Today in History: June 19, Union troops arrive in Galveston on ‘Juneteenth'

In 1865, Union troops arrived in Galveston, Texas, with news that the Civil War was over and that all remaining enslaved people in Texas were free — an event now celebrated nationwide as Juneteenth.
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In 1910, the first-ever Father's Day in the United States was celebrated in Spokane, Wash. (President Richard Nixon would make Father's Day a federally recognized annual observation through a proclamation in 1972.)
In 1953, Julius Rosenberg, 35, and his wife, Ethel, 37, convicted of conspiring to pass US atomic secrets to the Soviet Union, were executed at Sing Sing Prison in Ossining, N.Y. They were the first American civilians to be executed for espionage.
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In 1963, Soviet cosmonaut Valentina Tereshkova completed her historic flight as the first woman in space, landing safely by parachute to conclude the Vostok 6 mission.
In 1964, the landmark Civil Rights Act of 1964 was approved by the US Senate, 73-27, after surviving a lengthy filibuster.
In 1975, former Chicago organized crime boss Sam Giancana was shot to death in the basement of his home in Oak Park, Ill. The killing has never been solved.
In 1986, University of Maryland basketball star Len Bias, the first draft pick of the Boston Celtics two days earlier, suffered a fatal cocaine-induced seizure.
In 1987, the US Supreme Court, in the case Edwards v. Aguillard, struck down a Louisiana law requiring any public school teaching the theory of evolution to teach creation science as well.

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USA Today

an hour ago

• USA Today

Diddy trial updates: Alleged 'drug mule' Brendan Paul set to testify

Diddy trial updates: Alleged 'drug mule' Brendan Paul set to testify Show Caption Hide Caption Judge adjourns jury in Diddy trial due to one juror's sickness Judge Arun Subramanian excused the jury in Sean "Diddy" Combs' trial after a juror reported vertigo-like symptoms on the way into court. This story contains graphic descriptions that some readers may find disturbing. Court is back in session in Sean "Diddy" Combs' criminal trial after an unexpected two-day break. Following an abrupt adjournment on June 18 due to a juror's health issues and the immediately following Juneteenth holiday on June 19, the embattled hip-hop mogul returned to Manhattan federal court on June 20 for the tail end of the prosecution's witnesses. Combs' former assistant Brendan Paul is slated to testify against his ex-boss. The 26-year-old former Syracuse University basketball player and alleged "drug mule" previously faced felony charges for drug possession when he was arrested on the same day as the raids of Combs' homes, but the case was later closed. Paul's testimony will come after prosecutors on June 17 revealed personal messages between Combs, his girlfriends and his associates and also showed jurors around 20 minutes of what appeared to be video footage created between 2012 and 2014 of Combs' "freak offs." U.S. attorneys were expected to rest their case on June 20; the day's proceedings will reveal whether that schedule changes. Combs, 55, was arrested in September and charged with sex trafficking, racketeering and transportation to engage in prostitution. He has pleaded not guilty. Diddy on trial newsletter: Step inside the courtroom as music mogul faces sex-crimes charges. Combs is facing federal sex-crimes and trafficking charges in a sprawling case that has eroded his status as a power player and kingmaker in the entertainment industry. He was arrested in September 2024 and later charged with racketeering, sex trafficking and transportation to engage in prostitution. The rapper has pleaded not guilty to the five counts against him. Discover WITNESS: Access our exclusive collection of true crime stories, podcasts, videos and more Racketeering is the participation in an illegal scheme under the Racketeer Influenced and Corrupt Organizations Statute, or RICO, as a way for the U.S. government to prosecute organizations that contribute to criminal activity. Using RICO law, which is typically aimed at targeting multi-person criminal organizations, prosecutors allege that Combs coerced victims, some of whom they say were sex workers, through intimidation and narcotics to participate in "freak offs" — sometimes days-long sex performances that federal prosecutors allege they have on video. The trial will not be televised, as cameras are typically not allowed in federal criminal trial proceedings. USA TODAY will be reporting live from the courtroom. Sign up for our newsletter for more updates. Contributing: USA TODAY staff If you are a survivor of sexual assault, RAINN offers support through the National Sexual Assault Hotline at (4673) and and en Español If you or someone you know is a victim of domestic violence, call the National Domestic Violence Hotline at 800-799-7233 or text "START" to 88788.

Buzz Feed

an hour ago

• Buzz Feed

12 MI6 Facts You Didn't Know But Definitely Do Now

Think MI6 is all tuxedos, fast cars, and shaken martinis? That's just the movie version. The real British intelligence service has a story that's far more surprising, and a lot less glamorous. From spy gadgets hidden in matchboxes to hacking terrorist magazines with cupcake recipes, these are the MI6 facts you probably never heard about… until now. The whole reason MI6 exists? Britain was paranoid about Germany in 1909. MI6 wasn't born out of slick spy missions or dramatic shootouts—it started with good old-fashioned paranoia. In 1909, Britain was convinced that Germany was plotting against them, so they secretly set up what would become MI6 to keep tabs on enemy activity, and let's just say… they've been watching ever since. The head of MI6 isn't called 'M' in real life, it's 'C', and they always use green ink. In the Bond universe, the boss goes by 'M.' But IRL? It's 'C.' That's short for Sir Mansfield Cumming, the very first chief of MI6, who used to sign all his notes with just the letter 'C' (in green ink, no less). The tradition stuck. Every MI6 head since has kept the title and the signature style—yes, they still write in green ink. Very on-brand for a secret agent, honestly. MI6 was a secret for decades, and wasn't officially acknowledged until 1994. MI6 has been around since 1909, but for most of its life, it was like the Voldemort of government departments—never officially named. Originally set up as the Secret Service Bureau, the agency operated entirely in the shadows. It wasn't until 1994—yes, the same year Friends premiered—that the British government publicly admitted MI6 even existed. Talk about a long game. There wasn't just MI6—at one point, there were 19 different MI departments. MI6 didn't always work alone. Back in the day, there were actually 19 different 'MI' branches doing everything from decoding messages to watching the skies. MI1 dealt with information management, MI2 focused on Russia and Scandinavia, MI4 handled aerial surveillance, and MI11 (weirdly enough) took on codebreaking. Over time, most of these departments either shut down or got folded into MI5 and MI6. So no, MI6 isn't just a spy movie thing—it's what's left after a major intelligence agency merger. MI6 HQ isn't just a building, it's basically a fortress. The MI6 headquarters in London is no ordinary office. With 25 types of glass, bombproof walls, and triple-glazed windows, it's built like a tank. Rumors say it even has a shooting range, rooms where eavesdropping is impossible, and a Faraday cage to block radio signals. James Bond could only dream. Some of the greatest spy novelists were actual spies. Yes, really. Before Tinker, Tailor, Soldier, Spy became a classic Cold War thriller, its author, John le Carré was living the spy life for real. Born David Cornwell, he worked for MI6 but had to use a pen name—real agents weren't allowed to publish under their own identities. And le Carré wasn't alone. The Quiet American author Graham Greene was also with MI6. Meanwhile, Ian Fleming—the man behind James Bond—served in Naval Intelligence, which gave him all the material he needed to invent 007 (minus the gadgets and martinis, probably). The first MI6 chief had a wild way of testing recruits. It involved a knife and a wooden leg. Sir Mansfield Cumming, the original head of MI6, had a pretty unhinged method for screening potential agents. In the middle of an interview, he'd suddenly stab himself in the leg to see how the recruit reacted. Don't worry, it was a wooden leg. But if you flinched? You probably didn't make the cut. In 2011, MI6 swapped b*mb instructions with cupcake recipes, yes that happened. MI6 pulled off one of the sassiest cyber moves in spy history. In 2011, agents hacked into an online Al-Qaeda magazine and replaced its bomb-making instructions with… cupcake recipes. Instead of a step-by-step guide to explosives, readers found details for the best cupcakes in America. It was part sabotage, part bake sale, and 100% genius. Real MI6 gadgets existed, just don't expect exploding pens or laser watches. The spy gear wasn't all Hollywood-level madness, but it was real. While James Bond had grenade pens and magnetic watches, actual MI6 agents worked with gadgets that were a little more low-key (and way more practical). Think cameras hidden inside matchboxes, hollowed-out shaving brushes, and other everyday objects turned into tools for espionage. Less flashy, more sneaky. MI6's top spy almost lost his job because of a Facebook post. Back in 2009, the head of MI6—Sir John Sawers—nearly had his career derailed thanks to his wife's Facebook activity. She casually posted their home address, vacation photos, and even details about their kids' locations… all publicly visible. Not ideal for the UK's most secretive spy. The info was taken down eventually, but not before the headlines started flying. Women in early MI6 weren't exactly given spy gadgets; they were used as 'honey traps' or stuck taking notes. Back in the early days of MI6, women weren't sent on glamorous missions or handed briefcases full of gadgets. Instead, they were often used to seduce and compromise targets—what's known as a 'honey trap'—or assigned to secretarial work behind the scenes. It wasn't until much later that women began taking on actual intelligence roles and field assignments. And now? For the first time ever, MI6 has its female chief. Talk about a full-circle moment. MI6 helped train America's first spies, including the predecessor to the CIA. When the U.S. finally joined World War II, it didn't exactly have a seasoned spy agency ready to go. So MI6 stepped in. Britain's top-secret service helped train America's brand-new Office of Strategic Services (OSS)—aka the baby version of the CIA. That early collab laid the groundwork for one of the most enduring intelligence partnerships in the world. So the next time you watch a Bond movie, just remember, the real MI6 doesn't hand out grenade pens or jetpacks (at least not that we know of). From secret aliases and cupcake hacks to wooden leg interviews and green ink signatures, Britain's top spy agency is full of facts stranger than fiction. And now, with its first-ever female chief at the helm, MI6 is proving it knows how to keep secrets and shake things up.

Los Angeles Times

3 hours ago

• Los Angeles Times

The Tony-winning revival of ‘Parade' turns a miscarriage of justice into gripping musical drama

Leo Frank, the superintendent of a pencil factory in Georgia, was accused of murdering a young employee, 13-year-old Mary Phagan. His 1913 trial led to his conviction despite shoddy evidence and the manipulations of an ambitious prosecuting attorney, who shamelessly preyed on the prejudices of the jury. After a series of failed appeals, Frank's sentence was commuted by the governor, but he was kidnapped and lynched by a mob enraged that his death sentence wasn't being imposed. The story garnered national attention and threw a spotlight on the fault lines of our criminal justice system. This dark chapter in American history might not seem suitable for musical treatment. Docudrama would be the safer way to go, given the gravity of the material. But playwright Alfred Uhry and composer and lyricist Jason Robert Brown had a vision of what they could uniquely bring to the retelling of Frank's story. Their 1998 musical was a critical hit but a difficult sell. More admired than beloved, the show has extended an open challenge to theater artists drawn to the sophisticated majesty of Brown's Tony-winning score but daunted by the expansive scope of Uhry's Tony-winning book. Director Michael Arden has answered the call in his Tony-winning revival, which has arrived at the Ahmanson Theatre in sharp form. The production, which launched at New York City Center before transferring to Broadway, proved that a succès d'estime could also be an emotionally stirring hit. 'Parade' covers a lot of cultural, historical, and political ground. The trial, prefaced by a Civil War snapshot that sets the action in the proper context, takes up much of the first act. But the musical also tells the story of a marriage that grows in depth as external reality becomes more treacherous. It's a lot to sort through, but Arden, working hand in hand with scenic designer Dane Laffrey, has conceptualized the staging in a neo-Brechtian fashion that allows the historical background to be seamlessly transmitted. Sven Ortel's projections smoothly integrate the necessary information, allowing the focus to be on the human figures caught in the snares of American bigotry and barbarism. The 2007 Donmar Warehouse revival, directed by Rob Ashford, came to the Mark Taper Forum in 2009 with the promise that it had finally figured out the musical. The production was scaled down, but the full potency of 'Parade' wasn't released. An earnest layer of 'importance' clouded the audience's emotional connection to the characters, even if the Taper was a more hospitable space for this dramatic musical than the Ahmanson. Arden's production, at once intimate and epic, comes through beautifully nonetheless on the larger stage. 'Parade,' which delves into antisemitism, systemic bias in our judicial system and the power of a wily demagogue to stoke atavistic hatred for self-gain, has a disconcerting timeliness. But the production — momentous in its subject matter, human in its theatrical style — lets the contemporary parallels speak for themselves. Ben Platt, who played Leo, and Micaela Diamond, who played Leo's wife, Lucille, made this Broadway revival sing in the most personally textured terms. For the tour, these roles are taken over by Max Chernin and Talia Suskauer. Both are excellent, if less radiantly idiosyncratic. The modesty of their portrayals, however, subtly draws us in. Chernin's Leo is a cerebral, Ivy League-educated New Yorker lost in the minutiae of his factory responsibilities. A numbers man more than a people person, he's a fish out of water in Atlanta, as he spells out in the song 'How Can I Call This Home?' Platt played up the comedy of the quintessential Jewish outsider in a land of Confederate memorials and drawling manners. Chernin, more reserved in his manner, seethes with futile terror. The withholding nature of Chernin's Leo poses some theatrical risks but goes a long way toward explaining how the character's otherness could be turned against him in such a malignant way. His Leo makes little effort to fit in, and he's resented all the more for his lofty detachment. It takes some time for Suskauer's Lucille to come into her own, both as a wife and a theatrical character. It isn't until the second half that, confronting the imminent death of her husband, she asserts herself and rises in stature in both Leo's eyes and audience's. But a glimmer of this potential comes out in the first act when Lucille sings with plaintive conviction 'You Don't Know This Man,' one of the standout numbers in a score distinguished less by individual tunes than by the ingenious deployment of an array of musical styles (from military beats to folk ballads and from hymns to jazz) to tell the story from different points of view. 'This Is Not Over Yet' raises hope that Leo and Lucille will find a way to overcome the injustice that has engulfed them. History can't be revised, but where there's a song there's always a chance in the theater. Reality, however, painfully darkens in the poignant duet 'All the Wasted Time,' which Lucille and Leo sing from his prison cell — a seized moment of marital bliss from a husband and wife who, as the last hour approaches, have finally become equal partners. Ramone Nelson, who plays Jim Conley, a Black worker at the factory who is suborned to testify against Leo, delivers the rousing 'Blues: Feel The Rain Fall,' a chain gang number that electrifies the house despite the defiance of a man who, having known little justice, has no interest in defending it. Conley has been sought out by Governor Slaton (a gently authoritative Chris Shyer), who has reopened the investigation at Lucille's urging only to uncover contradictions and inconsistencies in the case. He's one of the more noble figures, however reluctant, married to a woman (a vivid Alison Ewing) who won't let him betray his integrity, even if it's too little, too late. Hugh Dorsey (Andrew Samonsky), the prosecuting attorney preoccupied with his future, has no regrets after railroading Leo in a politicized trial that will cost him his life. Dorsey is one of the chief villains of the musical, but Samonsky resists melodrama to find a credible psychological throughline for a man who has staked his career on the ends justifying the means. Britt Craig (Michael Tacconi), a down-on-his-luck reporter who takes delight in demonizing Leo in the press, dances on his desk when he's landed another slanderous scoop. But even he's more pathetic than hateful. One sign of the production's Brechtian nature is the way the structural forces at work in society are revealed to be more culpable than any individual character. The press, like the government and the judiciary, is part of a system that's poisoned from within. The harking back to the Civil War isn't in vain. 'Parade' understands that America's original sin — slavery and the economic apparatus that sanctioned the dehumanization of groups deemed as 'other' — can't be divorced from Leo's story. The musical never loses sight of poor Mary Phagan (Olivia Goosman), a flighty underage girl who didn't deserve to be savagely killed at work. It's exceedingly unlikely that Leo had anything to do with her murder, but the show doesn't efface her tragedy, even as it reckons with the gravity of Leo's. When Chernin's Leo raises his voice in Jewish prayer before he is hanged, the memory of a man whose life was wantonly destroyed is momentarily restored. His lynching can't be undone, but the dignity of his name can be redeemed and our collective sins can be called to account in a gripping musical that hasn't so much been revived as reborn.