heritage

The “Reading Rainbow” is officially back, with internet-famous librarian Mychal Threets at the helm.

Following the reboot’s premiere last Saturday, the new host responded to the audience’s wishes for a Latino lead in a recent social media post. He wrote, “You’re not going to believe this… I am [Latino]! My dad is Black, my mom is Mexican and white. I’m a mixed kid, homeschool kid, library kid, PBS kid, and @readingrainbow kid!”

Threets, who got his start as a Bay Area librarian, tells The Times that because he was home-schooled, he was able to learn about his heritage mostly through books. He says he was raised to be proud of his heritage and looks up to both his grandfather and mother as examples of what it means to be Latino. Much of his childhood was also marked by the sounds of Selena Quintanilla, whom he recently got memorialized in a tattoo.

“My heritage and being Latino will hopefully be reflected in my appearance on the show,” said Threets in a statement. “I hope people will see me and see a happy, jovial person who has the same heritage as them.”

Threets started to gain online popularity in 2020. He started posting short-form videos of himself reading and sharing stories from working in a library. Many of those videos garnered more than a million views and earned him several hundred thousand followers.

The original “Reading Rainbow,” hosted by LeVar Burton, first launched on PBS in 1983. For over two decades, Burton taught literacy skills and helped instill a love for reading in children across the country. The show ended in 2006, having earned a handful of Emmy and Peabody Awards. It ran for a total of 155 episodes and is recognized as one of the longest-running children’s programs ever.

At the time, the show was funded in part by the Department of Education. The reboot comes at a time when public media, including television, has been subject to sizable budget cuts. The revitalization will instead appear on the kids’ YouTube channel, Kidzuko, which is owned by Sony Pictures Television, as well as the Reading Rainbow’s website.

The reboot, which premiered over the weekend, has mostly stayed true to its roots with a new rerecorded theme song and a trivia segment. Celebrity guests will include “Dancing With the Stars” performers Rylee Arnold and Ezra Sosa, “The Bear’s” actor Ebon Moss-Bachrach, John Legend, Chrissy Teigen and Gabrielle Union. New episodes air every Saturday, until Oct. 24.

“Reading Rainbow seeks to make reading fun for everyone, all races, all backgrounds, all levels of reading! The reactions have been out of this world,” said Threets. “I am overwhelmed in the best of ways.”

Smack-dab in the middle of Hispanic Heritage Month, PBS will air the 38th Hispanic Heritage Awards tonight.

The show took place on Sept. 4 at the Warner Theatre in Washington, D.C., and honored a collection of musicians, artists, actors, journalists and business leaders.

This year’s honorees, selected by the Hispanic Heritage Foundation, included NPR’s “Alt. Latino” journalist Felix Contreras, stoner comic and Chicano art collector Cheech Marin, Puerto Rican pop music visionary Rauw Alejandro, Oscar-nominated actor and dancer Rosie Perez, Rizos Curls Chief Executive Julissa Prado and “Mexican Queen of Pop” Gloria Trevi.

Honoree Felix Contreras accepts the Journalism Award onstage during the 38th Hispanic Heritage Awards in Washington, D.C.

(Paul Morigi / Getty Images for Hispanic Heritage Foundation)

Contreras is one of the few journalists to ever receive the esteemed honor, though he was initially reticent to accept. “We learn early on that [journalists] are not supposed to be the story,” Contreras told The Times earlier this year.

Recently, Marin has moved on from a successful career making stoner comedy films and is now best known for his work as a collector of Chicano art. After being a lifelong gatherer of art, the Cheech Marin Center for Chicano Art & Culture of the Riverside Art Museum opened to the public in June 2022.

Rauw Alejandro, meanwhile, has innovated the Latin music scene with his experimental albums, such as 2022’s techno-infused psychedelic album, “Saturno”; his beachy follow-up, “Playa Saturno,” in 2023; and his 2024 ode to the 1970s New York City salsa scene, “Cosa Nuestra.”

Cheech Marin accepts the Arts Award onstage during the 38th Hispanic Heritage Awards.

(Paul Morigi / Getty Images for Hispanic Heritage Foundation)

Rosie Perez made a name for herself as a dancer on the TV show “In Living Color” and with starring roles in Spike Lee films before being nominated for an Oscar for 1993‘s “Fearless.”

Gloria Trevi is one of the most successful Latina artists of her time. She has garnered over 30 million sold albums and 7 billion combined streams, along with several top-selling albums and an induction into the Latin Music Songwriters Hall of Fame.

As the Rizos Curls co-founder and CEO, Prado is being honored, per the HHF, for “her personal journey of self-discovery into a nationally celebrated, multi-million-dollar business specializing in textured hair care.”

Gloria Trevi performs onstage at the 38th Hispanic Heritage Awards.

(Paul Morigi / Getty Images for Hispanic Heritage Foundation)

The ceremony was hosted by actor and writer Mayan Lopez, and viewers will be able to take in performances by Trevi, along with artists Daymé Arocena, DannyLux, Lisa Lisa and RaiNao.

The awards show was established in 1988 by the White House to honor cultural visionaries within the Latino community. Previous awardees include Bad Bunny, Anthony Quinn, Sonia Sotomayor, Linda Ronstadt, Los Tigres Del Norte, Gloria Estefan and Tito Puente, among others.

I am sitting in a tent placed inside the parlor of a Victorian-era house. Before me lies a spirit board, a lone tarot card and a black scrying mirror. I am here to commune with the dead.

There is no medium. It is only myself and eight other attendees— our guide has left the tent. Though earlier we could hear tension-rattling music setting a cryptic mood, now there is nothing. Lights? Off. The tent has gone pitch black. At this particular moment, there’s only the sound of our breaths, our thoughts and perhaps some new guests.

Welcome to “Phasmagorica,” what composer-turned-magician-turned-spiritual explorer BC Smith describes as “a séance reimagined as art.” It’s running this month at the Heritage Square Museum, itself a location imbued with history and mystery, the site of the homes of Los Angeles as they existed a century ago.

I’ll get right to the point: I did not have an encounter with the dead. And yet I left “Phasmagorica” deeply curious. That’s because Smith sets up the evening as an exploration of the modern Western history of communing with the deceased, attempting to conjure the feeling of a séance as it occurred in late 1880s America, albeit with a better sound system and all the Death in the Afternoon cocktails you can consume (note: you should not consume very many).

The “experiment” — Smith shirks at the word performance — is designed, he says, for believers and nonbelievers. He himself falls somewhere in the middle.

“I’m a hopeful skeptic,” Smith says. “If I were a 100% believer, ‘Phasmagorica’ would be a church. I just wanted to create a space that started a conversation for people.”

It is relevant to point out that Smith is also a magician, a member of the Magic Castle, home itself to a popular séance. While Smith has not conducted a Magic Castle séance, he has — and will — orchestrate what he refers to as a “theatrical séance,” for which he is present as a storyteller. “Phasmagorica” is different, Smith says, and was born out of those more dramatic performances, in part because he kept encountering the unaccountable.

“It’s highly curated,” Smith says of a core difference between a theatrical séance and “Phasmagorica,” as the former will be tailored specifically to guest needs and requests. “But people were experiencing a lot in those séances that I could not explain,” Smith says. He recites a story that opens “Phasmagorica” of a shadow reaching out and touching someone on a shoulder. Smith says he witnessed this phenomena, and at that point decided to create an event that focused on realism and dispensed with the notion that there could be any illusions or magic.

BC Smith’s “Phasmagorica” is not a theatrical or magic performance. The event aims to recreate the feel of a vintage séance.

(Roger Kisby / For The Times)

I was surprised, for instance, when Smith left the room. At that point, we were with only a television, which narrates a short history of séances in America before instructing us to hold a pendulum over a spirit board. Knowing Smith’s past, I went in expecting more of a show. Instead, we are prodded to examine a tarot card, peer into the scrying mirror and ask questions to our spirit board.

“It becomes more personal,” Smith says. “Even in my theatrical séances, I’ve had people want to cut me off mid-sentence and say, ‘This just happened to me.’ And they want to spend the next five minutes talking about it. At the end of the day, I think what people like is that this is all about them.”

And still, Smith says, audiences are looking for wizardry. But there’s no tricks of the light, no hidden fans. He stresses multiple times in this interview and at the start of “Phasmagorica” that this is “not theater, not a performance, not a show.”

“I’ve had people walk out of the room and swear there was a magnet in the pendulum board,” he says. “Or swear there was some effect that made them see a person standing. People still have an explanation that I had something to do with it. Whatever helps you sleep with the light off.”

While numerous cultures and spiritual movements have throughout history long attempted to commune with the dead, a séance, says Lisa Morton, author of “Calling the Spirits: A History of Séances,” is a relatively recent occurrence. She and Smith trace their popularity to the Fox sisters, Kate and Maggie, who performed to packed crowds in the late 1880s in New York, attempting to demonstrate that spirits could speak via a series of raps on the walls.

BC Smith calls “Phasmagorica” an “experiment,” shirking at the word performance. (Roger Kisby / For The Times)

Prior to the Fox sisters, Morton says, attempts to commune with the beyond, broadly speaking, were a more personal and ritualistic affair. “The Greeks believed that sleeping on a grave might give you dreams in which you communed with a spirit,” she says. Popular myths, too, would portray the practice as borderline arcane. In Homer’s “The Odyssey,” for instance, a bridge to the spirit world is reached only after a complex series of sacrifices and offerings — a potent mix of sweet wine and the blood of a lamb.

“The séance comes along, and not only is it a group activity, but it suggests that anyone can communicate with the spirits of the dead,” Morton says. “You just need a medium — someone who can enter a trance state and open themselves to receiving spirit communications. It was done with a group, and in the comfort of someone’s home. Those were startlingly new ideas.”

Morton has taken part in Smith’s “Phasmagorica.” She, too, appreciated the historical emphasis, specifically the way a musician performs after the séance as guests mingle with one another and share their experience. Music was a big part of early séances, Morton says.

“People would sit around a table and the lights would be lowered and they would sing,” Morton says “Now, singing did have a scammy double purpose, as they allowed the medium to start doing things in the dark unheard. But these evenings were wondrous for people, and I thought that was what BC Smith captured really well.”

“Phasmagorica” has been running on select weekends at Heritage Square since the late summer. Smith intends to continue adding events throughout the fall as his schedule allows, announcing them on Instagram. Though intimate, they do typically sell out. It’s traveling via word of mouth, theorizes Smith, because people today are increasingly searching for “connection and meaning.”

Heritage Square Museum is itself a location imbued with history and mystery, the site of the homes of Los Angeles as they existed a century ago.

(Marcus Ubungen / Los Angeles Times)

“The experience is really up to you,” he says. “I think we’re all searching for something. This is a safe space to explore.”

Late in life, Maggie Fox denounced the spiritualism movement that she and her sister Kate had helped start, demonstrating the ways in which they had fooled their audiences. Smith again stresses that he himself is a “hopeful skeptic,” and purposefully stays out of the experience so that guests aren’t trying to figure out if he’s holding onto any secrets.

And yet he says, “Phasmagorica” has permanently changed him. He notes that his wife is a commercial airline pilot and must travel often.

“When she’s away, I sleep with a night-light,” he says. “Maybe that’s the answer to the question whether I believe or not.”

The heat hits me as soon as I open the door, the single panes of glass in the wall-width window drawing the late afternoon sunlight into my room. The red linoleum floor and minimalist interior do little to soften the impact; I wonder how I’m going to sleep. On the opposite side of the corridor, another member of the group I’m travelling with has a much cooler studio, complete with a small balcony that I immediately recognise from archive black and white photographs.

Unconsciously echoing the building’s past, we start using this as a common room, perching on the tubular steel chairs, browsing the collection of books on the desk and discussing what it must have been like to live here. At night, my room stays warm and noise travels easily through the walls and stairwells; it’s not the best night’s rest I’ve ever had, but it’s worth it for the experience.

I’m in Dessau, Germany, in the accommodation block once inhabited by students and junior masters at the famous Bauhaus school. Also known as the Prellerhaus, the studios are part of a larger asymmetrical complex of connected workshops, classrooms and social spaces – the iconic Bauhaus Building.

Designed by German architect and Bauhaus founder Walter Gropius after the school moved here in 1925, and completed in 1926, the revolutionary structure is a mix of glass, steel and concrete. It was a physical expression of the school’s ideas and remains a symbol of European modernism to this day. “It landed here like an alien spaceship,” says Oliver Klimpel, head of the curatorial workshop at the Bauhaus Dessau Foundation.

Founded in Weimar in 1919, the highly influential school rejected the principles of local and traditional architecture and design and pursued those that were simple, rational and functional, using innovative ways of teaching and working. Forced to leave Weimar just six years later, owing to financial and political pressure, the school relocated to Dessau in Saxony-Anhalt – then a rising industrial hub with an entrepreneurial spirit and social democratic government – a century ago this year.

What followed was a highly successful period for the school and a stronger focus on developing prototypes of furniture, household objects and other items for mass production. Art increasingly merged with industry. “They switched from solid wood to plywood sheets, from upholstery to steel tubes and iron yarn,” our guide, Anke John, explains, standing in Gropius’s old office, where the stench from the triolin floor still lingers. It was in Dessau that Marcel Breuer designed the iconic Wassily Chair, for example.

Bauhaus buildings also sprung up across town, before the rise of National Socialism saw the school move again in 1932, this time to Berlin, for one final year before the Nazis came to power.

“The empty rooms in the workshop wing appear clean and spacious now, but they were packed with different workshops for printing, weaving, woodwork and metalwork, with tools and machines; it was messy and loud, a maker’s space,” explains Klimpel, adding that the common portrayal of a perfectionist modernist practice in an art school can be very misleading.

While regular heatwaves were less of a problem in the 1920s – temperatures were in the high 30s when I visited – the three-storey glass curtain wall, in pursuit of transparency, still created difficult, greenhouse-like conditions in summer. “It was part of the practical research to see what worked and what didn’t; you learned with the building and lived within the experiment,” adds Klimpel.

The structure has undergone changes over time, including repairs to wartime bomb damage, reconstruction of the facade in 1976, and an extensive restoration project based on the original plans, completed in 2006. Today it’s home to a shop, a cafe, exhibition spaces and the offices of the non-profit Bauhaus Dessau Foundation. The students’ studios are open to overnight guests, each one kitted out with Bauhaus-inspired furniture, some in the style of former residents such as Josef Albers (studio 204) and Marianne Brandt (studio 302).

Visitors can also head to other Bauhaus-related locations in town using a signposted cycle route, taking the number 10 bus (the Bauhauslinie) or by joining a guided tour. I start by walking over to the restored Masters’ Houses, just a short distance away from the Bauhaus Building. Set among towering oaks and pines, these cubic-like white structures with black window frames, plus two abstract rebuilds, are where key figures such as Kandinsky, Klee, Moholy-Nagy and Gropius once lived with their families. It feels sleepy and subdued here now, quiet enough to hear acorns crunching under my feet.

Other spots not to miss include the Kornhaus, a restaurant with a semicircular glazed conservatory on the banks of the Elbe, built in 1929; the Arbeitsamt, the yellow-brick employment office designed by Gropius in 1929; and the Dessau Törten housing estate (1926-28), with its rows of modest two-storey, flat-roofed homes, developed to address the housing shortage. The striking Bauhaus Museum, designed by architects from Barcelona and open since 2019, provides plenty of background information and is home to the second largest collection of Bauhaus-related objects in the world, including teaching notes and drafts from the workshops.

To mark the centenary of the school’s move to Dessau, a programme of events and exhibitions – titled An die Substanz/To the Core – will take place throughout 2025 and 2026, focusing on materials of the modern era. Celebrations kick off this month and include modern interpretations of the so-called Material Dances, part of the course Der Mensch (The Human Being), introduced by Bauhaus teacher Oskar Schlemmer in 1928. Other highlights will include Invisible Bauhaus Dessau, a new digital tour covering the early days of the Bauhaus members in Dessau, and five central exhibitions opening in March 2026.

In between the festivities and the Bauhaus sites, it’s impossible not to notice the decline of this city, which has been merged with Roßlau since 2007. Blocks of GDR flats with worn-down facades are easy to spot and the streets feel quiet, almost deserted, at times. Like many places in eastern Germany, reunification has seen the population shrink, and gradually age. In recent years, the rightwing party Alternative für Deutschland has gained increasing support in the state of Saxony-Anhalt, its influence extending to culture and the Bauhaus.

Coming here requires a degree of imagination and reflection. You have to remind yourself that these buildings and ideas were completely new, occasionally provocative, in the 1920s. That the Bauhaus teachers really lived in those white houses. That the workshops were loud and dusty. That students held wild parties and piled out on to those balconies. That Dessau was once a booming place. That this school from a corner of Germany has found its way into everyday design around the world.

The trip was supported by the German tourist board. For more information about the centenary, see bauhaus-dessau.de. A night at the Bauhaus starts from €55. Toilets, showers and kitchenettes are shared, but found on every floor

Before arriving in Edinburgh, Nataliya Bezborodova’s impression of Scotland was shaped largely by Hollywood. “My knowledge of this country was pretty much based on the film Braveheart,” she admits with a laugh, standing before the grand neoclassical columns of the National Galleries of Scotland. As if on cue, the castle’s daily gun salute fires overhead, scattering pigeons and punctuating our conversation with a jolt.

Three years have passed since the 47-year-old anthropologist left her home in Kyiv for Edinburgh, after the Russian invasion. Celluloid warriors have long been replaced by the rhythms of life in a city she now knows like the back of her hand. So well, in fact, that she has launched a walking tour revealing a layer even locals might miss: the story of Edinburgh’s vibrant Ukrainian community.

Bridges Across Borders: Tracing Ukrainian Roots in the Heart of Edinburgh started in June and is the latest in a growing portfolio of women-led immersive walks developed in partnership with Women in Travel CIC, the UK-based social enterprise that fosters gender inclusion in the tourism industry. It now offers seven tours celebrating multiculturalism in its many forms: from a Saudi-led deep dive into west London’s Edgware Road to a sensory stroll along Ealing Road in Wembley, north-west London, with its Hindu temples and sizzling street food. All tour leaders are trained through Women in Travel’s guiding academy, which aims to help women earn an income by sharing their stories with travellers seeking a deeper connection to a place.

The two-and-a-half-hour walking tour attracts a mix of locals and tourists, Nataliya tells me. “I’ve even had people from Ukraine join the group, who had no idea about our shared heritage with Scotland,” she says, as we stroll along Princes Street, the city’s main artery.

Scotland’s Ukrainian population has grown since the full-scale Russian invasion of Ukraine began in 2022, with about 5,000 refugees arriving via Edinburgh. But, as Nataliya points out, the ties go back centuries. Dominating the horizon, the crenellated outline of Edinburgh Castle looms large. It houses St Margaret’s Chapel, built in the 12th century and named after a queen thought to be a quarter Ukrainian. Edinburgh and Kyiv were also formally twinned in 1989, Nataliya adds. We pass the Scott Monument, its blackened gothic spires piercing the sky. At its base, a kilted busker skirls a haunting tune on the bagpipes.

We are soon puffing our way up and down the leafy slopes of Calton Hill, pausing first at a plaque to Saint Wolodymyr – who helped bring Christianity to Ukraine more than a thousand years ago – and then at the Holodomor memorial stone honouring the seven million Ukrainians who died in the forced famine of 1932-33. “It’s a reminder that these things must never happen again,” Nataliya reflects.

A short walk away lies Royal Terrace, on the eastern edge of New Town, a handsome Georgian sweep of sandstone townhouses by the Scottish architect William Henry Playfair. Tucked between swish boutique hotels and stately homes, blue-and-yellow flags flutter at the Ukrainian community centre.

Inside, a plate of homemade potato dumplings, cooked by the centre’s summer camp children and topped with a dollop of sour cream, awaits. As we tuck in, Nataliya explains how the arrival of recent refugees has rekindled pride among Edinburgh’s older Ukrainian diaspora, whose first major wave came in the 1940s: “The newcomers helped them reconnect with a culture that had gone underground.” Today, the centre hosts coffee mornings, cookery classes and language lessons for the Ukrainian community, alongside a rolling programme of concerts and film screenings open to all.

Back out on the street, trams rumble by as we head west, passing familiar landmarks, including a bronze Sherlock Holmes, keeping watch at Picardy Place in tribute to his creator, Sir Arthur Conan Doyle, born just around the corner. In the shadow of the redbrick Scottish National Portrait Gallery lies our final stop: the Square, a Ukrainian-owned cafe that opened in 2023.

This modest slip of a building, with its slate-grey facade and plant-fringed window, is easy enough to miss. Inside, though, it’s quietly pioneering: the first place in the city to serve both Scottish and Ukrainian staples (though not on the same plate). The full Scottish breakfast – haggis, tatties and all – sits alongside Ukrainian classics such as holubtsi (cabbage rolls stuffed with lightly spiced meat).

The owners, Ievgen and Valentyna Loievska, arrived in Edinburgh from the southern Ukrainian city of Mykolaiv in 2022. “The cafe was our way of bridging cultures and bringing people together,” Ievgen tells me. Within minutes of sitting down, the table groans under bowls of steaming borscht, plates piled high with dumplings, and deruny (crisp golden potato pancakes drenched in parmesan sauce). Just as I think I can’t manage another bite, out comes the grand finale: syrnyky – sweet curd-cheese pancakes swimming in velvety berry juice – as Nataliya shares what creating the tour has meant to her personally.

“Putting the tour together made me realise just how many Ukrainian landmarks are hidden across this city,” Nataliya says. “It’s about finding connections between seemingly distant cultures.”

As we wrap up, I’m handed a doggy bag for the journey home, a gesture that feels more like leaving a favourite grandma’s kitchen than ending a walking tour. An experience that initially seemed a little leftfield now makes perfect sense within the context of this city, I realise. In a place steeped in storytelling, Nataliya’s tour adds a fresh chapter to Edinburgh’s ever-evolving narrative.

Women in Travel’s Bridges Across Borders: Tracing Ukrainian Roots in the Heart of Edinburgh tour runs every Wednesday at midday and costs £58pp, including a taster plate at the Square cafe. Created with the support of Visit Scotland

ASUNCIÓN, Paraguay,, Aug. 26 (UPI) — Paraguay unveiled one of the region’s most ambitious cultural preservation projects with the launch of Proyecto Guaraní-Revista Ysyry, a digital archive and bilingual anthology that safeguards more than 14,000 poems, songs and writings in Guaraní, Spanish and Jopará.

Revista Ysyry, a Paraguayan literary magazine that ran from 1942 to 1995, publishing over 20,000 poems and songs in Guaraní, Spanish, and Jopará (a blend of the two languages).

The initiative, launched in 2023 and presented Monday, combines a free online library called Oremba’e, or What Is Ours, with the printed bilingual volume Che Ñe’ẽ, Che Purahei (“My word, my song”), which includes nearly 200 selected works.

The collection was entrusted to former U.S. ambassador to Paraguay James Cason, a longtime advocate of Guaraní culture.

“Paraguay is the only bilingual country in Latin America,” Cason said. “Everyone speaks Guaraní. It is the soul of the country. Guaraní is Paraguay.”

That is the most widely spoken of the Tupian languages, a family of indigenous tongues once used by native communities across much of South America. Today, it is one of the few spoken broadly, even by people who do not identify as Indigenous, and serves as the first or second language for millions.

According to Paraguay’s 2024 Household Survey, 38.7% of the population over age 5 speaks both Guaraní and Spanish at home, 30% communicate primarily in Guaraní and 28.5% use Spanish. Another 2.4% relies on other languages, such as English, Portuguese, German, Japanese, Korean or Arabic.

Cason explained that he began to study the language before arriving in Asunción, surprising audiences when he delivered his first speech entirely in Guaraní. He later received a vast archive of works from the daughter of Ysyry magazine’s late editor, who asked him to ensure its preservation.

For 17 years, Cason sought support to protect the material until the Global Peace Foundation and Instituto Patria Soñada agreed to take on the task.

“This is more than music and poetry,” he said. “It is a sociological and historical record of what people were thinking when these works were written.”

Carmen Giménez, director of the Guarani Project and member of Instituto Patria Soñada, stressed that the language’s vitality goes beyond its Indigenous roots.

“Guaraní is spoken by Indigenous and mestizo populations alike, across rural and urban sectors and even among cultural and political elites,” she said. “It has become a unifying element in a diverse society, a symbol of national identity and resilience in the face of historical attempts to sideline it.

“The Paraguayan case is considered exemplary in Latin America. While in countries such as Argentina, Brazil or Chile Indigenous languages became confined to small communities and many risked extinction, in Paraguay, Guarani evolved into a national and co-official language.”

The National Secretariat of Culture has declared the project of cultural interest. Organizers say the archive will give researchers, musicians and new generations unprecedented access to Paraguay’s literary and musical heritage.

Puerto Rican pop visionary Rauw Alejandro will be honored at the 38th annual Hispanic Heritage Awards.

On Wednesday, the Hispanic Heritage Foundation announced that the singer-songwriter will receive the 2025 Hispanic Heritage Award for Vision, a title that honors his groundbreaking contributions to Latin music and his role in shaping its global future.

“As an artist in constant motion, Rauw Alejandro embodies the very essence of the vision award, bold in creativity, future-focused in his global impact and unapologetically original in everything he does,” says Antonio Tijerino, president and chief executive of HHF. “His work is not just music, it’s a movement that confirms what Latin artists mean to the world.”

The award, established by the White House in 1998, is bestowed on notable public figures for their accomplishments and cultural contributions to the Latino community. Past honorees, specifically in the vision category, include Wisin, Ivy Queen, Bad Bunny, Residente and more.

The 32-year-old songwriter from San Juan welcomed the award with an unveiling of his own: the title of his next album, “Cosa Nuestra: Capítulo 0.”

“This is just the beginning … with my next project ‘Capítulo 0’ I want to keep showcasing not only Puerto Rico, but the full essence of the Caribbean.”

News of this honor should not come as a surprise to those who have been following Rauw Alejandro’s career and hustle. His 2020 debut album, “Afrodisíaco,” earned him his first Grammy nomination for best urban music album, as well as a Grammy nod for best new artist.

Throughout the years, the eclectic singer-songwriter and dance phenom has innovated the Latin music scene with the release of experimental albums like his electronic and R&B-inspired LP, “Vice Versa,” in 2021; his techno-infused psychedelic album, “Saturno,” in 2022; and his beachy follow-up, “Playa Saturno,” in 2023.

In 2024, Rauw Alejandro released his fifth studio album, “Cosa Nuestra,” a project inspired by New York City’s salsa music scene in the 1970s. Upon its release, the record landed him the No. 1 spot on Billboard’s Latin Albums chart, and No. 6 on the Billboard 200. The critically-acclaimed album is likely to claim top prizes at the upcoming 2025 Latin Grammys.

“‘Cosa Nuestra’ has always been my way of representing my island, my culture, and my people — wherever they may be,” said Rauw Alejandro in a statement. “Every detail — the beats, the visuals, the dancing — reflects part of our Puerto Rican roots and our connection with other sister cultures, because we’ve been shaping the history of music for a long time.”

The 38th annual Hispanic Heritage Awards will take place on Sept. 4 at the Warner Theatre in Washington, D.C. To date, this year’s honorees include NPR’s Felix Contreras, stoner comic Cheech Marin, Rizos Curls chief executive Julissa Prado and more.

Stoner comedy legend, actor and Chicano art curator collector Cheech Marin will be honored this year at the 38th annual Hispanic Heritage Awards.

The Hispanic Heritage Foundation named Marin as a recipient of the 2025 Hispanic Heritage Award for the arts on Tuesday, one of several honors bestowed on notable public figures for their accomplishments and cultural contributions to the Latino communities.

Past awardees at the Hispanic Heritage Awards include Bad Bunny, America Ferrera, Becky G, J Balvin and others. Marin will be awarded alongside National Public Radio journalist and “Alt.Latino” host Felix Contreras and Rizos Curls co-founder and CEO Julissa Prado.

“I’m extremely honored to be receiving this Hispanic Heritage for Arts Award,” Marin said in a press release. “I accept this recognition with deep gratitude and a commitment to continue uplifting voices, building bridges, and honoring the legacy of those who came before us.”

Having spent his childhood in South-Central L.A. and the San Fernando Valley, Marin’s comedy career kicked off in the late 1960s, when he fled to Canada to avoid being drafted during the Vietnam War. It was during that time that he first met his future comedy partner Tommy Chong — and the rest is burned into history.

“For over five decades, Cheech Marin has reflected our cultural impact on America and the world as a comedian, actor, director, art collector, and humanitarian,” said Antonio Tijerino, the president and CEO of the Hispanic Heritage Foundation, in a press release. “His groundbreaking work has not only entertained but enlightened. We are thrilled to pay tribute to Cheech and the other 2025 Honorees and tell their stories to inspire, unite, and mobilize other generations.”

Cheech and Chong’s blazing success first reached national attention after the release of their first comedy album “Cheech and Chong” in 1971. The 11-track LP was nominated for a comedy recording award at the 1972 Grammy Awards and generated the famous “Dave’s not here” line. Their second album, “Big Bambú,” was nominated for a Grammy in the same category at the 1973 award ceremony.

In 1978, the duo released the stoner comedy feature film, “Up in Smoke,” which was based in L.A. Though it was critically panned, the film became a cult classic and was added to the Library of Congress’ National Film Registry in 2024.

Marin’s 1987 film “Born in East L.A.” — which includes a spoof of Bruce Springsteen’s “Born in the U.S.A.” — was acclaimed by critics for blending of comedy with such serious subject matters as deportation and living as an undocumented person in the U.S.

“Without saying so much as a single word that could be even remotely described as preachy, Cheech Marin makes his points about the second-class nature of American citizenship for ethnic minorities and the desperate situation in which illegal aliens find themselves,” The Times wrote in a 1987 review of the movie.

In recent years, Marin is perhaps best known for his work as a collector of Chicano art. After being a lifelong gatherer of art, the Cheech Marin Center for Chicano Art & Culture of the Riverside Art Museum opened to the public in June 2022.

Many consider the museum to be the largest private collection of Chicano art in the world, with more than 550 paintings, drawings, sculptures and photographs from Marin’s personal collection will be on permanent rotation. Nicknamed “the Cheech,” the 61,420-square-foot, two-story art museum and education center resides in what used to be the downtown Riverside Public Library, and has displayed works by artists Chaz Bojorquez, Judithe Hernández, Frank Romero, Patssi Valdez and others. It’s considered the only permanent art space to exclusively showcase Chicano and Mexican American art in the country.

“You don’t have to be Chicano to love and appreciate this work,” Marin told The Times in 2022. “Just like I don’t have to be French to appreciate Impressionism or German to appreciate Expressionism. We recognize it as part of the conversation in the history of art. And now we are part of that conversation in a more concentrated effort than we’ve ever had before.”

Thanks to a lazy pun that’s as uninspired as the jeans it’s meant to sell, a series of American Eagle Outfitters ads starring 27-year-old actor Sydney Sweeney have sparked a culture war.

In one of several videos associated with the retailer’s campaign, the accomplished performer who also happens to be a blond bombshell says, “Genes are passed down from parents to offspring, often determining traits like hair color, personality and even eye color. My jeans are blue,” she says, as the camera pans from her blue denim outfit to her blue eyes.

In another video, Sweeney defaces an American Eagle billboard that reads “Sydney Sweeney has great jeans,” crossing out the word “jeans” and replacing it with “genes.”

Jeans. Genes. Get it? Of course you do. It’s as basic as it gets. But that didn’t stop folks from assigning incredible complexity to the ads.

American Eagle Outfitters is accused of leaning into the language of eugenics to sell its mall wear. Eugenics is the absurd and bigoted theory that the human race can be perfected (i.e. made more Caucasian) through selective breeding. Eugenics gained traction in the early 20th century, most notably in Nazi Germany, where Hitler sought to create a master Aryan race, perpetrating unspeakable atrocities including the Holocaust.

Now there’s an argument across social media: Did Sweeney and the retailer play fast and loose with eugenics to sell jeans? Or is it just another distraction from a much scarier reality that “the great replacement theory” — a touchstone conspiracy among white supremacists that an “inferior” non-white population will displace them — is driving American policy and state-sanctioned actions? I pick Option 2.

Sleuthing for hidden white-power messaging in an otherwise playful commercial is easier than contending with the militarized xenophobia right in front of us. It’s happening on our streets, where immigrants with no criminal record are being kidnapped, then locked up and, in many cases, deported with no due process.

Too heavy? Let’s get back to the jeans/genes (again, who thought this pun was clever?). Commentary about the ad has proliferated across social media, where lefties, MAGAs and nondenominational Sweeney haters are chiming in, calling the ad a “Nazi dog whistle,” an excuse for a “woke freak out,” more evidence that “Western ideals of beauty” still dominate, and indisputable proof that Sweeney should remain a perennial target for those who still can’t separate the actor from the insufferable characters she played so well on “Euphoria” and “White Lotus.”

The American Eagle Outfitters’ fall campaign features “the Sydney Jean,” which was created in partnership with Sweeney, and revenue from sales of the jeans will be donated to the Crisis Text Line. According to its website, it’s a “nonjudgmental organization that champions mental well-being and aims to support people of every race, ethnicity, political affiliation, religion, age, sexual orientation, gender identity, disability, socioeconomic status, and other backgrounds.”

Hardly Third Reich fare.

Yet the clothing line’s ad has been called “regressive” and racist, and one critic wrote in Slate: “These days, a blond, blue-eyed white woman being held up as the exemplar of ‘great genes’ is a concept that maybe shouldn’t have made it past the copywriters room.”

Never missing a chance to complain about complainers, White House communications manager Steven Cheung posted: “Cancel culture run amok. This warped, moronic and dense liberal thinking is a big reason why Americans voted the way they did in 2024. They’re tired of this bull—.” Former Fox News host Megyn Kelly took the opportunity to troll the opposition when she wrote Tuesday on X, “I love how the leftist meltdown over the Sydney Sweeney ad has only resulted in a beautiful white blonde girl with blue eyes getting 1000x the exposure for her ‘good genes.’”

American Eagle posted on Instagram Friday that it stands by its campaign. “‘Sydney Sweeney has great jeans’ is and always was about the jeans. Her jeans. Her story,” said the statement. “We’ll continue to celebrate how everyone wears their AE jeans with confidence, their way. Great jeans look good on everyone.”

It’s not the first time Sweeney’s actions have been used as fodder in a culture war. Her 2024 hosting gig on “SNL” included a sketch where she was dressed as a Hooters waitress, complete with ample cleavage. The skit satirized her standing as a sex symbol. MAGA bros saw it as the end of woke because Sweeney is “hot” and she made a joke about her boobs. Yes, even that was politicized.

So now that I’ve spent all this space explaining the unnecessary freak-out over a jeans ad, can we focus on a campaign that should spur just as much, if not more, condemnation?

The Department of Homeland Security has been posting images on its X account with captions that the father of eugenics, Sir Francis Galton, would have approved. On July 23, the DHS posted an image of a 19th century painting titled “American Progress” depicting Manifest Destiny, the religious belief that it was the right and duty of the United States to expand from the Atlantic Ocean to the Pacific Ocean. The DHS caption (with its curious usage of uppercase letters): “A Heritage to be proud of, a Homeland worth Defending.” If you aren’t Indigenous, of course.

A week or so before that, “A Prayer for a New Life,” artist Morgan Weistling’s westward-expansion-era scene featuring a white family in a covered wagon making their way across golden plains. The DHS shared the image with the caption, “Remember your Homeland’s Heritage.” Aside from getting the name of the painting wrong, they inferred that this was the heritage we all share. There was no footnote for First Lady Melania Trump, Sen. Marco Rubio, Trump advisor Stephen Miller, Vice President JD Vance’s wife, Usha, SCOTUS’ Clarence Thomas and millions more whose American origin story doesn’t resemble “Little House on the Prairie.” So can we freak out about that, instead?

Apparently not, because now armchair Nazi hunters are pivoting to a Dunkin’ Donuts ad featuring “The Summer I Turned Pretty” star Gavin Casalegno, who delivers a tongue-in-cheek monologue about his role as the “king of summer.”

“Look, I didn’t ask to be the king of summer, it just kinda happened,” he says. “This tan? Genetics.”

Maybe just stick with the Ben Affleck Dunkin’ ad, where nary a g-word is spoken.

NAIROBI, Kenya — Kenneth Harris spent most of his days in Atlanta yearning for a life in a place where his dark skin color is not a source of suspicion, but a mark of a shared heritage. His chance came two years ago when he bought a one-way ticket to Kenya.

The 38-year-old retired veteran has found a community in the east African country’s capital, where he now runs an Airbnb business. He loves admiring Nairobi’s golden sunset from a rooftop terrace, and enjoys a luxurious lifestyle in a tastefully furnished apartment in an upmarket neighborhood.

Harris is part of a growing wave of African Americans who are relocating to Kenya, citing the need to connect with their ancestors — or “coming home,” a phrase often used among the Black community.

Like dozens of other African Americans who have moved to Nairobi in recent years, Harris was attracted to Kenya’s tropical climate and what he describes as the warmth and friendliness of the people he believes he shares a history and culture with.

In search of community and a better life

“I have always had that adventurous spirit, especially when I joined the military and got to go to different countries. So I am taking the opportunity to venture out to new places,” he said. “That is what allowed me to make a home away from home and Kenya is my new home.”

Some friends have reaching out to him to explore a “change from the U.S for their peace of mind,” he said.

Several other African Americans who have “come home” like him have set up thriving businesses in Nairobi that include travel agencies, restaurants and farms.

Many African Americans who have sought a better life abroad or are considering it said President Trump’s administration — with its crackdown on diversity programs — isn’t the main reason they want to move.

Rather, most say they had been mulling a move for some time, and the current political environment in the U.S. may be pushing them to act sooner than initially planned.

“I can’t say the administration is the reason why the people I know want to part ways from America. Some are planning to move for a better quality of living life,” Harris said.

Auston Holleman, an American YouTuber who has lived in various countries for almost a decade, said he settled on Kenya nine months ago because people “look like me.”

“It is not like going to Europe or going to some Latin American countries where there are not many Black people,” he said.

Holleman, who often films his daily life, said he felt that the social fabric in the U.S. was “broken.” In contrast, he said he felt socially accepted in Kenya. He cited an experience when his taxi driver’s car stopped, and in five minutes they got help from a random stranger.

“That made me realize I was in the right place,” he said.

Growing numbers are interested in leaving the U.S.

Other African countries have attracted even larger numbers of African Americans. Ghana, which launched a “Year of the Return” program to attract the Black diaspora in 2019, said last year it held a ceremony that granted citizenship to 524 people, mostly Black Americans.

African American businesses such as Adilah Relocation Services have seen a notable rise in the number of African Americans seeking to move to Kenya.

The company’s founder, Adilah Mohammad, moved to Kenya four days after her mother’s funeral in search of healing.

She says the peace and restoration she experienced in Kenya made her stay — and advocate for those searching for the same. Her company helps clients relocate by house hunting, shopping for furniture and ensuring banking and medical services are seamless.

“There are 15 families that have come so far, and we have five more on the calendar that are coming in the next 90 days. We have people that have booked for 2026 with no date, they just know that they are leaving,” she says.

Mohammad said many African Americans have been planning their move for decades.

“For me it is a movement. It is people deciding to make a choice for themselves, they are not being forced, shackles are being broken. When they say they are coming home, they are choosing to be free and it is mental freedom and so I am ecstatic,” she says.

Experts say African economies are likely to benefit from these moves, especially from those willing to tackle corruption and create a healthy environment for investors.

Raphael Obonyo, a public policy expert at U.N-Habitat, says the U.S is losing resources — as well as the popular narrative that America is the land of opportunities and dreams.

“This reverse migration is denting that narrative, so America is most likely to lose including things like brain drain,” he explained.

For Mohammad, the sense of belonging has given her peace within.

“I love being here. Returning to Africa is one thing, but finding the place that you feel like you belong is another,” she said.

Musambi and Tiro write for the Associated Press.

Although a not a full-on Thomas the Tank Engine fan, I have for 65 years been an out-there and unashamed enthusiast for anything running on rails (‘Thomas the Tank Engine clung to me like a disease’: the film about the choo-choo’s global grownup superfans, 22 July).

My wife and I sometimes do front-of-house at a heritage railway and can confirm the attraction of railways for those with autism, particularly young people. There is a predictability about railways, timetables, signals and all the other paraphernalia that is very attractive.

Also, there is endless scope for studying minutiae and collecting odd bits of information. Numbers and names on the engines, liveries (colours of trains to you), performance records and endless other statistics. And, as honoured by Brannon Carty’s film, discussed in your article, you don’t have to be a loner if you don’t want to: there are millions of others to share your passion.

The study of Thomas’s creator, the Anglican cleric Wilbert Awdry, is recreated at the Narrow Gauge Railway Museum in Tywyn: a small collection of theological texts on one side, a joyful collection of railway books on the other, with a model railway spread across his desk. Wonderful!
Rev David Gibson
Newark-on-Trent, Nottinghamshire

Ask a random Angeleno to find Piru, Fillmore or Santa Paula on a California map and odds are they’ll shrug and give up. Blame it on location, location, location. Collectively known as the Heritage Valley, these small towns hidden on the stretch of Highway 126 are often ignored and bypassed by L.A. travelers bound for Ojai or Ventura.

But if you take the time to stop in this rural oasis, you’ll find miles of citrus groves, heaps of history and truly tasty Mexican food. Yes, there are more tractors than Tesla Superchargers in this region — that’s part of the draw. This, you realize, is what Southern California looked like before suburbia moved in.

Heritage Valley was previously known as Santa Clara River Valley, which is what the locals still call it. In 1998, a committee was assembled to help bring in tourists, and the new, jazzier label was coined. It was an improvement over an earlier, clunkier nickname, Santa Clara River Valley Heritage Trail, which sounded more like a hiking path.

It wasn’t the only title created for the sake of marketing. The town of Santa Paula has always proclaimed itself “the citrus capital of the world” for its abundance of lemons and oranges. Fillmore, not to be outdone, picked a gem: “The last, best small town,” which inspired a play of the same name that’s set there. Piru was already born with a compelling handle when its devoutly religious founder proclaimed it as “The Second Garden of Eden” in 1887. Today, it’s better known for its popular outdoor recreational area, Lake Piru. (After “Glee” actress Naya Rivera drowned in the lake in 2020, swimming was temporarily banned. It’s now allowed, but only in designated areas between Memorial Day and Labor Day.)

If you go back hundreds of years before Lake Piru was created by the construction of the Santa Felicia Dam, you’d see Chumash villages dotting the valley. Then came the Spanish expeditions in the late 18th century, followed by ranchos that used the land for sheep and cattle. Soon the railroads arrived, and then an oil boom. The valley’s eventual transformation into an agricultural mecca was hastened by a Mediterranean climate that proved ideal for crops — first citrus, then avocados.

But along with the bounty there were disasters, both natural and man-made, including the 1994 Northridge Earthquake and the catastrophic flood from the 1928 St. Francis Dam collapse. Numerous fires also have made the valley live up to a Times article that called it “among the most dangerous wind and fire corridors in Southern California.”

Yet through it all, the population has steadily grown and more travelers are discovering the area for its lively gatherings (the Santa Paula Citrus Music Festival took place last week), new attractions (check out the 17-mile Sunburst Railbike experience) and stunning hikes. Here’s where to go on a road trip along Highway 126.

Since the start of President Trump’s second term, the Department of Homeland Security’s social media team has published a stream of content worthy of a meme-slinging basement dweller on 4chan.

Grainy, distorted mug shots of immigrants. Links to butt-kissing Fox News stories about MAGA anything. Whiny slams against politicians who call out la migra for treating the Constitution like a pee pad. Paeans to “heritage” and “homeland” worthy of Goebbels. A Thomas Kinkade painting of 1950s-era white picket fence suburbia straight out of “Leave It to Beaver,” with the caption “Protect the Homeland.”

All of this is gag-inducing, but it has a purpose — it’s revealing the racist id of this administration in real time, in case anyone was still doubtful.

In June, DHS shared a poster, originally created by the white-power scene, of a grim-faced Uncle Sam urging Americans to “report all foreign invaders” by calling Immigration and Customs Enforcement. On July 14, the DHS X account featured a painting of a young white couple cradling a baby in a covered wagon on the Great Plains with the caption, “Remember your Homeland’s Heritage.”

When my colleague Hailey Branson-Potts asked about the pioneer painting and the Trump administration’s trollish social media strategy, a White House spokesperson asked her to “explain how deporting illegal aliens is racist,” adding that haters should “stay mad.”

Now, behold the latest DHS salvo: a July 23 X post of a 19th century painting by John Gast titled “American Progress.”

A blond white woman robed in — yep — white, with a gold star just above her forehead, floats in the center. She holds a book in her right hand and a loop of telegraph wire that her left hand trails across poles. Below her on the right side are miners, hunters, farmers, loggers, a stagecoach and trains. They rush westward, illuminated by puffy clouds and the soft glow of dawn.

The angelic woman is Columbia, the historic female personification of the United States. She seems to be guiding everyone forward, toward Native Americans — bare breasted women, headdress-bedecked warriors — who are fleeing in terror along with a herd of bison and a bear with its mouth agape. It’s too late, though: Covered wagon trains and a teamster wielding a whip have already encroached on their land.

The white settlers are literally in the light-bathed side of the painting, while the Native Americans are shrouded in the dusky, murky side.

It ain’t subtle, folks!

“A Heritage to be proud of, a Homeland worth Defending,” DHS wrote as a caption for “American Progress” — a mantra you may soon find printed on the $20 bill, the way this administration is going.

Gast finished his painting in 1872, when the U.S. was in the last stages of conquest. The Civil War was done. White Americans were moving into the Southwest in large numbers, dispossessing the Mexican Americans who had been there for generations through the courts, squatting or outright murder. The Army was ramping up to defeat Native Americans once and for all. In the eyes of politicians, a new menace was emerging from the Pacific: mass Asian migration, especially Chinese.

Scholars have long interpreted Gast’s infamous work as an allegory about Manifest Destiny — that the U.S. had a God-given right to seize as much of the American continent as it could. John L. O’Sullivan, the newspaperman who coined the term in 1845, openly tied this country’s expansion to white supremacy, expressing the hope that pushing Black people into Latin America, a region “already of mixed and confused blood,” would lead to “the ultimate disappearance of the negro race from our borders.”

O’Sullivan also salivated at the idea of California leaving “imbecile and distracted” Mexico and joining the U.S., adding, “The Anglo-Saxon foot is already on its borders. Already the advance guard of the irresistible army of Anglo-Saxon emigration has begun to pour down upon it, armed with the plough and the rifle.”

This is the heritage the Trump administration thinks is worth promoting.

Vice President JD Vance, center, speaks next to officials including, from left to right, HUD Regional Administrator William Spencer, U.S. Atty. for the Central District of California Bill Essayli, FBI Los Angeles Asst. Director Akil Davis, U.S. Border Patrol Sector Chief Gregory Bovino and ICE Field Office Director Ernie Santacruz at the Wilshire Federal Building in Los Angeles in June.

(Jae C. Hong / AP)

Administration officials act shocked and offended when critics accuse them of racism, but the Trump base knows exactly what’s going on.

“This is our country, and we can’t let the radical left make us ashamed of our heritage,” one X user commented on the “American Progress” post. “Manifest Destiny was an amazing thing!”

“It’s time to re-conquer the land,” another wrote.

DHS seems to be vibing with the Heritage American movement, now bleeding into the conservative mainstream from its far-right beginnings. Its adherents maintain that Americans whose ancestors have been here for generations are more deserving of this nation’s riches than those whose families came over within living memory. Our values, proponents say, shouldn’t be based on antiquated concepts like liberty and equality but rather, the customs and traditions established by Anglo Protestants before mass immigration forever changed this country’s demographics.

In other words, if you’re white, you’re all right. If you’re brown or anything else, you’re probably not down.

Our own vice president, JD Vance, is espousing this pendejada. In a speech to the Claremont Institute earlier this month, Vance outlined his vision of what an American is.

“America is not just an idea,” Vance told the crowd. “We’re a particular place, with a particular people, and a particular set of beliefs and way of life.”

Weird — I learned in high school that people come here not because of how Americans live, but because they have the freedom to live however they want.

“If you stop importing millions of foreigners,” the vice president continued, “you allow social cohesion to form naturally.”

All those Southern and Eastern Europeans who came at the turn of the 20th century seem to have assimilated just fine, even as Appalachia’s Scots-Irish — Vance’s claimed ethnic affiliation — are, by his own admission, still a tribe apart after centuries of living here.

Trump, Vance added, is “ensur[ing] that the people we serve have a better life in the country their grandparents built.” I guess that excludes me, since my Mexican grandparents settled here in the autumn of their lives.

The irony of elevating so-called Heritage Americans is that many in Trumpworld would seem to be excluded.

First Lady Melania Trump was born in what’s now Slovenia. Secretary of State Marco Rubio is the child of Cuban immigrants. Vance’s wife’s parents came here from India. The Jewish immigrant ancestor of Trump’s deportation mastermind, Stephen Miller, wouldn’t be allowed in these days, after arriving at Ellis Island from czarist Russia with $8 to his name. Even Gast and O’Sullivan wouldn’t count as Heritage Americans by the strictest definition, since the former was Prussian and the latter was the son of Irish and English immigrants.

But that’s the evil genius of MAGA. Trump has proclaimed that he welcomes anyone, regardless of race, creed or sexual orientation (except for trans people), into his movement, as long as they’re committed to owning the libs.

Americans are so myopic about their own history, if not downright ignorant, that some minorities think they’re being welcomed into the Heritage Americans fold by Vance and his ilk. No wonder a record number of voters of color, especially Latinos, jumped on the Trump train in 2024.

“American Progress” might as well replace red hats as the ultimate MAGA symbol. To them, it’s not a shameful artifact; it’s a road map for Americans hell-bent on turning back the clock to the era of eradication.

Like I said, not a subtle message at all — if your eyes aren’t shut.

UN cultural organisation this week announces its choice of sites to be granted World Heritage status.

The United Nations cultural organisation has added a remote Aboriginal site featuring one million carvings that potentially date back 50,000 years to its World Heritage list.

Located on the Burrup peninsula in Western Australia, Murujuga is home to the Mardudunera people, who declared themselves “overjoyed” when UNESCO gave the ancient site a coveted place on its list on Friday.

“These carvings are what our ancestors left here for us to learn and keep their knowledge and keep our culture thriving through these sacred sites,” said Mark Clifton, a member of the Aboriginal delegation meeting with UNESCO representatives in Paris.

Environmental and Indigenous organisations argue that the presence of mining groups emitting industrial emissions has already caused damage to the ancient site.

Benjamin Smith, a rock art specialist at the University of Western Australia, said Murujuga was “possibly the most important rock art site in the world”, but that mining activity was causing the rock art to “break down”.

“We should be looking after it,” he said.

Australian company Woodside Energy, which operates an industrial complex in the area, told news agency AFP that it recognised Murujuga as “one of Australia’s most culturally significant landscapes” and that it was taking “proactive steps … to ensure we manage our impacts responsibly”.

Delegation leader Raelene Cooper said the UNESCO listing sent “a clear signal to the Australian Government and Woodside that things need to change”.

Making the UNESCO’s heritage list does not in itself trigger protection for a site, but can help pressure national governments into taking action.

African heritage boosted

Cameroon’s Mandara Mountains and Malawi’s Mount Mulanje were also added to the latest edition of the UNESCO World Heritage list.

UNESCO Director-General Audrey Azoulay has presented Africa as a priority during her two terms in office, although the continent remains underrepresented.

The Diy-Gid-Biy landscape of the Mandara Mountains, in the far north of Cameroon, consists of archaeological sites, probably created between the 12th and 17th centuries.

Malawi’s Mount Mulanje, in the south of the country, is considered a sacred place inhabited by gods, spirits and ancestors.

UNESCO is also considering applications from two other African countries, namely the Gola Tiwai forests in Sierra Leone and the biosphere reserve of the Bijagos Archipelago in Guinea-Bissau.

On Friday, UNESCO also listed three notorious Cambodian torture and execution sites used by the Khmer Rouge regime to perpetrate genocide 50 years ago.

As the United States navigates the complex political and social challenges of the 21st century, Project 2025 by the Heritage Foundation has emerged as an ambitious blueprint to overhaul the structure of the federal government. Framed as the conservative roadmap—especially for Donald Trump’s potential second term—the project, backed by a $22 million budget and more than 100 conservative organizations, promises a fundamental transformation of the American executive system. But behind its “Make America Great Again” rhetoric lie profound risks that could plunge the United States into severe political, social, and legal crises. Is Project 2025 a pathway to American renewal—or a formula for democratic collapse?

Unveiled in April 2023 by the Heritage Foundation—one of the most influential conservative think tanks in the U.S.—Project 2025 is a set of policy proposals compiled in a 900-page book titled Mandate for Leadership 2025: The Conservative Promise. According to Kevin Roberts, president of the Heritage Foundation, the project is designed to “institutionalize Trumpism” and revolves around four main goals: restoring the family to the center of American life, dismantling the administrative state, defending sovereignty and national borders, and securing individual rights based on conservative principles. Although these goals are framed as a revival of traditional values, in practice they could lead to unprecedented instability and polarization.

Centralizing Power in the Executive Branch

One of the most controversial aspects of Project 2025 is its emphasis on the “unitary executive” theory, which holds that the entire executive branch should be under the president’s full control. The project proposes firing tens of thousands of federal employees under a program called “Schedule F” and replacing them with loyalists to the president. Critics argue this would severely weaken the independence of the federal bureaucracy and civil institutions, effectively transforming the presidency into an authoritarian power. This concentration of power is not only at odds with the constitutional principle of separation of powers but also increases the risk of abuse and deepens legal and political crises.

Trump, who faced resistance from the federal bureaucracy during his first term, appears to welcome these proposals. His appointments of figures like Russell Vought—author of the Project 2025 chapter on the Office of Management and Budget—and Tom Homan, tapped as the “border czar,” illustrate the project’s growing influence within his administration. Moreover, more than two-thirds of Trump’s executive orders so far align with Project 2025’s recommendations, suggesting it is fast becoming the policy backbone of a potential second Trump administration.

Immigration Policies and Social Tensions

Project 2025 also proposes hardline immigration measures that could trigger major social upheaval. It calls for expanding fast-track deportation programs, increasing detention capacity, militarizing the southern border, and even invoking the Alien Enemies Act of 1798 to accelerate migrant expulsions. In his first 100 days of a second term, Trump has already declared a national emergency at the southern border and initiated mass deportations, pushing these policies even beyond what Project 2025 outlines—often in defiance of federal court rulings and prompting a constitutional crisis.

These immigration policies, coupled with inflammatory rhetoric against migrants, are likely to escalate racial and social tensions. In a country already grappling with racial inequality and widespread protests, such measures could lead to civil unrest or even violence. In particular, proposals to penalize sanctuary cities and pressure local governments to cooperate in deportations may deepen the divide between federal and state authorities.

Civil Rights Restrictions and Global Repercussions

Project 2025 also proposes significant rollbacks of civil rights, especially in areas like abortion, LGBTQ+ rights, and racial equality. The project calls for reinstating the Comstock Act to ban mailing abortion medication and removing insurance coverage for gender-affirming care. Furthermore, it frames “transgender ideology” as immoral content and recommends classifying pro-trans teachers as “sex offenders”—a clear move toward erasing transgender rights.

These policies, which align with Trump’s recent executive orders dismantling diversity, equity, and inclusion (DEI) programs, are poised to marginalize minority groups and exacerbate discrimination. On the international stage, such actions tarnish America’s image as a defender of human rights and could erode its diplomatic influence. Traditional allies, particularly in Europe, may distance themselves from U.S. policies, while rivals like China may exploit the situation to advance narratives against Western democracy.

Economic and Environmental Consequences

Project 2025 also envisions deep budget cuts to federal agencies and the elimination of institutions like the Environmental Protection Agency (EPA) and the Consumer Financial Protection Bureau. The project, which denies climate change, advocates for dismantling environmental regulations—moves that could worsen pollution and damage natural resources. Economically, its protectionist trade policies and heavy tariffs, especially on China, threaten to disrupt global supply chains, inflate prices, and increase unemployment in the U.S.

Framed as Trump’s roadmap for a second presidential term, Project 2025 promises to reshape America—but possibly at a steep cost to democracy, social cohesion, and global standing. Unprecedented centralization of executive power, harsh immigration enforcement, civil rights rollbacks, and disregard for environmental and economic challenges could drive the U.S. toward multifaceted crises. While supporters view the project as a return to traditional values, critics warn it’s a blueprint for authoritarianism and the unraveling of democratic order. America’s future hinges on whether it can balance reform with the preservation of its foundational principles—or fall into the trap of extremism. History will judge whether Project 2025 was a turning point for renewal—or the beginning of a breakdown.

The Getty announced a $420,000 grant to the L.A. Conservancy for a cultural asset mapping project that will help track, chronicle and maintain Altadena’s cultural, historic and architectural heritage in the wake of January’s devastating Eaton fire.

Community participation will be crucial to the effort as the conservancy works to document buildings and sites, as well as more ephemeral heritage such as local traditions, oral histories and cultural practices. There is also interest in cataloging longtime businesses that contributed to the social fabric of Altadena’s various neighborhoods. The results of this work will be used in collaboration with the L.A. County Department of Regional Planning to ensure that policy discussions and decisions take Altadena heritage into account when it comes to building back what was lost.

Rebuilding efforts in Altadena — an unincorporated section of Los Angeles County — have been complicated by the lack of concrete cultural mapping, including sites of historic interest. By contrast, Pacific Palisades, another area that was brutalized by fire, had already established an official record of its cultural heritage via SurveyLA, a historic resources survey conducted by the city.

“Tackling this incomplete record of Altadena’s cultural resources, both built and intangible, is critical for the community as it contemplates rebuilding,” Joan Weinstein, director of the Getty Foundation, said in a news release. “L.A. Conservancy is an excellent partner to lead an alliance of community-based organizations and preservation professionals who are working to ensure that Altadena’s vibrant cultural history is not lost in redevelopment efforts.”

L.A. Conservancy has a special interest in historic preservation and the grant will allow for a complete inventory of Altadena’s heritage sites — to be made available in an online map.

Related to this effort is the news that Artists at Work, which provides artists with employment, benefits and a steady salary for 18 month terms, has released its list of 2025-26 participants. Four Los Angeles artists are among them, including Altadena resident Alma Cielo, who is set to collaborate with L.A. Conservancy during her term. Cielo, a ceramicist, lost her home in the Eaton fire and plans to focus on post-fire recovery.

I’m arts and culture writer Jessica Gelt marveling at the resilience of Altadena residents in the face of their losses, and firmly invested in supporting them as they rebuild. Here’s this week’s arts and culture news.

Best bets: On our radar this week

“Self-Portrait as a Female Martyr,” about 1613-14, by Artemisia Gentileschi (Italian, 1593-1654). Oil on panel. 12 1/2 by 9 3/4 inches. Private collection, United States.

(Bridgeman Images)

Artemisia’s Strong Women: Rescuing a Masterpiece
Five years ago, a massive explosion ripped through the port of Beirut, killing more than 200 people and injuring thousands more. The aftermath of the tragedy revealed a previously unknown painting by the great 17th century Italian artist Artemisia Gentileschi amid the rubble. “Hercules and Omphale,” an oil-on-canvas work that manifests Gentileschi’s penchant for classical subjects, was severely damaged and sent to the J. Paul Getty Museum in Los Angeles for restoration. That painstaking conservation process is now at the center of an installation featuring four other paintings by the artist, who has become a modern feminist icon. In 2022, when the Getty acquired another painting, “Lucretia,” that is part of the new exhibition, Times art critic Christopher Knight wrote of Gentileschi, “Happily, in the last two decades, the study of her paintings has been widening in productive and exciting ways, giving us a fuller understanding of her challenging involvement with social, political, literary and intellectual currents of her day. There’s a long way to go, and more discoveries are inevitable.”
Through Sept. 14 . J. Paul Getty Museum, 1200 Getty Center Drive, L.A. getty.edu

Mumford & Sons performing at a Kamala Harris rally in October 2024.

(Morry Gash / Associated Press)

Mumford & Sons
It’s hard to believe that it’s been nearly 17 years since Mumford & Sons made their local debut at the Hotel Cafe. Since then, the British folk-rock band — Marcus Mumford, Ted Dwane and Ben Lovett — have toured the world several times over, crafted hit songs such as “Little Lion Man,” “The Cave” and “I Will Wait,” and won a best album Grammy for 2012’s “Babel.” This week, the group is back in L.A. (minus longtime member Winston Marshall, who left in 2021 following controversial social media posts) and playing the Hollywood Bowl in support of their latest album, “RUSHMERE.” The English indie rock duo Good Neighbours — Oli Fox and Scott Verrill — will open the show.
7:30 p.m. Thursdays. Hollywood Bowl, 2301 N. Highland Ave., Hollywood. hollywoodbowl.com

Culture news

“Purpose” actor Glenn Davis, left, who commissioned the play for Steppenwolf Theatre Company, and playwright Branden Jacobs-Jenkins accept the award for best play during the 78th Tony Awards on Sunday, June 8, 2025, at Radio City Music Hall in New York.

(Charles Sykes / Charles Sykes/invision/ap)

The 2025 Tony Awards honored Broadway’s best and brightest last night at Radio City Music Hall in New York City. The surprise hit “Maybe Happy Ending” won best musical and led all productions with six wins, while the musical “Buena Vista Social Club,” inspired by the legendary Cuban ensemble, earned four. Earlier in the week, Times theater critic Charles McNulty made a prescient arument for why Branden Jacobs-Jenkins’ “Purpose” deserved to win the Tony for best play over Cole Escola’s, “Oh, Mary!” The campy melodrama had a wave of giddy popularity at its back, but “Purpose” is the more complex piece of writing and could more readily benefit from the prestige of a Tony win when it comes to rallying support for future productions, wrote McNulty. “There was a time not so long ago when the future of the Broadway play was in serious doubt. The threat hasn’t gone away, and Tony voters shouldn’t pass up an opportunity to honor true playwriting excellence.” Escola did not go home empty-handed, however, winning the Tony for best lead actor in a play and drawing what may have been the largest applause of the night.

The Kennedy Center in Washington, D.C.

(Jacquelyn Martin / Associated Press)

The business outlook is not good for the Kennedy Center in the wake of President Trump’s takeover. The Washington Post recently reported that subscriptions were down by about $1.6 million, or 36%, from the previous year — with the hardest hit coming in theater subscriptions, which are down 82%. “At this time in last year’s subscription campaign, the center had generated $1,226,344 in revenue from selling 1,771 subscriptions. This year it has sold 371 subscriptions, totaling $224,059, a difference of more than $1 million,” the Post reported. The numbers were leaked to the paper by former Kennedy Center employees and confirmed by a current staff member, who asked to remain anonymous out of fear of retribution.

Journalist Stephanie Elizondo Griest has a new book coming out this month through Beacon Press titled “Art Above Everything,” which chronicles the lives — and countless sacrifices — made by more than 100 female artists around the world in service of their vocations. At the core of Griest’s explorations in Rwanda, Romania, Qatar, Iceland, Mexico, New Zealand, Cuba and the U.S., is the question: What is the pursuit of art worth?

The SoCal scene

Quinn Kelsey as Rigoletto in Los Angeles Opera’s new production of Verdi’s opera at the Dorothy Chandler Pavilion.

(Corey Weaver / L.A. Opera)

”L.A. Opera unveiled a violent, politically disquieting production in which a tortured jester faces mob rule,” Times classical music critic Mark Swed writes in his review of the company’s season closer, Verdi’s “Rigoletto.” L.A. Opera has tackled the show before, usually to lackluster effect, Swed notes. This show, however, is different. Thanks to outgoing music director James Conlon’s deft approach to Verdi, this production — featuring a truly terrifying clown suit — sizzles with visceral energy. “After 32 years of failed attempts, L.A. Opera has finally moved the ‘Rigoletto’ needle in the right direction,” Swed says.

Cynthia Erivo poses for a portrait October 28, 2024, in New York.

(Victoria Will/For The Times)

Once you’ve read Times music critic Mikael Wood’s recent interview with Cynthia Erivo about her new album “I Will Forgive You” and what she’s doing during her break from “Wicked,” be sure to check out the talented multiplatform artist’s lengthy June 2 profile in Billboard. Erivo discusses the world’s reaction to her being queer. For the most part, she says, she didn’t experience much difficulty in the wake of her decision to come out. But there was a major exception, she told Billboard: a massive conservative backlash earlier this year after the Hollywood Bowl announced that Erivo would play Jesus in its summer production of the Andrew Lloyd Webber musical “Jesus Christ Superstar.” “You can’t please everyone. It is legitimately a three-day performance at the Hollywood Bowl where I get to sing my face off. So hopefully they will come and realize, ‘Oh, it’s a musical, the gayest place on Earth,’ ” Erivo says in the article.

— Jessica Gelt

And last but not least

There are 600 L.A. landmarks on the National Register of Historic Places, and lifelong Angeleno Etan Rosenbloom is determined to visit them all. Thankfully, for us, Rosenbloom has highlighted his picks for the top 10 in a handy map.

Its been over 20 years since the first Unity Cup and since then it has yet to return however this year that all changed – The friendly competition is back but this time starring more countries than before.

This week, four nations with deep roots in the UK brought community, culture and football to Brentford’s Gtech Community Stadium for the long-awaited return of the Unity Cup.

From steel pans and DJs to flags waving proudly in every direction, this was more than a football cup, it was a full on cultural link up and one that had been missing from the scene for twenty one years.

On Tuesday 27th May, Jamaica’s Reggae Boyz beat Trinidad and Tobago’s Soca Warriors in a fierce Caribbean clash. The following day, Nigeria’s Super Eagles edged past Ghana’s The Black Stars, securing their place in the final. With the third-place match and final showdown happening on Saturday , fans showed up not just to support their teams but to celebrate community, culture and shared roots.

What is the Unity Cup?

The Unity Cup is an international friendly football tournament originally launched in 2004, when teams from Nigeria, Jamaica and Ireland faced off at Charlton Athletic’s ground. Then it was a moment, now it’s a movement.

Two decades later, the tournament returned with clearer purpose: to celebrate the cultural impact of African and Caribbean communities in the UK, particularly in London. Where those communities have helped shape the city’s identity through food, music, language and history.

This year’s line-up features Jamaica, Trinidad and Tobago, Nigeria and Ghana – four nations chosen for their heritage, their undeniable pride and their presence in the UK’s multicultural landscape.

From the food we eat, to the rhythms we dance to each of these cultures have left a mark in British identity in countless ways. The Unity Cup is a tribute to that legacy.

Why Brentford?

It’s no coincidence that the tournament was hosted by Brentford FC. West London is known for its multicultural spirit, and Brentford’s commitment to inclusion made it the perfect stage.

Just weeks ago, the club was awarded the Premier League’s Intermediate Level for Equality, Diversity and Inclusion (PLEDIS), highlighting their work both on and off the pitch – the decision to bring the Unity Cup her shows this wasn’t just a football event – it was a celebration designed to reflect the city.

From start to finish, the vibes were immaculate. On one end, a steel pan band played sweet melodies throughout the match. On the other, artist performances and DJs kept the energy high, soundtracking the day with bashment, afrobeats, gospel and everything in between.

Crowds were filled out in jerseys and flags, the crowd came with whistles ready. It wasn’t just a game – it felt like a mini carnival, with football as the headliner.

But beyond the party, there was a powerful undercurrent of unity. Because although every player on that pitch shares a Black identity, the cultural nuances between African and Caribbean communities are deep but the Unity Cup created space for both and what came from that space was a beautiful sight.

Brentford FC and NHS Blood & Transplant also used the event to host a ‘Bee A Hero’ blood donor drive – encouraging attendees to get their blood type tested and sign up as donors. This wasn’t a side initiative. It was central part of what made the Unity Cup feel different and deeply necessary.

This is especially important for Black communities, where conditions like sickle cell disproportionately affect lives. It the fastest-growing genetic condition in the UK. It causes excruciating pain, organ damage, and in many cases, lifelong complications. Treatment often relies on blood transfusions – but only 2% of donors in the UK are Black, even though over 55% of Black Londoners have the rare Ro subtype, which is crucial for sickle cell patients.

The Unity Cup didn’t just bring people together. It reminded them how they can help keep each other alive.

Before the big final, the third-place playoff saw Ghana beat Trinidad & Tobago 4-0, securing the bronze position after dominating both halves. But what most people really came to see is the fight for the first place title – Jamaica vs Nigeria.

The first half saw both teams scoring once, but in the final half the pressure was evident, the tackles were fiercer, the chants were louder – both teams were battling for the crown. The friendly competition started to look not so friendly.

But when the final whistle came, both teams had scored twice. Which left no option, but a penalty shootout – all eyes were peeled. In a tense final few minutes, Nigeria came out on top, edging past Jamaica after the Reggae Boyz missed a crucial spot-kick.

Whether it was the Reggae Boyz or the Super Eagles lifting the trophy, or you call it plan-tain or plan-tin, the real win was seeing the stands full of colour, culture, and connection in Brentford FC.

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