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Akima,
The group is called Rashomon.
"Ru Igarashi" <ru.igarashi@xxxxxxxx> wrote in message
news:anime/music/part1_1167629174@xxxxxxxxxxxxxxx
> Archive-name: anime/music/part1
> Posting-Frequency: every 4 weeks
> Last-modified: 25 October, 2006
> Copyright: (c) 2001-2006 Ru Igarashi
> Disclaimer: Approval for *.answers is based on form, not content.
> Maintainer: Ru Igarashi <ru.igarashi@xxxxxxxx>
>
>
>
> Anime Music FAQ
> for REC.ARTS.ANIME.MUSIC
> Part 1
>
> Edited by Ru Igarashi
> Based on the work of Steve Pearl
>
> This article can be freely distributed for non-commercial use,
> as long as all credits and notices remain intact. If this is to be
> used in any publication, including CD-ROM collections, please
> contact the maintainer for permission at
> e-mail:ru.igarashi@xxxxxxxxx
>
> Please e-mail all additions/corrections/comments to:
> ru.igarashi[at]usask.ca
>
> Changes since last posting:
> - added link to composer Oshima Michiru (FMA)
> - changed rtfm.mit.edu (hierarchy) archive link for the FAQ
> because that particular subdir is out of order.
>
> FAQ Entries needed (submissions welcome):
> - Need ADV Music CD prefix (I think I lost the info)
> - Does Bandai have a separate CD web site/page?
> - Are there any other prefices fro Geneon Japan (formerly Pioneer)?
> - there is a bunch of artists with non-Japanese SOUNDING names in the
> non-Japanese artists list. Please let me know if any of the names
> don't belong on that list.
>
>
> ----------------------------------------------------------------------
> This FAQ is posted in three parts.
>
> Contents:
>
> Part 1
>
> 1. General Questions
> o WHY DO IMPORT ANIME CDS COST SO MUCH?
> o WHAT IS THE 2 YEAR LIMIT?
> o WHY ARE 2 PRICES SHOWN ON THE BACK OF MY CD?
> o HOW DO I PLAY STREAMING AUDIO?
> o WHAT'S THE RECOMMENDED WAY OF PRESENTING MUSIC SAMPLERS ON MY WEB
SITE?
> o WHAT'S THE SONG THAT PLAYS DURING THAT SCENE...?
> o WHAT ARE SOME GOOD ORCHESTRAL, SYMPHONIC, OR CLASSICAL STYLE OST?
> o WHAT SOUNDTRACKS INCLUDE COMPOSITIONS BY CLASSICAL COMPOSERS?
> o WHAT SOUNDTRACKS USE SONGS OR MUSIC FROM OTHER NON-ANIME SOURCES?
> o WHAT SOUNDTRACKS FEATURED NON-JAPANESE ARTISTS?
>
> 2. Artists
> o WHO WROTE THE SOUNDTRACK FOR THIS SHOW?
> o IS GABRIELLE ROBIN ACTUALLY YOKO KANNO?
> o WHAT LANGUAGE DOES GABRIELLA ROBIN SING IN?
> o WHICH VOICE ACTORS ALSO HAVE A SINGING CAREER?
>
> 3. Legality Issues with Anime Music
> o LEGALITY OF COPYING ANIME MUSIC
> o IF NO PROFIT IS MADE, IT ISN'T ILLEGAL, IS IT?
> o BUT I CAN'T AFFORD THE ORIGINALS, DOESN'T THAT COUNT?
> o BUT THE CD I WANT IS OUT OF PRINT
> o IS MY INTERNET RADIO OR STREAMING AUDIO SITE ILLEGAL?
> o HOW DOES ONE GET AN INTERNET BROADCAST LICENSE?
> o WHAT IS ASCAP AND JASRAC, AND WHAT DO THEY DO?
> o WHAT IS THE ACTUAL COPYRIGHT LAW?
> o WHAT IS THE "BERNE CONVENTION"?
> o ARE SON MAY/EVER ANIME CDS BOOTLEGS?
> o HOW CAN I TELL IF AN ANIME CD IS A BOOTLEG CD?
> o WHAT ARE THE PREFIXES FOR JAPANESE ANIME CDS?
> o WHAT ARE THE PREFIXES FOR NON-JAPANESE ANIME CDS?
> o ARE THERE PREFIXES FOR BOOTLEGGED CDS?
> o ISN'T IT ILLEGAL FOR STORES TO SELL SM/EA CDS?
> o BUT WHY ISN'T COPYRIGHT ACTUALLY ENFORCED?
> o IF THE RIGHTS HOLDERS DON'T ACT, DON'T THEY LOSE THEIR RIGHTS?
> o WHAT IS THIS RUMOR ABOUT LICENSING MP3 SOFTWARE?
>
> A. About this FAQ
> o WHAT IS THIS FAQ FOR?
> o WHAT IS THE HISTORY OF THIS FAQ?
> o WHAT ARE THOSE OTHER ANIME MUSIC FAQS?
> o WHERE CAN I FIND THE LATEST VERSION OF THIS FAQ?
> B. Contributors
> C. Disclaimer
>
> Part 2
> 1. Online Anime Music Resources
> 2. Anime Mail Order Businesses
>
> Part 3
> 1. GLOSSARY
>
>
> ----------------------------------------------------------------------
>
> 1. General Questions
>
> o WHY DO IMPORT ANIME CDS COST SO MUCH?
>
> Because that is what they cost in Japan. This is true of anime
> videos, too. Most CDs in Japan cost about 3000 Yen. The currency
> exchange ranges roughly 1 US dollar for 100-150 Yen. That means
> imported anime CDs should cost about $30 US at $1:Y100 and $20 US
> at $1:Y150. If you find an anime CD for under $20 US, then it is
> either a domestic (outside of Japan) release, a used CD, or a
> bootleg. The reason the Japanese price is so high is usually
> attributed to their higher cost of living.
>
> o WHAT IS THE 2 YEAR LIMIT?
>
> The so-called 2 year limit refers to the regulation period that
> the first release price lasts (for "price protection"). After that
> period expires, retailers can reduce the price.
>
> Some people are under the impression this period refers to when
> the CDs are forced out of print. They are totally wrong.
> Anime CDs have a limited market viability, so by coincidence,
> some anime CDs go out of print in 2 years. But some remain in
> print longer than that.
>
> o WHY ARE 2 PRICES SHOWN ON THE BACK OF MY CD?
>
> The smaller of the two is the base price of the CD. The larger is
> includes a "value added tax" (VAT) which is what must actually be
> initially charged for the CD (as per "2 year limit").
>
> o HOW DO I PLAY STREAMING AUDIO?
>
> First you need software. Some of the more popular ones are listed.
>
> RealMedia/RealAudio
> OS: Unix/Linux,Mac,Windows
> RealPlayer - http://www.real.com
> Streaming MPEG (including M3U and PLS)
> OS: Unix/Linux
> XMMS - http://www.xmms.org
> Zinf (was FreeAmp) - http://www.zinf.org
> [note: for those who want software that also plays
> CDs, this uses MusicBrainz instead of freedb.org for
> CD database]
> RealPlayer - http://www.real.com
> OS: Mac
> iTunes - http://www.apple.com/itunes/
> Musicmatch Jukebox - http://www.musicmatch.com/home/
> MacAmp - http://www.macamp.com
> RealPlayer - http://www.real.com
> Player365 - http://www.live365.com (tuned for live365)
> [see http://www.mp3-mac.com/Pages/MP3_Players-Mac.html for more]
> OS: Windows
> Winamp - http://www.winamp.com
> Musicmatch Jukebox - http://www.musicmatch.com/home/
> FreeAmp - http://www.freeamp.org
> [note: for those who want software that also plays
> CDs, this uses MusicBrainz instead of freedb.org for
> CD database]
> Player365 - http://www.live365.com (tuned for live365)
> iTunes - http://www.apple.com/itunes
>
> Then you need some broadcasters, some of which are listed
> later in this document. Some will allow you to connect directly
> to a broadcast (i.e. you can start up the player without the
> browser and drop the address right in), others work through a
> service like Live365.com (i.e. it might be more convenient or
> necessary to access it via browser).
>
> If you need a browser, you need to set it up to use the audio
> software. In your browser's applications/helper list you need to
> add entries for m3u (audio/x-mpegurl and audio/mpegurl) and
> pls (audio/x-scpls), if they aren't already there.
>
> Keep in mind that internet radio broadcasters technically are
> supposed to be licensed (for copyright), so if you are fussy
> about that sort of thing, look for stations that have paid
> the copyright fee (i.e. through ASCAP, JASRAC, or similar).
>
> o WHAT'S THE RECOMMENDED WAY OF PRESENTING MUSIC SAMPLERS ON MY WEB SITE?
>
> OK, setting aside the legality issues discussed elsewhere (shakey
> ground here), you want to put up music on your web site so that
> other folks can get an idea of what is on a CD. You figure this
> is doing your part to increase the profile of anime or at least
> anime music. Of course, we do get into the copyright issues.
>
> One idea, which is not recommendable, is to use an extreme
> compression factor so that the sound quality deters folks that
> want a freebie. But how much is that? Certainly, anything above
> 128 kbps is very-good to CD quality, so that is out. The fact that
> 64 kbps is considered bearable by portable MP3 device users
> indicates that even 64 kbps is still too high. Then the
> recommendation is something more along the lines of 32-48 kbps.
> There is another problem with this idea besides trying to find
> a bitrate that is low enough to deter copiers, if you are trying
> to show how good a CD is, lousy quality sound detracts from your
> efforts.
>
> Ok, if detering copying is the issue, then how about streaming
> formats, like streaming MP3, Realaudio, and Windows Media Format?
> That does deter many copiers, but there are ways to rip that
> data. It also means users are limited to bitrates that their
> connection allows (e.g. dialups either require low bitrates
> or the user gets choppy music). You may also need to invest
> in extra conversion software and learn how to host the music,
> or find a host (e.g. Live365, Shoutcast). And back in legality
> territory, a license may even be required (e.g. streaming MP3
> technically requires a license from the MP3 technology rights
> holders). Also, keep in mind that some streaming formats
> are not playable by certain operating systems (e.g. Linux
> vs Mac vs Windows) because the owner of the format may not have
> released a version for that OS.
>
> But one aspect of copyrights is that it is considered reasonable
> to present parts of a work for criticism or commentary. So
> taking that as a cue, if you want folks to hear the music,
> present them with clips of highlights from the CDs. You can
> increase the sound quality and still deter the pirates. And
> by using short samples, the transfer volume is small and you
> can put clips from more songs than if you used full songs.
> So how long should the clips be? The recommendation seems to
> be 20-45 seconds, and the clips should be selected from parts
> you think folks will like. There's no point in using the first
> 30 sec of a song if all that time is spent on an intro (unless
> that's the best part, of course). The idea here is that you
> are creating your own advertisement or review for the CD.
> Indicate the source of the clips and the fact they are copyrighted
> by the CD company or whoever is indicated as the copyright holder
> on the CD case. Presenting a review or critique of the CD is
> also a good idea (which you probably intended to do anyways, or
> you wouldn't be considering samplers in the first place).
>
> Keep in mind that the legality issues still should be considered.
> In the ideal case, getting permission is best.
>
> o WHAT'S THE SONG THAT PLAYS DURING THAT SCENE...?
> - Omoide Poro Poro: The end theme.
> song: "The Rose"
> note: This is a Japanese adaptation of the song most
> commonly associated with Bette Midler.
> - Macross Plus Ep. 4: During YF-19 Earth re-entry.
> song: Information High
> CD: Sharon Apple - Cream P.U.F.
> Cat: VICL-15037
> - Ghost in the Shell: OP, ED, during the "ride" through the city.
> song: Basically "utai" 1,3, and 2, respectively. They are
> subtitled, "Making of a Cyborg", "Reincarnation", and
> "Ghost City". "utai" literally translates to "noh chant",
> which is a chant from a form of Japanese theatre.
> Cat: BVCR-729
> - Cowboy Bebop Ep. 5: As Spike approaches the Cathedral.
> song: Rain
> note: the version on CD OST 1 (VICL-60201) is not the
> version from the show. However, it is on the "Future
> Blues" movie soundtrack (VICL-60756) as a hidden bonus.
> - Cowboy Bebop Ep. 5: In the fight between Spike and Vicious in
> the cathedral, when Spike goes through the window.
> song: Green Bird
> CD: "No Disc" OST 2
> Cat: VICL-60202
> - Detonator Orgun OAV 1, ending theme
> song: "Bandiria Ryokodan (Bandiria Travelers)" by Susumu Hirasawa
> note: There is another version of this song on Hirasawa's solo album
> "Virtual Rabbit", but it lacks the booming chorals that make
> the Orgun ending theme so memorable.
> Cat: POCH-2025
> [Michael Hayden]
> - Koko wa Greenwood movie (OAV 5+6), final scene / end theme
> song: "Kimi wo Suki de Yokatta" by Asami Hayashi
> note: It's worth mentioning because it is NOT included on the
> regular Greenwood Vocal Collection (domestic reprint:
> JNA-1513-2). Instead it is included only on the extremely
> out-of-print Vocal Best Collection (VICL-40078).
> Cat: VICL-40078
> [Michael Hayden]
> - Video Girl Ai OST 6, as Youta climbs the glass staircase
> song: "Frozen Flower" by Nav Katze
> note: Available on JNA-1512-2. Its appearance in the show is very
> brief and almost drowned out by Christmas bells, but it still
> catches everyone's attention. Gut-wrenchingly beautiful.
> Cat: JNA-1512.02
> [Michael Hayden]
>
>
>
> o WHAT ARE SOME GOOD ORCHESTRAL, SYMPHONIC, OR CLASSICAL STYLE OST?
>
> As with any music, the recommendations depend on taste. Some of
> these original soundtracks are done with real orchestras, others
> are synthesized orchestras, and the styles vary widely (say, from
> baroque to modern). In some situations, the types of music are
> concentrated on specific CDs, so they are identified as such.
>
> The following OSTs are predominantly orchestral in a classical style.
> ["or" in the catalog number list indicates a Domestic release.]
>
> Arc the Lad - SVWC 1304, SVWC 1306
> Cardcaptor Sakura - VICL-60263
> Crest of the Stars (Monshou no Seikai) - VPCG-84670
> Full Metal Alchemist - SVWC 7191, 7226, & 7251
> Gasaraki - VICL 60295, VICL 60296
> Giant Robo - BCCM-18, APCM-5007, APCM-5008, COCC-11447 [confirmation
needed]
> - reprints: TKCA-72240, 72241, 72242
> Jin-Roh - VICL-60569
> Key The Metal Idol BGM Data Discs - PCCG-00350, 00394, 00045
> Macross Plus OST 1 - VICL-570 or JVC-1004-2 or AT9303
> Night on the Galactic Railroad - KICG-5030
> Planetes - VICL-61235 & 61236
> Plastic Little - SRCL 2823
> Princess Mononoke - TKCA-71168 or FEB002244, TKCA-71395 or 73138-35944-2
> Princess Nine - COCC-15261, COCX-30059
> Record of the Lodoss War - VICL-51 or JNA-1502-2, VICL-114 or JNA-1515-2,
> VICL-267 or JNA-1516-2
> Risky Safety - PCCG-00527
> Rurouni Kenshin OVA - SVWC 1006 & 1010
> Scrapped Princess - LACA-5188 & 5204
> Silent Moebius - VICL-178 or JNA-1518-2, VICL-304 or JAN-1519-2
> Super Atragon (Shin Kaitei Gunkan) - KICA 308
> Turn A Gundam OST 1 & 3 - KICA-473 & 508
> Vision of Escaflowne OST 1 & 3 - VICL-769 & 773
>
> The following has some orchestral pieces in a classical style,
> or uses predominantly orchestral instrumentation (or imitation)
> not in a classical style.
>
> Devil Hunter Yohko (Mamono Hunter Yohko) - KICA 149
> Ghost in the Shell - BVCR-729
> Gunbuster: Aim for the Top! (Top o Nerae!) - VICL-2178
> Gundam 0083: Stardust Memory - VICL-113 and VICL-40038/40039
> Iria: Zeiram the Animation - VICL 530
> Nadia: The Secret of Blue Water - TYCY-5136 or 5573
> Neon Genesis Evangelion - KICA-286, 290, 300
> Patlabor Movie 2 - VPCG-84206
> Patlabor Movie 3 "WXIII" - VICL-60851
> Revolutionary Girl Utena - KICA-354 & 374 & 387
> Robotech Perfect Collection - SDF-CD1
> Sailor Moon - too many CDs to list here
> (try: http://sailormusic.net/tracks/index.html)
> Tenchi Muyo - PICA 1003 & 1011 & 1043
> Wings of Honneamise (Aile de Honneamise) - MDCZ-1168~1171
>
> o WHAT SOUNDTRACKS INCLUDE COMPOSITIONS BY CLASSICAL COMPOSERS?
>
> Cowboy Bebop - Tchaikovsky (Waltz of the Flowers)?
> End of Summer - Chopin (Prelude in F-major)
> Debussy (A little black man, Dream, Dream Variation)
> Faure (Dolly Suite, Romance without words - OP.17-No.3,)
> Mendehlsson (Silent Collection OP.53-No.1)
> Ravel (Sonatine - 2nd movement)
>
> Evangelion - Handel (Halleluja Chorus from Messiah)
> Handel (Blessed are the Lamb, Amen from Messiah)
> Beethoven (Symphony #9 - choral)
> Pachebel (Kanon D-Dur)
> Bach (Cello Suite #1 - Prelude)
> Bach (Jesus, Joy of Man's Desiring)
> Bach (II Air) [is that "II" for real?]
> Excel Saga - L. v. Beethoven (short sections of 4th movement from 9th
Symph)
> FLCL - Kabalevsky (The Comedians - Gallop)
> Gakkou no Kaidan - Beethoven (Fur Elise)
> Geobreeders 2 - L. v. Beethoven (short sections of 4th movement of 9th
Symph)
> Giant Robo - Donizetti (aria from L'Elisir d'Amore)
> Gunbuster - Mascagni (intermezzo from Cavalleria Rusticana)
> Handel (Messiah)?
> Dvorak (New World Symphony)
> Hana Yori Dango - Mahler (which Symphony?)
> Harlock Saga - Wagner (Ring of the Neibulung) [based on or actual use?]
> His and Her Circumstances (KareKano) - L.v. Beethoven (Symphony #?)
> Irresponsible Captain Tylor - Rossini (William Tell Overture)
> Kaleido Star - Richard Strauss (Also Sprach Zarathustra [best known as
> the "2001" theme], in episode 20)
> Legend of the Galactic Heroes movie - Ravel (Bolero)
> Love Hina - Erik Satie (several bars from Gymnopedie No. 1 in Episode 12)
> Stravinski (Night on Bald Mountain)
> Magnetic Rose - Puccini (aria from Madame Butterfly)
> Nazca - J.S. Bach (?)
> Patlabor III - Beethoven (adagio from Pathetique sonata)
> Princess Nine - Schubert (Andante con moto from Piano Trio in E Flat)
> Princess Tutu - Are you kidding? What composer isn't represented in
> this show? For a partial list, see (beware, there are
> potential spoilers):
>
http://www.geocities.com/ruigarashi/FAQS/raa_music/princess_tutu_composers.t
xt
> Rahxephon - A. Borodin (Polovtsian Dance No. 17 from "Prince Igor")
> Read or Die - Beethoven (Symphony #9, 4th movment)
> - ? (Greensleeves - music box version)
> Sailor Moon - A. Vivaldi (4 Seasons "Summer")
> - J.S. Bach (Toccata and Fugue in D minor)
> - L. v. Beethoven (Symphony #5 & #9)
> - F. Chopin (Sonata #2)
> - Franz Lehar ("Merry Widow")
> - Johann Strauss Jr. ("Blue Danube")
> Utena - Berlioz (2nd movement of Symphonie Fantastique)
> Violinist of Hamelin - Rossini (William Tell Overture)
> - Bizet (Carmen Overture)
> - Beethoven (Violin Concerto)
> - much much more
>
> common wedding song - Wagner (Lohengrinn)
>
> o WHAT SOUNDTRACKS USE SONGS OR MUSIC FROM OTHER NON-ANIME SOURCES?
>
> These are shows that used songs or music that were not originally
> written for the show (e.g. were written before). Many are pieces
> written by non-Japanese artists.
>
> Evangelion - "Fly Me to the Moon" by Bart Howard (1954), most
> notable version sung by Frank Sinatra
> FLCL - many songs by The Pillows [needs confirmation of prior release]
> Ghost in the Shell 2: Innocence - "Follow Me" by Kretzmer, Shapey,Rodrigo
> G.T.O. - "S.O.S." by Pink Lady
> Gunslinger Girl - "The Light Before We Land" by The Delgados
> Hanada Shounen Shi - "The One" and "Drowning," performed by the
> Backstreet Boys
> His and Her Circumstances - "S.O.S." by Pink Lady.
> Maison Ikkoku - "Alone Again (Naturally)", "Get Down" by Gilbert
O'Sullivan
> Metropolis - "I Can't Stop Loving You" by Don Gibson, sung by Ray Charles.
> Nana 7 of 7 (Shichinin no Nana) - "The Maple Leaf Rag" by Scott Joplin
> Night Walker - "Gessekai" by Buck-Tick
> Noir - "Copperia no Hitsugi" by Ali Project
> Serial Experiments Lain - "Duvet" by Boa. "HimuraLain" recommends
> checking http://www.boaweb.co.uk in the biography section to
> explain the circumstances around that particular acquisition
> by Pioneer.
> Teki wa Kaizoku (Enemy's the Pirate) - "It's Only Love", "Danger on
> the Street" and "Big Beat, No Heart", by Lea Heart, Paul Dianno,
> Biff Byford. [need confirmation of prior release]
> Texhnolyze - "Guardian Angel" by Juno Reactor
> Urusei Yatsura - 'almost every piece of the Beatles' "Magical Mystery
> Tour" album... (Along with the occasional disco-ized "When You
> Wish Upon a Star"' - Derek Janseen
> Black Heaven - "Cautionary Warning" by John Sykes. ""Cautionary Warning"
> first appeard on John's album "20th Century" (Mercury Japan PHCR-1590,
> released in 1997), two years before "Black Heaven" was released in
> Japan (1999)." - Glenn Shaw
> Speed Grapher - "Girls on Film" by Duran Duran
> Paradise Kiss - "Do You Want To" by Franz Ferdinand
> Ergo Proxy - "Paranoid Android" by Radiohead
>
> o WHAT SOUNDTRACKS FEATURED NON-JAPANESE ARTISTS?
>
> These are STs that featured singers or lyricists that collaborated
> in, or contributed to, the music production and were not Japanese.
>
> [maintainer's note: I added a bunch of names without confirming
> nationality. Please point out errors where you can. - 2005-02-27]
>
> Cowboy Bebop - featured singers Carla Vallet, Emily Bindiger,
> Hassan Bohmide, Steve Conte, Tulivu-Donna Cumberbatch,
> Jerzy Knetig
> - lyrics by Tim Jensen, Brian Richy, Chris Mosdell
> Full Metal Alchemist - VERA
> Gankutsuou (The Count of Monte Cristo) - Jean Jacques Burnel (better
> known as JJBurnel from the band The Stranglers
> Ghost in the Shell: Stand Alone Complex
> - featured singers Ilaria Graziano, Scott Matthew, Origa,
> Emily Curtis, Shanti Snyder
> - lyrics by Tim Jenson, Troy, Origa, Shanti Snyder, Chris Mosdell,
> Ilaria Graziano
> Ghost in the Shell Movie - Fang Ka Wing
> Harmageddon - soundtrack supervised by Keith Emerson
> L/R (Licensed by Royalty) - Billy Preston
> Last Exile - lyrics by Damian Broomhead
> Maison Ikkoku - Mark Goldenberg wrote some of the instrumentals
> Monster - ED theme "For the Love of Life" performed by David Sylvian
> Project A-ko - Joey Carbone and Richie Zito
> RG Veda - music by Nick Wood
> Sol Bianca: The Legacy - featured singer Stella Furst; lyrics by Marie
Cochrane
> Tenchi Muyo in Love - music by Christopher Franke
> - ED sung by Nina Hagen and Rick Jude
> Wolf's Rain - featured singers Steve Conte, Joyce, Raj Ramaya,
> Ilaria Graziano, Franco Sansalone
> (need confirmation for J, RR, and FS)
> - lyrics by Tim Jensen, Joyce, Raj Ramayya, Ilaria Graziano,
> Chris Mosdell, Troy, Franco Sansalone
>
>
> ----------------------------------------------------------------------
> 2. Artists
>
> o WHO WROTE THE SOUNDTRACK FOR THIS SHOW?
>
> Here is a short and far from complete list of soundtrack writers,
> and, in some cases, their web site. Names are listed surname first.
>
> Amano Masamichi - Super Atragon, Princess Nine
> Arisawa Takinori - Sailor Moon
> Hisaishi Joe - Nausicaa of the Valley of Wind, Laputa: Castle
> in the Sky, Kiki's Delivery Service, Porco Rosso,
> Princess Mononoke, My Neighbor Totoro, Spirited Away
> http://www.joehisaishi.com
> Hogari Hisaaki - My Dear Marie, Gasaraki
> Iwasaki Taku - Rurouni Kenshin OVAs, Witch Hunter Robin, Read or Die
> Kanno Yoko - Macross Plus, Vision of Escaflowne (not the North
> American TV version, though a little was left in), Cowboy
> Bebop, Brain Powerd, Magnetic Rose segment of Memories,
> Turn A Gundam, Chikyuu Shoujo Arjuna (Earth Girl Arjuna),
> Ghost in the Shell: Standalone Complex
> Kawai Kenji - Patlabor (TV, OAVs, movies), Mermaid's Forest,
> Blue Seed, Irresponsible Captain Tylor, Vampire Princess
> Miyu (OAV and TV), Ghost in the Shell, Devilman, Maison
> Ikkoku TV, Ranma 1/2: Big Trouble in Nekonron
> http://www.kenjikawai.com/
> Mitsumune Shinkichi - Revolutionary Girl Utena, Nurse Angel
> Rarika SOS
> Mizoguchi Hajime - Please Save My Earth, Jin-Roh, ~1/3 Escaflowne
> http://www.archcello.com/
> Nagaoka Seiko - Tenchi Muyo, El Hazard, Sol Bianca: The Legacy,
Stellvia
> Oshima Michiru - Arc the Lad, Full Metal Alchemist
> http://www.michiru-oshima.com/
> Otani Kou - You're Under Arrest, Haibane Renmei, Daphne in the
> Brilliant Blue
> Reichi Nakaido ("Chabo") - Serial Experiments Lain
> Sakamoto Ryuichi - Wings of Honneamise
> http://www.sitesakamoto.com/
> Tanaka Kohei - Sakura Taisen
> Terashima Tamiya - Key the Metal Idol, Plastic Little
> http://www.dd.iij4u.or.jp/~tamiya/index.shtml
> Tsuru Nohihiro - Mermaid's Scar
> Vink - All Purpose Cultural Cat Girl, Slayers
> Yasuda Takeshi - Oh My Goddess OVA
> Wood, Nick - RG Veda
>
> o IS GABRIELLE ROBIN ACTUALLY YOKO KANNO?
>
> There is evidence that suggests this. See the
> "Tenkuu no Kanno Yoko" site:
> http://www.geocities.com/helixcat_2000/main.html
> (click on "PROFILE", scroll down to the end of the
> section about Yoko Kanno)
> However, she has yet to 'fess up.
>
> o WHAT LANGUAGE DOES GABRIELLA ROBIN SING IN?
>
> As one rec.arts.anime poster once wrote, it's LizFraserese
> (i.e. Elizabeth Fraser of the Cocteau Twins is well known for
> her "screwing up the lyrics" experiments in phoenetics). In
> Robin's case, often, it's gibberish that sounds kind of French.
>
> o WHICH VOICE ACTORS ALSO HAVE A SINGING CAREER?
>
> Some VAs seem to be committed to a singing career in addition to
> (or vice versa) voice acting, either in regularly performing live
> or releasing CDs. Others either make appearances or produce CDs
> in support of a show, and may do so infrequently. It's hard to
> say what constitutes a career, but there are quite a number of
> VAs that have at some point sang in addition to voice acting. The
> list is long enough that it shouldn't really be included here.
> Check Seiyuu databases, listed in the "Online Anime Music Resources"
> section. For example, Hitoshi Doi's Seiyuu Database is searchable
> and also broken down by different categories. You can also try the
> online CD stores (e.g. CDJapan) for specific actresses that you
> know (e.g. by looking it up in Hitoshi's Seiyuu database :) .
>
> ----------------------------------------------------------------------
>
> 3. Legality Issues with Anime Music
>
> o LEGALITY OF COPYING ANIME MUSIC
>
> From Avatar's (a.k.a. Andy Kent) Japanese Animation Legality FAQ
> (http://member.newsguy.com/~memoirs/legal.html - note this is
> not being maintained at the moment, just archived),
>
> No, you can't copy a CD full of anime songs either. @_@ Unless
> you're making a personal copy onto tape for use in your car or
> such, and even that's touchy from a legal perspective.
>
> As some folks have pointed out, if you pay the copyright fee or
> whatever given stipulated terms, of course you can. Many music
> related clubs do this, and in some countries there is a levy on
> recordable CDs to accomodate the recording industry. Time shifting
> (e.g. making a temporary copy of a TV show while you are away
> from home so that you can see it when you get home), and space
> shifting (e.g. making a tape or MP3 of songs you paid for so you
> can listen to them in your CD-less car) have been allowed, but
> the allowances are quite restrictive. Copying MP3s from Napster,
> for example, when you don't own a legal copy of the CD they came
> from was ruled definitely illegal. One key issue of legality is
> that you have to own a legitimate copy (produced by rights holder,
> sold legally to you, or to an individual who then gave it to you)
> BEFORE you make any copies, or generate any other form of copy.
> If you can't prove that, you can assume your copy is illegal.
>
> Otherwise, the Fair Use clause of any nation's copyright laws tend
> to be difficult to gauge, such that it is better to assume a copy
> is illegal. Keep in mind, that Fair Use clauses tend to be oriented
> more towards "purposes such as criticism, comment, news reporting,
> teaching, scholarship, or research" (US Code Title 17, Chapter 1,
> Section 107). At the very least, it's handled case-by-case.
>
> o IF NO PROFIT IS MADE, IT ISN'T ILLEGAL, IS IT?
>
> Not true. There have been quite a few cases in the US where a
> finding of violation was made even if no profit was made, or no
> money exchanged. As long as some party benefits to the exclusion
> of the rights holder, there is a good chance of a finding of
> violation. That means even trading CDR or MP3 of songs is most
> probably illegal if the original CD does not accompany them.
>
> o BUT I CAN'T AFFORD THE ORIGINALS, DOESN'T THAT COUNT?
>
> Now we are getting into moral issues. The law says that getting
> copies without permission or license is illegal (sometimes even
> criminal), so regardless of moral issues, your financial standing
> doesn't matter. That is, as far as the law is concerned, getting or
> making a copy without permission or license is not much different
> than grabbing the orignal CD off the shelf and walking out of
> the store without paying for it (except that doing so is always
> criminal, I think, a matter of degree), so you shouldn't do it.
>
> There is also the issue of supporting the market. Until now, we
> have had little choice but to import our favourite anime STs (with
> limited exceptions). As such, we may be a small part of the anime
> CD market, but there's nothing saying we aren't an unoticeable
> part. Bootlegs reduce our visibility, and would present a bigger
> obstacle than bootlegs of videos because music is a more universally
> accessible medium (no need to translate). But anime, and anime CDs,
> are a niche market. As such, we should worry about the effects on
> attempts to market non-Japanese releases of our favourite STs.
> Remember, these folks not only have to pay a license in addition to
> the usual overhead, but they have to convince the Japanese companies
> that it's worth giving the licence in the first place. Someone
> out there is keeping track of how much anime CD exporting there is,
> and bootlegs detract from that.
>
> I mention the above because ADV and TRSI have started a joint
> venture to bring at least 100 anime CDs to North America in
> 2002, and we should think about supporting that.
>
> Now if you allow me this digression, really, getting anime CDs isn't
> a right, it's a luxury. As such, we shouldn't really expect prices
> to oblige us to that extent (after all, that's what capitalism
> is about). That is, if you are concerned about moral issues,
> it's like any item we can survive without, if we can't afford it
> we should do without until we can afford it. We have to live
> with that on stuff we consider more essential than anime CDs,
> so it should apply with anime CDs, too.
>
> Then it's just a question of what you are morally and legally
> willing to live with. If these considerations aren't a concern,
> your financial standing is the main consideration. If they are
> a concern, then your financial standing doesn't count. It's up
> to you. Just be aware that rec.arts.anime.music has a few vocal
> objectors to bootlegs.
>
> o BUT THE CD I WANT IS OUT OF PRINT
>
> Ok, another moral territory issue. Setting the moral issue aside
> for the moment, there are other means of getting the CD. You can
> check out used CD stores, both brick-and-mortar (if you are so
> lucky as to have one nearby) and online (some are listed in this
> FAQ). You can check out the online auction sites, being careful
> to check catalog numbers, and the usual precautions against fraud.
> You can inquire in the rec.arts.anime.marketplace newsgroup.
>
> As far as the moral issues are concerned, one argument against bootleg
> CDs, similar to the affordability perspective, is that acquiring CDs
> is a luxury and not a right. The notion that "you can live without
> it, do without", applies similarly here, especially considering you do
> without with more important stuff.
>
> Concerns regarding the domestic market for non-Japanese re-releases
> also apply here as with the affordability perspective. In some sense,
> moreso because the domestic prices tend to be comparable to the
> bootleggers' (outrageous) prices. That can also lead to some confusion
> as to what is a legitimate low priced CD.
>
> Finally, not all CDs remain out of print. Some CDs get a new pressing
> after only a couple years, which helps us folks on the other side of the
> planet that only get a chance to see the anime a couple years after
> the Japanese showing. Some CDs, like the Nadia and Patlabor CDs,
> enjoyed a re-release many years after.
>
> o IS MY INTERNET RADIO OR STREAMING AUDIO SITE ILLEGAL?
>
> You may be avoiding direct copying of works, but you still have
> to worry about broadcasting rights. If you or your service have
> paid the license or gotten authorization from the rights holder,
> you're legal. If you haven't, your site may well be in violation.
> Keep in mind, if you are running as a member of a licensed broadcast
> service like Live365.com, you may be ok; it depends on if their
> licensor covers the foreign works you are broadcasting. As usual,
> your programs have to be made from legitimate copies (e.g. not
> from CDR or MP3 you got in a trade).
>
> o HOW DOES ONE GET AN INTERNET BROADCAST LICENSE?
>
> It varies from country to country, but most countries have an
> organization like ASCAP (see below) that you can contact. They
> usually handle a variety of licensing packages to suit the
> scale of the licensee.
>
> o WHAT IS ASCAP AND JASRAC, AND WHAT DO THEY DO?
> [this needs confirmation and should not be considered reliable
> information]
>
> These organizations look after copyright management for their members.
> They give out licenses, collect royalties, and distribute the money
> from licensing and royalties. Their members are the rights holders
> of the work they license. These organizations are limited to a
> country, but there may be more than one in a country. Many of these
> organizations are members of international cooperatives through
> respective agreements. This allows works covered by one organization
> to get royalties from performances in another country. ASCAP is
> a North American licensing organization, and JASRAC is a Japanese
> one. If someone wanted to use an anime CD in a broadcast fundraiser
> in Houston, Texas, that person would pay the licensing fee perhaps
> to ASCAP, and then ASCAP would pass money along to JASRAC, who
> then gives the money to the writers, the studios, etc, in Japan.
>
> Here's a sample list of organizations in some countries.
>
> USA
> American Society of Composers, Authors, and Publishers (ASCAP)
> http://www.ascap.com/
> Broadcast Music, Inc (BMI)
> http://bmi.com/
> Canada
> Society of Composers, Authors, and Music Publishers of Canada
> http://www.socan.ca/
> UK
> Performing Right Society (PRS)
> http://www.prs.co.uk/
> Japan
> Japanese Society for Rights of Authors, Composers, and
> Publishers (JASRAC)
> http://www.jasrac.or.jp/ejhp/index.htm
>
>
> o WHAT IS THE ACTUAL COPYRIGHT LAW?
>
> There is no one copyright law for all nations. The Berne Treaty
> (see below) tries to make copyright laws of signing nations
> consistent and to add just enough glue to protect international
> works. Copyright laws of various nations can be found at these
> sites.
>
> Japan
> http://www.cric.or.jp/ (Japanese)
> http://www.cric.or.jp/cric_e/index.html (English)
> USA
> http://www.law.cornell.edu/uscode/17/
> Canada
> http://laws.justice.gc.ca/en/C-42/index.html
> Australia
> http://scaleplus.law.gov.au/html/pasteact/0/244/top.htm
> UK
>
http://www.legislation.hmso.gov.uk/acts/acts1988/Ukpga_19880048_en_1.htm
>
> o WHAT IS THE "BERNE CONVENTION"?
>
> The Berne treaty is an international treaty that outlines the
> basic copyrights that all signatory nations will abide by.
> The main points are:
> - works created in a foreign nation will be treated as if
> created domestically.
> - all artists have the exclusive right to authorize
> translations, reproduction, performance, and adaptation
> of their works.
> - all artists have the right of integrity and attribution
> - signatory nations can have even more and stronger
> copyright rules than the treaty stipulates.
> The number of signatory nations that have NOT signed the
> treaty is a small minority of all nations. An HTML version of
> the Berne Treaty can be found at:
> http://www.wipo.int/clea/docs/en/wo/wo001en.htm
> or at
> http://www.law.cornell.edu/treaties/berne/overview.html
>
> Other international treaties can be found at the World Intellectual
Property
> Organization web site (http://www.wipo.org/):
> http://www.wipo.org/treaties/ip/index.html
>
> A list of signatory nations can be found at:
> http://www.wipo.org/treaties/documents/english/pdf/e-berne.pdf
>
> o ARE SON MAY/EVER ANIME CDS BOOTLEGS?
>
> In all Berne convention signatory nations, yes, they are. These are
> made by Taiwanese companies that did not get permission, or pay
> licenses, to reproduce and distribute most (if not all) of their
> anime CDs. As far as the CD data for a given song is concerned they
> are identical to the original. They are also getting difficult to
> identify by package quality, as their print copying is getting
> pretty good.
>
> Other common bootleg companies seem to be:
> Smile Face
> Alion
> Miya Records
>
> It is up to the you to decide if buying a bootleg is acceptable
> to you. Similarly, it is up to you how you should react to a
> store that sells bootlegs.
>
> Note: As of 1 January, 2002, Taiwan joined the World Trade Organization,
> and thus became obliged to enforce international copyright. The current
> batch of bootleggers (Son May, Ever Anime, Smile Face, Alion) are
> expected to disappear soon.
>
> o HOW CAN I TELL IF AN ANIME CD IS A BOOTLEG CD?
>
> If you are buying CDs off the shelf, CDs from these companies are
> clearly labelled as "Son May", "SM CD", or "Ever Anime", so they
> aren't difficult to identify. But when online shopping, it is
> always a good idea to do a little research beforehand. You can get
> catalog information from CD information sites and online CD stores
> in Japan. If you forget the actual number, knowing which company
> released the CD and the prefix they use can help a lot. The more
> common ones are listed with the next few questions.
>
> There is a good site for more general anime bootleg information at
> http://www.digital.anime.org.uk/piratefaq.html
> There you can find images of the SM and Ever Anime logos, as well
> as other anime piracy information.
>
> Another decent general anime bootleg information site is
> http://members.austarmetro.com.au/~mwhitley/bootleg.htm
> It's focus is more on the Australian market, but the bootleg info
> is relevant.
>
> o WHAT ARE THE PREFIXES FOR JAPANESE ANIME CDS?
>
> For the legitimate Japanese companies, common catalog prefixes are:
>
> BVDP - BMG Japan
> COCC,COCX - Columbia Japan
> GNCA - Geneon Entertainment (formerly Pioneer)
> JMI - JVC
> KICA,KIDA,KICS,KICM - King Record (Starchild)
> KTCR - Kitty
> LACA - Lantis
> MMCC - Marine Entertainment
> PICA,PIDA - Pioneer
> PCCG - Pony Canyon
> SVWC,SRCL - Sony (including Aniplex)
> TKCA,<2digits>ATC - Tokuma Japan
> TYCY,TYDY - Toshiba-EMI (Futureland)
> VICL,VIDL - Victor
> VPCG - Vap
> WPCL - Warner Music Japan
>
> o WHAT ARE THE PREFIXES FOR NON-JAPANESE ANIME CDS?
>
> There are some companies in North America and elsewhere outside of
> Japan that have, or had, licenses for some anime CDs:
>
> AT - Animetrax, a joint ADVFilms and Right Stuf label
> ? - ADV Music
> RSCD - Right Stuff International
> TPCD - Soundtrax, TokyoPop's CD label
> JMI|JVC|JNA - JVC
> USM - Central Park Media/US Manga Corps
> PICD - Geneon/Pioneer
> ####-# - Geneon Entertainment USA
> ####-CD - Bandai
> CD-<2 letters> - Viz Music
> TOF - Tofu Records
> DSCD - Demon Soundtracks (UK)
> 73138-#####-# - Milan
>
> For more information on domestically released anime CDs, see
> Chris Sypal's Domestic Anime CD Guide at
> http://www.radiks.net/~csypal/cds
>
> AniMusic: The Ultimate List of American Released Anime CDs
> http://www.shizukapress.com/Otaking/Animusic/animusic.html
>
> o ARE THERE PREFIXES FOR BOOTLEGGED CDS?
>
> For some, yes. For the most common bootleggers:
>
> GGG,GA,GSM,SM,A&G,GAME,CK,SMA - Son May
> A8 - Ever Anime
> ALCA - Alion
> KA,HO - Smile Face
> MICA - Miya Records
>
> o ISN'T IT ILLEGAL FOR STORES TO SELL SM/EA CDS?
>
> Yes, it is. However, copyright laws require the copyright holder
> to submit a complaint, rather than having law enforcement agencies
> search for infringements. Most anime-related Japanese companies
> haven't seen fit to pursue the matter, so stores can get away with
> selling bootleg products. However, doing so does leave them open
> to prosecution if a CD company suddently decides to clamp down.
> If you feel strongly enough against a store selling bootlegs,
> point out the items to the store manager/owner. Sometimes they
> don't know any better. If they sell them knowingly, and if you
> feel strongly enough about it, you can tell the manager you will
> not patronize the store and will tell your friends about it.
> Just be sure you have another source of anime goods.
>
> o BUT WHY ISN'T COPYRIGHT ACTUALLY ENFORCED?
>
> Copyright laws are mostly civil laws rather than criminal laws
> (though there are criminal sections in many copyright laws).
> Accordingly those kinds of laws are typically pursued by lawsuit
> rather than actively by some agency like police or customs
> departments. That means the copyright holder must file a suit in
> order for action to take place against a violator. The onus is
> probably also on the plaintiff to somehow show infringement
> (e.g. some sort of damage) occured. This method of enforcement
> is probably necessary to protect the general public from degrees
> of enforcement that were not intended for rights holders against
> the general public.
>
> One should keep in mind that copyright laws are intended to foster
> scientific and creative progress by giving creators confidence
> that they can sustain their work (and themselves pursuant to that
> work). Activities that are restricted to an individual have a
> much smaller impact on that confidence. Large scale activities
> will have a larger impact, and at some point a noticeable impact.
> As such, copyright laws seem geared more towards large scale
> activities rather than the activities restricted to an individual.
> Therefore the copyright laws allows for a fair bit of discretion
> or flexibility when it comes to determining violation.
>
> o IF THE RIGHTS HOLDERS DON'T ACT, DON'T THEY LOSE THEIR RIGHTS?
>
> No, not at all. Copyright laws protect a work for many decades
> regardless of whether the rights holder ever acted. The rights
> holder can in fact take action at just about any time on any of
> many infractions, though there can be some limits on how long ago
> a violation can be sued for.
>
> The two main ways of losing the rights, or the for the work to
> enter the "public domain", is a) the passage of time past the
> duration stipulated by law (many decades), or b) the rights holder
> explicitly stipulating the the rights have been relinquished into
> the public domain.
>
> o WHAT IS THIS RUMOR ABOUT LICENSING MP3 SOFTWARE?
>
> Well, encoding and playback software are also subject to intellectual
> property rights (patents), and in this case the rights holders of
> the MP3 format (Fraunhofer IIS-A and Thomson Multimedia) are going
> around to writers of MP3 software demanding a fee or royalty (of
> $0.75 US) for every unit of player software sold. That shouldn't
> impact anyone getting player or encoder software as part of a
> purchased package. If the playback software is distributed as
> freeware, it is also royalty free. However, for ALL encoders, a
> license is needed, and thus royalties must be paid (starting at
> $2.50 per encoder sold or given for free).
>
> You also need a license to provide REVENUE GENERATING MP3 content
> on the internet. Fee's are based on gross income (including
> advertising and subscription), so with no income the license
> is free. This is on top of a copyright license for the music.
>
> The 2001 version of the licensing pages at
>
> http://www.mp3licensing.com
>
> stirred up a bit of a fuss when it seemed to change the long standing
> freeware policy. It turns out to have been a wording error, and there
> were actually no changes since 1995.
>
> As a result of these code copyrights though, there has been a movement
> to use the Ogg Vorbis audio file format, which is license- and royalty-
> free.
>
> ----------------------------------------------------------------------
> A. About this FAQ
>
> o WHAT IS THIS FAQ FOR?
> (from "Welcome to rec.arts.anime.music" FAQ)
>
> This FAQ (Frequently Asked Questions) is a companion to a set of FAQs
> for the rec.arts.anime.music newsgroup and anime music in general.
> It is intended to be a reference of basic information about the news
> group, e.g. the kinds of topics that are intended. As a set, the
> FAQs are intended as a reasonably accessible reference to basic
> information about the news group, rec.arts.anime.music, and topics
> that are frequently encountered as a fan progresses from novice to
> "expert". They are posted once a month in rec.arts.anime.music.
>
> They are not by any means comprehensive, and are subject to the
> changes of the times. Items that could do with more input are
> tagged with "editor's note" and a note, delimited by '[' and ']'.
> If you have any suggestions, corrections, or submissions, please
> send them to me or post them in rec.arts.anime.music.
>
> For information about the news group itself (e.g. what are or aren't
> considered appropriate topics for postings, see the "Welcome to
> REC.ARTS.ANIME.MUSIC" FAQ.
>
> o WHAT IS THE HISTORY OF THIS FAQ?
> (from "Welcome to rec.arts.anime.music" FAQ)
>
> This rec.arts.anime.music FAQ was originally created and maintained
> by Steve Pearl, the moderator of rec.arts.anime.info, who saw the
> need for introductory FAQs for many of the rec.arts.anime news groups
> as they were being created in 1996. He maintained them until the
> fall of 1998.
>
> In January of 2001, maintainance of this FAQ was assumed by the
> current maintainer, and after significant revisions and updates,
> regular posting resumed in March, 2001. Steve's entries are
> attributed by [SP], or [SP,RI] where I've made significant changes.
>
> In May of 2003, the FAQ was split into two documents, one for
> information about the newsgroup (this one) titled "Welcome to
> REC.ARTS.ANIME.MUSIC" and one for anime music information titled
> "Anime Music FAQ for REC.ARTS.ANIME.MUSIC". The latter was split
> into multiple parts.
>
> The current maintainer and this news group owe a debt of gratitude
> to Steve Pearl, for his foresight at the birth of this news group
> and the effort he put into this and other rec.arts.anime FAQs.
> Wherever you are, Steve, Thanks.
>
> o WHAT ARE THOSE OTHER ANIME MUSIC FAQS?
>
> "Welcome to rec.arts.anime.music" - an FAQ regarding the newsgroup itself
> http://www.geocities.com/ruigarashi/FAQS/raa_music/
> or
> ftp://rtfm.mit.edu/pub/usenet-by-group/rec.arts.anime.music/
> [editor's note:
> ftp://rtfm.mit.edu/pub/usenet-by-hierarchy/rec/arts/anime/music/
> is temporarily out of order]
>
> o WHERE CAN I FIND THE LATEST VERSION OF THIS FAQ?
>
> This FAQ is posted every 4 weeks to
>
> rec.arts.anime.music
> rec.arts.anime.info
>
> The latest working copy that contains changes going into the next
> official posting can be found at
>
> http://www.geocities.com/ruigarashi/FAQS/raa_music/
>
> ----------------------------------------------------------------------
> B. Contributors
>
> As with most FAQs, the information documented in the
> rec.arts.anime.music FAQ comes from many people (yes, anime fans
> are people, too). Our thanks should go to these people.
>
> Steve Pearl (who started this FAQ)
> Avatar
> Chika
> Clinton Moulds
> Daniel (a.k.a. vanfanel)
> Joshua Kaufman
> K.E. Bosco
> Mike Quin
> Nikkou
> Nobutoshi Ito
> Pipian
> Rob Kelk
> Rob Maxwell
> Ru Igarashi
> Simon Palko
> Thomas Chan
> Tom Norrill
> Wayne C. Morris
> Terrence Huey
> Michael Hayden
> Joe Curzon
> Glenn Shaw
> Nunya Biznes
> Kaijyuu Miyuki-chan
> Josh Berry
> Eric VanHeest
> Zoe (of zoemi.com)
> James Mccawley
> Phil Lee
> Dave Watson
> Sean O'Connor
> John Lee Baird
> HimuraLain
> Skeleton Man
> Mark Weiss
> Anthony D. Baranyi
> Anime-niac
> Jen Stantz
> Sean Robinson
>
> ----------------------------------------------------------------------
>
> C. Disclaimer
>
> This document is provided without any warrantees, implied or
> expressed. The editor assumes no responsibility for damages
> resulting from the use of the information the document contains
> or the lack thereof.
>
> ----------------------------------------------------------------------
> Edited by Ru Igarashi.
> E-mail submissions and questions about the newsgroup to
> ru.igarashi[at]usask.ca.
>
>
>
>
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