It’s day two of my new “write more crap!” mindset and, I’ve gotta tell ya, I’ve run out of things to tell ya.
In case you’re just emerging from a long medically-induced coma or living in the COVID-free paradise of New Zealand, the world has been in the grips of a raging pandemic over the last year, which isn’t really conducive to a lifestyle full of things for a random dude to write about on his site that no one reads.
Sure, Japan has thankfully avoided the full brunt of the pandemic but I’ve tried to my part to stay inside, wear a mask, and interact with as few people as possible. (In my defense, this was pretty much my strategy pre-pandemic as well.) The furthest I’ve traveled in the past year is probably my aforementioned long-ass trip to the Chiba countryside for a TV thing and even that was only an hour away by freeway. My travels within Tokyo itself have been just as limited, which is to say I can pretty much count the number of times I have rode the train in the last year on my fingers alone.
Really one of the best parts of this entire situation (if pandemics can even have good parts) has been the long walks I get to take on the abandoned Tokyo streets at night. Sure, it’s night so you wouldn’t expect many people out and about anyways but in the before times, an uncrowded Tokyo street was still crowded by normal human being standards. Now though? Pure solitude. And now I can laugh at dumb podcasts while walking without having to worry about drunk old salarymen giving me the stinkeye.
“But what about your career in showbiz, Stephen?” you ask, sleepily feigning interest as you read this while taking a poop.
When we last left off, we were talking about the rise of a new batch of Japanese comedy stars, dubbed by the media as the Seventh Generation of Japanese Comedy, a term determined more by savvy marketers than by any actual generational shift in how comedy is crafted in Japan.
I had originally planned on introducing some of the “top” members of this “new” group in a new post but while writing it, I had a long and deep conversation with my podcast co-host and actual Japanese comedy researcher Nick about manzai and its various evolutionary shifts as a comedy form. More specifically, we spoke about the act of performing manzai in the era of remote lives and plastic shields aimed at preventing the spread of COVID-19. (Side note, it was a great and really deep conversation about the craft of being a manzai comedian that probably only five or six people in the entire world would probably enjoy hearing.)
A long long time ago, Yoshimoto attempted to introduce the world to manzai via a Netflix “documentary” that I still have crazy stress nightmares about being in. In it, we said that manzai was one mic, two people, and the “Japanese Dream” (Note: I really wasn’t lying about those stress nightmares.). But is that really true? In the four years since then and in the last several months, I’ve given this idea a lot of thought.
The updates and blog posts have been few and far between of late. Of course, if you’ve been paying any attention whatsoever you already know this. Life has a funny way of coming back around on you. One minute you’re convinced that you have enough to say or write to put into words every day and the next you’re sitting around pounding your head into the wall trying to squeeze out a word turd through your prolapsed mental asshole. Continue reading →
So a few days ago, I teased a big announcement and now I can officially tell you what that is (in English)!
A solo show! That’s right! Iruka Punch, my owarai combi, is going to finally do a solo show, which is a big get for a first year combi like ours!
Iruka Punch First Solo Live
What’s Iruka Punch!!! (forgive the Japanglish punctuation)
October 8th, 2016
Doors open 7:45 PM
Tickets: Advanced 1200 yen/ Door 1500 yen
The theater is located in Omiya, a city that is pretty much a suburb of Tokyo (and one thirty minute train ride away from major Tokyo hubs like Shinjuku, Shibuya, and Ikebukuro), and the show starts at 8PM on a Saturday, which means that my solo show is both inconveniently located and inconveniently timed. In other words, hundreds of tickets are still available.
This is a big, big chance. If we sell enough tickets, god forbid we sell the theater out, we can help prove our viability as comedic talent to our agency. If absolutely no one shows up? Well, we’ll cross that bridge when we get there.
Which is all why I’m asking, nigh, begging any of you reading this in the greater Tokyo area to come to this show. If money is an issue, I can possibly get you some tickets at a reduced rate. Please please. Pretty please.