Misspelled from the beginning, slyer versioning than beetle into Beatle, the Macintosh was the brainchild of Jef Raskin, the initiator of Apple's manuals, who began his computer revolution as a small work-group that quickly attracted Steve Jobs to its ideals. Here is a Stanford U clearinghouse of important documents from that evolution. The fusion of NeXT with Mac is the mutation that altered Apple's history, and is not examined in the link.

Upon meeting his prime visualizer in 1974, Ralph McQuarrie, George Lucas sketched out three of his known quantities, showcasing that design and writing for his upcoming saga was simultaneous. Knowing these forms' shaping was elemental in describing their conflict in written form.

Notice orientations and where one views directions from. We are looking 'up,' notice the stars. Notice the fire's line imitates but does not fully embody lightning, it flows from the coyote's act of stealing to the human realm through the sun at center.

From the article "Security Tops the Environment in China's Energy Plan" which has a lexemic use of security.

"That belief has underpinned China’s rapid expansion in renewable energy, because it tends to be made in China, Mr. Li said. China has just emerged as the world’s largest manufacturer of wind turbines and solar panels, and plans to be the world’s biggest builder of nuclear power plants in the coming decade. It invested nearly twice as much as the United States last year in renewable energy."

ICELANDIC MODERN MEDIA INITIATIVE

http://www.immi.is/

Charley Patton, musically untrained, was the Mozart of American Blues. With a single song, Pony Blues, he altered forever the nature of music, predicting if not inventing in one fell swoop rock and roll, soul and even disco. To comprehend Patton's nuances, musicologists will tell you bands as elemental as The Rolling Stones never made a single recording that topped the complexities of Pony Blues. W.C Handy, the inventor of pop-blues, himself trained to read and write music tried many times to imitate Patton's skills but the secret evaded him.   Here's an excerpt of King of the Delta Blues, the only definitive study of Patton's revolutionary skills.

  Pony Blues remains such an appealing song that it could have made the blues career of anyone who invented it. Its fourteen bar title verse had the kind of insinuating melody that makes for a song hit or standard. Except for its keynote phrase endings, the placid melody of the title verse was altogether untypical of blues. Its four notes employed major intervals (the keynote, major third, major fifth, and major sixth) that eliminated the tonal ambiguity of most blues. The prominence of the dominant of all three phrases further removed it from conventional blues melody, which would often lack a dominant in its first two phrases. Instead of treating the dominant as a ceiling tone (in the fashion of Maggie), Patton made it a true melody note by sandwiching it between the higher sixth and lower third. While many blues sound forced, Pony Blues began with three complementary phrases, closely intertwined as to constitute a single basic phrase with variations.
  Whereas the first half half of the initial phrase ascends during the first three beats, the last part of the phrase inverts its note sequence for four beats (descending from the major sixth to the dominant, the major third, and keynote). The second phrase begins with the same ascent, but instead of hovering at the major sixth on the sixth beat, it repeats the closing cadence of the previous phrase. The third line resumes the melody of the first six beats, and then toys with the three lowest tones for its closing measure.
  Patton’s remarkable phrasing and rhythmic presentation of Pony Blues made it far superior to the ordinary ditty, and converted what otherwise would have been a memorable melody into a masterpiece. Over the first two phrases of the title verse, he held the final word (which began on the tenth beat) for six beats while playing a guitar figure. The hold created a symmetrical effect, since the opening phrase snippet of the tune ('Hitch up my pony') had also consisted of six beats. The final word of the stanza was held for two full measures—a feat never duplicated on a blues recording.
The vocal accenting of Pony Blues was the most complicated of any dance blues song. The unique vocal accenting of the title verse involved a tug-of-war between a 1-2 scheme and legato singing style involving sustained notes that displaced expected stresses.  As in Screamin' and Hollerin', the vocal had a weak sixth beat that Patton fortified by penetrating his singing with instrumentation. In this instance, he created a complementary rhythm with a non-melodic seven beat mosaic, beginning with a bass tonic note on the second followed by three beats of dampened and bent treble notes. A three beat variation of this phrase began on the sixth beat, Patton seems to be the only blues musician who was able to think in terms of such dual rhythm patterns.
  By using short instrumental figures, Patton not only filled in every vocal beat (except for the opening one, and the fifth beat of the final phrase), but was able to attain a variety of tones and instrumental accenting patterns. The bass and treble interplay that formed Patton’s accompaniment punctuations was extremely exotic within the realm of blues-playing. His rhythmic punctuations would have sounded unintelligible without the presence of a vocal line they were grafted onto. In this respect the arrangement given Pony Blues was musically ancestral to present day “soul” and disco songs, where percussive phrase snippets abound.
…Patton’s timing is wondrous to behold, and he handles his instrument like a toy, producing tonal and percussive contrasts by choking strings for split seconds, muting individual bass notes, and tapping his guitar percussively during the V7 section over the third and fourth beats of the final vocal phrase. Jazz guitarist Woody Mann terms Pony Blues “the most perfect blues recording ever made."

- King of the Delta Blues, The Life and Music of Charley Patton by Stephen Calt and Gayle Wardlow Rock Chapel Press pp 98-99
 

Barrelhouses were mostly illegal houses of gambling with skewed odds, prostitution, cheap corn liquor and a house pianist. As the barrelhouse became the only place men could romance women somewhat without fear of retribution, its popularity rose steadily and a circuit was established for travelling musicians - soon this began rivalling gambling as the main attraction. Barrelhouses were usually staked by farmowners hoping to sieve their workers' wages back rather than letting them spend it up north in the barrelhouses of Beale Street (Memphis).

"The other life is lived in computers, where you go by the hacker alias "Neo" and are guilty of virtually every computer crime we have a law for. One of these lives has a future, and one of them does not"

Ilmārs Poikāns is a Latvian AI researcher at the Institute of Mathematics and Computer Science at the University of Latvia. He has used the pseudonym Neo (of The Matrix), and is also known in the press as Latvia's "Robin Hood".

Allegations of illegal access to tax records

Ilmārs was arrested and later released; prosecutors released a statement saying "Taking into consideration his attitude, his confession of the crime, and his cooperation in the investigation, we did not seek his pre-trial detention." Some allege that the arrest came as a result of a search of TV journalist Ilze Nagla's house on Tuesday May 11, 2010.

After his arrest there were reports of a flash mob outside the government's cabinet office.

Ilmārs is alleged to have illegally accessed 7.5 million tax records and divulged pay rises for some high ranking public sector employees while rank and file employees were forced to take pay cuts as high as 30%.