DOCSLIB.ORG

Jeof Vita, Rob Gala, Ken West, Misty S

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Jeof Vita, Rob Gala, Ken West, Misty S YOU SHALL KNOW our zine making techniques Deep Thoughts on Zines from The Inner Swine i ii YOU SHALL KNOW our zine making techniques Deep Thoughts on Zines from The Inner Swine iii Copyright © 2004 by Jeff Somers except where noted otherwise, dammit. ISBN: 0-9713719-3-8 “YOU SHALL KNOW our zine making techniques” is a collection of zine-related articles which originally appeared in The Inner Swine (PO Box 3024, Hoboken, NJ 07030; ISSN: 1527-7704), on The Inner Swine website www.innerswine.com, and in Xerography Debt, which is a grand zine published by Davida Gypsy Breier (PO Box 963, Havre de Grace, MD 21078; http://www.leekinginc.com/xeroxdebt). The Inner Swine is a magazine published March, June, September, and December by Oinking Sow, Inc. (There is no company, really.) Subscription rates and such can be found in the back of this book, in case you’re wondering, but stop teasing me, you’re never going to order a subscription, you heartless bastards. Free trades are absolutely entertained; send me something, and I will mail you treats. Treats, of course, can and will be defined in any way we decide at the moment we receive your mailing, and can and probably will include any one of the following: Food, pocket lint, foreign currency, pictures of ourselves, old issues of TIS no one wanted in the first place, broken gadgets, toys, and electronics, mail art, or stickers. We don’t want submissions. Still, if The Voices In Your Head insist, all submissions or requests for guidelines (there are no guidelines, though) must be accompanied by S.A.S.E. Misty Quinn (left) appears in all TIS-related front matter for no particular reason and we assume this pleases her, though it’s always possible it angers her and she is plotting our demise as we write this. By the way, the characters, places, incidents, and situations in this book are imaginary and have no relation to any person, place, or actual happening. Except for the following people: Jeof Vita, Rob Gala, Ken West, Misty S. Quinn, Danette “The Duchess” Somers, Cassie Carey, Mex Carey, Lauren Boland, Loretta Somers, Sean Somers, and Jeff “Captain Fantastic” Somers. Those people are real and should be feared. Cover art © 2004 by Jeof Vita. Printed by Tower Records in the USA iv TABLE OF contents Preface ix ZINE THEORY 101 The Five Stages of a Zine Publisher’s Life 3 Zine Rebel or Zine Elvis? Or Something In-Between? 7 Ten Things That Annoy Me about my Fellow Zine Publishers (In No Particular Order) 11 30 ISSUES to GREATNESS The Inner Swine Timeline 1995-2003 15 TO DIE. IN THE RAIN What Kind of Writer Are You, Anyway? 19 STEAL THIS ZINE 23 PRACTICAL ZINE STUFF YOU SHALL KNOW our zine making techniques How The Inner Swine Gets Made 31 Free as in Beer Laying Out a Zine on a PC At No Cost? 37 Dance With a Hand in My Pants How I Produce 60 Pages of Quality Shit for Cheap 45 Mr. Mute’s Guide to Making a Zine 49 QUICK & DIRTY E-PUB Be a Fucking E-Publisher If You Want: Do It For Free, Yo 53 COLUMNSCOLUMNSCOLUMNS MORE SHIT I GOTTA DO from www.innerswine.com My History of Zining Publish Your Own Book, Why Not? 61 vii Persistence of Zining 65 I Am Fucking Rich 68 Number 288 of 324 Precious Little Zines 71 Why Must We Stay Where We Don’t Belong? Is DIY Publishing Too Interesting to Ever Be Big? 73 I’ve Got Nothing to Say, I Hope You Have a Nice Day I Love My PO Box 75 Don’t Write for Me, Please! 77 Page 43 Messes with Texas 79 Time Dilation May Impede Zine 81 The James A. Farley Post Office Building been Very, Very Good to Me Automated Postal Machines Confuse the Masses 84 IT MEANS IT’S WANK from Xerography Debt #1: WHY I LOVE BAD REVIEWS 87 #2: PERSONA NON GRATA 90 #3: NO BITCHING ZONE 92 #4: THE LONG DARK TEA TIME OF THE SOUL 94 #5: THE PRICE OF EVERYTHING AND THE VALUE OF NOTHING 97 #6: A WORLD OF PEOPLE COOLER THAN ME 100 #7: FAMILIARITY BREEDS CONTEMPT 102 #8: ZINE SUPERSTAR 104 #9: DO NOTHING, SAY NOTHING, AND BE NOTHING 106 #10: THE HUMORLESS 108 #11: STUBBORN IGNORANCE 110 Glossary 115 viii PREFACE PEOPLE who don’t publish zines frighten and confuse me. I wonder what they do with their time—probably attending Communist Party meetings, wearing the sporty little hats communists prefer (see figure 1). I also wonder how they spend their money—probably purchasing kittens and puppies for their decadent and evil feasts. Most of all, I wonder what they do with all the office supplies they come into contact with on a daily basis—probably they waste them on boring, unamerican things like financial reports, PowerPoint slides, and, of course, pornography. These people puzzle me, because I’ve long thought that everyone ought to be publishing zines. All of you. Yes, you. If you’re not publishing a zine, you’re something scientists like to call a Weenie. Figure 1. Sporty I shouldn’t warn you about this, of course, because your little hat well- strange reluctance to do your American duty by publishing a zine known communists has the odd effect of increasing my Cool Factor. I owe you a debt wear of gratitude, just like I ower a debt of gratitude to a kid we called Slow Walter back in grammar school, who made me look like a genius every time he opened his mouth. Because the Zine gene pool is so small, I manage to look pretty damn cool when compared to your typical Zine Publisher (see figure 2), whereas if all of you jumped into the water I’d quickly drown, as I’m that kid with the shoulder floaties strapped on, blinded by the chlorine Figure 2. and peeing into the water uncontrollably. But because you lack Typical Zine the simple red-blooded desire to fart your every thought onto Publisher paper and mail it out to an uncaring world, I look pretty good when compared to the typical Zine Publishers out there. Of course, nothing attracts people to communism like laziness, and I can already here some of you pinkos out there claiming you don’t publish a zine because you aren’t a very good writer, or don’t enjoy writing very much, or are iliterate. Bollocks—sorry to burst your bubble, comrade, but not all zines are filled with the tightly-packed handwriting of psychopaths and terrorists— JEFF SEZ: “Thus launching a zine and yourself into good old-fashioned American service to your fellow man, who desperately needs things to read in the bathroom.” although I’ll admit that most, indeed are. Many zines are filled with photos, ix poetry, or artwork, and some have very few words in them at all. Or at least very few correctly spelled words, spelling and grammar being a trap The Man has set up to keep us down. So a lack of writing ability or ambition is no excuse. Every gun-toting, steak- eating American has a duty to publish underground pamphelts and magazines at their own expense. If you don’t publish, the Terrorists win. Don’t claim you don’t have the time, either. I know people. I am people. And we people have tons of free time. I think the basic misunderstanding here is that being entertained is not a requirement. Just because you’ve got sixteen hours of The WB television TiVoed doesn’t mean you have no time to put out a zine. We’re only given so much time on this Earth, and if you think it’s wise to spend a huge proportion of that time watching television, well, then, go with god—just remember, when you watch TV, you watch with Commies. But publishing a zine is a much better use of your time, JimBob, trust me, and here’s why. 1. Zines offer you perhaps the only way you’re ever going to leave a mark on history. Most people skate through life with no bigger accomplishment than surviving their 21st birthday and the gauntlet of ill-advised booze their ‘friends’ make them consume. If you think the good folks at Duffy’s bar in your old college town are going to remember you for having survived 22 Tequila Fanny Bangers, you’re sadly mistaken. Spend a few years writing about Tequila Fanny Bangers, like I have, and the world eventually gets to know you as the Tequila Fanny Banger guy. I have that printed on my business cards, by the way. 2. Zines will make you cool. No, really. The funny thing about nerdy things like writing and publishing zines is that somewhere between junior high and adulthood, they transmorgrify into cool. This is because all the cool kids back in school were so busy being cool they forgot to pay any attention and learn anything, so when they’re thirty-five anyone with the ability to write coherently or program their computers takes on the mystic aura of a magician. 3. Publishing a zine often results in perfect strangers sending you cash in the mail. No, really. There you have it, my Red friend, all the reasons you need to march home immediately, scrawl some bad poetry, ill-informed opinion, and lame fiction on some paper and copy it a few hundred times, thus launching a zine and yourself into good old-fashioned American service to your fellow man, who desperately needs things to read in the bathroom.
Load more

Recommended publications
  • June 2015 Broadside
    T H E A T L A N T A E A R L Y M U S I C ALLIANCE B R O A D S I D E Volume XV # 4 June, 2015 President’s Message Are we living in the Renaissance? Well, according to the British journalist, Stephen Masty, we are still witnessing new inventions in musical instruments that link us back to the Renaissance figuratively and literally. His article “The 21st Century Renaissance Inventor” [of musical instruments], in the journal “The Imaginative Conservative” received worldwide attention recently regard- ing George Kelischek’s invention of the “KELHORN”. a reinvention of Renaissance capped double-reed instruments, such as Cornamuse, Crumhorn, Rauschpfeiff. To read the article, please visit: AEMA MISSION http://www.theimaginativeconservative.org/2015/05/the-21st-centurys-great-renaissance-inventor.html. It is the mission of the Atlanta Early Music Alli- Some early music lovers play new replicas of the ance to foster enjoyment and awareness of the histor- Renaissance instruments and are also interested in playing ically informed perfor- the KELHORNs. The latter have a sinuous bore which mance of music, with spe- cial emphasis on music makes even bass instruments “handy” to play, since they written before 1800. Its have finger hole arrangements similar to Recorders. mission will be accom- plished through dissemina- tion and coordination of Yet the sound of all these instruments is quite unlike that information, education and financial support. of the Recorder: The double-reed presents a haunting raspy other-worldly tone. (Renaissance? or Jurassic?) In this issue: George Kelischek just told me that he has initiated The Capped Reed Society Forum for Players and Makers of the Crumhorn, President ’ s Message page 1 Cornamuse, Kelhorn & Rauschpfeiff.
    [Show full text]
  • Balancing Function Unit 4
    BALANCING FUNCTION UNIT 4 Dr. P.V. S LAKSHMI JAGADAMBA Professor, Department of CSE, GVP College of Engineering for Women INTRODUCTION User experiences play a critical role in influencing software acceptance Conversational messages have their limits Design needs to be comprehensible, predictable, and controllable Information layout is important Multi window coordination Large, fast, high-resolution color displays have potential Recognition of the creative challenge of balancing function and fashion may lead to designers even working even harder. 2 INTRODUCTION “This chapter deals with six design matters that are functional issues with varying styles/solutions to suite a variety of users.” Error messages Non-anthropomorphic design Display design Web page design Window design Colour 3 ERROR MESSAGES Overview User experience with computer-system prompts, explanations, error diagnostics, and warnings is crucial in influencing acceptance of SW systems Why do errors occur? Lack of knowledge, incorrect understanding, inadequate slips What is the consequence? Users are likely to be confused, are anxious or feel inadequate What is a solution? Make error messages as user-friendly as possible; this is especially important for novice users as they commonly have a lack of knowledge, confidence, and are sometimes easily frustrated or discouraged 4 ERROR MESSAGES Improving Error Messages Measure where errors occur frequently, focus on these issues Improve messages but also revise error handling procedures, improve documentation
    [Show full text]
  • Notes on the Ontology of Design
    Notes on the Ontology of Design Arturo Escobar University of North Carolina, Chapel Hill Contents 1. Introduction ………………………………………………………. ……….. 2 2. Part I. Design for the Real World: But which world? what design? what real? ………………………….. …. 4 3. Part II. In the background of our culture: The rationalistic tradition and the problem of ontological dualism……… 16 4. Part III. Outline of ontological and autonomous design ……………….. 34 5. Part IV. The politics of relationality. Designs for the pluriverse ………. 57 6. Some provisional concluding remarks ………………………………….. 74 7. References ………………………………………………………………….. 78 Note to readers: This ‘paper’ ended up being actually the draft of a short book; the book is likely to have one more chapter, dealing with globalization, development, and environment issues; it is also likely to have examples, and to be written in a less academic manner, or so I hope. I’ve had several tentative titles over the past few years, the most recent one being The Ecological Crisis and the Question of Civilizational Transitions: Designs for the Pluriverse. I’ve been reading, and working with, most of this material for a long time, but some of it is new (to me); this is particularly true for Part I on design. I suspect the text is quite uneven as a result. Part IV is largely cut-and-paste from several texts in English and Spanish, particularly the long preface to the 2nd ed. of Encountering Development. This part will need additional re/writing besides editing and reorganizing. The references are somewhat incomplete; there are a few key design references of which I have been made aware very recently that are not, or not significantly, included (e.g., on participatory design, postcolonial computing, and human-computer interaction).
    [Show full text]
  • Web Typography │ 2 Table of Content
    Imprint Published in January 2011 Smashing Media GmbH, Freiburg, Germany Cover Design: Ricardo Gimenes Editing: Manuela Müller Proofreading: Brian Goessling Concept: Sven Lennartz, Vitaly Friedman Founded in September 2006, Smashing Magazine delivers useful and innovative information to Web designers and developers. Smashing Magazine is a well-respected international online publication for professional Web designers and developers. Our main goal is to support the Web design community with useful and valuable articles and resources, written and created by experienced designers and developers. ISBN: 978-3-943075-07-6 Version: March 29, 2011 Smashing eBook #6│Getting the Hang of Web Typography │ 2 Table of Content Preface The Ails Of Typographic Anti-Aliasing 10 Principles For Readable Web Typography 5 Principles and Ideas of Setting Type on the Web Lessons From Swiss Style Graphic Design 8 Simple Ways to Improve Typography in Your Designs Typographic Design Patterns and Best Practices The Typography Dress Code: Principles of Choosing and Using Typefaces Best Practices of Combining Typefaces Guide to CSS Font Stacks: Techniques and Resources New Typographic Possibilities with CSS 3 Good Old @Font-Face Rule Revisted The Current Web Font Formats Review of Popular Web Font Embedding Services How to Embed Web Fonts from your Server Web Typography – Work-arounds, Tips and Tricks 10 Useful Typography Tools Glossary The Authors Smashing eBook #6│Getting the Hang of Web Typography │ 3 Preface Script is one of the oldest cultural assets. The first attempts at written expressions date back more than 5,000 years ago. From the Sumerians cuneiform writing to the invention of the Gutenberg printing press in Medieval Germany up to today՚s modern desktop publishing it՚s been a long way that has left its impact on the current use and practice of typography.
    [Show full text]
  • A Public Record
    Contested Commons / Trespassing Publics A Public Record I The contents of this book are available for free download and may be republished www.sarai.net/events/ip_conf/ip_conf.htm III Contested Commons / Trespassing Publics: A Public Record Produced and Designed at the Sarai Media Lab, Delhi Conference Editors: Jeebesh Bagchi, Lawrence Liang, Ravi Sundaram, Sudhir Krishnaswamy Documentation Editor: Smriti Vohra Print Design: Mrityunjay Chatterjee Conference Coordination: Prabhu Ram Conference Production: Ashish Mahajan Free Media Lounge Concept/Coordination: Monica Narula Production: Aarti Sethi, Aniruddha Shankar, Iram Ghufran, T. Meriyavan, Vivek Aiyyer Documentation: Aarti Sethi, Anand Taneja, Khadeeja Arif, Mayur Suresh, Smriti Vohra, Taha Mehmood, Vishwas Devaiah Recording: Aniruddha Shankar, Bhagwati Prasad, Mrityunjay Chatterjee, T. Meriyavan Interviews Camera/Sound: Aarti Sethi, Anand Taneja, Debashree Mukherjee, Iram Ghufran, Khadeej Arif, Mayur Suresh, Taha Mehmood Web Audio: Aarti Sethi, Bhagwati Prasad http://www.sarai.net/events/ip_conf.htm Conference organised by The Sarai Programme Centre for the Study of Developing Societies, Delhi, India www.sarai.net Alternative Law Forum (ALF), Bangalore, India www.altlawforum.org Public Lectures in collaboration with Public Service Broadcasting Trust, Delhi, India www.psbt.org Published by The Sarai Programme Centre for the Study of Developing Societies 29 Rajpur Road, Delhi 110054, India Tel: (+91) 11 2396 0040 Fax: (+91) 11 2392 8391 E-mail: [email protected] Printed at ISBN 81-901429-6-8
    [Show full text]
  • The Origins of Word Processing and Office Automation
    Remembering the Office of the Future: The Origins of Word Processing and Office Automation Thomas Haigh University of Wisconsin Word processing entered the American office in 1970 as an idea about reorganizing typists, but its meaning soon shifted to describe computerized text editing. The designers of word processing systems combined existing technologies to exploit the falling costs of interactive computing, creating a new business quite separate from the emerging world of the personal computer. Most people first experienced word processing using a word processor, we think of a software as an application of the personal computer. package, such as Microsoft Word. However, in During the 1980s, word processing rivaled and the early 1970s, when the idea of word process- eventually overtook spreadsheet creation as the ing first gained prominence, it referred to a new most widespread business application for per- way of organizing work: an ideal of centralizing sonal computers.1 By the end of that decade, the typing and transcription in the hands of spe- typewriter had been banished to the corner of cialists equipped with technologies such as auto- most offices, used only to fill out forms and matic typewriters. The word processing concept address envelopes. By the early 1990s, high-qual- was promoted by IBM to present its typewriter ity printers and powerful personal computers and dictating machine division as a comple- were a fixture in middle-class American house- ment to its “data processing” business. Within holds. Email, which emerged as another key the word processing center, automatic typewriters application for personal computers with the and dictating machines were rechristened word spread of the Internet in the mid-1990s, essen- processing machines, to be operated by word tially extended word processing technology to processing operators rather than secretaries or electronic message transmission.
    [Show full text]
  • CONTENTS Lesson No. Details Lesson Title Page No. BLOCK - a 01 UNIT – I Introduction to Computers 3 02 UNIT – II Classification of Computers 12
    CONTENTS Lesson No. Details Lesson Title Page No. BLOCK - A 01 UNIT – I Introduction to Computers 3 02 UNIT – II Classification of Computers 12 BLOCK - B 03 UNIT – I Digital Technology 26 04 UNIT – II Memory - Real and Virtual 31 BLOCK - C 05 UNIT – I MS-Word 34 06 UNIT – II Powerpoint 75 07 MS-Excel 86 08 MS-Access 125 BLOCK - D 09 UNIT – I Working with Text 168 10 UNIT – II Page Maker 170 11 Corel Draw 176 BLOCK - E 12 UNIT – I History of Internet 186 13 World Wide Web 191 Writer: Ms. Neha Vetter: Sh. Sushil K. Singh Converted into SIM format by: Sh. Rajesh Nain Bachelor of Mass Communication (1st year) COMPUTER APPLICATIONS (BMC-105) Block: A Unit: I Lesson: 1 INTRODUCTION TO COMPUTERS Writer: Ms. Neha Vetter: Sh. Sushil K. Singh Converted into SIM format by: Sh. Rajesh Nain LESSON STRUCTURE: In this lesson we shall discus about the various introductory aspects of computers. First, we shall focus on the components of computers. We shall also briefly discuss the evolution of computers and the various generations of computers. The lesson structure shall be as follows: 1.0 Objectives 1.1 Introduction 1.2 Presentation of Content 1.2.1 Components of Computers 1.2.2 Evolution of Computers 1.2.3 Generations of Computers 1.3 Summary 1.4 Key Words 1.5 Self-Assessment Questions (SAQs) 1.6 References/Suggested Reading 1.0 OBJECTIVES: The computer is a major component of Information Technology. Computers influence every aspect of life today from small businesses or even satellite launchings.
    [Show full text]
  • A Mathematician's Lament
    A Mathematician’s Lament by Paul Lockhart musician wakes from a terrible nightmare. In his dream he finds himself in a society where A music education has been made mandatory. “We are helping our students become more competitive in an increasingly sound-filled world.” Educators, school systems, and the state are put in charge of this vital project. Studies are commissioned, committees are formed, and decisions are made— all without the advice or participation of a single working musician or composer. Since musicians are known to set down their ideas in the form of sheet music, these curious black dots and lines must constitute the “language of music.” It is imperative that students become fluent in this language if they are to attain any degree of musical competence; indeed, it would be ludicrous to expect a child to sing a song or play an instrument without having a thorough grounding in music notation and theory. Playing and listening to music, let alone composing an original piece, are considered very advanced topics and are generally put off until college, and more often graduate school. As for the primary and secondary schools, their mission is to train students to use this language— to jiggle symbols around according to a fixed set of rules: “Music class is where we take out our staff paper, our teacher puts some notes on the board, and we copy them or transpose them into a different key. We have to make sure to get the clefs and key signatures right, and our teacher is very picky about making sure we fill in our quarter-notes completely.
    [Show full text]
  • Society of Dance History Scholars Proceedings
    Society of Dance History Scholars Proceedings Twenty-Seventh Annual Conference Duke University ~ Durham, North Carolina 17-20 June 2004 Twenty-Eighth Annual Conference Northwestern University ~ Evanston, Illinois 9-12 June 2005 The Society of Dance History Scholars is a constituent member of the American Council of Learned Societies. This collection of papers has been compiled from files provided by individual authors who wished to contribute their papers as a record of the 2004 Society of Dance History Scholars conference. The compiler endeavored to standardize format for columns, titles, subtitles, figures or illustrations, references, and endnotes. The content is unchanged from that provided by the authors. Individual authors hold the copyrights to their papers. Published by Society of Dance History Scholars 2005 SOCIETY OF DANCE HISTORY SCHOLARS CONFERENCE PAPERS Susan C. Cook, Compiler TABLE OF CONTENTS 17-20 June 2004 Duke University ~ Durham, North Carolina 1. Dancing with the GI Bill Claudia Gitelman 2. Discord within Organic Unity: Phrasal Relations between Music and Choreography in Early Eighteenth-Century French Dance Kimiko Okamoto 3. Dance in Dublin Theatres 1729-35 Grainne McArdle 4. Queer Insertions: Javier de Frutos and the Erotic Vida Midgelow 5. Becomings and Belongings: Lucy Guerin’s The Ends of Things Melissa Blanco Borelli 6. Beyond the Marley: Theorizing Ballet Studio Spaces as Spheres Not Mirrors Jill Nunes Jensen 7. Exploring Ashton’s Stravinsky Dances: How Research Can Inform Today’s Dancers Geraldine Morris 8. Dance References in the Records of Early English Drama: Alternative Sources for Non- Courtly Dancing, 1500-1650 E.F. Winerock 9. Regional Traditions in the French Basse Dance David Wilson 10.
    [Show full text]
  • Grid Layout Website Template
    Grid Layout Website Template Paltry and flexed Huntington think, but Gershon temporarily moan her iambics. Ratlike Kingsly confabulate some subtexts after atonal Murphy stripped aiblins. Useful and dizzying Aleksandrs never incommode hotheadedly when Wyatt bereave his liberations. Css tools and they can no room for grid website design the problem yourself easier and mobile version of this the web design inspiration if there are to your If necessary, meaning you ever easily redefine grids and rearrange elements across breakpoints. Ajax signup request has been used in chronological order of having this layout? An easy ways on websites as simple css grid layout methods, does ppc cost? It comes to feedback area of our popular is achieved using an online options, are the css grid for your designer, grid website to impress everyone should always demonstrate some distortion effect. Maybe han will add it in place future. The elements are packed with css grid inserts as hard as deliver enviable performance. Unify Responsive Website Template by htmlstream. Save and name, are, we actually earn some affiliate commission. Single navbar example with a bottom navbar along with some additional content. Free templates or mobile, rich styling all skill, instead of perfectly aligned effectively. Unique navigation with four different sections, references, the CSS grid was designed as a flexible solution to be applied to different use cases. Design library authors provides the additional functionality functionality of website layout template in the need to push your images very easy to repurposing content. Both parts are nicely sprinkled with prominent examples. Never miss standing on learning about the next crucial thing.
    [Show full text]
  • Military Compensation: When 50-Year-Olds Decide What 20-Year-Olds Want
    CRM D0012938.A1/Final September 2005 Military Compensation: When 50-Year-Olds Decide What 20-Year-Olds Want Samuel D. Kleinman • Michael L. Hansen 4825 Mark Center Drive • Alexandria, Virginia 22311-1850 Approved for distribution: September 2005 Henry S. Griffis, Director Workforce, Education and Training Team Resource Analysis Division This document represents the best opinion of CNA at the time of issue. It does not necessarily represent the opinion of the Department of the Navy. Approved for Public Release; Distribution Unlimited. Specific authority: N00014-00-D-0700. For copies of this document call: CNA Document Control and Distribution Section at703-824-2123. Copyright Ó 2005 The CNA Corporation Contents Executive summary . 1 Background. 1 Findings and implications . 1 Military compensation . 1 Management of military personnel . 3 Introduction . 5 What is compensation . 9 Why do policy-makers get it wrong? . 9 Greater need for competitive compensation . 10 Strategic goals of compensation . 11 Meeting manpower objectives . 13 Getting the aggregate numbers right . 13 Training as compensation . 13 Training and labor contracts . 15 Retirement and retired healthcare. 18 Allocating personnel and Servicemember choice . 24 Assignments, rotation, and relocation . 25 Continuum of Service . 27 Providing incentives for performance. 29 Setting manpower objectives . 33 Experience profile . 34 What is the “required” experience profile? . 35 Are we measuring and using experience properly? . 36 Rotation. 38 Training . 39 Cost visibility . 40 Costs not in unit budgets . 41 One-year money. 43 Endstrength requirements . 44 Conclusions . 47 References . 49 i (This page is left intentionally blank) Executive summary Background Congressional mandate requires the Department of Defense (DoD) to review its forces, resources, and programs every 4 years and pre- sent its findings to Congress and the President.
    [Show full text]
  • Linux Box — Rev
    Linux Box | Rev Howard Gibson 2021/03/28 Contents 1 Introduction 1 1.1 Objective . 1 1.2 Copyright . 1 1.3 Why Linux? . 1 1.4 Summary . 2 1.4.1 Installation . 2 1.4.2 DVDs . 2 1.4.3 Gnome 3 . 3 1.4.4 SElinux . 4 1.4.5 MBR and GPT Formatted Disks . 4 2 Hardware 4 2.1 Motherboard . 5 2.2 CPU . 6 2.3 Memory . 6 2.4 Networking . 6 2.5 Video Card . 6 2.6 Hard Drives . 6 2.7 External Drives . 6 2.8 Interfaces . 7 2.9 Case . 7 2.10 Power Supply . 7 2.11 CD DVD and Blu-ray . 7 2.12 SATA Controller . 7 i 2.13 Sound Card . 8 2.14 Modem . 8 2.15 Keyboard and Mouse . 8 2.16 Monitor . 8 2.17 Scanner . 8 3 Installation 8 3.1 Planning . 8 3.1.1 Partitioning . 9 3.1.2 Security . 9 3.1.3 Backups . 11 3.2 /usr/local . 11 3.3 Text Editing . 11 3.4 Upgrading Fedora . 12 3.5 Root Access . 13 3.6 Installation . 13 3.7 Booting . 13 3.8 Installation . 14 3.9 Booting for the first time . 17 3.10 Logging in for the first time . 17 3.11 Updates . 18 3.12 Firewall . 18 3.13 sshd . 18 3.14 Extra Software . 19 3.15 Not Free Software . 21 3.16 /opt . 22 3.17 Interesting stuff I have selected in the past . 22 3.18 Window Managers . 23 3.18.1 Gnome 3 .
    [Show full text]