By Robert Orben
There isn't any larger, swifter, or better solution to succeed in out and seize an audience's recognition than the adroit use of humor. An apt, well-timed shaggy dog story can soothe the adverse, concentration the bored stiff, and the spur at the enthusiastic.
In this most recent assortment from Robert Orben, grasp of the one-liner and fountain of humor for the good television and stand-up comics, are collected over 2500 brief, suitable, and sharp laugh-getters which can simply be additional to speeches, lectures, displays, or informal dialog. prepared into numerous hundred different types for ease in choice, the subject material is topical--ranging from acupuncture and pollution to women's liberation and X-rated video clips. lots of the jokes are one-liners that circulation with a snap and a sizzle that anecdotes and long tales lack.
Here you can find openings and closings for speeches, plus random and particular remark precious to someone who has ever been known as upon to "say a number of words." a wonderful device for audio system, writers, and performers, Mr. Orben's latest e-book also will offer hours of laugh-filled studying for everyone.
Note from the uploader: those jokes usually are not humorous.
Read Online or Download 2500 Jokes to Start 'Em Laughing PDF
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Additional info for 2500 Jokes to Start 'Em Laughing
A means of making things comic and a source of comic pleasure’ (Freud, 1991, p. 292). Ultimately, ‘these things are comic which are not proper for an adult’, Freud argues, A Convention of Crazy Bugs 43 which is to say, when adults behave as irresponsibly as toddlers, having as little control over their bodily functions, moving as clumsily and winding up as messy (Freud, 1991, p. 302). This explains the scatological nature of a great deal of comedy, its stress on bowel movements and toilet training (my favourite title comes from a 1907 Max Linder ﬁlm, Daddy’s Having an Enema), as well as the repeated motif of small helpless ﬁgures bullied by the strong and the menacing.
Clothing, dignity, possessions – all are vulnerable. This is an asylum with no safe haven and no way out: solid ground itself is at a premium. For Durgnat, as for Breton and the surrealists, the key to these movies is the way in which they jettison narrative, replacing logical plotting with the absurd discontinuity of the gag. There are no ‘stories’ or character motivation, Durgnat argues; rather the protagonists respond amoeba-like to whatever kick or pie befalls them. They don’t choose to move on to the next scene but are simply propelled there, bodily.
Thirty-ﬁve million people arrived in the US between 1900 and 1924, the largest voluntary migration in history (Abraham, 1982, p. 6). Indeed, 24 million people arrived between 1880 and 1920 alone, and the ‘new’ immigrants were increasingly drawn from Southern, Central and Eastern Europe (and therefore predominantly Catholic, Jewish and Russian Orthodox), unlike the previous waves of Protestant workers from Scandinavia and Western Europe. By 1920, the American population had more than doubled to 105 million, and with two-thirds of the new arrivals ofﬁcially registered as unskilled or semiskilled (although the terms census-takers employed demonstrates an implicit denigration of older patterns of rural activity), the US was a more urbanized, proletarian and multi-lingual nation than the founding fathers could ever have imagined.