01x04 - Surprise Live

[bunniefuu]

FEBRUARY 11, 2023

IKEBUKURO, TOSHIMA WARD

IKEBUKURO THEATER GREEN

"SURPRISE PERFORMANCE
WITH A LIVE AUDIENCE"

HUNDRED PEOPLE SHOWED UP FOR
THE PUBLIC RECORDING OF "A CERTAIN SHOW."

NO ONE HAS ANY IDEA AS TO

WHO'S COMING OR
WHAT'S ABOUT TO HAPPEN

THE CURTAIN RISES

-Thank you for coming.
-Thank you!

GEN HOSHINO
MASAYASU WAKABAYASHI OF AUDREY

Thank you very much.

Thank you for coming.

-More welcoming than I imagined.
-True.

-Producer Sakuma put out a call for this.
-Yes.

You might not be too surprised to see me,
but I bet you didn't expect to see...

Gen Hoshino, right?

On top of that,

I don't think anyone expected this pair.

Yeah, I don't think so.
Did anyone expect both of us to be here?

You're lying!

-Really?!
-Don't lie.

I guess we owe you some explanations.

Since last October,
Hoshino and I have been

sh**ting a TV talk show
every month to discuss

our troubles and struggles.

I have to be careful not to blurt it out
about this on my radio.

Exactly.

We'll ask you to keep this a secret.

Bear this burden alone.

Now you carry the cross
the same size as ours.

That's your life now.

Hopes

Left brain

The child of meaning

Mobility

The three poisons

A moonless night

Come over here

Aspirations

Possibilities

God works in mysterious ways

A guiding light

Striking a pose

I celebrate

Love

A Window

SURPRISE LIVE

Hoshino is doing something crazy.

So there'll be six episodes altogether.

And in every episode...

he'll compose a song based
on the discussion we have

or the place we sh**t the episode.

He's insane, right?!

So how has it been?
We've already shot three episodes.

How are the songs coming?

I made exactly zero songs.

NONE OF HIS SONGS WERE READY
AT THE TIME OF THIS RECORDING

But if we consider your busy schedule...

You just had a performance
with a live audience.

-First time in three years.
-Three years, huh?

-It's been that long since COVID started.
-Indeed.

THE FIRST PERFORMANCE WITH
A LIVE AUDIENCE IN THREE YEARS

I had to cancel a show three years ago
when COVID started.

Now, you can't be too loud,
but you can sing along or laugh out loud.

You're allowed to use your voice to cheer.

Plus, we can have the audience
to the venue's full capacity.

It took us three years to get here.

Did it make you emotional?

I mean, it was...

When I'm creating something,
I'm cooped up in my own world.

But with live performance,

it's only possible because
I have people to perform for.

Creation is the most intimate expression
that lets you face yourself.

But to have the live audience
right in front of me,

and they're cheering for me.

And they're singing along
to my songs with me.

The joy I get out of that
is immense, to say the least.

On top of that, the last day
of the concert was my birthday.

On that day,

all the COVID-related regulations
were lifted.

I got to do a concert
on such a miracle day.

I told the audience,
"You can use your voice, starting today."

And the roar shook the air.

The concert was at Yokohama Arena,
with 13,000 audience.

You know, I was told...

JANUARY 28, 2023

... that you're allowed
to use your voice now.

Hold on, you're going to make me cry.

Wow, this is...

This is going to get me.

It overwhelmed me.

It was like everyone's voices of cheer
that were bottled up

and snowballed for the last three years

were unleashed when they called out,
"Gen-san!" for me.

I couldn't hold back my tears.

-Of course not.
-I didn't mean to cry.

That wasn't my intention at all.

But I couldn't sing.

That was an incredible experience.

But you know,

having the audience laugh with us,

being in the same space
and hearing their voices,

it feels like we merge into one.

I believe the audience feels it too.

I think the roots of performing to express

is here, on stage with a live audience.

To me, a stage is where I can find solace.

It can be a place of pain, of course.

But I'm grateful for the presence
of a stage and a theater.

During the COVID restrictions,
I did manzai with Ryota Yamasato

for two hours, just two of us
with no live audience.

I collapsed from hyperventilation.

I was in the hell of Ryota Yamasato.

You will succumb
after two hours of that hell.

Is it because you can't take it anymore?

Well, it's like,

one on one with Yamasato
was extremely intense.

It got me thinking.

Don't tell Yamasato about this show.

That's a really good point.

A Netflix show with these two?

Never, ever, tell him about it.

You're right.

You remember how we talked
about All Night Nippon's rap jingle?

So, for the 55th anniversary of the show,
Hoshino and I made a jingle together.

Did you get any feedback or reactions?

I got compliments from many people.

REACTIONS TO THE JOINT JINGLE
BY HOSHINO AND WAKABAYASHI

I really love the track
you made for that jingle.

While it incorporates the current trend,

it has your style of hip-hop in it.

Thank you for that.

The first line of the lyrics
immediately came to me when I heard it.

And the rest followed from there.

That got me thinking.

If people in general are assuming

that you can come up
with a piece like this easily,

that's a pretty high hurdle.

I don't mean to be rude or offend you.

But I was thinking,

when we do manzai, Kasuga gets
complimented all the time.

"Kasuga, it's so impressive
that you memorized the script."

As for me,

I don't look like I rap, right?

-Right.
-And so,

I'm flattered, but I think people praised
my rap because my bar is set low.

Do you ever think,
"Why don't I get more compliments?"

For making such a great track.

Yes, I do.

I could use more compliments in general,
not just about that track.

About other songs too.

I'm sorry for asking such
an amateur question.

But do you feel

a sense of rivalry
toward other artists' songs?

-Oh yeah, I do.
-Really?

I feel it,

but also believe that the music
I create is the best.

-Wow.
-There's that too.

That's electrifying to hear.

I'm happy to hear that.

-But of course you do.
-That's how I feel.

I'm sorry for bringing up
such a dark subject,

but in the last episode, we talked about
how I've lost interest in all of my gigs.

Hoshino called me out on it
while I was asking for his advice.

-I have lost interest.
-I get it.

Not interested.

For example, I think you'd have
a lot of fun trying something solo.

Thank you for that.

You can challenge yourself
to master rapping.

You never know
how that's going to turn out.

It was like a foggy vision
suddenly became clear.

After I got home, I did something.

Episode one was shot
in Asagaya and Koenji,

where we spent our youth,
struggling to get jobs.

After I got home, I made a rap song called
"Asagaya Koenji" in three days.

Wait, are you serious?

I made a song before you did, Hoshino.

-For real?!
-I did.

"Envy, jealousy, resentment, bitterness,
they're crusted on this street."

-And I had a lot of fun.
-You did?

Your advice really cleared the fog for me.

Then I'd like to make a track for it.

-You will?
-I'd love to listen to it.

Don't you have enough
on your plate, though?

I mean, I'm concerned for you.

But you know,

we made the jingle
for All Night Nippon together.

I'd be sad if you make it
using a random royalty-free track.

I understand.

But I don't know If feel worthy.

FEBRUARY 2023 ONE-SENTENCE JOURNAL
TO RECORD THOUGHTS FOR A MONTH

Shall I start? Okay.

"You can't move on to the next stage
unless you're strong.

But if you're strong,
you can't be empathetic to others."

We do these heavy topics.

-That's the type of show this is.
-Exactly.

I hope to be open and accepting

to the diverse styles of comedy
and ideas in my shows.

But it occurred to me, maybe a year ago,
that if I wanted to go higher,

I have to be strong enough to impose my
values and "textbooks" on other comedians.

So I was determined to be strong.

And I was going to be physically strong.

So I started learning
the mixed martial arts.

I did have a feeling
that I could be off track.

But what I am learning is that
when there is physical contact,

it releases testosterone.

Which makes you feel strong-willed.

I'm on a TV show called Achikochi Audrey.

I had felt before that I wasn't
very good at self-disclosure,

or I was intimidated
to showcase my comedy.

So I thought I was speaking with those
in similar situations as me with empathy.

But somehow, that turned into

"C'mon, put your back into it"
type of mentality.

The whole situation

defeats the purpose.

I've shown how weak I have been
in Tarinai Futari's series.

So I had a sense of crisis that
if I got physically strong,

it would take me away from what I
considered to be my art and my style.

I describe my comedy style as

"a second baseman batting 7th."

Meaning I'm not an ace,
like a pitcher and a cleanup hitter.

So what I'm supposed to do is to empathize
with others and hear them out.

That's what I believe I should be doing.

But, you know...
I guess I'll say it since this is Netflix.

Those rowdy comedians from Kansai...

I don't like being all
tensed up around them.

You know...

No, no. Please.

Do you all want to be accomplices in this
by applauding that statement?

But seriously,

as an introverted comedian from Kanto,

I'm wondering whether being strong
is the answer for me.

We see you take on a lot of projects.

We see you running the show as an emcee.

But in Achikochi Audrey,
you're there to support others.

But you also draw things out, egg them on,
and make them explode.

I think that you, as an individual,
represents such diversity.

Switching from mode to mode must be tough.

Yes, it is.

But I'm also thinking,

why don't you stop sparring?

Yes, you're right!

Maybe don't do it
before Achikochi Audrey?

Good idea.

It got me thinking.

There are comedians who tell us,
"We can open up about it since it's you."

And I wish to be on that side.

In every episode of LIGHTHOUSE,
I make up my mind like this.

Isn't this a wonderful show?

We've been talking like this
over four months.

We have.

I take a step forward after every episode.

That's how I feel.

I've been thinking...

The comedians in Yoshimoto Kogyo
are really close.

They all perform in the same theaters.

And I think there's a value in that.

But other agencies in Kanto
are rather individualistic.

There are some that have
bonds and connections.

So there are a number of comedians

with great comedy skits, but don't know
how to be assertive in front of a crowd.

If I have a chance to work

with comedians like that.

I'd like to take, for example, seven
comedians and create

something interesting that's worth
the prime-time broadcast.

Create comedy that's diverse,

not the rowdy comedy,
and take it all the way to the prime time.

I would love to help make it a reality.

Gather comedians whose comedy
doesn't belittle or debase others,

and create comedy for two years or so.

If I can do that,
I couldn't be happier as a comedian.

But this is truly contradictory.

Because to achieve it,

I need to win against machismo.

That's why I thought I needed
to be physically strong.

I think that's a struggle
that lasts forever.

It's kind of like...

the Police Superintendent Muroi
from Bayside Shakedown.

Sorry, it's an old example.

Oh no, I get it.

You want to change things from the inside.

But to do that, you need to be involved
in unsavory things.

That's exactly it.

So that's why I thought,

maybe I should show my forehead.

So I started separating my bangs
in the center.

I even thought about
bleaching my hair at this age.

-You pierced your ears.
-Yes, like piercing my ears.

But I find your authenticity
in your struggle beautiful.

More often than not, people stop
themselves before getting to that stage.

-Even if they mean to get there.
-Okay.

The majority of people are influenced
and get absorbed by the mass.

We only do this once a month,

but every time, I love you even more.

-Thank you...
-Like, romantically falling for you.

We've been talking alone
with just two of us so far,

and we talked about stuff
we could never discuss in public.

But overall, I said what I shouldn't have
more often than he did.

What's interesting is,

now that we have an audience,
Wakabayashi starts saying those things.

-I'm just too excited.
-So the switch has been turned on.

Having an audience changes things.

It sure does.

But it's fun to be
in the presence of an audience.

Please share
your one-sentence journal, Hoshino.

Here goes.

"My junior musician told me,

'I want to be like you.

Eventually, I want to be an actor too.'

And I think 'I'm not that role model,
so you can't be like me.'"

This one is another...

sharp one that cuts deep.

-Someone said that to your face?
-Yes.

It makes me happy to hear someone say
they've loved my music.

I didn't get told that too often.

Then someone told me
they wanted to be like me.

I was happy to hear that first.

But then they said, "I want to try
acting too," which made me feel...

It sounds like, "I want to become famous
and build my name through music,

and I want to be an actor
using that fame." You know?

But I've been doing both
since I was in junior high school.

So it tells me this person
doesn't know me at all.

-You're right.
-So there is that.

So I receive damage there,
and it makes me somber.

But pointing that out
feels a bit immature.

I can't exactly tell them,
"That's not who I am."

Of course not.

And they're free to want to be an actor.

But it bothers me a little.

Or rather, it reminds me that people
don't put much value on that process.

In the process of wearing many hats,

I've been told to quit acting, quit music,
because I had no talent.

But I kept up with both
because I love doing them.

And I am here now.

So I'm thinking,

they're already doing their own thing.

So hearing, "I want to try my hand
at the other thing like you,"

to put it succinctly,

it's aggravating.

Of course, it is.
Your journey is very different from that.

It's true for comedians or anyone,

but we think everyone lives problem-free,
since that's the only thing we see.

We tend to be jealous of someone
based only on what we can see.

Right.

So if you take one step further

and really look, you may be surprised
with a better view.

Like, if you know
the backstory of someone...

In your essay, you talk about
how things were for you

as an actor before you became famous.

When someone says
something like that to you next time,

leave your essay in their bag
while they're sh**ting.

A reverse dressing room thief.

Leave stuff, not take stuff.

Maybe I'll try that.

But I totally get how you want others

to understand you,
but can't bring yourself to say it.

When Tarinai Futari, my comedy unit,
became a TV drama.

People have asked me,
seeing my current situation,

what about us are "tarinai futari,"
or, "insufficient two."

Oh, I see.

They think we're fully sufficient,
having enough.

But I'm like, "You think you're prepared
to spend your twenties as I did?"

I want to go one by one,

straddling them like this and ask them...

"Are you prepared to spend
your twenties like I did?!"

I wish I could tell them that.

Same!

I obviously have a long way to go to be
an emcee who understands diversity.

-Here's another journal entry.
-Okay.

It really relates to today.

"Some describe the discourse in comedy
as 'nerds ruining comedy.'

They should know that they're
the nerds who are ruining comedy."

Another sharp one.

Yes, an attack from a super sharp angle.

I'm doing a show called
Achikochi Audrey with Producer Sakuma.

It seems to me that...

a generation of comedians above me think
discussing the process of comedy is lame.

A generation below me
seem to feel the same way.

They're only interested in creating
jokes and becoming popular with girls.

I think I can say that I've been
heavily influenced

by hip hop culture
since I was in junior high school.

And hip hop is all about
verbally expressing your inner self.

There's value in verbalizing it.

And I'm not promoting this idea

to get people's support
or cater to populism.

That's not why I'm saying it.

I think comedy is born where you are
earnest and serious about something.

When you are seriously frustrated,

or when you are
challenging something seriously.

I believe that's when
a funny story is born.

So to me, talking about
comedy is essential.

And people who feel the same come to
Achikochi Audrey and share their stories.

But the thing is, since they're all
excellent comedians,

they know how much to share so
it stays within the boundary of comedy.

That's why it's funny.

But if the story is shared

from the perspectives
of a tragic heroine or a victim,

you can't laugh about it.

They share their stories
as they test the boundary of comedy.

Some call it, "sharing the backstories."
But I don't think of them as backstories.

I actually think they're the "front."

In Achikochi Audrey, we discuss
the theory of working, not of comedy.

Some of the people who said
the show was interesting include

normal office workers
who work at respectable firms.

They say that what we discuss on the show
can be applied to their work as well.

So I'm sure you all have
lots of funny stories from work.

If you're truly earnest about your work.

Like, your nasty boss said
such a horrible thing to you, etc.

That can be funny in a good way
if you're earnest about it.

That's the type of thing
we discuss on the show.

But some people claim

that discourse like ours divulges
too much about comedy

and that it would eventually ruin
comedy as a genre.

But what they're doing
is literally ruining Achikochi Audrey.

So they're the nerds
who are ruining things.

I really want to go tell them that.

In a situation like this,
comprehension skills are crucial.

It's actually hard for people to realize
when they're the wrongdoers.

I'm not an exception,

so it can be scary to think about.

I believe funny stories
can be found in the process,

or... in the work that you do.

I do the show with the belief that talking
about such things will improve comedy.

Whoever said that thinks they understand
comedy, but they actually don't.

Because like you said,

I also believe that such discourse
contributes to the popularity of comedy.

And if people who want to and don't want
to talk can coexist, that'd be the ideal.

And they could say, "Some people like
to discuss it, but I prefer this way."

But if they think discourses on comedy
ruin the genre, they're misguided.

Not to borrow Westland's jokes.

That was one of their jokes.

Westland called out for Producer Sakuma.

Another thing is,

I might get shot with arrows, if you will,

but I want to move on
like nothing happened.

That's also why I think
I need to be strong, you know?

Producer Sakuma gets riddled with arrows,

but he forges on with a smile on his face.

-So true.
-And I respect that about him.

-I don't think he notices the arrows.
-Probably not.

Since he's in the zone.

With his frenzied, glaring eyes.

-Because he's so busy.
-That's not true.

Tearing and tying his clothes...

As he watches entertainment shows...

I'm not a character in RRR, you know...

A solo RRR.

I think this applies to comedians as well.

You know how your fans from
when you started out will sometimes say

they don't like you so much
after you become big?

COMMUNICATING THE LOVE FOR SOMETHING

Here's a story I've heard.

This person was a fan of a certain artist
and would go to their concert often.

But this artist became popular, and more
women bought tickets closer to the stage.

This person hates the artists now that
female fans are cheering for them.

And this person claims

he knows the true worth of that artist.

I see.

But I think that's an egregious mistake.

Is that all it takes for you
to fall out of love with that artist?

More importantly,
that artist has not changed

regardless of if there are
screaming female fans there or not.

So whatever happens,

you can continue to love
and support that artist,

If the screaming groupies
of your favorite artist bother you,

you need to realize what you truly like
is yourself, who like that artist.

There is not an ounce
of love for that artist.

You only love yourself.

When you declare love for something,

all that matters is you love it no matter
what everyone else says.

I think any other declaration
of love is ineffective.

I can relate to that.

After I got married,

"You became boring after you got married."

Hearing that made me think,

"You're not a fan
of Audrey's Wakabayashi."

"You are a fan of a bachelor."

"You're a fan of the concept
of a bachelor."

We've asked everyone here when you applied
to be in the live audience

what's troubling you right now.

This is from a 28-year-old woman.

"My favorite music is metal,
but I don't want to seem too scary.

So I pretend to be a cheerful person
who also enjoys the music of Kaze Fujii."

Is that so? I see.

There she is.

I would love to talk about metal,
the music I actually love.

But after hearing what
my friends around me like to listen to,

I go along with them and say,
"That's nice too."

So I end up not being able to talk
about the music I like.

-I see.
-That's my trouble.

When you say you like metal,
you get reactions you're not looking for?

-I get made fun of.
-I see.

I used to...

listen to jazz since I was little,
because my parents did.

And I played jazz piano.

People around me would
listen to anime music,

game music, or hit songs from the charts.

But we were listening
to refined jazz at home.

So I grew up with a very different taste
and hobbies from the kids around me.

So I had stuff that I really loved,

but oftentimes, I couldn't share that
with others around me.

With that said,
I found that the time I spent

listening to the music I love by
myself was priceless.

That's the time when

you're in your room,
thoroughly enjoying the music you love.

You spend your time
studying and loving it.

And during that time, I don't know why,

but I get the sense
that I'm connected to something.

Like I'm connected to the environment.

I've always thought of it
as something important to me.

And in my case, after I became an adult,

I met other friends
who'd feel the same as I did.

And then,

I became even happier by gradually sharing
the love that has grown and grown.

If anyone makes fun of that,

I wouldn't consider
that person to be my friend.

Anyone who insults something
other people love,

or anyone who ridicules
certain genres of music,

I hate them with passion.

To begin with, people who mock others

are not worth being friends with.

So I don't believe that you have to change
who you are for people like that.

I get to do my job right now
because I didn't.

I think that's how you return
the favor to the music

for the happiness and joy
it has given you.

Now we use the word "share" all the time,

so you may think you must
share something with others.

Nurturing and holding onto
something within yourself

is not a bad thing at all.

You can deepen it, even.

I hope you feel confident

in your love for metal music.

Thank you very much.

I was worried about people disliking me

If I pluged metal music to them,
but maybe gradually...

That's right.

And if anyone mocks you for it,
don't back down.

They're the type of people who pick
what to sing at a karaoke

from the "Most Sung" list.

They pick a song because everyone else is.

So they're an empty, worthless bunch.

You keep on loving metal,
I keep on loving Japanese rap.

There you go.

-It's almost time.
-Really?!

-Time flies in front of the audience.
-So true.

Wakabayashi is in his emcee mode.

And you bring that up now?!

We're almost at the end,
and now I'm embarrassed.

You mean I was showing off
my emcee skills?

Is that what you're getting at?

No, that's not what I meant at all!

It's just that I had a glimpse of you
that was different from usual.

Speaking of which,

we're on stage with just two of us today.

-Yes, we are.
-And this was just a free talk.

But there were some elements
of manzai in there as well.

Maybe I don't need to say it,

but I love you even more now.

-Now, for real.
-Yay!

I want to copy all of
your hairstyles so far.

I'm like a crazy fan now.

WHEN THE TWO WERE STILL NOBODIES

THE CITY THEY SPENT THEIR MOROSE DAYS

LYRICS BY MASAYASU WAKABAYASHI

SONG, LYRICS AND ARRANGEMENT
BY GEN HOSHINO

You're awake and all wet

Lazing around in the middle of a pool

Ouch, I looked back to those days

The scar is still here

Just by walking, I'm back in the 90s

I've got a uniform on
with some sagging pants,

A towel on my buzz cut
Looking back now, it was pretty cringe

Once I take off my helmet
And shoulder pads,

There's nothing to do after class

Someone called me,
"Ota and Tanaka are at the yakiniku shop!"

And I run out of the mahjong parlor

I stash my signature paper
In my bike basket and start pedaling

My phone rings while I'm on my way,
Ota went home but Tanaka's still there

Unsure what to do, I head home

I talked about it on Kensaku-chan

But Tanaka-san wasn't laughing

But Tanaka-san wasn't laughing

Asagaya and Koenji

Evening and orange

Envy and jealousy,
Grievances and resentments

They're bound to this path

Asagaya and Koenji

Evening and orange

The train heading for glory

Passes me by on its holiday schedule

After you succeed, they envy you

Inside of that jealousy,
It's a silent universe

I remember the day you cried

You're still a part of me

I spend a hundred yen
For a five-minute shower,

But it goes by quick

With the wind on the way back as my dryer,
Saving myself ten yen

I hit up the 100-yen shop and scramble for
Some half-off onigiri with my neighbors

I've got no results to show,
But a rose is still a rose,

So even if you're right, I'm not listening

Channeling my midnight ressentiment,
I made this DeLorean, Asagaya, I'm out

You're in the same car, right?
Funky Fresh Gen, my man!

Look at me now, are you proud of me?
Maeken-san!

Now that I think about it,
It was merely a scene of a larger story

My troubles are hard to understand
And keep on increasing

I'd also want Kon Arimura
To watch this movie

LET's roll LIGHT HOUSE♯１

-Asagaya and Koenji
-Latata...

-Morning and orange
-Latata...

-Like a post-game RPG
-Latata...

I continue wandering
Along the railway line

-Asagaya and Koenji
-Latata...

-Morning and orange
-Latata...

There's still more EXP
To get in the post-game

So I ride the Sobu Line
Down to Suidobashi

-Asagaya and Koenji
-On a stormy

-Morning and orange
-Morning

Envy and jealousy,
Grievances and resentments

I paint this road over

-Asagaya and Koenji
-I found you

Morning and orange

Just the two of us,
The setting sun on our backs

-Singing along this road
-Inside of me

So, what next?

It's going to start to get warmer.

Outside. How about sh**ting outside?

How about a drive?

How about we go on a drive somewhere?

We could be alone in the car.

-How about the staff?
-Producer Sakuma can ride in the back.

No, no, no.

Cue cards come out from behind like this.

Hoshino and I are up-front, and Producer
Sakuma is in the child seat in the back.

Cue cards from the child seat.

Show us the cards from there.

-The driving episode.
-This is fun.

I think "Same Thing"
is perfect for a drive.

While I'm performing manzai,

there are moments I'm dying to give
my middle finger to the audience.

At this rate, I think I'm going to
quit after the next tour.

So I thought I'd quit
after five major domes.

Wow, I had no idea!