http://ameblo.jp/y-rumi/
Yonezawa Rumi, Team K (Graduated)
Started by ♦ AyakaMoon ♦♫♪, Jan 15 2010 12:32 AM
68 replies to this topic
#63
usagi_no_kami
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うさちゃんピース!!!
Posted 31 October 2014 - 05:38 AM
Rumi Yonezawa in Friday magazine:
http://friday.kodans.../entertainment/
EDIT: Her debut video comes out on Dec. 1st:
W.H.O.A Samurai--Sayumi Branch-- Member of the Shige Alliance
#64
Ares13
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Posted 31 October 2014 - 05:55 AM
Oh man .. i was hoping that someone post about her going into AV .. cos I don't want to do it .. but whatever ..
http://www.mutekimut...tek/tek061.html
http://www.mutekimut...tek/tek061.html
#65
usagi_no_kami
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うさちゃんピース!!!
Posted 31 October 2014 - 05:57 AM
^ Yeah, you always hope for the best for them after they leave the group, but sometimes it happens.
BTW, she's going under the name Rika Shirota for her AV work.
W.H.O.A Samurai--Sayumi Branch-- Member of the Shige Alliance
#66
Ares13
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Posted 31 October 2014 - 06:14 AM
^ .. yeah .. and the Friday magazine got a good "spread" from her .. 
which of course cannot be post here ..
wow she is the first former full member in AKB48 after they become nation idol to go into AV ..
which of course cannot be post here ..
wow she is the first former full member in AKB48 after they become nation idol to go into AV ..
#67
dev-null
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Posted 02 December 2014 - 11:31 PM
Out of curiosity I checked it out... hey, I'm an adult man and I don't mind seeing a naked lady from time to time... 
But this was really just sad... 
with all the publicity one would think it was something more qualitative and elaborate, but it was the standard kind of amateurish pornography... aka not the good kind. I quickly fast-forwarded through the rest of the thing in hope it would get any "better". There was even a raping scene... and that's pretty much how I felt watching this. A girl hit rock bottom basically
What the hell was she thinking? With the quality of the production it didn't looked like she could have made a lot of money either. Is it really such a thin line to cross from being and idol to become an AV "actress"?
My recommendation: better do not watch unless you like sad life stories. Better go to Madoka's topic and enjoy glimpses of her butt cheeks.
#68
Krusha
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Posted 02 December 2014 - 11:53 PM
She wasn't thinking. And she isn't thinking. When her "career" is over, she will have plenty of time to think. If she will manage to do so.
Basically in general the hierarchy if we speak about idol like professions for females, is from top to bottom as follows: National idols, big idol groups, medium idol groups, smaller idol groups, indie idol groups, street level idol groups / amateur groups. And then you have U15 and IV girls, which can be anywhere at the level of slightly ahead of indie idol groups but usually on par with indie idol groups, to street level idol groups and below. In terms of being a U15 idol, you have to be exceptionally cute and pretty with a matching personality to create a buzz. But in order to do that, usually you have to do some risky material to create said buzz. If you go down that route, you have to put out just as good if not a better follow-up release in order to keep your fan base.
The more you do this however the harder it is to transition into standard IV and the opportunity of CM work, minor dramas, TV appearances, or similar mainstream work. Since they want work however and since so many girls in Japan has that stardom dream of theirs, it's a rough market, and they keep trying. It just ends up being more and more narrow. So you sometimes see U15 girls transition into regular IV once they're 16, and then in order to get more viewers they do more extreme releases, eventually they transition into chaku-ero, and finally AV if they get that far. These girls have no chance whatsoever. There's a few AV stars, like the really popular girls, but how often are they involved in mainstream entertainment? And how long do their career lasts? And after that, where do they go?
Yonechan was at the top of the food chain. She was in a national idol group. Granted, she wasn't the most popular member, but she had a better deal than thousands of girls. She messed it up by having a big scandal. OK, that's a bad moment for sure, but still - there's a way to work around this - if you're smart...
But now she is doing the classic "here today, gone tomorrow" entry of AV, with sleazy scenes and abuse-like stuff, crying, and all this nonsense. I don't know what's common for a "here today, gone tomorrow" AV actress in terms of releases, but I am sure she will have a handful of releases then be gone when whichever company hired her realizes nobody cares anymore.
And then Yonechan is back where she started, with nothing. Although with a worse resume than had she returned to nothing after being fired from AKB48. At least then she could transition into many different things. But those doors have closed now for good.
Basically in general the hierarchy if we speak about idol like professions for females, is from top to bottom as follows: National idols, big idol groups, medium idol groups, smaller idol groups, indie idol groups, street level idol groups / amateur groups. And then you have U15 and IV girls, which can be anywhere at the level of slightly ahead of indie idol groups but usually on par with indie idol groups, to street level idol groups and below. In terms of being a U15 idol, you have to be exceptionally cute and pretty with a matching personality to create a buzz. But in order to do that, usually you have to do some risky material to create said buzz. If you go down that route, you have to put out just as good if not a better follow-up release in order to keep your fan base.
The more you do this however the harder it is to transition into standard IV and the opportunity of CM work, minor dramas, TV appearances, or similar mainstream work. Since they want work however and since so many girls in Japan has that stardom dream of theirs, it's a rough market, and they keep trying. It just ends up being more and more narrow. So you sometimes see U15 girls transition into regular IV once they're 16, and then in order to get more viewers they do more extreme releases, eventually they transition into chaku-ero, and finally AV if they get that far. These girls have no chance whatsoever. There's a few AV stars, like the really popular girls, but how often are they involved in mainstream entertainment? And how long do their career lasts? And after that, where do they go?
Yonechan was at the top of the food chain. She was in a national idol group. Granted, she wasn't the most popular member, but she had a better deal than thousands of girls. She messed it up by having a big scandal. OK, that's a bad moment for sure, but still - there's a way to work around this - if you're smart...
But now she is doing the classic "here today, gone tomorrow" entry of AV, with sleazy scenes and abuse-like stuff, crying, and all this nonsense. I don't know what's common for a "here today, gone tomorrow" AV actress in terms of releases, but I am sure she will have a handful of releases then be gone when whichever company hired her realizes nobody cares anymore.
And then Yonechan is back where she started, with nothing. Although with a worse resume than had she returned to nothing after being fired from AKB48. At least then she could transition into many different things. But those doors have closed now for good.
#69
anhh
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Posted 03 December 2014 - 05:09 AM
I’m not really sure if this post is going to be of any use, but let’s try…
About the quality of the release itself:
I’m not that interested on knowing on what the average porn consumer thinks, but MUTEKI studio has a pretty established reputation, that is, all their releases are less or more eviscerated for the same reasons (they look like crap, the sex itself is less or more fake all the time (let’s say that usually the positions of the actors and from where the camera is filming, block any clear view of what is happening) and well, some fluids are also fake) but they can pull all that because the pay a lot and mostly are focused on these kind of transitions (tarento, sports, former something). Sites like DMM have user’s reviews, and if you check this studio page on there, the ratings for the movies are usually quite low. For example, Naruse Risa’s debut is currently rated with 1.41 (out of five stars).
This movie avoids lots of tropes you usually get on “debut” movies, like the long interview, the progression in how hardcore the stuff is (the learning curve?) and things like that. Probably there are a lot of reasons for those things happening (management agencies can get quick cash spreading things, studios can fit those releases on their usual infrastructure avoiding costs and later on using the performer on their usual lines of releases and also what the performer herself thinks about her career (for example, if they are doing this to get out of debts)) but all this are things that consumers project into the aura of the performer (like she is not very good or interesting, or her releases are boring) and those firsts impressions last for years (because people read user’s reviews for example) and are a problem to overcome if the performers decide to stay in the AV business. So, in that sense, is a careful and well thought movement: no expectations attached other than her as performer. And speculation on my part but probably she talked with Naruse Risa because she got all that.
About what Krusha says:
Probably I disagree because I’m looking at this from a job perspective. According to the data provided on a book released not so long ago called “Precarious Japan” one third of all workers in Japan are only irregularly employed. From that third a 77% earn less than the poverty level (the “working poor”). And related but not the same, half of all young workers and 70% of ALL female workers are irregularly employed. From these prospects is not very hard to imply why so many girls give it a try to become idols (not that they are going to get paid much more). And as you say, the market is quite rough (for example, Ai Shinozaki commenting how the flood of AKB girls doing gravure on magazines less or more destroyed any chance of getting money or having a career out of it) and has path dependence (http://en.wikipedia....Path_dependence), and well, probably from here on you have to use feminism in this line of reasoning, so I stop here.
Edit:
Ooops, I forgot:
https://twitter.com/rika_shirota
About the quality of the release itself:
I’m not that interested on knowing on what the average porn consumer thinks, but MUTEKI studio has a pretty established reputation, that is, all their releases are less or more eviscerated for the same reasons (they look like crap, the sex itself is less or more fake all the time (let’s say that usually the positions of the actors and from where the camera is filming, block any clear view of what is happening) and well, some fluids are also fake) but they can pull all that because the pay a lot and mostly are focused on these kind of transitions (tarento, sports, former something). Sites like DMM have user’s reviews, and if you check this studio page on there, the ratings for the movies are usually quite low. For example, Naruse Risa’s debut is currently rated with 1.41 (out of five stars).
This movie avoids lots of tropes you usually get on “debut” movies, like the long interview, the progression in how hardcore the stuff is (the learning curve?) and things like that. Probably there are a lot of reasons for those things happening (management agencies can get quick cash spreading things, studios can fit those releases on their usual infrastructure avoiding costs and later on using the performer on their usual lines of releases and also what the performer herself thinks about her career (for example, if they are doing this to get out of debts)) but all this are things that consumers project into the aura of the performer (like she is not very good or interesting, or her releases are boring) and those firsts impressions last for years (because people read user’s reviews for example) and are a problem to overcome if the performers decide to stay in the AV business. So, in that sense, is a careful and well thought movement: no expectations attached other than her as performer. And speculation on my part but probably she talked with Naruse Risa because she got all that.
About what Krusha says:
Probably I disagree because I’m looking at this from a job perspective. According to the data provided on a book released not so long ago called “Precarious Japan” one third of all workers in Japan are only irregularly employed. From that third a 77% earn less than the poverty level (the “working poor”). And related but not the same, half of all young workers and 70% of ALL female workers are irregularly employed. From these prospects is not very hard to imply why so many girls give it a try to become idols (not that they are going to get paid much more). And as you say, the market is quite rough (for example, Ai Shinozaki commenting how the flood of AKB girls doing gravure on magazines less or more destroyed any chance of getting money or having a career out of it) and has path dependence (http://en.wikipedia....Path_dependence), and well, probably from here on you have to use feminism in this line of reasoning, so I stop here.
Edit:
Ooops, I forgot:
https://twitter.com/rika_shirota
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