The Airborne Toxic Event began as the creative vision of Mikel Jollett, a writer and musician from Los Angeles, California, who transformed personal hardship and literary inspiration into one of the most distinctive alternative rock projects of the late 2000s and 2010s. The band formed in 2006 after Jollett, then working as a novelist, decided to channel his storytelling instincts into songwriting following a difficult period in his life. He was joined by guitarist Steven Chen, bassist Noah Harmon, drummer Daren Taylor, and classically trained violinist and keyboardist Anna Bulbrook. Their combination of traditional rock instrumentation with orchestral textures quickly The post Complete List Of The Airborne Toxic Event Songs From A to Z appeared first on ClassicRockHistory.com.

The Top 10 Alice Cooper Songs list aims to encompass as much of Alice Cooper’s extensive career as possible, without omitting some of his most significant contributions to rock and roll music culture. And yes, culture is a significant term, as the image and showmanship of the artist known as Alice Cooper greatly enriched the legacy he has continued to maintain in the world of rock and roll. Since the early days of the Alice Cooper band in the late late 1960’s, through the 1970s glory years of  Kiss, Led Zeppelin, Black Sabbath, and into the big hair days of The post Top 10 Alice Cooper Songs appeared first on ClassicRockHistory.com.

Having crested 30 days of government shutdown, a Portland coffee shop has stepped up to channel donations towards supporting those in need. With Americans’ Supplemental Nutrition Assistance Program (SNAP) benefits lagging, Heretic Coffee Shop, which itself operates on a not-for-profit base, has raised $87,000 to replace that welfare. With a model of selling coffee to […] The post Portland Coffee Shop Raises Over $87,000 to Feed People Losing Benefits as Government Shuts Down appeared first on Good News Network.

The silliest Trump scandal imaginable is the forthcoming White House ballroom, funded entirely by private donations. If everything is a scandal, is nothing a scandal? Anything that feeds President Donald Trump’s ego must be denounced, no matter how much it serves a larger public purpose. Washington Post art critic Philip Kennicott uncorked a typical piece of anti-Trump agita on Oct. 24, headlined: “Why the demolition of the East Wing is so shocking: The speed of destruction, and the projection of power, are part of the strongman playbook.” Journalists find fascist parallels in seemingly everything Trump touches. Kennicott wrote that images of leaders looking over architectural plans is a trope of “political iconography” by elected leaders. But he found an echo in an expert: “Columbia University professor Barry Bergdoll pointed out in a speech at the National Building Museum on Wednesday, the public display of the architectural model has a darker history in fascist and totalitarian politics, as well.” The funniest part was Kennicott insisting this needed an elaborate review process, “balancing opposing worldviews, forging compromise, incorporating a wide range of perspectives and insight.” Most journalists at the Post would set their desks on fire if you proposed this balance of opposing views in their overwrought Trump critiques. Nobody should go to Kennicott for balance, or for reverence. Last year, he trashed the AP photograph that showed Trump after he was shot in the ear, raising a defiant fist. He wrote: “It will encourage some of the darkest forces in American civic life. People who preach violence, who revel in its political potential, can now say that one of their own is a victim, and he was. From that, more cycles of violence are almost inevitable.” On the other hand, Kennicott gushed in 2017 that the oddball official portraits selected by the Obamas—where Barack Obama looked like he was emerging out of a bush, and Michelle Obama was colored gray, like a corpse—were “great,” in part because that couple is awesome. “Now that they have left office, now that their fundamental decency is in high relief by contrast with the new political order, memory is refreshed.” This is the same critic who wrote a piece for July 3, 2021, headlined “Maybe it’s time to admit that the Statue of Liberty has never quite measured up.” The statue, he claimed, is “ambiguous and ambivalent. As familiar to some Americans as the flag, the statue is just as meaningless or foreign to others, a sign without significance, or worse, a symbol of hypocrisy or unfulfilled promises”—because Trump ruined America’s promise, with the “past four years of strident and often violent anti-immigrant sentiment.” On Oct. 26, Kennicott was back with an overly long attack on how “Trump attempts to consolidate power over cultural infrastructure,” a campaign against taxpayer-funded museums, “to capture or coerce them into new narratives of patriotism and American exceptionalism.” Unsurprisingly, he championed painter Amy Sherald—of “gray Michelle” fame—who pulled her work from the National Portrait Gallery over her painting “Trans Forming Liberty,” depicting the Statue of Liberty as a drag queen. This article’s logic collapsed when Kennicott lamented that Trump and his backers “gin up anger and online mobs.” That’s not healthy. Guess which angry mob is healthy? Leftists who vandalize art to protest Big Oil, because “museums, at their best, are institutions that respond to public needs and concerns.” Kennicott railed against “the usual horsemen of the authoritarian apocalypse: suspicion, cynicism and apathy.” But what the Left really can’t stand is anyone challenging their ideological stranglehold, anyone making a “culture war” to erode their overweening cultural dominance. COPYRIGHT 2025 CREATORS.COM We publish a variety of perspectives. Nothing written here is to be construed as representing the views of The Daily Signal. The post The Art Lovers Trash Trump From Ballrooms to Museums appeared first on The Daily Signal.

In this bonus Halloween special episode of The Big Questions, IFLScience takes on the “mystery” of the Loch Ness Monster.

Always good to stay visible at an orgy.

"I ain't afraid of no ghost." Easy enough to say 40 years ago, when audiences delighted to the spectral pest control antics of Bill Murray, Harold Ramis, and Dan Aykroyd. You can't fear what isn't real, after all. The show pioneered a tactic known as 'provocation.' This is when an investigator attempts to goad a spirit into manifesting by insulting it. Things have changed. Since then, the proportion of Americans who believe in ghosts has surged 400%. Surveys indicate that nearly two-thirds of the population now hold supernatural beliefs, and 20% have reported seeing a ghost. Entrepreneurial spirits With roughly 50 million Americans purportedly having encountered a haunting, the business of ghost hunting has evolved into a profitable enterprise. It would appear that the invisible hand of the market really does exist.As proof that even the ethereal cannot escape the iron law of supply and demand, paranormal tourism is booming. Millions of Americans now spend over $300 million on haunted attractions each year. You can satiate your gruesome desires by visiting Iowa’s Villisca Axe Murder House, where eight people, including six children, were murdered in 1912. For $430, anyone brave enough to take a whack at it can try to spend the night. Ghost-hunting shows are scaring up unprecedented interest as well. YouTube, for example, has hundreds of paranormal-themed channels. One of the biggest is "Sam and Colby." With an average of 10 million views per video, the kids are among the most popular ghost hunters online. The two film themselves while visiting haunted locales across the United States. Freed from the limitations of conventional television, the videos are lengthy and typically unedited, offering a more immersive experience for their audience of 15 million subscribers.There are compilation channels for those who don’t want to endure the deferred gratification of 90 minutes of shaky handheld videos and constant cries of, "What was that?"Then there are channels like "Mind Junkie" and "Nuke’s Top 5," which brazenly monetize our endless appetite for not-so-carefully-vetted supernatural slop. One wonders if these shrewd content creators are also behind the "debunking videos" they attract. Nice business model, if so. Tales from the clip"Paranormal Caught on Camera," now in its ninth season on Discovery+ and the Travel Channel, can best be described as a reality show. From poltergeist activity to mysterious shadows roaming the woods, a panel of experts weighs in on supposed paranormal footage from around the world. Imagine "Ghostbusters" meets "America’s Funniest Home Videos" — with the approximate scientific rigor of both. Psychologists say a prior belief in ghosts makes a person more inclined to perceive unexplained sounds and events as paranormal. The show’s presenters are clearly familiar with the research. They frequently use the term "energy" (which appears to function as a noun, verb, and adjective) and attribute every sound or camera jiggle to the spirit realm.Ghost roast"Ghost Adventures" is one of the longest-running and best-known of these types of shows. While the experts on "Paranormal Caught on Camera" are content to remain armchair investigators, aging goth heartthrob Zak Bagans and his crew actually go out into the field. Since 2008, they have traveled around the United States looking for paranormal phenomena. The format is simple: They arrive at an alleged haunted location, turn off the lights, hit record, and explore the building. What we get is a well-curated, finely edited spectacle.The show pioneered a tactic known as "provocation." This is when an investigator attempts to goad a spirit into manifesting by insulting it. While this demonstrates a fortitude worthy of Ray Parker Jr. himself, it has never once worked over 300 episodes. The only scary thing that appears to be happening is a group of middle-aged men screaming in the dark about nothing in particular.The truckload of pseudoscientific equipment these guys bring to the task separates them from your average amateur. A truckload of pseudoscientific instruments is used to add an element of objectivity. Particularly prized is the EMF meter, used to detect the electromagnetic fields ghosts apparently emit. This essential prop emits clicks and pings reminiscent of the motion trackers used to detect xenomorphs in the movie "Aliens." Unsurprisingly, there is no James Cameron-level tension here. Ninety-nine times out of 100, they’ve probably just found the fuse box.RELATED: Halloween costumes for old people: 6 surefire rules for dressing up Matt HimesPhantom itchSlick, polished, and carefully choreographed. It’s all very Hollywood. It comes as no surprise that the massive increase in belief in ghosts over the last 50 years coincides with the golden era of horror. Art imitates life. Many of these shows use the same strategies as your typical Hollywood special effects department.So why are we watching these shows? "Ghost Adventures," now in its 28th season, has perfected the art of selling us fear. These shows give us what we want. We love to be afraid. A horror movie grants us the chance to live vicariously through the characters on the screen. A way to experience and navigate terror from the comfort of our couch.Then there's another, more poignant, explanation. We believe in ghosts for the same reason that we believe in God. In the end, both ghost hunters and Christians are motivated by the same persistent yearning that has dogged us since the dawn of humanity: There's got to be something more than this.

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