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I had known about Nikki Sixx, the bassist and creator of Mötley Crüe, since his first band, London, because Steven and I saw them play the Starwood one night when we managed to sneak in. London had true stage presence; combined with their low-budget pyrotechnics and Kiss-esque clothes, they were band enough to blow any teenage mind. I had no idea that Nikki had met Tommy and that they had found the other guys and evolved into Mötley Crüe; neither did I know that they were spearheading a movement that would displace L.A. punk overnight. Mötley didn’t look like Quiet Riot, Y&T, or any other Sunset Strip band of the day: they were as equally over the top but they weren’t quite like anyone else. They were so into their own thing that there was no way that anyone, aside from me I suppose, could have mistaken these three girls for anything other than Mötley Crüe fans.

There are moments in life that only time can properly frame; at best you know the snapshot is special when you take it, but most of the time only distance and perspective prove you right. I had one of those moments just before I ditched education altogether: it was the day Nikki Sixx and Tommy Lee showed up outside of my school. Six years later I’d be doing lines with them off the flip-down meal trays on their private jet, but seeing them loitering outside Beverly Hills High is more memorable to me. They were wearing high-heeled boots, stretch pants, teased out hair, and makeup; they were smoking cigarettes; talking to girls in my high school parking lot. It was sort of surreal. I watched my newfound continuation friends, those three Mötley look-alike chicks, stare at the two of them with glazed doughnut eyes as Tommy and Nikki nonchalantly handed them posters to hang and flyers to hand out on the Strip announcing Mötley’s next show. I was in awe: not only did these chicks find this band so exciting that they chose to dress like them, they were also willing to be their volunteer street team. Nikki had given them copies of their new EP, Too Fast for Love, and their job was to convert all their friends into Mötley Crüe fans. It was like seeing Dracula set his disciples loose on Beverly Hills to suck the blood of virgins.

I was impressed and objectively envious: I could never be in a band that looked or sounded like Mötley Crüe, but I wanted what they had. I wanted to play guitar in a band that inspired that degree of devotion and excitement. I went to see Mötley that weekend at the Whisky… musically, it was just okay, but as a concert it was effective . It was memorable because of the full-on production: Vince lit Nikki’s thigh-high boots on fire and they set off a ton of mini flash pots. Tommy pounded away like he wanted to split his drum set in two, while Mick Mars shuffled around his side of the stage, hunched over like the walking dead. What affected me the most, though, was the audience: they were so die-hard that they sang every song and rocked out as if the band were headlining the L.A. Forum. It was obvious to me at least, that soon, Mötley would be doing just that. And in my mind, that meant only one thing: If they can do it on their own terms, why the fuck can’t I?

Once you’ve lived a little you will find that whatever you send out into the world comes back to you one way or another. It may be today, tomorrow, or years from now, but it happens; usually when you least expect it, usually in a form that’s pretty different from the original. Those coincidental moments that change your life seem random at the time, but I don’t think they are. At least that’s how it’s worked out in my life. And I know I’m not the only one.

Ihadn’t seen Marc Canter in about a year, for no other reason than that we’d each been busy doing other things. In the interim, he’d undergone a metamorphosis: when I’d seen him last, he was a music fan and was just beginning to take on a role in running the family business at Canter’s Deli. He was by no means a total “rock guy”—that was more my angle, if broad strokes were drawn. When we reconnected, Marc was someone else entirely: he was a sterling specimen of the obsessed, die-hard rock devotee. I wouldn’t have called it in a million years, but he’d dedicated his entire life to Aerosmith. He’d transformed his room into a wall-to-wall shrine: his Aerosmith posters were a continuous collage that looked like wallpaper, he had cataloged copies of every magazine that they’d ever appeared in, he maintained an orderly gallery, in plastic sleeves, of signed photographs, and he had amassed enough rare foreign vinyl and bootleg concert cassettes to open a record store.

Marc definitely didn’t dress the part; he looked like no more than a rock fan with a taste for Aerosmith T-shirts, because he never let his fandom go so far as to inspire sartorial homage to Steven or Joe. It did, however, inspire stalking, stealing, trespassing, and a few other mildly illegal pursuits in the name of the cause. Marc had also gotten himself in with the local ticket-scalping community somehow: he’d buy a load of tickets for a show, then trade among the scalpers until he had bartered his way up to the perfect pair of floor seats. It was all a big game to him; he was like a kid trading baseball cards, but come showtime, he was the kid who walked away with the rarest cards up for grabs.

Once Marc had his seats sorted out, his little operation was just getting going. He’d sneak in a very nice, professional-grade camera and a collection of lenses by taking the whole apparatus apart and stashing the individual pieces in his pants, the arms of his jacket, and wherever else they fit. He never got caught; and he just caught amazing live shots of Aerosmith. The only problem was that he got into Aerosmith a little too late: when he started really digging them they broke up.

A cornerstone of Marc’s collection of Aerosmith memorabilia was an empty bag of Doritos and a small Ziploc bag full of cigarette butts that he’d snatched from Joe Perry’s hotel room at the Sunset Marquis. Apparently he’d staked the place out and managed to get in there after Joe checked out and before housekeeping showed up. Joe hadn’t even played a show or anything the night before—at that point, he had quit the band actually. I thought it was a little weird, Aerosmith wasn’t even together, but Marc was living for them 24/7. Marc has been one of my best friends in life since the day we met, so I had to support him by contributing to his collection: I did a freehand sketch of Aerosmith onstage for his birthday. I did it in pencil and then shadowed and highlighted it with colored pens and it came out pretty good.

That picture taught me a lesson that’s been stated by the wise and otherwise throughout history: whatever you put out into the world comes back to you one way or another. In this instance, that picture came back to me literally and brought with it just what I’d been looking for.

The next time I saw the drawing I was at an impasse: I had been struggling unsuccessfully to get a band together amid a music scene that didn’t speak to me at all. I wanted the spoils that I watched lesser players enjoy, but if that meant changing as much as I’d have to, I wasn’t having that—I tried but I found that I was incapable of too much compromise. I won’t lie now that retrospect is on my side and claim that deep down I knew it would all come together fine. It didn’t look like it was going that way at all, but it didn’t keep me from doing the only thing I could do: I did what felt right, and somehow, I got lucky. I found four other dysfunctional like-minded souls.