Del

FORGET the Costa del Sol – the hot new place to be is the Costa del Kent.

As the Sun’s unofficial Kent expert (having made the move from London to the seaside county during Covid), it’s fair to say it’s my new favourite place for a staycation.

Having lived in both Folkestone and Margate, the beauty of Kent is not just its beaches, but how easy it is to explore thanks to a vast rail network and roads connecting them all.

But how to do you know which ones to visit? Well, there are six major seaside towns that are the most popular, but which to pick depends on what you love.

Are you more of a traditional beach town fan with sticks of rock and fairground rides, or do you love a fancy wine bar and boutique stores selling fancy trinkets?

I’ve ranked the six most popular resorts on the Costa del Kent – and how to pick the right one or you.

FULL OF FLAVOUR

Rocksalt Rooms, Folkestone, review

SANDS GREAT

UK beach resort has Eurovision singer-owned museum & world’s biggest Spoons

6. Ramsgate

Coming lowest in my list is Ramsgate – that’s not to say that it is a bad place to visit, but I feel it ranks the lowest in comparison to the others.

On arrival, the train station dumps you in the middle of a housing estate, so you have to get a bus to the seafront. Not a great first impression.

It also doesn’t have the prettiest seafront, with the marina overlooked by chains such as Travelodge and boarded up shops.

But while not the prettiest, this doesn’t mean it isn’t worth a visit.

History buffs will love the Ramsgate Tunnels, with guided tours of the WWII shelters.

It has a great drink scene – for coffee, try Giants, and for wine, try Noa Rooftop – and pop into the shops and cafes found in the bridge arches.

And of course it is home to the world’s biggest Wetherspoons, Victoria Pavilion with is both right on the beach and has a rooftop bar.

While short of any boutique hotels, you can grab a cheap £35 stay at the Travelodge which is a short walk from the beach.

5. Whitstable

Whitstable is one of Kent’s more established seaside towns – I think of it as the St Ives of Kent.

It has all the trimmings you’d expect – oyster shops, fancy charity stores and pricey art galleries – but I like my places with a bit more edge, hence its lower ranking.

It is also relatively small, so you can expect it to be very busy in the summer months as tourists flock to it by train (don’t even try and find a car parking space).

But its is beautifully traditional, where you can take the kids to go crabbing in the harbour, or grab some fresh lobster from The Lobster Shack.

Kids will definitely love Bears Ice Cream Imaginarium which has some very unusual flavours….

Pub lovers will need to go to The Old Neptune, where the beer garden is on the beach, or you can go to the recently-opened Keller for fantastic wine.

Otherwise its a place to simply wander the high street and peruse the shops, nearly all locally run.

I stayed at The Marine Hotel which has sea-view rooms that feel just like a retro B&B but more chic (and expect to see wedding parties downstairs, it’s a popular spot).

4. Margate

You might be surprised to see Margate not in the no.1 spot, having sung its praises for many years after living there for nearly two years.

Yet having since explored the rest of the county, its nickname the Shoreditch on Sea has almost worked too well in making it popular, with so many fancy wine bars and cafes that even I, an ex-Londoner, now feel out of place.

But if you can step outside of this, the food and drink scene here really is one of the best.

Two must-visit pubs are the Rose in June and George & Heart, which are both traditional but modern when it comes to the food and vibe.

And I adore Lilie’s Margate which serves some of the best tapas, and the Italian at Bottega Caruso which was even praised by Madonna (yes really).

Of course if you want some fine dining, you’re spoilt for choice, from the pier-front Sargasso to elevated Brit cuisine of The Wellington, and of course it has the famous Turner Contemporary for art along with the Carl Freedman Gallery.

And there are still inklings of the town’s retro seaside days – the historic Dreamland theme park which feels like stepping back in time; the cheesy arcades that blare loud music; the vintage beach fairgrounds that pop up every summer.

While it can feel slightly performative when it comes to the cool factor, there is little that can compare to stepping out of the train station and seeing that glorious rich yellow sand, begging you to come and sit back and relax.

3. Deal

Deal might be small, but she is mighty when it comes to being one of Kent’s best seaside towns.

Due to her size, she is more suited to a day trip – anymore than a few days and you might find yourself a bit bored.

But head straight to the brutalist pier to get a sense of the place, walking past fisherman catching for the day, followed by lunch at Deal Pier Kitchen at the end.

If Chat GPT spat out a seaside town, Deal it is, complete with rustic old pubs that locals have been going to for decades, as well as your classic chippies, ice cream parlours and arcades.

But it has element of cool – at the end of the High Street is fancy stores selling chic interiors, pup treats and curated gifts.

Restaurants like The Blue Pelican have been raved about for its fresh fish, or grab a Caribbean inspired roast dinner at The Port Arms.

The Rose Hotel is the coolest place in town, with whimsical rooms above a moody restaurant with a menu to match.

Explore its history in Deal Castle and you’ve ticked all the boxes for the ultimate seaside escape.

2. Folkestone

My beautiful hometown of Folkestone came in a close second, only because, as a local, I am its harshest critic.

It’s popularity has come with downsides – in that I mean huge construction works going on that has caused chaos on the roads in town, as well as seen some awful building plans that if, given the go-ahead, will ruin the beachfront.

But outside of that, I am ready to sing its praises. Come to the beachfront for the Harbour Arms, full of shipping containers selling food and gifts right by a huge TV screen for films and sports events.

Head down the pier and catch some live music at the weekend (best listened to from the top of the converted red The Solstice Bus bar, or the The Lighthouse Champagne Bar).

There is the Sea Scrub Sauna, the largest beach sauna in the UK; Boardroom for darts and shuffleboard or the just-reopened Lower Leas Coastal Park, the biggest free park in Kent.

When it comes to impressing out of towners, I always take them to Pomus for a rotating menu of small plates and wine, followed by a cocktail at Gaia and an ice cream at Herbert’s Gelato (try the malted milk).

And that’s all before perusing the multicoloured shops down the Creative Quarter, all independent sellers.

I feel Folkestone has the mix of fashionable new establishments along with the conventional English seaside resort – so with that, almost comes out on top.

1. Broadstairs

For me, Broadstairs has the best of both traditional and the emerging trendy spots which takes it to the top of the list.

It’s been named everything from the best seaside commuter town and best places to live to one of the best for a day trip.

Head straight to the beach and see boats coming in for the day, traditional beach huts and stripy deck chairs.

Then go drop some pennies at the arcade before a towering ice cream from the retro Morelli’s Gelato.

But weave down the pretty streets and you will feel inklings of ‘cool before the crowds know it’s cool’

Bar Ingo is my favourite restaurant in Kent, offering Basque small plates with some of the friendliest staff (and in this year’s OpenTable Top 100), and I can never leave Arrowsmiths without picking up a few gifts for myself.

You can also explore its history via Charles Dickens, exploring his home and namesake pub after he spent some time there.

But come for Viking Bay, a rare sandy beach in Kent, with some fish and from The Mermaid or even a surf lesson or two and embrace the seaside town life.

Make sure to stay at Smith’s Townhouse – having only opened last year, its one of the coolest in town without the price tag (with some of the best coffee in town too).

And what really takes her to the top is her being all weather – being just as beautiful in summer as she is in autumn and winter.

See you there?

DEL MAR — Umberto Rispoli waited nearly 11 months to ride Journalism again and then, well, let track announcer Larry Collmus describe it:

“They’re off in the San Diego Handicap and Journalism brushed the gate just as it opened, and he’s left behind the field. Journalism has been left behind about five lengths. … A disastrous start for the big favorite Journalism.”

“I won’t tell you the swear (word) that I throw out there,” Rispoli said.

“It just kind of took the starch out of everything,” said Aron Wellman, managing partner of Eclipse Thoroughbred Partners, co-owner of the 4-year-old colt.

Fortunately for Rispoli, Wellman and anyone else associated with Journalism, including the fans who bet him down to 1-5 odds Saturday at Del Mar Racetrack, this story ended much happier than it began.

Rispoli patiently guided Journalism back into close contact with the other four horses in the 1 1/16-mile race, swung him outside entering the stretch and the son of Curlin cruised to a victory — his first since the same Saturday a year ago in the Haskell at Monmouth Park.

In the ensuing 12 months, Journalism started four times and finished between second and fourth each time. He didn’t run poorly in any of the races; in fact, of the seven horses who beat him, five were Breeders’ Cup winners and a sixth won the Kentucky Derby and Belmont.

But when your resume includes not only the Haskell but also the Santa Anita Derby and Preakness, sometimes close isn’t good enough.

“Frustrating for sure,” Wellman said earlier in the week.

The San Diego presented the weakest field Journalism had faced since at least the 2025 Preakness, and his task seemed to get easier when Full Serrano, the Breeders’ Cup Dirt Mile winner here in 2024, was withdrawn Saturday morning because of recurring foot issues.

But as Rispoli noted, “You can’t go in a race and think of course he’s (1-5). You have to respect everybody in the field. Because you see, everything can happen in horse racing.”

Including your horse starting to move forward just before the gate opens, then hitting the side of the stall and spotting the field several lengths.

“I was concerned [with] the bad start, obviously,” Rispoli said. “But it wasn’t the first time I was in that situation. I know what I have underneath myself. I know what’s he’s capable of.”

The official margin was three-quarters of a length over the Cal-bred Shea Brennan, who was the longest shot in the short field at 23-1. Iron Man Cal, like the runner-up trained by Phil D’Amato, was third, with The Goat fourth and pacesetting Mirahmadi fading to last.

The final time was 1:42.65 and Journalism, who paid $2.40 for his seventh win in 14 starts, earned $180,000 to push his career total to $4.77 million.

“Umberto did a good job of getting him to recover and his class won out,” winning trainer Michael McCarthy said.

And, given what Rispoli has been through, maybe Saturday was supposed to be difficult. The Italian jockey only recently resumed riding a few weeks ago after missing five months beacuse of a fall in January at Gulfstream Park. He sustained a fractured right fibula and tibia as well as a displaced ankle and torn ligaments.

“I was in severe pain,” Rispoli said of his rehab, which included time spent at a specialist in Spain. “The first two weeks [in Spain], I said to myself, this is gonna be hard to do it. You know, I’m almost 38, first time a very hard accident happened to me. It was really bad.

“But this is what gave me the strength, horse racing. And I know I have a job incomplete … so I have to come back for this guy.”

When you walk into a room with Los Primos del Este, the happy-go-lucky guys immediately make you feel like part of the family. What they first cultivate with silly banter and lighthearted ad-libs eases into a more vulnerable, introspective atmosphere, comparable to a cathartic therapy session.

When I met the norteño-sax band in at Interscope Records — the major label that signed them in early 2023 — it was just a couple of hours before the official release of Los Primos’ new album, “Dulce Amargo,” on Thursday.

For a young band of players in their early 20s, they play it cool; “Dulce Amargo” is their eighth LP to date. The project feels thoroughly chiseled to their refined sonic tastes (influenced by Julión Álvarez, Legado 7 and Remmy Valenzuela) inflected with raw, sentimental lyricism and a wailing saxophone that commands each track with the spirit of an electric guitar.

“Play it back to back and actually start understanding the sound more and realize there’s new sounds being created,” said lead vocalist Geovanni Flores. “Because a lot of people get stuck in their old ways.”

Made up of five members — Flores, bassist and supporting vocalist Ariel Jesus Lopez, accordionist Juan Luis Hernandez, drummer Alejandro Tellez and saxophonist David Tellez — the group has built a steady momentum in the música mexicana genre. They’ve championed the resurgence of norteño-sax, a subgenre that fuses the accordion sounds of norteño music with an invigorating alto saxophone, made popular by legendary groups like Conjunto Primavera.

Since forming in 2017, the North Carolina-based band has gained over 2 million listeners on Spotify through catchy norteño-sax songs like “No Es Mentira (Version Norteña),” “Poema” and “Mami” — drawn together by a polka-like beat that has made them a staple of Mexican dance venues.

In 2024 alone, the subgenre grew by 39% in both the U.S. and Mexico, per Spotify.

Los Primos del Este formed in 2017 out of North Carolina.

(Arwen Clemans / Los Angeles Times)

The band took a few years to find its groove. Its 2020 debut album, “PDE,” experimented more with the prickly, sad sierreño sound popularized by acts like Eslabon Armado and DannyLux — as well as trap-infused corridos tumbados with a thumping tololoche. Still, this was music one could bop their head to, even if dance parties were limited during the global pandemic. With norteño-sax, the group could incorporate contemporary dating themes into songs that bring people physically closer to one another on the dance floor.

“There’s been a sense of maturity that’s happened within the group. In the past, we would just make music to make music and release it,” said Flores. “ We thought about every single detail now, even down to the album cover.”

Before getting into the thick of their recent music catalog, Los Primos del Este quickly unfurled details of the album cover, which shows the group sprawled across the flatbed of a white truck. The image was inspired by Alejandro Cartagena, a Dominican Republic-born Mexican creative who photographed carpooling laborers on the flatbeds along a highway in Monterrey, Mexico, in 2012. The project was a visual representation of how everyday people — often marginalized individuals — navigate transit in a sprawling suburban area.

Such an open stance on community issues appears to be a norteño-sax speciality. In 2000, their forefathers Conjunto Primavera previously told The Times that they make music for working-class audiences: “Wealthy people don’t like what we do.”

“Personally, I found myself in the bed of a truck at one point, low-income, trying to make something out of nothing,” said Lopez. “That’s the world I grew up in, and that’s the world I wanna show everybody. It’s not all sweet, you know?”

The band also nods to injustices faced by immigrant communities — including the recent fatal shootings of 52-year-old Lorenzo Salgado Araujo and 26-year-old Johan Sebastian Duran Guerrero by Immigration and Customs Enforcement agents in Texas and Maine, respectively.

“We’re willing to take the heat,” said Lopez, referring to the band’s pro-immigrant stance. “The community looks at us as a negative presence, but in reality, we’re hard-working, dedicated family people.”

It is both that honesty and vulnerability that are etched into the 14-track LP “Dulce Amargo,” which translates to “bittersweet” in English. The band shared that each member contributed details of his own personal experience to the brainstorming sessions — a process they likened to therapy.

“We were comfortable enough with each other to let [our] stories be heard,” said Lopez. “In the Latino community, there is kinda like that stereotype [that] you have to be strong.  I think this message goes out to everybody — if you’re feeling something, specifically the men, it’s OK to just let it out.”

(Arwen Clemans/Los Angeles Times)

The hazy love melody “Tremenda,” for example, underscores an intense yearning for connection. Written after Lopez was starstruck by a woman, its first lyrics begin in wondrous marvel: “Tal vez fue tu mirada,” or, “Perhaps it was your gaze.”

“What’s the first thing you do when you look at somebody? I look at the eyes,” said Lopez. “They say the eyes are the doors to the soul.”

Alejandro Tellez’s contribution came with the punchy “Linda Sonrisa,” that pleads for someone to realize the realities of the mistreatment they’re facing with another lover.

“How many times are you gonna let him do you wrong until you realize that you have the right guy in front of you?” said Alejandro Tellez in a sing-song twang. “That’s a story that I went through in high school.”

For Flores, the EDM-fused, echoing melody “Mejor Sin Ti,” struck a personal chord; could a relationship be the only thing standing in your way to personal success? “Some people do hold you back, some people tie you down — that’s what I felt,” said Flores.

Hernandez gets a bit teary-eyed when talking about his favorite song, “Sentimientos,” a whirling polka-driven ballad about an avoidant situationship, he said. “To me, it’s like we both kinda love each other already, but we’re kind of afraid to say it,” he explained. “A lot of people are afraid of falling in love again, so that song hits close to home.”

The concept behind “Mereces Mejor,” a trance-inducing ode with floating melodies that implores a loved one to recognize their self-worth, was inspired by David Tellez’s own experience with unrequited love: “She’s trying to go to the bad guy, and I’m over here giving everything I got.”

As the five artists prepare to take their new album on the road — including an upcoming performance at the Lone Star State’s Truck Show Texas Fest on July 25 — they want to make clear that norteño-sax is not a stagnant subgenre. Like most of música mexicana, it, too, is evolving, both in sound and lyricism, encapsulating today’s complex dating culture. Their emotional vulnerability is welcome in a field flooded with artists that may otherwise shrink away from such honesty — perhaps due to the stigma of mental health issues in the Latino community, especially among men.

“We understand that changing the sound may not be for everybody, but we’re making music for the next generation,” said Lopez. “Who knows? Maybe their parents might end up liking this too.”

When Journalism enters the Del Mar Racetrack starting gate shortly after 5:30 p.m. Saturday, 363 days will have passed since he last won a race.

Anyone who watched the colt win six of eight starts — including the Santa Anita Derby, Preakness Stakes and Haskell Stakes — during the eight months leading up to July 19, 2025, might find that unthinkable.

Imagine being his primary owner.

“Yeah, it’s pretty hard to believe that a horse like him hasn’t won a race in a year,” said Aron Wellman, managing director of Eclipse Thoroughbred Partners, which co-owns the 4-year-old son of Curlin. “Frustrating for sure.”

It’s not like Journalism has been disgraced during his four-race winless streak. Two of the races came when he was a 3-year-old facing older horses. His speed figures have ranked among the highest of his career. And five of the seven horses who finished ahead of him have won Breeders’ Cup races while a sixth captured two legs of the Triple Crown.

“You can understand how he might have found it hard to make his way into the winner’s circle,” Wellman said. “But it’s not for lack of ambition or lack of trying, or I don’t think any deterioration in his form, really. It’s just been a matter of circumstance, and hopefully he can get back in the win column on Saturday.”

Journalism, with jockey Umberto Rispoli, crosses the finish line to win the 150th Preakness Stakes in 2025.

(Rob Carr / Getty Images)

There’s no guarantee Journalism, the even-money favorite on the morning line, will win the $300,000, Grade 2 San Diego Handicap. But even with another past Breeders’ Cup winner (Full Serrano) among his five opponents in the 1 1/16-mile race, it’s unarguably the weakest field he will have faced since winning the Haskell last July at Monmouth Park.

In the last year he finished second behind Fierceness in the Pacific Classic; fourth behind Forever Young, Sierra Leone and Fierceness in the Breeders’ Cup Classic; third behind White Abarrio and Sovereignty in the Oaklawn Handicap, and third behind Nysos and Knightsbridge in the Met Mile.

Even with those defeats, as well as his runner-up showings last year behind Sovereignty in the Kentucky Derby and Belmont Stakes, he has six wins, three seconds and three thirds in 13 starts, with earnings of nearly $4.6 million. Nothing to apologize for, but there’s also no question Journalism’s star has dimmed. He no longer is ranked among the top 10 older horses in the National Thoroughbred Racing Assn. weekly poll.

Wellman, though, believes Journalism is not done writing his story. A good performance Saturday, one in which he shows what the owner calls “the explosivity that we’ve seen in the past,” surely would make him one of the favorites for next month’s Pacific Classic. And his connections would like to give him another chance to win the Breeders’ Cup Classic, scheduled for Oct. 31 at Keeneland, before he goes off to stud next year.

“We haven’t lost any faith in him,” Wellman said. “I mean, he’s a horse that’s inspired confidence from Day 1, and put together a campaign last year for the ages. You don’t see many modern-day horses string together the type of races that he did, travel back and forth across the country multiple times, take on all comers and maintain elite performance, race in and race out.

“So, are we frustrated by the fact that he hasn’t won in some time? Absolutely. But when you compete at this level, you can’t play scared. You’ve got to continue to take on the best of the best, and no matter how much any horse or human has accomplished in this game, or in any sport, I think the best and the most driven athletes, equine or otherwise, feel as though you’ve constantly got to prove yourself.”

Perhaps reuniting with the jockey who was aboard Journalism during a streak of eight straight wins or runner-up finishes will provide a boost. Umberto Rispoli was replaced by Jose Ortiz before the Breeders’ Cup Classic, but the 37-year-old Italian is returning to the saddle Saturday. Rispoli, the leading jockey at last fall’s Del Mar meeting, has had his own rough stretch, missing five months of action after breaking his right ankle and leg in a January spill at Gulfstream Park.

“It was a difficult, difficult situation,” Wellman said, “considering the success that Umberto had on Journalism. It was hard on everybody for a lot of reasons. But the relationship speaks for itself between (trainer) Michael (McCarthy), our group, and Umberto.

“Obviously, Umberto holds Journalism himself in the highest regard and maintains an incredible rapport with the horse. It’s great to see Umberto coming back so strong off a serious injury, and we’re delighted to give him the opportunity to get back on Journalism. Hopefully they can find that magic again with the camaraderie that they share for one another.”

Del Mar underway

Del Mar’s annual eight-week summer meeting opened Friday, with racing normally held Thursday through Sunday. Post time is at 2 p.m. every day except closing weekend, Sept. 5-7, when it shifts to 1:30. Daily coverage is available on FanDuel TV.

Storied norteño group Los Tigres del Norte announced Tuesday that they are teaming up with departing L.A. Philharmonic conductor Gustavo Dudamel for a special performance Aug. 21 at the Hollywood Bowl.

The show is part of a series titled “Celebrating Gustavo at the Bowl,” which looks to send off Dudamel in style as he transitions into his new role as the music and artistic director of the New York Philharmonic. The “Jaula de Oro” artist’s appearance is part of “Gustavo’s Fiesta,” which will also feature performances by other prominent Latino artists.

The norteño act has sold 37 million albums and recorded 500 songs over a career that’s spanned five decades. They have seven Grammy Awards, eight Latin Grammys and have had 66 songs land on Billboard’s Hot Latin Songs chart, the most of any Latin music act ever.

In 2018, Los Tigres del Norte became the first norteño act to headline at the Hollywood Bowl.

Recently, the “La Puerta Negra” hitmakers were immortalized in U.S. pop culture history when its members appeared in animated form in a December 2025 episode of “The Simpsons” and performed an original corrido about the escapades of Homer Simpson and Pedro Chespirito (also known as the Bumblebee Man).

Also featured on the Aug. 21 lineup are Grammy-winning singer Lila Downs, the all-female Mariachi Reyna de Los Ángeles, the explosive cumbia group La Sonora Dinamita and the legendary Mexican bolero trio Los Panchos.

The show will serve as Dudamel’s third-to-last performance as the music and artistic director of L.A. Philharmonic. On Aug. 22, he will be in concert with Foo Fighters. His farewell weekend will conclude Aug. 23 and will serve as a benefit for his homeland of Venezuela, which suffered catastrophic losses from twin earthquakes in late June.

Donations will benefit Dudamel’s Earthquake Recovery to Support Venezuelan Communities fund, in partnership with the United Nations Development Programme and the Development Bank of Latin America and the Caribbean fund.

In 2015, musician Roberto Carlos launched Boleros de Noche, an annual concert series held in Los Angeles that aimed at preserving and showcasing the Latin American bolero music genre.

This year, the event is celebrating its 10th anniversary with performances at the Ford on Aug. 1 by Puerto Rican singer and former Calle 13 member iLe and L.A.-based bolero trio Voz Bohemia

On Friday, the city of L.A. honored the series’ decade-long run and legacy of uplifting bolero music by declaring Aug.1 “Día del Bolero.”

Boleros are ballads noted for their slow tempo and romantic lyrics accompanied by a crooning vocal style. Though the genre originated in Cuba, it quickly gained popularity across Latin America, with each culture putting their own spin on it. In the early 20th century, the evolving sound of boleros was shaped by the Cuban group Trio Matamoros, Mexican composer Agustín Lara, Puerto Rican artist Rafael Hernández and Ecuadorian singer Julio Jaramillo.

The genre saw a resurgence in popularity in the 1980s and ‘90s when famed Mexican artists Juan Gabriel and Luis Miguel embraced the bolero sound. In recent years, the bolero movement has been modernized and electrified by artists such as Mon Laferte, Romeo Santos, Adrian Quesada and Kali Uchis. In the last five years, Quesada has released two bolero albums, “Boleros Psicodélicos” and “Boleros Psicodélicos II,” that mix the genre’s classic sounds with elements of psychedelic rock.

“Over the past decade, Boleros de Noche has presented numerous concerts featuring both local and international artists, has brought together thousands of people across the city to bask in the lush orchestration of this music,” said City Councilmember Nithya Raman, who presented Carlos with the honor. “For so many in the Latino community and beyond, this isn’t just music, it’s memory, it’s home, and perhaps most importantly, it’s heritage being carried forward.”

Raised in L.A. County by parents who immigrated from the Mexican state of Oaxaca, Carlos says he first fell in love with live performance and bolero music in his midteens, when he would frequent the now-defunct Teatro los Pinos in South Gate.

He yearned for that same level of comfort and awe at music and wanted to share that with a larger audience. The first iteration of Boleros de Noche took place in 2015 at an art gallery in Echo Park.

“Over the years, I have heard countless stories from audience members who tell me how this music reminds them of their parents, grandparents, first loves and family traditions,” Carlos said Friday at City Hall. “Ten years ago, bolero was rarely part of our city’s cultural conversation, and today bolero programming can be found across Los Angeles, and I’m honored that Boleros de Noche has been a driving force behind its growth.”

Boleros de Noche has sold out shows at the Ford over the last few years and has featured artists such as Gaby Moreno, Marisoul and the legendary trio Los Panchos. In 2025, the event made its debut at Chicago’s historic Symphony Center.

The bolero genre’s popularity and cultural significance has been spotlighted outside of L.A. in recent years as well.

On Dec. 5, 2023, UNESCO, the United Nation’s agency aimed at safeguarding social and cultural foundations, recognized the musical genre as an Intangible Cultural Heritage of Humanity.

As part of Friday’s ceremony, Carlos and his bolero group Los Rebeldes Románticos performed several tunes, including the Mexican bolero classic “Sabor a Mí.”

Last year, Carlos spoke with The Times about his ambitions for Boleros de Noche and the mentality that drives the event series.

“At Boleros de Noche, [I want] for us to speak in Spanish, to feel recognized, to do this music as a celebration for all these artists that unfortunately became background music for a lot of like weddings and quinceañeras,” he said. “How about if we celebrate them and give them recognition? How about if, through my events, I can take people back to the 1940s to my experience at Teatro los Pinos?”

Given recent attacks on Latinos on the local and national levels, Carlos said he hoped his events would create a safe and welcoming gathering place.

“It’s about bolero music. It’s about community. It’s about people. It’s about the musicians,” he said. “Many of the musicians were undocumented. They brought this music to L.A. through their hometowns.”

A VHS tape of 1993’s “The Nightmare Before Christmas” introduced brothers Roy and Arturo Ambriz to the tactile whimsy of stop-motion, an animation technique where physical objects are manipulated and photographed frame by frame to achieve the illusion of life.

Realizing that the characters on screen were figures in real sets shocked the Mexican filmmakers’ young minds and set them on an arduous path to craft their own worlds.

“If there’s something we’ve loved our whole lives it’s toys: collecting them, modifying them, playing with them, creating dioramas for them,” said Roy, 36, from under his dark shades during a recent interview at Netflix Animation Studios in Burbank.

“And for us, the most sublime moments in life are when we’re doing something artistic, whether that’s painting, drawing or sculpting. And stop-motion animation combines all of that.”

The culmination of years of tireless work and financial stress for the Ambriz siblings is the breathtaking period fantasy “I Am Frankelda,” Mexico’s first-ever stop-motion feature, which is now streaming on Netflix.

“Thankfully, no one put it into our heads that it was impossible to do this,” said Arturo, 38. “That’s why we don’t like going around saying that this is extremely difficult, because maybe if young people hear that, they might not want to do stop-motion. Don’t tell them!”

A lavish musical, “I Am Frankelda” follows Francisca Imelda (voiced by Mireya Mendoza), a young aspiring writer living in 19th century Mexico and struggling to publish her stories. Meanwhile, in the Realm of Spooks, an alternative reality that’s home to all of the fictional characters Francisca has written, Herneval (Juan Pablo Monterrubio), a winged prince, must save his parents and his kingdom. The creatures in this world live off of human fear, so they create our nightmares.

Herneval crosses into the human world to bring Francisca with him to the Realm of Spooks, so that she can write new nightmares that actually scare people. Humans have become difficult to terrify. By this point, a frustrated Francisca has decided to change her name to Frankelda (a reference to “Frankenstein” author Mary Shelley, who inspired the character). Frankelda and Herneval sing of the relationship between fiction and reality. One can’t exist without the other.

Frankelda was first introduced as part of the 2021 series “Frankelda’s Book of Spooks,” which HBO Max commissioned. In the show, the heroine shares nightmarish tales alongside Herneval, who appears not as a prince but a sentient book. The film “I Am Frankelda” is a prequel that explains the relationship between these characters.

Last month, “I Am Frankelda” screened at the Los Angeles Latino International Film Festival, where Guillermo del Toro moderated the post-screening Q&A. A longtime mentor of the Ambriz brothers, Del Toro first supported them by donating to a Kickstarter campaign to finance their ambitious 2016 short film inspired by cubist art, “Revoltoso,” about a one-eyed boar living during the Mexican Revolution.

“In that moment, it was incredibly validating to realize that if Guillermo liked what we were doing, then it made sense to keep on doing it,” Roy said.

Two years apart in age, Roy and Arturo both studied filmmaking at the Centro, a university in Mexico City. Yet directing together wasn’t always the plan.

“I said, ‘We have to co-direct,’ because the situation naturally lent itself for me, being the older one, to take on the role of director while Roy would serve as production designer. But at a certain point, I realized that the hierarchy was wrong, and that if we wanted something sustainable for the rest of our lives, it had to be a 50/50 split between us. And I mean, 50/50, Roy!” said Arturo, playfully chastising his younger brother.

“It’s more like 60/40, with me having 60% of the power,” Roy added laughing.

In 2011, not long after graduating, Arturo found himself ridden with anxiety. Over the course of his education, he’d focused on artistic excellence but hadn’t much thought about how to actually make a living out of his and his brother’s shared passion. That’s when he decided they should create their own studio, Cinema Fantasma, so as to have control of the projects they took on. Their productions for hire include the Adult Swim show “Women Wearing Shoulder Pads,” which was produced entirely at their company in Mexico City.

“It’s been very difficult because we are filmmakers by vocation, but we are businesspeople by necessity,” said Arturo. “Developing that side of things has been the hardest part, but both are indispensable.”

To wrap up the “Frankelda” series, HBO Max requested a 30-minute special. Instead of accepting that offer, Roy suggested they use the proposed budget allocated to partially fund a full-length feature film. HBO Max agreed with the caveat that the brothers would have to come up with the rest of the money needed on their own.

To finance “I Am Frankelda,” Roy and Arturo mortgaged two homes. They are losing one of them to pay off their debts, so it helps that their dream of animation is a family affair. Their parents are executive producers on “Frankelda”; Roy’s wife, Ana Coronilla, worked as production designer; and Arturo’s spouse, Irene Melis, as a director of photography.

That “I Am Frankelda” is a musical is due in great part to Roy’s love of musical theater.

“At first, Arturo wasn’t sure, but using my 60% share of the power, I convinced him that it should be a musical,” Roy said. Yet it’s Arturo who wrote the lyrics to musical numbers. Each track starts as a poem that composer Kevin Smithers transformed into songs.

A fantastical stop-motion musical period piece, “I Am Frankelda” is far from an easy sell, and that’s what makes its existence all the more astonishing. The Ambriz brothers’ creative pursuit of the unpopular and the unfeasible has bonded them with Del Toro.

Mexican filmmaker Guillermo del Toro, pictured, interviewed “I Am Frankelda” directors Roy and Arturo Ambriz on May 30 during the film’s screening at the TCL Chinese Theatre as part of the Los Angeles Latino International Film Festival.

(Jill Connelly / For De Los)

“He is our most important mentor and the person we admire most in the world, and we also share many of the same interests,” Arturo explained. “That’s why when we saw ‘Pan’s Labyrinth,’ it was like when the glass slipper fits Cinderella. It was exactly what we loved: monsters, war, the cruelty of the human spirit, fairies and period settings.”

“Did you just call yourself Cinderella?” Roy interjected with the mischievous smirk typical of a younger brother trying to ruffle some feathers.

“Yes!” Arturo said quietly but without hesitation.

Every time they hear Del Toro speak about his interests, the Ambriz brothers discover a new well of references and “cultural protein,” from authors to painters.

“Guillermo is someone who actively champions the work of others, which I believe is the right way for an artist to be,” Arturo said.

When they finished “I Am Frankelda,” the brothers sent it to Del Toro, eager to hear his thoughts. As soon as he watched it, Del Toro called them.

“We spoke with him for hours, and he told us everything he saw, obviously with great tact, sharing both the good and the not-so-good,” Roy recalled. “But most importantly, he kept telling us that we had created something unprecedented. He insisted that we would pull through, even though we had ended up with a lot of debt.”

The version of “I Am Frankelda” that premiered at film festivals in 2025 is not the same one that will be available on Netflix. Based on Del Toro’s thorough feedback, the filmmakers recut the film and even animated new scenes. They playfully refer to this new cut that audiences will see globally as “The Grandfather Cut,” to honor Del Toro’s influence.

That “I Am Frankelda” was picked for distribution by Netflix is also Del Toro’s doing, the brothers said. It was the veteran director who suggested the film to the streaming company.

“I Am Frankelda” debuted in Mexico last October to an incredible reception, in part thanks to the fandom the characters had amassed via the episodic series.

“We receive fan art and fan fiction every day. People send us photos cosplaying the characters or of their ‘Frankelda’-themed quinceañeras. We’ve even bought bootleg merch at Mexican markets and on Temu or AliExpress too,” Roy said.

“We’ve bought ‘Frankelda’ socks from there that are of terrible quality, but all the more beautiful because of their bad quality,” he added.

“Of course, there are haters, too, but a large segment of the audience really identified with Frankelda as someone who perseveres, as someone who refuses to let her detractors hold her back. It’s been really beautiful watching that fandom grow,” Arturo said.

Another conviction where they align with Del Toro is their disinterest in engaging with artificial intelligence.

“AI is the antithesis of stop-motion. We’re not even remotely interested in it, because we do stop-motion to enjoy the artistic processes,” Roy said. “We created the studio for painting, drawing, sculpting and writing. Whatever happens with AI doesn’t really matter to us.”

Their second feature, “The Ballad of the Phoenix,” a medieval fantasy, is already in the works.

A HISTORIC lido with stunning sea views is reopening today, just in time for the good weather.

Located on the edge of a scenic area dubbed the UK’s Costa del Sol, this pool is the perfect place to cool off in the summer sun.

Dating back to the 1930s, Brightlingsea in Essex is one of the last remaining lidos in the area.

The site boasts an Olympic-size outdoor pool, along with a heated toddler pool as well as sun loungers, changing rooms, and a cafe.

Summer sessions will run from 7am until 5pm, with the first three hours allotted for relaxed lane swimming.

Aquacise and “little dipper” sessions for younger swimmers are also available.

MAKE A SPLASH

All the UK lidos opening this bank holiday weekend as temps set to hit 28C

MAKE A SPLASH

Massive new ‘floating’ lido to open in the UK next month

The lido first opened in 1932 as a tidal salt pool, eventually converting to freshwater in the 1970s.

Nowadays, the popular site is run by volunteers who saved it from closure in 2017.

General entry costs £7.50 for adults and £5.50 for children aged two to 18 and seniors over 65.

Toddlers under the age of two can enter for free.

Cheaper rates are available for lane swimming, quiet sessions, and aquacise, with more information available on the lido’s website.

The site will be open from 7.30am until 7.15pm until Monday, August 31.

Brightlingsea is much quieter than its neighbouring towns such as Clacton but is still known for its shingle beach.

The area is perhaps most recognisable for its line of colourful beach huts on the promenade.

One visitor described the area as “very unspoilt, family oriented, beautiful beach. Traditional town back in the 50’s.”

Brightlingsea is on the UK’s Sunshine Coast, which one person said is like “going back in time to seaside holiday of the past.”

Another visitor told The Sun: “I was on the Sunshine Coast of Essex, which is often compared to Spain thanks to it being one of the sunniest, driest spots in the country.

“What I really loved about exploring the Essex seaside is the sheer variety of experiences on one relatively small stretch of coast, bookended by Brightlingsea in the south and Harwich in the north.”