Today KHJ is owned and operated by Relevant Radio, Inc., the station broadcasts Roman Catholic religious programming as an affiliate of the Relevant Radio network.
KHJ was first licensed on March 18, 1922 to C. R. Kierulff & Company in Los Angeles, for operation on the 360 meter entertainment wavelength. The Kierulff company acted as contractors responsible for installing the station in the Los Angeles Times building at First and Broadway, and in November the newspaper's owner, the Times Mirror Company, became the official licensee. The KHJ call letters were randomly assigned from a roster of available call signs, although the station quickly adopted the slogan "Kindness, Happiness and Joy". Test transmissions began on April 8th. The station's formal debut broadcast was held on April 13th from 6:45 to 7:45 p.m.
In April 1965, programming consultant Bill Drake crafted KHJ's top 40 format. Drake hired program director Ron Jacobs, who had created formats in Hawaii and California. The format, known as "Boss Radio", featured a restricted playlist and restrained commentary by announcers (although a few, such as Robert W. Morgan, Charlie Tuna, Humble Harve Miller, and The Real Don Steele, were allowed to develop on-air personas).
Other DJs from this era (1965–1980) included Roger Christian, Gary Mack, Dave Diamond, Beau Weaver, John Leader, Sam Riddle, Johnny Williams, Frank Terry, Johnny Mitchell, Tommy Vance, Scotty Brink, Steve Clark, Bobby Tripp, Tom Maule, and Bill Wade. One defining characteristic of Boss Radio was the jingles by the Johnny Mann Singers.
Drake's format spread throughout North America, bringing high ratings to KFRC in San Francisco, WFIL in Philadelphia, KGB in San Diego, WQXI in Atlanta, WRKO in Boston, and CKLW in Windsor, Ontario, Canada (serving Detroit). Drake and his business partner Gene Chenault brought many of their announcers from the other Boss stations, using those stations as a farm system to develop talent.
The station switched to a country music radio format in 1980 and back to pop music in 1983. In 1986, KHJ changed its call letters to KRTH, adopting an oldies format as a sister station to KRTH-FM 101.1 FM. Three years later, the station was sold to Liberman Broadcasting who aired Spanish-language formats from 1990 to 2014, using the call letters KKHJ until 2000, when it regained its original calls.
➦In 1930...WHOM AM NYC signed on.
This station was founded in 1925 by the New Jersey Broadcasting Corp., owned by Outdoor Advertising executive Harry O'Mealia, whose company owned thousands of billboards around the metropolitan area. WHOM was originally a Jersey City station, having taken over 1450 AM from the merged WIBS/WKBO.
WHOM debuted with a 15 minute inaugural broadcast on April 13, 1930 at 5:45pm. The host was chief announcer Howard Lepper, previously the manager of WIBS. Then, according to Angelfire.com, the station left the air to make time for WNJ and WBMS, returning to the air at 9pm for a gala show that lasted until 2am. In 1931, WHOM absorbed the airtime of WNJ, and the following year, it became a full-time station with the demise of WBMS.
In 1946, WHOM officially changed their "city of license" from Jersey City to New York.
In 1989, the station was sold to Infinity Broadcasting, owners of WXRK 92.3, among others. Calls were changed to WZRC on April 28, 1990 and the station instituted a heavy-metal rock format as "Z-Rock," a service of the Dallas-based Satellite Music Network and was so anxious to enter the New York market. In December 1992, WZRC switched to country music.
Then in 1993, Infinity signed a lease agreement with a Korean programming service making WZRC 1480 the first full-time Korean-language station in New York.
➦In 1953...Music ‘Til Dawn with host Bob Hall premiered on WCBS 880 AM NYC. American Airlines owned the program. The show also aired on five other CBS-owned stations in cities served by the airline. The list of cities expanded to include at least eight others, with many hosts over the years all bearing the signature "soothing" voice.
The Trump administration has announced exemptions for smartphones, laptop computers, memory chips, and other electronics from its "reciprocal tariffs."
This includes exemptions from a 125% tariff on Chinese imports and a 10% global tariff on most other countries. The decision, published by U.S. Customs and Border Protection, also covers hard drives, computer processors, and semiconductor manufacturing equipment, benefiting companies like Apple, Samsung, and Taiwan Semiconductor Manufacturing Co.
The exemptions aim to shield consumers from price hikes, as these products are rarely made in the U.S., and domestic production would take years to establish. However, the relief may be temporary, as the exclusions suggest potential future tariffs at lower rates, possibly 25% for semiconductors, though specifics remain unclear. The move follows a volatile week of trade tensions, with China imposing a 125% tariff on U.S. goods in retaliation.
The Trump Administration is exempting smartphones and other electronics from his reciprocal tariffs -- a reprieve for tech companies and consumers amid fears that Trump's 145% tariffs on Chinese goods would send prices skyrocketing. @selinawangtv reports. https://t.co/J4t0xxBbTupic.twitter.com/GXZxZorDf3
The exemption of smartphones, laptops, memory chips, and other electronics from the Trump administration’s reciprocal tariffs (125% on Chinese imports, 10% on most other countries) has a direct impact on U.S. consumers:
Lower Prices Preserved: These products, heavily reliant on foreign manufacturing (especially from China), won’t face immediate tariff-driven price hikes. For example, a $1,000 iPhone or laptop could’ve jumped by hundreds of dollars with a 125% tariff. Exemptions keep costs stable for now, protecting consumers’ wallets during high-demand periods like holidays or back-to-school seasons.
Continued Access to Variety: No tariffs mean no supply chain disruptions for popular brands like Apple, Samsung, or Dell, ensuring consumers can still choose from a wide range of devices without shortages or forced shifts to pricier alternatives.
Temporary Relief, Uncertain Future: While consumers dodge a bullet now, the exemptions hint at potential future tariffs (e.g., 25% on semiconductors). If implemented, these could gradually increase costs for electronics, hitting budget-conscious buyers hardest.
Wider Economic Ripple: Stable electronics prices help curb inflation in a key sector, but consumers may still feel pressure from tariffs on other goods (e.g., clothing or cars), which could eat into disposable income for tech purchases.
Donald Trump’s relationship with TikTok continues to be a wild ride.
Back in 2020, during his first term, he pushed to ban the app, citing national security concerns over its Chinese owner, ByteDance, potentially sharing U.S. user data with Beijing. He signed an executive order to force a sale or ban, arguing it was a espionage risk. Fast-forward to his 2024 campaign, and Trump did a 180. He joined TikTok, racked up millions of followers (over 15 million by early 2025), and credited it for helping him reach young voters.
Why the flip? Critics say it’s opportunism—TikTok’s massive user base (170 million Americans) is a political goldmine. Supporters argue he’s pragmatic, recognizing the app’s cultural and economic weight. However, this past week Trump announced a 145% tariff on Chinese imports, singling out China while pausing tariffs on other countries for 90 days.
This came after China slapped an 84% tariff on U.S. goods, retaliating against earlier U.S. hikes (a 34% “reciprocal tariff” on April 2, building on prior levies). Trump’s justification? China’s “imprudent” retaliation and failure to play ball on trade and TikTok.
The tariff escalation has apparently tanked TikTok talks. A deal was reportedly close—Vice President JD Vance had been hammering out terms with investors and ByteDance for months. The plan? A U.S.-based TikTok owned mostly by American firms, with ByteDance holding a minority stake. China’s approval was the final hurdle, expected to clear until Trump’s tariff announcement. Beijing balked, insisting on tariff negotiations first, stalling the deal. Trump responded by extending the TikTok ban deadline another 75 days (from April 5), buying time but leaving the app’s future murky.
'On The Money' columnist Charles Gasparino reports sources suggest the standoff is near intractable. China’s tying TikTok to broader trade talks, using it as leverage against Trump’s tariffs. Trump, meanwhile, has hinted at tariff relief for a TikTok deal, saying things like, “Maybe I’ll take a couple points off if I get approvals.” But with tariffs now at 145%—pushing the U.S. trade-weighted average to a century-high 24%—both sides are digging in. China’s retaliatory moves, like restricting rare earth minerals (key for tech), signal they’re not bluffing.
What to Watch
China’s next move: Will they escalate tariffs further or signal openness to a TikTok sale?
Market fallout: Tariffs are already rattling stocks and supply chains—can Trump sustain the pressure?
Political blowback: Banning TikTok could cost Trump with young voters, but so could looking soft on China.
Media stocks on Wall Street experienced significant volatility this week, largely driven by President Donald Trump’s tariff policies and their broader economic implications. Here’s a breakdown of key developments based on available information:
Market Context: The week saw intense market swings due to Trump’s tariff announcements. On April 9, 2025, stocks surged after Trump paused some "reciprocal" tariffs for 90 days, with the S&P 500 jumping 9.5%, the Dow rising nearly 8%, and the Nasdaq soaring 12.2%—its best day since 2001. However, this relief rally was short-lived. By April 10, stocks fell again as the market digested ongoing trade uncertainties, with the S&P 500 dropping 2.1%, the Dow shedding 666 points, and the Nasdaq declining 2.8%. The CBOE Volatility Index (VIX), a measure of market fear, spiked above 50, reflecting heightened investor anxiety.
Media Stocks Performance:
Warner Bros. Discovery: WBD faced pressure amid the broader market turmoil. Posts on X noted media stocks like WBD slumping after the tariff pause rally faded, reflecting investor concerns about economic fallout from trade policies. While specific daily performance for WBD wasn’t detailed, the company announced John Malone’s decision not to seek board re-election, transitioning to chair emeritus. This move, while not directly tied to stock performance, underscores strategic shifts at WBD during a turbulent market week.
Disney: Disney shares were hit hard by tariff concerns, as noted in posts on X. The company’s exposure to international supply chains and consumer discretionary spending likely amplified its vulnerability to trade war fears. Exact percentage drops weren’t specified, but the sentiment was negative alongside other media giants.
Fox Corp: Fox Corp was highlighted as an outlier, maintaining relative stability compared to peers like Disney and WBD. This resilience could stem from its focus on domestic broadcasting and less exposure to tariff-sensitive sectors, though specific data on its weekly performance wasn’t provided.
Trump Media & Technology Group: DJT, which operates Truth Social, saw positive movement earlier in the week. Posts on X reported a 9% gain in premarket trading on April 7 after announcing a deal with Crypto.com to launch ETFs, though its performance later in the week wasn’t detailed. Its stock has been volatile, often reacting to Trump’s public statements, like his claim it was a “great time to buy.”
Comcast: Comcast was mentioned in posts on X for its optimistic move to develop a Universal theme park in the UK, signaling confidence despite market volatility. However, no specific stock performance metrics were provided for the week.
Broader Media Sector Trends: Media stocks, part of the consumer discretionary sector, were particularly sensitive to tariff-driven fears of reduced consumer spending and higher costs. The sector has been under pressure since Trump’s April 2 tariff announcement, with concerns about supply chain disruptions and inflation impacting advertising revenues and content production costs. The brief rally on April 9 offered temporary relief, but renewed selling on April 10 and lingering trade war fears kept media stocks volatile.
Overall, media stocks mirrored the market’s rollercoaster, rallying midweek on tariff pause hopes before sliding back as trade tensions persisted.
Media mogul and cable TV pioneer John Malone has decided not to seek re-election to the Warner Bros. Discovery (WBD) board of directors at the company’s 2025 Annual Meeting of Stockholders, scheduled for June 2, 2025.
Instead, he will transition to the role of chair emeritus, a move announced by WBD Friday. In this new capacity, Malone will continue to attend board meetings regularly and provide strategic counsel to the board and management team, while stepping back from day-to-day oversight and relinquishing his board vote.
Malone, 84, played a pivotal role in orchestrating the 2022 merger between Discovery, where he was a major shareholder, and WarnerMedia, creating WBD. His decision to step down is not due to any disagreement with the company, and he remains a significant shareholder, reportedly holding about 0.8% of WBD stock as of 2024.
Malone’s influence in the media industry is extensive, with a career spanning decades, including leading Tele-Communications Inc. (TCI) and founding the Liberty Media empire, which has stakes in companies like Charter Communications and SiriusXM. He is also chairman of Liberty Media and Liberty Global.
WBD’s CEO, David Zaslav, praised Malone’s “brilliant strategic mind” and credited his insights for shaping the company’s trajectory, particularly through the merger and its ongoing challenges, such as managing a heavy debt load from the deal. Malone expressed confidence in WBD’s future, citing progress in making the company “resilient, agile, and positioned for profitable growth.” He emphasized his continued involvement as both a shareholder and advisor, noting his admiration for WBD’s assets and storytelling.
The board will maintain its size at 13 directors, with 12 independent, as WBD plans to nominate Anton Levy, a tech investor from General Atlantic, to fill the vacancy.
Bill Maher, a longtime critic of Donald Trump, visited the White House for a private dinner on March 31, arranged by Kid Rock, who aimed to bridge divides through face-to-face conversation.
Maher discussed the experience on his HBO show Real Time with Bill Maher on April 11, 2025, offering a detailed account that stirred varied reactions.
Maher described the dinner as a surprisingly positive encounter, lasting about two and a half hours, with Trump, Kid Rock, and UFC CEO Dana White in attendance. He emphasized it wasn’t a diplomatic summit but a casual meeting between a comedian and a president.
Key points from Maher’s recounting:
Trump’s Demeanor: Maher found Trump “gracious and measured,” contrasting with his public persona. He noted Trump laughed, including at himself, and seemed self-aware, unlike the “crazy person” Maher expected from Trump’s TV appearances. Maher remarked, “A crazy person doesn’t live in the White House. A person who plays a crazy person on TV a lot lives there.”
Conversation Topics: They discussed policy issues like Iran, Gaza, the Syrian refugee crisis, and Trump’s proposed third term. Maher said he challenged Trump on some points and praised others, like Trump’s stance on limiting DEI initiatives, restricting trans athletes, and supporting Israel’s military actions. They also found common ground on ending “wokeness” and securing the border.
Notable Moments: Maher brought a list of nearly 60 insults Trump had hurled at him over the years, which Trump signed—a move Maher found “very Trumpian.” Trump gave Maher several MAGA hats as a cheeky gift. Maher also claimed Trump used the word “lost” when referencing the 2020 election, a rare admission, though Trump didn’t dwell on it.
Personal Reflection: Maher said he felt comfortable talking to Trump in a way he wouldn’t with past Democratic presidents like Clinton or Obama. He criticized Democrats for being unrelatable, suggesting Trump’s candid style resonates more with voters. However, Maher clarified he didn’t “go MAGA” and expected their public sparring to resume, noting, “MAGA fans, don’t worry. Your boy gave me nothing, just hats.”
A new Horowitz Research survey, “State of Media, Entertainment, and Tech: Subscriptions 2025,” reveals a complex landscape for the TV industry, with sharp declines in traditional pay TV and antenna use contrasted by significant growth in streaming services.
According to TVTechnoloy.com, the report shows homes with access to live TV channels dropped from 32% in 2020 to 19% in 2025, while traditional pay TV (MVPD) subscriptions plummeted from 81% to 44% over the same period. Conversely, SVOD subscriptions climbed from 70% to 81% of homes, and free streaming services surged from 52% to 70%.
Virtual MVPDs, such as Sling TV and YouTube TV, saw a decline from 29% of homes in 2020 to 23% in 2025. Over the past decade, the video service mix has shifted dramatically: in 2015, 47% of homes had only MVPD subscriptions, while just 7% were streaming-only. By 2025, 49% of homes were streaming-only, with only 11% relying solely on pay TV. Dual MVPD and streaming subscriptions fell from 40% in 2015 to 33% in 2025, while homes with no video subscriptions remained nearly steady at 7% (up from 6%).
Antenna usage, skewing toward lower-income and older households, was found in 26% of homes led by those 50+, compared to 19% overall. Only 9% of homes earning over $100,000 had antennas, versus 26% of those earning under $50,000. Among homes without MVPD subscriptions, 28% used antennas, but just 10% of households led by 18- to 34-year-olds had antenna access.
The report also covers consumer spending on subscriptions, popular streaming platforms, bundling trends, broadband adoption, smart home opportunities, and more.
The Commercial Advertisement Loudness Mitigation (CALM) Act is a U.S. law passed in 2010 to address the issue of excessively loud TV commercials. It requires the Federal Communications Commission (FCC) to ensure that commercials on broadcast, cable, and satellite television have the same average volume as the programs they accompany. The goal is to prevent jarring volume spikes that annoy viewers. The FCC implemented rules in 2012 which provides technical guidelines for measuring and controlling audio loudness.
The CALM Act applies only to traditional TV platforms—broadcast stations, cable operators, and satellite providers—not to online streaming services like YouTube, Hulu, or Netflix. Enforcement relies heavily on consumer complaints, with the FCC investigating patterns of non-compliance rather than actively monitoring broadcasts. Non-compliant providers can face penalties, but enforcement has been criticized as weak, with few actions taken despite thousands of complaints since the law’s passage.
Regarding the National Association of Broadcasters (NAB) statement, they recently told the FCC that broadcasters are complying with the CALM Act, but many consumer complaints about loud ads stem from unregulated streaming services.
The NAB argues that these online platforms, not covered by the CALM Act, are the primary culprits behind loud commercials today, and no new regulations are needed for broadcasters. This comes as the FCC considers updating its rules due to a surge in complaints, with some pushing to extend the CALM Act to streaming services—a move the NAB and others caution against without careful consideration.
There’s been talk of modernizing the CALM Act to include streaming, like a bill proposed in 2022, but it hasn’t passed. The debate hinges on balancing consumer relief with regulatory overreach, especially since streaming platforms operate differently from traditional TV. Some argue the FCC lacks clear authority over streamers without new legislation, while others see voluntary industry standards as a potential fix.
The Corporation for Public Broadcasting (CPB) has promoted Kathy Merritt to the position of Executive Vice President and Chief Operating Officer and Debra Sanchez to Executive Vice President, Government and External Affairs and Acting Corporate Secretary.
Merritt will oversee CPB’s Operations, as well as Radio/Journalism, System Strategies, Next Generation Warning System, Community Service Grants, and Television Content departments.
Sanchez will continue to lead the Education team, as well as oversee Government and External Affairs. She is also taking on the role of Acting Secretary, overseeing the Office of the Corporate Secretary, serving as liaison between the CPB Board of Directors and staff.
Kathy Merritt, Debra Sanchez
“Kathy and Deb are both accomplished professionals with decades of experience in public media who are highly qualified to lead CPB during these challenging times,” said Patricia Harrison, CPB president and CEO.
Prior to her promotion, Merritt has been Chief, Station and System Strategies, where she oversees a portfolio of grants and initiatives that strengthen public media stations’ ability to serve their local communities and enhance the efficiency and effectiveness of the public media system.
Sanchez has been CPB’s Senior Vice President for Educational Media and Learning Experiences, where she develops and oversees children's content investments and educational initiatives at the national level and works closely with stations to enhance their development and execution of local educational services.
Merritt and Sanchez succeed EVP and Chief Operating Officer Michael Levy and Corporate Secretary, SVP and Chief of Staff Teresa Safon. Levy and Safon will continue to serve CPB as consultants, advising Harrison and the senior leadership team.
“I want to express my deep appreciation to Michael and Teresa for their long and distinguished service to CPB and public media,” Harrison said. “Both will stay on as consultants as we address threats to our funding.”
In addition to Merritt and Sanchez, Daryl Mintz has been promoted to Executive Vice President, CFO and Treasurer, and Evan Slavitt has been promoted to Executive Vice President and General Counsel.
A former non-co KCUR radio host, Hartzell Gray, has filed a First Amendment retaliation lawsuit on Wednesday in Jackson County Circuit Court against Kansas City, Mayor Quinton Lucas, and his former chief of staff, Morgan Said.
Gray alleges that Lucas and Said tried to have him fired from KCUR after he joined a KC Tenants protest at City Hall in August 2022.
Hartzell Gray
The protest, attended by about 50 KC Tenants members, disrupted a council meeting over an ordinance backed by Lucas that eased affordable housing rules for developers. Gray claims Said called KCUR’s news director, Lisa Rodriguez, that night, suggesting Gray’s activism could harm the station’s reputation.
Gray says KCUR then cut his weekend shift, costing him pay and sparking fears of further retaliation.
The suit also alleges Said followed up to check on KCUR’s response and that the station acted to avoid upsetting the mayor and risking City Hall access.
A text from Rodriguez to Gray, cited in the suit, called Said’s actions “not cool” but urged Gray to support causes without complicating the newsroom’s work. Gray left KCUR in fall 2023, though it’s unclear if he was fired or resigned.
He later posted on X in 2024, claiming he was “fired for (his) advocacy,” possibly referring to his role as Sporting KC emcee, which he also no longer holds.
Cumulus Media, a leading U.S. radio station operator, has transformed its Washington, D.C. offices and studios into a cutting-edge broadcast facility as part of a company-wide effort to modernize infrastructure and reduce real estate costs.
Main WMAL studio and origination studio for the syndicated “Chris Plante Show.” Credit: Alain Jaramillo Photography
The renovation took place on the fourth floor of a 1970s office building in Friendship Heights, revamping an 11,000-square-foot space. This upgraded facility houses news/talk station WMAL (105.9 FM) and sports station WSBN (630 AM). It also serves as a content hub for Westwood One, producing syndicated shows like The Chris Plante Show and America at Night, with occasional sports programming for the network. The "in-place" remodel ensured continuous operation throughout the upgrade.
The renovation included new on-air studios, production rooms, a newsroom, technical operations center, conference rooms, offices, a lobby, mailroom, and an employee lounge. Energy-efficient lighting and refreshed finishes were also added. Construction was phased to keep the station operational 24/7, ensuring no downtime during the overhaul.
Fox News announced that Hugh Hewitt, a prominent conservative commentator and host of The Hugh Hewitt Show on the Salem Radio Network, has joined the network as a contributor.
In this role, Hewitt will provide political analysis across Fox News platforms, debuting on Special Report with Bret Baier the same evening.
WATCH: New Fox News contributor @hughhewitt is welcomed to his role by @BretBaier and says he supports Trump’s tariff action against China. “A hard reset and, if necessary, a hard decoupling, is in the best national security interests of the U.S. I’m happy to see it.” pic.twitter.com/Rd6n9vxqNd
Previously a Washington Post columnist until November 2024, Hewitt is known for his conservative commentary and support for Donald Trump’s agenda, though he has occasionally critiqued specific policies.
His radio show, simulcast on Salem News Channel, reaches over 450 affiliates nationwide, covering topics like the Constitution, national security, and American politics. The 69-year-old is no stranger to cable television. He hosted a weekend show on MSNBC from 2017 to 2018.
Beasley Media Group’s 92.5 Maxima (WYUU-FM), Tampa Bay’s premier Latin radio station, has introduced its brand-new morning show, MAÑANAS MÁXIMAS, officially launched this week. The show airs Monday through Friday from 6:00 AM to 10:00 AM, delivering an energetic and engaging start to the day for Tampa Bay’s vibrant Hispanic community.
Hosted by the duo of Tony Clemente and Valerie Felix, two familiar and beloved voices in the region, MAÑANAS MÁXIMAS promises an exciting mix of music, culture, and conversation designed to connect with and inspire the Latin community. Listeners can expect an upbeat blend of the latest hits, trending topics, and plenty of surprises to keep them entertained and informed throughout their mornings.
“We’re beyond excited to wake up Tampa Bay’s Hispanic community with a fresh perspective and contagious energy,” said Clemente. Co-host Valerie Felix echoed his enthusiasm, adding, “I’m thrilled to embark on this new journey and bring something special to my people in Tampa Bay!”
“I’m delighted to welcome these two talented individuals to 92.5 Maxima, a flagship Latin brand in the Tampa Bay area, stated Beasley Media Group Regional Vice President Ron deCastro. “Tony and Valerie’s passion for the Maxima audience will undoubtedly create an engaging and entertaining listening experience.”
After buying time on radio stations in the early days of broadcasting, Sears Roebuck & Co. in Chicago decided to start its own station. Its first test broadcasts used the call sign WBBX and then WES (“World’s Economy Store”). On April 12, 1924, the station became WLS (“World’s Largest Store”).
In its first month, WLS started its “National Barn Dance” program, a live country-music showcase that was the direct predecessor of the Grand Ole Opry.
A Chicago radio manufacturer signed on WENR Radio in 1925. The station entered a time-sharing agreement with WBCN Radio. An investor bought both stations in 1927. He later sold the licenses to NBC. The network kept WENR on the air. It shared a frequency with WLS for decades. One station would sign off and another would sign on.
Sears sold WLS to the “Prairie Farmer” magazine in 1928. The radio station became an essential part of agriculture in the Midwest. Farmers relied heavily on agricultural news, commodity prices and weather reports from WLS.
WENR-WLS boosted power to 50,000 watts in 1932, beaming its programming over much of the nation. Despite its part-time status, the station built a large amount of goodwill and a huge audience.
In addition to farm programming, WLS offered entertainment and educational programs. It also made history in news broadcasting. WLS reporter Herb Morrison famously said, “Oh the humanity!” as he watched the 1937 Hindenberg crash in Lakehurst, N.J. The recorded account aired the next day over NBC.
The station also experimented successfully in many forms of news broadcasting, including weather and crop reports. Its most famous news broadcast was the report of the Hindenburg disaster by Herbert Morrison.
VISIT SCOTT CHILDERS' WLS TRIBUTE WEBSITE: Click Here
VISIT JEFF ROTEMAN'S WLS TRIBUTE WEBSITE: Click Here
For about 15 years WLS shared it's frequency with WENR as part of the NBC Blue Network. In 1941 WLS changed frequency from 870 to 890 kilocycles with 50 kw of power. The transmitter site was in Chicago's south suburb of Crete, Illinois from 1924 to 1938. In 1938, they moved to it's current location in Tinley Park.
WLS was an NBC Blue Network affiliate during radio’s golden age. NBC was forced to sell the Blue Network, which became ABC. In 1954, ABC bought a controlling interest in WENR-WLS, combining the two into WLS. The network bought WLS outright in 1959.
The ABC era brought a major change. The staid, conservative WLS that brought Midwesterners a steady diet of farm reports, news and weather, general-interest music and entertainment and the “National Barn Dance” became a Top 40 station at 6 a.m. on May 2, 1960. ABC created one of the nation’s most influential radio stations in the rock era, attracting millions of listeners each week.
Here’s a sample of a 1962 aircheck featuring Dick Biondi:
By the late 1980s, it was an adult contemporary station during the day and offered talk programming at night. WLS switched to its current full-time news/talk format in 1989. Cumulus Media now owns the station.
On April 10, 2025, a Bell 206 helicopter operated by New York Helicopter crashed into the Hudson River near Pier 40, killing all six people on board: the pilot and a family of five Spanish tourists, including three children. Agustin Escobar, his wife Merce Camprubi Montal, and their three children had just arrived in the Big Apple from Barcelona earlier in the day, according to law enforcement sources.
Family moments before take-off
New York’s radio and television outlets provided extensive, emotional, and detailed coverage of the tragedy, reflecting the city’s shock and the event’s high-profile nature. Here’s how they approached it:
📺Television Coverage
CBS New York: CBS News anchor Kristine Johnson visibly struggled (Video Below: watch at the 65-minute mark) with her emotions during live broadcasts, emphasizing the human toll. She noted the unexpected nature of the tragedy, saying it turned a “normal day” into “anything but.” Reporters like Dan Rice, who frequently flies over the Hudson, provided context about the river’s busy airspace. CBS highlighted the rapid response of NYPD and FDNY divers, with Commissioner Jessica Tisch detailing how divers pulled four victims from the wreckage and two others were recovered later, all pronounced dead. They aired witness accounts describing a “loud noise” and the helicopter “splitting apart,” with video showing the chopper’s rotor detaching before it plunged upside-down. Flight path data was shared, noting the helicopter’s multiple daily trips between Manhattan heliports and regional airports.
ABC7 New York (WABC): Eyewitness News aired dramatic video capturing the helicopter’s midair breakup, with debris falling into the water. Reporters interviewed witnesses like Eric Campoverde, who described the chopper descending at a 45-degree angle, causing a “big splash.” The station emphasized the crash’s proximity to the “Miracle on the Hudson” site, where US Airways Flight 1549 landed safely in 2009, adding historical resonance. ABC7 also covered Mayor Eric Adams’ press conference, where he expressed heartbreak for the tourists who came to see New York’s “legendary skyline.” The station noted the FAA and NTSB investigations and the Coast Guard’s safety zone disrupting ferry traffic.
NBC New York: NBC aired chilling footage of the helicopter’s descent, with witnesses like Bruce Wall describing it “falling apart” midair, the rotor spinning separately. The station reported the NYPD’s swift mobilization near the West Side Highway and Spring Street, urging the public to avoid the area. Coverage included Governor Kathy Hochul’s statement calling the loss of “six innocent souls” heartbreaking. NBC also highlighted the crash’s status as the deadliest in New York since 2018, drawing comparisons to past incidents.
📻Radio Coverage
1010 WINS: The all-news station provided real-time updates, focusing on the emergency response and official statements. Reporters relayed Mayor Adams’ confirmation of the victims’ identities and the Spanish Consulate’s involvement in contacting families. Traffic reports warned of delays around the West Side Highway due to police activity, while anchors discussed the crash’s impact on tourism and aviation safety, referencing the helicopter’s sightseeing route past landmarks like the Statue of Liberty.
WNYC: The public radio station took a somber, reflective tone, with hosts discussing the tragedy’s effect on the city’s psyche. They aired segments on the victims’ backgrounds as tourists, emphasizing the loss of children, and featured a community perspective with local residents expressing sympathy. WNYC also explored regulatory questions, interviewing analysts about oversight of sightseeing helicopters.
Across outlets, coverage blended urgency with empathy. TV stations leaned heavily on visuals—witness videos, rescue boats, and aerial shots of the crash site—while radio focused on narrative and analysis. All outlets reported the victims’ profiles (a pilot and a Spanish family), the crash’s timing (3:17 p.m.), and its location near Hoboken.
Record Store Day 2025 is set for Saturday marking the 18th annual celebration of independent record stores worldwide. This event, which began in 2007, brings together music fans, artists, and over 1,400 indie record shops across the U.S.—plus thousands more globally—to celebrate vinyl culture and the unique role these stores play in their communities.
Typically held on the third Saturday of April, the 2025 date shifts to the second Saturday, likely to avoid overlapping with holidays like Easter, which falls on April 20 that year.
This year’s ambassador is Post Malone, a multi-genre artist known for his love of vinyl and record stores. In his ambassador statement, he expressed excitement about the honor, saying, “Record Store Day is so important and I really hope to do my part to keep it alive. We love hitting local shops when we’re on the road… It’s really an unexplainable feeling to dig through crates.” His involvement highlights the event’s appeal to both artists and fans, bridging generations of music lovers.
Record Store Day 2025 will feature over 300 exclusive vinyl releases available only at participating indie stores on April 12. These fall into three categories: Exclusives, available solely at indie shops; RSD First, debuting at these stores but possibly released elsewhere later; and Small Run/Regional Titles, limited to under 1,000 copies or specific regions, making them harder to find. Highlights include Taylor Swift and Post Malone’s “Fortnight” 7” single, Gorillaz’s “Demon Days: Live in Harlem” LP, and George Harrison’s “All Things Must Pass” on a zoetrope picture disc. Other notable releases feature artists like Freddie Gibbs, Lil Uzi Vert, and Queen, with full details on the official Record Store Day website.
Beyond the records, stores often host live performances, DJ sets, and parties. For example, The Record Exchange in Boise plans a weekend-long celebration with over 300 exclusives, local musicians busking, and a listening party on April 11 featuring free craft beer. In the UK, over 270 shops will join in, partnering with DEYA Brewing Company for a special RSD beer, emphasizing the event’s community spirit.
Since its start, Record Store Day has boosted vinyl sales significantly—2024 saw the highest weekly vinyl sales in 30 years. It’s a day to hunt for rare finds, support local businesses, and enjoy the tactile joy of physical music, as Post Malone’s enthusiasm reflects. Check recordstoreday.com for participating stores and the full release list—quantities are limited, so arriving early is key!
April 12 marks this year’s Record Store Day. Conceived in 2007 to "celebrate and spread the word about the unique culture surrounding nearly 1,400 independently owned record stores in the U.S. and thousands of similar stores internationally,” Record Store Day is met with special promotions in many locations, making it the perfect day to go digging in the crates for some rare LPs.
Interestingly, the recent resurgence of vinyl in the United States has largely been led by artists from the LP era. As the following chart, based on Nielsen data, shows, five of the eight best-selling vinyl LPs of the past decade in the U.S. were released before Daniel Ek, founder and CEO of Spotify was even born. With more than half a million units sold between 2010 and 2019, the Beatles’ most iconic album “Abbey Road” is still the number 1 album in the U.S. in terms of vinyl sales.
The stock market experienced significant volatility, largely driven by reactions to trade policy developments. The S&P 500, a broad market index, closed at 524.58, down from its previous day’s close of 548.62, reflecting a decline of about 4.4%. This drop came after a turbulent week marked by fears of a global trade war sparked by tariff announcements, followed by a partial relief rally when some tariffs were paused. The market’s performance on April 10 suggests investors remained cautious, with the S&P 500 extending losses from its historic 9.5% surge on April 9.
Focusing on media stocks, the performance was mixed but generally weaker, reflecting broader market pressures and sector-specific challenges.
Here’s a breakdown of key media companies based on real-time data:
Comcast: Closed at $33.68, down from $35.18 the previous day, a decline of about 4.3%. The stock hit a low of $33.11 during the day, signaling selling pressure. Over the past month, Comcast has trended downward from $36.74 on March 31, likely weighed by concerns over cord-cutting and potential tariff impacts on its global supply chain for hardware like set-top boxes.
Walt Disney: Ended at $85.23, a sharp drop from $91.44, equating to a 6.8% loss. Disney’s stock fluctuated significantly, dipping to $83.10 intraday. The decline aligns with broader consumer discretionary weakness, as Disney’s theme parks and streaming services face cost pressures from inflation and potential tariff-related disruptions in merchandise supply chains. The stock is down notably from $98.50 a month ago.
Fox Corporation: Closed at $46.01, down 3.6% from $47.71. It reached a low of $44.84 during trading. Fox has been relatively resilient compared to peers, but its exposure to advertising revenue makes it sensitive to economic slowdown fears, which were heightened by trade uncertainties. The stock is lower than its March 31 peak of $52.70.
News Corporation: Finished at $25.59, a 2.3% drop from $26.18. It hit a low of $24.71 intraday. News Corp’s performance reflects challenges in its publishing and digital media segments, where ad revenues are under pressure amid economic uncertainty. The stock has declined from $27.22 a month prior.
The media sector’s struggles on Thursday can be attributed to a combination of macroeconomic factors and industry-specific headwinds. Tariff fears, despite a partial pause, continued to weigh on investor sentiment, as media companies rely on global supply chains for content production and distribution equipment.
Additionally, consumer spending concerns—tied to potential inflation from trade policies—could reduce demand for discretionary services like streaming and theme park visits. Advertising budgets, a key revenue driver for Fox and News Corp, are also at risk if businesses scale back amid economic uncertainty.
While the broader market’s decline set a negative tone, media stocks didn’t uniformly underperform the S&P 500. Disney’s steeper drop suggests particular vulnerability, possibly due to its diversified exposure to consumer-facing businesses. Comcast and Fox, while down, showed slightly more resilience, perhaps buoyed by their stable cable and broadcast assets. News Corp’s modest decline indicates its print media focus may be less immediately impacted by trade disruptions but still faces cyclical risks.
On Monday CBS Mornings co-anchor Gayle King is scheduled to embark on an 11-minute suborbital flight aboard Blue Origin’s New Shepard rocket, a mission led by Jeff Bezos’ fiancée, Lauren Sánchez.
The all-female crew includes pop star Katy Perry, former NASA rocket scientist Aisha Bowe, civil rights activist Amanda Nguyen, and film producer Kerianne Flynn. The flight, launching from West Texas at 9:30 a.m. ET, marks Blue Origin’s 11th crewed mission and the first all-female spaceflight since Soviet cosmonaut Valentina Tereshkova’s 1963 solo trip. King, 70, has expressed a mix of excitement and fear.
The trip has sparked debate, with some framing it as a publicity stunt to bolster CBS Mornings’ flagging viewership.
Industry sentiment suggests the show’s ratings have hit historic lows, reportedly dipping below 2 million viewers, trailing competitors like Good Morning America and Today. Critics argue the spaceflight won’t reverse this decline, pointing to deeper issues with the show’s format, content, and anchor dynamics.
They claim CBS Mornings has leaned too heavily into polarizing or overly progressive topics, alienating viewers, and that its anchors—King, Tony Dokoupil, and Nate Burleson—lack the chemistry or draw to compete effectively. Suggestions for an overhaul include refreshing the show’s editorial focus to prioritize broader appeal and retooling its presentation to regain audience trust.
However, defenders of King’s trip highlight its historic significance and potential to inspire. The mission aligns with Blue Origin’s goal of making space accessible, and King’s participation could resonate with viewers who value her willingness to step out of her comfort zone. CBS Mornings plans to cover the launch extensively, with special segments starting at 9 a.m. ET, streaming on CBS News 24/7 and Paramount+. Supporters argue that dismissing the flight as a mere stunt overlooks its symbolic weight and King’s influence as a trusted journalist.
Skeptics counter that short-term spectacle won’t address structural problems. The show’s ratings woes predate the spaceflight announcement, with competitors consistently outperforming it in key demographics. For context, Good Morning America and Today often pull 3-4 million viewers daily, while CBS Mornings struggles to maintain momentum. Industry observers note that previous high-profile stunts, like Michael Strahan’s 2021 Blue Origin flight for Good Morning America, yielded temporary buzz but no lasting gains. They argue that meaningful change requires addressing viewer feedback about repetitive segments or perceived bias, rather than relying on one-off events.
The flight itself is a brief trip to the Kármán line, 62 miles above Earth, offering a few minutes of weightlessness and views of the planet’s curvature. Blue Origin has flown 52 passengers to date, including Bezos and William Shatner, with tickets costing upwards of $150,000. King’s inclusion has raised ethical questions, as some critics see her acceptance of the trip as conflicting with CBS News’ policies against freebies, potentially undermining her journalistic objectivity. Others, however, view it as a personal milestone unlikely to derail her decades-long career.
Former NBC anchor Chuck Todd appeared on Piers Morgan Uncensored this week and discussed the media’s coverage of Joe Biden during the 2024 presidential race.
When asked why the media was reluctant to report on Biden’s apparent cognitive decline, Todd initially suggested that journalists were subtle, pointing to indirect hints like Biden avoiding interviews or using different entrances.
He acknowledged, however, that some reporters hesitated to directly address the issue, fearing it could be seen as boosting Donald Trump’s campaign. Todd called this a “fundamental mistake,” arguing that the media’s caution stemmed from a zero-sum view where criticizing Biden might inadvertently help Trump.
He also noted that individual journalists, like himself and others, had raised concerns about Biden’s fitness, but the collective media approach fell short.
🚨 WATCH: Former NBC host Chuck Todd admits media feared that covering Biden's decline would help Trump.
The admission sparked discussion, with some seeing it as a rare moment of candor about bias, while others criticized it as too little, too late, given long-standing public observations about Biden’s condition.
iHeartMedia San Francisco Hot AC KIOI (STAR 101.3) has announced that Jillian Escoto will host middays effective April 14, broadcasting weekdays from 10 a.m. – 3 p.m.
Escoto joined the iHeart team over 20 years and currently serves as co-host of the top-rated “Valentine In The Morning” show on 104.3 MYfm, a role she will continue doing alongside responsibilities as midday host on STAR 101.3. Known for her authenticity, warmth and relatability, Jillian brings a strong female perspective to the airwaves.
“We are thrilled to welcome Jillian to our team,” said Travis Loughran, Program Director of STAR 101.3. “She is passionate about radio and dedicated to making a difference in people’s lives. We look forward to her becoming a trusted voice in our community.”
“I am beyond excited to join the incredible team at Star 101.3,” said Jillian Escoto. “The Bay holds a special place in my heart, where my husband was born and raised. I can’t wait to connect with our listeners, especially my mother-in-law, who promises to tune in every day from San Jose.”
Audacy has announced the expansion of Molly Cruz’s role, naming her Brand Manager of 99.1 The Mix (WMYX-FM) and 103.7 Kiss FM (WXSS-FM) in Milwaukee. In this role, Cruz will oversee both stations’ content strategy, talent, operations and branding while continuing to serve as Brand Manager of B96 (WBBM-FM) in Chicago.
Molly Cruz
“We’re thrilled to have Molly back in Milwaukee. Her deep understanding of the market, proven leadership and passion for the CHR format make her an incredible asset to the team,” said Jason Bjorson, Senior Vice President and Market Manager, Audacy Milwaukee and Madison. “We’re confident in her abilities to successfully lead these two iconic Milwaukee radio stations and morning shows to the next level for our listeners and advertising partners.”
“It’s a true honor to follow a legend like Brian Kelly. I spent over seven years learning from him, and that time had a huge impact on the programmer and leader that I’ve become,” said Cruz. “Now, I have the incredible opportunity to lead three powerhouse heritage brands in Chicago and Milwaukee. I’m excited, grateful, and ready to build on the strong foundation and take these iconic stations even further.”
Cruz’s expanded role marks a return to Milwaukee, where she served as Assistant Brand Manager for 99.1 The Mix and 103.7 Kiss FM from 2015 to 2023. She succeeds Kelly, who recently stepped down from his position.
Publishers Clearing House (PCH), a direct marketing company famous for its sweepstakes and oversized "Prize Patrol" checks, filed for Chapter 11 bankruptcy this week, in the U.S. Bankruptcy Court for the Southern District of New York.
The filing aims to reorganize the company’s finances after years of struggles, with only $490,000 in cash against $40 million in debts to employees, vendors, and others.
PCH plans to shift away from its legacy direct mail and magazine subscription businesses toward a digital advertising and gaming model.
The company insists its iconic sweepstakes, which have awarded over $500 million since 1953, will continue as usual, with the Prize Patrol still delivering checks, champagne, and flowers. To fund operations during bankruptcy, PCH secured a $5.5 million loan.
The move reflects broader challenges in adapting to digital markets while shedding costly traditional operations.
Michael Levy, the executive vice president and chief operating officer of the Corporation for Public Broadcasting (CPB), has resigned, citing health reasons after undergoing recent surgery.
His departure comes at a tense time for the CPB, a nonprofit that funnels roughly $500 million in federal funds annually to public media outlets like NPR and PBS.
Congressional Republicans, along with figures like President Trump and Elon Musk, have intensified calls to defund the CPB, alleging left-wing bias in public media programming.
Levy, who joined CPB in 2005 and held various senior roles, including chief strategy officer and COO since 2017, will continue advising the organization as a consultant.
The CPB faces not only political pressure but also broader industry challenges, as public stations report strained budgets and reliance on federal funds for stability. No permanent replacement for Levy has been announced.
Concert ticket prices have surged dramatically in recent years, driven by high demand for top artists, dynamic pricing models, and additional fees. In 1996, the average ticket price for major tours was about $26, or $52 adjusted for inflation.
By 2024, it had climbed to nearly $136, with some shows by artists like Taylor Swift or Beyoncé commanding hundreds or thousands on resale markets. Factors include rising production costs, fewer album sales pushing artists to rely on tours, and ticketing platforms adding service or facility fees—sometimes 20-27% of the ticket cost. The secondary market, where scalpers resell at huge markups, also inflates prices, though some argue primary tickets are still underpriced relative to demand.
This has hit younger fans hard, especially Gen Z, with many overspending due to FOMO.
To cope, payment plans have become common. For example, at Coachella 2025, about 60% of general admission buyers used plans requiring as little as $50 upfront, spreading costs over months. Festivals like Lollapalooza and Rolling Loud see similar trends, with ticketing companies like Ticketmaster or AXS offering these options.
Fintech firms like Klarna and Affirm also provide “buy now, pay later” for tickets, splitting costs into installments, sometimes interest-free if paid on time. While this makes concerts more accessible, it’s led to concerns about fans taking on debt for experiences, with some spending thousands they can’t easily repay.
Meanwhile, bargain hunters snag last-minute deals on resale platforms when prices drop, but that’s a gamble not everyone can play.
Media organizations are pressing a federal judge to permanently overturn an executive order from President Donald Trump targeting Perkins Coie, a law firm that represented Hillary Clinton’s 2016 campaign and pursued Voting Rights Act enforcement cases. In a friend-of-the-court brief submitted Thursday to U.S. District Court Judge Beryl Howell in Washington, D.C., over 60 media advocates and outlets—including the Daily Beast, the Intercept, the Center for Investigative Reporting, PEN America, Free Press, and Public Knowledge—contend that the order, if enacted, could deter lawyers from taking on media clients.
The groups warn that upholding the order would intimidate law firms from defending news outlets in disputes with the government, citing the historic clash between the Nixon administration and The New York Times and Washington Post over the Pentagon Papers as an example. “The New York Times and Washington Post relied on some of America’s most renowned First Amendment lawyers to publish the Pentagon Papers,” the brief states. “If this Executive Order survives, many attorneys will hesitate to take on cases that directly challenge the President, fearing repercussions for clients with government dealings.”
Trump’s March order seeks to terminate federal contracts with Perkins Coie and bar its lawyers from federal buildings. The firm has challenged the order, arguing it breaches the First Amendment by punishing them for their perspective. Last month, Judge Howell issued a temporary restraining order halting its enforcement. Perkins Coie has since requested a permanent injunction.
The media coalition asserts that news organizations and their legal counsel are likely next in Trump’s crosshairs. “If this order stands, it’s almost inevitable that a similar one will target law firms representing the press,” they write, pointing to Trump’s well-documented hostility toward media. They note that between June 16, 2015, and January 8, 2021, Trump attacked the press over 2,000 times, and the current administration has already acted against outlets, such as excluding the Associated Press from events for refusing to rename the Gulf of Mexico the “Gulf of America.” (The AP won a preliminary injunction in its lawsuit over this, though it’s not yet in effect.)
