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Wikipedia

KRRL

January 09, 2023

KRRL (92.3 FM) – branded Real 92.3 – is a commercial urban contemporary radio station licensed to Los Angeles, California, serving much of the Greater Los Angeles area. Owned by iHeartMedia, KRRL serves as the flagship for Big Boy's Neighborhood. The KRRL studios are located in the Los Angeles suburb of Burbank, while the station transmitter resides on Mount Wilson. Besides a standard analog transmission, KRRL broadcasts over two HD Radio channels, and is available online via iHeartRadio.

KRRL
Broadcast area
Frequency92.3 MHz (HD Radio)
BrandingReal 92.3
Programming
Language(s)English
FormatUrban contemporary
Subchannels
Affiliations
Ownership
Owner
History
First air date
December 29, 1948
(74 years ago) (1948-12-29)
Former call signs
  • KFAC-FM (1948–89)
  • KKBT (1989–2000)
  • KCMG (2000–01)
  • KHHT (2001–15)
Former frequencies
104.3 MHz (1948–54)
Call sign meaning
ReaL
Technical information
Licensing authority
FCC
Facility ID35022
ClassB
ERP43,000 watts
HAAT887 meters (2,910 ft)
Transmitter coordinates
34°13′36″N 118°3′57″W / 34.22667°N 118.06583°W / 34.22667; -118.06583
Links
Public license information
  • Public file
  • LMS
WebcastListen live (via iHeartRadio)
Websitereal923la.iheart.com

History

KFAC-FM

Main article: KWKW

The station first signed on the air on December 29, 1948, as KFAC-FM, the FM adjunct to KFAC.[1] First owned by Errett Lobban Cord, a luxury vehicle manufacturer who purchased KFAC in 1931 from the Bible Institute of Los Angeles,[2][3] KFAC became one of the first commercially operated radio stations in the United States to adopt a full-time fine arts/classical music format, having gradually added long-form programming devoted to the genre between 1938 and 1945.[4] The station's longest-running program, the six-night-a-week Gas Company Evening Concert, would enjoy a run on both KFAC—and later it and KFAC-FM—between October 1940[5] and September 1989.[6] KFAC also slowly assembled an airstaff with unprecedented continuity and tenure, including, but not limited to: Thomas Cassidy,[7] Fred Crane,[8] Tom Dixon,[9] Dick Crawford,[10] Bill Carlson[11] and Carl Princi,[12] all six of which would be continuously employed by the station between 1953 and 1983.[13]

At the time KFAC-FM was established, it generally simulcast KFAC's programming, but began to deviate from this to participate in a series of pseudo-stereo concert broadcasts with KFAC from the Hollywood Bowl Amphitheatre, starting in 1953. KFAC was fed the audio from a microphone pointed at one end of the Bowl, and KFAC-FM the audio from a microphone at the other end of the Bowl. Originally based at the transmitter site for KFAC in Los Angeles' Crenshaw district and operated at 104.3 MHz,[14] the station moved to 92.3 MHz and the transmitter was moved to the top of Mount Wilson, both in July 1954,[15] and was officially dedicated during a pseudo-stereo concert broadcast from the Bowl.[16] Because KFAC-FM made this move to Mount Wilson prior to the FCC enacting limits for power output by FM stations in 1962, it is formally classified as a "Superpower" FM by operating at a maximum power level, but with the antenna being placed well above the height limit.[17] These pseudo-stereo broadcasts were offered over both stations for 12 hours each week over the next decade, ending after KFAC-FM converted to a multiplexed signal in 1964.[18]

E.L. Cord sold KFAC and KFAC-FM to Cleveland Broadcasting Incorporated, founded by former Cleveland, Ohio mayor Ray T. Miller, for a combined $2 million. Miller founded WERE and WERE-FM in Cleveland, and also owned WLEC and WLEC-FM in Sandusky, Ohio, and pledged to maintain KFAC's classical format.[19] After Miller's 1966 death,[20] the company was sold two years later to Atlantic States Industries, a McGarven-Guild Radio subsidiary, for a combined $9 million.[21] A waiver was requested to keep both KFAC and KFAC-FM under common ownership due to an interim policy proposed by the FCC which would have prohibited it;[22] after a public on-air solicitation of support from listeners yielded 15,000 letters,[23][24] the waiver was granted, and the deal was approved in October 1969.[25]

KFAC and KFAC-FM ended their full-time simulcast on January 17, 1972; while both kept the same format and same airstaffs, KFAC-FM utilized a deeper playlist and broader spectrum of selections, while KFAC focused on more familiar selections and melodies, aiming to attract younger listeners.[26] Both stations still simulcast core programming like Evening Concert, Luncheon at the Lincoln Center, and Continental Classics.[27] The KFAC Listeners' Guild was established in 1970 supported by an annual $3 membership fee, providing listeners a chance to provide direct feedback to the station and its operations,[28] it boasted over 11,000 members after the first year.[29][30]

An ownership transfer in 1986 attracted controversy after most of the tenured airstaff was dismissed on December 31, 1986.[31][32] When KFAC was sold to Lotus Communications as the new home of KWKW (1300 AM) for $8.7 million on July 15, 1988,[33][34] only five percent of KFAC and KFAC-FM's total audience listened to the AM frequency; the only deviation between both stations was the Brian Clewer-hosted Cynic's Choice that aired solely on KFAC.[35] Days before that deal closed, on January 15, 1989, KFAC-FM was sold to Evergreen Media for $55 million,[36] setting a record for the most expensive sale of a classical music outlet in the United States.[37]

Despite Evergreen head Scott Ginsberg telling Radio & Records that KFAC-FM's format would remain in place,[38] industry analysis warned a format change would occur because of the debt incurred in purchasing the station.[37][39] Speculation began to accelerate when KFAC-FM dropped format in early July—for only a few minutes—to carry part of a Rolling Stones press conference,[40] then Evergreen took responsibility for a cryptic billboard taken on Sunset Boulevard reading, "Pirate Radio, KLSX, KLOS: Get Ready to Move Over and Let the Big Dogs Eat!"[41] Jim de Castro, who was appointed as KFAC's general manager from Evergreen's WLUP in Chicago,[42] later admitted he won free use of that billboard for a month as the result of a golf bet.[43] Finally, Evergreen announced the donation of KFAC and KFAC-FM's music library, with roots dating back to the early 1940s and appraised at $1.8 million,[44] to KUSC; Stanford University and the Los Angeles Public Library acquired KFAC's compact disc library, the majority of titles KUSC already held.[44] KUSC was also presented with a $35,000 check and the rights to the KFAC calls,[45] those would later be placed on a KUSC repeater in Santa Barbara.[46][47]

KFAC's demise attracted local and national attention, in part due to the longevity of the format and its presence in the nation's second largest radio market. A New York Times profile printed on the day of its format change labeled KFAC "a staple of Los Angeles's cultural life for 58 years" and that its switch was "a sign of the times and perhaps of things to come as American cultural tastes evolve."[48] Competing radio stations KPFK and KCRW both aired tribute programming to KFAC,[49][50] and Mount Wilson FM Broadcasters' KKGO-FM announced that it would switch formats to classical in January 1990, with KKGO-FM's existing jazz format moving to KKGO (540 AM).[51] KFAC's John Santana was hired by KKGO as a host,[52] and revived the Gas Company Evening Concert the following March, with former KFAC announcer Tom Dixon as host.[53] Meanwhile, Evergreen tried to capitalize on the attention the week of KFAC's switch by running television ads locally on L.A. Law, the 1989 MTV Movie Awards, and The Arsenio Hall Show teasing the "new" format.[42]

An outdoor event was staged outside of KFAC's studios (at the former Villa Capri restaurant on Hollywood's Yucca Street[54][55]) at noon on September 20, 1989, to commemorate the end of the classical format; this was simulcast on KUSC, which—along with KFSD in San Diego[56]—had placed advertising promoting themselves on KFAC. The hour began with Jim de Castro ceremoniously "passing a baton" to KUSC general manager Wallace Smith, then after a partially improvised farewell message from Rich Capparela,[57] the hour concluded with KFAC-FM's final classical selection: Haydn's "Farewell" Symphony.[45] After a moment of silence led by de Castro, the air signal switched to a heartbeat sound effect,[58] while television monitors outside the studios started playing the television ad proclaiming the new format, accompanied by a skywriter scripting in the skies above "It's Alive. FM-92", but all reporters in attendance wound up focusing on KFAC instead.[42]

KKBT

The on-air heartbeat sound stunting would continue for the next 23 hours, interspersed with brief snippets of rock songs,[42] ahead of the debut of KKBT the next day (September 21, 1989). Branded "The New FM 92 The Beat", the station offered a blend of adult rock, dance music, and adult contemporary. The first song under the new format was "Walk on the Wild Side" by Lou Reed.[57][59] However, the format failed in the ratings; in the Winter 1990 ratings report for the market, KKBT was ranked 8th 12+, 10th in the 25-54 year-old age demographic, and 15th in overall cume.[60][61] After less than five months, on February 3, 1990, the station switched to rhythmic adult contemporary, while maintaining the "FM 92 The Beat" branding.[62] With the change, KKBT entered into direct format competition with KDAY, KJLH, KACE, and KGFJ, although KKBT focused more on soul music/rhythm and blues selections.[63] While the station attracted criticism for its aggressive on-air tactics, KKBT's ratings rose significantly after the switch;[63] by the summer of that year, it evolved to a strictly urban AC format.[64] By 1991, rap and hip-hop were being mixed in, and the station evolved to an urban contemporary format as "92.3 The Beat".[65]

As an urban contemporary station, KKBT hit #1 a few times in the ratings, and competed aggressively with a hip-hop station on the 105.9 frequency, KPWR. During its tenure as "The Beat", the station featured many popular and legendary DJs who came from stations like KPWR, KMEL, WQHT, KIIS-FM, and KDAY, like John London and The House Party (a popular morning show which competed with other top local shows such as Mark and Brian on KLOS and Rick Dees on KIIS), Diana Steele, Theodore "Theo" Mizuhara, Eric Cubiche, Nautica De La Cruz, P.J. Butta, NWA's founder Dr. Dre and the World Class Wreckin' Cru, Ron "Big Ron" O'Brien, John "Big John" Monds, Kevin "Slow Jammin'" James, and Kevin Nash. Other shows included Westside Radio, a weekly radio program dedicated to West Coast Hip-Hop (now airing on KDAY), and Street Soldiers, a weekly program dedicated to community issues and politics. The station went by the slogan "No Color Lines", proudly championing the diversity of the region. It is believed that KKBT was inspired by KMEL and KDAY. During the 1990s, the station held a summer concert known as "Summer Jam", which featured major Hip-hop and R&B stars who performed at the Irvine Meadows Amphitheatre. In February 1996, sister station WYNY in New York City simulcasted KKBT for a day as part of a week-long stunt of simulcasting sister stations nationwide before changing formats to rhythmic adult contemporary as WKTU.

In a group deal in 1997, Evergreen merged with Chancellor. Chancellor acquired stations from other groups that exited the market. In 1999, Chancellor merged with Capstar and the company became AMFM, Incorporated.

KCMG

In the fall of 1999, Clear Channel Communications and AMFM, Inc. merged. This gave Clear Channel five FM stations in Los Angeles and KIIS, which Clear Channel already owned. However, in order to get under the government-mandated market ownership limits, some stations were required to be spun off; in Los Angeles, one of the full-powered FMs had to go. KKBT's was the station chosen; it was sold to Radio One. However, Clear Channel wanted to keep the best possible signal, and gave Radio One 100.3 FM. Leading up to the frequency swap, rumors swirled about whether 100.3's format would survive the move to 92.3 FM. Being that 100.3 was going to an African-American owned company known for urban formats, it seemed that "The Beat" would likely move to 100.3 intact. Much speculation led to 92.3 going active rock, possibly with the KMET calls. When the switch was made at 5 p.m. on June 30, 2000, the formats and call letters did come along for the ride, with 92.3 becoming KCMG, "Mega 92.3", and 100.3 becoming KKBT, "100.3 The Beat".[66][67][68]

KHHT

The station, now called "Mega 92.3", continued playing rhythmic oldies. On August 9, 2001, KCMG changed its call letters to KHHT, re-branded as "Hot 92.3", and shifted to more of an urban AC format.[69] However, KHHT was not a typical urban AC station; this station was one of the first urban AC's to play more old school/classic soul, the more mainstream-level R&B (barely-to-not playing neo-soul at all) and some rhythmic and Latino pop/R&B songs to cater to the Hispanic and Asian audiences that listen to R&B music in particular. In this way, KHHT's playlist structure was the inspiration for other urban AC markets in the western half of the U.S. such as sister stations in KISQ San Francisco, KSYU Albuquerque, and KHYL Sacramento.[70]

KHHT was one of three urban ACs serving the Los Angeles market; the others were KRBV (formerly KKBT, which changed from R&B/hip-hop in May 2006, but was sold by Radio One to Bonneville International in April 2008), and KJLH, whose signal is not full-power and barely penetrates the San Fernando Valley. In July 2006, it was announced that Art Laboe, a legendary oldies DJ in Los Angeles, would expand his syndicated show from weekend to weekdays, with KHHT as the flagship station. Laboe's move was interpreted as an attempt to expand the station's Hispanic audience as it competed with KRBV and KJLH, both of which were African-American owned, operated and targeting stations (only KJLH remains Black-owned).

However, by 2008, it became apparent that the over-saturation of Adult R&B stations in Los Angeles had made it difficult for three outlets to compete for the same audience. As a result of this, KHHT began to shift directions from an urban AC direction to rhythmic hot AC, allowing it to focus more on the Hispanic and Asian audience, and opened up its playlist to include current rhythmic hits. This move also opened up a new battle in the Los Angeles radio war, which found KHHT taking on another rhythmic AC, KMVN, whose direction was more focused on recurrents from the 1970s and 1980s, which also explained KHHT's decision to add currents to its playlist. KHHT's sister station KBIG-FM once had a rhythmic AC direction before shifting back to Hot AC in September 2007. The April 2008 sale/format change of KRBV would have resulted in further tweakings at KHHT, but due to Arbitron's implementation of the Portable People Meter in the Los Angeles radio market and a move by its sister stations to adjust their formats to attract certain demos, KHHT decided to continue concentrating on attracting their Hispanic demos, where they feel more comfortable.[71]

As of April 2009, KHHT once again became the only rhythmic adult contemporary in the market, as KMVN made a format change to Spanish. This move prompted KHHT to further adjust its musical direction by adding more Disco and Freestyle tracks to its current format as a way to attract the displaced KMVN listeners, and by June 2009, it showed an increase in the PPM ratings after it began to further tweak its selection more to slightly favor currents and less favor old school tracks. These latest changes at KHHT led to hints that it was moving towards adopting a current upbeat (and dance-leaning) formula patterned after sister stations WKTU/New York City, WMIA-FM/Miami, and WISX/Philadelphia. All three stations saw good ratings numbers with this formula.

In November 2010, KHHT tweaked its direction again, shifting to a Gold-based rhythmic AC approach and reducing the number of currents. Although it may have had elements of the former KCMG, KHHT had not tilted all the way back to rhythmic oldies or urban AC as most of the music was in line with other soft-leaning rhythmic adult contemporary outlets in nature.

In April 2011, KHHT fired morning host Victor Zaragoza (now at KBLX San Francisco). On April 20, the station announced that it would hire Rick Dees, who had hosted morning shows at sister station KIIS-FM and KMVN. At that time, the station dropped the "and R&B" from its slogan (to distance itself from playing current R&B or adult R&B product), effectively making KHHT a full-blown Gold-based rhythmic AC, with emphasis on rhythmic, disco, freestyle, and R&B hits from the 1970s, 80s, 90s, and 2000s. This same approach was also being used at sister stations KHJZ/Honolulu, KFBT/Fresno and WMOV-FM/Norfolk, Virginia, which are targeting Gen-Xers and concentrate on the latter two decades and play some currents in their presentation. Shortly after Dees arrived, KHHT shifted its format to a hybrid of rhythmic oldies and urban oldies, focusing mostly on urban rhythmic hits from 1970 to the late 1990s, with some soul hits from the 1960s sprinkled into the mix. However, on July 3, 2012, a year after making a return to morning drive, Dees parted ways with KHHT due to a desire by station management to make some adjustments in its direction.[72]

KRRL

On February 5, 2015, iHeartMedia announced it was changing KHHT back to urban contemporary the following morning.[73] The announcement came just a day after KHHT's HD3 sub-channel launched with Air 1 and just a few hours after KPWR's morning host Big Boy announced he would leave KPWR for KHHT. (Since then, he was served a lawsuit by KPWR's parent company Emmis Communications for breach of contract, thus preventing him from joining the station until his contract or his injunction was lifted; he would join the station on March 9.)[74] Another reason for the change was the station's poor ratings performance; KHHT was ranked 14th in the market with a 2.5 share in the January 2015 PPM Nielsen radio ratings.[75] The entire "Hot" airstaff was released (including Art Laboe, who would later end up on KDAY) on the same day as the announcement, as KHHT began promoting a "major announcement" at 9:23 a.m. the following morning, and running a "300 Greatest Hot Songs of All Time" countdown set to conclude at that time.

At the promised time, after playing "My Girl" by The Temptations (the number 1 song in the aforementioned countdown) and "End of the Road" by Boyz II Men, KHHT changed back to urban, branded as "Real 92.3", launching with "10,000 joints in a row", beginning with "Only" and "Truffle Butter", both by Nicki Minaj.[76] The change put 92.3 back in direct competition with KPWR and returned the urban format to the 92.3 FM frequency for the first time since the 2000 format swap with 100.3 FM. The change also returns the urban format to the market for the first time since 2006, when KKBT changed to urban AC as KRBV. On February 20, 2015, KHHT changed its call letters to KRRL to match the "Real" moniker.

As of August 2018, the American cable channel FM now carries an edited video simulcast of the station's morning show, Big Boy's Neighborhood, weeknights and mornings.

HD Radio

The HD2 subchannel carries an all-news radio format, utilizing programming from the Black Information Network.[77] The HD3 subchannel relayed KTLW in Lancaster, which carried Educational Media Foundation's Air1 format; the subchannel acted as a programming source to a network of analog translators throughout the southern portion of Los Angeles and Orange counties. With the purchase of KSWD by EMF, the feeder source has since moved to what is now KKLQ's HD2 subchannel.

Awards

The station was one of 10 stations awarded the 2007 Crystal Radio Award for public service awarded by the National Association of Broadcasters.[78] Winners were honored at the Radio Luncheon on April 17, 2007, during the NAB Show in Las Vegas, Nevada.

In popular culture

Music

  • In Tupac Shakur's song "To Live & Die in L.A." (released under the stage name Makaveli and featuring Val Young), he says, "...This go out for 92.3 and 106. All the radio stations that be bumping my shit. Making my shit sells katruple quitraple platinum..." The station is mentioned alongside KPWR and KDAY.
  • Eminem did freestyles at KRRL in 1998 that caught the attention of Dr. Dre.[79]

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  65. ^ KKBT 92.3 The Beat Los Angeles - John Monds - 1991, archived from the original on 2021-12-13, retrieved 2020-01-20
  66. ^ http://www.americanradiohistory.com/Archive-RandR/2000s/2000/RR-2000-06-30.pdf[bare URL PDF]
  67. ^ "92.3 The Beat Becomes Mega 92.3". Format Change Archive. 2000-06-30. Retrieved 2021-06-29.
  68. ^ "Mega 100.3 Becomes 100.3 The Beat". Format Change Archive. 2000-06-30. Retrieved 2021-06-29.
  69. ^ http://www.americanradiohistory.com/Archive-RandR/2000s/2001/RR-2001-08-17.pdf[bare URL PDF]
  70. ^ "KHHT @ yes.com". web.yes.com. Archived from the original on 15 July 2012. Retrieved 2 February 2022.
  71. ^ Radio will get meter readings From Los Angeles Times (August 12, 2008)
  72. ^ "Rick Dees Out At Hot 92.3 Los Angeles" from Radio Insight (July 3, 2012)
  73. ^ "Real 92.3 Los Angeles Launches With Full Aim On Power 106". RadioInsight. 2015-02-06. Retrieved 2020-01-17.
  74. ^ "iHeart DJ Big Boy Settles Feud with Old Neighborhood". TMZ. Retrieved 2020-01-17.
  75. ^ "Emmis And Big Boy Come To Legal Settlement". RadioInsight. 2016-01-20. Retrieved 2020-01-17.
  76. ^ "KHHT Becomes Real 92.3" from Format Change (February 6, 2015)
  77. ^ "IHeartMedia to Launch BIN: Black Information Network on Radio, Digital Channels". 30 June 2020.
  78. ^ . National Association of Broadcasters. 2007-04-17. Archived from the original on 2015-11-07. Retrieved 2020-02-11.
  79. ^ Video on YouTube

External links

  • FCC History Cards for KRRL
  • Official website
  • KRRL in the FCC FM station database
  • KRRL on Radio-Locator
  • KRRL in Nielsen Audio's FM station database

January 09, 2023
krrl, branded, real, commercial, urban, contemporary, radio, station, licensed, angeles, california, serving, much, greater, angeles, area, owned, iheartmedia, serves, flagship, neighborhood, studios, located, angeles, suburb, burbank, while, station, transmit. KRRL 92 3 FM branded Real 92 3 is a commercial urban contemporary radio station licensed to Los Angeles California serving much of the Greater Los Angeles area Owned by iHeartMedia KRRL serves as the flagship for Big Boy s Neighborhood The KRRL studios are located in the Los Angeles suburb of Burbank while the station transmitter resides on Mount Wilson Besides a standard analog transmission KRRL broadcasts over two HD Radio channels and is available online via iHeartRadio KRRLLos Angeles CaliforniaBroadcast areaGreater Los AngelesSouthern CaliforniaFrequency92 3 MHz HD Radio BrandingReal 92 3ProgrammingLanguage s EnglishFormatUrban contemporarySubchannelsHD2 Black Information NetworkAffiliationsiHeartRadioPremiere NetworksOwnershipOwneriHeartMedia iHM Licenses LLC Sister stationsKBIGKEIBKFIKIIS FMKLACKOSTKSRYKVVSKYSRHistoryFirst air dateDecember 29 1948 74 years ago 1948 12 29 Former call signsKFAC FM 1948 89 KKBT 1989 2000 KCMG 2000 01 KHHT 2001 15 Former frequencies104 3 MHz 1948 54 Call sign meaningReaLTechnical informationLicensing authorityFCCFacility ID35022ClassBERP43 000 wattsHAAT887 meters 2 910 ft Transmitter coordinates34 13 36 N 118 3 57 W 34 22667 N 118 06583 W 34 22667 118 06583LinksPublic license informationPublic fileLMSWebcastListen live via iHeartRadio Websitereal923la wbr iheart wbr com Contents 1 History 1 1 KFAC FM 1 2 KKBT 1 3 KCMG 1 4 KHHT 1 5 KRRL 2 HD Radio 3 Awards 4 In popular culture 4 1 Music 5 References 6 External linksHistory EditKFAC FM Edit Main article KWKW The station first signed on the air on December 29 1948 as KFAC FM the FM adjunct to KFAC 1 First owned by Errett Lobban Cord a luxury vehicle manufacturer who purchased KFAC in 1931 from the Bible Institute of Los Angeles 2 3 KFAC became one of the first commercially operated radio stations in the United States to adopt a full time fine arts classical music format having gradually added long form programming devoted to the genre between 1938 and 1945 4 The station s longest running program the six night a week Gas Company Evening Concert would enjoy a run on both KFAC and later it and KFAC FM between October 1940 5 and September 1989 6 KFAC also slowly assembled an airstaff with unprecedented continuity and tenure including but not limited to Thomas Cassidy 7 Fred Crane 8 Tom Dixon 9 Dick Crawford 10 Bill Carlson 11 and Carl Princi 12 all six of which would be continuously employed by the station between 1953 and 1983 13 At the time KFAC FM was established it generally simulcast KFAC s programming but began to deviate from this to participate in a series of pseudo stereo concert broadcasts with KFAC from the Hollywood Bowl Amphitheatre starting in 1953 KFAC was fed the audio from a microphone pointed at one end of the Bowl and KFAC FM the audio from a microphone at the other end of the Bowl Originally based at the transmitter site for KFAC in Los Angeles Crenshaw district and operated at 104 3 MHz 14 the station moved to 92 3 MHz and the transmitter was moved to the top of Mount Wilson both in July 1954 15 and was officially dedicated during a pseudo stereo concert broadcast from the Bowl 16 Because KFAC FM made this move to Mount Wilson prior to the FCC enacting limits for power output by FM stations in 1962 it is formally classified as a Superpower FM by operating at a maximum power level but with the antenna being placed well above the height limit 17 These pseudo stereo broadcasts were offered over both stations for 12 hours each week over the next decade ending after KFAC FM converted to a multiplexed signal in 1964 18 E L Cord sold KFAC and KFAC FM to Cleveland Broadcasting Incorporated founded by former Cleveland Ohio mayor Ray T Miller for a combined 2 million Miller founded WERE and WERE FM in Cleveland and also owned WLEC and WLEC FM in Sandusky Ohio and pledged to maintain KFAC s classical format 19 After Miller s 1966 death 20 the company was sold two years later to Atlantic States Industries a McGarven Guild Radio subsidiary for a combined 9 million 21 A waiver was requested to keep both KFAC and KFAC FM under common ownership due to an interim policy proposed by the FCC which would have prohibited it 22 after a public on air solicitation of support from listeners yielded 15 000 letters 23 24 the waiver was granted and the deal was approved in October 1969 25 KFAC and KFAC FM ended their full time simulcast on January 17 1972 while both kept the same format and same airstaffs KFAC FM utilized a deeper playlist and broader spectrum of selections while KFAC focused on more familiar selections and melodies aiming to attract younger listeners 26 Both stations still simulcast core programming like Evening Concert Luncheon at the Lincoln Center and Continental Classics 27 The KFAC Listeners Guild was established in 1970 supported by an annual 3 membership fee providing listeners a chance to provide direct feedback to the station and its operations 28 it boasted over 11 000 members after the first year 29 30 An ownership transfer in 1986 attracted controversy after most of the tenured airstaff was dismissed on December 31 1986 31 32 When KFAC was sold to Lotus Communications as the new home of KWKW 1300 AM for 8 7 million on July 15 1988 33 34 only five percent of KFAC and KFAC FM s total audience listened to the AM frequency the only deviation between both stations was the Brian Clewer hosted Cynic s Choice that aired solely on KFAC 35 Days before that deal closed on January 15 1989 KFAC FM was sold to Evergreen Media for 55 million 36 setting a record for the most expensive sale of a classical music outlet in the United States 37 Despite Evergreen head Scott Ginsberg telling Radio amp Records that KFAC FM s format would remain in place 38 industry analysis warned a format change would occur because of the debt incurred in purchasing the station 37 39 Speculation began to accelerate when KFAC FM dropped format in early July for only a few minutes to carry part of a Rolling Stones press conference 40 then Evergreen took responsibility for a cryptic billboard taken on Sunset Boulevard reading Pirate Radio KLSX KLOS Get Ready to Move Over and Let the Big Dogs Eat 41 Jim de Castro who was appointed as KFAC s general manager from Evergreen s WLUP in Chicago 42 later admitted he won free use of that billboard for a month as the result of a golf bet 43 Finally Evergreen announced the donation of KFAC and KFAC FM s music library with roots dating back to the early 1940s and appraised at 1 8 million 44 to KUSC Stanford University and the Los Angeles Public Library acquired KFAC s compact disc library the majority of titles KUSC already held 44 KUSC was also presented with a 35 000 check and the rights to the KFAC calls 45 those would later be placed on a KUSC repeater in Santa Barbara 46 47 KFAC s demise attracted local and national attention in part due to the longevity of the format and its presence in the nation s second largest radio market A New York Times profile printed on the day of its format change labeled KFAC a staple of Los Angeles s cultural life for 58 years and that its switch was a sign of the times and perhaps of things to come as American cultural tastes evolve 48 Competing radio stations KPFK and KCRW both aired tribute programming to KFAC 49 50 and Mount Wilson FM Broadcasters KKGO FM announced that it would switch formats to classical in January 1990 with KKGO FM s existing jazz format moving to KKGO 540 AM 51 KFAC s John Santana was hired by KKGO as a host 52 and revived the Gas Company Evening Concert the following March with former KFAC announcer Tom Dixon as host 53 Meanwhile Evergreen tried to capitalize on the attention the week of KFAC s switch by running television ads locally on L A Law the 1989 MTV Movie Awards and The Arsenio Hall Show teasing the new format 42 An outdoor event was staged outside of KFAC s studios at the former Villa Capri restaurant on Hollywood s Yucca Street 54 55 at noon on September 20 1989 to commemorate the end of the classical format this was simulcast on KUSC which along with KFSD in San Diego 56 had placed advertising promoting themselves on KFAC The hour began with Jim de Castro ceremoniously passing a baton to KUSC general manager Wallace Smith then after a partially improvised farewell message from Rich Capparela 57 the hour concluded with KFAC FM s final classical selection Haydn s Farewell Symphony 45 After a moment of silence led by de Castro the air signal switched to a heartbeat sound effect 58 while television monitors outside the studios started playing the television ad proclaiming the new format accompanied by a skywriter scripting in the skies above It s Alive FM 92 but all reporters in attendance wound up focusing on KFAC instead 42 KKBT Edit The on air heartbeat sound stunting would continue for the next 23 hours interspersed with brief snippets of rock songs 42 ahead of the debut of KKBT the next day September 21 1989 Branded The New FM 92 The Beat the station offered a blend of adult rock dance music and adult contemporary The first song under the new format was Walk on the Wild Side by Lou Reed 57 59 However the format failed in the ratings in the Winter 1990 ratings report for the market KKBT was ranked 8th 12 10th in the 25 54 year old age demographic and 15th in overall cume 60 61 After less than five months on February 3 1990 the station switched to rhythmic adult contemporary while maintaining the FM 92 The Beat branding 62 With the change KKBT entered into direct format competition with KDAY KJLH KACE and KGFJ although KKBT focused more on soul music rhythm and blues selections 63 While the station attracted criticism for its aggressive on air tactics KKBT s ratings rose significantly after the switch 63 by the summer of that year it evolved to a strictly urban AC format 64 By 1991 rap and hip hop were being mixed in and the station evolved to an urban contemporary format as 92 3 The Beat 65 As an urban contemporary station KKBT hit 1 a few times in the ratings and competed aggressively with a hip hop station on the 105 9 frequency KPWR During its tenure as The Beat the station featured many popular and legendary DJs who came from stations like KPWR KMEL WQHT KIIS FM and KDAY like John London and The House Party a popular morning show which competed with other top local shows such as Mark and Brian on KLOS and Rick Dees on KIIS Diana Steele Theodore Theo Mizuhara Eric Cubiche Nautica De La Cruz P J Butta NWA s founder Dr Dre and the World Class Wreckin Cru Ron Big Ron O Brien John Big John Monds Kevin Slow Jammin James and Kevin Nash Other shows included Westside Radio a weekly radio program dedicated to West Coast Hip Hop now airing on KDAY and Street Soldiers a weekly program dedicated to community issues and politics The station went by the slogan No Color Lines proudly championing the diversity of the region It is believed that KKBT was inspired by KMEL and KDAY During the 1990s the station held a summer concert known as Summer Jam which featured major Hip hop and R amp B stars who performed at the Irvine Meadows Amphitheatre In February 1996 sister station WYNY in New York City simulcasted KKBT for a day as part of a week long stunt of simulcasting sister stations nationwide before changing formats to rhythmic adult contemporary as WKTU In a group deal in 1997 Evergreen merged with Chancellor Chancellor acquired stations from other groups that exited the market In 1999 Chancellor merged with Capstar and the company became AMFM Incorporated KCMG Edit In the fall of 1999 Clear Channel Communications and AMFM Inc merged This gave Clear Channel five FM stations in Los Angeles and KIIS which Clear Channel already owned However in order to get under the government mandated market ownership limits some stations were required to be spun off in Los Angeles one of the full powered FMs had to go KKBT s was the station chosen it was sold to Radio One However Clear Channel wanted to keep the best possible signal and gave Radio One 100 3 FM Leading up to the frequency swap rumors swirled about whether 100 3 s format would survive the move to 92 3 FM Being that 100 3 was going to an African American owned company known for urban formats it seemed that The Beat would likely move to 100 3 intact Much speculation led to 92 3 going active rock possibly with the KMET calls When the switch was made at 5 p m on June 30 2000 the formats and call letters did come along for the ride with 92 3 becoming KCMG Mega 92 3 and 100 3 becoming KKBT 100 3 The Beat 66 67 68 KHHT Edit The station now called Mega 92 3 continued playing rhythmic oldies On August 9 2001 KCMG changed its call letters to KHHT re branded as Hot 92 3 and shifted to more of an urban AC format 69 However KHHT was not a typical urban AC station this station was one of the first urban AC s to play more old school classic soul the more mainstream level R amp B barely to not playing neo soul at all and some rhythmic and Latino pop R amp B songs to cater to the Hispanic and Asian audiences that listen to R amp B music in particular In this way KHHT s playlist structure was the inspiration for other urban AC markets in the western half of the U S such as sister stations in KISQ San Francisco KSYU Albuquerque and KHYL Sacramento 70 KHHT was one of three urban ACs serving the Los Angeles market the others were KRBV formerly KKBT which changed from R amp B hip hop in May 2006 but was sold by Radio One to Bonneville International in April 2008 and KJLH whose signal is not full power and barely penetrates the San Fernando Valley In July 2006 it was announced that Art Laboe a legendary oldies DJ in Los Angeles would expand his syndicated show from weekend to weekdays with KHHT as the flagship station Laboe s move was interpreted as an attempt to expand the station s Hispanic audience as it competed with KRBV and KJLH both of which were African American owned operated and targeting stations only KJLH remains Black owned However by 2008 it became apparent that the over saturation of Adult R amp B stations in Los Angeles had made it difficult for three outlets to compete for the same audience As a result of this KHHT began to shift directions from an urban AC direction to rhythmic hot AC allowing it to focus more on the Hispanic and Asian audience and opened up its playlist to include current rhythmic hits This move also opened up a new battle in the Los Angeles radio war which found KHHT taking on another rhythmic AC KMVN whose direction was more focused on recurrents from the 1970s and 1980s which also explained KHHT s decision to add currents to its playlist KHHT s sister station KBIG FM once had a rhythmic AC direction before shifting back to Hot AC in September 2007 The April 2008 sale format change of KRBV would have resulted in further tweakings at KHHT but due to Arbitron s implementation of the Portable People Meter in the Los Angeles radio market and a move by its sister stations to adjust their formats to attract certain demos KHHT decided to continue concentrating on attracting their Hispanic demos where they feel more comfortable 71 As of April 2009 KHHT once again became the only rhythmic adult contemporary in the market as KMVN made a format change to Spanish This move prompted KHHT to further adjust its musical direction by adding more Disco and Freestyle tracks to its current format as a way to attract the displaced KMVN listeners and by June 2009 it showed an increase in the PPM ratings after it began to further tweak its selection more to slightly favor currents and less favor old school tracks These latest changes at KHHT led to hints that it was moving towards adopting a current upbeat and dance leaning formula patterned after sister stations WKTU New York City WMIA FM Miami and WISX Philadelphia All three stations saw good ratings numbers with this formula In November 2010 KHHT tweaked its direction again shifting to a Gold based rhythmic AC approach and reducing the number of currents Although it may have had elements of the former KCMG KHHT had not tilted all the way back to rhythmic oldies or urban AC as most of the music was in line with other soft leaning rhythmic adult contemporary outlets in nature In April 2011 KHHT fired morning host Victor Zaragoza now at KBLX San Francisco On April 20 the station announced that it would hire Rick Dees who had hosted morning shows at sister station KIIS FM and KMVN At that time the station dropped the and R amp B from its slogan to distance itself from playing current R amp B or adult R amp B product effectively making KHHT a full blown Gold based rhythmic AC with emphasis on rhythmic disco freestyle and R amp B hits from the 1970s 80s 90s and 2000s This same approach was also being used at sister stations KHJZ Honolulu KFBT Fresno and WMOV FM Norfolk Virginia which are targeting Gen Xers and concentrate on the latter two decades and play some currents in their presentation Shortly after Dees arrived KHHT shifted its format to a hybrid of rhythmic oldies and urban oldies focusing mostly on urban rhythmic hits from 1970 to the late 1990s with some soul hits from the 1960s sprinkled into the mix However on July 3 2012 a year after making a return to morning drive Dees parted ways with KHHT due to a desire by station management to make some adjustments in its direction 72 KRRL Edit On February 5 2015 iHeartMedia announced it was changing KHHT back to urban contemporary the following morning 73 The announcement came just a day after KHHT s HD3 sub channel launched with Air 1 and just a few hours after KPWR s morning host Big Boy announced he would leave KPWR for KHHT Since then he was served a lawsuit by KPWR s parent company Emmis Communications for breach of contract thus preventing him from joining the station until his contract or his injunction was lifted he would join the station on March 9 74 Another reason for the change was the station s poor ratings performance KHHT was ranked 14th in the market with a 2 5 share in the January 2015 PPM Nielsen radio ratings 75 The entire Hot airstaff was released including Art Laboe who would later end up on KDAY on the same day as the announcement as KHHT began promoting a major announcement at 9 23 a m the following morning and running a 300 Greatest Hot Songs of All Time countdown set to conclude at that time At the promised time after playing My Girl by The Temptations the number 1 song in the aforementioned countdown and End of the Road by Boyz II Men KHHT changed back to urban branded as Real 92 3 launching with 10 000 joints in a row beginning with Only and Truffle Butter both by Nicki Minaj 76 The change put 92 3 back in direct competition with KPWR and returned the urban format to the 92 3 FM frequency for the first time since the 2000 format swap with 100 3 FM The change also returns the urban format to the market for the first time since 2006 when KKBT changed to urban AC as KRBV On February 20 2015 KHHT changed its call letters to KRRL to match the Real moniker As of August 2018 the American cable channel FM now carries an edited video simulcast of the station s morning show Big Boy s Neighborhood weeknights and mornings HD Radio EditThe HD2 subchannel carries an all news radio format utilizing programming from the Black Information Network 77 The HD3 subchannel relayed KTLW in Lancaster which carried Educational Media Foundation s Air1 format the subchannel acted as a programming source to a network of analog translators throughout the southern portion of Los Angeles and Orange counties With the purchase of KSWD by EMF the feeder source has since moved to what is now KKLQ s HD2 subchannel Awards EditThe station was one of 10 stations awarded the 2007 Crystal Radio Award for public service awarded by the National Association of Broadcasters 78 Winners were honored at the Radio Luncheon on April 17 2007 during the NAB Show in Las Vegas Nevada In popular culture EditMusic Edit In Tupac Shakur s song To Live amp Die in L A released under the stage name Makaveli and featuring Val Young he says This go out for 92 3 and 106 All the radio stations that be bumping my shit Making my shit sells katruple quitraple platinum The station is mentioned alongside KPWR and KDAY Eminem did freestyles at KRRL in 1998 that caught the attention of Dr Dre 79 References Edit Broadcasting Yearbook 1950 PDF Broadcasting 1950 p 83 O R Fuller Auburn Fuller Co Pioneer Commercial Auto Co White Auto Co KFVD KFAC Los Angeles Pioneer Truck and Transfer Co Auburn California Co Auburn Automobile Sales Co California Branch Olive Ransome Fuller Motor Transit Co CoachBuilt com www coachbuilt com Retrieved 2020 01 09 FCC History Cards for KWKW Lax Cecille January February 1979 NEWS amp VIEWS PDF The KFAC Listeners Guild Magazine p 14 Retrieved January 10 2020 Corbett Noel November 5 1940 Valley Radio Voices San Fernando Valley Times p 3 Retrieved January 11 2020 Commemorating 5th Anniversary of Your Gas Company s Evening Concert Advertisement Los Angeles Times October 21 1945 Retrieved January 9 2020 PASSINGS Thomas Cassidy Valerie Eliot Los Angeles Times November 13 2012 Retrieved January 10 2020 McLellan Dennis 2008 08 24 Fred Crane radio announcer actor at 90 Boston com Retrieved 2020 01 11 McLellan Dennis April 1 2010 Tom Dixon dies at 94 L A radio s voice of classical music for over 50 years Los Angeles Times Retrieved January 12 2020 Princi Carl January February 1979 Message from the Office of Community Involvement PDF The KFAC Listeners Guild Magazine pp 4 8 56 Retrieved January 12 2020 Bill Carlson Classical Music Announcer at KFAC Los Angeles Times December 22 1999 Retrieved January 14 2020 Folkart Burt A May 5 1992 Carl Princi 71 Voice of Opera on L A Radio Los Angeles Times Retrieved January 12 2020 Classical dimension PDF Broadcasting January 2 1984 p 76 Retrieved January 12 2020 FCC History Cards for KRRL KFAC Will Move Increase Coverage Los Angeles Times July 13 1954 p 5 Retrieved January 11 2020 Tonight Hear Your Gas Company s Evening Concert Direct from Hollywood Bowl Advertisement Los Angeles Times July 15 1954 p 28 Retrieved January 11 2020 Superpower FMs www w9wi com Retrieved January 11 2020 Tiegel Eliot January 4 1964 Loyalty Dedication Music Give Classics Strong Pulse PDF Billboard p 25 Retrieved January 12 2020 KFAC AM FM bought by Miller group PDF Broadcasting August 20 1962 p 66 Retrieved December 18 2019 Ray T Miller Sr Is Dead at 73 The Plain Dealer July 14 1966 pp 1 8 Closed Circuit Group transfer PDF Broadcasting May 27 2019 p 5 Retrieved December 18 2019 An Urgent Message to the Friends of KFAC Advertisement The Los Angeles Times January 19 1969 Retrieved January 10 2020 Public at odds with one to customer KFAC ad campaign prompts 3 000 letters for common ownership in stations sale PDF Broadcasting January 27 1969 p 30 Retrieved December 18 2019 Perlee Charles D February 9 1969 500 Area Listeners Back KFAC The San Bernardino County Sun p C 10 Retrieved January 10 2020 Station sale block hot at FCC WDBJ spin offs WERE AM FM WALA TV are among 14 transactions approved by commission PDF Broadcasting November 3 1969 pp 42 44 Retrieved December 18 2019 Paik Felicia July 22 1989 THE ROOTS OF KFAC Los Angeles Times Retrieved January 12 2020 KFAC AM FM Change PDF Billboard January 29 1972 pp 24 28 Retrieved January 12 2020 Tiegel Eliot January 16 1971 KFAC Acts to Boost Classical PDF Billboard pp 1 13 Retrieved January 12 2020 Sippel John June 12 1971 Classical Outlet Woos Listeners PDF Billboard pp 30 42 Retrieved January 12 2020 Special Report Radio 71 PDF Broadcasting June 21 1971 p 72 Retrieved January 12 2020 McDougal Dennis Margulies Lee January 7 1987 STAFF VETERANS REPLACED NEW OWNER CLEANS HOUSE AT KFAC Los Angeles Times Retrieved January 10 2020 R amp R Street Talk PDF Radio amp Records January 9 1987 p 21 Retrieved January 10 2020 For the Record Changing Hands PDF Broadcasting July 18 1988 p 73 Retrieved January 12 2020 For the Record Ownership Changes PDF Broadcasting August 29 1988 p 68 Retrieved January 12 2020 Valle Victor January 3 1989 The Sun Threatens to Set on British Radio Comedy Los Angeles Times pp 2 5 Retrieved January 10 2020 Sandoval Rick January 18 1989 L A classical music station sells for 63 7 million UPI Retrieved 2020 01 10 a b Sanchez Jesus January 19 1989 Dallas Firm To Acquire KFAC FM Los Angeles Times p 2 Retrieved January 10 2020 Evergreen Buys KFAC For 55 Million PDF Radio amp Records January 20 1989 pp 10 28 Retrieved January 10 2020 Jeremy Gerard October 16 1989 THE MEDIA BUSINESS Classical Stations Do Their Best To Survive The New York Times Retrieved August 23 2011 Puig Claudia July 22 1989 KFAC to Face the Music but It May Not Be Classical Los Angeles Times pp 1 8 9 Retrieved January 10 2020 A New Radio Mystery Los Angeles Times August 11 1989 p 21 Retrieved January 10 2020 a b c d Puig Claudia October 8 1989 Music to Someone s Ears How demographics transformed classical radio station KFAC into big beat KKBT Los Angeles Times pp 8 80 81 Retrieved January 15 2020 KFAC Rockin The Dogs PDF Radio amp Records August 11 1989 p 1 Retrieved January 12 2020 a b Puig Claudia McQuilkin Terry August 24 1989 KFAC Parcels Out Classical Library Los Angeles Times pp V1 V4 V5 Retrieved January 13 2020 a b Puig Claudia September 20 1989 Waltz Ends at KFAC as New Crew Gears Up for Rock Los Angeles Times p 4 Retrieved January 10 2020 Directory of Radio Stations in the United States and Canada PDF The Broadcasting Yearbook Broadcasting Publications Inc 1991 p B 46 Retrieved June 16 2018 Directory of Radio Stations in the United States PDF Broadcasting amp Cable Yearbook New Providence New Jersey R R Bowker 2005 p D 96 Retrieved June 16 2018 Mydans Seth Special To the New York Times September 20 1989 Los Angeles Journal In a Quest For Profit Beethoven Is Ousted The New York Times p A16 ISSN 0362 4331 Retrieved January 10 2020 Wagoner Richard September 15 1989 Classical station KFAC FM takes final bow Wednesday The Daily Breeze News Pilot p E 15 Retrieved January 10 2020 First Off Los Angeles Times July 19 1989 p 2 Retrieved January 10 2020 Wagoner Richard July 28 1989 Changes likely at KFAC but new owners remain mum San Pedro News Pilot pp E8 E14 Retrieved January 13 2020 Pasles Chris September 21 1989 KFAC Refugees Look for a New Place to Call Home on Radio Dial Los Angeles Times pp V10 V11 Retrieved January 15 2020 Puig Claudia January 30 1990 Gas Company Show to Return Los Angeles Times Retrieved January 18 2020 Villa Capri Old L A Restaurants oldlarestaurants com September 4 2012 Retrieved January 12 2020 Nudelman Robert W February 1 2005 This letter is in response to the two CEQA Negative Declarations Neg Dec filed concerning the project proposed for 6735 Yucca Street in Hollywood Hollywood Heritage Inc www hollywoodheritage com Retrieved January 12 2020 Other Stations Move to Fill Classical Void Los Angeles Times September 21 1989 p 11 Retrieved January 11 2020 a b First Off Los Angeles Times September 21 1989 p 2 Retrieved January 10 2020 KFAC Signs Off Format Change Archive RadioBB Networks September 20 1989 Retrieved January 10 2020 The Beat Goes On KFAC Becomes KKBT PDF Radio amp Records September 22 1989 pp 1 31 Retrieved January 10 2020 Puig Claudia March 7 1990 Black Radio Comes In Loud and Clear Music Urban contemporary is a leading format in cities throughout the country Los Angeles Times Retrieved January 20 2020 https www americanradiohistory com Archive Ratings Directories RR 1991 1 pdf bare URL PDF The Beat Goes On To Adult Urban New Airstaff To Be Named PDF Radio amp Records February 9 1990 pp 3 32 Retrieved January 20 2020 a b Shiver Jube Jr Robinson David August 8 1990 Charting the Rise of Urban Contemporary Radio KKBT s new format has launched it into Southern California s Top 10 Some say the station s success foreshadows an extensive market realignment Los Angeles Times Retrieved January 20 2020 KKBT 92 3 The Beat Los Angeles Big Ron O Brien November 24 1990 archived from the original on 2021 12 13 retrieved 2020 01 20 KKBT 92 3 The Beat Los Angeles John Monds 1991 archived from the original on 2021 12 13 retrieved 2020 01 20 http www americanradiohistory com Archive RandR 2000s 2000 RR 2000 06 30 pdf bare URL PDF 92 3 The Beat Becomes Mega 92 3 Format Change Archive 2000 06 30 Retrieved 2021 06 29 Mega 100 3 Becomes 100 3 The Beat Format Change Archive 2000 06 30 Retrieved 2021 06 29 http www americanradiohistory com Archive RandR 2000s 2001 RR 2001 08 17 pdf bare URL PDF KHHT yes com web yes com Archived from the original on 15 July 2012 Retrieved 2 February 2022 Radio will get meter readings From Los Angeles Times August 12 2008 Rick Dees Out At Hot 92 3 Los Angeles from Radio Insight July 3 2012 Real 92 3 Los Angeles Launches With Full Aim On Power 106 RadioInsight 2015 02 06 Retrieved 2020 01 17 iHeart DJ Big Boy Settles Feud with Old Neighborhood TMZ Retrieved 2020 01 17 Emmis And Big Boy Come To Legal Settlement RadioInsight 2016 01 20 Retrieved 2020 01 17 KHHT Becomes Real 92 3 from Format Change February 6 2015 IHeartMedia to Launch BIN Black Information Network on Radio Digital Channels 30 June 2020 NAB Announces Crystal Radio Awards Winners National Association of Broadcasters 2007 04 17 Archived from the original on 2015 11 07 Retrieved 2020 02 11 Video on YouTubeExternal links EditFCC History Cards for KRRL List of grandfathered FM radio stations in the U S Official website KRRL in the FCC FM station database KRRL on Radio Locator KRRL in Nielsen Audio s FM station database Retrieved from https en wikipedia org w index php title KRRL amp oldid 1130781115, wikipedia, wiki, book, books, library,

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