On September 20, 1951 KPAM began operation on 1410kc. with the power of 1KW. KPAM was owned by Broadcasters Oregon Limited. (Stanley M. Goard, President & General Manager). 2nd floor studios & transmitter were located in Healy Heights on Sentinal Hill. (4700 S.W. 19th Ave.). Call meaning: Portland Amplitude Modulation. KPAM simulcast it's FM sister station KPFM, 9AM to sunset daily. KPAM was brought in to help bolster KPFM's small listenership. Stand alone FM's were going dark all over the country. FM broadcasting had not caught on as fast as predicted. (for more on the studio building & FM side, see: Stan Goard's KPFM To KKSN-FM). KPAM's P.D. was Thomas Hotchkiss & Charles K. Dickson, C.E. KPAM broadcast a few classical programs along with opera & organ music.

On July 27, 1953 KPAM broadcast hours expanded 6AM to sunset Monday through Saturday & 9AM to sunset Sunday. By December 1954 Dougles Ducklow was P.D. & John C. Lewis, N.D. KPAM's format by now was Classical music. Slogan: Portland's high fidelity station. By December 1955 James T. McGuire was P.D. & Gordon R. Larson, C.E. Slogan: Portland's good music station. On March 11, 1956 KPAM broadcast hours were reduced 6:30AM to sunset daily. By August 1957 the studio & transmitter address changed to 4700 S.W. Council Crest Drive. On January 6, 1958 KPAM broadcast hours expanded 6AM to sunset Monday throught Saturday & 6:30AM to sunset Sunday. By early April 1958 KPAM/KPFM had the largest schedule of taped classical broadcasts in the Country. By August 1958 Jim McGuire was Assistant Manager as well as Program Director.

On September 1, 1958 KPAM raised power to 5KW. First Continental 315-B transmitter to be installed in the West. By November 1958 KPAM slogans: Radio high fidelity. Your good music station. On April 23, 1959 KPAM was sold to Gospel Broadcasting Co. (Reverend F. Demcy Mylar, President) for $200,000. (price included simulcast FM sister). Robert W. Ball became G.M. Transfer took place on 5-20-59. Then on July 15, 1959 the FCC ordered KPAM & FM returned to it's previous owner, pending a hearing on protest from KPDQ. (5-20-59 permit temporarily stayed). KPDQ questioned Rev. Mylar's ownership of KRWC Forest Grove, constituting part of the Portland Market. Rev. Mylar withdrew.

On January 9, 1960 KPAM was sold to Chem-Air, Inc. (William E. Boeing, Jr., President) for $200,000. (price included simulcast FM sister). Transfer took place on 4-1-60. Del G. Leeson, G.M., Don Wirtz, P.D., Theodore Hanberg, C.E. In June 1960 Bob McClanathan became C.E. (formally from KEX). By August 1960 KPAM slogan: Portland's fine music station. By September 1961 Don Vincent was P.D. On October 18, 1961 KPAM joined the 17 station non-interconnected QXR Classical Network. (flagship: WQXR-FM N.Y.C.). Slogan: The home of the classics. In 1963 the studio & transmitter address changed to 3101 S.W. Fairmont Blvd. The mailbox had been moved to a private road just off Fairmont, which is just below Council Crest Dr. By July 1963 Lloyd Yunker was P.D. By 1964 KPAM's slogan was: Better music.

On October 19, 1964 KPAM dropped it's Classical music, switching to an MOR format. On October 1, 1965 KPAM was sold to Romito Corp. (derived from last names of owners: Walter "Wally" P. Rossman, President & General Manager, Dr. Samuel L. Miller & Marvin R. Tonkin, of Marv Tonkin Ford Sales, Inc., 1/3 interest each) for $175,000. (price included FM simulcast sister). Transfer took place on 12-1-65. John Edwards, P.D. (aka Warren Weagant, of the family owned KKEY) & Nat Jackson, N.D. By Fall 1966 the KPAM air staff included: John Edwards 6-10AM & P.D., George Goode 10-2PM, George Boston aka Boston Blackie 2-7PM, Bob King 7-sunset, Nat Jackson, N.D. & Bob McAnulty (show time unknown).

On June 20, 1967 Wally Rossman purchased full ownership of Romito Corp. for $20,000. and assignment of liabilities. (price included FM simulcast sister). By November 1967 George Goode was N.D. By March 1969 KPAM had changed format to Top 40 with D.J. "Sunny Day" doing Afternoon Drive. By July 1969 the KPAM air staff included: Bob King 6-10AM & P.D., George Goode 10-2PM, Bob Brooks 2-7PM, Dan Foley 7-sunset & Bob Lee, N.D. By March 1970 station I.D. KPAM-FM & AM Portland. Slogan: K-Pam, AM 14. By June 1970 Craig Walker (formally on family owned KROW) was Jocking Middays. By September 1970 Paul Hansen was N.D.

In November 1970 K-Pam affiliated with abc's American Contemporary Radio Network. In September 1971 the K-Pam air staff included: Mike Dinean 6-9AM, Bill Donovan 9-noon, Dick Jenkins noon-3, Craig Walker 3-7PM & P.D., Mark Lewis 7-sunset & Mike Turner, N.D. In June 1972 the K-Pam air staff included: Michael O'Brien (formally on KISN) Morning Drive, Bob Marks (aka Micheal Bailey) Middays, Gary Stevens (formally Sunny Day on KPAM & Jimmy Cassidy on KISN) Afternoon Drive & P.D. Jim Donovan, PM-sunset & Mike Turner, N.D. Also in 1972 the studio & transmitter address changed back to 4700 S.W. Council Crest Dr. In 1973 K-Pam dropped the abc Contemporary Network. By September 1973 Edward Hoyt was P.D. & Tom Cauthers, C.E. (formally with KISN News).

On December 7, 1973 KPAM became KLSC. Call slogan: cLaSsiC radio, KLSC. On this date KLSC began broadcasting an automated oldies format supplied by syndicator A.I.R. (American Independent Radio). AIR's "Classic Gold" format featured hits from 1955 to 1963. KLSC slogan: All the oldies, all the time. The KLSC automation & studio were on the 1st floor basement, near the transmitter. In April 1974 syndicator AIR changed it's name to reflect joint owners: Drake-Chenault Enterprises, Inc. (Bill Drake & Gene Chenault: Consultants, were behind the music & sound of "Boss Radio" 93 KHJ). By November 1974 Fred C. Delahey was KLSC's G.M. In February 1975 Mark Lewis bacame N.D. Also in 1975 KLSC expanded it's oldies format to include hits from 1955 to 1969 & Pat Pattee began a live Weekend Afternoon Show. (formally on KISN).

On April 30, 1976 KLSC became KPAM once again, simulcasting it's FM sister's Top 40 format. KPAM also re-affiliated with the abc Contemporary Network. Slogan: K-Pam, AM 14. In October 1976 Byron Swanson became C.E. (formally KISN C.E. & D.J. Johnny Dark). By December 1976 Charlie King was G.M. & Bob Beran, N.D. (formally with KGW News). By December 1977 Victoria Stewart was N.D. Slogans: The soundship K-Pam. The best of both worlds (AM & FM). Real people radio. AM 14. By December 1979 Bill Maye was P.D. & Pat Wood, N.D. By 1980 KPAM was using a Harris MW-5A transmitter. In June 1980 Gary Hilliard became C.E.

On September 5, 1980 KPAM was sold to Duffy Broadcasting, Inc. (Robert J. Duffy, President) for 3.5 Million (price included FM simulcast sister). Harold Hinson, General Manager. Between October 5 & 12, 1980 KPAM switched to a Contemporary Christian format. Slogan: Music you can believe in. K-Pam dropped the abc Contemporary Network. Tom Farley, Station Manager & Program Director. The studio was across the hall from it's sister station, on the 2nd floor.

On July 26, 1982 KPAM became KCNR. Calls from FM sister. KCNR began simulcasting it's FM sister's Hot A.C. format. Greg Fabos became G.M. By December 1982 Thomas T. Farley was G.M., Richard Harker, P.D., Sherm Meyer, N.D. (formally with KISN News) & Jack Ondracek, C.E. In October 1983 Martin Greenberg became President of Duffy Broadcasting. By December 1983 Gary Hilliard was back as C.E. In January 1984 Tom Farley became V.P. as well as G.M. By December 1984 Trevlyn Holdridge was P.D. In January 1985 David McDonald became V.P. & G.M. In Spring 1985 the KCNR air staff included: Jim Donovan (formally on KPAM-FM & KGW) Morning Drive, Bill Jackson, Middays, Glynn Shannon (formally on KGW) Afternoon Drive & Carolyn Meyers, N.D.

On July 1, 1985 it was announced that KCNR's FM sister was purchased by FVBC, Inc. and that Duffy Broadcasting was looking for a buyer for KCNR. Finding a buyer for a stand alone daytimer, proved to be more difficult than first thought. KCNR continued to simulcast it's former FM sister. By July 14, 1985 the air staff included: Jim Donovan 6-10AM, Bryan O'Neal 10-3PM, Scott McLeod 3-6PM & P.D. & Jon Windus 6-sunset. On October 7, 1985 KCNR switched format to what was described as "a careful blend of Adult Contemporary music geared to the 25 to 44 age group." The slogan changed to: K-Lite. By November 1985 the air staff included: Dave Allen 6-10AM, Bryan O'Neal 10-3PM, Bill Jackson 3-6PM & P.D., Jon Windus 6-sunset & Dana Jeffries, N.D. Slogan: K-Lite, playing favorites from yesterday & today.

On April 1, 1986 KCNR was sold to Gothic Broadcasting Corp. (Richard A. Hodge, Owner & President. Mr. Hodge was a Superior Court Judge in California). On this date KCNR change to a Jazz format. Roger W. Morgan, G.M. (formally on KISN). KCNR was run by volunteers & had no sales staff. On December 25, 1986 KCNR became KKUL. Call slogan: cooL jazz. The calls were changed on Christmas Day, so the air staff could wish it's listeners "A Cool Yule." In February 1987 KKUL began paying it's air staff and started going after commerial business. George Fendel, P.D. In Summer 1987 KKUL moved studios to The Imperial Hotel. (400 S.W. Broadway).

On October 16, 1988 KKUL went dark. Five days later on October 21, 1988 the FCC granted transfer of license to KKUL Radio, Inc. (Fred W. Hudson, principal) for $225,000. 1410 would return in 2 1/2 months, but that's another story. Stay tuned....

A Special Thanks To Gary Hilliard for his invaluable assistance in this radio history.

I saw no mention of Tom Michaels who did middays for many years.

I believe that Tom Michaels was mentioned in the 97.1 history. I think he was mentioned in a D.J. line up during the KLSC period. Of course these are just mentions in time. He very well could have been heard on KPAM at some point. This is not an exact science in everything.

I can still hear him in my mind, "KPAM FM 97, also on your AM car radio at 14."

Oooh! Good One Randy. I remember. Or how about this memorable one "Customer service in the Home Improvement Department" Fred Meyer.

Yes ...Tom worked at Kpam for Wally Rossman.
He was the SMOOTHEST mid-day jock in Portland radio history, a great master at production &
terrific TV pitchman. Tom also was national P.D
for Star Stations (approx 2 yrs)
He was a wonderful friend. Hired me at Kisn after driving him bonkers on the phone for a gig. I will never forget him meeting me for lunch and saying "Listen..I will give you the fill in job if you just quit calling me" I learned alot from Tom. He was always there to teach young people in the biz a new angle. I can remember him reading a live spot for Fred Schwary appliance and cueing a record behind his back at the same time. A real
pro. He was hired at Kisn to fill in for Tiger Tom Murphy...around 1961. Tom also had the coolest sport cars!

Remember Tom's end of shift sign off line? "Thank you Portland for makin' my day".

Tom's voice might have been on KLSC (1410 AM) on a limited basis. I worked with Tom in 1974. Back then, the KPAM (97.1 FM) jocks had to voice some spots and weather tracks for the automated oldies KLSC.

Craig, thanks for more great memories. I remember many a time going down to the basement to voice the weather & change the KLSC music reels.

When KPAM went to KCNR, I was doing afternoon for the AM, Glynn Shannon was on the air same time on FM. The doors from both studio's entered right into a small little area between the sales office and front office. Since both stations were playing the same format, many times Shannon and myself would be playing the same song just a few seconds apart. One day we were playing the same song at the exact same time. We just happend to come out of our studio's at the same time and realized what was happening. Glynn let out one of his classic "Bwaahh's" that we had finally succeeded in playing the same song at the same time. Talk about the need to get a life as a DJ!

FYI-The female doing the "Help in the bottle return" at Fred Meyers is Barb Hughes. My lovely wife. Nice gig.

Tom Michaels was simply one of the best.

Stevenaganuma: Did you have to change the KLSC reels when you were on the air? If so my story next won't be as funny.

When KKUL moved to The Imperial Hotel, they didn't have enough money to install remote controls for their transmitter. Kissin' 91 DJ's & later after the change Kissn'-FM DJ's would have to run down stairs to the basement to turn on & off their transmitter. I remember running up & down those stairs with 2:00 to 2:30 second songs playing and then going on the air out of breath! I also remember KKUL calling our Hot Line in the morning at times to remind us to turn them on! Oops! Sometimes DJ's would forget to turn KKUL off also. We also had to fill out their transmitter logs.

I remember the KLSC music reels lasted about a day before they had to be changed. So it wasn't that big of a pain to deal with.

Semoochie....are you the moderator on this message board now? I noticed when you copy a message, (control C) and paste it (control V) it has "moderator" listed after your name. Everyone else says "user."

Your move, Dan!

When was 1410 granted it's 9 watt night power?

Radioexpert....I remember KPAM getting pre-sunrise authorization around 1981 sometime. It was about 75 watts as I remember. It did cover a good chunck of Portland but nothing beyond that. The night power happened after I was gone.

1410 KPAM's "K-Lite" AC days would've flowed quite nicely into Vancouver's 14 CFUN, after sunset. I often listened to CFUN, when they were AC.

1410 KPAM's "K-Lite" AC days would've flowed quite nicely into Vancouver's 14 CFUN, after sunset. I often listened to CFUN, when they were AC.

Is 1410 night time power is 9 watts? Because it seems that they are 250 watts or 500 watts at night. If this station was 9 watts then it would only be hear Oaks Park to downtown only.

The last time I listened, KBNP came in well until I got to the Rose Garden. That sounds about right for 9 watts. KLIQ used to cover most of the city with 50 watts and that's only about double the coverage on 1290.

There is no mention of KPAM night or pre-sunrise power in my 1982 Broadcasting Yearbook with 1981 info.

During the KKUL period there was no night or pre-sunrise power. KKUL signed off at sunset. The Kisn DJ's had no power reduction or increase to do.

KBNP by 1993 was running with 9 watts nights and 71 watts pre-sunrise. By 1996 they were 250 watts nights, as they are now.

According to the FCC Database, KBNP is licensed for 9 watts at night. I have never seen an application requesting higher power and there is nothing else listed. I'm fairly certain that 250 watts nondirectional would interfere with CFUN and several California stations and would not be authorized. This is one reason why the station only had 71 watts presunrise when most stations ran 500, including KKEY, which had to settle for 47 at night. I think I was once told by the station, itself that the power was 250 watts but something just doesn't jell. I believe that post-sunset and later, nighttime authorization for daytimers came after 1982, which would explain why it isn't mentioned in the book.

Semoochie: Well I can't argue with FCC Database and on more than one occasion I've found the Broadcasting Yearbook to be wrong.

At one time, this station was running 5kw at night. You could go to Salem and it would just bomb in! The 250 watts is almost an urban legend, which I suspect emanated from the station, itself. I don't know if it was intentional but I think some people at the station actually think they're licensed for 250 watts and maybe that's what they're running now!

has anybody ever made money running 9 watts?

Newly discovered evidence of primitive broadcast stereo.

Up to now it was believed the first stereo broadcasts in Portland took place on May 18, 1957 when KPAM and sister KPFM together simulcast stereophonic sound from a concert on magnetic tape. Each station broadcast one channel of the concert. Listeners were told to place their FM radio at one end of a room and their AM at the other.

Now we have evidence stereo was broadcast in Portland using this method "live" four years in earlier.

The Sunday Oregon Journal, February 8, 1953 - B. Mike column:

Stations KPFM & KPAM at 12:30pm today will present a demonstration of binaural, or third dimensional broadcast sound. Listeners are instructed to tune to both stations simultaneously with two radios.

There was no mention of stereo or stereophonic. It could be, the word was not known yet. Other Sunday stereo concerts were broadcast in the weeks that followed.