Rockers to appear at Casino


New Studio Album – The Mission – Available Now!

Cleveland – The six men comprising Styx have committed to rocking the Paradise together with audiences far and wide by entering their second decade of averaging over 100 shows a year, and each one of them is committed to making the next show better than the last. Styx draws from over four decades of barn burning chart hits, joyous sing-alongs, and hard-driving deep cuts. Like a symphony that builds to a satisfying crescendo, a Styx set covers a wide range of stylistic cornerstones. From the progressively sweeping splendor that is “The Grand Illusion” to the hunker-down fortitude of all that is the “Blue Collar Man,” from the majestic spiritual love for a special “Lady” to the seething indictment of preening, primping pageantry for pageantry’s sake of “Miss America,” from an individual yearning for true connection as a “Man in the Wilderness” to a soul-deep quest to achieve what’s at the heart of one’s personal vision in “Crystal Ball,” from the regal reach-for-the-stars bravado of “Come Sail Away” to the grainy all-in gallop of that rugged “Renegade” who had it made, the band draws on an unlimited cache of ways to immerse one’s mind and body in their signature sound.

Styx hit its stride with guitarist/vocalist Tommy Shaw’s first LP with the band, 1976’s Crystal Ball, and then they become the first group to score four triple-platinum albums in a row:

The Grand Illusion (1977), Pieces of Eight (1978), Cornerstone (1979), and Paradise Theater (1981). Over the ensuing decade, Styx weathered the shifting winds of the public’s musical taste, reconvening for a highly successful 1996 Return to Paradise tour that was expertly documented on both CD and DVD in 1997. With a little help from their many friends in Cleveland’s Contemporary Youth Orchestra, One With Everything (2006) became a hybrid orchestral rock blend for the ages. And on The Grand Illusion / Pieces of Eight Live (2011), the band performed at its peak when tackling every track from a pair of their finest triple-platinum albums back to back. Not only that, but the band re-recorded two discs’ worth of its classic material with much finesse and musculature, aptly known as Regeneration Volume I & II (2011 & 2012). Observes Tommy, “Now you have something you can take home with you and go, ‘Yeah, that’s the band I saw last night.’”

After more than a decade together on the road, this incarnation of Styx is looking forward to performing as many shows as it can as long as it can. “It all comes back to the chemistry,” says bassist/vocalist Ricky Phillips. “The legacy of this band will be that it brought joy to millions of people,” notes drummer Todd Sucherman. Observes keyboardist/vocalist Lawrence Gowan, “We’ve always tried to explain why this is this happening. It’s obviously a multitude of factors, but the main one is that our show is really good! And if it’s really good, they’re going to come to see it again.” Styx hopes it’s a wave that never crests.

“Every night, we go on that magic carpet ride together,” observes original bassist Chuck Panozzo, who joins the band on tour as often as he can.

“Music is this amazing force that comes from a higher place. I’m humbled for this band to have the great success that it has,” says co-founding guitarist/vocalist James “JY” Young. “We just want to keep on doing this,” asserts Tommy. “We want to let life take its course and let this music continue to be the soundtrack to it. And this band will continue to evolve as long as we live and play this music.” The jig is up, the news is out: The Esprit de Styx is alive and well, and now it’s time to see for yourself.

Welcome to the Grand Evolution.

RESERVED SEATS: $75, $55, $47.50


Fans can purchase at the Hard Rock Rocksino Box Office,, and or by phone 800-745-3000.

All Hard Rock Rocksino Shows are 21 & over

About Live Nation Entertainment: Live Nation Entertainment is the world’s leading live entertainment and ecommerce company, comprised of four market leaders:, Live Nation Concerts, Artist Nation and Live Nation Network.

  • is the global event ticketing leader and one of the world’s top five ecommerce sites, with a database of over 119 million fans who visit our sites.
  • Live Nation Concerts produces over 22,000 shows annually for more than 2,300 artists globally.
  • Artist Nation is the world’s top artist management company, representing over 200 artists.
  • These businesses power Live Nation Network, the leading provider of entertainment marketing solutions, enabling nearly 800 advertisers to tap into the 250 million consumers Live Nation delivers annually through its live event and digital platforms. For additional information, visit

About Hard Rock Rocksino Northfield Park: Hard Rock Rocksino Northfield Park is Ohio’s award-winning gaming, dining, and entertainment destination, located on the Northfield Park harness racing grounds, which offers more than 200 live harness races each year. True to Cleveland’s musical history as a birthplace of rock ‘n’ roll, the Rocksino offers the legendary vibe of the Hard Rock brand, including more than 2,200 gaming devices offered both inside and outside, varied dining options and unparalleled live music events. The Hard Rock Live music venue, the fifth of its kind, hosts sell-out crowds of up to 2,600 guests for live entertainment by renowned musicians, in addition to hosting guests for a variety of functions and banquets.

Hard Rock fans enjoy phenomenal dining at the world-famous Hard Rock Cafe; Kosar’s Wood-Fired Grill, football legend Bernie Kosar’s finest steakhouse; Concerto Italian Kitchen, a fast-casual restaurant, featuring personal pizzas, creative pasta dishes, gelato, and more; Fresh Harvest, an endless buffet with seven action stations; and Constant Grind, a bistro with sandwiches, sweets and more.

In addition, the Rocksino offers a Rock Shop with famed Hard Rock merchandise to take home memories of the Rocksino experience, as well as a 310-seat live venue, Club Velvet, features comedians and illusion acts, dance parties, special events and is also readily available for private parties and events. As a focal point for the Center Bar leading into Hard Rock Cafe, Van Halen’s red hot motorcycle makes “everybody want some” as one of many “arena rock” pieces from Hard Rock’s unmatched, priceless memorabilia collection at the Rocksino.

For more information about Hard Rock Rocksino Northfield Park, please visit





Cleveland, OH – Progressive rock icons King Crimson returns to America for a 19-date Fall Tour including a stop at Hard Rock Rocksino Northfield Park on Friday November 24.

“King Crimson is, as always, more a way of doing things. When there is nothing to be done, nothing is done: Crimson disappears. When there is music to be played, Crimson reappears. If all of life were this simple” — Robert Fripp.

King Crimson was conceived in November 1968 and born on January 13th 1969 in the Fulham Palace Cafe, London (Fripp/Ian McDonald/Greg Lake/Michael Giles/Pete Sinfield), coming to prominence after supporting The Rolling Stones at Hyde Park. Their ground-breaking debut In The Court Of The Crimson King (1969) described by Pete Townshend as “an uncanny masterpiece”, began a career that has spanned four decades and influenced many bands and individuals including Yes, Genesis, Tool, and Porcupine Tree.

Fripp recently announced multi-instrumentalist Bill Rieflin had returned to the band following a sabbatical. Along with Fripp, he rounds out a lineup featuring guitarist Jakko Jakszyk, bassist Tony Levin, saxophonist Mel Collins, and drummers Gavin Harrison, Pat Mastelotto and Jeremy Stacey.

RESERVED SEATS: $87.50, $65, $49.50


Fans can purchase at the Hard Rock Rocksino Box Office,, and or by phone 800-745-


All Hard Rock Rocksino Shows are 21 & over

Loretta Lynn: Blue Kentucky Girl Opens Aug. 25, 2017, and Continues Through Aug. 5, 2018

NASHVILLE, Tenn. – Aug. 2, 2017 – The Country Music Hall of Fame® and Museum will explore the life and career of Loretta Lynn, a Country Music Hall of Fame member and 2017 Grammy nominee for Best Country Album (2016’s Full Circle). The exhibition, Loretta Lynn: Blue Kentucky Girl, opens Aug. 25, 2017, and runs through Aug. 5, 2018.

By telling her own truths, and by writing about her experiences with a perspective and voice unlike any other Southern storyteller, Lynn has become an American hero and a country music standard-bearer. Her one-of-a-kind tale has been told in a feature film (with an Oscar-winning portrayal of Lynn by Sissy Spacek), two autobiographies and an American Masters public television documentary. But her fascinating journey is worthy of further exploration. Examining the Coal Miner’s Daughter through her music and her rich collection of personal artifacts will provide fresh insights into one of country music’s most important artists.

“Owen Bradley once described Loretta Lynn as ‘the female Hank Williams,’” said museum CEO Kyle Young. “Like Williams did, Loretta has created music that echoes the challenges and joys of the working class. She has influenced countless artists who followed her, and her unique sound continues to transcend genre and inspire her many listeners. We are thrilled to share the story of this ‘blue Kentucky girl,’ and we look forward to the day when Loretta feels well enough to see the exhibit herself.”

Lynn suffered a stroke in May and is currently focusing on her recovery.

“I am so excited for the Country Music Hall of Fame and Museum’s exhibit to open this month,” said Lynn. “It’s gonna show off my 50 some odd years in country music, and I’m so proud to share my life and music with the museum. Y’all come see us!”

Loretta Lynn: Blue Kentucky Girl exhibition highlights include: • Lynn’s original handwritten manuscript for her chart-topping 1970 hit, “Coal Miner’s Daughter.”

• The 1956 model 99 Singer sewing machine Lynn used to make her own stage clothes very early in her career.

• American DR-332 ribbon microphone used by Lynn at her first recording session, in Western Recorders Studio, Los Angeles, February 1960. She cut her first single, “I’m a Honky Tonk Girl,” and three more original songs at the session.

• Red-and-white polka-dot dress with sequins and silver-cord trim, made by Lynn when she was fourteen. Sissy Spacek wore the dress when she portrayed Lynn in the film Coal Miner’s Daughter.

• Presidential Medal of Freedom, presented to Lynn by President Obama in 2013.

• Green chiffon Lillie Rubin gown worn by Lynn at the 1972 CMA Awards, where she was named Entertainer of the Year.

• 1956 Gibson J-50, used extensively by Lynn in performance and for songwriting. It was given to her in 1961 by her husband, Doolittle “Mooney” Lynn, who made the Formica pickguard.

• Red dress embellished with beads and sequins, worn by Lynn on the cover of her 1968 album Fist City.

One of the most visited museums in the United States, with an unduplicated collection of more than 2.5 million artifacts, the Country Music Hall of Fame and Museum celebrates its fiftieth anniversary in 2017. Lynn’s installation joins a year offering revealing exhibitions on subjects including Jason Aldean and Shania Twain. An exhibition on Faith Hill and Tim McGraw will open in November.

Follow the museum on Facebook, Twitter, Instagram and Snapchat, and Loretta Lynn on Facebook, Twitter and Instagram. Join the conversation using #CMHOF50 and #LorettaLynnExhibit. For more information, visit

50 Cities of the U.S.A. shares what’s best about Columbus with kids!

A new book called 50 Cities of the U.S.A. by Gabrielle Balkan, Illustrated by Sol Linero, will be published September 7, for ages 7 to 10.

For instance, did you know?

•The Annual Doo Dah Parade is all about freedom of speech, expressing yourself..and wearing a funny hat!

•The Ohio History Connection displays artifacts like the 2,000-year-old Native American Adena Effigy Pipe, found in burial ground near Chillicothe.

•In 2009, a local hula hooped nearly 75 hours, burning about 400 calories an hour, and setting a Guinness world record.

•The Columbus Zoo And Aquarium houses several species native to Ohio, like the bald eagle, who eats rodents, quail, and fish while in the zoo.

•The Lane Avenue Bridge crosses the Olentangy River, which has also been known as Keenhongsheconsepung, Oleutangy, Whetstone Creek, Whetstone River, and Whitestone Creek.

•The Ohio State University Marching Band practices about 30 hours per week to learn music and field formations for football games.

The book also shows kids tons of things to do in the area as featured in “A Day in Columbus.”

9 AM Eat your way through North Market, starting with an over-easy egg, topped with arugula, tomato, garlic aioli, white cheddar, and sausage on a warm croissant at the Best of the Wurst.

10 AM: Visit the Columbus Zoo and Aquarium, the home of Colo, the first gorilla born in human care; she’s named for her birthplace, COL-umbus, O-hio.

11 AM Flex your biceps in front of the Arnold Schwarzenegger Statue and look for world’s best bodybuilders at the annual Arnold Sports Festival.

12 PM Breath deep at the Columbus Park of Roses, which includes over 12,000 roses, herb, and perennial gardens.

1 PM “Where’s the Beef?” Dine on a square-shaped burger paddy at Wendy’s? The first store opened here in 1969 on Broad St.

2 PM Spot the Northern Cardinal among the 35 oversized birds in the Ohio Bird Mural, painted on the Indianola Avenue overpass in Glen Echo Park.

3 PM Watch atlatl spear throwing demonstrations and make replicas of American Indian pottery at The Ohio History Connection.

4 PM Grab your helmet and water bottle and cycle along the Olentangy Trail, stopping at Antrim Park and Whetstone Park.

5 PM Calm yourself in the horticulture therapy garden at Chadwick Arboretum, designed to improve social skills, self-esteem, and horticultural skills of adults with developmental disabilities.

6 PM Scoot outside town to The National Barber Museum & Hall of Fame in nearby Winchester.

7 PM Rush through dinner to enjoy a dessert of peanut butter and chocolate Buckeye candies, named for the state tree and a collegiate mascot, Brutus Buckeye.

8 PM Curl up with Out of My Mind, by Columbus writer Sharon Draper, about a girl with cerebral palsy.



Columbus, Ohio the exclusive United States venue for the exhibition

Columbus Museum of Art (CMA) is proud to present Beyond Impressionism – Paris, Fin de Siècle: Signac, Redon, Toulouse-Lautrec and Their Contemporaries, an exhibition organized by the Guggenheim Museum Bilbao, on view October 21, 2017 through January 21, 2018. Featuring more than 120 paintings, drawings, prints, and works on paper, the exhibition explores the Parisian art scene of the late 19th century. CMA, in partnership with the Guggenheim Museum Bilbao, is the only museum in the United States to host the exhibition. Beyond Impressionism focuses on some of the most important French avant-garde artists and also includes one of Claude Monet’s Water Lilies paintings.

“Columbus Museum of Art is delighted to be the only U.S. venue for this extraordinary exhibition,” said CMA Executive Director Nannette V. Maciejunes. “Our partnership with the Guggenheim Museum Bilbao allows us a rare opportunity to bring to Columbus a visually stunning and historically fascinating show. The underlying themes of political and social turmoil will no doubt resonate with today’s contemporary audiences.”

Fin-de-Siècle (turn-of-the-century) Paris was a city experiencing profound political upheaval and cultural transformation. Sustained economic crisis and social issues spurred the rise of radical left-wing groups and an attendant backlash of conservatism plagued France throughout the late 1890s. In 1894, President Sadi Carnot was assassinated by an anarchist and the unlawful conviction for treason of Alfred Dreyfus, an officer of Alsatian and Jewish descent, divided the nation. Such events exposed France’s social and political polarization: bourgeois and bohemian, conservative and radical, Catholic and anticlerical, anti-republication and anarchist. A spectrum of artistic movements mirrored the unsettled era. By the late 1880s, a generation of artists had emerged that included Neo-Impressionists, Symbolists, and Nabis. Their subject matter remained similar to that of their Impressionist forebears: landscapes, the modern city, and leisure-time activities. However, their treatment of these familiar subjects shifted to introspective, fantastical visions and stark portrayals of society.

Beyond Impressionism explores these avant-garde movements through some of the most prominent artists of that time: Pierre Bonnard, Maurice Denis, Maximillian Luce, Odilon Redon, Paul Signac, Henri de Toulouse-Lautrec, and Félix Vallotton. The Impressionists’ ambition to spontaneously capture fleeting moments of contemporary life gave way to a new generation who produced carefully crafted works that were anti-naturalistic in form and execution and sought to elicit emotions, sensations, or psychic responses in the viewer. Despite their sometimes contradictory stances, these artists shared the common goal of creating art with a universal resonance. Surveyed as a whole, the art of this tumultuous decade maps a complex terrain of divergent aesthetic and philosophical theories, while charting the destabilizing events at the brink of a new century.

Beyond Impressionism is organized into three themes or sections: Neo-Impressionism, Symbolism, and Nabis and the Print Culture of the 1890s.

Neo-Impressionists: Georges Seurat, Henri-Edmond Cross, Maximilien Luce, Camille Pissarro, Théo van Rysselberghe, and Paul Signac

The Neo-Impressionists débuted at the Eighth (and last) Impressionist Exhibition in Paris in 1886, led by Georges Seurat. That same year, Félix Fénéon, an art critic and champion of these artists, coined the term “Neo-Impressionists” in a review. When Seurat died at an early age, Paul Signac took his place as the leader and theorist of the movement. Sometimes called Pointillists, the principal Neo-Impressionists – Henri-Edmond Cross, Maximilien Luce, Seurat, and Signac – were joined by former Impressionist Camille Pissarro as well as like-minded artists, from nearly countries such as Belgian painter Théo van Rysselberghe. These vanguard painters looked to scientific theories of color and perception to create visual effects in their canvases. The theories of French chemist Michel-Eugéne Chevreul set out in the Principles of Harmony and Contrast of Colors (1839) and American physicist Ogden Rood in Modern Chromatics (1879) were particularly influential.

This modern, revolutionary painting technique was characterized by the juxtaposition of tiny, individual strokes and dots of pigment that created intense hues. By using complementary colors and flowing forms, the Neo-Impressionists rendered compositions noted for their unity and intense luminosity. The representation of light as it impacted color when refracted by water, filtered through atmospheric compositions, or rippled across a field was a dominant concern in their works. Many of the Neo-Impressionists shared left-wing political views, evident, for example, in Pissarro’s and Luce’s depictions of the working class. But even when not guided by political objectives, the Neo-Impressionists’ shimmering interpretations of city, suburb, seaside, or countryside reflected a formal quest for harmony.

Symbolists: Maurice Denis and Odilon Redon

Symbolism began as a literary movement and its principles were codified in 1886 when poet Jean Moréas published the “Symbolist Manifesto” in the French newspaper Le Figaro. Symbolism quickly infiltrated the visual arts. The term is applied to a variety of artists who shared anti-naturalistic goals and produced work exhibiting peculiar forms and allusive subject matter. One of the most important Symbolists was Odilon Redon, with his eerie imagesof floating, disembodied heads, creeping spiders, and scenes unmoored from reality.

Most of the Symbolist artists were averse to materialism and had lost faith in science, which had failed to alleviate the ills of modern society. They chose instead to probe spiritualism and altered states of mind, believing in the power of evocative, dreamlike images. Decorative elements, nourished by Art Nouveau’s organic curves and arabesque forms, permeated their work and canvases.

Symbolist art embraced mythic narratives, religious themes, and the macabre world of nightmares, abandoning the factual for the fantastic, the exterior world for the drama of psychological landscapes, the material for the spiritual, and the concrete for the ethereal. Though deeply rooted in narrative, Symbolism sought to elicit abstracted sensations and, through subjective imagery, to convey universal experience.

Nabis and Print Culture: Henri de Toulouse-Lautrec, Pierre Bonnard, and Édouard Vuillard

Printmaking experienced a renaissance in fin-de-siècle France, both in lithography and woodcut. This revival was launched primarily by the Nabis, along with artist Henri de Toulouse-Lautrec. The Nabis (from the Hebrew word meaning “prophets”) were a loosely connected brotherhood whose art was influenced by both the flat planes of color and pattern of Paul Gauguin’s work and by the abrupt cropping and two-dimensional compositions of Japanese woodblock prints. Renouncing easel painting, the Nabis’ work included prints, posters, and illustrations for journals such as La Revue blanche, co-owned by their patron Thadée Natanson.

As a “low” art form exempt from academic rules that governed painting, printmaking offered an artistic freedom that many found attractive. During the 1890s artists experimented with the stark contrasts of woodcuts, as Félix Vallotton did with his inventive use of black-and-white in scathing commentaries on Parisian society. Other Nabis, like Pierre Bonnard and Édouard Vuillard, were enthralled with color lithography and tested the limits of the medium. They produced posters and print portfolios commissioned by dealers, most importantly gallerist Ambroise Vollard.

Toulouse-Lautrec turned his energies to the art of the poster, creating bold and incisive views of city life. These large-scale, eye-catching, brilliant creations were short-lived advertisements pasted along the streets and sidewalks of Paris. Passers-by were seduced by exciting, caricature-like portrayals of bohemian venues: the café-concerts of Montmartre or the famed performers who headlined there, including Jane Avril and La Goulue (the glutton). The lively, unconventional lives celebrated in these prints and posters came to define fin-de-siècle Paris.


An illustrated catalogue, with essays by Marina Ferretti Bocquillon, Gloria Groom, Vivien Greene, Ruth E. Iskin, Bridget Alsdorf, and Ann Dumas accompanies the exhibition. Copies of the catalogue are available in the Museum Store.

This exhibition is organized by the Guggenheim Museum Bilbao in partnership with the Columbus Museum of Art.

Columbus Museum of Art creates great experiences with great art for everyone. The Greater Columbus Arts Council, Nationwide Foundation, Ohio Arts Council, and the William C. and Naoma W. Denison, Frederic W. and Elizabeth E. Heimberger, Paul-Henri Bourguignon and Erika Bourguignon Fund for Visual Art, and Bette Wallach funds of The Columbus Foundation provide ongoing support. CMA, Schokko Art Café, and the Museum Store are open Tuesday through Sunday from 10:00 am to 5:00 pm, and Thursday from 10:00 am to 9:00 pm. Museum admission is $14 for adults; $8 for seniors and students 6 and older; and free for members, children 5 and younger. Special exhibition fees for Beyond Impressionism are as follows: $20 adults, $14 seniors (60+) and students (18+), $11 students (6-17), free for CMA members and children 5 and under. CMA general admission is free on Sundays and pay-what-you-want on Thursday evenings from 5:00-9:00 pm; entrance to Beyond Impressionism on those days is $6. General admission is free for all on Sundays; PNC Free Sundays presented by PNC Arts Alive is made possible through a grant from the PNC Foundation. CMA charges a flat rate of $5 for parking in the Museum’s East Gay lot. CMA members park for free. For additional information, call 614.221.6801 or visit

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