboratory.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>IBA President Umar Krevlev \u003ca href=\"https://www.washingtonpost.com/sports/olympics/2024/08/01/imane-khelif-algerian-boxer-gender-paris-olympics/\">told Russian state media\u003c/a> that it was “proven they have XY chromosomes” — which is seen in men, as opposed to the XX genotype of women\u003cstrong>.\u003c/strong>\u003c/p>\n\u003cp>It is \u003ca href=\"https://www.cancer.gov/publications/dictionaries/cancer-terms/def/swyer-syndrome\">medically possible\u003c/a> for women to have male chromosomes, \u003ca href=\"https://novonordiskfonden.dk/en/news/more-women-than-expected-are-genetically-men/\">in rare cases\u003c/a>. Separately, there are a number of \u003ca href=\"https://my.clevelandclinic.org/health/articles/22002-androgens\">health conditions\u003c/a> — most notably, polycystic ovary syndrome — that can cause women to produce excess male hormones.\u003c/p>\n\u003cp>In a new \u003ca href=\"https://www.iba.sport/news/statement-made-by-the-international-boxing-association-regarding-athletes-disqualifications-in-world-boxing-championships-2023/\">statement released this week\u003c/a>, the IBA clarified that Khelif and Lin had not undergone a testosterone exam, but were “subject to a separate and recognized test, whereby the specifics remain confidential.”\u003c/p>\n\u003cp>“This test conclusively indicated that both athletes did not meet the required necessary eligibility criteria and were found to have competitive advantages over other female competitors,” they wrote.\u003c/p>\n\u003cfigure id=\"attachment_13962041\" class=\"wp-caption aligncenter\" style=\"max-width: 1296px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962041\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-02-at-2.06.01%E2%80%AFPM.png\" alt=\"Two women in boxing kits inside the ring.\" width=\"1296\" height=\"860\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-02-at-2.06.01 PM.png 1296w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-02-at-2.06.01 PM-800x531.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-02-at-2.06.01 PM-1020x677.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-02-at-2.06.01 PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-02-at-2.06.01 PM-768x510.png 768w\" sizes=\"auto, (max-width: 1296px) 100vw, 1296px\">\u003cfigcaption class=\"wp-caption-text\">Algeria’s Imane Khelif, right, walks beside Italy’s Angela Carini after winning their women’s 66kg preliminary boxing match. \u003ccite>(John Locher/AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Why are they eligible for the Olympics?\u003c/h3>\n\u003cp>The IBA is no longer the governing body of Olympic boxing.\u003c/p>\n\u003cp>The IOC — which had already overseen boxing competitions for the Tokyo Olympics — officially \u003ca href=\"https://apnews.com/article/boxing-olympics-ioc-iba-paris-1338983c3c1d0ccef6936f8a3fe34154\">voted to derecognize it\u003c/a> in June 2023, after a years-long dispute over the integrity of its bouts and judging and transparency of management.\u003c/p>\n\u003cp>Olympic officials took issue with how presidents from Uzbekistan and Russia ran the IBA, as well as the fact that its sole sponsor was a Russian state energy firm, according to the Associated Press.\u003c/p>\n\u003cp>The IOC has repeatedly defended the athletes’ right to compete in Paris, casting doubt on the process that disqualified them last year and pointing to their female legal identities.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“They are women in their passports and it’s stated that this is the case, that they are female,” spokesperson \u003ca href=\"https://apnews.com/article/2024-paris-olympics-gender-boxing-d06c6e06017a535c02a2fd15cacd2e51\">Mark Adams told reporters\u003c/a> earlier this week. Notably, there is no right to \u003ca href=\"https://www.equaldex.com/region/algeria\">change one’s legal gender\u003c/a> under Algerian law.\u003c/p>\n\u003cp>In its Thursday statement, the IOC confirmed that all athletes participating in the boxing tournament “comply with the competition’s eligibility and entry regulations, as well as all applicable medical regulations.” It said it used the Tokyo boxing rules as the baseline for this year’s regulations.\u003c/p>\n\u003cp>It called Khelif and Lin, whom it did not identify by name, “the victims of a sudden arbitrary decision by the IBA.”\u003c/p>\n\u003cp>The IOC said it is “saddened by the abuse that the two athletes are currently receiving,” and stressed the need for National Boxing Federations to “reach a consensus around a new International federation” for boxing to be included in the 2028 Summer Olympics in Los Angeles.\u003c/p>\n\u003cp>On Friday, spokesperson \u003ca href=\"https://deadline.com/2024/08/international-olympics-committee-witch-hunt-boxing-gender-row-1236029886/\">Adams reminded reporters\u003c/a> that the IOC \u003ca href=\"https://www.scientificamerican.com/podcast/episode/sex-testing-in-the-olympics-and-other-elite-sports-is-based-on-flawed/#:~:text=And%20from%201968%20to%201999,you%20go%2C%20whenever%20you%20compete.\">stopped blanket sex testing\u003c/a> in 1999, and that “even if there were a sex test that everyone agreed with, I don’t think anyone wants to see a return to some of the scenes.” He acknowledged that the situation has become a minefield.\u003c/p>\n\u003cp>“And unfortunately, as with all minefields, we want a simple explanation,” he added. “Everyone wants a black-and-white explanation of how we can determine this. That explanation does not exist, neither in the scientific community, nor anywhere else.”\u003c/p>\n\u003cp>For more about sex testing in elite women’s sports, \u003ca href=\"https://www.npr.org/2024/07/12/g-s1-8943/npr-embedded-cbc-testing-in-elite-sports-tested-podcast\">check out the new podcast \u003cem>Tested\u003c/em>\u003c/a>, from NPR and the CBC.\u003c/p>\n\u003cfigure id=\"attachment_13962042\" class=\"wp-caption aligncenter\" style=\"max-width: 1296px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962042\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-02-at-2.07.42%E2%80%AFPM.png\" alt=\"Inside a boxing ring, a referee holds aloft one arm of a female boxer dressed in red. A female boxer in blue looks down.\" width=\"1296\" height=\"860\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-02-at-2.07.42 PM.png 1296w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-02-at-2.07.42 PM-800x531.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-02-at-2.07.42 PM-1020x677.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-02-at-2.07.42 PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-02-at-2.07.42 PM-768x510.png 768w\" sizes=\"auto, (max-width: 1296px) 100vw, 1296px\">\u003cfigcaption class=\"wp-caption-text\">Lin Yu-ting, left, reacts after defeating Uzbekistan’s Sitora Turdibekova in their women’s 57 kg preliminary boxing match. \u003ccite>(John Locher/AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>What are critics and supporters saying?\u003c/h3>\n\u003cp>After Khelif’s win, the backlash was swift, especially in conservative circles.\u003c/p>\n\u003cp>Author \u003ca href=\"https://x.com/jk_rowling/status/1819007216214573268\">J.K. Rowling\u003c/a> — who has been criticized for her \u003ca href=\"https://www.npr.org/2022/08/31/1120299781/jk-rowling-new-book-the-ink-black-heart\">transphobic views in recent years\u003c/a> — falsely labeled her a man, in a tweet that has garnered over 400,000 likes. Former President Donald Trump \u003ca href=\"https://truthsocial.com/@realDonaldTrump/posts/112888066089313688\">shared a video\u003c/a> of the match on Truth Social, writing in all caps, “I WILL KEEP MEN OUT OF WOMEN’S SPORTS!”\u003c/p>\n\u003cp>Riley Gaines, a widely-followed former collegiate swimmer who describes herself as a “leader defending women’s single-sex spaces,” tweeted that “men don’t belong in women’s sports.” Tesla CEO Elon Musk \u003ca href=\"https://x.com/elonmusk/status/1818986936310075743\">amplified her tweet\u003c/a>, adding, “Absolutely.”\u003c/p>\n\u003cp>Vlogger-turned-WWE wrestler Logan Paul also \u003ca href=\"https://www.outsports.com/2024/8/2/24099099/logan-paul-imane-khelif-wwe-paris-olympics/\">slammed Khelif as a man\u003c/a>, tweeting that the match was “the purest form of evil unfolding right before your eyes.” He later \u003ca href=\"https://x.com/LoganPaul/status/1819080702002188783\">deleted his post\u003c/a> and wrote, “I might be guilty of spreading misinformation along with the entirety of this app.”\u003c/p>\n\u003cp>Foreign officials have also weighed in.\u003c/p>\n\u003cp>Italy’s \u003ca href=\"https://www.npr.org/2022/09/24/1124685476/giorgia-meloni-italy-election\">far-right Prime Minister\u003c/a> Giorgia Meloni told the Italian news agency ANSA that the fight between Carini and Khelif was unfair.\u003c/p>\n\u003cp>“I think that athletes who have male genetic characteristics should not be admitted to women’s competitions,” she said, \u003ca href=\"https://www.reuters.com/sports/olympics/boxing-algerian-khelif-advances-after-italys-carini-abandons-fight-after-46-2024-08-01/\">according to Reuters\u003c/a>. “And not because you want to discriminate against someone, but to protect the right of female athletes to be able to compete on equal terms.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Italy’s family and sports ministers have also \u003ca href=\"https://www.reuters.com/sports/olympics/boxing-algeria-condemns-targeting-boxer-khelif-over-gender-test-2024-07-31/\">voiced concerns\u003c/a> about the lack of clarity around gender eligibility criteria, suggesting that uniform international criteria would assuage “suspicion” and protect athletes’ safety.\u003c/p>\n\u003cp>Algeria’s Olympic committee is defending Khelif, issuing a statement on Wednesday condemning what it called her “unethical targeting” with “baseless propaganda.”\u003c/p>\n\u003cp>“Such attacks on her personality and dignity are deeply unfair, especially as she prepares for the pinnacle of her career at the Olympics,” it added, \u003ca href=\"https://www.reuters.com/sports/olympics/boxing-algeria-condemns-targeting-boxer-khelif-over-gender-test-2024-07-31/\">per Reuters\u003c/a>.\u003c/p>\n\u003cp>Meanwhile, Taiwanese officials have \u003ca href=\"https://www.reuters.com/sports/olympics/taiwan-leaders-back-boxer-olympic-gender-row-2024-08-02/#:~:text=Lin%20is%20a%20double%20world,her%20mother%20suffer%20domestic%20abuse.\">thrown their support\u003c/a> behind Lin.\u003c/p>\n\u003cp>Pan Men-an, secretary-general for Taiwan’s presidential office, said on social media that it is wrong for the athlete to be “subjected to humiliation, insults and verbal bullying just because of your appearance and a controversial verdict in the past.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Tsai Ing-wen, Taiwan’s first female president, \u003ca href=\"https://x.com/iingwen/status/1819255417773645885\">wrote on X\u003c/a> that Lin is “an athlete who is fearless in the face of challenges, whether they come from inside or outside the ring.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>If you love cats, if you own more than one cat, if one or more of your screensavers has a cat on it, then you no doubt already know: There is an \u003ca href=\"https://www.kqed.org/arts/13891913/how-the-crazy-cat-lady-became-one-of-pop-cultures-most-enduring-sexist-tropes\">enduring stigma attached to being a cat-lover\u003c/a> that just won’t go away.\u003c/p>\n\u003cp>[aside postid='arts_13886425']What better way to flip off all those feline-hating naysayers, then, than by gathering in a room with scores of other likeminded cat people and indulging in the pleasure of 73 straight minutes of cat videos?\u003c/p>\n\u003cp>Whatever your taste in cats, the big-screen supercut that is \u003ca href=\"https://www.catvideofest.com/\">\u003cem>Cat Video Fest 2024\u003c/em> \u003c/a>has something for every cat lover: fat cats, sleek cats, naughty cats, acrobatic cats, lazy cats, dopey cats, weirdo cats, smart cats. And this array of pussies are doing All The Things. They’re in cahoots with children, hiding inside unexpected objects, riding public transportation, getting into altercations with dogs and each other, and (honestly, best of all) experiencing existential crises.\u003c/p>\n\u003cp>The compilation film — put together for the sixth year in a row by Will Braden — is like falling down the best-curated YouTube cat vortex in history. Braden wades through 15,000 cat videos every year and edits the best 200 together (with the video owners’ permission, of course). The end result screens in over 200 locations across the U.S., including the Roxie in San Francisco. Each theater also donates money to a local rescue or charity. The Roxie will be giving proceeds to \u003ca href=\"https://www.givemesheltersf.org/\">Give Me Shelter Cat Rescue\u003c/a>. Talk about the cat’s pajamas…\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Wjv6qZ_1oME&t=50s\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘Cat Video Fest’ is playing at San Francisco’s Roxie Theater from Aug. 3 through Aug. 18, 2024. \u003ca href=\"https://roxie.com/film/catvideofest-2024/\">Check the cinema’s website for details\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>What better way to flip off all those feline-hating naysayers, then, than by gathering in a room with scores of other likeminded cat people and indulging in the pleasure of 73 straight minutes of cat videos?\u003c/p>\n\u003cp>Whatever your taste in cats, the big-screen supercut that is \u003ca href=\"https://www.catvideofest.com/\">\u003cem>Cat Video Fest 2024\u003c/em> \u003c/a>has something for every cat lover: fat cats, sleek cats, naughty cats, acrobatic cats, lazy cats, dopey cats, weirdo cats, smart cats. And this array of pussies are doing All The Things. They’re in cahoots with children, hiding inside unexpected objects, riding public transportation, getting into altercations with dogs and each other, and (honestly, best of all) experiencing existential crises.\u003c/p>\n\u003cp>The compilation film — put together for the sixth year in a row by Will Braden — is like falling down the best-curated YouTube cat vortex in history. Braden wades through 15,000 cat videos every year and edits the best 200 together (with the video owners’ permission, of course). The end result screens in over 200 locations across the U.S., including the Roxie in San Francisco. Each theater also donates money to a local rescue or charity. The Roxie will be giving proceeds to \u003ca href=\"https://www.givemesheltersf.org/\">Give Me Shelter Cat Rescue\u003c/a>. Talk about the cat’s pajamas…\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Wjv6qZ_1oME'\n title='//www.youtube.com/embed/Wjv6qZ_1oME'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003chr>\n\u003cp>\u003cem>‘Cat Video Fest’ is playing at San Francisco’s Roxie Theater from Aug. 3 through Aug. 18, 2024. \u003ca href=\"https://roxie.com/film/catvideofest-2024/\">Check the cinema’s website for details\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/news/series/baycurious",
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"source": "kqed",
"order": 3
},
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"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
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}
},
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"id": "bbc-world-service",
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"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
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"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
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"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
"meta": {
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
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}
},
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"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"officialWebsiteLink": "/podcasts/closealltabs",
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"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
"site": "radio",
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},
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"meta": {
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"source": "kqed",
"order": 9
},
"link": "/forum",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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