Remember when bands cared about albums as an art form? Instead of
slapping together a dozen tracks because, hey, they'll just end up on
everyone's iPod shuffle anyway, musicians considered how their songs
might congeal as a whole or form some sort of dram
Science has uncovered some strange creatures, especially in the depths of the sea where sunlight never reaches. But from the dark corners of the world’s surface come reports of creatures science refuses to admit to its zoology. The History Channel series “Monsterquest” exploits and investigates the legends of everything from Sasquatch to giant squids. Season two has been released on DVD.
The word exploit fits because of the heart-pounding drumbeat of sensationalism permeating the production; investigate is apt because “Monsterquest”—unlike many similar shows—actually submits the evidence to outside scrutiny and engages the commentary of skeptical scientists.
But some of those scientists, in keeping with their training in radical empiricism, are unable to entertain plausibility. In the episodes on the so-called “Mega Hog” and “Vampire Beast” that roam the Southern states, the reasonable suggestion by some commentators that the “monsters” are actually wild hogs groan unaccountably huge and cougars reclaiming their ancestral range are dismissed by the representatives of Science. If it’s not in front of their faces, it’s not admissible.
“Monsterquest” treads into murkier country in such episodes as “Ohio Grassman” (a Midwest rural Big Foot) and “Ghosts,” where the evidence is less tangible. Despite its breathless tone of awe, “Monsterquest” admits that the alleged footage of the simian-like Grassman reveals nothing but an indistinct upright creature at the edge of a distant woods; a video of ghosts at Gettysburg is deemed fraudulent by a video expert. At the same time, it shows anomalies that can neither be proven nor disproven, including a transparent blue light flickering around a gas station caught on a surveillance camera.
As the narrator keeps repeating, investigators “are left with more questions than answers.”

Elvis Costello's frequent collaborator T-Bone Burnett produced Secret, Profane & Sugarcane,
an Americana-inflected album working with country and folk traditions
for images of sawdust floors set to mandolin and fiddle. Costello
intended one s
You wouldn’t expect to find T-bone and sirloin dinners at a place with stool seating and a location next to a shop hawking cell phones and cigarettes. But one of the city’s most evocatively named eateries, ZaZa Steak & Lemonade (4919 W. Capito
The enduring fantasy of older men is that a gorgeous
young woman will fall in love with them, find them sexually arousing
and long to imbibe their wisdom while sitting at their feet. That
fantasy is the spring driving Woody Allen's often-hilarious f
Away We Go, a droll comedy-cum-drama by director Sam Mendes (American Beauty),
perceptively explores the lives of more-or-less ordinary 30-somethings
lost in a world without much meaning. Verona (Maya Rudolph) and Bu


