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WQHT (97.1 FM, Hot 97) is a commercial radio station, licensed to New York, New York, which broadcasts an urban contemporary music format. The station is owned by Mediaco Holding, a subsidiary of the Standard General hedge fund.

Key Information

WQHT's studios are located in the Hudson Square neighborhood of Lower Manhattan, and its transmitter is located at the Empire State Building.

History

[edit]
1945 RCA advertisement featuring WEAF-FM's facilities[2]

WQHT began as an experimental station, W2XWG, licensed to the National Broadcasting Company (NBC) and located at the Empire State Building in New York City. W2XWG started operations in April 1939, initially as an "Apex" station, used for determining the coverage area of transmitting frequencies higher than those used by the standard AM broadcast band.[3] These tests also compared amplitude modulation (AM) transmissions with the then-new technology of wide-band frequency modulation (FM). On January 11, 1940, W2XWG began regular FM broadcasts,[4] and that July, it was reported that the station was broadcasting on 42.6 MHz from 3 to 11 p.m. on Mondays through Fridays.[5]

In May 1940, the Federal Communications Commission (FCC) announced the establishment, effective January 1, 1941, of an FM band operating on 40 channels spanning 42–50 MHz.[6] The first fifteen commercial FM station construction permits were issued on October 31, 1940, including one to NBC for 45.1 MHz in New York City,[7] which was issued the call sign W51NY.[8] However, NBC reported that equipment shortages resulting from the outbreak of World War II meant it was unable to get delivery of W51NY's high powered transmitter,[3] and on June 10, 1942, the construction permit for commercial operation was canceled, and the W51NY call sign deleted.[9] Meanwhile, the station continued broadcasts under its W2XWG experimental authorization, using its original, lower powered, transmitter, now on 45.1 MHz.

Effective November 1, 1943, the FCC modified its policy for FM station call letters.[10] Thus, when the construction permit for commercial operation was reactivated, it was assigned the call letters WEAF-FM. The station's last broadcast as W2XWG took place on September 23, 1944,[11] with its debut as WEAF-FM coming the next day, now with seven-day-a-week programming from 3-11 p.m. that was an expansion over W2XWG's schedule of only operating Saturday through Wednesday.[12]

The FCC later reassigned the original FM band frequencies to other services, and ordered existing stations to move to a new band from 88 to 106 MHz, which was later expanded to 88–108 MHz. During a transition period from the original FM "low band" to the new "high band", some stations for a time broadcast simultaneously on both their old and new frequencies. However, WEAF-FM did not, and in October 1945, it was announced that the station was shutting down the broadcasts on 45.1 MHz and was temporarily going silent while it made the technical adjustments needed to operate on its new assignment at 97.3 MHz.[13]

WNBC-FM / WRCA-FM / WNWS-FM (1946–1977)

[edit]

In late 1946, the station's call letters were changed to WNBC-FM.[14] Programming was usually simulcasts of WNBC (AM)'s programming. A reallocation in the fall of 1947 moved the station to its current frequency assignment of 97.1 MHz.[15] In the 1950s, WNBC-FM played classical music, later switching to pop music. It ran network programming for some time, such as the NBC Monitor weekend series. On October 18, 1954, the call letters were changed to WRCA-FM,[16] reflecting NBC's then-parent company, the Radio Corporation of America, but returned to WNBC-FM on May 22, 1960.[17]

By the 1970s, the station was playing a pop-rock format. Beginning on June 4, 1973, it experimented with fully automated programming with local inserts known as "The Rock Pile", a forerunner of today's DJ-free adult hits format, with a wide diversity of pop, rock and R&B that proved to be 30 years ahead of its time. However, technical glitches were frequent and listenership dropped. For a brief period starting in late 1974, the station attempted a fully automated beautiful music format for a younger demographic, called "The Love of New York".

In 1975, NBC Radio launched the NBC News and Information Service (NIS), a network service providing up to 50 minutes an hour of news programming to local stations that wanted to adopt an all-news format without the high cost of producing large quantities of local news content. WNBC-FM's small audience was deemed expendable to allow NIS to have a New York outlet, and on June 18, 1975, the station became WNWS-FM, branding itself NewsCenter 97, an allusion to sister station WNBC-TV's NewsCenter 4 local newscasts. Ratings were low[clarification needed]—at the network's peak, only 57 stations across the country carried NIS, most of them already NBC Radio News affiliates—and the service did not attract enough stations to allow NBC to project that it could ever become profitable.

On December 31, 1976, the station discontinued carrying NIS (which NBC would end by June 1977). The final story on NewsCenter 97, was reported by Wayne Howell Chappelle, known professionally as Wayne Howell. The station then went to a commercial break and, after airing the hourly legal ID at midnight, switched to an adult contemporary music format with a soft rock lean, under the moniker Y-97. The first song played under the new format was "Tonight's the Night" by Rod Stewart.[18]

WYNY (1977–1988)

[edit]

Shortly after adopting the new music format, the station call letters were changed to WYNY. The station was now primarily competing against WKTU. Ratings were fair at best.[clarification needed]

By the end of 1978, after toying briefly with an all-Beatles format, WYNY evolved to a middle of the road (MOR) sound featuring artists such as Frank Sinatra, The Carpenters, Elvis Presley, Barry Manilow, Tony Bennett, Neil Diamond, Elton John, Carly Simon, and Barbra Streisand. They were an easy listening station without the instrumental "elevator music" heard on WRFM or WPAT-AM-FM. Ratings went up gradually.

By 1980, WYNY moved away from Frank Sinatra and Nat King Cole, though the station continued running "Saturday with Sinatra" hosted by Sid Mark. Musically, WYNY added Motown songs, The Beatles, The Beach Boys, Fleetwood Mac, The Eagles, The Doobie Brothers, Donna Summer, and soft hits from the contemporary artists. By 1981, the station format was that of pop hits from 1964 to what was then current music, with an occasional pre-'64 rock & roll song. Ratings went up from 1981 through 1983. By 1982, WYNY trimmed the '60s music slightly. Some of the air personalities included Dan Daniel, Bill St. James, Bruce Bradley, Randy Davis, Carol Mason, Mike McCann, Floyd Wright, Steve O'Brien, Bill Rock, Margaret Jones, Paulie, and Ed Baer.

On Sunday evenings, the station aired a pioneering advice show, "Sexually Speaking", which made host Ruth Westheimer (better known as "Dr. Ruth") a national celebrity. The station was also a pioneer of Contemporary Christian music in the city, airing the weekly show Masterpeace, hosted by Steven Joseph.[citation needed] Sid Mark continued hosting "Saturday with Sinatra". On weekend evenings call-in talk shows, such as "Mouth Versus Ear" with Dick Summer, was an alternative to other stations' public service shows.

In 1983, WHTZ and WPLJ both adopted a contemporary hit radio (CHR) format, attracting younger listeners. WYNY continued with its AC format. Then in January 1984, WLTW signed on with a Soft AC sound, taking away older listeners. WYNY's ratings plummeted, and in 1986, the station was revamped with the music staying "Hot AC", but marketed as a "Z-100 for Yuppies". The station had new jingles and imaging, and became known as "The NEW 97.1 WYNY". The format, however, was that of the same pop hits from 1964 to the present. The station continued to rate low. Station owner NBC had problems with sister station WNBC as well.

In April 1987, country music station WHN announced plans to go to sports full-time on July 1, becoming all-sports WFAN. In response, WYNY announced it would change to country music on the same day. This format change was told to the press in advance, but not over the air except on Saturday With Sinatra. At 12:01 a.m. on July 1, WYNY ended its AC format with "Hello, Goodbye" by The Beatles. It flipped to country music, playing "Think About Love" by Dolly Parton.[19] The airstaff all remained, though some gradually left later in the year. Dan Daniel (who had left WYNY in the mid-1980s and returned), Randy Davis, Carol Mason, Lisa Taylor, Floyd Wright, and others survived the format change and remained with WYNY's country unit even after it left 97.1 FM and moved to 103.5 FM, where it remained until its 1996 demise.

WQHT (1988–present)

[edit]
Further information on the history of this station prior to its move to the 97.1 frequency: WKTU § WQHT (1986–1988)

In 1988, NBC began to sell its roster of radio stations, and Emmis Communications made arrangements to buy its two New York City stations, WYNY 97.1 and WNBC 660 AM.[20] However, at this time, FCC regulations limited owners to just one AM and one FM station per market, and Emmis already owned stations WQHT (then at 103.5 FM), and WFAN (1050 AM). Because the NBC stations had better coverage, Emmis decided to move the call letters and formats from its current stations to its new ones, then divest the two original stations.

Emmis sold the 103.5 FM license for the original WQHT to Westwood One, as well as the intellectual property for WYNY, which resulted in the WYNY call letters and country format transferring from 97.1 to 103.5 FM. Conversely, Emmis transferred the WQHT call sign and rhythmic contemporary format from 103.5 to the former WYNY at 97.1 FM, becoming "Hot 97" at 5:30 pm. September 22, 1988. The last song played on "Hot 103" was Debbie Gibson's "Stayin' Together"; the first song played on "Hot 97" was MARRS' "Pump Up the Volume".[21][22] After the transition to Hot 97, Stephanie Miller and Howard Hoffman were brought in to do the morning show, J. Paul Emerson stayed on as newsman, with Daniel Ivankovich ("Reverend Doctor D") and brought in as producer.

WQHT started to lean towards top 40 by 1989 due to decreasing ratings. By 1990, the station started playing more house, freestyle, and rhythm and blues music, and launched the Saturday Night House Party show.[23]: 320, 334  WQHT broadcast live from area night clubs such as The Tunnel, Roseland and Metrohouse from 2 a.m. until 4 am. Saturday into Sunday morning.

In 1991, Anything Goes with Clivilles & Cole debuted, where record producers Robert Clivilles and David Cole of C&C Music Factory mixed new house and dance music on Saturday nights.

From dance to hip-hop and R&B

[edit]

Towards the end of 1992 and early 1993, Hot 97 dropped to "dead last among New York's three pop stations."[23]: 336  In response, Emmis named Judy Ellis its general manager (a position in which she served until 2003), and WQHT started to add more R&B and hip hop music. The station started a gradual two-year change towards an urban-oriented rhythmic top 40 format.[23]: 320, 334–336 

A new generation of "hot jocks" began appearing on "Hot 97". Dan Charnas recounted the perception of this move: "The trades ran stories on the new trend, typified by the Emmis stations, Hot 97 and Power 106: hiring street kids or entertainers with little or no radio experience at the expense of longtime professionals who had paid their dues."[23]: 347  Among the most famous was the addition of a new morning show hosted by Ed Lover and Doctor Dré of Yo! MTV Raps. With rising ratings and a focus on East Coast artists like the Wu-Tang Clan, Charnas credited "Hot 97" as leading a comeback for East Coast hip hop.[23]: 347–348 

In 1993, Funkmaster Flex joined the station and was host of the Friday Night Street Jam and a weekly two-hour show where he mixed hip-hop live from the studio.

Other noteworthy personalities included the addition of Wendy Williams to afternoon drive (Williams used to be the overnight jock back on "Hot 103" in 1988). Angie Martinez, a researcher on WABC-TV's New York Hot Tracks in the late 1980s and who previously worked in the promotions department, was promoted to nights. A few years later, the two had a public falling out, resulting in Williams being fired from WQHT and Martinez assuming afternoon drive, where she remained until she was hired by WWPR-FM on June 19, 2014.

In 1995, WQHT again became New York's top station in the Arbitron ratings. While the station reported as a rhythmic CHR, the station was musically more of an urban contemporary format leaning toward hip hop, though in some trades, they reported as a rhythmic CHR.

In the fall of 2008, WQHT served as the home of the nationally syndicated Big Boy's Neighborhood, produced by ABC Radio and based at WQHT's then-sister station, KPWR in Los Angeles. However, by July 2009, WQHT dropped the program and instead expanded their local morning show hosted by new morning jocks DJ Cipha Sounds and Peter Rosenberg.

By 2010, WQHT switched to urban contemporary, ending the longtime rhythmic top 40 format at the station.

Sale to Standard General

[edit]

On July 1, 2019, Emmis Communications announced that it would sell WQHT and sister station WBLS to the public company Mediaco Holding—an affiliate of Standard General—for $91.5 million and a $5 million promissory note. In addition, Emmis will take a 23.72% stake in the new company's common equity, and continue to manage the stations under shared services agreements. The sale was completed November 25, 2019.[24][25]

In May 2025, Mediaco Holding announced that it would launch Hot 97 TV, a free ad-supported streaming television (FAST) channel featuring programming on hip-hop music and culture hosted by WQHT personalities and others.[26]

HD radio operations

[edit]

On September 9, 2008, Emmis announced a programming partnership with WorldBand Media and to use WQHT's HD-3 signal to produce programming for the South Asian communities in three major cities including New York City.[27] In June 2009, the service was removed from WQHT and placed on sister station WRKS's HD2.

In January 2012, Emmis added WRXP, which was formerly on WFAN-FM and streaming online, to their HD2 sub-channel. With this move, the station no longer streamed online. In 2014, WQHT-HD2 began airing HumDesi Radio, a South Asian-focusing radio network.

Controversies

[edit]

2004 Indonesia tsunami parody

[edit]

On January 17, 2005, Miss Jones provoked a controversy by airing a song entitled "Tsunami Song" a month after approximately 167,000 people in Indonesia and 227,000 people worldwide were left dead or missing from the 2004 Indian Ocean earthquake and tsunami which affected the Asia-Pacific and Somalia. The song, a parody sung to the 1985 tune "We Are the World", was criticized for overtly racist mocking of the Asian victims; the song lyrics contain the racially derogatory word "Chinamen," and calls the drowning victims "bitches." Some of the lyrics included the words "Go find your mommy. I just saw her float by, a tree went through her head. And now your children will be sold into child slavery."[28]

Miss Info, a fellow on-air colleague of Korean descent, was outraged and spoke against the song on the station. She excluded herself from producing the song and said it was wrong for it to be played.[29] Miss Info was insulted by other DJs on the air.[30] Another jock on the show, Todd Lynn, muttered "I'm gonna start shooting Asians."[31] Following angry protests from the public, Miss Jones, DJ Envy, and Tasha Hightower were suspended for two weeks while Todd Lynn and songwriter Rick Del Gado were fired.[32][33] The station issued an apology on its website. Newsday, Sprint, McDonald's and Toyota all pulled their advertising from the station.[34] The suspended employees' pay was diverted to charities helping victims of the tsunami.

Fights and shootings

[edit]

On February 25, 2001, a shootout erupted between Lil' Kim and the entourages of Kim and rival rapper Foxy Brown in front of the offices of Hot 97 on Hudson Street, with an injury to one of Foxy's friends.[35][36] It led to an investigation by the FBI and a trial which found Lil Kim guilty of perjury and sentenced to a year in prison for it in mid-2005. In February 2005, gunfire erupted in front of the same place between 50 Cent's entourage and the Game's entourage after the two rappers had a falling out with each other. The Game was quickly met by 50 Cent's crew after being notified he was at the front entrance of the building. A friend of 50 Cent pulled a gun out and shot at The Game and his entourage. A bullet hit a member of the Game's entourage in the leg.[37] Both incidents also led to the nickname "Shot 97" by Wendy Williams.[38]

Concerts

[edit]
Main article: Summer Jam (festival)

Since its inception, WQHT has held "The Hot 97 Summer Jam" every June. The concert series, originally featuring Dance artists until its shift to Hip-Hop acts, has run into frequent controversy.

Wu Tang Clan member Inspectah Deck stated that the group faced a 10-year blacklist by Hot 97 after a fiasco involving their booking at the concert. In June 1997, the group was on tour with Rage Against the Machine in Europe in support of the Wu-Tang Forever album, but was also booked to perform at the Summer Jam. Deck stated that the station strong-armed the group in to flying back to the United States at their own cost to perform at the show for free, lest their relationship with the station be in jeopardy. As Hot 97 was one of the major stations that gave the group exposure during their early years, they felt it best to perform at the Summer Jam, not wanting to lose a major ally. Wu Tang member Ghostface Killah was so infuriated by this, that he shouted "Fuck Hot 97!" during the set, and got the crowd to repeatedly chant it. This led to what Deck says was a 10-year blacklist of Wu Tang from Hot 97, and even other New York radio stations, which affected their commercial reputation and music sales. The two sides would later make amends, and Wu Tang Clan performed a set at the 2013 Summer Jam.[39]

Other notable controversies include a 2001 show in which Jay Z put embarrassing childhood photos of Mobb Deep's Prodigy "up on that Summer Jam screen". The 2002 concert saw a bailout from headliner Nas after the station objected to him hanging an effigy of Jay Z from the stage during the height of their rivalry. Later beefs involving 50 Cent and Ja Rule, Eminem's feud with The Source, a 2006 show that had Busta Rhymes parading a series of rap legends onstage, and then-Hot 97 airstaffer Miss Jones dissing Mary J. Blige on air after the singer did not mention her name when she sent shout-outs to the Hot 97 DJs. The 2007 show saw Kanye West and Swizz Beatz engaging in a beat battle. The 2009 show saw Jay Z rapping "D.O.A. (Death of Autotune)" next to T-Pain (criticizing his use of the aforementioned technique on his songs).

The 2012 event made headlines when moments before Nicki Minaj was about to take to the stage, morning host Peter Rosenberg made a negative comment about her song "Starships", saying to the fans, "I see the real hip-hop heads sprinkled in here. I see them. I know there are some chicks here waiting to sing 'Starships' later—I'm not talking to y'all right now." That comment and the alleged sexual relationship between the self-proclaimed "Queen of rap" and the host Ebro Darden would prompt Lil Wayne to pull Minaj and the rest of the acts signed to Cash Money Records out of the event. Minaj later spoke to Funkmaster Flex about the incident. After that, she appeared on Rosenberg's show, with the host apologizing to her on air. She performed two songs with 2 Chainz at the following year's Summer Jam.[40][41][42]

The 2014 event that took place on June 2 would be blasted in a comment five days later (on June 6) by Chuck D of Public Enemy, who accused the station of allowing artists who were performing there to use racial slurs and offensive language, calling it a "Sloppy Fiasco," adding that "If there was a festival and it was filled with anti-Semitic slurs... or racial slurs at anyone but black people, what do you think would happen? Why does there have to be such a double standard?" He also cites the lack of WQHT not allowing more up-and-coming artists to perform on stage.[43] This was later addressed by Ebro Darden and Rosenberg on their morning show, responding to remarks that include the charge that Hot 97 is a "CORPlantation," but Darden, who admits that he agrees with Chuck D on addressing the issues, later pointed out by responding that "I think there's validity to what he's saying as to, 'I guess Hot 97 could be more local," and added "But people that listen to us when we research the songs don't vote those songs high enough to stay around. I have this debate and I put the onus back on the public to participate."[44]

On June 7, 2015, more than 61 people were arrested and 10 New Jersey State Police troopers were injured after a fight over tickets and crowd capacity overshadows the 2015 Summer Jam event that was held at MetLife Stadium in East Rutherford, New Jersey. The sold-out event also caused confusion among the ticket goers who were denied entry, which added to the rioted melee.[45] The following day (June 8), WQHT addressed the issue on its morning show and plans to refund the customers who could not get into the event, while the American Civil Liberties Union's New Jersey chapter called for the state Attorney General's office to investigate if any violations were reported.[46] In the same year, Travis Scott blasted Hot 97 for not allowing him to use a screen at Summer Jam, and later incited a riot.

Although the Festival Village portion was cancelled due to weather for the 2016 event, Hot 97 confirmed their annual Summer Jam will continue "rain or shine".[47]

The event and its influence, despite losing credibility, constant rivalry between artists and with the station itself, and declining audiences, continues to be a legacy for WQHT. As Funkmaster Flex puts it: "I think a radio station such as Hot 97 has a way of keeping to the pulse...And I think why it has survived so long is you know the radio station knows what artists are on the cusp or on the come up, and they always know the legends that people wanna see."[48]

On-air

[edit]

On December 13, 2018, rapper Kodak Black walked out of the Ebro in the Morning show after host, Ebro Darden questioned Black about his ongoing sexual assault case.[49]

Violence and drill music controversy

[edit]

In 2022, some individuals drew connections between the pro-gun content of Brooklyn drill to real-world gun violence on the streets of New York that had killed a number of Brooklyn drill artists.[50][51][52][53][54]

In response to the large number of dead young people connected to the music scene, Hot 97's DJ Drewski vowed to stop playing gang/diss records in February 2022 and Ebro Darden re-iterated his ongoing objection to playing diss tracks that incite specific violence.[55][56]

Notable staff

[edit]

Current

[edit]

Former

[edit]
[edit]

Films and television

[edit]

Music

[edit]
  • In Puff Daddy's song "All About The Benjamins", he says, "...Ain't nobody's hero, but I wanna be heard on your Hot 9-7 everyday, that's my word..."
  • In Jay-Z's song "Death of Auto-tune (D.O.A)" he mentions the radio station, saying "This is for Hot 9-7" and mentions the station's former disc jockey, DJ Clue? as well as two long-time DJs in the line, "I made this just for Flex 'n Mr. Cee."
  • In Black Star's song "What's Beef", Mos Def says: "Beef ain't the summer Jam on Hot Ninety-Seven".
  • In Big Pun's song with Inspectah Deck and Prodigy "Tres Leches (Triboro Trilogy)", Big Pun says: "Take all you made, call you gay on Hot 97".
  • In Public Enemy's song "Shake Your Booty" Flavor Flav says "we gonna flip it off the moon Back to New York, and flip it down Broadway Ya kno what I'm sayin? All the way down to Hot 97"

Video games

[edit]
  • In Grand Theft Auto IV, there is a radio station called "Beat 102.7" which parodies Hot 97 and has its real life hosts DJ Mister Cee and Funkmaster Flex.

See also

[edit]

Notes

[edit]

References

[edit]

Sources

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

WQHT

View on Grokipedia
from Grokipedia
WQHT (97.1 FM, "Hot 97") is a commercial radio station licensed to New York, New York, owned by MediaCo Holding Inc., a subsidiary of the Standard General hedge fund, and broadcasting an urban contemporary format centered on hip hop and R&B music. Launched as "Hot 103" on 103.5 FM in 1986 before shifting to its current 97.1 frequency and branding in 1988, the station has established itself as a pivotal force in promoting New York hip-hop culture, serving as the primary platform for emerging artists and hosting influential events that shape the genre's mainstream trajectory. Hot 97's annual Summer Jam concert, inaugurated in 1992, stands as the largest single-day hip-hop event in the United States, drawing massive crowds to venues like MetLife Stadium and featuring landmark performances that have defined career milestones for artists across decades. The station's programming and promotional activities have occasionally sparked controversies, including a 2005 fine from New York Attorney General Eliot Spitzer for violent "Smackfest" contests involving participants slapping each other, as well as backlash over a tsunami-themed song containing ethnic slurs that led to advertiser pullouts and public protests accusing the station of insensitivity.

History

Origins and Early Formats (1946–1977)

WNBC-FM signed on November 1, 1946, as the FM counterpart to NBC's WNBC-AM (660 kHz) in , initially broadcasting on a frequency other than its current 97.1 MHz allocation before relocating there in 1949. Owned by the National Broadcasting Company, the station's early programming aligned with the post-World War II expansion of FM radio, which emphasized high-fidelity broadcasts to differentiate from AM competition. In the late 1940s and , WNBC-FM focused on classical and semi-classical music, a common format for NBC's FM outlets aimed at affluent listeners seeking cultural content over popular entertainment. The call letters briefly changed to WRCA-FM in 1954 amid NBC's corporate ties to RCA, reverting to WNBC-FM in 1960, with no significant shift in musical emphasis during this period. By the , as FM adoption grew and network radio evolved, WNBC-FM transitioned to a broader pop and middle-of-the-road format, incorporating contemporary hits alongside standards and occasional network feeds like the weekend Monitor magazine-style program, which aired from 1955 to 1975 and featured a mix of news, sports, and entertainment segments. This approach reflected industry trends toward easy-listening hybrids to attract a wider audience amid declining network dominance. On June 18, 1975, WNBC-FM adopted the call sign WNWS-FM and launched New York City's first all-news FM format, serving as the flagship for NBC's News and Information Service (NIS), a 24-hour service providing headlines, business updates, weather, traffic, and lifestyle features cycled every 20 minutes. The switch marked NBC's experiment with FM for continuous news amid AM competition from stations like WINS, though listener adaptation to ad-supported, repetitive cycles proved challenging. WNWS-FM operated in this mode until December 31, 1976, when NIS was discontinued nationally due to insufficient affiliate profitability and ratings.

Transition to Country Music (1977–1988)

In 1977, the station, previously WNWS-FM with an all-news format, adopted the WYNY call letters and shifted to adult contemporary programming, initially branded as "Y-97" with a focus on and pop hits. This format persisted for a decade, competing in New York's crowded FM market against stations like and , and was characterized by a mellow, easy-listening approach emphasizing current adult-oriented tracks. The transition to country music occurred on July 1, 1987, at 12:01 A.M., when WYNY abandoned its adult contemporary lineup in direct response to WHN (1050 AM)'s simultaneous shift from country to all-sports programming as WFAN later that afternoon. Owned by NBC Radio, WYNY repositioned itself as "Country 97" or "New Country 97," targeting the vacancy left by WHN with a playlist heavy on contemporary country artists such as Alabama, the Judds, and Randy Travis, alongside select classics to appeal to urban listeners. Several holdover air staff from the AC era, including morning host Mike Wade, adapted to the new format to maintain familiarity. The stint on 97.1 MHz lasted just over a year, during which WYNY achieved moderate listenership in a market historically underserved by the genre on FM, though it faced challenges from limited local affinity in . On , 1988, at 5:30 P.M., Emmis Communications executed a frequency swap with its existing outlet WQHT (103.5 FM); the country programming and WYNY calls migrated to 103.5 MHz, while 97.1 relaunched as WQHT "Hot 97" with a and urban-leaning top 40 format better suited to the stronger signal. This exchange was driven by Emmis's strategy to place its higher-rated property on the superior 97.1 facility for broader coverage across the .

Launch as Hot 97 and Format Shift to Urban Contemporary (1988–2000)

On September 22, 1988, at 5:30 p.m., WQHT completed a frequency swap with country-formatted WYNY, relocating from 103.5 FM to the more powerful 97.1 FM signal and rebranding as Hot 97. This maneuver, orchestrated by owner Emmis Communications following its February 1988 acquisition of five NBC-owned stations including WYNY, aimed to bolster coverage across the New York metropolitan area. Initially retaining its rhythmic contemporary format—emphasizing dance hits, upbeat rhythmic pop, and emerging hip-hop—the station positioned itself as a competitor to pop and urban outlets amid New York's evolving radio landscape. The transition to 97.1 FM marked a strategic upgrade, as the frequency offered superior propagation and compared to 103.5. Hot 97 maintained steady performance in its early years, benefiting from the rhythmic CHR playlist that included club-oriented tracks and early rap crossovers, though it faced competition from established rhythmic stations like Power 106 in as a model. By the late and into the early , programming began incorporating more urban-leaning content, with a gradual two-year pivot toward hip-hop and R&B amid rap's surging commercial viability. Facing declining ratings by late 1992—placing last among New York's pop stations—Hot 97 underwent a decisive format realignment on , , fully committing to urban contemporary with a heavy emphasis on hip-hop. Under program director Steve Smith and subsequent leaders like Tony Ellis, the station phased out dance-heavy rotations in favor of rap and R&B hits, hiring influential DJs such as to curate mixtape-style shows that amplified emerging artists. This shift capitalized on hip-hop's explosion in the early , driving ratings recovery and establishing Hot 97 as the city's dominant hip-hop voice by mid-decade. Throughout the 1990s, Hot 97 solidified its urban contemporary identity, launching events like Summer Jam in 1994, which drew massive audiences and showcased breakthrough acts, further embedding the station in hip-hop culture. By 2000, the format had evolved into a powerhouse blending current rap, R&B, and occasional rhythmic pop, reflecting sustained listener demand while navigating competitive pressures from outlets like WBLS.

Expansion, Ownership Changes, and Recent Developments (2000–present)

In the early 2000s, WQHT continued to solidify its dominance in the New York radio market as a leading urban contemporary station under the ownership of Emmis Communications, which had acquired it in 1988, focusing on hip-hop and R&B programming without major structural expansions or ownership shifts during this period. Emmis retained full control of WQHT through the , navigating competitive pressures in the evolving media landscape, including the rise of streaming services, while the station preserved its core format and events like the annual Summer Jam concert series. On July 1, 2019, Emmis announced an agreement to sell WQHT and WBLS-FM to Mediaco Holding Inc., a new entity formed in partnership with L.P., for $91.5 million in cash, a $5 million , and a 23.72% equity stake in the publicly traded company (NASDAQ: MDIA); the transaction closed on November 27, 2019, marking the end of Emmis's direct ownership. Under Mediaco Holding's ownership, WQHT pursued a multi-platform expansion strategy, launching FAST (free ad-supported streaming TV) channels in May 2025 to distribute its content beyond traditional radio, alongside live programming and partnerships aimed at broadening its hip-hop and lifestyle reach. In October 2025, the station extended its brand into television with the debut of HOT 97 TV on WHOT TV 66 in Atlanta, effective October 30, rebranding to showcase music, lifestyle, and urban content in partnership with local Afro-urban broadcasters. Programming adjustments in September 2025 included extending "" to additional hours and the departure of longtime host , as part of a lineup revamp to refresh on-air talent amid shifting listener habits. WQHT achieved record audience levels in 2025, averaging 17,300 Adult 18-49 listeners per quarter-hour—a 68% increase from September 2024—ranking third in the market for total day among that demographic, reflecting sustained appeal in a fragmented media environment.

Technical Operations

Broadcast Signal and Coverage

WQHT operates on the frequency 97.1 MHz in the from studios located at 395 Hudson Street in the neighborhood of . The station's transmitter is situated atop the at coordinates 40° 44' 54" N, 73° 59' 09" W, utilizing a non-directional antenna. As a Class B FM station, WQHT employs an (ERP) of 6,700 watts, with a (HAAT) of 408 meters (1,339 feet), enabling extensive signal propagation suitable for a major metropolitan market. This configuration supports primary coverage across the metropolitan area, encompassing the five boroughs, portions of , Westchester County, and northern , where terrain and urban density influence reception quality. The elevated transmitter position enhances , mitigating some urban signal attenuation from buildings, though listeners in fringe areas or obstructed locations may experience variable reception. Coverage maps indicate a signal contour extending approximately 50-70 miles in optimal conditions, prioritizing the dense population centers of the tri-state region.

HD Radio and Digital Enhancements

WQHT simulcasts its primary urban contemporary programming on the HD1 subchannel, delivering enhanced quality and resistance to interference compared to traditional analog FM broadcasts. In June 2024, the station revived a format on HD2 as "La Buena 97.1 HD2," branded "La Que Toca Puras Buenas," featuring , sonidero, banda, and other genres tailored to New York's Mexican-American listeners. This subchannel launch, operated in partnership with Estrella Media, represents a strategic expansion to serve the city's growing demographic, with dedicated mobile apps providing streaming access. Beyond over-the-air , WQHT offers live audio streaming through its official website and /Android apps, enabling nationwide and international listeners to access real-time programming such as and new music premieres without geographic restrictions. The station maintains a robust online presence, including channels for video content and distribution, which have driven significant audience engagement. In May 2025, parent company MediaCo Holding announced the launch of "Hot 97 TV," a (FAST) channel distributing 24/7 hip-hop content, including video simulcasts of key radio shows and curated lifestyle programming. This initiative, rolled out in summer 2025, extends the brand into video streaming platforms and builds on prior digital investments like website redesigns for improved user experience and content scalability. These enhancements contributed to MediaCo's reported record digital revenue growth in the first half of 2025, reflecting increased multiplatform consumption among 18-49-year-old audiences.

Programming and Format

Evolution from Dance to Hip-Hop and R&B

Upon its relaunch as "Hot 97" on September 22, 1988, WQHT adopted a rhythmic top 40 format emphasizing dance-oriented music, including , freestyle, and tracks, which differentiated it from mainstream pop stations in New York. This hybrid approach targeted younger urban audiences but struggled with ratings in the early amid competition from established pop and R&B outlets. The station's programming began evolving in 1992 with increased airplay for hip-hop artists and the introduction of mix shows hosted by DJs like , who brought street-level rap mixes to the airwaves. By late 1992, declining listenership prompted Emmis Communications to appoint Steve Smith as program director, who initiated a phased reduction of dance content starting in summer 1993, drawing inspiration from the hip-hop success of sister station (Power 106) in . This shift reflected the rising commercial dominance of hip-hop in the early 1990s, as genres like gained mainstream traction. In October 1993, Hot 97 completed its transition to a full-time hip-hop and R&B format, eliminating most remaining dance programming and adopting the "Where Hip-Hop Lives." By , airchecks confirmed the new branding, with playlists prioritizing rap alongside R&B crossovers. The format stabilized as "Blazin' Hip-Hop and R&B" in 1994, cementing Hot 97's role in amplifying New York hip-hop acts like and elevating the genre's cultural prominence. This change boosted ratings and positioned the station as a key driver of urban contemporary music's evolution.

Signature Shows, Events, and On-Air Personalities

WQHT's most prominent event is the annual Summer Jam concert, inaugurated on August 6, 1994, at the Brendan Byrne Arena in East Rutherford, New Jersey, marking the first all-hip-hop arena show organized by the station. The event has since become a staple of hip-hop culture, typically held at MetLife Stadium and featuring major artists such as The Notorious B.I.G., Jay-Z, and Lil Wayne in its early years, drawing tens of thousands of attendees and influencing artist breakthroughs through high-profile performances and controversies. Another key initiative is the Who's Next program, launched to spotlight emerging hip-hop and R&B artists through live performances, submissions, and fan voting, with events like the 2025 edition receiving over 550 entries and culminating in showcases at venues such as SOB's. The station's programming emphasizes music discovery and artist interviews via long-running shows. Ebro in the Morning, airing weekdays from 5:00 a.m. to 10:00 a.m. ET, features hosts , , and [Laura Stylez](/page/Laura Stylez) discussing hip-hop trends, politics, and culture while premiering new tracks. Funkmaster Flex's evening program, which ran for 33 years until its conclusion on September 1, 2025, was renowned for live mixtapes, exclusive freestyles from artists like and , and rapid song premieres that shaped urban radio exclusivity. Notable on-air personalities have included , who joined as program director in 2014 and co-hosts the morning show, enforcing gatekeeping standards on lyrical content amid debates over commercial rap. , a morning show co-host since 2009, gained attention for critiquing mainstream trends, such as his 2013 Summer Jam remarks on Nicki Minaj's set. Past figures like , who hosted afternoons from the 1990s to 2014 before departing amid reported tensions, and , a former morning host who shifted to rival Power 105.1 in 2018, contributed to the station's influence on East Coast hip-hop narratives. These hosts have collectively driven over 20 million weekly listeners through targeted programming that prioritizes New York-centric urban contemporary content.

Cultural and Social Impact

WQHT, operating as Hot 97, significantly contributed to the emergence of hip-hop artists by providing early and platforms for exposure during the genre's mainstream ascent in the . Following its format shift toward hip-hop and R&B in October 1993, the station hosted dedicated programming that prioritized East Coast talent amid competition from West Coast dominance. In 1992, DJ launched "60 Minutes of Funk," the station's inaugural all-hip-hop radio show, which featured exclusive freestyles and previews that served as testing grounds for unsigned artists. Flex's , distributed via Hot 97, acted as de facto launchpads, exposing raw tracks and fostering artist-DJ collaborations that bypassed traditional label gatekeeping. Specific breakthroughs included Hot 97's early support for Jay-Z. In 1994, the track "In My Lifetime" won the station's "Battle of the Beats" contest, securing Jay-Z's first major New York airplay and helping build buzz for his debut album Reasonable Doubt. By early 1996, Flex premiered Jay-Z's "Ain't No Nigga" featuring Foxy Brown after encountering it at a nightclub, propelling the single to national rotation via the Nutty Professor soundtrack. The station similarly amplified DMX through Flex's freestyles, including a 1998 session with Canibus and N.O.R.E. that showcased his raw energy and contributed to the success of It's Dark and Hell Is Hot, which debuted at number one on the Billboard 200. Hot 97's programming also boosted groups like Wu-Tang Clan and solo acts such as Nas, with consistent spins countering perceptions of East Coast decline. The annual Summer Jam concert, debuting on June 21, 1994, at , accelerated career trajectories by assembling emerging lineups that drew massive crowds and media attention. That inaugural event featured , , , and , providing live validation for underground acts transitioning to commercial viability. Subsequent editions, such as 1996's inclusion of and Foxy Brown, embedded artists in hip-hop's cultural narrative through high-stakes performances that often previewed hits or ignited rivalries. Hot 97 influenced trends by institutionalizing mixtape culture and discovery formats. Flex's shows popularized exclusive drops and freestyles as promotional tools, influencing the pre-streaming era's reliance on radio for virality. The "Who's Next" program, evolving from early contests, offered showcases for newcomers; early participants like and Drake performed there to gain New York credibility before major breakthroughs. These efforts positioned Hot 97 as a , prioritizing authentic street narratives over polished pop crossovers and sustaining New York's centrality in hip-hop production.

Associations with Violence and Urban Culture

WQHT, operating as Hot 97, has been closely linked to the hip-hop genre's portrayal of urban life in , where themes of street violence, gang affiliations, and survival in high-crime neighborhoods feature prominently in the music it broadcasts. The station's playlists have historically emphasized tracks by artists depicting real or stylized accounts of interpersonal conflicts, drug trade disputes, and retaliatory acts, reflecting the socio-economic conditions of inner-city communities during the crack epidemic of the 1980s and 1990s, when 's homicide rate peaked at over 2,000 annually in 1990. Critics, including artists and activists, have argued that such programming amplifies rivalries between rappers, potentially escalating real-world tensions, as seen in feuds like those between and , which received extensive airplay and correlated with on-air confrontations. Specific incidents underscore these associations. In March 2005, a member of rapper 50 Cent's entourage was shot outside Hot 97's studios during an interview, amid ongoing beefs promoted by the station, highlighting how its platform intersected with artists' violent entourages. Earlier that year, New York fined Hot 97 $240,000—the maximum penalty—for its "Smackfest" contests, which involved on-air and event-based face-slapping promotions deemed to profit from simulated violence, requiring the station to allocate $60,000 toward anti-violence public service announcements. Hot 97's flagship Summer Jam concert has repeatedly drawn crowds exceeding capacity, leading to outbreaks of violence. In June 2015, clashes outside resulted in 61 arrests and 10 state troopers injured, with attendees throwing bottles and police deploying to control ticketless surges. Similar disturbances occurred in 2016, with 35 arrests and one injury reported, and historically in 1999 and 2014, where unauthorized entries and fights marred the events. These incidents reflect the station's embedded role in urban , where large gatherings amplify the hyper-masculine, territorial dynamics often celebrated in hip-hop, though station hosts have publicly condemned the violence post-event. In response to internal ties to violence, Hot 97 terminated veteran DJ Troi Torain (Paddy Duke) in August 2020 after revelations of his involvement in the 1989 Yusuf Hawkins racially motivated killing in , a case symbolizing urban racial tensions and during a period of heightened interracial violence in the city. Broader critiques, including from and community leaders, posit that Hot 97's influence as a tastemaker in hip-hop—dubbed the "CNN of hip-hop"—has at times prioritized sensationalism over restraint, correlating with spikes in artist-related shootings and feuds, though defenders maintain the station merely mirrors the unvarnished realities of urban environments rather than inciting them. Empirical data from the era shows hip-hop's rise alongside persistent urban homicide rates, with causal links debated but associations evident in the genre's lyrical focus on retaliatory justice and territorial defense as cultural responses to systemic neglect.

Controversies

On-Air Incidents and Regulatory Issues

In December 2010, during the morning program Cipha Sounds and Rosenberg, DJ stated on air, "The reason I'm negative is because I don't mess with Haitian girls," prompting immediate backlash from the Haitian community, protests outside the station, and demands for his termination. The remark, made amid discussions of risks following a diagnosis, led to sponsor withdrawals, an apology from co-host , and Cipha Sounds' indefinite suspension by WQHT management. On May 25, 2012, at the introduction to HOT 97's Summer Jam concert, commented that the event was for "hip-hop" music featuring "young Marlon Brandoes and Al Pacinos," implicitly criticizing Nicki Minaj's pop-leaning single "Starships" and suggesting it did not align with authentic hip-hop. Minaj responded via that she would not perform, resulting in pulling all Young Money artists from the lineup and sparking debates on genre boundaries within hip-hop. The station faced internal review, but Rosenberg retained his role; Minaj reconciled publicly on the station's morning show in May 2013. WQHT has not been fined by the (FCC) for broadcast indecency violations, despite airing explicit hip-hop content that has drawn complaints. In 2014, a citizen was filed with the FCC to deny the station's license renewal, alleging repeated indecent broadcasts violating public airwave standards, though no enforcement action followed. Similarly, a 2019 New York City Council resolution criticized WQHT for potentially non-compliant content and urged adherence to FCC indecency rules prohibiting patently offensive sexual or excretory references during certain hours. Assemblymember William Colton also condemned a specific "distasteful" 2000s-era broadcast as inappropriate for public airwaves, reflecting ongoing scrutiny without regulatory penalties. In July 2003, a shooting erupted outside WQHT's offices in between the entourages of rival rappers and Foxy Brown, resulting in sustaining gunshot wounds to the legs; critics later attributed the feud's escalation in part to the station's on-air promotion of interpersonal conflicts among artists to drive listenership. By early 2005, public protests targeted WQHT, with activists, artists including member M1, and community groups accusing the station of exacerbating hip-hop-related violence through programming that sensationalized rivalries and ethnic tensions for ratings gains, including demands for accountability from station management. advocated for a 90-day ban on for artists resolving disputes violently, framing WQHT's content as complicit in broader cultural . That August, New York Attorney General Eliot Spitzer imposed a $240,000 fine on WQHT—the maximum penalty—for 24 violations tied to its "Smackfest" promotions, which featured simulated physical confrontations between listeners as contest elements, prompting the station to allocate an additional $60,000 toward anti-violence public service announcements and sensitivity training. WQHT's annual Summer Jam concerts have repeatedly drawn violence-related scrutiny, including 51 arrests in 2014 for crowd disturbances, a 1999 incident involving ticketless fans breaching leading to injuries, and post-2015 event mayhem with dozens more arrests, fueling arguments that the station's event staging prioritizes spectacle over safety amid hip-hop's combative subculture. More recently, in response to murders linked to New York drill rappers whose tracks WQHT aired, DJ Drewski announced in 2022 he would cease playing the genre, citing its association with real-world fatalities as a factor in curbing promotional amplification of potentially incendiary content.

Recent Developments and Expansions

Lineup Changes and Audience Growth (2023–2025)

In September 2025, WQHT announced a revamped weekday lineup effective after , featuring from 5:00 a.m. to 11:00 a.m., DJ Drewski from 11:00 a.m. to 1:00 p.m., from 1:00 p.m. to 5:00 p.m., and from 5:00 p.m. to 10:00 p.m.. This adjustment included the departure of from the schedule and shifts for existing hosts, with Flex moving earlier from his prior 7:00 p.m. to 12:00 a.m. slot and Nessa advancing from afternoons.. No major on-air personnel changes were reported for 2023 or 2024, during which the core lineup including Ebro, Nessa, and Flex remained consistent.. WQHT experienced steady gains in market position and audience metrics from 2023 to 2025. In 2023, the station maintained a 2.2 share among persons 12+ in February and November surveys.. By June 2024, it rose to a 2.2 share from 2.0, and in July 2024, it advanced from 10th to 5th in New York rankings.. The station climbed further to 3rd place in August 2025.. September 2025 marked a record for WQHT, with 17,300 average quarter-hour listeners among adults 18-49 during weekday prime hours (Monday-Friday 6:00 a.m. to 7:00 p.m.), representing a 68% year-over-year increase from September 2024 and the highest such figure in station .. This performance also positioned WQHT as the top-rated multicultural station in the market regardless of language.. The growth aligned with broader Nielsen trends of rising radio listenership, though specific drivers for WQHT included sustained hip-hop programming appeal amid competitive urban formats..

Digital and Multi-Platform Initiatives

WQHT, operating as HOT 97, provides live audio streaming of its programming through its official website and dedicated mobile application, enabling global access to hip-hop content beyond terrestrial radio signals. The HOT 97 app, available on Android via , delivers real-time updates on breaking news, exclusive videos, and cultural content featuring on-air hosts like and , with a user rating of 4.1 stars from over 1,100 reviews as of recent data. The station maintains an active YouTube channel under the HOT 97 banner, uploading segments from shows such as Ebro in the Morning, artist interviews, and entertainment news clips to engage video-oriented audiences. Social media integration extends this reach, with TikTok content including behind-the-scenes artist interactions, such as Drip Check sessions, to foster direct fan engagement and viral dissemination of hip-hop trends. In multi-platform expansion, MediaCo Holding, HOT 97's parent company, partnered with TRACE to launch WHOT-TV 66 in Atlanta as HOT 97 TV on October 30, 2025, rebranding the station to feature HOT 97's music, lifestyle, and local programming tailored for urban markets. This initiative builds on prior HOT 97 TV additions introduced by MediaCo in May 2025, shifting from audio-centric broadcasting to include visual media distribution across television and digital channels. These efforts aim to leverage the brand's hip-hop authority for diversified revenue and audience growth in competitive multicultural media landscapes.

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