Vol. 24, No. 12
Something in the Way He Moves
Beatle Bob has been on a one-man dance marathon, bop-bop-bopping all over town. But why?
By C.D. Stelzer
Lost and Found
Emotionally disturbed teenagers in Illinois used to be shipped off to locked institutions in other states. Stuart Marcus and Tim Carl brought some of them home.
By Melinda Roth
Deep Doo-Doo
A professional poop-scoopin' business raises a stink over a crappy ad
By Adam Pitluk
Money Walks
Did a state representative yank the purse strings in an effort to frighten off a would-be challenger to one of his closest allies?
Flaccid or Turgid?
By Wm. Stage
Letters to the Editor
Published the Week of March 22
Bull's-Eye
NRA's false premises are no longer protected by Smith & Wesson
By Ray Hartmann
Blast Furnace
Neko Case's new album, Furnace Room Lullaby, generates real heat
By Steve Pick
Teenage Wasteland
Good music from some bad girls, the Donnas
By Jason Toon
Country Cookin'
Rising local rap stars Nelly and the St. Lunatics stay at home to film their first video, "Country Grammar," to the delight of their fans
By Randall Roberts
Mix Master Mike with Rahzel
Friday, March 24; Firehouse
Guster
Tuesday, March 28; Mississippi Nights
By Daniel Durchholz
Locker Talk
Just-folks atmosphere and hearty food at the St. Charles Locker and Restaurant
By Joe Bonwich
Feeding Hungry Souls
Finding heavenly sustenance at the St. Mary of Victories lunch buffet
Ghost Dog: The Way of the Samurai
Written and directed by Jim Jarmusch
By Gregory Weinkauf
Waking the Dead
Directed by Keith Gordon
Forward Past
New art inspired by old times
By Eddie Silva
Swarm Fuzzies
Spreading the buzz on St. Louis' pro-basketball franchise
By Byron Kerman
Robert's Rules of Order
Turning a cool gaze on the beloved poet Robert Frost
Through the Eyes of a Child: Coming Home
By Lee Patton Chiles (Historyonics Theatre Company)
By Sally Cragin
Over the Tavern
By Tom Dudzick (Repertory Theatre of St. Louis)
Criminal Hearts
By Jane Marti (HotHouse Theatre Company)
By Harry Weber
Albert Herring
Music by Benjamin Britten, libretto by Eric Crozier (Washington University Opera)
