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'Reclaiming red, white and blue': What fans wore to Beyoncé’s ‘Cowboy Carter’ show in L.A.

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'Reclaiming red, white and blue': What fans wore to Beyoncé’s ‘Cowboy Carter’ show in L.A.

Beyoncé kicked off her highly anticipated “Cowboy Carter” tour this week in Los Angeles at the SoFi Stadium, where she’ll be gracing the stage five times through May 9.

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As expected, the Beyhive (a.k.a. her most dedicated fans) showed out with their western-inspired outfits, which were heavily influenced by the Grammy Award-winning country album. Attendees wore bedazzled cowboy boots and hats; chaps; fringe and leather; red, white and blue; outfits inspired by Beyoncé’s past tours and video looks; and, of course, denim on denim on denim.

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Before the second show on Thursday night, we caught up with some of Beyoncé’s fans to ask them about their outfit inspiration, why “Cowboy Carter” resonates with them and what cowboy culture means today. Here’s what they had to say.
Responses have been lightly edited for length and clarity.

Twins Kylia and Kyana Harrison, 24.

Kylia and Kyana Harrison, 24, of Santa Barbara

Tell us about your outfits.

Kylia: She actually bought our tickets Monday night and surprised me while I was at work and was like, “Are you down?” I was like, “OK, I’m so down.” And then we kind of just put this together.

Kyana: She had everything already. We do Stagecoach and Coachella, so we already had those pieces. So then we kind of just put everything together.

What is your favorite part of your look?

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Kylia: Mine is definitely my cowboy hat. I’ve had it for two-ish years. I go to NFR [National Finals Rodeo] every year, so I wore it. I feel like it’s just kind of my thing.

Kyana: My body chain.

What song are you most excited to hear tonight?

Kylia: I want to hear “I’m That Girl.” It’s very sensual and just like that moment.

Kyana: I want to hear “Tyrant.” I feel like it puts me in a “bad girl” energy, like real boss. I love that song.

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Cowboy and western culture have evolved significantly over the years, and it feels like Beyoncé is showcasing what it means to her and it’s history. What does cowboy culture mean to you?

Kyana: Personally, I love it because … I know that cowboys first were African American, so I think that she’s taking control of that and putting her twang on it.

Hope Smith, 31

Hope Smith, 31, of Vancouver, Wash.

Tell us about your outfits.

I love DIYing and I never learned my lesson on taking too big of a project, so I redid her Dolce & Gabbana outfit [from] “Renaissance.” I went for the hardest option. This is my favorite outfit that Beyoncé wore during “Renaissance.” She had a blue and a red [version]. It was hours and hours of rhinestoning, multiple seasons of “Love Is Blind” and a lot of podcasts. I was rhinestoning last night, actually, and there is glue in my purse and rhinestones just in case. I’m hoping it holds it together. So, yes, I loved “Renaissance” and I am overjoyed to be here. I turned 30 with Beyoncé at “Renaissance,” and it was like my my coming of age. Hopefully, [my outfit] makes it to D.C. in a few weeks.

What is your favorite part of your look?

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This fan came to two “Renaissance” shows with me. It’s really cheesy. She’s inspired me as an artist. I’m a teacher and I’ve been pursuing art outside of teaching, and it’s, like, brought me into the person that I am. So this is designed after her opening screen for “Renaissance,” and she later sold a version of it online, so Beyoncé has copied me. Thank you, Beyoncé. You can credit me later with tickets, and so, yes, it is being held together with tape because I was clacking it too much in Vegas and Seattle.

Hope Smith, 31

What song are you most excited to hear tonight?

I feel like “II Hands II Heaven” is going to just kill it live, but I’m going to cry the whole time. I had to buy tissues on the way over because I will sob.

What does cowboy culture mean to you?

I feel like she’s tapping into the original cowboy culture. Like, as a white woman, I’ve learned a lot from this album, like Beyoncé has really tapped into the history. The origin of the word “cowboy” was used to be derogatory towards Black men and these are things that, like, we didn’t learn in school, especially growing up in Oklahoma, and I just have loved the history and the commentary through it. I have loved watching people’s responses and I’m really excited to see them respond more to this show certain parts of it on Monday were just amazing and I love her pushing against the norms and the white narrative that we tend to fall into. She’s forcing us to think — if you stop and think — but then a lot of people are coming to judgments without doing their research.

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Oscar Saucedo and Jonathan Rojas

Johnathan Rojas, 34, and Oscar Saucedo, 32, of Orange County

Tell us about your outfits.

Rojas: My inspiration is like Amazon, but make it look like not Amazon. I love to sparkle. Cheap but not cheap. Expensive.

Saucedo: For me, I just went with the red, white and blue with the boots.

What is your favorite part of your look today?

Rojas: Definitely the shirt. Can’t get enough, and the pink Cubans on the wrist like get into it.

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Saucedo: For me, definitely my hat with the rhinestones, and my boots have the American flag.

What song are you most excited to hear tonight?

Rojas: I love a good ol’ classic like “Diva.” You know, “female version of a hustler.” I love to hear the classics and then anything from “Renaissance.”

Saucedo: “Cozy.” That’s my song.

What does cowboy culture mean to you?

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Rojas: It’s cool that Beyoncé, like, took it over, because it’s become more of like a mainstream and less conservative. We can all kind of can put our twist and our spin on it and really be creative with it.

Saucedo: Being Mexican, it comes from my culture. I’m glad that she’s making it part of it, that she’s making it more mainstream so everyone can see just other cultures and not just whatever is popular at the moment.

Ronny G.

Ronny G., 28, of Salt Lake City

Tell us about your outfit.

I want to do a real country one, so I got the boots from Mexico, got the Levi bootcuts, fringe on the top and the back. I had to show off for Beyoncé. I love [her].

Which part of your outfit are you most proud of?

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It took me 20 minutes to get these [bootcuts] on and I did it.

What song are you most excited to hear tonight?

All of them. I just don’t want her to point to me and say, “She ain’t no diva.” That’s all I am concerned about, honestly.

What does cowboy culture mean to you?

Just getting down and dirty.

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Chris Golson, Jason Richardson and Marquis Phifer

Chris Golson, 32, of West Adams; Marquis Phifer, 36, of Houston; Jason Richardson, 39, of Los Angeles

Tell us about your outfits.

Richardson: As much of my personality is upbeat, I’m actually pretty severe with my look, so I love all black. [I have] an Ottolinger vest. I like a high, low [moment]. Cargos. The boots — I don’t know the actual brand, but I do know they hurt, so pray for me.

Golson: My look is giving “Renaissance” meets “Cowboy Carter.” I’m a little bit of cowboy on top, little bit of disco on the bottom, a little bit ghetto country on the bottom, on my feet.

Phifer: I’m giving rich plantation owner. I’m sorry, but in the terms of, like, “I’m from Texas,” so owning a farm, that’s kind of what you do. So it’s giving ownership.

Which part of your outfit are you most proud of?

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Phifer: The jacket. It was flown in from Pakistan. I’m from Texas, so there’s like synergy, but I just wanted, like, a little bit of shimmy. [I planned my outfit] for only two weeks. I don’t think too much. Not too much thought. Just execution.

Richardson: My favorite part will probably be the cowboy hat. I mean, I know everybody’s going to have a cowboy hat, but, you know, sometimes you gotta lean into the theme. But I will say I’m a Texan as well. Born in Houston, then moved to Dallas, so we just need to let everybody know that Destiny’s Child has been wearing cowboy hats. They’ve been wearing the denim, been having the nod to country. So I will enjoy this tour because I am Black, I am country, I am from Texas, born and raised. So I’m super excited to enjoy the show.

Golson: My favorite part of my look is honestly the glow. It’s time for Beyoncé to shine. I’m here for it.

What song are you most excited to hear?

Richardson: It’s not even a full song but something about “Flamenco.” Ugh, [it] does something in my spirit. I love the the vocal acrobatics, you know, just reminding people that even though it’s a country genre, she could still skate on the track and get the vocals that she needs. If it’s a full song — let me stick to the theme — I’ma say “Texas Hold ’Em.”

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Phifer: We would say “Desert Eagle.”

Golson: That’s our favorite song. It’s f— hot. It’s a moment.

What does cowboy culture mean to you?

Richardson: What I’ll say about cowboy culture is that she is democratizing the access to cowboys and that cowboy culture. More of a [reminder] that it has its roots across all the demographics, primarily in the South. And so for all those that have grown up in the South, that are fully acquainted with that cowboy culture, but don’t necessarily look the part of mainstream cowboy country music, we’re excited to lean into it. I’ve been called country for a large part of my life. I wish I didn’t lose some of the twang, but I’m super excited that she reminded people about the history of the genre, reminded of the roots and some of the complexions and different colors of country. So I’m excited to see the greatest artist of our living time do what she does best.

Phifer: I’m from Houston, Texas, and we still ride horses in the middle of the street, and that’s just the culture of Houston. I love that she’s able to take the culture and put it on a massive stage to be received. But we’ve been country. We’re gonna live country, die country, and that’s the country culture.

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Golson: Honestly, as someone from Philly, I think, this tour, this album, and the magnitude that she’s been able to hit with this has spoken volumes to the amount that we have contributed to music in general, and there is no genre that could define us. It’s just music and it’s just love.

Camilo Aldrete

Camilo Aldrete, 21, of Pomona

Tell us about your outfit.

The inspiration was obviously “Cowboy Carter,” but I also pulled from “Renaissance.” I just wanted to be sparkly. I was like, “Silver, why not?” I still wanted to have that cowboy-ness and like a little belt buckle.

What is your favorite part of your look?

I think my shirt. I had to bedazzle it myself. It was fun. It was rewarding to see the outcome. It took me a few days, but I had help too, so it was easier.

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What song are you most excited to hear today?

Probably “Bodyguard” and “ll Hands ll Heaven.”

What does cowboy culture mean to you?

I’m Mexican, so I view it from the Mexican point of view, and I think it’s about just being confident, being yourself, standing your ground, knowing what you want to do [and] living in your own vibe.

Maddison Walker, 9

Maddison Walker, 9, of Carson

Tell us about your outfit.

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My mom helped me pick it out, and I was able pick out my pants. I really like my heart pants, and they’re pretty.

What is your favorite part of your look?

I really like my purse. It’s the Marc Jacobs Tote Bag.

What song are you most excited to hear today?

“Texas Hold ’Em.”

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Madalyn Young, 55, of Hawthorne

Madalyn Young, 55, of Hawthorne

(Juliana Yamada / Los Angeles Times)

Madalyn Young, 55, of Hawthorne

Tell us about your outfit.

My outfit is all about animal prints. I love zebras, so you can tell I have the coat, the boots with the fringe, all with the black skirt and the blouse. This is a western-style blouse as you can see with the fringe, the lace and the buttons. What I love about this blouse is the lace. It’s showing a little skin. It’s sexy but at the same time very classy.

What is your favorite part of your look?

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I love my boots. These are authentic western boots. There’s zebra print with the fringe, and if you look around, you really won’t see anybody else with the boots on, so I like to be an original person.

What song are you most excited to hear?

“16 Carriages” and, most importantly, “Blackbiird.” It really resonates with me because it was written by the Beatles regarding the Little Rock Nine, and my parents are from Little Rock, Arkansas, and so they lived through that moment and they actually know some of the Little Rock Nine. So it’s very personal for me, and I’m very inspired by that song.

What does cowboy culture mean to you?

When I think about cowboys, I even go back to the Lone Ranger. Bass Reeves was actually a Black man from Arkansas. As you can tell, that’s my roots. However, coming to Hollywood, it was kind of … he looked different. The Lone Ranger is actually a true story about Bass Reeves. When you think about the culture of cowboys, they were actually Black men, but they would not refer to them as men, so they called them “boys” — “cowboys.” However, it has just evolved into a culture that has always been a part of my family. I have relatives who were cowboys and actually worked with cattle in Texas, so it’s a culture that never left. It’s just coming back on the scene.

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Josh Krantz

Josh Krantz, 40, of Long Beach

Tell us about your outfit.

What’s funny about the inspiration is that I had a whole ’nother outfit planned, and with the help of a friend, she’s stoning some things for me, but that didn’t come through today. So this is all random s— from my closet that I just pulled together for “Cowboy Carter.” I did not plan this months in advance. However, I did plan the other outfit months in advance, but it may happen on Sunday. I’m coming back for another show.

What is your favorite part of your look?

I did stone this sash myself. This is Beyoncé merch. I’m proud of that because that was a lot of hard work. It took a couple hours, maybe three. I love this fringy rhinestone madness. I love any kind of fringe, so I’m feeling it.

What song are you most excited to hear today?

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I’m excited to hear “Why Don’t You Love Me.”

What does cowboy culture mean to you?

I love that. Beyoncé is bringing back that cowboy culture and really making all the white people in America realize it actually started with Black people, especially the house music too, with the “Renaissance” tour. She’s killing it. It’s so rad. I love that we’re all learning a whole new thing through her.

Anthony Pittman, 32, and Jose Mascorro, 32

Anthony Pittman, 32, and Jose Mascorro, 32, of Compton

Tell us about your outfits.

Pittman: I painted this jacket when the album came out last year at the end of March. I painted another jacket for this tour as well, but I wore that to opening day, so I wore this one today. My look is basically vintage, mustard kind of vibes. I’ve been an artist for 15 years now. I started painting jackets for Beyoncé during the “On the Run” [tour] and then the Hive started commissioning me to paint jackets for them, so I’ve been doing that as well. I was featured in Vogue, Essence [and] USA Today last year for the “Renaissance” tour, so that’s why I’m back here at the “Cowboy Carter” tour to give you more looks.

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Mascorro: For my look, I really just wanted to match with him, so I’m just wearing a Levi’s jacket and jeans, but I wanted to switch it up with the cream.

Pittman: My bandana. This was Grandma’s. It’s been around from like the 1970s, maybe, and it was in her drawer. She passed five years ago, so I’m wearing it just kind of as a token for my grandma.

Mascorro: My boots. I think is the first time I’ve ever really owned boots, so Beyoncé got us all buying boots. Kind of like how my family used to wear boots back in the day, so it’s kind of important to honor that.

Anthony Pittman, 32, and Jose Mascorro, 32, of Compton

What song are you most excited to hear?

Pittman: “Ameriican Requiem.” I love that that’s the opener. I was hoping it would be the opener, and it really sets the tone for the rest of the show. It’s just beautiful.

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Mascorro: I think I’d have to agree with that. It’s a powerful song.

What does cowboy culture mean to you?

Pittman: I was born and raised in Compton, so we have the Compton farms. Not a lot of people know about it, but I basically grew up watching the cowboys ride down the block on their horses, and I still do every single day, so it reminds me of being home, and there’s also this ancestral memory that I have to it because my family is from the South, so I kind of feel more connected to my family’s background and where they came from.

Mascorro: My family is Mexican and a lot of them are from farms, and so it was really nice to kind of wear the same outfits that they wore back home but kind of make it my own vibe with my own twist on it.

Quentin Smith and Manny Bueno

Manny Bueno of West Hollywood and Quentin Smith, 30-something, San Diego

Smith: The inspiration for my outfit were the Compton Cowboys, so I wanted to do the flannel, I’ve got the cargos, the Margiela work boots and the cowboy hat.

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Bueno: I was here opening night like a true fan [laughs]. I was giving trade the first night, but this is my distressed Y2K meets my version of rustic cowboy. It’s giving roadhouse.

What is your favorite part of your look?

Smith: I love this shirt. It drapes right, keeps me warm. And I love the hat. It’s by a [Latino] designer, René Mantilla. It’s my first time wearing this hat, so if not now, when?

Bueno: I love distressed leather.

What song are you most excited to hear today?

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Bueno: I love “Diva.” It’s my favorite and “My House.”

Smith: I missed the “Renaissance” tour, so I’m kind of excited to hear those [songs] live, but of course “Texas Hold ’Em,” all the ones off “Cowboy Carter,” “Ameriican Requirem.” I love that one. Anything she wants to sing to me, I’m here to receive it.

Quentin Smith and Manny Bueno

What does cowboy culture means to you?

Bueno: Not to politicize, but [to] politicize, I think we need to take ownership of America and what truly is America. And it’s not Trump’s America. It’s not what’s being played out in the news.

Smith: To add on to that a little bit, a reclamation of not just America but, like, Black America and where our influence lies, and so many difference places that we don’t always think about. So I love see this subtle, quiet reclamation of not only what it means to be an American but what it means to be a Black American. So it’s interesting to see how she kind of plays around with that.

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Peter Crawford and Pieter van Meeuwen

Peter Crawford, 54 and Pieter van Meeuwen, 52, of Santa Barbara

Tell us about your outfits.

Crawford: Obiviously, [the] “Lemonade” [album] inspired it, and I made this dress out of shower curtains, actually, and fishing line, which I made as a tribute to her. I also sewed two wigs together to make this.

Van Meeuwen: We saw the show on Monday, and this is a reference to one of the video looks that is on the background. I fell in love with it that night, and I knew I had to do it. Weirdly, I actually had the supplies ready to go. [laughs] We’ve been to every tour since “B’Day.” We met her at “B’Day” and got to do a meet-and-greet. We saw “Sasha Fierece,” we were in the second row, and she reached through and took my hand when she walked through the audience, so ever since that happened, I just can’t get enough Beyoncé.

What is your favorite part of your look?

Van Meeuwen: I love the sparkle [on my shirt]. I had it made by a young lady named Glittah Gal.

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Crawford: The little fringe [on my dress] is made out of fishing line, and I wove every single one of them into the hem of this, so I’d have to say that’s my most special part of this outfit.

What song are you most excited to hear?

Crawford: Always “Ya Ya” for this album.

Van Meeuwen: I love when she does “Ameriican Requiem.” It’s great so I want to see it again.

What does cowboy culture mean to you?

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Crawford: Chaps! Chaps! Chaps! Chaps are going to be everywhere. Chaps already are. There’s going to be short chaps. You’re going to see them on runways. That is what’s happening.

Van Meeuwen: I think cowboy culture is complicated. Whether it’s about Indigenous people and what they had to go through under cowboys, or reclaiming the cowboy spirit of what America was built on — this kind of rough-and-tumble existence. I think Beyoncé has done a beautiful job reclaiming it, making it her own and standing strong in the face of the current administration.

Crawford: And also reclaiming the American flag or reclaiming red, white and blue. Like it doesn’t below just Trumpers; it belongs to everybody. It belongs to the United States of America, and I love that she’s making it chic again.

Neil Torrefiel and Blake Keng

Neil Torrefiel, 41, and Blake Keng, 38, of San Francisco

Tell us about your outfits.

Keng: I love denim on denim, so I wanted to do something that was flowy, and we love to complement looks with each other.

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Torrefiel: Absolutely. And I love black on black, and I wanted to do a fulsome look that was really reminiscent of Beyoncé.

Keng: I’ve been planning [my outfit] for months, and I have a mood board [where] I put all these different outfits together. I come up with it kind of last minute, and then he will kind of vibe with whatever I have.

Torrefiel: I’m laughing cause it literally took me an hour.

Keng: We cannot be more opposite.

What song are you most excited to hear?

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Torrefiel: I would really scream like a child if she did the Charlie’s Angels song [“Independent Women, Part 1”].

Keng: I’m ready for this album, “Sweet, Honey Buckin.”

What does cowboy culture mean to you?

Keng: It’s like reclaiming what’s ours, and I think that’s what really drew me to her album was reclaiming what is [in] the communities and where it originated from. That spoke to me a lot.

Torrefiel: I think she’s doing a lot to redefine the genre and I deeply appreciate all the work that she’s doing around it. I’m just here to experience all of it.

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Teauna Baker and Jeanisha Rose

Teauna Baker, 31, of San Diego and Jeanisha Rose, 34, of Houston

Tell us about your outfits.

Rose: It’s inspired by the song “My Rose” from the CD. It doesn’t say that on the digital version, but I like a rose and my favorite color is pink, so I adjusted it to my liking. It’s one of my favorite songs. It’s so tender. I [rhinestoned] my dress. This outfit was a b— to put together. It took forever.

Baker: I think my outfit is giving “America Has a Problem” … still has a problem. [laughs] I really liked the chaps. As soon as she dropped her picture with the plain white tee and the chaps, from there I was like I definitely need to have chaps. I just wanted to give “high fashion in a plain white tee.”

What is your favorite part of your look?

Baker: It’s the belt. I was a little bit chaotic trying to put this together, and I was on the internet last night looking up horse belts at like 11 p.m., and I was like, “I gotta find a belt to put this together,” and I found this [one] this morning at like 9 a.m. and it was the last one. There was this store in DTLA that had one, and I was like “We have to go first thing in the morning.”

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Rose: My favorite part of my outfit are my boots. I got these Cavender’s [Boot City] in Texas. I’m from Texas. She got her boots from Texas too.

What song are you most excited to hear?

Baker: “Spaghettii,” “Ya Ya” or “Heated.” All of ’em to be honest. I’m ready to jam.

Rose: I’m ready to hear “Tyrant.” It’s my jam. I put that on repeat regularly — daily probably.

Teauna Baker and Jeanisha Rose

What does cowboy culture mean to you?

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Rose: For me, it represents home. I’m used to going on trail rides and things like that since I was a kid, and it’s just a real good time. It just feels like a connection.

Baker: We’ve been here. We do this. This is where we kind of came from, and I feel like she’s taking the time to share what was ours with other people. But really it’s just freedom. I feel a sense of pride. I feel freedom. I feel happiness inside, so it’s really about enjoying African American culture and being able to share it other people, but other people respect it and enjoy it.

Zuri McPhail

Zuri McPhail, 37, of Stockton

Tell us about your outfit.

I love the color pink, so I was like I want to do a pink theme, but I also don’t want to be like everybody else. I pieced this outfit together, and it’s pretty in pink. I like the rodeo. I have a pink horse.

What is your favorite part of your outfit?

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My horse.

What song are you most excited to hear?

I looked at the setlist beforehand, and I’m not going to lie, I’m excited to hear the older songs that she’s going to play. I’ve been a Beyoncé fan since I was 13 or 14 so I’m looking forward to the older s— because I’m nostalgic. That’s my s—.

What does cowboy culture mean to you?

You can’t reclaim what is already yours. We were doing the s— before the s— was the s—. I have family who were Black cowboys. We are always the trendsetters. Black women. Black people. We started the s— and it kept getting built on. And I’m just grateful to be here and to see a Black woman do the s— bigger than anybody has ever done it. You can hate on it as much as you want to, but if Beyoncé is doing your genre, you made it. And Beyoncé is from Texas, so if you’re ever going to question like, “She can’t do a country album?” She’s f— country. That is who she is. She is from Texas. She can’t be mad that a Texas woman is tapping into her roots and showing you who she is and who were are.

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On the brink of death, a woman is saved by a stranger and his family

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On the brink of death, a woman is saved by a stranger and his family

In 1982, Jean Muenchrath was injured in a mountaineering accident and on the brink of death when a stranger and his family went out of their way to save her life.

Jean Muenchrath


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Jean Muenchrath

In early May 1982, Jean Muenchrath and her boyfriend set out on a mountaineering trip in the Sierra Nevada, a mountain range in California. They had done many backcountry trips in the area before, so the terrain was somewhat familiar to both of them. But after they reached one of the summits, a violent storm swept in. It began to snow heavily, and soon the pair was engulfed in a blizzard, with thunder and lightning reverberating around them.

“Getting struck and killed by lightning was a real possibility since we were the highest thing around for miles and lightning was striking all around us,” Muenchrath said.

To reach safer ground, they decided to abandon their plan of taking a trail back. Instead, using their ice axes, they climbed down the face of the mountain through steep and icy snow chutes.

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They were both skilled at this type of descent, but at one particularly difficult part of the route, Muenchrath slipped and tumbled over 100 feet down the rocky mountain face. She barely survived the fall and suffered life-threatening injuries.

This was before cellular or satellite phones, so calling for help wasn’t an option. The couple was forced to hike through deep snow back to the trailhead. Once they arrived, Muenchrath collapsed in the parking lot. It had been five days since she’d fallen.

 ”My clothes were bloody. I had multiple fractures in my spine and pelvis, a head injury and gangrene from a deep wound,” Muenchrath said.

Not long after they reached the trailhead parking lot, a car pulled in. A man was driving, with his wife in the passenger seat and their baby in the back. As soon as the man saw Muenchrath’s condition, he ran over to help.

 ”He gently stroked my head, and he held my face [and] reassured me by saying something like, ‘You’re going to be OK now. I’ll be right back to get you,’” Muenchrath remembered.

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For the first time in days, her panic began to lift.

“My unsung hero gave me hope that I’d reach a hospital and I’d survive. He took away my fears.”

Within a few minutes, the man had unpacked his car. His wife agreed to stay back in the parking lot with their baby in order to make room for Muenchrath, her boyfriend and their backpacks.

The man drove them to a nearby town so that the couple could get medical treatment.

“I remember looking into the eyes of my unsung hero as he carried me into the emergency room in Lone Pine, California. I was so weak, I couldn’t find the words to express the gratitude I felt in my heart.”

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The gratitude she felt that day only grew. Now, nearly 45 years later, she still thinks about the man and his family.

 ”He gave me the gift of allowing me to live my life and my dreams,” Muenchrath said.

At some point along the way, the man gave Muenchrath his contact information. But in the chaos of the day, she lost it and has never been able to find him.

 ”If I knew where my unsung hero was today, I would fly across the country to meet him again. I’d hug him, buy him a meal and tell him how much he continues to mean to me by saving my life. Wherever you are, I say thank you from the depths of my being.”

My Unsung Hero is also a podcast — new episodes are released every Tuesday. To share the story of your unsung hero with the Hidden Brain team, record a voice memo on your phone and send it to myunsunghero@hiddenbrain.org.

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DTLA has a new theater — inside a fake electrical box

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DTLA has a new theater — inside a fake electrical box

By day, you’d be forgiven for walking past the newest theater in downtown L.A.

It isn’t hidden in an alley or obscured via a nameless door. No, this performance space is essentially a theater in disguise, as it’s designed to look like an electrical box — a fabrication so real that when artist S.C. Mero was installing it in the Arts District, police stopped her, concerned she was ripping out its copper wire. (There is no copper wire inside this wooden nook.)

Open the door to the theater, and discover a place of urban enchantment, where a red velvet door and crimson wallpaper beckon guests to come closer and sit inside. That is, if they can fit.

With a mirror on its side and a clock in its back, Mero’s creation, about 6 feet tall and 3 feet deep yet smaller on its interior, looks something akin to an intimate, private boudoir — the sort of dressing room that wouldn’t be out of place in one of Broadway’s historic downtown theaters. That’s by design, says Mero, who cites the ornately romanticized vibe and color palette of the Los Angeles Theatre as prime inspiration. Mero, a longtime street artist whose guerrilla art regularly dots the downtown landscape, likes to inject whimsy into her work: a drainage pipe that gives birth, a ball pit for rats or the transformation of a dilapidated building into a “castle.” But there’s just as often some hidden social commentary.

With her Electrical Box Theatre, situated across from the historic American Hotel and sausage restaurant and bar Wurstküche, Mero set out to create an impromptu performance space for the sort of experimental artists who no longer have an outlet in downtown’s galleries or more refined stages. The American Hotel, for instance, subject of 2018 documentary “Tales of the American” and once home to the anything-goes punk rock ethos of Al’s Bar, still stands, but it isn’t lost on Mero that most of the neighborhood’s artist platforms today are softer around the edges.

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Ethan Marks inside S.C. Mero’s theater inside a fake electrical box. The guerrilla art piece is near the American Hotel.

(Kayla Bartkowski / Los Angeles Times)

“A lot of galleries are for what can sell,” Mero says. “Usually that’s paintings and wall art.”

She dreamed, however, of an anti-establishment place that could feel inviting and erase boundaries between audience and perfomer. “People may be intimidated to get up on a stage or at a coffee shop, but here it’s right on street level.”

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It’s already working as intended, says Mero. I visited the box early last week when Mero invited a pair of experimental musicians to perform. Shortly after trumpeter Ethan Marks took to the sidewalk, one of the American Hotel’s current residents leaned out his window and began vocally and jovially mimicking the fragmented and angular notes coming from the instrument. In this moment, “the box,” as Mero casually refers to it, became a true communal stage, a participatory call-and-response pulpit for the neighborhood.

Clown, Lars Adams, 38, peers out of S.C. Mero's theater inside a fake electrical box.

Clown Lars Adams, 38, peers out of S.C. Mero’s theater inside a fake electrical box. Mero modeled the space off of Broadway’s historic theaters.

(Kayla Bartkowski / Los Angeles Times)

A few days prior, a rideshare driver noticed a crowd and pulled over to read his poetry. He told Mero it was his first time. The unscripted occurrence, she says, was “one of the best moments I’ve ever experienced in making art.”

“That’s literally what this space is,” Mero says. “It’s for people to try something new or to experiment.”

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Marks jumped at the chance to perform for free inside the theater, his brassy freewheeling equally complementing and contrasting the sounds of the intersection. “I was delighted,” he says, when Mero told him about the stage. “There’s so much unexpectedness to it that as an improviser, it really keeps you in the moment.”

A downtown resident for more than a decade, Mero has become something of an advocate for the neighborhood. The area arguably hasn’t returned to its pre-pandemic heights, as many office floors sit empty and a string of high-profile restaurant closures struck the community. Mero’s own gallery at the corner of Spring and Seventh streets shuttered in 2024. Downtown also saw its perception take a hit last year when ICE descended on the city center and national media incorrectly portrayed the hood as a hub of chaos.

Artist, S.C. Mero poses for a portrait in her newest art project, "Electrical Box Theatre"

Artist S.C. Mero looks into her latest project, a fake electrical box in the Arts District. Mero has long been associated with street art in the neighborhood.

(Kayla Bartkowski / Los Angeles Times)

“A lot has changed in the 13 years when I first got down here,” Mero says. “Everybody felt like it was magic, like we were going to be part of this renaissance and L.A. was going to have this epicenter again. Then it descended. A lot of my friends left. But I still see the same beauty in it. The architecture. The history. Downtown is the most populous neighborhood in all of L.A. because it belongs to everybody. It’s everybody’s downtown, whether they love it or not. And I feel we are part of history.”

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Art today in downtown ranges from high-end galleries such as Hauser & Wirth to the graffiti-covered towers of Oceanwide Plaza. Gritty spaces, such as Superchief Gallery, have been vocal about struggles to stay afloat. Mero’s art, meanwhile, remains a source of optimism throughout downtown’s streets.

At Pershing Square, for instance, sits her “Spike Cafe,” a mini tropical hideaway atop a parking garage sign where umbrellas and finger food props have become a prettier nesting spot for pigeons. Seen potentially as a vision for beautification, a contrast, for instance, from the nature intrusive barbs that aim to deter wildlife, “Spike Cafe” has become a statement of harmony.

Elsewhere, on the corner of Broadway and Fourth streets, Mero has commandeered a once historic building that’s been burned and left to rot. Mero, in collaboration with fellow street artist Wild Life, has turned the blighted space into a fantastical haven with a knight, a dragon and more — a decaying castle from a bygone era.

“A lot of times people are like, ‘I can’t believe you get away with that!’ But most people haven’t tried to do it, you know?” Mero says. “It can be moved easily. It’s not impeding on anyone. I don’t feel I do anything bad. Not having a permit is just a technicality. I believe what I’m doing is right.”

Musician Jeonghyeon Joo, 31, plays the haegeum outside of S.C. Mero's latest art project, a theater in a faux electrical box.

Musician Jeonghyeon Joo, 31, plays the haegeum outside of S.C. Mero’s latest art project, a theater in a faux electrical box.

(Kayla Bartkowski / Los Angeles Times)

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After initially posting her electrical box on her social media, Mero says she almost instantly received more than 20 requests to perform at the venue. Two combination locks keep it closed, and Mero will give out the code to those she trusts. “Some people want to come and play their accordion. Another is a tour guide,” Mero says.

Ultimately, it’s an idea, she says, that she’s had for about a decade. “Everything has to come together, right? You have to have enough funds to buy the supplies, and then the skills to to have it come together.”

And while it isn’t designed to be forever, it is bolted to the sidewalk. As for why now was the right time to unleash it, Mero is direct: “I needed the space,” she says.

There are concerns. Perhaps, Mero speculates, someone will change the lock combination, knocking her out of her own creation. And the more attention brought to the box via media interviews means more scrutiny may be placed on it, risking its confiscation by city authorities.

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As a street artist, however, Mero has had to embrace impermanence, although she acknowledges it can be a bummer when a piece disappears in a day or two. And unlike a gallerist, she feels an obligation to tweak her work once it’s out in the world. Though her “Spike Cafe” is about a year old, she says she has to “continue to babysit it,” as pigeons aren’t exactly known for their tidiness.

But Mero hopes the box has a life of its own, and considers it a conversation between her, local artists and downtown itself. “I still think we’re part of something special,” Mero says of living and working downtown.

And, at least for now, it’s the neighborhood with arguably the city’s most unique performance venue.

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A glimpse of Iran, through the eyes of its artists and journalists

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A glimpse of Iran, through the eyes of its artists and journalists

Understanding one of the world’s oldest civilizations can’t be achieved through a single film or book. But recent works of literature, journalism, music and film by Iranians are a powerful starting point. Clockwise from top left: The Seed of the Sacred Fig, For The Sun After Long Nights, Cutting Through Rocks, It Was Just an Accident, Martyr!, and Kayhan Kalhor.

NEON; Pantheon; Gandom Films Production; NEON; Vintage; Julia Gunther for NPR


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NEON; Pantheon; Gandom Films Production; NEON; Vintage; Julia Gunther for NPR

Few Americans have had the opportunity to visit or explore Iran, an ethnically diverse nation of over 90 million people which has been effectively shut off from the United States since the Iranian revolution of 1979. Now, with a U.S. and Israeli-led war on Iran underway, the ideas, feelings and opinions of Iranians may feel less accessible. However, some recent books, films and music made by artists and journalists in Iran and from the Iranian diaspora can help illuminate this ancient culture and its contemporary politics.

These suggestions are just a starting point, of course — with an emphasis on recent works made by Iranians themselves, rather than by outsiders looking in.

Books

For the Sun After Long Nights: The Story of Iran’s Women-Led Uprising, by Fatemeh Jamalpour and Nilo Tabrizy

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For the Sun After Long Nights: The Story of Iran's Women-Led Uprising

There are quite a few excellent titles that deconstruct the history of Iran from ancient times through the rule of the Pahlavi Dynasty to the Iranian Revolution. But there are far fewer books that help us understand the Iran of 2026 and the people who live there now. One standout is the National Book Award-nominated For the Sun After Long Nights: The Story of Iran’s Women-Led Uprising by journalists Fatemeh Jamalpour and Nilo Tabrizy, which chronicles — almost in real time — the Woman, Life, Freedom movement that began in 2022, during which Jamalpour was working secretly as a journalist in Tehran. In 2024-25, Jamalpour (who is now living in exile in the U.S.) and I spent a year together at the University of Michigan’s Knight-Wallace fellowship for journalists; her insights into contemporary Iran are among the best.

Gold, by Rumi, translated by Haleh Liza Gafori

Gold

If Americans are familiar with Persian poetry at all, it may well be through popular “translations” of the 13th-century Sufi poet Jalaluddin Rumi done by the late American poet Coleman Barks, who neither read nor spoke the Persian language and detached the works of Molana (“our master”), as Iranians call him, of references to Islam. (Instead, Barks “interpreted” preexisting English translations.)

In 2022, Iranian-American poet, performance artist and singer Haleh Liza Gafori offered the first volume of a corrective, in the form of fresh Rumi translations that are at once accessible, deeply contemplative and immediate. A second volume, Water, followed last year.

Martyr!: A Novel, by Kaveh Akbar

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Martyr!: A Novel

This 2024 debut novel by Kaveh Akbar, the poetry editor at The Nation, is an unflinching tour-de-force bursting with wit and insight into the complications of diaspora, the nature of identity in a post-War on Terror world and the inter-generational impact of the 1979 Revolution on Iranians. The protagonist, the Iran-born but American-raised Cyrus Shams, has struggled with addiction, depression and insomnia his whole life, and is trying his best to make sense of a world at the “intersection of Iranian-ness and Midwestern-ness.” As with so many other of the titles here, fiction and fact are woven together: the story centers around the true story of the U.S. downing an Iranian passenger plane in 1988 during the Iran-Iraq war.

The Stationery Shop: A Novel, by Marjan Kamali

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Marjan Kamali’s 2019 love story is the wistful tale of a young woman named Roya and an idealistic activist named Bahman, who meet cute in a Tehran store in the 1950s, but whose planned marriage falls apart due to turmoil both familial and political, as Iran’s democratically elected government falls in a U.S.-British lead coup that ends with the installation of the Shah. Roya flees to the U.S. for a fresh start, but the two reunite in 2013, wondering: what if life had spun out in a different direction?

Movies

Coup 53

This 2019 documentary directed by Iranian film maker Taghi Amirani and co-written by Walter Murch recounts Operation Ajax, in which the CIA and Britain’s MI6 engineered the removal of Mohammad Mossadegh, Iran’s democratically elected prime minister, and installed a friendly ruler, Shah Mohammad Reza Pahlavi, in his place. (The Shah was ousted in the 1979 revolution.) As Fresh Air critic John Powers noted in his review, “What emerges first is the backstory of the coup, which like so much in the modern Middle East is predicated on oil. Shortly after the black gold was discovered in early 20th century Iran, a British oil company now known as BP locked up a sweetheart deal for its exploitation. Iran not only got a mere 16% of the oil money before British taxes, but the books were kept by the British — and the Iranians weren’t allowed to see them.”

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Cutting Through Rocks

Sara Khaki and Mohammadreza Eyni’s film Cutting Through Rocks is up for an Oscar this season after premiering at the 2025 Sundance Film Festival. This inspiring documentary follows Sara Shahverdi — a divorced, childless motorcyclist — as she campaigns to become the first woman elected to the city council of her remote village, and who dreams of teaching girls to ride and to end child marriage.

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It Was Just an Accident

The latest film from acclaimed director Jafar Panahi — who has officially been banned from making films in Iran — is 2025’s It Was Just an Accident. Panahi, who has been jailed multiple times for his work and was recently sentenced again in absentia, has said in interviews that his inspiration for this brutal – and shockingly funny – thriller was people he met while in prison: an auto mechanic named Vahid finds himself face-to-face with the man who he is fairly certain was his torturer in jail, and eventually assembles other victims to try to confirm his suspicions. Fresh Air critic Justin Chang called It Was Just an Accident “a blast of pure anti-authoritarian rage.”

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The Seed of the Sacred Fig

This 2024 thriller — shot in secret by director Mohammad Rasoulof — centers on a family whose father, Iman, is appointed as an investigating judge in Tehran. But it soon becomes clear that his job has nothing to do with actually investigating. Iman, his wife, and two daughters come to suspect each other in our age of mass surveillance, as the city streets below erupt into the real-life Woman, Life, Freedom protests.

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Music

Kayhan Kalhor

One of the primary ambassadors of Persian classical music has been the composer and kamancheh (an Iranian bowed-instrument) virtuoso Kayhan Kalhor. Although music, like poetry, has been central to Iranian culture for centuries, all kinds of music were initially banned after the 1979 revolution. Since then, however, Iranian classical musicians have ridden many looping cycles of official condemnation, grudging tolerance, censorship and attempts at co-option by the regime.

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Despite those difficulties, Kalhor has built a thriving career both inside Iran and abroad, including winning a Grammy Award as part of the Silkroad Ensemble and earning three nominations as a solo artist. Back in 2012, I invited him to our Tiny Desk to perform solo. “Didn’t know I could have goosebumps for 12 minutes straight,” a YouTube commenter recently wrote; I couldn’t put it any better.

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Saeid Shanbehzadeh

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Among Iran’s 92 million people, about 40% of come from various ethnic minorities, including Azeris, Kurds and Armenians among many others. One of the most fascinating communities is the Afro-Iranians in the Iranian south, many of whose ancestors were brought to Iran as enslaved people from east Africa. Multi-instrumentalist and dancer Saeid Shanbehzadeh, who traces his ancestry to Zanzibar, celebrates that heritage with his band, and specializes in the Iranian bagpipe and percussion.

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The underground metal scene

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Despite ongoing restrictions on music — including the continued ban on female singers performing in mixed-gender public settings — Iran is home to a thriving underground scene for metal and punk. Though it’s fictional, Farbod Ardebelli’s 2020 short drama Forbidden to See Us Scream in Tehran — which was secretly filmed in Tehran, with the director giving instructions remotely from the U.S. via WhatsApp — gives a flavor of that real-life scene and the dangers those artists face.

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