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The USGA is the governing body of golf in the United States; but it governs by consent only, and must be alert to ground swells of opinion from its constituency.

Accordingly, we determined to take a second long, hard look at the allowances, through the eyes of the most expert consultants available.

One expert we retained was Dr. Francis Scheid, a member of the mathematics department at Boston University, author of numerous pioneering articles on handicapping, and former president of the Plymouth Massachusetts Country Club.

All four men share not only impressive mathematical talents, but a zest for golf as well. Their research occupied the better part of a year.

Although the participants, working independently, devised three very different approaches to the multi-ball problem, their conclusions were remarkably compatible.

They were in general agreement, for example, that the allowances were too severe - that they unjustly penalized high handicappers.

They agreed that the use of full handicaps in multi-ball stroke play, however, penalized low handicappers. And in the case of four-ball match play they were unanimous in finding that giving the full difference between handicaps produced acceptable near-equity.

Soley worked with 5, scorecards collected by the USGA from men's and women's multi-ball events at 31 clubs, coast to coast.

He used a four-step system to plot team scores vs. His final recommendations were identical with those ultimately adopted by the USGA: In addition to their solid basis in theory Soley's recommended allowances were also field-tested, having been used at his home club for 14 months without showing any significant advantage to any handicap level.

They were easy to apply, being round numbers, and they included a slight "bonus for excellence" in favor of better and possibly more dedicated player.

While Soley was studying team pairings from actual events, Scheid was working with a computer bank of 28, hole-by-hole rounds of 1, golfers at 14 Massachusetts clubs.

Starting with the premise that the performance of scratch teams should set the standard, Scheid set out to determine what allowances would most nearly equalize the play of various handicap teams with that of scratch teams.

The Bogevold-Stroud team, working with the same 5, scorecards as Soley used, concentrated on examining the effects of spread.

They reported that each stroke of spread carries an approximate advantage of one-tenth of a stroke in a four-ball better-ball-of-two match and one-twentieth of a stroke in best-ball-of-four stroke play.

In a four-ball match, in other words, their finding was that a scratch player and his handicap partner have a full stroke advantage over a team of two 5-handicappers.

The scores represent better-than-average, but not peak performance. Performance of a scratch team, measured on the same basis, was The lesson is ever the same: Preferably lower, because the bonus for excellence is factored into the allowances and the best showings are by low handicap teams with significant spread.

This sequence of tables from Scheid's study shows the number of times teams, representing 10 different handicap combinations, finished in the top quarter of 80 simulated four-ball better-ball-of-two stroke play tournaments.

To hold its own, a combination would have to finish in the top quarter times. Handicaps of the two partners are shown in bold type at the top and the left.

The figures indicate how widely the fortunes of a given team can fluctuate under different handicap allowances.

The fortunes of a team of two handicappers would be just the reverse: Scheid's second basic finding - the importance of spread - is also evident.

When the results of all three studies were available, and the voluminous mathematics of multi-ball play was laid on the table, the USGA was faced with two difficult judgments.

First was the matter of coping with spread, the effects of which had been documented dramatically and conclusively. My whole shop was only three colors: I had this yellow van, and I dressed in yellow and black when I picked up the furniture, and all my tools were yellow, white and black.

It was pretty cool. I got so much into the cartooniness of the business, almost to the point of it being a joke to the people who would see me, and they wouldn't really trust me to do a good job.

It was two different worlds colliding. When I'd re-upholster furniture I'd take off the old fabric and I started to write poems and things inside the furniture, so if it was ever re-upholstered again one day they'd get little messages from the last person who upholstered it.

I thought it'd be cool if we all wrote each other messages. E ach one had an upholstery tack on it with red paint that looked like blood.

My slogan was right below it: The guy I used to apprentice for, he saw the card and was like, "Do you want anybody's business? That van was the best thing: I already had the yellow and the black hand tools and power tools, so once I had that, I was set.

I built a fabric table that I'd seen at an upholstery shop I worked at. It had Styrofoam underneath the cloth of the table and you could pin the fabric down right to the table so you could measure things perfectly.

I built one of those with my older brother. It was yellow and black, just huge and really, really nice. I have it in my basement now.

When I closed the shop down, all of that stuff ended up in my basement. I called them all up and they just would not hire me. I was like, "I'm an experienced upholsterer and I've been working in the trade for years," and they were like "Why do you want to upholster coffins?

They were like, "You know, a lot of this stuff is prefabricated and we just glue it together when it gets here and you don't want to work here.

It's such a perfectionist trade. I was an upholsterer, and I worked at upholstery shops for a long time. Once, while I was still an apprentice, there was a piece of fabric wrapped around a couch, and my master had put one staple here, one staple here, one staple there.

And I was just sitting there looking at it, and I thought, Wow, that would be the most minimal way to upholster this piece, with one staple in the middle and one at both ends.

That's, like, the least amount of upholstery work you could do and call it upholstery. And so I just started wrapping everything I did around three colors; when I started my own upholstery shop, everything was yellow, black and white, and all my tools were yellow, black and white.

It ended up being just this great box to keep putting myself in. I wanted it to be more than that. Another thing I'm working on now is a really interesting project.

I worked with this guy Brian Muldoon at his upholstery shop, and we made a record, a 45 we put together as The Upholsterers.

We're gonna do another record on Ben Blackwell's label, Cass Records, and this record's gonna be a Brian's had his shop for 25 years now, and Gordy Newton - Cass Recorder artist, CR was right here in the 70s it was a big deal, they had this great artist GN - he did my amplifiers, I don't know if you saw them in E ngland.

Oh no, you didn't see them, we never brought them over. In America we had these amplifiers he did. I lacquered them all up with resin and cut them up with sawblades, and he put chairs inside them and Brian upholstered them.

He's going to do the covers for this To Meg I don't think I told you about this did I? It's for Brian 25th anniversary, and it's gonna be only copies, and they only can be found inside the next pieces he does - the next things he re-upholsters.

Only in there - and there'll be no other copies for sale anywhere. How are you gonna get them in there so they don't break? Oh, there's plenty of places.

Like the outside arm or the outside back, you can put it in between, it won't break. Brian's excited that people will be breaking open the back of a couch so they can grab it or something.

Jack finds it advantageous to be playing with just Meg, "it's really good - we have a good communication between us which helps us figure out what we want to do.

Because there's just the two of us in the band it means the music is less structured and can be more 'on the moment' so to speak. We can be very honest, and even if we scream and yell at each other we'll still love each other.

It's like some songs don't need to have bass and some don't need all that drumming. In art, knowing where to stop is so important.

I'll see some bands that'll start out with drums, then they'll add bass. Then they should probably stop laughs most times. But then they get another guitar and keyboard player, etc.

Then you're like, 24, 3 6 tracks, and you can keep going and going and going. Somebody else there would bring this fourth component. If you're going to have four components, you might as well have 20, y'know?

Why have two guitar players? Why have a bass player playing the same thing as the guitars are playing? Let's break this down as much as possible and still be rock and roll.

Let's show what two people can do, yet revolving everything around the number three: Melody, storytelling, and rhythm.

Red, white and black. Let's confine and constrict ourselves, and live inside of a box and have there be rules.

A lot of time in modern music, there have been no rules. I think people just enjoy the opportunity of having no rules and can do whatever they want to do.

Having a huge budget or unlimited time or tracks to make an album, all that opportunity robs you of a lot of creativity, because you're not focused or confined.

We purposely confined ourselves to help us be more focused. I don't know why it works on the radio or on MTV or on a stage in front of 80, people.

It seems like there should be more going on. We've always gotten along really well, and the important part of a two-piece band is that there isn't a third person to take sides and cause dissension.

I've played White Stripes songs with other drummers at my house, and it just doesn't feel right. I think that there's definitely this communication with me and Meg that has always been there, where nothing needs to be said about what we're gonna do.

Meg's never had goals of being Neil Peart or anything, and that's what I love about her. What she does is just so simple and child-like. You couldn't take a male drummer and ask him to do that; he wouldn't be able to do it.

And I've tried; it doesn't work. There's a band in Detroit called the Gories, and they have a gift drummer that uses just two toms and a tambourine duct-taped to the tom.

That's it, and that's all it needs to be. And you know, people can't criticize that. You can't criticize Moe Tucker for not being Carl Palmer.

When Meg and I were starting out, we thought the best thing about our idea was that it would put off some people. They'd walk into a show and say, "Okay, it's a brother and sister, it's a two-piece band, everything is red, white and black, and there's peppermints, and okay, it's all just gimmicks.

If we were up there in street clothes like everybody else, we'd be making the same decision that a million other bands have made. Instead, we figured some people would really love what we're doing after the first song, and they wouldn't notice those artistic aspects of the band anymore.

They'd be there just listening to the music and the storytelling. And that was our goal. We figured that if those people could get past the out- ward trappings and get to the music, then they were in there kind of for life.

But since our last name was White, we decided to call it The White Stripes. It revolved around this childish idea, the ideas kids have - because they are so much better than adult ideas, right?

When I first heard about them naming the band the White Stripes, I thought people were going to think they were a skinhead band.

Originally they were tossing back and forth the names Bazooka and Soda Powder, so after hearing the other names they had come up with, the White Stripes didn't seem so bad.

Meg came up with it, and the story about them getting it from the candy might be true, but they also had some old bricks in front of the house in the garden that said "White" on them, and that might have had something to do with it.

That whole first year, every single person misprinted the band name -- it was always "White Stripe" or "White Strike" or "White Strikes.

Of course, that wasn't as bad as when they played the Magic Bag one night and were billed as the Light Strikes.

That whole first year, every single person misprinted the band name--it was always 'White Stripe' or 'White Strike' or 'White Strikes'.

It never got printed right-for a whole year. But obviously this is not the case in more other environments.

I think it's the best color combination of all time. It's just more powerful. For some reason, it just makes people think about stuff.

Say someone says, 'Wow, I really like your red pants. They're just old senior citizen pants. There's just something about the color. It's very interesting for us to work on the appearance of the band, because it all comes off of this one theme derived from those two colors, with red standing for anger and white being innocence.

It's a lot easier than a band where everyone wears jeans and T-shirt. E veryone can recognize a White Stripes record.

E veryone knows there is something going on on-stage. If you tell a kid that they are going to church, they'll always come down in a red outfit or something and be told 'No, you can't go to church in that'.

You could compare that the way we wear white and red peppermint candy as a symbol of the band. It's the same if you choose to blast blue lighting on the band or anything, it all affects how you feel when you watch a band, like if you just turned up the lights at the bar and down at the stage that affects your perception of a band.

You know, now there's bands dressing up as cowboys, bands dressing up as lounge acts sighs. And if we had to make a choice, I wanted it to be something simple like that.

Something where someone could see a cover and say, "oh, that's a White Stripes record" right away, I mean, I won't go dressing up as a chicken just to get people's attention.

Anything involved in presenting yourself onstage is all a big trick. You're doing your best to trick those people into experiencing something good, something they haven't thought about before or haven't thought about in a long time.

I'm doing my best to be that vaudeville trickster, to help that happen. But the image stuff all stemmed from the music-just the childishness and how it relates to anger and innocence and these colors and what they mean to us, and us being children together.

It all comes from that childishness, really. It's kind of funny. The last couple of weeks, how many things I've seen - Black E yed Peas wearing completely red white and black outfits, Lil Jon the rapper was on MTV Awards the other day, I saw that when I was flippin' channels - wearing all red white and black.

The new Green Day album, all the artwork is red white and black. The Lenny Kravitz album, the same. Go to a record store, it's all like that.

There's two car commercials out right now, one for Honda where the car is made out of red white and black Lego laughs there's another ad where the car is spinning, a total rip-off of The Hardest Button to Button video.

People say like, well, you guys don't own those colours, but look at this thing with cars made out of red white and black lego. A friend said to me, Whatever, Jack!

Then I was talking to Michel Gondry a week later and he said, Oh yes, zey asked me to direct this commercial! I knew they got their ideas from somewhere!

If you can't get past the stage of, Oh, this is a gimmick. OK, if you think it's gimmick, you're not possibly gonna be able to come any deeper with us.

It weeds out people who wouldn't care anyway. Then, if you wanna know what the truth is, ask the little kids watching the band, and see what he thinks.

I venture a guess he's gonna have fun. Why would we do that? Wearing red and white has meaning. Wearing green for a day would just be so bourgeois.

It's actually all based around the number three, even though there's two of us. It's vocals, guitar and drums, and then rhythm, melody and storytelling.

There was a piece of fabric over part of a couch. The guy I was working for put in three staples. You couldn't have one or two, but three was the minimum way to upholster something.

And it seemed things kept revolving around that. Like, you only need to have three legs on a table. After two, three meant many, and that was it, you don't have to go any further than that: There's the trinity in Christianity, and objects in the world: A table can have only three legs and stand up.

Or a wheel on a car can have only three nuts to hold it on. There's a definition about that. It was a number I always thought of as perfect, or our attempt at being perfect.

Like on a traffic light, you couldn't just have a red and a green. I work on sculptures too, and I always use three colors.

It has that feel to it, everything we do. It just seems like the perfect connection. There's vocals, drums and guitar.

If we're breaking things down, how simple could they be? It seems to revolved around the number three -- songwriting is storytelling, melody, and rhythm, those three components.

If you break it down but you keep the three components, then you have what songwriting really is, without excess and overthinking.

Also - if you ever get the chance to get an autograph from him he will usually sign it "Jack White III" 2.

This is a 7' vinyl release. This name seems to pop up frequently in the Stripes arena. This duo also star in Citizen Kane, which is Jack's favorite film - so that might be the origin of Jack's interest in the reference.

Also Jack has named his record label 'Third Man Records' so the theme seems to be prevalent in a lot that he does. No matter what goes on in your private life, people are gonna get interested in it in a gossipy manner.

But 20 years from now, when you think about whatever is happening now, all you're gonna have is the music. People will say, "What about the Strokes?

And you'll listen to the Strokes album, and that's their music and that's what they did, and that's all that you know about it. Also most interviews refer to this often and they can be seen almost chain smoking in a little pre-tour documentary that's circulating around.

I'd heard that he was really anti-smoking, 'cause he has allergies. I said hi to him and he didn't say hi back. I turned around and walked away, thinking "That's weird he didn't say hi back.

He's mad that I'm smoking. Are you still smoking? My voice was getting really really bad. I was losing all the high end.

I'd heard some old tapes of us play, and I was really disappointed in the way I couldn't hit these notes anymore. I didn't know what to do.

I didn't wanna stop. I started to notice when I was playing with Loretta Lynn, I was playing her songs for the band in that range, which I would normally have been able to hit those notes, but I couldn't do it at that point.

It was like this consistent bronchitis over and over again. It just would not go away. Sometimes it would go away for a week, we'd be on tour and I'd sing really great and then it would come back for six months.

I couldn't do it anymore. It's too important to me to keep messing with the vocal chords like that. So that's really the only reason.

Right before we were leaving for the festivals, he sang Jolene, and it was like, Wow! I hadn't been able to hear him hit the high notes in that song forever without having trouble, so it's good.

Yeah, it's nice now, it feels good to be back where I used to be, because there was always a little hindrance going on.

I was ashamed because, in front of Loretta, I couldn't hit these notes. I think that's what really pushed me to it. It was just that shame that Loretta really didn't think I was a good singer.

The band seems to think of itself as a musical force and not a pulpit to spread their own political ideals. If the Beatles could not get us all to love one another, then how would the White Stripes be capable to do it?

Yeah, it's a rough time. I haven't seen people be so obsessed and upset in my lifetime, you know, about everything. I guess it's the same way in E ngland too.

When you belong to a political party, it doesn't matter if it's a monkey or E instein who's the one running, you vote for him because he's a part of that party.

It's dedication to your party not the person. It doesn't matter who it is, what the truth is. That's really sad, and it kind of goes across the board.

I mean, don't people want the truth? Why wouldn't you want the truth? Because you can be lazy if you don't know the truth. That's sad to me.

That's what my Dad always told me, on the ballot, they should always have a third choice, like none of the above, then if enough people picked that, they'd have to get new candidates.

I think there's a lot of problems with being a two-party system. But I'm not gonna get to do anything about that. It's pretty sad when you have to choose between the lesser of two evils.

But then also people say 'I got all your songs off of Napster' ya know, they didn't buy records. I would never do it cuz I like band artwork.

I want the album and I want the artwork. But then bands like Metallica they've already gone platinum so they shouldn't scream about the money.

Ya know how everybody says that? But those bands on our level with people getting it that way and not buying it - we could really use that money laughs I've never gone on there to Napster.

Don't ever buy or sell concert cds, and don't just get online and burn their albums. If you can follow that then you should be fine.

You don't be that guy that downloads all the songs and then burns it so you don't have to get the cd. If you truly support and love an artist then they are worth your money and could use a couple bumps up in the charts.

What are we gonna do!?!?! I was kinda making reference to all the gossip and like that coming from the UK music press. I know well that it's not the case and that's why I said jack mentioned nothing to me about it.

So I got semi-misquoted and it ends up everywhere. Let that be a lesson to everyone. John Lennon said 'I could be big headed and say it'll last ten years'.

Well, we'll know when it's over. I don't think we're going to last ten years, I don't think Stripes will last 20 years. It's not that kind of a band where we have 5 or 6 guys, kick the bass player out and get a new member.

It's only going to be me and her Meg in the band. At some point we'll stop, but we've no plans to now at all. I've got a lot of ideas for records for us coming up and the time off has been really re-inspiring.

We would get asked that so much - Oh, I thought E lephant was going to be your last record. But I always hated that so much my whole life, when people faked their retirement.

Like, Oh, I'm retiring, then they come out of retirement, and then they retire again I didn't want to do that, and I didn't want people to think that.

I wasn't trying to get attention that way. I just meant that I didn't want to do the band for 20 years. Maybe that was it.

Also, people were paying attention to us on the third and fourth album. They feel like it's day one, like you're starting. For you, it's been years.

Jack was making a left turn when another car ran a red light and struck the side of his car. There was nothing I could do to get away from it. It was lucky that there was nobody seriously injured.

The airbag hit my hands on the steering wheel. I didn't know about any injuries until I got out of the car and kind of looked around.

And it was shattered, from here to here [draws line along lower half of finger]. I immediately thought 'That's not going to be good, is it?

It was a multiple fracture which means it didn't actually go through the skin but it shattered inside the finger. I can't write, I can't play piano, I can't play guitar, I can't do anything creative.

I can't even tie my shoes. The airbag broke my finger when it deployed. Maybe I would have been better off without an airbag.

But I wasn't too freaked out. I was OK with it. It was one of those things where your mind acclimates to whatever the situation is. It just sort of upset me that I had to stop touring and I couldn't write music or play guitar or piano.

Instead of healing, the multiple breaks in Jack's hand meant the bones were pushing apart rather than together.

Doctors inserted the three metal screws, which will stay inside his body for life. We have three screws here [indicates triangle-ish shape on finger]: These ligaments at the side are very sore.

I can still feel the fluid and scar tissue. It's going to be a long time. And the screws are staying in there forever. I got off with a warning.

I broke my finger, three breaks, car wreck, horrible left turn in front of me, no chance of escape, air bag, the air near my fingers, devil in my left hand, doctors say no way, lot's of pain, typing with one finger, made it through year of rock n' roll death, got off with just a warning.

Apologies to those wishing to see my hand live, soon enough I'm sure, now me and Meg can share war stories, I love when we share, like once there was a monkey, and we shared the experience as children do.

It took some time to deal with that, but he's doing much better now. If you don't know what I am talking about- here's the basics of the story.

This happened sometime during the Brendan Benson set and has had numerous stories, opinions and ideas thrown out from just about everyone.

That's what I was talking about as well. In the end, what happens? He did all that to promote his new album. That's what it was all about.

It was about promoting his band, and living off of our kindness, once again, the attention he can get from using us.

He used us in a good way by being our friend. Then used us in a bad way by stabbing us in the back. So what happens to someone who uses people in the end?

His album sells two thousand copies or whatever, and nobody's going to care next year. He's forever gonna be known by his own exploitation laughing.

How do you rise above that? You can't rise above that because it's all negative. There's nothing negative from me. All I can do is defend my own honor, I guess.

There's nothing else I can do. The way I see it, the more I talk about it, the more he gets what he wants. That's the problem, the whole time.

That's why I never said anything, because it was giving him what he wanted, which was attention for his band. Their old manager said something in an interview someone read to me, about him wanting to exploit the situation, and use it to his political advantage.

The manager of his band said that! Someone told me the other day, a friend of his - an eye doctor looked at Jason and said, There's nothing wrong with you, and he then flew out to find some other eye doctor to say that he had permanent eye damage.

Jim claims he collaborated and co-produced with Jack and Meg on sessions which became the duo's debut album. Diamond is looking for royalties in relation to the sessions, "ownership interest" in relation to the master recordings, and an entitlement to future profits.

White Stripes' self-titled debut album was recorded in Detroit in What is essentially a Copyright suit, Diamond " During the sessions, Jack White requested Diamond's assistance with production by asking Diamond to help identify, define, and capture the band's sounds and asking him to critique the band's performances.

Which in turn, would make him a co-owner of the copyrights of the recordings - allowing him a share of the royalties of the album's sales since the licensing agreement in From a anonymous but reliable sounding source on MotorCityRocks it is stated that: The official statement from Monotone Management released this statement "Jim Diamond's case is without merit and his behavior is rancorous.

The White Stripes intend to vigorously and successfully defend this action. Jim Diamond suing us saying that he produced 'De Stijl' - an album I recorded in our living room by myself!

Fame and money, that is. The only bad thing I can think of is our friends stabbing us in the back, left and right. A lot of our friends.

That felt really bad. That was personal, but not in the big picture, I don't think. That's exploitation, they make things look worse than they are for their own good, for their own benefit, you know?

That can only fall on their own heads in the end, not us. Because we love everybody, we're never out to hurt anybody. And if you're not out to hurt anybody, then you won't get hurt in the end.

The truth is the truth. Meg has never done anything to anybody. How can someone like Jim Diamond sue Meg? Like, what's going to happen in the end?

It's gonna fall on his head. It's gonna be not good. You get what you put into it. If you put love and respect into what you do, then you get it back from other people, I guess.

It still feels like the best year for me, because it's just so jam-packed with so many things. There's so many things that happened.

We usually start out on the road listening to Beck's Midnite Vultures. On this one tour we must've listened to that song "Let There Be Rock" four times before each show.

Yout think you won't need them or that they're going to take up too much room, but then you always really want them the next day.

We like to play this French card game from the '60s called Mille Bornes. It's about traveling more miles than the other player.

You can also deal that person a car accident or a red light so they'll have to stop - it's kind of like Sorry. And in the morning, you have to go to breakfast with your hosts.

Not like you have to, like it's a chore, but you should because it's a good thing. Chop crackers into little bits. Mix some of the crackers into the corn with an egg.

Take the rest of the crackers and spread on top. Bake like a casserole for 40 minutes at 3 50 degrees.

Really good comfort food. If you've ever wondered why so many pictures of the duo have animals in them its probably just one of Jack's many creatures he's brought along for the photo session.

Confirmed animals include a pig, a zebra head gazelles, a tiger, an eland, a kudu, and a giant white elk.

Meg on the flip side does not seem to have this fascination which can be traced to Jack's upholstery days.

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