Winehouse’s rep is as famous as her album. From Lynn Yaeger’s “Winehouse Rules“:

Last February, when a presenter at the BRIT Awards, England’s version of the Grammys, joked that “Winehouse” is the new name for Amy’s liver, it was further proof that the singer’s louche proclivities are now as famous as her extraordinary talent—she was named best British female singer that night. Now Rod Stewart says he’d like to record an album with her (a mixed blessing) and her name is being bounced around as, believe it or not, the next Bond girl. Whatever the future holds, Winehouse, 23, has already secured a place in the great tradition of women who get high and tear your heart out, from Billie to Judy, Mama Cass to Janis.

Thelonious Monk’s masterful solo. Isn’t it just beautiful?

With two over time, both Detroit Pistons and Cleveland Cavaliers gave an outstanding performance last night, and LeBron James was unstoppable:

James had already used every ounce of energy to put together one of the most spectacular performances in playoff history, lifting the Cleveland Cavaliers to the verge of their greatest season.

A Design Observer believes Al Gore can do better.

According to Family Watchdog, a Web site that keeps track of sex offenders in your neighborhood, there are 48 offenders and 13 non-mappable offenders in my area.

The article suggests to serve ads only to new visitors and turn them off for your frequent visitors. Not a bad idea.

Al Gore talks with Charlie Rose about his book The Assault on Reason and his political stand. How many think the Former Vice President should run again?

From Terry Gross, host of NPR’s Fresh Air.

80 is the new 20

Gary Giddins on Hank Jones:

Jones is perhaps the most venerated of contemporary jazz pianists, and not just because he has outlived so much of the competition. Jazz taste oscillates between decorum and expression, usually favoring the latter. In the years when jazz piano was dominated by obdurate, percussive modernists like Thelonious Monk and Cecil Taylor, Jones was often perceived as a genteel professional, and admired more for the reliability of his technique than for his wit. In today’s more ecumenical musical climate, in which pianists like Bill Charlap and Jason Moran tend to mediate percussive dynamics with lyricism, Jones’s approach seems almost prophetic.