I know, how many photos of me in the Pasadena control room can you stand. But there I was with INXS shortly before the first US Festival in 1982. Great smile on Michael Hutchence.
From left: Poorman (what a name) Van Johnson, Dave Gahan, April who couldn’t keep her clothes on, below her Martin Gore, whose guitar skills are vastly overlooked, Alan Wilder, Freddy Snakeskin (never one to push forward for photos), Andy Fletcher, Jed The Fish below Andy, some schleb who ripped off KROQ, and long time WB promoter Chris Crist.
Warren Zevon I miss. Alcoholism. Just adore his music. To Warren's right is KROQ Music Director Larry Groves. Larry was Program Director Rick Caroll's Music Director. He was known for the saying, "Ricky don like it." That's what he would say to promotional people to signal that he had played it for the Program Director, and it got a thumbs down. I call that KROQ logo the party hat logo. 1985. I just added banjo to Werewolves of London, so if you have me dj for you you get mutations like that.
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. UB40 was an example of success by acclaim, not as much by promotion. That's why Jed The Fish support means something.
Original artwork from Jed The Fish tee shirt, created on the floor during a KROQ music meeting in the 90s. Features the "Dooley" prototype (spermy guy).
In probably the best shot of the Pasadena control room, a 28 mm lens reveals Devo judging the Rhino Devotees album, for which KROQ listeners submitted their own versions of Devo songs. With phenomenal luck, two of my own made the album. Rhino at the time was known for their wacky, Dr. Demento tastes. Richard Bronson and Harold Foos went for the Warner Bros. payday. I would. The reason in 1978 I was so excited about working at KROQ, is that it was the home of Devo.
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.
Once established as Talking Heads members, Chris and Tina ventured out with a solo project. Tom Tom Club had an instant hit with Genius of Love, and I was still wearing free tee-shirts. This was their first son.
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.
This is the band I was most chummy with. We would get together at Farmers Market, their old hang, and I remember they would talk to their stalkers. Girls would go to FM to see them. They told me it’s important to approach them to humanize the relationship. You want them to know the impact they can have on your normal life just being famous. Not just being a quest. At Ron’s house one night, they played me Interior Design. It was an album devoid of bass parts. Some upper bass synth, but that’s it. I tried in vain to help them justify it. It was a tough listen, because I liked them so much. Rock needs bass if not guitar.
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.
The Prodigy concert at the Spuce Goose, Long Beach in 1997. Very loud and ravey.
Martin looks fairly normal with a leather vest and checkered shirt. It seems I was intent on being anything but normal.
He was always very kind. Chrissie, on the other hand, was harsh. Somewhere along the line, she developed a habit of refusing to shake hands, which she told me one time getting reacquainted at the Weenie Roast. When, at the end of the interview, I reached out to shake and she was offended. Don't you think of Ray Davies of the Kinks as mild mannered? What on earth was a household like with the two of them.
We had whiteboards in the Burbank control room. Notes for the jocks and Kevin and Bean. Evidently on this day, I was overdressed. Andy Fletcher in the Burbank control room.
The thing I remember most about this interview is I got Bono to imitate Naked Lunch author William Boroughs. Evidently, the greatest lead singers are adept at imitation. I also remember they smoked like chimneys and brought a case of Guinness, promptly consumed by off-air KROQ staff.
You never know if someone's a (relative) one-hit wonder, so you must take care of everyone. The Proclaimers, Scottish bothers Craig and Charlie Reid stopped by for an interview when we were playing I'm Gonna Be. Kevin Weatherly actually had more than one shirt, before he started looking buff in polos. Just outside the KROQ Control Room.
Rodney Bingenheimer’s first question would be why does Jed The Fish get to hang out with Mila Jovovich. Kind of trying to not be attracted here, but the Reid Fleming shirt probably sabotaged me from the word go. At the time, it was fashionable to be clean and sober, but I actually did it to save myself. NA keychain. Mila came by the Burbank studio so she could be the movie star who was in Blue Lagoon. The 2000’s had Paris Hilton, and the nineties had Mila. But Hilton wasn’t really in a movie. Here she’s pawing my flab. What a face.
|Taken||March 9, 2019|
|Uploaded||March 10, 2019|
I bet you have one of these yourself. Really a memory of the passion we have for music.
Where’s Josie? This is the day I asked her what her real name was, and she said, “Well, basically Josie Cotton is my name.” A dedicated bimbo. Pasadena control room. A fake protest was staged outside the Pasadena studios. None of the protesters were angry. Gleaming Spires, the Sparks offshoot, was in the studio. Leslie Bohem and David Kendrick.
The dawn of professional CD players. You cued them up by hand, almost like vinyl. Sony “Digital.”
Nick Rhodes backstage at Acoustic Christmas with -- I have no idea, but he seems a bit more interested in the keyboards than Nick's other observer. 1992
The Album Network was a radio industry trade magazine which annually gave radio host awards. This went on until they were purchased by Clear Channel Radio (aka I Heart Radio), evidently because the CC personalities were so bad they weren't winning any awards. At least Clear Channel had the decency to not continue giving out awards -- to themselves -- and the tradition was discontinued.
Probably the most joyful picture on this website, this memory underlines the influence I've been able to give certain artists.It seemed like everyone was at this party. Fred Durst got Tami Heide very upset. For being Fred Durst. Jimmy's wife gave me a tour of her office.
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?
In April 2011, the book "Dennis Hopper: Photographs 1961-1967," arrived at Book Soup in West Hollywood and I waited in line like all his other fans. Blue Velvet has always been a favorite of mine. Perhaps David Lynch's most compelling work, the characterizations and dialog will live forever. Dennis also gave vivid performances in Easy Rider, Apocalypse Now and True Romance. The Blue Lady oddly aroused by Frank Booth in this publicity still.
Darrell Wayne organized this Pasadena Hilton event in 2006, where all the gory stories were told. Darrell hired me in 1978.
Locked in a cheesy trailer at the KROQ Weenie Roast with then-newcomers Foster the People, I do my best to scramble their name. They were in a good mood.
This was a group actually grateful for their success. This was when they were touring extensively with groups like Depeche Mode, Eurythmics, and INXS. Animotion was from Los Angeles.
Jed The Fish Pasadena KROQ control room. Various radio station stickers were everywhere.
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.
Steve Wozniak, Apple computer innovator, had millions to throw a party, so he did it twice. Their stage manager was concert legend Bill Graham, who was a dick. My ex-girlfriend worked for him for years. He was pained to see me onstage at all, let alone speaking before Oingo Boingo to a crowd of over 100,000.
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.
One of the few distinguished examples of Duran Duran ephemera signed by the entire band, Capitol Records gave me this for my support of the first two albums. Funny thing, the label actually had unpaid interns promoting the band. I think his name was Danny, and he brought me my first copy of 'Duran Duran' in the summer of 1981. Money well spent?