Photos By Brooke Striewski

Back in late 2006, I had been a new father for just over half a year when I ventured out to Ormond Beach, FL for Biketoberfest to catch Quiet Riot and Skid Row – two bands I loved while growing up that many of my middle/high school peers would surely give me flack for still rocking out to at the height of grunge and nu metal (Though I never cared much what anyone else thought). It ended up being one of the funniest shows I had ever been to up to that point, and I’ll forever be grateful to have seen the late legends Kevin DuBrow and Frankie Banali on stage together prior to their unfortunate, respective passings since.

Twenty years later, and a lot has certainly changed. But I knew when I saw Quiet Riot were coming to the Hard Rock Live in Orlando with Vixen in tow on Friday, March 6 (coincidentally one year to the day since I was also discharged from the hospital), it was time to finally catch the band live again, this time with my wife and Photographer Brooke beside me for the ride, too, who was ready to once again break out her SLR camera again for the occasion. (As crazy as the first week of March might have started out for us, too.) And after putting in a last-minute request, we got the “okay” from none other than Quiet Riot guitarist Alex Grossi himself (the only remaining member of the band left from said time I caught them back in ’06 who I also interviewed for Rewind It Magazine back in 2021), we were all set to go. (Thank you again, Alex.)

Almost immediately after entering the building it was clear that we had made the right decision to go. While preparing to start photographing the show from the side of the stage, Brooke ran into longtime (and legendary) Quiet Riot bassist Rudy Sarzo, whose initial time in the band stretches all the way back to the late ’70s, and recently returned to the lineup in 2021. Sarzo – who also served some time in both Ozzy Osbourne’s band and Whitesnake in the ’80s, and has also had stints with the likes of Dio and Blue Oyster Cult, among so many others – was no doubt one of the major selling points for us to go that night in the first place (Especially yours truly, having come from the school of bass players myself.)

Another group that we’ve caught live before who have also experienced some significant lineup changes since the last time we saw them back in 2019 (opening for Sebastian Bach, ironically at the very same venue), the always-lovely Vixen, who now featured new lead singer Rosa Laricchiuta, and temporary bassist Jennifer Jo Oberle filling in for Julia Lage. (Who is currently on tour oversees with Smith/Kotzen, and admittedly I was a bit disappointed to find out was not there, though Oberle no doubt did an admirable job in her place).

Vixen on stage at the Hard Rock Live in Orlando, FL on Friday, March 6. (Photo by Brooke Striewski.)

The gals kicked off the night with plenty of energy though, opening with “Rev It Up” before launching into “Charmed Life,” “How Much Love,” “Crusin’,” “Hard 16,” and “Cryin’.” A medley featuring parts of “Runnin’ with the Devil,” “I Want You to Rock Me,’ “Perfect Strangers,” “What You’re Doing,” “War Pigs,” and “Still of the Night” kept the momentum going before a drum solo from Roxy Petrucci lead them back to “I Want You to Rock Me.”

Yet the girls were still far from finished, with “Streets in Paradise, “Love is a Killer,” “Not a Minute Too Soon,” “You Ought to Know By Now,” “Love Made Me,” and of course, “Edge of a Broken Heart” all finally wrapping up their whopping seventy-five minute long set.

By the time Quiet Riot hit the stage the excitement was undeniable. The previously mentioned Sarzo and Grossi were now joined by another former Rewind It interveiwee, Jizzy Pearl of Love/Hate (another band whose show we covered some years back in 2018), and drummer Johnny Kelly of Type O Negative and Danzig fame. (Who I was also lucky enough to catch on stage with both acts in the past in the ’90s and ’00s.)

Bass icon Rudy Sarzo commanded the stage with Quiet Riot at the Hard Rock Live this past Friday, March 6 (Photo by Brooke Striewski).

In an instant the entire audience was transported back in time with the likes of “Run For Cover,” “Slick Black Cadillac,” “Mama Weer All Crazee Now,” and “Love’s a Bitch,” all paving the way for what was still to come. The tender “Thunderbird” was then introduced and then dedicated not only to late guitarist Randy Rhodes (who the song was originally penned for after his tragic death in the early ’80s), but also DuBrow, Banali, and another former Sarzo bandmate, Mr. Ozzy Osbourne himself.

“Party All Night,” “Blackout in the Red Room,” and “The Wild and the Young” all kept the party going before the guys unleashed a medley of their own that featured “Let’s Get Crazy,” “Crazy Train,” a guitar solo from Grossi that segued into Van Halen’s “Eruption,” and a touch of Type O Negative’s “Black No. 1 (Little Miss Scare-All)” before coming full circle back into “Let’s Get Crazy” again.

By that point, there was not much more left to do other than the one-two punch of “Cum On Feel the Noize” and “Metal Health (Bang Your Head).” No doubt it was a night full of fun and classic anthems, but there’s more to it than just that; each time bands like Quiet Riot and Vixen hit the stage, they’re keeping not only the music itself alive, but also the memories of all those those who had a hand it helping to create it.

Great White and Slaughter at Hard Rock Live in Orlando, FL on 8/23/25 By Jesse Striewski/Photos By Brooke Striewski

Nearly a decade ago now, I was able to catch Jack Russell’s Great White in Daytona (with fellow ’80s acts FireHouse and Bobby Blotzer’s Ratt) back in late 2016. It was an exceptionally fun October night that I now hold even more dearly in my memories since Russell’s passing last year.

So when I heard that the current lineup of Great White would be heading to the Hard Rock Live Orlando (with direct support from Slaughter), I knew I had to finally catch the original version of the band live after all these years (you may also recall my recent interview with founding guitarist Mark Kendall last month where we also spoke about the show).

I’m happy to report that this latest incarnation of the band – which has seen its share of frontmen come and go since Russell’s tenure and leading up to current lead singer Brett Carlisle – are indeed doing the band’s legacy justice (despite being a tad on the “safe” side while live now).

After indulging (just a tad) at the next door Hard Rock Cafe with the family/usual suspects (the wife Brooke and son Jacob, each photographers), we were in the venue with ample time to catch openers Slaughter, who were surprisingly one of the few bands still left from their era that I had yet to see live.

The band came out with guns a-blazin’, opening with the fiery “Mad About You,” and it was instantly clear it was worth the wait all these years for Slaughter. Two more tracks from the band’s 1990 debut album followed in the form of “Burnin’ Bridges” and “Spend My Life” before “Unknown Destination” took things in another direction.

Slaughter bassist Dana Strum (left) and vocalist Mark Slaughter gave it everything they had this past Saturday night at the Hard Rock Live in Orlando. (Photo by Brooke Striewski)

“Eye to Eye,” “Days Gone By,” and “Real Love” all followed before the lighters (or more accurately these days, cell phones) came out for the timeless power ballad “Fly to the Angels.” This of course paved way for their epic anthem “Up All Night,” which had the crowd pumping their fists to the very last note. But the guys still had a little life left in them, and jammed out to a section of The Who’s “Won’t Get Fooled Again” before they fully wrapped things up

And finally, Great White hit the stage just after 9:30pm. Opening with the modest “Desert Moon” (honestly not one of my favorites from them) before things getting kicked up a notch via “Lady Red Light” and “Stick It” (The latter of which much more up my alley and one of my personal favorites. Also to note, I heard a much older fan beside me shout “You were just a baby!” during its introduction, and I’m still not sure if she was referring to me, or possibly Carlisle on stage).

Things slowed down yet again for the more blues-ly numbers “Rollin’ Stoned” and “House of Broken Love,” as well as the first power ballad of their set, “The Angel Song.” “Mista Bone,” “Gonna Getcha,” and “Big Goodbye” each kept the momentum going.

Great White frontman Brett Carlisle (left) in the moment with guitarist/co-founder Mark Kendall at the Hard Rock Live in Orlando, FL this past Saturday, 8-23-25. (Photo by Brooke Striewski)

Before we knew it, the night was already winding down as the band launched into one of their most well-known tender tracks, “Save Your Love.” And at last, one of the greatest ’80s hard rock/glam/hair metal anthems of all time, “Rock Me,” followed before the band called it a day with their signature Ian Hunter cover, “Once Bitten, Twice Shy.”

Leading up to the show, I saw some negative online comments, criticizing the band for still going without “most” of their original members. Not only is it impossible to do when at least two of your said original members have since passed away, but as I explained to my son, whatever the current version of the band may be, these groups are still keeping the music itself alive as best as they can, and I’ll still take what I can get over nothing at all (just look at the recent major loss to the music world with Ozzy Osbourne, for example), and I’ve got nothing bad to say about the current versions of neither Great White, nor Slaughter.

In Memoriam: Hulk Hogan (1953-2025) By: Jesse Striewski

This week has without a doubt been one of the most trying in the world of entertainment in recent memory, especially for all of us who grew up in the ’80s and ’90s such as myself.

First, Malcolm-Jamal Warner, who we watched grow up before our eyes as Theo Huxtable on The Cosby Show from 1984-92, passed away after a tragic drowning in the beginning of the week way too soon at just the age of 54.

Before that loss could even be fully processed, one of the original architects and godfathers of heavy metal music itself, the iconic Ozzy Osbourne, succumbed to his battle with Parkinson’s disease at the age of 76.

And now, the unmistakable giant that was Hulk Hogan, who almost single-handily shaped the WWE – and sports entertainment as a whole – as we know it today, passed away yesterday at the age of 71. His presence was seemingly everywhere at the time when the country (and the world itself) was a much more simpler, unified place.

Hulk Hogan was born Terry Bollea in Augusta, GA on August 11, 1953, but grew up mainly in the southwest coast of Florida. It’s there that he began working and bodybuilding at gyms, as well as playing the bass guitar in local bands as a teenager.

After a year of training under Hiro Matsuda, Hogan made his wrestling debut for the CWF promotion against Brian Blair in Ft. Myers, FL on August 10, 1977. He quickly made his way through other promotions such as the CWA and NWA, the latter of which he would win his first championship of his career with on December 1, 1979.

Hogan made his debut with the WWF (now the WWE) around this time as well after Vince McMahon, Sr. saw something special in him. He made his debut with the company on November 17, 1979, and would stay with them until 1981, when he was dropped for the filming of Rocky III, eventually released in 1982.

He kept busy working, initially as a heel for Verne Gagne in the AWA and in the NJPW prior to returning to the WWF at Vince McMahon, Jr.’s insistence. He made his official return on December 27, 1983, and after defeating The Iron Sheik at Madison Square Garden on January 23, 1984, Hulkamania was officially born.

By March 31, 1985, Hogan was headlining the inaugural Wrestlemania alongside Mr. T (who Hogan had also appeared on The A-Team with) where the two defeated Paul Orndorff and Roddy Piper. Further Wrestlemanias and championships would continue, as well as rivalries with Piper, Andre the Giant, and The Ultimate Warrior, and alliances with the likes of “Macho Man” Randy Savage. There were even cross-promotions with MTV that propelled them all to further stardom.

It was somewhere among all of this pop culture phenomenon that a kid from New Jersey started becoming a megafan, and I’m told was doing “The Hulk” (a sort of “grr” sound with a combo flex move) at a very young age. I can remember going to sleepovers and even Cub Scout meetings where Hulk Hogan action figures and even Wrestling Buddies (basically pillows shaped like your favorite wrestlers) were everywhere.

I wasn’t there when Hogan hit the big screen with his first starring role in 1989’s No Holds Barred (though I should by all means still have a copy of it on VHS somewhere), but I was there in the theater when he made a cameo in 1990’s Gremlins 2: The New Batch, and for 1991’s Suburban Commando (quite possibly the first movie I went to see after relocating from New Jersey to Florida, to).

In the ’90s, Hogan of course went to the WCW and formed the nWo stable with Scott Hall and Kevin Nash, turning heel once again. His fame grew over the course of the decade or so with shows like 1993’s Thunder in Paradise, and the reality series Hogan Knows Best in 2005 (the same year he would be inducted into the WWE Hall of Fame).

By the time I made it to my first WWE match in 2022 (ironically at the Ocean Center in Daytona where Hogan had turned heel all of those years prior in 1996) and covered both Raw and SmackDown for Rewind It Magazine in Orlando the following year, Hogan was of course far from the mat. But his presence was no doubt felt at each and everyone of these events.

Tributes again poured out far and wide yesterday as they had for the previously-mentioned celebrities, but the ugliness and downright hatred that was present this time around reached new lows. Hogan was far from perfect, and made mistakes over the course of his lifetime (many of which he had since apologized for), but show me someone who hasn’t, or any human being who is absolutely “perfect” for that matter, especially by the standards of these spiteful, degenerate keyboard warriors of the world right now.

But I think the situation was best summed up last evening by a tweet via the Reverend Damien Thaddeus Jones; “Hulk Hogan was not a perfect person and neither are you. Hulk Hogan is a global icon, unlike you. Hulk Hogan surrendered to Christ and will be in Heaven. Many of you are judging him for one mistake. He will be remembered for all of his positive impacts on millions.”

Amen, brother.

Retrospective: Fifty Years Since the first Summer Blockbuster “Jaws” By Jesse Striewski

In 1974, a novel by the name of Jaws from Journalist Peter Benchley was published by Doubleday, which quickly found its way into the hands of American readers, as well as caught the attention of Producers Richard D. Zanuck and David Brown.

The two reportedly each read the book in the course of just one night, and it was unanimously decided that it would make a great, big screen film. Once soon-to-be legend Steven Spielberg was tapped to direct, the project had all the makings to become something truly unique.

Spielberg chose to hire actors without very much star power as not to take away from the “realness” of its blue collar setting. Roy Scheider, best known up to that point for his role in 1971’s The French Connection, was cast as the chief of police Martin Brody of the fictional Amity Island. Richard Dreyfuss, hot off the tails of 1973’s American Graffiti, was brought in to play marine biologist Hopper at the suggestion of George Lucas, while the role of rough-around-the-edges fisherman and WWII veteran Quint went to Robert Shaw, who seemed born to play the role.

Primarily filmed at Martha’s Vineyard, Massachusetts, the production was quickly nicknamed “Flaws” by crew members due to its painstaking shots on the water (it would be the first movie to ever fully utilize the actual open ocean in the way it ultimately did). Spielberg himself even stated if not for this, he might have even returned for a sequel.

Originally released on June 20, 1975 by Universal Pictures, the film took audiences by surprise right off the bat, and not only was an instant hit, it became a legitimate cultural phenomenon that would set the standard for the prototypical summer blockbuster from that point forward (it also briefly held the title for the highest-grossing film of all time until Star Wars surpassed it just two short years later in 1977).

Of course filmmakers knew the type of gold they had struck with it, and a sequel, simply titled Jaws 2, would soon follow in 1978 with the now-infamous tag line, “Just when you thought it was safe to go back in the water…” Spielberg had already expressed his disinterest in returning to direct (as previously mentioned), but Actor Roy Scheider was eventually coaxed into returning as Chief Brody after much hesitation (several other actors from the original, including Lorraine Gary and Murray Hamilton, also returned for the proceedings).

By the early 1980’s, 3-D had become all the rage, so it was only natural for Jaws 3 (originally released as “Jaws 3-D” in theaters) to be shot in this format in 1983. In this entry, the two Brody sons, now fully grown, are terrorized at a SeaWorld park that the eldest brother Michael (played by Dennis Quaid) works at. While far from the strongest of the bunch, the film still had some fun moments, and was filmed almost entirely at the Orlando, FL SeaWorld location.

The author (left) and son pictured at SeaWorld Orlando where much of 1983’s Jaws 3 was filmed on 1/1/12.

And then you have 1987’s preposterous Jaws: The Revenge, which found the shark actually following two of the Brody’s (Lorraine Gary returned one last time as Ellen, while Lance Guest takes on the role of Michael, completely ignoring the events of the third entry) from Amity to the Bahamas. It’s as far-fetched as it sounds, but good for a laugh every now and then (be sure to watch for the famous lion-roar scene at the end if you’ve never seen it), and if nothing else another memorable tag line in the form of “This time it’s personal” would also emerge thanks to this sequel.

But the legacy of that first, now fifty-year-old film is not likely to fade any time soon. From action figures (my autistic nephew Michael is an expert on these!), video games, attraction rides (such as the former popular one at Universal Studios), to even Jaws-themed wines (see photo below), there’s no shortage of ways to celebrate the film.

On a personal level, I can recall watching the film as a child in my late Uncle Brian’s (R.I.P.) basement in the ’80s along with my siblings and cousins (if I remember correctly, it was a double feature that also included the original Ghostbusters), and it remains a bittersweet memory for me until this day. Jaws will no doubt continue to endure like this for generations to come.

Jaws wine display spotted at a World Market location in Sanford, FL on 6/17/25 (Photo by Brooke Striewski).

W.A.S.P. and Armored Saint at The Plaza Live in Orlando, FL on 11/24/24 By Jesse Striewski/Photos By Brooke Striewski

If ever there were a band that I could (or perhaps more accurately, should) personally thank for my love and obsession of ’80s heavy metal, it’d be W.A.S.P., who are easily up there alongside the likes of such other personal favorites as Iron Maiden and Megadeth (among others).

Earlier on at the start of my initial trek into rock journalism, W.A.S.P. founder/leader Blackie Lawless was one of the very first interviews I ever conducted back in 2010. Shortly afterwards, I was able to cover their Orlando show at then-Club Firestone in March of that same year for one of my first (and personal favorite) concert reviews.

So when I learned Blackie and co. were heading back to O-Town with fellow metal legends Armored Saint in tow on Sunday, November 24, I knew it was a show not to be missed. Significantly different for me this time around though was having my wife/Photographer Brooke by my side to shoot this one, as well as my teenaged son Jacob, who was far too young that first time around to see them (the only noticeable difference as far as the band itself goes is of course the drummer position since going from Mike Dupke to former Di’Anno/DragonForce member Aquiles Priester).

Openers Armored Saint have been on my list of bands to see longer than I can even remember now, with frontman and former Anthrax (another personal favorite) singer John Bush being another reason for this (over the years I’ve actually managed to catch Anthrax live a solid four times, though never with Bush at the helm). And despite having been some time since I last really sat down and took notice of their music, I was instantly propelled back in love with their material.

Armored Saint (and former Anthrax) frontman John Bush performing at The Plaza Live in Orlando, FL on Sunday, November 24 (Photo by Brooke Striewski).

After a backing track of Judas Priest’s “Delivering the Goods” introduced the band to the stage, they quickly gained the attention of the sold-out crowd, ironically with “End of the Attention Span.” “Raising Fear,” “The Pillar,” and “Pay Dirt” all lead up to the title track of their 1984 debut album, “March of the Saint.”

“Left Hook From Right Field,” “Aftermath,” and “Win Hands Down” all kept the momentum going before Bush took to the balcony (complete with security in tow) to deliver their timeless hit, “Can U Deliver.” The band dropped one more heavy-hitter in the form of “Reign of Fire” prior to taking their final bows and handing the stage over to W.A.S.P.

Armored Saint drummer Gonzo Sandoval raises his sticks high in appreciation to the sold-out crowd at The Plaza Live in Orlando, FL on Sunday, November 24 (Photo by Brooke Striewski).

In their entire four-decade plus of existence, W.A.S.P. have apparently never opened a show with their fist-pumping 1984 anthem “I Wanna Be Somebody.” But being that this tour (dubbed “Album One Alive”) is a celebration of the foretith anniversary of their self-titled debut, that has all changed with the band performing all ten tracks from it in chronological order.

Of course if you already know that album, you’re already aware this was followed by “L.O.V.E. Machine,” “The Flame,” “B.A.D.,” and “School Daze” rounding out the first side. But I’ve personally always been partial to side two tracks such as “Hellion,” “Sleeping (In the Fire),” “On Your Knees” (the band’s usual show-opener, and first track they played way back at that 2010 show), “Tormentor” (complete with footage from the band’s appearance in the 1984 film The Dungeonmaster rolling behind them), and album closer “The Torture Never Stops” (which featured some of the oddest footage in recent memory playing for it).

After a brief reprieve, the band re-emerged with a circus-themed stage setup and a recording of “The Big Welcome” prior to launching into a medley of “Inside the Electric Circus/I Don’t Need No Doctor/Scream Until You Like It” before belting out their cover of The Who’s “The Real Me.” The 1989 power ballad “Forever Free” then preceded the darker epic “The Headless Children” before the band closed out the night with the one-two punch of 1985’s “Wild Child” and “Blind in Texas.”

W.A.S.P. frontman/leader Blackie Lawless in command of the stage at The Plaza Live in Orlando, FL on 11/24/24 (Photo by Brooke Striewski).

While I understand the demand for the band’s earlier, most well-known material, and that this tour is a total celebration of just that as stated earlier. But if I’m being totally honest, there’s so much more underrated material from them that I’d rather love to hear live. No doubt the chances of hearing something along the lines of “Take Me Up” or “Asylum #9” (for example) live is highly unlikely, that doesn’t change the fact that I’d still personally love to hear them performed (even something from The Idol – which I was lucky enough to hear them play tracks from, as well as the Dominator and Babylon albums that first time all those years ago – would’ve been nice to have heard something from).

But personal preferences aside, there’s no denying that Lawless and company completely dominated that stage last Sunday night, and I’d have a hard time believing any one in attendance that night would actually argue otherwise. These days I’m typically more reserved and focusing on critiquing the shows I’m at, but every once in awhile a band will get me raising a fist in the air and screaming every lyric out from start to finish; that band to get that type of reaction out of me again was without a doubt W.A.S.P.

Testament and Kreator at Hard Rock Live in Orlando, FL on 10/15/24 By Jesse Striewski/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.

Ace Frehley at the Hard Rock Live in Orlando, FL on 6/21/24 Words and Photos By Jesse Striewski

Ever since the moment I first got my hands on a fully intact vinyl copy of KISS’ 1979 Dynasty album via a secondhand find as a teenager, I’ve been a loyal, card-carrying member of the KISS Army. But the one and only time I was able to actually catch the band live back in 2012, I could not help but feel there was still something missing…namely the absence of beloved original guitarist Ace Frehley.

But after the week I had just endured, I wasn’t sure I’d even make it to Frehley’s show at the Hard Rock Live in Orlando, FL on Friday, June 21. It was both my sick wife Brooke, and teenaged son Jacob – who had been too young to see KISS with me all those years ago – that helped each motivate and convince me not to miss the Spaceman again by saying “But you love KISS!” (hard to argue with that logic!).

Local Orlando rockers Sick Dogs were still on stage by the time Jacob and I had arrived that night, and although they put in admirable enough effort, their harder-edged sound seemed slighty “off” for the setting. But the moment Frehley hit the stage with 1977’s “Shock Me,” I knew we had made the right choice to catch Ace (who claimed he was literally just dropped off in a car just moments before taking stage).

The immortal KISS anthem “Shout It Out Loud” followed before Ace dropped a new track, the catchy “Cherry Medicine” (which unfortunately a good portion of the crowd did not seem to care much about at all), but the epic Frehley’s Comet track “Rock Soldiers” from 1987 got everything back on track.

Another KISS classic followed in the form of “Love Gun,” which drummer Scot Coogan (also of L.A. Guns) took over the lead vocal duties for, though not before a slight “mishap” the first go-round as the band stopped the song early in it’s offset to berate the lighting techs for improper placement of the spotlight (I can’t make this up!).

The title track to Frehley’s latest album “10,000 Volts” gave the audience a much-needed jolt of electricity before going into “Parasite.” Then the intro to “God of Thunder” segued into a couple from Frehley’s 1978 solo album in the form of “New York Groove” and “Rip It Up.”

From that point forward it was all KISS classics (“Detroit Rock City,” “Cold Gin,” “Strange Ways,” and Frehley’s self-proclaimed, all-time personal favorite, “Deuce”), instrumental jams, and solos (complete with Ace’s signature smoking guitars, of course) before Ace and company (which also currently consists of guitarist Jeremy Asbrock and bassist Ryan Cook, each of Gene Simmons’ solo band, too) exited stage.

Of course things could not simply end there though; within minutes, the band was back on stage to close things out with arguably one one of the biggest rock anthems of all time, the immortal (albeit overplayed) “Rock and Roll All Nite.” It was the only fitting end cap for a night already full of legendary rock, from one legendary rocker.

Retrospective: 35 Years Since “Ernest Saves Christmas” By Jesse Striewski

I recently had a conversation with a friend who had noted the theatrical family Christmas film has all but disappeared from the mainstream. Sure, you can still get your fair share of the romantic Christmas movie each holiday season via the Hallmark channel. Or plenty of over-the-top seasonal slashers or stoner buddy comedies, but all of these are a dime a dozen. Where are all the Christmas Vacation’s, the Home Alone’s, and the Ernest Saves Christmases‘ at now?

When Jim Varney hit the big screen as Ernest P. Worrell again for the John Cherry-directed Ernest Saves Christmas (which originally dropped in theaters on November 11, 1988), I was there to catch it with all four of my older brothers and sisters in a New Jersey theater, for the one and only time I can recall the five of us ever going to all see a movie together (if memory serves correct, this may or may not have also been when us kids all stopped by the photography studio of a mall department store to have a portrait taken for our parents that Christmas).

But I digress, back to the movie itself. This time around, Ernest is an Orlando-based cab driver who happens to pick up the one and only Kris Kringle himself (played perfectly by the late Douglas Seale) at the airport, who’s in town searching for a replacement Santa for his inevitable retirement, setting his sights on a local children’s show host name Joe (Oliver Clark) who checks all the marks on the “good guy” list.

But it wouldn’t be an Ernest flick without some complications; Santa leaves his bag of toys in Ernest’s cab, and he and a troubled teenaged runaway who calls herself Harmony Star (Noelle Parker) must not only get it back to him, but also spring him from jail after being incarcerated/written off as just another crazy old man.

Granted, we’re not talking Academy Award worthy material here by any means; but as far as harmless, family-oriented holiday films go, Ernest Saves Christmas is easily a top ten pick on many a list. And having since moved to the central, FL area since originally seeing the film all those years ago, I’ve been lucky enough to have visited many of the locations where it was filmed, including the Orlando International Airport (see photo), making it all the more personal for me. Though it might not be a holiday classic in everyone’s eyes, it remains one in my book to this day.

The Orlando International Airport where Ernest (Jim Varney) picks up Santa Claus (Douglas Seale) at the beginning of Ernest Saves Christmas (from the author’s personal collection, taken on 10/9/23).

Bush, Bad Wolves, and Eva Under Fire at Hard Rock Live in Orlando, FL on 11/14/23 By Jesse Striewski/Photos By Brooke Striewski

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 Go But 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.

Bullet For My Valentine, Of Mice & Men, and Vended at the Hard Rock Live in Orlando, FL on 11/10/23 Words By Jesse Striewski/Photos By Jacob Striewski

Back in 2006 (what now feels like a lifetime ago), I caught this little unknown Welsh band at the time opening for Rob Zombie called Bullet For My Valentine. Two years later I saw them again, opening on a bill alongside Avenged Sevenfold and Atreyu at the 2008 Taste of Chaos Tour. Five more years after that, I caught them as openers for Alice Cooper at a gig I worked security for at the CFE Arena in 2013. A lot has definitely changed for the band in the span of all those years, the most apparent being they’ve since grown to be headliners themselves rather than simply a warm-up act, and rightfully so.

Just days prior to their show at the Hard Rock Live in Orlando, FL on Friday, November 10, I received a request to cover the concert from the publicist for openers Vended, the young Iowa-based metal group who have since been carving a name out for themselves and gaining significant traction thanks to two of its members being the sons of Sliptknot’s Corey Taylor (Griffin Taylor) and Shawn Crahan (Simon Crahan). After shifting a few things around, I was able to make it to the show with my own son (Jacob) yet again acting as my photographer for the event (who ironically was “with me” in a way at that very first Bullet For My Valentine show back in 2006 when his pregnant mother and I attended it together).

The minute Vended hit the stage, it was clear they were not about to go easy on their audience any time soon, after a recording of Soft Cell’s “Tainted Love” was played and slowed down to eerie levels before the guys emerged on stage to blast into “Ded to Me.” More hard-hitters in the form of “Am I the Only One,” “Overall,” “The Far Side,” and “Asylum” all followed before the guys stepped aside to let Of Mice & Men take a turn.

I’ve always held a small place in my heart for metalcore bands like Of Mice & Men, but for whatever reason had still not seen them live before now despite the number of shows I’ve been to over the years. It felt like 2010 to me all over again as the band plowed through a set of tracks both new and old that included “Bones Exposed,” “Would You Still Be There,” “Castaway,” “Obsolete,” “O.G. Loko,” “Into the Sun,” “Warpaint,” and “Bloom.”

Finally, Bullet For My Valentine took over the stage, and full command of the room for that matter. While “Knives” and “Over It” were admirable enough to kick things off, it was song number three (“Your Betrayal”) that really got the crowd pumping. “Piece of Me” followed before the band dug deep in their catalog with “4 Words (to Choke Upon).”

The crowd stuck in there until the very end as the band went through old and new songs alike in the form of “The Last Fight,” “All These Things (I Hate Revolve Around Me),” “Shatter,” “Scream Aim Fire,” “You Want a Battle (Here’s a War),” “Rainbow Veins,” and “Don’t Need You.” By the time all was said and done, there was nothing else left except to visit the merch tent on the way out (and the nearby Voodoo Doughnut shop!) before finally calling it a night.