What can feminism do for men?

[Marblehead]

Homosexuality is more prevalent in overcrowded populations for both humans and animals. Seems like a good argument for intelligent design to me, less reproduction, but everyone can still have fun. Christian creationists don't seem to agree though.

Hehehe. Yeah, and I'm sure we wouldn't see many Moslem Clerics supporting it either.

[joeblast]

back from when the act of writing was also a sort of act of artmaking. my dad's got an amazingly perfect script - my signature is so garbled, its a bit more of an insignia

[Marblehead]

I've always admired the art of handwriting. Mine is crappy.

 

(Most times I print in all caps. I've kept this from my military days.)

[zanshin]

On 6/24/2014 at 2:16 PM, tyler zambori said:

 

 

 

Here's an idea: Either post something positive about what feminism can do for men, or don't say anything.

 

PS: There, I have shown myself.

 

 

Edited April 19, 2020 by zanshin

[joeblast]

Here's an idea: Either post something positive about what feminism can do for men, or don't say anything.

 

PS: There, I have shown myself.

yup, that about sums up my experiences with feminism.

[manitou]

Tyler - I sincerely apologize to you for throwing you into such a quandry by mentioning a typewriter. I think what happens on these threads is that over the years many of us have become pretty good friends, and we do tend to joke around a bit. It's actually a pretty good way of keeping the threads friendly and not too anal. But serious spirituality does get discussed. It's just that sometimes it gets a little informal. We're a strange community here in Bumville.

 

And I do appreciate all the typewriter information you sent me via PM -- if you'd like to send me stuff about Xerox history I'd be happy to see that too

Edited June 24, 2014 by manitou

[BaguaKicksAss]

 

And I do appreciate all the typewriter information you sent me via PM --

 

I laughed so hard, thank you, you folks just made my day!

[Marblehead]

But enough about writing implements, I want to talk about pick up artists.

Yeah, that is a typical Redneck truck.

 

I live in Redneck country. I have a pick-up. But it has a full cargo cover on it.

 

There are a lot of women around here who have some really heavy duty pick-ups. They aren't going to let the guys out-shine them.

[Marblehead]

Nice thing about having a pickup here in the South is that if you drive out into the country with your pickup everyone is your friend and you will see more people waving at you then you have ever seen before.

[zanshin]

On 6/24/2014 at 3:27 PM, Marblehead said:

Yeah, that is a typical Redneck truck.

 

I live in Redneck country. I have a pick-up. But it has a full cargo cover on it.

 

There are a lot of women around here who have some really heavy duty pick-ups. They aren't going to let the guys out-shine them.

It’s not the size of truck, but what’s under the hood

Edited April 19, 2020 by zanshin

[Marblehead]

Hehehe. I think Moms are already feminine.

 

No, my pickup doesn't have solar panels. Only my little Honda has them. It is total electric.

 

Yes, a woman's handbag can carry lots of stuff.

 

And I would agree that if the industry ever gets the solar thing going properly there would be lots of conversions to electric with solar assist. And that would be an opportunity to have women showing off the new technology. Yes, better than breast inplants.

[Enishi]

I wanted to type a more detailed post but I'm busy today so I will have to be brief.

I think there are legitimate issues Feminism has shined light on, but in many respects its approach to solving said issues leaves much to be desired, and has been heavily manipulated by the corporate world (along with everything else).

There are areas where women are disadvantaged, but there are also areas where your average guy who isn't part of the wealthy global elite is disadvantaged, ESPECIALLY if you have austistic/asperger traits or fall strongly along the IxTx side of the MBTI scale. The error many such men make however is falling for the social conditioning that says you aren't a REAL man unless you're "getting laid" or attracting women on a semi-regular basis, and this is why some develop toxic issues of entitlement and anger. Though I'm uncertain as to whether it's due to innate nature or conditioning, I do notice a general trend of men communicating with more direct words, and women more nonverbal. If you have austistic tendencies, it can be incredibly difficult if not impossible to pick up on nonverbal cues, and thus hard to know whether someone appreciates you approaching them or is creeped out by it.

I think part of the solution though is not to bemoan such a state, but to embrace it as this guy did:

http://www.celibrate.org/articles/MatthewhasAspergers.php

If he was to do chikung as well, the extra energy would bolster his attrativeness as a side benefit, and he wouldn't have to necessarily make the first move as men are often expected to do (my girlfriend approached me initially).

Edited June 24, 2014 by Enishi

[zanshin]

oh my, poor feminism, what has it become?

Edited April 19, 2020 by zanshin

[tyler zambori]

I tried to find the history of typewriter usage in the garbage industry, and this is what I got:

 

History of sentence spacing
From Wikipedia, the free encyclopedia

The history of sentence spacing is the evolution of sentence spacing conventions from the introduction of movable type in Europe by Johannes Gutenberg to the present day.
An example of early sentence spacing with an em-quad between sentences (1909).

Typesetting in all European languages enjoys a long tradition of using spaces of varying widths for the express purpose of enhancing readability. American, English, French, and other European typesetters' style guides—also known as printers' rules—specified spacing rules which were all essentially identical from the 18th century onwards. Early English language guides by Jacobi in the UK[1] and MacKellar, Harpel, Bishop, and De Vinne in the USA[2] specified that sentences would be separated by more space than that of a normal word space. Spaces between sentences were to be em-spaced, and words would normally be 1/3 em-spaced, or occasionally 1/2 em-spaced (see illustration right). This remained standard for quite some time.

MacKellar's The American Printer was the dominant language style guide in the US at the time and ran to at least 17 editions between 1866 and 1893, and De Vinne's The Practice of Typography was the undisputed global authority on English-language typesetting style from 1901 until well past Dowding's first formal alternative spacing suggestion in the mid-1950s. Both the American and the UK style guides also specified that spaces should be inserted between punctuation and text. The MacKellar guide described these as hairspaces but itself used a much wider space than was then commonly regarded as a hairspace.[2]) Spaces following words or punctuation were subject to line breaks and spaces between words and closely associated punctuation were non-breaking. Additionally, spaces were (and still are today) varied proportionally in width when justifying lines, originally by hand, later by machine, now usually by software.

The spacing differences between traditional typesetting and modern conventional printing standards are easily observed by comparing two different versions of the same book, from the Mabinogion:

1894: the Badger-in-the-bag game—traditional typesetting spacing rules: a single enlarged em-space between sentences
1999: the Badger-in-the-bag game—modern mass-production commercial printing: a single word space between sentences

The 1999 example demonstrates the current convention for published work. The 1894 version demonstrates thin-spaced words but em-spaced sentences. It also demonstrates spaces around punctuation according to the rules above and equivalent to French typesetting today.

Contents

1 French and English spacing
2 Movement to single sentence spacing
3 The computer era
4 See also
5 Notes
6 References
7 External links

French and English spacing
French-spaced typeset text (1874).

With the advent of the typewriter in the late 19th century, French and English typists adopted approximations of standard spacing practices to fit the limitations of the typewriter itself. French typists used a single space between sentences, consistent with the typeset French spacing technique, whereas English typists used a double space.

French spacing inserted spaces around most punctuation marks, but single-spaced after sentences, colons, and semicolons.[3]
English spacing removed spaces around most punctuation marks, but double-spaced after sentences, colons, and semicolons.[4]

These approximations were taught and used as the standard typing techniques in French and English-speaking countries.[5] For example, T. S. Eliot typed rather than wrote the manuscript for his classic The Waste Land between 1920 and 1922, and used only English spacing throughout: double-spaced sentences.[6]
Movement to single sentence spacing

A key change in the publishing industry from the mid-19th century to the mid-20th century was the enormous growth of mass-produced books and magazines. Increasing commercial pressure to reduce the costs, complexity, and lead-time of printing deeply affected the industry, leading to a widening gap between commercial printing and fine printing.[7] For example, T. S. Eliot's The Waste Land was originally published by a high-volume commercial printer according to its house rules and it was not until its third publication that Eliot was satisfied with its typesetting.[8] The underlying reasons were:[7]

ease and speed, since far less physical type and more importantly far less skilled effort was required
cost, since fewer man-hours were required and the condensed text required less paper; the bulk of the cost saving was typesetting-related rather than paper-use-related
cultural, since new typesetters (and readers) had grown up with typewriters and the standard typists' spacing approximations of good typesetting

Before the First World War virtually all English-language books were printed following standard typesetters' spacing rules. By the end of the Second World War most American books and an increasing proportion of English books were printed following the typewriter's English spacing approximation rules.[9] Around this time, the practice of single spacing became more prevalent. There were various circumstances which could have contributed to the change. For example, there was an increase in high-volume low-cost mass-produced printing (e.g., newspapers, pulp-novels, magazines). Also, a significant innovation in the typewriter was the breaking of the typewriter "grid" in 1941. "The grid" referred to the uniform spacing of each letter space in the monospaced font used by the typewriter. In 1941, IBM introduced the Executive, a typewriter that used proportional spacing by "breaking each cell of the grid into fifths."[10] Although proportional fonts had been used in various forms in typesetting since the invention of movable type, this innovation broke the hold that the monospaced font had over the typewriter—reducing the severity of its mechanical limitations.

Around the 1950s, single sentence spacing became the standard commercial practice in mass-print-runs in the United States. However, double sentence spacing approximations were retained some in higher-cost printed works. For example, for reasons of readability, the US government's 1959 official style guide mandated double sentence spacing in all government documents—whether produced by "Teletypesetter, reproduction or other method.":[11] Single sentence spacing was introduced by professional printers in the United Kingdom as well. The 1947 version of Penguin Composition Rules stated that all Penguin publications would adhere to the following rules: "All major punctuation marks – full point, colon, and semicolon – should be followed by the same spacing as is used throughout the rest of the line.".[12]

Until about the early 1990s,[13] double sentence spacing was still referred to as English spacing (or "American typewriter spacing").
The computer era

The introduction and widespread adoption of non-commandline desktop publishing software on Macintosh, Amiga, and IBM PC computers in the mid-1980s eliminated previous cost-restrictions that had helped fuel the switch to single-spacing. There was no longer any material marginal cost associated with typesetting double-spaces, or even multiple-width spaces. Despite this, resistance to double-spaced sentences started to grow among English-language professional designers and typographers as they became more directly involved with typesetting. Traditional French typists' rules continued to be the uncontested norm in French-speaking countries,[14] but English spacing became increasingly deprecated in English-speaking countries.

By the mid-1990s, the term French spacing was occasionally used in America in reference to double sentence spacing. An example of this apparent terminology reversal can be attributed to the University of Chicago Press in 1994.[15] By the mid-2000s this usage had been widely replicated on the Internet, for unclear reasons.

Additionally, there has been a designer-led trend towards closer-fitted text in general.[16] For example, an increasing number of computer font design guidelines now recommend the use of quarter-em spaces rather than third-em spaces. With regard to spacing, modern designers are retracing the steps of the 19th-century design-led typographer William Morris. Morris rejected the restrictions of commercial typesetting which at the time demanded traditional typesetting's spacing rules, and, declaring a "rage for beauty", advocated close-set type and dark "color" (lack of whitespace, creating uniformity of appearance). However, the reason Donald Knuth gave for creating the TeX typesetting system was his dismay on receiving the proofs of a new edition of his book The Art of Computer Programming at the unreadability of the then new close-fitted phototypesetting technology, which he described as "awful" due to its "poor spacing".[17][18] The leading style guides of Morris's time documented that readers of the time had the same reaction to Morris's output as Knuth did later to phototypesetting's output. De Vinne, for example, wrote in The Practice of Typography:

Printed words need the relief of a surrounding blank as much as figures in a landscape need background or contrast, perspective or atmosphere. (p. 182)
White space is needed to make printing comprehensible. (p. 183)

And in Modern Book Composition he wrote:

Unleaded and thin-spaced composition is preferred by the disciples of William Morris, but it is not liked by the average reader, who does need a perceptible white blank between words or lines of print. During the fifteenth century, when thin leads and graduated spaces were almost unknown and but little used, the reading world had its surfeit of close-spaced and solid typesetting. (p. 105)

Varying the spacing between sentences, and using the changing spacing to encode information, are a standard method of steganography, hiding secret information in public documents.[19]

[tyler zambori]

Here's something about the manufacture of typewriters:

 

Typewriter Background

Typewriters fall into five classifications. The standard typewriter was the first kind manufactured. It was too heavy (15-25 lb or 5.6-9.3 kg) to move often, so it was kept on a desk or typing table. The standard typewriter had a wider platen (a rubber-covered, steel cylinder for absorbing typing impact) in the carriage (the part that moved the paper into place) that could hold oversized forms. The portable manual typewriter was smaller in size, lighter in weight, and equipped with a carrying case for easier movement and storage. Portable typewriters were popular for home and school use.

Electric typewriters were heavier than standard machines because of their motors and electrical parts. Electric machines made typing easier because less effort was needed to strike the keys. Electric portables were smaller and lighter than desktop machines, and they had carrying cases with storage for the power cord.

The most recent kind of typewriter to be produced—the electronic typewriter—eliminated many of the disadvantages of both standard and electric machines. Circuit boards made the electronic typewriter much lighter (about 10 lb or 3.7 kg) than other models. Personal word processors (PWPs) were closely related to computers.

History

Writing machines were built as early as the fourteenth century. The first patented writing machine was made in England in 1714 but never built. The first manufactured typewriter appeared in 1870 and was the invention of Malling Hansen. It was called the Hansen Writing Ball and used part of a sphere studded with keys mounted over a piece of paper on the body of the machine.

Christopher L. Sholes and Carlos Glidden developed a machine with a keyboard, a platen made of vulcanized rubber, and a wooden space bar. E. Remington & Sons purchased the rights and manufacture began in 1874. To avoid jamming typebars with adjacent and commonly used pairs of letters, Sholes and Glidden arranged the keyboard with these first six letters on the left of the top row and other letters distributed based on frequency of use. Their "QWERTY" system is still the standard for arranging letters.

The first Remington typewriter only printed capital letters, but a model made in 1878 used a shift key to raise and lower typebars. The shift key and double-character typeface produced twice as many characters without changing the number of typebars. By 1901, John Underwood was producing a machine that had a backspace, tab, and ribbon selector for raising and lowering the ribbon.

George Blickensderfer produced the first electric typewriter in 1902, but practical electric typewriters were not manufactured until about 1925. In 1961, International Business Machines (IBM) introduced the Selectric electric typewriter. From about 1960 to 1980, the standard typewriter industry in the United States withered away. The IBM Selectric II debuted in 1984, but IBM stopped making electric models in favor of the electronic Wheelwriter in the early 1990s. By this time personal computers were becoming more popular.

By the late 1990s, most of the manual typewriters supplied to the United States came from three firms. Olympia in Germany makes standard portables, Olivetti in Italy makes a standard office typewriter and two portable models, and the Indian firm Godrej & Boyce Manufacturing Company is the largest producer of manual typewriters.

Raw Materials

Carrying cases can be made of wood, steel, or plastic. Steel is the material used for most of the parts in standard models. Typewriters use hundreds to thousands of moving parts, and cold-rolled steel is one of the most reliable materials.

The platen is a steel tube covered with a rubber sleeve. The rubber sleeves are made of a special form of rubber from the "buna-N" family. Glue is used to adhere the rubber sleeve to the platen tube.

The keys were molded of plastic in a two-shot, injection-molding process that made white characters with the surrounding key tops in other colors. From the 1970s forward, a pad printing process has been used to apply the characters in ink and coat the keys with a durable "clearcoat" finish.

Mylar (plastic) ribbons with ink on one side are used to transfer the typeface. These ribbons are contained in plastic cartridges that could be thrown away.

Miscellaneous materials are also used. These include glue, paint, chemical solvents and other fluids, zinc and chromium for plating some components, and acetic acid for building protective coatings on some parts.

Design

Typewriters have several parts that allow them to produce typed papers; the keyboard being the most obvious. Each key is connected to a typebar that lifted a typeface to strike the paper. Each typeface has upper and lower case forms of a letter or numbers and symbols. The assemblage of typebars and typefaces is called the typebasket.

Mylar (a plastic produced in very thin ribbons and coated with ink on the platen side) typewriter ribbon uses ink to transfer images on the typeface to the paper. Its alignment parallels the platen and the paper, and ribbon guides raise the ribbon to print and then lowers it.

The platen stops the typeface but allows enough force to the paper for the image to print. The carriage is a box-like container in the upper, rear part of the typewriter that carries the platen, the lever for carriage returns and line spacing, guides to help direct and grip the paper, and the paper itself. The paper is inserted in a feed rack (paper support) in the back of the carriage, supported and curved up toward the typing surface in a paper table or paper trough, and held against the underside of the platen by two feed rollers.

An escapement (a device that allows motion in only one direction and in precise steps) controls the motion of the carriage to the left after each character was typed. A mainspring in the escapement transmits energy to move the carriage on ball bearings.

To move the paper up after a line of typing is complete, a line-spacing lever rotates the platen toward the rear of the typewriter. The lever is also the carriage-return that disengages the escapement and pushes the carriage back to the right for the new line. Knobs on the ends of the platen are turned so the paper can be removed.

The Manufacturing
Process

• 1 Metal (primarily pre-tempered steel) for typewriter parts arrives as round stock. Round stock is supplied in 10-12-ft-long (3-3.75-m-long) rods of steel, brass, or other metals and in a range of diameters for making screws, bolts, and rivets.
• 2 Rods of round stock are distributed to machines where fabricators mark and cut them to length for rivets, bolts, or screws. Screw machines (lathe-like devices) turn round stock into screws by cutting the threads, points, and heads. Hobs (another type of cutting tool) are often used to cut other fasteners to length and shape.
• 3 The parts are taken to plating or finishing stations where they are treated for protection from wear and rust. Zinc or chromium plating is applied by treating the metal parts in baths of non-metallic solutions that conduct electricity. The parts are subjected to slight electrical charges that cause atoms from small pieces of zinc or chromium to be attracted to them when the baths are given opposite charges. Electrically bonded coatings made up of thin layers of atoms of zinc or chromium protect all surfaces of the metal parts.
• 4 Parts of the typewriter on the inside of each machine are treated in a series of baths of acetic acid to color the metal black. This process of creating the black layer (called black oxide) is something like dyeing clothing; the general term for the process is bluing. After the acetic baths, the metal parts are bathed again in a dip tank containing a type of light oil. The hot oil dries and leaves a protective coating over the black oxide. These treatments protect the parts against rust.
• 5 At finishing stations, exterior parts are polished. Operators apply buffing compounds to buffing wheels on machines and hold the typewriter parts against them. The rotating wheels coat the parts with the compounds and shine the typewriter components. Workers polish very small parts by hand, also using polishing compounds and hand-held buffers.
• 6 Pieces are then riveted or brazed to form complete parts for assembly. Brazing is similar to a soldering process that uses alloys with lower melting temperatures than the metal pieces being joined to avoid melting or warping those pieces. Both brazing and riveting create rigid joins, although rivets are also used when parts have to be free to move. Screws, bolts, and other fasteners also make moveable connections.
• 7 The platen is a specialized subassembly because it requires precision grinding with heavy machinery and the process produces rubber dust. The internal steel tube (sometimes called the axle or shaft) is cut from hollow round stock. It is finished on the outside for easier addition of the rubber and on the ends for smoothness. Similarly, the internal metal rod is also cut from round steel stock. The centers are stamped from steel in sheet form.
• 8 A rubber sleeve is then heated slightly to fit over the platen, and an air press pushes the sleeve over the tube coated with glue. A rod and the two platen centers are added to the steel tube, and fittings are added to hold the rod and centers tightly.
• 9 To make the typefaces, blank pieces of metal called "type slugs" are formed in the machines by vibrating the slugs into die sets bearing the letters and other characters. As the slugs are worked into the dies and hardened, the typefaces are spit out of the machine. Then transferred to the subassembly section where they are soldered on the typebars.
• 10 The rail system uses ball bearings to glide the carriage from left to right. Subassembly of the carriage consists of mounting the rail to the base of the carriage, installing the ball bearings, and attaching the spring and linkages.
• 11 The carriage-return lever extends over the top of the typewriter. Although the it is attached to the carriage to move it, it also has several linkages to the platen, paper handling system, and escapement. The lever and one set of the ends of its linkages are connected to the carriage. The parts of the metal feed rack (also called a paper support) that hold the paper as it is put in the typewriter are assembled, and the rack is attached to the back of the carriage.
• 12 The paper-handling system is another subassembly. It includes the paper trough (also called a paper table), two feed rollers (like miniature platens) that holds the paper against the underside of the platen, the paper-release lever, and a paper-alignment scale (paper bail). The paper-handling system allows the paper to be inserted in the typewriter, held firmly during typing, and rolled out when the page is complete. The paper trough is a U-shaped piece of steel stamped out of sheet stock, curved, and plated.
• 13 The escapement's subassembly is a system of gears, small gears called pinions, springs, chains, pawls, and fasteners. A pawl is a small bar with a tooth at each end that drops into the teeth of a gear, ratchet, or pinion. The pawls move the gear system forward, and the gears advance the escapement rack that pulls the carriage of the typewriter to each space needed for a new typed image. The escapement is assembled
  

  The inner mechanisms of a typewriter.
  in a fitted, tray-like frame that will be set into the inner face of the strong underside of the typewriter jacket. This heavy underside and the arrangement of portions of other subassemblies that would be attached over the escapement protects the sensitive works.
• 14 The subassembly for the typebasket contains many of the 3,200-3,500 parts in the typewriter. The typebasket subassembly holds the typebars with typefaces on their ends as well as the spring system that connects the typebars to the keys. Each typeface is soldered to the end of its typebar. Each typebar has a unique angular bend so its typeface will strike flat against the platen. Like those in the carriage, sets of ball bearings are added to help move the typebars from upper to lower case and back. The assembler inserts the typebars in their positions in the typebasket and attaches the ends at the bottom of the basket to the appropriate springs. The springs will be connected to the keys when the keyboard and typebasket subassemblies are linked to each other during main assembly.
• 15 To begin the keyboard subassembly, the cap of each key is soldered to the correct key lever. The key levers are connected to springs that allow the keys to be depressed. The levers are put in appropriate slots in an internal keyboard frame. The spring system is also mounted to the keyboard frame to be connected with the springs for the typebasket subassembly during main assembly.

Main assembly

• 16 The five key subassemblies of the standard typewriter (the carriage, paper handling system, escapement, typebasket, and keyboard) are put on trucks and moved to the main assembly line where they are added to the typewriter frame.
• 17 Inside the body, the tray-like frame of the escapement is bolted into the inner face of the underside jacket of the typewriter.
• 18 The rail on the underside of the carriage is fixed to its matching half on the upper part of the body frame. The platen is set into place in openings in the carriage frame. A knob is added to the extruding end of the center rod on the right side of the platen; on the left end, a fitting holding the carriage-return and line-spacing lever is fitted on the rod, and is finished with another knob.
• 19 The keyboard and typebasket are inserted, their frames bolted to the body frame. A steel, V-notched typeguide is attached across the half-moon of the typebasket facing the platen; the V-notch provides an opening for the typefaces to strike the platen. The springs for each key and its typebar are linked together.
• 20 The typebars are also connected to the escapement and carriage linkages. To align typebars with the opening in the typeguide and strike the platen at the correct angles, the workers use three-pronged pliers to bend each typebar gently.
• 21 When the jacket of the typewriter is made from steel, it is attached to the main frame. The strong underside of the jacket had been installed on the main frame earlier because it also serves as a support for the escapement subassembly. Two pieces of steel forming lower sides of the jacket around the carriage are attached to the carriage frame. Two upper sides are also mounted on the carriage frame. These match the lower sides to provide round openings for the inner ends of the platen knobs so they can be used to turn the platen. The back and top L-shaped sections of the carriage jacket are attached to the body frame. The sides and top jacket of the keyboard are fastened in place over the keyboard. All of the sidepieces of the jacket are attached to the underside to strengthen the frame and jacket; the firm fit also seals the underside to limit the amount of dust that could enter the interior of the typewriter.

Quality Control

When raw materials are delivered to the typewriter fabrication plant, the receivers log in the materials and compare them to blueprints and specifications provided by design and manufacturing engineers. The quality control engineers also use a number of instruments for determining that parts and materials are acceptable such as verniers (short sliding rulers), micrometers (also called micrometer calipers) that are vice-like gauges for measuring thickness precisely, and height gauges to confirm dimensions.

When the typewriters are complete, a final quality control check is done by actually using each machine to test its performance. Each typewriter is checked for binding keys, print quality, advance of the ribbon, and movement of the carriage, among many other performance characteristics. Its appearance is careful examined for any flaws that might lead to rusting.

Byproducts/Waste

Most of the waste is generated during fabrication. Steel wastes such as the "skeletons" left after stamping or punch pressing and turnings and bushings (fragments) from screw-machine production of rivets and other parts are sold to salvage dealers, or melted and reused.

Plastic parts are used increasingly, plastic runners and rejected parts are also recycled. In the fabrication plant, they are reground, and these plastics were added to new batches of plastic. The percentage of reground plastic in a batch varied depends on the criticality of the part and the decision of the manufacturing engineers.

A large volume of rubber dust was produced when platens were ground round. The dust was carefully controlled and placed in collection boxes. The cooled dust was taken in the collection boxes to landfills. Machine exhaust was hooded to the outside. Minor quantities of other materials were disposed or recycled. Inked ribbons and cassettes containing Mylar ribbons were sometimes rejected and were also disposed in landfills.

The Future

Typewriters have a minor future in the Western World because computers have replaced them almost completely. Some businesses still need typewriters for limited uses, and many people find typewriters more convenient for single or small tasks.

Standard, electric, and electronic typewriters do have some future remaining in developing countries, and manufacturers in Asia and Europe supply this market. Brother makes typewriters in Japan, China has two or three factories, and Godrej & Boyce Manufacturing Company in India is the largest typewriter producer in the world. The Hermes, Olivetti, Olympia, and Royal brands are made in one or two factories in Europe. At the peak of standard typewriter manufacture, Smith Corona dominated production with a 54% market share; the company no longer makes its own typewriters, but, as a small supplier, it purchases them from a factory in Korea.

Rare use of typewriters today and their distinction as truly magnificent machines has made them popular and given them a respected future as collectibles. Antique dealers and other specialists buy and sell rare models on the Internet, and collectors exchange information using newsletters and web sites.

Where to Learn More Books

Bryant, Carl. All About Typewriters and Adding Machines. New York: Hawthorn Books, Inc., 1973.

Davies, Margery. Woman's Place is at the Typewriter: Office Work and Office Workers 1870-1930. Philadelphia: Temple University Press, 1982.

Linoff, Victor M., ed. The Typewriter: An Illustrated History. Dover Publications, 2000.

Periodicals

Frazier, Ian. "Typewriter Man." The Atlantic Monthly Vol. 280, no. 5 (November 1997): 81-92.

Groer, Annie. "True to Type." The Washington Post (3 May 2001): HOI.

Other

"Typewriter History at a Glance." MyTypewritter.com Web Page. December 2001. < http://www.mytypewriter.com >.

Gillian S. Holmes

Read more: http://www.madehow.com/Volume-7/Typewriter.html#ixzz35adMmN4C

Since it has pictures, I'll include the link:

http://www.madehow.com/Volume-7/Typewriter.html

[Andrei]

What about typing on a computer keyboard?

 

This is fun:

 

 

I'll go get an icecream sandwich. Chillin'

[tyler zambori]

This might be fun - a book with pictures!

 

100 years of olivetti typewriters

http://issuu.com/bintphotobooks/docs/100yearsofolivettitypewriters

 

Too bad I can't paste that in, but it's too fancy.

[Sloppy Zhang]

That's a good one, feminists can make the first move and ask a guy out.

 

What's funny is that (at least in my experience) that's still pretty rare.

 

I was hit on rather aggressively the other day by a rather wonderfully pretty, intelligent young woman. I responded rather flirtily, clearly showing interest in being there. But no more, as I'm currently in a relationship.

 

She was giving me the "ask for my number" eyes, the "I want to see you again don't let us just walk away" eyes. And yet... I didn't.

 

Could she have asked me? Why, yes, she could have. The conversation was all going to that point. But... still, she was leading me on to make the first move.

 

So instead I ended the conversation cordially and walked away. She seemed rather disappointed.

[zanshin]

do you remember rock and roll radio?

Edited April 19, 2020 by zanshin

[manitou]

I'm thinking we all need to go to a Derailers Anonymous meeting.

[Sloppy Zhang]

I think more women should feel comfortable to ask a guy out. Being turned down might be a little embarrassing, but I doubt she would have called you derogatory names if you'd politely said no. Probably good for women to understand how being turned down feels too.

 

Well we were kind of calling each other names at that point, but it was all part of the banter

 

Feminists can buy men dinner and tickets to the monster truck rally!

 

The good news is that (at least in my experience) this happens as the relationship progresses.

 

A lot of girls are still in the mindset of "he asked me out, so he should pay." But once she likes you (and you seem like a catch ) she'll pick up some of the tab on a couple of later dates.

 

The second or third date in with my current girlfriend (we didn't really start with formal "dates" so hard to count ) I would pick up the dinner tab, then afterward she'd pick up the drink tab. We didn't really talk about it, she just kind of went for it (bonus points!!)

 

That is the good thing about dating women with their own well paying jobs and then at some point it turns into her picking up all the tab!! (but then we alternate so we both carry some weight)

[Sloppy Zhang]

I'm thinking we all need to go to a Derailers Anonymous meeting.

 

MONSTER TRUCKS!!!

 

 

 

 

I need help

Edited June 24, 2014 by Sloppy Zhang

[Aetherous]

So your advice is to trick them instead? Look at what they go for and emulate that? Wow! So being honest and yourself just went out the window. Are you sure you are the good person you profess to be?

 

This thread kind of exploded while I was at work...

 

But on the ideas that were being discussed of an "entitled" attitude about sexuality and relationships...I totally get that guys will try to understand how women work and try to change themselves in order to try and make it work with them. Not saying it's a good idea, but I truly get it as a single guy.

 

It's natural for men and women to get together. Sex is natural. Developing a good relationship with the other, is a higher form of natural.

 

This idea of Seth's, that a man should not compromise his integrity in order to get something he wants, is great. This is a spiritual forum, so it's natural to discuss a more "spiritual warrior" kind of way of life.

 

A real man can go without sex (or without getting what he thinks he wants, in any area of life) for a while in order to live with integrity. What is the worth of something you got for less than nothing (like getting pretty much a purely sexual relationship, as a result of behaving a way that's not natural to yourself)? For most guys I think it wouldn't be worth that much, after a time of experiencing that kind of thing. Unfulfilling relationships are boring and pointless. Wouldn't it be better to avoid most of the bad relationships that may happen, by having true integrity? It'd be worth more. It'd be more challenging, which makes it worth more (all of the virtues make life harder, yet more rewarding).

 

Here's something to store in the back of your mind: try for a great relationship (where you treat someone well), instead of getting sex. And try to be a great person to everyone you know, instead of just getting a great relationship. In order to receive, you have to give. Live a life of character...a true man isn't concerned with what he can get out of life, he's only concerned with what he does in this life; the former is a reactive or even passive way of living, but the latter is proactive and leads to fulfillment.

 

Some ideas to contemplate.

[Brian]

I'm thinking we all need to go to a Derailers Anonymous meeting.

I think learning how to do it anonymously would just make things worse, manitou.

[Sloppy Zhang]

I think learning how to do it anonymously would just make things worse, manitou.

 

Yeah if we have to show up in person, I won't be able to sign up under multiple names and argue on my own threads.