logo
On This Day, May 28: Rebels storm palace ending Ethiopian civil war

On This Day, May 28: Rebels storm palace ending Ethiopian civil war

UPI28-05-2025

1 of 8 | A local resident walks past a battle tank stranded outside the Ethiopian Presidential Palace in Addis Ababa on June 9, 1991, following a battle between rebel forces and the government. On May 28, 1991, Ethiopian rebels seized the presidential palace and tightened their control of the capital of Addis Ababa, effectively ending a 16-year civil war. File Photo by Master Sgt. Ed Boyce/U.S. Department of Defense
On this date in history:
In 1892, the Sierra Club was founded by naturalist John Muir.
In 1934, the Dionne sisters, Emilie, Yvonne, Cecile, Marie and Annette, first documented set of quintuplets to survive, were born near Callander, Ontario, and soon became world-famous. Emilie died in 1954, Marie in 1970 and Yvonne in 2001.
File Photo courtesy of Library and Archives Canada
In 1961, lawyer Peter Berenson published an article in The Observer about political and religious prisoners, forming the basis for what would become Amnesty International two months later in London. The organization won the Nobel Peace Prize for its work supporting people imprisoned because of their race, religion or political views.
In 1977, a flash fire swept through a nightclub in Southgate, Ky., -- called the Beverly Hills Supper Club -- killing 162 people and injuring 30.
In 1987, West German Mathias Rust, 19, flew a single-engine plane from Finland through Soviet radar and landed beside the Kremlin in Moscow. Three days later, the Soviet defense minister and his deputy were fired.
In 1991, Ethiopian rebels seized the presidential palace and tightened their control of the capital of Addis Ababa, effectively ending a 16-year civil war and wresting power from a crumbling Marxist government that ruled the country with an iron hand for 17 years.
In 1998, actor and comedian Phil Hartman, known for his roles on Saturday Night Live and News Radio, was killed by his wife, Brynn Hartman. The Los Angeles County Coroner's Office determined Brynn Hartman had cocaine, alcohol and an anti-depressant drug in her system at the time of the murder-suicide.
In 1998, Pakistan conducted an underground nuclear test despite condemnation from many countries and the imposition of U.S. economic sanctions.
In 2000, Peruvian President Alberto Fujimori easily won a runoff election but nationwide demonstrations against him continued. He resigned in September.
File Photo by Ricardo Watson/UPI
In 2002, NASA said the Mars Odyssey found evidence of ice on Mars. "We were hopeful that we could find evidence of ice, but what we have found is much more ice than we ever expected," a scientist said.
In 2008, Nepal's newly elected Constituent Assembly voted to dissolve the 239-year-old monarchy and form a republic, officially ending the reign of King Gyanendra.
In 2014, author-poet-activist Maya Angelou (I Know Why the Caged Bird Sings) died in Winston-Salem, N.C. U.S. President Barack Obama called Angelou, who was 86, "one of the brightest lights of our time."
In 2023, doctors at NYU Langone Health completed the first whole eyeball transplant in a man who sustained devastating injuries to his face in an electrical shock. The lineman, Aaron James, also received a partial face transplant.
In 2024, the Vatican issued an apology on behalf of Pope Francis after he used a homophobic slur during a meeting with the Italian Bishops Conference about admitting gay men into the seminary.
File Photo by Stefano Spaziani/UPI

Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

Is ‘For All Mankind' returning for season 5? Everything we know so far
Is ‘For All Mankind' returning for season 5? Everything we know so far

Business Upturn

time3 days ago

  • Business Upturn

Is ‘For All Mankind' returning for season 5? Everything we know so far

By Aman Shukla Published on June 19, 2025, 19:00 IST Last updated June 19, 2025, 11:51 IST For All Mankind , the critically acclaimed Apple TV+ sci-fi drama, has captivated audiences with its alternate history of the space race, where the Soviet Union landed on the Moon first, sparking a never-ending competition in space exploration. With Season 4 concluding in January 2024, fans are eagerly awaiting updates on Season 5. Is For All Mankind Season 5 happening? Here's everything we know so far. For All Mankind Season 5: Confirmed and In Production Yes, For All Mankind Season 5 is officially happening! Apple TV+ announced the renewal in April 2024, alongside a new spinoff series titled Star City , which will focus on the Soviet space program from behind the Iron Curtain. Filming for Season 5 began in July 2024, with reports indicating that production wrapped by mid-December 2024. Release Date Speculation: When Will Season 5 Premiere? While Apple TV+ has not announced an official release date for For All Mankind Season 5, we can estimate based on the show's production history. Historically, the series has followed a 15–18-month gap between seasons. Given that filming for Season 5 began in July 2024 and reportedly wrapped by late 2024, a late 2025 release—potentially November or December—is likely. However, some sources speculate a mid-2025 release (July or August) if post-production is expedited. A May 2025 premiere seems optimistic but less probable due to the show's heavy reliance on CGI and post-production work. On the other hand, a recent Apple TV+ sizzle reel omitted For All Mankind Season 5, leading some to speculate a potential delay to 2026. Ahmedabad Plane Crash Aman Shukla is a post-graduate in mass communication . A media enthusiast who has a strong hold on communication ,content writing and copy writing. Aman is currently working as journalist at

‘Look at what our expansiveness can afford us.' Awol Erizku on a universal language for the African diaspora
‘Look at what our expansiveness can afford us.' Awol Erizku on a universal language for the African diaspora

Los Angeles Times

time3 days ago

  • Los Angeles Times

‘Look at what our expansiveness can afford us.' Awol Erizku on a universal language for the African diaspora

Late last year, I developed a connection with one of Awol Erizku's artworks somewhat by accident. I was on the dance floor at Living Room, one of L.A.'s newest member clubs and nightlife hotspots, being bathed in the fragmented, dazzling light of a disco ball in the form of Nefertiti's bust. As the night grew more navy with time, I finally looked up, and was struck by the beauty and powerful presence of African royalty above me. Erizku, a 36-year-old Ethiopian-born, Los Angeles-based contemporary artist, has most recently installed that artwork, 'Nefertiti–Miles Davis,' at the California African American Museum as part of his first solo museum exhibition, 'Awol Erizku: X.' Composed of new and recent works, the show is a celebration and reexamination of Afrocentric aesthetics — an approach to expression the artist calls 'Afro-esotericism.' Malcolm X is at the heart of it all, his image anointing the walls and a photograph of his former home, boarded up with a sign advertising its rehabilitation, presented without comment. It's a show about preserving Black history, about the spiritual implications bubbling beneath familiar objects with double meanings in the culture, from ice to bricks. Elsewhere in Los Angeles, Erizku's exhibition 'Moon, Turn the Flames…Gently Gently Away,' his inaugural solo with Sean Kelly Gallery on view through July 3, features hypersaturated still lifes that reflect the beauty (flowers), temptations (money) and struggles (smoke) of cultural life in L.A., a city he has now lived in for 10 years. On the occasion of that opening, I met Erizku at Living Room again, but this time it was face-to-face and not through a chance encounter with his work. The multidisciplinary artist, who works across photography, sculpture, painting, installation, film and sound, was grounded, warm and most interested in eschewing the politics and oft-performative pleasantries of the art world in favor of genuine connection with the community of guests. Though we didn't know each other, there was an instant familiarity, which is perhaps the most sacred, inexplicable part of the African diasporic experience: that sense of recognition, which is more a feeling than anything that can be adequately described. In this way, the very spirit of Blackness is art — a stirring beyond language. And it is this focus on the feeling of wordless understanding that guides Erizku's approach to creation. Evan Nicole Brown: Both of your L.A. shows hinge on a symbol: the five colorful, interlocking Olympic rings. Symbolism is such a deep and dominant part of your work: How do you approach adding your aesthetic to ready-made symbols — like the Olympic rings, the Hollywood sign, the L.A. Dodgers logo — which are familiar to us as viewers, in order to make them your own? Awol Erizku: Symbols, for me, have become a way to communicate and have an immediate effect. So by simply turning the Dodgers logo and literally just swapping the colors to those of the Pan-African flag, I'm able to speak to Black folks directly. I think when you see that, you know that's for you, you know that's a unifying symbol. That's what I'm after — symbols that we can use in a universal manner. ENB: That just made me realize the true power of visual symbolism as a shorthand, as a way to say so much without saying anything at all. Even a color can be a shorthand to demonstrate something. AE: That also resonates with the 'Nipsey blue' in the background of the [gallery] show. I've said this in passing, but I thought about making [the show] a love letter for my son. And I still do think about it that way, because a lot of the topics in the exhibition, especially at the gallery, is a conversation that I think any father would have with their son. [I'm] looking back at some of the things that I've been thinking about a lot consciously, and I found a way to communicate that by distilling certain symbols to make juxtapositions that then gave a new meaning. Like the evidence markers and cowrie shells are two things that shouldn't be together, but somehow by putting them together in this way, it creates a third, or new, meaning. [With those images], I'm looking at the killings of Sean Bell and Amadou Diallo, and the third subject is kind of open-ended, which is the sad reality. But with those two men in particular, I remember being a younger man living in New York and thinking about how it happened, when it happened and how people reacted to it. On a deeper level, in my lexicon, I title the works in a way that isn't so direct. The piece for Sean Bell, 'Sean Bell - Shawny Binladen,' is actually the title of a Shawny Binladen song, which then complicates this narrative even further. And the title of [the piece for Amadou Diallo], 'American Skin (41 Shots) - Bruce Springsteen,' is in reference to a Bruce Springsteen song, which again complicates the narrative even further because now you're not just talking about police murder and rap, now I'm using someone from a different genre who's also talking about police brutality in America. There's a deeper concern and awareness of the ripple effects of police brutality in America as it relates to young Black men specifically. ENB: How does your Ethiopian heritage figure into your work, particularly as you make artistic choices that connect the broader diaspora? In your images, I see you exploring police brutality on American soil, but also recurring motifs like cowrie shells, smoke and flowers seem to be more conceptual reminders of home, ritual, currency and cultural memory. AE: The sad thing is — and this is why I feel these two subject matters have maybe been in my consciousness for so long — is that Amadou Diallo was Guinean, and Sean Bell was a foundational Black American, but to police you're still a Black man at the end of the day, you know? So whatever qualms we may have on the nuance level, to the outside world we're a monolith, even though we know we aren't. For me, that's the nucleus of the work. It's all about creating a language that we can use throughout the diaspora in a universal fashion. 'Afro-esotericism,' an ideology that I've been building for the last [several] years, relates to my 2023 monograph 'Mystic Parallax,' which shows you a version of Black aesthetics cohabitating and existing in the same universe; it's far more interesting to create a new way of looking at the world by [using] the things that we already have exposure to. ENB: How does the landscape of Los Angeles, the home of Hollywood and many other cultural exports, inform your practice, particularly your projects that engage celebrities and the concept of fame? AE: I personally am distant from that world. I mean, there's some work-related things that I do every once in a while, but as a whole, I went to school and I focused a lot on theory. So the commercial stuff really doesn't hold that much water for me. L.A. can be isolating, it can be welcoming, it can be territorial. It's a multifaceted city; that's what I love about it and that's where I find the inspiration for most of these works. I find L.A. to be inspiring as an artist because it gives you a lot of room to breathe, and a lot of room to practice different things; it's almost like an empty canvas that is just waiting to be filled with ideas. ENB: I'm constantly thinking about the tension between the produced version of L.A. and the natural world of the city, and how the quality of light here from the sun contrasts with the artificiality of neon. AE: When it comes to neon, I think it's a medium that I'll continue to work with until I can't. I find neon to be this medium that uses light in a more poetic way. A great example of that is 'NO ICE'; it's so simple, but you can really read into it. The duality and double entendres in hip-hop is so important and crucial. Why is 'OPPS' in the style of the Cops [T.V. show] logo? If you know, you know, you know what I mean? ENB: Let's circle back to 'Afro-esotericism,' which has to do with symbolism, spirituality and this legacy of mythmaking. AE: It's the intrinsic feelings, expressions, gestures, thoughts and just overall [experience] of being a Black human being on this planet, like the things that we already have in us. There are all these things that end up getting co-opted by people on the internet, but I'm more interested in the things that they can't tap into, the things that they can't steal. It's an open source [ideology]; I'm open to people adding to it, to make some sort of atlas or an encyclopedia [with] knowledge of being. ENB: The richness of Black culture is so special so I really resonate with that. But I am also curious about whether you create space in your practice for play — not to undercut the depth of all that you're exploring, but I'm almost exhausted by Blackness being such a serious subject, and being so profound. It's so fun seeing memes just about the way we laugh while running away from each other, you know? How do you leave room for that sort of register of Blackness in your work, too? AE: That is precisely what I'm trying to get out. I'm merely saying, look at what our expansiveness can afford us. Evan Nicole Brown is a Los Angeles-born writer, editor and journalist who covers the arts and culture. Her work has been featured in Architectural Digest, Dwell, The Hollywood Reporter, the New York Times, T Magazine, Time and elsewhere. She is the managing editor of Contemporary Art Review Los Angeles and the founder of Group Chat, a conversation series in L.A.

Today in History: Father's Day celebrated in US for the first time
Today in History: Father's Day celebrated in US for the first time

Chicago Tribune

time3 days ago

  • Chicago Tribune

Today in History: Father's Day celebrated in US for the first time

Today is Thursday, June 19, the 170th day of 2025. There are 195 days left in the year. This is Juneteenth. Today in history: On June 19, 1910, the first-ever Father's Day in the United States was celebrated in Spokane, Washington. (President Richard Nixon would make Father's Day a federally recognized annual observation through a proclamation in 1972.) Also on this date: 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. In 1953, Julius Rosenberg, 35, and his wife, Ethel, 37, convicted of conspiring to pass U.S. atomic secrets to the Soviet Union, were executed at Sing Sing Prison in Ossining, New York; they were the first American civilians to be executed for espionage. 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 U.S. Senate, 73-27, after surviving a lengthy filibuster. 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 1975, former Chicago organized crime boss Sam Giancana was shot to death in the basement of his home in Oak Park, Illinois; the killing has never been solved. In 1987, the U.S. 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. Today's Birthdays: Hall of Fame auto racer Shirley Muldowney is 85. Nobel peace prize laureate Aung San Suu Kyi is 80. Author Tobias Wolff is 80. Author Salman Rushdie is 78. Actor Phylicia Rashad is 77. Rock singer Ann Wilson (Heart) is 75. Actor Kathleen Turner is 71. Singer-choreographer-TV personality Paula Abdul is 63. TV host Lara Spencer is 56. Actor Jean Dujardin is 53. Actor Robin Tunney is 53. Basketball Hall of Famer Dirk Nowitzki is 47. Actor Zoe Saldaña is 47. Rapper Macklemore is 42. Actor Paul Dano is 41.

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