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casijaz · 4 years

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Well turns out the other post won’t be the last one.

Decided not to put anything under a cut but this post is tagged ‘long post’ so you can click on it at will. I’ve added shorter sections in (brackets) to put together the point.

It’s always been like this. In fact a couple of months ago I made a silly post about it. Please stop giving each other ass-pats about how not-racist you might be. Or how your one non-white friend says whatever you posted is not racist.

White people: Stop being performative allies.

My fellow peas of the seas, or individuals who aren’t white who interact on this western website: Being a poc is not a trump card to claim we can’t contribute to specific forms of racism.

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I remember back when I was 17 I defended some (then not obvious to me) clearly racist art a white friend of mine made. I spoke to the people who came onto her art and told them they were trolling, they had to be. Spoke in all caps sometimes, had bolded stuff, all weird ways of talking with this demeaning or passive aggressive tone. I remember thinking ‘hey, do they know I’m a person of colour? They must feel silly! Here I am, a poc, who clearly says this is ok!’ But it wasn’t. In this instance the racist art depicted an indigenous person, and this was an instance of racism against indigenous people, and I am not indigenous. (Translation: Defending racism is bad, even if the people who say racism is bad might be mean to you.)

I also have defended white people who lived in a bubble of whiteness. I figured, well, they live in the bubble, or they’re young, and their actions weren’t coming from a place of malice because they didn’t know any better. (Translation: Even if you’re a nice person, your actions can still be bad, and you should acknowledge this.)

When someone points out to you that something is racist, you shouldn’t jump to a knee-jerk defence or being passive aggressive in acceptance of this fact. It’s a tough pill to swallow, but you’ll have to go through it. Remember this is not about coddling white feelings, it’s about the reproduction of white supremacy and racist ideologies in a multitude of settings. (Translation: Even if you don’t know anything about racism, or don’t think you’re racist, you could still be. Racism is not as simple as one action. It is a global structure that influences the world.)

Reproducing racist ideologies is something that people of colour can also be guilty of. This means that they don’t have the power to be racist (as racism is about a hierarchical power structure where whiteness is as the top, aka white supremacy) BUT they have the ability to reproduce (or repeat, mimic, etc) the racist ideologies that are prevalent all over the world. (Translation: Because racism is everywhere, everyone can do it, even if they don’t wish to.)

Yes, not everyone has the luxury of being able to understand English to a level that certain concepts come across. Which is why I’ve taken the liberty of adding tl;dr to the end of each paragraph to get that point across for my fellow ESL speakers. However not speaking English well enough can be used as another excuse for condoning racist actions by others. (Translation: Saying I don’t know better is not the solution to stop being racist. Trying to understand the other person is.)

The point is to stop making excuses. Stop defending the racist. Stop defending racist actions, no matter how small or big they are.

It is also not up to the people who are actually hurt by this to coddle you and teach you. If you wish to learn more please follow blogs that are specifically talking about these issues. Here’s one. Here’s another. Here’s a fandom specific one. Here are also my own posts about xenophobia and more xenophobia. Unfortunately they are heavy with academic writing but I’ll hope to make a simple English version of it one day. (Translation: Here’s helpful blogs for you to learn more from!)

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As for the people of colour who talk about adding nuance, different perspectives, and how racism is complicated. Yeah. It really is. But whichever argument I see brought up about ethnic issues are still ethnic issues. That’s about xenophobia. I often talk about xenophobia and racism not being the same thing for a white audience, but I feel like maybe I’ve left fellow people of colour out of the conversation.

I’ll speak from my own experiences regarding this, because I could pull situations from all over the world but it wouldn’t be genuine nor would I be the expert. So. In my mother’s country we have many different ethnic groups who most of are not white (I’m pretty sure they make up less than 1% of the population), who sometimes get into conflict with one another. When they discriminate against one another, that’s definitely a bad thing. However when these groups fight both discrimination against ethnic groups and racial categories come to light, as the two are almost always heavily interlinked for people of colour. (Translation: Racism and xenophobia overlap and connect when it comes to people of colour.)

This country (Suriname) was colonised by western forces so it brought along a lot of strife. While no Surinamese person would probably refer to themselves in Suriname as a person of colour, when they are put in a Western context they definitely always do. When groups fight against each other they use both rhetoric imposed on them by western colonial forces (racism) and hatred for other ethnic groups (xenophobia). Because both groups are still groups of colour, they are only capable of reproducing racism, not producing it, as they have no power to in the structure of racism. (Translation: People of colour can discriminate one another with something they have power over, and reproducing racism.)

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This entire conversation has also highlighted something that I’ve deliberately avoided in my previous posts, but my fellow black Tumblr friends haven’t, and that is the issue of anti-blackness.

Throughout all of this it seems like many different ethnicities have obviously come together and argue on different sides, but one side seems to be devoid of a certain race that has spoken up against these issues over and over.

When black people tell you that something is racist, your knee-jerk reaction shouldn’t be ‘but it isn’t, because I’m not white, and I approve of this.’ Going back to that story of 17-year-old me, I was not the racial group affected by the drawing. I was not offended, because it wasn’t my racial identity that was being mocked. When black people tell you that something is racist, you can assume that they’re telling you something is anti-black.

Don’t turn this a conversation only about the voices of people of colour when at the heart of the topic it’s been about anti-blackness shown by a multitude of people from different ethnic groups, white or not.

I’ve seen people act like they’re on the good side because surely they’re supporting people of colour who’ve told them that the side I’m arguing on seems to be ridiculous. I’m calling people names! Making assumptions! I’m stuck in a western perspective talking over non-western people.

Then turn around and they’re not boosting black voices. They’re not mentioning anti-blackness anywhere. I see MLK quotes taken out of context. They’re clamouring to reblog or create art depicting black characters or meta about them, while that art is either fetishistic or was proven to be made by a racist (who was proven to be so like 2 whole minutes ago).

(Translation: Don’t throw black people under the bus. Listen to us when we’re talking about anti-blackness. All poc are indeed not the same, so don’t treat it like it is.)

I hope this will be the last time I’ll talk about this. But I have a bad feeling it won’t be.

#anti-blackness #castriestalking #long post #edit: altered the link after anon suggestion

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qqueenofhades · 4 years

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Could you expand a bit on the "death of expertise"? It's something I think about A LOT as an artist, because there are so many problems with people who think it isn't a real job, and the severe undercutting of prices that happens because people think hobbyists and professionals are the same. At the same time, I also really want people to feel free to be able to make art if they want, with no gatekeeping or elitism, and I usually spin myself in circles mentally thinking about it. So.

I have been secretly hoping someone would ask this question, nonny. Bless you. I have a lot (a LOT) of thoughts on this topic, which I will try to keep somewhat concise and presented in a semi-organized fashion, but yes.

I can mostly speak about this in regard to academia, especially the bad, bad, BAD takes in my field (history) that have dominated the news in recent weeks and which constitute most of the recent posts on my blog. (I know, I know, Old Man Yells At Cloud when attempting to educate the internet on actual history, but I gotta do SOMETHING.) But this isn’t a new phenemenon, and is linked to the avalanche of “fake news” that we’ve all heard about and experienced in the last few years, especially in the run-up and then after the election of You Know Who, who has made fake news his personal brand (if not in the way he thinks). It also has to do with the way Americans persistently misunderstand the concept of free speech as “I should be able to say whatever I want and nobody can correct or criticize me,” which ties into the poisonous extreme-libertarian ethos of “I can do what I want with no regard for others and nobody can correct me,” which has seeped its way into the American mainstream and is basically the center of the modern Republican party. (Basically: all for me, all the time, and caring about others is a weak liberal pussy thing to do.)

This, however, is not just an issue of partisan politics, because the left is just as guilty, even if its efforts take a different shape. One of the reason I got so utterly exasperated with strident online leftists, especially around primary season and the hardcore breed of Bernie Bros, is just that they don’t do anything except shout loud and incorrect information on the internet (and then transmogrify that into a twisted ideology of moral purity which makes a sin out of actually voting for a flawed candidate, even if the alternative is Donald Goddamn Trump). I can’t count how many people from both sides of the right/left divide get their political information from like-minded people on social media, and never bother to experience or verify or venture outside their comforting bubbles that will only provide them with “facts” that they already know. Social media has done a lot of good things, sure, but it’s also made it unprecedently easy to just say whatever insane bullshit you want, have it go viral, and then have you treated as an authority on the topic or someone whose voice “has to be included” out of some absurd principle of both-siderism. This is also a tenet of the mainstream corporate media: “both sides” have to be included, to create the illusion of “objectivity,” and to keep the largest number of paying subscribers happy. (Yes, of course this has deep, deep roots in the collapse of late-stage capitalism.) Even if one side is absolutely batshit crazy, the rules of this distorted social contract stipulate that their proposals and their flaws have to be treated as equal with the others, and if you point out that they are batshit crazy, you have to qualify with some criticism of the other side.

This is where you get white people posting “Neo-Nazis and Black Lives Matter are the same!!!1” on facebook. They are a) often racist, let’s be real, and b) have been force-fed a constant narrative where Both Sides Are Equally Bad. Even if one is a historical system of violent oppression that has made a good go at total racial and ethnic genocide and rests on hatred, and the other is the response to not just that but the centuries of systemic and small-scale racism that has been built up every day, the white people of the world insist on treating them as morally equivalent (related to a superior notion that Violence is Always Bad, which.... uh... have you even seen constant and overwhelming state-sponsored violence the West dishes out? But it’s only bad when the other side does it. Especially if those people can be at all labeled “fanatics.”)

I have complained many, many times, and will probably complain many times more, about how hard it is to deconstruct people’s absolutely ingrained ideas of history and the past. History is a very fragile thing; it’s really only equivalent to the length of a human lifespan, and sometimes not even that. It’s what people want to remember and what is convenient for them to remember, which is why we still have some living Holocaust survivors and yet a growing movement of Holocaust denial, among other extremist conspiracy theories (9/11, Sandy Hook, chemtrails, flat-earthing, etc etc). There is likewise no organized effort to teach honest history in Western public schools, not least since the West likes its self-appointed role as guardians of freedom and liberty and democracy in the world and doesn’t really want anyone digging into all that messy slavery and genocide and imperialism and colonialism business. As a result, you have deliberately under- or un-educated citizens, who have had a couple of courses on American/British/etc history in grade school focusing on the greatest-hit reel, and all from an overwhelmingly triumphalist white perspective. You have to like history, from what you get out of it in public school, to want to go on to study it as a career, while knowing that there are few jobs available, universities are cutting or shuttering humanities departments, and you’ll never make much money. There is... not a whole lot of outside incentive there.

I’ve written before about how the humanities are always the first targeted, and the first defunded, and the first to be labeled as “worthless degrees,” because a) they are less valuable to late-stage capitalism and its emphasis on Material Production, and b) they often focus on teaching students the critical thinking skills that critique and challenge that dominant system. There’s a reason that there is a stereotype of artists as social revolutionaries: they have often taken a look around, gone, “Hey, what the hell is this?” and tried to do something about it, because the creative and free-thinking impulse helps to cultivate the tools necessary to question what has become received and dominant wisdom. Of course, that can then be taken too far into the “I’ll create my own reality and reject absolutely everything that doesn’t fit that narrative,” and we end up at something like the current death of expertise.

This year is particularly fertile for these kinds of misinformation efforts: a plague without a vaccine or a known cure, an election year in a turbulently polarized country, race unrest in a deeply racist country spreading to other racist countries around the world and the challenging of a particularly important system (white supremacy), etc etc. People are scared and defensive and reactive, and in that case, they’re especially less motivated to challenge or want to encounter information that scares them. They need their pre-set beliefs to comfort them or provide steadiness in a rocky and uncertain world, and (thanks once again to social media) it’s easy to launch blistering ad hominem attacks on people who disagree with you, who are categorized as a faceless evil mass and who you will never have to meet or negotiate with in real life. This is the environment in which all the world’s distinguished scientists, who have spent decades studying infectious diseases, have to fight for airtime and authority (and often lose) over random conspiracy theorists who make a YouTube video. The public has been trained to see them as “both the same” and then accept which side they like the best, regardless of actual factual or real-world qualifications. They just assume the maniac on YouTube is just as trustworthy as the scientists with PhDs from real universities.

Obviously, academia is racist, elitist, classist, sexist, on and on. Most human institutions are. But training people to see all academics as the enemy is not the answer. You’ve seen the Online Left (tm) also do this constantly, where they attack “the establishment” for never talking about anything, or academics for supposedly erasing and covering up all of non-white history, while apparently never bothering to open a book or familiarize themselves with a single piece of research that actual historians are working on. You may have noticed that historians have been leading the charge against the “don’t erase history!!!1″ defenders of racist monuments, and explaining in stinging detail exactly why this is neither preserving history or being truthful about it. Tumblr likes to confuse the mechanism that has created the history and the people who are studying and analyzing that history, and lump them together as one mass of Evil And Lying To You. Academics are here because we want to critically examine the world and tell you things about it that our nonsense system has required years and years of effort, thousands of dollars in tuition, and other gatekeeping barriers to learn. You can just ask one of us. We’re here, we usually love to talk, and we’re a lot cheaper. I think that’s pretty cool.

As a historian, I have been trained in a certain skill set: finding, reading, analyzing, using, and criticizing primary sources, ditto for secondary sources, academic form and style, technical skills like languages, paleography, presentation, familiarity with the professional mechanisms for reviewing and sharing work (journals, conferences, peer review, etc), and how to assemble this all into an extended piece of work and to use it in conversation with other historians. That means my expertise in history outweighs some rando who rolls up with an unsourced or misleading Twitter thread. If a professor has been handed a carefully crafted essay and then a piece of paper scribbled with crayon, she is not obliged to treat them as essentially the same or having the same critical weight, even if the essay has flaws. One has made an effort to follow the rules of the game, and the other is... well, I did read a few like that when teaching undergraduates. They did not get the same grade.

This also means that my expertise is not universal. I might know something about adjacent subjects that I’ve also studied, like political science or English or whatever, but someone who is a career academic with a degree directly in that field will know more than me. I should listen to them, even if I should retain my independent ability and critical thinking skillset. And I definitely should not be listened to over people whose field of expertise is in a completely different realm. Take the recent rocket launch, for example. I’m guessing that nobody thought some bum who walked in off the street to Kennedy Space Center should be listened to in preference of the actual scientists with degrees and experience at NASA and knowledge of math and orbital mechanics and whatever else you need to get a rocket into orbit. I definitely can’t speak on that and I wouldn’t do it anyway, so it’s frustrating to see it happen with history. Everybody “knows” things about history that inevitably turn out to be wildly wrong, and seem to assume that they can do the same kind of job or state their conclusions with just as much authority. (Nobody seems to listen to the scientists on global warming or coronavirus either, because their information is actively inconvenient for our entrenched way of life and people don’t want to change.) Once again, my point here is not to be a snobbish elitist looking down at The Little People, but to remark that if there’s someone in a field who has, you know, actually studied that subject and is speaking from that place of authority, maybe we can do better than “well, I saw a YouTube video and liked it better, so there.” (Americans hate authority and don’t trust smart people, which is a related problem and goes back far beyond Trump, but there you are.)

As for art: it’s funny how people devalue it constantly until they need it to survive. Ask anyone how they spent their time in lockdown. Did they listen to music? Did they watch movies or TV? Did they read a book? Did they look at photography or pictures? Did they try to learn a skill, like drawing or writing or painting, and realize it was hard? Did they have a preference for the art that was better, more professionally produced, had more awareness of the rules of its craft, and therefore was more enjoyable to consume? If anyone wants to tell anyone that art is worthless, I invite you to challenge them on the spot to go without all of the above items during the (inevitable, at this rate) second coronavirus lockdown. No music. No films. No books. Not even a video or a meme or anything else that has been made for fun, for creativity, or anything outside the basic demands of Compensated Economic Production. It’s then that you’ll discover that, just as with the underpaid essential workers who suffered the most, we know these jobs need to get done. We just still don’t want to pay anyone fairly for doing them, due to our twisted late-capitalist idea of “value.”

Anyway, since this has gotten long enough and I should probably wrap up: as you say, the difference between “professional” and “hobbyist” has been almost completely erased, so that people think the opinion of one is as good as the other, or in your case, that the hobbyist should present their work for free or refuse to be seen as a professional entitled to fair compensation for their skill. That has larger and more insidious effects in a global marketplace of ideas that has been almost entirely reduced to who can say their opinion the loudest to the largest group of people. I don’t know how to solve this problem, but at least I can try to point it out and to avoid being part of it, and to recognize where I need to speak and where I need to shut up. My job, and that of every single white person in America right now, is to shut up and let black people (and Native people, and Latinx people, and Muslim people, and etc...) tell me what it’s really like to live here with that identity. I have obviously done a ton of research on the subject and consider myself reasonably educated, but here’s the thing: my expertise still doesn’t outweigh theirs, no matter what degrees they have or don’t have. I then am required to boost their ideas, views, experiences, and needs, rather than writing them over or erasing them, and to try to explain to people how the roots of these ideas interlock and interact where I can. That is -- hopefully -- putting my history expertise to use in a good way to support what they’re saying, rather than silence it. I try, at any rate, and I am constantly conscious of learning to do better.

I hope that was helpful for you. Thanks for letting me talk about it.

#history #long post #anonymous #ask

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jo2ukes · 3 years

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i was tagged in the get to know me game by @bioticbarbie (thank you love!!) and since i've gotten an influx of new followers lately i think it's a good excuse to do this lolol

i'm gonna put it under a readmore tho cause it's a little long. if u see this and want to do it, consider yourself tagged!

why did you choose your url?

i wanted to have the url josuke or josukes since i'm jjba trash and i love my boy, but none of them were free so i turned it into jo2ukes and it's a url/username that's free on most social media and gaming platforms (except twitter >:[ i had to use a zero instead of an o lol) so it's kind of followed me everywhere and im super partial to it!!

any side blogs? if you have them, name them and why you have them

only two that I use: my art blog @oorsinoo (for art spam) and my aesthetics blog @vonaegirs (i just like having an aesthetics blog with a color scheme which is what that is)

how long have you been on tumblr?

too long. i think since like 2012 lol

do you have a queue tag?

yes, and it's super creative! it's just #queue tag

why did you start your blog in the first place?

uhhh i moved out of my parents' house and i finally had free reign on the internet without having to be secretive about it and wanted to get more involved in fandom spaces i guess? i grew up in a small town and didn't really have a lot of people to talk to about my interests (anime, at the time) so i was kind of drawn to online social spaces

why did you choose your icon/pfp?

bc gonta is best boy. gonta supremacy. he is my son he is my world and i would die for him

why did you choose your header?

my header image just goes with the color scheme i wanted on mobile. my header desc. is just kind of a quick rundown of me as a person i guess?

what’s your post with the most notes?

my e3 post lmfaoooo

how many followers do you have?

currently im at 300+ i'm not sure the exact number, but in the 300s

how many people do you follow?

around 200+ i'm also not sure of the exact number lol im looking for more to follow, i'm just rly picky about tagging systems bc there's a lot of stuff i filter XD

have you made a shitpost?

i think that's all i post pretty much

how often do you use tumblr everyday?

im literally on here all the time. i need stimulation when im doing my 8-5 so...

did you have a fight/argument with a blog once?

yeah one time i got called homophobic and someone made burner accounts to fight with me because i said that people should respect bi identities and not assume that all "m/f couples" are straight (or cis). so that was fun

how do you feel about ‘you need to reblog this’ post?

i hate them lol

do you like tag games?

i do! i'm dumb and forget about them a lot, but they're fun and also i love being vain <3

do you like ask games?

yes!! i don't get a lot of asks which is fine, but when i get an ask game going, it's always fun!

which of your mutuals do you think is tumblr famous?

i have a couple fairly famous mutuals actually, i won't tag them or name names, but SOME of them have posts that have been featured on buzzfeed dot com

do you have a crush on a mutual?

platonic crushes yes- i adore all my mutuals u are all so funky and fresh and i cherish u! <3

#me #long ass post #ig not really with the readmore but. there u have it #queue tag

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a-queer-seminarian · 4 years

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list of some exciting things in my little life! ...i kind of feel bad posting about them and being excited when there’s the pandemic, and the continued antiblackness and police violence, but...my prayer is that these good things can help those going through horrible things. my prayer is that i can continue to learn, and to help my fellow white people learn how to combat the white supremacy in which we are steeped, especially through the last thing on this list.

And i also know that me refusing to acknowledge and savor my good things does little to offset others’ bad things, anyway. I’m still mulling over Mary Oliver’s “If you suddenly and unexpectedly feel joy, don’t hesitate. Give in to it. … don’t be afraid of its plenty. Joy is not made to be a crumb.”

i’m still buzzing from getting to talk to Chris Paige for Blessed Are the Binary Breakers! Chris feels in so many ways like a kindred spirit to me. They’ve done so much over the past couple decades in the world of trans faith, and continue to do so much good! Their books are incredible, truly vital resources for trans, nonbinary, intersex, and OtherWise Christians. And they wrote a blog post about our conversation that made me tear up.

i get to give a little presentation to a church aaaaaall the way in California on friday evening! i’ve been invited to talk about my work and stuff and i’m pumped!! i love getting the chance to do presentations and workshops and the like, and i am thankful for technology that lets me chat with a church all the way on the other side of the country.

my pastor at my home church from back in my undergrad town, who married me and my wife, invited me to be an intern for the church today!!! i was not expecting it!!! she first invited me to choose and lead a virtual discussion on a book from a list on antiblackness and white supremacy, and then was like....actually. we’re doing everything online anyway, so....what if you just were our intern for the summer, from afar. and i was like. yes!!!!

i’ve come full circle in some ways. this very blog began way back when, the summer of 2016, when i had a short internship at the same church before heading off to seminary. and now here i am, finished with seminary and about to intern there again but with so much wonderful knowledge and experience under my belt. i am so much more confident and bold and open and...and happy. i am happy.

#log #spring 2020 #about avery

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kaylxa · 4 years

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Week 11 Blog Post Due 11/4

How has the Black Lives Matter movement positively effected advocacy and awareness throughout social media platforms?

Without a doubt 2020 has been a year like no other. Living through a pandemic, fighting for basic human rights, and experiencing an election that will affect so many people’s lives drastically. With that being said, social media has played a key role in creating awareness of current events and none the less exposing the systematic racism that occurs. Alluding to, the BLM movement they have created a platform of advocacy and awareness shaping unions an educating those of what is happening in their own backyard. Uploading videos and content of police brutality against colored people specifically black males angered people, this led to numerous protests across the country urging officials for change and justice to be served. Although, in many cases justice has not been served the BLM has created a community for people to lean on and support one another. The BLM movement will fight every day until change happens and the innocent victims and their families receive the proper apology and justice of the unmoral acts committed against them.

Have you participated in creating awareness through social media platforms using hashtags, reposting posts, or creating your own forms of advocacy?

I am glad to say that over the past couple months I have been very active on my social media and have used my voice and privileged to advocate for my family, friends, and strangers who do not have a voice. I am a daughter of an immigrant mother who came to the United States from Peru when she was sixteen years old. As a mixed child who has a lighter complexion I am not ignorant to the fact that I have privilege in this country because of the color of my skin. That is why it is my duty and in my heart to fight for my family, friends, and strangers that do not have that privilege. During these past few months I have been reposting posts in regard to current events to inform people of what is happening and ways we can help to stop the horrible discrimination that is taking place. I also donated to many organizations that support BLM, women’s rights, and immigration. Recently, I have been posting a lot about the election and how it is crucial to vote because people’s lives are at stake. My advocacy on social media is strongly correlated to the support of BLM, women’s rights, LGBTQ rights, Immigration, Health Care, and basic human rights that no one should be stripped away from.

What is online activism?

Online activism is defined as a politically motivated movement relying on the Internet. In other words, the Internet is the platform used in order for users to express their views on certain topics such as health care, women’s rights, BLM, and etc. In regard to, “politically motivated” I would like to highlight that unfortunately we live in a country that incorporates politics and religion in many topics influencing the way people argue against and argue for. With online activism many users create a virtual environment that expresses the need for basic human rights and the need to acknowledge white supremacy and find ways to diminish it and one day completely get rid of it.

What are the three categories that offensive online actions fall into?

Alluding to, the question above the three categories that offensive online actions fall into are the following: cyberattack, cybercampaign, and cyberwar. Although, the Internet provides online activism there are risks at play. Those risks can be very detrimental and caused by cyberattacks which are isolated and cyber wars that have a mutual engagement. in many cases we see hackers across all platforms involving technology. These hackers can steal all your personal information to posting random things on your social media accounts. When using the Internet it is important to be aware of these risks and do your best to avoid them. It is also important to be safe because there are bad people out there that use the Internet as a way to be predators. This ties in with previous posts about “internet trolling,” it is important to be aware of the negative sides of the Internet but also not to take away from creating advocacy and awareness.

Fuchs, C. (2014). Social media and communication power. In Social media: A critical introduction (pp. 69-94). London: SAGE Publications Ltd doi: 10.4135/9781446270066.n4

Lee, L. (2017). Black Twitter: A Response to Bias in Mainstream Media. Social Sciences, 6(1), 26. doi:10.3390/socsci6010026

Vegh, S. (2003). Classifying Forms of Online Activism The Case of Cyberprotests against the World Bank.

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gmiles21ahsgov · 4 years

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Blog Post #2: Media Assessment of Racial Injustice

1. Liberal: Mother Jones https://www.motherjones.com/author/jessica-washington/

The main point this article is aiming to convey is to show what Syracuse University did to take steps to be anti-racist. The article references a number of racist incidents involving graffiti and threats, causing students and a number of staff members to feel unsafe. The author wants to convey how prevalent racism is in today’s society, but there are steps that education boards can take to be anti-racist and teach students anti-racism.

Jessica Washington authored this post; she graduated from University of Pennsylvania, studying in Political Science and Government. She is a woman of color, so my first assumption would be to believe she would have a left biased opinion.

This source was produced on November 21, 2019 on Mother Jones. This was almost a year ago, but it shows education boards were beginning to reform and will continue to in the present and future.

Mother Jones published this source. Mother Jones is a left leaning media outlet, so the intended audience would mostly be liberals, or people with liberal views. The information may be a little skewed right, and the author may have chosen certain quotes from interviews and statements in order to appeal more to liberal readers.

The article reads as mostly objective, however, with the knowledge that Mother Jones is more of a left biased news cite, I would want to do more research. I would want to go to a more conservative news cite and find the same story, and see if it is told differently. But, there is nothing in this article that makes it feel subjective. The only thing that is arguable subjective is the fact that Syracuse University is becoming more aware and acknowledging they need to educate professors more on how to teach as well as be anti-racist. This is something I very strongly agree with, and I find it hard to understand how someone could openly believe we should not try to dismantle racism whenever possible.

This author had a couple different quotes from some relatively important people, one of which was Syracuse Chancellor, Kent Syverud. There was also a quote taken from CNN. In addition, there were quotes from students who attended Syracuse University, speaking on behalf of their experiences with racism and racist actions towards them.

2. Objective: CBS News https://www.cbsnews.com/news/black-at-instagram-students-private-school-racism-social-media/

The main point this article is aiming to convey is the exposure of racism and traumatic experiences with racism on college campuses. Black Alumni as well as current students are trying to bring light to everyday racist actions from microaggressions to physical assault. The article addresses the discussion of racism in private schools on social media and using social media platforms as a form of group therapy. It has been made a safe place for students to speak out about their traumas and support one another.

Caitlin O’Kane authored this source, she is a digital content producer at CBS Interactive. She went to Fordham University and received a Bachelor’s degree. She majored in Communications and Media Studies, with a minor in Political Science.

This source was published September 14, 2020 on CBS News, so it is very recent, making it very reliable.

CBS News published the source; CBS News is a relatively objective news outlet, so I am inclined to believe that it is intended for all audiences, written with as little bias as possible. Not entirely without any bias at all, but written with an absolute minimum.

This text is objective; CBS News is a very reliable and an objective media outlet. There are a lot of quotes from students and professors at private schools. The author of the article (O’Kane) addresses different ways students are about to reach out through social media and the changes that are beginning to take place in schools. On another note, however, a filmmaker Michèle Stephenson said it’s a difficult path due to the resources it requires (time, money, access being heard, diving into deeper levels of structural racism). I agree with the side that says we need to make every effort to crack open racism and make it widely seen so that we can begin to heal from it and learn to be anti-racist. We need to be as extensive in teaching about racism as possible, regardless of resources.

The evidence used to support O’Kane’s claim is quotes from students and professors as well as statements from the Head of School from Columbia Grammar & Preparatory School, Dr. Bill Donohue.

3. Conservative: Washington Times https://www.washingtontimes.com/news/2020/jul/4/students-alums-see-racist-culture-at-chicago-priva/

The main point this article is aiming to convey is the miraculous amounts of racism that show up in colleges, specifically private schools, all over the county. After describing a black student’s experience at Latin School of Chicago, the source continues on about changes the schools are making, and efforts that are being put in place to dismantle racism and white supremacy. The most prominent focus of this article is to express how schools can be more educational about exemplifying anti-racism.

Adeshina Emmanuel authored this source. I can’t find any information on him other than he has written a number of articles for Washington Times. Most of the articles he has written pertain to social and racial justice.

This source was published on July 4, 2020, which was only a few months ago. This means it is recent enough to show racism is still very prevalent in schools (especially private colleges). It also shows that if they have begun to work on being anti-racist and teaching anti-racism on campus, that likely there has been at least some progress made towards total inclusion and equality for all.

This source was published by Washington Times which is primarily a right-leaning media outlet and so I would expect the article to have conservative undertones. This may affect the reliability of the source because in my experience people who identify as conservative tend to downplay racist incidents and occurrences.

To the naked eye, this text reads as objective despite it coming from a primarily right-leaning media outlet. It makes the point that schools need to start teaching anti-racism in the classrooms and acknowledging the existence of it. Something that caught my eye was a comment at the bottom of the article by a man claiming that the stories written in the article were false. This is possible, Washington Times is a fairly reliable news source, and my guess is that this man is a conservative who wants to downplay racist acts or believes that racism is not as prevalent as it actually is (as I actually mentioned in the section above).

The primary evidence used to support the authors claim is first-hand stories from an African American student that attended the Latin School of Chicago. In addition, there are quotes from other students who attended private schools all over the country. These students experienced racism firsthand.

a) A main similarity between these three articles were the uses of personal stories and statements from both students as well as professors. Whether it was through experience or through witnessing racist acts, all three articles featured direct quotes regarding prominent racism on campus. I also noticed that for the most part the three articles read mainly as objective, which I found interesting because one of the sources came from a conservative news site and another one came from a more liberal viewing news site. A difference that I noticed was only the article from Washington Times (the conservative outlet) contained a comment with the accusation that the stories of racism were inaccurate. The other two articles didn't have anything along those lines in the comment section.

b) I identified the most with the liberal article which was Mother Jones. I believe it is incredibly important for schools to take steps to become anti-racist and specifically to acknowledge things such as graffiti. Some people may believe that racist graffiti is not as much of an issue assault, verbal insult or microaggressions, or anything along those lines;However I think that it's really important that Syracuse University took such drastic steps to correct the behavior and to make a change happen.

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honeylikewords · 5 years

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why don’t you take your old posts down if you don’t want people liking them?? not being rude just curious.

Well, I actually have considered that. And, in some cases, it does seem like the best option, specifically regarding the old Grady posts, which I am sincerely considering taking down, and because of that, I answered a similar question to this one back when I was explaining why I don’t write for Grady anymore.

The thing is, there’s also a couple of reasons not to do that for other cases. For example:

1. I don’t want to just get rid of my old work; I sometimes actually like the things I used to write, so on a certain level, I like being able to look back and see them and remember the pieces and enjoy them again. I guess I could just copy-paste them into a Google doc and archive them for myself that way, but it’s nice to have this blog in its entirety for me to look through on my own.

2. Some of these old posts seem to be the way people find my blog and then get interested in other things. I sincerely doubt I’d have any followers at all if I hadn’t posted Frank stuff, and if I didn’t still have it up now. While I’m not at all caught up about having a droves of followers, what I do care about is still getting interaction on this blog-- meaning people talk to me, I talk to them, I get anons that give me fun ideas to write and exercise with-- and it seems that one of the ways that people get interested in my blog and, by extension, the newer work I’m making is through these old posts.

3. I don’t necessarily hate or despise Frank Castle or Jim Hopper or even Shane Walsh (though out of the three, he’s the one I have the hardest time finding any remaining love for), nor hate the content I made for them.

When I made that content, they were still good, rich, interesting characters with loveable sides to them (and, for Shane, I hadn’t watched every single one of his episodes, knowing full well that he only got worse with time, so I quit while I was ahead), and I know that, for many people, they’re only invested in that good side that we knew before they got progressively worse through their shows.

I still hold nostalgia for early seasons Frank and actually do still like Hopper on some levels, and, heck, when Shane made that return on TWD, I was incredibly excited and it did re-light a small candle in my heart for the work that Jon did on that show, so I also understand that, for some people, they’re still running on those early-season-mindsets, the mindsets where they loved that character, and they don’t want to let that go. And I also understand that it’s a scale of badness and that these characters are not necessarily “entirely canceled”, and that there’s a lot of nuance in my opinions on these characters, and nuance in how other people look at them or try to reconcile early incarnations of them with their later downfalls (a la Daredevil season 2 Frank versus Literal Friend To A N*zi In Punisher season 2 Frank).

But the problem is that I get frustrated by the fact that A) people seem only interested in content for aggressive white men, B) people continue to seek out content for these aggressive white men after they have done incredibly reprehensible things within the most recent incarnations of their stories (for example, getting a huge influx of Frank fans immediately after season 2, meaning these people SAW him do all the horrible, horrible things he did in season 2 and still found him attractive and fetishized him for those self-same horrible things) and C) my very vanilla, SFW, loving, gentleness-focused posts for these characters get reblogged onto violence fetishizing blogs, serial killer blogs, IRL shooter blogs, etc, which violates not only the site policies, but also violates my work and my own feelings, horrifying me to think that my art is being consumed for its adjacency to sexualized violence.

4. I actually still like Frank. I do. And I wish I could still write for him. But when I step back and look at the whole picture, I realize that if I did continue to, it would just be ignoring the problems created by his story and adjacent fandom, willfully ignoring the worst realities of this media and its biases, and what I want now is for people to be able to critically engage with that and know that it’s wrong to continue glorifying the violence and excusing the bigotry embalmed into the corpse of what used to be a good show and character.

So I leave up my kinder, gentler posts to hopefully combat the masses upon masses of other posts that sensationalize, glorify, and deify his violence and aggression, hoping that maybe it’ll draw people into the conversation we need to collectively be having about the way we look at male characters, the way we look at violence, and the permissions we give to white (or white-passing) characters regarding violence and abuse that we don’t give to non-white characters.

That mentality is applied across the board to all the other characters.

5. Honestly? One day, I could come back around to these characters. Right now I’m at a stage in my life where I find it too difficult to reconcile the badness of the most recent incarnation with the good parts I saw earlier, and I also am trying to avoid seeming like I condone, excuse or turn a blind eye to these bad things by continuing to apologize for a character. But I might not always be in that stage, and may be able to someday articulate a more complex and nuanced understanding of media consumption and creation, and so I want to have these pieces of what I used to love about them still available to me if I ever change my mind.

And what bothers me isn’t necessarily that people enjoy those old works-- they’re left up for that reason, so people (myself included) can enjoy them-- but rather that people engage with them uncritically, or without a conscientiousness about what it is, exactly, that they’re consuming. When I see people reblogging my old Shane posts, ones about family and healing and kindness, and then see on their blog that the other things they’ve reblogged are about him being brutal, violent, aggressively sexual, or demeaning towards women, it makes me aware that, in some way, people consider my content complicit with and equitable to content that allows for, excuses, or even adores and romanticizes the worst, most vile parts of characters like Shane or Frank or whomever.

I know there are good fans out there. Good, critical, thoughtful fans who have been able to think about what it is they’re consuming and like parts of it anyway while simultaneously denouncing the bad parts. That’s what media consumption is, a lot of the time: balancing what we love about it with calling out what we hate about it. So I leave my posts up, hoping to find those thoughtful people who love what I love about it but also understand what there is to hate about it, too. But it worries me over and over that people continue to just glorify and digest abuse and violence as if it’s good, sexy, enticing, complex, or passionate, and that these people find my works and think that my work is aligning itself with these glorifications and digestions of wickedness.

[Obligatory line break!]

At the end of the day, though, I keep the posts up because they used to make me happy and they seem to continue to make other people happy. They get people to engage with this blog and hopefully find other, healthier things to enjoy. They’re not really even necessarily bad posts, sometimes, but when I post about being frustrated that these old posts are the only ones getting attention, what I’m frustrated with is the online cultural fixations on characters who seem to be nothing but aggressive white men. I’m frustrated not by my work, nor by people enjoying it, but by the awareness I have that this enjoyment can be connected to a tacit (or even outright) endorsement of white male violence.

So I don’t take them down in the hopes that people will find my blog and engage with me about stuff I care about, stuff that I like to write nowadays instead of from however many years ago. I don’t take them down in the hopes that people will read them and be happy, or read them and see a more nuanced perspective on what makes a man attractive (which, 100% of the time on this blog, is gentleness, sensitivity, protectiveness, and kindness). And I like having these old pieces of my work to reflect on and learn from, and hopefully do better in future.

It’s a little like preserving a time capsule, in a sense: I may not like or need the things that were originally put into the capsule, but it’s sometimes nice to remember what they meant to me back then, and what they could mean to me some other day.

I know this response got ungodly long, so please don’t think of it as me roasting you; I promise, it’s not. It’s just me trying to articulate and explain how complicated it can be to negotiate the space between loving something-- for example, the work Jon did as an actor who I like and appreciate-- and the things there are to hate about it-- such as the detrimental portrayals of and subscription to hypermasculinity, violence, and white supremacy that can be found in this most recent Frank Castle iteration-- and why I have such a complicated, frustrated relationship with my old posts.

#long post #messages #anonymous #sorry this got so long and complicated! it's just a long and complicated problem in and of itself

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shadoesainte · 5 years

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When Top 40 Radio Was Boss In L.A.

Welcome world! My name is Randolph Antony Pulido. As you know, this is my first blog of any kind. My blog will be based on my research that I have done in college. The colleges I attended were Cypress College, Cerritos College, and California State University, Long Beach. The research topics I have researched on had to do with research on the Protest Music of the 1960's in the Folk Song Genre, Disco Music's Return to Retro-"Spect", and the topic I researched on in Communication Studies dealing with the Theory of Self-Disclosure Within Relationship Development Leading Towards Relational Satisfaction. These three topics I have researched on went into developing articles for magazines where all my works have been sent to several magazine companies over the course of two years.

The article based on the "Protest Music of the 1960's" deals with the controversies surrounding the mixed interpretations and misunderstandings of lyrical content in musical messages striving for acceptance in society. These protest folk songs expressed messages that were either listened to, mocked at, or even misunderstood in reference to its music styles in communicating issues towards the mainstream music listening audience. As a musical researcher and former disc jockey, I propose to further elaborating on this topic in future blog postings in an effort to see the public coming to an understanding and belief what the messages entails and what the social and political struggle stood for.

The second article is a retrospect on the Disco music phenomenon of the 1970's. There were changes that was brought on that affected and influenced the music audience, the television and movie industry, the FM radio airwaves, roller disco and areas of this genre from the underground counter-culture into the popular mainstream. In regards to this musical phenomenon, the time has been 40 years since the disco music phenomenon became part of the mainstream culture. This musical genre gained acceptance by the pop music audiences while creating it into a multi-billion dollar industry and influencing a generation of popular music audiences worldwide.

The third article deals with the theory based on my research article "Self-Disclosure Within Relationship Development Leading Towards Relational Satisfaction". This was the topic that was researched on at California State University, Long Beach in the Communication Studies department.

As a researcher on the topic of "self-disclosure", developing relationships becomes the norm when it comes to couples striving towards relational security and success. The length and longevity of relationships is revealed during initial disclosure exploring dimensions of disclosure adequacy and reciprocity in interpersonal relationships. Appropriateness in initial self disclosure is determined in first impressions towards relational trust in developing relationships towards success.

As you can now see, the first four paragraphs of my new blog is a sneak peak of my credentials and past accomplishments in the three articles that I typed and sent to various magazine companies across the country. This particular blog will now deal with a change in niche and topic that I have grown accustomed to having many conversations about over the years with many people who grew up with Los Angeles Radio back in the 1960's and 1970's. This Blog shall be entitled "WHEN TOP-40 RADIO WAS BOSS in LA". This shall cover the various covering the radio stations, disc jockeys, and the television dance shows we all grew up with back in the day. The "BOSS"days of radio probably had to go back as far as 1958 or probably earlier when a radio station called KFWB called itself "Color Radio", and was arguably the first Top-40 radio station to have a strong format playing the latest hits and upcoming new songs of the day. KFWB was the first # 1 Top-40 Station in Los Angeles and pretty much had the whole city to itself as far as listenership was concerned. As the years matured, so did the number of upcoming and competing AM Top-40 Stations that would compete with KFWB and eventually give KFWB a run for the money. The next great radio station to give KFWB some competition and eventually overtake them as the LA ratings champions is Radio 1110 KRLA. This process of KRLA eventually overtaking KFWB in the ratings took a long six years and a lot of tough competition between the two Top-40 heavyweights. As this blog progresses, I shall mention the disc jockeys who worked at the various competing Los Angeles radio stations that entertained radio audiences all over Southern California. There were more radio stations that I shall mention as the years progress chronologically throughout the 1960's and 1970's.

As we fast forward into 1964, the Beatles just made their initial appearance on the Ed Sullivan Show, the musical British Invasion just literally invaded America by storm, and the Mod look was the trend that everything had to look British. That was the year ratings champion KFWB started to show its age by slowly decreased listenership in its audience as the audience slowly moved over to KRLA in order to get the latest information on the Beatles, because KRLA was where it was at for the Southern California Beatle connection. Because of this trendsetting transaction that took place at Radio 1110 KRLA, there was a new champion in LA radio as far as the ratings go. KFWB later joined on the Beatle bandwagon. but it was too late for them to make up any deficit they had in the ratings as KRLA climbed its way into Number 1. 1964 was the year of the post Kennedy assasination, and America mourned a tragic loss of its President and political leader. America wanted to become happy again. Across the Atlantic over in Liverpool, England, there were four young lads who called themselves the Beatles. Beatlemania was the trend started by the Beatles all over America and worldwide abroad. Beatlemania was the magic touch that catapulted KRLA into first over KFWB. On KRLA, they played all Beatle singles, album cuts, even their foreign recordings of their songs. It was a Beatle bonanza on KRLA, along with the Top-40 hits and hit previews of songs that had promise for the times. Just as KRLA was soaking in Beatlemania and its Number 1 ratings, another development was around the corner across town. By 1965, KRLA was still the ratings champion, but a new Top-40 station debuted as 93/KHJ. KHJ was originally established in 1922, and had various programming. Before early 1965, it was a MOR formatted station. The Drake-Chenault Company came in and decided along with RKO to turn 93/KHJ into a hit music station to compete with KRLA, and to hopefully beat KRLA in the ratings. 1965 was the year to be Beatle Radio versus Boss Radio. To Be Continued.....

In 1965, KRLA was basking in their Number 1 ratings while KHJ was the new kid on the block about to make some noise at 930 on the AM dial. KRLA disc jockeys Rebel Foster and Bob Eubanks were responsible for bringing the Beatles to Los Angeles, first to the Hollywood Bowl, then to Dodger Stadium. There would be countless contests on KRLA in order to win Beatle concert tickets. The most famous contest was called Beatleball, where three Beatle songs would be played in fragments and the listener would come up with the correct title of these songs. If the contestant identified these songs, they won tickets to the upcoming Beatle concert. While all this Hullabaloo and Beatlemania was going on at KRLA, the other side of town showed KHJ tooting its horn in trying to earn bragging rights for the first time on who was "boss" in Los Angeles radio.KHJ was the newest kid on the block trying to make some noise on the KRLA Beatlemania party, while KFWB was slowly dying in the ratings that later in the decade, they had to switch to an all-news format from their original Top-40 format. KHJ countered KRLA with non-stop contest offering more money than other stations could afford, cut the commercials to the minimum required to be played every hour, cut some of the disc jockey chatter, and present more non-stop music played each hour. Between the years 1965 thru 1967 waged the war between KRLA'S "Beatle Radio" versus KHJ's "Boss Radio".

These two stations would go toe to toe in their battle for radio supremacy in all of Los Angeles and Southern California. KHJ had their connections with the Beatles also, as they played all the Beatle singles and their "Boss Hit-Bound" Goldens. While over at KRLA, you had the Beatle connections with the latest fads, trends and news from KRLA disc jockeys Dave Hull and Bob Eubanks. KRLA not only played Beatle singles, but all cuts from all their albums up to date.

Meanwhile, there was another radio station brewing across town in Burbank as the "little station that could" on 1500 on the AM dial. KBLA was the station that never became a ratings champion because of its weak signal and could not be heard in parts of the Southland; however, the station does deserve a special mention here because their station had first rate air personalities who would work for other LA radio stations throughout the years to come. KBLA came into existence around 1964 when KRLA, KHJ, AND KFWB were going for supremacy. KBLA was the station that did things different with their Top-40 format that the other competing stations did not do before them. It was 1966 when KBLA first experimented with long play album cuts played for an AM radio audience, that was otherwise heard on the FM band. It was former "KHJ Boss Jock Dave Diamond" who started expirmented with playing these long album cuts for the AM audience otherwise unheard of on AM radio Yes, KBLA dared to be different as the little frog in the big pond of Southern California Radio. Because of their weak signal and not being able to be heard in parts of the Southland, KBLA finally signed off in June, 1967. The last disc jockey to be heard on KBLA was none other than than Dave Diamond, who adopted the name of his show "The Diamond Mine" on KBLA. He would carry the "Diamond Mine" handle to the other stations he would later work for in the years to come.

By June, 1967, KBLA had just signed off, the Monterey International Pop Festival took place as like the Woodstock of the Westcoast, and KRLA and KHJ continued the battle for radio supremacy. It was a year away before KFWB would leave the Top-40 ranks in LA radio and become an all-news station. 1967 became the year that KHJ took over sole possession of first place in the ratings. It was Boss Radio that finally showed who was "BOSS" in Los Angeles Radio. With their non-stop contests, concert ticket giveaways, more money and music, it was no wonder KHJ was beating KRLA at its own game. KRLA had sunk into a semi-automated radio station where a live disc jockeys worked part of the schedule and the remaining time was taped broadcasts of the disc jockeys show. The difference was that KHJ had live disc jockeys 24/7 while KRLA divided half disc jockeys and the other half to automation. There is nothing like the spontaneity of live radio that was happening over at KHJ. This is one bloggers opinion. .

When KHJ became a hit music station in 1965, the fast-paced format had an accelerated feel than previous top 40 radio stations across the country, with their less talk and short playlist. the station sounded like it was playing hit after hit continuously. The programming at KHJ in the sixties had the most impact than any other station in America at that time. KHJ showed who was "BOSS" by maintaining strong ratings versus its other competitors in Los Angeles radio. Strong ratings at KHJ was consistant until the late 1970's when music fans began to migrate to the FM band where the improved technology and the sound quality of stereo was superior to that of the mono sound heard on AM radio. By 1980, in spite of their highest rating in years, KHJ regretably switched to a Country format, since that was the musical genre for the times. Another format change came to KHJ when they went back to their Top-40 format combined with traffic reports meshed into their broadcasts with their format called " Car Radio". By February, 1986, the 930 AM call letters of KHJ became KRTH, using the same call letters as the sister station at 101.1 M. 930 AM KRTH became "Smokin' Oldies."

By 1978, John Sebastian, a former KHJ disc jockey, became the program director. It was the time when Sebastian took on the monumental challenge of programming an aging Top-40 AM station despite the fact that the FM band was sweeping the nation and in Los Angeles. The vast percentage of the listening audience was already on the FM dial simply because the sound quality was better in stereo as in contrast to AM which the sound was in mono. During John Sebastian's tenure at KHJ, he was proud to have scrapped up the last great ratings as a Top-40 station in the waning days in KHJ history. KHJ in 1978 was able to beat a laundry list of such heavyweight stations like KTNQ (Ten Q), KFI, KIIS-FM, KIQQ, and even tying the hottest AOR stations in the country, KLOS and KMET. Quite an accomplishment in the last few years as a station that was once a proud Top-40 powerhouse in the country. The last Program Director of KHJ as a Top-40 station was Chuck Martin from 1979-1980. Martin was responsible for bringing in Rick Dees from KHJ's sister station in Memphis, WHBQ. Rick Dees and his Cast of Idiots were known for the parody disco hit "Disco Duck". KHJ went to the Country format ny November, 1980 despite high ratings in their last Top-40 format ratings book.

There were the radio personalities and disc jockeys who shaped 93/KHJ throughout its Top-40 heyday from 1965-1980 that needs to be mentioned. Ones that became famous via radio, television and other facets of media. Those who grew up with the popular television dance shows of the 60's were the DJ's that were from KHJ, KRLA, KFWB, and some from even KBLA. Many grew up on POP Dance Party, Hollywood a-GO-GO, 9th Street West, Boss City, The Lloyd Thaxton Show, Groovy, The Real Don Steele Show just to name a few. I could have sworn there was a dance show hosted by Wink Martindale called POP Dance Party, and there was Shebang hosted by Casey Kasem. A number of the so-called "BOSS JOCKS" had distinguished television careers from Sam Riddle to the Real Don Steele. Even Robert W. M organ had TV exposure hosting Groovy on KHJ-TV Channel 9. Remember back in 1965 when Sam Riddle hosted 9th Street West then later Boss City? These were the local dance shows shown in "BOSS ANGELES" back in the day.

Nationally on network television, KRLA alum Jimmy O'Neill hosted the television musical dance show SHINDIG on ABC-TV. Jimmy O'Neill was the first disc jockey to open up the mic at 1110 KRLA. Shindig was a musical dance party that described the typical 60's dance show accompanied with musical artists and celebrities and a whole lot of dancing. Radio DJ's hosting their own local TV dance show enhanced the popularity of the radio personalities, especially when it came to not only spinning the Top-40 hits of the day, but in interviewing musical artists and entertainment celebrities in the world of folm, radio, and television. Another KRLA alum Bob Eubanks used radio as a springboard to parlay his career into television as the host of the long running game show "The Newlywed Game" along with dozens of other game shows he would host throughout his illustrious television career. Some of us may remember that radio in Los Angeles also provided Bob Eubanks the medium to promote and bring the Beatles to the Southland for their concerts at the Hollywood Bowl and Dodger Stadium. Bob Eubanks was "THE MAN" who brought the Beatles to Los Angeles. All LA Beatlemaniacs can be grateful and owe a debt of gratitude to Bob Eubanks.

Los Angeles radio provided local Angelenos and national audiences with voiceovers that were heard over the years through radio and television commercials, movies and radio and TV station ID's. The most recognizable voice of note has to be another KRLA alum, and that is Casey Kasem. From counting down the nation's musical Top-40 to announcing commercials, Casey Kasem had to be arguably the hardest working radio pitchman in the business. His American Top-40 Radio Shows can be rebroadcasted throughout the country on many radio stations that carry his former syndicatedradio show. Early in his career, Casey Kasem had television exposure hosting the TV dance show SHEBANG on KTLA-TV Channel 5. That show marked the early television exposure that introduced Casey Kasem to Los Angeles audiences.

The Golden Age of Radio in Los Angeles back in the 60's showed the medium for radio personalities as a springboard toward potential television exposure resulting from increased popularity within each radio personality. The popularity of TV dance shows were in abundance back in the day in contrast to today which is pretty much extinct in LA, i hate to say. The local TV dance shows springing from radio shows are no longer the norm in society today unfortunately. That goes for just about most major cities across the country. Hopefully, a few cities may tape a few local TV dance shows spawning from radio stations from that respective city depending on the local television station. It seemed TV dance shows were the ones to watch in the afternoon or weekends when all the teenagers were all watching their favorite radio personalities on television doing their thing hosting the show while being part of the young audience.

As a young child, yours truly, fantasized and pretended to host a mock dance show during parties in the backyard of our home. I would literally style my hair like the dance show host of the day, be it either a Sam Riddle,or Dick Clark. I would take a tablespoon and pretended it was a microphone. I would comb my hair every ten minutes using my father's Brylcream. They once said a "little dab will do you", to me as a kid, it was a "Big Glop". I guess it was my dream as a kid to be the next Lloyd Thaxton, Don Cornelius, or even Dick Clark.

Maybe that is why, yours truly, studied, and majored in Communication Studies. The intent was to get into radio Broadcasting, which I accomplished at the community college level at both Cypress and Cerritos College respectively. Today, I'm a writer of the articles I've mentioned earlier in this blog and the continuing saga of "When Top-40 Radio Was Boss in LA". The decades of the 1960's and 1970's featured the competitive era in the wars between the Top-40 radio station giants. There were dozens of stations to choose from in the Los Angeles market alone. For any aspiring radio broadcaster, most gained their experience by announcing in the smaller markets across the country. Many would strive for the goal to make it to the "Big Time", that is LA radio. The majority of aspiring disc jockeys across the country wanted to make it to BOSS RADIO- 93/KHJ, the top radio station in the country. KHJ was the ultimate radio goal for any disc jockey to have on his or her resume. It was those distinct KHJ microphones that made every disc jockey sound powerful and unique on the air, giving that "Boss Jock" sound.

My personal favorite "Boss Jock" type sounding voice has to be Charlie Van Dyke, since his voice is heard all over the country in various TV and radio station ID's and is one of the premier voiceovers with his deep and resonate voice. That is the voice I aspire to have, although mine can come close. Charlie Van Dyke was a former 93/KHJ disc jockey and station program director who guided the station to its highest ratings in the history of KHJ during the 1975-76 years. Those kind of ratings were the ones that made KHJ the Top-40 powerhouse across the country which seemed to be an unbeatable combination at the time. That was the time when KHJ had its final number one ratings book in 1976 with a jock lineup that included Charlie Van Dyke, Mark Elliot, Bobby Ocean, Machine Gun Kelly, Dave Sebastian Williams, Dr. John Leader and Beau Weaver (Weekends). Afterwards, the PD chair over at KHJ seemed to have broken continuity after the Charlie Van Dyke PD regime. After 1976, every year, KHJ had a new program director until 1980 under KHJ's Top-40 format. Besides the change in format to Country, KHJ's audience migrated to the FM band where the physical sound of music was better in FM stereo.

It should be noted that Chuck Martin, the last PD of Top-40 KHJ opened up a new format at the new K-WEST 106 (KWST), in 1981, which sounded like a continuation of KHJ in FM stereo. Complete with late 70's sounding KHJ type jingles and the "Boss Jock" announcing approach, it was no wonder that K-WEST 106 literally brought KHJ from the dead for a brief year and a half. Ratings wise, K-WEST 106 could not muster enough ratings to overtake other competing stations in LA. In spite of Chuck Martin's brave attempt at raising KHJ "from the dead" sort of speak, K-WEST 106 lasted until the summer of 1982. Simply put, Rick Dees over at KIIS-FM was running away with the Top-40 competition during the 1981-82 season. By that time, K-WEST PD Chuck Martin was no longer able to land Rick Dees like he did during the KHJ days. Many say that the power of a disc jockey's popularity plays a big role in a station's top rating. It may have been a posability that Rick Dees would have made a difference in K-WEST's fortunes, but unfortunately that was not the case.

There were other competing AM Top-40 stations that competed strongly against the competition, being KHJ and KRLA. One station that deserves a special mention is KTNQ (The New Ten-Q) at 1020 on the AM dial. During the late 70's, KTNQ became a legendary Top-40 station because of the top air talent that worked during the era when most listeners migrated to the FM band for better sound quality. In 1977, KTNQ made movie history when it was the featured radio station in the Ron Howard film Grand Theft Auto. During the era of the New Ten-Q, the station not only played the current hits, but were not afraid to mix it up with up-and-coming artists that KHJ and KRLA simply avoided playing. The musical playlist included some punk rock and emerging radio talent, along with radio veteran The Real Don Steele, which made the station memorable. Their contests of money giveaways and fast paced jingles made the station addicting for the first time listener of the station. Unfortunately, by July 31, 1979, KTNQ was purchased by Julio, Elias and Liberman and switched the format to Spanish. The call letters would remain the same through decades of ownership changes.

Another AM Top-40 station that emerged south of the border from Tijuana, Mexico was XETRA, better known as the " Mighty 690". The station was very powerful that it could be heard across Western America way past 50,000 watts. The "Mighty 690" was another KHJ offspring, since it included KHJ's similar radio jingles, only identifying the station as "The Mighty 690". The station was sure reminiscent of 93/KHJ, since their jingles were similar and their "Boss Jock" sound had the same quality the way the announcing was approached on AM radio. Like many competitors of Top-40 radio, "The Mighty 690" had a short life span of its own for over four years. By 1984, The Mighty 690 became "69 XTRA GOLD". Their format focused on oldies from the 60's and 70's.

Top-40 radio not only came out of the Los Angeles area, but as we look to Orange County, radio flourished in 1190 AM KEZY in Anaheim, California. KEZY was known as "The Mighty 1190," making its on-air launch on May 18, 1959. KEZY was one of the choices of AM Top-40 stations to choose from during the radio wars of the 60's and 70's. During the late 60's, the station played a mix of pop and middle of the road music, then shifted the format to Top-40 to take on the LA radio giants. KEZY was run under program director Arnie McClatchey from 1967 until 1974 when the Top-40 format continued under the new PD Mark Denis in 1975. By 1979, there was a change in format to Heavy Metal to probably compete with the FM album rock stations playing their dose of heavy metal at that time. That lasted until 1982 when KEZY switched format again, this time to a pop/oldies format. Obviously music audiences shifted to the FM band for better sound quality and AM radio became a staple for talk radio. In March, 1983, KEZY switched to an all-news station and became KNWZ. Due to the station's low ratings with their all-news format, by February, 1984 switched back to the KEZY call letters with a Top-40 music format. That lasted until April 2, 1985 when KEZY became KPZE (K-Praise) playing religious music. By February, 1989, the call letters became KORG, better known as K-0range, which broadcasted a different variety of formats over the years. Today, the 1190 frequency airs a Korean gospel format under the KGBN call letters.

Another AM radio station that competed well with other Top-40 stations in LA came out of the 1580 dial. That station is KDAY, Santa Monica. 1580 KDAY had a long history of delivering Top-40 pop hits and R&B Soul Music as well. The station started in 1968 as a Soul?R&B station as a competitor to another soul station, AM 1230 KGFJ. KDAY briefly took a shot at the Top-40 format for a few years to compete with the LA Top-40 heavyweights. When KDAY shifted its format to AOR (album oriented rock) their biggest asset was bringing in Wolfman Jack to American radio airwaves from the border radio he was broadcasting in Mexico. The KDAY gig for Wolfman Jack led to a bigger and brighter future for this trendsetter once known as Bob Smith. His KDAY on-air live radio show 6 nights a week led to his hosting the Midnight Special on NBC and being casted in the movie American Graffiti. By 1974, KDAY returned back to its original Soul/R&B roots while continuing its brave competitive battle with the other top LA stations. By the 1980's, KDAY shifted its format to Urban Contemporary, emphasizing its airplay to early rap and hip-hop artists. The KDAY call letters disappeared by the 1990's when the 1580 frequency became KBLA and shifted to business talk radio. By September, 2004, the KDAY call letters resurfaced at 93.5 FM, licensed to Redondo Beach, California.

Beginning in 1936, one of the oldest stations in Los Angeles is the first radio station to broadcast a 24-hour schedule on a regular basis. By 1954, KGFJ was that station to bill itself as "the original 24-hour station." At 1230 on the AM dial, KGFJ played a mix of news and orchestral music in the daytime, and R&B music at night. The mid-1960's was when KGFJ adopted their trademark Soul/R&B format full time around the clock under the ownership of East West Broadcasting Inc. As an adolescent listening to Soul/R&B music on KGFJ, I remember how KGFJ would come in clear during the daytime hours. The nighttime hours were a different story as far as listenership goes. In parts of the Southland at night, KGFJ was hard to get that clear signal due to television interference in the airwaves. As always, their anagram stood for "Keeping Good Folks Joyful." That is exactly what KGFJ did throughout the decades. One of the more memorable personalities at KGFJ was Hunter Hancock, where listeners loved to go "Hunting with Hunter." Hunter Hancock was one of the first white disc jockeys to broadcast rhythm and blues music to black and white audiences in America. KGFJ always had a history of intergrating its radio station, especially in the wake of the Civil Rights movement of the 1960's. Always a positive in living up to its moniker of "Keeping Good Folks Joyful," KGFJ has lived up to that tradition in broadcasting and appealing to audiences of all races. Whether the disc jockeys were black or white, all of them were knowlegable about the Soul/Rhythm&Blues music and its artists played on KGFJ.

Radio was made famous south of the border beyond Southern California across all of Western America from Rosarito, Baja California. XPRS was the station that was made famous by the legendary Wolfman Jack. XEPRS, the official call leters to the station, originally began as XERB in the late 1930's. By 1965, Robert Smith aka Wolfman Jack started recording his own shows and selling commercial time on XERB while running the station from his home in Minneapolis. XERB was earning most of its income from their money machine, Wolfman Jack, who profited the station by selling 15-30 programming blocks of commercial airtime on the station to many religious organizations. By the early 70's, the laws caught up with XERB and were passed in Mexico preventing religious groups from purchasing radio air time. As the situation came to a brew, the revenue and profits finally dried up and the Mexican owners eventually took ownership of the station changing the call letters to XEPRS in 1971. It was by that time the station billed itself as "The Soul Express." Wolfman Jack would remain with "1090 Soul Express" until 1972. Ironically after Wolfman left XEPRS, Mexico would reverse its laws banning religious entities from radio broadcasting and selling blocks of commercial airtime. Wolfman Jack would be on his way to American radio airwaves and his fortunes would take a big turnaround in years to come.

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