I remember a Halloween in the early 1960's when I went through this change. Since I was the studious sort, not the juvenile delinquent type, my Haunted House was well... a little weird. After all, one must admit that a Volcanic Pumpkin is a far cry from a Haunted House. I don't remember where I got the idea, but I think it must have been from Mr. Wizard.

There are at least two good reasons for making a crustless quiche. First, you may not have a pie shell, and you don't want to take the time to make one, for instance in the morning before leaving for work. Second, you might be craving a quiche but you are on a low-carb diet.

To make one of these, you'll need butter; a ramekin, gratin dish or pie plate; eggs; cream, milk, or half-and-half; and some sort of filling.

Here's a three-exposure HDR photo I took just after sunrise on December 30, 2010. (Click on it for a bigger version).

More of my pictures of San Francisco can be seen at my Flickr account.

The father of jazz organ playing and the undisputed master of hot pipe organ jazz is Fats Waller. The son of a Harlem Baptist preacher, Waller learned the pipe organ early in life before taking up the piano. By his late teens he was making a living as a musician, playing at rent parties and accompanying silent films on theatre organs. By his mid twenties, he had started a career as a Broadway composer and was in demand for recording sessions.

I remember a Halloween in the early 1960's when I went through this change. Since I was the studious sort, not the juvenile delinquent type, my Haunted House was well... a little weird. After all, one must admit that a Volcanic Pumpkin is a far cry from a Haunted House. I don't remember where I got the idea, but I think it must have been from Mr. Wizard.

The newest word from the sidewalk in front of the Ferry Building is that Jeremy is no longer associated with the project, having decided to devote his time to other personal projects. Daniel Patterson will be taking over the menu development, and will be donating his Mondays off in August to cooking the Plum demonstration dinners at Il Canne Rosso.

My first contact with Fleischmann was when I wrote to him in the '70's pleading for more contemporary music in the Philharmonic's programming, mentioning as examples Frank Martin, Olivier Messiaen, and Darius Milhaud. Ernest wrote back saying he would take my recommendation under consideration, but also mentioning the need to program music that would sell concert tickets. He finished with a flourish, referring to my trio as the "three Ms" (a reference to the well-known three Bs of classical music: Bach, Beethoven, and Brahms).

I also saw Fleichmann once at the refreshment bar on the main floor of Davies Symphony Hall in San Francisco during an Intermission in 2001 or 2002. He was then retired from the L.A. Philharmonic and was artistic director of the Ojai Music Festival. I had heard that the Ojai Festival was trying to get the original Harry Partch instruments to Ojai so that Partch's music could be featured. I told Fleichmann how much I was looking forward to the upcoming concert. Sadly, he reported that the funds for transporting and insuring the instruments had not been forthcoming and that there would be no Partch at Ojai that year. I was crestfallen, but also jazzed at having had a conversation with the Great Man.

Here are a few remembrances from others more qualified to comment on Flieschmann's passing: Alex Ross, Mark Swed, Frank Gehry, Norman Lebrecht, the late Alan Rich, and Timothy Mangan.