Category Archives: Humor

My Father’s Favorite Yiddish Joke

Nationality: American
Age: 67
Occupation: retired physician
Performance Date: 4/22/20
Primary Language: English
Language: Yiddish

Main Piece: 

The following is transcribed from a conversation between me (LT) and my father/informant (JET). 

JT: So here’s the story. A man owes another man money, but the guy who owes the money doesn’t have any money. It bothers him so much he can’t sleep. So, on the day that it’s due, at like three or four in the morning, he goes and knocks on the other guy’s door. And he says “you know that money I owe you? I don’t have it, I can’t pay you.” And the other man says, “okay” (laughs) “so why are you telling me this at three in the morning?” (laughs) And the first man says “Bis jetzt hub ich nisht gekennt schlufen, jetzt solst dee nisht schlufen!” That means “‘til now, I couldn’t sleep, now you shouldn’t sleep!” (laughs). 

LT: I love that one. Can you explain the punchline a little more? 

JET: Yeah, it kind of plays with your moral compass. Sure, he couldn’t pay the guy back. But hey, he was honest! 

Background: 

My informant is my father, whose parents were Holocaust survivors who immigrated from Poland to New Jersey without speaking any English. My father was raised primarily speaking Yiddish around the house, and he learned English mainly at school. This particular joke is a classic Yiddish joke and was one of my grandfather’s favorites, who told it to my father throughout his upbringing. My father likes this joke “because, first of all, it’s funny,” but also because there’s a lot of truth in it: “It would really bother you if you couldn’t pay someone back, if you have any morals at all, but the thing about that line is the roles get flipped. Now it’s the other guy’s problem, and it must really bother him to know he’s out of money!” 

Context:

While I’m not in quarantine with my informant/father, I do call him every day, and this piece was collected during a routine call. 

Thoughts: 

I like this joke because it plays on a famous Jewish stereotype. Although it’s never explicitly said, all the characters in Yiddish jokes are jews (unless specified otherwise). One of the most widely known stereotypes is that jews are stingy. Well, this joke is about two jews who don’t have any money. However, they do have other virtues that play into the joke. The first is generosity. The fact that the man’s debt couldn’t be repaid means that the other man gave him money in the first place. The second virtue is honesty. The man not being able to sleep at night shows how he was uncomfortable leading the other man on. Lastly, and arguably most importantly, is a sense of humor. There are so many ways to tell someone you can’t pay them back, but the man did it in a punchline. While this story probably isn’t true, what makes it funny is that it could be. Everyone in the community knows people who have the characters’ qualities. In addition, virtues like generosity, honesty, and sense of humor are what I think of as some of the core values of the Jewish community. 

Naughty Nursery Rhyme- Driving Down the Highway

Nationality: American
Age: 55
Occupation: Sales Manager
Residence: Dallas, TX
Performance Date: April 29, 2020
Primary Language: English

Context: My informant went to elementary school in the ‘70s and sang me this song he said was used to pick on other kids you didn’t like. He told me it was a song that everyone knew, and everyone was afraid to have it sung to them. He remembers it today because of how funny he thought it was as a child.

Song Lyrics: 

    Driving down the highway, highway 64

    [Name] ripped a big one, it blew out the door

    Engine couldn’t stand it

    Engine blew apart

    All because of [name]’s supersonic fart

My thoughts: This definitely sounds like a song you would sing to make fun of friends and enemies. I hadn’t heard this song, and no one my age that I’ve talked to knows this song, so it must have gotten less popular as the years went on. I looked it up and found different versions for different regions. Here’s a link to an archive by hosted by Straight Dope where you can find different versions of this song, and other “naughty kid nursery rhymes” https://boards.straightdope.com/sdmb/archive/index.php/t-271331.html

Viola Joke

Nationality: American
Age: 18
Occupation: Student
Residence: Long Beach, California
Performance Date: 4/20/2020
Primary Language: English

Main Text:

“What’s the difference between the first and last stand of the viola section? About half a bar.”

Background: The informant who told me the joke is a man in his early 20s. He grew up in childhood in Southern California and now attends school at the New England Conservatory of music. He is currently earning a bachelor’s degree in viola performance.

Context: The informant says these jokes mostly come up in orchestral contexts and are typically told by people who play other instruments in a well-meaning but mocking manner. Of course, there are exceptions to that rule, as shown between me and the informant, who told viola jokes back and forth for a while despite both playing it as an instrument. He recalls a particular conductor who, when waiting or stalling for time, would prompt the entire orchestra for good jokes (the majority of which, of course, were directed at the viola section). When asked why violas are such a popular target for humor, the informant speculated that it’s just an awkward instrument, and that violist have a history of being worse than violinists. My informant finds viola jokes funny, yet somewhat annoying because they’re such an overused format amongst musicians. He cannot recall where he learned this particular joke from the first time around, but it’s been retold on many occasions across several different orchestras he’s played in.

Thoughts: I would agree with the informant’s assertion that violists are more awkward—though not universally true, the types of personalities that gravitate towards playing viola tend to be more laid back and less competitive in comparison to violinists. In addition, the viola covers a lower range, and in classical music, is often given background parts where the cello or violins will get the melody. As a result, the standard musical repertoire tends to be less challenging.

The actual nature of the joke is rooted in music terminology—the first stand, seating-wise, is considered to be the leaders of the section, and they are located in the first row, directly in front of the conductor. In comparison, the back row will be further away and behind, usually directly in front of the winds and brass. A bar, or a measure, marks phrases in a piece, and each one has the same number of notes as the time signature. Essentially, this joke is saying that the back stand does not play in time with the front one, and this is evidence that violists are bad musicians.

Viola Joke

Nationality: American
Age: 18
Occupation: Student
Residence: Long Beach, California
Performance Date: 4/20/2020
Primary Language: English

Main Text:

“Why does a viola make for better firewood than a violin? Because it burns longer.”

Background: The informant who told me the joke is a man in his early 20s. He grew up in childhood in Southern California and now attends school at the New England Conservatory of music. He is currently earning a bachelor’s degree in viola performance.

Context: The informant says these jokes mostly come up in orchestral contexts and are typically told by people who play other instruments in a well-meaning but mocking manner. Of course, there are exceptions to that rule, as shown between me and the informant, who told viola jokes back and forth for a while despite both playing it as an instrument. He recalls a particular conductor who, when waiting or stalling for time, would prompt the entire orchestra for good jokes (the majority of which, of course, were directed at the viola section). When asked why violas are such a popular target for humor, the informant speculated that it’s just an awkward instrument, and that violist have a history of being worse than violinists. My informant finds viola jokes funny, yet somewhat annoying because they’re such an overused format amongst musicians. He cannot recall where he learned this particular joke from the first time around, but it’s typically woodwinds, brass, and percussionists who tell it to him, not strings.

Thoughts: I would agree with the informant’s assertion that violists are more awkward—though not universally true, the types of personalities that gravitate towards playing viola tend to be more laid back and less competitive in comparison to violinists. In addition, the viola covers a lower range, and in classical music, is often given background parts where the cello or violins will get the melody. As a result, the standard musical repertoire tends to be less challenging.

This particular joke is identifying the differences between the violin and the viola. While they look relatively similar, a standard violin has the strings E, A, D, G, and a viola has the strings A, D, G, C. In addition to having a lower string, the viola is slightly larger than the violin, which is why it has a warmer sound and deeper register. The joke is explaining that both instruments are worthless (and should be used as firewood) but because the viola is physically larger, at least it’ll take longer to burn.

Owa Tagu Saiam

Nationality: White American
Age: 56
Occupation: Media relations specialist
Residence: San Francisco, CA
Performance Date: 4/28/2020
Primary Language: English

Context:

I collected this bit of wordplay from my mother (LP) in a face-to-face interview. She grew up in a white Unitarian household in suburban Colorado in the late 20th century. She learned this joke from her mother, who pulled the prank on her and her brother when they were young.

Text:

The prankster says to their victim:

            “Say: ‘owa tagu saiam’”

After repeating it, the prankster asks them to say it faster until it sounds like they’re saying “o what a goose I am.”

Thoughts:

I remember other silly word pranks like this from my childhood, where one person employs a riddle or a pun to get another person to say something self-deprecating or otherwise humorous. The appeal of the joke comes from the moment of recognition when a string of nonsensical sounds becomes language. These games, while seemingly inconsequential and banal, offer a profound look into the mechanisms of signification. The humor of the joke comes from the moment of recognition in which a string of nonsensical sounds becomes meaningful, takes on significance. What was thought to be nonsense becomes sense, becomes a signifier of something completely unexpected.

The prank points to a couple of interesting traits of spoken language. One, that sounds bear no intrinsic relation to their significances: a string of gibberish to one person in one particular subject position (the victim when speaking the phrase slowly) can hold meaning to those occupying other subject positions (the prankster and the victim after the moment of recognition.) Secondly, it reminds the participants that all words are first and foremost just sound. Sounds are assembled and juxtaposed to signify abstract notions, and this process of signification can get so entrenched, so internalized that the signified takes precedence over the signifier, and the language-bearer is “tricked” into equating the two. This prank shatters that implicit assumption by pointing to the sonorous qualities of the word and laying bare the process by which sounds are tied to meanings. This disenchantment with the word, the recognition of the materiality of the signifier, has radical implications. For one, it allows for a kind of verbal play, a refiguration of sounds and their meanings, a liberation from the logocentric notion that words contain no ambiguity, no internal contradiction, that individual words always mean the same thing, like in a dictionary. But dictionaries are produced and disseminated by publishing companies that operate under certain ideological agendas which are always political, which have in their interest the imposition of hegemony.

Such pranks as these can act as subversive and counter-hegemonic, calling into question the ways in which meaning is constructed through language, opening up the potential for resistance through wordplay.