5150 Never Helped Me With the Ladies, But It Is Still My Favorite Van Halen Record - by Colin Gawel

Part One:

Somewhere along the way, it became very easy to slag Sammy Hagar. Sure, he ventures too close to Bon Jovi territory for comfort. And sure, the whole "Red Rocker," "VOA" and "Mos Tequilla" thing reeks of corporate marketing and Gene Simmons-type condescension but... taken in the context of the times, minor infractions indeed. What's maybe most offensive about Sammy is how successful and well-adjusted he is. It's just plain annoying that one man can have it all and enjoy it so much. But I digress, allow me to take a moment and give Sammy Hagar some credit where credit is long overdue. At least among my peers. A couple pro Hagar thoughts.

 

- One record EVERYBODY agrees is amazing is the debut Montrose record. Prog-rockers, metal heads, dandy hipsters and punks can all dig on Bad Motor Scooter and Space Station #5. Guess who sang lead and wrote most the lyrics on that? Our pal Sammy. Ever notice Ronnie Montrose never did anything after Sammy took his talents to mountain biking?

- And if you could afford it, Sammy's booze was life-changing. Hell,  I thought gagging and holding your nose was just part of the tequila experience until some folks bought us some Cabo Wabo at a club in Marquette, MI. I remember my first sip like seeing KISS for the first time on the Paul Lynn Halloween special. "Wait a minute, tequila can actually taste good?" ($90 a bottle though)

- Dude could write a mean power-pop hook. Sure, he was dolled up as the Red Rocker, but songs like "I've Done Everything For You," "Two Sides of Love" and "I'll Fall in Love Again" are songs Hall & Oates can only dream of and Nick Lowe surely cranks up with a fat J late at night on occasion. Dig this.. (editor's note: Colin, the next time you mention Nick Lowe and Sammy Hagar in the same breath and/or sentence, sanctions WILL be imposed.)

Sammy Hagar - I've done everything for you 1980 Well, this one way love affair, it ain't fair It ain't no kind of fair to me It's all give and take, and you just take And I can't take it, you see And I'm givin' up on love this time

--- And when, after a decade of struggling to find an audience his career shifted into - ahem - high gear on the strength of "I Can't Drive 55," Sammy left his deal, and took a pay cut to join Van Halen.

Let that sink in for a minute. Sammy Hagar walked away from a platinum record to follow a frontman who was considered impossible to follow. In his excellent memoir, RED, Sammy recounts his label boss David Geffen telling him, "Let me get this straight, you are going to break your contract with me, go from getting paid as a solo artist, selling out arenas, to join a band taking the place of David Lee Roth and getting a 1/4 split of everything?" Sammy also went from 100% of publishing to 25% share in V.H. That might be the literal definition of putting your money where your mouth is. Oh, he also insisted the band keep the name Van Halen even though Diamond Dave had left and there was big pressure for a change to be made.  

Sammy said, "I'll give it all up and sign everything away to play in this band. We are that good." David Geffen, for all his faults, deserves credit for basically tearing up Sammy's deal and allowing him to sign with Van Halen and Warner Brothers. Paraphrasing...."I would never stand in the way of an artist who felt that strongly, even though I disagreed. I let him go and asked for one more solo release to complete the deal. I could have held out for a piece of Van Halen, but I didn't." 

OK, before all you Diamond Dave followers start barfing at the thought of Sammy taking over, let's take a long hard look at what Van Halen had become by this time. 

I know it hurts to say it, but V.H. was running on fumes by 1984. Sure, the band could still rock it live, but between the song Jump and Dave doing his Just a Gigolo and California Girls thing and it was getting kinda lame. And when my little sister put up a smiling Eddie Van Halen poster on her wall, Van Halen were officially NOT COOL. I even traded my copy of 1984 for Steve Miller's Greatest Hits with a kid down the street. Sure, I'd miss Drop Dead Legs, but I could watch Van Halen anytime on MTV and The Stake was kind of groovy. 

Doubt me? watch this..

David Lee Roth - Just a gigolo from Crazy from the heat.

Part Two:

Enter Sammy Hagar the spring before my senior year of high school. I bought my copy of 5150 on both album AND cassette. Why both? Well duh, I had to mow the lawn right when I got home from Buzzard's Nest and I couldn't wait that long to crank up the new tunes. And mind you, at this point in time, earbuds were just a gleam in some future nerd's Dad's eye. I had to CRANK that SONY Walkman past 11 to Pete Townshend headphone levels to hear the music above the noise of our green Lawn Boy. And crank I did. From the first notes of "Good Enough" to the final strains of "Inside," 5150 became the official record of my senior year of high school. If you drove past my Pinto, Summer Nights was coming at you. I wanted the best of both worlds. Whatever those worlds were. Biggie and I even willed 5150 to each other in our senior yearbook. If that's not rock n roll, I don't know what is. Though in full disclosure, despite it's promises, Van Hagar didn't seem to do it for my stalled romantic life. Love never walked in. I only beat out one infield hit to reach "first base" my entire senior year. One goddamn hit. Goes to show a Red Rocker may never be a Gigolo, but as long I had the beer and rock n roll, I could make do without the sex. Though the following Van Hagar records slowly declined in both novelty and quality, I still have a copy of Van Halen 5150 in my 1999 model car today. And yes, it's a cassette. And yes, it's still my favorite Van Halen Record. - Colin G.

Yeah , you heard him, Colin Gawel likes 5150 better than any other Van Halen record. He plays in Watershed and The League Bowlers and founded Pencilstorm while standing behind the counter at Colin's Coffee.  

Released in 1986, 5150 (pronounced "fifty-one-fifty") is the seventh studio album by American Hard Rock band Van Halen. The album was the first to be recorded with new lead singer Sammy Hagar who replaced David Lee Roth.

 Hidden Track: 

Just because 5150 is my favorite Van Halen record doesn't make it the best Van Halen record. I'm just one dude who liked to crank Get Up cruising to his job at Bill Knapps in high school. If forced to argue the best Van Halen records I suppose I would say:

#1 - Van Halen - Groundbreaking, mind-blowing debut. Musicality smashes head on into showmanship. Like Queen on piles of blow.

#2 - Van Halen II - Proves they are no one hit wonder and Dance the Night Away is a pop gem

#3 - 5150 - Replacing a frontman such as David Lee Roth is a historic achievement and the single Why Can't This Be Love is perhaps the strongest single in the Van Halen catalog. 

#4 All the David Lee Roth Van Halen records. Except that new one. And that awful Live in Tokyo disaster. Gawd.

In fact, hold on.... watch this..

Jun. 21st , 2013 Live at TOKYO DOME , Japan

In fact, that is so bad, I should have led the story with it. I buried the lead. 

#5 All the other Van Hagar records. I like OU812 and Unlawful fine. Some fat, but some good tunes too. 

#6 That one where the guy from Loverboy sang. Or was it Don Dokken... whatever. 

But forget best. What Van Halen records am I going to play in my driveway today? Right here, right now?  I'm writing this on the 4th of July. Yes, I'm a loser but I just read the excellent Van Halen Rising by Greg Renoff and the less excellent but still fun Running With the Devil by Noel Monk and I've got V.H. on my mind. And the driveway will rock. . 

I am now going to listen to Van Halen in this order. 

5150 and then Van Halen II (light the grill) and then... Diver Down...(put brats on) and then Fair Warning and then Van Halen I (take off burnt brats and throw in the trash, put on more brats) and then that one new song Tattoo and then Hot For Teacher and then Poundcake and the new Cheap Trick record.

Colin Gawel really did write this on the 4th of July. Flag. 

Censorship at Comfest: Noble or Treasonous? - by Pete Vogel

On Saturday, June 24th, a band by the name of Chickenhawk Birdgetters took the stage at the I Wish You Jazz stage at ComFest. They bill themselves as a “Jazz Offensive” and planned a “ComFest Offensive” for their 7pm performance.  Chickenhawk Birdgetters have a vision for creating jazz music that “is dangerous once more.”  They want to remove the shirt-and-tie formality of the genre and “give it a black eye.”  They planned on playing “Fuck tha Police” by N.W.A. (Niggaz Wit Attitudes) and improvise their own version of the tune.  Somehow word got to ComFest officials - and Columbus police - that the band was going to perform the song and they stepped in: They politely asked the band to refrain from playing it because they were fearful it would “incite a riot.”  Here are some of the lyrics to “Fuck tha Police:”

         Fuck that shit cause I ain’t the one / For a punk motherfucker with a badge and a gun / Ice Cube will swarm on any motherfucker in a blue uniform / A young nigga on the warpath / And when I finish it’s gonna be a bloodbath / Of cops dying in LA.


You get the gist: I listened to all 5:45 of it and it had over 90 curse words and threatened violence on cops four different times.  To perform a jazz improv rendition doesn’t mean the band was going to perform the song verbatim, but the message was pretty clear: this was a provocative piece that would definitely raise eyebrows.

As a musician, I’d normally side with the artist and claim he/she has the right to perform whatever song they desire.  But after learning the band’s intentions - and hearing the song in question - I actually sided with the police and ComFest officials on this one.  This song, quite frankly, is in poor taste and isn’t a good fit for an open-air, free festival where ages range between 7 and 70.  It’s also an affront to law enforcement everywhere: I am friends with several cops and they’d take offense to hearing this song played at a community festival.  I had no problem with ComFest officials - and Columbus police - pulling the plug on this tune.  

Granted, there’s so much more to the story and I wasn’t present at the show: I’ve heard all of this second-hand.  The narrative has changed a lot the past three days as well: rumors circulated that the band was actually threatened by cops - and Comfest officials - and I’m not always sure who, or what, to believe.  But I think the deeper question is this: Is censoring this type of music a noble act or treason?

Censorship used to carry an air of rarified dignity with it.  I often think of Rushdie’s exile from Iran after writing The Satanic Verses or Kurt Vonnegut raising ire after penning Slaughterhouse Five.  But in today’s climate, I’m not sure if people truly feel the sting of censorship anymore.  We all have the freedom to voice our thoughts, opinions and art any way we want, any time we want, with little fear of reprisal.  Sadly, we suffer from the opposite problem: we clearly lack the ability to censor ourselves, even when we should.  In this 24/7, wild-west of social media, it’s not uncommon to take 29 pictures of our Cobb Salad when only one will do.  [Or post too many cat videos.]  Self-censoring is a welcome blessing in this regard.  

Chickenhawk Birdgetters deciding to cover a hateful song about cop violence is simply not appropriate at an all-ages festival.  And they shouldn’t have cried foul when the plug was pulled on them.  Granted, there is a time and place for this type of music, and I’m not condemning the artists for creating it.  But ComFest isn’t it.  I wouldn’t walk into a church and play Nine Inch Nails: it’s in poor taste.  I wouldn’t attend a children’s birthday party and play “Lick it Up”: it’s inappropriate.  Artists have a responsibility to their audience and not the other way around.  I think we’ve lost sight of that.

ComFest officials politely asked the band to censor themselves and not play a tune that could incite violence.  They refused.  Instead, they told ComFest officials that they wanted ComFest to admit “they were censoring a band.”  The band wanted to pin themselves as victims: percussionist Joey Gurwin even put duct tape over his mouth to prove the point.  

Of course, this warrants more questions than answers.  To my knowledge, ComFest has never censored a band in the 40-plus-year history of the event.  No band has ever had to provide setlists or even discuss their sets with officials.  So how did the police and ComFest folks even learn of this?  

After giving it some thought, I came upon a possible conclusion: the “leak” was intentional.  Someone in their camp got word out about their N.W.A. selection and ComFest officials - and police - responded accordingly.  But why would a local band cause such a commotion in the first place?  One word: Publicity.  [Call it “The Trump Effect”—it obviously works.]  The band wanted to earn free publicity - and become heroes in the process - by becoming the first band to ever be censored by ComFest.  It worked: an article was written about them in Columbus Alive, one of the organizers resigned and they have blown up the Internet the past four days.  

It was a publicity stunt.

In this new era of publicity-at-all-costs - led by our Executive-in-Tweet - it’s no wonder that people are divided over this issue.  But there is nothing treasonous about pulling the plug on such a hateful song as “Fuck tha Police.”  To stand in front of a microphone and shout “motherfucker” at a bunch of ten-year-olds isn’t noble, it’s stupid.  In my mind the ComFest Committee - and Columbus Police - got it right: they pulled the plug on an act that wasn’t willing to censor themselves.  When artists don’t have the temerity to govern themselves for the well-being of the community, then others must step in and do it for them.  Well done.

 

Pete Vogel is a drummer, musician, teacher, movie director and many other thingsClick here to visit his website

WWE Money In the Bank: The Ladders Only Lead Down - by Big Vin Vader

Money In the Bank: The Ladders Only Lead Down   follow@bigvinvader

 I was excited for Money in the Bank this year, I really was.  In theory, it sounded like the most promising line-up in years for the titular ladder match.  AJ Styles, Kevin Owens, Sami Zayn, and Shinsuke Nakamura are obviously some of the best workers in the world, let alone WWE, regardless of brand.  On top of that, Dolph Ziggler may be lost in the current product’s shuffle, but is still a hell of a wrestler when motivated, and Baron Corbin may not be much beyond a brutal monster heel, but he plays that part very well.  Beyond that, the fact that SmackDown Live would be hosting the first-ever women’s MITB ladder match was a huge deal.  The SD women’s division has been outshining RAW’s own ever since the initial brand split, and the addition of Charlotte and Tamina after the shake-up only added to the incredible promise of the match itself.  The historic aspect alone should have made this something to remember, and given the talent of the women involved (Charlotte, Natalya, Becky Lynch, Tamina, and Carmella), the match itself should have easily delivered on that initial promise.  On top of that, the show was only scheduled for five matches—all of the non-ladder matches being for titles—theoretically leaving all of the filler by the wayside, and possibly even allowing things to wrap up early.  Boy, did they fuck things up.

 

Let’s take a quick look at each match’s finish, and maybe the problems will make themselves plain:

 

-James Ellsworth won the women’s ladder match by retrieving the briefcase for Carmella

-The Usos retained the SD Tag Titles by getting themselves counted out

-Naomi forced Lana to submit after Carmella entered and teased cashing in her MITB briefcase

-Jinder Mahal pinned Randy Orton after Orton spent an eternity fighting off the Singh Bros. on the floor (yet not getting counted out)

-Breezango pinned the Ascension in an unannounced, sub-four-minute match

-Baron Corbin snuck into the ring to take out Nakamura and Styles before claiming the briefcase

 

Now I can’t be the only one to think that’s way too many bullshit endings on a relatively sparse card.  The women’s MITB ladder match is my biggest point of contention, so let’s just jump right in.

The participants made their way to the ring and only then did WWE decide to show a video on the history of women’s wrestling within their own promotion.  It was a good video, although susceptible as always to their selectively-remembered, revisionist history (Wendi Richter was there, but no mention of the Original Screwjob).  Also, very strange to do this with the women waiting in the ring to begin their match.  But as we all know, WWE never misses an opportunity to trumpet their progressive attitudes and champion the strides they’ve made in presenting women as serious athletes and wrestlers.  And the ladder match should have been the perfect opportunity to demonstrate those steps forward.  Just think: this is a dangerous, hard-hitting, fast-paced match with huge stakes, the sorts of things that WWE and the rest of the (American) wrestling world confined to the male portion of the roster.  But they couldn’t just let the talented wrestlers spread that message on their own.  Of course not.

Just deciding to kick the show off with this match spoke volumes, and it led me to believe that it was going to be the exact sort of hot opener that the show needed, as well as the perfect spot on the card to give the women the exposure they deserve.  Tamina set a fast pace by dominating every other participant, but before long the match filled up with way too much dead space.  And that led directly into one of my biggest problems with the whole thing: just because there had never been a women’s MITB ladder match prior to this, most of the wrestlers were booked to look like they had no idea what to do.  Some of the best female wrestlers in the world were made to look like clueless undercard workers.  I don’t know how many times somebody was alone in the ring, or the last person left standing, only to look around confusedly or simply stare at the hanging briefcase as though they didn’t have any idea how to get it.  This was especially true of Natalya, who was made to kneel while gazing upward several times throughout the match.  More than that, when she did get ready to climb, she had to adjust the ladder’s placement slowly a number of times in order to make sure it was right.  I understand that this could have been legit in order to ensure her safety during such a high-risk bout, but the lethargic pace at which she moved makes me think that somebody laying out the match wanted her to look like an inexperienced kid rather than the excellent wrestler she is.  Charlotte and Tamina showed the surest footing throughout, dominating the others, and actually looking like they knew how to climb a ladder.  Sure, it makes sense to give an edge to certain performers, but it was disheartening to see so many great athletes made to look like fools.  None of the men showed any of that sort of hesitation in their match, not even those new to MITB matches.

Still, the action was pretty good when things were going, and the crowd was incredibly supportive and into everything as it happened.  Of course, that came back to bite everyone in the ass, as I’ll discuss in a minute.  At one point, Becky Lynch seemed bound to win, quickly climbing the ladder after putting Carmella away.  That would have been a fantastic moment, since Becky is still one of SmackDown’s most popular wrestlers, despite being given very few major opportunities since dropping the Women’s Title to Alexa Bliss last year.  Instead of that crowd-pleasing finish, however, we got James Ellsworth running in and tipping Becky off the ladder.  Then, after realizing that Carmella was still knocked out, he climbed the ladder himself and grabbed the briefcase for her.  So the best finish, somebody decided, to the first-ever women’s MITB match (and remember just how many times they touted that historic fact) was to have one of the participants’ (storyline) boyfriend interfere and win it when she and all of the others proved unable to do so.  That was not only the stupidest possible finish to the match, but also the most offensive decision WWE has made in quite some time.  Then again, I can’t even lay all of my frustration on the company itself, since there was an enormous positive reaction from the crowd encouraging Ellsworth to climb the ladder.  What the fuck, guys?

I understand that Carmella is a heel and is meant to attract heat, but I don’t buy that for an instant in this particular case.  The SmackDown women’s division is loaded with incredible athletes, any of whom deserved the briefcase on their own merits, but instead the best way to get the job done is to have a man win the match.  Yeah, they like controversy and everything, and this sure as hell got people talking, but that stands in opposition to everything the “Women’s Revolution” stands for.  Even as a one-off joke or storyline initiator, that move was seen by millions of people, and basically told them that a man is still the best choice and has the best odds at winning a major ladder match, even if he’s not a participant.  That type of hypocrisy reeks of just as much bullshit as WWE aligning themselves with Be a Star while allowing JBL to taunt Mauro Ranallo and trigger a depressive incident, leading to the former’s resignation.

But all of that aside, what this really stands as is the company making a mockery of its own women’s division and all of the great athletes within it.  The latest news is that Daniel Bryan stripped Carmella of the briefcase and scheduled a rematch.  That bodes well for the long-term, but it fails to change the fact that it was still booked as the original finish.  Or that James Ellsworth is a comedy character who should have nothing to do with major storylines (see: Dean Ambrose vs. AJ Styles).  And not to discredit her, but Carmella is the least-experienced and (theoretically) least-deserving wrestler in the match.  The whole thing just left a bad impression, and the rumors that the women on both RAW and SmackDown are legitimately pissed off only furthers the impact of this stupid decision.  The bottom line is that it becomes increasingly harder to take these sorts of moments as seriously as the company throws such offensive nonsense into supposedly-important matches like they did here.  The Ellsworth finish still goes down on the books as the original ending, and the change of plans is either a reaction to backlash, or was the plan from the start.  That sort of back-and-forth booking and outright manipulation is still pretty hard to take.

In between the ladder matches came all three title matches, and they delivered about as much as you’d expect B-level midcard matches to do.  Then again, this was MITB, so the marquee matches are, by definition, not the title bouts.  The New day and the Usos put on a decent match for the SD tag titles.  It really does seem like the New Day work their hardest when they don’t have the complacency a title provides them with, and this was one of their best outings in recent memory.  Then the Usos rolled out of the ring to get themselves counted out and ended a good match far too short.  Well, that feud will continue.

Naomi vs. Lana for the Women’s Title was passable, especially given Lana’s lack of experience wrestling.  Carmella distracted them both by teasing a cash-in, but thankfully that didn’t happen and Naomi retained.  Just think how amazing a Charlotte/Becky/Natalya vs. Naomi title match could have been.  Apparently, we’ll have to wait to see that.

Randy Orton fell to Jinder Mahal in his hometown, continuing that curse, as well as the Jinder experiment.  The match was fine, and as displeased as everyone else is, you really can’t say that they’re putting on the worst match each time they wrestle.  The appearance of STL wrestling legends was a nice touch, but ultimately meaningless when they were dragged into the match yet made no impact on the inevitable loss for Orton.

The men’s MITB ladder match was the star of the show, but even that one was kind of a disappointment as far as my initial expectations.  The reason why is pretty easy to pick out, as Shinsuke Nakamura got jumped by Baron Corbin during his entrance, which kept him out of the match for all but the last ten minutes.  It’s hard to argue that Shinsuke, along with AJ Styles, is the most exciting, dynamic wrestler in the company, and the thought of him squaring off in a no-DQ environment against the likes of Kevin Owens, Styles, and Sami Zayn was a big part of the match’s appeal.  Granted, he’s still somewhat protected in only succumbing to a sneak attack, and didn’t have to worry about selling or looking weak to the other wrestlers’ offenses in the match itself.  That still doesn’t change the fact that he ought to have won the whole thing over Corbin after a hard-fought battle.

What I can say, though, is that the time he did spend in the ring was fantastic.  Making a not-so-surprise, long-overdue return for the final third of the action, Shinsuke cleaned house, delivering a Kinshasa (sometimes several) to every other participant in the match.  And then he and AJ went at it one-on-one.  And it was the best part of the entire PPV, despite only lasting less than five minutes.  In fact, the brevity of their exchange was a big contributor to its success.  The two set aside the ladder, wanting to settle matters between them rather than rush to win the briefcase.  That’s setting up a future match for sure, and given the quality of matches they’ve had in Japan, there’s a great chance that their next could be the best WWE match of the last few years.  But the company is being smart, and letting things play their course out naturally.  For once they aren’t rushing to deliver a big match, and it looks like that patience will pay off very well.  Styles still looks to be feuding with Kevin Owens over the US Championship, and Shinsuke seems locked in to take on Baron Corbin after the pre-match beatdown.  Hopefully Corbin, who got the win after dumping Shinsuke and AJ off the ladder, won’t be rushed to cashing in his title shot, and that storyline will be given some time to grow as well.

Beyond all of that, the action in the match itself was pretty good, and there were the expected number of high-risk spots provided by the ladder.  Sami Zayn’s sunset-flip powerbomb on Dolph Ziggler from the top is probably the most notable of all, and Zayn himself was the quiet MVP of the entire match in my opinion.  So hopefully he gets put into a decent program soon, because he deserves it, and the crowd is still totally behind him.  

On a whole, the show was pretty close to abysmal, and I’m still pretty pissed off about the conclusion to the women’s match, but at least there were a few positives to take away.  I’ve turned my opinion around a little bit since Sunday night, when I was nearly willing to write the entire show off as a failure.  Still, considering that MITB is one of WWE’s bigger B-level shows, and especially when reminded that it came on the tails of the absolutely incredible New Japan Dominion show, you would think that they would at least put more of an effort out.  It was disappointing, that’s for sure, but not bad enough to give up on the product entirely.

Up next we have the hideously misnamed Great Balls of Fire RAW PPV, which sounds somewhat promising at this point.  The main attraction is of course the Universal Title match between Brock Lesnar and Samoa Joe.  That match-up is incredible, and should at least deliver some hard-hitting action and hopefully make Brock look like he has to work for his position at the top.  Unfortunately, given rumors of a planned Reigns-Lesnar match for the belt at WrestleMania next year, it’s almost certain that Joe will be losing the contest.  That said, there’s still hope for an impressive match, given the fact that Joe is one of the few men at Brock’s exact height and weight.  More than that, he incorporates hard MMA-style offense into his repertoire, and has legitimate combat experience.  So even with him going under, Joe has the credibility and experience to at least be booked as a threat to Brock.  Plus, the entire build-up to the match has been very well-executed and engaging, so there’s definite evidence that WWE won’t just drop the ball with this one, predictable outcome or not.

Hot Sun, Cool Theater: Summer’s Movie Series - by Rob Braithewaite

That big ball of fire in the sky can get pretty hot this time of year. If you are looking to beat the heat, or just want to see an older movie on the big screen, the way you might never have before, the Gateway Film Center, CAPA, the Wexner Center for the Arts and Studio 35 have you covered.

GATEWAY FILM CENTER

Summer of Bond. July 1st - September 10th.

All twenty-six James Bond movies will be shown, in order, including the non-canon Casino Royale, starring Peter Sellers, and Never Say Never Again.

series information and tickets


CAPA

Summer Movie Series. June 23rd - August 6th.

If you’ve got an ol’-timey “classics” itch, this series is your scratching post. Hitchcock, Bogey & Bacall, Jimmy Stewart, Cary Grant, et cetera, et cetera, et cetera! Fritz the Night Owl hosts a few of the new blood titles.

series information and tickets


WEXNER CENTER FOR THE ARTS

The New Hollywood: Deep Cuts 1967-1978. July 6th - August 24th.

Deep Cuts is right. Ain’t no radio hits on this list. See something you’ve never heard of before! The double feature of Juggernaut and The Driver is inspired. Inserts… well, that’s a Richard Dreyfuss movie no one mentions. It could be good.

series information and tickets

Free Tuesday Matinees. July 11th - August 8th.

Free movies. On Tuesday. In the afternoon.

series information

Wex Drive-In.

When the ball of fire goes down, the projector lights up.

July 20th: Wattstax
August 17th: Ziggy Stardust and the Spiders from Mars.

Free screenings.

series information


STUDIO 35

The New Hollywood: Classic Hits. July 3rd - September 3rd.

The Wex has partnered with Studio 35 to complement its Deep Cuts series with more familiar titles from that era.

series information

 

Listen to Colin on The One You Feed Podcast. Happy Father's Day!

As I mentioned in the recently published story "Got Any Gigs, Yes i Do", I was honored to be a guest on the acclaimed The One You Feed podcast. It posted this week just in time for Father's Day. The interview is a little different as though we talk about songs such as "Dad Can't Help You Now" and "Words We Say", we touch on parenting, addiction and many other non rock n roll subjects. It might be the first interview I've ever done where Cheap Trick isn't mentioned once.  Please give it a listen and support the show. - Colin G.

Click here for The One You Feed Podcast Episode 182 - Colin Gawel   

Official music video for Colin Gawel's "Dad Can't Help You Now." The single is available on "Superior: The Best of Colin Gawel" released by Mike Landolt's Curry House Records. More at www.colingawel.com. Video directed by Wal Ozello, produced by Maria Clark, director of photography Alex Williams, edited and visual effects by Eric "Bing" Ringquist, and features Sam Ozello and Tim Baldwin.