nozomi momoi Un Official Fan Site Tribute

nozomi momoi: This Is An Un Official Fan Site Tribute
nozomi momoi
Porn Queen Actress Superstar

Nozomi Momoi was born in Tokyo on September 23, 1978.[1] She attended junior high school in Nagano Prefecture, and remained in touch with friends there, visiting them on vacation, for the rest of her life.
Nozomi Momoi (Japanese: ???, Hepburn: Nozomi Momoi, September 23, 1978 – October 12, 2002) was a popular and prolific Japanese AV idol, best known for her "baby face that topped off a huge set of boobs"[2] She appeared in over 100 movies, appearing in up to ten releases per month.[3] She was murdered at the age of 24.[2] Contents 1 Life and career 1.1 Early life 1.2 AV debut 1.3 Later career 1.4 Death 2 Notes 3 Bibliography Life and career Early life

Before beginning work in the AV field, Nozomi worked in what she called "a very normal job." Describing her daily routine at this time, she said, "I used to wake up at 5:30 in the morning to get ready for work and I didn't have time to put on make-up or do my hair... It was the type of job where I was alone most of the time so I didn't bother with it."[3] She wanted a different lifestyle, and to make more money, but she was unable to decide what sort of work she wanted to do. She was in this frame of mind when she was scouted by a representative of the AV industry in Tokyo's Shinjuku neighborhood.[3] AV debut When she made her AV debut in April 2001 with Dogma,[4] AV director Tohjiro's advice to Nozomi was, "You should be a bit more perverted." Nozomi claimed that she took this advice to heart and that it helped her to be less inhibited both on screen and off.[3] In December of her debut year, Nozomi was the star of the fourth entry in VIP studios' documentary-style Monthly series.[5] Her January 2002 video for the Media Station Bazooka label, Virtual Brothel, had Nozomi playing the role of a young prostitute who learns the trade from the more experienced Yukari Sakurada. Viewers were invited to compare Sakurada's veteran technique with Nozomi's fresh innocence.[6] Nozomi enjoyed her new occupation. About her early videos, Nozomi recalled, "I was having so much fun at first that I didn't feel tired at all."[3] Unlike many AV actresses who are happy to have time off, Nozomi became known for actively seeking out new chances to perform.[7] In May 2002, Nozomi appeared in the third entry of the Forceful Exhibitionistic-Play Maniax video series. In this video, Nozomi and two other AV actresses engage in exhibitionistic acts at a pachinko parlor, a public park, and an office building.[8] Later career Towards the end of her life, she had become tired of the rape themes and school-girl roles which were common in her videos, but she enjoyed the fact that she was getting more dominant roles in her later AVs. "Making men play along to me is something new so it's fun to do. I think that's the type of thing I want to do more of."[3] Nozomi's July, 2002 video release, Popular Actresses Fucking Virgin Boys, was in this genre. As the title implied, the video had Nozomi and two other AV actresses have sex with amateur virgin males, including a college student and a middle-aged man.[8] Her video Home Delivery Call Girl, from August 2002, worked with a similar documentary-style concept. In this case, the actress appears at a male amateur's home to perform sex with him.[9] A posthumously-released compilation DVD released by CineMagic from 2006, entitled La Vie En Nose, includes one of Nozomi's videos from 2002. This was the first in a series of DVDs focusing on a nose fetish, indicating that Nozomi had worked in that genre also.[10] Nozomi continued to enjoy sex both within and outside of the AV setting, and stated that she did not mind having it every day.[3] Nevertheless, the intense pace of her career was beginning to tire her. She had been making up to ten videos a month, and expressed fatigue with the AV work both in interviews and in private conversations. She told an interviewer, "...it was a lot of fun at first, but I'm really tired nowadays. To tell you the truth, I think I'm over-exerting myself right now. So I want to take a decent vacation rather than get paid."[3] She continued, "Like I said before, I enjoy the shoots a lot. There are times when I think it's hard and tiring, but the fun part is a lot greater!"[3] A friend later reported that Nozomi was planning to get married, quit the AV industry and become a stage actress.[2] Nozomi also formed an idol musical group with some other AV idols and released a musical CD in 2002.[2] Death Nozomi's career was still on the rise when her life came to a sudden end while visiting Nagano Prefecture. On October 12, 2002, she was found dead by the Narai River, which runs through Shiojiri. A nearby burned-out car contained the remains of her male companion.[2] Nozomi had been stabbed at least six times, covered with gasoline and set on fire about 10 meters from the car. It was reported that Nozomi's companion was a company employee in Nagano Prefecture, and that in what the police called a possible murder-suicide pact, the man had burned himself to death inside the car. The remains were so badly charred that it took hours of testing before investigators could even determine that the remains belonged to a male. According to the Mainichi Shimbun, "Nozomi seemed to have something Japan's myriad other porno starlets lacked and, at just 24, she was on her way up in the world before her tragic end."[2] In the months after the incident, the parents of Momoi's male companion objected to the murder-suicide theory and many inconsistencies were pointed out. His parents unsuccessfully brought a case against the local police and when their insurance company refused to pay because of their son's supposed suicide, they sued Sumitomo Life Insurance.[11] In October 2006, the civil court at Nagano ruled in favor of the parents that the two deaths were due to murder by a third party. No further progress had been made in the criminal case characters are composites. After World War One and the Revolution, fighting for the Provisional or Republican government under Kerensky, and then escaping a Communist jail and execution, Minchakievich trekked across Siberia in 1917 and became an American citizen. Pasternak stayed in Russia. In a 1959 letter to Jacqueline de Proyart, Pasternak recalled, I was baptized as a child by my nanny, but because of the restrictions imposed on Jews, particularly in the case of a family which was exempt from them and enjoyed a certain reputation in view of my father's standing as an artist, there was something a little complicated about this, and it was always felt to be half-secret and intimate, a source of rare and exceptional inspiration rather than being calmly taken for granted. I believe that this is at the root of my distinctiveness. Most intensely of all my mind was occupied by Christianity in the years 1910–12, when the main foundations of this distinctiveness – my way of seeing things, the world, life – were taking shape...[7] Shortly after his birth, Pasternak's parents had joined the Tolstoyan Movement. Novelist Leo Tolstoy was a close family friend, as Pasternak recalled, "my father illustrated his books, went to see him, revered him, and ...the whole house was imbued with his spirit."[8] Pasternak c. 1908 In a 1956 essay, Pasternak recalled his father's feverish work creating illustrations for Tolstoy's novel Resurrection.[9] The novel was serialized in the journal Niva by the publisher Fyodor Marx, based in St Petersburg. The sketches were drawn from observations in such places as courtrooms, prisons and on trains, in a spirit of realism. To ensure that the sketches met the journal deadline, train conductors were enlisted to personally collect the illustrations. Pasternak wrote, My childish imagination was struck by the sight of a train conductor in his formal railway uniform, standing waiting at the door of the kitchen as if he were standing on a railway platform at the door of a compartment that was just about to leave the station. Joiner's glue was boiling on the stove. The illustrations were hurriedly wiped dry, fixed, glued on pieces of cardboard, rolled up, tied up. The parcels, once ready, were sealed with sealing wax and handed to the conductor.[9] According to Max Hayward, "In November 1910, when Tolstoy fled from his home and died in the stationmaster's house at Astapovo, Leonid Pasternak was informed by telegram and he went there immediately, taking his son Boris with him, and made a drawing of Tolstoy on his deathbed."[10] Regular visitors to the Pasternaks' home also included Sergei Rachmaninoff, Alexander Scriabin, Lev Shestov, Rainer Maria Rilke. Pasternak aspired first to be a musician.[11] Inspired by Scriabin, Pasternak briefly was a student at the Moscow Conservatory. In 1910 he abruptly left for the German University of Marburg, where he studied under Neo-Kantian philosophers Hermann Cohen, Nicolai Hartmann and Paul Natorp. Life and career Olga Freidenberg In 1910 Pasternak was reunited with his cousin, Olga Freidenberg (1890–1955). They had shared the same nursery but had been separated when the Freidenberg family moved to Saint Petersburg. They fell in love immediately but were never lovers. The romance however is made clear from their letters, Pasternak writing: ‘You do not know how my tormenting feeling grew and grew until it became obvious to me and to others. As you walked beside me with complete detachment, I could not express it to you. It was a rare sort of closeness, as if we two, you and I, were in love with something that was utterly indifferent to both of us, something that remained aloof from us by virtue of its extraordinary inability to adapt to the other side of life.' The cousins' initial passion developed into a lifelong close friendship. From 1910 Pasternak and Freidenberg exchanged frequent letters, and their correspondence lasted over 40 years until 1954. The cousins last met in 1936.[12][13] Ida Wissotzkaya Boris Pasternak in 1910, by his father Leonid Pasternak Pasternak fell in love with Ida Wissotzkaya, a girl from a notable Moscow Jewish family of tea merchants, whose company Wissotzky Tea was the largest tea company in the world. Pasternak had tutored her in the final class of high school. He helped her prepare for finals. They met in Marburg during the summer of 1912 when Boris' father, Leonid Pasternak, painted her portrait.[14] Although Professor Cohen encouraged him to remain in Germany and to pursue a Philosophy doctorate, Pasternak decided against it. He returned to Moscow upon the outbreak of World War I. His first book of poems was published later that year. In the aftermath, Pasternak proposed marriage to Ida. However, the Wissotzky family was disturbed by Pasternak's poor prospects and persuaded Ida to refuse him. She turned him down and he told of his love and rejection in the poem "Marburg" (1917):[14] I quivered. I flared up, and then was extinguished. I shook. I had made a proposal—but late, Too late. I was scared, and she had refused me. I pity her tears, am more blessed than a saint. Another failed love affair in 1917 inspired the poems in his first book, My Sister, Life. His early verse cleverly dissimulates his preoccupation with Immanuel Kant's philosophy. Its fabric includes striking alliterations, wild rhythmic combinations, day-to-day vocabulary, and hidden allusions to his favourite poets such as Rilke, Lermontov, Pushkin and German-language Romantic poets. Pasternak in the 1920s During World War I, Pasternak taught and worked at a chemical factory in Vsevolodovo-Vilve near Perm, which undoubtedly provided him with material for Dr. Zhivago many years later. Unlike the rest of his family and many of his closest friends, Pasternak chose not to leave Russia after the October Revolution of 1917. According to Max Hayward, Pasternak remained in Moscow throughout the Civil War (1918–1920), making no attempt to escape abroad or to the White-occupied south, as a number of other Russian writers did at the time. No doubt, like Yuri Zhivago, he was momentarily impressed by the "splendid surgery" of the Bolshevik seizure of power in October 1917, but – again to judge by the evidence of the novel, and despite a personal admiration for Vladimir Lenin, whom he saw at the 9th Congress of Soviets in 1921 – he soon began to harbor profound doubts about the claims and credentials of the regime, not to mention its style of rule. The terrible shortages of food and fuel, and the depredations of the Red Terror, made life very precarious in those years, particularly for the "bourgeois" intelligentsia. In a letter written to Pasternak from abroad in the twenties, Marina Tsvetayeva reminded him of how she had run into him in the street in 1919 as he was on the way to sell some valuable books from his library in order to buy bread. He continued to write original work and to translate, but after about the middle of 1918 it became almost impossible to publish. The only way to make one's work known was to declaim it in the several "literary" cafes which then sprang up, or – anticipating samizdat – to circulate it in manuscript. It was in this way that My Sister, Life first became available

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