ALL

The KROQ mural in Pasadena. Tony James, left flat-footed by Billy Idol’s departure from Generation X, had to start a new band. No doubt inspired by the outrageousness of Malcom McClaren and his bands, they went big. Love Missile F1-11 was their only real hit. I bet they wish they had boobs.

Amazed that we could sell out what was then Irvine Meadows, I had no idea it would become an exalted event. We were so happy to have hotel rooms, because the staff didn’t want the worry we would show up late. Wearing the shirt. Sometimes we did not get good seats, so I early on got in the habit of buying them both for myself and my guests. When people would ask me for tickets, I would always inwardly groan because I would rather give away no seats than nosebleed.

We were lucky enough to be invited to a party at record mogul Jimmy Iovine’s house, and a certain KROQ DJ behaved poorly when speaking to Fred Durst. Our boss reprimanded her, saying “Save it for on the air,” not to his face at an exclusive party. Billy Corgan also thought she should “be a good party guest.” Hard to believe you could get in trouble for talking shit to Fred Durst.

The Weird Science/Dead Man's Party synthesizer. Danny actually asked for this back, and I tried several times to return it. I think it was Leon of Oingo Boingo who sewed the cover for it. If this isn't cool memorabilia, I don't know what is.

I never saw the Mystic Knights, but Danny Elfman gave me this relic from the 1970s.

By far Frank Zappa's most popular choice for album art, Cal Shenkel was a hero of mine from the time I was in high school.

We did a ton of beach remote broadcasts, which were difficult from a technical perspective: we had to hear ourselves, we had to communicate with the person running controls at the studio, and we needed to make sure the audio was good, which was not easy. Since I usually could not hear the music at all, I had to hope I was back-announcing the right record. Even with today’s tech, PD Kevin Weatherly hates them, because it’s almost never a controlled situation.

REM
exclusive photo sesh
Chicago 1984
by Debbie Leavitt

photo by Debbie Leavitt

These guys were as weird as their music. Accomplished jazz musicians, they almost created the group as an insult to the music industry. Very fun to talk to, they relished their mystery. Mystery is something missing from today's art in general. Movies especially. So here I am destroying it. Their real names are Don Fagenson and David Jay Weiss. There was a certain elegance to physically exhibiting an artist's product. There I am with it in my hands. No more.

Oh, I did my best guys, but when I was set to pick her up for a B-52s concert at the Forum, her mother introduced me to her boyfriend and the date was over. Intercepted!

By 1986, Depeche Mode were about to be huge. Here we display a listener license plate in the KROQ control room in Pasadena. Despite claims to the contrary, I played Just Can’t Get Enough the week after it was released in London. I played it because I had heard of the producer, Daniel Miller, who also produced the double a-side single TVOD/Warm Leatherette. Mike Zampelli of Zed Records in Long Beach gave it to me.

Between Kevin and Bean and Jed The Fish, we had a pretty good award run until Album Network, the trade publication, was bought by Clear Channel. I guess our competition couldn't bear to see us sweeping up awards, so they just bought the magazine. Now they are called I Heart. Do you think I Heart is a good name for a radio group?

Years away from his gig as a late night talk show host, Jimmy Fallon has always been good natured. Here I am trying to have a conversation with people talking to me in my headphones. Hey Jimmy, do you remember me?

I must have met with Richard Butler a half-dozen times, and we always had laughs. One night before a show at the Forum he asked if I had decent seats, and I said, yeah, not bad. When he came onstage and saw me dead center in the front row, his eyes jumped out of his head. Later he said, he remembered me saying I had decent seat, but he never expected me to be right under his nose whilst singing. I explained that, yes, I can always get free seats, but if I really want to see, I always purchase tickets. On this occasion, I actually asked Goldenvoice if I could buy front row center and they let me, knowing I never ask such things. Note long-time Music Director Lisa Worden on right, left below me is Assistant PD Gene Sandbloom, who today runs Roq of the 80s.

Rodney and I both took credit for supporting Adam Ant. This was probably the day of a show at Perkin's Palace. Since I arrived in 1978, this mural was the only permanent evidence of the radio station's existence. I would describe his mood during my interview that day as charmingly pretentious. The now-defunct Independent Media Center describes Old Town Pasadena in 1981 as “a burnt-out bastion of dive bars, porno parlors and low-end department stores and thrift shops.” Welcome, ADAM ANT!!

This was in the Pasadena lobby, on a day when I showed up for work in a bathrobe. My house was two minutes away. Susan Sailor, Dr. Drew’s wife, was the “head” KROQ Bikini Girl, who would book their events. What’s not to love.

This was a crazy, barely legal short wave club I belonged to in the 2000s. This is the organization that led me into Class B fireworks (Class A is military, Class C is fireworks stand). Their most notorious members -- The Neckbolt Brothers -- would egg people on to break FCC rules, which of course apply to KROQ as well. Had I followed this path, I might have lost my broadcasting priveliges. I made my mom's chili and won 3rd place.

This is the most concrete example of Jed The Fish having an impact on an artist's success. My Catch of the Day feature allowed me to choose one song per day. One Tuesday in 1988 Anthony Smith and Matt Dyke talked their way past reception and brought me Wild Thing. I spent most of my shift talking with them and sent them off expecting to hear the single at 4:40 pm. The phones blew up, and I made the rare decision to play it again the next day. The day after that it was a mid-week add to KROQ (most radio stations do their music meetings on a Tuesday, where they decide what is 'added' to the playlist). By Thursday it was on KIIS-FM. A most memorable instance of watching a piece of vinyl setting the radio waves ablaze in a matter of hours.

Getting away with murder, Part Two. The second and last of two annual trips with KROQ listeners to Honolulu. I love it when Danny Elfman of Oingo Boingo grabs me by the hair.

My first week at KROQ -- before I was even called Jed The Fish -- my favorite band arrived in support of their first album. To meet them was an amazing experience, but to speak with them on the air was a dream come true. I blew the interview, but started a long relationship with the band, which I think made the biggest impact on 80s music. Constantly cited as inspirational by so many bands of the era, DEVO made a crazy instrument like the MiniMoog profoundly essential. And no one will ever play the MiniMoog like Mark Mothersbaugh.

Eddie Money and Bryan Adams
Backstage
Day on the Green
SF CA

I have discarded these awards if they had no meaning for me. This one did, because I feel I have a relationship with the band.

Baseball shirts were a thing. Jed The Fish, Pasadena KROQ control room. There were carts everywhere. Similar to the old 8-track cartridges, these had a continuous loop with a stop tone (to stop the machine the last time someone played it) just before the beginning of each recording. So when you plugged it in to play it, it was always ready. It was quite a reliable system, which is why the cart machines such as ITC existed for 50 years. Hassle recording the cart in the first place, but I did it for the Go-Gos, who gave me a demo lacquer of “Cool Jerk.”

Darkwave industrial rock artist Meg Lee Chin allowed me to both produce one of her tracks and play drums for her on occasion. I never got to know her in part because we were each handled by managers.

Girl harvesters Depeche Mode with three winners at varying stages of innocence. I'm sure at least one wound up at the Sunset Marquis that evening. A truly legendary KROQ group -- and a favorite of Richard Blade's -- they did perhaps the most concerts for us. If guys thought they were gay, it was just fine with them.

Beach remote era KROQ Keychains.

This the approval art for the record labels

DMode I began playing on KROQ because the producer was Daniel Miller, of The Normal (TVOD, Warm Leatherette, 1978). Mike Zampelli from Zed Records/LBC brought the single New Life to Pasadena with a dozen or so other records he wanted me to play on the Jed The Fish import show. Not a huge response but the band showed promise. Once Speak and Spell arrived, everyone on KROQ was playing it.

Now this was audacity that could never happen today. KROQ took 200 listeners to Hawaii. Twice. The first time the GoGos played and Richard got hired. The next time Oingo Boingo played at Aloha Stadium. April Whitney, R, next to Freddy Snakeskin. Then Danny Elfman, Steve Bartek comically peering in over Vatos. Dale Turner in the shades looking at me, behind him Kerry Hatch and Richard Gibbs in the striped shirt. The hotel was very angry.