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XEPRS (1090 kHz) is an AM commercial radio station licensed to Playas de Rosarito, a suburb of Tijuana in Baja California, Mexico. It broadcasts a Spanish Christian radio format. The station can be heard across the San Diego-Tijuana, Los Angeles-Orange County, Riverside-San Bernardino and areas of Southern California.

Key Information

XEPRS is a Class A, 50,000-watt clear-channel station using a non-directional antenna in the daytime. Because it must protect other Class A stations on 1090 AM, it uses a three-tower array directional antenna at night.[2] The transmitter is just off Mexican Federal Highway 1D in Fraccionamiento Rancho del Mar.[3] The daytime signal can be heard over much of coastal Southern California and parts of Baja California. At night, the skywave signal extends over much of the West Coast of the United States and Northwestern Mexico.

History

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XERB: The Mighty 1090

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Today's 1090 AM started out as 150,000-watt XERB on 730 kHz.[4] The original concession was awarded to Manuel P. Barbachano, grandson of one-time Governor of Yucatán, Miguel Barbachano. The concession was sold to Radiodifusora Internacional, S.A., in 1939. As part of the North American Regional Broadcasting Agreement in 1941, the station moved from 730 to 1090, with a power of 50,000 watts. XERB was sold to Interamericana de Radio, S.A., in 1950.[5]

In the early 1960s, Robert Weston Smith (better known as Wolfman Jack) was living in Del Rio, Texas and appearing on the 250,000-watt "border blaster" radio station XERF (1570 AM), just over the Rio Grande in Ciudad Acuña. In 1964, after several violent incidents at XERF's transmitter, Smith and partner Marvin Kosofsky (called "Mo Burton" in Wolfman Jack's autobiography) decided to relocate to an American radio station. They purchased Minneapolis-area daytimer station KUXL 1570. Smith moved to Minnesota and never appeared as Wolfman Jack on KUXL, but rather worked as the station's general manager while shipping Wolfman shows on tape to XERF.

In 1965, Smith made an arrangement with the U.S. agent to program another border blaster, XERB in Tijuana. Smith began selling ad time on the "Mighty 1090" and recording Wolfman Jack shows for his new affiliate. Initially, Smith controlled the station's affairs from Minneapolis, but in 1966, Smith, along with fellow KUXL staffers Ralph Hull (also known as Preacher Paul Anthony and The Nazz) and Art Hoehn (also known as Fat Daddy Washington), relocated to Southern California to run XERB full-time.

Wolfman and his associates were able to make the station turn a large profit by selling 15–30-minute blocks of time to radio proselytizers. The preachers were able to pay for the time by asking their listeners to send them donations. Because they had such a large following and made so much money, the radio evangelists were willing to pay sizable fees for airtime.

In addition to the paid brokered programming, Wolfman began broadcasting his own pre-recorded shows on three different high-powered Mexican stations at different times of the day: XERB, XERF, and XEG in Monterrey, Nuevo León, powered at 100,000 watts. Wolfman courted advertisers who enjoyed his brand of rock and roll music and his howling personality.

According to his biography, by 1971, Wolfman was making a profit of almost $50,000 a month. The Mexican company executives that leased XERB noticed this and got greedy. They wanted to throw him out and make all the money themselves. The owners bribed Mexican officials into politically squeezing Wolfman off the air. The Mexican government acquiesced by passing a law prohibiting Pentecostal and Evangelical religious programming on Mexican airwaves. Since XERB made most of its profits from airtime sold to the prayer-cloth preachers, Wolfman could no longer make payments to the owners each month. "That was it," Wolfman remembered. "In one stroke they cleaned out 80 percent of all the money we were expecting to make." He and Kosofsky had to return control of the station to the Mexican owners.

Some years later, the Mexican government repealed that law and allowed radio preachers back on the air. But, without Wolfman Jack howling over the airwaves, XERB never duplicated the fame he had brought it. The XERB call sign was recycled in 1986 for a radio station in Cozumel, in the state of Quintana Roo with no relation to the old XERB.

XEPRS: The Soul Express

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With Wolfman out of the way, the station owners tried to duplicate his successful formula. They changed the call letters to XEPRS (“The Soul Express”), programmed at night with soul music, mostly for the African-American and Latino neighborhoods around Los Angeles.[6] The Wolfman still broadcast for over a year while under the new ownership, until April 15, 1972. Airchecks of that last show are still available online; tapes of old Wolfman shows could be heard on XEPRS as late as 1980.[7]

In the summer of 1972, George Lucas filmed Wolfman Jack using the studios of station KRE 1400 in Berkeley, California for the film, American Graffiti. (Some artistic license was employed for the movie: Wolfman is shown doing his program live from California, although the Brinkley Act made such broadcasting illegal.)[8]

Daytime Spanish, nighttime oldies

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Through the 1970s, '80s and '90s, XEPRS aired a variety of formats in Spanish in the daytime, while sometimes running English-language programming at night. From 1976 to the early 1980s, Rick Ward and Ron Beaton programmed oldies during the 6 p.m. to 6 a.m. skywave signal. Ron Beaton is now retired in Glendale, California, and Rick Ward is retired, living in Little Rock, Arkansas. Wolfman's old shows were broadcast from 11 p.m. to 1 a.m. on Saturday nights during this period. Early in the 1980s, DJ Sean Green[9] hosted a daily oldies show, from 7 p.m. to midnight, in English, calling it "1090 Express Radio." The show's advertisements, announced by Dick "Huggy Boy" Hugg, were mostly for oldies albums that appealed to the Lowrider culture.[10][11]

The last Spanish-language format was salsa, merengue and other forms of Tropical music as "Radio Caliente." From 2000 to 2002, XEPRS was the Spanish-language home of the Anaheim Angels, including its championship year of 2002.

Sports radio

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In 2001, another powerful AM station in Tijuana, XETRA (now XEWW), began simulcasting much of the English-language sports programming also heard on KLAC 570 in Los Angeles and a few other AM stations around Southern California, with the moniker "XTRA Sports". Several of the AM 690 hosts and sportscasters were released, including Bill Werndl, John Kentera, and others. That left the San Diego radio market without a local all-sports station. The former head of programming for XTRA Sports, John Lynch, saw the void and formed the Broadcast Company of the Americas, launching a new all-sports station on XEPRS in March 2003. He brought over most of the on-air talent released from 690 XETRA. John Lynch has another involvement in the world of sports; he's the father of the former NFL defensive back, also known as John Lynch. In addition, John Lynch Sr. helped introduce Lee "Hacksaw" Hamilton to San Diego sports radio.

In 2004, XEPRS acquired the rights to become the flagship station of the San Diego Padres.[12] XEPRS was the Padres' home station until 2016, when Entercom won the rights and began broadcasting the games on alternative rock station KBZT.

Beginning February 1, 2006, XEPRS started simulcasting its sports talk programming on sister station XHBCE-FM 105.7, based in Tecate, Baja California. This operation was aimed at improving the station's signal to Eastern San Diego County as well as giving XEPRS listeners the choice of hearing it on FM or AM. The station then became known as "XX (Double X) Sports Radio." News updates were produced by San Diego television station KUSI.

On April 15, 2008, at 9 a.m., XX Sports Radio ended the simulcast on 105.7 MHz. XHBCE-FM became an oldies radio station branded as "105.7 The Walrus." This was the first FM oldies station in San Diego since XHOCL-FM flipped to a Spanish language format on September 1, 2005. As a result of the simulcast's break-up (except for Padres games), XX Sports Radio was renamed "XX 1090."

In 2009, the Padres simulcast was moved to XEPE-AM 1700.

On October 6, 2010, XEPRS became a part-time affiliate of ESPN Radio, simulcasting sister station XEPE overnights and weekends, dropping the Sporting News Radio affiliation XEPRS held since 2008.

The Mighty 1090 former logo used from 2012 to 2015

XEPRS has also carried San Diego Toreros men's basketball, San Diego State Aztecs college football and basketball, and the San Diego Gulls AHL hockey, and has aired a few games for the Anaheim Ducks, the Gulls' parent club.[clarification needed][citation needed] Beginning with the 2018 season, XEPRS carried Los Angeles Rams football games.[13]

Return of "The Mighty 1090"

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On December 17, 2012, the station re-branded as "The Mighty 1090" to coincide with the return of the Scott & BR Show.[14] On January 2, 2013, the station became the San Diego outlet for CBS Sports Radio with a line-up featuring Jim Rome's syndicated show on CBS, plus local San Diego hosts heard mornings and afternoons. In 2014, the station signed Dan Sileo to host its morning drive show.

In April 2018, XEPRS got new competition on the FM dial when Entercom switched KEGY 97.3 to a sports format, branded as "97.3 The Fan."[15] It became the San Diego Padres' flagship station, taking over from co-owned KBZT 94.9. Dan Sileo, who left XEPRS earlier in the year, joined The Fan for a morning drive time show. As a result, XEPRS gave up its affiliation with CBS Sports Radio, since Entercom owns a stake in that network and began carrying its programming on KEGY. On nights and weekends, XEPRS returned to airing ESPN Radio, also heard on co-owned XEPE.

Return to Spanish-language programming

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In December 2018, it was reported that the Bichara family, owners of Interamericana de Radio, as well as stations in Monterrey and McAllen, Texas, was not happy with its relationship with BCA. The Bicharas began looking for a new operator for the station for $100,000 a month in rent, or $11 million to buy the station. At the same time, Jaime Bonilla Valdez's Media Sports de México had halted BCA's program supply to two stations it owned in a rent dispute.[16]

On April 10, 2019, XEPRS replaced BCA's sports format with a simulcast of one of the Bichara family's McAllen stations, KJAV 104.9. The BCA-operated webcast aired ESPN Radio programming for the remainder of the day.[17] The webcast resumed carrying "Mighty 1090"'s local sports shows on April 11.[18][19][20]

In several tweets, Andrés Bichara revealed that BCA had not paid its rent for XEPRS in four months and that issues between BCA and the Bicharas had dated back three years.[21] BCA shut down the "Mighty 1090" audio stream on April 29, 2019.[22] XEPE also halted its broadcasts of ESPN Radio, leaving the San Diego-Tijuana market without an ESPN English-language affiliate.

"The Mightier 1090"

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The Mightier 1090 previous logo used from 2020 to 2022

In April 2020, Bill Hagen, owner of an advertising agency in Flagstaff, Arizona, signed a five-year lease with XEPRS owner Interamericana de Radio and announced plans to relaunch the station as "The Mightier 1090" with a mix of talk, sports and lifestyle features.[23]

On August 12, XEPRS begun stunting with a loop of the station's "History of 1090". The loop featured the history of the frequency and some of the station's eras with Wolfman Jack "The Soul Express", and its prior "Mighty 1090" existence, while also taking pot shots at a previous management running it into the ground. The loop also promoted the newly relaunched station as "the first radio station in the cloud, with no studios".[24] The station, operated by SportsGrid, launched at 9 a.m. on August 17. XEPRS carries SportsGrid programming, The Rich Eisen Show, Scott Kaplan, and SportsMap programming.

On January 10, 2022, XEPRS added programming from ESPN Radio, including its live NFL, MLB, and NBA play-by-play broadcasts.[25] XEPRS added The Jim Rome Show to its afternoon lineup on June 2 that year; the show's previous San Diego affiliate, KWFN, dropped it in February.[26]

Monte María Radio, Oldies format

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On August 1, 2024, XEPRS dropped the "Mightier 1090" programming after its lease expired, flipping to Spanish-language Catholic programming from Monte Maria Radio in the interim.[27]

In September 2024, it was reported that the station had begun to air a four-hour block of oldies programming during the afternoon drive time as 1090 AM, split between a live DJ and reruns of Wolfman Jack. Monte Maria Radio continued to air for the remainder of the day.[28] In November 2024, after this soft launch, Marc Paskin officially announced that he would be programming the station. In honor of the station's 85th anniversary, its lineup primarily features syndicated reruns of programming from veteran radio personalities, such as Wolfman Jack, Charlie Tuna, Don Steele's Live From the 60's, and M. G. Kelly, with Paskin himself hosting live hours under the alias "El Chigon". Paskin described the new format as "some of the world’s greatest DJs, playing the world’s greatest oldies", and "radio the way it was meant to be heard".[29][30][28][31] Some parts of the broadcast day are still occupied by Monte Maria Radio programming and now the latest iteration which started on Monday March 3, 2025 was a switch to easy listening rock which has replaced the oldies programming.

See also

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References

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Revisions and contributorsEdit on WikipediaRead on Wikipedia

XEPRS-AM

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XEPRS-AM (1090 kHz) is a commercial AM radio station licensed to Playas de Rosarito, , Mexico, operating at 50,000 watts day and night to broadcast across the U.S.-Mexico border into . As a classic "border blaster," it has historically leveraged Mexico's laxer regulations on transmitter power to reach audiences far beyond its licensed territory, including and . The station traces its origins to XERB, which began broadcasting in the late 1930s before relocating to 1090 kHz in 1939 under owner Manuel P. Barbachano. It achieved prominence in the and as "The Mighty 1090," pioneering high-energy top 40 and soul formats with legendary , whose syndicated shows drew massive U.S. listenership and influenced rock radio culture. Subsequent decades saw format shifts, including as "The 1090 Express" in the and sports talk as "The Mightier 1090" from 2012 to 2024, before transitioning to Spanish Christian programming and, in 2024, reviving oldies with reruns. XEPRS-AM's defining characteristic remains its non-directional daytime signal and directional nighttime array, enabling consistent coverage along the West Coast despite occasional format experiments and ownership changes. Its legacy as a cultural bridge and format innovator underscores the enduring appeal of border blasters in circumventing U.S. restrictions on power and content.

Station Profile

Technical Details and Licensing

XEPRS-AM operates on the mediumwave frequency of 1090 kHz with a licensed power of 50,000 watts. Its transmitter is situated in Playas de Rosarito, , Mexico, at coordinates 32° 25' 30" N, 117° 05' 03" W. The station employs a single tower for non-directional daytime radiation and a three-tower directional array at night to protect co-channel Class A stations in the United States, such as WBAL in and KAAY in . The call sign XEPRS was adopted in 1971 after owners assumed control and rebranded the facility, previously known as XERB. As a , its high power enables extensive groundwave propagation into and beyond, though nighttime directivity limits skywave interference. Licensing falls under the authority of Mexico's Instituto Federal de Telecomunicaciones (IFT), which granted the commercial AM concession for XEPRS on July 4, 2016, with validity extending to July 4, 2036. The station maintains its legal status as a -registered commercial broadcaster, distinct from U.S. regulations, allowing operations unbound by American power or content restrictions. This framework has historically facilitated high-power transmissions targeting U.S. audiences while complying with bilateral agreements on frequency coordination.

Signal Reach and Border Blaster Characteristics

XEPRS-AM transmits at 50,000 watts during daytime hours from its facility in , , utilizing a single non-directional tower to propagate a robust groundwave signal northward into the . This configuration facilitates coverage extending well into , encompassing major markets such as and potentially reaching listeners up to approximately 100-150 miles inland under optimal daytime conditions, depending on terrain and atmospheric factors. Nighttime operations reduce interference with co-channel Class A stations by switching to a three-tower directional array, which patterns the signal to protect distant U.S. clear-channel outlets on 1090 kHz while maintaining viability for border-proximate audiences. The transmitter site's coordinates at 32° 25' 30" N, 117° 05' 03" W position it roughly 20 miles south of the U.S.-Mexico border, optimizing propagation toward and metropolitan areas. As a quintessential border blaster, XEPRS-AM exemplifies stations licensed in but engineered to dominate U.S. airwaves, exploiting disparities in regulatory frameworks—such as Mexico's allowance for higher effective powers and fewer content restrictions compared to FCC limits—to deliver English-language programming aimed at American consumers. This strategy historically enabled "50,000 watts of Boss Soul Power" promotions targeting U.S. markets, bypassing domestic power caps (typically 50 kW maximum but with stricter interference protections) and facilitating formats like high-energy music or talk that might encounter U.S. licensing hurdles. The station's clear-channel status on 1090 kHz further amplifies its reach, though nighttime tempers dominance to comply with international agreements.

Historical Evolution

XERB Origins: The Mighty 1090 Border Blaster

XERB, the predecessor to XEPRS-AM, emerged as a quintessential in the late , broadcasting from Rosarito Beach near , , . Established initially on 730 kHz with an output of 150,000 watts, the station exploited 's more permissive broadcasting regulations to deliver high-power signals into the , particularly targeting listeners while evading U.S. limits on power and programming content. In 1939, under the ownership of Manuel P. Barbachano, XERB shifted to its signature 1090 kHz frequency, solidifying its role as a cross-border powerhouse. By 1941, operations stabilized at 50,000 watts on this dial position, enabling reliable coverage across vast swaths of the American Southwest despite patterns designed to minimize interference with Mexican stations. This configuration epitomized the model, where Mexican-licensed facilities served U.S. markets with amplified reach for commercial advertising, music, and niche programming unbound by domestic quotas. The station's branding as "The Mighty 1090" reflected its formidable signal strength and cultural impact, drawing advertisers seeking to tap into American audiences via unregulated airwaves. Ownership transitioned in 1950 to Interamericana de Radio, S.A., which continued leveraging XERB's infrastructure for targeted U.S. programming, including early experiments in and promotional content that foreshadowed its later rock 'n' roll prominence. These origins laid the foundation for XERB's evolution into a launchpad for influential disc jockeys and formats, underscoring the causal dynamics of regulatory arbitrage in shaping transnational radio history.

Transition to XEPRS: Soul Express Era

In 1971, following financial strains exacerbated by Mexican regulations prohibiting religious organizations from purchasing airtime, the station's Mexican owners assumed full control of the operations previously associated with XERB and changed the call letters to XEPRS to circumvent issues with the original callsign, which had been retained by departing U.S. interests including Wolfman Jack. This transition marked a shift from the eclectic, high-energy rock and rhythm-and-blues programming that had defined the "Mighty 1090" era under Wolfman Jack's influence, toward a dedicated soul music format branded as "The Soul Express." The rebranding aimed to sustain listener appeal in Southern California by emphasizing funk, R&B, and soul hits, with promotional surveys like the "Soul 30" and "Funky 40" charting contemporary tracks from artists such as those dominating the genre in the early 1970s. The Soul Express format featured high-wattage nighttime broadcasts targeting U.S. audiences, with disc jockeys delivering energetic, personality-driven shows to mimic the border blaster's legacy of powerful signal penetration into markets like and . Key on-air talents during this period included Tom Reed, known as the "Master Blaster," who handled shifts before 's continued appearances, as well as Brad Edwards, Curtis Troupe, and guest spots by established personalities like . , who had been a cornerstone of the station since the early 1960s, broadcast under the new XEPRS branding into early 1972, culminating in his final show on April 15, 1972, after which the station fully pivoted away from his rock-oriented style. This era, spanning roughly from 1971 to 1973, represented a brief but focused attempt to adapt the model to evolving musical tastes amid ownership transitions, though it struggled to replicate the commercial success of prior formats due to increased competition from U.S. stations and regulatory scrutiny on Mexican outlets. Programming emphasized 24-hour rotations, with daytime and evening segments tailored to urban audiences, but audience metrics from surveys indicated a niche following rather than broad dominance. By 1974, the station began experimenting with under variations like "The 1090 Express," signaling the Soul Express phase's conclusion as market dynamics shifted.

Spanish and Oldies Programming Shifts

In the mid-1970s, XEPRS-AM incorporated programming, initially as a nighttime feature from 11:00 p.m. onward during its 1974–1975 "1090 Express" phase, which aired from 5:00 a.m. to 11:00 p.m. daily. This block emphasized and to exploit the station's 50,000-watt signal and for broader U.S. reception. By 1976, the format expanded under programmers Rick Ward and Ron Beaton, who curated content specifically for the 6:00 p.m. to 6:00 a.m. slot, focusing on to attract listeners. The emphasis persisted into the late but concluded with a pivot to full-time Spanish-language programming in the early , driven by demographic shifts toward a larger audience in the border region. This transition replaced the English-language with and other Spanish content, aligning the station's output with local market demands and reducing competition from U.S. AM outlets. By April 1986, XEPRS-AM operated as a Spanish-language outlet under the "Radio Express" branding, featuring genres like banda and norteño, though critics noted inconsistent playlist execution. The shift marked a departure from the station's prior border-blaster legacy of English nostalgia formats, prioritizing accessibility for Mexican-American communities.

Sports Radio Dominance and Revivals

In 2004, coinciding with the opening of , XEPRS-AM initiated a 12-year tenure as the flagship station for Padres broadcasts, solidifying its position as a primary outlet for local sports content in the San Diego-Tijuana market. This period marked the station's entry into all-sports programming under the XX Sports Radio branding, which included live game coverage, analysis, and talk shows that drew significant listener engagement by leveraging the powerful 50,000-watt clear-channel signal to reach audiences. The station's sports dominance peaked through high-profile programming, such as the afternoon drive-time Scott & BR Show and The Darren Smith Show, which cultivated a loyal following and positioned XEPRS as a competitive alternative to established outlets like XTRA-AM 690, often regarded by fans as offering the city's premier sports talk experience. Despite the Padres affiliation ending in 2016 when the shifted to KBZT-FM, XEPRS maintained its sports focus, re-emphasizing local hosts and affiliation to sustain market share amid format rivalries. Financial difficulties led to a abrupt shutdown on April 10, 2019, after lease operator Broadcast Company of the Americas defaulted on payments, temporarily halting sports operations and creating a notable gap in San Diego's sports radio landscape. A revival occurred on August 17, 2020, when new operators relaunched the station as The Mightier 1090 ESPN Radio, restoring all-sports talk with refreshed lineups including returning personalities, aimed at recapturing pre-shutdown momentum through aggressive promotion and extended coverage. This iteration persisted for nearly four years, incorporating syndicated content alongside local shows to rebuild listenership, though it faced ongoing challenges from FM competitors and signal interference issues. The 2020-2024 revival concluded on August 1, 2024, when the station transitioned to Catholic programming, ending the latest chapter of sports dominance amid reported economic pressures and shifting market dynamics. Throughout its eras, XEPRS-AM's border-blaster capabilities enabled broad regional penetration, but sustainability hinged on stability and affiliation deals, underscoring the format's volatility in AM radio.

Religious and Catholic Format Interludes

In August 2024, XEPRS-AM adopted a Spanish-language Catholic programming format following the termination of its lease with Out the Window Advertising, which had operated the station as talk outlet since 2020. The switch occurred on , 2024, with Monte María Radio, a Tijuana-based Catholic media ministry, taking over operations to broadcast religious content including sermons, prayers, and Church-related discussions. Monte María Radio was established in 2001 by Father Sergio López, known as Padre Rayito, initially as a fill-in program on before expanding to dedicated airtime on other stations such as XEKAM-AM. The ministry's programming on XEPRS emphasized outreach tailored to Spanish-speaking audiences in the San Diego-Tijuana border region and beyond, leveraging the station's 50,000-watt clear-channel signal for wide coverage across . This format represented a return to in the station's history, though prior eras focused more on , sports, and Spanish variety shows without documented full-time Catholic emphases. The Catholic interlude proved temporary, as XEPRS began incorporating oldies blocks in September 2024 while retaining much of Monte María's content, before fully transitioning to an format under new operator Marc Paskin on November 5, 2024. This brief period, lasting approximately three months, aligned with broader trends in border radio where high-power signals facilitate niche religious outreach amid fluctuating commercial leases.

Oldies Revival and Recent Transitions

In August 2024, following the termination of its four-year lease for English-language sports talk as "The Mightier 1090," XEPRS-AM shifted to Spanish-language Catholic programming under Monte María Radio, marking a brief return to religious content amid ongoing operational changes. By September 2024, the station introduced a limited block, featuring music from the 1950s through 1970s aired weekdays from 3:00 to 5:00 p.m. with a live , followed by two hours of archived shows, evoking the station's historical roots in English-language variety formats. On November 5, 2024, broadcaster Marc Paskin assumed operational control via a new lease agreement, flipping XEPRS-AM to a full-time format emphasizing , remastered syndication from 5:00 to 7:00 p.m. daily, and voices from legacy DJs to serve listeners. Initially, the format ran weekdays from 7:00-9:00 a.m. and noon to 7:00 p.m., with plans announced for near-continuous coverage, positioning the 50,000-watt signal as a revival of era-defining rock and soul programming absent from regional AM dials. This transition reflects recurring format instability tied to lease dynamics and market demands, with Paskin highlighting the station's potential to recapture nostalgic audiences through authentic, high-fidelity archival content despite technical challenges like mono broadcasting of stereo-sourced material. The revival draws parallels to prior English oldies and soul eras on XEPRS, such as the 1970s "Soul Express," but operates independently of recent sports branding, focusing instead on non-contemporary hits to differentiate from FM competitors.

Key Personalities and Content

Wolfman Jack's Influence

, born Robert Weston Smith, broadcast on XERB (the predecessor to XEPRS-AM) from 1966 to 1972, transitioning from his earlier stint at XERF-AM and leveraging the station's 50,000-watt signal to reach audiences across and the . His nightly shows featured high-energy disc jockeying of , rock 'n' roll, and emerging , delivered through his signature gravelly voice, howls, and exaggerated persona that blended horror movie tropes with playful eroticism. This style, which emphasized listener engagement via mail-order promotions and late-night companionship, drew an estimated audience of millions, boosting XERB's commercial viability through advertising for products like vitamins and records. The station, branded as The Mighty 1090, benefited from Wolfman Jack's , which extended his fame into American pop culture, including appearances in media that romanticized border radio's unregulated exuberance. Airchecks from 1968 and 1971 document his programming of hits by artists such as , , and local R&B acts, interspersed with comedic bits and dedications that fostered a sense of intimacy despite the vast coverage area from to the . His departure on April 15, 1972, amid shifting ownership and format pressures, marked the end of an era for XERB, but his tenure solidified the frequency's reputation as a launchpad for innovative, high-impact radio personalities unbound by U.S. restrictions. Wolfman Jack's influence persisted in XEPRS-AM's later iterations, with the station occasionally reviving his archived shows to evoke nostalgic appeal, as seen in 2024 programming shifts that incorporated old airchecks alongside formats. This revival underscores his foundational role in establishing the 1090 AM signal as synonymous with dynamism, influencing subsequent DJs and formats by demonstrating the power of charismatic, unfiltered broadcasting to transcend geographic and regulatory borders.

Sports Broadcasting Figures

Scott Kaplan emerged as a central figure in XEPRS-AM's sports programming, hosting afternoon drive shows since the station's adoption of the all-sports format in 2003 and serving as the headline personality during its "Mightier 1090" rebranding period from 2020 to 2024. His tenure spanned over 16 years, including co-hosting with partners like in the "Scott and BR" show, which focused on local teams such as the Padres and Chargers. Lee "Hacksaw" Hamilton contributed significantly to morning drive slots, transitioning to that time period in December 2012 after prior roles on the station, where he analyzed regional sports alongside co-hosts like Bob Hayworth. His broadcasts emphasized San Diego-focused commentary, drawing on his extensive career in local sports media. In 2018, and Steve Woods launched the "Ben and Woods" morning show, airing weekdays from 6:00 a.m. to 9:00 a.m. and providing sports talk until the format's discontinuation in 2024. This program targeted listeners with discussions on MLB, , and college athletics, marking a refresh in the station's weekday lineup. Darrin Smith hosted mid-day segments, offering in-depth analysis of professional and amateur sports relevant to the market, as part of the core lineup sustaining the station's sports dominance through the . These figures collectively positioned XEPRS-AM as a competitive alternative to established U.S. sports outlets, leveraging its high-power signal for cross-border reach despite regulatory constraints on stations.

DJs and Format-Specific Hosts

During the Soul Express era in the early 1970s, hosted request-based programs featuring and music, as evidenced by his April 15, 1972, aircheck broadcast from the station. Laboe, known for his dedication shows and influence on culture, drew listeners across with dedications and classic R&B tracks. In the mid-1970s "1090 Express" phase, Hugh Cherry served as the primary music host, programming during daytime hours from 5:00 a.m. to 11:00 p.m. and transitioning to – at night. Cherry's tenure emphasized automated elements on Sundays, potentially with a Spanish-accented announcer, reflecting the station's bilingual border context. By the early , amid shifts to programming, Sean Green hosted a daily English-language show titled "1090 Express Radio" from 7:00 p.m. to , gaining popularity among and audiences through dedications featured in publications like Teen Angels magazine. Green's style focused on nostalgic hits, solidifying XEPRS's role in regional music nostalgia. In the station's November 5, 2024, return to an all-oldies format targeting Southern California, the lineup incorporated archived and syndicated segments from veteran Los Angeles disc jockeys, including Charlie Tuna, M.G. Kelly, and Real Don Steele, alongside bilingual host El Chingón for select slots. These personalities, drawn from iconic outlets like KRTH and KHJ, aired classic hits from the 1950s through 1970s, with live DJ segments in afternoon drive (3:00–5:00 p.m. weekdays) prior to full automation. The format revival emphasized high-fidelity rebroadcasts of heritage shows to recapture the border blaster's music legacy.

Operational and Business Aspects

Ownership History

The concession for what became XEPRS-AM originated in the late as XERB on 730 kHz, with the station relocating to 1090 kHz in under the ownership of Manuel P. Barbachano, a Mexican businessman and grandson of a former governor. In 1950, the station was acquired by Interamericana de Radio, S.A., marking a shift to more formalized Mexican corporate control amid evolving regulations on high-power border stations. Interamericana de Radio retained ownership through subsequent decades, including the 1971 transition when Mexican authorities enforced stricter oversight on foreign-influenced operations, prompting the call sign change from XERB to XEPRS and a reorientation toward domestic programming emphases. The licensee remains Interamericana de Radio S.A. de C.V., currently controlled by Mexican businessman Andrés Bichara, who has managed the concession amid periodic leasing arrangements with U.S.-based programmers since at least the early .

Lease Agreements and Financial Challenges

In 2003, the Broadcast Company of the Americas (BCA) entered into a four-year lease agreement with the Mexican licensee to operate XEPRS-AM as "The Mighty 1090," focusing on sports and talk programming targeted at the San Diego market. This arrangement allowed BCA, a U.S.-based entity, to control programming while the station's technical operations remained under Mexican ownership, a common "border blaster" model exploiting AM clear-channel propagation across the U.S.-Mexico border. By April 2019, financial strains emerged when BCA fell four months behind on payments to Interamericana de Radio, the station's Mexican concessionaire led by Andres Bichara Assad. Bichara, citing a 15-year operational history but escalating payment delays over the prior three years, terminated BCA's access, forcing the station off the air and ending its sports format simulcast. These arrears highlighted broader revenue shortfalls for BCA, attributed to competitive pressures in 's radio market and reliance on advertising from local teams like the San Diego Padres, whose broadcasts had anchored the station since 2003 but proved insufficient to cover escalating costs amid format shifts and listener fragmentation. Post-2019 recovery involved new leasing pacts; in 2020, broadcaster Dean Hauser secured a five-year with Interamericana de Radio to revive "The Mightier 1090" under a sports-oriented banner, investing in equipment and programming to regain market traction. However, similar vulnerabilities resurfaced by mid-2024, when the sports lease expired without renewal, leading to a transition to Catholic programming brokered directly with the Mexican owner, underscoring persistent financial precarity for U.S. lessees dependent on volatile ad revenues and unable to negotiate favorable terms against the station's structure. This pattern of lease disputes reflects systemic risks in cross-border radio operations, where U.S. operators bear programming costs without ownership equity, exposing them to abrupt terminations over payment lapses.

Cultural Significance

Impact on U.S.-Mexico Border Radio

XEPRS-AM, broadcasting from Playas de Rosarito near Tijuana at 1090 kHz, has perpetuated the border blaster tradition by transmitting high-power signals into southern California, evading U.S. Federal Communications Commission (FCC) restrictions on transmitter wattage and content that constrained domestic stations. Operating with permissions under Mexican regulations that historically permitted up to 500,000 watts—far exceeding typical U.S. limits of 50,000 watts daytime for clear-channel frequencies—XEPRS-AM delivered consistent coverage to San Diego, Los Angeles, and beyond, enabling U.S.-oriented programming without direct FCC oversight. This capability sustained cross-border competition, pressuring American broadcasters to innovate formats amid the influx of unregulated Mexican signals. As the successor to XERB, XEPRS-AM amplified the cultural footprint of Tijuana-based stations through its "Mighty 1090" branding, which in the 1960s and 1970s featured disc jockey Wolfman Jack's high-energy rhythm and blues shows, drawing millions of U.S. listeners and exemplifying how border operations popularized genres like rock 'n' roll in markets resistant to them under domestic rules. The station's signal strength facilitated nighttime skywave propagation, extending reach across the U.S. Southwest and influencing listener habits by offering 24-hour access to music and talk not viable on power-limited U.S. AM outlets. This model demonstrated the economic advantages of border broadcasting, with U.S. advertisers purchasing airtime to tap expansive audiences, thereby reinforcing the viability of Mexican facilities for American media strategies. Into the , XEPRS-AM's format shifts—from sports talk in the , leased to U.S. programmers like XTRA Sports, to oldies revivals echoing Wolfman Jack's style in 2024—illustrate its role in maintaining border radio's adaptability amid digital disruptions and regulatory treaties like the 1986 U.S.- AM agreement, which curbed but did not eliminate high-power exports. By prioritizing revenue-generating U.S.-targeted content over local Mexican programming, the station underscored causal drivers of border radio persistence: regulatory and superior physics, rather than bilateral cultural exchange. Its operations have thus preserved a niche for analog AM dominance in binational media ecosystems, contrasting with the fragmentation of U.S. radio.

Pop Culture References and Legacy

XEPRS-AM, operating as XERB "The Mighty 1090" during its peak in the late 1960s and early 1970s, gained prominence in through its association with (Robert Weston Smith). The station served as the fictional broadcast origin for Wolfman's character in the 1973 film , directed by , where it symbolized the raw, unregulated energy of pre-Beatles rock 'n' roll radio reaching American youth across vast distances. This depiction drew from real broadcasts taped in the U.S. and transmitted from the station's 50,000-watt facility in Rosarito Beach, , which evaded U.S. power limits to blanket the West Coast. The station's role amplified Wolfman Jack's persona, blending gravelly voice, howls, and rapid-fire patter with tracks, influencing portrayals of enigmatic night-time DJs in media. Airchecks from XERB, such as those from March 15, 1971, exemplify the high-volume, sales-driven style that promoted records, gadgets, and pharmaceuticals unrestricted by domestic regulations. This format's cultural footprint extended to tributes like classic car events recreating American Graffiti scenes with Mighty 1090 replicas, underscoring its nostalgic tie to 1950s-1960s cruising culture. XEPRS-AM's legacy endures as a cornerstone of radio, which pioneered high-power AM signals to deliver uncensored content, fostering rock music's spread and challenging U.S. broadcast norms from onward. Its transmission reach, documented up to and the Midwest at night, democratized access to R&B and emerging genres for remote listeners. In , the station revived oldies programming interspersed with archived shows, reaffirming its historical frequency's draw and prompting renewed interest in analog radio's heyday. This shift highlights the station's persistent appeal amid digital fragmentation, preserving a model of personality-driven that shaped subsequent sports and talk formats in the region.

References

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