#Beaver Stadium

[shanaraharlyah]

Welcome to Happy Valley!

[sheltiechicago]

Pennsylvania, US

Fireworks explode before the White Out game between the Penn State Nittany Lions and the Iowa Hawkeyes at Beaver Stadium

Photograph: Scott Taetsch/Getty Images

[sonicboomseason3]

sonic boom season 3 ep where eggman sells tails and knuckles to justin beaver's newly formed boy band and in order to get them back sonic has to infiltrate the upcoming battle of the bands competition as dudeitude. however given that 2 out of the 3 dudeitude members have been sold to the enemy he needs to find some replacements quick, and due to a contrived coincidence it turns out shadow learned how to play the bass after a certain incident with rouge and due to an even more contrived coincidence silver's just chilling in the present timeline and has been casually drumming since he was little

the three of them attempt to infiltrate the stadium where the competition is being held but the guy in the front almost doesn't let them in because uhhh pretty sure those 2 guys behind sonic aren't really members of dudeitude?? thankfully sonic manages to convince him that silver is actually knuckles after skipping out on several gym seshes and dyeing his body for a new look and that shadow is actually tails hitting puberty and going through an emo phase in his life. anyway they succeed in saving tails and knuckles but in a way that ultimately gets all 5 of them arrested, beginning with shadow introducing his bass to the boy band members' faces and ending with silver telekinetically throwing the entire dudemobile into the audience of 5,000 people (he was aiming for eggman)

[transbookoftheday]

The Prospects by KT Hoffman

The pressure cooker of minor league baseball leads to major chemistry in this exhilarating, sexy, and triumphant rivals to lovers debut romance.

Hope is familiar territory for Gene Ionescu. He has always loved baseball, a sport made for underdogs and optimists like him. He also loves his team, the minor league Beaverton Beavers, and, for the most part, he loves the career he’s built. As the first openly trans player in professional baseball, Gene has nearly everything he’s ever let himself dream of—that is, until Luis Estrada, Gene’s former teammate and current rival, gets traded to the Beavers, destroying the careful equilibrium of Gene’s life.

Gene and Luis can’t manage a civil conversation off the field or a competent play on it, but in the close confines of dugout benches and roadie buses, they begrudgingly rediscover a comfortable rhythm. As the two grow closer, the tension between them turns electric, and their chemistry spills past the confines of the stadium. For every tight double play they execute, there’s also a glance at summer-tan shoulders or a secret shared, each one a breathless moment of possibility that ignites in Gene the visceral, terrifying kind of desire he’s never allowed himself. Soon, Gene has to reconcile the quiet, minor-league-sized life he used to find fulfilling with the major-league dreams Luis makes feel possible.

A joyful, heartfelt debut rom-com revealing what’s possible when we allow ourselves to want something enough to swing for the fences.

[milo-the-angel-baby]

*Bob quietly opens the door to Milo's room and quietly walks over to Milo, watching him sleep...*

Aww...

*the room is much different from a usual room in the circus. stepping into the room, the first thing bob notices is that its HUGE. big enough that bob could comfortably fly several large laps around it and still not touch the walls or ceiling. large enough that it gives him the feeling that hes not in a bedroom, but some kind of ballroom or maybe even a stadium. the walls are all a soft, deep, dusty blue, and along the ceiling and the tops of the walls, there are spots painted to look like clouds. everything has either a ice blue, white, or soft gold tint to it. in the far corner of the room is where milo sleeps, curled up in a ball in an absolutely massive beanbag that makes him seem even smaller than he already is. theres hundreds, or maybe thousands, of stuffed animals around the room, all of them different kinds of animals. the stuffed animals closest to milo, either on the beanbag or in his arms, all seem to represent people bob knows. a small beaver, a little blue and white bird, a purple and blue butterfly. even a blue and pink axolotl lays on the very edge of the beanbag. milos halo spins lazily, something it seems to only do when hes sleeping, since it never does that when hes awake. hes breathing evenly, even smiling, as he sleeps.*

[ash-and-books]

Rating: 5/5

Book Blurb:

“A queer sports romance and a triumphant debut . . . a heartstring-pulling tale of two minor-league baseball rivals who realize they play much better together.”—Elle, The Best (and Most Anticipated) Romance Books of 2024, So Far

“I completely adored it.” —Casey McQuiston, author of Red, White & Royal Blue Minor leagues. Major chemistry.

Hope is familiar territory for Gene Ionescu. He has always loved baseball, a sport made for underdogs and optimists like him. He also loves his team, the minor league Beaverton Beavers, and, for the most part, he loves the career he’s built. As the first openly trans player in professional baseball, Gene has nearly everything he’s ever let himself dream of—that is, until Luis Estrada, Gene’s former teammate and current rival, gets traded to the Beavers, destroying the careful equilibrium of Gene’s life.

Gene and Luis can’t manage a civil conversation off the field or a competent play on it, but in the close confines of dugout benches and roadie buses, they begrudgingly rediscover a comfortable rhythm. As the two grow closer, the tension between them turns electric, and their chemistry spills past the confines of the stadium. For every tight double play they execute, there’s also a glance at summer-tan shoulders or a secret shared, each one a breathless moment of possibility that ignites in Gene the visceral, terrifying kind of desire he’s never allowed himself. Soon, Gene has to reconcile the quiet, minor-league-sized life he used to find fulfilling with the major-league dreams Luis inspires.

This triumphant debut romance reveals what’s possible when we allow ourselves to want something enough to swing for the fences.

Review:

When two rival sports players end up on the same team old feelings emerge as well as new ones... and maybe they have a shot of romance together. Gene Ionescu loves baseball and hopes his career shoots up. As the first openly rans player in professional baseball, Gene almost has everything he could ever dream of... until Luis Estrada gets traded into his team and completely upending Gene's plans. Gene and Luis can't even manage to habe a civil conversation on or off the fuild but have to find a way to work together if they want to succeed. When they are forced to become roommates, they have to face their past together as well as get to know each other in order to play together. Gene has never allowed himself to want something or someone yet the more time he spends with Luis the more he finds that he wants Luis like he's never wanted anything else. Can these two play together on the same team while possibly dating?? Or will it be a hit and a miss for them? This was such a sweet and cute read. I loved how the relationship between Gene and Luis grew and how supportive and kind they were to each other. This overall book was just a cozy cute read and I adored it. I had so much fun reading it and the sweetness was perfect. I would absolutely recommend this book!

*Thanks Netgalley and Random House Publishing Group - Random House, Dial Press Trade Paperback for sending me an arc in exchange for an honest review*

[tenebrius-excellium]

You guys I spent too much time randomly browsing Instagram yesterday and ended up having the coolest dream EVER.

It was Percy Jackson (2023) x Live action Httyd (2025). And it was freaking GOOD.

Listen listen listen - think a large, fantastical Roman/Greek city bustling with life. At its edge, picture Httyd2's dragon racing setup mixed with a huge, beautiful colosseum-like war arena. The design is a harmless, fictional movie aesthetic but it's BIG FUN. There are lots of colorful flags and banners, lots of ropes and nets hanging everywhere, and the atmosphere is roaring and excited like a stadium at the world cup. Behind the walls of the arena, what's meant to be the Mediterranean but absolutely looks like a dreamy tropical sea, stretches endlessly into the horizon.

Walker Scobell is young Hiccup, Leah Jeffries is young Astrid. The teens have always been good friends. Now they're late to the dragon training festival and are hurrying there to make it. They know they have to fight each other first and then the captive dragons of the city to determine who will get to slay which dragon at the end. The final face-off is supposed to be a sort of meet-your-match arrangement, an almost sacred encounter between each human and the dragon that challenges them best. A fierce bond of mutual respect and hatred is supposed to develop between the human and their special dragon, locking them in an equal and deeply personal match of life and death in the final round. Only one can ever make it out alive. It's meant to earn them their place in society. If the teen wins, they are showered with the honor and glory and the rights of a warrior, if the dragon wins, its ability to survive is just as respected and it gets released back into the wild.

The pre-show has Alexandra Daddario looking like older Httyd2 Astrid, while her name remains Annabeth, absolutely toying with multiple dragons. She is the city's famous dragon warrior champion fighting simultaneously against one or two Hideous Zipplebacks, a Monstrous Nightmare, and several water dragons. She bests them all. Maybe she's younger Astrid's older sister. Young Astrid aspires to be like her. At one time, Httyd2 Astrid-Annabeth puts out a Nightmare's fire with her dripping wet, gorgeous long, blonde hair. Doesn't even hesitate. The crowd goes bananas. (This looked so cool in my dream - like she was mopping up fire with her hair. Since it was soaking wet from the water, that somehow didn't do any damage lol. Dream logic, bwahaha)

Now, all the dragons in their cages look like massive beasts, a mix of bears, beavers, walruses and really bad dragon CGI from the 90s. Except the Monstrous Nightmare which looks normal, which is no surprise if you know me of course. Toothless is held captive there too. He's an old dragon whose shape looks more like a manta ray in this non-animated version of events.

He and Hiccup have already singled out each other to face in final combat. Yet already there's also kindness connecting them. The old dragon and the young child have too much mercy for each other's fate to give hatred and ferocity and the bit much effort. So when it's Hiccup's turn to enter the ring...and Toothless is already waiting for him there... Hiccup chooses to enter the arena from a jumping plank above. Why? Because he can also "accidentally", conveniently open the dragon release hatch from there. He does it, Toothless shoots out from under him - and Hiccup JUMPS, perfectly landing on his back, the audience gasps, and - Hiccup and Toothless fly out of the arena together and soar over the endless, turquoise, tropical summer sea. Until they cannot be seen from afar anymore.

Toothless is so old he can't fly for long, and he sets Hiccup down in some shallows of these warm, beautiful, tropical ocean waters. He then introduces Hiccup to young Toothless, who is actually his grandson, and asks him to protect him. Hiccup promises to do so. Old Toothless goes away to die peacefully, and young Toothless and Hiccup become the best buds we all know and love.

Cue Walker-Scobell-Hiccup and young Toothless bringing peace and friendship to Greek-Roman-Colosseum Berk with young Leah-Jeffries-Astrid's help. Behind Httyd2-Astrid-Annabeth's back, naturally, because she is the one who doesn't approve it out of tradition and because it might threaten her status as the beloved hero of the city. Love it. Lol. Makes perfect sense, doesn't it??????

Idk I really loved this story concept!!!

If you made it all the way down here, thanks for reading!

[redcarpetview]

Jason Crabb Set to Join Voices With Jay Demarcus and Jason Scheff to Perform National Anthem Sunday, August 6th

Jay Demarcus, Jason Crabb and Jason Scheff. Media image.

Jason Crabb is set to join voices with Jay DeMarcus and Jason Scheff to sing the National Anthem for “The Big Machine Music City Grand Prix NTT INDYCAR Series” race on Sunday, August 6th with a start time of 11:30am CST.  

Jason, Jay and Jason will perform the National Anthem LIVE at 11:11am CST prior to the race. The National Anthem and race will be broadcast on NBC.

One of Gospel and Christian music's most iconic voices, Kentucky-born Jason Crabb has been honored with two GRAMMY® Awards and 22 GMA Dove Awards, the latter including nods for Artist, Male Vocalist, and Song of the Year. He is the youngest member inducted into the Kentucky Music Hall of Fame, and his hometown of Beaver Dam, Kentucky has paid tribute with a street in his name.

Since his first solo release in 2009, he has performed on many of the world's most prestigious stages such as Carnegie Hall, the Grand Ole Opry, the Brooklyn Tabernacle, and Billy Graham's final crusade. Crabb's electrifying stage presence, powerhouse vocals and magnetic personality have endeared him to millions across the world through extensive personal appearances, media coverage, and social media including over 20 million views on YouTube.

Following a wildly successful music career as the bassist, pianist, harmony vocalist, songwriter and producer of superstar vocal group Rascal Flatts, Jay DeMarcus brought his unparalleled experience to the industry, launching his rising record label, Red Street Records in 2018. After 17 #1 hits, over 33m albums sold and more than 40 trophies earned from the ACA, ACM, AMA, CMA, People's Choice and more, the GRAMMY-winning producer has opened the door for Christian and County acts alike to thrive under his expertise.

DeMarcus has worked with such acts as the legendary band Chicago, Ronnie Dunn, Kix Brooks, Shenandoah and Reba. He was also honored in 2020 for his work producing Jason Crabb's album Unexpected which was named "Best Roots Gospel Album” by The Recording Academy.

Singer, songwriter and bassist Jason Scheff is most known as the bassist and lead vocalist for the band Chicago, one of the longest-running and best-selling music groups of all time, for over 30 years. After leaving Chicago in 2016, Scheff participated as a judge for American Super Group and has now joined Jay DeMarcus in the group Generation Radio.

Sunday's activities will also include the popular Stadium SUPER Trucks, GT America, the GR Cup on track, and a post-race concert with fan favorite Tim Dugger immediately after the INDYCAR race.

The Big Machine Music City Grand Prix, an action-packed three-day motorsports festival weekend, features the NTT INDYCAR SERIES, along with INDY NXT, GT America, GR Cup, the Big Machine Spiked Cooler Trans Am TA2 Series, and Stadium SUPER Trucks along with some of the biggest names in entertainment. 

Tickets are still available for Sunday at www.musiccitygp.com/tickets, by calling (615) 270-8705 or via email at tickets@musiccitygp.com.

Tickets for the Big Machine Music City Grand Prix are digital, and all fans must adhere to the Nissan Stadium rules and regulations, including the clear bag policy.  For a complete list of FAQs on ticketing and race weekend policies, please visit www.musiccitygp.com.

# # #

[angstics]

transcript of sufjan steven's writing at the back of the michigan vinyl (transcribed by u/cynicalis):

Welcome to Michigan! The waterways and waterfalls! Soo locks, state parks and Walloon Lake. The apple farms and cherry blossoms and two striking peninsulas bordering four Great Lakes! The sandy shore-lines, the spring-fed rivers, the Mackinac Bridge! Blissfest! Henry Ford! Tulip Time! Motown music! Bring a set of clubs, try your swing at Harbour Point. Wear the tan pants with pockets on the hips. Carry the things in them that matter most: the paper matchbook from Petoskey, your sister's postcards from Marquette, a turkey feather, a rabbit's foot. Sip lemonade and listen for the biplanes overhead making figure eights in the sky. Carry a canoe around St. Mary's Rapid, like the Ojibway. Overhead, sixteen geese cast their shadow V over the straits of Mackinac. There is the smell of leaves burning, wood stoves, cigar smoke and compost.

The people are generous, warm, outgoing, helpful, industrious, always willing to lend a hand. They give clear directions to the interstate. Have you been to Frankenmuth? Christmas in July? The Renaissance Festival? The Renaissance Center? Have you harvested baby's breath in abandoned lots? Have you been on a three-wheeler, a snowmobile, a ferry to Beaver Island? There are rainbow trout and catfish, beaver dams, curious raccoons, and mourning doves moaning overhead, balanced on power lines.

Follow 1-75 downstate to Detroit. Listen for the lonely echo in Tiger Stadium, traffic on Grand River Avenue, the empty aisles of Hudson's, long abandoned. Look around and spend the day in mourning. Oh Detroit, you complicated old man, nearly dead, with your shoulders arched over the river, polluted and gray, the threads of your shirt worn down with disease and car exhaust. You have grown thin with industry, car factories, riots, raids, transportation nightmares. You have eaten Coney dogs with relish and onion. You have built magnificent buildings only to burn them. Your children's children have squandered their dowry. They strut on the streets. They throw trash in the trees and hang their laundry on ropes fit for hanging.

Oh Detroit, what have you done to man, his wife and kids, his cousins, his music, his hairstyles, his shoes with white tips, his pleated pants, his elbow slung out the car window, his basketball courts, his officers downtown, his nightclubs, his shirtsleeve tucked over a pack of cigarettes, his imagination, his industry, his sense of humor, his home? Oh Detroit, what have you done to city hall, the public trains, the workers' union, the Eastern Market, Boblo Island, the Ambassador Bridge? Where have you put your riches, where have you hid your treasure? Your concrete over-passes, your avenues as wide as rivers, your suburbs bloated with brick homes and strip malls and discount liquor stores and resale shops. When you are dead and gone, who will care for your children's children. They have run wild with the bastard boys around the streets, reckless car rides downtown, rigorous dancing, drug taking, knife-stabbing, pillow-stuffing, tail wagging restlessness. They have been drunk with this for years. They have been out of their minds. They have been left with nothing.

Even still, here and now, there is a renaissance of hope. The streets will take up horns and play free jazz, the buses will clang their bells in time, the buildings once burned out will be home to the homeless. Living rooms will be filled with furniture. Broken families will reconcile. Women will be honored with lilac wreaths. Men will begin to lower their voices. Children will fill playgrounds and parks with the sounds of their playing.

Who can call us father, or who can call us son? If we have regarded ourselves abandoned by whatever thing (a person, a lover, a parent, a false prophet, ourselves), then we have lost touch with the great family, ourselves, all of us together, in this great place called Michigan. Who is your neighbor? He is your brother. Who is that stranger? She is your mother. The man downstairs hammering on the wall, the woman blow-drying her hair in the bathroom-these people are your family. Have you lost your mother to death? Have you lost your father to disease, to war, alcohol, drugs, a car accident? Nothing can replace them. They have been made known completely in death, to whatever supernatural landscape (who can say for sure?). Until then, it is our hard task to welcome the widows, the children, the orphans, the fatherless into our family. What little effort it takes -- a friendly nod at the stranger on the street, giving change to the man who asks, saying hello or goodbye, opening doors, keeping our mouths shut. In the small things, the day-to-day gestures, the normal business of the day, we do the great work of the kingdom, which is to welcome each unlikely individual into the fold, one person at a time.

We do these things, not because we are Michiganders, but because we have been called to participate in the world’s creation from the very beginning. Making music. Baking cakes. Sewing curtains. These things mean something greater: that we have been known from the very start. Our eye color, our hairline, our jawline, the shape of our big toe, the tone of our voice. These things have been designed from the very beginning. What kind of music we listen to. The sort of skirt that looks good. The baseball cap, the tennis shoe, the orange bandana. We have been made to find these things for ourselves and take them in as ours, like adopted children: habits, hobbies, idiosyncrasies, gestures, moods, tastes, tendencies, worries. They have been put in us for good measure.

Perhaps we don’t like what we see: our hips, our loss of hair, our shoe size, our dimples, our knuckles too big, our eating habits, our disposition. We have disclosed these things in secret, likes and dislikes, behind doors with locks, our lonely rooms, our messy desks, our empty hearts, our sudden bursts of energy, our sudden bouts of depression. Don’t worry. Put away your mirrors and your beauty magazines and your books on tape. There is someone right here who knows you more than you do, who is making room on the couch, who is fixing a meal, who is putting on your favorite record, who is listening intently to what you have to say, who is standing there with you, face to face, hand to hand, eye to eye, mouth to mouth. There is no space left uncovered. This is where you belong.

[saturn520]

I have come and gone from this place more than the average person my age. Here for the week, studying, attending classes and hanging out with friends. Away for the weekend, two hours south, working and wasting away. It is a vicious cycle. When I’m here, I never want to leave, and when I’m away, I can’t wait to come back.

I have walked the campus paths hundreds of times. I have been soaked by the Oregon rain more times than I can count. I have spent many sleepless nights typing away on my computer, covered in stickers from all my favorite shows and bands, doing homework that will not matter in a week. This is only my second year. All the things I have done here will be done over a hundred times more and then a hundred times over again.

A drive to campus that feels so long, down a road with cars and trucks that have people in them that have their own lives and problems and friends. So many lives that I will never live. As I drive along besides bare fields and the occasional city to a destination that I will only inhabit temporarily. None of this is mine, it will be gone in less than a year's time. Yet I continue the treacherous journey back to this place because it feels more like home than my four walls and roof back south ever will. A life gladly left behind after a tiny graduation in a tiny town with people I have known my entire life and do not care to know for much longer. A place where I was locked in a box for eighteen years and did not know freedom until I got here.

One year ago I walked into a gross, creaky old building with white walls and sticky floors. Not an ideal home but at least it was temporarily mine. On the highest floor and at the end of the long hall was my tiny dorm where I would soon meet my best friends. As my parents drove away and I was left alone to fend for myself for the first time in my life, I smiled. This was the real beginning of my life. That night I opened up to my brand new roommate more than I ever had to my parents. I finally became Saturn.

The next day we left our door open wide and people from every dorm in our hall stopped by to say hello. By noon I had made five new friends and we went to lunch. Laughs were shared and new bonds were formed.

A football game took place that night. I went with a group of people I had met during the last 24 hours and little did I know they would be the ones by my side for the next two years and more to come. It was the first time I had heard the cheering of Beaver Nation. The screams echoed through the stadium. Footsteps could be heard coming from every which way. Streamers shot up in the air as I witnessed my first OSU win.

A year and a half and 3 major changes later, here I still am. Roommates with the same people I went to that first football game with and finally happy in life.

[teeclovernowhi]

Cooper Cousins Penn State football block name shirt

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We Are… Penn State! 🦁💙🏈 #PennStateFootball #CooperCo

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[afam24]

There's probably some kernels of truth to Latino contribution with the demographics of Bronx. You had Carlos Mendez, (Charlie Chase), DJ Wiz…however FBA (Foundationaly Black American) in origins. Facts that can't be obfuscated in FBA founding on all components of hip hop (except graffiti art). This stuff is timestamped and recorded

1 Herc never said he transplanted hip hop from his homeland of Jamaica to NYC. In fact, we hear, the opposite on a 1989 recorded interview. He notes that people weren't feeling his native music at the time, so funk and soul was played…and James Brown was the main one.

2 Puerto Rican pioneers like Ken Swift, Crazy Legs, Mr Wiggles , Jo Jo, Willie Will, and Alien Ness, a PR ZuluKing, 1970s -all allude to the African American origins of the dance (more details in pt 2 replies). Legs says in like the latter 70s, they would call it Morano style whenever the moves that came from early 70s Zulu Kings was noticed (exemplified by FrostyFreeze). Morano denotes black and original in this context. He says this is the original style, tho played out by the latter 70s - very very early 80s. Puerto Rican youth added much to that.

The earliest b-boy crew people can recall by name and memory has consistantly been the Zulu Kings in interviews over time (circa 1973, probably still Black Spades or Baby Spades till 75, but they were Bronx Burning or Uprocking to minor floor moves as Spades before 1975). The b-boys back then were African American youth like Sasa, Trixie, PeeWee Dance, CharlieRock, N….Twins, Dancing Doug, Beaver, Lil Boy Keith and more. After 1976-77 the original African American youth began moving away from the dance. It was becoming "old hat", and more and more Puerto Rican youth picked up on, added to, and expanded on it. Crazy Legs said the brothas would say THAT'S PLAYED OUT when he would break in like 78-79 There's early 90s footage of Lil-Boy Keith (his 70s street name), demonstrating early ZuluKings style. He's also in the 1984 documentary Beat This, A Hip Hop History. Footage of him reminds me of KenSwift's description of old style breaking being more sporadic and lots of freezes. Also PeeWee Dance hanging with RockSteady in the early 90s..going off, Spade dancing, Bronx Burning ,uprocking…

In a 1984 episode of The Scene ( Detroit), Bronx native Kurtis Blow, famous 70s rapper and "breakdancer", was asked what came first, breaking or rap. Kurtis tells the host that back in 1972, the dance was called Burning. This is well before the modern Ytb debates. Important to mention, because only people in ZuluKings neighborhood remembers the term.

3 In a interview circa 1984, Melle Mel was asked where do you guys get names like Grand Master Flash. Long before Ytb and Internet and debates on hiphop's origins, Mel tells us…we were influenced by people like Grand Master Flowers (African American) of 60s Brooklyn. Keep in mind that Flowers opened up for James Brown in 1968 at Yankee Stadium in Bronx, NY…..perhaps the initial point it was transplanted from Brooklyn to Bronx. Melle Mel, as well as Mr Ness (Scorpio of Furious Five) was in a b-boy crew called D Squad. Fellow member Fuji of the long forgotten group said this was 1974 in middle school. There is a picture of Mel and Fuji in more recent times and Fuji in the 70s.

In a documentary about a Bronx, NY neighborhood called Simpson Street, filmed 1977 and released in 79, we hear perhaps the first publicly broadcast hip hop sound. After the narrator finishes speaking near the beginning, the next scene opens up to a roof top party with a 70s rap sound. Some people, claiming they were there that night, say that's Mr Ness and Grand Master Flash you hear in the background(?)…Melle Mel is mentioned in the list of shout-outs, so it likely was. Sounds like Coke La Rock's description of his original 1972-73 style… A list of shout-outs to people in the room and a little rhyming in between.

In the 77 doc, young blacks and Puerto Ricans hanging out together seem to get along very well like street family.

4 Coke la Rock (African American) was the first Emcee/rapper (in hiphop) and best friend of Kool Herc, going back to middle school in the 1960s . He says that it wasn't a music genre back then, but it's just the way he talked on the Mic when giving announcements…and the people loved it. This is a very important detail because specifically African American announcers and performers have always rhyme talked to beats in this manner, going back to the 30s and 40s. Back then ya might hear … "WELL AH REET, ALL ROOT, ALL RIGHT…BE AT THE JITTER BUG CONTEST TONIGHT. You have the Co Real Artist out of Los Angeles (total opposite side of country) with the 1974 song "What ya Gonna Do In The World Today". They sound like The Funky Four Plus One's 1979-81 style. Gary Byrd in the early 70s - absolutely rapping with that early 70s hip jazz/soul style. Jacko Henderson in the 50s, The Jubilees 1940s, Pig Meat Markam in the 60s.. Mind PowerJames Brown 1973, Last Poets 1971, Frankie Jaxson 1929 Jive Man Blues (absolutely rapping), Beale St Sheiks, It's a Good Thing 1927, Memphis Jug Band, with Whitewash Station Blues 1920s

I would even say songs like Don't Burn Your Candles at Both Ends by Loius Jordan , 1940s…in the movie Look Out Sister 1946, but more like rapp on the record version. Or his 40s song Beware. Even more so like rapp than singing was his song Look Out (also in the 1940s independent AA movie).

The Last Poets (latter 60s - very early 70s) with songs like Run, MEAN MACHINE - 1971 (MUST LISTEN TO THAT ONE IF YOU NEVER HEARD), True Blues, On the Subway (1970), New York New York, and others, were rapping back then with poetry and African sounding drum. Keep in mind that rapp means to talk, not neccesarily rhyming, (they often did).

Coke does make the connection to The Last Poets, as influence and others like that (in the video "Coke la Rock a DJ, With Herc".. by The Culture, Started in 71, at 35:28 in vid). Same with, DJ Hollywood (1971-)

Herc credits Coke for rapp in the vid "Kool Herc on the Role Coke (MC) Played".

In the 1930s soundie (musical short/music video) called Caravan, The Mills Brothers are rapping in the scene where he's talking to the young lady. Not long after that, the young man starts basically uprocking into breakdance swipes.

Jacko Henderson is in the 1981 20/20 ABC news special, covering this new thing called…HIPHOP. Jacko is very familiar with this sound as he snaps his fingers remembering a few 1950s verses.

In 1983, Gary Byrd appeared on the British show Black on Black by LWT Studios (London tv). He was asked when did he start rapping. Byrd tells the host that in 1965 he came across some tapes of Jacko Henderson from the 1950s, doing this style of announcements on radio (also done by other African American DJs across America). Byrd's songs from 1970 - 73 include Soul Traveling (very much like rapping) , If the People Only Knew, Are You Ready for Black Power…

In the latter 60s into the 70s Frankie Crocker of NYC radio was known to rhyme talk in a manor that sounds like a predecessor to hiphop music. He might say HEY BABY, IT'S GUARANTEE TO PUT A CUT IN YOUR STRUT, A GLIDE IN YOUR STRIDE, A DIP IN YOUR HIP…IF YOU AIN'T DIGGING THIS, YOU MUST HAVE A WHOLE IN YO SOUL. He also appeared in 70s movies like Five on the Black Hand Side and Darktown Strutters.

In a 1973 movie called Five on the Black Hand Side, the Kool guy who walks into the barbershop immediately puts a coin in the jukebox, and starts doing what they once called jive talking. Sounds so much like rap, the Sugar Hill Gang used one of the verses. Both Ali and H. Rapp Brown (coincidently) spoke in this manner in the 60s and very early 70s (warning if looking up Brown's 60s speeches…they may contain a few epithets. Sensitive political and social times).

Also in Five on the Black Hand Side, the Black Panther like character that walks into the barbershop asking permission to put up a flyer for the freedom of one of his brethren, then reminds them that the police are becoming more fascist. After that, he sort of raps when he says…WOE TO THOSE WHO CAN'T SWIM JIM. Then he walks out in a

rhythmic like manner. Frankie Crocker does a little poetry as he remembers everyone street number (street lottery) in one of the barbershop scenes

KRS-1 references Coke in a 80s rap. His partner was Scott LA Rock, and they followed the trend from early 70s Coke La Rock. We also have ShaLa Rock…female rapper from the latter 70s - early 80s, and others… Rapper and 70s breakdancer T La Rock (African American…Known for the 1984 rap song It's Yours) Even a 1978 Puerto Rican based breakdance crew named Starchild La Rock.

5 Batch, a Puerto Rican guy who created TBB (The Bronx Boys) as a youth in circa 1975-76. They were a breaking crew. He tells Colon on a Livestream (no time to edit out😂)….YOU CAN SEE ON MY SCREEN IM PROUD OF MY RICAN HERITAGE WITH THE FLAG ON THE WALL, BUT THIS HIPHOP COMES FROM THE BROTHAs… Deer in the headlights look

From a firsthand perspective, Batch says on another modern Ytb vid that he was inspired by the ZuluKings or Spades, before TBB. Also Willie Will of Rockwell A., said he seen ZuluKing go to floor 1st 6 Everyone that came up in the Bronxdale projects during that time of the 60s and early 70s seem to remember DJ King Mario (Afn Am).. concurrent with Herc. In fact, a few said they knew each other, but Mario like to do outdoor block party/festival style, while Herc was more indoor venues.

7 One of the first Hispanic hip hop DJs said he seen all black people back then and sometimes wondered if he would be rejected based on his ethnic background. He found a warm welcome, because it was based on how good you were and not race. HE WAS GOOD. (in other words, even a African American youth would be booed off the stage and told to go back to his borough in a NYC accent, if they weren't good).

continued in replies …

cont… You always had R&B music artist incorporate a little Latin sound like Reasons by Earth Wind & Fire 1975…with a Cuban style, or Running on the 1977 All N All album. Also Herman Kelly with the 1978 song dance to the drummer beat.

Tito Puente of Puerto Rican background was a musician who played on certain SugarHill rap records.

Carlos Mendez not only cofounded the Cold Crush Brothers circa 1977, but also established the first know hiphop gathering or convention, circa 1979-80. At least 2 members of the Fearless 4 were of Puerto Rican background in the latter 70s- early 80s. Also a lesser known Mean Machine 1980. DJ Hollywood, African American, was known as early as 71 with his call and response style (rap). He says influencers were Frankie Crocker, Oscar Brown, Rudy Moore Pig Meat Markum, Last Poets (same as Coke La Rock)…(interview on KEXP). People that remember him first-hand are Coke La Rock, Kurtis Blow, Cholly Rock and others. More in next reply on hiphop's predecessor and the known pioneers including Herc, that remember names like John Brown, DJ Pete Jones, Grand Master Flowers ( Brooklyn 1960s - 70s)…

Better known by his stage name Pumpkin, 70s-80s HipHop drummer Errol Eduardo Bedward played on many songs of the genre. His overall appearance was of a typical African American, but was of Costa Rican and Panamanian background. He spoke fluent Spanish. Artist he played for include…(1979 to 1984), Grandmaster Flash and the Furious Five Spoonie Gee, Treacherous Three, Funky Four, Grandmaster Caz, the Fearless Four, and Dr. Jeckyll & Mr. Hyde…. His 1983 single "King of the Beat", Pumpkin and the Profile All-Stars' "Here Comes the Beat" (Profile, 1984).

Jimmy Castor was African American. He was very familiar with the Latin and Caribbean sound…though rooted in soul and funk. His family was from Bermuda, as he tells us in a 2006 interview on a old website called Turntable Treat, by Sean from NJ (?…now obsolete but interview saved). Also was part of Tito Puente's band in NYC clubs. Speaking of hiphop, we know him for the 1972 song "It's Just Begun", form the Flashdance breaking scene, and used by many b-boys…

Puerto Ricans bros like Ken Swift, Crazy Legs, Mr Wiggles, Jo Jo, and even Trac 2 (when he was younger and humble😄), said they saw mostly African American youth breaking before like 75-77. Trac is in a 1978 photo with Spy (black or Afro Puerto Rican). Also Rene and Boss same year. They just won a breaking competition. Crazy legs said Spy was the first person he ever seen do this dance as a 9 year old in 76. Spy was in his early teens. In rare photos from an original RSC (Rock Steady Crew) website, Legs is in 1979-81 photos with forgotten African American members like Ski, Kippy D, Lil Craze, and their 1977 cofounder Jimmy Dee (with PuertoRican friend Lee). I say this so you can see the dance was both African American and Puerto Rican at the same time. You kind of sense that in the old photos (many youth added moves to it that became popular). Jo Jo stated that before the mid 70s it was mostly African Americans breaking and rare to see Puerto Rican youth. He mentioned from a first hand perspective, the ZuluKings in the vid…." JoJo: (Crazy Commanders/RSC) - "Rican bboys were so rare, Blacks looked at us like little…." Jo Jo (PR) and Kevski (AA) are in a modern livestream. They were in the same mid 70s Bronx b-boy crew. On a modern Livestream, Fast Breaks, African American of original Magnificent Force, says he started breaking in 1975 after seeing his cousin do "drops" at a party. He says his cousin would hang around ZuluKing members. There's a excellent performance on Livewire 1983. Magnificent Force from Bronx, NY, predate the 83 national youth craze.

Spy claims he started doing floor moves as his own creation, but does mention he came up around Black Spades (ZuluKings) in South Bronx before moving to other part of NYC as a 70s youth. Actually stating Bronx River Projects is where he started (come on, you know where he got it from). This is a problem in the testimonials of how the dance started. The tribal mentality (on both sides of the "debate") . Most center themselves in the overall story - further distorting the history. When trying to credit Puerto Ricans for the breaking, people will mention the dances of Roberto Roena 1974 (black or Afro Puerto Rican)…Tito Rodriguez at the Palladium 1950s, or the Latin dancers on Ed Sullivan, 1957. In the 74 Roberto Roena footage with Celia Cruz and All-Stars, he's doing the exact moves of Little Buck (Conrad Buckner), an African American) from two decades prior. Also in the same sequence….EVEN THE HELICOPTER LEG AND KNEE WALK. The walk around on one hand is S. Davis Jr (BoogieWoogie) and others 1940. When mentioned, it's still downplayed to make it seem absolutely Puerto Rican in origin, and the African American predecessor isn't taken serious. The moves stem from African American Jazz dances of the 1920s - 50s. A decade prior to even Little Buck, we have the Berry Brothers (spinning with acrobatics 1940s) Mills Brothers 1930s Caravan soundie (both rapping and strait up rocking into swipes), or Little Step Brothers 60s See "Ancestral roots of the Bboy Pt 1 (1920s-1940s clips)"…A MUST SEE. If we were to accept Spy's claim of being the first, what do we do about the dilemma in all the other claims and even a modern gathering of original 1st generation "B-boys" like Sasa, Trixie Dancing Doug…. Did they gather under false pretenses with fake memory of being the first (video - Original Bboy Reunion)

In a 2013 gathering celebrating hiphop, Crazy Legs introduced their 1977 African American cofounder, Jimmy Dee, to the crowd. Many never seen him because being a couple of years older (upper teens), he went off to college by time the 80s came around. In a modern Ytb livesteam interview, he says in like 78 this 12 year old, exuberant about the dance dormant in Bronx and Harlem at the time, asked him if they can start a new chapter of RSC before moving to Manhattan. We know this enthusiastic dancer as Crazy Legs

In the 1974 movie "Education of Sonny Carson", coincidently about a African American gang in New York City, the one teen that likes to dance is up-rocking into James Brown like splits (Staten Island boat scene and parade scene). It reminds me when Ken Swift describes old style breaking (before 1976/77) as looking more like FrostyFreeze style ( African American teen in Flashdance who jumps on his back. Movie was filmed in 1981 and released in 83)

In the outtakes of StyleWars, filmed in 81 and released in 83, Kippy D of old Rock Steady Crew informs us that they just incorporated Poplocking from the West coast. This componant lumped into breakin was absolutely African American. A derivative of 1969 locking, created by Don Campbell (AfricanAmerican), POPPIN was introrduced to L.A. youth by Boogaloo Sam and his brother Poppin Pete (African American) of Fresno, CA, circa 1976. So it's like it came full circle back to L.A - stemming from lockin, Popping from the roboting element..with a little pantomiming). Debuted on SoulTrain in 1978 by Jeff Danials and his crew, it soon became a popular. On 1977 Gong Show, you can see the morph from rorbiting to popping with Robitoid INC. Also, Black Resurgence, 1976. The 1978 movie Young Blood, set in L.A. California, we see the helicopter leg in the teen club scene. There was already a minute element in locking that look like breaking with leg kicks and turning around on floor. Often done by the eccentric regular of mid 70s SoulTrain…the young guy with the giant toothbrush and sometimes boxing gloves. Think his moniker was Mr X. Episodes with X absolutely breakdancing included… 1 The Undiputable Truth -You and Me, 1976 2 I Don't Want to Loose Your Love by Emotions (ST line dance), 3 The Sylvers - Hotline (SoulTrain dancers 1976), 4 Get Up and Boogie by Silver Connection (dancing episode, not in the line or band in person).

Another interesting detail in StyleWars (filmed in 81…important to emphasize that here), Frosty Freeze tells the interviewer that the dance started in Bronx as well as parts of Harlem.

Brooklyn Rock dance is not the base of up rock commonly used in breaking. You have a Puerto Rican Rock dancer of 70s saying he seen breaking in the Bronx circa 1975 and it looked nothing like what they did. It appears that rocking was feet shuffling while uprocking was more jumping and arm swinging movements. Even Brooklyn Rock Dance, with it's mysterious origin, shows more affinity to African American style than Latino (See last comment for interview with Frank papo" Rojas…latter 60 -70s PuertoRican Brooklyn Rock Dancer)

In the 1950s African American teens created their own form of Mambo. (Look up Brooklyn Mambo, 1950s). It's very close to RockDance. Even in some of the footage Spirit Moves between the 1920s -50s, similarities show up here and there. So far we can't find videos of Latin dance in this manner concurrent to that 50s era. Uprockin for breakin comes from Spade Dance (Black Spades, 60s - early 70s Bronx gang). Just like C-walking (Crip Walk 1970s), people just forgot over time the African American street culture these styles are based on. In the history of Melbourne Shuffle, no one seems to mention or allude to the fact they're C-Walking with a little 80s New Jack Swing…sped up. This is the same scenario in not recognizing Uprock being originally Spade Dance. In a 1990, hiphop doc, PeeWee Dance, an original ZuluKing member, hangs with RSC as he demonstrates the raw essence of what they did in the early 70s. He is SpadeDancing/Uprockin/BronxBurning/Going Off (video is on Ytb…YOU GET THE SENCE OF WHY THEY CALLED IT GOING OFF)

Graffiti art was born in 60s NYC and included many races of people. Black, Hispanic, Italian, and even firsthand accounts of Asian. There's no definitive evidence that it came from Philly of the 60s

God bless (see Biblical Salvation

for good old pictures and video on the history,

Look up exactly GRAND MASTER FLASH WILDSTTLE, FILMED 1981, RELEASED 1983, by AfricanAmerican . Go to his channel and tap COMMUNITY to see history of the dance and hiphop music

Also, a great ole school rap playlist on his channel. You get the idea why young folk gravitated this 70s and 80s pre gangsta form of the art (the modern form has to change theme wise…peace, love , humanity, education, community, social issues, fun, expression…)

For the predecessor to hiphop in Brooklyn, scroll to the bottom of the " Rap Before Rap" playlist on that same channel

Important videos to see

From 0:40 to 2:15, in the video CHOLLY ROCK ON THE FIRST BBOYS- by Gearheadz breakcast, Cholly informs is that even in the Burning era (Uprock), they were going to the floor. This is before the ZuluKings of 1975. He names Legendary Twins and Clark Kent as the ones who inspired him to change from just burning to floor move in 1974.

In this video, Willie Will ( Puerto Rican) of Rockwell Association tells us clearly the ZuluKings were the first to do foundational floor moves. He mentions Lil Boy Keith, Beaver and …as the ones he remembers. Rockwell Association' formed almost concurrent to TBB in 75/76. Strangely, Colon took the Livestream off of the channel, but clips were saved. The video is First cats to hit the floor with footwork/moves with names, were Zulu Kings. This is Moreno style", by HipHopHistorian

This video is important. It's a rare clip from 1981-82 of Jimmy Dee, the African American co-founder of Rock Steady Crew (1977-79). The footage could be 81 because in a modern Livestream he says that's the year he left NYC and went off to college and Navy in latter teens. When the reporter ask him where did breaking come from he responds Bronx but others say different. Even though he was a member of mid 1970s TBB, ZuluKings are mentioned as the first group. The video is called "1977 Cofounder of Rock Steady Crew, Jimmy Dee, 1981-82 (?)", by African American

From 2:43 to 3:54 in the video "BBOYS "A history of breaking" - EP03 ROCK STEADY CREW:" by RESISTANCE FILMS, Mr Freeze reveals his direct influence for the front and backwards moonwalk with the umbrella. He says it came from Lockatron John from a group called The Lockatrons. There's a modern YTb vid of Lockatrons John, a "black" man ( perhaps African American) revealing that he was dancing like that since the 70s. Also a drummer, Military, and Corporate guy (from Internet article). You can see him in the video "Exclusive Interview with Lockatron NYC Booghie , Locker and Drummer" by Tiny1Love

All the clips you need on the African American predecessor or founding of hip-hop (including quotes by Herc) is in the video "PROOF That Dj Cool Herc & Big Pun Says That FBA Started Hip-Hop", by WATERGOD TV

Other full interviews are in the playlist of African American channel mentioned above

Up Rock did not come from Brooklyn Rock Dance. It was Spade dance ( black spades), Bronx Burning - as Kurtis Blow tells us in 1984 on Detroit's The Scene show… long before this modern debate..

From Frank Rojas, Puerto Rican Brooklyn Rock Dancer from the 60s and 70s. This is the pioneer who said he seen breaking as a young guy in 1975 Bronx, and he and his friends didn't see it as what they did in Brooklyn…or even perceive it as dancing . Note From 3:20 -3:58, we hear him clearly distinguish the dances he did culturally as a Puerto Rican at home, vs what the African Americans were doing down the block. He gravitated the dances of the brothers more as a starting point in Brooklyn Rock Dancing vs his traditional dance innate in him. (the main point are capitalized and allude to the African American origins of even the Brooklyn Rock Dance)

From a transcript of video interview

"…it was it was a uh the beauty of it was that it was a black and puerto rican community

2:31

you know so you had you know on my block I lived in the middle and on my left was you know mostly

2:38

Puerto Rican and on my right on the same block right was the black community

2:44

so I had you know I had the distinct pleasure um and pretty much the honor to be

2:49

brought up you know with both cultures which influenced me as a person right….

2:56

…not just me as a dancer because you know that's where it all started um right on that neighborhood

and even prior to that i come from a family you know who you know the dance Salsa you know Merengue you

3:15

know it was a party in my house every every weekend so i grew up you know 3:20

with with that flavor…

…more Salsa Right Merengue And You KNOW CHA CHA, AND I DUG IT , IT'S IN MY DNA

3:39

I DID IT BUT I LIKED WHAT THE BROTHERS WERE DOING DOWN THE BLOCK A LOT MORE YEAH AND SO LIKE COMING OUT OF YOUR

3:47 (interviewer) House And Just Existing In Your NEIGHBORHOOD WHAT DID YOU SEE FROM THOSE BROTHERS DOWN THE BLOCK

3:52

THAT RIGHT THAT ATTRACTED ME, IT WAS WAS THE GROOVE RIGHT so you know we're talking about

3:58

you know 67 68 69 right so you know you you at that time you you

4:05

there was always a new dance like when a song came out there was a dance that went to the song

4:11

okay so like as far back as i could remember so even even in in my house right though…

4:18

….it was it was it was salsa but the uh the hispanic community came up

4:24

with an english version of salsa which they call the latin boogaloo so that's the first like american way of

4:32

dancing for me right so the latin boogaloo the first dance i learned was called the African

4:38

twist right so and that that was a song by Eddie Palmetti

4:43

all right so then after that you know i mean i was a good dancer i could move so everywhere i went they you know

4:50

come on pop get down right so my nickname is papa that's what they call me on the street

4:55 um so i remember the first dance I learned was the tighten up

5:01

Archie Bell in the Drells right there was the tighten up I remember the mother popcorn all right

5:08

the mother popcorn James Brown there was a dance called the mother popcorn that's where all my groove came

5:14

from and who was making these dances up were they just being created they were fun for me yeah yeah from the community…"

SKIPPING OVER TO THE FOLLOWING. PAY ATTENTION TO THIS PORTION

21:49 had competitions right like once a weekend sometimes twice a weekend because again 21:55 this was so let me just go back a little bit right so [Music] you know when i was doing those dances 22:03 to those songs right the [Music] the it was the black community that to those songs right the [Music] the it was the black community that 22:09 pretty much was the power of dance right but then you had the puerto ricans who 22:15 came in did what the black community did because we loved it you know we did the groove just as good we had the soul we had soul 22:21 right yeah so but we also had that salsa 22:27 all of that so we put that together and we became the power the power shifted and it was 22:34 the puerto rican community and in those clubs the fresh the kontiki the footsteps 22:40 and there was clubs before that right so there was the forbidden fruit right there was the ruby fool there was 22:46 the pegasus …"

With that said, go look up vids like Brooklyn Mambo 1957 (African American form), or Spirit moves 1920s - 50s. Look to see if you can find any Latin dance concurrent to that time in this same manor

[daniellew150]

2024 in review

2024 has been a crazy year, so I’m going to do things a bit differently this time. Last few years I have tried to break things down into things I have enjoyed by category, but this year feels a bit more stream of consciousness. 

January I took my first ever holiday on my own. I caught the Eurostar from London to Brussels and then made use of the great Belgian and Dutch rail networks to spend a weekend in Antwerp

interspersed with a trip to Hoogerheide to watch the Cyclocross racing.

Such an amazing and fun atmosphere (in the freezing cold). Was great to finally have a passport again but needed to do a bit of travelling to get over the nerves. 

February gave me a chance to go and see Milo Edwards’ stand up show (Voicemail - https://youtu.be/x4oTP3M6ppo?si=zNqFk3ize1e_G5mC) super funny, and wouldn’t be the last time I saw him live this year. 

I also did a volunteering day with work, planting trees for a hedge in a nature reserve (West London) where beavers have just been reintroduced. Fun day with friends and doing some pretty hard but satisfying work. 

March was a couple of live podcast shows. Night one of the Kill James Bond! Live shows at Streatham Space Project, talking about the 2000 Charlie’s Angels movie, couldn’t make all three nights, but made up for that later in the year… 

Then almost immediately to the Trashfuture Live Show at Backyard comedy club discussing some amazing Australian Hooning.

It was also Zoe’s last DSA show, which she smashed obviously.

April was quiet, but May saw A-Levels start for Zoe & Evie. That Pedal Show and Andy Timmons at Fat Lil’s in Witney, and the next Trashfuture live show discussing Liz Truss’s biography.

June had a Bugle Live podcast, and Foo Fighters at the Olympic Stadium in Stratford.

 It was also the 80 Mile cycle from London to Folkestone as part of the Olympic Baton relay for charity organised by work. 

It was a really hard day, but worth it as our little team group raised a decent amount of money for Gendered Intelligence and Great Ormond Street Hospital.

July gave a chance to see Garbage at Wembley arena

It was also my first chance to go to London Trans Pride, which was a great mix of fun, solidarity and protest.

August was the next round of Kill James Bond! Live shows for the Johnny English films, and for the first time I made it to all three nights.

It was also A-Level results, and both Zoe & Evie got what they needed to go to their uni’s of choice.

September included a week long trip to India for work and thanks to Shruti we had a local guide to take us around Old Delhi before we headed home

October was relatively quiet with just a Bike Fit at Bicycle in Richmond (much needed after the discomfort experienced in June).

November gave another chance to see Milo Edwards (with his new show Sentimental) but this time in a tiny venue in Southend. Then another Trashfuture live show having some fun with Boris Johnson's latest book. It also squeezed in seeing Laura Jane Grace at the Scala in London.

December came round way too fast, and also brought a chance to see Olga Koch live at the Soho Theatre, the UCI track cycling league at the Olympic Velodrome

and Nine Lessons and Carols for Curious People at Kings Place.

Books

A better mix of fiction and non-fiction this year but probably relied a bit too much on ones I have already read. Terry Pratchett will always be a firm favourite and slowly working my way through the Rivers of London series. I’ve not put enough time aside for reading this year, and need to do better next year. 

[bearterritory]

Seth Gwynn wrapped up his torrid series going 2-for-3 with his third home run.

BEARS SWEEP #5 BEAVERS

Cal Scores Pair In 7th Frame Of Comeback Win

BERKELEY – The California baseball team completed the sweep over No. 5 Oregon State, winning 4-3 in the final game. The Golden Bears got another clutch performance from Seth Gwynn who drove in three, including a 2-run home run in the fourth.   Cal (24-14, 11-10 Pac-12) picks up its first sweep over a top-5 team since the Bears swept the Beavers in March 2016. Cal has swept its third Pac-12 series in 2024 – the most since the Bears swept Washington State, Arizona State, and USC in 2017. Late-inning heroics were once again on display as the Bears earned their ninth comeback win of the season.   For the first time all series, Oregon State (30-9, 10-7 Pac-12) scored the contest's opening run. The Beavers took the early lead in the top of the fourth on a solo home run from Dallas Macias, the first of two home runs for Macias on the day.   Cal starter Tom Mayer flirted with trouble most of the afternoon but did not allow the Beavers to break through. Mayer struck out a career-high eight batters in four innings of work. The home run to Macias was the lone blemish in his four innings of work. The Beavers were 0-for-4 with runners in scoring position on Sunday, and just 2-for-11 with runners on base.   Strikeouts played a key role for Cal. The Bears finished the day with a season-high 16 strikeouts, eight each from Mayer and reliever Trey Newmann (2-4). Newmann entered the game in the top of the fifth and went the final five innings, allowing just one hit – a 2-run home run to Macias in the sixth, and a walk.

After the home run to Macias, Newmann went into lockdown mode, only allowing one base runner to reach over the final 3.1 innings – during that stretch he struck out six, including the side in the ninth to end the game.   Offensively, the Bears got just enough run support. Gwynn belted a 2-run home run in the third to give the Bears a 2-1 lead – his third of the series and sixth of the year. In the seventh, Cal completed the comeback thanks to an RBI double from Peyton Schulze that scored Caleb Lomavita. Gwynn recorded the game-winning RBI drawing a bases-loaded walk.   Gwynn finished the day 2-for-3 with a run scored and three RBIs. Lomavita went 2-for-4 with a run scored and Jarren Advincula went 2-for-3.   Since beating Stanford in their home opener, the Bears have built a solid 16-6 record in the friendly confines of Stu Gordon Stadium, which is the best home record in the conference. With the sweep, Cal has also passed Stanford in the standings, moving up from 8th to 6th. The Golden Bears will meet the Cardinal this weekend at Sunken Diamond for a three-game series.

[strawberryclothing]

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