Search results for cue club full
33, 
00:31, 
2008-04-17 11:32:42 Description: Watch this video to obtain gold membership in cueclub and enter any virtual chat room even if it is full. ccc>gold
Channel: metacafe Rate it: Rate:
16, 09:28, 2008-04-22 11:46:20 Description: -XR2 // M.I.A. -Wass Up Wass Up // Diplo -LDN (Switch Remix) // Lily Allen -The Golden // Shinichi Osawa -Cue // Yellow Magic Orchestra -Gravity's Rainbow (Soulwax Remix) // Klaxons -Robot Rock (More) -XR2 // M.I.A. -Wass Up Wass Up // Diplo -LDN (Switch Remix) // Lily Allen -The Golden // Shinichi Osawa -Cue // Yellow Magic Orchestra -Gravity's Rainbow (Soulwax Remix) // Klaxons -Robot Rock (Soulwax Remix) // Daft Punk -Jet // Wings -D.A.N.C.E. // Justice -Smells Like Teen Spirit // Nirvana -Dancefloor Combat // Mondo Grosso -True Skool (Switch Remix) // Coldcut -44.12 FM (.Kota Remix) // Sabamiso -Power to the People (.Kota Remix) // John Lennon ===DOWNLOAD THE FULL MIX!!!!=== FINALLY, I FINISHED MY FIRST PARTY MIX FOR 2008!!! THIS NEW DJ MIX IS QUITE DIFFER FROM MY OLD STYLE, I CALL IT "DECONSTRUCTION." INCLUDING, SIMIAN MOBILE DISCO, LARRY TEE, JUSTICE, SWITCH, CORNELIUS, DEEP PURPLE, THE BEACH BOYS, OASIS, THE BEATLES, DIGITALISM, DATA, KITSUNE, ED BANGER ETC... http://www.divshare.com/download/3633164-25d (Less)
Channel: youtubeTags: ableton banger club deejay dj ed electro electronic house kitsune kota laptop live mash-up mix rock switch techno tokyo
Rate it: Rate:
10, 09:28, 2008-01-28 22:22:51 Description: -XR2 // M.I.A.
-Wass Up Wass Up // Diplo
-LDN (Switch Remix) // Lily Allen
-The Golden // Shinichi Osawa
-Cue // Yellow Magic Orchestra
-Gravity's Rainbow (Soulwax Remix) // Klaxons
(More) -XR2 // M.I.A.
-Wass Up Wass Up // Diplo
-LDN (Switch Remix) // Lily Allen
-The Golden // Shinichi Osawa
-Cue // Yellow Magic Orchestra
-Gravity's Rainbow (Soulwax Remix) // Klaxons
-Robot Rock (Soulwax Remix) // Daft Punk
-Jet // Wings
-D.A.N.C.E. // Justice
-Smells Like Teen Spirit // Nirvana
-Dancefloor Combat // Mondo Grosso
-True Skool (Switch Remix) // Coldcut
-44.12 FM (.Kota Remix) // Sabamiso
-Power to the People (.Kota Remix) // John Lennon
===DOWNLOAD THE FULL MIX!!!!===
FINALLY, I FINISHED MY FIRST PARTY MIX FOR 2008!!!
THIS NEW DJ MIX IS QUITE DIFFER FROM MY OLD STYLE, I CALL IT "DECONSTRUCTION."
INCLUDING, SIMIAN MOBILE DISCO, LARRY TEE, JUSTICE, SWITCH, CORNELIUS, DEEP PURPLE, THE BEACH BOYS, OASIS, THE BEATLES, DIGITALISM, DATA, KITSUNE, ED BANGER ETC...
http://www.divshare.com/download/3633164-25d (Less)
Channel: youtubeTags: ableton banger club deejay dj ed electro electronic house kitsune kota laptop live mash-up mix rock switch techno tokyo
Rate it: Rate:
60, 05:54, 2008-01-22 10:04:16 Description: Janet Kuypers reads the original poem "A Child in the Park", which mentions water (somehow), over a boat riding in the Pacific Ocean in the end of December 2007. Actually, this video footage (More) Janet Kuypers reads the original poem "A Child in the Park", which mentions water (somehow), over a boat riding in the Pacific Ocean in the end of December 2007. Actually, this video footage was shot while traveling among the Galapagos Islands, where Kuypers thought the background was a serene setting for reaing poetry.
For more information on the writing of Janet Kuypers (or artwork, including photography form the Galapagos Islands), go to http://www.janetkuypers.com to read more of her work.
This is the original poem:
A Child in the Park
this was no ordinary park, mind you: there
were no swings or children laughing; there were
different children there. There was recreation:
tennis, the pool, and a maze of streets for bicycles
and long walks; surrounded by rows of prefabricated
homes each with one little palm tree by the driveway.
People drove golf carts around in the park, or large
tricycles, or older couples would walk together just as
it was beginning to turn to dusk and long shadows from
tree-tops cris-crossed over the streets. In the afternoons,
the women in the pool would wear hats and sunglasses,
lean against the sides, swing legs in the warm water.
I remember the summer afternoons when it rained in
Florida, and after the rain I would go out in the puddles
in my roller skates, skate through them, feet soaking wet.
There was even a street named after me in the park,
and at the end of Jan Drive there was a pond.
I spent hours there, playing imaginary games,
pretending I was grown-up, feeding the ducks,
watching the fish swim around the rocks at my
feet, looking for the turtles, listening to the wind.
Oh, I remember Mr. Whorall, how he would walk
onto his driveway every time I was playing tennis
across the street. He would watch me, tell me how
I was getting better at the game every time he saw me.
And there was also Mrs. Rogers, who lived up the
street from me. She saw me riding my bicycle by one day
just before Halloween. She invited me in to help
carve a pumpkin. Every year she bought me a Christmas
present. The sweetest woman. The most beautiful woman.
And there was Ira and Betty Wiggins, who lived on
the next street, Sand Drive, with a sign in front of
their house that said, "The Wiggins' Wigwam."
They had a hammock on their porch, and art so
beautiful, so colorful on their walls. They lived in
Panama for years, he used to be a doctor. So
many things collected from all their travel. They both
knew so much, they both loved life. Once they saw
me and asked if I wanted to catch a lion. They then
went to the side of the road, and with a spoon pulled
an ant lion from the top of a sand hill. So many secrets.
Every night Ira could be found with cue holder,
decorated with Panamanian art, at the pool table, playing
my father, or another man who died years ago. I remember
that man telling me that when I was younger he would
watch me on Easter Sunday, me in my pastel dress, by
myself, spinning, dancing in the streets. He remembered
me dancing. This is his memory, how he thought of me.
And I remember the McKinleys, Pete and Lindy, another
beautiful pair who talked of Mexico, of all the places
they'd gone, all the things they had seen. So many times I
would visit them just to hear them talk. And Pete would try
to stump me with an intellectual riddle every time I sat with
him; he would ask me about astronomy, what I had learned in my
classes since the last time I visited the park. Sometimes they
would take me to their country club, play on tennis courts made
of clay, how strange it felt on my feet through my tennis shoes.
It was like another world there. The park was
where I spent my Christmases, my Easters. I
remember swimming in the pool, a week shy of
thirteen, when my parents told me I was an aunt.
Now I talk to my sister on the phone, she asks me
if I remember so-and-so from Palos Avenue,
from Blue Skys Drive. The couple that had the ornate
rock garden in their front yard, or the snow shovel
against their light post with the words "rust in
peace" painted in white on the metal. Yes, I say, I
remember them. Well, so-and-so passed away last week,
she says. Heart attack. This is what it comes down
to, I think, all these memories are slowly disappearing.
So many memories. Where there are palm trees everywhere.
It was my other world, my other life, another
lifestyle, another everything. This was not an ordinary
park, but the children were so much smarter, and
still so full of life. So much to teach. So little time. (Less)
Channel: youtubeTags: child Galapagos in Janet Kuypers Pacific park poem poetry reading the water www.janetkuypers.com
Rate it: Rate:
43, 09:57, 2008-02-04 04:50:11 Description: HTFR presents the Numark 5000 FX 5 Channel Mixer. Showing you how this club quality mixer works and showing you some of it's unique effects and sampler functions.
Buy the Numark 5000 FX from (More) HTFR presents the Numark 5000 FX 5 Channel Mixer. Showing you how this club quality mixer works and showing you some of it's unique effects and sampler functions.
Buy the Numark 5000 FX from HTFR - http://www.htfr.com/more-info/MR113896
The latest offering from the legendary numark mixer line is more than enough to blow your expectations out of the water. The fx5000 gives you the best of both worlds with high quality analogue mixing and sophisticated digital technology, a combination that most djs have now come to expect as standard from all top grade mixers. Features include 30 seconds of crystal clear sampling with pitch adjustment and smart loop. Loops can be synchronised automatically through the beatkeeper so no more annoying tapping of buttons, plus you can also ram your set full of stonking effects like delays, cuts, flanges, echoes and sonar. There's an interactive scratch / effect / pitch wheel that lets you handle responsive scratching, smooth effects transition and precise pitch adjustments for locking samples in to the tempo of incoming music. The 5000fx offers one of the most advanced and effective dsp sampling interfaces, in a very comprehensive mixing console.
* 5 channel mixer
* 14 inputs (including 2 mic & up to 6 phono)
* 3 band channel eq with kill
* 3 band microphone eq
* Gain controls
* Master pan controls
* Fully assignable cross fader with curve
* Replaceable crossfader
* Split / master cue headphone monitoring options with dual headphone output
* Balanced xlr master output
* Rca master output
* Booth output
* Record output
* Bpm counters
* 8 dsp effects with jog wheel control
* Fx include:
* True buffered real-time scratch
* Sonar
* Chop
* Echo
* Delay
* Filter
* Pitch
* Distort
* 30 sec sampler
* Smart loop auto sample adjust
* Single / loop / reverse sample play
* Fx sampler assign (scratch & effect recorded samples).
* Black / silver finish (Less)
Channel: youtube Rate it: Rate:
24, 05:54, 2008-04-21 16:54:36 Description: Janet Kuypers reads the original poem "A Child in the Park", which mentions water (somehow), over a boat riding in the Pacific Ocean in the end of December 2007. Actually, this video footage (More) Janet Kuypers reads the original poem "A Child in the Park", which mentions water (somehow), over a boat riding in the Pacific Ocean in the end of December 2007. Actually, this video footage was shot while traveling among the Galapagos Islands, where Kuypers thought the background was a serene setting for reaing poetry. For more information on the writing of Janet Kuypers (or artwork, including photography form the Galapagos Islands), go to http://www.janetkuypers.com to read more of her work. This is the original poem: A Child in the Park this was no ordinary park, mind you: there were no swings or children laughing; there were different children there. There was recreation: tennis, the pool, and a maze of streets for bicycles and long walks; surrounded by rows of prefabricated homes each with one little palm tree by the driveway. People drove golf carts around in the park, or large tricycles, or older couples would walk together just as it was beginning to turn to dusk and long shadows from tree-tops cris-crossed over the streets. In the afternoons, the women in the pool would wear hats and sunglasses, lean against the sides, swing legs in the warm water. I remember the summer afternoons when it rained in Florida, and after the rain I would go out in the puddles in my roller skates, skate through them, feet soaking wet. There was even a street named after me in the park, and at the end of Jan Drive there was a pond. I spent hours there, playing imaginary games, pretending I was grown-up, feeding the ducks, watching the fish swim around the rocks at my feet, looking for the turtles, listening to the wind. Oh, I remember Mr. Whorall, how he would walk onto his driveway every time I was playing tennis across the street. He would watch me, tell me how I was getting better at the game every time he saw me. And there was also Mrs. Rogers, who lived up the street from me. She saw me riding my bicycle by one day just before Halloween. She invited me in to help carve a pumpkin. Every year she bought me a Christmas present. The sweetest woman. The most beautiful woman. And there was Ira and Betty Wiggins, who lived on the next street, Sand Drive, with a sign in front of their house that said, "The Wiggins' Wigwam." They had a hammock on their porch, and art so beautiful, so colorful on their walls. They lived in Panama for years, he used to be a doctor. So many things collected from all their travel. They both knew so much, they both loved life. Once they saw me and asked if I wanted to catch a lion. They then went to the side of the road, and with a spoon pulled an ant lion from the top of a sand hill. So many secrets. Every night Ira could be found with cue holder, decorated with Panamanian art, at the pool table, playing my father, or another man who died years ago. I remember that man telling me that when I was younger he would watch me on Easter Sunday, me in my pastel dress, by myself, spinning, dancing in the streets. He remembered me dancing. This is his memory, how he thought of me. And I remember the McKinleys, Pete and Lindy, another beautiful pair who talked of Mexico, of all the places they'd gone, all the things they had seen. So many times I would visit them just to hear them talk. And Pete would try to stump me with an intellectual riddle every time I sat with him; he would ask me about astronomy, what I had learned in my classes since the last time I visited the park. Sometimes they would take me to their country club, play on tennis courts made of clay, how strange it felt on my feet through my tennis shoes. It was like another world there. The park was where I spent my Christmases, my Easters. I remember swimming in the pool, a week shy of thirteen, when my parents told me I was an aunt. Now I talk to my sister on the phone, she asks me if I remember so-and-so from Palos Avenue, from Blue Skys Drive. The couple that had the ornate rock garden in their front yard, or the snow shovel against their light post with the words "rust in peace" painted in white on the metal. Yes, I say, I remember them. Well, so-and-so passed away last week, she says. Heart attack. This is what it comes down to, I think, all these memories are slowly disappearing. So many memories. Where there are palm trees everywhere. It was my other world, my other life, another lifestyle, another everything. This was not an ordinary park, but the children were so much smarter, and still so full of life. So much to teach. So little time. (Less)
Channel: youtubeTags: child Galapagos in Janet Kuypers Pacific park poem poetry reading the water www.janetkuypers.com
Rate it: Rate:
36, 03:31, 2008-04-22 09:00:21 Description: Lawnboy - Phish cover with theerion on rythym and vocals and strat2caster improvising some acoustic lead...another Sunday at Strats Place Phish was an American rock band noted for their extended jam (More) Lawnboy - Phish cover with theerion on rythym and vocals and strat2caster improvising some acoustic lead...another Sunday at Strats Place Phish was an American rock band noted for their extended jam sessions and musical improvisation. Formed at the University of Vermont in 1983, the band's four members performed together for the better part of 21 years until their breakup in August 2004. Their music had elements of a wide variety of genres[1], including, but not limited to, rock, jazz, and funk sounds. Each of their concerts was original in terms of the songs performed, the order in which they appeared, and the way in which they were performed. Although the group received little radio play or MTV exposure, Phish developed a large and dedicated following by word of mouth, via Phish.net (originally a mailing list, then a Usenet newsgroup, now a website), and the exchange of live recordings. The beginning (1983-1992) Phish was formed at University of Vermont in 1983 by guitarists Trey Anastasio and Jeff Holdsworth, bassist Mike Gordon and drummer Jon Fishman. For their first gig, a Halloween dance in the basement of the ROTC dormitory, the band was billed as Blackwood Convention, a reference to a bidding convention in contract bridge. Their second gig — and their first billed as Phish — was November 3 in the basement of Slade Hall at UVM,[2] though another source gives the date as December 2.[3] The band was joined by percussionist Marc Daubert in the fall of 1984;[4] he left the band early in 1985,[5] and Page McConnell joined on keyboards in September. Holdsworth left the group after graduation in 1986, solidifying the band's lineup of "Trey, Page, Mike, and Fish" — the lineup that would remain for the rest of the band's lifespan.[5] Following a prank at UVM with his friend and former bandmate Steve Pollak — also known as "The Dude of Life" — Anastasio decided to leave the college. With the encouragement of McConnell (who received $50 for each transferee), Anastasio and Fishman relocated in mid-1986 to Goddard College, a small school in the hills of Plainfield, Vermont.[5] Phish distributed at least six different experimental self-titled cassettes during this era, including The White Tape.[6] This first studio recording was circulated in two variations: the first, mixed in a dorm room as late as 1985, received a higher distribution than the second studio remix of the original four tracks, circa 1987. The older version was officially released as The White Tape in 1998.[7] By 1985, the group had encountered Burlington, Vermont, luthier Paul Languedoc, who would eventually design two guitars for Anastasio and two basses for Gordon. In October 1986, he began working as their sound engineer. Since then, Languedoc built exclusively for the two, and his designs and traditional wood choices have given Phish a unique instrumental identity.[8] Recently, however, Languedoc has begun crafting guitars on custom order and, on a very limited basis, to the general public through local music shops. Phish in the fall of 1986.As his senior project, Anastasio penned The Man Who Stepped Into Yesterday, a nine-song concept album that would become their second studio experiment. Recorded between 1987 and 1988, it was submitted in July of that year, accompanied by a written thesis. Elements of the story — known as Gamehendge — grew to include an additional eight songs. The band performed the suite in concert on five occasions: in 1988, 1991, 1993, and twice in 1994 without replicating the song list.[9] Beginning in the spring of 1988, the band began practicing in earnest, sometimes locking themselves in a room and jamming for hours on end. Dubbed "Okipa Ceremonies" (also spelled Oh Kee Pa), one such jam took place at Anastasio's apartment, and a second was at Paul Languedoc's house in August 1989.[10] The band attributes the sessions to Anastasio, who discovered the concept in the films A Man Called Horse and Modern Primitives.[11] As a result of this dedication, the band issued their first mass-released recording, a double album called Junta, later that year. On January 26, 1989, Phish played the Paradise Rock Club in Boston, Massachusetts. The owners of the club had never heard of Phish and refused to book them, so the band rented the club for the night. The show sold out due to the caravan of fans that had traveled to see the band.[12] By late 1990, Phish's concerts were becoming more and more intricate, often making a consistent effort to involve the audience in the performance. In a special "secret language,"[13] the audience would react in a certain manner based on a particular musical cue from the band. For instance, if Anastasio "teased" a motif from The Simpsons theme song, the audience would yell, "D'oh!" in imitation of Homer Simpson. (help·info) In 1992, Phish introduced collaboration between audience and band called the "Big Ball Jam" in which each band member would throw a large beach ball into the audience and play a note each time his ball was hit. In so doing, the audience was helping to create an original composition. In an experiment known as "The Rotation Jam", each member would switch instruments with the musician on his left. On occasion, a performance of "You Enjoy Myself" involved Gordon and Anastasio performing synchronized maneuvers on mini-trampolines while playing their instruments.[14] Phish, along with Bob Dylan, The Grateful Dead, and The Beatles, was one of the first bands to have a Usenet newsgroup (rec.music.phish), which launched in 1991. Aware of the band's growing popularity, Elektra Records signed them that year. The following year A Picture of Nectar was complete: their first major studio release, enjoying far more extensive production than either 1988's Junta or 1990s Lawn Boy. These albums were eventually re-released on Elektra, as well. The first annual H.O.R.D.E. festival in 1992 provided Phish with their first national tour of major amphitheaters. The lineup, among others, included Phish, Blues Traveler, The Spin Doctors, and Widespread Panic. That summer, the band toured Europe with the Violent Femmes and later toured Europe and the U.S. with Carlos Santana. Rise in popularity (1993-1995) Phish began headlining major amphitheaters in the summer of 1993. That year, the group released Rift packaged as a concept album and with heavy promotion from Elektra. In 1994, the band released Hoist. To promote the album, the band made their only video for MTV, "Down With Disease", airing in June of that year. On Halloween of that year, the group promised to don a fan-selected "musical costume" by playing an entire album from another band. After an extensive mail-based poll, Phish performed the 30-song, self-titled Beatles classic — better known as The White Album — as the second of their three sets at the Glens Falls Civic Center in upstate New York. Following the death of Grateful Dead frontman Jerry Garcia in the summer of 1995 and the appearance of "Down With Disease" on Beavis and Butthead, the band experienced a surge in the growth of their fan base and an increased awareness in popular culture. Poster for Phish's 1995 Halloween extravaganzaIn their tradition of playing a well-known album by another band for Halloween, Phish contracted a full horn section for their performance of The Who's Quadrophenia in 1995. Their first live album — A Live One — which was released during the summer of 1995 became Phish's first RIAA certified gold album in November 1995.[15] During this fall tour, the band challenged their audience to two games of chess, with each show of the tour consisting of a pair of moves. The band made their move during the first set, and, during the break between sets, the audience members could vote on their collective move at the Greenpeace table. The audience conceded the first game at the November 15 show in Florida, and the band conceded the second at their New Year's Eve concert at Madison Square Garden. Having played only two games, the score remains tied at 1-1.[16] This year-end concert would later be named as one of the greatest concerts of the 1990s by Rolling Stone magazine.[17] Cultural icons (1996-2000) Phish retreated to their Vermont recording studio and recorded hours and hours of improvisations, sometimes overlaying them on one another, and used those tracks as a basis to write most of the songs on the second half of Billy Breathes, which they released in the fall of 1996. Alongside traditional rock-based crescendos, the album has more acoustic guitar than their previous records, and was regarded by the band and some fans[18] as their crowning studio achievement. That summer, they mounted their first two-day festival — The Clifford Ball — at a decommissioned Air Force base in Plattsburgh, New York. Between 70,000 and 80,000 people were in attendance; MTV was on-hand to document the experience. In Phish's own makeshift city, Great Northeast Productions created an amusement park, restaurants, a post office, playgrounds, arcades, and movie theaters, and for two days Plattsburg AFB was the ninth largest city in New York. Aside from six "traditional" sets, the band rode a flatbed truck through the campground, serenading the audience at 3 a.m.[19] The concert's production company went on to host six more Phish festivals. Jams were becoming so long that several 1997 sets contained only four songs; their improvisational ventures were developing into a new funk-inspired jamming style. Vermont-based ice cream conglomerate Ben & Jerry's launched "Phish Food" that year and proceeds from the flavor are donated to the Lake Champlain Initiative. Part of Phish's new non-profit foundation, The WaterWheel Foundation was also comprised of two other now-defunct branches: The Touring Branch and the Vermont Giving Program.[20] The Great Went, Phish's second large-scale festival, was held that summer at Loring Air Force Base in Limestone, Maine, just miles from the Canadian border. The band drew 65,000 people, qualifying the festival to be the largest city in Maine.[21] Band and audience collaborated yet again in a colossal work of art: individual pieces of art by fans were connected to a large piece of art by the band. A giant matchstick was lit, burning the resultant tower to the ground.[22] The Story of the GhostPhish headlined Farm Aid in the summer of 1998, sharing the stage with Willie Nelson, Neil Young, and Paul Shaffer. Again, altering their approach to studio releases, the band recorded hours of improvisational jams over a period of several days and took the highlights of those jams and wrote songs around them. The result was The Story of the Ghost and the instrumental The Siket Disc in 1999. Phish returned to Limestone for the Lemonwheel festival, and 70,000 fans again made the event the largest city in Maine. On Halloween in Las Vegas, Nevada, the group performed Loaded by The Velvet Underground; two nights later they played Pink Floyd's The Dark Side of the Moon in its entirety to an audience of 4,000 in Utah. The following year, the band decided to forego the annual summer festival to prepare for the New Year's Eve millennium celebration. However, at the eleventh hour, Camp Oswego was held in July in Volney, New York, with 65,000 in attendance. For the Millennium Celebration, Phish traveled to the Big Cypress Indian Reservation in the Florida Everglades. Of the major New Years Eve concerts around the globe — Sting, Barbra Streisand, Billy Joel — at 85,000, Phish had the largest attendance of any paid concert event that night.[23] During ABC's millennium coverage, Peter Jennings and World News Tonight reported on the massive audience and featured the band's performance of "Heavy Things". Called "Big Cypress", the enormous festival culminated with an extended seven-and-a-half hour set that began at midnight and ended at sunrise. 2000 saw no Halloween show, no summer festival and no new songs: May's Farmhouse contained material dating from 1997. That summer, the band announced that they would take their first "extended time-out" following their upcoming fall tour.[24] During the tour's last concert on October 7, 2000 at the Shoreline Amphitheater in Mountain View, California, they played a regular show and left without saying a word as The Beatles' Let It Be played over the sound system. The hiatus allowed the members of Phish to explore more deeply their musical side projects. Anastasio continued the solo career he'd begun two years earlier, formed the group Oysterhead, and began conducting an orchestral composition with the Vermont Youth Orchestra. Gordon made an album with acoustic guitar legend Leo Kottke and two films before launching his own solo career. Fishman alternated between Jazz Mandolin Project and his band Pork Tornado, while McConnell formed the trio Vida Blue. One more time (2002-2004) Over two years after the hiatus began, Phish announced that they were getting back on the road with a New Year's Eve 2002 concert at Madison Square Garden. They also recorded Round Room in only three days. In their return concert, McConnell's brother was introduced as actor Tom Hanks. The doppelgänger sang a line of the song "Wilson", prompting several media outlets to report that the actor had "jammed with Phish." At the end of the 2003 summer tour, Phish held their first summer festival in four years, returning to Limestone for It. The festival drew crowds of over 60,000 fans, once again making Limestone the most populous city in Maine. In December, the band celebrated its 20th anniversary with a 4 show mini-tour culminating at Boston's Fleet Center. During the Albany date on this tour, Phish invited founding member Jeff Holdsworth onstage for the first time since 1986. In order to avoid the exhaustion and pitfalls of previous years' high-paced touring, Phish played sporadically after the reunion, with tours lasting about two weeks. After an April 2004 run of shows in Las Vegas, Anastasio announced on Phish.com that after a small summer tour the band was breaking up. Their final album, Undermind, was released in late spring. The band jammed with rapper Jay-Z at their second Brooklyn show in the summer of 2004, and performed a seven-song set atop the marquee of the Ed Sullivan Theater during The Late Show with David Letterman to fans who had gathered on the street, a move reminiscent of The Beatles' final performance on the rooftop of the Apple building in London. Their final show was also the last Phish summer festival — Coventry — named for the town in Vermont that hosted the event. 100,000 people were expected to attend, and it was simulcast to thousands more in movie theaters across America. Phish's final bow, August 15, 2004After a week of rain that prompted rumors of a sinking stage, Gordon announced on the local radio station that attendees should turn around, no more cars were being allowed in. As only about 20,000 people had been admitted, many concert-goers abandoned their vehicles on highway roadsides, shoulders and medians and hiked to the site, some as far as thirty miles. With the amount of people that walked in, the crowd grew to an estimated 65,000 in attendance. The band broke down crying onstage several times during the final concert, most notably when McConnell choked up during the ballad "Wading in the Velvet Sea" and elicited Anastasio to say a few words of farewell. Their final encore consisted of one song — "The Curtain" — which contains the now-meaningful repeated line "Please, me, have no regrets." Coventry was an emotional goodbye for Phish and for its audience; an end to Phish's chapter in rock music. Without any help from radio, music television channels or album sales, Phish became one of the biggest live acts of all time. As Rolling Stone put it:[25] " Given their sense of community, their ambition and their challenging, generous performances, Phish have become the most important band of the Nineties. " (Less)
Channel: youtube Rate it: Rate:
20, 03:10, 2008-04-22 09:25:51 Description: Janet Kuypers performed this poem in the live Chicago feature at the Beach Poets (Loyola Beacg, Chicago) August 14th, 2005. Because this is a live venue on the beach, there were no microhpones, and (More) Janet Kuypers performed this poem in the live Chicago feature at the Beach Poets (Loyola Beacg, Chicago) August 14th, 2005. Because this is a live venue on the beach, there were no microhpones, and since Janet Kuypers has a bit of distance between her and the camera (and there is also a bit of wind off of Lake Michigan in Chicago) it is often not very easy to hear the poems from this show. But if you want to either see the full show, or hear studio mp3 recordings from this show, go to the web page http://www.janetkuypers.com/janetkuypers-dot-com--files/beach-poets08-14-05.htm to get the sudio clips, or even the chapbook that was released on the same day with this event. This is the original poem: a child in the park this was no ordinary park, mind you: there were no swings or children laughing; there were different children there. There was recreation: tennis, the pool, and a maze of streets for bicycles and long walks; surrounded by rows of prefabricated homes each with one little palm tree by the driveway. People drove golf carts around in the park, or large tricycles, or older couples would walk together just as it was beginning to turn to dusk and long shadows from tree-tops cris-crossed over the streets. In the afternoons, the women in the pool would wear hats and sunglasses, lean against the sides, swing legs in the warm water. I remember the summer afternoons when it rained in Florida, and after the rain I would go out in the puddles in my roller skates, skate through them, feet soaking wet. There was even a street named after me in the park, and at the end of Jan Drive there was a pond. I spent hours there, playing imaginary games, pretending I was grown-up, feeding the ducks, watching the fish swim around the rocks at my feet, looking for the turtles, listening to the wind. Oh, I remember Mr. Whorall, how he would walk onto his driveway every time I was playing tennis across the street. He would watch me, tell me how I was getting better at the game every time he saw me. And there was also Mrs. Rogers, who lived up the street from me. She saw me riding my bicycle by one day just before Halloween. She invited me in to help carve a pumpkin. Every year she bought me a Christmas present. The sweetest woman. The most beautiful woman. And there was Ira and Betty Wiggins, who lived on the next street, Sand Drive, with a sign in front of their house that said, "The Wiggins' Wigwam." They had a hammock on their porch, and art so beautiful, so colorful on their walls. They lived in Panama for years, he used to be a doctor. So many things collected from all their travel. They both knew so much, they both loved life. Once they saw me and asked if I wanted to catch a lion. They then went to the side of the road, and with a spoon pulled an ant lion from the top of a sand hill. So many secrets. Every night Ira could be found with cue holder, decorated with Panamanian art, at the pool table, playing my father, or another man who died years ago. I remember that man telling me that when I was younger he would watch me on Easter Sunday, me in my pastel dress, by myself, spinning, dancing in the streets. He remembered me dancing. This is his memory, how he thought of me. And I remember the McKinleys, Pete and Lindy, another beautiful pair who talked of Mexico, of all the places they'd gone, all the things they had seen. So many times I would visit them just to hear them talk. And Pete would try to stump me with an intellectual riddle every time I sat with him; he would ask me about astronomy, what I had learned in my classes since the last time I visited the park. Sometimes they would take me to their country club, play on tennis courts made of clay, how strange it felt on my feet through my tennis shoes. It was like another world there. The park was where I spent my Christmases, my Easters. I remember swimming in the pool, a week shy of thirteen, when my parents told me I was an aunt. Now I talk to my sister on the phone, she asks me if I remember so-and-so from Palos Avenue, from Blue Skys Drive. The couple that had the ornate rock garden in their front yard, or the snow shovel against their light post with the words "rust in peace" painted in white on the metal. Yes, I say, I remember them. Well, so-and-so passed away last week, she says. Heart attack. This is what it comes down to, I think, all these memories are slowly disappearing. So many memories. Where there are palm trees everywhere. It was my other world, my other life, another lifestyle, another everything. This was not an ordinary park, but the children were so much smarter, and still so full of life. So much to teach. So little time. (Less)
Channel: youtubeTags: 08/14/05 2005 August Beach Chicago Janet Kuypers Loyola performance poem poetry Poets reading show www.janetkuypers.com
Rate it: Rate:
24, 09:57, 2008-04-22 11:50:57 Description: HTFR presents the Numark 5000 FX 5 Channel Mixer. Showing you how this club quality mixer works and showing you some of it's unique effects and sampler functions. Buy the Numark 5000 FX from (More) HTFR presents the Numark 5000 FX 5 Channel Mixer. Showing you how this club quality mixer works and showing you some of it's unique effects and sampler functions. Buy the Numark 5000 FX from HTFR - http://www.htfr.com/more-info/MR113896 The latest offering from the legendary numark mixer line is more than enough to blow your expectations out of the water. The fx5000 gives you the best of both worlds with high quality analogue mixing and sophisticated digital technology, a combination that most djs have now come to expect as standard from all top grade mixers. Features include 30 seconds of crystal clear sampling with pitch adjustment and smart loop. Loops can be synchronised automatically through the beatkeeper so no more annoying tapping of buttons, plus you can also ram your set full of stonking effects like delays, cuts, flanges, echoes and sonar. There's an interactive scratch / effect / pitch wheel that lets you handle responsive scratching, smooth effects transition and precise pitch adjustments for locking samples in to the tempo of incoming music. The 5000fx offers one of the most advanced and effective dsp sampling interfaces, in a very comprehensive mixing console. * 5 channel mixer * 14 inputs (including 2 mic & up to 6 phono) * 3 band channel eq with kill * 3 band microphone eq * Gain controls * Master pan controls * Fully assignable cross fader with curve * Replaceable crossfader * Split / master cue headphone monitoring options with dual headphone output * Balanced xlr master output * Rca master output * Booth output * Record output * Bpm counters * 8 dsp effects with jog wheel control * Fx include: * True buffered real-time scratch * Sonar * Chop * Echo * Delay * Filter * Pitch * Distort * 30 sec sampler * Smart loop auto sample adjust * Single / loop / reverse sample play * Fx sampler assign (scratch & effect recorded samples). * Black / silver finish (Less)
Channel: youtube Rate it: Rate:
276, 02:46, 2008-04-22 16:25:33 Description: "THE CREATOR" - FOR STICK "EL CREADOR" - FOR STICK FOR MORE: http://www.soyelcreador.com.ar http://www.historietayanimacion.com "Animé" redirects here. For the (More) "THE CREATOR" - FOR STICK "EL CREADOR" - FOR STICK FOR MORE: http://www.soyelcreador.com.ar http://www.historietayanimacion.com "Animé" redirects here. For the oleo-resin, see Animé (oleo-resin). Anime (アニメ, Anime? IPA pronunciation: /ɑnime/ listen (help·info) in Japanese, but typically /ˈænɪˌme(ɪ)/ or /ˈænɪmə/ in English) (pl. anime) is an abbreviation of the word "animation". Outside Japan, the term most popularly refers to animation originating in Japan. To the West, not all animation is considered anime; and anime is considered a subset of animation. While some anime is hand drawn, computer assisted animation techniques have become quite common in recent years. Like any entertainment medium, the story lines represent most major genres of fiction. Anime is broadcast on television, distributed on media such as DVD and VHS, and included in video games. Additionally, some are produced as full length motion pictures. Anime often draws influence from manga, light novels, and other cultures. Some anime storylines have been adapted into live action films and television series. History Main article: History of anime The history of anime begins at the start of the 20th century, when Japanese filmmakers experimented with the animation techniques that were being explored in France, Germany, the United States, and Russia.[citation needed] Animation became notable in Japan as it provided an alternative format of storytelling compared to the underdeveloped live-action industry in Japan. Unlike America, where live-action shows and films have generous budgets, the live-action industry in Japan is a small market and suffered from budgeting, location, and casting restrictions. The lack of Western-looking actors, for example, made it next to impossible to shoot films set in Europe, America, or fantasy worlds that do not naturally involve Japan. The varied use of animation allowed artists to create any characters and settings.[1] During the 1970s, there was a surge of growth in the popularity of manga— which were often later animated — especially those of Osamu Tezuka, who has been called a "legend"[2] and the "god of manga".[3][4] As a result of his work and that of other pioneers in the field, anime developed characteristics and genres that are fundamental elements of the art today. The giant robot genre (known as "mecha" outside Japan), for instance, took shape under Tezuka, developed under Go Nagai and others, and was revolutionized at the end of the decade by Yoshiyuki Tomino. Robot anime like Gundam and Macross became instant classics in the 80s, and the robot genre of anime is still one of the most heard of in Japan and worldwide today. In the 1980s, anime was accepted in the mainstream in Japan, and experienced a boom in production (It should be noticed that, manga has significantly more mainstream exposure than anime in Japan). The mid-to-late '90s, on into the 2000s, saw an increased acceptance of anime in overseas markets. Terminology Etymology and pronunciation Note: This page or section contains IPA phonetic symbols in Unicode. See IPA chart for English for a pronunciation key. The Japanese term for animation is アニメーション (animēshon, pronounced /ɑnime:ɕoɴ/), written in katakana. It is borrowed from the French word for animation, "l'animé" (it's lacking the article--both are pronounced similarly). Both the words "animation" and "l'animé" come from the Latin word "anima" which means to move. [5] The Japanese term is spelled アニメ (anime, pronounced /ɑnime/). Both the original and abbreviated forms are valid and interchangeable in Japanese, but as could be expected the shorter form is more commonly used. The pronunciation of anime in English differs significantly from Japanese. The first vowel is further forward in English than Japanese: /æ/ is more likely than /ɑ/. As English stresses words differently than Japanese, the second vowel is likely to emerge as an unstressed schwa /ə/ or /I/ in English, whereas in Japanese each mora carries equal stress. As with a few other Japanese words such as Pokémon and Kobo Abé, anime is sometimes spelled as animé in English with an acute accent over the final e to cue the reader that the letter is pronounced as a Japanese /e/. However, this accent does not appear in any commonly used system of romanized Japanese, and English native speakers may produce /eI/. Definition An example of an anime drawing styleLinguistically, the anime definition is subject to interpretation. In Japan, the term does not specify an animation's nation of origin or style; instead, it is used as a blanket term to refer to all forms of animation from around the world.[6] In English, main dictionary sources define anime as "a Japanese style of motion-picture animation" or "a style of animation developed in Japan".[7] Thus, non-Japanese works are sometimes called anime-influenced animation if they borrow stylistically from Japanese animation. In western countries the word is used usually only to refer to animated programming of Japanese origin, with the term "cartoon" or "animated series" used for most other visual styles. The online anime database AniDB generally defines anime (in the singular form) as "an animated, professionally produced, feature film created by a Japanese company for the Japanese market".[6] However, some anime are co-productions with non-Japanese companies like the Cartoon Network. Thus, anime is no longer specific to the Japanese market. Syntax and morphology Anime can be used as a common noun, "Do you watch anime?" or as a suppletive adjective, "The anime Guyver is different from the movie Guyver." It may also be used as a mass noun, as in "How much anime have you collected?" and therefore is never pluralized "animes" (nouns are never pluralized in Japanese). However, in other languages where anime has been adopted as a loan word, it is sometimes used as a count noun in singular and in plural as in Danish "Jeg tror, jeg vil se en anime" ("I think I'll watch an anime") and "Hvor mange anime'er har du nu?" ("How many animes do you have now?"). Synonyms Anime is sometimes referred to as Japanimation, but this term has fallen into disuse. Japanimation saw the most usage during the 1970s and 1980s, which broadly comprise the first and second waves of anime fandom, and had continued use up until before the mid-1990s anime resurgence. In general, the term now only appears in nostalgic contexts. The term is much more commonly used within Japan to refer to domestic animation. Since anime or animēshon is used to describe all forms of animation, Japanimation is used to distinguish Japanese work from that of the rest of the world. In more recent years, anime has also frequently been referred to as manga in European countries, a practice that may stem from the Japanese usage: In Japan, manga can refer to both animation and comics (although the use of manga to refer to animation is mostly restricted to non-fans). Among English speakers, manga usually has the stricter meaning of "Japanese comics". An alternate explanation is that it is due to the prominence of Manga Entertainment, a distributor of anime to the US and UK markets. Because Manga Entertainment originated in the UK the use of the term is common outside of Japan. The portmanteau "animanga" has been used to collectively refer to anime and manga, though it is also a term used to describe comics produced from animation cels. Characteristics Dragon Ball Z (1989) is a popular shōnen anime based on the original manga series which spanned 291 episodes and 13 movies.Anime features a wide variety of artistic styles. They vary from artist to artist or by studio to studio. They are generally characterized by detailed backgrounds and stylized characters in a variety of different settings and storylines, aimed at a wide range of audiences. It is usually coloured and designed to look as realistic as possible. Unlike Manga, which uses slightly exaggerated colours and designs. But, anime fantasy creatures, (e.g witches, spirits etc.) can have exaggerated facial and physical features. But, they will always be designed to look as realistic as possible, and bright colours would be rarely used unless needed to. Genres Anime has many genres typically found in any mass media form. Such genres include action, adventure, children's stories, comedy, drama, erotica (hentai), medieval fantasy, occult/horror, romance, and science fiction. Most anime includes content from several different genres, as well as a variety of thematic elements. Thus, some series may be categorized under multiple genres. For example, Neon Genesis Evangelion might be considered to fall into the genres of post-apocalyptic, mecha, drama, and shonen-ai. A show may have a seemingly simple surface plot, but at the same time may feature a far more complex, deeper storyline and character development. It is not uncommon for an action themed anime to also involve humor, romance, and even social commentary. The same can be applied to a romance themed anime in that it may involve an action element, or in some cases brutal violence. The following is a list of the major genres and designations that are specific to anime and manga.[8] For other possible genres, see film genre. Genres with Western Counterparts: Action/Adventure: Anime that primarily focuses on martial arts, sword fighting, or other action oriented material. Examples: Ninja Scroll. Horror: Anime or manga which contains darker themes or science-fictional characters. Examples: Vampire Hunter D series or Wicked City. Progressive: "Art films" or extremely stylized anime. Examples: Voices of a Distant Star or Byōsoku 5 Centimetre. Demographic Genres: Shōjo: Japanese for 'young lady' or 'little girl'. Refers to anime or manga targeted at girls. Examples: Fruits Basket or Mermaid Melody Pichi Pichi Pitch. Shōnen: Japanese for 'young boy'. Refers to anime or manga targeted at younger boys. Examples: Dragon Ball Z or Digimon. Seinen: Japanese for 'young man'. Anime or manga targeted at teenage or young male adults. Examples: Oh My Goddess!, Outlaw Star or Cowboy Bebop. Josei: Japanese for 'young woman'. Anime or manga that is aimed at young women. Examples: Gokusen. Kodomo: Japanese for 'child'. Anime or manga that is aimed at young children. Examples: Doraemon, Hello Kitty, Keroppi, Pokémon or Panda-Z. Thematic Genres Bishōjo: Japanese for 'beautiful girl'. A blanket term that can be used to describe any anime that features pretty girl characters. Examples: Magic Knight Rayearth. Bishōnen: Japanese for 'beautiful boy'. A blanket term that can be used to describe any anime that features "pretty" and elegant boys and men. Examples: Fushigi Yūgi or most CLAMP shows. Sentai: Literally "fighting team" in Japanese. Refers to any show that involves a superhero team. Examples: Cyborg 009. Robot/Mecha: Anime or manga featuring super robots. Examples: Mobile Suit Gundam or Mazinger Z. Post-Apocalyptic: Anime dealing with a post-apocalyptic world. Examples: Neon Genesis Evangelion, Trigun, Akira, Wolf's Rain, or Nausicaä of the Valley of the Wind Mahō shōjo: Subgenre of shōjo known for 'Magical Girl' stories. Examples: Sailor Moon. Mahō shōnen: Male equivalent of Mahō Shōjo. Examples: D.N.Angel. Moe: Anime or manga featuring characters that are extremely perky or cute. Examples: A Little Snow Fairy Sugar. Expertise: Anime that deals with a specific topic in depth, such as Eyeshield 21 and football, Hikaru no Go and the game Go, Yakitate! Japan and bread-making, etc. Romantic Genres Harem: A genre where several girl characters are attracted to a single boy character (or sometimes to multiple boy characters). It is more often than not a Shonen Anime and may be considered a sub-genre. Examples: Ranma ½ or Love Hina. Reverse Harem: As a Harem anime, but where several boy characters are attracted to a single girl character (or sometimes to multiple girl characters). It is more often than not a Shojo Anime and may be considered a sub-genre. Examples: Ouran Host Club or Fruits Basket. Ecchi: Japanese for 'indecent sexuality', derived from the pronunciation of the letter 'H', (the origin of the term is not well known, even in Japan. See main article for more information.) Contains sexual humor, and some fan service. Examples: Love Hina, Oruchuban Ebichu or He Is My Master. Hentai: Japanese for 'abnormal' or 'perverted'. While Western audiences may use the term to refer to pornographic anime or erotica, in Japan the term used to refer to the same material is typically Poruno or Ero. Examples: La Blue Girl or "Bible Black". Shōjo-ai/Yuri: Japanese for 'girl-love'. Refers to anime or manga that focus on love and romance between female characters. It is often being replaced by the term "Girls Love" (GL). Yuri is like Shōjo-ai, but sometimes involves older characters or explicit sexual activity. Examples: Revolutionary Girl Utena or Kannazuki no Miko. Shōnen-ai: Japanese for 'boy-love'. Refers to anime or manga that focus on love and romance between male characters. The term "Shōnen-ai" is being phased out in Japan due to its other meaning of pederasty, and is being replaced by the term "Boys Love" (BL). Examples: Loveless, Gravitation Yaoi: Like "Shōnen-ai" but often involving older characters and explicit sexual activity. Examples: "Sensitive Pornograph" Some anime titles are written for a very specific audience, even narrower than those described above. For example, Initial D, Wangan Midnight and éX-Driver concern street racing and car tuning. Ashita No Joe, Hajime no Ippo were about boxing. Hanaukyo Maid Team is based on the French maid fantasy. Style While different titles and different artists have their own artistic styles, many stylistic elements have become so common such that they are described as being definitive of anime in general. These elements have been given names of their own. The anime drawing style can be learned, particularly with the aid of books such as How to Draw Manga. Such books come complete with information and instructions on the styles used in anime. A common approach is the large eyes style drawn on many anime and manga characters, credited to the influence of Osamu Tezuka, who was inspired by the exaggerated features of American cartoon characters such as Betty Boop and Mickey Mouse and from Disney's Bambi. Tezuka found that large eyes style allowed his characters to show emotions distinctly. Cultural anthropologist Matt Thorn argues that Japanese animators and audiences do not perceive such stylized eyes as inherently more or less foreign.[1] When Tezuka began drawing Ribbon no Kishi, the first manga specifically targeted at young girls, Tezuka further exaggerated the size of the characters' eyes. Indeed, through Ribbon no Kishi, Tezuka set a stylistic template that later shōjo artists tended to follow. Another variation of this style is "super deformed"; which usually feature huge eyes, an enlarged head, and small body. Other stylistic elements are common as well; often in comedic anime, characters that are shocked or surprised will perform a "face fault", in which they display an extremely exaggerated expression. Angry characters may exhibit a "vein" or "stressmark" effect, where lines representing bulging veins will appear on their forehead. Angry women will sometimes summon a mallet from nowhere and strike someone with it, leading to the concept of Hammerspace and cartoon physics. Male characters will develop a bloody nose around their female love interests (typically to indicate arousal, based on an old wives' tale).[9] Embarrassed characters will invariably produce a massive sweat-drop, which has become one of the most widely recognized stereotype motifs of anime. The degree of stylization varies from title to title. Some titles make extensive use of common stylization: FLCL, for example, is known for its wild, exaggerated stylization. In contrast, titles such as Only Yesterday, a film by Isao Takahata, take a much more realistic approach, and feature few stylistic exaggerations. Distribution Licensing Main article: Anime licensing Anime is available outside of Japan in localized form. Licensed anime is modified by distributors through dubbing into the language of the country. The anime may also be edited to alter cultural references that may not be understood by a non-Japanese person and certain companies may remove what may be perceived as objectionable content. This process was far more common in the past (e.g. One Piece), when anime was largely unheard of in the west, but its use has declined in recent years because of the demand for anime in its original form. This "light touch" approach to localization has proved popular with fans as well as viewers formerly unfamiliar with anime. The popularity of such methods is evident by the success of Naruto, Dragon Ball Z, and Cartoon Network's Adult Swim programming block, both of which employ minor edits. The "light touch" approach also applies to DVD releases as they often include both the dubbed audio and the original Japanese audio with subtitles, are typically unedited. Anime edited for television is usually released on DVD "uncut," with all scenes intact. Anime has also been a commercial success in Asia, Europe and Latin America, where anime has become even more mainstream than in the United States. For example, the Saint Seiya video game was released in Europe due to the popularity of the show even years after the series has been off-air. Fansubs Main article: Fansub Although it is a violation of copyright laws in many countries, some fans watch fansubs, recordings of anime series that have been subtitled by fans. Watching subtitled Japanese versions, though not necessarily downloaded fansubs, is seen by many enthusiasts as the preferred method of watching anime. The ethical implications of producing, distributing, or watching fansubs are topics of much controversy even when fansub groups do not profit from their activities and cease distribution of their work once the series has been licensed outside of Japan. Television TV networks regularly broadcast anime programming. Cable channels such as Cartoon Network, Disney, Sci-Fi, and others dedicate some of their time slots for anime. Then the Anime Network specifically shows anime. In Japan, major national TV networks broadcast anime regularly. Anime beyond Japan Early anime in the United States The United States saw its first exposure to anime in June of 1961, when Shônen Sarutobi Sasuke (Magic Boy) was released by MGM, followed a few weeks later by Hakuja den (Panda and the Magic Serpent, or The Tale of the White Serpent). Anime then got its running jump in September of 1963, when NBC syndicated a dubbed version of the Japanese series Astro Boy. Not counting such Japanese/American co-productions as The King Kong Show and Johnny Cypher in Dimension Zero[1], only seven more anime TV series were released in the United States in the 1960s. These were 8 Man (1965), Gigantor (1966), Kimba the White Lion (1966), Prince Planet (1966), Marine Boy (1966), The Amazing 3 (1967) and Speed Racer (1967). Speed Racer would be the last anime series released in the United States until 1978 when the 1972 series Kagaku ninja tai Gatchaman was adapted for American audiences as Battle of the Planets.[10] Many anime series that made it to American television from the 1960s through the 1980s tended to be science fiction or action-oriented, such as Star Blazers (the English dub of Space Battleship Yamato) and Robotech and Voltron (both Americanized amalgamations of unrelated anime series cobbled together into a single story). As the 1980s wore on, more anime series and films targeted at very young children also found their way to U.S. TV screens, often on cable television channels or in syndication. Nickelodeon broadcast many mostly Canadian-made English dubs of anime films during its early years, including TV series such as Mysterious Cities of Gold, Adventures of the Little Koala, Belle and Sebastian, The Adventures of the Little Prince, Noozles, Maya the Bee, Grimm's Fairy Tale Classics, and The Littl' Bits, many of which were aired on "Nick Jr.", the network's block of programming for very young viewers. The Disney Channel broadcast both of the feature-length anime films starring Osamu Tezuka's famous unicorn character Unico, and CBN redubbed and broadcast its Bible-based anime TV series co-produced with Tatsunoko, Superbook and The Flying House. HBO also showed juvenile-targeted anime on occasion, including TV series such as Tales of Little Women, The Adventures of Tom Sawyer, The Wonderful Wizard of Oz, and Saban's Adventures of Pinocchio and feature films such as Gisaburo Sugii's 1974 Jack and the Beanstalk. A great many anime films and feature-length TV series compilations were also released direct-to-video in the U.S., and were often available for rental at mainstream video stores. Some titles which were distributed in the U.S. in this fashion included Candy Candy, Captain Future, Angel, Serendipity the Pink Dragon, Taro the Dragon Boy, Robby the Rascal (Cybot Robotchi), and Ninja the Wonder Boy (Manga Sarutobi Sasuke). For the most part, though, these TV series and films were not actively promoted as being of Japanese origin; in fact, many of them went so far as to remove most or all Japanese names from the credits except for credits to the animation studios. In the series themselves, character names were often changed and Japanese cultural references removed to make them more accessible to English-speaking audiences, such as Genshi being changed to Flint in Space-Time Detective Genshi-kun. In the late 1990s and early 2000s, this trend began to change as more openly Japanese works, such as Sailor Moon, Gundam Wing, Pokémon, Dragon Ball Z, Digimon, and Yu-Gi-Oh! achieved mainstream popularity on American television. Although many of these shows did undergo some kind of "Americanization" in the form of character name changes and edits for violence, language, and the occasional nudity, viewers were more aware of the shows' country of origin, which might perhaps pique their curiosity to seek out other works in a similar style. Current reception in the United States AnimeNation's John Oppliger had this to say on the matter: The support for anime among American anime fans is very strong. The availability of anime in America is truly impressive, especially within the anime fan community. Awareness of Japanese animation in America is at an all time high. However, mainstream acceptance of anime in America lags far behind the advances anime has made in other respects. A close examination of the support for anime on American television may provide a revealing and realistic gauge of the actual penetration of anime into America and American culture. Anime may seem like it's tremendously successful in America because its high profile, but the facts tell another story. According to AC Nielsen, Pixar's The Incredibles sold 16 million copies on DVD in America last year. Shark Tale sold nearly 10 million copies. Even the DVD release of Bambi sold 6 million copies in 2005. In comparison, all four Inuyasha movies combined have sold just over 1 million copies in the past year and a half. Evidently, the success of anime in America is very relative. American anime fans are very devoted. Through underground means hardcore American fans now have access to brand new Japanese anime before even many Japanese residents do. America's anime fan community is influential because it's affluent, intelligent, and motivated; but it's not very large.[11] Despite assessments like that, and its rare and limited release in American theaters, anime's legitimacy and respect in North America has grown well enough to garner major native artistic awards such as the Academy Award for Best Animated Feature in 2002 for Spirited Away by Hayao Miyazaki. Anime has a dedicated fan following in English speaking countries, particularly active on the internet, and at conventions regularly held throughout the US and UK. Commercial appeal Anime has become commercially profitable in western countries as early commercially successful western adaptations of anime, such as Astro Boy, have revealed.[12] The phenomenal success of Nintendo's multi-billion dollar Pokémon franchise[13] was helped greatly by the spin-off anime series that, first broadcast in the late 1990s, is still running worldwide to this day. Influence on Western culture Western Animation Main article: Anime-influenced animation Anime-influenced animation refers to non-Japanese works of animation that emulate the visual style of anime. Though most of these works are created by and primarily shown in the United States, many also involve production studios from Europe and non-Japanese Asia. These generally adapted anime stylizations and anime methods described in anime physics into their own. Such examples exist in Totally Spies!, The Boondocks, W.I.T.C.H. and Megas XLR. In addition, works such as Avatar: The Last Airbender features Asian themes. While these examples are not considered anime by the fanbase majority, they are best noted for being "influenced by anime". Conventions Main article: Anime convention Fan-based conventions have long existed. Conventions for anime began to appear in the early 1990's, starting with Anime Expo, Animethon, Otakon, and JACON. Eventually, anime conventions are held annually in various cities across the United States, Canada, and Europe. http://en.wikipedia.org/wiki/Anime (Less)
Channel: youtube Rate it: Rate:
30, 03:31, 2007-06-04 00:01:31 Description: Lawnboy - Phish cover with theerion on rythym and vocals and strat2caster improvising some acoustic lead...another Sunday at Strats Place
Phish was an American rock band noted for their extended jam (More) Lawnboy - Phish cover with theerion on rythym and vocals and strat2caster improvising some acoustic lead...another Sunday at Strats Place
Phish was an American rock band noted for their extended jam sessions and musical improvisation. Formed at the University of Vermont in 1983, the band's four members performed together for the better part of 21 years until their breakup in August 2004. Their music had elements of a wide variety of genres[1], including, but not limited to, rock, jazz, and funk sounds. Each of their concerts was original in terms of the songs performed, the order in which they appeared, and the way in which they were performed. Although the group received little radio play or MTV exposure, Phish developed a large and dedicated following by word of mouth, via Phish.net (originally a mailing list, then a Usenet newsgroup, now a website), and the exchange of live recordings.
The beginning (1983-1992)
Phish was formed at University of Vermont in 1983 by guitarists Trey Anastasio and Jeff Holdsworth, bassist Mike Gordon and drummer Jon Fishman. For their first gig, a Halloween dance in the basement of the ROTC dormitory, the band was billed as Blackwood Convention, a reference to a bidding convention in contract bridge. Their second gig — and their first billed as Phish — was November 3 in the basement of Slade Hall at UVM,[2] though another source gives the date as December 2.[3] The band was joined by percussionist Marc Daubert in the fall of 1984;[4] he left the band early in 1985,[5] and Page McConnell joined on keyboards in September. Holdsworth left the group after graduation in 1986, solidifying the band's lineup of "Trey, Page, Mike, and Fish" — the lineup that would remain for the rest of the band's lifespan.[5]
Following a prank at UVM with his friend and former bandmate Steve Pollak — also known as "The Dude of Life" — Anastasio decided to leave the college. With the encouragement of McConnell (who received $50 for each transferee), Anastasio and Fishman relocated in mid-1986 to Goddard College, a small school in the hills of Plainfield, Vermont.[5] Phish distributed at least six different experimental self-titled cassettes during this era, including The White Tape.[6] This first studio recording was circulated in two variations: the first, mixed in a dorm room as late as 1985, received a higher distribution than the second studio remix of the original four tracks, circa 1987. The older version was officially released as The White Tape in 1998.[7]
By 1985, the group had encountered Burlington, Vermont, luthier Paul Languedoc, who would eventually design two guitars for Anastasio and two basses for Gordon. In October 1986, he began working as their sound engineer. Since then, Languedoc built exclusively for the two, and his designs and traditional wood choices have given Phish a unique instrumental identity.[8] Recently, however, Languedoc has begun crafting guitars on custom order and, on a very limited basis, to the general public through local music shops.
Phish in the fall of 1986.As his senior project, Anastasio penned The Man Who Stepped Into Yesterday, a nine-song concept album that would become their second studio experiment. Recorded between 1987 and 1988, it was submitted in July of that year, accompanied by a written thesis. Elements of the story — known as Gamehendge — grew to include an additional eight songs. The band performed the suite in concert on five occasions: in 1988, 1991, 1993, and twice in 1994 without replicating the song list.[9]
Beginning in the spring of 1988, the band began practicing in earnest, sometimes locking themselves in a room and jamming for hours on end. Dubbed "Okipa Ceremonies" (also spelled Oh Kee Pa), one such jam took place at Anastasio's apartment, and a second was at Paul Languedoc's house in August 1989.[10] The band attributes the sessions to Anastasio, who discovered the concept in the films A Man Called Horse and Modern Primitives.[11] As a result of this dedication, the band issued their first mass-released recording, a double album called Junta, later that year.
On January 26, 1989, Phish played the Paradise Rock Club in Boston, Massachusetts. The owners of the club had never heard of Phish and refused to book them, so the band rented the club for the night. The show sold out due to the caravan of fans that had traveled to see the band.[12]
By late 1990, Phish's concerts were becoming more and more intricate, often making a consistent effort to involve the audience in the performance. In a special "secret language,"[13] the audience would react in a certain manner based on a particular musical cue from the band. For instance, if Anastasio "teased" a motif from The Simpsons theme song, the audience would yell, "D'oh!" in imitation of Homer Simpson. (help·info) In 1992, Phish introduced collaboration between audience and band called the "Big Ball Jam" in which each band member would throw a large beach ball into the audience and play a note each time his ball was hit. In so doing, the audience was helping to create an original composition.
In an experiment known as "The Rotation Jam", each member would switch instruments with the musician on his left. On occasion, a performance of "You Enjoy Myself" involved Gordon and Anastasio performing synchronized maneuvers on mini-trampolines while playing their instruments.[14]
Phish, along with Bob Dylan, The Grateful Dead, and The Beatles, was one of the first bands to have a Usenet newsgroup (rec.music.phish), which launched in 1991. Aware of the band's growing popularity, Elektra Records signed them that year. The following year A Picture of Nectar was complete: their first major studio release, enjoying far more extensive production than either 1988's Junta or 1990s Lawn Boy. These albums were eventually re-released on Elektra, as well.
The first annual H.O.R.D.E. festival in 1992 provided Phish with their first national tour of major amphitheaters. The lineup, among others, included Phish, Blues Traveler, The Spin Doctors, and Widespread Panic. That summer, the band toured Europe with the Violent Femmes and later toured Europe and the U.S. with Carlos Santana.
Rise in popularity (1993-1995)
Phish began headlining major amphitheaters in the summer of 1993. That year, the group released Rift packaged as a concept album and with heavy promotion from Elektra.
In 1994, the band released Hoist. To promote the album, the band made their only video for MTV, "Down With Disease", airing in June of that year.
On Halloween of that year, the group promised to don a fan-selected "musical costume" by playing an entire album from another band. After an extensive mail-based poll, Phish performed the 30-song, self-titled Beatles classic — better known as The White Album — as the second of their three sets at the Glens Falls Civic Center in upstate New York.
Following the death of Grateful Dead frontman Jerry Garcia in the summer of 1995 and the appearance of "Down With Disease" on Beavis and Butthead, the band experienced a surge in the growth of their fan base and an increased awareness in popular culture.
Poster for Phish's 1995 Halloween extravaganzaIn their tradition of playing a well-known album by another band for Halloween, Phish contracted a full horn section for their performance of The Who's Quadrophenia in 1995. Their first live album — A Live One — which was released during the summer of 1995 became Phish's first RIAA certified gold album in November 1995.[15]
During this fall tour, the band challenged their audience to two games of chess, with each show of the tour consisting of a pair of moves. The band made their move during the first set, and, during the break between sets, the audience members could vote on their collective move at the Greenpeace table. The audience conceded the first game at the November 15 show in Florida, and the band conceded the second at their New Year's Eve concert at Madison Square Garden. Having played only two games, the score remains tied at 1-1.[16] This year-end concert would later be named as one of the greatest concerts of the 1990s by Rolling Stone magazine.[17]
Cultural icons (1996-2000)
Phish retreated to their Vermont recording studio and recorded hours and hours of improvisations, sometimes overlaying them on one another, and used those tracks as a basis to write most of the songs on the second half of Billy Breathes, which they released in the fall of 1996. Alongside traditional rock-based crescendos, the album has more acoustic guitar than their previous records, and was regarded by the band and some fans[18] as their crowning studio achievement.
That summer, they mounted their first two-day festival — The Clifford Ball — at a decommissioned Air Force base in Plattsburgh, New York. Between 70,000 and 80,000 people were in attendance; MTV was on-hand to document the experience. In Phish's own makeshift city, Great Northeast Productions created an amusement park, restaurants, a post office, playgrounds, arcades, and movie theaters, and for two days Plattsburg AFB was the ninth largest city in New York. Aside from six "traditional" sets, the band rode a flatbed truck through the campground, serenading the audience at 3 a.m.[19] The concert's production company went on to host six more Phish festivals.
Jams were becoming so long that several 1997 sets contained only four songs; their improvisational ventures were developing into a new funk-inspired jamming style. Vermont-based ice cream conglomerate Ben & Jerry's launched "Phish Food" that year and proceeds from the flavor are donated to the Lake Champlain Initiative. Part of Phish's new non-profit foundation, The WaterWheel Foundation was also comprised of two other now-defunct branches: The Touring Branch and the Vermont Giving Program.[20]
The Great Went, Phish's second large-scale festival, was held that summer at Loring Air Force Base in Limestone, Maine, just miles from the Canadian border. The band drew 65,000 people, qualifying the festival to be the largest city in Maine.[21] Band and audience collaborated yet again in a colossal work of art: individual pieces of art by fans were connected to a large piece of art by the band. A giant matchstick was lit, burning the resultant tower to the ground.[22]
The Story of the GhostPhish headlined Farm Aid in the summer of 1998, sharing the stage with Willie Nelson, Neil Young, and Paul Shaffer. Again, altering their approach to studio releases, the band recorded hours of improvisational jams over a period of several days and took the highlights of those jams and wrote songs around them. The result was The Story of the Ghost and the instrumental The Siket Disc in 1999. Phish returned to Limestone for the Lemonwheel festival, and 70,000 fans again made the event the largest city in Maine. On Halloween in Las Vegas, Nevada, the group performed Loaded by The Velvet Underground; two nights later they played Pink Floyd's The Dark Side of the Moon in its entirety to an audience of 4,000 in Utah.
The following year, the band decided to forego the annual summer festival to prepare for the New Year's Eve millennium celebration. However, at the eleventh hour, Camp Oswego was held in July in Volney, New York, with 65,000 in attendance.
For the Millennium Celebration, Phish traveled to the Big Cypress Indian Reservation in the Florida Everglades. Of the major New Years Eve concerts around the globe — Sting, Barbra Streisand, Billy Joel — at 85,000, Phish had the largest attendance of any paid concert event that night.[23] During ABC's millennium coverage, Peter Jennings and World News Tonight reported on the massive audience and featured the band's performance of "Heavy Things". Called "Big Cypress", the enormous festival culminated with an extended seven-and-a-half hour set that began at midnight and ended at sunrise.
2000 saw no Halloween show, no summer festival and no new songs: May's Farmhouse contained material dating from 1997. That summer, the band announced that they would take their first "extended time-out" following their upcoming fall tour.[24] During the tour's last concert on October 7, 2000 at the Shoreline Amphitheater in Mountain View, California, they played a regular show and left without saying a word as The Beatles' Let It Be played over the sound system.
The hiatus allowed the members of Phish to explore more deeply their musical side projects. Anastasio continued the solo career he'd begun two years earlier, formed the group Oysterhead, and began conducting an orchestral composition with the Vermont Youth Orchestra. Gordon made an album with acoustic guitar legend Leo Kottke and two films before launching his own solo career. Fishman alternated between Jazz Mandolin Project and his band Pork Tornado, while McConnell formed the trio Vida Blue.
One more time (2002-2004)
Over two years after the hiatus began, Phish announced that they were getting back on the road with a New Year's Eve 2002 concert at Madison Square Garden. They also recorded Round Room in only three days. In their return concert, McConnell's brother was introduced as actor Tom Hanks. The doppelgänger sang a line of the song "Wilson", prompting several media outlets to report that the actor had "jammed with Phish."
At the end of the 2003 summer tour, Phish held their first summer festival in four years, returning to Limestone for It. The festival drew crowds of over 60,000 fans, once again making Limestone the most populous city in Maine. In December, the band celebrated its 20th anniversary with a 4 show mini-tour culminating at Boston's Fleet Center. During the Albany date on this tour, Phish invited founding member Jeff Holdsworth onstage for the first time since 1986.
In order to avoid the exhaustion and pitfalls of previous years' high-paced touring, Phish played sporadically after the reunion, with tours lasting about two weeks. After an April 2004 run of shows in Las Vegas, Anastasio announced on Phish.com that after a small summer tour the band was breaking up. Their final album, Undermind, was released in late spring.
The band jammed with rapper Jay-Z at their second Brooklyn show in the summer of 2004, and performed a seven-song set atop the marquee of the Ed Sullivan Theater during The Late Show with David Letterman to fans who had gathered on the street, a move reminiscent of The Beatles' final performance on the rooftop of the Apple building in London. Their final show was also the last Phish summer festival — Coventry — named for the town in Vermont that hosted the event. 100,000 people were expected to attend, and it was simulcast to thousands more in movie theaters across America.
Phish's final bow, August 15, 2004After a week of rain that prompted rumors of a sinking stage, Gordon announced on the local radio station that attendees should turn around, no more cars were being allowed in. As only about 20,000 people had been admitted, many concert-goers abandoned their vehicles on highway roadsides, shoulders and medians and hiked to the site, some as far as thirty miles. With the amount of people that walked in, the crowd grew to an estimated 65,000 in attendance.
The band broke down crying onstage several times during the final concert, most notably when McConnell choked up during the ballad "Wading in the Velvet Sea" and elicited Anastasio to say a few words of farewell. Their final encore consisted of one song — "The Curtain" — which contains the now-meaningful repeated line "Please, me, have no regrets."
Coventry was an emotional goodbye for Phish and for its audience; an end to Phish's chapter in rock music. Without any help from radio, music television channels or album sales, Phish became one of the biggest live acts of all time. As Rolling Stone put it:[25]
" Given their sense of community, their ambition and their challenging, generous performances, Phish have become the most important band of the Nineties. " (Less)
Channel: youtube Rate it: Rate:
150, 02:46, 2007-06-25 07:09:42 Description: "THE CREATOR" - FOR STICK
"EL CREADOR" - FOR STICK
FOR MORE:
http://www.soyelcreador.com.ar
http://www.historietayanimacion.com
"Animé" redirects here. (More) "THE CREATOR" - FOR STICK
"EL CREADOR" - FOR STICK
FOR MORE:
http://www.soyelcreador.com.ar
http://www.historietayanimacion.com
"Animé" redirects here. For the oleo-resin, see Animé (oleo-resin).
Anime (アニメ, Anime? IPA pronunciation: /ɑnime/ listen (help·info) in Japanese, but typically /ˈænɪˌme(ɪ)/ or /ˈænɪmə/ in English) (pl. anime) is an abbreviation of the word "animation". Outside Japan, the term most popularly refers to animation originating in Japan. To the West, not all animation is considered anime; and anime is considered a subset of animation.
While some anime is hand drawn, computer assisted animation techniques have become quite common in recent years. Like any entertainment medium, the story lines represent most major genres of fiction. Anime is broadcast on television, distributed on media such as DVD and VHS, and included in video games. Additionally, some are produced as full length motion pictures. Anime often draws influence from manga, light novels, and other cultures. Some anime storylines have been adapted into live action films and television series.
History
Main article: History of anime
The history of anime begins at the start of the 20th century, when Japanese filmmakers experimented with the animation techniques that were being explored in France, Germany, the United States, and Russia.[citation needed]
Animation became notable in Japan as it provided an alternative format of storytelling compared to the underdeveloped live-action industry in Japan. Unlike America, where live-action shows and films have generous budgets, the live-action industry in Japan is a small market and suffered from budgeting, location, and casting restrictions. The lack of Western-looking actors, for example, made it next to impossible to shoot films set in Europe, America, or fantasy worlds that do not naturally involve Japan. The varied use of animation allowed artists to create any characters and settings.[1]
During the 1970s, there was a surge of growth in the popularity of manga— which were often later animated — especially those of Osamu Tezuka, who has been called a "legend"[2] and the "god of manga".[3][4] As a result of his work and that of other pioneers in the field, anime developed characteristics and genres that are fundamental elements of the art today. The giant robot genre (known as "mecha" outside Japan), for instance, took shape under Tezuka, developed under Go Nagai and others, and was revolutionized at the end of the decade by Yoshiyuki Tomino. Robot anime like Gundam and Macross became instant classics in the 80s, and the robot genre of anime is still one of the most heard of in Japan and worldwide today. In the 1980s, anime was accepted in the mainstream in Japan, and experienced a boom in production (It should be noticed that, manga has significantly more mainstream exposure than anime in Japan). The mid-to-late '90s, on into the 2000s, saw an increased acceptance of anime in overseas markets.
Terminology
Etymology and pronunciation
Note: This page or section contains IPA phonetic symbols in Unicode. See IPA chart for English for a pronunciation key.
The Japanese term for animation is アニメーション (animēshon, pronounced /ɑnime:ɕoɴ/), written in katakana. It is borrowed from the French word for animation, "l'animé" (it's lacking the article--both are pronounced similarly). Both the words "animation" and "l'animé" come from the Latin word "anima" which means to move. [5] The Japanese term is spelled アニメ (anime, pronounced /ɑnime/). Both the original and abbreviated forms are valid and interchangeable in Japanese, but as could be expected the shorter form is more commonly used.
The pronunciation of anime in English differs significantly from Japanese. The first vowel is further forward in English than Japanese: /æ/ is more likely than /ɑ/. As English stresses words differently than Japanese, the second vowel is likely to emerge as an unstressed schwa /ə/ or /I/ in English, whereas in Japanese each mora carries equal stress. As with a few other Japanese words such as Pokémon and Kobo Abé, anime is sometimes spelled as animé in English with an acute accent over the final e to cue the reader that the letter is pronounced as a Japanese /e/. However, this accent does not appear in any commonly used system of romanized Japanese, and English native speakers may produce /eI/.
Definition
An example of an anime drawing styleLinguistically, the anime definition is subject to interpretation. In Japan, the term does not specify an animation's nation of origin or style; instead, it is used as a blanket term to refer to all forms of animation from around the world.[6] In English, main dictionary sources define anime as "a Japanese style of motion-picture animation" or "a style of animation developed in Japan".[7] Thus, non-Japanese works are sometimes called anime-influenced animation if they borrow stylistically from Japanese animation.
In western countries the word is used usually only to refer to animated programming of Japanese origin, with the term "cartoon" or "animated series" used for most other visual styles. The online anime database AniDB generally defines anime (in the singular form) as "an animated, professionally produced, feature film created by a Japanese company for the Japanese market".[6] However, some anime are co-productions with non-Japanese companies like the Cartoon Network. Thus, anime is no longer specific to the Japanese market.
Syntax and morphology
Anime can be used as a common noun, "Do you watch anime?" or as a suppletive adjective, "The anime Guyver is different from the movie Guyver." It may also be used as a mass noun, as in "How much anime have you collected?" and therefore is never pluralized "animes" (nouns are never pluralized in Japanese). However, in other languages where anime has been adopted as a loan word, it is sometimes used as a count noun in singular and in plural as in Danish "Jeg tror, jeg vil se en anime" ("I think I'll watch an anime") and "Hvor mange anime'er har du nu?" ("How many animes do you have now?").
Synonyms
Anime is sometimes referred to as Japanimation, but this term has fallen into disuse. Japanimation saw the most usage during the 1970s and 1980s, which broadly comprise the first and second waves of anime fandom, and had continued use up until before the mid-1990s anime resurgence. In general, the term now only appears in nostalgic contexts. The term is much more commonly used within Japan to refer to domestic animation. Since anime or animēshon is used to describe all forms of animation, Japanimation is used to distinguish Japanese work from that of the rest of the world.
In more recent years, anime has also frequently been referred to as manga in European countries, a practice that may stem from the Japanese usage: In Japan, manga can refer to both animation and comics (although the use of manga to refer to animation is mostly restricted to non-fans). Among English speakers, manga usually has the stricter meaning of "Japanese comics". An alternate explanation is that it is due to the prominence of Manga Entertainment, a distributor of anime to the US and UK markets. Because Manga Entertainment originated in the UK the use of the term is common outside of Japan. The portmanteau "animanga" has been used to collectively refer to anime and manga, though it is also a term used to describe comics produced from animation cels.
Characteristics
Dragon Ball Z (1989) is a popular shōnen anime based on the original manga series which spanned 291 episodes and 13 movies.Anime features a wide variety of artistic styles. They vary from artist to artist or by studio to studio. They are generally characterized by detailed backgrounds and stylized characters in a variety of different settings and storylines, aimed at a wide range of audiences. It is usually coloured and designed to look as realistic as possible. Unlike Manga, which uses slightly exaggerated colours and designs. But, anime fantasy creatures, (e.g witches, spirits etc.) can have exaggerated facial and physical features. But, they will always be designed to look as realistic as possible, and bright colours would be rarely used unless needed to.
Genres
Anime has many genres typically found in any mass media form. Such genres include action, adventure, children's stories, comedy, drama, erotica (hentai), medieval fantasy, occult/horror, romance, and science fiction.
Most anime includes content from several different genres, as well as a variety of thematic elements. Thus, some series may be categorized under multiple genres. For example, Neon Genesis Evangelion might be considered to fall into the genres of post-apocalyptic, mecha, drama, and shonen-ai. A show may have a seemingly simple surface plot, but at the same time may feature a far more complex, deeper storyline and character development. It is not uncommon for an action themed anime to also involve humor, romance, and even social commentary. The same can be applied to a romance themed anime in that it may involve an action element, or in some cases brutal violence.
The following is a list of the major genres and designations that are specific to anime and manga.[8]
For other possible genres, see film genre.
Genres with Western Counterparts:
Action/Adventure: Anime that primarily focuses on martial arts, sword fighting, or other action oriented material. Examples: Ninja Scroll.
Horror: Anime or manga which contains darker themes or science-fictional characters. Examples: Vampire Hunter D series or Wicked City.
Progressive: "Art films" or extremely stylized anime. Examples: Voices of a Distant Star or Byōsoku 5 Centimetre.
Demographic Genres:
Shōjo: Japanese for 'young lady' or 'little girl'. Refers to anime or manga targeted at girls. Examples: Fruits Basket or Mermaid Melody Pichi Pichi Pitch.
Shōnen: Japanese for 'young boy'. Refers to anime or manga targeted at younger boys. Examples: Dragon Ball Z or Digimon.
Seinen: Japanese for 'young man'. Anime or manga targeted at teenage or young male adults. Examples: Oh My Goddess!, Outlaw Star or Cowboy Bebop.
Josei: Japanese for 'young woman'. Anime or manga that is aimed at young women. Examples: Gokusen.
Kodomo: Japanese for 'child'. Anime or manga that is aimed at young children. Examples: Doraemon, Hello Kitty, Keroppi, Pokémon or Panda-Z.
Thematic Genres
Bishōjo: Japanese for 'beautiful girl'. A blanket term that can be used to describe any anime that features pretty girl characters. Examples: Magic Knight Rayearth.
Bishōnen: Japanese for 'beautiful boy'. A blanket term that can be used to describe any anime that features "pretty" and elegant boys and men. Examples: Fushigi Yūgi or most CLAMP shows.
Sentai: Literally "fighting team" in Japanese. Refers to any show that involves a superhero team. Examples: Cyborg 009.
Robot/Mecha: Anime or manga featuring super robots. Examples: Mobile Suit Gundam or Mazinger Z.
Post-Apocalyptic: Anime dealing with a post-apocalyptic world. Examples: Neon Genesis Evangelion, Trigun, Akira, Wolf's Rain, or Nausicaä of the Valley of the Wind
Mahō shōjo: Subgenre of shōjo known for 'Magical Girl' stories. Examples: Sailor Moon.
Mahō shōnen: Male equivalent of Mahō Shōjo. Examples: D.N.Angel.
Moe: Anime or manga featuring characters that are extremely perky or cute. Examples: A Little Snow Fairy Sugar.
Expertise: Anime that deals with a specific topic in depth, such as Eyeshield 21 and football, Hikaru no Go and the game Go, Yakitate! Japan and bread-making, etc.
Romantic Genres
Harem: A genre where several girl characters are attracted to a single boy character (or sometimes to multiple boy characters). It is more often than not a Shonen Anime and may be considered a sub-genre. Examples: Ranma ½ or Love Hina.
Reverse Harem: As a Harem anime, but where several boy characters are attracted to a single girl character (or sometimes to multiple girl characters). It is more often than not a Shojo Anime and may be considered a sub-genre. Examples: Ouran Host Club or Fruits Basket.
Ecchi: Japanese for 'indecent sexuality', derived from the pronunciation of the letter 'H', (the origin of the term is not well known, even in Japan. See main article for more information.) Contains sexual humor, and some fan service. Examples: Love Hina, Oruchuban Ebichu or He Is My Master.
Hentai: Japanese for 'abnormal' or 'perverted'. While Western audiences may use the term to refer to pornographic anime or erotica, in Japan the term used to refer to the same material is typically Poruno or Ero. Examples: La Blue Girl or "Bible Black".
Shōjo-ai/Yuri: Japanese for 'girl-love'. Refers to anime or manga that focus on love and romance between female characters. It is often being replaced by the term "Girls Love" (GL). Yuri is like Shōjo-ai, but sometimes involves older characters or explicit sexual activity. Examples: Revolutionary Girl Utena or Kannazuki no Miko.
Shōnen-ai: Japanese for 'boy-love'. Refers to anime or manga that focus on love and romance between male characters. The term "Shōnen-ai" is being phased out in Japan due to its other meaning of pederasty, and is being replaced by the term "Boys Love" (BL). Examples: Loveless, Gravitation
Yaoi: Like "Shōnen-ai" but often involving older characters and explicit sexual activity. Examples: "Sensitive Pornograph"
Some anime titles are written for a very specific audience, even narrower than those described above. For example, Initial D, Wangan Midnight and éX-Driver concern street racing and car tuning. Ashita No Joe, Hajime no Ippo were about boxing. Hanaukyo Maid Team is based on the French maid fantasy.
Style
While different titles and different artists have their own artistic styles, many stylistic elements have become so common such that they are described as being definitive of anime in general. These elements have been given names of their own. The anime drawing style can be learned, particularly with the aid of books such as How to Draw Manga. Such books come complete with information and instructions on the styles used in anime.
A common approach is the large eyes style drawn on many anime and manga characters, credited to the influence of Osamu Tezuka, who was inspired by the exaggerated features of American cartoon characters such as Betty Boop and Mickey Mouse and from Disney's Bambi. Tezuka found that large eyes style allowed his characters to show emotions distinctly. Cultural anthropologist Matt Thorn argues that Japanese animators and audiences do not perceive such stylized eyes as inherently more or less foreign.[1] When Tezuka began drawing Ribbon no Kishi, the first manga specifically targeted at young girls, Tezuka further exaggerated the size of the characters' eyes. Indeed, through Ribbon no Kishi, Tezuka set a stylistic template that later shōjo artists tended to follow. Another variation of this style is "super deformed"; which usually feature huge eyes, an enlarged head, and small body.
Other stylistic elements are common as well; often in comedic anime, characters that are shocked or surprised will perform a "face fault", in which they display an extremely exaggerated expression. Angry characters may exhibit a "vein" or "stressmark" effect, where lines representing bulging veins will appear on their forehead. Angry women will sometimes summon a mallet from nowhere and strike someone with it, leading to the concept of Hammerspace and cartoon physics. Male characters will develop a bloody nose around their female love interests (typically to indicate arousal, based on an old wives' tale).[9] Embarrassed characters will invariably produce a massive sweat-drop, which has become one of the most widely recognized stereotype motifs of anime.
The degree of stylization varies from title to title. Some titles make extensive use of common stylization: FLCL, for example, is known for its wild, exaggerated stylization. In contrast, titles such as Only Yesterday, a film by Isao Takahata, take a much more realistic approach, and feature few stylistic exaggerations.
Distribution
Licensing
Main article: Anime licensing
Anime is available outside of Japan in localized form. Licensed anime is modified by distributors through dubbing into the language of the country. The anime may also be edited to alter cultural references that may not be understood by a non-Japanese person and certain companies may remove what may be perceived as objectionable content. This process was far more common in the past (e.g. One Piece), when anime was largely unheard of in the west, but its use has declined in recent years because of the demand for anime in its original form. This "light touch" approach to localization has proved popular with fans as well as viewers formerly unfamiliar with anime. The popularity of such methods is evident by the success of Naruto, Dragon Ball Z, and Cartoon Network's Adult Swim programming block, both of which employ minor edits. The "light touch" approach also applies to DVD releases as they often include both the dubbed audio and the original Japanese audio with subtitles, are typically unedited. Anime edited for television is usually released on DVD "uncut," with all scenes intact.
Anime has also been a commercial success in Asia, Europe and Latin America, where anime has become even more mainstream than in the United States. For example, the Saint Seiya video game was released in Europe due to the popularity of the show even years after the series has been off-air.
Fansubs
Main article: Fansub
Although it is a violation of copyright laws in many countries, some fans watch fansubs, recordings of anime series that have been subtitled by fans. Watching subtitled Japanese versions, though not necessarily downloaded fansubs, is seen by many enthusiasts as the preferred method of watching anime. The ethical implications of producing, distributing, or watching fansubs are topics of much controversy even when fansub groups do not profit from their activities and cease distribution of their work once the series has been licensed outside of Japan.
Television
TV networks regularly broadcast anime programming. Cable channels such as Cartoon Network, Disney, Sci-Fi, and others dedicate some of their time slots for anime. Then the Anime Network specifically shows anime. In Japan, major national TV networks broadcast anime regularly.
Anime beyond Japan
Early anime in the United States
The United States saw its first exposure to anime in June of 1961, when Shônen Sarutobi Sasuke (Magic Boy) was released by MGM, followed a few weeks later by Hakuja den (Panda and the Magic Serpent, or The Tale of the White Serpent). Anime then got its running jump in September of 1963, when NBC syndicated a dubbed version of the Japanese series Astro Boy. Not counting such Japanese/American co-productions as The King Kong Show and Johnny Cypher in Dimension Zero[1], only seven more anime TV series were released in the United States in the 1960s. These were 8 Man (1965), Gigantor (1966), Kimba the White Lion (1966), Prince Planet (1966), Marine Boy (1966), The Amazing 3 (1967) and Speed Racer (1967). Speed Racer would be the last anime series released in the United States until 1978 when the 1972 series Kagaku ninja tai Gatchaman was adapted for American audiences as Battle of the Planets.[10] Many anime series that made it to American television from the 1960s through the 1980s tended to be science fiction or action-oriented, such as Star Blazers (the English dub of Space Battleship Yamato) and Robotech and Voltron (both Americanized amalgamations of unrelated anime series cobbled together into a single story).
As the 1980s wore on, more anime series and films targeted at very young children also found their way to U.S. TV screens, often on cable television channels or in syndication. Nickelodeon broadcast many mostly Canadian-made English dubs of anime films during its early years, including TV series such as Mysterious Cities of Gold, Adventures of the Little Koala, Belle and Sebastian, The Adventures of the Little Prince, Noozles, Maya the Bee, Grimm's Fairy Tale Classics, and The Littl' Bits, many of which were aired on "Nick Jr.", the network's block of programming for very young viewers. The Disney Channel broadcast both of the feature-length anime films starring Osamu Tezuka's famous unicorn character Unico, and CBN redubbed and broadcast its Bible-based anime TV series co-produced with Tatsunoko, Superbook and The Flying House. HBO also showed juvenile-targeted anime on occasion, including TV series such as Tales of Little Women, The Adventures of Tom Sawyer, The Wonderful Wizard of Oz, and Saban's Adventures of Pinocchio and feature films such as Gisaburo Sugii's 1974 Jack and the Beanstalk.
A great many anime films and feature-length TV series compilations were also released direct-to-video in the U.S., and were often available for rental at mainstream video stores. Some titles which were distributed in the U.S. in this fashion included Candy Candy, Captain Future, Angel, Serendipity the Pink Dragon, Taro the Dragon Boy, Robby the Rascal (Cybot Robotchi), and Ninja the Wonder Boy (Manga Sarutobi Sasuke).
For the most part, though, these TV series and films were not actively promoted as being of Japanese origin; in fact, many of them went so far as to remove most or all Japanese names from the credits except for credits to the animation studios. In the series themselves, character names were often changed and Japanese cultural references removed to make them more accessible to English-speaking audiences, such as Genshi being changed to Flint in Space-Time Detective Genshi-kun. In the late 1990s and early 2000s, this trend began to change as more openly Japanese works, such as Sailor Moon, Gundam Wing, Pokémon, Dragon Ball Z, Digimon, and Yu-Gi-Oh! achieved mainstream popularity on American television. Although many of these shows did undergo some kind of "Americanization" in the form of character name changes and edits for violence, language, and the occasional nudity, viewers were more aware of the shows' country of origin, which might perhaps pique their curiosity to seek out other works in a similar style.
Current reception in the United States
AnimeNation's John Oppliger had this to say on the matter:
The support for anime among American anime fans is very strong. The availability of anime in America is truly impressive, especially within the anime fan community. Awareness of Japanese animation in America is at an all time high. However, mainstream acceptance of anime in America lags far behind the advances anime has made in other respects. A close examination of the support for anime on American television may provide a revealing and realistic gauge of the actual penetration of anime into America and American culture. Anime may seem like it's tremendously successful in America because its high profile, but the facts tell another story.
According to AC Nielsen, Pixar's The Incredibles sold 16 million copies on DVD in America last year. Shark Tale sold nearly 10 million copies. Even the DVD release of Bambi sold 6 million copies in 2005. In comparison, all four Inuyasha movies combined have sold just over 1 million copies in the past year and a half. Evidently, the success of anime in America is very relative. American anime fans are very devoted. Through underground means hardcore American fans now have access to brand new Japanese anime before even many Japanese residents do. America's anime fan community is influential because it's affluent, intelligent, and motivated; but it's not very large.[11]
Despite assessments like that, and its rare and limited release in American theaters, anime's legitimacy and respect in North America has grown well enough to garner major native artistic awards such as the Academy Award for Best Animated Feature in 2002 for Spirited Away by Hayao Miyazaki. Anime has a dedicated fan following in English speaking countries, particularly active on the internet, and at conventions regularly held throughout the US and UK.
Commercial appeal
Anime has become commercially profitable in western countries as early commercially successful western adaptations of anime, such as Astro Boy, have revealed.[12] The phenomenal success of Nintendo's multi-billion dollar Pokémon franchise[13] was helped greatly by the spin-off anime series that, first broadcast in the late 1990s, is still running worldwide to this day.
Influence on Western culture
Western Animation
Main article: Anime-influenced animation
Anime-influenced animation refers to non-Japanese works of animation that emulate the visual style of anime. Though most of these works are created by and primarily shown in the United States, many also involve production studios from Europe and non-Japanese Asia. These generally adapted anime stylizations and anime methods described in anime physics into their own. Such examples exist in Totally Spies!, The Boondocks, W.I.T.C.H. and Megas XLR. In addition, works such as Avatar: The Last Airbender features Asian themes. While these examples are not considered anime by the fanbase majority, they are best noted for being "influenced by anime".
Conventions
Main article: Anime convention
Fan-based conventions have long existed. Conventions for anime began to appear in the early 1990's, starting with Anime Expo, Animethon, Otakon, and JACON. Eventually, anime conventions are held annually in various cities across the United States, Canada, and Europe.
http://en.wikipedia.org/wiki/Anime (Less)
Channel: youtube Rate it: Rate:
30, 07:34, 2007-08-01 04:22:35 Description: HTFR presents Stanton Final Scratch 2. Showing you how this high quality digital turntable mp3 controller works, what its features are and how they can be used in home or club settings.
Final (More) HTFR presents Stanton Final Scratch 2. Showing you how this high quality digital turntable mp3 controller works, what its features are and how they can be used in home or club settings.
Final Scratch 2 can be bought online at http://www.htfr.com/more-info/MR148125
More info -
The innovative and prestigious final scratch 2 is now available at an amazing new low price! This complete package of vinyl, cd's, cables, interface and software lets you play digital music files from your computer or laptop by using your existing dj set-up. Thus bringing digital djing to dj's who don't want to give up the natural feel of physical dj equipment. Whether you use turntables or cd's, the final scratch package gives you full control over your digital music collection on your computer without taking anything away from the performance of your equipment. Using the included time-coded vinyl and cd's, you can scratch, spin-back, hot mix and do pretty much everything you do with your existing mixer and decks. Your mixer still controls the audio, and your decks control playback, the only digital part comes from the audio you have on your computer. Simple connection of your equipment via the included ultra-low latency firewire scratch amp interface means you have 24bit / 96khz audio ready for instant playback along with your vinyl and cd collection. Being totally passive too, you can simply flick between digital or physical media without being hindered by re-wiring your set-up. Dropping rare white labels between your latest download is more than possible and totally natural! The scratch amp also doubles up as a high quality soundcard too, with a mic input and full midi in/out allowing for external devices to be used to trigger hot-cue points or loops you can set-up on the software. The software allows for easy arrangement of all your digital audio into virtual record boxes and playlists, which is a massive convenience over flicking through your cramped record box. Traktor fs 2 supports all most popular digital audio file formats, including mp3, wav, aiff, aac and wma. It can even play tracks right off your computer's cd-rom drive or an external firewire hard disk. With loads more feautres to enhance your djing ability, and with all this control and convenience, integrating a digital dj system has never been easier or more affordable! (Less)
Channel: youtubeTags: 2 control controller deck demo demonstration digital dj djing final htfr mix mp3 scratch stanton turntable video vinyl
Rate it: Rate:
7, 04:54, 2009-01-27 22:28:52 Description: I went home and plopped down on the sofa. Amelia was in her room doing stuff. I was flicking through channels when I saw the Jonas Brothers coming next written on the bottom of the screen while the (More) I went home and plopped down on the sofa. Amelia was in her room doing stuff. I was flicking through channels when I saw the Jonas Brothers coming next written on the bottom of the screen while the were some adverts were running. The Ellen Show was coming on next so I decided to watch. I saw them enter and it reminded me so much of my teen years! They talked about their music and how after all these years, they had so many devoted fans and how much they loved them. Ellen made a comment on how grounded they were, and she was totally right. They played Love bug and then answered a few fan questions. Then they announced that they are going to be taking a break until their tour in September. I was taken back by this a bit because I knew how dedicated the boys were but they said they wanted to spend family time together as they havent in a while. They would still stay in touch with fans and will be doing event, concerts and charity work here and then, but will be taking a break after this week. With this news they left and I continued to watch the rest of the show.
I was sitting their watching and I felt a bit down, I didnt know why. I then looked at the table where there was a picture of all my family and friends and immediately knew what the empty hole in my heart was. I was truly missing my family and friends back in England. They were everything to me and I missed them badly. As if on cue my phone started to vibrate and guess what, it was my Band. Long story short, I was in a band called The Tapers since I was 12. We performed every Christmas karaoke at school and did a few gigs at club when we got older. We also had a face book, my space and you tube channel full of covers that we did.
MATT! LEE! TILY! ROXY!
PHILAAYY! they screamed down. I was so psyched
I missed you guys sooooooooooooo much!
We missed ya too babes, said Tily
Man, Tapers arent the same without our Philly! said Matt
We miss you Hun! said Lee
Whats up? asked Roxy
We talked for about an hour and I had to go as dad was trying to call me. I said my goodbyes and told them I would see them soon. I quickly rushed to call dad and spoke to him for a good half an hour. Me and my dad are really tight. I love him to bits, hes the number man in my life and always will be. Any guy messes with me, hes gunna be facing my Dad! He also gives me helpful advice on growing sunflowers! Wow! He passed the phone to Mum and we talked for about another half an hour. I really had to go coz my tummy was rumbling. I made some pasta as I had some leftover fresh ravioli that I made a few days ago. I ate my dinner whilst watching some random series of America Next Top Model and I decided to go chillax in my room. I texted a few friends, asking how life was, the whole enchilada. I also had a text convo with Nick Jonas for a while, crazy I know. I told him I saw his show and he said that Joe asked if he looked hot! I laughed at that. It was 9:30 and I was half-sleepy. I decided to strum a song on my guitar so I picked it up and started to play a song. It really reflected how much I missed home although I live in LA and not North Virginia. Oh well! I carefully put my guitar away as soon as I finished and reached for my bible. I read a few pages and drifted into sleep.
Not that interesting guys but hey thanks for making me reach my targetalthough I didnt get all the comments I got the subbers so thank-younew target to get to Chapter 16...I will post 15 but to get to 16 plz could I have 15 subbers and 2 comments on this and Chp 15 vid when its on! Thankz Love you x (Less)
Channel: youtube Rate it: Rate:
5, 00:32, 2008-06-16 23:13:58 Description: Voted "Best Place to Shoot Pool," Club Charleston Billiards Parlor in Las Vegas is SERIOUS fun! High-quality pool tables and house cue sticks. Also has steel-tip Darts Room; TV Room with (More) Voted "Best Place to Shoot Pool," Club Charleston Billiards Parlor in Las Vegas is SERIOUS fun! High-quality pool tables and house cue sticks. Also has steel-tip Darts Room; TV Room with plasma big-screens; full-service bar; popular video poker. In-house pool leagues are looking for additional members. Sign up now! www.ClubCharlestonLV.com (Less)
Channel: myspace Rate it: Rate:
Recent searches
april flowers 6s ago best porno 3s ago calyx 1s ago chris meloni videos 4s ago eager 19 yo 5s ago gay hard ex. 6s ago hentai lesbien 3s ago hidden masturbation camera 6s ago incest 1s ago japanese 4s ago kidnapping 2s ago kimono 4s ago manhunters 5s ago nicolas cabre 2s ago nurgül yeşilçay 5s ago redbone booty shaking 1s ago retro vintage 3s ago sadistic torture video 2s ago sexy film 1s ago tranny facial 5s ago unblock youtube videos 3s ago vodafone recharge 6s ago www.pinksliprecords.com 2s ago www.you porn indo.com 7s ago ırak liseli kızların... 6s ago
Recently watched videos
What is viral today ?
Quicklist (0)
No videos on quicklist
This list is temporary even if You are logged in. You can save it to permanent list.
My video lists
You must be logged to see all your lists. Please log in here.
![Need For Speed Pro Street Trailer [TV Spot commercial]](http://img.youtube.com/vi/cCbtRDpdAJ0/2.jpg)
Bookmark us
Please, link us: