The Myths About Data Recovery

adrMost people do not care enough about their computer data until they lose them forever. Recovery is sometimes a necessity, it does not matter is it about the individual disk recovery or RAID 10 recovery, but it is even possible to avoid this situation by protecting the files on time.

The first thing people usually believe is that their data is perfectly safe because their hard drive is new. This is far from truth, but the good thing is that every product comes to manufacturer’s warranty, so one should use it. Moreover, it is good to back up the files in case something happened, but many people neglect the fact they should check the backup, as well. Another myth comes when people think is if they do not visit suspicious websites, there is no way to catch viruses. The problem is that websites usually come uninvited, and bring along hundreds of viruses. Some may think that running the RAID server will keep them safe forever, but even every single hard drive in RAID may fail, so it is necessary to go for recovery. There different types of repair for different types of RAID levels, so one should look for expert specialized for RAID 0, RAID 5 OR RAID 10 recovery, for instance.

Understanding RAID recovery

RAID arrays have become a popular strategy for many people both at home and even in the workplace. They are especially crucial in server environments where they have been lauded for enhancing the speed and efficiency in a system’s operations. You may, however, encounter the problem of a RAID breakdown. This will usually occur due to several reasons. When it happens, you may be at pains to access your files stored in there. When the controller should develop problems, you will definitely be staring at malfunctioned RAID arrays. Sometimes, it is the member hard drive, which manifests the problem. Whichever the case, RAID repair can be carried out with the right skills and software to result in a successful completion. Check this provider, as an example.

The approach used in trying out RAID repair will usually revolve around reconstruction of the parameters involved. When this has been achieved successfully, you can then go ahead to recover the files or data wanted. If the system was ruined as a result of physical reasons, it is advisable to rule out system memory as being the culprit. There are a number of tools in the market that are available for easy use in recovery. You merely have to choose the software features which appeal to you and get it downloaded for recovery to start.

Pros Of Having A Help Desk Application

phdsTechnology has led the existence of help desk software. There is a tight competition in the online market and if your business does not have an edge over the others, it might not create sales. The very reason why help desk exist is because it values the customers who purchases the product or services that the company sells. It allows them to have a way of raising their concern whenever they find something undesirable on what they avail. On the part of the business owner, the help desk software allows them to monitor their customers.

It gives them an overview on what they need to improve and how they can provide the best services for their potential customers. They will not have a hard time as well in managing the business because the software collects all the feedback from the customers. They can identify the need of the customers and their loyalty and trust is maintained. Whether offline or online, the business will be visible 24/7 because the software provides support to the customers. They do not need to employ a lot of people to do this because the software itself handles several tasks. Help desk software can be purchased at different price range depending on the features offered.

Considerations In Downloading Help Desk Software

Help desk software is an important tool to provide 24/7 customer service support on the internet. Since thousands of internet users are browsing the website from time to time, it is definitely difficult to handle the concerns or feedback of the customers. With the help desk software, managing the online business is easier considering that it gathers all the feedback coming from the customers. Business owners can also improve their products or services because they know already what customers expect. However, before buying and downloading help desk software, it is important to consider several things.

First, you need to check the needs of the business at present and in the future. Customers come and go and if you do not value them, it might be hard to bring them back in. This is the reason why you have to make an extra effort of evaluating the business and foresee what will happen if you do not have help desk on your site. Second, consider the price and compatibility of the software to your website. Lastly, have a checklist on where to place the software. Run through the website and check to see whether customers can access the help desk software easily.

How I Discovered The Snoreless Pillow

Snoring is an embarrassing state for anyone to find themselves in. There are moments when you would dread sleeping during the day or even close to other people. There are times when i was woken up by people only for them to tell me that I was making a lot of noise for them. I therefore, decided to find permanent cure for my condition. At first, I did not know that a person could actually go through the process of curing by practicing simple habits such as sleeping in a position that would allow for free air circulation. However, I tried this one and it did not fully work.

I later decided to go through the internet to find a permanent solution to my problem. One solution that stood out for me was the use of a snoreless pillow. I took time to read through the snoring pillow review forums. In the process of my search, I landed on a latex pillow which had won the votes of many people. This material was good since I have been allergic to other kinds of materials. I placed my order and after using it for some time, I realized some considerable change to my condition.

Just an example of a snoring mouthpiece.

Just an example of a snoring mouthpiece.

Will Be Trying Out a Stop Snoring Mouthpiece

I know that I snore a lot and that it keeps up my roommate. One thing that I’m going to try to do is look for a stop snoring product. I want to do this so my roommate can get some sleep at night. We have finals coming up and I want to make sure that he is well rested for them. The reason I know that I keep up is because he told me last night. I have found a product that I didn’t want to try out. I found it as I was looking on Google for stop snoring devices. The device I want to try out is a stop snoring mouthpiece. The device doesn’t cost much money and that is helpful because I don’t have a lot.

The device is supposed to stop the snoring instantly and not supposed to have any side effects. The only side effect they said it has is jaw pain. They said this pain is supposed to go away and a couple of days though. I will be able to handle the pain for a couple of days to end my snoring. I just want to be able to allow my roommate to have a good night of sleep. I found a lot of devices and mouthpieces, including the Good Morning Snore Solution at My roommate is a good friend and I am willing to try out the mouthpiece for him.

Managing An Online Publication Is Easier Than Ever

The designer’s job is perhaps the most misunderstood on the Web. In some professional circles, the term may broadly define the job of fitting form to function, whatever that entails; on the Web, “designer” usually refers to someone in charge of coming up with a good looking layout for a page. More specifically, titles like information architect and interaction designer define design roles that involve more than just esthetic decisions. If these roles are not understood by all concerned, then difficulties in communication are bound to result. It’s hard to communicate if the people you’re talking to have a completely different concept of their job requirements than you do.

Print mags like these can make it a lot easier.

Print mags like these can make it a lot easier.

The vocabulary problem extends beyond job titles into the fabric of the Web site development process. Web design uses a combination of terms drawn from older disciplines and terms invented specifically for the medium. It’s unusual to find someone who comes to the Web knowing what to expect from both a “creative brief” and a “technical specification.” Both are important ways to document steps in the Web site building process, but the frames of reference are from different disciplines. If you’re from advertising, you know how to work with a creative brief, but probably have no idea why you’d need a technical specification. An engineer might tend to ignore the creative brief, but would flounder helplessly (or think you’re an incompetent fool) if you proceed without the tech spec. And such communication challenges extend beyond the team into dealings with the client. When you describe your process and deliverables, your clients may nod, but chances are they have no idea what you’re talking about.

Inevitably, interactive teams fall into the age-old standoff between the two poles of art and science, represented on Web teams by designers and engineers. On the Web, these two minds – the two key players in envisioning and realizing a Web site – absolutely must meet. No design can be accomplished without the advice, understanding, and support of the engineer. And it’s no easy task for designers to learn the technical tools of the trade in order to communicate better with technologists. Once you have mastered QuarkXPress, Photoshop, and CMYK, you can run with that knowledge in print. Take some classes in Director and Lingo and you have the outlines of CD-ROM. But on the Web, solutions are open-ended, set not by standard tools but by the much broader capabilities of programming languages such as Java. Ambitious designers might take on their own Lingo scripting in Director, but it’s a rare (and probably foolish) designer who would decide to dip into Java and database programming. There’s too much to learn, too much new technology to keep up with, too little overlap between tasks, and not enough time in the day to take it all on.

Such problems may fade over time. Sooner or later, the expectations attached to a certain job title, relationships between team members, and the process by which a project is completed will be accepted industry-wide. It takes time, though, for a profession to develop a standard production process and then for a vocabulary and expectations to solidify around that process. On the Web, the confusion caused by the field’s youth is compounded by its quick-changing nature. This inevitably leads to an ever-mutating design process and new relationships between team members.

Think of it. In the beginning, when Web pages were essentially print pages laid out with HTML, Web sites were differentiated by how well they used screen space to present information – sites were made or broken by the skills of the visual designer. Now a site such as is popular not because it looks better than other Web sites, but because it employs technology to help visitors complete their task in the quickest and easiest way. The site uses sophisticated database programming to assist in finding books and music that fit certain criteria, to gather and present other readers’ opinions of these titles, to intelligently suggest other works the consumer might like, and to fulfill the order efficiently.

On sites like – the model for the commerce-driven sites of the future – interaction design and engineering, not visual design, lead the development process. The world of Web design is always brave and new, and so far, no process has existed long enough to establish a tradition.

The only answer to this problem of communication on a Web team is to face it head on – you’re going to have to keep talking to your teammates. On the Web, no step can take place without the collaboration and understanding of several team members. Interaction design can’t take place without the advice and buy-in of the project engineers. Interface means cooperation between interaction design, graphic design, HTML engineering, and a writer. All of these roles are interdependent. Interaction design may precede graphic design on the schedule, but a sign-off at this particular phase may need to accommodate graphic ideas and constraints that emerge later in the process. And interaction design and graphic design may change again in response to needs that come up during engineering.

You could almost say that on a Web design team, communication is the process. That means in large part that the project manager’s job is to ensure that the necessary communication takes place, dependencies between the disciplines are understood, and space is created for necessary collaboration. And if you can get a writer, a designer, an interaction designer, and an engineer together to brainstorm concepts and approaches, so much the better. Communication also becomes item number one on the job description for those in charge of each discipline. Those in charge of different tasks have to understand that part of their job is helping other team members accomplish theirs.

Collaboration can be difficult, but once you learn the art, it certainly has its advantages. The process creates a sort of ad hoc user testing: the good ideas can snowball, and the bad ones can be nipped in the bud. Distributing the work among specialists creates an efficient division of labor, freeing each team member to focus on a particular area of expertise, the better to keep up with the rapidly changing state of the art. Most importantly, though, working together with such a group can be mind-stretching. As a member of a team, you will confront more ideas in the course of a day – some good, some useless, all challenging – than you would in any other way. When each member brings his or her own strengths to the process, the whole is definitely greater than the sum of its parts. And learning to approach design problems from the various perspectives represented on a Web team is the most exciting publishing process you may ever be involved in.

Reviewing A Life Of Design

As assistant for six years to Dr. M. F. Agha, the legendary art director of Vogue and Vanity Fair, Cipe Pineles learned the techniques of magazine design just as the field was reinventing itself. Deploying ideas from European design within the capricious world of New York publishing, Agha was forging new attitudes toward photography, typography, and layout, and Pineles was at his side throughout his experimentation. Acting as mentor and collaborator, Agha often shared credit with Pineles for his professional awards, and he gave her considerable autonomy, assigning her to design two covers for Vogue and one for Vanity Fair, among other significant projects.

oldvanityIn 1942 Pineles became art director of Glamour, a Conde Nast publication aimed at younger women, and the loose, popular style she crafted for it kept links to modernist principles of structure and abstraction while using images and type playfully. Her openhearted brand of modernism continued to evolve in her work as art director of Seventeen (1947-50), Charm (1950-59), and Mademoiselle (1959-61). She paid keen consideration to the physical setting of fashion shoots and their two-dimensional impact, using typography to echo and emphasize photographic images. Approaching the magazine as an environment with its own scale as well as a window onto other worlds, Pineles often staged three-dimensional objects on the page, allowing samples of reality to converse with printed texts. A gifted illustrator herself, Pineles enjoyed commissioning work from fine artists as well as contributing illustrations of food and fashion to her own publications.

After these heady years at the center of the New York publishing world, Pineles shifted her identity in the 1960s, working as an independent designer for such institutional clients as Lincoln Center and the Russell Sage Foundation. She also began teaching at Parsons School of Design and later became its director of publications. Her work from the 1960s, ’70s, and ’80s continued to express a modernist sensibility enlivened by popular impulses, and she died in 1991.

The book Cipe Pineles chronicles each phase of her career with meticulous care, drawing anecdotes and first-person accounts from letters and other documents held in the Pineles Archives at the Rochester Institute of Technology, as well as from the many interviews Scotford has conducted. The book includes numerous reproductions of Pineles’s working sketches and fascinating descriptions of her working methods. This solid base of research gives the book utter authority, illuminating not only Pineles’s life and work but also the worlds of publishing, design, and New York intelligentsia surrounding her.

Martha Scotford is forthright about her feminist intentions: She sets out to pay tribute to a woman whose contribution to design has been largely overlooked and undervalued. Pineles emerges from the book not as one of the boys but as a distinctly female figure who faced and overcame specific career challenges. Scotford shows that although fashion publishing employed numerous women across a spectrum of positions – from editors-in-chief to overeducated assistants – very few women worked as art directors, making Pineles’s achievement all the more remarkable.

Cipe Pineles is very much a biography, casting a warm light on Pineles’s life as a woman as well as a designer. We learn of her struggles with infertility, her attempt at suicide, and the loss of two husbands; we learn about her dinner parties in the hip Rockland County suburbs in the 1950s, and we see how the art direction of her magazines related to the decoration of her homes. These intimate details reflect Scotford’s feminist methodology, depicting a woman’s life as a non-linear path shaped by the countless interruptions of love, death, home, and family. Influence and collaboration are part of this twisting tale, and Scotford shows no hesitation in discussing Pineles’s intense and productive relationships with men, from Agha, her boss, to her two husbands, the designers William Golden and Will Burtin. Each of these men, especially Agha and Golden, nurtured Pineles’s talent and fostered the growth of her career. Scotford depicts them fairly and generously; Golden in particular emerges from the book as a man of depth and humanity, in love with his wife and proud of her independence.

The book is unencumbered by heavy theory or tendentious interpretations. Scotford struggles neither to vilify the fashion world nor to recast it as a “site of resistance.” She doesn’t apologize for fashion magazines, seeing little contradiction in celebrating female achievement within a media world that sometimes exploits women’s desires and manipulates their self-image. Indeed, part of what makes Pineles such an important figure is the realm of her work: While the accomplishments of many of design history’s most cherished pioneers circulated within relatively narrow cultural arenas, Pineles plunged into the raging river of mass media and culture.

Given her fascinating life story and ravishing work, it’s heartbreaking that Cipe Pineles reproduces the images of her design at a tiny scale. Given such small reproductions, readers must be trained in the mysterious alchemy of magazine design to recognize their beauty and originality. I fear that a student, for example, might pick up the book and quickly put it down, unable to decipher the brilliance locked inside the cramped little pictures. The book’s text, while interesting, is long and detailed; I wonder whether a few words could have been sacrificed for bigger pictures. And as Scotford designed the book along with writing it, I wish she had found a fairer balance between image and text, or had selected fewer pictures and shown them larger. Perhaps the author was too close to her subject to make such sacrifices.

Mother Jones’ Redesign Spoke To The Times

“The Left is so screwed up now. It doesn’t know what it’s for; it knows what it’s against. It doesn’t have a coherent set of goals,” Klein said in his living room in the Berkeley hills late last year, shortly after his departure from the helm of Mother Jones. (He remains on the masthead as consulting editor and teaches journalism at Stanford University.) The magazine, named for the turn-of-the-century labor activist Mary Harris Jones, “was founded at a time when there was some optimism that the Left was coming to a mass movement,” Klein says. “Which it hasn’t done.”

climateAnd while its circulation of 130,000 isn’t cause for alarm, publisher Jay Harris hopes to revive the numbers within three years to its early-’80s peak of 200,000. But he also wants more independence from the Foundation for National Progress, the 501(c)(3) that funds the magazine substantially. “We get 60 percent of our revenue from traditional commercial sources–ads and circulation–and the balance comes from nonprofit sources,” Harris says. He hopes to shift the ratio to 80-20.

Given its financial aspirations, Mother Jones intends for its redesign to deal less with how people vote and protest than with how they read and gather information. Rubinstein’s bold, frenetic (“post-Web,” in Klein’s eyes) look is not the first visual rethinking Mother Jones has had; last year’s cosmetic surgery is the magazine’s fourth. And high time, too, wrote one critic in The New York Times: “She’s gotten a little, well, frumpy.”

“If you get a redesign job,” says veteran magazine designer Roger Black, “there are two things you’re asked to do: a spraypainting–a window dressing–or a fundamental redesign, because the basic, core idea of the magazine is going to change.” Mother Jones’s changes are more fundamental, though its “core idea” seems in continual flux. It’s a bigger change than Black’s redesign of The New Republic, which broke in April, but possibly less so than that of another title, The American Prospect, now readying its own reinvention (see “Left to Their Own Designs,” page 45).

Art direction and editorial have always been closely teamed at Mother Jones. That longtime art director Kerry Tremain became the magazine’s acting editor briefly in 1997, after Klein took a leave following his wife’s death, indicates the close ties between the two departments–as well as a hallowed tradition of internal disorder. (Once, in the mid-1980s, filmmaker Michael Moore took a turn at the wheel. He lasted three issues.)

One of the magazine’s innovations, Klein says, has been its commitment to photojournalism. “Photographers have a hard time getting serious social documentary work–they don’t have much of an outlet for it. We were willing to run photo-essays at quite a considerable length, eight to 10 pages,” he says.

“The European socialist magazines in the 1920s and ’30s were the first magazines using photography,” Rubinstein notes. “That’s where photojournalism was invented. The idea of our design is about the juxtaposition of pictures and words and how they create an inferred reality.” The magazine’s feature “Wide Angle” juxtaposes such photographs disarmingly: One recent issue paired an image of a homeless teenaged American punk in a dainty living room with a Tokyo subway shantytown of cardboard refrigerator boxes.

But in redesigning their magazine, Klein and Rubinstein saw Mother Jones’s top challenge as, Klein says, “the search for a younger, Web-savvy, libertarian group.” And Rubinstein’s resume seemed tailor-made for such a search; Mother Jones hired her from Wired Ventures, where she’d been art director at Neo, a stillborn start-up magazine, after having founded a New York shop, R Company, and art-directed Esquire and the departed Smart. “I saw that the potential in the magazine wasn’t being realized by its design,” Rubinstein said last year at Mother Jones’s sparse (yet somehow cluttered) office on Market Street in San Francisco. “It wasn’t as aggressive as the content, not as provocative; it was polite and pretty.”

Reason in design was a founding tenet of the magazine, Rubinstein says. “Its design in 1976 was much more newsy, with less art, centered headlines, and two columns of text on a page.” But today, design has to be part of the magazine’s voice: “Twenty years ago, the magazine’s mission was not to preach to the converted, but to speak to a larger audience to effect change. Today, we need to speak in a contemporary language to reach a broader audience–we’re not just using style to grab attention.”

Rubinstein clearly approaches ideas less as a traditional photo editor than as an editorial illustrator; her covers rely on disjointed, conceptual photographs rather than the more literal images Mother Jones had used previously. “At the newsstand, you have to decide whether this magazine is for you, so that has to be telegraphed rather quickly,” Rubinstein says.

A telegraph is one way to communicate; a bullhorn is another. And while screaming type may seem playfully rude, it certainly helps the magazine stand out. Its November/December cover is mostly contentious bold type–” The top 400 RICH WHITE GUYS BANANA FARMERS BIG GUNS GET-RICH SCHEMERS RELIGIOUS FANATICS & HOLLYWOOD MOGULS who really won this ELECTION”–with a photo at the bottom cropped to show three pairs of cufflinked, folded hands. The headline of the next cover–”AMERICA [the brand]“–is set at an imposing 102 points, as large as the cover logotype; the cover’s dominant image is of a hand waving a pint-sized flag, with the face of the man holding it fully obscured by the cover’s bar code. (Rubinstein enjoys a good joke with the UPC symbol, transforming a visual blind spot into an element that literally screams for attention–as it does on the March/April cover, where it serves as the placard of a tiny, shouting protester.)

Part of Mother Jones’s newfound boldness comes from its typeface, with its stripped-down, sans-serif look based on Jackson Burke’s Trade Gothic face. “It’s versatile, not offensive,” Rubinstein says. “The letters are very easy to read, with almost no character.” But such rudimentary type offsets the highly caffeinated visual language inside the magazine, which leans heavily on reading tastes informed by the rise of the Web–emphasizing quick bursts of information arranged in modular paragraphs rather than longer, flowing articles. The front of the book is fragmented into the newsy Outfront and the more whimsical Exhibit sections, followed by columns on marketing, health, and other topics. Outfront and Exhibit in particular show real Web sympathies, with article categories (“Cause Celeb,” “Global Eye”) labeled like Web links.

And the feature photography is no less edgy than that of the cover, with faces shown out of focus or bisected down the nose. In the September/October issue, Rubinstein reworks a visual cliche the omnipresent face of Monica Lewinsky, by bleeding the photo off the bottom edge of the paper and printing only her instantly familiar eyes and bangs.

Although Mother Jones refrained from trumpeting the redesign in its debut issue beyond a paragraph sidebar on Jeffrey Klein’s letter from the editor, it did break a low-budget print campaign, including an ad exchange in other magazines and a limited, three-month outdoor stint in San Francisco last October. (One message read, “Our reporting is never knee-jerk. It’s more like a swift kick in the groin.”) The campaign was handled by local agency Underground Advertising.

Rubinstein’s design seems to be helping the numbers, Harris says: “Our ad revenue is up substantially, and the last two issues of ’98″–the most recent tallied–”were record issues for us.” But efforts to transform Mother Jones’s image entirely might be a tall order. Even as the editorial and design approaches adapt, quirky advertisers subtly reinforce its Leftist heritage. (Recent full-page ads hawk Floradix herbal supplements, Zap electric bicycles, Asko environmentally conscious washer-dryers, and Deep E sneakers, made from hemp.) Still, though the magazine’s advertising might seem predictable, its design defies expectations. “I don’t think anyone’s out there saying, ‘Put it on cheaper paper just to show them we’re part of the masses,”‘ Klein says. Other Leftist magazines, he says, “tend to be super-earnest and think that their verbal message is the only thing that counts.”

“You dig yourself into a hole by assuming it has to look dull,” Rubinstein says. “There are people who equate the Left with dull, black-and white pages and drab, minimal art. If that’s their perception, we can change that with this magazine.

Tobacco Ads Continue Their Descent Into Nothingness

Not to be outdone, Brown & Williamson weighs in with its Lucky Strike “American Original” campaign from Bates, peppered with pouty hipsters in standard-issue greasy hair, leather jackets, and Skechers, looking about as friendly as Osama bin Laden’s bodyguards.

But the focal point for this work is in Philly, where those rogues at Gyro Worldwide’s oeuvre for Red Kamel and Kamel Menthe has proved the most outrageous cigarette advertising in years. Everything from classic ’40s pinups to staged movie tableaux to ’70s cop shows have helped create a brand image that’s sophisticated, media-hip, and damned appealing. Even might make you want to, well, hell – just go grab a pack and light up!

camelsexThe irony, of course, is that this work has begun to get interesting just when its future is in jeopardy. While the industry dodged Draconian restrictions on ad content when last year’s big tobacco settlement fell apart, some observers feel it’s only a matter of time before the entire category gets banned.

If that’s the case, then some brands must be preparing to go out with a bang. The ads cited above stand out in a field best known for forgettable, middle-of-the-road imagery and lame strategic appeals based on taste. For the most part they’re awful, and for lots of reasons. The category is still the advertising industry’s greatest pariah. The biggest agencies have no problem hawking thrombosis-inducing Big Macs, Milky Ways, and Bud Lights, but offer them a chance to pitch the Lorillard business and they’ll likely pass. (To some, this is a sign of integrity; to others, of sanctimony.)

Whatever your take on the issue, tobacco advertising remains as controversial and polarizing as ever. But now, even as the threat of an eventual ban is looming, anti-smoking campaigns funded by tobacco-settlement money are emerging. The anti-smoking category is backed by about $50 million in media spending, a figure that will increase tenfold once the settlement money kicks in, notes Ira Teinowitz, who covers tobacco for Advertising Age. Tobacco marketers, meanwhile, spend upwards of a billion dollars on advertising and promotion.

A handful of states have run award-winning anti-smoking campaigns for several years, most notably Massachusetts (by Boston’s Houston Effler Herstek Favat, now part of Arnold Communications) and California (by Asher & Partners, Los Angeles). Both campaigns take predictable approaches: California’s seeks to convince teens that smoking is uncool, while Massachusetts’s tries scare tactics with testimonials from cancer survivors.

Now Florida has pitched in with an aggressive effort by Miami shop Crispin, Porter & Bogusky, attacking the tobacco industry as an insidious, profit-mad killer and urging young people to take an activist stance not only against the industry but also against their ad agencies – a maneuver almost unheard of in marketing.

Such advertising’s effectiveness is open to debate. Along with the resurgence of such retro passions as lounge culture, swing music, and the Rat Pack has come a new acceptance in some circles of smoking as perfectly okay – indeed, kind of a good thing, in a bad way. Spend some time in front of a 7-Eleven and you’ll be struck by how many kids smoke. Cigarettes are still the most recognizable way to rebel, and the shock value of Camel Lights ads – not to mention Winston’s tweaking of authority-play into that mentality.

Compare this subtle subversion, and this acknowledgment of smoking’s outlaw nature, with a recent Benson & Hedges campaign illustrating “the lengths you go to for pleasure,” with images of smokers indulging themselves in precarious spots, like skyscraper ledges. The ads were brilliant in their double-entendre: Not only did B&H smokers go to great lengths to put up with increasing restrictions on their so-called right to smoke, they also went to added length for what we assume to be great taste. (And the brand is just a few silly millimeters longer.)

Martin MacDonald has seen cigarette advertising from both sides – as a creative director first at Asher & Partners, and later at Salem’s agency, West Wayne. He’s now executive creative director at the London office of Bronner, a direct-marketing shop. MacDonald grew up in a Scottish household full of smokers, and he’s squarely on their side.

“I’m sick of people saying that advertising makes people smoke,” he snaps. Most of Asher’s studies of teenagers indicated that they smoked to look cool and to have something to do with their hands, he says, and they chose their brands largely by what their friends were smoking. That tends to support the dubious rhetoric of the tobacco industry, which claims that cigarette ads are designed not to encourage smoking but to make smokers want to switch brands.

If you ask tobacco industry representatives what the goal of this work is, they’ll say it’s to entertain, which has become the raison d’etre of so much advertising today, particularly work that seeks to say nothing substantive about the product. Cigarette brands are as much a badge as beer brands, and it’s no coincidence that most mass-market brews have taken up similar approaches. Look at the Budweiser Frogs, which some critics liken to Joe Camel.

As long as cigarette ads were invisible, things were sort of okay; we could rail about them in general terms without having specific ads to pillory. But now, with the tobacco category already squarely in the crosshairs, ads like the infamous Winston spread showing a man with his head stuck up his ass call attention to themselves.

MacDonald, ever the contrarian, says that despite talking to hundreds of teens during his Asher days, he never came across any who said they smoked a specific brand because of its advertising. “And in America, why would they?” he says. “Cigarette advertising here has been shit for years.” That’s because the best creative people in the ad business wouldn’t touch these accounts, and that’s not going to change soon.

Is Your HDD Really Broken?

hdrbYou will need to determine first and foremost that indeed the disk is broken. This is because there are a number of factors that may actually be to blame for its unresponsiveness. You will need to look at the physical aspects of the computer’s connection to determine whether or not there could be a mistake here. Usually, such simple things as problems in the cable connection can be blamed for the unresponsiveness. You need to be sure that he computer is indeed getting the right power supply before you conclude that HDD recovery is necessary. You may even need to test with different cables to be sure that this is not the problem.

Sometimes internally, there may be a reason why the disk is not functioning which is not related to its damage. For example, many people have found that the problem lay with the PC board. This is a component of the computer that plays a big role in the working of the disk. You will need to do just visual checks on these parts to see if there are any problems. Such things as burns will draw your attention to where the problem is. If indeed the problem is with this board, its replacement may be all that is necessary.

Be Informed About HDD Recovery

The computer is a very useful device in this technologically advancing world. People depend on it to save their work. It is a data bank, as it contains all types of files that the user finds important. This data could be music, videos, photos, business presentations, notes or school projects. One therefore spends a lot of time and hard work to keep their information to be helpful when needed.

However, the data is not absolutely safe as the computer storage, hard drive disc, could be damaged losing all data in it. Professional HDD recovery can assist in such a situation, as one could not bear losing important documents and entire data in their hard disk. Software developers have come up with software that one could use to retrieve data in such cases. One should ensure if they are really dealing with the disk failure by removing it from the computer, which is not working to another, which is working properly.

Precautions that one could take to avoid losing their data in the hard disk are to always have a backup of all the data just in case. Above all one should always take care of their computer, as it may be vulnerable to accidents like falling to the ground. This could mechanically damage the hard disk making it hard for you to retrieve data with HDD recovery.