All language subtitles for I.Wanna.Rock.The.80s.Metal.Dream.S01E01.1080p.WEB.h264-EDITH

Open up and say, "Ah."

Ahh...

I grew up in a dental family.

My grandfather was a dentist.

My uncles were dentists.

My cousins are dentists.

All right, I could,
with check up.

Everybody is in
the tooth business.

Come in.

How are you doing today?

Most of my patients...

have no idea

that I was ever in a band

or any of that.

Spent the first part of my life

in front of a bunch of people
with my mouth wide open.

Now my patients have
their mouths wide open.

Ladies and gentlemen,
put your hands together,

Vixen!

We were all part of
that hair metal scene.

It was like all of a sudden
being in the major leagues.

In the '80s, hard rock and
roll, dominated the charts,

and it was the greatest
thing in the world.

People singing your songs,
the videos are doing incredible

on MTV.

Pants so tight you could tell

I was circumcised.

That's what you do in 1985.

The, the term
hair metal. Well...

I mean, what does it even mean?

Those dudes with
their palm tree hair,

settin' chicks on
fire in a Ferrari.

I don't know what that means.

The hair blowing
in those videos.

There was some
pretty hokey shit,

but not all of it.

♪ Shake me all night ♪

♪ She said shake me ♪

♪ Shake it till... ♪

The look, the fashion, the hair.

The Aqua Net.

You'd take one section

and just spray the Aqua Net on.

And then you'd go
to the next section

and spray the Aqua Net on.

We became like
the darlings on MTV.

♪ Shake me all night ♪

♪ She said shake me ♪

And then, you
know, soon after that,

everyone started hating us.

It got increasingly more absurd.

MTV said they're
not cool anymore.

Which I guess is
the kiss of death.

There was definitely
a wind of change.

♪ Shake me all night ♪

The rock star dream was
gonna die for you, dude.

I had had enough.

They just stopped
playing it. The end.

People were buzzing about

the Seattle sound.

And it was over.

The dimensions to being
a rock star are enormous.

You're not a normal human being

if you're a rock star.

You're something out
of the side of the box.

When a musician, who's
just a dude that has a guitar,

and he's playing it in his room
somewhere in Akron, Ohio,

looks in the mirror
one morning and says,

"You know what, I'm
not just a guitar player.

I'm not just a guy
who flips burgers.

I'm a rock star."

Now then the shift happens,

and all of a sudden all
these new elements come in.

Well, they are carrying a burden

that not the rest
of us are carrying.

They're unique.

They are not of this world.

- You want a beer?
- You got beer? Yes!

- You want a beer?
- Of course I do.

I almost sat on
it, and realized...

I've been taking them
to school in the morning.

- Yeah.
- But one of our songs

would come on the radio,

and my daughter is
like, "Snaky? That's you."

- That's awesome.
- Yeah, it's fantastic.

That is awesome.

One of my older
brothers had a $40 guitar

from the Sears and
Roebuck catalog.

And the "Quick Picking, Fun
Strumming Home Guitar Course."

Three minutes to show.

You guys ready to rock?

Yes, sir.

And I started out
playing on one string.

But I was like, "Holy
crap, this sound."

I knew that music was my future.

The allure of being a rock star

when I was growing up

was this larger than life idea,

a superhero in a sense.

I'm this strange kid from
Sayreville, New Jersey.

I've got a job in
this music store.

One day, I see this guy walk in,

he just looked like a rock star.

I said, "You want to
come up and jam?"

We had such a great
time playing together.

We would write until
five, six in the morning

and then wake
up at eight o'clock

to go to our day jobs.

And we were relentless.

We were rehearsing every night.

If we weren't rehearsing,
we were writing music.

Good wasn't good enough.

You had to be great.

And if you were great,

maybe you would get
that all-elusive record deal.

I had the distinct advantage

of my friend Jon Bon Jovi
living up the street from me.

He's several years
older than me.

I love to say that.

Jon had been paying attention

and listening to our
music and giving us advice.

I get a phone call from Jon,

"Come up to my mom's house.

I want you to meet my manager."

"Well, who is your manager?"

"My manager is Doc McGhee."

"Oh, my God, I know that name.

It's on the back
of Motley Crue's

'Too Fast for Love'".

They're in the backyard
hanging out by the pool,

and there's this myth of a man.

This is my moment.

Take it.

I start going,

"I'm the best guitar
player around here.

I am going to be a big star.

I'm going to have the
greatest band in the world,"

blah, blah, blah, blah, blah.

"And you're going to
manage me some day."

He looks at me, takes
a little breath and goes,

"That's a great story. You
want to go get me a beer?"

I just went...

I'm just sitting there
waiting, man, like this.

- Beautiful song.
- Can we go in there?

Wanna put a little
acoustic down?

Sure.

I'm John Corabi, singer,

guitar player, songwriter

from just every band but ABBA.

I don't know what I'm doing now,

if it's the right thing
or the wrong thing,

I'm just doing a song.

I let it sit for two
or three months.

I just put a new song out.

And let that sit for
another couple months.

- You could put a four songs...
- Five.

And then package a
little eight song album.

- You know?
- "Thriller" was eight songs.

- Was it?
- Yeah.

- "Thriller"?
- Yeah.

- Are you fucking kidding me?
- No.

I think with this one

I should be able

to buy a bottle of Jameson

with the royalties.

- I'm a huge fan.
- That's a success.

I don't know.

I don't... I don't even know

what the word means anymore.

I'm originally
from Philadelphia.

Nobody in my family was musical,

but there was music
always playing in the house.

I was fascinated
with the Beatles.

One year, I just came
downstairs, and my parents,

I think they tried to cover

both ends of the
spectrum with me.

I had a guitar,

and a microscope.

"Let's get him a guitar.

Maybe that will do
the creative thing,

but hopefully he'll
go in this direction

and be like a
doctor or something."

And they failed
miserably on that one.

I wanted to be a rock star.

In Philadelphia, I
went from this band

to that band, to that band,

to that band, and
I just graduated

to a really popular
band, Angora.

And we just started
plugging away

and playing, writing.

Some of the guys
went out to L.A.,

telling us there's 50 clubs

where you can play
original rock music.

"We got to go to L.A."

♪ Standing on the corner ♪

Hollywood, USA, baby!

Come on. Let's go.
I'm a ham. I'm a ham.

Yeah!

The Sunset Strip
was pure insanity.

Those two blocks from
The Whisky to Doheny...

was wall-to-wall palm tree hair,

long jackets,

girls in lingerie,

fishnet stockings,

high heels,

dudes with as much makeup on

as their chicks.

Angora moved to L.A.,

and we just started
plugging away.

Maybe get a record deal.

It's the golden ticket.

I was and still am very shy.

I would never have mentioned,

"I want to be a rock star."

No.

I grew up in Bozeman, Montana.

My parents were Mormon.

As young Mormon
women, young ladies,

we were supposed to be groomed
to be good wives and mothers.

We would learn
how to brush our hair,

and put on makeup

and look attractive,

and learn how to cook
and do all that kind of stuff.

I definitely knew I didn't fit

in that whole thing.

There was something,
something amiss about all that.

When I first started
to get into rock,

I remember checking
out female bands.

♪ It's hard to live when
you're by yourself ♪

I remember checking out Fanny.

♪ Free, free spirit ♪

There was a band called Birtha.

♪ I got a free ♪

And, of course, The Go-Go's.

♪ We got the beat ♪

- ♪ We got the beat ♪
- ♪ We got the beat ♪

♪ Hello, world,
I'm your wild girl ♪

♪ Like a ch-ch-ch... ♪

The Runaways...

♪ Cherry bomb! ♪

But there were very few.

But they were all really good.

So it was like,
girls can do this.

These are The Young Americans.

♪ Shenandoah, Shenandoah ♪

I ended up going to see
The Young Americans.

I was blown away.

They were like my age...

♪ Oh, I vow to thee ♪

doing amazingly slick,

professional performing.

♪ Shenandoah ♪

Afterwards, they were
running around out in the halls.

I said, "Wow, I was blown away.

You are all so talented.

This was amazing."

They're like, "You
should audition."

The director came out.

He said, "Just sing me
a song that you like."

So out of nowhere, I
picked a Bonnie Raitt song,

and he was like, "Oh, you
know, you have a great voice."

I crossed my fingers,

and sure enough, I got picked.

♪ I've seen it all and
how do I make you? ♪

♪ How do I make you? ♪

The Young Americans,
they were based in California,

and I was like, "This is
where everything is happening.

This is where I should be."

So I called my parents and said,

I'm not coming home.

That didn't go over very big.

You know, I quit school
without telling 'em.

And then I started checking out

the local rock scene.

It was competitive.

Everybody was trying
to get the most attention,

trying to get that
elusive record deal.

All of the bands
that were playing

that scene at the time
were getting signed.

If you could draw a good crowd,
you could get a record deal.

So who didn't want to be there?

Let me hear ya.

I never wanted to
be in the L.A. thing.

New York suited me
perfectly because it was like,

education center, you know.

It wasn't about sex,
drugs and rock 'n' roll.

That's never what I was about.

In New York, I can go see

the New York City
Ballet one night,

and I can go to
Radio City Music Hall

and see something
else, and then I can go

to Madison Square
Garden and see something.

You know, like that was my vibe.

I had a dream very early.

I did my first
professional gig at eight,

my guitar broke ten strings,
and it was just an awful gig.

But I got paid 30 bucks

and I thought, "I'm
in. This is it for me."

I was just a little punk.

I was like, you know,
I just wanted to rock.

I lived in Hoboken,

I'd go in the city
and take ballet class.

I took bass lessons.

A couple composition
lessons from a cat from Juilliard.

I was always
doing a little bit here

and a little bit there.

I was shopping as a solo artist.

For years.

Totally bumming,
I mean, it was like,

I'm never going to get anywhere.

- Okay, go. Oh!
- Oh! We got that.

One of my very good
friends, Beau Hill,

had a room in Atlantic Studios.

He was producing Ratt,

and he would have
me play bass on stuff

and do some background vocals.

So I was kind of
like his backup,

like a utility team.

I gave him all these demos

and he kept playing
'em for record companies

that would just keep saying,

"This is terrible,"

and "Don't play me
anymore Kip Winger."

For the most part,

I was dead in the water.

It's hard to really describe

what it is that makes
a band sparkle.

Whoops. Sorry.

It's that hair
raising experience

of when you hear their voice.

♪ Hello, world ♪

You just know
that they can do it.

That's good. Sounds good, huh?

Yeah.

Ever since I was a child,

I decided that I was going to be

the best rock and roll
manager on the planet.

I managed my first
boyfriend's bands.

There just wasn't
really an outlet

to go any farther.

I knew I had to
save up some money

and move to California.

And that's exactly what I did.

I ended up taking a job

at Licorice Pizza,

which was the record store

catty corner from
the Whisky a Go-Go.

If location is everything,

this was the spot.

There was always a concert
going on at the Whisky.

It was love at first sight.

What's up!

Metalheads!

We're gonna be big some day.

Drugs, alcohol,

partying,

nonstop music all the time.

There were so many great
looking rocker dudes in there.

We didn't have that in Indiana.

I ended up meeting Motley Crue

because Nikki Sixx
came into my store.

We had a thing
called Borrow Book.

Nikki would ask me
to get records for him,

and he'd take 'em
out, but then he would

never bring the records back.

So then I would end
up having to buy them.

Motley Crue, when
I first met them,

they hadn't been signed.

They were just putting out

their first six inch record.

My manager
instinct like kicked in,

and I knew they
were going to be huge.

Put them up all through

the Licorice Pizza stores.

Then my boss said,
"Those better all sell,"

"or you're going
to lose your job."

I had shared with Nikki

that I wanted to be a manager

and I was like,

"Wow, you can,
like, work with us."

Management agreements
are kind of like marriages.

You don't really know
if it's going to work,

until you're actually in it.

♪ The weekend's here again ♪

I was in a band called Candy.

We wanted to look
like four Nikki Sixxes.

We all had long, tall,

big black hair.

The bigger the hair,
the bigger the paycheck.

♪ Whatever happened to fun? ♪

♪ Whatever happened to fun? ♪

♪ Whatever happened to fun? ♪

We started playing gigs in L.A.,

but we had no following,
we had no friends.

And we didn't really have
any idea how to build one.

Nobody had a record deal.

Nobody was on the radio,

so it was really
hand-to-hand combat.

♪ One, two, three, let's go! ♪

Self promotion was
the name of the game.

Every Friday, Saturday
night on the Strip,

every band that
wasn't inside the club

was outside the
club on the sidewalk,

handing out these flyers.

Rock Asylum is a hot
band from New York.

Bands would just go
hand flyers to women.

That's how you met
people. It was really...

pre-Internet, how you
found out about a show.

"Oh, come to my show,
come to my show."

You've got your flyer,
"three dollars off."

Cool, all right. You know, you
needed that three dollars off.

You would try to find

a color that nobody
else was using.

You had to have a
really good photo,

sort of sexy or menacing.

And then you would have,
like, the name of the band,

so you would need some
sort of interesting logo.

And then hopefully you
have some dates scheduled,

if you weren't a total poser,

and then a ticket hotline

where people could
call and be like,

"Hey, this is Tommy
from Paradise,

and we're going
to rock your ass."

You had all the poles covered,

the ground covered.

You couldn't see the sidewalk

from Tower Records all
the way up to Gil Turner's.

It looked like it was New
Year's Eve every night.

Poison was the kings

of flyering.

Poison had this whole
system worked out

where they would
go out in the van

and one guy would
like stir the glue.

The next guy would
put the glue on the poster

and they would do this...

and then they would
jump out of the van

and get on each
other's shoulders

to put them up
high on the poles.

You can't rip 'em down
if you can't reach 'em.

And after every concert,

there would be tons of litter

and flyers everywhere.

The Beverly Hills Police
cracked down on that.

If you got caught stapling
flyers to the telephone poles,

you'd have to do
community service,

taking them off.

You can't imagine

the number of
trees that had to die

in the name of metal.

I got a job at Guitar Center,

which was another great
way to meet musicians.

And at one point, some
girl comes up to me

and she goes, "I know a
band you'd be perfect for."

So I got a call from
a guy who said,

"I am the manager of the group

that's looking for a singer."

So I said, "Hmm."

I was looking for suspicious

long haired guys, you
know, musician-y types.

I said, "I didn't see anybody."

And he goes, "Yeah,
they're right over at the bar."

And it was Jan and Lori.

And I was like,
"Oh! It's a girl thing!"

But I had never
done that before.

I was always "the
girl" in the band.

And we got together
and it was a blast.

We just hit it off.

I mean, once in a while,

I would smile and stuff, too.

"Get ass!"

We pretty much
spent all our time

rehearsing and
playing the Strip.

We ended up going on
the road a lot, though,

station wagon, van
pulling a U-Haul trailer,

playing any place
and every place

that we could, from anywhere

from five people to a
couple hundred people.

We're going to do
whatever we have to do

to get the attention
we need to get signed,

make records and be rock stars.

The first bit of
pip?? overdubbing.

The camera'd been on
about three seconds...

and he fucked up!

While I was waiting tables
in Hoboken, New Jersey,

Beau called me up and
said, "Hey, get up here."

We need four songs
for Alice Cooper.

I was like, "Oh, my God!"

I was a huge Alice Cooper fan.

A huge Alice Cooper fan.

I knew more about Alice Cooper

then he could remember.

That was like, preparation
met with opportunity.

Walked in, playing
that shit first take.

It was like, "Yes!"

You know, just like...

And so I said, "Alice, man,

if you go out on
tour, call me up."

But I remember him going,
"Okay, I'll keep that in mind."

But nothing, nothing,
nothing, nothing.

And then they called
me up and said,

"Hey, do you
want to do the gig?"

And I was like...

I had really short hair.

And they made us
get hair extensions,

and then the next day,
I've got hair down to here,

and we're all doing the
Alice Cooper show biz thing.

♪ For criminal acts and
violence on the stage ♪

Two months before,
I was waiting tables.

Two months later,
got on the stage,

sold out Joe Louis Arena,

live on MTV,

20,000 people flipping out,

and I had to get oriented.

I was completely losing
myself in this, you know,

"Oh, my God, I'm playing bass."

♪ You can go to hell ♪

As much as I loved
Alice, I felt like,

you know, once a side
man, always a side man.

I said that I was
leaving, you know,

and everybody was like,
"What? You're leaving?

Oh, my God, this
is a great band,

and we're going to go out
on the road for another year,"

and everybody was
like, "Wow! What a move!"

It's really hot, so don't blow

your voice out
on the first pass.

But it was a pretty
cool band, man,

and that's where I met Reb.

♪ She's so downhearted ♪

♪ She's what you
want, what you need ♪

I was like, "Let's start
a band, you know.

We should put
something together."

♪ Drops the bomb ♪

We're working.

I'm working at the music
store, Rachel and I are writing.

We're rehearsing like crazy.

And Jon, he's getting
ready to go on tour.

So he's like, "You want to
come out and do three shows?"

And we're like,
"No. No, I'd rather,"

I'd rather sit here and
work in the music store

for 12 hours a day
and hear kids playing

"Smoke on the Water"
and "Stairway to Heaven".

The singer that
we had at the time

was this kid named Matt Fallon.

Matt was a good singer,
but he wasn't great.

So we go to those
shows and we play,

and we think we're the shit.

After the show, Doc McGhee
comes in the dressing room,

and goes, "You guys are good.

You got really good songs.

Your singer sucks."

I'm like, "Yeah?"

He goes, "You got
to get a new singer."

We were auditioning singer
after singer after singer.

And we knew that if we
could find the right person,

these songs would
speak for themselves.

Mark Weiss, who's a very
renowned rock photographer,

he has a wedding.

At that wedding,

a young singer by the
name of Sebastian Bach.

And he's crazy.

He's like six-foot-twelve

and his hair is outrageous.

But he's an amazing singer.

We sent Sebastian four songs...

Huh!

He says he loves the songs.

We're like, "Well, do you want
to come down and audition?"

So we fly him in from Toronto,

where he was living,

and shows up at my mom's house.

One of the first things he says,

"Yo, dudes, what's up?

I got a nine-inch dick."

And Rachel looks at
me, but he says to me,

"He's a great singer, but
it's going to be trouble."

Angora had a lot of interest

from different labels,

different managers.

Gene Simmons
was interested in us.

We did a demo
tape with Steve Vai.

So we were getting

a lot of interest.

We had a rehearsal room
that was 500 a month.

I was kind of the
de facto leader.

And I'd go, "Okay, I need
your... I need your rent money.

It's the first."

Some of the guys would
not have their rent money

for rehearsal, but
then I'd see them

the next day with a
giant bag of weed,

and I just said,
"I came out here

to get a record deal.

I came here to be a rock star,

and you're kind of
fucking with my plan."

But then a couple of 'em
actually started smoking crack.

Equipment started
to go missing, and...

and I just said, "You
know what, I'm out."

♪ Whoo! ♪

Within probably a few months

of joining the band,
we ended up doing

this goofy movie Hardbodies,

and some of our
songs were in that.

♪ Oh ♪

And of course,

my Mormon mother went to see it.

I warned her.

I said, "Trust me."

"You don't want
to see this movie."

♪ By the phone, all alone ♪

And I think she brought

a couple of her
friends with her.

She said, "Oh, it was fun."

Right on, Mom!

What record company
you guys record for?

Uh, we don't have a label.

We can't even get a gig.

We kind of realized

we need to find a manager now.

Alan Kovac did have a
couple of great artists.

He was like, "I
know I can do this.

I know I can make this
happen, and I'll get you signed."

And it didn't take him long

to come back with
record deal offers.

And we were stunned.

It was exciting,
but it was also scary

to sign on that dotted line.

So like this sound...

Because it's an
octave down in the solo.

I programmed an octave down.

So maybe just this sound
in the solo, you know,

where it's panning and shit.

I said read to Reb,
"Like, let's make a pact."

No outside work for six months.

Like you don't take one job.

I am not going to do anything,

but we're going to
focus on writing songs.

- This is where I sing.
- And we'll make demos.

We're making the album now.

And we'll try to
get a record deal.

It was four guys who had played

their whole lives in clubs

and different bands,
putting a band together.

I mean, first day we
wrote "Madalaine",

"Time to Surrender" and
maybe even "Seventeen".

Do you remember that cord thing

you did in the very
beginning of it? The...

Reb and I worked for six months.

And everybody
turned us down still.

Beau Hill was very good friends

with Doug Morris at Atlantic.

Doug was like, "Don't play
me anymore Kip Winger."

Beau just said,
"Just listen to this."

What planet are you
from, man? That's great.

We got it!

Doug was like, "That
sounds pretty good.

Okay, well, we'll just give
you the minimum deal."

Like, we got the worst deal.

And we're like, "We'll take it.

Just give us a shot
and we'll fucking take it."

We started getting interest

from Atlantic Records.

They fly on a helicopter.

We're playing a
roller skating rink.

You know, you expect
this to be happening,

some posh venue in New
York City or Los Angeles.

We're in Bethlehem,
Pennsylvania at a roller rink.

They're like, "We
want the band."

We were like, "Oh, my God!"

The record deal
to a young musician

is the Holy Grail.

It's what sets you apart

from every other
band in the club circuit.

♪ We are the youth gone wild! ♪

We were getting a shot.

We were getting a
shot to have our music

on a frigging album,

with that Atlantic Records
A in the center of it.

We're on the same label
as Led Zeppelin, man.

♪ We are the youth gone wild! ♪

♪ We are the youth gone wild! ♪

♪ We've gone wild! Gone wild! ♪

You're strapped to
that rocket ship, man.

And you're riding this thing

and you don't know
where it's going,

but you know it's going forward.

Sebastian Bach was kind of like

nothing you'd ever seen before.

He had the aura
of the rock star.

He had the "It." He
had the je ne sais quoi.

He had the whatever.
Not everyone can do that.

David Lee Roth had that,

Bret Michaels has it.

That's why these
bands all are up there.

So I wrote a book
called "Louder Than Hell".

It's billed as the
definitive history of metal.

And so my co-writer
and I went to people

and were like, you
know, "What is metal?"

"Where did metal start?"

♪ Gotta kick out my... ♪

The first wave of metal,

where it all began.

♪ Gonna kick out the jams ♪

♪ Yeah, kick out the jams ♪

Detroit was kind of
the proving ground

of the MC5.

Then came The Stooges.

♪ I got you under my wheels ♪

Alice Cooper.

♪ Got you under my wheels ♪

And Ted Nugent.

Distortion, loud guitars,
just antics, energy.

You know, who-gives-a-shit
kind of passions.

In England, Zeppelin...

♪ There once was a woman,
a strange kind of woman ♪

Deep Purple.

♪ Man in uniform ♪

Iron Maiden.

We all arrived at Black Sabbath.

Everyone sort of
arrives at Black Sabbath.

Ozzy may not arrive
there, you know, he said,

"Well, we're just a fucking
blues band, aren't we?"

Van Halen were from Pasadena,

and they had a whole
lot of backyard parties.

And they played Gazzarri's.

And they influenced
so many other bands.

Van Halen had the template
for the shredding guitarist.

The outrageous
frontman with the hair.

Never would I call them metal,

never would I call
them hair metal,

but an influence
on every single band

that was metal that
came afterwards for sure.

♪ Come on, feel the noise ♪

♪ Girls, rock your boys ♪

Quiet Riot were definitely
one of the first wave

of the Los Angeles
bands starting in the '70s.

"Metal Health"
was, unbelievably,

the first to metal album
to top the Billboard charts.

Provided the impetus, like,
metal, it might be happening.

People are buying
it. We can do it.

Of course, MTV
played a huge part

in the explosion of metal.

♪ We're not gonna take it ♪

Both Twisted
Sister and Quiet Riot

tapped into the teenage
boy angst thing in their videos.

Hits disenfranchised
kids everywhere.

Take check.

Here we go.

Just don't kick my coffee...

because that would be
the end of our friendship.

Well, MTV was a visual medium,

and, uh, they were quickly,

uh, scurrying
around to find bands

that were visually interesting.

And lo and behold, in
the heavy metal world,

visual representation was
as important as musical,

so bands like Iron Maiden,
Kiss, Twisted Sister and so on,

we were concerned about
the visual as well as the audio,

and that was just perfect

for a visual audio
medium like MTV.

What do you do with your life?

♪ I wanna rock! ♪

♪ Rock! ♪

♪ I wanna rock! ♪

♪ Rock! ♪

-♪ I want to rock ♪
-♪ Rock! ♪

♪ I wanna rock ♪

♪ Rock! ♪

When they first started out,

MTV needed heavy metal.

And they really helped
take heavy metal,

re-birth heavy metal

and take it to a
whole 'nother level.

Hold on to your jams,
because for the next two hours,

you're going to see all out,

no-nonsense, wall-to-wall metal.

Back here on Heavy Metal
Mania with my guest, Jon Bon Jovi.

I hosted a show called
Heavy Metal Mania.

After a year and a
half, I asked to be paid.

MTV said,

"Dee, we don't pay money.

This is great for you.
This is promotion."

I was like, "You gotta
be fucking kidding me.

I really don't need
Heavy Metal Mania

to give me exposure.

I need money."

MTV's Heavy Metal Mania.

Eventually, they did pay me.

After I left, Heavy Metal Mania

became Headbanger's Ball.

Riki Rachtman here, welcome
to the Headbanger's Ball.

For many years,

well, five that I remember,

we had the
Headbanger's Ball on MTV.

We traveled far
across the globe to...

to Rio de Janeiro...

- New Orleans...
- Japan...

We've got Metal
Church, Dangerous Toys,

Motorhead, Judas
Priest and Alice Cooper.

Headbanger's Ball
broke so many bands.

And here we have Jack
Russell from Great White.

And all of a sudden,
we're in your home.

We're bringing these
people to your home.

This is Alice Cooper,

and this is Joe Satriani.

If you live in this small
town, it was the way

that people found
out about these bands.

Remember to keep
one foot in the gutter,

one fist in the gold. See ya.

I was pretty involved
with Motley Crue

in trying to help them
get a record deal.

I took a few meetings.

I didn't really know that
many A & R people yet,

but I, like, played
it for John Kolodner

with Geffen Records
and a few others,

but then they got
new management,

and all of a sudden I
was kind of out of a job.

They still owe me $3,000.

You know, $3,000 in interest

has got to be a lot of
money at this point, right?

♪ Plug me in,
I'm alive tonight ♪

Motley Crue was one
of the first hair bands.

Motley were very lucky or smart

in that they got both
men and women,

in the early days.

♪ 'Cause I'm alive! ♪

♪ Live wire ♪

This was the first type of
metal that appealed to women.

They were
aesthetically forbidden,

visually forbidden,
sonically forbidden.

They were just bad boys,

but they had hooks

and they looked so fucking cool.

It was so exciting and new

and cool and unpredictable.

People were just thrilled.

"The local glam metal movement"

was ignited by
Motley Crue in '82

with their lecherous landmark
debut, 'Too Fast for Love',

and taken to further
cacophonous extremes in '83

"with Dokken's
'Breaking the Chains'."

♪ Breaking the
chains around you ♪

♪ Nobody else can bind you... ♪

"The following year brought"

Motley running mates Ratt

into the fray with their
"Out of the Cellar" LP."

♪ Round and round ♪

♪ With love, we'll find
a way, just give it time ♪

"The Sunset Strip
had become the vortex

of volume and decadence,

for not just Los Angeles,
but the entire rocking planet."

Thank you.

♪ I'm live in Texas! ♪

♪ Texas! ♪

I was just like, "Wow! If
you grow your hair long..."

♪ No way, no way to love ♪

"you can be on MTV and be rich."

♪ Don't you change that song ♪

♪ I miss my baby ♪

Everything in Hollywood
was just kicking ass.

That big scene was like a magnet

for people across the
country to come here.

♪ We got your number
off the bathroom wall ♪♪

We were all kids
from different areas,

trying to become rock
stars, to get record deals.

That was like, "Got
to get a record deal."

The odds of
getting a record deal

were actually, at
that time, not bad.

They were probably
like one in ten.

The odds of having a hit

were maybe one in a hundred.

The odds of making it,

were maybe one in a million.

Getting signed,

we knew that was a huge step.

But then, when it really
happens, it's kind of like,

"Well, what does
this actually mean?"

Got a record deal, freaking out.

Put the record out.

Nothing.

Nothing happened.

You pictured
champagne being opened

and this atmosphere
of celebration

for your lifelong dream,

and it was not that.

In reality, it's only the start

of the hell that you have
to go through from there.

Ha!

♪ Now you tell me
there's a change in plans ♪

♪ And our castles
were just made of sand ♪

♪ I try to act like
I understand ♪

♪ But I don't at all ♪

♪ Whatever happened to fun? ♪

♪ Whatever happened to fun? ♪

♪ Whatever happened to fun? ♪

♪ Whatever happened to fun? ♪