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The WMMS Coffee Break Concert was a weekly music-interview show broadcast live from the station's studio, and later with an audience at the Agora Ballroom.
Warren Zevon, John Mellencamp, Lou Reed, Tim Buckley, Peter Frampton, and a host of others performed on the program over the years, recordings of which are still widely available as bootlegs.
Key WNCR personnel (including former WHK-FM/WMMS personalities Martin Perlich and Billy Bass, and station newcomer David Spero) were soon hired by WMMS, taking most of their audience with them.
Under the leadership of station manager Billy Bass and program director Denny Sanders (who came to WMMS from Boston in 1971), WMMS helped break many new rock artists nationally, most notably David Bowie.
WMMS (100.7 FM), branded 100.7 WMMS: The Buzzard, is an American commercial radio station licensed to Cleveland, Ohio, serving Greater Cleveland and much of surrounding Northeast Ohio.
Widely regarded as one of the most influential rock stations in America throughout its history, Owned by i Heart Media, Inc., and broadcasting a mix of active rock and hot talk, WMMS serves as the flagship station for Rover's Morning Glory, the Cleveland affiliate for The House of Hair with Dee Snider, and the home of radio personality Alan Cox.
Seeing a small but significant groundswell of support for the medium in the market, WHK-FM adopted a new progressive rock format on August 15, 1968.
WHK-FM became one of a handful of commercial stations in the country to try that format, many of which were owned by Metro Media.
The station was known as "The Home of the Buzzard" at first.
Kemp and Lou "King" Kirby were signed by Metro Media.
The station briefly battled with WNCR of Nationwide Communications, itself filling the void created by the brief absence of WMMS on the rock scene.
Rather, WMMS adopted a buzzard as its mascot in April 1974 because of the then tenuous economic state of Cleveland – less than five years away from becoming the first major American city to enter into default since the Great Depression – and the winged-creature's classification as a scavenger.
In other words, the carrion-eating bird represented "death and dying" – a darkly comic reflection of the city's decline.