For all but the final two years of their tenure with the format, KFAC boasted an airstaff with unprecedented stability and continuity including announcers Carl Princi and Fred Crane, and possessed the largest classical music library of its kind west of the Mississippi.

[5] Launched by the antecedent of Biola University in 1922, the current KWKW license also holds a distinction of being the oldest surviving radio station in the United States to have been built and signed on by a religious institution.

[24][31] Removed after the building's 1988 demolition,[32] the sign was purchased by Gene Scott and placed on the United Artists Theatre in Los Angeles' downtown (renamed "University Cathedral")[33] and later were moved to Glendale along with the ministry's headquarters.

[41] As the studios were located in the dealership's fifth floor penthouse,[39] large radio towers were erected on the roof but were purely for display and advertisement purposes[40] as KFAC's actual transmitter site was moved to Los Angeles' Crestview neighborhood.

[59] Among the child actors who performed on the "Whoa Bill" Club, bobby soxer Louise Erickson found the most fame, having started her professional career at age seven, cast as a fairy princess.

Legendary broadcaster Stan Chambers began his career in 1937 as an actor for a weekly children's program produced by one of his teachers at St. Brendan School, visiting the station repeatedly.

[76] Through the remainder of the 1930s, and indeed on that aforementioned 1938 date, KFAC's program lineup was a mixture of Concert Hall, live and recorded music, Times newscasts, sporting events, the "Whoa Bill" Club and scripted fare.

[78][79] Having been encouraged by his wife to enter radio broadcasting,[73] Thomas Cassidy joined the station from KIDO in Boise, Idaho, in December 1943 as the host of Evening Concert,[80] a role he would maintain for the next 43 years.

Meanwhile, Uncle Whoa Bill—whom Thomas Cassidy's son was a fan of[73]—lasted up to September 14, 1951, when it was quietly dropped from the lineup;[107] Viennese Varieties, sponsored by Baker Boy Bakeries and hosted by Dick Crawford, replaced it the following Monday.

[122] An advertisement taken out by KFAC in Broadcasting Magazine celebrating the studio move also boasted that they now held a library of music recordings that weighed over 28 tons, enough to ensure that the stations could be programmed for a full year without any duplication.

[127] After First Methodist asked the FCC for a hearing into the issue, claiming that the cancellation affected the station's commitment at its last license renewal to carry 1.79 percent religious programming, the commission denied the request in May.

[147] Another noticeable change was the adoption of clustered commercial breaks and on-air identifications similar to the Top 40 format, which was claimed to help increase the amount of music the stations could play.

[68] After moving studios from Prudential Square to the former Villa Capri restaurant on Hollywood's Yucca Street in 1982,[93][159] KFAC unveiled a large mural painted by Thomas Surlyz outside of the station building on Christmas Day, 1983, showing their long-tenured airstaff cavorting with their respective favorite historical composers.

Global Village debuted in 1971 and aired for two hours every Friday night; developed by Dennis Parnell, it was a "mosaic program concept" that included selections of any type of music, along with poetry and other readings.

[173] In a shocking move, however, Princi, Tom Dixon, Fred Crane, Martin Workman, Doug Ordunio and A. James Liska were all fired outright on December 31, 1986, along with most of the engineering staff.

[174] Heifetz and Argow defended the moves by saying that KFAC's programming scope needed to be broadened in order to attract younger listeners and improve perennially low Arbitron ratings, and the tenured airstaff just didn't fit their plans.

[183] At the end, just five percent of KFAC-AM-FM's combined total audience listened to the AM frequency, which is why it was sold off first;[184] even though KFAC-FM was not on the market, the offer made by Evergreen was high enough that it prompted Classic Communications to consider selling.

What's in vogue is FM stations in Los Angeles", saying that Evergreen would have no choice but to change formats in order to make the revenue needed to pay the debt service incurred in acquiring KFAC-FM.

[190] Mount Wilson FM Broadcasters' KKGO-FM had already announced the adoption of classical programming during the daytime starting in January 1990,[177][157] with its existing jazz format being transferred to KKGO (540 AM).

[191] Mount Wilson chairman Saul Levine expressed interest in acquiring the entire KFAC music library, but abandoned the offer when presented with a $1 million asking price; newly appointed general manager Jim de Castro—who joined the station in March from Evergreen's Chicago outlet WLUP[192] and presided over the station's music library donations—denied seeking that amount, but that two appraisers valued the collection at upwards of $1.8 million.

The station carried part of a Rolling Stones press conference in Los Angeles in mid-July,[157][191] and in August, it paid for a billboard on Sunset Boulevard reading, "Pirate Radio, KLSX, KLOS: Get Ready to Move Over and Let the Big Dogs Eat!

[195] De Castro also expressed surprise in a Los Angeles Times interview that no organized effort to challenge the format change ever materialized, even as the station received a steady amount of protest letters and phone calls.

[196] The soon-to-be-dismissed airstaff made pointed references on-air to the station's demise in the days leading up to it; Rich Capparela compared it to an execution by firing squad before reading a weather forecast, while after playing Tchaikovsky's Symphony No.

[188] At 1 p.m., after 60 seconds of silence, the FM station began stunting with heartbeat sounds, interspersed with brief snippets of rock songs,[192] ahead of the debut of KKBT "The Beat" the next day.

105 computers, mixers and other equipment were carted out of the building, and John Cooper, the chief engineer for Lotus Los Angeles, drove them to Pomona, where the station was back on the air in six hours.

In 2018, the station contracted with Fútbol de Primera, the national soccer radio network that holds World Cup rights, to exclusively produce coverage for KWKW.

[220] In 2016, KWKW became the Spanish-language home of the Los Angeles Rams, heading up a multi-station network that also includes Lotus's Spanish sports outlet in Las Vegas, KENO.

[222] With Francisco X. Rivera and Nano Cortes as the announcers, this addition coincided with the Kings moving their English-language coverage onto the iHeartRadio platform; the team evaluated the KWKW partnership's viability through social media feedback and interactions.

[228] KWKW is currently the flagship of a four-station Spanish-language network for the Los Angeles Lakers (NBA), with Jose "Pepe" Mantilla, Fernando González and Francisco Pinto as announcers; all games are broadcast live.

[229] The station is additionally the flagship of a multi-station Spanish-language network for the Los Angeles Rams (NFL) featuring play-by-play announcer Troy Santiago and color analyst Ricardo López.