Nineteen-year-old Bronson Chungson, from Māngere, is not only competing in international polo but also breaking new ground as one of the few Pacific Islanders in a sport noted for its lack of diversity.

Born and raised in South Auckland, Chungson has quickly become a standout talent in water polo.

“I grew up in South Auckland, born and raised in Māngere, and went to Sacred Heart College. I currently live in San Francisco and I’m just playing water polo and studying,” he shared in an interview with Tofiga Fepulea’i on Island Time.

Chungson’s journey into the sport began at the Papatoetoe and Māngere swim clubs, where his aunt, a coach at Holy Cross Papatoetoe, introduced him to water polo.

“I didn’t enjoy [swimming] as much because it was an individual sport… but water polo being a team sport, it gave me more of a passion and a love for it because I got to play with friends.”

By Year 11 and 12, Chungson was already playing for older New Zealand squads. He now plays for West Valley College in California.

In June, Chungson will compete at the Under-21 World Championships in Croatia and Montenegro. He recognises the challenges ahead.

“Definitely, the European teams are the powerhouses – Hungary, Serbia, Croatia. But we’ve been fortunate enough to have a slightly less challenging pool. We’ve got Kazakhstan and Iran. I’m pretty sure Kazakhstan came first in the Asia Cup tournament, so we’ll be playing the champs of Asia.”

Chungson’s parents are fundraising to cover his travel costs to the World Championships. On their Givealittle page, they expressed their pride in his achievements, stating, “It’s such an incredible achievement, and we couldn’t be prouder.”

They say water polo is considered a minority sport and does not receive much funding, but they are committed to supporting Chungson’s passion and promoting cultural representation in the sport.

Watch the full interview with Bronson Chungson below.

“He’s often the only Sāmoan player in his teams, and it’s something he’s incredibly proud of. He loves representing his culture in a sport where diversity is rare, and this opportunity to represent both New Zealand and his Sāmoan roots on the world stage is something truly special.”

Looking ahead

Chungson still has one more year at West Valley and hopes to transfer to a four-year college in New York, California, or Los Angeles.

He says a highlight has been staying with other water polo athletes from South Africa, Germany, and Croatia, while representing his cultural roots.

“There are not many Pacific Islanders who are playing the sport, and so I want to make sure that I can inspire and encourage the younger generation to pursue a sport where it’s not dominated by Pacific Islanders as well, but we can still make a big mark.”

Bronson Chungson (centre) with his proud parents. Photo/Givealittle

Despite being far from home, he maintains a strong connection to his faith and culture. “It’s enormous for me, especially living here, it’s been hard dealing with the pressure and the stress with trying to play well in front of coaches and team-mates. But I always just remember that I’m playing for an audience of one and I give all my glory to God.”

His high school coach, Matt Lewis, a West Valley alumnus, has been one of his biggest inspirations. “There was a time when I was kind of thinking of just quitting water polo… but he helped me find the love and the passion for it again.”

Chungson encourages others to consider water polo. “Just give it a try. I think there’s too many times where we pass up these opportunities and we only later realise that we’re missing out … It’s just throwing a ball, playing with some teammates and having fun.”

Bronson Chungson’s waterpolo skills have led to travel and study opportunities. Photo/Supplied

by Kevin Cody

The Skechers Manhattan Beach Tour de Pier was a novel idea with uncertain fundraising potential when it debuted in 2013 as a benefit for cancer research. That year it raised $300,000. In the dozen years since, it has raised on average, over $1 million per year, and woven itself into the Manhattan Beach community fabric. People block out their vacations so they will be in town for the annual May event.

The Mira Coast High School cheer team, this year’s State Champions, are Tour de Pier’s official cheerleaders. Teams that return each year get the prize, front row stationary bikes. 

On Sunday, May 18, at this year’s 13th Annual Tour de Pier, the Manhattan police and fire, and Los Angeles County Lifeguards rode their customary stationary bikes in the first spot in the front row, north of the pier. 

The first spot, front row south of the pier was reserved for Team Suit Up, who wear suits each year. The first year the five former El Segundo High schoolmates wore three piece suits with ties and black shoes. The second year they wore track suits. Last year, they wore mirrored disco leisure suits, and this year they dressed as dandies from the 17th Century court of the Sun King, Louis the 14th. 

“Coming up with a new suit gets harder every year,” Team Suit Up’s Kris Petrevski said.

Tour De Pier was founded by Jon Hirshberg, whose father died of pancreatic cancer, and Heath Gregory, whose brother-in-law Kory Hunter died of brain cancer. 

Proceeds from the Tour de Pier go to the Hirshberg Foundation for Pancreatic Cancer, the Uncle Kory Foundation for Brain Cancer and the Cancer Support Community South Bay. (CSCSB). CSCSB offers over 3,000 sessions for cancer victims each year, at no charge. 

Not all of the cycling teams are local. Team DB Urban, a real estate development company, flies in each year from Salt Lake City.

Tour de Pier’s accompanying Health and Fitness Expo has grown in popularity with ever expanding offerings. This year, Skechers had a pickleball court to showcase its pickleball shoes and apparel The Kings had a street hockey court. Kinecta Federal Credit Union brought its crowd pleasing ice cream truck. Floyd’s Barbershop offered free hair cuts, and Manhattan Beach native Ben Morse offered invitations to his Grand Mango surf camp in Nicaragua. 

Fox sports analyst Rob Stone introduced an impressive line up of local athletes, including two-time Olympics soccer gold medalist Mia Hamm, LA Chargers kicker Cameron Dicker and former USC star, and NFL Hall of Famer Willie McGinest.

But like Manhattan’s other signature events, such as the Hometown Fair, the MB 10K, the Skechers Pier to Pier Friendship Walk, and the International Surf Festival, the people the cyclists come to see each year are each other.

For more about the Skechers Tour de Pier, visit TourDePier.com. ER

The Seoul Administrative Court upheld the disqualification of a student athlete who was denied admission to a university in 2024 after wearing a swim cap bearing the emblem of one’s high school during the practical entrance examination.

The applicant, a water polo player, challenged the decision, arguing that the university’s admission guidelines ban only names or school affiliations on swimsuits — not on swim caps.

However, the court ruled that the swim cap could reasonably be interpreted as part of the swimsuit under conventional usage of the term. The Korean term “suyeongbok” literally translates as “swimming clothes.”

“Regarding the swimming cap as part of the swimsuit is in keeping with the conventional interpretation of the word (swimsuit) … Considering that the rule is to ensure a fair applications process by assessing each applicant’s abilities in no regards to one’s affiliations, there is no reason to treat swimsuit and swimming cap differently,” the court said.

The plaintiff also argued that two other applicants were not disqualified despite wearing marked swimming caps, but the court pointed out that markings on the mentioned caps did not show their school affiliations.

Addressing the plaintiff’s claim that no examiners warned them about the disqualifying attire during the test, the court stated that the absence of such an on-site warning could not be construed as assurance that the applicant would not face disqualification.

minsikyoon@heraldcorp.com

As of late, the global economy is facing the increasing fear of re-entering a recession. The current United States President, Donald Trump, has been making questionable moves left and right, and one of the many that strikes fear is the decision to enact tariffs. When the president announced these tariffs in what he deems “Liberation Day,” the stock market almost instantly plummeted, leading to alarming indicators that would signify a recession ahead. With this much economic and social instability, escapism is needed, and in that respect, recession-pop opens the escape hatch. 

Despite the foreboding current economic resemblance to 2008, culturally, it’s also beginning to feel like it. The general public’s recent use of “recession indicators,” in which identifying aspects in the cultural landscape that offer insights to an economic shift, has become a mass meme across social media. Examples including, Coachella 2025 goers on payment plans to attend the festival and avoid debts, or Lady Gaga’s newest release, “Mayhem,” that recalls the sounds she pioneered in her debut album “The Fame,” coincidentally released during the 2008 recession and the return of previous fashion trends like the business-casual look seen back on recent runways as examined by Vogue Business, which was popularized for its duality as ‘the’ look to wear to work or on a night out to to the club. Intriguingly, among such returning culture-defining trends during an economic decline that could also be seen as a “recession indicator” is the reemergence of recession-pop. 

Recession-pop is a sub-genre of dance music that directly describes the music popularized during 2008, characterized by high BPMs and lyrics that encourage audiences to dance their troubles away in times of economic uncertainty. While we may not be in a recession yet, it’s not entirely far-fetched for recession-pop to be a characteristic of an economic downturn. 

To set the scene, it’s currently 2008, and the global economy is in shambles due to the stock market crash, and societies across the globe experience the resulting effects. In contrast, the cultural landscape is thriving despite the economic downturn. The top 10 on the Billboard charts during the late 2000s and early 2010s included “Just Dance” by Lady Gaga, “Tik Tok” by Kesha, when she carried the dollar sign in her name, “Dynamite” by Taio Cruz and “I Gotta Feeling” by The Black Eyed Peas, just to name a few. What all of these songs have in common is their escapist nature, defying the state of reality’s hardships that plagued the generation by liberating oneself on a dancefloor to escape the troubles for a night out and embrace life. 

Fast forward to 2025, and we’re forced to again address the question of re-entering a recession as a previous generation did in 2008, reaching for the very same escapist music to dance our troubles away.

However, it isn’t new that we turn to art in economic uncertainty. Much of the most influential art throughout our history has been produced during times of adversity. The Dadaist movement of the 1920’s for example, is seen as a direct result of the carnage of World War 1. The movement was a reaction to the terrors of the war, using art as a platform to challenge societal norms and reject the traditional values of art to critique social and political commentary. Its influence was so grand, it managed to reach music that favored unconventional emphasis on sound. Additionally, some of the most iconic music to emerge from American musicians was released during the Vietnam War. The music during this time period specifically expressed sentiment towards the soldiers and a reflection of the war’s impact on the domestic climate. While both far from the escapist nature recession pop is known for, it’s evident then that when society shares trauma, music is one of the few outlets where tangible results can be referenced. 

Fast forward 16 years later, before the announcement of the tariffs being enacted into place, current generations have been plagued economically and socially with its trials from inflation, poor job market prospects, stagnant wages, social incertitude and declining mental health, all the while longing for a sense of stability in an unstable climate. 

In an article by New Yorker staff writer Kyle Chayka, he claims the usage of recession indicator memes as a response to Trump’s tariff policies is a sign of the current shared physiological state.

“Most of these indicators are meant as jokes, but like many internet memes, they hint towards a collective psychological state that’s affirmed with each Like and Share,” Chayka said. 

Another thing worth noting was the global pandemic of 2020 that forced societies to isolate themselves from the outside world, restricting how we socialize and interact. It’s an aspect we continue to recover from as conceptions of what it means to “go out” changed, especially among the youth, as a result of the pandemic. It could also explain the resurgence of recession pop as we can sometimes find ourselves living vicariously through music that elicits the idea of partying and pure resilience that all fall within’ nostalgia. 

Further, Chayka questions, “Could a recession evoke feelings of nostalgia, recalling memories of the previous financial crisis, when the economy and labor force endured major damage but at least the international democratic coalition didn’t seem so shaky?”

With this, it’s difficult not to reflect on the media society is consuming, which would be indicative of the cognitive state. It all contributes to the outward manifestation of escapism in the return of recession-pop as the current generation pines for it, giving our all just to disconnect. 

Looking at last year’s spew of releases from every popular artist, every release presented the commonality that we all wished for. This was the escapism aspect appearing in the music among the trying conditions universally encountered. One artist that was highly characteristic of this is Charli XCX, who saw a surge in popularity that thrust her back into the public lens again with “BRAT,” single-handedly dominated and defined the cultural and social landscape of 2024 and continues to, as did the music itself, draw influence from electronic dance music and rave, as well as the music from the late-2000s’ which is deeply rooted in nostalgia. 

On XCX’s Club Classics, she perfectly encapsulated the sole purpose of what recession pop stands for. When she sings “When I go to the club, I wanna hear those club classics” on a Jersey-club beat with whirling synths, it’s hard not to imagine yourself in a similar club, surrounded by people who’ve been completely taken over by the music as they jump and down, flashed by lights and beams. It is an experience generations long for, especially in these trying times, when they yearn to escape. 

Among others that have been at the forefront of this movement and industry peers of XCX, is The Dare, who recently emerged from the underground scene, most associated with the reappearance of the indie-sleaze trend last seen during ‘08. One listen to his latest release, “What’s Wrong With New York?” characterized by the abrasive electro-clash sound, pretentious lyrics and vivid imagery of partying, and you’ll instantly find yourself in an edgy, trashy, dark club. Further, Pinkpantheress has also been taking notes from this current wave on her latest mixtape, “Fancy That,” which has production credits from The Dare as well, influenced by the Europop and UK house movement of the late 2000s. Much of her music, especially “Fancy That,” feels familiar to the recession-pop category and it’s evident now more than ever. 

In an article by The Cut morning blogger, Julia Reinstein cites rising newcomer Addison Rae and her new single “Headphones On” as a recession indicator, and it’s not especially hard to see why.

Rae sings, “Guess I gotta accept the pain, need a cigarette to make me feel better, every good thing comes my way, so I– put my headphones on.” If that doesn’t capture the escapist attitude, I don’t know what does. 

Rae’s rebrand from TikTok star to bonafide pop-star is also very in line with the 2012 Tumblr-girl and Y2K aesthetics from Lana Del Rey to Britney Spears, both seemingly coexisting within Rae’s music as her greatest influences. They’re imagery is especially seen in Rae’s music videos, using nostalgia to her advantage, to which Reinstein also cites as a recession indicator. The title of the article is even named “Escape to 2008 With Addison Rae,” coated with nostalgic and escapist iconography throughout her piece. 

As Reinstein writes, “If it weren’t already clear we’re headed for a recession, Rae’s insistence on releasing Tumblr-ready music videos is as sure a sign as any.” 

This rising demand for such particular music is becoming more of a speculation as fans see the increase with each release from every major and underground artist alike, taking on similar themes of optimism that dwells in the roots of recession-pop. 

Yet that’s the point of pop music in general, is to have a good time despite the adversities, which is solely the reason for pop music being used as an anchor to catch a vibe, substantially in the hardest of times. With so much uncertainty, it’s imperative that music like this is needed.

Jennifer Mackesy was there in 2024, under the shadow of the Eiffel Tower. She heard the beat of the drums, the screams of the crowd, the thud of the DJ’s playlist in the background. There were flags, shouts and an untamed energy about the whole thing.

The event? The women’s beach volleyball tournament at the Paris Olympics. As Mackesy sat there, taking it all in, watching the intensity of the sport perfectly complemented by the “oohs” and “aahs” of those in the stands powered by the the beat of the music, she drew one conclusion: this was what her women’s soccer tournament was going to look like.

“It was one of the most remarkable sporting events I’ve ever attended, and the level of athleticism and excitement that you saw on the volleyball court was one thing, but the energy in the stadium was like nothing I’ve ever seen,” Mackesy said.

Those games served as the central touch point for the latest soccer venture into the world of small-sided sports. This is not necessarily a new phenomenon, but World Sevens, co-founded by Mackesy and supported by prominent figures in the women’s game, offers a unique angle – a 7v7 tournament that puts real professionals at the forefront while retaining the fun of other competitions.

“The idea of bringing in professional women’s team elite clubs from around the world, to be able to participate in that format, just seemed like an incredible opportunity,” Mackesy said of the tournament, which is set to debut May 21-23 in Portugal.

Small-sided soccer has been around for a while, the professional indoor game chugging along in the background even as 11v11 dominated the conversation. But it has moved into the mainstream in recent years.

The Soccer Tournament, a.k.a. TST, has been held in North Carolina the past two summers, drawing influencers, ex-pros and millions of clicks as a result. Baller League has pieced together some of the highest profile names in the English game. Kings League, founded by Barcelona legend Gerard Pique, draws on all aspects of the entertainment industry – and has now gone global. Even the success of Unrivaled, a professional 3v3 women’s basketball tournament in the U.S., proved that quickened versions of more traditional games can thrive.

World Sevens, its founders insist, is different. Yes, this will be fun. Yes, there will be music. Yes, it will be more action-packed and, at times, more watchable than 11v11 soccer. But crucially, the involvement of eight professional clubs – all vying for a $5 million prize pot – is intended to produce a level of quality that many of the other tournaments fail to bring.

Established professional clubs from the best leagues across the globe have committed to participating. ‍For the May 2025 tournament, there will be eight professional clubs competing, including the likes of Bayern Munich, Manchester City, Manchester United and PSG.
“They want to win because they have pride and they want to be the best in the world at seven-a-side football,” Mackesy added.