Category Archives: Video

434. Interview with Paul Taylor – “WTF France?” [Video]

Interviewing Paul Taylor about his comedy projects, including “What the F*ck France” on Canal+ / Youtube and his stand-up shows #Franglais and The Paul Taylor Comedy Night. Video available.

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Hello! Welcome to another episode of the podcast!

There’s a video for this one – you can see it on the website or on YouTube.

In this one you are going to listen to a conversation with my friend Paul Taylor.

Before that I would like to make an announcement. I’ve got some good news and also I need your help with something!

Please vote for LEP in The British Podcast Awards!
www.britishpodcastawards.com/vote

LEP has been nominated in the British Podcast Awards for the “Listeners Choice Award”.

If I’m going to stand a chance of winning I need every single one of you out there to vote!

How to vote

  • Go to www.britishpodcastawards.com/vote
  • Search for Luke’s English Podcast and click on it.
  • Vote using your email address – they won’t send you spam, they’re just trying to stop multiple votes by the same person.
  • You will be added to a free prize draw as well – you could win tickets to the award ceremony.
  • The comp closes at 23:59 on the 14th April 2017.

Paul Taylor on the Podcast

A few days ago Paul came over and we sat on the terrace to do a podcast. I thought I would interview him all about his TV show and find out how it’s all going.

We talked about his writing process for the show “What the F*ck France?”, about how the success of the show has changed his life in some ways, about the reactions he gets from people he meets these days – including people who recognise him in the street or on public transport, about the differences between performing on video and performing in front of a live audience on stage and about his plans for other projects in the future.

I also asked him a few questions sent in by listeners on the website.


Questions for Paul

Do you remember a couple of years ago, you’d come back from the fringe, and we talked about some dodgy reviews?
Now you’re successful with the TV show and the web series.
Has it changed your life?
Do you get noticed?
Do you prefer doing the videos or the stand up?
What’s your favourite episode?
What are the topics you’ve covered?

Website comments

Chris Benitez
What are you doing next, and are you going to do WTF for other countries?

Laura Fisher
Paul speaks fluent french, ask him to pronounce this tongue twister : ” Un chasseur sachant chasser sans son chien est un bon chasseur ” Amber could try this too. 

Cristina Ricciardo
I’d like they to tell about their very first performance. Good luck to you all!

Jack
Hello Paul hello Amber, how art you guys
My question is when and where did you first meet King ?
King please film this episode if possible, fanks.

What the F*ck France – Videos

433. British TV: Gordon Ramsay’s Kitchen Nightmares (Part 2) [Video]

Learn more authentic English directly from the mouths of these native speakers in an episode of the popular British TV show “Kitchen Nightmares” with famous chef Gordon Ramsay. Videos and vocabulary lists available below. 

**This episode includes swearing and some rude content** 

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Video clips and vocabulary lists

Video 2 – The orange sauce looks like “sci-fi sperm”

Vocabulary

Let’s watch the family in action
Is there any chance you could talk to her
If you open up and ask…
You don’t remember after 5 minutes
Like fuck do I!
You try to make me look small
It’s like a one man band in there
It’s totally upside down
A backlog of orders
Mick starts to crumble
I don’t want no (*any) more food sent down
He can’t handle it
I’ll get my head bitten off / to bite someone’s head off
I’d rather you didn’t take it out on me

Video 3 – The family at war

Vocabulary

Michelle’s impressive
She’s left to face the fallout of Mick’s incompetence
The meals are now being sent back
He can’t handle it / can’t cope / can’t take it / can’t deal with it
I’ll go and sort it out
My husband’s big fucking dream is a complete farce
I’m not having a heart attack over this
My heart’s booming
He speaks to me like shit
I try and take all the knocks
Even I have a breaking point

Video 4 – Catching up with the Martin family at the end

The entire episode (with Korean subtitles)

432. British TV: Gordon Ramsay’s Kitchen Nightmares (Part 1) [Video]

Talking about restaurant culture in the UK, an introduction to one of the UK’s most famous chefs and a chance to learn some authentic English from a popular British TV show featuring Gordon Ramsay. Video available. Includes swearing.

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Introduction Transcript

Hello, and welcome back to this podcast for learners of English. Here is a new episode for you to listen to and indeed watch, because I’m videoing this one. You’ll be able to find the video on the page for this episode on my website, or by visiting the YouTube channel for Luke’s English Podcast.

A lot of what I am saying here – particularly in this introduction is written on the page for this episode. So you can read it with me, or check it for certain words you hear me using. The best way to get access to these pages is to subscribe to the mailing list.

In the last episode of this podcast you heard me talking to Amber about restaurants and hotels and some crazy TripAdvisor reviews.

At one point in the episode we talked briefly about Gordon Ramsay – one of the UK’s most famous chefs, and his TV show “Kitchen Nightmares” which was a really popular show in the UK a few years ago, and I thought it could be interesting to do a whole episode about that.

So in this one I’m going to talk a little bit about Gordon Ramsay and then we’re going to listen to some YouTube clips from one of his TV shows and I will help you understand all the language that you’ll hear. No doubt there will be some new vocabulary in the process – probably on the subject of food, cooking, restaurants and kitchens but lots of other natural language that just comes up, including plenty of swearing, because Gordon Ramsay is known for his frequent use of swear words.

Yes, there will be quite a lot of swearing in this episode, and you know my position on this. I’m choosing to show you the language as it is really used and that includes the rude words, but don’t be tempted to start throwing swear words into your everyday English. Don’t make the mistake of thinking that swear words are a short cut to sounding exactly like a native speaker. Often it just gives people a bad impression of you. We’ll go into it more later, because there are quite a lot of unwritten social rules around swearing that you need to be aware of – the main one being, that with swearing it is much much easier to sound rude and inappropriate than it is to sound cool. Think of swearing as a motorbike – you might think it’s cool but unless you really know what you’re doing you’re likely to seriously injure yourself. Similarly, swearing can be cool when it’s done in movies or even by someone like Gordon Ramsay, but if you try and do it in your normal life there’s a good chance you’ll just offend people.

So anyway, we’ll listen to some of the English in these YouTube clips and analyse the things they’re saying so that in the end you can understand it all just like I do, which should help you learn some real English in the process. You’ll also learn a thing or two about restaurant culture in the UK and about Gordon Ramsay who is one of the most well-known people in Britain.

Who is Gordon Ramsay and what’s the TV show?

Gordon James Ramsay, is a British celebrity chef, restaurateur, and television personality.

*Difference between a chef and a cook? Basically, a chef is someone who’s had professional training – at least a culinary degree, but a cook is just someone who cooks food. Both might work in a kitchen, but mainly being a chef is about having the status of culinary qualifications and experience.

Ramsay is one of the most famous chefs in the UK and probably in the world too. He has a reputation for being an excellent restaurateur and chef, and also for his extremely strict and direct style. He’s often very rude, saying exactly what he thinks about the people he’s working with in the strongest most colourful language. Imagine an army captain shouting at a platoon of soldiers during military training, but with really good food.

Ramsay was born in Scotland, but he grew up in Stratford-upon-Avon, which is in fact not far from where I grew up in England). So, he is Scottish but doesn’t speak with a Scottish accent.
Ramsay now has restaurants all over the place – in London, in Paris and in New York. During his career he has trained at the highest level with French chefs in the UK and in Paris. He specialises in Italian, French and British recipes, and his cooking is known for being simple, unpretentious, high quality and delicious.

His restaurants have been awarded 16 Michelin stars in total. The term “Michelin Star” is a hallmark of fine dining quality. Michelin stars are very difficult to win and restaurants around the world proudly promote their Michelin Star status if they have one. His signature restaurant, Restaurant Gordon Ramsay in Chelsea, London, has held 3 Michelin stars since 2001, which is a mark of extremely high quality in restaurant dining.

As well as being a top chef, Ramsay is also a TV presenter. He first appeared on TV in the UK in the late 1990s, and by 2004 Ramsay had become one of the best known celebrity chefs in British popular culture, and, along with other chefs like Jamie Oliver, Nigella Lawson, and Delia Smith, he has influenced viewers to become more culinarily adventurous.

As a reality TV personality, Ramsay is known for his fiery temper, strict demeanour, and use of expletives. He often makes blunt and controversial comments, including insults and wisecracks about contestants and their cooking abilities.

Gordon Ramsay’s Kitchen Nightmares used to be on British TV a few years ago – probably around 10-15 years ago now. These days you can find most of the episodes on YouTube.

Local restaurants vs manufacturing companies and processed food

Ramsay is actually very passionate about local restaurants in the UK.

In the UK our eating out culture is vibrant and successful but it is being undermined by a number of factors. One is the industrialisation of food culture. THis means that big businesses are involved in preparing food at an industrial level and then selling it to restaurants as part of a large corporate chain.

These chains might be restaurants which are all owned by one company, or food manufacturers who dominate the wholesale market, driving down their prices and pushing out competition such as local producers who sell fresh products.

In these industrial food manufacturing companies, the food is prepared in high quantities and then sold off to other companies and restaurants as part of a corporate supply chain for food.

There’s a big infrastructure for food purchasing in the UK which is dominated by these big food manufacturers. As a result, many smaller restaurants are forced to buy industrialised and mass-produced food because it is cheaper and more convenient than fresh food which you can buy direct from farms or markets.

If you were a struggling restaurant owner in a town in the UK, what would you do? Buy your food fresh from a local producer and then make sure you sell it in a short-term period, or buy similar products from a mass producer but at a lower price, and it’s food which you can store for longer because it has been processed to stay fresh.

In the end, people choose to eat at home, especially during an economic crisis.

So, economic factors are having a negative effect on the restaurant culture in the UK to an extent. Family owned restaurants should be where you get proper traditional and delicious local food, but these restaurants are being squeezed economically and forced to go along with the industrialised food manufacturing process.

Also, there are many chain restaurants which you find on high streets in the UK. These are not locally run, but are owned by big companies who have a single business model which they apply to all their restaurants. The fact that these places are part of a big corporate chain means that they can drive down their prices, making it very hard for local restaurants to be competitive. As a result, these smaller places suffer, struggle and often close down.

Gordon Ramsay believes that these local restaurants are the backbone of our restaurant culture in the UK, and he strongly believes that they need to be supported so they can compete with the corporate chains, and given training so they can serve the best food possible. Essentially that’s the concept behind Gordon Ramsay’s Kitchen Nightmares, but also it’s just entertaining watching him shouting at incompetent chefs. You sort of let him get away with the way he bullies people because you believe that really he’s just trying to help them to learn the discipline you need to run a really good restaurant.

But he does seem really passionate about proper restaurant culture in the UK and I like that about him. Even though he’s making this reality show and he’s making money from doing it, I think he really does care about improving restaurant culture in the UK.

On the other hand, he is very good at TV. He knows how to make entertaining TV, and he’s got a good formula for it. Basically, this means that he takes the harsh discipline and the no-nonsense brutally honest approach that he applies to his kitchen management, and uses it when giving feedback to the restaurants which he visits.

Let’s listen to a few scenes and I’m going to make sure you understand everything that’s going on and everything that’s being said.

Let’s learn English with Gordon Ramsay

The TV Show

Gordon Ramsay’s Kitchen Nightmares used to be on UK TV about 10-15 years ago.
The format is this – Gordon Ramsay visits a failing restaurant somewhere in the UK. So, restaurants that are failing – e.g. losing money, getting terrible reviews etc. He goes into the restaurant and spends a week there, observing the way the owners run the kitchen, how the business works and what’s going on at all levels. Usually he starts by sitting down to eat the chef’s speciality dish, and it’s nearly always disgusting, and Ramsay comments on how it tastes, how it looks, and also the decor of the restaurant and the service from the staff.

Then Ramsay gives his feedback to the owner and the chef, and it’s always a massive reality check, and it usually involves very strong words and lots of swearing. This is what happens when a top-level chef enters the world of a crappy low-level restaurant.

Then over the course of the week, Gordon helps the managers turn the restaurant around. It’s almost always a huge challenge and often the most difficult part is dealing with the psychological aspects – the stubborn chefs, the relationship issues in the kitchen, the fact that these people have personal issues which are causing the business to go horribly wrong.

It is car-crash TV. We see arguments, meltdowns, unhappy customers and so on.
In almost every episode Gordon seems to go hopping mad as he can’t believe the incompetence or shockingly low standards of service shown by the people in the restaurant. He then tries to help them change everything and turn the business around. It all makes really great telly.

And by the end of the episode, with Gordon’s help they have usually turned the restaurant into a successful business again.

There’s a UK version and a US version.

If you search for Kitchen Nightmares on YouTube you will probably find the US version first, but I think the UK version is better!

But really, it is better because the US version is horrible. It’s full of really fast editing and there’s loads of music which is added in order to tell you how you should be feeling about what’s happening. It’s distracting and patronising.

Example of the US version (just listen to all the distracting sound effects and music)

The UK version just has some rock music in the background at the start, but then during the show it’s more simple and you can just focus on what’s happening without constant sweeping sounds and tense music.

Let’s listen to some scenes from one of the episodes.

These scenes actually come from an episode called “Gordon Ramsay’s Great British Nightmares” which was shown on TV between series 5 and 6 of Kitchen Nightmares. It’s basically the same as any other episode of the series.

Gordon Ramsay’s Great British Nightmare – Dovecote Bistro

Summary
Gordon goes to visit a restaurant in Devon called Dovecote Bistro, which is run by a guy called Mick.
Mick is a former truck driver and burger van operator who has opened this bistro with his wife and adopted daughter, Michelle. Ramsay is firstly appalled by the psychedelic wallpaper decorating the restaurant, and then his attention turns to the food and the way it is cooked. While Ramsay is impressed with the simple menu, he is furious to find that Mick has very little cooking ability, using orange squash to make a sauce and using vacuum-sealed pre-cooked lamb shanks in a microwave bag. Not only does he show little responsibility in the kitchen, he is also secretive with his spending and is hugely in debt. Mick is adamant that the problems in the kitchen are not his fault, and his stubbornness causes a rift with his wife and daughter. Ramsay solves the crisis by taking the business matters out of Mick’s hands and kicks him out of the kitchen. His daughter, Michelle, is placed in charge of the kitchen despite having no cooking experience. She rises to the challenge, and while Mick is not convinced over replacing his microwave food, the reopening is a success.
Months later, Ramsay returns to find that the restaurant is making profit. He sent Michelle for further culinary training, and she impresses Ramsay with freshly cooked food.
The restaurant was renamed Martins’ Bistro during production.

Video 1 – Flourescent duck cooked in orange squash

Vocabulary

Let’s see what this ex-trucker can do
Lamb shanks
Fuck me! (surprise / shock)
Your blouse matches the wallpaper
I feel like I’m tripping out!
I’ve never touched the stuff but I feel like I just swallowed an E.
The hideous wallpaper
On paper it looks delicious
Orange squash
A spoonful of gravy
Fuck me do I need sunglasses!
That’s worse than fucking Benylin
They’re actually vacuum packed
They can last for about a year
They’re bought in, they’re vacuum packed
They’ve got a shelf life of about a year
Well, fuck me!
That might be the worst food I’ve ever come across
He might be beyond my help
It doesn’t need refrigerating
How in the fuck could you charge 11 pounds for that?
E numbers, like Tartrazine
Do you feel like having a shit?
Thank fuck I didn’t eat it.
I’m surprised you haven’t killed off half the population of Okehampton

End of part 1 – part 2 available very soon!

429. RAMBLENEWS!

A video is available for this episode (see below). Here is an episode with some rambling about recent news, LEPster meetups, transcript project team, listener comments & questions, teaching phrasal verbs with ‘in on’ and some music. This episode is also on YouTube. See below for details.

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Video (with some extra content)

Links

Moscow LEPster Conversation Club on Facebook www.facebook.com/groups/734996946664425/

Tokyo LEPsters 3rd Meetup www.facebook.com/events/1850850918464336/

A Phrasal Verb a Day teacherluke.co.uk/archive-of-episodes-1-149/phrasal-verb-a-day/

Introduction

I’m just checking in on you. How are you? I’m videoing this one. You can see it on the page for this episode, or on YouTube. I might do this more often if I can. (more about this later)

Are you growing a beard?
I’m not really doing anything! It’s just coming out of my face.
Someone in one of my classes said to me “Oh you’re wearing a beard!” – we don’t really saying this. You might say “Oh you’ve grown a beard!” or “Oh, you’ve got a beard”.

Here’s an overview of stuff I’m going to talk about in this episode

  • Some news, some admin, some language tips, some phrasal verbs and probably some rambling!
  • LEPster get togethers in Moscow and Tokyo
  • The pros and cons of uploading LEP videos onto YouTube
  • A quick reminder about The Transcript Collaboration
  • Playing the podcast at different speeds
  • Some recent comments from the website and other places
  • A question about phrasal verbs with ‘in’ and ‘on’
  • An update about a phrasal verb a day
  • A song on the guitar
  • Plus the usual rambling and stuff!

A lot of what I’m reading is written on the page for this episode, so check it out.
Also, if you’re transcribing – don’t forget to check the page for the episode because some content might already be written there and you can copy it into the transcript.

LEPster get togethers

Moscow

Moscow LEPsters – every weekend in cool anticafes where you pay a fixed price and then get as much tea, coffee and cake as you can stuff into your face. Sounds cool.

You can see from the FB pics that these spaces are interesting – one of them has a big lizard in a glass tank (like an aquarium, not a tank for war).

Click here for the FB page for the Moscow LEPsters Conversational Club

Alex (one of the Moscow LEPsters) sent me a message. It was his birthday and he asked me if I could talk to them for a few minutes. It looked like – or sounded like they were in a Russian sauna or something (!) but they were just crowded around the phone.

  • Alex said “You look good in the frame” – The phrases in English would be: ‘Photogenic’, ‘the camera loves you’, ‘you look good on camera’
  • I didn’t tell Alexander to say that thing about italki – but it’s true!
  • “Mafia” sounds like a fun game. They played the Lying Game the previous week.

Doing YouTube videos

Advantages

  • There’s a much bigger audience there. As Alexander said, many people don’t know what podcasts are (or how to spell or pronounce “podcast” either). He’s right, it’s still a bit of a niche, which I quite like in a way – if you’re taking the time to find this, get it on your phone and listen to it, it probably means you’re the sort of person who will like it, and YouTube is full of lots of general viewers who might discover my videos without really knowing what it’s all about, and they might not be the sorts of people who want to listen to me – but that’s a bit negative isn’t it. I’m sure there are plenty of people on YouTube who could like what I do, so I should try it more. Lots of YouTubers get high numbers of views. It could be successful for me. I could reach an even bigger audience.
  • Some people prefer to watch, like visual learners etc. You can see my mouth moving and my body language. We know that the majority of the message we communicate is visual, so it might be good to see the way I move, the expressions on my face and so on.

Disadvantages

  • Video is much more complex, inconvenient and time-consuming to produce. It takes up much more storage space and processing space on my computer. It slows down my computer a lot. I prefer audio for that reason – it cuts down the time I have to spend on this and allows me to produce more work.
  • It can actually be a distraction from the language. Ultimately, I want you to focus on the spoken language and not get too distracted by the things you can see.
  • But when possible I will try to video myself doing podcasts. Like Alex said, it shouldn’t require much extra effort to have the camera running while I’m talking and then upload the video straight onto YouTube, except that I won’t have the option to edit the video – as soon as I start trying to edit a 1hr video, everything takes absolutely ages.
  • Perhaps I should also do more short videos on YouTube, rather than just the . It’s something I am thinking about certainly.
  • Another thing I’ve been asked about is whether I’ve considered doing Facebook Live or Instagram Live videos. I keep thinking about doing that and I really should. I’m basically in the habit of doing the audio podcast and it’s working really well for me. BUt from time to time it would be cool to do FB live (I don’t have Instagram) and just hang out with some of my listeners. Some of you will be thinking – but I don’t have FB or Instagram! I’d have to video myself doing it on a separate camera and then upload that to YouTube. You wouldn’t be able to send comments and likes during the video, but you’d at least be able to watch it.

Facebook page for Moscow LEPsters: www.facebook.com/groups/734996946664425/

Tokyo!

Tokyo LEPsters are getting together on 3 March. Click here for the FB page!
www.facebook.com/events/1850850918464336/

We’re still coming to Tokyo in April – first and foremost it’s a holiday, because I’ve always wanted to show Japan to my wife who has never been, and I haven’t been back since 2005. But I am hoping to do a gig there, perhaps on the evening of Saturday 15th April.

Transcript collaboration

re-establish the rules and the benefits, and answer a few common questions.
How does it work
Rules on the page
Leave messages next to your chunks
Everyone has access to all the scripts, including the ones that are fully transcribed now.

Play the podcast at different speeds!

At 0.5x speed – I sound totally drunk.

Comments on the website

The comment section is alive with conversation these days in a way that’s never happened before. This is largely due to a few listeners like Cat, Nick, Eri, Antonio, Jack and Hiro who have been very chatty there recently – but also because of other listeners who drop in and leave comments – which is lovely to see and it’s adding some lively conversation and extra content under each episode because people are sharing videos, thoughts, pictures and other content.

Phrasal Verb Question

Frank asked me about the expression ‘in on’

Would you do me a favour? Can you sometime explain the usage of the expression “in on”? I don’t know in what cases it’s appropriate and why it is used in that way.
The last time I came across with it, was when I watched the first movie of Grey’s Anatomy. The young doctors, who came fresh from the university to the hospital in Seattle to work there, were welcomed by the director with the words: “Each of you comes here today hopeful, wanting in on the game.”

This expression is a little confusing to me. Usually, we use in or on in a sentence. Unfortunately, I can’t remember the other example I have seen it. I hope this makes more sense for you. Thank you for all your effort.

Have a great weekend!

Response

“In on” doesn’t mean anything really. It’s all about how that combines with other parts of the sentence.

At the beginning of this episode I said “I just want to check in on you and see how you’re doing”

Don’t focus on ‘in on’. You need to focus on “check in on you” or “check in on someone”.

So this is not about the meaning of the prepositions ‘in and on’ but the meaning and grammar of verbs, like “Check in on”.

Some people say this is a phrasal verb, or a multi-word verb, or an intransitive prepositional phrasal verb. To be honest we could spend ages trying to categorise this kind of grammar/vocabulary, to get exactly the correct term for these slightly different types of verbs – there are many different names in different books, and I guarantee that if we did spend loads of time defining what a phrasal verb is and what they should be called, it will just give you a headache. Phrasal verbs are notoriously difficult to understand from a grammatical point of view and as a result people don’t really agree on what to call them. Type 1 phrasal verbs, type 2 phrasal verbs, separable phrasal verbs, inseparable phrasal verbs, transitive or intransitive, prepositional verbs, intransitive non-separable idiomatic particalized verb phrases! Let’s just call them bastards, ok.

Because they are bastards, certainly when you first encounter them properly – I mean, they’re difficult and tricky, so they can seem like bastards if you’re learning the language or trying to teach it.

When you first encounter them, they can seem like bastards. Of course, once you get beyond that feeling and you learn a few phrasal verbs and get comfortable using them, they become less like bastards and more like slight bastards and then not bastards at all, and eventually you can call them your friends.

You’re already friends with some of them. E.g. “Take off” “Give up” “Shut up” “Carry on” “Find out” – you probably know all of those and you’ve discovered that they’re not really that bad. They’re pretty cool actually. And you have a sort of deep respect for them after a while, to the point at which you can call them bastards again, but in a good way. Like, “you cool bastard” or “Ah, you’old bastard you! Come here ya bastard! How have you been!?”

Anyway – ‘in on’. Let’s have a look.

The phrase you quoted from Grey’s Anatomy was “Each of you comes here today hopeful, wanting in on the game.” The director of the hospital is giving a speech to the new trainee doctors.

This phrase “To want in on something” means to want to be part of something, to want a piece of something, to want to be involved in something.”

E.g. “I’m putting together a team of people for a bank job. We’ve found out that 100 million dollars in diamonds is being delivered to the city bank next month, and we’re going to take it. We’ve got an inside man at the bank. Everything’s cleared. Security’s been paid off. We need a driver and some muscle to carry the bags and take the money to the safe house. Who wants in? Who wants in on this job?”

Some phrasal verbs have ‘in on’ as part of the phrase.

Copy me in on any correspondence (copy me in) – to be included in the email chain (to be CCd)
I want in on this job (to want in) – to want to be included in the job.
Are you in on the joke? (to be in on a joke) – to be included in the joke.
It took me ages to catch on to what he was talking about. (to catch on)
I’m just checking in on you. (to check in on someone) – suggests visiting a person to check how they are doing – also used for phone calls. Imagine popping into someone’s office and saying “How are you guys doing? I just thought I’d check in on you, see if you need anything.”

Mainly these are intransitive phrasal verbs with a dependent preposition.

Now, verbs in English aren’t always one word. Sometimes they’re two or even three words. We have a lot of verb phrases, also called phrasal verbs.

Just like normal verbs, some phrasal verbs are intransitive.

Intransitive means the verb doesn’t need an object.

Comment – would you like to comment?
Participate – I’ll participate.
Object – He strongly objected.
Complain – She didn’t like it. She complained.

But if you add an object you have to use a preposition.
Comment – would you like to comment? Would you like to comment on the game?
Participate – I’ll participate. I’ll participate in the workshop.
Object – She strongly objected. She strongly objected to the decision.
Complain – She didn’t like it. She complained. She complained about the changes.

This works with some phrasal verbs too.
E.g.
Copy in.
Catch on.
Drop in.
Talk back.

When you add an object, you need another preposition.
Could you copy me in on the email.
Did you catch on to the secret plan.
Shall we drop in on Jeff in his new flat?
What do I have to do to keep ahead of the competition?
The teachers hate it when Dave talks back to them.

So, in the end, I would suggest that you try to learn this kind of language as a chunk of vocabulary and choose not to be too distracted by the vocabulary.

So, try to notice all the phrasal verbs in this paragraph.

“I’m just checking in on you. Just thought I’d drop in on you, just to see how you’re getting on with the project. I’m really glad to see you working hard on this one. It’s exactly the sort of thing we need to do in order to keep ahead of the competition. Make sure you keep copying me in on all the email correspondence with the clients and suppliers so that I can keep up to date with all the work that you’re doing, while I sit in my office smoking a cigar and watching the cricket, ok?”

You’ll see that written on the page for this episode. Try to learn them and add them to your active vocabulary.

A Phrasal Verb a Day

I haven’t done one of those episodes for months. The reason is that it’s hard to get back into the habit, and because there isn’t enough incentive for me to keep doing them.

Hi I’ve started listening to your phrasal verb podcast. I found that It is the perfect content to study by myself since I can use phrasal verbs in my real life right after listening to it. I can rather easily find written version of phrasal verb list but actually listening to your explanation is better for me to understand and memorize it.
Though It’s a shame that you couldn’t reach your goal, which is making 365 list of it. but I also understand It will be very hard for you to carry on this without any sponsorship. I actually think this content is worth to pay, you might want to publish it through another platform.
Thank you again^^
DY from Korea.

Even though episodes are short, it does take quite a lot of time – I have to create lots of pages on my site, manage transcripts for each one, and it’s taking time and I have to wonder what’s in it for me?

Click here for A Phrasal Verb a Day – Episode Archive

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428. British Comedy: Limmy’s Show (Part 2)

Analysis of another sketch from Limmy’s Show. Listen to informal English spoken in a Glasgow accent, and understand it.

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Introduction

Hello and welcome back to this podcast, this ongoing project which aims to help you to improve your English by presenting you with listening content which is not just useful for practising your English listening skills, vocabulary and pronunciation but also useful for broadening your horizons just a little bit by presenting you with content you might not have otherwise discovered.

This is part 2 of a 2 part episode about British Comedy. This time I’m talking to you about one of my favourite TV shows, called Limmy’s Show – a series of bizarre and amusing sketches written and performed by Brian Limond aka Limmy, who comes from Glasgow in Scotland.

In the last episode we listened to a few sketches on YouTube featuring Limmy’s character Mr Mulvaney, the businessman who seems convinced that the police are on his tail for committing some petty shoplifting. We heard some English spoken with a Glaswegian accent and picked up a few words and expressions along the way.

This time we’re going to continue with another of Limmy’s sketches which you can find on YouTube. Whereas the Mr Mulvaney sketches featured fairly formal sounding spoken English in a Glasgow accent, the sketch in this episode features a character who speaks in a more informal way and with an accent and speech pattern that I expect you will find even stronger and more difficult to understand, which is precisely why I’ve chosen to analyse it here on the podcast. In my effort to push your English into new areas, I’m choosing to focus on some speech that you might not have been exposed to before in order to close the linguistic and cultural gaps that might exist between you and this TV comedy, which won a Scottish BAFTA twice.

The sketch we’re going to listen to now is called “Dee Dee – Yoker” which involves a character called Dee Dee who takes a bus trip to a town called Yoker.

Sketch: Dee Dee goes to Yoker (video below)

The Dee Dee sketches are possibly the best thing about Limmy’s Show. Dee Dee is basically an unemployed guy who never really leaves the house and is lost in his own world.

The sketches featuring Dee Dee are funny, but they’re perhaps closer to pathos than comedy.

Pathos is the quality in a film or play that makes people feel sadness or pity. Sometimes comedy can become pathos when it is not just funny, but also quite sad or pitiful. For example, Charlie Chaplin’s films are full of comedy, but what makes them extra special is the pathos – those moments where you feel pity for Chaplin’s character, who is basically a poverty-stricken tramp.

It’s a similar case with Dee Dee. His sketches make me laugh, but they are also terribly sad because Dee Dee is isolated, quite disturbed and unable to fully operate in society.

He basically never goes out, he spends all his time on his own at home, watching the TV and sleeping. It’s a bit sad really, because his state of mind is pretty messed up and he’s losing touch with reality. I don’t know if you know how that feels.

Imagine you’ve come down with the flu and you’re off work, sick, just staying in the house on the sofa for a long period, like a week or two. You don’t see anyone. You hardly do anything, you’re just getting over your flu, sitting on the sofa or sleeping the whole time. It starts to mess with your head a bit. The days drag on, morning drifts into the afternoon, which drifts into the evening and you haven’t left the house or even had a shower and got dressed, you’re just wrapped up in your blanket from your bed all day. Your mind starts to go a bit weird and you’re living in a daydream while everyone outside in the real world is going out working and living their lives. You’re just indoors all the time, slowly drifting away from reality.

That’s what DeeDee is all about, but I’m not sure why he’s in this situation. I think he’s just an unemployed stoner – someone who smokes too much weed or something. So, it might be about the condition of someone who smokes too much weed and as a result has lost the motivation to leave the house, get a job or sort his life out.

Every sketch with Dee Dee is like a glimpse into his spaced out mind as he completely over analyses quite trivial details in his every day life, like things he’s seen on TV or stuff that happens in his kitchen. In each episode, these trivial details become blown up into hugely significant events because of his paranoia and delusion.

In this one Dee Dee actually goes outside, in order to pick up his giro (unemployment welfare check) but takes a risk and takes an opportunity to get a free ride on a bus going to a place he’s never been before and it becomes a big adventure, even though in reality it’s not much of an adventure and most of the drama is in his own head.

With this one I’m going to read it out in my voice first so that you can understand the story, then we’ll hear the original version with Dee Dee from Glasgow.

Again, I’ve no idea what you’ll think of this, but at the least it’s just a fun little story.

Adapted transcript (written in ‘English English’)

[So, I was walking along the street the other day to pick up my welfare check. And I passed by a couple of buses at the side of the road. Everybody’s crowding off the front and into the one behind. Old folk’ were all like, “This is ridiculous. Never used to be like this with the city buses.” I was like all like, “I see. We’ve got ourselves a breakdown.” I check to see where they’re all heading. ‘Yoker’. And I just pissed myself laughing.]

Dee Dee: “Haa~!”

[Because Yoker’s one of these places I only know from the front of a bus. I’ve never been there. Don’t know what it’s like. Just this crazy fairytale land that sounds like kinda an egg yolk. So I was watching everybody getting on, trying to show their tickets to the driver. But he wasn’t having it. Just waving them on, all like, ‘Alright I know where you all came from. I can see the other bus, what do you think I am, stupid?’ And I see the opportunity for a free ride, and a little voice in my head says, “Dee dee, I know you’ve got to get your welfare check, but that money’s always going to be there. But this, on the other hand, is a once in a lifetime opportunity. Go for it”. So I was all like…”]

Dee Dee: “Fuck it”.

[And I joined the queue. As soon as I do, the driver starts checking people’s tickets. I was all like, “Pffft, forget it”. But I just got completely caught up in the slipstream, rushing towards the moment of truth at a hundred miles an hour. Heart pounding. Pulse racing.]

Dee Dee: “I…..uh…..”

Driver: “Go ahead mate.”

Dee Dee: “Thanks, dude.”

[I did it.

So there I was on the top deck of the bus. I had a bird’s eye view. Whizzing by the unemployment office, all like – Ta ta, welfare check, maybe some other day, hmm? Because I’m on the bus. To Yoker. Couldn’t believe what I was hearing in my head. Seriously. This was actually happening! But then I thought, hold on. Don’t get too excited. There could be someone looking at the back of your head right now thinking, “Hey, who’s he? He’s not from Yoker. He’s got no business being on this bus. Let’s beat him up!” I turned round to see if anyone was looking.

Nobody. Got away with it. I totally got away with it. So I loosened up, and started chatting. ‘Thought I’d get a little bit of local knowledge before I got there.

Dee Dee: “So is this ‘bus for Yoker, right?”

Yoker Passenger: “Yep”

Dee Dee: “I’ve just moved there. Is it a nice place?”

Yoker Passenger: “Yes, it’s a wonderful place. I’ve lived there all my life. Yoker born and bred.”

Dee Dee: “So you’ve never once wondered what Yoker’s like? Mind boggling…”

[Half an hour later I start seeing the signs. Yoker newsagents. Yoker post office. Yoker F.C. Yoker everything. They even had a barber that rhymed with Yoker. “Hair by Les Porter”. What are the chances of that?]

Dee Dee: “Hey, listen. Wouldn’t it be, like, totally crazy if his name used to be Smith, or something, and he just changed it to fit in?”.

Yoker Passenger: “What?”

[Gets to the terminus. Everybody starts crowding off. I decided to ask the driver for a favor.]

Dee Dee: “Driver, when do you leave?”

Driver: “5 minutes.”

Dee Dee: “I fell asleep and missed my stop. Would it be possible for you to print me out a ticket while I go out and catch a smoke real quick? Thanks.”

[And I put my first step on to Yoker soil. I was in Yoker. I thought this day would never come. Is it really this easy? Is it really this easy to get the things you want in life? You just need to hold out for it? All of a sudden I just had the urge to be all like, “Listen, I’m not from Yoker, I’ve got no business being here”. I was like, “Calm down, Dee Dee. That’s no laughing matter. They’ll tear you to shreds. Now, you’ve got five minutes. Where do you want to go? What do you want to do… in Yoker? …I knew exactly what.

I had to. I had to find out. I couldn’t leave without finding out what this is all about. Bus was a million miles away. I thought, “Dee Dee, you are truly on the outer reaches here, dude. Middle of nowhere.” And I went into the great unknown with a fucking ding; to ask the one big question on everybody’s lips.]

Dee Dee: “Les Porter?”

Les Porter: “Yes?”

Dee Dee: “Has your name always rhymed with Yoker, or did it used to like, be like Smith or something or-?”

[And then I thought, “Dee Dee, you’ve just blown your cover. Big time. ‘Fuck you doing, dude? Go. Go!” Got out of there before they started throwing their scissors at me like Ninja stars. Before Big Les scalped me and stuck my head on the wall. Ten seconds to get to that bus man, that’s your lifelife! What does it start doing? It starts moving. I was like that, “No way, bro!” I felt like giving up. “Hey, I’m not from Yoker, I’ve got no business being in Yoker”. Let them finish me off like a pack of crazy wolves. But I just kept running for my life like I had Leatherface on my tail. I get to the bus but he wouldn’t let us in. I was all like, “Set up! ‘Whole thing’s a set up. Those people that were on that front bus? Actors. Actors! ‘Every single one of them, actors.” Door opens and I bolt upstairs. Right under the seat. Didn’t dare poke my head up for the next half hour in case they were going by in a minibus. Eager to feast on me like a group of crazy zombie pirates.

Picked a moment. Up the road. Up the stairs. In the house. Lock. Lock. Lock. Scary, dude. Scary.

Original transcript (in Glaswegian English)

[Fucking, heading to the brew, heading to get my giro. And I pass this couple of buses at the side of the road. Everybody’s piling off the front and into the one behind. Old folk’ like that, “This is ridiculous. Never used to be like this with the corporation buses.” I was like that, “I see. We’ve got ourselves a breakdown.” I check to see where they’re all heading. ‘Yoker’. And I just pissed myself laughing.]

Dee Dee: “Haa~!”

[Because Yoker’s one of these places I only know from the front of a bus. I’ve never been there. Don’t know what it’s like. Just this pure, mad fabled land that sounds like
a pure, mad egg yolk. So I was watching everybody getting on, trying to show their tickets to the driver. But he wasn’t having it. Just waving them on like that, ‘Alright I know what you’s came from. I can see the bus, what do you think I am, daft?’. And a wee voice in my head says, “Dee dee, I know you’ve got to get your giro, but the brew’s always going to be there. But this, on the other hand, is a once in a lifetime opportunity. Go for it”. So I just went like that…”]

Dee Dee: “Fuck it”.

[And I joined the queue. As soon as I do, the driver starts checking people’s tickets. I was like that, “Oh here, forget it”. But I just got pure caught up in the slipstream, belting towards the moment of truth at a hundred mile an hour. Heart pounding. Pulse racing.]

Dee Dee: “What it is is-”

Driver: “On you go, mate.”

Dee Dee: “Cheers.”

[I did it.

So there I was. Bird’s eye view. Whizzing by the brew like that. Ta ta giro, maybe some other day, eh? Because I’m on the bus. To Yoker. Couldn’t believe what I was hearing
in my head, man. Seriously. This was actually happening! But then I thought, hold on. Don’t get too excited. There could be someone looking at the back of your nut right now thinking, “Here, who’s he? He’s not from Yoker. He’s got no business being on this bus. Get his head kicked, man.” I turned round to see if anyone was looking.

Nobody. Got away with it. Just pure got away with the lot of it. So I loosened up, and started chatting. ‘Thought I’d get a wee bit of local knowledge before I got there.

Dee Dee: “So is this ‘bus for Yoker, aye?”

Yoker Passenger: “Aye”

Dee Dee: “I’ve just moved there. Is it any good?”

Yoker Passenger: “Aye, it’s a lovely place. I’ve lived there all my life. Yoker born and bred.”

Dee Dee: “So you’ve never once wondered what Yoker’s like? Mind boggling…”

[Half an hour later I start seeing the signs. Yoker newsagents. Yoker post office. Yoker F.C. Yoker everything. They even had a barber that rhymed with Yoker. “Hair by Les Porter”. What are the chances of that?]

Dee Dee: “Here y’ ‘are. What’s the betting his name used to be Smith, or something, and he just changed it to fit in?”.

Yoker Passenger: “What?”

[Gets to the terminus. Everybody starts piling off. I hit the driver with my charms.]

Dee Dee: “Driver, when do you leave?”

Driver: “5 minutes.”

Dee Dee: “I conked out and missed my stop. Any chance you could print us out a ticket so I can nip off for a fag? Cheers.”

[And I put my first step on to Yoker soil. I was in Yoker. I thought this day would never come. Is it really this easy? Is it really this easy to get the things you want in life? You just need to hold out for it? All of a sudden I just had the urge to go like that, “Here, I’m not from Yoker, I’ve got no business being here”. I was like, “Calm it, Dee Dee. That’s no laughing matter. They’ll tear you to shreds. Now, you’ve got five minutes. Where do you want to go? What do you want to do… in Yoker? …I knew exactly what.

I had to. I had to find out. I couldn’t leave without finding out what this is all about. Bus was a million miles away. I thought, “Dee Dee, you are truly on the outer reaches here, man. Middle of nowhere.” And I went into the great unknown with a fucking ding; to ask the one big question on everybody’s lips.]

Dee Dee: “Les Porter?”

Les Porter: “Aye?”

Dee Dee: “Has your name always rhymed with Yoker, or did it used to like, be like Smith or something or-?”

[And then I thought, “Dee Dee, you’ve just blown your cover. Big time. ‘Fuck you playing at, man? Go. Go!” Got out of there before they started chucking their scissors at us like Ninja stars. Before Big Les scalped us and stuck my head on the wall. Ten seconds to get to that bus man, that’s your lifelife! What does it start doing? It starts moving. I was like that, “No, man!” I felt like giving up. “Here, I’m not from Yoker, I’ve got no business being in Yoker”. Let them finish me off like a pack of mad wolves. But I just kept running for my life like I had Leatherface on my tail. I get to the bus but he wouldn’t let us in. I was like that, “Set up! ‘Whole thing’s a set up. Them that were on that front bus? Actors. Actors! ‘Lot of them, actors.” Door opens and I bolt upstairs. Right under the seat. Didn’t dare poke my head up for the next half hour in case they were going by in a minibus. Gasping to feast on me like a shower of mad zombie pirates.

Picked a moment. Up the road. Up the stairs. In the house. Lock. Lock. Lock. Scary, man. Scary.

But the best day of my life.]

Here’s a version with subtitles in ‘English English’

If you can’t see the subtitles, you can switch them on using the little button at the bottom of the video – the one that looks like a little white box with some dots and lines in it.

Nae Clue (No clue)

How I would say it (English RP version)

Do you ever get the feeling that you don’t really know what you’re doing, in general? Has anybody ever asked you, “What did you do that for?” and you’re like “I don’t know”. Have you ever worn something that you thought looked good, and everyone else thought looked crap? Have you ever said yes to something, to which you should have said no? Something you really didn’t want to do. You were asked the question and you thought “No, no way” but out came “Yeah, alright, why not?” In fact, do you ever get the feeling that from the day you’re born until the day you die, you haven’t got a clue what you’re doing? Do you? Yes, well, join the club.

Limmy Version (Glasgow dialect)

Do you ever get the feeling that you don’t really know whit yer dain, in general? Has anbody ever asked you, ‘whit did ye dae that for?’ And yer like that ‘a dunno.’ Have you ever worn something that you thought looked good, and everyone else thought looked crap? Have you ever said aye to something, to which you should’ve said naw? Someting you really didny wantae dae. You were asked the question and you thought ‘naw no way’ but oot came ‘aye awright, why not.’ In fact do you ever get the feeling that from the day you’re born till the day you die, you hivny got a clue whit yer dain? Dae ye? Aye well here, join the club.

427. British Comedy: Limmy’s Show

An episode analysing more British comedy, this time focusing on a couple of sketches from Limmy’s Show, an award-winning TV comedy produced by BBC Scotland. See below for transcriptions, notes and videos.

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Introduction

I was vaguely planning to go through a sort of history of British comedy in chronological order, over a series of episodes, but I just feel like doing an episode today about a series called Limmy’s Show because I’ve been enjoying it recently.

In this episode you’ll get

  • Listening (obviously) but this one’s going to be a little tricky because you’ll be listening to a couple of sketches that might be hard to understand for various reasons.
  • Culture. Since this is comedy, there’s a lot of unspoken meaning which you might not notice. Humour is well-known for being one of the most difficult things to pick up on in another language, which is precisely why it’s a good idea for me to go through some comedy with you on the podcast. Of course, you might not get it. You might not find it funny. That’s fine. What I find enjoyable might leave you completely cold. That could be a question of taste, but it could be a question of cultural context. In fact, in my experience of being a teacher, I’ve noticed many cases of my students just not getting comedy when it’s shown to them. Even stuff that’s considered by the majority of people to be funny, just doesn’t work with learners of English. It’s not until you get to a proficient level of English that you start to notice the unspoken humour or subtlety of a piece of comedy in English. This is because it requires really advanced English skills to notice the nuances that make something amusing, but also because of the difference in mindset or cultural context. You simply might not find it funny just because of cultural conventions. This is why some people disparagingly refer to “British comedy” as being weird, unfunny, very surreal or conceptual. It’s not really that intellectual, it’s just subtle and I think we have a broad scope for comedy. Anyway, I’m not going to get bogged down in trying to explain British comedy, it’s better to just show it to you and try to help you understand it as best I can. But the point I was trying to make is that I want to try and close the gap between what I understand and enjoy about a comedy sketch, and what you might understand and enjoy about it. So, hopefully I can bridge a cultural gap as well as a linguistic gap by doing this sort of episode.
  • Vocabulary – there’s is some good, meaty vocab in the sketches we’re going to hear, from several different registers. You’ll hear some slightly formal spoken English from an executive level business man talking to the police, and some informal English with slang, spoken in a dialect. There will be vocabulary.
  • Accent – the sketches we’re going to study are all set in the Glasgow area of Scotland, so you’ll be hearing some English spoken with Glasgow accents – some quite mild and some really strong.
  • Amusement. Who knows, as well as all this English practice, you might also simply enjoy the sketches! I hope so.

What is Limmy’s Show?

Limmy’s Show is a sketch show which was broadcast on the BBC in Scotland a few years ago. A lot of the sketches from the show are on YouTube and in fact that’s where I’ve seen all of it.

Limmy’s Show is written and directed by a guy from Glasgow called Brian Limond. I think he got his show after getting quite well known from doing a podcast and some YouTube videos. He also did performances at the Edinburgh Festival. Basically, he got a sort of cult following on the internet and that led to him getting his own TV sketch show on BBC Scotland. The thing is, his show was never broadcast in England, only on TV in Scotland, which is a pity for the English because it’s a really good show.

Buy Limmy’s Show on DVD here

I guess that the Scottishness is a large part of the appeal of the show. I think it has a lot to do with it. All the characters in the sketches are Scottish and speak mostly with Glaswegian accents, and the scenes all take place in and around Glasgow.

The sketches feature different characters, mostly played by Limmy. He plays a range of characters from different social backgrounds.

The sketches are often quite surreal, bizarre or dark. Often they feature characters with weird behaviour, or Limmy talking directly to the camera about an aspect of life that he’s noticed. Some sketches just make me think, or just confuse me a bit – but in a good way.
Sometimes they’re laugh out loud funny, sometimes just amusing and sometimes just a bit curious in the way they present quite odd observations about everyday life. Some sketches are a bit disturbing, and others are even a bit sad. All in all, Limmy’s Show is original and refreshingly unconventional, as well as being funny.

It’s worth mentioning again the significance of the accents you’ll hear in Limmy’s Show. As I said, they’re all Scottish, specifically Glaswegian. Some of the characters speak with very heavy Glaswegian accents, and I think that’s part of the appeal to be honest. You don’t often hear those accents on TV. Sometimes they’re difficult to understand if you don’t come from there. Even people from the UK, like people from London struggle to understand the show sometimes, especially when certain characters are talking. There are loads of comments on YouTube from foreigners around the world, including native English speakers in America, saying that they can’t understand anything. Some people on YouTube request transcriptions because they can’t understand the sketches and you can see that other people have written out full transcriptions to the sketches in the comment section on YouTube, and there are loads of other comments from people saying “Oh, thanks so much, I never could have understood this without the transcript!”

So, you get the idea that this is going to be some proper Glaswegian English that you’re going to hear.
For me, that’s one of the reasons I like it so much. I love the accent. It’s awesome. I love hearing the particularities of the way these characters pronounce words and phrase their sentences. In a way it becomes more expressive and characterful, to the extent that the accent and speech pattern is a large part of what makes the sketches so fascinating and enjoyable.

So, let’s enjoy listening to Glaswegian English here.

I’ve got a few sketches I want to deal with, from a couple of characters. I’d like to go through loads of these sketches but I can’t do them all. So, I’ve picked out just a couple of ones that I like and that feature slightly different accents and characters, showing a bit of diversity in the way they speak.

Mr Mulvaney

We’ll start with a sketch featuring a character called Mr Mulvaney, who is an executive level business man from Glasgow.

Here’s how we’re going to do it.

  • I’ll just play the sketch to you first without a lot of explanation.
  • Simply listen and try to follow what’s going on. If you don’t find it funny, then no bother.
  • Just try to work out what’s going on. I’ll give you a little bit of detail at the start.
  • Afterwards I’ll explain what happened and talk about why I think it’s funny.
  • Then I’ll go through it in more detail, pausing after each bit, explaining vocabulary, accent differences and repeating what he says.
  • You can find the videos on my site if you want to watch them again.
  • So that’s the process.

Mr Mulvaney – Creme Egg

The scene
Mr Mulvaney is sitting in his modern looking office. He’s the director of the company. It looks very corporate. He’s in a suit and has grey hair. The company logo shows that this is the Mulvaney Group – it must be a large corporation. Mulvaney looks serious. His office building is open plan, with glass partitions between each section, so Mulvaney is alone in his room but he can see outside into the rest of the floor through the glass walls.

He calls his secretary to order a taxi for later. It’s all businesslike and serious. Then he sees a couple of police in uniform enter the building and talk to someone on reception. At this point, Mr Mulvaney panics!

A summary of the whole sketch

An executive business man overreacts when he sees the police in his office building and assumes they have come to question him about a crime he has committed. It looks like he’s committed a very serious crime, like a murder, and he frantically tries to work out his story by having an imaginary conversation with the police. On his own he practises telling his story as convincingly as possible, even adding authentic sounding questions from the police. It turns out that he hasn’t done anything very serious. He’s just stolen a chocolate bar from a shop, but he’s acting as if it’s a capital offense. In the end we realise that the police aren’t even looking for him and we don’t really know why he’s doing the things he’s doing. He could in fact be suffering from obsessive compulsive disorder.

What I find funny about it this sketch

  • The fact that he’s a high-powered business man who is involved in petty theft is sort of funny because of the contrast between his high status and the low status nature of the crime.
  • There’s a contrast between the serious way he is acting and the pettiness of the crimes he’s committed.
  • Comedy sometimes comes from the reveal of something previously hidden. These scenes reveal something about his personality and what he’s done – he’s the managing director of the company, a very serious role, but his life is on the edge of spinning out of control, like in some kind of thriller.
  • The performance. Limmy’s performance is really funny. He switches between different attitudes quickly: calm controlled businesslike manner, the panic and fear of being caught by the police, him getting a grip on himself, playing the part of the police officer very convincingly, him acting all indignant and shocked when the police suggest that he might have committed the crime, protesting his innocence, the relief of getting away with it, the determination to stop this kind of crazy behaviour and make sure it never happens again.
  • Playing with TV conventions. This is the sort of thing we have seen many times in TV shows, books and films. There are loads of thrillers in which someone in a high status position has committed a crime and when the police come to ask questions they act cooperative and yet completely innocent, while silently panicking on the inside. Every other murder mystery has a character like that in it. This time it’s played for laughs because the crime is not serious at all – it’s just a stolen chocolate bar or something.

Mr Mulvaney – In The Car

Mr Mulvaney – Fire Alarm

Part 2 coming soon…

With analysis of a completely different sketch by Limmy.

Other episodes about British comedy from the archive

 

408. Catching Up With Amber & Paul #4 (+ videos)

Amber & Paul are back on the podcast and we do the usual catching-up session and go off on a few tangents about Amber’s play, Paul’s showbiz life, marshmallows, microphones, tea & coffee, accents and more. There are videos for the intro and outro of this episode (below).

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INTRODUCTION

This episode sees the return of pod PALs Amber Minogue and Paul Taylor, which means that The Talkative Trio are reunited on the podcast once more.

Time was pretty tight for this conversation because Paul was working to a very strict schedule on the day it was recorded, which was yesterday in my flat.

As you’ll hear, Paul arrives a little bit late because he was having lunch with some TV industry people and then he has to leave before the end of the recording to be interviewed on the radio, because he’s so hot right now in the world of showbiz.

Amber has also been very busy recently doing various things including writing and rehearsing a play, so it’s been hard to get the three of us in a room together all at the same time.

As a result this episode was arranged at the last-minute and the conversation was completely unplanned. All I wanted to do was to catch up with the two of them and ask the usual question: What have you been doing?

You’ll hear that things carry on quite rapidly and there are plenty of the usual tangents – those moments when the topic suddenly goes off in a different direction.

It might be hard to follow, so to help you keep up, here’s a basic summary of the main things that we talk about. You’ll find these notes written on the page for this episode, including some words that you might hear in the conversation but not know. You might want to check these notes to see words that you might have missed, to check their spelling etc.

  • First of all Amber tells me about the play for children that she’s been working on with our friend James Simpson.
  • Paul then arrives, you hear the buzzer buzzing and he comes in carrying a bag containing a new iPhone 7, still in its box, which he collected from the shop earlier in the day. It’s a present which all his friends bought for him a few months ago for his 30th birthday, organised by his girlfriend. We all chipped in some money and got him a new phone.
  • Amber tells us some more things about her play, including how it contains a few slapstick moments, meaning some funny scenes of fairly violent physical comedy involving a first-aid box and some marshmallows. Apparently at one point in the play James hits Amber over the head with the first aid box. By the way, a first-aid box is a box that contains basic medical supplies for administering first-aid, that’s why it’s called a first-aid box. It contains, things like plasters, bandages, antiseptic, tiny scissors, and maybe some other little medical things that you don’t understand etc.
  • Also in the play they also fight over a marshmallow, which Amber wants to dip into her tea.
  • This leads us to talk about dipping things into cups of tea, like marshmallows and biscuits, which then causes us to talk about what you put in your tea when you’ve run out of milk, which actually happened to Paul the other day. His solution was to use whipped cream as a substitute.
  • That leads me to ask the question of whether you really can put cream in tea, and we agree that you can definitely put cream in coffee, especially a particular type of coffee which is served with whipped cream on top, which in France is called café Viennois – which I think translates as a Viennese coffee – or a coffee from Vienna.
  • That causes me to ask what they call a Viennese coffee in Vienna, speculating that they might just call it a coffee, which leads to a similar question about the French phrase “creme anglais”, which translates literally as “English cream” – but in the UK we just call it “custard”.
    I then ask Paul and Amber to explain to you my audience what custard is, and Paul suggests that instead of us explaining it at great length, you could just ‘google’ it.
  • I remind Amber & Paul that it is necessary to explain some words sometimes, like the word ‘custard’, because this is Luke’s English Podcast and it’s probably a good idea to explain words sometimes.
  • This prompts Amber to comment on the way that I seem to choose to explain words quite randomly in my episodes – like when I recently spent quite a lot of time explaining the word ‘flea’ in a recent conversation I had with my Dad on the podcast.
  • We then go back to food and talk about typical English puddings which can be served with custard, including crumble, sticky toffee pudding and the oddly named ‘spotted dick’.
    I refer to spotted dick as a dessert, which causes Amber to comment that this is the wrong choice of word and that I should say that it’s a “pudding” not a “dessert”.
  • This brings up the slightly confusing and long-running debate about the correct choice of words to describe certain things in Britain, especially in relation to the dinner table. This all relates to British rules of etiquette and language in polite society, perhaps relating to French vocabulary we sometimes use in English. We don’t talk about this very clearly and it might be a bit confusing for you, and really the whole subject of the rules of British etiquette and social class deserves an episode of it’s own.
  • Nevertheless, in order to clear it up a bit, here’s a quote from a book called “Watching the English” by Kate Fox. Kate Fox is a social commentator who writes about social behaviour in England, and “Watching the English” is a good book that explains many things about English life. This is what Kate has to say about the words “pudding” and “dessert” in English. By the way, both these words are used to refer generally to sweet food which is served after the main course. You have the starter, then main course, then the pudding/dessert. Your choice of the word ‘pudding’ or ‘dessert’ seems to depend on your level of class, and apparently according to upper-class culture the word “dessert” is vulgar. Kate Fox: ‘The upper-middle and upper classes insist that the sweet course at the end of the meal is called the ‘pudding’ – never the ‘sweet’, or ‘afters’, or ‘dessert’, all of which are déclassé and unacceptable’ (Fox, 2005, p79). So, according to upper-class etiquette, pudding is the correct term for the sweet course that comes at the end of the meal. Fine. Amber seems to think this is because the word “dessert” is of French origin, but I’m not sure. By the way, in some places (e.g. France and Japan) pudding is a specific kind of dish. For example in Japan ‘pudding’ is a sort of caramel or custard creme dish. In the UK it just means the sweet course at the end of the meal and can include all kinds of things, like cakes, pies, ice-cream, trifle, Eton mess, bread and butter pudding or even jelly. “What’s for pudding?” for example.
  • I try to explain all of this, but I can’t manage it, instead saying “This is tangent city” when I realise that we keep going off on mad tangents and it’s probably quite confusing for the audience – that’s you.
  • Our talk of pudding then causes us to start talking about Pudong, an area in Shanghai, and specifically the Pudong River in Shanghai. Paul tells us a bit about that and then there are a couple of references to the slightly rude sounding English words ‘poo’ and ‘dong’ before things settle down a bit and we start talking about Paul’s recent showbiz news, including how he is going to be interviewed on a radio station called “Oui FM” later in the afternoon, so we go from poo to wee in just a few sentences.
  • At one point Paul nearly uses quite a clever word – ‘concise’ but then doesn’t use it, preferring instead to choose a more simple way of putting things “using the least words possible” (which means to be concise).
  • We talk about responses to Paul’s recent videos including a few YouTube comments & some criticism he received from a serious person in an email (the criticism was in the email, not the person – you can’t put a person in an email).
  • Things get quite geeky when I then start talking about cameras and microphones and the challenges of capturing good audio when you’re recording videos.
  • There’s some talk of different types of microphone, including boom mics, lapel mics, dynamic mics and shotgun mics but then Amber decides it’s all getting a bit too geeky and we move onto something else.
  • We make plans to hang out again on Thursday on the set of Paul’s TV show while they’re doing some filming, and we decide to record a podcast while we’re there.
  • Following on from my recent episodes about accents, I ask Paul & Amber what their accents are, and what they think my Dad’s accent is, and Amber declares her love for my Dad.
  • Then Paul has to go for his radio interview on “Oui FM” and leaves, and Amber & I carry on and talk a bit more about her play before having a massive conversation about Christmas which will probably be uploaded in a forthcoming episode.

So, I hope that helps you understand what you are about to hear from the Tangential Trio. But, now, without any further explaining – here is that conversation as it actually happened!

JINGLE + CONVERSATION

‘OUTRO’

Amber and I started talking about Christmas there and we went on to talk about it for ages – like over an hour of chat about Christmas shopping, games, food, family traditions and everything else relating to the festive time of year. That conversation will continue in the next episode, maybe the episode after.

We talked a little bit about Paul’s English in that conversation.

People sometimes say “Paul’s accent/English is influenced by his French”.
It isn’t. Certainly not his accent anyway.

That’s one of the interesting things about Paul. When he speaks French there is pretty much no trace of an English accent in his speech, and when he speaks English there is no trace of a French accent.

Other announcements

LEP Moscow Get-Together
Hey Luke!
Well, the very first LEP Moscow GET-TOGETHER has just happened! The first of it’s kind, it seems to be a historical :) event in Russia! Everything went great, it was awesome to chat in ENGLISH with like-minded people!!! Personally I felt as if I had known all of the participants for ages – open, nice and smiley friends! I hope somebody else could feel a similar thing.
First, we got to know each other, which was the main achievement! It was interesting to know when and how everyone had found LEP one day, which episodes were our favourite ones, which experiences in English language learning we had (useful Internet resources, grammar books, pronunciation etc.)
A couple of pics and a short audio message from us to you are attached.
Thanks again and again for that announcement and actually for everything you do!!!
We hope to provide more listeners with a chance to meet and speak regularly and one more way to let them know is to “friend” your group on FB with ours www.facebook.com/groups/734996946664425/ and VK vk.com/clubnu1 .
Have a nice Monday, Jedi-Podmaster!
Dmitry

Here are those Moscow LEPsters saying hello!

Transcript Collaboration
~ well done everyone!
Thank you especially this month to Antonio for managing everything.
There is an email now for the Orion team. Just write a comment on the page for the transcript collaboration and Antonio will let you know what to do.
Make sure you read the rules.
Transcript collaboration page: teacherluke.co.uk/episodes-with-transcripts/transcripts/ 

Daniel Goodson – My Fluent Podcast
A LEPster podcast in which you can join Daniel in his quest to become better and better at English.
Daniel interviewed one of the managers of the Transcript Collaboration – Piotr from Poland
www.myfluentpodcast.com/e20-interview-with-piotr-from-poland-transcribing-transcript-collaboration/

Zdenek’s English Podcast
Also, on the subject of LEPster podcasts – Zdenek Lukas continues to do his show, called Zdenek’s English Podcast. Recently he’s been doing episodes about his experiences studying for the DELTA (Diploma in English Language Teaching for Adults) which is a seriously challenging postgraduate qualification in English teaching, which involves not only a lot of writing about linguistics and teaching methodologies, but also plenty of assessed teaching sessions too. It’s a difficult course with many challenges and many things to learn. You can listen to Zdenek talking about it on his podcast in some recent episodes.
Get it here audioboom.com/channel/zdeneks-english-podcast

Join the mailing list for direct access to the page for every episode, and for any other content I put up, including videos that I might start doing with my new camera soon.

That’s it! Cheers!

VIDEOS

Here’s one of Paul’s “What the F*ck France?” videos. This one’s about how it’s difficult to learn French.

LEP VIDEOS

Here are a couple of bonus videos of me recording the introduction to this episode, and a failed attempt at recording the outro too (I forgot to press ‘record’ on my audio device!)

They’re in black & white because I think it looks cool. The gorilla ↴ is pink, ok! 

Thanks for watching. I’m just experimenting with videos at the moment, but if you like them, I might do more.

The Russian Joke appeared in US TV show Parks & Recreation – watch until the end

Music credits

Jazzy xylophone tune & piano tune by BenSound – www.bensound.com

Other music by me, or by my brother James Thompson.

370. In Conversation with Rob Ager from Liverpool (PART 1: Life in Liverpool / Interest in Film Analysis)

Today on the podcast I’m talking to Rob Ager from Liverpool, who is probably best known for his film analysis videos on YouTube in which he discusses classic Hollywood thrillers, sci-fi and action movies in quite astonishing levels of detail, often focusing on deep psychological and political themes and hidden messages that most viewers probably wouldn’t even notice. His videos are carefully constructed documentaries, made for educational purposes and all of them feature a voice-over commentary by Rob in which he analyses the film and gives his observations.

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Click here to visit Rob Ager’s website collatedlearning.com

I think I first came across Rob’s work on YouTube about 5 or 6 years ago. Sometimes I start watching YouTube and I get sucked into a kind of YouTube worm hole. That’s where you start watching one video, and that leads you to watch another one and then another one and eventually you find yourself watching something really fascinating and unexpected and that you wouldn’t normally have come across. I think that’s what happened with Rob’s videos. I think I first came across a short documentary he made about a horror movie called The Thing by John Carpenter, which is one of my favourite films. It’s really scary, tense and well directed, and it has a terrifying monster in it. Also it has a complicated story line which creates an eerie sense of paranoia that invites the viewer to speculate on who is or who isn’t a monster. It was really interesting to listen to Rob talking about The Thing in so much detail and it made me think about the movie in ways that I hadn’t considered before.

Then after that I kept noticing other videos by Rob and I would always watch them with interest. He has videos about The Matrix, Star Wars, The Shining, Alien and more.

Sometimes I find his comments to be a bit too specific, like he is perhaps over-analysing the films, but then again I think this is what’s great about movies – that everyone can interpret them in any way they want – and that a film might mean one thing to you, but mean a completely different thing to someone else. Even the director of the film might have a very specific message in the movie, that most of us don’t even notice. I think most modern film makers understand these ideas and they often leave their movies open to interpretation. Think, for example about the ending of Inception starring Leonardo DiCaprio – what does it really mean? We’re supposed to imagine and discuss our own interpretations of it, and I think it’s one of the strengths of the film and one of the reasons it is so popular. Everyone can leave the movie with their own theory on what it was about and what had happened at the end. Rob Ager takes this principle – that there are multiple readings of a movie – and really runs with it in his documentaries, suggesting that many of these great films that we love could in fact be about political events in the real world, our deep desires and psychological motivations or even about hidden power structures.

Another interesting thing for me is that Rob comes from Liverpool. He’s a scouser (that’s the word for people who come from Liverpool) and he speaks with a scouse accent, which really reminds me of the people I used to meet, talk to and work with when I lived in Liverpool years ago. The Liverpool accent is really distinctive, and I always want to feature different British accents on this podcast, so on this one you’ve got the chance to get used to listening to a scouse accent, or Liverpool accent.

Also, I think Liverpool is a fascinating city and not enough people know about it. Most people know The Beatles or Liverpool and Everton football clubs, but there’s more to Liverpool than that. I’m hoping that Rob will tell me a few things about what it’s really like to live and grow up in this important English city.

His website – CollativeLearning.com reveals all sorts of interesting things – like that fact that Rob is a filmmaker himself and he is very prolific with his analysis videos. He has loads of documentaries which you can download from the website. What becomes clear after reading and watching his work is that Rob is a very observant and articulate person with a great interest in film, but he is also knowledgeable about a wide range of academic theories and he incorporates ideas from psychology, sociology and philosophy in his film analysis. All of that reminds me a lot of the things I read and wrote about while doing my Media & Cultural Studies degree at university in Liverpool. What’s also notable about Rob though is that he has received no formal academic education or training in all of these subjects – he’s completely self-educated.

I’ve never spoken to Rob before, and I’m recording this introduction before our interview, which is due to start in just a few moments. I’ve got no idea how the conversation will go or what directions our conversation will take but I really hope it’s an insightful and engaging listening experience and that Rob and I get on with each other. I suggest that you listen out for differences between my standard Southern British RP accent and Rob’s accent, and let’s see what kind of vocabulary emerges from our talk.

Alright, it’s time to speak to Rob now. So, here we go.

*Conversations starts (after I remembered to press ‘record’ on my device)*

Links & Videos

Rob’s website www.collativelearning.com

Some interesting videos from Rob’s YouTube channel

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342. Paul’s “La Bise” Video Success / Audition Story (with Amber & Paul)

In this episode I’m joined by podcast pals Amber & Paul and we talk about Paul’s hit youtube video about French kissing habits, his newfound success as a stand-up (he’s the hottest kid in town), some online abuse he’s had and then an anecdote about an audition that we attended recently, which involved a surprising misunderstanding about accents. There’s also a brief language focus on using relative clauses with ‘which’ to extend your sentences when speaking. Enjoy!

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Image: c/o Robert Hoehn French Fried TV

Transcript for the intro and outro to this episode

Intro

Hello, welcome back to the podcast. This is episode 342. First of all I’d like to say thanks if you’ve recently left comments on my website, written positive reviews on iTunes or especially if you’ve sent a donation to the podcast. I appreciate all of those things very very much indeed and I hope that you feel like you’ve invested in this podcast, even in a small way. Every little helps. So thank you very much.

In this episode I’m joined again by podcast pals Amber and Paul

If you are a brand new listener and you don’t know them then here are the basics: Essentially, they’re both from the south-east of England, I know them from the stand-up comedy scene here in Paris and they both have super-powers, yes that’s right – super-powers.

Amber is a voice-over artist, actress and tour guide. She has a little 2-year-old son called Hugo (who has featured on the podcast before, making dinosaur noises in episode 297), and Amber’s super power is that she has loveliest voice in the world. Her voice is so lovely it could melt the heart of even the toughest person – like anyone at all. Even Vladimir Putin or Batman would be reduced to a little puppy when listening to Amber’s voice, right listeners? If Amber’s voice was on Darth Vader’s iPod and he listened to her talking, he would immediately give up his devotion to the dark side and turn into an ewok or something. That’s Amber.

Paul used to work for Apple – the company, not the fruit. It would be weird if he worked for an Apple. Anyway, last year he took the brave decision to quit his job in order to focus on becoming a full-time stand-up comedian, performing both in English and in French. Paul has a weekly one-man show called #franglais which he performs every week and he also performs a two-man comedy show with me every Thursday, and that one’s called “Sorry, we’re English”. He has his own podcast, called “Becoming a Comedian”, which you can find at paultaylorcomedy.com. Paul’s super-power is his infectious laugh, which causes podcast listeners to randomly split their sides in different countries around the world, which is nice. I imagine if he had to do battle with Darth Vader, he’d just laugh in his face and Vader would turn into Jar-Jar Binks or something.

The conversation you’re going to hear in this episode was recorded the other day when we were sitting upstairs on my little terrace enjoying some sunshine. We recorded about 3 episodes-worth of stuff that day. Two in the sunshine and one indoors because after a few hours it went cloudy and then started raining, which is typical for April in this part of the world. You already heard the first part of that conversation in episode 341.

Click here to check out a list of other episodes featuring Amber & Paul

But in this conversation Amber and I talk to Paul about recent success in his stand-up career, there’s a surprise phone call from Robert Hoehn, we talk about some online abuse Paul’s received, and then Paul and I tell Amber about an audition we had for a TV show recently, which involved a bit of a misunderstanding about our British accents.

One thing I just want to let you know right now is that I’m aware that this conversation is quite quick and you might not get absolutely every single word that we say, but that’s fine because as we know, listening to native speakers at natural speed is a valuable thing for you to do even if it’s difficult to understand every little thing. Just try to fill in the blanks, tolerate the stuff you don’t understand, read between the lines and keep going. Listening several times will help, but the main thing is to relax and just enjoy spending 45 minutes in the sunshine with us.

Where were we?

Where were we in the conversation at the end of the last episode?

There was a bit of a cliffhanger of sorts. Paul was about to tell us what happened in January, and it’s something about his progress as a comedian. Let’s get an update on how it’s all going.

A bit of language analysis – Paul’s long sentence – using ‘which’

In just a moment I’m going to start playing our conversation to you and it’ll carry on from where it ended last time.

The first you’re going to hear is me saying to Paul, “Give us an update on what happened in January” and then you’ll hear Paul speaking pretty quickly, and producing perhaps the longest sentence in the history of humanity. Actually, long sentences with lots of additional clauses are pretty common in spoken English, especially in spontaneous talking. In writing I think it’s best to keep your sentences short and clear but in speaking we often find ways to extend our sentences to include new thoughts and to keep the rhythm going, particularly with words like ‘and’ or ‘but’ (simple ways) but also with relative pronouns, particularly ‘which’, which we add to nouns and even whole clauses in order to extend sentences (like I just did there – did you notice?) Check out the way Paul uses ‘which’ to extend his sentences and add ideas, adding fluency to his speech.

Here’s the first sentence you’ll hear from Paul in this episode:
“Yeah, I think the last time we spoke, I don’t know if we talked about it but I was gearing up for the start of my own show, which was like an hour, my first hour-long solo show, which was starting on January 9th and I was excited (and) nervous because I’d never been on-stage for an hour (and) it was going to be cool, whatever, and then during the month of December, Robert Hoehn, who has been on the podcast previously, he runs an English comedy night and he’s, I guess, seen me do comedy for the last three years and he suggested to me that I make a video out of one of my sketches which I’d been doing on stage, which was around the French, their kissing and saying hello and it’s called La Bise, in France.”

Wow. There are a few examples of ‘which’ in there and also a ‘who’, after he mentions Robert Hoehn, who has been on the podcast previously. Also, there’s the phrase “gearing up for” which means “getting ready for”. OK. Now I’ll let you listen to that sentence in full, spoken by Paul.

One question: How many times does he say “which” and what’s the most common word that comes after it?

*Paul’s long sentence*

Answers:
He says ‘which’ four times and it’s most commonly followed by ‘was’ (3 times) and once it’s followed by ‘had been doing’.

This is often how we add information to stories. I mentioned this language point in the photo competition episode too. That’s episode 327. In Paul’s sentence, “which was” comes after a noun every time, but sometimes it comes after a clause. Question: What is the noun or clause that is followed by ‘which’ in these examples?

“He suggested that I make a video of one of my sketches which I’d been doing on stage which was around the French way of saying hello”.

Answer: Both times it’s ‘one of my sketches’

and “So, we sat on the terrace and just talked for about 2 hours, which was nice”.

Answer: it’s the whole clause ‘we sat on the terrace and just talked for about 2 hours’.

So, there was a little bit of language analysis. But that’s enough of that. I will now let you listen to the rest of the conversation properly, and enjoy another chat with podcast pals Amber & Paul, and by the way, just to let you know in advance – there is a little bit of swearing in this conversation.

*conversation starts*

Watch Paul’s Video about “La Bise”

A France24 TV news report about Paul

Outro – Transcript

We will be back, speaking more ‘crapola’ soon, because we’ll be playing the interactive lying game and that should be the next episode of this podcast.

What’s crapola? It’s just another way of saying ‘crap’ or ‘nonsense’. Crap is poo by the way. Crap is a swear word but it’s not as bad as ‘shit’. Crapola is not such a common word – it’s a variation on the word ‘crap’ and it means ‘nonsense’ or ‘stupid talking’.

Accents

Now, at the end there you heard us talking about accents. That was a slightly heated conversation and since this is my podcast I’d like to try and clarify what I was trying to say.

So, first of all we went for the audition and it was nice, but one of the producers said, “Can you speak with less of a British accent?” and we asked, “You mean you want us to use an American accent?” and she said “Not American, just less British. You know, like the way they speak in New York, because they don’t have an American accent in New York” and we were a bit stunned that doesn’t mean anything. So, first of all I think it’s not possible to have no accent. Everyone has an accent, but you might feel like your accent is the normal, standard position for the language and that every other version is an accent. Even accents which are considered to be the neutral forms are still an accent. So it doesn’t make sense to say that you don’t have an accent or that the people of a particular place don’t have an accent. If they pronounce words, using certain sounds, that’s an accent. Some accents are considered the standard forms, and in the UK and in the USA there are, broadly speaking, two standard accents. There’s Received Pronunciation in the UK, which is generally how I speak (although I have inflections from the midlands and the South East, reflecting the places where I grew up) and in the USA there’s an accent called Standard American, which is a kind of regionless accent. So maybe what the girl meant to say was, can you speak with a standard American accent, or a more trans-Atlantic accent? But then she realised that it could be taken as a bit rude, because it’s like she suggested that there was something wrong with our British accents or something. She didn’t mean any offence of course.

Another thing I often read online is the sentence, “There’s no such thing as a British accent”, which is a bit misleading. Generally people write that in response to comments on Youtube or Reddit or something when an American person has said something like “OMG I love the British accent”, or equally “OH my god the British accent sucks” or something. Then someone gets pissed off and writes a response, like “there’s no such thing as a British accent!” But that’s a bit stupid too. If an accent comes from a part of Britain, it’s a British accent. Obviously British accents exist, but the point is there is not just one British accent – there are many accents from different regions and it’s a bit short-sighted to just imagine there is only one “British accent” when in fact it’s so much more diverse than that, and I suppose that comment “There’s no such thing as a British accent” is the British person’s way of expressing annoyance or frustration over the lack of awareness of the diversity of British accents.

In the UK today we are very sensitive to accents, as Amber mentioned in the conversation. There are many many variations on the way people speak, and those variations indicate things like regional origin and social status. We shouldn’t judge people by their accents, but we do. We also are very affectionate about accents and generally very positive about regional accent variations. We love the diversity of accents in our country and generally it is considered inappropriate and snobbish to laugh at an accent or to suggest that there’s something wrong with speaking in a different way. Being snobbish about regional accents is now quite unfashionable in the UK. Regional accents are generally celebrated these days – and when you watch TV, including the BBC news, you’ll hear lots of different accents being spoken by presenters from around the country, because TV viewers appreciate the regional flavours of the different accents.

So, I suppose part of our surprise at the girl at the audition was just about her lack of awareness of accent variation, but also the slightly clumsy way she talked about the whole subject, suggesting that people in New York had no accent, or that our British way of speaking was just a regional variation of an accent that has its neutral base in Manhattan. But, I understand that identifying regional accents can be very hard when you’re not native to that language, so we didn’t take offence at the girl and it was fine, but we did find it amusing and interesting from a linguistic point of view. So, that’s that.

I must do more episodes about different regional accents on this podcast. There is just so much content to cover and it’s really important that you get a sense of the different accent variations. I have dealt with accents before a bit, but there’s so much more to do on that subject. We’ve only really scratched the surface.

Listen to Adam & Joe talking about British and American actors doing different accents, particularly Ray Winstone (UK – London) pretending to be an American in the film Fool’s Gold. 😂

And this one about Leonardo DiCaprio’s Irish accent and how Hollywood helps actors perform in different accents.

Oh, and remember Tracy Goodwin the American voice coach from Episode 20 of Luke’s English Podcast? Here are Adam & Joe talking about that…

Using Apps to listen to this podcast

This is turning into another longish episode. It happens so easily, but you heard Paul earlier talking about the ‘pause’ button. I wonder if you use that, because as I’ve said before – you don’t have to listen to these episodes in one go, you can pause and listen to the rest later. If you’re using podcasting software like an app on your phone, it will remember where you were when you paused, even if you close the app or switch off your phone or computer.

Here are some recommended apps: There’s the standard Apple Podcasts app, which is fine. I use PocketCasts which is available on iPhone and android. You can also get it on your computer. There’s Acast which is good. Also, try the Audioboom app. All of them let you listen via an internet connection (wifi or data) and the also let you download episodes onto your phone so you can listen when you’re not online. All those apps will save your position in an episode so you can listen, pause, listen again, pause, come back later and listen to more etc.

You can still just download the files from the website and put them on your mp3 player – just check if there’s a folder in your player for podcasts because if you use that folder the mp3 player will probably save your position, just like the smartphone apps do.

Thanks for listening – speak to you soon, bye!

 

313. British Comedy: Tim Vine

In this episode we’re going to listen to some stand-up comedy by a popular British comedian called Tim Vine, which should be pretty challenging because he tells lots of puns and fast jokes.

But before that, I just want to tell you about a new competition that I’m launching today for listeners to this podcast. This is the Luke’s English Podcast photo competition. See below for all the details, to download this episode and to watch a video of Tim Vine.

[DOWNLOAD] [LISTEN TO PART 2]
The LEP Photo Competition
It’s been a great year for Luke’s English Podcast with loads of new episodes. All kinds of things have happened this year and I’ve talked about a lot of them on the podcast. I’ve had lots of responses from you my listeners and the podcast is still going from strength to strength in terms of audience numbers.

One of the things that’s made it great for me is that I have such awesome listeners all over the planet. It’s great for me to imagine people listening to my podcast in different situations, in different places all over the world. But I’d like to do more than imagine those situations, I’d love to actually see them. I think it would be really cool if you, the listeners of this podcast, could all share photos of your surroundings while listening to LEP.

Maybe you’re on a bus or train, maybe in your car, maybe just walking around, maybe you’re at home with your pets or a cup of tea, maybe you’re climbing a mountain, maybe you’re on the international space station orbiting the earth or something.

Whoever you are, wherever you are, whatever you’re doing – send me your photos. I want you to take a photo that shows the situation you’re in while you listen. Now, you might think “Nah, you don’t want to see a picture of my surroundings…” Yes, I do! Even if you think it’s boring – I want to see it. If you’re on the bus, take a pic of the bus or your view from the window. If you’re walking along a street, take a pic of the street so we can see what it looks like. If you’re on an alien spaceship listening to this from outside the earth’s atmosphere, send me a photo of the spaceship or your view of earth from a distance. Just take a picture of what you can see while you’re listening.

There’s just one rule – the photo has to contain something that shows you’re listening – so include in the photo the LEP logo or some headphones or a screen with the logo on it or some other indication that you’re listening. You don’t have to include a picture of yourself, but you can if you want to. It’s up to you. The main thing is – I want you to show us something that you can see in your surroundings while you listen to LEP and your photo should contain something that proves you’re listening. So if you’re taking a photo of the street, or the view from your hike in the mountains, make sure there’s a headphone in the photo or the LEP logo or even you listening. Yes, just a headphone in the photo is enough for me.

Send your photos by email to podcastcomp@gmail.com. Closing date for photos is Friday 15 January at midnight London time.

When I’ve collected all the photos, I’ll put them all up on the website and you all the LEPsters can vote for their favourite. Then I’ll pick 3 winners. The top winner will get an LEP mug plus another gift of their choice (another mug, a t-shirt or a bag). The two runners up will get LEP mugs. 

OK, so start taking some photos to show us what it’s like where you are while you’re listening to the podcast. Feel free to get creative! Just make sure you insert something in the photo to show that you’re listening. I want it to be a real picture, not a faked one. OK!

Mailing list
From messages I receive it seems that some of my listeners just can’t wait for me to upload new  episodes and they keep going to my page to see if there’s new content there. You should join the mailing list and then you’ll get an email whenever I post a new episode on the website. On my website near the top on the right there’s a field that says “Subscribe by email” just enter your email address there and click confirm.

Top 10 countries this week (number of ‘plays’ in the last 7 days)

Russia 12254
Japan 10443
China 10428
Spain 7434
United Kingdom 6175
Germany 5588
Poland 4740
United States 4570
Italy 4068
South Korea 3038

Do you want your country to go up in the list? Tell your friends!

British Comedy: Tim Vine
Tim Vine is a British stand up comedian who is famous for doing lots of one-liners. He’s one of the UK’s favourite stand-up comedians. His jokes are all clean and family friendly with no rude language or explicit content. He’s a self-deprecating cheeky chappie who makes everyone laugh. The thing that makes Tim Vine different to other comedians is that he always does a succession of one line jokes in his performances. It’s just joke after joke after joke and often they don’t relate to each other at all, it’s just a relentless and rapid stream of unrelated gags and puns.  British audiences love him, but I wonder what you’ll think of his comedy.

I think to an extent, his comedy is quite challenging for non-native speakers of English. By that I mean that he’s the sort of guy that, if you’re a learner of English, you’ll be watching TV with a group of native English speakers, and Tim Vine will come on TV, and all the native speakers (let’s say youre with an English family or some English friends) all of them will suddenly say, “Oh, I love Tim Vine, he’s soooo funny, you’ve got to check this out, you’ll love this, all his jokes are so clever – they’re all based on double meanings and word play, you’ll love it.” You then watch his set, and he tells joke after joke after joke, the audience on TV is loving it, the other people in the room are all laughing, but to you he’s just saying lots of really quick little sentences without pronouncing the words properly, and he’s acting like a total amateur, and he looks all shy and apologetic on stage, and you think – I can’t believe these English people find this guy so funny, what’s wrong with everyone. Or, what’s wrong with me?

There’s nothing wrong with anyone of course, it’s just a language and culture gap that might stop you from enjoying his jokes, and it’s a big pity because there is a lot of joy and pleasure to be gained from watching Tim Vine do comedy.

So, in this episode I’m going to do something a bit ambitious – I’m going to try to help you understand and enjoy one of Tim Vine’s comedy performances. We’re going to listen to about 10 minutes of Tim Vine’s act, and then I’ll break it down and help you understand exactly what he’s saying and why the audience is laughing. If you laugh at his jokes too – fantastic, that’s wonderful. If laughter happens, then success has been achieved. If laughter doesn’t happen – no problem, we’ll still have success because I will explain the language and you’ll learn some really natural English.

I expect that while we listen to Tim Vine some of you will start thinking – this just isn’t funny. Well, let me just say – Tim Vine definitely is funny and many many people agree with that. In fact, I think that  The only reason someone won’t find him funny is because they just don’t get the jokes. He’s not offensive, he’s not rude, he’s a lovely man who just wants to make people laugh. There’s no other reason for not liking him other than the fact that you don’t understand his jokes.

A few facts to prove my point: Tim Vine is the holder of the Guiness World Record for most jokes told in an hour. He told 499 jokes. The criteria for the record is that the jokes received a laugh from the audience. So, 499 jokes got laughs in one hour. That’s over 8 jokes a minute.

He has won the “Joke of the Year” award twice. That’s the prize for the best joke at the Edinburgh Fringe Festival.

My Mum and Dad are both huge fans of Tim. They went to see one of his live shows, and absolutely loved it. And, you should know that my parents have exceptional taste in most things.

Now, if those three things don’t convince you that Tim Vine is funny, then I don’t know what will.

Alright, so now we have agreed that Tim Vine is definitely funny, and that if you don’t find him funny then it’s almost certainly because of the language and cultural gap – let’s listen to Tim telling some jokes and then we’ll work on closing that linguistic and cultural gap. Hopefully the result will be that your understanding of English will be significantly raised in the process, even if it requires a bit of work. In fact, this could be the perfect test – teach – test model for learning English.

I’m not saying that you’re not going to understand any of this – I’m sure many of you will get a lot of the jokes without any problem, but honestly I think that if you’re not proficient at English you’ll struggle to get them. And watch out – don’t assume you’ve understood the joke because you understand the words. There’s always a double meaning.

So, let’s go.

Let’s now listen to the first 3 minutes of Tim Vine’s stand up routine from a show called One Night Stand, which is a popular stand-up comedy show on a British TV channel called Dave.

Stop listening after Tim’s song called “It’s easy”.

Then go back through the jokes one by one. If you already got these jokes, then sorry if I’m telling things you already know.

Cultural point: Tim knows, and the audience knows, that the jokes are pretty stupid and crap. On their own they have pretty much no value. But when the jokes come one by one, relentlessly, so fast they build into a rhythm. You don’t get a chance to think about how silly they are, you just laugh at the pun and the next one comes along immediately. That  part of the enjoyment – and if you don’t understand them, or if you think about the individual jokes too much, that can kill the fun. So, analysing the jokes like this is probably the best way to KILL the humour, but anyway…

 

Now, you should watch the whole video on the page for this episode. You should do that so you can actually see Tim performing the jokes, including the expressions on his face and everything.

That’s it! Remember – don’t give up even if it’s difficult.

And, remember, the force will be with you, always…

Tim Vine – One Night Stand