DGraph was so easy to use, and so powerful in its abilities that it was virtually an instant success. Almost every computer manufacturer offered dGraph as part of its standard fare. Just as a computer needed DOS to function, it was viewed that you needed dGraph before you even loaded the first program. Operat- ing without dGraph was considered archaic. "You don't have dGraph?" "How can you use your computer without dGraph?" "I couldn't live without dGraph." "I'd be lost without dGraph." The ubiquitous non-technical secretaries especially loved dGraph. DGraph was taught at schools such as Katherine Gibbs and Secre- Temps who insisted that all its girls were fluent in its ad- vanced uses. You just can't run a office without it! As much as anything in the computer industry is, dGraph was a standard. Pierre Troubleaux was unfortunately under the misim- pression that the success for DGI was his and his alone and that he too was a standard . . .a fixture. The press and computers experts portrayed to the public that he was the company's singu- lar genius, with remarkable technical aptitude to see "beyond the problem to the solution . . .". The official DGI biography of Pierre Troubleaux, upon close examination, reads like that of an inflated resume by a person applying for a position totally outside his field of expertise. Completely unsuited for the job. But the media hype had rele- gated that minor inconsistency to old news. In reality Troubleaux was a musician. He was an accomplished pianist who also played another twenty instruments, very, very well. By the age of ten he was considered something of a prodigy and his parents decided that they would move from Paris to New York, the United States, for proper schooling. Pierre's scholar- ships at Julliard made the decision even easier. Over the years Pierre excelled in performances and was critically acclaimed as having a magnificent future where he could call the shots. As a performer or composer. But Pierre had other ideas. He was rapt in the study of the theory of music. How notes related to each other. How scales related to each other. What made certain atonalities subjectively pleasing yet others com- pletely offensive. He explored the relationships between Eastern polyphonic scales and the Western twelve note scale. Discord, harmony, melody, emotional responses; these were the true loves of Pierre Troubleaux. Upon graduation from Julliard he announced, that contrary to his family's belief and desire, he would not seek advanced train- ing. Rather, he would continue his study of musical relationships which by now had become an obsession. There was little expertise in this specific area, so he pursued it alone. He wrote and arranged music only to provide him with enough funds to exist in his pallid Soho loft in downtown Manhattan.