Flip on the television, suggests the magazine. You might see a drama starring Kyoka Suzuki (43) or Yuki Amami (44). TV commentators garnering a high degree of popularity nowadays include Yumiko Udo, Natsuko Kojima, and model Yoshiko Tomioka — all 43 years of age. Celebrities Kyoko Koizumi, 46, Yuriko Ishida, 42, and 40-year-old Rei Dan are also holding their own. Shukan Post believes interest in ladies of this generation is the new mainstream.

“In the past, actresses in their 40s usually performed in motherly roles,” explains Kazuhiko Futada, a journalist covering the entertainment trade. “They were never perceived as sex objects. But now actresses of that age have nice physiques, good skin, and a high-degree of sexiness built up through experiences in life. Finally, people are beginning to realize their worth.”

Shukan Post says that a separate market has developed for the sale of photo books and AV videos featuring older women.

“The ‘mature lady’ market for AV has increased between 10 and 20 percent in each of the past few years,” says an employee at a porn company. “There are now more than 10 companies specializing in that genre alone.”

The insider says that women in their 40s had previously been ignored by the porn industry, with women a decade older and those far younger finding favor among fans. “It is a market with high potential,” says the employee.

Goro Tameike, an AV director specializing in the genre, says that women with average muscle development and just a bit of body fat are the most desirable. “Fit ladies in their 40s are the most appealing,” says the director, who took prizes in both 2008 and 2009 at the AV Grand Prix for “Stepmother Slave” and “Slave Mother-in-Law.”

Tameike says that their attitude is also crucial. “They’ll wonder if their bodies are attractive,” he says. “It is that modesty that makes men fascinated.” (A.T.)

Source: “Fure naba ochin yosoji onna sono miryoku oyobe kanno no shinhakken,” Shukan Post (June 1, pages 158-161)

Note: Brief extracts from Japanese vernacular media in the public domain that appear here were translated and summarized under the principle of “fair use.” Every effort has been made to ensure accuracy of the translations. However, we are not responsible for the veracity of their contents. The activities of individuals described herein should not be construed as “typical” behavior of Japanese people nor reflect the intention to portray the country in a negative manner. Our sole aim is to provide examples of various types of reading matter enjoyed by Japanese.

Fee, fi, fo, fum and yummy yum, yum. Here cums a tantalizingly turgid tale from the March issue of the woman’s masturbatory magazine Renai Tengoku, as replayed in Shukan Bunshun (May 17).

“From out of nowhere he produced a huge 20-centimeter long vibrator and asked me, ‘How do you use one of these anyway?’ Frankly I was surprised by his complete change of personality, from Mr. Straight to a lecherous AV leading man, but I egged him on, and soon he was thrusting the 8-Watt whopper into my willing womb.

“I felt a strange mixture of shame and lust, and just as I was about to climax, he produced a pair of fur-lined handcuffs, and snapped them on my wrists. Then he switched the vibrator to maximum power and really worked me over, until I began spasming from head to foot. Then, as he looked on greedily, for the first time in my life I experienced shiofuki (vaginal ejaculation).

The byline coined by Bunshun’s playful punster this week is “aiburingu sutoppu.” In Japan, the practice of shutting down a car’s motor (encouraged as an antipollution measure) while idling at a traffic light, etc., is called aidoringu sutoppu. Here, aido is changed to aibu, meaning “to fondle in a sexual manner,” thereby giving the meaning of “a temporary pause from fondling.” (W.W.)

Source: “Shukujo no zasshi kara,” Shukan Bunshun (May 17, page 99)

Note: Brief extracts from Japanese vernacular media in the public domain that appear here were translated and summarized under the principle of “fair use.” Every effort has been made to ensure accuracy of the translations. However, we are not responsible for the veracity of their contents. The activities of individuals described herein should not be construed as “typical” behavior of Japanese people nor reflect the intention to portray the country in a negative manner. Our sole aim is to provide examples of various types of reading matter enjoyed by Japanese.

Known in Japanese as the jukujo, mature gals are finding solid footing as models, porn actresses, and club hostesses.

“Comedians Udo Suzuki and Yuji Ayabe have already publicly declared their interest in older women,” a photo book producer tells the tabloid. “The peak was three years ago, and interest has been steady ever since.”

Keep in mind, folks, Japan deems dames beyond 30 years of age to be ready for the glue factory. Photo books and DVDs featuring these types of ladies are hot items.

“The popularity of Masako Umemiya and former C.C. Girls member Yoko Mori results in good sales even without exposure,” says the same publishing employee of popular ladies aged 34 and 39, respectively. “On the flip side, photo collections of gravure idols in their 20s in swimsuits are not doing well.”

The same phenomenon exists in the adult video (AV) industry. (For reference, Maki Hojo, 33, took the Best Mature Actress prize at this year’s AV awards.)

“Mature ladies were once the obsession of fanatics,” says a representative from an AV company. “Now it is an established genre. Big-name companies are seeing their biggest sales from titles featuring mature ladies. As to the content, the stories are strong, featuring elements of drama, which appeals to fans.”

But why are mature women in demand now? Magazine editor Kentaro Sakai says that of course there is the appeal contained within lurid voluptuousness, but the real key is experience. “They’ve got the back story everyone wants to hear,” he says. “The idea of potentially having a glimpse inside that part of their personal lives drives men wild.”

Jukujo pubs and hostess clubs are also taking hold. In Tokyo’s Ueno entertainment area, there is Jukujo Pub Mrs., whose Web site proudly declares, “over 30s limited.”

“Male customers in their 40s and 50s are tired of regular hostess clubs,” says a club representative. “The older ladies are able ‘to heal’ these men. That’s the appeal.”

How long will this last?

“The number of aging men is only going to increase,” says Sakai. “Further, the temptation for college students will increase as books and magazines featuring mature-lady content are easily accessible in convenience stores.”

For the older women themselves?

“They will only get more beautiful as they age,” the editor says. (A.T.)

Source: “Shashinshu, AV, pabu itarutokoro de jukujo buumu osorubeki soko no jittai,” Shukan Bunshun (May 3-10)

Note: Brief extracts from Japanese vernacular media in the public domain that appear here were translated and summarized under the principle of “fair use.” Every effort has been made to ensure accuracy of the translations. However, we are not responsible for the veracity of their contents. The activities of individuals described herein should not be construed as “typical” behavior of Japanese people nor reflect the intention to portray the country in a negative manner. Our sole aim is to provide examples of various types of reading matter enjoyed by Japanese.

A little more than one year after the devastation of the Great East Japan Earthquake of March 11, Miyagi Prefecture’s biggest nightlife quarter of Kokubuncho is booming as construction firms target, oftentimes through collusion, the government’s second supplementary budget for the reconstruction of stricken areas.

“Construction company employees are arriving from all reaches of Japan,” says a person in management at one such firm. “Clubs are routinely filled to capacity.”

According to an employee at a kyabakura (hostess club), there are not enough girls employed in the deri heru (out-call sex) trade to satisfy demand. He says that reinforcements are being ferried in from outside the prefecture.

Even AV star Minako Komukai is appearing in a 20-day engagement at the Sendai Rokku-za strip club until May 10, and this is not her first appearance since the quake.

The tabloid finds it hard to believe that Tokyo remains mired in deflation while just a few hundred kilometers to the north Sendai’s economy is expected surge forward for the foreseeable future.

Restoration of roads and bridges is getting up to speed, with dump trucks causing traffic jams along the coast. When this basic infrastructure work is finished, major redevelopments will then commence. These projects are expected to last for 10 years. A hotel staff member tells the tabloid that its rooms are booked solid for three years.

Flush with cash, construction company employees are able to freely go out drinking and hit the golf course. Sales at department stores and home appliance shops are reportedly double that of last year.

Real estate brokers are looking to turn a quick buck by investing in damaged properties. “The other day, a rather gruff real estate guy with a Kansai accent was here,” says a restaurant employee. “It was the middle of the afternoon, but he had geisha girls on both sides serving him wine.”

Of course, with so much tax money floating around, it would not be surprising to hear rumors concerning dodgy activity. One going around concerns collusion among big-time contractors and the prefectural government.

“For large jobs, the rubble disposal work went to big-name contractors and the levee work was given to marine contractors,” says a representative from a local construction company. “Small companies from this area were left out entirely. So there are grumblings about how the prefecture is handling the situation.”

Prior to the bidding for debris-clearing jobs, it was not a secret that big-name contractors Shimizu, Kajima, and Obayashi had already secured contracts from the prefecture.

Further, garbage incineration jobs were also dealt with by the prefecture, and not by local civic authorities, which is standard practice. “A ‘proposal method’ was used,” says an industry insider. “This insured that the big companies got everything, almost like gifts descending from heaven.” (K.N.)

Source: “‘Fukko baburu’ ni waku Tohoku saidai hankagai Kokubuncho wo iku,” Nikkan Gendai (May 6, page 7)

Note: Brief extracts from Japanese vernacular media in the public domain that appear here were translated and summarized under the principle of “fair use.” Every effort has been made to ensure accuracy of the translations. However, we are not responsible for the veracity of their contents. The activities of individuals described herein should not be construed as “typical” behavior of Japanese people nor reflect the intention to portray the country in a negative manner. Our sole aim is to provide examples of various types of reading matter enjoyed by Japanese.

A man in his 40s, claiming to be a writer and critic of topics related to education, raised concerns about the 28-year-old former AV actress — now a mainstream entertainer in China — maintaining a high-profile presence on Twitter.

With the large-breasted Sora having had starring roles in the fantasy-horror click “Big Tits Zombie” and the psycho-sexual thriller “Revenge: A Love Story,” it seems plausible that the objector was taking such a stance due to the risk that adolescents may have access to provocative content, but this appears to not be the case.

“People on the Internet are making a big deal out of this issue,” says a writer specializing in online media. “As the record shows, this man was requesting that Aoi, via multiple accounts, connect, or follow, him on Twitter.”

With the micro-blogging service, users are able to update their whereabouts and activities, with their followers making comments on such postings. If the interaction is between friends, that is, users who mutually follow one another, communication can be achieved, but given that Aoi has over 325,000 followers, there is little chance for substantial correspondence by her with people unknown to her.

Nonetheless, the educator made demands on a daily basis: “I am a fan of yours; please follow me,” “Please consider following,” “How’s work? Your English is getting better. Please follow me,” and, in the end, he wrote in English, “Please follow me.”

After being neglected, he took legal action.

“On the Internet, many said it was simple retaliation (for him being rejected),” the same writer is quoted. “Through research, it was discovered that he had been making similar requests to Toru Hashimoto, Michiko Shimizu, and other celebrities, and was also being disregarded.”

The man then explained in vain that he made the requests in order to find out what actually happened regarding Aoi being singled out in a controversy that surfaced in China.

The State Administration of Radio, Film and Television in April demanded that satellite televison stations prohibit controversial personalities, including Aoi, from appearing in programming.

To lend support to the actress, fans at a soccer match in Guangzhou on April 17 combined their affection for the actress with support for a separate set of controversial outcroppings in the East China Sea. The group raised a sign that read: “The Senkaku Islands belong to us; Sola Aoi belongs to the World” — a reference to the disputed land masses that Tokyo Gov. Shintaro Ishihara said he would like to purchase during a think tank forum in Washington D.C. the day before.

Online users, upset about the litigator’s demands, utilized the educator’s blog and Facebook page to expose his work background and residential address.

Shukan Jitsuwa chalks it up to being a middle-aged man checking in on the cool kids. (A.T.)

Source: “Ninki AV joyu Aoi Sora no tsuittaa ni kamitsuta, jisho ‘shosetsuka’ ken ‘kyoiku hyoronka’ no doki ha sakaurami,” Shukan Jitsuwa (May 10-17, page 265)

Note: Brief extracts from Japanese vernacular media in the public domain that appear here were translated and summarized under the principle of “fair use.” Every effort has been made to ensure accuracy of the translations. However, we are not responsible for the veracity of their contents. The activities of individuals described herein should not be construed as “typical” behavior of Japanese people nor reflect the intention to portray the country in a negative manner. Our sole aim is to provide examples of various types of reading matter enjoyed by Japanese.

“It goes without saying that one’s popularity determines income level,” says AV writer Tetsuo Kokko. “An actress who belongs to any particular label will usually have one job a month, which means working maybe two or three days to shoot a film. These days, it is hard to find any girl whose income exceeds one million yen a month.”

The types of actresses receiving attention are those who go solo and are featured in features with themes tailored toward a particular genre.

“These films may lead to an annual income exceeding 100 million yen a year,” the writer continues. “Shooting usually lasts only a day so this is the optimal way to earn money. However, the hours are longer and the content usually demands that the performance be at a higher level.

“It consumes one’s energy,” Kokko continues, “and you usually see only one or two actresses per year who can manage this sort of schedule.”

Group shoots are a different story. “While the working hours are shorter,” Kokko says, “one can only earn 20,000 or 30,000 yen on up to 100,000 yen per session. Most actresses fall into this category.”

Shukan Asahi Geino believes that there are not many actresses who are earning the money they desire. While becoming a stripper was a common option for side work, patrons to such joints are now seeking different styles. Thus, the number of actresses hitting the stage in the buff has declined.

Becoming a theater performer or TV personality was once a common goal, but that is not the case any longer either. “The television and film industries are very conservative,” Kokko says. “With the exception of Ai Iijima, most actresses who dreamed of becoming TV personalities are deprived of that opportunity. Of course, this can partially be attributed to these actresses not possessing the required talent. Some of them, such as Yuri Komuro and Hitomi Shiroishi, who are already on TV shows start to realize this. They might then become writers or enter the music business.” (A.T.)

Source: “AV joyu ga fukugyo shita garu ‘gyara jijo’ ‘kikaku-kei’ hahito karami tatta suman en,” Shukan Asahi Geino (April 26, page 195)

Note: Brief extracts from Japanese vernacular media in the public domain that appear here were translated and summarized under the principle of “fair use.” Every effort has been made to ensure accuracy of the translations. However, we are not responsible for the veracity of their contents. The activities of individuals described herein should not be construed as “typical” behavior of Japanese people nor reflect the intention to portray the country in a negative manner. Our sole aim is to provide examples of various types of reading matter enjoyed by Japanese.

Every month up to 2,500 AV releases hit store shelves. But sales are slumping — annual market estimated to be worth between 400 billion and 500 billion yen — and production budgets have been slashed from 10 million yen per DVD to roughly one-tenth of that figure over the past 15 years.

As a result, the industry is cutting costs and seeing a steady rise in the employment of “weekend only” actresses.

“Monday through Friday, a gal might work very diligently at a bank,” one AV production employee tells the tabloid. “But on the weekend she’ll have an interest in doing something different and relieving stress. That’s the sort of reasoning we’ve been hearing regarding the increase (in weekend actresses).”

Further, popular feature stories on sex appearing inside women’s magazines have also had an impact.

“By increasing knowledge of sex, desire has become stronger,” claims a different AV production company employee. “The women will say that they hadn’t experienced pleasure during sex previously, and want to reach climax with a professional actor. For these gals, it’s not about money. Therefore, the industry can put them to work for less.”

That has not always been the case. Once upon a time, top actresses received handsome wages, garnering four million to five million per flick. Shukan Post discusses the market with Yuri Komuro, the queen of the industry between 1996 and 1999.

“Wages usually start high at the start and slowly drop off,” says the 36-year-old actress, who says she was paid one million yen for her first appearance. “Then my rate fell off to 700,000 yen. But nowadays I’m hearing gals will receive 100,000 yen at their debut, with the drop off hitting 50,000 yen.

“If that were the case for me, I wouldn’t do it,” Komuro continues. “The meaning of being an actress today is something like being an amateur engaged in a hobby.”

Amid all the gloom, one positive in the industry remains: Production companies are finding recruitment less cumbersome.

“It used to be that scouts picked girls up off the streets, but that has fallen off due to intensified public nuisance ordinances,” says the AV production company previously quoted. “Now, applications can be processed just about anywhere. Because scouts aren’t being paid it’s really easy.”

On the Web, aspiring actresses can file applications while being informed of such things as the contract amount, that their faces will not be identifiable, and the availability of any necessary alibi services. (K.N.)

Source: “Shayosangyo adoruto bideo gyokai no igai na hanjowa,” Shukan Post (April 20, pages 152-155)

Note: Brief extracts from Japanese vernacular media in the public domain that appear here were translated and summarized under the principle of “fair use.” Every effort has been made to ensure accuracy of the translations. However, we are not responsible for the veracity of their contents. The activities of individuals described herein should not be construed as “typical” behavior of Japanese people nor reflect the intention to portray the country in a negative manner. Our sole aim is to provide examples of various types of reading matter enjoyed by Japanese.

Located in the ground floor of high-rise apartment building in the Kujo area, the 69-seat Cine Nouveau theater last year screened a selection of soft-core porn films, some from within the “roman porno” genre established by venerable studio Nikkatsu four decades ago.

“Most of the works shown at this movie theater are independent films, documentaries, projects reflecting social issues, or other pieces containing artistic elements,” says a reporter for a local paper. “A porn piece was shown as part of commemoration to a screen writer. The management association responsible for the building then objected when that screening was run in parallel with a project to celebrate the 40th anniversary of the porn genre created by Nikkatsu.”

“Porn movies are not appropriate for a residential area,” a resident of the apartment building is quoted.

“The theater should halt the showing of porn if it considers itself to really be dedicated to fine art,” says another tenant.

The theater’s management has been struggling to find a way to resolve the situation. “While the screening to commemorate the screenwriter didn’t attract any negative reaction,” manager Noriko Yamazaki says, “claims mounted when the word ‘porn’ appeared explicitly (as in the Nikkatsu features).”

It looked like both sides would reach a compromise, but that has not been the case.

Earlier this year, the issue was brought to the courtroom. While the plaintiff is clearly the building’s management association, the matter is complicated.

“Because I am also a member of the association, the cost for the lawsuit is coming from our rent,” says a staff member of the theater. “Therefore, money I am paying is being used to sue me. It’s nonsense.”

The plaintiff’s arguments demand that adult-oriented films not be shown, screenings cease by 9 p.m., and posters not to be visible.

Experts, however, question whether all factors are being considered. “Roman porno is a tool to learn the background of today’s leading movie directors as well as what social issues were pertinent in that particular time in history,” says film critic Satoshi Takahashi. “Some works actually among Japan’s best films. It may be too old-fashioned to simply judge all porn to be perverted.”

Can porn be a piece of art? Shukan Jitsuwa leaves that up to you, dear reader. (A.T.)

Source: “Jimoto ninki gekijo ga roman poruno joei ni hinan gogo,” Shukan Jitsuwa (April 26, pages 206-207)

Note: Brief extracts from Japanese vernacular media in the public domain that appear here were translated and summarized under the principle of “fair use.” Every effort has been made to ensure accuracy of the translations. However, we are not responsible for the veracity of their contents. The activities of individuals described herein should not be construed as “typical” behavior of Japanese people nor reflect the intention to portray the country in a negative manner. Our sole aim is to provide examples of various types of reading matter enjoyed by Japanese.

On February 12, emergency services arrived at bar Sora in Osaka’s Minami area of Chuo Ward to find a third-year high school student lying face up on the floor. She was pronounced dead at the scene. The cause of death was later determined to be acute alcohol poisoning. The 27-year-old manager was taken into custody initially for violating the Food Sanitation Act and later for allowing a minor to work after 10 p.m., which is prohibited under the Labor Standards Act.

Sora is a variation of a hostess club termed a “girl’s bar,” which are clubs legally registered as after-hours, eating-and-drinking establishments. The clubs are, in fact, more or less hostess clubs in disguise.

“In the Minami area there are a lot of these types of illegal joints,” says a local restaurant employee. Osaka prefectural cops have busted seven girl’s bars so far this year.

“On March 19 and 22, multiple clubs in the Minami and Umeda entertainment areas were raided by 30 investigators,” said a representative from the Osaka prefectural police. “Going forward, the crackdown will be enforced continuously.”

The girl’s bar, which was born in Osaka up to eight years ago, aims to replicate a hostess club experience. The concept has proved popular and expanded into many entertainment areas of Japan, sometimes as one of a few specialty genres, including restaurant izakayas and bars staffed by AV actresses and pin-up models.

“The basis of the system is that the girls are bartenders behind the counter serving the customers,” says a fuzoku shop employee. “At a regular club or lounge that is not the case. Casual, enjoyable conversation with a cute, young girl is the sales point, and because the girl’s bars are reasonably priced relative to a hostess club they’ve spread like wildfire.”

Another reason for the popularity is exploitation of a legal loophole. With female staff members positioned behind the counter, opposite the customers, as opposed to positioned side by side, such as in a hostess club setting, the establishment can pass itself off as a regular bar and not be subject to the strict Law Regulating Adult Entertainment Businesses.

The popularity has brought trouble.

“In order to keep costs low, young girls who will work for low wages are being hired,” says a source in the industry, “and as an extreme sales point, the customers are allowed to touch the female staff members. The existence of shops ripping off customers with high fees is another problem.”

The trend is not limited to Osaka. In February, police raided the two outlets of the chain Pippi, located in Tokyo’s Roppongi and Kabukicho entertainment areas, for allowing female staff members to sit and serve at the same table as customers. The clubs were staffed by adult video (AV) actresses and pin-up models.

Tabloids ran stories about Pippi before the bust. “The articles were saying that the girls would sit next to the customers as a part of the service,” says a Roppongi restaurant manager. “With those rumors floating around, the cops heard about it and made the busts.”

Yet the illegal clubs are continuing to operate in spite of the actions of law enforcement. In order to overcome the current situation, “the police must begin a concentrated effort,” says the same manager.

Perhaps with the tax deadline of March 15 in mind, the 23-year-old adult video (AV) actress, formerly known as Hina Kurumi until she debuted under her current handle in February of last year, utilized Twitter in late February and early March to convey her income and some of the downfalls in being a porn actress to her fans.

As Hina Kurumi, under which she starred in such AV features as “Max Girls 6″ (she in “8″) and “School Days,” the actress picked up 6,381,500 yen between December 15, 2007 and July 15, 2009. Over a similar time period, from October 15, 2010 to February 15 of this year, she performed under her present name, whereby she deftly delivered the goods in a cage scene in “Deprived of dark desire: A woman and daughter in despair,” and her income nearly doubled to 11,853,000 yen.

Sana’s best month was August of last year, when she was the subject of uncensored filming and pulled in a whopping 3,120,000 yen. Of that accumulated 18,234,500 million yen, she estimates that 3,930,000 yen remains as savings.

After making her porn debut, Sana was forced to retire from making appearances on television variety programs, for which she made about one-quarter her current monthly wage in AV.

Of course, there are concessions, including frequent spats with her mother. Sana divulges that the mental state of the average AV actress is not exactly an example of stability. “For a few million yen at best, I get men aroused with my body,” she writes. “Putting those images onto a DVD for the purpose of sales, that’s my job. Women are turned into products in the the lowest, worst way. To be loved does not come first.”

Sana adds that general uneasiness and antagonism from family members are part of being an AV actress.

Shukan Jitsuwa wonders if it is all worth it, noting that her average salary per month (380,000 yen) over her four-year career is roughly equivalent to that of an office worker.

“In conclusion, working only for money won’t last long,” she says. “The money will always disappear. The important thing is is to find a desirable job.” (K.N.)

Source: “Gyara wo bokuro shita AV joyu no ‘shogai chingin,’” Shukan Jitsuwa (April 5)

Note: Brief extracts from Japanese vernacular media in the public domain that appear here were translated and summarized under the principle of “fair use.” Every effort has been made to ensure accuracy of the translations. However, we are not responsible for the veracity of their contents. The activities of individuals described herein should not be construed as “typical” behavior of Japanese people nor reflect the intention to portray the country in a negative manner. Our sole aim is to provide examples of various types of reading matter enjoyed by Japanese.