Old Jews Telling Jokes

Old Jews Telling Jokes: 5,000 Years of Funny Bits and Not-So-Kosher Laughs
Old Jews Telling Jokes: 5,000 Years of Funny Bits and Not-So-Kosher Laughs by Sam Hoffman

My rating: 4 of 5 stars

When she was a little girl, my grandmother Esther Ruth emigrated from Russia, escaping pogroms with her family, and settling in Philadelphia, Pennsylvania. She learned English anyway she could, even picking up gum wrappers off the street to read them.

In her eighties, she moved into a house on her son’s property, and I had the privilege of living with her for two years. We went to synagogue together (sometimes), read the Psalms together (a lot), and ate her potato pancakes together (too often).

Esther taught me a Jewish sensibility and sense of humor by the way she talked to me. One day, when we were eating potato pancakes, she looked up on the wall where she had hung portraits of the composers Mozart, Beethoven, and Wagner.

Don’t ask why Wagner’s portrait hung there since he was no fan of the Jews. But anyway, Grandma pointed to the pictures on the wall and said, “Joey, why can’t you be like one of them?” The best I could say was “I’ll do my best.” But what I should have said was, “You want me to be like Wagner?!”

Her comment was typical of Jewish grandmothers and mothers. On another day, we had just finished a potato pancake breakfast, and I was late for church (where I worked on the staff, helping with the music). For some reason, we got into a heated argument, and I stormed out of the house, slamming the door of her thin-walled motor home on the way out.

When I reached my car, I was overcome with guilt, and I went back to apologize to my grandmother. When I opened the door, I saw her standing there, slightly hunched over in her dark pink bathrobe, and holding a clock that had fallen off the wall.

The clock must have gone crackers because the second hand was spinning and whizzing around and around really fast. I swallowed my pride and spoke, “Grandma, I’m really sorry.” She looked me in the eye, held up the crazy clock and said, “Joey, you’re such a good Christian.”

On yet another day, the table was set for a big feast with the whole family. Esther sat down before everyone else and waited. After waiting and waiting and twiddling her thumbs, she finally looked at her empty plate and said, “Look what they give me!”

Maybe she wanted some potato pancakes.

This “look what they give me” line is now a standard joke in our family, whenever we remember the life of our dear Esther or whenever something doesn’t live up to our expectations. Understanding such expectations and the kind of pressure (and guilt trips) that Jewish mothers put on their children and grandchildren will help readers appreciate the book “Old Jews Telling Jokes.”

But you don’t need to be Jewish or have a Jewish sense of humor to laugh at the jokes in this book. I bought the ebook and the audio book versions. And I’m sure some people laughed at me as I laughed out loud while jogging with the audio version. And as I retold some of the jokes from the ebook (and from memory), my Japanese friends and family laughed with me (or at me).

So yes, this book promises many good laughs, some of them clean, but be forewarned; it also carries many offenses. There are many ribald and risqué jokes in this book (maybe too many). And you might not want your mother to hear you laugh and look over your shoulder and say, “Darling, why can’t you enjoy good, clean jokes like all the other people in the world?”

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Learning Culture Through Music (JALT 2013)

Learning Culture Through Music

This paper, by Poulshock and Menish, was presented at the JALT National Conference in Kobe, Japan on October 26, 2013. Click on the image to download the PDF.  Many thanks to all of you who attended our presentation!

Short Summary
We discuss materials and techniques that promote language acquisition and cross-cultural understanding by having university students interact with modern musical movements, genres, and texts. We show ways to engage students critically with the words, stories, songs, and styles of musical art forms. In the end, the results of before and after questionnaires show how students’ attitudes changed regarding music and culture during the course of a semester. (75 Words)

Abstract

We summarize two approaches used in two Japanese universities for using music as a key for understanding cultures. Questionnaire results show how during the term students’ attitudes changed regarding culture and music.

In the first approach, students analyze and discuss key features of popular music. They bring examples of their favorite songs and discuss why those works move them. Aspects of songwriting are then examined so students understand and become familiar with the tools of singer-songwriters. Students then create their own lyrics to a song that tells a story or conveys a feeling.

In small groups, classmates discuss the strengths and weaknesses of their works. They vote for which song they will then bring to life with a performance (and record off site). In class, students listen to and critique the performance. Musical ability is secondary to lyrical content and emotion. A simple song of four voices with hand clapping will count as much as the complex layering of instruments and voices. The ultimate goal is for students to creatively make a work of art using English.

In the second approach, we show how students can engage with significant musical movements and styles, such as blues, jazz, and rock by (1) reading and discussing easy stories about artists and genres, and (2) by listening and responding to representative songs of those genres. We emphasize ways to make stories and songs comprehensible, by simplifying stories and doing information gap activities with songs.

Every Day I Have the Blues

Every day, everyday I have the blues
Every day, everyday I have the blues
When you see me worry baby,
It’s you I hate to lose.

Nobody loves me. Nobody seems to care.
Nobody loves me. Nobody seems to care.
Got bad luck and trouble baby
You know I’ve had my share.

(I’m gonna) pack my suitcase, move on down the line.
(I’m gonna) pack my suitcase, move on down the line.
There ain’t nobody worrying, ain’t nobody crying.

Every day, every day, every day, every day.
Every day, every day, every day, every day.
Every day, every day, I have the blues.

Ukulele Solo

(I’m gonna) pack my suitcase, move on down the line.
(I’m gonna) pack my suitcase, move on down the line.
There ain’t nobody worrying. They sure don’t give a dime.

Nobody loves me. Nobody seems to care.
Nobody listens to me. Nobody seems to care.
Got bad luck and trouble baby
You know I’ve had my share.

Every day, everyday I have the blues
Every day, everyday I have the blues
When you see me worry baby
When you see me crying baby
When you see me dying baby
Every day, everyday, I got the blues.

Kickstart a Reading Habit

5 Minute Drill Here is iteration 3.0 of my classroom research dealing with the 5-minute drill (or 3- minute drill). Here’s the question. If students read for at least 5 minutes per day, will they actually end up reading more than that? This is a do-it-now idea that may be an antidote to procrastination. Of course, we want our students to fall in love with reading, but sometimes a little discipline helps. Like my father used to say, “Getting started is half the job.”

The Proof of Story

Story Proof by Kendall Haven

My rating: 4 of 5 stars

“Story Proof is a great book, deserving to be read by masses of people. . . ”

Story Proof by Kendall HavenTea time was over. I looked out the window of the common room down on Buccleuch Street. The sky, streets, and buildings of Edinburgh were gray again like the clouds. Then Simon spoke up, “Back to work boys!” One by one we stood up and shuffled for the door. As we headed out, I spoke to my professor. I had to get something off my chest. “Jim,” I said, “I’m having a hard time. . . getting my head around the book you asked me to read.”

I waited a bit anxiously for his response. He looked at me, smiled, and said, “Well, reading a book sometimes is like hitting yourself over the head with a book.” I laughed and promised that I would keep trying. The material was complex and new to me, but it also was dull and poorly written. Besides learning about communication theory, I was learning that some of the brightest academics in the world are bad writers.

Joseph Williams’ great book, “Style: Toward Clarity and Grace” tells us in clear and almost scientific terms what makes for bad writing and how we can improve it. The clear and graceful style tightly defined by Williams actually decreases stress placed on short-term memory, thus helping us parse sentences more easily. Any writer, especially academics, can benefit greatly from the sage advice of Joseph Williams.

But style, clarity, and grace may not be enough. What is missing? According to Kendall Haven, story is missing, and Haven’s book, “Story Proof” convincingly demonstrates that story is the essential element of good writing. And this is not just for fiction. Haven claims that we can “storify” expository prose, arguments, and scientific discourse. And by so doing, we can make our writing more interesting and more memorable.

Unfortunately, the main problem with “Story Proof” is that it is not storified, so reading it may be a little bit like hitting yourself over your head. But to be fair, I’m sure that Haven intentionally did not storify “Story Proof,” and he says that we don’t need to storify all the information we present, but I’m just saying. . . perhaps the book could have benefited from more storification.

In spite of this problem, “Story Proof” rocks because story rocks, and Haven shows us why. He presents abundant research that shows we are hardwired to think in stories. Our brains are designed to make sense and remember information through stories.

Haven claims that the scientific proof for story is overwhelming and uncontested, and I think he is correct. But on my first reading, I felt sometimes lost in a mighty load of story proof that didn’t seem to always fit into to long and coherent argument. Actually, it may, but either that argument needs more coherence, or I need to read it again and find it.

In spite of this whiny complaint, “Story Proof” is still a great book, and it deserves to be read by masses of people, academics (especially academics), but also school teachers, business people, and public speakers. The more people who read this book and apply its ideas, the the less we will hear snoring in classrooms and boardrooms, and the more people will remember and enjoy the information they hear.

For me, Kendall Haven’s biggest contribution is his rigorous definition of story. He delineates 8 elements of story, and claims that when we vary these elements when presenting information, we can predict differential recall and understanding in our listeners. Haven’s definition of story is a good one, and it fits with definitions given by other authors such as Jonathan Gottschall who in “The Storytelling Animal” defines story as “Character + Predicament + Attempted Extrication.”

Here are Haven’s eight essential elements of story. A good story has (1) a main character, who has (2) character traits, that make her compelling. The character (3) acts to reach a goal and (4) possesses a motive for why that goal is important. As the character acts to reach that goal, she faces (5) conflicts and problems that block her, and these conflicts and problems create (6) risks and dangers. As she acts to overcome conflicts, problems, risks, and dangers, she (7) struggles to reach her goal, and all this happens in the context of (8) sensory details that make the story feel real.

Other traits could be added to this definition. For example, we could make a distinction between the internal and external conflicts that a character faces in great stories, and we could talk about the main character’s fatal flaw, which she must overcome in order to reach her goal. For example, in the near perfect film “Flight” directed by Robert Zemeckis, the main character, “Whip,” (played by Denzel Washington) has serious personal internal conflicts and flaws that he must overcome, and these internal issues hook viewers making us root for Whip.

But despite these issues, “Story Proof” is an invaluable book, and it is unique in that perhaps more than any other book in the world, it subsumes a vast amount of research related to the power of story. It’s reference list alone is a valuable resource, (which could be improved if page numbers were given with the quotations). But for anyone interested in the power of story, for anyone wanting to improve their own story-telling, and for any scholar who wants to research the power of story and become a better writer, “Story Proof” is an outstanding resource.

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