I remember jocking at WHTT... in Miami Beach... for Metroplex... they were Y-100's sister station. Had been Spanish 1980-1982, then was R&B oldies... for a moment... it was 1260 AM !
And Y-100 is still around today.I remember jocking at WHTT... in Miami Beach... for Metroplex... they were Y-100's sister station. Had been Spanish 1980-1982, then was R&B oldies... for a moment... it was 1260 AM !
...well... kinda LOLAnd Y-100 is still around today.
The Miami WHTT, with a transmitter site to the west of Sweetwater, had studios in the Y-100 facility in Hollywood where we shared the floor, as well as engineering, accounting and traffic and even the production rooms. The format was Spanish language Top 40.I remember jocking at WHTT... in Miami Beach... for Metroplex... they were Y-100's sister station. Had been Spanish 1980-1982, then was R&B oldies... for a moment... it was 1260 AM !
I only seem to be able to recall the name of one DJ, "Lee Gillette". Bill Smith may have been doing mornings, but that may've been when they became WZLX.Ok, however I do not remember hearing any of them at all, except for near the end, where they had radio announcers talking as if they were consultants.
Why you said this I do not know.Ok, however I do not remember hearing any of them at all, except for near the end, where they had radio announcers talking as if they were consultants.
Yes.... they moved WHTT from Y-100 studios in Hollywood, to the old 96X Studios, Miami Beach. When we started the R&B oldies version of the station, some of Y DJs arrived just as the Hispanic station had just changed format. The whole station had been left just as it was, when they let the old staff go. The old 96X building had a haunted elevator.... and as David Eduardo mentions, the signal was not so hot!The Miami WHTT, with a transmitter site to the west of Sweetwater, had studios in the Y-100 facility in Hollywood where we shared the floor, as well as engineering, accounting and traffic and even the production rooms. The format was Spanish language Top 40.
In 1982, the transmitter site which was shared with WQBA-FM was firebombed and completely destroyed. The temporary facility, due to directional antenna protection requirements, was so limited that it could not be heard in most of the market.
After rebuilding the transmitter building and the phaser, it was sold to Herb Levin and Julio Rumbaut, the former manager and assistant manager of WQBA and became Radio Suave with traditional Cuban romantic music.
I was the GM of WHTT for Metroplex.
This was in regards to the continuous loop, that WKKT was broadcasting just before they became WZLX instead.Why you said this I do not know.
Now, are we talking about the same station?Yes.... they moved WHTT from Y-100 studios in Hollywood, to the old 96X Studios, Miami Beach. When we started the R&B oldies version of the station, some of Y DJs arrived just as the Hispanic station had just changed format. The whole station had been left just as it was, when they let the old staff go. The old 96X building had a haunted elevator.... and as David Eduardo mentions, the signal was not so hot!
I really don't remember WKKT. Which is funny as I remember 103.3 as Hit Radio. But that might be more logged into my brain, because I remember the talk from younger and older people when it flipped to WODS after.This was in regards to the continuous loop, that WKKT was broadcasting just before they became WZLX instead.
WKKT was only around for half a year or so. I think that it was originally WHUE, but do not quote me on that one. WHTT, on the other hand, lasted over 4 years, not including it's forerunner of WEEI-FM slowing morphing into the new calls for approximately for 6 Months also. And "Hit Radio" came in with a bang, catching the younger generation, as Kiss 108 continued on a much more adult learning, R&B induced CHR instead. For me, it was in-effect, WXKS-FM being what my parents listen too instead.I really don't remember WKKT. Which is funny as I remember 103.3 as Hit Radio. But that might be more logged into my brain, because I remember the talk from younger and older people when it flipped to WODS after.
It actually flipped to a short lived format ‘Quality Rock’ (can’t recall the call letters) before it flipped to WODS.I really don't remember WKKT. Which is funny as I remember 103.3 as Hit Radio. But that might be more logged into my brain, because I remember the talk from younger and older people when it flipped to WODS after.
You are confusing them with WMRQ "Q 103" instead.It actually flipped to a short lived format ‘Quality Rock’ (can’t recall the call letters) before it flipped to WODS.
That I didn't remember. However, at that time rock stations for me relegated mostly to WBCN.It actually flipped to a short lived format ‘Quality Rock’ (can’t recall the call letters) before it flipped to WODS.
No WFNX for you then?That I didn't remember. However, at that time rock stations for me relegated mostly to WBCN.
No. My old man was more into the more mainstream things. I got into WFNX in the Nirvana rise.No WFNX for you then?![]()
And that was when I started to feel alienated from the station.No. My old man was more into the more mainstream things. I got into WFNX in the Nirvana rise.
I like the 80s and modern rhythmic alternative, now. When I was younger, everything required "real instruments" being played.And that was when I started to feel alienated from the station.
And voices were largely unprocessed, although double-tracking was common. That technique was used to help thin voices like Phil Collins' and Gilbert O'Sullivan's add greater texture.I like the 80s and modern rhythmic alternative, now. When I was younger, everything required "real instruments" being played.
Good point. I remember my mother playing music from acts like Abba, and my father yelling "turn that off" when I would put it on. "Here, listen to this." It was Black Sabbath or Hendrix or any other 60s or 70s rock act. I remember him getting me into Social Distortion. That was in the mid-80s. He brought me home Appetite for Distruction when it first came out.And voices were largely unprocessed, although double-tracking was common. That technique was used to help thin voices like Phil Collins' and Gilbert O'Sullivan's add greater texture.