2024 Rose Parade lineup: Your guide to every float, band and equestrian unit, in order

Everything’s coming up roses for the 2024 Rose Parade — plus carnations, daisies, marigolds and many other types of flowers, too! That’s how things roll in Pasadena on New Year’s Day.

With “Celebrating a World of Music: The Universal Language” as the theme, parade fans can expect lots of musical performances, including ones by Destiny’s Child icon Michelle Williams, “The Voice” champion Cassadee Pope and, in the grand finale, “American Idol” winner Jordin Sparks.

What follows is a look at the floats, bands, equestrian units and more, in the order they’re expected to appear along the 5.5-mile parade route. (Note: The lineup is subject to change, even as late as the morning of the parade.)

Pre-parade A. Sound car

Pre-parade B. Pace car

1-a. Rose Parade Opening Spectacular, presented by Honda

1-b. American Honda

Keep Dreaming

(Artistic Entertainment Services)

As a Rose Parade presenting sponsor, the Honda float is the first one to roll down Colorado Boulevard and does not compete in the judging process. The company first collaborated with the Tournament of Roses in advance of the 1962 procession, when it provided two-wheeled vehicles for parade officials — something it still does to this day. It also provides multi-utility vehicles for event operations.

1-c. U.S. Air Force B-2 Spirit Stealth Bomber flyover

Whiteman Air Force Base, Missouri

An exhilarating Tournament of Roses tradition, a flyover of the giant stealth bomber to open the parade was put on hiatus last year due to Air Force safety inspections. But for 2024, it will return, flying in from Whiteman Air Force Base in Missouri, to the delight of crowds along Colorado Boulevard and a worldwide TV audience.


2. United States Marine Corps Mounted Color Guard

Barstow

Formed in 1967 to promote the Marine Corps Logistics Base in Barstow at community-sponsored events, this is the last remaining mounted unit in the Marine Corps, and continues to play a key role as a recruitment tool. This group has been leading every Rose Parade since 1985. And, here’s a fun fact: This is generally the only equestrian unit allowed to carry the American flag in the Rose Parade, although exceptions were made in 2014 and 2019 for the U.S. Forest Service to also ride with the Stars and Stripes.


3. United States Marine Corps West Coast Composite Band

Marine Corps Recruit Depot, San Diego and Camp Pendleton

The United States Marine Corps West Coast Composite Band is a combined military band made up of U.S. Marines from the 1st Marine Division Band, 3rd Marine Aircraft Wing Band and Marine Band San Diego. Donning the dress blue uniform, these Marine musicians are fully combat trained, and many have completed military tours overseas. Although the three bands perform individually more than 300 times a year, the Rose Parade is the only event that brings all of these elite musicians together at the same time.


4. City of Alhambra

Celebrating the Year of the Dragon

(Phoenix Decorating Company)

Shannon Tan, a student at Ramona Elementary School in Alhambra, created the design for this float, which features a giant dragon, with a globe perched in its claw, standing protectively over her sleeping baby dragon. Nearly 20,000 flowers adorn the float, including purple fine-cut statice; light lavender, white and “pink lady” button mums; hot pink cranberries; black beans; and dark gray lettuce seeds on the mama dragon’s head. Besides celebrating 2024 as the Year of the Dragon, this entry marks Alhambra’s 95th year participating in the Rose Parade.


5. Shriners Children’s

Believe in Tomorrow

(Phoenix Decorating Company)

Tying together this year’s Rose Parade theme and the mission of Shriners Children’s, the setting of this float is a concert in a botanical garden; one of the musicians is a young cellist who plays her instrument with a prosthetic arm made by the Shriners Children’s Pediatric Orthotics and Prosthetic Services department. Music, which can offer comfort during a procedure and help reduce anxiety, is often incorporated in the care plan for young patients at Shriners, which treats children from more than 170 countries. As for the float, it features nearly 25,000 flowers and natural elements including light and dark lavender mums for the dress, and bronze fine-cut strawflower for the cello.


6. Toho Marching Band

Nagoya, Japan

Featuring 176 musicians, mostly females, this band is made up of students from Toho High School and Aichi Toho University, which are located adjacent to each other in Nagoya, Japan. Toho High School is celebrating the 100th anniversary of its opening in 1923, and the school’s Green Band performed in the 2017 Rose Parade.


7. The Norco Cowgirls Rodeo Drill Team

Norco

Founded in 2008, this unit performs dangerous, high speed, precision maneuvers at a gallop to thrill rodeo fans. While their New Year’s Day appearance on Colorado Boulevard will be more toned down, they’re sure to impress wearing custom-made sparkling rhinestone show shirts adorned with flying fringe, Red Bailey cowboy hats and matching rodeo chaps. The team consists of 15 dedicated horsewomen, with 9-year-old Shae Cremo being the youngest member of the unit in today’s lineup. She’ll be riding with her mom and sister.


8. Visit Newport Beach

Jingle on the Waves

(Phoenix Decorating Company)

At a combined 165 feet long, this five-part float is sort of a mini Newport Beach Boat Parade — one of the many popular experiences during the holiday season in the beachside community. It starts with a decorated boat with a pink flamingo, festive polar bear, lights and toys and gifts with an oversized group of trees with all the trimmings. At its midpoint is a yacht with several past Rose Queens. The finale is a snowman in a top hat wishing everyone a happy new year.


9. Tournament of Roses Grand Marshal

Tony winner Audra McDonald, the 2024 Rose Parade grand marshal, will ride the parade route in style — aboard a 1910 Model M Thomas Flyer, which is powered by a 439-cubic-inch, 40-horsepower, six-cylinder engine. When the vehicle was new, it cost $3,500 (about $113,000 in today’s dollars).


10. Pipes on Parade: The Massed Pipes & Drums

Southern California

With 168 members, this is a unique ensemble with an interesting history: Lead director Joel M. Daniel, a longtime tuba/sousaphone instrumentalist who now makes a living as a professional bagpiper, has brought together 10 smaller bagpipe bands into a larger ensemble that will be marching in the parade. The smaller units are from throughout Southern California, and include The Pasadena Scots, The Los Angeles Scots and Rancho Cucamonga Fire Pipes and Drums, plus individuals like Daniel who are not currently members of any active band. As for Daniel, he has marched in nine Rose Parades, starting in 1993 as a member of the Pasadena City College Honor Band and later with the West Coast Composite Marine Band.


11. Pasadena Humane | Hill’s Pet Nutrition

Feed the Love

(Artistic Entertainment Services)

After marking its 120th anniversary in 2023, Pasadena Humane opens its next 120 years with this float, combining efforts with longtime partner Hill’s Pet Nutrition. Since they joined forces in 2012, Pasadena Humane (a shelter is just blocks away from Tournament House and the parade route) has helped 53,000 dogs and cats find loving families. The five loving dogs and seven cute cats are decorated primarily with a combination of strawflower petals, great ming and Spanish moss-uva, pampas and oat grasses, palm fibers, with accents of poppy, sesame and onion seed.

More coverage: Where do all those Rose Parade roses come from? Turns out, it’s far from California


12. The New Buffalo Soldiers

Shadow Hills, Calif.

Representing the 10th Regiment, Company H of the U.S. Cavalry, this unit was formed in 1992 for historical interpretation. The group continues to research the history of military participation of Black Americans. For the 2024 Rose Parade, they’ll be joined by a group honoring the 25th Infantry Bicycle Corps, known as the Iron Riders. These Iron Riders will be marking 125 years since an experimental expedition was initiated by the Army to test the feasibility of using bicycles versus horses as a mode of military transportation.


13. CORE Kidney

Gift of Life: A Tune That Never Fades!

(Phoenix Decorating Company)

In a beautiful garden display featuring a hummingbird and butterflies, kidney donors are swinging under the kidney-shaped gift of life tree in this entry from CORE Kidney, which is making its Rose Parade debut. The organization’s mission is to show how widespread kidney disease is, with the goal of inspiring more people to take preventative measures, which can be as simple as taking a blood and urine test to check how well your kidneys are functioning.


14. West Chester University ‘Incomparable’ Golden Rams Marching Band

West Chester, Pennsylvania

With a history that dates back to 1889, this 345-member band from the suburbs of Philadelphia has performed at a number of notable events and venues — the World Series, Macy’s Thanksgiving Day Parade and NFL stadiums (for the Philadelphia Eagles, Pittsburgh Steelers, New York Jets and Giants, Washington Redskins) — and is now adding the Rose Parade to that impressive list. In 2019, they became the first Division 2 marching band to earn the prestigious Sudler Trophy (the Heisman of the marching band world). Fun fact: West Chester University has a satellite campus two blocks away from Independence Hall.


15. City of Torrance

The Lyrical Call of Nature

(Fiesta Parade Floats)

Student Jodie Cheng, from West High School in Torrance, created the conceptual design for this float, which features a nest of humming birds calling out to their mother. The backdrop is a beautiful display of trees adorned with pink dendrobium orchids and pink mokara orchids. Torrance’s Rose Parade participation dates to 1914, two years after the planned community was founded. But it wasn’t until 1958 when the city became a regular participant, and since then more than 75% of their floats have brought home an award, including the Princess Trophy in 2020 and 2022.


16. Spirit of the West Riders

Arcadia

From nearby Arcadia, this unit serves as “a living tribute to the equestrians who pioneered our American frontier with our authentic and colorful appearances,” according to organizers. Outfits cover the 1840-1920 period of the American west; and some of the saddles are carefully restored original period works, while others are authentic reproductions. Many of the riders have appeared in Wild West shows, TV documentaries and feature films.


17. Sierra Madre Rose Float Association

Enchanted Music Box

(Self-built)

For many of us, music appreciation started with our first music box, which were created in the 1700s and have appeared in cultures around the globe. In this case, the horses are spinning around and floating up and down — but one of them has been magically transported beyond the carousel and into the future. Among the 40,000 flowers on this float, 12,000 roses fill the deck, and the music box features Italian ruscus with spider mums, button mums and carnations. During the last 17 Rose Parades, the Sierra Madre Rose Float Association has won 16 awards.


18. Banda Municipal de Zarcero

Costa Rica

This 308-member unit competed in the World Marching Band Championship last June and is making their second Rose Parade appearance (2020 was the first). Their uniforms are inspired by the ancestral Boruca culture, people known for their colorful traditional masks, weaving and other handmade objects.


19. Cal Poly Universities

Shock N’ Roll: Powering the Musical Current

(Self-built)

The only student-built float you’ll see on New Year’s Day — a tradition that started in 1949 — this joint program between Cal Poly Pomona and Cal Poly San Luis Obispo has produced more than 60 trophy-winning entries over the years (including the Extraordinaire Award in 2023). This year’s float showcases a community of eels and rays living in a sea of electric instruments. Blooms of purple cabbage, dragon fruit and ornamental kale add rich hues to create this stunning underwater tableau.


20. Tournament of Roses President

President Alex Aghajanian and his family will ride in a famous double-decker Omnibus that will make its world debut in the Rose Parade after a three-year restoration. From the 1900s to the 1930s, these vehicles were the kings of mass transportation in Los Angeles, Paris and many other cities. Theme parks, too. Walt Disney had two built for use at Disneyland in 1956. And, in 1982, Disney asked the legendary Imagineer Bob Gurr to oversee a fleet of new Omnibuses for Epcot’s World Showcase at Walt Disney World.


21. Western Asset

Together in Harmony

(Phoenix Decorating Company)

Based in Pasadena for 35 years, Western Asset’s entry has a woodland ensemble celebrating perhaps the most universal of all languages — music. On board, there’s lots of animation, starting with the band’s conductor moving his wing up and down and both the raccoon and giant brown bear strumming along to the beat. During its 15 years in the Rose Parade, Western Asset floats have won 10 trophies, including the Fantasy Award in 2022 and the Judges Award last year.


22. California Cowgirls Rodeo Drill Team

Wilton, Calif.

Camaraderie, horsemanship and precision drill along with the individual qualities of commitment, patience, flexibility, pride, imagination and respect — that’s the mission behind this unit from Wilton, a small community southeast of Sacramento. 2024 marks the team’s 30th anniversary; they’ll be riding American quarter horses and paint horses in the parade.


23. Mid-Parade Performance, presented by Visit Lauderdale

Everyone Under the Sun

(Artistic Entertainment Services)

Showcasing some of the highlights of the area in and around Fort Lauderdale, Florida, this 55-foot-long float features a Guitar Hotel replica (decorated with gold flax seed, ground walnut shell, onion seed and silver leaf), manatees (dark and light poppy seed, ground lichen and onion seed), sea turtles (green ti leaf lima beans, Asian long beans, green seaweed and black beans) and tropical scenery (hanging heliconia, cymbidiums, pink and red ginger). The base of the float features more than 1,000 color rose varieties.


24. Scripps Miramar Ranch

San Diego

The pinto American Saddlebred horses of Scripps Miramar Ranch are world famous, thanks to past performances in the closing ceremony of the Olympic Winter Games in Japan and the late Queen Elizabeth’s Diamond Jubilee Pageant, and also having seven immortalized as Breyer Horses toys. On New Year’s Day, the unit will be accompanied by Santa Anita Park bugler Jay Cohen, who will play his famous “Call to the Post” and other tunes — a tie-in to the 2024 Rose Parade theme, “Celebrating a World of Music: The Universal Language.”


25. Na Koa Ali’i — Hawaii All State Marching Band

Hawaii

Making their fifth Rose Parade appearance, this ensemble features specially selected performers from throughout Hawaii. Sections of the band will be wearing Hawaiian print shirts, and the colors — red, yellow, green and blue — will be arranged so that from above it looks like a marching rainbow. Members are wearing handmade Raffia skirts imported from Micronesia; headwear includes a Lei Po’o. Within the percussion section, you will find the “to’eres” or log drums, giving the group a unique Polynesian sound.


26. OneLegacy Donate Life

Woven Together: The Dance of Life

(Fiesta Parade Floats)

Dedicated to saving lives through organ, eye and tissue donation in Southern California, OneLegacy Donate Life is making its 21st Rose Parade appearance with this float showcasing the culture of the Hopi tribe, native to the American Southwest. This group of Pueblo Native Americans is one of the oldest cultures in what’s now the United States, originating some 7,000 years ago. The majestic headdress includes cranberry seed, dehydrated red pepper, carrots and black beans. Purple, blue and yellow statice are used to accentuate the details, and bright white everlasting flowers make her feathers glisten.


27. Pasadena City College Herald Trumpets

Pasadena

For the 44th consecutive year, this unit — composed of nine trumpeters and one snare drummer — announces the Rose Queen and her Royal Court. This elite ensemble was selected from current PCC trumpeters and more than 70 high school musicians, who auditioned from throughout Southern California.


28. 2024 Royal Court

(Phoenix Decorating Company)

Naomi Stillitano, a senior at Arcadia High School, who in October was named the 105th Rose Queen, is joined on this float with the 2024 Royal Court: Olivia Bohanec, Trinity Dela Cruz, Phoebe Ho, Mia Moore-Walker, Jessica Powell, Emmerson Tucker. An estimated 5,000 flowers decorate their float, including white and pink carnations and mums, and pink roses. The crown is adorned with shiny gray silverleaf, white mums, white soybeans, dark gray dark lettuce seed and other elements.


29. 1st Cavalry Division Horse Cavalry

Fort Cavazos, Texas

This entry features 16 quarter horses matched in size and color, brown to dark brown. The riders are wearing replicas of the U.S. Cavalry’s 1880s campaign uniforms, including five-button wool fatigue blouses, sky blue wool trousers and the traditional 19-inch black leather riding boots. This will be the 18th Rose Parade appearance by this unit, dating back to 1996.


30. Union Station Homeless Services

Bee the Solution

(Artistic Entertainment Services)

Founded 50 years ago, this nonprofit serves the San Gabriel Valley through a “housing first” approach that has a 97% retention rate, meaning that nearly every person Union Station finds a home for remains housed. With their whimsical Rose Parade debut, the busy bees are buzzing amid a field of hot pink, pink and white roses bordered by handcrafted arrangements of yellow lilies. Rising high is an adorable Home Sweet Home hive crafted with full-bloom yellow carnations, accented with bark doors and windows.


31. The Valley Hunt Club

Pasadena

This entry has been a part of the New Year’s Day procession from the beginning — in fact, in 1890, Valley Hunt Club members, led by Charles Frederick Holder, sponsored the first Tournament of Roses parade. One beloved club tradition that remains from the early days involves members decorating the carriage each year for its entry, often carrying the club president. Speaking of which, Emilie Lanstra, the club’s ninth female leader, will be riding in the carriage with her family; in honor of the club’s 135th anniversary, they’ll be dressed in late Victorian-era attire.


32. 110th Rose Bowl Game Float – University of Michigan

(Artistic Entertainment Services)

Get ready for the 110th edition of The Granddaddy of Them All — the 2024 Rose Bowl Game — which this year will be a College Football Playoff semifinal, featuring two of the top four teams in the country. This float, featuring an oversized football, will be accompanied by the marching band and pep squad from one of the universities squaring off New Year’s Day afternoon.


33. Michigan Marching Band, University of Michigan

Ann Arbor, Michigan

Since 1898 — when the band featured 22 members — this unit performs at all Michigan Wolverines football home games, plus concerts, pep rallies and parades, including, of course, the Rose Parade. Following the 2007 Rose Parade, the band quickly traveled back to Michigan to attend the arrival of President Gerald R. Ford’s body in Grand Rapids and subsequent funeral procession the next day.


34. Lutheran Hour Ministries

Make a Joyful Noise Unto the Lord

(Phoenix Decorating Company)

Winner of last year’s Director’s Award, Lutheran Hour Ministries returns with three oversized trumpets (yellow fine-cut strawflower, gold clover seed, white fine-ground rice, brown coffee, black fine-ground onion seed, bronze and orange fine-cut strawflower) with hanging banners (decorative cords of gold clover seed, lettering of black beans, crosses of white navy beans and red small kidney beans) in a floral garden.


35. Budweiser Clydesdales

St. Louis, Missouri

Making their first appearance in 1953, the Budweiser Clydesdales were a Rose Parade regular until 2011. They returned in 2014 and have made multiple appearances since then. Towering at 18 hands high (6 feet), the world-famous Budweiser Clydesdales have been the symbol of Anheuser-Busch for more than 75 years.


36. DirecTV

Take Me Out to the Ball Game (Americana)

(Artistic Entertainment Services)

El Segundo’s hometown heroes — winners of the 2023 Little League World Series championship — will be celebrated on this float from DirecTV, which was founded 30 years ago and is headquartered in the city. The players, who defied the odds and completed their dream season by battling back from a four-run deficit in the finale to win, will be riding a float that depicts a baseball field with a fresh sod infield and white mums for the baseline. The giant championship trophy will be decorated with yellow and gold strawflower and carnation petals.


37. Rose Bowl Hall of Fame Class of 2023

The latest Hall of Fame inductees will ride the parade route in style — in a 1936 Packard 120-B Victoria LeBaron. It originally was custom-built for George Washington Hill, who at the time was president of the American Tobacco Company. It features an all aluminum body with a three-position convertible top, in which the driver’s top is completely removable. Hill also had a new vehicle made for his wife, a 1936 coupe hardtop.


38. 110th Rose Bowl Game Float — University of Alabama

(Artistic Entertainment Services)

This is the second of two floats featuring the marching band and pep squad from one of the universities participating in the 110th Rose Bowl Game, which this year is a College Football Playoff semifinal.


39. Million Dollar Band, University of Alabama

Tuscaloosa, Alabama

Winner of the Sudler Award in 2003, which designates the national champion of collegiate marching bands, this unit, which today numbers 400-plus members, has performed for Crimson Tide home games since 1912.


40. Rotary

Clean Water — The Music of Life

(Phoenix Decorating Company)

A 44-year Rose Parade participant, this year’s Rotary float highlights the organization’s efforts to bring clean water projects — which provide local solutions for clean water, sanitation and hygiene education — to communities around the globe. The whimsical entry features four oversized ducks holding umbrellas and dancing on a piano keyboard. The baby ducklings have eyes of black seaweed and white powdered rice; beaks decorated with orange ground lentils/orange fine cut strawflower, and hot pink fine cut statice; bodies of white fuzzy cut everlasting; and feet of orange ground lentil. Rotary is a 13-time award winner, including the Princess Trophy last year.


41. Orange County Regional Mounted Enforcement Unit/Western State Mounted Officer Association

Orange County

This unit includes mounted police officers from various law enforcement agencies throughout Orange County. The officers will be riding quarter horses, and their tack consists of western saddles, leather bridles, leather reins and nylon breast collars. On the job, these officers and their mounts patrol their communities, ensuring major tourist destinations are safe from potential threats, enhance community relationships, and partner with various youth programs and schools.


42. Mayor of Pasadena

Pasadena Mayor Victor Gordo and his family are traveling the parade route in a 1967 Crown Firecoach Triple Combination fire truck. First designated as Engine 38 for the Pasadena Fire Department, it served the city until 1985. A decade later, it was purchased by current owner Louis C. Farah, executive director of Professional Cars International, a national car club that celebrates the restoration, preservation and appreciation of vintage ambulances, funeral coaches, police cars and other emergency vehicles.


43. Castle High School, Castle Marching Knights

Newburgh, Indiana

From Indiana’s southern border, across the Ohio River from Kentucky, the 250-member Marching Knights are a 32-time Indiana state finalist and a four-time Bands of America regional champion.


44. Downey Rose Float Association

Rhythm of the Caribbean

(Self-built)

Produced by one of Downey’s busiest service organizations, this entry from the Downey Rose Float Association travels to the Caribbean with a group of flamingos frolicking in a tropical lagoon setting. Among the more than 18,000 flowers on the 48-foot-long float, roses, orchids and other beautiful flowers decorate the colorful deck; blue iris, hydrangea and white roses are used to create the water effects. This organization, which has a 72-year Rose Parade history, starting in 1913, is a 13-time winner of the Founder’s Trophy.


45. The UPS Store, Inc.

The Beat of Achievement!

(Fiesta Parade Floats)

Reaching a height of 35 feet, the rapping crocodile at the center of this float makes this one of 2024’s tallest entries. With the croc’s aspiring hip-hop career taking off, a posse of pink flamingos cheers him on. The surrounding tropical paradise overflows with tens of thousands of Pink Floyd roses, plus a dazzling array of orchids, and other eye-popping, colorful and unique flowers. This is the sixth Rose Parade for The UPS Store, Inc. — and each previous entry has been a trophy winner, including the Sweepstakes Award in 2019, 2020 and 2022.


46. The Blue and Gold Marching Machine

Greensboro, North Carolina

From North Carolina A&T State University comes a high-stepping marching band known for bringing fans to their feet — as they did when winning the 2003 Defeat the Beat competition. They’ve also performed at Carolina Panthers NFL home games, and was voted one of the nation’s top 10 bands as reported by Sports Illustrated.


47. Los Hermanos Bañuelos Charro Team

Altadena

Founded in 1995 in the San Gabriel Valley by a group of brothers and friends from the state of Zacatecas, Mexico, this unit has appeared in 13 Rose Parades since their debut in 2006. Riders wear authentic Charro suits sporting custom-made logos. The tack that they use also is custom-made with logos stamped on the saddles and their silver spurs. They’ll be riding American quarter horses, Andalusians, Freisians and Aztecas.


48. Mid-Parade Performance, presented by Explore Louisiana

Explore Louisiana

(Fiesta Parade Floats)

Making their third Rose Parade appearance, the Louisiana Office of Tourism returns with another invite to the Bayou State — this one featuring thousands of magenta roses, purple and yellow Mokara orchids, bright yellow roses, and green cymbidium orchids. The jester figure is adorned with cut gold strawflower, and whole dark purple and maroon carnations with accents of pink protea and white coconut. Previously, the Louisiana Office of Tourism won the Legacy Award in 2022 and the Showmanship Award last year.


49. United States Forest Service — Smokey Bear’s 80th Birthday Celebration

Kicking off Smokey Bear’s 80th birthday year, this group — riding and driving mules — features highly skilled Forest Service professionals with decades of pack stock and wilderness management experience. For the Forest Service, mule trains remain the most efficient way to access much of our still-wild lands. The packers and their sure-footed stock manage a variety of tasks: bringing food and supplies to workers in remote wilderness areas, and helping scientists, trail workers and firefighters, much as they have since the 1800s.


50. City of South Pasadena

Boogie Fever

(Self-built)

This represents a community effort in many ways. First, the South Pasadena Tournament of Roses has been raising funds locally to construct and decorate floats since 1893, making it the oldest self-built entry in the parade. And, many of the flowers and dry materials were collected locally, including two types of bark (eucalyptus and melaleuca), plus sycamore leaves, liquid amber leaves and bougainvillea flowers. All the animals will have some type of movement — heads swaying, arms moving and tails twitching — and the disc on the record player will spin, taking the toucan for a ride. The song playing on that record player? You guessed it: the 1970s disco hit “Boogie Fever” by The Sylvers.


51. Pasadena City College Tournament of Roses Honor Band

Pasadena

Current PCC Lancer Marching Band members and select high school students from throughout Southern California make up this 215-member ensemble, which has marched in every Rose Parade since 1930. As they turn the corner onto Colorado Boulevard, listen as they perform Stevie Wonder’s “Sir Duke.” Other musical selections will include the honor band’s theme song, “Everything’s Coming Up Roses,” and John Philip Sousa’s “Ancient and Honorable Artillery Company,” an iconic march that’s celebrating its 100th anniversary.


52. City of Hope

A Lovely Day for Hope

(Phoenix Decorating Company)

This is the 50th Rose Parade entry from the City of Hope, one of the largest cancer research and treatment organizations in the United States. Green springeri, bright yellow roses, yellow dendrobium and the bottoms of green ground parsley are used to decorate the trees, which have trunks of brown coffee and tan parsnip seed. The merry-go-round features finial yellow fine-cut strawflower, crown of white balls, white powdered rice and dark red dried cranberry seeds. In total, nearly 30,000 flowers were used. Riding the float are several cancer survivors, including Paul Edmonds from Desert Hot Springs. He is one of five people in the world to achieve full remission of HIV and leukemia after receiving a stem cell transplant at City of Hope in Los Angeles.


53. Coding for Veterans

Sounds of Success

(Phoenix Decorating Company)

Making their Rose Parade debut, Coding for Veterans helps servicemen and women from both the U.S. and Canadian Armed Forces make the transition from public service to the private sector, with training in the fields of cyber security and software development. The helicopter at the front is inspired by the U.S. Sikorsky UH-60 Black Hawk, with working rotors and tail element; and doing a fly-by at the rear of the float is a replica of the Lockheed Martin F-35 Lightning II jet.


54. Tiger Squadron Flyover

Southern California

Flying vintage warbirds, the Tiger Squadron is a precision formation flying and aircraft display team. It’s made up of military and commercial airline pilots, instructors and experienced civilian pilots with thousands of hours of combined experience, an unblemished safety record and all required formation credentials.


55. Albertville High School Aggie Band

Albertville, Alabama

Featuring more than 330 students — nearly a quarter of the student population at Albertville High School — this unit from Alabama is highly regarded in the South and beyond. Besides making their third Rose Parade appearance in 2024, the band also has performed in the Macy’s Thanksgiving Day Parade on four occasions, the Disney World Parade, the 2014 Philadelphia Thanksgiving Day Parade and the Magnificent Mile Parade in Chicago.


56. San Diego Zoo/San Diego Zoo Safari Park

It Began With a Roar

(Artistic Entertainment Services)

Rex the lion, an orangutan, koala bears and other wild animals roam this lush landscape presented by the San Diego Zoo and San Diego Zoo Safari Park, where more than 5 million visitors experience nature every year. This is the parks’ third Rose Parade entry; last year’s float won the Animation Award.


57. Blue Shadows Mounted Drill Team

Lake View Terrace

Making their fifth Rose Parade appearance, the Blue Shadows Mounted Drill Team has a history that dates back six decades. What makes this team unique is new members don’t need to own their own horse. They ride at facilities where rental horses are readily available. Also, past riding experience is not required to join. “Both of these attributes allow the opportunity for so many more people to have a chance to experience this life-changing sport,” says the nonprofit/all-volunteer organization.


58. Trader Joe’s

a one, a two, … a one – two – three – Broccoli!

(Phoenix Decorating Company)

The 22nd entry from Trader Joe’s — a chain of neighborhood grocery stores that started in Pasadena in 1967 — features, perhaps not surprisingly, an assortment of our vegetable friends. The Fearless Flyer, with a chef’s hat and wooden kitchen spoon, is conducting an orchestra that includes a cool corn sax player (hair of corn silk pieces, glasses of red large kidney beans, arms of green ti leaves and fine ground split pea, and a husk of green ti leaves and fine ground split pea) and a broccoli choir (tops of dark lavender, yellow and Kermit green mums; pink, orange and light green goblin carnations). Since winning the Animation trophy in 2005, Trader Joe’s has picked up another 13 kudos for its Rose Parade work, including the Wrigley Legacy award last year.


59. Niceville High School Eagle Pride Marching Band

Niceville, Florida

Located three miles from Eglin Air Force Base, the Niceville High School marching band features students from all over the world as they rotate in and out of the program through the military and defense contractor community. The band members also are high academic achievers, as they make up an inordinate number of the National Merit Scholars on campus. This is Niceville’s third Rose Parade appearance (2008, 2017).


60. Arabian Horse Association Versatile Arabians

Oakville, Washington

With some 15,000 members in the United States and Canada, the Arabian Horse Association is making its seventh Rose Parade appearance. Arabians are the oldest and only purebred horses in the world, and their lineage can be traced to the deserts of Saudi Arabia and ancient Russia and Poland. In the Middle East, Arabian mares were so prized that they lived with their owners in tents in the desert.


61. Lions International

Changing the World Through Music

(Phoenix Decorating Company)

“Just as music is the universal language, service is a universal need.” That’s the story behind the theme of this Lions International entry, the 33rd Rose Parade float from the organization that, for more than a century, has dedicated itself to changing the world through service. The globe is decorated with blue and light blue fine-cut statice, green fine ground parsley and white fine ground rice. At the rear of the 35-foot-long float, the large floral flares are covered with dark red xmas red mums, yellow carnations, dark blue statice, light pink whole carnations, dark lavender mums and peach and green goblin carnations.


62. William Mason High School Marching Band

Mason, Ohio

This 260-member competitive marching band has been awarded the Sudler Flag of Honor and the Sudler Shield — one of only a handful programs nationally to receive both honors from the John Philip Sousa Foundation. William Mason has been a Mid-States Band Association Open Class champion, Bands of America Regional champion and a Bands of America Grand National finalist. This is the unit’s second Rose Parade (2016).


63. Odd Fellows & Rebekahs

All We Need is Love

(Phoenix Decorating Company)

Unicorns are real — at least they are on this 35-foot-long entry from Odd Fellows & Rebekahs, which features more than 32,000 flowers. The colorful trio are decorated with light lavender MoonAqua carnations; pink Bernard whole carnations plus hot pink fuzzy cut statice; and green Goblin whole carnations with green fine-ground split pea. The organization has been a Rose Parade participant for 73 years.


64. Silver Spurs Riding Club Quadrille

Kissimmee, Florida

This unit features eight couples performing square dance on horseback — riding Florida Cracker Horses, American quarter horses and a mixture of both. The club was founded in 1941, and the square dance drills were created by the founding members. All 16 members who ride today are cousins, and have grown up riding and working together to put on the Silver Spurs Rodeo in St. Cloud, Florida.


65. The Salvation Army Tournament of Roses Band

Long Beach

With 223 members, The Salvation Army Band — featuring musicians from throughout the United States — has been in every Rose Parade since 1920, making it the longest-serving band in the parade. They’ll be joined this year by a Salvation Army band from London.


66. The Cowboy Channel

The Cowboy Channel

(Phoenix Decorating Company)

A golden palomino horse, with rider proudly displaying the American flag, leads the way on this entry from The Cowboy Channel, which is making its ninth Rose Parade appearance. Iconic city elements include Chicago’s Sears Tower and the Chrysler Building in New York City. Seven previous Cowboy Channel entries have earned trophies, including the Isabella Coleman award last year.


67. Kaiser Permanente

Symphony of You

(Fiesta Parade Floats)

Kaiser Permanente, one of the country’s leading health-care providers and not-for-profit health plans, returns for its 18th Rose Parade. Previous floats have won 13 trophies, most recently the Theme Award in 2022.


68. Pulaski High School Red Raider Marching Band

Pulaski, Wisconsin

This high-stepping, Big 10 type marching band employs lots of choreography, chants and singing in their performances. The Red Raiders have been in three previous Rose Parades (2007, 2012 and 2017). Other nationally televised appearances have included the Macy’s Thanksgiving Day Parade. They’ve also performed at the WWII Memorial at Pearl Harbor in Hawaii and in the Main Street Parade at the Magic Kingdom in Orlando, Florida.


69. Painted Ladies Rodeo Performers

Citrus Heights

Billed as an “extreme drill team,” this unit has been the featured equestrian attraction at the Folsom Pro Rodeo for 26 years. Making their eighth New Year’s Day ride down Colorado Boulevard, they also have appeared several times in the Hollywood Christmas Parade. In addition, riders have helped children and young adults, who have suffered a loss or trauma, via horse and animal therapy.


70. Mid-Parade Performance, presented by Enjoy Illinois, the Illinois Office of Tourism

Illinois — The Middle of Beats & Blues

(Phoenix Decorating Company)

From the center of the country comes this drive along Route 66 — at least the portion that’s in Illinois — featuring tributes to Chicago’s entertainment scene, quirky roadside attractions (we’re looking at you, Gemini Giant, the smiling spaceman in Wilmington), and plenty more. Performing aboard the 55-foot-long float, the sophomore entry from the Illinois Office of Tourism, will be Straight No Chaser.


71. Westlake High School Chaparral Band

Austin, Texas

This 189-member marching band is making its third Rose Parade appearance (2003, 2017). Organized in 1969, the ensemble has consistently performed well at annual Bands of America Regional and Super Regional marching competitions. They’ve performed internationally as well — in Canada, England, Ireland, the Isle of Man, China and Japan.


72. Kiwanis International

Serving in Harmony

(Phoenix Decorating Company)

It’s music, music, music on Kiwanis’ 42nd Rose Parade entry, as a giant sheepdog listens to what’s playing on a vintage wind-up gramophone record player. He shows his approval by wagging his tail, which, in turn, tickles the ivories of the player piano. The canine music-lover is decorated with white pampas grass, and black and dark gray buffalo grass for the fur; hot pink fine-cut statice for the tongue; and eyes of white powdered rice and black seaweed. Kiwanis provides leadership training for high school (Key Club) and college Circle-K level students as well as adults with disabilities (Aktion Club).


73. Jenks Trojan Pride

Tulsa, Oklahoma

With nearly 250 members, this ensemble represents a high school that was a 2005 Malcolm Baldrige National Quality Award winner. During the past decade, Jenks boasts the highest academic and testing scores in Oklahoma, the largest number of national merit scholars in the state, and the state’s highest average ACT scores — two points higher than the national average.


74. La Cañada Flintridge

Flower Power

(Self-built)

For their 45th Rose Parade entry, the La Cañada Flintridge Tournament of Roses Association travels back in time to 1967, the Summer of Love. The Flower Power rock band includes a daisy drummer plus sunflower and iris guitarists — all covered in various shades of strawflower, statice, iris petals, and rose petals. The “head” of the snapdragon is decorated with artichokes, Brussel sprouts and other vegetables. Bees riding in a smaller, battery-powered satellite float are the rock band’s groupies — “groupbees,” get it? If you’re a numbers person, you might get a kick learning that the smaller ride is only 13% the size of the giant hippie bus.


75. Elks U.S.A.

Chimes of Liberty/Protecting Our Future

(Phoenix Decorating Company)

Nearly 25,000 flowers decorate this 55-foot-long float from the Benevolent and Protective Order of Elks — the 17th entry from the charitable/service organization with more than 775,000 members. The Declaration of Independence features crème paperbark, with edges of light tan ground oats and dark brown coffee-lettering of black beans, dark brown coffee and tan fine walnut shell. Cranberry seeds, fine-ground rice and fine-cut statice make up the red, white and blue in the American flag.


76. The B.O.S.S. (The Bands of Santiago Sharks)

Corona

This 235-member ensemble incorporates several bands — including concert bands, a jazz band and string orchestra. During the past 26 years, they’ve performed at a variety of locations throughout the United States including the Lincoln and Jefferson memorials in Washington, D.C., Pearl Harbor in Hawaii and the Kennedy Space Center and Disney’s Epcot Center in Florida. This will be their third Rose Parade performance (2013, 2018).


77. American Armenian Rose Float Association

Armenian Melodies

(Artistic Entertainment Services)

With the goal of preserving and promoting Armenian culture and heritage through the art of float design, this entry features an Armenian dress as its focus, designed with red Christmas mums, whole pomegranates, dried apricots, cranberry seed and green ti leaves. The front drums are decorated with brown flax seed, crushed walnut, blue statice, black onion and ground rice, while the large rear drum features sesame seeds ground rice, red cranberry, blue statice, white beans, orange lentils, natural rope and ground walnut shells.


78. Victorian Roses Ladies Riding Society

Alpine

Making their seventh Rose Parade appearance, this unit is a veteran of several Southern California parades and events, including the Del Mar Night of the Horse and the Hollywood Christmas Parade. They will be wearing a variety of rose-colored 1880s Victorian period-correct dresses, and riding several different breeds including Arabian, Belgian, mule, paint, Shetland and Spotted Draft horses.


79. Kindness is Free Powered by Boys & Girls Clubs

Kindness is Free

(Artistic Entertainment Services)

Empowering the next generation of youth to understand the importance of equal treatment, respect and consideration of others through words and actions, the Kindness is Free program started as a local initiative through the Boys & Girls Clubs of West San Gabriel Valley & Eastside. This float demonstrates why small acts of kindness — an elephant holding an umbrella for a mouse — are meaningful. The body of the whimsical elephant is decorated with a combination of blue, purple and pink statice; the mouse is adorned with lettuce seed, ground Spanish moss, corn husk and onion seed.


80. LAUSD All District High School Honor Band

Los Angeles County

The LAUSD All District High School Honor Band, this year featuring 365 members, has provided a world of performing opportunities for some of the top musicians in the nation’s second-largest school district. Besides the Rose Parade — this unit has been part of the New Year’s Day tradition since 1973 — they have performed at the Super Bowl, World Series and with a variety of A-list music talent including Jon Batiste, Etta James, Lou Rawls and Ringo Starr.


81. City of Burbank

Caterpillar Melody

(Self-built)

Formed in 1949, the Burbank Tournament of Roses Association celebrates its 75th anniversary with this float featuring an oversized caterpillar, awaiting its turn to transform and take flight, playing a joyful melody on a harp. The caterpillar’s name is Beth, to honor a longtime volunteer who died in 2023. Fluttering around the base of the harp are several colorful butterflies, each representing a different variety, but all found in California including some on the endangered list. Burbank’s entry won the Queen’s Award last year, and the Mayor’s Award in 2022.


82. Long Beach Mounted Police/Kings County Sheriff’s Posse

Long Beach/Kings County

Appearing as a combined entry, the Long Beach Mounted Police and Kings County Sheriff’s Posse represent both the south and north parts of California. Parade-goers are probably most familiar with the Long Beach Mounted Police, who have appeared annually on New Year’s Day from 1946-2013, then again in 2016 and 2018. The Kings County Sheriff’s Posse, which was formed in 1937, also is a Rose Parade veteran, making their last appearance in 2003.


83. ESPN

(Phoenix Decorating Company)

This float celebrates the four college football semifinal teams — Alabama, Michigan, Texas and Washington. The first two will meet in the Rose Bowl Game, with the Wolverines making their 21st appearance and the Crimson Tide making their eighth appearance at the historic venue. The Longhorns and Huskies will square off at the 90th annual Sugar Bowl, with the winners advancing to the National Championship in Houston on Jan. 8.


84. Rose Parade Grand Finale, presented by Mansion Entertainment Group

Grand Finale

(Artistic Entertainment Services)

The Mansion Theatre For The Performing Arts, the largest theater of its kind in Branson, Missouri, is a fitting venue for this Grand Finale. The Mansion is decorated with ground rice, fresh coconut, seaweed, crushed walnut shell and carnation petals. Other floral elements include arrangements of gladiolas; an array of orange, yellow, and white roses; and beautiful stock blossoms.

Biden highlights Milwaukee’s Black-owned businesses and lead pipe progress

Biden highlights Milwaukee’s Black-owned businesses and lead pipe progress

The trip is designed to spotlight a surge in federal government assistance for Black-owned small businesses

WE’RE JUST GETTING SO MANY OF YOU WHO HAD THE VISION AND TOOK THE RISK TO OPEN BUSINESSES, AND YOU BET ON YOURSELF TOGETHER. WE’RE TRANSFORMING AN ECONOMY BY INVESTING IN ALL OF AMERICA AND ALL AMERICANS. WHEN I SAID WHEN I RAN, IF I WAS ELECTED, I’D REPRESENT EVERYONE BLUE, RED, NO MATTER WHAT COLOR THE STATE WAS, WHEREVER IT WAS, WE’D RECOMMEND BECAUSE THINK, THINK ABOUT IT. THINK OF ALL THE BUSINESSES THAT YOU KNOW ABOUT THROUGHOUT THE MIDWEST AND BACK MY WAY AS WELL. THAT CLOSED DOWN BECAUSE YOU HAD AND CORPORATIONS DECIDED THEY’D GET CHEAPER LABOR ACROSS THE SEA. YOU CAN MOVE SOMEWHERE ELSE SO THEY SENT THE JOBS OVERSEAS AND BROUGHT THE PRODUCT BACK HOME, AND WE CHANGED THAT SUPPLY CHAIN. WE’RE SENDING WE’RE HAVING THE JOBS HERE AND SENDING PRODUCT OVERSEAS. AND FROM THE TIME I GOT INVOLVED IN PUBLIC LIFE, I’VE ONLY BEEN AROUND A FEW YEARS. OH, BLESS ME, FATHER. ANYWAY, WE’RE DOING IT BY BUILDING AN ECONOMY FROM THE MIDDLE OUT AND THE BOTTOM UP, NOT THE TOP DOWN, NOT A WHOLE LOT. TRICKLE DOWN ON MY DAD’S KITCHEN TABLE. WHEN THE TOP DOWN ECONOMY. BUT WHEN YOUR MIDDLE FROM THE BILL, WHEN YOU’VE INCREASED THE MIDDLE CLASS, THE POOR HAVE A SHOT AND THE WEALTHY STILL DO VERY WELL. THE MIDDLE CLASS DOES WELL AND WE ALL DO WELL. THAT’S WHAT WE CALL BIDENOMICS. THIS. BY THE WAY, SO FAR WE’VE CREATED 14 MILLION NEW JOBS. MORE JOBS THAN THREE YEARS THAN ANY PRESIDENT HAS CREATED IN FOUR YEARS IN HISTORY. THIS IS A FUNDAMENTAL BREAK FROM TRICKLE DOWN ECONOMICS, ECONOMIC BASE THAT’S SUPERCHARGED MY MY WAS WAS SUPERCHARGED BY MY PREDECESSOR. THE GUY WHO THINKS WE’RE POLLUTING THE BLOOD OF AMERICANS THESE DAYS. HE CUT TAXES FOR THE WEALTHY AND BIG CORPORATIONS SHIPPED GOOD PAYING JOBS OVERSEAS, SHRANK PUBLIC INVESTMENT IN INFRASTRUCTURE AND EDUCATION. WE USED TO HAVE THE NUMBER ONE INFRASTRUCTURE IN THE WORLD. NOW WE’RE NUMBER 16 OR 17. WE’RE CHANGING THAT. WE HOLLOWED OUT COMMUNITIES, LEAVING TOO MANY AMERICANS BEHIND. IT’S A CYCLE, FOLKS. ON 30TH STREET, CARTER HERE IN MILWAUKEE KNOW WELL IT’S AN AREA WHERE SAYS IT BECAME THE BACKBONE OF MILWAUKEE’S INDUSTRIAL REIT. MIGHT 10,000 BLACK PEOPLE MIGRATED TENS OF THOUSANDS MIGRATED FROM THE SOUTH TO THE MIDDLE OF THE COUNTRY TO MILWAUKEE FOR GOOD PAYING MANUFACTURING JOBS. THEN DECADES OF DISCRIMINATION AND TRICKLE DOWN ECONOMICS LEFT COMMUNITIES LIKE THIS ONE BEHIND. BUT TODAY WE’RE MAKING SURE MILWAUKEE IS COMING BACK AND ALL OF MILWAUKEE COMING BACK. AND MARK MY WORDS. MILWAUKEE BUSINESS APPLICATIONS ARE UP 70% COMPARED BEFORE THE PANDEMIC. THE SHARE OF BLACK PEOPLE EMPLOYED IN MILWAUKEE IN 2022 WAS THE HIGHEST IN MORE THAN A DECADE. BUT THE INVESTMENTS AREN’T JUST ABOUT JOBS. THE INVESTMENTS WE’RE MAKING OFFER OPPORTUNITY, HOPE TO COMMUNITIES TO FULLY PARTICIPATE IN THE ECONOMY. I VOWED THAT WE INVEST IN ALL OF AMERICA, AND THAT’S WHAT WE’RE DOING. WE’RE LEAVING NO ONE BEHIND. NO ONE NEED BE LEFT BEHIND. LET ME GIVE YOU A CLEAR EXAMPLE. WE ALL KNOW AS MY INTRODUCER TOLD ME, TOLD YOU GUYS WE ALL KNOW EXPOSE TO TO LEAD WATER PIPES IS HAZARDOUS TO OUR HEALTH, ESPECIALLY TO CHILDREN’S HEALTH. IT CAN DAMAGE THEIR BRAINS AND KIDNEYS FOR REAL LEAD EXPOSURE DISPROPORTIONATELY AFFECTS LOW INCOME COMMUNITIES AND DISPROPORTIONATELY AFFECTS PEOPLE OF COLOR. THIS IS THE UNITED STATES OF AMERICA, FOR GOD’S SAKE. EVERYONE SHOULD BE ABLE TO TURN ON A FAUCET AND KNOW WHATEVER THEY’RE DRINKING WAS CLEAN AND PURE AND NOT HAVE TO WORRY ABOUT IT. THROUGH THE HISTORIC BIPARTISAN INFRASTRUCTURE LAW, MY ADMINISTRATION IS INVESTING. $15 BILLION TO REPLACE EVERY LEAD PIPE IN EVERY COMMUNITY IN THIS COUNTRY. AND OUR GOAL OUR GOAL IS TO DO THAT. AND I WANT TO THANK KAMALA I WANT TO THANK KAMALA FOR LEADING THIS EFFORT. BUT, YOU KNOW, YOUR UNITED STATES SENATOR, RON JOHNSON, VOTED AGAINST THIS LAW. WHO? WELL, I’LL TELL YOU WHAT. WITH YOUR HELP, THE GREAT GOVERNOR AND CONGRESSWOMAN AND THE STATE, THEY ALREADY RECEIVED $130 MILLION TO DO THIS WORK. SO FAR. BEFORE I CAME TO MILWAUKEE, MILWAUKEE WAS SLATED TO TAKE OVER 60 YEARS TO REPLACE THE LEAD PIPES. BUT LAST MONTH, WE PROPOSED A NEW RULE. IT’S GOING TO REQUIRE THE WATER SYSTEMS IN MILWAUKEE TO BE FULLY REPLACED WITH EVERY ONE OF THEM WITHIN TEN YEARS. TEN YEARS INSTEAD OF 60. I THINK THE LIVES SAVED. THINK OF THE JOBS AND OPPORTUNITIES FOR SMALL BUSINESS OWNERS LIKE RASHON, REPLACING LEAD PIPES AND HOMES AND DAY CARE CENTERS AND SCHOOLS. WE’RE JUST GETTING STARTED. AND SO WE ARE TODAY ANNOUNCING MILWAUKEE WILL BE ONE OF 22 COMMUNITIES IN THE COUNTRY COMPETING FOR TENS OF MILLIONS OF DOLLARS IN FEDERAL GRANTS TO GROW SMALL BUSINESSES, CREATE GOOD PAYING JOBS, AND BUILD FACTORIES OF THE FUTURE. IT MATTERS. I’M ALSO INCREASING THE SHARE OF FEDERAL CONTRACT DOLLARS GOING TO SMALL, DISADVANTAGED BUSINESSES FROM WHAT WAS ROUGHLY 10% WHEN I CAME TO OFFICE, TO 25 TO TO 15%. HERE’S HOW IT WORKS. BACK IN THE 30S, IT WASN’T JUST THAT ROOSEVELT TALKED ABOUT UNIONS BEING SUPPORTED. THEY ALSO HAD A RULE THAT PASSED THAT VERY FEW PRESIDENTS, INCLUDING DEMOCRATS, PAID MUCH ATTENTION TO THAT. EVERY DOLLAR A PRESIDENT GETS TO SPEND, FOR EXAMPLE, THE APPROPRIATION COMMITTEE AND THE CONGRESS PASSES REDOING DECKS OF AIRCRAFT CARRIERS. THE PRESIDENT GETS TO PICK WHO DOES THAT JOB, WHO DOES THAT JOB. ALL THOSE FEDERAL PROGRAMS. WELL, GUESS WHAT? THE VAST MAJORITY IS SUPPOSED TO BE ALL AMERICA AND SUPPOSED TO BE ALL AMERICAN PRODUCTS. AND GUESS WHAT? HARDLY ANYBODY PAID ATTENTION. BUT I’M PAYING ATTENTION. IRON. IT’S GOT WE’RE INVESTING IN AMERICA AND AMERICAN WORKERS. IN 2022 ALONE, WE AWARDED NEARLY $70 BILLION TO SMALL DISADVANTAGED BUSINESSES. BECAUSE OF THAT LAW, THROUGH THE AMERICAN RESCUE PLAN. ANOTHER LAW THAT YOUR DISTINGUISHED SENATOR VOTED AGAINST. WE INVESTED NEARLY $80 MILLION IN WISCONSIN WIN FOR THE STATE SMALL BUSINESS CREDIT INITIATIVE HELPING COUNTLESS SMALL BUSINESSES AND GROW, GROW THROUGH THE SMALL BUSINESS ADMINISTRATION. WE’VE. DELIVERED $50 BILLION IN CAPITAL THIS PAST YEAR TO SMALL BUSINESSES ACROSS THE COUNTRY, DOUBLING THE NUMBER IN THE VALUE OF BLACK OWNED SMALL BUSINESSES. SINCE 2020. I KNOW THAT’S A LOT, AND I’M TALKING TO THE BLACK CHAMBER OF COMMERCE FOR THANKING THEM FOR HELPING SMALL BUSINESS OWNERS LEARN HOW TO BENEFIT FROM THESE TRANSFORMATIVE INVESTMENTS. I USED TO HAVE A FRIEND NAMED PETE MCLAUGHLIN, WHO WAS A GREAT BALL PLAYER AT PROVIDENCE COLLEGE, AND HE USED TO SAY, YOU GOT TO KNOW HOW TO KNOW. YOU’VE GOT TO KNOW HOW TO KNOW. AND THAT’S WHY I WANT TO THANK THE CHAMBER HERE FOR TEACHING PEOPLE HOW TO KNOW WHAT’S AVAILABLE TO THEM. ALL THIS GROUNDBREAKING WORK IS PRODUCING GROUNDBREAKING RESULTS. A RECORD JOB CREATION, HISTORIC ECONOMIC GROWTH. WE HAVE AMONG THE LOWEST INFLATION RATES OF ANY MAJOR ECONOMY IN THE ON THIS EARTH. WE’RE FIGHTING A LOWER COST TO GIVE FOLKS JUST A LITTLE BIT MORE BREATHING ROOM THAN MY DAD USED TO SAY, BUT LET’S BE CLEAR, REPUBLICANS ARE AGAINST SO MANY CRITICAL ACTIONS THAT HELP WORKING AND MIDDLE CLASS PEOPLE, ESPECIALLY BLACK AMERICANS. JUST REMEMBER HOW THE PANDEMIC HIT BLACK BUSINESSES ESPECIALLY HARD. HOW MY PREDECESSOR ON HIS WATCH, WOMEN AND MINORITY. OWNED SMALL BUSINESSES FOUND THEMSELVES LAST IN LINE TO ACCESS EMERGENCY RELIEF THROUGH PROGRAMS LIKE THE PAYCHECK PROTECTION PROGRAM. ON MY WATCH, ENERGY DAJI AND EMERGENCY RELIEF WENT TO MINORITY OWNED BUSINESSES FIRST, BUT NOT LAST. WE ALSO KNOW WHEN I CAME TO OFFICE, WE CUT BLACK CHILD POVERTY IN HALF BECAUSE OF THE CHILD TAX CREDIT. AS I TRIED TO EXTEND IT, EVERY SINGLE REPUBLICAN CONGRESS IN CONGRESS VOTED AGAINST CONTINUING THE PROGRAM. BUT I’M NOT GIVING UP UNTIL WE GET IT BACK. BY THE WAY, ALL THE DATA SHOWS IT SAVES THE ECONOMY, MONEY, THE SPENDING ON CHILD POVERTY SAVES MONEY IN HEALTH CARE, EDUCATION, A WHOLE RANGE OF THINGS. THIS IS NOT A DOWN THE DRAIN. IT GENERATES GROWTH. WE DRAFTED AND I SIGNED A LAW THAT A LAW THAT WILL LOWER PRESCRIPTION DRUG COSTS SIGNIFICANTLY FOR ALL AMERICANS. YOU KNOW, I WAS AT A TOWN MEETING IN NORTHERN VIRGINIA AND I WAS HOLDING A MEETING. THIS IS TWO YEARS AGO. I’VE BEEN FIGHTING BIG PHARMA FOR A LONG TIME. YOU KNOW, IF YOU BUY, IF YOU GO TO WHOEVER YOUR YOUR, YOUR PROVIDER OF ANY DRUG, YOU HAVE TO TAKE ANY PRESCRIPTION DRUG AND YOU DECIDE YOU’RE GOING TO BUY IT HERE IN MILWAUKEE OR YOU’RE GOING TO BUY IT IN TORONTO, CANADA, OR PARIS, FRANCE OR BUDAPEST. GUESS WHAT? YOU’RE GOING TO PAY 2 TO 3 TIMES AS MUCH FOR THE PRESCRIPTION. SAME COMPANY, SAME AMERICAN MANUFACTURER, SAME THING BECAUSE MEDICARE PAYS FOR IT FOR MOST. IN MOST CASES. AND GUESS WHAT? WE’RE NOT JUST IF YOU’RE AT THE VA AND YOU GET THE PRESCRIPTION DRUG, THEY NEGOTIATE THE PRICE WITH THE WITH WITH THE PHARMACEUTICAL COMPANY. WELL, THEY PASSED LAWS EARLIER. WAVE ON. I’VE BEEN FIGHTING IT FOR OVER 35 YEARS TO SAY YOU CAN’T NEGOTIATE MEDICARE, CAN’T NEGOTIATE FOR DRUG PRICES FOR, FOR AND BY THE WAY, THAT’S HOW THEY MAKE ENORMOUS AMOUNTS OF MONEY. AND BY THE WAY, EVERY ONE OF MY REPUBLICAN COLLEAGUES VOTED AGAINST THIS, AND NOW THEY’RE TRYING TO CUT MEDICARE, TRYING TO CUT MEDICAID AND SOCIAL SECURITY. SEE, YOUR OWN SENATOR JOHNSON CALLS SOCIAL SECURITY A, QUOTE, PONZI SCHEME. ARE YOU KIDDING ME? ME? YOU KNOW, FROM THE TIME YOU GET YOUR FIRST PAYCHECK, YOU PAY

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Biden highlights Milwaukee’s Black-owned businesses and lead pipe progress

The trip is designed to spotlight a surge in federal government assistance for Black-owned small businesses

President Joe Biden toured a Black-owned plumbing company that’s replacing lead pipes, a nationwide initiative that’s been supported by his administration with billions of dollars, during his visit to the battleground state of Wisconsin on Wednesday.“We appreciate your service to the country,” Rashawn Spivey, head of Hero Plumbing, told Biden. After showing Biden some of their work, Spivey joined him in the presidential vehicle for a ride to the Wisconsin Black Chamber of Commerce, where Biden is scheduled to speak.The trip is designed to spotlight a surge in federal government assistance for Black-owned small businesses during Biden’s term and to highlight his administration’s efforts to ramp up investment in distressed communities. The White House is trying to shore up support among Black voters, a critical part of the Democratic coalition, as Biden runs for reelection.The Small Business Administration in the last fiscal year backed 4,700 loans valued at $1.5 billion to Black-owned businesses. Under Biden, the SBA says it has more than doubled the number and total dollar amount of loans to Black-owned small businesses.Since 2020, the share of the SBA’s loans going to minority-owned businesses has increased from 23% to over 32%.Joelle Gamble, deputy director of the White House National Economic Council, said the president’s visit to the Wisconsin Black Chamber of Commerce will give Biden a chance to show “how Bidenomics is driving a Black small business boom.”Wisconsin was among the most competitive states in Biden’s 2020 election win over former President Donald Trump and will likely be key to his reelection hopes in 2024. Trump is the leading contender for the Republican presidential nomination, and the party is hosting its national convention in Milwaukee next year.In Wisconsin and beyond, Biden is trying to pep up American voters at a time when polls show people are largely dour about his handling of the economy. The president is struggling with poor approval ratings on the economy even as the unemployment rate hovers near historic lows and as inflation has plummeted in little over a year from 9.1% to 3.2%.The White House said Biden also planned to highlight his administration’s push to replace the nation’s lead water service lines within 10 years, to ensure communities across the country, including Milwaukee, have safe drinking water.Biden holds out his lead-pipe project as a generation-changing opportunity to reduce brain-damaging exposure to lead in schools, child care centers and more than 9 million U.S. homes that draw water from lead pipes. It’s also an effort that the administration says can help create plenty of good-paying union jobs around the country.The president’s $1 trillion infrastructure legislation, passed in 2021, includes $15 billion for replacing lead pipes.Biden is also slated to announce that the Grow Milwaukee Coalition is one of 22 finalists for the Commerce Department’s “Recompete” pilot program, according to the White House. The program is funded by Biden’s CHIPS and Science Act, and is focused on investing $190 million in federal funding in job creation and small business growth in hard-hit U.S. communities.The Grow Milwaukee Coalition proposal is centered on revitalizing Milwaukee’s 30th Street Industrial Corridor.

President Joe Biden toured a Black-owned plumbing company that’s replacing lead pipes, a nationwide initiative that’s been supported by his administration with billions of dollars, during his visit to the battleground state of Wisconsin on Wednesday.

“We appreciate your service to the country,” Rashawn Spivey, head of Hero Plumbing, told Biden. After showing Biden some of their work, Spivey joined him in the presidential vehicle for a ride to the Wisconsin Black Chamber of Commerce, where Biden is scheduled to speak.

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The trip is designed to spotlight a surge in federal government assistance for Black-owned small businesses during Biden’s term and to highlight his administration’s efforts to ramp up investment in distressed communities. The White House is trying to shore up support among Black voters, a critical part of the Democratic coalition, as Biden runs for reelection.

The Small Business Administration in the last fiscal year backed 4,700 loans valued at $1.5 billion to Black-owned businesses. Under Biden, the SBA says it has more than doubled the number and total dollar amount of loans to Black-owned small businesses.

Since 2020, the share of the SBA’s loans going to minority-owned businesses has increased from 23% to over 32%.

Joelle Gamble, deputy director of the White House National Economic Council, said the president’s visit to the Wisconsin Black Chamber of Commerce will give Biden a chance to show “how Bidenomics is driving a Black small business boom.”

Wisconsin was among the most competitive states in Biden’s 2020 election win over former President Donald Trump and will likely be key to his reelection hopes in 2024. Trump is the leading contender for the Republican presidential nomination, and the party is hosting its national convention in Milwaukee next year.

In Wisconsin and beyond, Biden is trying to pep up American voters at a time when polls show people are largely dour about his handling of the economy. The president is struggling with poor approval ratings on the economy even as the unemployment rate hovers near historic lows and as inflation has plummeted in little over a year from 9.1% to 3.2%.

The White House said Biden also planned to highlight his administration’s push to replace the nation’s lead water service lines within 10 years, to ensure communities across the country, including Milwaukee, have safe drinking water.

Biden holds out his lead-pipe project as a generation-changing opportunity to reduce brain-damaging exposure to lead in schools, child care centers and more than 9 million U.S. homes that draw water from lead pipes. It’s also an effort that the administration says can help create plenty of good-paying union jobs around the country.

The president’s $1 trillion infrastructure legislation, passed in 2021, includes $15 billion for replacing lead pipes.

Biden is also slated to announce that the Grow Milwaukee Coalition is one of 22 finalists for the Commerce Department’s “Recompete” pilot program, according to the White House. The program is funded by Biden’s CHIPS and Science Act, and is focused on investing $190 million in federal funding in job creation and small business growth in hard-hit U.S. communities.

The Grow Milwaukee Coalition proposal is centered on revitalizing Milwaukee’s 30th Street Industrial Corridor.

Humanitas: A jazzy Christmas, Maya art, and a column spawns a new seminar

In the latest edition of Humanitas, a column focused on the arts and humanities at Yale, we drop the needle on a new jazz Christmas album, produced by Grammy-winning saxophonist Wayne Escoffery, that introduces a new voice from Yale College; look toward a spring philosophy seminar that was inspired by a “frustrating” 2021 opinion column in the New York Times; invite submissions for the new Yale Nonfiction Book Prize; and celebrate major honors for a Yale alumna and former faculty member who helped pioneer the New Urbanism movement and a Yale anthropologist who co-curated the first major exhibition of Maya art in the United States in more than a decade.

For more, visit an archive of all arts and humanities coverage at Yale News.

That hit a nerve: ‘Frustrating’ column inspires philosophy seminar

In the summer of 2021, Yale philosophy professor Daniel Greco read a New York Times opinion column by Ross Douthat arguing against the idea that modern science has largely discredited religious and other supernatural beliefs.

Instead, Douthat maintained, widespread secularization now prevents people from interpreting things like near-death experiences and divine encounters through a religious lens. In secular and educated circles, “any natural human eagerness to believe coexists with the opposite sort of pressure, to dismiss supernatural experiences lest you appear deluded or disreputable…,” he wrote.

It was a good column, said Greco, a member of Yale’s Faculty of Arts and Sciences, but he completely disagreed with it.

Two people I know wrote me and said how frustrating it was. We couldn’t really put a finger on what was wrong with it, but it definitely hit a nerve,” Greco said. “And it struck me — it would make a good course.”

And now it is. Greco reached out to Douthat, who is now a senior fellow at the Yale Jackson School of Global Affairs, and next spring, the two will co-teach a philosophy seminar called, “Is this all there is? Materialism and Religion in the Ancient and Modern World.”

Both instructors will attend every class and argue opposing points of view. Greco is an atheist, and Douthat is a devout Catholic. The first assigned reading is the 2021 column that Greco found so vexing, paired with a 1927 essay by the British philosopher Bertrand Russell titled “Why I am Not a Christian.”

I think of it as a discussion rather than a debate,” Greco said. “I’m not out to win converts. The goal is to get to the roots of disagreements.”

Among the topics to be examined are evolution, miracles, near-death experiences, and free will. Greco said they hope students come away with a greater understanding of what these and related issues look like from very different points of view.

There’s a broader sense that it’s hard to have respectful conversations across deep disagreements,” he said. “That’s kind of the ideal of what college should look like, but it happens more rarely than you’d think. This seemed like a good example of a topic where we could practice that very difficult skill.”

New Christmas jazz album has a Yale flavor

Earlier this year, when a producer approached Grammy Award-winning tenor saxophonist Wayne Escoffery, a lecturer at Yale School of Music, about making a Christmas jazz album, the first vocalist he thought of was one of his students, Teddy Horangic.

This Christmas album cover with Teddy Horangic and Frank Lacy
Yale junior and vocalist Teddy Horangic, left, with trombonist Frank Lacy on the “This Christmas” album cover.

This holiday season, Horangic, a Yale College junior who is also interested in environmental economics and sustainable entrepreneurship, is one of the featured vocalists on the newly released album, “This Christmas,” produced by the Night is Alive jazz agency. Escoffery, the executive producer, selected the music and the musicians.

Teddy has a really natural feeling and understanding of jazz phrasing which is very unique for someone her age,” said Escoffery, a lecturer in jazz improvisation and director of the school’s jazz combos and jazz ensemble. “Great pitch, intonation, and instincts. I was looking for something to include her on because it’s important for her to work in a professional environment with world-class musicians.”

Accompanying Horangic are Escoffery, Frank Lacy on vocals and trombone, Xavier Davis on piano, Jeremy Pelt on trumpet, James Burton III on trombone, Richie Goods on bass, and Quincy Davis on drums. Many of the musicians, including Escoffery, are part of the Black Art Jazz Collective, which is dedicated to celebrating African American cultural and political icons.

The album’s eight tracks are all contemporary jazz takes on well-known favorites, including “O Holy Night,” “Have Yourself a Merry Little Christmas,” “We Three Kings,” and “Let it Snow.” It is available on Apple Music, Spotify, and YouTube.

This is Horangic’s first professional recording. But she previously had an opportunity to sing at a Jazz at Lincoln Center event celebrating jazz great Charles Mingus. Escoffery brought Yale’s Jazz Ensemble to the event, and “she sang with Frank Lacey then, trading phrases. He was a great mentor to her.”

This Christmas” represents a major landmark for Yale’s Jazz Initiative, established by the music school in 2016 to strengthen and expand jazz studies, and is a testament to the university’s support for the program, Escoffery said.

It allows me to bring my network into the Yale community,” he said. “These experiential learning opportunities, where students are thrust into an environment where they are sitting next to professional musicians, are very important.”

Manuscripts wanted: Announcing the Yale Nonfiction Book Prize

The Yale Review and Yale University Press are accepting submissions for the inaugural Yale Nonfiction Book Prize, a biennial, international prize that will recognize “artful, innovative, and intellectually probing” book-length works of nonfiction.

The prize includes a $15,000 advance, publication by Yale University Press within the Yale Nonfiction Prize Series, and a first-serial excerpt placement in The Yale Review. The inaugural judge is acclaimed nonfiction writer, poet, and Yale Review editor Meghan O’Rourke.

The prize is open to any writer who has not yet published a book of nonfiction.

Complementing the Yale Series of Younger Poets and the Yale Drama Series, this new prize will add great richness and variety to Yale University Press’s celebrated nonfiction list,” said Jennifer Banks, senior executive editor of Yale University Press. “We are thrilled to partner with The Yale Review and Meghan O’Rourke to discover and support those writers who are daringly and skillfully reimagining the nonfiction genre today.”

Added Meghan O’Rourke: “Like the Yale Series of Younger Poets before it, this will become one of those prizes that regularly launches powerful new voices and leads to the publication of seminal books.”

Manuscripts can be submitted via Submittable between Jan. 15 and Feb. 15, 2024.

For more information, visit The Yale Review site.

A pioneer in New Urbanism receives top architecture honor

Last week, Elizabeth Plater-Zyberk ’74 M.Arch. ’23 Hon., who has twice returned to the Yale School of Architecture as a visiting professor, was named the 2024 AIA/ACSA Topaz Medallion for Excellence in Architectural Education, the highest honor for architectural educators in the United States.

The American Institute of Architects (AIA) and the Association of Collegiate Schools of Architecture (ACSA) annually award the Topaz Medallion for teaching that has influenced a broad range of students.

Elizabeth Plater-Zyberk
Elizabeth Plater-Zyberk (Photo credit: DPZ CoDesign)

Plater-Zyberk, who taught at Yale as the William Henry Bishop Visiting Professor in Spring 1987 and then as the Robert A.M. Stern Visiting Professor in Spring 2017, is now the Malcolm Matheson Distinguished Professor of Architecture at the University of Miami School of Architecture (U-SoA). She served as U-SoA’s dean from 1995 to 2013.

This spring, Yale presented Plater-Zyberk and her colleague and Yale classmate Andrés M. Duany ’74 M.Arch. with honorary doctor-of-fine-arts degrees for their leadership in the development of New Urbanism, an urban design movement that emphasizes sustainability and human-scaled communities.

In awarding her the Topaz Medallion, AIA/ACSA also acknowledged Plater-Zyberk’s pioneering role in developing New Urbanism.

As formidable an architect as she is an educator, Plater-Zyberk has transformed the teaching of architecture by ceaselessly promoting walkable and resilient design,” states the award announcement on the AIA website. 

Deborah Berke, dean and J.M. Hopper Professor at the Yale School of Architecture, received the 2022 Topaz Medallion.

Other past Yale winners of the Topaz Medallion for Excellence in Architectural Education include Robert A.M. Stern (2017), Serge Chermayeff (1980), a faculty member from 1963 to 1969; the late Vincent Scully Jr. ’40, ’49 Ph.D. (1986), who was Sterling Professor in the History of Art; the late Charles Moore (1989), chair of the Department of Architecture from 1965 to 1970; Spiro Kostof ’61 Ph.D. (1992), who served on the faculty from 1961 to 1965; and Peter Eisenman (2014), the inaugural Charles Gwathmey Professor in Practice.

Lives of the Gods’: Anthropologist honored for Met exhibition

Yale anthropologist Oswaldo Chinchilla Mazariegos has been named a 2024 recipient of the College Art Association’s (CAA) Alfred H. Barr Jr. Award for museum scholarship in recognition of his work coediting the catalogue for a recent exhibition of Maya art at the Metropolitan Museum of Art (the Met) in New York City.

The exhibition, “Lives of the Gods: Divinity in Maya Art,” which was on view from November 2022 to April 2023, explored how the ancient Mayans gave material shape to their religious beliefs.

A recent exhibition at the Met in New York, “Lives of the Gods: Divinity and Maya Art.”
A recent exhibition at the Met in New York, “Lives of the Gods: Divinity and Maya Art,” explored how the ancient Maya gave material shape to their religious beliefs. Yale archaeologist Oswaldo Chinchilla Mazariegos co-curated the show.

Chinchilla Mazariegos, who co-curated the show, edited the exhibition catalog with Joanne Pillsbury, the Andrall E. Pearson Curator of Ancient American Art at the Met, and James A. Doyle, director of the Matson Museum of Anthropology at Penn State University. The award, named in honor of the founding director of the Museum of Modern Art, is presented annually to the authors or editors of an especially distinguished catalogue in the history of art, published in the English language under the auspices of a museum, library, or collection.

Lives of the Gods,” which was the first major exhibition of Maya art in the United States in more than a decade, featured nearly 100 rarely seen masterpieces and recent discoveries, including massive stone stelae, ceramic jars and vases painted with images of gods and goddesses, and ornaments and figurines carved from jade and obsidian, mostly dating from the Mayan Classic period between 250 and 900 A.D.

Chinchilla Mazariegos, associate professor of anthropology in Yale’s Faculty of Arts and Sciences, an expert in the ancient societies of Mesoamerica, organized the exhibition with Pillsbury and Laura Filloy Nadal, an associate curator at the museum.

The exhibition included a video of “The Dance of the Macaws,” performed by a group of young people in Santa Cruz Verapaz, a colonial and modern town in Guatemala. Speaking in their Indigenous language, they present a story of a suitor stealing away a young woman from her protective parents.

We wanted to incorporate content that informs the public about the resilience of Maya religious belief and to convey the point that Maya are living people, not something archaeological or from the past,” Chinchilla Mazariegos told Yale News last year. “These are living communities that still preserve aspects of the ancient religious beliefs depicted in the ancient objects presented in the exhibition.”

He will accept the award in February at the CAA’s annual meeting in Chicago.

Lisa Prevost and Mike Cummings contributed to this column. 

More arts and humanities:

Zero at the Bone’: Poet Christian Wiman confronts despair in new book
Yale Rep helps playwrights follow their hearts, find their voices
The Beinecke at 60: Staff members share collection favorites
In ‘My Egypt Archive,’ Alan Mikhail charts the making of history
Opera gives voice to Alan Turing with help of artificial intelligence
Ned Blackhawk’s ‘Rediscovery of America’ wins National Book Award

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This Iconic ‘Sister Act 2’ Character Inspired Me to Shatter Self-Doubt

The first time I actually addressed the negative perceptions I carried about myself, I was a terrified college student. I’d caught the movie “Sister Act 2: Back in the Habit” on TV one night, released years before, but I’d never watched it in full. Something about Lauryn Hill’s character — she played a Catholic schoolgirl in a “rough” neighborhood in California’s Bay Area — gripped me immediately. Her brand of Black teen girl rebellion spoke to me, pinpointing my frustrations.

Growing up in a cramped New York City apartment in the ’90s, my Saturday mornings were loud and eventful. The comforting aroma of Nigerian-style eggs with plantain summoned my siblings and me to the kitchen. We devoured meals to the lively, echoing soundtrack of my mother’s long-distance phone calls in her native tongue. Despite it all, my father could not be disturbed, especially if an Eddie Murphy movie or stand-up special was on television. He’d say between throaty belly laughs, “Don’t forget to read your book,” with his eyes glued to the screen. Weekends were not an excuse to lose track of our academic journey, clearly.

To our parents, who emigrated to America from Nigeria in the 1980s, academic overachievement was the standard. I already knew I wanted to be a writer, but the decision was solidified when I began devouring Essence and Vibe magazines at my aunt’s house. Print media was popping back then, and I was enamored with how each story amplified Black art, music and celebrity culture.

On those boisterous weekend mornings, my parents also spent time trading ideas about our destinies — discussing how my siblings and I would navigate our journeys to being in medicine or law. There was no room for our opinions on the subject. While their approach seemed a little draconian at the time, I now understand that they wanted their children to be successful after all they’d been through. And that could only happen if we got a “safe” job.

I was miserable at the thought of this, yet the idea of letting my parents down horrified me. They’d fled their home country, separated themselves from their families, with no money. They were fueled by the dream of giving their children a “better life.” So before I was 13, my destiny had been selected, and I was determined to give them bragging rights to say: “My daughter is the best nurse in America.” When it came time, I enrolled in college as a nursing major.

Being a first-generation Nigerian-American teen came with unique challenges. Straddling two worlds, I didn’t feel like I completely belonged to either. Navigating my cultural identity was heavy, and it involved a battle between what I wanted to do versus what I was “supposed” to do. In college, I fantasized about writing professionally while studying nursing as diligently as possible. I quickly learned to cocoon myself into invisibility while self-doubt and inadequacy settled in.

During that time, I caught “Sister Act 2” on cable. The sequel starred Whoopi Goldberg as an undercover nun who led a music program at a “troubled” high school. I was transfixed by the way Hill’s character, Rita, sang. And I empathized deeply with her desire to immerse herself in this art versus a useful trade or the traditional education that her mother so desperately wanted for her. She was stunningly self-aware, and it inspired me.

Rita’s mother, played by the iconic Sheryl Lee Ralph, echoed the sentiment of so many Black and immigrant parents who sacrificed so much so their kids could have what they considered better. “If you want to win in life, you keep your nose in those books and out of the crowd,” Ralph said in the film to Hill, sounding just like my parents. And like Rita, I felt stifled by their expectations.

When I watched Rita ultimately gather the courage to defy her mother and compete in the singing competition at her school, my feelings of inadequacy began to dissolve. It blew my mind. I had never seen a young Black girl believe in her power and act on it in that way. Her resistance spoke to me at a crucial moment in my life and became the defining moment that re-shaped my ability to take risks. Rita gave me the permission to rebel.

When I entered college, my mother was a single mom, like Rita’s, determined to ensure my future was set. For years, I struggled through different courses I didn’t care about with decent grades. In the registrar’s office, I could still hear her plea in my head as I decided to change my major from nursing to English. It was a decision I’d hide until graduation.

I wanted to emulate the sweet-faced Black teen girl with braids like mine, who dared to disrupt the internalized messages of self-doubt. For me, “Sister Act 2” went beyond the buoyant performances that made it a classic, meme-worthy movie years later.

Hill’s Rita won, literally, by owning the mic. Her rhymes were replete with agency and powerful vocals, which she sang with conviction. It was a master class in Black teen joy. A bonus for me was that it was laced with hip hop flavor and a love for God.

“Mom, I am going to be a writer,” I told her at graduation. The sight of me in a cap and gown filled her with pride, and thankfully, it left little room to negate my achievement. She was so happy. There was no greater feeling. When I published my first piece in Essence, my mom was over the moon, bragging to her friends about her daughter’s first published article — in such a venerable outlet, at that. Still, the Nigerian immigrant mom in her never took a day off, so it wasn’t long before she politely inquired where I would be getting a master’s degree.

On the 30th anniversary of “Sister Act 2,” the film’s legacy can’t be confined to the ’90s or Hollywood’s dismissal of it. Even now, when I watch it as a grown woman, it is a reminder to self-reflect and identify where I let complacency or conformity to the expectations of others sneak in.

It’s easy to develop blind spots in adulthood. If I find myself faltering, I simply follow what the students in the movie do before they perform at the state competition. I “take off my robe” and peel away any layers that don’t align with my authentic self. And now, a constant state of rebellion is my favorite place to be.

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New York governor approves slavery reparations panel, calls on state to embrace ‘hard’ conversation

Tim Balk | New York Daily News

NEW YORK — Legislation to create a New York commission to study reparations for the descendants of slaves was approved Tuesday by Gov. Kathy Hochul, who called on New Yorkers to “rebuke and not excuse our role in benefiting from the institution of slavery.”

Hochul, a Democrat, signed the bill at a ceremony on the Upper West Side of Manhattan six months after the state Legislature passed the plan. The governor said the commission would make it “possible to have a conversation — a reasoned debate — about what we want the future to look like.”

Chattel slavery lasted for two centuries in New York and has cast a long and painful shadow. Slaves built historic swaths of New York City, including the wall for which Wall Street is named and the original Broadway thoroughfare. In 1730, an estimated 42% of New York City’s population owned slaves.

Now, New York State’s schools are the nation’s most segregated, according to a study from the University of California, Los Angeles. And the state’s racial wealth gap is vast: white households have a median net worth almost 15 times larger than Black households’ median net worth, the New York City comptroller’s office reported this month.

Black New Yorkers face an uphill battle in closing the racial wealth gap. In the state, Black workers make about 74 cents for every dollar earned by white workers, according to federal Labor Department data.

“The truth is, we are all held back when millions of our neighbors struggle to lift their families up generation after generation; struggle to give their kids a good education, quality health care that they deserve; struggle while fighting the indignities of racism,” Hochul said.

The governor said the after-effects of slavery in New York demand “more than giving people a simple apology 150 years later,” referring to the nationwide abolition of slavery in 1865. New York abolished slavery in 1827.

“To those who think that even having this conversation is unfair or wrong, I say it would be wrong not to have it,” Hochul declared at the bill signing ceremony. “To bend that arc of justice, we have to be willing to talk about the hard things.”

The legislation calls for a commission with nine members: three appointed by the governor, three by the Assembly and three by the Senate. The panel is to report its findings and recommendations on reparations within a year of the launch of its work.

The recommendations would not be binding.

The governor, who signed the legislation with less than two weeks to go before an end-of-year deadline to act on the plan, acknowledged that she had some reservations about the concept. White Americans broadly oppose reparations, while Black Americans largely support them, according to polling.

“There’s a part of me that worries about leaping into this conversation because of the racial division and strife it could sow,” the governor said.

Assembly Speaker Carl Heastie, a Bronx Democrat, said at the ceremony that Hochul had put “doing what’s right over what may be perceived as the political thing to do.”

Overall, more than two-thirds of Americans said in a 2021 Pew Research Center survey that they opposed reparations for the descendants of slaves.

But New Yorkers appear relatively amenable to the idea of a reparations commission: 45% voiced support for such a panel in a statewide Siena College survey conducted in the summer. In the poll, 37% of respondents said a reparations commission would be bad for New York.

State Sen. Rob Ortt of Niagara County, his chamber’s top Republican, said in a statement Tuesday that the “commission’s recommendations will be unrealistic, will come at an astronomical cost to all New Yorkers, and will only further divide our state.”

“The reparations of slavery were paid with the blood and lives of hundreds of thousands of Americans who fought to end slavery during the Civil War,” Ortt said in the statement.

Explaining her move, Hochul cited evidence that white supremacism is “alive and well” in New York, recalling the slaying of 10 Black shoppers by a white gunman in her hometown of Buffalo last year. And she pointed disapprovingly at racial inequality in the state she leads.

Hochul said the commission would “strengthen the bonds that bring us closer together” if it provides a path to help ameliorate racial disparities.

Her authorization of the bill came three years after California became the first state to create a reparations task force. New York’s plan passed by a 106-to-41 vote in the state Assembly and a 41-to-21 vote in the state Senate.

At the bill signing ceremony, state Sen. James Sanders, the Queens Democrat who sponsored the bill in his chamber, said he could envision “the new New York that we’re building.”

“I can see it arising: A place where the color of your skin is no more important than the color of your eyes,” he said. “A place where you’ll be judged by the content of your character, and not by your melanin.”

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©2023 New York Daily News. Visit at nydailynews.com. Distributed by Tribune Content Agency, LLC.

Tiny Desk Concerts Elevate Black Culture and Music 

In the wake of the COVID-19 pandemic, as the world adapted to new norms and social restrictions, Tiny Desk Concerts emerged as a beacon of musical resilience, spotlighting diverse artists and genres. For the Black community, Tiny Desk Concerts provided a unique platform that showcased talent and became a symbol of cultural resurgence after the massive popularity of Club Quarantine with D-Nice.

Tiny Desk Concerts, hosted by NPR’s Bob Boilen, transformed the music landscape by presenting intimate and stripped-down performances at the iconic desk of All Songs Considered. What started as a simple idea in 2008 has since become a cultural phenomenon, capturing the essence of live music in an unassuming space.

Black Excellence Takes the Stage

As the world grappled with the challenges of the pandemic, Tiny Desk Concerts became a vital outlet for artists, particularly those from the Black community, to connect with fans on a more personal level. Among the recent standout performances was the legendary Scarface, whose Tiny Desk concert left viewers in awe. A fan on social media expressed, “I got goosebumps watching Scarface’s Tiny Desk concert. Mike Dean was in his bag on the keys.”

Nile Rodgers and Chic also brought their signature funk and disco vibes to the Tiny Desk stage, delivering a performance that resonated with fans worldwide. Juvenile, Tank, and the iconic Babyface, following his public fallout with Anita Baker, all found redemption and acclaim in their Tiny Desk performances, showcasing their versatility and artistry.

A Tapestry of Talent

While artists of all backgrounds have been showcased, Tiny Desk Concerts have become a stage where Black artists across various genres shine. Notable performances include Anderson.Paak’s energetic and soulful set, Lizzo’s empowering and charismatic show, and the unforgettable showcase of R&B sensation Jhené Aiko.

The series has transcended traditional boundaries, featuring the likes of Tobe Nwigwe, whose blend of Afrobeat and hip-hop showcased the diversity within Black music. The soulful duo Black Pumas also left their mark with an emotionally performance.

From Intimacy to Global Acclaim

Their ability to capture the raw essence of live music sets Tiny Desk concerts apart. The intimate setting allows artists to connect with their audience more personally, creating an atmosphere that transcends the virtual realm.

The popularity of Tiny Desk Concerts continues to soar, with each new performance adding to the series’ legacy. “Beyond its entertainment value, Tiny Desk has become a platform for Black artists to reclaim their narrative and showcase the richness and diversity of Black culture in the world of music,” LaRon Hubbard, a music producer in the District of Columbia, asserted.

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COVER STORY | Exploring the Vibrancy of L’Rain’s Campy, Fragmented Cosmos

When Ben Chapoteau-Katz told Taja Cheek that her third L’Rain album should be titled I Killed Your Dog, she didn’t realize he was joking. But it’s such a visceral four words to read aloud, and it’s exactly what the record needed—a composite of what it feels like to hurt when a dear relationship ends, or how we cause harm even through good intentions. Cheek wants us to feel every syllable of the album’s title, to be plagued by each letter together. “I felt the waves hitting my face and built a new one in its place,” the Brooklyn composer sings on the title track, atop a minimalistic piano melody where a distorted, dissociated laugh turns maniacal underneath. “I killed your dog, it made me happy.” You are meant to feel squeamish when she murmurs every note. At the dawn of our call together, my own dog nestles up next to me, her collar chain rattling into the microphone. Cheek’s dog is nearby, too, causing a very quiet stir. It feels like an apt scene to be caught up in. “I don’t like saying the title, which means that I’m onto something,” Cheek explains. “I’m really getting at an emotion really quickly, which is what I hoped for.”

I Killed Your Dog is a record that is as challenging as it is beautiful, and it’s a heroic continuation of her breakthrough sophomore LP Fatigue. A user on Reddit in a discussion post about the album even wrote “I want to like it! I just find it a bit…hard to listen to” upon its release a few months ago. But to make your way through all 16 tracks of I Killed Your Dog is to step into a world that is non-linear, and one that dares to shake up your preconceptions about what delicacy might sound like when it gets plugged into more than a dozen colors, shapes and names. Cheek has been prominent in the Brooklyn music scene for more than 10 years, playing in bands like Throw Vision after graduating from Yale in 2011 and adopting the L’Rain moniker in the mid-2010s—when she released her eponymous debut album in 2017 via a local label called Astro Nautico. In the six years since, Cheek has been deliberately chipping away at defining her sound—which, at its core, holds no label or focused distinction. The work of L’Rain is, famously, work that never slows down or stands still.

Cheek is a self-proclaimed stubborn creator, someone who—sometimes—prioritizes making what she wants over doing upkeep on her career. “It would be really nice to make some money from this project, that would be really nice,” she says, bursting into giant laughter. “And I really want to have a career on my own terms. So that means, sometimes, you’re gonna get overlooked for things or you’ll be in the first slot of the festival. And it is what it is, I don’t have any regrets.” For a long time, Cheek never paid much attention to the difference between critical acclaim, commercial success and having a fanbase. But now, that conversation is something she is having with herself more regularly. She’s been thinking about what it means to build a legacy while balancing the aforementioned characteristics of a continued music career.

This past summer, I caught L’Rain’s performance at the Columbus installment of the Re:SET Festival concert series. She shared a bill with Jamie xx and LCD Soundsystem—acts who are largely situated quite firmly in their own lanes. But having an artist like Cheek involved in a weekend-long slate of shows that also included artists like boygenius, Clairo, Steve Lacy and IDLES was a massive move to make—at least from my perspective. To throw songs like “Two Face” and “American Sonnet (35)” into a night filled with more pop-centric and indie-rock-leaning soundscapes put Cheek in an environment she finds ideal—because it places her music in front of audiences who aren’t familiar with her game and might not immediately jive with someone opening their set by barking like a dog. When L’Rain is featured in a lineup that isn’t avant-garde in the slightest—like her recent stint opening shows for Brittany Howard—she’s not the most approachable version of herself, yet crowds buy into what she’s doing and get stoked on the work. It’s the type of elaborate, surreal craftsmanship colliding with the zeitgeist, and it imagines a world where experimental music is not as niche as the music industry makes it out to be.

“Having a community is important and being in a community of like-minded people that understand what’s happening is important,” Cheek explains. “And if that’s a community of five people, that’s valid and that should exist. But, also, I think it does a disservice to really radical ideas and experimental ideas to keep them in a box away from other people. I don’t think that does anybody any good. I feel like culture has changed because weird ideas filter into the mainstream, and that can be looked at more holistically, too, in terms of political ideas and ways of thinking about society. I feel like everything changes because of radical people that aren’t afraid to do things their own way—and it, somehow, gets leaked out into a broader public and people start looking at their own lives differently. Being separate from the world is not super interesting to me, but it is really hard to always feel like you’re doing something different or being the weirdo or left-of-center—always being the one who’s the strange one or the odd one can feel really alienating. But, I think it’s important, and I’m just gonna keep doing it.”

Cheek is always making music that has to be released at the exact moment that it actually is, always picking up nuggets of context and curiosity from the world around her, watching how people respond to certain ideas and, then, directly responding to those presentations herself. “I don’t think I could have made I Killed Your Dog a bunch of years ago, and I couldn’t have made it years in the future,” she says. “It had to be at that moment. I’m, at least in a broad sense, looking at culture—and that seems like such a weird thing. It’s not very tangible or helpful, I guess, but I’ve often found that, when I’m looking at something or thinking about something, I’ll start to see it happening around me.” Cheek quickly mentions Drake’s recent studio album For All the Dogs, which came out one week before I Killed Your Dog.

“I’m always finding synergies like that around me,” she adds. “But also, in a broader sense, I’m trying to create a conceptual and political framework for myself that, 10 years from now, I can look at my life and feel like it really matches up with the things I believe in—or I have a more solid understanding of how I want to be in the world, and I’m getting closer and closer to that.” The work Cheek is doing for the L’Rain project right now is directly inspired by political ideologies and societal critiques. She holds a lot of respect for activists—though she notes that she does not consider herself one—and looks to them often in her writing. Fatigue especially was an album that Cheek used as a vessel for her own evolving understanding of abolitionist frameworks. “Why do we still fear the sky when planes still soar like Gods? Feel mad just feel sane, somebody told me ‘make a way out of no way’” from “Find It” remains a particularly moving example of phrasing.

Like taking cues from abolitionist texts, Cheek’s navigation throughout the world of experimentalism is one that is a historical pursuit that, like jazz, is done in the name of the people who came prior to her. It’s a means of building an original voice in the same way that past generations have. The mission of L’Rain is, from Cheek’s perspective, a way of slowing down the mechanism of consumption and, maybe, halting it sometimes, too—at least in ways that can be co-opted. The urges that Cheek gets to confuse listeners, to remain circuitous as a means of serving Black art and dislodging any mainstream preconceptions of it. It’s the reason why she makes the music she makes.

“Black artists before me, the struggles that they’ve had with the industry and trying to be seen in all of their nuance and boldness and not being able to—and seeing artists who died without recognition or died without any money, only later to be celebrated once they’re dead—I don’t want any of those things to happen to me. I don’t want it to happen to anyone,” Cheek says. “But, I feel like that’s part of the impulse to make the music that I make, to exist in this liminal space that doesn’t allow for any broad generalizations about what I am. You can’t engage with the work without having a nuanced approach to what the work is. Another part of it, for me, is recognizing that so many genres—especially genres pioneered by Black American musicians—are inherently experimental. But they’re overlooked or talked about in a different way because of what they are.”

Parts of I Killed Your Dog were inspired by the compositional puzzles of Bach’s last work, The Musical Offering—a collection of keyboard canons, fugues and motif cycles that were partially written and then continuously modulated by whomever was playing it. Cheek herself is floored by baroque music, and it’s the type of style she grew up playing when she first started learning piano. She explains that it always sounded like R&B to her, that there was always an inherent connection between the two genres—especially in ornamental terms, church-centric, foundational roots and the emphasis on keyboards and harpsichords. And then, as we all are, Cheek was thinking about Beyoncé (especially “Love on Top”) and how inflection can create a sense of excitement that is widely accessible across the current landscape of pop music. “It always is modulating higher and higher and higher and higher to a state of ecstatic newness,” she says. “But no one ever is modulating the opposite way—because, who would? It’s just horrible and bad. So I was like, ‘What would happen if you did that? What would be the psychological effect of that? So, I wrote this puzzle for myself, to figure out a way that I could always have the motif naturally modulate downward.”

A lot of the earliest L’Rain songs began as fragments in a secret SoundCloud. Cheek is quite sectional with her work, in a way that arrives as her, quite literally, putting pieces together—and it helps her remain always connected to a younger version of herself. “I’m learning now that there was something really special that I think I was tapping into, a kind of fearlessness,” she says. “I’m always connected to that, because I have all of that material on my computer. But, also, I feel like it’s encouraging, because this way of recycling material makes it so that nothing is garbage. I feel like I’m never wasting my time. Instead of writing something and being like, ‘This is garbage,’ I try to have a philosophy where nothing is garbage. There’s no bad ideas, it’s just—maybe—the incorrect application at the wrong time. I can always take a melody from something that I was working on, or a bassline or a harmonic progression—there’s always something that I can take and reuse. But, on the other hand, it can sometimes feel like a crutch, because I have all of this material that I can always just use. I probably have another record’s worth of starts of musical ideas that I can pull from. But it’s also really comforting. It comes from a place of ‘If I never come up with another idea in my life, at least I have something I can use.’”

And the way Cheek samples herself, like she does on “Knead Bee,” remodeling “Need Be” from Fatigue, it’s as if she’s letting her work exist as a living archive—a very real representation of the idea that art is never really complete, that it can be reconfigured, refashioned and repurposed over and over again. She does that on “r(EMOTE)” and “Our Funeral,” too, where the drama of her work allows her to reconnect with her older self in ways that are amusing and emotional. Closing track “New Year’s UnResolution” was written at different periods in Cheek’s life, done so as a means of portraying how intervals can change and we can, often, lose parts of ourselves through the passing of time. “Will you forget me along the way?” is the final line of I Killed Your Dog, an expressive balm of worry that bookends a record built on the act of remembrance.

To do such an act, Cheek pulls inspiration from punk music’s never-ending arsenal of songs having infinite versions of themselves, as well as the songwriting of someone like Jay Reatard—who would create tons and tons of iterations of his work. “I think it’s really cool, to try to be less precious about stuff,” she says. “Because I am very precious about things. It’s nice to think about there being different versions of something, that’s comforting to me. Also, it just contributes to world-building, in a way. Not to sound too woo-woo, but I often have things in my music that I’m sure no one can hear, but they’re in there. And I feel like they’re contributing to an energy where I’ll talk really low and say things and no one knows what I’m saying—but it’s in there, and I feel like, maybe, people can feel it in some way. And, in the same way, I feel like using your own material is a way of just infusing a particular energy into a track.”

For Cheek, it’s her own version of Bach’s compositional puzzles, only hers includes references to birthdays and at least one song reworked from something on a previous album. It makes for a fun untangling for listeners, but it also maintains a glowing continuity between records. Collaging lyrics from various parts of her life on Fatigue helped open the door for her to really streamline a contemporary portrait of herself on I Killed Your Dog, with sharp callbacks to the former without compromising the newness of the latter. “It’s a reflection of my process, which is very iterative and very reflective, especially because I’m mostly working with the same people,” Cheek explains. “I think it’s us reflecting on our own process in a way of saying ‘Okay, we did this on this record, what do we want to do on the next one? How do we surprise ourselves with things we want to keep the same?’”

While I Killed Your Dog still—quite often—taps into the R&B palette L’Rain is most known for, the album explores other genre tropes more fervently, especially rock ‘n’ roll. But Cheek is not out here putting on a display of stereotypical anthemic singing and loud, heavy riffs. While a song like the Strokes-evoking, tongue-in-cheek “Pet Rock” is poking fun at the confines of “Dad Rock”—especially in regards to the fathers who would accompany their daughters to L’Rain shows—Cheek’s interrogations of rock ‘n’ roll on a larger scale come from a cultural perspective and exploration of the barriers that that kind of music so often puts up. “I’m thinking about the roots of rock ‘n’ roll as a Black American genre,” she says. “And there’s just so many teenybopper white woman rock fans right now—which, in one sense, it’s really cool that something that has become so male, in a very particular way, can be broken up by a totally different audience of people. And, on the other side, there’s a lot of people that are getting left out of that. I’ve always felt that, as someone that listened to a lot of rock music growing up and had a lot of other friends of color—specifically Black friends—that were into that, too, that were like, ‘Yeah, this is weird.’”

Likewise, Cheek grew up on a steady cocktail of musicians like The Breeders and Brandy, and her time spent working in college radio at Yale still has such a huge influence on her approach to music-making. You can hear how her wide knowledge of sonic histories is so deftly woven into every inch of her own work—and it’s a direct result of her obsessing over the art form years ago, when she would write down every single artist on any pieces of paper she could get her hands on, so she could look them up later and download every song in sight. “I feel like, once you’re exposed to just such a wide range of music, your mind and your world and your understanding of what’s possible—not in a technical sense of ‘This is how you sample in this way,’ but just emotional possibilities of how music can resonate with you and what kind of role it can play in your life—that changes you,” Cheek explains.

She also cites the Blog-Era DIY scene she came up in as a crucial factor in her broadened taste, and notes how much of a bygone it is at this point. “I couldn’t get into ‘real’ venues, so I was going to DIY spaces and listening to weird stuff there,” she adds. “My world was very big, musically, and I think it gave me a better ear.” In turn, a song like “5 to 8 Hours a Day (WWwag)” follows the same interpretation as a Joni Mitchell arrangement, even though Cheek has never been familiar with Mitchell’s work at all. And “I Killed Your Dog” has a structure that references Joan Baez’s “Here’s To You.” The way dainty vocals pass through ventricles of distorted noise on “r(EMOTE)” sounds a lot like the shapeshifting work of a band like Animal Collective, whose music she came up on more than a decade ago. These instances are a mark of her following instincts and ending up in the most quintessential folk music place, where everything is up for interpretation and every tone and texture can be, and should be, mangled into something brand new.

A huge part of L’Rain as a project is Cheek’s usage of interludes. They play a key factor in the momentum of every record, and it’s a direct reflection of her upbringing listening to hip-hop and R&B. These in-between moments, like “Sincerity Commercial,” “I Hate My Best Friends,” “All the Days You Remember” and “Oh Wow, A Bird!,” are collages that offer Cheek moments of reprieve during the extensive labor that recording sessions can be, and making them allows her to trust what she’s capable of instead of falling into traps of doubt. “I think, for me, I never really set out to write a song. I’m just kind of making and, in the process of making, it’ll guide me to what the creation wants to be. And, sometimes, I feel like they want to be more song and, sometimes, I feel like they want to be more gestural. For me, the interlude creations are more therapeutic to make—because all my music is centered around my gut and instinct,” she explains.

“But those are especially so and, because oftentimes, they are relying more heavily on these audio recordings that I’m always taking, there’s not even an opportunity or an opening for me to question my musicianship or have a moment of serious doubt—because it just doesn’t lend itself to what I’m even doing, which is very freeing for me,” Cheek continues. “I’m just collaging and I have a sense of what needs to happen. And I can’t really communicate it in words, I just have to do it. Sometimes, I get surprised by what happens when I can respond to it, but it always feels like a happy moment for me. The rest of the recording process I really love, but it can be really tough on me. I’m very prone to existential crises, and those are triggered very often in the midst of recording—but not when I’m making collages.”

A large recurring theme of L’Rain albums is Cheek’s emphasis on creating a space where Black women can embrace femininity. Portrayals of confidence and attitude in music from Black women are so often picked apart relentlessly by white audiences—especially white male audiences—and there’s a very palpable spiritual undercurrent of empowerment on I Killed Your Dog, so much so that Cheek calls it her “basic bitch” album. But making an album accessible is not a conscious or deliberate in-studio decision. It’s more about Cheek tapping into the overarching ethos of how she wants her music to be contextualized in the world. On Fatigue, she was pulling influence from Amiri Baraka and Coko. On I Killed Your Dog, it was Raymond Scott and Delia Derbyshire. This music is not synthesized into mainstream palatability for the sake of getting more people to listen to it, it’s a mark of malleability being achieved through resonance—and, in the case of I Killed Your Dog, that resonace comes via depictions of relationships, grief and breakups (though Cheek has designated this project as an “anti-breakup album”).

“I wanted to have more entry points that make [I Killed Your Dog] accessible,” she explains. “So I was like, ‘Okay, I’ll just talk about relationships like every pop star does. That’s going to be my impetus.’” Cheek is quick to reiterate that, on L’Rain projects, she’s playing a character whose persona is that of someone who is secure in what they’re doing and doesn’t care about anything. It’s an aspirational version of her that she hopes to explore further on subsequent albums. It’s why she’s so attracted to R&B and gospel, there are so many Black women who are organists and also singers—something you don’t see in other genres nearly as much, where Black women are encouraged to be themselves and are, consequently, revered for it. I Killed Your Dog being built on the shoulders of accessibility does not mean it’s simplistic. No, far from it. “I hate when my music is treated with white gloves or thought of as heady or intellectual,” Cheek adds. “I’m a very emotional person, and all of my music comes from a very emotional place. Just because I have a song in 17 [time signature], it doesn’t mean I’m thinking about it being in 17. I’m not thinking about it that way, my body was just moving in 17 and that’s why it’s in 17.”

On I Killed Your Dog, Cheek can be found taking risks, too. “Clumsy” is a song that sticks out to her the most, and it was the installment that she was most nervous about including in the final cut. “It’s the biggest departure and the ballsiest thing I’ve done so far, just because I don’t think of myself as a singer or a musician in a traditional sense—which some people take issue with, but that’s just how I feel,” she says. “I definitely don’t feel like a singer. It almost wasn’t on the record a couple of times, but I’m glad it’s there. You can hear my voice way more than you can hear it on any other track, which makes me nervous and uncomfortable—which, generally, is a sign for me that I’m doing something that I should be doing, even though it feels a little bad.”

L’Rain’s first two albums tackled grief and self-care, but I Killed Your Dog focuses on intimacy and passion in ways that arrive like the natural next step for Cheek as a songwriter. These depictions of love and romantic loss have always been present in her work, but they were previously de-emphasized in the context of those records as a whole rather than thrust into any kind of narrative spotlight. Now, as Cheek continues to embody the L’Rain persona, she’s getting more and more comfortable mixing the real and the imagined, more comfortable projecting emphasis on stories rather than setting the sonics aglow first and foremost.

“Time kind of collapses in on itself when I’m working on records, because I’m writing things in the moment and also pulling from my archive,” she says. “A lot of music was written during times of breakups, so that was always kind of there. And that’s what, I think, made it feel honest or like it was natural. I don’t think I had to adjust my thinking very much, and that’s what I hope can happen with my records in general—that it’s less like a research assignment. Whatever feels natural to me as a person is probably what I need to be making as an artist, too. The lines between my personal life and my work life are already extremely blurred.”

I Killed Your Dog is full of humor and surreal lightheartedness, and much of it is deliberate. In the skit “What’s That Song?,” you can hear someone trying to figure out a jazz song and they mention how “it sounds like all of them”; in “Uncertainty Principle,” Cheek takes the Heisenberg Uncertainty Principle and applies it to a relationship with a subtle touch of devastation (“512 days passed since those binary years, those dying years”); “I Hate My Best Friends” zeroes in on when synthesists were using the most cutting-edge instruments of their time to make banal advertisement jingles and boasts an arrangement that, funnily enough, contains no synthesizers. Cheek also finds pleasure in titling songs, even going as far as hiding funny messages in them with her collaborators. The album title itself is brutal, yet it’s also absurd and ridiculous at the same time—and that’s a mark of Cheek’s appreciation for dark comedy. But, it’s also a product of what she and her friends are doing, which is joking around with each other when they’re recording. The laughs on I Killed Your Dog, no matter how uncomfortable they might get, come from real interactions between people that care about each other—and from Cheek being snarky.

But I Killed Your Dog is not just some humorous display; it’s a folk album that bears resemblance to the traditional songbook and the infinite colors each entry might take when it falls into different sets of hands. Cheek will likely take one of these 16 songs and rework it for whatever the next chapter is for L’Rain. The music on this record is visceral and familiar and unnerving. “I want to try to fill myself with the things I’ve lost, the things I wanted, the things I love,” Cheek sings on “5 to 8 Hours (WWwaG).” “You love like stolen land, at my worst I do, too.”

There are pensive hymns all across this album, as Cheek constructs a poppier facade for her embroidered heartache. “But I’m on my way to getting free, this is the only moment in the history of the universe that we will be here together,” she concludes. “Celebrate by being here.” With each listen, a new detail emerges—whether it’s a snippet of a Joselia Hughes poem or spliced images of people saying the same phrase over and over to make one new voice. The hard-wired intricacies are a tapestry of noise rock, dream pop, gospel and synth-folk. It’s sublime and campy and unsettled, and that is the gift of a L’Rain record—in that it’s populated with fragments of imperfection that, ultimately, send it barreling further towards the inverse.


Matt Mitchell reports as Paste‘s music editor from their home in Columbus, Ohio.

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