declaration

SEATTLE — James Wilson, one of just six men who signed both the Declaration of Independence and the Constitution, never could have imagined how grand the country he was founding would become. But he knew how it could get there.

Wilson envisioned a steady stream of foreigners coming to America every year, reinvigorating the energy and vitality the nation needed if it were to survive, much less thrive. Which is why Wilson, who moved to the colonies from Scotland at 22, argued against barriers on immigration that would “deprive the government of the talents, virtue and abilities of such foreigners as might chose to remove to this country.”

What Wilson had in mind, then, is something such as the U.S. national soccer team, which gathered to train Saturday morning, on the country’s 250th birthday.

Six of the 26 players on the team, which will face Belgium in a World Cup elimination game Monday, are foreign-born. Five others were born to immigrant parents and two others have immigrant grandparents or great-grandparents. Nearly half have dual nationality.

U.S. coach Mauricio Pochettino jumps into the arms of his players after their World Cup win over Paraguay at SoFi Stadium on June 12.

(Allen J. Schaben/Los Angeles Times)

Yet they all play with the U.S. flag stitched over their hearts. What could be more American than that?

“It is special,” U.S. captain Tim Ream said of having the team together on Independence Day. “Obviously, doubly special because it’s during a World Cup and triple special because it’s here in the U.S. “As a group, with all our different backgrounds, it’s a true representation of what America is. It’s a melting pot of, of people, of personalities, of characters.”

And it’s led by a country-music-listening Argentine coach, Mauricio Pochettino, who first learned to throw a baseball last week so he could perform first-pitch duties at a Seattle Mariners’ game. (He threw a strike.)

“That sort of stuff can only happen in America,” said striker Folarin Balogun, who grew up in England with Nigerian parents but plays for the U.S. because he was born in Brooklyn, qualifying for birthright citizenship through the 14th Amendment to the constitution Wilson helped write.

It would be hard for the U.S. soccer team to more closely resemble the architects who founded the country, nor the vision those architects had for their creation.

Eight the 56 signers of the Declaration of Independence and eight of the 55 framers of the Constitution were immigrants. That’s about the same percentage of immigrants on this summer’s World Cup roster. Another 20 of the Founding Fathers were the sons of immigrants; again, the same percentage as the national team.

“That is the U.S. experience of taking different people from all over the world, the immigrant experience, and mixing it into something that the world has never seen,” said Adam Sawyer, a co-founder of Relevant Research, a Baltimore firm which provides support to immigration researchers and organizations.

“One in seven Americans was foreign-born. Our soccer team is like one in four. I always think of soccer [as] leading society and it’s pulling us with it,” continued Sawyer, who recently published an analysis of the role global migration has played on World Cup success. “Our sporting teams push us forward towards further integration.”

The signers of the Declaration of Independence never foresaw a World Cup, much less an American World Cup team. But they did see immigration as such a fundamental strength, they used America’s founding document to condemn King George III for endeavoring “to prevent the population of these States; for that purpose obstructing the Laws for Naturalization of Foreigners.”

Without that naturalization, Christian Pulisic might not be playing for the U.S.; in fact, he might not even be in the U.S. His paternal grandfather Mate immigrated from the former Yugoslavia in search of opportunity and was later naturalized as a U.S. citizen. The paternal ancestors of goalkeeper Matt Turner became naturalized citizens after fleeing to the U.S. to escape religious persecution in Lithuania and midfielder Cristian Roldan’s parents escaped civil wars in El Salvador and Guatemala, then gained permanent residency through President Reagan’s amnesty program.

“This soccer team is reflecting America at its best,” said Faisal Al-Juburi, co-chief executive of RAICES, a Texas-based humanitarian aid and immigration services nonprofit. “Its global roots, its shared purpose, its one jersey.”

Soccer in the U.S. has long been an immigrant sport. In the years after World War II, when soccer was still an amateur and semi-pro game, the best teams in the country had names such as the Philadelphia Ukrainian Nationals, New York German-Hungarian SC and the Los Angeles Danes. Joe Gaetjens, one of the country’s first stars and the man who scored the goal that beat England in the 1950 World Cup, was a Haitian immigrant.

In recent years, however, the national team has begun recruiting dual-nationals from overseas, among them World Cup midfielder Malik Tillman, who was born to a U.S. serviceman in Germany, and Antonee Robinson, who was born in England to a naturalized U.S. citizen father, and Sergiño Dest, a Dutch native whose father is Surinamese American.

“It is definitely a team that embraces their diverse backgrounds, and that’s quite meaningful, especially now,” said Al-Juburi, the son of Iraqi immigrants. “This notion that we are stronger with impenetrable walls that divide us is definitely not reflected in this team. It credits a lot of its success to its immigrant roots.

“And I think that’s incredibly powerful to see that and to see a nation cheering and getting behind that diversity. It is a reminder that we are stronger from that coexistence.”

But Al-Juburi doesn’t see the result as a melting pot, which burns away the unique flavors and characteristics of each ingredient. For him, it’s more a gumbo in which every ingredient changes and improves the mix.

U.S. players huddle seconds before playing Bosnia-Herzegovina during a World Cup knockout round match at Levi’s Stadium on Wednesday.

(Robert Gauthier/Los Angeles Times)

“You’re looking at lineage from Nigeria, from Guatemala, from El Salvador, from Mexico, from Liberia, Jamaica, Croatia,” he said. “All these disparate ingredients work together so beautifully and in such a balanced way.”

And when that team succeeds, as the U.S. has this summer, it not only underscores the wisdom of the Founding Fathers, but it offers a lesson for today as well.

“This team contains a different picture of inclusion really mattering, just by being exactly who they are,” said Jules Boykoff, a political science professor at the University of Portland (Ore.) and a former U.S. youth international. “They don’t have to say anything. They just have to be who they are and do their best on the pitch.”

July 4 (UPI) — On this date in history:

In 1776, the Continental Congress adopted the Declaration of Independence, proclaiming U.S. independence from Britain.

In 1826, in one of history’s notable coincidences, former U.S. Presidents John Adams and Thomas Jefferson both died, 50 years to the day after the Declaration of Independence was adopted.

In 1863, Union troops defeated Confederate forces in a battle at Vicksburg, Miss.

In 1895, the poem “America the Beautiful,” by Wellesley College Professor Katherine Lee Bates, was published. The poem with music by Samuel A. Ward was published as a song in 1910.

In 1910, American boxer Jack Johnson took on former undefeated heavyweight champion James J. Jeffries, beating him in 15 rounds, to stake his claim as the as the greatest heavyweight in the world.

File Photo by Library of Congress/UPI

In 1939, Lou Gehrig gave his “luckiest man on the face of the Earth” speech in announcing his retirement from the New York Yankees. Gehrig had been diagnosed with amyotrophic lateral sclerosis, a debilitating motor neuron disease. United Press writer Jack Cuddy wasn’t impressed with the Yankees’ “Lou Gehrig Appreciation Day,” saying doctors made up his ailment to explain his unexpected retirement.

In 1976, Israeli commandos raided the airport at Entebbe, Uganda, rescuing 103 hostages held by Arab militants.

In 1986, more than 250 sailing ships and the United States’ biggest fireworks display honored the Statue of Liberty in its 100th birthday year.

In 1995, the British Parliament reconfirmed John Majors as prime minister.

In 1997, NASA’s Pathfinder reached Mars to become the first U.S. spacecraft to land on the planet in more than two decades. Pathfinder returned more than 16,000 images and some 8.5 million measurements back to Earth before its final transmission on September, 27, 1997.

File Photo courtesy of NASA

In 2006, North Korea test-launched seven ballistic missiles in what it called “routine military exercises,” causing a firestorm of anger among its neighbors and the United States.

In 2010, U.S. Army Gen. David Petraeus took command of the Afghan war, acknowledging the “tough fight” ahead for NATO forces while pledging “We are in this to win.”

In 2013, the Statue of Liberty reopened to the public nine months after it was closed because of damage caused by Hurricane Sandy.

In 2018, Hong Kong’s high court ruled unanimously that same-sex couples are entitled to spousal visas like married heterosexual couples.

In 2022, seven people died and dozens others were injured in a mass shooting during an Independence Day parade in Highland Park, Ill., near Chicago. Far-right activist Robert Crimo III, then 22, was charged with murder for the shooting.

A participant of the March Fourth rally to ban assault weapons holds a sign for Eduardo Uvaldo, a victim of the Highland Park shooting, outside the Senate office buildings at the U.S. Capitol in Washington, D.C., on July 13, 2022. File Photo by Bonnie Cash/UPI

July 3 (UPI) — A rare copy of the Declaration of Independence printed in 1776 has been found in London, making it the only known example of the so-called Exeter printing to exist outside the United States, the British National Archives announced Friday.

The document is one of only 11 known copies of the Declaration of Independence to be printed in Exeter, N.H., in the days after it was formally adopted July 4, 1776. It was printed between July 16 and 19, 1776, with the purpose of spreading the news of independence across the colonies.

Graham Moore, the curator of the National Archives’ Revolution 250 exhibit, said the document is so rare because it wasn’t printed to be preserved but to be distributed quickly and widely.

The document in question was seized among papers aboard the American ship Dalton by Britain’s navy on Christmas Eve in 1776, the National Archives said in a release.

The British navy’s HMS Raisonable pursued the Dalton for 7 hours off the coast of Portugal before it was captured and taken to Britain.

“Listed at the time simply as ‘another paper,’ it has now been identified as a contemporary printing of the Declaration,” the release said.

Workers at the National Archives made the discovery in May while working on cataloging documents from the American Revolution to mark the 250th anniversary.

“What makes this discovery even more exceptional is that, as the only known copy taken by military action, we know much more about it — thanks to the bureaucratic processes of war,” Moore said.

“Evidence taken from captured ships was preserved as part of Admiralty court proceedings, and we hold those records at The National Archives. So we can present an unusually rich backstory that most surviving declarations do not have.”

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.

CHARLOTTESVILLE, Va. — He’s a prize-winning presidential historian who wrote an entire biography of Thomas Jefferson. But even Jon Meacham needs to think for a moment before defining what it means to be a “Jeffersonian.”

“Well for a long time, before the civil rights movement, it meant to be more inclined toward states’ rights and limited government,” says Meacham, the National Constitution Center’s Semiquincentennial Scholar. He then pauses, and asks to start over, recalling how President Franklin Delano Roosevelt evoked Jefferson as an “apostle of liberty” who would have supported the U.S. fighting the Nazis in World War II.

You could define it in so many ways. Historians may argue over the “greatness” of individual founders, but as the country’s 250th anniversary approaches many agree that no one’s life and work resonates like Jefferson’s. He embodied the “very best and the very worst” of the United States, Meacham says.

And a great deal in between.

America’s birth is rooted in his most profound contradiction — the man who proclaimed that “all men are created equal” while being a slaveholder to the end of his life. But Jefferson advanced and explored both sides of so many issues and world views that have defined the country’s path: agrarian self-sufficiency and worldly innovation, pluralism and separatism, limited government and dreams of an “empire of liberty.”

“There is no more malleable figure in early America than Jefferson,” says Andrew Burstein, a professor of history at Louisiana State University who has summed up Jefferson’s legacy in a book he published a decade ago: “Democracy’s Muse: How Thomas Jefferson became an FDR Liberal, a Reagan Republican, and a Tea Party Fanatic, All the While Being Dead.”

“There have been times in American history when just about everyone would have considered themselves ‘Jeffersonian,’” says historian Peter S. Onuf, author of numerous works on Jefferson. “Yet even at those moments, he was a controversial figure.”

It’s an argument without end

Jefferson’s legacy is debated even in settings that owe their existence to him.

On the campus of the University of Virginia, the college he founded and regarded as a signature achievement, stands a memorial to thousands of enslaved people who lived and worked there.

At Monticello, the mountaintop estate and plantation outside of Charlottesville where Jefferson lived when not in public office, a banner near the entrance features the Declaration and the caption, “After all, our guy wrote it.” But once on the grounds, reminders of his enslavement of hundreds are found throughout, from its “Burial Ground for Enslaved People” that includes dozens of graves to an exhibit dedicated to Sally Hemings, the enslaved woman with whom Jefferson is widely believed to have had six children.

Monticello’s director of historic interpretation and audience engagement, Brandon Dillard, cites the staff’s mission “to tell unflinching stories of America’s complex origins and fitful progress toward the ideals Jefferson articulated in the Declaration of Independence.”

Jefferson regarded Monticello as a refuge from the times, but the times inevitably find their way here. A guide on the gardens and grounds tour points out that a foldable plant Jefferson tried and failed to grow — the “Mimosa Pudica,” or “sensitive plant” — now thrives because of climate change. The visitors’ center is LEED Gold-certified for green energy, Dillard says, and geothermal systems have been installed in other buildings for temperature control.

Monticello raises questions old and new about race. Virtually all of the guides are white, an issue Dillard notes is prevalent nationwide. A recent survey released by the American Association for State and Local History found that around just 10% of workers at museums, historic sites and historical societies were nonwhite and that many “Latino/a/x, and multiracial respondents reported higher rates of discrimination and harassment.” (Dillard declined to answer in detail the experience of guides of color at Monticello.)

There is a Jefferson for every occasion

Jefferson’s contradictions date back through much of American history; he was claimed by both sides of the Civil War and both sides of the civil rights movement.

Nineteenth-century Confederates and 20th-century segregationists cited his defense of states’ rights, while Abraham Lincoln and civil rights leaders emphasized Jefferson as the author of the Declaration of Independence. In the space of a few months in 1963, he would be invoked in the inaugural speech of Alabama Gov. George Wallace as he vowed defiance of federal efforts to integrate the state’s schools and by the Rev. Martin Luther King as he delivered his “I Have a Dream” speech during the March on Washington.

Roosevelt enlisted Jefferson as an ideological ally for the New Deal (the Thomas Jefferson Memorial in Washington, D.C., began as a New Deal project) and a former New Dealer-turned conservative, President Reagan, held up Jefferson decades later as a foe of wasteful spending. Jefferson has been cited often by free-speech advocates for his crucial support for the Bill of Rights, while President Trump has quoted Jefferson’s 1807 lament that “Nothing can now be believed which is seen in a newspaper” as an implicit endorsement of his modern war against “fake news.”

Jefferson has also been placed on either side of today’s divide over immigration. Ibram X. Kendi, author of “How to Be an Anti-Racist,” cites his well-documented belief in colonization for Black people as inspiration for contemporary scapegoating and xenophobia. Meanwhile, at a time when the Trump administration is aggressively trying to restrict immigration and even denaturalize some citizens, Monticello continues its decades-old July 4 naturalization ceremonies, with Virginia Gov. Abigail Spanberger scheduled as this year’s keynote speaker.

“As new citizens share their personal stories every Fourth of July,” Dillard says, “we are reminded that the values uplifted in that Declaration are values toward which people from all backgrounds aspire.”

Many Monticello visitors, many reasons to visit

Monticello attracts hundreds of thousands of visitors each year. They come for many reasons.

Erin Porter is a Virginia native in her 40s who until recently had never been to Monticello and wanted to cross it off her bucket list, while Nathan Jaycox of Connecticut is a former nuclear engineer now seeking to absorb history for a class he hopes to teach. Duane Cromwell, a longtime resident of Vancouver, was here on a very personal mission.

Cromwell, 70, grew up in Greenville, S.C., where she was taught that slavery was “an economic necessity” and learned nothing about Jefferson’s history of enslavement. In town last month for a family reunion, she arrived at Monticello anxious to get past the “whitewashed Southern version” and the myths of evil “yankees” and the victimized rebels who defied them.

“Did you (ever) notice kudzu growing up over trees and buildings while in the South? It is an invasive plant brought to the region to control erosion. Well, it is like racism. It is pervasive, part of the horizon, always there but soon you don’t notice it,” she says.

“Having said that, I do think that people do go along better, there is more interactions, relationships than when I was growing up. Everyone needs each other and in the South, there is a great sense of humor and friendliness that help people navigate the awkward moments.”

For Cromwell, Monticello was a chance to educate herself, to become a better person — and, like countless others before her, using Thomas Jefferson as a prism.

“Isn’t that what it’s all about?”

Italie writes for the Associated Press.