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Art Laboe
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Art Laboe (born Arthur Egnoian; August 7, 1925 – October 7, 2022) was an American radio host, songwriter, record producer, and radio station owner. He was generally credited with coining the term "Oldies but Goodies".[1]

Key Information

Early life and education

[edit]

Laboe was born to parents Hosanna (née Kezerian) and John Egnoian in Murray, Utah,[2] a suburb of Salt Lake City, on August 7, 1925.[3][4] His parents were Armenian immigrants and observant Mormons; his father, John, came to the United States from the Ottoman Empire.[5]

When Laboe was 13, his parents divorced, whereupon he moved to South-Central Los Angeles to live with his sister.[1] He attended George Washington High School[3] and in 1938 began to experiment with amateur radio from his bedroom.[1]

After graduating from high school, Laboe studied at Stanford University, then joined the United States Navy during World War II.[1] He was stationed at Naval Station Treasure Island in San Francisco Bay.[3]

Career

[edit]

Laboe made his professional radio debut in 1943 on KSAN in San Francisco, while stationed at Treasure Island. He obtained the job because he had a first-class radiotelephone license and the station had been depleted of staff in order to meet wartime demands. During this period he changed his last name to "Laboe," which had been derived from the station manager's secretary's name, because "it sounded catchier"[1] and "more American."[4] He was permitted to play big band and jazz records shortly before the station signed off at midnight, later encouraging his listeners to call the station to make song requests, an idea so ahead of its time that[3] the technology did not yet exist to broadcast live telephone calls. Laboe had to repeat his callers' comments into the microphone.[6]

Laboe returned to Southern California, obtaining work at KCMJ in Palm Springs. He acquired the nickname "As Long as He Lasts"[7][8] because of a publicity stunt he participated in February 1948, wherein he hosted a "120-hour talkathon" for charity. He allowed himself only brief rests that lasted no more than 15 minutes.[9]

He later returned to Los Angeles and began his time at KPOP. While working at KPOP, Laboe got the idea to take his show on the road and broadcast live from the local Scrivner's Drive-In, on Cahuenga and Sunset.[10] Teenagers would come to the drive-in and hang out, and give live on-air dedications for songs. Laboe began to make a list of the most frequently requested songs.[citation needed] People would often call in who had just gone through a breakup and would ask him to play love songs to help win back their significant others. As the popularity grew, Laboe found a promoter and a ballroom east of Los Angeles, and through that the El Monte dance hall was formed.[citation needed]

With the live radio show going, he had the audience and the lists of requests. He began to turn that concept into an album titled Oldies But Goodies, a term he trademarked.[11]

In 1959, Laboe formed record label Original Sound Records to promote new musical talent he discovered. In 1959 the label released two instrumental hit songs: "Teen Beat", the breakout hit by Sandy Nelson and "Bongo Rock" by Preston Epps. Laboe also received writing credit on both songs.[citation needed]

Later he moved to KXLA (subsequently KRLA), where he stayed for many years.[12][13]

In the 1990s, Laboe worked for radio station KGGI.[14]

In January 2006, Laboe debuted another syndicated request and dedication radio show, The Art Laboe Connection. The show began on weeknights on KDES-FM in Palm Springs and KOKO-FM in Fresno. It soon expanded to KHHT (Hot 92.3) in Los Angeles (until its 2015 format flip), KAJM (Mega 104.3) in Phoenix, and stations in Bakersfield and Santa Maria.[citation needed]

Laboe later DJ'd on two syndicated radio shows, both of which were broadcast across the American Southwest. The Art Laboe Connection and Art Laboe Sunday Special. In 2018, Art could be heard in 14 different radio markets including Los Angeles, the Inland Empire, San Diego, Las Vegas, and Phoenix.[15]

Social impact to Los Angeles

[edit]

Laboe contributed to desegregating Los Angeles.[4] As his on-air popularity started to grow, so did Laboe's ability to draw crowds of all ages. While hosting a local radio show, he approached the owner of Scrivner's Drive-In about being a sponsor. In return for buying ad spots, Laboe agreed to tell his audience he would meet them at the drive-in after the show.[6] The success of the post-show meetup led Laboe to host a live remote from Scrivner's Drive-In on the corner of Sunset and Cahuenga in Los Angeles.[6] According to Art, initially the audience was mostly white teenagers.[14] The growing popularity of the live broadcast, coupled with growing police harassment of the teenagers who attended the shows, led Laboe to look for a new location to host dances.[6][16] Laboe chose the El Monte Legion Stadium. Since it was outside the city limits of Los Angeles, Laboe was not subject to a city ordinance that mandated LA Board of Education approval for any public dance intended for high school students.[6][17][18][19]

Laboe began hosting Saturday night dance shows at the El Monte Legion Stadium, a venue that, until then, had primarily hosted country jamborees and boxing matches. Those events began to attract teenagers of all races, but mostly Hispanic.[6][14][16] In a city divided by topography, neighborhoods, and class, Laboe brought together teenagers of the greater Los Angeles area, regardless of race or class, to one location.[20] He did not discriminate when listeners called to request a song live on-air and was one of the first DJs to allow people of different races to make a request.[17]

Death

[edit]

Laboe died of pneumonia on October 7, 2022, at the age of 97. His final program was produced on October 6 and was later aired on October 9.[4] He is buried at Inglewood Park Cemetery.[21]

References

[edit]
[edit]
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Art Laboe

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from Grokipedia
Art Laboe (August 7, 1925 – October 7, 2022), born Arthur Egnoian to an Armenian-American family in Salt Lake City, Utah, was a pioneering American disc jockey, record producer, songwriter, and radio station owner whose career spanned nearly 80 years. He began broadcasting at age 17 and gained prominence in Southern California by hosting live shows from drive-in restaurants that attracted multiracial audiences, helping to challenge racial segregation in the 1950s through events at venues like the El Monte Legion Stadium. Laboe is credited with coining the phrase "oldies but goodies" and popularizing the format of replaying classic rock 'n' roll hits, while founding the Original Sound record label to produce and promote compilation albums of such tracks. His long-running syndicated show, The Art Laboe Connection, emphasized personal dedications and requests, often connecting incarcerated individuals with their families, and earned him inductions into the Radio Hall of Fame along with multiple lifetime achievement awards for his enduring influence on radio broadcasting.

Early life

Childhood and family background

Arthur Egnoian, later known as Art Laboe, was born on August 7, 1925, in , , to Armenian immigrant parents John Egnoian and Hosanna (née Kezerian) Egnoian. His father had emigrated from the , a region marked by ethnic tensions including the of 1915, reflecting the broader pattern of Armenian flight to the in the early . The Egnorians maintained a Mormon household, adhering to the practices of the Church of Jesus Christ of Latter-day Saints, which his parents observed devoutly amid the economic hardships of the . The family's working-class status underscored the challenges faced by first-generation immigrants relying on manual labor and community networks for sustenance, without documented dependence on public assistance. In his early teens, Egnoian relocated from to the area to live with an older sister, immersing him in a diverse urban setting characterized by ethnic enclaves and pre-World War II social dynamics. This move exposed him to California's multicultural influences, including sizable Armenian, , and African American communities, shaping his formative years before his entry into .

Initial exposure to radio and education

Laboe's interest in radio was sparked in 1933, at the age of eight, when his sister sent the family a whose voices and narratives profoundly captivated him, leading him to imitate announcers and experiment with the technology. This hands-on engagement fostered an early aptitude for mechanics in an reliant on analog and rudimentary . After his parents' divorce, Laboe relocated to to live with a sister and enrolled at High School, graduating in the summer of 1942 at age 16. He subsequently enrolled briefly in engineering courses at , reflecting modest formal postsecondary exposure amid the Great Depression's economic constraints on an Armenian-American family. Laboe's practical broadcasting proficiency emerged through self-reliant rather than extended academic channels; by 1938, at age 13, he had assembled and operated an from his bedroom, transmitting experimental signals that demonstrated persistence in technical problem-solving without professional guidance or credentials. These pre-professional endeavors highlighted a merit-driven path, prioritizing empirical trial-and-error with vacuum tubes and antennas over institutionalized instruction.

Radio career

World War II-era broadcasts and military service

Laboe enlisted in the U.S. Navy during following his high school graduation in 1942 at age 16, after briefly attending where he trained in radio engineering. Stationed at the naval base in , he secured his first professional radio role at KSAN in 1943, leveraging his first-class radiotelephone operator's license amid wartime shortages of station personnel. At KSAN, Laboe began reading on-air dedications sent by families—often wives and relatives—to service members overseas, an innovation born from listener letters seeking personal connection during the deprivations of , blackouts, and uncertainty. This practice, initially non-commercial, fostered direct audience engagement by playing requested songs alongside messages, addressing the emotional needs of a wartime populace separated by deployment and constraints on mail. His Navy service, including duties that exposed him to the morale-sustaining power of for troops, deepened Laboe's appreciation for radio's role in uplifting spirits under duress. Following his discharge in 1945, Laboe resumed broadcasting, adapting these wartime dedication techniques to civilian listeners craving similar from postwar readjustment challenges.

Post-war entry into Los Angeles radio and drive-in shows

Following his discharge from the U.S. Navy after , Laboe relocated to around 1949, securing a position at KRKD where he sold advertising during the day and hosted an all-night record show in the early morning hours. This shift marked his entry into the competitive radio market, where he focused on spin-and-play records rather than live studio bands, a format he advocated as more efficient for late-night audiences. By the mid-1950s, Laboe had moved to and innovated live remote broadcasts from Scrivner's Drive-In at the corner of and , beginning in 1955. These afternoon shows featured on-site announcements and music playback, transforming the parking lot into a hub for teenagers who cruised in cars, ordered food, and danced to and emerging rock 'n' roll tracks—genres Laboe championed as one of the earliest disc jockeys in to prioritize them over conventional pop standards. The Scrivner's events drew substantial multiracial crowds of white, Black, and Latino youth, united by enthusiasm for the upbeat music rather than external mandates, often resulting in traffic jams from the venue's popularity. Despite pushback from station executives favoring safer, adult-oriented programming, Laboe's approach prevailed through demonstrable listener demand, as reflected in the rapid growth of attendance and on-air engagement that validated the -oriented, genre-blending appeal.

Innovation of dedications and oldies format

Laboe pioneered the widespread use of song request dedications on West Coast radio during the 1950s, expanding a practice he initiated in 1943 at KSAN in , where he read mailed messages from listeners—often wives addressing husbands serving in —over late-night broadcasts of and records. By the postwar era in , this evolved into a staple feature on his shows at stations like KPPC and KXLA, incorporating personal messages alongside selected records, which directly engaged audiences by simulating intimate communication and differentiating his programming from scripted formats. A key advancement came with the integration of live calls for dedications, which Laboe implemented during his drive-in restaurant broadcasts and subsequent air shifts, allowing real-time listener input and predating the interactive elements of modern call-in by decades. This format's efficacy is evidenced by the rapid increase in listener participation, as mail-in dedication requests grew substantially—transitioning from sporadic wartime letters to voluminous submissions that overwhelmed station resources and necessitated dedicated handling, reflecting organic demand driven by word-of-mouth among young audiences tuning into his rock 'n' roll sets. Amid shifting musical preferences toward folk, surf, and early Beatles-influenced sounds by the late , Laboe innovated the "" by emphasizing replayed hits from the prior decade's , R&B, and rock 'n' roll eras, framing them on air as enduring appeals to rather than outdated novelties. In , he popularized the phrase " but goodies" to describe these selections, applying it to compilations of reissued tracks that sustained listener interest through familiarity and emotional resonance, as confirmed by sustained request volumes for specific recordings like those by and . This listener-validated approach, rooted in observed preferences for replayed favorites over transient charts, established a template for -driven programming that prioritized empirical engagement over industry trends.

Expansion into syndication and later broadcasts

In the early 1990s, Laboe expanded his request and dedication format beyond local Los Angeles broadcasts by launching the syndicated Art Laboe's Sunday Special from KGGI in Riverside, which aired across multiple stations in the western United States, including the Southwest region. This move capitalized on the proven profitability of his oldies programming and listener loyalty, with dedications proving especially resonant among isolated audiences such as inmates and their families, who sent thousands of letters annually requesting songs for loved ones in prisons. The format's emphasis on personal connections sustained high ratings by prioritizing empirical listener feedback over fleeting trends. By January 2006, Laboe introduced The Art Laboe Connection, a weeknight syndicated show originating from KDES-FM in Palm Springs, further broadening its reach to stations throughout , , and the Southwest. Amid industry format wars, including shifts from to hip-hop, Laboe's program faced disruptions, such as its 2015 removal from ' KHHT-FM (92.3) following the station's abrupt genre change. He adapted by relocating broadcasts and adjusting to FM platforms where audience demand persisted, relying on consistent ratings driven by dedications that linked separated communities. Laboe returned to the Coachella Valley airwaves on June 5, 2016, via KMRJ (99.5 FM) after the sale of his prior station KDES, where he had aired for 23 years. This resurgence, from a Palm Springs studio, maintained the show's viability into the despite competition, as dedications continued to draw loyal callers, including from prisons, affirming the format's enduring causal appeal to emotional human needs over technological shifts. His career spanned over 79 years until his in 2022, sustained through data-informed persistence in what empirically retained listeners.

Business ventures

Founding of record labels and productions

In 1957, Laboe founded Original Sound Record, Inc., an independent label based in that allowed him to produce and distribute recordings without dependence on major industry distributors. The venture was self-financed through his radio earnings and event sales, reflecting his strategy of leveraging audience demand from live broadcasts and drive-in gatherings to validate market potential for niche music. Early releases focused on instrumental tracks and local talent, including the 1959 hit "Teen Beat" by , which reached number four on the and demonstrated the label's viability in promoting overlooked artists. Laboe's productions emphasized compilations that aggregated popular songs from multiple independent sources, pioneering the multi-label various-artists format. In 1958, he released Oldies But Goodies Volume 1, the inaugural entry in a series that compiled and early rock tracks, sold directly via mail-order campaigns and at his venues to bypass traditional retail channels. This approach enabled rapid iteration based on listener feedback, with subsequent volumes sustaining chart presence on Billboard's Top LPs list and collectively selling millions of units over decades through targeted marketing to regional audiences. Through Original Sound, Laboe prioritized unsigned and regional acts, such as R&B duo Don & Dewey, whose energetic performances and songwriting he amplified via custom productions and promotional singles that highlighted their raw, rhythm-driven sound without gatekeeper approval from larger labels. This independent model not only mitigated financial risks by tying releases to proven radio play but also fostered a catalog of Chicano-preferred that endured in culture.

Concert promotions and station ownership

Laboe expanded his influence beyond broadcasting by promoting live concerts, particularly through multiday events that showcased rhythm and blues, doo-wop, and early rock acts to large audiences in Southern California. In the late 1950s and early 1960s, he organized dances and shows at El Monte Legion Stadium, broadcasting live from the venue and featuring performers such as Jerry Lee Lewis and Ritchie Valens, with admission typically priced at $3 or $3.50 for headline acts. These events drew thousands of attendees, fostering a venue for youth culture amid local controversies over rock music's influence. A pinnacle came in 1960 when Laboe partnered with Dick Clark to produce a two-day rock 'n' roll extravaganza at the Los Angeles Coliseum, presenting 26 acts to massive crowds and highlighting his ability to curate diverse lineups that bridged emerging genres. Parallel to these promotions, Laboe pursued radio station ownership to secure control over programming and counter trends toward standardized formats. In the mid-1970s, he became a part-owner of KRLA-AM in , co-owning it briefly with figures like , and used this position to revive the station by blending with contemporary hits in the "HitRadio 11" format, preserving access to the nostalgic content central to his brand amid competitive pressures. This ownership enabled , allowing seamless promotion of his events and dedications on air while resisting corporate shifts toward narrower playlists. By the , as a part-owner, he maintained KRLA's appeal to loyal listeners valuing personalized over homogenized national content. Laboe demonstrated business resilience through adaptations to industry disruptions, including station format changes driven by larger owners. In 2015, his syndicated show was dropped from iHeartMedia's KHHT-FM (Real 92.3) following a abrupt switch to hip-hop, reflecting broader free-market dynamics and regulatory environments favoring conglomerate consolidations over niche programming. Despite such losses, Laboe quickly secured airtime on alternatives like KDAY-FM, expanding syndication across southwestern stations to sustain his format without personal financial collapse. This agility underscored his strategy of leveraging ownership and partnerships for content autonomy in a volatile radio landscape.

Cultural and social influence

Facilitation of racial mixing at events

Laboe's live broadcasts and events at drive-in restaurants, beginning in the early , attracted diverse crowds of white, , and Latino teenagers who gathered to dance to rock 'n' roll and records, often in numbers sufficient to cause around venues like Scrivner's Drive-In on Sunset Boulevard. These gatherings occurred voluntarily and predated federal civil rights legislation such as the , with participants mingling across racial lines drawn by shared interest in the music rather than political mandates. By 1955, escalating crowd sizes and resulting police scrutiny at drive-ins prompted Laboe to shift events to , a venue outside city limits with a capacity of approximately 3,000 to 3,500 attendees, where he hosted dances featuring live performances by artists such as for the next six years. These shows regularly filled the stadium with multiracial audiences of youth from across , including Black, white, and Latino participants, as documented in contemporary accounts emphasizing the apolitical appeal of the oldies format Laboe popularized. Police presence was routine due to the large turnouts, but reports highlight the crowds' orderly conduct, with no records of widespread violence or riots; minor issues like parking lot altercations occurred sporadically but did not disrupt the events' continuity. The sustained commercial viability of these gatherings, evidenced by repeated sellouts and Laboe's ability to book major acts over multiple years, demonstrated music's capacity to foster interracial assembly without enforced integration, challenging assumptions of inevitable division in pre-1960s Southern California. Attendance data from full-capacity events underscored voluntary participation, as the format's focus on nostalgic hits transcended racial barriers through entertainment value alone, rather than ideological advocacy.

Enduring appeal in Chicano and lowrider communities

Laboe's oldies format gained traction in communities during the 1960s, as his playlists of , R&B, and early rock tracks from the 1950s became integral to social gatherings like quinceañeras and family celebrations in barrios. These events, prevalent among Mexican-American families with recent immigrant ties, featured dedications aired on Laboe's broadcasts that emphasized personal messages of love and remembrance, strengthening communal bonds amid urban migration patterns. Request volumes for such tracks remained consistently high, reflecting a preference for nostalgic, harmony-driven music over contemporaneous genres like or . In , Laboe's selections formed the soundtrack for cruises and car shows starting in the late 1960s, where customized vehicles paraded to slow-dance ballads and upbeat during evening drives along East streets. Participants in this Chicano-led hobby, which emphasized hydraulic suspensions and polished aesthetics as expressions of pride and ingenuity, tuned into his syndicated shows for dedications that synced with the rhythmic cruising pace, sustaining the tradition through decades of regional events. This integration occurred organically through listener habits rather than targeted marketing, as evidenced by the format's persistence in magazines and playlists without reliance on external cultural subsidies. Laboe's appeal extended to incarcerated Chicano listeners, with dedications to inmates in facilities like Corcoran State Prison comprising a significant portion of airtime requests—often exceeding one per minute during peak hours. Families from neighborhoods broadcast messages via his program, playing tracks like those by or to maintain emotional connections despite physical separation, a practice that underscored the music's role in preserving family structures under socioeconomic pressures. This pattern of sustained engagement, documented through broadcast logs and listener testimonials, demonstrated cultural resilience, as request patterns for outlasted fleeting trends in hip-hop or electronic music within these communities. His broadcasts indirectly bolstered acts by airing covers and regional hits from East groups, such as Cannibal & ' 1965 rendition of "Land of 1,000 Dances," which aligned with the ethos and amplified local self-expression through radio play. Without institutional backing, these promotions via dedications and playlists fostered an independent scene, where musicians drew from Laboe's curated nostalgia to innovate within accessible, low-cost formats like garage recordings. The enduring rotation of such tracks in community settings affirmed their authenticity over commercially driven narratives.

Community engagement through dedications

Laboe's dedications segment on The Art Laboe Connection operated through listener-submitted requests via phone calls or mailed letters, where participants shared personal messages to be read aloud alongside selected tracks, emphasizing direct audience input without scripted host embellishment. This evolved over decades to include unedited readings of intimate narratives, such as apologies, expressions of , or family updates, often from listeners facing personal hardships, which cultivated a sense of raw authenticity and recurring participation. A notable subset involved submissions from incarcerated individuals, with Laboe receiving thousands of such letters annually by the late , enabling connections between inmates and external loved ones through broadcasted dedications that conveyed themes of separation and hope. These dedications transcended demographic boundaries by highlighting universal motifs of romantic , familial loss, and relational , as evidenced in archived listener correspondences spanning from the onward, where messages frequently detailed overcoming estrangement or marking anniversaries amid adversity. The practice generated sustained listener loyalty, measured by consistent call volumes and letter influxes that sustained the show's viability against commercial pressures, differing from contemporary radio's emphasis on segmented over prolonged interactive segments. By prioritizing unfiltered human stories, Laboe's approach fostered a participatory metric—repeat dedications from the same callers or families—rather than passive consumption, reinforcing bonds through shared vulnerability on air.

Legacy

Key achievements and innovations

Laboe pioneered of live song dedications and requests on radio, introducing it during his early broadcasts from drive-in restaurants in the late , which fostered direct listener engagement and became a defining feature of his shows. He is credited with coining the term "oldies but goodies" and developing the format by compiling past hit singles into thematic albums starting with the "Oldies But Goodies" series in 1959, volumes of which achieved sustained chart presence, including the debut installment on the for over three years. This innovation shifted radio programming toward nostalgic reissues, licensing tracks from multiple labels to create accessible collections of , rock, and early pop hits. As one of the earliest West Coast disc jockeys to routinely broadcast alongside emerging rock 'n' roll records from 1949 onward, Laboe expanded station audiences by prioritizing listener interest over format restrictions imposed by management wary of "race music." His approach demonstrably boosted ratings, as evidenced by elevating from 49th to first place in Arbitron rankings between 1976 and 1981 through targeted programming of integrated music selections. Laboe maintained a broadcasting tenure of 79 years, commencing at KSAN in in 1943 and extending through , the rock era, and into digital syndication until 2022, adapting dedications to phone-ins, mail, and eventually online requests. His innovations earned formal recognition, including induction into the for lifetime contributions to standards. On July 17, 1981, he received a star on the , with officially designating the date as "Art Laboe Day" to honor his role in shaping regional radio practices. Additional accolades followed, such as the Pacific Pioneer Broadcasters' Lifetime Achievement Award in 2019, affirming peer validation of his format-defining work.

Challenges faced and criticisms

In the mid-1950s, Laboe encountered opposition from segments of society, including religious conservatives, who criticized rock 'n' roll as immoral "devil music" that corrupted youth. To acknowledge this sentiment during his live broadcasts at drive-in venues, he would playfully warn audiences: "OK, mothers, gather up your daughters. Here comes Art Laboe and his devil music!" Such backlash occasionally resulted in brief local bans or restrictions on his events, but Laboe persisted through strong listener demand, which sustained his popularity and led to the format's enduring success. Later in his career, Laboe navigated corporate and market-driven challenges, exemplified by the February 2015 decision by to drop his syndicated show from KHHT-FM (92.3 FM) in amid a abrupt shift to a hip-hop format. This move, driven by ratings pursuits and industry trends favoring edgier urban contemporary content over traditional oldies, provoked protests from fans who viewed it as a cultural loss, but reflected broader volatility in radio ownership and programming rather than any fault attributable to Laboe. He quickly adapted by securing airtime on alternative stations, such as (93.5 FM), resuming broadcasts later that year and maintaining his wholesome, dedication-focused style amid shifting listener demographics. Laboe faced few personal scandals throughout his 79-year career, with criticisms largely external and tied to format evolution rather than individual conduct; his resilience in syndicating shows and prioritizing family-oriented programming allowed him to outlast transient industry disruptions.

Death and posthumous impact

Art Laboe died on October 7, 2022, at the age of 97 from at his home in . His death followed recent broadcasts, as he had remained active on air into his later years. Los Angeles-area radio stations, including and Power 106, issued immediate tributes highlighting his regional significance, reflecting the devotion of his audience in and the Southwest. These responses underscored the communal role his programs played, particularly through listener dedications that fostered personal connections. Following his death, The Art Laboe Connection continued under host Rebecca Luna, known as "Old School Becky Lu," who incorporated current dedications alongside replays of Laboe's segments. By 2024, the syndicated show aired on at least eight terrestrial stations across and , with streaming reach extending to thousands of listeners in , , and beyond, demonstrating the format's ongoing viability through sustained call-in engagement. This persistence in and communities, via media references and playlists, affirmed his empirical influence without reliance on prior career elements.

References

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  43. https://magazine.waxpoetics.com/article/lowrider-oldies-bittersweet-harmony/
  44. https://www.zocalopublicsquare.org/without-art-laboe-im-so-lonely-i-could-cry/
  45. https://www.diaryofvilma.com/diaryblog/the-lost-history-of-el-montes-legion-stadium
  46. https://scholarworks.calstate.edu/downloads/p55480153
  47. https://www.ocweekly.com/ten-best-chicano-oldie-songs-to-dedicate-on-the-art-laboe-connection-7711454/
  48. https://ctqcountry.iheart.com/content/2022-10-11-how-art-laboe-got-his-start-in-radio-the-birth-of-his-dedications/
  49. https://www.magic925.com/2022/10/10/remembering-art-laboe-1925-2022/
  50. https://www.hawaiipublicradio.org/2014-02-09/art-laboe-and-his-devil-music-made-radio-magic
  51. https://www.billboard.com/pro/art-laboe-obit/
  52. https://walkoffame.com/art-laboe/
  53. https://www.dailynews.com/radio-honoring-the-life-and-work-of-broadcaster-art-laboe/
  54. https://www.ctpublic.org/2014-02-09/art-laboe-and-his-devil-music-made-radio-magic
  55. https://www.latimes.com/local/lanow/la-me-ln-art-laboe-20150211-story.html
  56. https://www.latimes.com/entertainment-arts/story/2022-10-10/art-laboe-dead-los-angeles-radio-reactions
  57. https://www.dailynews.com/2022/10/11/hollywood-pays-tribute-to-radio-legend-art-laboe/
  58. https://www.latimes.com/delos/newsletter/2024-02-15/latinx-files-art-laboe-old-school-becky-lu-latinx-files
  59. https://www.desertsun.com/story/life/entertainment/people/2023/01/27/taking-over-for-art-laboe-was-a-natural-fit-for-old-school-becky-lu/69775546007/
  60. https://www.dailybreeze.com/2024/08/07/where-to-find-art-laboes-call-in-radio-shows/
  61. https://www.yahoo.com/entertainment/music/articles/contributor-djd-radio-79-years-100700714.html
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