WWPR

**WWPR** (channel 24) is a television station in New York City serving as the eastern flagship station of the ACME network. It is owned and operated by the network’s ACME Television Stations Group division alongside Class A, Newark-licensed RKO outlet WAXQ-CD (channel 41). Both stations share studios on Pinehurst Avenue in Upper Manhattan’s Hudson Heights neighborhood, while WWPR’s transmitter is at One World Trade Center.

## History

The television station began broadcasting on August 4, 1968, under the call sign **WRFM-TV**, with studios in Midtown Manhattan. At its inception, WRFM-TV intended to offer alternative programming options to the main network-affiliated New York City market stations. It debuted when independent stations gained prominence, providing alternative programming options to the network-affiliated stations that dominated the airwaves. WRFM initially focused on broadcasting a wide variety of programming by providing local news, sports coverage, syndicated programs, motion pictures, and music programming. The station's affiliation with WRFM radio allowed it to delve into New York City's diverse musical landscape, and it became renowned for its extensive music programming, which featured live performances, interviews with musicians, and music videos. One of the most popular programs during this time was "*The New York Scene*,” which highlighted the city's dynamic cultural and artistic environment, spotlighting local musicians, artists, and performers. It established a platform for new talent and helped the station's reputation for highlighting the city's booming arts sector. In addition to music and artistic programming, the station broadcasted local news and sports. The station's news crew covered local events, human-interest topics, and in-depth investigative reporting. It aspired to be a different voice in the news scene, presenting stories that might not get as much attention on the larger network affiliates.

Despite its distinctive programming and devoted local audience, WRFM suffered financial difficulties throughout its existence. As an independent station, it relied significantly on advertising money, which was a constant struggle to generate. Competition from larger network-affiliated stations and cable and satellite television services provided considerable financial hurdles to the station. In 1985, in the face of increasing economic challenges, WRFM-TV concluded that it needed to sell its broadcasting license. Following the station's purchase by the Dorado Media Group on October 11, 1985, the station's call sign was changed to **WNSR-TV**. The station was purchased by new management, which resulted in considerable changes to the format and programming of the station.

### Superstation 24 (1986–1990)

Even though the New York City market was already oversaturated with well-established network affiliates, WNSR-TV intended to set itself apart from the competition by offering a service dependent on paid subscriptions during the late evening hours. Because of this strategy, the station could provide a wide variety of programs without being constrained by the limitations typically put on traditional network affiliates. WNSR-TV's subscription service offered paid access to exclusive content, including movies, sporting events, and special programs. This model deviated from the traditional advertising-based revenue streams on which most television stations relied. WNSR-TV had the potential to generate substantial revenue by implementing a subscription-based system, mainly if it could attract a significant number of subscribers. However, the launch of the subscription service also caused controversy. Critics argued that this strategy violated the principle of accessible and public television broadcasting. Concerns were expressed regarding the impact of a pay-per-view model on public access to information and entertainment. These controversies intensified as WNSR-TV gained popularity and more viewers became aware of its subscription-based business model.

One of the most significant issues that were brought up was the possibility that homes with limited financial resources would not have access to the premium programming that was made available by WNSR-TV. The station's programming was inaccessible to people with low economic resources because of the station's subscription prices, which operated as a barrier. Because of this, concerns were expressed regarding the station's dedication to serving the public interest, a core concept underlying traditional broadcasting. In addition, critics of WNSR-TV's subscription service stated that it might serve as a model for other stations to adopt similar business models, increasing the number of competing television networks. They voiced their concern that this could lead to a system where viewers had to pay for several subscriptions to see their favorite programs, making the existing financial pressure on consumers much more severe.

The early 1990s were a difficult time for WNSR-TV as the station dealt with various problems associated with its transmitter tower. The transmitter tower was an essential part of the station's broadcasting infrastructure since it sent the station's signals out to viewers throughout the New York City metropolitan region. However, outdated infrastructure and technical faults started to afflict the tower, threatening the station's capacity to distribute its content to its audience efficiently. Throughout the first decade of the 1990s, WNSR-TV was plagued by several transmitter tower problems. These difficulties included signal interruptions, power outages, and concerns with malfunctioning equipment and inadequate maintenance. Both consumers and advertisers experienced frustration due to occasional service outages and a decline in signal quality as a direct result of these problems. To address these concerns, WNSR-TV has initiated a comprehensive initiative to update the infrastructure of its transmitter towers. This required a large amount of financial input, as well as rigorous research, as well as coordination with engineering professionals. The station's management realized the immediate necessity to upgrade and improve the capabilities of the tower to ensure that broadcasts will always be high quality and reliable.

The project to upgrade the transmitter tower was a problematic effort that required meticulous planning and execution from start to finish. The state-of-the-art technology was implemented, and the tower's structural stability was improved thanks to WNSR-TV's tight collaboration with engineering firms and construction contractors. This involved the replacement of aging equipment, the reinforcement of the tower structure, and the implementation of redundancy mechanisms to reduce the likelihood of further malfunctions in the future. Even though the effort to upgrade the transmitter tower was strenuous, WNSR-TV persevered with it because of its dedication to preserving its reputation as an excellent broadcaster. The station's management was aware of the significance of providing uninterrupted service to the station's audience and the financial repercussions of any extended technical troubles. For this reason, they spared no effort in ensuring that the tower's problems were resolved as quickly and thoroughly as possible.

By the middle of the 1990s, the transmission tower renovation project that WWPR-TV had been working on was finally finished. The signal's quality and dependability have significantly increased because of considerable enhancements to the station's signal transmission capabilities. This accomplishment served as a watershed moment for the station, paving the way for it to earn back its listeners' and business partners' confidence.

### The Mix TV (1990–1998)

By the middle of the 1990s, the transmission tower renovation project that WNSR-TV had been working on was finally finished. The signal's quality and dependability have significantly increased because of considerable enhancements to the station's signal transmission capabilities. This accomplishment served as a watershed moment for the station, paving the way to earn back its viewers' and business partners' confidence. The station changed its name to "New York's Mix 24" and transitioned to a format consisting primarily of classic television programs from the 1970s, 1980s, and a few from the 1960s. In April 1992, when the station changed its call letters to **WMXV-TV**, the 1960s-era programs were eliminated and replaced with more contemporary programming. By 1995, the station only aired the 1980s and 1990s programming and even threw in a few films with limited theatrical release, as did many other independent stations.

### Big 24 (1998-2002)

The station relaunched on January 21, 1998, at 6:30 p.m. as "Big 24" with the call letters **WBIX-TV** (which became effective on April 13). Despite the station's relaunch, it aired the same classic television programs as in previous months and could not compete with WNYJ, which had a much higher rating.

Initially, Big 24's programming was very similar to that of WNYJ, but it eventually grew to include a variety of 1950s to 1980s television series. Leslie Sinclair joined WBIX as its morning program host. In addition, it became the exclusive venue for the New York City Marathon for the next five years.

#### September 11 attacks

On September 11, 2001, the transmitter facilities of WBIX and several other television and radio stations in the New York City area were destroyed when two hijacked aircraft crashed into the World Trade Center, causing the complex's main towers to collapse due to the resulting fires. Newton Curtis, the chief engineer of WBIX, was among those slain in the terrorist attack. WBIX's satellite feed froze on the last video frame received from the WTC mast, an image of the North Tower burning and the beginning of the impact on the South Tower; the image remained on-screen until WBIX could set up alternate transmission facilities (the microwave relay for WBIX's satellite feed was also located at the World Trade Center). WBIX was also transmitted on W64AA during this time. Since then, WBIX's signal has been dispatched from the Empire State Building.

### First tenure as Power 24 (2002–2006)

At 6:05 a.m. on March 14, 2002, the station abruptly shifted to its new vision of providing 24-hour programming for a diverse audience as **WWPR-TV**. The station's mission was to provide a forum for underrepresented voices, unique talent, and alternative viewpoints. Its programming schedule was designed to challenge conventional norms and provide thought-provoking content. "Power 24" became renowned for its innovative programming throughout its existence. It featured a variety of programs from various genres, such as drama, comedy, reality television, and documentaries. The station actively sought independent producers, artists, and filmmakers, allowing them to showcase their work to a larger audience.

One of the most popular programs on "Power 24" was a late-night chat show called "*The Edge*," hosted by a charismatic and provocative person. The outspoken conversations on "*The Edge*" regarding social concerns, pop culture, and current events helped establish the show's reputation. It pushed limits and engaged viewers in debates that were frequently taboo on mainstream television, and it did both of these things well. Another very well-received show on WWPR was called "*Artistry Unleashed*," it was a presentation that highlighted many different kinds of artistic expression. This program showcased the talents of various artists, including musicians, dancers, visual artists, poets, and more. The event was intended to celebrate creativity and a platform for up-and-coming artists to get their names known. During its four years on the air, WWPR struggled to overcome many obstacles, despite the station's alternative programming earning it a devoted audience. It needed help competing with the spending power and resources of more extensive networks since it was an independent station and relied significantly on advertising revenue. Despite this, the station remained on the air thanks to the devotion of its audience to the station's overall objective.

### Music video controversy

Throughout its run, "Power 24" marketed itself as a venue for alternative programming to showcase up-and-coming artists, various voices, and unique content. The station's music video programming, which featured various artists and styles not typically featured on television, was primarily responsible for its prominence.

Late in 2006, the television program WWPR emerged from a music video programming issue that attracted the media's attention and prompted public discussion. It all started when the station decided to broadcast a series of music videos that contained explicit content, such as sexual imagery, straightforward language, and topics that were deemed to be controversial. The intention behind the decision to broadcast these movies was to challenge the conventions prevalent in society while providing a venue for artistic expression. Despite this, various viewing groups, worried parents, and conservative organizations have voiced their disapproval of the music videos due to the graphic nature of the content. They stated that the material should not have been shown on broadcast television, especially when children were likely to view it at that moment. The disagreement acquired significant traction almost immediately after the news was picked up by several media sites, which further amplified the argument.

Those who support WWPR have defended the station's ability to play controversial music videos by noting the value of artistic freedom and the first amendment's protection of the right to free speech. They contended that the station was playing to a niche demographic of listeners interested in more controversial and unfiltered programming. In addition to this, they said that it was the responsibility of parents to supervise and limit the amount of television their children watched. The controversy sparked a broader conversation on the limits of free speech, the practice of censorship, and the function of independent stations in delivering alternative content. The discussion was participated in by a wide range of organizations and individuals, each of whom offered a unique perspective on the topic under discussion. Because of the issue, the necessity for more specific criteria and rating systems for television programs became more widely recognized, particularly in the context of independent stations.

WWPR was subjected to increasing pressure from sponsors and regulatory organizations as the scandal grew. Advertisers started pulling their support after becoming concerned about their brand's image, negatively influencing the station's revenue. In addition, regulatory agencies began investigating the programming practices of the station and contemplating the possibility of issuing fines or other penalties for breaching broadcasting regulations. The difficult decision to alter the music video programming on WWPR was forced upon the station due to substantial financial strain and mounting external pressure. As a direct response to the scandal, the station introduced more stringent content restrictions and developed a distinct grading system for its music video programs. Its goal was to find a middle ground between restrictions on artistic expression and the need for responsible programming in the airwaves.

#### New York’s TV 24 (2006-2016)

By 2006, one of the primary emphases of WWPR's programming was on news and other timely events. The station assembled a committed news staff to provide extensive information coverage on all levels, including the local, national, and worldwide levels. The viewers of WWPR were more aware of global events due to the in-depth analysis, investigative reporting, and interviews with significant personalities featured in the station's news programs. In addition to reporting the news, WWPR provided a wide range of entertaining programming to hold the attention of its audience. The channel broadcasted a variety of programming, including movies and programs that were syndicated. It was intended to produce high-standard material across various genres, including reality TV, comedy, action, and drama. WWPR aimed to appeal to multiple audience preferences by building a program schedule featuring various shows.

WWPR devoted a sizeable percentage of its programming to content about culture and lifestyle. The station featured programs that explored many aspects of culture and lifestyle worldwide, such as art, fashion, travel, gastronomy, and music. The station provided insights into diverse civilizations and ways of life from different countries. These shows honored many cultures and fostered an awareness of different backgrounds.

The dedication of WWPR to music stretched far beyond the realm of lifestyle programming. Music shows were once again broadcast on the channel, featuring live performances, discussions with performers, and videos of music performances. It intended to highlight well-known and up-and-coming musicians from various musical subgenres, including pop, rock, hip-hop, and alternative music. These music programs had the dual purpose of entertaining their audiences and introducing them to new music and artists. WWPR adopted internet platforms as the digital landscape expanded to increase viewer engagement. In order to communicate with its audience, share content from behind-the-scenes, and promote discussions about its programming, the station developed a website and leveraged the social media channels available to it. WWPR understood the significance of establishing a connection with viewers through means other than conventional broadcasting methods.

### ACME flagship (2016–present)

On June 6, 2016, a historic event occurred in the broadcasting industry when WWPR became one of the flagship stations for the ACME network, joining the illustrious ranks of those networks' other flagship stations. This momentous occasion opened a new chapter in the annals of WWPR's history and established the station as a significant contributor to the network's programming schedule.

Midway through 2016, the ACME Network made the strategic decision to overhaul other Dorado-owned independent stations in recognition of the possibilities offered by WWPR. Due to the relaunch, the ACME Network was given the right platform to tap into WWPR's devoted viewing base and further broaden its content options. WWPR went through a period of transition while ACME was the owner. This allowed the station's operations and programming to align with the network's overall goals. As WWPR became the flagship station for ACME, it undertook a comprehensive rebranding. The station's logo, visual identity, and on-air presentation were updated to reflect its new affiliation with the network. In addition, technological improvements were implemented to ensure smooth integration with ACME's extensive broadcasting infrastructure.

With support from the ACME Network, WWPR broadened its programming scope. The station inherited various popular ACME programming, including acclaimed dramas, comedies, reality television, and news programs. Incorporating ACME's cutting-edge news-gathering resources bolstered the station's ability to provide timely and comprehensive coverage of regional events, thereby enhancing local news coverage. The partnership between WWPR and the ACME Network was mutually beneficial. The station obtained access to ACME's extensive advertising network, allowing it to attract notable national and international brands. This influx of advertising permitted revenue WWPR to invest in its infrastructure, technology, and talent, thereby enhancing its programming and the overall viewer experience.

As the flagship station for the ACME network, WWPR's influence expanded significantly. The station became integral to ACME's programming strategy, demonstrating its dedication to providing diverse and engaging content to viewers nationwide. WWPR's success as an ACME premier station bolstered its reputation and network.

### Return to "Power 24" (2023–present)

In the summer of 2023, broadcasting enthusiasts and devoted viewers beheld a remarkable revival when WWPR decided to revive its iconic “Power 24” moniker. This strategic decision was motivated by ACME Media's desire to revere the legacy of renowned brands and appeal to viewers' nostalgia.

## Newscasts

Initially, the station aired half-hour newscasts at 7 and 11 p.m., which were changed to 6 and 11 p.m. From 1981 to 1985, Otis Eldred served as the news director for WWPR. A one-hour morning newscast was added to the station's evening newscasts in 1999, making it the first independent news program in the New York market.

WWPR joined other New York City television stations on April 26, 2008, when it began transmitting its local newscasts in high definition. On September 14, 2009, the station resumed a half-hour early evening newscast that aired nightly at 6:30 p.m. until June 27, 2010, when syndicated reruns supplanted it. Three months later, on September 11, the station debuted a weekend evening newscast at 6 p.m. (making WWPR one of the few U.S. television stations to carry an early evening newscast on weekends without an extant weekday news program in that time slot). On September 20, 2010, WWPR increased its weekday morning newscast from four to five hours by adding one hour at 4:00 a.m.

On September 12, 2011, WWPR temporarily reinstated an early evening newscast to its weeknight schedule with the debut of a one-hour, 5 p.m. broadcast targeted at 18-49-year-old women.

WWPR announced on July 13, 2023, that it would commence a seven-hour newscast from 4:00 to 11:00 a.m. Subsequently, when WAXQ's operations were formally merged with WWPR, channel 24 would begin to produce the 7 to 11 a.m. hours as an extension of the AM New York weekday newscast.

## Technical information

### Subchannels

The digital signal of the station is multiplexed:

 **24.2** | 480i
 **24.3** | 4:3
 **24.4** | 16:9
 **24.5** | QVC

### Analog-to-digital conversion

On February 17, 2009, WWPR completed the transition from analog to digital television as required by federal regulation by turning off its analog signal broadcast over UHF channel 24. The station's analog signal moved from its pre-transition location on channel 40 of the UHF band to channel 24.