Indexes may be at the back of the book, but a good one can be the difference between a good book and a great one. Enid Stubin <A HREF="http://www.moreintelligentlife.com/node/735">remembers</A> her stint at the Sydney Wolfe Cohen Associates indexing service.
Huckleberry tries to pull the rug over me ... er, him.
Bagheera assumes the bread loaf position—one of the mandatories in the Kitty Olympiad.
John Marks sends along this <A HREF="http://www.elvispresleynews.com/JewishElvis.html">"respectful and perhaps link-worthy page on Elvis' Jewishness"</A>.
<A HREF="http://www.nytimes.com/2007/12/19/dining/19mini.html?_r=1&oref=slogin">…; is Mark Bittman's third collection of 101 no-hassle dishes. These aren't gimmicks—they're good food designed to be made in under 20 minutes (frequently <I>much</I> under), using foods you might have around the house. (Over the years, I've discovered that a little prep at the shopping stage guarantees that you'll have the ingredients to make good food fast.)
I spent a part of this morning sitting in the warm lobby of 10 Exchange Place in downtown Jersey City, waiting for FedEx to open. I had some gear to return. While I waited, I decided to listen to music. I undid the two front latches on my black canvas bag. From one pocket, I pulled out <a href="http://blog.stereophile.com/stephenmejias/052407eliminate/">the Red Wine Audio iMod</a>, from the other I removed <a href="http://blog.stereophile.com/stephenmejias/030107shure/">the Shure SE310 earphones</a>.
I've been telling you—I've been telling <i>everyone</i>, actually—that old-style New York City salsa is making a major comeback. Major.
Back when I worked at the lower Broadway Tower Records, those crazy cut-ups in the Classical Annex culled the stupidest, most cheesecakey covers from the used bins and covered a wall-of-shame in the count-out room with them.
I'm a huge fan of Martin Puryear's sculpture, having discovered it at a 1987 Hirschhorn retrospective. So I've been <I>meaning</I> to catch up with his current exhibition at the Museum of Modern Art. Arthur C. Danto's <A HREF="http://www.thenation.com/doc/20071231/danto">appreciation</a> in <I>The Nation</I> serves not only as a stimulus to hie me hence forthwith, but also as a meditation on MOMA's second-floor atrium.
