Danstuff: 02/01/2004

Tack-O-Rama - Clipart: "The images have all been reworked from pictures found in various magazines from the 1940s and 50s from Australia, the US, and the UK. Most of the copyrights will have expired..."

*posted by Unknown at 12:54 PM*

veenvop
Cool Flash site recommended by Bob DeJesus!

*posted by Unknown at 2:41 PM*

Welcome to Alpha-Shade

*posted by Unknown at 11:41 AM*

WAP Tutorial

*posted by Unknown at 11:00 AM*

Japan.com - Technology - Mobile Phones in Japan - Japan Mobile Phones - Japan Keitai: "Everyone knows Tokyo's Shibuya district as THE place where hip high-schoolers hang after school. The latest fashion, youth slang and mobile culture can be found in this hyper-cr"

*posted by Unknown at 10:59 AM*

Mainichi Interactive - Top News: "gyaru moji"

*posted by Unknown at 10:59 AM*

SXSW 2002 - Japan Phone Story

*posted by Unknown at 9:48 AM*

MobileMMS.com: "Mobile messaging is evolving beyond text by taking a development path from SMS to EMS to MMS. This website focuses upon MMS in particular.

The Multimedia Messaging Service (MMS) is, as its name suggests, the ability to send messages comprising a combination of text, sounds, images and video to MMS capable handsets."

*posted by Unknown at 8:59 AM*

Raymondo's Dance-O-Rama: "
Click on the cover for a larger view. Have you ever notice how many Moog lps feature Beatles tunes? Well here's one made up entirely of Beatles (Dig the cover, an apparent spoof of John and Yoko's 'Two Virgins'') I'm not a super Moog afficianado, but looking at these notes, it appears that this lp, while credited to Marty Gold, is truly the work of Walter Sear (who is listed simply as the programmer) At any rate, I hope you dig this record, one of the few moog records composed entirely of Lennon McCartney tunes."

*posted by Unknown at 3:00 PM*

[TV CARNAGE]

*posted by Unknown at 1:37 PM*

NewsTrove.com

*posted by Unknown at 1:36 PM*

Feedster :: RSS Search Engine

*posted by Unknown at 11:41 AM*

JavaScript RSS Reader: "Enter the URI of the RSS file (e.g: http://premshree.resource-locator.com/j/rss.xml) in the above input box and hit the button. This JavaScript will display a HTML-formatted version of the RSS feed."

*posted by Unknown at 8:41 AM*

- QuickTime -

*posted by Unknown at 3:39 PM*

Welcome to AssistOn

*posted by Unknown at 1:52 PM*

Digital Cut Up Lounge

*posted by Unknown at 1:20 PM*

Terragen

*posted by Unknown at 1:03 PM*

Music: "Welcome to the music section of The Twlight Lounge."

*posted by Unknown at 12:29 PM*

www.ufocatcher.com

*posted by Unknown at 9:44 AM*

Hino Horror Toys

*posted by Unknown at 9:42 AM*

Upcomming Titles!: " Introducing cocoro comics Hideshi Hino series!For the first time, this horror masterpiece of Japanese manga genius, Hideshi Hino, has been translated into English..."

*posted by Unknown at 9:41 AM*

Comic Book Bittorrents

*posted by Unknown at 2:12 PM*

Threadless T-Shirts - Designer Clothing
You can submit designs to these folks....

*posted by Unknown at 2:07 PM*

UK Web Comix Thing 2004

*posted by Unknown at 2:07 PM*

The Catastrophe Shop

*posted by Unknown at 2:07 PM*

Poopsheet:Home

*posted by Unknown at 12:04 PM*

Bulkfeeds: Sota's moblog - RSS Directory

*posted by Unknown at 11:25 AM*

Neoteny Photo moblogLooks like an RSS feed from japan...

*posted by Unknown at 11:19 AM*

Bulkfeeds: PHaT PHOTO - RSS Directory

Here, too...

*posted by Unknown at 11:16 AM*

Some great paintings and animated gifs here...

*posted by Unknown at 8:50 AM*

Yuji Kamosawa Official Sight

*posted by Unknown at 3:57 PM*

BNBT Tracker Info

*posted by Unknown at 11:31 AM*

FLIGHT :: Index
An Anthology messageboard...

*posted by Unknown at 10:42 AM*

Dana's Downloadable Album of the Month: This month's album is a rare MOOG out-of-print LP that was only released in France. I collect old Moog albums, and this is one of my favorites. The record is undated, but it is probably from the early '70s. I suspect that is is a library record, meaning that it was most likely only released for radio and television use.

*posted by Unknown at 6:19 PM*

Tokyo Qool - Nakano Broadway: "Nakano Broadway: Nakano

The ground floor of Nakano Broadway looks just like a typical neighborhood shopping arcade - handbags, sneakers, pet supplies and so on. But just up the escalator is a warren of tiny, hyper-specialized shops that's more reminiscent of deep shopping expeditions in Hong Kong and Bangkok. Broadway is the complete opposite of those slick new Tokyo malls filled with cookie-cutter global-brand-name stores, and it's a lot more fun to shop in. "

*posted by Unknown at 9:04 PM*

n-Gen Design Machine

*posted by Unknown at 9:00 PM*

? Signwave UK : information ?

*posted by Unknown at 8:57 PM*

Marmalade

*posted by Unknown at 8:54 PM*

mdm | MULTIDMEDIA �

*posted by Unknown at 5:44 PM*

American Comiket: "MAKING OF A COMIC DAILY JOURNAL by PLUTORunning the American Comiket site is lots of fun, but on the side I like to make comics too! I thought that many of you that come here enjoy..."

*posted by Unknown at 5:43 PM*

American Comiket: "THE DOUJINSHIKA EXPERIENCE by GINA BIGGSLet's see, where do I begin? Perhaps an introduction of sorts. I'm an independent comic artist, specifically one who draws in..."

*posted by Unknown at 9:01 AM*

MP3 and me
Please use your iPod.
By Victor Krummenacher

IMAGINE BEING STUCK on the road with a faulty memory:

"Damn, can't remember how that song went ..." –Somewhere in the past 21 years of being in Camper Van Beethoven off and on, I forgot how to play the fourth of the four chords. In a haze of sleeplessness, I reach for my trusty 10-gigabyte iPod, which contains an MP3 of every song I've recorded in the extended Camper family.

Think about that for a second. Every Camper song, Cracker song, Monks of Doom song, every cover we've ever done, solo songs for European compilations, Eugene Chadbourne improvisations from Basel, Switzerland, in 1991 ... It's all in there – my own handy reference device.

Plus there's plenty of room to download new stuff to keep my hardening eardrums somewhat hip – some Yeah Yeah Yeahs, just to check it out so I don't sound like the jaded old fuck I feel like. I found some cool rare John Fahey recently ...

So yes, trusty reader, you can gather that I'm pro-iPod. (I should disclose I own some Mac stock too, not that it's earned me a penny in the last few years.) I'm one of the faithful. Camper Van Beethoven would play MacWorld (are you reading this, Steve Jobs?). Camper would probably sign to Apple if it were a label. Maybe it is.

The iPod streamlines and monitors the accounting process. At least now the "industry" is attempting to deal with digital in a real way rather than pretending it doesn't exist or trying to legislate it out of existence.

Not that I'm all that concerned about what the industry does. Those who know Camper Van Beethoven know we put up songs in progress on our various (and not always easy to find) Web sites all the time; there's always a sample from the newest CD in progress. So go ahead, take our work. There are burn trees for our shows at Yahoo! group CamperVan-Etc. all the time. We encourage it. Tape it, trade it, but please don't sell it.

At least now I get some reflection of online sales in my royalty statements. I know it can be hard to understand for some of you, but I've worked really hard for a long time in the music game. Royalty checks have helped me stay afloat from time to time. It's been a big deal for me. But I haven't seen a check for mechanical royalties (compensation paid to each person with a legal claim to the composition of a song that has been recorded) in some time – in part because much of Camper's profitable catalog was out of print for a while, surely being digitally reproduced and downloaded for free by the folks who really wanted it. Even when sales are good, it can take a year for your record company to get back to your publisher. And when every penny helps, well, downloading can kind of suck.

But still I'm kind of for downloading. Digital delivery is changing everything. Technology changes, baby, and you better change too. Things don't stand still. And that's fine by me. I could rail about how bad MP3 encoding is, how it destroys stereo field, but who really cares when the real argument is this: the old order of music sucks. Record labels don't groom talent these days. With few exceptions, they don't put out great artists they want to grow. They take you to a stylist, put the right-looking instrument in your hand and the right jeans on your ass, and if you don't turn an 18 percent net profit on your first release, well, you've had it, and it's back to Burger King for you. So anything that subverts that system is fine by me.

I'm a socialist at heart. But I live in a society that doesn't believe in a social safety net and am forced to embrace capitalism for economic survival. I would love to give it away if you would give me food, housing, and health insurance in return. But that's not happening; we're all on our own in the big bad cold world. If you gotta download, I can understand. I've been broke too. It'd be nice if you paid for it, and I don't support the Recording Industry Association of America knocking on your door like John Ashcroft – that's not cool. But I would encourage you to think about how the system works, and trying, in your copious spare time, to understand the marketplace.

*posted by Unknown at 9:00 AM*

Down by law
The RIAA's policies toward DJ mixes are stupid, even by its own narrow standards.
By Vivian Host

THE FIRST TIME I really thought about the Recording Industry Association of America was last September, when the story broke that the organization was suing a 12-year-old girl for downloading music on Kazaa. Things hit home by December, when I was in the process of trying to duplicate my latest DJ mix CD. Until then, putting out a mix CD was as easy as sending the master and the artwork to the plant. What I discovered was that the RIAA had pressured every CD-manufacturing house from Ottawa, Canada, to Canton, Ohio, into requiring lengthy documents proving that each track a DJ wants to use is licensed – which meant I needed a lot of paperwork (and cash) to complete my 23-track mix that says "Promotional Use Only" on it in big letters.

Without major-label backing or a cushy corporate job, paying between $500 and $1,500 a track – approximately $23,000 for my mix – was completely out of the question. Like so many DJs before me, my only alternative was to retreat to my CD burner. Have you ever tried to burn 200 CDs on a home burner? It takes a long time. In one hour I managed to dupe eight CDs – which meant I had a lot of time to fume about the consequences that the RIAA's actions might have on dance music culture.

Mix tapes (more accurately mix CDs these days) are the promotional backbone for a DJ – whether they play electronic music or hip-hop. An up-and-coming DJ needs balls and a hot mix to get a foot in the door with promoters. Once in, your reputation spreads through your mixes, which are passed out to fans and subsequently bought and traded.

Mixes have always been a major tool for breaking underground artists and building hype for them, so much so that record-label reps regularly pass out unreleased and exclusive tracks to DJs for use in clubs and on CDs. "Without DJs, a lot of these artists aren't getting any shine and any publicity," local hip-hop DJ Ross Hogg says. "I feel like we're doing the artist a favor. We can play any song on a mix CD, and oftentimes it might not be the one that's getting the most play on the radio. We can help boost album cuts and boost artists that might not get played." The most famous example of how this works might be the success of 50 Cent, who was signed to Shady Records off the strength of street buzz caused by his repeated appearances on underground mixes by New York City hip-hop DJs like Whoo Kid and Kay Slay.

Of course, money is behind the RIAA crackdown. Mixes are part of the DJ's hustle. Often sold on street corners, at gigs, and in independent record stores, they're a way for DJs to make a little extra on the side ... and don't think there're any royalties being paid. But is it worth it to collect royalties off someone who sells 500 CDs at $10 a pop? And wouldn't a label probably pay a street rep twice as much to do the kind of grassroots, targeted street promotion an illegal mix CD offers an up-and-coming artist? Plus, Hogg says, it's not like anyone's making a killing off mix CDs. "Why do they have a problem with us selling mix CDs, but they don't have a problem with us playing in a club? We charge a cover, we get paid, people come to hear us play other people's tracks – I don't see how it's any different."

In the electronic music scene underground mix CDs have been crucial to breaking largely European music to the U.S. market. Genres like techno, drum 'n' bass, and nu-skool breaks – where the music is mostly made overseas and only ever released on 12-inches – might never have achieved the degree of popularity they have in the States now if it weren't for ravers passing around illegal mix CDs. Dance music culture isn't built on albums; it's built on 12-inch singles, which are still difficult to find and prohibitively expensive for the average music consumer, who more often than not doesn't even own a record player. Until the majority of independent labels are able to make their catalogs available to be downloaded, mix CDs will be the only way dance music fans can hear their favorite obscure tracks.

And there's a tacit acceptance of the illegal mix-CD practice by artists, says Tomas Palermo, editor of electronic music magazine XLR8R and a DJ in his own right. "I think of mix tapes as the most sincere form of musical democracy," he says. "Plus, any artist or label who puts an a capella on a 12-inch knows what they're doing and why. This is a tradition in hip-hop and house – yes, even disco – that's as old as the 12-inch itself."

Unlike the U.K., the United States has few radio stations playing underground dance music. And with the passing of the Digital Millennium Copyright Act in 1998 – which required Webcasters to pay royalties, currently and retroactively, on all recordings they broadcast – Internet radio has lost its foothold as well. Practically the only place you can go to hear underground music now is a club or your friend's bedroom. That's fine if you live in San Francisco, where every other person's a DJ and you can hear cutting-edge music every night of the week, but what if you live in a small town in Iowa or Alaska?

Thanks to the Internet and affordable technology, DJs are coming up with creative new ways to get around the law. Those with enough bandwidth are starting to upload mixes to their own Web sites, and many club nights have live streams. Street entrepreneurs are stringing CD burners together to produce bulk lots of underground mixes, and professional-quality burners and desktop printers are finally making it possible to make professional-looking CDs at home.

The biggest thing the RIAA's actions are changing, Palermo says, is technology. "This will force people to come up with new ways of doing what they want to do already, which is get the music they want as quickly and cheaply as possible. What Prohibition did for alcohol, the RIAA is doing for music. Good luck to them. The DJ will always have relevance because they are entertainers and interactive components of the music community.

*posted by Unknown at 8:59 AM*

Yaaar!
The music pirates' manifesto.
By Annalee Newitz

WITH A GROAN , I peeled the transparent sticker off my brand-new iPod. In the clean, cute font for which Apple is known, it read, "Don't steal music." Even the wrapping paper on my smooth little machine was full of antipiracy propaganda. But the software wrappings Apple places around the music the iPod plays are far worse than propaganda: they enforce, with no subtlety or charm, the licensing preferred by corporate copyright holders.

Once upon a time, Apple's slogan "Rip. Mix. Burn." meant "make as many copies as you want of your legally purchased music." Now it means "make the limited number of copies we deem appropriate." All that's being ripped, mixed, and burned are fair-use laws.

If you buy music from the Apple iTunes store, which is what Steve Jobs hopes you'll do, you pay 99¢ for a song but can only copy it onto three computers. What if those computers become obsolete or unusable in a few years? Too bad – no more copies for you. Your music dies with your computers. If you want to create a mix CD with your songs, you may burn only 10 copies, even though fair-use laws grant you permission to burn as many copies as you like for educational use. Ah, you say, but at least you can save iTunes songs onto as many iPods as you want! Isn't that fair? Not really – once you put music onto your iPod, you can delete it but you can't copy it anywhere else. The iPod is a one-way music device: music files go in but don't come out. It's all part of Apple's digital rights management (DRM) scheme ironically known as Fairplay.

Free-software activist Richard Stallman has dubbed DRM "digital restriction management," while the media industry views it as the latest killer app. For the past couple years the Recording Industry Association of America has been waging a losing war against people who share music over the Internet. The RIAA argues that music copyright holders like Virgin and Time Warner are losing millions of dollars a day because evil copyright infringers are freely trading music files on popular peer-to-peer file-sharing networks such as Kazaa, eMule, SoulSeek, and BitTorrent. But the RIAA's efforts to stop music sharing have ended in a series of public relations disasters, including suing a 12-year-old "pirate" for downloading copyrighted nursery rhymes and sending burly ex-cops in RIAA "uniforms" to bust music peddlers on the streets in Los Angeles. So the RIAA has turned to kinder, gentler solutions.

And that's where the high-tech industry comes into the picture. Software companies, eager to lap up profits any way they can, realized there would be a huge market for programs that could be wrapped around digital media or put into players to prevent piracy. Microsoft, Apple, and RealNetworks are at the forefront of this burgeoning market with their DRM schemes for music. Apple packages iTunes songs in its Fairplay software, while RealNetworks (maker of the popular RealPlayer) has just opened a music store full of DRM-shackled songs to compete with iTunes. Microsoft markets the Media Rights Management software package and is planning to include a controversial and elaborate DRM scheme called the Next-Generation Secure Computing Base (formerly known as Palladium) in the next version of Windows.

So far, the RIAA's efforts have met with confusion and resistance. Many consumers are puzzled by DRM – iTunes, for example, only explains its DRM policies on a part of its Web site that few customers are likely to read – and wind up with unplayable music files because they have unwittingly used up all their copies. Among hackers, DRM is a target for ideological reasons. Ian Clarke, project coordinator for anonymous file-sharing system Freenet, said, "DRM turns computers against their owners. I don't want a Disney security guard sitting in my living room watching my every move."

Jon Johansen, a Norwegian programmer who wrote the DeCSS program to break DRM on DVDs, has released a little chunk of code called QTFairUse for circumventing DRM on iTunes songs. And Princeton University graduate student Alex Halderman published a paper explaining how to bypass SunnComm's MediaMax DRM scheme by holding down the Shift key while the CD is spinning up.

What fuels the ire of hackers are what they consider the music industry's blatant lies about who loses when people share music. The RIAA claims music-sharing drives down sales and deprives artists of potential earnings. But Tom Mennecke, who analyzes peer-to-peer (P2P) trends for Web site Slyck (www.slyck.com), said, "People can see through the RIAA's argument. They know artists aren't being hurt, and that in fact P2P helps artists by putting people in touch with their music."

DRM industry consultant Bill Rosenblatt, who publishes the DRM Watch online newsletter, agreed. "No one has put any figures on the industry's revenue loss due to consumer piracy that have any credibility," he said. "Music industry executives estimate that 80 percent of all pirated content is a result of inside jobs, people at studios or mastering labs or other production houses." In other words, employees of the music industry are pirating far more than the consumers the RIAA is suing for infringement.

But it would seem the RIAA's scare tactics are working. A recent survey by the Pew Internet and American Life Project gathered statistics that revealed a precipitous decline in the number of people running P2P programs on their computers. One P2P program, Grokster, took a huge hit: according to Pew's figures, its users dropped by 58 percent over the past year. Mennecke disputed these figures, however. He pointed out that you can't track P2P use by measuring how many people download one or two programs since newer, better ones pop up all the time. "While some numbers were admittedly going down, a lot of P2P programs are doing quite well," he explained. "eDonkey has taken off, and BitTorrent is doing incredibly well. P2P is thriving."

Rosenblatt pointed out that the next move by DRM vendors will be to create P2P applications with built-in DRM. Entrepreneur and Napster founder Sean Fanning has been promising to roll out something like this with his music fingerprint database – a vast collection of copyrighted songs whose sounds have been digitally converted into unique "fingerprints." When a fingerprinted song passes through a P2P system, DRM software could recognize it no matter what format the song was in. Then the person downloading the song would be charged.

As copyright owners thrash around trying to protect the property they bought (often at painfully low prices) from artists, and DRM vendors get jiggy about selling their wares to paranoid RIAA members, consumers are left swinging in the wind.

I love music. You love music. So, why shouldn't we share it and help the artists we love get new fans? When Lynn let me rip one of her Mountain Goats CDs, I wound up buying five more of the band's CDs. After Victor gave me a copy of his solo album Bittersweet, I bought two copies of it for my friends. Charlie turned me on to funk music with a mix CD, and now I buy funk compilations at indie music vendor Amoeba Records. Steve gave me a pirated copy of an album by the Orb, and then I bought a legal version of it. I could tell countless other stories like this.

Activists like Stallman, along with vocal fair-use advocates like Seth Schoen and Fred Von Lohmann of the Electronic Frontier Foundation, are now fighting for our rights to share information legally. Stallman's classic essay "The Right to Read" warns of a future where people pay licensing fees for every piece of information and face severe penalties for sharing any kind of media. The EFF has fought in dozens of court cases to make sure this doesn't happen.

But while Stallman writes essays and the courts hash out what constitutes "legal sharing," what is a music lover to do? The answer is simple: share safely and wisely. Use P2P networks that allow you to be anonymous or hide the files you're sharing. The most popular P2P networks aren't always the safest. Bram Cohen, author of BitTorrent, warned, "Pirating with BitTorrent is stupid. BitTorrent, due to fundamental architectural decisions, is quite incompatible with anonymity. The newer apps are more robust distribution tools, so they keep running despite failures, but they aren't designed to protect end users from legal attacks."

The only truly anonymous P2P network is Freenet. On networks that use Kazaa Lite and eMule, you can choose not to display a list of the files you're sharing. While this doesn't keep you anonymous, it will prevent the RIAA police from counting how many files you're sharing and branding you a pirate. Mennecke noted that networks like SoulSeek, which specializes in rare and obscure music, are also relatively safe because the RIAA is mostly looking to bust people who are sharing Top 40 music.

Services like PeerGuardian (www.peerguardian.net) offer file sharers access to a "blocklist" of IP addresses known to be associated with the RIAA and the companies it hires to spy on the file-sharing activities of P2P networks. By using the blocklist, you can keep known copyright-enforcement agents from invading your network and looking at the information people are sharing on it.

You can also attempt to compensate artists by buying only from independent record labels that aren't a part of the RIAA. At www.RIAARadar.com, you can look up what albums are owned by RIAA corporations.

Freenet creator Clarke said our right to share any information, including music, is nothing less than a political philosophy. He pointed out it's often hard for people to see the connection between copyright law and censorship until they realize the Church of Scientology uses copyright law to keep former members of its sect from describing their experiences; Freenet includes countless testimonials from former Scientologists about being brainwashed and bankrupted. More recently, electronic voting software company Diebold tried to use copyright law to suppress memos in which employees discussed the security flaws in its software.

"My idea is simple: free communication is good," Clarke said. "It's essential to the maintenance of a healthy democracy. I see government power and corporate power as extremely similar – both need to be regulated, and you can't regulate something if you don't have access to information about it."

*posted by Unknown at 8:57 AM*

copyfight: "Let me say what I think your problem is. You can use these harsh terms, but you are dealing with something new, and the question is, does the statutory monopoly that Congress has given you reach out to that something new. And that's a very debatable question. You don't solve it by calling it 'theft.' You have to show why this court should extend a statutory monopoly to cover the new thing. That's your problem. Address that if you would. And curtail the use of abusive language."

*posted by Unknown at 8:45 AM*

Welcome to AdvertisementAve.com Commercials ONLINE!

*posted by Unknown at 1:52 PM*

::: ic-musicmedia.com :::

*posted by Unknown at 1:51 PM*

SPX - SongPlanet.com Version 10

*posted by Unknown at 1:50 PM*

SoundClick - Free MP3 music download and much, much more.

*posted by Unknown at 1:50 PM*

Funender.com Music, Design, Graphics, and MP3 Hosting: Home

*posted by Unknown at 11:25 AM*

jjt.jpg (JPEG Image, 895x572 pixels)

*posted by Unknown at 11:24 AM*

retroCRUSH: The World's Finest Website and UK Tabloid Muse: "THE 100 MOST ANNOYING THINGS OF 2003Well here we are with another annual look at the most annoying things of the previous year. There was certainly some stiff competition this year"

*posted by Unknown at 11:24 AM*

IFILM Super Bowl Ads

*posted by Unknown at 10:01 AM*

SXSW /interactive

*posted by Unknown at 9:38 AM*

iF!
Dude! I'm going to SXSW!!!

*posted by Unknown at 9:12 AM*

Google Guide: Interactive Tutorial Making Search Even Easier: "In this tutorial, you'll learn * How to select terms and search (more) effectively * How Google interprets your query * How Google works* What information and links may be included"

*posted by Unknown at 8:39 AM*

Creative Commons: "Sampling Licenses: Remix Culture

Creative Commons has launched our new Sampling Licenses. The licenses encourage creative transformation of existing works, as our latest flash film explains (among other new projects). The Sampling Licenses were developed with the help of veteran found-art group Negativland and inspired by world-famous musician and composer Gilberto Gil. In a recent Wall Street Journal article, staff reporter Ethan Smith identified Creative Commons as "one of the possible futures of copyright" as a result of Gil's decision to release an upcoming album under a Creative Commons license."

*posted by Unknown at 10:12 AM*

Freedom Internet Security

*posted by Unknown at 10:02 AM*

Steganos
Very useful computer security tools, including Anonym...

*posted by Unknown at 8:17 AM*

Freeware MPEG Audio/Video/VideoCD Encoders: "Freeware MPEG Audio/Video/VideoCD Encoders
MPEG (Moving Picture Experts Group) is an Audio/Video compression, storage, and transmission standard. It is commonly used for audio and video on web pages, embedded videos in software, VideoCD's, DVD's, and Digital television. While MPEG players are commonly available and bundled with many operating systems and off the shelf software, there is much less choice for encoders to produce these MPEGS. There are several commercial encoders available, and a few freeware versions. You will NOT find ANY mp3 (MPEG Layer 3) encoders on this web site due to licensing restrictions placed on mp3 encoders by the patent holders."

*posted by Unknown at 1:50 PM*

Download Anime - Powering the Pursuit of Anime
Check for batch Bittorrents of series...

Sunday, February 29, 2004

Google Directory - Games > Video Games > Console Platforms > Sega > Dreamcast > VMU

The Rockin-B

Dreamcast@Planetweb: Home

Friday, February 27, 2004

Invisible Made Visible- Urban Street Art

Street Word: Sticker Giant Stickers

Street Stickers, Poster Art & Graphics from Brighton & London, UK Brazil, Belgium, worldwide

Thursday, February 26, 2004

Little Garden

Sega online games

WebGameCoJp

muzie : - INDIES & AMATEUR MUSIC COMMUNITY SITE -

Manga Jouhou

Wednesday, February 25, 2004

PULP : : The Manga Magazine

Listamatic: Listamatic: one list, many options

A Day: CSS Menu Roundup

PVII Tutorials- CSS Menus: Uberlink List Menu

Dynamic Drive DHTML Scripts- CSS Menu Highlight effect

Peterned - Beehive II

Pure CSS Menus

Accessify.com - List-o-matic - generate CSS-styled navigation based on list items

Tuesday, February 24, 2004

Google Press Center: Zeitgeist Archive

Tack-O-Rama - Clipart

veenvop

Monday, February 23, 2004

Welcome to Alpha-Shade

Friday, February 20, 2004

WAP Tutorial

Thursday, February 19, 2004

Japan.com - Technology - Mobile Phones in Japan - Japan Mobile Phones - Japan Keitai

Mainichi Interactive - Top News

SXSW 2002 - Japan Phone Story

MobileMMS.com

Raymondo's Dance-O-Rama

Monday, February 16, 2004

[TV CARNAGE]

NewsTrove.com

Feedster :: RSS Search Engine

JavaScript RSS Reader

Friday, February 13, 2004

Appleseed 2004

Thursday, February 12, 2004

AssistOn

Digital Cut Up Lounge

Terragen

Music

www.ufocatcher.com

Hino

Upcomming Titles!

TGHC Tracker

Wednesday, February 11, 2004

Threadless T-Shirts - Designer Clothing

UK Web Comix Thing 2004

The Catastrophe Shop

Poopsheet:Home

Bulkfeeds: Sota's moblog - RSS Directory

Neoteny Photo moblog

Bulkfeeds: PHaT PHOTO - RSS Directory

Anime Comic 9821

Tuesday, February 10, 2004

Xie's Club!

Monday, February 09, 2004

Anime Kraze....

FLIGHT :: Index

Dana's Downloadable Album of the Month

Sunday, February 08, 2004

Tokyo Qool - Nakano Broadway

Thursday, February 05, 2004

n-Gen Design Machine

? Signwave UK : information ?

Marmalade

mdm | MULTIDMEDIA �

MAKING OF A COMIC DAILY JOURNAL

THE DOUJINSHIKA EXPERIENCE

MP3 and me

Down by law

Yaaar! The music pirates' manifesto.