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KROQ-FM (106.7 MHz) is a commercial radio station licensed to Pasadena, California, serving Greater Los Angeles. Owned by Audacy, Inc., it broadcasts an alternative rock format known as "The World Famous KROQ" (pronounced "kay-rock"). Its current weekday lineup includes Klein.Ally.Show. in the mornings, middays with Doug "Sluggo" Roberts, afternoon drive with Kevin Ryder, and evenings with Megan Holiday.

Key Information

The station has studios at the intersection of Wilshire Blvd. and Hauser Blvd. in the Miracle Mile neighborhood of Los Angeles. The transmitter is based in the Verdugo Mountains. It was the flagship station of Kevin & Bean and Loveline which was originally hosted by Jim "The Poorman" Trenton with Dr. Drew Pinsky.

History

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KPPC

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KPPC logo used during the freeform period

On April 23, 1962, KPPC-FM signed-on on 106.7 MHz.[3] It was owned by the Pasadena Presbyterian Church as a companion to its KPPC, a limited-hours AM radio station that had broadcast since 1924.

In 1967, the Pasadena Presbyterian Church sold KPPC-AM-FM to Crosby-Avery Broadcasting for $310,000. The church had been attempting to sell the radio stations for a year; station manager Edgar Pierce said the church found commercial radio incompatible with the noncommercial nature of its other efforts.[4] Crosby-Avery was owned by Leon Crosby, a general manager of San Francisco's KMPX, a station that had just gone to a full-time freeform progressive rock format, and Lewis Avery, former partner in a national ad sales firm. With KMPX soaring to success but KPPC, with its middle-of-the-road format, ailing, Crosby and Avery brought in the architects of KMPX, Tom and Raechel Donahue, to turn around their new station in Southern California.[5]

Hosts during KPPC's "underground" format included B. Mitchel Reed,[6] Tom Donahue, Les Carter, Ed Mitchell, Steven Clean, Outrageous Nevada, novelty music historian Dr. Demento, Charles Laquidara, Elliot Mintz, blues archivist Johnny Otis, Barbara Birdfeather, and more.

In 1969, Crosby sold KPPC-AM-FM and KMPX to the National Science Network for $1.2 million.[7][8][9] Crosby used the funds to buy a then-silent San Francisco television station, KEMO-TV.[10] National Science Network's management of the KPPC stations was turbulent, capped by an October 1971 mass firing of the air staff,[11] but the period also included technical upgrades. NSN moved the studios out of the church basement and to 99 Chester Street in Pasadena and the transmitter to Flint Peak, with a slight power increase to 25,700 watts.[12]

In 1971, Ludwig Wolfgang Frohlich, founder of the National Science Network and previous owner of an ad agency, died.[13][14][15][16][17][18] Upon his death, control of the estate was transferred to Ingrid and Thomas Burns.[19][20]

KROQ AM and KROQ-FM

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Beginnings and brief closing (1972–1974)

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Country music station KBBQ (1500 AM) in Burbank became KROQ in September 1972, changing its format to Top 40 and hiring established disc jockeys from other stations.[21] The new KROQ called itself "K-ROCK, the ROQ of Los Angeles".[1] In 1973, with National Science Network's estate selling off its assets, KROQ's owners bought KPPC-AM-FM (immediately divesting the AM station to meet then-current ownership limits), changed the calls to KROQ-FM and hired Shadoe Stevens to create a new rock format described as high-energy "all-cutting-edge-rock-all-the-time" and began simulcasting as "The ROQs of L.A.: Mother Rock!" Meanwhile, KPPC on 1240 AM was sold to Universal Broadcasting, a religious broadcaster, and remained on the air with its limited-schedule of Wednesday evening and Sunday operation until subsequent owners took the station off the air permanently in 1996.

The two stations (KROQ-AM/FM) were wildly successful initially with the new format, but poor money management plagued the enterprise. When concert promoter Ken Roberts booked Sly and the Family Stone and Sha Na Na for one KROQ-sponsored show at the Los Angeles Coliseum and the station found itself unable to cover expenses, Roberts agreed to pay for the band to play the show in exchange for a small ownership stake in the station.[22] Roberts joined a sprawling ownership group which included a doctor, two dairymen, a political lobbyist, a secretary, and several other minor investors.[22] Roberts, with his background in the music industry, made him a logical choice for president of the struggling company in the minds of the other shareholders, and he was elected such at the first meeting he attended in 1974.[22]

By 1974, the station's finances were already untenable following a year of commercial-free programming — a stunt implemented in an effort to gain market share.[22] The stations' debt load reached $7 million;[22] paychecks began to bounce and Shadoe Stevens and the bulk of the staff walked out, shutting the stations down. The closure would last for nearly two years.

Rebirth and increasing popularity (1975–1989)

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In late 1975, the FCC ordered KROQ to return to the airwaves or surrender the stations' licenses.[23] With barebones equipment, KROQ returned to the airwaves, broadcasting initially from the transmitter location, followed by a penthouse suite in the Pasadena Hilton Hotel, then again across the street from the Hilton (117 S. Los Robles).

Ken Roberts returned to the reborn station in a more forceful ownership role, buying out his partners one by one until he remained the sole owner of the station.[22]

KROQ's rebirth was simultaneous with the emergence of punk rock in the late 1970s and new wave, and KROQ quickly became the voice of the burgeoning Los Angeles punk and new wave scene. Disc jockey Rodney Bingenheimer introduced many new bands on his show. As punk expanded its hold on the music scene during the mid to late 1970s, and KROQ steadily adding more of it to their freeform format, this cemented their place in the Los Angeles market.[24]

In 1979, Shadoe Stevens once again left the station, with Rick Carroll taking over as program director, and took all of the new music and combined it in a Top 40 formatic structure.[24] By 1980, the station had fully committed to a post-new wave modern rock orientation. KROQ became an even greater success as the "Rock of the 80s" evolved. During that decade, the station mixed punk rock, such as The Ramones, The Clash, The Weirdos, Fear, The Pandoras and X, with new wave, such as U2, Oingo Boingo, Talking Heads, The Police, The Cars, Devo, Sparks, Berlin, Duran Duran, Pet Shop Boys, Blondie, The Go Go's, Squeeze, Culture Club, The Jam, Elvis Costello, The Bangles, Bananarama, The Cult, The Cure ska and similar genres with artists such as English Beat, Fine Young Cannibals and 1960s underground rocker Iggy Pop, and huge mainstream artists such as The Beach Boys and The Rolling Stones. It was also not uncommon for certain KROQ dee-jays to play then-current hip hop and soul/funk artists such as Arrested Development, Prince and Parliament/Funkadelic.

By 1982, Billboard Magazine reported that KROQ Arbitron numbers of 3.7 were closing in on AOR leaders KMET at 4.0 and KLOS at 3.9.[25]

Carroll, as a consultant, took the "Rock of the 80s" format to other stations, including 91X in San Diego, KOEU in Palm Springs, California, KMGN FM in Bakersfield, California, The Quake in San Francisco and KYYX in Seattle, among a few others on the US West Coast in the 1980s.

In 1986, KROQ was purchased at a then-record $45 million by Infinity Broadcasting.[26] By the late 1980s, the station had started dipping in the ratings. New wave had declined in popularity and electronic dance bands, such as Depeche Mode and New Order, started getting more airplay on the station. Also during this period, KROQ began focusing on college rock (or so-called alternative rock) by adding bands into their playlist such as R.E.M., the Red Hot Chili Peppers, The Psychedelic Furs, ABC, The Smiths, Frankie Goes to Hollywood, Bronski Beat,Echo & the Bunnymen, The Replacements, Camper Van Beethoven, Jane's Addiction, the Pixies, The Alarm, The Cult, Violent Femmes, Love and Rockets, Dramarama, and Social Distortion, as well as heavier acts like Faith No More and Living Colour and guitar-oriented hip-hop groups like Run-DMC and the Beastie Boys.[27][28][29][30]

KROQ in the 1990s and continued popularity (1990–1999)

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Throughout the 1990s, KROQ's format focused on mainly alternative rock (or alternative metal), grunge, punk pop, Britpop, industrial music and nu metal, giving up-and-coming bands their first exposure on the station or in Southern California, including Nirvana, Red Hot Chili Peppers, The Smashing Pumpkins, Pearl Jam, Nine Inch Nails, Oasis, The Gin Blossoms, Foo Fighters, Green Day, The Offspring, Sublime, No Doubt, Rage Against the Machine, Korn, Bad Religion, Weezer, Blink-182, Jimmy Eat World, Hole, Garbage, Lenny Kravitz and System of a Down. They also began adding heavier acts to their playlists such as Metallica, Soundgarden, Alice in Chains and Tool, all of whom were staples on the Long Beach heavy metal radio station KNAC, formerly an alternative/new wave/punk rock radio station.[31][32][33][34][35] These helped the station surge back to number one in the ratings, at which it remained until the mid-2000s, when it slipped to the middle-of-the-pack, ratings-wise, for Los Angeles area radio stations.[36]

The 1990s also saw a continuation of the weekday morning Kevin & Bean Show, as well as "Rodney on the Roq," hosted by Rodney Bingenheimer, on Sunday nights. In late nights, the station aired Loveline, hosted by "The Poorman" Jim Trenton and Dr. Drew Pinsky. The show's purpose was to bring correct information regarding human sexuality and relationships to those 13 to 25 years of age.[37] KROQ also began its own festivals Almost Acoustic Christmas and Weenie Roast, which had taken place every year since 1990 and 1993 respectively; due to the COVID-19 pandemic, there were no lineups for Almost Acoustic Christmas in 2020 and 2021, while there have been no editions of the Weenie Roast since 2019.

In June 1990, Kevin and Bean secretly arranged for a friend to pretend to confess to killing his girlfriend during their "Confess Your Crime" segment. The hoax resulted in investigations by the Sheriff's Department, the FCC, NBC's "Unsolved Mysteries" and other news media. The hoax was exposed 10 months later after KROQ had unknowingly hired the caller, Doug "the Slug" Roberts, as a DJ and the three were heard talking about the hoax on a monitored phone line at KROQ. Kevin and Bean paid the Sheriff's Department $12,170 for the cost of the investigation, and performed 149 hours of community service to compensate for the 149 hours the homicide detective spent on the case. KROQ received a letter of reprimand from the FCC for the incident; the lightest punishment the FCC could give.[38][39]

In 1997, KROQ/Infinity merged with CBS, later changing its name to CBS Radio.

Later history (2000–2016)

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Originally located at 117 S. Los Robles Avenue in Pasadena, the station moved to 3500 W. Olive Avenue in Burbank in 1987 as part of the purchase agreement and to be closer to the music industry. In 2002, the station was moved to a facility at 5901 Venice Boulevard in the Crestview neighborhood in West Los Angeles.

Unlike most other (Class B, but with grandfathered greater than B facilities) FM stations in Los Angeles whose transmitters are atop Mount Wilson, KROQ's (Class B) transmitter is located on Tongva Peak in Glendale at an altitude of 2,650 ft., which results in somewhat weaker signal coverage.

KROQ's format had varied throughout the 2000s and 2010s. The radio station's format had repeated much of the same formula as the 1990s, mixing heavier acts like Linkin Park, Staind, P.O.D., Seether, Velvet Revolver, Cold and Saliva, with punk rock like Rise Against, Sum 41, AFI, Fall Out Boy, My Chemical Romance, Jimmy Eat World, Panic! at the Disco and Thrice, and with alternative/indie/garage rock acts such as Muse, Queens of the Stone Age, The Strokes, The Bravery, Arcade Fire and The Killers.[40][41][42] This new crop of rock acts found considerable popularity on the radio station while sharing airspace with many KROQ veterans such as Nirvana, Red Hot Chili Peppers, Metallica, Foo Fighters, Weezer, Green Day, The Offspring, Blink-182, No Doubt, System of a Down, Korn, Jane's Addiction, the Beastie Boys, Sublime, Bad Religion, Stone Temple Pilots, Incubus, Nine Inch Nails, Social Distortion and Cypress Hill.[40][41][42]

In 2004, KROQ began broadcasting in HD Radio. On February 20, 2006, KROQ added streaming music from the radio station to its website. On June 9, 2006, KROQ launched an HD sub-carrier, KROQ HD-2, which airs new wave and alternative tracks from the 1980s which were popular during KROQ's heyday (and is also branded "KROQ 2: Roq of the 80s").

In February 2010, CBS Radio, which controlled the live stream, blocked access for listeners outside of the United States.

Steve Jones came to KROQ from Indie 103.1 with a Sunday night show called "Jonesy's Jukebox", which ran from 7 to 9PM during 2010–2013 before moving to KLOS.[43]

In February 2015, KROQ severed ties with Boyd "Doc on the Roq" Britton and Lisa May after deciding to drop news and traffic. The news came as a shock for longtime listeners as Doc on the Roq had been reporting news for the station for 27 years while Lisa May had been reporting traffic for the past 24 years. Fans took to Facebook to boycott the station for not renewing their contracts.[44]

Management and audience changes (2017–present)

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On February 2, 2017, CBS Radio announced it would merge with Entercom.[45] The merger was approved on November 9, 2017, and was consummated on November 17.[46][47]

Logo used from 2020 to 2022

After a 28-year run at the station, Senior VP of Programming Kevin Weatherly exited the station to start a new role as Spotify's new Head of North American Programming. Mike Kaplan replaced Weatherly at KROQ in February 2020.[48]

On March 18, 2020, Kevin Ryder announced on Twitter that he, Allie MacKay, Jensen Karp, and producer Dave Sanchez had all been let go from the morning show.[49][50] The show would be replaced by afternoon hosts Ted Stryker and Kevin Klein.[51] In September 2020, the show would be added on sister stations KVIL in Dallas, KITS in San Francisco, and KRBZ in Kansas City via syndication as part of a company initiative to expand networked programming among the company's alternative stations due to COVID-19 pandemic-related cutbacks and layoffs.[52]

The firing of Ryder marked a new chapter for KROQ under the leadership of brand manager Mike Kaplan. Kaplan previously served as program director of iHeartMedia's KYSR from 2013 [53] to 2018.[54]

By the end of the Weatherly era, KROQ had essentially shifted to a classic alternative format that leaned heavily on heritage acts. Weatherly added new titles to the playlist very conservatively. Kaplan's strategy differed from Weatherly's; he immediately shifted the playlist to focus on alternative pop, with heavy airplay of artists including Billie Eilish, Machine Gun Kelly, Post Malone, Powfu, 24kGoldn, Beabadoobee and Dominic Fike. The station also decreased airplay of most 1990s and 2000s alternative titles and artists that defined the station during its heyday, including System of a Down and Muse. The changes drew ire from cultural critics and former KROQ on-air talent, followed by a steep ratings decline.[55]

In 2021, Stryker left KROQ (later landing at rival KYSR) and the morning show was renamed "Klein.Ally.Show." Around this time, the show stopped being syndicated to focus solely on its KROQ audience.[56] Also in 2021, longtime DJ Kat Corbett left the station, having joined in 1999.[57]

Weatherly would return to KROQ as Senior Vice President of Programming in May 2022. Since then, the station has greatly reduced its focus on alternative rock and has increased airplay of classic alternative tracks from the 1990s and 2000s.

On October 5, 2024, KROQ introduced a new electronic dance music show, KROQ EQ, on Saturday nights, with Justice performing a guest DJ set for its premiere edition.[58]

For a short period in 2024-25, the station resurrected Loveline as a local, Sunday night show hosted by Kevan Kenney and Dr. Tara Suwinyattichaiporn.[59]

Kevin Ryder returned to KROQ on April 1, 2025, after five years, this time as an afternoon host. Current afternoon host Megan Holliday shifted to the night shift, replacing Kevan Kenney.[60] In July 2025, longtime DJ Nicole Alvarez left the station and later penned a farewell message that lamented the state of the radio industry.[61]

Awards

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KROQ was awarded Radio Station of the Year in 1992 and 1993 by Rolling Stone magazine readers poll issues.

In 2007, the station was nominated for the top 25 markets Alternative station of the year award by Radio & Records magazine. Other nominees included WBCN in Boston, Massachusetts; KTBZ-FM in Houston, Texas; KITS in San Francisco, California; KNDD in Seattle, Washington; and WWDC in Washington, DC.[62]

KROQ was the recipient of an Alternate Contraband Award for Major Market Radio Alternative Radio Station of the Year 2012.

KROQ was inducted into the Rock Radio Hall of Fame in 2014.

HD Radio

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KROQ broadcasts a second HD Radio subchannel, with KROQ-HD2 airing The ROQ of the 80's, which features classic rock from the 1980s. In August 2018, Entercom announced it would re-launch the subchannel, adding former KROQ personalities Freddy Snakeskin and Tami Heide as DJs.[63] In 2020, KROQ activated an HD3 subchannel, which aired a new alternative rock format branded as "New Arrivals." On September 23, 2022, the HD3 channel was dropped from the broadcast lineup entirely.

Notable staff

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Festivals

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  • KROQ Almost Acoustic Christmas, first held in December 1989. The festival was initially called KROQ Xmas Bash. Due to the COVID-19 pandemic, there were no editions of the Almost Acoustic Christmas for 2020 and 2021.
  • KROQ Weenie Roast, first held in June 1993; however, this festival had been presented in May from 2005 to 2009 and again from 2012 to 2018. Due to the COVID-19 pandemic, there have been no editions of the Weenie Roast since 2019.
  • KROQ LA Invasion, held from 2001 to 2007.
  • Epicenter, held from 2009 to 2015, although there was no 2014 edition of this festival.
[edit]
  • KROQ Calendar & New Music, a compilation of new singles that premiered in the subsequent year (1995–present)
  • Rodney on the ROQ, Vol. 1 a classic punk compilation from KROQ's Rodney Bingenheimer
  • Rodney on the ROQ Volume 2 more good punk from KROQ's Rodney Bingenheimer
  • Rodney on the ROQ Vol III even more punk from KROQ's Rodney Bingenheimer
  • At KROQ (1991), a CD-single by Morrissey
  • On KROQ's Loveline, CD by Hagfish
  • The Best of KROQ's Almost Acoustic Christmas (1999), a compilation of concerts recorded at the Acoustic Christmas
  • Kevin & Bean's Super Christmas (2006)
  • Kevin & Bean's Christmastime In The 909 (2004)
  • Kevin and Bean: The Year They Recalled Santa Claus (2003)
  • Kevin and Bean: Fo' Shizzle St. Nizzle (2002)
  • Kevin and Bean: Swallow My Eggnog (2001)
  • Kevin and Bean: The Real Slim Santa (2000)
  • Kevin and Bean: Last Christmas (1999)
  • Kevin and Bean: Santa's Swingin' Sack (1998)
  • Kevin and Bean: A Family Christmas in Your Ass (1997)
  • Kevin and Bean: Christmastime in the LBC (1996) – cassette tape
  • Kevin and Bean: How the Juice Stole Christmas (1995) – cassette tape
  • Kevin and Bean: No Toys for OJ (1994) – cassette tape
  • Kevin and Bean: Santa Claus, Schamanta Claus (1993) – cassette tape
  • Kevin and Bean: We've Got Your Yule Logs Hangin' (1992) – cassette tape
  • Kevin and Bean: Bogus Christmas (1991) – cassette tape
  • Kevin and Bean: Feel the Warmth of Kevin and Bean's Wonderful World of Christmas (The White Album) (1990) – LP
  • KROQ Locals Only Vol. 1 (2019)[69]
  • Kroqing in Pasadena, a single from XTC (1989)
  • Richard Blade's Flashback Favorites, Volumes 1–6 (1993)

See also

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Further reading

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References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

KROQ-FM

View on Grokipedia
from Grokipedia
KROQ-FM (often stylized as KROQ) is a commercial radio station licensed to , broadcasting at 106.7 MHz and serving the area, including Orange County. Owned by Audacy, Inc., which filed for Chapter 11 bankruptcy in 2024, it has maintained an format since the late , earning its nickname "The World Famous KROQ" through pioneering promotion of punk, new wave, and alternative music that shaped the genre's national landscape. The station is renowned for annual events like the KROQ Weenie Roast and Almost Acoustic Christmas concerts, as well as long-running programs such as the syndicated show, which aired from to 2016. The station's origins trace back to 1962, when it launched as KPPC-FM, an underground rock outlet in Pasadena that evolved into a progressive format until its sale in 1969 to the National Science Network. In 1973, it adopted the KROQ-FM call letters following the acquisition by the company that already operated the AM counterpart, KROQ (1500 AM), which had flipped to top 40 in 1972; the stations simulcasted initially before the FM side shifted to a focus amid financial challenges in the mid-1970s. A pivotal relaunch in 1976, directed by Ken Roberts and featuring DJ , emphasized punk and new wave acts, breaking bands like the , , and later Nirvana, while program director Rick Carroll's "Roq of the '80s" branding in the early 1980s solidified its cultural influence. Ownership changed significantly in 1986 when Infinity Broadcasting acquired KROQ for a then-record $45 million, recognizing its rising prominence, followed by mergers into in 1997 and Entercom (now ) in 2017. Iconic personalities like Kevin Ryder and Gene "Bean" Baxter of the Kevin and Bean morning show (1990–2020), Jimmy , and helped define its irreverent on-air style, launching careers and influencing media beyond radio. In recent years, including a brief 2024-2025 revival of , KROQ has adapted to declining listenership by broadening its playlist to include pop and diverse artists like and , with the return of Kevin Ryder to afternoons in 2025 following staff changes such as Nicole Alvarez's departure, while maintaining HD-2 and HD-3 channels for '80s rock and programming.

Station Information

Technical Specifications

KROQ-FM operates on the of 106.7 MHz in the FM band, classified as a Class B station by the (FCC). This class allows for a maximum (ERP) of 50,000 watts, though KROQ-FM is authorized for an ERP of 5,600 watts with beam tilt, enabling broad coverage while adhering to FCC regulations. The station's transmitter is located atop Tongva Peak in the , at coordinates 34°11′49″N 118°15′33″W, approximately 10 miles north of . This elevated site, with an antenna (HAAT) of 423 meters (1,388 feet), provides a signal footprint that effectively reaches the area, including County and much of Orange County. The studios for KROQ-FM are situated at 5670 Wilshire Boulevard, Suite 200, in the Miracle Mile district of Los Angeles, California. This facility supports the station's broadcast operations and is owned by Audacy, Inc., which manages the overall technical infrastructure. KROQ-FM is licensed by the FCC to Pasadena, California, with Facility ID 28622, and its first broadcast on the 106.7 MHz frequency occurred on April 23, 1962, originally under the call sign KPPC. The current call sign, KROQ, was assigned in 1973, initially to its companion AM station before being adopted by the FM outlet, and it references the station's longstanding branding as the "Roq of the 80s." The license was most recently granted on January 13, 2000, with an expiration date of October 1, 2027.

Ownership and Operations

KROQ-FM is currently owned by , a major U.S. radio broadcaster that rebranded from Entercom Communications in 2021 following its 2017 merger with , through which it acquired the station. Prior major owners include , which acquired KROQ-FM in 1986 for a then-record $45 million, and , formed via Infinity's 1997 merger into . As part of Audacy's Los Angeles market cluster—which includes stations like KRTH and KCBS—KROQ-FM operates under the oversight of Market Manager and General Manager Jeff Federman, with veteran executive Kevin Weatherly serving as Brand Manager since his return in 2022 after a stint at Spotify. The station's studios are located at 5670 Wilshire Boulevard in Los Angeles' Miracle Mile district, integrated with Audacy's broader digital ecosystem for live streaming, podcasts, and on-demand content via the Audacy app and website. In January 2024, filed for Chapter 11 protection amid $1.9 billion in debt, completing a by September 2024 that equitized over 80% of its obligations and reduced leverage. Subsequent workforce reductions in late 2024 and March 2025, affecting hundreds of employees nationwide including approximately 200-300 in the latter round, have allowed continued operations with a strengthened .

Historical Development

Origins as KPPC (1962–1972)

KPPC-FM signed on the air on April 23, 1962, as a non-commercial station owned by the Pasadena Presbyterian Church in , broadcasting at 106.7 MHz with a focus on and religious content. The station operated from the church's basement, initially providing limited programming that included Sunday morning worship services with its AM counterpart, KPPC (1240 AM), along with educational and inspirational segments aimed at the local community. With a modest transmitter power of 3 kilowatts, KPPC-FM served primarily the Pasadena area, offering a niche alternative to commercial broadcasters in the broader market. In 1967, facing financial pressures, the Pasadena Presbyterian Church sold KPPC-AM and KPPC-FM to Crosby-Avery Broadcasting Company for $310,000, with the transaction approved by the and effective October 5, 1967. Under the new commercial ownership led by principals Leon Crosby and Saul Avery, the station shifted to a format, featuring light orchestral pieces, tracks, and occasional pop elements to appeal to a wider . This change marked KPPC-FM's entry into full-time commercial operation, expanding its schedule beyond the church's limited hours while retaining some classical influences during off-peak times. The station underwent another ownership change in 1969 when Crosby-Avery sold KPPC-AM and KPPC-FM, along with KMPX in , to the National Science Network for $1.2 million, effective October 8, 1969. Under this new management, which emphasized educational programming but allowed creative flexibility, KPPC-FM began experimenting with underground rock elements, evolving toward a progressive format that included album-oriented tracks, freeform DJ sets, and countercultural discussions. Program director Tom Donahue, who had pioneered similar approaches elsewhere, influenced the station's direction, introducing key figures like DJs B. Mitchell Reed and Jimmy Rabbitt to blend with spoken-word segments. These innovations attracted a dedicated but limited listenership in Pasadena and surrounding suburbs, fostering a among younger audiences seeking alternatives to mainstream top-40 radio, though the station's signal strength constrained its reach to a niche regional footprint. By 1973, ongoing financial and management issues under National Science Network led to the sale of the station and its call letters changing to KROQ-FM.

Launch of KROQ and Early Challenges (1972–1975)

In 1972, the AM station at 1500 kHz in Burbank adopted the KROQ call letters and shifted to a Top 40 format, moving away from its previous programming as KBBQ. The following year, in 1973, the owners of KROQ-AM acquired the FM station at 106.7 MHz from the National Science Network, which had operated it as the progressive rock outlet KPPC-FM since 1962. The call sign was changed to KROQ-FM, and it began simulcasting the AM station's Top 40 programming to expand reach in the area. This relaunch was managed by a partnership of 12 individuals under Burbank Broadcasting, who purchased the license for $1.2 million and aimed to build a commercial rock presence by offering ad-free programming between songs to attract listeners. To bolster the rock-oriented Top 40 format, KROQ-FM hired as its first program director, who brought innovative production techniques and on-air talent including Jimmy Rabbitt and for shows like "By the Fireside." These efforts sought to differentiate the station in a crowded market dominated by established outlets like KHJ and KFWB, but the aggressive promotional strategy—featuring giveaways, concerts, and billboards—quickly strained finances, amassing $1 million in marketing costs alone. The station achieved only modest audience share, hampered by the competitive radio landscape and the legacy of KPPC's underground experimentation, which had not fully transitioned to mainstream appeal. By mid-1974, escalating debts reached $7 million amid unpaid staff salaries and operational costs, leading to resignations, a staff , and ultimately proceedings. Concert promoter Ken Roberts, who had been awarded equity in the station after KROQ failed to pay for a Sly & event it sponsored, assumed the role of president in an attempt to renegotiate debts. However, the proved insurmountable, and on July 29, 1974, both KROQ-AM and KROQ-FM went off the air, ceasing operations for nearly two years and leaving the frequencies silent amid the ongoing . In late 1975, as the threatened to revoke the license unless broadcasting resumed, Roberts purchased the stations through his company, forming the basis for KROQ, Inc., and planning a brief continuation of the Top 40 format upon revival. This acquisition marked the end of the initial turbulent phase, setting the stage for operational resumption the following year in a highly competitive market where the station's early instability had limited its growth.

Rise to Alternative Rock Prominence (1976–1989)

In 1976, KROQ-FM pivoted from its earlier Top 40 struggles to a freeform rock format emphasizing punk and , a shift that positioned the station as a key player in ' emerging underground scene. This change was driven by the hiring of influential personalities, including the debut of "Rodney on the ROQ" in August 1976, hosted by , who introduced local and international punk acts to a growing audience. The program's eclectic playlist, featuring raw tracks from bands like the and the , helped cultivate a dedicated following among youth disillusioned with mainstream radio. By the early 1980s, under program director Rick Carroll, KROQ refined its sound into the "Rock of the '80s" branding, focusing on new wave, synth-pop, and alternative rock that defined the decade's youth culture. This era saw the introduction of syndicated features like Loveline in 1983, originally launched as a call-in advice segment on relationships and health with hosts Jim "Poorman" Trenton and Dr. Drew Pinsky, which quickly became a staple for its candid discussions. The station's innovative programming not only boosted its listenership but also amplified local talent, providing early airplay to Los Angeles bands such as The Go-Go's, whose debut single "We Got the Beat" gained traction through KROQ rotations in 1981, propelling them to national success. Similarly, punk outfit X and funk-rock group Red Hot Chili Peppers benefited from breakthrough exposure on "Rodney on the ROQ," helping these acts transition from club scenes to wider recognition. The station's ascent accelerated in 1986 when Infinity Broadcasting acquired KROQ for a record $45 million, enabling signal upgrades and aggressive marketing that expanded its reach across Southern California. This investment fueled audience growth, with Arbitron ratings climbing to a 3.7 share by 1982—nearing album-oriented rock giants like KMET and KLOS—and securing top spots in the 18-34 demographic by the late 1980s, where KROQ often ranked No. 1 among young adults. Culturally, KROQ became synonymous with the alternative rock revolution, influencing fashion, concerts, and the broader music industry by championing sounds that mainstream outlets overlooked.

Dominance in the 1990s

In the early , KROQ-FM emerged as a key tastemaker for and , providing early airplay that helped propel Nirvana and to national prominence and reshaping the music landscape. The station's persistent rotation of tracks like Nirvana's "Smells Like Teen Spirit" in 1991, despite initial listener resistance from fans of earlier new wave acts, introduced to mainstream audiences and contributed to KROQ's ratings surge by 1992, as overtook pop culture. This breakthrough built on the station's punk roots, positioning KROQ as a launchpad for the genre's commercial explosion. The inaugural Almost Acoustic Christmas concert in 1989 further amplified this influence, featuring intimate from rising alternative artists and becoming an that showcased the format's evolving . The mid-1990s marked KROQ's commercial zenith, bolstered by the January 1990 debut of the "Kevin & Bean" morning show, where hosts Kevin Ryder and Gene blended irreverent comedy with alternative music to attract young listeners, driving the station to a 4.7% audience share and third-place ranking in the spring 1994 Arbitron ratings—its largest audiences to date. The launch of the Weenie Roast festival on June 12, 1993, at highlighted emerging talent and reinforced KROQ's event-driven dominance, drawing thousands for lineups that mirrored the station's playlist. By promoting acts like , whose 1994 album received heavy rotation, and , whose ska-punk fusion gained traction through KROQ exposure, the station solidified its role in breaking alternative and punk pop bands nationwide. The 1997 merger of KROQ's parent company, Infinity Broadcasting, with expanded promotional capabilities, enabling greater national syndication pushes and marketing for alternative programming. This era saw KROQ peak at No. 1 in ratings for key 18-34 demographics, with "Kevin & Bean" topping morning drive-time shares and sparking 1999 negotiations for potential national syndication to replicate its local success. The station's playlist dominated the decade, prioritizing , , and proto-nu metal tracks that defined the alternative format and influenced radio stations across the U.S., establishing KROQ as the genre's undisputed leader.

Shifts and Expansion in the 2000s

In the early 2000s, KROQ-FM expanded its playlist to embrace , prominently featuring artists like with hits such as "In the End" and "Numb," and Korn, whose tracks like "" aligned with the genre's aggressive fusion of heavy riffs and rap elements. This shift incorporated hip-hop influences through crossover tracks, including Dynamite Hack's punk-infused cover of Eazy-E's "Boyz-n-the-Hood," which resonated with the station's audience and highlighted the blurring lines between rock and rap subgenres. These additions built on the station's alternative foundation, helping maintain relevance amid evolving musical tastes. To showcase its broadened format, KROQ launched the Inland Invasion festival in 2001, held annually through 2006 at the Hyundai Pavilion in Devore, . The 2007 edition, rebranded as LA Invasion, took place at the Home Depot Center in Carson and marked the final year. The event drew tens of thousands of fans with lineups emphasizing and alternative acts, such as and . in early years, fostering community engagement and boosting the station's cultural footprint in . Concurrently, the long-running Kevin & Bean morning show sustained its dominance, achieving top ratings in the market during much of the decade and contributing to KROQ's status as a leading alternative outlet. By mid-decade, KROQ faced competitive pressures from other alternative stations, including San Francisco's "Live 105," which played overlapping artists like and influenced regional trends, alongside localized ratings fluctuations in as listener preferences diversified. In response to technological advancements, the station introduced in June 2006, debuting its HD2 subchannel as "Roq of the 80s" to offer a dedicated stream of 1980s new wave and alternative hits, expanding access beyond the main analog broadcast. This digital initiative complemented KROQ's core programming while appealing to nostalgic segments of its audience. The decade closed with KROQ co-sponsoring the Epicenter festival from 2009 to 2015 (skipping 2014), held at the Pomona Fairplex and featuring high-profile rock acts like Tool, , and in its inaugural 2009 edition, which drew over 30,000 attendees for a full day of multi-stage performances. Despite these expansions, audience metrics showed KROQ remaining the top alternative station in , with a cume exceeding 1 million weekly listeners, though demographics shifted toward an older median age in the 25-34 range as the format matured.

Adaptation and Changes in the 2010s

In the early , KROQ-FM maintained a heavier rock emphasis, building on its 2000s legacy by featuring acts like and in programming and events such as the annual Weenie Roast festival, which continued uninterrupted through the decade until a pause after the 2019 edition at Doheny State Beach. The station's contributions to alternative rock were formally recognized in 2014 when KROQ was inducted into the Rock as a legendary station for pioneering and influencing nationwide. By the mid-2010s, KROQ faced internal debates over playlist curation as it incorporated more pop-alternative elements to refresh its sound, prominently adding tracks from bands like , whose hits such as "Radioactive" became staples on the station and helped bridge traditional alternative with broader appeal. The 2017 merger of CBS Radio with Entercom Communications, completed on November 17, introduced operational integrations across the newly formed entity—the second-largest U.S. radio operator with over 240 stations—and prompted a slight softening of KROQ's format to align with corporate strategies for wider market reach. Throughout the decade, KROQ grappled with an aging core listener base, primarily from its 1990s and 2000s heyday, while pursuing efforts to attract younger demographics through these format adjustments and high-profile artist integrations.

Modern Era and Recent Transitions (2017–Present)

Following the 2017 merger of with Entercom Communications, KROQ-FM came under new management that emphasized cost efficiencies and digital expansion amid shifting radio industry dynamics. The station continued its format but faced internal adjustments, including the pause of the annual Weenie Roast after its 2019 edition, attributed to financial pressures and venue changes. In 2020, amid the , KROQ underwent significant staff and programming overhauls. Longtime morning host Kevin Ryder, co-host of the iconic "Kevin & Bean" show for over three decades, was fired along with his entire team on March 18, prompting widespread fan backlash. Concurrently, program director Mike Kaplan shifted the playlist toward alternative pop, prioritizing artists like , , and to broaden appeal and boost ratings, a move that alienated some core listeners but aligned with Entercom's national strategy for its alternative stations. The early 2020s brought further transitions as Entercom rebranded to in 2021, focusing on streaming and growth to offset declining traditional ad . The morning show evolved into the "Klein.Ally.Show." in 2021, featuring hosts Kevin Klein and Ally Johnson, which syndicated briefly to other markets before returning to Los Angeles-only in late 2021. Veteran DJ Kat Corbett departed in August 2021 after over two decades, citing a desire for creative reinvention amid the station's challenges. In 2022, KROQ discontinued its HD3 subchannel, "New Arrivals," which had launched in 2020 to spotlight emerging acts, as part of broader cost-cutting. That May, former program director Kevin Weatherly returned to lead programming after a stint at , aiming to stabilize the format. Audacy's 2024 Chapter 11 bankruptcy filing, which reduced its debt by over $1.6 billion, added uncertainty but allowed KROQ to innovate, including the October 2024 launch of "KROQ EQ," a Saturday night electronic dance music show hosted by DJ Miles, featuring guest sets from acts like to attract younger digital audiences. Amid Audacy's continued growth in streaming listenership, KROQ emphasized online engagement. In 2025, personnel shifts continued with midday host Nicole Alvarez's abrupt departure in late July after 22 years, following a dispute with management; she described the exit as emotionally fraught but necessary for her growth. made a surprise return in April for afternoon drive (3-7 p.m.), five years after his firing, signaling a nod to KROQ's legacy amid efforts to reconnect with fans. The station hosted an exclusive private concert with at The Bellwether in October, limited to 1,500 attendees, highlighting its role in intimate live experiences. Almost Acoustic Christmas resumed that December at the after a pandemic-induced hiatus, headlined by and alongside acts like and , underscoring KROQ's enduring festival tradition.

Programming and Format

Evolution of Musical Focus

KROQ-FM's musical focus began in the mid-1970s with an emphasis on underground punk and new wave, pioneered by DJ Rodney Bingenheimer's "Rodney on the Roq" program, which introduced listeners to acts like the and before these genres gained mainstream traction. This free-form approach evolved in the early 1980s under program director Rick Carroll, who rebranded the station as "Rock of the 80s" and applied a Top 40 structure to new wave and alternative sounds, solidifying KROQ's role as a national tastemaker for and synth-driven acts. By the 1990s, KROQ's playlist shifted toward the and explosion, heavily featuring bands like Nirvana and amid the genre's commercial breakthrough. The station's nearly all-alternative format dominated airplay, with listener-voted charts reflecting the era's raw, guitar-driven ethos, as seen in "Smells Like Teen Spirit" topping KROQ's 1990s countdown. This period marked KROQ's peak influence in alternative music, maintaining its "World Famous" branding while avoiding mainstream pop crossovers. In the 2000s, KROQ incorporated and rap-rock hybrids into its alternative core, playing tracks from and , alongside occasional hip-hop integrations like Eminem's radio edits to appeal to evolving youth audiences. Official decade-end lists highlighted this blend, with "Last Resort" by and "In the End" by ranking among the most-played songs, reflecting the station's adaptation to aggressive, crossover sounds without abandoning its rock roots. The 2010s saw KROQ leaning into an indie and pop-alternative mix, spotlighting bands like and to capture a more eclectic, global alternative scene. Annual countdowns featured staples such as Phoenix's "Lisztomania" and Muse's "Resistance," balancing introspective and danceable elements while upholding the "World Famous KROQ" identity. Entering the 2020s, KROQ has revived classic alternative influences with contemporary pop edges, adding new releases like ' "Today's Song" and ' "My Mind Is a Mountain" to its 2025 playlists amid staff adjustments aimed at refreshing the rotation. This approach sustains the station's legacy branding, prioritizing high-impact alternative tracks that bridge eras.

Key On-Air Shows and Features

One of KROQ-FM's longest-running features is "Rodney on the ROQ," a weekly program launched in 1976 that focused on discovering and promoting punk and , helping to break bands like The Ramones and for American audiences. Hosted by Rodney , the show aired Sunday nights and became a cornerstone of the station's identity, running for over 40 years until its final broadcast in June 2017. "Loveline," another iconic program, originated on KROQ in 1983 as a late-night sex and relationship advice show initially titled "Ask a Surgeon," featuring a mix of callers, humor, and medical insights from a rotating cast of hosts. It evolved into a nationally syndicated staple in the 1990s with providing expert commentary alongside comedic co-hosts like , airing weeknights and addressing topics from dating to health concerns, which contributed to its cultural impact through the 2000s. The show concluded its original run in the 2010s but was briefly revived on KROQ from December 2024 to March 2025 with hosts Kevan Kenney and Dr. Tara, ending after 12 episodes amid layoffs at parent company . From 1990 to 2020, the "Kevin & " morning show defined KROQ's weekday lineup with its blend of comedy sketches, celebrity interviews, pop culture commentary, and holiday specials like acoustic sessions and prank calls, drawing a loyal audience in the demographic. Hosted by Kevin Ryder and "Bean" Baxter, it emphasized irreverent humor and listener interaction, becoming a syndicated program that influenced morning radio formats nationwide. In the 2020s, KROQ transitioned its morning slot to the "Klein.Ally.Show," which debuted in August 2020 and airs weekdays from 5 a.m. to 10 a.m., combining humor, pop culture discussions, and audience engagement to maintain the station's edgy vibe. For afternoon drive, Kevin Ryder returned to KROQ in April 2025, hosting from 3 p.m. to 7 p.m. after a five-year hiatus, bringing back familiar energy with music-driven segments and commentary. Beyond structured shows, KROQ features in-studio performances through the Helpful Sound Space, a dedicated area at the station's studios where artists deliver intimate acoustic sets and interviews, often broadcast live or archived for later to showcase emerging alternative talent. The station also incorporates regular news segments on music trends, providing updates on album releases, tour announcements, and industry developments to keep listeners informed within its programming.

HD Radio Channels

KROQ-FM utilizes technology to multicast digital subchannels alongside its primary analog FM signal at 106.7 MHz, enabling supplementary programming for listeners with compatible receivers. The HD2 subchannel, branded "The Roq of the 80s," focuses on new wave and classic tracks from the 1980s, evoking the station's influential era in the genre. This format draws from KROQ's historical playlist staples, including artists like and , and is curated to appeal to nostalgia-driven audiences in the area. The HD2 subchannel originally launched in as part of KROQ's early adoption of , but underwent a significant relaunch on September 4, 2018, under Entercom (now ), complete with a "Flashback 500" countdown of hits. The relaunch featured veteran KROQ programming director Gene Sandbloom and on-air hosts like Freddy Snakeskin for mornings and Tami Heide for afternoons, restoring the channel's prominence after a period of reduced activity. By , was already established on HD2, as evidenced by promotional content encouraging listeners to tune in via digital receivers. KROQ-FM also operated an HD3 subchannel from 2020 to 2022, branded "New Arrivals," which highlighted emerging artists and served as a platform for up-and-coming talent in the genre. The channel was discontinued in September 2022, leaving HD2 as the station's sole active . These HD subchannels complement the main format on HD1 and extend KROQ's reach beyond traditional FM listening, with streams integrated into the app for broader accessibility. In 2024, KROQ expanded its programming with the launch of the KROQ EQ sub-brand, a weekly show hosted by music director Miles The DJ and airing Saturdays from 11 p.m. to 2 a.m., featuring genres like house and to tie into potential future digital expansions.

On-Air Talent

Current Personalities

As of November 2025, the weekday morning slot on KROQ-FM is hosted by the Klein.Ally.Show, featuring Kevin Klein and Ally Johnson from 5 a.m. to 10 a.m., known for their humorous take on pop culture and audience interaction that has helped maintain the station's irreverent vibe. Middays from 10 a.m. to 3 p.m. are programmed by veteran DJ "Sluggo" Roberts, who returned to the station in 2025 after previous stints, contributing to the playlist curation with a focus on classic and emerging alternative tracks that bridge generations of listeners. Afternoons from 3 p.m. to 7 p.m. are led by Kevin Ryder, a inductee who rejoined KROQ in April 2025 following a five-year absence, bringing his decades of experience in engaging audiences through commentary on music and local events. Evenings from 7 p.m. to midnight feature Megan Holiday, who shifted to this slot in April 2025 after previously handling afternoons, where she emphasizes connecting with fans through live event coverage and artist interviews that enhance the station's community outreach. In management, Kevin Weatherly serves as Brand Manager and Senior Vice President of Programming since his return in 2022, overseeing content strategy and recent digital initiatives like expanded podcasting and engagement to adapt KROQ's legacy to modern platforms. Recent transitions include the departure of longtime personality Nicole Alvarez in July 2025 after 22 years.

Notable Former Hosts and Staff

Gene "Bean" Baxter co-hosted the morning show on KROQ-FM from its launch in January 1990 until his departure in November 2019, pioneering a comedic format that blended with irreverent humor and became a cornerstone of the station's identity. Alongside Kevin Ryder, Baxter's contributions helped the program dominate morning radio for decades, attracting millions of listeners through segments like celebrity interviews and satirical bits that influenced modern radio comedy. His exit to return to marked the end of an era, leaving a legacy of fostering a that extended beyond . Dr. Drew Pinsky served as the medical expert on KROQ's from 1984 until 2016, transforming the late-night call-in program into a national phenomenon that provided and advice to a young audience. Joining as a third-year medical student, Pinsky's board-certified insights paired with hosts like Jim "Poorman" Trenton helped evolve from a local KROQ staple—debuting in 1983—into a syndicated show that aired on the station until 2016, earning acclaim for destigmatizing health discussions in rock radio. His tenure established KROQ as a platform for credible, youth-oriented content, impacting public awareness of sexual health and . Rodney Bingenheimer hosted Rodney on the ROQ on KROQ-FM from 1976 to 2017, playing a pivotal role in breaking punk, new wave, and alternative acts that defined the station's innovative sound. Known as a tastemaker from his earlier days promoting bands in the 1970s scene, Bingenheimer's Sunday night program introduced listeners to emerging artists like The Ramones and Blondie, earning him the nickname "" and cementing KROQ's reputation as a launchpad for underground music. Over four decades, his show influenced the genre's mainstream breakthrough, with his final broadcast in June 2017 drawing tributes from musicians worldwide for his enduring discovery of talent. Nicole Alvarez hosted evenings and later mid-days on KROQ-FM from 2003 until her abrupt departure in July 2025, becoming a key voice in the station's female-led programming during a period of format evolution. Her 22-year tenure included engaging with fans through music curation and community events, contributing to KROQ's adaptation to digital media while maintaining its alternative edge. Alvarez's exit, amid reported internal tensions, highlighted challenges in legacy radio, but her advocacy for authentic on-air presence left a mark on the station's inclusive culture.

Events and Festivals

Almost Acoustic Christmas

The Almost Acoustic Christmas concert series was launched in 1989 as a precursor event known as the KROQ Xmas Bash, featuring acoustic sets by emerging acts at small venues to celebrate the holiday season and promote the station's musical format. The following year, in 1990, it evolved into the formalized Almost Acoustic Christmas, held on December 1 at the Universal Amphitheatre with a multi-act lineup emphasizing stripped-down performances by bands like and , establishing it as an annual holiday tradition. The event's format centers on a two-night (or single-night in recent years) multi-act showcase of alternative, punk, and rock artists delivering semi-acoustic sets, typically spanning the second or third weekend of , with a focus on intimate arrangements that highlight musical craftsmanship over high-production spectacle. The series was paused during the 2020 and 2021 editions due to the , resuming in 2022 after a two-year hiatus to ensure safety protocols could be implemented. Over time, the production has incorporated live radio broadcasts on KROQ-FM, allowing wider access, and occasional video specials for national audiences. The event was primarily held at the Universal /Gibson Amphitheatre from 1989 to 2012 (with exceptions at the Shrine Auditorium in 1998 and 2013, and the in 1999), growing into a major arena production by the before settling at the annually since 2014 (except for 2019 at the ) to accommodate expanding crowds and elaborate staging. This evolution reflected KROQ's rising influence in the scene, transforming a club-level gathering into a premier holiday concert drawing tens of thousands. A notable recent edition is the 2025 show, scheduled for December 13 at the Kia Forum, marking the 34th annual installment with headliners including Evanescence, Papa Roach, and Social Distortion, alongside Rise Against, The All-American Rejects, and Third Eye Blind, showcasing a blend of veteran acts and genre staples. The event has long featured artist debuts, such as early appearances by No Doubt in the 1990s and newer acts like The Beaches in 2023, providing platforms for breakthrough performances that often align with KROQ's on-air rotations. Proceeds from the concerts support youth-focused charities, including Para Los Niños and the Al Wooten Jr. Youth Center, which provide education and empowerment programs in underserved communities, underscoring the series' role in community impact alongside its musical legacy.

Weenie Roast

The KROQ Weenie Roast, an annual summer produced by KROQ-FM, debuted on June 12, 1993, as an outdoor rock concert at the in . The inaugural event featured a lineup including , X, , and , setting the stage for a day-long showcase of emerging talent. This format established the Weenie Roast as a high-energy, multi-act gathering emphasizing rock and alternative genres, typically held on a in May or June to align with the station's summer programming. Throughout the , the festival captured the era's and alternative explosion, with performances by acts like in 1994 and 1995, alongside and in the latter year. By the , it shifted to reflect evolving rock trends, prominently featuring groups such as in 1999 and Korn headlining the 2000 edition at Edison International Field. These lineups underscored the event's role in promoting KROQ's musical focus during the station's dominance in alternative radio. The festival maintained its core structure across venues, including a move to for later years, while incorporating elements like beach-themed staging in 2019 to enhance the festive atmosphere. The Weenie Roast concluded its run with the 2019 edition on June 8, headlined by and featuring 311, , and others, marking the last event before an indefinite hiatus. Contributing factors included the 2016 closure and demolition of , its longtime home for 23 of 24 years, which prompted venue shifts but did not sustain the event long-term. The further disrupted live music gatherings, leading to the cancellation of the 2020 installment amid widespread industry shutdowns, with no resumption announced through 2025. Renowned for its legacy of drawing crowds exceeding 16,000 attendees—approaching the capacity of its primary venues—the Weenie Roast also included live radio broadcasts that extended its reach beyond the site. Over 27 editions, it raised funds for charity, such as AIDS Project Los Angeles in early years, while solidifying KROQ's reputation for curating influential rock lineups.

Other Signature Events

KROQ produced the LA Invasion, a multi-venue series of punk and rock concerts from 2001 to 2007 that highlighted alternative and retro acts across . Launched as the Inland Invasion in 2001 at the Hyundai Pavilion in Devore, the event featured performers drawing from punk, new wave, and rock genres, establishing it as a key platform for emerging and established bands. By 2007, rebranded as the LA Invasion and held at the Home Depot Center in Carson, it included diverse lineups such as Paramore's energetic set alongside Perry Farrell's and Chris Cornell's solo performance, attracting thousands of fans to celebrate the station's rock heritage. From 2009 to 2015, KROQ partnered with promoters and Right Arm Entertainment for the festival, a event emphasizing heavy metal and on multiple stages in , though the 2014 edition was canceled. The inaugural 2009 installment at the Pomona Fairplex drew over 30,000 attendees with headliners Tool, , and , alongside acts like , showcasing KROQ's role in curating high-impact rock experiences. Subsequent years expanded the format to include similar intense lineups, solidifying as a staple for enthusiasts before its conclusion in 2015. In 2025, KROQ hosted a private concert with on October 22 at The Bellwether in , an exclusive event limited to contest winners that featured the duo performing tracks from their catalog in an intimate setting. The station also conducted in-studio sessions throughout the year in the DTS Sound Space, offering unplugged performances and interviews, such as one with joined by and guitarist , providing listeners direct access to alternative artists. KROQ introduced the KROQ EQ launch event in 2024 as a dedicated showcase, debuting on October 5 with a guest DJ set by French duo during the program's inaugural broadcast. Airing weekly on Saturday nights from 11 p.m. and hosted by Miles The DJ, KROQ EQ spotlighted electronic festival staples like Fred again.., ODESZA, and , marking the station's venture into while tying into its alternative roots. A follow-up private DJ set by occurred in March 2025 at The Spotlight in Hollywood, further promoting the format through live electronic experiences. KROQ's broadcast specials encompass annual New Year's Eve countdowns, including the listener-voted Top 106.7 Songs of the Year, which air to cap the year and highlight the station's most-played alternative tracks. These , similar to the 2025 Top 106.7 Songs of Summer countdown extended into holiday programming, foster by reflecting listener preferences in real-time broadcasts. Additionally, KROQ airs artist tribute , such as dedicated segments honoring influential musicians through curated playlists and on-air reflections, supporting the station's commitment to alternative music legacy.

Awards and Recognition

Industry Awards

KROQ-FM received significant recognition from magazine's readers' poll, being named Radio Station of the Year in both 1992 and 1993. These honors underscored the station's pivotal role in championing during its formative explosion in the early . The awards reflected KROQ's innovative approach to programming, which helped establish it as a model for alternative radio nationwide by prioritizing emerging artists and non-mainstream sounds. This recognition during the station's peak solidified its influence on the genre's development and commercial viability.

Hall of Fame Honors

KROQ-FM's contributions to the genre have been acknowledged through the induction of several key on-air personalities into esteemed halls of fame, highlighting the station's pivotal role in discovering and promoting influential artists. In 2019, longtime morning hosts Kevin Ryder and "Bean" Baxter, collectively known as Kevin & , were inducted into the for their nearly three-decade run on KROQ, where their blend of humor, music curation, and cultural commentary helped define radio in . In 2015, they were also inducted into the for the long-running "Kevin & Bean" morning show. Their program, which aired from 1990 to 2019, was recognized for fostering a loyal audience and breaking ground in interactive, personality-driven that shaped the alternative rock landscape. Jed the Fish (born Edwin Gould), who helmed afternoon drive on KROQ from 1978 to 2012, received a Legends of Radio induction into the in 2025, honoring his early advocacy for new wave and alternative acts that established the station's innovative programming identity. He was also named Billboard's Modern Rock Personality of the Year in 1997 and 1999. His tenure emphasized emerging talent, contributing significantly to KROQ's reputation as a tastemaker in the genre's formative years. Rodney Bingenheimer, the host of the long-running "Rodney on the ROQ" program from 1976 to 2017, was awarded the 2,330th star on the in 2007, celebrating his discovery of punk, new wave, and alternative bands that propelled KROQ to national prominence. Known as the "," Bingenheimer's efforts exemplified the station's commitment to grassroots music promotion. These lifetime achievements by KROQ's talent cement the station's enduring legacy as a music institution, particularly from the onward, where its foundational impact on continues to resonate in industry recognitions.

Compilation Albums

KROQ-FM has been instrumental in curating compilation albums that highlight alternative, punk, and holiday music, often tying directly to its on-air programming and providing crucial exposure for emerging artists. The station's compilations began with the influential "Rodney on the ROQ" series, hosted by DJ , which focused on punk and new wave acts during the late 1970s and 1980s. Released through Posh Boy Records, the inaugural volume in 1980 featured raw tracks from Los Angeles-based bands like The Flyboys and The Stingers, capturing the raw energy of the local punk scene and amplifying it via KROQ's broadcasts. The series expanded with "Rodney on the ROQ Volume 2" in 1981 and "Volume 3" in 1983, including contributions from acts such as Black Flag, , and Wasted Youth, which helped propel these underground groups toward mainstream recognition. A "The Best of Rodney on the ROQ" compilation followed in 1992 on Rhino Records, compiling key tracks from the originals and underscoring the series' lasting impact on dissemination. These albums not only documented KROQ's role in nurturing the genre but also facilitated artist breakthroughs by combining radio play with physical releases. Shifting to holiday programming, the Kevin & Bean morning show launched an annual tradition of Christmas compilation albums starting in the 1990s, featuring interpretations of seasonal songs alongside exclusive cuts and comedic skits. Early releases like "Christmastime in the LBC" (1993, cassette-only) and "" (1994) set the tone, with later editions such as "The Real Slim Santa" (2000) and "Fo' Shizzle St. Nizzle" (2002) incorporating artists like , , and parodies. Produced under the World Famous KROQ label, these albums emphasized charity, with sales proceeds supporting organizations like the Regional Food Bank and , and continued through the late 2000s, with the final release being a digital EP in 2008, exemplified by titles including "Super Christmas" (2006). The series' blend of humor, covers, and originals boosted holiday radio staples while aiding charitable causes. In the , KROQ expanded its compilation efforts with best-of collections under the "World Famous KROQ" banner, such as "KROQ New Music 2000" and "2001: KROQ New Music," which spotlighted rising alternative tracks from bands like and to align with the station's playlist rotations. These releases captured the era's nu-metal and influences, offering listeners curated snapshots of KROQ's programming. As digital platforms emerged, KROQ transitioned to online compilations, maintaining its legacy through Spotify playlists like "KROQ - Most Played" and YouTube series such as "KROQ Music Meeting," which aggregate station-curated tracks from punk roots to contemporary alternative hits. This evolution has sustained artist exposure in the streaming age, bridging physical albums with on-demand access. Overall, KROQ's compilations have driven significant visibility for featured musicians, often serving as launchpads for careers in alternative rock.

Branded Productions and Content

KROQ has expanded its branded content beyond traditional broadcasting through podcasts, video productions, and digital platforms, leveraging partnerships like Audacy to deliver on-demand audio and visual experiences tied to its alternative rock identity. These efforts include archived segments from iconic shows and new programming that engage fans interactively. The station's podcast offerings feature extensive archives of the Kevin & Bean morning show, with episodes and segments available on the Audacy platform dating back to at least 2019, covering interviews, announcements, and comedic bits such as the "Beer Mug" moments. In 2025, former Kevin & Bean host Kevin Ryder returned to KROQ for a weekday afternoon show (2-6 p.m. PT), with podcast episodes available on the Audacy platform. Additionally, a dedicated fan-maintained archive provides access to full daily segments from the show's run, preserving its cultural impact for listeners. Loveline, the long-running relationship advice program, offers episodes on-demand via the Audacy app, including recent revivals airing Sundays at 10 p.m. PT, with full audio available the following day. In video content, KROQ produces live session recordings through initiatives like the Helpful Honda Sound Space, where artists perform acoustic sets and conduct interviews, streamed and archived on the station's YouTube channel and Audacy's "Live at KROQ" section. Festival highlights from events such as Almost Acoustic Christmas and Weenie Roast are also captured in video form, featuring performance clips from acts like The Smashing Pumpkins and 311, shared on YouTube to extend the live experience online. Entering the 2020s, KROQ's digital presence has grown via the app, which provides exclusives like on-demand episodes and live streams not available through traditional radio. A notable addition is the EQ sub-brand, launched in 2024 as a weekly electronic music show hosted by Miles The DJ, airing Saturday nights from 11 p.m. to 2 a.m. PT and focusing on genres like house and with guest sets from artists such as . Beyond media, KROQ offers branded merchandise through its official online shop at kroqshop.com, including apparel like T-shirts and hoodies featuring station logos and event designs from decades of programming. Online radio streams on integrate with the station's HD channels, such as HD2's "Roq of the 80s" format, allowing global access to curated playlists and tying digital listening to broadcast extensions. This evolution traces from the 2000s, when digital extras like bonus tracks accompanied physical compilation releases, to 2025's seamless streaming integrations on apps and platforms, enhancing fan engagement with content.

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  14. https://www.dailynews.com/2022/05/12/kevin-weatherly-returns-to-kroq-as-senior-vice-president-of-programming/
  15. https://audacyinc.com/press/audacy-successfully-completes-financial-restructuring-emerges-as-a-growing-scaled-multi-platform-audio-leader-with-the-industrys-strongest-balance-sheet/
  16. https://audacyinc.com/press/audacy-reaches-agreement-with-a-supermajority-of-its-debtholders-on-balance-sheet-deleveraging-transaction-that-will-equitize-over-80-of-the-companys-debt-and-establish-a-robust-capital-struc/
  17. https://www.axios.com/2024/09/30/audacy-emerges-from-bankruptcy-as-a-private-company
  18. https://www.insideradio.com/free/to-ensure-a-strong-and-resilient-future-audacy-makes-workforce-reductions/article_da40e400-fabe-11ef-9b3d-9b4707700930.html
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  20. http://theradiohistorian.org/lax/kppc.html
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  23. https://www.playlistresearch.com/freeform.htm
  24. https://www.dailynews.com/2020/05/27/radio-kroq-has-a-problem-and-heres-how-to-fix-it/
  25. https://www.latimes.com/archives/la-xpm-1985-09-03-ca-24427-story.html
  26. https://grubstreet.ca/articles/index/2482/grub-street-interview-shadoe-stevens
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  29. https://buzzbands.la/2017/05/25/rodney-bingenheimer-leaving-kroq/
  30. https://daily.redbullmusicacademy.com/2015/04/left-of-the-dial-feature/
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  32. https://www.audacy.com/kroq/latest/loveline-is-back-on-kroq-listen-to-the-first-episode-now
  33. https://www.latimes.com/archives/la-xpm-2004-jan-04-ca-hilburn4-story.html
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  35. https://www.ocregister.com/2025/11/03/kroq-almost-acoustic-christmas-evanescence-social-distortion-papa-roach-and-more/
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  39. https://www.audacy.com/kroq/blogs/kroqcom/your-top-106-point-7-kroq-songs-of-the-2000s
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  61. https://audacyinc.com/press/kroq-to-host-exclusive-private-concert-with-twenty-one-pilots-at-the-bellwether-in-los-angeles/
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  81. https://hdradio.com/broadcasters/stations/?page=0&genre=14
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