anniversary

Zawtar al-Gharbiyeh, Lebanon – Every year on August 4 since 2020, families of the victims of a massive explosion at Beirut port gather outside the site of what was one of the largest non-nuclear blasts in modern history.

They continue to press Lebanese authorities for justice and accountability for the explosion of ammonium nitrate that was unsafely stored with highly inflammable materials.

Yet there has been none, despite a change in leadership that promised to support an independent judiciary into the blast that killed more than 200 people.

This year I couldn’t attend the commemorations because I was covering another tragedy – only the latest to devastate Lebanon.

I was in Zawtar al-Gharbiyeh, a small town in southern Lebanon that lies in ruins after weeks of Israeli air attacks, shelling and at times deliberate demolitions of people’s homes amid fighting with the Lebanese group Hezbollah.

Residents are trying to start again – but they can’t.

Israel and Hezbollah have been fighting since October 2023, with different levels of intensity, but the former has twice escalated the conflict – first in September 2024 and then in early March this year, after the start of the US-Israel war on Iran.

People in Zawtar al-Gharbiyeh had not recovered from the first escalation before they found themselves escaping bombing and displaced yet again.

The majority of houses in the town are so badly damaged they are uninhabitable.

I watched a man in his 80s cry as he showed me the mountain of concrete that used to be his home. “I feel humiliated,” he said. “I have no choice but to collect the scrap metal from my destroyed home to sell in order to be able to survive.”

In 2019, Lebanon’s economy, local currency and the banking sector all but collapsed, leaving people unable to access their savings. And little if anything has been done by the political class to carry out required financial reforms to bring in much-needed international funds.

The reconstruction bill for the latest escalation is in the billions of dollars. Officials do not have an exact figure but say it could climb to $20bn.

It might be a conservative estimate. I have been visiting villages across southern Lebanon since the reduction in violence a few weeks ago. The devastation is unprecedented. Basic services are no longer available. In some areas, there are no telecommunication networks.

And then there are the dozens of villages that we cannot access because they are occupied by the Israeli military.

There, homes continue to be demolished, water facilities destroyed, and agricultural land and olive groves torched. The deliberate destruction continues regardless of what is supposed to be a ceasefire, a framework agreement with Lebanon and condemnations by Lebanese officials who took the controversial and divisive decision to engage in direct talks with Israel.

Reconstruction as a card

When hostilities escalated in March this year, reconstruction from the previous round of fighting in 2024 had not even begun. Then, the World Bank estimated losses at $11bn – money the nearly bankrupt Lebanese government did not have.

Then, like now, there was no offer to help by international donors. Reconstruction aid was and continues to be used as leverage to force the disarmament of Hezbollah.

It was not just the lack of funds.

During the 15 months following a November 2024 ceasefire and the latest escalation, the Israeli military maintained pressure by systematically targeting all recovery and rebuilding efforts in southern Lebanon.

They bombed heavy machinery and construction equipment, destroyed factories and prefabricated house units, and attacked workers clearing rubble to prevent displaced residents from returning. Nearly 100,000 people were already displaced before this year’s war that forced more than a million people from their homes.

More destruction

On the sixth anniversary of the port blast, Lebanon has had to face more destruction.

I remember writing the same words last year, on the fifth anniversary. Like in 2025, this year’s destruction came from outside the country – from Israel. Areas where Hezbollah has influence remain covered in rubble following Israel’s attacks.

Yet again, there is a need to rebuild. Yet again, many Lebanese have to pick up the pieces of their lives on their own.

While they try, they live in fear. In the front-line town of al-Mansouri, we met the head of the municipality, Haidar Mudayhi, who told us not to approach the hills around the town’s centre.

“The Israelis drop stun grenades every time someone tries to reach those areas … every day there is machinegun fire around the village … the other day there were air strikes in the hills … there is no stability,” he said.

It is a story we hear time and time again in villages north of the occupation zone.

The relative calm is fragile. No agreement exists that guarantees Israel and Hezbollah will not go to war again.

Israel acts as if there is no ceasefire, while the signed agreement between Lebanon and Israel, which the United States has called “historic”, does not include a commitment or a timeline for an Israeli withdrawal from southern Lebanon.

Hip Hop International, which turns 25 this year, brought some of the world’s best dance crews and choreographers to mainstream attention. Groups including Jabbawockeez and Quest Crew, and choreographers such as Parris Goebel (Lady Gaga, Rihanna, Justin Bieber) and Sienna Lalau (BTS, Blackpink, Ciara) all got their start through the group’s annual dance competition, which connected dance cultures in a pre-YouTube era through global shared artistry when breaking was a mostly underground activity.

This year’s weeklong contest concludes Saturday in Phoenix, when a new world champion will be crowned. Involving 3,000 dancers from 55 countries, the competition has grown to be among the largest in the world due to the efforts of founders Howard and Karen Schwartz, whose globetrotting history led to HHI’s current prominence in the dance world.

In the late 1980s, the Schwartzes were known as “the mother and father of aerobics.” The duo were pioneers of the aerobics craze that gripped the nation and helped create the National Aerobic Championship. ESPN followed the Schwartzes’ competitions, as did the Soviet Union, which was in the midst of the massive social, economic and cultural upheaval that culminated with the fall of the Berlin Wall in 1989.

B-Boy Vico from France was the winner of Hip Hop International’s World Battles in 2023.

(Steven Lam)

Soon after, the Soviet Union asked the Schwartzes to bring their aerobic champions to teach fitness and aerobics there, Karen said. So they did.

“We grew that,” Howard said, adding that the aerobics championship became “almost as big as what HHI is now. We were all over the world with it.”

The pair later transitioned out of aerobics but still had the desire to create communal experiences. While traveling, the Schwartzes went to Paris and saw kids breaking on the street. The seed of an idea was planted. It blossomed later on a trip to Tokyo, as they emerged from a subway.

“We were walking and we saw a group of dancers that were practicing in the streets, but utilizing a storefront window reflection where it became a mirror,” said Karen, who was struck by the creativity of the art form.

When the Schwartzes first began to establish HHI, they reached out to people who would lend credibility, including Don Campbell, creator of the street dance style Locking; Ken Swift, a longtime b-boy and member of the Rock Steady Crew; and Toni Basil, a member of the 1970s dance crew the Lockers (with Campbell) and singer of the ’80s hit “Mickey.”

Basil has since received HHI’s Icon Award and is often a judge during championship weeks and worldwide competitions. She is a stalwart ambassador of dance worldwide. The Lockers were the first group of dancers to travel outside of the “Soul Train” sphere to be seen on television as a singular act. They appeared on “The Tonight Show” and “The Carol Burnett Show,” and were among the first crews to legitimize the art form by making a living from it.

“I don’t know how Karen and Howard organize it,” Basil said of the HHI competitions, noting that so many “kids get to come to America. It’s a big deal. It’s their life. It’s incredible. And to be dancing morning, noon and night, that’s a serotonin-raising life. I mean, everybody’s high on dance.”

Basil touts the international expansion of hip-hop dance and says that “there’s no more important crew battles in the world than HHI. Period.” She also said that HHI’s penchant for group choreography in the U.S. has translated worldwide. Dancers like Goebel and Lalau have graduated from the HHI community to stand on global stages as choreographers and artistic directors with music’s biggest artists.

Goebel operates out of Auckland, New Zealand, in a dance studio she created called the Palace. Her large dance crew, the Royal Family, helped establish the mold of choreographer-dancer-musician after unprecedented success at the HHI competition.

“Definitely the Royal Family competing at HHI and winning three gold medals in a row gave us international recognition for the dance crew and in turn made the Palace well known as I had many crews coming of out my studio,” Goebel wrote in an email.

Lalau‘s classes during the competition week at the HHI championships are coveted events, and she has led numerous classes and groups for the Lab, a Los Angeles-based hip-hop dance crew and studio.

“As my career evolved, I realized HHI is about so much more than competition,” Lalau wrote in an email. “It’s a place where culture, community, and creativity come together. That mindset has stayed with me throughout my career. Whether I’m creating for an artist, building a cast, or teaching a class, I always come back to the idea that the strongest work comes from collaboration.”

In 2008 the Schwartzes’ success led to them serve as producers for the Emmy Award-winning “America’s Best Dance Crew,” an MTV dance competition series that ran for eight seasons. Success stories from the show include crews such as the Jabbawockeez, which has been a fixture in Las Vegas since its first-season win, Quest Crew, Snoop Dogg and Far East Movement.

“ABDC” shone a spotlight on background performers and treated its participants with respect. JC Chasez, a member of N*Sync who also served as a judge on the show and was a talent competition participant himself, wrote in an email that he was excited to be in the mix.

“I know a lot of shows are about the judges, but I thought ‘ABDC’ did a really good job at making sure the audience at home knew that the stars of the show were the dancers,” Chasez wrote.

Chasez, now a producer on the Broadway musical “Titanique,” also noted that “ABDC” alumni are everywhere.

“I’ve really been enjoying seeing crew members succeed … on different projects,” he said. “I was in New York for the Tonys, and some of the people in ‘Jellicle Ball,’ … had competed on ‘Dance Crew.’”

Now that it’s hit the 25-year mark, supporters believe HHI will continue to evolve along with hip-hop dance itself. Always looking forward while reaching back to keep the past alive.

Reinvention is necessary, Chasez said, because hip-hop music today no longer sounds like it did in the ’80s.

“And so as the sonics change and as the rhythms evolve, I think that’s where interpretations will continue to evolve as well because they are visualizing the rhythms that you’re hearing and telling a story in a unique way.”

Lalau said she expects the next 25 years will bring even more authentic creativity, but that she hopes “that we still prioritize the human side of dance [over tech advancements]. Hip-hop has always been rooted in community, connection and self-expression.”

“We really are so proud of a number of the things that we have been able to accomplish, because it’s made a difference,” Karen Schwartz said of herself and her husband, adding that it’s hard to stop and think about those things because they’re so busy thinking about the future.

“That’s the problem, actually,” Howard said. “We’re constantly, ‘What can we do next? What can make the experience better for everyone?’

“Our ultimate goal is of course to bring ‘ABDC’ back,” he said, “and we haven’t stopped trying.”

Until then, a new world champion will be crowned Saturday night, continuing a tradition that has become much more than a trend.

Holby City Hospital will see an explosive “high-stales major incident” that will have viewers on the edges of their seat as Casualty gear up for the 40th anniversary episode

Casualty has dropped a first look at its explosive 40th anniversary episodes, with Holby City Hospital thrown into chaos after a devastating blast.

The BBC released a teaser trailer ahead of the landmark special, which will air in September, giving fans a glimpse of the high-stakes drama facing the emergency department.

The anniversary story will be told across a two-part special centred on fan favourites including Dr Dylan Keogh and Flynn Byron.

The trailer opens with a huge explosion as emergency medicine consultant Flynn Byron, played by Olly Rix, looks on in shock. As the scenes unfold, a haunting chorus of children singing Happy Birthday Dear Dad plays over the footage while members of the emergency department, including clinical lead Dr Dylan Keogh (William Beck), gather outside the hospital.

Viewers also get a glimpse of familiar faces including paramedic Jan Jenning (Di Botcher) and consultant Stevie Nash (Elinor Lawless).

A map of Holby quickly fills with emergency incident alerts before the hospital is plunged into turmoil. The trailer shows a fight breaking out inside the hospital, while a visibly emotional Dr Keogh is seen in tears.

Elsewhere, ambulances line up outside with blue lights flashing as patients are rushed through the hospital on stretchers. A firefighter is also seen making their way through a room filled with exposed wires as sparks fly around them.

The preview keeps many details under wraps, ending with what appears to be armed police officers approaching Holby City Hospital.

According to the BBC, the anniversary episodes centre on a “high-stakes major incident that throws Holby into chaos”, leaving lives hanging in the balance as the emergency department team are pushed to their limits.

The special will also feature a major rescue operation, while Dr Keogh faces a personal tragedy during what the BBC describes as the team’s “darkest hour”. Stevie Nash and Flynn Byron will also find themselves fighting for survival in a race against time.

The episodes celebrate 40 years of the world’s longest-running medical drama while marking what the BBC has described as an “exciting new chapter” for the series.

First airing in 1986, the BAFTA-winning drama later spawned spin-off series Holby City. Since 2011, Casualty has been filmed at BBC Roath Lock Studios in Cardiff and is expected to move to a new fictional hospital in Wales next year.

The Casualty 40th anniversary episodes air on September 5 on BBC One and BBC iPlayer.

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The Grand Mosque of Paris is celebrating 100 years since its inauguration. Built to remember Muslim soldiers who died in World War I, the mosque has become a symbol of Islam in France and a flashpoint for political tension.

Extreme weather disrupted the US’s 250th anniversary celebrations, forcing evacuations, cancellations and delays. Despite setbacks including a National Mall evacuation and a fireworks display setting the Brooklyn Bridge on fire, Trump called the day ‘one of the most joyous and glorious’ in US history.

US President Donald Trump has praised the US as the ‘greatest force for peace and justice on Earth’, in a speech marking the 250th anniversary of the nation’s founding. Trump’s speech and the main celebrations were delayed by several hours by extreme thunderstorms.

The U.S. Navy has confirmed to TWZ that the MQ-25 Stingray demonstrator drone, also known as T-1, is embarked on the supercarrier USS Nimitz. Pictures of Nimitz with the uncrewed aircraft on its deck had prompted questions about whether the initial production representative MQ-25, which made its maiden flight in April, had now gone aboard a carrier for the first time. We now know that is not the case. Regardless, the images of T-1 aboard Nimitz still underscore just how big the Navy’s first advanced carrier-based drone actually is, especially when placed next to other aircraft in the air wings. Production MQ-25s will be an important and imposing presence when they enter operational service, something the service hopes will finally start next year.

“We do indeed have a Boeing-owned T-1 prototype currently onboard,” a Navy spokesperson told TWZ today when asked about the drone seen on Nimitz‘s deck.

The spokesperson directed us to contact Naval Air Systems Command (NAVAIR) for more information about the current status of the MQ-25 program. T-1 has been flying since 2019 and has taken part in a slew of testing in support of the development of the Stingray in the air and on the ground. This also includes deck handling testing aboard the Nimitz class carrier USS George H.W. Bush in December 2021, something we will come back to later on. T-1 has never taken off from or landed aboard a Navy carrier, and would have had to be transported aboard Nimitz.

“To honor the United States’ 250th anniversary, the MQ-25A T1 prototype is aboard the USS Nimitz, offering a glimpse of the Navy’s carrier air wing of the future,” Boeing has now also written in a post on X. “The special ‘Boeing Backs America’ mark highlights our support for U.S. aviation.”

The USS Nimitz has been sailing in the Atlantic Ocean as part of Fleet Exercise 250 (FLEETEX 250). This is a large, multi-national event that is running concurrently with several celebrations marking the 250th anniversary of the United States. In addition to the United States, Belgium, Brazil, Canada, Cameroon, Côte d’Ivoire, Cyprus, Denmark, France, Germany, Mexico, Morocco, the Netherlands, Norway, Peru, Senegal, Spain, Turkey, and the United Kingdom are also taking part, according to the Navy. As part of FLEETEX 250 activities last week, Nimitz had taken the lead in a group sail photo exercise that included 25 other naval vessels from 13 of the participating countries.

“USS Nimitz is underway taking part in Fleet Exercise (FLEETEX) 250 alongside 25 other warships, multi-national aircraft, and their crews, conducting a series of structured training events at-sea,” a Navy spokesperson had also told TWZ last week in response to queries about that ship after it was spotted leaving Mayport, Florida, on June 25. “Following FLEETEX, we are scheduled to take part in another major event celebrating our nation’s 250th birthday.”

The T-1 demonstrator was lashed to the carrier’s deck for the pictures, along with four F/A-18E Super Hornet fighters and two C-2A Greyhound carrier onboard delivery aircraft. The drone notably has new “250” markings written in blue on both sides of the fuselage.

As noted, T-1’s size stands out when parked next to the F/A-18Es, which are themselves not small aircraft. The production MQ-25 has a wingspan of 75 feet, according to Boeing. With its wings folded, the drone is still 31.3 feet across, as well as 51 feet long. For comparison, the Super Hornet’s wingspan is nearly 45 feet and it is just over 60 feet long, per the Navy.

T-1 looks large even when contrasted with the C-2As, at least with their wings folded. With its wings extended, the Greyhound is 80 feet, seven inches from tip to tip, according to the Navy. It is also 56 feet, 10 inches in length.

All of this underscores the amount of work the Navy will have to do to get production MQ-25s ready for routine operational use. As we wrote roughly a year ago, when the start of ground testing of the production representative Stingray was announced:

The Stingrays will also have to be woven into the existing cadence of flight deck operations, including just figuring out how to move them around amid the hustle and bustle of other activity. Carrier decks are very constrained environments physically, and present very different conditions to operate in compared to bases on land. This is true even for crewed aircraft operations, where individuals onboard can provide additional situational awareness. A wearable glove-like system that personnel could use for deck handling was notably used during testing of the X-47B. A different kind of portable control device has been used in testing of the T-1 MQ-25 demonstrator in the past, as well. The video released today does not appear to offer any major new insights into how the Navy plans to maneuver the Stingray around on carrier decks.

This is on top of more general flight testing, including demonstrating that the drones can safely take off from and land on Navy carriers, as well as integration with the control systems on those ships. The MQ-25 will bring new tactics, techniques, and procedures to the service’s carrier air wings, as well as open the door to further operational developments.

Right now, the MQ-25’s principal mission will be extending the reach of other aircraft in the carrier air wing. This is a critical capability for the Navy as adversary anti-access and area denial bubbles, especially ones that China’s People’s Liberation Army (PLA) has established and continues to expand, threaten to push carriers out of reach of target areas.

By extension, the Stingray will also eliminate the need to use crewed F/A-18F Super Hornets in the tanker role, freeing them up for other missions and reducing wear and tear on those airframes.

The drones will also come with a built-in secondary intelligence, surveillance, and reconnaissance (ISR) capability, thanks primarily to a sensor turret under the nose. The size of the MQ-25, its extreme range potential, and other attributes of the design could well lead it to be adapted to other roles in the future, such as a long-range strike platform, as TWZ has previously explored in detail.

Showcasing the T-1 during FLEETEX 250 does highlight the Stingray program and its importance to the Navy. The effort has faced significant delays and cost growth in recent years, with the original goal being for the MQ-25 to have reached initial operational capability (IOC) in 2024. As noted, the first production representative example only flew in April, despite a major push by the Navy and Boeing to hit that milestone before the end of 2025. When that drone might make its first appearance on a carrier deck remains to be seen, but the Navy is now aiming to reach IOC sometime next year.

As an aside, carrying T-1 for display during FLEETEX 250 and associated events may be the extent to which Nimitz ever embarks any MQ-25s. The Navy has extended the carrier’s service life due to a number of factors, but only into March of next year. The USS George H.W. Bush received a first-of-its-kind drone control center in 2024. The Navy subsequently moved to install that equipment on the USS Carl Vinson, USS Theodore Roosevelt, and USS Ronald Reagan, creating an initial group of Nimitz class carriers that will be able to operate the Stingrays.

The Navy also sees the MQ-25 as a ‘pathfinder’ to future uncrewed additions to its carrier air wings. This is set to include carrier-based Collaborative Combat Aircraft (CCA) drones, an effort that is still very much in its infancy. Navy officials have talked in the past about a goal to see the makeup of future carrier air wings be 60 percent or more uncrewed.

In the meantime, T-1’s latest appearance on the deck of the USS Nimitz has already underscored the big changes coming to Navy carrier air wings, both figuratively and literally.

Contact the author: joe@twz.com

In many ways, Saturday was a typical July 4 holiday in the United States.

The country marked the anniversary of its Declaration of Independence with hotdog-eating contests, parades, fireworks and baseball games.

But this Independence Day was different, not least because it marked the country’s semiquincentennial: the 250th year since the US’s founding.

It also was one of the most politically charged Independence Day celebrations in recent memory.

President Donald Trump is expected to speak this evening from the National Mall in Washington, DC, right before what has been billed as the “world’s largest fireworks display”.

More than 850,000 fireworks are expected to launch from barges in the Potomac River, lighting up the sky above the capital.

But while Independence Day festivities have long been billed as non-partisan events, Trump has pledged to make the night’s celebration “the most spectacular TRUMP RALLY of them all”.

The event comes as Trump’s Republican Party seeks to defend its control of Congress in November’s midterm elections, with a heated primary season already under way.

Trump’s involvement in the semiquincentennial has long been controversial.

On January 29, 2025 — just nine days into his second term as president — Trump issued an executive order establishing a White House task force to oversee celebrations for the 250th anniversary. Trump named himself its chair.

That task force would eventually set the groundwork for Freedom 250, a public-private partnership that organised some of the biggest events of the semiquincentennial, including the Great American State Fair on the National Mall.

But Freedom 250 was accused of funnelling resources away from America250, a congressionally approved panel that had likewise been charged with planning semiquincentennial celebrations since its founding in 2016.

The existence of the two groups has also spurred confusion. In late May, for instance, a suite of performers dropped out of the Great American State Fair, alleging they had been misled about its affiliation with Trump.

Before Saturday’s events, Democrats in the House of Representatives released a report (PDF) accusing Trump of using Freedom 250 for political purposes, including by awarding contracts to Trump allies.

It also alleges that Freedom 250 has been “operating outside the transparency and accountability requirements” Congress imposes on such celebrations — and that it may even have committed wire fraud by redirecting “unsuspecting donors” away from America250 and towards its own programmes.

“Under President Donald Trump, this anniversary has been hijacked and perverted into a hotbed of corruption and self-enrichment,” the report reads.

But speaking at a naval parade in New York City on Saturday, Vice President JD Vance brushed aside the criticisms. He called on revellers to reject the “small but loud voices” that “speak obsessively” of the US’s “imperfections”.

“What I’d ask you to do, my fellow Americans, on our 250th birthday, is to reject the two-dimensional view of your fellow citizens and reject the two-dimensional view of your country,” he said.

“Reject that America is a place for zero-sum thinking because it is not. Our history is one of people carving a great civilisation out of the wilderness. Reject the view of your nation that sees only its sins but not its grace and its greatness.”

VICTORIA and David Beckham have celebrated 27 years of marriage with sweet tribute posts on their wedding anniversary.

The superstar couple said “I do” in 1999, and have been smitten with each other ever since.

Today, they thrilled fans when they each shared posts to commemorate their long and happy marriage.

Victoria, 52, posted a picture of herself lovingly kissing her husband on the cheek, and penned: “After 27 years of marriage, four amazing children and countless matching outfits, you’re still my *everything*.

“Happy anniversary!! I love you so much.”

While David, 51, shared a slew of pics from their time together, dating back to when they first met.

READ MORE ON THE BECKHAMS

foul play

Brooklyn Beckham takes savage swipe at family in big-money World Cup ad

JANE MOORE

Dear Brooklyn, your ENTIRE mollycoddled existence is based on Brand Beckham

The smitten husband then wrote: “29 years together. 27 years married & you have given me everything I could ever wish for.

“Our proudest achievement will always be our family 🩷 I love you & Happy Anniversary.”

The famous couple said their “I do’s” on July 4, 1999, with their first-born Brooklyn as their ring bearer.

The big day came after the two started dating in 1997 and Becks popped the question the following year.

Posh and Becks sat on golden thrones at the altar and spent all the money needed to have their dream wedding.

According to reports, they splashed out around £500,000, making it one of the most extravagant celebrity weddings.

Along with Brooklyn, the couple also share three more children – Romeo, 23, Cruz, 21, and Harper, 14.

However, their eldest son is currently embroiled in a bitter estrangement with David and Victoria.

In January, Brooklyn made a dozen explosive accusations in a ruthless statement hitting out at his family.

The aspiring chef called out his famous parents for their “inauthenticity”, accused them of making bribes and scolded the family for their treatment of his wife on their wedding day.

In a shock move, he also sent his parents a legal notice warning they can only contact him via lawyers.

In the extraordinary “desist” letter, he also instructed them not to “tag” him on social media.

But in a surprising twist, last month Brooklyn filmed a World Cup advert taking a savage swipe at his family’s estrangement.

It showed the eldest Beckham boy throwing down his match tickets onto the coffee table, which appeared to show a £250,000 designer watch gifted to him by his dad and a stack of unopened letters.

The ad went live on social media after we revealed Brooklyn spurned his sister Harper’s attempt at a reconciliation.

The teenager was pictured delivering a letter to the house Brooklyn shares with his wife Nicola Peltz, 31.

They quickly hit back at the Beckhams, claiming the letter felt like an “orchestrated move by his family” – insisting it “made them feel uncomfortable.”

A spokesman for the couple added: “That photographers were in place as the letter was hand-delivered says it all.

“This was choreographed for the cameras.”

But a source close to the Beckhams called it “another untrue and unfair accusation”.

At Mount Rushmore, Trump warns of ‘communist menace’, ties rhetoric to immigration ahead of November midterms.

United States President Donald Trump has used the opening weekend of the nation’s 250th anniversary celebrations to praise the US military and critique democratic socialists, warning of a “communist menace” that he claims poses a major threat to the country.

Speaking beneath the granite monument at Mount Rushmore on the eve of Independence Day on July 4, Trump invoked national identity and ideology ahead of the November midterm elections.

“We created the strongest and most powerful military. We won two world wars,” he said, claiming that the Cold War had left the US’s enemies “in the depths of history”.

He also said the US “beat Venezuela in one day” and “knocked the hell out of Iran”.

The address comes amid voter concerns over persistent inflation and elevated energy prices driven by the ongoing US-Israel conflict with Iran.

Briefly addressing the Iran war, Trump said Tehran is “dying to settle” and that Washington had granted “a week off for a funeral because we’re nice”, in reference to the days-long state funeral being held for late Iranian Supreme Leader Ali Khamenei, who was killed in a strike on the first day of the US-Israeli war.

‘Communist menace’

A larger chunk of Trump’s address was focused on what he considers ideological threats at home.

“There is now a resurgence of the communist menace in our land, including from newcomers to our country who embrace ideas totally opposed to our way of life,” the president said, calling communism “the enemy of the Constitution”.

He pledged that “the citizens of the United States of America will vanquish communism quickly.”

Trump tied his anti-communist rhetoric to a hardline immigration stance, suggesting that left-wing political figures and certain undocumented arrivals should be removed from the country.

His remarks followed a string of recent progressive primary victories in US states including New York, Colorado and Texas.

He labelled the rise of democratic socialists the “greatest threat to our country since its founding”, comparing the movement’s potential impact with World War II and the September 11 attacks.

He closed the address by calling the anniversary “the beginning of the golden age of America.”

Trump’s ‘grip on America steadily slipping away’

Speaking to Al Jazeera, Republican strategist Eli Bremer said parts of the speech were unifying enough that they “could have been delivered by Ronald Reagan … 45 years ago,” but added that “the gap between the American left and the American right has really never been wider”.

However, Democratic strategist and former Obama campaign adviser, Ameshia Cross, told Al Jazeera that Trump wants to wipe out the country’s diverse history.

Trump “is upset that there is a younger crop of Democrats who are running and winning across this country,” she said, adding that the speech reflected “a president who sees his grip on America steadily slipping away”.

She noted that it also came “on the heels of him losing a Supreme Court decision just a couple of days ago to eradicate birthright citizenship“.

The address highlighted the contrasting visions framing the country’s milestone anniversary.

In New York, progressive Mayor Zohran Mamdani offered an alternative narrative during a naturalisation ceremony, using a desk once belonging to George Washington to praise immigrants’ contributions and frame civic dissent as patriotism.

Democrats have also criticised the administration’s handling of the anniversary, alleging a conservative group took control of 250th-anniversary planning from a previously bipartisan congressional commission.

A century and a half ago, Richard Wagner was running out of cash as he was preparing to stage his four momentous nights of opera known as the “Ring Cycle” when he got a message from the Women’s Centennial Executive Committee in Philadelphia. It offered him a princely $5,000 (around $150,000 today) to write a triumphant 12-minute orchestral score to open the Centennial Exposition in Fairmont Park celebrating the 100^th anniversary of the Declaration of Independence.

On May 10, 1876, Theodore Thomas, perhaps America’s most famous conductor at the time (he would go on to head the New York Philharmonic and help found the Chicago Symphony), led the premiere of Wagner’s “Grosse Festmarsch” with a 150-member orchestra, its brass and percussion so impressive that the addition of cannon fire Wagner suggested was not needed. The crowd was said to number well over 100,000. President Ulysses S. Grant attended and invited Emperor Dom Pedro II of Brazil to join him along with members of Congress and Supreme Court justices for what remains a unique Declaration of Independence spectacle and debacle.

The “Centennial March,” as it came to be known, turned out to be dreck. Even Wagner, who carelessly tossed it off in a couple of weeks, said the best thing about the score was the fee, which he had demanded to be paid in gold. But what sounds like something AI might come up with if asked to write a pompous march in the style of Wagner began the American obsession with celebrating the Declaration of Independence, the words and deeds of our presidents, our very democracy with the assist of the symphony orchestra and opera.

One hundred years later, the country was awash with federal, state, city and philanthropic funding for a music-happy bicentennial of exceptional ambition. “With millions available in hand and more money to come,” Time Magazine wrote in 1975, “the Bicentennial is the biggest bonanza for the American composer since Hollywood discovered the musical.”

And so it was. The centerpiece was the National Endowment for the Arts Bicentennial Orchestra Commissioning Project. That funded America’s six top orchestras to each commission a major work that all six would play. In addition, the NEA offered further support to 34 American orchestras for dozens more new scores.

Everyone got into the act. The New York State Council of the Arts alone sponsored 68 commissions. Orchestras everywhere came up with striking projects. The Pittsburgh Symphony, for instance, premiered L.A. composer John LaMontaine’s opera/oratorio “Be Glad Then America” that featured the folk singer Odetta as the Muse of Liberty and enlisted ROTC students to reenact the Battle of Lexington overhead the orchestra.

The National Symphony commissioned symphonies from Roy Harris and William Schuman as well as Alan Hovhaness’ “Ode to Freedom,” a lovely short violin concerto written for Yehudi Menuhin. The list goes on.

We are obviously not seeing or hearing much like that in a semiquincentennial year when our government’s green gets the most attention for promoting algae. Even so, the NEA does indeed have an “America250” project (though it does little to publicize it, let alone fund it on the scale of 50 years ago) that is promoting more than 50 artworks. In music, they range from the Montgomery Symphony’s premiere in February of Nkeiru Okoye’s oratorio “A Time for Jubilee,” commemorating the 60^th anniversary of the 1965 Selma-to-Montgomery civil rights marches, to a New West Symphony premiere last weekend of Michael Christie’s “A Ronald Reagan Portrait” at the Ronald Reagan Presidential Library and Museum.

The major East Coast orchestras are paying some attention. The New York Philharmonic premiered David Lang’s luminous “the wealth of nations.” The National Symphony got the most attention in its attempt to commission Philip Glass’ “Lincoln” Symphony, which the composer pulled in opposition to an un-Lincoln-like presidential takeover of the Kennedy Center. Glass then gave the rights to the Boston Symphony for a July 5 first performance.

The National Symphony did pull off the premiere of Peter Boyer’s “American Mosaic,” and it was to the Altadena composer that Philadelphia, this time around, entrusted its Declaration of Independence commemoration. Boyer’s multimedia oratorio, “A Hundred Years On,” was given its premiere by the Philadelphia Orchestra last month at the orchestra’s outdoor summer home, the Mann Center.

Upcoming will be a few repeat performances. Next month, “the wealth of nations” lands at the Aspen Festival, as does the “Lincoln” Symphony at the Cabrillo festival (with an L.A. Phil performance next season). “American Mosaic,” of which the Pacific Symphony was a co-commissioner, had its West Coast premiere in Costa Mesa last month and was scheduled to be performed at the Hollywood Bowl by the National Symphony in August, but that has now been replaced by Dvorak’s commonplace “New World Symphony.”

None of this comes close to comparing with the attempted civic zest of 1976. The NEA made it a matter of admirable policy that commissioned new works get multiple performances. Yet despite several of these being substantial works by some of our most noted and venturesome composers, few bicentennial commissions have survived. Even odder is that many of the composers did not necessarily feel compelled to explore nationalist themes. For them, American liberty implied freedom to simply write the kind of music they cared about.

The six works for the six orchestras were David del Tredici’s irresistibly over-the-top “Final Alice” (Chicago Symphony), Elliott Carter’s arrestingly impenetrable-on-first-hearing “Symphony for Three Orchestras” (New York Philharmonic), John Cage’s irrepressibly come-what-may “Renga” (Boston Symphony), Morton Subotnick’s brilliant electronic-landscaped “Before the Butterfly” (Los Angeles Philharmonic), Leslie Bassett’s introspective “Echoes From an Invisible World” and Jacob Druckman’s abstract-modernist “Chiaroscuro” (Cleveland Orchestra).

No orchestra has brought back its commission over the last half century, and only Chicago and New York recorded their commissions. No recording at all exists of L.A.’s, although Subotnick’s inventive uses of electronic music with a standard symphony orchestra went on to have considerable influence. None of these works, it appears, are likely to be heard anywhere in America this year, with one sort-of exception.

An explanation for that may be that, while 1976 was a fraught time for America — the country was recovering from the Vietnam War, we had a president and vice president who were not elected, there was runaway inflation, etc. — the music of the time represented optimism. Many works around the country explored new electronic music technology. It was the year Glass wrote “Einstein on the Beach” and Steve Reich created “Music for 18 Musicians” — the composers’ first masterpieces — demonstrating that Minimalism mattered.

That sense of liberation is clearly behind Del Tredici’s “Final Alice,” an hourlong romp around the ending of “Alice in Wonderland” for superhuman soprano and orchestra. It is so obsessively and addictively wild that its tamest moments sound like Richard Strauss on LSD. It does have a cult following although performances are few and far between.

Cage’s score is an abstract work based on the Japanese form of collective poetry known as renga, in which each poet attempts to write a line that is as distant as possible in meaning from the preceding line. Cage translates that to an independence of instrumental parts. While “Renga” can be performed alone Cage further suggests it be played along with an actual bicentennial work he wrote separately, “Apartment House 1776.” That is what Boston and the other orchestras did.

Indeed, “Apartment House” got the lion’s share of bicentennial attention and ridicule. When Zubin Mehta conducted it at the Dorothy Chandler Pavilion, the L.A. Philharmonic did not take it seriously and many walked out on it.

The work features four vocal soloists who represent Native American, Sephardic, African American and Protestant religious traditions, along with instrumental music based on early American hymn tunes. Everything is cut up and put together through chance operations into what Cage called a Musicircus. Under the circumstances “Renga” was hardly noticed, although two decades later, “Renga” came into its own when Michael Tilson Thomas famously conducted it with the San Francisco Symphony and the surviving members of the Grateful Dead.

Still the idea that “Apartment House” need not stand alone, that our traditions and those of long-ago Japan belong together, represented for Cage a future for America. We need not act like a superpower, he noted, but merely be one nation, no more and no less, among many.

We are obviously not that nation. A half-century later, “Apartment House” tends to exist mainly in its own right. An excellent London new music ensemble calls itself Apartment House. Detroit Opera recently staged it with a 2026 need to give the singers the opportunity to select their own music rather than reflect on our heritage. If American music in 1976 represented a collective, inquisitive, inventive American spirit of discovery, the semiquincentennial in the age of social media has become more about the individual identity.

As a sign of how we think about ourselves, the Los Angeles Philharmonic begins its Hollywood Bowl season five days after the 4^th with a program of American music conducted by Thomas Wilkins that opens with Valery Coleman’s “Fanfare for Uncommon Times,” which was written five years ago.

But for now, the work that stands out is Lang’s “the wealth of nations.” It balances harsh thoughts of how the promise of capitalism has failed society and how racism remains with music of stunning beauty and glory, to gently but forcefully show us, in our age of American dissatisfaction, the direction in which we might go to make us proud again. It needs many performances.

Demonstrators mark the second anniversary of a 2024 protest where 60 people were killed by security forces.

Kenyan police have dispersed protesters in the capital and detained others who took to the streets in memory of the demonstrators who were killed in anti-government rallies against tax rises two years ago.

Interior Minister Kipchumba Murkomen said on Thursday that a total of 355 people were arrested in various parts of the country. He called those detained “criminals” and apologised for the use of barricades and other security measures aimed at containing the protests.

“We regret the inconveniences occasioned by these measures, and at the same time appreciate their effectiveness in securing the city and other parts of the country,” Murkomen told reporters.

A correspondent for the Reuters news agency also saw police fire tear gas to disperse people who were gathering peacefully outside of Nairobi’s police station after forces detained six people outside parliament, where they had laid flowers.

According to the Kenya National Commission on Human Rights, organisers had planned to mark the second anniversary of the demonstrations that had left at least 60 people dead after protesters had breached parliament grounds in 2024.

But in Nairobi, shops and restaurants in the central business district remained closed as police set up roadblocks with water-cannon trucks.

Reporting from Nairobi, Al Jazeera’s Malcom Webb explained that the heavy police response to the protest was due to the government’s desire to avoid a repeat of the events two years ago.

“This comes following a series of different protests in recent weeks, some led by [President William] Ruto’s political opponents, others by transport unions over increases in fuel prices and a state of simmering discontent that hasn’t really recovered since that day two years ago when dozens of people were killed,” he said.

Opposition leaders joined the victims of alleged police brutality and families of protesters who were killed in the crackdown before they headed to parliament.

“As parents, we sought permission just to come here … to mourn and lay flowers for our children. But when we arrived, we were shocked because the police blocked us,” said Edith Wanjiku, whose 19-year-old son Ibrahim Kamau was killed in 2024.

“That is very shameful,” she continued.

“And one thing I would ask of President Ruto: those police officers who killed the children – because they are known – I am only asking for justice for those children and also compensation,” she added.

Protest organisers have said that they want a credible investigation into past police conduct and guarantees against the use of excessive force.

While Ruto has acknowledged what he called “instances of excessive and extrajudicial actions by members of the security services” and said last week that two billion Kenyan shillings ($15.5 million) had been set aside for victims of protest-related abuses, some activists have said it was not enough.

June 19 (Asia Today) — North Korea marked the second anniversary of its defense treaty with Russia on Friday by calling the agreement an “essential legal weapon” for achieving global strategic stability and pledging to further strengthen bilateral ties.

The Rodong Sinmun, the newspaper of North Korea’s ruling Workers’ Party, published an article titled “The Power of the North Korea-Russia Alliance Is Being Demonstrated More Forcefully” to commemorate the anniversary of the treaty.

The newspaper described the agreement as “a reliable guarantee” for establishing a new international order and securing a brighter future for humanity.

“It is the unwavering position and will of the government and people of our republic to permanently expand and develop the traditional North Korea-Russia friendship through close and multifaceted solidarity in all fields on the basis of the new interstate treaty,” the newspaper said.

North Korean leader Kim Jong Un and Russian President Vladimir Putin signed the Treaty on Comprehensive Strategic Partnership in Pyongyang on June 19, 2024. The agreement includes a mutual defense clause requiring either country to provide assistance if the other comes under armed attack.

The Rodong Sinmun said the treaty had led to an unprecedented increase in communication across politics, economics, culture, defense, diplomacy and security.

It also said cooperation had expanded in trade, science and technology, education, public health and the arts.

The newspaper cited the construction of a North Korea-Russia friendship hospital, the resumption of direct flights between Pyongyang and Moscow and North Korea’s participation in Russia’s war against Ukraine as results of the closer relationship.

“The victory of the sacred common cause of the peoples of North Korea and Russia is certain,” it said. “The great friendship between the two countries, forged in blood and growing stronger by the day, will remain immortal.”

North Korea has sent troops and weapons to support Russia’s war against Ukraine. Pyongyang and Moscow have presented their military cooperation as an implementation of the strategic partnership treaty.

Separately, Kim Yo Jong, the sister of North Korean leader Kim Jong Un and a senior Workers’ Party official, condemned a Group of Seven statement calling for the denuclearization of North Korea.

In a statement Thursday, Kim accused the G7 leaders of repeating what she called an outdated demand and said denuclearization was a matter that had been permanently closed.

“The nuclear weapons we acquired to defend ourselves after being subjected to constant and persistent nuclear threats from our adversaries should cause concern to no one except those who intend to harm us,” Kim said.

She said North Korea’s nuclear status was written into its constitution and portrayed the country’s arsenal as a defensive and retaliatory capability.

“Possession of nuclear weapons is our core interest that must be firmly defended, and denuclearization is an irreversible line that can never be crossed,” Kim said.

She warned that challenging the core interests of what she called a nuclear-armed state would be “the worst and most disastrous choice.”

South Korea’s Unification Ministry reiterated that Seoul remains committed to pursuing North Korea’s denuclearization through a phased and realistic approach.

“Our position remains unchanged that, based on reality, we must develop phased and feasible measures that are acceptable to both sides to achieve a nuclear-free Korean Peninsula,” Deputy Ministry spokeswoman Jang Yun-jeong said at a regular briefing Friday.

— Reported by Asia Today; translated by UPI

© Asia Today. Unauthorized reproduction or redistribution prohibited.

Original Korean report: https://www.asiatoday.co.kr/kn/view.php?key=20260619010006805

TOM Parker’s pregnant widow Kelsey has revealed her emotional struggle ahead of the first anniversary of her stillborn baby’s death.

Kelsey, 36, tragically lost her son Phoenix in June 2025 after he was born sleeping.

Kelsey has two children with The Wanted singer Tom, who died in 2022 aged 33, – Aurelia, six, and Bodhi, four – but had been expecting her third child with new partner Will Lindsay.

In May, she announced she is pregnant with her rainbow baby but she explained she is now set to tackle a bittersweet weekend.

Amid her pregnancy joy, it will be the one-year anniversary of Phoenix’s passing and in a candid Instagram upload, she admitted she “deeply misses my little boy and wish things had been different”.

Kelsey uploaded a selfie showing her in the sunshine, wearing a white vest top and sunglasses with a gold chain.

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In a frank message posted alongside it she put: “I’ve been really quiet on here the last couple of days.

“Truthfully, I’ve been working a lot, trying to keep busy and just processing the fact that Sunday is a big day.

“It’s Phoenix’s first anniversary and it’s Father’s Day too.

“Grief is a strange thing. Some days you can keep going and stay busy, and other days it all catches up with you.

“I’m learning that both things can exist at once. I can feel excited about this next chapter of life, be grateful for everything I have, and still deeply miss my little boy and wish things had been different”.

Giving advice to her followers, Kelsey added: “If you’re navigating grief, anniversaries or simply carrying something heavy right now, please know you’re not alone.

“As always… stop waiting, start living. But also, give yourself permission to feel it all”.

Recently, the brave mum appeared on ITV daytime series Good Morning Britain to reveal her home was “treated like a crime scene” after Phoenix arrived into the world.

Kelsey’s spouse Tom died in 2022, aged 33, following a brain tumour battle.

She previously admitted that that grieving Phoenix was “harder than grieving Tom” as she spoke on the Mum’s The Word podcast.

She shared: “It was so hard. I think with Phoenix, it was harder than it was with Tom.

“I think because they [her kids] were so much younger, it’s like I could just be like, ‘daddy wasn’t coming back.’ 

“And you know, when I said about the angels taking daddy, ‘we won’t see daddy again’, it was like they accepted that and we sort of moved on. 

“And now as time’s gone on, they asked me more questions about their dad and stuff, but that initial I suppose with Bod as well. He was 18 months old. It wasn’t a question that he even thought.”

At the time of Tom’s death, Aurelia was around three, and Kelsey’s co-host Georgia pointed out: “They were almost ages where they didn’t understand. 

“So you almost didn’t have to explain it too much. You obviously have to explain it, but it’s very different to having a child that completely understands, knows what death is”.

WASHINGTON — An upcoming celebration of the nation’s 250th anniversary, “The Great American State Fair,” recently had several musical guests back out, partly over the event’s ties to President Trump. Now, Trump himself is slated to headline the festivities.

“I understand Artists are getting ‘the yips’ having to do with their performance,” Trump posted on his social media platform Saturday. With a boastful and derisive flourish, he adding that he was thinking of bringing “the man who some say is the Greatest President in History (THE GOAT!), DONALD J. TRUMP, to take the place of these highly paid, Third Rate ‘Artists.’”

The group organizing the June fair on Washington’s National Mall, Freedom 250, confirmed the billing in a statement Saturday, writing, “We are excited to announce that President Trump will personally kick off this historic celebration on Wednesday, June 24.”

Danielle Alvarez, a spokesperson for Freedom 250, said the fair that is officially scheduled from June 25 through July 10 will feature exhibits, family friendly attractions, flyovers and musical performances — by those still remaining on the program.

Trump was dismissive of the acts that backed out, insulting them and suggesting in a follow-up post that the solution is to “Cancel it.”

“We should have a giant MAKE AMERICA GREAT AGAIN RALLY, for 250, instead of having overpriced singers, who nobody wants to hear, whose music is boring, and yet who do nothing but complain,” he wrote.

Freedom 250 is billed as nonpartisan, but it was launched last year by Trump and is led by a former State Department appointee from the president’s first term. Several artists, including Bret Michaels, the Commodores and Martina McBride dropped out last week.

Michaels and other artists have said that they were misled about the theme of the shows or were otherwise wary of being caught up in a political fight. McBride, in a statement on Instagram, said she had been “presented with an opportunity to perform at a nonpartisan event but that turned out to be misleading.”

Other artists plan to attend, including Flo Rida, Fab Morvan of Milli Vanilli and Vanilla Ice. The latter’s representative previously said that the “Ice Ice Baby” rapper was “proud to help celebrate America’s 250th Anniversary!”

Bedayn and Binkley write for the Associated Press. AP writer Eric Tucker contributed to this report.

WASHINGTON — Yet another White House construction project is underway, though this one is meant to be only temporary.

Crews are erecting an octagon-shaped cage on the South Lawn that will host next month’s UFC bout, helping mark the nation’s 250th anniversary — and President Trump ‘s 80th birthday.

Online renderings depict what the completed, wire-mesh-fence-ringed fight space is expected to look like ahead of the June 14 event. It will be ringed by a red, white and blue stage under a towering arch featuring stars and stripes patterns and two large screens carrying the action live.

The cage and stage will themselves be surrounded by thousands of temporary seats, including ringside space for a full marching band that can set the entire scene to blaring music.

The project is part of a series of events celebrating the semiquincentennial of the Declaration of Independence’s signing on July 4, 1776. Other planned functions include an IndyCar race that will pass by the White House and the Great American State Fair taking place on the National Mall.

Trump has said that the finished UFC project will feature “a 5,000-seat arena right outside the front door of the White House.” Additional large screens broadcasting the fights will be set up in a park at the nearby Ellipse, and the UFC has said it plans to issue as many as 85,000 free tickets to accommodate spectators at both locations.

“I have never seen anybody want anything so much as people want those tickets,” Trump said recently of demand to attend the UFC fight, adding, “That’s gonna be something.”

The card has been panned by fans online as underwhelming, featuring just two championship fights. Brazil’s Alex Pereira will meet France’s Ciryl Gane for the interim UFC heavyweight title. Then Spanish-Georgian lightweight champion Ilia Topuria takes on interim champ Justin Gaethje, one of just two Americans who currently hold even a share of the UFC’s 11 championship belts.

The octagon and surrounding structures are the latest project in the White House building boom Trump is leading.

The president’s other efforts to leave his mark include tearing up part of the Rose Garden to make room for a patio space reminiscent of his Mar-a-Lago estate in Florida, affixing partisan plaques to the wall of the colonnade for a Presidential Walk of Fame, redoing the bathroom attached to the Lincoln Bedroom and renovating the Palm Room, placing new flag poles on the north and south lawns and demolishing the entire East Wing for a sprawling ballroom.

The president also wants to repaint the Eisenhower Executive Office Building beside the White House and build a 250-foot arch at the nearby Lincoln Memorial — the same monument where weigh-ins for the upcoming UFC fight are scheduled to take place, bout organizers say.

Weissert writes for the Associated Press.

IT’S the news that all Mis-Teeq fans have been waiting for – the band have announced they are reuniting.

The noughties girlband, made up of Alesha Dixon, 47, Sabrina Washington, 47, and Su-Elise Nash, 45, shared their exciting news this morning.

Announcing the news in Vogue, the trio revealed they would be doing a one-off show at Wembley Arena in September.

Revealing why they got back together, Alesha said: “We’ve been offered reunion stuff over the years, but it’s never felt right.

““This time, everything just lined up.”

The BGT star added: “It feels like it is just slotting back into place, guys.

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“It’s just like it used to be – me saying too much and them two looking at me like, ‘Oh, here she goes!’”

The band’s reunion is to celebrate the 25th anniversary of their debut album, Lickin’ On Both Sides.

The record, which came out in October 2001, peaked at No3 in the Official Album Charts and bagged them five Top Ten singles including All I Want, One Night Stand and B With Me.

The Sun revealed in January that the band would be getting back together.

A source said at the time: “Alesha has been excitedly talking about this for a while and would love a Mis-Teeq reunion with Sabrina and Su-Elise to happen.

“Fans shouldn’t expect a Girls Aloud-style comeback tour, though.

“At the minute, lots of things are being discussed and one thing that has come up is the idea of a one-off show. It could be an intimate gig for their die-hard fans or a performance on a big TV programme such as Britain’s Got Talent — which Alesha is a judge on.

“Nothing has formally been offered but nothing is off the table.

“Lickin’ On Both Sides launched Alesha, Sabrina and Su-Elise’s music careers and that record holds a really special place in their hearts.

“They want to celebrate that album with their fans.”

More on this story to follow…

Video shows German police violently hitting and pepper-spraying protesters as thousands gathered in Berlin to mark the 78th anniversary of the Palestinian Nakba.

Thousands of protesters marched through central London on Saturday to mark the 78th anniversary of the Nakba, the forcible displacement of 800,000 Palestinians during the creation of Israel in 1948.