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Is Michael Baisden Off the Air Again in 2019

K-Dearest Christian radio station in Los Angeles

This article is about the Los Angeles radio station affiliated with the K-Love network. For the Los Angeles radio station that uses the "1000-Beloved" branding, run into KLVE.

Radio station in Los Angeles, California

KKLQ
KKLQ 100.3 logo.svg
City Los Angeles, California
Broadcast area Greater Los Angeles
Frequency 100.3 MHz (Hd Radio)
Branding Positive, Encouraging 100.iii
Programming
Subchannels Analog/HD1: Gimmicky Christian
HD2: Worship music (Air1)
HD3: Radio Nueva Vida
Network Yard-Love
Ownership
Owner Educational Media Foundation

Sister stations

 KYLA
History

First air appointment

 July 1, 1957 (1957-07-01)

Former call signs

 KMLA (1957–1965)
KVXN (1965)
KFOX-FM (1965–1972)
KIQQ (1972–1989)
KQLZ (1989–1993)
KXEZ (1993–1996)
KIBB (1996–1997)
KCMG (1997–2001)
KKBT (2001–2006)
KRBV (2006–2008)
KSWD (2008–2017)

Phone call sign significant

 K Thou-50ove Q
Technical information

Licensing potency

 FCC
Facility ID 70038
Class B
ERP 5,400 watts
HAAT 889.0 meters (2,916.7 ft)

Transmitter coordinates

 34°13′35″Northward 118°04′01″Due west  /  34.2264°N 118.0670°Due west  / 34.2264; -118.0670
Translator(s)
  • 91.i K216EM (Arcadia)
  • 91.nine K220HC (Studio City)
  • 92.7 K224EY (San Marino)
  • 100.7 K264AF (Guasti)
Repeater(south) 100.iii KKLQ-FM2 (Santa Clarita)
Links

Public license information

Profile
LMS
Webcast Listen alive
Website positiveencouraging1003.com

KKLQ (100.3 FM, "Positive, Encouraging 100.3") is a non-commercial radio station endemic by Educational Media Foundation (EMF) and carries the contemporary Christian music format of its nationally syndicated network K-Love throughout the Greater Los Angeles area. Licensed to Los Angeles, California, KKLQ's transmitter is located atop Mount Wilson and has a booster in Santa Clarita, KKLQ-FM2 at 100.3 MHz, to extend its coverage into the Santa Clarita Valley and other areas due north of Los Angeles.

From 2008 to 2017, the station broadcast a archetype rock format (though it initially aired an adult album alternative format) under the make 100.iii The Audio as KSWD. In 2017, station possessor Entercom announced its merger with CBS Radio. In order to satisfy Federal Communications Committee (FCC) buying caps, Entercom retained CBS Radio'due south pre-existing Los Angeles cluster simply divested KSWD to EMF, who assumed command of the station on November xvi, 2017 and flipped it to K-Love programming. The quondam broadcast studios of The Sound were located on Wilshire Boulevard in the Phenomenon Mile district of Los Angeles.

KKLQ is not affiliated with KLVE, a Spanish-language radio station which has used the proper name "Thou-Dearest" in the Los Angeles market continuously since 1974 and holds the trademark locally. Prior to assuming command of KKLQ, EMF reached an agreement with Univision Radio (now known as Uforia Audio Network), owner of KLVE, that allows KKLQ to use the K-Love make on-air as part of networked content, but requires local promotion to disambiguate itself from KLVE.

History [edit]

Early years [edit]

100.3 FM in Los Angeles signed on every bit KMLA at eighta.thousand. on July 1, 1957.[1] The station broadcast skilful music and news, with no more than two commercials per half-hour.[two]

The KMLA Broadcasting Corporation, the original owner of the station, filed to sell information technology to KFOX, Inc., possessor of KFOX (1280 AM) in Long Embankment, in November 1964.[3] The station changed its telephone call letters to KVXN in January and again in April, after the sale was completed, to KFOX-FM, at which time information technology began simulcasting KFOX'due south land music format.[4]

KIQQ [edit]

In 1972, KFOX, Inc. traded its two Los Angeles stations and $three.45 million to the Industrial Broadcasting Company in exchange for KIKK AM and FM in Pasadena, Texas, nigh Houston.[5] Industrial and then split the KFOX stations autonomously; the AM went to the John Walton group, while KFOX-FM was sold to Catholic Communications.[six] The new ownership inverse the FM station's call letters to KIQQ ("K-100") in an try to capitalize on its 100.three MHz dial location. The post-obit year, with the station's soft stone format failing to gain ratings or billing, KIQQ brought in deposed KHJ heavyweights Bill Drake and Cistron Chenault, who contracted to program and manage the station. In spite of bringing in one-time KHJ powerhouse jocks, including Robert W. Morgan and The Real Don Steele, certain direction and programming decisions are believed to take led to the demise of Drake-Chenault's run at KIQQ. Past 1975, Morgan and Steele were gone. Ultimately, the station cut costs drastically by airing a generic national format via satellite.

Station logo every bit "1000-Light 100"

In the early on 1980s, the station dropped its K-100 handle and kept to the calls as "KIQQ" with a alive and local aggressive top-twoscore or gimmicky hit radio (CHR) format. The on-air lineup included Jeff Thomas, G.W. McCoy (engaged to actress Heather Locklear for a time), and Francesca Cappucci. "Play Hits for Cash" was a regular promotion. KIQQ simulcast the NBC television show Friday Night Videos and even had Wally George as a weekend telephone call-in host. KIQQ also carried American Height twoscore beginning in 1983 after competing CHR station KIIS-FM lost the countdown program over the playing of network commercials; this move forced KIIS-FM to create its own nautical chart testify, Rick Dees Weekly Top 40.[7]

By the mid-1980s, CHR contest from KIIS-FM, KKHR, and KBZT proved likewise intense for KIQQ; KIIS-FM alone had a x share in the Arbitron book. On July 29, 1985, KIQQ flipped to a satellite-delivered developed gimmicky format as "100.three 1000-Lite".[8] The format lasted for four years before the launch of another new format.

KQLZ — Pirate Radio 100.3 FM [edit]

In November 1988, Outlet Communications sold KIQQ to Westwood I for $56 million.[9] The auction airtight March 17, 1989 at midnight Pacific Time, and KIQQ officially signed off at 5a.m. after playing its final song, "(At) The Stop (Of A Rainbow)" by Earl Grant.[x] [xi] KQLZ—branding as Pirate Radio—launched with the Guns N' Roses song "Welcome to the Jungle", adopting the title as its slogan.[12] Pirate Radio broadcast with no commercial interruptions for its first few days, calculation 1 or 2 advertisements per hour thereafter.

Pirate Radio started as a "Rock forty" station that played hard rock and heavy metal music mixed with upbeat pop music and some alternative rock in a manner similar to mainstream top 40 stations.[xiii] At first, KQLZ featured an eclectic range of music and proudly proclaimed information technology played everything from Madonna to Metallica to Milli Vanilli.[xiv] A typical hour of music on Pirate Radio in the spring of 1989 could include early on crossover hip hop artist Tone Lōc, electronic music from Depeche Way, a popular music ballad by Martika, a pop rock vocal past The Bangles, and satirical punk rock by the Dead Milkmen, all mixed with music from such rock acts as Fe Maiden, Billy Squier, and Winger.

The station was programmed by Scott Shannon, known within the radio business for his work at WHTZ (Z100) in New York City in the 1980s. Shannon left Z100 and moved to Los Angeles to compete confronting meridian-rated station KIIS-FM, equally well every bit top twoscore crossover outlet KPWR (Ability 106). He adult the Pirate Radio concept while launching WHTZ, drawing inspiration from British pirate radio station Radio Caroline.[12] A afterward account from WMMS plan director John Gorman (both WHTZ and WMMS so, and now, are under common buying) claimed that Shannon wanted to brand WHTZ as Pirate Radio when it launched, only was rebuffed past ownership who wanted WHTZ to be seen as a legitimate radio station; Z100 was his second pick.[15] In addition to Shannon hosting KQLZ's morning time drive program, other on-air personalities from the Stone forty era included Shadow Steele in afternoon bulldoze and Jimmy Page, formerly of KCAQ in Oxnard, in belatedly nights.[14] Westwood Ane paid Shannon a yearly bacon of $2.3 million, and so an industry high.

The original Pirate Radio billboards featured a close-up caput shot of Shannon'south face up. Some of these billboards were soon defaced with "El Diablo" in spray pigment. Local news media reported that some members of the area's Chicano, Hispanic, and Latino communities viewed Shannon's picture as a extravaganza of the devil.[16] Some media sources reported that the acts of vandalism were washed intentionally by the radio station to generate free publicity. In 1990, the station adopted as its mascot the "Party Sus scrofa", a cartoon pig wearing a trucker lid. This figure replaced Shannon'southward likeness on billboards and appeared on other promotional items such as T-shirts and bumper stickers.

I popular feature during KQLZ's start few months was "Flush and Win". The station invited listeners to call in and mention the Los Angeles-area radio station to which they listened before KQLZ signed on. Later proverb the competing station's moniker or phone call messages, the audio of a toilet flushing could be heard; this was meant to insinuate that the listener dumped 1'due south former station and switched to Pirate Radio.[17]

Forth with its local 100.three FM broadcast in Los Angeles, KQLZ could also be heard via satellite transmission (SatCom 1R, transponder 3, channels 5 and six). This service was used primarily for the delivery of the syndicated programme Pirate Radio UsaA. to affiliates, but it besides gave the station wide exposure exterior of the local market. Employees of several radio stations around the country listened to and airchecked KQLZ'southward satellite signal. In 1989, Westwood One had planned to launch a 24-60 minutes satellite version of Pirate Radio; still, a company representative stated that the debut of such a network was unlikely.[eighteen]

After briefly registering successful ratings during its commencement half dozen months as Pirate Radio, KQLZ soon garnered ratings too low to bill advertizing rates loftier enough to sustain operating costs. By late 1989, the station focused more on hard rock and heavy metallic music (generally metal in the more popular oriented glam metal genre), putting information technology in direct competition with metal station KNAC and album stone outlet KLOS. Shannon and most of the original on-air personalities were dismissed on Feb xiii, 1991; the next solar day, the station switched to a conventional anthology rock format, dropping pop and dance music.[19] The following month, Westwood One hired former KLOS program director Carey Curelop for the same position at KQLZ.[twenty]

KQLZ dropped the Pirate Radio proper noun on December 28, 1992 and adjusted its format to a hybrid of anthology rock and modern rock. The station from this point forward was known every bit simply 100.iii FM with the slogan "Southern California'due south Cutting Edge".[21]

The Pirate Radio U.S.A. syndicated program, which Shadow Steele had hosted until 1991[eighteen] [22] and which was thereafter helmed past several others, ceased broadcasting in October 1993.

On Apr ane, 1994, equally an Apr Fools' Twenty-four hours radio stunt, Los Angeles modern rock station KROQ-FM switched to KQLZ's "Rock 40" format, complete with original Pirate Radio bumpers, station legal IDs, airchecks, and playlists.[23] Shadow Steele returned to the airwaves for the effect, broadcasting live from the KROQ-FM studio.[24]

In 2008, the KQLZ call letters were used for several years on a radio station in the Boise, Idaho market place that was an chapter of the satellite-delivered True Oldies Channel, a later Scott Shannon project.[25]

KXEZ — EZ 100.3 [edit]

On March 29, 1993, Westwood One announced the sale of KQLZ to Viacom for $twoscore million, significantly less than what the company had purchased the station for in 1989; this marked the terminate of its cursory stint in radio station ownership.[26] [27] Four days later, on April 2 at 3p.k., 100.3 FM flipped to soft adult gimmicky with new call letters KXEZ, and adopted the EZ 100.three branding.[28] Shannon, on the phone from WPLJ in New York, returned to the station's airwaves briefly to give KQLZ a proper send-off, closing out the old format saying, "Cheerio, Pirate Radio".[29]

It was a render to the punch for the KXEZ telephone call messages and format, which had resided at 98.7 MHz until that station re-branded as KYSR, "Star 98.7", in 1992. It was during this menstruation that the station hired prostitute Divine Dark-brown to be their tv spokesperson soon after her arrest with actor Hugh Grant.[30]

KIBB — B100 [edit]

On August 29, 1996, at noon, KXEZ changed calls to KIBB and flipped to a dance-leaning rhythmic hot AC format, branded equally "B100" ("The Rhythm of Fifty.A."). The commencement song on KIBB was "You Dropped a Flop on Me" by The Gap Band.[31] The move was to go after listeners who had become disenfranchised with the increasing hip-hop content at KPWR. The motion also came about based on the instant success of WKTU in New York City, which debuted in February of that year. In 1997, Chancellor Media bought KIBB, added current songs to its playlist, and shifted directions to rhythmic contemporary hits. The slogan changed to "Fifty.A.'due south Hot FM".

KCMG — Mega 100 [edit]

Despite the endeavour and a promotional entrada (1 memorable advertizing featured a large billboard of a Latina woman dancing placed well-nigh a building on Broadway in Downtown Los Angeles), KIBB couldn't make a dent in the ratings. Afterward a lilliputian over a year and minor tweaks in its playlist and direction, KIBB's fate was sealed when Chancellor decided to drop the format at vp.m. on November nineteen, 1997 (after a couple of days of teasing a "major event" and playing "I'll Be Missing You" by Puff Daddy equally the final song) for yet some other short-lived fad: Rhythmic oldies equally Mega 100. The first song on "Mega" was "The Cisco Child" past State of war.[32] The call letters were inverse to KCMG on January 30, 1998. The format, which drew instant ratings success in the market place, was replicated on many stations across the country in the belatedly 1990s (all the same, many of these stations would flip in the early 2000s due to poor ratings and promotion). Chancellor merged with Capstar in 1999, forming AMFM Inc.

KKBT — 100.3 The Vanquish [edit]

Clear Channel Communications merged with AMFM in 2000. Because of the merger, Clear Channel exceeded the radio station ownership limits (5 FM stations, 3 AM stations) in Los Angeles. Equally a issue, Clear Channel decided to keep the stronger 92.3 FM frequency, every bit well as KCMG'due south intellectual property and call letters, and chose to sell the 100.three FM frequency and the intellectual property of KKBT, which was on 92.3, to Radio One.

When the switch was fabricated on June 30, 2000 at 5p.m., 100.iii FM became KKBT, "100.iii The Vanquish", and 92.iii became KCMG, "Mega 92.three".[33] [34] [35] (In Baronial 2001, as the "Jammin' Oldies" format was starting to fade in popularity, KCMG would morph into an urban developed gimmicky management and the station became KHHT, "Hot 92.iii", a straight competitor to KKBT.) Soon after the frequency swap, KKBT released their morning time team of Dre and Ed Lover, too equally afternoon drivers "The Baka Boyz".

During the first four years under Radio One, KKBT enjoyed small-scale success every bit it battled KPWR for the R&B/hip-hop crown. KKBT heavily promoted Steve Harvey as its high-contour morn star and billed itself under the slogan of "Harvey & Hip-Hop". However, KKBT never overtook KPWR in the ratings. Harvey was also at odds with station management over the station's hip-hop content and refused to play questionable songs during his show until his deviation from the station, when he went to KDAY.

By 2004, the station began showing signs of erosion in ratings, as it faced new contest. KDAY, which was formerly on 1580 AM, signed on for the first time on FM at 93.v and debuted its ain hip-hop format that September, siphoning off a practiced number of KKBT listeners. In addition, KXOL-FM's flip to Reggaeton in 2005 took many of The Beat's Hispanic listeners. KKBT went through a great deal of turmoil, with several popular air staffers leaving or being dismissed from 2002 through 2006.

On May 19, 2006, at Midnight, KKBT officially threw in the towel every bit a mainstream urban outlet and flipped to a hybrid urban developed contemporary/urban talk format dubbed "Rhythm & Talk". Co-ordinate to the press release that was featured on the station's website: "The new format, which will appoint 25- to 49-twelvemonth-onetime adults, takes the best music of urban developed contemporary stations and adds compelling content delivered by proven national personalities Tom Joyner, Ananda Lewis, Michael Baisden, Wendy Williams and Free."[36] [37] Although information technology retained the "Beat" branding, the peace sign, which was long a staple of "The Beat" in station logos, was discontinued.

However, the 'Rhythm and Talk' accent did not succeed in the ratings, and the station dropped Free and Lewis beginning from the lineup. Williams, which aired on tape delay later midnight on weekends, was dropped after, and the Tom Joyner Morn Show was dropped when it could not compete with Steve Harvey on KDAY.[38] Other on-air staffers also left the station, simply Baisden remained until the station'south format flip in April 2008. Baisden later landed on KDAY, before being dropped by the station in July 2009.

KKBT was the last full-marketplace hip hop/R&B station to utilise the Urban format every bit opposed to Rhythmic, not to mention the but ane that covered the unabridged metro. However, much of its target audience tuned to other stations: Hispanics preferred KPWR and KXOL-FM; African Americans had KHHT, KJLH, and to a bottom extent, KTWV as options; in the meantime, KMVN debuted and targeted older listeners with dance popular from the 1980s to the present day. With that, ratings suffered and speculation grew almost its time to come. Emmis Dissemination reportedly was interested in the station, but decided not to purchase information technology. Eventually, KKBT elected to go head-to-caput with the urban Air-conditioning formats of KHHT and long-fourth dimension Compton-based KJLH. The station also hired Cliff Winston away from KJLH for afternoon bulldoze.

KRBV — V 100.3 [edit]

In October 2006, the station began phasing out the "Shell" branding and promos would only reference the 100.3 frequency, and in December 2006, briefly touted "Majic", giving rising to speculation that Radio I would apply the "Majic" make, most notably establish on sister stations WMMJ in Washington, DC, WWIN-FM in Baltimore, and KMJQ in Houston.[39]

Withal, on December 29, 2006, at 8a.thousand., Radio 1 instead unveiled V 100.3. With that, an Urban heritage based era came to an end: the KKBT call-sign was no more after sixteen years, and the "Beat" branding was erased equally a slice of radio make history, as KKBT was the very get-go radio station to bear the "Vanquish" moniker (although KDAY briefly revived the branding before long afterward). With the format flip, the call letters inverse to KRBV.[40] [41] (Ironically, KRBV and the moniker "5 100.3" were both used on an urban AC station, what is now KJKK, in the Dallas–Fort Worth metroplex in the mid- to late 1990s.) The imaging was similar in fashion to WRKS in New York City, perhaps a reason beingness that Barry Mayo, the sometime general managing director for WRKS, was consulting Radio One and thus wanted to use similar imaging for KRBV.

The re-imaging and air-staff changes did non help the station's ratings, however. At a stockholders' meeting in 2007, some investors called for KRBV to be sold, but company officials said that they had no such plans. One possible reason for this is that KRBV was the merely Radio One-endemic-and-operated station in the three leading markets in the U.S.; at the time, they did not own stations in New York Metropolis or Chicago. Besides, a sale of KRBV would come at a loss to Radio One compared to how much it originally paid for it, possibly because of the residuum effects of the frequency swap with KCMG.

On March 24, 2008, Radio One announced that the station had been sold to Bonneville International for $137.5 million. The transaction closed in the second quarter of 2008.[42] According to a spokesperson for Bonneville, the station would go on to be a music station, although in that location were rumors that the station would actually flip to news/talk (similar to sister stations KTAR-FM in Phoenix, KIRO-FM in Seattle, and WWWT in Washington, D.C.). On April 3, Bonneville confirmed it would flip the station to adult album alternative (AAA).[43] KRBV's air staffers bid farewell to their listeners on their final solar day, April 7.

KSWD — 100.3 The Sound [edit]

Final logo used as "The Sound".

On April eight, 2008, at Midnight, Bonneville took over the operations of KRBV, and dropped the station's urban Ac format. The station then began stunting every bit Bruce Radio 100.iii, playing all of Bruce Springsteen'south hits in connection with his show that nighttime at the Honda Center in Anaheim. After 10 hours of playing "the Dominate", followed past the vocal "I Love L.A." by Randy Newman, KRBV made the following announcement: "Hello, and welcome to what we promise will be a new beginning for Southern California and music fans everywhere." The station then became "100.3 The Audio" and the AAA format officially launched, with "Cute Solar day" by U2 being the get-go song played.[44] [45]

The new station offered listeners a wide option of stone music, stretching from the 1960s to "last calendar week", according to Bonneville vice president of programming Greg Solk and executive VP Drew Horowitz. In an interview from R&R the day of the launch, Bonneville president and chief executive officer Bruce Reese told the music trade publication, "Information technology'southward swell to be back in L.A." He added that, "we are truly excited almost our new station — 100.iii the Sound will be a music station that has absolute respect for the music and that features a wide playlist".

On May xiv, 2008, new call letters KSWD were officially introduced. The rights to these call letters had to be purchased from an FM station in Seward, Alaska, who then switched to the phone call sign KKNI-FM.

KSWD's new format and the "Sound" logo were loosely patterned after its then-sister station in Cincinnati, WSWD. Merely whereas KSWD's direction took a broader arroyo, WSWD focused mostly on 1990s and current fare (WSWD switched to a dissimilar format in 2009).[ citation needed ] KSWD was the fourth station in the Los Angeles radio market to plan a Triple-A format; KNX-FM, KSCA and KACD/KBCD all accept featured the format in past years. The last of those stations also used the positioning statement "World Class Rock for Southern California."[ citation needed ]

In May 2009, KSWD dropped current music and shifted to classic stone, although its playlist included many more deep album tracks than their nearest competitors, KLOS and KCBS-FM. As a event, KSWD was pulled off of Mediabase's AAA reporting stations panel. Rival KLOS had already switched back to a harder-edged version of the aforementioned format.

On July 10, 2009, KSWD held "Finally a KMET Friday", an on-air event paying tribute to the defunct, pioneering Los Angeles stone station KMET. The issue featured on-air appearances by former KMET personalities, classic jingles, and much of the music programming from the era, including an airing of Bob Marley & The Wailers's "Live at the Roxy" concert. The event was spearheaded by KSWD personality Jeff Gonzer, who was an alumnus of KMET; the station'southward program director Dave Beasing stated that public response to the outcome was "admittedly overwhelming and proof of the emotional connection that a generation of Southern Californians had with KMET".[46] In 2013, KSWD held a 2d edition of the event, the "Mighty Met Weekend", from Nov 1 to November 3, 2013.[47]

On Dec viii, 2014, KSWD general director Peter Burton and program manager Dave Beasing announced that Mark Thompson would supercede Joe Benson in morning bulldoze at KSWD.[48] Benson would move to mid-days and current midday host Andy Chanley would become part of Thompson's show. Thompson hosted his last evidence on KSWD on August 3, 2016, after which Chanley took his place every bit morning host.[49] From 1987 to 2012, Thompson co-hosted the morning show on KLOS with Brian Phelps.

On July 14, 2015, it was announced that Entercom would swap four of its stations in Denver to Bonneville in exchange for KSWD, to comply with buying limits related to Entercom's acquisition of Lincoln Fiscal Media's radio stations. One time the purchase was completed on July 17, Entercom began operating KSWD under a time-brokerage agreement, marking the company's entry into the Los Angeles marketplace for the first time, while Bonneville began operating their new cluster in Denver that aforementioned twenty-four hours.[50] The swap to Entercom was consummated on November 24, 2015.

On May 21, 2016, LARadio.com announced that the recently rechristened Los Angeles Rams of the National Football League would air live games on KSWD, alongside AM station KSPN.[51]

KKLQ — Positive, Encouraging 100.3 [edit]

A billboard advertising radio station KKLQ, which airs the K-Love network in Los Angeles. Absent from this advertisement is the "K-Love" name; this is to prevent defoliation with KLVE, which has used the Grand-Beloved brand locally since the 1970s.

On February 2, 2017, Entercom announced its intent to merge with CBS Radio.[52] The company was required to divest stations in order to comply with ownership limits, and on September 26, 2017, the company appear that information technology would divest KSWD, KSOQ-FM, and WGGI to Educational Media Foundation (EMF) for $57,750,000. KSWD was to be flipped to a contemporary Christian music format as role of EMF'due south K-Love network.[53] [54] [55] [56] The sale of the three stations to EMF was canonical on November ii.[57]

One time the station was scheduled to switch to One thousand-Love on November sixteen, 2017, it was also announced that Los Angeles Rams FM radio broadcasts would move to KCBS-FM, get-go with the squad'south adjacent game on November 19.[58] [59] As the station's terminal songs as a rock station, morning co-host Andy Chanley played the side-two medley of The Beatles' Abbey Road, concluding with "The Finish". Soon after a final sign-off past Chanley, KSWD switched to Thou-Love at 1:00 p.m.[60] [61] At the same fourth dimension as the flip, the station adopted the KKLQ call messages; the KSWD call messages were moved to KMPS, an Entercom-acquired station in Seattle that flipped to a soft AC format and branded itself as 94.ane The Sound.[62] [63]

EMF was required to reach an agreement with Univision Radio (later known as Uforia Audio Network) in club to utilise the "Thou-Dearest" brand in the Los Angeles marketplace. KLVE, a Univision-owned Spanish-language AC outlet, has used the name Thou-Love continuously since 1974; the company holds the trademark to that make locally.[notation 1] While terms of this agreement were not disclosed, KKLQ markets itself locally as Positive, Encouraging 100.3, and its station identification contains the slogan "The 1000-Love for Christian music", in order to distinguish information technology from KLVE.[66] In addition, the station markets itself equally Positive, Encouraging 100.3 when used in advertising.

HD Radio [edit]

KKLQ broadcasts in Hard disk drive Radio with both its HD1 and HD2 channels providing Artist Feel information including song titles, artists, and albums on compatible radios. Over the years, 100.three FM has hosted a variety of formats on its Hd sub-channels. The current Hard disk drive sub-channel formats are:

  • KKLQ-HD1 is a digital simulcast of the analog betoken.
  • KKLQ-HD2 broadcasts Air1, a contemporary worship music network with some gimmicky Christian music
  • KKLQ-HD3 airs Radio Nueva Vida, a Spanish-linguistic communication Christian instruction and music network. The service was introduced to this subchannel in October 2018. Nueva Vida is owned by The Association for Community Education, which has had affiliations and partnerships with EMF in the by.

Previous sub-channels [edit]

  • HD2
    • Until the sale to EMF: YTN News FM 100.3, the beginning-ever South Korean all-news station in the United States.
  • HD3
    • Baronial—September 2018: G-Love Classics, a Christian archetype hits network owned by EMF.
    • Until the sale to EMF: Radio Hamrah, Persian-linguistic communication programming. Later the sale to EMF, Radio Hamrah moved to KTWV-HD3.
    • Until the sale to Entercom: Mormon Channel, operated past The Church of Jesus Christ of Latter-twenty-four hour period Saints, owners of Bonneville International.[67]

Notable former on-air staff [edit]

Pirate Radio [edit]

  • Scott Shannon

100.3 The Shell [edit]

  • Steve Harvey

KCMG - Mega 100 [edit]

  • George Lopez, morning host
  • Smokey Robinson, weekend host
  • Art Laboe, weekend host

100.3 The Sound [edit]

  • Mark Thompson, morn host. On August 3, 2016, he exited the station and planned to launch a syndicated radio programme, Absurd Stories in Music. His co-hosts remained.[49]
  • Andy Chanley, morning host

Notes [edit]

  1. ^ In California, Univision Radio, Inc.'s registration of the "K-Dear" trademark is restricted to the following counties: Los Angeles, Orange, Ventura, Inyo, western portions of San Bernardino, San Diego, eastern portions of Kern, and western portions of Riverside.[64] Educational Media Foundation owns the same trademark in the remainder of the state outside of the aforementioned areas.[65]

References [edit]

  1. ^ LeBaron, Boots. "Outlook for FM Fans". Los Angeles Times. p. 14. Retrieved July 17, 2020.
  2. ^ Wade, Tom (July half dozen, 1957). "Leave Your Tv set". Pasadena Independent. p. 8. Retrieved July 17, 2020.
  3. ^ FCC History Cards for KKLQ
  4. ^ Folio, Don (July eighteen, 1965). "Programs on FM---a Most Pleasant Sound". Los Angeles Times. p. 38. Retrieved July 17, 2020.
  5. ^ "Ownership changes" (PDF). Broadcasting. August 7, 1972. p. 52. Retrieved July 17, 2020.
  6. ^ "On the air". Printing-Telegram. February 15, 1973. p. A-3. Retrieved July 17, 2020.
  7. ^ Durkee, Rob. American Top 40: The Countdown of the Century. ISBN 0-02-864895-1. New York Metropolis: Schirmer Books, 1999. Accessed December 10, 2007.
  8. ^ "KIQQ Drops CHR For Transtar'due south Format 41" (PDF). Radio & Records. 1985-07-26. p. 1. Retrieved 2019-10-30 .
  9. ^ "Westwood 1 Buys KIQQ For $56 Million" (PDF). Radio & Records. Nov 4, 1988. Retrieved March 27, 2018.
  10. ^ "Pirate Radio Surprise Attack Clears Decks For 50.A. CHR War" (PDF). Radio & Records. March 24, 1989. Retrieved March 27, 2018.
  11. ^ "100.iii KIQQ Becomes Pirate Radio KQLZ — Format Change Archive". Format Alter Archive. March 17, 1989. Retrieved Dec three, 2017.
  12. ^ a b "Shannon Launches Pirate Radio" (PDF). Radio & Records. March 24, 1989. p. 42. Retrieved December 3, 2017.
  13. ^ Kojan, Harvey (July 20, 1990). "Whatsoever Happened To Rock forty?" (PDF). Radio & Records. p. 60. Retrieved May 28, 2018.
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External links [edit]

  • Official website (KKLQ)
  • K-Love primary site
  • KKLQ in the FCC FM station database
  • KKLQ on Radio-Locator
  • KKLQ in Nielsen Audio'due south FM station database
  • FCC History Cards for KKLQ

Is Michael Baisden Off the Air Again in 2019

Source: https://en.wikipedia.org/wiki/KKLQ_(FM)