Picture this: You\'re at a Bad Religion concert. You wait with anticipation as you see five figures enter the dimly lit stage. Softly, they play \"Overture\", the instrumental from their new album, The Empire Strikes First. You wonder where Greg Graffin is. The end of the tune approaches, and here he comes... BAM! It\'s the beginning of the anthemic \"Sinister Rouge\". Your body begins to whip around in a manic frenzy, and will continue to do so for another hour.

QUICK QUIZ: A teenager drinks too much Coors at a party, gets in his girlfriend\'s car, drives into a light post at 90 MPH, and dies. Whose fault is it?
A. The teenager.
B. The hosts of the party.
C. The brewery.
If you answered anything but \"A\", you\'re an idiot.
It\'s not rocket surgery, people. Hell, it\'s not even brain science. It\'s a little something I like to call \"personal responsibility\". Perhaps you\'ve heard of it. Although, if you’re an American, you probably haven\'t.

\"So, Vinnie,\" you say. \"Why in the world would a handsome Milwaukee dude such as yourself give two shits about a TV show based in and focused on New York?\"
First of all, it’s not your place to ask questions. My friend Shelly Paul says I’m a bohemian. I do what I please, rules and reason be damned. Secondly, Fearless Music, if given the chance, could be a healthy competitor for MTV and its sister networks.

TABLE OF CONTENTS
1. The \"It\'s Like That\" / \"Buckwilin\'\" Single
2. The Young Brooklyn Mixtapes
3. Why You Should Buy The Album
Chapter 1: The \"It\'s Like That\" / \"Buckwilin\'\" Single

Great Caesar\'s ghost! I\'m on my fourth listen of this album, and I\'m at a complete loss for words. And, if you know me, that\'s more rare than a good Bill Paxton film. It\'s not that I can\'t come up with an opinion on The Pretty Toney Album. Rather, I don\'t know if I have enough room to lay that opinion out for you fine people.

THE BAND: Nicholas Ziemann - guitar/vocals/tickling the ivory; Michael Ziemann - bass; Matthew Reetz - lead guitar; Jonathan Fries - drums.
THE MUSIC: Ever wonder what music from Appleton, Wisconsin sounds like? Well, if you’re like me, you spend endless hours pondering such things. Finally, our prayers have been answered in Number One Fan\'s debut album, Compromises. Musically, they sound like a hodgepodge of Oleander, The Get Up Kids, and Diffuser. Lyrically, Nicholas Ziemann weaves lovelorn tales like on \"Nothing Will Change\" and \"There Went The World\".

Jesus. Here I go again, making another Twin Peaks comparison. I can’t help it, though. That show was so unique, and permanently burned so many twisted, surreal images into my brain. It’s been over a decade since the show even aired, and I still can’t shake that image of Bob crawling over the couch toward the camera. I guess that’s a true testament to a quality piece of work.

Holy time warp, children of the Earth. What\'s the year on the calendar? 2004? Really? Damn... I feel like I just stepped off the Soul Train. I shouldn’t even be using a computer while listening to this album, it seems so out of place. They didn’t have computers like this back in the day that this album takes you to.

AT SOME POINT DURING THE 1980S, WHEN THE MUSIC OF THAT ERA REACHED ITS ALMIGHTY, DANCE-WORTHY PEAK, SOMEONE DROP-KICKED A BOOM BOX INTO THE FUTURE. ALONG THE WAY, IT CAUGHT SOME OF MODERN ELECTRONICA\'S FAT, FUNKY SOUND, AND LANDED IN THE ARMS OF AN AUSTRALIAN SONGWRITER NAMED DAN WHITFORD. BACKED BY HIS BANDMATES IN CUT COPY, WHITFORD IS COMMANDEERING THIS NEW RETRO SOUND INTO YOUR AIRWAVES AND EARDRUMS. VINNIE BAGGADONUTS GOT THE WHOLE STORY ON TAPE.
Vinnie: What’s going on?
Dan: Not much. Doing interviews, hanging out.

COMIC WRITER AND ARTIST/FILMMAKER/MUSICIAN/FAMILY MAN MIKE ALLRED TALKS TO OUR OWN RESIDENT FANBOY, D.J. KIRKBRIDE, ABOUT COMICS, THE STATE OF THE COMIC INDUSTRY, AND THE MOVIE BUSINESS IN THIS MAMMOTH INTERVIEW. ENOUGH HULLABALOO... LET\'S GET ON WITH IT!
D.J.: I have a pretty generic question to start off with, but if you’re tired of answering it you can make something up.
Mike: (laughs) Okay.
D.J.: How did you break into comics?