Dave's Asian Girlfriend

[firestarter]

[BITEYOASS]

Good for him! Although I prefer my women to be shorter than me. Because it makes me feel like a pornstar, if you catch my drift.

[negative]

She is not ugly.

[Cato]

she's a DJ who happened to be there when he visited a radio station a few years ago.
I think she's not his girlfriend.

[firestarter]

she's a DJ who happened to be there when he visited a radio station a few years ago.
I think she's not his girlfriend.

David Lee Roth Reveals He’s In Love, Opens Up About His Troubled Childhood

April 6, 2013


David Lee Roth
“I slept with every pretty girl with two legs in her pants” … Van Halen singer “Diamond” David Lee Roth.

David Lee Roth gave the Brisbane Times a surprisingly open and honest interview about his past and his relationship with his parents. He also discusses sex and love and his new relationship with a Japanese girl:

What I Know About Women

David Lee Roth
Singer, in a relationship, 58

I live in Tokyo and hang out with a girl half my age and it’s no longer a legal issue [laughs]. It was not an impulsive move to come here. We are in love and my girlfriend is Japanese. As far as getting married now, I still don’t think it’s for me. I have issues, which stem from my past. I am a wanderer; I was sent to my first shrink when I was six because my parents thought I had autism. They were wrong. The Roth side of the family always settled down later in life.

[Cato]

I know that article. do you think he shows off his girlfriend? I don't.

[WARF]

This pic is two years old and she has never been seen with him again.

[Heater]

I have a girlfriend, real young and real pretty. You've never seen her before because, um, because, she lives in Japan. She's Japanese, my girlfriend, yeah that's the ticket.

[ZahZoo]

Reminds me of a quote from Heartbreak Ridge...

Then there was this dusky gal in Bangkok... a real cross-way breezer, I swear...

[Romeo Delight]

Dave is private...we are lucky there is even one pick. Hard to believe a guy worth tens of millions of dollars and has a bit of personality could have an attractive girlfriend Nothing to see here...

[DONNIEP]

Yeah, somehow I can't picture that chick running all over Japan with Dave and Thunder Balls while they're wearing their retarded wrestling masks...

[Phil theStalker]

[Seshmeister]

“I slept with every pretty girl with two legs in her pants” … Van Halen singer “Diamond” David Lee Roth.

Thus avoiding Paul McCartney's biggest mistake...

[Nickdfresh]

I have a girlfriend..

No. Pretty clearly you do not...

[Sum Ting Wong]

OOOH herro!

[BITEYOASS]

Here's what Dave thinks about marriage:

[DONNIEP]

Damn, Dave looks like a Conehead!

[firestarter]

too much forehead

[THE SAINT]

They might have been dating at the time but this was Shelly Toscano, Dave's editor.. Responsible for filming the Tattoo and She's the Woman videos. The Downtown Sessions etc.
She put together the Roth show, guessing they broke up when the website went dark.

If you’ve spent any amount of time watching The Roth Show, you’ve noticed all the nuances and special features that connect sections of dialogue and enhance each segment’s topics. Photographs, comic book imagery, film clips of David Lee Roth at work, archival footage that brings to life the history and memories that he shares, online quotes from fans — all of this is the work of video editor Shelly Toscano.

A New Jersey native, Toscano developed an early childhood interest in film and an adolescent fascination with computers, passions that she would eventually combine in her editing work for television — working on series, commercials, talk shows, and for MTV, VH1 and Comedy Central — film, and eventually her own documentaries: Famous: The Buzzy Linhart Story and :not notable: The Genmay Documentary

When were you hired for The Roth Show?
I was first hired by Dave to edit “Scrapbook Chapter 1.” He likes the whole process of doing video work. He bought a Canon 5D and he loved it, but he needed an editor. In the late 1980s I interned at K-Rock in New York City. A friend of mine from the radio station, Tim Reid, had been working with Dave in California and recommended me. A month or two later, I got a call to go to Pasadena. I showed up at his house, we shook hands and got to work. We put together that first video and we had fun doing it.

I was working for Dave maybe one week a month. I’d drive or fly down, we’d work on something, I’d come home, he’d think of something else to do, I’d get a call, we’d do it again. We also edited “Dog World” and some stuff that has found its way into episodes of The Roth Show. In September 2011, we went to New York City and did some more editing there. That’s when he did a lot of the dancing in “50 Rides On The Love Train,” at the Alvin Ailey studio. He’d been there a few times to dance and it was the perfect place for him.

I was home for a few weeks from the New York trip when Dave asked me to come down to work on the Van Halen “Tattoo” video. They secretly rehearsed for tour at The Roxy for a few months and no one there spilled the beans, which I thought was great, because all it takes is one person and their cover would have been blown. We shot the “Tattoo” video there on October 22, 24 and 26. Everyone who could carry a Canon camera did. We had sometimes three or five cameras going and people taking photos. It was a fun shoot. While I am the editor of the music video, I wasn’t the creative source behind it. That was Dave and Al [Van Halen]. They directed and post-produced the video. I would sit at the keyboard and make the edits they wanted. They would say stuff like, “Put this here,” and “Make that part backward.” We’d all get together at Dave’s house very early in the morning and get to work.
“She’s The Woman” I edited on the tour bus. We had all this great footage from tour from different cities, from Café Wha, from rehearsal spaces. I showed Dave and Al what I put together. They liked it, but they decided to add some photographs. It was an interesting way to edit. I had sort of taken over the whole back room of Dave’s crew bus. I used the same rig I’m editing on today — a 17-inch Macbook Pro hooked up to four 12-terabytes G-raids.
So I started editing with Dave in July 2011, and seven months later I was on tour with Van Halen. Amazing.

Was this your first bus tour?
Yes, it was. There were nine of us on the bus. I found out pretty quickly that I’m not a bus girl. I guess it’s one of those things that you either love or hate. The back, where I was editing, was fumy, there was always a high-pitched whine from the generator, and sleeping on the bus was not a thing for me. The hours were crazy. After the show, we would get right on the road. Dave and Russell had their own bus and we followed behind in ours.
Russell has become quite the star. Is he as sweet as he seems on videos and in photographs?

Oh yes! I love Russ. He’s such a good boy! At one point, the guys had a corporate gig in Orlando. I was in Michigan and I didn’t need to go to that gig. They flew down, and Mark Rojas, who does a lot of shooting for Dave, and I stayed in Michigan with Russ at this inn. It wasn’t a hotel. It was an inn that I was convinced was haunted! I Googled this place, and sure enough, they’d just had a whole ghost-busting crew in there. They had hired people to investigate and they had found activity. Anyway, Russ was there and I got to spend time with him for a couple of days, take him on walks and watch the sunrise. We were right on the water. It was beautiful. The video where Dave is standing in the swamp, talking [“Public Relations”], was shot near that place.

Does he travel well?

Dave didn’t get Russ as a puppy. Dave got Russ after he had already been through the herding competition circuit. Russ is 7 and a half, maybe. I think once a dog is retired, it goes to a farm somewhere to be adopted out. Dave went to one of these farms and I guess he saw Russ and they became fast friends. Russ is so good with other animals. He’s a herder; he doesn’t bark or growl or seem to be bothered by other animals. He’s used to going different places for competitions, so he has no problem with travel. He’s been doing it his whole life. In one instance, the band flew ahead to New York, and the bus driver, Russ and I rode the bus from Chicago to New York City. You could tell that Russ was thinking, I hope I don’t have to spend the rest of my life on this bus with this woman! When we were in Michigan, it was OK because we were outside on the patio and taking walks. The bus, for me it’s boring if I’m not editing, but for a dog missing his owner, it has to be worse. He would nap, and every once in a while he’d come back to where I was working, just checking up on me. If I’m not panicked, he’s not panicked, then he’d go back and lie down. We stopped every couple of hours so he could go potty and get fed. When we got to New York we were driving slower because of traffic and he started getting very excited. He knew that he was going to see Dave, because they go to New York a lot. He’s a real mellow dog. He’s fantastic and he’s funny. I’ll be at Dave’s house and I’ll throw my purse on the floor. My purse is a huge mess of a bag, and later I go look for a pen or something, and Russ will have put his Kong in there or a chewed-up ball that he has gifted to me.
What did your editing responsibilities involve on the Van Halen tour?

The first thing I edited for the band was the “Tattoo” video. They shot it and we started editing it the second week of November 2011. Next, we edited the acoustic videos for the deluxe edition of A Different Kind Of Truth: “Panama,” “You and Your Blues,” and “Beautiful Girls.” I think with “You Really Got Me,” they couldn’t get the licensing worked out for the deadline and it was a long weekend, so they put it on the Internet for free.
Then they did the party at Henson and they used a big screen, which is made of modules, as a backdrop. They can make this screen any size and any shape they want. At Henson, the screen was configured to be 18 feet high and it was shaped like a horseshoe, 60 feet wide on either side and the back was 47 feet wide. I put together a six- or seven-minute video that played in a loop as people were walking in. It was graphics, photos and some effected video. People seemed to like it, so I started putting background videos together for the tour screen. That’s how I wound up on a bus driving around North America.

On tour, I would continue creating background videos and giving them to the video screen folks so they could have it ready to go for that night. That way, it wouldn’t be the same for every show unless they wanted it to be. I would edit a sequence, put it on a flash drive, bring it to them and they would load it into their hard drive. Everything I edited had to be sized for that particular screen. It was not a standard aspect ratio. I’m not quite sure what size that screen actually was, but it was the largest I’d seen. In the sequences, we had some of the T-shirt graphics, lyrics and artwork from the CD, some of the footage from the “Tattoo” shoot that may or may not have made it into the video, and Dave’s Alvin Ailey dance footage. We also had a lot of photos from Robert Yager. He’s an amazing photographer that was with us for the first third of the tour. He would show up with all these cameras strapped to him and still manage to take great photo after great photo. I would take those photos, string them together and they would show up on the screen behind the band.
What surprised you the most about touring?

I was pretty amazed with the whole stage and screen setup for tour. The crew would start working early in the morning to assemble the stage, the lighting rigs, the screen — everything. I had no idea what went into that. As soon as the show is over, they wait for the fans to leave their seats and get out safely and then they are just tearing it all down.
You had never seen this?

No! I didn’t know how quickly it went up and down. They’d start very early, and by the time we — the filmers and photographer — got there, they’d be almost done. It was amazing. It’s almost like a carnival. These folks all know each other, they’re like family, they’ve done gigs together, and it’s really a well-oiled machine. It’s pretty impressive.
Had you seen Van Halen in concert before?

I had not, but I was a fan. KISS was my first big show. When I was younger, I was so into KISS. I loved Ace Frehley, I still do, and I have seen quite a few of his solo tours.
With Van Halen, in every city, in every venue, I would do a walk-around and look at the audience. People had such joy on their faces. Whatever their problems were, whatever personal crisis was happening, whatever shitty job they were dealing with, for those two hours they were having a time. They were dancing and fist-pumping and singing along. It was great! I loved it and I made sure I did it at every show. Sometimes I had guitar picks and I’d give them to little kids. They’d be excited, and their parents would be excited too. At one show, I handed a kid a set of tour guitar picks, and he and his father ran after me down the aisle and hugged me and screamed “Thank you!” in my ear, as if I’d done something spectacular. Those picks really meant a lot to them. Every night, every show, I would do it. It was great.

You mentioned that Tim Reid referred you for the job, having known you from K-Rock. How long were you in radio?

Yes. Tim worked for every show at the station. If you needed something done, Tim could do it. He knew every job. We became friendly because he was always there. I was working for a morning show and would come in at 5:30 a.m., and Tim would be there. He was a maniac. My job was as an archiver, I guess. I would listen to the shows and type the transcript of who came in at what time and what they discussed. I was there from the end of 1989 until the beginning of 1991. Tim and I remained friends and kept in touch through e-mails, texts and phone calls.

Tim worked with Dave at K-Rock and also wound up doing some work for him here in California. At that time, Dave wanted to start editing video at his home and asked for recommendations. Tim called me, asked if I was still editing, and told me that Dave had a few projects he wanted to have edited. I told him I was editing, and he gave Dave’s assistant my number.

Tim finished his gig with Dave and went back to New York. Dave’s assistant called and asked if I could come to Pasadena to edit some projects. I showed up and he had a nice setup. He had a new Mac Pro and two new 30-inch monitors. We sat down and started going through dance footage. I loved it. He was having so much fun dancing around — how could you not love it? Most of that footage became “50 Rides.” It was the first thing we looked at.
He didn’t know me, I didn’t know him, and I’m sure he just wanted to see if I really knew how to work the machine. I did. So we started working on “Scrapbook,” which is a little bit of everything. We’d work, I’d go away for a couple of weeks, come back, work on it some more. In September, he went to New York City. I went out there for about a week and we edited there. When he came back to California, I got the call that we’d be working on some Van Halen videos. It went from zero to a thousand in a day.

We came back to Pasadena and shot and edited “Tattoo.” Then we edited the videos that announced that there was going to be a tour and an album. We posted them on both of the websites [DavidLeeRoth.com and VanHalen.com] on December 26, 2011, the day after Christmas. It was a total surprise. No one expected it. There was no “Hey, this is happening today.” Dave had posted “Get ready” on his website, I think Van Halen hadn’t changed their website for a little bit, and all of a sudden, boom! There were 30-second spots of outtakes from the “Tattoo” video, but with “Jump,” “Panama,” and “Hot For Teacher” as the music beds, so you didn’t really know what you were looking at. At the bottom, almost like a CNN scroll, it said, “Van Halen on tour 2012, tickets on sale soon.” It was all of this new information the day after Christmas, when there had been talk that maybe they had signed with a record company, maybe they were working on an album, but who knew if it would ever happen? And it was already done. This all was seemingly out of nowhere, and it seemed to me that Van Halen fans were really excited. It was the Christmas surprise.
I was semi-retired when Tim called me. I had worked very hard and very long hours in New York for a long time and I was burned out from it. It was a lot of terrible shows edited quickly — terrible premise, terrible everything, sometimes you don’t even want to put your name in the credits because it’s so awful. I started doing less television stuff and more corporate stuff, like Subaru or car companies, where they have big shows and something on a big screen and two side screens. I put stuff like that together, which is fun. There are deadlines, but it’s a lot less craziness and weird network decisions. MTV stopped doing music and started doing all these other shows and it was not my thing. I had to stop. I semi-retired, moved to upstate New York with my husband, and occasionally I’d come to New York City for a corporate gig. Then I stopped doing that and started working on my documentary about Buzzy Linhart, thinking it would be a nice change of pace.

How was the concept for The Roth Show presented to you?

Dave and I had talked about it before the tour. We were going to work toward putting these videos together and have him talking. With the album and tour it got pushed aside, but it was something we were always going to do. I left tour at the end of May. They only had a month left and I had given them a lot of video content for the show. If they needed more, I could do it from home without a problem and put it up on a server, but that didn’t happen.
There doesn’t seem to have been a break. I would go down there and work with him on stuff like “50 Rides.” That took a long time to do. After tour, we got to The Roth Show. He sat down and started talking about tattoos and sarcasm. Mark filmed that, sent it to me and we put it together. I don’t know that he knew what it would look like. He didn’t know that I was going to do the comic book stuff. He didn’t know that I was going to do The Thomas Crown Affair opening or the music. He just knew what he talked about and he gave it to me to edit. He really liked it, and since then, it’s been the same formula. I’ve gone down to film a few times, but Mark usually does the filming. There’s a wide camera, and he’ll man the close-up, they send it to me, I watch it and put it together, add the music and comic book stuff and the pictures. At first I was using Dave’s lyrics as captions for the comic book pictures. When Dave started posting to Facebook and Twitter, I saw some fun Tweets and comments, so I started using those instead. I think people like to see their Tweets on The Roth Show. To me, that’s a fun little hidden thing, a tiny Easter egg for people who are interested in seeing that stuff and who like to watch once or twice and look for all the little extras.

When you added the extras, did you feel you were being a bit ballsy by taking liberties with his content? The show is his vision. To say, “I’m going to put cartoons here and music there,” did you ever think, Maybe he doesn’t want my two cents?
The first show, yes, of course. I was hopeful that he would like it. I know that Dave enjoys old-school comic books and that type of artwork, so I did not think he’d hate it, and he didn’t. There’s no political statement; I’m not secretly putting my vegetarian agenda in the comic book things. It’s just Dave doing fun Dave stuff, looking great while he’s doing it, with his own music. So it was, “I hope Dave likes this.” If he didn’t, I could easily have cut it out and put something else, but it’s all him. Everything that we’ve shot, and anything I’ve used, is stuff that he already knows exists. He knows everything that’s in it and he seems to be fine with it. He knows what I do. Dave is Dave and I would never do anything to make him less than that. Anything I add is to accent or highlight his dancing or his sense of humor or these great photos.

There has to be a lot of trust between the artist and the editor.

Oh yes. Yes. Here’s the other thing: Editors are a dime a dozen. They really are. When I first started, not so much at all, especially not ones that could use the computers. But these days, everyone has a computer. High school kids have never not had a computer. So anybody can be an editor, but it’s a matter of doing it well, having a good eye and meshing well with your client. I feel right now that I mesh well with Dave. I know who he is and who he’s been from the beginning. He’s rock history. He’s a legend. I’m very aware of that, and I would not want to misrepresent him. I think he knows that from the Van Halen interviews at Henson that I put together, and from when we had our morning editing sessions with Al in Pasadena and talked and worked.

Who researches the archival footage? Where do you find the content? Is it public domain?

That stuff, for the most part, is public domain, B movies or government-sponsored propaganda films, so there’s no licenses, thankfully, because we don’t have a rights-and-clearances staff person like VH1 or MTV. Occasionally I’ll use more modern movie clips or photos and credit them, but my go-to footage is the public domain stuff. I love all that old stuff. It’s fun, and for the most part, no one else is ever going to see it or know that it exists unless they see it on The Roth Show. Who else has ever seen some of this stuff? I have to use it. It’s fun for me to dig around and look for it.

How long does it take to create one episode of the show?

It takes a long time, and it’s another thing that only another editor will know. I get the footage — it’s digital, so it’s not really footage and it’s not measured in feet anymore — but I get the footage and I watch it all, start to end. Maybe I’ll watch it again and I think, We need to keep it around a half hour, because for iTunes, downloading something that’s HD that’s more than half an hour is going to take forever. You don’t want to compromise on video quality, so the half hour is the longest you want to go to maintain the quality. You can see other iTunes shows that are an hour and they look terrible. They look blocky. I try to keep a balance, plus an hour show is going to take longer to edit. I watch the footage a few times and start paring it down while making sure that everything he stated gets in there. I never want to edit his personality. You can’t do that. Dave is Dave, and Dave needs to stay Dave, so I have to edit around stuff and cut things, but I’ll never edit a thought or statement of his. Then I put it in sections and edit each section as far as camera and the two-shot, the two boxes. I do each section like that. Then I go back and, for example, the “FM Underground Radio” show: Dave’s talking about this guy, so I search that guy and look at someone’s homemade website who might have ten or thirty seconds of this audio. I grab that audio and put it in. Then I go to After Effects and make the audiowave and work on that. I fill each section with photographs or footage. I can search an hour or two for something usable and I think, I’m spending too much time on these fifteen seconds, but then I find it and it’s perfect and I’m happy with it. That process alone takes forever. It’s going section through section, finding photographs, making them move, color-correcting them or putting the effects on them.

After you finish a section, you watch it again to make sure it looks good and that you haven’t lost your perspective or you didn’t overdo anything. Then you go to the next section and do that. After I’ve done all of that, I go back and do the musical sections. Those take a long time, finding the photographs, effecting the photographs, laying out the photographs, bringing that big Photoshop file into After Effects, putting the moves on it, exporting it from After Effects, bringing it into Final Cut Pro and putting the sound effects with those moves. A lot of stuff goes into it. I think an editor will appreciate it when they watch one and think, Oh boy, this is a bear! But if someone who’s not an editor watches it and enjoys it, that’s great. I read the comments because I want to make sure nobody says, “That was edited terribly.” I don’t see that with The Roth Show, so that makes me very happy. People may not appreciate everything that’s gone into it, but they dig the outcome and I think that’s great.

On his website, the little color thumbnail pictures — if you hover your mouse over them, after two seconds they start to move. I make those too. I edit the show, do the graphics and then I do this. It’s called the “Kid Stays In The Picture” effect — I think that documentary is the first place we saw this kind of effect — where the background and foreground move separately. That takes a little while to do. If you’re not spending the time looking, you don’t notice that it happens.
After I’m completely done with the show, I do the audio. I run it through to make sure it sounds good and that the levels are good. Then I export the show. Exporting a half-hour show takes a while, so after I export it and it’s really high quality, I watch it again and make sure I haven’t missed anything, like a fresh pair of eyes watching a show. I see something, go back, make the correction, export it again, watch it again, it’s great this time. I convert it to a size and a file that is YouTube-friendly, then I do one that’s iTunes-friendly, and then I upload for YouTube and iTunes. I do the graphics for the website, then I send everything to the guys who are behind the website, the Superstar Media guys. I send them an e-mail with links and the name of the show, they put it all together and we have a show. Then I start working on the next one. It’s more than full time.

Have you often had to go back in and fix something? What is required to make corrections?

The thing that takes the most time is the exporting, converting and uploading. Thankfully, this hasn’t happened, but if the show was up but it was wrong and I had to take it down, it could be a couple of hours. Making the changes takes a second, regardless of what it is, maybe five or ten minutes the most if it was drastic, but the change is not the problem. It’s the exporting. There is rendering involved. For example, you have a layer of video with effects on it and you’ve resized it. In order for an effect to play beautifully, the computer has to render it. It has to work on it and process it. It’s 30 frames per second, and each frame needs rendering. To play smoothly and export, it needs to render 30 frames per second for 30 minutes, so it takes a while. If there are no effects, it’s pretty quick, but sometimes I’ll speed something up or slow something down or colorize. It needs to look at every frame, do its process and spit it out. Then I’ll watch it, convert it, and it comes out in a huge file, somewhere around 35 gigabytes. You have to convert it to a size that’s reasonable to upload, because uploading takes a long time. You’re at the mercy of your bandwidth and YouTube’s bandwidth. You can’t upload a 35-gigabyte file, so you compress it down into 3 or 4 gigs. Uploading that might take an hour. The technical process of getting it onto the Internet takes a while. It’s a full day for me to do all the technical stuff. While that’s happening, I’m making the moving thumbnails graphics for the website. It’s easy to change something, but to make that change and then implement it on the Internet would probably take four or five hours, depending on the length of the show.
How far in advance do you work? Are episodes prepared and scheduled?

Zero! None are in the can. They’re done when they’re done. When I worked at a regular post house, the rule was a minute a day. A half-hour show, like VH1 or MTV, which is only about 22 minutes, would take two to three weeks, soup to nuts. This would include digitizing in tapes and rough edits, getting back notes and making changes, laying in audio and outputting back to tape. The Roth Show is a half-hour show and we’re doing episodes in half that time. It’s really just the three of us. When Dave has something he wants to talk about, Dave talks about it. Mark Rojas shoots it and sends it to me. I may not know what he’s going to talk about when I get the stuff. I remember when “Stay Frosty” was the Number 16 song of 2012 on Rolling Stone’s Top 50. I was like, “That’s awesome! Dave, you’ve got to talk about it!” It was never released as a single and it was my favorite song on the album. And he said, “Really?” I said, “Yeah, it’s great!” He said, “OK, I’ll talk about it,” and he totally didn’t talk about it the way I thought he would. He has the beer, he’s pretending that’s the award, he doesn’t care, and that’s Dave being Dave. He will do his thing. There’s nothing Dave can’t do. There’s just things he hasn’t tried yet.

[Va Beach VH Fan]

Whoa, whoa, whoa....

Maybe I'm totally misunderstanding you, but you aren't seriously trying to say that the Japanese girl is Shelly, are you? Or are you saying that Shelly was Dave's girlfriend?

'Cause if you are, for either of the two, you are WAY off base.....

Good article on her, though....

[ZahZoo]

They might have been dating at the time but this was Shelly Toscano, Dave's editor.. Responsible for filming the Tattoo and She's the Woman videos. The Downtown Sessions etc.
She put together the Roth show, guessing they broke up when the website went dark.

I don't believe Shelly was dating Dave... Half way through that interview you pasted she mentions moving with her husband to upstate New York... unless when you say "broke up" you meant ending a business relationship??

[Va Beach VH Fan]

I don't believe Shelly was dating Dave... Half way through that interview you pasted she mentions moving with her husband to upstate New York... unless when you say "broke up" you meant ending a business relationship??

Happily married woman....

[ZahZoo]

Exactly... and not married to any Diamond Dave type fella!!

[THE SAINT]

Honestly, That picture was attached to this interview on a website. Looking at other things online, it may not be Shelly. But this pic was used on a website that had the interview. I may have fucked that one up.. I'm trying to trace it.

[THE SAINT]

blog130125_03.jpg

This girl has some sort of thing in Japan called PARADISIO


Might be some sort of radio program in Japan?

Today, I had come to Kabila's program,
The legendary vocalist of VAN HALEN
2 shot with David Lee Roth's!

[Va Beach VH Fan]

Looking at other things online, it may not be Shelly. But this pic was used on a website that had the interview. I may have fucked that one up.. I'm trying to trace it.

Brother, it's not her. I've met her, she's a friend. Not her.

[GreenEyedMurder]

Brother, it's not her. I've met her, she's a friend. Not her.

I've also met her, and that's not her.