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You can see John Dolmayan checking me out to make sure I was OK before he went crowd surfing, unbeknownst to me. Later he said I was supposed to take a solo during Sweet Pea, something I would not even do on drugs. Serj began leading the audience in a chant, "Jed The Fish on drums, Jed The Fish on drugs," and a few minutes later I was glad John came back. Somehow he had known I was a drummer long before that.

Outdoor event in Pasadena. Our crowd was so loyal back then.

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.

His son Willam and I went to Beat Lab Academy in Eagle Rock together. Billy Idol was always great with me on the air, and I truly loved his music from the beginning. Willem tells me he was there that night with his dad, young enough at this point that he would have watched this photo taken. 1993.

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.

Me in tights and tard sitting in a wheelchair in my USC dorm room. My theater major roommate was Gary Wissman, who became an accomplished theatrical stage set builder. Because of affirmative action, I was turned down at every other station I applied to, who all said I was the most qualified for the job, but sorry. A friend Robyn suggested I try KROQ. Before I started the name Jed The Fish.

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.”

I don't remember who these people are, or which band they are going to see. But remember riding in a limo to a concert is pretty much reserved for the rich. Maybe I shall revise this text when someone comments on their memory, which I hope was good.

The Ramones were seven albums into their career when Dee Dee and Johnny Ramone visited the Pasadena studio in 1983. Never afraid of the hard work it takes even an established band to live on, I did tons of appearances with them, sometimes nights for in a row. Maybe you saw them at Knott's. Johnny lived in Los Angeles for several years and I would regularly see him at gigs I announced.

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.

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!!

Duran Duran keyboardist Nick Rhodes with -- I believe -- daughter Tatjana Rose at KROQ Acoustic Christmas. "This here is my Hammond Organ, Tatjana, I'm going to make you play this one day!" Not sure, maybe his wife at the time Julie Anne Friedman looking on. DD fans, help out.

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.

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.

Jed The Fish in the KROQ Control Room, Pasadena, 1983. The ubiquitous Sennheiser 421 microphones.

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.

Likely the most embraced version of the KROQ logo, it was co-designed by KROQ Promotions Director Quay Hays.

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.

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.

Here is an example of hunting down your heroes, and they turn out to be wonderful. Armed with a Strawberry pie, I got the security guard to call them up and come down to the lobby. The creator of Beaking Bad, Vince said he would have me up but for all the notes on the wall for Better Call Saul. Which is a show he created with Peter Gould, whom Alice immediately liked. If you work in this building, you know immediately where it is. KROQ used to be in the neighborhood.

At 8 weeks. I could take her anywhere at this age. She just went into a little bag, poking her head out, impressing people (girls especially).

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.

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.

Massive Attack is a band I have long supported out of passion. I'm sure, had they achieved gold record status, they would have acknowledged me, so they did what they could.

As you see, Fish is my real middle name. I was 17 when I took and passed the exam for the First Class Radiotelephone Certificate. Issued in Long Beach. This enables one to do technical work on TV and radio transmitters. I just got it to exceed the requirement for a Third Class license. As I had no interest in this, I allowed it to expire. I framed the license, and it became a chopping surface for nasty drugs in the KROQ control room in Pasadena on Los Robles Blvd.

During the Whammy tour, if you took a photo backstage with the B-52s, you had to wear a hat, a wig, or otherwise be goofy. Their last time out with Ricky Wilson, left.

Harry Shearer and Firesign Theater comedian Peter Bergman generously agreed to appear in a student project I did my freshman year, long before I became Jed The Fish. Paisley curtains in the tradition-steeped Hancock Hall. Many years later filling in for Jason Bentley at KCRW, I finished my shift and was about to leave, and he said from the next studio, "Oh, you're too big a star now to say hello?" Embarrassed, I had seen him but had no idea he would ever remember me. Funny guy.

This guy is as genteel as Peter Gabriel. Steven Patrick Morrissey, in his solo years. When Johnny Marr was playing with the Smiths, he grabbed a drumstick and bashed his guitar with it during The Queen is Dead. He then threw it right to me. A security guy was --I thought -- trying to grab it from me, but assured me that unless I immediately took it to my car, it would indeed wind up snatched.

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.

One of my true heroes, Zappa wasn't especially kind when I interviewed him. I honestly was not great at it. He insisted I got into radio to get laid, and actually it was because even as often the best qualified journalism graduate, the news stations were obligated to not hire white men. I simply did not know what else to do. When you meet your heroes, you're often let down. This did little to diminish my admiration and enthusuasm.

L-R, Asst. PD Gene Sandbloom (creator of the names for KROQ events) and I can't even tell which Ramones showed up that day -- Markie? Ritchie? -- random promo guy, Program Director Kevin Weatherly in the light shirt. Back on the left, Image Master John Frost, preparing to vomit, Sherri Trahan, Richard Blade, Tami Heide, and Jed The Fish in my favorite U2 shirt.

I think this was for the True Stories album, as David moved closer to a solo career. Always an impeccable dresser. Pasadena control room.

This is one of my oldest memories of KROQ. This is the parking lot where I climbed the stairs the night I was hired. Original logo. From left, Brett Kahlen, Chuck Randall, driver, chick dj I don’t remember, Mike Raphone, me being prophetic about the station’s prospects, Darrell Wayne in nice red pants, Larry Woodside, hairy dj I don’t remember, and the late Al Ramirez. He always looked like he was sneaking away from something. Let me know about the ones I missed.

I can only describe my ridiculous hair as a follicle fountain. Depeche Mode has been in the station more times than I can count. Andy Fletcher is probably the member least like a tempermental artist.