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2009-08-07 21:39:57 Description: Porn Movie: Older Women Younger Men 7 DVDThis is scene 1 of Older Women Younger Men 7 from the adult film studio Coast to Coast In this scene....Her husband is cheating and Rubee wanted to get even. (More) Porn Movie: Older Women Younger Men 7 DVDThis is scene 1 of Older Women Younger Men 7 from the adult film studio Coast to Coast In this scene....Her husband is cheating and Rubee wanted to get even. She found comfort in the arms of the delivery boy. Watch Rubee get wild and enjoys hot sex as she takes revenge on her husband. (Less)
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1384, 00:00, 2009-08-07 23:11:59 Description: Porn Movie: Older Women Younger Men 7 DVDThis is scene 5 of Older Women Younger Men 7 from the adult film studio Coast to Coast In this scene....Alicia is an artist with an obsession for young boys. (More) Porn Movie: Older Women Younger Men 7 DVDThis is scene 5 of Older Women Younger Men 7 from the adult film studio Coast to Coast In this scene....Alicia is an artist with an obsession for young boys. She's an expert in doing her thing with the camera. She's also expert in working her thing with young dicks. Watch this artist as she unleash her horny side by giving her model the fuck of his life. (Less)
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2542, 00:00, 2009-08-07 23:22:23 Description: Porn Movie: Older Women Younger Men 7 DVDThis is scene 4 of Older Women Younger Men 7 from the adult film studio Coast to Coast In this scene....Daddy's working at the office and his teenage boy (More) Porn Movie: Older Women Younger Men 7 DVDThis is scene 4 of Older Women Younger Men 7 from the adult film studio Coast to Coast In this scene....Daddy's working at the office and his teenage boy is home alone. not. He's with his step mom and they have a little secret. Step mom Camille loves playtime and she has her stepson's young cock to play with. Watch Mrs. Camille get wild and enjoys hot sex when daddy's out of sight. (Less)
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587, 00:00, 2009-08-07 22:27:24 Description: Porn Movie: Older Women Younger Men 7 DVDThis is scene 3 of Older Women Younger Men 7 from the adult film studio Coast to Coast In this scene....Mr. Pee adores Ms. Greta because she wants a mature (More) Porn Movie: Older Women Younger Men 7 DVDThis is scene 3 of Older Women Younger Men 7 from the adult film studio Coast to Coast In this scene....Mr. Pee adores Ms. Greta because she wants a mature woman who could teach him how to be a better man. She's so delighted with the idea and gives the young stud one good prick sucking and hot fucking experience. (Less)
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329, 00:00, 2009-08-07 23:31:02 Description: Porn Movie: Older Women Younger Men 7 DVDThis is scene 2 of Older Women Younger Men 7 from the adult film studio Coast to Coast In this scene....Horny slut, Nicole Moore loves to suck prick and to be (More) Porn Movie: Older Women Younger Men 7 DVDThis is scene 2 of Older Women Younger Men 7 from the adult film studio Coast to Coast In this scene....Horny slut, Nicole Moore loves to suck prick and to be fucked by a young hot guy. She gives her guy a nice and hot stimulating mouth job. After doing such a great job, she gets her reward, a hot sticky tongue then a huge cock drilled hard on her pussy. (Less)
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88, 04:16, 2008-04-19 00:17:41 Description: GLOBAL STATISTICS
Fact #31: At least 60 million girls who would otherwise be expected to be alive are "missing" from various populations, mostly in Asia, as a result of sex-selective (More) GLOBAL STATISTICS
Fact #31: At least 60 million girls who would otherwise be expected to be alive are "missing" from various populations, mostly in Asia, as a result of sex-selective abortions, infanticide or neglect. (UN Study On The Status of Women, Year 2000)
Fact #32: Globally, at least one in three women and girls is beaten or sexually abused in her lifetime. (UN Commission on the Status of Women, 2/28/00)
Fact #33: A recent survey by the Kenyan Women Rights Awareness Program revealed that 70% of those interviewed said they knew neighbors who beat their wives. Nearly 60% said women were to blame for the beatings. Just 51% said the men should be punished. (The New York Times, 10/31/97)
Fact #34: 4 million women and girls are trafficked annually. (United Nations)
Fact #35: An estimated one million children, mostly girls, enter the sex trade each year (UNICEF)
Fact #36: A 2005 World Health Organization study reported that nearly one third of Ethiopian women had been physically forced by a partner to have sex against their will within the 12 months prior to the study. (WHO Multi-country Study on Women's Health and Domestic Violence Against Women, 2005)
Fact #37: In a study of 475 people in prostitution from five countries (South Africa, Thailand, Turkey, USA, and Zambia):
62% reported having been raped in prostitution.
73% reported having experienced physical assault in prostitution.
92% stated that they wanted to escape prostitution immediately.
(Melissa Farley, Isin Baral, Merab Kiremire, Ufuk Sezgin, "Prostitution in Five Countries: Violence and Posttraumatic Stress Disorder" (1998) Feminism & Psychology 8 (4): 405-426)
Fact #38: The most common act of violence against women is being slapped—an experience reported by 9% of women in Japan and 52% in provincial Peru. Rates of sexual abuse also varies greatly around the world—with partner rape being reported by 6% of women from Serbia and Montenegro, 46% of women from provincial Bangladesh, and 59% of women in Ethiopia. (WHO Multi-country Study on Women's Health and Domestic Violence Against Women, 2005)
Fact #39: So-called "honour killings" take the lives of thousands of young women every year, mainly in North Africa, Western Asia and parts of South Asia. (UNFPA)
Fact #40: The Human Rights Commission of Pakistan reported that 2002 saw a 25% increase in "honor killings" of women, with 461 women murdered by family members in 2002, in 2 provinces (Sindh and Punjab) alone. (Pakistan Human Rights Commission, 2002)
Fact #41: More than 90 million African women and girls are victims of female circumcision or other forms of genital mutilation. (Heise: 1994)
Fact #42: In eastern and souther Africa, 17 to 22% of girls aged 15 to 19 are HIV-positive, compared to 3 to 7% of boys of similar age. This pattern—seen in many other regions of the world—is evidence that girls are being infected with HIV by a much older cohort of men. (UNICEF/UNAIDS 2007)
Fact #43: : A 2005 study reported that 7% of partnered Canadian women experienced violence at the hands of a spouse between 1999 and 2004. Of these battered women, nearly one-quarter (23%) reported being beaten, choked, or threatened with a knife or gun. (Family Violence in Canada: A Statistical Profile, 2005)
Fact #44: In Zimbabwe, domestic violence accounts for more than 60% of murder cases that go through the high court in Harare. (ZWRCN)
Fact #45: a study in Zaria, Nigeria found that 16 percent of hospital patients treated for sexually transmitted infections were younger than 5. (UNFPA) (Less)
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36, 03:21, 2007-07-28 14:46:35 Description: DEDICATED TO WARRIOR CRAZY HORSE..
First image is the picture of Crazy Horse..becouse he dont liked to be photographed-no proved photograph of him exist..only this picture....than the photograph of (More) DEDICATED TO WARRIOR CRAZY HORSE..
First image is the picture of Crazy Horse..becouse he dont liked to be photographed-no proved photograph of him exist..only this picture....than the photograph of his friend- chef He Dog appear...Shaman and Warior Sitting Bull and other chefs... General Croog... war...masacre at Wouden Knee..but at the end Sitting Bull appear as a spirit...yes he said "I know that Great Spirit established Me as a chef of this country!" and that is The true Mr... U.S.A!
Michal Ičo.
.
.
Interview with He Dog, Oglala, S.D. July 7, 1930
Thomas White Cow Killer, Interpreter
.
.
I will be glad to tell you about Crazy Horse or any others of our old
time chiefs about whom you may wish to know because I am an old man now
and shall not live many years longer and it is time for me to tell these
things. Whatever I tell you will be the exact truth, because I was in a
position to know what I talk about. There are a lot of old Indians
hanging about the reservation who like to talk to the white people and
would just as soon tell you anything, whether it is true or not. They are
men whom we would not have had as servants, those of us who were Chiefs
in the old days.
I and Crazy Horse were both born in the same year and at the same
season of the year. We grew up together in the same band, played
together, courted the girls together and fought together. I am now
ninety-two years old, so you can figure out in what year he was born by
your calendar. When we were 17 or 18 years old we separated. Crazy
Horse went to the Rosebud Band (that is to the Brules, of whom Spotted
Tail was Chief a little later) of Indians and stayed with them for about
a year. Then he came home. After he had been back for a while, I made
inquiries about why he had left the Rosebud band. I was told he had to
come back because he had killed a Winnebago woman. (According to ancient
Lakota custom, coup could be counted on an enemy woman if she was killed
in the sight of the fighting men of her tribe. The theory was that the
enemy would fight even harder to protect or avenge one of their women
than one of their men. But the Brules were already agency Indians and
the authorities took a different attitude about it. Apparently Crazy
Horse himself changed his mind about the ethics of this custom if the
speech of his reported by Captain Hans in "The Great Sioux Nation" is
correct).
Less than a year after Crazy Horse left camp, I joined in a trip
against the Crow Indians. WHen I got home, the crier was announcing that
Crazy Horse was back in camp. Only his name was not Crazy Horse at that
time. He has three names at different times of his life. His name until
he was about ten years old was Curly Hair. Later, from the time he was
ten until the time he was about eighteen years of age, he was called
His-Horse-On-Sight, but this name did not stick to him. When he was
about eighteen years old there was a fight with the Arapahos who were up
on a high hill covered with big rocks and near a river. Although he was
just a boy, he charged them several times alone and came back wounded but
with two Arapaho scalps. His father, whose name was Crazy Horse, made a
feast and gave his son his own name. After that, the father was no
longer called by the name he had given away, but was called by a
nickname, Worm.
Crazy Horse, the son, was one of three children. The oldest was a
Sister, the next was Crazy Horse, and the third was a Brother. All are
dead now.
When we were young men, the Oglala band divided into two parts, one
led by Red Cloud and one by Man-Afraid-of-His-Horse, the elder. I and
Crazy Horse stayed with the part led by Man-Afraid-Of-His-Horse. Later
this half subdivided again into two parts. I stayed with the more Northern
half of which I and Big Road, and later Holy Bald Eagle and Red Cloud,
were appointed joint Chiefs ("shirt wearers", so called from a particular
kind of ceremonial shirt worn by this class of chieftain as insignia of
office).
Crazy Horse remained with the Southern quarter of the tribe. The
council of this division awarded the chieftainship to Crazy Horse,
American Horse, Young-Man-Afraid-Of-His-Horse, and Sword. It was many
years after our first battles before we were made Chiefs. A man had to
distinguish himself in many fights and in peace as well before he could
be chosen as a Chief.
(After consultation together, He Dog and the interpreter dated these
appointments as having been made about 1865 by the white man's calendar)
The name of Crazy Horse's band was the Hunkpatila (End of Circle) band
because when the tribe was encamped together it occupied one end of the
tribal crescent.
At about the time these appointments were made Crazy Horse moved
towards the White Mountains (Indian name of the Big Horn Mountains).
Crazy Horse and I went together on a war trip to the other side of the
mountains. When we came back, the people came out of the camp to meet us
and escorted us back and at a big ceremony presented us with two spears,
the gift of the whole tribe, which was met together. These spears were
each three or four hundreds years old and were given by the older
generation to those in the younger generation who had best lived the life
of a warrior.
Crazy Horse was still single when he was made a "shirt wearer". A few
years after this he began to pay attention to the wife of a man named No
Water. No Water did not want to let the woman go.
In the Battle "When They Chased The Crows Back To Camp", (1870) He Dog
and Crazy Horse were the lance bearers of the Kangi Yuhn (Crow Owner's
Society). About ten days after that battle Crazy Horse started off on a
smaller war expedition and No Water's wife went along with him.
No Water followed them and came to the tipi of Bad Heart Bull and
asked to borrow a certain good revolver (Bad Heart Bull was a brother of
He Dog and is now dead) which Bad Heart Bull owned. He said he wanted to
go hunting. Crazy Horse and the woman were sitting by the fire in a tipi
belonging to some of their friends. No Water entered the tipi, walked up
to Crazy Horse as near as I am to that stove (about four feet) and shot
him through the face. The bullet entered just below the left nostril.
That is how Crazy Horse got his scar. No Water took his wife back.
Because of all this, Crazy Horse could not be a "shirt wearer" any
longer. When we were made Chiefs, we were bound by very strict rules as
to what we should do and what not do, which were very hard for us to
follow. I have never spoken to nay but a very few persons of what they
made us promise them. I have always kept the oaths I made then, but
Crazy Horse did not.
Later on the older, more responsible men of the tribe conferred
another kind of Chieftainship on Crazy Horse. He was made War Chief of
the whole Oglala tribe. A similar office was conferred on Sitting Bull
by the Hunkpapa tribe. This was still early, a long, long time before
the Custer fight. At this time the government did not know who we were.
Crazy Horse always led his men himself, when they went into battle,
and he kept well in front of them. He headed many charges and was many
times wounded in battle, but never seriously. He never wore a war
bonnet.
A medicine man named Chips had given him power if he would wear in
battle an eagle bone whistle and one feather and a certain round stone
with a hole in it. He wore the stone under his left arm, suspended by a
leather thong that went over his shoulder. The one central feather that
is in the middle of the war eagle's tail, that was the feather he wore in
his hair.
(He Dog denied with a chuckle, various stories told about how Crazy
Horse on certain occasions threw away his rifle and charged in with a war
club or a riding quirt, a characteristic Indian mode of seeking death in
battle) Crazy Horse always stuck close to his rifle. He always tried to
kill as many as possible of the enemy without losing his own men.
He never spoke in council and attended very few. There was no special
reason for this, it was just his nature. He was a very quiet man except
when there was fighting.
Crazy Horse was married three times. The first time was to No Water's
wife, but she only stayed with him a few days. Shortly after that he
married Red Feather's sister. By her he had one child, a little girl who
died when about two years old. A long while after, when he had
surrendered at Ft. Robinson, he married a young half-breed girl. He did
not have any children by her. (Less)
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17, 09:18, 2008-04-21 21:28:54 Description: (Seattle Cinerama theater The Hospital studios and gallery in London Experience Music Project Flying Heritage Collection Science Fiction Museum and Hall of Fame (Project Halo, is a project funded by (More) (Seattle Cinerama theater The Hospital studios and gallery in London Experience Music Project Flying Heritage Collection Science Fiction Museum and Hall of Fame (Project Halo, is a project funded by Paul Allen's Vulcan Ventures. The project was initially led by Oliver Roup and Noah Friedland but is currently led by Mark Greaves, a former DARPA Program Manager. Project Halo is an attempt to apply Artificial Intelligence techniques to the problem of producing a "digital Aristotle" that might serve as a mentor, providing comprehensive access to the world's knowledge. "We're trying to evolve G4 into a unique and authentic channel for young guys. one that seeks to use technology and gadgets; viral web culture and videogames; irreverent male programming and distinctive live event coverage to define our appeal (http://www.the-n.com/ There are 4,020,063 people registered at the-n.com The N (The Network for Teens, formerly The Nighttime Network for Teens and Nighttime on Noggin) is a television channel in the United States aimed at teenagers and young adults. (U.S. Bureau of Labor Statistics, women filled only 26.7 percent of computer and mathematical positions in 2006. http://www.pewinternet.org/PPF/r/171/report_display.asp How Women and Men Use the Internet: Women are catching up to men in most measures of online life. Men like the internet for the experiences it offers, while women like it for the human connections it promotes. "Men and women are equally likely to use the internet to buy products and take part in online banking, but men are more likely to use the internet to pay bills, participate in auctions, trade stocks and bonds, and pay for digital content. "Men are more avid consumers than women of online information. Men look for information on a wider variety of topics and issues than women do. "Men are more likely than women to use the internet as a destination for recreation. Men are more likely to: gather material for their hobbies, read online for pleasure, take informal classes, participate in sports fantasy leagues, download music and videos, remix files, and listen to radio. "Men are more interested than women in technology, and they are also more tech savvy. "data show that men and women are more similar than different in their online lives, starting with their common appreciation of the internet's strongest suit: efficiency. "Men and women also value the internet for a second strength, as a gateway to limitless vaults of information. Men reach farther and wider for topics, from getting financial information to political news. Along the way, they work search engines more aggressively, using engines more often and with more confidence than women. "Women are more likely to see the vast array of online information as a "glut" and to penetrate deeper into areas where they have the greatest interest, including health and religion. Women tend to treat information gathering online as a more textured and interactive process -- one that includes gathering and exchanging information through support groups and personal email exchanges. (http://www.technewsworld.com/story/48048.html "female shoppers are flexing a lot more monetary muscle on the Internet these days. E-commerce experts are reporting that this demographic was a major factor in the 2004 online holiday shopping season that soared to a 25 percent year-over-year increase to total US$23 billion in revenues."Sixty-eight percent of men are Internet users, compared with 66 percent of women. Because they make up more of the population, the total number of women online is now slightly larger than the number of men. "Women under 30 and black women outpace their male peers. Sixty percent of black women are online, compared with 50 percent of black men. "Eighty-six percent of women ages 18-29 are online, compared with 80 percent of men that age. Thirty-four percent of men age 65 and older are online, compared with 21 percent of women that age. (http://www.shinyshiny.tv/2006/07/study_says_75_o.html "three out of four women who own a mobile phone do not know how to use all its features. [...] And it is the same with other modern devices and gizmos, from digital cameras to MP3 music players, according to the study." "while male customers want hi-tech spec and other mind-numbing details, women prefer to know what a gadget actually does and why it is useful." Younger generations are living with gadgets, computers and mobile phones as a daily commodity, rather than a novelty, (Less)
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22, 03:21, 2008-04-22 09:17:55 Description: DEDICATED TO WARRIOR CRAZY HORSE.. First image is the picture of Crazy Horse..becouse he dont liked to be photographed-no proved photograph of him exist..only this picture....than the photograph of (More) DEDICATED TO WARRIOR CRAZY HORSE.. First image is the picture of Crazy Horse..becouse he dont liked to be photographed-no proved photograph of him exist..only this picture....than the photograph of his friend- chef He Dog appear...Shaman and Warior Sitting Bull and other chefs... General Croog... war...masacre at Wouden Knee..but at the end Sitting Bull appear as a spirit...yes he said "I know that Great Spirit established Me as a chef of this country!" and that is The true Mr... U.S.A! Michal Ičo. . . Interview with He Dog, Oglala, S.D. July 7, 1930 Thomas White Cow Killer, Interpreter . . I will be glad to tell you about Crazy Horse or any others of our old time chiefs about whom you may wish to know because I am an old man now and shall not live many years longer and it is time for me to tell these things. Whatever I tell you will be the exact truth, because I was in a position to know what I talk about. There are a lot of old Indians hanging about the reservation who like to talk to the white people and would just as soon tell you anything, whether it is true or not. They are men whom we would not have had as servants, those of us who were Chiefs in the old days. I and Crazy Horse were both born in the same year and at the same season of the year. We grew up together in the same band, played together, courted the girls together and fought together. I am now ninety-two years old, so you can figure out in what year he was born by your calendar. When we were 17 or 18 years old we separated. Crazy Horse went to the Rosebud Band (that is to the Brules, of whom Spotted Tail was Chief a little later) of Indians and stayed with them for about a year. Then he came home. After he had been back for a while, I made inquiries about why he had left the Rosebud band. I was told he had to come back because he had killed a Winnebago woman. (According to ancient Lakota custom, coup could be counted on an enemy woman if she was killed in the sight of the fighting men of her tribe. The theory was that the enemy would fight even harder to protect or avenge one of their women than one of their men. But the Brules were already agency Indians and the authorities took a different attitude about it. Apparently Crazy Horse himself changed his mind about the ethics of this custom if the speech of his reported by Captain Hans in "The Great Sioux Nation" is correct). Less than a year after Crazy Horse left camp, I joined in a trip against the Crow Indians. WHen I got home, the crier was announcing that Crazy Horse was back in camp. Only his name was not Crazy Horse at that time. He has three names at different times of his life. His name until he was about ten years old was Curly Hair. Later, from the time he was ten until the time he was about eighteen years of age, he was called His-Horse-On-Sight, but this name did not stick to him. When he was about eighteen years old there was a fight with the Arapahos who were up on a high hill covered with big rocks and near a river. Although he was just a boy, he charged them several times alone and came back wounded but with two Arapaho scalps. His father, whose name was Crazy Horse, made a feast and gave his son his own name. After that, the father was no longer called by the name he had given away, but was called by a nickname, Worm. Crazy Horse, the son, was one of three children. The oldest was a Sister, the next was Crazy Horse, and the third was a Brother. All are dead now. When we were young men, the Oglala band divided into two parts, one led by Red Cloud and one by Man-Afraid-of-His-Horse, the elder. I and Crazy Horse stayed with the part led by Man-Afraid-Of-His-Horse. Later this half subdivided again into two parts. I stayed with the more Northern half of which I and Big Road, and later Holy Bald Eagle and Red Cloud, were appointed joint Chiefs ("shirt wearers", so called from a particular kind of ceremonial shirt worn by this class of chieftain as insignia of office). Crazy Horse remained with the Southern quarter of the tribe. The council of this division awarded the chieftainship to Crazy Horse, American Horse, Young-Man-Afraid-Of-His-Horse, and Sword. It was many years after our first battles before we were made Chiefs. A man had to distinguish himself in many fights and in peace as well before he could be chosen as a Chief. (After consultation together, He Dog and the interpreter dated these appointments as having been made about 1865 by the white man's calendar) The name of Crazy Horse's band was the Hunkpatila (End of Circle) band because when the tribe was encamped together it occupied one end of the tribal crescent. At about the time these appointments were made Crazy Horse moved towards the White Mountains (Indian name of the Big Horn Mountains). Crazy Horse and I went together on a war trip to the other side of the mountains. When we came back, the people came out of the camp to meet us and escorted us back and at a big ceremony presented us with two spears, the gift of the whole tribe, which was met together. These spears were each three or four hundreds years old and were given by the older generation to those in the younger generation who had best lived the life of a warrior. Crazy Horse was still single when he was made a "shirt wearer". A few years after this he began to pay attention to the wife of a man named No Water. No Water did not want to let the woman go. In the Battle "When They Chased The Crows Back To Camp", (1870) He Dog and Crazy Horse were the lance bearers of the Kangi Yuhn (Crow Owner's Society). About ten days after that battle Crazy Horse started off on a smaller war expedition and No Water's wife went along with him. No Water followed them and came to the tipi of Bad Heart Bull and asked to borrow a certain good revolver (Bad Heart Bull was a brother of He Dog and is now dead) which Bad Heart Bull owned. He said he wanted to go hunting. Crazy Horse and the woman were sitting by the fire in a tipi belonging to some of their friends. No Water entered the tipi, walked up to Crazy Horse as near as I am to that stove (about four feet) and shot him through the face. The bullet entered just below the left nostril. That is how Crazy Horse got his scar. No Water took his wife back. Because of all this, Crazy Horse could not be a "shirt wearer" any longer. When we were made Chiefs, we were bound by very strict rules as to what we should do and what not do, which were very hard for us to follow. I have never spoken to nay but a very few persons of what they made us promise them. I have always kept the oaths I made then, but Crazy Horse did not. Later on the older, more responsible men of the tribe conferred another kind of Chieftainship on Crazy Horse. He was made War Chief of the whole Oglala tribe. A similar office was conferred on Sitting Bull by the Hunkpapa tribe. This was still early, a long, long time before the Custer fight. At this time the government did not know who we were. Crazy Horse always led his men himself, when they went into battle, and he kept well in front of them. He headed many charges and was many times wounded in battle, but never seriously. He never wore a war bonnet. A medicine man named Chips had given him power if he would wear in battle an eagle bone whistle and one feather and a certain round stone with a hole in it. He wore the stone under his left arm, suspended by a leather thong that went over his shoulder. The one central feather that is in the middle of the war eagle's tail, that was the feather he wore in his hair. (He Dog denied with a chuckle, various stories told about how Crazy Horse on certain occasions threw away his rifle and charged in with a war club or a riding quirt, a characteristic Indian mode of seeking death in battle) Crazy Horse always stuck close to his rifle. He always tried to kill as many as possible of the enemy without losing his own men. He never spoke in council and attended very few. There was no special reason for this, it was just his nature. He was a very quiet man except when there was fighting. Crazy Horse was married three times. The first time was to No Water's wife, but she only stayed with him a few days. Shortly after that he married Red Feather's sister. By her he had one child, a little girl who died when about two years old. A long while after, when he had surrendered at Ft. Robinson, he married a young half-breed girl. He did not have any children by her. (Less)
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9, 06:15, 2008-04-22 10:02:39 Description: Gods big ten given to stregthen life grace covers us. Titus chapter 2, Romans 5:20 Exodus 20 Lincoln Avenue Baptist Church Orange Ca Titus 2 (The Message) A God-Filled Life 1-6Your job is to speak (More) Gods big ten given to stregthen life grace covers us. Titus chapter 2, Romans 5:20 Exodus 20 Lincoln Avenue Baptist Church Orange Ca Titus 2 (The Message) A God-Filled Life 1-6Your job is to speak out on the things that make for solid doctrine. Guide older men into lives of temperance, dignity, and wisdom, into healthy faith, love, and endurance. Guide older women into lives of reverence so they end up as neither gossips nor drunks, but models of goodness. By looking at them, the younger women will know how to love their husbands and children, be virtuous and pure, keep a good house, be good wives. We don't want anyone looking down on God's Message because of their behavior. Also, guide the young men to live disciplined lives. 7-8But mostly, show them all this by doing it yourself, incorruptible in your teaching, your words solid and sane. Then anyone who is dead set against us, when he finds nothing weird or misguided, might eventually come around. 9-10Guide slaves into being loyal workers, a bonus to their masters—no back talk, no petty thievery. Then their good character will shine through their actions, adding luster to the teaching of our Savior God. 11-14God's readiness to give and forgive is now public. Salvation's available for everyone! We're being shown how to turn our backs on a godless, indulgent life, and how to take on a God-filled, God-honoring life. This new life is starting right now, and is whetting our appetites for the glorious day when our great God and Savior, Jesus Christ, appears. He offered himself as a sacrifice to free us from a dark, rebellious life into this good, pure life, making us a people he can be proud of, energetic in goodness. 15Tell them all this. Build up their courage, and discipline them if they get out of line. You're in charge. Don't let anyone put you down. Romans 5:20 (The Message) 20-21All that passing laws against sin did was produce more lawbreakers. But sin didn't, and doesn't, have a chance in competition with the aggressive forgiveness we call grace. When it's sin versus grace, grace wins hands down. All sin can do is threaten us with death, and that's the end of it. Grace, because God is putting everything together again through the Messiah, invites us into life—a life that goes on and on and on, world without end. Exodus 20 (New International Version) The Ten Commandments 1 And God spoke all these words: 2 "I am the LORD your God, who brought you out of Egypt, out of the land of slavery. 3 "You shall have no other gods before [a] me. 4 "You shall not make for yourself an idol in the form of anything in heaven above or on the earth beneath or in the waters below. 5 You shall not bow down to them or worship them; for I, the LORD your God, am a jealous God, punishing the children for the sin of the fathers to the third and fourth generation of those who hate me, 6 but showing love to a thousand {generations} of those who love me and keep my commandments. 7 "You shall not misuse the name of the LORD your God, for the LORD will not hold anyone guiltless who misuses his name. 8 "Remember the Sabbath day by keeping it holy. 9 Six days you shall labor and do all your work, 10 but the seventh day is a Sabbath to the LORD your God. On it you shall not do any work, neither you, nor your son or daughter, nor your manservant or maidservant, nor your animals, nor the alien within your gates. 11 For in six days the LORD made the heavens and the earth, the sea, and all that is in them, but he rested on the seventh day. Therefore the LORD blessed the Sabbath day and made it holy. 12 "Honor your father and your mother, so that you may live long in the land the LORD your God is giving you. 13 "You shall not murder. 14 "You shall not commit adultery. 15 "You shall not steal. 16 "You shall not give false testimony against your neighbor. 17 "You shall not covet your neighbor's house. You shall not covet your neighbor's wife, or his manservant or maidservant, his ox or donkey, or anything that belongs to your neighbor." (Less)
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30, 09:51, 2008-04-21 17:04:25 Description: Correction: In this video I said Abu Bakr related the most hadith I should have said Abu Huraira. ========================================== Fathers can sell their daughters as slave girls to other (More) Correction: In this video I said Abu Bakr related the most hadith I should have said Abu Huraira. ========================================== Fathers can sell their daughters as slave girls to other men in the Bible: Exodus 21:7-11 7. "If a man sells his daughter as a female slave, she is not to go free as the male slaves do. 8. "If she is displeasing in the eyes of her master who designated her for himself, then he shall let her be redeemed. He does not have authority to sell her to a foreign people because of his unfairness to her. 9. "If he designates her for his son [Note: "his son" means that the master is either her father's age or even much older!], he shall deal with her according to the custom of daughters. 10. "If he takes to himself another woman, he may not reduce her food, her clothing, or her conjugal rights. 11. "If he will not do these three things for her, then she shall go out for nothing, without payment of money. First of all, did the daughter have any choice to be sold off by her father, married off by her master to either himself or his son? No! Also, the fact that the master can either marry her or marry her off to his son, means that MOST LIKELY, SHE IS HIS DAUGHTER'S AGE and younger than his son!! So he's probably at least 30+ years older than her. Yet, he himself (her father's age or even MUCH older) can marry her. Again, please visit: X-Rated Pornography in the Bible. The Bible literally says that women's vaginas and breasts taste like "wine". Also visit: Fathers sticking their fingers into their daughters' vaginas before marriage in the Bible. Also, the fact that there is no AGE LIMIT to how girls in the Bible were sold off and married off to other men, WITHOUT ANY CHOICE, who were much much older than them as also the case with the Biblical Prophets who married 100s of wives each clearly proves the hypocrisy of some Christians who attack Islam through Aisha's very young age, while they clearly ignore the same fact in their own Bible. Here is a sample of the 100s of wives of the Biblical Prophets: In Exodus 21:10, a man can marry an infinite amount of women without any limits to how many he can marry. In 2 Samuel 5:13; 1 Chronicles 3:1-9, 14:3, King David had six wives and numerous concubines. In 1 Kings 11:3, King Solomon had 700 wives and 300 concubines. In 2 Chronicles 11:21, King Solomon's son Rehoboam had 18 wives and 60 concubines. Please visit: Aisha was "9" when she married our Prophet. If this is weird or unacceptable to you, then are BOTH HER PARENTS and the whole Arabs' culture BACK THEN also guilty for giving her and others like her in marriage to other men, 1500 years ago? Even today, girls in many third-world countries are married off at the same or similar age. Also, it is believed by many Jews and Roman Catholics that Mary was 12 - 14 when she had Jesus. Also as I said, the Biblical Prophets who had 100s of wives each most probably married young girls as well. Also, what about Aisha's PARENTS (MOM AND DAD)? Didn't they see it right and fit to marry their daughter at that age and at that time? Who are we to judge? Also, see why Muta (temporary) Marriage was allowed and why it was discontinued. http://www.answering-christianity.com/aisha.htm See my lost blogs: The truth about Israel http://tv.muxlim.com/video/0jyEESLVqs3 Polygamy uncensored: http://tv.muxlim.com/video/2r0s9IbR7fJ (Less)
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275, 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)
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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.
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15, 09:18, 2008-03-27 16:34:29 Description: (Seattle Cinerama theater The Hospital studios and gallery in London Experience Music Project Flying Heritage Collection Science Fiction Museum and Hall of Fame
(Project Halo, is a project funded by (More) (Seattle Cinerama theater The Hospital studios and gallery in London Experience Music Project Flying Heritage Collection Science Fiction Museum and Hall of Fame
(Project Halo, is a project funded by Paul Allen's Vulcan Ventures. The project was initially led by Oliver Roup and Noah Friedland but is currently led by Mark Greaves, a former DARPA Program Manager. Project Halo is an attempt to apply Artificial Intelligence techniques to the problem of producing a "digital Aristotle" that might serve as a mentor, providing comprehensive access to the world's knowledge.
"We're trying to evolve G4 into a unique and authentic channel for young guys. one that seeks to use technology and gadgets; viral web culture and videogames; irreverent male programming and distinctive live event coverage to define our appeal
(http://www.the-n.com/ There are 4,020,063 people registered at the-n.com The N (The Network for Teens, formerly The Nighttime Network for Teens and Nighttime on Noggin) is a television channel in the United States aimed at teenagers and young adults.
(U.S. Bureau of Labor Statistics, women filled only 26.7 percent of computer and mathematical positions in 2006. http://www.pewinternet.org/PPF/r/171/report_display.asp How Women and Men Use the Internet: Women are catching up to men in most measures of online life. Men like the internet for the experiences it offers, while women like it for the human connections it promotes. "Men and women are equally likely to use the internet to buy products and take part in online banking, but men are more likely to use the internet to pay bills, participate in auctions, trade stocks and bonds, and pay for digital content. "Men are more avid consumers than women of online information. Men look for information on a wider variety of topics and issues than women do. "Men are more likely than women to use the internet as a destination for recreation. Men are more likely to: gather material for their hobbies, read online for pleasure, take informal classes, participate in sports fantasy leagues, download music and videos, remix files, and listen to radio. "Men are more interested than women in technology, and they are also more tech savvy. "data show that men and women are more similar than different in their online lives, starting with their common appreciation of the internet's strongest suit: efficiency. "Men and women also value the internet for a second strength, as a gateway to limitless vaults of information. Men reach farther and wider for topics, from getting financial information to political news. Along the way, they work search engines more aggressively, using engines more often and with more confidence than women. "Women are more likely to see the vast array of online information as a "glut" and to penetrate deeper into areas where they have the greatest interest, including health and religion. Women tend to treat information gathering online as a more textured and interactive process -- one that includes gathering and exchanging information through support groups and personal email exchanges.
(http://www.technewsworld.com/story/48048.html "female shoppers are flexing a lot more monetary muscle on the Internet these days. E-commerce experts are reporting that this demographic was a major factor in the 2004 online holiday shopping season that soared to a 25 percent year-over-year increase to total US$23 billion in revenues."Sixty-eight percent of men are Internet users, compared with 66 percent of women. Because they make up more of the population, the total number of women online is now slightly larger than the number of men. "Women under 30 and black women outpace their male peers. Sixty percent of black women are online, compared with 50 percent of black men. "Eighty-six percent of women ages 18-29 are online, compared with 80 percent of men that age. Thirty-four percent of men age 65 and older are online, compared with 21 percent of women that age.
(http://www.shinyshiny.tv/2006/07/study_says_75_o.html "three out of four women who own a mobile phone do not know how to use all its features. [...] And it is the same with other modern devices and gizmos, from digital cameras to MP3 music players, according to the study." "while male customers want hi-tech spec and other mind-numbing details, women prefer to know what a gadget actually does and why it is useful." Younger generations are living with gadgets, computers and mobile phones as a daily commodity, rather than a novelty, (Less)
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