logo
Where to celebrate Juneteenth in Miami

Where to celebrate Juneteenth in Miami

Axios18-06-2025
Juneteenth is on Thursday, and there are numerous ways to celebrate the holiday across Miami.
Why it matters: Juneteenth commemorates June 19, 1865, the day enslaved people in Texas learned of their emancipation.
The big picture: Despite recent backlash against civil rights and discussions of racism, celebrations of the holiday are growing, Axios' Russell Contreras reports.
Here are some ways to celebrate locally
Miami Juneteenth Festival: Enjoy live music, local food and family friendly fun at the Griffing Center in North Miami today from noon to 11pm.
Free.
The Juneteenth Experience: Celebrate Miami's Black history with a theatrical concert from Hued Songs at the Colony Theatre on Lincoln Road in South Beach.
Today and Thursday, 7:30pm. Tickets $31.50+.
NMB Juneteenth Experience: Enjoy a step show and drumline competition, live performances from local Greek sororities, food vendors and activities for all ages.
Thursday from 5pm-9pm. Julius Littman Performing Arts Theater in North Miami Beach. Free.
Freedom Crowns at Miami Children's Museum: Design your own "Freedom Crown" and contribute to a community quilt for Juneteenth.
Thursday 5pm-9pm. Non-member tickets $18+.
Uhuru Rising: A Cultural Awakening: An immersive Juneteenth experience centered on liberation, cultural awakening and creativity.
Thursday, 4pm-7pm. Free. Barry University.
" Malcolm X" screening at O Cinema: Watch the 1992 film, starring Denzel Washington, and stay for a community conversation on racial justice and anti-Black rhetoric.
Thursday, 7pm. $14 +.
Freedom Fest: Juneteenth Celebration: Celebrate freedom, culture and community. Kid Zone, free book giveaways, live DJ, food vendors and dancing.
Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

Gustavo Dudamel is briefly, joyously back at the Bowl with the L.A. Phil
Gustavo Dudamel is briefly, joyously back at the Bowl with the L.A. Phil

Los Angeles Times

time4 hours ago

  • Los Angeles Times

Gustavo Dudamel is briefly, joyously back at the Bowl with the L.A. Phil

Tuesday night, Gustavo Dudamel was back at the Hollywood Bowl. This summer is the 20th anniversary of his U.S. debut — at 24 years old — conducting the Los Angeles Philharmonic, and becoming irrepressibly besotted with the amphitheater. He walked on stage, now the proud paterfamilias with greying hair and a broad welcoming smile on his face as he surveyed the nearly full house. The weather was fine. The orchestra, as so very few orchestras ever do, looked happy. For Dudamel, his single homecoming week this Bowl season began Monday evening conducting his beloved Youth Orchestra Los Angeles as part of the annual YOLA National Festival, which brings kids from around the country to the Beckmen YOLA Center in Inglewood. But it is also a bittersweet week. Travel issues (no one will say exactly what, but we can easily guess) have meant the cancellation of his Simón Bolívar Symphony Orchestra of Venezuela's trip to the Bowl next week. Dudamel will also be forced to remain behind with them in Caracas. After 20 years, Dudamel clearly knows what works at the Bowl, but he also likes to push the envelope as with Tuesday's savvy blend of Duke Ellington and jazzy Ravel. The soloist was Korean pianist Seong-Jin Cho, whose recent recording of Ravel's complete solo piano works along with his two concertos, has been one of the most popular releases celebrating the Ravel year (March 7 was the 150th anniversary of the French composer's birth). Ellington and Ravel were certainly aware of each other. When Ravel visited New York in 1928, he heard the 29-year-old Ellington's band at the Cotton Club, although his attention on the trip was more drawn to Gershwin. Ellington knew and admired Ravel, and Billy Strayhorn, who was responsible for much of Ellington's music, was strongly drawn to Ravel's harmony and use of instrumental color. On his return to Paris, Ravel wrote his two piano concertos, the first for the left hand alone, and jazz influences were strong. Cho played both concertos, which were framed by the symphonic tone poems 'Harlem' and 'Black, Brown and Beige, which Ellington called tone parallels. There has been no shortage of Ravel concerto performance of late — or ever — but Ellington is another matter. Although the pianist, composer and band leader was very much on the radar of the classical world — 'Harlem' was originally intended for Arturo Toscanini and the NBC Symphony; Leopold Stokowski attended the Carnegie Hall premiere of 'Black, Brown and Beige,' as did Eleanor Roosevelt, Marian Anderson and Frank Sinatra — Ellington never played the crossover game. The NBC 'Harlem' never panned out and became a big-band score. Ever practical, Ellington, who composed mostly in wee hours after gigs, always wrote for the occasion and the players. He tended to leave orchestration to others, more concerned with highlighting the fabulous improvising soloists in his band. The scores, moreover, were gatherings, developments and riffs on various existing songs. 'Harlem' is an acoustical enrapturement of the legendary Harlem Renaissance and one of the great symphonic portraits of a place in the repertory. 'Black, Brown and Beige' is an ambitious acoustical unfolding of the American Black narrative, from African work songs to spiritual exaltation with 'Come Sunday' (sung by Mahalia Jackson at the premiere) to aspects of Black life, in war and peace, up to the Harlem Renaissance. Both works are best known today, if nonetheless seldom heard, in the conventional but effective orchestrations by Maurice Peress and are what Dudamel relies on. The version of 'Black, Brown and Beige' reduces it from 45 to 18 too-short minutes. The primary reason for these scores' neglect is that orchestras can't swing. The exception is the L.A. Phil. With Dudamel's surprising success of taking the L.A. Phil to Coachella, there now seems nothing it can't do. The time has come to commission more experimental and more timely arrangements. But even these Peress arrangements, blasted through the Bowl's sound system and with the orchestra bolstered by a jazz saxophone section, jazz drummer and other jazz-inclined players, caught the essence of one of America's greatest composers. Ravel fared less well. The left-hand concerto has dark mysteries hard to transmit over so many acres and video close-ups of two-armed pianists trying to keep the right hand out of the way can be disconcerting. This summer, in fact, unmusical jumpy video is at all times disconcerting. Ravel's jazzier, sunnier G-Major concerto is a winner everywhere. But for all Cho's acclaim in Ravel, he played with sturdy authority. Four years ago, joining Dudamel at an L.A. Phil gala in Walt Disney Concert Hall, Cho brought refined freshness to Tchaikovsky First Piano Concerto. In Ravel at the Bowl, amplification strongly accentuated his polished technique, gleaming tone and meticulous rhythms, leaving it up to Dudamel and a joyous, eager orchestra to exult in the Ravel that Ellington helped make swing.

Honey bear exhibit opens inside Pink Painted Lady
Honey bear exhibit opens inside Pink Painted Lady

Axios

time4 hours ago

  • Axios

Honey bear exhibit opens inside Pink Painted Lady

In San Francisco, few public art displays have become more ubiquitous than the infamous honey bear — painted in bold colors with whimsical themes across walls, windows and businesses. State of play: Now, the San Francisco street artist behind the artwork — who goes by the alias fnnch — is offering rare access to a coveted Painted Lady with a free exhibit featuring hundreds of original honey bear designs from the past decade. Driving the news: The fnnch Museum, which opened July 23, transforms a major tourist destination into an art exhibit inside one of San Francisco's most photographed homes. By the numbers: 1,476 people visited the exhibit last week — nearly double the turnout from the week prior, per fnnch. Between the lines: All 116 honey bear editions will be showcased in one space for the first time. The exhibit includes a timeline of most of the honey bears' origins with photos and design notes, plus more than 250 handmade placards. What they're saying:"I believe art is for everyone and these artworks have been my attempt to make quality paintings more accessible," fnnch told Axios via email. Yes, but: What began as playful street art in 2015 has since drawn backlash among critics, who say that fnnch's honey bears have come to symbolize gentrification, cultural homogenization and widespread displacement in a city struggling with deepening inequalities. Our thought bubble: Although the show presents a unique opportunity to visit a historic landmark, Nadia thinks it's likely to reignite debate over privilege and visibility in public art. Claire has desperately wanted to go inside a Painted Lady, and this exhibit was a great way to get a peek. It was filled with a mix of tourists and locals, and she thought everyone left with a newfound appreciation for the city's quirkiness.

Sydney Sweeney's 'Great Jeans' Illuminate the Dangerous Resurgence of Eugenics
Sydney Sweeney's 'Great Jeans' Illuminate the Dangerous Resurgence of Eugenics

Newsweek

time7 hours ago

  • Newsweek

Sydney Sweeney's 'Great Jeans' Illuminate the Dangerous Resurgence of Eugenics

American Eagle came under fire recently for an ad campaign featuring actress Sydney Sweeney. In one ad, Sweeney fiddles with her jeans, saying, "Genes are passed down from parents to offspring, often determining traits like hair color, personality, and even eye color. My genes are blue." A male narrator finishes with, "Sydney Sweeney has great jeans." It's a play on homophones, but the wordplay reveals a more sinister element: Sweeney does not just have great American Eagle jeans, she has great American genes. Picking a blonde, blue-eyed, able-bodied all-American girl was not an accident. It was about showcasing what are "good genes," and thus what are "bad genes." It's a modern eugenics movement proudly re-emerging amid a welcoming political climate. A window display of actress Sydney Sweeney is seen on a window of an American Eagle store on Aug. 1, 2025, in New York City. A window display of actress Sydney Sweeney is seen on a window of an American Eagle store on Aug. 1, 2025, in New York City. Michael M. Santiago/Getty Images The American eugenics movement has historically promoted the superiority of Anglo-Saxon, able-bodied, wealthy people, leading to harmful policies from the Immigration Act of 1924 barring immigrants from Asia to a practice of unnecessary and undisclosed hysterectomies performed on Black women in the South so widespread it was coined the "Mississippi appendectomy." Eugenicists promoted anti-miscegenation laws and forced sterilization of those in prison and in poverty and of those with disabilities or mental illness. These practices have not died. In 2020, low-income immigrant women detained by ICE in Georgia were forcibly sterilized. As we hear rhetoric from the current administration about immigrants "poisoning the blood" of our country, it invites horrifying thoughts of what may be happening to immigrants currently being detained by ICE. Even more sinister, however, is a modern eugenics movement camouflaged by in vitro fertilization (IVF). IVF is increasingly popular, and rightfully so. Couples with fertility issues can conceive. Women can freeze eggs. Queer couples can have genetically related kids. IVF can also ostensibly prevent harm. IVF clinics might screen embryos for sickle cell disease, cystic fibrosis, BRCA1, and Down syndrome. Things get confusing and uncomfortable, however, when we try to define what harms are worth preventing. In a world where whiteness and conventional beauty are tightly coupled with success, couldn't selecting for these features be a way to minimize a child's future suffering? Most sperm donor companies have a height minimum of 5'9". Harvard graduate egg and sperm donors are highly sought after. While it's hard to fault parents for wanting the best for their children, as a geneticist, it is concerning to me how much stock people put into the inheritance of such complex and environmentally influenced traits. With biotech companies explicitly offering genetic testing, I am even more concerned. Last October, Helios Genomics offered to boost a couple's future child's IQ via genetic screening. Nucleus Genomics recently took this a shocking step further by announcing it is offering genetic testing for traits like eye color, hair color, height, BMI, and IQ. Companies perform these screens with polygenic risk scoring, which makes use of genetic mutations identified from large scale population studies to be associated with a complex trait like intelligence. But these findings are just that: associations. We barely understand the true, context-dependent function of all the genes and mutations associated with complex traits. The idea that a company could confidently boast a six-point increase in a trait as socially and environmentally modified as intelligence is naïve at best and deceptive at worst. It also plays directly into the ideals of eugenics: that all social disparities and ailments are genetically determined, and that there is one correct way to be. Amid devastating cuts to everything from Medicaid to education, it is curious that one of the few spaces the Trump administration has pledged to increase federal funding is in vitro fertilization. Is this a random act of kindness amid an onslaught of cruelties? Or is it one of several strategies for breeding a homogenous generation of nationalistic Americans—ones with "good genes" and predetermined allegiances to the regime (thanks to $1,000 savings accounts established in their name from birth)? In this modern era of eugenics, as immigrants are expelled while neo-Nazis spew hateful theories of "great replacement," it is no wonder American Eagle felt bold enough to declare that Sydney Sweeney has great genes. America must reject this renewed, government-endorsed eugenics. Scientists must think deeply about ramifications: Just because we can, or think we can, does not mean we should. IVF companies should be barred from making false promises about the heritability of traits like intelligence, BMI, and hair color. While fatal diseases like breast cancer are fair to select against, prospective parents should think twice about what is lost when selecting for subjective social norms. We all have great genes and we all deserve a society that embraces us, that makes us feel whole, and bold, and beautiful—like a pair of great jeans. Tania Fabo, MSc is an MD-PhD candidate in genetics at Stanford University, a Rhodes scholar, a Knight-Hennessy scholar, a Paul and Daisy Soros fellow, and a Public Voices fellow of The OpEd Project. Her PhD research focuses on the interaction between genetics and diet in colorectal cancer risk. The views expressed in this article are the writer's own.

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into a world of global content with local flavor? Download Daily8 app today from your preferred app store and start exploring.
app-storeplay-store