Headbangers of the 80s will instantly recognize the electrifying sound of Twisted Sister. Their music wasn’t just catchy, it was a cultural force
Fronted by the iconic Dee Snider, the band battled the PMRC and delivered a triple-platinum album that cemented their place in rock history. But financial success isn’t always guaranteed in the music industry. Despite millions of records sold, Snider found himself facing a harsh reality by the 90s.
With the rise of grunge and a changing musical landscape, he encountered a series of business setbacks and bad luck that led to a surprising turn – bankruptcy. Not once, but twice. Let’s dive into the story of Dee Snider’s financial struggles and how he managed to claw his way back.
Twisted Sister’s Rocky Road with Come Out and Play
Riding high on the success of Stay Hungry, Twisted Sister prepped for their next album, Come Out and Play, with immense optimism. Two mega-hits, “We’re Not Gonna Take It” and “I Wanna Rock”, had catapulted them to stardom, and expectations for the new release were sky-high. Anticipating a massive response, the band invested heavily in a grand and elaborate stage setup for their upcoming tour.
However, release day came and went, and Come Out and Play failed to replicate its predecessor’s commercial success. It only achieved gold status, selling roughly a sixth of what Stay Hungry did. The tour itself mirrored this disappointment. Despite significant press coverage, Dee Snider later realized this attention focused more on the band’s battles with the PMRC than their actual music.
While they managed to sell out some shows in the Northeast, ticket sales plummeted once they left the region. Touring alongside Dokken, they frequently played half-empty venues, and Snider himself acknowledged the setlist choices as a contributing factor, favoring heavier tracks over the band’s signature pop-metal sound.
The Downward Spiral of Come Out and Play
Snider, reflecting on the tour in his book, paints a bleak picture. Audiences craved “fun, funny songs”, a stark contrast to Twisted Sister’s heavier direction. He theorizes that the band, once a symbol of rebellion, had become the enemy in parents’ eyes, leading to further dwindling ticket sales. Their core audience had seemingly vanished.
Faced with financial hemorrhage just a month in, the band was forced to cut their losses. To avoid the humiliation of sparsely filled venues, Snider admits to fabricating a throat polyp as an excuse to cancel the remaining North American dates. They were left in a precarious financial position, further burdened by a mountain of debt to Atlantic Records.
Despite decent European crowds, the bad news continued. Atlantic, frustrated by low sales and an MTV ban on the third single’s video due to “horrific content”, pulled the plug on promotion. Snider, in his book, reveals the harsh reality of the music industry – a successful album only pays back previous debts incurred during the climb to fame. Without sustained success, financial security remains elusive.
Dee Snider’s Financial Crossroads
Snider, in his book, dispels myths about his financial woes. He clarifies that neither drugs, alcohol, nor mismanagement were to blame. He even acknowledges a lapse in judgment – failing to adjust his spending habits to his declining income. However, his ego, as he frequently admits, convinced him that the band’s struggles were temporary.
With Twisted Sister on hiatus, Snider embarked on a solo project, a pop-influenced record inspired by Bryan Adams. He also landed the hosting gig for MTV’s Heavy Metal Mania, a precursor to Headbanger’s Ball. However, after a year, he felt overexposed and frustrated with MTV’s notorious stinginess – they didn’t even pay him. Both his management and record label pushed him to convert his solo work into the next Twisted Sister album.
The resulting album, Love Is For Suckers (1987), reflected Dee’s desired commercial direction. The band incorporated more outside musicians, toned down their signature image, and aimed to align with popular trends. Unfortunately, Atlantic provided minimal support, and MTV failed to promote the singles. Producer Beau Hill’s scathing remark summed it up perfectly – he couldn’t even find a copy of the album in stores, except for “one copy under a half-eaten hamburger in the stock room”.
The Demise of Love Is For Suckers and Financial Ruin
Love Is For Suckers obviously failed to capture the audience’s attention. The supporting tour was short-lived due to poor ticket sales, and by October 1987, mounting internal tensions led to Dee Snider’s departure from Twisted Sister.
Years of living lavishly and relying on a paycheck-to-paycheck lifestyle finally caught up with Snider. Previously, loans and advances were readily available, fueled by the belief that Twisted Sister’s success would continue. This came to a head with a $1 million advance from a merchandiser named Winterland. When repayment became due, Winterland demanded the entire sum from Snider, claiming he earned the most in the band.
Faced with this ultimatum, Snider knew his options were limited. He declared bankruptcy, a decision he defends in his book. He clarifies the existence of two types of bankruptcy: one for the wealthy who can shield their assets, and another for those like him, with assets like music rights, a house, and cars. By seeking legal counsel, Snider was able to restructure his debt, retain his possessions, and avoid repaying the hefty sum to Winterland. This marked a turning point, allowing him to rebuild his finances.
Desperado’s Short-Lived Hope and Another Setback
Things seemed to take a turn for the better. Dee Snider’s new band, Desperado, featuring ex-Iron Maiden members, garnered record label interest and eventually signed with Elektra. However, the lengthy contract negotiation process resulted in financial hardship for Snider. He was personally funding the band’s expenses, and by the time the deal came through, the advance wasn’t enough to cover his costs.
Disaster struck just as Desperado prepared to release their debut album. Elektra suspended their contract. The A&R representative who signed them had jumped ship to a competing label, and in a vindictive move, Atlantic, which owned Elektra, dropped all the bands that A&R guy had championed.
Forced to sell his house for a more affordable living situation in Florida, Snider faced another hurdle. Desperado remained stuck in their recording contract, unable to leave Elektra without repaying the hefty half-million dollar advance.
Widowmaker’s Brief Success and Financial Rock Bottom
Widowmaker, Desperado’s later incarnation, managed a decent showing. Their debut album sold a respectable 50,000 copies by year’s end. However, fate seemed determined to test Dee Snider further. The Canadian government seized the band’s record label’s assets due to dubious financial practices. With the label dissolved, Widowmaker disbanded, forcing Snider to downsize from his Florida rental to a smaller one on Long Island.
The financial strain became immense. His family depleted their retirement savings and sold belongings to make ends meet. Dee’s wife found work at a salon, while he took a low-paying job answering phones, making calls, and doing bookkeeping at his brother’s office. Earning around five dollars an hour in 1995 wasn’t enough. Snider was forced to declare bankruptcy a second time, this time without the resources to secure top-tier legal representation. Things became dire – he couldn’t even afford a candy bar for his children.
However, the tide began to turn in the late 90s and throughout the 2000s. He landed radio gigs, voiceover work, and even appeared on Broadway. Most importantly, Twisted Sister reunited, finally bringing financial stability back into his life.