Intro: Tracing KRLA’s Journey from Local Pasadena Station to a Cultural Powerhouse of Los Angeles Radio From the moment its signal first reached ac
Intro: Tracing KRLA’s Journey from Local Pasadena Station to a Cultural Powerhouse of Los Angeles Radio
From the moment its signal first reached across Southern California, KRLA became more than a radio station — it was a cultural heartbeat. In the early 1960s, as youth culture exploded and rock and roll reshaped America, KRLA embraced the Top 40 format and boldly introduced The Beatles to Los Angeles listeners. Its DJs weren’t just announcers; they were trusted companions, shaping taste, sparking excitement, and giving voice to a generation.
Through innovations like the KRLA Beat magazine, unforgettable personalities such as Casey Kasem, Jimmy O’Neill, Bob Eubanks, and Shadoe Stevens, and landmark moments like the Beatles at the Hollywood Bowl, KRLA carved out a legacy that transcended the airwaves. It was a station that adapted with the times — from rock to oldies, from personality-driven shows to talk radio — yet always remained a touchstone of connection, memory, and cultural impact.
Today, KRLA’s story endures as a testament to the power of radio to shape identity, amplify voices, and preserve the soundtrack of an era. The USA Radio Museum celebrates KRLA not only as a broadcaster, but as a living symbol of how radio can capture the spirit of its time and leave echoes that resonate across generations. — USA RADIO MUSEUM
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Pasadena Beginnings: KPAS and KXLA
The frequency that would eventually become KRLA began life in 1942 as KPAS, a modest station serving Pasadena and the surrounding San Gabriel Valley. At a time when radio was the dominant entertainment medium in American homes, KPAS reflected the intimate, community‑oriented spirit of local broadcasting. Its early programming was eclectic, designed to appeal to a broad audience in a rapidly growing region.
By 1945, the station was rechristened KXLA, signaling a new ambition to reach beyond Pasadena and into the wider Los Angeles market. Under this banner, the station began to attract a roster of personalities who would later become household names. Among them were Tennessee Ernie Ford, whose warm baritone and folksy humor made him a beloved figure in country and gospel music; Cal Worthington, the colorful car dealer whose radio and later television ads became legendary in Southern California; and Jim Hawthorne, a pioneering disc jockey known for his playful, irreverent style that anticipated the personality‑driven radio of the 1950s and 1960s.
The early years of KXLA were marked by experimentation and variety, mirroring radio’s role as the nation’s primary entertainment source in the mid‑20th century. Programming ranged from country music showcases to live variety shows, from local news bulletins to musical performances broadcast from Pasadena venues. This diversity reflected both the station’s desire to serve its community and the broader cultural moment, when radio was still the central stage for music, comedy, drama, and public affairs.
KXLA’s willingness to experiment laid the foundation for what would later become KRLA’s hallmark: adaptability. Even in its earliest incarnation, the station demonstrated a knack for blending entertainment with personality, creating a sense of intimacy between broadcaster and listener. These qualities would prove essential when the station transitioned into the rock‑and‑roll era, positioning it to capture the imagination of Los Angeles youth in the decades to come.
Jack Kent Cooke and the Birth of KRLA
The real transformation came in 1959, when Canadian entrepreneur Jack Kent Cooke purchased the Pasadena‑based station. Cooke was already a rising figure in American media and sports, known for his bold investments and flair for promotion. With his arrival came not only new ownership but a new identity: the station was rechristened KRLA, positioned at 1110 AM on the Los Angeles dial.
Cooke’s vision was expansive. He understood that Los Angeles was a city in transition — booming in population, brimming with youth, and increasingly defined by its entertainment industry. To succeed, KRLA needed to be more than a local broadcaster; it had to become a cultural force. The new call letters symbolized a fresh start, one that would soon resonate with listeners across Southern California.
At the time, KRLA faced stiff competition. KFWB, under the guidance of Chuck Blore, had pioneered the Top 40 format in Los Angeles, while KHJ would soon launch its “Boss Radio” revolution in 1965. Yet Cooke positioned KRLA to stand apart by emphasizing personality‑driven programming. DJs were encouraged to bring their own flair to the microphone, blending music with humor, commentary, and a sense of intimacy that made listeners feel part of a community.
This approach paid off. By the early 1960s, KRLA had carved out a loyal audience of teenagers and young adults, eager for a station that reflected their tastes and energy. The station’s willingness to take risks — most famously by being the first Southern California station to play The Beatles in 1964 — cemented its reputation as a tastemaker. Cooke’s investment had transformed KRLA into a hub of youth culture, a station that didn’t just follow trends but helped create them.
Cooke’s tenure also underscored the growing intersection of radio, business, and celebrity. His ownership of KRLA paralleled his ventures into sports (he would later own the Los Angeles Lakers and Washington Redskins) and media, reflecting his belief that entertainment was central to modern life. Under his leadership, KRLA became a proving ground for talent, launching the careers of DJs like Casey Kasem, Bob Eubanks, and Shadoe Stevens, who would go on to national fame.
In retrospect, the birth of KRLA under Jack Kent Cooke was a turning point. It marked the station’s transition from a modest Pasadena broadcaster into a major player in Los Angeles radio, setting the stage for its role in the Top 40 revolution, Beatlemania, and beyond. Cooke’s boldness gave KRLA the foundation it needed to thrive in one of the most competitive radio markets in America.
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KRLA | Jimmy O’Neill | October 9, 1961
Audio Digitally Remastered by USA Radio Museum
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The Top 40 Revolution
KRLA Jimmy O’Neill circa 1964.
By the early 1960s, KRLA had fully embraced the Top 40 format, a programming innovation that transformed American radio. The idea was simple but revolutionary: play the forty most popular songs in heavy rotation, ensuring listeners would hear their favorites multiple times a day. For teenagers in Los Angeles, this meant KRLA became the soundtrack of their lives — a station that reflected their tastes, moods, and identities in real time.
KRLA’s adoption of Top 40 was more than a business decision; it was a cultural pivot. The format gave DJs enormous influence, as they weren’t just spinning records but curating the pulse of youth culture. Personalities like Casey Kasem, Jimmy O’Neill, Wink Martindale and Dick Biondi became trusted voices, guiding listeners through the rapidly changing musical landscape. Their commentary, humor, and charisma turned KRLA into a community hub, where teens felt connected not only to the music but to the DJs themselves.
The timing of KRLA’s Top 40 embrace was impeccable. In 1964, as the British Invasion swept across America, KRLA became the first Southern California station to play The Beatles. This bold move cemented its reputation as an advanced, station and artist promoter, willing to take risks and connect directly with the passions of its audience. When Bob Eubanks promoted The Beatles’ Hollywood Bowl concerts that same year, KRLA’s credibility soared even higher. The station wasn’t just reporting on Beatlemania — it was actively shaping it.
KRLA’s Top 40 playlists were eagerly awaited each week, distributed both as standalone survey sheets and incorporated into the station’s magazine, KRLA Beat. Teens would pore over the charts, debating which songs deserved to rise or fall, and using them as cultural currency in conversations at school or at the record store. The charts gave listeners a sense of participation in the larger pop movement, reinforcing KRLA’s role as both a mirror and a driver of youth identity.
Competition was fierce. KFWB had pioneered Top 40 in Los Angeles, and KHJ’s “Boss Radio” format would soon dominate with its slick, streamlined approach. Yet KRLA retained a loyal following by blending the chart-driven format with personality-driven programming. Its DJs were given more freedom to inject humor, storytelling, and local flavor into their shows, creating a sense of intimacy that KHJ’s polished style sometimes lacked.
The Top 40 era at KRLA was also a time of musical diversity. While rock and roll dominated, the playlists included Motown hits, surf rock, folk revival songs, and emerging psychedelic sounds. This eclectic mix reflected the station’s willingness to embrace the full spectrum of youth culture, ensuring that KRLA remained relevant even as musical trends shifted rapidly.
In retrospect, KRLA’s embrace of Top 40 was a turning point. It transformed the station from a regional broadcaster into a cultural powerhouse, aligning it with the passions of Los Angeles teens and embedding it in the national story of 1960s pop music. The format gave KRLA the agility to ride the wave of Beatlemania, the British Invasion, and beyond, while its DJs gave the station a human face that listeners trusted and adored.
Competition and the Rise of Boss Radio
The Los Angeles radio market of the 1960s was one of the most competitive in the nation, a proving ground where formats were tested, personalities were elevated, and stations fought fiercely for the loyalty of teenage listeners. At the dawn of the decade, KFWB had already established itself as a leader in Top 40 programming under the guidance of program director Chuck Blore, whose “Color Radio” style emphasized personality, excitement, and a sense of fun. KRLA entered this arena determined to carve out its own identity, leaning heavily on its DJs’ charisma and its willingness to take risks with music selection.
KRLA Bob Eubanks circa 1963.
By 1965, however, a new rival emerged that would change the landscape: KHJ and its revolutionary “Boss Radio” format, engineered by Bill Drake and programmed by Ron Jacobs. Boss Radio stripped away much of the clutter that had defined earlier Top 40 stations. Gone were long DJ monologues, comedy bits, and extended jingles. In their place came streamlined playlists, tight rotations, and crisp, high‑energy presentation. The format was laser‑focused on delivering the hits quickly and efficiently, appealing to listeners who wanted maximum music with minimal interruption.
KHJ’s arrival posed a serious challenge to KRLA. Suddenly, the station’s personality‑driven style seemed less modern compared to KHJ’s sleek efficiency. Boss Radio’s branding was everywhere — from billboards to bumper stickers — and its DJs, dubbed the “Boss Jocks,” became instant celebrities. Within months, KHJ surged to the top of the ratings, eclipsing both KFWB and KRLA.
Yet KRLA was not without its strengths. While it never fully eclipsed KHJ’s dominance, KRLA retained a loyal audience that valued its more relaxed, personality‑oriented approach. DJs like Casey Kasem, Bob Eubanks, and Jimmy O’Neill continued to cultivate strong connections with listeners, offering humor, commentary, and a sense of intimacy that KHJ’s streamlined style sometimes lacked. KRLA also leaned into innovation, expanding its cultural footprint through ventures like the KRLA Beat magazine and crossovers into television (Shindig! and Shebang!), ensuring that its brand remained visible beyond the dial.
The rivalry between KRLA and KHJ reflected a broader tension in American radio: the balance between personality and efficiency, intimacy and polish. KHJ’s Boss Radio represented the future — a tightly controlled, highly marketable format that would spread nationwide under Bill Drake’s influence. KRLA, meanwhile, embodied the enduring appeal of personality radio, where DJs were more than voices; they were companions, broadcasting groundbreakers, and cultural icons.
In retrospect, the rise of Boss Radio forced KRLA to adapt, sharpening its playlists and tightening its presentation while still preserving the warmth and individuality of its DJs. This adaptability allowed KRLA to survive the ratings wars and maintain cultural relevance even as KHJ dominated the charts. For Los Angeles teens, the choice between KRLA and KHJ was more than a matter of dial position — it was a choice between two visions of radio itself.
Top ‘Hall of Fame’ Voices of KRLA: Personalities Who Defined an Era
Jimmy O’Neill: Charismatic and energetic, Jimmy O’Neill was one of KRLA’s most recognizable voices. He later became the host of Shindig!, the ABC-TV music program that brought rock and roll into America’s living rooms. His KRLA tenure showcased his ability to connect with young audiences and translate radio energy into television stardom.
KRLA Dick Biondi circa 1966.
Dick Biondi: Known as “The Wild Italian,” Dick Biondi brought humor, irreverence, and a love of rock and roll to KRLA. Already a legend from his time in Chicago, Biondi’s arrival in Los Angeles gave KRLA a national flair. His playful style and booming personality made him a fan favorite.
Casey Kasem: Before American Top 40 made him a household name, Casey Kasem honed his craft at KRLA. His warm delivery and encyclopedic knowledge of pop music made him a beloved presence. Kasem’s time at KRLA helped lay the foundation for his later career as the voice of America’s charts.
Shadoe Stevens: Stevens brought a unique blend of wit and sophistication to KRLA. Later known for hosting American Top 40 after Kasem, Stevens’ KRLA years were marked by creativity and a flair for presentation that resonated with listeners.
Bob Eubanks: Bob, who would later gain fame as host of The Newlywed Game, was among the voices that defined KRLA’s sound. His role in promoting The Beatles’ concerts at the Hollywood Bowl further cemented his place in Los Angeles music history.
David Hull: Hull’s smooth style and deep connection to the music scene made him a trusted guide for KRLA listeners. He represented the station’s ability to balance entertainment with authenticity.
Lee Baby Simms: Simms was a cult figure in radio, known for his eccentric, freewheeling style. At KRLA, he brought a sense of unpredictability and artistry, appealing to listeners who craved something beyond the formulaic.
Derek Taylor: A former Beatles press officer, Derek Taylor’s association with KRLA added prestige and insider credibility. His presence connected the station directly to the British Invasion, giving listeners a sense of being part of the global music revolution.
Dave Diamond: Dave Diamond was both a DJ and a visionary, later credited with helping to popularize psychedelic rock. At KRLA, he introduced audiences to new sounds and ideas, embodying the station’s role as a cultural innovator.’
Wink Martindale: Legendary broadcaster whose polished style and commanding presence elevated KRLA’s profile; later famed as a national TV host, his KRLA tenure underscored the station’s connection to mainstream entertainment.
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KRLA | Dave Hull | January 1, 1966
Audio Digitally Remastered by USA Radio Museum
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KRLA Beat: America’s First Rock-and-Roll Newspaper
Launched in October 1964, KRLA Beat began as a free newsletter distributed by the station, but quickly evolved into a full-fledged weekly magazine. It was the first American publication dedicated entirely to covering the Top 40 rock-and-roll scene, blending local KRLA content with national and international music reporting.
For teens in Los Angeles, KRLA Beat was more than a promotional handout — it was a cultural lifeline. It gave fans a tangible connection to the station they listened to daily, and it extended the intimacy of radio into print. Readers could see photos of their favorite artists, read interviews, and follow commentary from the DJs they trusted on-air.
The Top 40 Connection
KRLA’s weekly Top 40 playlists were indeed incorporated into the magazine. Each issue featured record charts, reflecting the songs most played and requested on KRLA. These charts were a centerpiece of the publication, allowing fans to track the rise and fall of their favorite hits week by week.
At the same time, KRLA also published its Top 40 surveys separately as standalone handouts — the familiar “survey sheets” distributed at record stores and promotional events. This dual approach meant that fans could grab a quick chart to see what was hot, or dive into the magazine for deeper coverage, photos, and stories.
Why It Mattered
For Los Angeles teens in the mid-1960s, KRLA Beat was a cultural artifact of belonging. It captured the excitement of discovering new music, the glamour of British Invasion stars, and the personalities of KRLA DJs. The magazine’s access was extraordinary: it featured direct contributions from The Beatles’ press officer Tony Barrow, giving readers insider perspectives that no other American publication offered.
By blending local radio identity with global pop culture reporting, KRLA Beat positioned KRLA as more than a station — it was a hub of youth culture. Teens could listen to Casey Kasem or Bob Eubanks on the air, then read their commentary in print, reinforcing the sense that KRLA was part of their daily lives.
Legacy
Running until May 1968, KRLA Beat remains a landmark in radio history. It demonstrated how stations could extend their brand beyond the airwaves, creating multimedia experiences that deepened audience loyalty. Today, surviving issues are treasured by collectors and historians as snapshots of the era’s energy, style, and sound.
KRLA Beat also included the weekly Top 40 charts, but KRLA also published separate survey sheets. Together, these formats gave teens both quick-hit playlists and a richly detailed magazine — a perfect example of how KRLA more than connected with its audience in the 1960s.
KRLA and the Beatles Era: Concerts, Television, and Teen Culture
KRLA Radio presented the Beatles live at the Hollywood Bowl, August 1964.
In the mid‑1960s, KRLA was more than a radio station — it was a cultural connector that brought Beatlemania and youth music directly into the lives of Southern California teens. On August 23, 1964, KRLA DJ Bob Eubanks boldly mortgaged his home to finance The Beatles’ first Hollywood Bowl concert. His gamble paid off with a sold‑out show, cementing KRLA’s role in introducing the Fab Four to Los Angeles and linking the station forever to their American story.
Meanwhile, KRLA’s Jimmy O’Neill carried the station’s influence onto national television as host of ABC’s Shindig!. Debuting in September 1964, the show featured The Beatles performing “Kansas City/Hey Hey Hey Hey,” “Boys,” and “I’m a Loser,” expanding their visibility beyond The Ed Sullivan Show and showcasing O’Neill’s charisma to a nationwide audience.
Not long after, KRLA’s Casey Kasem extended the station’s reach with Shebang!, a teen‑dance program produced by Dick Clark that premiered in March 1965. Broadcast six days a week on KTLA, Shebang! spotlighted acts from Sonny & Cher to The Doors (in their first TV appearance), blending live performances with Kasem’s personable style and giving Los Angeles teens a mirror of their fashions, dances, and social scene.
Together, these milestones illustrate KRLA’s dual power: concert sponsorship, television crossover, and cultural leadership. By championing The Beatles at the Bowl, hosting them on Shindig!, and guiding teens through Shebang!, KRLA proved it was not just spinning records — it was shaping the soundtrack and identity of a generation.
Legacy and Cultural Impact
KRLA’s legacy lies not only in its adaptability but in the indelible marks it left on music, broadcasting, and youth culture. Few stations managed to reinvent themselves so many times while still remaining central to the cultural conversation. From its bold embrace of the Top 40 format to its pioneering role in introducing The Beatles to Southern California, KRLA consistently positioned itself at the forefront of change.
KRLA Dave Hull circa 1968.
The station’s decision to play The Beatles in 1964 was more than a programming choice — it was a cultural statement. By championing the Fab Four before many competitors dared, KRLA aligned itself with the passions of Los Angeles teens and cemented its reputation as a tastemaker. That connection was amplified when Bob Eubanks, one of KRLA’s own DJs, promoted and introduced The Beatles at the Hollywood Bowl. In that moment, KRLA wasn’t just broadcasting Beatlemania; it was helping to create it.
Equally significant was KRLA’s cultivation of personalities who became national icons. Casey Kasem, whose warm voice and encyclopedic knowledge of pop music made him beloved on KRLA, would go on to host American Top 40, a program that defined radio for generations. Shadoe Stevens, another KRLA alumnus, later succeeded Kasem on that very show, bringing his own wit and creativity to the national stage. These careers remind us that KRLA was more than a station — it was a launching pad for talent that shaped American broadcasting.
The publication of KRLA Beat further extended the station’s cultural reach. Running from 1964 to 1968, the magazine blended local station news with national and international music coverage, offering teens a tangible connection to the voices they heard on the air. It was the first American publication dedicated entirely to rock and roll, and its weekly charts gave fans a sense of participation in the pop culture movement. For Los Angeles youth, KRLA Beat was both a mirror and a megaphone, reflecting their tastes while amplifying their voices.
Archival recordings of DJs like Bob Eubanks, Dick Biondi, Jimmy O’Neill, and Dave Diamond preserve the immediacy and excitement of live radio. Listening today, one can hear the energy of a medium that was spontaneous, personal, and deeply connected to its audience. These airchecks are not simply nostalgic artifacts; they are living documents of a time when radio was the heartbeat of youth culture.
KRLA’s cultural impact also lies in its role as a bridge between eras. Its oldies programming in the late 1960s and 1970s preserved the sounds of early rock and roll, ensuring that artists like Elvis Presley, Chuck Berry, and Buddy Holly remained accessible to new generations. Later, its transition to talk radio reflected the broader shift in AM broadcasting, positioning KRLA within the national conversation on politics and culture.
In the end, KRLA’s story is one of resilience and reinvention. It adapted to changing tastes and technologies while leaving behind milestones that continue to resonate: The Beatles at the Bowl, the voices of Kasem and Stevens, the pages of KRLA Beat, and the unforgettable immediacy of live radio. For the USA Radio Museum, KRLA stands as a case study in how a station can both reflect and shape the culture around it, leaving a legacy that endures long after the music fades.
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KRLA | Casey Kasem | June, 1967
Audio Digitally Remastered by USA Radio Museum
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Reinvention: Oldies, Talk, and Beyond
By the late 1960s, KRLA found itself at a crossroads. The Top 40 wars in Los Angeles had grown fierce, with KHJ’s “Boss Radio” format dominating the youth market. KRLA responded by experimenting with programming that leaned into nostalgia. The station began to feature “oldies” blocks, spotlighting the early rock and roll hits of the 1950s and early 1960s. This move resonated with listeners who had grown up with Elvis, Chuck Berry, and Buddy Holly, and it helped KRLA carve out a niche as a guardian of rock’s roots even as the music industry surged forward into psychedelia and progressive sounds.
The oldies format was more than a retreat; it was a preservation effort. KRLA DJs like Dave Diamond and Lee Baby Simms infused these shows with commentary that contextualized the music, reminding audiences of the cultural shifts that had accompanied the rise of rock and roll. In doing so, KRLA became a bridge between generations, offering younger listeners a chance to discover the foundations of the music they loved, while giving older audiences a comforting reminder of their youth.
By the 1980s, however, the winds of change were blowing again. Across the country, talk radio was emerging as a dominant format, fueled by the rise of opinion-driven programming and the appeal of live listener interaction. KRLA leaned heavily into this trend, shifting away from music and embracing talk shows that reflected the political and cultural debates of the era. This transition marked a departure from the station’s music-driven past, but it also positioned KRLA within the new landscape of American broadcasting, where personality and perspective often mattered more than playlists.
The talk format allowed KRLA to remain relevant in a rapidly changing media environment. While FM stations increasingly dominated the music market with stereo sound and specialized formats, AM radio found new life in talk, sports, and news. KRLA’s pivot was emblematic of this broader industry shift, ensuring that the station continued to serve a loyal audience even as its identity evolved.
A final reinvention came in 2001, when Salem Media Group acquired the station. The KRLA call letters were reassigned to 870 AM, formerly known as KIEV. Under Salem’s ownership, KRLA adopted a conservative talk format, branding itself as “AM 870 The Answer.” This incarnation of KRLA remains on the air today, serving Greater Los Angeles with syndicated programming from Fox News Radio and Salem Radio Network. Though far removed from its rock and roll roots, the station continues to embody the adaptability that has defined its history.
KRLA’s journey through oldies, talk, and conservative commentary underscores the station’s resilience. Each reinvention reflected not only industry trends but also the cultural currents of its time. From preserving the sounds of early rock to amplifying the debates of modern politics, KRLA has remained a voice in Los Angeles radio for more than eight decades.
Conclusion: KRLA’s Enduring Signal
KRLA’s story is one of transformation, resilience, and cultural resonance. From its Pasadena beginnings to its rebirth under Jack Kent Cooke, from the Top 40 revolution to the fierce competition of Boss Radio, the station continually adapted while leaving indelible marks on broadcasting history.
Its fingerprints are everywhere: Bob Eubanks introducing The Beatles at the Hollywood Bowl, Jimmy O’Neill hosting Shindig! on national television, Casey Kasem guiding teens through Shebang! and later shaping American Top 40, and the KRLA Beat magazine giving fans a tangible connection to the music they loved. Each milestone reflects KRLA’s dual role as both a radio powerhouse and a cultural connector.
Though KHJ’s streamlined “Boss Radio” format may have dominated the ratings, KRLA’s legacy endures in the voices, charts, and memories it preserved. It was a station that dared to take risks, embraced personality, and gave Los Angeles youth a soundtrack for their lives.
For the USA Radio Museum, KRLA stands as a reminder of radio’s power to shape identity, amplify culture, and capture the excitement of an era. Its echoes still resound — not only in archival recordings and magazine pages, but in the enduring influence of the DJs and artists it boldly introduced to Los Angeles, Southern California, and beyond, cementing its place today in broadcasting legacy and lore.
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Contact: jimf.usaradiomuseum@gmail.com
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