America had famous blackface singing groups (black minstrels) in the past, and it wasn’t a problem then because they were singing.
#GAKI NO TSUKAI MATSUMOTO SKIN#
Matsumoto: “I told Hamada we should knock on Eddie Murphy’s door and apologize to him.”Īndo: “Hamada’s take on Eddie Murphy was interesting, and since some foreigners may be sensitive to things like skin color, it came off as making fun of black people. That bit was meant to make viewers laugh but was taken as racial discrimination instead.” Were there costumes in the changing room? It’s his fault for not turning down the proposal (of the Eddie Murphy impersonation).”Īndo: “I think it was going well until the impersonation. Matsumoto: “I have a lot of things to say regarding this issue, but it’s too much of a hassle. The other member of Downtown, Hitoshi Matsumoto (who is also a regular cast member on Gaki no Tsukai), spoke up during a debate about the incident with newscaster Yuko Ando.
#GAKI NO TSUKAI MATSUMOTO TV#
Masatoshi Hamada is already famous in Japan for being one half of the extremely popular comedy duo Downtown (he’s also the mane behind this goofy impersonation of Kyary Pamyu Pamyu) but the veteran comedian has made a recent blunder that’s getting him much less positive attention overseas.ĭuring a New Year’s Eve segment on variety TV program Gaki no Tsukai, Hamada painted his face black to impersonate Eddie Murphy’s character in a parody of the 1984 movie, Beverly Hills Cop, drawing widespread condemnation in the process. It can be found here.Īt this point, the very clever and considerably accurate album cover recreations begin.Long debate on national television ensues.
The stage is the same as that used for episode #1029. The regulars make their way to the studio set (evidently in the 1st stage). Matsumoto mentions its an invitation from "the one not here."
The Gaki reglars, minus Yamasaki, have received a note, labelled "招待状" （しょうたいじょう）or "written invitation." Presumably this episode was filmed there, perhaps becuase of its demand for a reasonable amount of studio space. The episode opens at Tokyo Tower Studio (東京タワースタジオ). One suspects that he decided to perform most of these songs not only to exercise his power of mimicry, but also out of sheer enjoyment. He plays the piano, and has written songs for numerous episodes (the "Yamasaki Producer" series). This episode also showcases Yamasaki's not inconsiderable musical talent. Still, a certain amount of affection for at least some of the music shows through. The point of the episode, emphasized in Downtown's labored responses to the two overexcited show hosts is evidently to parody similar reverential music retrospective shows. It serves as an excellent overview of Japanese popular music over several decades. All of the music and album covers featuring Yamasaki are fairly faithful reproductions of original material. Upon first viewing I did not take a great deal away from this episode, but upon subsequent research, my admiration grew. Though not part of an explicit "series" this episode seems most similar to episode #1029 昭和の歌姫 山口百恵ヒストリー (Shōwa era songstress Yamaguchi Momoe History) featuring a similar set, the same actor playing Yamasaki's "husband" at the close, the same male and female program hosts, and primarily the same preoccupation with Shōwa era music. Matsumoto, Hamada, Endou and Tanaka called to a studio set, where they participate in an uncomfortable retrospective of Japanese Shōwa era popular music, performed entirely or in part by Yamasaki. Episode Title: 山崎 昭和歌謡曲 ヒットパレード ("Yamasaki's Shōwa era Popular Song Hit Parade")
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