23 Words and Photos By Shawn McKee

Spooky Empire recently celebrated its 20th year of delivering horror fandom to the masses with a monstrous weekend extravaganza that stared on Friday, October 27, and concluded on Sunday, October 29, 2023.

The renowned convention dominated the Hyatt Regency Orlando with a star-studded guest list of horror icons. And for the first time, Jason Vorhees (Kane Hodder), Freddy Krueger (Robert England), and Pinhead (Doug Bradley) were in the same room together! I don’t know if that’s true, but it sounds cool.

The long-running convention bills itself as the “Dark Side of Comic Con.” It was my first time ever attending, and the event didn’t disappoint. The 3-day weekend featured an extensive list of panels with actors, creators, and industry insiders, a horror film festival, an onslaught of vendors, a massive tattoo festival, special effects exhibitions, and costumes galore from staff and attendees. Of course, the event’s biggest draw was the sheer amount of horror icons in attendance.

The convention boasted a roster of over sixty guests from various decades of horror films and television. Their top draws were Kiefer Sutherland, Robert Englund, and Cassandra Peterson of Elvira, Mistress of the Dark fame. Having recently read her memoir, I was excited to meet the queen of haunts, but the list didn’t stop there.

In addition to the aforementioned greats, they had Jason Patric, Lou Diamond Phillips, special effects legends Greg Nicotero and the Chiodo Brothers, A Nightmare on Elm Street’s Heather Langenkamp, The Texas Chainsaw Massacre 2‘s Bill Moseley and Bill Johnson, An American Werewolf in London‘s David Naughton, Alex Vincent from Child’s Play, the voice of the Crypt Keeper himself, John Kassir, Nick Frost, Danielle Harris, Rose McGowan, Freddy Rodriguez, and many more.

The catch was that you’d have to be a millionaire to get all their autographs (more on that later). Admittedly, I wasn’t all that prepared for the big event. I didn’t attend Friday and opted for the weekend. The entire three days, I soon learned, were a necessity to make headway.

I arrived close to noon on Saturday and contended with a large crowd. The staff, however, kept the lines orderly and moving. Once inside the Hyatt resort and through the festival entrance, I witnessed a barrage of sights and sounds. Massive monster inflatables, an empty stage adorned with banners and blasting music, and a gaggle of lines were my introduction.

Countless eye-catching costumes were on display, some more impressive than others (the less said about the guy wearing the foam Lego brick the better). Jason, Michael Myers, and Leatherface were everywhere, and it was interesting to see all their different variations. There were a lot of Elviras there as well.

Perhaps most interesting were the couples costumes. I saw Beetlejuice and Lydia, Edward Scissorhands and Kim (both of which the female characters were portrayed by Winona Ryder), Candyman and Helen, and even a spot-on Hellraiser duo with Pinhead and female Cenobite.

Gore galore was displayed in many costumes. I felt under-dressed in my regular, boring non-costume attire. But I didn’t have time to sit around admiring costumes all day. I had a noon panel to attend with John Kassir, the Crypt Keeper.

They had no shortage of exciting panels on the schedule, but no matter how well I tried to plan, most of my time was spent waiting in lines for celebrity autographs. Out of the six panels I planned for that weekend, I only made it to two.

The John Kassir panel featured an insightful Q&A, where he detailed his early career and breaking into the business as a comedian “with no act” but lots of impressions. Growing up with HBO’s Tales from the Crypt, I felt my childhood come to life. And when it came time for audience questions, I wasted no time getting in line.

Panel on 10/28/23 featuring John Kassir of Tales From the Crypt fame.

I asked Mr. Kassir about the evolution of the Crypt Keeper from a restrained, quiet ghoul in the first season to the wisecracking, pun-making maniac in the later seasons. Kassir explained that advancements in the animatronic puppet over the years allowed for a more animated and expressive host. He also stated that showrunners wanted to explore what else the Crypt Keeper might do outside of living in a Crypt, hence the gleefully cartoonish persona he evolved into. To talk to an actor from a cherished show was worth the price of admission alone. But my day was only getting started.

I ventured into the vast autograph room, fully adorned with tables, banners, and celebrities. Some friends of mine were there who knew the general layout and had already done a bunch of stuff on Friday. The lines for Robert Englund, Cassandra Peterson, and Kiefer Sutherland wrapped outside the doors and were up to two hours long.

As I tried to take in the flurry of celebrity tables encircling me, I saw Greg Nicotero of The Waking Dead fame seated nearby. He was on my list. I asked him to sign my Blu-ray copy of Creepshow 2, a film he did special effects for before the establishment of KNB EFX Group. I thanked him forkeeping the Creepshow legacy alive with the current Shudder series, which I genuinely enjoy.

Author Shawn McKee (right) with Special F/X wiz Greg Nicotero.

Next up was a panel featuring cast members of 1987’s The Lost Boys. Kiefer Sutherland, Jason Patric, and Billy Wirth addressed the packed room, recounting insightful behind-the-scenes stories, including paying tribute to their late great director, Joel Schumacher.

The Lost Boys panel on 10/28/23 featuring (from left to right), host Riki Rachtman, Jason Patric, Kiefer Sutherland, and Billy Wirth.

I scheduled a photo op on a whim with Rose McGowan, Freddy Rodriguez, and Marley Shelton from Planet Terror, the first half of the Robert Rodriguez/Quentin Tarantino magnum opus Grindhouse (2007). The photo cost me about what I had left to spend that day, so I proceeded to tour the vendor room for the remainder of the time with my delicious Nightmare on Elm Street rum and ginger beer mix in hand.

By Sunday, I arrived early with hopes of meeting Elvira and Kiefer Sutherland. Most of everyone else, however, had the same plan. Neither celebrity had arrived yet, which freed me up some time to see Doug Bradley, who just set up. I also had a busy panel list of separate Q&As with Kane Hodder, Rose McGowan, Robert Englund, and others. It all seemed doable…until it wasn’t.

Meeting someone of Doug Bradley’s stature was a bit unnerving. Even without the extensive Pinhead makeup, you could see the character in his startling, gray eyes. He was ever the English gentleman though, calm, and friendly.

I mentioned Anthony Hickox, director of the Waxwork films and Hellraiser III: Hell on Earth who recently passed away. Bradley seemed to recall him with fondness. I felt thrilled upon getting a signed 8×10 Pinhead glossy and a picture with the actor. That was what it was all about. All the lines, expense, and planning came down to those brief moments where it was just you and the star of the films you love.

My excitement soon turned to trepidation when I learned that Elvira and Kiefer Sutherland had arrived. Their lines were long, their autographs cost $100, and they weren’t taking selfies. Pictures were, in fact, another commodity to be paid for separately in the designated photo op room. I passed both out of principle and financial necessity.

Besides, I had already scheduled a photo op with Danielle Harris, Jamie Lloyd from Halloween 4 and 5. I also knew Harris from her role as Bruce Willis’s smartass kid in The Last Boy Scout (1991) and many movies or TV shows she popped up in back then. She was incredibly kind in person and equally reciprocal when I thanked her for being there.

McKee with actress Danielle Harris, best known for her involvement in the Halloween franchise, including Halloween 4 (1988), Halloween 5 (1989), and Rob Zombie’s Halloween (2007).

During The Lost Boys panel, Kiefer Sutherland made similar appreciative remarks toward the fans. “We’re only here because of you,” he said. “We owe all of our success to you and your interest in our work.” For such a big star, he showed the utmost humility. It was those moments that suggested it wasn’t just work for them. Some of them actually wanted to be there.

As the day ended, I had only the time and money to meet one more celebrity. Why not Kane Hodder? The actor and legendary stuntman who portrayed Jason Vorhees an unprecedented four times had me nervous in line. Would he crush my skull if I asked for a selfie?

He was candid, friendly, and funny despite being clearly exhausted by the end of the long weekend. When most others had packed up, Hodder remained even as his line grew. We all watched, starry-eyed and infatuated, as the supernatural serial killer from our youth sat only a few feet away. Our words exchanged with Hodder and the signed Jason picture said it all, we love these damn movies.

Author McKee with actor/stuntman Kane Hodder, best known for his portrayal of Jason Voorhees.

Spooky Empire and similar conventions have their fair share of headaches. At times, my impatience at long lines and disappointment of missing panels grew, along with anxiety toward my diminishing finances. Ultimately, the experience gave me a deeper appreciation for horror films and the talent behind them.

It is both a community and an art form for people to express themselves through. To truly enjoy these conventions is to immerse yourself in your surroundings. Next time, I’ll be more prepared.

Depeche Mode at Amway Center in Orlando, FL on 10/10/23 Words and Photos By Jesse Striewski

Last week, ’80s stalwarts and new wave innovators Depeche Mode brought their signature synth pop to Orlando for the first time since 1998 (the closest they’ve come has been Tampa a couple of times since then) for what many have labeled a “comeback” tour (original keyboardist and founding member Andy Fletcher past away last year, leaving just singer Dave Gahan and multi-instrumentalist Martin Gore as the two lone original members).

Admittedly, I was not quite prepared for the laborious, twenty-five song set list that lay ahead at the Amway Center last Tuesday, October 10; as only a casual fan of the band, I was more or less there out of my wife’s insistence. To make matters worse, photo passes for media were limited for the event (and Rewind It were one of many not to be issued one), and rather than bringing a contemporary with them to open the show, that duty was given to a bland New York-based outfit called DIIV (pronounced “Dive”), who maybe I might’ve shown some interest in had I first heard them ten years ago.

Earlier this year I had actually given Depches’ latest album, Memento Mori, a favorable review for Rewind It. But after hearing far more tracks from it than expected live (six out of a total of twelve of the album’s tracks were actually performed), I was slightly over it. “Speak to Me,” “My Cosmos is Mine,” “Wagging Tongue,” “Walking in My Shoes,” “It’s No Good,” “Sister of Night,” and “In Your Room” were not exactly the strongest songs from the band’s extensive catalogue to kick the night off with.

“Everything Counts” finally started bringing things in the right direction, before “Precious,” “My Favourite Stranger,” “A Question of Lust,” “Soul With Me,” “Ghosts Again” (one of the more favorable tracks from Memento…), “I Feel You,” “A Pain That I’m Used To,” “World in My Eyes,” “Wrong,” and “Stripped” all followed.

But the band truly saved the best for last, with “John the Revelator,” “Enjoy the Silence,” “Condemnation,” (with a brief rendition of “Happy Birthday to You” thrown in for good measure, dedicated to a 16-year-old member of the audience), “Just Can’t Get Enough,” “Never Let Me Down Again,” and lastly, the grand finale of “Personal Jesus” closing out the already exhausting evening.

Although they might have ended on a high note, there were still far too many of the band’s classics missing from the set, including “People are People,” “Policy of Truth,” and one of my personal favorites, “Blasphemous Rumors” (I’d take any one of those tracks over “Just Can’t Get Enough” any day). But I digress; regardless of what songs they included in their set, there’s no denying the everlasting imprint Depeche Mode have left on modern music, so to hear them live at least once in this lifetime was fully worth the investment.

WWE SmackDown at Amway Center in Orlando, FL on 7/21/23 By Jesse Striewski/Photos By Jacob Striewski

Earlier this year, Rewind It Magazine were there at the Amway Center when WWE came through Orlando for Raw. This past Friday, July 21, the world’s largest wrestling promotion came back into town for their SmackDown brand, and Rewind It were once again there to catch all of the action. What made the occasion all the more special was being able to take my son Jacob Striewski to his first ever WWE event finally, where he once again acted as photographer for Rewind It for the third straight time in a row (and second consecutive time at the Amway).

The ladies kicked the night off with a sizzle as the lovely Tiffany Stratton effortlessly took out Kiana James in the first match. Afterwards, ringside announcers Wade Barrett and Michael Cole made their dramatic entrances.

The fatal 4-way between Rey Mysterio, Sheamus, LA Knight, and Cameron Grimes was no doubt one of the biggest draws of the night that saw stars like Austin Theory and Santos Escobar also get coaxed into the mix. But the wildest moment of the match came when all four of the original men fell from the top of the turnbuckle in a massive Tower of Doom maneuver. Ultimately, Mysterio walked away with the victory and advancement to the U.S. Invitational.

Second-generation wrestler Charlotte Flair (daughter of the legendary Ric Flair) then emerged to take on Iyo Sky. The ladies duked it out for some time before Flair ultimately took the W, only to be blindsided by Asuka, who left Flair writhing in pain on the mat.

Charlotte Flair takes down Iyo Sky with ease at the Amway Center on 7/21/23.

In a brief backstage segment, Kayla interviewed Dominick Myseterio with Rhea Ripley by his side. As he bragged on about taking on everyone and anyone for his title, Butch of The Brawling Brutes came out to challenge him. Then former WWE legend Shawn Michaels emerged to much delight of (most) of the crowd to say what a “great idea” this was, leaving everyone stunned.

U.S. Champion Austin Theory and LWO member Santos Escobar then picked up where they left off earlier in a non-title match. Despite being the underdog, Escobar walked away with a victory after initiating a Phantom Driver on Theory.

Current NXT champion Dominik Mysterion came out (with Rhea Ripley at his side) to defend his title against Butch. Mysterio seemed to be in charge before Butch’s partner Ridge Holland came from out of nowhere to bale out his teammate.

Dirty “Dom” Mysterio holds his NXT Championship belt high as Rhea Ripley looks on at the Amway Center on 7/21/23.

Things then took a turn for the hilarious as Kit Wilson pushed Elton Prince (both of the Pretty Deadly tag team) down to ringside in a wheelchair. The two quickly fled as the Brutes chased them off, only for Ripley to attack Butch and effectively help Dirty “Dom” retain his title.

But of course the true show-stopper and most talked about segment of the evening came when the Undisputed WWE Universal Champion Roman Reigns and cousin Jey Uso played out the drama of the “Rules of Engagement,” signing the contract for the upcoming SummerSlam match at a desk and chairs set up in the center of the ring.

Reigns and Uso stare each other down as Solo prepares to strike in the distance on 7/21/23.

This ended with Reigns stopping Samoan Solo from attacking Uso, only to give Uso the opening to knock Solo out of the ring with a superkick to the face. A nervous Paul Heyman could only look on with worry as Reigns and Uso stared each other down afterwards, knowing that the “Tribal Chief” status of the Bloodline story was now on the line.

As if all of this was not enough, two dark matches followed, first between Grayson Waller and AJ Styles, followed by Drew McyIntyre appearing, raising his sword high among flames in the ring before taking on Ludwig Kaiser in an off-air match. Despite some exciting moments, the energy in the crowd had begun to dissipate as many dispersed, leaving the final battle of the night (which found McIntyre ultimately winning) somewhat anti-climatic.

Freestyle Explosion Throwback Jam with Stevie B and more at the Amway Center in Orlando, FL on 7/15/23 By Brooke Striewski/Photos By Jacob Striewski

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.

WWE Raw at the Amway Center in Orlando, FL on 2/6/23 By Jesse Striewski/Photos By Brooke Striewski

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.

Otis and Chad Gable of Alpha Academy taking on Cedric Alexander and Shelton Benjamin at the Amway Center on 2/6/23.

Cedric Alexander and Shelton Benjamin of the former Hurt Business 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.

Asuka smiles on as Chelsea Green writhes on the mat at the Amway Center on 2/6/23.

Film Review: Dio: Dreamers Never Die (BMG)

By: Jesse Striewski

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 on 6/2/19. Photo by Brooke Striewski.

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.

Rating: 5/5 Stars

Ray Parker Jr. at Epcot’s Eat to the Beat Concert Series in Orlando, FL on 10/21/22 By Jesse Striewski/Photos 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).

Ray Parker, Jr. lights up the stage in Orlando, FL on 10/21/22.

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.

Retrospective: 40 Years Since ‘Halloween III: Season of the Witch’ By Jesse Striewski

Unlike the majority of fans, my introduction to the Halloween franchise actually came long before I even knew the first thing about Michael Myers. I was rounding near ten years old, and my family had just finally upgraded to cable television for the first time ever when I was searching through the channels late one October evening to discover Halloween III: Season of the Witch.

It was probably playing on USA Network or one of those other channels like it at the time, and it was well into three quarters of the movie already. My very first impression of a Halloween movie actually had nothing to do with Michael Myers, but was of Tom Atkins stalking around a dark, desolate town, with a creepy synth-driven score from John Carpenter and Alan Howarth accentuating the overall eerie scene. I was hooked, and having no prior frame of reference, it did not matter to me who was or was not in the film, or the previous entries that came before it.

When Halloween III: Season of the Witch, directed by Tommy Lee Wallace, first dropped in theaters on October 22, 1982, it was meant to be the first of numerous anthology films centered around Halloween itself, rather than just a monster with a knife. But audiences were not quite prepared for such a drastic change at the time, despite the endless possibilities this concept could have brought (the film was a modest box office success, earning just over $14 million on a $2.5 million budget).

Atkins stars as Dr. Dan Challis, a middle -aged, divorced, drunken physician who gets drawn into a web of evil and destruction after a man dies on his watch at the hospital, clutching a mysterious Halloween mask manufactured by a company called Silver Shamrock. When the deceased man’s sexy young daughter (Stacey Nelkin) starts looking for answers, Challis is more than willing to assist her with the task (and then some).

A display of the fictional town portrayed in the film, Santa Mira, from Fantasm Orlando on 10/3/21 (photo by Brooke Striewski).

The two soon uncover that Silver Shamrock is the work of Conal Cochran (Daniel O’Herlihy), a Pagan warlock hell-bent on unleashing unspeakable evil across the world via the masks on Halloween night. It quickly becomes a race against time to prevent the madman from seeing his destructive plot through and causing harm to an untold number of innocent lives.

While it’s taken some time, Halloween III: Season of the Witch has finally reached a level of cult status it rightfully deserved. Last year at the Fantasm horror convention Orlando, FL, there was not only countless amounts of merchandise from the film for the eye to see, but I was lucky enough to meet Atkins himself (see photo below).

When asked why he thought the film has seen such a resurgence in popularity in recent times, Atkins simply said; “I don’t know why people love it so much, but it just seems to be becoming more popular every year!” His reply might have been modest, but I can easily point to the number of reasons why it’s not only my favorite Halloween film, but also one of my favorite horror movies of all time. Not only does it hold a special place for me for being my introduction to the series, it beautifully emobodied everything about the creepiest day of the year on a level that very few films in the genre have managed to capture before or since.

Actor Tom Atkins with (from left to right) *Rewind It’s* Jacob, Jesse, and Brooke Striewski at Fantasm Orlando on 10/3/21.

Red Hot Chili Peppers, The Strokes, and Thundercat at Camping World Stadium in Orlando, FL on 9/15/22 By Jesse Striewski/Photos By Bailey Guinigundo

In 2017, I was able to photograph the Red Hot Chili Peppers at the Amway Center in Orlando for another magazine I was writing for at the time. It was a flawless experience, and I walked away with some of my personal favorite concert shots I have ever captured. Knowing that former guitarist John Frusciante – who was absent from the lineup at said show five years ago – was back in the fold, had me even more excited to see the band again.

But a series of unfortunate personal events overshadowed the band’s recent Orlando show at Camping World Stadium this past Thursday, September 15. Beginning with…the photo pass. While I thought I had firmly secured one to shoot the band at least a good month before the show, I came to find out shortly prior that my request was never actually submitted. Strike one.

Then, the actual day of the show, while en route to it (in the pouring rain nonetheless) with the family, our vehicle decided to start overheating and eventually stall out on us completely. That was strike number two.

And lastly, even after having a friend of the family give us a ride and arranging towing all the same, we still had to wait nearly two hours in the car after arriving to the stadium thanks to the thunderstorms that continued to rage and delay the outdoor show from starting on time. That was absolutely strike number three of the night, and might have been enough to turn some people around.

Once we finally arrived and got to our seats (soaked mind you), everything we had endured up to that point slowly became worth it. Opening the stage was bass master Stephen “Thundercat” Brunner, who simply goes by the moniker Thundercat these days. I was lucky enough to not only see him perform on stage with Suicidal Tendencies in 2010 and even meet him afterwards (see attached photo below). Gracing the stage with a huge cat head on the stage behind him, Brunner went through his best licks possible with a quickness, playing a handful of songs and solos before exiting.

A much younger Jesse Striewski (left) with then-Suicidal Tendencies bassist Stephen “Thundercat” Brunner at the former Club Firestone in Orlando, FL on 11/10/10 (Photo by Pamela Bendezu).

Early 2000’s brooding rockers The Strokes followed, and were another act on the bill I was looking forward to seeing (in this case for the first time). But their sped-up, six song set didn’t leave a lot to the imagination, and it just felt as though the band was being rushed off stage as they went through tracks like “The Modern Age,” “Bad Decisions,” “Under Control,” “Juicebox,” “The Adults Are Talking,” and of course their most popular hit to date, “Last Nite.”

And finally, the Chili Peppers took stage well after the ten o’clock hour, and played what felt like an exhausting-ly long set that lasted well over an hour and a half, starting with an onstage jam that just included Frusciante, bassist Flea, and drummer Chad Smith, before frontman Anthony Kiedis joined the rest of the guys for a hyped up rendition of “Around the World.”

The group wasted no time giving the audience what they came for, playing an onslaught of hits both new and old from then on out in the form of “Dani California,” “Scar Tissue,” “Aquatic Mouth Dance,” “Snow ((Hey Oh))” and “These Are the Ways.”

One of my personal favorite moments came when they slowed things down and the rest of the guys stepped aside to allow Frusciante a moment to perform “I Remember You” by the Ramones with nothing more than his voice and guitar. It was a touching moment and fitting tribute to the band’s late guitarist Johnny Ramone, who had passed away exactly eighteen years prior on September 15, 2004.

While this seemed to confuse a good portion of the crowd, I enjoyed it much more than the following forgettable new track from the band, “Wet Sand.” But the guys quickly got back on track, playing a couple of numbers absent from their set the last time I saw them; “Soul to Squeeze” from 1993’s Coneheads film and soundtrack, and “Me and My Friends” going all the way back to 1987’s The Uplift Mofo Party Plan album (as far as they reached in their early repertoire).

By the time the band reached tracks like “Throw Away Your Television,” “Tell Me Baby,” “The Heavy Wing,” “Black Summer,” “Californication,” and “Give it Away,” (with another solo from Flea thrown in there for good measure) I had heard more than enough Chili Peppers music live to honestly last a lifetime. But we stuck with it until the band reappeared for an encore of “By the Way,” a decent enough track, but not really what comes to mind when I think of a “closer.”

Despite all of the setbacks and issues we encountered on the way, I’d say the fact we were able to still even make it was a success, and I know my teenaged son was thrilled to not only see them for the first time, but also get his first official tour shirt that night. And special thanks to local photographer Bailey Guinigundo, whose live shots made this article so much more special than it possibly could have been without them. And to our friend Kurt for coming to the rescue with a ride (without that none of it could have been possible). Thanks again guys!

Roger Waters at Amway Center in Orlando, FL on 8/25/22 By Shawn McKee

Roger Waters finally graced Orlando as part of his This Is Not a Drill North American tour. The three-hour, visually stunning spectacle covered his legendary career as co-founder, bassist, co-lead vocalist, and principal songwriter for Pink Floyd and the solo work that followed his departure from the band in the early ‘80s.

The tour, originally set for July of 2020, was postponed due to the COVID-19 pandemic. It’s clear, however, that after experiencing Waters “in the flesh” at the Amway Center, it was well worth the wait. As a Pink Floyd fan from youth, who still considers them my all-time favorite band, I’m also a fan of Waters’s solo work. I even love Radio K.A.OS., the 1987 album later disparaged by Waters himself. Understandably, he was going through a difficult time back then.

The tensions between Waters and his former bandmates ultimately erupted after the resounding success of their 1979 rock opera masterpiece, The Wall. As a cohesive band, they produced one last album, The Final Cut (1983) before Waters’s bitter exit and lengthy court battles that followed. Egos clashed as he tried to single-handedly lay claim to the Pink Floyd name and material. It was a fight he eventually lost.

Guitarist/vocalist David Gilmour, keyboardist Richard Wright, and drummer Nick Mason retained the name, and Waters ventured into solo territory, competing against the very band he launched to stardom with The Dark Side of the Moon in 1973. Thus ended the Waters era of Pink Floyd.

Gilmour assumed front man duties, with the release of A Momentary Lapse of Reason in 1987 and a world tour that completely “eclipsed” Waters’s own earnest solo endeavors. The times, however, have somewhat changed. Following the passing of Richard Wright in 2008, all hopes of another Pink Floyd album after The Division Bell (1994) diminished. Gilmour rightfully stated that, “It would be wrong to continue as Pink Floyd without him.”

In their absence, Waters has since ironically done his part in bringing Floyd’s music to the fans throughout the past twenty years. This Is Not a Drill follows his Us + Them tour (2107-2018) that followed The Wall Live (2010-2013). I was fortunate enough to see him perform The Wall in Tampa, Florida in 2010. Experiencing the album in its theatric entirety still ranks as one of the best concerts I’ve ever seen.

The thrill of seeing Waters again (for possibly the last time) was every bit as exciting as attending the Paul McCartney concert months prior in Orlando. In both cases, we’re increasingly aware of their inevitable retirements on the horizon. The vitality of rock and roll defies expectations, when two men close to (or in) their eighties can embark on such sweeping tours.

I’ve heard enough live Waters albums to know how he performs the Floyd material without the soulful voice and guitar playing of Glimour and the equally strong backing of Wright and Mason. Waters without Floyd is the same as Floyd without Waters. They’ve both become their own thing equal to the sum of their parts. With This Is Not a Drill, I can confidently say that Waters delivered in every way.

From the center of the stadium, massive LED screens hung above the cross shaped stage that extended in all four directions. The show started promptly at 8:30 pm in darkness as text scrolled across each lit screen accompanied by a British announcer, instructing patrons to turn off their cell phones and “fuck off to the bar,” if they like Pink Floyd’s music but don’t care for Waters’s politics. From the start, I expected a politically charged show evident in Waters’ own poignant songwriting for decades past. He’s an artist of conviction, consistently political throughout most of his career. Alas, I was there for the music, while also aware how seriously Waters takes “the message.”

The show started with a slow, moody version of “Comfortably Numb,” accompanied by dystopian visuals on the screens. Waters and his sizeable touring band remained unseen during its lengthy duration. An abundance of flashy, colorful lights followed as Waters ripped into the precursor song, “The Happiest Days of Our Lives,” accompanied by its famous helicopter droning and exhilarating crescendo of “Another Brick in the Wall, Part 2.” Waters then hammered through “Another Brick in the Wall, Part 3” as the audience erupted in jubilation.

Things shifted down a notch with “The Powers That Be” from Radio K.A.O.S and “The Bravery of Being Out of Range” from Amused to Death (1992). I was ecstatic to hear two songs from his solo albums, but the energy didn’t seem as infectious upon the crowd. Nonetheless, “The Powers That Be,” featured fantastic visuals of fascistic animated foot soldiers marching through town, while “Being Out of Range” gave us the first moments of Waters “stripped down” on the screen in black and white, strumming his acoustic guitar and singing.

To capture an “intimate moment” in a stadium show is quite the feat. But Waters pulled off just that with what appeared to be completely new material for an endearing, personable segue entitled “The Bar.” Waters, seated at a grand piano, played and sang beautifully, while calling for unity of all peoples from all cultures and stripes.

It was a touching moment from an otherwise intentionally divisive artist. His band belted out another Floyd rock anthem and radio mainstay “Have a Cigar” from the iconic Wish You Were Here 1975 album. This was then followed by none other than “Wish You Were Here,” which predictably brought the place down.

Around this point, I felt most excited, because I had no idea what would follow. Anything could happen. Scrolling text and narration then discussed the early days of Floyd and its founder Syd Barrett, whose mental illness and drug use during the ’60s propelled a swift exit from the band after their first album, The Piper at the Gates of Dawn (1967). Barrett led a private, solitary life that became the stuff of folklore among Floyd fans before he passed away in 2006. Many Pink Floyd albums have been dedicated to or written about Barrett, and to continue to honor his legacy in such a way was particularly touching. Waters continued music from Wish You Were Here with the second half of Shine on You Crazy Diamond (Parts VI-IX), capturing the raw power and energy of the song from beginning to end.

A giant, remote-controlled inflatable sheep then floated around the stadium to introduce a powerhouse rendition of “Sheep” from the 1977 album Animals, a personal highlight for me. A brief intermission followed, bridging the gap between the two sets, and the best was yet to come.

After intermission, the stage was draped with x-shaped hammers from above, signifying a return to The Wall. We were treated to the closing anthems, “In the Flesh” and “Run Like Hell,” featuring Waters in full, black leather fascist gear, mimicking moments where he gunned down the audience with a fake, illuminated machine gun.

Giant inflatable pigs, flashing lights, and the barrage of vivid imagery against a red visage became a delightful assault on the senses. Two songs followed from Waters’s majestic Is This the Life We Really Want? (2017). The Nigel Godrich-produced album is, in my opinion, his best solo work, and it virtually came out of nowhere, which made it uniquely special hearing live.

Waters then delved into his greatest commercial triumph with a series of songs from The Dark Side on The Moon. “Money,” “Us and Them,” “Any Colour You Like,” “Brain Damage,” and “Eclipse” thundered through the stadium in consecutive order with captivating visuals and light show motifs. A string of laser triangles filled the center stage with a stunning backdrop of faces, sunsets, and fire.

An encore followed with the apocalyptic “Two Suns in the Sunset” from The Final Cut, more material from “The Bar,” and the appropriate closer “Outside the Wall,” before sending us home, wanting more. Waters’s fantastic visuals, touching tribute to his former band, and love for performing was on full display. As the tour title suggests, his concert presented an alarming view of current times, while keeping the music alive.

I looked past the ego, sanctimony, and destructiveness of an artist who once tried to end Pink Floyd after “deciding” they had reached their peak and witnessed the sheer talent and passion of an artist who believes in the power of it all. Being active is perhaps the greatest gift Waters can offer. I hope he was as thrilled to host Orlando as we were to have him.