It’s 1968, and the streets of San Francisco are alive with the countercultural revolution. The Haight-Ashbury district is buzzing with flower children, anti-war protests fill Civic Center Plaza, and the airwaves are ablaze with the sounds of a city in cultural overdrive. From the crackle of AM dials to the emerging clarity of FM stereo, San Francisco’s radio scene is a battleground where stations fight fiercely for dominance, listeners, and cultural relevance.
This was no ordinary era for radio. The late 1960s and 1970s marked a golden age when San Francisco’s airwaves became as diverse and dynamic as the city itself. Top 40 hits, freeform rock, talk shows, and community-focused programming collided in a high-stakes competition for listeners’ loyalty. At the heart of it all were legendary stations like KFRC, KSAN, KMPX, and KSFO—each carving out its identity in a city that demanded innovation and authenticity.
San Francisco in the late ’60s was a city undergoing seismic shifts—not just culturally but musically. The Summer of Love had cemented its reputation as the epicenter of counterculture, while artists like Jefferson Airplane, Janis Joplin, and The Grateful Dead were redefining rock music. Against this backdrop, radio stations became more than just places to hear music; they were cultural institutions shaping the city’s identity.
AM radio still reigned supreme in the early part of this era, with stations like KFRC and KSFO dominating the dial. But FM was on the rise, offering better sound quality and more freedom for experimentation. As listeners’ tastes evolved—from Top 40 hits to album-oriented rock—the battle between AM and FM intensified, creating a vibrant radio landscape unlike any other in America.
KFRC (610 AM) was San Francisco’s undisputed king of Top 40 radio throughout much of the ’60s and ’70s. Owned by RKO General and programmed by Bill Drake—creator of the famed “Boss Radio” format—KFRC delivered a polished, high-energy sound that captivated mainstream audiences. With its tight playlists, dynamic jingles, and charismatic DJs like Dr. Don Rose and Bobby Dale, KFRC became synonymous with hit music in San Francisco.
Drake’s programming philosophy was simple: keep it fast-paced and focused on the hits. This approach earned KFRC massive ratings during its heyday. Morning man Dr. Don Rose became a household name thanks to his humor-infused broadcasts that mixed corny jokes with razor-sharp timing. “He was like your funny uncle who always had a joke ready,” recalls longtime listener Susan Delgado. “But he also played all the songs we loved.”
KSAN
While KFRC dominated mainstream radio, KSAN (94.9 FM) became the voice of San Francisco’s counterculture. In 1968, under the leadership of Tom Donahue—known as “Big Daddy”—KSAN transitioned from classical music to freeform rock programming. Donahue’s vision was revolutionary: DJs were given complete freedom to choose their playlists, resulting in an eclectic mix that reflected the city’s diverse musical tastes.
KSAN wasn’t just about music; it was about community. The station became a hub for countercultural expression, airing interviews with activists, poets, and underground artists alongside tracks from Jimi Hendrix or Crosby, Stills & Nash. “KSAN felt like it belonged to us,” says former listener Dave Heller. “It wasn’t corporate; it was real.”
Before KSAN embraced freeform rock, KMPX (106.9 FM) had already blazed that trail under Tom Donahue’s leadership starting in 1967. As one of America’s first progressive rock stations, KMPX offered an alternative to formulaic AM programming by playing entire albums and showcasing lesser-known artists.
KMPX also reflected San Francisco’s rebellious spirit by rejecting traditional advertising models and embracing socially conscious messaging. However, internal conflicts between management and staff led to a mass walkout in 1968—a pivotal moment that saw Donahue take his team to KSAN while KMPX struggled to regain its footing.
Sly Stone as a DJ on San Francisco’s KSOL, 1967
While KFRC catered to pop fans and KSAN served rock enthusiasts, KSFO (560 AM) positioned itself as “The World’s Greatest Radio Station,” offering full-service programming that included talk shows, news updates, sports coverage, and music tailored for older audiences.
Don Sherwood—dubbed “The World’s Greatest Disc Jockey”—was KSFO’s star attraction during this era. Known for his quick wit and irreverent humor, Sherwood turned morning radio into must-listen entertainment for thousands of Bay Area residents.
Mimi Chen at KRQR in San Francisco
The late ’60s and ’70s were defined by rapid changes in listener demographics and musical trends—and San Francisco’s stations adapted accordingly.
For KFRC, staying relevant meant embracing emerging genres like disco while maintaining its Top 40 roots. By contrast, KSAN leaned into album-oriented rock (AOR), giving airtime to extended jams from bands like Pink Floyd or Led Zeppelin that wouldn’t have fit on AM playlists.
Meanwhile, FM stations like KMPX experimented with collective decision-making processes where DJs collaborated on playlists rather than following directives from program directors—a stark contrast to the rigid structures typical of AM outlets.
These strategic shifts weren’t just about ratings; they were about capturing hearts—and wallets—in an increasingly fragmented market. Mimi Chen’s time at KRQR in San Francisco showcased her fearless approach to radio and her passion for pushing boundaries. Hosting the late-night segment “Rock on the Wild Side,” she introduced listeners to heavy metal tracks rarely heard on mainstream rock stations, famously playing Slayer at a friend’s urging—a bold move that left an indelible mark on the station’s audience.
San Francisco’s airwaves were home to some of radio’s most memorable personalities during this period:
: As one of freeform rock radio’s founding fathers, Donahue reshaped what FM could be—turning it into a platform for artistic expression rather than commercial conformity.
: With his infectious energy and corny humor (“Time flies like an arrow; fruit flies like a banana”), Rose brightened mornings across San Francisco throughout much of his career at KFRC.
: Equal parts entertainer and provocateur; Sherwood brought biting satire—and occasionally controversy—to Bay Area mornings.
: Before becoming a global music icon with Sly & The Family Stone; Sly honed his craft as both DJ & producer at local station KSOL where he showcased early funk sounds alongside R&B staples.
For Bay Area residents who lived through this era; choosing between stations wasn’t just about music—it was about identity:
“KFRC played everything I loved growing up,” recalls Maria Torres; now living abroad but still nostalgic for those days when calling into Dr.Rose show felt magical . Meanwhile others swear allegiance towards KSAN claiming it represented true authenticity amidst corporate noise .
These connections weren’t accidental—they were cultivated through relentless engagement efforts ranging from live remotes at Golden Gate Park events towards exclusive interviews featuring rising stars .
Though times changed eventually leading towards dominance by syndication models replacing localized content ; echoes from golden era remain alive today whether via archival recordings preserved online or tribute events celebrating pioneers who shaped industry .
For modern broadcasters looking back offers valuable lessons regarding balance between innovation & authenticity ensuring future generations continue enjoying vibrant storytelling traditions pioneered decades ago .
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KFRC (610 AM) was San Francisco’s undisputed king of Top 40 radio throughout much of the ’60s and ’70s. Owned by RKO General and programmed by Bill Drake—creator of the famed “Boss Radio” format—KFRC delivered a polished, high-energy sound that captivated mainstream audiences. With its tight playlists, dynamic jingles, and charismatic DJs like Dr. Don Rose and Bobby Dale, KFRC became synonymous with hit music in San Francisco.
Before KSAN embraced freeform rock, KMPX (106.9 FM) had already blazed that trail under Tom Donahue’s leadership starting in 1967. As one of America’s first progressive rock stations, KMPX offered an alternative to formulaic AM programming by playing entire albums and showcasing lesser-known artists.
