arts

Graffiti has marked the walls of Rome for millennia. Now, as one content creator builds a following cleaning spray-painted walls, his videos are fuelling a wider debate over heritage, street art and where the line between the two should be drawn.

Facing Holloway at UFC 329, Irishman McGregor seemed to injure his right knee in the first round when jumping in with a kick.

Conor McGregor’s much-hyped ‌return to the octagon lasted just over a minute on ⁠Saturday after the ⁠Irishman blew out his knee and retired injured in his UFC 329 fight with Max Holloway in Las Vegas.

Former two-weight ⁠world champion McGregor, who had not fought since breaking his leg against Dustin Poirier in July 2021, attempted a flying kick to start ⁠the opening round but landed awkwardly and immediately looked in trouble.

He tried to fight on for a few seconds but looked towards the referee to signal he could not continue.

Former featherweight champ Holloway said he would discuss ‌the possibility of staging another fight with McGregor when the Irishman recovers.

“It is what it is, I’m going to sit down with the UFC,” Holloway added. “(There was) so much hype for that right there. We’ve got to run it back one more time. One more time for the boys.”

Saturday’s bout was the second between the ⁠pair, with McGregor winning by unanimous decision in 2013.

Injuries ⁠and issues away from the sport have derailed McGregor’s career.

After breaking his leg against Poirier five years ago, the 37-year-old was slated to meet Michael Chandler in June 2024, but that was cancelled after McGregor suffered a broken toe in training.

Later that year, a jury in ⁠an Irish civil court found him liable ⁠for the rape of Nikita Hand in 2018.

In October 2025, he accepted an 18-month ban for “whereabouts failures” after he missed three attempts by Combat Sports Anti-Doping to collect biological samples ‌from him in 2024. The ban was backdated and expired in March.

In the co-main event at the T-Mobile Arena on Saturday, Britain’s Paddy ‌Pimblett ‌also needed less than a minute to secure victory, choking out Frenchman Benoit Saint-Denis in their lightweight bout.

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.”

The Benin Bronzes are a broad term used for the carved ivory, wooden works, metal sculptures and plaques looted by British troops during the Punitive Expedition in 1897.

Scholars estimate that more than 5,000 artefacts were stolen, some of which were gifted to Queen Victoria, others sold in auctions, held in private galleries or donated to museums across Europe and elsewhere.

The call to return the art, which began in the 1930s, intensified in the recent decade, inspired by growing pressure, repatriation activism and the relentless effort of the Benin Dialogue Group, a multilateral stakeholders’ group.

As momentum built at the peak of the homecoming of these arts, Igun Street unexpectedly found itself in the global spotlight. Diplomats, state officials, museum curators and researchers began arriving in numbers local artisans say they had never witnessed before.

This noon, Double Chief’s voice brims with pride as he points to a recently completed sculpture resting on a wooden bench. The bronze figure, a man in a suit and tie, had received its final polish only that morning after months of work.

Yet for many bronze casters, the attention has done little to solve underlying concerns.

“We are struggling to keep the industry alive,” says Oriakhi Osazee, who sits on a wooden stool at the entrance of a store in Igun. A sculptor whose mediums are clay, fibre, brass and bronze, Osazee has been in the craft for more than 35 years. He speaks with depth and conviction, drawing from vivid dates and past events to reinforce his ideas.

Efforts to recruit apprentices have stalled, he says. Young people, on whom the future of the craft depends, are increasingly leaving in search of what he calls “quick money” in other professions, cities and countries.

When their ancestors began, he recalls, their craft extended beyond bronze casting. There were, among the Iguns, men who had a gift in ivory carving. Long before the global ban on ivory trade was made official, that layer of art, without heirs and hope of continuity, had died.

For Agbonmwenre Alex, the subject of heirship within the craft is a matter of personal pain.

Alex, who was taking a tour of his workshop, began learning the craft at the age of eight under the guidance of his father. He started with errands and light tasks before progressing to kneading clay pottery. Over time, he learned every stage of the casting process, from preparing moulds to the final polishing of finished works.

Today, he is the only one of his father’s seven sons who remains in the profession. But uncertainty now hangs over the next generation.

“I would like my sons to take after me,” Alex says. “Unfortunately, I started exposing them to this craft so late. They literally see this work as outdated, archaic, and dying. The zeal, the love for the job, is dead.”

I would like my sons to take after me. They see this work as outdates, archaic, and dying. The zeal, the love for the job, is dead.

by AGNONMWENRE ALEX, BRONZE CRAFTSMAN

His first son chose to study law. His second is pursuing a degree in healthcare. Despite repeated efforts to pique their interest, including offering workshop space, raw materials and financial support to start a business of their own, neither accepted.

“The number of youths is declining drastically. It [the craft] is at risk of going into extinction. Apprentices are so scarce,” says Osazee. “We used to have a lot of apprentices in the past.”

A massive 850-square-meter street mural of football star Neymar da Silva, created by six artists over two days in Brazil’s Novo Hamburgo, is turning heads ahead of the highly anticipated FIFA World Cup.

INTERLOCHEN, Mich. — A Michigan summer arts camp and boarding school where Jeffrey Epstein has been accused of meeting at least two of his victims will tear down a lodge that once bore his name.

The Interlochen Center for the Arts said this week that its board of trustees has approved a plan to demolish the Green Lake Lodge, which had been known as Jeffrey E. Epstein Scholarship Lodge until the school cut ties and scrubbed references to the late millionaire sex offender after his first conviction in 2008.

Epstein attended the Interlochen Arts Camp in 1967 as a teenager, and donated more than $400,000 to the school between 1990 to 2003, including $200,000 for the construction of the lodge.

“The lodge has, over time, come to carry associations that are not reflective of who we are as an institution or the values we strive to uphold,” Interlochen said in a statement. “After careful consideration, the Board determined that removing this structure in a safe and timely manner is the right step for Interlochen at this time.”

A world-renowned destination for young artists, actors and musicians, Interlochen’s alumni include Grammy winners Chappell Roan and Norah Jones and Oscar winner Da’Vine Joy Randolph.

At least two of Epstein’s accusers have said they met him at Interlochen in the 1990s.

The school said it was aware of news reports about the women’s claims and said it has invited them to speak with an independent investigator as part of an external investigation into reports of historical misconduct at Interlochen.

A pair of internal reviews, most recently after Epstein’s sex trafficking arrest in 2019, found no reports of misconduct at Interlochen involving Epstein in its records, the school said.

Epstein visited Interlochen periodically, often with his confidante and former girlfriend Ghislaine Maxwell, and stayed in the lodge now marked for demolition.

According to correspondence included in the Justice Department’s recent release of Epstein-related records, he directed that tuition for at least one student be paid out of his donations and once flew violinist Itzhak Perlman to the school on his private jet.

Epstein killed himself in a federal jail in Manhattan in August 2019, a month after being indicted on federal sex trafficking charges. In 2008 and 2009, he served jail time in Florida after pleading guilty to soliciting prostitution from someone under the age of 18.

Maxwell was convicted in 2021 of sex trafficking for helping to recruit some of Epstein’s underage victims, and is serving a 20-year prison sentence.

Rousey won the fight with her signature armbar lock, forcing Carano into submission just 17 seconds into the bout.

Mixed martial arts (MMA) star Ronda Rousey has re-retired after demolishing fellow combat sports trailblazer Gina Carano in their long-awaited non-title comeback bout in Los Angeles, defeating her rival by armbar after just 17 seconds.

After a hype-filled build-up, the bout on Saturday was a jarring anti-climax, with Rousey flooring Carano almost immediately before wrestling her into an armbar to end the fight.

American stars Rousey, 39, and Carano, 44, are widely regarded as two of the most important female fighters in the history of MMA, helping to take the sport into the mainstream during their fighting heydays more than a decade ago.

Carano had parlayed her success into a Hollywood career, appearing in several action movie roles, but had not fought since 2009 before her appearance in Saturday’s featherweight bout.

Rousey, a 2008 Olympics judo bronze medallist who subsequently found huge success in the Ultimate Fighting Championship (UFC), retired from the sport in 2016 after suffering back-to-back defeats against Amanda Nunes and Holly Holm.

The fighters were lured back into the cage for Saturday’s card at the Intuit Dome with the promise of a bumper payday that will reportedly see each fighter earn several million dollars from the streaming giant.

Rousey (13-2-0 MMA) secured her 10th submission win, returning to the cage following an exit from MMA in December 2016.

She insisted afterwards her return to the ring was a one-off and ruled out the possibility of fighting again after paying tribute to Carano.

“Gina is the only person who could have brought me back into MMA – she’s my hero,” Rousey said. “She changed my world, and we changed the world, and I’ll never ever forget that or be able to pay that back enough.

“I’m so glad we finally got to share this moment.”

Asked about possibly extending her comeback, Rousey added: “There’s no way I could have ended it better than this. I want to have some more babies, got to get cooking.”

Carano (7-2-0 MMA) ⁠⁠had been inactive in the sport since August 2009, returning to MMA after a conversation last year at Rousey’s encouragement. She admitted the fight was too fast for her, regretting what ⁠⁠more she could have done in a short timeframe.

“I feel great,” Carano said after the loss. “I wanted to fight, ⁠⁠and I didn’t get that. But she trained. She ⁠⁠had her game plan. I have so much love and respect for her, and this was a victory in my life. She changed it. I woke up at 3am every morning thinking about ‌‌her. I fell back in love with mixed martial arts. There’s ‌‌so ‌‌many things to think about here. It’s just [that] the fight didn’t go my way.

“I wanted that to last longer – I felt like I was so ready, I felt so good,” she said. “But I haven’t been here for 17 years. I wanted to hit her.”

Carano, 44, is unsure whether she’ll return to MMA, choosing to keep the door open.

Carano said the mere fact of getting in shape for her return – she revealed before the bout she had shed more than 100 pounds (45kg) in the two years leading up to the contest – was a victory.

“Right now, just getting in the cage was a victory, getting here after 17 years is a victory. Fighting a legend was a victory. I feel great, I just wanted to fight, and I didn’t get to do that.”

After watching his mother perform in a production of “A Raisin in the Sun” at Compton Community College when he was 9 years old, Anthony Anderson knew appearing on stage would be his life’s work. Over the next handful of years, he enrolled in programs across Los Angeles to achieve that dream. Then, one morning after finishing a class at the Southern California Regional Occupational Center in Torrance, Anderson saw a Post-It note on a bulletin board that caught his attention. The note informed aspiring artists about a newly formed arts school. To be admitted, they had to submit an audition tape.

“I ripped it off the board, and I brought it home to my mother, and I said, ‘Mom, if I can get into this school, can I go here?’” Anderson says. “She said, ‘If you can get into that, yes.’”

Months later, Anderson received a letter informing him that he had been accepted into the inaugural class at the Los Angeles County High School for the Arts.

Founded in 1984 and opening its doors to students in 1985, Los Angeles County High School for the Arts is located on the campus of Cal State L.A. It was established to provide students (currently 550) with conservatory-level arts training and college-prep academics within the public education system. LACHSA isn’t associated with LAUSD; instead, it partners with the Los Angeles County Office of Education, which provides funding to support it.

“I felt it to be very important that I was in an environment where other students had the same passion as I did for the arts, in particular, theater,” Anderson says. “Being around other students who had the same passion and drive that I had as an artist was very influential.”

Over the years, LACHSA has featured a who’s who of alumni across various disciplines, including musicians Phoebe Bridgers and Haim, actors Jenna Elfman and Belissa Escobedo, and visual artists Robert Vargas, Tomashi Jackson and Kehinde Wiley. For the past seven years, the school has been ranked as the top public high school for the arts.

Drew McClelland (second from right) with students from LACHSA’s Cinematic Arts Program and actor William H. Macy (far right).

(Courtesy of LACHSA)

While the school’s accolades focus on the arts, LACHSA also aims to give its students experiences that extend beyond the program. Days are structured so that students take academic classes in the morning and arts in the afternoon. With this format, they meet and get to know classmates from other disciplines.

Former “SNL” cast member Taran Killam points out that this also promotes the school’s social and economic diversity, acting as a mini-college experience.

“It’s such a melting pot, but you have this beautiful, focused bonding,” he says. “It’s a rare thing for kids to know, but LACHSA students are ambitious. It’s very unifying when your background is so disparate and so diverse. It’s what makes it special, and you can’t get this experience in a traditional school.”

Lara Raj attended several arts-focused high schools as she moved during her childhood. With that in mind, the member of the girl group Katseye cites LACHSA as having a major influence on her artistic development. During her time at LACHSA, Raj took music, fashion and acting classes, and says its music tech class was her favorite. There, she learned how to create beats and write songs.

“I developed my songwriting and fell in love with it through those classes,” Raj says. “I was excited to go to school every day. And I hate school.”

Before attending LACHSA, singer-actor Josh Groban didn’t know a school specializing in the arts was an option. After bouncing around schools and realizing he needed a different education to express himself equally academically and artistically, he ended up at LACHSA. There, he found like-minded, artistically inclined outsiders.

Josh Groban, a former student of LACHSA, credits the institution with helping him find his voice.

(Christina House / Los Angeles Times)

“I was a kid who didn’t quite know how to fit in,” Groban says. “Then at [LACHSA], I was surrounded by other students who, I think, didn’t know how to fit in either. We were there for the same reasons, which is that we felt like we needed the nourishment of the arts and being able to express ourselves on a daily basis.”

Half of LACHSA’s funding is provided by the state, with the rest provided by the LACHSA Foundation, a registered 501(c) (3). According to its executive director, Trena Pitchford, the foundation has invested $1 million each school year.

“People always ask me when I tell them I went to LaGuardia and to LACHSA if they were private schools,” Raj says. “I tell them it was created by people who are passionate about the arts and want to inspire kids.”

“There’s a part of LACHSA that I think is a discovery point for a lot of Los Angeles County, and even the nation,” Pitchford says. “There’s so much opportunity for the school, and they’re doing it on a limited budget. What would happen if they were fully funded? What would happen if the foundation had a $40 million endowment? That would fully sustain what they’re doing right now.”

LACHSA students posing in front of the entrance to the Greek Theatre

(Courtesy of LACHSA)

LACHSAPalooza, the culmination of the foundation’s two-year fundraising campaign to celebrate the first 40 years of LACHSA, will take place at the Greek Theatre on May 30. There, student artists will perform alongside Ozomatli, Jon B., April Showers and more. From a fundraising standpoint, the foundation has high hopes of raising $2.5 million.

“We have both annual goals in terms of investment as well as sort of big visions, big dreams of where we think LACHSA could go for the next 40 years,” Pitchford says. “We also hope to put LACHSA on the national stage.’

The honorees for the night are the late Pat Bass, LACHSA’s gospel choir director, retiring LACHSA theater department chair Lois Hunter, and Jerry Freedman, a longtime social studies teacher at the school.

For Anderson, who is serving as the night’s host, seeing Freedman recognized is very meaningful.

“He was there from the school’s beginning,” Anderson says. “He was there when I started, and he’s still there and is still beloved by the students 40-plus years later. I’m looking forward to honoring him.”

As an arts-based school in the long-standing entertainment capital of the U.S., LACHSA can educate and enable the next generation of artists to discover their voices in the backyards of production companies, studios and record labels.

“The freedom that a LACHSA student gets on the campus to discover who they are is exciting,” Pritchard says. “It’s very innovative, very creative, and it’s forward thinking, future forward. It’s an exciting and thrilling place to be.”

Alumni agree. Without LACHSA and, in turn, a focused public arts education, pursuing a career in the arts would have been more difficult and more costly.

“It helps develop souls to be fully fledged human beings who feel like they can go off into the world and be the best versions of themselves,” Groban says. “We all felt like we were free to be who we wanted to be.”

“Specialty-focused high schools like LACHSA, be it arts or any other topic deserving of protection, because it is a gathering place for exceptionally talented, ambitious, driven kids,” Killam says. “And aren’t those the kind of people we want to be cultivating in society?”