Scansion
Scansion is the process of analyzing poetry's rhythm by looking at meter and feet. A foot is a two- or three-syllable division of stresses. Meter is the predominant rhythm of a poem based on the type and number of feet per line.
Syllables are marked either as stressed (/) or unstressed (-) depending upon the pronunciation of a given word within the line. For instance, the word "example" would scan as:- / -
ex am ple
Common Metrical Feet in English
Foot
Syllables
Stress Pattern
Example
iamb
2
- /
pretend
trochee
2
/ -
season
spondee
2
/ /

pyrrhic
2
- -

anapest
3
- - /
unabridged
dactyl
3
/ - -
dangerous
Meter
As stated before, meter is defined by the predominant type of foot and the number of feet within the lines of a poem. For instance, much of English dramatic verse was written in iambic pentameter, or lines of five iambs, because the rhythm most closely approximated natural speech patterns. In fact, unrhymed iambic pentameter was so popular, it had a term of its own: blank verse.
Although these speeches are all written in blank verse, there are other meters as well:
monometer—lines consisting of 1 foot
dimeter—lines consisting of 2 feet
trimeter—lines consisting of 3 feet
tetrameter—lines consisting of 4 feet
pentameter—lines consisting of 5 feet (blank verse)
hexameter—lines consisting of 6 feet (alexandrine)
Lines of more than six feet are rare in English poetry.
Other Helpful Poetry Terms
assonance—repetition or a pattern of similar sounds, especially vowel sounds
caesura—a natural pause or break in a line of poetry, usually near the middle of the line
consonance—repetition of similar consonant sounds, especially at the ends of words
couplet—a pair of lines of the same length that usually rhyme and form a complete thought
enjambment—the running on of the thought from one line, couplet, or stanza to the next without a syntactical break
feminine ending—an extra unstressed syllable at the end of a line
masculine ending—an extra stressed syllable at the end of a line
versification—the system of rhyme and meter in a poem
Close Reading
Close reading is the foundation for studying literature. In the case of these readings, we're looking at the basic definitions of individual words, their literal and figurative uses, fundamental grammar and syntax, and the context in which words or phrases are used. In addition, these readings are all dramatic works; unlike novelists, playwrights are basically limited to dialogue and stage directions to tell their stories. That means the text is more subject to interpretation. We're looking for clues to meaning within the speeches. First, we make our observations. Then, we make inferences based on patterns that we see.

Realism
Civil War Period - 1860-1870
Character is more important than action and plot; complex ethical choices are often the subject.
Characters appear in their real complexity of temperament and motive; they are in explicable relation to nature, to each other, to their social class, to their own past.
Class is important; the novel has traditionally served the interests and aspirations of an insurgent middle class.

ODE TO STEPHEN DOWLING BOTSMark Twain
And did young Stephen sicken, And did young Stephen die? And did the sad hearts thicken, And did the mourners cry? No; such was not the fate of Young Stephen Dowling Bots; Though sad hearts round him thickened, 'Twas not from sickness' shots. No whooping-cough did rack his frame, Nor measles drear, with spots; Not these impaired the sacred name Of Stephen Dowling Bots. Despised love struck not with woe That head of curly knots, Nor stomach troubles laid him low, Young Stephen Dowling Bots. O no. Then list with tearful eye, Whilst I his fate do tell. His soul did from this cold world fly, By falling down a well. They got him out and emptied him; Alas it was too late; His spirit was gone for to sport aloft In the realms of the good and great.
Mark Twain

American Literary Movements
They are:
Plantation, Tradition,Calvinism,Puritanism in New England,Captivity Narratives,Realism
Concord Chronology,Romance and Novel,Conversion Narratives,Salem Witch Trials,Covenant Theology,Sentimentalism,Domestic Fiction,Sermon,Early American Novel,Slave Narratives,Southwestern Humor,Transcendentalism
Meditation,Travel Narratives,Native American Literature and Naturalism.
1. Calvinism - human beings were creatures of fellowship(need to identify) and that Church and State, satisfied a human need for this type of grouping. Individuals must cultivate this awareness of deity through examination of the seeds of divinity within each person as well as through contemplation of and reflection on the world. Sin, for Calvin, is the opposite of knowing God; and a corrupt reason and will can prevent this knowledge.
The Five Points of Calvinism (often remembered through the acronym T U L I P)
1. Total depravity. Man is naturally unable to exercise free will, since through Adam's fall he has suffered hereditary corruption. Evil was a palpable presence in the Puritans' world, and it was often symbolized by the struggle between light and darkness. In this system, it was impossible to find disillusioned Puritans, for they believed that there was no horror that man could not commit.
2. Unconditional election. Election manifests itself through God's wisdom to elect those to be saved, despite their inability to perform saving works. Only a chosen few are so elected, and simply being a church member did not necessarily signify election.
3. Limited atonement. Man's hereditary corruption is partially atoned for by Christ, and this atonement is provided to the elect through the Holy Spirit. This limited atonement gives them the power to attempt to obey God's will as revealed through the Bible.
4. Irresistible and prevenient grace, made only to the elect. Grace was a "motion of the heart" that was God's gift to the elect-unconditional, irresistible, and inexorable. It came to each directly and could not be taken away. It promised "ecstatic intimacy with the divine" or "soul liberty." When Winthrop talks about liberty, this is the sort that he counts on his audience recalling.
5. Perseverance of saints. Those who are predetermined as elect inevitably persevere in the path of holiness.

Example of Calvinist poetry.
Jonathan Edwards

What are we in the hands of the great God?It was in vain you set up thorn and briarIn battle array against the fireAnd treason crackling in your blood;For the wild thorns grow tameAnd will do nothing to oppose the flame;Your lacerations tell the losing gameYou play against a sickness past your cure. How will the hands be strong? How will the heart endure?

1. Find a passage from the poem that expresses its tone. Is the tone exciting, enthralling, dark, angry, insignificant, sad, or ? Provide evidence by choosing three specific words that support your choice of tone. Tell me why you chose those words.

2. This poem is showered with metaphor. Choose three passages; for example, " you set up thorn," meaning something happened that caused you pain. A thorn pricks connotating pain.
Write three of your own.

3. Why do you think Calvinism happened? It was a long time ago and maybe people were afraid of things they yet didn't understand; earthquakes, floods, etc.. what do you think? Do you like the poem? Does it relate in any way to life today? If so, how?

1. Genesis started life as a progressive rock band, in the manner of Yes and King Crimson, before a series of membership changes brought about a transformation in their sound, into one of the most successful pop/rock bands of the 1980s and 1990s. In addition, the group has provided a launching pad for the superstardom of members Peter Gabriel and Phil Collins, and star solo careers for members Tony Banks, Michael Rutherford, and Steve Hackett. Their roots go back to 1965 and a pair of rival groups, the Garden Wall and the Anon, formed by students at the Charterhouse School in Godalming, Surrey. They merged, with the result that 15-year-olds Peter Gabriel, Tony Banks, and Michael Rutherford joined with 14-year-old Anthony Phillips, calling themselves the New Anon and recording a six-song demo featuring songs primarily written by Rutherford and Phillips.

Fill in your words and use the above critique to help guide your speech.

________started life as a _________, in the manner of ____ and ____, before a series of _____ changes brought about a _______in their ______, into one of the most________bands of ____ and ____.

2.

November 18, 2010
Mr. Andre Janian
James Monroe High School
English Language Arts Instructor

Public Service AcademyRecommendation Letter for Sara Monroy:

"A mature and inquisitive mind generating disciplined effort to do better demonstrative work and to attempt to master language in English studies" is how I describe Sara in a nut shell. She has a curiosity that is hidden somewhere within, that gives her a chance to make it. Sara has been a student that I’ve known for over a year. Her maturity and style is only possessed by a few students. Her willingness to see the future and vision herself successful is something Sara quantifies as a student and a solid community member and participant. I told her many times to try hard and you can "turn the corner to an amazing and successful life." In fact, she has aspirations to do so, as well as be a continual part of a future that helps those close to her. Her character has shown a desire to be one who will try to "climb very high in life." She has also shown in many ways to put her best foot forward. She would always help me and help others in class; she would ask me if I needed help around the classroom. Her dialogue between other students and teachers has shown a maturity which exemplifies positive characteristics for a high school student of her age.

Sara tries to exemplify an excellence in her studies and feels it is quite attainable. She has a mature voice and a good understanding of various styles in language. Her aspirations of becoming involved professionally in athletics or possibly in physical therapy and even possibly furthering her education in a highly sought coaching/cheer profession is an attainable goal. Sara inquires about life and wants to be certain she will go towards the right track which I feel is not an issue at all. Sara is a constant professional; she uses her "inquisitive self" as a tool to empower a unique, adventurous and explorative life.

I recommend Sara to have a chance at success! Scholarship awards were designed for students like Sara; smart, inquisitive, mature, a willingness to learn, athletic, well spoken and well liked. I’ve been in education for 15 years and my professional responsibility is to try and help students achieve success. Please consider this letter from an instructor of supporting Sara to a bright, healthy and successful life!

Sincerely,

Andre Janian
　
　

Harry Houdini

NEW YORK – Will wonders never cease?
A century after Harry Houdini thrilled audiences with daring escapes from handcuffs, straitjackets and watery tombs, the legendary magician has conjured a major art museum exhibition that explores his enduring legacy.
"Houdini: Art and Magic," which opens Friday at The Jewish Museum, tells the story of an impoverished son of Jewish immigrants who harnessed the power of the mass media, and the emerging technologies of film and photography, to become one of the 20th century's most famous performers.
The show is beautifully installed in galleries that feature the semi-dark theatrical lighting and spotlights of the vaudeville halls where Houdini got his start as a stage magician before turning to outdoor escape spectacles.
Scattered amid the historic photographs, art nouveau-era posters and archival films are more than two dozen recent works of art by such well-known artists as Matthew Barney, Vik Muniz and Raymond Pettibon that attest to Houdini's continuing influence as the consummate illusionist. The museum also displays some of his magic props, including handcuffs, shackles, a straitjacket, a milk can and a packing trunk that were featured in various escape acts.
Though he eventually became an international celebrity, Houdini was from the most modest of circumstances. He was born Erik Weisz in 1874 in Budapest, the son of a rabbi who immigrated to Wisconsin when Erik was a boy. When he was 12, he ran away from home to join the circus, but eventually returned home to help support the family. Tellingly, one of his earliest jobs was as an apprentice to a locksmith.
From an early age, he trained as a runner, swimmer and boxer, developing the physical strength and stamina that let him perform superhuman feats such as escaping, while handcuffed, from a padlocked crate thrown into an icy river.
Only after his father died in 1892 did the teenager launch his career as an entertainer, changing his name to Houdini in honor of the French magician Jean-Eugene Robert-Houdin and performing in freak shows and traveling circuses.
Houdini's big break came in 1899, when he was discovered by the vaudeville impresario Martin Beck and started touring theaters across America and Europe.
Later in life, Houdini sought to debunk the fake spiritualists and mediums who claimed to be able to communicate with the dead. He also published books explaining some of the tricks of his trade, although the exhibition does not reveal any of those secrets.
Houdini died on Halloween 1926 of peritonitis — not trying to escape from a water-filled cell as depicted in the 1953 movie of his life starring Tony Curtis — and was buried in a Jewish cemetery in Queens, N.Y., where fans still make a pilgrimage on the anniversary of his death.
Curator Brooke Kamin Rapaport suggests that part of Houdini's appeal lay in the fact that his working-class audiences, many of whom came to America in search of political or religious freedom, identified with Houdini's immigrant background. His ability to emerge unscathed from handcuffs, chains and packing crates became an inspiring symbol of their own quest for freedom.
Houdini — who often closed his performances by asking "Will wonders never cease? — plays a central role in E.L. Doctorow's novel "Ragtime" and in Michael Chabon's "The Amazing Adventures of Kavalier & Clay." The magician David Blaine reveres him, and he is mythologized by the American artist Deborah Oropallo in her oil painting "Escape Artist."
The show closes in New York on March 27, 2011, after which it travels to Los Angeles, San Francisco and Madison, Wis.

My Definition of the United States Working Class

The U.S. working class, a class which is multiracial, multinational, and unites men and women, young and old, employed and unemployed, organized and unorganized, gay and straight, native-born and immigrant, urban and rural, and composed of workers who perform a large range of physical and mental labor—the vast majority of our society. We are the party of the African American, Mexican American, Puerto Rican, all other Latino American, Native American, Asian American, and all racially and nationally civilized peoples, as well as women, youth, and all other working people.
United States has an outstanding history in the struggles for peace, democratic rights, racial and gender equality, economic justice, union organization, and international solidarity. Our country is organized on the principle of democratic centralism, combining maximum democratic discussion and decision-making with maximum unity of will and action, ensuring our ability to play a strong organizing role in the our communities. We strive to build the broadest unity for immediate gains and reforms that benefit all people, and for a progressive democratization of the government, the economy, and society of our country on the road to liberty and justice for all.

Message in a Bottle Survives Epic Journey

Last year, a high school student named Corey Swearingen put a letter in a bottle, sealed it up, and dropped it in the Atlantic Ocean, off the Florida coast. It was kind of an experiment for school. In the letter, he appealed to whomever came across the bottle to contact him and let him know where in the world it showed up. Amazingly, someone did.
About 16 months after the bottle was dropped, Swearingen's marine science teacher heard from someone in Ireland. The letter had made its way across the Atlantic Ocean and washed up on the shores of the Emerald Isle, found by a 17-year-old and his Dad while out for a stroll. In an interview with Florida Today, Swearingen said he never expected the message to be found.
Can't blame him for pessimism. After all, the wine bottle, which, according to Swearingen, is being put up on display in an Irish pub, did face long odds. But it's hardly the first message in a bottle to survive a perilous journey.
Another epic journey: Man's 859-mile walk down the Amazon
In 2009, a message in a bottle washed up on the shores of England. It had been tossed into the waters near the Bahamas nearly five years previous. Incredible, but that pales in comparison to a bottle sent by Emily Hwang. True, Hwang's bottle traveled "only" 1,735 miles from Seattle to Alaska, but it took an amazing 21 years to do so.
There's even a case of a message in a bottle helping a family find a new life. In 1979, Dorothy and John Henry Peckham dropped a message in a bottle in the Pacific Ocean while on a cruise. Amazingly, the bottle found its way to Southeast Asia where it was picked up by 31-year-old Hoa Van Nguyen.
Nguyen wrote back and began a correspondence that eventually led to the Peckhams helping to sponsor Nguyen and his family's immigration to the United States.

Assignment:
Write a "message in a bottle" that has the following posts:
1. your name, the country and city you live in
2. A brief description of yourself
3. Your School
4. Your goals and ambitions'
5. A cause you are passionate about. For example, animal abuse, deforestration, global warming, bullying, or anything you feel you take a stand for.
6. Why you are writing this message. What's in it for you? What do you hope may happen?
7. List five people that can contact if in case they cannot contact you.

How often do you play tennis?a. On Tuesday.b. For two hours.c. Almost every day.d. With John.AnswerC
Where do you usually eat lunch?a. Sandwich.b. With Jane.c. At 12:00.d. In the cafeteria.AnswerD
How long did you study last night?a. With Bob.b. In my room.c. English.d. For three hours.AnswerD
What kind of novels do you like?a. Yes, I do.b. I like spy novels.AnswerB
What kind of work do you do?a. I work every day.b. I'm a piano teacher.c. I worked for two hours.AnswerB
How many hours a day do you watch TV?a. About two hours.b. In my living room.c. I watch the news.d. On Tuesday.AnswerA
What is your busiest day of the week?a. In the morning.b. Every day.c. Tuesday.d. Last week.AnswerC
My mother is a good cook.a. I agree with you.b. I agree you.c. I agree to you.d. I agree for you.AnswerA
What does "TV" mean?a. For one hour.b. Yesc. Television.d. For one hour.e. On Friday.AnswerC
How do you spell "dog"?a. Nob. D-O-Gc. Nod. I don'te. Cat.f. I have one dog.AnswerB
What did you do yesterday?a. I am swimming.b. I swim.c. I will swim.d. I swam.AnswerD
What do you like to drink?a. Coffee.b. Saturday evening.c. Two.d. With my friends.AnswerA
What did you eat last night?a. At six.b. Spaghetti.c. With my family.d. At home.AnswerB
What are you doing?a. I'm eating.b. I ate.c. I will be eating.d. I have eaten.AnswerA
What will you do this afternoon?a. I play soccer.b. I played soccer.c. I'll play soccer.d. I was playing soccer.AnswerC
It seems to me that most restaurants are too expensive?a. I don't think it.b. I don't think.c. I don't think so.AnswerC
Where's Mike?a. At school.b. At eight.c. For three hours.d. No, he isn't.AnswerA
Where do you do your homework?a. With John.b. In the evening.c. About one hour.d. Every day.e. At home.AnswerE
When did you go to that restaurant?a. Spaghetti.b. With Jane.c. Last night.d. About 30 minutes.AnswerC
When was the last time you took a picture?a. A picture of Jane.b. Seven pictures.c. About four days ago.d. With my camera.AnswerC
What were you doing last night at 7:00?a. I sleep.b. I slept.c. I will be sleeping.d. I was sleeping.AnswerD
When will you mail that letter?a. Last night.b. To Jane.c. After school.AnswerC
What are you going to do after dinner?a. I took a bathb. I'll take a bath.c. I take a bath.AnswerB
How long have you been playing the trumpet?a. About 50 cm.b. For four years.c. In my room.d. By myself.AnswerB
How many hours a day do you sleep?a. I have slept 7 hours.b. I am sleeping 7 hours.c. I slept 7 hours.d. I sleep 7 hours.AnswerD
How often do you write letters?a. Two pages.b. Two times a week.c. Two people.d. Two hours.AnswerB
Where can I buy beer?a. When you are twenty years old.b. About two bottles.c. With Jane.d. At a liquor store.AnswerD
What's your favorite sport?a. Swim.b. Swimming.AnswerB
When was the last time you went shopping?a. Yesterday.b. Tomorrow.c. Near the Station.AnswerA
How often do you speak on the telephone?a. At least once a day.b. In the evening?c. For about 30 minutes.AnswerA
How many times have you gone camping?a. Three people.b. Three days.c. Three times.AnswerC
When's your birthday?a. November two.b. November twice.c. November second.AnswerC
Where are you from?a. New York.b. 1982.c. At school.AnswerA
How do you get to school?a. With train.b. In train.c. By train.AnswerC

Setting and Mood"Setting refers to the environment, the physical place and time, in which the story takes place. Character and Psychology"The characters are the people that are in the story. Character, characterization A character is a person presented in a dramatic or narrative work, and characterization is the process by which a writer makes that character seem real to the reader. A hero or heroine, often called the protagonist, is the central character who engages the reader’s interest and empathy. The antagonist is the character, force, or collection of forces that stands directly opposed to the protagonist and gives rise to the conflict of the story. A static character does not change throughout the work, and the reader’s knowledge of that character does not grow, whereas a dynamic character undergoes some kind of change because of the action in the plot. A flat character embodies one or two qualities, ideas, or traits that can be readily described in a brief summary. They are not psychologically complex characters and therefore are readily accessible to readers. Some flat characters are recognized as stock characters; they embody stereotypes such as the "dumb blonde" or the "mean stepfather." They become types rather than individuals. Round characters are more complex than flat or stock characters, and often display the inconsistencies and internal conflicts found in most real people. They are more fully developed, and therefore are harder to summarize. Authors have two major methods of presenting characters: showing and telling. Showing allows the author to present a character talking and acting, and lets the reader infer what kind of person the character is. In telling, the author intervenes to describe and sometimes evaluate the character for the reader. Characters can be convincing whether they are presented by showing or by telling, as long as their actions are motivated. Motivated action by the characters occurs when the reader or audience is offered reasons for how the characters behave, what they say, and the decisions they make. Plausible action is action by a character in a story that seems reasonable, given the motivations presented" (Meyer). "In some works characters possess a psychological complexity resembling our own. Hamlet, for instance, is one of literature's most psychologically complex characters" (Jacobus 69). "Characterization is the method used by a writer to develop a character. The method includes (1) showing the character's appearance, (2) displaying the character's actions, (3) revealing the character's thoughts, (4) letting the character speak, and (5) getting the reactions of others" (Nellen Literary Terms).Plot and Narrative Structure"An author’s selection and arrangement of incidents in a story to shape the action and give the story a particular focus. Discussions of plot include not just what happens, but also how and why things happen the way they do. Stories that are written in a pyramidal pattern divide the plot into three essential parts. The first part is the rising action, in which complication creates some sort of conflict for the protagonist. The second part is the climax, the moment of greatest emotional tension in a narrative, usually marking a turning point in the plot at which the rising action reverses to become the falling action. The third part, the falling action (or resolution) is characterized by diminishing tensions and the resolution of the plot’s conflicts and complications" (Meyer).Irony and Tone"Some stories are meant to be ironic: they say one thing, but mean another. You recognize irony by observing the language in which the story is told. In a few cases, you may not be able to tell whether the writer is being sincere or ironic. [...] The tone of a story may reveal an author's attitude toward characters or the values. The tone of these stories suggests sympathy for the characters. In some stories the tone is judgmental; in others it is neutral" (Jacobus 69).

Monday, September 20
Begin answering the questions
1. What does North Hills need that it doesn't have? bowling alley, park, more shopping malls? why?
2. If love were a real, tangible object that you can see and physically hold/touch, what would that object be? Why?
3. New law: texting is now forbidden. You have one text message left.What would it say and who would you send it to? Why?
4. Stuck on a deserted island? Too bad. We'll give you three wishes. you can't leave! Sorry! What are they and why? Also, what three songs would you take with you?
5. Imagine the 1970s...describe it to me. Also, do you feel a connection to a decade for any particularly unusual reason? What is it?
6. As a student in high school, what do you think about the educational system? What would you keep and what would you change? Why

III. No One At the BridgeCrying back to consciousnessThe coldness grips my skinThe sky is pitching violentlyDrawn by shrieking windsSeaspray blurs my visionWaves roll by so fastSave my ship of freedomI'm lashed helpless to the mastRemembering when first I heldThe wheel in my own handsI took the helm so eagerlyAnd sailed for distant landsBut now the sea's too heavyAnd I just...I just don't understandWhy must my crew desert me?When I need...I need a guiding hand...Call out for directionAnd there's no one there to steerShout out for salvationBut there's no one there to hearCry out supplicationFor the maelstrom is nearScream out desperationBut no one cares to hear

Different Strings
Who's come to slay the dragon?Come to watch him fall?Making arrows out of pointed words,Giant killers at the call?Too much fuss and bother,Too much contradiction and confusion.Peel away the mystery,Here's a clue to some real motivation.ChorusAll there really is,The two of usAnd we both know why we've come along.Nothing to explain,It's a part of usTo be found within a song.What happened to our innocence,Did it go out of style?Along with our naiveteNo longer a child.Different eyes see different things,Different hearts beat on different strings.But there are timesFor you and me, when all such things agree

Red Barchetta

My uncle has a country placeThat no one knows about.He says it used to be a farmBefore the Motor Law.And on Sundays I elude the Eyes,And hop the Turbine FreightTo far outside the WireWhere my white-haired uncle waits.Jump to the groundAs the Turbo slows to cross the borderline.Run like the windAs excitement shivers up and down my spine.Down in his barnMy uncle preserved for me an old machineFor fifty-odd years.To keep it as new has been his dearest dream.I strip away the old debrisThat hides a shining car:A brilliant red BarchettaFrom a better vanished time.We fire up the willing engineResponding with a roar.Tires spitting gravel,I commit my weekly crime.WindIn my hairShifting and driftingMechanical musicAdrenaline surge...Well-weathered leather,Hot metal and oil,The scented country air.Sunlight on chrome,The blur of the landscape,Every nerve aware.Suddenly ahead of meAcross the mountainsideA gleaming alloy air-carShoots towards me, two lanes wide.I spin around with shrieking tiresTo run the deadly raceGo screaming through the valleyAs another joins the chase.Drive like the windStraining the limits of machine and man.Laughing out loud with fear and hopeI've got a desperate plan.At the one-lane bridgeI leave the giants stranded at the riverside.Race back to the farmTo dream with my uncle at the fireside.

Learning to Fly
Into the distance, a ribbon of blackStretched to the point of no turning backA flight of fancy on a windswept fieldStanding alone my senses reelA fatal attraction is holding me fastHow can I escape this irresistible grasp?Can't keep my eyes from the circling skyTongue-tied and twisted just an earthbound misfit, IIce is forming on the tips of my wingsUnheeded warnings, I thought I thought of everythingNo navigator to find my way homeUnladen, empty and turned to stoneA soul in tension, that's learning to flyCondition grounded but determined to tryCan't keep my eyes from the circling skiesTongue-tied and twisted just an earthbound misfit, IAbove the planet on a wing and a prayer,My grubby halo, a vapour trail in the empty airAcross the clouds I see my shadow flyOut of the corner of my watering eyeA dream unthreatened by the morning lightCould blow this soul right through the roof of the nightThere's no sensation to compare with thisSuspended animation, a state of blissCan't keep my mind from the circling skiesTongue-tied and twisted just an earthbound misfit,

Eleanor Rigby
Ah, look at all the lonely peopleAh, look at all the lonely peopleEleanor Rigby Picks up the rice in the church where a wedding has beenLives in a dreamWaits at the windowWearing a face she keeps in a jar by the doorWho is it for?All the lonely people, where do they all come from?All the lonely people, where do they all belong?Father McKenzieWriting the words of a sermon that no one will hearNo one comes nearLook at him workingDarning his socks in the night when there's nobody thereWhat does he care?All the lonely people, where do they all come from?All the lonely people, where do they all belong?Ah, look at all the lonely peopleAh, look at all the lonely peopleEleanor Rigby Died in the church and was buried along with her nameNobody cameFather McKenzieWiping the dirt from his hands as he walks from the graveNo one was savedAll the lonely people, where do they all come from?All the lonely people, where do they all belong?

fixin a hole

it really doesn't matter if I'm wrong I'm right
Where I belong I'm right Where I belong.
Silly people run around they worry me
And never ask me why they don't get past my door.
I'm taking the time for a number of things
That weren't important yesterday
And I still go

Im fixin a hole

I'm fixing a hole where the rain gets inAnd stops my mind from wanderingWhere it will goI'm filling the cracks that ran through the doorAnd kept my mind from wanderingWhere it will goAnd it really doesn't matter if I'm wrongI'm rightWhere I belong I'm rightWhere I belong.See the people standing there who disagree and never winAnd wonder why they don't get in my door.I'm painting the room in a colourful wayAnd when my mind is wanderingThere I will go.And it really doesn't matter ifI'm wrong I'm rightWhere I belong I'm rightWhere I belong.Silly people run around they worry meAnd never ask me why they don't get past my door.I'm taking the time for a number of thingsThat weren't important yesterdayAnd I still go.I'm fixing a hole where the rain gets inAnd stops my mind from wanderingWhere it will go.

Quote
One sweet dream
Pick up the bags and get in the limousine
Soon we'll be away from here
Step on the gas and wipe that tear away
One sweet dream came true... today

You Never Give Me Your Money

You never give me your moneyYou only give me your funny paperand in the middle of negotiationsyou break downI never give you my numberI only give you my situationand in the middle of investigationI break downOut of college, money spentSee no future, pay no rentAll the money's gone, nowhere to goAny jobber got the sackMonday morning, turning backYellow lorry slow, nowhere to goBut oh, that magic feeling, nowhere to goOh, that magic feelingNowhere to goNowhere to goOne sweet dreamPick up the bags and get in the limousineSoon we'll be away from hereStep on the gas and wipe that tear awayOne sweet dream came true... todayCame true... todayCame true... today...yes it didOne two three four five six seven,All good children go to Heaven
1st interpretation
This is about ambitious and creative youths that has been forced into an ordinary life. Taking different daytime jobs witch never give them peace of mind(Any jobber got the sack Monday morning, turning back Yellow lorry slow, nowhere to go).Artistic people with dreams that has so much to give but nowhere to put it(oh that magic feeling nowhere to go)And then finally the conclusion of the persons dreams, quit your job stop moarning your ordinary life and live it (One sweet dream Pick up the bags and get in the limousine Soon we'll be away from here Step on the gas and wipe that tear away One sweet dream came true... Today)

2nd interpretation
Sounds to me like it's about poor youth that have nowhere to go cause they have no home, no job or school to attend.. funny paper is money, but not real money. like the $, legal tender but not backed by anything with real value the magic feeling I imagine is the feeling you get when you have nothing to lose.. any politician will tell you that's a very dangerous state of mind to be in (especially if the politician likes to stay in power).. other people claim that's when your truly free..

analysis

I read that in this song George Harrison is complaining about British tax laws. Since they were from Northern England, they were considered "northerners". He is complaning that the only thing that matters, negatively, is that he is a northerner. Everything else, such as 'the chords he plays, the words he says' are irrelevant. He is being sarcastic. A significant amount of the Beatles earnings went to taxes, so I think this is what triggered his feelings of unfairness

fixing a hole

I'm fixing a hole where the rain gets inAnd stops my mind from wanderingWhere it will goI'm filling the cracks that ran through the doorAnd kept my mind from wanderingWhere it will goAnd it really doesn't matter if I'm wrongI'm rightWhere I belong I'm rightWhere I belong.See the people standing there who disagree and never winAnd wonder why they don't get in my door.I'm painting the room in a colourful wayAnd when my mind is wanderingThere I will go.And it really doesn't matter ifI'm wrong I'm rightWhere I belong I'm rightWhere I belong.Silly people run around they worry meAnd never ask me why they don't get past my door.I'm taking the time for a number of thingsThat weren't important yesterdayAnd I still go.I'm fixing a hole where the rain gets inAnd stops my mind from wanderingWhere it will go

only a northern song

If you're listening to this songYou may think the chords are going wrongBut they're notHe just wrote it like thatWhen you're listening late at nightYou may think the band are not quite rightBut they are, They just play it like thatIt doesn't really matter what chords I playWhat words I say or time of day it isAs it's only a Northern song.It doesn't really matter what clothes I wearOr how I fare or if my hair is brownWhen it's only a Northern song.If you think the harmonyIs a little dark and out of keyYou're correct, Is nobody thereand I told you is no one there

Duchess

Times were good,She never thought about the future, she just did what she wouldOh but she really caredAbout her music, it all seemed so important then,And she dreamed that every time that she performedEveryone would cry for more,That all she had to do was step into the light,And everyone would start to roar.And on the road,Where all but a few fall by the wayside on the grassier verge,She battled throughAgainst the others in her world, and the sleep, and the odds.But now everytime that she performedOh everybody cried for more,Soon all she had to do was step into the light,For everyone to start to roar.And all the people cried, you're the one we've waited for.Oh but time went byIt wasn't so easy now, all uphill, and not feeling so strong.Yes times were hard,Too much thinking 'bout the future and what people might want.And then there was the time that she performedWhen nobody called for moreAnd soon everytime she stepped into the light,They really let her know the score.But she dreamed of the times when she sang all her songsAnd everybody cried for more,When all she had to do was step into the lightFor everyone to start to roar.And all the people cried, you're the one we've waited for.

Guide Vocal

I am the one who guided you this far,
All you know and all you feel.
Nobody must know my nameFor nobody would understand,
And you kill what you fear.
I call you for I must leave,You're on your own until the end.
There was a choice but now it's gone,
I said you wouldn't understand,
Take what's yours and be damned.

Heathhaze

Genesis started life as a progressive rock band, in the manner of Yes and King Crimson, before a series of membership changes brought about a transformation in their sound, into one of the most successful pop/rock bands of the 1980s and 1990s. In addition, the group has provided a launching pad for the superstardom of members Peter Gabriel and Phil Collins, and star solo careers for members Tony Banks, Michael Rutherford, and Steve Hackett. Their roots go back to 1965 and a pair of rival groups, the Garden Wall and the Anon, formed by students at the Charterhouse School in Godalming, Surrey. They merged, with the result that 15-year-olds Peter Gabriel, Tony Banks, and Michael Rutherford joined with 14-year-old Anthony Phillips, calling themselves the New Anon and recording a six-song demo featuring songs primarily written by Rutherford and Phillips.________________________________________No cloud, a sleepy calm,Sunbaked earth that's cooled by gentle breeze,And trees with rustling leaves,Only endless days without a care,Nothing must be done.Silent as a day can be,Far-off sounds of others on their chosen runAs they do all those things they feel give life some meaning,Even if they're dull.It's time to stop this dreaming, must rejoin the real worldAs revealed by orange lights and a smoky atmosphere.The trees and I are shaken by the same wind but whereasThe trees will lose their withered leaves,I just can't seem to let them loose.And they can't refresh me those hot winds of the south.Oh I feel like an alien, a stranger in an alien place.Now the light is fading fast,Chances slip away, a time will come to passWhen there'll be none,Then addicted to a perfumed poison,Betrayed by its aftertaste,Oh we shall lose the wonder and find nothing in return.Many are the substitutes but they're powerless on their own.Beware the fisherman who's casting out his lineInto a dried up river bed,But don't try to tell him 'cos he won't believe you.Throw some bread to the ducks instead, it's easier that way.I feel like an alien, a stranger in an alien place.The trees and I are shaken by the same wind but whereasThe trees will lose their withered leaves,I just can't seem to let them loose.And they can't refresh me those hot winds of the south.I feel like an alien, a stranger in an alien place.

No cloud, a sleepy calm,Sunbaked earth that's cooled by gentle breeze,And trees with rustling leaves,Only endless days without a care,Nothing must be done.Silent as a day can be,Far-off sounds of others on their chosen runAs they do all those things they feel give life some meaning,Even if they're dull.It's time to stop this dreaming, must rejoin the real worldAs revealed by orange lights and a smoky atmosphere.The trees and I are shaken by the same wind but whereasThe trees will lose their withered leaves,I just can't seem to let them loose.And they can't refresh me those hot winds of the south.Oh I feel like an alien, a stranger in an alien place.Now the light is fading fast,Chances slip away, a time will come to passWhen there'll be none,Then addicted to a perfumed poison,Betrayed by its aftertaste,Oh we shall lose the wonder and find nothing in return.Many are the substitutes but they're powerless on their own.Beware the fisherman who's casting out his lineInto a dried up river bed,But don't try to tell him 'cos he won't believe you.Throw some bread to the ducks instead, it's easier that way.I feel like an alien, a stranger in an alien place.The trees and I are shaken by the same wind but whereasThe trees will lose their withered leaves,I just can't seem to let them loose.And they can't refresh me those hot winds of the south.I feel like an alien, a stranger in an alien place

Example Resume

5500 Owensmouth Unit115
Woodland Hills, Ca 91367
818-400-8119
Andre Janian
Objective

To further advance my professional goals as an instructor of education.
Experience

2001-Present James Monroe High School North Hills, CA
English Language Arts Teacher
· SLC Engineering Language Arts teacher.
· Coordinated Freshman Curriculum Map Lesson Plans for new students.
· Coordinated/Conducted Educational Instructional Video for LAUSD.
· Designed Curriculum Maps for WASC study groups.

1998-2001 Hoover High School Glendale, CA
Language Arts Teacher
· ESL Instructor for level three/four coursework.
· Taught Special Education and General Secondary English.
· Coordinated “Camp Fox” For At-Risk Students.
· Implemented training course for new teachers.

1992-1997 John Burroughs High School Burbank, CA
Special Education Instructor
· Taught Special Education.
· Developed CBI (Community Based Instruction) planning for the Special Education Department.
· Coached Special Olympics with Coach Gary Bernardi from 1992-1996.


Education

1990-1995 Cal State University, Northridge Northridge, CA
· B.A., English Language Arts, emphasis Literature, 1992
· Secondary Education English Credential, 1995
· CLAD completed; Credential Renewed to June, 2011.
Interests
Football, Poetry, Reading, Linguistics
Real Estate, Poetry, Business, Football, and Camping.

· CONJUNCTIONS AND PREPOSITIONS: THE DNA OF SENTENCES.
· WITHOUT THEM, WRITING WOULD LACK COHESIVENESS AND DIRECTION. WITHOUT A CANVAS, THERE CANT BE A PAINTING; WITHOUT A MECHANICAL SEAL, THERE WOULD BE NO PISTON. CONJUNTIONS LINK WHILE PREPOSITIONS DIRECT THE SUBJECT.SPECIFICALLY, A
· Preposition is a word that relates a noun or pronoun to another word in a sentence. "The dog sat under the tree"
· COMMON PREOSITION THAT IDENTIFY TIME, PLACE AND LOCATION OF THE SUBJECT
about
behind
from
on
toward
above
below
in
on top of
under
across
beneath
in front of
onto
underneath
after
beside
inside
out of
until
against
between
instead of
outside
up
along
by
into
over
upon
among
down
like
past
with
around
during
near
since
within
at
except
of
through
without
before
for
off
to

·
· A BRIEF EXPLANATION OF CONJUNCTIONS
· A conjunction is a word that links words, phrases, or clauses. There are three types of conjunctions: coordinating conjunctions, correlative conjunctions, and subordinating conjunctions. Coordinating conjunctions may join single words, or they may join groups of words, but they must always join similar elements: e.g. subject+subject, verb phrase+verb phrase, sentence+sentence. When a coordinating conjunction is used to join elements, the element becomes a compound element. Correlative conjunctions also connect sentence elements of the same kind: however, unlike coordinating conjunctions, correlative conjunctions are always used in pairs. Subordinating conjunctions, the largest class of conjunctions, connect subordinate clauses to a main clause. These conjunctions are adverbs used as conjunctions.
· The following tables show examples of the various types of conjunctions and some sample sentences using the conjunctions. Since coordinating conjunctions and correlative conjunctions are closed sets of words, all are included in the list. Subordinating conjunctions are a larger class of words; therefore, only a few of the more common ones are included in this list.
·
· COORDINATING CONJUNCTIONS
F
A
N
B
O
Y
S
for
and
nor
but
or
yet
so
· An easy way to remember these six conjunctions is to think of the word FANBOYS. Each of the letters in this somewhat unlikely word is the first letter of one of the coordinating conjunctions. Remember, when using a conjunction to join two sentences, use a comma before the conjunction.
·
·
· EXAMPLES AND SENTENCES
· COORDINATING CONJUNCTIONS
CONJUNCTION
WHAT IS LINKED
SAMPLE SENTENCES
and
noun phrase+noun phrase
We have tickets for the symphony and the opera.
but
sentence+sentence
The orchestra rehearses on Tuesday, but the chorus rehearses on Wednesday.
or
verb+verb
Have you seen or heard the opera by Scott Joplin?
so
sentence+sentence
I wanted to sit in the front of the balcony, so I ordered my tickets early.
· CORRELATIVE CONJUNCTIONS
both...and
not only...but also
either...or
neither...nor
whether...or
· Remember, correlative conjunctions are always used in pairs. They join similar elements.When joining singular and plural subjects, the subject closest to the verb determines whether the verb is singular or plural.
· EXAMPLES AND SENTENCES
· CORRELATIVE CONJUNCTIONS
CONJUNCTIONS
WHAT IS LINKED
SAMPLE SENTENCE
both...and
subject+subject
Both my sister and my brother play the piano.
either...or
noun+noun
Tonight's program is either Mozart or Beethoven.
neither...nor
subject+subject
Neither the orchestra nor the chorus was able to overcome the terrible acoustics in the church
not only...but also
sentence+sentence
Not only does Sue raise money for the symphony, but she also ushers at all of their concerts.
·
· SUBORDINATING CONJUNCTIONS
TIME
CAUSE + EFFECT
OPPOSITION
CONDITION
after
because
although
if
before
since
though
unless
when
now that
even though
only if
while
as
whereas
whether or not
since
in order that
while
even if
until
so

in case (that)
· Subordinating conjunctions, (subordinators) are most important in creating subordinating clauses. These adverbs that act like conjunctions are placed at the front of the clause. The adverbial clause can come either before or after the main clause. Subordinators are usually a single word, but there are also a number of multi-word subordinators that function like a single subordinating conjunction. They can be classified according to their use in regard to time, cause and effect, opposition, or condition. Remember, put a comma at the end of the adverbial phrase when it precedes the main clause.
· EXAMPLES AND SENTENCES
· SUBORDINATING CONJUNCTIONS
CONJUNCTION
SAMPLE SENTENCE
after
We are going out to eat after we finish taking the test.
since
Since we have lived in Atlanta, we have gone to every exhibit at the High Musuem.
while
While I was waiting in line for the Matisse Exhibit, I ate my lunch.
although
Although the line was long and the wait over two hours, the exhibit was well worth it
even if
Even if you have already bought your ticket, you will still need to wait in line.
because
I love Matisse's works because he uses color so brilliantly
· PARTS OF SPEECH: TRACK 5
· Objects and Complements
· Objects
· A verb may be followed by an object that completes the verb's meaning. Two kinds of objects follow verbs: direct objects and indirect objects. To determine if a verb has a direct object, isolate the verb and make it into a question by placing "whom?" or "what?" after it. The answer, if there is one, is the direct object:
· Direct Object
· The advertising executive drove a flashy red Porsche.
· Direct Object
· Her secret admirer gave her a bouquet of flowers.
· The second sentence above also contains an indirect object. An indirect object (which, like a direct object, is always a noun or pronoun) is, in a sense, the recipient of the direct object. To determine if a verb has an indirect object, isolate the verb and ask to whom?, to what?, for whom?, or for what? after it. The answer is the indirect object.
· Not all verbs are followed by objects. Consider the verbs in the following sentences:
· The guest speaker rose from her chair to protest.
· After work, Randy usually jogs around the canal.
· Transitive and Intransitive Verbs
· Verbs that take objects are known as transitive verbs. Verbs not followed by objects are called intransitive verbs.
· Some verbs can be either transitive verbs or intransitive verbs, depending on the context:
· Direct Object
· I hope the Senators win the next game.
· No Direct Object
· Did we win?
· Subject Complements
· In addition to the transitive verb and the intransitive verb, there is a third kind of verb called a linking verb. The word (or phrase) which follows a linking verb is called not an object, but a subject complement.
· The most common linking verb is "be." Other linking verbs are "become," "seem," "appear," "feel," "grow," "look," "smell," "taste," and "sound," among others. Note that some of these are sometimes linking verbs, sometimes transitive verbs, or sometimes intransitive verbs, depending on how you use them:
· Linking verb with subject complement
· He was a radiologist before he became a full-time yoga instructor.
· Linking verb with subject complement
· Your homemade chili smells delicious.
· Transitive verb with direct object
· I can't smell anything with this terrible cold.
· Intransitive verb with no object
· The interior of the beautiful new Buick smells strongly of fish.
· Note that a subject complement can be either a noun ("radiologist", "instructor") or an adjective ("delicious").
· Object Complements
· (by David Megginson)
· An object complement is similar to a subject complement, except that (obviously) it modifies an object rather than a subject. Consider this example of a subject complement:
· The driver seems tired.
· In this case, as explained above, the adjective "tired" modifies the noun "driver," which is the subject of the sentence.
· Sometimes, however, the noun will be the object, as in the following example:
· I consider the driver tired.
· In this case, the noun "driver" is the direct object of the verb "consider," but the adjective "tired" is still acting as its complement.
· In general, verbs which have to do with perceiving, judging, or changing something can cause their direct objects to take an object complement:
· Paint it black.
· The judge ruled her out of order.
· I saw the Prime Minister sleeping.
· In every case, you could reconstruct the last part of the sentence into a sentence of its own using a subject complement: "it is black," "she is out of order," "the Prime Minister is sleeping."
·
·

MondaY
September 13..
Grades due September 15th
5week grades: 400 points

1.

vocabulary for week of September 13-17
vocabulary test will be on Friday, Sept. 17
1. succinct 11. contrary
2. plethora 12. callous
3. mundane 13. vivacious
4. fallacy
5. decorum 14. vocation
6. denounce 15. visceral
7. repudiate
8. putrid
9. languish
10. hyperbole

Week One - English Language Lesson:10th grade
Standards:
1. Into KWL - Vocabulary - Historical -
2. through - mood, tone, contemplation, diction, voice
3. beyond- relationship of theme, argument, thesis, inference
4. into through beyond - metaphor, allusion, repetition, apostrophe

She Leaving Now
Wednesday morning at five o'clock as the day beginsSilently closing her bedroom doorLeaving the note that she hoped would say moreShe goes downstairs to the kitchen clutching her handkerchiefQuietly turning the backdoor keyStepping outside she is free.She (We gave her most of our lives)is leaving (Sacrificed most of our lives)home (We gave her everything money could buy)She's leaving home after living aloneFor so many years. Bye, byeFather snores as his wife gets into her dressing gownPicks up the letter that's lying thereStanding alone at the top of the stairsShe breaks down and cries to her husband Daddy our baby's goneWhy would she treat us so thoughtlesslyHow could she do this to me.She (We never thought of ourselves)is leaving (Never a thought for ourselves)home (We struggled hard all our lives to get by)She's leaving home after living aloneFor so many years. Bye, byeFriday morning at nine o'clock she is far awayWaiting to keep the appointment she madeMeeting a man from the motor trade.She (What did we do that was wrong)is having (We didn't know it was wrong)fun (Fun is the one thing that money can't buy)Something inside that was always deniedFor so many years. Bye, byeShe's leaving home. Bye, bye

i'm looking through you
I'm looking through youWhere did you goI thought I knew youWhat did I knowYou don't look differentBut you have changedI'm looking through youYou're not the sameYour lips are movingI cannot hearYou voice is soothingBut the words aren't clearYou don't sound differentI've learned the gameI'm looking through youYou're not the sameWhy, tell me whyDid you not treat me rightLove has a nasty habitOf disappearing overnightYou're thinking of meThe same old wayYou were above meBut not todayThe only differenceIs you're down thereI'm looking though youAnd you're nowhereWhy, tell me whyDid you not treat me rightLove has a nasty habitOf disappearing overnightI'm looking through youWhere did you goI thought I knew youWhat did I knowYou don't look differentBut you have changedI'm looking through youYou're not the sameYeah, Oh, baby you've changedAah, I'm looking through youYeah, I'm looking through youYou've changed, you've changedYou've changed, you've changed

incorporate into a writing unit after literary elements and vocabulary have been discussed.
Girl (The Beatles)Is there anybody going to listen to my storyAll about the girl who came to stay?She's the kind of girl you want so muchIt makes you sorryStill you don't regret a single day.Ah girl! Ffff...Girl!When I think of all the times I've tried SO HARD to leave herShe will turn to me and start to cry;And she promises the earth to meAnd I believe herAfter all this time I don't know why.Ah, girl! Ffff...Girl!She's the kind of girl who puts you downWhen friends are there, you feel a fool.When you say she's looking goodShe acts as if it's understood.She's cool, ooh, ooh, ooh,Girl! Ffff...Girl!Was she told when she was young that painWould lead to pleasure?Did she understand it when they saidThat a man must break his back to earnHis day of leisure?Will she still believe it when he's dead?Ah girl!Ffff...Girl!
Wait
It's been a long timeNow I'm coming back homeI've been away nowOh how I've been aloneWait till I come back to your sideWe'll forget the tears we've criedBut if your heart breaksDon't wait, turn me awayAnd if your heart's strongHold on, I won't delayWait till I come back to your sideWe'll forget the tears we've criedI feel as thoughYou ought to knowThat I've been goodAs good as I can beAnd if you doI'll trust in youAnd know that youWill wait for meIt's been a long timeNow I'm coming back homeI've been away nowOh how I've been aloneWait till I come back to your sideWe'll forget the tears we've criedI feel as thoughYou ought to knowThat I've been goodAs good as I can beAnd if you doI'll trust in youAnd know that youWill wait for meBut if your heart breaksDon't wait, turn me awayAnd if your heart's strongHold on, I won't delayWait till I come back to your sideWe'll forget the tears we've criedIt's been a long timeNow I'm coming back homeI've been away nowOh, how I've been alone
Julia
Half of what I say is meaninglessBut I say it just to reach you, JuliaJulia, Julia, oceanchild, calls meSo I sing a song of love, JuliaJulia, seashell eyes, windy smile, calls meSo I sing a song of love, JuliaHer hair of floating sky is shimmering, glimmering,In the sunJulia, Julia, morning moon, touch meSo I sing a song of love, JuliaWhen I cannot sing my heartI can only speak my mind, JuliaJulia, sleeping sand, silent cloud, touch meSo I sing a song of love, JuliaHum hum hum...calls meSo I sing a song of love for Julia, Julia, Julia
Sexy Sadie
Sexy Sadie what have you doneYou made a fool of everyoneYou made a fool of everyoneSexy Sadie ooh what have you done.Sexy Sadie you broke the rulesYou layed it down for all to seeYou layed it down for all to seeSexy Sadie oooh you broke the rules.One sunny day the world was waiting for a loverShe came along to turn on everyone Sexy Sadie the greatest of them all.Sexy Sadie how did you knowThe world was waiting just for youThe world was waiting just for youSexy Sadie oooh how did you know.Sexy Sadie you'll get yours yetHowever big you think you areHowever big you think you areSexy Sadie oooh you'll get yours yet.We gave her everything we owned just to sit at her tableJust a smile would lighten everythingSexy Sadie she's the latest and the greatest of them all.She made a fool of everyoneSexy Sadie.However big you think you are Sexy Sadie.

5 minutes a day music lyrics

Man Of Our Times lyrics
I'm one of many, I speak for the rest but I don't understand
Tonight, tonight, oh tonight, tonight
He brings another day, another night, another fight
Well there's another day done and there's another gone by
He's a man of our times, a man of our times
Tonight, tonight, oh he's burning bright

He's a man of our times, he's a man of our times, ooh ooh ooh
And in the beating of your heart there is another beating heart

All at once I can see what we do
Me into me and you into you
Me into me and you into you
Tonight, tonight, oh he's burning bright
Everyone is on their feet cos he is out
Out on the street
There's another day done and there's another gone by
No more me into e and you into you
Tonight, tonight, oh he's burning bright

He's a man of our times, he's a man of our times, ooh ooh ooh
And in the beating of your heart there is another beating heart

All at once I can see what we do
Me into me and you into you
Me into me and you into you
Tonight, tonight, oh he's burning bright
Everyone is on their feet cos he is out
Out on the street
There's another day done and there's another gone by
No more me into e and you into you
Tonight, tonight, oh he's burning bright

Man of our times, he's a man of our times
He's a man of our times, ooh ooh ooh
And in the beating of your heart there is another beating heart


got sunshine in my stomachLike I just rocked my baby to sleepI got sunshine in my stomachBut I can't keep me from creeping sleepSleep, deep in the deepRockface moves to press my skinWhite liquids turn sour withinTurn fast - turn sourTurn sweat - turn sourMust tell myself that I'm not hereI'm drowning in a liquid fearBottled in a strong compressionMy distortion shows obsessionIn the caveGet me out of this caveIf I keep self-controlI'll be safe in my soulAnd the childhood beliefBrings a moment's reliefBut my cynic soon returnsAnd the lifeboat burnsMy spirit just never learnsStalactites, stalagmitesShut me in, look me tightLips are dry, throat is dryFeel like burning, stomach churningI'm dressed up in a white costumePadding out left-over roomBody stretching, feel the wretchingIn the cageGet me out of the cageIn the glare of a lightI see a strange kind of sightOf cages joined to form a starEach person can't go very farAll tied to their thingsThey are netted by their stringsFree to flutter in memories of their wasted wingsOutside the cage I see my brother JohnHe turns his head so slowly roundI cry out "Help !" before he can be goneAnd he looks at me without a soundAnd I shout out "John, please help me !"But he does not even want to try to speakI'm helpless in my violent rageAnd a silent tear of blood dribbles down his cheekAnd I watch him turn again and leave the cageMy little runawayIn a trap, feel a strapHolding still, pinned for killChances narrow that I'll make itIn the cushioned straitjacketJust like 22nd St.And they got me my neck and feetPressure's building, can't take moreMy headache's charged, earaches roarIn this painGet me out of this painIf I could change to liquidI could fill the cracks up in the rockBut I know that I am solidAnd I am my own bad luckOutside John disappears and my cage dissolvesAnd without any reason my body resolves
Found that man, reported missingHe wandered in his homeDon't seem too bad, if you considerJust what he's been throughSeems he met up with a gang of thievesWho mistook him for a man of meansThey locked him up then found he had no moneySo they let him go againNow he's back at home and happyJust to see the kidsI wish, that I could really tell youAll the things that happened to meAnd all that I have seenA world full of people their hearts full of joyCities of light with no fear of warAnd thousands of creatures with happier livesAnd dreams of a future with meaning and no need to hideKeep it darkIt seems strange to have to lieAbout a world so brightAnd tell instead a made up storyFrom the world of nightI wish, that I could really tell youAll the things that happened to meAnd all that I have seenA world full of people their hearts full of joyCities of light with no fear of warAnd thousands of creatures with happier livesAnd dreams of a future with meaning and no need to hide
Standing in a forest gazing at the sun
looking at the trees but there's not even one
See a rippling stream that smiles and then goes by
run to feel its comfort but the water's dry.
I see her face and run to take her hand
Whey she's never there I don't understand
The trumpets sound my whole world crumbles down
Visions of angels all around
dance in the sky
Leaving me here
forever goodbye.
As the leaves will crumble so will fall my love
for the fgragile beauty of our lives must fade
Though I once remember echoes of my youth
now I sense no past, no love that ends in love
Take this dream the stars have filled with light
As the blossom glides like snowflakes from the trees
In vengeance to a god no-one can reach.
Visions of angels all around
dance in the sky
Leaving me here
forever goodbye.
Ice is moving and world's begun to freeze
see the sunlight stopped and deadened by the breeze
Minds are empty bodies mor insensitive
some believe that when they die they really live
I believe there never is an end
God gave up this world its people long ago
Why she's never there I still don't understand
Visions of angels all around
dance in the sky
Leaving me here
forever goodbye.

DoDo

Too big to fly, dodo ugly so dodo must die,Doggo with fear on its side, can't change, can't change the tide.Dog baiter, agitator, asking questions, says he wants to know why.Ain't no reason that money can't buy.Mink he pretty so mink he must die, must die, must die.Sun he giving life in his light,Part of the system,Friend to man, friend to the trees,No friend to the snowman.Where does he go, what does he do?Does he meet with the mole, the stream, the cloudAnd end up at the bottom of the sea.Fish he got a hook in his throat,Fish he got problemsWhere does he go, what does he do?Does he hope he's too small, to poor a haul,Who'll end up being thrown back in the sea.I'm back in the sea.Caretaker, horror movie,Only one eye, only needs one boot,Sweet lady, she knows she looks goodVacuum coming for the bright and the brute.Big noise, black smokeSo pig-headed couldn't see the joke.But it ain't funnyAsk the fly on the wallIt's only livingIt don't matter at all, at all, at all.Pimp, he make you drool and grunt,He got an answer.One he got a dream of love,Deep as the ocean.Where does he go?What does he do?Will the siren team with Davy Jones,And trap him at the bottom of the sea?I'm back in the sea.I'm back in the sea.I'm back in the sea.

Genesis started life as a progressive rock band, in the manner of Yes and King Crimson, before a series of membership changes brought about a transformation in their sound, into one of the most successful pop/rock bands of the 1980s and 1990s. In addition, the group has provided a launching pad for the superstardom of members Peter Gabriel and Phil Collins, and star solo careers for members Tony Banks, Michael Rutherford, and Steve Hackett. Their roots go back to 1965 and a pair of rival groups, the Garden Wall and the Anon, formed by students at the Charterhouse School in Godalming, Surrey. They merged, with the result that 15-year-olds Peter Gabriel, Tony Banks, and Michael Rutherford joined with 14-year-old Anthony Phillips, calling themselves the New Anon and recording a six-song demo featuring songs primarily written by Rutherford and Phillips.________________________________________He panics, feels around for a stone and hurls it at the brightest point. The sound of breaking glass echoes around the cave. As his vision is restored he catches sight of two golden gloves about one foot in diameter hovering away down the tunnel. When they disappear a resounding crack sears across the roof, and it collapses all around him. Our hero is trapped once again."This is it" he thinks, failing to move any of the fallen rocks.All the pumping's nearly over for my sweet heart,This is the one for me,Time to meet the chef,O boy! running man is out of death.Feel cold and old, it's getting hard to catch my breath.'s back to ash, 'now, you've had your flash boy'The rocks, in time, compressyour blood to oil,your flesh to coal,enrich the soil,not everybody's goal.Anyway, they say she comes on a pale horse,But I'm sure I hear a train.O boy! I don't even feel no pain -I guess I must be driving myself insane.Damn it all! does earth plug a hole in heaven,Or heaven plug a hole in earth - 'how wonderful to be so profound,when everything you are is dying underground.'There's not much spectacle for an underground creole as he walks through the gates of Sheol. "I would have preferred to have been jettisoned into a thousand pieces in space, or filled with helium and floated above a mausoleum. This is no way to pay my last subterranean homesick dues. Anyway I'm out of the hands of any pervert embalmer doing his interpretation of what I should look like, stuffing his cotton wool in my cheeks."I feel the pull on the rope, let me off at the rainbow.I could have been exploding in spaceDifferent orbits for my bonesNot me, just quietly buried in stones,Keep the deadline open with my maker!See me stretch; for God's elastic acreThe doorbell rings and its"Good morning RaelSo sorry you had to wait.It won't be long, yeh!She's very rarely late."

More GenEsIs

The chamber was in confusion - all the voices shouting loud.I could only just hear, a voice quite near say, "Please help methrough the crowd"'Said if I helped her thru' she could help me too, but I couldsee that she was wholly blind.But from her pale face and her pale skin, a moonlight shined.Lilywhite Lilith,She gonna take you thru' the tunnel of nightLilywhite Lilith,She gonna lead you right.When I'd led her through the people, the angry noise began to grow.She said "Let me feel the way the breezes blow, and I'll showyou where to go."So I followed her into a big round cave, she said "They'recoming for you, now don't be afraid."Then she sat me down on a cold stone throne, carved in jade.Lilywhite Lilith,She gonna take you thru' the tunnel of night.Lilywhite Lilith,She gonna lead you right.She leaves me in my darkness,I have to face, face my fear,And the darkness closes in on me,I can hear a whirring sound growing near.I can see the corner of the tunnel,Lit up by whatever's coming here.Two golden globes float into the roomAnd a blaze of white light fills the air.

Firth of Fifth

The path is clearThough no eyes can seeThe course laid down long before.And so with gods and menThe sheep remain inside their pen,Though many times they've seen the way to leave.He rides majesticPast homes of menWho care not or gaze with joy,To see reflected thereThe trees, the sky, the lily fair,The scene of death is lying just below.The mountain cuts off the town from view,Like a cancer growth is removed by skill.Let it be revealed.A waterfall, his madrigal.An inland sea, his symphony.Undinal songsUrge the sailors onTill lured by the sirens' cry.Now as the river dissolves in sea,So Neptune has claimed another soul.And so with gods and menThe sheep remain inside their pen,Until the Shepherd leads his flock away.The sands of time were eroded byThe river of constant change.


The sky is overcast and as Rael looks back a dark cloud is descending like a balloon into Times Square. It rests on the ground and shapes itself into a hard edged flat surface, which solidifies and extends itself all the way East and West along 47th Street and reaching up to the dark sky. As the wall takes up its tension it becomes a screen showing what had existed in three dimensions, on the other side just a moment before. The image flickers and then cracks like painted clay and the wall silently moves forward, absorbing everything in its path. The unsuspecting New Yorkers are apparently blind to what is going on. There's something solid forming in the air,And the wall of death is lowered in Times Square.No-one seems to care,They carry on as if nothing was there.Rael starts to run away towards Columbus Circle. Each time he dares to take a look, the wall has moved another block. At the moment when he thinks he's maintaining his distance from the wall, the wind blows hard and cold slowing down his speed. The wind increases, dries the wet street and picks up the dust off the surface, throwing it into Rael's face. More and more dirt is blown up and it begins to settle on Rael's skin and clothes, making a solid layered coat that brings him gradually to a terrified stillness. A sitting duck. The wind is blowing harder now,Blowing dust into my eyes.The dust settles on my skin,Making a crust I cannot move inAnd I'm hovering like a fly, waiting for the windshield on the freeway.Echoes of The Broadway EvergladesWith their mythical madonnas still walking in their shades:Lenny Bruce delcares a truce and plays his other handMarshall McLuhan, casual viewin', head buried in the sand.Sirens on the rooftops wailing, but there's no ships sailing.Groucho, with his movies trailing, stands alone with his punchline failing.Ku Klux Klan serve hot soul foood and the band plays "in The Mood"The cheerleader waves her cyanide wand,There's a smell of peach blossom and bitter almond.Caryl Chessman sniff the air, and leads the paradeHe knows, in a scent, you can bottle what you made!There's Howard Hughes in blue suede shoesSmiling at the Majorette, smoking Winston cigarettesAnd as the song and dance begins, the children play at homewith needles...Needles and pins


"Can you tell me where my country lies?"said the unifaun to his true love's eyes."It lies with me!" cried the Queen of Maybe- for her merchandise, he traded in his prize."Paper late!" cried a voice in the crowd."Old man dies!" The note he left was signed 'Old Father Thames'- it seems he's drowned;selling england by the pound.Citizens of Hope & Glory,Time goes by - it's "the time of your life".Easy now, sit you down.Chewing through your Wimpey dreams,they eat without a sound;digesting england by the pound.Young man says "you are what you eat" - eat well.Old man says "you are what you wear" - wear well.You know what you are, you don't give a damn;bursting your belt that is your homemade sham.The Captain leads his dance right on through the night- join the dance...Follow on! Till the Grail sun sets in the mould.Follow on! Till the gold is cold.Dancing out with the moonlit knight,Knights of the Green Shield stamp and shout.There's a fat old lady outside the saloon;laying out the credit cards she plays Fortune.The deck is uneven right from the start;and all of their hands are playing apart.The Captain leads his dance right on through the night- join the dance...Follow on! A Round Table-talking down we go.You're the show!Off we go with - You play the hobbyhorse,I'll play the fool.We'll tease the bullringing round & loud, loud & round.Follow on! With a twist of the world we go.Follow on! Till the gold is cold.Dancing out with the moonlit knight,Knights of the Green Shield stamp and shout.

· A Place To Call My Own Lyrics
· A Trick Of The Tail Lyrics
· A Winter's Tale Lyrics
· Abacab Lyrics
· After The Ordeal Lyrics
· Afterglow Lyrics
· Aisle Of Plenty Lyrics
· Alien Afternoon (Banks/Rutherford) Lyrics
· All In A Mouse's Night Lyrics
· Alone Tonight Lyrics
· Am I Very Wrong? Lyrics
· Another Record Lyrics
· Anything Now Lyrics
· Anything She Does Lyrics
· Anyway Lyrics
· Back In N.Y.C. Lyrics
· Ballad Of Big Lyrics
· Banjo Man Lyrics
· Behind The Lines Lyrics
· Blood On The Rooftops Lyrics
· Broadway Melody Of 1974 Lyrics
· Build Me A Mountain Lyrics
· Burning Rope Lyrics
· Calling All Stations Lyrics
· Can-Utility And The Coastliners Lyrics
· Congo Lyrics
· Counting Out Time Lyrics
· Cuckoo Cocoon Lyrics
· Cul-De-Sac Lyrics
· Dance On A Volcano Lyrics
· Dancing With The Moonlit Knight Lyrics
· Deep In The Motherlode Lyrics
· Do The Neurotic Lyrics
· Dodo Lyrics
· Domino Lyrics
· Down And Out Lyrics
· Dreaming While You Sleep Lyrics
· Driving The Last Spike Lyrics
· Drum Duet Lyrics
· Duchess Lyrics
· Duke's End Lyrics
· Duke's Travels Lyrics
· Dusk Lyrics
· Eleventh Earl Of Mar Lyrics
· Entangled Lyrics
· Evidence Of Autumn Lyrics
· Evil Jam Lyrics
· Fading Lights Lyrics
· Feeding The Fire Lyrics
· Fireside Song Lyrics
· Firth Of Fifth Lyrics
· Fly On A Windshield Lyrics
· Follow You Follow Me Lyrics
· For Absent Friends Lyrics
· Get 'Em Out By Friday Lyrics
· Going Out To Get You Lyrics
· Guide Vocal Lyrics
· Hair On The Arms And Legs Lyrics
· Hairless Heart Lyrics
· Happy The Man Lyrics
· Harlequin Lyrics
· Harold The Barrel Lyrics
· Hearts On Fire Lyrics
· Heathaze Lyrics
· Here Comes The Supernatural Anaesthetist Lyrics
· Hey! Lyrics
· Hidden In The World Of Dawn Lyrics
· Hold On My Heart Lyrics
· Home By The Sea Lyrics
· Horizons Lyrics
· I'd Rather Be You Lyrics
· I Can't Dance Lyrics
· I Know What I Like (In Your Wardrobe) Lyrics
· If That's What You Need Lyrics
· Illegal Alien Lyrics
· Image Blown Out (Early demo - Only on new release of FGTR) Lyrics
· In Hiding Lyrics
· In Limbo Lyrics
· In The Air Tonight Lyrics
· In The Beginning Lyrics
· In The Cage Lyrics
· In The Rapids Lyrics
· In The Wilderness Lyrics
· In Too Deep Lyrics
· Inside And Out Lyrics
· Invisible Touch Lyrics
· It Lyrics
· It's Gonna Get Better Lyrics
· It's Gonna Get Better (long version) Lyrics
· It's Yourself Lyrics
· Jesus He Knows Me Lyrics
· Just A Job To Do Lyrics
· Keep It Dark Lyrics
· Land Of Confusion Lyrics
· Let Us Now Make Love Lyrics
· Like It Or Not Lyrics
· Lilywhite Lilith Lyrics
· Living Forever Lyrics
· Looking For Someone Lyrics
· Los Endos Lyrics
· Lurker Lyrics
· Mad Man Moon Lyrics
· Mama Lyrics
· Man Of Our Times Lyrics
· Man On The Corner Lyrics
· Many Too Many Lyrics
· Match Of The Day Lyrics
· Me And Sarah Jane Lyrics
· Me And Virgil Lyrics
· Misunderstanding Lyrics
· More Fool Me Lyrics
· Never A Time Lyrics
· No Reply At All Lyrics
· No Son Of Mine Lyrics
· Not About Us (Banks/Rutherford/Wilson) Lyrics
· On The Shoreline Lyrics
· One-Eyed Hound Lyrics
· One Day Lyrics
· One For The Vine Lyrics
· One Man's Fool Lyrics
· Open Door Lyrics
· Pacidy Lyrics
· Papa He Said Lyrics
· Paperlate Lyrics
· Pigeons Lyrics
· Please Don't Ask Lyrics
· Ravine Lyrics
· Riding The Scree Lyrics
· Ripples Lyrics
· Robbery, Assault & Battery Lyrics
· Run Out Of Time Lyrics
· Say It's Alright Joe Lyrics
· Scenes From A Night's Dream Lyrics
· Sea Bee Lyrics
· Second Home By The Sea Lyrics
· Seven Stones Lyrics
· She's So Beautiful (Early demo - Only on new release of FGTR) Lyrics
· Shipwrecked Lyrics
· Sign Your Life Away Lyrics
· Silent Sorrow In Empty Boats Lyrics
· Silent Sun Lyrics
· Silver Rainbow Lyrics
· Since I Lost You Lyrics
· Small Talk Lyrics
· Snowbound Lyrics
· Squonk Lyrics
· Stagnation Lyrics
· Supper's Ready Lyrics
· Taking It All Too Hard Lyrics
· Tell Me Why Lyrics
· That's All Lyrics
· That's Me Lyrics
· The Battle Of Epping Forest Lyrics
· The Brazilian Lyrics
· The Carpet Crawlers Lyrics
· The Chamber Of 32 Doors Lyrics
· The Cinema Show Lyrics
· The Colony Of Slippermen Lyrics
· The Conqueror Lyrics
· The Day The Light Went Out Lyrics
· The Dividing Line Lyrics
· The Fountain Of Salmacis Lyrics
· The Grand Parade Of Lifeless Packaging Lyrics
· The Knife Lyrics
· The Knife (live version) Lyrics
· The Lady Lies Lyrics
· The Lamb Lies Down On Broadway Lyrics
· The Lamia Lyrics
· The Light Dies Down On Broadway Lyrics
· The Magic Of Time Lyrics
· The Musical Box Lyrics
· The Mystery Of The Flannan Isle Lighthouse Lyrics
· The Return Of The Giant Hogweed Lyrics
· The Serpent Lyrics
· The Shepherd Lyrics
· The Waiting Room Lyrics
· There Must Be Some Other Way Lyrics
· Throwing It All Away Lyrics
· Time Table Lyrics
· Tonight, Tonight, Tonight Lyrics
· Turn It On Again Lyrics
· Twilight Alehouse Lyrics
· Uncertain Weather Lyrics
· Undertow Lyrics
· Unquiet Slumbers For The Sleepers... Lyrics
· Vancouver Lyrics
· Visions Of Angels Lyrics
· Watcher Of The Skies Lyrics
· Way Of The World Lyrics
· Where The Sour Turns To Sweet Lyrics
· White Mountain Lyrics
· Who Dunnit? Lyrics
· Window Lyrics
· Wot Gorilla? Lyrics
· You Might Recall Lyrics
· Your Own Special Way Lyrics
· ...In That Quiet Earth Lyrics