legacy

Poverty can be and often is crushing. For Hermanos Espinoza — who are in the midst of promoting their debut studio album “Linaje,” released Friday — growing up in a family that struggled financially after a string of failed restaurants turned out to be the greatest motivator.

Since 2021, the quintet led by the sibling duo of Joel and Leonel Espinoza have steadily built an audience with their brand of new wave norteño, pairing the prominent sounds of the accordion and the bajo quinto with lyrics about making it big thanks to a combination of unrelenting working-class grit, familial love and faith.

Hermanos Espinoza were one of the most buzzed about bands at the 40th South by Southwest music festival, which took place earlier this month in Austin, Texas. At the De Los showcase — one of three appearances the band made during SXSW — the rooftop of the Mala Fama nightclub was at capacity well before the brothers set foot on stage, and a line to get in extended past the door.

“Y que c— su madre la pobreza,” lead vocalist and accordionist Joel Espinoza, 24, belted out from the stage, opening their set with their 2024 hit “Dios Por Delante.” The popular Mexicanism translates to “F— poverty.”

The crowd cheered and danced, letting loose on a late Sunday night.

“I saw my family go through so much because of money, because of poverty. They didn’t deserve it but I understand the world works in a certain way,” he would later tell De Los in a video call. “I just hated it.”

The dynamic singer delivered every lyric with his whole body as he frenetically tapped the buttons of his brightly colored accordion, doing his best to make the squeezebox sound like an electric guitar. The drum set and bajo quinto kept pace, making the set feel more like a rock show than a backyard kickback.

(Cat Cardenas / For De Los)

With “Linaje” — it translates to lineage, a term often associated with nobility and pedigree — the brothers are intent on sharing their hard-earned success with those they love most.

“Some people refer to ‘Linaje’ as royalty, or people who come from money, but for us, it’s the complete opposite,” said Joel. “Our family is hardworking and we wanted to give them credit too. To us, that’s royalty.”

The Espinoza brothers grew up in the South Texas city of McAllen, in the Rio Grande Valley, helping out at their family’s Mexican restaurants. They can still recall prepping food from the early morning hours to late at night. They say it was tedious work that made them disciplined, punctual and appreciative of the value of a hard-earned dollar.

“You see life through a different perspective,” said Leonel, who is 20 years-old.

(Cat Cardenas / For De Los)

The brothers say they brought that same work ethic in their pursuit of music; both were heavily involved in their school’s marching band as part of the drum line, which helped them master rhythmic timing, coordination and motor skills. In high school, Joel picked up the accordion — he describes playing the 49-key instrument as a “love-hate” situation — and Leonel the bajo quinto.

Their mother helped book their first gigs singing serenade covers. But by 2021, house party gigs had slowed down.

“I used to work with my dad back at his restaurant and one of those days I was just feeling really down, ready to give up on my dream of music, but he held me down,” said Joel.

It wouldn’t be long before all that hard work paid off. Hermanos Espinoza gained traction on YouTube and TikTok with their self-released tracks, “Prueba De Fuego” (2022) and the aforementioned “Dios Por Delante,” which describe leaving behind the treachery of poverty for a better life.

“People started tattooing ‘Dios Por Delante’ on their forearms and neck and that’s when we realized that this was more than music, it’s a movement,” Joel said of the impact of the latter song.

Resilience and faith remain at the core of “Linaje,” which was mixed and produced by Ernesto “Neto” Fernández, who has worked with the likes of Peso Pluma and Xavi.

The 15-track LP, a solid representative of the ever-evolving norteño sound coming from the Texas borderlands, begins with a blessing, “29:11.” The title refers to a Bible verse in the Book of Jeremiah: “‘For I know the plans I have for you,’ declares the Lord, ‘plans to prosper you and not to harm you, plans to give you hope and a future.’”

“A big part of this album was just letting go of trying to control everything,” said Joel. “I put it into [God’s] hands and we just let things flow.”

Money is the focus in the tracks like “La Moneda,” with Joel’s voice echoing through the backdrop as he proclaims that cash might change some tacky, incompetent chumps, but not him. Almost halfway through the set list is a hazy track, “No Puedo Amarte,” where the singer sours over an unresolved love; the crooning track is reminiscent of a twinkling sad sierreño genre, with an accordion alternating volumes between a bold tremolando and a silky legato.

Still, at its core, “Linaje” fundamentally underscores their grit in tracks like “Modelo V,” the first single under Double P Management that celebrates the journey that led them to success, which honors the lessons taught by their father.

“No matter all the adversities we face, the thing about my dad is that he’s always stayed true to himself and who he is,” says Joel. “That’s how we were raised and how we live day to day.”

There’s a hidden door in Downtown Disney. Only this one isn’t meant to be walked through.

Flanking a stage near the monorail station, you’ll find a glistening white tower, the work of artist and activist Nikkolas Smith, who has adopted the term “artivist.” At first glance, the tower — one of Downtown Disney’s most striking works — appears to be a nod to Disneyland’s Midcentury art, for its curved lines and space-age optimism wouldn’t be out of place in Tomorrowland.

That’s there, says Smith, but there are also a number of more subtle inspirations.

The tower is a nod to five Black architects, trailblazers whose creations sometimes went unnoticed or overlooked. And that’s why at the base of the structure is a looping opening meant to signify a half-open doorway.

Downtown Disney’s Legacy Tower touches on the styles of different Black architects as it rises into the sky.

(Gary Coronado / For The Times)

Smith shares a distressing anecdote. “They had to learn how to read drawings upside down, because they weren’t allowed to sit next to the white clients,” Smith says, adding they also had to endure unequal pay. “So I was incorporating things like the half doorway to symbolize their struggle.”

Officially designated as the Legacy Tower, Smith himself fixates on that word — “legacy.” The term, he says, represents a thematic constant across his work. A regular collaborator on a number of Walt Disney Co. projects and a former architect with Walt Disney Imagineering, the division of the company focused on theme park experiences, Smith is something of a connector. His canvas art, full of fast-moving brush work, is often rooted in the past while urgently seeking to draw links to the present.

Artist Nikkolas Smith went viral for his portrait of Martin Luther King Jr. in a hoodie, a tribute to slain teenager Trayvon Martin.

(Nikkolas Smith)

His 2025 children’s book, “The History of We,” tells the story of how humanity can trace its roots to Africa. And one of his best-known pieces is of Martin Luther King Jr. in a hoodie, meant to evoke the image of Trayvon Martin, the slain 17-year-old whose death inspired a social justice movement. The work went viral in 2013 while Smith was still working for Imagineering. It altered his career trajectory.

“It was like, ‘I cannot just make art about churros and rides right now,’” Smith says. “There’s a time for that, and there’s also a time to talk about this.” He references his portraits related to the killings of Black men, many at the hands of police officers, such as Philando Castile and Michael Brown.

“At the end of the day, Disney understood that,” Smith adds. “They understood that I needed to make art that was extremely important at the moment, about justice or the lack of justice.”

Smith left Disney in 2019 after 11 years but has maintained a close relationship with the company, so much so that Imagineering called upon Smith to design the tower, which opened in 2023.

Artist Nikkolas Smith, left, chats with guests Ricky Yost and Martina Yost of Aubrey, Texas, who recognized Smith from a recent Disney cruise excursion.

(Gary Coronado / For The Times)

As the Legacy Tower spirals toward the sky, its patterns and and lattice work nod to the likes of James H. Garrott, Robert A. Kennard, Roy A. Sealey, Ralph A. Vaughn and Paul Revere Williams. All were active in Los Angeles — Williams, for instance, was a pivotal designer on the LAX Theme Building — and Smith interlaces decorative flourishes in varying styles that twist around one another to work up the Legacy Tower’s pointed spheres.

The door of the Legacy Tower symbolizes perseverance, Smith says. “They made it through, despite all of the obstacles they had to go through.”

Smith had studied the architects while a student at Hampton University, and has documented on his Instagram their various stylings, which range from restrained to whimsical to ornate. A section referencing Vaughn is modern minimalism, whereas an area dedicated to Sealey is full of jagged, pointed linework. All of it is held together via a coiling design that feels full of movement.

The patterns of the Legacy Tower are nods to the likes of James H. Garrott, Robert A. Kennard, Roy A. Sealey, Ralph A. Vaughn and Paul Revere Williams.

(Gary Coronado / For The Times)

“How can I show humanity’s interconnected future? That’s the idea,” Smith says. “There’s this African theme of Sankofa. If we look toward our future, we have to look at the past and value and appreciate the past. I thought it would be great if I could really commemorate some Black designers and architects as the foundation and backstory of the tower. And I was also thinking about these breezeway block patterns that you see in Leimert Park.”

And yet it also feels like something that belongs in the park. Smith says he looked at some Tomorrowland designs.

“A Midcentury Modern vibe was Walt,” Smith says, referring to park patriarch Walt Disney. “That was Walt’s thing. It all connects. I love that people can hopefully now connect both things. You can connect Tomorrowland and Walt with Paul Revere Williams.”

It’s clearly Smith’s favorite design of his for Disney, although it’s not the only space at the resort that features his artistry. During his decade-plus with Imagineering he regularly worked on teams that focused on projects at Disney California Adventure, which this year is celebrating its 25th anniversary. He was heavily involved, he says, in the evolution of Avengers Campus, contributed to a small promenade stage in Pixar Pier and helped envision the facade of Guardians of the Galaxy — Mission: Breakout!, which transformed the former Tower of Terror into a sci-fi structure.

Nikkolas Smith says elements of Downtown Disney’s Legacy Tower symbolize perseverance.

(Gary Coronado / For The Times)

Smith looks back fondly at his years at Imagineering, specifically calling out his time on the Guardians project. The former fake hotel is now full of glistening bronze pipes, a retro futurist look that former Imagineer Joe Rohde, who led the design, has said takes influence from the high-tech aesthetic of architect Renzo Piano, who worked on France’s Pompidou Centre.

“How much can we add to it? How much can we get away with gluing onto this thing?” Smith says of the Guardians facade. “What is the right amount of ‘Guardians of the Galaxy,’ without being too much? Without scaring people on the freeway?”

Today, Smith continues to focus on social justice work, and has also collaborated with filmmaker Ryan Coogler, such as completing concept designs for his Oscar-nominated film “Sinners.” Smith’s 2023 children’s book “The Artivist” documents the importance of creating art that’s in conversation with the world, believing it’s not only a source for education but for empathy. Smith’s weekly paintings speak out often against the current administration, and Smith has been particularly vocal on the ICE raids.

A selection from “The Artivist,” an illustrated book from Nikkolas Smith.

(Nikkolas Smith)

“Some people say that all art is activism, but I feel that some of the best art that is created is art that has a message,” Smith says. “And hopefully that message has to do with the humanity of all people, and for me, I like to focus on marginalized communities, and how we can value the humanity of everybody. That’s why I make picture books about the origins of humanity and the origins of this country.”

The Leimert Park resident says his wife and young son regularly visit the Disneyland Resort. And when he does, Smith says, he always takes a moment to stop by the Pixar Pier stage that he contributed to, which is often used for character meet and greets.

“They were team projects, and I do go up to them with so much pride,” he says. “I go up to the Pixar Pier promenade stage, and I just go up to it and touch it. … The beautiful thing about Disney is these creations are usually around for a lifetime.”

It turns out you can take the artivist out of Disney, but you can’t fully take the Disney out of the artivist.

When he became Nigeria’s Inspector-General of Police (IGP) in 2023, Kayode Egbetokun vowed to fight criminality and insecurity with vim and vigour. He seemed determined to reform the police; he promised to improve officers’ welfare and make Nigeria a safer, better country for its people. As Usman Alkali stepped out of the IGP office and Kayode stepped in, Nigerians hoped he could deliver on his promise.

“I really can’t describe how I feel currently, but if I have to tell you anything, I will tell you that right now, I feel like a tiger inside of me, ready to chase away all the criminals in Nigeria. And some other times, I feel like a lion in me, ready to devour all the internal enemies of Nigeria. That’s my feeling right now,” he said during his decoration as acting IGP at the Presidential Villa in Abuja.

On Feb. 24, the reign of the 61-year-old police chief came to an end. He was forced to resign, according to local media reports. His regime appeared to have dampened the high hopes for police reform in Nigeria, leaving the new IGP, Tunji Disu, a highly decorated police chief, with a legacy of a failed policing system.

Disu is a familiar name within the police force, having held various important roles and risen through the ranks. In 2021, for instance, he succeeded Abba Kyari, a Nigerian once-upon-a-time supercop, as head of the Police Intelligence Response Team (IRT). He was an Assistant Inspector-General of Police before emerging as Nigeria’s new IGP.

Born on April 13, 1966, Tunji joined the police force in May 1992. Appointed as acting IGP at 59, he is due to retire in April this year, upon reaching the mandatory age of 60. However, in 2024, the National Assembly amended the Police Act, 2020, enabling him to serve out his full four-year term as IGP, unless the president removes him.

He had led the Rapid Response Squad (RRS) of Lagos State Police Command successfully and presented himself as a diligent supercop throughout his career. While his antecedent might have been thrilling, he’s inheriting the disturbing legacies of his predecessor, leaving him a deep forest to clear. 

To understand what lies ahead, HumAngle engaged police officers, journalists, civic leaders, and human rights advocates, who not only reflected on the legacies of the former IGP but also outlined urgent priorities for the new administration. Their insights reveal both the depth of Nigeria’s policing crisis and the expectations riding on Disu to restore trust, improve welfare, and confront systemic failures within the force.

The legacy of human rights abuses

The NPF was infamous for several unlawful activities under the former IGP’s command, including high-handedness towards journalists demanding social justice and accountability. Journalists, whistleblowers, and media practitioners across Nigeria were targeted for simply doing their jobs, creating a climate of fear that undermined press freedom. On many occasions, journalists reported being beaten or threatened during arrests and manhandled at rallies, while editors said they received threatening calls warning them against publishing sensitive stories.

Over 80 incidents of attacks against journalists and media organisations were recorded in 2025, according to a report by the Media Rights Agenda (MRA), a non-profit organisation that promotes and protects freedom of expression, media freedom, and access to information in Nigeria. The report stated that arrests and detentions were the primary tools for suppressing media freedom and freedom of expression, constituting the most common form of attack, with 38 documented cases accounting for over 44 per cent of all incidents.

“In terms of perpetrators of attacks against journalists and violations of other freedom of expression rights, the Nigeria Police Force was identified in the report as the worst offender,” the report stated.

The police, under the former IGP, were also accused of weaponising the cyber law to incarcerate journalists seeking public accountability. Sometimes instigated by influential people within and outside government, the police have used this legislation to clamp down on journalists and activists despite the recent amendment. Digital journalists were even more targeted using Nigeria’s Cybercrime Act. In 2024, the National Assembly amended sections of the law following the ECOWAS Court’s declaration that they were inconsistent with Nigeria’s obligations under Article 1 of the African Charter on Human and Peoples’ Rights and with best practices.

The amended Cybercrimes Act 2024 has revised Section 24 of the 2015 law, which was previously used to prosecute individuals for “insulting” or “stalking” public officials. The updated amendment provides clearer definitions of the offences, focusing on computer-based messages that are either pornographic or intentionally misleading. However, despite these changes, the police have still been using this provision to intimidate journalists.

One interesting case, among several others, involved Nurudeen Akewusola, a senior journalist with the International Centre for Investigative Reporting (ICIR). In 2024, Nurudeen’s investigation exposed how two former IGPs, among others, were implicated in a shady multimillion-naira land deal involving property originally designated for police barracks in Abuja. The police detained Nurudeen and his employer, Dayo Aiyetan, over this story, asking the reporter to reveal his sources. He refused to name his sources, upholding journalistic ethics. 

The reporter and his employer were detained by the Nigeria Police Force National Cybercrime Centre (NPF-NCCC), which was purportedly probing a “case of cyberstalking and defamation of character” against the reporter and the executive director of the ICIR.

Two years later, Nurudeen told HumAngle that his experience with the police still haunts him. The incident has since made him worried about the safety of journalists and truth-seekers in Nigeria. He remembers how he was detained and mistreated when chasing any similar public interest story. 

“The incident also took a toll on those close to me. My family and loved ones were anxious and confused; calls kept coming in as people tried to understand what was happening and what might happen next. Watching them carry that fear because of my work was a heavy emotional burden,” he said.

Scores of journalists in Nigeria faced even worse attacks from police under the former IGP’s leadership.  Busola Ajibola, the deputy director of journalism at the Centre for Journalism Innovations and Development (CJID), told HumAngle that at least 40 cases of press freedom attacks were recorded under former IGP Kayode. The media civic leader said there seemed to be a culture of impunity against journalists that predated the former police chief and was more pronounced during his administration.

“We’re building an environment that lacks accountability,” she warned, noting that media oppression by the police could have grave consequences. “We’re denying the public of demanding accountability using the media. Media oppression also has impacts on the right to freedom of expression generally.”

Failed to rein in terrorist attacks

Despite his flowery promises to curb insecurity, the former IGP seemed to have failed to secure lives and property in Nigeria’s most volatile communities. Communal crises lingered for so long that they attracted global attention, and terrorism resurged with terrorists operating brazenly, especially in the northwestern region. Between 2023 and 2024, for instance, Nigeria grappled with widespread insecurity, particularly in the northwestern and north-central regions. Kidnappings for ransom surged, with rural communities and travellers along highways being frequent targets. Armed groups intensified their operations, often overwhelming security forces. The HumAngle Tracker recorded hundreds of deaths during this period, revealing the persistent inability of police institutions to contain violence.

Insurgency intensified within the northeastern region, spreading rapidly to the north-central states, including Nigeria’s capital city. Boko Haram and ISWAP factions raided villages, military bases, and convoys, leading to significant civilian casualties. This period also saw an increase in targeted killings and ambushes. 

Terrorist attacks expanded beyond the northern regions in 2025, with the South East Nigeria experiencing heightened violence linked to separatist movements and criminal gangs. Attacks on security personnel, government facilities, and civilians became more frequent. The HumAngle Tracker documented a rise in politically motivated violence, especially around election-related activities. Meanwhile, oil-producing areas in the South-South continued to experience militancy and pipeline vandalism, disrupting economic stability. By early 2026, the tracker data showed that insecurity remained entrenched, with no significant nationwide improvement.

In November 2025, however, the former IGP described how the police were fighting terrorism and armed violence in Nigeria, saying insecurity was not something that could be fought in silos. While addressing reporters at the Lagos Police Command in Ikeja,  the police chief said there must be synergy with other agencies and all communities for Nigeria to contain insecurity. He also advised Nigerians to stop spreading misinformation and falsehood about the police and other security agencies.

“When people spread falsehood against security institutions that are providing security, they are weakening the resolve of the nation,” he said. “So, let us all be committed to saying the truth about security agencies who are taking risks and providing security for the country.”  

Decentralised the Police Complaints Response Unit

At first, the former police chief introduced a policing model that appeared to prioritise public complaints. Barely four months into his role as acting IGP, he decentralised the Police Complaints Response Units (CRU) to cater to the disturbing trust deficits in the policing system. In August 2023, he ordered police commissioners to establish the state-based police complaint units. The CRU made contact information for police spokespersons available online and set up social media pages to engage with citizens nationwide. He said the purpose of decentralising the CRU was to create a conducive platform for interaction between the police and the public, particularly regarding officers’ unprofessional conduct.

“It is going to enhance police-community collaboration and build confidence with members of the public,” he said, appealing to the public to supply the police with information for transparency. “Officers who are going to man the CRU are going to be carefully selected; they are going to be officers with impeccable integrity.”

The CRU emboldened citizens to hold police officers accountable for their actions. The initiative brought several erring police officers to justice when citizens lodged complaints. However, the CRU decentralisation became defective when the police became reluctant to prosecute some officers caught in shady dealings. Journalists and civic actors who closely monitored the CRU said the initiative was promising at first, but it later flopped.

Daniel Ojukwu, a senior journalist with the Foundation for Investigative Journalism and Social Justice, said that while the former IGP must be commended for decentralising the CRU, he must also be blamed for ignoring significant citizen complaints against the police. Daniel covers police activities, seeking justice for citizens whose rights were violated by high-handed officers. The journalist also had his share of press attacks by police officers. He was arrested and detained – albeit illegally – by the force headquarters for an investigation he had conducted.

“Egbetokun did well with the CRU decentralisation, but of course, there were holes. We hope that the new IG will prioritise making the CRU work better,” he said.

HumAngle spoke with several police officers to inquire about the IGP’s general performance. Many of them believe he lost his way the moment he attained the highest position in the police force. Most of his promises, they said, were unfulfilled. Some of the officers we spoke with said he was a poor administrator who had the chance to reform the police but failed woefully. The officers begged not to be identified by name for fear of retribution.

“His administration made no sense,” one officer said bluntly. “We all thought he would be different, but our leaders are all the same.”

Setting the agenda for the new IG

On Feb. 25, President Bola Tinubu decorated Tunji Disu as the acting IGP, officially signalling a change in authority at the NPF. Interestingly, the newly decorated IGP vowed to enforce a zero-tolerance regime against corruption and human rights abuses. He told journalists after his inauguration that his leadership would ensure that police officers are well-trained to protect Nigerian citizens and engage them with utmost civility.

“I will let them (fellow policemen and women) know that the era of impunity is over,” he declared. “Most importantly, I’m going to drum it into them that we can never succeed without the cooperation of members of the public.”

His declaration seems to be a shift in tone for the police force. Beyond his heavy promises and rhetoric, Nigerians are eager to see how these promises translate into action. Civil society organisations, human rights advocates, and community leaders have long pressed for reforms that prioritise accountability, transparency, and respect for citizens. 

As Tunji steps into this role, civic actors are articulating their expectations of the new IG, underscoring the urgency of building trust between the police and the people they are sworn to protect. While some security experts believe the police seem to have neglected their counterterrorism role, other civic actors demand a safe space for journalists and activists to demand transparency in governance without being persecuted by the force. 

Busola Ajibola of CJID reiterated that, beyond flowery speeches about fighting impunity, the new IGP must take a clear stand, backed by action, against press freedom violations and investigate officers who unlawfully violate journalists’ rights.

“He should invest in re-training middle-level and low-ranking officers on human rights and press freedom,” Busola noted. “Most times when we engage with senior police officers, we realise that they appear to know the right thing, but the problem is usually the middle-level or low-ranking officers who have little knowledge of press freedom and human rights.”

Speaking about his years of experience covering the police, Daniel said it has become clear to him that the police force is highly underfunded. He asked the current IG to prioritise funding for the police. An officer who asked not to be named confirmed this, saying that a system that fails to properly finance the police automatically sets operatives against the people.

“These officers don’t even have fuel in their vehicles to run operations many times. How do you expect them to be effective?” Daniel asked. “People go to lodge complaints in police stations, they’re asked to pay.” He added that to make the CRU more effective, the police must have a speed dial number that’s responsive and easy to memorise, so citizens can contact the police quickly when they face any challenge.