There`s Horikita Maki Gallery on Converse Style for Spring Vacation!
Horikita Maki on Converse Style
There`s Horikita Maki Gallery on Converse Style for Spring Vacation!
Horikita Maki New Gallery
Here`s the Interview with maki-chan at www.vogue.com as a "women of the year 2007" :
Q : As for the instant where you are happiest in 2007?
A : It`s My Birthday. On site and it had us celebrating, from everyone the mail of blessing reached and was delightful truly is.
Q : most as for the book which is impressed, or the movie which is impressed in 2007?
A : movie ' life is..
Q : you most as for occurrence 2007 was moved heart?
A : TV, it can pick up the news of the foreign country which begins Myanmar, when doing the present condition of the countries where the mechanism is different from Japan completely practically.
Q : 2007, meeting, most as for the person who is deeply impressed?
A : exile.
Q : Do you for loving, throw away what?
A : For love you must throw away what, those, is not kana....... There are no any which you throw away is.
Q : After the 5 year, we would like to do what somewhere, is?
A : We would like to work on site differing from now.
Q : now, please teach the most desired one.
A : Because those where the photograph is taken are hobby, the camera.
Q : For you as for the woman image of ideal?
A : strong person.
Q : Are you most as for the man who is observed who in 2007?
A : ─.
Q : When you become Japanese prime minister, first first what is done?
A : The salary of member of the Diet is taken a second look
Q : As for the instant where you are happiest in 2007?
A : It`s My Birthday. On site and it had us celebrating, from everyone the mail of blessing reached and was delightful truly is.
Q : most as for the book which is impressed, or the movie which is impressed in 2007?
A : movie ' life is..
Q : you most as for occurrence 2007 was moved heart?
A : TV, it can pick up the news of the foreign country which begins Myanmar, when doing the present condition of the countries where the mechanism is different from Japan completely practically.
Q : 2007, meeting, most as for the person who is deeply impressed?
A : exile.
Q : Do you for loving, throw away what?
A : For love you must throw away what, those, is not kana....... There are no any which you throw away is.
Q : After the 5 year, we would like to do what somewhere, is?
A : We would like to work on site differing from now.
Q : now, please teach the most desired one.
A : Because those where the photograph is taken are hobby, the camera.
Q : For you as for the woman image of ideal?
A : strong person.
Q : Are you most as for the man who is observed who in 2007?
A : ─.
Q : When you become Japanese prime minister, first first what is done?
A : The salary of member of the Diet is taken a second look
dawn of the dorks
Twenty-one years ago in the March issue of ANIMAGE (the number-one Japanese animation magazine) they ran one of their occasional features detailing how sometimes those crazy roundeyes get obsessed with cartoons from Japan and form their own anime clubs and dress up in costume and stuff like that. Apart from the two page spread of 80s Americans dressed like Lum, Jigen, Prince Zordar, and a foam-rubber Raideen (helpfully headlined "That's American Costume Play!") there was this photo:
It's some of the members of C/FO Atlanta, posing stiffly in a comic book shop, reaching out to their Japanese proto-otaku brethren! Back then we had more hair and were about 20 pounds lighter on average, and we thought nothing of taking a rainy Saturday to drive to the south side and get our picture taken wearing our Lum t-shirts holding MEGAZONE 23 LPs. How did this happen? Well, we had an anime club.
In the mid 1980s several things happened at once; I got a driver's licence and a part-time job, by virtue of tagging along with my brother to conventions and SF club meetings I had fandom contacts, and home video equipment was getting cheaper and cheaper. At an Atlanta Fantasy Fair in, let's say 1985, some Florida fans came to town and showed anime movies in their hotel room in the evenings. This set the stage for the next fifteen years of my life, more or less. At an SCA meeting I met up with Scott W. and Albert R., both of whom had an interest in anime. The head of the Dr. Who club had anime tapes along with his British SF shows, and he encouraged our talk of an anime-themed splinter group. We found out a guy named Bill S. had moved to town and was going to start his OWN anime club. We got together with THAT guy and joined forces and started the Atlanta branch of the Cartoon/Fantasy Organization.
By 1986 we were meeting in library community rooms, basements, wherever we could set up a TV and a VCR, showing whatever 10th-generation VHS copies of whatever we could get our hands on - ORGUSS television episodes, YAMATO films, DIRTY PAIR, LAPUTA, LUPIN III, L. GAIM, PROJECT A-KO, VAMPIRE HUNTER D, GALAXY EXPRESS, SAINT SEIYA, URUSEI YATSURA, FIST OF THE NORTH STAR, PRINCE PLANET, ICZER ONE, MOBILE SUIT GUNDAM, CRUSHER JOE, DANCOUGAR, CITY HUNTER, ETERNAL ORBIT SSX, DEVILMAN, AREA 88, ODIN, DAGGER OF KAMUI, LENSMAN, you name it. There would be two or three sets of VCRs in the back of the room copying whatever was available. Dues were ten bucks a year, which sounds like a lot, but we did print and mail a newsletter every month. EVERY MONTH! No wonder I did so poorly in college.
Most weekends we'd gather at somebody's apartment and daisy-chain more VCRs and copy anime all night long, marvelling at the artform that was so incredibly awesome and yet so unknown in the United States. Every few months there would be a convention and if the convention didn't give us a room to show anime in, we'd just get a hotel room and show it ourselves. We quickly learned which brands of videotape were the best, which VCRs to choose, how to wire it all up to your stereo to get stereo sound, and how loud you could get before the people next door complained.
C/FO Atlanta was a chapter of a national C/FO organization that grew out of Los Angeles and at its peak had chapters throughout the United States, Canada, and even in Japan. By the time we came on the scene the C/FO was beginning to feel the heat from swelling, itching ranks of new anime fans who had seen ROBOTECH on television and wanted more of this "japanimation" thing. The veteran C/FO members were old-school SF fans who were into old-school media fandom - giant fanzines full of fan fiction and pointillist fan artwork, typeset with an IBM Selectric and sold for thirty bucks each. While the new kids had a respect for the fanfic, they wanted tapes, and plenty of 'em. Meetings in Atlanta became daisy-chains of AV cable stringing decks together, fifteen TVs blaring at once, rowdy teenagers grabassing in the back, annoyed librarians kicking us out, and me going home with a stack of 30 blank tapes to copy PROJECT A-KO for everybody.
And let me point out that at this point - 1987 - you could not buy Japanese animation on videotape legitimately in the United States. Nobody was releasing subtitled anime. Nobody was putting the things in theaters. You could watch ROBOTECH on television, which was dubbed (horrors!) and edited (double horrors!) and you could rent dubbed and edited kids' movies in the kids' section of the local video store, and that was it. So if you wanted to watch Japanese animation, you HAD to come to the anime club and bug somebody. (Yes, there were video pirates selling bootlegs of anime in the dealers rooms of conventions, even back then, but we made a point of decrying their conduct in as offensive a fashion as possible). How were WE getting anime? By shelling out for the actual Japanese commercial tapes, by swapping with people through the mail, and by trading tapes with pen pals in Japan. There was a whole network of people mailing each other T-120 videotapes, keeping the Post Office busy.
By the time AKIRA came out - I mean, made it to us in America - things had come to a head. The national C/FO Organization was going through a painful and spite-ridden reorganization that would smash its national power forever, and the local club was basically me loading all my tapes and my parents old television into a car and driving across town to show cartoons I didn't care that much about to strangers. I came to the realization that I wasn't getting paid enough for this crap. In fact I wasn't getting paid at all! So I quit.
C/FO Atlanta failed to meet the requirements to remain an offical chapter of the actual offical C/FO (not enough members of the national organization) and so, realizing that affiliation with the national org at that point was not worth the proverbial bucket of warm spit, the club changed its name to "Animated Film Association". Most of the other C/FO chapters across the country did the same thing, and the late 1980s were littered with three-initial anime clubs of guys meeting in library basements showing cartoons to each other, like Britons continuing to use Roman law after the Romans went home.
By that time I had quit the local club and had started a mail-based organization called the "Prince Planet Foundation" reflecting my personal obsession with Japanese anime and manga of the 60s. I mailed out newsletters when I felt like it and corresponded with people who shared my interests and I amassed a prodigious collection of Prince Planet episodes which I then copied for everybody in the flipping world. Holy cow, did I get sick of Prince Planet.
After six or eight months I got together with former C/FO member Lloyd C. and we started a brand new anime club with no newsletters, one-time-only dues, a tape library to prevent me from copying PROJECT A-KO all the time, and a total lack of rules, constitutions, officials, or any of the red-tape BS that so annoyed us with the C/FO. Also I was not going to haul my television any more. This new club - Anime-X - lasted for about ten years and formed the nucleus around which grew Anime Weekend Atlanta, which has lasted for 14 years as of this writing. I still see C/FO Atlanta members at AWA every year and it always astounds us how a club that started out with 5 people in somebody's basement watching a really terrible copy of GUNDAM III somehow became a convention of 10,000 people in a giant convention center. Well, as long as I don't have to haul my TV or copy PROJECT A-KO for anybody, it's all good.
It's some of the members of C/FO Atlanta, posing stiffly in a comic book shop, reaching out to their Japanese proto-otaku brethren! Back then we had more hair and were about 20 pounds lighter on average, and we thought nothing of taking a rainy Saturday to drive to the south side and get our picture taken wearing our Lum t-shirts holding MEGAZONE 23 LPs. How did this happen? Well, we had an anime club.
In the mid 1980s several things happened at once; I got a driver's licence and a part-time job, by virtue of tagging along with my brother to conventions and SF club meetings I had fandom contacts, and home video equipment was getting cheaper and cheaper. At an Atlanta Fantasy Fair in, let's say 1985, some Florida fans came to town and showed anime movies in their hotel room in the evenings. This set the stage for the next fifteen years of my life, more or less. At an SCA meeting I met up with Scott W. and Albert R., both of whom had an interest in anime. The head of the Dr. Who club had anime tapes along with his British SF shows, and he encouraged our talk of an anime-themed splinter group. We found out a guy named Bill S. had moved to town and was going to start his OWN anime club. We got together with THAT guy and joined forces and started the Atlanta branch of the Cartoon/Fantasy Organization.
By 1986 we were meeting in library community rooms, basements, wherever we could set up a TV and a VCR, showing whatever 10th-generation VHS copies of whatever we could get our hands on - ORGUSS television episodes, YAMATO films, DIRTY PAIR, LAPUTA, LUPIN III, L. GAIM, PROJECT A-KO, VAMPIRE HUNTER D, GALAXY EXPRESS, SAINT SEIYA, URUSEI YATSURA, FIST OF THE NORTH STAR, PRINCE PLANET, ICZER ONE, MOBILE SUIT GUNDAM, CRUSHER JOE, DANCOUGAR, CITY HUNTER, ETERNAL ORBIT SSX, DEVILMAN, AREA 88, ODIN, DAGGER OF KAMUI, LENSMAN, you name it. There would be two or three sets of VCRs in the back of the room copying whatever was available. Dues were ten bucks a year, which sounds like a lot, but we did print and mail a newsletter every month. EVERY MONTH! No wonder I did so poorly in college.
Most weekends we'd gather at somebody's apartment and daisy-chain more VCRs and copy anime all night long, marvelling at the artform that was so incredibly awesome and yet so unknown in the United States. Every few months there would be a convention and if the convention didn't give us a room to show anime in, we'd just get a hotel room and show it ourselves. We quickly learned which brands of videotape were the best, which VCRs to choose, how to wire it all up to your stereo to get stereo sound, and how loud you could get before the people next door complained.
C/FO Atlanta was a chapter of a national C/FO organization that grew out of Los Angeles and at its peak had chapters throughout the United States, Canada, and even in Japan. By the time we came on the scene the C/FO was beginning to feel the heat from swelling, itching ranks of new anime fans who had seen ROBOTECH on television and wanted more of this "japanimation" thing. The veteran C/FO members were old-school SF fans who were into old-school media fandom - giant fanzines full of fan fiction and pointillist fan artwork, typeset with an IBM Selectric and sold for thirty bucks each. While the new kids had a respect for the fanfic, they wanted tapes, and plenty of 'em. Meetings in Atlanta became daisy-chains of AV cable stringing decks together, fifteen TVs blaring at once, rowdy teenagers grabassing in the back, annoyed librarians kicking us out, and me going home with a stack of 30 blank tapes to copy PROJECT A-KO for everybody.
And let me point out that at this point - 1987 - you could not buy Japanese animation on videotape legitimately in the United States. Nobody was releasing subtitled anime. Nobody was putting the things in theaters. You could watch ROBOTECH on television, which was dubbed (horrors!) and edited (double horrors!) and you could rent dubbed and edited kids' movies in the kids' section of the local video store, and that was it. So if you wanted to watch Japanese animation, you HAD to come to the anime club and bug somebody. (Yes, there were video pirates selling bootlegs of anime in the dealers rooms of conventions, even back then, but we made a point of decrying their conduct in as offensive a fashion as possible). How were WE getting anime? By shelling out for the actual Japanese commercial tapes, by swapping with people through the mail, and by trading tapes with pen pals in Japan. There was a whole network of people mailing each other T-120 videotapes, keeping the Post Office busy.
By the time AKIRA came out - I mean, made it to us in America - things had come to a head. The national C/FO Organization was going through a painful and spite-ridden reorganization that would smash its national power forever, and the local club was basically me loading all my tapes and my parents old television into a car and driving across town to show cartoons I didn't care that much about to strangers. I came to the realization that I wasn't getting paid enough for this crap. In fact I wasn't getting paid at all! So I quit.
C/FO Atlanta failed to meet the requirements to remain an offical chapter of the actual offical C/FO (not enough members of the national organization) and so, realizing that affiliation with the national org at that point was not worth the proverbial bucket of warm spit, the club changed its name to "Animated Film Association". Most of the other C/FO chapters across the country did the same thing, and the late 1980s were littered with three-initial anime clubs of guys meeting in library basements showing cartoons to each other, like Britons continuing to use Roman law after the Romans went home.
By that time I had quit the local club and had started a mail-based organization called the "Prince Planet Foundation" reflecting my personal obsession with Japanese anime and manga of the 60s. I mailed out newsletters when I felt like it and corresponded with people who shared my interests and I amassed a prodigious collection of Prince Planet episodes which I then copied for everybody in the flipping world. Holy cow, did I get sick of Prince Planet.
After six or eight months I got together with former C/FO member Lloyd C. and we started a brand new anime club with no newsletters, one-time-only dues, a tape library to prevent me from copying PROJECT A-KO all the time, and a total lack of rules, constitutions, officials, or any of the red-tape BS that so annoyed us with the C/FO. Also I was not going to haul my television any more. This new club - Anime-X - lasted for about ten years and formed the nucleus around which grew Anime Weekend Atlanta, which has lasted for 14 years as of this writing. I still see C/FO Atlanta members at AWA every year and it always astounds us how a club that started out with 5 people in somebody's basement watching a really terrible copy of GUNDAM III somehow became a convention of 10,000 people in a giant convention center. Well, as long as I don't have to haul my TV or copy PROJECT A-KO for anybody, it's all good.
Episode11(revamp) appleseed1988
Ok I made a bad mistake in this episode originally, by calling manga entertainment a branch of central park media which is INCORRECT!! OOPS MY BAD (thanks for the correction Prophet AGP)
so by the magic that is editing I have corrected the ultimate mistake , you can tell the place I screw up because I have replaced my blasphemy with the words manga entertainment repeated 8 times so I shall never forget again!!!!!!!
Anyhow this time around I talk on....
-The 1988 ova
-My former anime dealers hate for me
-The power of anime love
(to download right click on the"here"and click save target as)
Get your apple on!!! download it HERE
dyna-cool, frank
Back in the 80s it was business in the front and party in the back - all the time! No film distributor exemplified this wisdom more than Peregrine Films, who released a slate of Japanese anime films just in time to miss out on the anime video explosion. Their marketing strategy was explained in a garishly airbrushed glossy booklet.
Peregrine took nine fairly recent anime films, either used the 'international' versions already extant or found somebody to dub them, and released them to home video. Some of these films were odd men out even in Japan, like SPACE WARRIORS
A Toei compilation film of the Ashi television series BALDIOS, this show was mostly known for the usage of a minor character in an internet meme twenty years later. Other titles like TECHNO POLICE had similar weird also-ran or never-were pedigrees.
But other Peregrine titles were, shall we say, less forgettable. Like, say, Captain Harlock's feature film MY YOUTH IN ARCADIA.
Only now the film is called VENGEANCE OF THE SPACE PIRATE and it's got a lackluster dub that features weird audio problems, and the box art uses scenes that don't actually appear in the film. Another troubled production was their version of MACROSS:
Retitled CLASH OF THE BIONOIDS - a title that guarantees no viewers over the age of 10 - this version of the 1984 MACROSS feature is the 'international' dub that was packaged as a extra on the Japanese laserdisc release. If you've ever watched a bad kung-fu film from the late 70s you will recognize all the voice 'talent'. To date this is the only legitimate version of the MACROSS movie to ever get a United States video release. Where's the justice here? Who will save us? Look up in the sky! It's a bird, it's a plane, it's Locke The Superman!
Oh wait, we can't call him "Locke The Superman", because DC Comics will sue us, even though they didn't invent the word "Superman" and the two characters are nothing alike. Let's change it to "Superpower". That'll work. This is another stiff, weirdly accented dub ("esper" is pronounced "esp-aar") of the 1984 Locke film based on the popular SF manga by Yuki Hijiri.
Different Locke anime videos have been released in America on three separate occasions, and yet the plucky little green-haired dude can't ever seem to catch a break, even with his "lightning sword". Another hard-luck story is producer Haruki Kadokawa, who spent the 80s producing slick high profile films until he got busted for cocaine. (He's out now.) One of Kadokawa's slickest productions was the awesome Rin Taro film DAGGER OF KAMUI:
A stylish and colorful historical fantasy, KAMUI is about a half-Ainu boy raised as a ninja who finds a treasure and goes to America and meets Mark Twain and falls in love with an Indian princess who's actually French nobility and defeats an evil ninja Buddhist priest against the backdrop of, what was that, the Meiji Restoration? There are hallucinogenic ninja fights and a Siberian husky sidekick and lots of flashing blood everywhere. Of course like most of these film releases, KAMUI would be heavily edited, dubbed badly, and retitled REVENGE OF THE NINJA WARRIOR, which is about as generic a martial arts title as you can find.
Other Peregrine films included versions of PHOENIX 2772 and CYBORG 009 - LEGEND OF THE SUPER GALAXY. In fact most of these films would get trimmed by about half an hour and released on home video by the "Just For Kids" label. A few years later uncut versions would be released again by "Best Film & Video", some with their original titles. But the real irony is that if this had all happened four or five years later - once a market had been established for direct-to-video releases of uncut, subtitled anime without dumb kiddy titles or crazy dubbing - think of how (to use 80s terminology) AWESOME that would have been!!
Peregrine took nine fairly recent anime films, either used the 'international' versions already extant or found somebody to dub them, and released them to home video. Some of these films were odd men out even in Japan, like SPACE WARRIORS
A Toei compilation film of the Ashi television series BALDIOS, this show was mostly known for the usage of a minor character in an internet meme twenty years later. Other titles like TECHNO POLICE had similar weird also-ran or never-were pedigrees.
But other Peregrine titles were, shall we say, less forgettable. Like, say, Captain Harlock's feature film MY YOUTH IN ARCADIA.
Only now the film is called VENGEANCE OF THE SPACE PIRATE and it's got a lackluster dub that features weird audio problems, and the box art uses scenes that don't actually appear in the film. Another troubled production was their version of MACROSS:
Retitled CLASH OF THE BIONOIDS - a title that guarantees no viewers over the age of 10 - this version of the 1984 MACROSS feature is the 'international' dub that was packaged as a extra on the Japanese laserdisc release. If you've ever watched a bad kung-fu film from the late 70s you will recognize all the voice 'talent'. To date this is the only legitimate version of the MACROSS movie to ever get a United States video release. Where's the justice here? Who will save us? Look up in the sky! It's a bird, it's a plane, it's Locke The Superman!
Oh wait, we can't call him "Locke The Superman", because DC Comics will sue us, even though they didn't invent the word "Superman" and the two characters are nothing alike. Let's change it to "Superpower". That'll work. This is another stiff, weirdly accented dub ("esper" is pronounced "esp-aar") of the 1984 Locke film based on the popular SF manga by Yuki Hijiri.
Different Locke anime videos have been released in America on three separate occasions, and yet the plucky little green-haired dude can't ever seem to catch a break, even with his "lightning sword". Another hard-luck story is producer Haruki Kadokawa, who spent the 80s producing slick high profile films until he got busted for cocaine. (He's out now.) One of Kadokawa's slickest productions was the awesome Rin Taro film DAGGER OF KAMUI:
A stylish and colorful historical fantasy, KAMUI is about a half-Ainu boy raised as a ninja who finds a treasure and goes to America and meets Mark Twain and falls in love with an Indian princess who's actually French nobility and defeats an evil ninja Buddhist priest against the backdrop of, what was that, the Meiji Restoration? There are hallucinogenic ninja fights and a Siberian husky sidekick and lots of flashing blood everywhere. Of course like most of these film releases, KAMUI would be heavily edited, dubbed badly, and retitled REVENGE OF THE NINJA WARRIOR, which is about as generic a martial arts title as you can find.
Other Peregrine films included versions of PHOENIX 2772 and CYBORG 009 - LEGEND OF THE SUPER GALAXY. In fact most of these films would get trimmed by about half an hour and released on home video by the "Just For Kids" label. A few years later uncut versions would be released again by "Best Film & Video", some with their original titles. But the real irony is that if this had all happened four or five years later - once a market had been established for direct-to-video releases of uncut, subtitled anime without dumb kiddy titles or crazy dubbing - think of how (to use 80s terminology) AWESOME that would have been!!
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