Sunday edition CALENDAR SECTION only of the Los Angeles Times, June 30, 1985 

* Early "Motley Crue" "Ratt" "Twisted Sister"
* American heavy metal - hard rock bands 
* Editorial on the "Hair" bands of the 1980's 

Often revered as the undisputed "bible" of Hollywood, the Sunday Calendar section occupied a rare space in journalism where a single publication could simultaneously dictate global entertainment trends and govern the inner workings of show business. Today, physical copies are an absolute rarity, largely because they were printed on standard, ephemeral newsprint designed to be devoured and promptly discarded at the end of the week.
Page 76 has an editorial by Terry Atkinson headed: "HEAVY METAL'S THEATER OF PAIN" with photo of Motley Crue. (see images)
I suspect this to be an extremely rare item because their was really no reason to save it at the time.
Complete Calendar section only with all 92 pages, tabloid size, great condition.

Background: The significance of Terry Atkinson’s June 1985 editorial lies in its role as an early, definitive marker of the cultural and critical schism that defined 1980s rock music: the commodification of rebellion. By calling out Mötley Crüe’s Theatre of Pain as a product of a "youth-market research firm," Atkinson gave voice to an growing anxiety that the raw, dangerous edge of heavy metal was being systematically sanitized, packaged, and mass-marketed into a highly profitable corporate product. This critique was a harbinger of the "hair metal" era's ultimate trajectory, highlighting a glaring disconnect where critical panning stood in stark contrast to massive commercial success and heavy MTV rotation. Decades later, the editorial gains historical irony, as even members of Mötley Crüe would look back on that specific period and album with a similar skepticism, admitting that substance had indeed been sacrificed to the chaotic whirlwind of sudden superstardom and corporate pressure. Ultimately, Atkinson’s piece serves as a pristine time capsule of the exact moment heavy metal traded its underground menace for mainstream pop dominance.