text:
CMYK (for Those Who Do RGB)February 11, 2005
Whether you just quit your job to pursue your dreams, or you've simply had a request from a long-time client, sooner or later you're going to have to design a set of business cards or letterheads or something else that ultimately forces a trip to the printing press.
Since web geeks think in pixels and RGB, it's a daunting new world to head into unequipped. Over the years across quite a few print jobs by now, I've had to learn by trial and error. As someone used to thinking in RGB, I've looked high and low for a good resource to turn to for help in converting that knowledge to CMYK. This may not be that resource, but I figure I've amassed at least the beginnings of a how-to on the subject. Consider it non-authoritative, but hopefully useful. Most of the knowledge contained within applies to Photoshop, mainly because I've had the most trouble with it.
CMYK vs RGB
First, the basics. For anyone who hasn't owned a printer in the past decade, CMYK, or Cyan Magenta Yellow Black, refers to the colour of inks used in the printing process. CMYK inks combine in proportions to form solid colours; Yellow and Magenta with a bit of Black form a dark maroon, for example. But there are some major differences between the RGB colour model your computer display uses and the CMYK process many printing presses use, and that's where the first point of confusion often comes in.
Rule Number One, above all else in print, is that what you see on paper will not look like what you have on screen. With tweaking it may be possible to bring the two closer in line, but suffice it to say that when first printing out your work there's a very good chance you'll find yourself horrified at the outcome. Never trust what you see on screen.
CMYK isn't the final word in ink choice, it just happens to be fairly common. For business cards in particular, another potential choice is spot colour. No one says you have to print full colour, and thus use four inks. Effective business cards often use two or three, and the reason is simple: it can be quite a bit cheaper. But pulling out any of the three from the CMYK combination will produce ugly results, so spot makes use of solid coloured inks that span a wide range outside of what your standard CMYK combination is capable of. And specialized spot colours like metallic and neon shades are possible as well.
Of course, you can use more than four spot colours, and potentially combine spot and CMYK in the same printing, but once you start ranging into complicated print jobs the labour involved in producing them — and thus your final cost — quickly increases.
To further complicate things, CMYK can be printed digitally or on an offset press. The latter is a traditional printing press that requires a plate to be created for each colour of ink that prints. For CMYK, that means each of the four inks must be separated into its own plate and printed individually. As you might imagine, printing this way is more expensive due to the labour involved in creating the four plates, or separations as they're known. A digital press, on the other hand, is more or less simply a colour laser printer. It may be a touch more expensive than your garden-variety office colour laser, but the output is pretty much the same. Printing digitally is generally cheaper.
Colour Management
Alright, next up — once you've chosen your inks, how in the world do you work with the colours on an RGB screen? This is where I've been stuck for years, and I'm still not sure I have a solid handle on it, but it's worth passing on what I know (and following the comments on this article for advice from those who know better).
Note: if you haven't mastered the curves, levels, and channels of Photoshop, now's the time to brush up because you're going to need them (the linked articles are the first respective results I could find on Google; they barely scratch the surface, you'll want to keep digging).
First of all, we've established that an on-screen colour will not look the same printed. Again, there are major differences between RGB and CMYK, or more specifically, light-based colour and ink-based colour, that prevent this from ever being possible.
Colour management is a deep and complex science, and the best coping strategy I've found so far is to try and work around it. Pantone, which you have probably heard of, is one of a number of colour-matching systems that basically gives you a palette of numbered, pre-printed swatches to choose from that accurately represent the final colour.
The advantage is that if you use that exact Pantone number, on that exact paper, you know exactly what you're going to get. It won't look the same on-screen of course, and your software has to support it (in Photoshop for example, when you have the colour picker dialogue open, hit the 'Custom' button to get a list of different colour-matching systems and their various palettes).
The disadvantage is that you won't likely have your own set of printed swatches. An official set is pricey — a few hundred local currency for what is essentially a chunk of ink samples. You can pick up cheaper books off the shelf of your local art book store that are more approximations than accurate matches. Ideally though, your print shop will have a set on hand. If you're able to make a trip first to go pick your palette ahead of time, you can save a lot of effort later.
Working With Process/CMYK
Colour matching systems work best in conjunction with flat colour and pre-defined gradients, so the text and vector output from Illustrator or InDesign, for example, is a great use case. But what if you're working with heavily photographic material and don't have that luxury? Start throwing in overlays and other forms of colour variance, and you're going to quickly run into problems that Pantone won't help. Without having direct access to the final output device, you'll want to minimize test runs at the print shop to keep costs down (and avoid going back and forth to proof them) so you need to know ahead of time what you're up against.
If you're printing digitally, fortunately proofing is relatively simple — you have a colour printer, right? Inkjet or otherwise, these days you don't even need a high-quality printer. A $50 special at the local hardware store is more than enough. The trick is that you're not looking for high-end, ultra-accurate results; you're looking for a rough approximation to see how much the colour is going to shift on you.
What I do is build my file in RGB from start to finish, and just before I'm about to print, I save a copy of the file and convert it to CMYK, then print that. If it's a first shot, the proof will come out shockingly ugly and muddy, which means I'm on the right track. Again, this is just a rough approximation of the final colour, but it will give you a good idea of how far off the mark you are. Alternatively, Photoshop has a 'Proof Colors' setting (Ctrl + Y or Cmd + Y) which can apply the current CMYK profile and soft proof what it will look like on paper, but it generally won't shift as much as an actual print will.
Now this is where the fun starts. How do you take that horrible output and get it to match the prefect vision you have in mind (and just finished creating on-screen)? Adjustments, and lots of them. You can either go back to the RGB original and adjust elements there, knowing what you now know about the final output, or you can work directly on a CMYK copy.
What do you adjust? It depends on the output. If your blues are blowing out to a bright ugly green, it might be wise to back off the yellow and boost the black. If your reds are too grey, it's worth toning down the black and bump up the magenta. How do you adjust? Again, this is where channels come in handy. I've had luck going back to the RGB file and lightening everything globally to tone down the black. For major 4-colour corrections it's often worth it to flatten and save a copy of the file, converted to CMYK (Image -> Mode -> CMYK Color), and then apply curves or levels to each of the individual ink channels. I prefer levels for most operations, but more print-aware people will probably steer you to curves. Some selective masking to adjust the more problematic areas is often required as well.
Placing some superfluous bars of colour in the margins before you print can help cut down on the colour checks. If you know ahead of time which colours will be problematic, you can provide a range of tonal variations, mixing in varying proportions of ink. After a test run, assuming you're in the right ballpark, you simply choose a better colour from the test strip and be done with it. Doing this cuts down on the printer runs trying to nail down the precise shade.
At some point though, you'll have to get a proof from the print shop, to see how far off you were and to have a reference for further adjustment, if necessary. Printing digitally, this isn't much of a problem — they don't need to do much more than drop your file into their template and send it through the printer. Expect to have to come back later to view the result though, since they won't drop everything to get your proof done.
Printing offset on the other hand, is a bit different. Unless you have the ability to create separations yourself, which you probably shouldn't be doing anyway, the print shop will need to spend a bit more energy outputting those and running a proof. As far as I'm aware, the machine needs to be fully inked to print them too, so at this point the proof is what you're going to get, barring any unforeseen disasters. It's costlier to back out and make corrections at this point, although still possible.
Now, assuming your inkjet printer proved up to the task and the trial press run isn't too far off what you were expecting, you should be ready to give the go-ahead at this stage. If you're still not satisfied, you'll have a guide to compare against the proofs you created earlier. You'll be able to pick up spots that have changed dramatically between the two proofs, and assuming you can tell why they've shifted (basic colour theory applies here — yellow and cyan make green, red and yellow make orange, anything and black makes dingy brown or purple) you can adjust to suit. There's a certain amount of guesswork still, but armed with your set of proofs you have an effective tool for comparison, which you can use to squash all but the subtlest of colour shifts.
Working With Spot
Let's say you've decided to use spot colour, you've picked your Pantones, and now you're ready to design. What next? Now you have to start thinking in limited colours, and your software is going to play a big role; nothing you know about CMYK translates to spot. My experience is limited to Photoshop and Illustrator, but there's a relatively easy method of pulling off spot in each.
In Illustrator, create new swatches for your custom colours by clicking on the arrow in the swatch palette and hitting 'New Swatch'. In the options menu, choose 'Spot' as your colour type and adjust the sliders to approximate your colour choice. Repeat for each ink, and you now have a set of spot colours to work with. Use them as solids, adjust their opacity, or mix them together in gradients; as long as you stick to this set, your Illustrator artwork will be set up properly for the print job. Technically they don't even have to be the same colour as your final output either. Because each separation is printed as a greyscale version of the colour channel, it's unaware of any actual hue; the Pantone you choose is what actually gets printed, not the on-screen preview.
Working with spot in Photoshop is a bit less straightforward. Essentially, you need to think of each ink channel as its own independent mask, and consider the limitations that come with that. Layers are out, for example, which also makes text uneditable; building a file this way is tedious at best.
First, to understand how Photoshop works with spot. Open a photograph and convert it to CMYK (Image -> Mode -> CMYK Color), then go into the channels palette and drag one of the channels to the trash can at the bottom of the palette. Instant spot! You can view each individual channel in greyscale by making sure it's the only one with the little visible eye icon next to it, or view them all as a blended preview of what they look like combined by enabling all eye icons.
Given your subject matter though, it's probably none too attractive at this point. You'll want to adjust the ink colours, which you can do by double-clicking on any channel (the 'Solidity' option is for your monitor only, it won't affect the printed output). If you create a new channel while working in spot mode, it defaults to an Alpha channel, which you can then change to a spot channel by again double clicking, and selecting the appropriate radio button. Or just hit the arrow at the top of the Channels palette and create a 'New Spot Channel'.
Now what you'll want to do is devise a strategy to build up each of your ink channels. Rather than working on a composite whole and selecting colours for each new item, you mix your colours by adjusting the ink proportions in various channels. Darker means more ink, lighter means less.
It's a completely different way of interacting with Photoshop. Aside from layers, many of the usual tools are available to you when working in spot mode, and if you've spent time developing advanced masking skills you can adapt that knowledge and feel right at home. Otherwise, the least elegant way to work — but perhaps easiest to manipulate — is to build a set of greyscale files, one for each ink channel. Layers and editable text are usuable, but any areas that require more than one colour would need to be duplicated across both files, which makes editing tedious. You lose the ability to preview the combined channels though; the only way to get that back is to save a flattened copy of each greyscale file, then combine each in a new spot file, one channel at a time. Tedious!
Proofing spot colour is actually fairly simple; you know which Pantone colours you've chosen, so you can roughly match those in Illustrator's colour picker. Make sure to print a test strip of your swatch to make sure you're getting an accurate picture of the shift between the solid colours on screen and those on paper. Proofing in Photoshop is usually slightly more difficult due to the relative complexity of the subject matter compared to what you might be proofing in Illustrator, but the same process applies — make sure to print test swatches, keep your Pantones firmly in mind, and all but the most subtle of blends should be predictable.
Monitor Profiles
Finally, I'd be remiss to point out that there are advanced colour matching systems (both hardware and software) which have been developed specifically for the purpose of colour matching between screen and printer. Should you care? Probably not — they may save time for those spending a large part of their day thinking in CMYK, but for simple jobs where the basic concept of working with CMYK causes enough doubt to spur this article, it's likely they're overkill.
One thing that might be relevant though is the Monitor Profile your software uses. For general RGB work it's best to turn off colour management; for printed work, the software needs to somehow interpret CMYK on-screen. There are colour profiles for different types of paper which depend on your geographical region; North America uses SWOP, for example.
Aside from accuracy in CMYK mode, the most useful function of having an accurate CMYK profile is the out-of-gamut warning you can pull up in Photoshop when working in RGB mode. By hitting Ctrl + Shift + Y or Cmd + Shift + Y to toggle on and off the warning, you get a layer of grey indicating spots in the file that are out of the CMYK colour range and most likely to shift dramatically. Simply by knowing these areas in advance, you have a map of which areas in your image need the most coddling, and much of your colour management issues obviate.
This is a great primer for understanding process and working with four-color and spot, but I have to comment on a couple of things you've pointed out.
If you want the best results, ALWAYS start out working in CMYK. That just puts you one step closer and saves a whole lot of extra work. And if you're planning to work in spot color, it's always your best bet to pick up a color reference book. Yeah, they can get pricey, but they can be purchased individually like the Spot-to-Process book you've shown here. And besides, what are we, working for free? Just part of doing business, I say.
Also, I thought it was worth mentioning that in Illustrator, you can simply open up any of the preset swatch palettes and choose your spot colors (PMS, Trumatch, Toyo, etc.) from there. No color sliders required.
It's funny how this seems so basic, myself having worked in print for so many years. I'll tell you now, it's a good thing you've written this up, because it's quite an issue when I have to deal with files supplied by primarily "screen" designers that don't have the slightest consideration for print in their work.
Still, this definitely puts some perspective on what adjustments one must make when switching mediums. Being a print designer who started web design several years ago, I can remember instances where I've had to explain the exact opposite to other print designers.
although i only do the occasional spot of print, this is truly enlightening. great stuff.
I found Jim Ames' book "Color Theory Made Easy: A New Approach to Color Theory and How to Apply It to Mixing Paints" to be a pretty good introduction to the basic theories. It's focused on mixing paint, but can be applied to computer stuff pretty easily as well. It's particularly interesting because he starts with the assertion that CMYK is the most natural color system and proceeds to build the rest of color theory on top of that. RGB only gets a few brief mentions.
Very good overview Dave. A few more things to add:
1. With regards to working in RGB or CMYK from the start, most print designers work in CMYK from start to finish and although I do equal parts print and web, I choose CMYK as well. All of the conversion issues which occur at the end of the process are moot using this method. Just about the only thing you can't do in CMYK that you can do in RGB is some of the crazier KPT filters and whatnot (some are RGB only). I guess it also depends how you internally mix color in your head. When I need orange, my internal mixer says "Just mix some magenta and yellow ink" as opposed to "add some red light, some green light, and no blue light".
2. If you are going to work in RGB and convert at the end (which is perfectly fine), make sure you're also vigilant about ink coverage issues. If, for instance, you were to bump each CMYK channel up to 100%, you'd have 400% ink coverage which would completely oversaturate your pages with ink and likely ruin some of them. Different paper has different ink limits, but it's an important thing to keep in mind. Your initial conversion to CMYK won't have any saturation problems but any adjustments you make directly to the channels can. Just keep an eye on the totals.
3. Know your blacks. To make a nice rich black in CMYK, use 60C 40Y 40M and 100K… not "just black". Black ink is extremely transparent on paper and without fortifying it with other colors, it won't be true black.
4. When using spot colors, know when to knockout and when to overprint. Knocking out is the default mode whereby two spot colors are never printed on top of each other. Sometimes you will want to overprint though in order to create a "third color" or avoid trapping issues.
5. With regards to proofing, yes, the very expensive final proofing method you mentioned is called a "match print" and it requires full separation. Ideally, this should only be done once… right before it goes to press. Before you get to that step, however, you can have your printer output an Iris proof (better) or a Rainbow proof (cheaper), both of which are reasonably priced and calibrated to match the press as much as possible. I try to output an Iris or Rainbow for every 4-color job I ever do. Saves you money in the end, and not as embarrassing when you have to tell the printer you're running back home to fix that greenish skintone you missed on screen.
"If you want the best results, ALWAYS start out working in CMYK. That just puts you one step closer and saves a whole lot of extra work."
I've heard it both ways from those in the know. From what I understand, the problem with working directly in CMYK from the start is that you have a layer of interpretation between you and the actual colour values, in the form of your software's colour profile. If you don't have that set up properly (and let's admit that most web people won't have the first clue how to do it, myself included) you're still going to be relying on the printer.
There are no doubt advantages in mixing colour with the CMYK sliders though. If nothing else, you get a feel for how the ink interacts, and how little black you usually need.
Also, I'm not sure if the latest versions are better for it, it's been a while since I've checked, but Photoshop used to disable some functionality when in CMYK mode.
Also, correct me if I'm wrong — but if you decide to work in CMYK from the start you'll probably end up pulling in RGB photos or other source material that has to be converted, and get stuck dealing with all this nasty colour shifting stuff anyway, right?
You have unbelieveably good timing. Just yesterday I was pestering a designer friend of mine for a rundown on how to go from Web color-thinking to print. It's confusing and fascinating. After designing for the screen for so long, I admit it gives me a little shiver of delight when I see something come out crisp and clean on paper.
Thanks for the tips, Dave.
I've always just burned through lots of test prints with these things. The only piece of advice you give that I figured out on my own way the 'inexpensive inkjet' bit.
With some 11x17 posters a while back, I just printed several thumbnails and detail crops of them to get a sense of the color shift.
You pretty much have a layer of interpretation going on regardless. RGB used to just be RGB, but now there at least five major RGB colorspaces including Apple RGB, Adobe RGB, sRGB, and others. In fact, sRGB (which is what most web people are used to working in) is *extremely* limited in its color choices. The amount of colors available to you in sRGB mode are much much less than with, say, Adobe RGB, and some of the more professional colorspaces. In other words, even if you're going to use RGB, use a professional RGB space.
As for converting photos, yes, that's an issue, and a lot of it depends on the original source colorspace. All drum scanners and high-end stock photo houses will give you your photos in CMYK from the start, but to your point, a lot of the photos we use these days come directly off our digital cameras (which tend to output to RGB). Still though, I'd rather get the conversion done right away and apply adjustments in the native printing mode in most cases.
Excellent article. This subject has been bugging me for a while as I've been wanting to expand into print but have been totally overwhelmed by all the CRAZY NEW STUFF.
As others have mentioned, I really think it is better to work in the color space of your intended output. First, color shifts DO happen when converting from one color space to another. Thus, if you are outputting in CMYK, you should at least do your final color correction in CMYK. If you are using photoshop filters that need RGB, apply all of those filters, save a flattened copy, and then go into CMYK for final color correction. Remember, each time you convert to a color space, image data is thrown out so you want to minimize this as much as possible.
If you receive RGB images that only need basic levels and curves adjustments, it is much better to do those in CMYK if color accuracy is important. Working in CMYK also gives you access to a black channel, a distinct advantage over the RGB color space. A quick example of this is to apply Unsharp Mask to only the black channel. A lot of times this will sufficiently sharpen the image without even touching any of the color channels, therefore reducing any potential for superfluous noise, grain, etc. There is no black channel in the RGB color space, so sharpening will always sharpen the color information in an RGB file.
Color management is a big hassle for anyone going to print, but it can be managed with a little bit of understanding and time. There are a couple great books on the subject. Even if you are just trying to print photographs to a photo inkjet printer, it is well worth your time to set things up properly. Believe me, you will save time and money in the long run. A couple good Photoshop books dealing with the subject are:
Professional Photoshop: The Classic Guide to Color Correction (Dan Margulis)
Real World Color Correction (Bruce Fraser)
Great Article! Coming from web this is a great insight to the world of print, and the differences between the two. Will be most helpful if the need ever arises to create print based versions of web formated material.
I'll second the recommendation on the Bruce Fraser book. If I have to work with a web designer on a print job, I bring that book along so I have a handy set of diagrams to show disillusioned web geeks before they get too disillusioned at their first press run. :)
Adobe used to include a book with their professional applications and, like most things, they sell it separately now. The title listed by Amazon is "Official Adobe Print Publishing Guide." I've used the older versions for prepress classes I've taught, and it's by far the best-described and most concise guide to the printing process.
In regards to color management systems, I'd have to disagree with you, Dave, I think even web folk who do the occasional print job would benefit greatly from one. For photographers who commit their edits to photoshop layers (as opposed to using adjustment layers), such systems are an absolute must. If you work primarily off a PowerBook it may not make much of a difference because of the variables notebook screen viewing angles bring to the equation, but a hardware-calibrated monitor and a decent printer profile will ensure that what you see on the screen is what you'll get when you print, be it on a color inkjet at home, a Fiery at Kinko's, or an offset press. And even if you don't print—it'll ensure that what you see on the screen is an appropriate baseline for what other monitors will muck up in either direction. Very basic hardware calibration devices (I'd recommend the Gretag-Macbeth Eye-One Display 2).
Also, I know _plenty_ of people at service bureaus and press houses who work in LAB instead of CMYK or RGB, and I fall into that camp. I don't see the sense in throwing out perfectly useful information before working with it. The real important part is to understand how transformations between color spaces take place and how to handle the results of such transformations.
The single best advice I can offer for web people doing offset print work is to work with a good and patient printer or hire someone at a service bureau to help you prepare your work for print. You'll learn a lot in the process, get great results, and—most importantly—garner some major respect for those who cut their teeth in print :).
Thank you for writing such a great article. I have always been confused by all this crazy print talk that I hear my print designer friends talking about. This article is one of the best I've seen yet for web designers who need to get into print.
Mike touched upon this in comment #5, but I thought it was worth reiterating: know about gray balance. Cyan is visually the weakest color, and so to get colors looking just right your cyan channel will usually have to be stronger than the others. A neutral gray will have a 5:4:4 ratio (or 6:4:4). If all three colors are the same screen, your midtones will tend to look too warm or muddy because yellow and magenta are so overpowering.
Thanks for the great advice Dave, and for putting in the time to share it with us. This is one of those frustrating issues that I always seem to muddle through and am never really sure how I got there in the end. This clarifies so much, and at least I now know that I'm not alone out there…
Great job on this article. I've only had to do a few print jobs, but I'm always overwhelmed by all the variables and difficulties that arise. Your suggestions will help me keep them to a minimum.
Thank you for writing this article. It wasn't so long ago that I was frustrated by a dearth of advice for digital artists who need to understand the print world. Every online article, every book I came across was written for print designers who wanted to adapt their skills to the web.
I never formally studied print, but I need to do it occasionally as part of my job. I picked up some tips and lingo from my traditionally educated graphic designer friends, but still feel like every print project I create is a crap shoot: I never really know what I'm going to end up with once those files come out of the printer.
I've managed to create some passible posters and brochures, but I'll still take the screen over the page any day. At least I know how to control that environment.
Real world Adobe Photoshop CS : industrial strength production techniques / David Blatner, Bruce Fraser
This is the same author as a book mentioned earlier. It's fairly recent and up to date. I picked it up at the local library recently and learned a LOT from it. This book is all about choosing and using the correct color settings/mangement. One of the very first chapters is devoted to it and explains it very well. It also covers everything else very well in minute, easy to understand, detail.
Best photoshop book I've seen and I'd recommend it to any designer print or web.
If you venture into print the Pantone book will become your new god, although I can't speak for systems in use outside of the UK. Love it. Cherish it and for Pantones sake don't leave it lying around on your desk.
Now, two further points to add. Pantone colours come in two variants (there are others but lets not complicate things here), a "U" and a "C" suffix. This shows you what the colour will look like on coated paper (glossy, shiny, whatever) which is our "C" and uncoated (er… not shiny), "U". Colour will always look different when printed on different materials which have different asorption rates.
As for Mike D's point #3 above he's spot on about black not just being black, although everyone has their own ideas about what makes a good black. We tend to go with C40, K100 but that's my workplaces preference.
One thing designers are never taught and repro people like myself have to know is trapping, where colours overlap to allieviate fit problems on the press. If you find the time to understand this and apply it we in repro will not only love you forever but beg to have your children.
Good article, Dave, it's nice to see someone trying to further the education of web designers to help them stretch out their creative muscles into new territory.
That having been said, I feel very lucky in never having had a printing mishap. I started out in the print world back in '97, moved almost solely to web design in 98-99 and I've been doing about 90-10 since. (90% web, 10% print).
Whenever I've had to print for a client that already has an established printing firm, I always establish a relationship with them and ask them what their ideal PS color settings would be. They're usually pretty helpful about it, and most will give you small warnings about which colors/situations may give you errors.
I've had work printed on book covers, magazine inserts, magazine articles, vinyl banners, full-size movie posters, coffee mugs, martini glasses, you name it. Throughout all of that, I still have yet to find the disastrous color shift problem that I pull my hair out worrying about every time I need to print something.
I guess my only advice is to establish contact w/the printer and ask them their advice for accurate color representation between your setup and their output.
I know there's a LOT more to it than that, but… maybe you'll get lucky like I have?
Anyway, keep up the good writing.
sRGB is not the bad egg people seem to think it is. If you look at the various color spaces in the mac Colorsync utility, sRGB falls only a little outside SWOP, whereas Adobe RGB 98 contains colors that can never be printed on press. Adobe RGB 98 is good for archiving images because of its larger color space, but for printing, sRGB will give fewer headaches. Saying it is limited is, well, limited. Depends on what the 'limit' is, and cymk press is VERY limited.
check out the colorsync utility, and compare various colorspaces, and get a handle on rendering intents, and you will see why color reproduces the way it does sometimes, in inkjets, dye subs, offsets, etc.
Yeah, I just learned all this stuff the hard way myself. Put together a 444 page product catalog at work and started with everything in RGB. Over 2,000 photos, most of them from random vendors, and the majority were RGB images.
I asked the printer about this. "No problem!" they assured me. Their RIPping software (converts images to the format needed for the plates) would handle RGB to CMYK just fine. We gave them prints from our own color profiled Epson 2200 for color matching.
Well, the wet proofs came (actual sheets from the printing press) and they looked like crap. They swore it shouldn't be a problem, but when I mentioned that everything was original in RGB they jumped all over that like it was most likely the problem. Ugh. I think they finally ended up converting everything to CMYK themselves. The final output looks nice, as long as you don't compare it side-by-side with our original Epson proofs.
Anyway, I learned my lesson: everything will be in CMYK before it goes to the printer from now on. Thanks for the great article Dave!
A site I've had bookmarked for a long time now is http://www.prepressure.com. The content may not all be fully up-to-date (e.g. no mention of InDesign) but there is a good explanation of a variety of things (including trapping and knock-outs).
I originally got this link from a friend of mine who has been a print designer for years (including repro!). I haven't read it all myself yet since I haven't had the time or need to do so until recently.
I'd like to thank Dave and all people who have commented - I have to do some print work in the coming weeks and all the tips will come in handy.
Oops, forgot to add the link to an article explaining a fairly new technique in printing called "index color". If you ever come across the term, you'll now know how it works ;-)
robert: Agreed that sRGB is closer to SWOP, but that's only because it's so limited. My assumption of why people would work in RGB in the first place is that they may be outputting the work (as final output) to a computer/TV screen for another purpose besides print. If this is the case (or if archival is the case, as you say), then sRGB isn't the best choice.
But sure, if you just want to start out with as limiting of a colorspace as possible, then sRGB is your winner. But then again, if that's the goal, why not just start in CMYK?
Wow, just in the nick of time; I just got my first really large print commission (for a 24x36 poster from a local restaurant!) so this will help out a lot! I knew about curves & channels & all that back when I worked at a newspaper, but I never had to work with color on such a large scale until now.
Between you & Cameron's latest entry, I think it's gonna look pretty good as far as quality is concerned!
Kudos, Dave!
I've just come back from my first major print design job (client needed the end product, I dealt with the printer), and it was a tiring process matching the colours on the site to the pantone colours that the printer had.
Great article and resources.
Well. I am a designer that started in print and am working on my mastery of the web.
Just thought I'd add some input, seeing as I have about 20 years of print experience.
I only quickly skimmed your article, but the thing I saw that immediately struck my attention was the section on color correction.
Color correction is an art in and of itself, so CYMK newbies should tread cautiously around that one. And definitely not something that can be explained well enough on one web page. Although I laud your efforts.
So here's my tip: spend more than $50 on a good color printer. Get the best your wallet can afford. Color should and can be fairly accurate from your screen to your in-house color proofs (not the ones you'll get from the pirnter, but what you want to produce before turning your precious files over to the hairy slob who doesn't like to look you in the eye in the prepress department at the printer… enjoy… )
But I digress. Get an Epson if you can afford. They are the kings of color and yeah, well the supplies are expensive (you can find good knock-off cartridges at carrotink.com)… but damn the color is good. I put my Epson proofs against digital proofs (and when they were still making them, matchprints) and it was amazingly close.
So, calibrate your monitors, boys and girls, buy an Epson and save yourself a HELL of lot of time and trouble trying to master color correction when all you want to do is get the @(*&$ file to the printer so you can get PAID.
Over and out,
Onward and sideways —
CMYK is the bane of digital print artists and will drive you crazy—proceed at your own risk. This statement should included in a popup before programs like photoshop will execute. Heh. Really great article, it helps, but for now there is no real solution aside from trial and error. More errors than most for color matching.
Just one comment on setting up your Pantone swatches in Illustrator:
Illustrator has several palletes of Pantone swatches already built in.
They can be accessed under:
Window > Swatch Libraries (Illustrator 10 for Windows)
Spot colors are referred to as Pantone Solids in this menu, and are available for coated, matt and uncoated finishes. Which Pantone solid swatch set you use is not as relavant as making sure all of your spot colors come from the same set (otherwise, Pantone 186 from the coated set will print as a different plate as 186 from the uncoated set).
In any case this should save you from having to set up "approximations" of Pantone colors as custom swatches.
You've completely succeeded in reminding me of one of the reasons WHY I went into web design instead of print. Besides the vast pay differences.
To be fair though, I never had an interest in print, just bored me to much.
Great article though!
This is great. There is a gentleman at the company I am with that wrote something that I feel is a great companion to this.
Thanks, Dave, very interesting article.
Only two little thoughts:
1. Print is fun for somebody, who is used to screendesign, because for first time you can be *pixelperfect*.
2. Print is horrible for somebody, who is used to screendesign, because of the *wysosinwyg*-factor (what you see on screen is not what you get).
Just to chime in with my own $0.02 - having moved into print from a largely web background: ALWAYS start in CMYK if you're working on a print job.
The amount of headaches you'll avoid by not having to do color correction at the end of the job: numerous.
Also, as noted above, with a properly color-calibrated computer and monitor, there really won't be any difference at all between what you see on your screen and what you end up with.
This may be truer of more recent software (Photoshop CS), and having a very crisp and colour accurate monitor helps IMMENSELY. I use a LaCie Electron Blue - the colour matching is almost spot on.
Wow Dave, that's a pretty complete primer for any webdesigner going to print. To add some more cents to the confusion, multichannel is not the only (or best) way to get spot colors in Photoshop; duotone or tritone is more widely used in spot color images (photos mainly). As I didn't see anyone cover this in the comments above, let me try.
Basically, you translate an RGB photo through LAB to a greyscale one, or start with a B&W photo in the first place. Converting to greyscale with LAB and the selection of the lightness channel usually gives better results (contrast and lightness) than 'image>mode>greyscale'. Having the greyscale image, you select 'image>mode>duotone'. In the resulting menu, you can choose the correct spot colors (PMS or other), and tinker with the translation curves.
What happens is that a given density in the greyscale image gets translated to another density for any spot color you specify. For instance, 30% gray (input) can end up as 80% PMS361 and 20% PMS432 (output for a duotone in these PMS inks).
Excellent article for those just starting off in print! Some comments: Your article almost implies that Photoshop does not have Pantone colors and you must use Illustrator to see them. However, when you are in the color picker in Photoshop, click on the "Custom" button (right below "Cancel") and then you can choose Pantone colors!
Trapping�— if you have a good printer, they should take care of trapping for you. For those who don't know, trapping is the process of making two colors overlap (very) slightly so if they do not line up exactly when printed (remember, each color is on a separate plate), there is no gap visible. Photos do not need to be trapped�— but two flat colors right next to each other do.
Duotone (and tritone, etc.) vs. multichannel�— which one you choose depends on what you need to do.
When you use duotone, you can not edit each channel individually except for controlling the curve associated with it. Duotone is almost exclusively for photographs, generally for adding a color cast to a black and white photo or to extend the range of tone of a black and white photograph. For instance, high-end black and white photography books are often printed as quadtones��— black and three shades of gray. You must save your duotone as a photoshop eps file for it to separate properly, especially if you are placing it in Indesign or Quark Xpress.
With multichannel, you can draw, paste, and otherwise edit each channel individually. You have to use multichannel if you need to use CMYK and you want to add a spot color. For a multichannel file to separate properly, you must save it as a DCS file, and I highly recommend that you contact your printer before creating a multichannel file.
In general I recommend finding a printer and talking to their production people early in the project. Show them your proofs (or email them a pdf file) and ask if they see anything that might be a problem. Ask them what settings they use in Photoshop to convert from RGB to CMYK.
Many printers only provide digital proofs nowadays because they've gotten very accurate and because of changes in printing technology. They used to have to output film, then use the film to burn the plates for the press. "Matchprints" were made from the film, and film is expensive. Now there is "direct-to-plate", meaning there is no film, hence no way to make a matchprint. Even if your printer does still use film, they might still only offer digital proofs.
Regarding what's on the screen not matching what you print��— I've always done a rudimentary monitor calibration that gets it close enough. In Mac OS 9, I used to use the Adobe Gamma control panel that came with Photoshop. In OS X, you can just go to System Preferences -> Displays -> Color and click Calibrate. It will take you through some steps to roughly calibrate your monitor. If you are particularly ambitious, you can set up two monitor profiles, one for print work and one for web work, and switch between the two.
Although I used to work in print production, about 80% of my job now is web design. But I still think in CMYK. I hope this helps!
CMYK and RGB are two different systems for creating color. Generally CMYK is used by commercial printers and so most print materials need to be exported in a CMYK color mode.


text:
Home > Server Admin > Nagios V-Shell Review and Mike Guthrie Interview
Nagios V-Shell Review and Mike Guthrie Interview
December 8, 2010 Leave a comment Go to comments
The V-Shell offers Nagios users an interface with simplicity and tactical focus. Mike Weber from BeginLinux.com has reviewed the Nagios Virtual Shell and interviewed Mike Guthrie who is the lead developer of the Nagios Virtual Shell (V-Shell) project. Mike's review touches on some first impressions and important visual points while the interview digs deep into the functions, advantages, and future plans Nagios has for the new PHP interface.
Read the Nagios V-Shell Review and Interview.
Categories: Server Admin

subset: commoncrawl


text:
A secure portal allowing our customers and vendors 24/7 access to their operational and financial information.
For more information, please fill in the form below to receive our brochure.
By ticking this box you agree to MSC sending you information about our services.
Over the past 45 years, MSC has gone beyond the port, developing an integrated network of road and rail solutions across the world, connecting remote areas and expanding inland infrastructures.
Our teams are trained continuously on the latest standards and technologies at the MSC Reefer Academy. Your cargo will be in safe hands throughout your cold chain from the moment it is loaded until it reaches its destination.
Present in more than 155 countries and calling at over 500, MSC connects the world. We transport all fruit varieties from 90 major export countries to 120 major import countries.
By continuing to use the website, you will be agreeing to our Privacy Policy, Terms & Conditions and Use of cookies.
Please enter your email address below and we will send you an email containing a link which will allow you to edit your preferences.


text:
Oh Miuccia, Miuccia, Miuccia. Always breaking my heart, Miuccia.
Somehow this collection was all about things that I've been thinking about lately. I had a dream a couple months ago that I was getting ready to go out and I was going to paint my eyebrows. When I woke up, the idea still seemed cool, but as I'm rarely in a place that allows painted eyebrows, I haven't gotten around to it.
Orange brows and black and purple lids and white cheekbones. It's so intense. The thick black and shimmery purple liner are all VIXEN, but when you add the brows, you're in a whole new place. Especially when you add the white around the temples and cheekbones, like a weird concealer-blush combo gone horribly wrong. Is this woman a superhero or just crazy?
Yes, skirts over pants. But they look INCREDIBLE don't they? I swear I can't believe I am suddenly into the skirts over pants look. A sliver of upper stomach exposed here and there (upper stomach - most erogenous of the erogenous zones) perfectly breaks the silhouette.
The reason why these look great though; is because of they're totally "supposed former infatuation vibez" which, I totes tweeted about a couple weeks ago. This, of course, refers to the look Alanis Morissette was sporting when her second record came out, after she had gone to India and thanked everyone for it. And yes, it has everything to do with wearing skirts over pants.
The trick to make this look the best it can be, is to wear a wrap-type skirt, something with a top-to-bottom slit somewhere in the front or side. It breaks the line and well, I don't know guys. Maybe this is all an arbitrary rule that I am making up right now because suddenly I'm attracted to something I previously thought was an abomination. Whatever this looks SO GOOD.
Then she threw in some color and sent out some aquamarine/black combinations that shot me right through the heart.
The embellishment is SO essential. This looks like weirdo luxe bugs running up on the top. It reads as really "tough" for some reason. Then the weird plastic buttons and spheres remind me of mod little girl dresses or something (and mod is pure Miu, of course) and then you add to that a slight military feel and it is the perfect prescription for right now and forever. It's basically everything Miuccia has ever done all put in a blender and perfectly spit out into a look for the future.
Yes to asymmetric tops that reach all the way to the ground, show a bit of upper stomach and are paired with a skirt and trousers and shoes that are the closest thing to horse-hooves that will ever walk down a Prada runway.
Then came the geometric prints and I was all omg this reminds me of old Miu Miu which is so meta, of course. I mean, she's Miuccia fucking Prada, at some point there's nothing else left for her to be inspired by but herself. I love these weirdo carpet 70's vibes.
Most shows I feel like I crop the looks towards the top, but even with the bejeweled collars, I think all the action in this collection was down below. It's all about how the layers break open to reveal what's underneath.
And then we have a shoe situation to discuss.
These platforms are hideous and I LOVE THEM SO MUCH. Oxfords (which so soon after THE platform oxfords from Spring 11, also feel super self-referential) were seemingly dipped in rubber and then married to traditional Japanese sandals or something. There's also a mary-jane option (hello late 90's athletic mary-janes!), that I'm really, really leaning towards to. I need this in my life.
For your fancier evenings, the weird dipped shoe came in a variety of finishes and coverings and they all had a totally different vibe. I love the flower-printed ones the best.
(prints everything, duh)
Yes, and also bags. Printed bags. NEED.


text:
Dave Grohl has paid tribute to late Nirvana front man Kurt Cobain after the grunge icons were named among the 2014 inductees into the Rock and Roll Hall of Fame.
The "Smells Like Teen Spirit" legends were among the nine acts to make the cut and will officially become part of rock 'n' roll history when they are entered into the fabled hall of fame next April.
Foo Fighters star Grohl, who played drums in Nirvana, admits he is delighted by the honour.
He says, "For once … I'm speechless. From the basements, to the dingy clubs, to the broken down vans, to … the Rock and Roll Hall of Fame.
"I'd like to thank the committee not only for this induction, but also for recognizing Nirvana for what we were: pure rock and roll. Most of all, thank you to all of the fans that have supported rock and roll throughout the years, and to Kurt (Cobain) and Krist (Novoselic), without whom I would not be here today."
Novoselic adds, "This is a great honor. Thank you to the people who nominated and voted for us. Thank you most of all to Kurt Cobain. And to everyone who's kept rock music going strong for 60 years and counting."
KISS, Peter Gabriel, late Beatles manager Brian Epstein, Hall & Oates, Cat Stevens, now known as Yusuf Islam, singer Linda Ronstadt, producer Andrew Loog Oldham and Bruce Springsteen's sidekicks, The E Street Band, make up the other inductees.


text:
Wednesday, April 11, 2012
Chhota sa crisis....
Am looking forward to watching 'The Artist' tonight. So, you know what you can expect to read here tomorrow night...
Am feeling like a tub, after a late and heavy lunch at Brittania - yup - the famous Irani 'berry pulao' place. It was packed with tourists clicking pictures of a larger-than-lifesize cut out of the royal couple - Willy and Kate! But the sign that caught my attention was a bold one that cautioned, "Do not argue with the management." I relished my pulao even more after reading it, and dared not say it was a bit too greasy.
To counter its greasiness, I walked down the block to the National Hindu Hotel (we refer to restaurants as 'hotels' in Mumbai, thank you!), for the best South Indian coffee in the city. Mukesh Ambani can keep his Matunga coffee joint. My vote goes to National Hindu at Ballard Pier.
9 comments:
- Sudhir Kekre said...
Well, I too had the same problem with my blog. I have deactivated it ever since.But I think it has to do with whatever counter you are using. once having reached a particular number it starts from zero. I do not know how to retrieve it though. But don't worry.With the popularity of your blog you will see the same hits again. Hope it doesn't go back to zero then. :)
- April 12, 2012 at 10:31 AM
Check: labnol.org
Technical blog very useful. You will learn many technical subjects.
- Good Day.
- April 12, 2012 at 10:49 AM
- Nisha Shukla said...
I guess you need to write to blogpost.com which is provided by google....i guess they are the only ones who can answer you accurately about your blog gone missing & the numbers reset to zero...
BTW i was looking forward to your opinions on Paan Singh Tomar & kahani movies...seems like u missed them while u were away on your trip abroad..catch them at home when possible & do write to us..
- April 12, 2012 at 10:07 PM
- Ashwini said...
"Do not argue with the management"... ha ha ha!!! I was under wrong impression that this kind of notices are the speciality of Pune. But looks like Mumbai is not lagging behind!!
For your blog problems, please contact blogger support. If you are using a third party hit counter, please contact the counter provider for related problems.
- April 13, 2012 at 4:22 AM
- KD said...
I see the visitors count as "1146104". Maybe the problem is fixed now.
- April 13, 2012 at 8:50 AM
- KD said...
- This comment has been removed by the author.
- April 13, 2012 at 8:50 AM
- right shopping said...
The visit was useful. Content was really very informative. From www.rightshopping.in
- April 13, 2012 at 2:39 PM
- Abhishek said...
I found some helpful information from this site,
there is also a very useful site that i have found very interesting,site is http://www.ancapitalmarket.com
- April 13, 2012 at 4:00 PM
- Cheryllyne said...
I PANICKED WHEN I DIDN'T SEE YOUR BLOG! And that's saying something considering I don't usually panic that easily. BUT I've become so addicted to reading your thoughts that I had to go through a Shobha De Blog withdrawal for a week. So glad to see you're back up and running. I would contact Google regarding your blog problem. That company is practically run by our desis that someone should be able to help you!
- April 13, 2012 at 9:49 PM


text:
Gift Options
Gift Cards
Do you have gift cards?
Yes we do! Gift cards are emailed to the recipient as a code and PIN combination that the recipient uses when he or she shops at ThinkGeek online, ThinkGeek physical stores, GameStop stores, or on gamestop.com.
Virtual Gift Cards:
- Are non-refundable.
- Do not accrue GeekPoints.
- May not be purchased using other gift cards.
- May not be purchased using any discount or promotion code unless explicitly stated in the offer.
- Can take up to one business day to process, so plan accordingly!
- Do not expire. Note: Gift certificates purchased before 6/14/2016 expire five years after the purchase date (or longer depending on the state or country of purchase).
Have a ThinkGeek gift card? Check your balance here!
I want to give a gift card for $42, but that's not available!
If you would like a gift card for an amount not listed, call Customer Service at call 1-888-GEEKSTUFF (1-888-433-5788) or 508-970-2002.
Do you offer physical gift cards?
We do, but they're only available in our stores and GameStop locations. If you purchase a gift card from us online, we offer a snazzy printable template that you can hand to your lucky gift recipient. Just make sure to write down the gift card ID and PIN before handing it off.
Can I use a virtual gift card I bought here on thinkgeek.com at the store?
Yes. Virtual gift cards bought at thinkgeek.com can be used on our site as well as at ThinkGeek physical stores, GameStop locations, and on gamestop.com. Note: Gift Certificates bought at thinkgeek.com prior to 6/14/2016 can only be used on thinkgeek.com.
Gift Orders
Can I send my order as a gift?
Absolutely! During checkout, you can enter a gift message that will appear on the packing slip. For U.S. shipments, our packing slips do not list the prices of the products, so you can rest easy that the recipient will not know what a great deal you got.
Please note that we are required by law to include prices on a commercial invoice for all deliveries outside of the U.S. Keep this in mind when sending gifts internationally. The recipient will also be responsible for any taxes, duties, and/or customs fees owed.
Most of our shipments come with our logo on the outside of the box, so remember that in case you're planning a surprise.
Can I return something I received as a gift?
Yes! Please see the Returns page for more information.
Wish Lists
Do you offer a gift registry?
From the product page, you can add an item to your default wish list or to a brand new wish list. From your Account page, you can make your wish list searchable and drop subtle hints to your family and friends by sending them mail.
Gift Wrapping
Do you offer gift wrapping?
Sorry, not at this time. We offered gift rapping for a brief period, but the customers asked us to stop.
Need to Talk with Us about Something Urgent?
Live Chat Unavailable
Communicate with Us the Old-Fashioned Ways
9am to 5pm EST
Monday - Friday
Grapevine, TX 76051


text:
The EOE Journal is a publication distributed monthly since 1996 to colleges, universities, technical colleges, medical colleges, career fairs, HR consultants, human resources departments and state labor agencies.
The September 2017 publication includes an interesting article entitled, The Future of Sustainable Energy: LENR. This article is not original, but it was purchased content from an entity know as Constant Content. The article may be republished for $30 at the following link: https://www.constant-content.com/MoreDetails/245273-The_Future_of_Sustainable_Energy_LENR.htm


text:
Sharon Kleyne is Founder of Bio Logic Aqua Research, a water and health research and product development center. Kleyne notes that the Dry Eye Hot Spot list is headed by a city in Nevada, followed by four cities in Texas, cities in Arizona and Utah and another Texas city. The only Eastern city is in Georgia.
According to Kleyne, cities topping the Hot Spot list have in common a combination of: (1) a dry and dehydrating climate (Georgia has been experiencing a ten-year drought), (2) air pollution, (3) location where air tends to stagnate, and (4) high levels of eye allergens. Several Central Valley cities in California ranked high on the Hot Spot list whereas Los Angeles, despite the nations worst air quality air quality, ranked only 63rd. Los Angeles experiences ocean breezes and has fewer allergenic plants.
Other high risk environments for dry eye dehydration include indoor areas with forced-air heating and air conditioning and insulated walls and windows, airline cabins, high glare places such as ski areas and the ocean, any activity that cause one to blink less often computers top this list, any activity or location that causes excessive perspiration, places with cigarette smoke, and other unventilated areas with airborne smoke or chemicals.
Dry eye complaints include itching and burning eyes, temporarily blurred vision, watery eyes, fatigue, headache, stress, jet lag, and a lowered ability to tolerate contact lenses. Individuals fighting off the flu or who are already dehydrated are more likely to react negatively.
Sharon Kleyne recommends drinking at least eight glasses of water a day, in addition to all other fluids, to avoid dehydration. Also, be aware of the humidity in your house and take corrective measures if it falls below about 50%, get enough sleep, avoid prolonged glare, dont forget to blink, and bathe regularly. Sharon Kleynes portable hand held eye humidifying product, Natures Tears® EyeMist®, applied several times a day, offers convenient, all-natural dry eye relief.
Sharon Kleyne is Founder of Bio Logic Aqua Research, a water and health research and product development center. that developed and markets the all-water personal humidifying product Natures Tears® EyeMist®. As part of her commitment to water education, Kleyne hosts the globally syndicated Sharon Kleyne Hour Power of Water® radio show on VoiceAmerica and Apple iTunes.
© 2013 PRWEB.COM Newswire


text:
The Canucks surrendered the Northwest Division league Sunday evening to the Minnesota Wild. The good news? There is still time to turn things around. The bad news: the Canucks are a below average team.
Disagree? A closer look at the numbers will change your mind:
- Goals for: 17th (2.7)
- Goals against: 20th (2.52)
- Shots for: 18th (28.7)
- Shots against: 21st (28.0
- Power play: 20th (15.7%)
- Penalty kill: 18th (80.7%)
The average ranking of the above six key categories: 19th (out of 30). Sub-par.
What is the reason behind the Canucks' sub-par season? There is no one answer, but a combination of factors: injuries, questionable refereeing (if not biased), some unfortunate luck, and poor coaching.
Firstly, we miss Kesler and Bieksa – they noticeably improve the Canucks. Secondly, you need only look at the Calgary game and the bench minor assessed to Vigneault to understand the impact a ref can have on a game. Thirdly, in games the Canucks were clearly the better team and should have won, but managed to find a way to lose (Columbus, San Jose and Dallas).
Finally, coaching: look no further than special teams and the shots differential, and you get the drift. Additional clues: favourite pets getting preferential treatment: Lapierre (nearly 16 minutes last game) over Schroeder (9 minutes); Alberts over Ballard (arguably our best defensemen after the quarter-season mark, and then was benched after one bad game. If Edler was benched after each bad game, he'd be out of the line-up half the time); Raymond at center (it was bad enough that a prototypical winger, one of the fastest skaters in the NHL, was moved to center, but his dismal faceoff record completely undermines his misplacement – a disastrous 1 for 9 his first game, a pathetic 1 for 6 the next game. How did Vigneault respond? Raymond was back at center in Columbus.
Unfortunately, A.V., the team needs to come before egos. And your team, unless you make changes, is sub-par.
Toby Ward is a season ticket holder, former reporter and producer covering the Canucks turned consultant, and blogger. A lifelong Canucks fan who bleeds blue and green, Toby first saw the Canucks when they hosted Bobby Orr and the Bruins in 1974.


text:
Santa Marta
Santa Marta sän´tä mär´tä [key], city (1993 pop. 270,253), capital of Magdalena dept., N Colombia, a port on the Caribbean Sea. The city's banana industry, operated by the United Fruit Company, is one of the most important in South America. Santa Marta also has fine beaches and is a tourist center. Founded by the Spanish explorer Rodrigo de Bastidas in 1525, it was often sacked by corsairs in the 16th cent. During colonial times the city was important as an outlet for the Magdalena River valley. It remained royalist during the revolution and was liberated in 1821. Simón Bolívar died on an estate nearby.
The Columbia Electronic Encyclopedia, 6th ed. Copyright © 2012, Columbia University Press. All rights reserved.
See more Encyclopedia articles on: South American Political Geography


text:
HANG TIME HEADQUARTERS — Jason Kidd isn't the only former New York Knicks veteran to trade in his locker room stall for a spot in the coach's locker room. In what has to qualify as the best news perhaps of the entire offseason, HT fave Rasheed Wallace will soon be announced as a member of the Detroit Pistons' coaching staff under Mo Cheeks.
Wallace is in Orlando for summer league action with the Pistons and was spotted in the gym at the Amway Center this afternoon with a polo shirt on with the Pistons' logo on the upper left side. Wallace helped the Pistons become an Eastern Conference power and won a ring in 2004 and made another trip to The Finals in 2005.
He's expected to work with the Pistons' young frontcourt core of Greg Monroe, Andre Drummond and Tony Mitchell, hopefully imparting some of the same wisdom he did for guys like Jermaine O'Neal and Zach Randolph when they youngsters in Portland playing behind a then-All-Star Wallace. Both O'Neal and Randolph went on to become All-Stars after being tutored by Wallace, who saw his season and likely his playing career come to an end this season in New York when a stress fracture sidelined him.
Wallace's presence could be a huge boost for Pistons' free-agent pickup Josh Smith, who has agreed to a four-year, $56 million deal with the team that cannot be signed until Wednesday. For all of the hype about Wallace's technical fouls and run-ins with officials over the course of his career, he's been lauded by many who have played with him as the ideal teammate and one of the smartest players to come through the league in his era.


text:
Mississippi sues Google, saying it violates student privacy
JACKSON, Miss. (AP) — Mississippi's Democratic attorney general is once again tangling with Google, alleging in a lawsuit that the company is illegally violating student privacy, even as some Republicans seek to muzzle his ability to file such civil suits.
Attorney General Jim Hood sued the California-based computer giant Friday in Lowndes County Chancery Court. In a news conference Tuesday, Hood said Google is breaking Mississippi consumer protection law by selling ads using data from services it provides to schools.
"They're building a profile so they can advertise to them," Hood said. "They expressly stated in writing that they would not do that."
Google did not immediately respond Tuesday to an email from The Associated Press inquiring about the lawsuit.
Hood said a test involving a student account from the state-run Mississippi School of Math and Science in Columbus showed ads targeted to previous searches. The attorney general wants a judge to order Google, a unit of Alphabet Inc., to stop the practice.
The suit says Google could be fined up to $10,000 for each of its student accounts in Mississippi. With half the state's school districts using Google's email, calendar and other online services, that amount could top $1 billion.
Hood sent a letter to local school superintendents Friday asking them to preserve evidence to help with the lawsuit. He's advising parents to consult their local school systems.
"When you give a written contract and you don't follow it and you mine the data, then it's a violation of the Mississippi Consumer Protection Act. It's an unfair and deceptive trade practice," he said.
Google sued Hood in 2014, saying his wide-ranging attempts to investigate whether Google was aiding music pirating and illegal drug sales were illegal. The U.S. Fifth Circuit Court of Appeals ruled in April that Hood's inquiry is legal. Hood said Tuesday that the investigation continues but denied that he was motivated by personal animus against Google.
"You make decisions based on the facts and the law and you set emotions aside," Hood said.
Some Mississippi Republicans continue to try to trim Hood's ability to file civil lawsuits without outside permission, part of a long-running Republican perception that Hood pursues civil lawsuits in part to provide income to plaintiffs' lawyers who politically support him. Hood said outside lawyers brought the student privacy issue to him after publicity about his earlier dispute with Google.
A committee in the Republican-led House Tuesday passed House Bill 555 , which would require a three-person panel of the governor, lieutenant governor and secretary of state to approve plans to file any civil lawsuit where the state could win more than $250,000. That panel is supposed to approve hiring outside lawyers for big lawsuits but has never met, because Hood has instead hired lawyers according to a pre-set fee schedule that an earlier law allows as an alternative.
The bill to limit Hood's powers now moves to the full House. Similar measures have failed in previous years.
House Judiciary A Committee Chairman Mark Baker, a Brandon Republican, said Hood's use of civil lawsuits is a "rampant abuse" of his role.
"Every lawsuit that he files is a declaration of public policy" Baker said. "We're the legislators, the setters of public policy. He's the lawyer. He's not also the client."
Hood, though, said efforts to limit his power violate the state's Constitution.
The attorney general's victories have contributed tens of millions of dollars to patch state budget holes in recent years. For example, Mississippi will gain $25 million from a settlement with New York-based Moody's Corp., over credit ratings the company assigned to various securities before the financial crisis. Last year, Hood collected about $55 million from lawsuits against large companies.
Follow Jeff Amy at: http://twitter.com/jeffamy . Read his work at https://www.apnews.com/search/JeffAmy .
Sorry we are not currently accepting comments on this article.


text:
Olympia Snowe is a senior fellow at the Bipartisan Policy Center and co-chairs its Commission on Political Reform. A Republican, she was a U.S. senator from Maine from 1995 to 2013. Karen Hughes, also a member of the commission, is worldwide vice chair of the public relations firm Burson-Marsteller. She was undersecretary of state for public diplomacy and public affairs from 2005 to 2007.
Government by brinkmanship is not working for our country. Lurching from deadline to deadline and crisis to crisis erodes the confidence of the American people, the business community and the world. There is no reason for Congress to postpone budget action until arbitrary deadlines in January and February. It can and should start returning to functionality by completing a House-Senate budget conference report by the Dec. 13 deadline, raising the debt ceiling and funding the government for the remainder of the fiscal year.
This return to "regular order" — Congress passing a budget and legislating through committees in a timely manner throughout the year — is one of the issues examined by the Bipartisan Policy Center's Commission on Political Reform.
The commission, on which we serve, plans to release comprehensive reform recommendations next year and to galvanize public support behind the proposals. We aim to build a grass-roots groundswell for addressing the structural issues that prevent government from working for the good of the American people.
Many of these impediments make it harder for members of both parties to work together or even to fulfill Congress's fundamental responsibilities. Over the nearly 40-year history of the Budget Act, Congress has failed only eight times to fulfill its most basic function: producing a budget. But seven of those occasions have occurred since the beginning of this century. No budget has been adopted in more than four years. Further, as of Sept. 30, the end of fiscal 2013, none of the 12 annual appropriations bills had been passed. Instead, missed deadlines, threats of defunding, eleventh-hour temporary deals, supercommittees, ad hoc "gangs" of legislators and showdowns between party leaders have replaced the democratic process of legislating and building consensus.
As Republicans, we believe that our party can embrace a functioning federal government without abandoning key GOP priorities. Doing so would demonstrate to the country that the Republican Party believes in responsible governing, including funding defense and other priorities. In fact, clearing the deck of the debt-ceiling and fiscal-year funding distractions should allow a national focus on the key Republican goals of reducing the huge debt burden being placed on our children, making our bloated tax code both fairer and simpler and reforming our immigration system.
We understand the frustrations of those who have watched government grow larger and more costly without experiencing any appreciable improvement in their daily lives. At the same time, we are concerned that a scorched-earth approach to governing does a disservice to the credibility of our party and, most important, to our collective ability to effectively address our nation's most pressing problems. The Republican Party includes millions of small-business people, farmers, factory and office workers and other hardworking Americans. They live on budgets and expect our national government to do the same. We want a limited federal government but one that is effective in meeting our nation's monumental challenges.
To ensure that Congress effectively addresses the budget stalemate before the new deadlines and to allow lawmakers to move forward to other important issues, we suggest:
●Crafting an agreement authorizing a new budget and taking the debt limit off the table for the remainder of the fiscal year. This would give Congress and the administration 10 months to focus on other crucial matters, such as tax and entitlement reform, immigration and education.
●Leaders of both the House and Senate should cancel all recesses and institute five-day workweeks. Right now, Congress is scheduled to be in session fewer than 20 days before the end of the year.
The abysmal approval ratings of Congress and the White House reflect the disgust the American people feel at the way all sides have approached these critical matters.
More than six out of 10 Americans said in a recent poll that what's happening in Washington makes them feel less confident about the economy improving. Gallup has found that 33 percent of Americans said dysfunctional government was the biggest problem facing the country. In Gallup's polling since 1939, Washington has never been more concerning to Americans.
We believe that Republicans and Democrats must work together to restore the American people's faith in our governing institutions. We must find ways to give hope to Americans of all political views that economic growth, job creation, strong defense and debt reduction are being addressed. We believe that this will require reforms to a system that is not working — and that those reforms cannot come soon enough.


text:
The World is About to End, Are you Ready?
Starring Daniel Handler + Jazmin Stuart
Coco (Hendler) has just moved to a new apartment with his wife Pipi (Stuart), who's seven months pregnant. At first, they don't seem to notice the growing chaos around them, but when authorities quarantine their building after a deadly pandemic breaks out, Coco joins forces with his off-kilter, but well-prepared and stocked next-door neighbor Horacio to defend his refrigerator and keep Pipi safe. Meanwhile, outside the building, Buenos Aires—and the world as the apartment denizens know it, is disappearing. The world is ending; got ammo?
PHASE 7 mixes satire, humor, horror and social commentary in a way that reminds viewers of the arch SHAUN OF THE DEAD and the savvy claustrophobia of [rec]. An Argentine apocalyptic horror film, PHASE 7 was directed and written by Nicolás Goldbart; produced by Sebastian Aloi; executive produced by Steven Schneider (Insidious, Paranormal Activity). With a "top-notch†cast, the movie stars Daniel Hendler (LOST EMBRACE); JazmÃn Stuart (THE PARANOIDS); Yayo Guridi (LOS RODRIGUEZ); and Federico Luppi (PAN'S LABYRINTH).


text:
Getty Images
Many thought that the Packers would target running back Eddie Lacy at the bottom of round one.
They were right, eventually.
The Packers made Lacy the 61st pick in the draft, ending a slide that saw him selected behind three other running backs — Giovani Bernard, Le'veon Bell, and Montee Ball.
Now that the Packers have invested in a running back, let's see if they use him. In the past, the Pack have blustered about developing a running game, and yet they have continued to pass to set up the pass.
If they embrace Lacy (and if he performs well), the Packers can add some balance to their offense. Even if quarterback Aaron Rodgers doesn't want them to.


text:
This appeared in Bombay Times today....
Romeo and Juliet in Uttar Pradesh...
Even if Director Habib Faisal is no Franco Zeffirelli ( his remains the definitive 'Romeo and Juliet 'movie in my book) what he has managed to do with such energy and passion in '' Ishqzaade"( such a tongue twister!) is still worth the 2-hour long watch. I caught it on a weekday at a late night multiplex show...and after ages and ages, I had tears streaming down my face when the lights came on. The ending came as no surprise.... we all know how Shakespeare concluded the classic. But it was Faisal's deft treatment and Hemant Chaturvedi's lyrical camerawork that made the climax so effective. Yes, the movie is an ode to violence. But seen in the context of how political games are still played in the badlands of Uttar Pradesh, where guns and gore are more eloquent than words and negotiations, the doomed love story of Parma and Zoya becomes that much more poignant.Especially since the dynamics of old enmities are clearly established right at the start of the narrative.Arjun Kapoor makes an impressive debut as the reckless , brash grandson of the Hindu MLA (superbly played by Anil Rastogi).While Parineeti Chopra as Zoya, the firebrand daughter of the Muslim MLA (and Rastogi's arch riva)l looks ready to carve out a major chunk from Vidya Balan's acting pie and positioning. Here's a spunky actress with guts, talent and dollops of oomph. Hers is perhaps the toughest role in this raw, brutal story. But it also happens to be the best written one – fully fleshed out and minus any false notes. I particularly liked the unexpected chemistry laboratory scene that builds up into a bloody shoot out. Not only was it clever(underlining the ''çhemistry'' between the reconciled lovers) , but it was also touchingly romantic, tender and very moving because of its implicit innocence.
Faisal knows his turf well. The language is rough, coarse and bawdy.Generously giving the peachy Gauhar two sizzling item songs AND dialogues in a couple of key scenes is also an inspired move. " Chhokra Jawaa'' is danced with vigour and overt virility by Arjun, while " Pareshan" shows music man Amit Trivedi at his raunchy best.What movies like Íshqzaade'are doing is interesting. Backed by big houses ( this is a Yashraj film with Aditya Chopra as producer), they are throwing up new talent and fresh faces, thereby injecting a much needed booster shot into the stale, tired rubbishy Bollywood formula. Keeping budgets realistic, giving breaks to newcomers and not skimping on production values, will inevitably lead to new dynamics and better movies. Film makers who understand this hungry, demanding market and go boldly into fresh territories, will succeed on the strength of their originality and talent. Content is definitely king... at least in this movie. And perhaps it is time to get down on our knees and thank the Bard for providing inspiration to so many.
Enough mileage has been derived from actors exposing their buns. When John Abraham lowered his neon green trunks for 'Dostana'' and became an overnight Gay icon, it marked a first. Poor Tusshar Kapoor may just end up becoming the butt end of mean jokes. Keep those trunks on, Tusshar. Never mind, for once, what sis Ekta orders!
About the Wankhede episode involving SRK.... I said what I had to on Arnab Goswami's show earlier this evening. It was a pretty fiery debate... I'm sure you can catch it on the Times Now website, if you are interested.


text:
Gota Tribe in "Tubby Lunchbox" Episode 7 of Season 26
Edward "Eddie" Fox, Erik Reichenbach and Brenda Lowe ofthe Gota Tribe lines up before the Immunity Challenge during the seventh episode of SURVIVOR: CARAMOAN – FANS VS. FAVORITES, Wednesday, March 27 (8:00-9:00 PM, ET/PT) on the CBS Television Network. #Survivor. Photo: Monty Brinton/CBS© 2013 CBS Broadcasting Inc. All Rights Reserved.


text:
Cannes 2012: Festival offers only small hints of Oscar season
This post has been corrected. See the note below for details.
CANNES, France -- As the world's most prestigious film festival drew to a close Sunday, the 2012 awards picture remains nearly as much of a mystery as it was when Cannes began.
In contrast to 2011, when films such as "The Artist" and "The Tree of Life" established themselves as best-picture contenders on the Croisette, this year's edition of the festival offered only small hints of the season to come.
Gaining the biggest foothold -- and offering the most intriguing questions -- was "Amour," Michael Haneke's examination of an elderly man who must care for his wife after she becomes the victim of a stroke.
PHOTOS: Cannes 2012
Sony Pictures Classics plans to release the movie this year and would be justified in holding hopes for major Oscar consideration. The French-language film garnered critical raves and standing ovations here, and on Sunday capped off its magic run by winning the Palme d'Or, Cannes' top prize. The movie tells a universally human story and centers on older people, which some pundits believe is an advantage with Oscar voters.
But a place in the best-picture hunt is far from a sure thing. Foreign-language titles are a tough sell to the entirety of the Academy of Motion Picture Arts and Sciences, which votes on the top prize. Indeed, Haneke's last film, the German-language period drama "The White Ribbon," won the Palme d'Or as well but was only nominated in the Oscar foreign-language category and didn't win.
"Amour" could well score acting nominations for its two leads, the octogenarians Jean-Louis Tringitgnant and Emanuelle Riva. Holding almost iconic status in France, the elderly actors return to the screen for the first time in years, giving raved-about performances and offering a compelling back story that rivals anything in "The Artist" (and just as many spelling challenges).
A number of other actors established themselves as contenders at Cannes. The events of the last 12 days made it clear we should probably keep an eye out for Garrett Hedlund, who plays Dean Moriarty in "On the Road," as he takes a significant leap from his "Tron" days. "No" star Gael Garcia Bernal could also be in the conversation as an advertising executive called on to run a political campaign against Augusto Pinochet in 1980s Chile (the Spanish-language film also has a strong shot at a foreign-language Oscar nomination).
The X factor on the actor side is Matthew McConaughey, who dazzled as an enigmatic homeless man in Jeff Nichols' well-received "Mud." But the film will need to score a U.S. distribution deal first.
The festival was useful at helping awards watchers cross a few movies off their list -- at least in pencil. Although it's very early and things could yet turn around, the kind of talk garnered by "Lawless," the John Hillcoat bootlegging drama starring Shia LaBeouf that the Weinstein Co. will open at the end of August, doesn't at this point suggest a major Oscar run, though if any executive could reverse that, it's Harvey Weinstein.
And anyone banking on a Lee Daniels return to the Oscar podium will probably want to shelve those thoughts. The director's follow-up to "Precious" drew a large number of negative reviews and reactions, as did fellow English-language pic "Cosmopolis." Neither film comes out of the festival with much momentum.
Meanwhile, Wes Anderson's "Moonrise Kingdom" could seek to take a page from the playbook of "Midnight in Paris," which was nominated for a best-picture Oscar and a bevy of other awards. Like that film, "Moonrise" opened Cannes and represents a director's feel-good switch. But to get that kind of attention, it would probably have to start approaching "Midnight"-level box office.
Finally, there's Brad Pitt's "Killing Them Softly." The Andrew Dominik-directed hit-man picture garnered respectable reviews and comes after two Oscar nominations for the actor's and director's previous collaboration, "The Assassination of Jesse James by the Coward Robert Ford." Will the genre picture have a shot? It could at least be a factor on the performance side, with Scoop McNairy and Ben Mendelsohn joining Pitt in drawing acclaim.
For the Record, 3:21 a.m. May 29: An earlier version of this post suggested that "Cosmopolis" did not have U.S. distribution. It has landed a deal from eOne.
Cannes 2012: "Amour" captures festival's top prize
Cannes 2012: "Amour" director Haneke says he hasn't mellowed
Cannes 2012: A festival filled with wild (and divisive) experiments
-- Steven Zeitchik
Photo: A scene from "Amour." Credit: Sony Pictures Classics


text:
Some radio-controlled airplane enthusiasts will get together this weekend
Members of the Kinston Aero-Modelers invite residents to enjoy a day of radio-controlled airplane demonstrations on Saturday, at their second annual Big Bird/War Bird R/C Fly-In.
Mac Faircloth, a member of the Kinston Aero-Modelers, said the event is free and open to the public. He also said concessions will be available.
The event will begin at 9 a.m. at 313 Airport Road, in the field across from Lenoir Memorial Hospital. There is no set end time.
�It will go as long as people want to fly,� Faircloth said.
Fairchild said planes flown, will either be from the Big Bird class, which has a wing span of at least 80 inches, and War Birds, which are military style planes.
Faircloth said the majority of the military planes reflect the World War II era, but there will also be more modern planes, including some featuring turbine engines that can fly as fast as 150-200 miles-per-hour.
�You never know what is going to show up,� Faircloth said.
Faircloth said he hopes people will come out on Saturday and bring their kids with them.
�We try to make it a family day,� Faircloth said.
For more information, contact Juan Cantu at 252-560-8031
Noah Clark can be reached at 252-559-1073 or email@example.com. Follow him on Twitter at @nclark763.
Breakout Box:
Big Bird / War Bird R/C Fly-In
313 Airport Road, across from Lenoir
Saturday beginning at 9 a.m.
Free to the public
For more information, contact Juan Cantu at 252-560-8031


text:
|Click Here to Login
« Charlotte Casiraghi Current Events Part 35: November 2010 - June 2011 | Charlene Wittstock Current Events Part 10: January 2008 - June 2011 »
Our communities encompass many different hobbies and interests, but each one is built on friendly, intelligent membership.
» More about our Communities
Our Marine websites focus on Cruising and Sailing Vessels, including forums and the largest cruising Wiki project on the web today.
» More about our Marine Communities


text:
by E. Clifford Cutler
What fun to see Chestnut Hill turned into Harry Potter's Hogsmeade Village. Someone this week said our parish hall at Saint Paul's Church looked like Hogwarts School where Harry Potter studied and starred on the Quidditch team. Our children on Sunday knew every wizard and book in the series.
My favorite quote comes from the second book in the Harry Potter series, "Harry Potter and the Chamber of Secrets." The author, J. K. Rowling, writes, "It is our choices … that show what we truly are, far more than our abilities." Though Harry is a talented wizard he is certainly fallible, and there are others who might be more skilled.
What sets Harry apart is his willingness to help others. His choice to give without expecting anything in return will ultimately allow him to defeat the evil Lord Voldemort.
Voldemort cannot understand the power of self-sacrifice since the love that gives rise to it is the one thing that cannot bring personal power. Even the good can get caught up in attachments to power and possessions.
The kind head of school at Hogwarts, Professor Albus Dumbledore, in his younger years became obsessed with worldly power. His subsequent self-centeredness caused the death of his young sister. On her tombstone with remorse he inscribed the words from Matthew's Gospel, "Where your treasure is, there your heart will be also."
He has learned an indelible lesson about choices. The will to personal power led to a more personal loss. The mature Dumbledore now chooses self-sacrifice over self-aggrandizement. It was a bitter lesson.
The Matthew passage in its entirety goes, "Do not store up for yourselves treasures on earth, where moth and rust consume and where thieves break in and steal; but store up for yourselves treasures in heaven, where neither moth nor rust consumes and where thieves do not break in and steal. For where your treasure is, there your heart will be also" (Matt. 6: 19-21).
I have a confession to make. We haven't chosen very well. We haven't chosen well as a city. I read last week that Philadelphia has the highest incidence of poverty of any big city in the United States. More than a third of our children live in poverty. I think we have let the spiritual underpinning of our city deteriorate.
The Harry Potter story would say that we have been caught up in personal power and attachments to what we have and want and have left others behind. Like Dumbledore will our epitaph for the poor be the self-incriminating words, "where your treasure is, there your heart will be also"?
We need to choose differently. It is our choices that will show what we truly are, far more than our abilities. We have the ability to alleviate our city's poverty. We have the ability to rebuild the spiritual foundation of our community. It's the choice that matters.
The Very Rev. E. Clifford Cutler is rector of St. Paul's Episcopal Church in Chestnut Hill.


text:
Born in 1939, the Newark (NJ) native was a genuine child prodigy as a pianist and singer, garnering appearances at the famed Apollo Theater and on television's "Spotlight On Harlem" and "The Star Time Kids", sharing stages with the likes of Louis Jordan, Sarah Vaughan and Dinah Washington, before he turned 18. He then formed a vocal trio alongside his sisters Salome and Geraldine and embarked for Europe; Andy & The Bey Sisters were celebrated regulars at The Blue Note in Paris and other venues in Europe from the late 1950s into the early 1960s, when they returned to the US and continued to perform and record (for RCA and Prestige) until the trio disbanded in 1966.
For the two decades thereafter, Bey recorded and performed with such notables as McCoy Tyner, Lonnie Liston Smith, Thad Jones / Mel Lewis, Eddie Harris and others. He was featured vocalist on Gary Bartz's acclaimed Harlem Bush Music projects and for an extended period with Horace Silver, including Silver's The United States of Mind album sequence. In 1991, Bey returned to Europe to teach vocal instruction in Austria; he remained there until 1993, when he returned to the States to record his "comeback album,"accompanied only by his own piano, called Ballads, Blues & Bey.
One of the great unsung heroes of jazz singing, Andy Bey is a commanding interpreter of lyrics who has a wide vocal range and a big, rich, full voice. Bey enjoys a following that swears by him; nonetheless, he isn't nearly as well known as he should be.


text:
We have 2 private boards, one for religion and one for gender. Modify Profile>Group Membership to request access
0 Members and 1 Guest are viewing this topic.
Your sona is so cute omg. I love the sparkles on their eyelashes and the flower crown is a nice touch
YAAAS!! Lana slays <3 hehehe Avery looks super cute love the kind of texture on the brush you used for the eyes and outline, gives it a really cool feeling
:O That looks great! I really like the shading and the tongue poking out ;w;
Super cute drawing of Goose! You're really good at drawing donkeys :0 I can't believe it's your first time!
That looks cool! You did a good job with the style of the character. You also did a good job with the anatomy for your first time drawing a donkey ^^
I love your style so much aaaaaa plus the colors are so softKeep up the amazing work!
Ahhhh you've improved so much!! I can see it especially in this new ref. Everything is so cute and Avery is lovely as always!! Great work <3
That looks super cute! I like the hair.
Page created in 0.1 seconds with 23 queries.


text:
|Version 4 (modified by 10 years ago) (diff),
Contact Form Plugin
Notice: This plugin is unmaintained and available for adoption.
This is an external plugin. Please don't report any tickets here. See below for more information.
How often did you have a question about a software project and had no way to contact one of the developers? This is where this plugin comes into play. It provides a contact form to allow users to contact the project team members. The contact form is very basic: it consists of the necessary fields (name, email, subject, message). There is no way to add more fields as this is outside the scope of this plugin. It's just supposed to be a simple contact form for small (or new) projects that didn't have the time (yet) to setup a more advanced contact form.
The contact form is available through an entry in the main nav or under
There are two configuration settings that influence this plugin. Both can be found in the
[contactform] section in
recipients- a comma separated list containing all users that shall receive the contact mail. This list may contain usernames as well as plain email addresses.
intro_text- a text that is displayed above the contact form.
displays a list of all users that will informed about ticket changes of a certain ticket. Additionally it informs the user about the current notification
Both settings can also be set using the webadmin interface.
Source and Tickets
You'll find all information about this plugin here. Please file only tickets there.
Author: Sebastian Krysmanski
Attachments (1)
- screenshot.png (6.4 KB) - added by 10 years ago.
Download all attachments as: .zip


text: I know this warning has been added to Amavis to flag mails from non-local senders to non-local recipients. I have been trying to get rid of the warning in case the sender is SASL authenticated. One recommendation I found was this: Code: $interface_policy{'10024'} = 'SASL_AUTH'; $policy_bank{'SASL_AUTH'} = { originating => 1, }; But this goes way too far as ALL mails are routed from postfix to Amavis via port 10024. Using the submission port for authenticated senders is fine but I can't force all my people to do it. Does anybody have a good solution for this? Maybe a second Amavis port for authenticated senders? Any better idea?


text:
You are downloading JioTV- Lok Sabha Elections 2019 & More- Version 5.6.1
This apk is safe to download from this mirror. This is an original app file and free of any virus.
This apk is safe to download
Airtel TV: Movies, TV series, Live TV
Tamilrockers : Full HD Tamil 2017 Movies Download
JioTV Live Sports Movies Shows
IPTV Shqip
ZEE5 - Movies, TV Shows, LIVE TV & Originals
Google Play Games
Talking Tom Cat
Talking Ginger
Talking Tom Cat 2
IMDb Movies & TV
Peel Smart Remote


text:
Does Bret Stephens really want us to believe that our support for Israeli expansionism has nothing to do with Muslims' perception of the United States?
According to his column in today's Wall Street Journal, he does. The basic gist is as follows:
- Sayyid Qutb was a crucial theorist of Islamic resistance more than half a century ago;
- Qutb was revolted at what he saw (then!) as sexual licentiousness and general cultural looseness among Americans;
- Therefore, sexy American women including "Lady Gaga–or, if you prefer, Madonna, Farrah Fawcett, Marilyn Monroe [and] Josephine Baker" have more to do with our terrorism problem than does our unswerving support for Israeli expansionism.
You can take this sort of argument in lots of different directions. Try this one: Teddy Roosevelt, perhaps the first neoconservative, was a big racist. Lots of his support for American imperialism derived from the fact that he was a big racist. Therefore, the reason American neoconservatives like Bret Stephens support American imperialism is because they are big racists.
To be sure, there probably are neoconservatives who want to beat up on the Arabs because of racism. But it's not fair to tar Stephens with that brush simply because he hews to an ideology that was influenced in crucial ways by big racists like TR.
Getting back to the substance of the piece, Stephens takes his argument all the way, writing that "to imagine that [Israeli] settlements account for even a fraction of the rage that has inhabited the radical Muslim mind since the days of Qutb is fantasy: The settlements are merely the latest politically convenient cover behind which there lies a universe of hatred." This armchair psychiatry formulation helpfully gets Stephens far away from the realm of falsifiability.
Dangerously, though, Stephens veers back toward falsifiability by writing that "the core complaint that the Islamists from Waziristan to Tehran to Gaza have lodged against the West" is that we're too sexed-up. This is, of course, not accurate. Bin Laden's 1996 fatwa, after all, was not titled "Declaration of War against the Americans with their Supple Buttocks and Protuberant Breasts." Instead, it was called "Declaration of War against the Americans Occupying the Land of the Two Holy Places." Or you can take a look at the second fatwa, released in 1998. The three big claims made against us in there were
- Our presence in Saudi Arabia and support for the Saudi government, which he hates;
- Our sanctions regime against Iraq and its alleged effects on Iraqi civilians; and
- Our support for Israel.
There's a lot you can do with this information, up to and including supposing that bin Laden would not be satisfied even if these three conditions were somehow removed. You can also read the actual fatwas and conclude that the Israel stuff was far from the centerpiece of the argument and seemed sort of tacked on at the end for good measure. I actually think both these arguments are good ones. But actually thinking about what's in those texts should cause you to ask why, of all the grievances he could have lodged, including our reverence for Josephine Baker, did he pick those three issues? The answer that presents itself is that he is not an idiot and he thinks the three points he made will be most effective in recruiting people to the cause.
Once again, there's a lot you can do with this, up to and including saying you don't care what effect our policies may have on al Qaeda recruiting, continuing them is worth a lot to us so we're going to do so. And that's fine. But Stephens' cute argumentation and burial of basic facts about these yahoos isn't doing a service to the debate over what to do about them.
Similarly, Stephens could have looked for actual research on the topic. For example, public opinion scholars Andrew Kohut and Richard Wike drew on six years of survey data in the Islamic world and concluded in 2008 that while "America's image in much of the Muslim world remains abysmal," "most of the story is opposition to American foreign policy rather than value divides or religious-based enmity." Or look at the U.S. Defense Department's reporting on the issue: "American direct intervention in the Muslim World has paradoxically elevated the stature of and support for radical Islamists, while diminishing support for the United States to single-digits in some Arab societies…Muslims do not 'hate our freedom,' but rather, they hate our policies." [.pdf] Basically everybody who's studied this question in any detail agrees with this general argument.
Stephens has a great pulpit on the Wall Street Journal's op-ed page. He should have more respect for his readers and more deference to the truth.
Update: Andrew Exum has more.