(1) On May 18, 1980, Mount St. Helens sent an explosion of ash, gas, and rock into the sky. This eruption led to the death of 57 people, in addition to permanently changing the surrounding landscape. It is still one of the most disastrous volcanic eruptions in recent history. (2) Mount St. Helens is located in the Cascade Mountain Range in Washington, United States. It is part of the Ring of Fire, an important geological area. This area is home to over 160 active volcanos. Volcanos are active if they have erupted at least once in the last 10,000 years. Mount St. Helens is a stratovolcano. This means it is a steep, evenly shaped cone made of many layers of volcanic rock and ash. These volcanos often have explosive eruptions.

(3) Before the eruption of Mount St. Helens, a bulge of rock formed on the northern side of the mountain. Then, early on May 18th, an earthquake occurred that was caused by increasing pressure inside the mountain. This led to a landslide. The force of the landslide collapsed the entire northern side of the mountain, which led to a lateral blast. Lateral blasts occur when volcanos erupt sideways, rather than at the peak. This lateral blast sent rocks flying for miles at high speeds. These blasts destroy forests, buildings, and other structures in a short amount of time. The lateral blast at Mount St. Helens destroyed an area of about 150 square miles. It destroyed forests and left debris in three-inch layers, making the situation even more disastrous.

(4) When Mount St. Helens erupted, clouds of deadly ash, volcanic rock, and pyroclastic flows flew outward from the volcano. Pyroclastic flows are more dangerous than lava flows. They are made of gas and volcanic matter. The temperature inside one can reach 1832 °F. They move at a speed of more than 50 miles per hour. It is impossible for humans and animals to outrun them. These flows make the eruption of stratovolcanos deadly. As a result, the forests covering the mountain were ruined. Fortunately, there weren't any towns near enough to be destroyed.

(5) By the time Mount St. Helens finished erupting, a crater had formed at its top. Forests had been destroyed for miles and rivers had been blocked by debris. Clouds had even blocked out the sun in the entire state. It took years for the environment to recover.

perhaps donatello’s landmark work – and one of the greatest sculptural works of the early renaissance – was his bronze statue of david.  this work signals the return of the sculpture in the round figure, and because it was the first such work like this in over a thousand years, it is one of the most important works in the history of western art.

david is shown at a triumphal moment within the biblical storyline of his battle with the philistine, goliath.  according to the account, after david struck goliath with the stone from his slingshot, he cut off his head with goliath’s sword.  here, we see the aftermath of this event as david stands in a contemplative pose with one foot atop his enemy’s severed head.  david wears nothing but boots and a shepherd’s hat with laurel leaves on top of it, which may allude to his victory or to his role as a poet and musician.

before donatello’s work, david was typically depicted as a king, given his status in the old testament.  here, however, we have a stark change in the way david is depicted.  not only is he shown in the, but he’s also a youth.  in middle ages, nudity was not used in art except in certain moral contexts, such as the depiction of adam and eve, or the sending of souls off to the underworld.  in the classical world, was often used in a different, majestic context, such as with figures who were gods, heroes, or athletes.  here, donatello seems to be calling to mind the type of heroic nudity of antiquity, since david is depicted at triumphal point in the biblical narrative of his victory over goliath.

as for david’s youthfulness, donatello has gone back to the early life of the biblical david to depict him, rather than to his later life as a king.  it seems that donatello is trying to associate david’s youth with an innocent and virtuous life.  david looks young here – so young, in fact, that his muscles have barely developed enough to hold the large sword – that his victory over his foe is all the more improbable.  could david’s victory have been gained without divine intervention?   donatello’s work seems to imply that the answer is “no” – the victory was god’s rather than man’s.

in any case, donatello’s david is a classic work of renaissance sculpture, given its judaeo-christian subject matter modeled on a classical sculptural type.  it was revolutionary for its day – so much so that it did not get copied right away.  the idea of the life-sized sculpture-in-the-round evidently took some time to sink in and become an acceptable statue type

i've never seen you when you're smiling

it really gets under my skin

you say it's easy when it's faster

i still can't guess what you're after

it's the colour of your skin

your skin is black metallic

it's the colour of your skin

your skin is black metallic

your skin is black metallic

your skin is black metallic

i think of you when you're sleeping

of all the secrets that you're keeping

you can't stay all day under the covers

'cause under there you'll discover

it's the colour of your skin

your skin is black metallic

it's the colour of your skin

your skin is black metallic

your skin is black metallic

you're turning black

it's the colour of your skin

it's the colour of your

your skin is black metallic

your skin is black metallic

your skin is black metallic

you're turning black metallic

it's the colour of your skin

your skin is black metallic

your skin is black metallic

your skin is black metallic

your skin is black metallic

your skin is black metallic

your skin is black metallic