by D.W. Lundberg

Saturday, March 23, 2013


And now for something completely different here at FTWW... a full-on CD review of American Eyesore, debut album from local-band-makes-good Lucid 8. Drummer Jonny has been one of my closest friends for as long as I can remember, and I know he and the guys poured their hearts and souls into the project, so it pleases me to put in a plug for them here. (And, yes, I am fully aware of how self- serving that sounds.) Now excuse me while I try my hardest to sound like a rock critic...

When we're young, we all dream of becoming rock stars. It ranks up there with being a superhero, or an astronaut - surrounded by millions of adoring, screaming fans, worshipping at the altar of your very existence. Yet how many of us actually get to do the things we dream about? Breaking into the music business, believe it or not, can be just as difficult as learning to pilot the space shuttle or adopting super powers. For every artist that makes it, though (Imagine Dragons and fun. [formerly The Format] are recent examples, and even Belgian-Australian singer Gotye dabbled in the avante garde for nearly a decade before gaining international success with "Somebody I Used To Know"), there are literally hundreds who don't - timing, talent, and good old fashioned luck all playing a key factor in any artist's success.

Wednesday, March 6, 2013


Part Two of our X-Men movie retrospective, in which we take a visual tour of the franchise's special (and not-so-special) pleasures.

So we've already established some of the many Easter Eggs and character cameos which make up Marvel's mutant movie universe. This includes, during an early sequence in X-Men: The Last Stand, a direct homage to Claremont/Byrne's two-part Days Of Future Past, in which our heroes are rounded up and herded into WWII-type internment camps.

That the latest X-Men sequel to enter production is also called Days Of Future Past raises some interesting theoretical questions, namely: Did they plan this sort of thing from the beginning, with every intent to revisit this particular story thread in the future? Or did the producers of X-Men 3 simply include the scene as a shout-out to fans, because they couldn't find room for it elsewhere? Evidence seems to suggest the latter, though wouldn't it be fun, in today's post-Avengers climate, to think that the makers of this $1.9 billion franchise had a particular endgame in mind?