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Following that, they proceeded to throw off the time of death by tampering with the crime scene. Uendo hauled Taifu's television to the door, which was capable of broadcasting ongoing performances from the neighboring stage. He went on to put on an atrocious performance of "Time Soba", instead of "Soba Glutton", like he was scheduled to, which was played back by the television. To Geiru and Simon Blackquill listening outside, it sounded as though Taifu was alive and practicing his routine. The horrible performance Uendo gave helped to make the ruse more convincing as there would not be any laughter from the audience.

Uendo was eventually scheduled to inherit the name in a formal ceremony and performance. This was the final straw for Geiru, who secretly resented Taifu for not passing on the name "Uendo" to her, despite her being the senior apprentice, and she sought to take her revenge.

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Current rakugo artists include Tachibanaya Enzō, Katsura Bunshi (6th), Tachibanaya Takezō, Tatekawa Shinosuke and Hayashiya Shōzō (9th). Furthermore, many people regarded as more mainstream comedians originally trained as rakugoka apprentices, even adopting stage names given them by their masters. Some examples include Akashiya Sanma, Shōfukutei Tsurube, and Shōfukutei Shōhei.[4] Another famous rakugo performer, Katsura Shijaku, is known outside Japan for his performances of rakugo in English.

For the poor man is already dead. The joke becomes clearer when one notes that a Japanese traditional bathing tub is shaped like a coffin.

Kyoto was the home of Tsuyu no Gorobei (1643–1703), whose works are included in the Karakuchi tsuyu ga hanashi (One-liners: Morning Dew Stories, date of composition unknown), containing many word games, episodes from the lives of famous literary authors, and plays on the different dialects from the Tokyo, Osaka, and Kyoto areas.

Before the advent of modern rakugo there were the kobanashi (小噺?): short comical vignettes ending with an ochi, popular between the 17th and the 19th century. These were enacted in small public venues, or in the streets, and printed and sold as pamphlets. The origin of kobanashi is to be found in the Kinō wa kyō no monogatari (Yesterday Stories Told Today, ca. 1620), the work of an unknown author collecting approximately 230 stories describing the common class.

Rakugo has been described as "a sitcom with one person playing all the parts" by Noriko Watanabe, assistant professor in the Department of Modern Languages and Comparative Literature at Baruch College.

In the middle of the Meiji period (1868–1912) the expression rakugo first started being used, and it came into common usage only in the Shōwa period (1926–1989).

Rakugo (落語, literally "fallen words") is a form of Japanese verbal entertainment. The lone storyteller (落語家 rakugoka) sits on stage, called Kōza (高座). Using only a paper fan (扇子sensu) and a small cloth (手拭 tenugui) as props, and without standing up from the seiza sitting position, the rakugo artist depicts a long and complicated comical story. The story always involves the dialogue of two or more characters, the difference between the characters depicted only through change in pitch, tone, and a slight turn of the head.