Tag Archives: Joke

Plane dead

Nationality: American
Age: -
Occupation: Student
Residence: Los Angeles
Performance Date: Feb 2023
Primary Language: English
Language: -

Q: Ok so do you have the joke or riddle or what is it.

R: Its a riddle

Q: Wait so where did you hear it?

R: I heard it in Southern California at a summer Camp I was at

Q: ok so what is the riddle

R: Ok so there is a cabin in the woods and there are 26 people dead inside. There are no track coming or going from te cabin, what happened?

Q: Um maybe it snowed and the snow melted

R: No

Q: Was it an accident or were they murdered

R: It was an accident

Q: They were there a long time

R: Maybe but that doesnt matter 

Q: I dont know, what happened

R: It was the cabin of a plane and they died in a crash

Context: As the informant said this was collected at summer camp at middle school age in southern California. 


Analysis: This joke definitely came into being after the invention of airplanes and so post 1903 for sure although most likely further after that. As well, this is a joke that makes me think immediately about the genre of dark humor. This is something discussed in great detail in Peter Narvaez in his book Of Corpse. His analysis of the timeline of when it is appropriate to tell a joke like this is interesting to me as I know someone who’s father died in a plane accident and would be highly offended if they heard this joke. On the other hand I know people like Pete Davidson who gets jokes made about his father dying on 9/11 and laughs along. In this regard it would seem to be a personal thing and how each individual deals with trauma.

Lithuanian Knock Knock Joke (Pun)

Nationality: Lithuanian American
Age: 20
Occupation: Student
Residence: Los Angeles, CA
Performance Date: February 21, 2023
Primary Language: English
Language: Lithuanian

Text

Speaker 1: Tuk Tuk

Speaker 2: Kas ten?

Speaker 1: Česnakas 

Translation: 

Speaker 1: Knock Knock 

Speaker 2: Who’s there?

Speaker 1: Garlic

Context

IZ is a 20 year-old college student from Lisle, Illinois, living in Los Angeles, California. Both her parents’ families immigrated to the United States during World War II and remain connected to their Lithuanian roots through strong immigrant communities in the US.

IZ described this joke as a “Lithuanian take on American knock-knock jokes.” The punchline comes as a pun that requires an understanding of Lithuanian. “The ‘who’ is omitted because it’s part of the word for garlic,” IZ explained. “See how ‘kas’ and the end of ‘česnakas’ are the same?”

IZ first encountered this joke at Camp Dainava, a Lithuanian camp in Manchester, Michigan, which she has been attending “ever since I was in my mom’s stomach.” They would often sit around a bonfire — here IZ emphasized the importance of bonfires in Lithuanian culture — and share jokes and skits. For IZ, the camp provided a way to bond with other people of Lithuanian background, and share language, culture, and folklore.

IZ added that the camp was founded by an organization with the aim of helping Lithuania declare independence by getting American international recognition.

Analysis

This is a classic example of a knock knock joke as it is found in many cultures and languages around the world. It is interesting that IZ sees it as a take on American culture, since, in true folklore fashion, determining the origin of a joke style is more complicated.

It is notable that this joke was shared in a multilingual setting at IZ’s Lithuanian Camp, since it requires knowledge of the language to understand its pun. This type of folklore, as it is shared around the bonfire, would be the most difficult to understand if someone had limited knowledge of the language. Skits and other more performative jokes could be grasped through context, but this one is purely linguistic. Thus it may have served an interesting function of encouraging fluency and establishing a measure of belonging to the cultural group.

Lastly, the context of IZ’s Lithuanian camp and its history provides an interesting example of how institutions can preserve folklore and culture in the interest of nationalism — even outside of the country itself. Further study could examine which immigrant cultures within the United States have the strongest folklore preservation and why.

Thumb War Masturbation Joke

Nationality: Puerto Rican
Age: 21
Occupation: Student
Residence: Los Angeles, CA
Performance Date: February 16, 2023
Primary Language: English

Text

“One, two, three, four,

I declare a thumb war.

Five, six, seven, eight,

I use this hand to masturbate.”

The joke is performed in the context of a traditional “thumb war,” in which two opponents hold hands and attempt to press down the other person’s thumb.

Context

AD is a college student from New Jersey. He first heard this joke in middle school, around sixth or seventh grade. “It was right in the beginning of puberty,” he explained. “So nobody really knew what was going on.”

Thumb war tournaments at recess and lunchtime were already a big thing at AD’s school, and there was one boy who would perform the joke. “He was always the kid that would say that kind of stuff… Everybody was scared to say that word, but he would say it,” AD explained. “Everybody would get around him and wait for him to get somebody new. We would go up to the younger kids and do it, too.”

“If you didn’t know, you would freak out the first time you heard it.” The trick is that you are holding hands when the ‘punchline’ drops. “That’s the fun part,” AD said.

AD noted that the joke was exclusively performed among boys.

“It’s stupid now, but back then it was the funniest thing.”

Analysis

AD’s joke stood out to me largely because I had never heard of it before. Another male-identifying friend of mine from California had an experience almost identical to that of AD, even from across the country. As someone who has been socially conditioned as a woman, it made me curious about the differences between boys’ and girls’ experience of the social construction of their sexuality.

It is not surprising that such a joke was popular as AD and his peers entered puberty. Jokes have a normalizing function, providing a safe space for pubescent boys to explore their sexuality.

However, the boys’ self-policing contained the joke within their gender, and I am unaware of an equivalent masturbation joke for girls at this age. I see this discrepancy as deeply reflective of the differences in the social construction of boys’ and girls’ sexuality during puberty. Masturbation is an action — an act of agency over one’s body and sexuality. That the normalization of this action is denied to girls of the same age thus denies them a form of agency over their sexuality.

In a larger context, the deficit of sexual jokes of any nature among pubescent girls may contribute to a lack of knowledge about their sexuality, and feelings of shame due to missing out on the normalizing function of such jokes. This can lead to misinformation or shame about sex and sexual development, rendering teenage girls vulnerable to sexual abuse. 

I would argue that folklore in the form of sexual jokes can function as a form of sex education and that pubescent girls may benefit from sharing this folklore amongst each other — especially with relatively harmful jokes, such as this one. (Note how AD now finds the joke “stupid.”)

Lastly I would comment on the adult policing of pubescent sexuality. It really stood out to me that only one boy was bold enough to say the word ‘masturbation’ in a public context, under the potential surveillance of teachers. Such jokes are seen as taboo and ‘dirty’ even as they can have a positive function. I am curious how the awareness of adult policing of sexuality at this age may contribute to shame surrounding sexuality for both boys and girls equally.

What’s Green and Has Wheels?

Informant LO is an 18 year-old USC freshman from New York City, New York.

Text:

LO: “What’s green and has wheels?”

Me: “What?”

LO: “Grass. I lied about the wheels.”

Context:

The informant heard this joke while watching a Twitch streamer by the name of SaltyPhish, and often spams the joke to friends. 

LO: “I guess it’s funny because it’s just stupid. Whenever you ask a question you’re supposed to give the truth and this plays off that and it’s something completely unexpected which is a lot of my humor. It doesn’t make the joke at the expense of anyone. It’s an easy answer, technically — anything could fit — but the answer is grass because that’s one of the first things you think of when you say green.”

Analysis:

This joke operates on multiple levels that reveal how folklore evolved with the dawn of the internet. First, LO learned of the joke from watching Twitch, a live streaming website where content creators produce live video content, which is now a popular avenue for people — particularly in Generation Z and younger — to receive content. The fact that LO learned of this joke reflects how he, and others, have the ability to obtain and spread folklore easily on the internet. Since the premodern era, where folklore was spread person-to-person, culture slowly became concentrated into fewer hands after the introduction of the Gutenberg printing press in c. 1440 CE and large-scale businesses produced content which was unidirectionally transferred to consumers. In the postmodern era following c. 2000, this producer-consumer relationship shifted back into a person-to-person spread of culture as the internet democratized avenues for producing and sharing content. Twitch, though a means for one producer to reach a mass of consumers, is a more democratized platform than the publishing houses of the modern era for creators to share culture. LO learned the joke from Twitch, and subsequently uses the resources of the postmodern internet era to “spam” his friends with the joke, a technique of rapidly resending the same message which is popular in the postmodern era as an annoying joke in its own right. LO’s preference of this inoffensive joke reflects a growing sentiment amongst Americans, particularly in Generation Z and younger, to avoid blazon populaire and other jokes which may offend certain groups. This is reflected in trends like cancel culture where such jokes and behavior are punished through mass boycott of popular creators and media.

“Where does the Ocean Lay to Sleep?” Joke

Nationality: American
Age: 20
Occupation: Student
Residence: United States
Performance Date: 2/16/23
Primary Language: English
Language: N/A

Text

The informant’s demeanor was theatrical, adding to the comedy of the situation. It was overly fanciful, which made it evident that the joke they were planning to tell was something rather simple in structure and recitation.

“Where does the ocean lay to sleep?” they asked, prompting me for a response of some sort.

“Where?” I asked.

They grinned, genuinely a bit proud. “On the seabed.”

Context

RELATIONSHIP –
They stated that they hate the piece, but it happened to be the first joke that came to mind when they searched their brain for jokes that they knew. They wanted to tell another joke, but simply couldn’t think of one.

WHERE THEY HEARD IT –
The informant found the joke out-of-place in a “knock-knock” joke book they owned as a child.

USE OR INTERPRETATION –
They interpret the joke as a play on words. Specifically, they said “My interpretation of the joke is that it’s funny because the ‘seabed’ is obviously the floor of the sea… so where the ocean sleeps– well the ocean doesn’t sleep– which is, you know, it’s interesting and it’s fun to imagine: if it did sleep, where would it sleep? Naturally, on the seabed which is also a play on the English word of where we usually sleep: bed.”

Analysis

The joke is effective due to its play on words specifically in conjunction with the English language. It’s simple and easy to understand for an English speaker as a joke that places emphasis on having a double meaning. The joke personifies an inanimate object– the ocean– to provoke the audience’s imagination without immediately giving away the answer. The resulting punchline is easy to understand and is thus satisfying for the audience. “Seabed” is a rudimentary word in the English language that works in fulfilling the audience’s active imagination as they picture a personified ocean sleeping on the ocean floor.