XPost: rec.radio.info

RadioInsight

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KJ Bland Returns Home To WGZB/WMJM Louisville

Posted: 17 Aug 2021 01:31 PM PDT https://radioinsight.com/headlines/featured/211825/kj-bland-returns-home-to-wgzb-wmjm-louisville/



KJ Bland has exited afternoons at Max Media Rhythmic AC Jammin 101.5 KJHM Watkins/Denver CO to join Alpha Media as APD of Hip Hop B96 WGZB-FM
Lanesville IN/Louisville KY and Adult RB Magic 101.3
Jeffersontown/Louisville. Bland will also host middays at WMJM starting September 7.

The move marks a homecoming for the Louisville native who began her radio career as the receptionist at WGZB-FM in 1993 and eventually rose to
Program Director of the two stations. Bland later served as APD/midday host
at WJMZ-FM Greenville SC, MD/midday host at WMKS-FM Greensboro SC, and
spent seven years in middays at Smooth RB 105.7 KRNB Dallas from 2010 to
2017 before joining KJHM first as a weekend host in 2018 and rising to afternoons in 2019.

The announcement of Blands return to Louisville was made at this weekends
Funk Fest concert held by the stations.




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When Rock Ruled the World: A 40-Year Timeline

Posted: 17 Aug 2021 09:00 AM PDT https://radioinsight.com/ross/211636/when-rock-ruled-the-world-a-40-year-timeline/



On August 1, 1981, Top 40 radio had a lot of Air Supply. Rock radio had all
the oxygen.

Top 40 radio, at least the “all the hits” version, barely existed. About 40% of the stations reporting to the Radio & Records CHR chart at that
moment were really AC stations. Another 40% were taking their cue from what
R&R called Album Rock Radio, then in its peak moment of dominance over the
pop mainstream.

There have already been a lot of 40th anniversary of MTV articles. Already, they feel so two-weeks-ago. But the orbit of rock radio and rock radio in
and (mostly) out of the pop mainstream is a fascinating journey in itself,
and on August 1, 1981, Journey’s Escape album, then and now the sound of pop/rock in that era, was two weeks old.

I saw it from a very specific POV. As a college student in 1981, a
columnist in 2021, and a consultant/radio researcher in between, I’ve been most focused on the broad landscape of all formats, but particularly as
they all flow into the traffic circle of the pop mainstream, or detour to
avoid it. And on August 1, 1981, “kickass rock ‘n’ roll,” as the radio station liners called it, ruled the world.

Your definition of “kickass” may vary, especially talking about an era of polished, melodic hits. “Corporate rock” isn’t a pejorative for me. It’s
the rock music of my age group, and at in August 1981, five years after the first Boston album, it was at its apex. 1981 was the winter and spring of
REO Speedwagon and Styx. By August 1, “Urgent” had given Foreigner a comeback after a less-successful attempt to rock harder on “Head Games”; Journey’s “Who’s Crying Now” had rapidly ascended the charts, and the stations that wanted something a little more rocking were playing “Stone in Love,” not yet “Don’t Stop Believin’.” 

Also in August 1981: Pat Benatar had been a star for the last 18 months,
and her hot streak was just  starting to cool with the appropriately titled “Fire and Ice.” The Moody Blues had made a surprise comeback by sounding like Electric Light Orchestra. Stevie Nicks & Tom Petty’s “Stop Draggin’ My
Heart Around” was only a few days old as well. 

Those big crossover rock hits were also CHR’s power-rotation songs. There
ws a second tier of AOR smashes from that spring and summer Rush’s “Tom Sawyer,” Billy Squier’s “The Stroke,” Blue Oyster Cult’s “Burning for You,”
AC/DC’s “Dirty Deeds Done Dirt Cheap” that were played by the “really a
rock station” half of CHR, but not the “really an AC station” half.

AOR wasn’t the only place where the musical action was. Many Ross on Radio readers are going to tell me they listened mostly to new wave anyway, but
there wasn’t much on U.S. Top 40 or AOR that summer. In the U.K., the pop chart on August 1 had a broad spectrum but included the Specials, Spandau Ballet, Depeche Mode, Human League, and Duran Duran. In the U.S., Squeeze’s “Tempted” was AOR’s nod to new wave, although further down the rock tracks
chart, you’d find “Icehouse” by Icehouse, which became an early MTV signature video.

R&B was in the incredible Zapp/Gap Band/Kashif/Solar/Prince moment in (The) Time that “Uptown Funk” managed to summarize in four minutes, but after the “disco backlash,” the only crossover R&B hits were those songs ratified by the CHRs-that-were-really-AC: “Slow Hand,” “Just Once,” “Endless Love.” 
This was also the moment of Rick James’ “Super Freak” — which went to become cause celebre R&B hit that MTV wouldn’t play. “Urban Contemporary” was bringing R&B to FM in a big way for the first time in the early ‘80s,
but only a few of its flagships, particularly WXKS (Kiss 108) Boston, were
part of the pop chart.

From a radio programming standpoint, there was also considerable overlap between AORs that had Top 40 elements and those CHRs-that-were-really-AOR. Doubleday’s KWK St. Louis and WLLZ Detroit galvanized the industry with
their tight playlists, liner-card jocks, and emphasis on songs that tested
well (often by anonymous acts) over artist image. KWK was part of the Top
40 chart; WLLZ reported to AOR, despite similar programming. But that
approach, whether in the AOR camp or on the Top 40 side became known in the industry as “top tracks.”

I was in Washington, D.C., that summer. WWDC (DC101) electrified the
market, thanks to a morning host named Howard Stern. WRQX (Q107) was
already a rock-leaning CHR. Now, with word that Doubleday was coming to
town, it became “Q Phase II,” essentially becoming a rock station itself. In markets from New York to Houston, similar scenarios were being played
out. (At this moment, WLLZ had a 7.7 share while incumbent WRIF had a 5.2;
in six months, WRIF would reverse that.)

It’s often held that MTV was modeled on the rock radio of the moment, but
MTV was really “Top Tracks” itself. Bob Pittman came from WNBC — one of the
late-‘70s Top 40 AMs that was still identifiably Top 40 but with a more AOR-driven presentation. MTV’s first-day playlist featured Rod Stewart,
Cliff Richard, and Lee Ritenour. Ritenour was in that second tier of
jazz/R&B fusion acts that were getting some pop play in 1981, but he was
the act on MTV, not Quincy Jones. Soon enough, however, another
Jones-produced album, including the last minute addition of a rock song
called Beat It, would have an impact on Top 40, MTV, and Rock radio.

August 1, 1991: A lot happened over the last decade:

After Top 40’s 1983-84 rebound, AOR radio became even more of a “Top Tracks” format, but it reached a point of taking its cues from CHR instead
of the inverse. “Sunglasses at Night” now seems like an acid test between Classic Rock and Classic Hits/Oldies, but Corey Hart was an AOR artist in 1984-85.
The reaction was the phenomenal rise of Classic Rock. Those AOR stations
that didn’t go Classic Rock outright become more adult-leaning — more library, less aggressive musically, more heritage bands and retro-sounding acts, including, recently, Black Crowes. The hair band phenomenon was
several years old, but had been driven as much by CHR as AOR.
WRIF is currently eighth in the market with a 4.4 share.
Alternative radio had ebbed for a while, but it was rebuilding and had had
its own chart for several years, meaning that the handful of Alternative stations on the AOR panel were gone. Alternative was quirky pop now — the
top three were Siouxsie & the Banshees, Big Audio Dynamite II, and
Psychedelic Furs. Squeeze had a top 15 Modern Rock hit this week, “Satisfied.” But we were one month from the release of “Smells Like Teen Spirit.”


With the Alternative stations out of the panel, the AOR chart this week had
a number of now-mostly-forgotten titles from heritage acts — Van Halen, 38 Special, Allman Brothers. Bonnie Raitt’s “Something to Talk About” was a rock radio hit; so was Bryan Adams’ “Everything I Do (I Do it For You).” There was the tail end of hair metal (Scorpions, “Winds of Change”; Extreme, “More Than Words”; Guns N’ Roses, “You Could Be Mine”). The biggest Alternative titles were Jesus Jones’ “Right Here Right Now” and R.E.M.’s “Shiny Happy People.” 

Top 40 was in its own period of transition. The last five years had been dominated by hair bands, the beginning of crossover hip-hop, some
Alternative crossovers — but only the tip of what a small but growing
number of Alternative stations were playing. Each of these had been
bolstered by an MTV specialty program — Headbangers Ball, Yo! MTV Raps!,
120 Minutes. The hair bands had prompted an attempt by some stations at
Rock 40, an update of top tracks at stations like Scott Shannons Pirate
Radio in Los Angeles. Top 40 was playing the Black Crowes in August 1991,
but that was one of the few times the Heritage Rock stations of that era
had a direct impact.

When “Smells Like Teen Spirit” came out a month later, rock radio returned, over the course of two-three years, to the vitality and influence of the
early ‘80s. For the first few years, it was mostly without the ratification of Top 40, which was barely hanging on in some markets, and gone in others.
As with Country, which saw almost no crossovers in the early ‘90s, it didn’t much matter. If anything, for Alternative stations to have that much influence without pop’s help seemed to reinforce their importance.

August 1, 2001: MTV Total Request Live helped drive several years of pop dominance and relative balance at Top 40 radio. The boy bands got the headlines, but there was an ongoing strong representation from Alternative radio, and then from the development of Modern AC. But by 2001, TRL had
waned and Top 40 was more driven by R&B and Hip-Hop. In the early 2000s,
both the teen punk descended from Blink-182 and emo and harder rock would
have an impact again. Linkin Park’s current single was “Crawling,” but the
next one was “In the End,” which would be one of Top 40’s signature songs in its new, more extreme era.

That reflected what was happening at Rock radio. The Alternative and Active formats were closer than ever. At Active, the top three were Tool’s “Schism,” Staind’s “It’s Been Awhile,” and Linkin Park’s “Crawling.” At
Alternative, it was Staind, Blink-182’s “The Rock Show,” and Tool. Nickelback’s “How You Remind Me” was climbing both charts. Blink-182 and the pop/punk boom that followed became Alternative’s point of
differentiation for several years — the thing Active wouldnt play, but
which still sounded OK next to System of a Down.

KYSR (Alt 98.7) Los Angeles’ Chris Booker was at MTV in 1999-2003 and
recalls that “rock was essentially nonexistent on the channel. I hosted Return of the Rock, which suggested it had gone away.” Even without MTV,
rock radio had a definite musical footprint, but there was grumbling
because it wasn’t the music Alternative program directors came to the
format to play. And many of the biggest stations were driven as much by
Howard Stern in the mornings as the music.

WRIF was No. 5 with a 5.3 share. The following year, a Canadian radio
station is going to go to a new form of Classic Rock drawing on both the corporate rock of the early 80s and the MTV pop/rock that followed. Bob-FM, Jack-FM, and similar Adult Hits stations are going to become the most phenomenal format trend of the 2000s.

August 1, 2011: Active and Alternative had been pulling away from each
other since the release of “Seven Nation Army” eight years earlier. Alternative became increasingly driven by indie-pop. Active Rock’s top five this week included Avenged Sevenfold, Seether, and Theory of a Deadman. As
the two formats became separate niches, there was less rock from either
camp with the critical mass to reach CHR and Hot AC. Alternative would send Foster the People, Mumford & Sons, and AWOLNation, but not Black Keys,
Airborne Toxic Event, or Death Cab for Cutie. (WRIF had a 4.3 share, tied
for eighth.)

At this current moment of pop strength, CHR wasn’t really looking to any outside format for product. Even among the artists shared with, say, R&B
radio, the paradigm had become a separate Chris Brown or Usher or Rihanna single for each format. “Turbo-pop” remained dominant, and even the current Coldplay single, “Every Teardrop is a Waterfall,” showed its influence. PPM’s metered listener measurement seemed to have bolstered mass-appeal formats like CHR, while exposing the rock formats as niche.

August 1, 2021: Dont Stop Believin, still a few months away from becoming a
hit in August 1981 is the signature song of Classic Hits and one of the
most enduring songs of all time. Whatever rocks influence now, AOR of that
era rules Classic Hits and Classic Rock, and both of those dominant formats
now as current-based formats regroup after COVID.

In recent years, Alternative has been very much the quirky pop format that
was taking shape in 2011. It usually has some presence at Top 40 — Billie Eilish, AJR, Machine Gun Kelly, All Time Low, Glass Animals. The crossovers
are hard-fought, and there are always a few more songs at any given time
that don’t go quite as far at Hot AC and CHR as they should. For a brief, controversial moment, some Alternative stations again seemed to be taking
their cues from Top 40 but the reverse-crossover trend has slowed
momentarily.

Active Rock reached a point of marginalization in the late ‘10s, to the
point where “Active Rock, but without the currents” briefly became a format trend. In 2020, as COVID changed listening patterns and male-targeted
formats became dominant, so did many Active Rockers, however. WRIF was one
of the earliest rebounds. WRIF celebrated its fiftieth anniversary this
spring, sending it to a 6.2 share. Its currently No. 3 in the market with a 5.8.

Active rock has had more retro-flavored music that recalls Classic Rock,
not unlike the heritage-rock hits of 1991. Greta Van Fleet went from
sounding like Led Zeppelin to sounding like Rush, while more acts started
to sound like Greta Van Fleet. Volbeat currently sounds like teen punk. But Active Rock isn’t sending many records to Alternative, much less Top 40.

Could it? There are two rock records very much in play at Mainstream Top 40 this week, and both come from somewhere other than rock radio. One is the current No. 1, Olivia Rodrigo’s “Good 4 U.” One is Maneskin’s remake of “Beggin’,” hovering outside the top 30, while the band’s “I Wanna Be Your
Slave” does the same at Alternative. Among younger listeners, Queen were royalty even before the movie Bohemian Rhapsody.  Are they ready to
coronate their own generations band?

There is some irony in MTV — launched as a “not R&B” format — eventually
having a role in the broadening of AOR and CHR. So now consider that the
next guitar record at either Top 40 or Alternative won’t have been driven
by rock radio or MTV, but Eurovision. At this moment anyway, CHR is
seemingly moving to a more balanced place, there may be room for rock
again. (Separately, there needs to be more R&B as well; 1981 is not the aspiration in that regard.) Whether rock radio reopens its pipeline to pop depends on their own available product but also perhaps on whether
Alternative and Active can find a place where they work in tandem on a few songs while maintaing separate identies overall.



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Audacy & Urban One Reach Content Distribution Partnership

Posted: 17 Aug 2021 07:10 AM PDT https://radioinsight.com/headlines/211811/audacy-urban-one-reach-content-distribution-partnership/



Audacy and Urban One have announced a content distribution partnership to
bring Radio Ones 57 stations in 13 markets to Audacys digital platforms.

Radio Ones stations will join Audacys as well as Alpha Media, Beasley
Media, Bonneville, CodComm, Cox Media Group, Entravision, Mid-West Family Broadcasting, Salem Communications, and Seven Mountains Media as among the groups making their stations available on Audacys platform.

Audacy announced a content distribution partnership with Urban One to bring premium live and on-demand audio content to the Audacy digital platform. As part of the partnership, Urban One, the premiere broadcaster of urban radio
in America, will add 57 stations in 13 markets to the Audacy digital
platform. Following the partnership, the platform now has over 2,000 local
and national radio stations from more than 100 markets nationwide.

“This partnership underscores our unwavering commitment to amplifying
diverse voices and delivering premier audio content to the communities in
which we serve,” said Corey Podolsky, Vice President of Business
Development, Audacy. “We’re delighted to unite with a power player in the audio space to expand and enhace our content offering and add dozens of
dynamic brands to our library.”

The Audacy app is a rapidly growing, integrated digital platform where consumers discover and connect live with over 2,000 local and national
radio stations from more than 100 markets, including Audacy’s portfolio of over 230 premium stations, along with top podcasts and a wide range of exclusive audio programming. Audacy offers anytime, anywhere access through
the Audacy mobile app and website, along with over 10,000 home and auto-connected devices including Amazon Echo, Amazon FireTV, Sonos, Roku, Google Home, Google Chromecast, Android Auto, Apple CarPlay, Apple Music,
Siri, and Samsung Bixby. The Audacy app can be downloaded through Apple
Store or Google Play. Fans can also connect with the platform on social
media via Twitter, Facebook and Instagram.

Urban One is the largest distributor of urban content in the country. For
more than 40 years, Urban One has been the leading voice speaking to Black America. First, as the largest local urban radio network and now as the
largest diversified media company and syndicator of urban programming that primarily targets African American and urban consumers in the United States.



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Cumulus Realigns Dallas Sales Management

Posted: 17 Aug 2021 06:12 AM PDT https://radioinsight.com/headlines/211815/cumulus-realigns-dallas-sales-management/



Cumulus Media is revamping its sales leadership at its Dallas/Fort Worth cluster as Director of Sales Alec Drake will retire at the end of August.

Dawn Girocco, who moved to Dallas as Director of Sales of the clusters
three music stations CHR Hot 93.3 KLIF-FM and Country duo New Country 96.3
KSCS and 99.5 The Wolf KPLX has been promoted to Vice President of Sales
for the entire cluster. Girocco previously served as VP/Market Manager for Cumulus KABC and KLOS and Entravisions Indie 103.1 KDLD/KDLE Los Angeles
and Director of Sales for iHeartMedias KYSR and KIIS-FM.

Dean Canter joins the cluster as General Sales Manager for the three music stations. Canter most recently was SVP/Sales for iHeartMedia Riverside CA
and previously held sales management roles at CBS Radio Los Angeles.

The company has also promoted RJ Lane from General Sales Manager for Sports 96.7 The Ticket 1310 KTCK/96.7 KTCK-FM, and duo News/Talk 820 WBAP and 570
KLIF to Director of Sales for those three, while Steve Holm rises from
Sales Manager to General Sales Manager of the trio.

CUMULUS MEDIA today announced that it has promoted and appointed senior
sales executives to further strengthen its high-performing sales leadership team in Dallas. The promotions and appointment are effective on September
1, 2021, and were announced concurrent with the news that Alec Drake,
Director of Sales, Cumulus Dallas, will retire at the end of August.

Dawn Girocco, Director of Sales for Cumulus Dallas’ three music stations, 99.5 The Wolf/PLX-FM (Country), Hot 93.3/KLIF-FM (CHR) and New Country 96.3/SCS-FM (Country), will rise to Vice President, Sales, Cumulus Dallas, overseeing the entire sales effort for the six-station group. Before
joining Cumulus Dallas in December 2019, Girocco was Vice President/Market Manager for Cumulus Los Angeles. Prior to that, she was Director of Sales
for iHeartMedia-Los Angeles’ Alt 98.7/KYSR-FM and 102.7 KIIS-FM in Los Angeles, guiding that station to the number one billing station in the
country, and was General Manager of Indie 103.1/KDLD/KDLE-FM for
Entravision in Los Angeles. Girocco has been honored by Radio Ink magazine
as one of the Most Influential Women in Radio.

CUMULUS MEDIA has appointed Dean Canter as General Sales Manager for
Cumulus Dallas’ three music stations. Canter, who will report to Dawn Girocco, joins CUMULUS MEDIA from iHeartMedia in Riverside, CA, where he
was Senior Vice President, Sales. Prior to that, Canter was Sales Manager
and National Sales Manager for CBS Radio-Los Angeles.

RJ Lane, General Sales Manager for spoken word stations The
Ticket/KTCK-AM/FM (Sports), WBAP NewsTalk 820 AM/WBAP-AM (News/Talk), and
KLIF 570/KLIF-AM (News/Talk), has been promoted to Director of Sales for
those stations, while Steve Holm, Sales Manager, has been promoted to
General Sales Manager for Cumulus Dallas’ spoken word stations. Janet
Dupree, Digital Sales Manager, Cumulus Dallas, will remain in charge of the station cluster’s digital sales efforts, and will report to Dawn Girocco.

Dan Bennett, Regional Vice President, Cumulus Dallas/Houston, said: “Dawn Girocco’s vast experience as a DOS and Market Manager made her a great
choice to lead our Dallas Sales operation as our new VP of Sales. Dawn is
an around-the-clock engaged manager who is accessible to our sellers 24/7.
She has earned this opportunity and our sales team will benefit greatly
from her leadership.”

Bennett added: “I cannot begin to thank Alec Drake enough for his huge contributions over the years to our organization. He has been an incredible leader especially through the Covid pandemic. Keeping Cumulus Dallas as
the company’s top revenue market has always been our goal and Alec pushed
the limits every day to ensure we kept that position. Thank you, Alec, from
our entire team!”

Dawn Girocco commented: “It is an honor to lead our outstanding Cumulus Dallas sales team. I have enormous respect for our staff and am fortunate
to work with strategic leaders throughout the building that have worked to build a successful culture. Thanks to Alec Drake for all he has done for
this cluster. I am very grateful to Dan Bennett, Dave Milner and Mary
Berner for this incredible opportunity.”




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106.5 The Shark Corpus Christi Does The Bandtango

Posted: 17 Aug 2021 05:05 AM PDT https://radioinsight.com/headlines/211807/106-5-the-shark-corpus-christi-does-the-bandtango/



Withers Broadcasting Alternative 106.5 The Shark KYRK Taft/Corpus Christi
TX has relaunched as Bandtango Radio in partnership with Mike Quinns
Bandtango Inc.

Quinn, a former radio programmer turned artist manager, has utilized the Bandtango brand previously for an artists rights management system and streaming audio platform. The groups are planning a future Bandtango Media Festival for the station in Corpus Christi.

With the rebranding, KYRK is now positioning as New Alternative First with
a current/recurrent heavy presentation. Dan Rios, who joined KYRK as
morning host last year and rose to Program Director in June, remains in
both positions. The rest of the stations lineup will feature Music Director Marcy Martino in middays, Rob Ferair in afternoons, Boogie at night and Lex overnights.



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Bootleg Kev Returns To Real 92.3 Via Syndication

Posted: 16 Aug 2021 02:34 PM PDT https://radioinsight.com/headlines/211796/bootleg-kev-returns-to-real-92-3-via-syndication/



iHeartMedia Hip Hop Real 92.3 KRRL Los Angeles has announced the return of Bootleg Kev to the station.

KRRL will air United Stations Bootleg Kev Show in late nights from 10pm-2am replacing YEA Networks Tino Cochino Radio. Bootleg Kev previously co-hosted nights at KRRL with DJ Hed from 2016 until exiting last December as part of iHearts round of layoffs. He has also worked at KKFR Phoenix, WLLD Tampa,
KVEG Las Vegas and KWYL Boise.

United Stations launched The Bootleg Kev Show in March of this year. The
show currently airs in Phoenix, Orlando, Las Vegas, Pittsburgh,
Oxnard/Ventura and now Los Angeles.

iHeartMedia Los Angeles’ REAL 92.3 announced today that “The Bootleg Kev Show” will air on the station weekdays from 10 p.m. to 2 a.m., effective Thursday, August 19. Bootleg Kev is one of hip hop’s most notable DJs, and his show will give Los Angeles listeners their nightly fix of hip hop lifestyle, music, fashion, history, culture, community and more.

Bootleg Kev, originally from Phoenix, Arizona, has been in radio for over
15 years with stops in Las Vegas, Tampa, Phoenix, and previously at REAL
92.3 in LA. In addition to being one of the biggest hip-hop DJs in the
country, he loves to play video games, travel, geek out on technology, and watch sports all things that make him a relatable personality to his
audience. Bootleg Kev lives and breathes hip hop and has spent his career building relationships with the “whos who” of the format.

“We are really excited to welcome Bootleg Kev back on our airwaves in
support of his new syndicated venture,” said Doc Wynter, President of Hip
Hop and RB Programming Strategy for iHeartMedia. “Kev left an indelible
mark in the minds of hip hop fans in Los Angeles. I know they’ll be happy
to hear him on the air again on REAL 92.3.”

“At the beginning of the year, I bet on myself heavy and launched my own syndicated show with United Stations. Right away, getting back on the #1
hip hop station in Los Angeles was my goal,” said Bootleg Kev. “With the help guidance of Brian Samson, Tim Richards and my United Stations team,
we are here and back on at REAL 92.3! I want to thank Doc Wynter, DJ A-Oh
and the wonderful team at REAL 92.3 for always having my back. Im very
excited to grace the Los Angeles airwaves again every night alongside my
team: Pacoimas finest James Andre Jefferson Jr., DJ Sam I Am and the best producer in the game Nico Blitz!”

“It has been a great year working on this show with Kev and his team,” said Stefan Jones, Senior Vice President of Content/Affiliation for United
Stations. “It is always fun when you know you have something special. Huge thanks to Doc Wynter, A-Oh and John Peake for putting this together. And,
of course, the stellar people at USRN notably, Andy Denemark, Greg Janoff, Charlie Colombo and Nick Verbitsky.”

“The Bootleg Kev Show” launched in April through United Stations Radio Networks, and is currently heard in Phoenix, Pittsburgh, Oxnard/Ventura,
Las Vegas, Orlando and now Los Angeles.

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