10 Poems

Touched by An Angel
We, unaccustomed to courage exiles from delight live coiled in shells of loneliness until love leaves its high holy temple and comes into our sight to liberate us into life. egaruoc ot demotsuccanu ,eW thgiled morf selixe ssenilenol fo sllehs ni delioc evil elpmet yloh hgih sti sevael evol litnu thgis ruo otni semoc dna .efil otni su etarebil ot sevirra evoL Love arrives s seisatsce emoc niart sti ni dna and in its train come ecstasie erusaelp fo seiromem dlo old memories of pleasure .niap fo seirotsih tneicna ancient histories of pain. ,dlob era ew fi teY Yet if we are bold, chains of fear raef fo sniahc eht yawa sekirts evol love strikes away the .sluos ruo morf from our souls. We are weaned from our timidity ytidi mit ruo morf denaew era eW In the flush of loves light thgil sevol fo hsulf eht nI we dare be brave evarb eb erad ew And suddenly we see ees ew ylneddus dnA that love costs all we are era ew lla s tsoc evol taht and will ever be. .eb reve lliw dna Yet it is only love evol ylno si ti teY which sets us free. .eerf su stes hcihw

The

O n c e upon a midnight dreary, while I pondered, weak and weary, Over many a quaint and curious volume of forgotten lore, While I nodded, nearly napping, suddenly there came a tapping, As of some one gently rapping, rapping at my chamber door. Tis some visitor, I muttered, tapping at my chamber door - Only this, and nothing more. Ah, distinctly I remember it was in the bleak December, And each separate dying ember wrought its ghost upon the floor. Eagerly I wished the morrow; - vainly I had sought to borrow From my books surcease of sorrow - sorrow for the lost Lenore - For the rare and radiant maiden whom the angels name Lenore - Nameless here for evermore. And the silken sad uncertain rustling of each purple curtain Thrilled me - filled me with fantastic terrors never felt before; So that now, to still the beating of my heart, I stood repeating, Tis some visitor entreating entrance at my chamber door-Some late visitor entreating entrance at my chamber door; - This it is, and nothing more. Presently my soul grew stronger; hesitating then no longer, Sir, said I, or Madam, truly your forgiveness I implore; But the fact is I was napping, and so gently you came rapping, And so faintly you came tapping, tapping at my chamber door, That I scarce was sure I heard you- here I opened wide the door; - Darkness there, and nothing more. Deep into that darkness peering, long I stood there wondering, fearing, Doubting, dreaming dreams no mortals ever dared to dream before; But the silence was unbroken, and the stillness gave no token, And the only word there spoken was the whispered word, Lenore? This I whispered, and an echo murmured back the word, Lenore! - Merely this, and nothing more. Back into the chamber turning, all my soul within me burning, Soon again I heard a tapping somewhat louder than before. Surely, said I, surely that is something at my window lattice: Let me see, then, what thereat is, and this mystery explore - Let my heart be still a moment and this mystery explore; - Tis the wind and nothing more. Open here I flung the shutter, when, with many a flirt and flutter, In there stepped a stately raven of the saintly days of yore; Not the least obeisance made he; not a minute stopped or stayed he; But, with mien of lord or lady, perched above my chamber door - Perched upon a bust of Pallas just above my chamber door-Perched,andsat,andnothingmore.Thenthisebonybirdbeguilingmysadfancyintosmiling,Bythegraveandsterndecorumofthe countenance it wore. Though thy crest be shorn and shaven, thou, I said, art sure no craven, Ghastly grim and ancient raven wandering from the Nightly shore - Tell me what thy lordly name is on the Nights Plutonian shore! Quoth the Raven, Nevermore. Much I marvelled this ungainly fowl to hear discourse so plainly, Though its answer little meaning- little relevancy bore; For we cannot help agreeing that no living human being Ever yet was blest with seeing bird above his chamber door - Bird or beast upon the sculptured bust above his chamber door, With such name asNevermore.Buttheraven,sittinglonelyontheplacidbust,spokeonlyThatoneword,asifhissoulinthatonewordhedid o u t p o u r. Nothing further then he uttered- not a feather then he fluttered - Till I scarcely more than muttered, other friends have flown before - On the morrow he will leave me, as my hopes have flown before. Then the bird said, Nevermore. Startled at the stillness broken by reply so aptly spoken, Doubtless, said I, what it utters is its only stock and store, Caught from some unhappy master whom unmerciful Disaster Followed fast and followed faster till his songs one burden bore - Till the dirges of his Hope that melancholy burden bore Of Never - nevermore. But the Raven still beguiling all my fancy into smiling, Straight I wheeled a cushioned seat in front of bird, and bust and door; Then upon the velvet sinking, I betook myself to linking Fancy unto fancy, thinking what this ominous bird of yore - What this grim, ungainly,ghastly,gauntandominousbirdofyoreMeantincroakingNevermore.ThisIsatengagedinguessing,butnosyllableexpressing Tothe fowl whose fiery eyes now burned into my bosoms core; This and more I sat divining, with my head at ease recliningOnthecushions velvetliningthatthelamplightgloatedoer,Butwhosevelvetvioletliningwiththelamplightgloatingoer,Sheshallpress,ah,nevermore!Then methought the air grew denser, perfumed from an unseen censer Swung by Seraphim whose footfalls tinkled on the tufted floor. Wretch, I cried, thy God hath lent thee - by these angels he hath sent thee Respite - respite and nepenthe, from thy memories of Lenore: Quaff, oh quaff this kind nepenthe and forget this lost Lenore! Quoth the Raven, Nevermore. Prophet! said I, thing of evil! - prophet still, if bird or devil! Whether Tempter sent, or whether tempest tossed thee here ashore, Desolate yet all undaunted, on this desert land enchanted - On this home by horror haunted- tell me truly, I implore - Is there - is there balm in Gilead? - tell me - tell me, I implore! Quoth the Raven, Nevermore. Prophet! said I, thing of evil - prophet still, if bird or devil! By that Heaven that bends above us - by that God we both adore - Tell this soul with sorrow laden if, within the distant Aidenn, It shall clasp a sainted maiden whom the angels name Lenore - Clasp a rare and radiant maiden whom the angels name Lenore. Quoth the Raven, Nevermore. Be that word our sign in parting, bird or fiend, I shrieked, upstarting - Get thee back into the tempest and the Nights Plutonian shore! Leave no black plume as a token of that lie thy soul hath spoken! Leave my loneliness unbroken!- quit the bust above my door! Take thy beak from out my heart, and take thy form from off my door! Quoth the Raven, Nevermore. And the Raven, never flitting, still is sitting, still is sitting On the pallid bust of Pallas just above my chamber door; And his eyes have all the seeming of a demons that is dreaming, And the lamplight oer himstreaming throws his shadow on the floor; And my soul from out that shadow that lies floating on the floor Shall be lifted - nevermore!

v e n a R

Some say the world will end i Some say n fire, in ice. From wh at I've tas ted of des I hold wit ire h those w ho favor f ire.

e r i F
ice, w t h s peri o t ate d h a f h o t i h noug But if e w n ice o o n i t k c I u estr d I think r o f great t o a s h l t a Is ce. To say i f f u s uld o w d An

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One eetheart; d bonny sw The win kiss, my ing light. t, the morn ize tonigh ld before trees, after a pr sty Im yellow go gu day, with the on the ough the ck up thr ba ss me be , seas d harry darkne But I shall cloudy arply, an rrent of ess me sh ed upon pr was a to ss y to r, the moo Yet if galleon light, purple by moon ghostly ing the k for me n was a g-ht loop Then loo The moo r the way. light, me ridin moonlig by moon should ba man ca bon of ugh hell ghway tch for me as a rib hi gw Wa e in th id ad light, tho And The ro e by moon Riding--r the to . Ill come r hand, inn door reach he the old rce could e a brand g, up to ps; he sca e burnt lik the stirru me ridin nt! His fac upright in man ca me od ay se w sto ca breast, gh He the The hi ng oer his s chin; r hair in bli hi he d tum at ne se came of lace But she loo of perfume bunch e-skin. ck waves , and a do bla ad t ne ht ee he lig es of As the sw his fore the moon breech hat on waves in s thigh! et, and cocked ), the west. kissed its up to hi et velv French Then he moonlight! d away to s were the clar Hed a ves in the d gallope kle-his boot coat of t black wa onlight, an ed twin rinkle; ee el Hed a mo w sw w a je the (O r neve reins in with a ith his de w eat ro kl d d in ge tte tw And he They And he tug er hilt aat noon. His rapi sky. not come jeweled ing; he did der the moon, the dawn rise of the inkle, un t come in tw the no e adid He or, l butts nset, befor purple mo tawny su His pisto , n over the n-yard out of the bo in d rib An rk da gypsys d in the ad was a , d clashe barred en the ro ing-an d Wh rch d an ma re atte cked came l was lo at troops les he cl there , but al e cobb The redco waiting inn-door. Over th shutters g-ould be on the to the old --marchin er-who sh s whip Marching rching, up daught with hi w, and ed do ed n came ma in ey pp w He ta blackorges me to the s Ge -g rd ne er lo tu Kin ht ug land instead, stled a rds da k his ale But the He whi rrow bed. e landlo they dran t of her na Bess, th k hair. landlord; ng blac rd to the r to the foo lo wo he r d no he un id bo They sa not into ir side; hter and -k the ug ve da by lo skets red gagged his a dark nt, with mu But they d Plaiting her caseme t creake m knelt at e-wicke Two of the a stabl ndow, every wi n-yard aked-in at pe d d ath ol De an s te uld ride. the dark , There wa was whi y, that he wo Dark in rk window -his face the road ouldy ha at one da listenedcasement, ir like m And Hell e ostler ough her ss, his ha er-Tim, th uld see, thr madne daught co s of ss s Where rd Be w lo r llo Fo ng jest! e land were ho er; a sniggeri loved th daught His eyes with many st! But he k-eyed her brea attention, rds blac y: l beneath her up at lo sa d rre nd un er ba n say, la bo The e robb with the dead ma They had side her, heard th heard the her. She d a rie be and he d tie d, se d kis ne ha te They d they an g he lis ! tch do a wa t, as ep good Dumb e tonigh Now ke r a priz onlight, Im afte me by mo light. theart; Look for orning y swee r the way. moonlight, re the m y bonn fo by m should ba , be me y, ss ugh Hell w gold Watch for One ki h the da llo ug ye onlight, tho ro e with th y me th thee by mo rr ck , to ha ht ba d me ig Ill co all be good! moonl arply, an But I sh ots held me by s me sh all the kn ok for ey pres blood! her, but nlight, Then lo Yet if th sweat or s behind by moo ars, wet with her hand for me by like ye ers were . e twisted Watch ng ay Sh s crawled r w he e nds till d the hour bar th ha an r ld s, he es ou ed hell sh e writh the darkn Sh in gh ed ou th ain str nlight, hed and by moo , They stretc r hand e to thee midnight, ach he Ill com stroke of could re Till, on the t, rs! scarce brand he st was he a of midnigh e s; e lik ok up t str gger at lea the stirr ce burn ld on the in fa it! The tri Co s ht st, Hi uprig er touched s brea ment! od ng hi se e sto er ca on o e He th rest; The tip of mbling hair in tu the r e ht for he m ig re ca nl rfume ove no mo loosened the moo it, she str es of pe But she r breast. aves in touched ht!), ack wav neath he ed its w one nger barrel be he kiss moonlig sweet bl of e e the en tip th th th e Th wi in Th As again, waves attention, est. not strive t black od up at to the w e would (O swee Up, she sto aring, sh d away k their he gallope ris d t no an , ight She would moonlight, e moonl re in the ins in th noon. ad lay ba refrain. at his re For the ro come at her loves light, tugged did not obbed to the moon And he light, thr d bare in ning; he moon, an w e th nk da the moon e Bla of e in th e rise r veins, in m th he co re in t fo r, od no be blo le moo He did And the sunset, ging clear; the purp tawny oves, rin n over t of the e horse-ho ing-not hear? ys ribbo And ou ard it? Th e march t they did a gyps d they he ops cam y deaf tha ad was t tlot! Ha tro the ro tlo t e re t, goa th tlo in We t Tlo When -march The redc distance! hill, gthe the in in of ch t, Mar brow tlot tlo . over the Tlot tlot, n-door moonlight, e old in ribbon of up to th Down the arching, ing-came m n came rid ma en ay m s hw d still. eorge The hig stead, straight an King G s ale in stood up iding-drank hi ing! She Riding--r bed. rd; they their prim lo ow to rr d nd la ke na the ats loo of her ord to The redco e; ht! the foot id no w hoing nig their sid d her to They sa t, in the ec kets by d boun e! Tlot tlo ith mus hter an w, sty silenc ment, w e a light! his daug y windo se er ed ca r ev in the fro gg t, e was lik ga Tlot tlo elt at he ep breath, r! Her fac Death at , kn de are w as t But they ne w las em do d e th one win Ther came an Two of e dark she drew Nearer he ll at on a moment, And He wide for ld ride. light-he wou eyes grew on r at He mo th ved in the the road nger mo ath. sement, Then her onlight-ith her de h her ca d the mo ed him--w jest! e, throug et shattere and warn gering could se Her musk moonlight y a snig the an in For Bess m st her brea breast! ion, with od Shattered ath her at attent ow who sto el bene d her up say, did not kn the barr blood! d boun ad man r, with West; he own red They ha side he ed in her d the de red to the be ch ur ar e en sp , he dr he ri ht e turned, her. Sh casement, ar moonlig d tied a He he ed the ha by to r ss e ki ey ey oe Th ad rm e grew gr and they th her he Look fo nlight, and his fac Bowed, wi watch! by moo he hear it, ep good for me dawn did Now ke Watch bar the hter, Not till the should rds daug ll dlo He lan re. the though rkness the trees, How Bess, ughter, nlight, in the da e gusty -eyed da by moo and died upon th rds black e to thee moonlight, rkness seas, The landlo the da in dy e of Ill com t ou r lov torren upon cl ed for he d was a tossed r, Had watch the sky, le moo The win galleon curse to e purp ghostly rieking a hed high! oping th n was a dman, sh ier brandis nlight lo ridingThe moo oo e like a ma m m ca of red and his rap n t coat , he spur ayman hind him ck a ribbo w be Ba s his velve gh as hi gw ing e idin ne-red wa wi road smok And th , The road on ite Riding--r no wh golden With the the . in or s ur sp d inn do ay, d were his to the ol Blood-re the highw ing, up down in came rid y shot him at his When the ay, wayman h of lace in; the highw ch The high in s the bunc g hi do at ea ay, with Down lik h of lace the highw blood in d a bunc skin. his ean in , do ad ne he And he lay es of his fore breech h! hat on et, and his thig cocked trees, throat. et velv e up to French nd is in the the clar ots wer Hed a en the wi coat of e; his bo twinklekl ed y say, wh , rin Hed a el w w udy seas night, the clo rs ith a je never a w on nte ith up wi de ew d ro on a tosse tted twinkl And still And he or, They tly galleon er hilt apurple mo is a ghos the His rapi on g y. mo sk pin bon loo weled When the r the je gypsys rib e, unde road is a a-twinkl When the riding-l butts n comes His pisto , hwayma rd hig ya e nTh oor. dark in old inn-d d in the iding-, , up to the Riding--r d clashe barred mes riding ed and tered an ayman co s he clat was lock The highw there rd, cobble but all g , e rs th tin r te ai rk inn-ya Ove be w e shut in the da should p on th d clangs d hter-d who his whi clatters an locked an ed daug dow, an ed with cobbles he ack-ey , but all is the win the bl He tapp ers to er s utt -Ov sh rd ne tu on the ughter landlo stled a his whip rds da But the He whi taps with e landlo He th , ir. ss ha Be k ould be ng blac d who sh to her lo barred, ndow, an -knot in e to the wi red love les a tun a dark He whist d ke Plaiting ea cr re wicket daughter-waiting the stable-ck-eyed yard a peaked dlords bla old innte and But the lan the dark hter-was whi hair. hay, rds daug Dark in y is face dlo ld -h lan ou long black dem Bess, the listene t into her s hair lik love-kno e ostler hter-ness, hi Tim, th dark red s daug s of mad Where Plaiting a hollow landlord e e er th ; w d er ht love His eyes ed daug But he ack-ey y: lords bl bber sa The land d the ro he hear d an listened, he g as a do Dumb

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If you were only one inch tall, youd ride a worm to school. A crumb of cake would be a feast And last you seven days at least, A flea would be a frightening beast If you were one inch tall. If you were one inch tall. And last you seven days at least, A flea would be a frightening beast A crumb of cake would be a feast

If you were only one inch tall, youd ride a worm to school.

The teardrop of a crying ant would be your swimming pool.

The teardrop of a crying ant would be your swimming pool.

If you were only one inch tall, youd walk beneath the door, A bit of fluff would be your bed, Youd swing upon a spiders thread, And wear a thimble on your head If you were one inch tall.

If you were only one inch tall, youd walk beneath the door,

And it would take about a month to get down to the store.

And it would take about a month to get down to the store.

A bit of fluff would be your bed,

Youd swing upon a spiders thread,

And wear a thimble on your head

If you were one inch tall.

Youd surf across the kitchen sink upon a stick of gum. Youd run from peoples feet in fright, To move a pen would take all night, Cause Im just one inch tall).

Youd surf across the kitchen sink upon a stick of gum. You couldnt hug your mama, youd just have to hug her thumb. Youd run from peoples feet in fright, To move a pen would take all night, (This poem took fourteen years to write-Cause Im just one inch tall).

You couldnt hug your mama, youd just have to hug her thumb.

One Inch Tall

(This poem took fourteen years to write--

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Gold
All That is

Does Not Glitter

All that is gold does not glitter, Not all those who wander are lost; The old that is strong does not wither, Deep roots are not reached by the frost. From the ashes a f ire shall be woken, A light from the shadows shall spring; Renewed shall be blade that was broken, The crownless again shall be king.

Let me die a youngman's death not a clean and inbetween the sheets holywater death not a famous-last-words peaceful out of breath death When I'm 73 and in constant good tumour may I be mown down at dawn by a bright red sports car on my way home from an allnight party Or when I'm 91 with silver hair and sitting in a barber's chair may rival gangsters with hamfisted tommyguns burst in and give me a short back and insides

Let Me Die a Youngman's Death

Or when I'm 104 and banned from the Cavern may my mistress catching me in bed with her daughter and fearing for her son cut me up into little pieces and throw away every piece but one Let me die a youngman's death not a free from sin tiptoe in candle wax and waning death not a curtains drawn by angels borne 'what a nice way to go' death

The most important thing weve learned, So far as children are concerned, Is never, never, never let Them near your television set -Or better still, just dont install The idiotic thing at all. In almost every house weve been, Weve watched them gaping at the screen. They loll and slop and lounge about, And stare until their eyes pop out. (Last week in someones place we saw A dozen eyeballs on the floor.) They sit and stare and stare and sit Until theyre hypnotised by it, Until theyre absolutely drunk With all that s h o c k i n g ghastly junk. Oh yes, we know it keeps them still, They dont climb out the window sill, They never fight or kick or punch, They leave you free to cook the lunch And wash the dishes in the sink -But did you ever stop to think, To wonder just exactly what This does to your beloved tot? It rots the sense in the head! It kills imagination dead! It clogs and clutters up the mind! It makes a child so dull and blind He can no longer understand A fantasy, a fairyland! His brain becomes as soft as cheese! His powers of thinking rust and freeze! He cannot think -he only sees! All right! Youll cry. All right! Youll say, But if we take the set away, What shall we do to entertain Our darling children? Please explain!

Well answer this by asking you, What used the darling ones to do? How used they keep themselves contented Before this monster was invented? Have you forgotten? Dont you know? Well say it very loud and slow: They ... Used ... To ... Read! Theyd read and read, And read and read, and then proceed To read some more. Great scott! Gadzooks! One half their lives was reading books!

Television
The nursery shelves held books galore! Books cluttered up the nursery floor! And in the bedroom, by the bed, More books were waiting to be read! Such wondrous, fine, fantastic tales Of dragons, gypsies, queens, and whales And treasure isles, and distant shores Where smugglers rowed with muffled oars, And pirates wearing purple pants, And sailing ships and elephants,

And cannibals crouching round the pot, Stirring away at something hot. (It smells so good, what can it be? Good gracious, its penelope.) The younger ones had beatrix potter With mr. Tod, the dirty rotter, And squirrel nutkin, pigling bland, And mrs. Tiggy-winkle andJust how the camel got his hump, And how the monkey lost his rump, And mr. Toad, and bless my soul, Theres mr. Rate and mr. MoleOh, books, what books they used to know, Those children living long ago! So please, oh please, we beg, we pray, Go throw your tv set away, And in its place you can install A lovely bookshelf on the wall. Then fill the shelves with lots of books, Ignoring all the dirty looks, The screams and yells, the bites and kicks, And children hitting you with sticksFear not, because we promise you That, in about a week or two Of having nothing else to do, Theyll now begin to feel the need Of having something to read. And once they start -- oh boy, oh boy! You watch the slowly growing joy That fills their hearts. Theyll grow so keen Theyll wonder what theyd ever seen In that ridiculous machine, That nauseating, foul, unclean, Repulsive television screen! And later, each and every kid Will love you more for what you did.

10 Articles

A Brief History of Cinema

Preceding film by thousands of years, plays and dances had elements common to film: scripts, sets, costumes, production, direction, actors, audiences, storyboards, and scores. Much terminology later used in film theory and criticism applied, such as mise en scene (roughly, the entire visual picture at any one time). Moving visual and aural images were not recorded for replaying as in film. Anthemius of Tralles used an early type of camera obscura in the 6th century. The camera obscura was further described by Alhazen in his Book of Optics and later near the year 1600, it was perfected by Giambattista della Porta. Light is inverted through a small hole or lens from outside, and projected onto a surface or screen, creating a moving image, but it is not preserved in a recording. In the 1860s, mechanisms for producing twodimensional drawings in motion were demonstrated with devices such as the zoetrope, mutoscope and praxinoscope. These machines were outgrowths of simple optical devices (such as magic lanterns) and would display sequences of still pictures at sufficient speed for the images on the pictures to appear to be moving, a phenomenon called persistence of vision. Naturally the images needed to be carefully designed to achieve the desired effect, and the underlying principle became the basis for the development of film animation. With the development of celluloid film for still photography, it became possible to directly capture objects in motion in real time. An 1878 experiment by English photographer Eadweard Muybridge in the United States using 24 cameras produced a series of stereoscopic images of a galloping horse, is arguably the first motion picture, though it was not called by this name. This technology required a person to look into a viewing machine to see the pictures which were separate paper prints attached to a drum turned by a handcrank. The pictures were shown at a variable speed of about 5 to 10 pictures per second, depending on how rapidly the crank was turned. Commercial versions of these machines were coin operated.

By the 1880s the development of the motion picture camera allowed the individual component images to be captured and stored on a single reel, and led quickly to the development of a motion picture projector to shine light through the processed and printed film and magnify these moving picture shows onto a screen for an entire audience. These reels, so exhibited, came to be known as motion pictures. Early motion pictures were static shots that showed an event or action with no editing or other cinematic techniques. Ignoring Dicksons early sound experiments (1894), commercial motion pictures were purely visual art through the late 19th century, but these innovative silent films had gained a hold on the public imagination. Around the turn of the 20th century, films began developing a narrative structure by stringing scenes together to tell narratives. The scenes were later broken up into multiple shots of varying sizes and angles. Other techniques such as camera movement were realized as effective ways to portray a story on film. Rather than leave the audience in silence, theater owners would hire a pianist or organist or a full orchestra to play music fitting the mood of the film at any given moment. By the early 1920s, most films came with a prepared list of sheet music for this purpose, with complete film scores being composed for major productions. The rise of European cinema was interrupted by the outbreak of World War I when the film industry in United States flourished with the rise of Hollywood, typified most prominently by the great innovative work of D.W. Griffith in The Birth of a Nation (1914) and Intolerance (1916) . However in the 1920s, European filmmakers such as Sergei Eisenstein, F. W. Murnau, and Fritz Lang,in many ways inspired by the meteoric war-time progress of film through Griffith, along with the contributions of Charles Chaplin, Buster Keaton and others, quickly caught up with American film-making and continued to further advance the medium. In the 1920s, new technology allowed filmmakers to attach to each film a soundtrack of speech, music and sound effects synchronized with the action on the screen. These sound films were initially distinguished by calling them talking pictures, or talkies.

The next major step in the development of cinema was the introduction of so-called natural color. While the addition of sound quickly eclipsed silent film and theater musicians, color was adopted more gradually as methods evolved making it more practical and cost effective to produce natural color films. The public was relatively indifferent to color photography as opposed to black-and-white,[citation needed] but as color processes improved and became as affordable as black-and-white film, more and more movies were filmed in color after the end of World War II, as the industry in America came to view color as essential to attracting audiences in its competition with television, which remained a black-and-white medium until the mid-1960s. By the end of the 1960s, color had become the norm for film makers. Since the decline of the studio system in the 1960s, the succeeding decades saw changes in the production and style of film. Various New Wave movements (including the French New Wave, Indian New Wave, Japanese New Wave and New Hollywood) and the rise of film school educated independent filmmakers were all part of the changes the medium experienced in the latter half of the 20th century. Digital technology has been the driving force in change throughout the 1990s and into the 2000s.

rcadias beginnings go back over 3,000 years to the Tongva/ Gabrielino Native American settlement whose members were attracted to the water rich, ripe Southern California land in which to hunt and gather. Arcadia saw its first notable settler in Hugo Reid who was deeded the land by the Spanish government, making him the first individual land owner of the area and the first to make a modern impact on the land by stocking cattle and building the first structure. A succession of owners followed and the one who made a lasting impression on the area was Elias J. Lucky Baldwin who in 1875 bought a large area of land including what is known as Arcadia for $200,000 ($25 an acre). When Lucky Baldwin first saw the land of Arcadia with its beautiful foothill landscape, lush greenery and oak trees, fertile growing land and acres full of potential, Lucky Baldwin was amazed and declared By Gads! This is paradise. Upon buying the land, Lucky chose to make the area his home and immediately started erecting buildings and cultivating the land for farming, orchards and ranches. It didnt take log before he turned his sights to cityhood for the blossoming area he named Arcadia. With a population of 500 and a booming economy that was somewhat based on entertainment, sporting, hospitality and gambling opportunities, Arcadia became a city in 1903. Since then, Arcadia has grown and matured into a city in which Lucky would have been proud - one of distinction, heritage, success and beauty.

A R C A D I A

cted its rst classes in 19 the cooperati 55, through ve efforts of the Archdioc of Los Angele ese s, the Salesia ns of Saint Bosco, and John the industria l leaders of Greater Los the Angeles Metr opolitan are In 1963, the a. Institute was incorporated private non-pro as a t California co rporation. In 1 Bosco Tech op 969, ened its colleg e and establish Five-year pro ed a gram which gave students opportunity to the complete min imum second requirements ary in three years followed by a two-yea r program leading to an

Don Bosco T echnical Insti tute condu

Associate in Science degree . Today all students earn a high school by taking a fo diploma ur-year colleg e prep progra studies which c m of ombines a chall enging curricu of both aca lum demic and technical cou rses.

Coffee
is a brewed drink prepared from roasted seeds, commonly called coffee beans, of the coffee plant. They are seeds of coffee cherries that grow on trees in over 70 countries. Green unroasted coffee is one of the most traded agricultural commodities in the world. Due to its caffeine content, coffee can have a stimulating effect in humans. Today, coffee is one of the most popular beverages worldwide. The energizing effect of the coffee bean plant is thought to have been discovered in the northeast region of Ethiopia, and the cultivation of coffee first expanded in the Arab

Coffee

world. The earliest credible evidence of coffee drinking appears in the middle of the fifteenth century, in the Sufi monasteries of Yemen in southern Arabia. From the Muslim world, coffee spread to Italy, then to the rest of Europe, to Indonesia, and to the Americas. Coffee has played a crucial role in many societies throughout history. In Africa and Yemen, it was used in religious ceremonies. As a result, the Ethiopian Church banned its secular consumption, a ban in effect until the reign of Emperor Menelik II of Ethiopia. It was banned in Ottoman Turkey during the 17th century for political reasons, and was associated with rebellious political activities in Europe. Coffee berries, which contain the coffee seed, or bean, are produced by several species of small evergreen bush of the genus Coffea. The two most commonly grown are the highly regarded Coffea arabica, and the robusta form of the hardier Coffea canephora. The latter is resistant to the devastating coffee leaf rust (Hemileia vastatrix). Both are cultivated primarily in Latin America, Southeast Asia, and Africa. Once ripe, coffee berries are picked, processed, and dried. The seeds are then roasted to varying degrees, depending on the desired flavor. They are then ground and brewed to create coffee. Coffee can be prepared and presented in a variety of ways. An important export commodity, coffee was the top agricultural export for twelve countries in 2004, and it was the worlds seventh-largest legal agricultural export by value in 2005. Some controversy is associated with coffee cultivation and its impact on the environment. Many studies have examined the relationship between coffee consumption and certain medical conditions; whether the overall effects of coffee are ultimately positive or negative has been widely disputed. The method of brewing coffee has been found to be important to its health effects.

DES
D
esign is everything. From the smallest insect, to the tallest skyscrapers, design is a huge part of this world. Everything in nature was designed by millions of years' worth of evolution and progress. Everything manmade was created by theoretically the most evolved creatures in nature: humans. At the bottom of it all, design is an inherent human ability to create, alter, and give birth to the world around him. Every morning, we all wake up and design what kind of person we are going to present to other people. It is part of performativity that we all take part in and think about every single day. Try going to the gym and you will find people

IGN
working hard to design themselves a better body. Design has thrived as a means of communication in the modern world. Every single day we are overwhelmed with advertisements designed specifically to pique our interest. There are television shows based on the very concept of design. This aspect of design has become the most prevalent, but in no way does it describe the whole thing. With design, mere humans can become gods. Even something as simple as moving a rock is already influencing the design of the world. It is difficult to quantify a grand concept such as design. Which is why there is only one way to really describe it: Design is everything.

TI KI

There are many relics available from the tiki craze of the 1940's, 1950's, and 1960's. Collectors enjoy the kitschy, often over-the-top nature of such items. They can also be used to decorate your home or bedroom. By far the most popular collectible is the tiki mug. In fact, several books have even been written specifically about them. They are the most instantly recognizable feature of retro tiki culture, and were used in themed bars and restaurants across this country. Because of this, they are still readily available in antique shops, thrift stores, and similar locations. Since they are so popular, tiki mugs can also be purchased new, especially in souvenir shops or those offering tiki dcor. Usually ceramic, with tropical colors, the serious collector may see a staggering variation among available designs. These mugs are great to display, but even better to keep at your bar to serve tropical drinks, as they were meant to be used. Bar menus, drink stirrers, coasters, and other relics of popular tiki bars, including Trader Vic's, Don the Beachcomber's, and numerous local restaurants once located in nearly every city across the U.S., are also popular with collectors. As the restaurants from the heyday of the craze began closing, items from these establishments, including signs, ashtrays, and anything else with the name of the bar or restaurant, quickly became hot commodities among those lamenting the

demise of these fun and unique places. Today, items from famous tiki restaurants are some of the rarest and most sought-after tropical collectibles. If you look hard enough, many different tiki-themed items can be found, especially in advertising, due to the popularity of tiki memorabilia at that time. Matchbooks, calendars, and other ephemera remain popular among collectors. Those who collect tropical memorabilia often collect postcards sent from Hawaii and similar locations during the time period of the tiki craze because they often depict retro scenes with huts, masks, or totems. Surprisingly, vintage Hawaiian shirts can also be quite collectible, as can vintage tiki-themed souvenirs from Hawaii and other island destinations. Other themed souvenirs come from the Enchanted Tiki Room or the Polynesian Resort, two Disneyland attractions. Tiki music from this era is preserved on records bearing exotic-sounding names by artists like Martin Denny, Arthur Lyman, and Les Baxter. These records, known for their island beats, usually have tiki or island-themed covers, too. Other popular tiki items include carved masks and statues. These are sought after by collectors who want their own home to have tropical style. They don't need to be vintage or rare to be enjoyed by many who simply want to bring a little island style to the mainland.

Today, the area of tiki collectibles is growing rapidly, in part due to the revival of the culture. As new tikithemed bars and restaurants begin to open, more and more people will be drawn to the charm of vintage collectibles, and more items will be available for new collectors to add to the dcor in their homes. People collect tiki memorabilia mainly because they love the imagery involved with the commercialization of tiki culture.

Black Mamba
Kobe Bryant was born on August 23rd 1978 in Philadelphia, Pennsylvania to Pamela and Joe Bryant (A former NBA player). Kobe learned the fundamentals of basketball in Italy when he was just a boy and chose to concentrate solely on basketball when he had his growth spurt at around 11 years old. He dreamt of going straight to the NBA from high school and continued to improve his skills from 11 to age 13 when he knew he could play anyone. By the time he was 14 he was beating his former NBA dad one-onone and knew that basketball was the sport for him. His high school team was a big transition for him when the team went from worst to first, to state champion during his fours years with them. Kobe was in school with a young girl who's dad was a coach for the 76ers and later got a chance to perform in front of him which led to him working out with them (He still works with the same coach today). He did as he dreamed and went straight from high school to the pros in 1996. He was transferred from Charlotte Hornets to LA Lakers and was a significant contributor as the Lakers won 56 games in 19961997. He scored double figures 25 times and also grabbed the spotlight at the All-Star Weekend by winning the Nestle Crunch

Slam Dunk and leading all players with an event-record 31 points in the Schick Rookie Classic. In 1997 Kobe was the youngest ever player to start an NBA game. In 1998 he was voted a starter for the AllStar Game making him at 19 the youngest All-Star in NBA history. In 1998-1999 he started all 50 games for the LA Lakers (which noone else did) and averaged 19.9 ppg which put him second on the team. The 2000 - 2001 season heralded more successes as the Lakers finished with a 56-26 record and Kobe reached a new career high with an average of 28.5 points, 6 rebounds and 5 assists per game. This year they met the New Jersey Nets in the finals where they won their second title.

This consistency continued into the 2001 - 2002 season with Bryant named as MVP of the 2002 All-Star game. The Lakers record bettered the previous year finishing up at 58-24 and Kobe averaged 25 points, 5.5 rebounds and 5.5 assists per game. Partnered with O'Neal the prodigious pair led the Lakers to their third title with a victory against the New Jersey Nets.

This wasn't to be repeated in the 2002 - 2003 season. Despite Kobe having his best season yet with an average of 30 points per

he believed their encounter to be consensual but that that Faber "did not and does not view this incident the same way that I did." He later

game the Lakers failed to make it past the playoffs, falling to the San Antonio Spurs. In the summer of 2003 Bryant reached a peak of media frenzy but this time relating to allegations off the Basketball court rather than successes on it. A young woman called Katelyn Faber, an employee at a hotel where Bryant had stayed, filed a sexual assault claim against the Lakers star, in which she accused Bryant of raping her. Investigation continued into the 2003 - 2004 NBA season before Katelyn Faber withdrew her support for the criminal prosecution. Speculation at the time and since has suggested that this was due to the fear of her personal life been publicly examined. As part of this withdrawl Kobe released a statement in which he said that

settled a civil law suit with her. Despite the case not making it through to criminal prosecution a significant amount of damage had been done to what had previously been a clean public image regardless of his on-court critics. Further conict, this time inside the Lakers team bewteen Bryant and Oneal over leadership issues further damaged his image but this has not stopped him having some major endorsement deals over the years including giants such as McDonald's, Adidas, Coca-Cola and Nike. Back on the court, in the 2003 - 2004 season Bryant opted out of his contract becoming a free agent. This meant that he could leave for another team if he desired. Conict inside the team at this time had further tarnished his

public image and the rift between O'Neal and Bryant eventually became complete - O'Neal demanded a transfer and Kobe took his seat at the helm. His first season as "leader" in 2004 - 2005 was a difficult one. He was severely scrutinized following what had now been a tumultuous couple of years. The Lakers missed the playoffs for the first time in a decade and Bryant failed to make the NBA-All Defensive Team and was demoted to the All-NBA Third Team. With the sudden resignation of Rudy Tomjanovich as head coach during that season, the 2005 2006 season saw the return of Phil Jackson as LA Lakers coach. Surmounting their past differences Bryant and Tomjanovich worked hard to get the Lakers back to the playoffs. This they managed and although they didn't make it beyond the first round It may be that the Lakers now have their darkest hours behind them and that they will soon be back to the magical ways of the 1999 - 2001 season - this time with Bryant leading the way. Kobe is currently ranked #1 in the world and continues to push his game to perfection. Regardless of the public scrutiny he has received his career highlights show just how good he is on the court.

usic

Many studies have been conducted to find the deeper benefits of listening to and playing music. From sci-fi notions of increased fetal development to everyday emotional healing, the growing field of music therapy is presenting increasing amounts of evidence that points toward the greater powers of music.

Emotional benefits The right song can put anybody in a better mood and soothe emotional turmoil. We all go through our phases, and most people will turn to certain songs to improve their moods. The main reason behind this phenomenon is that music has the ability to verbalize and express our feelings better than any other medium. Additionally, we have favorite songs for particular situations because we tune into the melodies that capture our vibe the best.To enhance the relationship between your emotional state and music, try creating associations among songs and moods. This way, when you feel a certain way, you will know exactly which song or CD to listen to in order to give you the lift or the calm you need in any given moment. Music and exercise Have you ever noticed how pumped you get when listening to an AC/DC song while doing a chest press at the gym? Now flip your iPod to Nana Mouskouri and take note of how much heavier those plates got. It has been suggested that stimulating music can actually increase muscle tension, while sedative music decreases the muscle tension.It has also been documented that music can improve motor skills. An experiment conducted on a handful of elementary students proved that children learning basic motor skills such as throwing, catching and jumping while listening to music did better than those who practiced the same exercises with n o music. Maybe if MLB players were given some headphones during a losing season, such as the Royals in 2006, they could turn that season around.

Chronic pain relief Music has the ability to ease the perception of chronic pain. In fact, according to a paper in the Journal of Advanced Nursing, music can reduce chronic pain by up to 21%. The paper reports that 60 patients participated in a controlled clinical trial and were subdivided into two groups -- music and no music. The results revealed that people who listened to music for an hour each day for a week had improved physical and psychological symptoms compared to those who were deprived of music.As stated earlier, music can put you in a better mood, which can advance recovery time since a positive-thinking patient almost always recovers better and faster than a patient filled with negative energy. Music shouldnt be considered a first-line treatm e n t for your chronic pain, but once medical treatment is underway, a healthy dose of your favorite tracks can help ease the suffering.

W E B

Web design is the skill of creating presentations of content (usually hypertext or hypermedia) that is delivered to an enduser through the World Wide Web, by way of a Web browser or other Web-enabled software like Internet television clients, microblogging clients and RSS readers. The intent of Web design is to create a website-a collection of electronic documents and applications that reside on a Web server/servers and present content and interactive features/interfaces to the end user in form of Web pages once requested. Such elements as text, bit-mapped images (GIFs, JPEGs) and forms can be placed on the page using HTML/XHTML/XML tags. Displaying more complex media (vector graphics, animations, videos, sounds) requires plug-ins such as Adobe Flash, QuickTime, Java run-time environment, etc. Plug-ins are also embedded into web page by using HTML/XHTML tags. Improvements in browsers' compliance with W3C standards prompted a wide-

spread acceptance and usage of XHTML/XML in conjunction with Cascading Style Sheets (CSS) to position and manipulate web page elements and objects. Latest standards and proposals aim at leading to browsers' ability to deliver a wide variety of content and accessibility options to the client possibly without employing plug-ins. Typically Web pages are classified as static or dynamic: Static pages don't change content and layout with every request unless a human (web master/programmer) manually updates the page. A simple HTML page is an example of static content. Dynamic pages adapt their content and/or appearance depending on end-user's input/interaction or changes in the computing environment (user, time, database modifications, etc.) Content can be changed on the client side (end-user's computer) by using client-side scripting languages (JavaScript, JScript, Actionscript, etc.) to alter DOM elements (DHTML). Dynamic content is often compiled on the server

D E

S I G N E R

utilizing serverside scripting languages (Perl, PHP, ASP, JSP, ColdFusion, etc.). Both approaches are usually used in complex applications. With growing specialization in the information technology field there is a strong tendency to draw a clear line between web design and Web development. Web design is a kind of graphic design intended for development and styling of objects of the Internet's information environment to provide them with high-end consumer features and aesthetic qualities. The offered definition separates Web design from web programming, emphasizing the functional features of a web site, as well as positioning web design as a kind of graphic design. The process of designing web pages, web sites, web applications or multimedia for the Web may utilize multiple disciplines, such as animation, authoring, communication design, corporate identity, graphic design, human-computer interaction, information architecture, interaction

design, marketing, photography, search engine optimization and typography. Markup languages (such as HTML, XHTML and XML) Style sheet languages (such as CSS and XSL) Client-side scripting (such as JavaScript) Serverside scripting (such as PHP and ASP) Database technologies (such as MySQL and PostgreSQL) Multimedia technologies (such as Flash and Silverlight) Web pages and websites can be static pages, or can be programmed to be dynamic pages that automatically adapt content or visual appearance depending on a variety of factors, such as input from the end-user, input from the Webmaster or changes in the computing environment (such as the site's associated database having been modified). With growing specialization within communication design and information technology fields, there is a strong tendency to draw a clear line between Web design specifically for web pages and Web development for the overall logistics of all webbased services.

Dog history is really the history of the partnership between dogs (Canis lupus familiaris) and humans. That partnership is based on human needs for help with herding and hunting, an early alarm system, and a source of food in addition to the companionship many of us today know and love. Dogs get companionship, protection and shelter, and a reliable food source out of the deal. But when this partnership first occurred is at the moment under some controversy. Dog history has been studied recently using mitochondrial DNA, which suggests that wolves and dogs split into different species around 100,000 years ago; but whether humans had anything to do with that, no one really knows. Recent mtDNA analysis (Boyko et al.), suggests that the origin and location of dog domestication, long thought to be in east Asia, is in some doubt. Dog History and Archaeological Data The oldest dog skull discovered to date is from Goyet Cave, Belgium. The Goyet cave collections (the site was excavated in the mid-19th century) were examined recently (Germonpre and colleagues, cited below) and a fossil canid skull was discovered among them. Although there is some confusion as to which level the skull came from, it has been direct-dated by AMS at 31,700 BP. The skull most closely represents prehistoric dogs, rather than wolves. The study examining the Goyet cave also identified what appears to be prehistoric dogs at Chauvet Cave (26,000 bp) and Mezhirich in the Ukraine (ca 15,000 years BP), among others. However, I am told that what the Goyet Cave skull represents is not a "domesticated dog" but rather a wolf in transition to a dog, and that the physical changes seen in the skulls (consisting primarily of the shortening of the snout) may have been driven by changes in diet, rather than specific selection of traits by humans. That transition in diet could well have been partly

due to the beginnings of a relationship between humans and dogs, although the relationship might have been as tenuous as animals following human hunters to scavenge, rather like the behavior that is believed to have existed between humans and cats. You could argue that cats never have been domesticated, they just take advantage of the mice we attract. Evidence of a "Real" Domestication Partnership A burial site in Germany called Bonn-Oberkassel has joint human and dog interments dated to 14,000 years ago. The earliest domesticated dog found in China is at the early Neolithic (7000-5800 BC) Jiahu site in Henan Province. European Mesolithic sites like Skateholm (5250-3700 BC) in Sweden have dog burials, proving the value of the furry beasts to hunter-gatherer settlements. Danger Cave in Utah is the earliest case of dog burial in the Americas, at about 11,000 years ago. Haplotypes and Grey Wolves A recent study led by Robert Wayne (vonHoldt et al., below) at UCLA and appearing in Nature in March 2010 reported that dogs appear to have a higher proportion of wolf haplotypes from grey wolves native to the Middle East. That suggests, contrary to earlier studies, that the middle east was the original location of domestication. What also showed up in this report was evidence for either a second Asian domestication or a later admixture with Chinese wolves. Dog History: When Were Dogs Domesticated? It seems clear that dog domestication was a long process, which started far longer ago than was believed even as recently as 2008. Based on evidence from Goyet and Chauvet caves in Europe, the dog domestication process probably began as long ago as 30,000 years, although the oldest evidence for a broader relationship, a working relationship, is at the Bonn-Oberkassel site, 14,000 years ago. The story of dog domestication is still in transition itself.

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Alphabet (uppercrate)

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Nelson Osorio 092010 DES102 Prof. Kimo Oades Mt. Sierra College