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@usask.ca.

Please e-mail all additions/corrections/comments to:
ru.igarashi[at]usask.ca

• Added classical composer reference for Mahoromatic [rob kelk]

• I really need to sift through the last few years of videos for more classical composer usages
• 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.

Contents:

Part 1

1. General Questions
   • WHY DO IMPORT ANIME CDS COST SO MUCH?
   • WHAT IS THE 2 YEAR LIMIT?
   • WHY ARE 2 PRICES SHOWN ON THE BACK OF MY CD?
   • HOW DO I PLAY STREAMING AUDIO?
   • WHAT'S THE RECOMMENDED WAY OF PRESENTING MUSIC SAMPLERS ON MY WEB SITE?
   • WHAT'S THE SONG THAT PLAYS DURING THAT SCENE...?
   • WHAT ARE SOME GOOD ORCHESTRAL, SYMPHONIC, OR CLASSICAL STYLE OST?
   • WHAT SOUNDTRACKS INCLUDE COMPOSITIONS BY CLASSICAL COMPOSERS?
   • WHAT SOUNDTRACKS USE SONGS OR MUSIC FROM OTHER NON-ANIME SOURCES?
   • WHAT SOUNDTRACKS FEATURED NON-JAPANESE ARTISTS?
2. Artists
   • WHO WROTE THE SOUNDTRACK FOR THIS SHOW?
   • IS GABRIELLE ROBIN ACTUALLY YOKO KANNO?
   • WHAT LANGUAGE DOES GABRIELLA ROBIN SING IN?
   • WHICH VOICE ACTORS ALSO HAVE A SINGING CAREER?
3. Legality Issues with Anime Music
   • LEGALITY OF COPYING ANIME MUSIC
   • IF NO PROFIT IS MADE, IT ISN'T ILLEGAL, IS IT?
   • BUT I CAN'T AFFORD THE ORIGINALS, DOESN'T THAT COUNT?
   • BUT THE CD I WANT IS OUT OF PRINT
   • IS MY INTERNET RADIO OR STREAMING AUDIO SITE ILLEGAL?
   • HOW DOES ONE GET AN INTERNET BROADCAST LICENSE?
   • WHAT IS ASCAP AND JASRAC, AND WHAT DO THEY DO?
   • WHAT IS THE ACTUAL COPYRIGHT LAW?
   • WHAT IS THE "BERNE CONVENTION"?
   • ARE SON MAY/EVER ANIME CDS BOOTLEGS?
   • HOW CAN I TELL IF AN ANIME CD IS A BOOTLEG CD?
   • WHAT ARE THE PREFIXES FOR JAPANESE ANIME CDS?
   • WHAT ARE THE PREFIXES FOR NON-JAPANESE ANIME CDS?
   • ARE THERE PREFIXES FOR BOOTLEGGED CDS?
   • ISN'T IT ILLEGAL FOR STORES TO SELL SM/EA CDS?
   • BUT WHY ISN'T COPYRIGHT ACTUALLY ENFORCED?
   • IF THE RIGHTS HOLDERS DON'T ACT, DON'T THEY LOSE THEIR RIGHTS?
   • WHAT IS THIS RUMOR ABOUT LICENSING MP3 SOFTWARE?

1. About this FAQ
   • WHAT IS THIS FAQ FOR?
   • WHAT IS THE HISTORY OF THIS FAQ?
   • WHAT ARE THOSE OTHER ANIME MUSIC FAQS?
   • WHERE CAN I FIND THE LATEST VERSION OF THIS FAQ?
2. Contributors
3. Disclaimer

Part 2

1. Online Anime Music Resources
2. Anime Mail Order Businesses

Part 3

1. GLOSSARY

1. General Questions

   • 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.
     
     

   • 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.
     
     

   • 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").
     
     

   • 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).
     
     

   • 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.  
     
     

   • 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]
     
     
     
     

   • 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
     
     

   • 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)
     Mahormatic: Something More Beautiful - Strauss ("Radetski March") (episode 4 "Mahoro Goes to School")
     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://members.shaw.ca/ru.igarashi/FAQS/raa_music/princess_tutu_composers.txt
     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)
     
     

   • 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
     
     

   • 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
     
     
     

   Jump to: [Contents][1][2][3][A][B][C]      Part2:[1][2]  Part3:[1]
   

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2. Artists

   • 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
     
     

   • IS GABRIELLE ROBIN ACTUALLY YOKO KANNO?

     
     There is evidence that suggests this.  See the 
     "Tenkuu no Kanno Yoko" site:
        http://www.oocities.org/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.
     
     

   • 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.
     
     

   • 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 :) .
     
     

   Jump to: [Contents][1][2][3][A][B][C]      Part2:[1][2]  Part3:[1]
   

   ---

3. Legality Issues with Anime Music

   • 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.
     
     

   • 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.
     
     

   • 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.
     
     

   • 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.
     
     

   • 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).
     
     

   • 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.
     
     

   • 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
     
     
     

   • 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/
        http://www.cric.or.jp/cric_e/index.html
     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
     
     

   • 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
     
     

   • 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.
     
     

   • 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.
     
     

   • 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
     
     

   • 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
     
     

   • 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
     
     

   • 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.
     
     

   • 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.
     
     

   • 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.
     
     

   • 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.
     
     

   Jump to: [Contents][1][2][3][A][B][C]      Part2:[1][2]  Part3:[1]
   

   ---

1. About this FAQ

   • 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.
     
     

   • 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.
     
     

   • WHAT ARE THOSE OTHER ANIME MUSIC FAQS?

     
     "Welcome to rec.arts.anime.music" - an FAQ regarding the newsgroup itself
        http://members.shaw.ca/ru.igarashi/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]
     
     

   • 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://members.shaw.ca/ru.igarashi/FAQS/raa_music/
     
     

   Jump to: [Contents][1][2][3][A][B][C]      Part2:[1][2]  Part3:[1]
   

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2. 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
   
   

   Jump to: [Contents][1][2][3][A][B][C]      Part2:[1][2]  Part3:[1]
   

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3. 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.

   Jump to: [Contents][1][2][3][A][B][C]      Part2:[1][2]  Part3:[1]
   

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