Gosh. My first station; what an odd, yet unique format. It was a Gospel station with at least three dayparted formats. That meant we played a different style of music or programming depending on the time of day you were listening. Southern Gospel in the morning then time brokered religious programs mid-day, followed by traditional and urban contemporary Black Gospel. By 1986 I began my afternoon drive show with 30 minutes of Southern Gospel; the the rest of my broadcast was Contemporary Christian till 9pm. The listeners were confused, but what an education I gleaned from Gospel 90 WEAS AM (later WWJD) in Savannah, Georgia. I got from it a deeper appreciation for all forms of music as well as a lexicon of Gospel trivia.
The station was originally licenced to Savannah on 900kc in 1950 despite legal objections from the local broadcast community. See http://www.lawskills.com/case/ga/id/18820/Then it was known as WJIV. They played what was termed at the time "race records". Modeled after the highly successful WDIA in Memphis, Tennessee, WJIV served the African American community exclusively for about a dozen years. Forward to about 1963; WJIV station owner, E.D. "Dee" Rivers, Jr, moved the call letters "WEAS" from his Atlanta station on 1010 AM, today known as WGUN, to the Savannah station. I discovered that Rivers also made an unsuccessful bid for a TV station called WJIV-TV. Coinciding with the call sign change was a shift to a "Hillbilly" format, what we know now as Country. What a contrast! But it seems these listeners were under served and Rivers filled the need. I guess the sounds of Patsy Cline and Hank Williams were interspersed with preachers and the occasional Gospel tune. A few years later in '68 the 100,000 watt WEAS-FM was born. It began as an automated "Beautiful Music" or "Easy Listening" format. The FM later programmed "Progressive Rock" till the mid 70's. That's when I believe the "E-93" brand became reality. They were now serving the black community full time, the format that's a ratings winner for them until this day. I understand that the AM and FM were simulcasting in the morning in those days. The AM split away from the FM mid-day with preachers and Southern Gospel music 'til sun down.
By the time I joined WEAS-AM in 1983 it was mostly Southern Gospel. During the next 3 years the format evolved into the hybrid I described. Each disk jockey picked his own music. I could usually tune in at home and know which DJ was on by the music he or she played! It sounds as though it would be chaotic, but it worked, mostly.
Late 1983 enter a new manager from Arkansas one Charles Lewallen. He was a minister and believed in strict format. He objected to diluting our music selections with other variations of the Gospel form. One time he told me not to play a certain New Gaither Vocal Band selection because it sounded too "rock". That seems so ridiculous now. Gaither? Rock? I was 17 in October of 1983 when Charles changed our call letters to WWJD. The new call sign didn't easily roll off my tongue and was ten plus years before the unrelated WWJD bracelets. The acronym did NOT represent "What Would Jesus Do". Our name stood for, "Walking With Jesus Daily". A possible motive for the switch was a disassociation with our sister, WEAS-FM. Being a green teenager I complied with whatever management said. I had very little to do with the business end of radio.
The Atlanta Journal Constitution reported on January 30, 1985, that Mr. Lewallen had fired a female black announcer, Lucy Frazier, in summer '83. The report said she was suing the station for damages in US District court in Atlanta. I don't know how the case was settled but it explains a lot! Charles abruptly disappeared early 1984 or slightly before. The paper quoted him as saying, it was, "inappropriate for a black woman to play white gospel records ."
At the time we had a staff meeting admonishing us to remain quiet on the situation. I firmly believe that skin color should never enter the equation. Obviously, this manager had an eye on brand issues and image of the station. I'm not qualified to psychoanalyze his motive. His side is not very well represented in the article. I think this incident prompted the addition of black Gospel music to our line up. Lester "Leck" White was eventually added mid-days to provide some soul.
During this whole time the glue that held our little 5,ooo watt station together was Gloria (I omit last name to protect her privacy.) She had interviewed and hired me in the spring of 1983 and served as manager for my entire 3 1/2 year tenure and beyond. She had been pushed to the side briefly when Lewallen took over. I overheard a conversation between she and another DJ. She had felt slighted by the apparent demotion and threatened to quit. Long story short, she outlasted the new "manager" many years.
I would describe Gloria's management style as hands off. Our DJ's pretty much had free reign. Not that we were allowed to play Led Zepplin records or anything, I just mean we played almost any Gospel we wanted. She had a few exceptions though. A lot of upbeat Contemporary Christian numbers were forbidden, such as the Imperials' "Water Grave", from the "Sail On" album. A great many of the "Do not play" list were deliberately scratched through on the record album and rendered unplayable; a primitive, but effective insurance of compliance.
This all blew up in September of 1986. We were going to switch to Contemporary Christian! As a 20 year old who loved mainstream top 40 this was super news. The station had now been granted approval for 24 hour operation. For the 36 years prior to this occasion we were a "Daytimer", signing on at sunrise and signing off at sunset. As a concession to more powerful clear channel AM stations, our transmitter power was greatly reduced at night. I was made music director and coined "J-900" as a brand for our new sound.
The novelty wore off. I was disappointed to find out that the "format" would only apply to certain dayparts. CCM would be heard only after 3:30 pm. I blame sponsor control for the station's weak commitment to the music. The local preaching shows must have dictated our sound. Bummer! Our aim was to reach the youth demographic with the hotter sound. It was reasoned that most kids listened after class. Most callers to the station during that time were typically Christian private school students whose parents did not allow them to listen to secular music. We had a small captive audience.
We ventured into late night to the likes of Michael W. Smith's "Rocket Town" and maintained the genre until I left the station for the Atlanta market in late November of '86.
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