Анализ сайта terryteachout.com
Основное Готовность: 25%
Домен
terryteachout.com
Состояние доменного имени
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Проверяем корректность доменного имени и наличие технических проблем на уровне домена.
Длина домена велика. Но если вы продвигаете запрос, входящий в название домена, то это хорошо.
Домен второго уровня идеален для продвижения.
Ответ сервера
200 Успешный ответ
HTTP-код ответа и цепочка редиректов
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Код 200 — страница доступна. Коды 3xx — редиректы (цепочки замедляют загрузку и размывают ссылочный вес). Коды 4xx/5xx — ошибки, поисковик не сможет проиндексировать страницу.
Сервер настроен корректно.
Цепочка редиректов:
http://terryteachout.com
301 MovedPermanently
http://www.terryteachout.com/
200 OK
Безопасность
Сайт небезопасен
Использование HTTPS и SSL-сертификат
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HTTPS — обязательный стандарт. Google и Яндекс отдают предпочтение защищённым сайтам. Отсутствие SSL или просроченный сертификат ведут к предупреждениям в браузере и снижению позиций.
На сайте не найден защищенный протокол ssl и сайт не открывается по https!
Не настроен HSTS (Strict-Transport-Security) — рекомендуется включить.
HTTP автоматически перенаправляется на HTTPS.
Поздравляем! Сайт не содержится в реестре РКН.
Кодировка
utf-8
Кодировка символов страницы
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Стандарт — UTF-8. Неправильная кодировка вызывает нечитаемые символы и мешает поисковику корректно распознать текст страницы.
Указана кодировка на странице utf-8.
Язык
Атрибут lang в HTML-теге
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Атрибут lang (<html lang="ru">) сообщает поисковикам и браузерам, на каком языке написана страница. Помогает при ранжировании в региональном поиске.
Язык страницы не указан. Рекомендуется явно указать язык документа!
Скорость загрузки
~1,18сек
Время отклика сервера (TTFB)
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Time To First Byte — время до получения первого байта от сервера. Норма до 200 мс. Медленный отклик ухудшает пользовательский опыт и ранжирование: Яндекс и Google учитывают скорость страниц.
Скорость загрузки сайта 1,18сек превышает 1 секунду. Желательно улучшить работу сайта!
Объем документа
70Кб
Размер HTML-кода страницы
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Слишком большой HTML замедляет парсинг браузером и сканирование поисковым роботом. Рекомендуется не более 200 Кб.
Объем html-документа 70Кб оптимален.
Структура html-документа корректна.
Ресурсы
Ресурсы: 1
Внешние ресурсы страницы (CSS, JS, изображения)
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Количество и тип подключённых ресурсов влияют на скорость загрузки. Большое число запросов увеличивает время рендеринга страницы.
Кол-во файлов ресурсов 1 достаточно.
Показать полный список ресурсов
| Тип | Название | Значение |
|---|---|---|
| stylesheet | text/css | http://www.artsjournal.com/aboutlastnight/styles-site.css |
Серверные заголовки
Кол-во: 8
HTTP-заголовки ответа сервера
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Заголовки сервера передают браузеру и поисковику служебную информацию: кеширование, безопасность (CSP, HSTS), сжатие (gzip). Правильная настройка ускоряет загрузку и повышает защищённость.
Найдены серверные заголовки 8шт. Подробнее про серверные заголовки.
Показать полный список серверных заголовков
| Ключ | Значение |
|---|---|
| Server | nginx |
| Date | Sat, 22 Aug 2026 14:23:57 GMT |
| Transfer-Encoding | chunked |
| Connection | keep-alive |
| Vary | Accept-Encoding |
| X-Httpd-Modphp | 1 |
| Host-Header | 8441280b0c35cbc1147f8ba998a563a7 |
| X-Proxy-Cache | HIT |
CMS
Не определена
Система управления сайтом (движок)
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CMS — это движок, на котором работает сайт (WordPress, 1C-Bitrix, Tilda и др.). Знание CMS помогает понять возможности SEO-оптимизации и подобрать подходящие инструменты. «Не определена» — вероятно, самописный сайт или нестандартная сборка.
CMS не определена. Вероятно, сайт самописный либо движок надёжно скрыт. Это не ошибка.
Веб-сервер
nginx
Программное обеспечение сервера
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Веб-сервер — это ПО, которое отдаёт страницы посетителям (nginx, Apache, IIS, LiteSpeed и др.). Определяется по серверным заголовкам ответа (Server, X-Powered-By и т.п.). «Не определён» — сервер намеренно скрывает эти заголовки, это нормальная практика безопасности.
Сайт работает на веб-сервере nginx.
Мета-теги Готовность: 24%
Title
About Last Night:
Заголовок страницы в браузере и поисковой выдаче
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Title — главный SEO-заголовок страницы. Влияет на CTR в поиске и ранжирование. Оптимальная длина: 50–70 символов. Ключевые слова — ближе к началу.
Необходимо увеличить число символов в title (текущее значение мало: 17, минимум: 25, оптимально: от 40 до 45)
Дублей словоформ в title не найдено.
Description
Описание страницы в поисковой выдаче (сниппет)
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Meta Description — текст под заголовком в выдаче. Напрямую на позиции не влияет, но влияет на CTR. Оптимальная длина: 120–160 символов.
Установите мета-тег description!
Keywords
arts, Terry Teachout, arts education, arts, arts news, art news, Arts Journal, artsjournal, artnews, music, music news, dance, dance news, literature, literature news, theater, theater news, theatre, people, arts politics, arts controversy, public art, arts features, magazines, artsnews, artmagazine, musicnews, arts magazines, art magazines
Список ключевых слов страницы (устаревший тег)
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Meta Keywords не учитывается Яндексом и Google для ранжирования с 2009–2012 годов. Заполнение не обязательно, но не вредит. Конкурент может использовать содержимое для анализа.
Keywords установлены.
Канонический Url
Указывает поисковику основную версию страницы
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Canonical (rel=canonical) предотвращает проблему дублей страниц. Должен точно совпадать с URL проверяемой страницы. Неправильный canonical может передать ссылочный вес на другую страницу.
Рекомендуем прописать канонический Url.
Robots
Ошибок нет
Директивы для поисковых роботов на уровне страницы
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Meta Robots управляет индексацией конкретной страницы: index/noindex — индексировать ли, follow/nofollow — следовать ли по ссылкам. Noindex полностью исключает страницу из поиска.
Meta-тег robots не указан. Страница свободна для индексации.
Адаптивность
Настройка масштабирования на мобильных устройствах
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Тег viewport (<meta name="viewport">) сообщает браузеру, как масштабировать страницу на мобильных. Стандарт: width=device-width, initial-scale=1. Отсутствие — признак отсутствия мобильной версии.
Meta-тег viewport не указан. Страница не адаптивная.
Разметка OpenGraph
Не найдено
Мета-теги для красивых превью в соцсетях
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OpenGraph (og:title, og:description, og:image) управляет тем, как страница выглядит при репосте в социальных сетях и мессенджерах. Отсутствие OG-тегов — невзрачный превью при шеринге.
Разметка OpenGraph не задана. Страница не оптимизирована под социальные сети. Мета-теги с разметкой Og помогают социальным роботам лучше структурировать Ваш сайт.
Все мета-теги
Кол-во: 1
Полный список мета-тегов страницы
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Таблица всех meta-тегов, включая нестандартные. Позволяет найти опечатки, дубли и лишние теги.
Найдены мета-теги 1шт. Мета-теги не видимы для человека и предназначены для обмена информацией между веб-страницей и поисковыми системами, браузерами и другими веб-службами. С ними роботы 🤖 и устройства ведут себя более ожидаемо.
Показать полный список мета-тегов
| Тип | Название | Значение |
|---|---|---|
| name | keywords | arts, Terry Teachout, arts education, arts, arts news, art news, Arts Journal, artsjournal, artnews, music, music news, dance, dance news, literature, literature news, theater, theater news, theatre, people, arts politics, arts controversy, public art, arts features, magazines, artsnews, artmagazine, musicnews, arts magazines, art magazines |
Оптимизация Готовность: 52%
Структура
Ошибок нет
Семантические HTML-элементы страницы
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Проверяет наличие основных структурных элементов: nav, header, footer, main. Корректная семантическая структура помогает поисковику понять архитектуру страницы.
Структура документа корректна (теги <html> и <body> присутствуют в одном экземпляре).
Контент
Есть ошибки
Объём и качество текстового содержимого
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Анализирует объём полезного текста на странице. Слишком мало — страница может считаться малополезной. Слишком много — ухудшается читаемость и восприятие.
Слова из title 2 встречаются в тексте редко. Добавьте в контент страницы слова из тега <title>!
Абзацев с текстом 139 достаточно.
Среднее число слов в абзаце 86 достаточно.
Кол-во знаков контента 49905 на странице оптимально.
Кол-во слов 8404 на странице оптимально.
Заголовки
Ошибок нет
Иерархия заголовков H1–H6
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H1 должен быть один и содержать ключевой запрос. H2–H6 описывают подразделы. Пропуск уровней (H1 → H3) и несколько H1 — типичные ошибки, снижающие понятность страницы для поисковика.
На странице присутствуют заголовки <h2> 14. Это хорошо.
На странице присутствуют заголовки <h3> 20.
Тошнота
4,47
Насколько одно слово доминирует в тексте
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Классическая тошнота = √(частота самого повторяющегося слова). Норма до 7–8: текст воспринимается естественно. Выше — поисковик может счесть страницу переспамленной.
Тошнота страницы в пределах нормы 4,47.
Академич. тошнота
15,56%
Насколько текст перенасыщен ключевыми словами
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Академическая тошнота = (частота слова / общее количество слов) × 100%. Показывает долю конкретного слова в тексте. Норма 5–15%.
Академическая тошнота превышает норму 5-15%. Измените текст страницы!
Семантическое ядро
20
Наиболее часто встречающиеся слова на странице
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Топ слов по частоте использования. Показывает, какие слова доминируют в тексте с точки зрения поисковика.
Контент страницы содержит осмысленный текст и слова.
Показать список слов
| Слово | Кол-во | Частота |
|---|---|---|
| posted | 20 | 0,24% |
| permalink | 20 | 0,24% |
| reading | 12 | 0,14% |
| little | 12 | 0,14% |
| journal | 12 | 0,14% |
| dining | 9 | 0,11% |
| musical | 9 | 0,11% |
| that's | 9 | 0,11% |
| review | 8 | 0,10% |
| subject | 8 | 0,10% |
| reviewed | 8 | 0,10% |
| modern | 8 | 0,10% |
| french | 8 | 0,10% |
| george | 8 | 0,10% |
| quartet | 8 | 0,10% |
| ellington | 8 | 0,10% |
| writing | 7 | 0,08% |
| doesn't | 7 | 0,08% |
| street | 7 | 0,08% |
| broadway | 7 | 0,08% |
Индексация Готовность: 50%
Индексирование
Ошибок нет
Разрешено ли индексирование страницы
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Проверяет, не закрыта ли страница от индексации через robots.txt, meta robots или X-Robots-Tag. Страница, закрытая от индексации, не появится в поисковой выдаче.
Анкоров на странице 8 оптимально. Поисковые роботы обязательно проиндексируют сайт.
Robots.txt
Найден корректный robots.txt
Файл управления сканированием сайта роботами
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Robots.txt указывает поисковым роботам, какие страницы сканировать, а какие — нет. Ошибки в файле могут случайно закрыть важные разделы от индексации.
Кол-во редиректов для файла robots.txt 3 слишком большое! Это может вызывать затруднение при индексации поисковыми роботами!
Проверяемая страница не запрещена в robots.txt.
Robots.txt доступен по постоянному адресу
Цепочка редиректов для файла robots.txt:
http://terryteachout.com/robots.txt
301 MovedPermanently
http://www.terryteachout.com/robots.txt
301 MovedPermanently
http://www.terryteachout.com/
200 OK
Показать содержимое robots.txt
<!DOCTYPE html>
<html>
<head>
<meta http-equiv="Content-Type" content="text/html; charset=utf-8">
<meta name="keywords" content="arts, Terry Teachout, arts education, arts, arts news, art news, Arts Journal, artsjournal, artnews, music, music news, dance, dance news, literature, literature news, theater, theater news, theatre, people, arts politics, arts controversy, public art, arts features, magazines, artsnews, artmagazine, musicnews, arts magazines, art magazines">
<title>About Last Night:</title>
<link rel="stylesheet" href="http://www.artsjournal.com/aboutlastnight/styles-site.css" type="text/css">
<link rel="alternate" type="application/atom+xml" title="Atom" href="http://www.artsjournal.com/aboutlastnight/atom.xml">
<link rel="alternate" type="application/rss+xml" title="RSS 1.0" href="http://www.artsjournal.com/aboutlastnight/index.rdf">
<link rel="alternate" type="application/rss+xml" title="RSS 2.0" href="http://www.artsjournal.com/aboutlastnight/feed.xml">
<link rel="EditURI" type="application/rsd+xml" title="RSD" href="http://www.artsjournal.com/aboutlastnight/rsd.xml">
</head>
<body>
<div id="container">
<div id="topnav">
<img border="0" src="http://www.artsjournal.com/images/artsnews.gif" align="right" width="90" height="25" alt="AJ Logo"> an ARTSJOURNAL weblog | ArtsJournal Home | AJ Blog Central
</div>
<div id="banner"><img src="http://www.artsjournal.com/aboutlastnight//aboutlastnight.gif" width="300" height="60" alt="About Last Night" border="0"></div>
<div id="center">
<div class="content">
<h2>September 28, 2007</h2>
<blockquote>
<h3 id="a074330">CAAF: Elves. Why did it have to be elves?</h3>
<p>I mean to respond more fully to OGIC's <i>lovely post</i> about the children's classics you first discover as an adult, occasioned by her reading of <em>The Hobbit</em>. For now, though, I just wanted to share an excerpt from <i>a TLS article</i> I recently came across which describes Tolkien, C.S. Lewis and their writing circle.<br></p>
<blockquote>
Tolkien and Lewis formed the spine of the Inklings, regularly convening to read and discuss one another's work in Lewis's rooms at Magdalen College. There were nineteen members in all, and Glyer excels at depicting their world, with its petty rivalries, joshing honesty ("he is ugly as a chimpanzee", wrote Lewis of fellow Inkling Charles Williams), its wit and learning and championship of scholarship for its own sake. The Inklings were often supportive and sympathetic ("the inexhaustible fertility of the man's imagination amazes me", wrote Lewis in 1949 on receipt of another instalment of The Lord of the Rings), but were capable of ferocious criticism if it was felt that a member had done anything less than his best ("You can do better than that. Better Tolkien, please!"). Tempers must surely have become frayed at times - as Tolkien became unyieldingly critical of Lewis's Chronicles of Narnia ("about as bad as can be") or as the English don Hugo Dyson met the latest bulletin from Middle Earth by (according to Tolkien's son Christopher) "lying on the couch, and lolling and shouting and saying, 'Oh God, no more Elves'".
</blockquote><br>
I read <em>The Hobbit</em> for a junior-high English class, but didn't read The Lord of the Rings trilogy until college. It was summertime, and I was visiting my parents in Asheville. I have a vivid memory of finishing the first volume in the middle of the night and sitting in the parking lot outside the Little Professor Bookstore (at a soon-to-be-defunct location) the next morning, waiting for it to open so I could buy the next book in the series.
<p></p>
<p class="posted">Posted at 1:48 PM | permalink | email this entry</p>
</blockquote>
<blockquote>
<h3 id="a074328">CAAF: Room service</h3>
<p>For those of us who live in backwater movie markets: Dana Stevens <i>notes</i> that the Wes Anderson short <em>Hotel Chevalier</em>, an accompaniment to the filmmaker's new movie <em>Darjeeling Limited</em>, is available on iTunes. Even better, it's free!</p>
<p>A.O. Scott's <i>review</i> mentions that the 13-minute film is being shown at tonight's New York Film Festival, but won't otherwise appear in theaters. It will, however, be included on the DVD of the film.</p>
<p>Interestingly, the notices for <em>Hotel Chevalier</em> have been far more positive than the mixed reception for <em>Darjeeling Limited</em>, so it's worth checking out.</p>
<p class="posted">Posted at 12:12 PM | permalink | email this entry</p>
</blockquote>
<blockquote>
<h3 id="a074325">TT: The theory of critical relativity</h3>
<p>A couple of weeks ago I ran across a hugely interesting <i>essay</i> called "Confessions of a Community Theater Critic." The author, John Barry, covers amateur and semi-pro theater in Baltimore for the <i>Baltimore City Paper</i>, an alternative weekly, and his confessions were both amusing and on the mark:</p>
<blockquote>
This is not a gig for the weak of heart. It's for the eternal optimist, the dead-end journalist who doesn't believe in dead ends. It's for the tolerant, the cheerful, the brave and gratuitously creative. It's a job for someone who doesn't have a lot to do on weekends.
</blockquote>
<p>Barry's essay inspired me to write a "Sightings" column for tomorrow's <i>Wall Street Journal</i> about the problem of what I call "appropriate standards." How <i>do</i> you judge a low-budget performance, or one given by performers whose ambitions outstrip their skills? Do you let the critical chips fall where they may--or shorten your critical yardstick?</p>
<p>To find out, pick up a copy of the Saturday <i>Journal</i> and turn to the "Weekend Journal" section. I'm there. (Starting on Saturday, subscribers to the Online Journal can read my column by going <i>here</i>.)</p>
<p class="posted">Posted at 11:27 AM | permalink | email this entry</p>
</blockquote>
<blockquote>
<h3 id="a074324">TT: What's in a whole bunch of names?</h3>
<p>I've received a <i>lot</i> of responses to my <i>posting</i> inviting you to help me come up with a title for my Louis Armstrong biography. Unfortunately, I also received an unprecedented amount of spam and press releases this week. I'm still doing my best to sort out the good stuff. I'm afraid that for once, too many of you have written (and are still writing) for me to send individual replies. To all of you, my heartfelt thanks for sharing your thoughts with me. I take your input seriously!</p>
<p>At some point in the next couple of weeks, I'll post the results of my informal poll. Watch this space for details....</p>
<p class="posted">Posted at 11:17 AM | permalink | email this entry</p>
</blockquote>
<blockquote>
<h3 id="a074154">TT: Little old serial killers</h3>
<p>Who knew? I went to Baltimore last Saturday to review a revival of a <i>mossy old chestnut</i> for today's <i>Wall Street Journal</i>, and it turned out to be as fresh as tomorrow's bread:</p>
<blockquote>
What's so funny about mass murder? Nothing--unless you happen to be watching a performance of "Arsenic and Old Lace," whose principal characters have piled up two dozen corpses between them, with No. 25 about to quaff a glass of elderberry wine laced with arsenic, strychnine and cyanide as the curtain falls.
<p>The phenomenal durability of Joseph Kesselring's only successful play is a matter of record. It opened on Broadway in 1941, ran for 1,444 performances, was filmed by Frank Capra, and has since become God's gift--or, rather, Satan's--to community theaters and amateur actors. But it tends not to get done by first-class companies nowadays, and so CenterStage's crisp, well-cast revival is something of a revelation. I knew "Arsenic and Old Lace" was funny, but I didn't know it was <i>this</i> funny. Anyone who doesn't shatter a rib laughing at CenterStage's production is...well, dead.</p>
</blockquote>
<p></p>
<p>Also on my plate was the <i>Keen Company</i>'s production of <i>The Dining Room</i>:</p>
<blockquote>
Of all A.R. Gurney's studies of life among the WASPs of northeastern America, the best one might just be "The Dining Room," whose Off Broadway premiere put him on the map. "The Dining Room" is celebrating its 25th birthday this season, and the Keen Company has marked the occasion with a very fine Theatre Row revival that makes the strongest possible case for a theatrical craftsman who doesn't get nearly enough respect.
<p>Inspired by Thornton Wilder's "The Long Christmas Dinner," "The Dining Room" takes place, according to Mr. Gurney, in "a dining room--or, rather, many dining rooms." The play consists of a series of cunningly dovetailed dramatic vignettes in which the author explores his preferred theme, the postwar erosion of upper-middle-class self-confidence, with the utmost skill and variety. The six actors in the cast play a total of 57 roles, so many that the "characters" in "The Dining Room" come across not so much as individuals as deftly sketched archetypes. Most of the playlets are comic, but the overall effect is intensely elegiac, in large part because of Mr. Gurney's mixed feelings about the lost world that spawned him. He knows its limitations, but he also appreciates its virtues, and it is this honest ambiguity that makes "The Dining Room" so involving.</p>
</blockquote>
<p></p>
<p>No free link, so to read the whole thing, follow the usual drill: either buy today's paper or go <i>here</i> to subscribe to the Online Journal, which will allow you to read my column--and the rest of the <i>Journal</i>'s arts section--on the spot. You know it's a good deal. What are you waiting for? (If you're already a subscriber, the column is <i>here</i>.)</p>
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</blockquote>
<blockquote>
<h3 id="a074004">TT: Almanac</h3>
<p><i>I cannot rest from travel; I will drink<br>
Life to the lees.</i></p>
<p>Alfred Tennyson, "Ulysses"</p>
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</blockquote>
<h2>September 27, 2007</h2>
<blockquote>
<h3 id="a074005">TT: So you want to see a show?</h3>
<p>Here's my list of recommended Broadway and off-Broadway shows, updated weekly. In all cases, I gave these shows favorable reviews in <i>The Wall Street Journal</i> when they opened. For more information, click on the title.</p>
<p></p>
<p>Warning: Broadway shows marked with an asterisk were sold out, or nearly so, last week.</p>
<p><b>BROADWAY:</b><br>
• <i>Avenue Q</i> (musical, R, adult subject matter and one show-stopping scene of puppet-on-puppet sex, reviewed <i>here</i>)<br>
• <i>A Chorus Line</i> (musical, PG-13/R, adult subject matter, reviewed <i>here</i>)<br>
• <i>The Drowsy Chaperone</i> (musical, G/PG-13, mild sexual content and a profusion of double entendres, reviewed <i>here</i>)<br>
• <i>Grease</i> * (musical, PG-13, some sexual content, reviewed <i>here</i>)<br>
• <i>The 25th Annual Putnam County Spelling Bee</i> (musical, PG-13, mostly family-friendly but contains a smattering of strong language and a production number about an unwanted erection, reviewed <i>here</i>)</p>
<p><b>OFF BROADWAY:</b><br>
• <i>The Fantasticks</i> (musical, G, suitable for children old enough to enjoy a love story, reviewed <i>here</i>)</p>
<p><b>CLOSING NEXT WEEK:</b><br>
• <i>Iphigenia 2.0</i> (drama, R, adult subject matter and violence, reviewed <i>here</i>, closes Oct. 7)</p>
<p><b>CLOSING SATURDAY:</b><br>
• <i>The Seagull</i> (drama, PG-13, adult subject matter, reviewed <i>here</i>)</p>
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</blockquote>
<blockquote>
<h3 id="a074003">TT: Almanac</h3>
<p>"Work on good prose has three steps: a musical stage when it is composed, an architectonic one when it is built, and a textile one when it is woven."</p>
<p>Walter Benjamin, <i>One-Way Street</i></p>
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</blockquote>
<h2>September 26, 2007</h2>
<blockquote>
<h3 id="a074221">OGIC: Better late than never?</h3>
<p>I've been a fickle reader these past months, skipping around from book to book, only occasionally seeing one through. I did finish two by Kate Christensen, <i>The Epicure's Lament</i> and <i>In the Drink</i>, as well as <i>A Buyer's Market</i> (the second installment of Anthony Powell's <i>A Dance to the Music of Time</i>) and the strictly confectionary <i>Mergers and Acquisitions</i>. I also swallowed a couple of Reginald Hill mysteries practically whole, but that's just par for the course (until I run out of them, an eventuality I prefer not to contemplate). Otherwise, though, it's been a few pages here, a chapter there, until a week or two ago, when I hit on just the thing that suits me just now. But more on that in a minute.</p>
<p>First, a word or two on <i>In the Drink</i>, Christensen's first novel. It superficially resembles a certain kind of book wherein a hapless twenty-something, female, finds her hap. But Claudia, the protagonist of Christensen's book, is less picturesquely hapless than your standard issue Bridget Jones type. Frequently drunk, sought by collection agents, and not above stealing from the dead, she's actively self-destructive. She has a memorable foil in her employer, Jackie, whose socialite detective novels she ghostwrites for peanuts. And Christensen has an eye for a scene:</p>
<blockquote>
In the park, I sat on a wet bench. The river lay flat and sullen, a drenched, dark mineral gray-green. The banks of New Jersey hulked, beaten-down; the sky was several shades lighter than the water, but just as dense. The mastodonic roar of trucks along the West Side Highway was pierced by a bicycle bell on the path behind me, and the voices of children playing nearby on the paved walkway.
</blockquote>
<p>She's especially good at capturing what things look like seen through a glaze of pain. Speaking of which, check out the unlikely loveliness of this description, from Henry Green, of an unpopular schoolboy's fear of his classmates (I'm still dipping into and out of Green's memoir <i>Pack My Bag</i>):</p>
<blockquote>
Until he went up to Cambridge I was sheltered and could always find sanctuary in [my brother's] room which meant I had more time to read and that means literally, in the hunger for reading anything and everything which began about then, I had more time to give to what became a preoccupation. Also I was spared the terror I got to know afterwards when there was that thunder of feet down the corridor and one sat still as a rabbit wondering if they were coming for one. Later at Oxford, where I had rooms over cloisters paved in stone which echoed, they would tear screaming in by either of its entrances drunk like fiends about one in the morning and, unpopular as ever, I had again to face the fact they might be after me as five years previously they had been; different, desperate now, estranged.
</blockquote>
<p>As I wrote about this book <i>before</i>, it has an affecting urgency, apparently the result of Green's conviction that World War II would be the end of him, and of his resulting desperation to get down in writing what life had felt like so far. Right now I'm in the middle of his chapter on discovering the opposite sex; on this fraught subject, especially, his candor and his commitment to capturing feeling and fleeting impressions are arresting.</p>
<p>But what I'm <i>really</i> reading at any given time, now that I am a commuter again, is what I'm reading on the train. And lately that's not Green, which has been more of a living-room couch affair, to be picked up when I need a break from the burdens of work or television. Lately what I'm really reading is something most of you read as tykes, or perhaps had read to you: <i>The Hobbit</i>.</p>
<p>Nope, before this month I never read <i>The Hobbit</i>, or anything else by Tolkien. Now I'm about to finish it, and it's held me rapt. More on that experience when I do finish it; in the meantime, what children's classics did you first discover as an adult (Harry Potter doesn't count), and how did it make you feel--old? young again? CAAF and Terry, consider yourselves asked, too.</p>
<p class="posted">Posted at 9:39 AM | permalink | email this entry</p>
</blockquote>
<blockquote>
<h3 id="a074002">TT: Almanac</h3>
<p><i>Work apace, apace, apace, apace;<br>
Honest labour bears a lovely face.</i></p>
<p>Thomas Dekker, <i>The Pleasant Comedy of Patient Grissell</i></p>
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</blockquote>
<h2>September 25, 2007</h2>
<blockquote>
<h3 id="a074155">TT: Entries from an unkept diary</h3>
<p>• I see that Mr. Think Denk, about whom I blogged <i>yesterday</i>, has returned the compliment <i>today</i>.</p>
<p>One of the things that interested me about his posting was that he noted the presence on my bookshelves of Randall Jarrell's <i>Pictures from an Institution</i>, one of my favorite novels--but that he didn't say anything about it to me at the time! I, too, make an invariable practice of checking out the shelves of the people whose homes I visit and drawing conclusions about them from what I find there, but I usually share those conclusions with my hosts.</p>
<p>It makes me wonder what <i>else</i> he noticed....</p>
<p>• Incidentally, readers of my recent <i>book column</i> about Mary McCarthy may be amused to learn that when you search for <i>Pictures from an Institution</i> at amazon.com, <i>The Groves of Academe</i> comes up on the same screen. That's a good one, too--but <i>Pictures from an Institution</i> is much better, and contains a truly wicked pen portrait of McCarthy to boot.</p>
<p>• Readers who've been keeping up with the ceaseless <i>controversy</i> over the fate of Philadelphia's Barnes Foundation by way of Mr. <i>Modern Art Notes</i> and Ms. <i>CultureGrrl</i> might want to take a look at this 2005 <i>posting</i> in which I reported on my first (and, I suspect, last) visit to that famously eccentric museum's suburban headquarters.</p>
<p>Here's the money quote:</p>
<blockquote>
I'm glad I waited so long to go to the Barnes for the first time. It's not a place for the casual museumgoer. That's why it will be a crime to move it elsewhere. I'm not talking about the complex legal and fiscal issues at stake in the planned move--I'm not competent to assess those. I'm talking about purely aesthetic matters. The Barnes isn't perfect, not by a long shot, but it's <i>unique</i>, and that's the point of it....You can't just drop by on the spur of the moment--you have to make a reservation in advance and go well out of your way to get there. That contributes enormously to its special quality. Once the Barnes pulls up stakes and moves downtown, this quality will be lost forever, even if the existing galleries are reproduced exactly in its new quarters (which I'll believe when I see it).
</blockquote>
<p>I haven't changed my mind.</p>
<p class="posted">Posted at 1:37 PM | permalink | email this entry</p>
</blockquote>
<blockquote>
<h3 id="a074150">CAAF: Afternoon coffee</h3>
<p>• <i>Amazing video podcasts</i> of images from the Spitzer Space Telescope. Click on the ones titled "Gallery Explorer: --", <i>hope in vain</i> for <em>Dark Side of the Moon</em> to start up. (Also available on iTunes.)</p>
<p>• Daily dose of tumult on the heath and in the snow: Revisit Vera Pavlova's "<i>Four Poems</i>" from the <em>New Yorker</em>.</p>
<p>From a <i>2002 interview</i> with Pavlova:<br></p>
<blockquote>
<em>What are the main critical views of your work?</em><br>
They go from one extreme to another! On the one hand, I'm regarded as a sort of male invention. On the other, I'm an earth mother, concerned with gynaecological matters and not metaphysics. Also there is the psychoanalytical view, which says my poems are a clear case of intersexuality.
<p></p>
<p><em>What's that?</em><br>
All I could find in a dictionary was: "Intersex, an organism in which<br>
there are no clear indications of male or female gender."</p>
<p><em>So, a sexual zero! And what follows from that?</em><br>
That there's nothing especially female or male about poetry.</p>
</blockquote>
<p></p>
<p class="posted">Posted at 1:30 PM | permalink | email this entry</p>
</blockquote>
<blockquote>
<h3 id="a074113">CAAF: Morning coffee</h3>
<p>• Ursula K LeGuin's tough yet clear-sighted <i>review</i> of Jeanette Winterson's new sci-fi novel, <em>The Stone God</em>. Of the recent spate of literary writers working in genre, LeGuin writes: "I am bothered, though, by the curious ingratitude of authors who exploit a common fund of imagery while pretending to have nothing to do with the fellow-authors who created it and left it open to all who want to use it. A little return generosity would hardly come amiss."</p>
<p>• The <em>Financial Times</em>' Rosie Blau <i>lunches</i> with Winterson at Alastair Little, in London. Winterson is charming; champagne, prawns, risotto and lost bread with honey roast plums are consumed.* (Via <i>Light Reading</i>.)</p>
<p>• Review of <i>Alastair Little</i>.</p>
<p>* Your link-gatherer is currently on a no-sugar, no-booze diet. Expect a continued bounty of food links, lingering appraisal of other people's meals, etc., until it all goes tits-up with the order of a case of <i>these</i>.<br></p>
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</blockquote>
<blockquote>
<h3 id="a074116">CAAF: Mother tongue</h3>
<p>Edmund White has written a fascinating <i>piece</i> for the <em>NYRB</em> on Henry James' letters. The essay focuses on James' and his brother William's education, including this intriguing linguistic bit:<br></p>
<blockquote>
In 1855 [Henry James Sr.] accordingly bundled the family off to Europe--to Geneva (surely the least sensuous city on the Continent), where little Henry was taught by French-speaking governesses, then sent to the Pensionnat Roediger. When their father's enthusiasm for this institution inevitably waned they all moved to London where tutors were engaged again, though their governess Mlle Cusin was retained and brought over from Geneva to continue teaching them French. It was during these years that the boys acquired their nearly perfect and certainly idiomatic French; the self-critical James could say, "My French astounds me--its goodness is equalled only by its badness. I can be terribly <em>spirituel</em>, but I can't ask for a candlestick."
<p></p>
<p>In later years Henry would be guilty of Gallicisms ("the actual President of the United States") and would scrawl hasty notes to himself in French. His letters in these two volumes are peppered with French phrases, two or three a page. After addressing Thomas Sergeant Perry in French for a full page, Henry (at age twenty-four) switches back to English but deplores the loss of the intimate tu ("How detestable this <u>you</u> seems after using the Gallic <u>toi</u>!"). Some of the strangeness of James's prose in these early letters can surely be explained by his translating back into English from French. For instance, when he writes Perry in 1860 from Paris he describes what he sees out the window of his hotel and refers to "a grasp of warriors" passing by (a phrase which surely began life as <em>une poignée de guerriers</em>). Or when James talks of a Swiss mountain trail that took eighteen years to "pierce," he's obviously translating back from <em>percer</em>. Richardson remarks on similar mistakes in William's English, though in his case the source of the errors was German.</p>
</blockquote>
<p></p>
<p>I was thinking a little about this sort of thing -- crossing languages and how speaking one affects the other -- over the weekend. Currently, I speak appalling French and Spanish, and I've been considering adding some hideous Latin or Greek to the stable. Just idle, What Would George Eliot Do-type thoughts before bedtime.</p>
<p>If you've invested a lot of time with flash cards and language labs and still never cleared "appalling," you may look for consolation. And for me, that's come from what the other language, no matter how imperfectly mastered, has revealed or reminded me about English. Etymologies, sentence structures, relationships between word families: All of these get thrown into sharper relief. For instance, reading García Márquez in Spanish, you might come across <em>espuma</em> for shaving lather, and so <em>lather</em> and <em>foam</em> get tossed around in your brain for a while, in a way that is gratifying and/or makes you seem a little high, depending: <em>Lathered waves, espuma, spume!</em></p>
<p>That's the train of thought that got me to the Latin and Greek. I'm not sure which, if either, I'll try to learn (recommendations are welcome). For now I've been entertaining myself with the various Amazon reviews on the different textbooks (<em>Teach Yourself Pig Latin in a Day!</em>) available.* Here's <i>an excerpt</i> from a review of <em>Introduction to Attic Greek</em>:<br></p>
<blockquote>
I'm not sure how to answer the chap who thinks learning a language ought to be a distractingly entertaining experience. But let me try. Language learning can indeed be accompanied by merriment at times, usually during the immersion phase and often at the expense of the learner. I'm afraid we've missed that boat by a couple millennia. If the pure cerebral rush that comes with the gradual mastery of the inner logic and outer mechanics of your target language is not sufficient stimulation in itself, then the learner might be better advised to stick to Spanish, where he can start pretending to make sentences almost from the outset.
</blockquote><br>
Something to keep in mind.
<p></p>
<p>(Link to White article via <i>Maud</i>.)</p>
<p>* I really love reading Amazon reviews -- I don't know why, possibly because I don't get out much: It's people-watching for agoraphobics. Like sitting on a bus where everybody around you is talking about books (and Harriet Klausner rides every line). For a long time my favorite was one that took Zadie Smith to task for not writing well enough about menopause in <em>On Beauty</em>. It was the abundance of clinical detail that really made the case.</p>
<p class="posted">Posted at 12:54 AM | permalink | email this entry</p>
</blockquote>
<blockquote>
<h3 id="a074001">TT: Almanac</h3>
<p>"Your work is to keep cranking the flywheel that turns the gears that spin the belt in the engine of belief that keeps you and your desk in midair."</p>
<p>Annie Dillard, <i>The Writing Life</i></p>
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</blockquote>
<h2>September 24, 2007</h2>
<blockquote>
<h3 id="a073999">TT: Made manifest</h3>
<p>I often have occasion to make favorable mention in this space and elsewhere of <i>Think Denk</i>, Jeremy Denk's witty blog about "the glamorous life and thoughts of a concert pianist." Not long ago our mutual friend Anya Grundmann, who helps run the <i>NEA Arts Journalism Institute in Classical Music and Opera</i>, invited the two of us to appear jointly at the next institute to talk about blogging. We live in the same neighborhood but had never met, so I invited Mr. Think Denk to tour the Teachout Museum and have lunch with me at <i>Good Enough to Eat</i>. It took us several weeks to come up with a mutually compatible date--we've both been on the road for much of the summer--but we finally managed to converge on Friday afternoon.</p>
<p>No sooner had I opened the door to my apartment than we started pelting one another with opinions, some of which we shared (four thumbs up for Verdi's <i>Falstaff</i>) and some not (he likes Ives and Schumann a <i>lot</i> more than I do). The talk was more or less nonstop, though we did pause long enough to cram down lunch and listen to four records that came up in the conversation:</p>
<p>• Van Cliburn <i>playing</i> the first movement of the Barber Piano Sonata</p>
<p>• Gérard Souzay's 1946 <i>recording</i> of Fauré's "Clair de lune"</p>
<p>• A 1909 <i>recording</i> of Reynaldo Hahn's "Offrande" sung by the composer to his own piano accompaniment</p>
<p>• A <i>recording</i> of "Quand'ero paggio," an aria from <i>Falstaff</i>, made in 1907 by Victor Maurel, the baritone who created the role fourteen years earlier</p>
<p>Mr. Think Denk is every bit as smart and thoughtful in person as you'd expect from reading his blog. Time was when this might have surprised me, but experience has taught me that such is usually the case with the <i>best</i> <i>bloggers</i>. Alas, I'm afraid I talked his ear off about <i>The Letter</i>--I'd had an unusually productive work session with Paul Moravec the day before and was still booming and zooming as a result--but he was kind enough to act interested and ask leading questions, to which I obligingly responded by hosing him down with superfluous information. (At least I stayed off the subject of Louis Armstrong's embouchure!)</p>
<p>No doubt one of the secondary reasons for my garrulity was that I'd finally managed to lick the case of allergy-heightened, stress-exacerbated sniffles that tore a hole in the past two weeks of my life. As usual I celebrated by revving up my engine: on Saturday I took a train to Baltimore to see CenterStage's production of <i>Arsenic and Old Lace</i>, and the next day I was back in New York for a press preview of <i>Dividing the Estate</i>, Horton Foote's new play. This week I'll be writing three pieces, seeing two more shows, and paying a visit to the <i>Armstrong Archives</i> at Queens College.</p>
<p>Whatever else my life is or isn't, it's definitely not dull. Neither Mr. Think Denk nor I can still quite believe that people actually <i>pay</i> us to do what we do. Yes, I work too damn hard and don't always take proper care of myself, but I suspect that the sheer pleasure of spending my days immersed in art up to the eyebrows offsets no small part of the resulting wear and tear.</p>
<p>It's nice to be myself again.</p>
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</blockquote>
<blockquote>
<h3 id="a073943">TT: Titularly speaking</h3>
<p>I just got word that another book tentatively called <i>Hotter Than That</i> will be published around the time that my Louis Armstrong biography of the same name will be coming out from Harcourt. No, it's not an Armstrong biography, but it <i>is</i> about jazz trumpet, which suggests that I may need to come up with another title. The prospect doesn't unnerve me--my Mencken biography was retitled <i>The Skeptic</i> after I turned the manuscript in to HarperCollins--but it's not too soon for me to be thinking about a new name, so I thought I'd share my problem with the readers of this blog.</p>
<p>"Hotter Than That" is, of course, the title of one of Louis Armstrong's Hot Five recordings of 1928, so I went through the Armstrong discography to see if any other title leaped out at me. These caught my eye:</p>
<p>• <i>King of the Zulus</i></p>
<p>• <i>Fireworks</i></p>
<p>• <i>That Rhythm Man</i></p>
<p>• <i>You Rascal, You</i></p>
<p>• <i>Laughin' Louie</i></p>
<p>• <i>Song of the Vipers</i> (or, alternatively, "King of the Vipers," which was one of Armstrong's many nicknames)</p>
<p>• <i>I'm Shootin' High</i></p>
<p>• <i>Jubilee</i></p>
<p>Your thoughts?</p>
<p class="posted">Posted at 12:00 AM | permalink | email this entry</p>
</blockquote>
<blockquote>
<h3 id="a073942">TT: Almanac</h3>
<p>"<i>Lost Illusion</i> is the undisclosed title of every novel."</p>
<p>André Maurois, <i>The Art of Writing</i></p>
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</blockquote>
<h2>September 21, 2007</h2>
<blockquote>
<h3 id="a073899">TT: Just a cockeyed idealist</h3>
<p>Today's <i>Wall Street Journal</i> drama column is devoted to out-of-town productions of a pair of infrequently revived shows, William Saroyan's <i>The Time of Your Life</i> and Stephen Sondheim's musical version of <i>Merrily We Roll Along</i>:</p>
<blockquote>
Few artists have been done dirtier by posterity than William Saroyan. For a time he was one of America's best-known writers, and "The Time of Your Life," his most successful play, won a Pulitzer in 1940. But then America fell out of love with Saroyan, and he had lapsed into half-remembered obscurity long before his death in 1981. Not even "The Time of Your Life" has held the stage, and when the Shakespeare Theatre of New Jersey, one of the best companies in the New York area, announced a revival, I was eager to see what they would do with a play so completely out of favor. The good news is that it has turned out to be far more theatrically potent than I could possibly have imagined.
<p>On paper there's nothing much to "The Time of Your Life," which is set in a seedy San Francisco bar just after the start of World War II. Joe (Andrew Weems) sits and guzzles champagne as a string of variously eccentric drinkers come and go. At play's end he rouses himself from his sozzled torpor, does a good turn for an unhappy whore (Sofia Jean Gomez), and returns at last to the world he had renounced. That's all there is to it, really--except for the goofy good humor with which Saroyan portrays the patrons of Nick's Pacific Street Saloon. From Harry (Blake Hackler), the hapless hoofer who longs to be a comedian but is utterly unfunny, to Kit Carson (Edmond Genest), a half-senile old man who claims to have been a sharpshooting pioneer, Saroyan fills the stage with characters whose cockeyed charm wins you over....</p>
<p>Like the 1934 George S. Kaufman-Moss Hart play on which it is based, "Merrily We Roll Along" runs in reverse: It starts in the present, showing us the hollow triumph of a songwriter who gave up music to become a Hollywood producer, then turns back the clock so that we can watch him selling out by installments. The score is one of Mr. Sondheim's strongest, but the show's unrelieved pessimism and structural trickery turned off Broadway audiences, and the original 1980 production closed after just 16 performances.</p>
<p>Fortunately, Mr. Sondheim and George Furth (who had previously collaborated on "Company") kept on tinkering with "Merrily." In time they came up with a much-altered version meant to make us care about the fate of Franklin Shepard (Will Gartshore), the Sondheim-like songwriter who, unlike his creator, betrays his art (and friends and lovers) by jettisoning his idealism and going for the gold. In this revised, slimmed-down version, the show's ironic arc--it begins in bitter disillusion and moves "forward" to a happy "ending" full of youthful hope for the future--now makes dramatic and emotional sense.</p>
<p>Eric Schaeffer, who as artistic director of Signature Theatre has earned a well-deserved national reputation for his Sondheim stagings, has opted this time for a bare-bones production similar in feel to a semi-staged concert version. It is, alas, too obviously based on John Doyle's recent Broadway revival of "Company," right down to the big black piano at center stage...</p>
</blockquote>
<p></p>
<p>No free link--yet--so buy a paper, or go <i>here</i> to subscribe to the Online Journal, which will allow you to read my column--and the rest of the <i>Journal</i>'s arts section--on the spot. (If you're already a subscriber, the column is <i>here</i>.)</p>
<p class="posted">Posted at 12:00 AM | permalink | email this entry</p>
</blockquote>
<blockquote>
<h3 id="a073898">TT: Almanac</h3>
<p>"Good people are good because they've come to wisdom through failure. We get very little wisdom from success, you know."</p>
<p>William Saroyan (quoted in the <i>New York Journal-American</i>, Aug. 23, 1961)</p>
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</blockquote>
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<h2>About...</h2>
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<p id="a051420"><b>ABOUT "ABOUT LAST NIGHT" AND ITS AUTHORS</b> <br>
This is a blog about the arts in New York City and the rest of America, written by <b>Terry Teachout</b>, <b>Laura Demanski</b> (otherwise known as Our Girl in Chicago, or "OGIC" for short), and <b>Carrie Frye</b> (who signs her postings "CAAF"). Terry, who lives in New York, is the drama critic of <i>The Wall Street Journal</i> and the music critic of <i>Commentary</i>. more <b></b></p>
<p id="a051419"><b>ABOUT TERRY'S BOOKS</b> <br>
Terry wrote the introduction to the paperback edition of Elaine Dundy's <i>The Dud Avocado</i>, recently published by New York Review Books. His latest book is <i>All in the Dances: A Brief Life of George Balanchine</i>, published by Harcourt. more <b></b></p>
<p id="a072293"><b>ABOUT TERRY'S OPERA</b> <br>
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<p id="a071505"><b>SEE TERRY TALK</b> <br>
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<h2>TT-OGIC TOP FIVE</h2>
<p><b><i>A list of new things we've liked (subject to unexpected and wildly capricious updating).</i></b></p><b></b>
<p id="a074347"><b>PLAY</b> <br>
<i>The Dining Room</i> (Clurman, 410 W. 42, closes Oct. 20). A lovely revival by the Keen Company of A.R. Gurney's 1982 play--it's really a string of interlocking sketches--about the decline and fall of the American WASP. Most of the sketches are comic, but the effect is intensely elegiac, for Gurney has mixed feelings about the upper middle class that spawned him, and he isn't afraid to let them show. The six actors in the excellent cast play a total of fifty-seven people, all of them portrayed with telling exactitude (TT). <b></b></p>
<p id="a074346"><b>DVD</b> <br>
<i>Hangover Square/The Lodger</i>. The first DVD release of John Brahm's much-admired but infrequently screened mid-Forties thrillers, both featuring first-rate scores (Bernard Herrmann scored <i>Hangover Square</i>, Hugo Friedhofer <i>The Lodger</i>) and spectacularly sinister performances by Laird Cregar. The three-disc package also includes a third Brahm film, <i>The Undying Monster</i>, and a wealth of interesting bonus features. Splendid stuff (TT). <b></b></p>
<p id="a074345"><b>CD</b> <br>
Erin McKeown, <i>Lafayette</i> (Signature Sounds). Our favorite rocker, live at New York's Joe's Pub in January of 2007 with a smoking-hot band. If you've never seen McKeown on stage, this CD will give you a very good idea of what you've been missing all these years. I was there, and this is <i>exactly</i> how it was (TT). <b></b></p>
<p id="a074344"><b>BOOK</b> <br>
Alex Ross, <i>The Rest Is Noise: Listening to the Twentieth Century</i> (FSG, $30). A major new history of modern classical music, written from a passionately anti-ideological point of view by a critic-<i>blogger</i> with a lively style and an above-average endowment of common sense. By far the best and most reliable account of musical modernism ever to be published (TT). <b></b></p>
<p id="a072643"><b>MOVIE</b> <br>
<i>Sunshine</i>. Its influences are myriad and apparent--from Tarkovsky to Kubrick to Ridley Scott--but Danny Boyle's space-set thriller synthesizes them deftly and adds enough inventions of its own to carve out a distinctive aesthetic. Of all the destinations cinematic space voyagers have set their sights on, the sun has to be the one with the most raw power to exhilarate the imagination; <i>Sunshine</i> has visual potency to match (OGIC).</p>
<h2>Out of the Past</h2>
<p><b><i>Not new, but still worth a look or listen (and no less subject to change without notice).</i></b></p>
<p><b></b></p>
<p id="a073082"><b>CD</b> <br>
<i>Sidney Bechet/Martial Solal Quartet</i> (BMG/Media). In 1957, Sidney Bechet, who was already playing jazz in New Orleans when Louis Armstrong was still in kneepants, recorded an album of standards with a pair of modern rhythm sections that featured Martial Solal on piano and Kenny Clarke on drums. Some found the pairing incongruous, but Bechet had always had open ears--he'd been recording such harmonically sophisticated ballads as "Laura" and "Love for Sale" as early as the Forties--and the contrast between his straight-from-the-shoulder soprano-sax solos and the bebop backing of Solal and his colleagues is electrifying (TT). <b></b></p>
<p id="a071241"><b>BOOK</b> <br>
L.E. Sissman, <i>Night Music</i>. All but forgotten today, Sissman died of Hodgkin's disease in 1976 at the age of forty-eight, leaving behind a slender but indelible legacy of poems and essays, many of which were about the illness that was to rob America of one of its finest and most promising writers. Twenty-three years later, Peter Davison edited this well-chosen collection of Sissman's verse, whose cool, crisp iambs sit well with the highly individual sensibility of a poet-businessman who looked his fate in the eye without blinking: "Then one fine day when all the smart flags flap,/A booted man in black with a peaked cap/Will call for me and troll me down the hall/And slot me into his black car. That's all." Read him if you dare (TT).</p>
<h2>TT in <i>Commentary</i></h2>
<p><b></b></p>
<p id="a071457"><b>VIDEOBLOG</b> <br>
<i>August 2007</i>. On Alan Gilbert, <i>Xanadu</i>, Luciana Souza, Milton Avery, and more. <b></b></p>
<p id="a068709"><b>SELLING CLASSICAL MUSIC</b> <br>
"<i>I sincerely hope</i> that Alan Gilbert will prove to be a great conductor. But I have no doubt that it is far more important to the future of classical music in America for him to be a great communicator, one who finds new ways to do what Leonard Bernstein did so superlatively well in the days of the middlebrow..." <b></b></p>
<p id="a067394"><b>BOOKSHELF</b> <br>
"<i>It would be</i> an understatement to say that Mary McCarthy's novels haven't aged well--I don't know anyone without tenure who now reads them--and I can't say that I get much out of her essays, either. But her drama criticism hasn't dated in the least..."</p>
<h2>TT Elsewhere</h2>
<p><b></b></p>
<p id="a071078"><b>WHATEVER HAPPENED TO REGIONAL CRITICS?</b> <br>
"'<i>We're the last generation</i> of newspaper critics, you know,' a New York drama critic told me the other day. 'After us, everybody will be online.' Forecasts of Apocalypse Tomorrow usually turn out to have been exaggerated, but this one is looking more plausible than most..." <b></b></p>
<p id="a067922"><b>SHORT BUT SWEET</b> <br>
"<i>Orion Books</i>, one of England's top publishing houses, has just brought out the first six titles in a series of abridged versions of such classic novels as <i>Anna Karenina</i>, <i>Moby-Dick</i>, and <i>Vanity Fair</i>. I'm not inclined to be snippy about them..." <b></b></p>
<p id="a067268"><b>JAZZ WINS A PULITZER</b> <br>
"<i>I believe devoutly</i> in the beauty and significance of jazz, and I love Ornette Coleman's bold, innovative music. But by giving the Pulitzer Prize to a good-but-not-great album that doesn't even pretend to meet its eligibility requirements, the board has debased the value of the music prize still further..." <b></b></p>
<p id="a066720"><b>THE JOAN DIDION SHOW</b> <br>
"<i>I found it hard to shake off</i> the disquieting sensation that Ms. Didion, for all the obvious sincerity of her grief, was nonetheless functioning partly as a grieving widow and partly as a celebrity journalist who had chosen to treat the death of John Gregory Dunne as yet another piece of grist for her literary mill..." <b></b></p>
<p id="a066719"><b>COMPOSER WITH A HARMONICA</b> <br>
"<i>If film music is</i> the invisible art form, then Ennio Morricone is one of its least visible giants. To be sure, no one familiar with his work is in the slightest doubt of his immense stature. But Morricone, like most film composers, is not nearly so well known in America as is his music..."</p>
<h2>Sites to See</h2>
<p></p>
<p id="a051417">* = recently added<br>
** = adults only<br>
*** = replacement<br>
<br>
<b>LITBLOGS</b><br>
Anecdotal Evidence<br>
Beatrice<br>
The Big Read Blog *<br>
book/daddy<br>
Bookdwarf<br>
Books, Inq.<br>
Bookslut<br>
Chekhov's Mistress<br>
Chicken Spaghetti<br>
Conversational Reading<br>
Brenda Coulter<br>
Critical Mass (NBCC)<br>
Elegant Variation<br>
Emdashes<br>
Galley Cat<br>
Golden Rule Jones<br>
Happy Booker<br>
Kate's Book Blog<br>
Light Reading<br>
litblog.com *<br>
Litblog Co-Op<br>
Literary Saloon<br>
James Marcus<br>
The Millions<br>
MoorishGirl<br>
The Mumpsimus<br>
Neglected Books<br>
Maud Newton<br>
Old Hag<br>
Paper Cuts *<br>
Reading Experience<br>
Return of Reluctant<br>
The Story's Story<br>
Tingle Alley<br>
Sarah Weinman<br>
The Written Nerd *<br>
<br>
<b>OMNIBLOGS</b><br>
Back with Interest<br>
Coudal Partners<br>
Crazy Stable<br>
Cue Sheet<br>
A Cup of Tea<br>
DevraDoWrite<br>
Exhibitionist<br>
Flyover *<br>
Gurgling Cod<br>
Jerry Jazz Musician<br>
Killin' time being lazy<br>
Justine Larbalestier<br>
Litwit<br>
My Stupid Dog<br>
The Other World<br>
Outer Life<br>
Pratie Place<br>
Quick Study<br>
Quiet Bubble<br>
The Rat<br>
Ron Rosenbaum<br>
Searchblog<br>
Shaken & Stirred<br>
Something Old<br>
The Spiral Staircase<br>
such stuff<br>
James Tata<br>
Throwing Bullets *<br>
Kelly Jane Torrance<br>
Eve Tushnet<br>
2 Blowhards<br>
Chloe Veltman<br>
Whisky Prajer<br>
<br>
<b>SCHOOLBLOGS</b><br>
Household Opera<br>
The Little Professor<br>
Amardeep Singh<br>
<br>
<b>SCREENBLOGS</b><br>
Deadline Hollywood<br>
The Easy Ace<br>
Girish<br>
House Next Door<br>
Pullquote<br>
Thrilling Days<br>
TV Guidance<br>
<br>
<b>SIGHTBLOGS</b><br>
Art Law Blog<br>
Artblog.net<br>
Michael Barrier<br>
Culturegrrl<br>
Design Observer<br>
Eye Level<br>
Modern Art Notes<br>
Modern Kicks<br>
Two Coats of Paint *<br>
Edward Winkleman<br>
<br>
<b>SOUNDBLOGS</b><br>
Classicalive *<br>
Deceptively Simple<br>
Do the Math<br>
Feast of Music<br>
in the wings<br>
Iron Tongue<br>
Jazz Beyond Jazz *<br>
JazzWax *<br>
MMmusing<br>
oboeinsight<br>
On an Overgrown Path<br>
Rifftides<br>
Alex Ross<br>
Sandow<br>
Secret Society<br>
SloaneView<br>
Soho the Dog<br>
Think Denk<br>
twang twang twang<br>
<br>
<b>STAGEBLOGS</b><br>
Broadway & Me<br>
Clyde Fitch Report<br>
Foot in Mouth<br>
Histriomastix<br>
Rachel Howard<br>
Marissabidilla *<br>
The Mirror<br>
Mr. Excitement<br>
Obscene Jester<br>
Off-Off Blogway<br>
Parabasis<br>
The Playgoer<br>
Shenton's View<br>
Steve on B'way<br>
Superfluities<br>
Swan Lake Samba Girl<br>
That Sounds Cool *<br>
Theatre Is Territory<br>
The Theater Loop<br>
Theatre Ideas<br>
Theatreforté<br>
What Blows<br>
The Wicked Stage<br>
<br>
______________<br>
<br>
<br>
<b>ARTISTS</b><br>
Maria Bachmann<br>
BiddyBlog<br>
Bob Brookmeyer<br>
David Byrne<br>
CMS of LC<br>
Mary Foster Conklin<br>
Bill Crow<br>
Julia Dollison<br>
Bill Evans<br>
Makoto Fujimura<br>
<a href="p://www.myspace.com/gretagertlermusic" target="_new">Greta Gertler</a><br>
Hilary Hahn<br>
Jim Hall<br>
Fred Hersch<br>
Stephen Hough<br>
Laura Lippman<br>
Erin McKeown<br>
Beata Moon<br>
Paul Moravec<br>
Nickel Creek<br>
Maria Schneider<br>
Luciana Souza<br>
Cy Walter<br>
<br>
<b>CRITICS</b><br>
Bruce Bawer<br>
Robert Gottlieb<br>
Maureen Mullarkey<br>
Mark Steyn<br>
<br>
<b>ART LINKS</b><br>
artsjournal.com<br>
Arts & Letters Daily<br>
Bloomberg Muse<br>
BroadwayStars<br>
The Page<br>
<br>
______________<br>
<br>
<br>
<b>OTHER BLOGS</b><br>
Alicublog<br>
Althouse<br>
The American Scene<br>
Barone Blog<br>
Eric Berlin<br>
Bookish Gardener<br>
Chequer-board<br>
City Comforts<br>
Colby Cosh<br>
Contentions<br>
The Corner<br>
Clive Davis<br>
Ross Douthat<br>
Fear Not the Gods<br>
First Things<br>
InstaPundit<br>
Kausfiles<br>
Lileks<br>
Maccers<br>
Lance Mannion<br>
Megan McArdle<br>
Modestly Yours<br>
Mystery Pollster<br>
Off Wing Opinion<br>
Open Book<br>
Overheard Lines<br>
Overlawyered<br>
Pajamas Media<br>
pretty dumb things **<br>
RealClearPolitics<br>
Salli Vates<br>
shiny & sparkly<br>
Roger L. Simon<br>
Volokh<br>
<br>
______________<br>
<br>
<br>
<b>MEDIA</b><br>
BuzzMachine<br>
PressThink<br>
Romenesko<br>
<br>
<b>RADIO</b><br>
Saint Paul Sunday<br>
Soundcheck<br>
Studio 360<br>
<br>
<b>PRINT</b><br>
Armavirumque<br>
Baltsun Books<br>
Bosglobe Books<br>
Bosglobe Music<br>
Bosglobe Theater<br>
Chitrib Arts<br>
Chitrib Books<br>
Commentary<br>
NY Observer Arts<br>
NYT Arts<br>
NYT Book Review<br>
NYT Obits<br>
NYT Theater<br>
The Onion<br>
Slate<br>
WSJ OpinionJournal<br>
DC Post Bookworld<br>
DC Post Style<br>
DC Post Sunday Arts<br>
<br>
______________<br>
<br>
<br>
<b>USEFUL SITES</b><br>
BBC Four Interviews<br>
Criterion Collection<br>
DVD Journal<br>
Hot Dogs<br>
Inflation Calculator<br>
Internet B'way DB<br>
Internet Movie DB<br>
Henry James Sites<br>
Online Parallel Bible<br>
OS Shakespeare<br>
Paris Review DNA<br>
Red Hot Jazz<br>
Rotten Tomatoes<br>
samueljohnson.com<br>
Worlds Records<br>
<br>
______________<br>
<br>
<br>
<b>VIDEO</b><br>
Satchmo (1932)<br>
Satchmo (1933a)<br>
Satchmo (1933b) ***<br>
Satchmo/Sid Catlett (1942) *<br>
Satchmo (1959)<br>
Satchmo ('60s)<br>
Satchmo (1970)<br>
Cannonball Adderley *<br>
Albert Ammons/Pete Johnson<br>
Martha Argerich<br>
Fred Astaire/Oscar Levant (1)<br>
Fred Astaire/Oscar Levant (2) *<br>
Chet Atkins<br>
Chet Baker<br>
Ballet Mecanique<br>
The Band (1) *<br>
The Band (2) *<br>
Count Basie ('40s) *<br>
Count Basie Octet (1949a) ***<br>
Count Basie Octet (1949b) *<br>
Count Basie (1959)<br>
Count Basie (1962) *<br>
Basie/Freddie Green (1968a) *<br>
Basie/Freddie Green (1968b) *<br>
Count Basie/Zoot Sims<br>
Sidney Bechet (1) *<br>
Sidney Bechet (2) *<br>
Bix Beiderbecke/Paul Whiteman *<br>
Robert Benchley ***<br>
Jack Benny (1)<br>
Jack Benny (2)<br>
Jack Benny/Isaac Stern<br>
Bernstein (Candide Overture) *<br>
Bernstein (Egmont Overture) *<br>
Bernstein (Rhapsody in Blue 1) *<br>
Bernstein (Rhapsody in Blue 2) *<br>
Art Blakey Jazz Messengers<br>
Booker T. and the MGs ***<br>
Victor Borge *<br>
Boswell Sisters<br>
Julian Bream *<br>
Clifford Brown *<br>
Dave Brubeck Quartet (1)<br>
Dave Brubeck Quartet (2) *<br>
Dave Brubeck Quartet (3) *<br>
Gary Burton ***<br>
Billy Butterfield/Jess Stacy<br>
The Byrds<br>
John Cage *<br>
Alexander Calder<br>
Maria Callas ***<br>
Pablo Casals (1) ***<br>
Pablo Casals (2) ***<br>
Johnny Cash ***<br>
Willa Cather<br>
Feodor Chaliapin *<br>
Whittaker Chambers<br>
Ray Charles ***<br>
Un Chien Andalou<br>
A Chorus Line<br>
Citizen Kane (newsreel)<br>
Citizen Kane (trailer)<br>
Van Cliburn (1)<br>
Van Cliburn (2) *<br>
Patsy Cline<br>
King Cole Trio (1)<br>
King Cole Trio (2)<br>
King Cole Trio (3)<br>
King Cole Trio (4) *<br>
Judy Collins<br>
John Coltrane (1)<br>
John Coltrane (2)<br>
John Coltrane/Eric Dolphy<br>
John Coltrane/Stan Getz<br>
Perry Como (1)<br>
Perry Como (2)<br>
Spade Cooley<br>
Alfred Cortot (1)<br>
Alfred Cortot (2) *<br>
Noël Coward (1)<br>
Noël Coward (2)<br>
Noël Coward (3) *<br>
Cream<br>
Bing Crosby<br>
Bing Crosby/Rhythm Boys<br>
Bing Crosby/Satchmo<br>
Gyorgy Cziffra<br>
Salvador Dali *<br>
Miles Davis/John Coltrane ***<br>
Miles Davis/Gil Evans<br>
Miles Davis/Wayne Shorter (1)<br>
Miles Davis/Wayne Shorter (2) *<br>
Miles Davis/Wayne Shorter (3) *<br>
Delta Rhythm Boys *<br>
Paul Desmond ***<br>
Theodore Dreiser<br>
Peter Drucker<br>
Bob Dylan<br>
Edward Elgar<br>
Duke Ellington (1929a) *<br>
Duke Ellington (1929b) *<br>
Duke Ellington ('30s)<br>
Duke Ellington ('40s) *<br>
Duke Ellington (1942)<br>
Duke Ellington (1943) *<br>
Duke Ellington ('50s)<br>
Duke Ellington (1959) *<br>
Ellington/Johnny Hodges (1965) *<br>
Bill Evans<br>
Bill Evans (2) ***<br>
Bill Evans (3) *<br>
Everly Brothers<br>
Fallingwater<br>
W.C. Fields<br>
Dietrich Fischer-Dieskau (1)<br>
Dietrich Fischer-Dieskau (2) *<br>
Ella Fitzgerald<br>
F. Scott Fitzgerald *<br>
Kirsten Flagstad<br>
Flatt & Scruggs *<br>
Fonteyn/Nureyev (1)<br>
Fonteyn/Nureyev (2)<br>
Lefty Frizzell<br>
Wilhelm Furtwängler (1) ***<br>
Wilhelm Furtwängler (2) *<br>
Erroll Garner (1) *<br>
Erroll Garner (2) *<br>
George Gershwin<br>
Stan Getz *<br>
Beniamino Gigli<br>
João Gilberto<br>
Frank Gilbreth<br>
Dizzy Gillespie (1947a)<br>
Dizzy Gillespie (1947b) *<br>
Jimmy Giuffre 3<br>
Benny Goodman Orch/Quartet<br>
Goodman/Tatum/Ellington<br>
Glenn Gould<br>
Glenn Gould/Leonard Bernstein<br>
Bob Haggart/Ray Bauduc<br>
Lionel Hampton *<br>
Coleman Hawkins (1) *<br>
Coleman Hawkins (2) *<br>
Coleman Hawkins/Earl Hines<br>
Jascha Heifetz (Mozart)<br>
Jascha Heifetz (Paganini)<br>
Jascha Heifetz (Prokofiev)<br>
Jascha Heifetz (Rachmaninoff)<br>
Jascha Heifetz (Saint-Saëns)<br>
Jascha Heifetz (Wieniawski)<br>
Jascha Heifetz/Fritz Reiner *<br>
Jimi Hendrix ***<br>
Woody Herman (1948) *<br>
Woody Herman (1964) ***<br>
Hindenburg 5/10/37<br>
Earl Hines *<br>
Hiroshima 8/6/45<br>
Josef Hofmann *<br>
Billie Holiday/Satchmo<br>
Billie Holiday/Lester Young<br>
Homer & Jethro (1)<br>
Homer & Jethro (2)<br>
J. Edgar Hoover<br>
Vladimir Horowitz (Bizet)<br>
Vladimir Horowitz (Chopin)<br>
Ahmad Jamal Trio *<br>
Harry James<br>
Jammin' the Blues ***<br>
Keith Jarrett (1)<br>
Keith Jarrett (2)<br>
Tom Jobim/Elis Regina<br>
George Jones ***<br>
Jo Jones<br>
Louis Jordan *<br>
Herbert von Karajan (1)<br>
Herbert von Karajan (2) *<br>
The Kinks<br>
Ernie Kovacs<br>
Gene Krupa<br>
Nancy LaMott *<br>
Lascivious Biddies *<br>
Leadbelly<br>
Peggy Lee<br>
Meade Lux Lewis<br>
Little Miss Britten ***<br>
A Little Night Music<br>
Manhatta<br>
Mary Martin ("Peter Pan") *<br>
Willem Mengelberg<br>
Yehudi Menuhin<br>
Mabel Mercer *<br>
Ethel Merman<br>
Pat Metheny ***<br>
Michelangeli (1)<br>
Michelangeli (2)<br>
Mills Brothers *<br>
Nathan Milstein<br>
Modern Jazz Quartet *<br>
Thelonious Monk (1)<br>
Thelonious Monk (2) *<br>
Bill Monroe ***<br>
Wes Montgomery (1) *<br>
Wes Montgomery (2) *<br>
Evgeny Mravinsky<br>
Mulligan/Brookmeyer *<br>
Mulligan/Art Farmer Quartet (1) *<br>
Mulligan/Art Farmer Quartet (2) *<br>
Mulligan/Art Farmer Quartet (3) *<br>
Gerry Mulligan Sextet (1) *<br>
<a href="httphttp://nl.youtube.com/watch?v=vV8r41lGHlY&mode=related&search=" target="_new">Gerry Mulligan Sextet (2)</a> *<br>
Gerry Mulligan/Ben Webster *<br>
Edward R. Murrow *<br>
V.S. Naipaul<br>
Nicholas Brothers<br>
Nijinsky Afternoon of a Faun *<br>
Red Norvo/BG<br>
Anne Sofie von Otter<br>
Vladimir de Pachmann<br>
Charlie Parker<br>
Charle Parker/Dizzy Gillespie ***<br>
Charlie Parker/Coleman Hawkins<br>
Oscar Peterson/Brown/Ellis ***<br>
Oscar Peterson/Brown/Thigpen<br>
Liz Phair<br>
Astor Piazzolla<br>
Ezio Pinza<br>
Poème électronique<br>
The Police *<br>
Jackson Pollock<br>
Rosa Ponselle<br>
Bud Powell<br>
Ayn Rand<br>
Django Reinhardt<br>
Buddy Rich<br>
Sviatoslav Richter (1)<br>
Sviatoslav Richter (2)<br>
Bill "Bojangles" Robinson<br>
Jimmie Rodgers ***<br>
Shorty Rogers *<br>
Sonny Rollins/Jim Hall (1) ***<br>
Sonny Rollins/Jim Hall (2) ***<br>
Sonny Rollins/Jim Hall (3) ***<br>
Franklin Roosevelt<br>
Theodore Roosevelt<br>
Rose Hobart (Joseph Cornell)<br>
Arthur Rubinstein (1)<br>
Arthur Rubinstein (2)<br>
Raymond Scott<br>
Andrés Segovia ***<br>
Artie Shaw ***<br>
Dmitri Shostakovich *<br>
Frank Sinatra ***<br>
Horace Silver<br>
Bessie Smith ***<br>
Smothers Brothers<br>
Luciana Souza *<br>
Steely Dan<br>
Igor Stravinsky *<br>
Art Tatum (1)<br>
Art Tatum (2)<br>
Art Tatum/Dorsey Brothers<br>
Richard Tauber ***<br>
Jack Teagarden<br>
Jacques Thibaud<br>
The Three Suns ***<br>
Lawrence Tibbett *<br>
Toscanini/NBC Symphony ***<br>
Dave Tough<br>
Lennie Tristano<br>
Tristano/Konitz/Marsh *<br>
Big Joe Turner *<br>
Mark Twain<br>
Joe Venuti/Eddie Lang<br>
Fats Waller (1) ***<br>
Fats Waller (2) *<br>
Doc Watson *<br>
Orson Welles Macbeth<br>
Orson Welles War of Worlds<br>
What's My Line (last episode) *<br>
Josh White<br>
The Who<br>
Bob Wills Texas Playboys<br>
Jonathan Winters<br>
Frank Lloyd Wright<br>
Neil Young *<br>
Your Show of Shows<br>
<br>
<b>AUDIO</b><br>
James Agee<br>
American Presidents<br>
Kingsley Amis<br>
Guillaume Apollinaire<br>
John Ashbery *<br>
Louis Auchincloss<br>
W.H. Auden ***<br>
James Baldwin *<br>
Sir Thomas Beecham *<br>
Saul Bellow<br>
Jack Benny Program<br>
John Berryman *<br>
John Betjeman<br>
Elizabeth Bishop<br>
Louise Bogan *<br>
Benjamin Britten ***<br>
Joseph Brodsky *<br>
Robert Browning<br>
William Jennings Bryan ***<br>
Albert Camus<br>
Willa Cather<br>
G.K. Chesterton (1)<br>
G.K. Chesterton (2) ***<br>
Winston Churchill<br>
Jean Cocteau<br>
Father Coughlin *<br>
Arthur Conan Doyle<br>
Aaron Copland<br>
Le Corbusier<br>
Noël Coward<br>
e e cummings<br>
Salvador Dali<br>
Stuart Davis<br>
Peter Drucker<br>
Marcel Duchamp<br>
Thomas Edison<br>
T.S. Eliot ("Prufrock")<br>
T.S. Eliot ("Waste Land")<br>
William Faulkner<br>
F. Scott Fitzgerald<br>
Robert Frost<br>
Mahatma Gandhi<br>
John Gielgud *<br>
Clement Greenberg<br>
Graham Greene<br>
Alec Guinness<br>
Seamus Heaney<br>
Ernest Hemingway ***<br>
Alfred Hitchcock<br>
Adolf Hitler<br>
Oliver Wendell Holmes Jr.<br>
Edward Hopper<br>
Langston Hughes<br>
Aldous Huxley *<br>
Eugène Ionesco<br>
Randall Jarrell<br>
James Joyce<br>
Martin Luther King<br>
Rudyard Kipling<br>
Charles Kuralt<br>
Philip Larkin ***<br>
C.S. Lewis *<br>
Vachel Lindsay *<br>
Huey Long ***<br>
Robert Lowell<br>
Douglas MacArthur<br>
Norman Mailer<br>
Malcolm X ***<br>
George C. Marshall ***<br>
W. Somerset Maugham *<br>
Joe McCarthy ***<br>
Marshall McLuhan<br>
Mercury Theatre<br>
Edna St. Vincent Millay ***<br>
Czeslaw Milosz<br>
Marianne Moore<br>
Edward R. Murrow<br>
Vladimir Nabokov<br>
Pablo Neruda<br>
Frank O'Hara<br>
Old Time Radio<br>
J. Robert Oppenheimer *<br>
Joe Orton<br>
Dorothy Parker<br>
Sylvia Plath<br>
Ezra Pound<br>
Man Ray<br>
Harry Reasoner<br>
Theodore Roethke *<br>
Will Rogers<br>
Carl Sandburg ***<br>
Siegfried Sassoon<br>
Anne Sexton *<br>
George Bernard Shaw<br>
Isaac Bashevis Singer<br>
Aleksandr Solzhenitsyn *<br>
Stephen Spender<br>
Gertrude Stein<br>
John Steinbeck ***<br>
Wallace Stevens<br>
Adlai Stevenson ***<br>
Rex Stout<br>
Arthur Sullivan<br>
Alfred Tennyson<br>
Mother Teresa<br>
Dylan Thomas ***<br>
J.R.R. Tolkien<br>
John Updike<br>
Ralph Vaughan Williams<br>
Robert Penn Warren<br>
Booker T. Washington *<br>
Evelyn Waugh<br>
H.G. Wells *<br>
E.B. White<br>
Walt Whitman<br>
Tennessee Williams<br>
William Carlos Williams<br>
P.G. Wodehouse<br>
Virginia Woolf<br>
W.B. Yeats (1)<br>
W.B. Yeats (2)</p>
<p></p>
<h2>AJ Blogs</h2>
<p><font face="arial" size="1"><br>
<span class="mainnav">AJBlogCentral |</span> <span class="mainnavrss">rss</span><br>
<br>
<span class="rednav"><strong><a href="/ajblogcentral/culture.shtml">culture</a></strong></span></font></p>
<div id="blogheadline">
<font face="arial" size="1">About Last Night<br>
Terry Teachout on the arts in New York City</font>
</div><font face="arial" size="1"></font>
<div id="blogheadline">
<font face="arial" size="1">Artful Manager<br>
Andrew Taylor on the business of arts & culture</font>
</div>
<div id="blogheadline">
<font face="arial" size="1">blog riley<br>
rock culture approximately</font>
</div>
<div id="blogheadline">
<font face="arial" size="1">CultureGulf<br>
Rebuilding Gulf Culture after Katrina</font>
</div>
<div id="blogheadline">
<font face="arial" size="1">diacritical<br>
Douglas McLennan's blog</font>
</div>
<div id="blogheadline">
<font face="arial" size="1">Straight Up |<br>
Jan Herman - arts, media & culture with 'tude</font>
</div><font face="arial" size="1"><br>
<span class="rednav"><a href="/ajblogcentral/dance.shtml">dance</a></span></font>
<div id="blogheadline">
<font face="arial" size="1">Foot in Mouth<br>
Apollinaire Scherr talks about dance</font>
</div><font face="arial" size="1"></font>
<div id="blogheadline">
<font face="arial" size="1">Seeing Things<br>
Tobi Tobias on dance et al...</font>
</div><font face="arial" size="1"><br>
<span class="rednav"><a href="/ajblogcentral/media.shtml">media</a></span></font>
<div id="blogheadline">
<font face="arial" size="1">Serious Popcorn<br>
Martha Bayles on Film...</font>
</div><font face="arial" size="1"><br>
<span class="rednav"><a href="/ajblogcentral/music.shtml">music</a></span></font>
<div id="blogheadline">
<font face="arial" size="1">Adaptistration<br>
Drew McManus on orchestra management</font>
</div><font face="arial" size="1"></font>
<div id="blogheadline">
<font face="arial" size="1">The Future of Classical Music?<br>
Greg Sandow performs a book-in-progress</font>
</div><font face="arial" size="1"></font>
<div id="blogheadline">
<font face="arial" size="1">On the Record<br>
Exploring Orchestras w/ Henry Fogel</font>
</div><font face="arial" size="1"></font>
<div id="blogheadline">
<font face="arial" size="1">PostClassic<br>
Kyle Gann on music after the fact</font>
</div><font face="arial" size="1"></font>
<div id="blogheadline">
<font face="arial" size="1">Sandow<br>
Greg Sandow on the future of Classical Music</font>
</div><font face="arial" size="1"></font>
<div id="blogheadline">
<font face="arial" size="1">Rifftides<br>
Doug Ramsey on Jazz and other matters...</font>
</div><font face="arial" size="1"><br>
<span class="rednav"><a href="/ajblogcentral/publishing.shtml">publishing</a></span></font>
<div id="blogheadline">
<font face="arial" size="1">book/daddy<br>
Jerome Weeks on Books</font>
</div><font face="arial" size="1"><br>
<span class="rednav"><a href="/ajblogcentral/visual.shtml">visual</a></span></font>
<div id="blogheadline">
<font face="arial" size="1">Artopia<br>
John Perreault's art diary</font>
</div><font face="arial" size="1"></font>
<div id="blogheadline">
<font face="arial" size="1">CultureGrrl</font><br>
Lee Rosenbaum's Cultural Commentary
</div>
<div id="blogheadline">
Modern Art Notes<br>
Tyler Green's modern & contemporary art blog
</div><br>
<hr width="60%" size="1" color="gray" align="center">
<br>
<p></p>
</div>
</div>
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Sitemap
Кол-во: 0
XML-карта сайта для поисковиков
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Sitemap.xml помогает поисковику быстрее находить и индексировать страницы. Особенно важен для крупных сайтов и новых страниц, на которые ещё нет входящих ссылок.
Robots.txt не содержит ссылку на карту сайта. Рекомендуется добавить карту сайта и указать ссылку на нее в robots.txt.
Внутренние ссылки
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Ссылки на другие страницы своего сайта
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Внутренние ссылки распределяют ссылочный вес между страницами и помогают поисковику обходить сайт. Пустые анкоры и ссылки на запрещённые robots.txt страницы — типичные ошибки.
Внутренних ссылок на странице 7 оптимально.
Внутренние ссылки не запрещены к индексации в robots.txt.
Показать внутренние ссылки
| Url | Анкор | Состояние | Анализировать |
|---|---|---|---|
| /p://www.myspace.com/gretagertlermusic |
Greta Gertler
|
|
Анализировать url |
| /ajblogcentral/culture.shtml |
culture
|
|
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| /ajblogcentral/dance.shtml |
dance
|
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| /ajblogcentral/media.shtml |
media
|
|
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| /ajblogcentral/music.shtml |
music
|
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| /ajblogcentral/publishing.shtml |
publishing
|
|
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| /ajblogcentral/visual.shtml |
visual
|
|
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Внешние ссылки
Не найдено
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Исходящие внешние ссылки передают часть ссылочного веса на чужие сайты. Ссылки на авторитетные ресурсы безопасны; ссылки на мусорные сайты могут навредить репутации страницы.
Внешних ссылок на странице не найдено.
Конкуренты Готовность: 0%
Конкуренты в Яндексе
Кол-во: 0
Топ сайтов-конкурентов в Яндексе
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Сайты, чаще всего появляющиеся в ТОПе Яндекса по запросам из семантического ядра этой страницы.
Мы не нашли у вас конкурентов в Яндексе. Сайт или очень молодой или плохо продвигается.
Конкурентов в ТОП-10 Яндекса не нашлось.
Конкуренты в Google
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Топ сайтов-конкурентов в Google
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Сайты, чаще всего появляющиеся в ТОПе Google по запросам из семантического ядра этой страницы.
Конкуренты в Google тоже не найдены. Займитесь продвижением сайта!
Конкурентов в ТОП-10 Google не нашлось.
ЗоЗПП: права потребителей Готовность: 100%
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Признаков дистанционной продажи товаров (интернет-магазина) не обнаружено — требования ЗоЗПП о раскрытии информации продавца к сайту не применяются. Нарушений нет.
ФЗ-149: рекомендательные технологии Готовность: 100%
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Рекомендательные блоки («с этим покупают», «похожие товары» и т.п.) на сайте не обнаружены — требования ст. 10.7 ФЗ-149 к сайту не применяются. Нарушений нет.
ФЗ-38: реклама Готовность: 100%
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Рекламных тематик с обязательными оговорками (медицина, БАД, кредиты и займы, новостройки) на сайте не обнаружено. Нарушений нет.
ФЗ-436: защита детей Готовность: 100%
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Не выявлены
Признаков информационной продукции (новости, видео, книги, игры, курсы) не обнаружено — обязательная возрастная маркировка по ФЗ-436 сайту не требуется. Нарушений нет.
Вердикт
Выполнен подробный анализ сайта terryteachout.com: готовность на 38%. Чтобы выполнить все условия и попасть на первую страницу выдачи поисковых систем требуется:
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