The Brief

Meaning "half" in Hawaiian, the word "hapa" first entered the Hawaiian language in the early 1800s. Originally used to describe individuals of mixed Hawaiian and European ancestry, hapa has since grown to encompass those of mixed Asian descent, often someone who is half Asian or Pacific Islander and half white.

While not inherently derogatory, there is some debate around the appropriate use of the word outside of its original Hawaiian context.

That debate has captivated artist and photographer Kip Fulbeck for decades. As a hapa person himself — his mother is from China and his father is of English, Irish and Welsh descent — growing up half Chinese and half white was not easy for Fulbeck.

Raised in Covina, California, a city in the San Gabriel Valley region in Los Angeles County, Fulbeck told Morning Edition that he was considered "the white kid" at home and among his family, but known as "the Asian kid" at school. Checking boxes for his ethnicity as a child was a regular point of contention.

"I would check white sometimes. But then I was obviously not passing for white, and so I would check one, check the other. Sometimes there would [be] this other box that said 'Other, please explain,' and I would just write 'no.'" he said. "And it wasn't until, I think, 2000 where the U.S. Census actually allowed to check more than one box. So for 35 years of my life, I wasn't able to even legally do that."

It was this examination of his own identity that served as inspiration for creating "The Hapa Project."

"The Hapa Project" is a series of portraits of people who identify as multiracial. Each photo is accompanied by the subject's handwritten answer to a question about their identity. Fulbeck started the project in 2001 — with the original installation featuring photos from about 1,200 people. The creative concept for the project consists of him photographing people who identify as hapa in the same way — from the collarbone up and without any external identifiers like clothing, jewelry or glasses. After taking their photo, he then has them "handwrite a response to the question, 'What are you?," which he stresses he never censors what his participants write in their responses.

To honor the 25th anniversary of "The Hapa Project," Fulbeck brought the series back by revisiting around 150 original participants to see how their thoughts about being mixed race have changed over time.

In some participants' "before" and "after" portraits, changes in self-perception can be perceived alongside changes in physical demeanor.

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Kip Fulbeck

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Alongside physical changes in the before and after photos, "you also see these changes in attitude as we sort of mature and grow and change as adults," Fulbeck said.

In one portrait, the person wrote for their original photo, "What am I? Shouldn't you be asking my name first?" In their revisited photo, they wrote, "Hey! I'm Christine. Nice to meet you, too."

When "The Hapa Project" first launched, it initially sparked a varied response. Some — particularly those who identified as multiracial — found the project to be a valuable affirmation of their identities and a challenge to racial stereotypes. Others, however, questioned the appropriation of the term "hapa" by those without a direct lineage to the Hawaiian context from which it originated.

For Fulbeck, the sheer exploration of the hapa identity is the entire point.

"I've had people say, 'hapa means this.' Or, 'no, hapa means this,'" he said. "To me, it's not our place to tell someone else who they are. You're the only person who gets to define who you are. You get to say that."

The reclamation and reinterpretations of the word hapa are present in a majority of "The Hapa Project" portraits, and Fulbeck thinks it represents an evolution of how people have come to feel about themselves and the way the world sees them.

"Identity is internal, but it's also this external way we relate to others. And I think as we become more comfortable in our own skin and our place in the world and where we fit in, that depends on where you're living, too," he said.

Nearly 10% of people in the United States are of mixed race, according to the latest census. That is a 275% increase from just a decade before, and is only expected to grow. The states with the largest multiracial populations in the country include California, Texas and New York.

As the number of people in the U.S. who intermarry gets larger and larger, Fulbeck's advice for parents raising hapa kids is a "million-dollar question."

"As a parent myself, I ask myself this all the time. People have asked, 'Do you talk to your kids about being hapa?' And I was like, 'I don't … because they're dealing with dad doing this all over the world. They don't want to hear about this.' My kids — they want to play Fortnite. They just want to be kids," he said. "So I always just tell parents, you just got to love your kids. Be open to them. When they want to explore it, then be willing to do it. But you can't sit there and force it."

While Fulbeck's advice for raising hapa kids isn't so definite, his opinion on the importance of defining yourself and determining your own identity is certain. "If you don't say who you are and define it correctly, other people are going to do it for you, and they're going to do it wrong," he said.

"The Hapa Project" relaunched on May 23 at the Museum of Us in San Diego and will make additional stops at the Museum of Chinese in America and Waseda University later this year.

The broadcast version of this story was edited by Ashley Westerman. The digital version was edited by Treye Green.
Copyright 2025 NPR

Mini-lightning strikes created by whirling dust devils on Mars have been detected accidentally by the microphone on board the Perseverance rover.

The chance discovery is direct evidence of a form of lightning on Mars, researchers say in a report published in Nature. They describe how the rover's microphone picked up signs of electrical arcs just a few centimeters long, which were accompanied by audible shockwaves.

"There's been a very big mystery about lightning on Mars for a long time. It's probably one of the biggest mysteries about Mars," says Daniel Mitchard, a lightning researcher at Cardiff University in the United Kingdom, who wasn't part of the research team but wrote an accompanying commentary for the journal.

"The key thing here," he explains, "is that we actually have a rover on the surface of Mars that appears to have detected something that fits our idea of what we think lightning on Mars would look like."

Besides Earth, flashes of lightning have been seen in the atmospheres of Jupiter and Saturn, and lightning has also been detected on Neptune and Uranus. But finding lightning has proven more elusive on our closest planetary neighbors — even though experimenters in the 1970s did lab work that suggested lightning should exist on Mars.

For example, when researchers put volcanic sand into a flask and pumped it down to Martian atmospheric pressures, swirling the sand in the flask created a glow that could be seen in the dark, says Ralph Lorenz, a planetary scientist with the Johns Hopkins University Applied Physics Laboratory.

The glow came from electrical charges caused by the friction between the bits of sand. If you had a bigger buildup of electric charge, he says, that could produce a more sudden discharge, like what happens with spark plugs in a car, or on a larger scale, lightning. After all, even on Earth, lightning can occur in turbulent clouds of volcanic ash.

"So there's no reason that blowing dust or sand on Mars shouldn't become electrically charged," says Lorenz.

Recently, he and some colleagues were reviewing audio picked up by the Perseverance rover, a car-size robot that's been trundling around the Red Planet since 2021. It's got a microphone, and a few years ago scientists reported hearing the sounds of a whirling dust devil passing over the rover.

Besides the wind and the hiss of the dust, Lorenz says, there was a brief sound of a snap or crack in the middle of the encounter. "We just assumed it was a big sand grain or a small gravel grain just, you know, hitting the structure," he says.

But not too long later, one of their team members attended a science conference and heard a talk about atmospheric electricity. "I thought that if there were discharges, we could hear them. And then, I remembered this recording," says Baptiste Chide, who is with the Institut de Recherche en Astrophysique et Planétologie in Toulouse, France.

So he did some experiments here on Earth, using an electrostatic generator, to see how electric discharges would affect the microphone. What he saw was the same signals that had been captured on Mars; there was a distinctive pattern of a brief electrical interference followed by the acoustic signal of a shockwave.

Fifty-five such events were picked up by the microphone over two Martian years, the researchers say, and the sparks were usually associated with dust devils and the fronts of dust storms.

The electrical arcs would feel and sound like strong static electricity sparks, says Chide. If an astronaut was on Mars, it might be possible to see them, although "small discharges are hard to see in strong sunshine, and it's the sunniest times of day that have most dust devils and maybe most of the strong discharge events. That said, some events were at night," he says.

The researchers think it's important to study this atmospheric electrical activity to understand the hazards it could pose to future robotic or human missions. While most space hardware is designed to be robust, they note that the Soviet Mars 3 mission landed during a dust storm and only operated for about 20 seconds on the surface before suddenly and mysteriously ending its transmission.

"Something changed in 20 seconds," says Lorenz. "Could it have been an electrical discharge event? I don't think we can rule that out."

Copyright 2025 NPR

You don't have to walk by a dog park to know that domestic dogs come in all shapes and sizes. From 2-pound Chihuahuas to 150-pound Newfoundlands, chunky Labradors to slender Vizlas, our canine companions are some of the most physically diverse mammals on the planet.

It's commonly believed that this vast range in physical attributes is a product of the Victorian era, when kennel clubs started selectively breeding dogs to produce certain characteristics roughly 200 years ago.

A new analysis of hundreds of prehistoric canine skulls, spanning the last 50,000 years, shows it emerged much earlier.

"By about 10,000 years ago, half of the amount of diversity present in modern dogs was already present in the Neolithic," said Carly Ameen, a bioarchaeologist at the University of Exeter and one of the lead authors on the new study. "So very early on in our relationship with dogs, we not only change them from wolves but they begin to change amongst themselves and generate a lot of diversity."

To determine when those changes happened, Ameen and a team of international researchers created 3D models of 643 skulls of ancient and modern dogs and wolves. The models allowed them to discern subtle changes in the skulls' shape over time.
The results, published in the journal Science, show that by nearly 11,000 years ago, just after the last ice age, dog skulls were already different from those of wolves. They were shorter and wider. But perhaps more surprising, Ameen said, is that the dog skulls were already different from each other, meaning that the switch from wolf to dog had to have happened much earlier.

"The relationship between wolves and dogs had to already have been ongoing," she said. "It's not an instantaneous change — the dog comes from the woods into your house and changes the shape of its skull."
Those kinds of changes typically accumulate slowly, over many generations.

Scientists have long wondered when the domestication of dogs first started. Dogs are believed to be the first domesticated species — before cows, pigs, sheep, or plants like wheat.

The new study doesn't answer the question but "it narrows the window," Ameen said, and gives us insights into how humanity's mutually beneficial relationship with dogs physically changed them over time.

That relationship was the focus of another new study, published in Science, that used ancient DNA from dogs to find that humans were traveling with — and even trading — domestic dogs in Eurasia for at least the last 10,000 years.
The study's lead author, Minmin Ma, a researcher at Lanzhou University in China, said it makes sense that prehistoric hunter-gatherers were bringing dogs with them during migrations because they could assist with hunting.
But for prehistoric farming and pastoral societies that raised animals like cattle, sheep and horses, "dogs weren't particularly essential in that economic sense," she said. And yet, their study found that those groups made the effort to bring dogs with them during migrations too.

"Although the roles [dogs have] played varied across different periods, they have consistently been close companions to humans," Ma said. "We should cherish this bond even more."
Copyright 2025 NPR

This story was originally published by Boyle Heights Beat on Nov. 26, 2025.

The LA Phil on Wednesday said it secured new donor funding that would allow it to fully continue the Youth Orchestra Los Angeles program at Esteban E. Torres High School in East LA, just days after community outcry and Boyle Heights Beat reported that programming at YOLA’s Torres site would be reduced.

“YOLA is fundamental to the LA Phil’s mission of sharing the transformative power of music, so we are thrilled our donors recognized that this funding provides vital access to music education for the East LA community,” said Kim Noltemy, president and chief executive officer of the LA Phil, in a statement.

“Joining together, we have and will continue working tirelessly over the coming months to ensure we remain in a position to support this program, because it is more important than ever,” Noltemy added.

Programming was set to take place through Dec. 12, with orchestra rehearsals scaled back from four to two days per week. Parents said cuts at Torres involved beginner programs. They were also told that all instructors at the Torres site would be removed except for the conductors.

In response, families and community members held meetings and launched a campaign on Instagram, urging the LA Phil to save the program at Torres.

In a press release, parents noted that cuts come at a time when communities like East LA are grappling with fear and instability due to immigration raids that began over the summer. YOLA, they said, has been a safe space. They emphasized that no other YOLA site in LA “is being cut or reduced due to ‘funding.’”

“Only Torres — the site serving East LA’s predominantly Latino community — is affected,” they said in the release.

Students and parents share their concerns about cuts to YOLA programming at a meeting Wednesday at Esteban E. Torres High School.

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Courtesy of YOLA Torres community

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The announcement of programming reduction comes as staff at all YOLA sites filed for union representation with the American Federation of Musicians of the United States and Canada, according to the YOLA United Teaching Artists Instagram page.

YOLA, which was founded by the LA Phil, provides free instruments and ensemble training for thousands of young musicians who are 5 through 18 years old. The after-school program operates at sites across LA, including in Inglewood, Rampart District and Rampart/MacArthur Park. YOLA at Torres serves 165 students who attend East LA area schools, such as James A. Garfield High School and KIPP charter schools.

In the statement, the LA Phil said its board is working to “ensure the program is positioned for lasting success.”

“We will evaluate whether Torres remains the best and most sustainable location for YOLA programming after this school year,” the statement read.

The LA Phil also said it is establishing a parent advisory committee “to maintain consistent dialogue with YOLA families as future decisions are made.”

“We know how difficult and disruptive the initial decision to reduce the YOLA program at Torres has been for students, families, and teaching artists, and we are deeply apologetic,” Noltemy said in the statement. “We are profoundly grateful to the generous donors who made it possible for us to continue this essential program.”

Often described as housing of last resort for some of the city’s poorest renters, single-room occupancy buildings in Los Angeles are operating at a financial loss — and losing more money every year.

That’s according to a November report from Enterprise Community Partners, an affordable housing nonprofit. The report surveyed 39 buildings across California. It found that only two — both located in San Francisco — have positive cash flow.

All of the L.A.-area properties are run by organizations that keep buildings financially afloat by digging into their own budgets, making up for rental income that isn’t enough to cover operating costs.

“Owners that are carrying these properties are really trying to make them work,” said Marc Tousignant, who oversees vulnerable populations for Enterprise’s Southern California market. “They're really at the front lines of ending homelessness.”

Losses have tripled

The buildings surveyed in the report contained more than 3,000 single-room occupancy units in total. These are bare-bones apartments, usually just a bedroom without a private bathroom or kitchen.

Many are located in old residential hotels, often in downtown L.A.’s Skid Row neighborhood.

The report found building owners have needed to triple the amount of money they’re advancing per unit over the last five years. Losses cost organizations an average of $971 per unit in 2020. Now, that figure is up to $2,866 per unit.

Some, like the storied Cecil Hotel, have struggled to attract tenants. The report found an average vacancy rate of 20% in the surveyed buildings. Some of the aging properties are unattractive to prospective tenants because of deferred maintenance or damage caused by residents with untreated mental health issues.

“There have been discussions around, should we just abandon this model and convert them completely?” Tousignant said. “But they are really serving, I think, an important role.”

What could turn them around?

The two buildings in San Francisco that are financially healthy both have project-based vouchers through the city’s Section 8 program. These vouchers help tenants pay for rents in the building, and the vouchers cannot be transferred to other properties.

Tousignant said this approach could help improve the financial outlook for buildings in L.A.

“Unfortunately, in L.A., we haven't really been dedicating any new project-based vouchers to older or existing buildings,” he said. “They've really been going towards newer buildings.”

Rehabilitation is another approach that could improve vacancy rates at the buildings. The estimated cost of fixing up each single-room occupancy unit was $165,000 on average, according to the report. Some of those plans could involve converting units into studio apartments, complete with kitchen and bathroom facilities — though that could involve reducing a building’s total number of units.

“It's this sort of trade off,” Tousignant said. “What's more important? Making these complete units or losing a little bit of affordability in terms of the amount of units?”

Tousignant said if the affordable housing field doesn’t find solutions to these problems, more buildings could find themselves in court-ordered receivership, with tenants facing an uncertain future.

That’s the situation the Skid Row Housing Trust found itself in, before developer Leo Pustilnikov bought its troubled portfolio of buildings.