Lifestyle
On Highway 78, I watched the valleys awaken in vibrant blooms — a dramatic springtime show
In early spring, the California mountain town of Julian sits suspended between seasons. At more than 4,000 feet, up in the Cuyamaca Mountains, it rests among coastal live oak woodlands and Coulter pine forests. Snow sometimes dusts the surrounding slopes, melting by afternoon into damp earth as manzanita and mountain lilac begin to flower. Along Main Street, the mingled scents of woodsmoke and apple pie drift from storefronts.
It is here that my journey along State Route 78 begins, following its long eastward descent from the mountain forest into the stark badlands of Anza-Borrego Desert State Park, then skirting the southern edge of the Salton Sea, crossing the Algodones Dunes and continuing toward the Colorado River — a 140-mile corridor spanning one of the most dramatic ecological transitions across public lands in the American Southwest.
This road trip continues a series exploring California’s overlooked scenic highways, inspired in part by artist Earl Thollander’s “Back Roads of California,” whose sketches and travel notes celebrated a slower way of seeing. After tracing Highway 127 along the edge of Death Valley, the journey now shifts south.
Julian Cafe and Bakery, the start of the trip off Route 78.
(Josh Jackson)
Within minutes of leaving town, the pavement twists downward through tight turns and steep grades as the mountain air begins to warm, the vegetation giving way to chaparral and scattered juniper, then to the stark silhouettes of ocotillo and Mojave yucca. By the time it reaches the Pacific Crest Trail crossing 12 miles east of Julian, travelers have already descended nearly 2,000 feet.
Here, the highway passes quietly into Anza-Borrego, homeland of the Kumeyaay, Cahuilla and Cupeño peoples. At nearly 650,000 acres — just smaller than Yosemite — the park unfolds as a vast mosaic of mountains, badlands and open desert valleys extending far beyond the reach of the pavement.
Wildflowers along the route.
(Josh Jackson)
Bri Fordem, executive director of the Anza-Borrego Foundation, said the landscape reveals itself slowly to first-time visitors. “I think a lot of people drive right by it and go, ‘Oh yeah, there’s a desert there,’” she said. “But when you stop and you go a little slower and take a closer look, a whole world opens up.”
That invitation begins at mile 18, where the Yaqui Pass Road turnoff leads northeast toward the desert basin and the gateway community of Borrego Springs. The 2.8-mile Borrego Palm Canyon Trail offers one of the park’s most accessible routes into the desert’s interior. Cholla gardens and brittlebush rise from pale alluvial slopes, and a seasonal stream leads to one of California’s few native fan palm oases.
In wet winters, the valleys beyond town awaken in color as sand verbena, desert sunflower, evening primrose and pincushion gather in brief, luminous blooms across the desert floor. The Anza-Borrego Foundation tracks these seasonal displays and offers guidance on how to witness them responsibly.
The short detour returns to Highway 78 along Borrego Springs Road, where the pavement drops abruptly through the Texas Dip near mile 27 — a stark, cinematic wash where scenes from the closing sequence of “One Battle After Another” were filmed. Wandering through the wash, the mind drifts not to the film but to the flash floods that move through this channel after heavy rains, sudden torrents cutting and reshaping the valley floor in a matter of hours.
Ocotillo plants rise up from the desert floor in Anza-Borrego Desert State Park.
(Josh Jackson)
The sun hangs in the middle of the sky as I drive toward one of the most rapidly changing shorelines in California. From almost any vantage point, the Salton Sea appears lifeless — a gray expanse rimmed with salt and windblown dust. But at its southern terminus, that impression begins to shift. The basin gathers into shallow wetlands where movement returns to the landscape.
Sixty miles from Julian, I turn onto Bannister Road and bump north along a gravel track for three miles into the basin, to a parking lot 164 feet below sea level. The lot sits within Unit 1 of the Sonny Bono Salton Sea National Wildlife Refuge. A short walk along an irrigation canal leads to a weathered observation deck rising two stories above a patchwork of saturated flats where saltgrass, iodine bush and cattail take root. Here, the Pacific Flyway compresses into a living mosaic of wings, water and soil. Each spring, hundreds of thousands of birds gather here to feed and rest before lifting north again, following migratory paths far older than the farms and highways that now define the valley.
The wetlands near the Salton Sea provide a vital habitat for birds.
(Josh Jackson)
The place overwhelms the senses: a wash of emerald against open sky, thousands of snow geese honking in chorus, orange-crowned warblers and Abert’s towhees singing in the trees, and the persistent tang of salt in the air.
I meet three birders standing quietly on the platform, scanning the horizon through binoculars and recounting the 73 avian species they had tallied over the last two days — burrowing owls, American avocets, sandhill cranes and black-necked stilts among them. For 30 minutes we watch a northern harrier on the hunt, dive-bombing blue-winged and cinnamon teal, though he always comes up empty. Between scans of the horizon, we bond over “Listers,” the 2025 documentary that turns obsessive birdwatching into both comedy and a tale of devotion.
A burrowing owl stands in the Sonny Bono Salton Sea National Wildlife Refuge.
(Josh Jackson)
Leaving the refuge, the vibrant color palette and moisture give way to muted browns and the returning austerity of desert air. By mile 97, the road rises to the Hugh T. Osborne Overlook, where the landscape shifts once again, opening into a vast ocean of sand.
The Algodones Dunes stretch toward the horizon in pale, wind-sculpted ridges, a narrow ribbon of shifting terrain running south into Mexico. The highway passes directly through their center.
From the overlook, the road reads as a line dividing two expressions of the same dune system. To the south lie the Bureau of Land Management’s Imperial Sand Dunes, where dune buggies and motorcycles trace arcs across bare slopes. North of the pavement, the North Algodones Dunes Wilderness holds a quieter terrain, where sunflower, ephedra and honey mesquite anchor the sand in subtle defiance of the wind.
A person walks along the Algodones Dunes.
(Josh Jackson)
Here the road becomes a boundary between different ways of moving through — and loving — the same landscape: speed and stillness, noise and silence, crowds and solitude.
By late afternoon, the final miles carry me east toward the Colorado River, where it meanders past willow and cottonwood. The light softened toward sunset, an evening echo of the same violet sky that hovered over Julian at the start of the day. After 140 miles, my road trip had come to an end. Yet as I pitched my tent that night, the motion of the landscapes lingered in mind.
The Colorado continued its long course south. Snow geese lifted north from refuge marshes. Wind reshaped the dunes, erasing the day’s tracks. Wildflowers that had briefly lit the desert floor would soon fade as heat gathered strength. The road ended, but the living systems it crossed moved steadily onward, already turning toward the next season.
Road trip planner: State Route 78
Highway 78 illustrated map.
(Illustrated map by Noah Smith)
The route: Julian to Palo Verde.
Distance: 140 miles (one way).
Drive time: 3 hours straight through; allow a full day for stops.
Best time to go: October through April. Summer temperatures frequently exceed 110 degrees.
Fuel and essentials:
- Julian (Mile 0): Gas station, Julian Market and Deli, lots of restaurants.
- Borrego Springs (Mile 18): Gas station, groceries, cafes.
- Brawley (Mile 74): Gas station, restaurants.
Eat and drink:
Camping:
Lodging:
Hike and explore:
Safety notes:
- Water: Carry at least 1 gallon per person per day.
- Connectivity: Cell service is dependable along the route.
- Wildlife: Watch for bighorn sheep and coyotes on the road, especially at dawn and dusk.
Wildflowers along Highway 78.
(Josh Jackson)
Lifestyle
What does freedom actually look like? : It’s Been a Minute
What freedom looks like today.
Getty Images/Viktoriia Miroshnikova/Photo illustration by NPR
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Getty Images/Viktoriia Miroshnikova/Photo illustration by NPR
What does freedom mean today?
Happy Juneteenth! For those not in the know, today commemorates when U.S. federal troops arrived in Galveston, Texas in 1865 to take control of the state and ensure that all enslaved people were freed – a full two and a half years after the signing of the Emancipation Proclamation. Since then, Juneteenth has been celebrated all over the country, especially in Texas and across the South, where Juneteenth parades, cookouts, festivals and pageants happen every year. Two weeks from now, the country will celebrate the Fourth of July – and its 250th anniversary. For many Black Americans, there’s always been a tension between these holidays – and their two different ideals for what it means to be free. As voting rights protections are rolled back and Black history is being scrubbed from government websites, what does freedom look like for Black Americans today?
To get into it, Brittany is joined by Dr. Kellie Carter Jackson, chair of Africana Studies at Wellesley College.
For more episodes about the quality of Black life in America, check out:
Jesse Jackson & the end of the civil rights superhero
Is the economy slowing? Ask Black women.
What to expect when you’re expecting racism
Support Public Media. Join NPR Plus.
Follow Brittany on Instagram: @bmluse
For handpicked podcast recommendations every week, subscribe to NPR’s Pod Club newsletter at npr.org/podclub.
This episode was produced by Corey Antonio Rose and Liam McBain. It was edited by Neena Pathak. We had engineering support from Josephine Nyounai. Our Supervising Producer is Cher Vincent. Our Executive Producer is Barton Girdwood. Our VP of Programming is Yolanda Sangweni.
Lifestyle
The second life of a classic: ‘Amores Perros’ is remastered and back in theaters
First released in 2000, the acclaimed film Amores perros, which was produced and directed by Alejandro González Iñárritu and written by Guillermo Arriaga, has been remastered and is returning to theaters.
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Before Amores Perros became widely regarded as a modern classic, it belonged to Mexico. The film premiered at the 53rd Cannes Film Festival in 2000, where it won The Grand Prix, launching a run of international acclaim that has never quite ended. This month, Amores Perros is back in theaters in a fully remastered format from its original Kodak film stocks.
The film’s plot centers on three strangers whose lives intersect at the scene of a car crash. Each story wrestles with overlapping issues of social class disparities, crime and familial betrayal. The release in Mexico coincided with the end of the Institutional Revolutionary Party or PRI’s 71-year hold on power. Amores Perros was followed by a period of original, contemporary films in Latin America that would prove the region’s studios could compete with Hollywood in scope and complexity.
One of the film’s lead charachters, Octavio, is played by actor Gael García Bernal.
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The film marked the directorial debut of Alejandro González Iñárritu, who would go on to win four Academy Awards including back-to-back best director awards for Birdman (2014) and The Revenant (2015). In a recent interview with NPR, Gael García Bernal, a lead actor in Amores Perros, called the film’s launch “a new geography in cinema.”
González Iñárritu and García Bernal spoke with Morning Edition’s A Martinez about their early collaboration and the film’s continued resonance with new audiences.
Listen to the interview by clicking on the blue play button above.
The broadcast version of this story was produced by Margaux Bauerlein.
Lifestyle
What — and who — will be at the Great American State Fair? Here’s a primer
Preparations underway for the Great American State Fair, as seen on Washington, D.C.’s National Mall last week.
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A lot is changing these days in Washington, D.C., with even more on the horizon: 10 city blocks of the National Mall will soon transform into a multi-week state fair spectacle, complete with a Ferris wheel, in honor of the country’s 250th birthday.
The “Great American State Fair” will run from June 25 through July 10, promising to bring state-themed pavilions, movie screenings, musical performances, military flyovers, nostalgic snacks, a daily rodeo — and potentially scores of tourists — to the nation’s capital.
It will feature more than 150 exhibits, with full participation across the United States and several U.S. territories, as well as “businesses, innovators and civic organizations,” according to Freedom250, the White House-backed campaign that is organizing the fair in addition to other semiquincentennial events.
“A master-planned celebration will unfold along the National Mall from the Capitol to the Washington Monument, featuring vibrant pavilions representing every U.S. state and territory,” says the White House website, adding that the beaux-arts style tents will also highlight national themes like agriculture, the arts, faith and family.
Workers started setting up the fair, in view of the U.S. Capitol, in late May.
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However, not all states are sending official government delegations to the fair. Officials in more than half a dozen states — including Connecticut, Hawaii, Illinois, Maine, Massachusetts, North Carolina, Oregon, Rhode Island and Washington — confirmed to NPR that they are not participating directly. Most cited financial considerations and a desire to prioritize celebrations in their own communities, though others voiced political concerns.
Rachel Reisner, a spokesperson for Freedom250, emphasized in an email that there is “a vast majority participating” among the states. Additionally, others are being represented by local businesses and organizations — such as two companies from North Carolina and a museum from Illinois.
“Whether represented by a governor’s office, a tourism board, or a beloved state company or organization, every community will be celebrated, and every American will see themselves in this once-in-a-generation event,” Reisner said.
The state fair is one in a series of patriotic anniversary events planned for D.C. this summer, including the UFC fight night outside the White House last Sunday and a fireworks-heavy July Fourth celebration that President Trump rebranded as a political rally in a Truth Social post on Monday.
In another post that day, Trump encouraged people to attend the kickoff to the fair on Wednesday — and, by extension, the “summer long Celebration of 250 years of American Independence.”
“We are going to have fun, and celebrate America!” he wrote.

That opening event was originally billed as a concert, though many of the performers originally attached to it — including Martina McBride, Bret Michaels, the Commodores and Young MC — have withdrawn in recent weeks. Organizers now say the kickoff will feature remarks by Trump and performances by Lee Greenwood and Christopher Macchio, musicians who have sung at Trump events before.
What to know about the fair
The fair is an all-day, rain-or-shine event. It is free and open to the public, though preregistration is encouraged.
Freedom250 is promising attendees an interactive experience at the state pavilions, from Michigan’s mechanical milking cow to Florida’s re-creation of a Spanish fort honoring explorer Juan Ponce de León.
There will also be activations by a wide range of companies, organizations and government agencies, from NASA and John Deere to Meta and the Washington Commanders.
Each of the fair’s 16 days has its own theme, including two “MAHA Mondays” and a military and veterans’ appreciation day. July Fourth is branded as the Independence Day Celebration, and the fair’s final day is billed as “The Next 250: Innovation.”
The extravaganza will span a wide swath of the National Mall, much of it already blocked off with fences and construction cranes. The fair may also impact air travel in the area.
In a press release this week, the Metropolitan Washington Airports Authority warned travelers at D.C.’s Reagan National Airport that their flights might be adjusted or delayed due to some of the America 250 celebrations — including the opening and closing days of the state fair.
“Many events will include downtown flyovers or other aerial displays such as fireworks or parachute jumps, which will affect flights periodically at Reagan National,” it said, adding that the most significant disruptions are expected on July 3 and 4.
Why some state governments aren’t participating
Nearly 10 states say they will not be spending funds or sending personnel to the D.C. fair. While all but one are led by Democratic governors, many told NPR the decision not to attend was a financial decision, not an overt political statement.
“The states were expected to fund and to staff a multi-week exhibit in Washington, D.C., which would entail getting staffers down to D.C., housing them, feeding them, and with the booths and everything … the estimated budget was at least $100,000,” said Cathryn Vaulman, a spokesperson for Connecticut Gov. Ned Lamont.
Vaulman said that money would have come out of the state’s budget for its own 250th celebrations — so leaders made a “resource-based decision” to focus on those instead. But she noted that plenty of other blue states, like New York, are still planning to staff the state fair.
Some other states estimated their costs as $100,000, though others were much higher: Sarah Hansen, director of the Maine Semiquincentennial Commission, told NPR that its cost estimates were “half a million dollars or more,” which she said was not feasible for the state, “given the federal government’s refusal to provide any funding.”
Washington Lt. Gov. Denny Heck’s office told NPR over email that the state opted out in large part because of confusion over costs.
The fair will span 10 city blocks on the National Mall for over two weeks.
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“We had heard participating states (whether that was state agencies, tourism authorities, etc.) were generally planning for their costs to be anywhere between $100k to nearly $1m,” Dallas Roberts, Heck’s chief of staff, said in the email.
Each state and territory gets about 600 square feet to build its exhibit, with no set dollar amount required to participate, according to Freedom250. It acknowledges that cost was a concern for many states, which is why some partnered with tourism bureaus and companies.
“Our ask was not your government entity must do this and give money; it was an invitation to the state to represent their culture, heritage, and landscape however they would like,” Reisner, the Freedom250 spokesperson, wrote in an email, adding that the event is funded by “both private and public dollars.”
Officials in a handful of states have been more outspoken in their criticism of how the event is being run.

Speaking to GBH News’ Boston Public Radio earlier this month, Massachusetts Gov. Maura Healey, who also opted out, said Trump “invited all the states to participate and wants to charge us to go down and put something on his exhibit.”
“It’s just ridiculous,” she added. “This is taxpayer money.”
Luke Harkins, a spokesperson for Oregon Gov. Tina Kotek, told Oregon Public Broadcasting that the state is not participating “due to both the cost of participating in the Fair and growing concerns that the event in Washington, D.C. is shaping up to be a more partisan affair than originally presented.”
Officials from different states told NPR they had different understandings of how representation from their state would work.
Jayette Bolinski, a spokesperson for the Illinois Department of Natural Resources, said the Peoria Riverfront Museum volunteered to represent the state with an “Illinois-centric pavilion” featuring a hologram of stories from over 50 residents — none of which was paid for by state funds, she stressed. Vaulman, of Connecticut, said she believes its booth will have photos and posters of some sort, while Hansen of Maine said their inquiries to Freedom250 about this “have gone unanswered.”
What else is on the anniversary agenda — and who’s planning it
Planning for national 250th anniversary events mainly falls to two main groups, which have become increasingly politicized.
In 2015, looking ahead, Congress created a nonpartisan commission to orchestrate anniversary celebrations, which in turn created a nonprofit called America250. It’s composed mostly of private citizens, along with several members of Congress and representatives from federal agencies.
America250 appears to focus mainly on getting Americans involved in celebrations at the local level, such as attending synchronized nationwide block parties. It has gathered — and recently sealed — a time capsule with contributions from every state and is hosting a July Fourth concert in Los Angeles, with tickets selling for $17.76, featuring the Smashing Pumpkins, Chris Stapleton and Queen Latifah.
Freedom250, on the other hand, emerged from a Trump 2025 executive order establishing a task force for celebrating the milestone. Critics — including progressive consumer advocacy group Public Citizen — see this group as Trump’s attempt to bypass America250 after trying unsuccessfully to pack it with loyalists.
Freedom250 describes itself as “the national, non-partisan organization leading the celebration of our Nation’s 250th birthday.” Another sign of its standing in the administration: The official White House webpage for the 250th links out to Freedom250, not America250.
The group has organized many other high-profile anniversary events, including the White House UFC event, the July Fourth rally on the Mall, a July Fourth tall ship event on the East Coast and the Freedom 250 Grand Prix of Washington, D.C., an Indycar event scheduled for the National Mall in August.
Trump’s executive order says the 250th task force must disband at the end of the year, unless he extends it. And many of the beautification projects his administration is undertaking in D.C. — from restoring fountains to installing statues to repainting the Lincoln Memorial Reflecting Pool — are tied to the anniversary but could shape the city far beyond it.
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