News about Gaki no Tsukai

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385 posts
Toyabong wrote:
I found an article where matsumoto talks about 27hTV 2015 and why he did not participate.
Just wanted to share if anyone is interested.

http://www.excite.co.jp/News/entertainm ... _27_7.html

It seems that the article focuses more on criticizing the entire 27hr show, especially the marathon part and the poor treatment of the comedians on the show. Okamura himself also seems to come under fire for comments he made on his radio show regarding the negative reaction to the show (over the whole 27 hours, the average ratings for the show were only 10.4% putting in the worst three rating 27hTV marathons of all time.) and was accused of taking the audience for fools with his remark that they actually loved Fuji TV if they were criticizing it that much. This was in response to mainly comments on the internet (Yahoo, 2chan, various matome/summary sites) who were declaring it boring. Although it is mentioned that Matsumoto does not participate, no reason seems to be truly mentioned.
The article also mentions that the Fujitv 27hour tv was originally conceived as a parody of Nihontv's 24hour tv.
Most of the article was just directly quoting Matsumoto's words on the opening talk of last week's Wide na Show.
https://www.youtube.com/watch?v=Iic4iwq4raQ

- He said that they should stop doing it every year and let it rest for some years (which was kind of ironic because Batsu Games).
- As said already in this thread, 27h TV is a parody of 24h TV, which is a long-running charity event. 27h has nothing to do with charity, so Matsumoto wondered why they copy so much from it, including the marathon event.
- He said he doesn't like the way 27h handles their projects with comedians. Apparently they leave too much in the hands of the comedians; if it works everyone's happy, but if it doesn't, then the blame goes to the geinin.

Also, it should be mentioned that Downtown were the MCs of the very first 27h TV in 1997.
KU・・・ KR・・・
Pretty interesting article that focuses on Sunday's Wide na Show's sub-program 'Wide na B Men', where Matsumoto addressed the topic of Japanese comedy being able to expand overseas, though he focused more on the difficulties. Matsumoto admits to feeling 'a little envious' of Gonzo, who appeared with great success on Asia's Got Talent some time ago. If you don't remember who Gonzo is, he is the tambourine player from the Hotel Batsu.

Matsumoto theorized that other countries lack 'a tsukkomi culture', which he felt was the prime difference between Japan and other countries when it came to comedy. He noted that while the comedy duo COWCOW had found a little bit of a reputation in Indonesia, Thailand and Malaysia with their 'あたりまえ体操/natural gymnastics' gag and Jinnai Tomonori had managed to successfully perform in Las Vegas while performing in English, he believed that their humor leaned more towards foreigners' tastes. Matsumoto also believes that a foreign audience wouldn't be able to understand the complex timings and nuances of a manzai routine, particularly between the boke and tsukkomi and it formed a large part of the reason why Matsumoto never thought about taking Downtown overseas to new markets, also joking that Hamada would be seen as a violent thug if a foreign audience saw their routine.

http://news.livedoor.com/article/detail/10450290/
海外のオーディション番組でタンバリン芸を披露して大ウケ。以降、日本以外から仕事のオファーも来る人気ぶりとなった芸人・ゴンゾーについて松本人志が「ちょっと羨ましい」と興味を示した。松本は映画を作る時に、海外では「ツッコミの文化」がない国が多く、日本との違いを感じるという。そのためダウンタウンとしての海外進出にも消極的なようだ。

スーザン・ボイルやポール・ポッツを生んだことで知られる海外オーディション番組『Got Talent』がアジアで初開催された。ゴンゾーがその『Asia’s Got Talent 2015』に出場してタンバリンでパフォーマンスすると、会場は爆笑の渦に包まれスタンディングオベーションが起きた。

8月9日放送の『ワイドナB面』(フジテレビ系)では、そのゴンゾーをはじめとする海外で人気となった日本の芸人について取り上げた。

『Asia’s Got Talent 2015』でのゴンゾーのパフォーマンスと会場の盛り上がりをVTRで見た松本人志は、彼の芸は“万国共通”なので羨ましいという。松本は映画の仕事を通して日本と海外の文化の差を「ツッコミがない」ことだと分析する。この点、ゴンゾーの芸は1人で、しかもしゃべらずに行うので海外でも通用する。

他にもCOWCOWの“あたりまえ体操”がインドネシアやタイ、マレーシアで評判となったことや、陣内智則がラスベガスで英語による単独公演を成功させた件が紹介された。陣内の場合は映像に対して突っ込むネタだが、海外でもそのお笑いセンスは通じるらしい。ただ、漫才となると微妙なボケとツッコミのおもしろさが海外の人たちに理解してもらえるのかが疑問だと松本は考えるようだ。そんな松本は海外進出について問われると「考えたことがない」と答え、もしダウンタウンが海外でネタをやったら「浜田なんかただの暴力」に見えるだろうと笑わせた。

実は、日本のお笑いコンビ・テンダラーが、2014年11月22日(現地時間)に米・ロサンゼルスで単独公演を行い、全編英語による漫才を2本披露して会場を沸かせている。「ツッコミの文化」や日本語とは表現のニュアンスが違うなどの壁はあるが、コアとなる面白さは伝わるのではないか。ただ、ダウンタウンが海外でやる場合は浜田が「ただの暴れん坊」に見えないようにネタの工夫は要りそうだ。
Vatican wrote:
Matsumoto admits to feeling 'a little envious' of Gonzo, who appeared with great success on Asia's Got Talent some time ago. If you don't remember who Gonzo is, he is the tambourine player from the Hotel Batsu.

Gonzo on Asia's got talent
:geek:
Penguinator wrote:
Also, it should be mentioned that Downtown were the MCs of the very first 27h TV in 1997.


I think FNS 27h is older then 1997, Im sure I saw one from 1996,and i think it was mentioned somewhere it begin as a Big 3 thing
(but I'm not sure about this)
Hm, with British comedy we have had a number of popular duos with one being the straight man (tsukkomi) and the fall guy (boke), so I think manzai is relatable outside Japan.

Rik Mayall and Ade Edmondson did a lot of violent slapstick which could be called "thuggish," however it was fictional whilst the Gaki guys really do get whacked. Of course some of the more edgy stuff they do outside of simple slapstick would be a hard-sell too.
soudou wrote:
Rik Mayall and Ade Edmondson did a lot of violent slapstick which could be called "thuggish," however it was fictional whilst the Gaki guys really do get whacked. Of course some of the more edgy stuff they do outside of simple slapstick would be a hard-sell too.


A lot of Gaki fans would like the '80s TV show "The Young Ones" staring Mayall and Edmondson.


Here's the pilot episode on Dailymotion.

http://www.dailymotion.com/video/x21rhr ... lition_fun



Here's a You Tube season 1 (six episodes) playlist that is missing part 1 of episode 1.

https://www.youtube.com/playlist?list=P ... 982BB9D2DC
I'd say the biggest problem is the general level of tsukkomi in Japan.
Skillful tsukkomi takes the jokes immediately to the next level (clearest example being tatoe tsukkomi, ie. comparisons) and in a westerner's eye it might not seem any different from a regular joke/gag. A good tsukkomi requires imagination, timing and unpredictability, which are the exact same things that a boke needs; this is the reason why there are so many kombi with only one person thinking up all of their material.
The problem is all the subpar tsukkomi who only keep mindlessly explanating and repeating in loud voice what the boke just said/did, which is definitely the thing most people seem to complain about in Japanese comedy (even in anime). If tsukkomi is boring and predictable, the only purpose it serves is being a slightly less obvious applause light.

In short:
Image

sybersnake wrote:
Penguinator wrote:
Also, it should be mentioned that Downtown were the MCs of the very first 27h TV in 1997.


I think FNS 27h is older then 1997, Im sure I saw one from 1996,and i think it was mentioned somewhere it begin as a Big 3 thing
(but I'm not sure about this)

The titles (both main and sub) changed around early and mid 90's (like "FNS Super Special" - "Yume Rettou" and "FNS no Hi" - "Heisei Kyouiku Terebi") until they stuck to "27-Jikan Terebi" (though sometimes only "26" or even "25") in 1997 and onwards. And yeah, Tamori, Sanma and Takeshi were MCs/guests for a lot of times during that era.
https://ja.wikipedia.org/wiki/FNS%E3%81%AE%E6%97%A5
KU・・・ KR・・・
I don't think it was the very first one but the 1997 27hour tv was the first one held after FujiTV moved to their now iconic building in Odaiba.

Comparison-tsukkomi seems to be more difficult than other types as the tsukkomi needs to think quickly and broadly to find something appropriate to say.


Yes, I've read that a lot of gags/joke material are written by only one person within the combi.

Many(but not all) combi are uneven/unbalanced when it comes to the boke and the tsukkomi。

Downtown seems to be quite balanced in terms of both the tsukkomi and boke, although Matsumoto sometimes overshadow Hamada. They are similar but opposite.
They both have really great timing; Matsumoto is better in creativity/imagination/coming up with joke material while Hamada is better at MCing and snappy reactions.
Matsumoto leads in shows like Gaki no Tsukai and Lincoln, while Hamada leads in shows like Downtown DX and Akan Keisatsu. 

I think 99 is an example of an unbalanced but successful combi. They are like light and shadow. Okamura as boke takes all the attention onscreen while Yabe stands to the side. However, Yabe has learned to be the solid support as the MC and tsukkomi, and his tsukkomi often smooth things over, allowing Okamura to shine even more.
Without Yabe there, Okamura doesn't shine as much(eg. during the 2011 FNS 27 hour tv when Yabe was running the marathon)
Dynasty wrote:
A lot of Gaki fans would like the '80s TV show "The Young Ones" staring Mayall and Edmondson.


Yeah, I highly recommend that (had it on VHS and now on DVD). It was such a creatively funny and wildly manic series, wish it had gone on longer but they decided to quit while they were ahead.
Penguinator wrote:
I'd say the biggest problem is the general level of tsukkomi in Japan.
Skillful tsukkomi takes the jokes immediately to the next level (clearest example being tatoe tsukkomi, ie. comparisons) and in a westerner's eye it might not seem any different from a regular joke/gag. A good tsukkomi requires imagination, timing and unpredictability, which are the exact same things that a boke needs; this is the reason why there are so many kombi with only one person thinking up all of their material.
The problem is all the subpar tsukkomi who only keep mindlessly explanating and repeating in loud voice what the boke just said/did, which is definitely the thing most people seem to complain about in Japanese comedy (even in anime). If tsukkomi is boring and predictable, the only purpose it serves is being a slightly less obvious applause light.

I think that generally this is a problem the younger comedians have trouble understanding. I remember Beat Takeshi recently saying that he thought the 'comedy boom' in Japan that was inspired by pioneers like Downtown is over and it would take another few years before another golden period would come along. I feel that most of the younger comedians nowadays are reduced to relying on gimmicks and quirky characteristics for laughs rather than traditional comedy routine. For example, rhythm neta has become the go-to thing for young comedians to get a quick fame fix nowadays, but it's proved that it's not permanent; many of those duos start to become irrelevant after a year or so because it's not sustainable material. As a result, traditional tsukkomi and boke fare becomes far less prominent in their routine and there's nothing solid to fall back on if their main gag isn't funny.

Penguinator wrote:
In short:
Image

Funny how the anecdotes in Gintama are rather accurate in their portrayal of real life... :D
Some good news for Suiyoubi no Downtown, with the show receiving a 'Galaxy award' for the month of July, for a segment they did on Tokugawa Yoshinobu during the 15th of July. I'm guessing the Galaxy award is judged by a special panel who looks over the TV programs for the month and judge what they think is especially interesting.

http://headlines.yahoo.co.jp/hl?a=20150820-00000011-natalieo-ent
先月7月15日に放送された「水曜日のダウンタウン」(TBS系)の「徳川慶喜を生で見たことがある人 まだギリこの世にいる説」が、放送批評懇談会が優れた番組などを顕彰する「ギャラクシー賞」の2015年7月度月間賞を受賞した。

「水曜日のダウンタウン」がギャラクシー賞を受賞するのは初めて。「徳川慶喜を生で見たことがある人 まだギリこの世にいる説」では、100年以上前に没した徳川慶喜を生で見たことがある人の調査が行われ、102歳を超える高齢者たちの証言が注目を集めた。

ギャラクシー賞の選評として、「これまでもさまざまな興味深い説があったが、『慶喜を生で見たことがある人 まだギリこの世にいる説』は出色。102歳超えの人たちの話がとにかく興味深い。『子供の頃、村に1人はチョンマゲの人がいた』という話は光景が目に浮かび、顔がほころんだ」といった声が挙がっている。
Happened to capture another of Matsumoto's job seeker site ads whilst recording a show Housei was on :lol:

Music Champ is getting a spin-off show. The new show is called 'HEY! HEY! NEO' and will premiere on the 25th of September from 11pm to 11:58pm Japanese time. Unlike Music Champ, who focuses on mainstream artists like SMAP and Arashi, this show will focus more on younger, up-and-coming artists. The guests for the premiere are Alexandros, KANA-BOON, Kyuso Nekokami, Suiyoubi no Campanella, MAN WITH A MISSION and Bed In.

http://www.oricon.co.jp/news/2058931/full/
お笑いコンビ・ダウンタウンがMCを務めるフジテレビ系音楽バラエティー『HEY!HEY!HEY! MUSIC CHAMP』のスピンオフ企画、『HEY! HEY! NEO!』が25日(後11:00~11:58)に初放送される。

 コンセプトは「若手アーティスト×ダウンタウン」。ダウンタウンと“初めまして”のアーティストたちとの新鮮なトークと、勢いのあるライブパフォーマンスを披露する。出演アーティストは下記のとおり。

 今年3月にメジャーデビューした4人組ロックバンド[Alexandros]、2013年9月にメジャーデビューした 4人組ロックバンド・KANA-BOON、2014年6月メジャーデビュー、CMソングやアニメ番組の主題歌に引っ張りだこの5人組・キュウソネコカミ。

 さらに、2013年5月にインディーズデビューした奇抜なパフォーマンスが話題の女性ラッパー・水曜日のカンパネラ、2011年にメジャーデビューした頭はオオカミ、体は人間という究極の生命体バンド・MAN WITH A MISSIONの5組が登場する。また、「90年代バブル期のオイニーを撒き散らす」異色のセクシーアイドルユニット、ベッド・インも登場する。
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