KROQ EVENTS

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.

What was cool about Emily is she had good judgement about who to let in to visit. Fan after fan would ask to see the DJ, and it was actually possible until 2001. There was no way we could see everyone, or we would never be able to work, but Mle would know which exceptions I would appreciate. Bless her heart! I think this was in my kitchen.

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.

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.

Kate and Fred stopped by for an interview after I had carved a jack-o-lantern in the KROQ control room. It was a sad time for the band with Ricky having passed just months before. They did not tour for the album. Warner Bros. Promotion person Paul V. was outraged at my criticism of the album.

This photo was taken as we were initiating the new studios in 1996. I believe that is Cynthia Takahashi with me in the control room, moving the equipment from the Pasadena studio. As you can see we had already begun to decorate. The filled cabinet was CDs, the empty ones for tape cartridges, or carts.

Jed The Fish Pasadena KROQ control room. Various radio station stickers were everywhere.

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.

I got to meet the captain of the QE2. People said, "Oh, Jed, you're going on a cruise!" An Atlantic crossing is no cruise. Waves the size of hills made it feel as though we were sleeping on Viper. Robert Smith of The Cure at that time refused to fly to America.

Edge and Bono did their first-ever streamed podcast from the KROQ control room in Burbank. They brought along Guinness, which was promptly consumed by non-air station personnel. I got Bono to imitate William Boroughs. Smoking like mad. September 19, 1997.

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.

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.”

Silly grin. Jed The Fish, Pasadena KROQ control room. Turntables!

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.

A rare photo of early 1980s KROQ Program Director Rick Carroll to the right of Lou Reed. Jeff Naumann, in the blue shirt, was a promo guy for Virgin in the 80s. Oh, my god. He got so yelled at by Lou that day when he asked him to sign his copy of Metal Machine Music. "Don't you EVAH, EVAH, show me a picture from my past AGAIN!!" Evidently Lou was a little sensitive in early sobriety. In a private moment, he looked at me and could tell I was having problems. He gently assured me if I went to a meeting it would make me smile. Awww!

Here was the evolution of the Fishface Outline font adorning this site. The taped on numbers on the KROQ control room cart machines. ITC was our choice of cart machines. Certain songs came from private collectors such as Freddy Snakeskin. If it weren’t for these manually-recorded records, many songs would not have made it on KROQ. You would have done without Barbie and the Kens

Muscle shirt, no muscles. INXS drummer Tim Ferriss is the clowner-arounder of the band, and I love that they didn't always send Michael Hutchence for interviews. Fun guy.

My first radio boss ponders the decision of putting a sixteen-year-old on the air. I had a Saturday show where I played what I want, at that time a lot of Chicago, Jethro Tull, and Frank Zappa. He was a most kind and thoughtful individual. KPIN was sold my senior year, and the person who took over was Kevin Weatherly's father, who hurled records at me when I played George Carlin's album track Shit, on the air.

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.

Off-the-cuff fizzlebutt sound effects for Out of Order, my Westwood One syndicated radio show. Ron Harris thought to give you a behind-the-scenes video.

Rick Rippey was my producer for 12 years, in my opinion my best years. He encouraged diabolical ideas. Suggests things in just the right way to inspire me. Burbank KROQ control room. Now THIS guy could fix any piece of equipment put in front of him. Note the overbridge, which he and Scott Mason installed. It allowed the cart machines to be places directly over the control board for smoother workflow.

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.

Debbie Leavitt contact sheet from 1982, KROQ control room in Pasadena. Never a fashion trendsetter, somehow the DJs picked up on the medical scrubs look.

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

Jennifer Beals, eventually a Yale graduate, could carry herself well in an interview. Aside from Return of the Jedi and Terms of endearment, Flashdance was the highest grossing film of 1983. She impressed me so much, I asked her to take her bra off under her shirt like she did in the movie. It looks like she's dipping me!

Whadday know. Amazing who you run into in the KROQ control room. I can't figure out why Bonnie Raitt was there, other than to sniff something with our program director. I'm sure he did her the courtesy of actually playing her album for a week. She was sweet.

He was always such a genteel person. Shortly after this interview in 1982, he led a crowd of people from the Golden Bear in Huntington Beach across PCH into the Pacific Ocean. His last encore song that night was I Go Swimming, to be release the next year. Here, he's like a scraggly-headed vampire.

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.

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.

KROQ clock. An hourly guide for when to play commercials (green areas), play jingles, and most importantly, talk. They don’t remain the same for long. Circa 1994. Kevin Weatherly, program director.

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.

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.

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.

Just after the album, the band came to the Pasadena studio.

Working at KROQ was fun, and I’m sure it sounded like it on the air. In back of me, albums, below my right elbow 7” 45rpm singles, the rest hundreds of carts, to my right and in front of me, shelved and stacked. The Grace Jones poster, seen in many photos, was directly to my right. We had creepy green carpet and awful green and red curtains which were never open. This control room had soul, the walls were covered with notes, flyers and photos. Ask me about Sly Stone.