American

WASHINGTON — The American Dream may not be dead for many Black Americans, but it is further away than at any point since the Civil Rights Movement, warns a report by the National Urban League.

Released on Thursday, the annual “State of Black America” report grimly describes Black Americans ‘ economic and political prospects as having worsened due to policy changes from President Trump’s administration, according to a copy obtained by the Associated Press.

The report contends that the challenges it highlights for Black communities are warning signs for the prosperity of all Americans.

“It may be the focus is us, but the impact is not just us,” said Marc Morial, president and CEO of the National Urban League. “While they have targeted and focused on Black Americans, these attacks are going to impact broadly working Americans, poor Americans, aspirational middle-class Americans, and this is what this report points to.”

Tracing the arc of American history, the Urban League describes Black Americans’ struggle for emancipation from slavery and equal economic and political rights as a gruesome but optimistic part of the American story.

Now, the report says, the Trump administration is at odds with the goals and achievements of the Civil Rights Movement, citing the overhaul of the Justice Department’s Civil Rights Division and the Equal Employment Opportunity Commission, as well as the president’s focus on overhauling voting laws through the Safeguard American Voter Eligibility Act, as examples of rollbacks of long-sought civil rights policies.

The report’s authors offer policy and strategy recommendations for civil rights groups aiming to combat the Trump administration.

“The civil rights community must consolidate its legal resistance and turn courtroom wins into durable policy,” the report says. “The movement must build economic infrastructure that doesn’t depend on the goodwill of any one administration.”

The AP reached out to the White House for comment on the report.

Report contributors include a potential Democratic presidential contender

This year’s report includes contributions from members of Congress, and policy and legal experts, as well as some media personalities.

U.S. Senators Angela Alsobrooks, Lisa Blunt Rochester and Raphael Warnock all contributed to the report, as well as Maryland Gov. Wes Moore and Baltimore Mayor Brandon Scott. Minneapolis Mayor Jacob Frey contributed a video message to the report.

Moore, who is widely viewed as a potential 2028 presidential contender, submitted an essay focused on closing the racial wealth gap and Black Americans’ history of economic advancement in the face of adversity.

“With wisdom and grit, my mom was able to lift me and my family to a higher rung on the economic ladder. But too often wisdom and grit aren’t enough,” Moore wrote.

He later called closing the racial wealth gap “a matter of moral clarity” but cautioned that “government alone cannot close the racial wealth gap. It’s going to take all of us,” referencing the private sector and civil society.

Report blasts ‘economic assault’ on Black Americans

Whether corporate America and major nonprofits are still willing to participate is an open question. The report condemns the Trump administration’s efforts to roll back diversity initiatives and economic advancement projects in the private sector, and expresses frustration with companies that cooperated with an “economic assault” on Americans, especially Black Americans.

“This has been a campaign of coercion and oppression directed at these institutions who have been out here working hard to, if you will, change America,” Morial said. “The important thing about companies is that every company has not bent the knee. Some may have done some cosmetic changes. Some have been in full and complete retreat.”

The DEI rollbacks are a jarring reversal for the Urban League, which held sway in the Biden White House on economic and social policies. The report lauds President Biden’s administration for signing a sweeping COVID-19 stimulus package, as well as laws supporting minority small businesses and a bipartisan infrastructure bill.

“Not every promise was kept, and the current administration is pushing to roll our wins back, but these wins serve as a blueprint for what is possible through sustained advocacy and a clear vision,” the authors write. The agenda, the Urban League declares, was “the most consequential federal investments in Black America since the Great Society.”

The organization and its civil rights allies now find themselves in a strikingly different political environment under the Trump administration.

“Looking at our current political landscape, the calls for racial healing and righting of this nation’s wrongs in the aftermath of the murder of George Floyd feel like a fever dream,” the report reads.

But the study also acknowledges that Black Americans have overcome more dire and discriminatory moments.

Latest Black America report is the Urban League’s 50th edition

The Urban League’s inaugural 1976 report on the state of Black America was described by the New York Times at the time as “a profoundly depressing document” that laid out the persistent disparities between the economic outlooks of Black and white Americans, a decade after the Civil Rights Movement’s crowning achievements were signed into law.

The report was established as a response to that year’s State of the Union address by President Ford and the Democratic response, neither of which mentioned the economic outlooks for Black Americans. The report offered policy recommendations on crime, education, housing, social services and general economic policy.

“It is a document that does not attempt to cover up the seriousness of the situation black people find themselves in,” the authors wrote at the time. Several of its recommendations were later taken up by President Carter, who was elected to the White House months after the report’s release.

This year’s 50th anniversary document echoes the frustration found in the inaugural report. While Morial acknowledged that the Urban League’s assessments may lead to pessimism, he urged Americans concerned about civil rights and economic progress to respond at the ballot box and with their pocketbooks.

“We cannot be dejected. We cannot be cynical. We must act,” Morial said. “We have to fight to make sure that those that are really trying to kill the essence of the American dream don’t win.”

Brown writes for the Associated Press.

WASHINGTON — Sen. Lindsey Graham, the son of pool hall owners who rose to become one of his generation’s more influential U.S. politicians at home and abroad, is being eulogized Tuesday as a “swashbuckling” public servant and “true American original” during memorial services in Washington.

Graham’s remains arrived at the U.S. Capitol, where the Republican served for more than 30 years as an indefatigable dealmaker who talked and laughed and badgered his colleagues into action. His flag-draped casket was carried inside by an armed forces team, in recognition of his military service.

Later, a funeral will be held at Washington National Cathedral with lawmakers and foreign leaders, a testament to his stature on the global stage.

“Lindsey was a towering figure,” said Senate Majority Leader John Thune, adding there was “no one more capable of cracking up a room.”

“I look forward to the days when you make us all laugh again,” said Thune (R-S.D.), choking back tears.

President Trump is expected to deliver remarks at the cathedral, alongside Fox News Channel’s Sean Hannity and other conservative leaders.

Israel’s Benjamin Netanyahu and Ukraine’s Volodymyr Zelenskyplan to be in attendance, a nod to Graham’s role as a foremost believer in the power of the U.S. and its military to intervene in the world’s problems.

It’s the start of two days of services, with burial Wednesday in Graham’s home state of South Carolina. Joint Base Charleston will be renamed in his honor, the White House said.

Graham died suddenly on July 11 at his home in Washington of a likely aortic tear, according to preliminary findings. He had just returned from a whirlwind trip to a NATO summit in Turkey, where he celebrated his birthday, and a visit to Ukraine. He was 71.

A place of honor to ‘say our final goodbyes’

The morning service in the Capitol Rotunda provided a place of tribute where former presidents and military leaders and other prominent Americans have been memorialized.

Vice President JD Vance along with several Cabinet officials and former senators, including Markwayne Mullin, the Homeland Security secretary, were in attendance, as was acting Atty. Gen. Todd Blanche, who faces a rocky Senate confirmation for the job.

Vance described Graham as a “swashbuckling” figure — “who swashbuckled into the Senate” with his suit jacket open — and was impossible not to like.

“A true American original,” Vance said.

First elected to Congress in the 1994 Republican revolt that swept the GOP to power, Graham was part of a new era of conservatives to take their seats in the House — and among the first Republicans from his Southern state since Reconstruction.

Mascaro, Kinnard and Jalonick write for the Associated Press. Associated Press writer Michelle L. Price contributed to this story.

There are many dedicated figures devoted to Chicano empowerment in America. But in the arts, playwright-director-impresario Luis Valdez — the migrant farmworkers’ son behind the defiantly consciousness-raising El Teatro Campesino and the historic hits “Zoot Suit” and “La Bamba” — holds a singular place, achieved with remarkable perseverance. It’s a trajectory that the immensely appealing, rollicking documentary “American Pachuco: The Legend of Luis Valdez” tracks with a vitality and purpose befitting its subject.

Anchored by Valdez himself, now in his 80s and filling the camera frame like a grandfatherly lion, the film supplements his vivid biographical details with rich archival footage and testimonials from family members, collaborators and peers. There’s also the bold but sneakily effective narrator choice in Edward James Olmos, reviving his snarling, star-making El Pachuco growl from “Zoot Suit” to remind us of one of Valdez’s essential contributions to the theatrical canon. (Olmos is also an interviewee, as is Cheech Marin, Taylor Hackford, Lou Diamond Philips and labor leader Dolores Huerta.)

Born in Delano, Calif., and drawn to literature and language as a way to combat racist assumptions about a Mexican American’s destiny, Valdez found his gifts sharpened by puppet shows, school plays and finally, the union movement in his hometown. Valdez saw that pointed, raw satire was not only necessary but a recruitment tool for the fight. We hear the underdog aesthetic term rasquachismo used to describe these early impromptu performances: essentially a colorful funkiness, “so funky that nothing can undermine you,” Valdez says. As if something earthier and stronger had been harvested in the fields with all those valuable grapes.

After the labor battles of the Vietnam War era, Valdez took El Teatro Campesino’s mission nationwide. Excerpts from a televised adaptation of his play “Los Vendidos (The Sellouts)” — about a shop selling automatons representing Chicano stereotypes — underscore the continuing tensions of assimilation, a trap disguised as acceptance. But the piece also reflected feelings Valdez had about his long-estranged brother Frank, an engineer whose alienating efforts to deny his own background and fit in formed a heavy undercurrent in Valdez’s life.

“Zoot Suit,” an ambitious, musicalized, slang-flavored staging of the violent injustice behind L.A.’s notorious 1943 Zoot Suit riots, became a smash in 1978 (its narrow-minded New York reception notwithstanding). The story of how the Ritchie Valens biopic “La Bamba” came to be — a delicate mix of legacy tending and savvy casting — is similarly rousing and illuminating, even if it seems like an omission not to dig into why, after such a big hit, more movies didn’t follow. (Although, since this is Hollywood, we can guess the reasons.)

There’s so much to chew on in David Alvarado’s portrait of life, art and activism that “American Pachuco” plays like a joyful challenge to those searching for their own voice or meaning. As engaging a chronicler of his own life as Valdez is, his lessons in how to be seen and heard — and how to stay that way — feel especially timely. In our demonizing present, the story of such a pioneering truth-teller speaks powerfully to the needs of our blended American future.

Over the weekend, the Academy Museum announced that it will honor Mexican and Mexican American film history in an upcoming exhibition titled “Cinelandia: Celebrating Mexican American Cinema.”

Currently scheduled to open in September 2027 — likely to coincide with the onset of Hispanic Heritage Month — the showcase will span from the silent film era to the present day and examine movies from both sides of the border.

The idea for the exhibition was first discussed back in 2019 and work on it officially began in late 2022, Academy Museum associate curator Sophia Serrano told The Times.

“It grew from a previous research and programming project we did as part of the Getty Foundation’s Pacific Standard Time: Los Angeles x Latin America initiative, before we opened the Academy Museum in 2021,” Serrano said.

The display will focus mostly on Mexican American cinema, but examines those films in conversation with Mexican features and other Spanish-language movies, made both in Hollywood and internationally.

Films included in the exhibit will be Day of the Dead flicks like “The Book of Life” and Disney’s “Coco” — as well as the Spanish-language version of the 1931 horror classic “Dracula,” plus director Luis Valdez’s “La Bamba” and “Zoot Suit.” Three groundbreaking works by Gregory Nava will also be honored: the Oscar-nominated “El Norte,” “My Family/Mi Familia” and the Jennifer Lopez-led biopic “Selena.”

Among the classic Mexican films included are the 1932 film “Santa,” which was the first Mexican narrative sound movie, as well as 1946’s “Enamorada.” Features from Mexico’s Oscar-winning “three amigos” of cinema — Guillermo del Toro, Alfonso Cuarón and Alejandro Iñárritu — will also be highlighted.

Along with curator Serrano, “Cinelandia” is guided by a 12-person advisory panel: cartoonist  Lalo Alcaraz; UC Santa Cruz professor emeritus Rosa-Linda Fregoso; LACMA curator and head of contemporary art Rita Gonzalez; animator-director Jorge R. Gutiérrez; writer-director Cristina Ibarra; Pitzer College professor Jesse Lerner; director-writer Carlos López Estrada; University of Arizona assistant professor Orquidea Morales; director Gregory Nava; UCLA professor Chon Noriega; University of Texas at Austin professor Charles Ramirez Berg; and USC professor Laura Isabel Serna. 

Given that L.A. County’s population is almost 50% Latino, Serrano noted that part of the exhibition’s aim is to connect to the millions of Latinos in the county and show how they’ve been critical in informing the cultural landscape of L.A.

“Mexican American cinema is … a big part of Los Angeles’ history,” Serrano said. “We want this exhibition to connect with the broader Los Angeles community, as well as illuminate the history behind many of the beloved films from Mexican American and Mexican filmmakers. The exhibition is designed to offer something for everyone and bring people of all ages and backgrounds together to celebrate this important cultural heritage.”

As with previous exhibitions centered on minority populations, the Academy Museum won’t be shying away from the uncomfortable truths around Latinos in Hollywood — from the demographic’s stereotypical portrayals in film to its underrepresentation in the industry that continues to this day.

“Many of the films and artists featured in the exhibition draw attention to or push against these challenges in a variety of ways,” Serrano said. “A guiding principle of the exhibition is foregrounding the voices of film artists themselves via interviews, written quotes, and guest curations and collaborations alongside the hundreds of original objects that will go on display, and this aims to tell an earnest and engaging story about this history.”

“We are also aiming to show how vast the contributions of Mexican American artists are, and these histories are often unknown or underrecognized. It’s essential that the exhibition celebrates these moments of impact and influence in a dynamic and educational manner.” 

“Cinelandia” isn’t the museum’s first foray into identity-based exhibitions centered on underrepresented populations. In 2022, the museum opened the “Regeneration: Black Cinema 1898-1971” exhibition which highlighted the work of Black creatives from filmmaking’s early days through the civil rights movement. The showcase — which closed in April 2023 — tackled such themes as the representation of Black people in early cinema (1897-1915), the era of “race films” made by Black filmmakers for Black audiences (1910s-1940s), musical films and stories born of the civil rights movement.

The museum’s ongoing showcase titled “Hollywoodland: Jewish Founders and the Making of a Movie Capital,” explores the stories of the Jewish filmmakers and studio founders who helped cement the L.A. area as the world capital of entertainment.

On stage at Red Rocks Amphitheatre in Colorado, a far cry from the sweaty basement punk shows of the band’s early days, Jimmy Eat World played breakthrough power pop hit “The Middle” as the sold-out crowd sang along with the final chorus that “everything will be all right, all right.”

“It really is incredible to us to think about everyone who bothered to spend time with this record and made something of it for themselves over 25 years. This is your guys’ record as much as it’s ours, really,” singer-guitarist Jim Adkins said from the stage.

The band, which has generally shied away from nostalgia plays over its 30-plus year career, is performing the platinum-selling “Bleed American” album in its entirety on tour this summer, including a stop at Warped Tour in Long Beach on Saturday, a matching bookend to the band’s original promotion of the album.

“It solidified us as, ‘This is what we do. Let the day job go.’ It turned into full-time rock and roll. And that moment only happens once, so it felt appropriate to honor it at 25,” bassist Rick Burch said backstage before the band’s Brooklyn tour stop in June.

Released on July 24, 2001, “Bleed American” was one of the last great rock records of the monoculture, arriving months before Apple’s iPod launched and made shuffle the default and 15 years before streaming became the dominant way to consume music.

A hit with Hollywood roots

Just over a quarter of a century ago, four guys from Mesa, Ariz., came to L.A. to record their fourth album.

Jimmy Eat World’s Adkins, Burch, drummer Zach Lind and guitarist Tom Linton earned recording money between tours by working construction, driving around car dealership customers and selling art supplies and auto parts.

The band had cut ties with Capitol Records after 1999’s “Clarity” — a sweeping, lush and highly influential work highly regarded by their contemporaries that would inspire third-wave emo superstars including My Chemical Romance, Fall Out Boy and Paramore — that the major label had no idea how to market, even after “Lucky Denver Mint” got pickup on L.A.’s alt rock tastemaker KROQ-FM.

“If that song would have been on ‘Bleed American,’ that would have been a No. 1 song,” said Jim Suptic, of Kansas-based second-wave emo band the Get Up Kids, who have been on the “Bleed American” anniversary run. Suptic said that he was inspired to start the band after seeing Jimmy Eat World live in the mid-’90s.

With the band’s tight budget, producer Mark Trombino, who produced “Clarity” and predecessor “Static Prevails,” worked with the band for free in L.A., banking on the future success of the album. After recording drums at Cherokee Studios, the band relocated to Harddrive Analog & Digital Recording in North Hollywood to make the bulk of “Bleed American.”

“The studio was so small, it didn’t have a lounge,” Lind recalled.

But there was a bus stop outside they used instead, where they would hang out with “an assortment of characters,” Adkins said.

He and Lind commuted to the Valley from Redondo Beach, where they crashed on the floor of Lind’s brother’s place. Linton fondly remembers the great food in the city and hanging out with friends in other bands while Burch spent downtime skateboarding in L.A.

Even without the cash or support from a label, recording “Bleed American” didn’t feel like a do-or-die moment for the band’s future.

“We just kind of figured we might have to go out and just release this ourselves. Let’s just do the best job we can, and be happy with what we put out,” Linton said.

But with the buzz growing around the new music, record labels came calling.

‘The Middle’ meets the moment

By the time the album dropped in July 2001, the guitar-heavy snarling title track of “Bleed American” had already been in regular rotation on alt-rock stations for a month.

After a stint on the Warped Tour, Jimmy Eat World set out on a U.S. headlining tour in the fall, with Hey Mercedes opening.

“I remember that tour in particular, them sort of really finding their confidence in their voice and their shows and their performance and the whole package. And this was before ‘The Middle’ really broke, but I could tell that they were really firing on all cylinders,” said Hey Mercedes singer-guitarist Bob Nanna, whose influential emo group Braid first played with Jimmy Eat World in 1998.

The album landed on the Billboard charts three weeks after its release, and while its peak position was 31, it remained on the chart for 70 weeks. (A couple of months after the Sept. 11, 2001, attacks, the name of the album was changed to “Jimmy Eat World” on pressings before reverting to the original title in 2008.)

“When ‘Bleed American’ took off it was right at the transition of the internet,” Adkins said.

The media landscape hadn’t yet transformed. Rock music magazines like Spin, NME, Alternative Press and Kerrang! were thriving. The band made the rounds on the late-night talk shows as “The Middle” video clip played on MTV’s popular show “Total Request Live.”

“Things hadn’t splintered out into a zillion niche locations just quite yet,” Adkins said.

By March 2002, “The Middle” had hit the Billboard charts, where it climbed to No. 5 by the summer and spent 33 weeks on the Hot 100.

“They were a real band that had a radio hit, and not a radio band reverse engineered,” the Get Up Kids’ Suptic said.

The success was surreal for the band members as they heard the song on the radio, in restaurants and the gym. Today, you can still summon an entire generation with the opening guitar melody.

“I understand why that song has resonated,” Lind said. “I think there’s a few themes in the album that resonate with people in times when things are going tough. You know, ‘The Middle’ is definitely one of those songs that so many people have found encouragement from, whether they’re dealing with a breakup or going through cancer.”

“It seems like one of those songs that people have used to feel better and I think that’s obviously really powerful.”

Here we are now

But the fans selling out the tour dates around the U.S. know much more than the hits, singing along to the deep cuts after traveling hundreds of miles to get to the show, in some cases.

Fans traveled from states like Michigan and Texas for the tour kickoff at Red Rocks in Colorado.

Robie O’Donnell took the train up to New York from the Washington, D.C., area to take his 12-year-old daughter to her first Jimmy Eat World show. The Brooklyn show was his 25th after he discovered them in the late ‘90s from a recommendation on the Get Up Kids’ website.

Behind him in line hours before doors opened was Jane Kung, who was only 8 when “Bleed American” was released and got into it when she was in high school. She didn’t want to miss the chance to hear it live.

“The fact that so many people wanted to come see this is something I didn’t expect,” Adkins said about the tour.

The fans get a chance to geek out over the rarely-played deep cuts from the album, like “Your House,” which required a revamp because of the studio work on the song, and the live debut of “(Splash) Turn Twist,” which was on the Japanese import of the album. Even louder than the sing-along to “The Middle” is the call and response from the crowd on the album’s second-biggest hit, “Sweetness.”

“Having this piece that we’ve created be embraced by so many is a very accomplished feeling,” Burch said.

Nanna even ventured into the crowd after Hey Mercedes opened the Brooklyn show, singing along to “A Praise Chorus,” the band’s crunchy guitar-filled love letter to rock music, among others.

“The world is a tough, s— place now and to have these moments where everybody can sing along to something that’s just pure joy was really soul enriching,” he said.

In a speech to the nation Thursday evening, President Trump said Americans deserve secure elections, and he claimed to be using federal authority to prevent them from being “stolen.”

In fact, one of the strongest security features of U.S. elections is the fact that they aren’t conducted at the federal level. America votes in more than 10,000 different election jurisdictions, each with different rules set by state and sometimes local governments.

That structure makes the nation’s elections extraordinarily complicated — and also safe from widespread fraud. And when misconduct does happen — rarely — security protocols frequently catch it.

Decentralized elections date back to the nation’s founding

America’s highly decentralized system of voting exists because the nation’s Founding Fathers gave authority over elections to the states, rather than the federal government. While Congress has the power to regulate elections — and has used that authority to pass such laws as the Voting Rights Act — the Constitution makes clear that states have primary authority to set the “times, places and manner” for elections.

There also is no national election agency that administers the presidential contest, something that’s different from many other countries. And when it comes to doing the day-to-day work of running an election, the responsibility falls to officials at the local level — usually a clerk or election supervisor — with help from staff and volunteers.

While differences in election laws can get confusing, election security experts say this structure is a strength. That’s because to pull off stealing a presidential election — as Trump falsely claims was done to him in 2020 — it would require large numbers of election workers in the most competitive counties across the country who are willing to risk prosecution, prison time and fines while working with officials from both parties willing to look the other way. And everyone somehow would have to keep quiet — a highly unlikely scenario.

There are also shared practices and security measures in place across the country that together work to ensure that only eligible voters can cast a ballot and only one ballot is counted for each.

Voter fraud can happen, but it’s rare and there are safeguards to catch it

Most Americans by now have probably heard stories about someone casting multiple ballots, or voting in the name of dead relatives, or stealing mail ballots from mailboxes.

When these incidents happen, they are often caught and prosecuted.

Voting more than once, tampering with ballots, lying about your residence to vote somewhere else or casting someone else’s ballot are crimes that can be punished with hefty fines and prison time. Non-U.S. citizens who break election laws can be deported.

For anyone still motivated to cheat, election systems in the United States are designed with multiple layers of protection and transparency intended to stand in the way.

For example, for in-person voting, most states either require or request voters provide some sort of identification at the polls. Others require voters to verify who they are in another way, such as stating their name and address, signing a poll book or signing an affidavit.

For absentee voting, all states require a voter’s signature, and many states have further precautions, such as having bipartisan teams compare the signature with other signatures on file, requiring the signature to be notarized or requiring a witness to sign.

That means even if a ballot is erroneously sent to someone’s past address and the current resident mails it in, there are checks to alert election workers to the foul play.

AP review found there was too little voter fraud to tip the 2020 election

Trump has spent six years insisting he won the 2020 election, a campaign he lost to former President Joe Biden.

An Associated Press review in 2021 dug into every potential case of voter fraud in the six battleground states that Trump disputed. It found fewer than 475 cases — a number that would have made no difference in that race.

Allegations from Trump of massive voting fraud have been refuted by a variety of judges, state election officials and an arm of his own administration’s Homeland Security Department. In 2020, then-Attorney General William Barr, a Trump appointee, told the AP that no proof of widespread voter fraud had been uncovered. “To date, we have not seen fraud on a scale that could have effected a different outcome in the election,” he said at the time.

Swenson writes for the Associated Press.

They were Mexican immigrants, both named Lorenzo.

They came to this country without papers as teenagers. Lack of legal status didn’t stop them from building beautiful lives — a wife, a home, a loving dog. A blue-collar job that paid the bills, weekend carne asadas with friends and family, children who followed their father’s example of hard work.

The Lorenzos enjoyed the fruits of their labor in their adopted land, even as they battled to become American citizens while politicians demonized immigrants as invaders and worse.

Lorenzo Arellano arrived in the United States in 1968 and didn’t get his citizenship until nearly 30 years later. Back then, the path to naturalization was far easier.

Lorenzo Salgado Araujo arrived in the early 1990s, when those opportunities were becoming severely limited.

Lorenzo Arellano is my father, a happily retired truck driver living in Anaheim.

Lorenzo Salgado Araujo, 52, who ran his own construction crew, was on his way to a job with his brother and two other men when an Immigration and Customs Enforcement agent shot him dead on July 7 in Houston.

When I see a photo of Salgado Araujo beaming in front of a cake with the number 52 on it at the well-kept home he built with his own hands, I’m reminded that we’ll be celebrating my father’s 75th birthday next month. When I see video of Salgado Araujo’s feet twitching on the ground with two ICE agents next to him as he bleeds out and moans for help, I weep.

Only geography, age and Donald Trump separated the Lorenzos. Even their children — he had three boys, while my father had two boys and two girls — are similar. The Salgado Araujos, like the Arellanos, are college-educated. The eldest son, Ronaldo, is a teacher like my sisters. He wears glasses like me and is now telling the story of his father to the nation, as I have for decades.

I write about my Papi as the puckish personification of immigrant America.

Ronaldo is eulogizing his dad way too soon.

“He wanted nothing else in life but to provide for his wife and see his sons become great people,” Ronaldo said proudly at a news conference the day after his father’s death — words I’ve always said about my Papi. “He did not deserve to be reduced to a headline of ‘Mexican man shot and killed by ICE’” — words I hope to never utter but can sadly see as a possibility given la migra’s unapologetic shoot-first approach and indiscriminate targeting of anyone brown.

Salgado Araujo’s killing came as part of the Trump administration’s newest deportation surge — the New York Times reported that the feds have arrested nearly 2,000 people a day since the end of June. The rate is higher than ICE’s campaign of terror last summer, yet it hasn’t drawn the same attention, fulfilling the promise of newish Homeland Security Secretary Markwayne Mullin that la migra would operate far more quietly and efficiently than under his reckless predecessor, Kristi Noem.

Those quiet times are over.

Vigils are popping up across the country in Salgado Araujo’s name. Stories about his life and death have replaced those about Mexico’s World Cup run on my social media timelines. They are heartbreaking, infuriating and a baleful reminder for Mexican Americans that these last five weeks of soccer, as joyful as they were, didn’t change our precarious status in this country under President Trump.

“He deserved to live a quiet life as a husband, a father and a job creator for dozens of men who also wanted the American dream,” Ronaldo said at the news conference through tears as his younger brother, Lorenzo Jr., comforted him. That their father never will — that the Department of Homeland Security is now smearing his name by claiming he “weaponized” his van by trying to run over an agent, even though video evidence proves no such thing — is the latest indictment against the Trump administration’s cruelty toward the undocumented.

Salgado Araujo wasn’t even the target of ICE’s operation. His family said he had applied for a work permit and was on his way toward finally obtaining legal status.

We should heed Ronaldo’s words about his father. As people protest and seek justice, we should also hail the life of Lorenzo Salgado Araujo the way we one day will hail the life of Lorenzo Arellano — as Mexicans who made it, challenges be damned. And we should continue to fight for immigrants who remain in legal limbo, afraid for their lives more than ever.

I called my father to ask how he felt about a tocayo — someone with the same first name — losing his life to la migra.

“I put myself in his place and lament that ese [that] Lorenzo couldn’t get the citizenship that I could,” Papi said in Spanish.

He remembered how immigration agents “did it with respect” when they caught him living in this country illegally in the 1970s and 1980s.

“They asked you for your papers, and if you didn’t have them, they put handcuffs on you, you got deported and that was that. None of these beatings or shootings that are happening now under Trump,” he said. The worst it ever got was when he said he was going to Los Angeles, and an agent snapped that he was going to L.A. but now had to return to Mexico.

Papi asked me what justification ICE has offered for killing Salgado Araujo.

“I hope they put those people who killed him in prison for many years,” he said with disgust. “Will they?”

I replied that probably wasn’t going to happen. ICE has shot and killed 11 people during Trump’s second term, both citizens and noncitizens, and scores more have died in immigration detention. No agents have faced charges for any of these deaths. The agents involved in Salgado Araujo’s killing didn’t even have dashboard cameras or body cameras, a convenient oversight that a Department of Homeland Security spokesperson blamed on “multiple government shutdowns.”

“Pues, Dios sabe que todo se paga en la vida,” my dad responded. Well, God knows you reap what you sow.

Nothing can bring Lorenzo Salgado Araujo back to his loved ones. But I hope they find solace in his namesake, St. Lawrence. Tradition has it that Roman authorities roasted the Spanish deacon to death after Emperor Valerian demanded that he turn over the treasures of the Church. Instead, Lawrence presented the emperor with the city’s poor and maligned, insisting that he confront the oppression he had forced on them.

May we remember Lorenzo Salgado Araujo as a modern-day martyr, killed because our government refused to give him and so many others a chance at living in this country without fear.

May his name resonate through the ages as embodying the promise and tragedy of the American dream.

Ariana Grande was announced for American Horror Story’s next all-star cast on Halloween 2025.

American Horror Story is coming very soon with fans desperate to know of Ariana Grande ’s involvement.

FX announced yesterday, Thursday, July 9, that American Horror Story would be returning for season 13, on Thursday, September 24, in the US with no fixed date yet on its UK debut.

But going by the last series, American Horror Story could very well land on Disney Plus also in September or early October.

Excitement has been building for the anthology drama’s return since Halloween last year when it was revealed that singer and Wicked star Ariana Grande was set to star.

At the time, she was confirmed alongside American Horror Story regulars such as Sarah Paulson, Angela Bassett, Jessica Lange, Emma Roberts and Billie Lourd.

Will Ariana Grande star in American Horror Story season 13?

Unfortunately, Ariana Grande will no longer star in season 13 of American Horror Story, despite the initial casting announcement.

It has been reported that Ariana won’t make her debut because of conflicts with timing changes to the production dates of the horror series which are happening simultaneously with her Eternal Sunshine tour.

The 33-year-old hadn’t filmed any scenes for the new series with fans noticing her absence when the cast was previously spotted shooting exterior scenes.

Ariana rescheduled her Eternal Sunshine tour July concert dates at the end of June, shifting shows in Brooklyn and Boston to a couple of days later.

The star will continue her tour with upcoming stops including Canada, New York and London.

Unlike Ariana, previously announced stars Six Feet Under’s Frances Conroy and model Alex Consani were spotted shooting.

So far though, there has been no word on what American Horror Story season 13 will be about with details still under wraps.

American Horror Story is available to watch on Disney Plus.

Iran said on Thursday it had targeted U.S. military infrastructure across the Gulf in retaliation for fresh American strikes on Iranian territory, marking the latest escalation in a conflict that is increasingly testing a fragile ceasefire brokered just weeks ago.

The renewed exchange of attacks came as Iran prepared to bury its late Supreme Leader Ayatollah Ali Khamenei at the holy city of Mashhad following a week of nationwide funeral processions.

Although oil prices eased after surging on fears of wider disruption, investors and governments remained focused on whether the latest violence represented a temporary escalation or the beginning of a broader collapse of efforts to end the conflict.

Iran retaliates after U.S. strikes

Iranian armed forces said they targeted U.S. military facilities in neighbouring Gulf states after American forces struck military infrastructure across Iran’s southern coast and eastern provinces.

According to Iranian officials quoted by state media, the latest U.S. attacks killed 14 people and wounded 78 others across five provinces on July 8 and 9.

The semi-official Fars news agency reported that one strike hit a railway bridge used for trade links with Russia and China.

Explosions were also reported on Thursday morning in Bushehr province, home to Iran’s only operational nuclear power plant, though authorities did not immediately provide details on the cause.

Gulf military installations targeted

Iran’s military said it launched drone and missile attacks against several U.S.-linked military facilities across the Gulf region.

According to Iranian state media, the targets included:

• U.S. Patriot missile systems in Kuwait
• An early-warning installation in Qatar
• A U.S. military fuel storage facility in Bahrain

Kuwaiti authorities said their air defences intercepted a cruise missile, three ballistic missiles and ten drones. Officials reported one person was injured by falling debris.

Qatar, which hosts the largest U.S. military base in the Middle East, called for restraint and urged all sides to return to diplomatic negotiations.

During a phone call with Iranian Foreign Minister Abbas Araqchi, Qatari Prime Minister Sheikh Mohammed bin Abdulrahman al-Thani also condemned attacks on commercial shipping in the Strait of Hormuz.

Strait of Hormuz remains at the centre of tensions

The latest military confrontation follows attacks on commercial tankers in the Strait of Hormuz, one of the world’s most important energy shipping routes.

The U.S. military said Wednesday’s strikes were designed to protect international navigation after blaming Iran for attacks on three commercial vessels.

Although Tehran has not officially claimed responsibility for those attacks, analysts say Iran has increasingly used pressure around the Strait of Hormuz as leverage in negotiations with Washington.

Before the war began in late February, roughly one-fifth of global oil supplies passed through the narrow waterway.

Iran has since exercised significant control over maritime traffic in the strait, giving it considerable strategic influence over global energy markets.

The U.S. Central Command (CENTCOM) said American forces struck around 90 Iranian military targets.

According to CENTCOM, the operation targeted:

• Air defence systems
• Coastal surveillance infrastructure
• Missile and drone storage facilities
• Naval assets
• Military logistics centres along Iran’s coastline

“The United States is holding Iran accountable for recent unjustified aggression against commercial shipping and civilian crews freely navigating a vital international waterway,” CENTCOM said.

President Donald Trump defended the operation on Wednesday, writing on Truth Social: “This is in retribution for yesterday’s bombing of ships by Iran. If it happens again, it will get much worse.”

Trump says ceasefire agreement is effectively over

While attending the NATO summit in Ankara, Trump said he believed the memorandum of understanding signed with Iran to halt the fighting had effectively collapsed.

Asked whether the agreement remained in force, Trump replied:”It’s a very interesting question. To me, I think it’s over. I don’t want to deal with them.”

He later added that even if another agreement were reached, he doubted Tehran would honour it.

Despite the renewed military exchanges, Trump said he did not expect the confrontation to develop into another prolonged war.

“Anything that happens is going to be over very quickly… and will only make it safer, including for oil,” he told reporters.

Iran vows continued retaliation

Iranian officials condemned the latest U.S. military operation as another breach of understandings reached after the ceasefire.

Parliament Speaker Mohammad Baqer Qalibaf warned Washington that future attacks would receive a military response.

“The U.S. has yet to learn that bullying and breaking its commitments no longer come without a cost,” he wrote on social media.

“The Strait of Hormuz will be reopened only under Iranian arrangements, not through U.S. threats.”

Oil markets remain on edge

Oil prices retreated on Thursday after jumping sharply a day earlier, as traders assessed whether the latest fighting would significantly disrupt Gulf energy exports.

Shipping also remains under close watch.

One of the vessels struck this week the Qatari LNG tanker Al Rekayyat remains stranded off Oman after suffering an engine-room fire following a projectile strike.

Industry sources said its liquefied natural gas cargo appears secure and that the immediate risk of explosion remains low.

Future outlook

The latest exchange of strikes has significantly weakened confidence in the U.S.-Iran ceasefire, even if neither side appears ready for a return to full-scale war.

Attention is now focused on whether further attacks occur around the Strait of Hormuz, where any prolonged disruption could quickly tighten global energy supplies and drive oil prices higher.

Diplomatic efforts led by Gulf states are likely to intensify, but Trump’s declaration that the interim agreement is “over” and Iran’s vow to continue retaliating have raised doubts over whether negotiations can still produce a lasting settlement.

With information from Reuters.

The Autry’s current exhibition, “Life, Liberty, and Los Angeles” is an excellent show that takes a deep regional dive pegged to its 250th American anniversary programming. Of all the pieces, See Lee’s meticulously stitched “Hmong Story Cloth” (circa 1980) is a poignant chronicle of making the journey to an unknown future in the United States. Utilizing the traditional paj ntaub embroidery format, the textile documents Lee’s family fleeing war-torn Laos and resettling in Long Beach during the 1970s. The narrative unfolds in sequential sections depicting military violence at a chaotic crossing of the Mekong River; lower panels remember Thai refugee camps, a rescue airplane and a Greyhound bus. This visual testimony shares striking cross-currents with Latin American arpilleras and paños Chicanos, linking disparate diasporic traditions through the shared language of quietly political, deeply personal needlework — in this case, preserving a crucial chapter of Southeast Asian migration to Southern California.

🗓️ On view through Jan. 31, 2027

LONDON — During a weekend that celebrates life, liberty and the pursuit of happiness, Wimbledon offers an American variation in the pursuit of Grand Slam glory.

Sunday’s fourth-round clash on the No. 1 Court between Jessica Pegula, the top-ranked American and veteran standard-bearer, and Iva Jovic, the brightest young American star since Coco Gauff, is a compelling intergenerational showdown between the present and future of U.S. women’s tennis.

It’s the kind of matchup worthy of a holiday complete with fireworks.

“I know she’s going to come after me hard,” the 32-year-old Pegula said following her clinical 6-1, 6-3 third-round defeat of Jessica Bouzas Maneiro of Spain on Friday.

“Everyone kind of wants to be the top American, I guess,” agreed Jovic, an 18-year-old from Torrance who toughed out a 6-3, 3-6, 6-4 win over Ekaterina Alexandrova of Russia on Friday to reach the fourth round at Wimbledon for the first time. “There is a little bit extra competition there.”

Pegula and Jovic are hardly unfamiliar opponents, and not just because people frequently told a young Jovic to model her game after Pegula. The two have met three times before, including twice this year, on hard courts in Dubai and on clay in Charleston, S.C. Pegula won all three matches.

“There is a lot of things we do well, and we do similar, but a couple of differences too,” Jovic noted of their baseline-centric, tactical styles.

Pegula is expecting nothing less than a mirror-like baseline duel from the player she affectionately dubbed “mini-me” after beating her in February.

Their career arcs have taken different paths to their first Grand Slam meeting. Pegula spent years grinding away on the Women’s Tennis Assn.’s lower tier before becoming a late-blooming major contender and top-10 mainstay. The experience gap remains enormous: Pegula owns 11 career singles titles to Jovic’s one and has amassed more than 500 tour-level wins compared with just over 100 for the teenager.

Jovic, a top-ranked junior in just her second Wimbledon, quickly has made her presence felt on tour, becoming the youngest player to win a WTA title last season at 17 before backing it up with her breakout quarterfinal run at the Australian Open in January. She is the youngest player in the top 20 and the youngest remaining in the Wimbledon singles draw.

After watching Jovic’s rise this season, Pegula praised her competitive instincts and rapid adjustment to grass.

Jovic “competes like an animal,” Pegula said.

Their relationship to grass, however, couldn’t be more different.

Pegula historically has not been a force at Wimbledon, reaching the quarterfinals only once in 2023. She acknowledges battling her own instincts on the surface.

“I feel like sometimes years in the past I’ve really fought against how to move on it, fought against all the intangibles, all the slices,” she said.

This year she’s relaxed her approach, improved her balance and added more pop to her serve, a major asset on grass.

Jovic, by contrast, has been a quick study when it comes to adapting to the tricky footing, sliding and occasional tumbles on grass. She’s taken to the lawns of London like a natural despite growing up in Los Angeles County, where grass courts are virtually nonexistent.

Jovic credits playing left wing in local soccer leagues from about ages 6 to 13 for her exceptional, low-to-the-ground footwork. That cross-training has paid dividends. She won her first professional title on grass in England last year and recently reached the semifinals at the prestigious Queen’s Club warmup event.

“It’s very closely related to the movement that we do in tennis,” Jovic said of soccer.

Jovic, who’s of Serbian and Croatian descent, also has been keeping tabs on the World Cup, though rooting for the U.S. during late starts has proved challenging in Europe.

Hall of Fame analyst Pam Shriver says the age gap adds a fascinating dimension to the grass-court chess match.

“It’s interesting when rivalries can develop generations apart from the same country, and I think they have a really good respect for each other,” Shriver said.

Shriver added that Jovic can learn from Pegula’s cerebral approach, while veterans like Pegula can tap into a fresh mindset from the younger generation’s unflinching energy.

“It goes by so fast,” Pegula acknowledged of the creeping sense of urgency in pursuit of her first major title.

Jovic is aware Sunday’s match is a massive opportunity to prove her rapid ascent is no fluke and flip the script on her head-to-head deficit.

“Hopefully, this will be the one I get her,” she said.

Through the first week in London, Pegula has been in sharper form. She hasn’t dropped a set in three matches, gliding into the fourth round and looking more and more like the favorite in her quarter. She also feasts on fellow Americans. Since 2023, Pegula is an impressive 34-3 against her compatriots.

“I’m always motivated to beat the other Americans in a way that’s different,” Pegula said. “Excited again to challenge myself against someone who is much younger, who is playing with nothing to lose and no fear.”

Still, reaching next weekend’s final will require either player to navigate a brutal top half of the draw. It includes four-time major winners Aryna Sabalenka and Naomi Osaka, two-time major champion Gauff and the last Wimbledon champion left in the field, 2024 winner Barbora Krejcikova.

On a weekend devoted to celebrating the U.S., at least one American will be celebrating at Wimbledon when the fireworks fade.

On a recent summer day at Crossroads School for Arts & Sciences, students ambled through yawns, braces and acne into their creative writing class. The day’s lesson tackled “style,” that elusive, ultra-subjective choice of expression.

“Who was the first author you encountered to do something different on the page?” asked the teacher, Clarke E. Andros.

They named Dr. Seuss, Shel Silverstein and Lemony Snicket before moving on to a précis of Joy Williams’ flash fiction. “These stories are weird — she’s weird,” Andros warned.

In some ways, high school looks much the same as it did 20, even 100 years ago: sleepy eyes either light up or glaze over when a teacher poses a Socratic question. Nervous laughs and unexpected insights emerge as young people use stories to make sense of themselves and the world around them.

The idea of the “Great American Novel” took shape in the aftermath of the Civil War, when a fractured nation looked to literature to define itself. As classrooms evolved, so did the canon that reflected America’s changing identity.

But the syllabus today is at a tipping point. Forces — some visible, some harder to see — are upending literature and education itself. American students are in a decade-long reading recession, while fewer students are reading for pleasure than in previous generations.

Reading scores among high school seniors are at their lowest in decades, according to federal testing data, while schools across the country are grappling with how to respond to waning attention spans and artificial intelligence. The Los Angeles Unified School District has begun a course correction, voting to limit student use of laptops and tablets during class — the first major American school system to do so.

We spoke with five high school English teachers across the city — three from LAUSD, one from a charter and one from a private school — to find out what literature belongs in today’s classroom, and which stories can help us understand America, past and present.

Interviews have been edited and condensed for clarity.

Raquel Olvera, Roosevelt High School, Boyle Heights

What books in the American literary canon are you teaching (old and new)?

In 11th-grade American Literature, as part of the LAUSD-approved Odell curriculum, we read four book options: “Friday Night Lights,” “Beloved,” “The Great Gatsby” and “The Warmth of Other Suns.” For my 10th-grade World Literature course, I like “Antigone” and “Things Fall Apart.” I also teach “In Cold Blood,” using it to explore Americans’ fascination with true crime and what the genre reveals about race, gender, class and the justice system.

What’s one work from the canon adults should revisit today?

“The Great Gatsby.” When I read it in high school, I wasn’t engaging with its undercurrents of racism, xenophobia, antisemitism, gender or sexuality in the way I do now. Its themes of power, wealth, consumerism and American identity remain as relevant as ever.

What are English teachers up against in the classroom in 2026?

Besides large class sizes and underfunding, I think public educators are largely battling apathy. Students and young people aren’t engaging with books like they used to. A side effect of that is a lack of empathy and curiosity. At the very least, you can model what it means to be a reader and a writer, and hope that years later, students remember that one nerd English teacher who showed them what humanity can look like.

Schehrezade Lodhy, Da Vinci Schools, El Segundo

What books in the American literary canon are you teaching (old and new)?

Students really enjoy Arthur Miller’s “The Crucible” — it’s all about the human condition and cancel culture, forbidden love and lies and deceit, with witches in the forest. In poetry, we explore a range of American voices, from Walt Whitman and Langston Hughes to Amanda Gorman, and sometimes even song lyrics. I also use “The Moth: Storytelling” podcast when students are working on personal essays. The goal is to make literature, poetry and storytelling as accessible as possible. At a charter school, we have quite a bit of autonomy with what we teach.

What’s one work from the canon adults should revisit today?

James Baldwin’s “Giovanni’s Room” and “Go Tell It on the Mountain.” I read Baldwin a few summers ago, and that was quite an education for me. Unfortunately, some of the content is a bit too mature for high school, but I do talk about Baldwin a bit in my classes when we cover African American authors.

What are English teachers up against in the classroom in 2026?

Artificial intelligence, big time. I really pared back technology in my class, and we’ve pivoted back to paper and pencil. Going into my 18th year of teaching, my biggest goal is re-creating that experience of thinking critically for oneself and studying literature through a critical lens. We’re in this era of going back to the basics. With decreased attention spans, teachers are being forced to become even more creative. It feels like we’re reinventing ourselves every year.

Aiden Brown, John F. Kennedy High School, Granada Hills

What books in the American literary canon are you teaching (old and new)?

From an educationally traditional background, I still believe in canon disruption — mixing the new and old. In American Lit, I’ve taught “Their Eyes Were Watching God” 11 times now. It’s a hard one to get on the first try because the vernacular is so particular, but when we read it physically while also listening to the audiobook, it’s such a great novel to hear. I pair it with bell hooks’ “All About Love.” I teach “Macbeth” from a performance-based lens, making it less intimidating. My favorite book is “Frankenstein,” written by a teenage girl who invented science fiction. My ninth-graders’ favorites were “Fahrenheit 451,” “The Odyssey” (Emily Wilson translation) and “Persepolis,” a graphic novel about a girl discovering punk rock and rebelling against the established order.

What’s one work from the canon adults should revisit today?

All of the lonely young men need to reread “The Great Gatsby,” and anyone freaked out by the state of the world should read “Parable of the Sower.” One quote from the book hangs on a poster board in my classroom: “A community’s first responsibility is to protect its children — the ones we have now and the ones we will have.”

What are English teachers up against in the classroom?

Teenagers are still the funniest people on the planet. As the world around them becomes more atomized, I find that they’re increasingly interested in connection. In the classroom, we are seeing skill loss and a decreased ability to focus on a task. I don’t think that’s just because of AI or the pandemic — it’s also phones, screens and the world kids are growing up in. One thing teachers seem to agree on is a return to pen and paper.

Clarke E. Andros, Crossroads School, Santa Monica

What books in the American literary canon are you teaching (old and new)?

A newer addition I would recommend is “Hunger: A Novella and Stories” by Lan Samantha Chang. Especially in California, we have a lot of great Asian American literature, including works by Amy Tan, but I enjoy the writing level in Lan’s — it’s accessible to students but pushes them, all about intersectional identity and the first-gen experience. A lot of the Latino students I’ve taught in Los Angeles also connect with that book.

What’s one work from the canon adults should revisit today?

“Of Mice and Men.” Revisiting it today opens up deeper conversations about labor, social conciousness and power. Steinbeck creates a microcosm of American society, where disability, gender, race and class are all represented and shaped by an economic hierarchy. The characters are left navigating a world where people often turn on each other rather than challenge the systems around them. It’s novella-length, so you could read it in a Sunday morning.

What are English teachers up against in the classroom in 2026?

We’re up against systems that often prioritize ed-tech and third-party vendors over smaller class sizes and more teachers. When I was at LAUSD, it was clear from our superintendent — who just stepped down over his fraud investigation — was just in bed with tech. It’s hard for me to imagine the folks in power didn’t look at [the failed AI chatbot venture] and see it as a grift.

On the flip side, at hyper-competitive, elite schools like this, students are approaching high school with college in mind rather than with high school in mind. When students understand the value of the process, they’re less likely to look for an easy shortcut like AI.

Adam Tan, Los Angeles Center for Enriched Studies, Mid-City

What books in the American literary canon are you teaching (old and new)?

With independent reading, memoirs are big, like “Crying in H Mart” and Sylvia Plath’s fictionalized “The Bell Jar.” Younger kids gravitate to “Musashi,” a celebrated epic based on a famous samurai. We have a lot of Korean American students here, so they like “Pachinko,” dealing with racism and the Korean population in post-World War II Japan. I’ll also throw in “The Bluest Eye.”

In ninth grade, we read “Slaughterhouse-Five,” “Of Mice and Men,” “The Thief and the Dogs” and “Romeo and Juliet,” with the film adaptations to use media literacy. In American Literature, the major texts are “The Great Gatsby,” “The Things They Carried” and “The Crucible.” We also read nonfiction articles, including pieces on AI and robots, while focusing on rhetorical devices.

What’s one work from the canon adults should revisit today?

“The Catcher in the Rye” benefits from the distance of adulthood. It’s a novel about disillusionment and the search for identity, but when you revisit it, you also see that it’s very much a love story. I often encourage students to look for forms of love beyond romance — love for family, friends and fellow human beings. Even today, students can tell you that the biggest phony in the book is Holden himself. The novel reminds us that while literature may not have answers to the world’s problems, it can help us examine our wounds and find solace in art.

What are English teachers up against in the classroom in 2026?

A lack of accountability in the modern world. In general, we have a school district focused on 100% graduation rates, no F’s. [LAUSD] wanted everything on computer, and now they want less computer time, which is great, but not everyone at top management is on the same page. Teachers are often trying to balance what the district wants with what we know our students need.

What I try to instill instead is an intrinsic desire to grow as a thinker. How do you make sure students are reading without taking the joy out of it? A lot of us are going back to pen and paper. Despite all the concerns about AI, I still think the soul and spirit of young people is as strong as ever. The core is not rotting.

July 4 (UPI) — Pope Leo XIV, the first American pope, spent his second Fourth of July as the pontiff at Lampedusa, Italy, an island at the forefront of the European migrant crisis, and appealed to Americans to treat immigrants with “compassion and generosity.”

Leo visited Lampedusa, an Italian island in the Mediterranean Sea between Tunisia and Malta, instead of celebrating the day in the United States.

Soon after his arrival, he released a letter to Americans about the 250th Anniversary of the country’s birth, reflecting on the principles that have shaped the United States for two and a half centuries, particularly religious freedom and human dignity.

In the letter Leo said that, “among the principles that have guided the development of this country is the God-given dignity of every human life, each person being endowed with an inherent worth that calls for reverence, protection and care … and of building a society in which the vulnerable, the suffering and the forgotten are always met with compassion, solidarity and love.

“Defending human life also includes welcoming, protecting and assisting immigrants, whose hopes, sacrifices and contribution have formed part of the history of this country from its very beginning. In every generation, those who have arrived seeking freedom, opportunity and a place to belong have helped to shape the nation’s character. To receive them with compassion and generosity is not only an act of charity, but also a recognition of the dignity that belongs to every human person,” Leo said.

He said he hopes Americans “honor the courage and vision of those who came before them by strengthening their communities, respecting their differences and working together toward a more perfect union.”

Upon landing at Lampedusa, the pope visited the “Door to Europe,” a piece of art that is a memorial to thousands of migrants who died or disappeared trying to cross the sea.

He also visited the Cemetery of the Nameless in Cala Pisana to pray over the graves of migrants who died at sea. The graves are marked with crosses made from the wood of boats that sank off the island’s coast, Euro News reported.

Leo then visited Molo Favaloro, a site where migrant boats are brought to shore. He unveiled and blessed a plaque dedicated to Pope Francis there. The quay there will now be named Molo Francisco. Francis visited the island in 2013.

The pope met and shook hands with 15 migrants brought from a migrant housing center run by the Red Cross. It now houses 138 people, including 51 unaccompanied minors. On Friday night, the Italian coast guard rescued 17 people aboard a small boat, Euro News said.

“By deciding to name Molo Favaloro after Pope Francis you are giving a sign of the bond my predecessor forged with your community and with migrant brothers and sisters: the Pope has stood by you in these very demanding times. And today I am here to tell you that the Pope continues to walk alongside you, to support you and encourage you,” Leo wrote in a letter to the mayor of Lampedusa.

On Friday, Leo gave a virtual speech to Philadelphia when he was awarded the Liberty Medal. The medal has been awarded since 1989 and was managed by the Philadelphia Foundation until 2006, when it became part of the National Constitution Center in Philadelphia.

People attend the “Great American State Fair” on the National Mall in Washington, D.C., on Wednesday. The Freedom 250-backed event was temporarily shut down Friday due to extreme heat. Photo by Bonnie Cash/UPI | License Photo

July 3 (UPI) — The Great American State Fair was temporarily shut down Friday due to extreme heat as temperatures in Washington, D.C., reached 100 degrees.

Freedom 250 announced Friday afternoon that the event on the National Mall was suspended until 5 p.m. Friday due to the heat, which reached 100 degrees at 2 p.m. Friday with a heat index of 111.

“The safety and well-being of our guests, volunteers, performers, vendors, and staff is our highest priority. Conditions are expected to improve later this afternoon, and we look forward to welcoming everyone back at 5:00 p.m. as preparations continue for this evening’s festivities,” Freedom 250 said on social media just before 1:30 p.m.

A follow-up post confirmed the gates would reopen at 5 p.m.

Friday evening’s events at the fair include performances by Hugo Castillo, Mickey Smith Jr. and Grace Moody Miller.

“Complimentary water distribution stations will be available throughout the fair site, with food and beverages available for purchase,” organizers wrote.

The country will celebrate its 250th birthday Saturday, and it seems nobody quite knows how to feel about it. Being a thoughtful American in 2026 has become an art form unto itself — a balancing act two-and-a-half centuries in the making. Marking the anniversary of the signing of the Declaration of Independence requires the acceptance of a paradox so profound that it feels almost insurmountable: The great American experiment has failed; and it is also a triumph.

I’m writing this at near midnight on a muggy night in Pennsylvania — about 300 miles from Philadelphia, where in 1776 the Continental Congress adopted a document bearing one of the most famous and idealistic lines ever written: “We hold these truths to be self-evident, that all men are created equal, that they are endowed by their Creator with certain unalienable Rights, that among these are Life, Liberty and the pursuit of Happiness.”

Hundreds of years later, the course of human events has once again made it necessary for us to dissolve certain bonds, only the resulting revolution has been metaphorical and waged largely online. We have become a people pitted against one another in thought and in action. In the words we write on social media, the news we choose to consume on our siloed feeds, and the way we treat those who believe differently than we do.

How do we come together to celebrate the monumental achievement of this improbable democracy, which should be made stronger through our respectful disagreements and ability to compromise in search of a higher truth? It may be foolish to say we must lead with kindness when so much raw anger abounds, but that is all we can do. It is what we must do.

Art can help — the music, paintings, dances and plays that remind us in myriad ways that we are not alone. You’ll have access to plenty of such sustenance on this highly anticipated anniversary weekend. So if you are, like me, facing the fireworks with trepidation, find a way to lock into a favorite song, or read a poem that moves you, and the worry will pass. It always does.

I’m Arts editor Jessica Gelt, watching the fireflies. This is your arts and culture news for the week.

The week ahead: A curated calendar

SATURDAY

Jaws
Just when you thought it was safe to go back to the theater, a series of shark attacks are expected across the city Saturday afternoon as Steven Spielberg’s 1975 blockbuster screens at the Academy Museum’s David Geffen Theater (in 4K), the American Cinematheque’s Aero Theatre (in 35 mm) and Vidiots’ Eagle Theatre.
2:30 p.m. Saturday. Academy Museum, 6067 Wilshire Blvd. academymuseum.org; 3 p.m. Saturday. Aero Theatre, 1328 Montana Ave., Santa Monica. americancinematheque.com; 1 and 4:30 p.m. Vidiots Eagle Theater, 4884 Eagle Rock Blvd., Eagle Rock. vidiotsfoundation.org

TUESDAY

National Museum of the Aftermath screening series
Kevin Jerome Everson and Claudrena N. Harolds’ short film “Foosball: U. of Virginia Charlottesville, VA 1976” (2013), inspired by a photograph of two students playing a game, examines Black life at UVA; and Andrea Fraser’s feature documentary “This meeting is being recorded” (2022) gathers a group of a self-identifying white women to discuss unconscious racism and their own roles in white supremacy.
6 p.m. Oxy Arts, 4757 York Blvd. oxyarts.oxy.edu

WEDNESDAY

Mexodus
Direct from an award-winning off-Broadway run, this new musical created and performed by Brian Quijada and Nygel D. Robinson illuminates a lesser-known fork of the Underground Railroad, one that branched south across the Rio Grande.
Previews, 8 p.m. Wednesday, 7 p.m. Thursday, 8 p.m. July 10, 2 and 8 p.m. July 11; continues through Aug. 2. Pasadena Playhouse, 39 S. El Molino Ave. pasadenaplayhouse.org

New Swan Shakespeare Festival
The annual summer-long event, featuring professional theater artists, UC Irvine alums, current graduate and undergraduate drama students and faculty, returns for another repertory season of classics under the stars at its intimate, 130-seat, portable, mini-Elizabethan space. “Romeo & Juliet,” directed by Rachael VanWormer, resets the tragic romance to the American Dust Bowl; “The Merry Wives of Windsor Cove,” adapted by Anna Fitzgerald & Eli Simon, with music by Zachary Dietz and directed by founding Artistic Director Eli Simon, brings the rollicking comedy to a 1950s SoCal surf town, powered by a live skiffle band.
“Romeo & Juliet,” 8 p.m. Tuesday and Thursday, and various dates through Aug. 29. “Merry Wives,” 8 p.m. Wednesday, and various dates through Aug. 30. UC Irvine campus, 4000 Campus Drive. newswanshakespeare.com

Wilkins Conducts Bernstein & Ellington
Thomas Wilkins guides the L.A. Philharmonic in a program of classical Americana featuring selections from Valerie Coleman, William Grant Still, a newly arranged song cycle from Shaina Taub’s Broadway hit “Suffs,” Leonard Bernstein and Duke Ellington.
8 p.m. Hollywood Bowl, 2301 N. Highland Ave. hollywoodbowl.com

Zoot Suit
Join writer-director Luis Valdez and star Edward James Olmos for a 45th anniversary screening of the film, an adaptation of Valdez’s groundbreaking play, the truly L.A. story of the 1942 Sleepy Lagoon case and Zoot Suit Riots. Audiences are encouraged to come in costume and arrive early for the “Pachuco Boogie!” Produced in partnership with the Los Angeles Latino International Film Festival, Self Help Graphics and Pachuco Car Club.
8 p.m. The Ford Ampitheatre, 2580 Cahuenga Blvd. East. theford.com

THURSDAY

The Classical World Cup
Tito Muñoz conducts the L.A. Phil in a salute to “the beautiful game” (soccer to Americans) with works spanning the Americas by Alberto Ginastera, Samuel Barber (with Randal Goosby on violin), Silvestre Revueltas and Aaron Copland; plus the world premiere of “The Art of the Goal,” an original mixed-media concept film by director Josh Kahn and composer Adam Schoenberg. Commissioned by the L.A. Phil, the piece blends footage of elite training and match play featuring the Los Angeles Football Club with orchestral music.
8 p.m. Hollywood Bowl, 2301 N. Highland Ave. hollywoodbowl.com

The SoCal scene

Celebrations for the country’s 250th birthday have been muted thus far (at least compared to the bicentennial 50 years ago), but our Entertainment and Arts team noted the moment by examining the ways the artists we cover have interpreted the nation’s complex history. Times theater critic Charles McNulty wrote that a “cohort of playwrights, breathtakingly diverse demographically as well as aesthetically, has been rejuvenating American theater.” Contributor Shana Nys Dambrot looked to local museums and identified nine works of art “exploring and expounding upon, in celebration and critique, what it means and what it feels like to be an American.” Times classical music critic Mark Swed compared the artistic and institutional responses of 2026 to the past, lamenting that “None of this comes close to comparing with the attempted civic zest of 1976.” Check out the rest of the collection of stories and essays, including Mary McNamara’s column reminding us that even in troubled times 250 years is worth celebrating because “the Constitution was written ‘in order to form a more perfect union.’ Not ‘perfect,’ but ‘more perfect.’ As in better,” and a list of 10 essential movies that capture crucible moments in U.S. history; find out what Times pop music critic Mikael Wood calls the “quintessential American song,” and which books are being read in L.A. high schools and which classics remain relevant.

It’s summer and that means that outdoor theater is upon us and McNulty reviewed the Independent Shakespeare Co.’s Griffith Park Free Shakespeare Festival production of “Coriolanus.” “It’s hard to love ‘Coriolanus,’ but it’s equally hard not to be impressed by its ambition, originality and dramatic rigor,” wrote McNulty. This “production isn’t going to win awards for subtlety, but the storytelling is crisp and vivid. And even those unfamiliar with the tale — the vast majority of attendees, in all likelihood — should find it engrossing.”

It’s hard to believe that the ABBA jukebox musical “Mamma Mia!” premiered 25 years ago. Times staff writer Eloise Rollins-Fife went backstage at the Ahmanson Theatre to visit with the behind-the-scenes crew who put so much joy into the sequin-bedazzled extravaganza on display in the show’s anniversary tour — many of whom worked on the original production and tours.

Katie Simons profiled 99-year-old Sierra Madre resident Monson de Kansky, a onetime top ballerina who went to teach Parisian royalty, raise a family and still teaches ballet.

Hollywood set painters whose work in the Tinseltown dream machine often went overlooked and uncredited are getting their due in “Staging California in Early Hollywood” at the UC Irvine Langson Orange County Museum of Art in Costa Mesa. Times staff writer Julius Miller spoke with museum director Kathryn Kanjo and assistant curator Michaëla Mohrmann about the institution’s first exhibition since UC Irvine acquired OCMA last September and Kanjo’s appointment in December.

Culture news

The last few years have been rough for most arts institutions and many L.A. dance spaces have closed. Contributor Steven Vargas reported on how surviving dance companies and artists are forging ahead in the wake of COVID-19 pandemic and diminished funding.

The Centre Theatre Group announced that a world tour of the acclaimed stage adaptation of Hayao Miyazaki’s Academy Award-winning animated film “Spirited Away” will open the Ahmanson Theare’s 2027-28 season. “We are honored to bring the wonder of ‘Spirited Away’ to the Ahmanson Theatre for an exclusive US engagement, offering our community the gift of experiencing one of the most cherished stories of our time, reimagined for the stage in a once-in-a-generation theatrical experience,” said Douglas C. Baker, Center Theatre Group producing director, in a statement. The production, from Toho Co., will open at the National Theater in Taipei on Dec. 16, before continuing on a national tour of Japan from March-August 2027, followed by stops at the Princess of Wales Theatre, Toronto (May-August 2027), and the Ahmanson (September–October 2027). The tour will conclude with a return to the London Coliseum (March-July 2028), where it had its European premiere in 2024 following a sold-out tour of Japan in 2022. Casting will be announced at a later date.

The British theater lost two stalwarts this week. Penelope Keith, best known for the sitcoms “The Good Life,” which aired on PBS in the U.S. as “Good Neighbors,” and “To the Manor Born,” has died at age 86. Keith joined the Royal Shakespeare Co. in 1963, won a BAFTA Award in 1977 for “The Good Life” and continued her stage career into her 80s. The New York Times reported that Michael Byrne, a noted actor of stage and screen, also died this week at 86. Byrne created the role of the suspected torturer Dr. Miranda in the premiere production of Ariel Dorfman’s 1991 play “Death and the Maiden” in London. Other notable theater roles were with Siân Phillips in “Juliet and Her Romeo,” Polonius in “Hamlet,” Cassius in “Julius Caesar” and Prince Hal in “Henry IV.” The actor also appeared in films such as “Force 10 from Navarone,” “Indiana Jones and the Last Crusade,” “Braveheart,” “Gangs of New York” and “Harry Potter and the Deathly Hallows: Part 1.”

— Kevin Crust

And last but not least

If pyrotechnics (or drone shows!) are your thing and you’d like to celebrate the Fourth of July with a bang, Times staff writer Christopher Buchanan compiled 52 places and favorite spots to watch the festivities in Southern California.

Cut to a seedy alley behind a Chinese restaurant in Rome: A dozen mobsters menace a slight young man who suddenly pulls out a pair of nunchucks. He swings the traditional stick-and-chain weapons and makes quick work of his enemies, who fall one by one, groaning in pain.

The comedic, legendary action scene is from the 1972 film “The Way of the Dragon,” written, directed and starring Bruce Lee. The martial arts star was a trailblazer, allowing Asian Americans to see themselves represented in a strong, positive light on-screen.

And now he has secured a place in California history, becoming the first Chinese American in state history to have a day designated in his honor.

Lee was born in 1940 in San Francisco. His mother was of European descent and his father was a Cantonese opera star who was on tour in the city, affording his son birthright citizenship.

Lee grew up in Hong Kong, where he followed his father’s path as a performer, acting in more than a dozen films as a child and studying the close-quarters southern Chinese martial art Wing Chun.

On May 17, 1959, an 18-year-old Lee returned to San Francisco and eventually made his way to Hollywood. He went on to influence an industry that was at the time bereft of Asian American talent, and helped to popularize the genre of martial arts films and ignite Western interest in Hong Kong action cinema.

In recognition of his contributions, state Assemblymember Matt Haney (D-San Francisco) introduced a bill designating May 17 as “Bruce Lee Day” in California. The bill, signed into law Tuesday by Gov. Gavin Newsom, encourages schools and communities to honor Lee’s life and cultural impact.

Haney has described Lee as a “symbol of pride, resilience and possibility for generations who rarely saw themselves reflected with strength and dignity.”

Lee, who saw himself not only as an actor but also as a poet and philosopher, encountered repeated barriers. Up for the main role in the 1970s television series “Kung Fu,” for example, he was rejected in favor of white actor David Carradine.

In 2020, filmmaker Bao Nguyen sought to show how Lee dispelled anti-Asian sentiment and long-held stereotypes of emasculated Asian men in his ESPN documentary “Be Water.”

“The Asian male was the face of the enemy to many Americans,” Nguyen told The Times in 2020. “It was this vicious cycle of society reflecting media and culture, and media and culture reflecting society. There had to be some kind of intervention there and Bruce, in a way, was that intervention. He was the hero that we hadn’t seen before.”

Lee learned much about the systemic oppression that Black Americans faced from his first student, Jesse Glover, who had been a victim of police brutality.

And scholars have pointed out that, although his films had far-from-perfect politics, they touched on themes of fighting oppression. The 1971 movie “The Big Boss” showed Lee battling alongside laborers. “Fist of Fury” saw him opposing Japanese colonialism and discrimination.

Lee died young in 1973, at age 32 — before he was able to witness the full extent of his stardom. He died just one month before the release of “Enter the Dragon,” which was a box-office sensation and is considered a masterpiece of martial arts filmmaking.

DETROIT — Jerry Esters proudly displays the American flag each day on his Detroit home. A few miles away, Yvonne Pistochini says there is no scenario under which she would allow the Stars and Stripes to cast its shadow where she lives.

Both are Black.

For Esters, the flag represents the opportunities that allowed the great-great-grandson of slaves to find success and flourish. Pistochini, 79, simply says the America identified by the flag is not the same country she saw growing up.

Americans’ views of “Old Glory” are divided by politics, age and race, according to a new survey conducted by the Associated Press-NORC Center for Public Affairs Research ahead of the nation’s 250th birthday celebration.

Republicans and older, white adults are especially likely to say they fly the American flag, while younger Democrats and Black adults are more likely to say they don’t fly it. Views of the flag — and whether it’s a unifying or divisive symbol — track with other deep divisions among Americans, who see their country’s history and accomplishments very differently.

“A lot of Black Americans see the flag as a symbol of both inclusion and exclusion,” said Matthew Delmont, professor of American history at Dartmouth College. “Black Americans, more so than white Americans, also understand the flag can be used to justify a version of patriotism that is rooted in exclusion, with the flag being used to say ‘you don’t belong here.’”

The survey of 2,596 adults was conducted April 16-20. It suggests that older white Americans, especially Republicans, are more likely to see the flag as unifying.

About half of U.S. adults said they display the flag at home throughout most of the year, or during holidays. About 7 in 10 Republicans and about 6 in 10 Americans ages 60 and older fly the flag at least during holidays.

About 6 in 10 Democrats and independents, on the other hand, say they “never” fly the U.S. flag. That includes the vast majority, 75%, of Democrats under 45.

Opportunities worth fighting for

Esters, a 64-year-old retired clay sculptor for a Detroit automaker, flies three American flags at his Sherwood Forest home on the city’s west side.

“When these homes were built, Black men like me, my mother and my family … we couldn’t even buy these homes,” he said. “To me, that’s one reason I fly the flag. We went through a lot to be able to own nice homes, and this is what we fought for.”

The other reason is Moriah Martin, Esters’ great-great-grandmother, who was born into slavery.

“I’m kind of living out her dreams — what I did for a living, having a business, having a nice home,” he said. “I think that’s the American way, but we got to fight for it and we, as Blacks, fought for it.”

He’s in the minority among Black adults, according to the survey, which found that only about 3 in 10 Black adults say they ever display the American flag, compared with about half of white and Hispanic adults.

Pistochini says current divisions over political leanings and perspectives, and inequality of opportunities for the poor and people of color are not what she believes the flag should stand for. People confuse flying it with being patriotic, she added.

“Just because you fly a flag doesn’t make you a patriot,” Pistochini said. “If there was patriotism, we would not have all this. We can’t look at (what’s going on) and say this is America.”

For country and freedom

Ben Gaskins, chair of political science at Lewis & Clark College in Portland, Oregon, says the flag is an important symbol of patriotism for many Americans.

“It is those who are older people, who are white and people who are more conservative,” Gaskins said. “They take it as more central to their identity.”

Nancy Hansen, a 73-year-old retired Customs and Border Protection clerk in Culvertson, Montana, believes “you have to be for the country, no matter what” and that the flag means “freedom.”

“Freedom to live where we want to live, travel where we want to travel, raise our kids where we want to raise our kids,” said Hansen, who is white and identifies as Republican.

Each year around July 4, the American Legion posts flags outside businesses and homes in Culvertson, including Hansen’s home.

Linda and Greg Cunningham also equate the flag with freedom.

The white, conservative Pontiac, Michigan, couple are going all out this summer. The exterior of their home northwest of Detroit is awash in red, white and blue. The flag sits atop a flagpole just feet from their door.

“It’s no political thing, at all,” said Linda Cunningham, 63. “It’s our freedom. I love the American flag. I love the whole concept of it. I love America. I know there’s so much going on in the world, right now, and I know everyone has their own views, and I’m just sad that politics have to be brought into the flag.”

Flag as a ‘painful reminder’

Of those who took the survey, 47% see the flag as a “more unifying” symbol. About 16% call it a “more divisive” icon, while 36% say it’s neither divisive nor unifying.

Only 22% of Black adults see the flag as a unifying symbol, compared with 55% of white adults and 42% of Hispanic adults.

“It’s a painful symbol. It’s a reminder of what we could be and how it’s failed to live up to that for Black people, for Indigenous people and people of color,” said Allison Wiltz, a Black author and founder of Writers and Editors of Color.

Paul Walthour, 71, occasionally flies the flag outside his Minneapolis-area home on special occasions and some holidays. Walthour says that when he’s away from home and at his cabin, the flag goes up each morning and is taken down at the end of the day.

“This is antiquated, perhaps,” said Walthour, who is white and a retired advertising agency creative director. “I feel it’s a symbol that you’re proud to be an American.”

“Unfortunately, I kind of think it’s kind of a symbol of dividing more than uniting,” added Walthour, who identifies as a Democrat. “The people who fly it on the far right have one kind of feeling about it, and the people who fly it on the left have a different kind of feeling about it.”

The AP-NORC poll of 2,596 adults was conducted April 16-20 using a sample drawn from NORC’s probability-based AmeriSpeak Panel, which is designed to be representative of the U.S. population. The margin of sampling error for adults overall is plus or minus 2.6 percentage points.

Williams, Sanders and Parwani write for the Associated Press. Sanders and Parwani reported from Washington.

British American Tobacco (BAT) is to cut nearly a fifth of its global workforce as part of a major cost-cutting drive.

The company, which makes Lucky Strike and Dunhill cigarettes, is cutting 5,500 roles and outsourcing 3,500 more.

BAT did not say where the jobs being cut were located, but added that the US was not affected.

The cost-cutting programme is expected to save about £600m a year by 2028, it added.

The tobacco giant, which currently employs 47,000 people globally, had previously announced a savings drive that would involve making it “more digital and AI-focused”.

Traditional cigarette sales are shrinking as smokers increasingly switch to vapes and nicotine pouches.

BAT is shifting its focus to smoking alternatives such as its Vuse vapes and Velo nicotine pouches to drive growth, but its sales and profit margins have been sluggish in recent years.

Sales in the US — its biggest market — have also been hit by the cost of living, as smokers swap for cheaper brands.

Additionally, the company is battling rising duties and stricter regulations in some markets.

BAT said the job cuts, which have already started, are set to be completed by the end of this year.

Chief executive Tadeu Marroco said the cuts would make the company “more agile, cost disciplined and technology enabled”.

“These changes affect many of our colleagues, and we are focused on supporting them through this transition with care and respect, as we position the business for the future.”

A magnitude 7.1 earthquake hit Venezuela near the city of Moron, followed by a stronger magnitude 7.5 quake in the same area.

For my 50th birthday, I bought a Toyota Corolla. Wait. Is my midlife crisis car really a Corolla, the best selling and most boring model of all time?

Well, yes. And no.

I have “modded” it, or in layman’s terms, modified the stock components and tuned the engine. This is not your aunt’s Corolla. When I hit the gas, the car pulls hard and the engine buzzes as if it’s powered by a hive of killer bees.

I get thumbs-ups from Mustang drivers and cool head nods from Challenger owners. My favorite is when kids at red lights ask me to rev the engine like I’m F1 driver Lewis Hamilton.

Probably a lot of my drive-by admirers are fans of the movie “The Fast and the Furious,” which was released 25 years ago this month. Fans of modified Japanese import cars, like me, have a love-hate relationship with the $7 billion “Fast and Furious” franchise. On one hand, the movies helped popularize modified Japanese cars. People all over the world fell in love with them and the import car culture they publicized.

On the other hand, the movies left out so, so much of the story.

In Southern California in the mid-1990s and early 2000s, people lived, for the most part, phone-free. The internet was nascent — a repository for flyers and ’zines — and most websites looked like Tetris.

The fashion was baggy everything for guys and short shorts, midriffs and little backpacks for girls. The hair was outrageous. And the cars, especially Japanese import cars, had reached the pinnacle of automotive engineering.

During this era, I was in college at UCLA. I saved up and bought a red 1989 Honda CRX Si. It also had a slick five-speed manual transmission, peppy engine and nimble steering. That car got me to work and through college, and from the mountains of California to the border of Oregon. It probably helped me get girlfriends. It consoled me through breakups. It helped me move to the San Francisco Bay Area for my first grown-up job.

And then, stupidly, I sold it, and all the precious memories it carried.

Now when I hit a loopy freeway interchange at night and my GR Corolla carves through the turns, it’s 1996 and I’m cruising in my CRX, getting pho in San Gabriel or rushing to a flyer party at Naga in Long Beach. That’s the magic of certain cars. A regular car takes you from place to place. A special car takes you back in time.

To be completely honest, I bought the CRX to fit in.

The ’90s import car scene was as diverse as Southern California. But there’s no doubt it started with Asian Americans (specifically Japanese Americans in the South Bay city of Gardena) who were influenced by modified car culture in Japan. Soon, Asian American kids all over the region were taking their inexpensive, underpowered four-cylinder, front-wheel-drive Honda Civics (our parents preferred Japanese reliability over American muscle) and turning them into street rockets.

Not only were they building race cars from scratch, they were also building one of my first experiences with a collective Asian American identity: one that wasn’t overtly about politics and activism, or immigration and assimilation. It was about Asian American joy. It was Chinese, Japanese, Korean, Filipino and Vietnamese Americans building cool-looking, fast cars. It was kids stereotyped as nerds going to parties where the awful stereotype of Long Duk Dong from “Sixteen Candles” was shredded into rubber and obliterated by exhaust blasts.

At the time, the Asian Americans we saw in the mainstream media were negligible or offensive, especially for Vietnamese Americans like me. But in import car culture, I saw, for maybe the first time, Asian guys and Asian girls in a centered and even glamorous light.

We made our own cars and our own car shows. We raced each other and then got fast (with turbos, superchargers and nitrous oxide) and raced others. And we won. We published our own magazines, built our own automotive businesses and, for good and bad, promoted our own outlaw street racer image and our own beauty standard. In those 1990s clubs and car shows, you could see and feel that Asian Americans weren’t assimilating culture. We were creating it.

“The Fast and the Furious” picked up on that. Based on a 1998 Vibe magazine article about street racing import cars in New York, the film was transplanted to Southern California. But it got so many details glaringly wrong. Its street races looked like street raves on major, four-wide roads packed with pedestrians. The races of our scene were clandestine, underground events in industrial, under-policed areas, where cars faced off two at a time.

But the most egregious and inexcusable Hollywood crime to me is that “The Fast and the Furious” whitewashed Asian Americans, the creators of this world, out of starring roles. The Korean American actor Rick Yune appears in the movie, sure — but he plays the villain, Johnny Tran, a guy who hates Vin Diesel’s Dominic Toretto for a crime deal gone bad (understandable) and for sleeping with his sister (ditto). Of course, in a tradition that goes back to “Madame Butterfly” and “Miss Saigon,” Tran dies at the end, shot dead by the blond-haired, blue-eyed hero, Paul Walker’s Brian O’Conner.

A few months ago, seeking a mechanic to mod my Corolla, I was referred to an auto shop in Garden Grove aka Little Saigon. The guy who sent me asked me, “Do you even know who’s working on your car?”

“No,” I replied.

He told me the name, and I Googled it.

Apparently, back in the ’90s, this Vietnamese American mechanic from Orange County had one of the fastest Honda Civics in the world. A true OG of the import car scene modified my car with his own hands. What an honor, and what a connection to the past.

This import car story ends in a full poetic justice circle. As a pioneer and legend of the real-life import car scene, my mechanic wasn’t the villain. He was the hero. He was the fastest, and his car was the most furious.

That’s the heart of my GR Corolla journey. Asian Americans created import car culture. We all deserve to be the hero of our own story.

Ky-Phong Tran is a Vietnamese American writer from Long Beach. He is a professional artist fellow with the Arts Council for Long Beach. This article was produced in partnership with Zócalo Public Square.

An unruly airline passenger allegedly bit a fellow flyer aboard a flight from Charlotte, N.C., to Philadelphia on Sunday, according to pilot audio. File Photo by Stephen Shaver/UPI | License Photo

June 21 (UPI) — An unruly passenger bit a fellow flyer and started throwing punches aboard an American Airlines flight on Sunday, according to audio of a pilot’s conversation with air traffic controllers.

A recording first obtained by CBS News and then posted online by aviation industry monitors shows the incident happened aboard American Airlines flight AA3046 from Charlotte, N.C., to Philadelphia.

In it, the pilot of the Airbus A320 tells controllers to have emergency medics and law enforcement personnel ready meet the aircraft on arrival at Philadelphia International Airport due to a disturbance onboard allegedly created by a male passenger in his 70s.

“I don’t know… if he’s hallucinating or whatever, but he just bit a passenger and he’s trying to fight everybody,” the pilot is heard saying.

After getting confirmation from the control tower, the pilot adds, “What a day, huh?”

The controller responds, “Happy Father’s Day!”

American Airlines told CBS the passenger was experiencing a medical emergency and that he was “assisted” before the flight landed but did not confirm if police were present upon arrival.

Several senior executives sold shares in American Express, Dell, Lowe’s, Take-Two Interactive, and Broadcom, while directors and executives at Broadcom, Taiwan Semiconductor Manufacturing, SoFi Technologies, Abbott Laboratories, and MercadoLibre made purchases, potentially signaling varied insider sentiment across these companies.