Theodore Mizuhara was an American sansei (a third-generation Japanese-American) and his ethnicity was kept a secret for his first year of broadcasting. 2 = Part 15 station with notability. But maybe it was The Beat’s incredible talent lineup that really had me in awe, then and now. KMEL had obtained even more talent from the DJ community, now bringing on Michael Erickson, Theo Mizuhara and Billy Vidal. Paul was in demand as a remixer. On January 14, 1955, KGO-FM moved from 106.1 to 103.7 and today is KOSF. [9] Despite the format switch, the KMEL callsign was retained as a holdover to this day. As a DJ on an Urban Contemporary station, his deep voice led most to assume he was black. On May 7, 1958,[2] RKO General, owner of Top 40 powerhouse KFRC 610 AM, was granted authority to construct a new station at 106.1 FM and on July 20, 1961,[2] it became officially licensed with the call letters KFRC-FM. {{collectionsDisplayName(searchView.appliedFilters)}}, {{searchText.groupByEventToggleImages()}}, {{searchText.groupByEventToggleEvents()}}. [15] Promoting her song "Slave to the Rhythm", Grace Jones visited the morning zoo in 1986, meeting Hall, London, and Engelman. Produced by Theo Mizuhara. Radio DJ Theo Mizuhara: AArising Records: 1/4/95 4:55 PM: For those of you who are interested in finding out the person behind the voice of "Theo" on Los Angeles radio station KKBT "The Beat" you can ... drive for about a year now or so. Another station, WPGC-FM in Washington, D.C., would follow suit in July 2012). The FM station was originally licensed at 96.9 FM in 1946. "[8] In August, Bennett and Regelski went to work at KQAK. KMEL (106.1 FM) is an urban contemporary radio station that is licensed to San Francisco, California, and serving the San Francisco Bay Area. His name is Theo Mizuhara, and he had this golden silky voice that basically was his claim to fame, especially when he got on the show called Love Lines. It is currently one of the highest-rated stations in the San Francisco Bay Area, with the largest listening audience males 18-to-34 demographic. Bennett and Regelski left KMEL in June after the station hired Sebastian, Casey & Associates as programming consultants to increase ratings. Bennett anchored the morning position which was followed by well-liked veteran Tony Kilbert covering mid-day, music director Paul Vincent covering the afternoon, then Mary Holloway and Michael St John in the evening. Theo, Actor: Waiting to Exhale. The music, the branding, the imaging and the promotions were all top-notch. [8] In September 1982, KFOG entered the battle for rock-listener market share after dropping its beautiful music format in favor of an eclectic mix of rock. David is presenting a session titled, “Five Simple Tools to Make Your Show Better.” Larry Gifford, former pd at KSPN, is now a programming and talent consultant. KMEL, as of 2012, is now listed as urban contemporary per RadioStationWorld.com rather than rhythmic. [7] KMEL lost market share to its competition—KQAK, KRQR, KOME and KSJO. It is one of the last remaining urban contemporary stations on the Mediabase rhythmic panel. [10] In response, KMEL introduced new music shows The Wake-Up Show hosted by Sway Calloway and King Tech and Street Knowledge hosted by Davey D, in addition to the public affairs program Street Soldiers hosted by Joseph E. [10] Meanwhile, a third competitor, KHQT out of San Jose, was also in competition with the two stations until 1995, when it changed formats under new ownership. This contributed to the brief decline of KMEL's ratings since the station has a specific audience target. The station has played a significant role in the promotion of hyphy music in the San Francisco Bay Area by playing tunes from many of the local artists associated with hyphy. He originally started at KKBT doing KMEL finally dropped the AOR format at Noon on August 25, 1984, and flipped to a mainstream CHR format designed by new program director Nick Bazoo, brought in for the purpose from WEZB in New Orleans. People would call in, talk about their relationships, and then he would DJ and put music on. Theodore Mizuhara was an American sansei (a third-generation Japanese-American) and his ethnicity was kept a secret for his first year of broadcasting. Theo Mizuhara is, in fact, the son of second-generation Japanese American parents--and he’s such a hot figure in the hip-hop world that such hit rappers as Warren G … Their Hip Hop stars were more controversial and their race riots lasted longer and destroyed more businesses. Theodore also answers to Theodore M Mizukara, Theodore M Mizuhara and Theodore Mark Mizuhara, and perhaps a … The song became so popular that it gave Salt-n-Pepa their first mainstream crossover hit. Los Angeles in the 90s was an interesting place, it had everything we have now but bigger and better. The station was alternately known as "KMEL Jams" in the mid-1990s. KGO-FM moved to 106.1 FM on November 3, 1947, with facilities at a former General Electric plant on East 12th Street in Oakland. Theo is an actor, known for Waiting to Exhale (1995), Dangerous Minds (1996) and Moesha (1996). Listen to Theo Mizuhara (106.1 KMEL) Rebroadcast of First Power Mix by DJ Fussbucket & Special K for free. Lt. Col. Osborne Wrigley-Pimley-McKerr III, Islam in Indonesia Compared with Buddhism in Thailand (2013), My Opinion of the Australian Taxation System (2013), Social Structure Compared with Social Interaction (2013), What happen to The Beat? Some digging reveals an address on Mulholland Drive, which could mean he still lives among most of his fans. [10] The fierce competition over the coveted 18-34 "urban" listening audience continued for another four years until the passage of the Telecommunications Act of 1996 expanded the limit of radio stations that a company could own. KMEL became known as one of the most innovative stations because of its music selection and the type of programming it was doing, plus the air personalities' focus on the community. KMEL also competes with Urban adult contemporary ("Urban AC") formatted KBLX (now owned by Entercom). Frequent guest DJs were also rappers, including Ice-T, Ice Cube, Kid Frost, LA Dream Team, Snoop Dogg, and Rodney-O & Joe Cooley. The majority of KMEL's playlist features music under the rubric of the Urban Contemporary format, heavy with hip-hop and R&B. With so many AOR stations in the Bay Area, KMEL faced stiff competition. Dom Kennedy raps “What happen to The Beat? [10][20], Many popular Bay Area and national media personalities either got their start or spent time working at KMEL, including Alex Bennett, Howard Hoffman (aka Howard "The Refrigerator" Hoffman), Rick Chase, the Baka Boyz, Renel Brooks-Moon and J. Paul Emerson.[20]. Now that time has passed people have a very different stance, but that big debate back then lead to the formation of the Bay Area Hip Hop Coalition. On July 2, 1977, after Century Broadcasting purchased the FM station, K106 was rebranded KMEL, playing album-oriented rock ("AOR"). [13] Jeff Chang credits KMEL's reputation as "the people's station" for its location "blessed with one of the strongest campus and community radio networks in the country. Theo Mizuhara - Samples, Covers and Remixes on WhoSampled. The new owners guided KMEL into its current urban contemporary format, effectively shedding its Top 40 direction for good and refocused now as an R&B station with a strong emphasis on hip-hop. Because the station broadcasts live via streaming audio from their website, it gives the genre a platform for possible worldwide exposure. KMEL's mixshows have long contained exclusive hyphy music which can seldom be heard over the airwaves elsewhere in the country. [12] Bazoo left KMEL for Los Angeles in June 1985, and Steve Rivers was hired from Tampa to take his place as program director. “As a West Indian I am proud of the history and many great players our many small islands have produced.”. In line with its slogan, "The People's Station", KMEL broadcasts the community-affairs show Street Soldiers, hosted by Dr. Joseph E. Marshall, on Sunday evenings.[25][23]. Per Nielsen BDS reports, they are urban contemporary, KBFB in Dallas/Fort Worth are rhythmic contemporary stations per Mediabase reports, but they report on the BDS urban panel despite being the only rhythmics in those areas where there are existing urban contemporary stations (WKYS/WERQ and KKDA-FM). The station's powerful signal is heard all over the Bay Area and covers areas as far north as Santa Rosa, as far east as Elk Grove in the southern portion of Sacramento County, and as far south as the Santa Cruz Mountains. Archive 81 An archivist hired to restore a collection of tapes finds himself reconstructing the work of a filmmaker and her investigation into a dangerous cult. 106.1 FM began as KGO-FM, sister station of KGO. Evergreen Media ended the ratings war with KYLD by purchasing it later that year. Steve Rivers left KMEL to work at KIIS-FM in Los Angeles, so Lee Michaels was hired as program director. In early 1987, KMEL hired popular club DJ Cameron Paul away from rival KSOL because of his sizable following. The year 1982 saw many changes at Bay Area rock stations. Deep-voiced DJ Theo had a successful radio show on LA’s 92.3 The Beat and the station hit #1 in the ratings multiple times. KMEL was the first pop station in the U.S. to play "Wild Thing" by Tone-Loc and "Bust a Move" by Young MC and first of any radio station in the country to play "U Can't Touch This" by Oakland rapper MC Hammer and "Ice Ice Baby" by Vanilla Ice. KMEL was a top-rated station in 1980, with a tightly formatted approach,[4] and along with newer rival KSFX, helped force legendary rival KSAN to switch to country music. Lewis Howard Latimer invented the carbon filament to … When Michaels left, Keith Naftaly had been recognized as the Music Director of the Year by the Gavin Report, and this helped him rise at the age of 24 to the position of program director in June 1987. In late 1986, KMEL wanted to explore the mix show format, which Naftaly and Michaels put into place Powermixers DJ Dave Moss and DJ Alex Mejia as interns on a new Saturday night show called "Club 106." The Beat’s all-star lineup included John London and The House Party (mornings), Diana Steele (middays), Theo (Afternoons), and Lisa Canning (Evenings). Paul remixed Salt-n-Pepa's "Push It", which had been a B-side song, and this remix was played first on KMEL. [3] With news reporter/sidekick Joe Regelski, Bennett built a large following over the next two years, becoming known as a "benignly nasty" morning DJ, "the guy everybody loves to hate", according to Promotion Director Ken Wardell.[5]. Summary: Theodore Mizuhara's birthday is 10/25/1965 and is 55 years old. Radio DJ Theo Mizuhara Showing 1-17 of 17 messages. [9] Rock and most pop titles were eliminated in the process. KMEL suffered a setback in ratings between 2009 and 2010. "[10] Two on-air personalities hired in this era came from local college radio stations: Davey D from UC Berkeley's KALX and Kevvy Kev from Stanford's KZSU. Also in 1992, KSOL, which ironically suffered in ratings due to KMEL's newfound success, retooled itself as KYLD "Wild 107.7" (now "Wild 94.9") and quickly emerged as KMEL's prime competitor for their mutual core audience demographic. The first song under the new format was "Wanna Be Startin' Somethin'" by Michael Jackson. Ooh, bop! This January, put your resolutions on hold and dive into some great streaming picks. 1 = Clear-channel stations with extended nighttime coverage. KMEL is one of two area stations to play gospel; KBLX is the other. The station also hired new music director Hosh Gurelli from Boston. Marshall. Today, meh, radio is so bad...its the same everywhere. In addition to its typical daytime mixture of hip hop and R&B, KMEL plays R&B and soul slow jams from roughly 10:00 pm to 1:00 am Monday through Thursday. [3] The station used the KMEL call letters to name itself "Camel 106". His dismissal occurred after new Program Director Michael Martin took charge of the station, and happened at the same time as the station changed many programming elements, as well as coinciding with the layoffs of several other station personnel, including on-air personalities Trace-Dog Nunez, Rosary Bides, and Franzen Wong. While any longtime urban contemporary stations in other major cities (like WPGC-FM in Washington D.C. and KPRS in Kansas City) had to introduce songs typical of what is played on rhythmic radio stations to reboost ratings, KMEL programming executives decided not to revert to its rhythmic/urban roots; it remained urban and instead the playlist rotation was tightened as of 2010 in order to keep the longtime station from changing formats. [22][23], On August 15, 2013, KMEL fired longtime morning host Jesus "Chuy" Gomez after 20 years.[24]. Under Naftaly's guidance, KMEL gravitated its format direction from top 40 pop to rhythmic by adding more urban artists and increasing its popularity with younger audiences. It even plays Old School hip hop and soul during midday mix show "The Twelve O'Clock Throwback Mix", on Friday mornings "Funky Fridays", and mixed in general during their weekend playlist rotation. Urban contemporary gospel airs on Sunday mornings. Following in their brothers' footsteps, DJ SpinCycle and DJ Ham Slomo are now making their own mixes. In January 1982, KMEL obtained a new rival when KCBS-FM transformed itself from an adult contemporary-format station into rock-formatted KRQR. [9] Bazoo was credited with breaking the song "One Night in Bangkok" in May 1985. Toni! [6] In May 1982, AOR competitor KSFX dropped rock and went to a talk format as KGO-FM. [19] Bay Area artists Too Short and Digital Underground also got early airtime on KMEL.[13]. Since he lost or gave up his show on 92.3 The Beat, DJ Theo has sunk to complete obscurity. This was mainly due in part to Arbitron phasing out the diary keeping approach to ratings for the PPMs. The present-day format has made the station less synonymous with the previous short lived formats and became more recognized in the Bay Area's African American community all the while targeting a wider audience to date, thus giving it heritage status through the callsign. Theo Mizuhara, Self: Gas. KMEL is rebroadcast on the following FM Booster: By introducing their music, KMEL established many artists' careers in the late 1980s and 1990s, including Mariah Carey, En Vogue, Tupac Shakur, Digital Underground, DJ Jazzy Jeff & the Fresh Prince, MC Hammer, Queen Latifah, MC Lyte, Timex Social Club, Tony! Theodore Mizuhara lives in Los Angeles, CA; previous cities include Oakland CA and San Mateo CA. The governing body even created a unique flag for the team and a unique anthem. This was a year or two before the takeover of The Beat by DJ Theo Mizuhara, his silky voice becoming synonymous with all … [9][10][11] Bazoo took on the young Keith Naftaly as music coordinator. The station also hired new music director Hosh Gurelli from Boston. No, you're never gonna get it Never ever gonna get it ... Now you're talkin' like you made a change [20], Chancellor Media (later AMFM Inc.) later purchased Evergreen Media (along with subsidiaries KMEL and KYLD), and AMFM was then swallowed up by Clear Channel Communications via a $24 billion deal in 1999. Starring Kiko Mizuhara. That same year, KMEL signed popular New York radio personality and San Francisco native Alex Bennett. DJ Theo certainly has not been forgotten. It’s a long time ago. [7] Bennett said that programming consultants were "the single most cancerous force in our industry. [10] Jeff Chang blames the Telecommunications Act for reducing the amount of community-based programming and causing playlists to become more generic on urban stations nationwide.