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What are the regulations for online beer sales in the UK?
Selling online: an overview of the rulesThis is an edited version of a guide for businesses.E-commerce TMT & Sourcing TMT Retail Education UKThere has been a steady growth in the variety and volume of goods and services which are available on-line to both businesses and consumers, and on-line selling is increasingly seen as a major way for all businesses to save costs. Almost inevitably, as the practice of on-line selling proliferates so does the amount of legislation governing it. This article provides an overview of the law governing on-line sales in the UK and an analysis of the issues that a business should consider before setting up an on-line sales process.The law governing online salesThere are two distinct types of legislation that affect on-line retailers. Firstly, traditional consumer protection regulations apply to all consumer sales made on-line. These regulations are well established, but it is important to remember that they apply to on-line retailers as much as they do to traditional ones. Secondly, there are regulations designed specifically to deal with problems and issues facing retailers on-line.Traditional consumer protection regulationsThese protect purchasers and consumers whether they are buying the goods over the counter of a shop or over the internet. For instance the Sale of Goods Act gives certain rights to purchasers about the quality of the goods they receive, and their rights if the goods fail to live up to these standards. The Consumer Credit Act protects consumers' rights when they enter into an agreement for someone to provide them with loans or credit facilities including circumstances where they buy goods or services using a credit card. The Unfair Terms in Consumer Contract Regulations protect consumers' rights where they enter into agreements with retailers who try to impose unfair terms in the agreement. There are also numerous other pieces of legislation, many of which will apply to different contract and product types.Online regulationsThese regulations are new, and were brought into force largely to protect consumers' rights when they buy products either over the internet or by telephone. They largely derive from EU Directives, and include the E-commerce Regulations , the Distance Selling Regulations and the Electronic Signatures Regulations . These are the regulations that control the actual on-line sales process and they provide the starting block from which we can consider the practical business requirements of on-line retailers.Although the traditional consumer regulations are important for all sales processes, this article focuses on the on-line regulations and how they affect the various stages of the on-line sales process. The next five sections take you through what the regulations require including information that must be provided to a purchaser, the use of electronic signatures, contract formation issues and ensuring your contract is legal.Information that must be suppliedThe various regulations share a central theme: companies should not hide themselves from purchasers, and should provide as much information to purchasers as possible.Company information that must be supplied under the E-Commerce RegulationsThe E-Commerce Regulations require that all commercial web sites make the following information directly and permanently available to consumers via the website:the company's name, postal address (and registered office address if this is different) and email address;the company's registration number;any Trade or Professional Association memberships;the company's VAT number.All of this applies regardlessof whether the site sells on-line. In addition, any commercial communication – that is any email or even SMS text message – used in providing an "Information Society Service" must display this information.The E-Commerce Regulations also require that all prices must be clear and unambiguous, and web sites must state whether the prices are inclusive of taxes and delivery costs.Contractual information that must be supplied under the E-Commerce RegulationsWhen it comes to actually going through the contractual process the requirements for information increase once again and the consumers must be told:the steps involved in completing the contract on-line;whether the contract will be stored by the retailer and/or permanently accessible;the technical means the site uses to allow consumers to spot and correct errors made while inputting their details prior to the order being placed;the languages offered to conclude the contract;The website must also provide links to any relevant Codes of Conduct to which the retailer subscribes and set out the retailer's Terms and Conditions, in a way which allows users to save and print them.All of this information must be provided before the purchaser selects the product and starts the contractual process and it is possible to convey it early on in the sale, without deterring users with an unwieldy sales process. The most common route is to bundle as many of these details into the terms and conditions as possible, and ensure that consumers are appropriately directed to read them.Information that must be supplied under the Distance Selling RegulationsThese Regulations set out the information which must be provided to a consumer prior to the conclusion of the contract.The information must be provided in a clear and comprehensible manner which is appropriate to the means of distance communication used. This means that the information can be set out on a web page, provided that the information is brought to the attention of the consumers before the contract is entered into. The information to be provided includes all of the information which a supplier should, in any event, wish to provide in relation to:the identity of the supplier;the main characteristics of the goods or services;their price;arrangements for payment and delivery; andthe existence of the right of cancellation created under the Distance Selling Regulations.Information that should be set out in the terms and conditionsThe terms and conditions should:make it clear who is selling the product, together with the geographical and email address;describe clearly what the customer is getting and what it will cost, including all taxes and delivery costs; andidentify the arrangements for delivery of the product.The terms and conditions of the site are very important, and will vary for every retailer. It is important that the terms and conditions are properly drafted, as poorly drafted terms and conditions will expose the retailer to unnecessary risk.Electronic signaturesThe Electronic Signature Regulations apply to any contract and not just those entered into with consumers. In order for there to be a binding contract the following essential elements of a contract must be present:an unconditional offer;an unconditional acceptance of that offer;consideration passing from both parties other than in Scotland where consideration is not a requirement; andan intention to create legal relations, i.e. the parties must intend to enter into a legally binding contract.There must also be certainty as to the terms, parties and subject matter of the contract. For the majority of contracts there is no legal requirement for a signature.Whenever a person buys or sells something he or she is entering into a contract, no matter how small the purchase. In the newsagents, when a person buys a newspaper he or she contracts with the newsagent for the purchase. The newsagent makes an 'Invitation to Treat' by placing the publication on sale. The person offers to purchase it from the newsagent, proffering money, and the offer is accepted (concluding the contract) by taking the money. This is still a contract, although not a word needs to be said, and nothing is written down. However, the essentials of a contract have been formed: an offer (to buy, or sell), an acceptance of that offer, and (everywhere except Scotland) consideration (whether money being paid, or some other form of consideration) for the sale. The various stages of the contractual process will be discussed in more detail later, as it is important to distinguish between who is making the offer and who is accepting it.Signatures are not actually necessary for the conclusion of every contract (your visit to the paper shop could become a chore), but they can have three essential functions when we consider on-line contracts:To identify the person who has bought the product;To indicate a personal involvement, or trustworthiness; andTo indicate an intention to be bound to the contract.The principal, and simple effect of the Electronic Signature Regulations is to make electronic signatures legally valid. Most of the discussion, and further interpretation of electronic signatures actually comes from a report published in December 2001 by the Law Commission entitled "Electronic Commerce: Formal requirements in Commercial Transactions", and in subsequent guidance from the DTI.Depending on exactly what is being sold the method of collecting the electronic signature will vary. In most cases, the function required of the electronic signature is the third one listed above – indicating that the purchaser is making an offer to contract. However, for more complex products being sold on-line, for instance financial services products, the role of the signature may become more important for one or both of the first two reasons.Depending on the value and/or importance of the transaction the parties may want a greater degree of certainty as to reliability of the signature. This may involve the use of public key infrastructure, for example.Contract formation issuesThe main issues considered in this section are how, when and where the contract is formed. This involves an analysis of the contract formation procedure based on the principle of offer and acceptance and the significance of the "country of origin" principle.The offer and acceptance procedure onlineStep 1: Establishing the offer and acceptance procedureThis is where the E-commerce Regulations can be used to the seller's advantage. It is possible to sell on-line and take payment by credit card without concluding the contract on-line. The solution is to provide that the customer is making an offer on the site and that the contract will be formed only if the customer's order is accepted – and that taking payment from the customer's credit card does not indicate cceptance.On-line merchant accounts provide for making refunds to a customer's credit card. Therefore, the terms should explain that, while the customer's card may be debited before the contract is formed, if the customer's order is ultimately rejected, a refund will be made immediately.Step 2: Completing the order formThe customer is taken to the order form where he completes the quantity of goods and his delivery details. It would be good practice to offer three buttons: submit, clear and cancel. The "clear" button is needed because the E-Commerce Regulations require a means for the customer to correct any errors.Step 3: Incorporating the terms and conditionsAt the bottom of the terms and conditions page the purchaser should, ideally, be required to check a box to indicate that he or she has read, understood and accepted the terms and conditions, before clicking the "Accept" button. The "Accept" button should not work until the box has been checked. Equally the page should be designed in such a way that the consumer cannot check the box and click "Accept" until the page has fully loaded onto the screen. By doing this, you improve your position in the event that a purchaser claims there was no opportunity to read your terms.While there is no responsibility on the retailer to ensure that the consumer has in fact read them, following this procedure will demonstrate that reasonable efforts have been made to bring them to purchasers' attention. The terms and conditions should be in a format that can be printed or saved – therefore avoid pop-up windows and ensure that they fit within the width of the page and are presented in a way that they will print properly.It is wise to also include a term like the following:"By clicking the 'Accept' button you agree to these terms and conditions. By completing and submitting the following electronic order form you are making an offer to purchase goods which, if accepted by us, will result in a binding contract."The words, "if accepted by us," are very important.This approach is the suggested 'best practice' approach for relaying the terms and conditions, and ensuring that the consumer has read them. However, it is not the most consumer friendly approach to present the purchaser with a screen of 'small print' in the middle of what, to the consumer, was an otherwise normal shopping experience. Therefore a number of on-line retailers adopt a second-best approach, which is to include a link to the terms and conditions, and make the consumer tick a box to confirm that they have read and accepted the terms and conditions, before they click the main button to buy the product. This approach, while not as legally secure, is probably acceptable in a number of purchasing models.Step 4: Taking the consumer's credit card details on-lineAt this stage, the user should be taken to the page on a secure server where his credit card details are taken. This page should state: "Your card will be debited with the sum of £X when you click the Submit button. This will be refunded if your offer is refused." Repeat the choice of submit, clear and cancel.Step 5: Acknowledging receipt of the orderWhen the card details are validated, the E-Commerce Regulations require that you give the customer an acknowledgement page and send an acknowledgement email. This should not confirm a contract; it should instead confirm that the order has been received and that the order is being "processed". It is helpful to give the customer an order number at this stage so that he or she can chase-up any problems. It is good practice, though not legally required, to ask the user to click a button on a confirmation page to indicate that he has read the confirmation – e.g. a "Continue" button, linking to the homepage of the site.Step 6: Providing confirmation of the information provided and the right to cancelThe Distance Selling Regulations now require the supplier to provide the consumer in writing or in another durable medium confirmation of the information provided prior to the conclusion of the contract and details of the right of cancellation. Generally a consumer has a period of seven working days within which to cancel the contract and return the goods to the supplier. The only cost to a consumer will be the cost of returning any goods received by it to the supplier.A consumer will not be entitled to cancel a contract after it has been entered into, where the supplier has commenced the provision of services with the consumer's agreement prior to the end of the cancellation period then the consumer will not have the right to cancel the contract for the provisional services. However, in order to benefit from this exception, the supplier must have advised the consumer that the consumer will not be able to cancel the contract once the performance of the services has begun with the consumer's agreement.It is not possible to contract out of the Distance Selling Regulations. Any term which attempts to do this will be void to the extent that it is inconsistent with the provisions of the distance Selling Regulations.Step 7: DeliveryFinally, dispatch the goods. If a typo mislabelled an item costing £200 at £2 and someone ordered 500 of them, the site could politely – and legally – refuse the order. This is because by following the procedure set out above the dispatch of goods is in effect the acceptance of the offer made by the consumer at the start of the process. Until this point there has been no acceptance and only an acknowledgement.The "country of origin" principleThe E-commerce Regulations apply a "country of origin" principle. In its simplest form, this means that as long as a UK business complies with UK laws, it can "ignore" the laws of other Member States. In general terms this is a definite bonus for on-line retailers. However, recognising that such an approach would be bad news for consumers, this basic rule is qualified.The E-Commerce Regulations do not apply the country of origin principle to the terms of consumer contracts. In practical terms, this means that a UK-based e-commerce site's terms and conditions should meet the laws of every Member State in which consumers can buy its products, not just UK laws.As a result of the consumer contract exception, any site selling to French consumers must provide its terms and conditions in French – otherwise they may be considered invalid. If selling into Denmark, consumers must be given a 14 working day cooling-off period during which the consumer can change his or her mind about the purchase and return the goods for a refund. In the UK, the cooling-off period is only seven working days. These are only examples, of course there are many other differences.Despite this signNow qualification, there are still advantages in the Regulations' country of origin principle that can benefit a UK-based business. For example, the UK's retail laws are among the most relaxed in Europe. This can give UK businesses advantages over, say, German competitors. A German e-tailer must comply with any German restrictions on promotional offers; its UK rival escapes such restrictions, even when selling to German consumers.Ensuring your contract is legalIt is important for e-commerce retailers to ensure that the contract which is formed with the consumer under the process described above is both legally correct and also affords the retailer the maximum protection. There are various ways in which the contracting process can be structured to be legally correct, and it is important to balance absolute best practice, and a more commercial approach which is still legally correct. Equally, it is surprisingly easy to structure the process in a way which is legally incorrect, and which exposes the company to more risk than is necessary.
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What are the best features of Microsoft Office 365?
Here’s a breakdown of some awesome Features Office 3651. Work Smarter, EverywhereAfter buying Office 365, you also gain access to its accompanying mobile apps and browser apps. This allows you to access their cloud service from any up to date web browser on your desktop or mobile device. Even better yet, you don’t have to install Office software on your computer to do this.The mobile app allows you to access all of your Office 365 subscriptions and Office products right from your smartphone or tablet; this includes Word, Excel, Powerpoint, Onenote, and more. Cut the cord and stop working on your PC only — download the Microsoft Office 365 mobile app to stay productive, even while on the go.2. Enjoy 50 GB of StorageEach Office 365 user receives a whopping 50 GB of storage with Exchange Online; this can be used to save emails, calendar events, task lists, meeting notes, contact information, and email attachments.You can save some more space in your mailbox by utilizing the OneDrive cloud storage feature to share attachments.Your OneDrive storage is also synced to your device, enabling you to work offline on files. As soon as you reconnect to the web, the newest versions of your documents will be automatically uploaded to your cloud storage. The new versions of your documents will also be sent to any other connected device, including your phone or tablet — nifty!3. Edit Documents with Real-Time Co-AuthoringCollaborate online and see changes your team makes to shared documents within your Office apps as they happen with the real-time co-authoring feature in Word. Save your file to OneDrive cloud storage or SharePoint so your team can access the document and make any necessary edits or updates. You can also share it directly from Word by utilizing a handily integrated sidebar. As the publisher and access-giver, you can edit accessibility settings at any time.With the improved version control that was rolled out with Office 2016 co-authoring, you can see which changes to the document were made by which contributor and when the update was made. You can also easily revert back to a previous version of the file whenever you need to.4. Connect with Co-WorkersYou may not have known this, but Office apps include a Skype in-app integration. You can use this feature to instant message your teammates, share your screen during meetings and have audio or visual conversations — without even exiting the Office apps you’re working in. You can continue Skype conversations even after you close your office apps via your desktop or mobile version of Skype. The best part? Your team will receive unlimited Skype minutes.Source: Microsoft5. Send Links, Not FilesIt’s time to move away from email attachments. It’s never been easier to share documents for co-authoring!Simply upload your file to Office 365’s cloud storage. Then, write your email via Outlook or the Outlook web app. Rather than attaching your document to the email, you can insert a link to the file on your cloud. Outlook will automatically allow email recipients to edit the document you wish to share. You can always change permissions on any document at your convenience.6. Convert OneNote Items into Outlook Calendar EventsEasily configure OneNote items to tasks within your Outlook calendar. You can also assign tasks to colleagues, complete with follow-up reminders and concise due dates. You can also transfer meeting notes taken in OneNote via email to your teammates, and add important details (date, location, and attendees) to their respective meeting.7. Use Your Mouse as a Laser Pointer during PowerPoint PresentationsWith only a simple keyboard shortcut (Ctrl + P), your mouse can be used as a laser pointer during your PowerPoint presentations. You can also use the “presenter mode” commands while using this feature.The laser pointer tool has been a nifty trick within older versions of the office apps for years; however, it was only recently integrated for touch-screen devices. All you have to do is hold down on your device’s screen, and the laser pointer will appear.8. Create a Power Map Using ExcelTurn data into a 3-D interactive map with Power Map, one of the many Power BI-enhanced data visualization features that Excel has to offer. It comes with three different filters: List, Range, or Advanced. The Power Map will help you not only convey your data more effectively, but also support your claims by creating a tangible story from the numbers.
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How does the Sun emit radio frequencies? What is the mechanism?
Radio emission from the Sun originates at the Solar Corona, which is akin to the “atmosphere” of the Sun.Sun is a huge ball made of an ion-electron soup called plasma. In a plasma, electrons being the lighter materials, start moving to and fro with respect to the protons/ions in the plasma at a specific natural frequency, called the plasma frequency [Plasma oscillation - Wikipedia], which depends on the amount of electrons present there. These oscillations of the plasma are called Langmuir waves. The number of electrons per cm^3 decreases as we move farther and farther from the sun, which results in the plasma frequency decreasing with increasing distance from the solar center.The Sun, when quiet also emits radio emission. The quiet sun radio emission is thermal in nature, which arises due to the Million Degree Corona. The quiet Sun in radio wavelengths typically looks like this:Contrary to the thermal emission from the quiet sun, the bursts are caused because of non-thermal emission.Now, assume that there is some flare/activity on the solar surface. This will excite electrons from the lower regions to the upper regions of the corona, which will result in a change in the electron density. Thus, Langmuir waves are created and they combine (there are distinct mechanisms for this combination, but we do not know which is the actual way) to form transverse electromagnetic radiation. If the frequency of the emitted EM radiation is greater than the local plasma frequency, then they escape the corona and can be received as various kinds of solar radio bursts. Solar bursts can be broadly classified into five types viz. Type I, Type II, Type III, Type IV and Type V. (see figure below) The bursts were first classified by an australian radio physics group at CSIRO, who named these bursts based on their life times. Type I has the longest life time, type III has the smallest life time. Type IV and V were discovered much later, but were named so, just to keep in with tradition. But radio bursts are not just limited to these five bursts alone.The electron population distribution in the corona is broadly considered to follow some kind of statistical distributions like Maxwell–Boltzmann distribution. Those electrons which have a velocity greater than the mean velocity are called suprathermal electrons. These suprathermal electrons which are trapped in magnetic arcades (see figure below), accelerate, exciting plasma layers, giving rise to type I radio emission (see figure). Type I radio emission is composed of a long-lived background radio emission (few days, depending on intensity of activity), which is very wide band and this background is superposed with short-lived, narrow band bursts called type I bursts. The background continuum is thought to be powered by repeated, rapid small scale reconnection events, but this still remains an open question. Stationary Type IV is due to gyrosynchrotron radiation over loop top. This burst is seen in the dynamic spectrum as a wideband, long lived emission, but over a period of at most 2–3 hours (not as long as type I bursts), which may show a very slow drift from the higher to lower frequencies in a dynamic spectrum.Type II bursts are comparatively short lived (~few minutes). They are signatures of a propagating shock wave in the solar corona. Shock waves are triggered due to some strong flare or Coronal mass ejection. When the ejected plasma moves, the leading edge of it gives rise to a shock wave similar to a boat moving in sea. The resultant shock waves accelerate the electrons in the local plasma, giving rise to radio emission. The radio emission will be seen in a time frequency water fall plot as a drifting lane at the fundamental and harmonic frequencies (ie, if there is a signature of this burst at an instant at 40 MHz, there will be one at 80 MHz), in fact, this was the argument which clinched the argument in favour of plasma emission. There are many types of type II radio emission itself: Split Band, Doublet, Fragmented, Inter-planetary etc. (see images)Coronal Mass EjectionFundamental and harmonic pair.Split band - doublet (Fu is the upper band of fundamental, Fl is the lower band of fundamental emission, Hl is the lower band of the harmonic.A split band (where the two lanes are not exactly Fundamental and harmonics, but some non integral multiple, which occur due to electron acceleration by the leading and trailing edge of the outward travelling shock front), The Stripes seen in the burst foreground are called herring-bones, which appear due to electron acceleration across the shock front.Fragmented type II (follow the white arrows)Interplanetary Type II (see image below) are created by CMEs which travel far into the interplanetary space. These are the ones that we actually have to worry about as they have significance from the Space weather Point of view.Similar to type IIs are Moving type IV radio emissions, which are created similar to type II (a moving shock like disturbance, but its more wideband and long lived compared to a type II (see image below).Moving type IV:Type III bursts are the final major classification of solar radio bursts, which are created due to plasma excitation by accelerated electrons travelling close to the speed of light. These electrons are accelerated at the sites of a flare. The following image shows the time-frequency waterfall of a type III burst.These are the most widely occuring form of bursts. The occur isolated or sometimes in group, indicating a burst of electron beams accelerated from a flare site. They originate sometimes in the GHz range (close to chromosphere) and may extend all the way to a few Khz (interplanetary medium), indicating the kinetic energy of electrons. Groups of type III also show some periodicity, indicating that they may be due to oscillations of plasma due to largescale Magneto hydro dynamic waves (for some other time, may be ;) ). Type V bursts are similar to type III bursts, but rather appear like a fast drifting continuum (see figure below).These bursts usually follow type III bursts, and the duration at a single frequency is always higher than that of a type III.Other than these there are other bursts (see images below):The one relation between all these bursts are that they are caused due to acceleration of electrons in the local plasma.P.S. All images are lifted from google images ;)For good references on the subject,Introduction to Solar Radio Astronomy and Radio Physics by Krüger, A. (has introduction from the science point of view)Solar Radiophysics: Studies of Emission from the Sun at Metre Wavelengths, edited by McLean and Labraum (for people interested in building instruments for solar radiophysics)Solar and Space Weather Radiophysics: Current Status and Future Developments, edited by D.E. Gary, C.U. Keller (A more recent update of events in the field of Solar Radio physics and the requirements for future arrays)
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What is the role of each aircraft in Indian Air Force?
TL,DR: The Fighter Jet fleet of the IAF can be divided into the following categories:Air Superiority Aircraft : Sukhoi 30 MKI, Dassault Rafale*Multi Role Aircraft : MiG 21 Bison, MiG 29 UPG, Dassault Mirage 2000-5 Mk 2, HAL Tejas Mk IDeep Penetration Strike Aircraft : Jaguar DARIN IIIGround Attack Aircraft : MiG 27The Transport Aircraft fleet of the IAF consists of:Heavy Air Lift Cargo Aircraft : IL 76, C 17 Globemaster IIIStrategic Air Lift Aircraft : C 130J Super HerculesMid Air Refuellers: IL 78 MKIMedium Cargo Aircraft : Antonov An-32Light Transport Aircraft : Dornier Do 228Communication and Training Aircraft: Hawker Siddeley HS 748The Rotary wing of the IAF comprises of :Heavy Airlift Helicopter : Mil Mi-26Medium Airlift Helicopter : Mil Mi-17 v5Advanced Light Helicopter : HAL DhruvAttack Helicopter : Mil Mi-35, HAL LCH*, HAL RudraLight Utility Helicopter : HAL Cheetah, ChetakThe Airborne Early Warning & Control aircraft of the IAF consists of :360 Degree coverage aircraft : Phalcon AEW&C240 Degree coverage aircraft : DRDO NetraThe Trainer Aircraft of the IAF consists of :Basic Trainer Aircraft : Pilatus PC-7 Mk II, HAL HTT 40*Intermediate Jet Trainer : HAL Kiran Mk IIAdvanced Jet Trainer : BAE Hawk Mk 132Caveat: Aircrafts marked with * are in advanced stages of Induction with the IAFA wonderful question, I hope I can do justice to it and the Indian Air Force with my answer.The Fighter jet fleet of the Indian Air Force (IAF) is divided into the following categories:Air Superiority Aircraft : Undoubtedly India owns one of the finest jets in Asia at the moment. The Sukhoi 30 MKI is a wonderful plane with avionics integrated into the air frame from 5 countries. The role of this plane is to gain superiority by driving out enemy jets in an area dominated by an adversary so IAF may carry out its secondary tasks like insertion of the Garuda Commandos to attack air bases of the adversary. The Su 30 MKI are slated to be modified with new AESA radars which will increase its enemy tracking and engaging capabilities manifold. Some Su 30 MKI are being modified to carry the supersonic BrahMos Air to Surface Cruise Missiles. India has identified the Su 30 MKI as a platform to carry Nuclear Weapons should there be a need to fire one.Sukhoi 30 MKI of the IAFMulti Role Aircraft : When the IAF did induct the MiG 21, it was intended to be used an interceptor, to strike kills against other aircraft and strategic air borne assets of the enemies like the Bombers, Para-trooping transport aircraft and much later AWACK’s and Air to Air refuellers. However, with the Bison update the planes has now become a Multi Role Aircraft capable of performing a plethora of operations.MiG 21 Bison of the IAFLikewise, the MiG 29 was inducted to fill the role of an Air Dominance aircraft, operating much before the IAF bought the Su 30 MKI’s. With the UPG update including a bigger fuel tank, extended range, all weather operations, improved radar and sensor suite, the MiG 29 UPG is a redefined aircraft to the core.The MiG 29 of the IAF being modified to the UPG Standard in Russia. Notice the curved bump behind the cockpit which houses a fuel tank to increase the jet’s rangeMirage 2000H, arguably the best fighter jet to have flown with the IAF before the Su 30 MKI’s performs a similar role. The Mirage 2000H has been upgraded to the 2000–5 Mk 2 standard with new engines, Radar along with a better armament package. The Mirages along with the Su 30 MKI and the yet to be inducted Dassault Rafale comprise the core of the Airborne Nuclear Strike Platforms of India.Mirage 2000–5 Mk 2 of the IAF. Please note this snap is of the upgraded Mirage 2000 Trainer AircraftThe Tejas is expected to fill in the void left by the retirement of the MiG 21 Bison and its variants in the years to come. The aircraft is leagues ahead of the aircraft it is slated to replace, with the more powerful Tejas Mk 1A standard aircrafts featuring an AESA Radar, Elta’s ELM-2052, Air to Air Refueling pod, Self Protection Jammers (SPJ) and the like.Tejas Mk I inducted to the IAF this yearDeep Penetration Strike Aircraft : A truly majestic jet which has been the serving the IAF for long. The Jaguar are tasked to enter the enemy airspace undetected and attack vital enemy installations like Forward landing Air bases, RADAR installations, refueling stations and the like. The HAL is upgrading the planes to the DARIN III Standard, which includes Helmet Mounted Displays, Glass Cockpit, GPS Navigators, new mission computers, avionics like Auto Pilot, Air to Air Refueling and a new plant. The negotiations are on with Honeywell to supply the new engines which are lighter, more fuel efficient and produce more thrust.Jaguar Darin II of the IAFGround Attack Aircraft: The MiG 27 is a swing wing aircraft tasked to supplement the ground infantry units with aerial support. The R 29 powerplant issues have never let the IAF use these planes to its full potential with many planes and pilots lost in crashes. These planes are slated to be put out of service at the earliest.MiG 27 of the IAFIn the past, the IAF used to fly the dedicated Reconnaissance aircraft like the MiG 25 Foxbat and bomber aircraft like the English Electric Canberra. These planes have had a stellar contribution in the wars India has fought since it’s independence.EDIT 1 : As suggested by Rejish Menon I am going to expand the scope of my answer to beyond the fighter jet fleet of the IAF.The Transport Aircraft Fleet of the IAF:Heavy Air Lift Cargo Aircraft : Ilyushin IL 76 forms the backbone of the IAF Heavy Transport Fleet having provided yeoman service for more than 30 years. There has been news that India is going to upgrade the 17 IL 76 it has to the IL 476 standard that will see the life of the aircraft extended by 15 years having new avionics, more powerful yet fuel efficient engines and obviously a better payload carrying capacity. The Boeing C 17 Globemaster III is rather a recent acquisition of the IAF having more payload carrying capacity than the older IL 76. Another feature of the C 17 is that it can land on unprepared runways and requires a shorter landing and takeoff distance due to features like Thrust Reversal and better engines. India wanted to buy more of the C 17’s, but the production line was stopped in 2015, hence India would have to settle for second hand C 17’s from friendly countries if it wants to increase its fleet from the present 10 aircraft.IL 76 of the IAFC 17 Globemaster III in service with the IAFStrategic Airlift Aircraft : The Lockheed Martin C 130 J Super Hercules is a monster of an aircraft. It is very versatile and is built to sustain adversity. It also has features like Thrust reversal enabling it land on the unprepared runways of India’s ALG’s in the North East. The IAF has used the C130 J’s in situations where it would have been very difficult to operate the older An-32 aircraft namely in the Uttarakhand Flood crisis and the Nepal Earthquake.C 130 J Super Hercules of the IAFMid Air Refuellers : IL 78 MKI is the Air to Air refuelling platform of the IAF, extending the range of its fighters jet so that they may be able to strike deep in the enemy territory if the need be. The IAF has 7 of these aircraft in its inventory.IL 78 MKI of the IAF refueling two Su 30 MKI’s of the IAFMedium Cargo Aircraft : Antonov An-32 has been the linchpin of the IAF for quite some time now providing medium cargo lift capabilities. The aircraft is also used to para-trooping and bombing missions. The IAF has over 100 of these planes in number and all of them are being upgraded to achieve a longer life with new engines, navigation system and avionics.Upgraded An-32 of the IAFLight Transport Aircraft : I think the name is self explanatory, Dornier Do 228 is used as a light transport aircraft to ferry personnel around. Its is also used to search and rescue operations in the IAF and the IN.Do 228 in service with the IAFThe Rotary wing of the IAF consists of :Heavy Airlift Helicopter : Mil Mi-26 is the largest helicopter build to date. The IAF has bought 4 of them, while 1 has crashed. The remaining 3 helo’s are at the end of their service life and are in need of an immediate upgrade. These helicopters are capable of carrying a payload equal to that of a c 130 J Super Hercules. There has been little clarity as to what the IAF plans to do with these Helo’s. Slated to be replaced with the CH 47F Chinook’s when they enter service. The Chinook’s though not capable of lifting very heavy payloads like the Mi-26, will give the IAF a boost in the Strategic Airlifting operations owing to its high degree of maneuverability and lower Radar Signature.The largest helicopter ever built: Mil Mi-26 operating in the mountainous regions of IndiaMedium Airlift Helicopter : Mil Mi-17 v5 is the mainstay of the IAF’s Helicopter fleet and is used for a plethora of missions replacing the older Mil Mi-8 helicopters in service with the IAF. The helicopter is extensively used in Search And Rescue (SAR) and counter insurgency operations as well.The latest Mi-17 v5 of the IAFLight Helicopters : The HAL Dhruv, Cheetah and Chetak form an important wing of the IAF. HAL Dhruv, the indigenous helicopter supplements the larger Mi 17’s in its task. The SARANG Helicopter display team also consists of the Dhruv’s. The other two are used for training, rescue and light transport roles including in the high altitude regions. Eventually to be replaced by the Kamov ka-226 and the HAL LUH.HAL Dhruv’s operating in the Nepal earthquake relief operations. Please appreciate the skills of our brave airmen who have landed the Helicopter in such an adverse terrain for an Evacuation operationDhruv’s of the SARANG helicopter Display TeamHAL Chetak of the IAFThe soon to be inducted HAL Light Utility Helicopter (LUH) during its first flight in 2016Attack Helicopter : The Mil Mi-35 was the first Attack helicopter to be inducted into the IAF capable of acting as both as a transport and a gunship helo capabling of inserting the Garuda commandos and providing them over head cover. The disadvantage is that it is not built to operate in the High Altitude regions and hence was not used in the Kargil war where the IAF had to do with the armored and weaponised version of the Mi 17. The Mi 17’s were sitting ducks to the Pakistani Manpads. The Mil Mi-35 are to be replaced by the AH-64 E Apache Attack Helicopters. Further, India has transferred four Mi-35 to its allies, The Afghan Air Force in 2016 to assist the Afghan Security Forces.Hence, a requirement was drawn to build attack helo which would operate in the high altitude regions of India. Thus, the HAL Light Combat helicopter (LCH) was born. It is to be inducted into the IAF in a couple of year’s time. The HAL Rudra is the weaponised version of the HAL Dhruv.The LCH and the Rudra are used for anti-tank operations, close air support to ground forces as a battlefield scout and possibly for anti-surface vessel warfare in the future.The Mil Mi-35. Notice the Low Capacity transport compartment behind the cockpitHAL Light Combat Helicopter (LCH) during it’s High Altitude trialsThe third prototype of the HAL LCHHAL Rudra with it’s weapon complementEDIT 2: The “Eyes in the skies” of the IAF. The Airborne Early Warning and Control aircraft of the IAF consist of :Phalcon AEW&C : One of the most advanced AEW&C in the world now, it consists of an the EL/W-2090 AESA (Active Electronic Scanned Array) Radar mounted on a Russian A-50 platform which is based on the IL 76 design. With a coverage on 360 degrees and a range of 500 Km these radars can track upto 100 targets simultaneously. These operations are supported by the onboard ECM (Electronic Counter Measures) and ECCM (Electronic Counter Counter Measures) systems for electronic warfare. The IAF currently three of these aircraft with two more placed on order.A Phalcon AEW&C flying in formation with three MiG 29’s of the IAFDRDO Netra : It is India’s first indigenous Air borne radar to join the IAF ( Not to be confused with the quadrotor developed by DRDO). Not as potent as its elder brother, the Phalcon these aircraft are aimed to supplement the bigger aircraft as well as giving the Indian scientists an opportunity at making an indigenous AESA Radar. The aircraft has a 240 degree coverage area with a range of 300 Km. Even with the reduced operational parameters formidable gains in detection ranges are can be achieved across the Himalayan Ranges on the northern borders where Radar Units can’t be located due to the inhospitable terrain.The indigenous DRDO NetraEDIT 3: Introducing the Trainer Aircraft Fleet of the IAF,The Trainer Aircraft Fleet of the IAF consists of:Basic Trainer Aircraft : The IAF currently uses the Pilatus PC-7 Mk II as its Basic Trainer Aircraft (BTA). The PC-7 replaced the indegenous HAL HPT-32 Deepak aircraft in service with the IAF after there were widespread concern about the flight safety of the Deepak’s. The IAF plans to augment its BTA fleet with the addition of the indegenous HAL HTT-40 BTA which had its inaugral flight last month.Pilatus PC-7 Mk II of the IAFThe first flight of the HAL HTT-40 BTAIntermediate Jet Trainer : The IAF uses the indegenous Kiran Mk II aircraft as the Intermediate Jet Trainer (IJT). In the early 1980’s, the IAF used to deploy the Polish Iskra and the HAL kiran Mk I airacraft for the Intermediate and Advanced Jet Training sorties. However, the Iskra’s were susceptible to stall while going on for more than one Spin. Hence, the IAF used the Kiran aircraft for the spin sorties while the Iskra was reserved for the applied combat sorties. The Iskra’s had been decommisioned long ago with the BAE Hawk Mk 132 filling its shoes. The Kiran Mk II version continues to fly strong. The HAL HJT-36 Sitara project was supposed to replace the Kiran aicraft but there are still too many issues to be solved in the Sitara, with the IAF loosing interest in the peoject as time passes by.A Kiran aircraft, formerly a part of the IAF’s Surya Kiran Aerobatic Team (SKAT)The aerobatic team of the IAF and IN, the Surya Kiran and the Sagar Pawan were associated with the Kiran aircraft. The Sagar Pawan team still flies on the Kiran while the Surya Kiran Aerobatic Team (SKAT) are flying the Hawk AJT nowadays. This was done as the IAF had to disbandon the team as there was shortage of the Kiran for Intermediate Jet Training purposes. The Sitara was supposed to replace the Kiran in the SKAT as well but given its spin and stall issues, it was decided to keep the team's legacy alive by using the Hawk Mk 132 AJT.The SKAT in a nine aircraft formation with the Kiran aircraftHAL HJT-36 Sitara IJT, an aircraft beset by design deficienciesAdvanced jet Trainer : The BAE Hawk Mk 132 is used to impart advanced combat and applied weapons training to the cadets. The Advanced Jet Trainer (AJT) stage was added in order to bridge the lacunae between handling the Supersonic aircraft in service with the IAF and the subsonic aircraft on which the cadets are being trained. This training aimed to reduce the cases of Pilot Error as the Hawk aircraft is capable of manoeuvring in Transonic and Supersonic speeds (only in cases where the aircraft is going in a dive, else the aircraft can go Transonic in level flight). HAL has also signed an MoU with BAE Systems to develop a weaponised version of the Hawk, to serve as a Close Combat Support aircraft having limited Air to Air capabilities as well.The BAE Hawk Mk 132 AJT in service with the IAFThe IAF has resurrected the SKAT in 2015 with six of these aircraft in its inventory, replacing the Kiran Mk II Trainer Aircraft formerly in service with the team.A BAE Hawk Mk 132 aircaft with the IAF’s Surya Kiran Aerobatic Team's new liveryIn addition to the three stage aircraft training imparted by the IAF, it also conducts aircraft specific training for its pilots. The IAF has Units like the MiG Operational Flying Training Unit or MOFTU, which imparts training to the young pilots on the MiG 21 aircaft which has a reputation of very high speed landings and take-off. This is done to aclimatize the pilots to the unforgiving supersonic MiG’s of the IAF.I would fail in my duty if I don't mention our courageous Pilots and tireless Technicians who keep our rotors churning, jets running all year long. These machines are nothing without the men behind them.JAI HIND !
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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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Is Nobel physicist Wilczek likely to see his 'time crystal' proven as exhibiting perpetual motion? In theory, it seems to work.
For almost all practical purposes, space is homogeneous and isotropic. Philip Warren AndersonBasic Notions of Condensed Matter Physics ( 1984 )Look, I am going to make a hypothesis :: Frank Wilczek is playing a massive joke on all of us, to see if we've gone collectively crazy. He is one of the great physicists of the last century. Saying the words perpetual motion machine was meant, I think, as a marketing gimmick - that worked, through the noise of Twitter and Wired. The man is a genius. He wears awesome T shirts full of math and physics wisdom and humor.. He also says funny things while also saying quite profound things. And he totally looks like what you would expect from Paul Giamatti's uncle. I made that up. As far as, I know, he is not Paul Giamatti's uncle. However, that does not mean that his papers will not lead to something incredibly awesome. Here is why.Why does spontaneous time symmetry breaking not imply a perptual motion machine?A perpetual motion machine of the first kind in common lore is a device that accomplishes more work than is put into it. A perpetual motion machine of the second kind extracts work from a thermal bath, like Maxwell's demon. Wilczek is referring to the first kind. The limiting case of the second kind was resolved in a paper on the thermodynamics of computation by Charles H. Bennett - IBM Research, where Bennett calculated the entropic cost of the erasure of memory. An analogous phenomena is persistent currents in normal metals, where non-superconducting electrons can flow through resistive metals without dissipation when their wave functions have the appropriate boundary conditions. The Jack Harris Lab at Yale did a beautiful experiment demonstrating the phenomena of persistent currents in aluminum, measuring them on silicon cantilevers through their angular mechanical signatures instead of through their magnetic signatures via SQUIDS. Persistent Currents in Normal Metal RingsDid Jack create a time crystal? Maybe. There is a sense in which something is moving in the experiments and Jack measures that movement, persistently. But, perhaps a more correct statement would be to say that he observed a momentum crystal. Did Jack observe perpetual motion?Well, yes, sort of, but you could not power anything with it, though, because the persistence is in the ground state. None of the above involves perpetual motion, in the sense of a perpetual motion machine, of the first kind, because you cannot extract any work from the systems - they are already in their lowest energy state. Another way to think about conservation of energy and time crystals is to note, analogously, you cannot extract infinite momentum from a space crystal, even though conservation of momentum in a space crystal is not strictly conserved and only conserved under modular arithmetic - that is, mod the inverse of the lattice spacing. That is the summary. ----Here is a proposal to investigate the physics in the paper. Does an atom exist with an electronic ground state with non-zero angular momentum that is not rotationally symmetric?We know that atoms exist that have ground states - lowest energy states - that have non-zero angular momentum, in analogy with persistent currents in normal metals. The main difference between Jack's experiment and Wilczek's proposal is that Jack did not break rotational symmetry. As far as we know, persistent currents in normal metals actually depend on not breaking that symmetry, by extending the wavefunction of the free electron in the metal symmetrically around the ring. Think of a circle. Now, rotate the circle a bit. Looks the same. Now, put a dot on the circle. Rotate the circle a bit. Looks different. That dot can be used to track the motion precisely. But, of course, not too precisely, because their exists an uncertainty relation between measuring space and momentum. You could imagine using a different material for the ring that had interactions between the electrons appropriate and strong enough - or even tunable by a magnetic field - to produce a soliton ( the dot), or some rotational symmetry breaking, like a p wave, in the ground state. Then, you could measure the soliton or whatever moving around the ring, persistently or not. That would also be a time crystal, in the sense Wilczek defined it, just the solid state version rather than the cold atom version. The uneven distribution around the ring would create a wobble behavior, like an imbalanced spinning plate, that would certainly show up in the resonance coupling to the cantilever. The problem with localizing anything into a soliton is that you might lose the global boundary conditions necessary for the persistent current. That is the real issue here, mathematically. In the normal metal ring, the electron wave function wraps around the ring and the current is enforced by the requirement that the wavefunction be continuous where the electron meets itself on the other side. The question is whether or not you can have some stable kink as you wrap around the ring while maintaining the persistent boundary conditions. I do not know of any principle that says by creating a soliton, which itself depends on special boundary conditions, you also need to lose the boundary conditions that allow for persistent currents. If it exists, it's probably a theorem in topology, either way. We already know and observe momentum crystals, which yield perpetual or persistent motion, all the time in quantum coherent phenomena like superconductors, superfluids and coherent electron persistent motion in normal metals. If you think of a spatial crystal lattice being a system collapsing around a single spatial vector that defines the lattice, then these persistent flow quantum coherent phenomena all are momentum crystals where the system of particle collapses around a single momentum vector that defines the flow. All the electron pairs that compose a superconductor, for example, flow together with the same momentum. That crystallization in momentum space gives the superconductor the rigidity to flow without dissipation, just as a solid like copper exhibits a certain rigidity. That is, of course, relevant because the quantum mechanical model used by Wilczek is basically the same model used to describe superconductivity, macroscopically. Also interesting to note that the other mathematical models studied in the papers show striking resemble to PT symmetric quantum mechanical models of Carl Bender, if one were to complexity them by adding a complex real space variable in addition to the higher derivatives of momentum. Physics Video Archive COLLOQ_BENDERI think that is an extremely promising way to look at these models, since they are the discrete ( reflection ) symmetry versions of the proposals that want to break continuous time and spatial symmetry separately, but maintain some remaining combined symmetry. In the PT symmetric models, an extremely precise mathematical relationships is developed between systems that have balance gain and loss and systems that do not, related to the PT symmetry itself being broken or unbroken. Such systems have been realized in many experiments, quantum and classical, and have subtle and critical boundary condition relationships. Finally, PT symmetric models are deeply related to the more general CPT symmetry, which is essential for Lorentz invariance. The proposal by Wilczek is strikingly reminiscent at a schematic level of CPT Violation Experiments. By the way, I have a time crystal for you that exhibits perpetual motion and periodicity in time. Light. Photons have a well defined frequency and never rest. Speaking of light, note that though Wilczek was inspired by the Lorentz symmetry between time and space to look for time crystals, none of his models are relativistic. They cannot be, in the manner he is investigating time crystals, because all the models are non-relativistic with non-linear dispersion relations.---- FUTURE RADIO EDIT :: Almost everything below that is not referenced is pure speculation. Read for enjoyment, not for physical accuracy. All lot above this line is speculative. I am going to continue to edit and learn about this area, because it is a fascinating area of physics. I might do that in a blog, and get more detailed with the mathematics. The answer is redundant in some places and certainly incorrect or poorly written in others, but I wanted to get it up so you could enjoy and learn from pieces of it; and hopefully, explore some of the questions yourself with more powerful tools and analogies. You should also check out Carver Mead's book Collective Electrodynamics: Quantum Foundations of Electromagnetism: Carver A. Mead: 9780262133784: Amazon.com: Books because it takes as its logical foundation the following coherent quantum phenomena. 1911 Superconductivity1933 Persistent Current in Superconducting Ring1954 Maser1960 Atomic Laser1961 Quantized Flux in Superconducting Ring1962 Semiconductor Laser1980 Integer Quantum Hall Effect1981 Fractional Quantum Hall Effect1995 Bose-Einstein Condensate2009 Persistent Currents in Normal Metal Rings ----Four dimensional crystallography is a different path to investigate the idea ::Ordinary crystallography deals with regular, discrete, static arrangements in space. Of course, dynamic considerations— and thus the additional dimension of time—must be introduced when one studies the origin of crystals (since they are emergent structures) and their physical properties such as conductivity and compressibility. The space and time of the dynamics in which the crystal is embedded are assumed to be those of ordinary continuous mechanics. In this paper, we take as the starting point a spacetime crystal, that is, the spacetime structure underlying a discrete and regular dynamics. A dynamics of this kind can be viewed as a “crystalline computer.” After considering transformations that leave this structure invariant, we turn to the possible states of this crystal, that is, the discrete spacetime histories that can take place in it and how they transform under different crystal transformations. This introduction to spacetime crystallography provides the rationale for making certain definitions and addressing specific issues; presents the novel features of this approach to crystallography by analogy and by contrast with conventional crystallography; and raises issues that have no counterpart there. Tommaso ToffoliA pedestrian’s introduction to spacetime crystallography ( 2004 )Lets use the same analogy that Wilczek used to come up with the idea of time crystals by looking at spatial crystals. Here's the key analogical observation to make ::Solids spontaneously break the continuous symmetry of space down to periodic discrete symmetry, yet we cannot extract infinite momentum from them, even though momentum is not strictly conserved in the solid. Noether's theorem tells us that in mechanical and quantum mechanical systems describable by a Lagrangian, any symmetry transformation that leaves the Lagrangian invariant leads to a conservation law. Continuous time translation symmetry yields conservation of energy. Continuous space translation symmetry yield conservation of momentum. Continuous rotation translation symmetry yields conservation of energy. Sometimes, however, that symmetry is broken naturally, as in a solid state crystal. As Wilczek says, "When a physical solution of a set of equations displays less symmetry than the equations themselves, we say the symmetry is spontaneously broken by that solution." Similarly, a time crystal does not imply that we can extract infinite energy from the system even if the system spontaneously breaks the continuous symmetry of time down to periodic discrete symmetry. As Wilczek says, " ... one interesting case, that will concern us here, is of the lowest energy solutions of a time-independent,conservative, classical dynamical system. If such a solution exhibits motion, we will have broken time translation symmetry spontaneously ... Speaking broadly, what we’re looking for seems perilously close to perpetual motion." [ emphasis mine ]A crystal lattice formed by atoms in a solid is a great example of spontaneous symmetry breaking. The fundamental equations describing the dynamics of the nuclei and electrons of the atoms have continuous time, space and rotational symmetry. However, at low enough average energy ( related to temperature ), elemental atoms may form solutions to these equations that do not exhibit that full symmetry. Specifically, a solid state lattice exhibits discrete rather than continuous translation symmetry such that conversation of momentum is no longer strictly conserved, but rather only conserved modulo a specific value related to the inverse of the lattice spacing. For example ...At 2,835 degrees Kelvin, Copper atoms transition from a gas state to a liquid state. At 1,357.77 K, copper atoms will solidify naturally into a face centered cubic lattice crystal structure of the cubic crystal system. The type of lattice a particular atom will solidify into is determined by its electronic structure; however, the group theory of crystallography mandates that only, starting with the 14 Bravais lattice and keeping one point of the lattice fixed, one obtains the 32 Point groups. If the latter are combined with translations, one obtains the 230 Space groups (ascertained in 1891). Image :: The Bauhinia blakeana flower on the Hong Kong flag has C5 symmetry; the star on each petal has D5 symmetry. A beautiful book on symmetry is The Symmetries of Things by the great mathematician John Horton Conway. What happens in a solid is that [ a ] the symmetry breaking results in a "rigidity" of the system in space and [ b ] the dynamics particles flowing through that solid - electrons or phonons, for example - only conserve momenta under modular arithmetic. What do I mean by that?The easiest way to see what is happening to conservation of momentum in a crystal that break spontaneously breaks spatial symmetry is to look at a Bloch wave, which simply describes the wave function of a particle such as an electron in any periodic potential, like that found in a solid state crystal.First, lets temporarily remove the lattice atoms completely and just analyze free space. Say you took an electron in free space and applied an electric field. The electron would accelerate and gain momentum and energy. Note that you are not creating a perpetual motion machine. The electric field comes from somewhere and you had to do work to create it. If you remove the electric field at some point, the electron will continue to move with the same momentum and energy for eternity, precisely because free space is homogeneous and isotropic. That means, if you shift free space a little in time or space, or rotate free space slightly, nothing changes about free space. It's like if you moved an infinite line a little to the left or right. It looks exactly the same. Well, a particle moving along a line is exactly the same as a line moving along a particle. Momentum conservation reduces to tautology if you think about it correctly. If something is symmetric, it does not change. If something is conserved, it does not change. By Noether's Theorem, free space being homogenous and isotropic means all physical systems conserve momentum, energy and angular momentum. Just because the particle moves forever - perpetually - after you've removed the electric field does not make it a perpetual motion machine, either. It's actually just Newton's first law of motion, dressed up in a little more sophistication. Now, lets put the face centered cubic arrangement of atoms of copper, or whatever, and assume they fill all of the universe. A giant block of solid copper. Now, apply an electric field. Remember again that we had to create the electric field, so we are putting work into the system. For those in the know, I am about to describe Bloch oscillations, which clearly demonstrate the modular arithmetic of momenta in solid state crystals. As you apply an electric field on the electron in the copper lattice, the momentum of the electron increases. However, the crystal lattice structure puts an upper limit on the momenta that is the inverse of the lattice spacing. Lets say in appropriate units that upper limit is 12. After applying the extremely weak electric field for 1 hour, the momentum of the electron is now 1; and so on. Now imagine the clock you are using to measure time. When you signNow 12, you start back again at zero. That's modular arithmetic. And that's what happens to momentum in a solid. Actually, a better way to think of the clock is starting at minus 6 at the bottom, zero at the top and plus six approaching the bottom clockwise. The momentum of a particle in a solid literally goes from plus six to minus six instantly due to the symmetry breaking of the lattice. That is because momentum is only conserved mod 12. So, plus and minus six are equivalent. However, there is absolutely no way to exploit that momentum jump to extract infinite momentum outside the solid because from the perspective of the lattice plus and minus 6 are smoothly connected in momentum space, which takes the shape of a 3-torus for a cubic lattice. ( By the way, a circle is a 1-torus and a torus is a 2-torus. )That is, you cannot simply apply an electron field to silicon and copper and extract infinite momentum in a perpetual motion machine. Intel and Samsung would have a field day with that, if you could, and your Apple iPhone would power your city. What you can do is interpret the seemingly large momentum shift as an interference scattering effect of the electron wave function off the periodic lattice, recalling that on the atomic scale, electron dynamics behave according the quantum mechanical wave equations. And, of course, the lattice nuclei are much much heavier than the electrons, so the electrons hitting the lattice is like a ball bouncing off a wall. Modular arithmetic is extremely useful and powerful in number theory. For me, it's fascinating to see it arise in quantum mechanics as a result of discrete symmetry in Bloch waves. Now, lets play some games here.Ironically, the relativistic notion of mixing time and space through Lorentz transformation was used as a motivation for the work. However, the theory of special relativity requires a linear relationship between energy and momentum. That allows linear transformations between energy and momentum to occur and allows energy and momentum to be combined into a single, highly compact energy-momentum four vector. At low energy, you can expand out any relativistic equation with the speed of light in the denominator of any terms and extract non-relativistic physics by ignoring those terms, since their effect will be very small. What you end up with is a relationships between energy and momentum that is parabolic rather than linear, if no interactions between particles or other objects in the theory add any further complexity. The papers take as a starting point a relationship between energy and momentum - a dispersion relation - that is both non-linear, as noted, and exhibits a cusp singularity. The dispersion relation looks a swallow's tail, like the shape of the swallowtail butterfly in the images above at the beginning of the answer. The curve shows a crossing where the body of the butterfly rests. They have a parabolic term and a quartic term. Guess what the dispersion relation of Bloch waves are?The cosine function. The cosine function is non-linear and periodic. Guess what the first two terms Taylor series expansion of a cosine function yields up to an overall constant?A parabolic with a negative coefficient and a quartic term with a positive coefficient. The same form as in Wiczek's papers. Guess how you get from electric field to magnetic fields in electromagnetism? Lorentz transformations. The basis of the spacetime physics that inspired Wilczek to write his papers. And note that the primary example used in his papers is a particle oscillating around a circular lattice in a weak magnetic field. I am playing with the idea that Wilczek "discovered" the "time version" of Bloch oscillations. And, just as Bloch waves in a solid ( aka a "space crystal" ) do not violate conservation of momentum in a manner that enables a perpetual motion machine, Wilczek waves in a "time crystal" do not violate conservation of energy in a manner that enables a perpetual motion machine. I do not even think it's appropriate to call them the time version, in the experiment being proposed in cold atoms. The appropriate name for the experiment being proposed would be magnetic Bloch oscillations. A space-time crystal actually implies that the lattice atoms disappear for a well-defined time step; just as in a space crystal, matter disappears for a well defined spatial step called the lattice spacing in a well defined crystallographic arrangement. Have we found a system that breaks continuous time translation symmetry such that matter blinks in and out of existence periodically? I do not think we have. That would be a true time crystal, in my mind.That system would require a quantum field that oscillates in time between a ground state with a mass gap and a ground state that is gapless. Such a system would also not allow you to build a perpetual motion machine, even though it violates conservation of matter and energy.That is, you could not extract energy by coherently scattering from a time crystal just as you cannot extract momentum by coherent scattering off a space crystal. Furthermore, given the analogy with Bloch oscillations, which is nearly mathematically equivalent to the example used by Wilczek, a system that exhibits periodic motion in the ground state is not actually that surprising. Actually, it turns out that what Wilczek is saying is even less surprising when you think about superconductivity in the right way. Superconductors are essentially crystals in momentum space. Just as atoms condense to a specific spatial lattice vector in solids that are "rigid," electron pairs condense to a specific momentum lattice vector in superconductors, yielding persistent currents that are, in their own way, "rigid." That observation is, in fact, how London developed his London equations of superconductors. A superconducting condensate exhibits a persistent current because the condensate collapses to a momentum vector, which implies motion. That motion may be angular, around a ring and periodic with a magnetic field. So, not only is Wilczek simply describing the magnetic version of Bloch oscillations in his papers; he is also simply describing the persistent currents of superconductors. The requirement he posits to break a cylindrical spatial symmetry of a persistent current condensate in order to then break time symmetry by making the motion in the ground state more salient does not actually make any difference. In non relativistic quantum mechanics, we have real space and momentum space, which are simply related by Fourier transforms. The reason you cannot isolate the location of a superconductor condensate is because the Fourier transform of a single momentum vector is completely and evenly spread out in real space. Conversely, in a solid state lattice, the momentum distribution is relatively spread out. If you want to create a time crystal in the sense Wilczek is after, you have to be in the relativistic regime. However, to be in the relativistic regime, you need a linear dispersion relation. But, the only way that you can create a time crystal in the way Wilczek wants to is by being in a highly non-linear, non-relativistic regime. What would be interesting is if someone could describe and experimentally realize a state that naturally interpolated back and forth between a solid ground state, collapsed on a spatial vector, and a superconducting ground state, collapsed on a momentum vector, in a closed, non-relativistic quantum mechanical system that was both naturally conservative and time independent.You could then watch the momentum and space vectors of the state collapses and expand, periodically in time. It actually turns out that someone has done that, in a sense,Greiner - Mott Insulator to Superfluid transitionbut that transition was still driven rather than occurring naturally in a conservative, time independent system. Perpetual motion machines are out. Time crystals have not been created. What specifically is going on in the time crystal papers that is interesting?The basic mathematical problem that arises in Wilczek's papers is that the energy is multivalued in the momentum. That, actually, is a fascinating area of physics. There is, I should mention, an entire book on multivalued quantum fields ::Multivalued Fields: In Condensed Matter, Electromagnetism, and Gravitation: Hagen Kleinert: 9789812791719: Amazon.com: Booksbut, I have not yet read it. I've been meaning to for a while. Any book with a Riemann surface on the cover with detailed mathematical descriptions of superconductors and gravity in the interior should be read by people like me.So, I will, now, within the decade. In fact, the quantum mechanical equation to be solved is the non-linear, non-relativistic Schrödinger equation that is used in Ginzburg–Landau theory to describe the Cooper pair condensate in superconductors in a single wavefunction. The non-linearity of the theory results from the emergent physics of superconductivity and leads to topological objects like flux vortices, as discovered by Alexei Alexeyevich Abrikosov. The theory includes a momentum term that is parabolic and a momentum term that is quartic when related to energy. The mathematical qualities of the coefficients of these terms matter greatly. The non-linear theory is emergent because it evolves via a process of renormalization from a completely linear quantum mechanical theory of electrons interacting with each other via repulsive Coloumb forces and with phonons - excitations of the underlying solid state lattice. At low enough temperatures, the interactions between the electrons and the phonons effectively switch the interactions between the electrons to be attractive rather than repulsive. The electrons pair up to form bound states that are bosons, the electromagnetic field mediating the interaction between electrons attains a mass gap and the boson condense into a collective state describable by the theory mentioned above. Topologically, Wilczek's swallowtail curve looks like the curve on the cover of the book Elliptic Tales: Avner Ash, Robert Gross: Amazon.com: Kindle Store. It's very similar to the curves found in Jack Huizenga's answer ::Given two low-degree polynomials defined on the integers, how can one find the integers which are in the range of both polynomials?In that answer, Jack gives a procedure for analyzing the intersection of two curves :: complexify, projectify ( to infinity and beyond), and normalize ( that is, smooth over the singularities).You might immediately object to apply anything like that procedure to analyzing a Hamiltonian system. If you are a physicist you know that the Hamiltonian of a quantum system must be Hermitian - that is, both real and probability conserving. However, as Carl Bender shows us in [quant-ph/9809072] PT-Symmetric Quantum Mechanics, we can relax that mathematical condition and replace it with a physical condition of PT symmetry and find some interesting results. The PT symmetry physical condition relaxes the constraint that the Hamiltonian is real; for example, [math] H = p^2 + i x^3 [/math]is PT symmetric, but obviously not Hermitian since it is complex. That is a hugely powerful constraint to relax and opens up an entire new world of mathematics to explore. You can actually see the mathematics that Bender is revealing to us in any power of the momentum. That is, he already solved Wilczek's problem, by the process - complexify, projectify, normalize. That work started with something known as the Yang Lee edge singularity. I do not know what that is, yet. Why do I care?Wilczek's class on topological quantum physics at MIT was by far my favorite course while I was in graduate school at Harvard. I wrote a paper on trying to extend Alexei Kitaev's K-theory classification in [0901.2686] Periodic table for topological insulators and superconductors to strongly interacting topological condensed matter systems using the success of the Seiberg–Witten invariants that survive strong coupling in supersymmetric QCD as a guide, which can be embedded in string theory [hep-th/9611190] Introduction to Seiberg-Witten Theory and its Stringy Origin. What Seiberg Witten theory describes is the electromagnetic dual of a superconductor. In fact, it describes a condensation of magnetic monopoles that allow electric flux tubes to form as a simplified model of QCD, as opposed to the condensation of electron ( pairs ) that allow magnetic flux tubes to form in a real superconductor. The face they used complex curve theory to solve their equations always fascinated me. Why?I wanted to somehow use the idea of a coobordism to track how the structure of the theory evolved under the tuning of the interaction strength; and, to show that certain invariant quantities survived that the tuning of the interaction strength in the topological electronic systems. The topological invariants would tell you if two different topological phases were connected through a strongly interacting regime, which would otherwise be hidden you by traditional analytic calculations involving an expansion in a small parameter. Seiberg-Witten theory is one of the few strongly interacting theories that is completely soluble, due to the strong supersymmetry in the theory. My paper completely failed to do that. He still gave me an "A" in the class, though everything I said was complete nonsense. I think he is returning the favor to the rest of us now. Kitaev later wrote a paper accomplishing what I had hoped to accomplish in [0904.2197] The effects of interactions on the topological classification of free fermion systems. Actually, that paper only identified a problem in the previous classification with small interactions. But, the problem of understanding topological phases still remains largely a mystery, though recent progress was made by Xiao-Gang Wen, now at the Perimeter Institute, in his paper [1106.4772] Symmetry protected topological orders and the group cohomology of their symmetry group. That's important because, from everything we know about M / string theory and topological quantum field theory ( which by the way has no dynamics and a Hamiltonian of zero ) understanding black holes and quantum gravity requires a deep understanding of topological phases. Wilczek's analysis showing up in the news gave me a different idea, one related to my M theory ideas here ::What do theoretical physicists think of Mark Morales' answer about M-theory?Whatever the case, I cannot wait to see someone create a Calabi Yau manifold in their laboratory hologram.Postscript :: If you followed my link above, you'll see that I proposed a general shift in mathematical approach to M theory. Along those lines, I found a good introduction to Elliptic Curves and Cryptography from Josh Alman ::Good introduction to elliptic curves?
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What are some must have Android apps?
Edit: I wrote this answer for “must have Android apps” but these are same apps which have changed the way I used to live my life. Each and every App has helped me in one or the other way. I hope you will also find them helpful and a bit life changing. So here is the list: 10. Psiphon For those who use WiFi with proxy settings. So Psiphon bypasses and tunnel the websites or app through a different IP Address. 9. Mirror It's a simple app to record your mobile screen. Based on the concept of CamStudio in PC where you can record your screen, Mirror offers recording of your Mobile screen. 8. NTES- National Train Enquiry System If you are from India and you want to know the running status, cancelled train (partial or fully), Live Station and other features, this App is a must have. 7. VOLT Simple but effective for those who want to learn new vocabulary. That's too obvious, then why not others? Coz here you get the “memory key” which helps you relate the words and easier to remember them. 6. Parchi It a note making app. But here’s a catch. You can view, review, edit and add right from your lockscreen without need to open the app. Isn't that amazing! I personally find this app very useful. 5. edX If you are student or a learner who wants learn something new everyday, and cannot afford to go in the prestigious institutions like MIT, Harvard University, Cambridge, IITM, etc ten it is a must have app. Enroll yourself in any course and Bazinga!! You are ready to learn from the most amazing professors. Similar to edX, we have Coursera. 4. Walnut Manage your expenses on your finger tips. Its easier then that. It shows you your monthly expenditure, ATM locations, bill remainders and many more features. Its a must have app. 3. CamScanner Everyone doesn’t own a scanner but most of us have camera. So click the pic, upload to CamScanner and voila you are done. You have the scanned copy of your documents, notes, Marksheet and upload them on your DigiLocker. 2. inshorts Till now you all must be knowing this app. The tagline is also simple “News in 60 words” and trust me it is worth having. In this “I don't have time” world, you need news to be fast and accurate so here it is. 1. DigiLocker If you have this app then you don’t need to carry your personal documents like driving license, Adhar card, voter ID card, or even your Marksheets. Keep them safe in actual locker and leave the rest to your DigiLocker. And the best part is that it is acceptable as the original ones at every governmental or non governmental institution because it is developed under Digital India initiative. That's it for the day. Thank you and Enjoy !!! Update 1: Today I came across two new apps which I found useful. Hope it would help you all. 1.Forest : Stay focused Features • A self-motivated and interesting way to help you beat phone addiction • Stay focused and get more things done • Share your forest and compete with friends • Track your history in a simple and pleasant way • Earn reward and unlock more tree species • Customize your whitelist : Leaving Forest and using apps in whitelist won’t kill your tree. 2. Swachh Bharat Toilet Locator Swachh Bharat Toilet Locator is specifically useful for Indians who're committed for Swachh Bharat. Update 2: So I am back with yet another interesting app for you all. And trust me it is worth hanving. You are bored just go through it and kaboooom !!! You are into a black hole. Enjoy the ride. 3. Curiosity It is the latest app I installed but got addicted to it. It’s exactly works like its name, generates a curiosity which inturn increases your knowledge. It covers a large field of scope from Humanity to science to faith and many more. This app deserves more snapshots but why to increase the length of my answer. Comment below if you think the list should be updated? Thank you.
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What is the basic difference between different genres of music? (jazz, rock, pop, blues, rap and so on)
Thanks for the A2A.Jim Davis's answer to What are the differences between different music genres?Jim Davis's answer to Which music is the best?…and so my answer doesn’t get flagged for brevity:(alphabetically by genre/sub-genre; and no, not “every” genre is included. That would be physically impossible. This is closer to about 10% of all genres/sub-genres. You’re welcome.)Blues:Blues Rock; Similar to Electric Blues, but sometimes acoustic. Blues Rock can be played without having the power turned on. And it rocks. - Stoneground, Tommy Castro Band, Tom Waits, Jeff Healey, Chris Whitley, Paul Butterfield Blues BandChicago Blues; Sort of an urban blues using more piano and saxophone. These guys are quite often named Willie or "Big" something if not some kind of dog. Popular in Louisiana, strangely enough. - Willie Clarke, Willie Dixon, Willie Kent, Willie Murphy, Willie Nix, Big Bill Broonzy, Big Joe Turner, Big John Wrencher, Big Moose, Golden "Big" Wheeler, Eddie Shaw & The Wolf Gang, Hound Dog Taylor, Howlin' WolfDelta Blues; One of the earliest blues styles. The roots of the African-American styles honed in the Delta plains of the US in the midst of harsh mistreatment and soulful survival. Mostly acoustic guitar and harmonica. Best if played on the porch of an old, broken down shack. - Muddy Waters, Robert Johnson, Keb 'Mo', Memphis Jug Band, Johnny Shines, Tommy Johnson, Frank StokesElectric Blues; Blues that's plugged in and louder. Primarily guitar-based. When the power goes out it typically becomes Blues Rock. - B.B. King, Eric Clapton, Magic Slim, Taj Mahal, John Lee Hooker, John Mayall, Charlie MusselwhiteJump Blues; Up-tempo with more swing. upright bass, piano, horns. One might jump if the mood strikes. - Magic Sam, Ruth Brown, Sugar Blue, Hal Singer, Amos Milburn, Ray Charles, Roy BrownNew Orleans Blues; More jazz and island influence. various drums and keyboard instruments. Popular in Texas, strangely enough. - Art Neville, Lloyd Price, Guitar Slim, Screamin' Jay Hawkins, T-Bone Burnett, Rockin' Sidney, Louisiana RedSt. Louis Blues; more piano based. similar to ragtime. Popular in Illinois, strangely enough. - Big Maybelle, Big Walter Horton, Roy Milton, Willie Mabon, Roosevelt Sykes, Yank Rachell, "Ma" Rainey, Percy MayfieldSwamp Blues; incorporates some Zydeco and more aggressive styles. Best when heard from the banks of a swamp and followed to an old, broken down shack. - Sonny Terry, Smiley Lewis, Luther Allison, Irma Thomas, Clifton Chenier, Doctor Ross, Bobby MarchanTexas Blues; more swing than Electric Blues, but more guitar than Jump Blues. Popular in Missouri, strangely enough. - Albert King, Lightnin' Hopkins, Tutu Jones, T-Bone Walker, Smokin' Joe Kubek, Grady Gains, Lafayette LeakeZydeco; more Creole influence. Accordion and alternative percussion instruments. You can't understand a word these guys are saying. - Al Rapone, Zydeco Boneshakers, Wayne Toups, Dr. John, The Mavericks, Buckwheat ZydecoGospel: somewhere between Blues and Country. Dominantly Christian in lyrical form. - The Staple Singers, Shirley Caesar, Mahalia Jackson, Ira Tucker & The Dixie Hummingbirds, The Golden Gate Quartet, Fisk Jubilee Singers, The Blind Boys of AlabamaCountry:Bluegrass; up-tempo roots country using fiddle, banjo, jug, washtub bass. Should wear one-strap overalls and/or chew on a wheat stalk whilst playing. - Bill Monroe, Doc Watson, Laurie Lewis, The Del McCoury Band, The Cox Family, Don Reno, Carl Story, New Grass RevivalCountry Pop; pop-oriented country without the believable sadness. Mostly fifth and sixth generation Country for the sake of making money. - Carrie Underwood, Faith Hill, Lonestar, Pam Tillis, Juice Newton, Dixie Chicks, Martina McBrideHonky Tonk; up-tempo like Bluegrass, but more party-oriented and public. Drunken out-of-tune pianos and bar fights abound. Mostly second generation Country. - Rex Griffin, Lefty Frizzell, Hank Williams, Ernest Tubb, Jim Edward Brown, Red FoleyMountain; vocal harmonies, fast-pickin', nostalgia, and "ya gotta have a fiddle in the band". Judging by their names, they're usually related to someone if not each other. - Alabama, Oak Ridge Boys, Roy Acuff, The Forester Sisters, The Louvin Brothers, The Stanley Brothers, The Burch Sisters, The Cook Family SingersNeotraditional; the sort of "we wish we'd been alive before country was cool" artists. True to their form, but still "new". Mostly fifth generation Country. - Alan Jackson, Brad Paisley, Garth Brooks, Vince Gill, Mark ChesnuttOutlaw; the real deal. These guys invented the country themes; heartache, loss, being broke, depressed, lonely and/or in jail. Third and Fourth generation Country with no fancy band or artist names; just straight-forward actual names with lots of "N"s and "L"s. - Johnny Cash, Willie Nelson, Merle Haggard, Waylon Jennings, Hank Williams Jr., Charlie Daniels, David Allan Coe, Rodney Crowell, Leon RussellTraditional; the realer deal. Country for the sake of true mountain/southern expression. Hard workin' white trash sadness and hard times with an occasionally poppy feel later in the genre. Third and Fourth generation Country with lots of steel guitar twang, dobro, wailing fiddle and soft yet straight-forward 4/4 back beats that keep audiences clappin' on 1 and 3. - Loretta Lynn, Emmylou Harris, Porter Wagoner, Kenny Rogers, George Jones, Tanya Tucker, Ronnie Milsap, Dolly PartonWestern; Out on the range/prairie. Cowboy music of the American Frontier Mostly campfire sing-alongs with little to no percussion. Bouncy rhythms reminiscent of horse galloping. Mostly second generation Country and frequently named a group belonging to an individual. - Jean Shepard, Kitty Wells, Gene Autry, Tex Ritter, Skeets McDonald, Bob Wills & His Texas Playboys, Curly Williams and His Georgia Peach Pickers, Hank Penny and His Rodeo Cowboys, Leon McAuliffe and His Western Swing Band, Noel Boggs and His Day Sleepers, Tex Williams and His Western Caravan, Jack Guthrie and His Oklahomans, Milton Brown and His Brownies, Johnnie Lee Willis and His BoysElectronica:Acid Breaks; utilizes breakbeats and sampling of small rhythmic grooves to create longer song patterns. It is not a complete sentence explaining how acid reacts when dropped on the floor. - Zak Baney, DJ Icey, K-Swing, NAPT, Vigi, The Sables, Rozalla, C2CAggrotech; darker lyrics than most electronica, using high-mixed synth/saw leads and aggressive bass frequency oscillation. - Lights of Euphoria, Alien Vampires, Amduscia, Cenobita, Unter NullAmbient; emphasizes atmosphere and overall tone over song structure. Mood music.... if you're in the mood to feel ambient. - Etro Anime, Sneaker Pimps, Ceasefire, Aphex Twin, Kinobe, HalcyonColdwave; sort of industrial, electronic, punk. Angst ridden and aggressive, yet nebulous and icy in it’s emotional exposition. Often politically or socially oriented; and usually in an irreverent manner. - Artefact, Jacno, Museum of Devotion, Pavilion 7BDrone; minimalistic, repetitive, clustered patterns sustained throughout a piece with few, if any, alterations to chord/harmonic structure. Imagine a 100′ diameter, futuristic, spherical, steel eyeball floating around a city. The sound that would make? That’s drone. - Faust, Neu!, Phil Niblock, Yoshi WadaDubstep; characterized by sub-bass frequency oscillation and warbling along with broken beats, syncopation and "the drop". If you don't like it you're obviously too old. - Skrillex, Plastician, Magnetic Man, Nero, Deadmau5, SkreamElectronicore; electronic metalcore. There. make sense? A lot of sequencing, auto-tuning and screaming. Angry and “in-your-face” lyrics and breakbeats that figuratively knock your teeth out. But sometimes literally. - Abandon All Ships, Palisades, Himwaterdragon, Fall Emotions, Eskimo CallboyElectropop; Electronic music more accepted by the masses and general public. Deep, grinding electronic tones, frequencies and breakbeats coupled with more pop-friendly vocals and lyrics. Usually fronted by a female. - Elly Jackson, Ke$ha, Lady Gaga, Demi Lovato, PerfumeGrime; sort of a dirty, wet-floor, smoke-in-the-air, acrid B.O. type of Jungle or grimey-House music. Not music that might be played in a grimey house; but House music that is also grimey. - Boy Better Know, Ghetts, Kano, Newham Generals, Ruff Squad, SkeptaHouse; a style of electronic dance music that grew from disco production and reggae beats. Don't know why it's called "House". Maybe it just sounded cool. - Chemical Brothers, Daft Punk, MARRS, Sonique, Dirty VegasTechno; a form of EDM synthesizing funk, jazz, African rhythms and a general party-type atmosphere. This music is often directly from the future or outerspace. - Arab Strap, Rednex, Technotronic, LeClick, Culture Beat, RozallaTrance; repetition repetition repetition. Beats between 125 and 140 with lots of repetition. Melodic themes slowly layer and build to climaxes and then, you guessed it, repeat. - Life on Mars, Enigma, Blue States, B12, Craig Armstrong, AirTrip Hop; a more experimental style of electronic music that utilizes soul, funk, jazz, and blues forms. Sometimes danceable. Sometimes commercial. But always 100% hip-hop/ambient/soul/jazz/acid/dub/electronica. Or something... - Moby, Bossa Nostra, Fatboy Slim, Vanja Lazarova, Seph, Electric ChairsFolk:American Roots; 1800s' pre-Country acoustic. Not as upbeat as bluegrass. More akin to Mountain ballads stemming from Irish/Scottish roots in the Appalachian Mountains of the USA. - The Civil Wars, Mac Wiseman, Pete Seeger, The Wallin Family, Bass Mountain Boys, The Chuck Wagon GangFolk Pop; softer than folk rock. Folk music that people actually like while sober. - John Denver, Simon & Garfunkel, Don McLean, Leonard Cohen, Sonny and Cher, Partridge FamilyFolk Rock; slightly heavier than Folk Pop. Somewhat more instrument-based yet audience-friendly. - Dave Matthews Band, Indigo Girls, Joan Osborne, Mumford & Sons, KT Tunstall, Suzanne VegaJam; 20 minute dual guitar solos while singer stands, looking at the stage floor, head-bobbing slightly using the microphone stand to keep from falling over. Best enjoyed while under the influence of some sort of psychotropic substance. If sober, turn around and watch the crowd. Usually pretty fun shows but pretty boring albums. - The Grateful Dead, Bela Fleck & The Flecktones, Phish, Sister Hazel, The Pat McGee BandJazz:Acid Jazz; Jazz....on acid. Or with acid poured over it. I can't quite figure out which but there's definitely some form of actual acid involved and it's likely more potent than lactic or citric. Plus "acid" is a really cool word. Even cooler than "house". - Exodus Quartet; Medeski, Martin & Wood; DJ Logic, Count Basie, Quiet Boys, RadBebop; up-tempo, exemplifying instrumental mastery while not actually showing off. Lots of improvisation and elements that leant themselves eventually to the progressive rock styles; unison melodies, shrink/grow rhythm backings, solo breaks, etc. - Charlie Parker, Chet Baker, Dizzy Gillespie, Thelonious Monk, Bud Powell TrioBig Band; larger than a small band. Incorporating strong brass, woodwinds and dominant percussion throughout. Typically more happy and bouncy. And big. - Squirrel Nut Zippers, Glenn Miller Orchestra, Duke Ellington, Chickenhawks, Benny GoodmanJazz Funk; more of a solid back-beat groove than other jazz styles. Makes use of synthesizers and analog tone generation. More groove than pure jazz but more jazz than pure funk. - Wynton Marsalis, Grover Washington, The Whitefield Brothers, The Woo Woos, Entourage, Joe AugustineJazz Fusion; sort of Progressive Jazz. Fuses jazz with other styles like funk, R&B, rock, etc. "Fuse" is a cool jazzy sounding word. Almost as cool as "acid". - Plunge, Soulive, Tom Scott, Weather Report, Manhattan Transfer, NiacinLatin Jazz; exactly that. Utilizes latin beats and rhythms along with multiple and various percussion-centric structures. Incorporates anything from Bolero to Rhumba but doesn't quite "fuse" them.....I guess.... - Acoustic Alchemy, Gare Du Nord, Yutaka, Mas Mamones, Kim Pensyl, Al Di Meola, BrasiliaRagtime; socially and chronologically bridged the gap between classical and jazz. Strong syncopated rhythms and metric patterns pulled from African-American music from the early 20th Century. Primarily piano based. - Scott Joplin, Gene Austin, Ernest Hogan, Dorsey Brothers, Nora Bayes, Ted LewisSmooth Jazz; the music you listen to when you're winding down after a hard day of yoga classes and meditation. Relaxation akin to whale sounds and trickling rivers. - Yellowjackets, Kenny G, Where There's Smoke, J. Spencer, Ricky Ford, Dave KozSoft Jazz; see Smooth Jazz, but softer. Imagine winding down after a day of winding down after a day of yoga classes and...... you get the picture. - Mark Baldwin, Victor Goines, Ziggy Elfman, Eric Darken, Pat Coil, Phil WoodsTraditional Jazz; music for music's sake. The guys who originally broke the rules and continue to do so. They even broke the rules of jazz itself with their category name; since "Traditional Jazz" is itself oxymoronic. - Dave Brubeck, Lord Buckley, Diana Krall, Al Jolson, Elmer Bernstein, Chick WebbVocal Jazz; not all scat and beedoppadoops. The voice as an instrument. Focus on virtuosity of the voice and expression through vocal timbre and fluidity. The best ones were female. Sorry, Louis. - Nina Simone, Etta James, Louis Armstrong, Billie Holiday, Ethel Waters, Nat King ColeMetal:Avant-Garde Metal; the weird crap. The stuff that people either love or hate. Typically not as talented as the Progressive guys, but less heavy and hardcore than the pure metal guys. - System of a Down, Faith No More, Buckethead, King Crimson, Sikth, IntronautClassic Metal; where it all started. The first down-tuned, high-action riffs building from the oppressive industrial age in mid-century Great Britain. And the need to kick ass following all that rockabilly crap. - Scorpions, Black Sabbath, Judas Priest, Iron Maiden, Dio, Rainbow, Iron Butterfly, MotörheadDark Metal: including…Black Metal; similar to death metal, but slightly more atmospheric and extreme. These guys wear skull face-paint and dress like dead demons and other scary stuff. Lo-fi recordings with tremolo guitar and screeching, wailing vocals atop fast tempos/beats and low, thrumming bass. -Aurora Borealis, Behemoth, Setherial, Satanic Slaughter, Noctuary, Watain, Ethereal WoodsDeath Metal; metal about death. Or metal that sounds like it's dying or killing. Lots of blast beats and atonalities. Fast double-bass drums and down-tuned guitars. Screaming and growling. These guys don't play too many Bar Mitzvahs. - Napalm Death, Abysmal Dawn, Mortification, Dethklok, Fleshgore, Beneath the MassacreDoom Metal; like death metal but more ominous using slower tempos and more atmospheric tones. Lyrics are typically depressing and morose and will leave you wanting to kill others; including yourself. - Thergothon, Orodruin, The Hidden Hand, Mindrot, The Obsessed, Unholy, Witchfinder GeneralGoth Metal; somewhat of a horror theme pervades this category. Often times skull makeup or zombie/vampire/werewolf themes will be prevalent. Names often include prepositions. - In This Moment, Cradle of Filth, Within Temptation, Theatre of Tragedy, Cadaveria, AgathodaimonSludge Metal; usually has a somewhat dirtier, grimier feel to it. Slower deep-tuned crunchy riffs and distortion. Sometimes screaming and growling mixed with somewhat southern rock feeling styles. Themes include pessimism, hopelessness, anger. - Black Label Society, Rollins Band, Mastodon, Corrosion of Conformity, Haste, Soilent Green, EyehategodEmo Metal; usually pretty heavy and angst-ridden, but with some clear-voice singing and wailing throughout. Not all screams and growls like Metalcore; and sometimes no screaming or growling at all. Just sort of, “Life is tough and I’m gonna bitch about it” music - but good. -Anberlin, Good Charlotte, Motionless in White, My Chemical Romance, SkilletFusion Metal: including…Folk Metal: including…Celtic Metal; reminiscent of ancient Celtic/Irish battle music. Heavy and grinding, but with an air of ambient atmosphere and possibly pan flutes. Yes definitely pan flutes. One must paint one’s face blue and wear a loin cloth to fully appreciate this genre. - Agalloch, Cruachan, Finntroll, Eluveitie, Mael Mórdha, Geasa, SuidrakaGypsy Metal; crunchy, heavy guitars with fiddles and percussion instruments that might be found hanging in the fortune teller’s wagon of a traveling circus. Some themes get pretty heavy and mythological and really make little sense. But hey…it’s Metal. - Inspirit, Kultur Shock, Stella Arja, Tribe of Gypsies, The Crooked Fiddle BandMedieval Metal; similar to Doom Metal in that the mood is more somber and morose and oppressive. Imagine metal that’s been living in a dungeon for 650 years and has just now stepped out into the sun. Yeah. That. - Heimataerde, In Extremo, Letzte Instanz, Morgenstern, Saltatio Mortis, SkycladPagan Metal; Metal that stays true to the original pagan/wiccan image. Metal that rails against organized religion; especially monotheism. Metal that revels in worldly idolatry and basks in the indulgence of the physical. Lots of symbolism and iconography used on album covers. - Arkona, Asmergin, Finsterforst, Korpiklaani, Obtest, MoonsorrowPirate Metal; exactly what it sounds like. Swashbuckling, rum-guzzling, peg-legged, patch-eyed, hook-armed, parrot-perched ne’er-do-wells prowling the waters in wooden ships carrying gold, gems and ghosts of the sea. At least that’s what they sing about. I think in real life they’re just normal people who drive cars and pay taxes like the rest of us. - Alestorm, Blaxon Stone, Cat O’ Nine Tails, Iron Seawolf, Red Rum, Silverbones, SwashbuckleViking Metal; metal having to do with Vikings (mostly lyrically) and their respective culture. Many reminders that Vikings are likely the most "metal" culture in the history of the world. - Mortiis, Heidevolk, Hel, Turisas, Wolfchant, Grand Magus, BorknagarFunk Metal; relatively self-explanatory. Metal, with some funk. Or funk with a heavier vibe. Heavy crunchy; yet funky and danceable; grooves. slap-bass and wah-wah guitar often rear their heads. Tightly tuned snare drums and snappy bass drums with a lot of emphasis on the hi-hat; usually. -Infectious Grooves, Living Colour, Mordred, Primus, Fishbone, Mind FunkJazz Metal; metal with an air of pretense. Not as esoteric as Avant-Garde Metal and more artsy than Funk Metal. Elements of Jazz like improvisation and off-kilter chord structures prevail. -Conflux, Gru, Sithu Aye, Shining, Naked CityNeoclassical Metal; these guys would be composing for their respective local monarchs had they lived 200 years ago. This is metal with classical tendencies, but not necessarily classical instrumentation. Mostly guitar virtuosi hang out here. Their bands are typically comprised of musical over-achievers who don’t quite have what it takes to be fully progressive. -Yngwie Malmsteen, Vinnie Moore, Timmo Tolkki, Joshua Perahia, Marty FriedmanRap Metal; Pretty self-explanatory. Combines rap and metal. - Linkin Park, P.O.D., Kid Rock, Rage Against The Machine, Papa Roach, Crazy Town, Limp BizkitSymphonic Metal; - again, pretty self-explanatory. Metal guys don't like to waste time with esoteric nomenclature like "Trip Hop" or "Bluegrass". - After Forever, Dimmu Borgir, Blind Guardian, Nightwish, Seraphim, Interfector, AyreonGlam Metal; including…Hair Metal; all about glitz and glamour. Make-up, hair-spray, tight red leather pants and ripped-off blues riffs. I love it. So do you. Many names include animals or a reference to something white. Or both. - Whitesnake, White Lion, Great White, Ratt, Def Leppard, Zebra, Bon Jovi, Firehouse, PoisonSleaze Metal; akin to Hair Metal, but with more grime. More about sex and drugs in the deviant and slimy way. Not really about partying, but about the actual sex and drugs. More leather and fringe than hairspray and makeup. Though you will find some hairspray. And makeup. -Billy Idol, Guns ’n’ Roses, Skid Row, Mötley Crüe, L.A. Guns, ExtremeGroove Metal; Metal with slightly more funk than pure Metal, slightly more balls than Jazz Metal and slightly more balls than pure Funk Metal. Imagine Funk Metal more laid back and less aggressive. Like….if Motown made Metal. Channel Zero, Soulfly, Tad, Fight, DevilDriver, Byzantine, Bleed From WithinIndustrial Metal; more digital sound than raw analog metal. Sometimes just one or two guys doing it all. Can become over-commercialized due to its attainability by the masses. - Rob Zombie, Front Line Assembly, God Lives Underwater, Skinny Puppy, NIN, Filter, The Union UndergroundMetalcore; growling, screaming and yelling. Angry people reside here; somewhere between extreme metal and hardcore punk. Hey wait.....Metalpunk? no....Extrard? no.....Punkstreme? no. Metalcore! There. That works. - SOiL, Drowning Pool, Biohazard, The Agonist, Trivium, HelmetNu Metal; guys who use digital production techniques and a more refined sound. Good hardcore stuff, but not raw and dirty. Often have numbers or present tense verbs/gerunds in their names. - 10 Years, 3 Days Grace, 30 Seconds To Mars, Breaking Benjamin, Dropping Daylight, Shinedown, Sevendust, Finger Eleven, KoЯnPower Metal; metal that combines the powerful elements of classic metal, speed metal and a bit of symphonic metal for added drama. These guys are in your face but not in a Death/Doom/Black Metal way. There’s more life and less death here. Not always happy, but driven and motivational. -Alestorm, Powerwolf, Metal Church, Iced Earth, Kamelot, HelloweenProgressive Metal; including…Classical Prog; Heavy, yet classical virtuosity runs rampant. Complex orchestrations and thematic derivatives abound. Their album covers are usually pretty Dungeons & Dragons-esque. - Adagio, Blind Guardian, Symphony X, Triumph, The Devin Townsend ProjectDjent; pretty much onomatopoeiaic. Those crunchy guitar sounds that are mimicked by Metalheads using their voices to project “DJENT DJENT DJENT DJENT….” as they mouth along with the kickass guitar riffs. - Animals As Leaders, Meshuggah, Mnemic, Periphery, Sikth, TesseracTMathcore; the guys who are more into technique than groove. Music that exhibits what a theoretical physicist’s chalkboard might sound like if transferred to aural perception. - Benea signNow, Botch, Daughters, Ion Dissonance, Psyopus, Spiral ArchitectMelodic Prog; the guys who are more about melody and tonality than about technical virtuosity. Don’t get me wrong, they’re still damn good, but they produce more memorable and catchy tunes than some other Progressive groups. - Crimson Glory, A Perfect Circle, Tool, Queensrÿche, Rhapsody of Fire, Shadow GalleryOmni Prog; the guys who can do it all. Classical, Rock, Jazz, Funk, Groove, Technique, Passion, Virtuosity, Acoustic, Electric, Slow, Fast, Flamenco, Baroque, etc. Pretty much the embodiment of “Musicians’ Bands”. - Dream Theater, Fates Warning, King’s X, Pain of Salvation, Liquid Tension Experiment, PlatypusPower Prog; virtuosity tempered with sheer power. Hard-driving beats and riffs with high-volume, in-your-face ass-kicking. - Adrenaline Mob, Frameshift, Nevermore, Orden Ogan, Ne Obliviscaris, Seventh WonderTechnical Death Metal; similar to the Mathcore guys but heavier. That’s about it. There are lots of prime numbered time signatures in this genre. - Cynic, Green Carnation, Obscura, Odious Mortem, PsycropticPunk: including…Garage Punk; early sixties punk that was raw, lo-fi, scratchy, distorted and fuzzy. Simple chords (I mean…it IS Punk…) and even simpler lyrics. - Black Lips, The Hives, The Humpers, The Mummies, TeengenerateGlam Punk; Punk railing against the status quo with high shock value. Makeup and crazy hair and facial prosthetics abound. - Cherry Vanilla, Flash Bastard, The Hot Dogs, New York Dolls, Shady Lady, Sick Six CrushHardcore; faster, more aggressive Punk. Same simple chords and song themes, but played faster and with more aggression. Usually very fast and/or aggressive. Basically…fast and aggressive Punk. With lyrical themes occasionally treated a bit more seriously for the sake of actual social commentary. - Bad Religion, Black flag, Fugazi, Sworn Enemy, Raised Fist, Social DistortionOi!; the UK scene that tried to bring Punk back to its roots and steal it back from all the spoiled, rich-kid wannabes that had started to become “punkers”. Music is raw, unproduced, natural; yet maintains an honesty that’s rare in a lot of musical styles. - Last Resort, Peter and the Test Tube Babies, Public Enemy, Street Dogs, SuperYob, Toy DollsPop Punk; music by and for the spoiled, rich-kid wannabes that had started to become “punkers”. Punk in the mainstream. The use of Punk stylings and techniques for the sake of selling albums and making money and becoming famous and rich. - American Hi-Fi, The Ataris, Green Day, OffspringPost-Punk; the evolution of Punk into a more personally stylistic and individually nuanced style. More experiementation and removal from the classic Punk traditions created a sort of Avant-Garde Punk movement which culminated in Post-Punk. - 23 Skidoo, Au Pairs, Bauhaus, Big Black, The Chills, The Cult, The StranglersProto-Punk; the ones who started it all. The original punks. The artists who originally went against the grain of the conventional Rock or Pop of their day to create what would become the Punk movement. - Iggy & The Stooges, MC5, NEU!, The Patti Smith Group, The Sonics, TelevisionPunk Rock; those groups that don’t really fit into any subgenre of Punk and just encapsulate what the common culture knows as “Punk”. - The Clash, The Jam, The Ramones, Sex Pistols, Sprung MonkeySpeed Metal; exactly that. Speed. Even the band names are so fast they only use one word. - Helloween, Overkill, Impellitteri, Cranium, Atomkraft, Annihilator, Sodom, Kreator, GravediggerThrash Metal; the guys you likely know best. The original Bay-Area metalheads themselves. - Metallica, Megadeth, Anthrax, Sepultura, Pantera, Slayer, Metal Church, Exodus, TestamentOrchestral:Broadway; the music that's played during those plays on Broadway in NYC. - Les Miserables, Phantom of the Opera, Miss Saigon, Jesus Christ SuperstarClassical; the dominant Western music from 1750 to 1830. - (composers) Antonin Dvořák, Claude Debussy, Franz Schubert, Hector Berlioz, Ludwig Van Beethoven, Wolfgang Mozart, Frédéric Chopin - (performers) Yo-Yo Ma, Mike Wollenberg, Lang Lang, Andre Rieu, The London Philharmonic, Woody PhillipsMovie Scores; the music that's played during those movies you watch sometimes. Either in NYC or elsewhere. - Alan Silvestri (Back to the Future, Forrest Gump); Danny Elfman (Batman, Beetlejuice, Pee-Wee's Big Adventure); James Horner (Titanic, Braveheart); John Williams (Star Wars, Indiana Jones, E.T., Jaws, Jurassic Park, Superman); Hans Zimmer (Gladiator, The Rock); Harold Faltermeyer (Beverly Hills Cop, Fletch, Top Gun)New Age; the music you listen to during your hard day of yoga classes and meditation. - Andreas Wollenweider, Jordan Rudess, Turin Brakes, Yanni, Gordon HemptonVocal; the vocal instrument applied to the rigors of Classical instrumentation - Andrea Bocelli, Josh Groban, Sarah Brightman, Luciano Pavarotti, Il Divo, Brooklyn Tabernacle ChoirPop:Adult Contemporary; a fancy name for the lame music your parents probably listened to. Mostly maudlin tunes about the lives and thoughts of privileged, white, middle-aged hipsters. - Anne Murray, Barry Manilow, Wilson Phillips, Neil Diamond, Carly SimonBeat Pop; the British invasion of back-beat driven pop icons of the late 50s and early 60s. Most bands are "The" something. - The Beatles, The Lovin' Spoonful, The Kingsmen, The Turtles, The Byrds, The Cuff Links, The Hollies, The Newbeats, The Left Banke, The Zombies, Gunhill RoadDance Pop; the popular music to dance to. Not as counter-culture as EDM, but slightly heavier than Bubble Gum Pop; which I didn't list as a category. - Bananarama, Billy Ocean, Katy Perry, Lady Gaga, Debbie Gibson, EMF, Will to Power, TiffanyDisco; formed from funk, psychedelic and soul; this style rebelled against the rock music of the day in a more visceral, primal way. All about body movement, dancing and the human spectacle, it stole colorful clothing and drugs from the Hippies, up-beat driven rhythms from the Beatniks and combined them in a sexy, seductive libido-based production praising dance and expressive human life. It is currently "dead". - ABBA, The Bee Gees, The Village People, KC & The Sunshine Band, Gloria Gaynor, Lipps Inc.Doo Wop; yet another mainstream derivative of African-American music, doo wop uses more nonsensical phrases and sounds to emphasize harmony and melody over lyrical substance. These names also are often "The" something. - The Dominoes, The Platters, The Tune-Weavers, The Casinos, The Dreamlovers, The Passions, The Penguins, The Rivieras, The Esquires, Bob & Earl.Indie Pop; somewhat contradictory, the emphasis on self-reliance and the whole DIY perspective is exploited to assure popularity and mainstream success. But somehow it works. - The Ting Tings, Fine Young Cannibals, Nil Lara, Karry Walker, Sundays, Hang UpsLatin Pop; exactly that. Pop with better beats and more complex rhythms that actually force you to dance even if you are unwilling. - Ricky Martin, Enrique Iglesias, Pit Bull, Shakira, Miami Sound Machine, Lou BegaPop Rock; slightly edgier pop. Or slightly more commercialized rock. Take your pick. - Fiona Apple, Jewel, Avril Lavigne, Natalie Imbruglia, Eric Carmen, Maroon 5Power Pop; high production music for the sake of performance. - Journey, Rick Springfield, Survivor, Duran Duran, Huey Lewis & The News, Go-Gos, Cutting Crew, The B52sSurf Pop; the music you listen to while watching people surf. Somehow this style became separate from other closely related similar styles and is audibly evident in every group it houses. - The Ventures, The Beach Boys, The Surfaris, Jan and Dean, The Rip-Chords, Dick DaleSynthpop; like power pop, but with the emphasis on synthesizers. - Tears For Fears, OMD, Herbie Hancock, When In Rome, Falco, Dead or Alive, Thomas DolbyTraditional Pop; the crooners. The original pop vocalists whose reputations continue to dazzle and impress. The Rat Pack. The Vegas Lounge Lizards. No, those aren't band names. - Perry Como, Wayne Newton, Tom Jones, Bobby Vinton, Frank Sinatra, Mel TormeR&B:Alternative Hip Hop; Hip Hop that doesn't quite fit the mold of standard R&B. Somewhat left of center and progressive by R&B standards. - Outkast, Black Eyed Peas, Jurassic 5, Wu-Tang Clan, Jadakiss, N.E.R.D., Insane Clown PosseFunk; emphasis on rhythm and groove rather than melody and harmony. Chords aren't as important as the bass line underneath them or the drum beat behind them. - The Brothers Johnson, Commodores, Kool & The Gang, George Clinton & the P-Funk All Stars, Curtis MayfieldNeo Soul; Soul, but newer. Neo is just a cool word for "new". Though not as cool as "acid". OOH!!! Acid Soul! Is that a genre?! If it isn't then it should be. - Jamiroquai, Amy Winehouse, Beyonce, Bruno Mars, Christina Aguilera, Terence Trent d'ArbyNew Jack Swing; "Neo Jack Swing" would sound pretentious and the R&B genre is anything but pretentious. And "Acid Jack Swing" would sound like drug or sex slang. These guys combined Urban Contemporary beats and Dance Pop composition to create a very catchy sound that showcased a lot of soulful melodies and harmonies. This was "The bomb" in the late '80s and early '90s. - Boyz II Men, Bel Biv DeVoe, En Vogue, DJ Jazzy Jeff & The Fresh Prince, New Edition, Kid 'n' Play, MC Hammer, Paula AbdulRap; talking. mostly. Though talking very well and rhyming with complex rhythms and rhyme schemes on top of looped beats and melody lines. - Eminem, Cypress Hill, Timbaland, Snoop Dogg, Grandmaster Flash, Digital Underground, Ludacris, Beastie BoysSoul; the s%*t that makes you wanna f%*k. - Teddy Pendergrass, The Righteous Brothers, Lionel Richie, Aaron Neville, Hall & Oates, Luther Vandross, John LegendUrban Contemporary; a combination of EDM, Reggae, Dance Pop, Soul and Rap that creates a very broad range of styles and expressions. - Usher, Nikki Minaj, Justin Timberlake, Missy Elliott, Trey Songz, Rihanna, Ne-Yo, Flo-Rida, DrakeReggae:Dancehall; Jamaican pop that strips down Reggae to the most crucial dance vibes necessary, though it added more digital instrumentation and faster rhythms. - Leonard Dillon, Toots Hibbert, Wailing Souls, Ebony Steelband, Aswad, Big MountainDub; mostly instrumental remixes of existing Reggae recordings. - Third World, Black Uhuru, Yellowman, Sly & Robbie, Freddie McGregorRagga; primarily electronic Reggae. Slower and more laid back than Dancehall, but more produced and digitized than Roots. - Steel Pulse, Trinidad Steel Drum Band, Inner Circle, Desmond Williams, Lasana Bandelé, Joe HiggsRoots; spiritual Rastafarian expression of life and experiences. Primal, raw and unmistakably catchy. - Bob Marley & The Wailers, Greyhound, Dhaima, Crucial Vibes, Kojak & Liza, Shorty the PresidentRock:Alternative; not quite squeezed into the "Rock" definition, but not quite squeezed out of it either. - Soul Asylum, U2, The Wallflowers, Jesus Jones, Beck, Toad the Wet SprocketAmericana; the music about the working class. The hopes and dreams of the free American people. Driving rock that you can hear in bars and stadiums alike. - Bruce Springsteen, Bryan Adams, The Traveling Wilburys, John Mellencamp, Tom Petty, John FogertyClassic Rock; the original rockers. If you haven't heard of these guys you haven't heard of Rock. - Led Zeppelin, The Who, Steve Miller Band, Queen, Eagles, Fleetwood Mac, The Rolling Stones, The TroggsCollege Rock; rock for the sake of getting laid in college. These guys pandered to the more sensitive female audience, thereby creating the necessity for the male audience to like them as well. Typically pretty stupid and nonsensical sounding names. - Vertical Horizon, Iffy, Counting Crows, Hoobastank, Goo Goo Dolls, Fastball, Dishwalla, Hootie & The Blowfish, Matchbox 20, Emmet SwimmingDark Wave; slightly more despondent and depressed. More morose and well......dark. - The Church, The Cure, Blue October, Depeche Mode, The Stone Roses, Joy DivisionFunk Rock; pretty self-explanatory. - Primus, Red Hot Chili Peppers, Spin Doctors, 311, Mother's Finest, Tina & The B-side MovementGrunge; these guys killed Glam Metal. But it was already beginning to show signs of weakness.
This music stripped away all image and pretense and left us with guys who were just good enough at their instrument to still allow every high-school boy in America to be able to play along...... to all their pretty songs......and shoot his gun. - Nirvana, Pearl Jam, Soundgarden, Alice In Chains, Garbage, L7, Mudhoney, Stone Temple Pilots, Local H, Love Battery, The MelvinsHard Rock; not Classic. But not Soft. Or Grungy. Just hard. Though not as hard as Metal. So maybe really hard wood or stone. Yeah that's it. Hard Rock. - Velvet Revolver, Audioslave, Midnight Oil, Pat Benatar, Billy Squier, Drivin' 'N' Cryin', LoverboyIndie Rock; rock that does it's own thing despite what the industry tells it to do. - R.E.M., Florence + The Machine, Monks Of Doom, The Connells, Cake, Juliette & The Licks, They Might Be GiantsNew Wave; more frenetic and impulsive than former rock, disco and punk. More guitar licks and rhythms that didn't just sit you down and leave you there. Somewhat electronic and experimental. Some might say, "new". - INXS, The Police, Crowded House, Spandau Ballet, Oingo Boingo, Shiny Toy Guns, Corey HartPost-Grunge; came after grunge, and was slightly more produced than grunge, but still held on to some of that Grunge angst that made it so successful. - Stone Sour, Ugly Kid Joe, Hinder, Collective Soul, Nickelback, Flyleaf, Candlebox, GodsmackProgressive Rock: including…1970s; Progressive Rock artists of the 1970s. Pretty self-explanatory. These guys were near the birth of what is known as Progressive Rock. Some of the earliest pioneers and trailblazers of the genre.- Deep Purple, Emerson Lake & Palmer, Rush, Kansas, Jethro Tull, Frank Zappa, GenesisArt Rock; Slightly skewed but still rock. More experimental and “out there”. Costumes are common. As is make-up and characterization. -David Bowie, Peter Gabriel, David Byrne, Velvet Underground, Radiohead, Incubus, Talking HeadsCanterbury Scene; named after a bunch of improvisational dudes from Canterbury got someone’s attention. These guys shifted into and out of each other’s bands all the time. Constantly changing and altering their lineups. - Caravan, Short Wave, Supersister, In Cahoots, Gong, Egg, GilgameshPost-Progressive; the spawn of and next generation following 1970s Progressive Rock. These guys adapted to the current zeitgeist and pushed the boundaries even more than their predecessors. I mean….that IS the definition of Progressive. - Attention Deficit, Bozzio Levin Stevens, Somnambulist, Transatlantic, Dali’s Dilemma, Chroma Key, BravePsychedelic Rock (Acid Rock); quirky, drugged-out hysterical nonsense rock with a lot of outward expression against normalcy. Fun shows that led to a lot of deaths; by drug and alcohol consumption; and pregnancies......by drug and alcohol consumption. - Big Brother & The Holding Company, The Doors, Quicksilver Messenger Service, Moody Blues, Sopwith Camel, Vanilla Fudge, DonovanRIO (Rock In Opposition); akin to the Canterbury guys I mentioned earlier, these Progressive musicians got pissed that no one was recognizing their talent and banded together against the music industry itself. Surprise: they still didn’t get very popular. - Aksak Maboul, Etron Fou Lelouban, Henry Cow, Art Bears, Stormy Six, Art ZoydPunk; the rebels who hated society and weren't afraid to let it be known. They'd bleed on stage, rip off their clothes and surf the crowd naked, dump buckets of sweat and other bodily fluids on the crowd while screaming and railing against authority and tradition. Oh and they sometimes held instruments too. - Sex Pistols, Bad Religion, Ramones, Iggy & The Stooges, The Clash, American Hi-FiRockabilly; what some call the original Rock & Roll. A combination of hillbilly and rock containing a western swing and a bouncing party vibe. With elements of piano-based Jump Blues and electric boogie woogie, it made it's mark on the music scene indelibly. Almost everyone's named contained a "Y". - Elvis Presley, Chuck Berry, Buddy Holly, Tommy Sands, Johnny Rivers, Jerry Lee Lewis, Freddy Cannon, Chubby Checker, Little RichardSka; rock with horns. This provided all those high school kids who chose to play brass in the school band a way to be cool... For about 18 months in the late '90s. - No Doubt, Fighting Gravity, Dispatch, Blue Meanies, Toots & The Maytals, Jack FridaySoft Rock; the rock you listen to on the radio when driving to your yoga or meditation class. - Traffic, Glenn Frey, Linda Ronstadt, Don Henley, Kim Carnes, Gerry RaffertySouthern Rock; rock from the south. Lots of twang and rough gravelly vocals mixed with two-step rhythms that keep audiences head-bobbin' and wavin' confederate flags. When "Free Bird" is yelled at one of these shows, it will be played. - Lynyrd Skynyrd, 38 Special, Blackfoot, Pride & Glory, Molly Hatchet, The Georgia SatellitesWorld: (please forgive my American/Euro-Centric categorizations. And please don't be offended if I've misplaced something that you feel should go elsewhere; in all the previous categories or in the following geographic generalizations. These are mostly all regional folk or traditional music of general locations named accordingly, and just those that I am familiar with and like. I know full well that many and various styles and cultures exist within the overall regions I’ve specified here.)African - Zap Mama, Zwabesho Sibisi, Eleja Choir, Turtle Island String Quartet, Habib Koité and Bamada, Coco LeeMiddle Eastern - Nusrat Fateh Ali Khan; Kaila Flexer; Ilhan Ersahin; Ighigou Haile; S-Tone, Inc.Asian - Liu Huan, Yungchen Lhamo, Itsuki No Komoriuta, Bhoora Singh and Party, Hoang Vuy, Imperial Household OrchestraEastern European - Goralska Orkestra, Stephanya G. Penchevya, Nikollë Nikprelaj, Raderman Beckerman Orchestra, Efta Botoca, Petrică PaşcaIrish/Celtic/Gaelic - Loreena McKennitt, Michael O'Suilleabhain, The Pogues, Enya, The Chieftains, The Tannahill Weavers, WolfstoneIsland - Sean Na'auao, Les Tamaru, Israel Kamakawiwo'ole, Andi Thakambau, Lord Composer, Kealoha KonoLatin/Hispanic - Ruben Blades, Tu Abandono, Adam Del Monte, Brian Keane, Elvis Crespo, Los UmbrellosMediterranean - Triki Triki, Stellákis Perpiniádhis, La Nina Del Los Peines, Márkos Vamvakáris, Effisio Melis, Marika KanaropoulouScandinavian - Värttinä, Hållbus Totte Mattson, Arto Järvelä, Gjallarhorn, Angelit, Annbjørg Lien, Sari Kaasinen...and that's all I can think of off the top of my head.
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