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KDAY (93.5 FM, "93.5 KDAY") is a radio station that is licensed to Redondo Beach, California and serves the Greater Los Angeles area. The station is owned by Meruelo Media and airs a classic hip hop format. The station's studios are located in Burbank and its transmitter is in Baldwin Hills. KDAY also extends its signal coverage into the Inland Empire by adding a full power simulcast, KDEY-FM in Ontario, California to fill in all of the overlapping and gaping issues and problems in its eastern coverage area.[1]

Key Information

KDAY's HD Radio format is R&B.

History of KDAY

[edit]

The original KDAY on 1580 AM

[edit]
See also: KBLA

KDAY first signed on in 1948 as a 10,000-watt soul/R&B outlet at 1580 AM. Its call sign represented the fact that it was a "daytimer"; i.e., it broadcast only during daytime hours and signed off every evening.[2][3] It flipped to a top 40 format a short time later.

After his firing from WABC in November 1959, famed disc jockey Alan Freed arrived at KDAY and worked there for about one year. By that time the station had a 50,000-watt transmitter but was on-air only during the daytime.[4]

In 1960, George Carlin, with his comedy partner Jack Burns, arrived in Los Angeles and were hired at KDAY for their comedic stylings. They performed in area coffee houses when the radio station went off the air at sunset and were subsequently discovered and performed on Tonight Starring Jack Paar. Carlin and Burns worked at the station for less than six months.[5] In 1972, KDAY switched to album-oriented rock only to revert to soul/R&B in January 1974. KDAY moved its transmitter to Los Angeles in 1968, and concurrently upgraded to 50,000 watts day and night. FM stations such as KJLH grew in popularity in the early 1980s, cutting into KDAY's audience. KDAY fought back by hiring Greg Mack from KMJQ in Houston as music director in 1983. Mack eventually added hip hop music to the station's playlist to appeal to mostly young Black and Latino listeners. Dr. Dre and DJ Yella Boy became the first mixer DJs at the station.[6]: 214–216 

Former KDAY radio personality Greg Mack (far left) and "mixmaster" DJ Julio G (center) at the KDAY AM 1580 20th anniversary in 2003.

In the first ratings period under Mack's leadership, KDAY's ratings beat another Los Angeles Black AM station, KGFJ, and "began to enjoy a second life as the only rap-friendly station in town and, frankly, in the entire country."[6]: 217  By September 1983, KDAY also upgraded its sound to AM stereo.[7] Dan Charnas described KDAY's audio upgrade as "laughable" and "sounding like two tinny AM radios playing side by side."[6]: 293 

After violence in the stands forced the cancellation of a Run-DMC concert at the Long Beach Arena for the group's Raising Hell tour,[8] KDAY organized a "Day of Peace" on October 9, 1986.[6]: 218  In a two-hour special, KDAY featured Run-DMC, singer Barry White, and boxer Paul Gonzales appealing to rival gangs to stop feuding and opened phone lines for callers to describe gangs' impact in their communities.[9] There were no murders or incidents of gang violence that day. Within two weeks, the Bloods and Crips, the two largest gangs in Los Angeles, signed a peace treaty.[6]: 218 

In 1990, Mack left KDAY that year to work for rival KJLH. Real estate investor Fred Sands, who also owned heavy metal station KNAC, bought KDAY the next year.[6]: 293–294 [10] On March 28, 1991, at 1 p.m., KDAY switched to a business format with call letters KBLA.[6]: 294 [11]

KDAY at 93.5 FM

[edit]

KDAY was resurrected on 93.5 FM on September 20, 2004, offering a rhythmic contemporary format that emphasized old school hip hop, a nod to its AM heritage.[12]

In April 2006, KDAY began moving away from rhythmic contemporary and toward an urban contemporary approach as the station refocused its target audience toward African Americans. This was in response to competitor KPWR (Power 106) de-emphasizing urban in favor of rhythmic contemporary in order to target Hispanic listeners. Due to sinking ratings, a month later, long-time hip-hop/R&B station KKBT eliminated hip hop from the format, and flipped to a mixture of urban adult contemporary (urban AC) and urban talk programs, similar in format to KHHT and KJLH. (Only afterwards did KKBT change its call letters and name to KRBV and "V100".) In addition, KDAY brought Steve Harvey on board on Memorial Day weekend in 2006;[13] he had been released by KKBT the previous year. Weeks later, rival KKBT signed on Tom Joyner to carry his syndicated morning show there; however, in December 2006, KKBT would dismiss Joyner due to low ratings, partly attributed to Harvey's success.[14][15][16]

On July 23, 2007, KDAY and sister station KDAI in Ontario, California temporarily switched from an urban contemporary format to rhythmic contemporary under the consultancy of Harry Lyles and newly installed program director Theo. In a statement to online trade publication All Access, Lyles commented on the changes: "I am very excited and thrilled to be working with Don McCoy, Roy Laughlin and Theo. All we're doing is playing to the taste of Los Angeles and if we play what they want, they will listen. With PPM coming, this will make things a lot more interesting in Los Angeles."[17][18] The format turnback might have been spurred by Magic Broadcasting's July 19 sale of KWIE (96.1 FM, "Wild 96.1") in San Jacinto. Originally, the KDAY call letters were intended to be dropped in favor of the station picking up the KWIE calls as "Wild 93.5". For a time, the station only referenced itself as simply "93.5" on air until it could come up with a name and a call sign to fit the rhythmic format. This happened in July 2007, when the sale of KWIE to Liberman Broadcasting was completed and that station became KRQB. The KWIE call letters moved to the Ontario station, which at the time held the call sign KDAI.[19] After the sale was completed, the format tweak ended up being only temporary; the intent was for KWIE listeners in the Inland Empire to migrate to the 93.5 FM signal as KDAY reverted to urban contemporary the following August.

On April 8, 2008, Radio One inked a deal with KDAY which saw the station pick up the former "Beat" branding, logo and several syndicated shows from Radio One. The move came after Radio One sold KRBV to Bonneville International, who in turn dropped KRBV's urban AC format the previous day; that station is now KKLQ. From that point, the station used the slogan "The Beat of LA", a nod to the popular hip hop station during the 1990s and early 2000s. One such personality who returned to Los Angeles radio following KRBV's flip was Michael Baisden, host of the syndicated afternoon show Love Lust and Lies which debuted on KDAY August 18.[20]

On August 14, 2008, the station's signal was upgraded from 3.4 kW to 4.2 kW thanks to a new transmitter that improved coverage throughout the Los Angeles metropolitan area. The new tower replaced one that had been in use for fifty years. Also around this time, KDAY tweaked its mainstream urban format to a hybrid urban AC/urban talk approach — a direction similar to urban AC, but featuring current adult-friendly R&B music with on-air talk personalities and some hip-hop product — targeting an 18–49 audience. Most of KDAY's programming was being filled by syndicated shows during the day, except for DJ Theo's slow jam show Theo After Hours, which aired live weeknights. The same day, KWIE dropped its simulcast of KDAY and flipped to a rhythmic adult contemporary format branded "FLO 93.5".[21][22] According to station management, the decision to tweak KDAY's format was due to Arbitron's plans to implement the Portable People Meter (PPM) in the Los Angeles radio market and where they believe they can tap into certain areas where they can attract the African American audience.[23][24] The new changes resulted in R&R and Nielsen BDS removing the station from the Urban reporting radio panel in its August 29, 2008 issue.[25]

These changes were not popular with KDAY's listeners. Criticism arose over dropping live airstaff in favor of increased syndicated content and replacing hip hop music with the urban AC/talk format; listeners claimed the owners had ruined the legacies of both KDAY and The Beat.[26] Those upset with the new approach predicted its demise as it was already tried unsuccessfully at KKBT; they also felt that Los Angeles could not support two adult R&B outlets (the other being KJLH, as KHHT was a rhythmic AC outlet aimed at Hispanics).[27]

Return to classic hip hop

[edit]

There had been hints of possible changes at KDAY coming throughout mid-2008, which became evident in the station's decision to replace Mo'Nique's syndicated show in October 2008 for more music-driven local content.[28] Another move would come with programming director Theo's exit several weeks later, with Adrian "AD" Scott becoming interim PD in addition to his Operations Manager duties. As a result, KDAY made a shift back to an urban format and was reinstated to the R&R/BDS Urban panel in January 2009. The following March, KDAY re-added local air personalities to its lineup, with DJ Dense taking middays and Tha Goodfellas, who had been handling afternoons and weekends, taking the evening slot.[29] The Steve Harvey Morning Show was dropped on May 29, 2009, but later resurfaced on KJLH.[30][31] In addition, Michael Baisden's nationally syndicated show, which aired in afternoon drive, was dropped on July 31, 2009. This was followed by Keith Sweat's nationally syndicated show, The Keith Sweat Hotel.

At the "Fresh Fest" concert at Nokia Theatre in downtown Los Angeles, hints were made on stage (including a new logo that was shown on all stage banners and screen graphics) that a full-blown format flip to resemble the original KDAY's classic hip hop sound would occur on August 17, 2009, at 7:30 a.m. At that time, after playing Boyz II Men's "End of the Road", the station dropped the "Beat" branding and reverted to KDAY, with Snoop Dogg's "Gin & Juice" ushering in the new format.[32] Station spots between songs indicated that the previous syndicated fare was a programming mistake on the part of KDAY that did not reflect what Los Angeles fans wanted and that the station would "never do that again". The flip officially left Los Angeles as the largest market without an urban contemporary station until KHHT flipped back to that format as KRRL in 2015, replacing Houston in that distinction. (Houston would regain an urban contemporary outlet in KHHT's sister station KKRW, which flipped to that format over a year before KHHT.)[33] A month later, in September 2009, KWIE would return to simulcasting KDAY under new call letters KDEY-FM.[34]

In November 2009, KDAY management hired veteran programming consultants Bill Tanner and Steve Smith to help in the evolution of the station alongside program director Adrian Scott, new operations manager Brian Bridgman, and new general manager Zeke Chaidez. Tanner explained what was in store for KDAY's future: "Brian, Steve and I have offered some refinements based on our many years of experience in Los Angeles ... We're just getting started with the music. We will be adding jocks and more surprises in the weeks ahead." On-air music mixing returned to the station with the additions of Mr. AD, Eddy Xprs, Class1c, and DJ Dense.[35]

On December 27, 2010, Magic Broadcasting announced it would sell KDAY and KDEY-FM to SoCal935, LLC for $35 million. At the time, SoCal935's principal investors Warren Chang and John Hearne also had a financial stake in Riverside rhythmic contemporary station KQIE.[36] The Federal Communications Commission (FCC) approved the sale on December 8, 2011;[37] however, even after three extensions of time to consummate the sale, the transfer of ownership never took place.

Another proposed sale of KDAY and KDEY-FM was announced April 10, 2013, this time to RBC Communications, a group led by Chinese/Hong Kong broadcaster Phoenix Television and its editor-in-chief and current affairs anchor Anthony Yuen.[38] By October, however, RBC had pulled out of the deal, marking the second failed attempt by Magic to divest the two stations.[39]

On June 7, 2015, KDAY began airing Art Laboe's syndicated six-hour Sunday night urban oldies program The Art Laboe Connection. Previously, the show was broadcast on KHHT until the aforementioned flip of that station in February 2015.[40]

KDEY-FM dropped its simulcast of KDAY a second time in February 2017, as the former flipped to an urban contemporary format targeting its local Inland Empire market as "Wild 93.5". Before the switch, owner Meruelo Media filed a special temporary authority with the FCC for KDEY-FM by reducing power to determine any possible co-channel interference issues.[41] However, after just seven months, KDEY-FM would return to simulcasting with KDAY for a third time on October 30, 2017.[42]

On May 9, 2017, Emmis Broadcasting sold KDAY competitor KPWR (Power 106) to Meruelo Group for $82.75 million; Meruelo began operating KPWR that July.[43] As a result of the acquisition and the company's decision to retain KPWR's rhythmic contemporary format, airstaff and management, Meruelo announced that it would relocate the KDAY studios to Burbank alongside KPWR. Under Meruelo ownership, KDAY and KDEY-FM refocused their programming on classic hip hop and rhythmic throwbacks to avoid overlap.[44][45]

History of the 93.5 FM frequency in Los Angeles

[edit]

The station at 93.5 FM, licensed to Redondo Beach, California, signed on in 1961 as KAPP-FM and was owned by South Bay Broadcasting Company. The license was granted after the applications for KPOL-FM and KNX-FM were denied. Chuck Johnson and Lonnie Cook came to KAPP-FM from KTYM-FM (103.9 FM) in Inglewood. The frequency was shared as the signal's programming came from Redondo Beach in the daytime, and the pop, blues, doo wop, and jazz format being aired by Johnson and Cook (from Johnson's home) at night. It has been determined that their FM top 40 chart is the oldest one known to exist.

The station changed its callsign to KKOP with its sale to Southern California Associated Newspapers in 1965 and began playing mellow pop music. The transmitter moved to Torrance in the 1970s. In 1978, KKOP became KFOX-FM upon its sale to the former operators of KFOX at 1280 AM. Like its predecessor, KFOX-FM played country music. The format in the early 1980s was an adult contemporary hit music station. In 1981–1982, KFOX-FM employed Los Angeles' youngest disc jockey at the time, a 16-year-old student from Torrance High School, Brett Nordhoff, who later changed his on-air name to Kidd Kelly.[46]

By 1983, KFOX-FM had evolved into a multi-ethnic, multilingual format such as Radio Rangarang (Persian), Radio Omid (Persian), and Radio Naeeri (Armenian). In the mid-1990s, this became "Radio Korea USA" with an all-Korean format. This continued until 1999, when the International Church of the Foursquare Gospel (ICFG) moved the KFSG call letters and Christian radio format to 93.5 FM. This switch was a condition of selling KXOL-FM (96.3 FM), acquired by Spanish Broadcasting System specifically for the purpose of relocating KFSG.[47] In 2002, the lease arrangement with the ICFG ended and SBS switched KFSG to a Spanish-language outlet, first as KMJR ("La Mejor") and later KZAB as La Sabrosa.

References

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KDAY

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from Grokipedia
KDAY (93.5 FM) is a commercial radio station licensed to Redondo Beach, California, serving the Los Angeles metropolitan area with a focus on classic hip-hop music under the branding "Hip Hop Back in the Day." The station is owned by Meruelo Radio Holdings, LLC, and its programming features throwback tracks from artists such as Kanye West, JAY-Z, and The Notorious B.I.G., emphasizing hits from the 1980s, 1990s, and early 2000s. The KDAY call letters originated with a station on 1580 AM that launched in 1948 and became a pioneer in hip-hop radio during the . In 1979, DJ Steve Woods introduced "" by , marking the first hip-hop show on the station and helping propel the genre's early commercial breakthrough as the track peaked at number 36 on the charts. By 1983, under music director Greg Mack, KDAY-AM shifted to 24/7 hip-hop programming, the first station to do so, attracting young Black and Latino audiences and featuring emerging talents like and as on-air mixers. KDAY-AM played a pivotal role in launching careers for artists including , , , , and , while amplifying independent labels in the rap scene. A notable achievement was the station's organization of a "day of " on October 9, 1986, which temporarily halted in and facilitated a truce between the and within two weeks. After its sale in 1991 and format change to business talk as , the KDAY brand was revived on 93.5 FM in 2004, initially with classic hip-hop before evolving to its current nostalgic format. The FM station's license was granted in 2009, underscoring its ongoing operation amid the legacy of its AM predecessor.

Early History

Establishment as a Daytimer Station (1940s-1950s)

KOWL, the predecessor to KDAY, received its construction permit from the on September 30, 1946, authorizing a 5,000-watt daytime-only AM station on 1580 kHz in , to serve the area while minimizing interference with distant stations after sunset. The station signed on the air as KOWL on July 30, 1947, initially broadcasting middle-of-the-road music formats typical of the postwar era, with early ownership interests including entertainer . As a class IV under FCC regulations, operations ceased at local sunset, limiting programming to approximately 12-14 hours daily and restricting audience reach compared to full-time stations. In the late and early , KOWL focused on general audience programming, including pop standards and , amid a competitive radio market dominated by higher-power outlets like KFWB and KHJ. The daytime-only restriction stemmed from the station's non-directional antenna and clear channel allocations on 1580 kHz, which prioritized protection of primary stations elsewhere, such as in the eastern U.S. This operational constraint shaped its early , emphasizing local from Santa Monica and Westside businesses during peak daytime listening hours. On May 1, 1956, following a change in ownership or strategic , the call letters shifted to KDAY, a mnemonic reflecting its persistent daytime-only status—"K-DAY" for daylight —which persisted through the despite growing demand for extended hours in the expanding suburbia. Programming remained oriented toward pop and , with no significant power upgrades or nighttime authorization until the , underscoring the station's foundational role as a limited-scope local broadcaster in an era of regulatory caution around spectrum allocation.

Shift to R&B and Soul Programming (1960s-early 1980s)

In the late 1960s, KDAY transitioned from its daytime-only operations by obtaining FCC approval for full-time broadcasting around 1969, allowing 24-hour programming and enabling competition in ' growing urban radio market. The station also relocated its transmitter to in 1968, improving signal coverage and facilitating shifts toward formats appealing to diverse audiences, including early experiments with (R&B) elements amid top 40 and middle-of-the-road programming. Under Rollins Broadcasting ownership, which acquired the station in 1962, KDAY began incorporating and R&B tracks around 1968 to challenge established outlets like KGFJ, though it oscillated through (AOR) phases in the early 1970s. A pivotal format reversion occurred in January 1974, when KDAY fully committed to soul and R&B programming under program director Jim Maddox, who emphasized a "clean routine" devoid of echo effects or excessive reverb to prioritize music quality and on-air personalities. This change targeted the 18-35 demographic with a blend of soothing soul hits and structured urban contemporary elements, featuring artists like , , and , as reflected in contemporary station surveys. Key disc jockeys included Maddox himself, Don Mac (who joined in February 1974), Gene West, and Tom Reed, whose engaging styles contributed to the station's immediate appeal in the Black radio segment. By 1976, Maddox's approach earned him Program Director of the Year recognition, underscoring the format's resonance amid competition from stations like KJLH and KACE. KDAY's R&B/ lineup sustained strong listener engagement through the late 1970s, playing tracks such as Shirley Brown's "Woman to Woman" and Al Green's "Sha-La-La," which topped surveys by October 1974. The station maintained this focus into the early 1980s, providing a platform for staples before gradually integrating emerging rap elements, though AM signal limitations and FM's rise posed ongoing challenges to its dominance.

Rise as Hip Hop Pioneer

Adoption of Full-Time Rap Format (1983)

In early 1983, KDAY (1580 AM), a Los Angeles station previously focused on R&B and , faced intensifying competition from established outlets like KJLH, prompting a strategic pivot under new leadership. Gregory "Greg" Mack, hired as after working at Houston's KMJQ, advocated for as the genre's untapped commercial potential, drawing from his exposure to emerging East Coast acts and local West Coast talent. By July 1983, KDAY implemented a full-time rap format, becoming the first radio station worldwide to program hip-hop music 24 hours a day, seven days a week, eschewing traditional mixes of R&B, funk, or pop. This shift involved curating playlists heavy on records from independent labels like Sugar Hill and Enjoy, alongside early West Coast releases, often sourced directly from artists via mixtapes and demos. The station's AM signal, while limited in range compared to FM competitors, reached urban audiences in South Central Los Angeles and Compton effectively through nighttime skywave propagation, amplifying its influence on street-level hip-hop culture. The adoption marked a contrarian bet against industry skepticism toward rap's viability beyond novelty hits like "Rapper's Delight," with Mack's programming emphasizing unbroken blocks of tracks to build listener loyalty among youth demographics underserved by mainstream radio. KDAY's ratings surged rapidly, capturing the top spot among listeners in by late 1983, as it introduced airplay for local breakthroughs and fostered events like mobile DJ broadcasts from parks and block parties. This format solidified KDAY's role as a pioneer, though its AM constraints later proved a technical hurdle against FM rivals.

Key Personalities, Events, and Artist Breakthroughs (1983-1990)

In 1983, Greg Mack, newly hired as music director from , transformed KDAY into the nation's first station with extensive rap programming, initially nighttime-focused before expanding due to surging Arbitron ratings that elevated it from fifth to second place within 90 days. Mack assembled the Mixmasters DJ team, starting with and in early 1984 as the inaugural mixer DJs, who delivered daily intricate mixes and Saturday "Traffic Jam" segments blending electro and rap. Subsequent Mixmasters included Tony G (1984–1989), Joe Cooley, Julio G, M-Walk (1985), Ralph M (1987), Hen-Gee, Jammin’ Gemini, and DJ Battlecat, whose live and transitions became a station hallmark. Eddie Kirby approved the format shift after a pivotal 1983 meeting, while promoter Lonzo Williams facilitated artist connections and event logistics. Key events underscored KDAY's cultural influence amid rising gang tensions. On October 9, 1986, the station hosted the "Day of Peace" concert featuring Run-D.M.C., , and mayor Tom Bradley, which drew 25,000 attendees without incidents and contributed to a Bloods-Crips truce announced weeks later. In 1986, KDAY organized live Mixmaster tryouts at Compton's Skateland USA, attracting hundreds and scouting talent like future contributors. The "Friday Night Lives" series brought East Coast acts including , , , and for on-air promotions, while 1987's launch of the "High Energy" show fused hip-hop with Latin freestyle to broaden appeal. Community activations, such as risky openings in gang territories, reinforced KDAY's grassroots role. KDAY catalyzed West Coast breakthroughs by prioritizing indie labels like Electro Beat and Macola over major-label skepticism. It first aired a clean version of Eazy-E's "Boyz-n-the-Hood" in 1986, which became the top requested track within 48 hours and propelled N.W.A.'s early visibility. The station supported Ice-T's transition from electro tracks to signing with Sire Records, airing his formative raps alongside acts like Egyptian Lover and Uncle Jamm's Army. Young MC secured a Delicious Vinyl deal after freestyling over the phone on air, while World Class Wreckin’ Cru and King Tee gained traction through consistent plays. Early mixes by Dr. Dre elevated his profile before his 1985 departure to production. By blending East Coast imports like Run-D.M.C. with local talent, KDAY achieved a 22-share among teens via shows like "Traffic Jam."

Technical and Market Challenges During Peak Era

KDAY's operation on the AM 1580 kHz band imposed significant technical constraints, including inferior audio fidelity characterized by static interference, limited , and susceptibility to atmospheric conditions, particularly at night when patterns could cause signal fading or overlap with distant stations. These issues were exacerbated by the station's reliance on , which struggled to reproduce the bass-heavy production of emerging hip-hop tracks with the clarity offered by . Although KDAY implemented technology in the mid-1980s to enhance sound separation, adoption was minimal among receivers, limiting its effectiveness and failing to fully mitigate listener complaints about "tinny" or distorted playback during high-energy mixes and live events. Market pressures compounded these technical shortcomings, as advertisers remained wary of the rap format's predominantly young, urban audience, often undervaluing its and associating it with transient trends rather than stable revenue streams. Urban radio outlets like KDAY commanded lower ad rates than mainstream competitors, even when topping demographic ratings among 18- to 34-year-olds, due to perceptions that and Latino listeners lacked disposable income for major sponsors' products. Record labels and retailers initially resisted heavy promotion of rap, with major chains declining to stock albums dismissed as novelties, forcing reliance on independent outlets and constraining promotional tie-ins that could bolster ad sales. By the late , the debut of FM rival (Power 106) in October 1987 introduced superior and broader coverage, siphoning listeners and intensifying revenue competition as KDAY's overall Arbitron share began eroding toward 0.6% by 1990.

Decline and Transition

Format Changes and Station Sale (1991)

In February 1991, KDAY, ' pioneering all-rap AM station, announced its decision to abandon the hip-hop format that had defined it since , shifting instead to a news-talk lineup focused on and financial programming. This change reflected declining ratings and advertiser support for rap amid growing competition from FM outlets, though the station had maintained influence in promoting West Coast artists. The format pivot coincided with the station's sale to local developer Fred Sands for $7.2 million, a transaction that ended nearly a decade of rap-centric operations under previous ownership. On April 5, 1991, the call letters switched to , aligning with the rebranded "Business News L.A." format, which incorporated syndicated shows like segments but struggled to attract a viable in the crowded AM market. The abrupt transition marked the end of KDAY's role as a full-time rap broadcaster, with its intellectual properties and on-air talent dispersing to rivals like (Power 106).

Legacy Absorption by Competing Outlets like Power 106

Following the sale of KDAY to real estate investor Fred Sands in 1990, the station abruptly ended its hip-hop programming and adopted a business news format under the call letters, creating a significant void in ' rap radio landscape. This shift was precipitated by KDAY's declining listenership in the late 1980s, as audiences migrated to FM stations offering superior audio fidelity amid the AM band's inherent limitations. KPWR "Power 106," which had debuted in 1987 targeting hits to compete with top-40 outlets and urban rivals like KDAY, rapidly absorbed much of the displaced audience by amplifying its rap content. The station's FM signal at 105.9 MHz provided broader coverage and clearer reception, enabling it to capture KDAY's core demographic of young urban listeners and solidify its role as the region's primary hip-hop platform through the . Power 106's programming evolved to feature emerging West Coast artists, mix shows, and promotional events that echoed KDAY's earlier innovations, such as street marketing and artist breakthroughs, thereby perpetuating the 24/7 rap format KDAY had pioneered. This absorption extended beyond audience metrics to cultural influence, with Power 106 becoming the go-to outlet for hip-hop promotion in , hosting high-profile concerts and charity drives that built on KDAY's foundational legacy of integrating rap into mainstream radio. Former KDAY program director J.J. Johnson's post-signoff listener feedback highlighted the scarcity of alternatives, underscoring Power 106's swift dominance in filling the gap left by the AM pioneer's exit. While other urban stations like KJLH contributed to the scene, Power 106's and format commitment positioned it as the direct inheritor, sustaining rap's commercial viability in the region until the revived KDAY's emergence on FM two decades later.

Revival on 93.5 FM

Pre-KDAY Frequency Evolution (1960s-2000s)

The 93.5 MHz frequency, licensed to , signed on in 1961 as KAPP-FM, operated by South Bay Broadcasting Company as a low-power station serving the South Bay area of County. The station featured a lineup including engineer and on-air talent Bob Peder Dyk in its early years, typical of FM outlets at the time focusing on amid the growth of FM as a secondary band to AM. By the mid-1960s, ownership transferred to Copley Press (Southern California Associated Newspapers), prompting a call letter change to KKOP and a shift toward more standardized or middle-of-the-road formats common for FM stations targeting suburban audiences. The frequency later adopted the KFOX callsign, programming by the 1980s, with afternoon drive host Paul Bowman delivering genre-specific content from a modest 3,000-watt signal. Subsequent decades saw further changes, including stints as KMJR and the Christian-formatted KFSG, which utilized the Redondo Beach license among others for until its operations wound down in early 2003 after 79 years in -area radio. In the early , prior to the adoption of KDAY calls in September 2004, the station aired Spanish-language programming, reflecting the demographic shifts and market demands in the region's growing communities. This evolution underscored the frequency's role as a flexible, low-profile outlet amid competition from higher-powered stations.

Launch of Classic Hip Hop Format (2009)

On August 17, 2009, KDAY (93.5 FM) transitioned from its format, branded as "93.5 The Beat," to a classic hip-hop and R&B programming focused on "Back in the Day Hits." The format shift occurred at 7:30 a.m., emphasizing automated playback of tracks primarily from the and 1990s without live disc jockeys initially. This change aimed to revive the station's historical association with hip-hop origins, originally established on AM 1580 in the early , by targeting listeners nostalgic for old-school urban music. The relaunch leveraged the KDAY call letters, adopted by the 93.5 FM frequency in 2004, to capitalize on brand recognition from its pioneering rap format . Programming featured high-energy mixes of classic hip-hop anthems, appealing to an adult demographic underserved by contemporary urban stations like Power 106. Station management, under owner , positioned the format as a return to roots, distinguishing it from current hits by curating era-specific content that included influential West Coast rap tracks. Initial reception highlighted the format's jockless, playlist-driven approach as a cost-effective strategy to rebuild audience loyalty in the competitive market. By late 2009, the station had solidified its identity, later commemorating the shift as a successful pivot that sustained operations amid economic pressures on terrestrial radio.

Ownership Shifts and Near-Sale Events (2010s)

In December 2010, Magic Broadcasting II LLC, the owner of KDAY (93.5 FM) since its 2009 revival, announced an agreement to sell the station and its Ontario-licensed translator KDEY-FM (93.5) to SoCal935 LLC for $35 million. The proposed deal aimed to transfer the classic hip-hop programming assets but ultimately fell through due to unresolved regulatory and financial hurdles, including pending litigation over prior claims on the frequency. By April 2013, Magic Broadcasting pursued another sale, this time to RBC Communications—a firm with ties to Chinese media interests—for $19.5 million, which included plans to shift KDAY to a Mandarin-language format targeting ' Asian American audience. The announcement sparked significant backlash from hip-hop fans and artists, who launched petitions and public campaigns to preserve the station's old-school rap focus, citing its cultural significance to West Coast hip-hop heritage. In October 2013, the transaction collapsed amid financing issues and opposition, allowing KDAY to retain its format temporarily. Following the failed RBC deal, Magic Broadcasting reached an agreement in December 2013 to sell KDAY and KDEY to Meruelo Group (later Meruelo Media) for $15 million. Meruelo, a Los Angeles-based broadcaster expanding its local portfolio, assumed operational control on January 1, 2014, through a local marketing agreement (LMA) pending FCC approval, and committed to maintaining the classic hip-hop programming rather than altering it. The FCC approved the full transfer in 2015, solidifying Meruelo's ownership and averting further format threats during the decade. No additional ownership changes or near-sales were reported for KDAY through the end of the 2010s, with Meruelo focusing on operational stability and content enhancements.

Programming and Operations

Evolution of Content and Syndication

KDAY's original programming on 1580 AM from 1983 emphasized wall-to-wall , marking the first dedicated hip-hop format on U.S. radio, with content centered on emerging West Coast tracks, mix shows by DJs including and , and integration of R&B elements to form the rhythmic format. Local production dominated, featuring street promotions, artist interviews, and battles to break unsigned talent like ., without reliance on syndicated content due to the format's novelty and AM signal limitations. After the 1991 shift away from hip-hop, the KDAY branding revived on 93.5 FM on September 20, 2004, launching with a playlist prioritizing old-school hip-hop tracks from the 1980s and early 1990s, alongside , as a homage to the AM era while competing with FM rivals. Programming remained largely local, with DJ-driven mixes and weekend specials, but faced ratings pressure leading to refinements. In August 2009, KDAY rebranded from "93.5 The Beat" to "Back in the Day Hits," evolving to a stricter classic hip-hop focus on 1980s-1990s era songs, dropping most current releases for nostalgic curation that appealed to adult listeners reminiscing about the original station's peak. This shift reduced pure rhythmic elements in favor of throwback blocks, mixshows, and artist spotlights, sustaining audience loyalty amid ownership changes. By the 2010s, content evolution incorporated limited syndication to enhance variety and reach; the Baka Boyz' Hip-Hop MasterMix, a syndicated weekend program with over 20 years of multi-market experience, airs Friday nights and Saturdays, blending high-energy mixes of classic and select newer tracks. Sundays feature The Connection, a syndicated dedication show originating in 1943, which airs , R&B, and occasional hip-hop requests from 7 p.m. to midnight, expanding beyond core hip-hop to foster intergenerational engagement. Local staples like the KDAY Morning Show with and Cece's Afternoon Ride continue to anchor daily programming, balancing syndicated imports with original content tailored to ' demographic. This hybrid approach has persisted into the , adapting to streaming competition while preserving the station's hip-hop roots.

Signal Coverage, Technical Specs, and Listener Accessibility

KDAY operates on the 93.5 MHz frequency in the FM band, licensed to , with an of 4,200 watts. The station's antenna is positioned at a height of 117 meters above average terrain and 31 meters above ground level, enabling broadcast from a transmitter site optimized for the metropolitan region. It is authorized for digital transmission via , which enhances audio quality and allows for potential multicasting of additional channels, though primarily utilized for the main analog-compatible signal. The signal's primary coverage contour encompasses the area, including Los Angeles County, Orange County, and portions of the and Ventura County, reaching an estimated population of over 18 million within its 60 dBu protected contour as mapped by FCC guidelines. This FM allocation provides typical for VHF frequencies, with reception quality diminishing in areas obstructed by terrain such as the , though urban valleys and coastal zones receive strong signals. Unlike the original 1580 AM incarnation, which relied on ground-wave propagation for nighttime extension but suffered from interference in a crowded band, the 93.5 FM signal offers clearer, audio within its footprint without significant distant skip. Listener accessibility extends beyond over-the-air reception through digital streaming platforms, including the station's official , mobile apps on and Android, and third-party services like and Radio.net, enabling global access to live broadcasts and on-demand content such as podcasts. capability, activated in 2019, supports improved fidelity for compatible receivers, while the station's integration with smart devices and automotive systems broadens reach to non-local audiences. These options mitigate FM signal limitations in remote or indoor environments, with streaming metrics indicating sustained engagement from legacy fans outside .

Cultural and Economic Impact

Role in West Coast Hip Hop Development

KDAY-AM 1580 in pioneered the rhythmic contemporary radio format by adopting 24-hour hip hop programming in July 1983, marking the first such station in the United States. This transition, led by music director Greg "Mack Attack" Mack, responded to competitive pressures from established R&B outlet KJLH-AM, which dominated the urban audience; Mack identified rap's untapped potential among youth demographics, shifting from soul and funk to electro-funk and emerging rap records from local indie labels like Macola . The station's AM signal, receivable across and into neighboring states, amplified its reach, fostering a regional hip hop ecosystem through consistent mix shows and artist interviews that bypassed traditional major-label gatekeepers. By hiring Dr. Dre and DJ Yella as its inaugural full-time mixer DJs in the mid-1980s, KDAY directly incubated talent that shaped West Coast production styles, with Dre's mixing techniques influencing the genre's bass-heavy, turntable-driven sound prior to their N.W.A. formation in 1986. The station broke early singles from acts like The World Class Wreckin' Cru (featuring Dre and Yella), Egyptian Lover, and Ice-T, providing airplay that propelled Ice-T's transition from indie releases to a major-label deal with Sire Records in 1987. KDAY's playlist emphasis on local Compton and South Central talent, including precursors to gangsta rap like Toddy Tee and Mixmaster Spade, helped crystallize the narrative-driven, street-realist lyricism that defined West Coast hip hop's divergence from East Coast boom bap, with the station's "Beat Dat" contests encouraging freestyles that honed competitive MC skills. KDAY's format innovations, such as extended mix sessions and on-air promotions for independent labels, democratized access for unsigned artists, enabling ' early breakthroughs with 's 1987 debut Straight Outta Compton receiving heavy rotation that contrasted with national reluctance to air its explicit content. This exposure not only boosted local scene cohesion—drawing crowds to KDAY-sponsored events at venues like the —but also established as a viable rap production center, countering perceptions of the West Coast as secondary to New York by 1988, when the station's ratings peaked amid the rise of precursors. Despite its 1991 format change, KDAY's foundational support for electro-rap hybrids and unfiltered gang culture portrayals laid causal groundwork for the commercial explosion of West Coast hip hop in the early 1990s, as evidenced by alumni like Dre crediting the station as a "springboard" for regional dominance.

Business Innovations and Market Influence

The adoption of a classic hip hop format upon KDAY's relaunch on 93.5 FM in September represented a strategic pivot toward nostalgia-driven programming, focusing on and tracks to appeal to an adult demographic underserved by contemporary rhythmic stations like Power 106. This approach innovated within urban radio by prioritizing curated mixes of legacy content over new releases, initially featuring no live on-air talent to emphasize seamless playback, which helped differentiate the station in a competitive market. Under subsequent ownership, including the 2013 acquisition by Meruelo Media for $15 million, KDAY maintained this format while integrating syndicated elements and events, such as mix shows and concerts, to boost listener engagement and advertiser appeal. The strategy yielded measurable economic impact, with the station reaching a record 1.16 million cumulative audience in April 2014, signaling robust and validation of the throwback model's viability for revenue generation through . KDAY's persistence with classic hip hop has influenced the broader radio ecosystem by sustaining demand for archival urban music, complementing current-focused competitors and enabling Meruelo's portfolio expansion into complementary stations, thereby enhancing overall group market share in the region's diverse listener base.

Criticisms of Content and Societal Effects

Critics of KDAY's programming have primarily targeted its promotion of and classic hip hop tracks containing explicit themes of violence, criminality, drug use, and , arguing that the station's format amplified these elements to a mass audience, particularly in ' urban communities during periods of high social tension. In the , as the first station to program wall-to-wall rap, KDAY heavily featured artists like N.W.A., whose 1988 album included tracks such as "Fuck tha Police," which vividly portrayed police brutality and retaliatory violence, prompting FBI warnings to the and accusations from of fostering anti-authority sentiment. Similar objections extended to the station's revival on 93.5 FM in 2009, where playlists dominated by -1990s hits—many glorifying gang life and interpersonal aggression—were faulted for perpetuating stereotypes of black masculinity tied to aggression and lawlessness, rather than reflecting broader cultural progress. Misogyny in the aired content has drawn particular scrutiny from scholars and activists, who contend that recurrent depictions of women as sexual objects or victims of male dominance in gangsta rap tracks normalize patriarchal violence and undermine community cohesion. Feminist critic bell hooks described such lyrics as glorifying "sexist, misogynist, patriarchal ways of thinking," mirroring and entrenching intra-community gender hierarchies rather than challenging systemic oppression. Content analyses of rap from KDAY's core eras confirm elevated rates of violence-against-women themes, with one study of 1987-1993 tracks finding frequent portrayals of physical and sexual aggression toward females. Specific incidents underscore these concerns: in the late 1980s, KDAY removed Kool G. Rap and DJ Polo's "Truly Yours" from rotation after protests from the gay community over homophobic lyrics, highlighting how the station's selections occasionally intersected with broader debates on derogatory content. Empirical investigations into rap music's societal effects reveal associations between exposure to violent and heightened aggressive , though causation remains contested amid confounding factors like and family structure. Laboratory experiments demonstrate that songs with violent themes increase hostile feelings and aggressive thoughts immediately post-listening, with effects persisting briefly but not necessarily translating to sustained behavioral changes. Among adolescents, studies link frequent consumption of violent urban music, including hip hop, to elevated levels, potentially via desensitization to real-world . Critics, including authors examining gangsta rap's "social cost," attribute exacerbated youth in 1980s-1990s —coinciding with KDAY's peak influence—to the genre's commodification of gang rivalries and criminal escapism, which some claim trapped listeners in a "mentality" favoring confrontation over socioeconomic mobility. However, countervailing research finds minimal short-term behavioral impacts from brief exposure, emphasizing that rap often mirrors existing urban realities rather than originating them, with no robust evidence isolating radio play as a primary driver of spikes during the crack era. KDAY's anti-violence initiatives, such as the 1986 "Day of Peace" following injuries at a concert, were dismissed by some as reactive insufficient to offset the format's dominant messaging. Even station segments like "King ," aimed at exposing gang dangers, faced backlash from teens who warned it could provoke retaliatory from . Overall, while mainstream academic and media critiques often frame these effects through lenses attuned to , truth-seeking analyses prioritize disentangling lyrical influence from entrenched causal factors like economic disparity, noting that hip hop's reflective role in documenting crises may outweigh unsubstantiated claims of direct societal harm.

Reception and Ongoing Developments

Ratings Performance and Audience Feedback

Since adopting the classic hip hop format in 2009, 93.5 KDAY has recorded variable Nielsen ratings reflective of its niche positioning in the competitive market. In April 2014, following an ownership transition to Meruelo Media, the station achieved a weekly cume exceeding 1.16 million listeners, alongside a 78% increase in first-preference listenership among adults 18-49 and a 100% surge in average quarter-hour (AQH) . This marked its strongest quarterly performance in two years, with Q2 2014 cume at 1.17 million and AQH at 14,800. More recent (PPM) data shows fluctuations amid signal constraints, such as limited coverage in the . For the September 2023 survey period (August 17–September 13), KDAY rose to a 3.2 share among persons 6+, indicating solid engagement for classic hip hop. By contrast, the January 2024 book yielded a 1.9 share, aligning with broader hip hop format challenges in the market. demographics emphasize and , with (ages 14–33) comprising nearly 50% of total listeners and 52% of listeners in mid-2014 analyses, alongside 71% rate among the core . Audience feedback highlights for KDAY's legacy as a hip hop pioneer, with reviews averaging 4.2 out of 5 stars from over 50 users, who commend its "laid-back jams" evoking street culture and consistent classic tracks from the 1980s–2000s. Positive sentiments extend to its role in preserving West Coast hip hop history, as noted in industry observations praising the format's streaming potential despite limitations. However, criticisms include repetition—described by some listeners as "regurgitated joints"—and technical glitches like song skipping, particularly on weekends, alongside frustration over inconsistent online accessibility. Forum discussions often contrast the FM station unfavorably with the original AM KDAY's innovation, viewing current programming as formulaic and lower-rated relative to rivals like Power 106.

Recent Programming Adjustments (2020s)

In 2020, KDAY introduced the Baka Boyz Hip Hop Master Mix, a Friday evening program from 7:00 p.m. to midnight featuring classic hip-hop tracks from the mid-1990s to mid-2000s, marking a targeted enhancement to its weekend lineup while preserving the station's focus on nostalgic West Coast and national rap hits. The duo, known for prior stints in radio, returned to the market via this syndicated extension, emphasizing mix shows over broad format shifts. This addition aligned with Meruelo Media's strategy under programming director , promoted in April 2021 to oversee content across KDAY and sister rhythmic stations, aiming to integrate specialized mixes without altering the core classic hip-hop playlist. Following the death of longtime personality on October 7, 2022, at age 97 from , KDAY adjusted its Sunday evening programming by continuing "The Art Laboe Connection" dedication show from 7:00 p.m. to midnight, transitioning to a new host while retaining the format's emphasis on listener requests, oldies dedications, and calls from incarcerated individuals. Laboe's final broadcast occurred days before his passing, and the program's persistence reflected its cultural draw in , where it had aired on KDAY since 2015 after a prior station format change displaced it. This continuity avoided a full slot replacement, instead leveraging archival elements and the original team's Latina producer to maintain authenticity amid the station's hip-hop emphasis. Weekday programming saw refinements, including the ongoing "Afternoon Ride with Cece" from 3:00 p.m. to 7:00 p.m., hosted by Cece Valencia, who incorporated street-level promotions like ticket giveaways and lowrider events to engage local audiences, though no major host turnover was reported post-2020. The "KDAY Morning Show with Romeo," airing weekdays from 6:00 a.m. to 11:00 a.m., remained a staple, focusing on entertainment news and energetic banter rooted in hip-hop culture, with no documented 2020s overhaul beyond routine updates. Overall, these adjustments prioritized host stability and niche enhancements over wholesale format pivots, sustaining KDAY's 12,000-watt signal's appeal to 25-54 demographics amid competitive rhythmic radio in Los Angeles.

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