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She's The One

She's The One

I was her she was me

We were one we were free

And if there's somebody calling me on

She's the one

If there's somebody calling me on

She's the one

We were young we were wrong

We were fine all along

If there's somebody calling me on

She's the one

* When you get to where you wanna go

And you know the things you wanna know

You're smiling

When you said what you wanna say

And you know the way you wanna play

You'll be so high you'll be flying

Though the sea will be strong

I know we'll carry on

Cos if there's somebody calling me on

She's the one

If there's somebody calling me on

She's the one

[Repeat *]

When you said what you wanna say

And you know the way you wanna say it

You'll be so high you'll be flying

I was her she was me

We were one we were free

If there's somebody calling me on

She's the one

If there's somebody calling me on

She's the one

If there's somebody calling me on

She's the one

Yeah she's the one

If there's somebody calling me on

She's the one

She's the one

If there's somebody calling me on

She's the one

[Wanipok]

Half-life

Half-life

I'm awake in the afternoon

I fell asleep in the living room

and it's one of those moments

when everything is so clear

before the truth goes back into hiding

I want to decide 'cause it's worth deciding

to work on finding something more than this fear

It takes so much out of me to pretendtell me now,

tell me how to make amends

maybe, I need to see the daylight

to leave behind this half-life

don't you see I'm breaking down

lately, something here don't feel right

this is just a half-life

is there really no escape?

no escape from time

of any kind

I keep trying to understand

this thing and that thing, my fellow man

I guess I'll let you know

when i figure it out

but I don't mind a few mysteries

they can stay that way it's fine by me

and you are another mystery i am missing

It takes so much out of me to pretend

maybe, I need to see the daylight

to leave behind this half-life

don't you see I'm breaking down

Lately, something here don't feel right

this is just a half-life

is there really no escape?

no escape from timeof any kind

come on lets fall in love

come on lets fall in love

come on lets fall in love

again

'cause lately something here don't feel right

this is just a half-life,

without you I am breaking down

wake me, let me see the daylight

save me from this half-life

let's you and I escape

escape from time

come on lets fall in love

come on lets fall in love

come on lets fall in love

again

[Wanipok]

My Sharona

My Sharona

Ooh, my little pretty one, my pretty one

When you gonna give me some time, Sharona

Ooh, you make my motor run, my motor run

Got it comin' off o' the line, Sharona

Never gonna stop, give it up, such a dirty mind

I always get it up for the touch of the younger kind

My, my, my, aye-aye, whoa!

M-m-m-my Sharona

Come a little closer, huh, a-will ya, huh?

Close enough to look in my eyes, Sharona

Keepin' it a mystery, it gets to me

Runnin' down the length of my thigh, Sharona

Never gonna stop, give it up, such a dirty mind

I always get it up for the touch of the younger kind

My, my, my, aye-aye, whoa!

M-m-m-my Sharona

M-m-m-my Sharona

When you gonna give to me, a gift to me

Is it just a matter of time, Sharona?

Is it d-d-destiny, d-destiny

Or is it just a game in my mind, Sharona?

Never gonna stop, give it up, such a dirty mind

I always get it up for the touch of the younger kind

My, my, my, aye-aye, whoa!

M-m-m-m-m-m-m-my, my, my, aye-aye, whoa!

M-m-m-my Sharona

M-m-m-my Sharona

M-m-m-my Sharona

M-m-m-my Sharona

Ooooooo-ohhh, my Sharona

Ooooooo-ohhh, my Sharona

Ooooooo-ohhh, my Sharona

[Wanipok]

While My Guitar Gently Weeps

While My Guitar Gently Weeps

I look at you all see the love there that's sleeping

While my guitar gently weeps

I look at the floor and I see it needs sweeping

Still my guitar gently weeps

I don't know why nobody told you how to unfold your love

I don't know how someone controlled you

They bought and sold you.

I look at the world and I notice it's turning

While my guitar gently weeps

With every mistake we must surely be learning

Still my guitar gently weeps

I don't know how you were diverted

You were perverted too

I don't know how you were inverted

No one alerted you.

I look at you all see the love there that's sleeping

While my guitar gently weeps

Look at you all . . .

Still my guitar gently weeps.

[Wanipok]

Hotel California

Hotel California

On a dark desert highway

Cool wind in my hair Warm smell of colitas

Rising up through the air

Up ahead in the distance

I saw a shimmering light

My head grew heavy, and my sight grew dim

I had to stop for the night

There she stood in the doorway

I heard the mission bell

And I was thinking to myself

This could be Heaven or this could be

Hell Then she lit up a candle

And she showed me the way

There were voices down the corridor

I thought I heard them say

Welcome to the Hotel California

Such a lovely place

Such a lovely place (background)

Such a lovely face

Plenty of room at the Hotel California

Any time of year

Any time of year (background)

You can find it here

You can find it here

Her mind is Tiffany twisted

She's got the Mercedes bends

She's got a lot of pretty, pretty boys

That she calls friends

How they dance in the courtyard

Sweet summer sweat

Some dance to remember

Some dance to forget

So I called up the Captain

Please bring me my wine

He said

We haven't had that spirit here since 1969

And still those voices are calling from far away

Wake you up in the middle of the night

Just to hear them say

Welcome to the Hotel California

Such a lovely Place

Such a lovely Place (background)

Such a lovely face

They're livin' it up at the Hotel California

What a nice surprise

What a nice surprise (background)

Bring your alibies

Mirrors on the ceiling

Pink champagne on ice

And she said

We are all just prisoners here

Of our own device

And in the master's chambers

They gathered for the feast

They stab it with their steely knives

But they just can't kill the beast

Last thing I remember

I was running for the door

I had to find the passage back to the place I was before

Relax said the nightman

We are programed to recieve

You can check out any time you like

But you can never leave

[Wanipok]

Free Bird

Free Bird

If I leave here tomorrow

Would you still remember me?

For I must be travelling on, now,

There's too many places I haven't seen

And if I stayed here with you, now

Things just wouldn't be the same

Well I'm as free as a bird now,

And a bird you can not change.

And a bird you can not change.

And a bird you can not change.

Lord knows I can't change

Bye, bye, its been a sweet love.

And though this feeling I can't change.

Please don't take it badly,

The Lord knows I'm to blame.

And, if I stayed here with you now

Things just wouldn't be the same.

For I'm as free as a bird now,

And this bird you'll never change.

And the bird you can not change.

And the bird you can not change.

Lord knows, I can't change.

Lord help me, I can't change.

[Wanipok]

I DON'T WANT TO TALK ABOUT IT

I DON'T WANT TO TALK ABOUT IT

..I can tell by your eyesThat you've prob'blybeen cryin' forever

And the stars in the skydon't mean nothin'

To you, they're a mirrorI don't wanna talk about it,

How you broke my heart,If I stay here,just a little bit longerIf I stay here,

Won't you listen

To my heart, woh, my heartIf I stand all alone,

Will the shadowHide the colour of my heart

Blue for the tears,Black for the night'sAnd the stars in the sky

Don't mean nothin' to you

They're a mirror

I don't wanna talk about it,

I don't wanna talk about it,How you broke my heart,If I stay here,just a little bit longerIf I stay here,

Won't you listenTo my heart, woh, my heart

I don't wannatalk about it,

How you broke this so heart,If I stay here,just a little bit longerIf I stay here,

Won't you listen

To my heart, woh, my heart

My heart, woh oh heart

[Wanipok]

Little Wing

Little Wing

Well shes walking through the clouds

With a circus mind thats running round

Butterflies and zebras

And moonbeams and fairy tales

Thats all she ever thinks about

Riding with the wind.

When Im sad, she comes to me

With a thousand smiles, she gives to me free

Its alright she says its alright

Take anything you want from me, anything

Anything.

Fly on little wing,

Yeah yeah, yeah, little wing

[Wanipok]

Take It Easy

Take It Easy

Well, I'm running down the roadtryin' to loosen my loadI've got seven women onmy mind,Four that wanna own me,Two that wanna stone me,One says she's a friend of mine

Take It easy, take it easy Don't let the sound of your own wheelsdrive you crazyLighten up while you still candon't even try to understandJust find a place to make your standand take it easy

Well, I'm a standing on a cornerin Winslow, Arizonaand such a fine sight to seeIt's a girl, my Lord, in a flatbedFord slowin' down to take a look at meCome on, baby, don't say maybeI gotta know if your sweet love isgonna save me

We may lose and we may win thoughwe will never be here againso open up, I'm climbin' in,so take it easyWell I'm running down the road trying to loosenmy load, got a world of trouble on my mindlookin' for a lover who won't blow mycover, she's so hard to find

Take it easy, take it easydon't let the sound of your ownwheels make you crazycome on baby, don't say maybeI gotta know if your sweet love isgonna save me, oh oh ohOh we got it easyWe oughta take it easy

[Wanipok]

Let It Be

Let It Be

When I find myself in times of troubleMother Mary comes to meSpeaking words of wisdom, let it be.And in my hour of darknessShe is standing right in front of meSpeaking words of wisdom, let it be.Let it be, let it be.Whisper words of wisdom, let it be.

And when the broken hearted peopleLiving in the world agree,There will be an answer, let it be.For though they may be parted there isStill a chance that they will seeThere will be an answer, let it be.Let it be, let it be. YeahThere will be an answer, let it be.

And when the night is cloudy,There is still a light that shines on me,Shine on until tomorrow, let it be.I wake up to the sound of musicMother Mary comes to meSpeaking words of wisdom, let it be.

Let it be, let it be.There will be an answer, let it be.

Let it be, let it be,Whisper words of wisdom, let it be.

[Wanipok]

MP3

MP3

MPEG-1 Audio Layer 3, more commonly referred to as MP3, is a digital audio encoding format using a form of lossy data compression.
This encoding format is used to create the MP3's small file, as a way to store a single segment of audio, commonly a song, such that the file can be easily organized and transferred between computers or other devices such as MP3 players.
MP3's use of a lossy compression algorithm is designed to greatly reduce the amount of data required to represent the audio recording and still sound like a faithful reproduction of the original uncompressed audio for some listeners, but is not considered High Fidelity audio by the elite connoisseur. An MP3 file that is created using the mid-range bitrate setting of 128 kbit/s will result in a file that is typically about 1/10th the size of the CD file created from the original audio source. An MP3 file can also be constructed at higher or lower bitrates, with higher or lower resulting quality.
MP3 is an audio-specific format. It was invented by a team of international engineers at Philips, CCETT (Centre commun d'études de télévision et télécommunications), IRT, AT&T-Bell Labs and Fraunhofer Society, and it became an ISO/IEC standard in 1991. The compression works by reducing accuracy of certain parts of sound that are deemed beyond the auditory resolution ability of most people. This method is commonly referred to as Perceptual Coding. [1]
It provides a representation of sound within a short term time/frequency analysis window, by using psychoacoustic models to discard or reduce precision of components less audible to human hearing, and recording the remaining information in an efficient manner. This is relatively similar to the principles used by, say, JPEG, an image compression format.

Development
The psycho-acoustic masking codec was first proposed, apparently independently in 1979, by Manfred Schroeder, et al.[2] from AT&T-Bell Labs in Murray Hill, NJ, and M. A.Krasner[3] both in the United States. Krasner was the first to publish and to produce hardware, but the publication of his results as a relatively obscure Lincoln Laboratory Technical Report did not immediately influence the mainstream of psychoacoustic codec development. Manfred Schroeder was already a well known and revered figure in the world wide community of acoustical and electrical engineers and his paper had influence in acoustic and source-coding (audio compression) research. Both Krasner and Schroeder built upon the work of E. F. Zwicker [4], that in turn built on the fundamental research in the area from Bell Labs of Harvey Fletcher and his collaborators. [5] A wide variety of audio compression algorithms, mostly (but not completely) perceptual were reported in a refereed journal, the Journal on Selected Areas in Communications, [6]. That journal reported in Feb. 1988 on a wide range of established, working audio bit compression technologies, most of them using auditory masking as part of their fundamental design.
The immediate predecessors of MP3 were "Optimum Coding in the Frequency Domain" (OCF),[7] and Perceptual Transform Coding (PXFM).[8] These two codecs, along with block-switching contributions from Thomson-Brandt, were merged into a codec called ASPEC, which was submitted to MPEG, and which won the quality competition, but that was mistakenly rejected as too complex to implement. The first practical implementation of an audio perceptual coder (OCF) in hardware (Krasner's hardware was too cumbersome and slow for practical use), was which was an implementation of a psychoacoustic transform coder based on Motorola 56000 DSP chips. MP3 is directly descended from OCF and PXFM. MP3 represents the outcome of the collaboration of Dr. Karlheinz Brandenburg, working as a PostDoc at AT&T-Bell Labs with Mr. James D. Johnston of AT&T-Bell Labs, collaborating with the Fraunhofer Society for Integrated Circuits, Erlangen, with relatively minor contributions from the Musicam (MP2) branch of psychoacoustic sub-band coders.
MPEG-1 Audio Layer 2 encoding began as the Digital Audio Broadcast (DAB) project managed by Egon Meier-Engelen of the Deutsche Forschungs- und Versuchsanstalt für Luft- und Raumfahrt (later on called Deutsches Zentrum für Luft- und Raumfahrt, German Aerospace Center) in Germany. This project was financed by the European Union as a part of the EUREKA research program where it was commonly known as EU-147, which ran from 1987 to 1994.
As a doctoral student at Germany's University of Erlangen-Nuremberg, Karlheinz Brandenburg began working on digital music compression in the early 1980s, focusing on how people perceive music. He completed his doctoral work in 1989 and became an assistant professor at Erlangen-Nuremberg. While there, he continued to work on music compression with scientists at the Fraunhofer Society (in 1993 he joined the staff of the Fraunhofer Institute).[9]
In 1991, there were two proposals available: Musicam (known as Layer 2), and ASPEC - (Short excerpt on German Wikipedia) (Adaptive Spectral Perceptual Entropy Coding). The Musicam technique, as proposed by Philips (The Netherlands), CCETT (France) and Institut für Rundfunktechnik (Germany) was chosen due to its simplicity and error robustness, as well as its low computational power associated with the encoding of high quality compressed audio. The Musicam format, based on sub-band coding, was a basis of the MPEG Audio compression format (sampling rates, structure of frames, headers, number of samples per frame). Its technology and ideas were fully incorporated into the definition of ISO MPEG Audio Layer I and Layer II and further on of the Layer III (MP3) format. Under the chairmanship of Professor Musmann (University of Hannover) the editing of the standard was made under the responsibilities of Leon van de Kerkhof (Layer I) and Gerhard Stoll (Layer II).
A working group consisting of Leon van de Kerkhof (The Netherlands), Gerhard Stoll (Germany), Leonardo Chiariglione (Italy), Yves-François Dehery (France), Karlheinz Brandenburg (Germany) and James D.Johnston (USA) took ideas from ASPEC, integrated the filterbank from Layer 2, added some of their own ideas and created MP3, which was designed to achieve the same quality at 128 kbit/s as MP2 at 192 kbit/s.
All algorithms were approved in 1991 and finalized in 1992 as part of MPEG-1, the first standard suite by MPEG, which resulted in the international standard ISO/IEC 11172-3, published in 1993. Further work on MPEG audio was finalized in 1994 as part of the second suite of MPEG standards, MPEG-2, more formally known as international standard ISO/IEC 13818-3, originally published in 1995.
Compression efficiency of encoders is typically defined by the bit rate, because compression rate depends on the bit depth and sampling rate of the input signal. Nevertheless, there are often published compression rates that use the CD parameters as references (44.1 kHz, 2 channels at 16 bits per channel or 2×16 bit). Sometimes the Digital Audio Tape (DAT) SP parameters are used (48 kHz, 2×16 bit). Compression ratios with this reference are higher, which demonstrates the problem of the term compression ratio for lossy encoders.
Karlheinz Brandenburg used a CD recording of Suzanne Vega's song "Tom's Diner" to assess the MP3 compression algorithm. This song was chosen because of its nearly monophonic nature and wide spectral content, making it easier to hear imperfections in the compression format during playbacks. Some jokingly refer to Suzanne Vega as "The mother of MP3". Some more critical audio excerpts (glockenspiel, triangle, accordion, etc.) were taken from the EBU V3/SQAM reference compact disc and have been used by professional sound engineers to assess the subjective quality of the MPEG Audio formats. It is important to understand that Suzanne Vega is recorded in an interesting fashion that results in substantial difficulties that arise due to Binaural Masking Level Depression (BMLD).[citation needed]

Bit rate
Several bit rates are specified in the MPEG-1 Layer 3 standard: 32, 40, 48, 56, 64, 80, 96, 112, 128, 144, 160, 192, 224, 256 and 320 kbit/s, and the available sampling frequencies are 32, 44.1 and 48 kHz. A sample rate of 44.1 kHz is almost always used, because this is also used for CD audio, the main source used for creating MP3 files. A greater variety of bit rates are used on the Internet. 128 kbit/s is the most common, beause it typically offers adequate audio quality in a relatively small space. 192 kbit/s is often used by those who notice artifacts at lower bit rates. As the Internet bandwidth availability and hard drive sizes have increased, 128 kbit/s bitrate files are slowly being replaced with higher bitrates like 192 kbit/s, with some being encoded up to MP3's maximum of 320 kbit/s. It is unlikely that higher bit rates will be popular with any lossy audio codec as higher bit rates than 320 kbit/s encroach on the domain of lossless codecs such as FLAC.
By contrast, uncompressed audio as stored on a compact disc has a bit rate of 1,411.2 kbit/s (16 bits/sample × 44100 samples/second × 2 channels / 1000 bits/kilobit).
Some additional bit rates and sample rates were made available in the MPEG-2 and the (unofficial) MPEG-2.5 standards: bit rates of 8, 16, 24, and 144 kbit/s and sample rates of 8, 11.025, 12, 16, 22.05 and 24 kHz.
Non-standard bit rates up to 640 kbit/s can be achieved with the LAME encoder and the freeformat option, although few MP3 players can play those files. Gabriel Bouvigne, a principal developer of the LAME project, says that the freeformat option is compliant with the standard but, according to the standard, decoders are only required to be able to decode streams up to 320 kbit/s

File structure

Che Guevara

Ernesto Guevara de la Serna (June 14, 1928 – October 9, 1967), commonly known as Che Guevara or el Che, was an Argentine-born Marxist revolutionary, political figure, author, and leader of Cuban and proletarian internationalist guerrillas. As a young man, Guevara studied medicine and traveled "rough[›]" throughout Latin America, activities that brought him into direct contact with the poverty in which many lived. Through these experiences he became convinced that only revolution could remedy the region's economic inequality, leading him to study Marxism and become involved in Guatemala's social revolution under President Jacobo Arbenz Guzmán.
Later while in Mexico in 1956, Guevara joined Fidel Castro's revolutionary 26th of July Movement that fought a guerrilla war and ultimately seized power from the regime of the U.S.-supported Cuban dictator General Fulgencio Batista in 1959. For a few months after the success of the Cuban Revolution, Guevara was assigned the role of supreme prosecutor, overseeing the revolutionary tribunals and executions of suspected war criminals associated with the previous regime.
After serving in several important posts in the new government, traveling around the world meeting important world leaders, and writing a classic manual on the theory and practice of guerrilla warfare (foco theory), Guevara left Cuba in 1965 to incite revolutions using his guerrilla tactics, first in a failed revolution in Congo-Kinshasa and then in Bolivia, where his foco tactics also failed and he was captured and executed.
Although a controversial figure during his life, after his death, Guevara became an icon of socialist revolutionary movements worldwide and a countercultural hero. An Alberto Korda photo of him (shown) has received wide distribution and modification. The Maryland Institute College of Art called this picture "the most famous photograph in the world and a symbol of the 20th century."[1]

RPG MAKER

RPG MAKER

RPG Maker
An example of the RPG Maker XP map-making interface. This screenshot also displays objects such as NPCs.
Developer
ASCII / Enterbrain / Agetec
Initial release
Mamirin, 1988
Latest release
RPG Tsukūru VX Microsoft Windows / December 27, 2007
Platform
PC-8801, MSX2, PC-9801, Super Famicom, Microsoft Windows, Sega Saturn, PlayStation, Game Boy Color, PlayStation 2
Available in
Japanese, Chinese, Korean, English
Genre
Game creation software
Website
http://www.enterbrain.com/ Enterbrain.com http://www.agetec.com/ Agetec.com

[Wanipok]