sound

Hardly anyone walking up Peppertree Lane notices the Hollywood Bowl Museum on the way to the amphitheater entrance. The overlooked museum, however, has been refreshed with an enchanting new exhibition. Well-timed, it provides an excellent primer on changing L.A. mores seen through the history of the Bowl over the past century.

Change is again upon us. As Angelenos have evolved, so have our ideas about the Bowl. A concert was a concert and audiences of yore dressed for the Los Angeles Philharmonic, indoors or out. Men wore coats, ties and fedoras. I have a photo of my mother at the Bowl on a chilly 1940s evening sporting, like other ladies around her in the inexpensive bleachers, her mink stole.

The Bowl was said to boast, before the construction of the Hollywood Freeway, a natural acoustical, well, bowl. Even so, sonic adventurers, beginning with Leopold Stokowski in the 1930s, experimented with amplification in an obsessive, seemingly quixotic effort to locate a mythical sonic grail on the Cahuenga Pass. Boys with their toys, thought The Times’ feisty critic Isabelle Morse Jones.

We now have it with a spectacular new sound system along with the old caveat: Beware of what you wish for.

The Bowl, of course, remains the Bowl. Last week when the Los Angeles Philharmonic opened its summer season in the venue it built and has managed for over a century, there were all the familiar alfresco and musical pleasures: convivial picnicking, fine weather, inimitable atmosphere, a white-jacketed orchestra on an iconic stage. The museum’s panorama of ageless ambience is this summer enhanced by increased yet snappy security and a handsome “John Williams Stage” plaque honoring L.A.’s beloved composer.

The newly designed white French loudspeakers suspended over the Bowl stage along with ground-level white cubes of super-effective subwoofers have clean, unobtrusive lines that well fit the shell. Their unobtrusive placement complements their immersive musicality, hitherto only possible outdoors with high-end earphones or headphones connected to sophisticated digital acoustic conversion equipment costing a bundle. For the first time, a dollar seat (there are still a few for the L.A. Phil) strives for such sonic bliss.

It feels miraculous. You are in an excellent concert hall-like acoustical environment while in the great outdoors. Our earbuds have already trained us to think of music as a private escape from reality. Even so, to be in that environmentally exclusive sonic world while sharing music with thousands of others in a special setting, ironically begins to feel more artificially escapist than a crummy sound system that reminds you of where you are.

Will we — should we — learn to love it and find anything less artificial? Car audio systems creating concert hall conditions suggest we will. Audiophiles well know that you get used to new equipment, no matter how revelatory it first sounds, very quickly.

A few years ago, when I heard a demonstration of a souped-up, hi-res recording in surround Dolby Atmos of excerpts from Wagner’s “Die Walküre” on a 32-speaker Burmester audio system crammed into a fancy Mercedes SUV, I was scared out of my wits. “Apocalypse Now” on the 405 is not for the faint of heart.

Yet I’ve spared no expense on what I find a more refined sound system in my Volvo, which I now use more and more for audio books than music. The richer, more human quality of a recorded voice is like having a virtual companion reading to you. I’m less in a hurry. It’s nice to have a pal at rush hour.

It is far too soon to say what ways the fabulous new Bowl sound system, which happens to be AI-endowed, might become friend and/or foe. In the first two L.A. Phil classical concerts, the white speakers brought out wonders and caused problems. But the minimal Bowl rehearsal time allows little opportunity to fine-tune.

One big change in Bowl priorities has been the rise of pop as king. Not that long ago, the L.A. Phil’s opening night was the Bowl opening night, suitable for conspicuous socialite picnicking. Not only has the Bowl opener been turned over to star pop performers (who bring in bigger bucks), this year there wasn’t even a first L.A. Phil Tuesday. That date became yet another money-maker with private event — a screening of “Moana” with live orchestra, luckily before the disappointing reviews and box office performance. The first L.A. Phil concert of the season was moved to Wednesday and poorly attended.

The back-to-back Wednesday and Thursday night programs featured music composed and performed by Americans. Each included a short new work commissioned by the L.A. Phil. On Wednesday, moonlighting Hollywood Bowl Orchestra music director Thomas Wilkins led the premiere of Shaina Taub’s “Suffs” Song Cycle — orchestrations of four songs from her recent musical about women’s suffrage that played just down the road at the Pantages last year. The next evening, Tito Muñoz made a strong L.A. Phil debut in a program that included the premiere of “The Art of the Goal,” celebrating Los Angeles Football Club, and that was credited jointly to filmmaker Josh Kahn and composer Adam Schoenberg.

Both premieres were reminders that the sound system will have many purposes. In “Suffs,” stalwart amplification emphasized the predictability of forthright lyrics and score. AI is supposed to make voices stand out, but it is not helpful to singers’ limitations. On the other hand, is brought out the sumptuous quality Alex Newell’s voice potently making the adamant “Keep Marching” keep marching.

Muñoz’s program was titled “The Classical World Cup,” with music by Argentine composer Alberto Ginastera, Mexican composer Silvestre Revueltas and U.S. composers Samuel Barber and Aaron Copland along with Schoenberg. As it turned out, Mexico and the U.S. were already out of World Cup competition, and “Art of the Goal” came across as an eight-minute advertisement for the L.A. footballers. They’re in the dressing room revving up and, on the field, revved up, sped up, cut up with music that excites and far too many shots of a soccer field lined with advertisements, just the kind of branding we hope to escape at the Bowl.

Then again, even though “Goal” was shown only on video monitors, the Bowl with its new sound system worked brilliantly as the grandest cinema on the planet. Hollywood may be hurting, but let the Bowl now save the day by inspiring Hollywood to reinvent, in its backyard, film with live music.

As for regular orchestral music, the sound system was hit and miss. On Wilkins’ program, Valerie Coleman’s dark “Fanfare for Uncommon Times” brought a listener inside brass and percussion. Leonard Bernstein’s lavish orchestrations of his “Three Dances from ‘On the Town’” and Ellington’s “Harlem” benefited from Wilkins’ low-key conducting, offering ease and freedom to the players.

Muñoz’s program was bookended by dance scores — Ginastera’s “Four Dances from ‘Estancia’” and Copland’s ballet “Billy the Kid” — that evoke the prairie and the people in it in both viscerally and spiritually. The new sound system and eager performances made the prairie feel close. In between, violinist Randall Goosby brought richness to Barber’s Violin Concerto and the L.A. went in for gripping weirdness in “Sensemayá.”

But who did what? Were balances the conductors’, the sound engineers’, AI’s? While the amplified soundstage is now as huge as the Bowl, attention was increasingly drawn to individuals, heightened by video closeups. A horn flub (and horns flub) stands out. The sound is not just big and bold, but scrubbed clean by AI with the goal of maddening perfection. Will such scrutiny, in the end, make players uptight or liberate them? It’s well to remember that in the early days of synthesizing instruments, violins with perfect vibrato sounded especially fake, until tiny errors generated by chance were added to the sine waves.

The Hollywood Bowl has created a beast. If humanized, the Bowl could serve as antidote to a worrisome AI future. But the question remains whether we can change AI or the newly potent sound waves only make matters worse.

When you walk into a room with Los Primos del Este, the happy-go-lucky guys immediately make you feel like part of the family. What they first cultivate with silly banter and lighthearted ad-libs eases into a more vulnerable, introspective atmosphere, comparable to a cathartic therapy session.

When I met the norteño-sax band in at Interscope Records — the major label that signed them in early 2023 — it was just a couple of hours before the official release of Los Primos’ new album, “Dulce Amargo,” on Thursday.

For a young band of players in their early 20s, they play it cool; “Dulce Amargo” is their eighth LP to date. The project feels thoroughly chiseled to their refined sonic tastes (influenced by Julión Álvarez, Legado 7 and Remmy Valenzuela) inflected with raw, sentimental lyricism and a wailing saxophone that commands each track with the spirit of an electric guitar.

“Play it back to back and actually start understanding the sound more and realize there’s new sounds being created,” said lead vocalist Geovanni Flores. “Because a lot of people get stuck in their old ways.”

Made up of five members — Flores, bassist and supporting vocalist Ariel Jesus Lopez, accordionist Juan Luis Hernandez, drummer Alejandro Tellez and saxophonist David Tellez — the group has built a steady momentum in the música mexicana genre. They’ve championed the resurgence of norteño-sax, a subgenre that fuses the accordion sounds of norteño music with an invigorating alto saxophone, made popular by legendary groups like Conjunto Primavera.

Since forming in 2017, the North Carolina-based band has gained over 2 million listeners on Spotify through catchy norteño-sax songs like “No Es Mentira (Version Norteña),” “Poema” and “Mami” — drawn together by a polka-like beat that has made them a staple of Mexican dance venues.

In 2024 alone, the subgenre grew by 39% in both the U.S. and Mexico, per Spotify.

Los Primos del Este formed in 2017 out of North Carolina.

(Arwen Clemans / Los Angeles Times)

The band took a few years to find its groove. Its 2020 debut album, “PDE,” experimented more with the prickly, sad sierreño sound popularized by acts like Eslabon Armado and DannyLux — as well as trap-infused corridos tumbados with a thumping tololoche. Still, this was music one could bop their head to, even if dance parties were limited during the global pandemic. With norteño-sax, the group could incorporate contemporary dating themes into songs that bring people physically closer to one another on the dance floor.

“There’s been a sense of maturity that’s happened within the group. In the past, we would just make music to make music and release it,” said Flores. “ We thought about every single detail now, even down to the album cover.”

Before getting into the thick of their recent music catalog, Los Primos del Este quickly unfurled details of the album cover, which shows the group sprawled across the flatbed of a white truck. The image was inspired by Alejandro Cartagena, a Dominican Republic-born Mexican creative who photographed carpooling laborers on the flatbeds along a highway in Monterrey, Mexico, in 2012. The project was a visual representation of how everyday people — often marginalized individuals — navigate transit in a sprawling suburban area.

Such an open stance on community issues appears to be a norteño-sax speciality. In 2000, their forefathers Conjunto Primavera previously told The Times that they make music for working-class audiences: “Wealthy people don’t like what we do.”

“Personally, I found myself in the bed of a truck at one point, low-income, trying to make something out of nothing,” said Lopez. “That’s the world I grew up in, and that’s the world I wanna show everybody. It’s not all sweet, you know?”

The band also nods to injustices faced by immigrant communities — including the recent fatal shootings of 52-year-old Lorenzo Salgado Araujo and 26-year-old Johan Sebastian Duran Guerrero by Immigration and Customs Enforcement agents in Texas and Maine, respectively.

“We’re willing to take the heat,” said Lopez, referring to the band’s pro-immigrant stance. “The community looks at us as a negative presence, but in reality, we’re hard-working, dedicated family people.”

It is both that honesty and vulnerability that are etched into the 14-track LP “Dulce Amargo,” which translates to “bittersweet” in English. The band shared that each member contributed details of his own personal experience to the brainstorming sessions — a process they likened to therapy.

“We were comfortable enough with each other to let [our] stories be heard,” said Lopez. “In the Latino community, there is kinda like that stereotype [that] you have to be strong.  I think this message goes out to everybody — if you’re feeling something, specifically the men, it’s OK to just let it out.”

(Arwen Clemans/Los Angeles Times)

The hazy love melody “Tremenda,” for example, underscores an intense yearning for connection. Written after Lopez was starstruck by a woman, its first lyrics begin in wondrous marvel: “Tal vez fue tu mirada,” or, “Perhaps it was your gaze.”

“What’s the first thing you do when you look at somebody? I look at the eyes,” said Lopez. “They say the eyes are the doors to the soul.”

Alejandro Tellez’s contribution came with the punchy “Linda Sonrisa,” that pleads for someone to realize the realities of the mistreatment they’re facing with another lover.

“How many times are you gonna let him do you wrong until you realize that you have the right guy in front of you?” said Alejandro Tellez in a sing-song twang. “That’s a story that I went through in high school.”

For Flores, the EDM-fused, echoing melody “Mejor Sin Ti,” struck a personal chord; could a relationship be the only thing standing in your way to personal success? “Some people do hold you back, some people tie you down — that’s what I felt,” said Flores.

Hernandez gets a bit teary-eyed when talking about his favorite song, “Sentimientos,” a whirling polka-driven ballad about an avoidant situationship, he said. “To me, it’s like we both kinda love each other already, but we’re kind of afraid to say it,” he explained. “A lot of people are afraid of falling in love again, so that song hits close to home.”

The concept behind “Mereces Mejor,” a trance-inducing ode with floating melodies that implores a loved one to recognize their self-worth, was inspired by David Tellez’s own experience with unrequited love: “She’s trying to go to the bad guy, and I’m over here giving everything I got.”

As the five artists prepare to take their new album on the road — including an upcoming performance at the Lone Star State’s Truck Show Texas Fest on July 25 — they want to make clear that norteño-sax is not a stagnant subgenre. Like most of música mexicana, it, too, is evolving, both in sound and lyricism, encapsulating today’s complex dating culture. Their emotional vulnerability is welcome in a field flooded with artists that may otherwise shrink away from such honesty — perhaps due to the stigma of mental health issues in the Latino community, especially among men.

“We understand that changing the sound may not be for everybody, but we’re making music for the next generation,” said Lopez. “Who knows? Maybe their parents might end up liking this too.”

One Wednesday evening in May, at the boutique hotel Dream Hollywood — located just off the Walk of Fame — a young hotel staff member shuffled over to her co-worker to discuss a special guest on the top floor. Together they exchanged whispers about an artist’s unknown whereabouts and whether or not they would catch him on his descent to the first floor.

The name “Tito Double P” slipped out, referring to the Mexican corrido singer who happened to be in town promoting his latest album, “Acomodo.”

I met the 28-year-old on the top floor, where he opted for a warm, friendly hug in lieu of a firm business handshake. We were quickly rushed into a side room to conduct his last interview of the evening.

Those who’ve followed Tito Double P’s musical journey since 2023 would likely describe him as a chaotic force, with weathered vocals, off-the-cuff ad libs, riotous pelvic thrusts and suggestive tongue expressions.

Come Sunday, he’ll bring the ruckus when he headlines Belico Fest in L.A.’s BMO Stadium. But when we spoke about his second solo album, “Acomodo,” the Nayarit-born, Sinaloa-raised singer, whose real name is Jesús Roberto Laija García, arrived polished, perfumed and poised.

“After this LP, don’t be surprised if you see different things from me,” said Laija García.

Released on May 28, the LP contains 23 corridos, which see Laija García strike the commanding tone of brazen CEO. In its focus track, “Me Vale V,” the singer firmly declares he is manifesting his dreams and not paying anyone else mind. Its lyrics reveal it all: “Ya van tres días que no paro, pero bien trabado” (I’ve been going nonstop for three days now, but I’m totally locked in).

But listeners also get a more vulnerable side of the músicana mexicana singer, who agonizes over heartbreak in “La Fama” — while simultaneously voicing his vice for women and boozy escapades. Throughout the record, the singer sprinkles in the catchphrase, “Bélico pero no tanto, mija,” which translates to “warlike, but not too much, my dear” — striking a balance between his hard-shelled exterior and inner tenderness, namely in the yearning jazzy corrido “Pase y Pase,” in which he pleads for a late-night booty call.

Most notably, “Acomodo” boasts no features whatsoever, a rarity in an industry where artist collaborations play a key role in bringing in bigger audiences (and bigger payouts).

“Many people called me to ask why they weren’t going to be on [the record],” he said. But the solo move marked a milestone achievement for Laija García, who had no designs of becoming an international musical marvel.

“I was never the child who sang, who played the guitar in school festivities or at family parties,” said Laija García in a calm tone — occasionally referring to his stage name in the third person.

The singer still can’t fathom his own success. He cut his teeth by penning career-defining songs for his famous cousin, Peso Pluma — including anthemic corridos like “El Belicon,” “Siempre Pendientes” and “AMG.” These standout ballads touted a rugged lifestyle with elements of organized crime, which aided his primo’s ascent to the mainstream.

Tito Double P released his second solo album “Acomodo.”

(Adan Ornelas Anta)

In the process of composing his cousin’s Grammy-winning 2023 album, “Génesis,” Laija García asked him if he could also release his own material. “Let’s go!” he recalled Peso Pluma saying. “Your first song will be a duet with me.”

The plan was to debut Tito Double P with “La People,” a fiery narcocorrido that details the inner life of a cartel’s tactical security guard, who narrowly escapes a police raid.

But Laija García’s rollout plan took a detour when an unmastered version of his track was leaked to TikTok in spring 2023 — a bouncy tune he later renamed “Dembow Belico,” which is characterized by a Dominican-style boom-chi-boom-chick rhythm and raw, spitfire lyrics. This party track introduced audiences to a version of Tito Double P that radiated a lighthearted madness — fueled by Skyy vodka and Old Parr whiskey, as per the song’s lyrics.

“I liked it, it was something new,” said Luis R. Conriquez, who called up the new singer to be a collaborator. “What makes him special is his voice, his sound. He’s his own person.”

Together with Conriquez and Joel De La P, “Dembow Belico” was released on June 5, 2023, and became Tito Double P’s official debut in the music world — even giving life to one of the most viral clips of Mexican boxer Canelo Alvarez, who can be seen awkwardly dancing to it.

“From there on, Tito Double P was another persona,” said Laija García. Throughout his lively retelling of the story, he added a series of sound effects to move the story line — among them, wacha, pum, pum, pum, gol. “More than anything, Tito Double P came across as a character, because that guy was totally crazy, he didn’t give a damn.”

“More than anything, Tito Double P came across as a character, because that guy was totally crazy, he didn’t give a damn,” said Jesús Roberto Laija García, better known as Tito Double P.

(Adan Ornelas Anta)

In real life, Laija García considers himself a timid, camera-shy guy. That’s why he chose an illustration for the cover of his 2024 debut album “Incómodo,” rather than a real-life image of himself; the LP title directly translates to “discomfort.”

“I was going to be one of those artists that [only] releases songs, because [I thought,] ‘How embarrassing would it be if I got up on stage?’” he mused. “But now, I dominate the stage from head to toe. And I don’t want to come down.”

The debut record also served as an experimental project for Tito Double P, whose hard-won swagger elevated every sound he toyed with — whether it was on the brass-heavy banda song “La 701” with Luis R Conriquez, the techno thump of “La Bandolera,” the heavy-hitting urban track “Linda” with Neton Vega and the guitar-powered ballad “Los Cuadros” ft. Peso Pluma).

Featuring collaborations with established acts, such as Natanael Cano, Junior H and Grupo Frontera, the album peaked at No. 11 on the Billboard 200 chart and helped the rising star distinguish himself from his high-profile cousin — who he toppled from the No. 1 spot on the Top Latin Albums chart, five weeks after his debut release.

Although Laija García hasn’t shied away from embracing that familial tie either; in May, both Tito Double P and Peso Pluma concluded their “Dinastía” tour following their joint 2025 album of the same name.

“I still see comments on TikTok where people are surprised that we are cousins,” remarked Laija García.

Now with “Acomodo” — which debuted at the top of both Spotify Top Albums USA and Top Global Charts across all genres — Tito Double P affirmed his rightful place in música mexicana upper echelons.

“That’s why it’s called ‘Acomodo,’ because everything is aligning itself as it should be,” he said.

As Tito Double P made his way to the lobby, a member of the Dream Hollywood valet — who likely bore witness to Hollywood A-listers and other luminaries — asked if he could take a picture with the singer. “Tito, Tito, a photo please!” asked the employee.

Laija García flashed a friendly smile. Thankfully for the attendant, Tito Double P is always camera-ready.

Specially-trained search dogs are used to sniff out where potential victims may be located, says Ivory – who has been deployed to relief efforts following earthquakes in Haiti, Japan and Nepal and is currently helping to coordinate efforts in Venezuela from the UK.

They can identify a person’s smell even when they are buried as far as 10m (32.8ft) under rubble – and will let out a “really strong and sustained bark” when they do, alerting rescuers to a potential survivor.

The dogs are trained using toys imprinted with a human’s smell, Ivory explains. Then, when they actually locate a human on the ground, they are handed the toy as a reward by their handler.

Search dogs can also be very useful during the technical part of rescue operations, says Sakthy Selvakumaran of the UK-based charity Search and Rescue Assistance in Disasters (SARAID), which deploys personnel to large-scale disasters worldwide.

They can find hard-to-navigate paths through rubble to follow a scent or identify different access points to the victim, Selvakumaran tells the BBC.

June 1 (UPI) — Rescue workers in Laos said they heard a knocking sound while searching flooded caves for villagers who went missing on May 19.

The search continues in the Xaisomboun province for two of seven villagers who descended into the caves searching for gold last month. The rescue workers said Monday they knocked on the cave walls and heard a “knocking response” from deep inside the cave system within the last 24 hours.

An eighth villager went into the cave with the group but was able to escape and alert of the seven others who were trapped.

“Yesterday, when we knocked, there was a signal responding back,” Kengkaj Bongkawong, head of Metta Tham Rescue Kalasin, a Thai rescue team, wrote on Facebook. “It was a knocking sound meant to be heard. Based on our initial assessment, this is considered not to be a reflection or an echo of the sound.”

The sound was discovered after the rescue team rappelled down a vertical shaft they had discovered. They report hearing a knocking response twice in the last 24 hours.

Flash flooding after the villagers went into the cave caused them to be trapped. Five of the villagers were rescued last week when a rescue team pumped water out of the cave to help them get out.

One of the villagers was trained to scuba dive and was able to swim out of the cave.

“Moving forward, it won’t just be a matter of sitting around waiting for water to be pumped out,” Bongkawong wrote.

Sunday Brunch hosts Tim Lovejoy and Simon Rimmer returned with a new guest panel

A Sunday Brunch guest issued an apology on Sunday’s show as they admitted “I sound terrible”.

Tim Lovejoy and his co-host Simon Rimmer once again welcomed several famous faces onto the show, including Boyzone, Michael Ball, Priya Kansara, Anna Dimitriadis, Celyn Jones and Freya Ridings.

As usual, they also served up a variety of delicious dishes for their guests to enjoy, alongside chef Paul Leonard. At the start of the show, Tim and Simon introduced this week’s guests as many viewers were excited about the line-up.

Previously taking to social media, one person said: “What a line up”, as another echoed: “Love Michael Ball so will watch this one.”

However, it wasn’t long before one guest issued an apology live on air after they made a “showing off” admission.

During the introduction today (Sunday, May 30), Welsh actor and director Celyn Jones was asked about his impressive moustache where he revealed it was “for a role I’m doing at the moment.”

He added: “I lost my voice yesterday.” When asked what he had been doing to lose his voice, he continued: “I’m just trying to win another BAFTA really.”

When asked more about how the new role is going, he said: “It’s a film called Oh Magnus”, with a new filmmaker, he then teased: “I play the worst teacher that ever lived.”

Hosts Tim and Simon later sat down with the Welsh actor, who has previously won a BAFTA, who teased his new role, as well as revealing all about upcoming period drama Madfabulous, which will be released in cinemas next week (June 5).

After sitting down for his interview, Celyn added: “I’m so sorry, I sound so terrible. I’m not in pain, I should’ve been more disciplined on set yesterday, I was showing off.” He then continued: “I was over acting.”

A brand new Instagram page was previously set up for the Oh Magnus film account, which shared an exciting post this week of a directing clapper. Captioning the post: “It begins…”, Celyn Jones and others were tagged as excitement starts to build.

One person wrote: “Can’t wait can’t wait can’t wait.” Another said: “Don’t know what you’re making but it’s bound to be good!”

A third added: “How exciting, so looking forward to the progress.”

Also on the Sunday Brunch show today was Freya Ridings who opened up about her new album release, which she admitted took three years to perfect, as well as Boyzone who opened up about their final farewell tour.

Sunday Brunch airs every Sunday at 10am on Channel 4