Qargal Papercraft
| I like this one so much I think I'll redo it as a serious papercraft that can actually be built... |  qargalpapercraft Originally uploaded by tohoscope. |
posted by Unknown at 10:03 AM
Wednesday, June 30, 2004
Ob-La-Di, Ob-La-Da
Ob-La-Di, Ob-La-Da: "ABOUT: Louie was born in New York during the bitter sweet beginnings of fall in 1983. Twenty uneventful years later he still resides in New York making/creating art for those who care to enjoy it. You can see his work on the back of restaurant napkins everywhere. Tired of the current situation he's in, Louie plans to fuck shit up with his art and spread peace and love globally. Hallelujah."
posted by Unknown at 9:02 AM
Tuesday, June 29, 2004
Monday, June 28, 2004
Plunderphonics - Essay
Plunderphonics - Essay
"Plunderphonics, or Audio Piracy as a Compositional Prerogative"
- as presented by John Oswald to the Wired Society Electro-Acoustic Conference in Toronto in 1985.
Musical instruments produce sounds. Composers produce music. Musical instruments reproduce music. Tape recorders, radios, disc players, etc., reproduce sound. A device such as a wind-up music box produces sound and reproduces music. A phonograph in the hands of a hip hop/scratch artist who plays a record like an electronic washboard with a phonographic needle as a plectrum, produces sounds which are unique and not reproduced - the record player becomes a musical instrument. A sampler, in essence a recording, transforming instrument, is simultaneously a documenting device and a creative device, in effect reducing a distinction manifested by copyright.
Free samples
These new-fangled, much-talked-about digital sound sampling devices, are, we are told, music mimics par excellence, able to render the whole orchestral panoply, plus all that grunts, or squeaks. The noun "sample" is, in our comodified culture, often pre-fixed by the adjective free, and if one is to consider predicating this subject, perhaps some thinking aloud on what is not allowable auditory appropriation is to be heard.
Some of you, current and potential samplerists, are perhaps curious about the extent to which you can legally borrow from the ingredients of other people's sonic manifestations. Is a musical property properly private, and if so, when and how does one trespass upon it? Like myself, you may covet something similar to a particular chord played and recorded singularly well by the strings of the estimable Eastman Rochester Orchestra on a long-deleted Mercury Living Presence LP of Charles Ives' Symphony #3 1, itself rampant in unauthorized procurements. Or imagine how invigorating a few retrograde Pygmy (no slur on primitivism intended) chants would sound in the quasi-funk section of your emulator concerto. Or perhaps you would simply like to transfer an octave of hiccups from the stock sound library disk of a Mirage to the spring-loaded tape catapults of your Melotron 2.
Can the sounding materials that inspire composition be sometimes considered compositions themselves? Is the piano the musical creation of Bartolommeo Cristofori (1655-1731) or merely the vehicle engineered by him for Ludwig Van and others to manoeuver through their musical territory? Some memorable compositions were created specifically for the digital recorder of that era, the music box. Are the preset sounds in today's sequencers and synthesizers free samples, or the musical property of the manufacturer?3 Is a timbre any less definably possessable than a melody? A composer who claims divine inspiration is perhaps exempt from responsibility to this inventory of the layers of authorship. But what about the unblessed rest of us?
Let's see what the powers that be have to say. 'Author' is copyrightspeak for any creative progenitor, no matter if they program software or compose hardcore. To wit: "An author is entitled to claim authorship and to preserve the integrity of the work by restraining any distortion, mutilation or other modification that is prejudicial to the author's honor or reputation." That's called the 'right of integrity' and it's from the Canada Copyright Act4. A recently published report on the proposed revision of the Act uses the metaphor of land owners' rights, where unauthorized use is synonymous with trespassing. The territory is limited. Only recently have sound recordings been considered a part of this real estate.
Blank tape is derivative, nothing of itself
Way back in 1976, ninety nine years after Edison went into the record business, the U.S. Copyright Act was revised to protect sound recordings in that country for the first time. Before this, only written music was considered eligible for protection. Forms of music that were not intelligible to the human eye were deemed ineligible. The traditional attitude was that recordings were not artistic creations, "but mere uses or applications of creative works in the form of physical objects."5
Some music oriented organizations still retain this 'view'. The current Canadian Act came into being in 1924, an electric eon later than the original U.S. Act of l909, and up here "copyright does subsist in records, perforated rolls and other contrivances by means of which sounds may be mechanically reproduced."
Of course the capabilities of mechanical contrivances are now more diverse than anyone back at the turn of the century forecasted, but now the real headache for the writers of copyright is the new electronic contrivances, including digital samplers of sound and their accountant cousins, computers. Among "the intimate cultural secretions of electronic, biological, and written communicative media"6 the electronic brain business is cultivating, by grace of its relative youth, pioneering creativity and a corresponding conniving ingenuity. The popular intrigue of computer theft has inspired cinematic and paperback thrillers while the robbery of music is restricted to elementary poaching and blundering innocence. The plots are trivial: Disney accuses Sony of conspiring with consumers to make unauthorized mice7. Former Beatle George Harrison is found guilty of an indiscretion in choosing a vaguely familiar sequence of pitches.8
The dubbing-in-the-privacy-of-your-own-home controversy is actually the tip of a hot iceberg of rudimentary creativity. After decades of being the passive recipients of music in packages, listeners now have the means to assemble their own choices, to separate pleasures from the filler. They are dubbing a variety of sounds from around the world, or at least from the breadth of their record collections, making compilations of a diversity unavailable from the music industry, with its circumscribed stables of artists, and an ever more pervasive policy of only supplying the common denominator.
The Chiffons/Harrison case, and the general accountability of melodic originality, indicates a continuing concern for what amounts to the equivalent of a squabble over the patents to the Edison cylinder.
The Commerce of Noise
The precarious commodity in music today is no longer the tune. A fan can recognize a hit from a ten millisecond burst,9 faster than a Fairlight can whistle Dixie. Notes with their rhythm and pitch values are trivial components in the corporate harmonization of cacophony. Few pop musicians can read music with any facility. The Art of Noise, a studio based, mass market targeted recording firm, strings atonal arrays of timbres on the line of an ubiquitous beat. The Emulator fills the bill. Singers with original material aren't studying Bruce Springsteen's melodic contours, they're trying to sound just like him. And sonic impersonation is quite legal. While performing rights organizations continue to farm for proceeds for tunesters and poetricians, those who are shaping the way the buck says the music should be, rhythmatists, timbralists and mixologists under various monikers, have rarely been given compositional credit.10
At what some would like to consider the opposite end of the field, among academics and the salaried technicians of the orchestral swarms, an orderly display of fermatas and hemidemisemiquavers on a page is still often thought indispensible to a definition of music, even though some earnest composers rarely if ever peck these things out anymore. Of course, if appearances are necessary, a computer program and printer can do it for them.
Musical language has an extensive repertoire of punctuation devices but nothing equivalent to literature's " " quotation marks. Jazz musicians do not wiggle two fingers of each hand in the air, as lecturers often do, when cross referencing during their extemporizations, because on most instruments this would present some technical difficulties - plummeting trumpets and such.
Without a quotation system, well-intended correspondences cannot be distinguished from plagiarism and fraud. But anyway, the quoting of notes is but a small and insignificant portion of common appropriation.
Am I underestimating the value of melody writing? Well, I expect that before long we'll have marketable expert tune writing software which will be able to generate the banalities of catchy permutations of the diatonic scale in endless arrays of tuneable tunes, from which a not necessarily affluent songwriter can choose; with perhaps a built-in checking lexicon of used-up tunes which would advise Beatle George11 not to make the same blunder again.
Chimeras of sound
Some composers have long considered the tape recorder a musical instrument capable of more than the faithful hi-fi transcriber role to which manufacturers have traditionally limted its function. Now there are hybrids of the electronic offspring of acoustic instruments and audio mimicry by the digital clones of tape recorders. Audio mimicry by digital means is nothing new; mechanical manticores from the 19th century with names like the Violano-virtuoso and the Orchestrion are quaintly similar to the Synclavier Digital Music System and the Fairlight CMI (computer music instrument). In the case of the Synclavier, what is touted as a combination multi-track recording studio and simulated symphony orchestra looks like a piano with a built-in accordian chordboard and LED clock radio.
The composer who plucks a blade of grass and with cupped hands to pursed lips creates a vibrating soniferous membrane and resonator, although susceptible to comments on the order of "it's been done before", is in the potential position of bypassing previous technological achievement and communing directly with nature. Of music from tools, even the iconoclastic implements of a Harry Partch or a Hugh LeCaine are susceptible to the convention of distinction between instrument and composition. Sounding utensils, from the erh-hu to the Emulator, have traditionally provided such a potential for varied expression that they have not in themselves been considered musical manifestations. This is contrary to the great popularity of generic instrumental music ("The Many Moods of 101 Strings", "Piano for Lovers", "The Truckers DX-7" etc.), not to mention instruments which play themselves, the most pervasive example in recent years being pre-programmed rhythm boxes. Such devices, as are found in lounge acts and organ consoles, are direct kin to the juke box: push a button and out comes music. J.S.Bach pointed out that with any instrument "all one has to do is hit the right notes at the right time and the thing plays itself." The distinction between sound producers and sound reproducers is easily blurred, and has been a conceivable area of musical pursuit at least since John Cage's use of radios in the Forties.
Starting from scratch
Just as sound producing and sound reproducing technology becomes more interactive, listeners are once again, if not invited, nonetheless encroaching upon creative territory. This prerogative has been largely forgotten in recent decades. The now primitive record-playing generation was a passive lot (indigenous active form scratch belongs to the post-disc, blaster/walkman era). Gone were the days of lively renditions on the parlor piano.
Computers can take the expertise out of amateur music making. A current music-minus-one program retards tempos and searches for the most ubiquitous chords to support the wanderings of a novice player. Some audio equipment geared for the consumer inadvertently offers interactive possibilities. But manufacturers have discouraged compatability between their amateur and pro equipment. Passivity is still the dominant demographic. Thus the atrophied microphone inputs which have now all but disappeared from premium stereo cassette decks.12
As a listener my own preference is the option to experiment. My listening system has a mixer instead of a receiver, an infinitely variable speed turntable, filters, reverse capability, and a pair of ears.
An active listener might speed up a piece of music in order to perceive more clearly its macrostructure, or slow it down to hear articulation and detail more precisely. Portions of pieces are juxtaposed for comparison or played simultaneously, tracing "the motifs of the Indian raga Darbar over Senegalese drumming recording in Paris and a background mosaic of frozen moments from an exotic Hollywood orchestration of the 1950's (a sonic texture like a "Mona Lisa" which in close-up, reveals itself to be made up of tiny reproductions of the Taj Mahal."13
During World War II concurrent with Cage's re-establishing the percussive status of the piano, Trinidadians were discovering that discarded oil barrels could be cheap, available alternatives to their traditional percussion instruments which were, because of the socially invigorating potential, banned. The steel drum eventually became a national asset. Meanwhile, back in the States, for perhaps similar reasons, scratch and dub have, in the Eighties, percolated through the black American ghettos. Within an environmentally imposed, limited repertoire of possessions a portable disco may have a folk music potential exceeding that of the guitar. Pawned and ripped-off electronics are usually not accompanied by user's guides with consumer warnings such as "this blaster is a passive reproducer". Any performance potential found in an appliance is often exploited. A record can be played like an electronic washboard. Radio and disco jockeys layer the sounds of several recordings simultaneously.14 The sound of music conveyed with a new authority over the airwaves is dubbed, embellished and manipulated in kind.
The medium is magnetic
Piracy or plagiarism of a work occur, according to Milton, "if it is not bettered by the borrower". Stravinsky added the right of possession to Milton's distinction when he said,. "A good composer does not imitate; he steals." An example of this better borrowing is Jim Tenney's "Collage 1" (l961) in which Elvis Presley's hit record "Blue Suede Shoes" (itself borrowed from Carl Perkins) is transformed by means of multi-speed tape recorders and razorblade. In the same way that Pierre Schaeffer found musical potential in his object sonore, which could be, for instance, a footstep, heavy with associations, Tenney took an everyday music and allowed us to hear it differently. At the same time, all that was inherently Elvis radically influenced our perception of Jim's piece.
Fair use and fair dealing are respectively the American and the Canadian terms for instances in which appropriation without permission might be considered legal. Quoting extracts of music for pedagogical, illustrative and critical purposes have been upheld as legal fair use. So has borrowing for the purpose of parody. Fair dealing assumes use which does not interfere with the economic viability of the initial work.
In addition to economic rights, moral rights exist in copyright, and in Canada these are receiving a greater emphasis in the current recommendations for revision. An artist can claim certain moral rights to a work. Elvis' estate can claim the same rights, including the right to privacy, and the right to protection of "the special significance of sounds peculiar to a particular artist, the uniqueness of which might be harmed by inferior unauthorized recordings which might tend to confuse the public about an artist's abilities.
At present, in Canada, a work can serve as a matrix for independent derivations. Section 17(2)(b) of the Copyright Act of Canada provides "that an artist who does not retain the copyright in a work may use certain materials used to produce that work to produce a subsequent work, without infringing copyright in the earlier work, if the subsequent work taken as a whole does not repeat the main design of the previous work."
My observation is that Tenney's "Blue Suede" fulfills Milton's stipulation; is supported by Stravinsky's aphorism; and does not contravene Elvis' morality or Section 17(2)(b) of the Copyright Act.
Aural wilderness
The reuse of existing recorded materials is not restricted to the street and the esoteric. The single guitar chord occuring infrequently on H. Hancock's hit arrangement "Rocket" was not struck by an in-studio union guitarist but was sampled directly from an old Led Zepplin record. Similarly, Michael Jackson unwittingly turns up on Hancock's follow-up clone "Hard Rock". Now that keyboardists are getting instruments with the button for this appropriation built in, they're going to push it, easier than reconstructing the ideal sound from oscillation one. These players are used to fingertip replication, as in the case of the organ that had the titles of the songs from which the timbres were derived printed on the stops.15
So the equipment is available, and everybody's doing it, blatantly or otherwise. Melodic invention is nothing to lose sleep over (look what sleep did for Tartini). There's a certain amount of legal leeway for imitation. Now can we, like Charles Ives, borrow merrily and blatantly from all the music in the air?
Ives composed in an era in which much of music existed in a public domain. Public domain is now legally defined, although it maintains a distance from the present which varies from country to country. In order to follow Ives' model we would be restricted to using the same oldies which in his time were current. Nonetheless, music in the public domain can become very popular, perhaps in part because the composer is no longer entitled to exclusivity, or royalty payments‹ a hit available for a song . Or as This Business of Music puts it, "The public domain is like a vast national park without a guard to stop wanton looting, without a guide for the lost traveller, and in fact, without clearly defined roads or even borders to stop the helpless visitor from being sued for trespass by private abutting owners."
Professional developers of the musical landscape know and lobby for the loopholes in copyright. On the other hand, many artistic endeavours would benefit creatively from a state of music without fences, but where, as in scholarship, acknowledgement is insisted upon.
The buzzing of a titanic bumblebee 16
The property metaphor used to illustrate an artist's rights is difficult to pursue through publication and mass dissemination. The hit parade promenades the aural floats of pop on public display, and as curious tourists should we not be able to take our own snapshots through the crowd ("tiny reproductions of the Taj Mahal") rather than be restricted to the official souvenir postcards and programmes?
All popular music (and all folk music, by definition), essentially, if not legally, exists in a public domain. Listening to pop music isn't a matter of choice. Asked for or not, we're bombarded by it. In its most insidious state, filtered to an incessant bass-line, it seeps through apartment walls and out of the heads of walk people. Although people in general are making more noise than ever before, fewer people are making more of the total noise; specifically, in music, those with megawatt PA's, triple platinum sales, and heavy rotation. Difficult to ignore, pointlessly redundant to imitate, how does one not become a passive recipient?
Proposing their game plan to apprehend the Titanic once it had been located at the bottom of the Atlantic, oceanographer Bob Ballard of the Deep Emergence Laboratory suggested "you pound the hell out of it with every imaging system you have."
~ John Oswald, 1985
This paper was initially presented by Oswald at the Wired Society Electro-Acoustic Conference in Toronto in 1985. It was published in Musicworks #34, as a booklet by Recommended Quarterly and subsequently revised for the Whole Earth Review #57 as 'Bettered by the borrower'.
"Plunderphonics, or Audio Piracy as a Compositional Prerogative"
- as presented by John Oswald to the Wired Society Electro-Acoustic Conference in Toronto in 1985.
Musical instruments produce sounds. Composers produce music. Musical instruments reproduce music. Tape recorders, radios, disc players, etc., reproduce sound. A device such as a wind-up music box produces sound and reproduces music. A phonograph in the hands of a hip hop/scratch artist who plays a record like an electronic washboard with a phonographic needle as a plectrum, produces sounds which are unique and not reproduced - the record player becomes a musical instrument. A sampler, in essence a recording, transforming instrument, is simultaneously a documenting device and a creative device, in effect reducing a distinction manifested by copyright.
Free samples
These new-fangled, much-talked-about digital sound sampling devices, are, we are told, music mimics par excellence, able to render the whole orchestral panoply, plus all that grunts, or squeaks. The noun "sample" is, in our comodified culture, often pre-fixed by the adjective free, and if one is to consider predicating this subject, perhaps some thinking aloud on what is not allowable auditory appropriation is to be heard.
Some of you, current and potential samplerists, are perhaps curious about the extent to which you can legally borrow from the ingredients of other people's sonic manifestations. Is a musical property properly private, and if so, when and how does one trespass upon it? Like myself, you may covet something similar to a particular chord played and recorded singularly well by the strings of the estimable Eastman Rochester Orchestra on a long-deleted Mercury Living Presence LP of Charles Ives' Symphony #3 1, itself rampant in unauthorized procurements. Or imagine how invigorating a few retrograde Pygmy (no slur on primitivism intended) chants would sound in the quasi-funk section of your emulator concerto. Or perhaps you would simply like to transfer an octave of hiccups from the stock sound library disk of a Mirage to the spring-loaded tape catapults of your Melotron 2.
Can the sounding materials that inspire composition be sometimes considered compositions themselves? Is the piano the musical creation of Bartolommeo Cristofori (1655-1731) or merely the vehicle engineered by him for Ludwig Van and others to manoeuver through their musical territory? Some memorable compositions were created specifically for the digital recorder of that era, the music box. Are the preset sounds in today's sequencers and synthesizers free samples, or the musical property of the manufacturer?3 Is a timbre any less definably possessable than a melody? A composer who claims divine inspiration is perhaps exempt from responsibility to this inventory of the layers of authorship. But what about the unblessed rest of us?
Let's see what the powers that be have to say. 'Author' is copyrightspeak for any creative progenitor, no matter if they program software or compose hardcore. To wit: "An author is entitled to claim authorship and to preserve the integrity of the work by restraining any distortion, mutilation or other modification that is prejudicial to the author's honor or reputation." That's called the 'right of integrity' and it's from the Canada Copyright Act4. A recently published report on the proposed revision of the Act uses the metaphor of land owners' rights, where unauthorized use is synonymous with trespassing. The territory is limited. Only recently have sound recordings been considered a part of this real estate.
Blank tape is derivative, nothing of itself
Way back in 1976, ninety nine years after Edison went into the record business, the U.S. Copyright Act was revised to protect sound recordings in that country for the first time. Before this, only written music was considered eligible for protection. Forms of music that were not intelligible to the human eye were deemed ineligible. The traditional attitude was that recordings were not artistic creations, "but mere uses or applications of creative works in the form of physical objects."5
Some music oriented organizations still retain this 'view'. The current Canadian Act came into being in 1924, an electric eon later than the original U.S. Act of l909, and up here "copyright does subsist in records, perforated rolls and other contrivances by means of which sounds may be mechanically reproduced."
Of course the capabilities of mechanical contrivances are now more diverse than anyone back at the turn of the century forecasted, but now the real headache for the writers of copyright is the new electronic contrivances, including digital samplers of sound and their accountant cousins, computers. Among "the intimate cultural secretions of electronic, biological, and written communicative media"6 the electronic brain business is cultivating, by grace of its relative youth, pioneering creativity and a corresponding conniving ingenuity. The popular intrigue of computer theft has inspired cinematic and paperback thrillers while the robbery of music is restricted to elementary poaching and blundering innocence. The plots are trivial: Disney accuses Sony of conspiring with consumers to make unauthorized mice7. Former Beatle George Harrison is found guilty of an indiscretion in choosing a vaguely familiar sequence of pitches.8
The dubbing-in-the-privacy-of-your-own-home controversy is actually the tip of a hot iceberg of rudimentary creativity. After decades of being the passive recipients of music in packages, listeners now have the means to assemble their own choices, to separate pleasures from the filler. They are dubbing a variety of sounds from around the world, or at least from the breadth of their record collections, making compilations of a diversity unavailable from the music industry, with its circumscribed stables of artists, and an ever more pervasive policy of only supplying the common denominator.
The Chiffons/Harrison case, and the general accountability of melodic originality, indicates a continuing concern for what amounts to the equivalent of a squabble over the patents to the Edison cylinder.
The Commerce of Noise
The precarious commodity in music today is no longer the tune. A fan can recognize a hit from a ten millisecond burst,9 faster than a Fairlight can whistle Dixie. Notes with their rhythm and pitch values are trivial components in the corporate harmonization of cacophony. Few pop musicians can read music with any facility. The Art of Noise, a studio based, mass market targeted recording firm, strings atonal arrays of timbres on the line of an ubiquitous beat. The Emulator fills the bill. Singers with original material aren't studying Bruce Springsteen's melodic contours, they're trying to sound just like him. And sonic impersonation is quite legal. While performing rights organizations continue to farm for proceeds for tunesters and poetricians, those who are shaping the way the buck says the music should be, rhythmatists, timbralists and mixologists under various monikers, have rarely been given compositional credit.10
At what some would like to consider the opposite end of the field, among academics and the salaried technicians of the orchestral swarms, an orderly display of fermatas and hemidemisemiquavers on a page is still often thought indispensible to a definition of music, even though some earnest composers rarely if ever peck these things out anymore. Of course, if appearances are necessary, a computer program and printer can do it for them.
Musical language has an extensive repertoire of punctuation devices but nothing equivalent to literature's " " quotation marks. Jazz musicians do not wiggle two fingers of each hand in the air, as lecturers often do, when cross referencing during their extemporizations, because on most instruments this would present some technical difficulties - plummeting trumpets and such.
Without a quotation system, well-intended correspondences cannot be distinguished from plagiarism and fraud. But anyway, the quoting of notes is but a small and insignificant portion of common appropriation.
Am I underestimating the value of melody writing? Well, I expect that before long we'll have marketable expert tune writing software which will be able to generate the banalities of catchy permutations of the diatonic scale in endless arrays of tuneable tunes, from which a not necessarily affluent songwriter can choose; with perhaps a built-in checking lexicon of used-up tunes which would advise Beatle George11 not to make the same blunder again.
Chimeras of sound
Some composers have long considered the tape recorder a musical instrument capable of more than the faithful hi-fi transcriber role to which manufacturers have traditionally limted its function. Now there are hybrids of the electronic offspring of acoustic instruments and audio mimicry by the digital clones of tape recorders. Audio mimicry by digital means is nothing new; mechanical manticores from the 19th century with names like the Violano-virtuoso and the Orchestrion are quaintly similar to the Synclavier Digital Music System and the Fairlight CMI (computer music instrument). In the case of the Synclavier, what is touted as a combination multi-track recording studio and simulated symphony orchestra looks like a piano with a built-in accordian chordboard and LED clock radio.
The composer who plucks a blade of grass and with cupped hands to pursed lips creates a vibrating soniferous membrane and resonator, although susceptible to comments on the order of "it's been done before", is in the potential position of bypassing previous technological achievement and communing directly with nature. Of music from tools, even the iconoclastic implements of a Harry Partch or a Hugh LeCaine are susceptible to the convention of distinction between instrument and composition. Sounding utensils, from the erh-hu to the Emulator, have traditionally provided such a potential for varied expression that they have not in themselves been considered musical manifestations. This is contrary to the great popularity of generic instrumental music ("The Many Moods of 101 Strings", "Piano for Lovers", "The Truckers DX-7" etc.), not to mention instruments which play themselves, the most pervasive example in recent years being pre-programmed rhythm boxes. Such devices, as are found in lounge acts and organ consoles, are direct kin to the juke box: push a button and out comes music. J.S.Bach pointed out that with any instrument "all one has to do is hit the right notes at the right time and the thing plays itself." The distinction between sound producers and sound reproducers is easily blurred, and has been a conceivable area of musical pursuit at least since John Cage's use of radios in the Forties.
Starting from scratch
Just as sound producing and sound reproducing technology becomes more interactive, listeners are once again, if not invited, nonetheless encroaching upon creative territory. This prerogative has been largely forgotten in recent decades. The now primitive record-playing generation was a passive lot (indigenous active form scratch belongs to the post-disc, blaster/walkman era). Gone were the days of lively renditions on the parlor piano.
Computers can take the expertise out of amateur music making. A current music-minus-one program retards tempos and searches for the most ubiquitous chords to support the wanderings of a novice player. Some audio equipment geared for the consumer inadvertently offers interactive possibilities. But manufacturers have discouraged compatability between their amateur and pro equipment. Passivity is still the dominant demographic. Thus the atrophied microphone inputs which have now all but disappeared from premium stereo cassette decks.12
As a listener my own preference is the option to experiment. My listening system has a mixer instead of a receiver, an infinitely variable speed turntable, filters, reverse capability, and a pair of ears.
An active listener might speed up a piece of music in order to perceive more clearly its macrostructure, or slow it down to hear articulation and detail more precisely. Portions of pieces are juxtaposed for comparison or played simultaneously, tracing "the motifs of the Indian raga Darbar over Senegalese drumming recording in Paris and a background mosaic of frozen moments from an exotic Hollywood orchestration of the 1950's (a sonic texture like a "Mona Lisa" which in close-up, reveals itself to be made up of tiny reproductions of the Taj Mahal."13
During World War II concurrent with Cage's re-establishing the percussive status of the piano, Trinidadians were discovering that discarded oil barrels could be cheap, available alternatives to their traditional percussion instruments which were, because of the socially invigorating potential, banned. The steel drum eventually became a national asset. Meanwhile, back in the States, for perhaps similar reasons, scratch and dub have, in the Eighties, percolated through the black American ghettos. Within an environmentally imposed, limited repertoire of possessions a portable disco may have a folk music potential exceeding that of the guitar. Pawned and ripped-off electronics are usually not accompanied by user's guides with consumer warnings such as "this blaster is a passive reproducer". Any performance potential found in an appliance is often exploited. A record can be played like an electronic washboard. Radio and disco jockeys layer the sounds of several recordings simultaneously.14 The sound of music conveyed with a new authority over the airwaves is dubbed, embellished and manipulated in kind.
The medium is magnetic
Piracy or plagiarism of a work occur, according to Milton, "if it is not bettered by the borrower". Stravinsky added the right of possession to Milton's distinction when he said,. "A good composer does not imitate; he steals." An example of this better borrowing is Jim Tenney's "Collage 1" (l961) in which Elvis Presley's hit record "Blue Suede Shoes" (itself borrowed from Carl Perkins) is transformed by means of multi-speed tape recorders and razorblade. In the same way that Pierre Schaeffer found musical potential in his object sonore, which could be, for instance, a footstep, heavy with associations, Tenney took an everyday music and allowed us to hear it differently. At the same time, all that was inherently Elvis radically influenced our perception of Jim's piece.
Fair use and fair dealing are respectively the American and the Canadian terms for instances in which appropriation without permission might be considered legal. Quoting extracts of music for pedagogical, illustrative and critical purposes have been upheld as legal fair use. So has borrowing for the purpose of parody. Fair dealing assumes use which does not interfere with the economic viability of the initial work.
In addition to economic rights, moral rights exist in copyright, and in Canada these are receiving a greater emphasis in the current recommendations for revision. An artist can claim certain moral rights to a work. Elvis' estate can claim the same rights, including the right to privacy, and the right to protection of "the special significance of sounds peculiar to a particular artist, the uniqueness of which might be harmed by inferior unauthorized recordings which might tend to confuse the public about an artist's abilities.
At present, in Canada, a work can serve as a matrix for independent derivations. Section 17(2)(b) of the Copyright Act of Canada provides "that an artist who does not retain the copyright in a work may use certain materials used to produce that work to produce a subsequent work, without infringing copyright in the earlier work, if the subsequent work taken as a whole does not repeat the main design of the previous work."
My observation is that Tenney's "Blue Suede" fulfills Milton's stipulation; is supported by Stravinsky's aphorism; and does not contravene Elvis' morality or Section 17(2)(b) of the Copyright Act.
Aural wilderness
The reuse of existing recorded materials is not restricted to the street and the esoteric. The single guitar chord occuring infrequently on H. Hancock's hit arrangement "Rocket" was not struck by an in-studio union guitarist but was sampled directly from an old Led Zepplin record. Similarly, Michael Jackson unwittingly turns up on Hancock's follow-up clone "Hard Rock". Now that keyboardists are getting instruments with the button for this appropriation built in, they're going to push it, easier than reconstructing the ideal sound from oscillation one. These players are used to fingertip replication, as in the case of the organ that had the titles of the songs from which the timbres were derived printed on the stops.15
So the equipment is available, and everybody's doing it, blatantly or otherwise. Melodic invention is nothing to lose sleep over (look what sleep did for Tartini). There's a certain amount of legal leeway for imitation. Now can we, like Charles Ives, borrow merrily and blatantly from all the music in the air?
Ives composed in an era in which much of music existed in a public domain. Public domain is now legally defined, although it maintains a distance from the present which varies from country to country. In order to follow Ives' model we would be restricted to using the same oldies which in his time were current. Nonetheless, music in the public domain can become very popular, perhaps in part because the composer is no longer entitled to exclusivity, or royalty payments‹ a hit available for a song . Or as This Business of Music puts it, "The public domain is like a vast national park without a guard to stop wanton looting, without a guide for the lost traveller, and in fact, without clearly defined roads or even borders to stop the helpless visitor from being sued for trespass by private abutting owners."
Professional developers of the musical landscape know and lobby for the loopholes in copyright. On the other hand, many artistic endeavours would benefit creatively from a state of music without fences, but where, as in scholarship, acknowledgement is insisted upon.
The buzzing of a titanic bumblebee 16
The property metaphor used to illustrate an artist's rights is difficult to pursue through publication and mass dissemination. The hit parade promenades the aural floats of pop on public display, and as curious tourists should we not be able to take our own snapshots through the crowd ("tiny reproductions of the Taj Mahal") rather than be restricted to the official souvenir postcards and programmes?
All popular music (and all folk music, by definition), essentially, if not legally, exists in a public domain. Listening to pop music isn't a matter of choice. Asked for or not, we're bombarded by it. In its most insidious state, filtered to an incessant bass-line, it seeps through apartment walls and out of the heads of walk people. Although people in general are making more noise than ever before, fewer people are making more of the total noise; specifically, in music, those with megawatt PA's, triple platinum sales, and heavy rotation. Difficult to ignore, pointlessly redundant to imitate, how does one not become a passive recipient?
Proposing their game plan to apprehend the Titanic once it had been located at the bottom of the Atlantic, oceanographer Bob Ballard of the Deep Emergence Laboratory suggested "you pound the hell out of it with every imaging system you have."
~ John Oswald, 1985
This paper was initially presented by Oswald at the Wired Society Electro-Acoustic Conference in Toronto in 1985. It was published in Musicworks #34, as a booklet by Recommended Quarterly and subsequently revised for the Whole Earth Review #57 as 'Bettered by the borrower'.
posted by Unknown at 9:23 AM
Sunday, June 27, 2004
Saturday, June 26, 2004
Thursday, June 24, 2004
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http://library.finito-web.com/newanime/
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posted by Unknown at 1:48 PM
Monday, June 21, 2004
Testing
| It's an animated GIF... I think it's from this show. |  heyheyhey Originally uploaded by tohoscope. |
posted by Unknown at 7:00 PM
Sunday, June 20, 2004
Straight Talkin With JTARI: Nevada Girl & Bisuke
Whatever: "
On June 1st, 12-year-old Satomi Mitara was brutally killed by one of her classmates that have yet to have been identified. Basically the girl lured Satomi into an empty classroom, and slit the girls throat and left her on the floor, later to be discovered by teachers. Oddly enough the teachers didn't find the girl on their own, the 11-year-old killer actually returned to the school covered in blood and later Satomi was found."
On June 1st, 12-year-old Satomi Mitara was brutally killed by one of her classmates that have yet to have been identified. Basically the girl lured Satomi into an empty classroom, and slit the girls throat and left her on the floor, later to be discovered by teachers. Oddly enough the teachers didn't find the girl on their own, the 11-year-old killer actually returned to the school covered in blood and later Satomi was found."
posted by Unknown at 1:15 PM
Saturday, June 19, 2004
exhilarator
exhilarator: "The cartoon with its sheer endless humoristic allegories is among the oldest of trades, and a creative one at that. We want to breathe new life into all those used and out-laughed witnesses
of human tragedy - but how? We have asked our friend algorithmic random generator to give us a hand. We split the image from the text and shove the gag into a new interpretation (with an element of sadism, one might add)."
of human tragedy - but how? We have asked our friend algorithmic random generator to give us a hand. We split the image from the text and shove the gag into a new interpretation (with an element of sadism, one might add)."
posted by Unknown at 2:32 PM
Mangle Random Link Generator
Mangle Random Link Generator: "Mangle randomly sends you to one of over 4 billion webpages on the internet!
On the left are Mangle's specialties, selecting random pages from Google's database.
On the right are other unique options that use a static database. "
On the left are Mangle's specialties, selecting random pages from Google's database.
On the right are other unique options that use a static database. "
posted by Unknown at 2:29 PM
Thursday, June 17, 2004
Go! Go! Pandaranger!
| Panda Justice! Justice compared to most friend of children But as for the panda ranger friend of justice most it is friend of the children "With" you see and force children sorrow of feeling "the full children" "With the children who suffer" the children the sickness who "cannot have dream" As for panda ranger in such children You think that we would like to convey "courage", |  pandaranger Originally uploaded by tohoscope. |
posted by Unknown at 11:01 AM
Wednesday, June 16, 2004
A nude model, five bodies and the Mormon assassination plot attempt
News
A nude model, five bodies and the Mormon assassination plot attempt
By Andrew Gumbel in Los Angeles
15 June 2004
This may be the year of the celebrity trial - Michael Jackson the King of Pop on child molestation charges, the basketball star Kobe Bryant accused of rape, the legendary record producer Phil Spector indicted for murder - but the kookiest, darkest, most grimly compelling court case in America may well be one that is receiving almost no media attention at all.
This week, a jury in Martinez, a small town outside San Francisco, will retire to consider the bizarre, brutally violent cult surrounding one Glenn Taylor Helzer, a lapsed Mormon accused of bludgeoning and dismembering five people in an elaborate extortion racket intended to hasten the second coming of Jesus Christ.
Helzer, a former stockbroker who has already pleaded guilty and faces the death penalty, exerted a charismatic hold over an eclectic group of followers including his younger brother, a former girlfriend turned Playboy centrefold model, and a self-described "good witch" who once offered to raise money for Armageddon by appearing in porn films.
The first two victims were elderly former clients of Helzer's, who were forced to write cheques for $100,000 (£55,000) while being tortured and held under the influence of the date-rape drug rohypnol. The third victim was Selina Bishop, 22-year-old daughter of the blues guitarist Elvin Bishop, who was initially part of the gang but was then slaughtered to ensure that she did not testify against the others. Her mother, Jennifer Villarin, and her mother's boyfriend were the fourth and fifth victims.
The star witness in the trial was a former housemate of Helzer's, Dawn Godman, who calmly described how she held up the severed heads of three of the victims while another member of the gang bashed their teeth out with a hammer and chisel to make them harder to identify. She also explained how Helzer had hoped to feed the severed bodies of the victims to his pet rottweiler before deciding this was impractical, stuffing them in duffel bags and dumping them in the Sacramento river delta instead.
The culmination of Helzer's plan was to have been an operation codenamed "Brazil", in which he would send South American orphans to Salt Lake City to kill the 15 elders who run the Mormon church.
According to Godman's testimony, Helzer imagined he could blame the murders on the "government behind government" and take over the leadership of the world's 12 million Mormons himself.
Helzer was excommunicated by the Mormons in 1998, which is about the time he started declaring he was the one true prophet of God and devised something called "the 12 Principles of Magic" that included the exhortation: "No such thing as right and wrong."
His ex-girlfriend Keri Mendoza, who went on to become Playboy's Miss September 2000 under the name Kerissa Fare, told the court Helzer had given her the confidence to send her modelling shots to the magazine. "It was special just to know him," she said.
She also described Helzer's younger brother Justin as a gentle soul who ate organic food and refused to kill insects buzzing around the house. Justin's fate will be the main topic of discussion by the jury, who must decide whether his brother's influence in effect rendered him insane or whether he was responsible for helping to commit the murders and subsequent dismemberments.
Godman has already pleaded guilty to her role in the killings and is expected to receive a sentence of 38 years to life. She was spared capital charges in exchange for her testimony, which left the court so sickened that the judge at one point called for a collective "deep breath".
She described how Helzer called her into the bathroom, where Selina Bishop had already been bludgeoned and may already have been dead, telling her he wanted to see the gruesome details of his plan in action. "Spirit says you get to know. This isn't a dream," she quoted him saying. She then described him picking up a knife and slitting the victim's throat.
It was Godman and Justin Helzer who cleaned up after the murders. She explained: "Taylor said he had more important things to do, like sit and meditate and listen to the spirit."
A nude model, five bodies and the Mormon assassination plot attempt
By Andrew Gumbel in Los Angeles
15 June 2004
This may be the year of the celebrity trial - Michael Jackson the King of Pop on child molestation charges, the basketball star Kobe Bryant accused of rape, the legendary record producer Phil Spector indicted for murder - but the kookiest, darkest, most grimly compelling court case in America may well be one that is receiving almost no media attention at all.
This week, a jury in Martinez, a small town outside San Francisco, will retire to consider the bizarre, brutally violent cult surrounding one Glenn Taylor Helzer, a lapsed Mormon accused of bludgeoning and dismembering five people in an elaborate extortion racket intended to hasten the second coming of Jesus Christ.
Helzer, a former stockbroker who has already pleaded guilty and faces the death penalty, exerted a charismatic hold over an eclectic group of followers including his younger brother, a former girlfriend turned Playboy centrefold model, and a self-described "good witch" who once offered to raise money for Armageddon by appearing in porn films.
The first two victims were elderly former clients of Helzer's, who were forced to write cheques for $100,000 (£55,000) while being tortured and held under the influence of the date-rape drug rohypnol. The third victim was Selina Bishop, 22-year-old daughter of the blues guitarist Elvin Bishop, who was initially part of the gang but was then slaughtered to ensure that she did not testify against the others. Her mother, Jennifer Villarin, and her mother's boyfriend were the fourth and fifth victims.
The star witness in the trial was a former housemate of Helzer's, Dawn Godman, who calmly described how she held up the severed heads of three of the victims while another member of the gang bashed their teeth out with a hammer and chisel to make them harder to identify. She also explained how Helzer had hoped to feed the severed bodies of the victims to his pet rottweiler before deciding this was impractical, stuffing them in duffel bags and dumping them in the Sacramento river delta instead.
The culmination of Helzer's plan was to have been an operation codenamed "Brazil", in which he would send South American orphans to Salt Lake City to kill the 15 elders who run the Mormon church.
According to Godman's testimony, Helzer imagined he could blame the murders on the "government behind government" and take over the leadership of the world's 12 million Mormons himself.
Helzer was excommunicated by the Mormons in 1998, which is about the time he started declaring he was the one true prophet of God and devised something called "the 12 Principles of Magic" that included the exhortation: "No such thing as right and wrong."
His ex-girlfriend Keri Mendoza, who went on to become Playboy's Miss September 2000 under the name Kerissa Fare, told the court Helzer had given her the confidence to send her modelling shots to the magazine. "It was special just to know him," she said.
She also described Helzer's younger brother Justin as a gentle soul who ate organic food and refused to kill insects buzzing around the house. Justin's fate will be the main topic of discussion by the jury, who must decide whether his brother's influence in effect rendered him insane or whether he was responsible for helping to commit the murders and subsequent dismemberments.
Godman has already pleaded guilty to her role in the killings and is expected to receive a sentence of 38 years to life. She was spared capital charges in exchange for her testimony, which left the court so sickened that the judge at one point called for a collective "deep breath".
She described how Helzer called her into the bathroom, where Selina Bishop had already been bludgeoned and may already have been dead, telling her he wanted to see the gruesome details of his plan in action. "Spirit says you get to know. This isn't a dream," she quoted him saying. She then described him picking up a knife and slitting the victim's throat.
It was Godman and Justin Helzer who cleaned up after the murders. She explained: "Taylor said he had more important things to do, like sit and meditate and listen to the spirit."
posted by Unknown at 12:30 PM
Tuesday, June 15, 2004
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posted by Unknown at 1:45 PM
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posted by Unknown at 1:45 PM
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posted by Unknown at 1:45 PM
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posted by Unknown at 11:42 AM
Today In Alternate History
Today In Alternate History
in 1949, Oscar-winning tragic actor Jim Varney was born in Kentucky. He rose to national prominence playing Evan Earp, a descendant of Wyatt Earp’s on the dramatic TV series, The Rousters. This was followed by his first Oscar-worthy performance in the film Hey, Vern, It’s Ernest. He also won a Tony for his performance as King Lear the year of his death, in 2000.
in 1956, John Lennon asked Paul McCartney to join his band, The Quarrymen. They would have been another unremarkable teenage rock band, except that 4 years later, their drummer was international superstar, Pete Best.
in 1990, Pete Best’s final album before his death was released. Fool In Love sold 1 million copies in its first week, proving the old man still had plenty of fans left.
in 2003, the UN attempted to contact the Martian fleet orbiting earth, but was met only with an eerie series of beeps and squeals.
in 1949, Oscar-winning tragic actor Jim Varney was born in Kentucky. He rose to national prominence playing Evan Earp, a descendant of Wyatt Earp’s on the dramatic TV series, The Rousters. This was followed by his first Oscar-worthy performance in the film Hey, Vern, It’s Ernest. He also won a Tony for his performance as King Lear the year of his death, in 2000.
in 1956, John Lennon asked Paul McCartney to join his band, The Quarrymen. They would have been another unremarkable teenage rock band, except that 4 years later, their drummer was international superstar, Pete Best.
in 1990, Pete Best’s final album before his death was released. Fool In Love sold 1 million copies in its first week, proving the old man still had plenty of fans left.
in 2003, the UN attempted to contact the Martian fleet orbiting earth, but was met only with an eerie series of beeps and squeals.
posted by Unknown at 9:28 AM
Saturday, June 12, 2004
JAPANESE TOYS - Total Source
JAPANESE TOYS - Total Source
Oh yeah, we need to think about this site...
Oh yeah, we need to think about this site...
posted by Unknown at 10:57 PM
Maidens of the Kaleidoscope :: View topic - The SaseboSlasher
Maidens of the Kaleidoscope :: View topic - The SaseboSlasher
--------------------The Sasebo Slashing--------------------
The story……
TOKYO - An 11-year-old girl led a fellow sixth-grader to an empty classroom during their school lunch hour Tuesday, slit her throat and slashed arms with a box-cutter and left her to bleed to death.
The grisly slaying at an ordinary elementary school in southern Japan sent shockwaves through the community, leaving many asking how such a tragedy could occur.
The body of Satomi Mitarai, 12, was found by a teacher after the girl who attacked her returned to class in bloody clothes. The teacher called police.
Mitarai died of blood loss after being slashed in the neck and arms with a retractable knife used to cut paper and boxes, police said.
'I don't have a clue'
Her father rushed to Okubo Elementary School in Sasebo, 650 miles southwest of Tokyo, after receiving a call that his daughter was hurt.
When I arrived, Satomi was already lying there collapsed. I couldnt believe what I was seeing,・Kyoji Mitarai, the head of the Sasebo bureau of the Mainichi newspaper.
I cant put in words what Im feeling right now. I cant understand it at all. I dont have a clue,・he said.
He said his daughter never spoke of disagreements with her classmates and appeared to get along well with them.
Authorities took the suspected attacker into custody for questioning. Police called her Girl A,・in accordance with Japanese legal protections that prohibit identifying juvenile offenders.
Girl A・had called Mitarai out of their classroom as lunch time was beginning and took her to a nearby room. In Japan, lunch is commonly eaten in classrooms.
'Girl A' smeared with blood
The girls・teacher said she first noticed something was wrong when the two were missing, public broadcaster NHK reported. Shortly afterward, Girl A・returned, smeared with blood.
Police said she confessed to the murder and said, sobbing, I have done a bad thing.・Authorities said they have not found a motive.
Mitarais body was discovered by a teacher who called police. Emergency medical workers said they arrived to find her lying face down on the floor. She wasnt breathing and her heart had stopped, said Kazuyoshi Tominaga of the Sasebo Central Fire Department.
Serious juvenile crimes have become a rising concern in Japan in recent years.
Last July, a 12-year-old boy in Nagasaki ・a city just north of Sasebo ・was accused of kidnapping, molesting and murdering a 4-year-old by shoving him off the roof of a car garage.
In the same month, a 14-year-old boy was arrested for beating a 13-year-old classmate to death in Okinawa.
Just three years ago, lawmakers lowered the age of criminal responsibility to 14 from 16 amid public outrage over the brutal beheading of a 10-year-old boy by a 14-year-old in 1997. Last years murder in Nagasaki prompted many to wonder whether the line should be redrawn.
Violent juvenile crimes remain rare, however. The 1,986 heinous crimes・・murder, robbery, arson and rape ・committed by minors in 2002 represented just 1.4 percent of all youth offenses, according to the National Police Agency.
Japans justice system emphasizes rehabilitation over punishment for minors. The boy who beheaded the 10-year-old in 1997 was freed from custody in March at age 21.
Students to get counseling
Education officials said schools would be offering students counseling after the Sasebo slashing.
Doctors and school counselors will offer help if needed,・said Koichi Tsurusaki, the head of the Sasebo Education Committee. many asked for help after last years Nagasaki incident, so we would like the counselors to direct the response.
Satomis father said he would continue to seek an explanation.
I dont know what went on between the two. She is the same grade in school as my daughter, so I dont know how much she understands,・he said. but when things settle down, Im like for her to explain what happened
Source : http://www.msnbc.msn.com/id/5110933/
---UPDATE-Jun 04, 2004: 02:22---
Internet blamed for Japan school killing
Girl, 11, told police she stabbed classmate over Web site messages
Updated: 4:56 a.m. ET June 03, 2004TOKYO - Japanese media have turned to the Internet as a culprit in the shocking killing of a 12-year-old girl by her classmate this week, as trouble over messages posted on a Web site emerged as a possible motive.
The 11-year-old girl who killed Satomi Mitarai by slashing her throat at their primary school in southern Japan on Tuesday told police she killed her friend because she was angry about a message posted on a Web site, newspapers said.
Media reports on Thursday said both girls had their own Web sites and took part in online chatrooms, the use of which is proliferating in Japan even among primary school students.
The Internet has already become a part of life for Japanese children. Almost all public schools have access to the Web and government data shows that over 60 percent of children aged between six and 12 use the Internet.
Experts say communicating via the Internet can stimulate emotional reactions and warn that users should take extra care not needed in face-to-face conversations.
"When you talk with your friends in the classroom, you look at their faces. So you can tell if they're serious or joking, or angry or laughing, from their expressions or tone of voice," the Internet Association Japan, a non-profit organization, says in its "Rules and Manners for Children using the Internet."
"But with the Internet, you can't hear your friends' voices or see their faces... What you wrote as a joke can make your friend angry."
Media said the 11-year-old had told investigators she asked Mitarai not to write messages about her appearance on an Internet bulletin board, but that her friend had refused to stop.
High-tech scapegoat?
Mitarai died from loss of blood after her classmate slashed her throat with a knife during the lunch break on Tuesday at their school in Sasebo, 610 miles southwest of Tokyo.
"I tried to blindfold her with a towel, but she refused, so I covered her eyes with my hand," Kyodo news agency quoted the girl as telling investigators.
Some experts, however, said the Internet was being wrongly blamed for what is the latest in a series of high-profile juvenile crimes that have shocked Japan and forced it to search for answers.
"It is true that the Internet can be a factor in increasing emotional reactions, but the more basic problem is that of an inability to communicate skillfully with another human being," said Tatsuo Inamasu, a professor at Tokyo's Hosei University.
"The reports say that the trigger was a comment on the Internet, but there must have been a lot that went before."
Inamasu, who specializes in media studies, also said many parents and teachers put the blame on computers as they do not understand well how to use them.
"I don't think we can blame computers for causing a murder."
The 11-year-old will appear before a family court, which could send her to a special reformatory. Children under 14 cannot be prosecuted in Japan.
Copyright 2004 Reuters Limited.
--------------------OBSERVATION--------------------
By Katchura
Name: Unknown
AKA- Duo
AKA- GIRL-A
AKA- NEVADA,
AKA- SASESBOSLASHER
Gender: Female
Age: 11
Blood type: A
Favourite Animal: Cat
Favourite Sport: Basketball
Favourite Books: Battle Royal, {Zero} Hantoshimae, and Program
Most treasured item is listed as "That is a secret"
Although many news site report that the motive for this crime was one purely one spawned from hurt pride, the minor details of her interests show a rather different view of the normal 11 year old girl known as NEVADA.
Of course, in order for all the readers of this to fully understand the points I will bring up in these notes, you might have to know a little background on Japanese culture.
Most of Japanese who have access to the internet create their own webpage, more often then not, about themselves. Girls will often create sites with high interactivity so that she can build up a fanbase. After all, girls enjoy more then anything else to feel wanted and loved. The sheer amount of Japanese Idol sites should speak for this alone, both amateur and professionally run.
In fact, some profession Idols start out with personal sites, and grow in popularity from there.
With the radical change in hormone levels in recent generations, it’s no wonder that girls are becoming self conscious at ages as young as 10, and where better to look for acceptance then on the internet? How hard can it possibly be? Create a profile, pretty yourself up, take some decent pictures, chat with guys, and the next thing you know, you have a legion of fans. However, when someone in real-life tries to disrupt that, you might get rather upset….
The news tells us that she indeed had fans. Comments left by Satomi Mitarai might have caused NEVADA an incredible amount of embarrassment in front of her fans, or even caused new/old fans to start saying the same things. Being a young as she was, she might not have been able to coup with such a surge of different emotions at the same time, and so, vented by slashing her friend Satomi Mitara, to death.
The details of these comments are still unknown to me, however, one thing is certain, and that is that NEVADA was deeper into the internet then one might first think.
NEVADA was a girl fascinated with urban legend, internet subculture, even going as far as guro. From her site she had linked shock flash movies and bizarre ASCII movies that would unnerve even the most hardened internet warriors.
By reading her hobbies, one starts to see the connection of her, and her fans that have such handles as “Jack the Ripper” Her profile clearly states her hobby as movies, but goes into no more detail. She praises the Battle Royal novels, and are mention more then once throughout the site. Her “recipes” are possibly not even food, the names of them are truly bizarre. "Shorten time", “Purple Skull Curse”, “Beruteina's morning dew magic”, and the last "recipe" is "Demonic art".
Her particular favourite link is the following Urban legend horror flash, word of warning, these may shock or disturb you.
http://www.geocities.co.jp/SiliconValley/4358/red_room1.swf
http://nun.nu/?www.nurs.or.jp/~gatoo777/souko_gif/akai.html
Basically what's in that flash is that this guy was talking to his friend and his friend told him this story about a website that pops up which asks "Anata ha suki desu ka?" (Do you like me?) and then if you don’t reply, you die. When he got home, he looked it up on the internet, didn't believe it, and then went on to visit his own favorite sites... When the message suddenly pops up. He tries to call his friend, but there was no answer...
After he clicks it the first few times, it clicks itself until it reads "Anata ha akai heya ga suki desu ka?" (Do you like the red room?). Then a website with all the names of the people killed showed up, and his friend and his names were on it. Then, he is killed.
Not only is she linked to flash movies of this kind, but also has a fascination with the net culture that surrounds 2chan. More then likely, she browsed the site, including the flash, guro, and whatever else. It is also high probable that she posted her own pictures in the “attractive girl sections.” of 2chan, and perhaps, in some sick twist of fate, have a direct relation to the events leading up to her murdering Satomi Mitarai. Of course, this is all speculation based on observation, nothing more.
What is the most intriging, and disturbing fact of this observation, is how closely the “Red Room” flash movie ties into NEVADAs actions. She has created her own urban myth. Her site, the same black and red. Her love for the macabre, her interest in obscure movies, her relationship with her internet fans. A faceless, dark but alluring force that only demands one thing, only asks one simple question. Hesitate, and you shall not be forgiven……
--------------------The Sasebo Slashing--------------------
The story……
TOKYO - An 11-year-old girl led a fellow sixth-grader to an empty classroom during their school lunch hour Tuesday, slit her throat and slashed arms with a box-cutter and left her to bleed to death.
The grisly slaying at an ordinary elementary school in southern Japan sent shockwaves through the community, leaving many asking how such a tragedy could occur.
The body of Satomi Mitarai, 12, was found by a teacher after the girl who attacked her returned to class in bloody clothes. The teacher called police.
Mitarai died of blood loss after being slashed in the neck and arms with a retractable knife used to cut paper and boxes, police said.
'I don't have a clue'
Her father rushed to Okubo Elementary School in Sasebo, 650 miles southwest of Tokyo, after receiving a call that his daughter was hurt.
When I arrived, Satomi was already lying there collapsed. I couldnt believe what I was seeing,・Kyoji Mitarai, the head of the Sasebo bureau of the Mainichi newspaper.
I cant put in words what Im feeling right now. I cant understand it at all. I dont have a clue,・he said.
He said his daughter never spoke of disagreements with her classmates and appeared to get along well with them.
Authorities took the suspected attacker into custody for questioning. Police called her Girl A,・in accordance with Japanese legal protections that prohibit identifying juvenile offenders.
Girl A・had called Mitarai out of their classroom as lunch time was beginning and took her to a nearby room. In Japan, lunch is commonly eaten in classrooms.
'Girl A' smeared with blood
The girls・teacher said she first noticed something was wrong when the two were missing, public broadcaster NHK reported. Shortly afterward, Girl A・returned, smeared with blood.
Police said she confessed to the murder and said, sobbing, I have done a bad thing.・Authorities said they have not found a motive.
Mitarais body was discovered by a teacher who called police. Emergency medical workers said they arrived to find her lying face down on the floor. She wasnt breathing and her heart had stopped, said Kazuyoshi Tominaga of the Sasebo Central Fire Department.
Serious juvenile crimes have become a rising concern in Japan in recent years.
Last July, a 12-year-old boy in Nagasaki ・a city just north of Sasebo ・was accused of kidnapping, molesting and murdering a 4-year-old by shoving him off the roof of a car garage.
In the same month, a 14-year-old boy was arrested for beating a 13-year-old classmate to death in Okinawa.
Just three years ago, lawmakers lowered the age of criminal responsibility to 14 from 16 amid public outrage over the brutal beheading of a 10-year-old boy by a 14-year-old in 1997. Last years murder in Nagasaki prompted many to wonder whether the line should be redrawn.
Violent juvenile crimes remain rare, however. The 1,986 heinous crimes・・murder, robbery, arson and rape ・committed by minors in 2002 represented just 1.4 percent of all youth offenses, according to the National Police Agency.
Japans justice system emphasizes rehabilitation over punishment for minors. The boy who beheaded the 10-year-old in 1997 was freed from custody in March at age 21.
Students to get counseling
Education officials said schools would be offering students counseling after the Sasebo slashing.
Doctors and school counselors will offer help if needed,・said Koichi Tsurusaki, the head of the Sasebo Education Committee. many asked for help after last years Nagasaki incident, so we would like the counselors to direct the response.
Satomis father said he would continue to seek an explanation.
I dont know what went on between the two. She is the same grade in school as my daughter, so I dont know how much she understands,・he said. but when things settle down, Im like for her to explain what happened
Source : http://www.msnbc.msn.com/id/5110933/
---UPDATE-Jun 04, 2004: 02:22---
Internet blamed for Japan school killing
Girl, 11, told police she stabbed classmate over Web site messages
Updated: 4:56 a.m. ET June 03, 2004TOKYO - Japanese media have turned to the Internet as a culprit in the shocking killing of a 12-year-old girl by her classmate this week, as trouble over messages posted on a Web site emerged as a possible motive.
The 11-year-old girl who killed Satomi Mitarai by slashing her throat at their primary school in southern Japan on Tuesday told police she killed her friend because she was angry about a message posted on a Web site, newspapers said.
Media reports on Thursday said both girls had their own Web sites and took part in online chatrooms, the use of which is proliferating in Japan even among primary school students.
The Internet has already become a part of life for Japanese children. Almost all public schools have access to the Web and government data shows that over 60 percent of children aged between six and 12 use the Internet.
Experts say communicating via the Internet can stimulate emotional reactions and warn that users should take extra care not needed in face-to-face conversations.
"When you talk with your friends in the classroom, you look at their faces. So you can tell if they're serious or joking, or angry or laughing, from their expressions or tone of voice," the Internet Association Japan, a non-profit organization, says in its "Rules and Manners for Children using the Internet."
"But with the Internet, you can't hear your friends' voices or see their faces... What you wrote as a joke can make your friend angry."
Media said the 11-year-old had told investigators she asked Mitarai not to write messages about her appearance on an Internet bulletin board, but that her friend had refused to stop.
High-tech scapegoat?
Mitarai died from loss of blood after her classmate slashed her throat with a knife during the lunch break on Tuesday at their school in Sasebo, 610 miles southwest of Tokyo.
"I tried to blindfold her with a towel, but she refused, so I covered her eyes with my hand," Kyodo news agency quoted the girl as telling investigators.
Some experts, however, said the Internet was being wrongly blamed for what is the latest in a series of high-profile juvenile crimes that have shocked Japan and forced it to search for answers.
"It is true that the Internet can be a factor in increasing emotional reactions, but the more basic problem is that of an inability to communicate skillfully with another human being," said Tatsuo Inamasu, a professor at Tokyo's Hosei University.
"The reports say that the trigger was a comment on the Internet, but there must have been a lot that went before."
Inamasu, who specializes in media studies, also said many parents and teachers put the blame on computers as they do not understand well how to use them.
"I don't think we can blame computers for causing a murder."
The 11-year-old will appear before a family court, which could send her to a special reformatory. Children under 14 cannot be prosecuted in Japan.
Copyright 2004 Reuters Limited.
--------------------OBSERVATION--------------------
By Katchura
Name: Unknown
AKA- Duo
AKA- GIRL-A
AKA- NEVADA,
AKA- SASESBOSLASHER
Gender: Female
Age: 11
Blood type: A
Favourite Animal: Cat
Favourite Sport: Basketball
Favourite Books: Battle Royal, {Zero} Hantoshimae, and Program
Most treasured item is listed as "That is a secret"
Although many news site report that the motive for this crime was one purely one spawned from hurt pride, the minor details of her interests show a rather different view of the normal 11 year old girl known as NEVADA.
Of course, in order for all the readers of this to fully understand the points I will bring up in these notes, you might have to know a little background on Japanese culture.
Most of Japanese who have access to the internet create their own webpage, more often then not, about themselves. Girls will often create sites with high interactivity so that she can build up a fanbase. After all, girls enjoy more then anything else to feel wanted and loved. The sheer amount of Japanese Idol sites should speak for this alone, both amateur and professionally run.
In fact, some profession Idols start out with personal sites, and grow in popularity from there.
With the radical change in hormone levels in recent generations, it’s no wonder that girls are becoming self conscious at ages as young as 10, and where better to look for acceptance then on the internet? How hard can it possibly be? Create a profile, pretty yourself up, take some decent pictures, chat with guys, and the next thing you know, you have a legion of fans. However, when someone in real-life tries to disrupt that, you might get rather upset….
The news tells us that she indeed had fans. Comments left by Satomi Mitarai might have caused NEVADA an incredible amount of embarrassment in front of her fans, or even caused new/old fans to start saying the same things. Being a young as she was, she might not have been able to coup with such a surge of different emotions at the same time, and so, vented by slashing her friend Satomi Mitara, to death.
The details of these comments are still unknown to me, however, one thing is certain, and that is that NEVADA was deeper into the internet then one might first think.
NEVADA was a girl fascinated with urban legend, internet subculture, even going as far as guro. From her site she had linked shock flash movies and bizarre ASCII movies that would unnerve even the most hardened internet warriors.
By reading her hobbies, one starts to see the connection of her, and her fans that have such handles as “Jack the Ripper” Her profile clearly states her hobby as movies, but goes into no more detail. She praises the Battle Royal novels, and are mention more then once throughout the site. Her “recipes” are possibly not even food, the names of them are truly bizarre. "Shorten time", “Purple Skull Curse”, “Beruteina's morning dew magic”, and the last "recipe" is "Demonic art".
Her particular favourite link is the following Urban legend horror flash, word of warning, these may shock or disturb you.
http://www.geocities.co.jp/SiliconValley/4358/red_room1.swf
http://nun.nu/?www.nurs.or.jp/~gatoo777/souko_gif/akai.html
Basically what's in that flash is that this guy was talking to his friend and his friend told him this story about a website that pops up which asks "Anata ha suki desu ka?" (Do you like me?) and then if you don’t reply, you die. When he got home, he looked it up on the internet, didn't believe it, and then went on to visit his own favorite sites... When the message suddenly pops up. He tries to call his friend, but there was no answer...
After he clicks it the first few times, it clicks itself until it reads "Anata ha akai heya ga suki desu ka?" (Do you like the red room?). Then a website with all the names of the people killed showed up, and his friend and his names were on it. Then, he is killed.
Not only is she linked to flash movies of this kind, but also has a fascination with the net culture that surrounds 2chan. More then likely, she browsed the site, including the flash, guro, and whatever else. It is also high probable that she posted her own pictures in the “attractive girl sections.” of 2chan, and perhaps, in some sick twist of fate, have a direct relation to the events leading up to her murdering Satomi Mitarai. Of course, this is all speculation based on observation, nothing more.
What is the most intriging, and disturbing fact of this observation, is how closely the “Red Room” flash movie ties into NEVADAs actions. She has created her own urban myth. Her site, the same black and red. Her love for the macabre, her interest in obscure movies, her relationship with her internet fans. A faceless, dark but alluring force that only demands one thing, only asks one simple question. Hesitate, and you shall not be forgiven……
posted by Unknown at 8:14 PM
Friday, June 11, 2004
Custom Plush Toys - stuffed toy manufacturer
Custom Plush Toys - stuffed toy manufacturer
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posted by Unknown at 8:47 AM
Thursday, June 10, 2004
WSA
WSA
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Specializing in Licensed Products and Projects, our Current and Past clients include Mattel, Hasbro, Kenner, Bandai, Ban Presto, Medicom, Disney, Nickeldeon, Toys R Us, MGM, Burger King Happy Meal Toys, Marvel/Toy Biz-Action Figure Lines, Fox, NASCAR, Power Rangers, Time Stream Games, SwearBear, Drastic Plastic, and many others. Please contact use for High Quality Control Licensed products for you or you clients needs. We can produce in our Shenzen factories production facilities for Plush, Custom Sewing, Embroidery, Vinyl, Injection Molding, Pad Printing, Hand Painting and more. See why all the major Toy Companies in Japan select us FIRST for their productions
Near Point Toys has been Providing High Quality Production, Project Management, Marketing, Design, Engineering, Packaging, Illustration and Product Prototypeing for over a decade.
Specializing in Licensed Products and Projects, our Current and Past clients include Mattel, Hasbro, Kenner, Bandai, Ban Presto, Medicom, Disney, Nickeldeon, Toys R Us, MGM, Burger King Happy Meal Toys, Marvel/Toy Biz-Action Figure Lines, Fox, NASCAR, Power Rangers, Time Stream Games, SwearBear, Drastic Plastic, and many others. Please contact use for High Quality Control Licensed products for you or you clients needs. We can produce in our Shenzen factories production facilities for Plush, Custom Sewing, Embroidery, Vinyl, Injection Molding, Pad Printing, Hand Painting and more. See why all the major Toy Companies in Japan select us FIRST for their productions
posted by Unknown at 2:23 PM
Action-HQ.com - Asian & American Toys and Collectibles - Urban Vinyl
Action-HQ.com - Asian & American Toys and Collectibles - Urban VinylEveryones heard about the cool designer toys that are coming out of Asia but how does one actually break into this market? What does one need to do to produce and market their own line of toys?
John Wong, the head of Action-HQ.com, sat down with Casey Lau, head of HyperChild to find out just this, in this exclusive interview for the good people at Action-Figure.com.
John Wong [Action-HQ.com] > Hey Casey, thanks for doing this interview with us and Action-Figure.com. For those who might not know, can you tell us about your company?
Casey Lau [HyperChild] > HyperChild is a think-tank and development company that creates and develops new entertainment properties such as toys, animation and character goods. We were founded and are based in Hong Kong, and are made up of a collective of writers, artists and designers. Our goal is to create new properties for a new generation of audience. We are launching two new properties lines this year with The Deviants and Garage Robots.
John Wong [Action-HQ.com] > Can you tell us something about your background so that the readers knows where you are coming from?
Casey Lau [HyperChild] > My experience is expansive with over 10 years in licensing, design, Internet development and the comic book industries. Some of my works include creating such properties as Virtex and The WonderLanders and, as you know, co-founding that little web-company called ActionAce.com. I would call myself a "designer" first and anything else -like writer, businessman, dishwasher - second.
John Wong [Action-HQ.com] > Cool! So tell us in layman terms how to get started in the designer toy industry?
Casey Lau [HyperChild] > Okay....to make your own toys you need a few things- if you can do them all yourself, great -if not you will need to put out some cash to have others come in to help you. As an aside, I could write a book on how to self publish your own comic book which is a lot cheaper than making toys, but perhaps next interview, haaa.
Anyway, the first step is DESIGN. Design your figures with good ol’ pencil and paper, and work out your designs in various poses until you’re are happy with one.
Then you basically need to draw out what we call “TURNS” an animation term for front, side and back views of a character. This is for a sculptor to see what it is you want to do. Obviously if you sculpt it yourself you wont need these but its usually always good to have a guide of what you want to do.
The next step is the sculpting. You can use various materials to do this: clay, sculptey, wax etc. whatever you are comfortable with. If you don’t know how, you will have to find a sculptor that you can work with.
Then you need to decide on color callouts and figure out the Pantone number for each of these colors.
Once you have devised a prototype you are happy with you then need to get it to a factory for costing and talk about numbers.
John Wong [Action-HQ.com] > How does one locate a factory?
Casey Lau [HyperChild] > The factory you will use will most likely be in China but your best bet is to talk to a factory’s agent in Hong Kong. That way communication is no problem and Hong Kong has been the center of toys for so long that they will know more about putting your product together than you will.
There are a few places to start sourcing factories and all are online and in English. Point your browsers to these websites to start surfing for the best factories:
www.tdcenterprise.com
www.alibaba.com
and look to come out to Hong Kong in January for the Toy Fair:
www.hktoyfair.com
Also a good place to look for exhibitors and getting in touch via email.
[HyperChild, Action-HQ.com and Action-Figure.com does not endorse any of the companies/information found on these sites. Deal with them at your own prerogative.]
John Wong [Action-HQ.com] > How would you know which factory to go with as there are so many?
Casey Lau [HyperChild] > In choosing a factory the most important thing is quality. Any factory can make a product but the quality of the product is a different thing altogether. So don’t go for the cheapest price but the best quality you can for the best price you can afford.
John Wong [Action-HQ.com] > What about costing and quantities?
Casey Lau [HyperChild] > Your negotiations will take time but have the factory send you some samples so you can see their work. Most factories should be able to point you to their work that can easily be found in the U.S., U.K. and throughout Europe. Don’t expect to find the same factory that Hasbro uses for your limited edition toy. You will need to find a good, stable, medium sized company that can handle the work for you.
Once you find the factory you will need to send them your prototype for costing. This is where you need to part with your original so make sure you make at least 2 of them. Within 2 weeks of receiving your prototype you will be able to get a cost for your figures. Depending on how many you want to make will determine the cost per piece. As most rotocast figures are done under 1000 pieces and looking at the retail price of HK vinyl today you can see that the costs are quite high.
The production process takes about 6-9 weeks, wax mould, master moulds, paint masters and production moulds all come next and there is a lot of back and forth between you and the factory to get it the way you want it. So again finding a good quality factory is # 1 as this will help with any aggravations created in the road of production.
From there you get your packaging design done to fit your toy and have that artwork sent to Hong Kong so they can print and package your toys. You tell the factory how many you want to pack in each case and they will then arrange to ship back to you.
Not as easy as it sounds but extremely gratifying when you open that sealed case of figures YOU created.
John Wong [Action-HQ.com] > Okay, here is the most important question, how much does it take to get started if all you can do is design the product? Can you give us a cost for sculpting as I think not many of us are competent to do that and how much is it to make 1,000 rotocast vinyl figures?
Casey Lau [HyperChild] > Well like anything costs break down by quality and negotiations. Sculpting can go from anything from $1,000 to $5,000 per figure in my experience -if you want someone famous to do it, it can go up to $10,000.
And then the price per piece depending on quality and size, articulation, number of parts - wow there are so many factors that come into pricing a figure that it could range from $1-$20 per piece for 1000 pieces. One thing I have learned is that to meet price points you have to be willing to let things go from your original ideas as some things may be too costly to do.
John Wong [Action-HQ.com] > Thanks, that was very informative. Let's talk about the other major component which is the market. In layman terms again, I think our readers would like to know how many pieces should someone starting out make and how do they sell it?
Casey Lau [HyperChild] > Well there are online shops and brick and motor shops and the toys distributors to go too. This is a big question and you should figure out who your target audience is before you begin. In Hong Kong we have a very tight knit toy community of shops and shows where toys are sold and bought, as has the rest of Asia - in the U.S. or U.K. I would gather you would find some specialty shops that would be clued in to this scene.
John Wong [Action-HQ.com] > Thanks again Casey. I think the readers now have a good and basic understanding on how to start. Any last words?
Just a plug. You can check out my line of figures at www.hyperchild.ws for a look at that will be available in June 2003 and are available for pre-order now at www.action-hq.com.
John Wong, the head of Action-HQ.com, sat down with Casey Lau, head of HyperChild to find out just this, in this exclusive interview for the good people at Action-Figure.com.
John Wong [Action-HQ.com] > Hey Casey, thanks for doing this interview with us and Action-Figure.com. For those who might not know, can you tell us about your company?
Casey Lau [HyperChild] > HyperChild is a think-tank and development company that creates and develops new entertainment properties such as toys, animation and character goods. We were founded and are based in Hong Kong, and are made up of a collective of writers, artists and designers. Our goal is to create new properties for a new generation of audience. We are launching two new properties lines this year with The Deviants and Garage Robots.
John Wong [Action-HQ.com] > Can you tell us something about your background so that the readers knows where you are coming from?
Casey Lau [HyperChild] > My experience is expansive with over 10 years in licensing, design, Internet development and the comic book industries. Some of my works include creating such properties as Virtex and The WonderLanders and, as you know, co-founding that little web-company called ActionAce.com. I would call myself a "designer" first and anything else -like writer, businessman, dishwasher - second.
John Wong [Action-HQ.com] > Cool! So tell us in layman terms how to get started in the designer toy industry?
Casey Lau [HyperChild] > Okay....to make your own toys you need a few things- if you can do them all yourself, great -if not you will need to put out some cash to have others come in to help you. As an aside, I could write a book on how to self publish your own comic book which is a lot cheaper than making toys, but perhaps next interview, haaa.
Anyway, the first step is DESIGN. Design your figures with good ol’ pencil and paper, and work out your designs in various poses until you’re are happy with one.
Then you basically need to draw out what we call “TURNS” an animation term for front, side and back views of a character. This is for a sculptor to see what it is you want to do. Obviously if you sculpt it yourself you wont need these but its usually always good to have a guide of what you want to do.
The next step is the sculpting. You can use various materials to do this: clay, sculptey, wax etc. whatever you are comfortable with. If you don’t know how, you will have to find a sculptor that you can work with.
Then you need to decide on color callouts and figure out the Pantone number for each of these colors.
Once you have devised a prototype you are happy with you then need to get it to a factory for costing and talk about numbers.
John Wong [Action-HQ.com] > How does one locate a factory?
Casey Lau [HyperChild] > The factory you will use will most likely be in China but your best bet is to talk to a factory’s agent in Hong Kong. That way communication is no problem and Hong Kong has been the center of toys for so long that they will know more about putting your product together than you will.
There are a few places to start sourcing factories and all are online and in English. Point your browsers to these websites to start surfing for the best factories:
www.tdcenterprise.com
www.alibaba.com
and look to come out to Hong Kong in January for the Toy Fair:
www.hktoyfair.com
Also a good place to look for exhibitors and getting in touch via email.
[HyperChild, Action-HQ.com and Action-Figure.com does not endorse any of the companies/information found on these sites. Deal with them at your own prerogative.]
John Wong [Action-HQ.com] > How would you know which factory to go with as there are so many?
Casey Lau [HyperChild] > In choosing a factory the most important thing is quality. Any factory can make a product but the quality of the product is a different thing altogether. So don’t go for the cheapest price but the best quality you can for the best price you can afford.
John Wong [Action-HQ.com] > What about costing and quantities?
Casey Lau [HyperChild] > Your negotiations will take time but have the factory send you some samples so you can see their work. Most factories should be able to point you to their work that can easily be found in the U.S., U.K. and throughout Europe. Don’t expect to find the same factory that Hasbro uses for your limited edition toy. You will need to find a good, stable, medium sized company that can handle the work for you.
Once you find the factory you will need to send them your prototype for costing. This is where you need to part with your original so make sure you make at least 2 of them. Within 2 weeks of receiving your prototype you will be able to get a cost for your figures. Depending on how many you want to make will determine the cost per piece. As most rotocast figures are done under 1000 pieces and looking at the retail price of HK vinyl today you can see that the costs are quite high.
The production process takes about 6-9 weeks, wax mould, master moulds, paint masters and production moulds all come next and there is a lot of back and forth between you and the factory to get it the way you want it. So again finding a good quality factory is # 1 as this will help with any aggravations created in the road of production.
From there you get your packaging design done to fit your toy and have that artwork sent to Hong Kong so they can print and package your toys. You tell the factory how many you want to pack in each case and they will then arrange to ship back to you.
Not as easy as it sounds but extremely gratifying when you open that sealed case of figures YOU created.
John Wong [Action-HQ.com] > Okay, here is the most important question, how much does it take to get started if all you can do is design the product? Can you give us a cost for sculpting as I think not many of us are competent to do that and how much is it to make 1,000 rotocast vinyl figures?
Casey Lau [HyperChild] > Well like anything costs break down by quality and negotiations. Sculpting can go from anything from $1,000 to $5,000 per figure in my experience -if you want someone famous to do it, it can go up to $10,000.
And then the price per piece depending on quality and size, articulation, number of parts - wow there are so many factors that come into pricing a figure that it could range from $1-$20 per piece for 1000 pieces. One thing I have learned is that to meet price points you have to be willing to let things go from your original ideas as some things may be too costly to do.
John Wong [Action-HQ.com] > Thanks, that was very informative. Let's talk about the other major component which is the market. In layman terms again, I think our readers would like to know how many pieces should someone starting out make and how do they sell it?
Casey Lau [HyperChild] > Well there are online shops and brick and motor shops and the toys distributors to go too. This is a big question and you should figure out who your target audience is before you begin. In Hong Kong we have a very tight knit toy community of shops and shows where toys are sold and bought, as has the rest of Asia - in the U.S. or U.K. I would gather you would find some specialty shops that would be clued in to this scene.
John Wong [Action-HQ.com] > Thanks again Casey. I think the readers now have a good and basic understanding on how to start. Any last words?
Just a plug. You can check out my line of figures at www.hyperchild.ws for a look at that will be available in June 2003 and are available for pre-order now at www.action-hq.com.
posted by Unknown at 2:22 PM
Tuesday, June 08, 2004
Thursday, June 03, 2004
DivXLand - Subtitler
DivXLand - Subtitler: "Welcome to the DivXLand Subtitler homepage. DivXLand Subtitler is the only program that allows the user to manually subtitle movies and videos while viewing the applied captions on the fly. It includes some features like automatic timing limit, easy caption edition, and offers 2 modes for applying of captions."
posted by Unknown at 3:56 PM
URUSoft - Software 100% Uruguayo
URUSoft - Software 100% Uruguayo
Subtitle Workshop is the most complete, efficient and convenient freeware subtitle editing tool. It supports all the subtitle formats you need and has all the features you would want from a subtitle editing program. Subtitle Workshop makes subtitle creating/editing/converting tasks almost a pleasure, the amicable and intuitive interface mixes easy to access menus & must have features with advanced functions and a remarkable speed and stability, drastically reducing subtitle editing time. It includes spell check function and an advanced video preview feature which will ease the task even more. The best choice for the beginner, expert or the fansubber. Have a try, and you'll forget the rest!
Subtitle Workshop is the most complete, efficient and convenient freeware subtitle editing tool. It supports all the subtitle formats you need and has all the features you would want from a subtitle editing program. Subtitle Workshop makes subtitle creating/editing/converting tasks almost a pleasure, the amicable and intuitive interface mixes easy to access menus & must have features with advanced functions and a remarkable speed and stability, drastically reducing subtitle editing time. It includes spell check function and an advanced video preview feature which will ease the task even more. The best choice for the beginner, expert or the fansubber. Have a try, and you'll forget the rest!
posted by Unknown at 3:56 PM
QUICK DISSOLVE:
asahi.com : English
Spirited away:As merchandisers grow rich, the animation industry is losing jobs to cheaper labor abroad.
By YUZURU TAKANO and KIYOHIDE INADA:The Asahi Shimbun
`Unless something is done, Japanese anime will be ruined.' KOICHI MURATA President of animation company Oh Production
For all the fat profits that Japanese animation generates from merchandise these days, the wallets of the animators who piece the cartoons together are as thin as the cels they painstakingly paint.
To take one example, the worldwide market for the video games and merchandise related to the late-1990s cartoon series Pokemon is worth some 3 trillion yen.
Yet an animator, toiling away on cels in a tiny Tokyo studio, might be fortunate to pull in just 50,000 yen a month.
Much of the recent interest in, and the money for, Japanese animation, popularly known as anime, comes from abroad, notes Kiyokazu Matsumoto, president of Dream Ranch Inc., a Sony Music Group company.
Matsumoto said one U.S. toy manufacturer offered his company about $10 million (about 1.1 billion yen) for the rights to market merchandise featuring the characters of an animated cartoon his company hadn't even completed. The figure was particularly eye-popping for Matsumoto because it was 100 times what animated films earn on average from broadcasting rights in Japan.
The offer came just as Matsumoto and his company were starting to map out an animation based on illustrations by an artist whose works often appear on comic book covers.
Dream Ranch has since neared a deal with a Hollywood company to turn the story into a full-length animation.
In recent years, the trend has been to turn cartoon characters into merchandise and video games as quickly as possible.
It was the Pokemon series in the late 1990s that revolutionized the conventional notion that animation was first and foremost for the domestic market and the overseas market a mere side business.
Pokemon video games, stuffed dolls and other merchandise proved an instant success when they hit the U.S. market. About 120 million Pokemon video games have so far been shipped around the world. The Pokemon cartoon has aired in 68 nations.
The Tokyo-based company that manages the Pokemon copyright has licensing contracts with about 200 companies overseas and about 70 in Japan. About 2,000 items, including stationery and toys, now feature Pokemon characters.
Of course, international acclaim for Japanese animation is nothing new, having started with ``Astro Boy'' in the early 1960s.
More recently, Hayao Miyazaki's ``Spirited Away'' won the Golden Bear Award at the Berlin Film Festival in 2002 and then won Best Animated Feature Film at the Academy Awards the following year.
Mamoru Oshii's ``Innocence'' was screened at the Cannes Film Festival in May and will open at theaters in 10 major U.S. cities this fall.
The creators of ``Innocence'' are also fully aware of the ripeness of the overseas market for Japanese animation. In part to channel the animation toward the American mainstream, they spent about 2 billion yen making the film, an enormous amount in Japan for an animated feature. A sum of a similar level was also spent to make ``Spirited Away.'' Still, this is nowhere near what Hollywood spends on animated films, which cost the equivalent of about 10 billion yen each.
The sponsors of ``Innocence'' include major Japanese companies as well as the Disney group.
The producer of ``Innocence,'' Katsuji Morishita of the studio Production I.G., notes, ``Unlike conventional anime, we aimed for Hollywood from the beginning.''
Because Japanese animation creators have nowhere near the funds of Disney animators, they must make do with fewer frames and instead concentrate on creating appealing story lines. They also have at their disposal perhaps the largest number of comic books in the world to tap into for inspiration.
``Japanese animations tell good stories and are popular overseas, too,'' says Yasuki Hamano, a media professor at the University of Tokyo. ``They have a lot of potential to be competitive overseas.''
At the same time, however, the small subcontractors that have made Japanese animation such a big success are now fast losing out to competitors in South Korea and China, where labor costs are lower.
Many of the 70 or so subcontractors clustered in Tokyo's Suginami Ward are in a bind. Even as the cost of rent and paying animators rises, there has been no corresponding rise in production budgets.
One of those feeling the pinch is Oh Production, which created the cels for popular animations like ``Arupusu no Shojo Haiji'' and ``Chibi Maruko-chan.''
Disheartened by a monthly salary that tops out at 50,000 yen, a 26-year-old animator who joined the production team a year ago said, ``Sometimes I want to give up-I never imagined it would be like this.'' Only with parental financial support can the animator make ends meet. A single cel earns an animator 200 yen, yet might, if the image is complicated, take a whole day to make.
Of the approximately 440 animation production companies in the country, about 70 percent are small, with 30 workers or fewer, according to one estimate.
Such companies receive around 10 million yen for a single job from advertisers and sponsors. Sometimes, it isn't enough to cover costs.
The real money comes from broadcast rights, which are usually held by TV stations, publishers and major animation production companies. Consequently, the small subcontractors do not share in the windfall from thriving sales of merchandise featuring animated characters.
Many young animators, fed up with the low pay, quit in a few years. And with more and more cels getting painted in South Korea and China, many in the domestic industry worry about the ``hollowing out'' of the animation industry.
``Unless something is done, Japanese anime will be ruined,'' laments Oh Production President Koichi Murata.(IHT/Asahi: June 2,2004) (06/02)
Spirited away:As merchandisers grow rich, the animation industry is losing jobs to cheaper labor abroad.
By YUZURU TAKANO and KIYOHIDE INADA:The Asahi Shimbun
`Unless something is done, Japanese anime will be ruined.' KOICHI MURATA President of animation company Oh Production
For all the fat profits that Japanese animation generates from merchandise these days, the wallets of the animators who piece the cartoons together are as thin as the cels they painstakingly paint.
To take one example, the worldwide market for the video games and merchandise related to the late-1990s cartoon series Pokemon is worth some 3 trillion yen.
Yet an animator, toiling away on cels in a tiny Tokyo studio, might be fortunate to pull in just 50,000 yen a month.
Much of the recent interest in, and the money for, Japanese animation, popularly known as anime, comes from abroad, notes Kiyokazu Matsumoto, president of Dream Ranch Inc., a Sony Music Group company.
Matsumoto said one U.S. toy manufacturer offered his company about $10 million (about 1.1 billion yen) for the rights to market merchandise featuring the characters of an animated cartoon his company hadn't even completed. The figure was particularly eye-popping for Matsumoto because it was 100 times what animated films earn on average from broadcasting rights in Japan.
The offer came just as Matsumoto and his company were starting to map out an animation based on illustrations by an artist whose works often appear on comic book covers.
Dream Ranch has since neared a deal with a Hollywood company to turn the story into a full-length animation.
In recent years, the trend has been to turn cartoon characters into merchandise and video games as quickly as possible.
It was the Pokemon series in the late 1990s that revolutionized the conventional notion that animation was first and foremost for the domestic market and the overseas market a mere side business.
Pokemon video games, stuffed dolls and other merchandise proved an instant success when they hit the U.S. market. About 120 million Pokemon video games have so far been shipped around the world. The Pokemon cartoon has aired in 68 nations.
The Tokyo-based company that manages the Pokemon copyright has licensing contracts with about 200 companies overseas and about 70 in Japan. About 2,000 items, including stationery and toys, now feature Pokemon characters.
Of course, international acclaim for Japanese animation is nothing new, having started with ``Astro Boy'' in the early 1960s.
More recently, Hayao Miyazaki's ``Spirited Away'' won the Golden Bear Award at the Berlin Film Festival in 2002 and then won Best Animated Feature Film at the Academy Awards the following year.
Mamoru Oshii's ``Innocence'' was screened at the Cannes Film Festival in May and will open at theaters in 10 major U.S. cities this fall.
The creators of ``Innocence'' are also fully aware of the ripeness of the overseas market for Japanese animation. In part to channel the animation toward the American mainstream, they spent about 2 billion yen making the film, an enormous amount in Japan for an animated feature. A sum of a similar level was also spent to make ``Spirited Away.'' Still, this is nowhere near what Hollywood spends on animated films, which cost the equivalent of about 10 billion yen each.
The sponsors of ``Innocence'' include major Japanese companies as well as the Disney group.
The producer of ``Innocence,'' Katsuji Morishita of the studio Production I.G., notes, ``Unlike conventional anime, we aimed for Hollywood from the beginning.''
Because Japanese animation creators have nowhere near the funds of Disney animators, they must make do with fewer frames and instead concentrate on creating appealing story lines. They also have at their disposal perhaps the largest number of comic books in the world to tap into for inspiration.
``Japanese animations tell good stories and are popular overseas, too,'' says Yasuki Hamano, a media professor at the University of Tokyo. ``They have a lot of potential to be competitive overseas.''
At the same time, however, the small subcontractors that have made Japanese animation such a big success are now fast losing out to competitors in South Korea and China, where labor costs are lower.
Many of the 70 or so subcontractors clustered in Tokyo's Suginami Ward are in a bind. Even as the cost of rent and paying animators rises, there has been no corresponding rise in production budgets.
One of those feeling the pinch is Oh Production, which created the cels for popular animations like ``Arupusu no Shojo Haiji'' and ``Chibi Maruko-chan.''
Disheartened by a monthly salary that tops out at 50,000 yen, a 26-year-old animator who joined the production team a year ago said, ``Sometimes I want to give up-I never imagined it would be like this.'' Only with parental financial support can the animator make ends meet. A single cel earns an animator 200 yen, yet might, if the image is complicated, take a whole day to make.
Of the approximately 440 animation production companies in the country, about 70 percent are small, with 30 workers or fewer, according to one estimate.
Such companies receive around 10 million yen for a single job from advertisers and sponsors. Sometimes, it isn't enough to cover costs.
The real money comes from broadcast rights, which are usually held by TV stations, publishers and major animation production companies. Consequently, the small subcontractors do not share in the windfall from thriving sales of merchandise featuring animated characters.
Many young animators, fed up with the low pay, quit in a few years. And with more and more cels getting painted in South Korea and China, many in the domestic industry worry about the ``hollowing out'' of the animation industry.
``Unless something is done, Japanese anime will be ruined,'' laments Oh Production President Koichi Murata.(IHT/Asahi: June 2,2004) (06/02)
posted by Unknown at 12:29 PM
Convicted 'Super Free' rapist gets 10 years in slammer
Mainichi Interactive - Top News
The former vice-leader of the notorious Waseda University-based group Super Free was Thursday handed a 10-year prison sentence after being convicted of three rapes described by the Tokyo District Court as "heinous."
In handing down the Tokyo District Court sentence on former Waseda University student Junichiro Kobayashi, Presiding Judge Yujiro Nakatani said Kobayashi's actions were cold-hearted and inhumane.
"The Super Free members went to the extremes of rape like a herd of savage animals, and Kobayashi's actions were cold-hearted and inhumane," Nakatani said. "It was unworthy of a human, and heinous. He actively participated in all of the rapes.
In addition to the sentence on Kobayashi, the court handed down a six-year prison sentence on former Nihon University student Sho Fujimura, who was accused of participating in two rapes.
A total of 14 people from Super Free, which is no longer in operation, were charged in connection with the rapes, including the group's former leader, former Waseda University student Shinichiro Wada, 29.
Nine group members who were charged with participation in one rape have all been handed prison sentences of between 28 and 32 months. Wada and Kobayashi were the only members accused of being involved in all three rapes the group was involved in.
The sentence on Kobayashi is so far the heaviest to be handed out in connection with the group. Wada is still on trial over his involvement.
During the sentencing, the court said Kobayashi had played a serious role in the crimes, being the first to rape a victim.
"He took no heed of the personalities of the victims," the court said.
Kobayashi apologized during the trial, saying "I've done something awful." Fujimura said he had succumbed to his desires and would "make up for" his crimes.
Kobayashi was convicted of conspiring with other members of Super Free to get three female students drunk when they participated in events between 2001 and April last year, and rape them in the group's office and in a Roppongi building. The three students were aged between 18 and 20. (Compiled from Mainichi and wire reports, Japan, June 3, 2004)
The former vice-leader of the notorious Waseda University-based group Super Free was Thursday handed a 10-year prison sentence after being convicted of three rapes described by the Tokyo District Court as "heinous."
In handing down the Tokyo District Court sentence on former Waseda University student Junichiro Kobayashi, Presiding Judge Yujiro Nakatani said Kobayashi's actions were cold-hearted and inhumane.
"The Super Free members went to the extremes of rape like a herd of savage animals, and Kobayashi's actions were cold-hearted and inhumane," Nakatani said. "It was unworthy of a human, and heinous. He actively participated in all of the rapes.
In addition to the sentence on Kobayashi, the court handed down a six-year prison sentence on former Nihon University student Sho Fujimura, who was accused of participating in two rapes.
A total of 14 people from Super Free, which is no longer in operation, were charged in connection with the rapes, including the group's former leader, former Waseda University student Shinichiro Wada, 29.
Nine group members who were charged with participation in one rape have all been handed prison sentences of between 28 and 32 months. Wada and Kobayashi were the only members accused of being involved in all three rapes the group was involved in.
The sentence on Kobayashi is so far the heaviest to be handed out in connection with the group. Wada is still on trial over his involvement.
During the sentencing, the court said Kobayashi had played a serious role in the crimes, being the first to rape a victim.
"He took no heed of the personalities of the victims," the court said.
Kobayashi apologized during the trial, saying "I've done something awful." Fujimura said he had succumbed to his desires and would "make up for" his crimes.
Kobayashi was convicted of conspiring with other members of Super Free to get three female students drunk when they participated in events between 2001 and April last year, and rape them in the group's office and in a Roppongi building. The three students were aged between 18 and 20. (Compiled from Mainichi and wire reports, Japan, June 3, 2004)
posted by Unknown at 10:57 AM
Oasis Video Miami - Horror, Exploitation, Foreign, and Bizarre Films on DVD
Oasis Video Miami - Horror, Exploitation, Foreign, and Bizarre Films on DVD: "OASIS VIDEO MIAMI is your DVD outlet for a wide variety of Horror, Exploitation, Foreign and Bizarre films. CLICK HERE FOR OUR NEWEST TITLES.
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Membership to OASIS VIDEO MIAMI is FREE! To create a customer account simply sign in with your e-mail address and choose a password. You will be able to purchase videos, track your orders, and receive our newsletters.
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Looking for that rare or out of print film, then CLICK HERE TO VISIT VIDEO SEARCH OF MIAMI with more than 10,000 titles!"
All DVDs listed come as factory-sealed pre-records complete with original box art and special features. All DVDs are Region 1 or Region 0, playable on all North American DVD players.
Membership to OASIS VIDEO MIAMI is FREE! To create a customer account simply sign in with your e-mail address and choose a password. You will be able to purchase videos, track your orders, and receive our newsletters.
To browse our site you can either search by typing keywords into the 'SEARCH' box or you can select a Genre category.
PLEASE NOTE that orders placed contemporaneously with VIDEO SEARCH OF MIAMI orders will be shipped together and may reduce your shipping charges.
Looking for that rare or out of print film, then CLICK HERE TO VISIT VIDEO SEARCH OF MIAMI with more than 10,000 titles!"
posted by Unknown at 10:55 AM
Schoolgirl killer says she was inspired by TV murder drama
Mainichi Interactive - Top News
SASEBO, Nagasaki -- An 11-year-old girl who admitted to slashing 12-year-old fellow classmate Satomi Mitarai to death at school with a paper cutter has told prefectural police she decided to attack her victim after watching a television drama.
"I watched a TV drama and decided to try (to kill her)," the 11-year-old, who cannot be named because of her age, was quoted as telling police.
The girl, who was taken into custody after the attack on Tuesday, reportedly told police she had planned to kill Satomi four days earlier, and investigators said it was possible scenes in the drama had sparked the attack with the paper cutter.
The drama, titled "Getsuyo Misuterii Gekijo 'Hosutesu Tantei Kiki Ippatsu'" (Monday mystery theater 'the hostess detectives' close call') was broadcast last Monday from about 9 p.m. Through the two-hour installments of the series, three hostesses in a club in Tokyo's Ginza district work together to solve crimes.
In the show on Monday, a real-estate boss and his lover are killed. A total of five victims are attacked on the street in the show, and including flashback scenes, eight scenes portray people being attacked with paper cutters.
The 11-year-old girl under arrested reportedly told police that she had decided to attack Satomi in the same way.
"I saw that drama. I thought I'd do it that way," she was quoted as telling investigators.
Investigators said that on Tuesday afternoon, when the girl sat Satomi down in a chair and cut her throat with a paper cutter, she stood behind Satomi and covered her face with her hand.
Police also quoted the girl as saying, "I had thought of other ways to kill her apart from using a paper cutter."
During a news conference on Thursday, lawyers for the girl, including Mitsuo Hazama and Nozomu Kawazoe, said the 11-year-old had begun to question her actions.
"I wonder why I did it. If I thought and acted properly it wouldn't have happened. I would like to apologize (to Satomi if I could)," the girl was quoted as saying.
Hazama and Kawazoe met and talked with her for about one hour from 9 a.m.
The lawyers said she had begun exchanging messages with her victim and another girl on the Internet from about April, but in about the middle of May, something had upset her. She had also reportedly been upset by notes that were being circulated.
When questioned by police, the 11-year-old reportedly said there was no other trouble between her and Satomi besides the notes and Internet messages. She reportedly said she had not told anyone about the way she was feeling.
Lawyers said the girl had clearly answered questions directed at her and that there appeared to be no need for a psychiatric examination. (Mainichi Shimbun, Japan, June 3, 2004)
SASEBO, Nagasaki -- An 11-year-old girl who admitted to slashing 12-year-old fellow classmate Satomi Mitarai to death at school with a paper cutter has told prefectural police she decided to attack her victim after watching a television drama.
"I watched a TV drama and decided to try (to kill her)," the 11-year-old, who cannot be named because of her age, was quoted as telling police.
The girl, who was taken into custody after the attack on Tuesday, reportedly told police she had planned to kill Satomi four days earlier, and investigators said it was possible scenes in the drama had sparked the attack with the paper cutter.
The drama, titled "Getsuyo Misuterii Gekijo 'Hosutesu Tantei Kiki Ippatsu'" (Monday mystery theater 'the hostess detectives' close call') was broadcast last Monday from about 9 p.m. Through the two-hour installments of the series, three hostesses in a club in Tokyo's Ginza district work together to solve crimes.
In the show on Monday, a real-estate boss and his lover are killed. A total of five victims are attacked on the street in the show, and including flashback scenes, eight scenes portray people being attacked with paper cutters.
The 11-year-old girl under arrested reportedly told police that she had decided to attack Satomi in the same way.
"I saw that drama. I thought I'd do it that way," she was quoted as telling investigators.
Investigators said that on Tuesday afternoon, when the girl sat Satomi down in a chair and cut her throat with a paper cutter, she stood behind Satomi and covered her face with her hand.
Police also quoted the girl as saying, "I had thought of other ways to kill her apart from using a paper cutter."
During a news conference on Thursday, lawyers for the girl, including Mitsuo Hazama and Nozomu Kawazoe, said the 11-year-old had begun to question her actions.
"I wonder why I did it. If I thought and acted properly it wouldn't have happened. I would like to apologize (to Satomi if I could)," the girl was quoted as saying.
Hazama and Kawazoe met and talked with her for about one hour from 9 a.m.
The lawyers said she had begun exchanging messages with her victim and another girl on the Internet from about April, but in about the middle of May, something had upset her. She had also reportedly been upset by notes that were being circulated.
When questioned by police, the 11-year-old reportedly said there was no other trouble between her and Satomi besides the notes and Internet messages. She reportedly said she had not told anyone about the way she was feeling.
Lawyers said the girl had clearly answered questions directed at her and that there appeared to be no need for a psychiatric examination. (Mainichi Shimbun, Japan, June 3, 2004)
posted by Unknown at 10:49 AM
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