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WLS-FM (94.7 MHz) is a commercial classic hits radio station licensed to serve Chicago, Illinois. Owned by Cumulus Media, the station serves the Chicago metropolitan area, and is the radio home of Dave Fogel. The WLS-FM studios are located at the NBC Tower in the city's Streeterville neighborhood, while its transmitter is located at Willis Tower.[2]

Key Information

History

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Early years

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The American Broadcasting Company, owners of Chicago's ABC Radio Network affiliate WENR (890 AM)—which operated in a time-share arrangement with WLS (890 AM), radio adjunct of the Prairie Farmer and itself an ABC affiliate—launched this station as WENR-FM on January 1, 1948. This time-share agreement ended in February 1954, when ABC's parent company American Broadcasting-Paramount Theatres and the Prairie Farmer merged their AM stations into one, WLS becoming the surviving entity and jointly owned by both.[3] WENR-FM retained its callsign but began simulcasting WLS's programming, later adopting its own separate programming formats (which included classical and Broadway theater show tunes) for part of the day. ABC purchased the Prairie Farmer in November 1959, giving it sole ownership of WLS and WENR-FM.[4]

In 1964, WENR-FM became WLS-FM, with a beautiful music format broadcasting in stereo from noon to midnight, as well as Blackhawks home games. By 1968, WLS-FM expanded its hours on the air to 6 a.m. to Midnight, simulcasting WLS (AM)'s Clark Weber morning show from 6 to 8 a.m. and carrying Don McNeill's Breakfast Club from 8 to 9 a.m.

In the summer of 1968, WLS-FM experimented with a locally produced underground progressive rock show. Dubbed "Spoke", and using the tag-line "The Flash That Holds The Wheel Of Life Together", the program aired from 10 p.m. to midnight and featured unnamed announcers using stage-whisper delivery laden with plate reverb, obtuse biker-style free verse intros delivered over backgrounds of electronic music, mid-eastern music and sound effects. It was replaced in 1969 with a syndicated program from the ABC Radio Network entitled "Love", voice-tracked by "Brother John" Rydgren, and which aired from 7 p.m. to 1 am. Shortly afterward, WLS-FM adopted a full-time progressive rock format.

Rock to disco to Top 40 and CHR

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In 1970, ABC decided to change the call signs on all of their FM radio stations to distinguish them from their co-owned AM (and excluding two markets, TV) counterparts; this not only included WLS-FM, but WABC-FM in New York City, WXYZ-FM in Detroit, KXYZ-FM in Houston, KGO-FM in San Francisco, and KQV-FM in Pittsburgh.[5] While ABC had originally selected WXAI as a replacement call sign for WLS-FM, WDAI for WXYZ-FM, and WRIF for WABC-FM,[6] the FCC instead assigned WRIF as WXYZ-FM's replacement, and renamed WLS-FM as WDAI; WABC-FM selected WPLJ as a replacement call sign.[7]

As part of this new FM initiative by ABC, all six FM stations dropped the "Love" progressive rock format and each adopted album-oriented rock formats.[5] At age 19, Jim Kerr hosted mornings at WDAI and did additional work at WLS before finding future success at WPLJ and WAXQ.[8][9] WDAI became the original Chicago radio home of Steve Dahl in January 1978, and used the slogan "Chicago's Best Rock" with the Morning Sickness with Steve Dahl.

WDAI switched to all-disco as "Disco DAI" at the stroke of midnight on New Year's Day, 1979, marking the switch by going from Don McLean's "American Pie" to "Staying Alive" by the Bee Gees.[10] Steve Dahl would wind up the morning host at former crosstown rival WLUP, and would anchor the "Disco Demolition Night" promotion in July 1979, that would later be cited as a harbinger for the genre's popular collapse in America during 1980.[11] The station stayed with the disco craze until 7 am on May 22, 1980, when, after stunting by playing Donna Summer's "Last Dance" on a loop, 94.7 became WRCK-FM, "95 W-ROCK", a hybrid of adult Top 40 and oldies, and featured Bob Sirott in mornings for a brief time.[12] The 1978 switch to disco was the first in a series of format changes that continued up to its switch to classic hits in October 2012.

On October 20, 1980, WRCK-FM switched to a Top 40/CHR format with a partial simulcast of WLS (AM) and changed its call sign back to WLS-FM. The simulcast included Larry Lujack during the morning drive and Brant Miller's evening show into the mid-1980s, while airing its own programming during the day. WLS-FM was thereafter programmed separately during the day and simulcast WLS (AM) at night. Both WLS-AM and WLS-FM simulcasted selected concerts from ON TV and WSNS-TV, as well as WLS-TV's local music video show "Rock On Chicago" in stereo.

On January 20, 1986, WLS-FM ended simulcasting the AM and became known as WYTZ, "Z-95".[13][14] Initially, the station retained its mainstream Top 40/CHR format, but for only a short period of time in mid-1989, the station slowly went towards a rock-lean, though it returned back to mainstream a couple of months later; at the time, competitor "B96" increasingly focused on R&B and dance music. WYTZ, which was briefly rebranded as "Hell" (an aborted and controversial one-week stunt)[15][16] and "Hot 94.7" in March 1991, became rhythmic for a short-period of time and could not withstand the competition from "B96". This competition left "Q101" the only mainstream Top 40/CHR station in the Chicago area until "B96" went towards mainstream by late 1991-early 1992.

Rotating formats

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WYTZ again became WLS-FM at 7 pm on October 25, 1991. After playing "Everybody's Talkin'" by Harry Nilsson, the station switched formats to talk radio, again simulcasting WLS (AM) much of the time.[17][18][19] On June 13, 1994, WLS-FM split off from simulcasting and launched its own "Young Talk" format featuring former popular WKQX (Q101) morning host Robert Murphy ("Murphy in the Morning"), Rich Roeper, Rush Limbaugh (in simulcast with the AM), Jay Marvin, Lise Dominique, Turi Ryder and Johnny Vonn, as a way to compete against WLUP-FM's hot talk format.[20][21] This failed to turn around ratings, and WLS-FM went back to a full-time simulcast once again with WLS (AM) on June 2, 1995.[22][23]

After still achieving low ratings, WLS-FM separated from WLS (AM) again on November 22, 1995.[24] After stunting with Christmas music throughout November and December, the station switched to a country music format and became "94.7 Kicks Country", WKXK, at Noon on December 26. The first song aired on "Kicks Country" was "Gone Country" by Alan Jackson.[25][26] However, Infinity Broadcasting (now Audacy) station WUSN continued to do well as the heritage country station, while WKXK was unable to even achieve mediocre ratings.

On May 1, 1997, WKXK dropped the country format and flipped to classic rock, branded as "CD 94.7" (with new WXCD call letters being implemented on May 23).[27][28] After some early ratings success, former heritage classic rocker and competitor WLUP-FM, which had earlier switched to a modern adult contemporary format, returned to the classic rock format, resulting in mediocre ratings at WXCD. WXCD abruptly dropped classic rock on November 29, 2000, and flipped to an '80s' hits format, rebranded as "The Zone", and changed its call sign to WZZN. The flip promptly led existing '80s' hits station WXXY to drop the format and flip to Spanish hits in January 2001.[29][30] By July 2001, the station evolved into a gold-based modern AC format.[31][32][33] On September 14, 2001, WZZN changed formats again to alternative rock to compete with WKQX, which previously had the format to itself.[34]

By 2003, the station evolved into more of an active rock format, all the while using "94.7 The Zone" as its handle, and positioning itself on the air as "the hardest rock on the planet". However, the station continued to flounder in the ratings. By 2004, the station began beating WKQX with the shift to active rock, but yet beaten again by WKQX during the spring and summer of 2005, when WDRV moved from classic hits to classic rock and WLUP-FM from classic rock to mainstream rock.[35]

Oldies years

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After long-time oldies station WJMK dropped its 1960s and 1970s oldies format in June 2005 for a variety hits format branded as "Jack FM", at noon on September 26, 2005, WZZN dropped its active rock format (and finally ditched the "Zone" branding) and flipped to oldies as "94.7 True Oldies", with programming from Scott Shannon's The True Oldies Channel except for morning and afternoon drive times, when the station aired local programming. The final song on "The Zone" was "For Whom the Bell Tolls" by Metallica, while the first song on "True Oldies" was "Rock and Roll Music" by The Beatles.[36][37][38]

In 2006, the station added some local air personalities who were previously at WJMK when it was an oldies station. Eventually, the station was live and local (which included hosts such as John Landecker, Dick Biondi, and Greg Brown) except for overnights, when they would continue to run True Oldies Channel programming. In 2007, Walt Disney Company sold its ABC Radio radio division, including WLS (AM) and WZZN, to Citadel Broadcasting. From 2007 to 2008, the oldies format was modified to include a small amount of 1980s hits and a focus on oldies from 1964 to 1979. The station continued to play a couple pre-1964 oldies per hour.

Former logo used between June 26, 2008, and October 1, 2012

On June 19, 2008, Citadel announced that WZZN would become once again WLS-FM. The WZZN call sign was dropped at Midnight on June 25, 2008, and as of 12:01 am on June 26, 2008, the station has officially been known as WLS-FM.[39] The idea was to bring back the heritage of WLS and its old Top 40 format and jingles. The station was then branded as "94.7 WLS-FM" with the slogan "Chicago's Greatest Hits Of All Time". The first song on the current incarnation of WLS-FM was a special radio edit of "Life Is a Rock (But the Radio Rolled Me)" by Reunion, one played as a Top 40 hit on the original WLS which would explicitly mention the station in their lyrics.[40][41] Citadel merged with Cumulus Media on September 16, 2011.[42]

Shift to classic hits

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On October 1, 2012, WLS-FM modified its oldies format to a classic rock-leaning classic hits format. The Scott Shannon "True Oldies Channel" branding, programming, and voice tracking were removed.[43] The pre-1964 oldies were dropped entirely, while Motown and 1970s pop and disco hits were cut back, and more 1980s songs were also added. The focus on the station was now hits of the 1970s and early 1980s with only several 1960s songs per hour. Morning DJ Dave Fogel was released to make room for Brant Miller's return to the station (Fogel was hired at WJMK just two days after being let go from WLS). Fred Winston was also hired as a full-time DJ in afternoons. In 2013, Robert Murphy was hired as an afternoon jock; Winston was let go.

On November 3, 2014, Jack Diamond, formerly of sister station WRQX in Washington, D.C., became WLS-FM's new morning show host, with Miller shifting to a co-hosting role.[44] Diamond would leave the station in July 2015, with Miller re-assuming a main hosting role. Kim Berk, formerly of WWFS in New York, joined Miller as co-host in January 2016. Robert Murphy was released from the station in December 2016 to be replaced by Ron Parker (from WCBS-FM in New York) to handle afternoon duties. As of late 2017, the focus is now mainly hits of the 1970s through the early 1980s, with a small sampling of pre-1970/post-1989 and mid-late 1980s and early 1990s hits mixed in due to the playlist being limited. The start of 2018 brought Dave Fogel back to WLS-FM as Berk's morning co-host, with Miller briefly moving to a weather reporting only position, until being released.[45]

On November 17, 2017, WLS-FM became Chicago's only classic hits station when rival WJMK changed formats to classic hip-hop.[46]

Following the shift to classic hits, the station would gradually downplay the connection to WLS-AM, including the phaseout of their signature 5-note "sonic logo" in promotions in favor of simply saying the name without musical accompaniment at some undetermined point around 2015. It returned to WLS-FM on March 11, 2024 with an updated package of other sonic branding from TM Studios calling back to 890 AM's musical legacy.[47]

References

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WLS-FM

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WLS-FM (94.7 MHz) is a commercial radio station licensed to , . Owned by , it primarily features music from the through the , positioning itself as Chicago's leading outlet for 1980s hits and classic tracks. The station operates at an of 50,000 watts, serving the broader . The 94.7 FM frequency traces its origins to the as WENR-FM, initially simulcasting television audio and offering limited programming of classical and Broadway music. It adopted the WLS-FM call letters in 1965, introducing a format that expanded over time, before evolving through , , top 40, country, , and alternative formats amid frequent ownership and programming shifts. A notable low point came in the late with a format under WDAI, which coincided with the "Disco Sucks" movement and contributed to personnel changes, including the dismissal of Steve . The callsign returned to WLS-FM in , aligning with an and focus that has persisted, drawing on the frequency's eclectic legacy to appeal to nostalgic listeners.

History

Inception and early FM broadcasting

WLS-FM, broadcasting on 94.7 MHz in , signed on the air as WENR-FM on January 1, 1948, under the ownership of the (ABC), which also controlled the companion AM station WENR (890 kHz) through a time-sharing arrangement with . Early operations were limited, with programming primarily consisting of simulcasts of audio from ABC's television affiliate WBKB-TV (, later ), alongside selections of and Broadway show tunes, reflecting the nascent stage of FM radio adoption in the post-World War II era when FM listenership remained low compared to AM. The station's initial setup was modest, operating from constrained facilities described as a "broom closet" with a minimal broadcast schedule, as ABC awaited broader viability for FM technology amid competition from established AM outlets and the rise of television. By the 1950s, WENR-FM continued its restrained programming focused on easy-listening fare, including classical pieces and light orchestral works, while occasionally airing sports events to fill airtime, though FM's technical advantages like capability were underutilized due to limited receiver penetration. In 1964, following ABC's full acquisition and merger of WENR-AM with WLS-AM in 1960, the FM station's call letters shifted to WLS-FM effective in 1965, marking a programmatic expansion to a "" format—featuring instrumental standards, light pop, and tracks—broadcast from noon to midnight daily, supplemented by live coverage of events like the National Championships. This change introduced on the , led by program director Harvey , and aimed to differentiate from the rock-oriented programming emerging on WLS-AM. In 1968, WLS-FM extended its schedule to 6:00 a.m. to midnight, incorporating morning simulcasts of WLS-AM's popular shows such as Clark Weber's news program and Don McNeill's Breakfast Club, while maintaining daytime with occasional jazz, folk, and standards; evenings featured personalities like Mike Rapchak, Steve Hodges, and Bob Porter. This period also saw the debut of experimental late-night programming, including the locally produced underground show "Spoke" from 10:00 p.m. to midnight, hosted by Gordon Anderson with reverb-heavy, eclectic selections, foreshadowing format evolutions amid FM's growing audience. Throughout its early years, the station emphasized high-fidelity sound quality inherent to FM, though audience growth was gradual until the .

Rock, disco, and Top 40 dominance (1960s–1980s)

In the mid-, WLS-FM, which had previously operated as a of its AM counterpart, adopted call letters matching WLS-AM and introduced a format from noon to midnight, while simulcasting WLS-AM's morning programming, including the farm report and by 1968. This shift aimed to leverage the FM band's growing potential for lighter, instrumental programming amid the AM's emerging Top 40 focus. By 1968, the station experimented with via the late-night "Spoke" program from 10 p.m. to midnight, signaling an early embrace of amid the genre's rise. The late 1960s marked a pivot to rock formats, with WLS-FM adopting ABC's "Love" soft adult contemporary/rock lineup in evenings starting in 1969 before transitioning to full-time by September of that year. In early 1971, the station rebranded as WDAI with a dedicated emphasis, featuring hosts like in mornings and Dave Van Dyke in afternoons, positioning itself as a key player in Chicago's emerging FM rock scene with the slogan "Chicago's Best Rock." The format softened toward adult-oriented rock by 1972, incorporating more accessible tracks to broaden appeal, though it retained album cuts and freeform elements distinguishing it from stricter Top 40 structures. By 1978, amid the national disco surge, WDAI shifted to a -focused format branded as "Disco DAI," aligning with dance music's commercial peak but encountering backlash tied to the "Disco Sucks" movement, exemplified by Steve Dahl's campaigns after his tenure there. Dahl, who joined WDAI in January 1978 for mornings, amplified rock advocacy before the station's pivot, contributing to its visibility in format wars. The era ended abruptly on May 22, 1980, with a stunt loop of Donna Summer's "Last Dance" leading into the debut of WRCK-FM, an adult Top 40/rock hits hybrid emphasizing current and recent rock-leaning pop. In October 1980, the callsign reverted to WLS-FM, initiating a partial of WLS-AM's Top 40 programming while incorporating FM-specific elements like and Garry Meier's afternoon show starting in 1981. This move integrated the FM into the AM's established Top 40 ecosystem, which had dominated airwaves since 1960, though FM's stereo capabilities and targeted rock curation aimed to capture younger listeners fragmenting from AM. By 1985, WLS-FM refined this as "Hit Rock," blending Top 40 currents with rock staples before evolving into full Top 40 as WYTZ in 1986, competing directly with outlets like WBBM-FM. Throughout the period, WLS-FM's format experiments reflected FM's transition from niche to mainstream contender, often trailing the AM's ratings but influencing 's rock and pop landscape through targeted programming.

Format shifts and experiments (1980s–1990s)

In June 1980, the station, then known as WRCK-FM, abandoned its prior format and adopted a proto-hot adult contemporary approach branded as "W-Rock," though this lasted only briefly before shifting to a Top 40/ (CHR) format in October of that year, coinciding with a return to the WLS-FM call letters and partial simulcasting of WLS-AM's programming, including shows hosted by and . This hybrid model aimed to leverage the AM's established rock-leaning Top 40 audience while introducing distinct FM elements, but ratings pressures from competitors like WBBM-FM (B96) prompted tweaks by 1984, including reduced simulcasting to emphasize a harder-edged playlist. By 1985, under the new and "Z95" branding, WLS-FM fully transitioned to an aggressive CHR format with a "Z " morning show led by Paul Barsky, directly targeting younger listeners and rivaling B96 through high-energy imaging and current hits. and , previously from the AM in afternoons since 1981, moved exclusively to the AM by 1985 as the FM prioritized music over talk. This period marked an experimental push toward urban contemporary influences, though it struggled amid format fragmentation in Chicago's FM market. In 1991, amid ownership changes under Randy Michaels, Z95 rebranded as the "Power Pig" with intensified CHR programming, briefly experimenting with the provocative "Hell 94.7" imaging before settling as "Hot 94.7" to retain Top 40 momentum; however, by October, it reverted to WLS-FM and began fuller AM simulcasting as WLS-AM transitioned toward talk. Further experiments followed, including a 1994 young-adult talk format featuring Robert Murphy in mornings and simulcasts of Rush Limbaugh, aimed at skewing toward demographics underserved by traditional talk radio, though this reverted post-O.J. Simpson trial coverage in 1995 amid listener fatigue. That year also saw a brief all-Christmas music stunt, followed by a December 1996 flip to young country as WKXK "Kicks Country," introducing satellite-driven programming to test market viability before another shift in 1997. These rapid pivots reflected ABC/Capital Cities' attempts to counter declining CHR shares and exploit niche appeals, but often yielded inconsistent ratings against entrenched rivals.

Simulcast era with WLS-AM (1990s–2000s)

In October 1991, WLS-FM began simulcasting portions of WLS-AM's talk radio programming, which had transitioned to a full-time talk format in 1989 following the end of its country music era. This move aimed to leverage the FM band's superior fidelity and coverage in urban areas to expand the reach of WLS-AM's lineup, including syndicated hosts like Rush Limbaugh and local personalities such as Steve Dahl. By 1992, after operating briefly as WYTZ with a hot adult contemporary format, the station fully reverted to the WLS-FM call letters and adopted a complete 24-hour simulcast of the AM's talk content, marking a strategic effort by owner ABC Radio to bolster the talk format's audience amid declining music listenership on AM. The persisted through early 1994, when WLS-FM briefly experimented with an independent "young talk" format targeting a younger demographic, featuring hosts such as Robert Murphy in mornings, in middays (alongside the simulcasted Limbaugh), and evening shows with Turi Ryder and Johnny Von. This venture, intended to differentiate the FM signal from the AM's established audience, underperformed in ratings due to competition from established talk outlets like WLUP and lack of advertiser support for the niche approach. By mid-1995, the station abandoned the standalone talk effort and reinstated the full with WLS-AM. The arrangement continued until November 1995, when WLS-FM shifted to all-Christmas music stunting, signaling an impending format overhaul; this preceded a relaunch as country-formatted WKXK "Kicks 94.7" in early 1996, effectively ending the extended era. During the periods, the shared programming emphasized issue-oriented discussions, news updates, and call-in segments, with the FM signal providing clearer audio for complex talk content compared to AM's susceptibility to interference. No further full-time s occurred in the , as WLS-FM pursued varied music formats thereafter.

Transition to oldies and classic hits (2000s–present)

On September 26, 2005, at noon, the station—previously operating as WZZN "The Zone" with a contemporary format—abruptly switched to ABC Radio Networks' syndicated "The True Channel," programmed by and focusing on hits from the late through the early . This marked the beginning of the station's pivot away from toward a revival of heritage programming, leveraging for pre-disco era music amid declining viability of alternative formats in the market. The True format persisted with minimal local customization until June 26, 2008, when the call sign reverted from WKQX to WLS-FM, coinciding with a to "94.7 WLS-FM, Chicago's True Channel." This change restored historical call letters while retaining the syndicated content, which emphasized deep cuts and jingles evoking the station's Top 40 legacy, though it introduced a slight hybrid element blending stricter with emerging influences. The move aligned with owner Broadcasting's strategy to capitalize on the WLS brand's recognition, following the AM counterpart's long-established talk dominance. On October 1, 2012, under new ownership by , WLS-FM discontinued the syndication and adopted a locally originated format with a pronounced tilt, expanding the playlist to include more and tracks alongside staples. Program director Peter Bolland oversaw the shift, aiming to broaden appeal by reducing reliance on automated 1950s- fare and incorporating artist-driven sets from acts like , Eagles, and Led Zeppelin. Ratings improved post-transition, reflecting listener preference for varied sequencing over rigid chronological oldies. Subsequent playlist evolutions have incrementally added select 1990s and early 2000s material—such as tracks by Nirvana or Matchbox Twenty—to attract listeners in their 40s and 50s, while core rotation remains anchored in 1960s-1980s hits to maintain the station's heritage focus. By 2023-2024, adjustments emphasized playlist upgrades for demographic retention, avoiding overemphasis on pre-1970s content that risked alienating younger classic hits audiences. In March 2024, the station debuted custom jingles composed by JAM, referencing its rock and Top 40 roots to enhance imaging without altering the musical core. As of 2025, WLS-FM continues as Chicago's primary classic hits outlet on FM, competing with stations like WBBM-FM by prioritizing high-energy presentation of verified chart-toppers from multiple eras.

Programming and formats

Evolution of musical genres

WLS-FM initiated operations on June 1, 1965, with a format consisting of light classics, standards, show tunes, and selections from and folk genres, broadcast from noon to midnight daily alongside Chicago Black Hawks hockey games. This middle-of-the-road approach targeted adult listeners seeking instrumental and easy-listening content, extending programming hours by 1968 to include early-morning simulcasts of WLS-AM and late-night experimental via the "Spoke" program. In September 1969, the station fully adopted , emphasizing album-oriented tracks from emerging artists in the genre, a shift prompted by positive testing of underground programming. Retaining the callsign WDAI from early 1971, it maintained this format but gradually softened toward adult rock by 1972, incorporating more accessible hits to broaden appeal amid FM radio's growing competition in album rock. The disco era arrived in 1978, with the station pivoting to dance-oriented tracks, though this change coincided with national backlash against the genre, exemplified by local DJ Steve Dahl's "Disco Demolition" rally. Post-disco decline, spring 1980 brought a hybrid adult Top 40 format blended with oldies under temporary callsign WRCK, reverting to WLS-FM later that year with programming echoing the AM sibling's pop-rock style. By 1984, it refined to "Hit Rock," focusing on mainstream rock and pop hits, before relaunching as WYTZ "Z-95" in 1986 with a high-energy Top 40/CHR (contemporary hit radio) lineup to challenge rivals like WBBM-FM. This competitive Top 40 phase persisted into 1991 as "Hot 94.7," prioritizing current pop, R&B, and dance tracks. The 1990s marked genre fragmentation: after 1992's non-musical talk with WLS-AM, November 1995 introduced as WKXK "Kicks 94.7," featuring Nashville hits until its 1997 discontinuation amid underwhelming ratings. That year, WXCD "CD 94.7" debuted , drawing from 1960s-1980s staples like Led Zeppelin and , before November 2000's rebrand to WZZN "The Zone" emphasized 1980s hair metal and new wave, evolving toward by 2001. Oldies resurgence defined the 2000s: September 2005 adopted Scott Shannon's syndicated "True Channel," curating 1960s-1970s hits from artists like and . By June 2008, under restored WLS-FM calls, it hybridized with , expanding to tracks for younger demographics, a trajectory culminating in a full format by October 2012 that balanced 1960s-1980s pop and rock. This evolution reflects broader FM trends—from niche adult formats to genre experimentation driven by audience metrics and market saturation—while adapting to syndication and ownership shifts under ABC/Disney/.

Key on-air personalities and shows

WLS-FM has featured several notable on-air personalities throughout its history, particularly during its shifts to Top 40, talk, and eventually formats. In the early 1980s, during a period of simulcasting with WLS-AM and experimenting with Top 40 and , the station aired in morning drive and in evenings, alongside contributors like Danae Alexander, Tom Graye, Rich McMillan, and Chuck Evans. The afternoon slot gained prominence with the Steve & Garry show, hosted by and , which drew significant listenership with its humorous, irreverent style blending comedy and commentary. Following format changes in the , including a brief "Young Talk" phase, WLS-FM incorporated talk-oriented talent such as Robert Murphy in mornings and Turi Ryder, with contributions from . By the mid-2000s transition to oldies under the True Oldies Channel banner, the airstaff emphasized veteran radio voices, including handling evenings with his high-energy delivery rooted in his earlier WLS-AM tenure, in middays, Fred Winston in afternoons until 2013, and Greg Brown. continued in evenings, providing continuity from prior eras. In the classic hits era from the 2010s onward, the station retained figures like Jeff Davis for voice work and imaging, while adding Robert Murphy back for afternoons in 2013. joined as an afternoon host in the mid-2010s, bringing experience from New York markets. Current programming includes the morning show Dave & Kim, hosted by Dave Fogel and Kim Berk since around 2015, focusing on light-hearted banter and promotion. Other ongoing roles feature Erin Carman, Jaybeau Jones in middays, and Cara Carriveau, emphasizing interactive segments and contests tied to 1980s and content.

Syndicated content and specials

WLS-FM has historically incorporated limited syndicated programming into its format, primarily on weekends to complement its local weekday lineup. One notable example was The Ultimate Party with Tom Kent, a nationally syndicated show originating from the Tom Kent , which aired Saturday evenings from 7:00 p.m. to midnight. The program featured listener-requested , party anthems, and thematic segments drawing from 1960s through 1980s music, syndicated to over 100 affiliates at its peak. This show ended following host Tom Kent's death from cancer on June 24, 2024, at age 69, and the subsequent closure of the Tom Kent on January 6, 2025, due to operational challenges post his passing. In place of ongoing syndicated talk or personality-driven shows, WLS-FM occasionally airs music-focused through Cumulus Media's distribution, though specific current examples are sparse and often tied to seasonal or promotional events rather than regular syndication. Themed , such as " Night at the Movies," integrate classic tracks with dialogue and soundtracks from films, airing periodically to highlight the station's emphasis on that era's hits. Holiday programming constitutes a key category of specials, with WLS-FM transitioning to 24/7 rotations starting in late , featuring a mix of seasonal classics from artists like and alongside station promotions. This includes live remote broadcasts, such as the annual Dave & Kim Party, and contests like the $5,000 Bonus giveaway, which ran through in recent years to boost listener engagement during the format shift. Such specials align with industry norms for music stations, prioritizing high-rotation holiday staples over year-round syndication to maintain local flavor and ratings during peak listening periods.

Ownership and operations

Ownership timeline

WLS-FM signed on the air on January 1, 1948, under the ownership of Prairie Farmer Publications, which had controlled the WLS stations since purchasing them from in 1928. acquired Prairie Farmer Publications—and with it, WLS-FM—in 1960. ABC retained ownership through its 1996 acquisition by , which restructured the stations under the ABC Radio banner. On June 12, 2007, Citadel Broadcasting Corporation purchased ABC Radio, including WLS-FM, from for $2.7 billion as part of a larger divestiture of 's radio assets. announced its $2.5 billion merger with Citadel on February 15, 2011, receiving FCC approval on September 14, 2011, and completing the transaction on September 16, 2011, after which assumed control of WLS-FM. Cumulus has owned the station since.

Studio facilities and management

The studios of WLS-FM are located at 455 N. Cityfront Plaza Drive, Suite 600, in Chicago's neighborhood, sharing the facility with other stations in the market, including WLS-AM. This setup supports integrated operations for the cluster's , talk, and alternative formats, with on-air production, promotions, and sales handled from the site. Station management falls under Cumulus Media's Chicago operations, led by and Market Manager Marv Nyren, who oversees the three-station cluster comprising WLS-FM, WLS-AM, and WKQX since joining the company in 2017. WLS-FM's programming is directed by Todd Cavanah, appointed Program Director on October 23, 2023, following 33 years at competitor Audacy's Chicago properties; he was elevated to of across Cumulus's 24 such stations in December 2024 while retaining the WLS-FM role. Historically, WLS-FM shared studios with its AM counterpart at 190 N. State Street from 1990, after relocating from 360 N. Michigan Avenue under ABC ownership, until a mid-2010s shift coinciding with Cumulus Media's control of the properties post-2011 merger integrations and divestitures. Earlier facilities traced to ABC's downtown sites, including the Prairie Farmer Building in the mid-20th century, reflecting the station's evolution from dependency to independent FM operations.

Technical details

Licensing and frequency allocation

WLS-FM operates under a commercial FM issued by the (FCC), with facility identification number 73228, authorizing service to the principal community of , . The station's frequency of 94.7 MHz (FM channel 234) falls within the FCC's allocated FM band of 88–108 MHz for non-federal , established through the agency's Table of Allocations under 47 CFR § 73.201–73.213, which designates this spectrum for domestic FM radio services to provide wide-area coverage in urban markets. The frequency was initially assigned in the post-World War II expansion of FM allocations, with the station first licensed in the 1950s as WENR-FM, operating from Chicago under early FCC rules permitting FM stations to simulcast AM programming or provide limited independent content amid sparse initial FM adoption. By 1965, following ownership changes and format shifts, the call sign transitioned to WLS-FM, retaining the 94.7 MHz assignment as a Class B facility, which under FCC classifications (47 CFR § 73.211) supports effective radiated powers up to 50 kW and antenna heights enabling metropolitan coverage for communities exceeding 100,000 residents, distinguishing it from lower-power classes like A or C3. The Class B status reflects Chicago's status as a major market, where frequency allotments prioritize interference protection ratios and contour overlaps per FCC engineering standards to ensure viable signal propagation. Licensing renewals occur every eight years per FCC mandates (47 CFR § 73.3535), with WLS-FM's current authorization held by Radio License Holdings LLC, a subsidiary, following transfers approved in FCC dockets tied to ownership consolidations under the limits on multiple ownership. No frequency reallocation has occurred since initial assignment, as FM channels in established markets like Chicago are grandfathered absent docketed rulemakings for substitutions or modifications, which require public notice and comparative hearings to maintain spectrum efficiency and minimize .

Transmitter site and power output

The transmitter for WLS-FM is located atop the (formerly Sears Tower) at 233 South Wacker Drive in Chicago, Illinois, with coordinates 41°52′44″N 87°38′08″W. The station operates under a (FCC) Class B license, facility ID 73228, which authorizes an (ERP) of 4.4 kilowatts (4,400 watts) in both horizontal and vertical polarizations. WLS-FM employs a non-directional antenna system mounted at a (HAAT) of 468 meters (1,535 feet), enabling broad coverage over the . This configuration has been in place since the station relocated its transmitter to the in 1984, following an earlier site at the John Hancock Center. The current license, renewed by the FCC on May 10, 2021, expires December 1, 2028, with no recent modifications to power output documented in public filings.

Broadcast coverage and signal reach

WLS-FM provides broadcast coverage primarily to the through its FM signal at 94.7 MHz, licensed for service within this market. The station's transmitter is positioned at 41° 52' 44" N, 87° 38' 08" W, utilizing a non-directional antenna with an of 4,400 watts and a of 468 meters (1,535 feet). These parameters, combined with its Class B designation, support a principal contour designed to deliver reliable signal strength across the densely populated region, including urban core and key suburbs. Signal reach extends to areas where reception exceeds the FCC's 60 dBu protected contour threshold, as predicted by standard models, though actual performance varies with , atmospheric conditions, and interference from other stations. The elevated transmitter enhances , minimizing shadowing in the flat Midwestern landscape and enabling consistent coverage for mobile and fixed listeners within the metro footprint.

Impact and reception

Market influence and competition

WLS-FM occupies a prominent niche in the Chicago radio market as the leading station, consistently in the top tier of formats with audience shares around 4-5% in PPM surveys for persons aged 6 and older. In the most recent monthly data, it achieved a 4.8 share, reflecting steady performance amid a competitive field of over 70 commercial stations serving a market of approximately 8 million residents. The station's influence stems from its curation of hits primarily from the to , which has driven cumulative reach exceeding 1 million weekly listeners in format comparisons, bolstering Cumulus Media's portfolio in the nation's third-largest market. Lacking a direct classic hits competitor since the genre's consolidation in , WLS-FM differentiates through targeted programming that avoids overlap with pure oldies or broader heritage acts, contributing to its ratings stability and operational promotions, such as elevating its program director to corporate vice president of in December 2024. However, it faces indirect rivalry from adjacent formats, including iHeartMedia's WDRV ( on 97.1 FM), which appeals to similar boomer demographics with album-oriented tracks, and WLIT (soft AC on 93.9 FM), whose lighter 1970s-1990s playlist competes for female and adult listeners. These overlaps necessitate strategic adjustments, such as playlist tightening and revivals, to maintain edge in a market where music stations collectively hold about 60% of listening share.

Ratings performance and audience demographics

WLS-FM has demonstrated solid performance in Nielsen Audio's (PPM) surveys for the market, consistently ranking among the top ten stations in average quarter-hour (AQH) share among persons aged 6 and older (6+). In the September 2025 survey (covering August 21 to September 17), the station posted a 4.3 share, tying for third place overall and reflecting a continued upward trajectory from prior months. Its weekly cumulative (cume) audience reached 1,150,200 listeners during this period, underscoring broad reach in a market of approximately 8 million residents. Recent ratings trends indicate growth, with shares rising from 3.0 in spring 2025 to 4.6 by early , driven by the format's resonance amid competition from adult contemporary and rhythmic outlets. Earlier in the year, 2025 data showed a 16% increase from the holiday book but a slight dip from 2024, maintaining a tie for third in the 18-34 subgroup while holding steady in overall 6+. Historically, since shifting to , WLS-FM has competed effectively against stations like and WXRT-FM, often capitalizing on nostalgic programming to sustain mid-tier positioning without dominant market leadership. In key advertising demographics like adults 25-54, WLS-FM achieves occasional top-five finishes, as seen in select 2025 books, though it trails format rivals in younger subsets due to its emphasis on 1960s-1980s hits appealing more to established listeners. The audience skews toward adults 35-64, with stronger performance among non-Hispanic white suburban dwellers familiar with the playlist era, aligning with classic hits' typical profile in major markets. Nielsen data for Chicago highlights the station's lower penetration in Black (16-17% of market) and Hispanic (22-24%) populations, favoring general-market appeal over ethnic-specific formats.

Achievements versus criticisms

WLS-FM has achieved notable success in the radio market through its format, which it adopted in following a shift from , positioning it as the market's sole station in that genre. The station tied for first place in overall ratings in the November 2019 Nielsen survey, sharing the top spot with WBBM-AM and WVON-AM. It also tied for second place in the July 2018 ratings period, demonstrating strong audience retention amid competition from and other formats. As of the October 2025 ratings, WLS-FM maintained a competitive third-place tie with a 4.3-4.4 share, reflecting sustained performance under Cumulus Media's programming adjustments, including the 2023 appointment of Todd Cavanah as program director to enhance its appeal. Criticisms of WLS-FM often center on its historical format instability and listener dissatisfaction with shifts away from purer programming. Prior to its current format, the station's predecessor on 94.7 FM endured backlash from a mid-1970s pivot by WDAI, which alienated rock fans and contributed to the infamous 1979 Disco Demolition riot orchestrated by DJ after his firing. The 2012 abandonment of Scott Shannon's True Oldies Channel for rhythmic AC drew complaints from fans preferring 1960s-1970s hits exclusively, with some reviews noting the station "was much better" in that era. Failed experiments, such as a brief FM talk in the early that underperformed and reverted within a year, highlight programming missteps under previous ownership. Under , broader corporate issues—including a 2025 antitrust lawsuit against Nielsen for alleged ratings monopoly and historical accounting irregularities—have indirectly fueled perceptions of resource constraints impacting local content quality, though these do not directly target WLS-FM's on-air product.

References

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