Despite some slight interest at first glance, I was initially hesitant to see Weapons thanks to so many modern horror films bordering on the absurd (2024’s Longlegs and the X series comes to mind) or excessively violent these days. But similar to the likes of say, Sam Raimi’s DragMe to Hell, Weapons is just unique enough to be an entertaining ride all of its own.
The film centers around the aftermath of a group of young students, all in the same elementary school class, who mysteriously vanish in the middle of the night at the exact same time without any explanation, and intertwines the stories of several individuals connected to the event.
Alex (newcomer Cary Christopher), the only student from the class unaffected by this, ultimately holds the secret via a very distant (and very sinister) aunt named Gladys (played with ease by Amy Madigan) who just came to stay with him and his parents.
The atmosphere is top notch, and high caliber acting from Josh Brolin, Julia Garner, Aiden Ehrenreich, Austin Abrams, and Benedict Wong, all contributes equally to the proceedings. There’s a realistic vibe to it all that makes it all that much more unsettling.
While not without the occasional flaw or two, Weapons still holds just enough interest and creepiness suitable for appropriate Halloween viewing this year; give it a whirl if you have not yet done so.
Back in the fall of 2012, I was still a single father of a six-year-old boy, and one of the easiest downtime activities to do back then was take him to the movies – that year’s ParaNorman was one of many we made it out to. So thirteen years later when my-now grown son expressed wanting to go see the 3D re-release with his old man again (with his girlfriend along for the ride this time too, of course), I couldn’t say “no.”
The original film centers around an 11-year old social outcast named Norman (Kodi Smit-McPhee) who is misunderstood by his family and bullied by his peers for his strange and unusual behaviors – he can see and talk to ghosts that others around him cannot. But things change once the dead starts rising from their literal graves and scaring the locals.
With the help of his goofy best friend Neil (Tucker Albrizzi), his self-centered older sister Courtney (Anna Kendrick), the school bully (Christopher Mintz-Plasse), and Neil’s older jock brother Mitch (Casey Affleck), Norman must stop the zombies roaming the town, while also uncover their secrets that ultimately lead to their arrival to begin with.
The new short film, The Thrifting, finds Norman, Neil, and Courtney (Anna Kendrick once again in the only returning voice role) attempting to locate a Halloween costume in a dark and desolate second hand store that has some built-in permanent ghostly residents. Finn Wolfhard of Stranger Things fame also lends his voice as the store clerk in this entry.
Flyer for the all-new ParaNoman short film, The Thrifting.
All in all, each film in the ParaNorman universe is harmless family entertainment and fun in their own ways; the world needs more films like them right now.
After years of touring and gaining popularity through word of mouth, British indie rock band The Last Dinner Party made an indelible impact on the scene.
Their 2024 debut album, Prelude to Ecstasy, proved to be an art rock triumph, further solidifying their status as one of the most original and innovative bands of the post-COVID era. Almost two years later, their second album, From the Pyre, sporadically delivers on the full potential of a band at the height of its powers.
How does one follow such a strong debut? Rock bands like The Strokes, The Killers, and Pearl Jam (to name a few) all had to prove their first success was no fluke, while constantly living in the shadow of their debut.
I offered much praise to Prelude to Ecstasy, considering it a nearly perfect album of unique and powerful songs. It embodied everything I enjoy about modern British rock (e.g., complex, multilayered arrangements, musical depth, grand production, etc.) So, how does the latest album measure up?
I tried my best to temper expectations and listen with an open mind. Hearing a new album for the first time is always a special experience, regardless. Sometimes the music just clicks, other times it doesn’t. From the Pyre didn’t initially resonate, but like many similar works of quality, it took some time to grow on me. It is not a redux of the first album nor a completely different direction. It’s a continuation of their musical journey.
The band described the album as “character-driven,” and its multiple themes weave an existential tapestry under the banner of earthy warriors. The album cover features a collage of band members posing with various set pieces artfully arranged up a grassy hill.
A top the hill, the band ceremonially dances around a pyre near a red neon sign flashing the album’s title. It’s a cover replete with historical references, random iconography, pagan and Christian allegory, vintage fashion, and the baroque style the band is known for.
It also effectively represents the overall tone of bleakness, hope, sacrifice, and survival delivered throughout the album’s forty-two minutes. Totaling ten songs, not a single track wears out its welcome; however, it’s far from perfect.
The music, at best, is fresh, riveting, and cathartic. At worst, it’s meandering, scattered, and even bland in some areas. They also experiment with a range of harmonies (not always to great effect).
The Last Dinner Party is comprised of lead vocalist Abigal Morris, lead guitarist Emily Roberts, rhythm guitarist Lizzie Mayland, bassist Georgia Davis, and keyboardist Aurora Nishevci. Despite dominant percussion throughout most songs, the band has no permanent drummer.
As talented musicians, each band member brings a unique edge to their instrument. They also uniformly provide backing vocals, often culminating in a harmony reminiscent of Texas indie-rock band Eisley.
The album initially delivers a solid four-song lineup that includes “Agnus Dei,”“Count the Ways,” “Second Best,” and “This is the Killer Speaking.” The songs are memorable, catchy, oddly uplifting, and more impactful with each listen. “Second Best” is a dynamic rock number that exemplifies the band’s best qualities. “This is the Killer Speaking” is another standout, representing subtle darkness amidst an upbeat backdrop.
The next song, “Rifle,” has moments of greatness amidst an operatic chorus of dread. The album then slows down with three vocally driven songs with minor percussion and quiet piano. My attention waned during “Woman is a Tree,” “I Hold Your Anger,” and “Sail Away,” but there is undeniably something to be found in each track.
The momentum returns with the standout rock ballad “The Scythe,” before closing on a confident note with “Inferno.” Equally ambitious as their debut, From the Pyre has a lot to unfold amidst references to Joan of Arc, the Middle Ages, love, death, war, and the apocalypse, among other themes.
While it doesn’t carry the same weight as their first album, the band should be commended for their willingness to explore new directions. Bands like The Last Dinner Party remind us that both culture and art are very much alive and well, despite evidence to the contrary.
It’s hard to believe that just a few short months ago, we still lived in a world where all four original members of legendary rock outfits Black Sabbath and Kiss were all still walking the earth. Now that has obviously changed quite dramatically, first with the devastating loss of Ozzy Osbourne in July, and now the unmistakable original Kiss guitarist/co-founder Ace Frehley this past week on October 16.
Born Paul Daniel Frehley in The Bronx, New York on April 27, 1951, Frehley first picked up the guitar at the start of the British invasion in the early ’60s as so many of his fellow peers had done around this time. But aside from playing guitar, Frehley also found himself mixed up with rough gangs and earning the nickname “Ace” by the age of 13.
But music was his true calling, and after briefly serving as a roadie for Jimi Hendrix at age 18, he eventually found found his way to the band that would become Kiss in 1972, helping to create something the likes the world had never seen before by 1973, bringing to life the “Spaceman” persona in the band and even designing their now-classic “lightning bolt” logo that can seen in nearly every far corner of the world now.
The rest as they say, is KISStory, with Frehley going on to dominate the ’70s rock world with his bandmates Paul Stanely, Gene Simmons, and Peter Criss. Aside from their trademark makeup and infectious anthems, the group were also known for their theatrics, including Frehley’s oft-smoking guitars that he custom built himself.
But years of hard living took its toll, and by 1982, Frehley became the second original member of Kiss to exit the band. By the late ’80s he struck back hard, with a string of solo albums beginning with Frehley’s Comet in 1987.
After a period of dormancy, Frehley and his former Kiss bandmates took the world off guard when him and Criss made their first appearance with the band on stage in over a decade at an MTVUnplugged tapping in 1995. From then on, it was a full scale reunion, complete with makeup and costumes and all, that lasted into the early 2000’s.
I had really become a fan of Kiss in the early ’90s during the non-makeup years, and can vividly remember watching that MTV Unplugged episode when it first aired. I felt the same excitement that was in the audience that night, and couldn’t wait to see the band in concert (which I had just started going to around this time, staring with AC/DC in 1996).
But it would take a number of years before I would finally see Kiss live in 2012, but which point Frehley had been replaced by his fourth and final follow-up guitarist in the band, Tommy Thayer. But even without him there physically, his presence could still be heard and felt with each and every lick played that night.
Finally, in June of 2024, Ace was set to play at the Hard Rock Live nearby me in Orlando, FL, and I was determined to finally see him, despite it landing on a Friday and being extremely tired from a long day’s work beforehand. I brought my teenaged son Jacob with me, and for the first time ever he was able to hear the music of Kiss played live, with timeless tracks like “Detroit Rock City,” “Cold Gin,” “Shout It Out Loud,” and of course, “Rock n’ Roll All Nite,” all leading the charge (it’s a memory I hold dear now that I won’t soon forget).
Ace Frehley performing with his band at the Hard Rock Live in Orlando, FL on 6/21/24 (Photo by Jesse Striewski).
When it was announced last week that Frehley had passed after suffering a fall that lead to a brain bleed, it hit me like a ton of bricks, as though a long lost uncle had left this world. And now after being put to rest this week, there’s a sense of finality that’s becoming more and more familiar with each legend we lose.
But no matter how much time might pass, the guitar riffs of Ace Frehley will continue to echo, with each and every guitarist out there he’s already influenced, and every up-and-coming musician that he will eventually leave a mark on for future generations to come. Rest in peace, Spaceman.
There were certain movies in the ’80s that just always seemed to be there (no matter where “there” might’ve been at the time). Back to the Future was one such film (along with the likes of Ghostbusters and The Karate Kid, among others), in a sub-genre of its own that I have since labeled “basement movies” (growing up in New Jersey at that time, it seemed like everyone had basements with TV’s/VCR’s in them, and many a movie were viewed in these for the first time via either cable or home video).
Originally released on July 3, 1985, Back to the Future was the brain child from Director Robert Zemeckis and Producer Bob Gale. The story was simple yet complex all at once; high school student Marty McFly (Michael J. Fox) travels back in time after an experiment with his scientist friend’s (Christopher Lloyd) time machine (built from a DeLoren, of course) goes haywire and sends Marty thirty years back in the past.
Once there he not only needs to get himself back to his original time frame, but ensure his parents (played by Crispin Glover and Lea Thompson) still meet and fall in love in time to not alter his existence, all the while dodging bullies (lead by Thomas F. Wilson in one of the best roles of its kind).
Originally the role of McFly went to Eric Stoltz, who began filming several scenes before Fox finally committed to the project, forcing him to take on double-duty while simultaneously still filming his hit show Family Ties. The decision was obviously the best for all those involved, and as a result, we were given one of the most flawless films in American history.
While it took four years, the film eventually spawned two sequels, beginning with 1989’s Back tothe Future Part II (my first time going to see one of them on the big screen, although I’m told I was there for the original as well, yet have no memory of this) and concluding with the western-themed Part III in 1990. There was even an animated TV show that ran from 1991-92 on CBS, theme park rides at Universal Studios, and various other video games and multimedia tie-ins, making it one of the most successful franchises of all time (the first film alone grossed nearly $400 million at the box office).
Back to the Future 40th Anniversary poster spotted at theater in Daytona Beach, FL on 9-10-25 (Photo by Jesse Striewski).
Of course, one cannot talk about Back to the Future without mentioning its music, which became equally popular thanks to the inclusion of Huey Lewis and the News’ “Power of Love” and “Back in Time” hits (Lewis himself makes a brief cameo at the start of the first film, and I was able to hear each of these tracks live in 2014 when the wife and I went to go see Lewis and company at none other than Universal Studios Orlando). Flea from Red Hot Chili Peppers fame has a small part in Parts II and III as “Needles,” and even ZZ Top appear as musicians in Part III, contributing the track “Double Back” to the film as well. Years later, I was able to photograph Flea onstage with the Chili Peppers in 2017 (see photo below), though ZZ Top have still alluded me all these years later.
Flea of the Red Hot Chili Peppers, who played “Needles” in Back to the Future Part II and III, on stage introducing the opening acting at the then-Amway Center in Orlando, FL on 4/26/17 (Photo by Jesse Striewski).
Then in 2023, I was even able to interview an actor from the series for the first time for Rewind It. Courtney Gains, who is seen at the dance scene cutting in with George and Loraine near the end of the first film, lent me some insight into his role as “Dixon;” “To be associated with that franchise in any way is a pretty mind-blowing, amazing thing. My character had already been dropped one time, and if you’re doing a movie they can only drop you one time, and if they bring you back, they can’t drop you again. So they had already dropped me once in the middle of all the chaos of re-shooting everything after dropping Eric Stolz in the lead role and replacing him with Michael J. Fox. Still to this day, one of the best residual checks I get is from Back to the Future, so it’s been a financial blessing in my life.”
The film has indeed blessed many, in many different ways, over the years, and on this “Back to the Future Day” (that passes annually every October 21), I’d certainly hate to ever see a world that doesn’t have Back to the Future in it in some form.
I really hadn’t planned on taking two back-to-back weekend trips to the Tampa/St. Pete area after having just traveled with the fam to the west coast the weekend prior for the Megadeth-spinoff band Kings of Thrash. But literally just two nights prior to the show, the wife and kid surprised me when they said they had won tickets from local rock station WJRR for the Stephen Pearcy/Warren DeMartini of Ratt fame show at the Ferg’s Concert Pavilion in St. Pete, FL on Friday, October 17. And hence, another Rewind It Magazine road show was born.
While initially hesitant about making the drive down there again so soon, it turned out to be a much better experience than the last show, with Pretty Boy Floyd – who Rewind It have covered two shows for now (one as far back as 2018, and another as recent as just two months ago this past August) were the first band we were fully able to catch (we arrived just as the first opening act, Permacrush, were finishing up, and I cannot give an honest assessment of them), and while I’ll try not to dwell on my medical issues here again, but will just say I was beyond relieved to see we had actual seats for the show (and the venue was a noticeable upgrade in comparison to some of the more recent ones we’ve visited as well).
My always reliable (and beautiful) wife/photographer Brooke instantly sprung into action while I hung back with our son (and sometimes secondary photographer) Jacob who, for the first time ever, had his girlfriend Em along for the ride with us this time as well. And with legendary KISS guitarist Ace Frehley having just passed the day prior, there were plenty images of the late musician’s face adorning many a fans’ t-shirts that night (yours truly included), and of course some mentions of him from some of the bands that night, too.
Pretty Boy Floyd performing at the Ferg’s Concert Pavilion in St. Pete, FL on 10-17-25 (Photo by Brooke Striewski).
But I digress, Pretty Boy Floyd took the stage with a fury as always, with “Your Mama Won’t Know” paving way for more classics like their cover of Motley Crue’s “Toast of the Town,” “48 Hours,” and “Rock n’ Roll Outlaws.” At one point frontman Steve Summers – always the showman – teased a cover of Marilyn Manson’s “The Beautiful People” with the rest of the band before announcing “We don’t do that one!,” before ending their set with the one-two punch of “I Wanna Be with You” and “Rock n’ Roll (Is Gonna Set the Night on Fire).”
I’ve known of the next act, Enuff Z’ Nuff, for as long as I can remember, though I cannot say I was ever much of a fan (their sound has always been a bit too “out there” and soft for my taste to be honest). But alas, we watched as Chip Z’Nuff and company went through tracks like “The World is a Gutter,” “Baby Loves You,” “Heavy Metal,” “Jet” (Paul McCartney cover), “Fly High Michelle,” and “New Thing.” After their set, I can say I could at least understand their like-ability a bit more than I had beforehand.
Enuff Z’Nuff performing at the Ferg’s Concert Pavilion in St. Pete, FL on 10-17-25 (Photo by Brooke Striewski).
It was at this point that the story really gets interesting. Thinking we had some time in between acts to make it back before Trixter hit the stage, Brooke and I wandered off for a bit. In our travels we briefly ran into Enuff Z’ Nuff co-founder/bassist/vocalist Chip Z’Nuff, and Pretty Boy Floyd’s Steve Summers and Jake Curtis Allard (always great seeing them!). But it was what came next that really took us both by surprise.
The thought did not even occur to me that local St. Pete rocker Todd La Torre of Queensryche might be on hand that night. But alas, a chance encounter found us briefly chatting with the lead singer/former drummer right then and there, and neither of us could believe it (It should be noted, Brooke and I had previously reviewed/photographed a Queensryche show for Rewind It back in 2019, as well as gone to see them at our first major show together when we were still just starting to date in early 2013, so the history is definitely there for us).
Rewind It’s Jesse Striewski (left) with Queensryche frontman Todd La Torre at Ferg’s in St. Pete, FL on 10-17-25 (Photo by Brooke Striewski).
By the time we got back to our seats, we saw members of Trixter still on stage, which we thought were still just setting up their equipment. It turns out though, they were actually breaking it down – our adventures mingling actually caused us to miss their set entirely. While disappointing at first, in the end, it was worth it to have the experiences that we did in the interim (we were also informed after the fact that Trixter’s set was also apparently cut short, which no doubt contributed to this).
And finally, the band everyone had come to see above all else – which features core Ratt members Stephen Pearcy (vocals) and Warren DeMartini (guitar), as well as alumni Carlos Cavazo (guitar/also former Quiet Riot) and Matt Thorne (early Ratt bassist from ’81-’82 and also former Rough Cutt), and ex-Slaughter drummer Blas Elias rounding things out – finally took the stage (not before some Spinal Tap-esque issues with the sound causing them to be a few minutes late at first), coming out swinging with their signature opener, “Wanted Man.”
A cover of “Walkin’ the Dog” followed before “I Want a Woman,” “Slip of the Lip,” “Body Talk,” “Lovin’ You’s a Dirty Job,” “I’m Insane,” “Nobody Rides For Free,” “Way Cool, Jr.,” “Lack of Communication,” and “Lay It Down” all kept the momentum going.
Stephen Pearcy performing at Ferg’s Concert Pavilion in St. Pete, FL on 10-17-25 (Photo by Brooke Striewski).
Somewhere along the way, Pearcy teased doing “a love song that they don’t play very often,” alluding to their oft-forgotten 1990 minor hit “Givin’ Yourself Away,” which I would’ve loved to have actually heard them perform (the two times I saw Ratt previously they shy-ed away from doing it then as well). But in typical Ratt fashion, the song was nixed, with Pearcy proclaiming “Here’s your love song!” at the start of “You’re In Love.”
By that point, there really was not much left to do other than unleash the big guns with “Back For More” and “”Round and Round,” which of course drew the biggest responses from the crowd. While Pearcy’s chops might not be what they once were, the band on stage that night was undoubtedly tighter than any other lineup of theirs I had seen previously, noticeably improving since the last time the Mrs. and I caught them in Orlando back in 2017. Is it perfect? Of course not…but that’s just rock n’ roll baby!
Those who know me well, know what a pivotal role Megadeth have played in my developing years as a young musician/bass player. First jumping on board around the Countdown toExtinction era (middle school days for me), I instantly gravitated towards bassist David Ellefson’s style the same way I had the likes of Steve Harris and Geezer Butler.
It would take several years before I would finally see the band live for the first of several times (in 2006), and a few more years until it would actually be with Ellefson back on stage with them finally by 2010. But it would be worth the wait indeed – not only was I able to meet him that very same day at a bass clinic in Orlando, FL, but just one year later I would find myself face-to-face (well, over the phone anyway) with Ellefson yet again, interviewing one of my bass idols for a nationally-published magazine at the time in 2011.
Fourteen years since that last encounter, I knew as soon as I heard Ellefson would be coming to The Brass Mug in Tampa, FL with his latest band, Kings of Thrash (which also features former Megadeth guitarist Jeff Young from the So Far, So Good…So What! era) that it was a show for Rewind It Magazine through and through.
What I did not know upon originally setting up coverage, however, is that I’d once again be put back on IV medications shortly before it thanks to the never-ending bone infection I’m still fighting right now (always a blast!), so it came as a bit of a surprise to find out after arriving at the Mug (with my usual photography crew/wife and son Brooke and Jacob Striewski in tow) this past Saturday, October 11 (each their first time hearing any Megadeth performed live), that there would be a whooping six bands to endure prior to the headliners (a lot for an old dog like me to take in right now indeed!).
The first act of the night, Killproof, were already mid-set upon entering the venue, and no doubt held their own on the stage. The follow-up group, The Hand of Reason, had their own unique indie-influenced sound that I did my best to watch all of. But for most of their set, as well as the following two bands Love Pit and Kalas, I found myself trying to stay off of my leg on the back porch area.
I paid a little more attention to Gravel from Colorado Springs, whose down-and-dirty style found them covering not only Airbourne’s “Runnin’ Wild,” but also an amped-up version of “I Think We’re Alone Now,” the pop hit originally from the ’60s before Tiffany got her hands on it in the late ’80s.
Local Florida rockers Deth FX (sometimes stylized DETHFX) were up next, and finally started scratching that thrash metal itch with tracks like “War Morality” and “Unnatural Reign” from their debut album. The guys truly gave it their all with each and every note that night, showcasing their talents for surely many a new follower.
Deth FX performing at The Brass Mug in Tampa, FL this past Saturday, October 11 (Photo by BrookeStriewski).
And last but not least, the Kings of Thrash (which is rounded out by vocalist/guitarist Chaz Leon of Black Daze, and Fred Aching, who has served some time with BulletBoys) finally took the stage just before midnight, instantly living up to their name with the intro to the said So Far… album, “Into the Lungs of Hell.” Not one member of the crowd was sitting down at this point, and rightfully so.
“Rattlehead” from the band’s 1985 debut Killing Is My Business…and Business Is Good! was up next before “Hook in Mouth,” “Train of Consequences,” “Victory,” “The Skull Beneath the Skin,” and “502” all kept the momentum going.
A brief drum solo segued into “In My Darkest Hour” and the haunting “Bad Omen” before the band started with their original track, “Lockdown,” which by then felt like the perfect stopping point for the night.
But not before briefly meeting legendary music producer/recording engineer Max Norman, who was there in the crowd that night. Not only has Norman worked with Megadeth on several of their ’90s-era releases ranging from Rust in Peace to the Hidden Treasures EP, he also had a hand in several of the late Ozzy Osbourne’s early solo albums, but also efforts from the likes of Y&T, Grim Reaper, and Armored Saint (among many others), so it was an absolute honor to actually shake his hand!
The author Jesse Striewski (right) with said recording engineer/producer Max Norman at The Brass Mug in Tampa, FL this past Saturday night, 10/11. (Photo by Brooke Striewski)
Of the numerous times I’ve seen Megadeth live over the years, not once can I recall them performing the majority of the songs heard this past Saturday night (sans of course the likes of “In My Darkest Hour”), especially any of the extremely earlier material from that first album. The Kings of Thrash show brought things back to exactly how I’d imagine a Megadeth club show to be “back in the day,” celebrating the music the way it indeed should be; I’m forever grateful to have witnessed it firsthand.
The Halloween franchise that originated all the way back in 1978 has gone through many changes and makeovers over the years, but author Andrew Grevas has meticulously gone through each and every incarnation to bring possibly the most detailed description of the series to date.
Grevas employs in-depth interviews with actors, directors, writers (and just about anyone else willing) from the ’78 original, all the way up to 2022’s Halloween Ends, that includes the likes of Dean Cundey, Ellie Cornell, Tom Atkins, Dee Wallace, and Dwight Little (just to name a few).
At first the Q&A-style of the many interviews here does seem to be a bit tedious, but the information contained within each one of them is usually enough to sustain ones attention span throughout the duration. Some of the more interesting topics discussed within can also be attributed to the many “what if” scenarios of the franchise as well.
Overall though, its a love letter from Grevas to one of horror’s most revered franchises, which longtime fans should without a doubt be able to both recognize, and respect.
While I did watch the inaugural season of Wednesday with the fam when it first dropped on Netflix back in 2022, to be honest I found it somewhat…forgettable. But the three year gap in between seasons proved to be helpful here, as the writers truly hit the mark this time around.
At the onset of season two we once again find our titular character (portrayed once more by Jenna Oretga) returning to Nevermore, this time with a bit of “celebrity” status behind her, as well as younger brother Pugsley (Isaac Ordonez) now in tow. It’s immediately clear there’s trouble in paradise, as Wednesday has a stalker hell-bent on inflicting some damage.
As if this were not enough, Wednesday must now juggle an evil new headmaster (Steve Buscemi), zombies (Owen Painter), dangerous escapees that also transform into Hydes (Hunter Doohan), and the safety in question of her roomate, Endid (Emma Myers). Other series regulars such as Luis Guzman as Gomez Addams and Catherine Zeta-Jones – who by far wins the gold medal as sexist Morticia Addams thus far – also return.
Aimed mostly at teens/young audiences (think Riverdale meets Harry Potter), the formula works enough to hold the attention of nearly any and all age groups that are willing to give it the time of day. Not perfect, but a fun ride nonetheless.
I can’t say I was really listening to Debbie Gibson’s music when I was still a kid during her prime throughout the late ’80s, though it was impossible not to at least know of her (especially having three older sisters and several female cousins in their teens during the decade). But I’ll say it again – chances are if it has to do with music or pop culture (especially relating to the ’80s or ’90s), I’m likely there for it either way.
Debbie Gibson’s story is no exception. From growing up in front of audiences on the stage and screen, to becoming the youngest person to ever write, produce, and perform a track that topped the Billboard Hot 100 (one of the many facts I did not recall ever hearing prior to reading Eternally Electric), there’s no shortage of intriguing stories to engage readers.
You never expect to hear that on top of all that fame, Gibson was often experiencing crippling panic attacks behind the scenes (and that timeless smile). But its tidbits like this that make celebrities like her feel all that much more relatable/human, and I’m glad to have taken the journey; give it a try and you just mind come to the same conclusion yourself.
