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Masatoshi Hamada
Masatoshi Hamada
Masatoshi Hamada
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Masatoshi Hamada (浜田 雅功), nicknamed Hama-chan (浜ちゃん), is a Japanese comedian best known as the tsukkomi half of the owarai duo Downtown alongside Hitoshi Matsumoto. Hamada is married to Natsumi Ogawa, with whom he has two children.

Key Information

Early life

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Hamada was born near Daikokucho Station in Naniwa-ku, Osaka to Kengoro and Nobuko Hamada. His family moved to Amagasaki, Hyōgo Prefecture before entering a kindergarten. There, he attended Ushio Elementary School and met Hitoshi Matsumoto. He and Matsumoto did not become friends until junior high. Like Matsumoto, his family was very poor and lived in an old, run-down apartment building.

In 1982, he and Matsumoto entered Yoshimoto Kōgyō, to become a comedy duo. They made their debut in 1983.

Comedic character

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Hamada is frequently seen whacking Matsumoto and other celebrities on their heads, whether it be with his hand, a paper fan, or whatever he is holding at the moment. He laughs with a distinct, high-pitched cackle whenever he sees his colleagues in pain. Never one to hold his tongue, he is known for being blunt and tactless towards everybody, no matter how famous they may be. He has a notoriously quick temper and is prone to snapping at others, including overzealous fans who bother him on the streets. There is a running joke or legend within the industry that says "Whoever is whacked on the head by Hamada will become successful or ureteru."

Because of his aggressive and seemingly remorseless behavior, he has been dubbed "Hamada the Super Sadist" (ドSの浜田, Do ESU no Hamada).[1] This fearsome side of his personality has been pointed out in the media on several occasions:

  • On an episode of Downtown no Gaki no Tsukai ya Arahende!!, Hamada was put on a mock trial (where Matsumoto jokingly demanded the death sentence) for his countless acts of physical abuse and shameless schadenfreude on the show over the years.[2]
  • Downtown pulls numerous pranks on their colleagues on Gaki no Tsukai. A common prank is to have Hamada pretend to lose his temper during a filming and become furious towards the unwitting victim. In the past, he has violently attacked the victim, including kneeing him in the face, giving a headbutt,[3] and pulling his hair.[4] His act is so convincing, it has brought his victims to tears. This prank has been pulled on Naoki Tanaka of the comedy duo Cocorico, a regular on Gaki no Tsukai.[5] Tanaka testified during the mock trial, "I cried on someone's chest for the first time in my life."
  • On a 2005 episode of Lincoln, Matsumoto offered a "gift" to the younger comedians on the show: he had Hamada restrained upright and gave them the option of throwing a pie in his face or kissing him on the lips, to help them "overcome [their] fear." The younger comedians were afraid of both options. One stated Hamada would bite his tongue off if he tried to kiss him.[6]
  • Tsunku of the rock group Sharan Q claims he got his first big break when Hamada hit him on Hey! Hey! Hey! Music Champ. Tsunku has been quoted as saying "A musician will always make it big after being hit by Hamada."[7]

In a recent[when?] episode of Gaki no Tsukai, however, a number of younger comedians have said that Hamada's "super sadist" act is just that; he is known to be fair and kind to both staff and other comedians off the air. Jimmy Onishi during his "24 hours Long interview" for Gaki no tsukai even admitted that he got on with Hamada the best since "he was the most normal" of the cast.

Running jokes

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Though not as common, Hamada can also be on the receiving end of jokes, usually delivered by Matsumoto. Some of Hamada's commonly mocked traits are:

  • His comically extreme lack of drawing skills. On two separate occasions, Gaki no Tsukai regulars played a game where a subject is presented and their drawing must predict what Hamada's interpretation will look like.[8]
  • His childish taste in foods. He enjoys foods that are perceived in Japan to be normally preferred by children, such as hamburger patty, karaage, milk tea, fast food (the Mega Mac in particular[9]), and his all-time favorite, yakisoba.[10] Matsumoto says he has "the taste of a high school freshman" and claims one can improve his mood by putting a fried egg on top of his steak (this is usually only done for children). Despite having once done a series of ads for Georgia,[11] he dislikes coffee. His least favorite food is tomatoes.
  • His appearance. Matsumoto frequently calls him ugly and pokes fun at his large lips. Names Matsumoto has called him in the past are "monkey child," "chimpanzee,"[12] "baby gorilla," and "lip monster."[13] In the Enthusiastic Teachers Batsu game special his face was digitally put on pictures of Gorillas. Movie critic Osugi said of Hamada's role in Nihonkai that Hamada, thanks to his gorilla-like face, makes a serious Yakuza movie turn into an animal movie. In addition, on at least two occasions (in the 2013 Gaki no Tsukai "Do Not Laugh: Earth Defense Corps" batsu game and the 2015 Gaki no Tsukai "Do Not Laugh: Detective Agency" batsu game), Hamada has been compared to "M1" (M1号 Emu Ichi gō), a monster from the 1966 TV series Ultra Q.

Additional work

[edit]

Hamada provided the Japanese voice of Slowking in Pokémon: The Movie 2000. A limited edition Pokémon card called "Hama-chan's Slowking" (ハマちゃんのヤドキング, Hama-chan no Yadokingu) was released to promote the movie.[14] The Slowking on this card was illustrated by Hamada himself.[citation needed]

In 2001, he starred in the television miniseries Ashitaga Arusa ("There's Always a Tomorrow"). Named after a famous song by Kyu Sakamoto, it ran from April 21 to July 30 and featured many other Yoshimoto Kōgyō geinin, including Cocorico. A feature film version was released in October 2002.

He is the voice of Shrek in the Japanese language dub of the animated Shrek films. He was personally selected by producer Jeffrey Katzenberg to take on the role.[15]

He worked as a guest sportscaster for Fuji Television at the 2006 Winter Olympics in Turin, Italy.[citation needed]

He was the voice of the host of the sole Japanese release of the American trivia quiz video game series You Don't Know Jack.

Music

[edit]

In the 1990s, Hamada was also part of a musical duo with Tetsuya Komuro called H jungle with t [ja] (where the "H" stands for Hamada and the "t" stands for Tetsuya) and produced several songs, including their most popular song, "Wow War Tonight", which sold over 2 million copies and ranked number 2 in the top 100 Oricon singles of 1995. H Jungle with t also performed some songs at live concerts during the mid-1990s. In the song "Wow War Tonight", Hitoshi Matsumoto has a line that is repeated several times throughout the course of the song, "B-U-S-A-I-K-U H-A-M-A-D-A", this translates as "Ugly Hamada", one of several of Matsumoto's insults at Hamada. Other common insults are "Gorilla".

In 2004, "Chicken Rice" was released with lyrics written by Matsumoto. The lyrics reflect their childhood (more specifically Matsumoto's childhood) and tells the story about how it was too expensive for them to eat out at restaurants or have nice food, so out of consideration for his parents he would always eat chicken rice as it was the cheapest. The song also asks the rhetorical question "Do children appreciate what their parents do for them nowadays?". This song reached number 2 in the Oricon weekly rankings.

Personal life

[edit]

Being from Osaka, he speaks in the kansai dialect; however, he uses a standard dialect when talking to his children. His hobbies are golf and baseball.[16] His comedy partner Matsumoto quit smoking in 2003, while he himself is still a heavy smoker.[citation needed]

Although he has always disliked animals, he later became attached to the family dog. In a March 2007 episode of Gaki no Tsukai, when asked what he would save first in his house if an earthquake occurred, his reply was "the dog."[17]

In June 2014, he was revealed to be having an affair with gravure idol Maiko Kikkawa. The affair had lasted for 3 years before its discovery. Hamada wrote a public apology, which his wife accepted.[18]

In 2017 Masatoshi dressed in blackface as Eddie Murphy from the film Beverly Hills Cop for the 2017 New Year's Eve special of Downtown no Gaki no Tsukai ya Arahende!![19]

In 2023, a 24-year-old esthetician, known as A-san, claimed she had a "sugar dating" relationship with Masatoshi Hamada in 2018–2019. A-san said they met through a mutual acquaintance and had several secret meetings, during which Hamada provided financial support. The claim surfaced after reports of Hamada's alleged separation from his wife, Natsumi Ogawa.[20][21][unreliable source?]

Hamada has denied the separation reports, addressing them publicly on a radio show, but rumors suggest the couple has been living separately for some time.[22]

On March 10, 2025, Yoshimoto Kogyo announced Hamada's temporary hiatus due to poor health, citing "physical discomfort" since late 2024.[23]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Masatoshi Hamada

View on Grokipedia
from Grokipedia
Masatoshi Hamada (浜田 雅功, born May 11, 1963) is a Japanese comedian best known as the tsukkomi (straight man) in the owarai duo Downtown, partnered with Hitoshi Matsumoto. Hamada, born in Amagasaki, Hyogo Prefecture, rose to prominence in the 1980s through the duo's manzai performances and television appearances, establishing Downtown as one of Japan's most influential comedy acts. Their long-running variety show Downtown no Gaki no Tsukai ya Arahende!! (1989–present) features physical comedy, pranks, and endurance challenges, amassing a dedicated following and shaping modern Japanese entertainment formats. Often hailed as Japan's premier tsukkomi for his quick timing and authoritative presence, Hamada has also directed segments and hosted solo projects, solidifying his status as a comedy industry leader. Despite his success, has encountered controversies, notably in 2018 when he donned to impersonate on a New Year's special of Gaki no Tsukai, prompting international backlash over perceived racial insensitivity amid 's differing cultural norms on such portrayals. The incident highlighted tensions between domestic comedy traditions and global expectations, though continued his career without formal repercussions in .

Early Life

Childhood and Family Background

Masatoshi Hamada was born on May 11, 1963, in , . His father, Kengoro Hamada, originated from and worked in the painting trade, including subcontracting the exterior painting of the Soviet Pavilion at the 1970 Osaka World's Exposition. His mother was Nobuko Hamada. The family resided initially in Ashiya, Hyōgo Prefecture, before relocating to Amagasaki in the same prefecture around the time Hamada entered kindergarten. In fifth grade, his father opened a paint store in Hyōgo Prefecture, reflecting the family's involvement in the trade. Hamada has a younger sister, and accounts from his youth describe him as an attention-seeking and mischievous child.

Entry into Comedy and Formation of Downtown

Hamada graduated from high school in , , in 1981, initially aspiring to become a motorboat racer but failing the entrance examination. While wandering in , , shortly after the exam, he encountered a recruitment flyer for the newly established Yoshimoto Comprehensive Academy (NSC) Osaka school's first intake and impulsively decided to apply. Recognizing an opportunity in comedy despite lacking prior professional experience, Hamada approached his childhood friend and elementary school classmate , who was uninterested in salaried work and open to alternatives, convincing him to join as well. The pair enrolled in NSC's inaugural class in April 1982, marking Yoshimoto Kōgyō's launch of systematic comedian training. Matsumoto had initially preferred Arts but relented to Hamada's Yoshimoto preference, solidifying their partnership. During NSC, they naturally paired up for routines, adopting the duo name —reflecting their origins near Osaka's bustling areas—and debuted professionally in 1983 after rapid progression. Hamada assumed the tsukkomi (straight man) role, providing sharp interjections to Matsumoto's boke (foolish) antics, a dynamic honed through daily at the school. Their formation yielded immediate results; by August 1982, just months into training, they entered and won the Fukawarai Grand Prize at the 3rd Imamiya Children Ebisu Newcomer Contest, signaling early potential amid Yoshimoto's competitive roster. This accolade, among others in amateur contests, secured stage time at theaters like Flower Theater, establishing as promising newcomers in manzai comedy before national television exposure. The duo's unpolished, street-smart style, drawn from their shared working-class upbringing, differentiated them from established acts, though initial gigs involved grueling schedules and low pay typical of entry-level owarai.

Professional Career

Early Success in Owarai and Manzai

Masatoshi Hamada and formed the comedy duo in 1982 after both joining Yoshimoto Kogyo's NSC (New Star Creation) training program, with Hamada serving as the tsukkomi (straight man) to Matsumoto's boke (funny man) in the traditional style. Their debut as a duo occurred in 1983, marking the start of their ascent in Osaka's competitive scene, where they honed rapid-fire exchanges emphasizing Hamada's sharp, physical tsukkomi interventions against Matsumoto's absurd premises. Early breakthroughs came through manzai contests in 1984, including a grand championship on the TV program Owarai-kun Koso Sutā da! after five consecutive weekly wins, an excellence award at the NHK Upper Manzai Contest, and the top new artist award in the manzai category of the ABC Manzai and Rakugo Newcomer Contest. These victories established Downtown as rising talents in Kansai owarai, distinguishing them from established acts through a raw, unpolished energy that blended manzai with emerging kontō (skit) elements. By 1987, their local television exposure via the Kansai show Yōji Desu Yōda propelled wider recognition, earning the duo the Best New Hope Award at the 15th Japan Broadcasting Entertainment Awards for innovative delivery. This period solidified Hamada's role as a dynamic tsukkomi, often incorporating slaps and exasperated retorts that amplified Matsumoto's chaos, contributing to 's dominance in late-1980s manzai circuits. Culminating early acclaim arrived in 1989 with the Grand Prize at the 24th , affirming their mastery of the form after seven years of grinding performances in Yoshimoto theaters and contests. These achievements shifted paradigms, favoring 's irreverent, youth-oriented style over conventional politeness, paving the way for national breakthroughs while Hamada's unyielding tsukkomi became a benchmark for aspiring duos.

Major Television and Variety Shows

Hamada co-hosts the enduring variety program Downtown no Gaki no Tsukai ya Arahende!! on Nippon Television, which debuted with a pilot episode on October 3, 1989, and has produced over 1,800 episodes featuring comedy sketches, physical challenges, and signature "batsu games" where participants endure punishments for failing no-laughter trials. As the tsukkomi partner to , Hamada often delivers sharp commentary and physical retorts, contributing to the show's raw, unscripted appeal that has sustained high ratings for decades. In addition to Gaki no Tsukai, Hamada serves as the primary MC for Junk SPORTS on , a sports-themed variety format launched in 1999 that pairs him with professional athletes to discuss candid anecdotes and training rigors in a lighthearted style. The program emphasizes Hamada's straightforward hosting, drawing millions of viewers weekly through segments on team dynamics and personal setbacks. Hamada also leads Prebato!! on since its 2012 premiere, a satirical talent contest judging celebrities' amateur attempts at traditional arts like , composition, and , where his blunt critiques formal evaluations. Complementing this, he co-hosts Wednesday's Downtown on TBS starting in 2014, testing provocative hypotheses and urban myths through on-location experiments with guest celebrities. Other notable appearances include Gobu Gobu on MBS, a 2003-launched roving format where Hamada pairs with rotating co-stars for unfiltered location-based banter, and recurring roles in music-oriented shows like Hey! Hey! Hey! Music Champ, co-hosted with Matsumoto from 1994 to 2012 on . These programs underscore Hamada's versatility in sustaining viewer engagement via his authoritative yet comedic presence across networks.

Radio Hosting and Other Media

Hamada has hosted the late-night radio program Gobugobu Radio on MBS Radio since April 2023, marking his first regular radio hosting role in 32 years. The show airs every Friday from 24:30 to 25:00, emphasizing equal footing among Hamada, rotating guests, staff, and listeners in discussions and segments that eschew traditional hierarchies. Episodes are also distributed as podcasts on platforms like and , broadening accessibility beyond live broadcasts. In March 2025, Hamada took a brief hiatus from the program due to issues, with junior comedians substituting; he resumed on May 2, 2025, as confirmed by his agency . The radio format ties into the broader Gobugobu brand, originally a roving variety series, but maintains a distinct audio focus on candid talk and listener engagement. Beyond regular radio, Hamada has made occasional guest appearances, such as on J-WAVE's RADIPEDIA in January 2013 alongside musician Hama Okamoto. These spots leverage his comedic persona for music and talk segments, though they remain sporadic compared to his ongoing MBS commitment.

Comedic Style and Persona

Role as Tsukkomi in Duo Dynamics

In the owarai duo , Masatoshi Hamada functions as the tsukkomi, the who provides corrective commentary and reactions to the absurd or illogical statements made by his partner , the boke. This traditional dynamic, rooted in Osaka-style comedy, relies on the tsukkomi's role to maintain narrative coherence by interjecting pointed critiques, often escalating to physical gestures such as slaps to the head or chest to punctuate the boke's foolishness. Hamada's tsukkomi style is characterized by rapid, sharp verbal retorts delivered in , emphasizing timing and escalation to heighten comedic tension, which has earned him recognition as one of Japan's premier tsukkomi performers. Unlike more restrained interpretations, Hamada frequently incorporates aggressive physicality, aligning with Downtown's unorthodox approach that blends from Matsumoto with Hamada's unrelenting interruptions, contributing to the duo's breakthrough in the Yoshimoto Kogyo New Star Creation system. This interplay has defined 's enduring appeal, with Hamada's tsukkomi serving as the grounding force that amplifies Matsumoto's surreal setups, fostering a rhythm that propelled their rise to national prominence through television appearances starting in the mid-1980s. Critics and peers have lauded Hamada's execution for its precision and adaptability, enabling seamless transitions in live performances and variety shows where the duo's dynamic withstands improvisation.

Signature Running Gags and Character Traits

Hamada serves as the tsukkomi in the Downtown duo, characterized by a blunt, ill-tempered persona that emphasizes sharp verbal corrections and physical reprimands toward the boke's absurdities. His style features energetic physical comedy, including frequent slaps to the head or body using hands, paper fans, or improvised objects, often directed at partner Hitoshi Matsumoto or other performers to punctuate tsukkomi responses. This aggressive approach deviates from traditional gentle tsukkomi, incorporating radical elements like kneeing or headbutting in pranks, reinforcing his reputation for tactless, quick-tempered reactions. A prominent running gag involves Hamada's comically inept drawing skills, highlighted in games where participants predict the poor quality of his artwork, leading to consistent mockery across episodes of no Gaki no Tsukai ya Arahende!!. Another recurring element is his portrayal as a "super sadist," evident in schadenfreude-driven behaviors such as a distinctive high-pitched cackle when witnessing others' misfortunes or during punishment segments, where he administers penalties with exaggerated relish. Pranks often exploit his feigned rage, tricking colleagues into believing he has lost control, culminating in staged violent outbursts that blur the line between performance and reality. Hamada's traits extend to childish preferences, such as favoring patties, , , and Mega Mac burgers while disliking and tomatoes, which provide fodder for by Matsumoto and cast members. He is also subjected to ongoing jabs about his appearance, including nicknames like "monkey child" or edits superimposing features, amplifying his role as the enduring boke retaliation. These elements, combined with his direct honesty and strict demeanor, solidify a persona that balances sensible correction with chaotic physicality, influencing modern tsukkomi interpretations in Japanese .

Additional Ventures

Music Releases and Performances

In 1997, Hamada released the single "Haru Wa Madaka" under Sony Music Entertainment (Japan), featuring collaboration elements with singer Noriyuki Makihara, marking one of his early forays into musical output tied to his variety show appearances. In , Hamada adopted the alter ego Hamada Bamyu Bamyu, a satirical take on idol culture, releasing the debut single "Nandeyanen nen" as a full 3.5-minute track that parodied tropes with exaggerated visuals and lyrics. This project extended his comedic persona into , blending humor with elements typical of his tsukkomi style. Hamada's music activities expanded with the launch of the Gobugobu Festival in May 2024 at Expo Commemoration Park in , a two-day event drawing 35,000 attendees, where he served as MC and incorporated live performances amid acts by artists like Shonan no Kaze. The 2025 edition, held May 10–11 at the same venue, featured Hamada's onstage collaboration with his son Hama・Okamoto in a rare parent-child performance, alongside a debut live rendition of the festival theme song "Jinsei Bakusho" (Life's a Riot), co-created with Shonan no Kaze and digitally released on May 7. This track, written specifically for the event, emphasized humorous resilience in its lyrics, reflecting Hamada's offhand radio suggestion that sparked the festival's inception. These appearances positioned Hamada as a of music events rather than a traditional , with his contributions often infused with improvisational .

Acting, Directing, and Business Activities

Hamada has appeared in a limited number of acting roles outside his primary comedic work, primarily in supporting or lead capacities in films and dramas. In the 2000 action film Space Travelers, directed by Katsuyuki Motohiro, he played Kiyoshi Nonomura, a yakuza underling participating in a bank heist gone awry. His performance drew on his tsukkomi persona for comedic relief amid the thriller elements. He took a leading role in the 2002 comedy film Ashita ga aru sa: The Movie, an extension of the Nippon TV series, where he portrayed a salaryman navigating everyday absurdities. Other film appearances include Rookies (2008), a sports drama adaptation. On television, he starred in the 2010 drama Kenji Onijima Heihachirou, playing a prosecutor in a legal procedural format.
YearTitleRoleTypeNotes
2000Space TravelersKiyoshi NonomuraFilmSupporting role in heist thriller
2002Ashita ga aru sa: The MovieHamadaFilmLead role, comedy
2008RookiesCastFilm/TVSports drama adaptation
2010Kenji Onijima HeihachirouLeadTV DramaLegal procedural
Hamada has also contributed to voice acting, dubbing the character Slowking in the 1999 animated film . He provided the Japanese voice for Shrek across multiple entries in the franchise, including (2001), (2004), (2007), and (2010), infusing the ogre with his signature gruff, reactive delivery. Specific directing credits for Hamada remain undocumented in major film databases, with his involvement primarily confined to hosting and performing in variety programming rather than formal directorial roles. Regarding business activities, Hamada has not been prominently associated with independent entrepreneurial ventures or companies beyond his affiliations with , the talent agency managing Downtown's productions. His commercial endeavors largely revolve around media endorsements and talent management within the entertainment sector.

Controversies and Public Backlash

Allegations of Racial Insensitivity

In the 2017 episode of the Downtown no Gaki no Tsukai ya Arahende!!, broadcast on January 1, 2018, Masatoshi Hamada applied blackface makeup to impersonate American comedian as from the film series during a skit involving celebrity impressions. The segment featured Hamada attempting Murphy's mannerisms and voice while darkened with shoe polish-like makeup, drawing immediate online backlash from international viewers who labeled it racist due to blackface's historical associations with shows mocking in the United States. Western media outlets amplified the criticism, with The New York Times on January 5, 2018, reporting that the skit exemplified Japan's perceived lag in racial sensitivity, citing Twitter users who called it "unacceptable and racist" and arguing that ignorance of blackface's derogatory connotations did not excuse the act. Similarly, the BBC highlighted accusations of cultural insensitivity, quoting critics who viewed the practice as perpetuating stereotypes regardless of intent. In Japan, however, responses were divided; a January 2018 Oricon poll found approximately 50% of domestic viewers did not consider the skit discriminatory, attributing it to Hamada's comedic style rather than malice, given Japan's lack of a comparable history of slavery or segregation tied to skin color-based mockery. Japanese outlets like Sankei Shimbun noted the foreign uproar but emphasized that the impersonation aimed at humor through exaggeration, not racial animus. Hamada and his partner Hitoshi Matsumoto addressed the issue indirectly; Matsumoto, on the January 14, 2018, episode of Wide na Show, deflected by stating "Hamada is at fault" to sidestep further debate, while defending the duo's unfiltered comedy against external pressures. No formal apology was issued by Nippon Television or the performers, and the incident did not lead to program cancellation or Hamada's professional repercussions in Japan, where such visual gags persist in owarai without widespread local condemnation. Critics, including some resident foreigners, argued that global norms on racial representation should apply universally, but defenders countered that imposing Western historical contexts overlooks Japan's distinct cultural framework, where blackface has occasionally appeared in media without evoking domestic prejudice. Subsequent analyses, such as in The Japan Times, framed the event as highlighting tensions between imported sensitivity standards and indigenous entertainment traditions, with no evidence of repeated similar acts by Hamada post-2018.

Personal Scandals and Infidelity Claims

In June 2014, Japanese tabloid magazine reported that Hamada had engaged in a three-year extramarital affair with gravure idol Maiko Yoshikawa, involving multiple hotel rendezvous and gifts, which began around 2011. Hamada publicly admitted the infidelity on June 14, 2014, issuing a statement apologizing to his wife, Ogawa, and their two sons for the betrayal, while expressing remorse for damaging his family. The scandal strained his marriage, with subsequent reports indicating that Hamada and Ogawa began living separately by late 2014, though they have not formally divorced. A earlier unconfirmed rumor from 1990 alleged an affair with adult video actress Keiko Morita, but lacked substantiation beyond gossip columns and was not addressed by Hamada. In February 2023, FRIDAY published claims from a 24-year-old Osaka-based esthetician, identified as "A-san," who confessed to a "papa-katsu" (compensated dating) relationship with Hamada lasting four to five years, starting around 2018, involving weekly meetings at high-end hotels for payments of approximately 50,000 yen per encounter. The woman detailed intimate habits, such as Hamada's alleged preference for nipple-pinching during encounters, and stated the arrangement ended due to her guilt over his family. Hamada's agency, Yoshimoto Kogyo, did not issue a denial or admission, and the report drew limited mainstream media follow-up, attributed by industry observers to his established status and prior scandals. These incidents have fueled ongoing speculation about Hamada's marital fidelity, with linking the 2023 claims to patterns of enabled by his celebrity influence, though no legal actions or further admissions followed. Ogawa has publicly downplayed the impacts in media appearances, emphasizing resilience post-2014.

Responses and Career Implications

Hamada did not issue a public statement regarding the 2017 blackface skit on Downtown no Gaki no Tsukai ya Arahende!!, in which he impersonated during a broadcast, drawing international criticism for racial insensitivity. Nippon Television defended the segment, stating it did not intend and that Hamada was portraying a specific rather than mocking broadly. Domestic reactions in largely dismissed the backlash as overreaction influenced by foreign norms, with minimal calls for accountability, reflecting broader cultural differences in perceptions of as historical entertainment rather than inherent . In response to reports of his extramarital affair, Hamada admitted on June 14, 2014, to a three-year relationship with gravure idol Natsumi Ogawa, issuing a statement apologizing directly to his wife and two children for the betrayal. The admission strained his marriage, leading to reports of separate living arrangements by 2014, though the couple remained legally married. No formal legal or professional repercussions followed, consistent with Japan's entertainment industry's tolerance for personal indiscretions among high-profile figures when not involving or minors. The controversies had negligible long-term impact on Hamada's career, which persisted with ongoing radio hosting, television appearances, and duo activities alongside until the latter's 2023-2024 sexual misconduct allegations prompted Matsumoto's indefinite hiatus. Hamada expressed support for Matsumoto in January 2024, stating there was "nobody who can replace him" and continuing select projects independently. In March 2025, Hamada announced a temporary work hiatus due to health issues, attributed by to accumulated fatigue rather than scandal fallout, with agency sources denying links to personal controversies. His enduring popularity in , bolstered by decades of comedic dominance, underscores limited professional consequences from such incidents compared to Western standards.

Personal Life

Marriage and Family Dynamics

Masatoshi Hamada married actress and television personality Natsumi Ogawa on January 30, 1990. The couple has two sons; their elder son, born in 1991 and known professionally as Hama·Okamoto, serves as the bassist for the rock band . The marriage has endured for over 35 years, with the couple marking their 36th anniversary in October 2025 through shared photographs and public acknowledgments of their partnership. Ogawa has occasionally commented on life in media appearances, portraying Hamada as a long-term partner despite his demanding career in . In March 2025, amid Hamada's temporary hiatus due to concerns, Ogawa publicly expressed support for his recovery, emphasizing a collective decision to prioritize rest and renewal. Family dynamics appear centered on mutual support and privacy, with limited public disclosures beyond anniversary celebrations and health updates. Rumors of marital discord surfaced in early 2023, prompting Hamada to issue a affirming the stability of his relationship with Ogawa. The elder son's independent music pursuits have occasionally intersected with Hamada's professional life, including joint media appearances following Hamada's 2025 return to work. No verified reports indicate ongoing strains or separations, reflecting a resilient household structure amid Hamada's high-profile career.

Health Issues and Recent Hiatus

On March 10, 2025, announced that Masatoshi Hamada would temporarily suspend his entertainment activities due to poor , following advice after he reported physical discomfort starting from late 2024. The decision came amid Hamada's demanding schedule, which included over 300 television appearances annually, primarily in hosting roles. Agency representatives clarified that the hiatus stemmed from accumulated fatigue due to and Hamada's age of 61, emphasizing that no issues or serious illnesses were involved. The break was projected to last two to three months, with a targeted return after Golden Week in early May 2025, allowing time for recovery without long-term disruption to his commitments. Pre-recorded episodes of programs featuring Hamada continued airing through mid-April to maintain continuity. Hamada resumed activities on May 2, 2025, with an appearance on the MBS radio program Gobu Gobu Radio, where he described spending the hiatus resting extensively and sleeping a great deal. He subsequently returned to television regulars, demonstrating no apparent lingering effects from the episode. This brief absence marked a rare interruption in Hamada's career, underscoring the physical toll of sustained high-volume work in Japan's entertainment industry.

References

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  17. https://ticketjam.jp/magazine/event/owarai/comedian/23596
  18. https://www.oricon.co.jp/news/2263034/full/
  19. https://natalie.mu/owarai/artist/5971
  20. https://www.japan-zone.com/modern/downtown.shtml
  21. https://manzai.ohmineya.com/%25E3%2581%2594%25E3%2581%25A3%25E3%2581%25A4%25E3%2581%2588%25E3%2581%2588%25E6%2584%259F%25E3%2581%2598%25EF%25BD%259E%25E3%2583%2580%25E3%2582%25A6%25E3%2583%25B3%25E3%2582%25BF%25E3%2582%25A6%25E3%2583%25B3/
  22. https://www.osaka.com/culture/comedy/japans-most-influential-player-in-showbiz-yoshitomo-entertainment-company/
  23. https://tvtropes.org/pmwiki/pmwiki.php/Creator/Downtown
  24. https://obc1314.jp/manzai/
  25. https://www.imdb.com/title/tt1368424/
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  27. https://www.fujitv.co.jp/sports/special/junksports/
  28. https://bangumi.org/talents/1225
  29. https://www.mbs.jp/p-battle/
  30. https://www.imdb.com/title/tt3645090/
  31. https://www.mbs.jp/gobugobu/
  32. https://www.mbs1179.com/gobugobu/
  33. https://x.com/gobugobuRADIO
  34. https://open.spotify.com/show/1iw8mMGEnNFcEK1kU78hF3
  35. https://en.mantan-web.jp/e_article/20250502dog00m200061000c.html
  36. https://podcasts.apple.com/us/podcast/%25E3%2581%2594%25E3%2581%25B6%25E3%2581%2594%25E3%2581%25B6%25E3%2583%25A9%25E3%2582%25B8%25E3%2582%25AA/id1738869850?l=vi
  37. https://www.tokyohive.com/article/2013/01/hamada-masatoshi-hama-okamoto-to-appear-on-a-radio-show-together
  38. https://japanswitch.com/manzai-comedy-guide-japan-no-laughing-matter/
  39. https://tvtropes.org/pmwiki/pmwiki.php/Main/BokeAndTsukkomiRoutine
  40. https://kids.kiddle.co/Masatoshi_Hamada
  41. https://www.youtube.com/watch?v=SPGoglJXrpU
  42. https://www.shazam.com/artist/masatoshi-hamada-and-noriyuki-makihara/580103836
  43. https://www.crunchyroll.com/news/latest/2015/12/14/video-full-version-of-hamada-bamyu-bamyus-debut-single-nandeyanennen
  44. https://jpop.fandom.com/wiki/Hamada_Bamyu_Bamyu
  45. https://gobugobu-fes.com/
  46. https://bsy.co.jp/programs/by0000022132
  47. https://kansai.pia.co.jp/interview/music/2025-06/gobugobufes.html
  48. https://barks.jp/news/548295
  49. https://www.billboard-japan.com/d_news/detail/149155/2
  50. https://natalie.mu/owarai/news/623355
  51. https://e.usen.com/news/news-release/post-923.html
  52. https://www.fandango.com/people/masatoshi-hamada-1619500/film-credits
  53. https://www.themoviedb.org/person/554406
  54. https://www.behindthevoiceactors.com/Masatoshi-Hamada/
  55. https://www.nytimes.com/2018/01/04/world/asia/japan-comedian-blackface.html
  56. https://www.sbs.com.au/news/article/disgusting-japanese-tv-shows-eddie-murphy-blackface-skit-slammed/kbdhqk454
  57. https://www.oricon.co.jp/news/2104119/full/
  58. https://www.sankei.com/article/20180111-A4URLHDYTJJHDI4IUHNEFJODAI/
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  63. https://friday.gold/article/51912
  64. http://topics-on-japan.blogspot.com/2014/06/masatoshi-hamada-been-having-affair-for.html
  65. https://nantejapan.com/flash-reports-hamada-masatoshi-of-downtown-and-ogawa-natsumi-reportedly-living-separately/
  66. https://www.yurimmm3.com/hamadamasatoshi-uwaki/
  67. https://friday.kodansha.co.jp/article/295843
  68. https://www.nikkan-gendai.com/articles/view/geinox/319266
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  74. https://www.asahi.com/ajw/articles/15106216
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