(Author’s note: After this article was published, the opening date of the museum was changed to Thursday, August 3.)

When the Bix Beiderbecke Museum & Archive opens to the public on July 24 in the River Music Experience basement, a major draw will be seeing and being in the presence of artifacts from the legendary jazz cornetist’s life – clothes he wore, instruments he played, reproductions of letters he wrote.

As museum developer Joe Hines said: “An exhibit like this doesn’t offer explanations; it [gives] impressions.”

While that might be typical of a biographical museum, the process of collecting those impressions and putting them under one roof has required extraordinary effort over decades.

One of the joys of life is outsmarting the bureaucrats and regulators. They are constantly seeking to ruin our lives with demands that we comply with. Free men and women must resist.

Here are five easy hacks to fight back.

Based in Atlanta, The Coathangers collective boasts Meredith Franco on bass, Stephanie Luke on drums, and Julia Kugel on guitar, with their stage noms de guerre Minnie, Rusty, and Crook Kid Coathanger. Like those monikers, much of the musicians’ repertoire is intentionally jokey, ranging from their 2007 debut album’s ode to Tonya Harding to Nosebleed Weekend’s “Squeeki Tiki,” in which one of the instruments employed is a dog’s squeaky toy.

But as fans and reviewers will attest, what isn’t a joke is the group’s ferocious talent, and their insistence that full-throttled punk rock needn’t be nihilistic. As ConsequenceOfSound.net attested, the trio’s latest album “exemplifies what The Coathangers have been doing better than pretty much everyone for the past decade: blowing off the rules in the name of fun, and making damn catchy records almost as an afterthought.”

Sixty-six characters, a beheading, star-crossed lovers, a woman and child on the run, wedding and funeral parties for the same guy (on the same day), a crazy judge, songs, and another beheading all add up to an incredible evening of theatre courtesy of Bertolt Brecht and the Prenzie Players. Brecht is known for his “epic theatre” works and, true to form, the Prenzies' staging of The Caucasian Chalk Circle incorporates a play-within-a-play – or rather, a parable-within-a-play – alongside social commentary, occasionally absurd humor, sentimentality, satire, and music. (Whew!) And meeting this challenge are director Kate Farence, her creative crew, and her stellar cast of 15 (10 of whom play multiple roles),  who made for exciting theatre on July 14's opening night.

When, exactly, did romantic comedies become extinct? I’m not even talking about “classic” rom-coms such as When Harry Met Sally... or Sleepless in Seattle, or that exceptional Julia Louis-Dreyfus/James Gandolfini charmer Enough Said from 2013 (the most recent example of a truly topnotch one I can think of). I’m talking about the genre as a regular staple of moviegoing, with headliners such as Sandra Bullock and Jennifer Lopez and, God help us, Katherine Heigl falling for lesser stars in vehicles that were once as abundant as Blumhouse horror flicks or crap reboots of ’80s TV shows. For anyone missing such offerings, I would direct you to director Michael Showalter’s The Big Sick, which just might stand as the most hysterical, moving, swoon-worthy rom-com of the millennium. For anyone not missing such offerings, I’d direct you to The Big Sick even more quickly, just so you can see what this genre is capable of when everything – and I mean everything – goes magically right.

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I mean no offense, but I just have to get this off my chest: Zombie Prom – the first production in the inaugural season of new theatre company the Mississippi Bend Players, directed by Broadway veteran Philip Wm. McKinley – is dumb. There, I said it. I mean, we're talking about a kitschy, '50s-era musical comedy in which a pubescent zombie goes to a high-school prom, for God's sake.

But before QC theatre elites call for my head, hear me out, because the gift of having a talent such as McKinley helm this type of production is that he knows how to create a show boasting a complete vision, and he also utilizes top-level talent to take a silly script and turn it into something exceptionally entertaining.

The first joke of Spider-Man: Homecoming is the prologue’s arrival of the U.S. Department of Damage Control to tidy up a mess made by the Avengers. Damage Control has apparently been part of the Marvel Comics universe for nearly three decades, but this is its first movie appearance, and the name is amusing for its unusual bureaucratic bluntness.

The last joke is a multifaceted nugget in the final seconds before the end credits roll – part intentionally premature cut, part nod to the movie’s PG-13 rating, and part capper to the teenage trials of poor Peter Parker. (He’s repeatedly called “Penis Parker” by one of his classmates, which was probably a major contributor to the MPAA’s decision.)

In between, Homecoming is an almost-constant steam of minor marvels contributing to a shapely whole brimming with pleasure. Like its protagonist when he’s Spider-Man, the movie has an infectiously exuberant youthful zing.