Downtown is a manzai group that I’ve known from the very first time I came to Japan. It’s hard to watch any Japanese TV at all and not realize who they are. Hitoshi Matsumoto is the boke, and Masatoshi Hamada is the tsukkomi. Matsumoto occasionally goes by Hitoshi, but generally they are both referred to by surname or their nicknames: Ma-chan and Hama-chan. They’ve been on television since 1989, and since 1990 they’ve been playing different 対決 (たいけつ), which decides who will participate in a 罰 (ばつ)ゲーム.
罰 means punishment and is often used in the compound 罰金 (ばっきん, fine/penalty fee). A 罰ゲーム is any “game” where someone has to go through an embarrassing or painful task as punishment for losing the 対決. For the first decade or so, it was always Matsumoto versus Hamada, and the 罰ゲーム was an embarrassing appearance on television or being forced to go skydiving or ride a rollercoaster:
Matsumoto had a long losing streak, so when he finally won a 対決, he sent Hamada to France to fill up a bottle of Evian water from the original source. He later sent Hamada all the way to New York City to retrieve a mechanical pencil.
These shows all include ココリコ, another manzai group made up of Shōzō Endō and Naoki Tanaka, and fifth man Hōsei Yamazaki. (I always felt bad for Yamazaki since he doesn’t have a partner, but then I realized he gets to play the ultimate role – the boke to the group as a whole: two manzai groups!) These three have been included from as far back as 1999 when they played the surreal 24時間鬼ごっこ.
The shows all follow a fairly set pattern. 3-5 of the Gaki no tsukai members are led on to a themed set by Hiroshi Fujiwara (a producer at Yoshimoto and Matsumoto’s 担当). There they encounter a huge number of up and coming (read: soon defunct) comedians, recurring characters, and members of the production staff, all of whom are trying to make them laugh, which gets them punished. The punishment began as blowdarts in the ass, then moved to an S&M whipping, but for the last four years it has just been a caning.
I was fortunate enough to catch the 2006 show by chance, last year’s on purpose, and past shows through the miracle of the Internets. Here are five of my favorite clips.
This clip shows how high the production level was last year. It also shows how ridiculous the shows have become. One interesting side note is that more of the guys laughed at the comedian who stutters his line than at the actual 勇気の実:
One of my favorite clips from the police show in 2006, the first one that I saw. ゆうたろう, I believe, is a (now-defunct?) comedian who imitates the late Yūjirō Ishihara, Japanese Elvis-type rock star and actor in police dramas (also brother to Tokyo governor Shintarō Ishihara):
This clip is from the 鬼ごっこ show and it has one of the greatest 罰 buildups ever. Matsumoto sent out oni dressed up in black to chase the rest of the guys around and deliver blows from ひしゃく (those water things at the entrance to shrines), はりせん (accordion-style fan things) and other random things. Then he sent out thai kick guys and head butt guys. After a few hours, he sent out the 紙芝居 (かみしばい) man. Make sure you watch all the way until the end:
And my favorite clip is the simple Shōhei clip, partially because it was the first 罰ゲーム I saw, but it’s also just really funny. I used this at elementary school with any kids named Yōhei or Kōhei, and it never failed to get a laugh:
My only complaint about the show is that every year without fail there is a scene where they laugh at foreigners, often of darker complexion, basically for being foreigners – looking different and speaking Japanese in a funny accent. This year they are airing another 罰ゲーム on New Year’s Eve. It’s six hours long and starts at 6:30pm. Madness.
Today’s kanji is つぼ (pot), basically an excuse to talk about Irotori Ninja some more.
I think I saw this episode when it aired but didn’t realize how funny the intro part is. The two guests were starring in some movie about 渋い-looking high school kids, which instantly gets associated with the old 数取団 (which I wrote about here). They give Koji Katō a hard time, asking why they don’t play the counting game anymore. (Keiichi Yamamoto, the other member of Katō’s manzai group Gokuraku Tombo, got kicked off the show and blacklisted.) Pretty bold to press a sensitive issue like that.
Another critical vocab word for Japanese comedy is ビンタ – a slap. Slapping and hitting is, for whatever reason, extremely funny in Japan. Watch the 1:45 and the 3:55 mark of the second video to see Shinji Takeda get slapped.
Learned a cool word on Mecha-ike a few weeks ago – キレた. You can see the video for yourself here. Watch for a minute or so from the 6:30 mark.
Clearly it’s the past tense of the verb キレる. I’m not sure where it comes from (切る comes to mind) or why it’s half katakana half hiragana, but the meaning is totally clear from the video – it means that someone has just fuggin lost it, gone ballistic, bonkers, completely mad, etc. We had a case of that in the office this week, and immediately this phrase came to mind.
I made a sort of visual mnemonic to help you all remember the meaning:
That is the definitive キレた moment in American cinema.
I wrote for Let’s Go Japan during the summer of 2003. There were five or six of us writing that summer, and we all flew in to Tokyo before heading out in different directions. I went to Kamakura, Yokohama and Nagoya before heading to Shikoku, where I spent most of my two-month itinerary.
At first I was disappointed about being assigned to such a rural place; I’d only been to Japan once before and had only been able to spend a week or so in Tokyo, so I felt like I was missing out. Only later would I know how lucky I was to spend a month traveling around the highly underrated Shikoku, half of that with the refreshing freedom of a car.
While the landscape was breathtaking and the people were friendly, moving from town to town every day or two quickly became lonesome. I called the office a lot, called home a lot, and fortunately a Bulgarian friend in Nagoya hooked me up with some downloads to help me distract myself. He gave me a couple anime series and a movie or two, but I spent most of my time watching The Big Lebowski, which I’d been a fan of since renting it in ’98. Honestly, that summer alone I must’ve watched Lebowski a dozen times at least. I knew all the ins and outs of the film and even felt some 運命ness; there’s a Townes VanZandt version of the song “Dead Flowers” towards the end of the film, and a vinyl record bar I went to in Nagoya played a couple songs from Sticky Fingers.
(Did you know that in the dream sequence when the Dude gets knocked out by Maude’s goons, you can see that Maude was the one who rolled the ball?
So, equipped with a Region 2 DVD player, I’ve taken it upon myself to check out the localization of the movie. A couple weekends ago I watched it – twice. Once with the English language track and Japanese subtitles, and then again with the Japanese dubbing. This may not be a surprise to those familiar with Japan’s movie industry, but the dubbed version was notably better.
Not that the translation of the subtitles was poor. Not being a native speaker, I can’t speak for it completely, but in my biased opinion, it was good and caught a lot of the nuances of the film, even getting laughs out of my Japanese roommates.
But the dubbed translation itself was more accurate and creative. For example, when the Big Lebowski grills the Dude for fucking up the bag drop, the Dude says “We (おれたち) did drop the money,” eliciting a “We?” The subtitles are fairly 文字通り, getting close enough to the Dude’s “royal we” excuse, but the dubbed version goes with some creative Japanese: 「おれっち。言うでしょう？地方なんか行くと。」
The dubbed version does have a major advantage – time. As with subtitles in any language, you have to allow time for the viewer to read and comprehend the line, and when you have a movie with quick dialogue, it’s difficult to capture the feel with subtitles alone. Additionally, the fact that much of the dialogue in this movie is simultaneous makes the subtitles especially ineffective. You can hear the Japanese voices trying to speak over each other in the dubbed version, really helping express Walter’s frustration with Donny.
It also helped that the voice acting was absolutely impeccable; the accuracy with which the voice actors arranged their lines over Jeff Bridges’ and John Goodman’s mouthing was nothing short of incredible, and all of the give and take was more accurately portrayed with the dubbing.
But even the dubbed version misses parts of the critical element that really brings the film together – the role of discourse.
In the very first scene at the grocery store, President Bush on the screen drops the line “This aggression will not stand,” which the Dude later recycles when he confronts the Big Lewbowski. (“I do mind. The Dude minds. This will not stand…ya know. This aggression will not stand, man.”) The dubbed version catches this, reusing 侵攻／侵略 and variations of 許さない, but the subtitled version misses it.
Both miss the Dude’s final line of the movie, “The Dude abides.” This line the Dude recycles from when he was confronted by the Big Lebowksi – “I will not abide another toe.” The subtitled version uses ご免 and the dubbed 許さん for the first scene. In the final scene, the subtitled version has the cowboy say 「元気でな。気をつけて。」to which the Dude responds,
Whereas in the dubbed version the Dude responds with a less intrusively translated 「それがヂュードだし」 to 「気軽にやるんだよ。言うまでもないか。」 Neither relays the idea that the Dude has borrowed terminology yet again.
So what’s the point? The point is that The Big Lebowski is a subtly political film that shows the infectious role of discourse in society and how that discourse is often misrepresentation that leads to innocent victims. Unfortunately, the Japanese subtitles and dubbing don’t fully express this underlying theme of discourse, although I did learn the awesome curse word くそ食らえ.
お預かりします is “get used to it.” よろしくお願いします is “get used to it.”
The essence of “get used to it” is finding those sentences that surround you in everyday life and learning how to use them/what they mean. It is beneficial to break the phrases down and see how they work, but try not to expend too much brain power or else you’ll be one of those freaks explaining the origin of saying “bless you” when someone sneezes. (Demons make you sneeze, of course, thus making you in need of a blessing. Duh.)
Saturday I was watching TV and saw one of these:
I’m sure you’ve all noticed it at some point. At different points in a show, generally just before a commercial break or the end of the show, the phrase 提供 (ていきょう) pops up on the screen with some company names underneath it. Then the voiceover announcer says 「ご覧のスポンサーの提供でお送りします。」
I believe ご覧 refers to the audience looking at the actual company names written on the screen, so literally “the sponsors you (honorably) see.” That combined with 提供 gives us “the contribution of the sponsors you (honorably) see.”
お送りします is the humble honorific of 送る (おくる), so that’s the television channel itself doing the sending, giving us, “We (humbly) send you (this show) via the contributions of the sponsors you (honorably) see.” Woo.
In English we’d probably say something like, “Brought to you by State Farm Insurance – Like a Good Neighbor, State Farm is there!” That or "Support for Show X is provided by Chevy Trucks – Like a Rock."
Here are some bonus Youtube links for this wonderful Wednesday – some clips from Hitoshi Matsumoto’s すべらない話. The premise is simple: Matsumoto rolls the die and whoever’s name appears tells a story. It’s probably the closest thing that Japan has to Western stand-up comedy. Very funny: 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11.
If you’re looking for a particular comedian, here’s a quick reference:
2: Junior Chiharu, Hosshan
3: Ken Yahagi, Matsumoto, Haruna Kondō, Matsumoto, Junior Chiharu
4: Daisuke Miyagawa, Ryūji Akiyama, Atsuhiko Nakata
5: Matsumoto, Kendō Kobayashi, Haruna Kondō, Masaru Hamaguchi
6: Kazutoyo Koyabu, Teppei Arita
7: Onigiri, Hosshan, Junichi Kawamoto
8: Junichi Kawamoto, Sekai no Nabeatsu, Gori
9: Daiki Hyōdō, Masaru Hamaguchi, Atsuhiko Nakata
The other clips are setup and then the selection of the best story.
2channel is a Japanese internet forum. You can try browsing it yourself, but it’s massive and seems like it would take a long time to find exactly what you’re looking for. After you click on the main graphic, there is a huge list of topics on the left.
The other day while searching for examples of 差し入れ, I came across a blog that seems to cull the funniest posts from 2channel and post them as blog entries – すべらない名無し. It’s kind of an Overheard in New York for 2channel.
The topics vary but are almost always funny. It proves that Steven Segal provides just as much unintentional comedy in Japan as anywhere else. You can also read about the displeasures of fellatio, the misfortune of setting your 変換, and how to make hilarious manga titles by adding/changing one character. Recommended reading. The comments are generally fun, too.
名無し (ななし) refers to the name, or lack of name, of the posters on 2ch. Almost everyone posts anonymously, and the default anonymous name is 名無し or some funny reworking of 名無し; in the literature section, for example, it is 我輩は名無しである, a pun on a Soseki novel. すべらない you might recognize from Hitoshi Matsumoto’s すべらない話. I’m unsure if it’s related to 滑る, which has the same pronunciation and means “to slip,” but even if it’s not, that’s an easy way to remember what it means – if it slips (すべる), it’s not funny; if it doesn’t slip (すべらない), it’s funny. So basically the title means “Funny No-names.”
以上 (いじょう) is a very useful phrase. It’s a short phrase you can use to signal that you’ve finished placing your order at a restaurant or that you’ve finished giving a speech or your portion of a presentation. (以上です。) I guess in that case it literally means, “(Everything I want to say or eat) is above.” Something like that. I guess there’s no satisfying 直訳 really. You could say something like, “That’s all.” or “And that concludes what I have to say.” Those are probably closer to the way it feels.
It’s also used to express “greater than or equal to.” So you can say things like 二人以上 (Two or more people), 10分以上 (Ten minutes or more), and other useful numerical expressions.
Recently it’s been used in a new statistic during weather reports that shows just how sick the Tokyo summer is – 30°以上の時間. Normal statistics like temperature and humidity can’t express exactly how miserable it is in this city during the summer, and since they don’t use heat index, they chart exactly how many hours during the day it is 30 degrees Celsius (86 Fahrenheit) or hotter. Today it was 30 degrees by 9am and it didn’t come down until after 5pm. Gross.
The two-shower-a-day policy is in full effect.