AFI|Catalog

The film concludes with the following written statement: “This was Alan Freed’s last performance. He was taken off the air, indicted, moved to California where he died five years later, penniless. But ‘Rock ‘n’ Roll’, the words he coined, and the music he found lives on.”
       The end of the song credits includes the following statement: “Brooklyn Dreams appears courtesy of Millenium Records; Brenda Russell appears courtesy of Rocket Records; Chuck Berry appears courtesy of Platinum-Chess; Jerry Lee Lewis appears courtesy of Phonogram, Inc. Personal Thanks to Lance Freed.”
       Although Jay Leno’s role is credited as “Mookie”, in the film he is referred to as “Mike” and “Michael” by other characters.
       According to a 4 Apr 1977 DV news item, Paramount Pictures Corp. president Michael Eisner announced their plans to produce American Hot Wax with Art Linson. Linson, who previously produced Car Wash (1976, see entry), had bought the film rights to Alan Freed’s story from Freed’s estate. John Kaye was slated to write the screenplay. According to a 4 Apr 1977 LAT article, Linson planned to release classic songs from the period, re-recordings and new songs based on fictional characters from the movie like “Teenage Louise” and “The Chesterfields.”
       A 24 Aug 1977 LAT news item announced that the film’s budget was set at $4 million. A 24 Aug 1977 HR news item noted that production was slated to begin 18 Oct 1977 in New York City, followed by shooting on location in Hollywood, CA.
       Saturday Night Live alumna Laraine Newman was cast ...

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The film concludes with the following written statement: “This was Alan Freed’s last performance. He was taken off the air, indicted, moved to California where he died five years later, penniless. But ‘Rock ‘n’ Roll’, the words he coined, and the music he found lives on.”
       The end of the song credits includes the following statement: “Brooklyn Dreams appears courtesy of Millenium Records; Brenda Russell appears courtesy of Rocket Records; Chuck Berry appears courtesy of Platinum-Chess; Jerry Lee Lewis appears courtesy of Phonogram, Inc. Personal Thanks to Lance Freed.”
       Although Jay Leno’s role is credited as “Mookie”, in the film he is referred to as “Mike” and “Michael” by other characters.
       According to a 4 Apr 1977 DV news item, Paramount Pictures Corp. president Michael Eisner announced their plans to produce American Hot Wax with Art Linson. Linson, who previously produced Car Wash (1976, see entry), had bought the film rights to Alan Freed’s story from Freed’s estate. John Kaye was slated to write the screenplay. According to a 4 Apr 1977 LAT article, Linson planned to release classic songs from the period, re-recordings and new songs based on fictional characters from the movie like “Teenage Louise” and “The Chesterfields.”
       A 24 Aug 1977 LAT news item announced that the film’s budget was set at $4 million. A 24 Aug 1977 HR news item noted that production was slated to begin 18 Oct 1977 in New York City, followed by shooting on location in Hollywood, CA.
       Saturday Night Live alumna Laraine Newman was cast in her theatrically-released feature film debut. According to a 19 Dec 1977 Box brief, principal photography commenced 15 Nov 1977 in Los Angeles, CA. A 23 Mar 1978 RollingStone news item noted that Cameron Crowe, a Rolling Stone contributor at the time, was cast in a small part as “Delivery boy” when he visited the set. Crowe reportedly had one line and sang back up for The Planotones.
       According to a 16 Jan 1978 DV news item, American Hot Wax was planned for a forty day shoot but wrapped five days ahead of schedule.
       A 13 Feb 1978 HR news item stated the soundtrack was scheduled to be shipped mid-Mar 1978 to coincide with the film’s premiere. The Kenny Vance produced LP, distributed through A&M Records, featured live concert performances from Jerry Lee Lewis, Chuck Berry, Screamin’ Jay Hawkins and The Chesterfields, the group who appeared in the film, also signed to A&M Records. Wholesale orders for the LP reached Gold sales status (500,000 physical copies).
       Alan Freed’s former manager, Morris Levy, of Roulette Records benefited from the film’s promotional campaign. According to a 5 Apr 1978 Var article, Roulette planned to re-issue two Alan Freed records in conjunction with the film to capitalize on Freed’s newfound popularity. The records were packaged with a line from the film: “You Can’t Stop Rock and Roll.”
       Paramount produced a one hour variety show for national syndication called Thank You Rock ‘n Roll: Celebrating the Premiere of ‘American Hot Wax’. According to a 1 Mar 1978 Var article, the television special was budgeted at $250,000 and syndicated to more than 100 local television markets a week before the film’s premiere in 600 theaters. A similar marketing campaign was successfully used to promote Paramount’s Saturday Night Fever. (1977, see entry).
       With promotional plans in the works, director Floyd Mutrux was under pressure to turn out a final cut of the movie in fifty days, according to a 3 Mar 1978 LAT article.
       As noted in several contemporary news items on 7 Mar 1978, Paramount threw a celebrity-filled premiere party at the Mann’s Village Theater in Westwood Village, CA. 1500 guests were in attendance, including Ray Charles, Johnny Mathis, Rod Stewart, Alice Cooper, Helen Reddy and Olivia Newton-John. According to a 7 May 1978 Hollywood Studio brief, Paramount paid approximately $400,000 for a party at the Riviera Country Club.
       Despite the promotional campaign, American Hot Wax did not fare well at the box office. According to a 26 Apr 1978 LAT news item, the film grossed only $9 million its first five weeks. Director Mutrux told LAT that Paramount’s “new marketing technique” of an elaborate opening party and television special wasn’t enough to promote the movie. However, the film’s sound track released by A&M Records sold 375,000 copies over five weeks; and, at the time of the article, Paramount was in the process of developing a television series based on two characters in the film.
       Reviews, including a 27 Mar 1978 Time piece, were mixed. Critics noted that Freed’s career ending (and ultimately life-ending) federal indictment for “payola” – illegally accepting money and gifts in exchange for record play – was glossed over in favor of painting him as a rock ‘n’ roll messiah.

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Paramount Pictures Presents

William A. Fraker

Dir of photog

Rock show orch arr and cond

Robert Knudson

Re-rec mixer

Gary Liddiard

Make-up artist

"Little Star," written by Vito J. Picone and Arthur R. Venosa, performed by The Elegants, courtesy of ABC Records, Inc.; "Whispering Bells," written by Clarence E. Quick, performed by The Dell Vikings, courtesy of ABC Records, Inc.; "Sea Cruise," written by Huey P. Smith, performed by Frankie Ford, courtesy of ABC Records, Inc.; "Lavender Blue," written by Eliot Daniel and Larry Morey, performed by Sam Turner, courtesy of Arista Records, Inc.; "Charlie Brown," written by Jerry Leiber and Mike Stoller, performed by The Coasters, courtesy of Atlantic Recording Corporation; "Splish Splash," written by Bobby Darin and Murray Kaufman, performed by Bobby Darin, courtesy of Atlantic Recording Corporation; "There Goes My Baby," written by Jerry Leiber, Benjamin Nelson, Lover Patterson, Mike Stoller and George Treadwell, performed by The Drifters, courtesy of Atlantic Recording Corporation; "Lonely Teardrops," written by Tyran Carlo, Berry Gordy Jr., Gwendolyn Gordy, performed by Jackie Wilson, courtesy of Brunswick Record Corporation; "Willie and the Hand Jive," written and performed by Johnny Otis, courtesy of Capitol Records; "La Bamba," written and performed by Ritchie Valens, courtesy of Del-Fi Records, Inc.; "A Thousand Miles Away," written by William Henry Miller and James Sheppard, performed by Heartbeats, courtesy of Sue Ellen; "Bye Bye Love," written by Boudleaux Bryant and Felice Bryant, performed by The Everly Brothers, courtesy of Barnaby and Janus Records, a division of GRT Corp.; "Honky Tonk Part 2," written by Billy Butler, Bill Doggett, Clifford Donley Scott and Berisford Shepherd, performed by Bill Doggett, courtesy of Gusto Records; "Sixty Minute Man," written by William E. Ward, performed by The Dominoes, courtesy of Gusto Records; "Oh Boy!," written by Norman Petty, Bill Tilghman and Sonny West, performed by Buddy Holly, courtesy of MCA Records, Inc.; "Rave On," written by Norman Petty, Bill Tilghman and Sonny West, performed by Buddy Holly, courtesy of MCA Records, Inc.; "It's All in the Game," written by Charles Gates Dawes and Carl Sigman, performed by Tommy Edwards, courtesy of MGM Records, Inc.; "Little Darlin," written by Maurice Williams, performed by The Diamonds, courtesy of Phonogram, Inc.; "Do You Want to Dance," written and performed by Bobby Freeman, courtesy of Platinum-Chess; "Sweet Little Sixteen," written and performed by Chuck Berry, courtesy of Platinum-Chess; "Zoom," performed by The Cadillacs, courtesy of Roulette Records; "Tutti Frutti," written by Dorothy La Bostrie, Joe Lubin and Richard W. Penniman, performed by Little Richard, courtesy of Specialty Records, Inc.; "Stay," written by Maurice Williams, performed by Maurice Williams and The Zodiacs; courtesy of Murray Sporn; "Summertime Blues," written by Jerry N. Capehart and Eddie Cochran, performed by Eddie Cochran, courtesy of United Artists Records.

Release Date:

17 March 1978

Premiere Information:

Los Angeles opening: 17 Mar 1978; New York opening: week of 17 Mar 1978

Production Date:

15 Nov -- late Dec 1977 in Los Angeles, CA

Copyright Info

Physical Properties:

In 1959 New York City, disc jockey Alan Freed starts his shift at radio station WROL. Inside the booth, he finds a note on top of a stack of rock ‘n’ roll records that reads: “WROL Don’t Play List.” Alan tosses the note aside and plays one of the records on air. As Alan continues to broadcast rock ‘n’ roll music, his show is enjoyed throughout the city. Sometime later, station manager Peter "Pete" Overmyer storms into Alan’s booth, furious that the disc jockey has ignored his “don’t play” list. Overmyer explains that the New York City police department and the Board of Health, among other local establishments, have issued complaints about the station broadcasting rock ‘n’ roll; Overmyer begs Alan to play popular singers such as Patti Page or Pat Boone. Alan’s colleagues Sid and Gordie chuckles in the booth as Alan ignores Overmyer’s threats. When Overmyer storms away, Sid asks Alan about the upcoming rock ‘n’ roll concert Alan is organizing and questions why the music sparks such controversy, but Alan is unable to explain. As Alan continues his radio show, an African-American group called The Chesterfields comes to the station wanting to sing for Alan. Meanwhile, Alan’s secretary, Sheryl, and his driver, Mike, bicker in the reception area as music industry men arrive at the station, eager for Alan’s attention. At the end of the night, a young hopeful named Teenage Louise corners Alan in the elevator and pitches one of her original songs, but Alan is unimpressed. Louise follows Alan outside, where he is serenaded by The Chesterfields. When Alan expresses interest in the ...

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In 1959 New York City, disc jockey Alan Freed starts his shift at radio station WROL. Inside the booth, he finds a note on top of a stack of rock ‘n’ roll records that reads: “WROL Don’t Play List.” Alan tosses the note aside and plays one of the records on air. As Alan continues to broadcast rock ‘n’ roll music, his show is enjoyed throughout the city. Sometime later, station manager Peter "Pete" Overmyer storms into Alan’s booth, furious that the disc jockey has ignored his “don’t play” list. Overmyer explains that the New York City police department and the Board of Health, among other local establishments, have issued complaints about the station broadcasting rock ‘n’ roll; Overmyer begs Alan to play popular singers such as Patti Page or Pat Boone. Alan’s colleagues Sid and Gordie chuckles in the booth as Alan ignores Overmyer’s threats. When Overmyer storms away, Sid asks Alan about the upcoming rock ‘n’ roll concert Alan is organizing and questions why the music sparks such controversy, but Alan is unable to explain. As Alan continues his radio show, an African-American group called The Chesterfields comes to the station wanting to sing for Alan. Meanwhile, Alan’s secretary, Sheryl, and his driver, Mike, bicker in the reception area as music industry men arrive at the station, eager for Alan’s attention. At the end of the night, a young hopeful named Teenage Louise corners Alan in the elevator and pitches one of her original songs, but Alan is unimpressed. Louise follows Alan outside, where he is serenaded by The Chesterfields. When Alan expresses interest in the group and invites them to come back, Louise strikes up a conversation with the musicians and The Chesterfields agree to perform one of her original songs. Elsewhere in New York City, district attorney Coleman and his associates listen to a recording of Alan’s show and Coleman explains that Alan has a strong influence on the public. Referring to rock ‘n’ roll as a threat to society, Coleman announces his plan to shut down Alan’s upcoming concert. Later, Alan holds court at a bar with a stream of admirers. Alan runs into a disc jockey friend. He tells Alan that his show was taken off the air when he played rock ‘n’ roll. Just then, two of Coleman’s associates, Phillips and Donahue, show up at the bar. When Donahue chastises Alan for playing “spook” music and for negatively influencing young people, Alan’s friend calls Donahue a "bigot" and a shouting fight ensues. Later, as Mike drives Alan home, he expresses concern that Alan’s concert will be cancelled. Mike reminds Alan that a rock ‘n’ roll concert in Boston, Massachusetts, provoked a riot. When Mike asks if rock ‘n’ roll will be threatened by government action, Alan responds affirmatively but assures Mike that rock music will not perish. The next morning at WROL, people clamor for Alan’s attention. While some musicians are looking for a record deal, others are vying for a slot at Alan’s concert. Meanwhile, The Chesterfields, Louise, and Artie Moress, the young president of the Buddy Holly fan club, wait for Alan outside. When Alan sees the group of hopefuls, he invites them to join him for the day. After visiting a mansion that Alan intends to purchase despite the protests of its owner, who finds Alan disreputable, the young musicians accompany Alan to a live recording session with The Planotones. Meanwhile, Coleman learns from Phillips and Donahue that Alan has been covertly accepting $600 a week in "payola" bribes from record labels; however, Alan refuses to play records that he doesn't like and Coleman is discouraged in his effort to denounce the disc jockey. The next day, The Chesterfields visit Louise’s house to work on a song as Louise’s mother looks on disapprovingly. At WROL, Alan invites young Artie to share his feelings about Buddy Holly on air. Later, Alan receives a long-distance call from his father and is saddened by the man's refusal of financial support. Meanwhile, Louise argues with her father, who wants her to go to college instead of pursuing her music career but Louise insists on doing things her way and performs a song on the piano. Back at the radio station, Overmyer pulls Alan aside and demands that the disc jockey sign an affidavit stating that he "did not receive money or gifts," or "payola," to play rock ‘n’ roll records, but Alan refuses. When Overmyer claims that disc jockeys across the country have signed the document, Alan insists that they are lying. Although Overmyer warns Alan that the station cannot legally protect him unless he signs, Alan retorts that they want to censure him for broadcasting rock ‘n’ roll, not for receiving bribes. The next night, teenagers line up outside the Brooklyn Paramount Theatre in anticipation of Alan’s show, waiting to buy tickets. Alan arrives at the venue to talk to his fans and to appease the concerns of police officers who fear another riot. When Louise begs Alan to let The Chesterfields perform one of her songs, Alan denies her request but gives her tickets for the show, promising that everything will work out. Meanwhile, a television news program reports on the long lines at the event and the anchor notes that the audience may resort to “jungle instincts” when the music starts. On the night of the concert, a raucous, multicultural audience enjoys the show as law authorities watch from the sidelines. Meanwhile, Phillips and Donahue search Alan’s dressing room for marijuana, hoping to implicate him in a crime, but they come up empty-handed. During the show, Alan takes the stage and introduces Teenage Louise as an up-and-coming songwriter. When The Chesterfields perform her song, the crowd goes wild, and Louise is thrilled by her big break. As the show continues, Alan gets news that Jerry Lee Lewis is not coming as planned and, later, Alan comforts Louise as she cries that her love of music has isolated her from her family. The theater’s box office receipts are seized by Internal Revenue Service agents and Alan is informed that he does not have the capital to pay the musicians. Sitting backstage with Chuck Berry, Alan questions if the show can go on and hears the crowd grow increasingly impatient. As Coleman looks on, a police officer orders Alan to quiet the crowd, but Chuck Berry offers to perform for free and takes the stage. As the audience cheers, Phillips warns Alan to control them. When Jerry Lee Lewis unexpectedly arrives, Coleman plans to take charge of the event by turning on the house lights. Thrilled by Lewis's performance, the crowd dances in the aisles, provoking Coleman to declare the event a fire hazard as he accuses Alan of turning the kids into animals. The police fight with audience members, including young Artie, and the lights come up in the theater, but Lewis demands that the lights be dimmed for the duration of his act. Lewis’s defiance incites the crowd as Alan argues with the authorities, warning that the cancellation of the concert will not diminish the popularity of rock ‘n’ roll. As lights come up again, police officers and audience members clash and a riot ensues, despite Alan's protests. Outside, the crowd filters into the city as a lone street musician plays rock ‘n’ roll on makeshift drums.

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