Roughly a quarter-century ago, B.B. King said of Joe Bonamassa that "he hasn't even begun to scratch the surface."

It was an undeniable compliment to somebody not yet in his teens, but it was also a challenge - one that the blues-rock guitarist, singer, and songwriter apparently still takes to heart. Bonamassa continually scratches and scratches to get deeper.

His performance April 19 at the Adler Theatre will be one example, featuring a set with his acoustic band and another with his electric - both covering roughly 10 songs. The acoustic sets demonstrate that Bonamassa isn't content to skate by on instrumental virtuosity - unlike too many of his ace-guitarist peers. These shows require solid songs, nuance, and variety.

As he said in a phone interview last week, the two-set engagements are "very challenging vocally and on guitar, because you're essentially switching gears tune to tune."

Even better evidence of his range can be found in his recent discography. In the past two years alone, Bonamassa has put out the Driving Towards the Daylight studio album, live and studio releases with singer Beth Hart, the third and final album from the Black Country Communion super-group, a studio disc by the jazz-fusion Rock Candy Funk Party, Beacon Theatre: Live From New York, the live album An Acoustic Evening at the Vienna Opera House, and the four-disc Tour de Force: Live in London - documenting themed shows at four venues with different band lineups and more than 60 different songs. And he has a new studio album planned for fall release. (The old saw about the weather can be adapted for Bonamassa: If you don't like his latest record, just wait a few minutes.)

"Look into my eyes and keep still," Socibot says to me in its pleasant but mechanical voice. Before I can do anything to comply with the command, the Putnam Museum's machine continues: "I would say you are a 44-year-old man." I laugh. "Your face is happy," it says.

Clearly, Socibot needs to learn that when it comes to age, it's better to guess low - as I'm on the cusp of 43, thank you very much.

This was a demonstration of Socibot's facial-recognition feature, but the talking, moving head is no one-trick robot. It does impressions - including of some famous cinematic artificial intelligences (2001's HAL 9000, Arnold Schwarzenegger's cyborg from the Terminator series). It can play card games using QR codes - which can also be employed to tell visitors about other features in the Putnam's new Science Center.

But mostly, it shows the complexity of human expression. Using the "compose" touch-screen interface, users can program Socibot to communicate - not merely typing the words it will speak but controlling its voice and nonverbal cues that impart meaning, from the movement of the eyes and head to flushed cheeks to the set of the mouth.

This teaches the challenges and skills involved in getting machines to complete multifaceted tasks. Nichole Myles, the Putnam's vice president of education and exhibits, noted that Socibot allows visitors to "experience what early coding and programming is."

And because the Science Center is geared to children - with the goal of getting them interested in Science, Technology, Engineering, and Math (STEM) careers - Socibot has also been programmed to chide users who try to put inappropriate words and phrases into its mouth.

Socibot is undoubtedly one of the most sophisticated (and expensive) components of the STEM center, and you could spend a few hours trying to fine-tune the proper expressions involved in, for instance, Hamlet's famous "To be or not to be" monologue.

But given the breadth and depth of science-related experiences available at the Putnam's Science Center, to spend too much time at one station would be wasting opportunities. There's the feature that visibly demonstrates turbulence; the lift-yourself-up pulley; the airways fountain; ferrofluid; the gravity wall; the lever tug-of-war; the 3D-printing station; robot vision; the dinosaur dig scheduled to open this summer ... .

I've spent a lot of time as a kid, a kid at heart, and a parent at children's museums and science centers, and the Putnam's STEM center is a marvel - especially considering how quickly it came together and how little it cost.

In 2006, U.S. Representative Jim Leach of Iowa introduced a resolution urging President George W. Bush to appoint a "Special Envoy for Middle East Peace." The resolution said, in part, that "history has demonstrated that the Middle East region is likely to lurch from crisis to crisis without sustained diplomatic and economic engagement by the United States."

In an interview March 24, Leach amended that statement. "I would say not only without our engagement, [but] ... with or without our engagement."

That revision is a reflection of all that has happened in just the past few years: the continuing conflict between Israel and Palestine; developments regarding Iran's nuclear program; the Arab Spring; turmoil in Egypt; and the Syrian civil war - the last of which has grown more complicated given newly escalated tension between Russia and the West.

It also hints at a frustration Leach clearly has with American foreign policy in the region - and not merely the long, costly war with Iraq.

So when Leach presents his lecture "What is Old, New, & Unprecedented in America's Relationships with the Middle East" on April 10, he'll have a lot to talk to about. (The speech is the first public event of St. Ambrose University's new Middle East Institute.) But don't expect many answers.

Bassist and singer Devin Alexander attributes The Post Mortems' two-instrument setup to laziness, but it's not ordinary laziness - as there's very little that's typical about the Quad Cities/Iowa City band.

From its bass-and-drums-rock conceit to its gear to the seven-plus years it took to record its new album Cracked & Crooked, The Post Mortems have often traveled through bramble and brush.

But as arduous as that has often been for Alexander and drummer Al Raymond, the band's March 7 album-release show at RIBCO should provide plenty of proof that the journey has borne fruit. The record successfully hews to The Post Mortems' two-man core while pushing past the boundaries of what should be possible with only a traditional rhythm section - maintaining a minimalist identity while giving listeners much of they dynamic range and texture they expect from a larger outfit. And Alexander said his recently debuted live bass rig should be a revelation to longtime fans of the band.