Anime and manga from 1960 to the present actually have to go back earlier to basically 1945, the end of the war. Japan cities were largely in rubble. I'm not talking European level damage and destruction. I'm talking literally less than knee-high in some cases. The destruction was that level. There was a lot of poverty people had very little to do. So entertainment became somewhat important and manga became a significant part of that. Interestingly enough, right after the end of the war, manga shonen, one of the very very first manga magazines in Japan, was founded. Very limited distribution because they couldn't print that many copies and most manga was actually just newspaper strips like you would see like you know peanuts or any of the regular strips. The industry began to recover. In the 50s, it started reviving. Some of the studios started exploring bringing animation back to Japan. They had a lot of competition from America. A lot of American animated works that had come out during the 30s and 40s and not been shown in Japan were now taking up the screens in Japan. So the theater companies wanted the percentage of that. They wanted to do something. So they began setting up animation studios. It was the movie studios doing this. They tended to pay their animators pretty bad wages so there's a little bit of trouble of that. There was also some subcontracting primarily to companies like Rankin Bass starting in the 50s. And a lot of those Rankin Bass Christmas specials that you saw, the stop motion ones, all the way into the late 80s. A lot of those were actually animated in Japan. Rankin Bass controlled the production. They had the scripts, but the grunt work was done by the Japanese. So what did the Japanese watch, however, at that time? Manga was popular to a degree, but they couldn't afford to buy magazines in many cases or books. Something came into existence that actually had existed in a sense before. Rental libraries, businesses where you could rent a book. So let's say, you know, you got a little bit of extra cash. You've had a hard week. You would go to a rental library. You would lay down some money, pick up a book, small book, take it, find a park somewhere down by the river, relax and immerse yourself in that book and then return it. This way, the per item cost was fairly small. Think video rentals back in, you know, 80s and 90s. That was a common way to compare it. Magazines existed, but magazines were for kids. Some great stuff, some wonderful stuff, but it was aimed at a young audience. Some of the creators working on these things decided to start doing things a little bit more experimental. One of the more famous creators of the period was Osamu Tezuka, and he decided to do some stuff aimed at girls. Princess Knight was a instrumental title he did. One of the things about Princess Knight, it's about a girl raised as a boy. Only her parents know that she's a girl because they need a successor for the kingdom, and so you've got this whole gender role issue going on in this. So she knows swordsmanship, she can ride a horse and all of these other things. All of this intrigue, there's romance elements, all sorts of other stuff. Tezuka did a nice job on this one, but there were people who wanted to write for an older audience, and they started producing manga that parents started objecting to. Manga that would have issues of infidelity, issues of poverty, murder, crime drama. These were not for kids. These were for adults, but you had parents who were complaining that this stuff was inappropriate for children, and these guys kept saying, no, this isn't for kids. Finally, one of them, Yoshihiro Tatsumi, this is his autobiography, which was published many years later, said, we have to come up with a new word. Manga is so associated with children that our works are getting criticism they don't deserve.  So somebody could go to a manga rental shop, ask him, what kind of Gekiga do you have, and then choose things from that thing. So there were several creators working in this area. So it became a fruitful enterprise for these fellows. A lot of these guys were really struggling for money. They were living basically in one room with toilet down the hall doing their work and stuff, but they were doing what they wanted to do. Tatsumi started, I think he was 16 or 17 doing this stuff. Most of them were quite young at the time. At the same time, more magazines started coming out. The economy started to recover. People started having a little bit more money. So rather than just magazines for kids, little kids, they started having magazines that were aimed specifically at boys and specifically at girls. So we're now getting to 10 to 14-year-old age range, and that's starting to come out. And some major ones came out in that period. I'm not going to go very much into specific titles of magazines or specific personages, except with some exceptions because of the time limitation. In the early 60s, things started livening up. You had 15 years now of peace. Japan had regained independence from the occupying powers in the 50s. The Korean War had given them an economic boost because they sold a lot of supplies and equipment for the Allies, and so more money was coming around. There was a growing market for girls' manga at the time and mainly drawn and written by men, very much like the American comic book industry. The comic book industry in the U.S., girls' comics had been heavily drawn by men, not to say they weren't good women working in the industry, but that's the way the economics worked at the time. In the 60s later, there was a huge boom in manga sales. The magazines took off like crazy, but the magazines were aimed at younger readers. Now they were aiming them at middle school kids. The Gekiga artists saw their income decline because the manga rental shops started going out of business. The publishers started struggling. The publishers started getting behind and paying the artists and started folding themselves and going bankrupt, so that became a bit of an issue. Also in the 60s, you had television developing. Early 60s television animation in Japan fell into two categories. The very early stuff was shorts, little five-minute programs, maybe between shows, educational programs about history or something, little cute things, nothing major, and American cartoons. American cartoons were being shown in Japan because it was a market for them. They had made their show in the U.S., they had shown it on TV in the U.S., they had made back their investment, they could license it for cheap to other countries who would then redub it into their native language. Japanese TV stations were getting the American cartoons at a really low price. Along comes somebody who wants to do animation, again, Tezuka. Tezuka has a character from a manga called Atom, Tetsuwan Atom, Mighty Atom. And this was opened on TV in January 1963. Being ambitious, he contacted American distributors and got a distribution deal, so it was shown in edited form on American TV as Astro Boy. The first Japanese animated TV show period, half hour TV show period, was also shown on American TV in the same year. It became, you know, fairly successful. Well, the problem is because of the competition from the American shows, he had to keep his price really low. So he was making these things basically on loan. He was like having to scrounge whatever money he could, borrow whatever money he could to pay his people and make these shows. Tezuka was also highly competitive, so he wanted to underbid his competitors in Japan. So he always charged very little, figuring who would make it up on these overseas arrangements. And for a while that worked. Some of his competitors, okay, Astro Boy, small, cute boy robot. Then you get Tetsujin 28 Go, which was a later in the same year, October 1956, the first giant robot show released in the US on TV as Gigantor. Again, the connections kick in. So we have two things now. The small, cute, very human robot, an android if you want, and the big, monstrous, large robot. Those genres are established. Then, same year in November, 8th Man, which was also released in the US as 8th Man, about a detective who is severely injured and turned into a cyborg and to fight crime. Incidentally, this was said by the director to be an influence to Robocop. So you get a little connectivity in there. So now we've got android, giant robot, cyborg. Those things you will find again and again throughout the history of automated. They become major motifs to come through. Early, that was early sixties. Mid sixties, Tezuka wants to be even better. He wants to do color, but he can't get the money in Japan to do color. So again, he goes to the NBC distributor, which is a subdivision of NBC licenses for a show. I don't have an image on that one called Jungle Taitae, Jungle Emperor, known in the US as Kimba, the white lion. And that was the first full color Japanese animated show. Again, shown in the US. Later became quite a cult hit and most of these now you can buy on DVD even in the US. Another thing that happened in the mid-60s, more women creators became artists and writers for girls manga. There was a significant increase to the point that by the 1970s, by the end of the 60s, they would be the majority. Rather good thing in my opinion, because they brought a whole perspective to the stories that the male writers did not. The male writers focused almost exclusively on romance. Okay, then I think my images are getting out of sequence here. Okay, Sally the Witch was a TV show that established what's termed magical girl as a genre. Magical powered female characters and this became another trope that has carried on through various shows over time. More recently we've had shows like Card Captor Sakura and so forth that came on. Another show from the 60s, Speed Racer. This one became popular in the US intentionally. The creator knew that Americans liked cars. He then aimed this program very much at an American audience. So the show was designed with an American audience in mind. So a lot of people from my generation love this as kids. But late 60s, Princess Night was done also into an anime. Very much original stories that were not in the manga. 68, there was another interesting change in genres. One that existed earlier but became a huge hit. Star of the Giants, a baseball story and made sports manga firmly established in Japan and also in anime. Now you might think sports, I'm not particularly interested in sports. The thing is about sports manga and anime is it's not about the game. It's about the players. I don't, I'm not a huge sports fan. I love a lot of sports manga. It's about going beyond your abilities, struggling, working at it, perseverance, a lot of interesting motifs in there. 1968 was also the year where a major magazine came into existence. Weekly Shonen Jump. Magazines now that did manga were no longer just monthly. They were also weekly. So each week you could get a chapter in a story. This meant of course that the creators had to crank out 26 pages a week, a pretty hefty thing to do and they are still doing it. Tezuka again decided to push the envelope. He decided to make anime for adults. He, I mean these things, you know, you could show to any teenager, you know, by contemporary standards. He did a thousand and one nights with little erotic things in there, you know, belly dancers and so forth. Another thing that was characteristics of the period is almost every single anime on television was based on a manga. A lot of the 1950s and early 60s manga were being mined and adapted to television. So it became like a font of it. This is a popular manga. It came out 10 years ago but it's still in print. People are reading this thing still today. Let's do an animated version of it. Let's see what we can do. Another thing that happened was horror manga.  It's been quite a popular thing. It's done fairly fairly well. The late early 70s had a phenomenon in the U.S. that negatively impacted the industry in Japan. There was a big outcry of violence on television. A lot of parental objection to violence in programs, cop shows, all sorts of things. So the major networks basically set up criteria for shows and to tone down violence. And one of the criteria for animation was none. And I'm even talking no Road Runner. No Bugs Bunny slapstick comics. All of that was taken off of network TV in the U.S. If you wanted to watch those shows in those days you had to go to the independent stations. This meant for the Japanese companies there was a significant drop in revenue because the networks had been a money source from the licensing of shows. So that was something to slow the industry down for the Japanese. In the early 70s there was an economic recession in Japan which also slowed it down and made it a bit rough for the people there. However, in Japan things were getting even crazier. The big robot craze had continued. A fellow named Go Nagai created a robot show called Mazinger Zed and he did something different in the older big robot shows. The big robots before then in Oname and Manga had been remote control. There was a kid with a box or a watch and he would control the robot. Usually it had been like his father had died and bequeathed it to him in some way. Well in Mazinger Zed it was the grandfather and there was no remote control. The kid would get into a unit that would then plug into the top of the robot's head and the kid was piloting a robot from within the robot. So this was a whole new change and this created what came known as the super robot, not just big robot, super robot. The super robot craze became pretty big. It lasted for quite a few years a big chunk of the 70s because this was 72 and it would last well into the late 70s and they're still doing side stories, remakes, new super robot shows for the fans of those old programs who are having a great deal of fun with it. On other sides Girls Comics, we have Rose of Versailles, a massive epic that of course owes a certain something to Princess Night by Tezuka in which you have Lady Oscar who in this case everyone knows is a woman but was raised as a boy. Her family is a military family. They've had produced nothing but daughters and father at one point says to the newborn you will be called Oscar and raises her as if it was a son and becomes a guard in the French palace and confidant to Marie Antoinette and eventually goes through a variety of changes and doubts and dies on the barricades. Wonderful dramatic story. Incidentally the creator a few years ago was made a chivalier by the French government highly respected for her work. Also in the early 70s with women having a major role in writing the stories you started getting other interesting motifs. They started writing stories in which characters were cross-dressing. Lady Oscar is one example but in some cases it might be a male character cross-dressing as a woman. You started getting that type of material. For a male audience largely male audience in the early 70s you had manga erotopia a monthly Gekiga and erotic manga magazine come into existence. So now manga magazines are very squarely also selling stuff for adults. So you had stuff for little kids teens and for adults coming into the market. Goenegai kept going with his giant robots creating Getter Robo which was the first robot that was actually three different robots piloted by three different pilots that could combine and one of the pilots would control the robot and depending which pilot it was would be a different shape and configuration. The first combining robot which again became a motif in several of the stories in Japan. 1970s also had an inflation in super robot capabilities. The transformation sequences when the robot launches or changes shape or takes something out they kept trying to outdo each other and trying to outdo each other. There was even one show where they only showed it once because it took a full 10 minutes to do so they had an abbreviated one later. The role of these things changed. Fandom was expanding and writers were always looking for interesting new things. So a science fiction story called space battleship Yamato came into being and Yamato is quite fascinating because it was different from what come before. It involves the earth is being attacked and the ship has to go and retrieve technology to protect the earth from being destroyed. In the story the ship is the famous World War II battleship the Yamato which has been secretly from inside rebuilt so that the satellites of the attacking aliens could not see the construction happening and the aliens finally discovered an attack at the point of launching and so this massive epic where they travel and a variety of things happen to the characters. This was released in the U.S. of Star Blazers on independent television later on. The women in manga started doing some other interesting things. They started doing love stories originally love stories that were rather chaste they were very platonic but they were between boys. Heart of Thomas is one of the most famous works from that period in the early mid 70s and it's set in a German boarding school in a very exotic environment to the Japanese and involves some boys who have some emotional problems and the conflicts that it causes them having attraction to each other. Thomas the main character by the way and this is not a spoiler because you find this out in the first few pages has already died he's committed suicide and then these are people who are reacting to his death and the causes of his death. In the mid 1970s we had a phenomenon of home video Betamax VHS and all of a sudden the old shows which you might see on late tv or some other place became more accessible people could tape their shows they could archive them they could go out and rent them from video stores they could buy them and so the shows started developing a different type of following hardcore fans. Another thing that happened in grew in the 70s that existed earlier was fan produced comic books fan produced works self-published works think this is a zine phenomenon in the u.s. In 1975 a club at Meiji University in Tokyo held the first comic market the first comic market they had at that one 32 circles groups of friends selling their original works many were comic books not everything was and 700 people attending that was to grow to be an event that takes place twice a year and has continued ever since and become a significant venue for self-published works. In the late 70s uh well actually you had the Shona and I the very innocent love stories between boys genre get updated for women you had stories that were more explicit now this is Junae uh Junae is a magazine that is not pronounced June it's named after Junae the French writer so it's Junae is the way the Japanese would pronounce it and this became a women's magazine for male male romance uh this is part of a larger phenomenon today known as boys love or BL which is actually a pretty sizable publishing wing this is stories for women by women this is not gay though the characters may be male male romance and may be in very sexual explicit situations in the story it's uh definitely women's literature in Japan uh an interesting phenomenon around the same time to next year a young artist named Takahashi Rameco did her first story uh serialized long story Ursa Yatsura which was a very silly comedy satirical comedy on male female relationships and all sorts of other things everything she could pull out and toss in uh this established her reputation in 1978 also Aname hit Europe you had the first broadcasts in Italy and very shortly thereafter in France of a show called UFO robot grandizer which became a huge hit in Europe I've known French people who fondly remember the show and greatly enjoyed it in the late 1970s you also had a man by the name of Yoshi Yuki Tomino who played a major role in the evolution of giant robot shows Tomino had done rather well as a director for several shows from the mid-70s on and was given a great deal of leeway to do a different show he wanted to take it in new directions rather than the super robot that was fighting against alien invaders or invaders from the center of the earth or creators creations by mad scientists he did a war story a war story between people no aliens no dramatic technology and the robots were machines that needed to be serviced that could break down it needed to be repaired and the people fighting often were terrified they weren't this brave 14-year-old mom you know piloting this monstrous piece of machinery that was mobile suit Gundam at this time in history a lot of the shows were being supported by sales of toys the sponsors were toy companies you come up with an idea for a giant robot you have the main characters robots you have the villains robots and the toy company makes toys and the show becomes an advertisement therefore you make money with Gundam the audience actually tended to be older so the cheaply made toys of the early days did not sell well and the studios didn't know this the networks didn't know this so the show actually got cut a little bit short and so they round they rounded up the story it's a single story it's not each episode a tale it's one long tale and so they rounded it up and finished it off and then when it went into reruns they discovered that the audience was not middle school kids and grade schoolers the audience was high school kids and college kids and when they did model kids they took off like crazy so Gundam then became a major franchise and they are still doing Gundam shows today there are new shows coming out actually presently several new programs are being done so that was a major influence rose of Versailles also saw an anime adaptation came out another phenomenon of the 70s beginning early on was female female romance between schoolgirls referred to as Yuri which means lily this is an old symbolism going back to the 1920s there was a genre called s s stood for sister it was a literary genre about schoolgirl crushes in school often in boarding schools often in christian boarding schools and a lily symbolism comes from the virgin mary as a symbol of purity these are very chaste romantic stories about a younger schoolgirl having a crush on an older schoolgirl highly respectable genre in the 20s and 30s to today many of those early novels are considered great classics the emperors about 10 years ago commented that she had reread some of the ones she had read as a child and I greatly enjoyed rereading those it was considered an infatuation something the girls would outgrow so it was not considered threatening so these tales were started being created for manga on the same model at the same time then in the boys love area you had the taboo explorations this became a way for a lot of young female readers who are reading at the stuff that was aimed at teen writers to be exploring things that might deal with their maturation with sexual tension with anxieties so it became a vicarious enjoyment and so worked pretty well another phenomenon of the 80s of the 70s and a lot of this is reflected in the giant robot shows are shows that are not based on manga shows that are original stories most of these never had a manga precursor unlike the 60s where that was the norm the other thing they did was these were low budget films animated on the cheap so the animation quality wasn't always the best so they tried to make it visually interesting they started using cinematic camera angles they started doing things that were visually unusual to catch the attention of the viewer and it worked anime became far more cinematic whereas american animation stayed largely as a stage play with a static background and the characters moving around in front of it the japanese work started getting far more complex at that time also at that time more and more magazines were coming into existence that were aimed at an adult male audience mostly late teens early 20s males then we get to the 80s if you look at recent economic history in the past several decades the 80s was a huge economic boom in japan lots of money was flowing around people were investing like crazy think the dot-com boom here and the 2000s or the real estate boom lots of money was going around people were looking where to put their money anime and manga became investment opportunities so a lot of stuff was being made that would not have been made before the 80s also saw something rise interesting which i thought would have come earlier but didn't was the rise of gay manga there were several gay magazines established in the 80s that had manga as a significant part of their production and so that has become part of the scene today not so much gay anime there's only been a few things along that line but definitely gay manga and now we've got a few books published in english one of them is called massive which is an anthology with interviews of the artists that came out about a year and a half ago anime special effects fandom special effect shows like Ultraman and the Godzilla movies became an organized fandom within science fiction fandom in japan and that became a new phenomenon because science fiction fandom before then had been entirely devoted to prose works had been a literary work occasionally american movies might fall into it but there was now a whole new group of fans that were becoming part of science fiction fandom not without conflicts but they became fairly good players in the thing in the early 1980s you also had another women's magazine come out originally entitled be in love later changed to be love and this was a ladies magazine this was a magazine named adult women primarily romance stories but romance stories that could be explicit because it was aimed at career women women who were married and women who were in college definitely not for teen girls several other things were adapted into anime at that time it became well known but i'm going to skip over some of those and go on to another thing that became significant in the 80s as a result of the vcr you had titles that had never been shown on tv and that were not shown in theaters uh the first commercial one was a two-part science fiction show called Dallas science fiction story set on the moon the second of the two was directed by memoru ohshi who now is considered one of the major directors in japan and uh this was the first of a phenomenon that eventually would account for a full third of animation production in japan animation that was made to be straight to video animation that did not get on tv or in theaters related to that erotic and pornographic animation this is one of the cream lemon stories a very famous series from that period you could not show these things on tv and there was enough of the theater market for them but the animators could create these stories and then release them straight to the market on vhs and this became an established part of the industry that lasts until today also uh several people cut their teeth in the industry doing these things and went on to do other works you also had in the mid-80s in another international co-production a thing called detective homes released in the u.s in english as sherlock hound it was a sherlock home story in which all the characters are dogs and it was directed largely by miyazaki who at that time was becoming a better known animator and it was co-produced by an italian broadcaster and that kind of co-production relationship exists today because there's some recent shows that are being done in this way uh basically it's the creative side is in japan and the money side is in japan and italy splitting the risk on these productions 1984 the same year uh miyazaki who at this point had left two towey studios and become an independent was nashka valley of the wind nashka was his first independent feature movie nowadays it's generally classed as the first studio jibley filmed the studio jibley was not founded at that point it was founded the following year by miyazaki isawa takahata and toshio suzuki with funding from a magazine and book publisher which actually owned controlling interest of jibley for quite a few years until it became independent the following year coming out of the science fiction fandom was a group that formed a studio called guinex uh one of the people on guinex had worked on nashka he was a young animator who had animated the what's called the uh the sequence of the giant god figure in the story and guinex became into existence to make one movie they had no vision beyond that and that movie would take a few years to make later on takahashi romiko who had done ursai yatsura did a manga for young men this was in this sanen magazine mezoe koku which is a wonderful situational comedy about a young man who falls in love with a woman who's just a few years older than him but is a widow and the story spans about four years of their lives when he pursues her released as a manga and as an anime now out of print in the u.s but had been in print for a while and hopefully will be back in print soon very popular among certain circles but not as financially successful for her so she never did this type of story again she focused on stories for younger audience which were financially much easier to do 1986 was also the year in which kimiguri orange road came out this was another interesting shift this is a romance story starting out when the characters are in middle school and finishing up when they're in high school this is a romance story aimed at boys this ran in a boys magazine in shonen jump the weekly magazine and became again a big hit nowadays largely forgotten but in polls of people in the japanese industry it comes up again and again as a formative work that has influenced them 1987 the movie that studio gynax was formed to make finally came out it was the most expensive animated feature done to that time in japan very much a serious story with some comedic elements of a space program on a whole other world and a young astronaut who basically is a slacker who becomes motivated and becomes the first man in space gynax then became very well known in science fiction circles this movie was so expensive that even though its theatrical run was extended and more successful than originally planned it took six years of video sales for it to make to break even on cost the following year another movie came out that also was horribly expensive they got very good very quick international recognition made this money back at a faster pace akira this one became for years the title that people in the english-speaking world that they had seen anime they had seen akira beautifully animated they actually had to develop whole new techniques to cause some of the visual effects in the story because this is all cell animation computer animation does not exist at this time then a little bit later masamune shiro publishes his ghost in the shell stories as a manga which then also became a successful work both in japan and internationally then something happens 1989 osamu tezuka who's been a major figure in on a main manga since the 40s passes away in 1989 the showa emperor of japan who's ruled the country since the late 1920s passes away both of them in the same year figures to help define an entire era in japanese history 1990 and 1991 almost as if it's a response to those deaths the japanese economy collapses the real estate bubble breaks large economic crisis huge fortunes and investment vanish it also hits the anime manga industry particularly anime because all of a sudden a lot of that money for experimental stuff dries up but at the same time instead of going on long vacations instead of spending money on trips and you know expensive dinners people start spending more time at home more time watching television tv anime actually grows at this time it actually has a spurt of money coming in at that time studio gynax produces a work that makes them a household name rather than simply a name among hardcore fans nadia secret of blue water a story about a young woman who doesn't know where she came from who wants to find out who ends up going on an adventure over a young man and she has a blue gem and captain nemo and the nautilus and atlantis all become parts of this story it is considered one of the great classics and nadia has been one of the most popular characters in fan surveys done by magazines for decades since this period for women's manga comic amor comes into play comic amor is a very sexually explicit ladies manga magazine and becomes a significant player in the market to the point that ladies manga becomes associated with erotic stories and so other manga aimed at adult women take create a different market gynax continues they decide to poke fun at themselves they create a work called otaku no video otaku no video is a mockumentary of fans who decide to go pro and interspersed with interviews with real fans very tongue-in-cheek very humorous dense with references to the earlier shows to the earlier works and sometime in the next few months this is a disclaimer there will be a blu-ray coming out with me doing the commentary track should be out soon 1992 another work comes out in manga sailor moon a combination of the japanese special effects team shows think power rangers except with girls transforming into heroines to protect against strange attacking invaders in the 90s also you have the phenomenon of niche manga magazines manga magazines aimed at things like pachinko the game or mahjong or things like yan mama a manga magazine for young mothers who used to be juvenile delinquents how much more niche can you be than that uh written and edited by a woman who was a juvenile delinquent you know at the time uh there's some really fascinating history behind all of that in the mid 90s you also get gynax again doing something interesting uh mainstream prime time giant robot show companies are saying okay sounds like an idea go ahead and do it gynax at this time is under ropes if this show doesn't make it they will be going bankrupt and shutting down this show turned into a monster made a fortune for them and now them to survive to the present day and they're still making money off of it neon genesis even jillion again you have the young boy pilot again you have the giant robot in this case they are actually modeled on ultraman so they're much more slender they're not bizarrely mechanical and again strange invaders uh this show had adults around a water cooler at the office talking about it uh actually manga anime magazines for adults began to be published in japan at this time before then they had been aimed at fans and school kids and college kids a significant thing another thing that came out in the mid 90s was a detective show about a teenage detective who is poisoned by members of a gang thinking that they have killed him they leave and he actually shrinks down to boy size has to pretend he is someone else he takes the name edogawa konan from edogawa rompo the marvelous writer of japanese mystery stories and konan doil the writer of sherlock holmes so this series takes off and becomes a huge mega hit released in us's case closed both in anime and manga uh is still running and is still making the author lots of money uh then we get into historical shows ruroni kenshin about a swordsman who will no longer kill at one time he was a killer he became very famous as a killer but out of remorse he will only fight but not kill he has no qualms about breaking bones he has no qualms about taking someone's fingers off but he will not kill and he will only fight in defense of himself and others he will not instigate things later they did a thing called trust and betrayal this is from that which tells the story of why he no longer kills and this is my opinion ruroni kenshin trust and betrayal is one of the best samurai films ever made even though it's an animated work tropes again princess knight rose of her sigh now revolutionary girl uttina directed by the same man who directed the sailor moon tv show this involves a girl who wants to be a prince and saved princess and at her school ends up getting involved in a series of duels to basically save a very meek young woman story is very complex uh when it was released in the u.s you go to on a make conventions and see people dressed in the costumes quite often became very very popular uh available on in dvd right now in gorgeous box sets with books attached and stuff of and this one becomes very much a friendship with romantic overtone story between women this was aimed at a girl audience basically a high school girl audience there was a movie version which was explicitly uh lesbian that was aimed at an older audience the jokes in that movie however worked best if you've seen the entire tv show same time uh year later a young artist manga artist working for an animation studio has his boss come in one day and his boss says i just signed a deal we're doing an animated version of the suspense novel perfect blue and you're going to direct it satoshi kahn looks at his boss and said i've never directed anything before his boss says you can direct it you have no choice you're doing this movie and you have carte blanche he releases perfect blue it gets international acclaim it wins awards it establishes his career and he becomes one of the most vibrant animators of the contemporary scene and unfortunately a few years ago dies in his 40s from cancer having done a handful of movies all of which accept perfect blue were submitted for oscar consideration none of them made it to the ballot unfortunately uh and but he's still very much talked about among fan circles both in japan and the u.s the following year uh well actually around the same time 1997 a manga about pirates comes out and in 1999 an anime version of it comes out one piece the most ridiculous pirate story you could imagine when i got volume one of the manga and read it on the bus coming back to oakland from berkeley i gaffaud out loud in spite of my attempts to stifle my laughter this was one of the funniest things i have ever read and i highly recommend you do not drink anything while reading this it may come out your nose i'm not kidding uh it was quite quite good the industry today we've gone through the 90s now and i'm almost out of time uh the industry today is an interesting one uh several things are happening you're getting reboots of shows where they're retelling the story in a different way uh neon genesis evangelical is being retold in a series of four movies which so far the first three have been very different than the original series you've got side stories which are set in the same universe for some series you've got sequels you've got more of the eerie stories the female female romances becoming an increasingly popular genre manga sales have for magazines declined and the in 1995 shonen jump was selling six and a half million copies a week nowadays it's let far less than that but still an incredibly popular thing funding changed uh rather than sponsors for a lot of the things rather than single production companies now they set up production committees a music company may do the music elements of a story and have the rights to release the cd uh different investors will invest in it so it's not unusual now to have five or different corporations investing in a story they set up a committee the committee works with the animator sets up the basic guidelines and criteria for the story and then it goes uh had a narrowing effect on story lines for a long time that seems to be shaking up in the past few years uh some niche market stuffs are expanding uh Kyoto Sekai University a very respected school now has a department of comic art uh the one piece graphic novels in the early 2000s were selling about two and a half million copies for each volume as a first print run nowadays they're typically four million copies printed for a first print run how many writers in the world have print runs of that size uh Maria watches over us which was a popular manga and anime continued the classic s story very chased love in the girls school romance type of situations very much an older student mentoring a younger student uh very heartfelt beautiful tales Genshiken came in Otaku no video was about hardcore fandom in the 80s Genshiken is about hardcore fandom today it's set in a college club the society for the study of modern Japanese visual culture these people don't just read manga and watch anime they play video games they dress up in costumes they do all sorts of activities a lot of what you find in otaku no video but this is very much modernized for today and also includes some of the fandom things that you have today particularly the role of women fans this is published in a magazine aimed at men but women are picking it up for this series also parts of it have been animated you also have a phenomenon now which is increasingly common of novels being animated in the past it tended to be things like classics and of green gables for example was animated as a tv series now you have things like bakano which is a story set in the 20s involving gangsters lunatic killers alchemists immortality and all sorts of strange shenanigans going on very complex tale very adult tale you do not want to show this to kids it gets gruesomely bloody at times but it works with story works out quite well you also have a phenomenon now of women who have always played a role in the industry usually as episode directors becoming major directors this is michiko and hatchin directed by sayo yamamoto who has become quite well known at least in the west for her work this is the story of a girl and a woman inquesting for a man who is apparently the girl's father and the former lover of the woman who was supposed to have died long enough ago that the girl could not have been conceived basically takes in a place in a latin american country very much like brazil marvelous tale with some great jazz and other music as part of it like i say music companies are part of the production things the same director later would revisit another popular series loop on the third which several people have worked on and have had a large number of movies and recently there's a whole new loop on series the fourth major series being done on in japan being simulcast on crunchy roll which is based here in the bay area this is actually another loop on series but focusing on a female character oops fujiko mine the woman named fujiko mine screenplay written by a woman directed by a woman going in places that men would be nervous to this one gets a bit sexual more than a bit sexual often very humorously so sounds from behind a locked door and things like that very good work getting a lot of acclaim her first series after michiko and hot shin that came out that's it that's the basic run a little bit of what's been happening the industry has a danger right now of getting hollowed out a lot of people who have worked in the industry have been major figures are retiring they're getting too old to continue on miyazaki is retired from making movies takahata is like in his late 80s now so he's probably not going to make any more movies and if he does he takes years to make a film a lot of younger people are not going into the industry they're going into video games a lot more money but at the same time we are getting some newer writers and stuff so there's there's some different hope there uh streaming is becoming a method of distribution there are several companies like viewster hulu crunchyroll that are streaming shows in the u.s you can watch them for free with commercials or pay to see a commercial free version you've now got works getting known in different ways a very popular show right now is called one punch man originally it was a web comic self-published so impressed a successful commercial writer that he offered to negotiate a contract and illustrate a commercial magazine release and it's now being animated the industry in japan for anime is big in 2015 there were 161 new anime tv shows in japan there were 41 films and 33 straight video titles there were four titles that were made and distributed directly on the internet making a total of 239 titles for that year that's a significant number uh this is why japan is the world's largest producer of animation comic market which i mentioned earlier as a place where people could sell their own self-produced works you know 30-something groups selling their things you know a few you know small group of people showing up and buying in 2015 they had 35 000 circles selling their works over a three-day period one-third each day and 520 000 people attending the event the event is so well organized they publish a massive catalog so you know exactly where the group is that you want to buy from and so there's no bottlenecks everything works smoothly an incredible accomplishment of logistics all run by volunteers uh the industry in japan is interesting and i skipped over a ton of stuff because of the time limitations we're a little after seven so i can take a few questions so anyone have some yes


Welcome you all to Mises University, the best week of the year, and the best place in the year. Now for those I've not met yet, my name is Stowe Bishop. I'm an assistant editor for the Mises Wire, so you'll be meeting me throughout the week. If you have any interest in creating content for the institute, applying what you learned this week, you're please feel free to talk to me. Before we get to the main event tonight, there's a little bit of housekeeping notes. One of the things I do with the institute is social media, and we want to make the entire world know what's going on this week, so please, you tweet, Instagram. If you create your own podcast or things like that, and talking about your experiences here at MisesU, please let me know. We want to promote this as much as possible. When you're at the hotel, please remember that you are representing the Mises Institute, so act appropriately. I've been told that either it's breakfast at the hotel in the mornings, please take advantage of that before coming over. Something else is that air conditioning in the building can be strong at times, so even though it's going to be hot, it's going to be hot, it's going to be hot. In the building, it can be strong at times, so even though it's going to be hot, it might be worth bringing a sweater or something like that if you have one, it does get cold upstairs. So for any further ado, it is my great pleasure to introduce our academic vice president, the dean of the Austrian school, Joe Salardo. This is my favorite event of any Mises event, and I'm proud to have been associated with it for 17 years now. I've directed it since 2005. That's not bragging on my part, just showing how honored I am that it has gone as well as it has, and it has touched so many people. Before I introduce our distinguished faculty, I want to give you an idea of how things were in the bad old days before Mises University. What were the opportunities for college students in the 1970s when I went to college? Don't try to do any math there. When I first discovered Austrian economics in my junior year in college, there were no educational conferences for students available like Mises University. My first Austrian conference was very, very small. It consisted of me. During the summer between my junior and senior year, during the summer between my junior and senior year, do you want to start reading? I worked as a janitor. I would finish my work early and I would rush into sort of a janitor's closet. It was a stuffy window list, it was a sort of naked yellow light above, and I would be in there for the rest of the day surrounded by mops, brooms, cleaning fluids, and I'd be reading Rothbard's America's Great Depression, and I felt so alone. I was alone. I was in the closet by myself. Until I graduated college, and I'm speaking literally here, I had never met another living Austrian. I was finally able to come out of the closet, the janitor's closet, and as an Austrian, and meet other real-life Austrians in 1974 when I attended, okay, good man, when I attended the first Austrian conference held in North America. It was held in a tiny and very spooky little town, they called it a hamlet, which you know is always in horror movies, there's hamlets, of South Wales in Vermont. The place had no street lights, and now you can literally hear wolves or coyotes or something. It's in New Jersey, so I don't know what the sounds are, but they're banging at the edge of town. The inhabitants you met, they never acknowledged you. They sort of looked past you like the pod people in Invasion of the Body Snatchers. Anyway, the Austrian movement has grown beyond belief since the famous South Royalton Conference, and Mises University has had a lot to do with it. Thousands of students have gone through Mises University since it started in 1986. More than 100 different faculty members have taught at Mises University over the years, so there are, starting with myself, there are my students, actually starting with Murray Rothbard, I was his student, he was my mentor, and there were a few of us like Hans Hoppe, and we then had students who are now teaching there, and these students have also had, now also have students who are teaching here. So there's been three generations of professors that have gone through Mises University and now are teaching at Mises University. So as the number of professional Austrian economists has grown, and Austrian research has expanded into new areas, the faculty has become larger, and the variety of courses has expanded, so you'll be treated to a wide variety of courses on a wide variety of subjects this week. And many of those subjects are very topical, and I envy you for being able to hear this for the first time, or some of you here are here a second or third time. So this week you will hear lectures from a very distinguished faculty of economists, historians, philosophers, and a brilliant legal scholar. I'm especially proud to inform you that more than half of the faculty has attended Mises U as students, some as recently as 2010 and 2011. On the other hand, some of the older faculty have sat in Murray Rothbard's living room, including myself, way back in the early 1970s. But regardless of age, all members of the faculty have devoted themselves to studying, very carefully, the teaching and writing of Austrian economics, especially as it has been passed down through what we call the mainline Austrian tradition, starting with Carl Manger, who I will talk about tomorrow morning in the first lecture, going through his student, Eugen von Bomberk, Eugene Bohm, you can call him, and then his student, Ludovan Mises and Hayek, but especially Mises Protégé, Murray Rothbard, who is really the spirit that vivifies the institute. So without further ado, I want to introduce the Mises faculty who are present. I'd like to begin with Pearl Byland.  Thomas DeLorenzo, Lucas Engelhardt, Jeffrey Herpenter, David Gordon. It was an entree for a joke, but he didn't bite. Peter Klein, his much better half, Sandy Klein, Ryan McMakin, who's also the editor of Mises.org. I know I shouldn't have called his name. Bob Murphy, Jonathan Newman, Patrick Newman, no relationship to the mutual relief of both of them. Sean Rittenauer, Timothy Terrell, Tim, Mark Thornton. Okay. Thank you. Thank you for the delayed ovation for my talk. You can now applaud the speakers. But this week our special guest lecturers will be Judge Andrew Napolitano, Walter Block, and the founder of the Mises Institute, Lou Rockwell. So now though, I'd like to introduce the president of the Mises Institute, Jeff Deist. Thanks, Joe. Appreciate that. We'd get you all inside out of that terrible rain this evening, and we're very cozy and comfortable in here. Now, some of the more perceptive people in the room may notice something that I am not Tom Woods. I'm not Tom Woods. Tom Woods is scheduled to be speaking to you right now. But the fact that I'm not Tom Woods has some upside to it. It has a casual downside to it, but I'll take it. Tom Woods has attended every Mises University since apparently 2006 when he moved to Auburn and worked here for a while. Today he had a terrible travel snafu. He's also got to fly out to South Dakota this weekend. It's the first one he's had to miss in many, many, many years. So he sends his deepest regrets and is very sad and sorry not to be here. But nonetheless, the show must go on.  I never attended Mises U. I didn't really know about the Mises Institute. Probably told my late 20s. And I thought, wow, how fortunate you are to have not only all this great faculty, but the fact that they've created the syllabus, that they've taken all this economic theory and synthesized it and put it into some silos for you so you can just spend one week getting all the basics down. That's really quite an incredible achievement because most people, especially people that saved Joe's generation, really had to read a lot of original source material and go find it and do a lot of work to put things together. And it wasn't so synthesized for them. So you're very, very fortunate in that sense. And one of the great things about Mises U. is that it really, in some young people, it sparks a lifelong interest in economics. And some people decide that they perhaps want to view economics as a profession, whether in academia or otherwise. And then some people say, you know, what's about all the economics I think maybe I need? And I'm going to go into some other field. I'm going to go into technology or art or music or whatever it might be. But either way, I guarantee you this. You'll leave at the end of this week knowing more about economic theory and about the way the world really works than 99% of the people walking around outside. So it's well worth your time and I congratulate you and we appreciate you for taking a week out of your life. So Joe mentioned some of the great names in Austrian economics and the way things have passed down and that there have been generations. But I was thinking this evening earlier about, you know, just imagine this remarkable series of events that had to transpire for all of us to be in this room this evening. It's really almost impossible if you think about it. And we have to go back to before the Civil War. We have to go back to 1840 actually when Anton and Caroline Manger had a gleam in their eye and produced Karl Manger, who went on not too much later in 1871 to write the Principles of Economics, which is really considered the founding of the Austrian school and he's considered the ultimate founder. And then of course Ludwig von Mises was born later. Both of them were born in the Austro-Hungarian Empire, what is now Poland. And of course many, many, many other events had to occur, including Lou Rockwell meeting Ludwig von Mises when he was editing some of his work, getting to know Margit von Mises, and all these things came together. And now all these decades and decades later, we find ourselves together in this room tonight. So I think that's pretty neat in a sense, to just imagine how things could have been otherwise. So really, you know, there's been thousands of individuals connected that have made this evening possible and this week possible. And I always wonder whenever we have gatherings here or sometimes gatherings at my house, you know, what would Mises think if he could see this? What would be his impressionist? And I have to think that he would be very, very pleased because it's been almost 50 years since he died, almost half a century since this man died, and yet his work is still being read, and not only being read is being read more, more broadly, more widely, more vociferously than ever before, in multiple languages, oftentimes online, instantaneous, available free to anybody around the world. And so that's the greatest thing a scholar can enjoy, is to have their work read after they die. And Murray Rothbard, you can say the same thing. And you know, to be honest, we're not reading too many 20th century economists these days. I mean, there's the big names, people still read Keynes, but a lot of the great detractors of the Austrian school who are no longer with us are not being read.  So I'll leave it to you, which of those courses is easier. So one thing that Rothbard especially warned about, he called it the grave error of pessimism. And Mises talked about this quite a bit as well in his memoirs, and otherwise, the grave error of pessimism. And so it's very easy when we look at the world around us to get down about how things are going. And, you know, at my age, I worry a lot about the economy. I worry about politics. Obviously, I worry about my kid's future, you know, but at your age, you have a lot of concerns about just starting out your own careers. And you can look at the world and say, you know, this isn't really right because, you know, it's very, very expensive to go to college today. And then, you know, people have three degrees and there's still no jobs out there. And it's very, very expensive to buy a house.  And so it's a lot harder for me to go to college. It's a lot harder for me to pay for college. It's a lot harder for me to buy a house or to get married, to do all the things. And to be fair, a lot of your parents, you know, they might have gotten a 2.8 at State U and traipsed around Europe a little bit and enjoyed a little bit of a green, leafy substance and done all kinds of things. And then they still became a doctor, a dentist, or a lawyer and accountant, no problem. Or a teacher, let's say. And a lot of those avenues are much tougher today and they may even feel close to you. So I know that there's a lot of angst amongst your generation. Rothbard told us, he said, we have to fight constantly against this grave era of pessimism. So Mises had a term that he liked to use, a French term that I love. He actually uses it towards the end of human action. It's a French term called ilan vitale, our vital impulse, our life force. You've probably heard the term ilan. It's an adjective to refer to someone who's got style or panache or a puissance or whatever. So this term ilan vitale, Mises borrows it from a French philosopher named Henri Bergson. And so ilan vitale describes this sort of creative force within an organism. It drives growth and change in desirable adaptation, much like the economy. So Mises liked it so much that he used it towards, again, towards the end of human action. And he wanted to make the broader point against determinism. He wanted to remind us that human history isn't deterministic. We make our own ways and that individuals acting purposefully and willfully can change their fortunes. And I think that's absolutely true. I think he was right, that volition trumps fate. And there's a lot of determinism in the world. And it's not just, you know, on one side of the political spectrum or the other. There's a lot of people talking about identity. And frankly, on the more liberal side of what we would consider real liberal side, the libertarian side of things, there's this sort of happy-clappy deterministic talk that everything's getting better and, you know, markets are breaking out all over and, you know, the Jeff Bezos and Elon Musk's of the world are going to make us all incredibly happy if we just get out of the way of Amazon trucks or whatever. And I think that there's a little bit of, there's a little bit of hubris on both sides of that. So, but the idea that we control our own lives is not only very important in Mises' work, but I think it's very important in the mindset of anybody who wants a freer society. And that's certainly a big part of our mission here. And if you look at Mises, he suffered a lot of serious setbacks in his life, very serious setbacks, well beyond probably what most of us will ever experience. And he also didn't have a lot of money for most of his life, really for all of his life, despite his unbelievable brilliance and staying power that I mentioned earlier. So, at the Mises Institute, we have a broader mission than just Austrian economics and we hope that all of you embrace it. We hope that all of you consider yourselves alums after you leave Mises University. We hope that you all stay connected with us when we try to pursue that mission, which is basically convincing people that society does not need to be organized around the state or at least much around the state. And to think that today, to advocate that today, is really to rebelle against the prevailing orthodoxy, to be frank. So we're counting on all of you to be the leaders of the next counterculture. So with that, let's enjoy our evening and we have a reception outside and we're very much looking forward to having you this week. Thank you.


Hey, this is Brett, and this 2020 Ford F-250 Crew Cab Short Box XL STX FX4 is stock number 12943Z. I'm here at Summit Automotive in Fond du Lac, Wisconsin, you're new and used heavy-duty truck headquarters this 2020 F-250 has the 6.7 liter power stroke diesel engine, 475 horsepower, 1,050 foot-pounds of torque. This truck has been fully-safetyed and inspected by our service shop, has a fresh oil and filter change, all the fluid tab been checked and topped off, and this truck is 100% ready to go. We're going to go all the way around, inside, underneath, and start it up at the end of this video, so stay tuned for that. And I shoot all my videos in 4K, this is Blue Jeans Metallic. If you have HD capabilities on your computer, tablet, smartphone, or television, I highly recommend turning them on right now, because it's your best way to check out the quality, condition, options, and cleanliness of the vehicle before seeing it in person. And if you like the video and how I do things here at Summit Automotive, consider clicking the subscribe button to my YouTube channel in the lower right-hand part of the screen. This one comes with the 18-inch painted alloy rims, Goodyear Wrangler, all-terrain adventure tires, these are LT27570R18s, and they have, I would say, probably 60 to 70% of the tread left on them. The rim and underbody is very clean. This is a clean title history two-owner from South Carolina. Front fender is in excellent condition, does have the crystal clear headlights, and the front bumper and lower valance are in very nice condition as well. You didn't see any major dents or dings on there. You get the chrome-trimmed grille, and the hood is in fantastic condition too. You didn't see any dents or dings on there. It does have the cab lights up top. Passenger side front fender is in nice condition too. And this passenger side rim, no major scuffs or scrapes on there. This one does have the blue jeans metallic, it's got a lot of metal flake in it. So if you have those HD capabilities on, you can see all that sparkle in there, really a good-looking color. And as you go down this side of this 2020 Ford F-250, take note of how clean the body is, how reflective and mirror-like that paint is. I take these HD videos so if you are far away or even if you're close by and you just cannot make the trip down but you're still interested in purchasing the vehicle, you can see the truck, hear the truck, and have confidence in the vehicle that you're looking at before you even get here. So when you do get here, there's absolutely no surprises and you can make a smart and informed buying decision from wherever you're at. And if this video helps you make that decision, let your salesman know that you saw the video that it was helpful and that Brett sent you. This back room is in excellent shape. Back tires have just as much tread as the front tires and that frame in the underbody is very nice and clean. Really nice truck. Lower rockers and cab corners all look good and it comes with the factory running boards. Those are in nice shape as well, FX4 off-road suspension package. And as you come around to the back of the vehicle, rear bumper is in great shape. No major dents or dings in there and it does have the full towing package which includes receiver hitch four pin and seven pin wiring. The tailgate is in fantastic condition as well. And it comes with a very nice spray and bed liner, fifth wheel and gooseneck prep package and you get seven pin and four pin wiring in the bed as well. Beds in excellent shape and that spray and bed liner goes on to the tailgate which is nice. Coming down the rest of the side of the truck, box looks really good. And for full disclosure, this back rim is in excellent shape as well. Down the rest of the side of the truck, doors and cab all look really good. Does have the telescopic tow mirrors that are heated, built in directional signals. They tell us to go about like so. They fold in like that and they work nicely. Inside the XL package gives you the gray cloth interior. There are no rips, there are no tears on the seats. They are in really nice condition. You get the 40, 20, 40 split bench seating. There's also a hideaway storage compartment under there. You get auto headlamps, tilt telescopic steering wheel, power locks, power windows and mirrors. Back here, back seats are just as clean as the front seats. No rips or tears, does have the latch child safety system for any child car seats you may want to put back here. Fixed glass rear window with the built-in rear defrost. These seats fold up like so, you can see you get a nice flat floor back here, which is nice if you got pets, put both seats up, they got a nice flat place to lay, and the headliner is in great shape. These seats actually lock into place and you can release them with that strap. Child safety locks on the back doors and the bottoms of the doors all look really good. We'll start it up, we'll turn the ignition on, check out the miles radio and everything that this truck has to offer on the interior. Alright, you can see that this one has 18,982 miles, instrument cluster is very nice and clean. Comes with the multi-function steering wheel, cruise controls and information center controls on the left, Bluetooth and audio controls on the right. This one has the 10-speed automatic transmission with the optional tap shift, and you get these sync 8-inch radio FM capabilities on here as, let me see if it's got, it's got Bluetooth as well. And then you have all your different settings in here, you have Ford Pass Connect, Android Auto, Apple CarPlay, so you can project your cell phone to the screen, and if you have a nav system on your phone, project it right to the screen, it's like you have nav on the screen, so that's a pretty cool system.  We'll start it up and take a look under the hood. No check engine lights or anything like that. I would personally like to thank you for checking out the video today, and hopefully from this HD video you've been able to verify the quality and condition and options on this truck inside and out. If you're still with me on the video, thanks for watching it to the end. Under the hood we have the 6.7-liter power stroke diesel, engine bay's very clean, runs very smooth. Once again, 475 horsepower, 1,050-foot pounds of torque, and this truck has been fully safe to inspect it as a fresh oil and filter change, all the fluids have been checked and topped off, and this truck is 100% ready to go. There is your emissions sticker. And I would highly recommend this 2020 Ford F-250 Crew Cab Short Box XL STX-F X4 from a quality and condition standpoint. And to see more pictures of this truck, or one of our other 450 new and used cars, trucks, STVs, minivans, Wranglers, halftones, three-quarter-tons, one-tons, you name it, we've got to go to that website right there, summitauto.com, full pictures and descriptions of every single vehicle from two locations, all at summitauto.com. And if you'd like to check out more HD videos, you can go to youtube.com slash summitauto. Remember to like, subscribe, and share on this video and all the videos that you see there. Click the bell notifications, you'll get updates on the videos we do each and every day here at Summit Auto. In fact, in a second you will see a link to subscribe to my YouTube channel on the upper left. A link to more F-250 videos like this one on the upper right, a link to this vehicle on our website on the lower left, and a link to one of our latest YouTube videos on the lower right. Click those, check us out, and we're super excited to help you with this ultra clean 2,050, Ford F-250, Crew Cab Short Box XL STX FX4, and Blue Jeans Metallic. Thanks again for checking out the video. Remember to like, subscribe, and share on my YouTube channel. Really appreciate it, and thanks again.


We came out here for an estimate for an awarding cleanup about a month ago. Saw the situation, realized that a clean out was going to be a little bit too expensive. We just decided to do it on our own. Good morning guys, welcome back to Nashville. Today we're going to do something a little bit different. We have an individual adult guy with some disabilities. We came out here for an estimate for an awarding cleanup about a month ago. I met Jacob and it kind of just touched our hearts a little bit. He's had a really unique story when he was a baby, he was premature, he was in the NICU. His nurse who nursed him back to health ended up adopting him and raised him. He's 33 now. She recently passed. So when we heard the story, saw the situation, realized that a clean out was going to be a little bit too expensive. We just decided to do it on our own. So we're going to donate all of our labor, we've got a red box plus dumpster, it's donated. We're going to be out here for a day cleaning out the house. Alright, so our goal today is to clean out the house. So we're removing all the unwanted items. We're not doing any cleaning today, we'll probably have to come back next week and do that. We've got blue tape markings on everything that has to leave. So as we go through everything, the bathroom's going. Obviously the trash, we're getting all the stuff and we're usually going to split up. So we'll have like one person per room, so we'll get that done faster. But right now we're doing this first so we can put the cat in here for the unobtrusive. Yeah, sometimes depending on how bad it is and how big the room is, it's just best to have as many people as possible just working on the same room. Because sometimes if it's a big living room, you have to clear that out so that you can get into the other spaces, into the other homes. Like if it's a hallway that goes into the other rooms, you'd have to clear that out first. She passed away, so we're helping take care of her autistic son and that's who's living in the house now. So this is an attempt to help start fresh and get new rhythms for our friend. About this job is they make fun of my bald head. Oh yeah dude, 1995 bro. Do an estimate for it until we get everything out because we can't really see the extent of the grime, the filth, until everything's gone. And then like on the last day, I think it was a multi-day job, the last day we're here also doing an estimate for a home. Waves is a non-hophice set off for services to adults and children with intellectual developmental disabilities. We started in 1973, it was a group of families that came together in Fairview, Tennessee that wanted something other than what society was offering at the time for their loved ones with disabilities.  So they came together and thought, you know, we're going to create something different. We want to make waves in the disability community and they did just that. And we support roughly 1,400 individuals, children, adults, families a year. So within our service field, we operate two-day programs under our adult services umbrella. We operate two-day programs, residential opportunities, which are 24-7 staffed housing within the community, just integrated throughout very nice peaceful neighborhoods, safe neighborhoods, a semi-independent living opportunity where adults can live independently but just need some support to lower the barriers for maybe some financial assistance, medical oversight, transportation, connections to the community. Really without that program, those individuals likely would not be living on their own. They would be in a different environment because they're just such important parts of life that you have to manage day-to-day. So we fill that gap for them. Our two adult day programs are skill-building programs. We meet individuals where they are and their level of independence. And we try to further that through skill-building and independent living skills training, employment training, there's a huge focus on employment training. The community has come a long way with opening their doors to the disability community. They're amazing employees that hadn't been given a chance prior. And now they're really, they're working in places all over you just couldn't imagine. So that's really come a long way. It's got a little ways to go, but that's part of what WAVES is doing. We educate the community as well. We have lots of standalone services for individuals that have more individualized services all throughout Williamson County and beyond. And then we have an early learning program. So the early learning program is really great. It should have started there. The early learning program works with individual babies, 0 to 4. And they're meeting those, they're identifying barriers to their development and then coming in and working with the families to provide resources, training so they can overcome those small barriers. Those milestones that all of our children, you know, we worry about, are they setting up on time? Did they roll over on time? Is there speech on time? So our specialists are amazing. Our interventionists go out into families' homes, into natural settings, and provide that training and through play. So they make it really fun for the child. And they support, gosh, I think currently 500 to 600 children at the moment. So really cool how we can start there.  So we basically provide services 0 to the end of life. You know, it's really a well-rounded organization and basket of services where we can pretty much meet an individual child anywhere they are in their path in life and step in and try to provide some sort of support and service that can help them progress to their full potential. And thank you to Spaulding and Deakin for the opportunity to be here and our partnership and the work that they do alongside organizations like our own to provide services and opportunities for the disability community. Thanks so much. Just want to? Yeah. Yep, that's it. So wherever we can fit it in the van. That van is completely empty. Please, about 330. So about six hours of work. This was one of the biggest bedrooms. We had to remove everything. So all the furniture that came out of here, the bed, closets empty, everything's out. Swept up. We're not going to eat cleaning again today, other than just sweeping off the dirt and stuff. This is Jake's bedroom. So we kept some of his big nice furniture that he wanted his bed stays. And then everything else got sweeped out. Back room. It's cleaned out. Not clean. Ouch. And a couple of big pieces of furniture over here. So everything is out of here and gone. Ready to be cleaned into the kitchen. Everything out of there done. Everything except for under here, because there's some good cleaning supplies we left. This is Raven. Raven's magical working in here. So yeah, fold up, duster, made a couple trips to the vans. Did everything we could to get it down in one day for them. I think we did everything they were expecting. The only thing we didn't have room for is a shed. So the shed's still full. But we'll be back next week to do the cleaning piece and finish it up. So thanks for watching guys. Don't forget to like, share, subscribe, and ring that bell to be notified of the next episode. For more information, visit any of our locations.