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Writer Florence Fabricant and Chef Thomas Keller at Guild Hall Sunday, August 18, 2013.
By Kathryn G. Menu
Sunday morning at Guild Hall had the feel of an informal conversation between two friends about the United States' culinary evolution. Except this informal conversation happened to be between Chef Thomas Keller, widely considered one of the best chefs in the world, and renowned New York Times food writer Florence Fabricant. Keller, the chef and owner of The French Laundry in Yountville, California, Per Se in New York City, as well as Ad Hoc, Bouchon and Bouchon Bakery spoke with Fabricant as a part of Guild Hall's Stirring the Pot: Conversations with Culinary Celebrities series, which will continue this Sunday with an 11 a.m. conversation between Fabricant and food writer Melissa Clark.
FF: First off wanted to dispel any rumor you may have heard about Thomas scouting real estate to open a restaurant in the Hamptons. Very unfortunately. But Thomas, what's interesting to me is you went from a moderately successful restaurant in New York and then closed it with a restaurant Raquel that I think was before its time. And then you decamped for California. You worked a bit out there, peddled some olive oil and then bought The French Laundry nearly 20 years ago. And shortly after that you kind of rose to the top of the profession and you are today one of the world's most revered, praised chefs. How did that happen? How do you keep it going?
TK: I want to thank you first for inviting me and thank you all for coming on Sunday morning. I really appreciate it. I have always felt very fortunate and certainly lucky to be able to speak to anyone let alone a group of people like this. So thank you very much for showing up.
It's a good question. I think most of all persistence if you really had to distill it down. Persistence plays a big part in what I do and certainly what we do. Certainly when a young culinary asks me for advice, and I am not really sure what they are looking for other than maybe some magic phrase that is going to get them to be successful …
FF: Or a job.
TK: Or a job. There are two words that always come to mind—that is patience and that is persistence. I think we as young cooks and particularly as young people need to learn patience. We are always in a rush to get beyond what our skillsets are at that time and I think patience is a very important thing to have and something we all need to practice certainly when we are learning our skills and when we are young. Persistence—don't let anyone tell you you cannot do something and I think those are the two things that got me where I am—patience and persistence. More persistence than patience.
FF: Patience and persistence don't fill tables every single night and don't have waiting lists of people and cookbooks that sell out and so forth. There is more to it.
TK: Luck. Lots of luck.
FF: No, it's more than luck.
TK: It's true. When I look at my career and where I came from, Flo was a big part of that in New York when I was here. In fact she wrote one of the first articles on Raquel in The New York Times. And I asked her, "Why are you writing about me?" And she said, "Cause if I don't, someone else will." Perfectly honest and helped a great deal establish Raquel as a wonderful restaurant, downtown, a little off the beaten path at that point and it became a restaurant that was successful for a specific amount of time. It failed for a number of reasons, which I won't go into at this point. But I think failure is a really big part of our success. Without failure we're not going to learn and without making mistakes we are not going to move forward. One thing I always make sure we are doing is continuing to make mistakes because if you are not making mistakes you are not evolving, you are not pushing yourself. We are going to make as many mistakes today with the knowledge we have as the mistakes we made when we didn't have it. The amount of mistakes is not necessarily related to the position in your career as in what you are trying to accomplish. So today, as someone who appears to be an accomplished chef, I still make a lot mistakes because I still want to push myself to continue to evolve and establish new standards, parameters for what we are doing. You can always second-guess yourself in anything you are doing. But with that the amount of people you have around you and the knowledge they are able to bring is extraordinary as well. We talk about if it is not luck, if it is not patience, if it is not persistence, it's the knowledge of things you don't know and I wasn't afraid to reach out beyond myself to incorporate others who knew what I did not and I think that has been a big part of my success—the opportunity to be able to collaborate with a group of individuals who have a common vision and a common goal.
When I first opened The French Laundry there was four of us in our kitchen and each one of us acted like a chef and each one of us acted like a cook. And it was probably the most idyllic kitchens I worked in because of that. Not one of us was the chef, each one of us was the chef and we allowed ourselves to criticize one another, we gave ourselves permission, which was a great thing and we celebrated together. To be able to do that–not have one person in charge, it's a really, pretty magical environment to work in.
FF: From the beginning, speaking specifically of The French Laundry there are some dishes I think of as iconic dishes that you came up with—Coffee & Donuts, Oysters & Pearls—and they are still on your menus, but how has the food scene or your cooking or you vision or your menus, how have they evolved and changed.
TK: We all like to use the word, "create." Right? That is one that is thrown around a lot. There are a couple of words that really bother me and "create" is one of those. I don't really think we "create" anything. I think we are inspired about what we see, what we touch, what we smell, what we taste. Coffee & Donuts was a perfect example of inspiration—inspiration at a time when I really needed to do something, when I needed to figure out what I was going to do for dessert. I walked across the street, I was living in Los Angles, and I got a coffee and donut at a coffee shop, S & K Donuts—it's still there today—and I was walking back to my apartment thinking, what am I going to do for dessert? And it was there, coffee and donuts. It was perfect.
FF: But you have to be able to think outside the box and actually approach what you do with a light hand and a little whimsy to even pull something like that off.
TK: I think you have to be open-minded for the most part. I think the most important thing we have to be in life, in general, and certainly in our professions, is be aware, be aware of the world around you so those moments of inspiration are moments you can recognize. Inspiration is one of those things that is so rare. True inspiration should be really rare, so if you are not aware of what is going on around you then you are not going to be open and able to embrace the inspiration when it hits you. I was just thinking out loud and was just there—coffee and donuts was right in front of me. After you are inspired, as I realized I was, you are then going to interpret it as something that is meaningful for you. In that case, I needed a dessert. I didn't have a pastry chef, I needed a dessert and I interpreted coffee and donuts into a dessert. And that is evolution. You talk about the menu and where we are today—if you look at some of the dishes you understand how they evolve from 1992 when I first did the Coffee & Donuts and how it is served today. It is much, much different, but it is the same. The flavor profiles are the same, but it is served much, much differently.
Back to your original question—how has the menu and how has the dishes evolved. Some of it has evolved in great ways. Really the most important decision I made in terms of having a menu evolve and stay current is the decision I made when we first opened The French Laundry, which was to change the menu every day. Back then, we probably had an average of 40, 45 items on the menu at the time. We had several different menus going on at the time. And some dishes carried over, not every single dish changed every single day, but a significant number of them changed every day and to have one person control all of those ideas, all the compositions would have been impossible.
So we collectively sat around the table at night—those three other chefs and myself—and decided on the menu for the next day, what the ingredients would be, what the composition would be, what the techniques would be. There was an idea of no repetition—still a rule today—so if Steven was using corn, no one else was allowed to use corn on their menu. You can imagine how that became a significant conversation at the end of the night. The beginning of the day, someone would say, "I got corn." (Laughter) And at the end of the day I would say, "I got corn" because I have my dish in my mind. So you have initiated this idea of true collaboration where people are coming in with ideas they have already started thinking about before they came in for that day. That is a significant thing to be able to get young chefs to think outside of the box where they are not being told what to do but are a part of the decision process which means they actually take ownership of it—it is part their idea—so they are that much more committed to it. The idea of collaboration also allows one to think as significant as my idea might be once it is exchanged and shared around the table we could have a significantly better idea. Working in collaboration has been a core ideal since the beginning of the restaurant and that continues to happen to this day.
If we all understand the core or philosophy of our food— philosophy is very basic, our philosophy is rooted in tradition, traditional flavors. We are in the wine country so we have to be respectful of where we are. People come there to eat and drink so we were not doing flavor profiles that were outside of the flavor profiles of the wine they wanted to drink. We are very, very traditional and likeminded in what we want to accomplish with our flavors so it is about composition and the ingredients of the day.
FF: Have the ingredients changed over the years? Not necessarily, thinking on a larger scale, not just at your restaurant but in terms of accessibility? Because I know as consumers we have seen a great deal of change in the market if you really care about what you buy. What has changed for you?
TK: Well, everything that has changed for you, began with us. The consumer always benefits from what chefs do, whether its food, whether its technique, whether it is tools. When I started cooking 35 years ago, and some of you were there, we didn't have a lot of choices in our grocery store. Today, we have an enormous amount of opportunity to buy different kinds of vegetables, certainly different varieties. Look at tomatoes. Today, you can go to a grocery store and there are probably six, seven, eight different kinds of tomatoes that are going to be wonderful. We have a return to our green markets, which is a big deal for all of us. So food has gotten much better. When you think about 35 years ago from an international culinary point of view we were in last place. We were a joke.
FF: England was in last place. (Laughter)
TK: That is actually a great comment because I would say both the UK and the US 35 years ago were right there. Neither one of us had a great reputation. They were boiled beef and we were fast food and in 35 years during my career you see how far we have come. It's extraordinary what you can do if you set out to do something—if you are committed to it, if you are dedicated to it. We have today some of the best restaurants, some of the best chefs and some of the best food in the world. And so does the UK for that matter, so we had a parallel path.
FF: That is true. At the same time the whole food landscape has changed with consumer interest. How has that affected you?
TK: It has taught me to be who I am today. When I started cooking it was before there was a widespread interest in food and chefs that there is today. The chefs then—we had Julia Child and Graham Kerr on television. The great chefs in our country were primarily in urban environments—New York City, some in San Francisco, but most in New York City. There wasn't a lot of interest in chefs. There was some interest in restaurants, particularly in New York, but not in other parts of the country. So when you think about where we have come it has been extraordinary. So the amount of opportunities afforded to chefs, restaurateurs, sommeliers, farmers, gardeners, foragers in the last 35 years is significant and has brought us to a place where we have significant resources to do what we want to do.
FF: Television has played a significant role. You haven't been a part of it. How come?
TK: I don't. You have to enjoy what you are doing and I don't really enjoy being on TV. I have been on morning shows, Charlie Rose, The Today Show, but in terms of a television program (shakes head). It doesn't interest me.
FF: Talk a bit about the difference between New York and Per Se today as opposed to working in Napa and anything you might offer that would be relevant to a resort area or outside an urban area like the Hamptons.
TK: It's hard. We are comparing apples to oranges, certainly when we think about the Hamptons and New York and Napa and New York. Napa is our premiere wine-growing region in the country so we have enormous amount of interest in what we are doing in that industry, all year long whether its spring, summer, fall or winter you have a whole group of individuals to come there because of their ability or their interest. In the wintertime we may have people coming from the industry because it is a down time. In the summer certainly we have a lot of visitors as in the spring and the fall. In New York City, we are in one of the most amazing dynamic cities in the world. But the guest profile for us, and people have asked me this before, is the same. The same guests come to The French Laundry that goes to Per Se that goes to Alan Ducasse or goes to Jiro. At the level of those restaurants we are competing not necessarily with local restaurants or restaurants within the vicinity but restaurants around the world. We are getting the same type of guest who has that interest.
Here, and I apologize for being ignorant about the Hamptons—we were talking about East Hampton, Southampton, Westhampton and some of the differences just backstage—here this seems to be a very vibrant place in the summer time. People are out here from the city or vacationing and have summer homes out here and there is an enormous amount of agricultural wealth. There always seems to be a great amount of produce gown out here, both individually and collectively. And there is a certain amount of livestock as well. So it is fascinating we have become so interested in our food that we are treating ourselves to growing it, understanding who is growing it, where it is coming from, and learning how to cook it, which is a wonderful place to be.
FF: Do you cook at home?
TK: I cook at home very seldom. I live next door to the restaurant. (Laughter) Which is great. It's my market. And we have a garden across the street from The French Laundry, which produces an enormous amount of vegetables for us.
FF: If you did cook at home what is the first thing you would make? I bet you are going to talk about the chicken you made for your father.
TK: Yeah. I think we go back to those things we really love, the things that resonate with us, the things that have memories. Roasted chicken for me is one of those perfect meals. Roasted chicken, a simple salad—yeah, I think that is something I would always go to, or something on the grill. Steak on the grill or lamb chops on the grill. Something really simple is for me. But it has to be of extraordinary quality. If I am going to eat a piece of beef I don't just want to eat a mediocre piece of beef, I want to eat an extraordinary piece of beef. You want to be able to take the opportunity to really enjoy it, its flavors.
In American culture, we tend to want the very best and pay the very least for it. My mother told me a long time ago you get what you pay for. For us to be able to support those farmers, fishermen, foragers and gardeners who are bringing us our food is very important, and to not really negotiate with them on price.
FF: You once told me you really started cooking with your mother. Where was that?
TK: Well, my mother ran restaurants. My mother was a single parent. My parents divorced after 20 years of marriage. I was five. My brother, Joseph, was six-and-a-half. And so then we had three older brothers who were already in their teens and grown and doing their own thing. For us, we would go to the restaurant after school and she would give us odd jobs whether it was peeling vegetables, or whatever. That was kind of the beginning of my career in restaurants.
FF: Very French.
TK: Very French.
My background is one of the reasons I have been such a good cook because I learned at an early age some of the elements of what I do in cooking as a dishwasher. Some of the things you have to do as a dishwasher is you have to be organized, you have to be efficient to keep the dishes cleaned, immediate feedback was critical right away, you learned how to be part of a team, you learned about repetition being important because you are doing the same thing over and over again and those things are all applied to what we do as cooks. It was the beginning of me knowing how to be a cook.
FF: But I know with a lot of chefs it goes back to family …
TK: Yes
FF: Whether by osmosis or just dinner where that spark was first lit to enjoy and want to get into that whole universe. You also mention products. How important is organics. I have people saying to me, 'It makes no difference.' I have other people who are passionate about it.
TK: It doesn't really matter to me. And I say that because we have an opportunity to know all of our growers and so we know what their practices are. And some people just don't want to become organic. It's a process. It's a costly process and they have been farming that way for generations and so why should they have to go through a process where they are certified by the state when this is what they have been doing all their lives. This is what their father did, this is what their grandfather did and I respect that. For me it is about the quality of ingredients and you can really tell the quality of ingredients by the individuals you have built a relationship with. So the organic thing is not important to me.
In a grocery store that gives you an opportunity to understand how it was grown, and to specifications it was grown to be certified organic—if that gives you a sense of comfort then certainly. But if you are going to a green market, I would assume you all would know those farmers and have a relationship with them where you would be able to have a certain expectation about what they were able to bring. I think it is about relationships—that is the most important thing we talk about when we talk about food.
FF: But that level of farming, fishing, raising livestock, making cheese, and so forth, I agree with you but for many of us that go to the supermarket many times the farmer is a faceless corporation.
TK: I agree with you, but big faceless corporations are growing organic now. So they are getting certified by a five-year process in most states now. Anyone can become organic. It is a specific process you have to adhere to for a certain amount of time. So Monsanto, do they have organic farms, certainly they do. Is that good for us, certainly it is because they have changed the way they have decided to grow some of their vegetables. I think we are making big strides in that area.
FF: Over the years can you talk about how perhaps technology and even movements like the chemistry of food and what has been coming out of Spain has changed because again, you mention how improvement of consumer products in the market has been thanks to chefs. I think improvement in terms of our pots and pans also.
TK: Everything we deal with today is at a higher level, and higher quality and I think its because we want that, we strive for things to be better. You talk about what is coming out of Spain right now—although I think it is pretty much over—when you talk about molecular gastronomy you have to realize that was not a term any chef described to do what they did.
We are talking about two different things here. We are talking about technology. Technology is something that is constantly evolving. When I started cooking we didn't have food processors. Does everyone remember when we didn't have food processors? So, all of a sudden food processors showed up at Raquel, in 1986 if I remember.
FF: And you put spinach into it.
TK: Yes. And that was a major improvement for us in technology. Can you imagine what it was like going from firing coal in your kitchen to gas? Or using a big ice bucket to having an ice box? At every interval there has always been technology that has changed our lives. I think GE said that, right? (Laughter)
So you think about today and the technology we have today and you think about sous vide, which doesn't have anything to do with technology but has to do with packaging but we think about it like a cooking technique. It is an interesting thing we have now redefined the word sous vide to be a whole process when really it is just boil in a bag. I am sure many remember in the early 70s boil in a bag. It didn't become popular back then, it was a big flop, because it wasn't embraced by chefs. Today you see sous vide technology as a cooking definition being used in a lot of different ways, but sous vide was developed in the 1930s by Folgers Coffee, remember the (makes sound of Folgers Coffee can opening). And then we had cryovaced turkeys. So about 12 or 13 years ago chefs started being introduced to cooking with sous vide in a restaurant and a large part of that was do to a movement by a company called Cuisine Solutions and there vision of creating more opportunity for chefs. So here is a better way—I shouldn't say a better way. What chefs really want to do—chefs are control freaks, did anyone know that (laughter)— so what we want to do is control everything and that is one of our problems, but with that said controlling a cooking technique is one of our primary functions. As young chefs one of the first things we learn is how to cook a piece of meat, and being able to cook it perfectly each time was a true challenge and something you would be extremely proud of when you were able to do 90-percent of the time. In sous vide cooking you look to science. You put a piece of meat in a liquid and you have a specific temperature and at a specific amount of time it comes out perfect, each time. So you become more precise with your cooking and that is what we are always trying to do, find precision. With that said, there are certainly a lot of threatening elements to that as well because then you forget how to cook a piece of meat. If I could just put it in this liquid for a certain amount of time and it comes out a perfect medium rare … so we have to be cautious in our kitchens about embracing technology without losing the technique. With that said, we talk about precision, we talk about technology, it is something we have to understand, we have to be able to use it to be more precise in our cooking.
A style of cooking, like molecular gastronomy, which deals with the chemistry of cooking, that has been fascinating for a long time. How many of you know who Harold McGee is? Harold McGee wrote a book 30 years ago about the chemistry of cooking, which for us in our profession …
FF: Was a chemistry oriented analysis …
TK: Right. He taught us not how to make a hollandaise but how does it work. Or mayonnaise? How much oil can a yolk actually hold? Well it is almost infinite as long as you can keep the balance between liquid and oil and the emulsifier is the fat in the yolk. And so McGee taught us all these different tools about the chemical composition of food, how they react with one another. Fifteen years later you look at Ferran Adrià and his ability to embrace the chemistry of food and start to interpret that on the plate, and in different ways, which is fascinating. But the point I am trying to get at is that each generation—[Georges Auguste] Escoffier, one of the most famous chefs that ever lived, at the turn of the century, the turn of the last century, talked about nouvelle cuisine. And we wrote about nouvelle cuisine in the 70s. Every generation has new cuisine. We only started realizing it recently because we only started to care about food recently. What Ferran did is use the idea of chemistry and recomposing dishing on the plate with recognizable profiles composed in a different way; it became molecular gastronomy because he started implementing the technology of different elements, hydrocolloids. Hydrocolloid is something that binds water. So the most common hydrocolloid you have in your kitchen today is flour. When you put flour in water it becomes a paste. When you put xanthan gum in water it also becomes something thicker, so hydrocolloid is now something we use in restaurants to bind water to something. It got branded as chemistry food, which is not really correct, it is just an extension of what we do using ingredients that have always been available to us. You go to grocery store shelves and see "xanthan gum" and you think why would I want to eat "xanthan gum," but it comes from seaweed. It's all natural products, it is not chemicals.
FF: I have one last question for you. In terms of food, at home or in the restaurant, what is next? What do you see on the horizon?
TK: Better food. It has to be our priority. So with that said you have to support the people who bring you that food and like I said before it is not about price. They work hard those fishermen, farmers, gardeners and foragers.
I work with a lot of suppliers. One I like to talk about is Diane St. Clair. Twelve, 13 years ago she sent me a pound of butter. She read French Laundry cookbook and she was compelled because she read about the five farmers I highlighted, profiled in that book, and she thought if there was any chef who would give her feedback on her butter it would be Thomas Keller. So I get this pound of butter–really it is just a Ziplock bag with like three little balls of butter and it was in the summertime so it was the brightest little orange butter I had ever seen. So I called her up, I said, "Diane, this is Thomas Keller." We chatted. I said, "Diane, I really love your butter. I would like to buy it." She didn't want to sell it to me, she only wanted my feedback. So I said, "No, no, I want to buy it. How much do you make?" She said, "Well, I only own four cows so I make about 15 pounds a week." I said, "Fine, send me 15-pounds a week."
Now not once in this conversation did I ask how much this butter was going to cost. Not once. There was no point in that. The point was here is a woman in Vermont. I am in California. She is seeking out my advice, and I am really proud she is seeking out my advice so I am really proud about that and number two, she has the most delicious butter I have ever tasted. Number three, she is only making 15-pounds. It doesn't matter the cost of the butter, I want to be able to support her in what she is doing. She is in Orwell, Vermont. You can guess the name of her farm—Animal Farm.
But here is a woman who gets up every day around 5 a.m. or 4:30 a.m., so she can wake the cows and then she sends them out to pasture, and she starts to process the milk, churns the milk from the day before to make butter. Then she has lunch; the cows come back in at 3:30 p.m., 4 p.m.; she milks them again; and then she makes dinner and goes to bed. She does that seven days a week. I think I am committed to what I do and I am sure you think you are all committed to what you do but these farmers are far more dedicated to what they do than we are. And she is making just 15 pounds of butter a week so how much can it cost. I still don't know how much it costs. It is irrelevant because the most important thing to me is making sure I can support Diane and making sure she is able to continue to make this extraordinary butter.
When we opened Per Se. I called her and I said we are opening a new restaurant, what are we going to do. She said, "I'll buy some more cows" and now she has eight cows.
I went to see her for the first time after a decade two years ago when we were making the bakery cookbook and she is just a wonderful lady. She has been to the restaurant one or two times when the cows are calving. It's a wonderful farm and just so natural. She is not certified organic. And that is irrelevant to me. You go to Vermont, you see this farm, you see this process, and it is just so natural. So I went to the farm and spent the whole day there. She churned the butter and she is straining the butter through a strainer this big (holds hands up the size of a large soup bowl). She makes the butter in a room that is tiny—maybe 10-by-10 and I am thinking, "Girl, what are you doing?" You have to pick up this pail of butter and buttermilk and strain the butter six or seven times. What are you doing? So I get home, I write her a nice letter about everything she is doing and I wrote out a big check and I wrote out a note and I said, "Get a bigger strainer."
And I did that because my responsibility, the same as your responsibility, to make sure we support these individuals in what they are doing, making sure they are able to continue with the lifestyle they have because if she is not able to continue then what happens to someone like Diane Sinclair?
She called me one day and told me she had to raise the price of her butter. I said, "Diane, whatever. I don't know what your butter costs." She wants to send her son to NYU. Fine. Her son is at NYU today. Now that is the kind of impact we can have on all those people who supply us with food. If we can support them, they can support their lifestyle and then a young kid, like Diane St. Clair's son gets to go to NYU.
Keller then accepted questions from audience members at Guild Hall.
Q: Other than your own, do you have a favorite restaurant in the US or a favorite restaurateur?
TK: That's an unfair question. (Laughter). Never ask a chef what his favorite restaurateur is, favorite food is, favorite dessert it, whatever. And I appreciate the question. It's a question that is often asked and is very hard to answer because restaurant choices are really about the mood we are in. So I have a lot of favorite restaurants. It depends on how I feel that day or who I am going with.
I tend to like restaurants where they don't know who I am. Because when I go to restaurants where they do know who I am it becomes somewhat of a production as you can imagine. So I go to a lot of ethnic restaurants. I like simple food so a Yakitori restaurant on West 56th is a place I will spend one of my eating nights out when I am in New York City. I love the idea of our restaurant Ad Hoc in Yountville because there are no choices so you have eliminated the anxiety of deciding what you want to eat that night. You have left it up to the chef.
If you are talking about favorite restaurants as the great restaurants—is that how you are defining it? There are so many of them now. It is just extraordinary. I have so many colleagues it would simply be unfair to name one of them as being my favorite. I think they are all my favorite, again, depending on where I am and who I am with.
I am very fortunate to be able to eat at some of the great restaurants around the world. It's a real pleasure to do that. I don't do that very often, maybe two or three times a year will I eat at a restaurant that is the same caliber as The French Laundry or Per Se.
FF: There are probably only one or two in the world.
TK: Well, thank you very much for saying that. All of you probably think I eat out a lot, but I don't. It is a rare moment when I can eat out like that.
Q: In my humble experience there are two kinds of chefs. They are either very wired in the kitchen or very peaceful. Which way do you operate?
TK: It has to do with your age. (Laughter) I think when you are younger you tend to not have learned how to lead people and sometimes that is a struggle. I think we grow and mature and I think we are able to focus on some of the important things we are suppose to do, which is be a leader and with that we want to make sure we are leading in a very responsible and respectful way. So we now align ourselves with respect and responsibility as opposed to being demanding and emotional.
Q: You are making me feel old.
TK: It's a really good question. And the TV shows forget about that. You all know that is not real. They call it a reality TV show but it is not real at all. Chefs get emotional, chefs get upset in kitchens. It does happen. But there is a reason it happens, a very important reason. A chef's goal is to give you, the guest, an extraordinary experience. That is what I want to do. So my whole day, my whole week, my whole life is based around that one thing and in a restaurant there are a ton of individuals between me and you. There is the whole kitchen staff, the porter, the chefs, there is a whole dining room staff—sommeliers, servers, captains, runners—and so you have literally dozens of opportunities to have somebody come in there and somehow inhibit my ability to give you that great experience. And that is when there can be an issue—if someone is getting in the way of me and you. Making a mistake is fine. We are there to teach, there to train. Making a mistake twice is not fine. If we don't learn from our mistakes that is an issue. We do need to learn from our mistakes.
I just want you to understand why chefs get emotional. We are trying to give you an experience and there are so many people that can somehow get in the way.
FF: And you are also on the firing line and you don't have the leisure of being able to deal with problems tomorrow, or in an hour, or even the ability to take an hour. It's minute by minute.
TK: It's almost like an operating room. Where if the nurse didn't have the scalpel there would be hell to pay right? Of course, we are not in a life or death situation as is the case many times in an operating room but we still have the same intensity in terms of what we want to accomplish.
Q: Thank you both for a fascinating conversation. We really appreciate it. Chef, if you were not a chef what might you be doing?
TF: When I was younger I used to say, "play baseball." I love baseball, I have always loved baseball and I think running a kitchen, for me, is like running a baseball franchise. It's the same thing. And I have always looked at it as my responsibility to make sure we are hiring the right people, we are training the right people, we are mentoring and if we do those three things correctly then they are better than we are. If you think about a sports franchise, it is the same thing. We are always trying to improve. Let's take the New York Yankees. They didn't win 27 World pennants just because they wanted to win—they planned for it, they worked for it, they trained young talent. Derek Jeter is going to get to a point where he will not be able to play for very much longer but there is another kid who will be the next Derek Jeter and he may already be on that team. So I understand that. My generation of chefs needs to find ways to maintain the quality of our restaurants without us being in them day to day. And we do that by hiring the right individuals, training them and mentoring them and ultimately they become better than you. Because if they are not better than you, you haven't done your job.
Q: How much R & D do you put into your recipe development for your cookbooks? I use your cookbooks and the recipes come out perfect every time. I can't say that about all cookbooks.
TK: That is all Susie Heller, who is responsible for our cookbooks. Susie is very fastidious about making sure every recipe works. We work directly with her. We do it in the style she wants us to do it in and she will test that and have associates of hers test them as well. I really have to say that she is a big part of the success of those cookbooks and those recipes in those cookbooks.
At the restaurant we don't do a lot of R & D. We are pretty comfortable with what we are doing and we change the menu every day so it is not like we are developing a technique we would be using two weeks from now. We do some R & D, more for Bouchon than for The French Laundry or Per Se. It is just a constant evolution, so sometimes it may look like we have done a lot of research and development on it, but we will make mistakes and it won't be a mistake that will diminish the guest experience but we will improve on it for the next day or even the next plate. It can be that quick for us—the evolution.
Q: I had the great pleasure of dining at Bouchon a few times and besides the extraordinary food—thank you—the experience was so authentic. The ambiance, the service was impeccable. There wasn't a moment I needed something it wasn't there. It really added to being able to just suck in that food. Can you speak to that?
TK: It is really just about having people around you that do a good or better job than you do. When you look at restaurants in the list of priorities food is maybe like four or five. You go to a restaurant you feel comfortable in, you go to a restaurant where they treat you really well. And the food is good. You won't go to a restaurant where they don't make you feel comfortable, they don't treat you well, but the food is great.
Really in all of our restaurants we take the humble approach that we are there for your experience. The initial part of that process happens before you even get to the front door. How do you feel where you are sitting? How do you feel about how comfortable you are, how it feels, how it smells—all of those things you experience before food even becomes a part of it. It's all important and it all comes down to who you surround yourself with. I have been very lucky, I have been blessed to have individuals around me who are as committed and dedicated to their craft as I am to mine. And then you let them do it. You try not to micromanage them. And I think that was the most significant change for me. From being a chef that worked in the kitchen every day to the chef I am today is letting go of that control and having trust in those individuals to do the job. Trust is a big thing.
Q: My husband Sam downloaded today's French Laundry menu.
TK: Yesterdays.
Q: My question is how do you construct a dish and I thought I thought I would read a dish off the menu.
TK: Sure.
Q: Herb roasted Elysian Fields Farms Lamb
TK: What cut? Does it say what cut? The saddle?
Q: No. I will just read you what is here. I am sure the waiter would tell me. Poached candy cots …
TK: Poached what?
Q: Poached candycots.
TK: Okay.
Q: green almonds, fennel bulb, cauliflower cream, parsley shoots and nasturtium caper juice, which really intrigues me.
TK: Again, what we are doing is this is a collaborative effort. So since I was not there last night I wasn't part of that effort. Every night the chef de cuisine [David Breeden at the French Laundry; Eli Kaimeh at Per Se] or the executive sous chef and a few other sous chefs along with the chef de partie—it's about seven or eight individuals who sit around the table and start to develop the composition. The forecast is easy for us. We forecast all the proteins because we know we are going get our lamb from Keith Martin, we know we are going to get our beef from Snake River, we get our veal from Sylvia, we know we get our chicken from Sylvia, and we know where the fish comes from. So what we are going to do to understand how these compositions come together is to understand what is coming out of the gardens. Evidently, Aaron [Keefer], who is our gardener at The French Laundry, who has full control over what he is growing over there and in many ways what he is foraging as well, as these nasturtium berries. So he will bring the nasturtium berries over and show them to the staff and the chef and they will be intrigued by it, and inspired to cure it as they did in this case. Cauliflower cream seems like a simple composition, a simple technique. It's about texture, so instead of having a puree of potatoes on the plate, he has a puree of cauliflower on the plate. How they cooked the lamb? We love the lamb with thyme and with garlic, so roasting it like that is the way we would want to do it. I am not sure what primary cut it was, but we like to use the rack and the saddle. It may have been cooked sous vide prior to being roasted, and then finished in the over to give it the caramelization and the flavor we want.
Q: We talk a lot about the quality products—the butter from Vermont, the outstanding cut of beef. A lot of those come with a high price tag. I am wondering if you see a future where those kind of products are available more readily or for the masses?
TK: Unfortunately, the extraordinary ingredients we are able to purchase are becoming more and more rare so they are not going to be something that would necessarily be available for the masses. What we hope to get for the masses is high quality food. Are you going to get the same food as I get at The French Laundry? You can, but you are going to pay for it like anything else. Extraordinary ingredients, like anything extraordinary, comes with a price tag. Fortunately, at The French Laundry and at Per Se we have our guests willing to pay for it so we are very fortunate in that way.
When you think about Keith Martin's lamb—Keith Martin is a grower in western Pennsylvania who has developed a protocol for raising his lamb. It's such a compelling protocol he actually had it patented. He has six other farmers in Ohio and western Pennsylvania who have adopted this protocol for raising their lamb. This is where we get our lamb from. So if we use the primary cuts at The French Laundry–we use the saddle and the rack, which are the most expensive cut on any animal, then what does he do with the legs, the shoulders, the necks? For us, we are able to use the entire lamb. The rack and the saddle will go to French Laundry, but the legs will go to Bouchon and the shoulder can go to Ad Hoc. So trying to make sure we are finding a way to be responsible, the total utilization of the animal, is important. In other words, we can use the extraordinary saddle and rack, and you can buy the shoulder and it is much less expensive, but it is the same lamb raised the same way. Does that make sense?
Q: Absolutely.
FF: Those lambs are really pampered. (Laughter)
Q: This might sound like a crazy question, Chef Keller. But do you think we are going out to eat too much in this country? If so, how do you think we can encourage people back into the home kitchen to enjoy the joys of cooking?
TK: That's a good question. I have never been asked that question and I have never given it much thought. I am a restaurateur, so no you are not. (Laughter). Again, I did not grow up with a family sitting around the table. We sat around the table once or twice a year because my mother worked and I was being raised by my brothers. Normal food was Swanson's TV dinner, hot dogs or pizza. Because I was the smallest one I had to really fight to get anything. But the idea that you bring up about that social interaction around a table which is so, so important, it happens at restaurants. Restaurants have become places we go with our family, with our friends and have meaningful conversations. I will say, our restaurants—it's just food. Restaurants just serve food. Memories are established by you sitting around the table. The most important decision you can make when going to a restaurant is not what restaurant you are going to, but who you go with and making sure there is a meaningful purpose behind that. Cooking at home is wonderful. How you do that? That is about time. How many cookbooks are on the shelf—60 minute, 30 minute meals.
FF: 12 ingredients.
TK: Right. Cooking is a process and it takes patience. You have to appreciate the process. To eat the food is wonderful, but to cook the food is magnificent. The process is the purpose of it. It has actually transformed beef from beef cubes to a beef bourguignon that is just heavenly and the different sounds and aromas that happened during that process is extraordinary. Or just grilling a perfect steak, or making great mashed potatoes or a simple salad. I can cook dinner in a half hour pretty efficiently and effectively because that is what I do for a living, but for some people that takes an hour, hour and a half.
Time is so critical and valuable to people. That is what happened with our country. Right? We lost that opportunity to eat at home. Right after World War 2—the men went away, the women went to work, the men came home and the women stayed at work. Then we had the baby boomers—I was in a family of six. My mother had to feed us what she could feed us, so what did we have? Convenience foods. That was the first generation that had convenience food, everything before that was farm to table. I know we talk about farm to table as if it is something new, but it's not. Before World War 2 everything was farm to table and even after in a lot of places it was still farm to table. It is not something new.
My mother worked, my father worked, they were divorced. I ate whatever was convenient to eat. But when we started to realize there was a disconnect it wasn't last year, or five years ago or 10 years ago—it was 30 years ago we started to realize that disconnect. And there were two people who had a really big impact on making us realize how important it was for us to know where our food was coming from and be dedicated to those fishermen, farmers and foragers we talk about today—Alice Waters on the consumer side and Jean Louis Palladin on the professional side. These two individuals really awoken us to realize that it is really about where our food comes from and we started back on the path of having extraordinary food again. Only a very small brief moment in our history that we had only that convenience food. It still exists today, an enormous amount of that food. Obesity is rampant, diabetes is crazy. So what do we need to do to break the habits of eating that food? What is it going to take? It's going to take parents who actually care and have the time and resources to cook. That is a huge commitment because there is a whole lot of people out there with both parents working, some working two jobs, who can't afford good food.


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Today, a young girl with a lot of fun stuff to get done instead has an appointment at Dana-Farber Children's Hospital Cancer Center, where specialists plan to make a picture of her brain.
At age five, Caroline Cronk, best known as Calle, is no fan of medical procedures, needles and forced stillness. She prefers a good princess dress, a microphone and a dance floor. It would not be her choice, if she had one, to close her eyes and let adults construct images of what lies inside her head.
If the storm does not alter their plans, parents Kevin and Rachael Cronk will slip away during the hour Calle is sedated for magnetic resonance imaging, an MRI, to officially present $100,000 to the Dana-Farber Cancer Institute. They raised the money in less than three months. It will support an ambitious clinical trial that aims to cure a devastating childhood malignancy: diffuse intrinsic pontine glioma, known as DIPG, an inoperable tumor located in the brain stem.
Calle was diagnosed with DIPG tumor on Nov. 15, 2012. The median overall survival of children diagnosed with DIPG is less than a year, according to medical statistics. Less than two percent of children, typically ranging from ages six to 10, survive it.
"To me it looked like the size of a really big walnut," said Rachael Cronk, recalling the day she saw the tumor for the first time. "She's only five, so her head isn't very big. So I saw that and I fell to my knees. You just can't believe it is happening."
"She was so perfect and so perfectly fine a month before. There was nothing that was wrong. . . . Every day I always thank God in disbelief that I was given such a perfect child. I could not understand why. It felt like that was just taken away from me."
Dr. Mark Kieran, director of the pediatric medical neuro-oncology program at Dana Farber Children's Hospital Cancer Center, said that about 200 children a year are diagnosed with DIPG. It effects the critical part of the brain that regulates when to breathe and tells the heart to beat; the part of the brain that keeps an individual alive.
For the Cronk family, their crisis unfolded at a frightening pace. Only this summer, Calle was fearlessly climbing to the tippy-top of the backyard water slide; she developed a habit of sliding down without even a backward glance. She learned to swim in the pool on her own: underwater, back float, back stroke, you name it.
All seemed well until the family's return from an August vacation to Montana. Her mother started to notice a few things she later interpreted as signs Calle's inner self sensed trouble; that somewhere inside her little girl felt something was off. Calle developed night terrors. She began talking in her sleep for hours at a time.
In September, Calle, a girl known for diving into situations with a playful attitude, did not want to attend kindergarten. On some days, she flat out refused to get on the bus. She started to fall while walking across the floor; she was unable to coordinate her feet.
Rachael Cronk is an energetic stay-at-home mom and her husband is a financial analyst at a leading investment management firm in Boston. The family, which also includes Calle's pal and older brother, Connor, six, lives in a spacious home in the affluent southern suburb of Norwell; they are a well-educated couple accustomed to getting things done.
They took her to a family doctor for tests. It was two days before they were due to receive the results for Lyme disease that Calle again lost her balance during a dance class in Scituate. That day, one side of her face looked paralyzed. Her mother rushed her to the hospital.
Doctors did vision and reflex tests and, eventually, an MRI. Her mother did not think the diagnostic test would turn up anything; she believed it was Lyme disease. She waited in a small dark room.
"I didn't think anything was there," Rachael Cronk recalls now. "There was nothing in my mind at all that suspected anything of this magnitude . . . nothing."
Then three doctors arrived with the MRI results in the early morning hours. They had located a large mass in Calle's brain stem.
"For some reason, my whole body went to the worst possible case scenario, and in the back of my mind I just knew," she says. "I made them show me the scan."
She wanted to draw on past experience as an X-ray technician to make sense of it. Even factoring in the magnification, she knew immediately it was bad.
On the heels of this news, the family founded Hope for Caroline, a nonprofit foundation to fund research and offer support to families of children suffering from the same rare brain tumor.
Their plight has inspired a Facebook site, a pep rally at the local high school, even a campaign by kindergarten classmates to secure Calle a meeting with singer Taylor Swift. There will be a spring road race at Norwell High School to raise money for medical research and an auction in June.
And Dana Farber will start a Hope For Caroline fund, as well, inspired by the donation from the Cronk family.
Kieran, the doctor at Dana Farber Children's Hospital Cancer Center, is heading up a new trial at Dana Farber that draws on biology and medical expertise to trace signals driving the tumor. It currently involves nine children from across the country, though Calle's parents have opted not to join the trial.
The trial is entirely privately funded, because rare tumors often do not get federal money in this economy, says Kieran. He argues that many advances in battling adult cancer have been learned through pediatrics because in children the disease is pure, not influenced by variables such as smoking or poor diet.
"We have an expression that children are the healthiest dying people in the world," he said.
As for Calle, she is just a little girl, but one who has been through six weeks of radiation.
Today the MRI will tell her family, for the first time since Nov. 15, the current size of the tumor. Next week, she is off to Disney World in Florida.

subset: commoncrawl


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Rams fire def. coordinator Tim Walton
ST. LOUIS (AP) The St. Louis Rams fired defensive coordinator Tim Walton on Wednesday after finishing in the middle of the pack in his one season.
Coach Jeff Fisher, who said after the season ended that he didn't anticipate any coaching changes, announced the move and wished Walton well. Walton spent four years as the secondary coach in Detroit before he was hired last year by the Rams.
The Rams didn't have a defensive coordinator in 2012, Fisher's first season with the team, after Gregg Williams was suspended for his role in the Saints bounty scandal.
Williams is on the market. He was a senior assistant on defense last year for the Titans, who fired coach Mike Munchak, and was defensive coordinator under Fisher in Tennessee from 1997-2000.
The Rams were third in the NFL with 53 sacks and finished with the 15th overall defense, allowing 345 yards per game. They were 13th in points allowed (22.8). The team finished 7-9, but was just 1-5 against the rest of the rugged NFC West.
Online: http://pro32.ap.org and http://twitter.com/AP-NFL


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text: Here's everything you need to know about the features and controls in Motion, a powerful, but easy-to-use motion-graphics application from Apple that lets you create stunning animated titles and visual effects in real time. Motion is the perfect companion for Final Cut Pro X—build titles, bumpers, transitions, and dazzling effects in Motion, then publish them directly to Final Cut Pro. This is the definitive guide to Motion, in a handy digital format, straight from Apple.


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Archive for January, 2014
Updates and extras
Posted on January 14th, 2014 by annakjarzab
Happy 2014 everybody! Just dropping by to give a few updates on what's been up with me, since I realize I have not posted here in a while. Let's get started!
Thing 1: Books
Last year, Tandem came out! Which is very exciting! Also, The Opposite of Hallelujah is in paperback now, if you like that sort of thing (by which I mean books that are cheaper than they were previously). I also managed to completely rewrite Tether (Many-Worlds Trilogy Book 2) and it just came back from copy editing, which means it's like 95% done (she says, having not looked at the copy edits yet). It's currently scheduled for the very vague Spring 2015, which for a Random House book can mean anywhere from January to June (here's hoping it does not in fact mean June); as soon as I have a firm date, I will make sure to post it everywhere.
2013 was a hard year for me in many ways, but not in the sense of writing productivity. Not counting the two very different versions of Tether I wrote last year, I wrote two other full-length novels. One is adult contemporary fantasy (I don't know why but I like that term better than "urban fantasy" even though this book, which we shall give the code name FM, is in fact set in New York, and partly in New Orleans) along the lines of, like, The Magicians. The other is contemporary YA in the vein of If I Stay, and I am OBSESSED with it. We shall call that book BYSA. I got the idea for it in very early November. I'm a weird half-insomniac; I usually wake up four hours after I've gone to bed and toss and turn for the next four or so hours, which is obviously very annoying since I have a day job to get up for.
Anyway, I was tossing and turning per usual that morning, and then I just got hit with this idea. I got up and went to my computer, jotted down a paragraph of notes, titled it "Might be something", and went back to bed. First thing in the AM I started reading books for research, taking copious notes, and writing. I finished in early December. I don't usually write that fast, but this was one of those situations (it happened with The Opposite of Hallelujah, too) where there was no writing friction to slow me down. I've revised it once since then, and am letting it sit and settle for a while before going back to it (plus I still have more research to do). But I'm really pumped about it!
Other than FM and BYSA (and Tether), I wrote a Many-Worlds Trilogy short story last year and half of another one (which I'm throwing out and rewriting because…reasons? Even I don't actually know why), and about 200 pages of a novel called Red Dirt. Which leads me to Thing 2…
Thing 2: Wattpad
In my professional life, I am the digital and social media manager for Penguin Young Readers Group. So if you've ever interacted with Penguin Teen on Facebook, Twitter, Tumblr, etc., it was probably me. I don't talk about this a lot in these parts because it feels like a weird conflict of interest of sorts? But actually lots of publishing professionals are secretly or not-so-secretly aspiring or published authors, so it's not that big of a deal. Anyway, I was on a Digital Book World panel yesterday talking about teens and social media and I met a woman from Wattpad, Ashleigh, which reminded me I've been meaning to get on Wattpad for some time now. So I went home and started playing around with it. For some reason (insanity), I decided that I was going to post the first three chapters of an original, work in progress novel called Red Dirt. Red Dirt is unpublished and uncontracted and unfinished. I got the idea the first time I went to Oklahoma for Memorial Day, and started writing it when I got back from Oklahoma the second time I went there. So I assume that after I come back from Oklahoma this year, I will finish it. The WIP document on my computer is 200 pages, with probably about 50 or 100 pages left to go, and while I doubt I'll be sharing all of it on Wattpad, I decided to put up the first three chapters for fun. This is sort of what it's about (this is not great marketing copy, but it's what I came up with yesterday):
Sammy Lester's had about enough of her life in back of beyond Oklahoma, but family loyalties and uncertainty about the future are holding her hostage. She's got her ex-con, ex-addict father take care of, and her five-year-old sister, Decca, to think about. And then there's Brayton Foster, a rich boy just arrived for the summer; for some reason, Sammy can't resist his charms, no matter how hard she tries.
Then the unthinkable happens–Sammy's father disappears. She believes he's been murdered; the police and her older brother, Denver, aren't so sure. As the summer marches on, and there's no sign of Billy Ray Lester, Sammy is forced to question everything she thinks she knows about the people she loves, and to wonder whether it's even possible to get justice in a place where the very ground is red as blood.
You can read the prologue and the first three chapters of Red Dirt on Wattpad. If people like it (and I'm comfortable) I might post more! But I did make sure to post enough so that you meet the boy. Otherwise, what's the point?
Speaking of Wattpad! I also posted the prologue and first three chapters of Tandem up there, plus a little bonus essay called "A Brief History of the United Commonwealth of Columbia", which is probably only of interest if you've read Tandem. I have a bunch of extra stuff like this for the series, I just need to find it and make sure it still makes sense since these books have changed a lot over the years. But I will post more when I can.
I also have a The Opposite of Hallelujah short story about Hannah that takes place before the events of The Opposite of Hallelujah called "The Girl in the Well" that I'm going to post, but I need to re-read it for continuity. TBD on that!
I think that's it. Oh:
Thing 3: I turned 30 yesterday.
I think that's self-explanatory.
- Filed under: writing
- Tagged: Anna's boring life, Books, BYSA, FM, many-worlds trilogy, Red Dirt, social media, tandem, tether, Wattpad, writing
- 2 Comments »


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Actor Barry Nelson Dies at 89
Friday, April 13, 2007; 9:33 PM
LOS ANGELES -- Barry Nelson, an MGM contract player during the 1940s who later had a prolific theater career and was the first actor to play James Bond on screen, has died. He was 89.
Nelson died on April 7 while traveling in Bucks County, Pa., his wife, Nansi Nelson, said Friday. The cause of death was not immediately known, she said.
After graduating from the University of California, Berkeley, in 1941, Nelson was signed to MGM after being spotted by a talent scout. He appeared in a number of films for the studio in 1942, including "Shadow of the Thin Man," "Johnny Eager" and "Dr. Kildare's Victory." He also landed the leading role in "A Yank on the Burma Road," playing a cab driver who decides to lead a convoy of trucks for the Chinese government.
Nelson entered the Army during World War II and went on the road with other actors performing the wartime play "Winged Victory," which was later made into a movie starring Red Buttons, George Reeves and Nelson.
After the war, Nelson starred in a string of movies, including "Undercover Maisie," "Time to Kill" and "Tenth Avenue Angel."
He is the answer to the trivia question: Who was the first actor to play James Bond? Before Sean Connery was tapped to play the British agent on the big screen in 1962's "Dr. No," Nelson played Bond in a one-hour TV adaptation of "Casino Royale" in 1954.
Nelson switched to the stage during the 1960s and 1970s, appearing on Broadway in "Seascape" "Mary, Mary" and "Cactus Flower." He earned a Tony nomination in 1978 for his role in "The Act," which also starred Liza Minnelli.
"He was a very naturalistic, believable actor," said his agent, Francis Delduca. "He was good at both comedy and the serious stuff."
Among his other film credits were "Airport" and "The Shining," and he also appeared on such TV shows as "Murder, She Wrote," "Dallas" and "Magnum P.I."
More recently, Nelson and his second wife (they married in 1992) spent a lot of time traveling. He planned to write a couple of books about his time on stage and in Hollywood.
Nelson is survived by his wife. He did not have any children from either marriage.
Funeral arrangements were pending.


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"Op-ed: Governor's pardon power used too rarely," by Margaret Colgate Love, San Francisco Chronicle, December 28, 2012.
"In Bronx Gym, Man Who Went Astray Leads Youths on Straight Path," by Vincent M. Mallozzi, The New York Times, December 27, 2012.
"Editorial: Shortchanging Ex-Offenders," The New York Times, December 23, 2012.
"Commutation Now or Later? Pardon Lawyers Accused of Misrepresenting US Atty Views in Ambiguous Email," by Debra Cassens Weiss, ABA Journal, December 19, 2012.
"Head of Pardons Office Withheld Facts From White House in Key Case," by Dafna Linzer, ProPublica, December 18, 2012.
"IG criticizes Justice pardon attorney over his handling of inmate's plea for release," by Dafna Linzer, The Washington Post, December 18, 2012.
"From Street Hustler to Family Man Eager to Cook," by Jennifer Mascia, The New York Times, December 8, 2012.
"O'Malley's rigid views on crime and punishment push appointment saga to a head," by Aaron C. Davis, The Washington Post, December 1, 2012.
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"Past crimes cost many their right to vote," by Todd South, The Chattanooga Times Free Press, November 4, 2012.
"Editorial: Wrongly Turning Away Ex-Offenders," The New York Times, November 3, 2012.
"City Councils, EEOC Grapple with Employment Protections for Ex-Convicts," by Shannon Green, Corporate Counsel, October 18, 2012.
"Programs Keep Inmates From Returning To Prison," NPR, October 12, 2012
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"National Inventory of the Collateral Consequences of Conviction," ABA Criminal Justice Section and National Institute of Justice, September 2012.
"After Jail and Release, New Fame as an Author," The New York Times, September 23, 2012.
"Succeeding after spending time behind bars," WTOP, September 21, 2012.
"New Website Shows 'Collateral Consequences' of Criminal Convictions," The Blog of LegalTimes, September 20, 2012.
"Mass Incarceration, Collateral Consequences & Race: A Literature Review," by Natalya Rice, University of North Carolina School of Law.
"Disenfranchised Felons," The New York Times, July 16, 2012.
"Study estimates 350,000 Virginia felons cannot vote," Richmond Times-Dispatch, July 13, 2012.
"U.S. Push on Illegal Bias Against Hiring Those With Criminal Records," The New York Times, June 20, 2012.
"Life on the List," Observer, Thursday May 31, 2012
"Can a sex-offender ever have a fresh start?" Philly.com, May 15, 2012.
"Obama may have stingiest pardon record of any American president," Grits for Breakfast, May 9, 2012.
"US gives employers fresh advice on background checks," Reuters, April 26, 2012.
"EEOC Guidance Emphasizes Possible Bias in Blanket Bans of Job Applicants with Criminal Pasts," ABA Journal, April 26, 2012.
"A Fair Shot at a Job," The New York Times, April 21, 2012.
"'A Step Forward' for Jobseekers with Criminal Records," The Crime Report, May 8, 2012.
"After They Check the Box," The New York Times, April 29, 2012.
"Quinn gives clemency to dozens," The Chicago Tribune, April 7, 2012.
"California Governor Commutes Sentence in Shaken Baby Case," ProPublica, April 6, 2012.
"Supreme Court Accepts Marijuana Deportation Case," ABA Journal, April 2, 2012.
"Federal Officials Raid Medical Marijuana School in Oakland," The New York Times, April 2, 2012.
US Department of Housing and Urban Development Letter to Multifamily Properties on Reentry
"What's In a Name? A Lot, When the Name is Felon," The Crime Report, March 13, 2012.
"Port Authority bans the hiring of convicted felons in port commerce jobs," The Star-Ledger, March 13, 2012.
"Drug Policy as Race Policy: Best Seller Galvanizes the Debate,"The New York Times, March 7, 2012.
"Ex.-Md. governor Erhlich plans law school clinic, training program for felons seeking pardons," The Washington Post, March 5, 2012.
"Michigan Prisoner Re-Entry program keeping more parolees out, audit finds," Detriot Free Press, February 7, 2012.
"Mississippi High Court Takes Up Haley Barbour Pardons Case," ABA Journal, February 2, 2012.
"Why I released 26 prisoners," The Washington Post, January 18, 2012.
"Santorum hammers Romney over felon voting rights," CBS News, January 16, 2012.
"Pepsi to Pay $3.13 Million and Made Major Policy Changes to Resolve EEOC Finding of Nationwide Hiring Discrimination Against African Americans," U.S. Equal Employment Opportunity Commission Press Release, January 11, 2012.
"The benefits of a presidential pardon commission," The Washington Post, January 12, 2012.
"Paying a Price, Long After the Crime," by Alfred Blumstein and Kiminori Nakamura, The New York Times, January 10, 2012.
"Lawsuit settled for Reading man denied job in Breinigsville due to manslaughter charges," The Express-Times, January 6, 2012.
"The president's stingy use of pardons," The Washington Post, January 8, 2012.
"In Our Backyard: Overcoming Community Resistance to Reentry Housing (A NIMBY Toolkit)," The Fortune Society and John Jay College Of Criminal Justice.
"A Broken System, and Too Few Pardons," The New York Times, December 19, 2011.
"Open Letter to Our Friends on the Question of Language," Center for Leadership on Urban Solutions.
"State Reforms Promoting Employment of People with Criminal Records: 2010-11 Legislative Round-Up," National Employment Law Project, December 2011.
"Nat'l Criminal Defense Bar to Hold Hearings on Barriers to Re-Entry and the Collateral Consequences of a Criminal Record," NACDL News Release, October 17, 2011.
"Civic Justice Corps: Transforming Re-Entry Through Service," The Corps Network, November 2009.
"Reentry MythBusters," Federal Interagency Reentry Council.


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Latest News
Democratic leader Debbie Wasserman Schultz targeted by Republican hopefuls
One of her potential Republican rivals recently depicted Rep. Debbie Wasserman Schultz in a spiked collar, calling her "Obama's attack dog." Another lost to the Democratic congresswoman from Florida by more than 22 points just two years ago. Another was the butt of a joke on Comedy Central's "The Daily Show" when he tried to explain a group he heads called "Americans Against Hate."
Yet all three see Wasserman Schultz, also the chairwoman of the Democratic National Committee, as the polarizing Florida stand-in for President Barack Obama. That, along with the 2010 success of insurgent tea party-supported candidates, fuels their hopes that they'll send both Wasserman Schultz and Obama packing.
"Absolutely, I'm tying Debbie Wasserman Schultz and President Obama 100 percent together," said Ozzie deFaria, who of the potential six Republicans in the race has raised the most money. And who also put Wasserman Schultz in a dog collar on his campaign Website.
Like deFaria, many of her opponents have traded on Wasserman Schultz's national standing to garner attention and raise money. DeFaria, for example, earned an endorsement from Sen. John McCain, R-Ariz. Karen Harrington, who lost to Wasserman Schultz two years ago, said she's "making it a national campaign." Harrington snagged the endorsement of Rep. Michele Bachmann, R-Minn., as well as a nod from the anti-abortion Susan B. Anthony List.
"We believe it's going to be a big race," Harrington said. "As DNC chair, she's been very outspoken against the Republicans. She speaks on behalf of the president and the liberal base of the party, and I think she has a message that's opposite of the conservative message."
Even so, Harrington and the others haven't demonstrated they've made any inroads when it comes to being elected out of one of country's most Democratic districts.
The district includes most of Broward County south of Interstate 595 and dips into coastal Miami-Dade County to Miami Beach. Its boundaries were tweaked this year to make it slightly friendlier to Republicans, but even so, 61 percent of its voters went for Democratic gubernatorial candidate Alex Sink in 2010. Just 38 percent of the district went for McCain in 2008.
The National Republican Congressional Committee, which is charged with electing as many Republicans as possible to the House of Representatives, also isn't hopeful about the 23rd Congressional District. It's acknowledge there's little it can do but be a nuisance to Wasserman Schultz, whose duties as chairwoman of the Democratic National Committee will peak at the political convention in Charlotte, N.C., late this summer.
"If there's the opportunity to get Debbie Wasserman Schultz to campaign at home in the fall, rather than raising money for other candidates, we certainly will," said Nathaniel Sillin, a spokesman for the NRCC.
Merely irritating the DNC chair in her hometown when she has national duties is a win, though, Republicans say, especially in a part of Florida that's also a source of considerable fundraising for the president.
Of the six Republicans who've indicated to the Federal Election Commission they want to do battle in the Aug. 14 primary to face Wasserman Schultz, just three have raised more than $100,000. They are Harrington, deFaria and Joe Kaufman, who drew the satirical interest of "The Daily Show."
Of those, only deFaria and Harrington have done the kind of organizational and fundraising work to merit consideration in the so-called "Young Guns" program, the NRCC's program to boost promising Republican congressional candidates.
None of the Republican candidates, however, have come close to matching Wasserman Schultz's $2.3 million in contributions. All have contributed their own money to their races. Wasserman Schultz has $1.7 million in cash on hand, according to Federal Election Commission reports.
Wasserman Schultz, who was unavailable for an interview, hasn't faced serious opposition since she was first elected to the seat in 2004. So why are so many Republicans out to get her this year?
"She represents all of the liberal orthodoxy that you can think of on the left," said Richard DeNapoli, chairman of the Republican Party of Broward County. "She's symbolic. She is the Democratic Party, Obama's hand-picked leader of the DNC. To take her out is almost on par with defeating Obama himself."


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Everyone's Got to Start Somewhere
Carl Ruck, M.M '81, helps Adam Strube '08 to begin his professional career — at the White House. by Alex Meril '07
If there is one thing that makes you strive for more, you should pursue it," says Adam Strube '08. The vocal performance major should know about lofty pursuits: in December he gave a solo performance at the White House. Adam, a bass vocalist from Long Island, New York, sang 18 holiday classics accompanied by pianist Carl Ruck, M.M. '81; their offerings included holiday standards "O Holy Night," "The First Noël," and "You're a Mean One, Mr. Grinch."
While an invitation to sing at the White House is no small feat for even the most experienced performers, it's a tremendous accomplishment for 29-year-old Adam, whose road to success has not always been smooth. After high school, Adam attended Suffolk Community College in New York, but with money being tight after his parents' divorce, his focus was on paying the bills. He did so by working in construction, at a restaurant, and at a bank. Finding none of these jobs fulfilling, Adam thought about returning to school for a music degree.
"I stayed home [to avoid spending] thousands of dollars not knowing what I wanted to do," says Adam of his decision to wait to attend a bachelor's degree–granting school. In 2001 Adam applied to Ithaca's School of Music but missed his chance after turning in his forms late. He tried again a few years later and was accepted into the music education program in 2004.
Finding student teaching less than gratifying, he felt pulled towards a performance degree. Under the guidance of professor Kelly Samarzea (who has since left the College), Adam switched to a vocal performance major and found his place as a bass in the IC Choir.
In spring '05 Carl Ruck was a visiting lecturer in Adam's career orientation class. The two met up again the following November while Adam was on tour with the choir. A frequent performer at the White House, Carl played a CD recording of one of the choir's performances at the White House social secretary's office. When people were blown away by Adam's voice, Carl was convinced that the young performer had a shot at landing a White House gig. When he and Adam next met up about a year and a half later, Carl mentioned the idea. Adam sent in a demo — and the rest fills out a rather impressive chapter one in his career history.
Before the holiday open house, neither man knew who would be in the audience. And although to their knowledge no one from the Bush family was there, the invitation-only event required all guests to go through a detailed Secret Service screening.
"I was pretty calm," Adam says of passing security and driving through the White House gates. "It felt like OK, I've now entered the land of Oz."
Once inside, Adam and Carl set up on the ground floor in the East Wing: a perfect location between two marble-floored hallways, which, says Adam, "offered the acoustics of a bathroom." Adam says he "harnessed my extra [nervous] energy" into putting on a stellar performance.
And he and Carl were a huge hit. Carl estimates that 50 guests stopped everything at one point just to watch Adam. "Technically and musically, he was virtually flawless," says Carl. Adam simply says, "The audience was very receptive."
One of the standout moments was when he sang "You're a Mean One, Mr. Grinch," and gave a stuffed Grinch doll to a little boy. "The parents and the boy were thrilled beyond words," says Carl. "It was gratifying to see how a musical performance could touch the lives of total strangers."
As the performance came to a close, Adam remembers "heaving a happy sigh of relief" and taking a moment to reflect. Carl says, "I hope that he always remembers how his music made many people's Christmas pilgrimage to the White House an unforgettable experience."


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Do you have an old shed or structure in your yard? Why not take a little time and create an inspiring porch to enjoy all year long? This inviting space was an old shed. They raised the roof and made it pop with color!
Using garage sale finds and adding a coat of colorful paint will do miracles…and it gives it a comfortable feel that you won't find with outdoor furniture from your local store.
They did an awesome job of mixing and matching to turn this into a fun spot to entertain or read a book. The curtain help with soft lighting…super relaxing!
I love the colorful lanterns hanging from the ceiling!
Wouldn't you like to hang out here on a breezy afternoon? I know I would.
{To see all the photos of this beautiful space just click here.}
Do you have an inviting porch or outdoor space?


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'The Voice' Recap: The Top 6 Perform [Video]
On tonight's (June 3) episode of Season 4 of 'The Voice,' The Top 6 performed, with three coaches on the cusp of elimination. That is, everyone but the country coach. Here's how things shook out and who sang what. Each singer sang twice -- one song chosen by their coach and one of their own choosing. Only one contestant will be eliminated this week, instead of the usual two.
Amber Carrington: A. Lev chose the '80s hair metal power ballad 'I Remember You' by Skid Row. Levine wanted this performance to spotlight what he heard that made him the only coach to spin his chair. It was countrified. She chose 'Crazy' by Patsy Cline and delivered a measured performance that didn't go over the top.
Danielle Bradbery: She sang the classic 'Shake the Sugar Tree,' introducing the audience to a timeless country track at her coach's behest. She chose Sara Evans' 'A Little Bit Stronger' to show she can tell a story with her voice, which is critical in country music.
The Swon Brothers: The Bros. nailed the harmonies on 'Wagon Wheel' and made Shakira interested in country music. They returned to the stage to give 'Okie From Muskogee' the Swon Brothers stamp. It was classic country that was so good it made us think they ain't going anywhere.
Holly Tucker: The country cutie got sassy with Martina McBride's 'When God Fearin' Women Get the Blues,' belting it out with fire in her belly. When it was up to her, she chose Rascal Flatts' 'My Wish.' The two songs showed both sides of her style.
Michelle Chamuel: The queen of quirk sang an emotionally resonant version of Keane's 'Somewhere Only We Know.' She wanted to show her mainstream appeal by singing Taylor Swift's 'I Knew You Were Trouble,' and even got a positive critique from T. Swizzle herself, who guested on the ep. Swift commended Chamuel for her emotional delivery.
Sasha Allen: The New Yorker belted Aretha Franklin's 'Ain't No Way.' No one else still in the competition could have done what Allen did with the Queen of Soul's song. Shak assigned her Carrie Underwood's 'Before He Cheats' and demanded she believe every note she sang. She did something while performing that made Usher say there is another Sasha Fierce in the hizzy. Watch the clip to see what it was.


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"When we focus our energy towards constructing a passionate, meaningful life, we are tossing a pebble into the world, creating a beautiful ripple effect of inspiration. When one person follows a dream, tries something new or takes a daring leap, everyone nearby feels that energy, and before too long they are making their own daring leaps and inspiring yet another circle."
~Christine Mason Miller


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ABC's Good Morning America on Wednesday spent over four minutes worrying about "glitch girl," the woman who was featured on the ObamaCare webpage for weeks during the site's disastrous rollout. Yet, the same program spent less time on the fact that the website likely will not be fixed by the November 30 deadline. Additionally, Josh Elliott dispatched in six seconds the news that a majority of Americans now find Barack Obama untrustworthy.
Reporter Amy Robach focused on Adrianna (she did not want her last name used), the smiling woman who greeted frustrated Americans on HealthCare.gov. Robach hyperbolically announced, "It's the face that launched a frenzied hunt." Continuing the over-the-top language, Robach told the young woman, "You've been dubbed glitch girl, the most despised face on the planet." [See video below. MP3 audio here.] The most despised face on the planet?
Robach also used a favorite word of journalists, describing the page that barely functions as the "glitch-plagued ObamaCare website." Another GMA segment referred to the "health care software glitches."
She did explain the interesting detail that Adrianna: " is from Colombia and not a U.S. citizen, though, she is eligible to apply for health care under her permanent residency status."
The journalist closed her segment by repeating White House talking points: "And when we asked the administration for a response to the website's new look, they say they always wanted to make changes to the home page, calling it a dynamic website."
A dynamic website?
A new Quinnipiac poll found a majority of Americans believe Obama is untrustworthy. The survey found the President's approval rating at an all-time low, 41 percent. This garnered six seconds of coverage in the 8am hour.
Other details got more attention. Co-host George Stephanopoulos opened the show by announcing, "New developments in the ObamaCare debacle. Reports this morning, the website will not be fixed fully by the November deadline." The host repeated this point at the end of a Jon Karl segment, but didn't go into great detail.
The Karl story ran one minute and 20 seconds. The reporter noted Bill Clinton calling on Obama to keep his promise regarding people keeping health care they like. But the story didn't match the time of the gossipy segment on "glitch girl."
A transcript of the November 13 segment, which aired at 7:06am ET, follows:
ROBIN ROBERTS: And now, George, another side of the ObamaCare rollout and the woman who became the face of the website fiasco, plastered on the home page of HealthCare.Gov. The source of anger for so many. And ABC's Amy Robach spoke to her in an ABC News exclusive. Great to see you, Amy.
AMY ROBACH: Thank you so much. Good morning, Robin. And her picture may be gone now from the website. But the woman who has a name, Adriana, says she's not completely over the sting of what she calls bullying. It's the face that launched a frenzied hunt.
JON STEWART: That smiling lady.
CANDY CROWLEY: Have you seen the mystery girl?
ROBACH: As frustrations with the glitch-plagued ObamaCare website mounted, people turned their attention to the mystery woman on the home page. And until now, her identity remained a secret. Why do you want to speak out now?
ADRIANNA: Because I mean, I deserve a chance to tell people who I am and not just let everyone else say whatever they want.
ROBACH: So, who is the woman who was the face of the ObamaCare website?
ADRIANNA: I'm a mother and I'm a wife and I'm not a professional model.
ROBACH: Adrianna, who asked that we not use her last name, is from Colombia and not a U.S. citizen, though, she is eligible to apply for health care under her permanent residency status. And while she says the picture was supposed to be a typical stock photo, she never anticipated it would become a laughing stock.
ADRIANNA: We signed the release that says it was possibly going to be used for material for promoting the health care. We just didn't know that it was going to have a negative impact.
ROBACH: You've been dubbed glitch girl, the most despised face on the planet. Did you ever anticipate this type of publicity? Scrutiny?
ADRIANNA: No.
ROBACH: Adding insult to injury, she wasn't paid for the photo. Have you ever experienced anything like this before in your life?
ADRIANNA: Well, this is actually a reason I wanted to be here, because as a kid, I never went through that. And now, I am. You know? You know, it's some sort of bullying.
ROBACH: It is bullying.
ADRIANNA: But at the same time, you know, I thought I have to do this. For my child. I'm here to stand up for myself and defend myself.
ROBACH: Good for her. Her photo was taken down from the website two weeks ago. And Adriana says she is now able to find some humor in the face of all of that negativity. And when we asked the administration for a response to the website's new look, they say they always wanted to make changes to the home page, calling it a dynamic website. But she certainly took the fall, unfairly so.
ROBERTS: Yeah. That's right.


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Since last November's election, there has been a lot of punditry about the fissures and schisms in the Republican Party. The divisions are real, and some of the commentary has been revealing. There has been less of a look at fissures and schisms in the Democratic Party.
Since last November�s election, there has been a lot of punditry about the fissures and schisms in the Republican Party. The divisions are real, and some of the commentary has been revealing.
There has been less of a look at fissures and schisms in the Democratic Party. They�re real, as well. Most House Democrats voted against the Obama administration on NSA surveillance last week.
Democrats have failed to win majorities in the House of Representatives in the past two congressional elections and in eight of 10 elections over the past two decades.
In the years of the Obama presidency, the president and congressional Democratic leaders have made a series of choices on legislation and policy that have alienated some of the party�s major constituencies.
The first was to vastly expand the size and scope of government by passing the $787 billion stimulus package in February 2009 and passing Obamacare in March 2010.
That choice was not inevitable. Democrats didn�t take a similar course during most of the Clinton presidency.
But Democrats in 2009 had a large House majority and a determined and effective leader in Speaker Nancy Pelosi. And in the Senate they had a supermajority of 60 votes during critical months in 2009 and 2010.
That was the result of some lucky (or unlucky) political accidents � the prosecution by the Bush administration Justice Department of Republican Sen. Ted Stevens, a prosecution overturned after Stevens was defeated by 1 percentage point by Democrat Mark Begich; the party switch of Pennsylvania�s Arlen Specter; the superior lawyering that gave Democrat Al Franken a victory in a very close contest in Minnesota.
Oscar Wilde said that he could resist everything but temptation. Democratic leaders could not resist the temptation provided by that 60-vote supermajority. Even after Scott Brown�s special election victory in Massachusetts deprived them of the 60th vote, Pelosi squeezed out just enough votes to push Obamacare through.
Some of those votes came from Blue Dog Democrats elected from relatively conservative districts. Without such moderates, Democrats would not have maintained their majorities in the House during most of the years from 1958 to 1994.
The unpopularity of the stimulus package and Obamacare resulted in the defeat or retirement of most of the Blue Dogs. Their numbers fell from 54 in 2009 to 26 after 2010 to only 14 in 2012. A historic Democratic constituency largely disappeared, and so did Democrats� majority in the House.
Democratic numbers were further reduced by Pelosi�s decision to pass cap-and-trade environmental legislation in June 2009.
It was particularly surprising, since cap-and-trade�s prospects in the Senate never were good. So coal-and-oil country Democrats were sacrificed for nothing. West Virginia, once safely Democratic, voted 62 percent for Mitt Romney.
This year, Senate Democratic leader Harry Reid made a similar choice when he threatened to eliminate the requirement of 60 votes to overcome a filibuster unless Republicans agreed to allow confirmation of members of the National Labor Relations Board.
This favored the party�s labor-union constituency, which feared the Supreme Court would affirm an appeals-court decision declaring Obama�s recess appointments to the NLRB invalid.
The unions want favorable NLRB rulings over the next three years. Reid acted at their behest even though there�s a good chance Republicans will regain a Senate majority in 2014, in which case changing the filibuster rule would hurt Democrats.
But he wasn�t willing to change the filibuster rule on judgeship nominations � something the party�s feminist constituency would love. Reid favored the unions and shoved the feminists under the bus.
Campaigning is about assembling majority coalitions. But to govern, as John Kennedy said, is to choose. In particular, governing requires choosing one constituency over another. That can result in the disassembling of a majority coalition.
Democrats aren�t necessarily doomed in 2014 or 2016. But they are weaker because of the choices their leaders have made.
Michael Barone is a senior political analyst for The Washington Examiner.


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66AK2Gx Processor Training Series
Similar to existing KeyStone-based SoC devices, the 66AK2Gx enables both the DSP and ARM cores to master all memory and peripherals in the system. This architecture facilitates maximum software flexibility where either DSP- or ARM-centric system designs can be achieved.
This curriculum provides an in-depth look at the K2G Processors, Processor SDK-Linux and TI-RTOS, and the Programmable Realtime Unit (PRU).
Application Development Using Processor SDK RTOS
Audio System Hardware with Voice as User Interface
Building and Running Inter-Processor Communication (IPC) Examples on the AM572x GP EVM
C Compiler Tips & Tricks
C55x Digital Signal Processors Software Overview
C55x Digital Signal Processors Training Series
TI's TMS320C55x Fixed-Point Digital Signal Processors (DSP) enable high performance and low power through increased parallelism and total focus on power savings. Industry-leading active power enables computationally-intensive applications, such as voice triggering and encoding, to run on battery for extended period of time. Development tools include the award-winning eXpressDSP, Code Composer Studio (CCS), Integrated Development Environment (IDE), DSP/BIOS, optimized DSP and math libraries, and the industry's largest third-party network.
C6000 Architecture (2 of 15)
C6000 Cache - Lab (11 of 15)
C6000 Cache - Overview (7 of 15)
C6000 Cache - Part 1 (8 of 15)
C6000 Cache - Part 2 (9 of 15)
C6000 Cache - Part 3 (10 of 15)
C6000 Optimizations - Lab (6 of 15)
C6000 Optimizations - Overview (3 of 15)
C6000 Optimizations - Part 1 (4 of 15)
C6000 Optimizations - Part 2 (5 of 15)
Debugging Common Application Issues with TI-RTOS
Debugging Embedded Linux Systems Training Series
Linux is well-adopted within embedded systems. But debugging Linux system issues can be overwhelming. This training series teaches the techniques of debugging kernel issues that may be encountered in embedded Linux systems. This training series explains the Linux kernel logging system and logging API, illustrates how to locate a particular device driver, and demonstrates how to read kernel oops logs.