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    Trump Casts Himself as a Protector of Persecuted White People

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    President Trump publicly dressed down the president of South Africa based on a fringe conspiracy theory, providing a vivid distillation of his views on race.In the Oval Office on Wednesday, President Trump positioned himself as the savior of white South Africans.Sitting alongside Cyril Ramaphosa, the president of South Africa, Mr. Trump said white people were “being executed.” He referred over and over again to “dead white people.” He dressed down Mr. Ramaphosa, who helped his country cast off the racist policies of apartheid, and questioned why he was not doing more when white people were being killed.“I don’t know how you explain that,” Mr. Trump said. “How do you explain that?”The American president was not much interested in the answer, which is that police statistics do not show that white people are more vulnerable to violent crime than other people in South Africa.The confrontation provided a vivid demonstration of Mr. Trump’s views on race, which have animated his political life going back years. After rising to power in part by framing himself as a protector of white America, Mr. Trump has used his platform, in this case the Oval Office, to elevate claims of white grievance.For Mr. Trump, white people are the true victims; Black people and minorities have received an unfair advantage in the United States. And when Mr. Trump looks to South Africa, a majority-Black country emerging from a legacy of apartheid and colonialism, he sees white people who need sanctuary in the United States.Invoking the teachings of his old mentor, Nelson Mandela, Mr. Ramaphosa pleaded for civility in the dialogue between the two leaders.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Trump Claimed a Video Showed ‘Burial Sites’ of White Farmers. It Didn’t.

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      During a meeting with South Africa’s president, President Trump played the video as evidence of racial persecution. A Times analysis found he misrepresented the contents of the video.In a White House meeting on Wednesday, President Trump showed President Cyril Ramaphosa of South Africa a social media video of a rural road lined with white crosses and hundreds of vehicles.Mr. Trump told Mr. Ramaphosa that the footage showed “burial sites” of “over 1,000” white farmers in South Africa.A New York Times analysis found that the footage instead showed a memorial procession on Sept. 5, 2020, near Newcastle, South Africa. The event, according to a local news website, was for a white farming couple in the area who the police said had been murdered in late August of that year.The crosses were planted in the days ahead of the event and were later removed.The misrepresentation of the footage took place during a stunning meeting in which Mr. Trump made false claims about a genocide against white farmers. Mr. Trump dimmed the lights to play the footage, presenting it as evidence of racial persecution against white South Africans.As the clip played, Mr. Trump said: “These are burial sites right here. Burial sites. Over a thousand of white farmers.”Contrary to Mr. Trump’s statements, the crosses are not gravesites for farmers and were not permanently placed along the road. Footage posted to social media before the remembrance event, in early September 2020, shows people setting up the white crosses, and Google Street View images from 2023 indicate they have since been taken down.There have been a number of protests against the killing of white farmers in South Africa. White crosses are known to be used at these events to represent slain farmers. Videos and photos at the Sept. 5 event also showed tractors adorned with flags condemning farm murders and a large banner reading, “President Ramaphosa, how many more must die???” stretched between two vehicles above the roadway. South Africa has an exceptionally high murder rate, but police statistics do not show that white South Africans or farmers are more vulnerable to violent crime than other people.A White House official told The Times each cross represented a white farmer who had been killed but did not comment on why Mr. Trump had characterized the video as showing burial sites.It’s unclear where Mr. Trump got the video from, or who, if anyone, characterized to him what the video showed. Elon Musk — who is originally from South Africa and is one of Mr. Trump’s advisers — had posted the video on the social media site X at least twice before today’s meeting.In Wednesday’s meeting, when Mr. Ramaphosa asked where the video was from, Mr. Trump said, “I mean, it’s in South Africa.” More

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      What Desi Arnaz Could Teach Hollywood Today

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      Seventy-five years ago, a fading redheaded movie star and her itinerant bandleader husband were searching desperately for a way to save their careers — and their marriage. She was starring in a network radio show in Hollywood and he was a musician on the road all the time, so they rarely saw each other. In their 10 years together, she’d already filed for divorce once, and was nearing her wits’ end.The movie star was Lucille Ball and the bandleader, of course, was Desi Arnaz. In 1950, a glimmer of hope appeared for the couple: CBS intended to transfer Ball’s radio show, “My Favorite Husband,” to the untested new medium of television. But there was a problem: Ball wanted to make the move only if Arnaz — who’d helped start the conga dance craze in nightclubs in the 1930s and fueled America’s demand for Latin music after World War II — could play that husband on TV. The network and prospective sponsors believed the public would never accept a thick-accented Latino as the spouse of an all-American girl. “I was always the guy that didn’t fit,” Arnaz would later tell Ed Sullivan.Arnaz, a Cuban immigrant and self-taught showman, had an idea: The couple would undertake an old-fashioned vaudeville tour of major cities around the country. He and Ball would demonstrate the real-life chemistry that he knew would click with Americans if they only had a chance to see the act.Racism was a fact of daily life even in Arnaz’s adopted hometown, Los Angeles, where some restaurants still refused service to Latinos. The term D.E.I. did not yet exist, but Arnaz’s gambit amounted to a bold push for diversity, equity and inclusion in the white-bread monoculture of a dawning mass medium that was sponsor-driven and cautious to a fault.Miracle of miracles, it worked. Critics and audiences from coast to coast raved at the couple’s onstage antics, as Lucy clowned with a battered cello while Desi sang and drummed his heart out. A.H. Weiler of The Times pronounced the pair “a couple who bid fair to become the busiest husband-and- wife team extant.” Soon enough, they were.Based on the success of Ball and Arnaz’s tour, CBS executives agreed to film a test episode. The network had trouble finding a sponsor until a leading ad man, Milton Biow (as it happens, the grandfather of the actor Matthew Broderick) persuaded his client Philip Morris cigarettes to take a chance on the new show. “I Love Lucy” was born, the rest is history, and it was Desi Arnaz who made much of that history possible.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      The Future of Black History Lives on Donald Trump’s Front Lawn

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      I don’t know why I was surprised when President Trump went after the Smithsonian Institution, in particular the National Museum of African American History and Culture — or as it’s more informally known, the Black Smithsonian. If anything, I should have been surprised he held off for two months. On March 27, he issued “Restoring Truth and Sanity to American History,” an executive order that accused the Smithsonian Institution of having “come under the influence of a divisive, race-centered ideology.” He called out the Black Smithsonian in particular for being subject “to ideological indoctrination or divisive narratives that distort our shared history.” The federal government, he declared, will no longer support historical projects that “degrade shared American values” or “divide Americans based on race.”I think Mr. Trump’s presidency is a national tragedy. But a stopped clock is right twice a day, and I have some sympathy for the concerns he raised about the agenda of much historical thinking these days. Too often it indulges in sloppy and even childish stereotypes, depicting America’s past as one extended hit job.The boldness of the American experiment, the emergence of the Constitution, the evolution of public schooling, the expansion of the right to vote, the rise of the conservationism and the flourishing of our diverse cultural life — reducing all of this to the machinations of a sinister white cabal is, like the 1980s power ballad, seductive but vapid. That white lady at the supermarket with her 6-year-old daughter has organized her life around defending her privilege? I’m not seeing it.President Trump visited the National Museum of African American History in 2017.Doug Mills/The New York TimesI shudder at suggestions that — as a graphic on the Black Smithsonian’s own website put it a few years ago — “objective, rational, linear thinking,” “quantitative emphasis” and “decision-making” are the purview of white culture. I despise equally the idea that Black people are communal, oral, “I’ll get to that tomorrow” sorts who like to circle around the answer rather than actually arrive at it.And I am especially dismayed at how this version of history implies that the most interesting thing about the experience of Black Americans has been their encounter with whiteness. I figured that the president was being typically hyperbolic when he said that institutions like the museum deepen “societal divides and fosters a sense of national shame, disregarding the progress America has made and the ideals that continue to inspire millions around the globe” — I mean, even something as stupid as that guide to whiteness might just be an outlying mistake. But I was wary that a national museum might squander its chance to illuminate complex topics and expand people’s curiosity, instead trying to corral everyone into caricatures and oversimplifications. As I read the executive order, however, it occurred to me that after all these years, I had yet to actually visit the museum. So, on a sunny Friday afternoon, I decided to zip over to the National Mall to take a look. I will not soon forget what I saw.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Afrikaners Arrive in U.S. as Trump-Approved Refugees

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      The first group of Afrikaners have arrived in the United States, claiming they were victims of persecution or had reason to fear persecution in their home country.President Trump signed an executive order in February establishing refugee status for Afrikaners, the white ethnic minority in South Africa that created and led the brutal system of apartheid.As part of the executive order, the Trump administration created an expedited path for Afrikaners to resettle in the United States, even as the administration has barred most refugees from countries afflicted by war and famine.While waiting at the airport in Johannesburg, the passengers said the U.S. Embassy had instructed them not to speak with the news media. The first group of Afrikaners arrived in the United States on May 12.Here’s what you need to know:Who are the Afrikaners?What does land have to do with it?Why are Afrikaners being granted refugee status?How will they be resettled in the United States?Who are the Afrikaners?The Afrikaners who arrived in the United States on Monday are the descendants of the European colonizers who came to South Africa approximately four centuries ago. They later created the brutal system of apartheid in 1948.Decades after the end of apartheid, some Afrikaners now say they are being denied jobs and have been targeted by violence because of their race.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Johnny Rodriguez, Country Music Star, Dies at 73

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      He was best known for the 1970s hits “I Just Can’t Get Her Out of My Mind” and “Ridin’ My Thumb to Mexico,” and as the first popular Mexican American country artist.Johnny Rodriguez, who became the first Mexican American country music star with a string of hits, died on Friday. He was 73.His daughter, Aubry Rodriguez, announced his death on social media on Saturday. The post did not cite a cause of death.Mr. Rodriguez rose to fame in the 1970s and was best known for the hits “Ridin’ My Thumb to Mexico” and “You Always Come Back (to Hurting Me).” He released six singles that reached No. 1 on Billboard’s Hot Country Songs chart, and nine others reached the Top 10.In 2007, Mr. Rodriguez was inducted into the Texas Country Music Hall of Fame, which described him as the “greatest and most memorable Chicano Country singer of all time.”Juan Raoul Davis Rodriguez was born to Andres Rodriguez and Isabel Davis on Dec. 10, 1951, in Sabinal, Texas, around 65 miles west of San Antonio. Mr. Rodriguez, the second youngest of 10 children, started playing guitar at the age of 7 when his older brother, Andres, bought him one.Their father died of cancer when Mr. Rodriguez was 16, around the time Mr. Rodriguez formed a band, and the younger Andres died the next year in a car crash. The losses sent Mr. Rodriguez “spiraling,” according to the Texas Country Music Hall of Fame.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Trump’s Wishes Aside, Censoring Racial History May Prove Difficult

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      Late last month, when two federal grants to the Whitney Plantation in Louisiana were rescinded, the Trump administration seemed to be following through on its promise to root out what President Trump called “improper ideology” in cultural institutions focused on Black history.After all, the plantation’s mission was to show visitors what life was truly like for the enslaved, contrary to the watered-down Black history that the president seemed to back.Then just as quickly, the grants were restored a few weeks later, the Whitney Plantation’s executive director said in an interview.Because the money had already been approved, “maybe it was an exposure for lawsuits,” the executive director, Ashley Rogers, said, “but who knows?”Ever since Mr. Trump issued an executive order in March decrying cultural institutions that were trying to “rewrite our Nation’s history, replacing objective facts with a distorted narrative driven by ideology rather than truth,” sites like the Whitney Plantation have lived with such uncertainty. An order specifically targeting the Smithsonian Institution tasked Vice President JD Vance and other White House officials with “seeking to remove improper ideology from such properties.”But reversals like the one in Louisiana and actions by the Smithsonian’s National Museum of African American History and Culture seem to indicate some misgivings about the president’s order. They also show that putting historical knowledge back into the bottle after decades of reckoning with the nation’s racist history will be more difficult than the administration believes.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      White Supremacist Is Charged in 2019 Arson at Tennessee Civil Rights Landmark

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      Regan Prater set fire to the main offices of the Highlander Research and Education Center and took credit for it in encrypted messages, prosecutors said.A Tennessee man with ties to several white supremacist groups has been charged with setting a fire in 2019 that destroyed the offices of a social justice center connected with Rosa Parks and Martin Luther King Jr., according to court records.In a federal criminal complaint that was unsealed on April 24, the F.B.I. said that the man, Regan Prater, 27, set fire to the main offices of the Highlander Research and Education Center in New Market, Tenn., near Knoxville, and spray-painted an Iron Guard cross on the pavement outside.The symbol originated with fascists in Romania in the 1920s and 1930s, according to the Anti-Defamation League. It has more recently been used by white supremacists, including one who murdered 51 people at two mosques in New Zealand in 2019.Investigators in Tennessee said that Mr. Prater, of Tullahoma, took credit for the arson while chatting with an informant on Telegram, an encrypted messaging app that he used to communicate with other white supremacists.“I didn’t admit that, but dots can be connected,” Mr. Prater wrote to the informant when asked if he had set the fire, according to the complaint.He then gave details about how he had started the blaze, telling the informant, “It was a sparkler bomb and some Napalm.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More