text:
Quincy Jones: The Man Behind The Music
This interview was originally broadcast on Nov. 5, 2001.
Quincy Jones is one of those people to whom the word "legendary" is often attached. So it was no surprise when, on May 18, the 80-year-old Jones was inducted into the Rock and Roll Hall Of Fame.
Jones grew up poor on the south side of Chicago during the Depression, but moved to Seattle when he was 10. It was there, as a teenager, that Jones befriended and began collaborating with Ray Charles — a friendship that would remain strong until Charles' death in 2004.
Although Jones had been pursuing music as a young teenager, it wasn't until 1952 that he took a job as a trumpeter in Lionel Hampton's band, at which point his career officially began.
As he told Fresh Air's Barbara Bogaev in 2001, "I knew that music was my ticket out of this other life that I had, you know, of the thug life and dysfunctional family life."
But Jones never became a noted instrumentalist. What made him famous and wealthy was his work as an arranger, composer, producer and media mogul; his work spans the big bands through bebop, pop, movie soundtracks, television themes and hip-hop. He has arranged or produced recordings for Frank Sinatra, Ray Charles, Aretha Franklin, Dinah Washington, George Benson, James Ingram, Ice-T and, perhaps most notably, Michael Jackson.
Jones produced Jackson's mega-hit Thriller.
"Thriller was a combination of all my experience as an orchestrator and picking the songs and Michael's — all the talents he ha[d] as a dancer, as a singer, as an amazing entertainer," Jones said. It was like us throwing everything we'd accumulated as experience and putting it all together."
This is FRESH AIR. I'm Terry Gross. Quincy Jones was inducted into the Rock and Roll Hall of Fame last month, receiving the Lifetime Achievement Award. This year, he turned 80. Today we listen back to our 2001 interview with him. Here's an excerpt of what Quincy Jones said when accepting the award.
QUINCY JONES: I believe that a hundred years from now, when people look back at the 20th century, they will look at Miles, Bird, Clifford Brown, Ella and Dizzy, among elders as our Mozarts, our Chopins, our Bachs and Beethovens. I only hope that one day, America will recognize what the rest of the world already has known, that our indigenous music - gospel, blues, jazz and R&B - is the heart and soul of all popular music; and that we cannot afford to let this legacy slip into obscurity, I'm telling you.
GROSS: Quincy Jones started his career as a trumpeter in Lionel Hampton's big band in the early 1950s. Jones never became a noted instrumentalist. What made him famous and wealthy was his work as an arranger, composer, producer and media mogul, work that spans from the big bands through bebop, pop, movie soundtracks, TV themes and hip-hop. Jones arranged or produced recordings for Frank Sinatra, Ray Charles, Aretha Franklin, Dinah Washington, George Benson, James Ingram and Ice-T, and he produced the Michael Jackson megahit "Thriller." Here's a sampling.
UNIDENTIFIED WOMAN: (Singing) Another bride, another June, another sunny Honeymoon, another season, another reason for making whoopee.
UNIDENTIFIED WOMAN: (Singing) I never cared much for moonlit skies. I never wink back at fireflies. But now that the stars are in your eyes, I'm beginning to see the light.
UNIDENTIFIED WOMAN: (Singing) Look at me, I'm as helpless as a kitten up a tree, and I feel like I'm clinging to a cloud I can't understand. I get misty just holding your hand. Walk my way...
UNIDENTIFIED MAN: (Singing) Fly me to the moon, let me play among the stars and let me see what spring is like on Jupiter and Mars. In other words, hold my hand; in other words, baby, kiss me.
UNIDENTIFIED PEOPLE: (Singing) You don't own me. I'm not just one of your many toys. You don't own me. Don't say I can't go with other boys. And don't tell me what to do, don't tell me what to say, and please when I go out with you, don't put me on display
GROSS: One of the first musicians Quincy Jones became good friends with was Ray Charles. They met when Charles was 16 and Jones was 14. I asked Quincy Jones how they met.
JONES: I think it was at the Elks Club, Terry, where after we played two jobs - we'd worked from 7 to 10 in the white tennis clubs and the - well, we'd play a couple of - music of the popular music of the day, "To Each His Own" and "Room Full of Roses." And then at 10:00, we'd go play the black clubs, The Black and Tan, The Rocking Chair and the Washington Educational and Social Club. And we played for strippers. We sang.
GROSS: Oh, really?
JONES: We had choreography. We had everything. As kids, we were pretty cocky because we had a great band. We could read music very well. And we did everything. It was a show band, too. So we got most of the jobs that came around. It was nice. We played with Billie Holiday in '48, behind her. And then in '49, we played with Billy Eckstine and Cab Calloway and all the bands that came through, so we were pretty confident in those days. And the band just kept getting tighter because we rehearsed a lot.
GROSS: You said that you admired Ray Charles' independence. He was 16 years old, he was blind, but he had his own apartment, he got around town himself, he had a girlfriend; I mean, he had a lot of things that you wanted.
JONES: Yes, he did.
JONES: He had his own apartment, too, and two suits. It was amazing. But I guess what impressed me the most with Ray is that he was so independent, and his sightlessness did not hinder him at all. It's one of the treasured, cherished friendships that I really have because as kids we used to talk about everything.
He'd show me how to write music in Braille, Dizzy Gillespie songs like "Emanon" and bebop, etc. And we used to dream about the future, like wouldn't it be great to work with a symphony orchestra? One day we're going to do that. One day we're going to have three girlfriends each, you know? One day we're do movies together. We're going to do all of that stuff, and we did it.
That's what's amazing. We did, you know, "In the Heat of the Night" together. And we did "We Are The World," all of those things, everything, the girls.
JONES: So we did - it's amazing to dream and have your dreams executed like that, you know
GROSS: I thought I'd play a 1959 recording that you arranged for Ray Charles, and this is from "The Genius of Ray Charles" album, which was recorded in 1959. We're going to hear "Let the Good Times Roll." Would you like to say anything about this track?
JONES: I would just like to add that we had half of Count Basie's band on that session, and half of Duke Ellington's band on that session. And in those days, that's when I first started to work with Phil Ramone, the engineer, who's now producer.
And Ahmed Ertegun, Nesuhi Ertegun and Jerry Wexler came by because in those days what you heard was what you got. It wasn't about fixing in the mix. There was nothing to mix so - because it was mono. And we went in the booth to listen to a playback of that tune. I remember this very vividly. And when it was playing back, I said what's that, Phil. And he said that there was something coming out of the left speaker and a different thing coming out of the right speaker.
He said it's called stereophonic sound.
JONES: Never forgot it because I had heard it earlier in Portland put on earphones, and it was called binaural sound by the man that invented stereo.
GROSS: This is Ray Charles' arrangement by Quincy Jones, "Let The Good Times Roll."
RAY CHARLES: (Singing) Get everybody, let's have some fun, you only live but once, and when you're dead, you're done, so let the good times roll. I said let the good times roll. I don't care if you're young or old, you ought to get together and let the good times roll.
Don't sit there mumbling, talking trash, if you want to have a ball, you got to go out and spend some cash, and let the good times roll now. I'm talking about the good times. Well, it makes no difference whether you're young or old, all you got to do is get together and let the good times roll.
GROSS: Ray Charles recorded in 1959 from the album "The Genius of Ray Charles." the arrangement is by my guest, Quincy Jones. Your first important music job was with the Lionel Hampton big band. You got that job while you were still in high school. How did he hire you when you were still in school?
JONES: Well, he - I had written a suite I had been working on for a long time called "From The Four Winds," and it was almost a descriptive piece. And I didn't understand theory too well then, but I just went ahead straight. It didn't stop me from writing.
I didn't understand key signatures or anything, you know. I'd say silly things at the top of a trumpet part like note, when you play B naturals, make the B naturals a half step lower because they sound funny if they're B naturals. And some guy said: Idiot, just put a flat on the third line and it's a key signature, you know?
JONES: And so - because it didn't bother me that I didn't understand that, because I knew eventually I'd learn it. And so I gave this arrangement to - submitted this to Lionel Hampton. And he said you wrote this, huh. I said yeah. He said yeah, you play the trumpet, too. I said yeah. He said, yeah, well, he said how'd you like to join my band, please.
JONES: Are you kidding? And so they had little brown leather bags for your trumpet then. I had that and just very few toilet articles and so forth. And I went and sat on that bus so nobody would change their mind, and I wouldn't have to ask the people at home whether I could go or not.
And sure enough, everybody got on one by one. Hamp said hi, and I felt secure. Then Gladys Hampton got on the bus and says uh-uh, what is that child doing on this bus. Ashe said no, son, you get off the bus and said we'll try to talk later, but you go to school. And I was destroyed.
And so I got a scholarship to Boston, to the Berklee College of Music, and I got the call. A friend named Janet Thurlow was singing with the band, and she reminded them, and they called and said we'd like you to be with the band. I was 18 then, and I was ready. And I told the school I'd be back, but I guess down inside, you know, when you go with a band like that you never go back.
GROSS: Now you say that you were afraid that when you were playing with Hampton that Parker or Thelonious Monk might show up in the audience, and you were worried they'd laugh at what you had to wear in the band. what did you have to wear in the Hampton band?
JONES: Well, that incident happened when we were playing at a place on Broadway called - right next door to Birdland; I mean, totally like adjacent. And it was down - both places were downstairs. And we had to wear Tyrolean hats, purple shawl collar coats and Bermuda shorts.
GROSS: Bermuda shorts, why?
JONES: Oh, my God, the whole band. And...
Why did you have to wear shorts?
I don't know. That's just Hamp's idea. But he - Hamp was like a rock-'n'-roll band. He was the first rock-'n'-roll band because he attacked an audience like a rock-'n' roll-band; no prisoners, and he knew how to get them, too. He put...
GROSS: Well, some of the tenor solos are almost like a rock-'n' roll-band, too; yeah.
JONES: Yes. They'd walk - in the theaters, they'd walk - they had thin-soled shoes. They'd walk over the audience's heads with these thin-soled shoes on top of the chairs, you know. It was absolutely incredible. And he had this sense of show business, but he had a lot of music in the band, because, you know, they had people like Wes Montgomery and Charlie Mingus and Fats Navarro and Clifford Brown - amazing musicians in the band.
And I loved Hampton for having that ambidexterity because he liked great music, but he also liked to level his audience and take no prisoners. Until they were wrung out, he was not satisfied.
GROSS: So did any of your bebop friends end up seeing you in that band that night?
JONES: Well, that particular night, he had his favorite thing that he'd like to do. He'd have everybody - he'd get his drumsticks and start a whole line, almost like a conga line. The saxophone section would follow him around the audience, and he'd go around and beat the drumsticks on everybody's table.
The trumpets and trombones were right behind him playing "Flying Home." Then he'd go upstairs. I said oh, my God. Clifford Brown and I said if he goes upstairs, we may run into Charlie Parker and Bud Powell and Mingus and all these great musicians.
JONES: And Hamp went upstairs and he's playing his drumsticks all over the awnings and the guys are saying what is going on here. He'd even go so far as to get in a taxi cab with the saxophone section and go to another club maybe three blocks away and play with the saxophone section there.
Meanwhile, back at the ranch, we're still playing. So it was quite an experience. He had no shame, and he was a great musician - one of the great times of my life.
GROSS: So but did Parker see in your Bermuda shorts?
JONES: Oh, yes. But on top of that, Parker would come next door. Bird would come next door. He loved to read music. And he was starring next door with like the 52nd Street All-Stars, the BeBop All-stars, and they were looking for him next door.
It was time for him to play his set. And he's sitting over there in our band playing second tenor because he loved to read music. And he's sitting in for an hour while people next door are waiting to hear him as this genius of the 20th century. And he's over there playing second tenor parts to practice his reading because all the musicians read music back then.
GROSS: So playing with the Hampton band, did you get an appreciation of the value of like show business in music? Or did you come to hate it and want something that threw that out the window, kind of like Parker threw show business values, you know, out the window?
JONES: No, no, no, no because we were weaned and, I mean, trained in Seattle. That's the way we had to do it in Seattle, too. We had to play shaudises(ph). We had to play rhythm and blues. We had to play stripper music. We played comedy. I mean, the trombone player and myself had a comedy team called Dexedrine and Benzedrine, (unintelligible).
We used to steal all of the comedy lines from the older guys, and we'd imitate them and wear hats and wine bottles in our pockets and stuff. It was insane. But, no, not at all. We were used to that. We were used to that. He'd have gloves for the whole trumpet section that would shine in the dark, and you'd do kind of a hand choreography and so forth.
And it was ironic because the underlying attitude with all of the bebop musicians is that we have heard Stravinsky now, we've done this, and we want to be pure artists. We don't want to entertain anymore, we don't want to sing, we don't want to have to dance and move or entertain an audience.
GROSS: We're listening back to our 2001 interview with Quincy Jones. There's more after a break. This is FRESH AIR.
GROSS: Let's get back to our 2001 interview with musician, composer, arranger and producer Quincy Jones. This year he turned 80, and last month he was inducted into the Rock and Roll Hall of Fame, receiving its Lifetime Achievement Award.
Well, you know, one of the things you say about the Lionel Hampton band bus, and this might have something to do with why Gladys Hampton wanted you off the bus, was that there were four different sections of guys on the bus. Why don't you describe how that broke down?
JONES: Well, they had - up front were the holy rollers, I guess, and then they had the drinkers, and then they had the guys that indulged in sweet wheat and giggle grass, and they had the guys that were the hard core, you know, that dealt with - like mainliners really, and the...
GROSS: And which section did you sit in?
JONES: The sweet wheat.
JONES: We were very young then and - I was 18 when I went with that band. And you'd bounce back between that and trying to figure out how to make that work with Logan David wine or Manishevitz. It was ridiculous.
GROSS: Well, the first recording that you made was with the Lionel Hampton band. this was in 1952. It's also your first recorded composition and first recorded arrangement. It's called "Kingfish." Why don't you say something about what you think of this musically now?
JONES: I look at the whole book and the whole life I guess as like somebody else. I don't know where I have the spirit or the stick-to-itiveness to write something like that then because, you know, number one, I wanted - I knew that music was my ticket out of this other life that I had, you know, of the thug life and dysfunctional family life.
And it was like wonderland to arrange and the idea of orchestration and arrangements and composition, and that to this day is what my core skill is. as an arranger and orchestrator and composer. And I was just so happy to have a surrounding, an environment where that was encouraged all the time.
GROSS: OK, so here it is, 1952, Quincy Jones with the Lionel Hampton band, "Kingfish."
GROSS: From the early 1950s, that was Quincy Jones' first recording with the Lionel Hampton orchestra. It's called "Kingfish."
JONES: Terry, by the way, I think that's one of the - that's the first recorded solo I ever had on record, the first record I was ever involved with, and I think it was one of the only solos I have on record.
GROSS: Why didn't you solo more often?
JONES: I don't know. I was getting more and more pulled into the quicksand of writing. And then about a year or so later after we begged Hamp to give Gigi Gryce and Benny Golson and Clifford Brown in the band, sitting next to Art Farmer and Clifford Brown and Benny Bailey helped me get into writing quickly because they were - Clifford Brown is probably one of the greatest trumpet players that ever lived; unbelievable.
GROSS: We'll hear more of my 2001 interview with Quincy Jones in the second half of the show. Last month he was inducted into the Rock and Roll Hall of Fame and received its Lifetime Achievement award. I'm Terry Gross and this is FRESH AIR.
GROSS: This is FRESH AIR. I'm Terry Gross. We're listening back to the interview I recorded in 2001 with musician, arranger, composer and producer Quincy Jones. This year he turned 80 and last month he was inducted into the rock 'n roll Hall of Fame, receiving Lifetime Achievement Award. Among the luminaries he worked with are Lionel Hampton, Count Basie, Frank Sinatra, Ray Charles, Aretha Franklin and Michael Jackson.
I want to get back to your music, and to get to the most colossal success that you had, and that was the album "thriller" with Michael Jackson. You first met him in 1972 at Sammy Davis' house. You worked together on "The Wiz." What was his or yours or, you know, the both of yours original concept for "Thriller"?
JONES: Well, it starts before that. It starts during the movie, you know, of - when we first met after - initially at 12 years old. It was - he was about 19, so about '77 or so. And he came over to the house. That's the first time we really met on a professional basis. He was growing up then. And he said, please to meet you, etcetera and was very sweet. And he said, I'm doing a - have a new contract with Epic Records, and the Jackson 5, I'm still working with them, but I'm going to do a solo album and I was wondering if you could help me find a producer. I said, `great, Michael, but right now, we've got to mammoth job here to prerecord all the songs with you and Nipsey Russell, Richard Pryor, Lena Horne, Diana Ross and everybody else, to prerecord the songs before you make a film. That's just the nature of what films are about. You prerecord the voice, everything, and you have to really guess right about the dramatic context of how a song starts and stops, how long it is, because it's all going to be filmed. And that's what the film's going to be, is it's a slave to that track. So you really have to concentrate.
And so I said, if you be patient and just wait until we get through this, maybe we can talk about the producer.' So we finished the prerecords, we start getting ready, preparing for the film. Sidney Lumet is at the St. George Hotel in Brooklyn one day, and he's blocking out a scene with the four principals, and Michael's the scarecrow, and he had pulled - out of his straw chest, he'd pull out little quotes from, dah, dah, dah, dah, dah, Confucius. Dah, dah, dah, dah, dah, dah, dah, Aristotle. Dah, dah, dah, dah, dah, dah, Socrates.' And he kept saying, Socrates. And about the third day, I just took him aside and said, Michael, the word is Socrates. And he said, really? And he was really surprised, you know, because he's been a star since he was five, you know, so he's been on the road since then. So he's like an old man in one sense; he's like a baby in another sense. And there was something about the look in his eye -and I had been watching him - the discipline he had. He'd get up at five in the morning for his makeup tests and everything else. Very, very conscientious of discipline young person.
I mean, one of the most I've ever seen. He knew everybody's lines, everybody's song, everybody's lyrics, everybody's dance steps, everybody's movement, everything. And the most amazing and absorbing and involved person I'd ever - artist - I'd ever seen before. And I loved the records they'd made on Motown, you know, the bubble gum things, you know, "Dancing Machine" and those things, but after seeing this other side of him, I felt that there was much more inside of Michael that hadn't been touched because you look at Michael at first, you'd say, `there's nothing else to do with him. He's done everything and he did it at nine. You know, he was singing "love song" to a rap, you know, then and everything and he was fearless and sincere about it. He had a very strong sense of maturity.
GROSS: What was your approach to producing "Thriller"? What did you think of as your major contributions to the sound of that record?
JONES: Of course, "Thriller" was a combination of all of my experience as an orchestrator and picking the songs and Michael's - all the talents he has as a dancer, as a singer, as an amazing entertainer. It was like us throwing everything we - accumulated experience, putting it all together.
GROSS: Well, let's hear "Billie Jean." I really regret we're out of time. I wish we could talk some more. I want to thank you so much for talking with us.
JONES: It's a pleasure, Terry.
MICHAEL JACKSON: (Singing) She was more like a beauty queen from a movie scene. I said don't mind, but what do you mean I am the one who will dance on the floor in the round. She said I am the one, who will dance on the floor in the round.
(Singing) She told me her name was Billie Jean, and she caused a scene. Then every head turned with eyes that dreamed of being the one who would dance on the floor in the round. People always told me, be careful what you do. Don't go around breaking young girls' hearts. And mother always told me be careful who you love, be careful what you do 'cause the lie becomes the truth.
(Singing) Billie Jean is not my lover. She's just a girl who claims that I am the one. Oh, no. But the kid is not my son. Whoo. She says I am the one. But the
GROSS: My interview with Quincy Jones was recorded in 2001. Coming up, some Memorial Day reflections.
This is FRESH AIR.
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text:
Common Lisp the Language, 2nd Edition
Even if a series expression satisfies all of the restrictions above, it
still may not be possible to transform the expression into a loop. The
sole remaining problem is that if a series is used in two places, the
two uses may place incompatible constraints on the times at which series
elements should be produced.
The series expression below shows a situation where this problem arises. The expression creates a series x of the elements in a list. It then creates a normalized series by dividing each element of x by the sum of the elements in x. Finally, the expression returns the maximum of the normalized elements.
(let ((x (scan '(1 2 5 2)))) ;Warning message issued (collect-max (#M/ x (series (collect-sum x))))) => 1/2
The two uses of x in the expression place contradictory constraints on the way pipelined evaluation must proceed; collect-sum requires that all of the elements of x be produced before the sum can be returned, and series requires that its input be available before it can start to produce its output. However, #M/ requires that the first element of x be available at the same time as the first element of the output of series. For pipelining to work, the first element of the output of series (and therefore the output of collect-sum) must be available before the second element of x is produced. Unfortunately, this is impossible.
The essence of the inconsistency above is the cycle of constraints used in the argument. This in turn stems from a cycle in the data flow graph underlying the expression. In figure A-1 function calls are represented by boxes and data flow is represented by arrows. Simple arrows indicate the flow of series values and cross-hatched arrows indicate the flow of non-series values.
Given a data flow graph corresponding to a series expression, a constraint cycle is a closed oriented loop of data flow arcs such that each arc is traversed exactly once and no non-series arc is traversed backward. (Series data flow arcs can be traversed in either direction.) A constraint cycle is said to pass through an input or output port when exactly one of the arcs in the cycle touches the port. In figure A-1 the data flow arcs touching scan, sum, series, and #M/ form a constraint cycle. Note that if the output of scan were not a series, this loop would not be a constraint cycle, because there would be no valid way to traverse it. Also note that while the constraint cycle passes through all the other ports it touches, it does not pass through the output of scan.
Whenever a constraint cycle passes through a non-series output, an argument analogous to the one above can be constructed and therefore pipelining will be impossible. When this situation arises, a warning message is issued identifying the problematical port and the cycle passing through it. For instance, the warning triggered by the example above states that the constraint cycle associated with scan, collect-sum, series, and #M/ passes through the non-series output of collect-sum.
Given this kind of detailed information, it is easy to alleviate the problem. To start with, every cycle must contain at least one function that has two series data flows leaving it. At worst, the cycle can be broken by duplicating this function (and any functions computing series used by it). For instance, the example above can be rewritten as shown below.
(let ((x (scan '(1 2 5 2))) (sum (collect-sum (scan '(1 2 5 2))))) (collect-max (#M/ x (series sum)))) => 1/2
It would be easy enough to automatically apply code copying to break problematical constraint cycles. However, this is not done for two reasons. First, there is considerable virtue in maintaining the property that each function in a series expression turns into one piece of computation in the loop produced. Users can be confident that series expressions that look simple and efficient actually are simple and efficient. Second, with a little creativity, constraint problems can often be resolved in ways that are much more efficient than copying code. In the example above, the conflict can be eliminated efficiently by interchanging the operation of computing the maximum with the operation of normalizing an element.
(let ((x (scan '(1 2 5 2)))) (/ (collect-max x) (collect-sum x))) => 1/2
The restriction that optimizable series expressions cannot contain constraint cycles that pass through non-series outputs places limitations on the qualitative character of optimizable series expressions. In particular, they all must have the general form of creating some number of series using scanners, computing various intermediate series using transducers, and then computing one or more summary results using collectors. The output of a collector cannot be used in the intermediate computation unless it is the output of a separate subexpression.
It is worthy of note that the last expression above fixes the constraint conflict by moving the non-series output out of the cycle, rather than by breaking the cycle. This illustrates the fact that constraint cycles that do not pass through non-series outputs do not necessarily cause problems. They cause problems only if they pass through off-line ports.
A series input port or series output port of a series function is on-line if and only if it is processed in lockstep with all the other on-line ports as follows: the initial element of each on-line input is read, then the initial element of each on-line output is written, then the second element of each on-line input is read, then the second element of each on-line output is written, and so on. Ports that are not on-line are off-line. If all of the series ports of a function are on-line, the function is said to be on-line; otherwise, it is off-line. (The above extends the standard definition of the term on-line so that it applies to individual ports as well as whole functions.)
If all of the ports a cycle passes through are on-line, the lockstep processing of these ports guarantees that there cannot be any conflicts between the constraints associated with the cycle. However, passing through an off-line port leads to the same kinds of problems as passing through a non-series output.
Most of the series functions are on-line. In particular, scanners and collectors are all on-line as are many transducers. However, the transducers in section A.2.4 are off-line. In particular, the series inputs of catenate, choose-if, chunk, expand, mask, mingle, positions, and subseries along with the series outputs of choose, split, and split-if are off-line.
In summary, the fourth and final restriction is that for optimization
to be possible, a series expression cannot contain a constraint cycle that
passes through a non-series output or an off-line port. Whenever this
restriction is violated a warning message is issued. Violations can be
fixed either by breaking the cycle or restructuring the computation so that
the offending port is removed from the cycle.

subset: commoncrawl


text:
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4:50 pm - A few random shots from the day:
Michele Crockett, Windows IT Pro
Martin McClean, Microsoft. He makes those awesome posters!
4:44 pm - An afternoon of booth duty is complete. I got to interview Mark Minasi and Sean Deuby, and those videos should appear on the web in the coming week.
10:50 am - I actually do have some meetings today too. Ergh...
10:20 am - I should catch up on TechEd news before I get started on my other stuff. I basically worked from 8:00 am to 7:00 pm yesterday, so it was a little hectic. Here are some of the interesting tidbits I've picked up from around the web (and via email) ...
Office Web Apps are appearing for some
I've received a few emails from people who have seen Microsoft's Office Web Apps appear online, so it's worth looking. Note, however, that until you get the new Hotmail (mid-to-late June), you'll be missing out on the nice integration pieces around sharing documents and so on.
Next Windows Server a major release
Ina Fried writes that Microsoft "server and tools unit president Bob Muglia said Microsoft is sticking to a schedule set out several years ago in which the server and tools unit puts out alternating minor and major releases every two years or so."
This is incorrect. Microsoft is, in fact, changing its schedule according to conversations I've had with the company, and each release will simply be "a release," and not a major or minor release. And as Muglia does note, the client and server releases are now in lockstep, and will be released side by side each time. You can expect the R2 naming silliness to disappear too.
I think what Muglia was really saying here is that the next release won't be a minor (i.e. "R2"-type) release. That is certainly the case.
Microsoft: Features Still Missing in Azure
PC World reports that Windows Azure is still a work in progress. "Due to an early emphasis on getting the right architecture for its Azure cloud platform, which went live in February, Microsoft's cloud service is still missing key features that are available in the company's standalone products ... Microsoft does plan to offer most of the major features still not available within 12 to 18 months."
Not mentioned here is that the traditional server products will also pick up features from Azure. You know, the features they're "missing" that are in Azure. :)
New Policies for Next Gen Windows Phone Marketplace
Microsoft reports via its Windows Phone blog that it is changing its app store policies in anticipation of the release of Windows Phone 7. "Today we're introducing the new set of Windows Phone Marketplace policies that will govern the application submission and certification process as Windows Phone 7 comes to market."
Specifically, the new Windows Phone Marketplace policies offer:
- Annual registration fee of $99
- No limit to the number of paid apps submitted 5 free apps per registration, $19.99 each after that
- Free registration to DreamSpark students (same unlimited paid and 5 free apps applies)
A new optional push notification service to help developers stay engaged with customers- A new optional Trial API - trials mean more customers try your app, and less likelihood that they return it. The length or type of trial is fully controlled by the developer
- The ability to publish to all available Marketplace markets through a new "worldwide distribution" option, allowing developers to pay once and distribute broadly
- Wider range of business models; free, paid, freemium and ad-funded
- Equally important to many developers is what isn't changing:
- A revenue share of 70/30
- Developers manage their business with Marketplace via the self service portal
- Payout takes place monthly for developers that have earned more than USD$200 worldwide
- Developers can make ad funded applications
- All applications go through a process of technical and content certification
- Marketplace offers support for credit card commerce, and where available mobile operator billing.
- Microsoft continues its practice of publishing policies, guidelines, and submission process details to developers so they understand exactly how marketplace works.
The full list of Windows Phone Marketplace policies is now available here.
Expression Studio 4 Launches
Microsoft notes in its Expression Blend and Design blog that "Today at Internet Week in NYC, we announced the availability of Expression Studio 4. You can download the trial of Expression Studio 4 Ultimate that includes Expression Blend 4 and SketchFlow now."
Note that customers currently using Expression 3 can upgrade to Expression Studio 4 at no additional cost.
10:15 am - I managed to sleep through my iPhone's alarm for the first time ever (come on, it is really annoying) but finally made it over to the convention center. I've got a print magazine article to write, and a work-related conference call, but I think I'm going to be in the Windows IT Pro Magazine booth on the show floor this afternoon. So if you're at TechEd, swing on by.


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Polished English Copper metal E27 lampholder
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(via Weblogs Tools Collection)
Adobe Contribute and WordPress Adobe contribute now works with WordPress and other blogging tools to allow users to post and publish content from within Adobe, Macromedia and Microsoft applications directly to blogs as well as other publishing applications and CMSs. Lots of tricks and features built in, including workflow and authoring permissions (not sure how it is implemented). I like their selling point that it will help users get started with blogging by integerating blogs into existing and familiar publishing environments.


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Slides for speech to World Bank conference (Lessons from East Asia and the Global Financial Crisis), Tuesday in Seoul (1pm local time), are attached. This post summarizes my main points.
There are two views of the global financial crisis and – more importantly – of what comes next. The first is shared by almost all officials and underpins government thinking in the United States, the remainder of the G7, Western Europe, and beyond. The second is quite unofficial – no government official has yet been found anywhere near this position. Yet versions of this unofficial view have a great deal of support and may even be gaining traction over time as events unfold.
The official view is that a rare and unfortunate accident occurred in the fall of 2008. The heart of the world's financial system, in and around the United States, suddenly became unstable. Presumably this instability had a cause – and most official statements begin with "the crisis had many causes" – but this is less important than the need for immediate and overwhelming macroeconomic policy action.
The official strategy, for example as stated clearly by Larry Summers is to support the banking system with all the financial means at the disposal of the official sector. This includes large amounts of cash, courtesy of Federal Reserve credits; repeated attempts to remove "bad assets" in some form or other, and – the apparent masterstroke – regulatory forbearance, as signaled through the recent stress tests.
But most important, it includes a massive fiscal stimulus implying, when all is said and done, that debt/GDP in the United States will roughly double (from 41% of GDP initially, up towards 80% of GDP).
Not surprisingly, funneling unlimited and essentially unconditional resources into the financial sector has buoyed confidence in both that sector and at least temporarily helped shore up confidence in financial markets more broadly.
And now, in striking contrast to the dramatic action they call for on the macroeconomic/bailout front, the official consensus claims relatively small adjustments to our regulatory system will be enough to close the case – and presumably prevent further recurrence of problems on this scale. If the exact causes and presumed redress are lost in mind-numbingly long list of adjustments, so much the better.
This is, after all, a crisis of experts – they deregulated, they ran risk management at major financial firms, they opined at board meetings – and now they have fixed it.
The second view, of course, is rather more skeptical regarding whether we are really out of crisis in any meaningful sense. In this view, the underlying cause of the crisis is much simpler – the economic supersizing of finance in the United States and elsewhere, as manifest particularly in the rise of big banks to positions of extraordinary political and cultural power.
If the size, nature, and clout of finance is the problem, then the official view is nothing close to a solution. At best, pumping resources into the financial sector delays the day of reckoning and likely increases its costs. More likely, the Mother of All Bailouts is storing up serious problems for the near-term future.
We'll double our national debt (as a percent of GDP), and for what? To further entrench a rent-seeking set of firms that the government determined are "too big to fail," but will not now take any steps to break up or otherwise limit their size.
We need to disengage from a financial sector that has become unsustainably large (see slides before and after #19; the cross-country data should be handled with care).
We can do this in various ways; there is no need to be dogmatic about any potential approach – if it works politically, do it. But the various current proposals for dealing with this issue – both from the administration and the leading committees of Congress – would make essentially zero progress.
As moving in this direction does not seem imminent, the probable consequences or – if you prefer – collateral damage looks horrible. You can see it as higher taxes in the future, lower growth, a bigger drag on our innovative capacity, fewer startups, and less genuinely productive entrepreneurship. Plenty of people will be hurt, and they are starting to figure this out – and to think harder about what needs to be done and by whom.
"Small enough to fail" may well prevail eventually – at least sensible ideas have won through in past US episodes – but it will take a while. The official consensus always seems immutable, right up until the moment it changes completely and forever.
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1980's Alligator is an oddball monster movie that reverses audience expectations: the monster is only so-so but the writing, direction and acting are exceptional. Actor Robert Forster and relative newcomer director Lewis Teague lead what amounts to an all-star cast. The paternity for this old-fashioned monster mash can be traced through the previous tongue-in-cheek Piranha back to the monster blockbuster Jaws five years earlier. Thanks in no small part to a witty, non-condescending script by John Sayles, Alligator is an entertaining surprise. The 1970s were hard times for unpretentious monster movies, a popular genre reduced to the dregs of The Giant Spider Invasion and Food of the Gods while the upscale Jaws raked in all the cash. Alligator is no classic but it distinguishes itself by respecting the intelligence of its audience. Earnest enough to be taken seriously and smart enough to have a sense of humor, the well-directed picture delivers more than its fair share of thrills. Robert Forster's working-stiff detective Madison maintains his composure whether dealing with a premature hair loss problem or a human arm that turns up in the city's water treatment plant. He's lost a puppy to the plague of pet-nappings and intuits that something is amiss at the local pharmaceutical research plant, where experimental dogs have their vocal chords cut so they won't bark all day. Jaws developed an 'enemy of the people' theme by placing public safety in conflict with the economic needs of a Massachusetts beach town. Screenwriter John Sayles takes that idea one step further by blaming everything on the profit motive. Florida gators are put on display for a cheap show while their endangered offspring are sold as pets. The drug company hires a dog-snatcher to steal experimental subjects and uses its clout to have David Madison fired when he gets too close to the truth. When the contaminated puppy carcasses are dumped in the sewer, the giant gator that results is a genuine capitalist Godzilla. In his commentary Sayles explains that he wanted the monster to literally eat its way up the economic ladder, from ghetto neighborhoods to middle class homes with swimming pools. The problem is largely ignored until the alligator invades a ritzy country club party. Striking a funny note, the first thing the gator sees at the soirée is a fancy French poodle, a tasty snack. And with none of those unwanted hormone additives he's been eating! Director Lewis Teague (The Lady in Red) works wonders by fast-cutting between a live alligator in miniature sets and a large animatronic gator that can barely move. The monster's snout smashes though sidewalks, while its victims barely get a chance to see more than a set of giant teeth closing in on them. The attacks are surprisingly effective and as unpredictable as the gator itself. Just when we're expecting a big joke, a suburban kid disappears in his own backyard pool, leaving his speechless pals staring at an underwater cloud of blood. The changing face of film work in 1980 meant that actors were desperate for any role that wouldn't harm their careers, and the makers of Alligator used their personal connections -- and Sayles' generous bit parts -- to attract an amusing cast. Sidney Lassick was cut out of the previous year's 1941 and is a great choice for a sleazy mutt thief. Perry Lang holds up his end as an amiable rookie cop. Michael V. Gazzo (The Godfather Part II) is David's jaded police chief. Dean Jagger's ruthless executive is a precursor of "The Old Man" from the first two RoboCop films. Jack Carter is the jerk of a Mayor while Henry Silva has fun as a cocky big game hunter who hires ghetto kids as his 'native bearers.' The film's happy ending sees most of these pushy characters becoming Gator Chow. Nervy reporter Bart Braverman is none other than child actor Bart Bradley, from 1957's 20 Million Miles to Earth. Popping up in much smaller bits are Angel Tompkins, Sue Lyon and Mike Mazurki. Lionsgate's DVD of Alligator is an acceptable enhanced transfer of a film released by Group 1, the distributor of pictures like The Clonus Horror and The Sword and the Sorcerer. Colors are a bit weak but the film otherwise is in excellent condition. The welcome commentary and new featurette Alligator Author (produced by Carl Daft, David Gregory and Gary Hertz) demonstrate the care and attention Lionsgate has afforded this disc. Writer John Sayles' charming and sensible account of his involvement in the movie shows that he respects genre films and wanted to make a good one. He remembers that the animatronic alligator's head was too heavy, and had a tendency to tip over forward. The film's most frequently printed still shows a stick tucked under its chin to hold it up! Del Howison of Burbank's Dark Delicacies store and website hosts a pleasant and down-to-earth commentary with actor Robert Forster and director Lewis Teague. Teague explains that his The Lady in Red hadn't done well, so he wasted no time 'biting' at the offer to direct Alligator. Teague, Sayles and Forster were given relative freedom -- within the framework of a picture about a big lizard that eats people. They come off as personable and grudge-free, and Alligator is a credit to be proud of. A trailer completes the package. Alligator came out just as home video came in; just ten years later small movies about big monsters were no longer receiving serious theatrical distribution. Low budget Sci-Fi and horror retreated to the Straight-to-Video market, an outlet that dried up when larger companies put bigger resources into shows for playoff on cable TV outlets like the Sci-Fi channel. The Alligator disc begins with a promo for just such a new production, with its curiously uninteresting giant CGI monsters.
On a scale of Excellent, Good, Fair, and Poor,
Alligator rates:
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THQ Is the Ghost of Video Gaming Future
Investors won't have THQ to kick around much longer. Shares of the video-game publisher plummeted 74% on Wednesday afternoon after revealing that it was filing for Chapter 11 bankruptcy protection. THQ will be selling its assets in a $60 million deal that will likely all go to its creditors. Common shareholders are out of luck, even if another bidder steps up with a slightly better offer.
This has to be sending shivers down the spines of Activision Blizzard and Electronic Arts . It's not as if either company is going down next. The two largest video game developers have a few strong marquee titles, healthy balance sheets, and encouraging near-term outlooks. However, THQ's demise is more proof that the industry doesn't have room for anything more than its biggest franchises. The publisher had its share of modest hits. THQ had the popular Saints Row franchise, wrestling games, and the once hot uDraw platform of drawing games.
That wasn't enough.
Investors should have seen this coming when it went for a 1-for-10 reverse split this summer to stay in compliance with exchange listing requirements. If that didn't wake investors up, the CFO's departure last month as the company began exploring potential funding alternatives was probably a strong indication to head out to the life rafts if they didn't want to go down with the ship.
It's a bad time to be in the video-game industry. Hardware and software sales have been falling for three years. Millions still turn out for the latest Call of Duty or Madden releases, but there's just no appetite for the non-blockbuster titles. Diehard gamers will show up in big numbers when Take-Two Interactive puts out Grand Theft Auto V early next year. Folks are just using their consoles as video-streaming devices or playing cheaper digital diversions during the lulls between games worth buying.
The industry has become feast or famine, and it's a safe bet that THQ won't be the last company to go hungry.
Digital future
THQ investors can blame the mobile craze for its demise, but they can still profit from the shift. It's true that the next trillion-dollar revolution will be in mobile, and there's an easy way to cash in. A free special report will get you up to speed.
The article THQ Is the Ghost of Video Gaming Future originally appeared on Fool.com.
Longtime Fool contributor Rick Aristotle Munarriz has no positions in the stocks mentioned above. The Motley Fool owns shares of Activision Blizzard. Motley Fool newsletter services recommend Activision Blizzard and Take-Two Interactive. Try any of our Foolish newsletter services free for 30 days. We Fools don't all hold the same opinions, but we all believe that considering a diverse range of insights makes us better investors. The Motley Fool has a disclosure policy.
Copyright © 1995 - 2012 The Motley Fool, LLC. All rights reserved. The Motley Fool has a disclosure policy.


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Create a Website Account - Manage notification subscriptions, save form progress and more.
California's sex offender registration program actually began in 1947, however the information was not available to the public until 1996 when the California Legislature passed "Megan's Law." "Megan's Law" also allows law enforcement agencies to provide certain information to the public about registered sex offenders. The Napa County Sheriff's Office, along with other local law enforcement agencies, closely tracks sex offenders residing in Napa County and this website is intended to assist the citizens of our county in making decisions regarding personal and family safety.
For more information about specific registered sex offenders visit the California Department of Justice website.


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Royals pound the Phillies
Alex Gordon and Chris Getz each hit bases-loaded triples and the Kansas City Royals rallied to beat Philadelphia 13-4 Friday, spoiling the Phillies' home opener.
The interleague matchup was a rare one between teams that first met in the 1980 World Series. The Royals overcame a 4-0 deficit to surge past Kyle Kendrick and the Phillies
After getting a total of 17 hits in their first three games against the Chicago White Sox, the Royals had 19 against the Phillies.
Eric Hosmer was 4 for 5 with three RBIs.
Domonic Brown and Erik Kratz hit solo homers for the Phillies, who are off to a 1-3 start.


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With new ad buys that came across last night from Crossroads GPS and Restore Our Future, TV and radio ad spending for the presidential election has now crossed the $600 million mark.
Grand total ad spending: $605.7 million
The Romney campaign and outside groups supporting him continue to outspend the Obama campaign and its supporters, but the Obama campaign has poured in more than $8 million in just the past week.
Team Romney $318.5 million
Team Obama $287.2 million
More than half of all the money spent is in just three states – Florida, Ohio, and Virginia. And in those states, Team Obama leads.
Florida: $121 million (Team Obama $60.7 million -- Team Romney $60.3 million)
Ohio: $116.9 million (Team Obama $63.6 million – Team Romney $53.3 million)
Virginia: $90 million (Team Obama $47.9 million – Team Romney $42.4 million)
So $327 million spent in three states – that's 54 percent of all ad money spent.
This past week has also seen double the spending in Wisconsin, Paul Ryan's home state. Wisconsin has been -- and continues to be -- in the Toss Up column in the NBC Battleground Map, but it is now just seeing real action from the campaigns, including a visit to Milwaukee by President Obama next Saturday.


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Lynyrd Skynyrd's 13th album, Last Of A Dying Breed, draws ever nearer and in the video above the band talk about the political inspiration behind one of their favourite new songs, Something To Live For.
In the past Lynyrd Skynyrd's unique brand of Southern protest song led to hits like Sweet Home Alabama and it seems that now the changing economic fortunes of the US in the past few years has played a part in the new album writing sessions.
Pre-order Lynyrd Skynyrd - Last Of a Dyin' Breed
Classic Rock fanpack: http://smarturl.it/LynyrdSkynyrdFanpack
iTunes: http://smarturl.it/LynyrdSkynyrdLOADB


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Welcome to Associated Designs!
A railed porch spans the front of this large contemporary townhouse. Bold stuccoed columns support an arched opening that frames the entry. Inside, the foyer opens out into a bright and spacious area that comprises the living room, dining area and kitchen. The owners' suite it at the rear, while two bedrooms, a loft, and a third bathroom are upstairs.


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The debate over pay for performance in healthcare gets progressively more interesting, and confusing. And, with Medicare's recent launch of its value-based purchasing and readmission penalty programs, the debate is no longer theoretical.
Just in the past several months, we've seen studies showing that pay for performance works, and others showing that it doesn't. We've heard from some theorists who describe P4P as sapping intrinsic motivation and doing violence to professionalism, and others who feel that its effects are as natural and predictable as water running downhill. Some commentators beg us to stop it, while others denounce P4P's current incarnations as too wimpy to work and recommend they be turbo-charged.
If we weren't talking about the central policy question of a field as important as healthcare, we could call this a draw and move on. But the stakes are too high, so it's worth taking a moment to review what we know.
In the U.S., the main test of P4P has been Medicare's Hospital Quality Incentive Demonstration (HQID) program. A recent analysis of this program, which offered relatively small performance-based bonuses to a sample of 252 hospitals in the large Premier network, found that, after 6 years, hospitals in the intervention group had no better outcomes than those (3363 hospitals) in the control arm. Prior papers from the HQID demonstrated mild improvements in adherence to some process measures, but – as in a disconcerting number of studies – this did not translate into meaningful improvements in hard outcomes such as mortality.
Contrast the HQID results with those seen in a recent publication of the results of a 24-hospital study in northwest England, in which P4P (with higher bonuses, up to 4%) was associated with significant improvements in risk-adjusted mortality rates for patients with pneumonia, acute myocardial infarction, and heart failure. In other studies, substantial bonuses to British GPs (up to 30%) have been shown to be associated with improved adherence to process measures and intermediate outcomes such as control of hypertension and cholesterol.
The competing ideologies are as interesting as the dueling p values. It has become clear that the world is sorting itself into two camps: people rooting for P4P to flourish and others hoping that it crashes and burns. In the former camp are individuals who view doctors as economic
creatures, nothing more, nothing less. They see protestations by physicians that "we can't be bought" as both unbelievable and haughty. Such individuals find succor in the history of fee-for-service medicine. "We already have pay for performance," I've been told on several occasions. "We pay more for the performance of procedures, hospitalizations, and office visits, and so that's precisely what medicine produces." Even for those rooting for better angels, this argument is hard to ignore.
In the opposite camp are those who point to medicine's history as a noble profession. They note that one of the defining characteristics of professions is that they place the needs of those they serve over their own. In addition to this social-good argument, they tout empirical evidence from the trendy field of behavioral economics, which highlights the tension between intrinsic (driven by purpose, altruism, mastery) and extrinsic (driven by money) motivation. This research has demonstrated that not only do financial incentives frequently not work as well as one might like, they may even "crowd out" intrinsic motivation. The ever-present physician-gadflies Steffie Woolhandler and David Himmelstein, joined by behavioral economist Dan Ariely, highlight several of these arguments in a recent Health Affairs blog. They cite one study that found that incentive payments decrease the frequency of blood donations (as compared with voluntary donations) and another that found that parents became more likely to pick up their kids after-hours when an Israeli day care center imposed fines for late pickups.("Fines had transformed promptness from a moral duty to a market transaction governed by price," they write.)
This camp's bible is Daniel Pink's book Drive, and one of its prophets is my ABIM colleague Chris Cassel, who has argued, in two fine JAMA articles (coauthored by Sachin Jain, here and here) that financial incentives can suppress motivation, turning physicians from "knights" (individuals motivated by professional values) into "pawns" (passive participants doing backflips in response to external incentives). Another prominent member of this camp is Don Berwick, who addressed this issue before he became, well, Don Berwick. Writing in 1995, he argued
I find myself an extremist and therefore suspicious of my answer. But it is, nonetheless, the best answer I have yet found regarding merit pay for doctors or any group of workers; namely, "Stop it." [Such pay] is destructive of what we need most in our healthcare industry – teamwork, continuous improvement, innovation, learning, pride, joy, mutual respect, and a focus of all of our energies on meeting the needs of those who come to us for help. We can find better ways to decide on how we pay each other and better uses for our energies than in the study and management of carrots and sticks.
So where does this gumbo of empirical evidence and exhortation leave us? As with most really complicated questions in life, the right answer will be as utterly unsatisfying to those rooting for their home team as it is predictable: it'll lie somewhere between the poles. To me, while the evidence supporting P4P in healthcare is weak, it is far too early to pull the plug on a strategy with so much face validity, particularly with all that's hanging in the balance.
But boy, do we have lots of details to sort out. How much money should be in P4P bonuses and penalties? (Medicare's current value-based purchasing plan pegs bonuses at 1%, doubling in a few years – much lower than most experts recommend to catch the attention of doctors and hospitals.) What is the right mix of payments that go to best performers versus best improvers. (Early programs gave bonuses only to the former, but the correct answer must involve a Solomonic splitting of the baby, and Medicare's current value-based purchasing plan does just that.)
What is the best blend of process and structural vs. outcome measures? (Medicare began with process measures, but value-based purchasing and other P4P programs are increasingly combining processes with risk-adjusted outcomes.) When does transparency get you far enough along that P4P is superfluous or simply not worth the hassle? (The biggest surprise in this area has been the power of simple transparency in driving change, particularly since it has been accompanied by relatively meager consumer-based changes in behavior. This is part of the reason why it has been hard to show benefit for hospital P4P in the U.S.: all "control" hospitals are participating in a vigorous transparency program, which has been strikingly successful.) How can we align everyone's incentives? (P4P programs to date have mostly focused on hospitals or doctors, rarely both. Future programs should try to align these forces.) And – perhaps most important of all – is there a way to implement P4P without dousing the flame of intrinsic motivation and professionalism? (I have no clever answer to that one, but I suspect someone smarter than me will figure it out.)
In the final days of the presidential campaign, we saw the hazards of reading the evidence – in this case, the polls – through an ideological lens. Even as we debated the "Is-Nate-Silver-right?" question, we knew that the final answer was forthcoming, on the evening of November 6. With P4P, it won't be quite that simple: there will not be any singular event that tells us that we have things structured just right to maximize benefit and minimize harm. So, for now, the best stance is to keep an open mind, listen to both sides of the argument, review the research in as unbiased a way as one can muster, and pray for more and better studies.
In the end, I'm guessing that the best solution will not be one that treats physicians as purely economic animals. They're not. But – as much as we'd wish it to be so – it is equally unlikely to be one that relies completely on the kindness of strangers.
Robert Wachter, MD, professor of medicine at UCSF, is widely regarded as a leading figure in the patient safety and quality movements. He edits the federal government's two leading safety websites, and the second edition of his book, "Understanding Patient Safety," was recently published by McGraw-Hill. In addition, he coined the term "hospitalist" in an influential 1996 essay in The New England Journal of Medicine and is chair of the American Board of Internal Medicine. His posts appear semi-regularly on THCB and on his own blog, Wachter's World.
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Ocean Currents and Family Influences
I remember vividly my first view of an iceberg. In 1937 Sister Kimball and I made our first crossing of the Atlantic by steamer from Montreal, out through the St. Lawrence River and into the North Atlantic.
One day when we were well out into the ocean, there was excitement on the ship. An iceberg had been sighted. Most of the passengers rushed to the deck to see this sight. We could see it in the distance—a great white object against the dark sea and the azure of the sky.
There it floated quietly in the water like a sharp peak of a high mountain range, a thing of beauty to behold. All my life I had heard about them, and now, for the first time, it was there before my eyes—a sharp mountain peak of ice.
This recalled to our minds the tragic sinking of the Titanic, steamship of the White Star Line, on its maiden trip across the ocean. The huge iceberg collided with this large, new ship late in the evening, April 14, 1912. Fifteen hundred and three persons, many of them eminent in Britain and in the United States, were drowned as the ship sank and only 703 were saved.
Then four years ago, flying from England to the United States, we passed over Greenland and saw them again. Much of our trip we had traveled above the blanket of clouds, but as we flew over Greenland, the sky was clear and free of clouds. The sun shone brightly. Seldom does the human eye ever see such beauty and grandeur. Stretching out in the distance was the mile-thick blanket of ice over the great, domed island. We saw the thick glaciers creeping slowly down the valleys to the sea, where they break off and become icebergs. The fjords were full of floating mountains of ice drifting on their way to the ocean. Here was the birthplace of countless such icebergs as we had seen 33 years earlier.
The icebergs spawned by the Greenland ice sheet followed a highly predictable course. As the silent Labrador Current ceaselessly moves to the south through Baffin Bay and Davis Strait, it takes with it these mountainous icebergs, even against the force of the winds and the waves and the tides. Currents have much more power to control its course than the surface winds.
And we compared this conflict of the earth's powers with the results in our own lives when the current of our life, as defined and developed in the lives of a family by the righteous teaching of parents, will often control the direction children will go, in spite of the waves and winds of numerous adverse influences of the world of error.
Out of our view, under the ocean waves, there are forces of tremendous power with which we must reckon, and there are such powerful forces in our own lives.
The mighty Mississippi River is a rivulet in comparison with the great ocean streams. One of the most spectacular of all is said to be the Labrador Current. The second most powerful is the Gulf Stream, which carries warm water from the eastern portion of the Gulf of Mexico parallel to the eastern coast of the United States and across the Atlantic to warm the shores of Europe. The Gulf Stream carries as much water as a thousand Mississippi Rivers combined. Though of lesser magnitude, the Labrador Current year after year carries thousands of icebergs down from their birthplace in Greenland, faithfully, steadily, until they disintegrate or melt in the warmer waters of the Gulf Stream. It is at this point, where the Labrador Current meets the Gulf Stream, that the Titanic met her fate.
It is true of us, as of icebergs, that our course is, in important measure, determined by forces we only partly perceive. It is true also, however, that we are more like ships than icebergs. We have our own motive power, and if we are aware of the currents, we can take advantage of them.
Accordingly, if we can create in our families a strong, steady current flowing toward our goal of righteous life, we and our children may be carried forward in spite of the contrary winds of hardship, disappointment, temptations, and fashion.
Youth and adults are subjected to so many swirling winds that we sometimes wonder if they can survive. The winds of fashion push those about who are insecure and who require the feeling that they are in step with the crowd. The winds of sexual temptation drive some to destroy their marriage or to dash bright prospects or to degrade themselves. Bad companions, addicting drugs, the arrogance of profanity, the slough of pornography—all these and more act as influences pushing us, if we are not being carried forward by a strong, steady current toward the righteous life. The current of our lives should be determined and made strong by our parental and family life.
In each of us is the potentiality to become a God—pure, holy, true, influential, powerful, independent of earthly forces. We learn from the scriptures that we each have eternal existence, that we were in the beginning with God. (See Abr. 3:22.) That understanding gives to us a unique sense of man's dignity.
I have sometimes seen children of good families rebel, resist, stray, sin, and even actually fight God. In this they bring sorrow to their parents, who have done their best to set in movement a current and to teach and live as examples. But I have repeatedly seen many of these same children, after years of wandering, mellow, realize what they have been missing, repent, and make great contribution to the spiritual life of their community. The reason I believe this can take place is that, despite all the adverse winds to which these people have been subjected, they have been influenced still more, and much more than they realized, by the current of life in the homes in which they were reared. When, in later years, they feel a longing to recreate in their own families the same atmosphere they enjoyed as children, they are likely to turn to the faith that gave meaning to their parents' lives.
There is no guarantee, of course, that righteous parents will succeed always in holding their children, and certainly they may lose them if they do not do all in their power. The children have their free agency.
But if we as parents fail to influence our families and set them on the "strait and narrow way," then certainly the waves, the winds of temptation and evil will carry the posterity away from the path.
"Train up a child in the way he should go; and when he is old, he will not depart from it." (Prov. 22:6.) What we do know is that righteous parents who strive to develop wholesome influences for their children will be held blameless at the last day, and that they will succeed in saving most of their children, if not all.
The competition for our souls is described in Mosiah.
"For the natural man is an enemy to God, and has been from the fall of Adam, and will be, forever and ever, unless he yields to the enticings of the Holy Spirit, and putteth off the natural man and becometh a saint through the atonement of Christ … and becometh as a child, submissive, meek, humble, patient, full of love, willing to submit to all things which the Lord seeth fit to inflict upon him, even as a child doth submit to his father." (Mosiah 3:19.)
The "natural man" is the "earthy man" who has allowed rude animal passions to overshadow his spiritual inclinations.
Some years ago when we visited overseas, where the children are exposed in the public school to a constant barrage of propaganda against religion, I asked leaders of the Church how they were able to hold their children to the Church and keep them in the faith. They said, "We scrupulously train our children in our homes, so they know truth from error, and that when they go to school, the godless philosophies to which they are exposed simply run off without penetrating. Our children love and trust us and remain true to the faith." God bless such selfless, faithful parents.
A beginning is a secure marriage, where there is a commitment to make the personal adjustments to live together forever. With that sound base our children have a feeling of peace.
Analysts of our modern time point out that in a fast-changing world, people suffer a kind of shock from losing a sense of continuity. The very mobility of our society means that our children are often moved from place to place and lose close contact with the extended family of grandparents, uncles, aunts, cousins, and longtime neighbors. It is important for us also to cultivate in our own family a sense that we belong together eternally, that whatever changes outside our home, there are fundamental aspects of our relationship which will never change. We ought to encourage our children to know their relatives. We need to talk of them, make effort to correspond with them, visit them, join family organizations, etc.
How long has it been since you took your children, whatever their size, in your arms and told them that you love them and are glad that they can be yours forever? How long has it been since you husbands or wives purchased an inexpensive gift as a surprise for your spouse for no other reason than just to please? How long has it been since you brought home a rose or baked a pie with a heart carved in the crust or did some other thing to make life more aglow with warmth and affection?
If there is to be a contribution to the building fund or the Red Cross or a Saturday morning spent helping the elders quorum paint a widow's house, make sure the children are aware of it, and if it is feasible, let them have a share in the decision-making and in the implementation of the decision. All the family could attend the baptism, confirmation, and ordination of a member of the family. All of the family could root for a son who is on the ball team. All meet regularly in home evenings, at mealtime, at prayer time. Perhaps all of the family could pay tithing together, and each learns by precept and example the beautiful principle.
The home should be a place where reliance on the Lord is a matter of common experience, not reserved for special occasions. One way of establishing that is by regular, earnest prayer. It is not enough just to pray. It is essential that we really speak to the Lord, having faith that he will reveal to us as parents what we need to know and do for the welfare of our families. It has been said of some men that when they prayed, a child was likely to open his eyes to see if the Lord were really there, so personal and direct was the petition.
A child leaving to go away to school or on a mission, a wife suffering stress, a family member being married or desiring guidance in making an important decision—all these are situations in which the father, in exercise of his patriarchal responsibility, can bless his family.
And we should not overlook the fact that, particularly in the absence of the father, a mother may pray with her children and call down the Lord's blessings upon them. She does not act by virtue of priesthood conferred upon her, but by virtue of her God-given responsibility to govern her household in righteousness.
There is one important way in which we are different from icebergs. We have motive power and are therefore able, the same as with ships, to move ourselves as we want to go. If we are aware of the currents, we can take advantage of them. Many large oil tankers and ore carriers traveling from South America to harbors on the Atlantic seaboard are said to ride the Gulf Stream much as airliners ride the jetstream high above the earth.
Or, if we wish to fight the current, we may be able to do so; yet the current will inevitably have its effect. It is said that when Admiral Peary was traveling toward the North Pole, he found himself on a great ice floe as large as an island, and that as he moved northward toward the pole with his dogs, the floe was bearing him southward even faster by the current.
My brothers and sisters, the home is our peculiarity—the home, the family, is our base. And this we've heard much about through this conference—that is, family life, home life, children and parents loving each other and dependent upon each other. That's the way the Lord has planned for us to live.
Now in conclusion of this great conference, which has spread through three days and has brought us many thoughts, we bless these brethren who have contributed, all of them who have spoken, who have brought treasures of knowledge and much information and great inspiration to us here.
As we return to our homes, brothers and sisters, I hope we will not close the door on the conference. Take it with us. Take it home with us. Tell our families about it, perhaps some to report in sacrament meetings of it. But take it to your families and give them the benefit of any inspiration that might have come to you, any determinations to change your lives and make them more acceptable to your Heavenly Father.
As this conference concludes, we bless you, and we bring to you the blessings of the Lord of heaven. Brethren and sisters, I know that this is the work of the Lord. You haven't come these long distances for nothing. It is to feed your souls.
I know that the Lord lives—that God who was with Adam, that God who came to the banks of the Jordan River to say, "This is my beloved Son, in whom I am well pleased" (Matt. 3:17), to introduce his Son to a world that was to depend so completely on him. I know that was the God that we worship, who came on the Mount of Transfiguration and said again to those servants, Peter, James, and John, who were to carry on the work of the Lord even in their imperfections: "This is my beloved Son, in whom I am well pleased" (Matt. 17:5), the same God—we know he lives and exists—who came in the state of New York and said those same things that he had already said to the Nephites—and now said to a world that had been traveling in darkness for a long, long time—"This is My Beloved Son. Hear Him!" (JS—H 1:17.)
I know that Jesus is the Christ, the Son of the living God. I know that. I know that the gospel which we teach is the gospel of Jesus Christ and the church to which we belong is the church of Jesus Christ; it teaches his doctrines and his policies and his programs. I know that if all of us will live the program as he has given it and will continue to give it, that all the blessings promised will be ours. Now God bless you, and we leave his blessings with you with our affection, our appreciation for you, in the name of his Son, Jesus Christ. Amen.


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From D&D Wiki
This material is published under the OGL 1.0a. |
This staff allows use of the following heightened spells.
- Dominate monster (1 charge, DC 33)
- Demand (1 charge, DC 32)
- Mass charm monster (1 charge, DC 32)
- Geas (heightened, 1 charge, DC 33)
Caster Level: 21st; Prerequisites: Craft Staff, Craft Epic Staff, Heighten Spell, demand, dominate monster, geas, mass charm monster; Market Price: 464,400 gp.
Back to Main Page → 3.5e Open Game Content → System Reference Document → Magic Items


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Tuesday 25 May 2010
Sophie's moreish tofu - adapted
While reading about her latest post this morning (a lovely Strawberry Cake), I found that she is hosting an event for bloggers to post about a recipe they have adapted from another blog. It appealed to me because rarely do I follow a recipe to the letter. The event closes today so I found a recipe I have been meaning to post that fits the bill. The Tofu with a moreish tomato and ginger sauce dish came from Sophie at Mostly Eating. I was particularly interested in the recipe because it used lemongrass and molasses, neither of which I would usually pair with tofu in this way.
Looking at my notes about the ingredients I used and my photos, I remembered that I had made quite a few changes. Firstly I had halved the recipe because I didn't have enough tofu. I didn't have fresh chillis so I used cayenne pepper instead and I added some red papper because I wanted to use it up. I also decided to change the method and cook the tofu in the sauce rather than frying it and adding it at the end. My logic was that I like tofu to absorb as much flavour as possible.
The tofu was lovely, though it seemed to have a bit less sauce than Sophie's. Maybe my tofu absorbed more of it. The flavours were delicious. We ate it with broccoli and roti but I would like to try it with rice or even rice noodles for a gluten free alternative.
So with my blog reader temporarily under control I have a new project (though I have so much tidying around the house that needs to be done as well as a scarf to finish knitting for Sylvia). I have tired of having so many recipes bookmarked that I never return to or can find when I need them. My new project is to try and start bookmarking recipes on Delicious so that I can search my bookmarks by ingredients. I usually avoid signing up to more sites that will take up more time, but I am hoping this one will help me organise myself a bit more efficiently.
Previously on Green Gourmet Giraffe:
This time last year: Resurrection Potato and Pasta Bake
This time two years ago: Baked Bean Soup
This time three years ago: Café Bellino: Rustic Charm in Brunswick
Tofu in a tomato, lemongrass and ginger sauce
Adapted from Mostly Eating
Serves 2
250g firm tofu
2 tbsp vegetable oil
2 cloves garlic, finely chopped
Thumb sized piece of ginger, finely grated and juice squeezed out
½ stick lemongrass, finely chopped
¼ tsp cayenne pepper
1 medium onion, chopped
½ red pepper, chopped
1 x 400g can chopped tomatoes
½ heaped tsp molasses
1 tbsp soy sauce or tamari
juice of ½ lime (optional - I forgot about these)
Press tofu between two plates, wrapped in a piece of kitchen towel (or a clean tea towel) with a heavy weight on top. Leave for at least 10 minutes while you prepare the other ingredients.
Heat 1 tablespoon of oil in a large frypan over a medium heat and fry onions for about 5 minutes. While onions are cooking, chop the tofu into chunks. Add the red pepper and fry for another few minutes til it is softened. Remove onion/red pepper mixture and set aside, Add 1 extra tablespoon and the tofu to the frypan and cook for about 10 minutes until the tofu is lightly browned.
Return onions and red pepper to the tofu, add lemongrass, cayenne and garlic. Cook a few minutes, stirring frequently, til fragrant. Add tomatoes, molasses, soy sauce and ginger juice. Simmer for about 10 minutes until liquid thickens slightly. Serve with a squeeze of lime juice (if you remember).
On the Stereo:
Worker's Playtime: Billy Bragg
14 comments:
I tremendously like the look of this, and am in complete agreement about your logic regarding absorbtion (that's why I marinated tonight's tofu for 8 hours, though partly that was to make it more palateable for my tofu-averse father).
I would never have thought of combining molasses with lemongrass and ginger, but your photo (and report) makes me think this will be a good'un for my Smurf Kitchen :D [what was that you said about your google reader? ;)]Thanks Hannah - hope your dad comes around to tofu - I remember being a bit gung ho as a youngster in introducing my dad to tofu - would be gentler these days - hope this dish makes an appearance in the smurf kitchen - I need to repeat it because it is so good - and re the blog reader (I use bloglines) I am trialling a new way of bookmarking recipes in my constant search for better ways to get organised
Thanks Nupur - glad to find out about the event - it is a good one
Thanks Jacqueline - Graham's name made me laugh - ironically I am posting this recipe when I am too feeling uninspired - E will wish he was back in scotland with a nice freezer meal from M&S the way I am cooking!
Thanks Lorraine - adaptation is one of the things I love about reading about recipes on blogs - it is so fascinating to see the changes others make
Thanks Carla - oh yesssssssssssssssThis dish does look flavoursome - I adore ginger, and I personally don't have an issue with tofu (although a lot of people I know do!). I know what you mean about the bookmarks - I recently just tossed a bunch of recipes I'd printed because there were so many and they took up so much space.
ReplyDeleteThanks Choclette - I actually couldn't taste the molasses much and wondered if I should add some more as I love it - but I guess it is a matter of balance
Thanks Cakelaw - I always feel sad when people have problems with tofu because I think it is like a chameleon and it is just a matter of finding the right way to eat it - as for tossing bookmarked/printed recipes, I understand - there are just too many to cook!It's hard to find good tofu recipes and it's always nice to discover one that does something you hadn't thought of like this one! To keep track of recipes I've found on blogs or websites, I email them to a different email account (which is used for my blog and sending myself recipes). Delicious seems like a great site but I get paranoid that people will take down their blog or it will move and I'll lose the precious precious recipes!
Thanks for dropping by. I love hearing from you. Please share your thoughts and questions. Annoyingly the spammers are bombarding me so I have turned on the pesky captcha code (refresh to find an easy one if you don't like the first one)


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Memory Type Range Register (MTRR)
On Intel P6 family processors (Pentium Pro, Pentium !II and later) the Memory Type Range Registers (MTRR's) may be used to control processor access to memory ranges. This is most useful when you have a video (VGA) card on a PCI or AGP bus. Enabling write-combining allows bus write transfers to be combined into a larger transfer before bursting over the PCI / AGP bus. This can increase performance of image write operations 2.5 times or more.


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There is a movie called "The Man from Earth" and someone told me that the title is referring to "caveman" because "Earth" meant "cave". I doubt that. I can't find any dictionary supporting that explanation.
All I want to know is whether the statement is true in English: Does the phrase "man from earth" mean "caveman"?


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Skymaster ARF Plus Pro Kits - Items tagged as "Af1189"
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Pacific RC Jets offers complete PNP options for Skymaster aircraft. Please contact us directly for quotations.
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