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Sex differences in humans include a generally larger size and more body hair in men, while women have larger breasts, wider hips, and a higher body fat percentage. In other species, there may be differences in coloration or other features, and may be so pronounced that the different sexes may be mistaken for two entirely different taxa.[72]
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Julia Ann (born Julia Tavella, October 8, 1969 in Los Angeles, California) is a pornographic actress, feature dancer and former Penthouse Pet, she is a member of the AVN Hall of Fame. Ann worked as a professional mud wrestler in Hollywood before becoming one half of the popular touring strip club feature act Blondage, with Janine Lindemulder, in the early 1990s. Their success led to offers to join the adult film industry. Ann debuted in adult films in 1993 in Andrew Blake's Hidden Obsessions, in a lesbian sex scene with Lindemulder. She has been a contract girl throughout most of her career. Her first exclusive contract was with Vivid Entertainment (during which time she worked solo and also made a series of Blondage films with Lindemulder). Later she contracted with Digital Playground (1999) and Wicked Pictures (2002). She contracted with Wicked Pictures again in 2006, but in May, 2007 she posted on the members section of her website that she had not renewed her contract with Wicked. On June 28, 2007 her first scene since leaving Wicked Pictures debuted on Naughty America's Naughty Office. She has since started working as a makeup artist. Ann is a long-time member of People for the Ethical Treatment of Animals. She married adult film director Michael Raven on June 21, 2003. They have since divorced. Along with Inari Vachs and other female porn actresses, Ann was a host of the Playboy TV show Naughty Amateur Home Videos. Besides breast augmentation, Julia Ann also had labiaplasty and a nose job (to remove the aftereffects of a broken nose suffered when a horse kicked her in the face). She has also done videos for Naughty America as recently as 2007 and most recently Brazzers.
In this feature-length documentary, Marilyn Waring demystifies the language of economics by defining it as a value system in which all goods and activities are related only to their monetary value. As a result, unpaid work (usually performed by women) is unrecognized while activities that may be environmentally and socially detrimental are deemed productive. Waring maps out an alternative vision based on the idea of time as the new currency.
TOKYO -- When Ronald Reagan observed during his recent trip here that perhaps the Japanese might bring back "decency and good taste" to Hollywood, this city's amused film cognoscenti saw the former president's remarks as the genial ramblings of a paid American guest who clearly had never set foot in a Japanese movie house. For not only are general-audience films here at least as violent and sex-filled as R-rated American movies, but Japan's booming adult-video industry distinguishes itself for its graphically sadistic "splatter pictures" and its marked denigration of women. "If Ronald Reagan had looked at some ordinary Japanese popular products," says Donald Richie, the leading American authority on Japanese cinema, "he would have seen that in terms of violence and soft-core pornography, the Japanese aren't about to bring decency to anything." Reagan, who received $2 million from Fujisankei Communications Group for his visit here and who subsequently apologized to Hollywood for his angry words, was referring to Sony Corp.'s planned buyout of Columbia Pictures. It is necessary to point out that Sony has had nothing to do with producing the 4,000 adult videos made in Japan each year, nor with the 153 soft-core pornography films -- representing more than half of the feature film market -- that were made in Japan in 1988. Sony also has had no hand in the shows on late-night television in which teenage girls bare their breasts and giggle as male hosts tease and fondle them. But the pornography demonstrates that beneath the pastel vision of a Japan of tea ceremonies and cherry blossoms, or of Nikon cameras and Sony Walkmans, there exists a throbbing modern culture producing its own contradictions and jagged picture of humanity. Like all societies, America's included, Japan has reserved a place for pornography, and its pornographers, like pornographers everywhere, defend their work as meeting a social need as they come under attack from feminists and parents' groups. "We are born with sexual desire," says Tooru Muranishi, Japan's top director of pornographic videos. "Watching such a video is a cathartic experience, one in which an individual can release himself." And yet, pornography in Japan is unique in that it seems, so far, to have had little effect on sexual violence in a country that has one of the lowest crime rates in the world -- even though there has been intense public debate about the connection. That debate was triggered by reports last summer, later deemed erroneous, that a man who had brutally murdered a 6-year-old girl had been inspired by horror videos. But at the least, Japan's pornography industry, or "pink cinema" as people here call it, offers a particularly revealing glimpse into the hidden psyche of a society obsessively concerned with manners and surface decorum. Late-Night Television Susumu Takahashi is an executive producer at Nippon Television who for 15 years masterminded "11 p.m.," the grandfather of the late-night "infotainment" shows that litter Japan's networks after dark. He is a salt-and-pepper-haired, elegant-looking man in gray wool and tweeds, and on this early evening is comfortably ensconced in the soft sofa of an NTV conference room that looks out toward a chaotic nest of desks, television equipment and tense production assistants. "11 p.m.," he explains, began 25 years ago. "It is true that there was a lot of nudity in the program in the beginning," he says. "We wanted to be avant-garde -- with a touch of anarchy." In those days, there was no programming past 11 p.m. on Japanese television. So in order to attract what was seen as a core audience of 18- to 34-year-old relatively well-educated males, the creators interspersed young women removing their blouses with information about the latest restaurants, fashions, shops, trends and famous people. Over the years, guests on "11 p.m." have included Andy Warhol, Yoko Ono and then-fledgling Japanese designers like Kenzo and Issey Miyake. Striptease girls were featured as prominently as an interview with then-prime minister Noboru Takeshita. The show also promoted the young photographers, architects, painters, illustrators and graphic designers who made up Tokyo's then-unknown creative subculture, but who are among the city's biggest stars today. There was little objection to the semi-nude segments of the show, or at least not from Japanese censorship authorities, who allow breasts but no pubic hair to be displayed on the network airwaves. In recent years, however, its need to survive has caused "11 p.m." to begin censoring itself. Takahashi, who insists he has been under no government pressure, says the show has cut back on the nudity and increased the time spent on discussion of social trends to attract a wider, more upscale audience. Today, although "11 p.m." still has a definite "Playboy After Dark" quality -- two hip, laid-back male hosts in hyper-expensive suits and one very beautiful non-talking woman host run the show from a sleek, dramatically lit studio set -- there is a more serious emphasis on social trends and international events. One recent show was so eager to take itself seriously, for example, that it included a long, boring discussion of communications satellites, a reverential interview with Ringo Starr and a short segment on opera. "We've come to realize that sex and nudity don't attract normal viewers," Takahashi says. "Years ago, when we started, nudity was new. But now it's not. Nudity is everywhere, and there's no reason we should do it." Japan's New Pornography The place to find real nudity in Japan is at Diamond Pictures, the country's biggest producer of adult video films. Here on this afteroon is Tooru Muranishi, the nation's leading porno director, who says he has made 400 adult videos, starred in 200, and been arrested four times. He is sunk into a deep black leather couch in an upstairs meeting room, surrounded by shelves of videos and pinups of naked women. The offices take up a three-story building, and have the slick, well-kept feel of large sums of money. Outside in the driveway is Muranishi's car, a white-curtained Cadillac limousine. Muranishi can make a 60-minute adult video in two or three days at a cost of $20,000; he says his company's annual income from adult videos each year, before expenses, is $21 million. Such figures are testimony to the boom in films made directly for video rental, which has taken pornography into the privacy of the bedroom and which many believe will soon shut down the already half-empty theaters showing adult films. "With video, the place you watch it in is personal," Muranishi says. "You can do whatever you want there." But even videos, like almost all adult material in Japan, are censored, and the government requires that all genital areas be blanked out, these days with little flesh-colored squares that leave almost nothing to the imagination. Muranishi says that adult videos are the most popular kind of rental film among educated Japanese men from 23 to 27 years old, while the All Japan Video Association reports that adult videos make up 30 percent of the market. (But in movie theaters, the big box-office draws continue to be animal films and the comic adventures of the popular character Tora-san; the biggest moneymaker in the first half of this year was an animated feature film about a boy and his cat from the 22nd century.) Muranishi himself is a polite, soft and slightly pudgy 40, dressed today in loose-fitting blue cotton trousers and a matching wrap-around shirt, a trendy interpretation of the traditional working clothes worn by a Japanese Buddhist monk. It is an interesting clothing choice considering his profession, yet for the next hour Muranishi speaks of his work, and women, as a kind of powerful religion. "In working in the front lines of this industry," he says, "I have learned about the formidable sexual powers of women. Women have immense power compared to men. They can have multiple orgasms. A man has only one, and he is finished. He needs a lot of time for recovery. If one man can play even three to four times in a video, it is almost something for the Guiness Book of World Records. But the energy of women is everywhere. If top-ranking pornographic male actors are paired with a mid-level female pornographic actress, they can never win. And even if an ordinary Japanese housewife is paired with a top-ranking male pornographic star, she will not lose." Muranishi's competitive theme in sex invites a question: Does he think, as the film literati often write, that Japanese men are afraid of women? "Yes," says Muranishi, "this is true." Critics frequently say that this fear is the driving motive behind so much of the gang rape, abuse and general degradation that is performed on women in Japanese pornography. In an essay about Japanese adult films, for example, Donald Richie says that these films provide "an outlet for the often stultified animosity which all men everywhere must feel toward women." Richie argues that "though the woman in Western pornography may be a bit more forward than is common in Western life, her only motivation is to have and to give a good time." Japanese pornography "is very different. Woman must be denigrated and she must deserve to be." Richie concludes that the Japanese pornographic film "can be seen as tortured, dark, involved -- plainly of psychological import." Muranishi, however, contends that "abnormal sex" and rape scenes are part of the old days, and that "mainstream pornography is completely different now." He argues that actresses are now encouraged to participate as equal, responsive partners who should "show their joy." As Muranishi talks, one of Japan's most famous porno actresses enters the room. She is the 20-year-old Kimiko Matsuzaka, who a year ago was approached on the street by an adult-video talent scout as she returned home to her parents from her two-year women's college. Today, she has been in 11 adult videos, all produced by Diamond Productions, and receives a salary from Diamond of $25,000 a month. Despite the fact that she is one of Diamond's biggest stars and makes more money than the vast majority of women in Japan, Matsuzaka is still asked to serve coffee to the visitors. After her waitressing duties, Matsuzaka takes a seat primly on the opposite couch. She is dressed in an extremely short red miniskirt, but wears little makeup and otherwise looks like a well-mannered young woman with an innocent face. "My attitude is that this is my own life," she says. "If there's a time to do this, it's now. The pattern of a woman in Japan is to graduate from school, get married, and have children. I never wanted to do that." She knows that feminists and professional women often are appalled by what they see as her victimization in her films. "I can't understand why they say that," she says. "They say I'm a tool of men, but I feel that I'm equal to men. I also know that many women see adult videos, too. They ask me for my autograph." Pornography as Catharsis Nick Bornoff is a British writer who has lived in Japan for the past nine years, and who has just finished "Pink Samurai," a book on the history of Japanese sexuality and contemporary culture to be published in London next year by Grafton Collins. If anyone has submerged himself in the underbelly of Japanese culture, and if anyone is in a position to sum all this up, it is Bornoff. "Japan is a very tight society in which people are very frustrated," he says. "They have a very narrow scope of experience. Pornography is popular and tolerated by the authorities because it's regarded as cathartic." Although there was a move to regulate adult videos last summer when the authorities reported that the killer who had murdered the 6-year-old girl had a collection of 6,000 horror videos, the police later admitted that only a few of the videos in the man's collection could be considered sexual or violent. "There's no sense in bashing Japan about its violent and pornographic videos because, unfortunately, these things are inherent in all human beings," Bornoff says. "And so far, the crime statistics are quite low. It's very much to Japan's credit that these things are in thought -- and not deed." Washington Post special correspondent Shigehiko Togo contributed to this report 041b061a72