#Transcripts | Explore Tumblr Posts and Blogs

eardefenders · 3 months

Text

Sherlock & Co - Mailbag Episode 1 Transcript

00:00-00:30 Intro Music

*Typing Sounds*

0:36 Sherlock: What are you doing?

0:37 John: I’m collating the questions from the fans. Ah-well, d’you know actually they might not be fans. They might just. *pause* I don’t, I don’t know, listen, but, uh, ah, you know not actually, you know-

0:48 Sherlock: -Like you?

0:49 John: What?

0:49 Sherlock: They might not actually like you.

0:51 John: Us. The show. Anything. What do you mean ‘not like me’? Why would they not like me?

0:57 Sherlock: Well…you can come on a little strong…sometimes, I suppose.

1:02 John: In what way?

1:03 Sherlock (voice slightly high): You’re just, rather, keen. (voice normal, reassuring even) Nothing wrong with that of course.

1:07 John (sarcastically): Oh, great, thanks.

1:09 Sherlock: That’s something people add after making a crude observation on another’s character.

1:14 John (warily): What is?

1:14 Sherlock: “Nothing wrong with that of course.”

1:17 John: So you just added it because you thought-

1:19 Sherlock: It would soften the blow.

1:20 John (sarcastic): Lovely. Very kind.

1:23 Sherlock (clearly missing the sarcasm): Quite alright.

1:24 John: Okaaay, we got some Q’s from the L’s, and now its time for us to provide the A’s. That’s, uh, that’s questions from the listeners and for us to provide the answers.

1:36 Sherlock: Yes, I cracked the code, Watson.

1:39 John: Right! So! Beau from California wants to know where they should go when they visit London.

1:44 Sherlock: Er, sorry, uh, I thought this was about crime?

1:47 John: Whaddya mean?

1:48 Sherlock: I thought there would be questions regarding criminal activity?

1:52 John (lightly sarcastic): Oh, right yeah, sorry. Um, there is one here from ‘PsychoMurderer69’ who wants to know if he should stab his next-door neighbor.

1:58 Sherlock (seriously): What’s the length of the blade he’d have access to?

2:00 John: Jesus Christ.

2:00 Sherlock: Does the neighbor show signs of possessing any self-defense skillsets?

2:04 John (interjecting over Sherlock): Alright, no, where should Beau visit in London, please?

2:09 Sherlock: Um, uh, St. Dunstan in the East. Little Venice. Spitalfields. Brick Lane. The Vaults! Neal’s Yard is rather charming as well, I suppose…pleasing colors on display.

2:20 John: Right, great. Colors. See, that wasn’t difficult, was it?

2:23 Sherlock: South Kensington Ice Rink.

2:25 John: Yeah, lovely. I- Sorry, where are you going?

2:26 *Sound of door opening.*

2:27 Sherlock: I just said.

2:27 *Audio Cut - Vaguely outside sounds.*

2:28 John (sounding like he’s struggling to balance): Heeey, folks its, woah, woah, Ja-ah,*sound of skate blades scraping deeply in ice* Jesus, aw, bloody hell, ahahaaah Christ. *sounds of the mic rubbing as he presumably falls down, a sharp intake of pained breath* Ahh.

2:35 Sherlock (sounding at ease): Get up, Watson.

2:36 John: Ah, oh yeah, thanks for the advice. Uh, um, hey folks-*under his breath*ah, God- Sherlock, can get *sounding unsteady on his feet* easily distracted when he’s not w-w-what’d’you call it. Uh. Totally onboard with something. So he wanted to *sounding unsteady again* go ice-ce skating. Uhum *clears throat*, uh there’s a-a rink. Temporary rink open in South Kensington right now so we’re skating- hey-oh, ooo-getting up some speed now. Oh here we go. Ha ha hah! God is this what Canadians feel like? Oy oy! *laughs proudly*

3:10 Sherlock: Very good, Watson. You’ve got the hang of it.

3:11 John: Hahah, yeah well I wouldn’t go that far, but I’m not smashing my ribs into the ice, uh, for the time being. So-woah! Shit!- *clears throat* Right! Another question!

3:21 Sherlock: Go for it.

3:22 John: “What are your favorite hobbies?”

3:24 Sherlock: *with relish* CRIME. Deductions. Observations! Intricate studies that focus my mind. Feeding my hyper fixations, which often stem from crime and the desire to understand it.

3:37 John: …Riiiight. Yeah, I think the listener Sherlo8 in Poland, uh, I think they meant more like, um, you know, I don’t know. Golf?

3:48 Sherlock: Golf? *chuckles* I don’t golf. I live in Baker Street.

3:52 John: No, I-I know, but, um. *deep breath* Right, okay. My hobby is-

3:58 Sherlock (interjects): Podcasting.

3:59 John: Well, no. Uh, that’s my job.

4:00 Sherlock (skeptically): Is it now?

4:01 John: My hobbies. Uh…so I like to play football. I like films and tv. Ummm I’m very partial to a board game. Uhhhh… Oh! Ok! So here’s a confession. I have the flight tracker app. I’m not saying I’m a, a plane spotter, but um… I like to, yeah, just check in with that. Y’know? See what’s overhead? Where it’s come from, where it’s going. Picture the kinda people that uh. *sigh* Oh I don’t know, going from swha-Rome to Mexico City, y’know? Th-th-the weary business men and women tucking into their inflight meals, families that have created a whole crate of memories that they’re going to talk about for decades.

4:42 John (dramatically): The lovesick Italian man flying out to see his Mexican sweetheart. His heart bursting with excitement and fear that the stewards who keep complaining about some bloke in Row G, c-

4:49 Sherlock (interjects): Trains.

4:50 John: Hm?

4:51 Sherlock: Trains. I like trains. And, dinosaurs.

4:56 John: Ok. Great! Well, haha! That’s wonderful! We did it, another answer to another question. See, I told you it’s bloody easy- *sound of an ice blade scraping the ice too hard/wrong, a loud hard thump, the mic is rubbing terribly against clothing, sound is muffled* Oh, God!

5:07 *Audio Cut-Vaguely café sounds*

5:09 John (pained): Ahhh *sucks in air through his teeth* Oh that stings. *sounds like he’s holding his face*

5:15 Sherlock: Yep, they’re loaning us their frozen peas.

5:18 John: Oh what, they’ve got frozen peas in this place? Why aren’t they fresh, meals are twenty quid?

5:21 Sherlock: Uh, do you want the frozen peas or not?

5:23 John: Yeah! Yes, please, give’em here. *sound of a bag of frozen peas being shuffled around, John’s voice is muffled* Oh, yeah. Oh hoho, that’s the stuff, baby. Oh yeah. Ahhhhhhhhh. 5:39 Sherlock: Just to confirm,

5:40 John: Uh hunh?

5:40 Sherlock: they are paying for this? People are…paying for this audio?

5:46 John: Yeah, mate. Oh! Ah God! Ooo! Ouchie, ouchie, ouchie, ouchie…

5:49 Sherlock: Understood. Well, people can be rather odd, can’t they? Nothing wrong with that of course.

5:55 John: Uh, d’you mind? I see- I actually know what you’re doing with that ‘nothing wrong with that’ lark. So, right! Next question, ‘How did Archie get his name?’ says May Van der Hayden in New Zealand. Ah, well mate, I didn’t have much say in the matter. *clicks tongue* Um, I bought him as a birthday present for…uhhhh. M-my ex-girlfriend. Um, e-e-ex…yeah, y’know she was. She was-she was the bi- big one. The one I l-lived with and planned t’m-my life. Around. Sort of thing. Um. *clicks tongue* B-bought him for her, she chose Archie. Um. I-I don’t know why? Ha. And then she chose my friend who had a Range Rover Sport. So, yeah, she left me and the dog. *clicks tongue* And I left the dog to help the Ukrainians. Now I’m back. *clicks tongue* Got a dog and a master detective. Uh, lucky me. *awkward chuckle*

6:55 Sherlock: I feel your answers should be more concise.

6:58 John: Yep, thank you for that input. May also asks, Sherlock, seeing as you have handled cases for other countries, have you ever handled any in New Zealand?

7:07 Sherlock: Yes.

7:08 John: Oh! Lip, lip. Now numb. Ah, ah. Can you expand on that please?

7:13 Sherlock: Yes, but you’d have to stop recording or redact it from the podcast.

7:17 John: Aw, what’d be the point of that?

7:19 *Audio Cut- Sounds like they’re on the tube now*

7:23 John: Question here from Chloe Davies in Canada. Hi, Chloe. Sherlock, your hugging machine, is it based on that of Temple Grandin?

7:31 Sherlock: Er, she sent me some early designs, yes. I needed to tweak its pressure loads to clench my shoulder blades.

7:40 John: That’s the way you like it, is it? Hugwise?

7:43 Sherlock: Yes. Any sensation below the diaphragm causes me to stress.

7:47 John: Good to know. Uh, Nick Licher or, er, Licker. Uh…let’s go with Nick Licher. He asks, “Why did Sherlock need your shoelaces?” Yeah, why did you need my shoelaces?

7:58 Sherlock: I was conducting a thorough cleansing of our garments following the proximity to duck poo we had undergone that day in the park. *sucks in air sharply* The shoes contain the most potentially harmful pathogens. I removed the shoelaces for deep cleaning.

8:11 John: Okay.

8:12 Sherlock: Okay? Is that it? For potentially saving you untold hours and days on the toilet?

8: 19 John: How so?

8:20 Sherlock: E.coli, Watson.

8:22 John: Yeah, but on my shoelaces? Mate, I wasn’t going to chew on them. Right, Adrien Kaiser from Minnesota. “John, if you miss an upload should we just assume you and Sherlock have been arrested or are dead?”

8:32 Sherlock: Yes. As assumptions go, those options would be some of the likeliest. Wouldn’t you agree Watson?

8:39 John: No.

8:40 Sherlock: Why not?

8:40 John: Well, I don’t know. Maybe my laptop breaks, maybe we don’t get an adventure that week, I’m ill, your ill, a long list of things that aren’t dead or arrested, Sherlock.

8:50 Sherlock: It was Adrien that said it, not me.

8:52 John: *heavy sigh* Arlo asks, as a Shakespeare fan-him, not me- he asks what my favorite play by him was. Uhhh, um, I love Romeo and Juliet. Bit of um, a sucker for romance, me. *awkward chuckle* Hamlet’s too long, should’ve streamlined that a little. I’m uh going to go Romeo and Juliet. Or Julius Ceasar. Good drama in that one, I think. Kind of can’t understand what they’re saying, but uh I hold my English teachers at school responsible for that one, I mean also why are we reading them? Yeah, they’re meant to be performed, come on. Uh, next question. Soma asks “what’s your favorite tv show?” Uh, I loved ‘Band of Brothers’. Um, but, of course, an ex soldier would say that wouldn’t he. Um, psh, yeah, ‘Band of Brothers’. Or, something light and millennial, like, um, I don’t know. Fraiser? Or, uh, Will and Grace?

9:46 John: Sherlock? Favorite tv show?

9:48 Sherlock: This is us.

9:48 John: Really? I never saw it.

9:49 Sherlock: No, Watson! This is us! Quick!

9:52 John: Oh, bollocks, Oh! The doors are closing! Ow!

9:53 *Audio cut-sounds of a tube station/outside*

9:54 John: Misha asks,

9:56 Sherlock: Mmhm?

9:57 John: “Do you have a sweet tooth?” Well, I can tell you, Misha, that yes, he bloody does! Sherlock?

10:02 Sherlock: Yes, I bloody do. *awkward chuckle, sharp intake of breath* Yet, my diet is highly unpredictable and more often then not tied to my mood

10:08 John: Yeah, I can vouch for that. One minute he’s slurping down some borscht on a whim. Next minute, he’s going ten straight days eating tomato penne pasta.

10:16 *sound of a building door opening*

10:19 *sound of the door closing, presumably they’re in the foyer of 221 Baker Street*

10:19 John: *sigh* Uhhh, just trying to find uh…

10:23 Sherlock: Yet more questions?

10:23 *sounds like they’re removing their coats*

10:25 John: Yep. Uh, ooo, questions, right, last one. Uh, “Doctor Watson, hope this question doesn’t make you uncomfortable. Do you use a cane for your leg injury? I use a cane myself due to joint pain from Ehlers-Danlos syndrome. In fact, one of the canes was hand painted by a family in Ukraine during the war.” Well aw! *delighted chuckle* Aw that’s nice. Um, no I don’t use a cane. Uh, I had some surgery, and I was very kindly along with a few others flown out to Florida for some rehabilitation and then back to the UK for some hydrotherapy courtesy of the Ministry of Defense. Uh. Then they sacked me. So, heh, booooo. *chuckles* So, no. I’m actually cane free. But, uh, I have had moments. Especially climbing these bloody stairs *sounds of him stepping heavily up stairs* where I’ve wanted something like that.

11:15 Sherlock: Finished?

11:16 John (slightly out of breath): Finished.

11:17 *sound of a door opening, presumably 221B’s*

11:17 John: Right, say ‘Bye, Listeners’.

11:19 Sherlock: ‘Bye, Listeners’. You know, you do have a rather silly gait. *pause* Walking style. *sound of a door closing* The cane may have been needed. You do look weird when you stroll. Nothing wrong with that of course.

11:32 John (under his breath): For God’s sake.

11:33-12:03 *audio cut to end theme. It’s Mad Prodigy but a different part not used in the main show with a bit of piano.*

END

#sherlock & co #sherlock and co #sherlock holmes #john watson #johnlock #mailbag 1 #transcripts #transcript #mine

217 notes · View notes

logar3 · 1 month

Text

Jaune Arc/Glynda Goodwithc - Time Off

#digital art #artwork #fanart #rwby #digital drawing #rwby fanart #jaune arc #rwby jaune #glynda goodwitch #glynda rwby #ArcWitch #transcripts #ship art #shipping

81 notes · View notes

versaphile · 8 months

Text

So as I am wont to do when I enter a new fandom, I looked around and asked myself what resources would be useful to have. Also I need a ton of reference material for my Vash novels WIP. So I'm building a Trigun Reference Library, which will eventually contain timeline, atlas, and reference information (esp plant lore) for all three timelines. (There is some info already there, but I have a lot yet to add.)

But for now, the transcripts section is ready for the public! It still needs work, and I'm collaborating with a small group of volunteers to create the dub transcripts. (If you want to assist in that please let me know, more hands are welcome!) But better to have unformatted transcripts than nothing.

The Transcripts section has a full set of sub-based transcripts for Trigun Stampede, 1998, and Badlands Rumble.

Please reblog to let others know of this resource!

#trigun #trigun stampede #trigun 1998 #trigun reference library #trigun badlands rumble #transcripts

151 notes · View notes

reverse1999log · 2 months

Text

Hello once again my r1999 soldiers. You might've seen me around talking about making a website containing the game logs. Here I am asking if anyone is interested in helping with transcribing the event stories? Also, if you want, still am accepting transcribers for the main story! The more the merrier, I suppose.

If you wanna help, please feel free to dm me here to ask for access to the google doc where you can transcribe the logs down.

#reverse 1999 #r1999 #reverse: 1999 #site help #transcripts

27 notes · View notes

fuckyeahgoodomens · 5 months

Text

Neil Gaiman and Rob Wilkins at the British Library event The Worlds of Terry Pratchett: Neil Gaiman and Rob Wilkins 21.11.2023

Neil about Good Omens Season 3: I need to clarify something, because the word has gone out that it's been greenlit. And what has actually been greenlit at this point is me writing the scripts. I have been commissioned to write the scripts. We are still waiting on tenterhooky tenterhooks for... I've been told we are only a couple of virtual clicks away, but those clicks have not yet been clicked. So when they are, the world will know.

#good omens #neil gaiman #rob wilkins #interview #neil interview #gos3 #season 3 #the Worlds of Terry Pratchett Neil Gaiman and Rob Wilkins #tenterhooky tenterhooks #virtual clicks away #👀#s3 interview #transcripts

5K notes · View notes

luminouslotuses · 7 months

Text

juanaflippa rap 2!! (MIGHTVE BEEN POSTED ALREADY BUT TAKE IT ANYWAY👍)

transcript/lyrics:

charlie:

yeah! ooh! get down, juanaflippa, get down! woo!

my egg, she’s finally back

thought it was over, thought i faded to black

[zooms in on flippa’s sign, which reads, mus1c!!!!!]

she’s back, and she’s completely normal

she’s back, there’s nothing– abnormal! [chuckles]

my egg, i’d give up my leg to see my egg

my huev, give up everything to see my huev

my egg, give up my legs to see my egg

my yolk, my only one and only folk

i love you flippa, even if it makes me look like a creepa

flippa, hiding in the grass

slimecicle, throwing back some ass!

flippa, sit down, takin’ a big rest

‘cause she knows she’s not just a huevo, she’s the best!

flippa, got a new prescription

[laughs] what the fuck– what the fuck rhymes with prescription??

flippa, got 20/20 vision

doin’ surgery, gotta make an incision

i reach inside; what do i find?

where the heart is, an egg hides! woo!

[reads flippa’s sign in response to his previous question: subsCr1pt10n]

yeah… subscription? oh, flippa, oh, you’re so good! okay, we’re gonna do it– we’re gonna do it again. yes, yes, yes!

juanaflippa, she’s got a new prescription

it’s 2020 so you better ready up a subscription

to three, we’re finally free

we got juanaflippa in the casa, con mi, yeahh!

oh… i missed you so much, juanaflippa.

#qsmp #slimecicle #q!slimecicle #code!flippa #qsmp clips #transcripts

226 notes · View notes

fuckyeahizzyhands · 1 month

Text

Izzy's biggest regret and the tattoo we didn't get to see 🥺 ❤

From the stream with Con O'Neill, Kristain Nairn and Gypsy Taylor ❤, 11.3.2024

Kristian reading a question: To Con, 'Does Izzy have any regrets?', do you think?'

Con: Yes. It's a great shame we didn't do Season Three because the emerald ring would have got its story told, and I'm not going to tell it here, but there is...

Kristian: That's a bit cruel.

Con: The regret is that he never allowed himself to fall in love completely. He always stopped himself from falling in love, and he would have been a great love, Izzy, but the couldn't ever release himself enough to do that. So I think that's a great regret, and I think it's made more extreme by seeing Ed falling in love and how that complicated as it is, changed Ed. So, yeah, that he wasn't able to fall in love is Izzy's great regret.

Gypsy: Now you've just broken everybody's hearts.

Kristian: Yeah. Everyone's crying all over the world.

Con: All over the world. I can heart them sobbing. I will write a book called The Emerald Ring.

...

Con: There is a tattoo that none of you ever saw.

Kristian: I love that.

Con: Which I will.. which Debs did brilliant. My makeup designer, Debs. We came up with the name of somebody in Izzy's life - that was all attached to the emerald ring - and we had it tattooed on his wrist every day with some cut marks, scabs, scars. And we were toying with the idea, revealing it towards the scene with Izzy's death, but we never got to do it. But that was the only tattoo you never saw. That and the lashes on his back, which I don't believe you saw very clearly.

(we have a bts photo of the scars)

(🖕fucking stupid Zaslav for axing the show🖕)

195 notes · View notes

krakenator · 1 year

Photo

Announcing the Toonkind transcript archive- a resource of over 200 games and counting, making for over 350 hours of audio put to paper! Organized by plotline, this is your one stop shop for transcripts of games run by the good good folks of the First Drafthouse discord server.

-> LINK HERE <-

This is a project contributed to by myself and some truly incredible volunteers. First Drafthouse logo created by @lizzybeanbutt

#toonkind dnd #toonkind #transcripts #ttrpg #dungeons and dragons #dnd #accessability #transcription

500 notes · View notes

eardefenders · 3 months

Text

Sherlock & Co - Mailbag Episode 2 Transcript

00:00-00:30 Intro Music

00:27-00:34 *Sounds of a violin playing fade in*

00:34 Sherlock: You see? You see what I mean?

00:37 John: I…don’t.

00:39 Sherlock: Listen! *scoffs* Listen, closely this time. Shh. *resumes playing the bit from the fade in*

00:43 John: Argh. *pause* For God’s sake.

*Sherlock keeps playing*

00:46 John: Sherlock, please mate. We’ve got questions to get through here.

*Sherlock keeps playing*

00:52 John: Maaaate. Matey, mate mate mate mate.

00:55 Sherlock: Did you hear it this time?

00:57 John: Yeah. Sure. Uhh, right. So let’s dive into the discord chat. The brand spanking new discord for Sherlock and Co members. Brimming with Stamfords, Irregulars, and Diogene-sohmy God. There’s thousands of messages. Um, right. Should probably been keeping tabs on those questions. All right I’m going to scroll up and pick one f-from um the sssixteenth of January. Here we go! Come on down…IdleVice! Uh, your question is, “If you could make a Spotify playlist for each other of your own favorite songs, what would some of the highlights be and would you be willing to share the playlists with us. Ooh hoohoho. Uuuhhm. I don’t know if I’d ever get around to actually, y’know, putting the playlist together, as, as such, but what I-I would get Sherlock to listen to. Ummm mmmm probably Elbow? Elbow are a band from the north of England. Uh, Salford I think. But they have, uh, a few strings sort of. I-I don’t know what it’s called-but, elements that involve violins. Um, and all that jazz. Heh. Uh well not jazz! Uh, literally, not jazz. Uh, yeah, Sherlock, what about me?

02:07 Sherlock: Hm?

02:08 John: If you could make a playlist of songs for me what would it be?

02:12 Sherlock: I probably would never do that, Watson.

02:16 John: Okay. Uh, could you expand on that?

02:19 Sherlock: It’s a task that I wouldn’t find that fulfil-Vivaldi.

02:23 John: Uhh, right. Vivaldi. Yep. Anything else pop into mind?

02:29 Sherlock: Pop.

02:31 John: Pop? Is that-what’s that?

02:33 Sherlock: It’s a genre of music.

02:35 John: Uh, right, you’d make a pop playlist for me?

02:38 Sherlock: I’d probably enlist Mrs. Hudson to do that.

02:41 John: Fair enough. And why pop?

02:43 Sherlock: Because it’s an abbreviation for ‘popular music’.

02:45 John: No, I know that.

02:47 Sherlock: You like popular culture, therefore pop music could very well be your cup of green tea.

02:54 John: It’s, it’s just cup of tea. Bu-uh-uh, well, okay, uh, thank you for that. Uh, back to the discord dudes and dudettes. Um, not that I was implying any kind of masculine energy to the use of the word dudes. Dudes will remain, uh, um, an-an-an-androgynous here. My…dudes. Bit like the word mate! I do throw it around. Ummm. Some people just think it’s for blokes. Don’t know why. Uh, anyway. Here we go. Leaf-onk, layff, layfonk? I hope I’m saying that right. Uh, Leif-Leif*onk* asks, ‘Has Sherlock ever hit a vape?”

03:28 Sherlock: Yes.

03:29 John: Lovely. They’d also like to know the flavor.

03:31 Sherlock: Menthol.

03:32 John: D-do you want to expand?

03:35 Sherlock: Mm, not really.

03:37 John: Did you like it?

03:38 Sherlock: It was satisfactory, I suppose.

03:41 John: *sighs* Another thrilling q and a session with the master detective. Here we go! Number one archie fan-He-he-heeyyy! Archie! Found your number one fan mate. Heh. Think they also go by potpourri. Not sure. Don’t really know how discord works because I was born in 1989. Anyway! Number one Archie fan asks, do you have a favorite classical piece? Or a favorite composer, perhaps?

04:05 Sherlock: Mozart, generally. Can often be tied to my mood. What about Vivaldi? You said Vivaldi earlier?

04:12 Sherlock: That was a recommendation to you.

04:14 John: But not you?

04:14 Sherlock: Definitely not.

04:16 John: Great.

04:17 Sherlock: Uh, Mozart, Bach, Tchaikovsky. But I am often driven by whatever phase I feel I’m in.

04:23 John: And we’re in a Mozart phase now, are we?

04:26 Sherlock: We are indeed.

04:27 John: Fab. Right, uh, Reeonk asks-ohkay, ok, I see what you’re doing now. Cause of. Cause of Jonk. Okahaha. Let’s all laugh at Jonk-John, I mean.

04:40 Sherlock: *laughs*

04:41 John (affectionately): Oh, ge-Shut up, you big idiot.

04:44 Sherlock: *still laughing*

04:45 John (affectionately annoyed): Shut it. Ha. Uhhhh, we’ll cut that bit. I swear to God. Right! Reonk, who I think also goes by Perfo, if I click here. But yes, as I was saying, millennial at the wheel. Sorry. Reonk’s first question, “Hey John, if you were an animal, what animal would you be?” Uhhhum, *clicks tongue* look, I’ve got to be something airborne. Um, uh I’m sorry, but I have to. Y-y-you can’t have the chance to fly and turn it down, so, uh, I’m a bird.

05:09 Sherlock: Or a bug.

05:10 John: S-s-sorry?

05:11 Sherlock: Bugs. Insects. They’re airborne. Hm, as is some bacteria.

05:16 John: Great, yeah. Let me just decide between a gnat and a germ.

05:19 Sherlock: By all means. Take your time.

05:21 John: I’m being sarcastic. I’m not a bug and I’m not bloody…germs. I’m. *sighs* I mean it’s too much pressure being an eagle, isn’t it. Um, *clicks tongue three times* I don’t want to be something that’s crap at flying, like a swan or a goose or something. Shoutout to Heather, by the way. Ehhh, aw come on John, come on John. Um. Ooo! Tell you what. Now this is going to sound stupid, but if it was my brain in the animal-

05:47 Sherlock: Yes, this is going to sound stupid.

05:49 John: Shh-sh-shh. Yes, if it was me. In the animal. I’m going pigeon.

05:54 Sherlock: Pigeon?

05:55 John: Pigeon. Ehh? Right, listen, ok. I can still live in the city. I cou-I could even live in my room, really.

06:01 Sherlock: You absolutely cannot.

06:03 John: What? Why not?

06:04 Sherlock: I’m not flatsharing with a bloody pigeon, Watson.

06:06 John: It’s me.

06:07 Sherlock: Yes, in the body of a pigeon.

06:09 John: Listen, let me finish my point. I’m a pigeon. I’ve got my room. I can fly about London, y’know? See all the sites, dive bomb some tourists, do a little poo on the House of Commons. I could nick a bit of decent grub. Yeah, go on walks with Archie and Mariana in the park. And no one is the wiser. If I was an eagle or a, y’know, like an albatross, I couldn’t do that, could I? No? It’d be great flying across town, even take the tube. Saw a pigeon on the tube the other day.

06:39 Sherlock: Yes, you said. Twice.

06:41 John: I could look through people’s windows, you know go in their gardens, on their patios….That makes me sound creepy, doesn’t it? Ah, pigeon! *clears his throat* The answer is pigeon. Second question, “What kitchen appliance would you be?” *clicks tongue twice and sucks air in thorough his teeth* Hm. Not being a microwave. No way, don’t get cleaned enough and, uh, having curries and bloody pizzas blowing up inside me, geezus. Uh, fridge. Maybe. Mmm, but I’d see a lot of rotting food, wouldn’t I? Especially if people are away for a while. Probably go with something fun, y’know something where I come out of the pantry or the, y’know, the cupboard or whatever, and all the family go ‘yaayyy, heyhey here he is!’-Wafflemaker, I’d be a wafflemaker. Everyone loves waffles. No one’s getting board of me. I’m getting cleaned. Perfect. Pigeon and a wafflemaker. Ha! That’s not a bad name for our band, eh Sherlock?

07:32 Sherlock: We’re not making a band.

07:33 John: Yeahhh, it was a joke. Right! It’s biscuit time! Saren says ‘Question for Sherlock: What kind of biscuits are, in your opinion, the best?

07:42: *sound of someone walking away*

07:43 John: Uhh, what’re you doing?

07:44 Sherlock: Answering the question.

07:44 John: Well, that would involve sitting down and talking into the mic.

07:48 Sherlock *sound of papers*: Here.

07:49 John: This…is an essay….on biscuits.

07:52 Sherlock: Yes.

07:54 John: By you.

07:55 Sherlock: Yes.

07:56 John: Okay.

07:58 Sherlock: Well, read it. My findings are in there.

08:01 John: Whaaa…it’s thirty-nine pages long.

08:03 Sherlock: Indeed.

08:04 John: Thi-this is supposed to be a snappy question and answer segment. Y’know it’s supposed to be a patreon reward, not a bloody punishment. *sarcastically* ‘Aww thanks for giving six quid everybody, here’s an eleven hour lecture on biscuits.’

08:15 Sherlock: They asked the question.

08:16 John: Right, ok. So, uh, he was eating a lot of custard creams the other day. Um, for those of you who aren’t British, uh, a custard cream is, uh, a sort of sandwich structured biscuit, wouldn’t’cha say?

08:26 Sherlock: Correct. Yes. A sandwich in structure. Two light shortbread pieces acting as the bread. Often stamped with a Victorian inspired Baroque design. And the filling was once a buttercream, but now is a custard flavored cream based on vanilla custard. Not egg custard.

08:43 John: Right, yeah. It’s, it’s that. Um, they’re nice. They are nice. Very moreish. Um, Ellionk, or Ellie, I think, when they’re not ‘Onk’ified, want’s to know ‘Favorite Supermarket: Tesco or Sainsbury’s?’ Um, well, both have gone downhill in recent years, I have to say. So, I’m going to go for neither and say co-op. Yeah, cause every now and again you find a really really good one. But if I’m in fantasy land, it’s M&S Foods or Waitrose. *clicks tongue* Yeah. Uh, there’s a chemistry question here from Ranger Pip which I don’t even begin to understand, so I’m going to move on. Sorry, Ranger Pip.

09:18 John (cont.): Right, last one! ‘Question for possibly John or Sherlock, not sure, lol. What is the story behind the theme tune. Just have to say whoever composed it, the musicians need an award and a shoutout on the podcast.’ Uh, yeah, well it’s a great theme tune, isn’t it? It really is. It’s called ‘Mad Prodigy’. *clears his throat pointedly*

09:39 Sherlock: Why are you making that noise?

09:41 John: Ah well, just saying mate.

09:43 Sherlock: I’m not mad. Or a prodigy.

09:46 John: Hey, uh, I-I’m not saying anything. Um, yeah, it’s it’s by a guy called Jody Jenkins. Uhhh, the reason why I don’t release it like some people asked me to is because it’s owned by a royalty free site. Um, *clicks tongue* the reason why Jody Jenkins doesn’t release it, is the same reason. I-it’s owned by a royalty free site. Uh, that’s generally how they work. I-I pay a fee. Well. Goalhanger pay a fee, use the track, and it belongs too…yeah. Audio Network. Um, I think he’s fab, yeah. But as far as crediting him out loud on the podcast, um, some artists don’t want royalty free work assigned to them. Um, they just do it for a paycheck. Some do. I don’t know him obviously and of course, I-I could piss off the company that actually owns the audio if I just mention him and uh, not-

10:34: *phone vibrates*

10:36 John: Message from Mariana. ‘You’re waffling. These people are paying us their hard earned money.’ Right! Soundproofing in these old houses aren’t what they used to be, are they? Um, *clicks tongue* yeah that’s the reason songwise. Nothing for or against Jody Jenkins. I’m just playing it safe cause these things s-scare me. *chuckles* Corporations and blech, yeah. Uh, horrible stuff.

10:54: *phone vibrates*

10:55 John: Um, message from Mariana. Right, yeah, I’m gonna wrap this up. Uh, thanks for your questions my lovely friends, we’ll be back soon. And, now to play us out, the one and only, Sherlock Holmes.

11:08 Sherlock: What?

11:08 John: Play! Play a song!

11:10 Sherlock *pleased*: Oh. Excellent! Uh, okay. Here we go!

11:14: *violin playing starts up*

11:17 John: Bye bye guys!

11:32: *sherlock’s violin playing cuts into Mad Prodigy

11:32-12:02 *Mad Prodigy carries us out to the end*

#sherlock & co #sherlock and co #sherlock holmes #john watson #johnlock #transcripts #transcript #mine #mailbag 2 #sorry for the delay on this #month ends are always a bit busy for me #also once I figure out what sherlock is playing at the end I'll fix this to reflect it

159 notes · View notes

allthingslinguistic · 3 months

Text

August-September 2023: Etymology isn't Destiny merch and an academic article about lingcomm

My newsletter for August-September 2023: Etymology isn't Destiny merch and an academic article about lingcomm

I joined onto a fun project this month, Zach Weinersmith of the webcomic Saturday Morning Breakfast Cereal is running a Kickstarter for his book, The Universe: Abridged Beyond the Point of Usefulness, and one of the bonus rewards is an audiobook of his other book, Shakespeare’s Sonnets: Abridged Beyond the Point of Usefulenss. I’ll be the one reading the highly abridged sonnets, which I’m looking…

View On WordPress

#academic articles #bluesky #bsky #internet linguistics #interviews #kickstarter #lingthusiasm #mayan languages #podcasts #transcripts #tweets #twitter

39 notes · View notes

murky-tannin · 8 months

Text

INVESTIGATION REPORT

EMPLOYEE: CELLBIT

WRITE REPORT BELOW THE LINE

------------------------------------------------------------------------------

The coordinates lead to the adoption center for the eggs.

There are ladders that lead to a second floor. In there, there is an empty egg spot and a broken wall that leads into a room with painting canvas and books

One of the books (the one upside down in a frame in the wall) has coordinates.

In the lectern there is a book written in inverted words

"What has to be broken before you can use it?"

Following the coordinates, we find a kind of distant shack made of quartz with a structure similar to the adoption rooms.

Where there should be an egg, there is a book called "memories" nothing.

#qsmp #cellbit #murky mumbles #qsmp liveblogging #transcripts

62 notes · View notes

lingthusiasm · 1 month

Text

Transcript Episode 90: What visualizing our vowels tells us about who we are

This is a transcript for Lingthusiasm episode ‘What visualizing our vowels tells us about who we are'. It’s been lightly edited for readability. Listen to the episode here or wherever you get your podcasts. Links to studies mentioned and further reading can be found on the episode show notes page.

[Music]

Gretchen: Welcome to Lingthusiasm, a podcast that’s enthusiastic about linguistics! I’m Gretchen McCulloch.

Lauren: I’m Lauren Gawne. Today, we’re getting enthusiastic about plotting vowels. But first, we have a fun, new activity that lets you discover what episode of Lingthusiasm you are. Our new quiz will recommend an episode for you based on a series of questions.

Gretchen: This is like a personality quiz. If you’ve always wondered which episode of Lingthusiasm matches your personality the most, or if you are wondering where to start with the back catalogue and aren’t sure which episode to start with, if you’re trying to share Lingthusiasm with a friend or decide which episode to re-listen to, the quiz can help you with this.

Lauren: This quiz is definitely more whimsical than scientific and, unlike our listener survey, is absolutely not intended to be used for research purposes.

Gretchen: Not intended to be used for research purposes. Definitely intended to be used for amusement purposes. Available as a link in the show notes. Please tell us what results you get! We’re very curious to see if there’re some episodes that turn out to be super popular because of this.

Lauren: Our most recent bonus episode was a chat with Dr. Bethany Gardner, who built the vowel plots that we discuss in this episode.

Gretchen: This is a behind-the-scenes episode where we talked with Bethany about how they made the vowel charts that we’ve discussed, how you could make them yourself if you’re interested in it, or if you just wanna follow along in a making-of-process style, you can listen to us talk with them.

Lauren: For that, you can go to patreon.com/lingthusiasm.

Gretchen: As well as so many more bonus episodes that let us help keep making the show for you.

[Music]

Gretchen: Lauren, we’ve talked about vowels before on Lingthusiasm. At the time, we said that your vocal tract is basically like a giant meat clarinet.

Lauren: Yeah, because the reeds are like the vibration of your vocal cords – and then you can manipulate that sound in that clarinets can play different notes and voices can make many different speech sounds. They’re both long and tubular.

Gretchen: We had some people write in that said, “We appreciate the meat clarinet – the cursed meat clarinet – but we think the vocal tract is a little bit more like a meat oboe or a meat bassoon because both of these instruments have two reeds, and we have two vocal cords. So, you want to use something that has a double vocal cord.”

Lauren: I admit I maybe got the oboe and the bassoon confused. I thought that the oboe was a giant instrument. Turns out, the oboe is about the size of a clarinet. Turns out, I don’t know a lot about woodwind instruments.

Gretchen: I think that one of the reasons we did pick a clarinet at the time is because we thought, even if it’s not exactly the same, probably more people have encountered a clarinet and have a vague sense of what it looks like than an oboe, which you didn’t really know what it was. I had to look up how a bassoon works. We thought this metaphor might be a little bit clearer.

Lauren: Yes.

Gretchen: However.

Lauren: Okay, there’s an update.

Gretchen: I have now been doing some further research on both the vocal tract and musical instruments, and I’m very pleased to report that we, in fact, have an update. Your vocal tract is not just a meat clarinet, not just a meat bassoon, it is, in fact, most similar to a meat bagpipe.

Lauren: Oh, Gretchen, you found something more disgusting. Thank you?

Gretchen: I’m sorry. It’s even worse.

Lauren: Right. I guess the big bag – a bagpipe is made of a bag and pipes – the bag acts like your lungs. The lungs send air up through your vocal folds as they vibrate to make the sound. You do have a bag of air, just like in the human speech apparatus.

Gretchen: That’s a good start. What I didn’t know until I was doing some research about bagpipes – because the lengths that I will go to for this podcast have no bound – is that a bagpipe actually has reeds inside several of the pipes that extrude from the bag.

Lauren: Because there’s multiple sticking out in different spots.

Gretchen: There’s the one that you blow into, which doesn’t have a reed, but then the other ones, there’s the one with the little holes on it that you twiddle your fingers on and make the different notes, and then there’s also some other pipes up at the top. They also have reeds in them. Those reeds are just tuned from the length to a specific level. You know when you hear someone start playing the bagpipes and there’s this drone? [Imitates bagpipe sound] The sort of single note? That’s because of the note those reeds are tuned to in the other pipes that don’t have the holes in them.

Lauren: Ah, they’re not just decorative.

Gretchen: Right. They have this function of giving this harmony to the melody that’s being played on the little pipe with the holes in it, which is technically known as the “chanter,” but this is not a bagpipe podcast despite appearances to the contrary. We will link to some people on YouTube telling you more than you ever wanted to know about how bagpipes work if you want to go down that rabbit hole. But if you had an extra pair of hands or two, or a couple people helping you sort of reaching around your shoulders – this metaphor’s getting weirder by the minute – and you cut a bunch of little holes in the other sticking-up-the-top pipes –

Lauren: You would have less droning, and you could play multiple melodies or multiple notes at the same time. Hm.

Gretchen: At the same time. With this, you could make a bagpipe play something very close to vowels.

Lauren: Ah, cool!

Gretchen: This is so cursed.

Lauren: I mean, yes. Before we even talk about making it out of meat – it’s deeply, deeply cursed – it kind of reminds me of this instrument from the early 20th Century called the “voder.”

Gretchen: Would I pronounce that “vo-DUH” or “vo-DER”?

Lauren: With the R at the end.

Gretchen: Okay, “voder.”

Lauren: Thank you, convenient rhotic speaker here.

Gretchen: I’m glad to be of service.

Lauren: It kind of looked like something between a little stenographer’s keyboard and a piano, and with a whole bunch of finger keys and foot pedals you could manipulate it to make something that sounds like human speech.

Gretchen: Ah, wow. And this is pretty old?

Lauren: It’s from like the 1930s. There’s a little, short video snippet in one of the links in the show notes.

Gretchen: You could play these chords, and also have some consonants somehow, and end up with something that sounds like a synthetic human voice.

Lauren: Yeah. A lot of the early computer speech synthesis, as well, was actually quite good at making things that sounded like vowels. It turns out a lot of the consonant things are a little bit harder to do, but the very basic sound of vowels, as you say, you could play it with just a few bagpipes very carefully re-engineered.

Gretchen: I guess if you’re looking at instruments that can play multiple notes at the same time, we could also say that the human is like a meat piano.

Lauren: Right.

Gretchen: Or at least you could make vowels on a piano by doing a sufficiently complicated sequence of weird chords, like notes at the same time.

Lauren: I mean, we also have an instrument that’s known as the human voice. Humans are very good at singing. We possibly don’t have to engineer all these cursed things to get to that.

Gretchen: Okay. Let’s talk about the human voice as itself. We start with the vocal cords or folds. The tenseness or looseness of the vocal folds is what produces pitch. Then they go through the throat, which we can think of as one tube. Then they go through the mouth cavity, which we can think of as a second tube. Each of these tubes bounces around the sound in different ways to add two additional notes – one from the throat, one from the mouth – onto the sound that’s coming out, which is what makes it sound like a vowel to us.

Lauren: You can map the physics of air moving through the throat space and the mouth space as it comes out to pay attention to the differences between different sounds.

Gretchen: If you’re taking a physics diagram or a diagram of the acoustic signal and saying, “Which pitches are coming out of the mouth, which frequencies are coming out of the mouth that are being produced by these two chambers?” then you can see what those are, and you can do stuff with those diagrams once you’ve made them.

Lauren: The seeing bit is spectrograms, which we looked at in an earlier episode and played around with making different sounds and how they look in this way of visualising it where you have all these bands of strength and information that you can see vary depending on the different sounds that you made. That’s because of those different ways that we manipulate and play around with the air as its coming out of our mouth.

Gretchen: The first band that comes out is just the pitch of the voice itself. The lowest one is what we hear as the pitch of the sound, but I can make /aaaa/ and I can make /iiii/. Those are the same set of pitches but on different vowels.

Lauren: There’s something more than pitch happening there.

Gretchen: There’s something more than pitch happening. There’s two more notes – sounds – that come out at the same time. If the throat chamber is large because the tongue is fairly high and far forward, then this sound that’s the next one after the pitch, which was call “F1,” is low. Then if the mouth is quite open, and the lips are spread, the mouth chamber is quite small, so that sound is quite high, so the next sound, “F2,” is high pitched. If you put your tongue far forward, and your lips spread, you get /i/. The first of these dark bands is low; the second of them is high. That produces the sound that we hear as /i/. Whereas, by comparison, if we make the sound /u/, the throat chamber is still large because the tongue is quite high, but now, the mouth chamber is big because we have the lips rounding that make it big – /u/. Now, F1 is low, and F2 is also low, and we’re hearing the sound /u/.

Lauren: We have a very clear way of telling from those signals in the spectrogram, if we look at it, the difference between an /i/ and an /u/, even if we can’t hear it, we can see it on the spectrogram. This is where you begin to read spectrograms.

Gretchen: Or if we want to start measuring spectrograms very precisely, we can start doing this. We can also start seeing, okay, is /i/ when I make it the same as the /i/ when you make it?

Lauren: They’re similar enough that we recognise it as the same sound. If we both say, “fleece.”

Gretchen: “Fleece.”

Lauren: You say, /flis/. I say, /flis/.

Gretchen: /pətɛɪtoʊ pətatoʊ/. I think they sound pretty similar.

Lauren: Mine is maybe a little bit higher. I really pushed my tongue forward and up. It’s a very Australian thing to do.

Gretchen: We can actually record some people making all of the vowels and compare their measurements for these two different bands of frequency and see how similar two people’s vowels are to each other.

Lauren: Depending on the quality of your recording, you can see a lot more happening there as well. There’re all the properties that mean that we can tell your voice from my voice, or my voice from someone who has exactly the same accent because we have all these other features. It’s very different to if you record, say, a whistle or one of those tuning forks that people use to tune instruments because they are giving a clean single note.

Gretchen: A pure tone that’s just one frequency, one pitch, not several pitches all at the same time that we then have to smoosh together and interpret as a vowel sound.

Lauren: That’s what gives the human voice its richness. If a human voice sings the same note as a clarinet and an oboe, which are definitely two completely different woodwind instruments, there’s all these extra bits and things in the spectrogram that you can pick up the difference in the quality or just use your ears – also another possibility.

Gretchen: Yeah. If you wanna do detailed acoustic analysis on it – which is kind of fun and can tell us more precise things about the differences between how different people speak, which is neat – then you have this very precise way of measuring it by converting it into a visual graph/chart thing or a vowel plot rather than just listening to someone and being like, “Uh, these sound pretty similar. I dunno. I guess they’re a bit different. How are they different? Hmm.” Sometimes, being able to do it with numbers is easier.

Lauren: In the era before we had computers to create spectrograms and take these measurements, people did use their ear. The best phoneticians had this amazing ability to tell the difference between really, really subtly-similar-but-slightly-different sounds.

Gretchen: And they’re so well trained in being able to hear the difference between “Oh, you’re saying this, and your tongue is a little bit further forward than this other person who’s saying this with their tongue a little bit further back,” but if you’re not very good at hearing tongue position out of sounds, you can also produce some stuff and make the machines tell you some numbers about it, which can be easier with a different type of training.

Lauren: When we talk about the position of the tongue and how open the mouth is, we can use a plot to map where in the mouth these things are happening. That’s called the “vowel space.” We made a lot of silly sounds when we talked about that many episodes ago.

Gretchen: The vowel space goes from /i-ɛ-a/ on one side.

Lauren: That’s all up the front of your mouth, and it’s just going from being more close to more open.

Gretchen: /i/ to /ɛ/ to /a/, but you can through all these subtle gradations between them, and through /u-ɔ-ɑ/ at the back.

Lauren: That’s from all the way up the top at the back to open at the back.

Gretchen: You can draw a diagram of this which is shaped like square that’s been a bit skewed. It’s wider at the top than at the bottom. It’s known as the “vowel trapezoid” because the mouth is not perfectly shaped like a square. The jaw can hinge open.

Lauren: Only so far.

Gretchen: Only so far.

Lauren: Because this represents how you say or articulate these sounds, this is known as “articulatory phonetics.”

Gretchen: But then because you’re articulating a thing that goes into a sound that we can also analyse as the sound itself, these ways that you can articulate things map onto things that show up in the sound itself. Analysing that is called “acoustic phonetics.”

Lauren: Because you’re paying attention to the acoustic properties – the sound properties.

Gretchen: The really nifty thing is that this vowel chart that we’ve made from over 100 years ago, linguists, before they had computers, were like, “Here’s what I think the articulatory properties of the vowels are based on my mouth and my ear and some other people’s mouths and ears.” You can actually map very precisely this acoustic thing. Once we had computers, you can make them correspond to each other in this way that – you hope it works because, obviously, people do understand the vowels, but it actually does work when you start measuring things as well.

Lauren: I had always wondered whether it was just a coincidence that the articulation – where you put your mouth – and the acoustic information about the F1 and F2 with the spectrogram, but explaining it in terms of F1 and F2 are the way you change the shape of your throat and your mouth that leads to these changes in the acoustic signal, you can see how the articulation and the acoustics come together, and you get a similar type of information across both of them.

Gretchen: Absolutely. I think it’s really neat that there’s this relatively straightforward correspondence. There’s also, you know, an F3 that also does other stuff because there’s other more squishy bits of your mouth, and we’re not getting into them.

Lauren: There’s also a bunch of flip-flopping of X- and Y-axes that you need to do that Bethany kindly walked us through in the bonus episode.

Gretchen: Because these diagrams were created in an era before they were doing the computer acoustics. Sometimes, I think about the alternate version of what phonetics would look like if we’d started doing it with computers right away, and how there’s all this analogue stuff that’s residual based on human impressions, and how our vowel charts might be completely rotated if we had just started doing it with computers the whole time.

Lauren: But then we’d have to imagine ourselves standing on our heads to say anything, so I’m glad they are the way they are.

Gretchen: That’s true. When you’re talking about vowels, it’s an interesting challenge with English because there’s lots of different dialects of English, varieties of English, ways of speaking English, and, generally speaking, we’re pretty good at understanding other accents. One of the big factors that accents vary on, though, is the vowels.

Lauren: Yeah.

Gretchen: If you’re getting people to record a word list to do some vowel analysis on, what you might wanna do is have them record a bunch of words that all begin and end with the same consonant insofar as possible.

Lauren: Because vowels are very sweet and easily influenced. They’re very easily influenced by the consonants that are next to them. You have to make sure that they’re all kept in line and not influenced by what’s happening around them by giving them all the same context.

Gretchen: They’re very susceptible to peer pressure. You can have people say something like, “beat,” “bet,” “bit,” “bought,” “boot,” all of this stuff between B and T.

Lauren: I learnt to record between H and D: “hid,” “had,” “hoo’d,” “hawed.” Some of those words are less, uh, common – frequent – than others, but again, a really consistent environment.

Gretchen: But this also, obviously, causes problems for when you want to talk about the particular vowels in a given accent or in a given variety because if you go around saying, “Oh, well, the /hoɪd/ vowel” or something like this, how do you know if that’s a Cockney person saying, “hide,” or it’s me saying “hoyed,” or something else because all your consonants are the exact same, and there’s nothing to let you figure out what the original word is.

Lauren: Someone did come up with a solution for this. That person’s name is John Wells.

Gretchen: John Wells is this British phonetician who I’ve never actually met in person, but I feel like I know him because I used to read his blog back when he posted more actively.

Lauren: He used to write his blog in the International Phonetic Alphabet, which means that if you read the IPA, you would be reading it in John Wells’s voice.

Gretchen: You absolutely would be. This was a challenge that I used to set to myself. Sometimes, he also wrote in Standard English orthography, to be fair, but sometimes he would just write a whole blog post in IPA, and you’d be like, “Cool, I guess I’m reading this out loud to myself and hearing John Wells’s accent and speaking it like him,” which was really neat. In the 1980s, John Wells was like, “Hey, it’d be really useful if we had a way to refer to sound changes that happen in different English varieties,” which often happen to – like, all of the times you say the /ɪ/ vowel are a little bit more like this or like that, depending on the accent.

Lauren: I think it was very personally motivated because he was writing a book called “Accents in English.” It gets very difficult in a book, especially, but even in an audio recording, to be like, “the /ɪ/ vowel,” “the /u/ vowel.”

Gretchen: Right. You could use the International Phonetic Alphabet to refer to the specific vowel that people are making. But if you want to say, “People in this area realise this vowel as that, and people in this other area realise the same vowel as something else,” how do you refer to that thing that’s the macro-category of vowel that people would consider themselves to be saying the same word, but the specific way they’re realising it is different? He came up with what he called “the standard lexical sets,” which are now also called, “Wells Lexical Sets,” possibly John Wells’s greatest legacy, which is a bunch of words that are, crucially, easy to distinguish from each other based on the surrounding consonants that you can say when you’re giving a talk – like you can say, “the ‘kit’ vowel,” or “the ‘goose’ vowel,” or “the ‘fleece’ vowel,” and people know that the “kit” vowel refers to the specific sound because there’s no other “keet” word in English that it could be confused with.

Lauren: John Wells was somewhat self-deprecating when he was talking about this, and he was like, “I just kind of came up with it in a week where I had to write this bit of the book, and it’s weird to think that they’re still in use now,” but it was based on years of insight into the different ways different varieties of English realise different vowels and the balance he was trying to strike.

Gretchen: He has this charming blog post from 2010 where he’s like, “Anybody’s welcome to use them. I don’t claim any copyright. Maybe this is my legacy now, I guess.” He does actually put quite a bit of thought into the sets because they’re words that can’t be easily confused for each other. Sometimes, that means the words are a little bit rare. You have “fleece.” You might think, “Well, why not use ‘sheep’ because surely that’s more common. People say that.”

Lauren: But “ship” and “sheep” are very hard to distinguish in some varieties of English.

Gretchen: Right. If you had “sheep,” it could be confused with “ship,” whereas if you have “fleece” and “kit,” there’s no “flice” or “keet” for them to be confused with.

Lauren: Good nonce words to add to your collection.

Gretchen: Thank you. Similarly, for people like me where I make the vowels in “caught,” as in the past tense of “catch,” and “cot,” as in a small bed, the same. If I talk about /cɑt/ and /cɑt/, people are like, “I dunno which one you’re talking about because you say them both the same.” And I’m like, “Great, neither do I.”

Lauren: You mean when you’re talking about /cɑt/ and /cɔt/.

Gretchen: Hmm. Yes, see, you don’t have that “caught/cot merger.”

Lauren: Very easy for me, but it’s much easier to be able to say /θɔt/ and /lɑt/ – much more distinct for me to perceive with you because they don’t have merged equivalents.

Gretchen: “Thought” and “lot” are much more distinct because the consonants are different. You don’t need to be relying only on the vowels. Some of these words are just super fun. Can we read the whole Wells Lexical Sets? There’re not very many of them.

Lauren: Sure. Let’s take turns in going through each of the words.

Gretchen: All right.

Lauren: So, you can hear the differences in the way we pronounce each of these vowels.

Gretchen: /kit/.

Lauren: /kit/.

Gretchen: / dɹɛs/.

Lauren: / dɹɛs/.

Gretchen: / tɹæp/.

Lauren: /tɹæp/.

Gretchen: /lɑt/.

Lauren: /lɑt/.

Gretchen: /stɹʌt/.

Lauren: /stɹʌt/.

Gretchen: /fʊt/.

Lauren: /fʊt/.

Gretchen: /bæθ/.

Lauren: /bɑθ/.

Gretchen: Ooo, very different.

Lauren: We’ll come back to that one.

Gretchen: /klɑθ/.

Lauren: /klɑθ/.

Gretchen: /nɛɹs/.

Lauren: My Australian English speaker in me is already immediately prepared for /nɛːs/.

Gretchen: So, non-rhotic. Very good.

Lauren: Yeah.

Gretchen: /flis/.

Lauren: /flis/.

Gretchen: /fɛɪs/.

Lauren: /fɛɪs/.

Gretchen: /pɑm/.

Lauren: /pæm/.

Gretchen: Ooo, very different. /θɑt/.

Lauren: /θɔt/.

Gretchen: Also, very different. We’ll come back to this. /goʊt/.

Lauren: /gəut/.

Gretchen: Bit different. /gus/.

Lauren: /gus/.

Gretchen: /pɹəɪs/.

Lauren: /pɹæɪs/.

Gretchen: Bit different. I have Canadian raising there. We’ll get back to that. /t͡ʃoɪs/.

Lauren: /t͡ʃoɪs/.

Gretchen: /moʊθ/.

Lauren: /mæʊθ/.

Gretchen: Also, we’ll get back to that. /niɹ/.

Lauren: /nɪɑ/.

Gretchen: /skwɛɹ/.

Lauren: /skwɛɑ/.

Gretchen: /stɑɹt/.

Lauren: /stɑːt/.

Gretchen: /nɔɹθ/.

Lauren: /nɔːθ/.

Gretchen: /fɔɹs/.

Lauren: /fɔːs/.

Gretchen: /kjʊɹ/.

Lauren: /kjʊɑ/. I’m only slightly hamming up my Australian English diphthongs there.

Gretchen: That whole set with the Rs where I’m like, “These are just the same sounds, but now there’s an R,” you’re like, “No, these are really different diphthongs.”

Lauren: /kjʊɑ/.

Gretchen: /kjʊɑ/. /kjʊɹ/.

Lauren: Taking you on a journey of my whole mouth.

Gretchen: One thing you could do if you’re trying to compare mine and Lauren’s vowels is you could listen to us saying them and being like, “Yeah, those sound kind of different in some places.” But another thing we could do, is we could draw some diagrams.

Lauren: That’s what we did.

Gretchen: Yes!

Lauren: We were very grateful that Dr. Bethany Gardner – who is a recent PhD in psychology and language processing at Vanderbilt University in Nashville in the USA – took the time to work with us to take recordings of us saying words and plotting the vowels onto a vowel plot.

Gretchen: Now, we can look at our vowel plots and compare our vowels to each other. We have a whole bonus episode with Bethany about how we made these graphs with them. For the moment, let’s just look at them and compare them with each other and say some things about the results.

Lauren: We sent Bethany recordings of us reading the Wells Lexical Sets, much the way we did just then.

Gretchen: Less giggling though.

Lauren: We did record them a little bit more professionally, but they also used some processes to scrape data of equivalent word recordings from episodes of Lingthusiasm using our transcripts – turns out, another use of our transcripts!

Gretchen: Get people to analyse your vowels for you. It’s so cool!

Lauren: You can see the difference between clearly spoken vowels where we’re really focusing on them and then that really compelling influence that other sounds have on vowels that drag them all over the space.

Gretchen: Yeah. I’m looking at the first set of graphs for each of us, which are the Wells Lexical Sets, and my vowels are a lot more consistent in them. When I make /i/ and /ɪ/ and /u/, all the points are quite clustered in one spot – because we said everything several times – but I seem to be hitting quite a consistent target there. Whereas when I look at Bethany’s vowel plot of me from the Lingthusiasm episodes, there’s way more stuff there, and I’m way more spread out. My vowels are less consistent with each other because I’m producing them in several words. They tested several different words. I’m just producing them in running speech where things merge into each other a lot more rather than this very clear word list style.

Lauren: And human ears and brains are so good at disambiguating things that might be very close to each other in the plot, but in a running sentence, we can hear them quite clearly for the words that they are.

Gretchen: Right. My “goose” vowel and my “foot” vowel – /gus/ and /fʊt/ – are almost totally distinct from each other when I’m reading a word list. There’s very little overlap in terms of how I’m saying them. But when I’m saying them in running speech, apparently there’s a lot of overlap because I’m probably saying something like, “Oh, go get the goose,” /gʊs/, rather than /gus/ with that really clear /u/.

Lauren: There’s no other word I’m gonna confuse “goose” with, or even if I did, in context, I’d know what thing you’re expecting me to go get.

Gretchen: Right. Even if I’m saying something like, “dude,” you’re not gonna confuse that for “dud.” I’d be saying them in different contexts.

Lauren: The nice thing is you can see, especially from our clearly spoken word lists, that we are speaking a language where the vowels are in a similar place, but there are some slight differences. You can actually start to get the hang of the differences in the way different varieties of English tend to use the vowel space from this information.

Gretchen: One of the things I noticed about your vowel plot, Lauren – and this is a feature of Australian English – is that your “kit” vowel and your “fleece” vowel are very close to each other, especially in episode speech rather than word list speech.

Lauren: Yeah, “kit” and “fleece,” for me, are both really far forward. You’re using other features like length or tenseness to really disambiguate them. People struggle to do it.

Gretchen: Or just in context. I noticed when I was visiting Australia that people would say things like /bɪːg/, and I’d be like, “Oh, okay, I would say that as /bɪg/.”

Lauren: It’s a pretty classic feature of Australian English. It does remind me of one of the most embarrassing times someone misheard me when I was living in the UK. I was talking about how I used to be on a team with my friends for social netball. This person was not listening that well, and it was a noisy environment, and they thought that I had said, “nipple.”

Gretchen: Oh, no!

Lauren: /nɪpl̩/ and /nɛtbɑl/.

Gretchen: /nɛtbɑl/, /nɛtbɑl/, whereas I think my /ɪ/ and /ɛ/ vowels, my “kit” and “dress” vowels, are pretty distinct from each other. They don’t really overlap.

Lauren: Whereas all of Australian English is really far forward. It tends to be quite high. The British English speaker – I don’t know what sport they thought we play in Australia, but there was a moment of deep confusion.

Gretchen: These are the types of things that you can find out when you get your vowels done the way sometimes people – I think there’s a trend on Instagram right now to get your colours done, you know, find out whether you’re a “winter” or a “soft spring” or something like this.

Lauren: I’m an Australian English “kit”-fronting.

Gretchen: Yeah. What are your vowels? What does this say about where you’re from? Is there anything you noticed about mine?

Lauren: I think, for you, definitely what becomes clear is that “caught/cot merger,” or, as I like to think about it, the “Gawne/gone merger.”

Gretchen: Ah, the “Gawne/gone merger.”

Lauren: I can tell if people have it if my name and the word “gone” sound the same.

Gretchen: The past participle of “go.”

Lauren: It’s very salient for me. The cot/caught merger is so famous, people don’t use the Wells Set terms for it. They just refer to it as “caught/cot.”

Gretchen: But you could also call it the “thought/lot merger” or the “lot/thought merger.” I never know which one goes first because I literally just think of these as being said the same.

Lauren: You can see evidence. We’re not imagining that you’re merging them. You are physically merging them in the vowel space.

Gretchen: I’m literally saying them as the same thing. I was always confused about the “thought” vowel when I was learning the International Phonetic Alphabet because I was like, “I can’t figure out how to make a sound that is somewhere in between this sound in ‘lot’ and ‘thought’ but doesn’t go all the way up to the /oʊ/ in ‘goat’.” It doesn’t feel like there’s anything between them for me. That’s true. The vast majority of Canadians have “thought” and “lot” merged. But unlike at least some Americans, we don’t have them merged low; we have them merged high. I have “thought” and “caught,” and in order to produce the other vowel, I had to actually produce something lower in my throat – like /θɑt/ /cat/ which sounds very American to me – I had to produce this lower sound because there was no space between “thought” and “goat.” They’re very close to each other. In fact, the thing that I wasn’t producing was /ɑ/, the really low one, that sort of dentist sound.

Lauren: Yeah. Movements and mergers can happen in all kinds of different directions. The merging of “cot” and “caught” also explains why it took me a very long time to understand that “podcast” is a pun because it’s meant to be a pun with “broadcast,” and /pɑd/ and /bɹɔːd/.

Gretchen: /pɑdkæst/ and /bɹɑdkæst/. It’s the same vowel for me.

Lauren: Whereas it works as a pun for you. That was very satisfying to learn that’s why that’s meant to be a pun.

Gretchen: The pun that I didn’t get based on my accent – and this is to do with the “price” and “mouth” vowels – I didn’t realise that “I scream for ice cream” was supposed to be a pun.

Lauren: Oh, because the raising that you have in Canada means that it doesn’t work that way, whereas /ɑɪ skɹim fə ɑɪ skɹim/.

Gretchen: Right, you have the same vowel in those – or the same diphthong – but for me, “I scream for ice cream,” those are very different. In “choice” and “price,” I have different vowels than I would have in “choys” and “prize” – if “choys” was a word.

Lauren: “Bok choys” – multiple.

Gretchen: “Bok choys” – yeah, several of them. And “prize.”

Lauren: Returning to “podcast” but moving to the other end of the word, /kɑst // kæst/ as a distinction is so famous in mapping varieties of British English that people talk about /bɑθ // tɹæp/ distinctions all the time.

Gretchen: I hear of it as called the “bath/trap split,” but as you can hear, the “/bæθ // tɹæp/ split,” I just say them both the same.

Lauren: Whereas in Australia, Victorians traditionally would say /kæsl̩/ like “trap,” and people further north and in the rest of the country could say, /kɑsl̩/ –

Gretchen: Like “bath.”

Lauren: So, whether you’re a /kɑsl̩/ or a /kæsl̩/ shows this “bath/trap split” as well, to the point where, in New South Wales, you get the city of “New /kɑsl̩/,” but in Victoria, you have the town of “/kæsl̩/ Main.”

Gretchen: Ooo, this “castle” distinction from the “trap/bath split” – I think sometimes when I’m trying to do a fake British accent, I will just make all of my “traps” and “baths” into /tɹɑps/ and /bɑθs/.

Lauren: Right, okay. You know there’s something happening there, and you haven’t quite landed – because it does vary.

Gretchen: Well, then they’re not different categories for me because it’s all one category, and I push them all forward rather than moving half of them because I don’t know which half to move.

Lauren: I find it very satisfying listening to “No Such Thing as a Fish,” because they talk about the /pɑdkɑst/ or the /pɑdkæst/, and their guests do, depending on whether they’re from Southern England or more in the midlands and north where they tend to say /kæst/ instead of /kɑst/.

Gretchen: I have literally never noticed this distinction. I’ve also listened to many episodes of “No Such Thing as a Fish” because you made me start listening to them back in the day, and I’ve never noticed that they say anything different because it’s just not something I pay attention to.

Lauren: It’s so salient for me as a Victorian English speaker, but I notice it all the time. There would be a really fun mapping variation activity to do listening through to Fish – turns out I just listen to it and don’t get distracted by that too much.

Gretchen: Well, if you want to commission Bethany to make graphs of their vowels, I’m sure that’s an option.

Lauren: I love how Wells’ lexical set has just entered – in many ways, the “bath/trap split,” it means you get all these other terms like “goose fronting,” which is just great as a term.

Gretchen: I love how vivid these words are. Things like “fleece” and “goose” and “goat,” they’re very common animal nouns that are quite vivid.

Lauren: And there’re definitely linguists who have dressed up as Wells Lexical Set items for Halloween. It makes a great group Halloween costume.

Gretchen: Oh my gosh, my favourite one of these was from North Carolina State University. They got the whole department, and they each dressed up as one member of the Wells Lexical Set. Someone was a “kit.” They dressed like a cat. Someone dressed like a goose, and someone dressed like a cloth or a fleece. Then they stood in the positions to create the vowel diagram. They posted a photo on the internet. You can see it. We will link to it. It’s really great.

Lauren: Magic. You and I also once had a project where we plotted the Wells Lexical Set using emoji.

Gretchen: That was your project.

Lauren: I did the making the joke. You did the graphic design. It was a good team project.

Gretchen: Okay, that’s fair. That’s fair. I feel like I remember you being the instigator of this.

Lauren: Shenanigans were shenaniganed.

Gretchen: You can get a goose emoji and a goat emoji, and you can map the vowels in there as well.

Lauren: And “Goose fronting” – because we’re talking about moving the tongue further forward or back or up and down in the vowel space – I have quite fronted vowels as an Australian English speaker for my front vowels. So, “goose” – I’ve already got it quite far forward compared to you. You can see that in the diagrams.

Gretchen: I think my “goose” – my goose is also cooked – my “goose” is also fronted. Because I think Canadian English is also undergoing goose fronting. There’s a lot of different regions that are all simultaneously fronting their geese – no, not their “geese,” fronting their “gooses.”

Lauren: Fronting their “gooses.” I feel like the really stereotypical example is from California, particularly in the lexical item “dude.”

Gretchen: “Dude” – sort of like a surfer pronunciation of “duuude.”

Lauren: “/du̟d/ you’re a fronted /gu̟s/.”

Gretchen: If you compare that with like /dud/, which would be less fronted, /dud/ sounds like you’re more of a fuddy duddy, and /du̟d/ sounds like you’re “so /ku̟l/.”

Lauren: Yeah, I mean, there’re other things happening there as well because I found a paper while researching this where someone looked at 70 years of Received Pronunciation, which is that incredibly stuffy, British, old-fashioned newsreader voice. Apparently, goose fronting is happening in that variety as well.

Gretchen: Oh, so if the Queen was still alive, she’d be fronting her “goose” as well?

Lauren: Quite possibly. Gooses are being fronted all over the place.

Gretchen: All over the English-speaking world. One of the things that can happen if you’re getting your vowel tea leaves read is you can say things about region. Another thing that looking at a vowel plot can do – because vowels just contribute so much to our sense of accent – is it can say things about gender. One of the cool studies that I came across about this is there’re studies of kids. People often assess someone’s gender based on their voice. If someone’s on the phone, you may have an idea about their gender. You may also have an idea of their age. Part of this is based on vocal tract size. Kids’ voices are high pitched because kids’ heads and throats and larynxes are smaller than adults.

Lauren: The cool thing is there’s no gender difference in that until puberty. People who go through a testosterone-heavy puberty tend to grow larger vocal tracts and tend to have deeper pitches. I mean, not in the scheme of things where they’re so completely different. There’s so much overlap. But we’re really tuned into these subtle differences. But before that age, anything that kids are doing different, it’s nothing to do with what’s happening with the meat pipe and everything to do with what’s happening with the social performance of gender, which is to do with your culture.

Gretchen: Even at age 4, when there’s really no physiological difference, age 8 when there’s really no physiological difference, you can see that kids are producing their vowels somewhat differently in a difference that increases with age based on their gender because they’re culturally acquiring “This is what it means to feel like a boy,” “This is what it means to feel like a girl,” and they’re doing gender with their voices even when they don’t have the vocal tract changes reinforcing that yet.

Lauren: Cool.

Gretchen: Yeah. You can see that there are differences at age 4 that increase with age and increase up to age 8 and 12 and 16 and get more distinct from each other. The other thing is, once people get a bit older in teenage-hood and in adulthood, there are gender differences in vocal tract. The general finding with gender differences in vowel plot size – so we’ve been talking about having some vowels be more front or some vowels be more similar to each other, but the overall finding when it comes to gender is roughly that, at least in English-speaking environments, men tend to have all of their vowels more similar to each other, more towards the centre of the space/ Specifically, cis straight men tend to have vowels that are all more towards the centre of the vowel space. Everybody else – so cis, straight women, gay men, lesbians, trans people of all genders, nonbinary people – use way more of the vowel space.

Lauren: Straight men, you’re missing out.

Gretchen: Like, cis straight men are doing this one very specific thing with buying into hegemonic masculinity of vowels where they’re not wearing interesting colours, and they’re not doing interesting vowels.

Lauren: Hmm.

Gretchen: There was one quote from one of the studies that I read where they had one cis straight man who was an anomaly in the list of not doing this very centralised vowel thing, and he was like, “Yeah, sometimes people hear me, and they think I’m gay, which I’m not. I’m just a nerd. I don’t really do that macho stuff.”

Lauren: Aww, it’s nice they asked him.

Gretchen: Yeah. “People just perceive my vowels as whatever. I don’t really care. I’m not trying to do that thing with my vowels.”

Lauren: Fascinating that the social discourse was enough that he had been made aware of it.

Gretchen: Yeah, and that doing anything out of that little man box of the very small set of vowels was enough to get him thinking, “Oh, yeah, well, it’s because I don’t buy into this particularly narrow view of masculinity.”

Lauren: Fascinating. I should say, you flagged English there, but that’s because we have more of this work in English. We need more of this work across the world’s languages. There’s so much to be done about the social dimensions of vowels.

Gretchen: Right. A lot of the early work in, especially, gender and vowels has this very essentialist framework of like, “We found the male vocal tract; we found the female vocal tract.” There’s a recent study by Santiago Barreda and Michael Stuart which I got to see at the Linguistic Society of America last year where they were looking at “What are the vowel differences between genders, and can we actually characterise these more precisely?” They found that the biggest thing that affected vowel spaces was actually related to height. Taller people have more space in their vowels – deeper voices.

Lauren: Makes sense. They’ve got more space for their bigger meat pipe. That’s more of a bassoon than an oboe, Gretchen.

Gretchen: Taller people have a bigger meat pipe. In fact, the relationship between height of your whole body and size of your meat pipe is very linear and doesn’t have a categorical distinction for gender. Of course, if you collapse this into two different buckets labelled “men” and “women,” you’ll find, on average, that men are taller than women on average, but of course, there’re lots of individual people who are exceptions to that, and it’s much more of a variant thing. Similarly, with some of the research on sexuality, some of the early stuff is like, “Oh, do gay men or do lesbians have different-shaped vowel tracts from a physiological perspective?” The answer is “No, this is cultural.”

Lauren: Right, yeah.

Gretchen: But the finding keeps being reported in terms of like, “Oh, well, gay men have more extreme vowels in various places,” especially with “trap” being produced further away from the centre of the mouth. Lesbian women tend to have further-back sounds for “palm” and for “goose,” or sometimes they’re intermediate between male and female targets. But again, this seems to very much be cultural. The bi women – some studies found they patterned with the lesbian women. Some studies found they pattern with the straight women. No one knows what to do with us. The one study I found on bi men found they patterned with the gay men, but again, maybe other studies would find something different. There’s a paper by Lal Zimman about trans men’s voices being perceived as quote-unquote “gay” after they go on testosterone. He finds that it’s not quite the exact same as the cis gay men, but it’s also because it seems to not be in that narrow man box. People are just parsing it as gay.

Lauren: So many cultural attitudes coming to bear on vowel spaces.

Gretchen: Studies on trans women’s vowel spaces is often fairly dominated by the speech pathology literature, which is about, specifically, vocal training and trans women really trying to make their voices sound different, but it still finds that they’re not doing exactly the same thing as either cis women or cis men.

Lauren: Right. Again, lots of cultural practice at play there. Anything about our nonbinary pals?

Gretchen: There is a recent dissertation by Jacq Jones, and they find that basically nonbinary people do whatever the heck they like.

Lauren: I love it.

Gretchen: Which is, again, not exactly the same as anybody else and not necessarily the same as each other either. They could just keep doing whatever they want. But yeah, there’s a lot of stuff on gender and sexuality, especially in terms of dispersion of the vowel space and regional stuff in terms of specific things being closer or further from each other.

Lauren: There’s so much happening in vowels in terms of plotting them all in this space in the mouth, but also so much happening in terms of plotting them in the social space. This is what makes vowels so rich and so interesting.

Gretchen: I feel like when we’re talking about vowel plotting, there’s this aspect of “Mwahaha, I am putting my fingers together and plotting,” which is maybe the fact that vowels do convey so much social information about who you are or where you’re from that you can make plots about people when you know what their vowels are. If we were going to make a meat clarinet or a meat bassoon or even a meat bagpipe –

Lauren: Oh, dear.

Gretchen: I’m so sorry. We would not only want it to be able to convey the basic vowel chart. One of the reasons why I think these synthetic versions of the human voice often sound so weird is that they don’t have all of this additional demographic information, regional information, gender and sexuality information that’s also so important to our experience of vowels.

[Music]

Gretchen: For more Lingthusiasm and links to all the things mentioned in this episode – including visualisations of our very own vowel plots – go to lingthusiasm.com. You can listen to us on all the podcast platforms or lingthusiasm.com. You can get transcripts of every episode on lingthusiasm.com/transcripts. You can follow @lingthusiasm on all the social media sites. You can get scarves with lots of linguistics patterns on them including the IPA, branching tree diagrams, bouba and kiki, and our favourite esoteric Unicode symbols, plus other Lingthusiasm merch – like “Etymology isn’t Destiny” t-shirts and aesthetic IPA posters – at lingthusiasm.com/merch. Links to my social media can be found at gretchenmcculloch.com. My blog is AllThingsLinguistic.com. My book about internet language is called Because Internet.

Lauren: My social media and blog is Superlinguo. Lingthusiasm is able to keep existing thanks to the support of our patrons. If you want to get an extra Lingthusiasm episode to listen to every month, our entire archive of bonus episodes to listen to right now, or if you just wanna help keep the show running ad-free, go to patreon.com/lingthusiasm or follow the links from our website. Patrons can also get access to our Discord chatroom to talk with other linguistics fans and be the first to find out about new merch and other announcements. Our most recent bonus topic was a chat with Dr. Bethany Gardner, who built the vowel plots we discussed in this episode. We talked to Bethany about how to do vowel charts and how you can plot your own vowels, or you can just learn about how they did it for us. Think of it like a little behind-the-scenes episode on the making of this episode. If you can’t afford to pledge, that’s okay, too. We really appreciate it if you can recommend Lingthusiasm to anyone in your life who’s curious about language.

Gretchen: Lingthusiasm is created and produced by Gretchen McCulloch and Lauren Gawne. Our Senior Producer is Claire Gawne, our Editorial Producer is Sarah Dopierala, our Production Assistant is Martha Tsutsui-Billins, and our Editorial Assistant is Jon Kruk. Our music is “Ancient City” by The Triangles.

Lauren: Stay lingthusiastic!

[Music]

This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License.

#linguistics #language #lingthusiasm #podcast #transcripts #podcasts #episodes #episode 90 #vowels #vowel sounds #vowel plots #vowel charts #IPA #international phonetic alphabet #phonetics #accents

18 notes · View notes