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FAQs
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What is Respect (Aretha Franklin song) about?
Per Wikipedia:"Respect" is a song written and originally released by Stax recording artist Otis Redding in 1965. "Respect" became a 1967 hit and signature song for R&B singerAretha Franklin. While Redding wrote the song as a man's plea for respect and recognition from a woman, the roles were reversed for Franklin's version. Franklin's cover was a landmark for the feminist movement, Franklin's version of the song contains the famous lines (as printed in the lyrics included in the 1985 compilation album Atlantic Soul Classics):R-E-S-P-E-C-TFind out what it means to meR-E-S-P-E-C-TTake care ... TCBThe last line is often misquoted as "Take out, TCP", or something similar, and indeed most published music sheets which include the lyrics have this incorrect line in them. "R-E-S-P-E-C-T" and "T-C-B" are not present in Redding's original song, but were included in some of his later performances with the Bar-Kays. There seems to be some confusion over who first used "T-C-B" in the song."TCB" is an abbreviation that was commonly used in the 1960s and 1970s, meaning Taking Care (of) Business, and it was particularly widely used in African-American culture. However, it was somewhat less well-known outside of that culture, yielding a possible explanation as to why it was not recognized by those who transcribed Franklin's words for music sheets. Nevertheless, TCB later became Elvis Presley's motto and signature, from his necklace to his private jet plane.http://en.wikipedia.org/wiki/Res...
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Did Greeks originate from north Africa?
No. I understand that this question is related to E-V13, found in the Balkan. E-V13 isn't a quantifier of Greek genetics, it is one of many Greek founding lineages.Haplogroup E1b1b may have arrived in Europe by two routes: through the Middle East/Levant and directly from North Africa.The oldest E-M78 in Africa has been found at Taforalt Morocco. The Max Planck Institute for Evolutionary Anthropology in Leipzig, have sequenced DNA from individuals from Morocco dating to approximately 15,000 years ago, as published in Science. This is the oldest nuclear DNA from Africa ever successfully analyzed.The Y-DNA of 4 males waa found in E1b1b1a1-M78. This haplogroup occurs most frequently in present-day North East African populations The closely related E1b1b1b (M-123) haplogroup has been reported for Epipaleo- lithic Natufians and Pre-Pottery Neolithic Levantines (“Levant_N”). Unsupervised genetic clustering also suggests a connection of Taforalt to the Near East.What we are learning now is that certainly NW Africa's was genetically/demographically connected to NE Africa and to West Asia even at the very beginning of the local Upper Paleolithic, demolishing quite apparently all the theories that linked it to European Upper Paleolithic (from which it got its "Ibero-Maurusian" name).Also this quote from the authors in the press release:“The Iberomaurusians lived before the Natufians, but they were not their direct ancestors: The Natufians lack DNA from Africa, Krause says. This suggests that both groups inherited their shared DNA from a larger population that lived in North Africa or the Middle East more than 15,000 years ago, the team reports today in Science”The population exhumed from the archaeological site of Taforalt in Morocco is a valuable source of information toward a better knowledge of the settlement of Northern Africa region and provides a revolutionary way to specify the origin of Ibero-Maurusian populations.I wouldnt consider these Taforalt samples as thé ancestors of modern E-M78 subclades carriers (V22, V12, V65) What we see by contrasting the map of inferred patterns or E1b1b-M81(the berber marker and dominant in north west Africa) expansion and this ancient Y-DNA data from Taforalt is that the main E-M78 expansion most likely was already done, considering its age( formed 19800 ybp, TMRCA 13400 ybp) that it could represent an expansion from older times, much as I2 seems to have expanded in Europe. This would allow for V65 ("from west Egypt to Morocco" per one decription of its geography) to have expanded from NW Africa, not necessarily from Taforalt though but somewhow related to it.According to the authors "Several lines of evidence suggest that E-M78 sub-haplogroups have been involved in trans-Mediterranean migrations (in)directly from Africa. E-M78 and E-V65 haplogroups are common in northern Africa, where they originated, while other clades(like E-V13) are observed almost exclusively in Mediterranean Europe, as opposed to central and eastern Europe and the Horn of Africa among somali males (E-V32)The oldest to date sample of E-V13 we have is from Later Neolithic Hungary (1 in Sopot culture and 1 in Lengyel, c. 4500 BC and the earliest known prehistoric sample, the couple from Epi-Cardial Spain (c. 5000 BC).E-V13 has also been found in a skeleton of Avelanner Cave in Catalonia dating from 5000BC (cardial culture)So we know for sure that E1b1b was present in southern Europe at least since the Early Neolithic. Nonetheless, the possibility of other migrations of E1b1b to southern Europe during the Mesolithic or Late Palaeolithic cannot be ruled out.Research shows that the ancestors of modern Greeks were( indeed )the Minoans and Mycenaeans, already inhabiting the Greek peninsula for the past 5000 years, since 3000bc.Minoan Boxing Boys, restored fresco from Thera (modern-day Santorini), c.1600 BC. Currently located at the National Archaeological Museum in Athens, Greece.The Fisherman fresco is from the 16th century BCE from the Akrotiri site in GreeceTheir ancestors moved into Greece during the neolithic and bronze age from Anatolia and before that from the Caucasus..Mycenaean Fresco wall painting of an elborately dressed women in a procession from the Tiryns, Greece 14th, 13th Century BC Cat No 5883 Athens Archaeological MuseumScientists have obtained and analyzed the genome of ancient Mycenaean people and found they are strongly related to modern Greeks. Around three-quarters of the Mycenaeans' and Minoans' ancestry originated in Anatolia, present-day Turkey. The remaining quarter can be traced back to the Caucasus, near modern-day Iran.The Minoan Civilization and its counterpart on the Greek Mainland, the Mycenaean Civilization, were Europe’s first literate societies and the cultural ancestors of later Classical Greece. However, the question of the origins of the Minoans and their relationship to the Mycenaeans has long puzzled researchers.The Mycenaeans, with their roots in mainland Greece, seem to have adopted much of the Minoan technology and culture, but it is not clear how they were related. “We wanted to determine if the people who made up the Minoan and Mycenaean populations were actually genetically distinct or not. How were they related to each other? Who were their ancestors? And how are modern Greeks related to them?” says Johannes Krause, director at the Max Planck Institute for the Science of Human History and one of the corresponding authors of the study.A paper from 2017 in Nature suggests that, rather than being recently arrived, advanced outsiders, the Minoans had deep roots in the Aegean. The primary ancestors of both the Minoans and Mycenaeans were populations from Neolithic Western Anatolia and Greece and the two groups were very closely related to each other, and to modern Greeks.“It is remarkable how persistent the ancestry of the first European farmers is in Greece and other parts of southern Europe, but this does not mean that the populations there were completely isolated. There were at least two additional migrations in the Aegean before the time of the Minoans and Mycenaeans and some additional admixture later. The Greeks have always been a ‘work in progress’ in which layers of migration through the ages added to, but did not erase the genetic heritage of the Bronze Age populations,” stated Iosif Lazaridis of Harvard Medical School, lead author of the study.Genetic origins of the Minoans and Mycenaeans“Minoans, Mycenaeans, and modern Greeks also had some ancestry related to the ancient people of the Caucasus, Armenia, and Iran. This finding suggests that some migration occurred in the Aegean and southwestern Anatolia from the further east after the time of the earliest farmers," according to lead author Iosif LazaridisA European population in Minoan Bronze Age CreteMinoan were genetically very similar to modern-day Europeans but distinct from Egyptian or Libyan populations.EV-13 marker is neolithic and came into Greece and the Balkans before the arrival of the Dorians and Myceneans. When the Greek speaking Dorian and Mycenean proto-Greeks arrived in Greece around 1500 BC they mixed with the indigenous E-V13 neolithic peoples and the percentage of neolithic E-V13 marker became reduced in the population. The Dorians and Myceneans who brought the Greek language into Greece were not E-V13 carriers.The proto-Greeks (Myceneans / Dorians) who brought the Greek language into Greece were R1a carriers. They mixed with the neolithic peoples / Pelasgians of Greece who were E-V13 carriers.Neolithic farmers spread all around Europe,they didn't just sit in one placePericic et al. (2005) give a 7.3 kya estimate for the expansion of E-M78α (almost perfectly equivalent to E-V13) for Southeastern European populations north of Greece. Due to their use of the 3.6x slower mutation rate, this figure needs to be converted to equivalent years. The Nea Nikomedeia time depth was estimated as 9.2kya by King et al. Therefore, the equivalent age for the Pericic et al. (2005) expansion is (7.3/9.2) * 149 generations or 118 generations (1,540-950BC). They note that STR variance is higher in Greece, Macedonia, and Apulia, all areas with well-known historical Greek connections.Tracing Past Human Male Movements in Northern/Eastern Africa and Western Eurasia: New Clues from Y-Chromosomal Haplogroups E-M78 and J-M12Cruciani et al. (2007) propose that E-V13 arrived in Europe from West Asia and underwent an expansion in Europe at 4-4.7 kya. This age is calculated using effective mutation rates that are 2.4 or 2.8 slower than the germline rate, which seems to suggest a Late Bronze Age or even later expansion with a rate closer to the germline one.The signature North African marker E-M78, dominant in Egypt with its subclade E-V22 descends from Eurasian Adam CT-M168 E-M78 is a Non_African genetic marker. (Hodgson et al 2014)E-M78 has a near eastern neolithic origin"Both the King et al. E-V13 data, as well as the diverse, mostly European Haplozone E-V13 agree in placing the expansion of this haplogroup squarely in the Aegean Bronze Age.Haplogroup E1b1b has been associated with the earliest development of Neolithic lifestyle and the advent of agriculture, which is so far believed to have arisen in the Fertile Crescent, but could have developed earlier in parts of North/North East Africa. Agriculture spread from the Near East to Europe, at first mostly ovicaprid and cattle herders. E1b1b men (accompanied by G2a, J and T men) appear to have been associated at least with the diffusion of Neolithic painted pottery from the Levant to the Balkans (Thessalian Neolithic), and with the Cardium Pottery culture (5000-1500 BCE) in the Western Mediterranean. The only concrete evidence for this at the moment is the presence of this E-V13 subclade, commonest in the southern Balkans today, at a 7000-year old Neolithic site in north-east Spain, which was tested by Lacan et al (2011).E-v13 marker is considered a Greek marker because it follows the foot-print of ancient Greek colonisation - wherever ancient Greeks colonised the ev-13 marker went with them. R1a is also proto Greek and was carried by the proto-Greeks (Dorians and Myceneans) into Greece when they migrated there. Modern Greek DNA is the most similar to Southern Italian DNA which makes sense since Southern Italy was heavily populated by “Greek” colonists from 900 BC.On genetic test Sicilians are very similar to Peloponnese Greeks, Greek islanders & South ItaliansDifferential Greek and northern African migrations to Sicily are supported by genetic evidence from the Y chromosomeCornelia Di Gaetano et al.AbstractThe presence or absence of genetic heterogeneity in Sicily has long been debated. Through the analysis of the variation of Y-chromosome lineages, using the combination of haplogroups and short tandem repeats from several areas of Sicily, we show that traces of genetic flows occurred in the island, due to ancient Greek colonization and to northern African contributions, are still visible on the basis of the distribution of some lineages. The genetic contribution of Greek chromosomes to the Sicilian gene pool is estimated to be about 37% whereas the contribution of North African populations is estimated to be around 6%.In particular, the presence of a modal haplotype coming from the southern Balkan Peninsula and of its one-step derivates associated to E3b1a2-V13, supports a common genetic heritage between Sicilians and Greeks. The estimate of Time to Most Recent Common Ancestor is about 2380 years before present, which broadly agrees with the archaeological traces of the Greek classic era. The Eastern and Western part of Sicily appear to be signNowly different by the chi2-analysis, although the extent of such differentiation is not very high according to an analysis of molecular variance. The presence of a high number of different haplogroups in the island makes its gene diversity to signNow about 0.9. The general heterogeneous composition of haplogroups in our Sicilian data is similar to the patterns observed in other major islands of the Mediterranean, reflecting the complex histories of settlements in Sicily.Differential Greek and northern African migrations to Sicily are supported by genetic evidence from the Y chromosomeSouthern Italians/Sicilians are partially Greek (Magna Graecia).An additional piece of evidence is Y-chromosome distribution in Calabria, a Southern Italian region with well-known Greek connections. According to Semino et al. (2004) [Am. J. Hum. Genet. 74:1023–1034, 2004], the Calabrian sample has an E-M78 frequency of 16.3%, whereas "Calabria 2" representing the "Albanian community of the Cosenza province" has only 5.9%. This is consistent with the idea that E-V13 in modern Albanians is to a great degree due to Greek founders (Epirotes or ancient colonists).Albanians also coalesce to Roman/Late Antique times, consistent with the idea that their high frequency of haplogroup E-V13 (which signNowes very high numbers in e.g. Kosovars) is not associated with high diversity. Founder effects in that time frame are the reason for the high frequency of E-V13 in them.Albanians are a mix of Bronze Age invaders of Yamnaya culture and Neolithic residents of Balkans.Cruciani 2007 also mentions some oddballs for the Greek maritime theory:- Slovaks: 8.33% E-V13- Hungarians: 9.43% E-V13No mention of Serbs but the Republic of Macedonia has as much E-V13 as mainland Greece (17%), while Albanians double that figure (32%).Slavomacedonians from the former Yugoslav Republic of Macedonia coalesce well into AD times, at around the time of the first Slavic arrivals in the Balkans. This suggests that E-V13 in them is the result of local founders at around that time who adopted the Slavic language. However, Pericic et al. (2005) report high (but unspecified) diversity of E-M78α in "Macedonia", so it is possible that a larger number of earlier inhabitants were absorbed.Finally the highest concentrations of E-V13 west of Sicily are among Atlantic Iberians (Portuguese, Asturians), where historical Greek colonization was zero. This confirms again some older flow of Neolithic or maybe Chalcolithic age. There are other significative ammounts of this clades in most unlikely places like Denmark (3%), Germany (4%). All that can only be explained with Neolithic founder effects or something of the like. Ukranians (strong in E-V13) may have affected Northern Europe genetically... but at a time when the Greek ethnicity did not yet exist as such.Conclusion. Based on these results Minoans and Mycenaeans were genetically highly similar but not identical and that modern Greeks descend from these populations. The Minoans and Mycenaeans descended mainly from early Neolithic farmers, likely migrating thousands of years prior to the Bronze Age from Anatolia, in what is today modern Turkey.“Minoans, Mycenaeans, and modern Greeks also had some ancestry related to the ancient people of the Caucasus, Armenia, and Iran. This finding suggests that some migration occurred in the Aegean and southwestern Anatolia from further east after the time of the earliest farmers,” said Lazaridis.While both Minoans and Mycenaeans had both “first farmer” and “eastern” genetic origins, Mycenaeans traced an additional minor component of their ancestry to ancient inhabitants of Eastern Europe and northern Eurasia. This type of so-called Ancient North Eurasian ancestry is one of the three ancestral populations of present-day Europeans, and is also found in modern Greeks. There was genetic continuity in the Aegean from the time of the first farmers to present-day Greece, but not in isolation. The peoples of the Greek mainland had some admixture with Ancient North Eurasians and peoples of the Eastern European steppe both before and after the time of the Minoans and Mycenaeans, which may provide the missing link between Greek speakers and their linguistic relatives elsewhere in Europe and Asia.
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What is the birthday gift I can give to my best friend who is a bibliophile?
How about one of these?An Annotated Bibliography of Typography, Letterpress Printing and Other Arts of the Bookby David S. Rose • Five Roses PressThe explosion of desktop-based, digital pre-press technology at the end of the twentieth century brought to a wide audience the previously specialized world of typography. Modern type design applications give users the ability to create new digital typefaces from the imagination, to recreate classic faces that are otherwise unavailable in digital form, and to adapt existing faces for specific needs.For those artisans who still hand-set and print with traditional letterpress technology, a dozen type foundries continue to provide a constant stream of classic metal faces. And for designers who combine the two worlds by printing letterpress from photopolymer plates, the options are unlimited.As with any powerful tools, the more one knows of the history behind them, the better able one will be to utilize them. The books listed here are just a few of hundreds that have been written on the subject of typography over three centuries, but they will provide a solid start for reading in this area.While many of the works listed are classics in the field, not all of them are currently in print. Those that are not available from the publisher (or from reprint houses such as Dover Publications) may often be found at antiquarian dealers who specialize in the field of Books about Books. A number of such dealers are listed at the end of this bibliography, and the rapid adoption of the Internet by antiquarian book dealers now means that most of these books are a simple click away. Overviews of Printing TypesPrinting Types: An Introduction by Alexander Lawson with Dwight Agner [Boston: Beacon Press, 1990] is a short (120 pages) easy-to-read overview that is exactly as advertised: an introduction. For over thirty years, Lawson has taught a course in the history of printing types at the Rochester Institute of Technology School of Printing, and this book grew out of his need for a simple handbook on the subject for his students. It is a well designed and illustrated inexpensive paperback, and would probably be your best bet if you have a casual interest in the subject and only want to read one book. The latest edition, brought current through 1990, covers electronic typography as well.Printing Types: Their History, Forms, and Use by Daniel Berkeley Updike (1860-1941) [New York: Dover, 1980 reprint of the second (1937) edition]. This is the classic work in the field of typographic history. Updike was a leader in the revival of traditional printing typefaces in the United States, and was the founder of the Merrymount Press (1893). A series of lectures he gave at Harvard from 1910-1917 served as the basis for Printing Types, which was first published in 1922. This Dover reprint is in two volumes, 618 pages of text plus 300 unnumbered illustrations. As Dover says in the jacket notes, "Printing Types presents the standards, the landmarks in typography that anyone connected with printing must know. In its mammoth, illustrated coverage, it is without a doubt the definitive guide to the subject.Letters of Credit: A View of Type Design by Walter Tracy [Boston: David Godine, 1986. 224 p, ill.] A beautiful and profusely illustrated step-by-step demonstration of type-design aesthetics that traces the beginnings and the path of modern-day typesetting.Fine print on type; the best of Fine print magazine on type and typography by Charles A. Bigelow, Paul Hayden Duensing, Linnea Gentry [San Francisco: Fine Print: Bedford Arts, 1988] is an excellent selection of articles from Fine Print magazine, the late indispensable periodical with which anyone concerned with type should be familiar. Each issue was designed by a different typographer, printed by letterpress and included scholarly articles, typographic overviews, reviews, and notices of new books on typography. Fine Print was published quarterly through about 1990, after which the publication led cliff-hanging existence as various groups and institutions tried to save it. While long gone, a final retrospective index is currently nearing production, and will also be a must-get.Typographical periodicals between the wars; a critique of the Fleuron, Signature, and Typography by Grant Shipcott [Oxford: Oxford Polytechnic Press, 1980. xiv, 111 p. :ill.]. These classic periodicals (particularly the Fleuron) were to their time what Fine Print was to typography and book design today, but because of the ferment in the world of design during the 20s and 30s and because of their illustrious contributors, they had a much greater effect on the typography of the time.Type and Typefaces by J. Ben Lieberman [New Rochelle: The Myriade Press, 1978] is an alternative to the Lawson book, but rather less accurate, bigger (142 pages, 8 1/2 x 11, hardcover) and harder to find. Ben Lieberman was an enthusiastic amateur printer and the father of the American Chappel movement of hobby printers. This book is an exuberant look at the history, classification, identification, and personalities of typography. It includes examples of over 1,000 type faces, and is well illustrated. Lieberman was not a scholar, but if you like unabashed 'boosterism,' you might find this book fun to read, despite its errors of both omission and commission.History and Development of Lettering and Letter formsThe 26 Letters by Oscar Ogg [New York: Thomas Y. Crowell, 1948]. A nicely done book by a well known American calligrapher, tracing the evolution of the alphabet from prehistoric times to the invention of printing. 250 pages, well illustrated.Letters by James Hutchinson [New York: Van Nostrand Reinhold, 1983]. A stylishly designed, very readable history of alphabets, writing, and printing types.The History and Technique of Lettering by Alexander Nesbitt [New York: Dover Publications, 1957]. A thorough history of type design from its origin through the mid-twentieth century, this book covers some of the same material as the Ogg book, but includes much more information on the development of letter forms since the invention of printing. It is written from an artist's perspective, and has a how-to section on lettering.The Alphabet and Elements of Lettering by Frederic W. Goudy [New York: Dover Publications, 1963. Reprint of 1952 University of California edition]. This falls somewhere between the Ogg and Nesbitt books, from Goudy's unique perspective as the most prolific type designer of the twentieth century.Roman Lettering by L.C. Evetts [New York: Taplinger, 1979] includes a character-by-character analysis of the letters on Trajans Column in Rome, which have served for centuries as one of the foundations of roman (serif) letter design. Evetts also includes charts showing the evolution of the roman alphabet through the centuries. Handsome lettering, with little text to clutter the presentation.An ABC Book: ABC of Lettering and Printing Types by Erik Lindegren [New York: Pentalic, nd ca. 1976]. A survey of type, calligraphy, and design, with examples of work from all periods, with an especially strong representation of lettering by Swedish, English, German, and American scribes and designers. A lively, well-designed introduction to letters.Writing, Illuminating and Lettering by Edward Johnston [New York: Taplinger, 1980]. The comprehensive calligraphy manual by the man who led the twentieth century revival of calligraphy. Johnston's influence on English, American and German lettering and design was immense.History of Lettering by Nicolete Gray [Boston: David Godine, 1987. 256 p].Type Designs from Various PeriodsArt of the Printed Book, 1455-1955; masterpieces of typography through five centuries from the collections of the Pierpont Morgan Library, New York by Joseph Blumenthal, (1897- ) [New York: Pierpont Morgan Library; 1984. Boston, MA: D.R. Godine, xiv, 192 p. : ill.]. Available both in hardcover and paperback, this collection by one of the great printer/scholars of the century is a must have for anyone interested in original source material. More than a hundred full pages facsimiles from the Morgan Library provide an instant overview of the development of typographic design from Gutenberg to the mid-twentieth century.Anatomy of a Typeface by Alexander Lawson [Boston: David R. Godine, 1990, 428 pages] A great book from one of the leading typographic experts of the late twentieth century, this substantial work examines a wide variety of typefaces in great detail, and explains why they look the way they do. An excellent reference work for the designer and printer that will both improve your eye for the detail of font design and inform the choices you will make in specifying and setting type yourself.Selected Essays on Books and Printing by A. F. Johnson [Amsterdam: Van Gendt, 1970]. Johnson was a scholar at the British Museum, and along with Daniel Berkeley Updike and Stanley Morrison was considered one of the experts in the field of typographic history. This lovely, massive (500 pages), and very expensive collection of some of his writings from 1927-1957 concentrates primarily on the typographic work of sixteenth century calligraphers and printers.A view of early typography up to about 1600 by Harry Carter [(The Lyell lectures 1968) Oxford, Clarendon P., 1969. xii, 137 p. 45 plates. illus., facsims., col. map].A history of the old English letter foundries; with notes, historical and bibliographical, on the rise and fall of English typography by Talbot Baines Reed, 1852-1893 and A. F. Johnson [Folkestone: Dawsons, Reissued 1974 xiv, 400 p., fold. leaf : ill., facsims].Notes on a Century of Typography at the University Press, Oxford, 1693-1794 by Horace Hart [Oxford, Clarendon Press, Reissued 1970 (1st ed. of 1900 reprinted) with an introduction and additional notes by Harry Carter. ix, 16, xvi, 203 p., plate. illus. facsims]. History of the types and typography of the Oxford University Press, generally regarded as the preeminent scholarly press in the western world.Nineteenth Century Ornamented Type Faces by Nicolete Gray [Berkeley: University of California Press, 1976]. Reprint of a classic from 1938, this large format 240 page work is the definitive book on its subject.American Wood Type, 1828-1900 by Rob Roy Kelly [New York: Da Capo Press]. Notes on the evolution of decorated and large wood types, and comments on related trades. As with the Nicolete Gray book, this is the definitive work in its field. The book was issued in several editions, of which this (paperback) is the least expensive.The Typographic Book 1450-1935 by Stanley Morrison and Kenneth Day [Chicago: University of Chicago Press, 1963]. A lush, expensive, visual treasury of almost 500 years of typography, including 357 plates.American typography today by Rob Carter [(New York: Van Nostrand Reinhold, 1989. 159 p. : ill. (some col.)].The Liberated Page Edited by Herbert Spencer [San Francisco: Bedford Arts, 1987]. An anthology of the major typographic experiments of the 20th century, as recorded in Typographica magazine.TypographyA Typographic Workbook: A Primer to History, Techniques, and Artistry by Kate Clair. A good place to start for a basic grounding in typographic design.The Elements of Typographic Style by Robert Bringhurst. A highly acclaimed, although somewhat more advanced, standard work in the field.The Crystal Goblet; sixteen essays on typography by Beatrice Warde [Cleveland and New York: World Publishing Company, 1956]. From a major woman in the field of typography come some thought-provoking pieces, including the famous analogy that gave the collection its name. Mandatory reading for would-be typographers.The Case for Legibility by John Ryder [London: The Bodley Head, 1979] "Not a typographer's manual nor a 'do-it-yourself' guide to book design, it is a personal statement of great sincerity and conviction by a distinguished practitioner of the art." Ryder also wrote “Printing For Pleasure”, one of the touchstones of the avocational letterpress printing movement.Better Type by Betty Binns [New York: Watson-Guptill, 1989. 192 p]. A trade book from the early days of the desktop publishing revolution that shows by copious examples the subtle differences in relationships between typefaces, letters, and spaces. From the preface: "This book systematically trains designers to make these fine discriminations, with the aim of specifying text type that is not only readable, but also beautiful and expressive." Only released in this one edition, and not readily available, but a nice book nevertheless.Introduction to Typography by Oliver Simon [London: Faber & Faber, 1945]. Not a bad place to start. This edition is out of print, but there has been at least one reprint in recent years. Simon's introduction is designed for the layman, and discusses many of the basic principles and theories of designing with type.First Principles of Typography by Stanley Morrison [Cambridge: at the University Press, 1951]. An important book from the man who designed Times Roman for the London Times.Asymmetric typography by Jan Tschichold [(Translated by Ruari McLean) New York, Reinhold Pub. Corp. 1967. 94 p. illus. (part col.) facsims]. Jan Tschichold (1902-1974), a well-known typographer, caused many people to rethink 'conventional' theories of typography when this seminal work was published in the mid-60s. Whether or not you agree with his approach, this book is required reading and will widen your typographic horizons.An essay on typography by Eric Gill [1st U.S. ed. Boston: D.R. Godine, 1988]. A classic typographic manifesto on the art and craft of letterforms from the designer of Gill Sans and the famous typography of London Underground.Typography, A Manual of Design by Emil Ruder [Niederteufen, Switzerland: Arthur Niggli Ltd, 1977. 3rd Edition]. A fascinating, disciplined, and very Swiss analysis of typography and letterforms. Ruder's discussion and illustration of the importance of white space in letter forms and graphic designs is excellent background reading.Report on the typography of the Cambridge University Press by Bruce Rogers [Cambridge, Cambridgeshire: University Printer, 1950. viii, 32, (3) p. : ill.]. Bruce Rogers (1870-1957) is regarded by many as having been the greatest typographer and book designer of the twentieth century. After World War II he was commissioned by the Cambridge University Press to undertake a thorough review of all of the Press' publications and standards. The resulting Report had a major impact not only on the C.U.P., but also on the general typographic theory in both Britain and the U.S.Designing with type; a basic course in typography by James Craig and Susan E. Meyer [Fourth. ed. New York: Watson-Guptill Publications, 1999. 176 p]. A modern 'how-to' book, often used as the primary textbook in college design courses, that is available at many large bookstores and graphic arts dealers.Finer Points in the spacing & arrangement of Type by Geoffrey Dowding.Book DesignMethods of Book Design: The Practice of an Industrial Craft by Hugh Williamson. An excellent book, not only for the author's typographical observations, but also as a comprehensive survey of printing at the height of letterpress.The Design of Books by Adrian Wilson. A classic on the design, layout, and typography of traditional pages and books, written by a great letterpress printer in 1967. Bookmaking: Editing, Design and Production by Marshall Lee Originally written primarily about letterpress in 1965, this 500+ page work has recently been re-issued in a greatly updated third edition for the computer era.Printing Poetry: A workbook in typographic reification by Clifford Burke. A very informative work on this subject that also applies to other letterpress printing. Issued in an edition of only 1000.Type DesignersTwentieth Century Type Designers by Sebastian Carter [New York: Taplinger Publishing Company, 1987]. An excellent look at the people behind the type faces, with in-depth profiles of designers such as Goudy, Morrison, Zapf, etc.Typologia; studies in type design & type making, with comments on the invention of typography, the first types, legibility, and fine printing by Frederic W. Goudy (1865-1947). [Reissued 1977. Berkeley: University of California Press, xviii, 170 p.: ill.; 24 cm.]. Written by the most prolific type designer of the 20th century [creator of, among others, the eponymous Goudy Oldstyle], this reprint of the 1940 edition discusses the history, function, and meaning of type, and gives some very good insights into how a type designer works.Jan Tschichold: typographer by Ruari McLean [Boston: David R. Godine, 1975]. This puts Tschichold's career and writings in the context of developments in society around him. It is informative and thought-provoking on its own, and serves as useful background to his writings on the subject.Manuale Typographicum; 100 typographical arrangements with considerations about types, typography and the art of printing selected from past and present, printed in eighteen languages by Herman Zapf [Frankfurt, New York: Z-Presse, 1968]. Herman Zapf is known to most desktop typographers primarily for giving his name to the Zapf Dingbat font. He is, in addition, one of the most respected and creative typographers and type designers of the century, who created not only the Dingbat and Zapf Chancery fonts, but also Optima and many other faces. Manuale Typographicum is a breathtaking 'tour de force,' consisting of 100 broadsides about type design in a wide variety of faces and styles. Superb as a source of inspiration and example.Herman Zapf and His Design Philosophy by Herman Zapf, Introduction by Carl Zahn [New Haven: Yale University Press, 90 color plates]. While the Manuale shows the master at work, this volume is a discourse on Zapf's insights into type design. An excellent book.Edward Johnston by Priscilla Johnston [New York: Pentallic, 1976]. This biography of the twentieth century's most important calligrapher, written by his daughter, traces his career and influence. Unlike many printing books, this one is a delightful read.Of the Just Shaping of Letters by Albrecht Dürer [New York: Dover Publications, 1965. (reprint of the Grolier Club translation of 1917)]. Originally part of Dürer's theoretical treatise on applied geometry, here is the source for those famous capital letters set against a gridded background.Champ Fleury by Geoffrey Tory, translated into English and annotated by George B. Ives [New York: Dover Publications, 1967. (reprint of the Grolier Club translation of 1927)]. The other famous humanistic alphabet similar to the one discussed in the Dürer book, but this is the one with the letters shown against naked human bodies in addition to the grid system.Pioneers of modern typography by Herbert Spencer [Cambridge, Mass.: MIT Press, 1983. Rev. ed. 160 p. : ill.].Typeface Reference WorksAmerican Metal Typefaces of the Twentieth Century by Mac McGrew [New Castle, Delaware: Oak Knoll Books, 1994, 2nd rev, ed. 376 p. : ill]. The definitive work on the subject, and an essential reference for both graphic designers and current letterpress printers. Currently in print from the publisher.The Encyclopedia of Type Faces, 4th Edition by W. Pincus Jaspert, W. Turner Berry, and A. F. Johnson [Poole, Dorset: Blandford Press, 1983]. A standard, comprehensive reference in the field, this work is a detailed listing of over 1,000 faces, arranged by name, with full information on their history, designers, etc. Although even after several editions it has numerous uncorrected errors (dates, foundries, names, even occasionally an incorrect specimen shown) it is still a required reference work on the subject.A.T.A. Type Comparison Book by Frank Merriman [Advertising Typographers Association of America, 1965]. An indispensable handbook for identifying typefaces. Hundreds of faces are grouped together by design, making it easy to find the one you want. Still in print, possibly in a more recent edition.Graphics Master 7: Workbook of reference guides & Graphic Tools for the Design, Preparation & Production Print and Internet Publishing by Dean Phillip Lem [Los Angeles, Calif.: D. Lem Associates, 2000. 7th ed. 158 p. : ill. (some col.)]. Although it covers much more than just type design, and is fairly expensive, this is one of the most important and continually useful reference work that a desktop designer and/or publisher should have.Font & Function [Mountain View, California: signNow Systems] was signNow's biennial catalog of their latest font offerings. But this tabloid size, four-color publication was also quite a bit more. It included articles on typographic history, the background to many signNow PostScript fonts, technical information and a graphic listing of over 1500 signNow fonts. While it is no longer being published, back issues are available from a number of sources.The typEncyclopedia; a user's guide to better typography by Frank J Romano [New York: R.R. Bowker Co., 1984. xii, 188 p. : ill.].Type and typography; the designer's type book by Ben Rosen [New York: Van Nostrand Reinhold Co., 1976 Rev. ed. 406 p. : ill.].History of PrintingA Short History of the Printed Word by Warren Chappell [Boston: Nonpareil Books (David Godine), 1980]. A once-over-very-lightly in 240 pages of large type, hitting the highlights in the development of type, printing and bookmaking.Five Hundred Years of Printing by S. H. Steinberg [Baltimore: Penguin Books, 1974]. A 400-page small-print paperback which is still in print, this covers Gutenberg through the early 20th century. Steinberg's style is a little dry. Since his death, the book (starting with the third edition) has been edited by James Moran.A Dictionary of Book History by John Feather [New York: Oxford University Press, 1986, 278 pp] is a concise one-stop reference, in alphabetical order, to topics including bibliography and bibliographical terminology, the history of printing, the physical history of the book (including typography, binding, etc.) and book collecting. It has over 650 articles ranging from a few lines to several pages, and covers the ground pretty thoroughly. Although not a classic work (and, indeed, poorly designed itself as a book), it serves as a very handy reference to the history of books. An expensive purchase at the original price of $45, it is often available on remainder for about $10.The Making of Books by Seán Jennett [New York and Washington: Frederick A. Preager, 1967]. A good overview of the entire art and craft of the book, including a little history and a fairly detailed examination of every stage of the process. If you are interested in books in general, this is a good place to start. Out of print, but rather ubiquitous at second-hand and antiquarian dealers.The Book: The Story of Printing & Bookmaking by Douglas C. McMurtrie [New York: Oxford University Press, 1943]. Almost 700 pages of large type devoted to the history of the book, by one of the most prolific writers in the field. Easy to read, anecdotal, and illustrated. Although out of print, it is not particularly scarce and, if you can find it, probably the quickest way to get up to speed on printing history.Letterpress Printing InstructionIntroduction to Letterpress Printing by David S. Rose.: [New York: Five Roses Press, 2003, 32pp.] The complete 21st century Getting Started Guide to everything you need to know about acquiring a press, finding supplies, learning to print, and setting up your very own letterpress shop. (Note: this indispensable little reference gets first place on the list because it was written by [ahem] the author of this very bibliography. A fully hyperlinked electronic version with up to date sources can be downloaded from www.fiveroses.org/intro.htm)General Printing by Glen U. Cleeton and Charles W. Pitkin.: [Bloomington, Ill: McKnight & McKnight Publishing Company, 1941-1963, 195pp.] Probably the best all-around introductory book for traditional letterpress printing, this manual is profusely illustrated with detailed and useful photographs. It is the one most recommended on the Letpress list, and several members personally knew the authors. Copies of the book are readily available in both paperback and hardcover.The Practice of Printing by Ralph W. Polk (in later editions, together with Edwin W. Polk) [Peoria, Illinois: The Manual Arts Press, 1937-1945; later editions Charles A. Bennett & Co., 1952-1964, 300+ pp]. The most ubiquitous letterpress printing manual of the twentieth century. This is the standard, in print for over 40 years, from which many current letterpress printers first learned in school print shop classes, and is a good basic reference for the letterpress printer. Although out of print, it is readily available, in one or another of its many editions, from most book arts dealers and online sources. In later years, it was distributed by the Kelsey Co. as the advanced printing manual for their mass-market presses. By 1971 it was updated to de-emphasize handset type, and was re-issued as "The Practice of Printing: Letterpress & Offset". If you are primarily interested in letterpress printing, try to get one of the earlier editions.Platen Press Operation by George J. Mills [Pittsburgh, Carnegie Institute of Technology, 1953, 150 p. illus.] This manual is the first choice of letterpress cognoscenti who are printing on platen presses, and serves as the missing "owner’s manual" for traditional platen presses such as Chandler & Price, Gordon, Pearl and other floor-mounted job presses. It should be read in conjunction with one of the above books, which provide more thorough coverage of hand type-setting and composition. This invaluable book is still available, in a reprint of the 1959 edition, from NA Graphics.Printing Digital Type on the Hand-Operated Flatbed Cylinder Press by Gerald Lange (Second Edition). California: Bieler Press, 2001 This is one of the few letterpress manuals currently in print, and the only one specifically addressing both Vandercook proof presses (the gold standard for current fine letterpress printers) and photopolymer plates. This book is the authority on the technologies of "modern" limited edition letterpress printing. Subjects covered include digital type and computer practices; letterpress configuration; photopolymer plates, flat-bases, and processing equipment; photopolymer plate-making; plate registration and travel; impression; cylinder packing and makeready; presswork; ink and inking; press operation and maintenance, as well as an updated listing of manufacturers and distributors. Newly included with this edition are troubleshooting guides to problems encountered during the processing and printing of photopolymer plates.Printing on the Iron Handpress by Richard-Gabriel Rummonds is the most comprehensive book ever published on the subject, and is still in print from Oak Knoll Press. (Note that "handpress" here means something specific when it comes to letterpress printing, and doesn't refer to ordinary hand-operated presses such as a Kelsey or a Pilot.) Precise techniques for printing on the handpress are presented in lucid, step-by-step procedures that Rummonds perfected over a period of almost twenty-five years at his celebrated Plain Wrapper Press and Ex Ophidia. In tandem with more than 400 detailed diagrams by George Laws, Rummonds describes every procedure a printer needs to know from setting up a handpress studio to preparing books for the binder. The author also maintains a constantly updated web-site to accompany the book.Printing for Pleasure, A Practical Guide for Amateurs by John Ryder [published in multiple editions from 1955-1977, in England and the US, by publishers including Chicago: Henry Regnery Co., (1977) and London: The Bodley Head (1976) This is still in print from The Bodley Head in the UK or Oak Knoll Books in North America]. A lovely, classy, little (12 mo) book, both pleasing to look at and inspirational for the novice amateur printer. This introductory work gives a light overview of the hobby of letterpress printing on both sides of the Atlantic, covering how to choose a press, type, paper and ink, as well as planning, design and production. A good place to start if you are just considering taking up this avocation, and a nice place to come back to every now and then to remind you why you are still printing.A Composition Manual: PIA Tools of Industry Series by Ralph W. Polk, Harry L. Gage et al. [Printing Industries of America 1953, 4to, 311 pp., index, biblio., 433 pps] A really excellent tutorial and reference work, sponsored by the printing industry trade association as the definitive manual for apprentices. It is a thorough overview of the entire typesetting and proofing end of the business that took four years and several experts to write. Because it was published in 1953, it came out just at the inflection point between hot and cold type, and is a fascinating final masterwork from an industry that feels the winds of change approaching. In addition to very detailed and well-illustrated tutorials on hand-setting and proofing metal type, it includes surprisingly useful overviews and illustrations of all the other composition-related tools of the shop, including Elrod, Ludlow and Monotype casters. To quote from the Forward, "The industry recognized the need for a manual containing basic principles of good typography that are fundamental to the presentation of the printed word, irrespective of whether that word is composed by hand, by machine, by photo-typesetting or by some yet unnamed method of the future…"I.T.U. Lessons in Printing [Indianapolis: International Typographical Union, 1927-1972, Various paginations] Published in many editions across half a century, these ten volumes were created by the printing unions as the standardized training course for American printers. While not as elegantly written or produced as many of the other letterpress manuals, these thousands of pages cover just about everything the journeyman printer was supposed to know, eventually encompassing Unit One (Elements of [Letterpress] Composition) through Unit Ten (Photocomposition, Ruling and Pasteup). Along the way is detailed information on topics including Display Composition, Imposition and Lockup, Trade Unionism, Linotype Operation, Design, and even English ("because English is a 'reasoning' subject which may have caused the student difficulty in school."). The first volume, covering the history of printing through typesetting and a proofing, is probably the most useful one for the modern letterpress printer. The original edition of 1927, written by John H. Chambers, was replaced by a much better text in the 50's that was almost certainly ghost-written by Ralph W. Polk, who also wrote the even better manual on behalf of the employers, as well as his own manuals (see above).Printing For School And Shop by Frank S. Henry [New York: John Wiley & Sons 1917, B&W photos and drwgs 318pp] Subtitled "A Textbook for Printers' Apprentices, Continuation classes, and for General Use in Schools" and updated with another edition in 1944, this was the original vocational course textbook which was eventually supplanted for the most part by Polk. Nevertheless, it provides detailed technical instruction and illustrations and—particularly in the later edition—can still serve as a useful learning tool for today's printer.The Essentials of Printing by Frank S. Henry [New York: John Wiley & Sons 1924, B&W drwgs 187pp + index] Subtitled "A Text-book for Beginners" and half the length of the preceding book. "It develops that there is an insistent demand for a shorter text, one that shall cover only the absolute essentials of printing...this volume attempts to present to the novice, in sequence, the operations necessary to the production of a piece of printed matter." Useful and relatively short, but somewhat outdated (even for letterpress!)Printing as a Hobby. By J. Ben.Lieberman [New York: Sterling Publishing Co. & London: Oak Tree Press, 1963. 128 p. Index.] is the brash, bigger, and less restrained American counterpart to the quintessentially British book by Ryder. Lieberman was an enthusiastic amateur printer, and this book is an exuberant well-illustrated pitch for his hobby. The author was not a scholar (nor particularly an aesthete), but if you like unabashed 'boosterism,' you might find this book fun to read, despite its errors of both omission and commission (not unlike his later book, Type and Typefaces, described above.)Printing, A Practical Introduction to the Graphic Arts by Hartley E. Jackson [New York; McGraw-Hill, 1957, 8vo., 286 pages]. Organization and use of the type case, hand setting, use of the platen press, and basic binding, with short sections on linoleum blocks, silk screen and photography in this industrial arts text. Not as good as Polk, but more than acceptable as an apprentice course book.Graphic Arts by Frederick D. Kagy [Chicago: The Goodheart-Willcox Co., Inc., 1961, 8vo, 112 pps.] Another (and probably the last) of the high-school vocational textbooks designed for once-over-lightly printing classes included as part of a longer graphic arts program, this short book gives a simple but well-illustrated quickie introduction to hand type-setting and platen press printing in about twenty pages. Nowhere near as comprehensive as many of the others, but certainly better than learning through pure trial and error.Introduction to Printing, The Craft of Letterpress by Herbert Simon, [London: Faber and Faber, 1968]Getting Started in Hand Printing & Binding by Van Waterford, [TAB Books, Blue Ridge Summit, Pennsylvania, 1981]Other Book ArtsHand Bookbinding: A Manual of Instruction by Aldren A. Watson. A clear, thorough, inexpensive introduction to hand binding.The Papermaker's Companion: The Ultimate Guide to Making And Using Handmade Paper by Helen Hiebert. Extensive step by step instructions.How to Marbleize Paper: Step-By-Step Instructions for 12 Traditional Patterns by Gabriele Grunebaum. A slim, inexpensive, but useful paperback.Practical Typecasting by Theo Rehak. The ultimate and definitive book on the subject, by the dean of American typefounders.Miller's Collecting Books by Catherine Porter. A modern, illustrated guide to all aspects of book collecting.BibliographiesA Typological Tally compiled by Tony Appleton [Brighton, (T. Appleton, 28 Florence Rd., Brighton, Sussex BN1 6DJ), 1973. 94 p. ill.]. Thirteen hundred writings in English on printing history, typography, bookbinding, and papermaking, compiled by one of the world's top dealers in the field.A Bibliography of Printing with Notes and Illustrations by F. C. Bigmore and C. W. H. Wyman [London: Oak Knoll Books, 1978]. Universally known as "Bigmore and Wyman," this is to printing bibliographies what Updike is to books about printing types. Published in 1880 (editions since then have been reprints) B&W provides excellent commentaries on just about every book that had been written on the subject as of the year it was published.Book Dealers/Publishers Specializing in Typography and the Book ArtsOak Knoll Books, ABAA 310 Delaware St. New Castle, DE 19720 USA tel:302-328-7232fax:302-328-7274 www.oakknoll.com email: oakknoll@oakknoll.comThe Veatches Art of the Book P.O. Box 328 140 Crescent Street Northampton, MA 01061 tel: 1-413-584-1867 fax: 1-413-584-2751 www.veatches.com email: Veatchs@veatchs.comFrances Wakeman Books 2 Manor Way, Kidlington, Oxford OX5 2BD, UK tel: +44 (0)1865 378316 fax: +44 (0)1865 378934 www.fwbooks.com email: info@fwbooks.comThe Bookpress Ltd. 1304 Jamestown Road Williamsburg, Virginia 23185 USA tel:(757) 229-1260 fax:(757) 229-0498 email: bookpress@widomaker.comTimothy Hawley Books 915 S. Third St. Louisville, KY 40203 U.S.A. tel: 502-451-3021email: hawleybk@home.comFrits Knuf Antiquarian Books P.O.Box 780, Oss NB, Netherlands, 5340 AT. tel: +31 412 626072. fax: +31 412 638755 email: info@books-on-books.comColophon Book Shop 117 Water Street Exeter, NH, 03833 tel: 603-772-8443www.colophonbooks.com email: colophon@nh.ultranet.comNA Graphics Attn: Fritz Klinke P.O. Box 467 Silverton, Colorado 81433 tel: 970-387-0212fax: 970-387-0127 email: nagraph@frontier.netDavid R. Godine, Publisher 9 Hamilton Place Boston, MA 02108-4715 tel: (617) 451-9600fax: (617) 350-0250 www.godine.com email: info@godine.comPeachpit Press 1249 Eighth Street Berkeley, CA 94710 tel (800) 283-9444 tel (510) 548-5991www.peachpit.comDawson's Book Shop 535 North Larchmont Blvd. Los Angeles, CA, 90004 tel: (213) 469-2186Many thanks to Howard Gralla, Alvin Eisenman, Robert Fleck, Kathy Schinhofen, Chuck Rowe, Earl Allen, Susan Lesch, Kathleen Tinkel, Michael J. Boyle, John Horn, Chris Simonds, Fritz Klinke, Roberta Lavadour, David Norton, Tom Parson, David Goodrich and the many members of the Letpress Internet mailing list for their suggestions before and during the compilation of this bibliography.An earlier version of this bibliography was originally published by Aldus Corporation in conjunction with their release of the Fontographer type design application. That version was, in turn, adapted and expanded from an earlier annotated checklist by the same author prepared for members of the MAUG Forums on Compuserve.Copyright © 1988-2014 by David S. Rose david@fiveroses.org The current version of this bibliography is always available online athttp://www.fiveroses.org/bibliog... and hyper-linking to it is encouraged. For any other publication inquiries, please contact the author. Revision: August 20, 2003 / December 18, 2014
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How would you rate the top convenience stores (konbini ) in Japan?
Convenience stores are by and large the same, though they have made efforts to differentiate themselves, particularly in recent years. Competition is fierce in the combini world, which is why as soon as one store finds a successful product, the other stores will soon have their own take on it.Some things they all have:Prepackaged food - full lunches, onigiri, snacks, sandwiches, frozen foods, instant ramen, etc.Various pantry and kitchen items - oils, curry roux, pastas, cheese, eggs, deli meats, bread, etc. Depending on the individual location, this could include a limited amount of fresh fruits or vegetables.Beverages - single serving and some larger bottles or cartons of teas, sodas, fruit and vegetable juices, milk, sports drinks, coffee (hot and cold), alcohol (beer, chu-hi, wine and spirits)ATMCopy and print servicesFree WiFiEvent and travel ticketsStationaryHealth and beautyInclement weather gear (usually seasonally)Some electric, like light bulbs and cell phone peripheralsMagazines (most but not all also have a small adult section)Hot foods - usually fried, and while each chain and even each individual store within a chain can can vary in selection, common things include fried chicken, french fries, corn dogs, croquettes, or hot dogs on a stick. Additionally, most places will also have steamed buns with a variety of fillings (nikkuman and various other “-man”) and, seasonally, oden.Recently, fresh, flash-brewed, single-cup coffee has become standard, though each chain differs in how they present it.Despite the broad similarities between them, there are still some things that make each stand out:7–11 - The first and (last I heard) largest chain, really stands out for it’s own private label. While all of the large chains have started carrying their own store brand for a lot of sundries, 7–11’s Seven Premium is generally reasonably priced (for a convenience store, anyway) yet of surprisingly high quality. Also 7 and i Holdings, 7–11’s parent company, has also started it’s own direct bank, 7 Bank, which means the ATM present in all 7–11 stores is a 7 Bank ATM. Given the ubiquity of 7–11 stores you can actually have 24/7 access to your money anywhere in Japan (which is rare enough in Japan) and (between the hours of 7am to 7pm, 7 days a week) don’t have to pay a fee to withdraw it. 7–11 has a prepaid e-wallet card called nanaco that also functions as a point card. It can be used at all 7–11 shops, as well as Ito Yokado supermarkets and Denny’s restaurants.Lawson’s - Lawson’s is second of the “Big 3” of Japanese conbini, and in particular, they are well regarded for their “Uchi Cafe SWEETS” line of desserts, their “Machi Cafe” coffee (the aforementioned fresh, flash-brewed single cup coffee, which is different in that they prepare it for you to order), their “Karage-kun” fried chicken nugget hot snack which comes in a variety of flavors and their “Onigiriya” premium onigiri. Some Lawson’s stores also have a limited selection of meals made in-house, such as udon or (really good) sandwiches. Lawson’s is also the most diversified in terms of sub-brand stores: in addition to the “standard” Lawson’s, there are Natural Lawson’s, which specialize in healthy, low calorie foods and other products made from natural ingredients, Natural Lawson’s +, which include a pharmacy, Lawson’s 100, which is a 100-yen store focused on food, including fresh fruit and vegetables as well as the ever popular desserts. These sub-brand stores are not as commonplace as the standard Lawson’s, but are worth checking out if there’s one in the area. Lawson has a point card called “Ponta”, which is also tied into dozens of other businesses (including Shell gasoline stations and Japan Airlines.)Family Mart - Last of the “Big 3”, Family Mart’s strongest point is it’s hot foods, with it’s “FamiChiki”, a boneless fried chicken cutlet, being it’s most popular. Several Family Mart shops also have small portion of the store dedicated to selling MUJI products. It might be worth noting that for all of the places I have lived in Japan, Family Mart is a shop I always see when visiting a place, but there’s never one near where I live. Family Mart is part of the “T-Point” point card network, which like the Ponta network includes dozens of other business, such as Tsutaya bookstores (the group that start it) and Eneos gas stations.Mini Stop - A subsidiary of AEON, this chain has been growing a bit recently. As an AEON subidiary, they have a lot of TopValu branded items for sale and their own Mini Stop brand snacks. They are probably best regarded for their ice cream, the only large chain (to my knowledge), that serves soft-serve ice cream, with seasonal flavors (at this writing, Kyoho - Grape, made from real Kyoho grape puree and juice), in addition to other parfaits and sundaes. Their hot snacks are also unique, with their signature being “Crunky Chicken” fried chicken bites and “X-Fried” french fries as their standard, with different seasonal ones such as waffle fries and seasoned fries. They also have “Age Pizza” which would be similar to a deep-fried Hot Pocket. Being an AEON subsidiary, you can collect AEON points or your WAON e-wallet card here.Daily Yamazaki - Owned by Yamazaki Bread, the largest bakery company in Japan, Daily Yamazaki stands out by having fresh-baked breads and foods (sandwiches, etc.), similar to other “Pan-ya” in Japan, but in a convenience store. Probably worth noting that it works similar to something like Panera Bread, with prepared dough being shipped to the store for later baking, but fresh-baked is fresh-baked, to me.
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What are the main areas that one should learn during CA articleship?
I did my articleship from Khimji Kunverji and Co., one of the top firms in Mumbai; and it was an awesome experience. Let me shed some light on my learnings -Learn to say NO - Random seniors come and give you random work. Learn to say No. Learn to say you are busy. You are not a dustbin.Learn to say YES - You need to have a good rapport with your immediate seniors and your boss. I have filled my boss’s daughter’s BFM admission form because she needed some help. Sometimes, you have to keep your ego aside and look at the larger picture.Whether audit or tax is the one for you - You tend to spend 3 years in articleship, doing either audit or tax. It is good enough time to gauge whether you want to do this for your entire life or not. For me the answer was NO, and I switched to Finance. No point wasting time once you qualify.Domain Knowledge - In your first job interviews after becoming a CA, a lot of stress will be on what you did during these 3 years. You should be upto date with that. Get your basics right.Out time is a myth – As per my firm HR Manual, the official work time was roughly 10-30 to 6–30. Strangely, you used to be penalized for coming late, but no credit for going late. It’s the norm. Get used to it.Make Mistakes - Ask stupid questions. Make mistakes. Experiment. Because you have the license to. You are a fresher. As a CA, people expect more.Do not neglect your Social Life - Its important. Your boss will not come at 12 to your place with a cake in his hand, wishing you a happy birthday.I remember getting into a train during my 1st year articleship. I somehow started chatting with a guy standing near me. He was a CA. I told him I just cleared IPCC and started with articleship. He started laughing and said “Welcome to Hell”.With all the office and study pressure, you might feel life sucks during articleship, but it will be a great experience. You will create memories of a lifetime. Cherish it :)
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What kind of skill set should a CA student develop before starting Articleship?
This hunger for more knowledge is good for a CA Student. It is a very good idea to know what others have learnt and re-assess oneself on the basis of same, so that you become equally competent. This is a good way of improving oneself.Part A - About the core Knowledge:(a) What your firm operates in - you can't do much beyond that.Core Knowledge = Practical Knowledge about areas your firm is operating in.See the firm you have chosen or you got into, basically will provide you with the knowledge of some of the fields in which Chartered Accountants works. You cannot gain knowledge about all fields in which Chartered Accountants work, since the scope is very wide and whether it is a Big Four or a sole proprietor Chartered Accountant, nobody can give you work experience in all fields. So basically these core areas where you get to work - you have to be satisfied with the same. All you can do is - learn from experiences of your friends who are in to different core areas. This is a rigid area, and not much can be done in this.(b) Try to get an assignment in all kinds of activities that your firms do -You can't go out of the box in which your firm operates, but atleast you can learn everything that is in your box. Many articles run away from certain things - saying it is a low category assignment or not so fascinating. It is because they all hear it from their friends about the big industry they worked in and blah blah things. But go and ask those friends, if they know, what is the procedure to obtain a PAN card and a duplicate PAN card? What is the procedure to obtain Shop Act? or atleast if they know what is Shop act?My Insights -In our office they didn't used to allow articles to do that, the administrative people like Bcom people used to do that. But I insisted on the same, to allow me to do them once. The task was easy, but it was something very basic that I learnt. Later when you start your practice or job, these are somethings that give you edge over others. If you become an entrepreneur, you can handle those things yourself. So it is beneficial always.(c) Try to get assignments in all kinds of industries that firm works in -Basically most Chartered Accountants work in some fixed industries since when you do good to one client, similar clients get attracted, so automatically, you will see that most clients are of similar category. As an article you should try to do audit of all kinds of organizations -Based on organization type like Sole proprietor, Private limited companies, Partnership firms, trusts, public limited companies etc.Based on different business forms like Retailers, Wholesalers, Chain stores, Manufacturers, Service providers, Traders, Consultants, Support Services, Maintenance services, Export oriented, etc.Based on different industries like IT, E-commerce, FMCG, Finance, Automobiles, Telecom, etc.Based on Tax benefits or special act companies like religious trusts enjoying benefits u/s 11 or 12, regulated companies like insurance, banking, etc. or may be companies in Special Economic Zones, etc.A Piece of Advice -You won't find all of the above in any one firm. Such firms giving such wide opportunities don't exist. But thing is - you need to explore every corner of your own firm, whatever it is.(d) Try to gain overall knowledge of all types of works -Don't think about specialization in Articleship, it is not that much useful, because if later in life that sector goes down, your career will get a full-stop. As a Chartered Accountant you must first learn all the basics of all types of work, when you become aware about basics, i.e. after articleship, then you should try to develop core competence when you find jobs or do practice.My Insights -If you don't get an assignment of different type - go to your principal and say that "Sir, I want to learn about that kind of work, if next time there is any work related to that xyz client, please give me a chance." I did it in my articleship, and I got those opportunities, Sir was happier indeed, that an article was ready to take up some sort of responsibility. I am pretty sure, 80% of Chartered Accountants would do the same. If you say politely, the teacher inside them will awake, and they will allow you to fly!Part B - Other things that you should learn during articleship - More important than above said things!(a) Office Ethics -You should learn about the office culture, how people dress, talk, meet and greet colleagues, seniors and clients. It is very important to observe how people form groups, how they make their juniors to work and seniors to help/guide. It is very important to notice, how others are keeping good relations with administrative staff i.e. HR, Clerks, etc. - something that is very helpful at times of problems. There are many more things - basically you have to learn how people operate in office and especially how your boss stays in office - since someday you too will be a boss.A Piece of advice -Learn good things only. Although I assume most Chartered Accountants are well cultured and natured, but exceptions may exist. But remember, may be your boss was good or bad, you have to become a good boss in future.At many times you feel that your boss did wrong, and he/she should have allowed you to do xyz thing. Remember such incidents or make a note of it. When you become a boss, you do them correctly. If you are able to do, you are a good boss, else you will realize had a wrong idea about your boss.(b) Printing, Scanning, Documenting, Letter typing, Organizing Office, Using appropriate Stationery -Your reaction - "Oh God! Really?"Consider this situation - you are in a corporate office, a high ranked employee. You tell the clerk to scan a document, but your clerk is new. He is not acquainted with the printer. What would you do, if you yourself don't know how to use a printer or scanner? In early days of your job or in many companies, you don't have clerks who do it for you, you have a printer next to you and you have to do it yourself. In case you don't know these, what a shame! A Chartered Accountant, but does know how to use a printer or how to unpin a staple! God! Dummies on earth.My Insights -One of the expert HR was sharing his experiences with interviewing Chartered Accountant, at a conference that I was listening to. He said, we tried an experiment successfully. We told every candidate entering into the interview room to arrange certain documents and properly organize them into a file. Now on the basis of how file was organized, they discovered candidates who had done dummy articleship or articleship of low grade, because those candidates never knew how to arrange a file, since they never did it in their lifetime.So basically the best thing about a good leader, boss, a senior or an entrepreneur is that he/she knows the work of all persons junior to him/her very well. That's why they can handle them well.So basically learn the following things and many more which I can't list out -How to properly document an Audit file?How to properly keep a permanent client record - both electronic & physicalHow printers, scanners, servers of your office, internet network, LAN systems, routers, biometrics, connections etc. work in your office.How to use correct stationery correctly? Like properly unpinning documents, or may be how to create sets for clients, income tax officers, registrars etc.How to draft covering letters, envelopes, request letters, etc.(c) Drafting Email Communications & Email Ethics -The most important part indeed of articleship. The fact is we never get opportunity to learn this anywhere else. This is a good ground to learn. Initially you can see how your boss writes email, how your senior does it. Then you can innovate it yourself. The thing is in business world, everything today goes on Email. Emails don't have a tone, they don't have smileys (means they are not used). Writing a good email, is an art. It is very important to learn how to write such kinds of emails.Emails asking client to provide information, with accurate requirement list.Polite Emails for making client realize the wrong they have done.Emails providing consultancy services. See email consultancy is a big time opportunity and costless service, in future a good means of earning.Writing intra-office emails.Whom to keep in CC, Never to use BCC, how should be the subject line, how should be the signature etc.When email shouldn't be used & telephonic conversations should be preferred, sending reminders, how to use meeting feature, etc.(d) Oral Communications - F2F or telephonic or over internetThis is again a great area to learn. It very necessary to learn how to interact with clients. The interaction can be face to face, or telephonic or over internet services like skype, etc. It very important to learn to learn how to deal with such situations. A conversation over telephone, has to be polite and discussing documents over telephone is also an art. Similarly communication over Skype is also an interesting thing to learn, one should know how to have business conversations over Skype and how to share documents, discuss & present over it.(e) Formatting documents - Something that stupids call stupidity!I have seen documents and emails from fellow Chartered Accountants, so pathetically formatted, that I sometimes wish to hit them with a stone, maybe their sense would come back then. But basically the idea is Chartered Accountants are professionals, and therefore, a professional behaviour is expected from them. The behaviour is expected highest in the documents and reports. Thus, it is very important to learn:Appropriate font sizes, font stylesHow to add tables in emails, how to structure an email, maximum size of emails, minimum size of emailsWhen to use and when not to use - bold, italics, underlines, shades, coloursHow to structure paragraphs, appropriate line spacingHow to convert documents into different formatsHow much margins to keep, how to make document print readyHow to make document secureHow to make documents self-explanatory by adding commentsHow to use various functions like footnotes, document review, freeze panes, grouping - sub-grouping, page numbers, author details etcCover page for report, report size, number of maximum pages, drafting executive summary, adding disclaimers, etc.Conclusion:The Part A makes you an intelligent Chartered Accountant.The Part B makes you an intelligent Human Being.And let me tell you, Part B is more important, because even if you don't become a CA, an intelligent human being can definitely live a good career!Ignoring the part B is very common amongst CA, and that's why MBAs getting an edge over CAs is also very common.Many people say 'Articleship is nothing but labour work', well it is because you think it that way, and that's why you are doing it that way. If you try, you will realize articleship period is life changing!"You will have hundreds of opportunities to learn the bigger things once you become CA, but not these small things. Once you become CA, people don't expect you to know everything, they understand it is quite impossible, but they definitely do expect that you know these basic things rightly."
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Is "Mel Bay's Modern Guitar Method" (grades 1 - 7) a good basic curricum for learning how to play guitar? I remember these books
They’re still relevant for what they do. But what they do is NOT teaching “how to play guitar” - they teach how to read standard notation for the guitar.It’s an important distinction for your question.It means they’re still relevant, because the standard notation a guitarist is likely to see hasn’t changed at all since they were published.But they’re not a great curriculum for learning how to play, because learning how to read standard notation logically begins in the key of C major - you don’t have to handle sharps and flats in the key signature. But as you start learning chords, about 22 or so pages into book 1, the key of C contains the F major chord, which is far more difficult than other chords. Easy to read is NOT the same as being easy to play.Get to book 2, and the hardest piece to actually play is on page 9 (of 48 pages in each of the original Mel Bay books - more on that in a minute). The piece is called “Barcelona”, and the sixth measure contains a G# half note on beat 3, and there are triplet eights from there up: A-B-C-D-E. Sustaining that G# means it needs to be played on the fourth string, which involves a stretch that’s hard for a beginner if that’s the only material you’re using. There’s also no text or notation to indicate the note needs to be played on the fourth string.The original books are also pretty light on material for some concepts. In book 1 you get all the open position notes, and there are three on the fifth string, A, B, and C. They’re all in the first three exercises, which are just on the fifth string. But those are followed by several songs to integrate the skill, and none of them have an A or B note.Maybe 15 years or so ago Mel Bay Publications revised the books, coming out with ‘expanded editions’ that were twice as long. I looked forward to those, because they would address the lack of material, which happens throughout the books. I bought a set as soon as they came out.As soon as I looked at them I sent an e-mail to Mel Bay expressing my disappointment - they did include a lot more material, but they made the type smaller! The staves are only about 70% of the size they were in the originals. I told them that beginners are struggling with identifying one note from another, and the smaller staves make it harder to do that.Within hours I got an e-mail back from Bill Bay (Mel’s son, and current head of the company) telling me that they’d never considered the font size in the redesign, and that they would incorporate my suggestion as soon as they needed new printing plates. Fifteen years later… that still hasn’t happened.You might get the impression that I dislike the Mel Bay method. I don’t. Overall it’s pretty good, and I still use it - for beginning musicians it’s a solid choice. For beginning guitarists who already read music for another instrument, there are better options (e.g. the Berklee series). And of all the methods available for learning to read, Mel Bay goes into more depth in terms of the number of keys presented than any other method - something like Hal Leonard or Alfred will give you the same basics in a different format, but won’t be showing you pieces in the key of Db or F#. Mel Bay will, if you work through all the books.Some years ago I thought I’d write my own method, and I created an outline of what it would need to contain, and in what order. I came to the conclusion that a truly well-rounded method series would need at least 500 pages. The guitar is a complex instrument, and sequencing the skills so they make pedagogical sense is extremely difficult - chords that are easy to play are difficult to read. Things that are easy to read can be difficult to play. And there really aren’t any methods that line up all of the skills a guitarist might need (chord playing, reading standard notation, music theory, improvising).So when I teach, I’m constantly writing things out for students - additional studies for reading, chord charts, etc. to supplement whatever method we’re using, and to tailor the lessons to their particular interests.But I’m also using a method series, and often it’s Mel Bay. Because it is still relevant.
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