1987, the switch by album-oriented rock KMET in Los Angeles to KTWV "The Wave" made the format more popular. After programmer Frank Cody began "The Wave" in Los Angeles and the simultaneous KIFM (San Diego) and the eclectic KKSF (San Francisco), the number of stations banking on "The Wave's" softer sound grew quickly. Those included "Breezin' 100.7" in Milwaukee and KHIH in Denver programmed by consultant Gary Guthrie, WNUA (Chicago) consulted by Cody, WVAE (a short-lived Wave network affiliate from 1987–89) and WJZZ in Detroit, WNWV in Cleveland (which began as a Wave affiliate but eventually moved to local programming), and the re-launch of WQCD (CD101.9), New York. Also Love94FM [WWWL, later WLVE] in Miami/Ft. Lauderdale, an early innovator with its "Sunday Morning Jazz" show went totally smooth jazz by 1990, not long after The Wave in Los Angeles had switched to the format. The format had been deemed "new-age" originally and radio stations like WNUA Chicago and KNUA Seattle emulated the phrase in their call letters. For a short time in 1987–1988, Chicago actually had two such stations, as the "Wave" network was also heard on WTWV-FM, licensed to suburban Des Plaines (now WPPN). In the late 1980s, research firm Cody/Leach conducted a study for WNUA–Chicago; it was through the verbatim responses from listeners that the name "Smooth Jazz" was identified. WNUA then adopted the slogan "Smooth Rock and Smooth Jazz", replacing the old slogan "Music for a New Age" as the station added more vocals and dropped most "avant-garde" instrumentals. Under the direction of General Manager John Gehron, "Smooth Rock" was dropped. Cody is credited with making Smooth Jazz a household name, giving rise to its nationwide proliferation through the firm Broadcast Architecture, the widely syndicated "The Jazz Show with David Sanborn" and his association with saxophonist Dave Koz. Cody was also responsible for overseeing the launch of the now defunct Satellite Music Network's syndicated "Wave" format. Over a six-year period ending in 1993, the format increased its audience by 140 percent, and from 1992 to 1993, by 67 percent. Listeners were 71 percent white and 28 percent black. Advertisers recognized that adult alternative music tended to attract buyers of upscale items. The format became much more jazz-oriented, with very little new-age, and even while emphasizing young artists, the format kept its heritage acts as well. However, smooth jazz did add artists from adult contemporary music to increase