Typography in Poems

7/27/2019 Typography in Poems

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10Poems


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Lovearrivesandinitstraincomeecstasies

oldmemoriesofpleasureancienthistoriesofpain.Yetifwearebold,

lovestrikesawaythechainsoffearfromoursouls.

WeareweanedfromourtimidityIntheflushofloveslight

wedarebebrave

Andsuddenlyweseethatlovecostsallweareandwilleverbe.

Yetitisonlylovewhichsetsusfree.

We,unaccustomedtocourageexilesfromdelight

livecoiledinshellsoflonelinessuntilloveleavesitshighholytemple

andcomesintooursighttolibera

teusintolife.


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O n c eupon a midnight dreary, while I pondered,

weak and weary, Over many a quaint and curious volumeof forgotten lore, While I nodded, nearly napping, suddenly therecame 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 nothingmore. 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 hadsought 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 thesilken 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 chamberdoor - Some late visitor entreating entrance at my chamber door; - This it is, and nothing more. Presently my soul grew stronger; hesi-

tating 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 dreambefore; 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 chamberturning, 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 stimoment and this mystery explore; - Tis the wind and nothing more. Open here I flung the shutter, when, with many

and flutter, In there stepped a stately raven of the saintly days of yore; Not the least obeisance made he; not a minute stor stayed he; But, with mien of lord or lady, perched above my chamber door - Perched upon a bust of Pallas just above my c

door - Perched, and sat, and nothing more. Then this ebony bird beguiling my sad fancy into smiling, By the grave and stern decorcountenance it wore. Though thy crest be shorn and shaven, thou, I said, art sure no craven, Ghastly grim and ancient raven w

from the Nightly shore - Tell me what thy lordly name is on the Nights Plutonian shore! Quoth the Raven, Nevermore. Much I maungainly fowl to hear discourse so plainly, Though its answer little meaning- little relevancy bore; For we cannot help agreeing that no

being Ever yet was blest with seeing bird above his chamber door - Bird or beast upon the sculptured bust above his chamsuch name as Nevermore. But the raven, sitting lonely on the placid bust, spoke only That one word, as if his soul in that o

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 friebefore - On the morrow he will leave me, as my hopes have flown before. Then the bird said, Nevermore. Startled at the s

by reply so aptly spoken, Doubtless, said I, what it utters is its only stock and store, Caught from some unhappy master whDis as- ter Followed fast and followed faster till his songs one burden bore - Till the dirges of his Hope that melancholy burden

- nevermore. But the Raven still beguiling all my fancy into smiling, Straight I wheeled a cushioned seat in front of birddoor; Then upon the velvet sinking, I betook myself to linking Fancy unto fancy, thinking what this ominous bird of yore - ungainly, ghastly, gaunt and ominous bird of yore Meant in croaking Nevermore. This I sat engaged in guessing, but no sylla

To the fowl whose fiery eyes now burned into my bosoms core; This and more I sat divining, with my head at ease reclining Ovelvet lining that the lamplight gloated oer, But whose velvet violet lining with the lamplight gloating oer, She shall press, ah, ne

methought the air grew denser, perfumed from an unseen censer Swung by Seraphim whose footfalls tinkled on the tufted floI cried, thy God hath lent thee - by these angels he hath sent thee Respite - respite and nepenthe, from thy memories of Lenore: Q

this kind nepenthe and forget this lost Lenore! Quoth the Raven, Nevermore. Prophet! said I, thing of evil! - prophet still, iWhether Tempter sent, or whether tempest tossed thee here ashore, Desolate yet all undaunted, on this desert land enchanted - O

horror haunted- tell me truly, I implore - Is there - is there balm in Gilead? - tell me - tell me, I implore! Quoth the Raven, Nevermoresaid 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 s

within the distant Aidenn, It shall clasp a sainted maiden whom the angels name Lenore - Clasp a rare and radiant maiden whom thLenore. Quoth the Raven, Nevermore. Be that word our sign in parting, bird or fiend, I shrieked, upstarting - Get thee back inand the Nights Plutonian shore! Leave no black plume as a token of that lie thy soul hath spoken! Leave my loneliness unbroken!- quit t

my door! Take thy beak from out my heart, and take thy form from off my door! Quoth the Raven, Nevermore. And the Raven, nevesitting, 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 drea

lamplight oer him streaming throws his shadow on the floor; And my soul from out that shadow that lies floating on the floor Shall be lifte

RavenThe


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Butifithadto

perishtwice

IthinkIknowenough

ofhat

Tosaythatfo

rdestructionic

Isalsogrea

Andwouldsu

ffic

FireSomesaythe

worldwillendinfire,Somesayinice.FromwhatI'vetastedofdesireIholdwiththosewhofavorfire.


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TheRoad

NotTaken

Tworoadsd

iverged

inayello

ww

ood,And

sorryIcould nottravelbothAndbeonetraveler,longIstoodAndlookeddownoneasfarasIcouldT

ow

hereitb

entin

theu

ndergrow

th;

Thentooktheoth

er

,

as

justasfair,

Andhaving

perhaps

thebetterclaimBecause

itwas

grassy

and

wanted

wear,Thoughasforthatthepassing

thereHadworn

them

reallyabo

utth

esam

e,

And

boththatm

orningequallylayInleavesnostephadtroddenblack.Oh,Imarked

thefirst

fora

noth

erday!Yet

knowinghowwayleads

on

toway

I

doubtedif

Ishouldever

com

eback.

Isha

llbetelling

thiswith

asighSomewhere

agesan

dages

hence:Tworoadsdivergedinawood,andI,Itooktheonelesstraveledby,Andthathasmadeallthedifference.


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LetMeDie

aYoungman's

DeathLetmedieayoungman'sdeathnotacleanandinbetween

thesheetsholywaterdeathnotafamous-last-words

peacefuloutofbreathdeath

WhenI'm73

andinconstantgoodtumourmayIbemowndownatdawnbyabrightredsportscar

onmywayhomefromanallnightparty

OrwhenI'm91

withsilverhairandsittinginabarber'schairmayrivalgangsters

withhamstedtommygunsburstinandgivemeashortback

andinsides

OrwhenI'm1

andbannedfromtheCave

maymymistrecatchingmeinbedwithherdaught

andfearingforhers

cutmeupintolittlepiec

andthrowawayeverypiecebuto

Letmedieayoungman'sdeanotafreefromsintiptoe

candlewaxandwaningdea

notacurtainsdrawnbyangelsbor

'whatanicewaytogo'dea


12/40

Television

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 hyp-

notised by it,

Until theyre ab-

solutely 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 dish-

es 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 imagi-

nation dead!

It clogs and clut-

ters 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!

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

Stirring away at something

(It smells so good, what can it

Good gracious, its penel

The younger ones had beatrix po

With mr. Tod, the dirty rot

And squirrel nutkin, pigling bl

And mrs. Tiggy-winkle

Just how the camel got his h

And how the monkey lost his r

And mr. Toad, and bless my s

Theres mr.

and mr. M

Oh, books, what b

they used to k

Those chil

living long

So ple

oh please,

beg, we p

Go throw

tv set a

And in its p

you can ins

A lovely b

shelf on the w

Then fill

shelves

lots of bo

Ignoring

the dirty lo

The scr

and yells,

bites and k

And chil

hitting

with sti

Fear not, bec

we promise

That, in a

a week or

Of having n

ing else to

Theyll now

gin to feel the

Of having something to r

And once they start -- oh boy, oh

You watch the slowly growing

That fills their hearts. Theyll grow so

Theyll wonder what theyd ever

In that ridiculous mac

That nauseating, foul, uncl

Repulsive television scr

And later, each and every

Will love you more for what you


13/40

10

Articles


14/40

Preceding lm by thousands o years, plays and

dances had elements common to lm: scripts, sets,costumes, production, direction, actors, audiences,

storyboards, and scores. Much terminology later used

in lm 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

or replaying as in lm.

Anthemius o Tralles used an early type o camera

obscura in the 6th century. The camera obscura was

urther described by Alhazen in his Book o Optics

and later near the year 1600, it was perected by

Giambattista della Porta. Light is inverted through a

small hole or lens rom outside, and projected onto a

surace or screen, creating a moving image, but it is

not preserved in a recording.

In the 1860s, mechanisms or producing two-

dimensional drawings in motion were demonstrated

with devices such as the zoetrope, mutoscope and

praxinoscope. These machines were outgrowths o

simple optical devices (such as magic lanterns) and

would display sequences o still pictures at sucient

speed or the images on the pictures to appear to bemoving, a phenomenon called persistence o vision.

Naturally the images needed to be careully designed

to achieve the desired eect, and the underlying

principle became the basis or the development o lm

animation.

With the development o celluloid lm or 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 o

stereoscopic images o a galloping horse, is arguably

the rst 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 o about 5 to 10 pictures per second, depending

on how rapidly the crank was turned. Commercial

versions o these machines were coin operated.

A Brief

History ofCinema


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By the 1880s the development o the motion picture

camera allowed the individual component images to

be captured and stored on a single reel, and led

quickly to the development o a motion picture

projector to shine light through the processed and

printed lm and magniy these moving picture

shows onto a screen or an entire audience. These

reels, so exhibited, came to be known as motion

pictures. Early motion pictures were static shotsthat 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 lms had gained a hold on

the public imagination. Around the turn o

the 20th century, lms began developing

a narrative structure by stringing scenes

together to tell narratives. The scenes

were later broken up into multiple shotso varying sizes and angles. Other

techniques such as camera movement

were realized as eective ways to

portray a story on lm. Rather than leave

the audience in silence, theater owners

would hire a pianist or organist or a

ull orchestra to play music tting the

mood o the lm at any given moment.

By the early 1920s, most lms came

with a prepared list o sheet music or

this purpose, with complete lm scoresbeing composed or major productions.

The rise o European cinema was

interrupted by the outbreak o World War I

when the lm industry in United States fourished with

the rise o Hollywood, typied most prominently by

the great innovative work o D.W. Grith in The Birth

o a Nation (1914) and Intolerance (1916) . However

in the 1920s, European lmmakers such as Sergei

Eisenstein, F. W. Murnau, and Fritz Lang,in many

ways inspired by the meteoric war-time progress o

lm through Grith, along with the contributions o

Charles Chaplin, Buster Keaton and others, quickly

caught up with American lm-making and continued

to urther advance the medium. In the 1920s, new

technology allowed lmmakers to attach to each lm

a soundtrack o speech, music and sound eects

synchronized with the action on the screen. These

sound lms were initially distinguished by calling

them talking pictures, or talkies.

The next major step in the development o cinema

the introduction o so-called natural color. W

the addition o sound quickly eclipsed silent lm

theater musicians, color was adopted more gradu

as methods evolved making it more practical

cost eective to produce natural color lms.

public was relatively indierent to color photogra

as opposed to black-and-white,[citation need

but as color processes improved and becamaordable as black-and-white lm, more

more movies were lmed in color ater the en

World War II, as the industry in America cam

view color as essential to attracting audien

in its competition with television, wh

remained a black-and-white med

until the mid-1960s. By the end o

1960s, color had become the norm

lm makers.

Since the decline o the studio sys

in the 1960s, the succeeding decasaw changes in the production and s

o lm. Various New Wave movem

(including the French New Wave, In

New Wave, Japanese New Wave and

Hollywood) and the rise o lm sch

educated independent lmmakers were

part o the changes the medium experien

in the latter hal o the 20th century. Di

technology has been the driving orce

change throughout the 1990s and into

2000s.


16/40

Arcadias beginnings go back

over 3,000 years to the Tongva/

Gabrielino Native American

settlement whose members were

attracted to the water rich, ripe Southern

Caliornia land in which to hunt and gather.Arcadia saw its frst notable settler in Hugo

Reid who was deeded the land by the Spanish

government, making him the frst individual

land owner o the area and the frst to make

a modern impact on the land by stocking

cattle and building the frst structure.

A succession o owners ollowed and the

one who made a lasting impression on the

area was Elias J. Lucky Baldwin who in

1875 bought a large area o land including

what is known as Arcadia or $200,000

($25 an acre). When Lucky Baldwin frst

saw the land o Arcadia with its beautiul

oothill landscape, lush greenery and oak

trees, ertile growing land and acres ull o

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 or

arming, orchards and ranches. It didnt take

log beore he turned his sights to cityhood

or the blossoming area he named Arcadia.

With a population o 500 and a booming

economy that was somewhat based onentertainment, 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 o

distinction, heritage, success and beauty.

A

R

C

A

DI

A


17/40

Don Bosco Technical Instituteconducted its first classes in 1955, throughthe cooperative efforts of the Archdioceseof Los Angeles, the Salesians of Saint John

Bosco, and the industrial leaders of the

Greater Los Angeles Metropolitan area.In 1963, the Institute was incorporated as aprivatenon-profitCaliforniacorporation.In1969,BoscoTechopeneditscollegeandestablishedaFive-year program which gave students theopportunity to complete minimum secondaryrequirements in three years followedby a two-year program

leadingtoan

AssociateinSciencedegree.Todayallstudentsearnahighschooldiplomaby taking a four-year college prep program ofstudieswhichcombinesachallengingcurriculumof both academic and technical courses.


18/40

Coffee

Coffee

is a breweddrink prepared romroasted seeds, commonly calledcoee beans, o the coee plant. Theyare seeds o coee cherries that grow on trees inover 70 countries. Green unroasted coee is one o themost traded agricultural commodities in the world. Due to its caeinecontent, coee can have a stimulating eect in humans. Today,coee is one o the most popular beverages worldwide.The energizing eect o the coee bean plant is

thought to have been discovered in thenortheast region o Ethiopia, and

the cultivation o coeerst expanded in

the Arab


19/40

wor

The earlicredible evideno coee drinking appe

in the middle o the teenth centuin the Su monasteries o Yemen in southe

Arabia. From the Muslim world, coee spread to Itathen to the rest o Europe, to Indonesia, and to the Americ

Coee has played a crucial role in many societies throughout historyArica and Yemen, it was used in religious ceremonies. As a result, the Ethiopi

Church banned its secular consumption, a ban in eect until the reign o Empe

Menelik II o Ethiopia. It was banned in Ottoman Turkey during the 17th century political reasons, and was associated with rebellious political activities in EuropCoee berries, which contain the coee seed, or bean, are producby several species o small evergreen bush o the genus Coea. The twmost commonly grown are the highly regarded Coea arabica, and trobusta orm o the hardier Coea canephora. The latter is resistant to tdevastating coee lea rust (Hemileia vastatrix). Both are cultivated primain Latin America, Southeast Asia, and Arica. Once ripe, coee berries apicked, processed, and dried. The seeds are then roasted to varying degreedepending on the desired favor. They are then ground and brewed

create coee. Coee can be prepared and presented in a variety o waAn important export commodity, coee was the top agricultural export or twelcountries in 2004, and it was the worlds seventh-largest legal agricultural exp

by value in 2005. Some controversy is associated with coee cultivatiand its impact on the environment. Many studies have examin

the relationship between coee consumption and certamedical conditions; whether the overall eects

coee are ultimately positive or negative hbeen widely disputed. The method

brewing coee has been ou

to be important to health eec


20/40

Design is everything. From the smallest insect, to the tallest skyscrapers,design is a huge part o this world. Everything in nature was designedby millions o years' worth o evolution and progress. Everything man-made was created by theoretically the most evolved creatures in nature:humans. At the bottom o it all, design is an inherent human ability tocreate, alter, and give birth to the world around him. Every morning, weall wake up and design what kind o person we are going to present toother people. It is part o perormativity that we all take part in and thinkabout every single day. Try going to the gym and you will nd people

DES


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working hard to design themselves a better body. Design has thrived asa means o communication in the modern world. Every single day we

are overwhelmed with advertisements designed specically to pique ourinterest. There are television shows based on the very concept o design.This aspect o design has become the most prevalent, but in no way does itdescribe the whole thing. With design, mere humans can become gods. Evensomething as simple as moving a rock is already infuencing the design othe world. It is dicult to quantiy a grand concept such as design. Whichis why there is only one way to really describe it: Design is everything.

IGN


22/40

TIKI

There are many relics available from the tiki craze ofthe 1940's, 1950's, and 1960's. Collectors enjoy thekitschy, often over-the-top nature of such i tems. 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 specifi-cally about them. They are the most instantly recog-nizable feature of retro tiki culture, and were usedin themed bars and restaurants across this country.

Because of this, t hey are still readily available in an-tique shops, thrif t stores, and similar locations. Sincethey are so popular, tiki mugs can also be purchasednew, especially in souvenir shops or those offeringtiki dcor. Usually ceramic, with tropical colors,the serious collector may see a staggering varia-tion among available designs. These mugs are greatto display, but even better to keep at your bar to

serve tropical drinks, as t hey were meant to be used.Bar menus, drink st irrers, coasters, and ot her relicsof popular tiki bars, including Trader Vic's, Don theBeachcomber's, and numerous local restaurants oncelocated in nearly every city across the U.S., are also

popular with collectors. As the restaurants from theheyday of the craze began closing, items from theseestablishments, including signs, ashtrays, and anythingelse with the name of the bar or restaurant, quicklybecame hot commodities among those lamenting the


23/40

demise of these fun and unique places. Today, itemsfrom famous tiki restaurants are some of the rar-est and most sought-after tropical collectibles.

If you look hard enough, many different tiki-themeditems can be found, especially in advertising, dueto the popularity of tiki memorabilia at that time.Matchbooks, calendars, and other ephemera re-main popular among collectors. Those who collecttropical memorabilia often collect postcards sent

from Hawaii and similar locations during the timeperiod of the tiki craze because they often depictre tro scenes with huts, masks, or totems. Surpris-ingly, vintage Hawaiian shirts can also be quite col-lectible, as can vintage tiki-themed souvenirs fromHawaii and other island destinations. Other themed

souvenirs come from the Enchanted Tiki Room orthe Polynesian Resort, two Disneyland attractions.Tiki music from this era is preserved on recordsbearing exotic-sounding names by artists likeMartin Denny, Arthur Lyman, and Les Bax-ter. These records, known for their island beats,usually have tiki or island-themed covers, too.

Other popular tiki items include carved masks andstatues. These are sought after by collectors who wanttheir own home to have tropical style. They don't ne edto be vin tage or rare to be enjoyed by many who sim-

ply want to bring a li tt le island style to t he mainland.

Today, the area of tiki colle ctibles is growing rapidly,in part due to the revival of the culture. As new tiki-themed bars and restaurants begin to open, more and

more people will be drawn to the charm of vintage col-lectibles, and more items will be available for new col-lectors to add to the dcor in their homes. People collecttiki memorabilia mainly because they love the imageryinvolved with the commercialization of tiki culture.


24/40

Kobe Bryant was born on August23rd 1978 in Philadelphia, Penn-

sylvania to Pamela and Joe Bryant(A ormer NBA player).Kobe learned the undamentals obasketball in Italy when he wasjust a boy and chose to concen-trate solely on basketball whenhe had his growth spurt at around11 years old. He dreamt o go-ing straight to the NBA rom highschool and continued to improvehis skills rom 11 to age 13 when

he knew he could play anyone. Bythe time he was 14 he was beat-ing his ormer NBA dad one-on-one and knew that basketball wasthe sport or him.His high school team was a bigtransition or him when the teamwent rom worst to frst, to statechampion during his ours yearswith them. Kobe was inschool with a young girl

who's dad was a coachor the 76ers and later gota chance to perorm inront o him which led tohim working out with them(He still works with thesame coach today).He did as he dreamedand went straight rom highschool to the pros in 1996.He was transerred rom

Charlotte Hornets to LA Lak-ers and was a signifcantcontributor as the Lakerswon 56 games in 1996-1997. He scored doublefgures 25 times and alsograbbed the spotlight atthe All-Star Weekend bywinning the Nestle Crunch

Slam Dunk and leading all playerswith an event-record 31 points in

the Schick Rookie Classic. In 1997Kobe was the youngest ever playerto start an NBA game. In 1998he was voted a starter or the All-Star Game making him at 19 the

youngest All-Star in NBA history.In 1998-1999 he started all 50games or the LA Lakers (which no-one else did) and averaged 19.9ppg which put him second on theteam.

The 2000 - 2001 season her-alded more successes as the Lakersfnished with a 56-26 record andKobe reached a new career highwith an average o 28.5 points, 6rebounds and 5 assists per game.This year they met the New JerseyNets in the fnals where they wontheir second title.

This consistency continued into the2001 - 2002 season with Bry-

ant named as MVP o the 2002All-Star game. The Lakers recordbettered the previous year fnishingup at 58-24 and Kobe averaged25 points, 5.5 rebounds and 5.5assists per game. Partnered withO'Neal the prodigious pair led theLakers to their third title with a vic-tory against the New Jersey Nets.

Black Mamba


25/40

This wasn't to be repeated in the2002 - 2003 season. DespiteKobe having his best season yetwith an average o 30 points per

game the Lakers ailed to make itpast the playos, alling to the SanAntonio Spurs.

In the summer o 2003 Bryantreached a peak o media renzybut this time relating to allega-tions o the Basketball court ratherthan successes on it. A youngwoman called Katelyn Faber, anemployee at a hotel where Bryanthad stayed, f led a sexual assaultclaim against the Lakers star, inwhich she accused Bryant o rap-ing her. Investigation continued

into the 2003 - 2004 NBA seasonbeore Katelyn Faber withdrew hersupport or the criminal prosecu-tion. Speculation at the time andsince has suggested that this wasdue to the ear o her personal liebeen publicly examined. As parto this withdrawl Kobe releaseda statement in which he said that

he believed their encounter to beconsensual but that that Faber "didnot and does not view this incidentthe same way that I did." He later

settled a civil law suit with her.Despite the case not making itthrough to criminal prosecution a

signif cant amount o damage hadbeen done to what had previouslybeen a clean public image regard-less o his on-court critics. Furtherconfl ict, this time inside the Lakersteam bewteen Bryant and Onealover leadership issues urther dam-aged his image but this has notstopped him having some majorendorsement deals over the yearsincluding giants such as McDon-

ald's, Adidas, Coca-Cola andNike.Back on the court, in the 2003- 2004 season Bryant opted outo his contract becoming a reeagent. This meant that he couldleave or another team i he de-sired. Confl ict inside the team atthis time had urther tarnished his

public image and the rit betweO'Neal and Bryant eventuallybecame complete - O'Neal de-manded a transer and Kobe tohis seat at the helm.His f rst season as "leader" in2004 - 2005 was a dif cult on

He was severely scrutinized oling what had now been a tumuous couple o years. The Lakersmissed the playos or the f rst tin a decade and Bryant ailed make the NBA-All Deensive Teaand was demoted to the All-NBThird Team.With the sudden resignation oRudy Tomjanovich as head coaduring that season, the 2005 -

2006 season saw the return oPhil Jackson as LA Lakers coachSurmounting their past dierencBryant and Tomjanovich workedhard to get the Lakers back to tplayos. This they managed analthough they didn't make it be-

yond the f rst round It may be ththe Lakers now have their darkehours behind them and that theywill soon be back to the magic

ways o the 1999 - 2001 seas- this time with Bryant leading thway.Kobe is currently ranked #1 in world and continues to push hisgame to perection. Regardlessthe public scrutiny he has receivhis career highlights show just hgood he is on the court.


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usicMany studies have been conducted to

nd the deeper benets of listening

to and playing music. From sci- no-

tions of increased fetal development

to everyday emotional healing, the grow-

ing eld of music therapy is presenting

increasing amounts of evidence that points

toward the greater powers of music.

Emotional benets

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 be-

cause we tune into the melodies that capture our vibe the best.To enhance

the relationship between your emotional state and music, try creating as-sociations 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 ip 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 de-

creases the muscle tension.It has also been documented that

music can improve motor skills. An experiment con-ducted on a handful of elementary students proved

that children learning basic motor skills such

as throwing, catching and jumping while lis-

tening 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 Roy-

als in 2006, they could turn

that season around.


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Chronic pain relief

Music has the ability to ease the percep-

tion 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 pa-

tients participated in a controlled clini-

cal 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 psycho-

logical symptoms compared to those who were deprived of mu-

sic.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 lled with negative en-

ergy. Music shouldnt be c o n s i d -

ered a rst-line treat- m e n t

for your chronic pain, b u t

once medical treatment is un-

derway, a healthy dose of your

favorite tracks can help

ease the suffering.


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W e b

design is the

skill of creating presenta-

tions of content (usually hypertext

or hypermedia) that is delivered to an end-

user through the World Wide Web, by way of a

Web browser or other Web-enabled software like In-

ternet 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 re-

side on a Web server/servers and present content and interactive

features/interfaces to the end user in form of Web pages once re-

quested. Such elements as text, bit-mapped images (GIFs, JPEGs) and

forms can be placed on the page using HTML/XHTML/XML tags. Display-

ing more complex media (vector graphics, animations, videos, sounds) re-

quires 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 ob-

jects. 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 classied

as static or dynamic: Static pages don't change content and layout with

every request unless a human (web master/programmer) manually up-

dates the page. A simple HTML page is an example of static content

Dynamic pages adapt their content and/or appearance depend-

ing on end-user's input/interaction or changes in the comput-

ing environment (user, time, database modications, etc.)

Content can be changed on the client side (end-user'scomputer) by using client-side scripting languag-

es (JavaScript, JScript, Actionscript, etc.)

to alter DOM elements (DHTML). Dy-

namic content is often com-

piled on the server

W E B D E


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u t i -

lizing server-

side scripting languages

(Perl, PHP, ASP, JSP, ColdFusion,

etc.). Both approaches are usually used

in complex applications. With growing specializa-

tion in the information technology eld there is a

strong tendency to draw a clear line between web de-

sign 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 denition

separates Web design from web programming, emphasizing the func-

tional 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 ap-

plications 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) Server-

side 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 pro-

grammed 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 modied). With growing specialization with-

in communication design and information technologyelds, there is a strong tendency to draw a clear

line between Web design specically for web

pages and Web development for the

overall logistics of all web-

based services.

S I G N E R


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.


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Font


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Alphabet

(uppercrate)


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Alphabet

(lowercrate)


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Numerals


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Nelson Osorio

092010

DES102Prof. Kimo Oades

Mt. Sierra College

Documents

Typography in Poems