Photos By Jacob Striewski

Up until this past week, Testament were still one of the few remaining early/OG thrash bands I was waiting to cross off my list to see. Little did I know my son/Photographer Jacob and I would essentially be spending two back-to-back days with the band in Orlando, first at a meet and greet/Q & A event at Park Ave CDs on Monday, October 14, then followed by watching the band perform at the Hard Rock Live with Kreator and Possessed (two other bands I’ve also been waiting many years to see) on Tuesday, October 15.

Monday night’s said event, where the band answered questions in an interview-type setting (as well as several questions from fans in attendance) before signing coffee cans of their newly-released Brazen coffee from Concept Cafe Coffee among other items (I personally had a can of it and a copy of 1992’s The Ritual album signed). There was even a brief pumpkin-carving contest, in which one fan in attendance took home the win for their Testament-themed submission.

Father and son writer/photographer duo Jesse Striewski (left) and Jacob Striewski with Testament’s (from left to right) Chris Dovas, Alex Skolnick, and Chuck Billy at Park Ave CDs in Orlando, FL on Monday, October 14.

As if the Park Ave CDs event was not enough to quench just about any fans’ thirst, the group were primed to hit the stage the following night at Hard Rock Orlando, and Rewind It were set to cover the show from start to finish with a photo pass. Unfortunately though it was still not meant to be to see death metal pioneers Possessed, whose set we missed entirely thanks to the traffic endured along the way (although a brief encounter with one of the younger members of the band did present itself for Jacob while on the other sides of the barricades prepping to shoot).

By the time we actually arrived, German metal masters Kreator – who ironically we had only caught the tail end of their set the last time we came across them at 2023’s Welcome to Rockville festival – were just kicking things off with (after “Run to the Hills” and “Sergio Corbucci is Dead” as brief intros for good measure) “Hate Uber Allies,” “Phobia,” and “Enemy of God.”

I was taken back by the amount of energy on full display by both band and audience alike (at one point the band had the crowd “open the pit” for one of the most intense moshing sessions I’ve ever witnessed to date) as they plowed through more numbers in the form of “666 – World Divided,” “Hordes of Chaos (A Necrologue for the Elite),” “Hail to the Hordes,” “Betrayer,” and “Satan is Real.”

Kreator give it their menacing all on stage at the Hard Rock Live in Orlando, FL last Tuesday, October 15 (photo by Jacob Striewski).

An audio recording of “Mars Mantra” lead to a couple of demonic looking figures – reminiscent of something out of Buffy the Vampire Slayer – walking out on stage to segue the group into “Phantom Antichrist,” “Strongest of the Strong,” and “Terrible Certainty.” Another brief intermission lead to an encore featuring “Violent Revolution” and “Pleasure to Kill” prior to the metal legends taking their final bow and exiting the stage.

And speaking of metal legends, Testament finally made their way onto stage after the Beastie Boys’ “Fight For Your Right” curiously acted as their intro. “Eerie Inhabitants,” “The New Order,” and “Apocalyptic City” started their set off promisingly enough, though the enthusiasm from the crowd actually seemed to feel greater during Kreator’s set by this point in all honesty.

Testament frontman Chuck Billy giving it his all on stage at the Hard Rock Live in Orlando, FL on Tuesday, October 15 (photo by Jacob Striewski).

More old and new favorites alike followed in the forms of “Raging Waters,” “The Preacher,” and “Trial By Fire” before a drum solo by admirable newcomer Chris Dovas, which then steered the band towards the likes of “First Strike is Deadly,” “A Day of Reckoning,” “Do or Die,” and “C.O.T.L.O.D.,” which all kept the momentum going.

Some of the best moments were saved for last as “Disciples of the Watch,” “Over the Wall,” and “Into the Pit” ended the already epic night on an epic high note. On a personal side note, one of the highlights during the entire two-night ordeal came via seeing/meeting former Death bassist Steve DiGiorgio, a local legend in his on right, as a member of Testament.

Album Review: Motley Crue – Cancelled (Big Machine)

By: Jesse Striewski

There was a time when something like a new EP from the likes of Motley Crue might have really excited me (back when they were still actually known as an “edgier” act). But these days, they haven’t exactly aged all that gracefully.

Like most fans, my introduction to their new Cancelled EP came via the single “Dogs of War,” which didn’t exactly cause as much of a stir as the band had probably hoped for (even hearing it live for the first time earlier this year at Welcome to Rockville was fairly “meh” as well).

And then they put out their cover of the Beastie Boys’ “Fight For Your Rights,” probably the most cringe-worthy moment in the group’s entire forty-plus year history, akin to being as cool watching your dad trying to perform the mid-’80s anthem at the annual family backyard barbecue.

My interests were piqued a bit more when I finally heard the title track, which is actually an admirable stand alone effort all things considered. But unfortunately, having only one out of three of your new tracks be listenable doesn’t quite equate to knocking it out of the ball park. Please try again soon, Motley Crue, and preferably with your “classic” lineup intact (no offense to current guitarist John 5, whose work outside of the band I do actually appreciate).

Rating: 2/5 Stars

Hoekstra and Gibbs at Lake Concord Park in Casselberry, FL on 10/4/24 By Jesse Striewski/Photos By Jacob Striewski

I can’t say I was expecting to cover two back-to-back concerts for Rewind It Magazine this past week (with punk legends The Exploited being the first on Thursday, October 3). But once I heard that Whitesnake guitarist Joel Hoekstra and Devil City Angels frontman Brandon Gibbs were playing an acoustic show just a stone’s throw away from where I live at Lake Concord Park in Casselberry, FL, I knew it would be worth the effort to catch with both my wife Brooke and son Jacob (each veteran Rewind It photographers by now).

We’re definitely far from strangers when it comes to Hokstra, Brooke and I having already caught him play live years prior on stage with Night Ranger (one of just many more acts he has been a part of over the years, including Trans-Siberian Orchestra and Foreigner). And we were primed to see him again as a member of Whitesnake at a 2022 Scorpions show we were at prior to them sadly needing to cancel the rest of their tour shortly beforehand. This would however mark our first time seeing Brandon Gibbs, who aside from being in the aforementioned Devil City Angels, was also on the sidelines for Poison during their recent 2022 tour.

We didn’t have much time to catch opening local cover act Spitfire (other than hearing their version of Pat Benetar’s “Hit Me with Your Best Shot” and maybe one or two others) before we were swiftly whisked away to a “backstage” area for a brief pre-show meet and greet with Hoekstra and Gibbs themselves (thanks so much again to their management for arranging this).

Whitesnake guitarist Joel Hoekstra performing in Casselberry, FL on 10/4/24 (photo by Jacob Striewski.

There’s some rock fans out there who might say you can’t properly “rock out” at an acoustic show, but I beg to differ. This was none more evident than when the guys took the stage and opened with an upbeat rendition of the Devil City Angels’ “Boneyard.” A cover of Whitesnake’s “Love Ain’t No Stranger” preceded Poison’s “Every Rose Has Its Thorn” appropriately.

Hoekstra then followed things up with “Hard to Say Goodbye” from his side project, Joel Hoekstra’s 13, before breaking into an impressive guitar solo. Acoustic versions of AC/DC’s “Dirty Deeds Done Dirt Cheap” and Led Zeppelin’s “Whole Lotta Love” were also surprisingly more effect than one might think in that form.

Some heartfelt words came from Hoekstra regarding the recent cancer battle of former Whitesnake guitarist Doug Aldrich before the duo closed out their set with the massive Whitesnake classic hits “Is This Love” and of course, “Here I Go Again” before the guys took their final bows of the night. It was undoubtedly a fitting ending to an already fine evening.

Rewind It Photographer Jacob Striewski (center) with Whitesnake guitarist Joel Hoekstra (left) and Devil City Angels frontman Brandon Gibbs in Casselberry, FL on 10/4/24.

The Exploited, Total Chaos, and Tarah Who? at Cafe DaVinci in DeLand, FL on 10/3/24 By Jesse Striewski/Photos By Seth Johnson

Many moons ago (back in 2003 if memory serves me correct) when I was still hitting up every and any punk and/or metal show I could get my hands on, I had a chance to catch second wave hardcore punks The Exploited play in Orlando. For whatever reason, the opportunity to see them that night slipped from said hands of mine, and they have since remained on my list of “bands that got away.” All these years later, I can finally say I’ve scratched them off that list now.

However, a lot has changed in those twenty plus years since then, and I no longer really fit in the “angry young man” category I was lumped in at the time, nor do I honestly align much these days with the politics typically associated with punk (life experience will do that to you). So I wasn’t sure how I’d feel going into this past week’s recent show at Cafe DaVinci in DeLand, FL with Exploited, Total Chaos, and Tarah Who? on Thursday, October 3.

My fears were quickly put to rest within minutes after entering the venue though – this time with long-time associate and friend of the Rewind It Magazine family, Seth Johnson by my side to handle photography duties again – when we were greeted with a warm welcome by Exploited guitarist Steve Campbell.

Not long after this encounter, a brief interaction with Tarah Who? singer/guitarist Tarah G. Carpenter also presented itself. Having been the band that put Rewind It on the guest list and overall reason we were essentially there to cover things that night in the first place, I expressed my gratitude and wished her a great show.

Tarah Who? performing at Cafe DaVinci in DeLand, FL on 10/3/24 (photo by Seth Johnson).

The quartet took the stage just before dawn as the crowd was still piling in for the evening. After a brief recorded spoken intro, the group blistered into their set that included the likes of “Sirens,” “Grown Up,” “Army of Women,” “Bitchcraft,” Pantomath,” “Ache,” “Linger,” “Dimples,” and “Burn This Shithole Down.”

The author Jesse Striewski (left) with Tarah Who?’s Tarah G. Carpenter before the night’s proceedings (photo by Seth Johnson).

The only band on the bill that night I had previously seen before was Total Chaos, first at Warped Tour way back in 2002, and then again at an Orlando show opening for Fear in 2009, where their set was famously cut short due to an unruly crowd that simply could not behave themselves (leaving Fear another band still on the old bucket list of mine).

Needless to say their lineup had changed considerably since each of those shows, with sole original member/singer Rob Chaos and longtime guitarist Shawn Smash remaining the only two members still intact from those days. But I could tell right at the onset with new tracks like opener “War is a Racket” the band likely just wouldn’t hold the same effect on me as they once may have.

Longtime personal favorite of mine “Babylon” may have helped pique some interest in me, though the rest of the set – which included “Squatters Song,” “Pledge of Defiance,” “Punk No Die,” “Running with the Youth,” “Street Punx,” “Police Rat,” and the anthemic closer “Riot City,” all had mixed results for me to say the least. Still, if nothing else it was a nice trip down memory lane I suppose.

Total Chaos performing at Cafe DaVinci in DeLand, FL on 10/3/24 (photo by Seth Johnson).

And lastly, Scottish imports The Exploited, lead by trusty mohawked frontman Wattie Buchan (and with new drummer Garry GMan Sullivan, formerly of Cro-Mags and The B-52’s, in tow behind him) finally made their way to the stage (and to much applause), coming out swinging hard with “Let’s Start a War (Said Maggie One Day)” before launching into an onslaught of punk staples that included “Fightback,” “Dogs of War,” “The Massacre,” “UK 82,” “Chaos Is My Life,” and a personal favorite of mine, “Alternative.”

“Noise Annoys” followed before an intense rendition of “Troops of Tomorrow” (personally I prefer the more apocalyptic feel of the original album version myself though), which then lead to the likes of “Never Sell Out,” “I Believe in Anarchy,” “Holiday in the Sun,” “Rival Leaders,” “Beat the Bastards,” “Cop Cars,” “Fuck the System,” “Porno Slut,” “Army Life,” and “USA,” which all kept the momentum going smoothly.

As if this was all not enough, the band then returned and invited fans onstage for a healthy dose of “Sex & Violence” before finally calling it a night with the one-two punch of “Punks Not Dead” and “Was It Me.” After all these years, was it worth the wait? Perhaps, though there was at least one or two tracks I felt were left out I would’ve liked to have heard. And if this now works out to be the only time I ever see The Exploited, I think I’ll live just fine with that.

Book Review: Halloween 3: “Where the Hell is Michael Myers?” The Definitive History of Horror’s Most Misunderstood Film By Tommy Lee Wallace (BearManor Media)

By: Jesse Striewski

Admittedly, I should’ve had this review of Tommy Lee Wallace’s book Halloween 3: “Where the Hell is Michael Myers?” completed by last October. But to be fair, I didn’t even now the book existed until I actually met Wallace at Spookala 2023 just a few months prior, and even after that it took even more time just to track down a copy (my thoughtful wife actually bought me one for my birthday earlier this year) and then of course actually read it.

But I digress; I’ve always maintained Halloween III: Season of the Witch is not only the best overall film in the Halloween franchise, but also one of the best horror movies of all time. Granted, I could be a bit bias; it was actually the first film in the series I ever saw as a kid after randomly landing on it while flipping through cable channels (the image of Tom Atkins as Dr. Challis casually strolling through a desolate town in the dark of night was the first I recall seeing of the film, and has been forever ingrained in my mind).

So when Writer/Director Wallace stated he had written a book (with a foreward written by the film’s lead Tom Atkins) entirely about the film, it was a downright no-brainer that I’d be reading and reviewing it soon enough. And as a superfan of it, the book is everything you could possibly want on the movie and more.

Wallace leaves no stone(henge) unturned here, detailing every part of the film-making process from initially signing on, re-writes of the script (via both himself and John Carpenter) casting, scouting locations, and any other bumps along the way. There’s even a fun section at the end where Wallace shares original artwork, and a partial section including the film’s original script by Nigel Kneale.

With a recent resurgence in popularity, the film’s lasting effect has been undeniable, making it a fan-favorite on the con circuit these days. This was witnessed more than once firsthand, when Rewind It attended both the previously-mentioned Spookala in 2023, and 2022’s Fantasam Orlando. Not only was there plenty of merch for the eyes to behold and cast and crew meet-and-greets available at each, but a full Halloween III discussion panel featuring Director/Writer Tommy Lee Wallace, Actors Tom Atkins and Stacey Nelkin, and Stuntman/Actor Dick Warlock was dedicated to the film at said Spookala event (see photo below).

Halloween III discussion panel at Spookala 2023 on 6/12/23 with (from left to right) Dick Warlock, Tommy Lee Wallace, Stacey Nelkin, Tom Atkins, and host (photo by Brooke Striewski).

Love it or hate it, there’s no stopping this “little horror film that could,” and just one read of Wallace’s book here is more than enough to convince any reader that Halloween III is here to stay indefinitely.

Rating: 4.5/5 Stars

Film Review: Reagan (MJM Entertainment)

By: Shawn McKee

Growing up in the ’80s, Ronald Reagan was a big part of my childhood. I recall his Oval Office addresses on TV or addresses to the nation with First Lady Nancy Reagan by his side.

Granted, I had little understanding of what was happening in the world, and the non-stop coverage of the Iran-Contra affair of the mid-’80s bored me to tears (as all news did). But I remember his black hair and measured, kindly-speaking voice. They called him “the great communicator” for a reason.

Reagan won two landslide Presidential elections, ushering in a new era of conservative governance. He was as emblematic of the time as the Sony Walkman, Alf, Mr. T, and neon apparel.

In the 1980s, we were in the final throes of the Cold War. This ideological battle between the U.S. and the Soviet Union lasted for decades almost immediately after WWII. Russia established an Iron Curtain dividing Europe into two separate areas. The Berlin Wall, dividing East and West Germany, was a part of this tyranny. Fear of nuclear war was a very real concern.

Throughout the Cold War, the U.S. faced immeasurable odds hindering Russian influence and the spread of Soviet-style communism worldwide. Reagan came along with a singular vision. His strategy was simple, “we win, they lose.”

Nearly twenty years after his passing in 2004, the new biopic Reagan (2024) examines the life and times of the nation’s 40th President and his lasting impact. The film covers a lot of ground, from Reagan’s earliest days to his acting career, his tenure as president of the Screen Actors Guild (SAG), Governor of California, and rise to President of the United States.

Based on Paul Kengor’s 2006 book The Crusader: Ronald Reagan and the Fall of Communism, the historical drama delivers a surprisingly complex portrayal of Reagan’s motivations, failures, and triumphs. It acts as neither a hit piece nor a glorification. As a sentimental biopic, it hits all the right notes and confidently breezes past its two-hour running time with style and grace.

Perhaps the most interesting (and impressive) aspect of the film is Dennis Quaid’s excellent performance. He transcends caricature, defying skeptics like me to fully embody Reagan—down to his mannerisms and speech patterns. I don’t care what mainstream critics say, it’s great acting and fascinating to watch.

Penelope Ann Miller also holds her own as the devoted Nancy Reagan who seemingly came into Reagan’s life at the right time and helped propel him to greatness. Mena Suvari portrays Reagan’s first wife Jane Wyman. Kevin Dillon plays Jack L. Warner, co-founder president of Warner Bros.

Other recognizable faces include C. Thomas Howell as Secretary of Defense Casper Weinberger, Xander Berkley as Secretary of State George Shultz, and Robert Davi as Soviet General Secretary Leonid Brezhnev.

Jon Voight portrays fictional former KGB Soviet analyst Viktor Petrovich (a composite of KGB agents tasked with keeping tabs on Reagan for decades). In a clever plot framing device, Petrovich narrates the story of Reagan’s life to a Russian underling in the present Moscow.

The young Russian agent seeking his counsel is baffled as to why the U.S.S.R fell. In detailing Reagan’s rise to politics amidst a declining acting career, Petrovich explains that the “cowboy from America” was always a threat to the Soviet Union because he truly believed in defeating them. He was a man driven toward antipathy to communism at an early age. And as Petrovich explains, Reagan’s views emboldened over time.

Following the failure of his first marriage and tenuous tenure as SAG president, Reagan (a former Democrat) met Nancy and entered Republican politics in the early 1960s. He ran and lost against Gerald Ford in the 1976 Republican primary, only to run and win against Jimmy Carter in 1980. The rest was history.

The film moves chronologically throughout these key moments in Reagan’s life at a hurried pace that teeters on summary. Much of the second half is devoted to Reagan’s time as President and the showdown with the Soviets.

We get glimpses of his assassination attempt in 1981, Iran-Contra, the AIDS crisis, “Reaganomics,” Regan’s proposed Strategic Defense Initiative (SDI), tense meetings with Soviet officials, and an unlikely respectful relationship between Reagan and Soviet leader Mikhail Gorbachev.

The rousing climax delivers the defining moment of Reagan’s legacy, his 1987 Berlin Wall Speech in West Berlin. “Mr. Gorbachev, tear down this wall” is a moment in history and in the film that should make anyone proud to be an American.

However, the story is nuanced enough to acknowledge the contributions of U.K. Prime Minister Margaret Thatcher, Pope John Paul II, and Gorbachev himself in bringing down the Soviet Union.

Reagan is not the end-all to the man’s legacy. The film accomplishes what it sets out to do—tell the story of one of the most consequential figures of the 20th century. It’s not without its flaws and pacing issues, as the tendency to overlook or summarize historical events seems choppy.

It also lacks the technical prowess and brilliance of something like Oliver Stone’s JFK (1991) or Nixon (1995). However, with Stone at the helm, it would have been an entirely different picture.

In addition to great performances, Reagan is filled with humor and heart. It undoubtedly presents a positive portrayal of our 40th President and, as a result, has plenty of detractors. Just look at what the mainstream critics are saying. Only someone like Ronald Reagan could be so revered and abhorred even today.

Most importantly, the movie validates Reagan’s lifetime fighting communism and bringing down the Soviet Union. We did win, and they lost, and the world was a better place because of it.

Rating: 3/5 Stars

Film Review: Beetlejuice Beetlejuice (The Geffen Company/Plan B Entertainment/Tim Burton Productions/Domain Entertainment)

By: Jesse Striewski

Many moons ago, my Aunt Sharron took me to a video store (couldn’t tell you if it was a major rental chain such as Blockbuster, or simply a mom and pop type of place), where we picked up a “new release” for the night called Beetlejuice from Director Tim Burton, whose Pee Wee’s Big Adventure a few years earlier I was already a huge fan of.

I was in awe as I watched in the dimly lit room full of ’80s decor (I definitely recall there being plenty of furniture with wood paneling surrounding us), partially frightened, yet fully intrigued. There was no doubt about it, I was falling in love (and in more ways than one…Winona Ryder as goth goddess Lydia Deetz was actively stealing my heart as one of my very first, and very real crushes).

Fast forward more than three decades later, and Burton finally returns to the unique world that is Beetlejuice. Upon initially hearing this, I instantly knew I had to be there in the theater with the family as soon as possible, even if so many long-awaited sequels, reboots, etc…in recent memory have only tarnished once-great franchises (ahem, the Halloween “requels” are the first things to come to mind).

But much like the more recent Ghostbusters entries, Beetlejuice Beetlejuice is the exception to the rule, even if there may be a hiccup or two along the way. All these years later we find Lydia (Ryder) has (most appropriately) become a ghost-hunting TV show host. When her stepmother Delia (Catherine O’Hara) informs her that her father Charles (played by the now-disgraced Jeffrey Jones in the first movie) has died in a horrific plane crash, she brings her daughter Astrid (Jenna Ortega) and Producer boyfriend Rory (Justin Theroux) home to Winter River for the funeral.

It doesn’t take long before the “ghost with the most” himself, “Betelgeuse” – who is dealing with problems of his own in the afterlife when his ex-wife Delores (played by Monica Bellucci, who oozes on the screen with massive sex appeal) – rises from the grave seeking revenge on him – starts becoming a factor in their lives again.

Like the original, there’s twists and turns around nearly every corner, with just enough side/back stories thrown in without any of them becoming overwhelming. Willem Dafoe stands out as one of the films unsung heroes Wolf Jackson, a former action movie star who in the afterlife thinks he’s a legit detective, and even the often overly-exposed Oretga does an admirable job here.

The only real complaints are the way several other aspects are handled; the quick glossing over of the Maitland couple (played by Alec Baldwin and Geena Davis in the 1988 original), and the disappointing treatment of the Charles Deetz character is admittedly in pretty bad taste.

But I digress; like the first film, I found myself getting completely lost in the world Burton has created here. As a follow-up to a movie like Beetlejuice, it’s a perfectly suitable continuation; I’m not really sure what else audiences could really expect from such a film.

Rating: 3.5/5 Stars

Ladytron and Danz CM at The Orpheum in Tampa, FL on 8/28/24 Words and Photos By Shawn McKee

I had never been to The Orpheum in Tampa before, and I don’t usually drive far for concerts on weekdays, but this time, there was good reason. UK-based electronic/rock band Ladytron was in town as part of their North American tour with synthpop prodigy Danz CM (formerly Computer Magic) opening.

Both artists could be described as electronically driven, multi-layered, new-wave indie rock. Or something like that. I was excited to catch Ladytron but even more thrilled to finally see Danz CM, having been a fan since around 2015, following the release of her album Davos.

The late afternoon drive from Orlando to Tampa was no picnic, especially during rush hour. I picked up my wife from work, hoping to make it by 7:00 pm when the doors opened. Despite the stress of getting there, the concert remained a chance to decompress and enjoy two great bands—a simple prospect and experience worth remembering.

The Orpheum resides in a college town near the University of Tampa. We arrived just past seven to find a steadily growing crowd inside. There were people of all ages, many with tattoos and piercings, dressed in black or donning concert shirts. Some had already gathered at the front of the darkened stage. Beyond the open floor were several glossy wooden tables with stools stretched to the back alongside the bustling bar.

Band merchandise was set up near the entrance. There was also an outside area with a bar, food truck, and plenty of space to walk around. I ordered a drink and strolled about not quite ready to stand in the merchandise line. Before too long, we designated our spot within the crowd at a moderate distance from the stage. The show was about to begin.

Danz CM is a self-taught musician and founder of Synth History (a collective) and her label, Channel 9 Records. In addition to her music, she composes soundtracks and recently partnered with the Criterion Channel to deliver a series on the history of synth-based movie soundtracks. She’s industrious, to say the least, and an inspiration to any artistically driven person with their passions still intact.

Sometime after 8:00 pm, Danz entered the stage as her banner projected onto the screen behind her. Under the dark glow of orange and blue lighting, she flawlessly delivered a brief set that strongly represented her prolific talent. She performed as a one-person band, operating keyboards and MIDI consoles while singing.

The thrill of seeing a NY-based artist I had long admired so close to home deeply resonated. The pulsating beats enveloped my senses. Catchy hooks layered with her fantastic vocals unleashed an infectious groove. Danz often switched between two different microphones for effect, while moving from one end of the stage to the other.

I was excited to hear “Idea of You,” “Low,” “Don’t Stop,” “Breaking Point,” and “I Don’t Need a Hero,” from her latest album The Absurdity of Human Existence (read my review here). Within a set largely relegated to that album, she also performed her magnum opus “Fuzz” from Davos.

Early on, she introduced some family members in attendance. Her mother lived in Tampa, and the tour provided the opportunity to visit. I was later able to meet Danz and get my record signed, making the trip even more worth it.

Rewind It’s Shawn McKee with Danz CM at The Orpheum in Tampa, FL on 8/28/24 (Photo by Jhen McKee).

I also spoke briefly with her mother near the vendor displays. “Thanks so much for bringing Danz to Tampa,” I said, with whatever ridiculous fandom that followed. She was equally gracious and as a mother, immensely proud.

Ladytron played to a packed room with a dazzling rear projection of vibrant colors that matched their equally sprawling sound. The band delivered loud, hypnotic thumping nearly deafening in execution. With most band members shrouded in the shadows, lead vocalist Helen Marine emerged under the spotlights and belted evocative lyrics in her typically ethereal fashion.

Her distinctive vocals were accompanied by heavy guitars, blasting beats, heart-stopping bass, and an effervescent, multilayered synth that formed a trance-like wave of sound. Guitarist Daniel Hunt ranged between playing clean, bluesy, and grunge-like chords with deft precision. Keyboardist and co-lead vocalist Mira Aroyo delivered beautiful harmonies, powerful beats, and layered synths.

Their combined electronic spectacle unleashed a heightened, up-tempo energy for some songs and a slower, methodical groove for others. They opened with the rock anthem “Ghost” followed by the infectious “City of Angels” from their latest album Time’s Arrow (2023).

Ladytron remains a unique blend of indie rocker Mazzy Star and goth band Switchblade Symphony but with a sound all their own.

Throughout their performance, they covered a lot of ground chronicling their 25-year career. Their set included songs from 604 (2001), Light & Magic (2002), Witching Hour (2005), Velocifero (2008), Gravity the Seducer (2011), and their self-titled 2019 album. The song “International Dateline” (a personal favorite) was one of the show’s many highlights.

It’s hard to believe these synth-pop pioneers have been around so long. But as life goes on, the music we love always grows with us. It’s a special thing to see live regardless of time or distance.

Series Review: Terminator Zero (Netflix/Production I.G./Skydance Television)

By: Jesse Striewski

When Netflix originally announced a new Terminator anime series to drop on August 29, I initially did not make the connection that it landed on “Judgement Day” (the day the machines become self-aware within the now four-decade long franchise’s lore). I knew right then and there I needed to speed watch the new series immediately.

Although not much of an anime fan, I have been known to dabble occasionally (most recently with the likes of Aggretsuko), and it’s a safe bet I’ll give just about anything with the Terminator label on it a try (for better or worse as of late). In this case, I’m glad I took the chance on it.

The plot is not too far of a stretch from previous films and television shows already made in the series, although this time instead of focusing on John or Sarah Conner, the primary prey for the time-traveling Terminator (Timothy Olyphant) is a scientist named Malcolm Lee (Andre Holland), whose competitive research to Skynet quickly finds him targeted by the deadly assassin from the future.

Along with Olyphant and Holland, the talented voice cast is also rounded out by Rosario Dawson and Sonoya Mizuno (among others). All in all its worth a watch for just about anyone who grew up quoting Arnold’s famous “I’ll be back” and “Hasta la vista, baby” lines.

Rating: 3/5 Stars

Train, REO Speedwagon, and Yacht Rock Revue at the MIDFLORIDA Credit Union Amphitheatre in Tampa, FL on 8/20/24 Words By Jesse Striewski/Photos By Jacob Striewski

Over the years I’ve been lucky enough to witness a number of historic rock and metal acts grace the stage at the MIDFLORIDA Credit Union Amphitheatre in Tampa, FL; a reunited Black Sabbath and Judas Priest at Ozzfest in 2004. STP/GN’R offshoot Velvet Revolver along with grunge masters Alice In Chains in 2007. And the mighty KISS and Motley Crue together on the same bill in 2012 (just to name a few).

But I never expected to cram in so many shows in such a short time there as I had this summer; Sammy Hagar’s Best of All Worlds Tour on July 14, Styx and Foreigner on July 20, and, as of this past Tuesday, August 20, Yacht Rock Revue, REO Speedwagon, and Train (the latter of which I definitely never thought I would ever be seeing live). The one difference between those two recent shows and this one though was Rewind It were actually there on official business this time, with a photo pass in hand to cover the entire show in full detail.

The show kicked off with young Anchorheads Yacht Rock Revue, and judging by the amount of followers in Captain’s hats that had clearly come specifically to see them, they would prove to no doubt be a like-able act. The band opened with the 1980 Christopher Cross hit “Ride Like the Wind” to much applause, and had me “hooked” from that point forward.

Other soft rock staples like “Lowdown” by Boz Scaggs, “So Into You” by Atlanta Rhythm Section, “You Make Loving Fun” by Fleetwood Mac, “Heart to Heart” by Kenny Loggins, and of course, “Brandy (You’re a Fine Girl)” by Looking Glass helped keep the spirit of these tracks alive and well before the band launched into an original song of theirs, “Tropical Illusion.”

Yacht Rock Revue gave their best renditions of ’70s/’80s soft rock classics on Tuesday night in Tampa, FL (Photo by Jacob Striewski).

But the guys weren’t done just yet; Toto’s “Africa,” Gerry Rafferty’s “Baker Street,” and Boston’s “More Than a Feeling” all made their way in their set before the band finally set sail and left port, winning over many a new fan along the way I’m sure.

REO Speedwagon was no doubt the band that got myself and teenage son Jacob through the gates that night, and one that I had missed out on seeing several times over the years despite many chances to catch them. To say I was determined to finally check them off the bucket list would be an understatement.

“Don’t Let Him Go” and “Take It on the Run” was the perfect one-two punch to open it with, while “Keep Pushin’,” “Live Every Moment,” “Tough Guys,” “I Wish You Were There,” and “Music Man” found Kevin Cronin and company keeping the momentum going before getting back to the real heavy-hitters (also to note, I hadn’t realized until the show began that longtime bassist Bruce Hall was M.I.A. for this show, though former David Lee Roth/Electric Light Orchestra bassist Matt Bissonette seemed a fitting substitute in his place).

The timeless power ballad “Can’t Fight This Feeling” found cell phones across the venue aglow before “Son of a Poor Man,” “Time For Me to Fly,” and “Ridin’ the Storm Out” segued into the classic love song “Keep on Loving You” to close things out on an epic high note.

Lastly, there was Train. As I had alluded to earlier, Train is no doubt a band I can’t say I’ve ever gone out of my way to listen to. But I was indeed surprised by the amount of energy displayed by both band and crowd once they hit the stage, opening with the 2003 hit “Calling All Angels.”

Band founder and frontman Pat Monahan had the crowd in the palm of his hands as the group went through tracks like “If It’s Love,” “Get to Me,” and “Save Me, San Francisco,” casually taking selfies on cell phones handed to him via audience members near the front of the stage along the way.

Train frontman Pat Monahan was in the zone this past Tuesday, August 20 in Tampa, FL (Photo by Jacob Striewski).

But alas, by the time the band got to “Meet Virginia/The Joker,” Jacob had long finished shooting his final song of the night in the photo pit, and the two of us were hanging on by a thread after a grueling long day leading up to the event. Knowing we still had that two hour drive ahead of us, we packed up our gear and headed out to the highway (hitting a McDonnald’s drive thru on the way home too of course just for good measure).

Through it all, it was a night of music worth documenting, and memories worth making with my newest Photographer, and one and only child that should no doubt last a lifetime for the both of us.