text:
Terms of Use
1. General
The www.skjewellery.com website (the "Website" or the "Site") provides its services to you subject to the notices, terms and conditions that herein as may be modified from time to time in this agreement ("Agreement") under which you may use and access the website. The terms and conditions apply to all visitors and users of the www.skjewellery.com, the home page of which is at www.skjewellery.com. In the event of a violation of these rules and regulations, www.skjewellery.com reserves the right to seek all remedies available by law and in equity.
I CONFIRM THAT BY ACCESSING, BROWSING & OTHERWISE USING THE Site, I ACCEPT ALL THE TERMS AND CONDITIONS (WITHOUT MODIFICATION) IN THIS AGREEMENT.
Please refer to this page frequently to review our current terms and conditions of use.
2. Use of Site
2a. You may access and use the Site solely for your personal use in accordance with this Agreement. You agree not to access or use the Site in any manner that is prohibited in this Agreement or is otherwise unlawful.
2b. You represent and warrant that you are at least 18 years old or visiting the Site under the supervision of a parent or guardian.
We reserve the right, in our sole discretion, to terminate or suspend your access to, and/or use of, the Site, or any portion, at any time, with or without notice and for any reason (or no reason), and you agree that if your authorization to access the Site is terminated or suspended, you will not thereafter access, or attempt to access, the Site, directly or indirectly until your termination or suspension is removed and we give you written notice thereof.
2c. You are not allowed to reproduce, modify, distribute, display any portion, distribute, publish any content or make any commercial use of any of the information provided of this Site unless expressly permitted by www.skjewellery.com in writing. This includes but not limited to the following:
- You shall not distribute in any form, any information, or other material that violates, infringes the copyrights, patents, trademarks, trade secrets, logo or other proprietary rights of any person
- You are not allowed to republish, archive or retain any content on the internet, intranet, extranet, database, archive or compilation. You are not allowed to use any content for commercial use
- You agree not to decompile, reverse engineer or disassemble any software or other products or processes accessible through the Site, and not to insert any code or product or manipulate the content in any way that affects the user's experience. You are not allowed to use the Site in any manner that is illegal or impairs the operation of the Site or its availability or usage by others. You further agree not to use any data mining, bugs, viruses, worms, trap doors, web crawlers, robots, cancelbots, spiders, Trojan horses, other harmful code of properties or any data gathering or extraction method in connection with your use of the Site. You are not allowed to make any use of the Site for the benefit of another business unless permitted by www.skjewellery.com in advance in writing.
2d. www.skjewellery.com may assign you a password and account for identification, to enable you to access and use certain portions of this Site. Each time you use a password or identification, you will be deemed to be authorized to access and use the Site in a manner consistent with the terms and conditions of this Agreement, and www.skjewellery.com has no obligation to investigate the authorization or source of any such access or use of the Site. You are solely responsible for protecting the security and confidentiality of the password and identification assigned and for restricting access to your computer, and you agree to accept responsibility for all activities that occur under your account or password. You shall immediately notify www.skjewellery.com of any unauthorized use of your password or identification or any other breach or threatened breach of this Site's security.
YOU WILL BE SOLELY RESPONSIBLE FOR ALL ACCESS TO AND USE OF THIS Site BY ANYONE USING THIS PASSWORD AND IDENTIFICATION WHETHER OR NOT SUCH ACCESS TO AND USE OF THIS Site (INCLUDING ALL OBLIGATIONS, COMMUNICATIONS AND TRANSMISSIONS) IS ACTUALLY AUTHORIZED BY YOU.
2e. www.skjewellery.com reserves the right to refuse service, terminate accounts, and/or cancel orders at its discretion, including, without limitation, if www.skjewellery.com believes that the conduct by the customer violates applicable law or is harmful to www.skjewellery.com interests.
For your security, www.skjewellery.com advises that you never send anyone your ENTIRE credit card number. www.skjewellery.com will never request you to submit your ENTIRE credit card numbers. We strongly recommend you to cover all digits of the credit card numbers except for the last 4 digits and to cover the CVV code at the back of your credit card when submitting credit card information.
If you receive a suspicious e-mail with a link to update your account information, do not click on the link–instead go directly to www.skjewellery.com and then to your account.
If you are contacted by, or receive an unsolicited e-mail from an unknown entity, and are asked to confirm or provide your password or personal or banking information, disregard the request and contact us at [email protected]
3. Site Contents and Trademark
3a. Unless otherwise noted, all materials, including images, illustrations, designs, icons, photographs, video clips, HTML code, scripts, written and other materials that appear as part of the Site (collectively, the "Collection") are copyrights, trademarks, and/or other intellectual properties owned, controlled or licensed by www.skjewellery.com.
The Site as a whole is protected by copyright and all worldwide rights, titles and interests in and to the Site are owned by www.skjewellery.com.
Any unauthorized copying, alteration, distribution, transmission, performance, display, or other use of these materials is prohibited.
All rights not expressly granted in written are reserved by www.skjewellery.com.
3b. The Contents and Collection of the Site, and the Site as a whole, are intended solely for personal, non-commercial (other than for the purchase of merchandise from the Site) use by the users of the Site. www.skjewellery.com and its affiliated companies retain all rights regarding their trademarks, trade names and brand names.
These marks, names and /or all associated logos or images, are registered and/or common law trademarks of SK Jewellery.
You are also advised that SK Jewellery will aggressively enforce its intellectual property rights to the fullest extent of the law, including the seeking of civil remedies and criminal prosecution.
4. Intellectual Property
All text, graphics, button icons, logos, trademarks, audio clips, video, clips, software (collectively, "Collection"), belongs exclusively to www.skjewellery.com. All software used on this Site is the property www.skjewellery.com or its software suppliers. Other slogans, trade names or service marks from www.skjewellery.com are prohibited unless permitted in written consent. You are not allowed to www.skjewellery.com trademarks in any manner that disparages discredits or in any way that is likely to cause confusion.
5. Submissions and Comments
5a. All surveys, comments, feedbacks, suggestions, ideas, and other submissions disclosed, submitted or offered to SK Jewellery on or by this Site or otherwise disclosed, submitted or offered in connection with your use of this Site (collectively, "Comments") shall be and remain SK Jewellery's property.
Such disclosure, submission or offer of any Comments shall constitute an assignment to SK Jewellery of all worldwide rights, titles and interests in all copyrights and other intellectual properties in the Comments. SK Jewellery is and shall be under no obligation
- To maintain any Comments in confidence
- To pay user any compensation for any Comments, and/or
- To respond to any user Comments.
5b. You agree that no Comments submitted by you to the Site will violate any right of any third party, including copyright, trademark, privacy or other personal or proprietary right(s).
When you post submissions or comments, you grant www.skjewellery.com the right to use the name that you submit and you also represent and warrant that you own or otherwise control all of the rights to the comments and other content that you post on this Site and will not infringe upon or violate the rights of any third party.
You shall not use a false e-mail addresses or otherwise mislead www.skjewellery.com or third parties as to the origin of any Submissions or Content.
You further agree that no Comments submitted by you to the Site will be or contain libellous or otherwise unlawful, abusive or obscene material.
You are and shall remain solely responsible for the content of any Comments you make.
Except as otherwise provided elsewhere in this Agreement or on the Site, anything that you submit or post to www.skjewellery.com, including without limitation, feedback, survey, ideas, know- how, questions, comments, and suggestions will be treated as non-confidential and non-proprietary, and www.skjewellery.com shall have the royalty-free, worldwide, perpetual, irrevocable and transferable right to use by any mean.
All Submissions and Comments shall automatically become the exclusive property of www.skjewellery.com and shall not be returned to you.
6. Indemnification
You agree to indemnify and hold harmless SK Jewellery and its affiliates, officers, directors, employees, shareholders, information providers, suppliers and licensees (collectively, "Indemnified Parties") from and against any and all liability and costs, including, without limitation, incurred by the Indemnified Parties in connection with any claim arising out of:
- Your access and/or use of the Site,
- Any breach of any of these Conditions by you or any user of your account, and/or
- Any allegation which, if true, would constitute a breach of any of these Conditions by you or any user of your account.
7. Limitation of Liability
7a. In no event will www.skjewellery.com, its parents, affiliates and/or suppliers be liable for (a) any damages of any nature whatsoever resulting from, or related to, the loss, delay or inability to use the Site (including, without limitation, any content), the loss of any content obtained through the Site and/or (b) any indirect, consequential, special, incidental or punitive damages whatsoever including, without limitation, damages for loss of profits arising out of or in any way connected with these conditions and/or otherwise arising out of the use or performance of the Site (including, without limitation, any content), in each of the (a) and (b) above whether based in contract, tort, negligence, strict liability or otherwise and even if www.skjewellery.com, its parents, affiliates and/or suppliers have been advised of the possibility of such damages.
In all events, www.skjewellery.com's aggregate liability for claims arising out of or in any way connected with these conditions and/or the use or performance of the Site (including, without limitation, any content) whether based in contract, tort, negligence, strict liability or otherwise shall be limited to the greater of (a) $50.00, or (b) the amount you paid to access the Site during the three (3) month period prior to the accrual of the claim, if any. Some jurisdictions do not allow the disclaimer of some types of damages, so some of the above may not apply to you. This Site may include inaccuracies, mistakes or typographical errors.
www.skjewellery.com does not warrant that the content will be uninterrupted or error free.
7b. To the maximum extent permitted by law, www.skjewellery.com will not be liable for any damages of any kind arising from the use of this Site, including, but not limited to indirect, incidental, punitive, exemplary, special or consequential damages.
8. Governing Law and Jurisdiction
The Site is hosted on servers located in Singapore. This Agreement is governed by the laws of Singapore. In the event you desire to initiate any suit against SK Jewellery, arising out of or relating to the Site (including, without limitation, the Content of the Site) and/or this Agreement, you agree to bring such suit in the courts sitting in Singapore.
You further agree that we may initiate a suit against you arising out of or relating to the Site (including, without limitation, the Content of the Site) and/or these Conditions in such courts and you hereby waive all rights you may have or which may hereafter arise to contest jurisdiction or venue in such courts.
9. Disputes
Any dispute relating in any way to your visit to the Site or to the products you purchase through the Site shall be submitted to an arbitrator in Singapore, except that to the extent you have in any manner violated or threatened to violate www.skjewellery.com's intellectual property rights, www.skjewellery.com may seek injunctive or other appropriate relief in Singapore.
You hereby consent to submit to jurisdiction of the Singapore courts. The arbitrator's award shall be final and binding and may be entered as a judgment in any court of competent jurisdiction.
To the fullest extent permitted by applicable law, no arbitration under this Agreement shall be joined to an arbitration involving any other party subject to this Agreement, whether through class action proceedings or otherwise.
10. Disclaimer
In no event will www.skjewellery.com or any of its affiliated entities be liable to any party for any direct, indirect, special, punitive, incidental, exemplary or consequential damages for use of this Site or any other hyperlinked websites.
Even if www.skjewellery.com has been previously advised of the possibility of such damages, whether in an action, under contract, negligence or any other theory, arising out of or in connection with the use, inability to use or performance of the information, services, products and materials available from the Site.
These limitations shall apply notwithstanding any failure of essential purpose or the existence of any limited remedy.
11. No Warranties
11a. We make no representation that materials or Content available through the Site are appropriate or available for use outside Singapore and access to them from territories where their contents are illegal is prohibited.
Some jurisdictions do not allow implied warranties to be excluded or modified, so not all of the above limitations may apply to you.
The Site is controlled, operated and administered by us from our offices within Singapore.
11b. Any content downloaded or otherwise obtained through the use of the Site is done at your sole discretion and risk. We and our suppliers hereby disclaim any and all warranties and representations, whether expressed or implied, oral or written, including, without limitation, any and all implied warranties of merchantability, reasonable care, compatibility, security, quality, timeliness, availability, completeness, reliability, accuracy, and/or fitness for a particular purpose (whether or not we and/or any of our suppliers know, have reason to know, have been advised, or are otherwise in fact aware of any such purpose), in each instance in respect of the Site (including, without limitation, all content).
Furthermore, we expressly disclaim any and all warranties of title and/or non-infringement in respect of the Site (including, without limitation, all content).
12. Links and Third Party Sites
12a. This Site may contain links to other Sites on the Internet that are owned and operated by third parties.
You acknowledge that www.skjewellery.com is not responsible for the operation of or content located on or through any such Site.
12b. To the extent that this Site contains links to outside services and resources, the availability and content of which SK Jewellery does not control, and any concerns regarding any such service or resource, or any link thereto, should be directed to the particular outside service or resource.
In addition, certain Third Party Sites also may provide links to the www.skjewellery.com website. None of such links should be deemed to imply that www.skjewellery.com endorses the Third Party Sites or any content therein.
12c. Access to any Third Party Sites is at your own risk and www.skjewellery.com will have no liability arising out of or related to any such websites and/or their content or for any damages or loss caused or alleged to be caused by or in connection with any purchases, use of or reliance on any such content, goods, or services available on or through any such Third Party Sites.
13. Remedies
13a. You agree that www.skjewellery.com shall be entitled to specific performance or injunctive relief, or both, in addition to any damages that www.skjewellery.com may be legally entitled to recover, together with reasonable expenses of any form of dispute resolution, including, without limitation, legal fees on a full indemnity basis.
13b. No instance of waiver by www.skjewellery.com of its rights or remedies under these terms and conditions shall imply any obligation to grant any similar, future or other waiver.
14. International Access
This Site may be accessed from countries internationally. This Site may contain products or references to products that are not available outside of Singapore.
Any such references do not imply that such products will be made available outside Singapore and shall not be construed as an offer to sell the said products.
15. Termination and Effect of Termination
www.skjewellery.com may without prior notice to you, immediately terminate the Agreement or revoke any or all of your rights granted under this Agreement. Upon any termination of this Agreement, you shall immediately cease all access to and use of this Site and immediately revoke all passwords and identification issued to you and deny your access to and use of this Site in whole or in part.
16. Risk of Loss / Other Terms of Sale
The risk of loss for items purchased by you shall pass to you upon delivery of the goods to the third party delivery agents, in compliance to the standard terms of sale.
Delay or damage due to custom clearance or for items lost during third parties' deliveries, the liability for loss is limited by the terms and conditions stated in the airway bill.
17. Product Information and Colours
17a. www.skjewellery.com has made every effort to display as accurately as possible the colours of our products that appear on the Site.
Most SK Jewellery products displayed on the Site are available in the SK Jewellery store and while stocks last.
In some cases, merchandise displayed for sale on the Site may not be available in the SK Jewellery store or vice versa.
17b. www.skjewellery.com has in their utmost ensured that the measurements, information and description for products furnished on the website are best calculated and stated to accuracy and true to its dimensions. However, due to the inherent characteristics of certain materials, actual measurements of individual items might vary slightly.
Slight marks and colour/print variations should not be considered as a fault, but they are inherent characteristics of the product.
18. Typographical Errors
From time to time, there may be information on this Site that contains typographical errors, inaccuracies, or omissions that may relate to product descriptions, pricing, and availability.
We reserve the right to correct any errors, inaccuracies or omissions and to change or update information without prior notice.
19. Duties and Taxes
Duties and taxes outside Singapore will be the responsibly of the recipient.
All items entering a foreign country are subject to customs inspection and assessment of the duties and taxes in accordance with that country's national laws.
Please send any questions or comments regarding this Site to:
SK Jewellery Pte Ltd
7 Changi Business Park Vista
Singapore 486042
[email protected]


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Artisan Console
Artisan is the name of the command-line interface included with Laravel. It provides a number of helpful commands for your use while developing your application. It is driven by the powerful Symfony Console component. To view a list of all available Artisan commands, you may use the list
php artisan list
Every command also includes a "help" screen which displays and describes the command's available arguments and options. To view a help screen, simply precede the name of the command with help
php artisan help migrate
Writing Commands
In addition to the commands provided with Artisan, you may also build your own custom commands for working with your application. You may store your custom commands in the app/Console/Commands
directory; however, you are free to choose your own storage location as long as your commands can be autoloaded based on your composer.json
To create a new command, you may use the make:console
Artisan command, which will generate a command stub to help you get started:
php artisan make:console SendEmails
The command above would generate a class at app/Console/Commands/SendEmails.php
. When creating the command, the --command
option may be used to assign the terminal command name:
php artisan make:console SendEmails --command=emails:send
Command Structure
Once your command is generated, you should fill out the signature
and description
properties of the class, which will be used when displaying your command on the list
The handle
method will be called when your command is executed. You may place any command logic in this method. Let's take a look at an example command.
Note that we are able to inject any dependencies we need into the command's constructor. The Laravel service container will automatically inject all dependencies type-hinted in the constructor. For greater code reusability, it is good practice to keep your console commands light and let them defer to application services to accomplish their tasks.
<?php namespace App\Console\Commands; use App\User;use App\DripEmailer;use Illuminate\Console\Command; class SendEmails extends Command{ /** * The name and signature of the console command. * * @var string */ protected $signature = 'email:send {user}'; /** * The console command description. * * @var string */ protected $description = 'Send drip e-mails to a user'; /** * The drip e-mail service. * * @var DripEmailer */ protected $drip; /** * Create a new command instance. * * @param DripEmailer $drip * @return void */ public function __construct(DripEmailer $drip) { parent::__construct(); $this->drip = $drip; } /** * Execute the console command. * * @return mixed */ public function handle() { $this->drip->send(User::find($this->argument('user'))); }}
Command I/O
Defining Input Expectations
When writing console commands, it is common to gather input from the user through arguments or options. Laravel makes it very convenient to define the input you expect from the user using the signature
property on your commands. The signature
property allows you to define the name, arguments, and options for the command in a single, expressive, route-like syntax.
All user supplied arguments and options are wrapped in curly braces. In the following example, the command defines one required argument: user
/** * The name and signature of the console command. * * @var string */protected $signature = 'email:send {user}';
You may also make arguments optional and define default values for optional arguments:
// Optional argument...email:send {user?} // Optional argument with default value...email:send {user=foo}
Options, like arguments, are also a form of user input. However, they are prefixed by two hyphens (--
) when they are specified on the command line. We can define options in the signature like so:
/** * The name and signature of the console command. * * @var string */protected $signature = 'email:send {user} {--queue}';
In this example, the --queue
switch may be specified when calling the Artisan command. If the --queue
switch is passed, the value of the option will be true
. Otherwise, the value will be false
php artisan email:send 1 --queue
You may also specify that the option should be assigned a value by the user by suffixing the option name with a =
sign, indicating that a value should be provided:
/** * The name and signature of the console command. * * @var string */protected $signature = 'email:send {user} {--queue=}';
In this example, the user may pass a value for the option like so:
php artisan email:send 1 --queue=default
You may also assign default values to options:
email:send {user} {--queue=default}
To assign a shortcut when defining an option, you may specify it before the option name and use a | delimiter to separate the shortcut from the full option name:
email:send {user} {--Q|queue}
If you would like to define arguments or options to expect array inputs, you may use the *
email:send {user*} email:send {user} {--id=*}
Input Descriptions
You may assign descriptions to input arguments and options by separating the parameter from the description using a colon:
/** * The name and signature of the console command. * * @var string */protected $signature = 'email:send {user : The ID of the user} {--queue= : Whether the job should be queued}';
Retrieving Input
While your command is executing, you will obviously need to access the values for the arguments and options accepted by your command. To do so, you may use the argument
and option
/** * Execute the console command. * * @return mixed */public function handle(){ $userId = $this->argument('user'); //}
If you need to retrieve all of the arguments as an array
, call argument
with no parameters:
$arguments = $this->argument();
Options may be retrieved just as easily as arguments using the option
method. Like the argument
method, you may call option
without any parameters in order to retrieve all of the options as an array
// Retrieve a specific option...$queueName = $this->option('queue'); // Retrieve all options...$options = $this->option();
If the argument or option does not exist, null
will be returned.
Prompting For Input
In addition to displaying output, you may also ask the user to provide input during the execution of your command. The ask
method will prompt the user with the given question, accept their input, and then return the user's input back to your command:
/** * Execute the console command. * * @return mixed */public function handle(){ $name = $this->ask('What is your name?');}
The secret
method is similar to ask
, but the user's input will not be visible to them as they type in the console. This method is useful when asking for sensitive information such as a password:
$password = $this->secret('What is the password?');
Asking For Confirmation
If you need to ask the user for a simple confirmation, you may use the confirm
method. By default, this method will return false
. However, if the user enters y
in response to the prompt, the method will return true
if ($this->confirm('Do you wish to continue? [y|N]')) { //}
Giving The User A Choice
The anticipate
method can be used to provide autocompletion for possible choices. The user can still choose any answer, regardless of the auto-completion hints:
$name = $this->anticipate('What is your name?', ['Taylor', 'Dayle']);
If you need to give the user a predefined set of choices, you may use the choice
method. The user chooses the index of the answer, but the value of the answer will be returned to you. You may set the default value to be returned if nothing is chosen:
$name = $this->choice('What is your name?', ['Taylor', 'Dayle'], $default);
Writing Output
To send output to the console, use the line
, info
, comment
, question
and error
methods. Each of these methods will use the appropriate ANSI colors for their purpose.
To display an information message to the user, use the info
method. Typically, this will display in the console as green text:
/** * Execute the console command. * * @return mixed */public function handle(){ $this->info('Display this on the screen');}
To display an error message, use the error
method. Error message text is typically displayed in red:
$this->error('Something went wrong!');
If you want to display plain console output, use the line
method. The line
method does not receive any unique coloration:
$this->line('Display this on the screen');
Table Layouts
The table
method makes it easy to correctly format multiple rows / columns of data. Just pass in the headers and rows to the method. The width and height will be dynamically calculated based on the given data:
$headers = ['Name', 'Email']; $users = App\User::all(['name', 'email'])->toArray(); $this->table($headers, $users);
Progress Bars
For long running tasks, it could be helpful to show a progress indicator. Using the output object, we can start, advance and stop the Progress Bar. You have to define the number of steps when you start the progress, then advance the Progress Bar after each step:
$users = App\User::all(); $bar = $this->output->createProgressBar(count($users)); foreach ($users as $user) { $this->performTask($user); $bar->advance();} $bar->finish();
For more advanced options, check out the Symfony Progress Bar component documentation.
Registering Commands
Once your command is finished, you need to register it with Artisan so it will be available for use. This is done within the app/Console/Kernel.php
Within this file, you will find a list of commands in the commands
property. To register your command, simply add the class name to the list. When Artisan boots, all the commands listed in this property will be resolved by the service container and registered with Artisan:
protected $commands = [ Commands\SendEmails::class];
Calling Commands Via Code
Sometimes you may wish to execute an Artisan command outside of the CLI. For example, you may wish to fire an Artisan command from a route or controller. You may use the call
method on the Artisan
facade to accomplish this. The call
method accepts the name of the command as the first argument, and an array of command parameters as the second argument. The exit code will be returned:
Route::get('/foo', function () { $exitCode = Artisan::call('email:send', [ 'user' => 1, '--queue' => 'default' ]); //});
Using the queue
method on the Artisan
facade, you may even queue Artisan commands so they are processed in the background by your queue workers:
Route::get('/foo', function () { Artisan::queue('email:send', [ 'user' => 1, '--queue' => 'default' ]); //});
If you need to specify the value of an option that does not accept string values, such as the --force
flag on the migrate:refresh
command, you may pass a boolean true
or false
$exitCode = Artisan::call('migrate:refresh', [ '--force' => true,]);
Calling Commands From Other Commands
Sometimes you may wish to call other commands from an existing Artisan command. You may do so using the call
method. This call
method accepts the command name and an array of command parameters:
/** * Execute the console command. * * @return mixed */public function handle(){ $this->call('email:send', [ 'user' => 1, '--queue' => 'default' ]); //}
If you would like to call another console command and suppress all of its output, you may use the callSilent
method. The callSilent
method has the same signature as the call
$this->callSilent('email:send', [ 'user' => 1, '--queue' => 'default']);

subset: commoncrawl


text:
Magazine: Guitar World / USA Article: Lust for Life Written by: Chris Scapelliti Published: # April 2007
IT WAS EARLY 2001 when Chuck Schuldiner's headaches returned. Over the past year, he had begun to feel like his old self again—remarkable, considering that, just one year before, the death metal guitarist had nearly died. In early January 2000, doctors in New York City had labored to remove more than half of a cancerous tumor nesting at the base of his brain. Months of physical therapy followed while he recovered at home, in Altamonte Springs, Florida. Chuck had never liked being far from the Orlando suburb, where he'd grown up with his sister Beth and brother Frank. This was where he thrived, where he drew inspiration for the melodies that tempered the jagged shards of music he had crafted for Death, the band with which he pioneered the ferociously manic sounds of the death metal genre in the mid Eighties. And indeed, in the months after his surgery, Chuck had begun to craft a fresh batch of songs for his new group, Control Denied.
"We spent the summer of 2000 rehearsing and recording demos of the new songs," recalls Richard Christy. "It was fun, and Chuck was doing really well." Familiar to many as a cast member of the Howard Stern Show since 2004, Christy is also a professional drummer who is best known for his work with Iced Earth, Death and Control Denied. At the time of the 2000 recording sessions, Christy had known Chuck for only a few years, but the two men were as close as brothers. "We were both passionate about metal, and we loved to go to the same bars in Orlando and hang out.
"But basically what it came down to was that we made each other laugh. We would do prank calls together in the middle of practice. And he had this dog that would make this weird face when it was happy, and snort like a pig. So when me and Chuck were happy, we'd snort like pigs."
As the end of 2000 approached, there was much to be happy about. Chuck was strong and back at work on his music. His new songs sounded great and continued to build upon the technical and progressive metal of Control Denied's 1999 debut, The Fragile Art of Existence.
"And then we went into the studio," recalls Christy. "And his health problems started coming back."
For the next 11 months, Chuck battled against his deteriorating health, trying to win time to work on his music. On good days, and often on bad, he could be found writing new songs, or entrenched in the studio, still at work on the album.
"He drove himself unmercifully that last year," says his mother, Jane Schuldiner. "We worried so much about him and begged him to rest. As the perfectionist he is, he said it was just okay and that wasn't good enough for him or his fans. He would go on until he couldn't anymore."
"Music was Chuck's focus. It was the thing that gave him strength," says Christy. "It was inspiring to see somebody going through something so hard and still playing guitar and writing music. Chuck was just so committed. He gave it everything he had."
NAMING YOUR BAND "Death" is either tongue-in-cheek insolence or a demonstration of unadulterated sincerity, and Chuck Schuldiner was not given to flippancy where his music was concerned. Next to his family, music was most important to him, and this clarity drove him. To call his band Death was to equate his life's purpose with that most unimaginable fate: it was predestined and non-negotiable. With Death, Chuck affirmed his life.
That he found his way there at all seems prophetic. When Chuck began making music, death metal didn't exist as a genre but as a virile, yet negligible, strain of heavy metal practiced most evidently by Britain's Venom. Low tunings, guttural vocals and extreme speed were the musical ingredients, topped off by lyrical praises of the devil, hell and inglorious black deeds. By the time Chuck appeared with his first group, Mantas, in 1983, scattered pockets of growling dark lords were plying their brand of metal in parts of the U.S., chiefly in Tampa and Orlando, the Bay area and Chicago. Chuck came to this music with a goal "to bash out the most brutal riffs ever, with the most brutal guitar sound ever," he told Guitar School, but almost immediately, he set his sights higher. "Though things were very crude back then, I still had a vision of becoming a very musical death metal band."
The vision was everything. It pushed Chuck to create Death, in 1984, and through Death he came to define at last the genre of metal infesting the underground. The release of Death's full-length debut, Scream Bloody Gore, in 1986, gave the scene a united front and furthered the awareness of death metal as a genre. Although the music's standards had long been established, Chuck raised the bar with his technical and melodic riffing, while he upped the horror quotient with lyrics that drew colorfully from gore movies like Make Them Die Slowly and Re-Animator.
The death metal scene grew, and as the audience for established acts grew, a host of new bands emerged, each trying to out shock its predecessor. By the early Nineties, the scene was overpopulated by speed-riffing Satan-worshipping metalheads. "Death metal has now become exclusively about being evil, Satanic and playing full speed ahead," Chuck complained to U.K.'s Metal Forces in 1991. "It's not what I'm into at all." By then, Chuck had tackled topical subject matter that included abortion ("Altering the Future"), the struggles of the terminally ill ("Suicide Machine") and the right to die ("Pull the Plug").
Committed to his vision, Chuck gave shape to death metal, then took it to new heights. But it was not without its costs. His demands of himself and his band mates occasionally led to acrimonious breakups. Business dealings left him feeling overwhelmed and depressed: "The biggest frustration with the music business for Chuck were the labels," says Jane Schuldiner. "He told me that if he could bypass the labels and just play for the fans, he would be a happy man." And in the spirit of all pioneers, Chuck could be recklessly impulsive, as when he pulled out of a European tour just days before it was to begin.
But humility tempered his character. "He was always surprised when people would come up and say they were such a huge fan," says Christy. "He was the most humble guy. I don't know if he ever realized how important he was to the metal scene, because he looked at himself as a fan of it."
And so it was, in 2000, during Chuck's brief recovery, that he and Christy were attending a King Diamond show in St. Petersburg, Florida. The corpse-painted thrash metal singer was a favorite of Chuck's, and Diamond's guitarist, Andy LaRocque, had even briefly performed with Death, on 1993's Individual Thought Patterns. With LaRocque's assistance, Chuck and Christy were escorted backstage.
"I just remember us being so nervous to meet King. Chuck was in awe," says Christy. "And for me, it was just so weird: there I was, a Chuck Schuldiner fan since I don't know when, and I'm watching him get tongue tied in front of his hero. But Chuck was just like any other metal fan. That's what made him and his music so great."
HE WAS BORN Charles Schuldiner on May 13, 1967, in Long Island, New York, the youngest of three children born to Malcolm and Jane Schuldiner. Malcolm was a Jew of Austrian decent; Jane was born and raised in the bible belt South. Rearing their children, the couple exposed them to the practices and customs of both faiths, "including the holidays," says Jane. "They ended up being the best of both."
When Chuck was one, his parents moved their brood to the budding suburb of Altamonte Springs. Jane calls Chuck's childhood "a Leave It to Beaver life." Altamonte Springs was largely undeveloped at the time, and the Schuldiner home was nestled in forests where Seminole Indians once hunted. "Chuck and his brother and sister grew up playing in those woods, building forts in the trees and seeing quite a lot of wildlife there also," says Jane. "Chuck and Frank camped out in the backyard with flashlights and snacks lots of times, and there were many of the children in the neighborhood at the house most days."
Chuck's childhood was, by all accounts, happy and traditional. Family photos from the time give some clues to his preteen interests: young Chuck dressed up as an Indian scout, displaying the catch from a fishing trip and posing in his soccer outfit. His artistic streak displayed itself early. Says Jane, "Chuck was interested in art and sculpture from a young age and loved both equally."
Although Frank was seven years older than Chuck, the two were close companions. One day, while returning home from a visit to an out-of-state uncle, Frank was killed in a car accident. He was 16. His death was devastating for Chuck, and the sobering reality of the loss haunted him. "He never really came to terms with it," says Jane. "He always missed Frank."
In the months after Frank's death, Malcolm and Jane looked for ways to help Chuck deal with his grief. He had begun to take an interest in music, and the guitar had aroused his curiosity. "We discussed it with him, and an acoustic guitar seemed the best," says Jane. "It was portable, something he could carry with him when we went on vacation or camping, to a friend's house or wherever."
Chuck signed up for classical guitar lessons, but the tedium of study quickly wore down his enthusiasm. "I took two lessons, and [the instructor] showed me 'Mary Had a Little Lamb,' " Chuck recalled to Pit magazine's Brook Everitt in 1999. "I said screw it and went on my own."
"Chuck found the acoustic guitar lessons and his teacher boring," says Jane. "He didn't like the repetitiveness of it all." It's possible that Chuck would have abandoned the guitar entirely had his parents not made yet another attempt to indulge his interest. While at a yard sale, Chuck spotted an electric guitar, a pointy knockoff in the spirit of B.C. Rich, whose instruments he would later use extensively. Once the guitar was in Chuck's hands, his old acoustic was forgotten. "The first time he played the electric guitar, it was as if a switch was turned on in him," says Jane. "And it never turned off."
His enthusiasm was in large part fueled by his love of Kiss, who by this time in the late Seventies had reached their commercial zenith. For years, they were Chuck's favorite group, as evidenced by a family photo in which a very young Chuck is dressed up like Paul Stanley. At the age of 13, he was treated to his first Kiss concert, courtesy of his mother.
By then, he had discovered metal through New Wave of British Heavy Metal acts, including Raven and, his favorite, Iron Maiden, whose guitar tandem of Dave Murray and Adrian Smith were critical to forming his love of heavy, but melodic, guitar lines. In lieu of guitar lessons, Chuck had begun to teach himself to play by ear, listening to his favorite songs and, with uncommon determination for an adolescent, sounding them out on the fretboard of his guitar. "He had a very good ear for music early on, and what he listened to he taught himself to play," says his mother. "He absolutely loved doing that."
In the metal-intensive years of the early Eighties, Chuck found no shortage of fresh inspiration. In addition to U.S. bands like Van Halen, he was captivated by Scandinavian metal acts such as Hellhammer and Mercyful Fate, and Britain's Venom, who would inform his growing death metal sensibilities. In 1983, the arrival of thrash acts like Metallica, Possessed and Slayer introduced him to music heavier and more brutal than anything he heard before. By then, he was 16 and coming into his own as a guitarist. "I was lucky to start playing guitar in the Eighties," he told Pit, "when so many great players were around to inspire me, like Yngwie Malmsteen, Van Halen and especially Dave Murray and Adrian Smith of Iron Maiden."
Chuck's growing fondness for extreme metal was no cause for alarm around the Schuldiner household. Malcolm and Jane had always been supportive of their children's interests, and Frank's death only brought the family closer. "There is always fear involved when a child dies, and I watched diligently, afraid it could happen again," says Jane. "Chuck's father worked and had tennis and other hobbies, so I was more involved with Chuck and his interests, as I was with my other children."
And so when Chuck decided to form a band with two local high schoolers, the garage was given up to the group's rehearsals. They called themselves Mantas, a pseudonym first adopted by Venom guitarist Jeffrey Dunn. Chuck's cohorts in this venture were guitarist Frederick DeLillo, rechristened Rick Rozz, and drummer/ singer Barney "Kam" Lee. The band had no bassist. Chuck wrote most of the band's material and occasionally shared vocal duties with Lee. Shortly after forming, Mantas released a five-track cassette called Death by Metal, recorded in Schuldiner's garage. Its cover photo featured the three band members in front of a sign that reads "Danger High Voltage."
Public reception to the group was anything but electric, however. That, combined with internal band tensions, led to Mantas' breakup in late 1984. For the first of many times to come, Chuck found himself searching for new band members. Not surprisingly, given the uncommon nature of his music, he found his options limited. Within weeks of Mantas' breakup, Chuck had reconciled with Rozz and Lee. The old lineup reconvened but with a new lead singer—Chuck—and a new name: Death.
It was the definitive name for what would become one of the genre's defining bands. But for Chuck's mother, the name rubbed against the still fresh wounds of Frank's untimely death. "I always thought that the name of the band derived from the death of his brother," says Jane. "And while the word had such painful memories, I did not object."
Under Chuck's leadership, Death began to find their distinctive voice. As both the writer and singer of their lyrics, he turned the focus away from Lee's devil imagery, toward gore. The group released the five-song cassette Reign of Terror in October 1984, and the three-track Infernal Death tape in March 1985. Both were praised and traded in the underground cassette market, but the trio broke up again soon after Infernal Death's release. While Lee and Rozz joined Massacre, a local death metal act that had formed the previous year, Chuck weighed his options.
By now, he was nearly 18 and close to graduating high school. Though he'd been a good student, Chuck was bored by school and anxious to pursue a record label contract. As always, he turned to Malcolm and Jane for guidance. "We talked with his school counselor, who urged us to let Chuck pursue his dream," says Jane. "Which we did after getting his promise that if, after a year, he did not get that contract, he would finish school and go to college."
Though he had only a handful of independent cassette releases to his credit, Chuck clearly felt ready for a professional career. He'd been practicing at every possible opportunity, and on increasingly better instruments. At some point in the early Eighties, Chuck switched from his yard-sale electric to a Peavey T25, a two-humbucker model manufactured in 1982 and 1983. A photo from this time shows him posing with the guitar, a young teen practicing his attitude for the camera. Eventually, he would move on to a B.C. Rich Mockingbird before choosing the B.C. Rich Stealth model, a rarity offered through the company's Custom Shop. This became his main guitar throughout most of his professional career.
CHUCK'S FIRST ACT as an emancipated musician was to head for San Francisco and its burgeoning pool of metal musicians. His search was unsuccessful, but in January 1986, shortly after returning home, he was invited to join the Canadian thrash act Slaughter. He accepted and moved to Toronto but left two weeks after arriving, having recorded just one track with the band. By now it was clear to Chuck that he had to follow his own musical goals.
"Of course, his father and I were involved the first year, from afar mostly," says Jane. "After that, Chuck discussed his plans, but his decisions were always his own. We trusted him to do what was best for the band, with the inferred promise that it would, above all, be the best for himself, also."
That March, back in San Francisco, he met drummer Chris Reifert and struck up a friendship. The following month, the duo entered a Bay Area studio to record the three-song demo Mutilation, with Chuck doubling on bass. Mutilation was by far the most professional sounding of Death's demos, and like its predecessors, it was circulated through the underground tape-trading circuit.
Which is how writer Don Kaye first came to hear it. "I was big into trading tapes on the underground scene, and I had been aware of Chuck's music since the first Mantas tape was released. The Mantas tape was pretty primitive, but right from the start with Chuck, you could tell that he had talent on the guitar and with writing pretty catchy stuff within that genre. There were so many bands coming out of that scene, but as always, the problem was that they were trying to be as heavy and brutal as possible and weren't able to write anything that sounded like a reasonably coherent song. Chuck was good, and he just got better as he moved closer to making the first Death album."
At the time, Kaye was dividing his time as a journalist for metal magazines, including Kerrang! and working part time as a publicist for Combat Records in New York City. The heavy metal record label had formed in 1984 and quickly found success when it signed Megadeth and released their 1985 debut, Killing Is My Business…And Business Is Good.
Aware that Death had a good buzz on the underground scene, Kaye urged Combat's chief, Steve Sinclair, to sign them. "I said, 'They'd be perfect for the label. They're definitely a band that's getting a lot of attention from people.' He was very hesitant, but I just kept badgering him to do it, until, finally, he agreed."
That summer, following an abortive attempt to record their debut in Florida, Chuck and Reifert nailed down a dozen tracks in five days at the Music Grinder in L.A. The band, such as it was, still didn't have a bassist, and Chuck once again handled four-string duties. Titled Scream Bloody Gore, Death's debut was released upon an unsuspecting public in May 1987. Its songs were little more than an extension of the piledriving riffs and blood-and-gore lyrics that had populated Death's demos. But the professional production, coupled with Combat's extensive distribution capabilities, allowed Scream Bloody Gore to have an impact that Death's homebrewed releases never could achieve. more
continued Slowly, the metal community was beginning to buzz about Chuck Schuldiner, the wild death metal guitarist from Orlando, Florida. Don Kaye had been proven right about Death's potential for success, but his victory was anything but sweet. Recalls Kaye, "When Steve Sinclair agreed to sign Death, he said to me, 'Somewhere in the credits, I'm gonna put, "This record is Don Kaye's folly." That way, if it's a big bust, I'm gonna blame you.' And I said, 'Okay,' thinking he was joking.
"But Steve was a ball breaker. And sure enough, when we got copies of the album in the office, right there on the inside sleeve, under the lyrics and credits, it said, 'This record is Don Kaye's folly.' I just thought, Oh god."
Kaye's reaction was nothing compared to Chuck's. "Now Chuck was a guy who was very passionate and very serious about what he did, and he could be a little bit abrasive," recalls Kaye. "But he saw this, and he called me, and he was just livid. He said, 'Who's gonna take this record seriously when it says it's somebody's folly?' He was really pissed off.
"But it showed me that, although sometimes to his detriment, Chuck took his music really seriously. He was really interested in death metal and going as far as he could with that." Any animosity Chuck felt was short lived. "Death certainly had a good run with Combat. They did five records with them."
Two years of traveling between coasts had convinced Chuck to make his home in Florida, near Altamonte Springs. His family welcomed the decision. "Chuck moved out on his own to a town near us and saw us when he wasn't touring, inviting us over for dinner and visiting us often," says Jane. Chuck had invited Reifert to return to Florida with him, but the drummer declined, preferring to stay in California. Once resettled in Florida, Chuck went about creating a new Death lineup, a process complicated by his demanding standards. Henceforth, he would be the group's only consistent member.
"I think he was a perfectionist," says Kaye. "He really had a high standard and maybe that made it harder for some people to work with him and meet those demands. And as the band went on, the music just got more complex. It was easy to play that kind of music poorly, but it was very hard to keep up with someone like Chuck."
For Leprosy, Death's 1988 follow-up, Chuck turned for studio support to Massacre, the death metal band Rick Rozz and Kam Lee had joined in 1985. By this time, Lee had left the group, replaced by Bill Andrews. With Massacre bassist Terry Butler onboard, Chuck was freed from four-string duties. Recording was, by various accounts, a happy experience. Chuck's old friends proved they were up to his standards, and Leprosy's polished production put their contributions to good display. Musically, Chuck was continuing to grow, his philosophical side emerging in "Pull the Plug," a song about life support and the right to die.
The group reconvened for 1990's Spiritual Healing, with virtuoso metal guitarist James Murphy replacing Rozz. The album marked a breakthrough in Chuck's music and lyrics. Turning his attention to the daily headlines, he found everyday America a place of tune-worthy horrors. "Living Monstrosity" spoke to the crack epidemic and the drug's affect on unborn fetuses, while "Altering the Future" laid out what he saw as the implications of abortion. With their focus on real-life problems, the new songs seemed more morbid and pessimistic than Chuck's previous songs. But he wasn't indifferently mining grief for artistic inspiration; he believed in what he sang. He was, says Jane, a "deep thinker, a ponderer, and his lyrics came from his feelings about life happenings… and things he felt was wrong in the world. He was a very concerned person for the wronged people in this world, and it saddened him."
Musically, the album showed Chuck continuing to grow as a songwriter and guitarist. "I started practicing more and came up with the idea that, for this band to move forward musically, we'd need a cleaner approach, something real dry and in your face," he told Guitar magazine. At a time when death metal was in danger of becoming a grunting, Satan-glorifying parody of itself, Spiritual Healing showed that death metal was important and that Chuck Schuldiner was undeniably the person to show the way forward.
Ironically, Chuck had been cast out of his own band. In the weeks after the album's completion, personal and business problems had begun to overwhelm him, and Chuck pulled out of the European tour that had been lined up. "I came to a point [at] which I thought everything was doomed to fail," he told Arno Polster, without elaborating on the details, in the March 1991 edition of Germany's Rock Hard magazine. To Chuck's surprise, his band members decided to go without him. It was an unforgivable mutiny, made worse by their denunciations of Chuck onstage and in the media. Butler told Rock Hard that Chuck was home, mowing the grass. In response to their actions, Chuck hired an attorney and gained the rights to the name Death. "After all, Death is still my band," he told Polster. "I thought they were my best friends, but I was wrong. At all times, musicians are replaceable. Friends are not."
Chuck had never needed an excuse to fight for his music. Now handed one, he responded with devastating force. Human, his follow-up to Spiritual Healing, was a calculated retaliation against his former bandmates, who claimed he was washed up, and the metal media, which painted him as a narcissistic monster. "This is much more than a record to me," he told Metal Hammer's Robert Heeg in the December 1991 issue. "It is a statement. It's revenge."
Shedding the gory trappings of his past lyrics, Chuck now wrote in a manner that seemed wholly introspective and personal. It's not hard to imagine him addressing Butler in "Secret Face," where he sings of "a mask / That covers up one's true intentions," or in the opening lines of "Lack of Comprehension": "A condemning fear strikes down / Things they cannot understand / An excuse to cover up weaknesses that lie within / Lies."
Certainly, the intricacy and nuance of Chuck's songwriting make it clear he had not spent the past year lying around. He had been striving to give Death a more technical sound, and on Human he succeeded, in part due to his choice of musicians. Guitarist Paul Masvidal and drummer Sean Reinert were recruited from Florida technical hardcore band Cynic, while bassist Steve DiGiorgio came from California's highly technical thrash band Sadus.
Chuck's musical growth continued with Death's next two albums, Individual Thought Patterns and Symbolic, but as the Nineties wore on, he was beginning to tire of his role as guitarist and frontman. As early as 1993, he had told Guitar School, "In the future I plan to do a more melodic, straightforward metal side project with a singer in the Rob Halford style." By 1997, he was ready to take action. Placing Death on hiatus, Chuck began to lay the plans for his next musical project, Control Denied.
"Chuck wanted to have a band in which he did no singing, that was the main reason," says Jane. "Singing was really hard on his voice." Adds Richard Christy, "He just wanted to try something with a more traditional metal singer, because he was a huge fan of bands like Iron Maiden, Manowar and bands like that. I don't think he ever wanted to stop doing Death full time, because he knew how much that band meant to people. But he was ready for a break."
Christy was among the first people Chuck selected for Control Denied. They had met by chance in 1996: The drummer had just moved to Orlando with his band, Burning Inside, and was shopping at Altamonte Mall with his guitarist when they spotted Chuck at a B. Dalton bookstore. "We walked in to check out some metal magazines, and there's Chuck reading a magazine! And we were like, Oh, should we say hi? So we said hi, and he was super nice. We told him we were huge fans, and—I'll never forget this—he took the time to talk to us. We talked to him for, like, 15 or 20 minutes about metal, and it was just so cool. We couldn't believe that in a mall in Orlando, Florida, we were meeting Chuck Schuldiner."
Soon after, Christy and Chuck began bumping into one another. "Pretty much everybody in the metal scene in Orlando would hang out at the same places," says Christy, "the same shows, the same parties." By coincidence, when Chuck was in need of a drummer for Control Denied, a mutual friend suggested Christy. "They got me in contact with Chuck, and I was so nervous just calling him to set up an audition. I remember taking my drums to Chuck's rehearsal space and playing four of the most complicated Death songs right in a row, without stopping or any mistakes. Right then, it just clicked. It just felt awesome, because I had been playing along to those songs on CD for years. And to be there playing them with Chuck was mind blowing."
Christy got the job and, with it, a little surprise: though Chuck was ready to move ahead with Control Denied, he decided to accommodate his new label, Nuclear Blast, with one more Death album. "I was super excited about that because I was a huge Death fan," says Christy. With Scott Clendenin on bass and Shannon Hamm on guitar, Chuck began recording The Sound of Perseverance, Death's most aggressive, progressive and technically challenging album. Opening with the savage blast of "Scavenger of Human Sorrow," the album was relentless in its fury and musical virtuosity, culminating in a blistering cover of Judas Priest's "Painkiller." Released in 1998, The Sound of Perseverance was Death's seventh album and, in the opinion of many fans, their best.
Christy recalls the subsequent tour as a happy time. "In Italy, our bus pulled up to this club in Milan, and there were hundreds of kids waiting there. We got out and headed to a restaurant, and these kids started following us down the street, like it was a parade, and chanting Chuck's name. We get to the restaurant and start eating, and all those kids had their faces pressed against the windows, watching us eat. It was like a zombie movie! Chuck got such a kick out of that. He was so humbled, too."
WITH THE Sound of Perseverance tour completed, Chuck and his new group went to work on Control Denied's debut in early 1999. The sessions were well underway that May when Chuck began to experience pain in his upper neck, which he believed was caused by a pinched nerve, possibly from strain. An MRI scan proved he was right about the pinched nerve; unfortunately, it was caused by a tumor growing at the base of his brain. On May 13, his 32nd birthday, Chuck was diagnosed with pontine glioma, a rare type of brain stem cancer that typically affects children. Says Jane, "Chuck's doctors determined that he had that tumor from childhood, with no symptoms at all to alert us through the years."
The tumor's sensitive location made it inoperable, and Chuck underwent radiation therapy to control its growth. Alternative treatments were sought as well. Because he had no medical insurance—a common situation for many musicians, even those signed to label contracts— Chuck's treatment was paid entirely out of pocket. In all, his family spent some $90,000 for his therapies. During that time, Beth put her real estate career on hold to take care of Chuck and raise funds for his treatment. "I told Chuck as a joke, 'You are a full-time job,' " Beth told MTV. "Every single dime has been for him, but Chuck would do it for me 1,000 times over."
November brought the release of Control Denied's debut, The Fragile Art of Existence. By then, fans knew of Chuck's condition. Many assumed the band's name and album's title were references to his illness, but both were chosen before his problems manifested themselves.
In the first days of 2000, Chuck and his family learned of an experimental surgical procedure that could treat his condition. Within just one week, they managed to assemble a team of five medical specialists to perform the surgery, and to do so quickly: the head surgeon declared that Chuck's life was "in imminent danger" and scheduled his surgery for January 19. Although the procedure was expensive, the doctors had agreed to waive their fees. Unfortunately, the hospital hosting the operation, New York University Medical Center, would not waive its fee, estimated at $70,000 to $100,000. Although the center was willing to accept as little as $5,000 as a down payment, Beth was also asked to sign over Chuck's future royalties to pay the balance. She refused.
Still, the surgery went ahead as planned. Nearly half the tumor was removed, and Chuck's life had been saved. Soon after, he began physical therapy to help him recover from the effects of the tumor and surgery. Within two months, he was telling MTV News, "Everything looks good. I'm moving pretty quick through physical therapy, and we're seeing good results." Chuck said he was especially buoyed by the financial donations from his fans and from fellow musicians who put together benefit shows. "When this sort of stuff happens, it really brings people together. It's incredible how people aggressively organized for this. It's very uplifting."
Chuck had good reasons to be optimistic. Though the tumor had not been entirely removed, it had reportedly necrotized; the tissue was effectively dead. In addition, if the tumor had been with Chuck since childhood, as his doctors said, then it was most likely a low-grade glioma, which is slower to grow and less aggressive than a high-grade variety. In any case, Chuck's prognosis for recovery looked good.
Work went ahead on a new Control Denied album, tentatively titled When Man and Machine Collide. But when Chuck's symptoms recurred in early 2001, his worst fears were realized . The tumor had returned with a devastating vengeance, invading areas of the brain too sensitive for surgery. "Chuck lived on his own until early in 2001," says Jane, "when I went to his house to stay with him during the day and eventually full time."
By May, his doctors believed surgery was possible and should be performed immediately. Once again, bureaucracy blocked the door to Chuck's recovery. Though he had obtained medical insurance since his first operation, his insurer refused to pay for the second surgery—estimated at $70,000 to $120,000—because the tumor existed before the start of his coverage. The Schuldiners, having exhausted their funds on his previous treatments, did not have the $30,000 down payment required for his surgery.
Responding to Chuck's dire condition, numerous artists—including Pantera, Disturbed, Red Hot Chili Peppers, Marilyn Manson, Korn and Slipknot—donated merchandise for an online auction to raise funds. Chimaira solicited donations while on the road, and benefit concerts were organized by metal acts worldwide. The outpouring of support was enormous.
Throughout Chuck's illness, Christy visited regularly, doing his best to keep his friend's spirits up. "We'd listen to metal together, make prank calls and goof around. We tried not to think about the bad things and just stay positive and think about music and happier things. We would just talk and reminisce and look forward to going on tour again."
"Chuck was the one who never gave up, who instilled hope and love in those all around him, and he never cursed fate," says his mother. "After losing Frank, he worried so about what it would do to the three of us—Beth, [his nephew] Christopher and myself—to lose him. I promised him we would do the best we could if he were to lose that fight."
Although Chuck's condition improved by November, his weakened state left him vulnerable to infections. Late in the month, he contracted pneumonia and was placed in the hospital. He was released on December 13 and returned home. One hour later, at 4 p.m., Chuck's body gave up. He died as one imagines he would have wanted, at home, surrounded by his family.
"At the end," says Jane, "he thanked me for the golden memories of his childhood."
The fate of the final Control Denied recordings has been a matter of contention since Chuck's death. Recently, the Schuldiners and Guido Heijnens, owner of the now-defunct Hammerheart Records, to which Control Denied was under contract, entered into a lawsuit, with each side claiming rights to the recordings. Heijnens has previously released some of those tracks, against the family's wishes, on Zero Tolerance, a two-disc compilation from 2004 that also featured Death demos and live recordings. Says Jane, "The legal battle continues with hope that all with be finalized soon. I can tell you that, absolutely, Chuck's last album will be released exactly as he told his sister and I he wanted it to be done. That was Beth's last promise to Chuck, and she will keep it."
It's not putting too fine a point on things to say the fight for Chuck's music is the fight for his soul. He lived for his music, and he died for it. Clearly, had he chosen a more lucrative occupation or sold out to play a more popular style of music, Chuck might have had the financial means and benefits to beat his disease. But selling out was an unknown concept to him; he could do nothing less than follow his heart. Doing so, he demonstrated how an artist lives: on his own terms, without compromise.
"With regard to death metal, he contributed a standard of musicianship that people are still aspiring to," says Don Kaye. "He was a pioneer who tried to take the music in an interesting and progressive direction. And in that way, coming along when he did, he crystallized the genre."
"His music is timeless," adds Christy. "It still sounds as fresh as it did when it came out. Plus, Chuck's style on guitar is unmatched: it's the perfect mix of melody, technicality and brutality. I'm extremely lucky to have been not just part of the band but also a close friend of Chuck's. He inspired me, and he continues to inspire me, every day."
He is clearly not alone.
"I still receive so many emails from Chuck's fans," says Jane. "I know from them that Chuck is remembered not only as a great musician but as someone who made, and continues to make, a difference in their lives. He inspires them still."
Not all those fans are adults who grew up with Chuck's music; many, says Jane, are as young as 11. "Just think: another generation is discovering Chuck's music. He would be so proud."
Pics by Jimmy Hubbard. Click to enlarge
Edited for Empty©Words 05-13-07


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Below are 13 of my favorites in the order that they appeared on my blog this year. The blue titles hyperlink back to the original posts and tutorials.
At The Sea - Pebbles Inc.
I'm All Ears - October Afternoon
Welcome Little One - Echo Park Paper
Lollipop Tents - Echo Park Paper
Delight - Little Yellow Bicycle
Sailboat Tag - Pebbles Inc.
Silly Amazing Handsome You - My Mind's Eye
The Race - My Mind's Eye
I Fell In Love - Fancy Pants Designs
Tuesdays With Cory Mini Album - Fancy Pants Designs
One Fine Day - Fancy Pants Designs
Toilet Roll Reindeer - Fancy Pants Designs
Shaker Card - Crate Paper
Do you have a favorite among these?
As it turned out, 2013 was the Year of the Pub for me. I had 38 projects in print publications this year including work in Paper Crafts Magazine, Creating Keepsakes, Better Homes and Gardens (specialty issue Make It Yourself), Scrapbook and Cards Today, Scrapbooking & Beyond, CARDS, Scrapbook Trends, Create and Simply Handmade. Sadly, most of these magazines have either ceased publication or will publish only (or primarily) in digital form in 2014.
I hope 2013 was a wonderful year for you. If you've written a list of favorite projects from the past year, I'd love to see your post. Please link it in the comments.
Happy New Year!


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Zora Neale Hurston writes Janie Mae Crawford as an irrepressibly independent woman. Janie leaves the economic security of her emotionally deadening first marriage to pursue adventure and love. After the death of her second husband, she flouts social convention and follows her heart into an affair with a much younger man. When her beloved descends into madness and threatens her life, she kills him rather than allow him to destroy her.When she is ready to return home, she does so despite the whispers and scandal occasioned by her unconventional choices. By following this path Janie does not avoid pain, loss, and disappointment, but by choosing her own burdens rather than allowing the burdens of others to be heaped on her back, Janie refutes her grandmother's prophecy that black women are the mules of the world. Janie's quest is about carving out a life that suits her authentic desires rather than conforming to the limiting, often soul-crushing expectations that others have of her. In this way, her personal journey is a model of the struggle many black women face.
This struggle is interestingly mirrored in the post–World War II cognitive psychology research on field dependence. Field dependence studies show how individuals locate the upright in a space. In one study, subjects were placed in a crooked chair in a crooked room and then asked to align themselves vertically. Some perceived themselves as straight only in relation to their surroundings. To the researchers' surprise, some people could be tilted by as much as 35 degrees and report that they were perfectly straight, simply because they were aligned with images that were equally tilted. But not everyone did this: some managed to get themselves more or less upright regardless of how crooked the surrounding images were.
When they confront race and gender stereotypes, black women are standing in a crooked room, and they have to figure out which way is up. Bombarded with warped images of their humanity, some black women tilt and bend themselves to fit the distortion. It may be surprising that some gyrate half-naked in degrading hip-hop videos that reinforce the image of black women's lewdness. It may be shocking that some black women actors seem willing to embody the historically degrading image of Mammy by accepting movie roles where they are cast as the nurturing caretakers of white women and children. It may seem inexplicable that a respected black woman educator would stamp her foot, jab her finger in a black man's face, and scream while trying to make a point on national television, thereby reconfirming the notion that black women are irrationally angry. To understand why black women's public actions and political strategies sometimes seem tilted in ways that accommodate the degrading stereotypes about them, it is important to appreciate the structural constraints that influence their behavior. It can be hard to stand up straight in a crooked room.
The subtitle of this book is an adaptation of Ntozake Shange's choreopoem, for colored girls who have considered suicide / when the rainbow is enuf. For colored girls is a definitive artistic, visual, and poetic representation of the experience of the crooked room. It has sold more than a hundred thousand copies. The play was first produced Off-Broadway in 1975. The next year it became a Broadway production, and in 1977 it earned an Obie Award for distinguished production and a Tony Award for Best Featured Actress. The official publication, production, and awards history does not capture the meaning of this piece for African American women. Since its introduction more than thirty years ago, for colored girls has been a mainstay in the personal libraries of African American women, of black feminist curriculum, and of black women's local theater productions. Literary scholar Salamishah Tillet describes it as the ''black feminist bible,'' and author Ntozake Shange observes, ''Not a day goes by when some young woman somewhere isn't doing a for colored girls monologue, making the voice her own, finding her own infinite beauty once again.''
Shange's piece viscerally depicts the crooked room that black women confront. The production portrays the harshest and most bitter experiences of black women's lives. Her characters suffer sexual and romantic betrayal, abuse, rape, illegal abortion, heartbreak, and rejection. For colored girls has lasting significance for so many because it presents black women's experiences with unflinching rawness that is not primarily concerned with translating these experiences for a broader audience. Its primary goal is to give voice to black women by acknowledging the challenges they face, not to invoke pity or even empathy either from black men or from white viewers. It speaks to and about black women, and it does so by using language, images, and experiences that resonate for black women. For many who love it, reading or seeing Shange's for colored girls is like noticing not that one is alone in the crooked room but, rather, that there are others standing bent, stooped, or surprisingly straight. It is an experience of having someone make visible the slanted images that too frequently remain invisible. ''The poems were addressing situations that bridged our secret (unspoken) longing. For colored girls still is a women's trip, and the connection we can make through it, with each other and for each other, is to empower us all.''
Shange's work exposes the fragility of black women's emotional lives and insists that the agony of their experiences is collective, structural, and not of their own making, but it is not exclusively an exploration of victimization. Though her characters know pain, they also know love, passion, exploration, joy, music, and dance. Despite the incredible obstacles they face, not all of her women are irreparably broken. Results from the psychological studies of the crooked room showed that many respondents did find a way to discern the true upright position even when everything around them was distorted. Hurston's account of Janie Mae Crawford in Their Eyes Were Watching God is a literary example of this ability to find the upright, as is Shange's final poem in for colored girls, ''A Laying on of Hands.'' Black women's political history is similarly filled with examples of this independence. Black women of the early twentieth-century club movement resisted the lie of black promiscuity by leading a movement for temperance, modesty, and respectability. African American domestic workers resisted the idea of Mammy-like devotion to whites by living outside their employers' homes, protesting unfair labor conditions, and nurturing their own families and communities. Women of the civil rights movement helped change the country, not through angry violence, but through disciplined endurance of racist counterattacks against their nonviolent struggle. These women managed to stand straight despite the crooked world in which they lived.
Sometimes black women can conquer negative myths, sometimes they are defeated, and sometimes they choose not to fight. Whatever the outcome, we can better understand sisters as citizens when we appreciate the crooked room in which they struggle to stand upright. In the next several chapters I will pose a number of questions about how black women's politics is affected by the crooked images they encounter. Is it possible that black women's organizing efforts and public reactions to issues of sexual assault are linked to their beliefs about the stereotype of black women's promiscuity? Does the pervasive notion of Mammy help explain why black women are suspicious of coalitions with white women? Do black women often defer to black men's religious, familial, and political leadership because they reject the idea that they are angry and domineering? Having a clear view of the distorted images and painful stereotypes that make America a crooked room for African American women is the first step toward understanding how these stereotypes influence black women as political actors.
To learn more about the titled images of the crooked room that contemporary black women encounter in the United States, I conducted focus groups with forty-three African American women in Chicago, New York, and Oakland. As a warm-up task, I asked participants to think about black women as a group and list the stereotypes or myths about them that other people may hold. I then asked them to write down the ''facts'' about black women as they saw them. They worked in groups and had very lively discussions about both the myths and the facts. Although these women lived in different cities, were of several generations, and had different economic and family circumstances, their discussions formed a coherent picture. They independently arrived at the same three stereotypes that many researchers of African American women's experience also identify: Mammy, Jezebel, and Sapphire.
Like the women in the focus groups, some readers will find these stereotypes familiar, others may never have heard of these myths, and still others may not know the negative connotations attached to them. In the next chapter I will explore the historical and contemporary outlines of the three stereotypes at length, but for the purposes of understanding the general idea of the crooked room, here I offer the brief explanations given by the women in the focus groups. For those of you less familiar with these ideas, I ask you to trust me for a few more pages that Mammy, Jezebel, and Sapphire are common and painful characterizations of black women and that each has a long history in American social and cultural life.
As they identified the main stereotypes, the focus group participants said that black women are seen either as ''oversexed'' or as ''fat mammies who aren't thinking about sex at all.'' There was broad agreement that white people generally saw them as either promiscuous or asexual. ''Jezebel,'' ''maid,'' and ''Mammy'' were the terms they used most often to label these stereotypes. Margaret, a fifty-two year-old woman from the West Beverly neighborhood of Chicago, said, ''Just because we are African we're supposed to be wild and all this. We are supposed to be from the jungle and like to have wild sex. Like that is all we think about. Folks think we're hot to trot. Or they think we're Aunt Jemima. It's never in between.''
Many talked about the ''welfare queen'' as an ever-present characterization. Although nearly all the women rejected the hypersexual and Mammy stereotypes, several agreed with the welfare queen myth. ''That is not a myth,'' one participant said. ''That belongs on the 'fact' side of the page. There are a lot of black women out here living on the system.'' Still, everyone agreed that not all black women conformed to the image of welfare cheat, and most argued that the stereotype was damaging even if it was rooted in real behaviors.
The focus group members believed that black men and other black women also perpetuated myths about black women. ''Haters,'' ''gold diggers,'' ''overly demanding,'' and ''argumentative'' emerged as the main intraracial characterizations of black women. One professional woman in her fifties said, "black men always try to say that we are manipulative and too bossy and too demanding. They act like they don't know that black women are the backbone of the family. We keep things together. The man may be the head of the household, but we are the backbone and the backbone has got to be strong.''
Throughout this book I will return often to these women's voices. Their insights set my research agenda by giving me clues about where to look to understand black women's emotional and political experiences. Their discussions of myths pointed me toward three particular characterizations: hypersexuality, Mammy, and emasculating anger. These were the recurring stereotypes that participants said influence how others saw them. Most of the women also talked about their personal strategies to counter these negative assumptions. ''I respect myself, so I know that nobody can call me a ho.'' ''I let my husband be the man in our house, so he never says that mess to me [about being too bossy]. He knows he is my man and God made him the head of our home.'' ''I have never been on welfare. I worked two jobs, but I have never been on welfare.'' These narratives reveal the ways that black women attempt to stand upright in a room made crooked by the stereotypes about black women as a group.
In their 2003 book Shifting: The Double Lives of Black Women in America, Charisse Jones and Kumea Shorter-Gooden report on the results of their African American Women's Voices Project. After surveying and conducting in-depths interviews with hundreds of black women, they discovered that ''97 percent acknowledge that they are aware of negative stereotypes of African American women and 80 percent confirm that they have been personally affected by these persistent racist and sexist assumptions.'' Their book provides detailed evidence of how black women accommodate other people's expectations by shifting their tone of voice, outward behaviors, and expressed attitudes. The women in my focus groups offer additional evidence that black women believe others think negatively about them. Jones and Shorter-Gooden's research shows that this awareness has real effects on how black women see themselves, how they pursue personal relationships, and how they comport themselves at work. I think it also influences how they understand themselves as citizens, what they believe is possible in their relationship with the state, and what they expect from their political organizing.
Excerpted from "Sister Citizen: Shame, Stereotypes, and Black Women in America by Melissa V. Harris-Perry," published by Yale University Press. Copyright 2011 by Melissa Victoria Harris-Perry. All rights reserved. Published by permission.
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Channeling Ginerva Delacourt
I dreamed last night of awkward times when I would attend a dance or other function and feel out of place. My hair didn't turn out the way I had wanted, or my dress was a compromise of the one I had hoped for. The whispering of girls in all corners of the room, and the posturing of young men as they moved in packs.I had gone to sleep after reading the delightful Miss Delacourt Has Her Day, a Regency romance written by my friend Heidi Ashworth. In this book I felt both transported to another world of dukes and a dowager duchess, and to my own world of fitting in and finding myself. And to me, this is how Ms. Ashworth draws in her audience. There is something familiar about Ginerva Delacourt's journey in this book, as she attempts to find her place in her new society. She is constantly trying to find that balance of being her genuine passionate self, and of being the poised gentlewoman she is expected to be. Is it just me, or do most women spend more than enough time trying to do the same?
Anthony Crenshaw is allowed to be our hero without too much arrogance, which would be off-putting to the reader. He is chivalrous and handsome, but also insecure and ready to accept help from his valet when needed. Ok, the dark curly hair doesn't hurt his image either.
I think the genius in writing is giving the supporting characters just enough air time. They must be able to make an impact and move the plot forward, without creating too much distraction. Another strength in Heidi's writing. I both looked forward to the appearance of Lord and Lady Avery, and I dreaded it at the same time, as I wanted to throttle the woman. They were purposeful in reminding of us events in the first book titled Miss Delacourt Speaks Her Mind, and they served as great foils to the protagonists. Very well-done. Other supporting characters introduced in this book were fleshed out well and added to the momentum of the story.
This romance genre, which I do not generally seek out as a reader, is surrounded with so many fun characters and adventures that I found myself devouring this book in a matter of a few hours, not wanting to put it down.
Ginny would be my friend if we were to meet. I think she and Heidi and I would have a delightful time sitting on the lawn outside Kensington Palace, eating cucumber sandwiches and stretching out the hems of our dresses as we wrapped them around our feet and told stories.
Well done, friend. Well done.


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Well, hello! It has been awhile since I've blogged, but some current acquisitions have inspired a new post. Recently, one of our fish distributors informed me he had some Hericthys bartoni available. So for our anniversary sale I ordered 20 of them to offer for sale. A couple days later I was staring 20 fish each between 1 inch to 1.5 inches in length. We acclimated them into a 40 breeder and waited until the sale weekend to offer them, once we knew they were eating well in the store. The weekend came and went quickly, but I've knew this was a species I had to grab for myself. I've always wanted to breed them, from first time I saw a picture of one, and we carried them a long time ago and were able to get them to breed at around 3 inches. So I netted 7 of the remaining stock and placed them in holding, til I make some room for them.
Let's talk a little about this gem from Mexico. Bartoni is restricted to the springs of Rio Verde. Water conditions may vary from place to place with pH ranging from 7.6 – 8.0 with a stable hardness (100 degrees German and a carbonate of 15 degrees). A robust male Bartoni can reach lengths up to 8 inches, while females reach a little over 4 inches. Males also develop a nice little forehead hump.
Their normal coloration is gray to light brown with a row of black blotches running from behind the eye to the base of the caudal fin. Some scales in the lower half of the body have a blue spot. But the breeding coloration is outstanding, and it's also one of the main reasons I want to keep this fish. In both sexes, the upper half of the body turns white while the lower half becomes velvety black, including the fins.
In the wild, Bartoni mainly dine on algae, but so far they have done well on frozen cyclops and flakes while in holding. I would make sure that they get a flake high in veggie matter.
Pairs tend to either spawn in caves or beside rocks. The size of the clutch dependes on how old the female is, with an adult producing as many as a couple hundred eggs each spawn. At 84 F the eggs hatch in about two and a half days. In another five days, the fry should start to become free swimming after they consume their egg sacs. The females does most of the brood tending inside the cave while the male guards the perimeter. At any sign of danger, instead of running away like most Central American cichlids he will enter the spawning cave and wait with his mate until the danger goes away. Both parents take care of the fry when it comes to feeding time.
Bartoni generally tend to be very aggressive towards conspecifics, and sometimes their aggression may extend to other species in aquariums smaller than a 50 gallons.
It is believed in many circles that this species and others may become endangered in the near future, due to the introduction of a tilapia to their native waterways. What a shame that would be! If you have room for a 30 or a 40 gallon aquarium, this would be an awesome fish to add to your collection, and you can do your part to conserve them through captive breeding.
Until next time,


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The University of Tennessee in Knoxville organizes a summer program for children called Kids U. I suppose "U" stands for university. This program is comprised of many different individual classes which can be taken separately or together, depending on your goals, budget, and schedule. The youngest children involved are rising third graders. A rising third grader is a child who just finished second grade and who will attend third grade when school starts again.
Our son chose a class called App Attack. As a rising fourth grader, he qualified for this class. As a rising second grader, our daughter was too young to attend Kids U, so I took her to different other places while we waited for him to be finished with his class every day. Continue reading


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ROME (AP) — Pope Francis urged his coronavirus-weary flock to not lose hope even through the continued "dark months" of the pandemic as he celebrated a scaled-back Easter vigil service in St. Peter's Basilica on Saturday.
Due to social-distancing norms, only about 200 masked people were allowed to attend the service, which marks the period between Christ's crucifixion and his joyous resurrection on Easter Sunday.
For the second year in a row, the Vatican cut out the traditional sacrament of baptism for a handful of adults to limit the chance of contagion. Usually a long, late-night ritual, this year's vigil service also started earlier than usual to respect Italy's 10 p.m. COVID-19 curfew.
But the service began in the dramatic way it always does, with the pope lighting a single candle in the darkened basilica and then sharing its flame with others until the pews slowly begin to twinkle and the basilica's lights are turned on.
In his homily, Francis said Easter offers a message of hope and new starts.
"In these dark months of the pandemic, let us listen to the risen Lord as he invites us to begin anew and never lose hope," he said. "It is always possible to begin anew, because there is a new life that God can awaken in us in spite of all our failures."
Francis, who again eschewed a facemask, limped considerably through the service, in a sign that he is suffering through a prolonged bout of sciatica nerve pain.
On Sunday, Francis is to preside over Easter Mass before a similarly small group of faithful and deliver his traditional "Urbi et Orbi" blessing "to the city and the world." Usually the Easter Mass and blessing is celebrated before tens of thousands of people in a flower-decked St. Peter's Square.
But this year Francis will celebrate the service in the basilica and deliver the blessing from the altar, to prevent crowds from forming in the piazza.
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Developing and maintaining the Fedora Project's schedule may be the most important part of the Fedora Program Manager's job. The good news is that it is not very hard. FESCo approved reusing the same general structure for every release, with target release dates of the third Tuesday in April and October. Now it will only change if there are major requirements that necessitate a deviation. This helps with planning for Fedora as well as for our downstreams (read: RHEL).
Of course, you can—and should—make small changes to the schedule as processes evolve. This may mean adding, removing, or moving some tasks. Or it might mean changing which teams are reflecting in the web view of the schedule.
FESCo authorized Release Engineering to start the mass rebuild up to five days after the scheduled start date. This allows RelEng to accommodate travel for Flock and DevConf.CZ, which often fall near the start of the mass rebuild. |
The schedule lives in Smartsheet (only available to Red Hat employees). Every so often, go in and copy a few releases forward.
In your new schedule:
Update the "Fedora XX Release"
Find and replace N-1 with N (have to do it manually so as to not get dates)
Find and replace N-2 with N-1 (same)
Tasks are assigned to teams with flags.
The pp
flag has no meaning for the community, but is used to keep in sync with other Red Hat products.
Some fields (e.g. requirements gathering) are not relevant, but required for Product Pages.
Product Pages only cares about the key flag.
If you want links in the schedule, add the URL in the "links" column for that task (the Link: keyword is optional now). It will be shown in the rendered schedule.
The Early Final target date is the "master milestone" against which everything else is anchored.
Before publishing the schedule, check to be sure that it doesn't conflict too horribly with major holidays, etc. |
To publish the schedule, Export to Microsoft Project (XML) and save the file to the f-N
directory in the schedule repository as Fedora.Schedule.xml
If Export to Microsoft Project (XML) is not an option, you might need to switch to Gantt view. Smartsheet isn't very smart in that regard. |
When schedules slip:
Add a new target date (e.g. Beta target date #2)
Update the "Current X target date" when you know it's really going to happen
Git repo
The files used to publish the scripts live in a git repository.
To create a schedule for a new version (f-30 in this example):
mkdir f-30
cp ../f-29/Makefile . && vi Makefile
# copy forward from previous and change the version -
Export the XML file (see previous section)
git add Fedora.Schedule.xml Makefile
git commit -m 'Your commit message here'
to see the changes locally:
#make clean
cleans up your mess -
make publish
# publish html and friends to fedorapeople
The rsync invocations in the Makefile assume you have your user name set in ~/.ssh/config if your local name does not match your Fedora account.
To update the index page of the website, or the CSS file used to style it, start from the schedule repo above:
cd html
Edit the appropriate file
make publish
to rsync to fedorapeople -
Commit and push your edits
Product Pages
Product Pages is the central resource for Red Hat internal product schedule and status information.
To register a new version in product pages:
Go to admin page (Platforms > Fedora Project > Overview)
Click Add new release button
Short name: 30
Select all the sections to copy
Click OK
Click Schedules tab
Click Add schedules button
Handle: <get the Smartsheet file URL or ID>
Switch draft to approved
Set phase to planning
Prior to May 2021, we used a Red Hat CVS server for the schedule files. They now are pulled directly into Product Pages from Smartsheet. |
Key fields:
Platforms: if you want to update it, add the list of platforms Fedora supports (used by RH releng, but Fedora releng doesn't use it. so it's entirely optional)
Documents: just make a link to the wiki
People: update this as appropriate
Communication: list of important IRC channels and mailing lists
Status updates
Update the phases when there's a significant change (e.g. Beta release → change to testing).
Update the status on a weekly basis (due Thursday afternoon US East coast time). Green means no risks and no slippage; you don't need to say much. Yellow means there are risks, but we have it under control. Describe what went wrong and how we're going to address it. Red means "oh noes!"; explain a lot more.
Historical notes
This section is a collection of loosely-organized facts that give some of the history of schedule wrangling.
Schedules used to be done with TaskJuggler (version 2, specifically). If you ever need to do anything with the old schedule files, you will need to get a copy of that. (By the time you read this, it will likely be retired from Fedora.)
We used to copy key milestones to a wiki page. Ben Cotton stopped doing that because it was annoying and he's error-prone.
Want to help? Learn how to contribute to Fedora Docs ›