WEBVTT - Accents

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<v Speaker 1>Hey, this podcast includes an unbleeped swear word that's important

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<v Speaker 1>to a story we tell, so if you've got kids

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<v Speaker 1>or sensitive years around, you might want to save this

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<v Speaker 1>one for later. Olivia Coleman, the impossibly talented British actress,

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<v Speaker 1>worked with an accent coach to prepare to play the

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<v Speaker 1>Queen of England, and the coach explained that to pronounce

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<v Speaker 1>the word yes, as her Majesty would, Olivia should say

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<v Speaker 1>the word that's spelled E A R S, like the

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<v Speaker 1>things on the side of your head. Okay, this might

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<v Speaker 1>work slightly better if you have a British accent, but

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<v Speaker 1>I'm gonna give it a go. Yes, yes, I love that,

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<v Speaker 1>I love it. Okay, here's another language parlor trick may

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<v Speaker 1>be suited better for a new world accent. Say the

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<v Speaker 1>words rise up lights in quick succession, rise of lights,

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<v Speaker 1>rise of lights, and boom you're an Australian sand razor blades.

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<v Speaker 1>I am fascinated by accents and regional dialects, and I

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<v Speaker 1>think a lot of us are. We like knowing how

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<v Speaker 1>other people swear, the kind of slang they fling around

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<v Speaker 1>that the American zucchini is the British Courgette that in India,

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<v Speaker 1>the opposite of postponing something is to prepon it, to

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<v Speaker 1>hear our own familiar language. The substrate of our thoughts

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<v Speaker 1>made new and novel is just a little electric thrill.

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<v Speaker 1>So how exactly our accents forged? Can they change? And

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<v Speaker 1>how might they affect the trajectory of our lives? You

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<v Speaker 1>are listening to deeply human and I am Dessa hereby

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<v Speaker 1>asking the question why do you talk like that? My

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<v Speaker 1>name is John Ball. It rhymes with however you pronounced

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<v Speaker 1>the words l A w or or saw. That takes

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<v Speaker 1>into account than any different regional accents. So if someone

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<v Speaker 1>is from the South, is John Bower, you know? Or

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<v Speaker 1>if it's a New Yorkist, John Blow? All right? So

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<v Speaker 1>it rhymes with law and so. John ba is the

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<v Speaker 1>president of the Linguistic Society of America and a professor

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<v Speaker 1>at Washington University in St. Louis. Lawyers sometimes called John

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<v Speaker 1>to ask for his help in what's called linguistic forensics,

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<v Speaker 1>legal analysis of speech to help shed light on a crime.

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<v Speaker 1>He's been asked to serve as an expert witness for

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<v Speaker 1>more than one trial involving homicide, and, as he puts it,

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<v Speaker 1>a person's accent could be the difference between life and death.

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<v Speaker 1>Let's back up to a pivotal moment in his career.

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<v Speaker 1>In the nineties, he became particularly interested in an insidious

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<v Speaker 1>phenomenon now called linguistic profiling. So linguistic profiling occurs when

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<v Speaker 1>someone calls for goods or services over the telephone and

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<v Speaker 1>site unseen, the person who receives the call denies those

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<v Speaker 1>goods or services based on stereotypes about the person's speech.

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<v Speaker 1>And this interest wasn't entirely academic. John himself was making

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<v Speaker 1>calls looking for a new apartment, and in a few instances,

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<v Speaker 1>when I showed up in person, I was told that

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<v Speaker 1>nothing is available. You know, and I'm African American. A

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<v Speaker 1>lot of people can't tell that from my professional voice.

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<v Speaker 1>And no one said, oh, I am so sorry. Had

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<v Speaker 1>you sounded African American over the telephone, I would have

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<v Speaker 1>never given you an appointment, right, I mean that that's

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<v Speaker 1>a slam dunk lawsuit I win. So they would always

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<v Speaker 1>come up with some other excuse. But you know, I

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<v Speaker 1>was suspicious, So he decided to run a formal experiment. Yeah,

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<v Speaker 1>I can modify my speech. So I grew up in

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<v Speaker 1>l A you understanding the in the city, and in

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<v Speaker 1>Los Angeles I had a lot of Mexican American friends,

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<v Speaker 1>So in the experiment I modified my own speech and used, Hello,

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<v Speaker 1>I'm calling about the apartment you have advertised in the paper.

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<v Speaker 1>And I'd say Hello, I'm calling about the apartment you

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<v Speaker 1>have advertised in the paper, or along coming about the

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<v Speaker 1>apartment you have advertised in the paper. The sentence was

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<v Speaker 1>always the same, and John was always the person calling,

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<v Speaker 1>so the voice was the same. The only difference was

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<v Speaker 1>the accent. As you might guess, the accent made a

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<v Speaker 1>big difference. Landlords were screening out potential renters whose speech

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<v Speaker 1>implied they were from minority communities, and as a general rule,

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<v Speaker 1>the discrimination was worse in affluent neighborhoods. And it's international.

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<v Speaker 1>We've done these experiments in South Africa and Brazil, in France,

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<v Speaker 1>and you know, every place that's an advanced industrialized society

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<v Speaker 1>has its own version of this. Linguistic profiling is also

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<v Speaker 1>bigger than ray. Other research revealed that female voices calling

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<v Speaker 1>to ask about an open executive position in a bank

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<v Speaker 1>were informed that it had already been filled, whereas mail

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<v Speaker 1>callers were more likely to be told it was still available.

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<v Speaker 1>Gay men have also reported being denied goods or services

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<v Speaker 1>because of the way that they speak. Okay, quick self

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<v Speaker 1>interruption here to note that none of us speak in

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<v Speaker 1>exactly the same way at all times. The way that

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<v Speaker 1>you'd voice frustration at having been cut off in traffic

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<v Speaker 1>by some ding dong in a miyata with flame decals

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<v Speaker 1>is not the same way that you'd voice frustration in

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<v Speaker 1>an all staff meeting. What's commonly called code switching, though

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<v Speaker 1>john Ball might more accurately call it style shifting, is

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<v Speaker 1>the way we change our speech based on context or company.

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<v Speaker 1>The ability to identify even really subtle details of dialect

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<v Speaker 1>has made John Ball a powerful expert witness and criminal court.

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<v Speaker 1>In one particular case, a murder case, he was called

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<v Speaker 1>in to analyze the recording of a phone call. If

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<v Speaker 1>you're arrested and you go to jail in the United States,

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<v Speaker 1>any phone call that you make can be recorded by

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<v Speaker 1>law enforcement, and anything you say during that phone call

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<v Speaker 1>can be used against you in a court of law.

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<v Speaker 1>A crucial bit of the prosecution's case centered on the

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<v Speaker 1>content of a call in which the defendant spoke to

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<v Speaker 1>his cousin on a jailhouse phone. Both speakers were young

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<v Speaker 1>black men, and so his cousin thought that it would

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<v Speaker 1>be to his advantage to have a speedy trial, and

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<v Speaker 1>he asked him, He said, well, why don't you do

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<v Speaker 1>a speedy trial. The defendant's answer to this question, according

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<v Speaker 1>to the prosecutor, was a smoking gun. The prosecutor produced

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<v Speaker 1>a transcript that said, why would I want a speedy

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<v Speaker 1>trial when I know I committed this ship And that

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<v Speaker 1>for the prosecutor was the admission of guilt that the

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<v Speaker 1>prosecutor needed in order to pursue the convict sction aggressively.

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<v Speaker 1>But when John heard the recording, he wasn't sure that's

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<v Speaker 1>what the defendants said at all. He heard a totally

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<v Speaker 1>different sentence, which will explain in a moment, because a

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<v Speaker 1>particular vowel caught his ear. Both speakers were using what

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<v Speaker 1>scholars referred to as African American vernacular English, and John

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<v Speaker 1>wondered if the prosecutor just didn't know how to interpret it.

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<v Speaker 1>Maybe the confession wasn't a confession at all. The prosecutor

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<v Speaker 1>likely wasn't very well acquainted with a dialect used by

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<v Speaker 1>the young man on trial. Our accents and patterns of

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<v Speaker 1>speech can vary dramatically, even for people who live very

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<v Speaker 1>near one another, and often those differences are perpetuated on purpose.

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<v Speaker 1>People from Boston don't want to sound like people for

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<v Speaker 1>New York. Right, If you're a Red Sox fan, you

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<v Speaker 1>don't want to sound like a Yankees fan. That is

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<v Speaker 1>Aaron Dinkin. He teaches socio linguistics at San Diego State University,

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<v Speaker 1>and he focuses on variations in American English dialects and

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<v Speaker 1>how they change over time, features of linguistic variation, just

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<v Speaker 1>get all of this subconscious social freight assigned to them,

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<v Speaker 1>not just in terms of regional dialects, but also in

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<v Speaker 1>terms of gender and social class and ethnicity. That word

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<v Speaker 1>dialect describes all the features of a manner of speaking

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<v Speaker 1>a language, our pronunciation, rhythms, melodies, and the particularities of

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<v Speaker 1>our vocabularies. So think of the British lift versus the

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<v Speaker 1>American elevator, or the British adjective hinch versus the American honky,

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<v Speaker 1>the British fly tipper versus the American. Okay, admittedly, I

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<v Speaker 1>just learned that word this morning, and I think it's

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<v Speaker 1>a person who dumps a lot of trash without paying

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<v Speaker 1>for proper disposal. I'm not sure we have those in America. Well,

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<v Speaker 1>I'm sure we have people who do that, but I

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<v Speaker 1>don't think we've given them a proper name, So the

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<v Speaker 1>just call them garbage scoundrels. Anyway, your accent is shaped

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<v Speaker 1>not only by where you're from, but by all sorts

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<v Speaker 1>of super fine tuned markers. Aaron told me about this

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<v Speaker 1>one study by a researcher named Suzanne Wagner that illustrates

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<v Speaker 1>how a single vowel sound can serve as a hook

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<v Speaker 1>on which all sorts of identities are home. So we're

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<v Speaker 1>talking about the long eye vowel in words like fight

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<v Speaker 1>and price and rice. It has been found that statistically

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<v Speaker 1>in Philadelphia, there is a change in the pronunciation of

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<v Speaker 1>that taking place where what was originally I as in

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<v Speaker 1>fight and rice is changing more towards that I as

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<v Speaker 1>in fight and rice. And it has been found that

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<v Speaker 1>again statistically, not like a hard and fast distinction, but

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<v Speaker 1>just you know, on average, men are more likely to

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<v Speaker 1>pronounce the vowel a little bit closer to A as

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<v Speaker 1>in fight and rice, and women are more likely to

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<v Speaker 1>pronounce it a little bit less far along that curve

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<v Speaker 1>and it sounds so brey right, so it got that

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<v Speaker 1>associated with it. But she found that that I pronunciation

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<v Speaker 1>was a little bit more common among the girls who

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<v Speaker 1>were less invested in conforming to conventional femininity and who

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<v Speaker 1>were more invested in like appearing tough, or the ones

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<v Speaker 1>who were more likely to get into fights, which is

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<v Speaker 1>perceived as a masculine thing. And there was an ethnic

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<v Speaker 1>correlation as well, because for the most part, the more

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<v Speaker 1>conventionally feminine girls in this neighborhood in South Philly were

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<v Speaker 1>Italian American and the Irish American girls were more interested

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<v Speaker 1>in seeming tough. Word broy freaking. This one vowel, even

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<v Speaker 1>just a little, really meant something. It meant something about

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<v Speaker 1>Irish roots versus Italian ones. It meant something about the

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<v Speaker 1>relative merit of trying to be fem versus trying to

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<v Speaker 1>be tough, and the girls knew it. I read some

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<v Speaker 1>of their research interviews. It was like two worldviews competing

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<v Speaker 1>for dominance in that little dot above a lower case I.

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<v Speaker 1>The vowel change in South Philadelphia is a subtle one,

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<v Speaker 1>but accents can diverge enough to cause confusion between speakers

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<v Speaker 1>of the same language. If I were watching a movie

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<v Speaker 1>whose character spoken like Scottish brogue or something, I'd probably

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<v Speaker 1>have to turn on the subtitles to track the action.

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<v Speaker 1>Which brings us back to John Baw, the expert witness

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<v Speaker 1>in the murder case and the defendant speaking African American

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<v Speaker 1>Vernacular English on a call with his cousin. To study

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<v Speaker 1>the roots of that dialect is to understand the extreme

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<v Speaker 1>pressures that forged it. The linguistic heritage of slaves in

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<v Speaker 1>the United States is unique in comparison to every other group.

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<v Speaker 1>Slave traders separated slaves whenever they could based on language.

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<v Speaker 1>Beginning in the slave factories on the West coast of Africa,

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<v Speaker 1>people who spoke the same language were forcibly kept apart.

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<v Speaker 1>If you don't share the same language, then you're less

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<v Speaker 1>likely to be able to, you know, foment an insurrection.

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<v Speaker 1>So that explains why no African language survived the Atlantic crossing. Intact,

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<v Speaker 1>We've got lots of communities where Polish is spoken, or

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<v Speaker 1>German is spoken, or Italian is spoken, but there's no

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<v Speaker 1>community where TWEE survived. And then it was illegal to

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<v Speaker 1>teach slaves to read and write African American vernacular English

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<v Speaker 1>can differ from the kind of English that's taught in

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<v Speaker 1>textbooks in many ways, in part because of this interrupted heritage,

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<v Speaker 1>and it's also the product of a lot of really

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<v Speaker 1>varied linguistic influences. If I say i'll be i'll be done,

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<v Speaker 1>told this story a thousand times, Okay, That use of

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<v Speaker 1>be done can be traced back to Scott's Irish dialects

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<v Speaker 1>and the indentured servants that introduced that to the slaves.

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<v Speaker 1>The dialect that's considered standard or correct, or the Queen's English,

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<v Speaker 1>or whatever you want to call it, that kind of

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<v Speaker 1>status is really usually just the product of the fact

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<v Speaker 1>that the classes in power consider their own way of

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<v Speaker 1>speaking as correct. But linguists recognize that, at least from

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<v Speaker 1>a purely theoretical point of view, all languages and dialects

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<v Speaker 1>are equal, but they do vary. And the dialect spoken

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<v Speaker 1>by the defendant on trial for murder was not the

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<v Speaker 1>same as the one spoken by the prosecutor. John took

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<v Speaker 1>the taped call, which included the so called confession, to

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<v Speaker 1>his language lab and he slowed it down to analyze

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<v Speaker 1>every sound, and he began some research with speakers of

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<v Speaker 1>the same dialect. I conducted some experiments with African American

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<v Speaker 1>men similar background, same age, who were listening to the

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<v Speaker 1>recording under headphones, and I had them produce at the

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<v Speaker 1>same pace. You know, I know I committed this ship

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<v Speaker 1>versus I know I ain't committed this ship. Okay, let's

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<v Speaker 1>break that down. That one syllable from the defendant is

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<v Speaker 1>the crucial detail on which John's testimony hinges and in actuality,

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<v Speaker 1>what he said in black dialect was whim a dual

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<v Speaker 1>speedy trial, want to know and committed this ship now

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<v Speaker 1>when I know I ain't committed is a nasalized dip

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<v Speaker 1>thong without the tea of the word ain't. What the

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<v Speaker 1>prosecutor had taken for a confession, John understood is a

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<v Speaker 1>statement of innocence. He took the stand and shared that

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<v Speaker 1>analysis with the jury, and he presented them with an

0:14:53.600 --> 0:14:56.440
<v Speaker 1>image called a voice print, a graphic that showed the

0:14:56.480 --> 0:14:59.960
<v Speaker 1>sound waves of both sentences. You can see the different

0:15:00.000 --> 0:15:03.280
<v Speaker 1>it's more clearly than you can hear the difference. After

0:15:03.320 --> 0:15:06.320
<v Speaker 1>all the evidence was presented, the jurors went to deliberate,

0:15:06.680 --> 0:15:09.960
<v Speaker 1>and the stakes of the verdict were really, really high.

0:15:10.120 --> 0:15:14.000
<v Speaker 1>The crime that was committed was one where the defendant

0:15:14.560 --> 0:15:21.520
<v Speaker 1>was eligible for execution, so essentially the single nasalized vowel

0:15:21.640 --> 0:15:25.160
<v Speaker 1>sound potentially could be the difference between life and death.

0:15:26.040 --> 0:15:28.480
<v Speaker 1>The jury was asked not only for a verdict, but

0:15:28.560 --> 0:15:31.960
<v Speaker 1>to decide whether to impose capital punishment a death sentence

0:15:32.080 --> 0:15:35.800
<v Speaker 1>if they found him guilty. In the end, the jurors

0:15:35.840 --> 0:15:39.640
<v Speaker 1>didn't vote to equit the defendant. They did find him guilty,

0:15:39.680 --> 0:15:44.680
<v Speaker 1>but the jury decided not to invoke the death penalty.

0:15:44.880 --> 0:15:48.440
<v Speaker 1>So it could well be that John's testimony, undermining the

0:15:48.520 --> 0:15:52.600
<v Speaker 1>otherwise damning confession, stopped them from issuing a death sentence.

0:16:00.040 --> 0:16:03.480
<v Speaker 1>Your particular dialect, which can shape your life and reflect

0:16:03.520 --> 0:16:06.920
<v Speaker 1>all sorts of facets of your identity, probably started to

0:16:07.000 --> 0:16:13.520
<v Speaker 1>gel before you learned your first word. Okay, we get

0:16:13.560 --> 0:16:15.560
<v Speaker 1>the idea. You can really only take so much of

0:16:15.600 --> 0:16:20.080
<v Speaker 1>that anyway. Researchers led by Kathleen Vermke at the University

0:16:20.080 --> 0:16:22.960
<v Speaker 1>of Wurtzburg in Germany have found that infants cry and

0:16:23.040 --> 0:16:25.520
<v Speaker 1>the melody of the language they've heard while in the womb,

0:16:26.200 --> 0:16:29.480
<v Speaker 1>so French babies tend to produce cries with the rising

0:16:29.520 --> 0:16:33.640
<v Speaker 1>melody contour, whereas German babies produce more falling ones. Both

0:16:33.680 --> 0:16:37.720
<v Speaker 1>patterns distinguishable from babies crying in Mandarin. But as soon

0:16:37.760 --> 0:16:40.000
<v Speaker 1>as we're old enough to spend time with our peers,

0:16:40.040 --> 0:16:43.720
<v Speaker 1>the parental influence on our language quickly dims in comparison

0:16:43.760 --> 0:16:47.040
<v Speaker 1>to that of our own social groups. Back to socio

0:16:47.120 --> 0:16:52.480
<v Speaker 1>linguist erindiccken to a kindergartener. If there is nobody cooler

0:16:52.520 --> 0:16:56.120
<v Speaker 1>than a first grader, right, So that's who becomes your

0:16:56.160 --> 0:17:01.440
<v Speaker 1>new lingualistic models. But the profits of language teenagers, the

0:17:01.480 --> 0:17:05.000
<v Speaker 1>way that like fifteen, sixteen, seventeen year old speak, that

0:17:05.240 --> 0:17:07.879
<v Speaker 1>is what's in the crystal ball, the nascent trends that

0:17:07.920 --> 0:17:11.240
<v Speaker 1>will shape the speech of the future, and about of

0:17:11.320 --> 0:17:17.280
<v Speaker 1>language innovations are first used by women or girls. So

0:17:18.040 --> 0:17:22.120
<v Speaker 1>what changes are currently underway? What sort of language forecast

0:17:22.160 --> 0:17:25.119
<v Speaker 1>are we in for? Well, in the North American corner

0:17:25.160 --> 0:17:27.960
<v Speaker 1>of the map, there is a front coming in. It's

0:17:28.000 --> 0:17:31.280
<v Speaker 1>been called the California shift, it's been called the third

0:17:31.320 --> 0:17:34.720
<v Speaker 1>dialect shift, it's been called the Canadian shift, the short

0:17:34.840 --> 0:17:38.480
<v Speaker 1>front vowel shift, or the low back Merger shift. So

0:17:38.760 --> 0:17:42.000
<v Speaker 1>I'm talking about the short O vowel as in c

0:17:42.240 --> 0:17:46.840
<v Speaker 1>ot cot and then this other vowel as in c

0:17:47.160 --> 0:17:53.720
<v Speaker 1>A U g h T cont and since I'm from Massachusetts,

0:17:53.960 --> 0:17:56.639
<v Speaker 1>I pronounced those two the same already. I say caught

0:17:56.720 --> 0:18:00.800
<v Speaker 1>and caught, but somebody from New York City, for example,

0:18:01.080 --> 0:18:04.119
<v Speaker 1>might say c ot cot and c a U g

0:18:04.359 --> 0:18:09.199
<v Speaker 1>h T court. Essentially, two distinct vowel sounds are collapsing

0:18:09.280 --> 0:18:12.320
<v Speaker 1>into one single sound, and this is creating a chain

0:18:12.400 --> 0:18:16.960
<v Speaker 1>reaction all over Vowelville. So other vowels are essentially shifting

0:18:17.240 --> 0:18:20.320
<v Speaker 1>to fill in the space left by this convergence. Think

0:18:20.359 --> 0:18:23.919
<v Speaker 1>of how tectonic plates shift and collide and push one

0:18:23.920 --> 0:18:28.280
<v Speaker 1>another around. So the third dialect shift involves the short

0:18:28.359 --> 0:18:32.400
<v Speaker 1>a as in the cat and the hat, moving backwards

0:18:32.920 --> 0:18:35.960
<v Speaker 1>towards like the cat and the hot the e and

0:18:36.080 --> 0:18:39.240
<v Speaker 1>dress and the eye and fit those are morphing too,

0:18:39.680 --> 0:18:44.080
<v Speaker 1>So that's what the third dialect shift is. The short A,

0:18:44.320 --> 0:18:48.120
<v Speaker 1>short E, and short eye vowels all moving kind of

0:18:48.560 --> 0:18:54.240
<v Speaker 1>down and back in the geography of the mouth. So

0:18:54.640 --> 0:18:57.720
<v Speaker 1>maybe when we hit the ten thousandth episode of Deeply

0:18:57.800 --> 0:19:01.960
<v Speaker 1>Human will be calling it a podcast as about human behavior,

0:19:02.640 --> 0:19:06.879
<v Speaker 1>I don't talk about the vowel sounds in English seem

0:19:06.960 --> 0:19:10.600
<v Speaker 1>particularly susceptible to this kind of evolution. This may be

0:19:10.600 --> 0:19:13.679
<v Speaker 1>because English, as compared to other languages, has a bunch

0:19:13.760 --> 0:19:18.280
<v Speaker 1>of vowel sounds somewhere between eleven and sixteen, which means

0:19:18.280 --> 0:19:20.160
<v Speaker 1>that each of them has sort of a narrow lane,

0:19:20.680 --> 0:19:22.440
<v Speaker 1>like if you move your tongue just a little bit

0:19:22.480 --> 0:19:26.639
<v Speaker 1>one way or the other, you wander into the neighboring sound. Spanish,

0:19:26.680 --> 0:19:30.040
<v Speaker 1>by comparison, has only five vowel sounds, and Aaron says

0:19:30.080 --> 0:19:32.400
<v Speaker 1>that some of those have been stable for as long

0:19:32.440 --> 0:19:36.040
<v Speaker 1>as linguists have been able to trace their history. Okay,

0:19:36.440 --> 0:19:45.480
<v Speaker 1>speaking of foreign languages, James, that's the signal, James, my guy,

0:19:46.160 --> 0:19:50.240
<v Speaker 1>play the next clip. My name's Katie Harris, thank you,

0:19:50.600 --> 0:19:54.200
<v Speaker 1>and I run a website called Drew of Languages, which

0:19:54.560 --> 0:19:59.160
<v Speaker 1>is where we help adults learn a foreign language by

0:19:59.200 --> 0:20:02.879
<v Speaker 1>making it far and making the grammar explanations really really simple.

0:20:03.400 --> 0:20:05.760
<v Speaker 1>Katie lives in Italy, and I'm told that her Italian

0:20:05.800 --> 0:20:09.919
<v Speaker 1>accent is pretty think good, like almost native. But it

0:20:10.119 --> 0:20:14.480
<v Speaker 1>was not always. So I've been living in Italy for

0:20:14.520 --> 0:20:17.200
<v Speaker 1>a year, nobody had ever told me about the difference

0:20:17.240 --> 0:20:23.119
<v Speaker 1>between single and double sounds. So in Italian there's this

0:20:23.200 --> 0:20:29.160
<v Speaker 1>difference between how long you hold a sound. So, for example,

0:20:29.359 --> 0:20:32.760
<v Speaker 1>if you say I'm not with two ends, then that

0:20:32.800 --> 0:20:36.280
<v Speaker 1>means year. But if you say are not with one

0:20:36.520 --> 0:20:41.639
<v Speaker 1>end a shorter end, then that means anus. So it

0:20:41.680 --> 0:20:45.119
<v Speaker 1>can be quite dangerous, especially because in Italian, so to

0:20:45.160 --> 0:20:47.919
<v Speaker 1>say your age, it's like Spanish, where you say I

0:20:48.000 --> 0:20:51.080
<v Speaker 1>have thirty five years. So I thought I'd been walking

0:20:51.080 --> 0:20:53.399
<v Speaker 1>around telling people that. Well at the time, you know,

0:20:53.520 --> 0:21:01.640
<v Speaker 1>I had twenty three anuses. It's unfortunate. Yeah, Katie, who

0:21:01.680 --> 0:21:05.280
<v Speaker 1>I will note also speak Spanish and French and some

0:21:05.480 --> 0:21:08.680
<v Speaker 1>German and some Mandarin, had to really focus on getting

0:21:08.680 --> 0:21:12.200
<v Speaker 1>her Italian accent down, whereas it comes more easily to

0:21:12.480 --> 0:21:17.199
<v Speaker 1>very young humans. Babies when they're born are able to fully,

0:21:18.040 --> 0:21:21.120
<v Speaker 1>of course, perceive the difference between any sound in any

0:21:21.119 --> 0:21:24.119
<v Speaker 1>of the world's languages. It's almost as if their brain

0:21:25.240 --> 0:21:28.240
<v Speaker 1>starts to lock on to the first language that they learned,

0:21:28.400 --> 0:21:31.879
<v Speaker 1>so that then it becomes more difficult to hear the

0:21:31.920 --> 0:21:35.240
<v Speaker 1>difference between other sounds and therefore pronounce them as well.

0:21:35.960 --> 0:21:39.440
<v Speaker 1>If you focus on learning the sounds of a language

0:21:39.440 --> 0:21:41.440
<v Speaker 1>in the same way that you focus on learning the words,

0:21:42.160 --> 0:21:45.680
<v Speaker 1>it's quite possible to train yourself to pronounce new sounds.

0:21:46.280 --> 0:21:48.040
<v Speaker 1>You have to be patient because it's a bit like

0:21:48.080 --> 0:21:51.719
<v Speaker 1>going to the gym. You have to change the muscles

0:21:51.720 --> 0:21:53.560
<v Speaker 1>in your mouth, so that takes a little bit of time,

0:21:53.600 --> 0:21:58.560
<v Speaker 1>but it's absolutely possible to learn them. I spoke to

0:21:58.600 --> 0:22:01.320
<v Speaker 1>an accent coach, Jack Alas, who said that part of

0:22:01.320 --> 0:22:03.919
<v Speaker 1>the challenge is just to make people aware of all

0:22:03.920 --> 0:22:07.359
<v Speaker 1>their muscles. So sometimes teachers will ask students to roll

0:22:07.440 --> 0:22:09.800
<v Speaker 1>a blueberry on their tongue just to get a sense

0:22:09.840 --> 0:22:12.560
<v Speaker 1>of what's really going on in there. Being a language

0:22:12.560 --> 0:22:15.800
<v Speaker 1>teacher and learner herself, Katie is dialed into all the

0:22:15.840 --> 0:22:20.959
<v Speaker 1>tiny variations of speech sounds around her. For example, my

0:22:21.000 --> 0:22:25.679
<v Speaker 1>partner speaks wonderful English. He's Italian, but he still has

0:22:25.680 --> 0:22:28.960
<v Speaker 1>an Italian accent. He asked me about the pronunciation of things,

0:22:29.040 --> 0:22:33.480
<v Speaker 1>for example, saying, the Italians when they speak English, tend

0:22:33.520 --> 0:22:37.160
<v Speaker 1>to say because they don't have the sound, and if

0:22:37.200 --> 0:22:40.159
<v Speaker 1>we just sit and I explain how to make it,

0:22:40.280 --> 0:22:44.199
<v Speaker 1>he can make it perfectly. It sounds native. And then

0:22:44.240 --> 0:22:47.240
<v Speaker 1>I asked him why he doesn't actually do it when

0:22:47.240 --> 0:22:50.080
<v Speaker 1>he's speaking English, and he said, it feels silly. I

0:22:50.119 --> 0:22:52.040
<v Speaker 1>feel like I'm trying to pretend to be somebody that

0:22:52.080 --> 0:22:54.520
<v Speaker 1>I'm not. I don't want to pretend to be an

0:22:54.520 --> 0:22:58.080
<v Speaker 1>English person. I'm Italian. I'm happy to sound like an Italian.

0:22:58.119 --> 0:23:01.760
<v Speaker 1>He's speaking English. Okay. By this point you've probably picked

0:23:01.800 --> 0:23:04.639
<v Speaker 1>up on the fact that identity is a big theme here. So,

0:23:04.680 --> 0:23:08.119
<v Speaker 1>for example, if I think about chefs who might have

0:23:08.119 --> 0:23:12.400
<v Speaker 1>been living in the country for twenty thirty years, say

0:23:12.400 --> 0:23:15.680
<v Speaker 1>an Italian chef living in the US. For some reason,

0:23:15.680 --> 0:23:18.239
<v Speaker 1>I've always noticed that chefs always really tend to keep

0:23:18.280 --> 0:23:20.760
<v Speaker 1>their accents, even if they've been living there for decades.

0:23:21.440 --> 0:23:24.480
<v Speaker 1>I think it's probably because it's useful to them. They

0:23:24.520 --> 0:23:28.119
<v Speaker 1>have no reason to adopt a new local identity, because

0:23:28.520 --> 0:23:30.879
<v Speaker 1>the stronger their accent is, the more that people can

0:23:30.920 --> 0:23:33.399
<v Speaker 1>associate them with where they come from. So you know,

0:23:33.520 --> 0:23:37.680
<v Speaker 1>I personally would trust a pizza made by an Italian

0:23:38.160 --> 0:23:41.080
<v Speaker 1>chef that has a stronger Italian accent than they had

0:23:41.080 --> 0:23:45.359
<v Speaker 1>an American accent. Why you talk the way you do,

0:23:45.680 --> 0:23:48.919
<v Speaker 1>there's a product of a lifetime of layered factors. The

0:23:49.000 --> 0:23:51.120
<v Speaker 1>melodies of speech that make their way to you while

0:23:51.160 --> 0:23:54.479
<v Speaker 1>you're still an incubation, the words and phrases learned from

0:23:54.480 --> 0:23:57.240
<v Speaker 1>your parents, the rough and tumbled talk of the first

0:23:57.240 --> 0:24:01.199
<v Speaker 1>greater jet set, and then in humorable, fine layers of

0:24:01.240 --> 0:24:04.119
<v Speaker 1>identity informed by the slang at the girl's table, in

0:24:04.160 --> 0:24:06.840
<v Speaker 1>the lunch room, the talk in the brake room, maybe

0:24:06.840 --> 0:24:09.640
<v Speaker 1>the language of the Sunday sermon. You're like a walking

0:24:09.760 --> 0:24:13.560
<v Speaker 1>archaeological dig of language, and of course they are your

0:24:13.560 --> 0:24:16.720
<v Speaker 1>own aspirations to speak like the person you'd like to be.

0:24:17.160 --> 0:24:21.199
<v Speaker 1>My job as a scientist is to try to have

0:24:21.440 --> 0:24:28.000
<v Speaker 1>people appreciate and respect that someone who's linguistic background is

0:24:28.040 --> 0:24:33.879
<v Speaker 1>substantially different from your own is equally worthy of your respect,

0:24:34.680 --> 0:24:39.800
<v Speaker 1>your kindness, and the assumption that they may be just

0:24:39.960 --> 0:24:44.560
<v Speaker 1>as intelligent and just as capable as those people that

0:24:44.640 --> 0:24:49.359
<v Speaker 1>you prefer in your own linguistic comfort zone. Snaps Wow,

0:24:49.640 --> 0:24:53.320
<v Speaker 1>landed Man, Well, let me give you your shoutout girlfriend,

0:24:53.320 --> 0:24:58.320
<v Speaker 1>because you are good. What kind of maniacal, self celebratory

0:24:58.400 --> 0:25:02.320
<v Speaker 1>podcast host would include that complimentary bit of audio. If

0:25:02.359 --> 0:25:12.280
<v Speaker 1>you guessed this guy, yes you are correct, Watch out Olivia. Also,

0:25:12.440 --> 0:25:15.359
<v Speaker 1>let me share a quote from author Amy Chua, but

0:25:15.440 --> 0:25:17.760
<v Speaker 1>struck a chord with me. Do you know what a

0:25:17.800 --> 0:25:23.320
<v Speaker 1>foreign accent is? It's a sign of bravery. Okay, let

0:25:23.359 --> 0:25:26.679
<v Speaker 1>the record show what a highbrow podcast you are listening to,

0:25:27.000 --> 0:25:28.920
<v Speaker 1>and that we got almost all the way to the

0:25:29.000 --> 0:25:31.879
<v Speaker 1>end of this thing before even mentioning the fact that

0:25:32.080 --> 0:25:39.800
<v Speaker 1>some accents are just really sexy, like unwholesomely charged with

0:25:39.960 --> 0:25:44.040
<v Speaker 1>pure animal Hang on, we'll come back to that in

0:25:44.080 --> 0:25:48.520
<v Speaker 1>a second. Got into the credits first. Deeply Human is

0:25:48.560 --> 0:25:52.359
<v Speaker 1>a BBC World Service and American Public Media co production

0:25:52.480 --> 0:25:56.440
<v Speaker 1>with I Heart Media, and it's hosted by Tessa. Find

0:25:56.480 --> 0:26:05.760
<v Speaker 1>her online on Instagram, Darling on Twitter. My French friend

0:26:05.800 --> 0:26:10.399
<v Speaker 1>who lives in Milatin. When she was in the States

0:26:10.440 --> 0:26:14.040
<v Speaker 1>for a while, she found the perfect pickup line was

0:26:14.119 --> 0:26:19.600
<v Speaker 1>to say, I'm French, but they live in Milan. Is

0:26:19.640 --> 0:26:26.320
<v Speaker 1>she single? Yes? But she wasn't when she was in

0:26:26.359 --> 0:26:29.040
<v Speaker 1>the States because it was so easy. Everyone would melt

0:26:29.240 --> 0:26:35.919
<v Speaker 1>as soon as she said it. If you play music

0:26:35.960 --> 0:26:38.600
<v Speaker 1>for a nine month old baby, they'll start to squirm

0:26:38.760 --> 0:26:41.880
<v Speaker 1>and bop around and dance in whatever manner is possible

0:26:41.920 --> 0:26:44.720
<v Speaker 1>for somebody who can't yet stand unsupported in whose arms

0:26:44.720 --> 0:26:47.000
<v Speaker 1>are barely long enough to reach over their own heads.

0:26:48.040 --> 0:26:51.400
<v Speaker 1>Join me Tessa for the next Deeply Human to find

0:26:51.400 --> 0:26:54.720
<v Speaker 1>out why our bodies respond to rhythm and if you

0:26:54.760 --> 0:26:57.800
<v Speaker 1>dig the podcast and you've got an extra forty five seconds,

0:26:58.160 --> 0:27:00.640
<v Speaker 1>rate us and drop us a review. I read them all,

0:27:00.800 --> 0:27:02.760
<v Speaker 1>and more than once I have referenced to review while

0:27:02.840 --> 0:27:05.760
<v Speaker 1>chatting with the team to craft a new episode. Thanks

0:27:05.800 --> 0:27:08.439
<v Speaker 1>per usual for listening, and we'll see you. Next question.