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Wikimedia Foundation
About the Foundation
The Wikimedia Foundation (WMF) is a non-profit organization registered in the USA, hosting websites known as the "Wikimedia projects", such as Wikipedia and Wikinews, as well as this website, Meta-Wiki. The Foundation is governed by a Board of Trustees. Its headquarters are in San Francisco, USA. Official information about the Foundation may be found at the Foundation website: wikimediafoundation.org.
Board of Trustees
The Wikimedia Foundation Board of Trustees manages the foundation and supervises the disposition and solicitation of donations. The Board is the ultimate corporate authority for the Wikimedia Foundation, Inc. (article IV, sec. 1 of the Wikimedia Foundation bylaws). The current membership list and contact information can be found at Wikimedia Foundation Board of Trustees.
See also the history of the Board of Trustees and a chart illustrating Board seats over time.
The Wikimedia Foundation Board Handbook provides an overview of the role of the Board and its duties. The Foundation wiki holds lists of its past and upcoming meetings (with minutes), and its resolutions.
Channels of discussion
The Wikimedia Foundation is managed thanks to the use of:
- Meta-Wiki for discussion and organisation of all public issues. This wiki is entirely public and editable by everyone and is also multilingual.
- wikimediafoundation.org is the official website of the Foundation. This wiki is entirely public, but editing access is only granted to trusted members of the community. We try to translate pages in several languages. Feedback about this website may be offered here on Meta-Wiki at the Foundation wiki feedback page.
- wikimedia-l is a public mailing list for the community to discuss topics related to the Foundation and its projects.
- internal-l is a non public mailing list, with access restricted to board members and officers.
- private-l is another private mailing list that was also used to discuss technical issues among the Foundation.
- VRTS is a ticketing system that is used by Wikimedia Foundation staff and volunteers to handle emails from the public.
- IRC is for real-time chat with other Wikimedians.
Channels for support
The Wikimedia Foundation manages the following channels for support:
- Trust and Safety Meta page provides an introduction into Trust & Safety work, as well as information about programs, policies, and resources.
- General Trust & Safety inquiries: cawikimedia.org
- Threats of imminent physical harm (also supporting human rights crisis response): emergencywikimedia.org
- Assessment of child protection concerns: legal-reportswikimedia.org
- Disinformation support inbox for partnering functionaries and local admin teams: drtwikimedia.org
- Human Rights team Meta page provides an introduction into Human Rights work, as well as information about programs, policies, and resources.
- General Human Rights inquiries: talktohumanrightswikimedia.org
What do we spend money on
See our annual reports, monthly reports and financial reports.
Where does the money come from
The Wikimedia Foundation is operated and run using monies raised with fundraising and other donations. For more information, please see the donations page.
Wikimedia affiliates
In acknowledgement of the diversity of groups contributing to our movement, the Board of Trustees approves recognition of the following models of affiliation with the Wikimedia movement. Affiliates may change from one affiliation status to another, and should prioritize cooperation with one another without hierarchy. If you wish to start an affiliate or are looking for more information about affiliation, you may want to contact the Affiliations Committee.
Movement partners
Movement partners are like-minded organizations that actively support the Wikimedia movement's work. They are listed publicly and granted limited use of the marks for publicity indicating their support of and collaboration with Wikimedia. Movement partners are not yet being recognized by Wikimedia. More information on future recognition may be obtained from the Affiliations Committee.
National or sub-national chapters
National or sub-national chapters are incorporated independent non-profits representing the Wikimedia movement and supporting movement work globally, focused within a geography. Chapters or national/sub-national organizations use a name clearly linking them to Wikimedia and are granted use of Wikimedia trademarks for their work, publicity, and fundraising.
Thematic organizations
Thematic organizations are incorporated independent non-profits representing the Wikimedia movement and supporting work focused on a specific theme, topic, subject or issue within or across countries and regions. Thematic or focused organizations use a name clearly linking them to Wikimedia and are granted use of Wikimedia trademarks for their work, publicity and fundraising.
User groups
User groups are open membership groups with an established contact person and history of projects, designed to be easy to form. User groups may or may not choose to incorporate and are granted limited use of the Wikimedia marks for publicity related to events and projects.
Wikimedia coordination and projects
Project coordination
Wikimedia Meta-Wiki (this wiki) is a website about the Wikimedia Foundation's projects and coordination.
Main Wikimedia projects
Wikipedia Free encyclopedia |
Wiktionary Dictionary and thesaurus |
Wikinews Free content news source |
Wikibooks Free textbooks and manuals | ||||
Wikiquote Collection of quotations |
Wikisource Free source documents |
Wikiversity Free learning tools |
Wikivoyage Free travel guide | ||||
Wikispecies Directory of species |
Wikimedia Commons Shared media repository |
Wikidata Free knowledge base |
Wikifunctions Free functions library |
Some project history
- January 15, 2001: Wikipedia launched at Wikipedia.com, separate from Nupedia.
- December 12, 2002: Wiktionary was brought online.
- June 27, 2003: Wikiquote was started on wo.wikipedia.org, which is now used by Wolof Wikipedia.
- July 10, 2003: Wikiquote moves to quote.wikipedia.org and later got its own domain name (wikiquote.org).
- July 10, 2003: The Wikibooks project got its own domain name at textbook.wikipedia.org, later moving to wikibooks.org. See Wikimedia News.
- November 24, 2003: Project Sourceberg (now Wikisource) was officially launched as sources.wikipedia.org. Before that, it was located on ps.wikipedia.org, the Pashto Wikipedia. On December 6, 2003, a vote was held on changing the project's name, and it was renamed to "Wikisource".
- September 5, 2004: After launching in August 2004, Wikispecies was discussed by the board. It was officially merged to a sister project on September 14, 2004.
- September 7, 2004: The Wikimedia Commons was launched.
- December 3, 2004: After a brief demonstration phase in November, the English beta version of Wikinews became operational. Wikinews is meant to be a free content news source which allows anybody to report news on a wide variety of subjects.
- April 2005: 501(c)(3) non-profit status granted by the U.S. Internal Revenue Service with the NTEE Code: B60 (Adult, Continuing Education).
- November 2005: Wikimedia awarded membership in the World Technology Network.
- June 2, 2006: The Wikimedia Incubator was launched.
- August 15, 2006: Wikiversity's beta phase officially began (English Wikiversity).
- October 30, 2012: Wikidata was launched, the first new Wikimedia project since 2006.
- November 10, 2012: Wikivoyage moved to Wikimedia servers as a beta project, after a discussion on hosting a travel guide project. It was fully launched on January 15, 2013. You can see the Wikipedia article for more information on its pre-WMF days.
The early history of Wikipedia was characterized by much chaos and well-meaning strangeness. Wikipedia Governance was conducted, effectively, by Jimmy Wales (Jimbo) alone, with the assistance of mailing list participants.
The broader mandate of the expanding projects being considered, led to a suggestion in a wikien-l message by Sheldon Rampton:
- I think we should go further still and shoot for the ultimate goal of creating "Wikimedia". That's media with an "m". It would use Wiki-style rules to enable public participation in the creation and editing of all kinds of media: encyclopedias and other reference works, current news, books, fiction, music, video etc. Like current broadcast media, it would have differentiated "channels" and "programs", each with self-selecting audiences. Unlike current media, however, the audience would also be actively involved in creating its own programming, instead of merely passively watching it.
The "wikimedia.org" domain name was purchased by mav in waiting for a Wikipedia/Wikimedia non-profit to come into existence to own it.
On June 20, 2003, Jimmy Wales – who had been operating Wikipedia under the aegis of his company Bomis – announced the creation of the Wikimedia Foundation which was to serve as the parent, non-profit, organization of Wikipedia, Wiktionary, Wikiquote, Wikibooks, and other freely licensed wiki projects subsequently added to the "Wikimedia family". See also the Wikipedia article on Wikimedia: w:Wikimedia Foundation.
The first Board of Trustees composed of Jimmy Wales (Chair), Michael Davis and Tim Shell. In June 2004, the next Board of Trustees was composed of 5 people, Jimmy Wales (Chair), Florence Devouard (Vice Chair), Michael Davis (Treasurer), Tim Shell and Angela Beesley. In 2006, Tim and Angela left the Board, whilst Erik Möller, Jan-Bart de Vreede, Kat Walsh and Oscar van Dillen joined it. In October, Florence Devouard became the Chair of the Board, in replacement of Jimmy Wales, who maintained the role as Chairman Emeritus.[1] The first employees joined the organization in 2005, Danny Wool and Brion Vibber. In 2008, the Board was restructured amongst conflicts with the community, and Jimmy Wales was granted the Founder's seat additionally to the Chairman Emeritus.
The organization took a new turn in summer 2007, when Sue Gardner was hired to serve as interim ED. At that point, the staff consisted of about 10 people, most in the head office in St. Petersburg, Florida and others in the United Kingdom, Germany, and the Netherlands. Most of the committees set up in January 2006 are at this point inactive and abandoned.
In 2007, the Foundation decided to move away from its Florida office. San Francisco was chosen as the destination (Boston was its main competitor).[2] The former headquarters in Florida were closed on January 31, 2008.
The Foundation's San Francisco headquarters were originally at 39 Stillman Street. In 2009, it moved less than a kilometer to 149 New Montgomery Street, and in 2017 to its current location at One Montgomery Tower.
The Board was substantially restructured in April 2008. For more information, see:
- Board Restructure announcement by Vice-Chair Jan-Bart de Vreede
- Board Restructure Questions and Answers
- Board Restructure diagram
Other links
- Mission
- Corporations (not for profit) in Florida
- How to use or reuse our content
- Random thoughts on what Wikimedia might mean
- Wikimedia news
- The difference between "Wikimedia", "Wikipedia", "MediaWiki", and "wiki"
- Communications/Communicating about the Wikimedia Foundation


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Navigating the Big Data Nuances of Financial Crimes
"Catch me if you can." That seems to be the mantra of the modern day cyber thief, fraudster or money launderer. Cloaked behind anonymizers, spoofing and botnets, criminals employ extensive means to go undetected. While advances in technology can provide organizations with the proactive tools needed to best tackle these crimes, the problem is still pervasive.
According to estimates from the International Monetary Fund and the World Bank, between $2-3 trillion is laundered around the world each year. To illustrate the challenge of combating laundering, a 2013 report from the Council of Foreign Relations found that government regulations and law enforcement agencies are only able to detect and stop $170 million in money laundering activities annually.
[Register for Interop here and check out the "Advanced Threat Confidential: 14 Lessons Learned from Real Cyber Attacks" session on October 4 in NYC.]
To detect and combat criminal activity, financial organizations are working to implement a framework of strong, effective defenses while also minimizing disruption to their businesses. With today's market volatility and increased pressure from regulators for financial institutions to detect and prevent financial crime, the requirements to comply with regulations, while viewing the problems from all angles and across multiple departments, are imperative.
When I managed a financial crimes Intelligence and Analytics team, I saw this challenge firsthand. Any move toward an integrated approach to fight fraud, money laundering and cyber threats hinges on the availability of data. Whether extracted from various, disparate databases or accessible as the result of investment in Big Data initiatives, developing an integrated approach only moves forward when organizational silos are removed and data is viewed as an asset from which to derive intelligence.
Traditional anti-money laundering (AML) transaction monitoring systems, including those from just five years ago, generate alerts based on patterns and detection strategies. These strategies can quickly become outdated as criminals find new and elaborate ways to evade the system. Many of these systems generate high numbers of false positive alerts that can tie up resources working on leads that are legitimate transactions. While AML transaction-monitoring systems may be able to provide useful information into the nature of financial crimes, they are only effective if the system can make connections and recognize patterns in the data.
Financial crimes can also threaten an organization at multiple points of vulnerability. Focusing on a single channel or line of business, such as wire transactions or expense reporting, can hinder management visibility and allow fraud and money laundering to go undetected. Since financial crime is rife with many nuances, it's important to keep an open line of communication so information can be easily and quickly shared across departments and geographies.
One benefit of monitoring financial crimes across channels is that it can prevent criminals from exploiting process weaknesses. With an integrated approach, an organization can enable a consolidated view of an operational environment where all risk-related data can be collected and analyzed from multiple perspectives. This unified perspective will not only show overlap in terms of potential fraud or money laundering, it also allows the organization to identify transactions that would normally fall below the radar to be identified as fraud. By linking cross channel investigations, the organization can reduce redundant investigations and free up investigators. Consolidated data can lead to more effective detection/prevention strategies and act as a force multiplier by eliminating multiple case assignments for the same investigations.
[See Also: Cyber Security – Avoid Prescriptions When Keeping Up With Threats]
Given the global expansion of money laundering, financial institutions need to be careful when assessing and implementing an appropriate AML solution. Since financial service institutions of all kinds – including banks, brokerages, and insurance firms – conduct business in the major and emerging capital markets, compliance with anti-money laundering regulations is required. With several requirements such as know your customer (KYC), watch list screening, and suspicious transaction monitoring, it can be challenging to keep up-to-date with constantly amended, complex AML regulations while efficiently managing available resources and long-term costs.
The financial marketplace continues to grow at a global scale. By approaching AML and other financial crime initiatives with an integrated approach, financial institutions can use data as an asset in communication across departments and stay up to date with evolving requirements. Once the nuances of financial crimes are understood, it becomes possible to mitigate threats before they happen.
Troy Pugh is a financial crimes subject matter expert with IBM Software Group

subset: commoncrawl


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So, as I love to bake and I always like to take up challenges (although I tend to shy away when I have to do such things...), I decided to put my skills to the test and see if I would be capable of reproducing (the popular French baker) Eric Kayser's recipe.
Contrary to all expectations (I always expect that ir turns out to be a total flop), I got on with it quite well and without much trouble. In fact, it wasn't really difficult nor complicated to make. It was only slightly "strainuous" and time-consuming task considering the fact that this tart was made in different stages and processes. Anyhow, no major problem occured nor did things turn out wrong. The catastrophe I was waiting for never took place! Of that, I'm very thanful, because nothing's worse than a contretemps or disaster when you are baking something as delicate as this tart which needs all your attention in order to be well-organized...
The crust of this "Milk Chocolate And Caramel Tart" is in fact a kind of shortbread pastry that contains baking powder and is not easy to manipulate/roll as it come apart fastly. It is magnificently flaky and has a pleasant cocoa aroma, but in my opinion, the cinnamon adds a sickly touch to the tart (although I would encourage you to use this spice if you make a plum tart with this excellent pastry). The caramel filling is really scrummy with it's smooth fudgy texture and harmonious creamy as well as rich and buttery flavor. The last layer, an exquisite and airy milk chocolate mousse, is just simply remarkable. At first, I thought that I would not find it too good or interesting as it would be faint in flavor and overly sweet, but i was wrong! Although it is quite quite different to it's dark cousin, this fair-colored mousse is totally addictive and rafined (as long as you use good milk chocolate to make it, of course).
My verdict concerning this tart is very positive. I can really recommend you to try it at home. There is no doubt that you will be highly satisfied by it's good looks and inimitable tantalizing taste. It is wonderful! In one word, this tart is magical, heavenly and scrumptiously rich. It is a gourmet delicacy which will rejoice those who like to experience the fulfilling pleasure that such a bombastic homemade treat brings...
~ Milk Chocolate And Caramel Tart ~
Recipe taken from Eric Kayser's "Sweet and Savory Tarts" cookbook.
Makes one tart - 24cm (9-inch) square pan or 1 26cm (10-inch) round baking pan.
1/2 Lb (250 g) Chocolate shortbread pastry (see recipe below)
1 Cup (200 g) Castor sugar + 1/2 Cup (100g) for the decoration
1 Cup (250 g) Heavy cream (30-40 percent butterfat) or crème fraîche
1/4 Cup (50 g) Unsalted butter
2 Whole eggs (~53g)
1 Egg yolk
2 1/2 Tbs (15 g) Plain white flour
1 1/4 Cups (300 g) Whipping cream
1/2 Lb (250 g) Milk chocolate
1. Preheat oven to 325 °F (160 °C).
2. Line the baking pan with the chocolate shortbread pastry and bake blind for 15 minutes (see remarks).
3. In a saucepan, caramelize 1 cup (200 g) granulated sugar using the dry method until it turns a golden caramel color. Incorporate the heavy cream or crème fraiche and then add butter. Mix thoroughly. Set aside to cool.
4. In a mixing bowl, beat the whole eggs with the extra egg yolk, then incorporate the flour (see remarks).
5. Pour this into the cream-caramel mixture and mix thoroughly.
6. Spread it out in the tart shell and bake for 15 minutes (see remarks). Remove from oven and allow to cool.
Method for the milk chocolate mousse:
7. Beat the whipping cream until stiff. Melt the milk chocolate in the microwave or in a bain-marie, and fold it gently into the whipped cream (see remarks).
8. Pour the chocolate mousse over the cooled caramel mixture, smoothing it with a spatula. Chill for one hour in the refrigerator.
Method for the caramel decoration:
9. Melt 1/2 cup (100g) castor sugar in a saucepan until it reaches an amber color.
10. Pour it onto waxed paper laid out on a flat surface.
11. Leave to cool.
12. Break it into small fragments and stick them lightly into the top of the tart.
Preparation time: 10 minutes
Refrigeration: overnight
1 Cup (250g ) Unsalted butter, softened
1 Cup plus 2 Tbs (150 g) Confectioner's sugar
1/2 Cup (50 g) Ground hazelnuts
2 Level tsps (5 g) Ground cinnamon (optional)
2 Eggs (~53g)
4 1/2 Cups (400 g) Plain white flour
2 1/2 Tsps (10 g) Baking powder
1 1/2 Tbs (10 g) Cocoa powder
Method (a day ahead):
1. In a mixing bowl of a food processor, cream the butter.
2. Add the confectioners' sugar, the ground hazelnuts, and the cinnamon, and mix together.
3. Add the eggs, one by one, mixing constantly
4. Sift in the flour, the baking powder, and the cocoa powder, and mix well.
5. Form a ball with the dough, cover in plastic wrap, and chill overnight.
1 Cup Castor sugar
1/2 Cup water
1 Tbs Corn syrup
1. Set a pot over medium-heat with all the ingredients and stir slowly.
2. When the mixture comes to a boil, stop stirring and wait until it is caramel colored.
If you live in Switzerland, the "Heavy Cream" I recommend you to use is "Gruyère Cream (Crème De La Gruyère)".
I found that with this tart the cinnamon in the pastry was superfluous and not really needed, so I would recommend you to leave out this ingredient.
When making the caramel with "the dry method" be careful to use a dry pan and spatula, otherwise you will end up with a grainy crystallized mess.
To avoid lumpiness when you add the flour to the eggs, make sure the eggs are at room temperature and slowly whisk the flour in.
I left the shortbread pastry in the oven for about 20-25 minutes until it was perfectly baked. In order for your cream-caramel filling to be set perfectly, I recommend you to bake it for 10 more minutes or until set. Many people can be unlucky with making the dry caramel, so if it's your case you can use the alternate version.
Before you add the chocolate to the whipped cream, test the temperature by touching a little chocolate to your top lip, if it feels comfortably hot (lukewarm) then it is okay to combine the two. If the chocolate feels too hot, it might dissolve your nicely aerated cream, so I recommend you to whisk the melted chocolate until it reaches the correct temperature.


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OE-Core Standalone Setup
OpenEmbedded-Core is a base layer of recipes, classes and associated files that is meant to be common among many different OpenEmbedded-derived systems and forms the basis of the new structure for OpenEmbedded. See the OpenEmbedded-Core page for more information.
Getting started
1) Clone the repositories for OE-Core (the core metadata) and BitBake (the build tool), checking out the latest stable branches of each one in turn:
git clone git://git.openembedded.org/openembedded-core oe-core cd oe-core git clone git://git.openembedded.org/bitbake bitbake
2) Check out the latest stable branches of both OE-Core and BitBake:
git checkout hardknott cd bitbake git checkout 1.50 cd ..
3) Set up the environment and build directory:
source ./oe-init-build-env [<build directory>]
The optional build directory may be specified, otherwise it is assumed you want to use the directory named "build".
4) First time configuration
The first time you run oe-init-build-env, it will setup the directory for you and create the configuration files conf/bblayers.conf and conf/local.conf. You should at least review the settings within the conf/local.conf file.
5) Build something:
bitbake <target>
A good simple place to start is bitbake core-image-minimal. This will do basic system sanity checks and build a small but practical image. If your system needs additional software installed, or other environment settings it will tell you what is needed.


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Welcome to the Hajni Family page at Surname Finder, a service of Genealogy Today. Our editors have compiled this checklist of genealogical resources, combining links to commercial databases along with user-contributed information and web sites for the Hajni surname. As additional sources for vital records, original documents, vintage photographs and surname-based DNA projects are discovered, this page is updated to offer the best list for researching Hajni ancestry. Share this page on Twitter!
Completed by on
The Hajni Family Tree
Everyone has different reasons for building a family tree; your personal motiviation will influence whether the Hajni family tree has more depth or breadth. Have you struck a Hajni brick wall? Read "Caring for your Ancestors" for some helpful advice.
Best Tree Collections for Discovering Hajni Ancestors
Hajni Genealogy
Keep an open mind when searching through Hajni records. Years ago many people were unable to read and write, thus a given ancestor's name could be spelled in a variety of ways depending on who recorded it. If you want to know How can city directories be used to help my Hajni research?, then read this frequently asked question.
Top Five Genealogy Databases to Search for Hajni
Census records are among the most useful records available for family tree building. There are currently matching Hajni records at Ancestry.com! Start exploring this online Hajni family history resource today.
Death Records
Military Records
Origins of the Hajni Surname
It is quite possible for two people with the Hajni last name to have been given that surname for entirely different reasons. Discovering the country from which your Hajni ancestors originated can often yield additional clues for the meaning of the surname. Keep in mind that it was not unusual for a last name to be altered as an ancestor entered a new country.
Hajni DNA Projects
While DNA testing cannot conclusively tell you if two Hajni ancestors were related, it can easily prove if they weren't. Be sure you understand what types of research issues each different DNA test can address before you spend any money. If you're not sure how DNA testing could aid your Hajni research, read "Basics of DNA Family History Research".
Hajni Family History
For most people, just about every aspect of their life has been influenced in some way by their ancestors. Look beyond the names and dates to understand how and why your Hajni ancestors lived and strived to make a better life for their descendants. Our team of seasoned experts are here to help you learn about different aspects of genealogy. Reading "Our Ancestors Paid Taxes" may help you think of some different tactics to compiling your Hajni family history.
Photo Collections
Networking with Hajni Researchers
When digging deeper into your ancestor's occupation, a great way to connect with others of a similar interest -- many who might have detailed information, is by posting a message board query giving clear information as to your ancestor's name and the specific occupation or organization, in time and place. The article "Looking for John Smith - Focusing a Query" provides some valuable tips for posting successful Hajni queries.
You may also want to consider posting a query to the Community Message Boards at Genealogy Today to get assistance from other researchers on your most elusive Hajni ancestors.
Hajni Achievements & Celebrities
Web Sites & Blogs with Hajni Research
If you are having difficulty locating records for the last name of Hajni, contact the folks at ProGenealogists for a free research estimate. You may also find it helpful to read, "When, Why and How to Hire a Professional Genealogist."
RootsWeb search of US Naturalization Records
RootsWeb search of Obituary Daily Times
RootsWeb search of Social Security Death Index
To recommend your web site/blog for inclusion on this page, please submit a link to the user-contributed directory at Genealogy Today. Your web page may appear once its content has been reviewed by our editors.
Upcoming Hajni Family Reunions
Pedigree charts and family group records are important genealogical tools, so bringing or creating on site a big family pedigree (or family tree) is sure to draw attention; at the same time, have plenty of blank family group sheets available for individual families to complete and submit to go into a "Hajni family record book," which you can then digitize and share -- you can then bring the physical book back to the next reunion, adding new families each time. The article "Planning Details For A Family Reunion" may provide you with tips for hosting a successful Hajni reunion.
See Also
Surname Finder, The Hajni Genealogy and Family Tree Page [on-line resource], New Providence, NJ, USA: Genealogy Today LLC, 2024.


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Want to know when Inter Milan are next playing live soccer on TV and which American broadcaster is showing it?
This Inter Milan on TV Schedule is updated daily to make sure you know when and who they are playing on TV across all TV stations in USA including Fox Sports, ESPN, beIN Sports, ESPN, Univision, Telemundo, MLS Live and official live streams.
So, If you are trying to check out if Inter Milan are on TV Today, Tonight, Tomorrow, or this Weekend, make sure you sign up to check our Soccer on TV Listings which shows Inter Milan's upcoming live fixtures for the month ahead.


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Most Deadheads are at least generally aware of Kahn's importance to Garcia's non-Dead music. However, Kahn is usually viewed through the filter of Jerry Garcia and his music. For this series of posts, I am looking at Jerry Garcia through the filter of John Kahn. In particular, I am looking at John Kahn's performance history without Garcia. Kahn's extensive studio career has been largely documented on the Deaddisc's site, so I don't need to recap it beyond some specific references. The posts so far have been:
- John Kahn I: Performance History 1967-68: A review of John Kahn's migration to San Francisco, his transformation from an acoustic jazz bassist to an electric R&B bass player and some history of his early live work.
- John Kahn II: Performance History 1967-68-T&A R&B Band and Memory Pain: A closer look at the history of Kahn's two original bands during this period
- John Kahn III: Performance History 1969: An analysis of John Kahn's participation in the somewhat casual Mike Bloomfield Band, with Nick Gravenites and others, who played regularly at Keystone Korner.
John Kahn, Early 1970
1970 was a critical year in John Kahn's musical history, because that was the year he started playing with Jerry Garcia. Despite many mutual acquaintances, Garcia and Kahn apparently had not met until they played together with Howard Wales. Appropriately, they seem to have met on stage.
In early 1970, John Kahn was a regular member of the Mike Bloomfield Band, who played more or less every other weekend at Keystone Korner. He also recorded with Bloomfield, and worked regularly with producer Nick Gravenites. As the record industry had moved into San Francisco, Gravenites found himself in demand as a producer. Gravenites produced Bloomfield (he was also Bloomfield's lead singer) and he also produced other acts, such as Brewer And Shipley. However, for John Kahn's career, the most important act that Gravenites produced turned out to be a San Francisco band called Southern Comfort. Although Southern Comfort's 1970 debut album was Kahn's first production credit, shared with Gravenites, the importance of Southern Comfort was of an entirely different nature.
Southern Comfort
Up until 1970, Kahn's principal musical partner had been drummer Bob Jones. Jones and Kahn were also close friends. Kahn had played bass and Jones had played guitar in the T&A R&B Band in 1967. When that group broke up, Kahn persuaded Jones to play drums at jam sessions, because the untrained Jones had a great feel and didn't overplay. Jones had gone along with it as a courtesy to his friend, but in fact once other musicians heard Jones play drums, he was very much in demand, and his career was made. Jones has summed up his career as "Kahned into drumming." Jones and Kahn had put together a group in 1968 called Memory Pain, but after it faded away both of them became Mike Bloomfield's rhythm section in early 1969.
In mid-1969, Bob Jones and Memory Pain guitarist Fred Burton formed the band Southern Comfort. I do not know why John Kahn did not join the group, but I suspect it was because Kahn had no interest in being a member of a "regular" band. Although Kahn had moved from Mill Valley to the Forest Knolls/Lagunitas area by late 1969, Kahn and Jones still got together regularly to write, jam and hang out, so Kahn was part of the social circle of Southern Comfort, even if he wasn't in the band. Southern Comfort wanted to play rock in a sort of Stax/Volt style, but they also had a plan to be San Francisco's "House Rhythm Section." similar to the role of Booker T and The MGs at Stax in Memphis. Southern Comfort's lineup was:
- Fred Burton-lead guitar
- Ron Stallings-tenor sax, vocals (later in Reconstruction)
- John Wilmeth-trumpet
- Steve Funk-keyboards
- Bob Huberman-bass (later replaced by Art Stavro, then Karl Severeid)
- Bob Jones-drums, vocals
National record companies had moved into San Francisco in a big way, and many acts were sent to San Francisco to record. Nick Gravenites, a fine singer and songwriter in his own right, had established himself as a producer who worked well with musicians, sharpening up their songs and getting the best performances out of them. John Kahn worked with Gravenites, not only adding his excellent bass playing, but writing and arranging horn and string parts, a role that Gravenites background in a Chicago steel mill had not prepared him for.
In the late 1969/early 1970 period, Gravenites was producing an album for the songwriting duo of Brewer And Shipley, released later in 1970 on Kama Sutra Records as Weeds. All of Southern Comfort and the Bloomfield Band play on the album, along with a few other San Francisco regulars like Nicky Hopkins and Richard Greene (confusingly, Fred Burton was a Nom Du Rock: earlier albums credit him by his real name, Fred Olson). Meanwhile, Columbia had signed Southern Comfort in late 1969, and Gravenites was contracted to produce them as well. Kahn and Gravenites ended up sharing production credits on Southern Comfort's 1970 debut album. I don't know the actual history, but I assume the somewhat overcommitted Gravenites let Kahn do a lot of work on the Southern Comfort album, so he shared the credit with him. Kahn also co-wrote some songs on the album, and played a little piano as well, so he was an important part of the Southern Comfort album.
While Kahn's first co-production credit was an important professional milestone for him, the most important factor for Kahn's career turned out to be Bob Jones's advance for the album. All the Southern Comfort band members received modest advances, but for hand-to-mouth hippie musicians, 5 figures was real money. Jones's parents persuaded him that rather than buy a cool car or a bunch of gear--typical musician stuff--he should really buy a house. Jones took his parents' advice and bought a modest two-story house in Fairfax. Since Jones was single at the time, he needed a tenant. Thus thanks to his Southern Comfort advance and his parents' advice, Bob Jones ended up renting the downstairs of his house to fellow drummer Bill Vitt.
Bill Vitt
Bill Vitt was from the state of Washington, and had been in various bands in the Seattle area. Good drummers always work, and Vitt was apparently a busy studio musician in Los Angeles during the 1967-69 period, but for whatever reasons Vitt chose to relocate to the Bay Area in late 1969. I don't know the exact timing, but I know that Vitt was Bob Jones's tenant in early 1970. Vitt and Jones have different styles, but they are both excellent drummers who can play well in a wide variety of settings. Although in fact the upstairs and downstairs were effectively different units, two of the most in-demand session drummers in the Bay Area lived at the same address.
When Jones had a conflict with a Bloomfield gig, usually due to Southern Comfort, Vitt played the show in his place. Vitt and Jones apparently more or less alternated sessions for Gravenites projects like Brewer And Shipley, with Kahn holding down the bass chair, so both the Kahn/Jones and Kahn/Vitt combos were steady as a rock. Vitt was a jazzier, trained drummer, and Jones played simply and with great feeling, but they were both fine players.
Like most musicians, however, Vitt liked to play for his own sake. He seems to have worked steadily in the studio, but in order to have some fun on the side, he started playing regularly at the Monday night jam sessions at The Matrix. Monday night was the traditional musician's night off, and The Matrix had been San Francisco's hippie hangout since the day it opened (August 13, 1965), so The Matrix was the obvious place for musicians to jam. A few people would show up and the players would split the take, generally enough for cigarettes and gas, but jamming was its own reward. Generally the Matrix "billed" someone to lead the jam, but different musicians showed up. Certainly Jerry Garcia had showed up regularly, if only intermittently over the years. In early 1970, Howard Wales took over the role as bandleader for the Monday night Matrix jams, probably on February 16, 1970.
(a typical Chronicle listing for a Monday night jam at The Matrix. This one is from March 16, 1970. Howard Wales had taken over the jam by then, and Garcia may have already started to drop in)
Monday Night Jams At The Matrix, February-April 1970
Initially the Monday night jam was just Howard Wales on organ and Bill Vitt on drums. This may sound sparse, but in fact the organ/drums combo was a nightclub tradition. A true genius like Wales can fill a lot of space with a Hammond organ, and Vitt was a very interesting player when given the freedom. At some point, Wales seems to have invited Jerry Garcia to join in. Garcia had played the Monday night jams various times over the years, and he had jammed with Wales before (we have a record of the August 28, 1969 jam at the Family Dog), so it was a good choice. March 2 and/or March 9, 1970 seem like likely possibilities for Garcia guest appearances, and March 16 and March 23 less so, based on the Dead's touring schedule. Garcia would not have been billed at the Matrix, as he simply would have shown up at Wales's invitation.
Keep in mind that in March 1970, Garcia was finishing Workingman's Dead, touring frantically with the Grateful Dead, trying to find a bass player for the New Riders and dealing with the fallout of firing Lenny Hart. Its revealing that in what had to be his only spare time, Garcia chose to spend a Monday night or two at the Matrix jamming his brains out. It's easy to fret over Garcia's various habits, but its a working schedule like Spring 1970 that reminds you that the man was All Music, All The Time.
Wales and Vitt invited a symphony bass player named Richard Favis to sit in with them on at least one of the Monday nights. According to Blair Jackson, however (p. 186) it did not work out. Vitt then had the idea of inviting John Kahn. Vitt had played with Kahn in the Bloomfield band, and had played with him in the studio. Also, although most musicians were off Monday night anyway, and the Bloomfield band was irregular, Vitt must have known that Kahn would have been steadily available. Vitt was right. Vitt, Wales, Kahn and Garcia made a sympathetic band, if a somewhat avant one, and Kahn and Garcia's path were inextricably linked.
Garcia's first advertised billing at The Matrix in this period was Monday, April 20, 1970. I have to assume that Garcia had played at least some of the previous Mondays in order to figure out that he would make a permanent go of it. Thus the first musical meeting of Kahn and Garcia would probably have been March 30, April 6 or April 13.
I should note here that in 1990s interviews discussing Howard Wales, both Garcia and Kahn completely garble the timeline of their meeting. Garcia says that he and Kahn had played with Wales "for a year" before they talked to each other, and Kahn says that they were playing with Wales "back in like, 1968." I don' fault them for forgetting some dates from twenty-something years previously, but I have done a lot of research on this, and the memories of both of them were simply off the mark in these cases.
Garcia, Kahn and Vitt played most Monday nights for the next several weeks. Some of the music from the May 18, 1970 show was released on the 1998 Jerry Garcia/Howard Wales album Side Trips, and it is strange music indeed. In a 1991 interview, Garcia told David Gans
About half the set I'd be whispering to John, I'd be saying, 'Hey, man, what key are we in?' Howard didn't have tunings or anything, he just played. Sometimes he would do these things that were so outside that you just couldn't - unless you knew where it was going, you had no idea where to start.Although weird jamming was one of the Grateful Dead's calling cards, it was pretty far from the straight ahead blues of the Bloomfield Band, so it must have been an enjoyable stretch for Kahn as well.
Merl Saunders
The Mike Bloomfield Band had stopped their biweekly residence at the Keystone Korner by the Spring of 1970. Although Bloomfield very much enjoyed the Keystone Korner, he was never comfortable with settling into too much of a routine. The group still played occasional shows in the Summer, but the Bloomfield band members were left to their own devices. Jones had Southern Comfort, and Kahn was spending more time in the studio with Nick Gravenites's various projects. I know that Kahn had met Merl Saunders in the studio, and I know it had to be in the Spring or Summer of 1970, but I'm not precisely sure which project it was.
Saunders had been an organ player in the Bay Area for some time. His organ trio had been popular in the area around 1968, and they toured Japan and Asia that year as well. He had spent time on Broadway in New York, working with singer Jon Hendricks.
I think that Kahn and Saunders met playing demos for an album by Danny Cox. Cox was an African American folk singer from Kansas City, and he shared management with Brewer And Shipley. Kahn had actually played a little on Cox's 1970 debut album Birth Announcement, but Kahn, Vitt and Saunders all played on Cox's 1971 album. Given the timeline, I think that the three of them were doing demos for Cox's album in 1970, whether as album preparation or to show a record company, I'm not sure. Demo sessions were quick run throughs of songs, with few or no overdubs, just to give an artist, an agent or a record company an idea of what the material sounded like. While Kahn and Vitt were the "A-team," presumably Mark Naftalin or Nicky Hopkins were unavailable, so Merl must have gotten the call instead.
In the Summer of 1970, Nick Gravenites was producing the Brewer And Shipley album that would be released as Tarkio (a great album, by the way). Kahn was the regular bassist, while Jones and Vitt alternated drum duties. The album was recorded at Wally Heider's in San Francisco during the famous PERRO sessions, with the Airplane, the Dead and others regularly in residence. Indeed, when Brewer And Shipley needed a pedal steel guitar player, they went down the hall and asked Garcia, who obliged them on August 21, 1970 by playing on two tracks ("Oh Mommy" and "Fifty States Of Freedom"). The recording of the two songs would have been the first time Garcia and Kahn appeared on a track together, although they were not likely to have been in the studio at the same time (only Garcia's part on "Oh Mommy" was used).
Merl Saunders has said that he first met Garcia at Wally Heider's while playing on a Danny Cox album. Since Cox shared management with Brewer And Shipley, I think Gravenites was producing both artists, and sharing studio time in some way. I think Saunders met Kahn on the demo sessions for the Cox album, and through Kahn, Garcia met Saunders.
Jerry Garcia and Merl Saunders At The Matrix
According to Jerry Garcia, Howard Wales was not comfortable with success, and when people started to show up at the Matrix to see the Monday night jam sessions, he started to become uncomfortable. Also, as we have discussed at length elsewhere, somewhere around June of 1970 Alan Douglas of Columbia Records came around looking to sign up Howard Wales in order to get access to Garcia. In any case, Howard Wales dropped out of the Matrix shows with Garcia by the end of the Summer, as the last booked performance was August 24, 1970.
Garcia and Kahn were enjoying themselves, however. Although the Dead were touring as furiously as ever, and Garcia was in the New Riders as well, not to mention hanging out all day at Wally Heider's, finishing American Beauty and a hundred other things, Garcia still wanted a weeknight bar band. Kahn suggested Merl Saunders, and since Garcia had apparently already met him, the shows must have started up pretty quickly. Some detailed research has suggested that the first Garcia/Saunders show, with Kahn and Vitt on board, was at The Matrix on September 7, 1970. By October, Garcia and Saunders have gone beyond Monday nights, and the Garcia/Kahn partnership is underway, although it must not have seemed so prominent at the time.
Jerry Garcia and John Kahn
By the end of 1970, John Kahn was a member of two part time groups, the Mike Bloomfield Band and Garcia/Saunders. Both of them only worked according to the schedule and interests of their star lead guitarists, both of whom had a distinct interest in playing imaginative cover versions in San Francisco bars. Neither group even had an official "name," and neither had any formal recording plans. At the same time, Kahn was a first call bassist in the San Francisco recording scene, even playing the occasional Los Angeles date, and he had his first production credit on the Southern Comfort album.
According to Kahn's friend Bob Jones, while Kahn and Garcia were like-minded in many ways--well read, inquisitive, sociable--one thing that he thinks the two found particularly intriguing about each other was their knowledge about music that the other was interested in. Garcia loved jazz and blues, but had never played it, except in a Grateful Dead context, whereas Kahn had knowledge and experience of both. Conversely, Kahn enjoyed and was interested in bluegrass, which he had heard through Mike Bloomfield (Bloomers tastes ran wide indeed), but he hadn't known anyone who had really played it. Thus a life changing partnership for both men was formed out of The Matrix and Wally Heider's, but at the time it appeared to just be part of the exciting mix of the time.
Annotated John Kahn 1970 Performance List
Ralph Gleason column, Chronicle, January 23, 1970 |
The band was usually Mike Bloomfield (ld gtr), Nick Gravenites (gtr, vcls), Ira Kamin (organ), Mark Naftalin (piano), John Kahn (bs), Bob Jones (dr, vcls). Anyone, including Bloomfield, sometimes missed a show. If Jones was booked, then Bill Vitt took over on drums. If Kahn was unavailable, Doug Killmer (from Crowfoot) played the date. Other members weren't generally substituted for, and friends and guests often sat in.
January 30-31, 1970: New Orleans House, Berkeley, CA: Mike Bloomfield-Nick Gravenites/Big Joe Williams
I wonder if the group backed Joe Williams? It's possible.
February 6-7, 1970: Keystone Korner, San Francisco, CA: Mike Bloomfield-Nick Gravenites
February 11, 1970: Fillmore West, San Francisco, CA: Paul Butterfield/Elvin Bishop/Mike Bloomfield-Nick Gravenites/Charlie Musselwhite Magic Sam Benefit
Chicago blues guitarist Magic Sam had died unexpectedly, and this Wednesday night benefit was held for his family. Butterfield, Bishop and Bloomfield jammed at the end of the evening, reprising the classic lineup of the Butterfield Blues Band. I don't know if Kahn played for the jam.
February 21, 1970: Keystone Korner, San Francisco, CA: Mike Bloomfield
February 28, 1970: Keystone Korner, San Francisco, CA: Mike Bloomfield-Nick Gravenites
March 27-28, 1970: Keystone Korner, San Francisco, CA: Mike Bloomfield-Nick Gravenites
March 29, 1970: Old Stable Grounds, Mill Valley, CA: Quicksilver Messenger Service/Mike Bloomfield & Friends
This was a casual outdoor show in Marin.
March 30, April 6 or April 13, 1970: The Matrix, San Francisco, CA: Monday Night Jam with Howard Wales and Bill Vitt
Wales and Vitt had been leading the Monday night Matrix jams since mid-February. Retellings are murky, but it appears that Garcia dropped in, and then became a regular, joined by Richard Favis and then John Kahn. Whether this happened over two Mondays or several is uncertain. Garcia could have appeared in early March, and then come back in late March (the Dead were on tour mid-month), or may not have played until April. Kahn could have played the Matrix as early as March 30 or as late as April 27. My own guess--speculation only--was that Garcia dropped in on March 30, Favis was tried on April 6 and then Kahn on April 13. I am assuming that Garcia was actually billed on April 20 because he had decided the Wales sessions were worth pursuing as an ongoing enterprise.
April 4, 1970: Exhibition Hall, Fresno, CA: Mike Bloomfield & Friends
There may have been other Southern California shows for Bloomfield around this time.
April 10, 1970: Gym, Mt Tam High School, San Rafael, CA: Mike Bloomfield & Friends
SF Chronicle April 20, 1970 |
April 20, 1970: The Matrix, San Francisco, CA: Jerry Garcia and Howard Wales
This was the first date that Garcia was actually billed on a Monday night at The Matrix, although he had already dropped in numerous times over the years.
April 27, 1970: The Matrix, San Francisco, CA: Jerry Garcia and Howard Wales
Kahn had to be part of the ensemble by this time.
May 18, 1970: The Matrix, San Francisco, CA: Jerry Garcia and Howard Wales
Some of this evening's performance was released on the fascinating 1998 Side Trips cd.
May 25, 1970: The Matrix, San Francisco, CA: Jerry Garcia and Howard Wales
June 1, 1970: The Matrix, San Francisco, CA: Jerry Garcia and Howard Wales
>June 4-7, 1970: Fillmore West, San Francisco, CA: Grateful Dead/New Riders Of The Purple Sage/Southern Comfort
No one seems to have remembered to ask John Kahn when he first saw the Grateful Dead. However, at this Thursday-thru-Sunday stand at Fillmore West, not only was Kahn newly linked to Garcia, but Southern Comfort, the band he had co-produced, was opening the shows. I have to think Kahn was there at least one of the nights.
June 8, 1970: The Matrix, San Francisco, CA: Jerry Garcia, Howard Wales & Friends
June 15, 1970: The Matrix, San Francisco, CA: Jerry Garcia, Howard Wales & Friends
June 19-20, 1970: Honolulu Civic Auditorium, Honolulu, HI: Mike Bloomfield & Friends/John Lee Hooker/Elvin Bishop/Boz Scaggs
I assume that John Kahn played bass for these Mike Bloomfield-headlined shows in Hawaii, but I can't yet confirm that.
June 22, 1970: The Matrix, San Francisco, CA: Jerry Garcia, Howard Wales & Friends
Update: We now know that Howard Wales did not appear to have played this Monday night show. This must have been when he started to get nervous about the number of people who were showing up. How do we know this? Well, Bill Champlin (of The Sons) recalls being invited to come play guitar by Bill Vitt, because Garcia spent so much time fooling with a new effects pedal that things got too loose, so Bil brought his Gibson and an amp.
Champlin was surprised to find out when he got to the Matrix that jazz great Vince Guaraldi was the keyboard player for the night. At the time, Guaraldi liked to play electric keyboards in a loud fusion style, and Garcia made a great foil. Other guests that night included soprano saxophonist Vince Dehnam and guitarist Curley Cooke.
June 29, 1970: The Matrix, San Francisco, CA: Monday Night Jam
The Garcia-centric research associated with Howard Wales and the Matrix (I'm the most guilty) has paid no attention so far to the fact that Wales seems to have had the date even without Jerry. I have to assume Kahn and Vitt played along with Wales, just as a trio or perhaps with guests.
Listing from the June 29, 1970 SF Chronicle |
June 29, 1970: The Matrix, San Francisco, CA: Howard Wales, Terry Haggerty and Friends
June 30-July 2: The Matrix, San Francicsco, CA: Howard Wales and Harvey Mandel
It seems pretty likely that Kahn played with Haggerty and Wales, since he played with them six months later at Pepperland. At this time, the Sons Of Champlin were on hiatus. It's more speculative to assume that Kahn was also the bass player when Harvey Mandel was there, but it's still a reasonable proposition. Mandel would have been on a break from Canned Heat, or perhaps he had just left the band, but in any case it's unlikely he had his own band, so somebody would have sat in on bass--why not Kahn?
July 5, 1970: Brown's Hall, Mill Valley, CA: Mike Bloomfield & Friends
Once the Bloomfield band stopped appearing on weekends at the Keystone Korner, live shows were more infrequent. Brown's Hall was a small local auditorium.
July 6, 1970: The Matrix, San Francisco, CA: Jerry Garcia & Howard Wales
July 13, 1970: The Matrix, San Francisco, CA: Monday Night Jam
July 20, 1970: The Matrix, San Francisco, CA: Howard Wales & Friends
Howard Wales was actually booked on this date, so I assume that Kahn was there. Intriguingly, on Monday July 27 (and July 28) The Matrix advertised Mickey Hart And The Hartbeats with Jerry Garcia. I wonder who that was (surely a good subject for a different blog post)?
August 3 and 10, 1970: The Matrix, San Francisco, CA: Monday Night Jam
At this point, I'm no longer certain that Wales had the Monday night gig, but no one else seems to have been named (Monday August 17 was a benefit show).
August 24, 1970: The Matrix, San Francisco, CA: Jerry Garcia & Howard Wales
I have a feeling that this show was the one where lots of people showed up at the Matrix to see Jerry Garcia, and Wales apparently got uncomfortable. Keep in mind that while the Dead had been on tour, KSAN and other stations would have been playing the heck out of Workingman's Dead, and interest in Garcia had probably increased exponentially.
September 7, 1970: The Matrix, San Francisco, CA: Jerry Garcia & Friends
Extensive research has suggested that this is the night Merl Saunders first played with Garcia, Kahn and Vitt. It would be a perfect touch if they hadn't rehearsed, which seems likely for a Monday night at the Matrix.
September 14, 1970: The Matrix, San Francisco, CA: Jerry Garcia & Friends
>September 20, 1970: Fillmore East, New York, NY: Grateful Dead
While not a John Kahn date per se, this is still important to the story. Garcia's old friend David Grisman had visited San Francisco in the Summer (and played on American Beauty), and Grisman and his producing partner Richard Loren came back stage to see Jerry at the Fillmore East. Grisman ended up on stage during the Dead's acoustic set, but more interestingly, Loren and Garcia had hit it off. Both Grisman and Loren would move West, and by Fall '71, Loren would become the manager of Garcia's non-Dead endeavours. Grisman, Loren and Kahn were the key participants in defining the parameters of Garcia's own music for the next 25 years.
October 12-14, 1970: The Matrix, San Francisco, CA: Jerry Garcia, Merl Saunders & Friends
Garcia, Saunders, Kahn and Vitt played a Monday through Wednesday booking at the Matrix, a clear sign that Garcia saw the group differently than the Howard Wales Monday night jam-fest.
October 19, 1970: The Matrix, San Francisco, CA: Jerry Garcia, Merl Saunders & Friends
This Monday night show was advertised in the Berkeley Barb, and hitherto we have dismissed it on the grounds that the Dead were touring the East Coast. I wouldn't be so quick to rule it out. Garcia seemed to be flying home every week, so it's possible the date was played.
October 26, 1970: The Matrix, San Francisco, CA: Jerry Garcia & Friends
This Monday night show appears to have been with Howard Wales, rather than Saunders. It was related to the recording that Garcia and Wales (and Kahn, Vitt and others) were doing for the Hooteroll album. It's not impossible the other players from the album (Curley Cooke, Ken Balzall, Martin Fiero) played this date as well.
November 2, 1970: Harding Theater, San Francisco, CA: Jerry Garcia & Friends
The Grateful Dead seem to have flown home from the East Coast for Janis Joplin's wake. Garcia was billed as a performer at this two-day benefit for the nearby Both/And jazz club (at 350 Divisader--the Harding was at 616 Divis). If Garcia played, which he very well may have, Kahn would have been on board.
November 3, 1970: The Matrix, San Francisco, CA: Jerry Garcia and Merl Saunders
December 21, 1970: Pepperland, San Rafael, CA: Grateful Dead with David Crosby/New Riders of The Purple Sage/Howard Wales/others
The last live sighting of John Kahn in 1970 is also one of the most mysterious. The Grateful Dead headlined a show at San Rafael's Pepperland (a great story in itself). A reliable eyewitness reports that among the opening acts were an acoustic duo featuring Kahn and a bluesy guitarist. I have to presume this was someone Kahn was working with in the studio, but it's a mystery as to who he might have been (Howard Wales apparently did not play).


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We are so excited to be part of the Quiltmaker's 100 Blocks Blog Tour and are proud that TWO It's Sew Emma blocks are featured, Hit the Slopes by Jocelyn Ueng and Spring Favorite by Kimberly Jolly! We had so much fun designing these blocks and are excited to show them off!
Kimberly and Jocelyn are here to introduce you to their blocks! Here is a peek at Spring Favorite by Kimberly Jolly and Hit the Slopes by Jocelyn Ueng. Their preview will have you itching to get a copy of Quiltmaker's 100 Blocks Volume 6.
Kimberly: I love quilting with 1930s prints, and Judie Rothermel fabrics can't be beat. I love traditional and simple blocks with a sweet vintage print. This block incorporates a perfect blend of flowers and 1930s. Whip up a row quilt with Spring Favorite, you can plant a row of flowers with a beautiful vintage look.
Jocelyn: I am so thrilled to have Hit the Slopes included in 100 Blocks! I was even more thrilled when I saw the newest issue at Market last week, and it was on the cover! That is craziness!
I was inspired by Kate Spain's Joy fabric, which is so fresh and happy, to do something outdoorsy and contemporary. I wound up with this fun jagged block, which reminds me of gorgeous mountains layered thickly with fresh snow, ready for some ski action. As much as I love this block by itself, I am imagining it in a table runner or a wall hanging in time for Winter… time to get back to the drawing board!
Thanks to Quiltmaker for selecting our blocks to be in 100 Blocks Volume 6! Be sure to head over to their blog to see a full list of the bloggers and stop by to see their fabulous blocks!
As for the giveaway, we are giving away three copies of 100 Blocks Volume 6 to our Jolly Jabber readers! For a chance to win leave a comment below letting us know what new collections you would use for Spring Favorite and Hit the Slopes! Contest closes Monday 11/12. Good luck!


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The Lake of Dreams
Kim Edwards
The Lake of Dreams is the second novel from Kim Edwards, author of the acclaimed The Memory Keeper's Daughter and is a delicate exploration of family dynamics and histories. Lucy Jarrett returns home after many years absence to a changed place.
Still haunted by her father's death a decade ago and unable to reconcile herself between home-life and independence, Lucy begins to question her desires and her choices. A chance discovery of some letters and a collection of stained glass windows soon sets Lucy on a journey to reveal the truth behind her family's history and she is forced to make decisions about the direction of her life and those around her.
The story is occasionally a little slow moving, but The Lake of Dreams is a vibrant and beautiful book and Edwards creates a charming and captivating world. The characters are handled with a tender empathy and though Lucy Jarratt is sometimes a petulant and disagreeable protagonist, it is Edwards' honest portrayals of human relationships that make this novel an evocative and emotional read.
Bryony Byrne


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Genuine antique Victorian tiles, handmade and hand-colored by 19th century artisans, were not merely installations but also works of art in both exterior and interior spaces. Geometric, floral and mosaic were in vogue, patterns that have long surpassed their origins in the Victorian epoch from 1830 to 1901. Emerging from the gothic revival and Romantic movements, geometric motifs have been recreated through various periods in history. Octagonal floor tiles began on Victorian flooring in bathrooms, fireplace hearths, porches and kitchens. Design trendsetters have continued to utilize squares, hexagons, octagons, triangles, and rectangles in newer hues, silhouettes and finishes.
A hugely popular design of octagonal floor tiles through time is the octagon and dot scheme. The classic Victorian pattern is also highly favored by designers for wall tiles because it can look either understated or on point in its simplicity. This geometric style gets its name from the small dot of a diamond formed by joining four diagonal sides, made to be small, from four separate octagons. Blue and white had been the color palette of choice, brought on the invention of new printing technology. It has reappeared as white octagons with black or white dots in contemporary residences at present.
Art nouveau during the Edwardian age later reworked geometric designs into natural hues and figures that octagons and dots were fitted into floral motifs in classic English abodes. Colonial and heritage houses in the Americas absorbed geometric as well as Old World Spanish styles and again they turned up in pre-war buildings in the New World. During the Roaring '20s, they were dressed in warm earth colors to complement traditional hardwood trimmings while in the '30s were given vintage Hollywood chrome, metal and more glossy surfaces along with sunburst designs. These decades gave birth to the art deco movement, still a significant champion of geometric patterns.
Although octagonal floor tiles took a break in the '40s and '50s, they resurfaced in orange and lime green bathroom and shower floors in the '70s. Geometric tiles stayed for the coffee and tan kitchen and foyer floors of the '80s and remain today in restored Victorian, colonial, vintage, retro and contemporary abodes. From big names in tiling like American Olean, Roto Zip, Pergo and HR Johnson came surfaces like matte, glass, encaustic, stone, textured, mosaic, satin and glossy. Octagon and dot tiles are now built from such materials as travertine, slate, vitrified clay, stone, terracotta, quarry, granite, sandstone, porcelain, ceramic, limestone, glass and marble.


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Applications, procedures, and guidelines are available in the Borough Assessor's Office at: 907 Terminal Street, Fairbanks, AK 99701. You may also call 907-459-1428.
Show All Answers
Real property means land and improvements, all possessory rights and privileges appurtenant to the property, and includes personal property affixed to the land or improvements (AS 29.71.800).
Real Property Tax Bills and Mortgage Notices are prepared and mailed by the Fairbanks North Star Borough, Treasury and Budget Division on or before July 1st of each year.
You have the option of paying the taxes in full upon receipt of the tax bill on July 1st. The first half installment is due on the first business day in September. The second half installment is due on the first business day in November.
You can view your account information via the Property Database Search Pages or you can call the Treasury and Budget Division at 907-459-1441. For payments made after the due dates, please call the Treasury and Budget Division for the correct amount.
Yes, the Fairbanks North Star Borough offers electronic payment via credit card and e-check. The Borough offers these forms of electronic payment options to provide additional choice and convenience to customers making payment on real property taxes. If using either one of these methods be sure you have your parcel account number(s) (PAN) and the amount you are paying available to complete the transaction.
The credit card payment option will charge the taxpayer a third party convenience fee of approximately 3.45% of the amount paid and will be available through the internet or by phone. If you wish to pay by credit card by phone, you will need to call 800-272-9829 and enter Jurisdiction Code 1206 when prompted.
E-check is also available through a third party and subject to a $1.85 convenience fee.
For payments over $10,000.00, the convenience fee is $15.00.
Please note that e-checks are not an acceptable form of "guaranteed funds" for tax foreclosure properties.
Make checks, money orders, cashier checks, or traveler's checks payable toFairbanks North Star Borough (FNSB)P.O. Box 71320Fairbanks, AK 99707
Note: Please provide a payment stub or parcel account number (PAN) when making payment to ensure payment is applied to the proper account.
If your property taxes are delinquent you will be charged up to a 5% penalty and an annual simple interest rate of 8% on the taxes due. If a delinquency continues beyond the normal collection period, your tax account could incur additional fees such as advertising fees, legal fees, and administration costs.
Confirmation from website dated by 11:45 pm. AST on or before the due date. Envelope postmarked by the U.S. Post Office by 11:59 pm on or before the due date. Cash register receipt/Treasury date stamp received in person by 5 pm on or before the due date. Note: If the due date falls on a weekend or holiday, the due date is the next business day.
Real property taxes are due and payable as billed even if you have filed an appeal on the assessed value of your property. A refund will be made, if appropriate, after the resolution of your appeal.
Yes, payments may be made after the due date, however the amount will increase as additional interest, penalty or delinquent/foreclosure fees accrue.
Yes, but the exact amount will not be known until after the Borough Assembly has established the mill levy for that year.
Credit balances are automatically refunded for all real property tax account refunds. Process time will vary due to the volume of overpayments. If you would like your overpayment applied to the next year's taxes or to another tax account, you can fax a letter requesting the transfer to 907-459-1449 or send an email to the Tax Office.
Taxpayers who have arranged for their payments to be made through their mortgage company will receive a Tax Notice rather than a Tax Bill. It is the property owner's responsibility to ensure their mortgage company pays their taxes timely each year. Escrow contracts are between the property owner and the mortgage company. The Borough is not responsible for ensuring your bank pays, however you may call our office or check online (the Property Database Search Pages) to see if your taxes have been paid.
Address changes are processed by the Borough Assessor's Office at907 Terminal StreetFairbanks, AK 99701
You can also call 907-459-1428 or fax a request to 907-459-1416.
Real property taxes are billed on a calendar year basis (January through December).
The Borough places a lien against your property for the amount of taxes owed. The lien includes any interest, penalties, and administrative costs charged due to lack of payment.
A lien is a judgment against the property that can be collected by foreclosure and sale of the property.
Foreclosure properties will be either sold at public auction or retained for a public purpose. For more information on the tax foreclosure process, tax liens, and tax-deeded property, visit Tax Foreclosure Information or contact Tax Foreclosure in the Treasury and Budget Division at 907-459-1240.
Payment will be reversed off of the account back to the effective date of the payment. The tax billing system will automatically apply any penalty, interest, and costs as if the payment was never made. An additional $30 will be added for the returned check fee.
Call the Borough Assessors' Office at 907-459-1428 for all ownership and address changes.
It is the property owner's responsibility to ensure their taxes are paid timely each year. Failure to receive a tax bill does not relieve the taxpayer of responsibility for timely payment or constitute cause for cancellation.
For additional assessing information call 907-459-1428. For additional tax information call 907-459-1441. Questions unable to be answered by local officials may be directed to the Department of Community and Economic Development, Office of the State Assessor at the following addressState Assessor DCED/DCBD550 W 7th AvenueSuite 1790Anchorage, AK 99501
Call the Department of Community and Economic Development, Office of the State Assessor at 907-269-4605.


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WASHINGTON — A not-so-small miracle is unfolding before our eyes. After nearly two decades in which established opinion insisted that it would never again be possible to pass sensible regulations of firearms, the unthinkable is on the verge of happening.
This week, Sen. Patrick Leahy, the chairman of the Senate Judiciary Committee, is expected to announce plans to start marking up gun bills to send to the Senate floor, proposals that will include ideas put before the country by President Obama and Vice President Biden. The president's agenda, in turn, was inspired by advocates and legislators, mayors and police chiefs, who have been working quietly in the wilderness for years.
Told over and over again that members of both parties were forever destined to do the National Rifle Association's bidding, these supporters of thoroughly moderate and reasonable weapons measures never gave up and never surrendered. Their time has come.
Behind the miracle, of course, lies the profound tragedy at Sandy Hook Elementary School and the loss of "26 beautiful lives," as Lynn McDonnell, mother of 7-year-old Grace McDonnell, one of those beautiful lives, put it at a conference in Connecticut last week.
But sad as it is to say, many other lives had been lost before in mass shootings and Congress and the president just went about their business. Why was Newtown the last straw?
There was, above all, the sheer horror of all those children killed. You sensed that something snapped that day in the minds of millions of Americans. At that moment, they were done with powerlessness and inertia.
The change in the president's political situation mattered, too. Unfortunately, he had been unwilling before the 2012 election to speak out boldly on guns. The Newtown killings galvanized him.
The fact that he and Biden have refused to let the issue fade away has also made a difference. Once it became clear that neither they nor anyone else on the side of gun sanity would be intimidated by the NRA, the bullies were revealed for what they are and their punch was shown to be far less formidable than their threats.
Suddenly, Americans in large numbers (and the media, too) started noticing how extreme, even wacky, the rhetoric of the gun manufacturers' lobby has become. Their talk about representing the "real America" was exposed as a fraud: "Real" Americans don't resist pragmatic solutions to the problems of mass violence.
Oh, yes, and it was also finally noticed that a majority of Americans doesn't own guns, that gun ownership has dropped over time, and that this real majority does not want to be forced to live in a world in which everyone is terrorized into buying a weapon.
The hollowness of the arm-everyone crowd's "arguments" has been laid out for all to see. Why, pray, would law-abiding gun owners have any problem with universal background checks? Why does anyone need those big gun magazines? Should the desire of a small minority of Americans to own them really trump the safety of everyone else, including schoolchildren? Why should we allow "straw purchasers" of guns to flout the purpose of gun laws? What could possibly be wrong with laws against gun trafficking? To ask such questions is to answer them.
There is a distance to go. Astonishingly, there may not be the votes to enact an assault weapons ban that once won broad bipartisan support. The NRA still seems to have the clout to persuade senators from rural states that prohibiting the sale of such instruments of large-scale killing would be a basic threat to American liberties.
And if the Senate does approve a robust package of gun bills (with or without the assault weapons ban), will House Speaker John Boehner be pressured into bottling them up and preventing a vote?
Here is where suburban Republicans will be put to the test. Already, some in their ranks, including Reps. Peter King and Michael Grimm of New York and Michael Fitzpatrick of Pennsylvania, have spoken for action. The message needs to be sent from the nation's bedroom communities: A GOP under the control of the NRA is not an acceptable option for moms and dads who want their kids protected from violence. Tax cuts don't matter if your kids aren't safe.
It is amazing what can happen when an empty ideology is confronted by an insistent band of problem solvers — and when political fear gives way to a fierce determination.
E.J. Dionne's email address is firstname.lastname@example.com.
© 2013, Washington Post Writers Group
AP Photo: Jessica Hill


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Crystals for the Crown Chakra
Crystals For The Crown Chakra
The crown chakra is the place of our minds. It is our gateway to the expanded universe beyond our bodies. It controls how we think, and how we respond to the world around us. It connects us to the higher planes of existence and extends our energy beyond our body. When in balance and not blocked, we feel in balance, flexible, we see things as they are, and are not fazed by setbacks. However, if it is blocked or not in balance you can feel uncoordinated, clumsy, uninspired, and generally out of sorts with life. If you have been feeling unsure of who you are or why you even exist, your crown chakra could be out of balance. There is no need to worry though as violet colored crystals can help bring you back to your center.
At the onset of the darkness of winter, the oranges and reds of autumn give way to the deeper winter tones of violet and blue. The skies are darker with less sunshine; the earth takes on the darker hue of winter's majesty. Violet crystals have the universal life force of magic, dreams, inspiration, and destiny. A variety of therapies are necessary for treating crown chakra balance problems. In addition to violet crystal healing, spend time dreaming and working on coordination by doing such things as Yoga.
Use Violet Crystals
Violet Crystals Bring You Intuition, Magic, Dreams, and Imagination
Like the sleepy, misty time of year that produces its rays, violet is the color ray of intuition, dreams, nobility, and luxury. As the color ray of influence that begins the cycle of life once again, violet is one of the most powerful rays in nature. It inspires awe, and invites a feeling of mystery and magic, reminiscent of the mystery and magic of life's rejuvenation and renewal. Violet color rays are powerful aids in interpreting our dreams, inspiring us to great deeds and accomplishments, and putting the magic back in our lives and relationships.
Vibrant hues of violet can be found in Eudialyte. Eudialyte is used to focus and amplify the Universal Life Force to bring you energy and power as you begin a new project that moves you closer to your dreams and aspirations. It will help you find your path to your goals. It will give you the energy to succeed and it will inspire your spirit. Eudialyte is a stone of understanding. It is used to connect your conscious mind to your unconscious mind to allow you to understand your true desires and needs. Use violet Eudialyte to restore the balance in your spirit energy of the crown chakra particularly when the blockage is the inability to dream or understand your dreams.
When thinking of various violet colored crystals, nothing comes to mind faster than Amethyst, a popular stone for thousands of years. The amethyst ray of vision helps us see into our souls and ourselves. The admonishment know thyself is profound advice. Amethyst can help you see yourself as you actually are and it helps you understand how others see you. It is especially supportive of the emotional body, bringing those who are overworked, overstressed, or overwhelmed back to center. It eases the mental anxieties that lead to physical tension and headaches, and is a great crystal to calm those who tend to be hot-headed and easily angered.
Violet colored Eudialyte has fire energy and is used in the south area of a home or room. Fire elemental energy is the energy of enthusiasm, warmth, brightness, illumination and activity. It is Yang in nature.
What Authors Say About Crystals
Judy Hall suggests Charoite…
Charoite stimulates inner vision and spiritual insight and aids in coping with enormous change at a spiritual level. To facilitate this, it synthesizes the heart and crown chakras.
Cassandra Eason recommends Okenite…
Called the crystal snowball, because it resembles fuzzy mini snowballs, this is an Earth Mother stone that forms the bridge between earthly and cosmic energies. It is recommended for use with the crown chakra.
Robert Simmons advocates Selenite…
Selenite links easily with the Soul Star chakra above the crown, drawing one's higher-self or higher awareness into the consciousness of the everyday self in a way that is almost effortless.
When our crown chakra is out of balance it can cause us to become clumsy, uncoordinated, and out of sorts with life. When in balance our crown chakra provides a sense of harmony and balance to our lives. We are sure of ourselves and confident in the way we approach things. If you believe your crown chakra is blocked or out of balance we suggest meditating with a violet colored crystal over your forehead. In particular we feel that Eudialyte and Amethyst would be most beneficial. You can also try crystals other authors have recommended such as Charoite, Okenite, and Selenite.


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Once you complete the search form below, we submit your request to pre-screened Norwegian Addiction therapists in Spain matching your search criteria.
Find a Norwegian Addiction therapist in Spain. We pre-screen all therapists and psychologists listed with us, validate their license information when applicable, and review their listings once a year.
All Norwegian Addiction therapists in Spain are encouraged to request a free directory listing on our site.


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Volunteer editor tasks
This page is may need to be merged with other page(s) including Elinux issues. Please help to merge the articles, or discuss the issue on the talk page. |
Hi there! I assume you have come to this page because you want to help edit the embedded Linux wiki. Thanks for your interest. Depending on your skill level and available time, there are a number of different things you can do to support this site. These include:
- Reviewing material
- Adding new material or links to the site
- Organizing existing material on the site
- Working on Special projects
Please see the sections below for information about how to do these things.
By working together, we can create a great resource for all of us!
Abstract items
Reviewing articles
Flagging material that needs review
One important thing you can do is to mark articles that need attention. This can be deficiencies in style, content or just out of date material. It may be because of a broken link, missing attachment, or some other problem.
If you see something that needs work, and don't know how to fix it yourself, please add a comment to the discussion page for the article. This is helpful for those watching the page, to know what the issues are with the page. To mark a whole page as needing editing help, add the NeedsEditing category tag to the page. To do this, edit the page, and add the following text at the bottom: [[Category:NeedsEditing]]. You can look at the bottom of this page for an example:
A list of pages that have been flagged as needing editing is at: Category:NeedsEditing
Alternatively, you can just add the page name, with a description of the problem, to the elinux issues page.
Marking obsolete information
You can also mark material that is obsolete by adding the tag [[Category:ObsoleteInfo]] to the page.
A list of pages that have been flagged as obsolete is at: Category:ObsoleteInfo
Adding new material
If you know of something related to a topic discussed in an article, and it is not covered (or covered adequately) by the article, please feel free to add the information yourself. See Help:Editing for information about the basics of editing an article, as well as help and examples of MediaWiki markup (the formatting language used to write and edit the articles).
Organizing existing material
One of the most important things you can do on a wiki is to help with the organization of the site. Because there are numerous individual contributors to a wiki, most wikis have a tendency to grow out in different directions over time. To help people find material on the wiki, even if it hasn't been placed originally in the most obvious place, it is good to add links between articles, and to put articles into categories.
Adding links between articles
To add a link to an article from another article on the site, just put it's name in double-brackets in the article you wish to create the link in. If you want, you can add explanatory text for why the two articles are linked, but often, the article text itself will provide enough context for the link.
Linking orphaned articles
A lot of content have been moved to this site from other locations (like the CELF wiki), or has fallen into dis-repair. There are, unfortunately, a number of pages which don't have any other pages linking to them. This is referred to as being "orphaned". It would be very valuable add links to these orphans to the appropriate areas of the site.
The list of orphans is available at Orphaned Pages To link one of these, look at the content, then browse through the wiki and find a place to link it to, and just add the link.
Adding Category tags
The MediaWiki system uses the notion of Categories to group related articles together. A user looking for information on a particular topic can look at the category page, and see all the articles which have been flagged as relating that that topic.
To add a Category tag to a article (which adds that article to the Category), just place the text [[Category:{Name}]] to the bottom of an article. (where Name is the name of the category.)
The list of categories supported on this site is at Special:Categories. Try to use an existing category if you can, or add a new category if one does not exist, but there are multiple articles which you think are logically related to each other or a general topic.
Special (Concrete) Projects
There are a number of special projects that we want to pursue for the site. Some examples of these are:
- creating and populating the elinux issues page.
- This page will have a raw list of issues that need to be fixed, based on feedback from various sources
- Building a comprehensive list of known embedded Linux-based products
- See Products and Talk:Products
- Building a comprehensive list of embedded Linux development boards (with links to support information)
- Monthly articles on special topics of interest to embedded developers
- Interviews with leading embedded Linux developers
- Collecting links to ALL previously published talks, presentations, and papers on embedded Linux topics
- (also known as the "big sweep" project)
Topic-by-Topic Review
This project will consists of moving through the wiki topic-by-topic and doing a general cleanup of all the pages in that topic. This will involve most of the abstract activities above (such as removing or marking as deprecated obsolete material, re-organizing the pages, and trying to update pages with the latest information and projects in that particular topic area.
Please see the Topic-by-topic Review page for more information.
percent done: 0%
Video Transcription Project
This project consts of adding a transcript for each video from a recent talk about embedded Linux. This will make the talk content easier to review and search for concepts from.
Please see the Video transcription project page for more information.
percent done: 0%
If you are interested in helping with one of these projects, see the page describing that project (or contact Bill Traynor or Tim Bird directly).


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Last Update on July 10, 2021
Generally, there are two reasons for return:
We are certain that you will adore your Vakkerlighting order when it arrives, but if you don't for any reason, please just drop us a quick line via our contact us page or just reply the shipping update emails and we will make it right.
Order confirmation and shipping confirmation will be sent to your registered email or mobile number.
The order confirmation will be sent right after you have placed the order through to your email address or mobile number you have registered when you place the order.
And the shipping confirmation will be sent within 2-7days after you receive the order confirmation through to your email address or mobile number you have registered when you place the order.
If you haven't received one of the confirmation emails above, please contact us to "firstname.lastname@example.com".
Eligible partial/full refund & replacement
- Any item not in its original condition, which means damaged or missing parts for reasons not due to our error. - Any item is different from the item's description. - Any item returned to the sender without being delivered. - Any item hasn't been delivered within 90days.
All the cases above will be eligible for the partial/full refund and replacement. Not Refundable Gift cards
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Order Cancellation Cancelling orders is only possible within 4hours after order confirmation. After this time, we cannot provide a refund. (Sometimes, if the order hasn't been shipped, we may available to cancel your order, so please contact us if you haven't received the shipment confirmation.)
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Our policy lasts 14 days. If 14 days have gone by since you have received your item according to your tracking number, unfortunately, we can't offer you a refund or exchange. You must reach out with an inquiry within this time window to be eligible for a return or exchange. To be eligible for a return, your item must be unused and in the same condition that you received it. It must also be in the original packaging.
Our Returns Process
Step 0: Read our return policy above to determine whether your order qualifies to be refunded/returned. Step 1: Submit an inquiry including your reason for return at firstname.lastname@example.com
Step 2: We confirm the refund amount you qualify for depending on your reason for return and items in your order. Step 3: We provide the return address and shipment labelling instructions. If you do not follow our instructions, we cannot give you your refund. Step 4: You ship the item at your own cost. We do not cover the cost of return shipping or provide pre-paid labels. Please print out your order confirmation email and include it in the returning package. Step 5: Notify us via email that you have sent your return and provide us with your tracking number if applicable.
Step 6: We will process your return within 3-5 business days of receiving your returned items.
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< Features
Simplified Text UI
The current text UI in the installer is difficult to improve and extend as we add features to the GUI. We really don't want to be maintaining two complicated UIs.
- Name: Chris Lumens <firstname.lastname@example.com>
Current status
- Targeted release: Fedora 11
- Last updated: 2009-04-17
- Percentage of completion: 100% - Code is merged, known bugs fixed.
Detailed Description
What do I mean by "simplifying text mode"?
- Text mode is not going away, contrary to what you might have heard.
- I have removed many of the more complicated parts of the UI, turning text mode into the truly minimal install experience that a lot of people have asked for. You get a package set that's small but still able to install updates and new packages. You get the initial partitioning screen (choose your disks and handwaving layout) but not the second screen.
- We more strongly suggest VNC or xdriver=vesa, but text is still there if you want and still as a fallback should the graphical installer fail to start. Maybe that last bit should be changed.
- For kickstart, there is an additional wrinkle. If you don't leave anything out of your kickstart file, it'll work just like always. However if you do leave a section out (like %packages), anaconda stops and prompts for input. This works fine for some steps, but not for the ones we've removed from text mode. So if you leave out the %packages section, anaconda will crash because there's no longer a package selection step in the UI. I believe we should halt and error out on these sorts of problems, but that we should also detect that information is missing from the kickstart file very early on and halt before doing anything permanent. pykickstart gives us the power to do that.
There was an updates image that can be used with anaconda to see the current state of the simplified text mode (it was accessed via):
updates=http://clumens.fedorapeople.org/notext.img text
But the current (as of 3/16/09) anaconda has merged the changes from this image, so it is not available anymore.
Benefit to Fedora
Currently the text UI is a place where a lot of bugs and unwanted situations have the potential to occur. A direct benefit to fedora is the reduction of the anaconda code base (less is more). Moreover it gives the anaconda development team a change to concentrate on the anaconda backend and the graphical GUI.
- Text mode and graphical mode are completely separate codebases as far as the interface is concerned. We don't have some magic interface language that can display under both modes. What this means is that anything we add to the graphical mode needs to be coded up again a second time for text mode.
- Text mode only supports a subset of the graphical mode's features. For instance, you can't do LVM in text mode. Nor can you do encrypted filesystems, resizable filesystems, add repos, or edit repos. This situation is only going to get worse over time. Why is this the case? First, because it involves duplicating all the tedious work of writing a UI and no one wants to do that. Second, the screen real estate on the console is quite limited and things like LVM just don't fit in the space available.
- We already have alternate install modes available. You can do automatic installs via kickstart, or you can use VNC.
- If the graphical installer doesn't work, the fix is not to have a completely different path to go down. The fix is to fix graphical installs. Having said this, we still do have work arounds possible. You can always add xdriver=vesa as a boot parameter if the normal driver for your card doesn't work under X. My latest patch to the list makes it more obvious that you can do this.
All the code for this is in anaconda. No other packages should be affected, unless some minor changes are required to pykickstart as well. But that's okay, because I maintain that package too.
Test Plan
There is no formal test plan, aside from doing regular text-mode installs both interactively and through kickstart and verifying there are no crashes. I'd say the installation test matrix will need the following changes:
- Test kickstart files that are missing %packages or partitioning, verify that anaconda detects the problem beforehand and halts.
- Test interactive kickstart installs, verify that anaconda skips the steps that are no longer in text mode but still applies those portions of the kickstart file. That is, there should be no package selection UI but the contents of the %packages section in the kickstart file should still be installed. Verify with rpm post-install.
We have already had one test day which came up with a few important problems:
User Experience
The user should first notice that they are being steered away from text installs mode installs. The CD/DVD boot menu no longer has a text option. If you boot into text mode, you get a dialog early on asking if you want to do a VNC install instead.
If the user is really motivated to do a text install and gets past those obstacles, they'll then see that the text install has vastly fewer steps than it used to and that the remaining steps are not the complicated ones. Basically, the experience has been simplified down to where anaconda provides a minimally useful system that can be further customized after installation is over.
The kickstart user will see few changes, except that there will be fewer steps to see in interactive installs. All the progress bars, notifications, etc. are still present.
None that I know of.
Contingency Plan
This work is being done on a separate branch of anaconda and is being tested through an updates.img. Should it not be done in time for the release or fatal bugs be found, we can simply not merge the branch and continue working on it for the next release.
The following documents will need to be changed:
- http://docs.fedoraproject.org/install-guide/
- http://fedoraproject.org/wiki/Anaconda/Kickstart
- http://fedoraproject.org/wiki/Anaconda/Options
Release Notes
- Draft is up at Documentation Beats Installer