The biggest reckless worst new face trainee!! Director: Sato Yuichi, Ueda Yasushi (植田泰史), Jouhou Hidenori, Kitagawa Manabu (北川学).Shibuya Asuka as the newcomer trainee (ep11).
Takuya (たくや) & Kazuya (かずや) as the twin passengers (ep9).Yamaguchi Nikki (山口日記) as Oshima Megumi (ep7).Yamasato Ryouta as Okaba Goro (ep7, 11).Moriguchi Yoko as Katsuragi Shiho (ep5).Yamasaki Shizuyo as Yoshimura Chiemi (ep1, 11).Higashihara Aki as Tsukasa's girlfriend (ep1).This is when Yoko decides she wants to work as a Cabin Attendant. That's when Tsukasa tells Yoko he wonders what she'd look like dressed in uniform. She reminds them that even she can wear a uniform, but the guys only make fun of her. The guys get excited when they see some cabin crew ladies and Yoko has no idea why. On the day Tsukasa leaves for Tokyo, Yoko goes along with the band members to the airport to see him off. She can't tell Tsukasa how she truly feels for him. Due to Tsukasa leaving town, the band breaks up and though Yoko finds herself lonely, she puts on a strong act in front of Tsukasa. Then one day, one of the members of the band, Tsukasa, gets a job at a bank in Tokyo. She starts a band with four of her boy friends and becomes the lead singer. Ever since she was young, she enjoyed the company of boys over girls. Yoko is a slightly boyish girl who is bullheaded and hates dishonesty. Losing her mother at a young age, Misaki Yoko (Ueto Aya) was raised amongst three brothers. Theme song: "OH PRETTY WOMAN" by Kaela Kimura.Humor side-steps and shifts the meaning."" So do these pieces, but that may be the point. Nauman courts extreme, even clinical, thinking, if only as a way to achieve practical and reliable experiences in art, as when Nauman comments on his use of puns:""I think humor is used a lot of the time to keep people from getting too close. It also avoids the issue of Nauman's relation to other conceptual artists who use words extensively: she opts for Bakhtin and Benveniste, for example, over Ruscha or Holzer. The long introduction by Kraynak (Andy Warhol: Unique Prints from the Estate of Rupert Jasen Smith) is more satisfactory in its marshaling of basic semantic theory to explain Nauman's relationship to words, and his words' relationships to their contexts, but it lacks the cathartic insights one might expect in such a tight focus on his language. Of the group of 19 artist's writings in this book, nine do not appear in the earlier volume on Nauman one of these, a cheeky comment on""earth art,"" was intended to be skywritten and is a single line:""Leave the Land Alone."" Nauman is mild and reticent as an interviewee, but nine of the 14 interviews here are exclusive to this book, and one-the extensive 1980 interview by Michele de Angelus-has never before appeared in complete form. This set of collected writings is essential for anyone wishing to explore the ideas behind Nauman's practices, even if it duplicates much of the recent Art + Performance volume (Johns Hopkins, 2003) on Nauman and is nearly twice as expensive. Nauman's eerily intuitive way of creating sophisticated, intellectually angular art out of simple gestures-a 10-minute film called""Bouncing Two Balls between the Floor and Ceiling with Changing Rhythms,"" for example, in which the artist does just that-builds fascination out of repetition's blandness.
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