Calabasas High senior Elie Samouhi, who considers himself a music producer, performer and writer of songs, got to do his own two-minute concert in front of fans on Friday night before the Los Alamitos-Calabasas football game.
He played the national anthem on his electric guitar. And it was good.
Like a coach trying to give his student confidence, Samouhi’s teacher kept telling him before he began, “You got this.”
You could see how much he enjoyed the spotlight during the rendition.
Samouhi said he’s been playing guitar since he was 5. He’s 18 and hopes to attend USC or NYU.
It was another positive experience during high school sports competition.
This is a daily look at the positive happenings in high school sports. To submit any news, please email [email protected].
What started as a subtle act of protest has become national news.
Three days after singer and social media personality Nezza performed a Spanish version of the national anthem at Dodger Stadium — despite being asked by a team employee to sing it in English — the performer further addressed the situation Tuesday in an interview with CNN.
“With everything that’s been happening, I just felt like I needed to stand with my people and show them that I’m with them,” Nezza (whose full name is Vanessa Hernández) said on CNN’s “The Lead.” “I wanted to represent them that day.”
Nezza’s performance of the Spanish anthem — a version of “The Star-Spangled Banner” commissioned by the U.S. State Department in 1945 under President Franklin D. Roosevelt — became a viral story after she posted a video on TikTok of an unidentified Dodgers employee telling her beforehand that “we are going to do the song in English today, so I’m not sure if that wasn’t relayed.”
Nezza proceeded to sing the Spanish version anyway; doing so on the same day thousands gathered downtown to protest President Trump and recent ICE raids around Los Angeles in the last two weeks.
In email communications with the team leading up to her performance, Nezza said she asked if she could sing the anthem in both English and Spanish, but was told no because she would have only a 90-second window for her performance.
Still, she said she arrived at the stadium “fully thinking that I was welcome [to sing in Spanish], because nobody told me in that email thread, ‘No, you can’t.’”
“Had they told me you can’t have any Spanish in there,” she added, “I would have respectfully declined and not shown up on Saturday.”
Instead, Nezza performed the anthem in Spanish prior to the Dodgers-Giants game, before posting two videos on TikTok explaining the situation that quickly went viral.
On Sunday, a Dodgers official told The Times in a statement that she would be welcome back at the stadium.
In Tuesday’s CNN interview, Nezza said she was “very shocked” to learn she was welcome back at the ballpark, noting that “30 seconds after my performance, we actually received a call that said, ‘Don’t ever call us again. Don’t ever email us again. The rest of your clients are never welcome here again.’ So for me, that kind of feels like a ban.”
The Dodgers, however, reaffirmed to CNN that there were “no hard feelings” resulting from the situation. And a team spokesperson confirmed to The Times this week that, “She is certainly welcome back at the stadium. She is not banned from the stadium.”
On Saturday night, singer Nezza sang a Spanish version of “The Star-Spangled Banner,” also known as “El Pendón Estrellado,” at Dodger Stadium, despite being told by an unnamed representative of the baseball organization that she sing it in English.
The 30-year-old pop singer, whose real name is Vanessa Hernández, uploaded the interaction on TikTok, where she proceeded to sing the Spanish version anyway. She captioned the video, “para mi gente [heart] I stand with you.”
In a tearful follow up TikTok video, she clarified that her decision to follow through with singing “El Pendón Estrellado” was in response to the ongoing immigration sweeps throughout Los Angeles
“I’ve sang the national anthem many times in my life but today out of all days, I could not,” Nezza said in the TikTok video.
The Dodgers did not issue a public comment on Nezza’s social media posts, but a team official said there were no consequences from the club regarding the performance and that Nezza would be welcome back at the stadium in the future.
“I just don’t understand how anyone can watch the videos that have been surfacing and still be on the wrong side of history,” Nezza told The Times.
Nezza’s performance has also sparked conversations about the origins of “El Pendón Estrellado,” resurfacing the legacy of a trailblazing Latina composer, Clotilde Arias.
“The lyrics and the story are the same,” said Nezza. “We’re still saying we’re proud to be American.”
In 1945, the U.S. State Department looked to commission a Spanish version of the national anthem, per the request of President Franklin D. Roosevelt, who looked to strengthen political and business partnerships with Latin American countries amid World War II. His cultural efforts aligned with his 1933 Good Neighbor Policy, a Pan-Americanism objective that he implemented at the start of his first term to distance the U.S. from earlier decades of armed intervention.
Although “The Star-Spangled Banner” had already been translated to various languages by the time that President Roosevelt entered office, including two Spanish versions, no versions of the anthem were considered singable. In 1945, the Division of Cultural Cooperation within the Department of State, in collaboration with the Music Educators National Conference, invited submissions for the song in Spanish and Portuguese to promote American patriotism throughout Latin America.
Composer and musician Arias — who immigrated to New York in 1923 at the age of 22 from Iquitos, Peru — answered the call.
At the time, Arias had already established herself as a formidable copywriter for ad agencies, translating jingles and songs in Spanish for companies like Alka-Seltzer, Campbell Soup, Ford Motor Co., Coca-Cola (including the translation version of Andrews Sisters’ “Rum and Coca-Cola”) and others.
She submitted “El Pendón Estrellado,” which included singable lyrics that conveyed the original patriotic essence of “The Star-Spangled Banner.” It was accepted as the only official translation of the national anthem allowed to be sung, according to the National Museum of American History.
However, Arias would die in 1959 at age 58, leaving the song’s existence publicly unknown until 2006, when Roger Arias II, her grandson, dug out drafts of the sheet music and drafts hidden in the garage.
To honor Arias’ legacy, Pérez organized an exhibit in 2012 titled “Not Lost in Translation: The Life of Clotilde Arias,” featuring real documents and photographs of the songwriter. The exhibit also commissioned the first-ever recording of “El Pendón Estrellado,” sung by the a cappella ensemble Coral Cantigas under the musical direction of Diana Sáez. The DC-chamber choir also performed during the exhibit’s opening day, which Arias’ son, Roger Arias, age 82 at the time, came to see.
“I was there when she was writing it,” Roger Arias told NPR at the time. “She’d sing it in her own way to see if it fits, and she would say, ‘How does that sound, sonny?’ And I would say anything she did sounded good to me. So, yes, she struggled through it, but she made it work.”
For Nezza, Arias’ “El Pendón Estrellado” is not only a symbol of American pride, but also a living piece of forgotten Latino history.
“Latino people are a huge part of building this nation,” said Nezza. “I think [the song] shows how we are such an important piece to the story of America.”
By the time Cuco arrived at Dodger Stadium on a recent Tuesday evening, thousands of fans were already lined up outside the venue’s gates, waiting to be let in.
Though the matchup against the Arizona Diamondbacks wouldn’t begin for another two hours, these Doyer diehards made their way to Chavez Ravine early to catch the pre-game festivities. It was Mexican Heritage Night, and the team had plenty of entertainment planned for the fanbase that Fernando Valenzuela built: a mini-concert by the legendary La Original Banda el Limón de Salvador Lizárraga; a lucha libre exhibition; and the throwing of the ceremonial first pitch by Chavo Guerrero Jr., scion of the storied Mexican American Guerrero wrestling clan.
Luchadores perform in the outfield during Mexican Heritage Night at Dodger Stadium.
(Gina Ferazzi / Los Angeles Times)
To complete this hodgepodge of a cultural celebration, the Dodgers also asked Cuco to sing the national anthem, a fitting invitation given that the 26-year-old Inglewood-born and Hawthorne-raised artist, whose real name is Omar Banos, had just put out “Ridin’” (released May 9 via Interscope Records). The LP, his third, is an 11-track gem of L.A. Mexican Americana dripping with the ageless sounds of Chicano soul.
Donning a team cap, a long white tee, black shorts, Dodger blue Nike SB Dunk Lows and his trademark glasses, Cuco walked into the stadium entrance reserved for suite-level ticketholders accompanied by his manager and a social content creator. Despite a heat wave that raised that day’s temperatures into the high 80s, a black Dodgers windbreaker that he planned to wear later in the evening hung around his neck. Pinned to it was a button that contained a portrait of Jaime Mendoza, his late maternal grandfather.
“My grandpa was big on the Dodgers,” Cuco said, noting that it was because of him that his whole family rooted for the Boys in Blue.
Cuco wears a pin with his grandfather Jaime Mendoza’s picture at Dodger Stadium.
(Gina Ferazzi / Los Angeles Times)
As Cuco is escorted through the concrete bowels of Dodger Stadium by a pair of team publicists taking him to sound check, fans spot him and excitedly call out his name. Some even approach him for a selfie. When asked if he often gets recognized in public, the singer-songwriter chuckled.
“Yeah, if there’s a lot of Latinos around,” he quipped. “I’m always going to say yes to a photo. I’m never going to turn them down.”
It’s cliché for any artist to say that they’d be nothing without their fans, but this adage rings particularly true when it comes to Cuco. His loyal supporters, dubbed the “Cuco Puffs,” turned a former precocious marching band geek into a bonafide indie pop star.
He began his career in the mid-2010s by uploading Spanglish lo-fi love songs recorded in his childhood bedroom to Soundcloud and Bandcamp. Dreamy, synth-heavy ballads like “Lover Is a Day” (off of his first mixtape, 2016’s “Wannabewithu”) and “Lo Que Siento” (released as a single in 2017) quickly connected with countless bicultural, Gen Z Latinos, racking up millions of streams in the process. By the time Cuco started performing at backyard shows, he had packed crowds singing every lyric back at him.
Such was the hype around him that several labels got into a two-year bidding war to sign the unlikely teen idol with a ready-made fan base.
Cuco sings the national anthem before the Dodgers game.
(Gina Ferazzi / Los Angeles Times)
“I don’t need a label. The labels mostly need me,” Cuco told The Times in 2017. “Like, in no cocky way, the reality of it is labels stay up because of the artists.”
When Interscope finally won out in 2019, it was on the artist’s terms — Cuco inked a seven-figure deal that allowed him to retain ownership of his music and gave him the creative freedom to do what he wanted. He was 20 at the time.
That summer, he released his debut album, “Para Mi,” a notable first effort that paired a blissful sound — inspired by a slew of genres, including psychedelic rock, bossa nova, pop and quiet storm R&B — with lyrics that touched on loneliness and substance abuse (“Take this and fly away till the substance numbs the pain,” he sings in “Ego Death in Thailand”). The album’s first single, “Hydrocodone,” is a nod to the pain medication he was on after being involved in a near-fatal car crash while out on tour in 2018.
The year 2022 saw the release of “Fantasy Gateway,” an ambitious concept album heavily inspired by psych rockers Tame Impala that takes the listener to another dimension, featuring notable collaborations with artists like Mexico’s indie darling Bratty and fellow sadboi romántico DannyLux. “Sitting in the Corner,” recorded with música Mexicana crooner Adriel Favela and country singer Kacey Musgraves, is a space pop ranchera that yearns for a lover who has left.
“It’s the vibe, man,” he says of the musicians he chooses to work with. “It’s not really about artists being big or not. It’s just if I get along with them and they have cool ideas and it aligns with my personality.”
With “Ridin’,” Cuco delivers his most mature album to date. Produced by Thomas Brenneck (Sharon Jones & the Dap-Kings, Mark Ronson, Amy Winehouse), the record is a neo-Chicano soul instant classic that pays tribute to the likes of Brenton Wood, Al Green and Smokey Robinson — soul and R&B artists from the ’60s and ’70s whose music has been adopted by lowrider and Chicano culture — all while maintaining that distinct Cuco sound, a perfect marriage between the old and the new.
The album’s opener, “ICNBYH” (an abbrevation of “I Could Never Break Your Heart”), would be at home in an “East Side Story” mixtape compilation. Cuco’s psychedelia roots are most apparent in songs like “Ridin’,” a track that feels like you’re cruising on a spaceship down Whittier Boulevard.
“I couldn’t really try to make something that sounded exactly like [Chicano soul]. I was hoping to embody that timelessness, but I had to work in the most authentic way possible so that it felt that way,” he said.
“I wanted to go for more natural sounds with the soul sound, but I think it’s just inevitable for me sometimes. I’m just going to end up doing some psychedelic parts with the music because that’s what I’ve always been.”
“Ridin’” is an album of the summer contender for anyone whose idea of summer means hanging out at the beach with all your friends — this exact scenario describes the music video for the album’s first single, “My 45,” which stars Mexican American actress Xochitl Gomez as a femme fatale.
And while the LP is teeming with enough vehicular references to make Bruce Springsteen jealous (the cover shows Cuco sitting on top of his 1989 Toyota Supra), Cuco says “Ridin’” isn’t strictly meant for the car.
“I’m hoping that [“Ridin’”] is something that’s interpreted however the listener chooses to interpret it, whether they’re ridin’ in your car, ridin’ for somebody or just ridin’ through life,” he says.
After sound check, Cuco made his way back to the suite level to wait for the rest of his party to arrive, which included his parents, Adolfo Banos and Irma Mendoza. The only child of immigrants, the artist has made it a point to share his success with them. Forgoing wearing anything in Dodger blue, the elder Banos donned a hoodie from his son’s latest tour. Mendoza showed up wearing a team hat and a striped shirt. Affixed to it was a button identical to her son’s. It was her idea; she had made them the night before.
Cuco gets a hug from his dad after singing the national anthem.
(Gina Ferazzi / Los Angeles Times)
As it got closer to game time, the singer was ushered down to the field once again. It was showtime.
Cuco poses with his parents before singing the national anthem.
(Gina Ferazzi / Los Angeles Times)
“Please stand and remove your hats for the singing of the national anthem,” the stadium announcer said over the P.A. system. “Joining us today is Cuco, indie pop star from Hawthorne!”
Cuco took a beat before singing “The Star-Spangled Banner” in his patented soft and mellow voice. His parents stood approximately 20 feet away, beaming with pride. After it was all over, the singer quickly made his way to them, and was met with smiles and hugs.
A minute later, a production assistant grabs Cuco for his final obligation of the night. He’s handed a microphone and is escorted back to where he performed the national anthem. He’s met by a congregation of luchadores who will act as a chorus as he delivers the phrase popularized by the legendary broadcaster Vin Scully — “It’s time for Dodger baseball!”
In the fall, Cuco will go on a nationwide tour to promote the album — he’ll be performing at the Greek Theatre on Sept. 15. But right now it’s summer and he’s ridin’ with his loved ones, about to watch a game the Dodgers will end up winning 4-3 in extra innings.
