Category Archives: Humor

“打一枪换个地方”: Fire One Shot, Change Locations

Context: My mother, IW, was born in a suburb of Beijing and grew up under the late years of Mao Zedong. Her schooling, from childhood through high school, was dominated by Mao-era “education,” which, following the Cultural Revolutions expulsion of intellectuals from population centers (they were seen as bourgeois), was largely just party propaganda. After Mao’s death in 1976, IW vividly remembers doing significant catching up just to match the academic level of the generation immediately before her, who had received actual schooling. IW’s “schooling” revolved around Mao’s Little Red Book, and the many slogans therein stook with her. She emigrated to the United States in 1995 for graduate school and has lived in California ever since. 

Text: “打一枪换个地方” (dǎ yī qiāng, huàn gè dì fāng) translates literally as “fire one shot, change locations.” Its origins trace back to Mao’s time as a general in the armed communist rebellion, where guerilla tactics led the rebellion to victory. In our household it has long since lost the military reading. IW uses it to mean, in her own words, give it your all and keep moving, do not get hung up on a task, do not chase impossible perfection, do what you can and then move on. IW almost always imbues some humor into the performance of the phrase, often accompanying it with a finger-gun gesture. 

Analysis: Propaganda directed at children produces an interesting folkloric residue. The audience is too young to engage with the ideology behind a slogan, so what survives the years is rarely the political claim and almost always the language itself, the rhythm of the phrase and the situations it was attached to. In fact, it was not until after my mother emigrated to the United States did the political situation that shaped her childhood become clear to her. In using the phrase after so many years, after so much in her life has changed, I sense a deal of irony and humor in the performance. I’ve asked before if IW has any ill will toward the party that caused her considerable strain growing up, she does not. It is her opinion that it was simply the reality of her upbringing, and she’s chosen to make the most of it. The meaning of this phrase is twofold for me personally, of course the wisdom about effort and pace, but also as the manifestation of making the most of a lousy situation it is deeply inspiring to me. 

“Waikao”

Text: ‘Waikao’: spoken in Fiji when you say something that is meant to be understood in an ironic sense. Not literal. Then the listener thinks about what you might mean and it is nearly always a funny meaning. So after ‘waikao’ is laughter. In English we used to say ‘psych!’ for a similar effect, but not quite the same since ‘psych’ is kind of teasing the person you are talking to, but waikao is more a collective fun. We don’t have that expression in English.”

Context: JW served in the U.S. Peace Corps in Fiji in the two years following his undergraduate studies and picked up ‘waikao’ (pronounced “why-cow”) during his time in the village where he taught. He reports that the structure is always the same: a literal-sounding statement, then the marker, then a beat for the listener’s reinterpretation, then, ideally, shared laughter. He noted that the phrase is unlikely to appear in any Fijian dictionary, noting that the dictionaries available during his service were written by missionaries in the 1800s and the living spoken language had drifted considerably from them. He is not sure whether ‘waikao’ remains current today or was simply trendy at the time. 

Analysis: ‘Waikao’ is a discourse marker that retroactively reframes a prior utterance as ironic and invites the listener to construct the joke for themselves. Both ‘waikao’ and English ‘psych!’ are post-hoc ironic markers, but the social geometry differs. ‘Psych!’ involves the speaker pulling the rug from under a particular listener. ‘Waikao’ is collective and constructive, with the speaker handing the listener a small interpretive task and the laughter arriving when the listener completes it. As folk speech the form is stable across speakers (‘waikao’ marker is fixed) while the content varies entirely with what was just said. That JW learned the word from oral use rather than any printed source is appropriate of linguistic folklore: missionary-compiled Fijian dictionaries recorded the formal vocabulary, but casual phrases and terms like ‘waikao’ are exactly what might slip through the cracks of such projects to document a living language. 

Rocky Horror Picture Show Callback Response

Text

Hey! I heard this movie was made in New York City! *group response* New York City? Get a rope!

Context

The informant is a cast member in a weekly performance of the Rocky Horror Picture Show that takes place on Saturday night at midnight. While the movie is being screened, there are many vulgar things the audience shouts back at the film at specific points. There are also actors on stage performing scenes from the movie as it is being played.

This particular callback happens in response to the character named Frank dieing.

Analysis

The screening of Rocky Horror Picture Show serves as a sort of festival for alternative and queer youth. By developing and memorizing all of the callbacks involved, audience members communicate their dedication and belonging to the folk group. Some callbacks are universal such as calling the character named Janet a slut and the character named Brad an asshole, but others are regional or specific to a particular cast. Therefore, based on the callbacks you are familiar with, you might be communicating your identity within your local community or an international one.

Rocky Horror Picture show is infamous for being a place for the vulgar and the taboo. Many of the scenes and callbacks are not deemed socially acceptable in the real world, even by the alternative community that find so much belonging in the show. In this way, screenings of Rocky Horror Picture Show serve as festivals in that they provide an opportunity for social norms to be turned on their head. In doing so, they may provide a socially acceptable form of release of tension just to return to reality or serve as a rehearsal for revolution.

This informant attributed this particular callback to a salsa advertisement in which a cowboy is in distress because he has run out of salsa. When he is given a less than sufficient replacement, he exclaims, “This stuff’s made in New York City?!” The rest of the cowboys respond by saying, “New York City?! Get a rope.” This pop-culture reference is an inside joke that is related to the scene taking place.

Hebrew Racing Joke

אני נהג מרוצים כי אני הנהג ואתם המרוצים

Phonetic Translation: A-nee na-HAGh me-roo-TSEEM kee A-nee ha-na-HAGh ve-a-TEM ha-me-roo-TSEEM

L: which means I’m a race car driver because I’m the driver and you’re the pleased people. It is a pun that works in Hebrew and not at all in English. I guess because race and fulfilled are the same.

Context

Both of the informant’s parents were born in Israel and they speak in Hebrew together as a family. The informant claims to have heard this joke from their Grandfather.

Analysis

As the informant pointed out, this joke is based on a play on words that calls attention to the homonym מרוצים, which means both satisfied and race. Jokes that involve a play on words are often used to communicate wit and mastery of a language. In the case of Hebrew, a language that is so uncommon, it might be even more important to be able to demonstrate such mastery.

Frozen Faces

Text:

Parents would tell their children that if they make funny faces too much, their faces will be stuck like that forever.

Context:

The informant was told this as a child, and noted that it was said generally either in jest or as a light way to discourage them from being immature/disrespectful and making faces all the time. They also carried this on and said it occasionally to their own child, though mostly in teasing.

Analysis:

This phrase was and is used by parents as a funny but somewhat “scary” way of keeping their children from making faces all the time. It shows how certain beliefs are born from ways of keeping children in check rather than innately from fact or fear.