American Hot Wax

In late-1950s New York City, Freed promotes his upcoming rock n' roll show at the Brooklyn Paramount Theater, headlined by Chuck Berry and Jerry Lee Lewis. The show is expected to sell out, despite concerns from police about potential disturbances. Freed remains steadfast in his programming, resisting pressure to alter his lineup or soften the act.

Freed's WROL radio program becomes hugely popular with teenagers, increasing his influence and drawing scrutiny from authorities. He rebuffs pressure from station management to change his controversial style or feature more conventional acts like Pat Boone. His refusal to apologize or censor his choices defines his on-air persona.

Local District Attorney Coleman targets Freed for allegedly inciting teenagers to wild and immoral behavior by broadcasting raucous songs, including music by black musicians. He and law enforcement pursue measures to shut the show down, including a bid for a drug bust. Freed's confrontation with authority highlights the cultural clash surrounding rock n' roll.

Freed faces discrimination when he takes a racially mixed group of teenagers to look at a luxury home he wants to buy; the owner refuses to sell to him at any price. The incident exposes ongoing prejudice that blocks his progress in both music and life. It underscores the social obstacles Freed confronts beyond the airwaves.

In Akron, Ohio, Freed's own father rejects him, returning a check Freed sent and refusing to talk on the phone. The personal rejection contrasts with his public fame and highlights the familial hurdles he faced. The scene foreshadows the personal costs of his career in rock n' roll.

The Paramount show goes on despite Coleman's attempts to stop it, including a failed drug bust. Freed remains focused on delivering the event for the fans. The tension between authorities and the organizers adds drama to the proceedings.

Louise is moved to tears after the Chesterfields perform her songs to thunderous applause from the capacity crowd. Her moment demonstrates Freed's ability to elevate aspiring white songwriter talent through cross-cultural collaboration. The scene underscores the impact of his platform on individual artists.

Freed's feisty secretary Sheryl and his chauffeur Mookie bond over their shared love of Freed and rock n' roll, ending years of bickering. Their budding romance adds a personal layer to Freed's world and the chaos around the show. The subplot humanizes Freed's circle as the night unfolds.

Mid-show, IRS agents seize all the box office proceeds, leaving Freed with no money to pay his artists. The sudden financial blow tests Freed's commitment to the show, yet the performances continue. The tension backstage rises as the clock ticks toward the final acts.

Chuck Berry saves the day by performing for free, keeping the energy of the night alive despite the money crisis. His generosity helps salvage the show and reassures the crowd. The moment reinforces Berry's pivotal role in the night’s success.

Jerry Lee Lewis arrives at the last minute and closes the show as the police move to shut down because teenagers are dancing in the aisles. The arrival heightens the sense of urgency and electricity in the theater. The performance becomes a cathartic finale amid the looming crackdown.

As Lewis continues, police begin clearing the theater, and chaos erupts among the audience. The film ends the scene with the show in jeopardy and the crowd still energized by the music. The abrupt moment sets up the epilogue about Freed's life after the show.

An epilogue states that Freed's last performance was this one, that he was taken off the air, indicted, moved to California, and died five years later penniless, but that rock n' roll lives on. It frames his legacy as a warning about the costs of fame and censorship. The era's cultural impact lingers beyond Freed's personal fate.