THE FLATMATES Quiz: Jokes Vocabulary

Total Page:16

File Type:pdf, Size:1020Kb

THE FLATMATES Quiz: Jokes Vocabulary THE FLATMATES Quiz: Jokes vocabulary BBC Learning English – The Flatmates The Flatmates – Quiz – Jokes language You can try the quiz online at: http://www.bbc.co.uk/worldservice/learningenglish/flatmates/2009/05/090602_fm_199_quiz.shtml For each of the six questions choose the correct answer. 1. Frank's parents take themselves very seriously so if you want to impress them, don't try to ... any jokes when you meet them. a. crack b. break c. smash d. hit 2. The boss can joke about everyone else but no-one's allowed to make fun of the fact that he's bald. He just can't ... a. crack a joke b. get the joke c. take a joke d. make a joke 3. Why did Pete get the sack? Well, one morning last week, the boss opened the door and a bucket of water fell all over her. He thought she'd think the … was hilarious. But she didn't. a. double act b. punchline c. stand-up comic d. practical joke 4. You just can't see his lips moving – even when he says "A bottle of beer". He's a great ... a. preamble b. impressionist c. ventriloquist d. double act 5. He's never going to be a successful comedian. He's fine with the … but then he always manages to mess up the ... a. punchline / preamble b. preamble / set-up c. set-up / preamble d. preamble / punchline 6. He started out as part of a ... with his wife. But then they split up and he did a ... on his own for a few years. a. double act / single b. double act / stand-up c. stand-up / double act d. stand-up / punchline The Flatmates © BBC Learning English Page 2 of 4 http://www.bbclearningenglish.com/ BBC Learning English – The Flatmates The Flatmates – Quiz – Jokes language Answers For each of the six questions choose the correct answer. 1. Frank's parents take themselves very seriously so if you want to impress them, don't try to ... any jokes when you meet them. a. crack – Correct – This is one of the verbs we can use with 'joke'. b. break – Wrong – You need a verb that's similar in meaning to this, but which you can also use with 'joke'. c. smash – Wrong – You need a verb that's similar in meaning to this, but which you can also use with 'joke'. d. hit – Wrong – You need a verb that's similar in meaning to this, but which you can also use with 'joke'. 2. The boss can joke about everyone else but no-one's allowed to make fun of the fact that he's bald. He just can't ... a. crack a joke – Wrong – You need a different verb here which means the boss isn't able to laugh when someone says something amusing about him and not be offended. b. get the joke – Wrong – You need a different verb here which means the boss isn't able to laugh when someone says something amusing about him and not be offended. c. take a joke – Correct – This means the boss isn't able to laugh when someone says something amusing about him and not be offended. d. make a joke – Wrong – You need a different verb here which means the boss isn't able to laugh when someone says something amusing about him and not be offended. 3. Why did Pete get the sack? Well, one morning last week, the boss opened the door and a bucket of water fell all over her. He thought she'd think the … was hilarious. But she didn't. a. double act – Wrong – This is the name for two people who work together in comedy. The correct answer is a kind of joke that's physical (rather than one that's about words). b. punchline – Wrong – The correct answer is a kind of joke that's physical (rather than one that's about words). The punchline of a joke is the funny part at the end of the story you tell. c. stand-up comic – Wrong – This is the name for someone who works on stage telling jokes. The correct answer is a kind of joke that's physical (rather than one that's about words). d. practical joke – Correct – This means a kind of joke that's physical (rather than one that's about words). The Flatmates © BBC Learning English Page 3 of 4 http://www.bbclearningenglish.com/ BBC Learning English – The Flatmates 4. You just can't see his lips moving – even when he says "A bottle of beer". He's a great ... a. preamble – Wrong – This is the first part of a joke. The correct answer is a type of comedian. b. impressionist – Wrong – The correct answer is another type of comedian. c. ventriloquist – Correct – This is a comedian who works with a dummy and pretends the dummy can speak (although it's actually the comedian who's doing the talking). d. double act – Wrong – This is a comedy act of two people. The correct answer is another type of comedian, one who works by him/herself with a doll or dummy. 5. He's never going to be a successful comedian. He's fine with the … but then he always manages to mess up the ... a. punchline / preamble – Wrong – These answers are in the wrong order. One part of the joke is the set up and the second part, at the end, is the funny part. b. preamble / set-up – Wrong – Both these words mean the same thing. For the first answer, you could use either word but for the second answer, you need a word that means the funny part of the joke, at the end. c. set-up / preamble – Wrong – Both these words mean the same thing. For the first answer, you could use either word but for the second answer, you need a word that means the funny part of the joke, at the end. d. preamble / punchline – Correct – Both these answers are right. 6. He started out as part of a ... with his wife. But then they split up and he did a ... on his own for a few years. a. double act / single – Wrong – The first answer is correct but the second one isn't. b. double act / stand-up – Correct – Both these answers are right. c. stand-up / double act – Wrong – The answers are in the wrong order. d. stand-up / punchline – Wrong – Your first answer should be the second answer and the first answer is an expression which means two people who work together in comedy. Would you like to look at the language point that this quiz was based on? Go to: http://www.bbc.co.uk/worldservice/learningenglish/flatmates/2009/05/090602_fm_199_lp.shtml Or you can download the language point from: http://downloads.bbc.co.uk/worldservice/learningenglish/flatmates/episode199/fm_languagepoint_090602.pdf More quizzes on this topic: http://www.bbc.co.uk/worldservice/learningenglish/flatmates/episode22/quiz.shtml The Flatmates © BBC Learning English Page 4 of 4 http://www.bbclearningenglish.com/ .
Recommended publications
  • Television Satire and Discursive Integration in the Post-Stewart/Colbert Era
    University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Masters Theses Graduate School 5-2017 On with the Motley: Television Satire and Discursive Integration in the Post-Stewart/Colbert Era Amanda Kay Martin University of Tennessee, Knoxville, [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_gradthes Part of the Journalism Studies Commons Recommended Citation Martin, Amanda Kay, "On with the Motley: Television Satire and Discursive Integration in the Post-Stewart/ Colbert Era. " Master's Thesis, University of Tennessee, 2017. https://trace.tennessee.edu/utk_gradthes/4759 This Thesis is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Masters Theses by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a thesis written by Amanda Kay Martin entitled "On with the Motley: Television Satire and Discursive Integration in the Post-Stewart/Colbert Era." I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Master of Science, with a major in Communication and Information. Barbara Kaye, Major Professor We have read this thesis and recommend its acceptance: Mark Harmon, Amber Roessner Accepted for the Council: Dixie L. Thompson Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) On with the Motley: Television Satire and Discursive Integration in the Post-Stewart/Colbert Era A Thesis Presented for the Master of Science Degree The University of Tennessee, Knoxville Amanda Kay Martin May 2017 Copyright © 2017 by Amanda Kay Martin All rights reserved.
    [Show full text]
  • Discourse Types in Stand-Up Comedy Performances: an Example of Nigerian Stand-Up Comedy
    http://dx.doi.org/10.7592/EJHR2015.3.1.filani European Journal of Humour Research 3 (1) 41–60 www.europeanjournalofhumour.org Discourse types in stand-up comedy performances: an example of Nigerian stand-up comedy Ibukun Filani PhD student, Department of English, University of Ibadan [email protected] Abstract The primary focus of this paper is to apply Discourse Type theory to stand-up comedy. To achieve this, the study postulates two contexts in stand-up joking stories: context of the joke and context in the joke. The context of the joke, which is inflexible, embodies the collective beliefs of stand-up comedians and their audience, while the context in the joke, which is dynamic, is manifested by joking stories and it is made up of the joke utterance, participants in the joke and activity/situation in the joke. In any routine, the context of the joke interacts with the context in the joke and vice versa. For analytical purpose, the study derives data from the routines of male and female Nigerian stand-up comedians. The analysis reveals that stand-up comedians perform discourse types, which are specific communicative acts in the context of the joke, such as greeting/salutation, reporting and informing, which bifurcates into self- praising and self denigrating. Keywords: discourse types; stand-up comedy; contexts; jokes. 1. Introduction Humour and laughter have been described as cultural universal (Oring 2003). According to Schwarz (2010), humour represents a central aspect of everyday conversations and all humans participate in humorous speech and behaviour. This is why humour, together with its attendant effect- laughter, has been investigated in the field of linguistics and other disciplines such as philosophy, psychology, sociology and anthropology.
    [Show full text]
  • CONSERVATIVE COMEDIAN MICHAEL LOFTUS Michael Loftus
    CONSERVATIVE COMEDIAN MICHAEL LOFTUS Michael Loftus is a writer, commentator, and standup comedian, and regular guest on Fox News. He has been a headlining talent nationwide for more than twenty years, has written for The George Lopez Show and Charlie Sheen’s Anger Management, and is currently a supervising producer on Kevin Can Wait, now entering its third season. With a voice that steers center right in the political spectrum, Loftus captures in candor and humor the views of those “fly over” states. His podcast, The Loftus Party, dissects the worlds of politics, social media and pop culture, and showcases his rare ability to take complex issues, distill them into simple discussion points, and bring genuine wit and style to the proceedings. In addition to his immense writing talents, his charm and affability on stage have placed him in the upper thresholds of live performers, and he continues to be an audience favorite everywhere he goes. MAGA COUNTRY COMEDY TOUR Everyone likes to say there are no funny conservatives - as if conservatives are incapable of humor. MAGA Country Comedy, presented by The Loftus Party, is here to change all that – once and for all. With a cast of incredibly talented performers who bring years of experience to the stage – this show is undeniably funny. Chad Prather has been described as “the modern-day Will Rogers”. He is a comedian, armchair philosopher, musician, and observational humorist. His social media viral videos are measured in the hundreds of millions. He has made numerous appearances on Fox News, CNN, A&E, and The Blaze.
    [Show full text]
  • Eddie Murphy in the Cut: Race, Class, Culture, and 1980S Film Comedy
    Georgia State University ScholarWorks @ Georgia State University African-American Studies Theses Department of African-American Studies 5-10-2019 Eddie Murphy In The Cut: Race, Class, Culture, And 1980s Film Comedy Gail A. McFarland Georgia State University Follow this and additional works at: https://scholarworks.gsu.edu/aas_theses Recommended Citation McFarland, Gail A., "Eddie Murphy In The Cut: Race, Class, Culture, And 1980s Film Comedy." Thesis, Georgia State University, 2019. https://scholarworks.gsu.edu/aas_theses/59 This Thesis is brought to you for free and open access by the Department of African-American Studies at ScholarWorks @ Georgia State University. It has been accepted for inclusion in African-American Studies Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. EDDIE MURPHY IN THE CUT: RACE, CLASS, CULTURE, AND 1980S FILM COMEDY by GAIL A. MCFARLAND Under the Direction of Lia T. Bascomb, PhD ABSTRACT Race, class, and politics in film comedy have been debated in the field of African American culture and aesthetics, with scholars and filmmakers arguing the merits of narrative space without adequately addressing the issue of subversive agency of aesthetic expression by black film comedians. With special attention to the 1980-1989 work of comedian Eddie Murphy, this study will look at the film and television work found in this moment as an incisive cut in traditional Hollywood industry and narrative practices in order to show black comedic agency through aesthetic and cinematic narrative subversion. Through close examination of the film, Beverly Hills Cop (Brest, 1984), this project works to shed new light on the cinematic and standup trickster influences of comedy, and the little recognized existence of the 1980s as a decade that defines a base period for chronicling and inspecting the black aesthetic narrative subversion of American film comedy.
    [Show full text]
  • FLM201 Film Genre: Understanding Types of Film (Study Guide)
    Course Development Team Head of Programme : Khoo Sim Eng Course Developer(s) : Khoo Sim Eng Technical Writer : Maybel Heng, ETP © 2021 Singapore University of Social Sciences. All rights reserved. No part of this material may be reproduced in any form or by any means without permission in writing from the Educational Technology & Production, Singapore University of Social Sciences. ISBN 978-981-47-6093-5 Educational Technology & Production Singapore University of Social Sciences 463 Clementi Road Singapore 599494 How to cite this Study Guide (MLA): Khoo, Sim Eng. FLM201 Film Genre: Understanding Types of Film (Study Guide). Singapore University of Social Sciences, 2021. Release V1.8 Build S1.0.5, T1.5.21 Table of Contents Table of Contents Course Guide 1. Welcome.................................................................................................................. CG-2 2. Course Description and Aims............................................................................ CG-3 3. Learning Outcomes.............................................................................................. CG-6 4. Learning Material................................................................................................. CG-7 5. Assessment Overview.......................................................................................... CG-8 6. Course Schedule.................................................................................................. CG-10 7. Learning Mode...................................................................................................
    [Show full text]
  • Intertextuality and Understanding Dave Chappelle's Comedy
    Intertextuality and Understanding Dave Chappelle’s Comedy DAVID GALVEZ Produced in Dan Martin’s Fall 10 ENC1101 In an American culture where individual achievements and a maverick approach are praised, people tend to forget that “nothing is new under the sun” and that their ideas and thought processes are molded by their everyday experiences in their particular environment. The reality (and beauty) of authorship is that, in the words of James Porter, “the creative mind is the creative borrower” (110). Intertextuality, however, becomes controversial when it comes to defining sole authorship. Any text can be praised as creative (assuming it hasn’t been copied from any source word for word), but not because it’s something never before seen. Rather, sole authorship is the innovative arrangement of pre-existing ideas recognized by an audience who understands and interprets the work of the author as “original,” based on their own representations. In other words, it’s up to the individual to determine whether the text is original or plagiarized. If it looks like a duck and sounds like a duck, it isn’t necessarily a duck. Since each individual interprets a text differently from everyone else, there can really be no universally accepted way of differentiating sole authorship from plagiarism. In this paper I’ll discuss how an author uses “creativity through borrowing” through a sketch comedy clip from Chappelle’s Show and how an audience uses intertextuality to get something out of the text. In doing this, I’ll explain why every work, unless blatantly copied word for word, has a sole author.
    [Show full text]
  • The Comedian
    THE COMEDIAN Story By ART LINSON Screenplay By ART LINSON & JEFF ROSS and RICHARD LAGRAVENESE and LEWIS FRIEDMAN 1 EXT: 7TH AVE & 34TH ST, NYC - WINTER - DUSK 1 Snow and ice with big chill winds hit the streets but it doesn’t slow down the throngs of New Yorkers heading toward the Long Island Railroad entrance of PENN STATION. The Camera settles on ONE MAN walking alone fighting the crowds and the weather. We meet JACKIE BURKE. 2 INT: ESCALATOR - LIR - PENN STATION - DUSK 2 Jackie, carrying a small sports bag, rides the escalator down into Penn Station, stoic, oblivious to the harried commuters around him. 3 INT. LONG ISLAND RAIL ROAD TRAIN - LATER - DAY 3 Jackie sits alone on the train. He reads the NY Times, every once in a while circling an item, scribbling notes. An MIDDLE-AGED WOMAN across from him stares. Jackie offers a brief glimpse then turns away. OLD WOMAN Excuse me? I know you . Don’t * I know you? * JACKIE No! Jackie returns to his notes. The Old Woman, speechless, goes back to minding her own business. 4 EXT: LIR HICKSVILLE STATION SIGN - DAY 4 The train pulls into Hicksville, Long Island. 5 EXT. GOVERNOR’S COMEDY CLUB - RAINY - LATE AFTERNOON 5 A “Long Island Taxi” drives through a suburban shopping mall parking lot behind Petco, P.C. Richards, Staples, bringing us to two small, isolated buildings: A tiny drive-thru “Dairy Mart”, and a red cement-block bunker with the word “COMEDY” printed across the front. 6 INT. TAXI - CONTINUOUS - NIGHT 6 Jackie glances at the Marquee through the window..
    [Show full text]
  • Scandinavian Loanwords in English in the 15Th Century
    Studia Anglica Posnaniensia 56s1 (2021): xx–xx doi: 10.2478/stap-2021-0007 DISSECTING THE WORD: THE USE OF THE LEXEME SHIT IN SELECTED PERFORMANCES OF COMEDIAN DAVE CHAPPELLE’S STAND-UP ROUTINE RADOSŁAW DYLEWSKI1 ABSTRACT The paper explores the use of the lexeme shit in the corpus of Dave Chappelle’s stand-up specials released between 2000 and 2019. It consists of two parts: theoretical and analytical. The first one presents theoretical and pragmatic considerations connected with stand-up routines, touches upon slang semantics, and depicts the links between Dave Chappelle’s stage persona and the hip hop community. Lastly, it presents the reader with the past and present-day status of the lexeme at issue. In the analytical section of the paper the use of shit in the aforesaid corpus is scrutinized from the semantic angle. The discussion is supplemented with the results culled from the corpus of rap lyrics compiled at the Faculty of English at Adam Mickiewicz University in Poznań. The paper argues that (i) shit has lost its taboo status and is mainly used in both corpora as a less formal equivalent of stuff, anything and something and (ii) Chappelle’s stage use of shit, even though present in a different context and serving context-specific purposes, corresponds to the use of African American rappers in their song lyrics (assuming that rap lyrics depict African American English, this conclusion can be extended to the sociolect of African Americans). Keywords: Vulgarisms; profanity; shit; semantic bleaching; Dave Chappelle’s comedies. 1. Introduction Dave Chappelle, one of the most popular African American stand-up comedians in the United States,2 enjoys immense popularity thanks to his critically acclaimed satirical sketch series Chappelle’s Show, running between 2003 and 1 Faculty of English at Adam Mickiewicz University in Poznań.
    [Show full text]
  • Unit 2: the Art of Slapstick the Art of Slapstick
    UNIT 2:THE ART OF SLAPSTICK Unit Overview This unit explores the use of slapstick or physical humor as an important part of comedy. By learning about the history of comedy, students recognize the common stock characters that have been part of our culture for many years. This unit provides an opportunity to discuss the way in which humorous depictions of violent acts may desensitize us to empathizing with others. For thousands of years, slapstick (or physical humor) has been a part of the theater. But recently, live action films for children have been making greater use of slapstick, with more and more outrageous physical stunts involving people getting hurt in weird and horrible ways. Students look at different examples of slapstick in theater, film, television, and advertising. They learn the strategies that actors use for creating slapstick and how actors plan and reflect on physical humor. Students create their own characters using a “character wheel” to create a character sketch. By creating their own comedy characters, students learn about the important function of characterization in storytelling. Connections to Character Education can be easily incorporated in this set of activities by exploring the values that slapstick communicates using concepts like respect and compassion. The “essential questions” of this unit are: • Why do people laugh at comedic characters? • What makes slapstick funny? • How is slapstick humor constructed? • How are characters invented by authors? • How is humor used to make a serious point about a social issue? M - 39 UNIT 2:THE ART OF SLAPSTICK Discover what makes physical humor such an important tradition in storytelling, learn the secrets of creating comedy scenes, and invent your own comedy character using the character wheel.
    [Show full text]
  • Appendix: Database of Irish Vaudeville Acts 1865–1905
    A p p e n d i x : D a t a b a s e o f I r i s h Vaudeville Acts 1865–1905 his database lists Irish vaudeville acts as gleaned from the pages of US newspapers during the course of research for this book. It does T not aim to be exhaustive, and for a number of the acts and per- formers listed, no further information was found in other archive sources. Nevertheless, the database gives a flavor of how Ireland and the Irish were presented on the vaudeville stage, and would be helpful in supporting fur- ther research. In compiling the database, the original sources have been abbreviated as follows: A D D Akron Daily Democrat (Akron, OH) A R Arizona Republican (Phoenix, AR) B D E Brooklyn Daily Eagle B D R Bisbee Daily Review (Bisbee, AR) B N Bourbon News (Paris, KY) C B Cairo Bulletin (Cairo, IL) C D L Cleveland Daily Leader (Cleveland, OH) C D N Charleston Daily News C F Cambria Freeman (Ebensburg, PA) C L Cleveland Leader (Cleveland, OH) C M L Cleveland Morning Leader (Cleveland, OH) C S Coconino Sun (Flagstaff, AR) D A Daily Astorian (Astoria, OR) D B Daily Bulletin (Honolulu, HA) D C The Daily Critic (Washington, DC) D C J Daily Capital Journal (Salem, OR) D C T The Times (Washington, DC) D D Daily Dispatch (Richmond, VA) D G Daily Globe (St Paul, MN) D N R Daily National Republican (Washington, DC) 176 Appendix D P Daily Phoenix (Columbia, SC) D P L Daily Public Ledger (Maysville, KY) D T Daily Times (Richmond, VA) D Y J Yellowstone Journal (Miles City, MO) E A Elk Advocate (Elk County, PA) E B Evening Bulletin (Maysville, KY) E C Evening
    [Show full text]
  • Download Felipe's Bio (PDF)
    LONG BIO Comedian and actor Felipe Esparza got his start as a comedian all because someone asked him to list 5 goals in life. During a stint in rehab before he was 21, Felipe was asked what he wanted out of life. As a young immigrant growing up in the projects in Boyle Heights (East L.A.) and then as a teenage father with a drug and alcohol problem, it was a difficult task because he had never thought that far ahead. Among the items on that list, "to be happy", and "be a stand-up comedian" - because of how he connected to an old Bill Cosby album when he was younger. Up until that question, Felipe was under the impression that life was over at 18. If you had told him back then that all this life experience would one day make people laugh, he wouldn't have believed it. From being raised in the projects in a family of 9 living in the most gang-infested neighborhood in the country to winning NBC's "Last Comic Standing", to selling out live comedy shows all over the country and being able to act in TV shows and movies, Felipe's life has been anything but boring. He worked for years as a stand-up comedian, opening on the road for fellow comedians such as Gabriel Iglesias and Paul Rodriguez, then took a leap of faith and went out on his own - which led to very little income and opportunity at first. After the 16-year "overnight success" of winning Last Comic Standing, Felipe went on to produce his first hour long stand-up comedy special, "They're Not Gonna Laugh at You" (now on Netflix).
    [Show full text]
  • Tom Wrigglesworth
    Tom Wrigglesworth ROSE D’OR – BEST RADIO COMEDY NOMINEE 2014 SONY RADIO ACADEMY AWARD WINNER 2011 CHORTLE BEST SHOW – WINNER 2010 BEST INTERNATIONAL PERFORMER - NEW ZEALAND FESTIVAL WINNER 2010 EDINBURGH COMEDY AWARD – MAIN AWARD NOMINEE 2009 TIME OUT BREAKTHROUGH PERFORMER OF THE YEAR - WINNER 2009 CHORTLE - BEST NEWCOMER NOMINEE 2004 CHANNEL 4'S ‘SO YOU THINK YOU'RE FUNNY?’ – WINNER 2003 "THE GODS OF COMEDY CHOSE TOM WRIGGLESWORTH FOR GREATNESS" Scotsman Tom Wrigglesworth is an established stand-up comedian, radio and TV presenter and voice-over artist from Sheffield, England. With a disarmingly charming delivery and unforgettable appearance, this Yorkshire funny man became a national have-a-go-hero when he rescued a little old lady from the jaws of a Virgin train ticket inspector; only to be arrested for begging. His subsequent story of the event secured Tom several awards including the Chortle Best Show Award, and a nomination for the main Edinburgh Comedy Award. Tom first broke onto the scene back in 2003, winning the Channel 4 new comedian competition, So You Think You’re Funny?. He is now firmly established as one of the most original, talented and respected comedians on the UK and International comedy circuit. He’s enjoyed several nationwide tours with live shows, has written and starred in five self-titled series for Radio 4, and accepted performed at comedy festivals across the globe including the prestigious New Zealand, Sydney and Montreal Comedy Festivals. A prolific writer, Tom has been a regular at the Edinburgh festival since 2006 when he first debuted performing in a double headline show with Tom Allen, entitled Allen and Wrigglesworth, and also compering the Big Value Show.
    [Show full text]