This past Tuesday, November 14, Orlando was graced with some ’90s post-grunge perfection when Bush lead the charge through the Hard Rock Live for the very first date of their current Nowhere to GoBut Everywhere tour, complete with support from Bad Wolves and Eva Under Fire in tow.
Just days prior, Rewind It had visited the Hard Rock for Bullet For My Valentine’s show the previous Friday (an admirable concert in its own right). But having been a teenager/high school student in the decade Bush had originally emerged from meant that there was much more nostalgia going into it for me than said last show. The only other difference this time around was I had my wife Brooke acting as photographer rather than my son, Jacob.
I had looked up Eva Under Fire prior to going into things as well, who seemed decent enough at a quick glance. Commanding frontwoman Eva Marie (whose voice reminded me of a cross between Heart’s Ann Wilson, and Lizzy Hale of Halestorm) gave it her all on songs like “Comatose,” “Heroin(e),” “Devil in Disguise,” “Coming for Blood,” a cover of Journey’s “Separate Ways (Worlds Apart),” “Unstoppable/Queen’s “We Will Rock You,” and “Blow.” A chance meeting with Marie shortly after their set was the icing on the cake.
Rewind It’s Brooke Striewski (right) and Eva Under Fire singer Eva Marie after the show on Tuesday night.
On the other hand, Bad Wolves are a band truly worthy of having the title “bad” in their name. Now, I understand there’s been some drama within the ranks of this band after former lead singer Tommy Vext was ousted over “creative differences” (a nice way of saying he likely didn’t confirm to the rest of their beliefs) a couple of years back. But sans their 2018 single “Remember When” (a track they of course did not perform), I really can’t say I was a fan of much of their material to begin with, so I truly have no investment with one side or the other either way (but in comparison, I think I would’ve much rather had seen Bad Wolves when Vext was still at the helm of the mic, as their current frontman, Daniel “DL” Laskiewicz, simply did not come off as very “likeable”).
I truly tried to get into their set (which was introduced by WJRR DJ Mel Taylor) as they went through titles like “If Tomorrow Never Comes,” “Killing me Slowly,” “Savior,” “Sober,” and “Lifeline,” but couldn’t help thinking all I was hearing was the most generic of mainstream rock available. Even their closer, a decent (yet still very odd choice, in my opinion) cover of The Cranberries’ 1994 hit “Zombie,” only elicited a mild reaction in my book.
Finally, the main even everyone had come to see, Bush, hit the stage just after 9pm. Opening with a one-two punch of numbers from their 1994 debut Sixteen Stone in the form of “Everything Zen” and “Machinehead,” the band instantly had the crowd in their grasp.
Songs like “Bullet Holes,” “The Chemicals Between Us” (where I can honestly say my wife and I lovingly held hands the entire time throughout), “The People That We Love,” “Quicksand,” “Swallowed,” “Nowhere to Go But Everywhere,” and “Heavy is the Ocean” all followed before lead singer Gavin Rossdale sprinted off into the crowd during “Flowers On a Grave,” running to the top of the balcony to finish off the song before ultimately heading back to the stage all in due time.
“All Thing Must Change” and “Little Things” followed before the band took a brief reprieve prior to their encore, which consisted of “More Than Machines,” “Glycerine” (with Rossdale performing solo with just his guitar), and finally, “Comedown.” I doubt that even the most casual of Bush fans (and grunge, for that matter) could find one single complaint with the band’s set last Tuesday night at the Hard Rock; I know I certainly couldn’t if I tried.
Bush frontman Gavin Rossdale going from balcony to stage during one of the most exciting moments of Tuesday night’s show at the Hard Rock Live Orlando.
It was simply one of those movies you just had to see to believe; over-sized aliens appearing as grotesque clowns invade anywhere town America and cause havoc with popcorn guns and cotton candy cocoons over the course of one chaotic night (which in theaters originally landed on May 27, 1988).
Spawned from the minds of Charles, Edward, and Stephen Chiodo (collectively known as the Chiodo Brothers) in their directorial debut, the trio applied their skills they had previously honed on such other creature-effects driven films as the Critters franchise. The three were at their creative prime, unleashing one of the wackiest movies to ever hit the screens up until that time.
In the film, young lovers Mike (Grant Cramer) and Debbie (Suzanne Snyder) are interrupted at the local lovers’ lane hot spot when they see what they believe to be a comet crashing to the earth. But upon further investigation, they discover a glowing circus tent where the comet by all accounts should have landed, and it’s then that the mayhem truly ensues.
From there the film becomes a classic case of a group of small town kids trying to save the world from evil, but this time that evil just happens to be murderous clowns. Cramer – joined by two dimwitted brothers in an ice cream truck (played by Michael S. Sigel and Peter Licassi) does an admirable enough job as the leader of the group, protecting Snyder (the de facto ’80s damsel in distress, also known for 1986’s Night of the Creeps and 1988’s Return of the Living DeadPart II) from the threat of both the aliens and one very hard-assed local sheriff (played brilliantly by John Vernon of Animal House fame).
The film is also notable for being one of the final appearances by late old-school actor Royal Dano (who had carved out a niche for playing the “old man” role in many a late ’80s horror film, including 1987’s House II: The Second Story and 1988’s Ghoulies II), appropriately appearing as simply “The Farmer.” Pop punks The Dickies also provided the theme song to Killer Klowns…, complete with an accompanying music video. Years after the film’s release, I was able to actually catch the band perform and even meet their guitarist Stan Lee in 2003 (but alas, I can’t recall them performing the track that night).
The author with Dickies guitarist Stan Lee (left) and The Damned drummer Pinch (right) after Fiend Fest in Tampa, FL on 8/12/03.
Today, the film remains a staple in pop culture, with endless midnight screenings and/or cable showings (the film will once again be featured on the upcoming schedule of Svengoolie soon), and countless masks, decorations, and various other appearances across multiple spectrums (including full displays currently seen on a national level at most Spirit Halloween stores. Not bad for a little comedy-horror flick that brought in $43 million in its original theatrical run (that’s a LOT of cotton and popcorn!).
Author Jesse Striewski (right) with wife Brooke and Killer Klown “Slim” on display at a Spirit Halloween store on 8/26/23.
With a lineup as full as the one at this past Saturday’s Freestyle Explosion Throwback Jam at the Amway Center on July 15, there was no doubt Rewind It Magazine would make an appearance there of some sort. Unfortunately, not all of us could attend this time due to other prior commitments, so for the first time ever, I’m actually taking the place of Jesse Striewski as reviewer, and stepped back from behind the camera lens the night of to let our son/apprentice Jacob Striewski shoot another show.
The title of the show did not let down, with one consecutive throwback act from the ’80s/’90s after the other coming on stage and getting straight to the point, launching one hit after another in quick procession. Cynthia was first up for the night, getting things going with dance numbers like “Break Up to Make Up” and “Thief of Heart.”
Cynthia and Johnny O performing “Dreamboy/Dreamgirl” together on stage.
The Jets have always been one of those quaint acts with catchy hits like “Crush on You” and “You Got It All” that were fun to hear live, and the windbreakers each member of the group adorned help keep the old-school vibe going for sure. But one-hit wonders Color Me Badd were not the best act to follow them, and it seemed apparent that some members of the band were only actually lip-syncing the words to songs like “I Wanna Sex You Up.”
Johnny O was up next with songs like “Fantasy Girl,” but the true highlight was without a doubt when Cynthia came back out and joined him on stage at the end of his set to tackle the 1990 hit “Dreamboy/Dreamgirl” together.
Freestyle were no doubt one of my personal favorites of the night, and are a true embodiment of ’80s freestyle music worthy of break-dancing on broken cardboard boxes to. I couldn’t help but move listening to tracks like “It’s Automatic” from 1986 while also wishing I could go back in time.
Freestyle doing their thing on Saturday night at Amway Center.
What ’80s freestyle party would be complete without such skating-rink anthems as “Lookout Weekend” and “When I Hear Music” by Debbie Deb? The singer gave it her all as she belted out some of the most memorable hits of the night.
Robb Base then broke out with his early ’90s hit “It Takes Two” before stepping aside for TKA K7, who I wouldn’t say are exactly in my music range per se, though they seemed to get the crowd moving with hits like “Come Baby Come.”
Then there’s Lisa Lisa, who burst on the scene in the mid-’80s as the leader of Lisa Lisa and the Cult Jam. Sure hits like “Head to Toe” and “Lost in Emotion” were fun to hear live, but it seemed as though a little too much emphasis was put on her back up dancers, rather than the overall performance.
Lisa Lisa giving it all she’s got in Orlando on Saturday.
And finally, the one and only Stevie B closed out the night. His set did not stray far from when Rewind It Magazine last caught him in 2021, with “Party Your Body,” “I Wanna Be the One,” “In My Eyes,” “Because I Love You (The Postman Song),” and “Spring Love” dominating his set. And on that note, the crowd at Amway Center went home feeling just a little more fulfilled than they had been before stepping into the arena that night.
I remember the summer of 1993 well; I was twelve years old, having just moved from central to south Florida, and only about a year out from a major car accident. In fact, I was actually still recovering from my most recent surgery when I went to go see Jurassic Park, the then-new summer blockbuster from legendary filmmaker Steven Spielberg.
Originally released on June 11, 1993 and based off the book by Michael Crichton, it was the new action-adventure film that everyone was talking about at the time, and you simply had to see. Which is exactly what they did in droves, topping the then-highest grossing film of all time, 1982’s E.T. – The Extra-Terrestrial (also directed by Spielberg), a record it would only briefly hold onto until James Cameron’s Titantic four years later in 1997.
The plot is set around a wealthy tycoon (Richard Attenborough) who re-creates the unthinkable – actual dinosaurs – on a far off tropical island. But in order to get approval from his investors to open a theme park with the animals at the forefront, he seeks the “okay” from a group of scientists – Dr. Alan Grant (Sam Neil), Dr. Ellie Sattler (Laura Dern), and Dr. Ian Malcolm (Jeff Goldblum). Of course in the midst of their tour of the would-be new park, all hell breaks loose as things quickly go from hopeful to horrifying, turning the seemingly cute family movie into a Jaws-sized carnage fest.
Being still just twelve-years-old at the time the film was released, I was still young enough for some of the film’s massive marketing techniques to apply to me, collecting such items from trading cards to action figures, many of which I still possess to this day or have passed down to either my son or nephew (who is quite possibly the biggest Jurassic Park fan I’ve ever met).
The franchise itself has far from slowed down, producing five sequels (which somehow I’ve managed to still catch each and every one on the big screen, the later few with my own family now), and the original film eventually surpassing the one billion dollar mark at the box office when it was re-released for its twentieth anniversary in 2013. Judging by this, something tells me we’ll still be getting more chances to visit Jurassic Park.
The author (left) and son/photographer Jacob Striewski at a Jurassic Park-themed set at Spookala on 6/10/23 (photo by Brooke Striewski).
The last time Rewind It Magazine made it out to Daytona Beach for the annual rock fest Welcome to Rockville in 2021, the event was held at the end of the year, and the weather was nearly perfect. Thankfully we skipped last year completely, which by all accounts reached near disastrous levels with torrential downpours that caused delays throughout the festivities.
Thankfully things did not go as terribly wrong by the time we decided to make an appearance on Saturday, May 20 (the first two nights just didn’t have enough to offer of interest in all honesty), although by the time we did finally make it, we had just missed Kreator’s (one of the main selling points of the day for myself personally) set, arriving just in time to see their crew breaking down their gear.
So we waited for Sepultura’s set on the very same stage instead. Having already seen them once back in 2011, I already knew what to expect more or less, and only stayed to hear a handful of tracks from them in the form of “Isolation,” “Territory,” and “Means to an End” before making our way onto better things.
One of the other main selling points for me personally this year was actually Jason Bonham’s Led Zeppelin Evening, which is what we promptly left said Sepultura set early for in order to catch their full set. It was a blast hearing the likes of “Immigrant Song,” “Good Times Bad Times,” “Over the Hills and Far Away,” “The Wanton Song,” “Ramble On,” “Misty Mountain Hop,” “The Ocean Song,” “Black Dog,” “Whole Lotta Love,” and “Rock and Roll,” even if many of these by now are beyond overplayed radio standards.
Chevelle were the next act to catch, and although I’ve never had too much of an issue with their music (this would be my third time seeing them live, too), it was a perfect chance to take a breather and catch a bite to eat while listening to the likes of “Face to the Floor,” “The Clincher,” “Send the Pain Below,” and “The Red” in the background.
Then there’s good old Alice Cooper, who at this stage in the game feels timeless. And speaking of time, this marked my fourth time actually catching him in concert (and two of those instances I had actually worked security for him). “Lock Me Up,” “No More Mr. Nice Guy,” “I’m Eighteen,” “Under My Wheels,” “Billion Dollar Babies,” “Fallen in Love,” “Snakebite,” “Feed My Frankenstein,” and “Poison” were all thrown out there before fans were given a guitar solo by the lovely Nita Strauss that ended in a jam of “Black Widow.”
“The Ballad of Dwight Fry” found Cooper singing in his signature straight jacket before his daughter Cheryl Cooper came on stage and decapitated him with a guillotine under the tune of “I Love the Dead.” The classic ’70s anthem “School’s Out” (complete with a few bars of Pink Fylod’s “The Wall” thrown in there for good measure) seemed to end the set before Cooper emerged behind a podium for an encore of “Elected.” Although far from my first time seeing him, it was surreal finally watching him with my two favorite people by my side, making it an especially fond memory for me.
For the life of me I’ve never really gotten the appeal of Godsmack, even though I have caught them live before as well (just once, back at Earthday Birthday in 2012). And how they were even remotely above Alice Cooper on the roster makes zero sense, but either way they opened with “When Legends Rise,” before going into the likes of “Cryin’ Like a Bitch!!,” “1000hp,” “You and I,” “Something Different,” “What About Me,” “Bulletproof,” and “Awake.”
By this time, frontman Sully Erna pulled back to have a “drum off” with drummer Shannon Larkin (who some may recall was the drummer for Ugly Kid Joe for many years). This lead to brief medlies of rock staples such as “Back in Black,” “Walk This Way, and “Enter Sandman” thrown in, and seemed like the perfect time to start heading over to the next stage.
And said stage contained what everyone had really came to see, the reunited Pantera. I was beyond lucky enough to see the band back at Ozzfest in ’97 when both guitarist Dimebag Darrell and drummer Vinnie Paul were both still alive, so it really didn’t bother me to see singer Phil Anselmo and bassist Rex Brown now joined by Black Label Society’s Zakk Wylde and Anthrax’s Charlie Benante filling in for the departed brothers in tribute to them (it also gave my wife and teenaged son a chance to finally see them for the first time as well).
While my memory is somewhat fuzzy as far as what the band played way back over twenty years ago, there’s no mistaking the band ripped through “A New Level,” “Mouth For War,” “Strength Beyond Strength,” “Becoming,” and the recently added “Suicide Note Pt. II.”
“5 Minutes Alone,” “Yesterday Don’t Mean Shit,” and “Fucking Hostile” continued the non-stop aggression before the band slowed things down a bit, showing video footage of the Abbott brothers with “Cemetery Gates” draped over top of it before segueing into their trippy cover of Black Sabbath’s “Planet Cavravan.” More hard-hitting classics in the form of “Walk” and”Domination/Hollow” followed before they closed things out with “Cowboys From Hell,” effectively leaving even the biggest of naysayers with their jaws to the floor.
The following day, Sunday, May 21, paled in comparison after what was beheld previously. By the time we had made it, Senses Fail were already on stage and wrapping it up, so after catching a couple of tracks like “Buried Alive, “Chop Suey/Break Stuff,” and “Can’t Be Saved,” we proceeded to the one that post-grunge ’90s rockers Filter was appearing on. They wasted no time with their five-song set as they plowed through “Welcome to the Fold,” “Face Down,” “(Can’t You) Trip Like I Do,” “Take a Picture,” and of course, “Hey Man Nice Shot.”
More ’90s rock followed as legendary skate punks Pennywise then took over the Octane stage. It was my third time seeing them since the very first Warped Tour I ever attended back in 2001, and I was still genuinely excited to hear tracks like “Peaceful Day,” “The World,” “Straight Ahead,” “My Own Country,” “Same Old Story,” “Fuck Authority,” a cover of Nirvana’s “Territorial Pissings,” “Pennywise,” “Society,” and “Bro Hymn.”
Sets from the likes of mediocre acts such as The Mars Volta and Coheed & Cambria were again perfect opportunities to grab a bite to eat and check out the merch tents before watching the likes of trap rapper Ghostemane. For perhaps the first time ever, I fully understood what it felt like to be that fish out of water parent just there for their kid, as I endured songs with titles like “Nihil,” “Bonesaw,” and “Trench Coat” that made little to no sense to me.
Another band I can’t say I’ve ever had much interest in at all, Incubus, were somehow after all this. And while I still can’t say I’m a fan by any means, I never realized what a jam band they really are in concert (nor how easy-on-the-eyes their current bass player Nicole Row, who’s also served some time with Panic! At the Disco, actually is). All of their staple songs were present of course, including “Nice to Know You,” “Come Together” (Aerosmith cover), “Pardon Me,” and “Wish You Were Here.”
Another act I was there mainly for my kid were Deftones (it’s not that I have anything against them, they’ve just never been my style). But I was surprised to see their live set was actually quite entertaining, despite some of their songs still landing on the tedious side for me. But they managed to pack in sixteen tracks with non-stop energy that included “Genesis,” “Needles and Pins,” “Be Quiet and Drive (Far Away),” “My Own Summer (Shove It),” “Diamond Eyes,” “Digital Bath,” “Tempest,” “Swerve City,” “Rosemary,” “Ohms,” “Minerva,” “Bloody Cape,” “Change (In the House of Flies),” “Rocket Skates,” “Nosebleed,” and “Engine No. 9.”
And finally, Tool. Sure, I was semi-into them when Undertow first came out back in the day like most sixth graders at the time. But I have long since disliked them ever since the first time I saw them live back in 2002, and frontman Maynard James Keenan performed with his back facing the crowd the entire time (exciting). I’ve seen them one more time since, in 2016 with Primus, where I promptly left soon after they hit the stage. On Sunday night, I did the same thing once again, making my way out of Rockville as they were performing “Forty Six & Two” (just their second track of the night).
I’ve since seen the images from the show and have heard others that stuck around for it express their disappointment as well. And Keenan’s drag outfit was far from some deep political statement about Florida or some meaningful artistic expression as some might try to spin it to be, but rather just another gimmick from an overrated, obnoxious hack. Hopefully this will be the final time I ever have to witness such a joke in person, and if anyone deserved to close out such a festival, it was definitely not them.
Things heated up at the Bandshell in Daytona Beach this past Saturday, May 6 for the Summer Throwback Bash featuring Taylor Dayne, Tiffany, and Freedom Williams of C+C Music Factory (I realize as I type this, these are mostly all artists I remember my older sisters listening to while growing up, and not so much my own – I was more the Iron Maiden type back then).
Upon arrival (fashionably late as usual, of course) local cover artists Are Friends Electric were well into their set already, and within moments they were having technical difficulties with their mics. After having a laugh or two at its expense, the issue was resolved, and the band was able to resume churning out more hits like “Love Shack” before bowing out and stepping aside for the rest of the acts.
Nineties rapper Freedom Williams, best remembered for his time fronting dance hit makers C+C Music Factory, was up next. He wasted no time as he and co-lead vocalist (whose name I want to say was Smooth Jenny?) ran straight through the hits; “Here We Go (Let’s Rock n’ Roll),” “Things That Make You Go Hmm…,” and of course “Gonna Make You Sweat (Everybody Dance Now)” all made their way into the set.
I have long since flown the flag for ’80s pop sensation Tiffany, and I’ve said before and I’ll say it again; her lesser-known, more recent material is far more interesting than the hits she’s remembered for most. And while I’ve seen her live twice before, I was looking forward to hearing her with a full live band this time instead of acoustic (guitarist Mark Alberici was once again by her side, as well as former and current L.A. Guns members Johnny Martin and Scot Coogan).
After opening with “Keep on Swinging,” she launched into the title track of her latest album, “Shadows,” no doubt one of her best songs in recent memory. A couple more new tracks in the form of “Cried For the Last Time” and the ballad “You’re My Everything” followed before going through a trio of her most well-known hits in the form of “I Saw Him Standing There,” “Could’ve Been,” and of course, “I Think We’re Alone Now.”
And lastly, headliner Taylor Dayne – another female artist I can clearly remember salivating over on my big sisters’ LP covers – closed out the evening. “Prove Your Love” and “With Every Beat of My Heart” initially paved way for bigger hits like “Don’t Rush Me,” “Heart of Stone,” and “I’ll Always Love You.”
More than once Ms. Dayne gave a little back story on some songs before performing them, including with “I’ll Be Your Shelter,” “Love Will Lead You Back,” Can’t Get Enough of Your Love,” and of course, “Tell It to My Heart.” While these songs might not have been my cup of tea per se at the time of their original releases, it’s no doubt easier for me to appreciate them now all these years later as a father and husband (especially with my beautiful bride by my side; it turned out to be yet another one of our many adventures together).
At this point seeing Jackyl at Bike Week is becoming an annual tradition for Rewind It Magazine. And while we weren’t expecting to see too much change as far as the set list goes (can pretty much call the order of the tracks by now), our third straight year catching the guys at Destination Daytona this past Saturday, March 11, was by far the most unexpected and entertaining show of theirs we’ve caught yet.
Last year, the guys brought along a fairly generic cover band from Georgia (whose name already escapes me), but this time they pulled out all of the stops. After an introduction by new Destination Daytona owner Teddy Morse, Nashville, TN’s Beau Braswell kicked things off with a surprising mix of rock and country, introducing himself to the crowd with the twangy original “Whiskey I.V.” and a cover of Johnny Cash’s “Flosom Prison Blues.” He followed this up with the slightly corny (yet more than appropriate for Bike Week) “Bikers, Babes, and Booze.”
“Drinking Alone Again” sounded like something I might have wrote myself back in my playing days. A cover of The Georgia Satellites’ “Keep Your Hands to Yourself” followed before closing with another barroom anthem in the form of “I Need a Drink.”Braswell and his band then took their bows, and you could hear the sincerity in his voice as he thanked the audience for their time.
Three stunt bike drivers then entered the “Globe of Death” one-by-one located in the center of the pavilion as the danger-ridden sideshow served as an intermission in between acts. A couple of lovely female dancers also showed off their acrobatic skills for the crowd around this same time (to the delight most male attendants), too.
And finally, the mighty Jackyl emerged once again with a triple whammy that included “Blast Off,” “My Moonshine Kicks Your Cocaine’s Ass,” and “Get All Up in It,” with the typical banter from frontman Jesse James Dupree mixed in as usual for good measure.
A one-two punch of “Down on Me” and “Back Off Brother” from their first album followed before seguing into “Push Comes to Shove” and a cover of Grand Funk Railroad’s “We’re An American Band.” It was at this point the band paused to award a Harley Street Glide to one lucky contestant with the right key. Once again the winner’s name escapes me (sorry!), but I do know it was the very last of ten contestants that ended up driving off a lucky winner.
The band then came back to play some classic country with a cover of Hank Williams Jr.’s “A Country Boy Can Survive,” as well as their own “Just Because I’m Drunk.” But it was after this that things got truly interesting, with one of the most epic surprise guests in the history of Bike Week. Hip hop pioneer Darryl “DMC” McDaniels of Run-DMC fame came out to blow the roof off the joint.
Surprisingly, the band actually launched into a new song with DMC; of course I once again did not catch the name (I want to say the title was along the lines of something as simple as “America”), but McDaniels and Dupree assured fans it was something they were “hearing for the very first time.” As if that was not enough, the five musicians then tore through the classic Run-DMC hits “It’s Tricky” and their version of the staple Aerosmith track “Walk This Way.”
The night could’ve easily ended right then and there on that high note, but it wouldn’t be a true Jackyl show without hearing “I Stand Alone,” “When Will It Rain,” “Dirty Little Mind,” “Redneck Punk,” and of course “The Lumberjack” (complete with Dupree’s chainsaw-wielding frenzy that finds him annihilating a bar stool every time). It was, is, and always will be the only fitting way to end a Jackyl show.
I can’t say I’ve really kept up with the WWE – or any pro wrestling for that matter – for quite some time. But a trip to last year’s Sunday Stunner in Daytona Beach was enough to reignite a guilty pleasure I had not felt for many years since the likes of The Ultimate Warrior or Jake “The Snake” Roberts were mixed in among the various other He-Man or G.I. Joe action figures I had at the time while growing up (back when it was still known as the WWF).
So when the chance to cover WWE Raw at the Amway Center for Rewind It Magazine presented itself, I couldn’t resist (even if my wife/photographer was less than thrilled with the notion). And while I might not be completely up to speed with all the lingo per se, I got the gist of what was going on, and what exactly I liked. Case in point; the very first match of the night this past Monday, February 6, was between two extremely easy-on-the-eyes ladies in the form of Dana Brooke and Indi Hartwell that immediately caught my attention (Brooke walked away from said match victorious).
A tag team match between the Creed Brothers (Brutus and Julius Creed) and the Good Brothers (Luke Gallows and Karl Anderson) followed (with the latter winning) before commentator Corey Graves introduced the one and only Edge and Beth Phoenix (one of the best moments of the night occurred when Edge stopped to take a selfie with a young fan during his entrance music, no doubt making said fan’s night). An all-out brawl then ensued as the two took on bad guys The Judgement Day, featuring Finn Balor, Dominik Mysterio, Rhea Ripley, and Damien Priest.
A little drawn-out drama (complete with seemingly every ref in the house stepping in) then ensued before Angelo Dawkins of The Street Profits took on Priest one-on-one, leading him to actually toss Priest onto the judges table at one point, although Priest would ultimately come out with the win. This was followed by one of the quickest matches of the night, seeing Dexter Lumis taking out Baron Corbin via pinfall in about five minutes time.
The crowd then got a brief taste of what was to come between Becky Lynch and Bayley with some behind-the-scenes drama before the mighty Brock Lesner emerged to call out (and eventually body slam) Bobby Lashley in an effort to get him to sign a contract to face him again.
Things really heated up once Candice LeRae struted out and onto the ropes wearing pixie wings, ready to battle Carmella, Michin, and Piper Niven in a four-way qualifying match. Carmella eventually reigned supreme in the match (in a red bikini top nonetheless) even after Niven laid the three other ladies out flat in one swift shot at one point.
Cedric Alexander and Shelton Benjamin then joined forces to take down The Alpha Academy, hands down one of the most entertaining and fun tag team matches of the night with the antics of Otis and Chad Gable adding an extra layer of hilarity.
The crowd then got a look into what was to come next week between The Miz and Rick Boogs, before Chelsea Green took to the ring in what felt like the closest thing to a striptease of the night. Her optimism was short-lived though, as wild woman Asuka took her down quickly. Montez Ford and Elias also went at it (with Ford walking away with the W) to qualify for the elimination chamber before the main event of the night.
Superstars Bianca Belair and Cody Rhodes (with Paul Heyman by his side) also made some brief appearances before stepping aside for Seth Rollins and Austin Theory to briefly duke it out before said main event – the steel cage match between Bayley and Becky Lynch, which was every bit of pure adrenalized excitement as one would imagine a match in a steel cage between grown women could be. Lynch ultimately emerged with the victory after the one and only Lita made a surprise return to help see things through.
Although it might not be the same wrestling I knew growing up as I alluded to in the beginning of this article, it was still without a doubt a night to remember, and there’s a good chance you might just find Rewind It Magazine there the next time the WWE comes through town again.
I’m sure I’ve probably mentioned this a time or two before, but one of the biggest personal regrets I have is not catching the late, great Ronnie James Dio in concert before his death in 2010 (the closest I ever came was a 2019 Dio Returns show, where several former members of the Dio band paid tribute to their former singer while using live backing tracks of Ronnie behind them, along with a hologram of him). The recent documentary Dio: Dreamers Never Die certainly helps confirm this regret.
Spanning his entire life and career, the film covers every aspect of his time in rock music. From Elf to Rainbow, to Black Sabbath to Dio, there’s no shortage of story to tell. And featuring interviews and insight from fellow personalities and rockers like Rob Halford, Eddie Trunk, Lita Ford, and Jack Black, as well as former wife Wendy Dio, and a host of many of Ronnie’s former bandmates.
“The Man on the Silver Mountain,” “Heaven and Hell,” “We Rock,” “Holy Diver,” “Rainbow in the Dark,” “The Last in Line,” and “Rock and Roll Children” are just a few of the titles Dio gifted us during his time on this Earth, and remain unmistakable classics to this day. The origins to many of these tracks are meticulously covered in great detail, among many others.
But of course, there’s only one way Dio’s life story can possibly end…with his unfortunate death. The results are some of the most tear-jerking moments compiled on film in recent memory (no doubt enough to make a grown man such as myself shed a tear or two). But that just stands to reason the true testament of Ronnie James Dio; every bit of praise is not only accurate, but deserved. He left behind a legacy that most artists today could only dream of ever having, and those of us who knew his music, understood his deep impact and worth.
(Shot from the Dio Returns show Rewind It Magazine covered at The Plaza Live in Orlando, FL on 6/2/19. Photo by Brooke Striewski).
2022 has been an unprecedented year of eclectic live events of all sorts for Rewind It Magazine, thanks largely in part to the various concerts held at Epcot in Orlando, FL, the most recent of them being Ray Parker Jr. at the park’s latest Eat to the Beat concert series on Friday, October 21.
Although forever known for being the composer and performer of the hit 1984 single “Ghostbusters” (which served as the theme to the film of the same name), Parker has been churning out hits since the ’70s as founding member of funk/R&B outfit Raydio, as well as his collaborations with numerous artists like Stevie Wonder and Barry White.
Parker’s set that night appropriately featured hits throughout his career, opening with two tracks from his Raydio days, “Jack and Jill,” “You Can’t Change That,” and “A Woman Needs Love (Just Like you Do),” three tracks that I had previously forgotten even existed (the middle number being what I actually refer to as a ‘Walgreens’ song, which is what I called songs that used to play while I worked there years ago).
Parker than followed this up with his 1982 hit “The Other Woman” from the album of the same name before indulging in a brief guitar solo. After that, he went into “that song,” and fans in attendance clutching their Ghostbusters records were finally able to fully rejoice.
The song is truly timeless, stretching across multiple generations and living on nearly four decades after its original release. Hooky no doubt but still fun nonetheless, especially in a live setting, and I’m sure everyone who was there to hear it in person last weekend would surely agree.