listener

The first time Angel “Angel Baby” Rodriguez heard Art Laboe on the radio, he was 13, in his father’s garage in the City of Industry. Laboe was introducing “Nite Owl” (1955) by Tony Allen and the Champs. “His voice caught me first,” Rodriguez told me, “that very distinctive tone, and then I heard the listeners calling in. The rawness of connecting with a listener, of spinning the record, it was something.”

Rodriguez became a DJ himself, in the mold of Laboe, at first playing records for Radio Aztlan, the late-slot Friday program at KUCR in Riverside. “I didn’t sleep on a Friday night for over 20 years, from my 20s into my 40s,” he told me. Now he hosts “The Art Laboe Love Zone,” keeping alive his hero’s legacy — three hours of live radio, emanating five nights a week from a studio in Palm Springs, that bring “the music to someone,” in Angel Baby’s words.

I am one of those someones. I was a teenager when I first started listening to Laboe in the 1970s. I spent nights with him on the radio for the rest of his life, until he died Oct. 7, 2022. By then I’d already discovered Rodriguez, who took over the Laboe tribute broadcast in 2023, with his own old school “radio voice” and an oldies playlist suitable for dance parties, house parties, long-haul travel and anyone burning the candle at both ends.

Now, with algorithms curating Spotify and Sirius, with fewer live DJ voices anywhere, terrestrial American radio is said to be dying. But not Art Laboe’s voice.

The most beloved man I’ve ever met, hands down, was Laboe. He stood just over 5 feet but commanded theaters filled with thousands of people, standing onstage in shimmering sapphire or gold lamé suits, while four generations of fans screamed his name.

Born to an Armenian family in Utah, Laboe was always fascinated with radios and broadcasting. At the age of 9, he took a bus, alone, to Los Angeles to see his older sister, and eventually moved to California, attending Stanford, serving in the Navy and becoming a DJ on KRLA, the oldies station. His 1950s live music revues, at the El Monte Legion Stadium, were the first integrated dance concerts in California. He DJ’d on live radio continuously for 79 years, and emceed legendary music revues almost that long.

If Laboe didn’t invent the song dedication, he perfected it. Starting in 1943 on KSAN in San Francisco, Laboe read out dedications to loved ones sent to him by letter from wives missing husbands in World War II, and then later from call-ins sending songs to a lover lying next to them in bed, or sitting alone in the dark, separated by migrant labor, military service, a prison sentence or work.

DJ Angel Rodriguez, who carries on a tribute to Art Laboe, and a longtime fan, Proxie Aguirre, 82.

(Oscar Aguila for The Times)

Laboe’s resonant voice echoed through the Riverside neighborhoods where I grew up, from passing cars and open windows, a staple of la cultura in particular — the Chicano culture of lowriders, Pendletons and khakis. Even now, my neighbor Lydia Orta, 75, talks about going to his concerts in El Monte when she was 9, with her grandmother, while her son Johnny, 45, plays archived Laboe broadcasts through speakers in their yard.

On Aug. 9, at the Farmhouse Collective in Riverside, more than 500 Laboe fans from all over the Southland gathered to celebrate the man, two days after what would have been his 100th birthday. Onstage, Rodriguez, hosted in his own signature style — no gold lamé, but a fedora, black sunglasses and a white guayabera shirt. His handle, Angel Baby, derives from the iconic song of the same name recorded in 1960 by Rosie and the Originals, when Rosie Hamlin was just 15 years old, still a student at Mission Bay High School in San Diego, writing poetry about her boyfriend. Rodriguez is the Prince of Oldies now — Laboe is still the King — keeping la cultura, with its intense devotion to music and community, alive.

At the concert, I met Mary Silva, 73, who drove in with her daughter. “I grew up in East L.A.,” she told me, “and there were 14 siblings before I came. … We listened to Art Laboe in Florence. I still listen every night, on 104.7.” Her favorite song? “‘Tell It Like It Is,’ ‘cause I always tell it like it is.” The classic is by Aaron Neville.

Just at the stage edge were Elizabeth Rivas, 72, from San Bernardino, and her grandchildren Rene Velaquez, 34, and Raymond Velasquez, 16. Rivas has listened to Laboe and now Rodriguez for decades, and her favorite song is “Tonight,” by Sly, Slick and Wicked. Granddaughter Rene said, “She taught us to listen.” Rene’s pick was another by Sly, Slick and Wicked: “Confessin’ a Feeling.”

Near them was Henry Sanchez, 54, from my old neighborhood in Riverside, who grew up listening to Laboe on 99.1. His favorite? Brenton Wood’s “Take a Chance.” And Sal Gomez, 49, also from Riverside, loves Wood’s “Baby You Got It,” which he remembered from KRLA.

Onstage, Rodriguez — introduced by Joanna Morones, Laboe’s longtime radio producer — took the microphone and said, “Gracias a Dios that I am honored to be sitting in Art’s chair five nights a week, taking phone calls and dedications from all the listeners. It gives me chills to sit there.”

When Sly, Slick and Wicked took the stage, resplendent in three-piece suits and fedoras, their dance moves crisp and perfect, the lead singer told the crowd, “Art Laboe used to say ‘Confessin’ a Feeling’ was his most requested song at night, and for 50 years you all have kept us singing.” The audience joined in: “Baby, my love is real.” Time passes, love changes, but the song remains the same.

And yet these big gatherings are not where I hear the devotion. It threads through the dark, tracing the melancholy of separation and the intimacy of the night, as the voices of Angel Baby and Art Laboe come through radio speakers.

The Monday after the celebration, I listened from 9 p.m. to midnight, as always. At least eight terrestrial radio stations carry “The Art Laboe Love Zone,” and thousands of fans stream it in Texas, Arizona, New Mexico, Colorado and overseas.

Rodriguez, who drives the 110-mile round trip from Riverside to Palm Springs each weeknight after working as the head street sign maker for Riverside County, had gone through snail mail and DMs on Instagram and Facebook, collecting the dedications he’d read. Morones had chosen the recordings of Laboe for the night. From out of the past, Laboe spoke to a woman who wanted him to blow a kiss through the radio to a man far away.

Rodriguez read a letter from Papa Lito, from Wilmington, now in Delano. And then a dedication from Proxie Aguirre, who’d made an appearance at the birthday celebration. Aguirre is 83 now, a Laboe fan since she was 15. She was pictured on the cover of a Laboe compilation album, eyes sparkling, forever young. She was driven from Venice to Riverside by her sister-in-law.

“This is from the all-new Proxie, for her husband of 35 years, Eddie,” Angel Baby’s dulcet voice intoned. “She says, ‘Eddie, I love you mucho.’”

Then: “Let’s drop the needle on the record, baby bubba.”

Susan Straight’s 10th novel, “Sacrament,” will be published in October. It features a lowrider funeral in San Bernardino and a nurse who sings like Mary Wells.

You hear that?

Spotify announced Wednesday that Lossless Listening, its newest audio format, is available for premium users in select countries, including the U.S.

Lossless audio files allow for listeners to stream music using the least compressed and highest resolution audio formats can have, the company said.

Previously, when a musician uploaded their work to a streaming platform, the files tended to get compressed and lose some quality due to the encoding process. Spotify says that with Lossless Listening, users will now be able to hear every detail within the audio file.

From the delicate plucking of an electric guitar to the subtle sample of someone speaking, this new feature will allow listeners to get a heightened sense of clarity and quality when playing their favorite tracks, Spotify said. Lossless works by capturing the recording’s original sound waves and putting them together to create an accurate reproduction of its initial quality.

“We’ve taken time to build this feature in a way that prioritizes quality, ease of use, and clarity at every step, so you always know what’s happening under the hood,” Gustav Gyllenhammar, Spotify’s vice president of subscriptions, said in a statement. “With Lossless, our premium users will now have an even better listening experience.”

Founded in 2006, Spotify has become the world’s most popular audio streaming service, garnering over 696 million users. Last year, the company posted a net income of more than $1.3 billion with revenue of $18.4 billion. That was its first annual net profit since the company started. The streamer, based in Sweden, is available in more than 180 markets and has a library of over 100 million tracks, almost 7 million podcast titles and 350,000 audiobooks.

Lossless Listening is currently only available for music.

This new feature comes several years after streaming competitors first introduced a similar feature. Subscribers to Apple Music and Amazon Music have had the capacity to listen to music in this format since 2021 and 2019, respectively.

On Spotify, the lossless files are larger than the standard formats, meaning the feature can not be used when connected to Bluetooth, as there’s not enough bandwidth to transmit. If attempted with Bluetooth, the file will be compressed and played at regular quality.

To use Lossless Listening on Spotify, premium users must enable it in their settings, and an icon will appear when listening.

It’s currently available for use on mobile, tablet and desktop. Spotify Premium costs $11.99 a month, while the standard version is free for use with ads.

NEW YORK — Howard Stern, the popular and highly paid radio host, returned to SiriusXM’s airwaves Monday after trolling listeners into thinking he had departed his long-running show.

Stern, 71, who evolved from his shock jock origins to become a respected interviewer, enlisted a seemingly flustered Andy Cohen at the top of “The Howard Stern Show” to pretend to be his successor. “This was supposed to be a cleaner hand off. I’m kind of winging it,” said Cohen.

Stern then came on the air and thanked the Bravo personality, who has his own SiriusXM show and podcast, for agreeing to do the bit. The stunt was the culmination of weeks of promos that promised a big reveal, following swirling speculation that Stern’s show would be canceled. “The tabloids have spoken: Howard Stern fired, canceled,” one promo video said. “Is it really bye-bye Booey?” The speculation grew after Stern postponed his return from a summer break last week.

While he did return Monday, Stern did not announce that he had reached a new contract with SiriusXM. His current deal expires at the end of 2025.

“Here’s the truth: SiriusXM and my team have been talking about how we go forward in the future. They’ve approached me, they’ve sat down with me like they normally do, and they’re fantastic,” Stern said.

Stern joining what was then Sirius Satellite Radio Inc. in 2006 made him one of the highest-paid personalities in broadcasting and was a game-changer for both the company and the nascent satellite radio industry. His importance was highlighted on the SiriusXM homepage — tabs included For You, Music, Talk & Podcasts, Sports and Howard.

SiriusXM in the years after Stern joined has become home to top podcasts “Call Her Daddy,” “SmartLess,” “Freakonomics Radio,” “Last Podcast on the Left,” “99% Invisible” and “Conan O’Brien Needs a Friend” and features such personalities as Trevor Noah, Kevin Hart and Stephen A. Smith.

But SiriusXM’s subscriber base has been slowly contracting, with the company reporting 33 million paid subscribers in the second quarter of 2025, a net loss of 68,000 from the first quarter and 100,000 fewer than the same period in 2024. It is a battling a saturated satellite market and competition from free, ad-supported platforms like Spotify.

Stern extended his contract with SiriusXM twice before, in 2010 and again in 2020 with a five-year, $500 million deal, Forbes reported. He’s recently had newsy and intimate chats with Lady Gaga and Bruce Springsteen.

“He’s been with me and the company going on two decades, and so he’s pretty happy, but he’s also able, like many great artists, to stop whenever he wants,” SiriusXM president and chief content officer Scott Greenstein told The Hollywood Reporter in 2024. “Nobody will ever replace them. We would never try to replace them.”

Stern, who has liked to call himself the King of All Media, rose to national fame in the 1980s during his 20-year stint at the then-WXRK in New York. At its peak, “The Howard Stern Show” was syndicated in 60 markets and drew over 20 million listeners. Stern was lured to satellite radio by the lucrative payday and a lack of censorship, following bruising indecency battles with the Federal Communications Commission and skittish radio executives. His past on-air bits had included parading strippers through his New York studio and persuading the band then known as The Dixie Chicks to reveal intimate details about their sex lives.

His 1997 film “Private Parts” became a box office hit and offered a raw, humorous look at his rise to fame. He has also authored several bestselling books and served as a judge on “America’s Got Talent” from 2012 to 2015.

Kennedy writes for the Associated Press.

Los Angeles classical music station KUSC-FM (91.5) has laid off employees after Republicans cut federal funding from the Corp. for Public Broadcasting.

James A. Muhammad, president of Classical California, the entity that operates the nonprofit KUSC and its sister station, KDFC in San Francisco, confirmed the workforce reduction in a note sent Thursday to its listeners.

“Despite our best efforts, the fact is that Classical California has experienced a reduction of $1.1 million in support from the Corporation for Public Broadcasting,” Muhammad wrote. “This, along with other impacts, requires us to make difficult decisions across KUSC-FM and KDFC-FM.”

A representative for Classical California did not respond to questions on the number of employees cut. A person briefed on the move who was not authorized to comment publicly said it was eight positions, including two department managers, all based in Los Angeles.

None of the announcers at the two stations were included in the cuts.

Classical California is among the many public media outlets that are scrambling to fill the budget gaps caused by the decision by the Trump White House and the Republican Congress to claw back the $1.1 billion in federal money allocated to the Corp. for Public Broadcasting.

The nonprofit entity administered the funds for public radio and TV stations, mostly affiliates of NPR and PBS.

Conservatives and libertarians have long called for the end of public funds supporting media organizations, especially ones they view as politically left-leaning. Trump has called NPR and PBS government-funded “left-wing propaganda.”

The Corp. for Public Broadcasting was also a vital revenue source for cultural and fine arts programming that often struggles to sustain itself in the commercial media marketplace.

Both KUSC and KDFC, which are owned and operated by the University of Southern California, play classical music 24 hours a day and are not NPR affiliates. They are the most-listened-to classical radio stations in the U.S.

Muhammad’s note to listeners included a plea for contributions to make up for the shortfall caused by the cuts.

“We remain committed to continuing to be your home for classical music,” Muhammad said. “As a listener-supported station, we need your support of KUSC and KDFC, now more than ever.”

NPR’s “All Things Considered” is getting a new weekday voice.

Scott Detrow will become a full-time weekday host of NPR’s afternoon radio show starting Sept. 29, while maintaining his role at “Consider This,” the outlet’s daily news podcast, the public radio firm said.

“I can’t wait to bring listeners the news five days a week now. And at this moment where we are all focusing on strengthening the entire public media network and working together more closely than ever before,” Detrow said in a statement.

This news comes a week after journalist Ari Shapiro announced his departure from the news magazine show. Shapiro had been hosting the show for nearly a decade.

For the last two years, Detrow could be heard on weekend episodes of “All Things Considered.” He steered coverage of breaking news events, including the attempted assassination of President Trump in Pennsylvania, earning him the Edward R. Murrow Award for breaking news.

He initially joined NPR in 2015. From getting his start as a Fordham student at WFUV in New York to working as a statehouse reporter at WITF in Pennsylvania and at KQED in the Bay Area, he has spent his entire career in public radio.

Since becoming a part of the national nonprofit, he has helped launch segments such as “Reporter’s Notebook,” in which listeners get a behind-the-scenes look at how journalism is produced, and most recently, he anchored live coverage surrounding Pope Leo’s election. He has also co-hosted the “NPR Politics Podcast” for seven years, focusing on the White House, Congress and two presidential campaigns.

“All Things Considered” is one of NPR’s longest-running shows, first airing in 1971. The flagship program presents a mix of news, commentary, interviews and analysis on a daily basis.

In a full-circle moment, Detrow’s first job out of college was working on the local version of “All Things Considered” in central Pennsylvania.

“I’m proud that I started out as an ATC host at a NPR Member station, and now will be doing that job nationally,” he said.

Travis Kelce is done fighting for his right to party.

Or at least the 35-year-old Kansas City Chiefs tight end is ready to start toning down his party-hearty image — which is kind of big news for a dude who is known for his wild, celebratory, off-key renditions of the Beastie Boys classic “(You Gotta) Fight for Your Right (to Party!)” and is often seen out enjoying life with superstar girlfriend Taylor Swift.

Kelce made the revelation during a lengthy interview with GQ that was published Tuesday morning.

“I’m starting to phase out of wanting to be known as the party guy,” the three-time Super Bowl champion and 10-time Pro Bowl selection said.

“When you see me hanging out at the US Open with Taylor, it may look like the two of us are partying. But I’m just enjoying the fun of being at this really cool event that I always wanted to go to with the person that I love.”

Taylor Swift and Travis Kelce attend the men’s singles final match at the 2024 US Open last September.

(Sarah Stier / Getty Images)

He added: “I’ve become way more strategic in understanding what I am portraying to people.”

Following the Chiefs’ loss to the Philadelphia Eagles at Super Bowl LIX in February, Kelce didn’t immediately commit to returning for his 13th NFL season and the final year of his contract with the Chiefs. He acknowledged to GQ that he has been thinking about his life after the NFL, although he didn’t offer any details on what that might look like.

Kelce already has a high profile off the field, thanks in large part to his relationship with Swift but also from his appearances in countless TV commercials and on his successful “New Heights” podcast, which he co-hosts with older brother Jason. Incidentally, that podcast is sure to hit, uh, new heights in its number of listeners this week when Swift makes her first appearance on the show.

Part of Kelce’s new outlook on his image seems to have been influenced by Swift and the way she interacts with her immense fan base.

“People gravitate towards how she performs and how she makes it feel like the entire stadium is in a little room with her,” Kelce said. “She is so good at mesmerizing everybody and making everybody feel like it’s an intimate situation. I think that alone — there is so much calm and coolness. She’s beautiful. She’s up there making everyone feel at ease.

“Whenever I get in front of a crowd, I feel like I’ve got to be like, Woooo! Like, excited, bringing the energy. Then I saw that coolness and that calmness and that relatability that she is so good at presenting. I really grabbed that. Like, Man, I can use that side of entertainment as well. It’s not just always being the guy that brings the energy and creates these exciting moments.”

Kelce added that he and Swift share similar outlooks when it comes to their respective legacies.

“Nowadays I just want to be respected and loved by the people that I’m surrounded by in my work,” he said. “I want to leave it better than where it was when I started. And I see her having those same values.”