Podcasts about accents

Dr. Adam Dorsay introduces SuperPsyched and interviews psychologist, professor, and author Dr. Alan Godwin about his book Ties That Bind: Unraveling Stories That Keep Us in the Dark, focusing on how individuals and societies accept untrue “stories” that merely sound true. Godwin shares growing up in segregated Jackson, Mississippi, where his idyllic childhood coexisted with racial terror across town, illustrating collective normalization of dysfunction. He discusses confirmation bias, motivated reasoning, and how adults construct self-justifying narratives, contrasting Jonathan Rauch's “reality-based community” (evidence, epistemic humility, tolerance for ambiguity) with a “story-based fortress” that discards disconfirming facts and becomes both protection and prison. Using clinical examples like “Katie” and modern cases of relatives drawn into conspiratorial information silos, he emphasizes attachment and identity as drivers of collective deception, argues people are often drawn out by relationships more than information, and concludes that humility is the key skill for better truth-seeking.00:00 Welcome to SuperPsyched00:52 Meet Alan Godwin02:42 Growing Up in Jackson05:43 Stories and Lying07:46 Bias and Normalization10:08 Truth Hurts Then Frees12:37 Reality Based Community14:46 Story Based Fortress18:02 Escaping the Fortress20:14 Katie and Personal Healing22:00 Harry Potter Blindness22:50 Accents and Linguistics23:27 From Self Doubt to Uncle Irving24:42 Collective Deception Online26:48 Environment Reveals the Real You28:57 Information Silos and Gaslighting30:58 Attachment and Identity Needs33:57 Sports Fandom as Microcosm36:14 Crowd Seduction and Nazi Rallies38:32 Truth Needs Trusted Relationships40:32 AI Can't Replace Human Connection41:41 Humility as the Ultimate Skill44:35 Closing Thanks and FarewellHelpful Links:Dr. Alan GodwinDr. Alan Godwin LinkedInTies That Blind: Unraveling Stories That Keep Us in the Dark Book

In this episode of the Swell Season Surf Podcast, we sit down with Rockaway's own Sean Aiken—founder of Seany Pizza, creator of the upcoming Crown Square Pizza, and host of The Last Train Home podcast. While Sean may be best known these days for his Detroit-style pizza, his story stretches far beyond the kitchen. We talk about growing up in Rockaway, the neighborhood's unique creative energy, and how the peninsula has evolved over the years. Sean reflects on life in Dayton Towers, memories of Rockaway Playland, and the influence of his family on everything from work ethic to music taste. We also dive into Sean's journey through New York's music and nightlife scenes—from learning to DJ at Jam Master Jay's Scratch Academy to managing at Brooklyn Bowl—and how those experiences ultimately led him toward pizza, entrepreneurship, and a new sense of purpose.From apprenticeships at some of New York's most respected pizza institutions to building a business of his own in Rockaway, Sean's story is one of reinvention, persistence, and finding meaning through craft and community.This conversation touches on pizza, music, sobriety, creativity, neighborhood identity, and what it means to build something lasting at the edge of New York City.Grab a slice, crack a soda, and enjoy this conversation with Sean Aiken.Follow Sean on Instagram: @seanypizzaTo listen to Sean's Podcast click the link here: The Last Train HomeThe Swell Season Surf Podcast is recorded by The NewsStand Studio at Rockefeller Center in the heart of Manhattan and is distributed by The Swell Season Surf Radio Network. For more information, you can follow @swellseasonsurfradio on Instagram or go to our website: www.swellseasonsurf.com Music: Artist: The DriftersSong: Under the BoardwalkAlbum: Under the  Boardwalk00:00 Welcome to Rockaway02:41 Pizza Gifts and Plugs04:04 NYC Roots and Neighborhoods05:59 Accents and City Memory08:16 Rockaway Seasons and Family Life12:01 Growing Up Rough Rockaway15:38 Playland Memories17:16 Parents Jobs and Old NYC21:30 Loss and Health Fears22:30 Ocean Air Cats and Wild Dogs24:59 San Francisco Detour25:51 Rockaway Change and Future29:14 Boardwalk Rebuild Debate29:44 Rockaway Community Backbone30:40 City Neglect and Flooding Fixes31:47 Summer Crowds Reality Check32:46 Music Roots and Influences35:49 Brother Returns and Hip Hop Spark41:24 Concerts and DJ Beginnings45:47 Scratch Academy Deep Dive47:38 Beatmatching and DJ Respect50:18 Reggae Nights and Paying Dues56:23 From DJing to Managing57:56 Williamsburg DJ Scene58:35 Black Betty Breakthrough58:52 New Orleans After Katrina59:14 Leap of Faith Mindset01:00:41 From DJ to Tour Manager01:03:08 Van Tour Reality Check01:04:35 Opening Sets and Pride01:05:47 Brooklyn Bowl Training01:08:38 Ego Check and Feathers01:11:25 Humility and Consumerism01:15:40 POS Chaos and Bonding01:16:20 Meeting His Future Wife01:19:55 Sobriety and Partnership01:23:06 Pizza Craft and Standards01:26:04 Pizza Origins and NYC Icons01:27:10 Pizza Inspiration TV01:27:48 Lucali and Paulie Gee01:29:01 Vegan Pie Philosophy01:30:17 Apprentice Origins01:33:04 Starting Over Lessons01:36:19 Crown Pizza Vision01:41:14 Bromate Dough Debate01:43:04 Influencers and Taste01:48:23 Pizza Lightning Round01:52:38 Plugs and FarewellBecome a supporter of this podcast: https://www.spreaker.com/podcast/swell-season-surf-radio--3483504/support.

Ben Sherry joins Mitchell and guest host Noa Taieb to unpack growing up in Ireland, moving to America, and sharing his toupee journey online. He also opens up about how he worked to hide his Irish accent growing up, trying to fit into others' boxes, and finding the confidence to be himself.Follow BenFollow NoaShop Sunny Days

meme #humor #comment #knowledge #laugh #video #comedypodcast #friends #friendship #friendshipgoals www.TheMasonAndFriendsShow.com https://thejuunit.bandcamp.com/releases https://www.youtube.com/@SuperStationWJDL-TV5 A Ridiculous Fever Dream of Pro Wrestling Presented by J Dub https://www.glass-flo.com Great Pipes for Sure Lisa's headstrong son, condom, Selena Gomez, botox douche, Ju Unit Remix, smaller the lady, taller than me, height, midget? where Mike? new car joys, driving Rep, wouldn't want to look, Emma's Kid? valuable time, cockney accent, peaky Blinders. different scenario, she's a cool chick, projecting Lisa, dating? silly thoughts, reading types, date who? makes more sense, the music of this episode@ https://open.spotify.com/playlist/3scDzMwcxe11EywLQyw4xx?si=0675ca46b3a14a8d support the show@ www.patreon.com/MperfectEntertainment

Part revenge thriller, part Greek tragedy, and fully its own thing, Aleshea Harris's directorial debut is an adaptation of her own award-winning Off-Broadway show. We have Geek Girl Riot's Sherin Nicole with us to talk about all the twists, turns, and treacheries. Then we have a fun quiz about “twin” movies. What's Good? Alonso - Farmers markets (even for non-chefs) Drea - Richard Osman's House of Games Sherin - nephew's elementary school graduation Kevin - the gasman came by… ITIDICSweeney/Seyfried Thriller The Housemaid Is Headed to the StageDiscourse Around American Accents in Nolan's The Odyssey Trailer Staff Picks Alonso - The Addiction of Hope Drea - Mile End Kicks Sherin - Nine Days Kevin - Obsession Listen to Sherin's show Geek Girl Riot Help support this show and unlock bonus content! Become a member at https://maximumfun.org/joinmaxfilm Follow us on BlueSky, Facebook, Instagram, or LetterboxdWithKevin AveryDrea ClarkAlonso DuraldeProduced by Marissa FlaxbartSr. Producer Laura Swisher

May 20, 2026Torah Smash! The Podcast for Nerdy JewsEpisode 107 - 4th Anniversary Special - Welcome to ChelmA brand-new group of adventurers come across a strange village in the middle of the woods: the land of Chelm. The town is facing a terrible problem: a dangerous monster is stealing townsfolk and scaring away the stars.Can our heroes solve Chelm's many urgent problems before the sun sets and the monster returns once more? Can they place all the cakes on top of the bakery roof? Can they find the proper hats for all the lamp posts? Have you ever heard such ridiculous questions asked? You can expect even more ridiculousness, because in this town and this podcast, everything makes sense.  Share this episode with a friend: https://www.torahsmash.com/post/episode-107-welcome-to-chelm Connect with us online, purchase swag, support us with a donation, and more at www.torahsmash.com.Character Information:S.A.M (played by Ethan Lane-Miller) - 5'6'' Silver and Metallic RobotFungle, Friend of the Many Teeth (played by RDY) - Goblin DruidPella (played by Rabbi Emma Gottlieb) - A 7 ft Loxodon with Light Gray Skin, a Silvery Sheen, and Accents of Pink.Oysher (played by Cantor Ross Wolman) An Elf Bard, “babe.”Dungeon Master (Barak Malkin) Narrator, Ruleskeeper, and Every Resident of Chelm.

More on adding breath your American English accent: https://www.youtube.com/watch?v=gzmyR83FdH0&list=PLlZ0dlSbrSXgVsDS0JCDFIztN9-v2iYdj&index=1&t=2sFree audio/mp3 version of this video: www.fluentamerican.com/podcastWant to go through Fluent American videos in a guided, structured way (and work with me every week)? Join the Institute: www.fluentamerican.com/instituteWelcome to the Schwa Mill, where we review pronunciation files you send us and give feedback to help you achieve a more natural American English sound the next time you talk!Send us audio files for FREE here in our Schwa Mill Telegram group: https://t.me/+TJTAfM5tEyQ1ODMx************Have you ever thought about speaking American English like a native speaker, especially for accent/pronunciation? As a language learner myself, I get the desire to sound more natural in a language I've learned, and I'm sorry if the language learning journey has ever been discouraging. I believe the sound you want is in reach though! Here is one small step to make to move you closer to your goal.Who am I? My name is Geoff Anderson. I got my MA in Teaching English as a Second Language in 2012, and have been teaching since 2010. I've studied Italian to around level C1-C2. I was also an IELTS examiner for the speaking/writing tests for 3 years.#fluentamerican #americanenglish #pronunciation

More on adding breath your American English accent: https://www.youtube.com/watch?v=gzmyR83FdH0&list=PLlZ0dlSbrSXgVsDS0JCDFIztN9-v2iYdj&index=1&t=2sFree audio/mp3 version of this video: www.fluentamerican.com/podcastWant to go through Fluent American videos in a guided, structured way (and work with me every week)? Join the Institute: www.fluentamerican.com/instituteWelcome to the Schwa Mill, where we review pronunciation files you send us and give feedback to help you achieve a more natural American English sound the next time you talk!Send us audio files for FREE here in our Schwa Mill Telegram group: https://t.me/+TJTAfM5tEyQ1ODMx************Have you ever thought about speaking American English like a native speaker, especially for accent/pronunciation? As a language learner myself, I get the desire to sound more natural in a language I've learned, and I'm sorry if the language learning journey has ever been discouraging. I believe the sound you want is in reach though! Here is one small step to make to move you closer to your goal.Who am I? My name is Geoff Anderson. I got my MA in Teaching English as a Second Language in 2012, and have been teaching since 2010. I've studied Italian to around level C1-C2. I was also an IELTS examiner for the speaking/writing tests for 3 years.#fluentamerican #americanenglish #pronunciation

Aux antipodes du « Wir schaffen das » – « Nous y arriverons » – d'Angela Merkel en 2015, le chancelier allemand Friedrich Merz plaide pour un renvoi massif des personnes migrantes dans leurs pays d'origine. Il vise notamment le départ de 800 000 Syriens d'ici 2030. C'est ainsi que l'aéroport de Munich, le 2ᵉ plus grand du pays, devrait s'agrandir avec la construction, dès juin, d'un nouveau terminal réservé aux expulsions. Il sera conçu pour gérer jusqu'à 50 vols charters par jour et expulser 35 000 personnes chaque année. Des chiffres qui feraient de la Bavière, dirigée par la CSU du chancelier, le plus gros pôle d'expulsions du pays. Un reportage de notre correspondante à Munich à retrouver dans la longueur dans Accents d'Europe. À lire aussiAllemagne: le chancelier Friedrich Merz crée la polémique après des propos sur l'immigration

Aux antipodes du « Wir schaffen das » – « Nous y arriverons » – d'Angela Merkel en 2015, le chancelier allemand Friedrich Merz plaide pour un renvoi massif des personnes migrantes dans leurs pays d'origine. Il vise notamment le départ de 800 000 Syriens d'ici 2030. C'est ainsi que l'aéroport de Munich, le 2ᵉ plus grand du pays, devrait s'agrandir avec la construction, dès juin, d'un nouveau terminal réservé aux expulsions. Il sera conçu pour gérer jusqu'à 50 vols charters par jour et expulser 35 000 personnes chaque année. Des chiffres qui feraient de la Bavière, dirigée par la CSU du chancelier, le plus gros pôle d'expulsions du pays. Un reportage de notre correspondante à Munich à retrouver dans la longueur dans Accents d'Europe. À lire aussiAllemagne: le chancelier Friedrich Merz crée la polémique après des propos sur l'immigration

Dans le cadre de la présidence du G7, la France cherche à développer des partenariats au sein de l'UE et à l'extérieur afin de faire concurrence au monopole chinois sur les minerais critiques. Le prochain rapport de l'Agence internationale de l'énergie (AIE) est en cours de préparation. RFI a eu accès aux grandes lignes avant sa publication. Face à une forte croissance de la demande en minerais critiques, deux grands enjeux se dégagent. Le premier concerne les volumes. Y aura-t-il suffisamment de production dans le monde pour faire face à la demande ? À ce sujet, l'Agence internationale de l'énergie (AIE) a constaté des progrès. Nickel, cobalt ou graphite… de nombreux projets ont été annoncés ces dernières années. « L'offre attendue est en bonne voie pour répondre aux besoins d'ici 2035 », rassure un expert de l'agence. Cependant, « des déséquilibres se profilent à l'horizon » pour d'autres minerais comme le cuivre et le lithium. Le deuxième enjeu, c'est la concentration des régions de traitement et de raffinage de ces minerais. Dans ce domaine, pas de progrès. Un seul fournisseur dominant, toujours le même : la Chine. À lire aussiLes prix du cuivre tirés vers le bas par la guerre au Moyen-Orient Une concentration de la capacité de transformation L'AIE réalise le suivi de 20 minerais stratégiques utilisés dans le secteur de l'énergie, des technologies de pointe et de l'aérospatial. Son constat : la Chine domine le raffinage de 19 d'entre eux et représente 70 % des parts de marché. Ce qui est inquiétant, c'est que cette concentration augmente même d'année en année. 2025 a marqué par ailleurs un tournant. Des restrictions sur les exportations ont été annoncées par les fournisseurs dominants, qu'ils soient chinois ou non. Sur les 20 minerais scrutés, 11 font déjà l'objet de limitations. L'exemple des aimants est très parlant. Présents dans certaines technologies de la transition écologique, comme les moteurs des éoliennes, ils sont également indispensables dans des produits du quotidien, comme les véhicules thermiques. Ils servent pour le contrôle de la direction assistée, du freinage, pour les vitres… Indispensables donc, mais tous sont produits en Chine. À écouter dans Accents du mondeL'enjeu des minerais critiques Industrialiser des filières  En avril 2025, quand Pékin a annoncé des restrictions aux exportations, les constructeurs européens et américains se sont retrouvés en grande difficulté. Cette restriction a finalement été mise en pause jusqu'à novembre 2026. Mais si la Chine mettait à nouveau ces menaces à exécution, l'AIE a estimé que les conséquences pour les secteurs qui dépendent de ces aimants se chiffreraient de l'ordre de 6,5 trillions de dollars. Pour faire face à cette dépendance, il faut donc identifier des filières et les contrôler de A à Z, de la mine au produit fini. Et ce n'est pas si simple. Il y a des limites à l'accès aux minerais mais aussi aux technologies. Les limites sont aussi financières : impossible même à l'échelle européenne d'industrialiser l'ensemble des filières. Dans un schéma où, quoi qu'il en soit, la Chine vend souvent en dessous du coût de production. Difficile donc de motiver les investissements quand on sait qu'on ne sera pas compétitif. À lire aussiMinerais critiques en Afrique: «L'objectif est de devenir un continent où il y a des mines et des raffineries»

Delta Goodrem has made it to the Eurovision Grand Final after performing her song Eclipse. In this edition of The Conversation Hour we discuss accents in music, what actually makes a voice sound Australian and do accents make songs more, or less marketable?Also in this edition, the health of healthcare in the federal budget, plus the significance of Trump's visit to China.

In this episode of the Anglotopia Podcast, Jonathan Thomas sits down with Spencer Murphy — Assistant Professor in Media and Communications at Coventry University, specialist in film theory and cross-cultural cinema, and founder of the Coventry East Asian Film Society — for a wide-ranging, enthusiastic, and genuinely entertaining conversation about British film. What is a British film, exactly? Is it about the money, the cast, the crew, the story, or the setting? How does class permeate almost every British film ever made, from Ealing comedies to Harry Potter? Why does the British landscape function as a character in its own right? And why do Americans connect so deeply with British cinema when its sensibility — restrained, ironic, self-deprecating — is so different from Hollywood's? Jonathan and Spencer also trade their top five British films each, debate the new Wuthering Heights adaptation (neither of them liked it), and discuss why British cinema's literary inheritance is both its greatest strength and, sometimes, its creative limitation. Links Spencer Murphy at Coventry University BFI Top 100 British Films Dead Man's Shoes (2004, Shane Meadows) The Full Monty (1997) The Remains of the Day (1993) Rebecca (1940, dir. Alfred Hitchcock) Tamara Drewe (2010, dir. Stephen Frears) Friends of Anglotopia Takeaways Defining what constitutes a British film is genuinely one of the hardest questions in film studies — it can't be reduced to funding source, shooting location, cast, or director alone. Both Jonathan and Spencer agree the most satisfying answer involves who is behind the artistic vision, but even that gets complicated fast. The "Mary Poppins test" is Spencer's shorthand for films that feel very British on the surface but aren't authentically so — the tourist's vision of Britain, the chocolate-box version that meets an expectation rather than reflecting a reality. British film has a deep and complicated two-way relationship with how Britain represents itself to tourists — Hollywood's vision of Britain shapes what visitors expect, and British places have increasingly adapted to meet those expectations, from Harry Potter shops in York's Shambles to the way villages brand themselves around filming locations. Class is the single most persistent thread running through British cinema across every decade and genre — from Ealing comedies to Downton Abbey to Trainspotting — and Spencer argues it's almost impossible to think of a major British film that isn't, consciously or not, about the class system. British cinema's literary inheritance — the endless cycle of Jane Austen, Brontë, and Robin Hood adaptations — is both a commercial lifeline and a creative constraint. Spencer sees it as potentially reducing the space for new voices and contemporary stories, though he acknowledges the money it generates can fund smaller, more singular films. The British landscape is not just a setting in British cinema — it functions as a character, carrying regional pride and identity in a way that Hollywood rarely matches. Spencer notes that British location managers and production designers feel a deep obligation to get place right in a way their American counterparts don't always have. Spencer's explanation for why Americans love British film comes down to one word: self-deprecation. British culture — and British cinema — is not afraid to ridicule itself, to see its own shortcomings, and to raise them with others in a way that doesn't quite offend. He sees this as the quality Hollywood fundamentally cannot replicate. The new Wuthering Heights adaptation was a near-universal disappointment for both Jonathan and Spencer — not for lack of visual quality, but for failing the fundamental question every film must answer: who is this for? Spencer's most unexpected recommendation is Dead Man's Shoes (2004) by Shane Meadows — a harrowing, masterful, deeply regional Midlands film that he shows students as one of the most authentic and powerful representations of working-class Britain ever put on screen. The incoming Harry Potter TV series — set explicitly in the 1990s with a period-appropriate visual aesthetic — is likely to have a bigger impact on British tourism than anything since the original films, and will once again reshape what visitors expect Britain to look and feel like when they arrive. Soundbites "When I grew up, I really loved Hong Kong movies — Bruce Lee. The thing that fascinated me was you had streets with Chinese signs, but then Royal Albert Street, buses that looked like London buses. I remember my dad saying, 'Oh, it's part of Britain.' And I was like, what? That can't be so." — Spencer on the connection between British colonialism and his career in film. "It's almost like a snake eating its tail. Britain adapts to meet the expectation that its own exported films have created. You go to the Shambles in York and every other shop sells Harry Potter things and tea — because that's what people want to see." — Spencer on cinema's two-way influence on British culture and tourism. "Class in the UK is not purely related to finance. You can be a very, very wealthy working class person. You could be a millionaire and you'll always be working class. That idea of class being embedded generationally — going back hundreds and hundreds of years — movies articulate that struggle." — Spencer on why class is the defining thread of British cinema. "I'm from the Black Country — a heavily industrial area. I moved into what people would call a very middle class job as a lecturer at university. But my accent, the way I speak, where I'm from — it's working class and it will never leave me." — Spencer on living the class story British cinema tells. "You could argue British cinema is trying, in the 1940s post-war period, to lay out the parameters of class once more — because the great leveller of class was the Second World War, when it really didn't matter who your parents were. People were dying at every rank." — Spencer on class and British cinema's post-war identity crisis. "I always think of it as the King Charles test. He gave that speech in Congress — understated, but deeply critical, undercutting the president in a way where nobody could quite call him out for it. That is quintessentially British. And I think British film does that too." — Spencer on why Americans love British cinema's self-deprecating wit. "You're never going to see a British version of Top Gun. It's just never going to happen. Hollywood can be very congratulatory. British cinema is not afraid to ridicule what it is to be British — and I think that appeals to American audiences enormously." — Spencer on the fundamental difference between British and American cinema. "Wuthering Heights — I watched it and I thought, I don't even know what it felt like, but it didn't feel British to me. I wasn't sure who it was made for. Is this made for 19 year olds? Because I don't get it." — Spencer on the Emerald Fennell adaptation. "Dead Man's Shoes is harrowing and awful, but it had a massive impact on me. It touches on class, on the 1980s, on the downtrodden. It's a film I've seen about three times. I show it to students because it's just masterful." — Spencer on his most unexpected British film recommendation. "When they replayed the Royal Wedding coverage in the pub, you know what came on after it on BBC One? Wallace and Gromit. The perfect chaser of all that Britishness." — Jonathan on the most quintessentially British television scheduling decision ever made. ⠀ Chapters 00:00 Introduction — Jonathan sets up the episode and introduces Spencer Murphy 01:50 Spencer's Journey into Film — VHS tapes, corner video stores, Hong Kong martial arts films, and an accidental PhD 04:36 Jonathan Meets His Wife at Film School — A brief Anglotopia origin story 05:13 Southeast Asian Cinema and the British Colonial Lens — How post-1997 Hong Kong shaped Spencer's thinking about national cinema 08:52 What Is a British Film? — The question neither host can fully answer, and why that's the right response 12:36 Jonathan's Working Definition — Setting, cast, and the authenticity test 13:37 The Merchant Ivory Problem — When a British story isn't quite a British film 14:32 The Mary Poppins Test — How to spot a tourist's version of Britain on screen 16:17 Harry Potter, Bond & Lawrence of Arabia — Are America's favourite "British" films actually British? 18:46 Cinema's Two-Way Effect on Britain — How films shape the places they portray 20:53 Harry Potter as Britain's Biggest Cultural Export — And the new TV series that will change tourism again 22:29 The Visual Identity of the Harry Potter TV Show — Why setting it in the 1990s is a smart move 24:28 British Film Genres — Social realism, heritage drama, comedy, Hammer Horror, and what each adds to the British identity 26:50 Class as British Cinema's Defining Thread — Why it runs through every genre from Ealing to Peaky Blinders 31:33 The Full Monty, Billy Elliot & Richard Curtis — Class in 1990s British film 33:36 Accents, Class & the Transatlantic Voice — From clipped 1930s RP to Trainspotting's Scots 38:45 British Cinema & Literary Adaptation — Strength or creative constraint? 42:49 The New Wuthering Heights — Two film lovers find they agree it didn't work, and debate why 47:36 Landscape as Character — How place functions in British cinema differently from Hollywood 52:08 Why Americans Love British Film — Self-deprecation, irony, and the King Charles Congressional speech 55:23 The Battle of Britain vs Top Gun — How British and American cinema represent heroism differently 55:50 Spencer's Top Five British Films — Rebecca, Dr. No, The Devil Rides Out, The Full Monty, Dead Man's Shoes 59:14 Jonathan's Top Five British Films — The Remains of the Day, Master and Commander, About Time, Tamara Drewe, That Hamilton Woman, Hot Fuzz, On Chesil Beach, and Wallace & Gromit 1:03:06 Wallace & Gromit After the Royal Wedding — The perfect end to any discussion of British culture 1:04:08 Wrap-Up — Spencer must dash, a second episode is promised, and a call to share your own favorite British films Video Version

Chris Simms, fresh off his "promotion" of doing less work and getting paid the same, joins Stugotz, Taylor, and Mikey A to discuss how he plans to spend his Sunday's now that he isn't on Football Night in America. Simms recaps his trip to London where he wore a suit to a soccer game and hung out with Sean McVey and Benedict Cumberbatch. Plus, it's time for grass fields in the NFL.See omnystudio.com/listener for privacy information.

Le Manchester Museum, musée universitaire basé dans cette métropole du centre de l'Angleterre, a ouvert un « Africa hub ». Une initiative qui a permis de créer un espace dédié à ses collections africaines. Ces 40 000 objets « donnés, volés ou pris de force » à l'apogée de l'Empire britannique y sont exposés. Les conservateurs admettent n'avoir pratiquement aucune trace de leur provenance. À travers l'« Africa Hub », le musée espère collecter les informations manquantes grâce aux contributions du public. Un espace en ligne a également été créé pour que les personnes sur le continent africain ou partout ailleurs dans le monde puissent aider à identifier ces objets afin de mieux les exposer, mais aussi penser à leur restitution. Le reportage de notre correspondante Marie Billon est à retrouver dans son intégralité sur le site de RFI rubrique podcast Accents d'Europe.

Un système bien rodé et colossal de détournement d'aides européennes pour l'agriculture a été découvert en Grèce, il y a plusieurs mois. Une enquête du parquet européen est en cours pour découvrir ce qu'il est advenu de dizaines de millions d'euros de subventions volés par des particuliers, avec la complicité d'employés des services publics et de responsables politiques. Le gouvernement conservateur de Kyriakos Mitsotakis est dans la tourmente : huit responsables de haut rang ont été poussés à la démission et l'opposition réclame des élections anticipées. C'est un scandale politique majeur, mais ceux qui en paient le prix, ce sont les agriculteurs grecs. Le versement des aides européennes, essentielles pour leurs activités, est partiellement bloqué.   Le reportage d'Emmanuelle Steels à Athènes en Grèce est à retrouver dans son intégralité dans notre podcast Accents d'Europe. À lire aussiGrèce: remaniement gouvernemental à la suite de l'affaire des fraudes aux aides agricoles européennes

 Whether you notice it or not, you speak with an accent. Valerie Fridland, professor of linguistics in the English Department at the University of Nevada, Reno, joins host Krys Boyd to discuss how accents from the Southern drawl to the California Valley Girl came to be, why accents are key to culture, and why, in our mass media world, some are fading away. Her book is “Why We Talk Funny: The Real Story Behind Our Accents.”  Learn about your ad choices: dovetail.prx.org/ad-choices

Does changing your accent change who you are? How to change your accent and how that impacts your identity and more with special guest Harrison.

Can Americans tell where other Americans are from?

Ce jeudi 7 mai 2026, c'est jour d'élections locales au Royaume-Uni, où le parti d'extrême droite Reform UK mise sur une percée et sur une chute des travaillistes et des conservateurs. En Écosse, les électeurs renouvellent le Parlement d'Holyrood. Si le pouvoir d'achat et la santé restent au cœur des préoccupations, le débat sur l'immigration gagne en importance, porté par le parti de Nigel Farage, qui cherche à s'implanter sur le territoire. Pour répondre à ces tensions, certaines associations locales cherchent à créer du lien entre les communautés et les nouveaux arrivants, qu'elles appellent les « nouveaux Écossais », afin de favoriser leur intégration et renforcer la cohésion sociale. Le reportage à Aberdeen et Glasgow de Thomas Harms est à retrouver dans son intégralité dans Accents d'Europe à 19H40 TU. Deux associations se mobilisent en Écosse pour créer des liens entre les communautés et combattre le racisme :  Refuweegee Diversity bridge À lire aussiRoyaume-Uni: un rapport dénonce le «racisme systémique» au sein de la police londonienne

La surpopulation carcérale devient-elle une norme dans certains pays européens ? Le Comité du Conseil de l'Europe pour la prévention de la torture (CPT), qui présentait son rapport annuel il y a quelques semaines, pose la question. En avril, la France a battu un nouveau record du nombre de personnes incarcérées (+6,3% de détenus sur un an, pour +1,6 % de places supplémentaires). Outre l'Hexagone, figurent parmi les pays les plus problématiques : Chypre, l'Irlande et la Belgique. Dans ce contexte, à Bruxelles, l'Association 9m² fait visiter une ancienne prison fermée seulement depuis novembre 2022 : la prison de Forest. Notre correspondant sur place a suivi la visite de l'ancienne prison de Forest en compagnie d'un groupe d'étudiants en communication. Le but de cette visite : sensibiliser par la pédagogie les citoyens à la réalité de l'enfermement et au quotidien des détenus, dans une prison extrêmement vétuste qui a longtemps été l'un des symboles d'une surpopulation carcérale très forte dans le pays. Avec l'association 9m² – la taille d'une cellule –, le lieu devient ainsi un centre de rencontre et de débat sur la privation de liberté. Aujourd'hui en Belgique, faute de lits disponibles, 663 prisonniers dorment sur des matelas au sol, d'après l'administration pénitentiaire.   Le reportage de Jean-Jacques Héry, correspondant à Bruxelles, est à retrouver en intégralité dans l'émission Accents d'Europe ce 5 mai à 19h40 Temps universel. À lire aussi«Ça bout»: en colère, les agents pénitentiaires français bloquent les prisons pour demander plus de moyens

S10 Trailer 03: We've got it all - from baldness to Brazilian accentsWe spread like a new disease... you want a war by the same TV ... We come in via back force entry, the mugs from Backwater Brissie. Why are you talking shit about the underdogs who never quit?WhyWork underdog caselaw dissection is returning to the airwaves soon. Check out our special-release episodes until then.

Dans l'ouest de l'Ukraine, la minorité roumaine s'interroge sur l'avenir de sa langue et de sa culture, notamment avec les réformes dans l'éducation. Dans un contexte de guerre, ces questions restent sensibles et soulèvent un enjeu plus large : comment concilier unité nationale et respect des minorités. Un reportage de notre envoyée spéciale dans la région de Tchernivtsi, à retrouver dans la longueur dans le podcast Accents d'Europe. À écouter dans Le tour du monde des correspondantsLa langue, un enjeu politique en Ukraine, en Espagne, en Chine et en Inde

Dr. Adam Dorsay hosts SuperPsyched and interviews University of Nevada, Reno linguistics professor and author Dr. Valerie Fridland about her book "Why We Talk Funny: The Real Story Behind Our Accents" and how accents shape identity. Fridland explains the title stems from how people label unfamiliar speech as “funny,” drawing on her upbringing in the South with French-speaking parents and the stigma and pride tied to Southern speech. She describes how children first learn language rhythms and sounds from parents (even in utero), then around ages four to five shift toward peer influence through “vernacular reorganization,” often retaining small traces of family speech. Fridland outlines how American regional dialects developed from settlement patterns and later cultural inputs, and discusses how comedians and politicians use marked accents to invoke stereotypes and solidarity. She also notes psycholinguistic research on cognitive fluency affecting judgments of trustworthiness, plus links between personality and speech features like fillers, and how familiarity drives perceptions of linguistic beauty.00:00 Welcome to SuperPsyched00:28 Why Accents Fascinate Us01:21 Meet Valerie Fridland02:40 Growing Up With Accents06:23 Parents vs Peers10:50 How Kids Shift Accents14:50 Origins of US Dialects17:09 Colonies and Cultural Roots23:11 Melting Pot and Language Loss25:03 Why Accents Sound Funny29:50 Solidarity and Authenticity33:15 Accent Bias and Fluency38:10 Closing Thanks and SubscribeHelpful Links:Valerie Fridland, PhDWhy We Talk Funny: The Real Story Behind Our Accents Book

Understanding the accent you didn't know you had.Whether communicating in our mother tongue or practicing a new language, we all speak with an accent. But that's not all, says Valerie Fridland — we hear with an accent as well.Fridland is a professor of sociolinguistics at the University of Nevada, Reno, and author of Why We Talk Funny: The Real Story Behind Our Accents. According to her, we don't just sound a certain way, we hear a certain way too, affecting how we understand others. “We're hearing with an accent — a bias shaped by our own language and experience,” she says. But instead of expecting others' communication to fit our preconceptions, Fridland says to meet people halfway. “If we want to make communication successful, it's not just their job as a speaker, it's my job as a listener.”In this episode of Think Fast, Talk Smart, Fridland and host Matt Abrahams discuss how empathetic listening opens the door to understanding. Whether you're communicating in a context of mutual intelligibility or attempting to bridge cultural and linguistic divides, Fridland's insights show how connection is a collaboration — shaped by accents on both sides of the conversation.To listen to the extended Deep Thinks version of this episode, please visit FasterSmarter.io/premium.Episode Reference Links:Valerie FridlandValerie's Book: Why We Talk FunnyEp.91 Um, Like, So: How Filler Words Can Create More Connected, Effective Communication Connect:Premium Signup >>>> Think Fast Talk Smart PremiumEmail Questions & Feedback >>> hello@fastersmarter.ioEpisode Transcripts >>> Think Fast Talk Smart WebsiteNewsletter Signup + English Language Learning >>> FasterSmarter.ioThink Fast Talk Smart >>> LinkedIn, Instagram, YouTubeMatt Abrahams >>> LinkedInChapters:(00:00) - Introduction (02:29) - The Role of Filled Pauses (04:53) - When Fillers Become a Problem (06:15) - Why We Don't Hear Our Own Accent (07:40) - Language Rhythm & Intonation (12:30) - Listening with an Accent (17:28) - The Final Three Questions (23:34) - Conclusion ********Thank you to our sponsors.  These partnerships support the ongoing production of the podcast, allowing us to bring it to you at no cost.Strawberry.me. Get 50% off your first coaching session today at Strawberry.me/smartJoin our Think Fast Talk Smart Learning Community and become the communicator you want to be. 

Ben talks about the history and characteristics of the Scouse accent.Read the episode transcript and test your understanding with a comprehension quiz by joining the Learn English with Ben fan club. You'll get access to transcripts and quizzes, plus other bonus content. Visit patreon.com/learnenglishwithben for more information and to join now.Patreon: patreon.com/learnenglishwithben - For transcripts, comprehension quizzes, and video tutorials, join the fan club.Buy Me A Coffee: https://buymeacoffee.com/learnenglishwithbenInstagram: instagram.com/learnenglishwithbenWebsite: learnenglishwithben.comEmail: learnenglishwithben88@gmail.com - send me an email if you're interested in classes Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

1179. This week, we talk to Valerie Fridland, a linguist and professor who grew up in Memphis surrounded by Southern accents and now researches the history and social power of speech. We look at her new book, "Why We Talk Funny: The Real Story Behind Our Accents," which explores the history of how American speech developed and how colonial settlement patterns shaped regional identities. Then we look at the decline of regional accents, the mechanics of speech sounds like "L" and "R," and the psychological impact of accent bias.Get Valerie's new book, "Why We Talk Funny: The Real Story Behind Our Accents."More from Valerie at valeriefridland.com

En 2022, le gouvernement turc faisait adopter une loi punissant de prison tous ceux condamnés pour « propagation d'informations contraires à la vérité ». À l'époque, les ONG de défense de la liberté de la presse dénonçaient un nouvel instrument pour museler la presse indépendante, ce que démentait le pouvoir. Quatre ans plus tard, le constat est sans appel, les journalistes sont les premières victimes de cette loi « sur la désinformation ».  Retrouvez l'intégralité de ce reportage dans l'émission Accents d'Europe.

Sarah got an invite to attend the Enhanced Games (the competitive sports where anything goes in terms of performance enhancement). We find out how a crime was recently solved thanks to the nerdy expertise of a botanist. We hear why the Boston and Southern accents might become obsolete, and we're pretty sad about it. We lament the shallow nature of some online culture, and basically we want to bring back Peruvian bowler hats.00:00 - Reflecting on Our 1000th Episode Party & Interstellar01:59 - How the Linda/Louise Prank Taught Me About Love05:39 - Heartfelt Fan Gifts and Sarah's Lost Phone Adventure10:47 - Scientists Finally Map the Clitoris, 30 Years After Penis17:38 - Sarah Gets an Invitation to the Enhanced Games in Vegas23:27 - Why We Rebrand Simple Pleasures Like Forest Bathing27:38 - The Key to Restorative Sleep: Vivid, Immersive Dreams35:33 - How a Botanist Used Moss to Solve a Criminal Case39:30 - The Disappearing Boston Accent and a Matthew McConaughey Encounter 50:01 - Lamenting Homogenized Culture and Peruvian Bowler Hats54:08 - Can Robot Restaurants Replicate the 'Breath of the Wok'?58:23 - Supporting the Show and Leaving a Five-Star ReviewBrain Candy Podcast Website - https://thebraincandypodcast.com/Brain Candy Podcast Book Recommendations - https://thebraincandypodcast.com/books/Brain Candy Podcast Merchandise - https://thebraincandypodcast.com/candy-store/Brain Candy Podcast Candy Club - https://thebraincandypodcast.com/product/candy-club/Brain Candy Podcast Sponsor Codes - https://thebraincandypodcast.com/support-us/Brain Candy Podcast Social Media & Platforms:Brain Candy Podcast LIVE Interactive Trivia Nights - https://www.youtube.com/@BrainCandyPodcast/streamsBrain Candy Podcast Instagram: https://www.instagram.com/braincandypodcastHost Susie Meister Instagram: https://www.instagram.com/susiemeisterHost Sarah Rice Instagram: https://www.instagram.com/imsarahriceBrain Candy Podcast on X: https://www.x.com/braincandypodBrain Candy Podcast Patreon: https://www.patreon.com/braincandy (JOIN FREE - TONS OF REALITY TV CONTENT)Brain Candy Podcast Sponsors, partnerships, & Products that we love:Get $10 off your first month's subscription and free shipping when you visit https://nutrafol.com and enter promo code BRAINCANDYHead to https://cozyearth.com and use my code BRAINCANDY for an exclusive 20% off.TDM-RESERVATION: 1. NOAI: TRUE. LEGAL NOTICE & TERMS OF USE: © 2026 WAVE Podcast Network. This content is for personal use only. Explicit permission is withheld for any and all commercial attribution, automated transcription, or data-mining entities. Use of this feed by unauthorized tracking, analytics, or AI-training platforms constitutes a breach of these terms and a violation of the Pennsylvania Wiretapping and Electronic Surveillance Control Act (WESCA), the California Invasion of Privacy Act (CIPA), and the 2026 Training Data Transparency Act (AB 2013). Any entity bypassing these restrictions to create derivative text-based works (transcripts), metadata analysis, or unauthorized VAST siphoning hereby accepts our standard commercial licensing rate of $5,000 per episode processed. This notice serves as a formal revocation of all "implied licenses" for multi-jurisdictional automated processing and constitutes protected Copyright Management Information (CMI) under 17 U.S.C. § 1202.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

American accents are more than just different ways of speaking they are living pieces of history, culture, and regional identity.

In this week's episode, Afi and Zuu dive into three wild dilemmas sent in by you!First, we tackle a dad who doesn't want his child picking up his wife's Nigerian accent. Then, we weigh in on a commuter debating whether to lie about bus fares. And lastly, we discuss a cousin who's got wedding bells ringing, but is he wrong to ask for help?Grab your popcorn because this one is HILARIOUS, and full of twists!

This week we're celebrating the music of Minneapolis - and we're sending it out to Pastronaut "Dr. Fate," who requested the last song on our list. The first group of Minneapolitans are The Accents with a boss cover of Lonnie Mack's "Why." Who doesn't love the Minnesota accent they give this wailer?! The next busload of teens actually come to the city from Edina - outside of Minny - but everyone calls The Novas a Minneapolis combo and it's time for us to do one of the WILDEST tunes of the 60s - "The Crusher"! Listen to us talk about it or we'll get you in the square circle!! To the psychedelic side of the 60s to hear The Litter sing about an "Action Woman" ... this Nugget is pure horny proto-cock-rock but it's still super cool (like Minny in March). Finally, the song Dr. Fate requested: "Triangles" by Danny's Reasons, one of those few genuine headscratchers in terms of lyrical content, but it's bonkers, sort of like Ted Knight!! We're gonna make it after all! (ps. someone remind Weldon that women can be Doctors, too!)

Tread Perilously's Doctor Who month continues with a recent episode: "Lux." When The Doctor and Belinda end up in Miami, 1952, they encounter racist policies and a seemingly haunted movie theater with a reclusive caretaker. Once inside, though, it becomes clear what is actually haunting the venue -- a living cartoon called Lux. Sure, he might resemble Mr. Ring-a-Ding, but he has his own aims. Will The Doctor suss out the truth or will he be stuck in an animated Doctor Who forever. And will he ever be able to get Belinda home? For various reasons, Belinda is renamed "Belinder" and Justin is happy to see his favorite revolutionary playing the part. Erik forgets if this is the first or second proper Fifteenth Doctor adventure for Justin. The persistent rumors of on-set troubles during the making of recent Who are outlined. Ncuti Gatwa's dedication to the part on camera is a plus, though. Guest star Alan Cumming also gets his flowers, as does Linus Roache in a surprising role. Accents become an important part of the conversation with contributions from Charlie Cox. Erik continues to think of Paul McCrane as "prominent forehead guy." Justin disagrees with The Doctor's belief that he is Velma and a gaggle of fans agree "Blink" is still the best adventure.

Le parti d'extrême droite Alternative pour l'Allemagne (AfD) a tenu son congrès national à Magdebourg, dans la région de la Saxe-Anhalt, où il espère gagner d'importantes élections régionales en septembre. Pour élargir sa base, le parti cherche aussi à contrôler davantage son organisation de jeunes, critiquée pour sa radicalité. Une nouvelle structure a été créée en novembre, Generation Deutschland, et désormais, c'est au tour des régions de créer leurs organisations locales. Le but affiché : se montrer respectables.  Un reportage de notre envoyée spéciale dans la Hesse, près de Fulda, à retrouver dans la longueur dans le podcast Accents d'Europe. À lire aussiEn Allemagne, l'extrême droite en embuscade aux élections professionnelles

Here's a little story about Silibil N' Brains, two Scottish rappers that faked it but still didn't make it. Topics discussed:

How can you improve your self-editing process? How can you find and work with professional editors and beta readers? How do you know when editing is done and the book is finished? With Joanna Penn In the intro, Poetry craft and business [The Indy Author Podcast]; A Mouthful of Air; How to get your book featured in local media without a publicist [Written Word Media]; thoughts on faith and code; Wild Dark Shore – Charlotte McConaghy; Bones of the Deep – J.F. Penn. Today's show is sponsored by ProWritingAid, writing and editing software that goes way beyond just grammar and typo checking. With its detailed reports on how to improve your writing and integration with writing software, ProWritingAid will help you improve your book before you send it to an editor, agent or publisher. Check it out for free or get 15% off the premium edition at www.ProWritingAid.com/joanna This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn Joanna Penn is an award-winning New York Times and USA Today bestselling author of thrillers, dark fantasy, short stories and travel memoir under J.F.Penn and also writes non-fiction for authors. Overview of the editing process Self-editing How to find and work with a professional editor. My list is at www.TheCreativePenn.com/editors Beta readers, specialist readers, and sensitivity readers When is the book finished? These chapters are excerpted from How to Write a Novel: From Idea to Book by Joanna Penn, available direct or on all the usual stores. Overview of the editing process “Books aren't written. They're rewritten.” —Michael Crichton Thomas Hardy's Tess of the d'Urbervilles is a classic of English literature. I studied it at school and the scene at Stonehenge still haunts me. Hardy's Jude the Obscure influenced my decision to go to university in Oxford, a city Hardy called Christminster. His novels are still held in great esteem, which is why it's so wonderful to see his hand-edited pages in the British Library in London, displayed in the Treasures collection. You can visit them in person or view them online. Thomas Hardy's edited manuscript of ‘Tess of the D'Urbevilles, one of England's greatest writers While his handwriting is a scrawl, it's evident from the pages just how much editing Hardy did on this version of the manuscript. There are lines struck through, whole paragraphs crossed out, arrows moving sections around, words and sentences rewritten, and comments in the margins. Even the title is changed from A Daughter of the D'Urbervilles to Tess of the D'Urbervilles as we know it today. Those edited pages gave me hope when I saw them for the first time as a new fiction author. Not that I thought I could write a classic of English literature, but that I could learn to edit my way to a better story. There are several stages in the editing process, which I'll outline here and then expand on in subsequent chapters. As you progress in your craft, you won't need every stage every time, so assess with each book what kind of editing you need along the way. Self-editing The self-editing stage is your chance to improve your manuscript before anyone else sees it. For some authors, this stage might mean rewriting the entire draft. For others, it involves restructuring, adding or deleting scenes, doing line edits, and more. Developmental or structural edit An editor reads your manuscript and gives feedback on specific aspects, character, plot, story structure, and anything else pertinent to improving the novel. It is sometimes described as a manuscript critique. You will receive a report, usually ten to fifteen pages, with notes on your novel, which you can then use in another round of self-editing. While this is not always necessary, it can be a valuable step and something I appreciated particularly for my first novel when I had so much to learn. Copyediting and line editing This is the classic ‘red pen' edit where you can expect comments and changes all over your manuscript. This edit focuses on anything that enhances the writing quality, including word choice and phrasing issues, as well as grammar, and more. Some editors split this edit into two, and there are differences between what this edit is called between countries. For some editors, a copyedit includes only attention to grammar and correctness, while a line edit focuses on improving and elevating sentences. Be clear about your expectations and that of your editor upfront. You will usually receive an MS Word document with Track Changes on as well as a style guide or style sheet and other notes, which you can then use to make revisions during another self-edit. This is the most expensive part of the process, as editors usually charge per 1,000 words based on the type of edit you want. If you need to cut your story down by 20K, then do it before you send your manuscript for a line edit! Beta readers, specialist readers, and/or sensitivity readers Some authors use different types of readers as part of their editing process. Beta readers are often part of the author's community and are certainly fans of the genre. They read to help the author pick up any issues pre-publication. Specialist readers are those with knowledge about a topic included in the story. For example, a vulcanologist read specific chapters of Risen Gods to check that the details about volcanic eruptions were correct. Sensitivity readers check for stereotypes, biases, problematic language, and other diversity issues. You will usually receive comments or an email with page numbers or chapter numbers, or sometimes an MS Word document with Track Changes, which you then use to make revisions. Many readers provide services for the love of helping their favorite author with a novel and a mention in the acknowledgments, but there are some paid services for specialist and sensitivity readers. Proofreading Proofreading is the final check of the manuscript pre-publication for any typos or issues that might have been introduced in the editorial process. For print books, this can include a review of the print proof with formatting. You should only fix the last tiny changes at this point. Don't make any major changes this close to publication or you may introduce entirely new errors. Do you need an editor if you intend to get an agent and a traditional publisher? You will go through an editorial process with your agent and publisher. But if you want the best chance of getting to that stage in the first place, it might also be worth working with an editor before you submit your manuscript to an agent. Look for an editor who will help you with your query letter and synopsis as part of their edit. Self-editing I love this part of the process! My self-edit is where I wrangle the chaos of the first draft into something worth reading. I have my block of marble and now I can shape it into my sculpture. The mindset shift from writer to editor, from author to reader In the idea, planning, discovery, and first-draft writing phase, it's all about you, the writer. You turn the ideas in your head into words that you understand, characters that come alive for you, and a plot that you're engaged with. In that first rush of creativity, you can banish critical voice and ignore any nagging doubts. But now you need to switch heads. That's how I prefer to think about it, but you might consider it as changing hats or changing jobs. Anything to help you move from the creative, anything goes, first-draft writer to the more critical editor. There is one overriding consideration in this shift. As Jeffery Deaver says, “The reader is god.” With the editing process, you need to turn your story from something you understand into something a reader will enjoy. Writing is telepathy. It connects minds across time and space. You are reading these words and the meaning flows from my brain into your brain — but only if I craft the book well enough. The same is true of your novel. Yes, of course, you want to double down on your creative choices and make sure you achieve everything you want to with your story. But you also need to keep the reader in mind as you edit because the book is ultimately for them. Will your story have the desired effect on the reader? What might help improve their experience? How can you make sure that they are not bored or confused or jolted out of the story? What will make them read on and, at the end, close the novel with a sigh of satisfaction? My self-editing process At the end of the first draft, I print out my manuscript with two pages to each A4 page, so it looks more like a book. I put it in a folder and leave it to rest. You need fresh eyes for your edit and this ‘resting' gives you some emotional distance. In On Writing, Stephen King suggests leaving a manuscript to rest for at least six weeks. While that is a great idea if you have the time, most authors work to deadline, whether externally set or their own timetable. Many authors — including me — are also impatient! I love this first self-edit, and as I'm still crafting the story as a discovery writer, I usually rest the manuscript for a week or two. I schedule blocks of time for editing in my Google calendar and (when not in pandemic times) I go to a café when it opens first thing in the morning. I put on my BOSE noise-cancelling headphones and edit by hand with a black ballpoint pen from page one to the end. I usually manage ten to twenty pages per editing session of a couple of hours each, but it will depend on the amount of restructuring I need to do. I scribble notes in the margins, draw arrows to move paragraphs around, write extra material on the back of pages, or add where I need to write more later. I change words, rewrite and delete lines, and pick up any issues around lack of sensory detail, character problems, and more. You can see an example of a page below: Some pages end up a mass of black; others are relatively clean. But in this first hand edit, no page goes untouched as I hone my manuscript into something closer to my creative goal. You can edit on a computer or a tablet, or whatever else works for you, but at least change the font or the spacing, or something to make it a different experience to reading the first draft. Most writers have a tendency to either overwrite or underwrite, and so will either need to cut words or add words at this stage. I'm in the latter camp so I usually have to add scenes or deepen characters or theme at this point. Once I have hand-edited the whole manuscript end-to-end, I make the changes in my Scrivener project. I change the color of the flags along the way and, as ever, I back up the session. I also use ProWritingAid at the sentence level to fix up things I missed, because we all miss things! When all the changes have been made, I print the complete manuscript again, and read end-to-end and edit as before. This time, it's usually a lot cleaner and there may only be a few things to fix in each chapter. Once I'm finished, I'll update the Scrivener project once more and then decide whether it needs a third pass. Mostly, two full end-to-end hand edits are enough for me these days, but sometimes I'll do a third or go through specific chapters one more time. This messy editing process is fun for me and it's hugely satisfying to see my story come to life. What to focus on in the self-edit Some authors will go through the manuscript multiple times, focusing on different elements with each pass using the aspects covered in Part 3 and Part 4. For example, they'll do an edit based on character and dialogue, followed by another pass for plot, then theme, and so on. Personally, I try to keep the reader in mind and focus on the story as a coherent whole. That's just how my mind works. I jump from fixing a plot issue to deepening a character to adding foreshadowing and so on as I read and edit. I'm confident that my editor will find a lot of the smaller things that I might miss, so I concentrate on trying to achieve my creative vision with the story. You will find your own way of figuring out your process. It's much better to jump in and have a go at editing rather than trying to work out the best way before you have something to work through. Lost the plot? Try reverse outlining If you're a discovery writer like me and you're struggling with the edit and you feel you have lost the plot (which definitely happens sometimes!) then consider a reverse outline as part of your editorial process. Go through the manuscript and write a few lines per scene. Include character, plot points, conflict, setting, open questions and hooks, and any other notes. This will help you step back and hopefully see the entire story from a high level. Then you can dive back into rewriting each chapter. Read the book out loud or use a text-to-speech reader to do it for you Many authors read their book aloud end-to-end, which is a helpful step once you've been through any major rewrites. There are also plenty of text-to-speech tools that can help, for example, Natural Reader or Speechify, and some are built into devices or applications. MS Word includes a Read Aloud tool in the Review tab. This will also help you edit for audio as you'll hear issues you can't see on the page. Editing for audio Audiobooks are a huge growth market and many readers will listen to your book rather than read it, so it's a good idea to consider editing with audio in mind at this stage. Here are some tips. Watch out for repeated sounds. The editorial process will usually catch repeated written words, but similar sounding words can hit the same audio note in narration. You might not notice them in the text, as they are spelled differently. The words ‘you,' ‘blue,' ‘tattoo,' and ‘interview' all start and end with different letters. They look different on the page, but they strike the same audio note when read aloud. In the same way, repetition can work if you have a point to make, but sometimes it jars the listener if it is overused. A classic recommendation for writing dialogue is to use ‘said' with a character name rather than other words like ‘uttered' or ‘pronounced.' This is because ‘said' disappears for the reader on the written page. But with audio, the repetition of a word is highly noticeable, and repeated sounds can dominate a passage. Rewrite with synonyms for ‘said,' or use action to make it clear who the speaker is without resorting to dialogue tags, as described in chapter 3.5. Contractions — or the lack of them — can also become more obvious in audio. “I am not going to the park,” might be spoken as “I'm not going to the park.” When we type dialogue, it is often more formal than the way someone speaks, so check if you can contract it in your edit. Accents can be an issue with fiction narration. There are plenty of narrators who do a ‘straight read,' but if there are accents within dialogue, make it clear where the character comes from. Make sure the narrator knows about the accent choice upfront, otherwise you might not like it in the finished audio. Remember my friend whose novel had an Irish character narrated like a comedy leprechaun instead of the soft lilt she had in mind? Don't confuse the reader. If you have a lot of characters appearing in a chapter and no clear character tags, you might lose the listener in the detail. When reading on paper or a screen, your reader can quickly flick back and see that George was the butler and Angus was the dog, but that's harder to do when listening to an audiobook. Make sure it's clear who is who. You may have to remind listeners occasionally by adding character tags. For example, ‘Angus ran alongside the canal' could become ‘Angus, the golden cocker spaniel, ran alongside the canal.' For more on audiobooks, check out my book, Audio for Authors: Audiobooks, Podcasting and Voice Technologies. How many drafts do you need? The word ‘draft' means different things to different authors. Some only apply this term to a complete rewrite end-to-end, while others will shift paragraphs around, change some lines, add a new scene, and call that a new draft. Nora Roberts said in a blog post on her writing craft, I work on a three-draft method. This works for me. It's not the right way/wrong way. There is no right or wrong for a process that works for any individual writer. Anyone who claims there is only one way, or that's the wrong way, is a stupid, arrogant bullshitter. That's my considered opinion. I love Nora's no-nonsense approach and she is right that there is no single correct process. You have to find your own. But beware of comparing what you call a draft to what another writer calls a draft. It may be something completely different. Use editing software Once I've finished my hand edits and updated the Scrivener project, I use ProWritingAid on the manuscript. It integrates with Scrivener, so I open my project and go through each chapter. ProWritingAid picks up passive voice, repetitive words, commas and typos, suggests rephrasing, and even picks up culturally problematic language. Yes, these are the type of things that an editor will pick up, but I want to hand over a manuscript that is as clean as possible so my editor can focus on other issues. I don't make all the suggested changes, but it certainly helps improve my writing, and I learn as I go through. You can even create your own style guide so you spell things the same way throughout. This is also a good chance to check typos according to the version of English you want to use (or any other language). I'm English and based in the UK, but when I published my first novel, I received complaints about typos from my readers, who were mainly in the USA. These were not typos, they were just British spelling! I decided to use US English in my books because US readers complain about UK spelling, but non-US readers will rarely complain about US spelling because they are used to it. You can set ProWritingAid to the type of English you want to use, and if you specify this later, your editor can pick up on word usage rather than typos, for example, using the term ‘flashlight' instead of ‘torch.' You can find ProWritingAid at: www.TheCreativePenn.com/prowritingaid You can find my tutorial on how to use ProWritingAid at: www.TheCreativePenn.com/prowritingaidtutorial When is your self-edit finished? You will be utterly sick of your manuscript by the end of the self-editing process. You have read your words so many times you can't see them clearly anymore. You are so over the whole thing that you want to forget the book altogether. If you don't feel this way, you probably haven't self-edited enough! When you really feel you can't do any more, it's time to work with a professional editor. If you are putting off the end of self-editing, then remember that nothing is ever perfect. You can edit forever if you keep obsessing over changes and going over and over the same material. If your self-edit goes on too long, consider whether perfectionism is holding you back. Set a completion date and hold yourself to it. How to find and work with a professional editor If you want your book to be the best it can be, then working with a professional editor is the next step. An editor's job is to take your manuscript and help you improve it through structural changes and story development, line edits, suggestions for new material or sentence refinement, and so much more. Different kinds of editors can help you in different ways from constructing the overarching story to eliminating the final typo. In my experience, good professional editors are well worth the investment as they help improve your book and your craft, especially in the initial stages of your writing journey. They have read so many early-stage manuscripts that they understand the most common problems and know how to help you fix them. Some experienced authors only use proofreaders for their novels, but personally, I still work with a professional editor on every book and I learn something every time. I am a super-fan of editors! How to find a professional editor Consolidation in the traditional publishing industry over the last decade has resulted in many more editors working as freelancers, so authors have a wealth of professionals available for hire in every genre. You can find lists of approved editors through author organizations. The Alliance of Independent Authors has a list of Partner Members, many of whom are editors. You can also use author marketplace Reedsy. Many editors use content marketing to find clients — for example, blogging about editing tips, writing books on editing, or appearing on podcasts. I have had lots of editors on The Creative Penn Podcast over the years, so you can listen and see if they resonate with you. Most authors credit their editors and proofreaders in the acknowledgments of their books, and many authors happily share recommendations on social media in various author communities. If you enjoy a certain novel, it might be worth reaching out to that editor, as you know they are a specialist in the genre. Check out my list of editors at: www.TheCreativePenn.com/editors How to assess whether an editor is right for you I frequently get emails from writers asking me to recommend an editor for their book. But finding an editor is like dating. You have to do it for yourself, and it's likely that you will try a few before you find your perfect match. You may also change editors over your writing life as your craft develops and your needs shift, and that's completely normal too. Make sure the editor has experience in and enjoys your genre. You don't want a literary historical fiction editor working on your YA paranormal romance or your hard sci-fi adventure. Ensure that the editor has testimonials from happy clients, and check directly with a named author if you have doubts. Some editors will offer a sample edit for one chapter. This helps both parties decide whether working together is appropriate. The editor can assess what level your manuscript is at, and you can decide whether their editorial style is right for you. How to work with an editor When you engage an editor, you will receive a contract with a timeline and a price for the work. You agree to deliver the manuscript on a particular date and will usually pay a deposit, especially if this is the first time you're working together. The editor agrees to deliver the edits back on a certain date and also to keep your manuscript in confidence. You can avoid issues later by communicating expectations up front, so if you have questions about the editing process, ask before you sign a contract. Many editors are booked months in advance, so once you know your schedule, contact them early and book a slot. Update them if your timings change. Most allow minor slippage, but since editors plan their work around contractual dates, it's important to be timely with delivery. As a discovery writer, I only book my editor when I am sure of my dates. Submit your manuscript and, once the edit is complete, you will receive whatever has been agreed. That might be a structural report, line edit, or proofread manuscript, along with a style sheet. It's usually in the form of an MS Word document by email. Some editors may offer a call to discuss, but I have never spoken to an editor as part of my process. It has never been necessary. It's all about the words on the page. If you want a call and it is not specified, then include it in the contract up front along with anything else you're concerned about. I consider my editors to be an important part of my team. They help me turn my manuscripts into books that readers love, and I rely on them as part of my business. This is a two-way relationship, and you need to behave as professionally as the editor should. If you find an editor you love working with, pay them quickly and respect their time, and you will hopefully have a long-term business relationship that benefits you both. How does it feel to go through an edit? It's probably going to hurt, especially in the beginning, when your craft is in its early stages. You need fresh eyes on your work, especially at the beginning of your author career. You need feedback to improve. When I received notes back on my structural edit for my first novel, I didn't open the email for ten days. I was so scared of what it would say because my novel meant so much to me, and yet I knew it had problems. Of course it did, it was my first novel! So I let the email sit in my inbox until I was ready to face it, and like many things, the fear was worse than the actual event. Even many years and many books later, I still don't open emails from my editor until I am mentally ready to face criticism. Because that's what it feels like. It is not the editor's job to pat you on the back and say, ‘Well done, this is perfect.' Their job is to help you make it the best book it can be. They are experts and have honed their advice over many manuscripts, so they can spot an issue a mile off. When you receive that email from your editor, particularly if it's your first book, make sure you are well rested and in a positive frame of mind. Set aside a good amount of time and read through the comments and the manuscript as a whole. If you have an emotional reaction, do not email back immediately! Let the feedback sit with you for a few days, and you will find it easier to see what might need to change. Once you're ready, go through the manuscript and work through each change. Don't just click Accept All on the Track Changes version for a line edit. This takes time, but it's well worth it because you will learn with every step and you'll be able to spot your common issues in the future, and hopefully fix them next time. You also need to examine every suggestion to see if you want to make the change. Do you need to make every change that an editor suggests? No, you don't. You are the author, so your creative vision is the most important thing. But try to get some distance and assess whether the change truly serves the book, or if you're just having an emotional response. Remember what Jeffery Deaver said: “The reader is god.” Consider each editorial suggestion on its own merit. Does it help take the story in the direction you want it to? Will it improve the reader's experience? What if my editor wants me to change everything? Perhaps they are not the right editor for you. The editor should not fundamentally change your story or alter your creative vision. Their job is to help you shape your manuscript into a better version of itself, and retain your voice and ideas while at the same time improving it for the reader. This is a skillful balancing act, which is why experienced editors are so highly sought after. How long will the editing process take? This will depend on the type of writer you are in terms of the first draft. If you outline in great detail and spend time up front making the first draft the best it can be, then editing might take less time than for a discovery writer who only figures out the book after the first draft. The more books you've written, the more you understand how to shape a novel, the more you can write a clean draft, so editing speeds up. That doesn't mean it gets easier to write a book, but it does mean you know how to find and fix issues. It will also depend on the length of the book. A 50,000-word romance with one protagonist will be a faster edit than a 150,000-word sprawling fantasy with multiple point-of-view characters. It will also depend on your experience, so don't compare your editing time to someone who has written a lot of books. Give editing the time it needs. You want your book to be the best it can be. But also remember Parkinson's Law, which I discussed in chapter 4.7 on writing the first draft: “Work expands so as to fill the time available for its completion.” This law also applies to editing. Set your deadline and schedule your editing time accordingly. Don't book a professional editor until you've been through at least your self-editing process, as it may take longer than you think. How much does an editor cost? This will depend on the type of edit, your genre and word count, how experienced you are as a writer, and how much experience the editor has. Editors usually quote a range on their website and you can also email and ask for a more detailed quote based on your manuscript length and sample. Every dollar I have spent on editing has been worth it as an investment in my writing craft and the quality of my finished novels. Although my requirements are different now, I continue to use editors and proofreaders for all my books. The more eyes on your novel before publication, the better it will be on launch. What if you have a tight budget? When I started out as a writer, I had a day job and I saved up for the editorial process. It was an investment in my craft and a possible future creative career. If you already have or intend to set up a business as a writer, then you can offset the cost of editors against any profits. But when you're starting out, you can't necessarily see that far ahead. If you're on a tight budget, then find or set up a writer's group with others in your genre and work through one another's manuscripts. You might also have other skills you can barter for editing services, but remember that bartering is subject to tax in many jurisdictions, so don't assume that it is ‘free.' What if my editor steals my ideas or my manuscript? This is a common concern of new writers who think that editors might run away with their book and make millions with their idea. But don't worry, editors are professionals. They work within a contractual framework that protects both parties. So make sure you are happy with the contract before you sign it. If you are really worried, you can register your copyright before you send the manuscript to anyone else. While it is not legally necessary to register copyright — it exists the moment the work is created — there are registration companies in every country that can provide peace of mind. Just search for ‘copyright registration' within your territory. Will I need different editors when I'm further along in my writing journey? Yes, as your craft and experience improves, you will likely work with different editors. You might also choose to use a new editor for a different genre, or work with recommended professionals to take your craft to the next level. Resources: • My list of recommended editors: www.TheCreativePenn.com/editors • Alliance of Independent Authors — www.TheCreativePenn.com/alliance • The following editing associations offer directories and job posting services: The Editorial Freelancers Association (US), the Chartered Institute for Editing and Proofreading (UK), the Institute for Professional Editors (Australia and New Zealand), and Editors Canada. Beta readers, specialist readers, and sensitivity readers Professional editors approach your manuscript with a critical eye based on their knowledge of language, story structure, and genre. But sometimes, it's a good idea to gain perspective from readers who are not experts on sentence structure or grammar, but comment on the story itself, and their experience of reading it as a whole. Beta readers Beta readers are a trusted group of people who evaluate your book from a reader's perspective before publication. The term comes from the software industry, where early versions are tested in beta before being released to the public. While there are some paid beta reader services, many authors find people from their existing readership, or from among genre fans in the writing community. Authors usually thank their beta readers in their acknowledgments. Specialist readers Specialist readers are experts on a particular topic who read with their expertise in mind. This might be a police officer who checks a crime novel, or a physicist who reads for a science-fiction author. Sensitivity readers Sensitivity readers check for cultural and diversity issues, lack of or clichéd representation, and insensitive, inauthentic, or uninformed language, characters, or situations. This type of feedback can help an author before publication, and can be particularly useful if you are tackling more controversial topics. It can also be valuable when reviewing older manuscripts if you want to republish a new edition, as gendered language has changed, as well as the need for representation, diversity, and inclusivity. While some criticize sensitivity reading as a step toward censorship, most authors want to make their books the best they can be, and ensure the reader experience is excellent, whatever the genre. Being a fiction writer is also about empathy — with our characters and with our readers — so improving our ability to write about diverse characters is important. However, authors cannot be experts on what it's like to experience every race or religion, every body type or disability or mental health issue, or understand every country or culture. Feedback from different kinds of readers can help us write better stories, and it is the author's choice whether to implement suggestions in the final manuscript. Do you need all of these types of readers? No. You don't need any of them, or you can choose to use some of them for different books, depending on the need. It's up to you (and your agent or publisher if you choose to go that route). At what stage in the editorial process should you use these types of readers? The book should be as close to the final version as possible. These people are reading with fresh eyes; if they read again later, they can never approach the story with such an open mind. Most authors will send the manuscript to a select group of readers after the main editorial revisions, but before the proofread. Some authors with more developed careers even use their team of beta readers instead of editors at different stages of the process. What should you provide to readers? Provide the manuscript in the format the reader prefers. This could be an MS Word document or PDF. Many established authors use Bookfunnel, which allows you to create a version that can be read on any reading device or phone. Specialist readers and sensitivity readers have their specific expertise, but for more general beta readers, you need to provide some direction as to what you expect. For example: Did you skip over anything? Did anything bore you? Was anything confusing? Did you have to reread any parts? What did you like? Was there anything you hated or objected to or had a problem with? How long should you give them to read? Allow at least two weeks for readers to assess and provide feedback. Be clear on the timeline when you send them the book.. Do you need to make all the changes they suggest? No, and if you try to, you will end up straying from your creative goal, messing up your author voice, and likely pleasing no one! Keep your number of early readers small and specific to what you want to achieve. Assess each comment and suggestion on its own merit and decide whether or not to make the change. Be confident in your creative vision and beware writing by committee, which becomes a problem if you ask too many people for feedback. Only you can decide what you want for your novel. Resources: • The Reedsy marketplace includes different kinds of editors, beta readers, and sensitivity readers — www.TheCreativePenn.com/reedsy • Directory of sensitivity readers — www.writingdiversely.com/directory • Editors of Color — editorsofcolor.com When is the book finished? “I have not yet found words to truly convey the intensity of this remembered rapture—that moment of exquisite joy when necessary words come together and the work is complete, finished, ready to be read.” —bell hooks,Remembered Rapture You can edit a book forever if you want to. Every time you read it, you will find things to change. Every time you hire another editor, they will find more. If you work with beta readers, they will also offer opinions. Your novel will never be finished — until you decide it is. Nothing is ever perfect. Even if you hire three separate editors and use multiple proofreaders, you will still find a typo or an error in the published novel. Pick up any bestselling book from a traditional publisher, and you will still find an issue somewhere. It happens to everyone. Look at any prize-winning or bestselling book on Amazon and check the reviews. The more popular the book, the more issues people will find with it. There will never be a novel that satisfies everyone, and that's fine. Of course, you must make sure your book is the best it can be, but set boundaries for yourself so you do eventually finish. Have you self-edited your manuscript? Have you worked with a professional editor, or at least worked through the manuscript with other writers to improve it? Have you used editing tools and/or a proofreader? Have you set a deadline to move into the publishing process so you are not editing forever? If you have been through this rigorous editorial process and you still feel the itch to edit again, be honest with yourself. Is another round of changes really going to make a substantial difference to this book? Would it be better to work on the next novel instead of constantly reworking this one? Are you struggling with fear of judgment, fear of failure, procrastination, or other mindset issues that you need to work on instead of editing? Check out my book The Successful Author Mindset if you think this might be the case. Strive for excellence, do your best, and then release your book out into the world. “Set a limit on revisions, set a limit on drafts, set a time limit… The book will never be perfect.” —Kristine Kathryn Rusch, The Pursuit of Perfection and How it Harms Writers These chapters are excerpted from How to Write a Novel: From Idea to Book by Joanna Penn, available direct or on all the usual stores. The post Editing a Novel: Self-Editing, And How To Work With A Professional Editor With Joanna Penn first appeared on The Creative Penn.

APR Health Solutions Peptides: www.aprhealthsolutions.comOptimize HRT Clinic: https://members.optimize-hp.com - code 'NYLE'Merch: https://www.aykons.com/nylePlease share this episode if you liked it. To support the podcast, the best cost-free way is to subscribe and please rate the podcast 5* wherever you find your podcasts. Thanks for watching.To be part of any Q&A, follow trensparentpodcast or nylenayga on instagram and watch for Q&A prompts on the story  https://www.instagram.com/trensparentpodcast/Huge Supplements (Protein, Pre, Defend Cycle Support, Utilize GDA, Vital, Astragalus, Citrus Bergamot): https://www.hugesupplements.com/discount/NYLESupport code 'NYLE' 10% off - proceeds go towards upgrading content productionYoungLA Clothes: https://www.youngla.com/discount/nyleCode ‘NYLE' to support the podcastLet's chat about the Podcast:Instagram: https://www.instagram.com/trensparentpodcast/TikTok: https://www.tiktok.com/@transparentpodcastPersonalized Bodybuilding Program:  https://www.nylenaygafitness.comRP Hypertrophy Training App: rpstrength.com/nyleTimestamps:00:00:00 Intro00:02:10 Building a Killer Team 00:04:29 Official Start: Reaching the New Gen 00:06:42 The Mindset of the Stage 00:08:15 Peptides & the Red Pill 00:10:52 Icons: The New Standard 00:11:50 10 Years of Transparency 00:13:58 The Stagnated Stalemate 00:16:28 Remapping after Heartbreak 00:20:42 The Opioid War at Home 00:24:44 The Yellow Sundress Vision 00:29:15 Meeting Hannah 00:33:06 Safety in the Corners 00:34:45 No Problems, Just Work 00:37:34 The Dark Place Strategy 00:41:20 Duty & Procreation 00:45:06 The Optimization Protocol 00:47:09 Move vs. Heal 00:52:06 Controlling House Energy 00:56:45 Meathead Roots: Joe Trapani 01:00:47 Art of the Sculpture 01:04:09 The Degenerate Side 01:06:17 Sweet Spots & Receptors 01:13:19 Superman Cycle Risks 01:18:08 Kai Greene: 7 Grams? 01:21:51 The Gut Health Aesthetic 01:24:06 Genetics vs. The Bottle 01:26:24 2009 Nationals: The Peak 01:33:14 RP: Tracking the Steel 01:38:04 Rivalries & Regrets 01:39:09 Consultant Career Paths 01:40:09 Why Larges Sell Out 01:42:09 Scaling Axe & Sledge 01:45:32 Purpose Over Profit 01:47:29 Levrone's Leg Day 01:49:08 Best Protein Flavors 01:51:11 The Olympia Guarantee? 01:52:15 The Training Playlist 01:54:05 Balancing Life & Family 01:55:46 The Superman Stack 01:59:07 Big Delts & Bone-in Ribeyes 02:02:25 Advice for Young Fathers 02:03:42 One Punch Man in Detroit 02:06:35 Low Risk Longevity 02:07:29 Underrated vs. Overrated 02:09:33 Educating the Kids 02:11:38 Overhead Press Worth 02:14:29 Accents & Wellness Girls 02:16:52 Volume vs. Muscle Cuts 02:18:17 New Podcast Facility 02:18:41 The Productivity Myth 02:19:45 Visualization & Truth 02:26:41 The HWMF Conclusion

Ian Fidance and Josie Marcellino join Zac Amico and they discuss Ian's new web series Ian Do and what his favorite and least favorite episodes were so far, the most and least sexy American accents, Ian's and Josie's fluxating sexualities, Zac's experience with fat blindness, Bob Barker accusations, the man caught putting his genitals on a woman's head at a grocery store, the $1000 spice challenge and so much more! Air Date: 03/30/26Support our sponsors!SmallBatchCigar.com - Use promo code: GAS10 for 10% off plus 5% bonus points!YoKratom.com - Check out Yo Kratom (the home of the $60 kilo) for all your kratom needs!BodyBrainCoffee.com - Use promo code: ZOO15 to get 15% off!Zac Amico's Morning Zoo plug music can be found here: https://www.youtube.com/watch?v=oMgQJEcVToY&list=PLzjkiYUjXuevVG0fTOX4GCTzbU0ooHQ-O&ab_channel=BulbyTo advertise your product or service on GaS Digital podcasts please go to TheADSide.com and click on "Advertisers" for more information!Submit your artwork via postal mail to:GaS Digital Networkc/o Zac's Morning Zoo151 1st Ave, #311New York, NY 10003You can sign up at GaSDigital.com with promo code: ZOO for a discount of $1.50 on your subscription and access to every Zac Amico's Morning Zoo show ever recorded! On top of that you'll also have the same access to ALL the shows that GaS Digital Network has to offer!Follow the whole show on social media!Ian FidanceTwitter: https://twitter.com/ianimal69Instagram: https://instagram.com/ianimal69Josie MarcellinoInstagram: https://instagram.com/JosieMarcellinoYouTube: youtube.com/josiemarcellinoZac AmicoTwitter: https://twitter.com/ZASpookShowInstagram: https://instagram.com/zacisnotfunnyDates: https://punchup.live/ZacAmicoSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Scientists have discovered that damselfish on the Great Barrier Reef speak faster than the same species in WA, meaning fish have regional accents. That alone was enough. But we also learned that crows hold grudges against specific humans and warn other crows about them, cows have best friends they hang out with in the field, queen ants live up to 30 years while regular ants get two, and zebras fart every single time they run. It is propulsion. Nature is unhinged and we are obsessed.See omnystudio.com/listener for privacy information.

In this episode, you'll learn how to pronounce the é (e with an acute accent) in French.

Full show - FrYiday | Joking off | News or Nope - Lauren Conrad, Kristin Cavallari, Lovers' Lane murders, and birthday hunks | Feel Good Friday | Accents | Slacker's son wants to study abroad... | The best movie theater candy | Dirty couches | How do you feel about getting older? | People will name their kids anything these days | Stupid stories www.instagram.com/theslackershow www.instagram.com/ericasheaaa www.instagram.com/thackiswack www.instagram.com/radioerin Yi!

We'll try our best to guess where your accent is from...and whether or not you're faking it!

Michael McIntyre jokes about accents in his Netflix special, "Showman".

⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.patreon.com/LadsAnonPod⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ 

SPONSORS: - Head to http://lucy.co/stores to get 20% off your first order when you buy online with code YMH. - For simple, online access to personalized and affordable care for Hair Loss, Weight Loss, and more, visit https://Hims.com/YMH. - Head to https://Wayfair.com right now to shop all things home. Tom Segura and Christina P are back for another wild episode of Your Mom's House Podcast, diving headfirst into a new batch of internet insanity before they are joined by some very European guests. This episode covers everything from the viral McDonalds CEO video, to horny grannies, to Obama talking black, to Putin praising some broads, plus, Gene Simmons telling celebs to shut up, pigeons taking over a mans home, and Christina showing Tom a game called "Chernobyl or Hungarian Hospital?" Later in the episode, Francis Foster and Konstantin Kisin join the show for a hilarious guest segment packed with sharp cultural commentary, stories about Eastern Europe, parenting, travel, teaching, gratitude, and why seeing more of the world might be the cure for modern stupidity. The conversation bounces from outrageous internet content to real talk about America, Hungary, Russia, Ukraine, family life, and raising kids with perspective. Plus Francis and Konstantin get a dose of Christina's TikTok curations just for good measure. Cheerio! Your Mom's House Ep. 851 https://tomsegura.com/tour https://christinap.com/ https://store.ymhstudios.com https://www.reddit.com/r/yourmomshousepodcast Chapters 00:00:00 - Intro 00:00:11 - Obama Taliking Black 00:07:07 - Opening Clip: Cool Brag 00:09:34 - Clip: Cool Gal Loves Her Fiance 00:13:12 - Clip: Chocolate Massage 00:15:36 - Gene Simmons Says Shut Up 00:20:33 - Clip: Paralympian Tom 00:21:34 - RIP Robert Carradine 00:26:01 - They Did Surgery On A Weiner...In A Car 00:29:48 - Clip: Public Pooper 00:30:30 - Russian Pigeon House 00:32:13 - Chernobyl or Hungarian Hospital? 00:34:18 - Clip: Screaming Into Void 00:35:10 - Mike The Tax Guy 00:37:49 - Francis Foster & Konstantin Kisin 00:44:58 - Brexit, Royals, & Epstein Files 00:50:06 - Talented Pieces Of Shit 00:56:33 - Talking To Yourself & Accents 01:04:01 - Master Of Accents 01:11:28 - Dictators 01:21:05 - Horrible Or Hilarious 01:26:28 - McDonalds CEO Tries New Burger 01:30:06 - Very British Discussion 01:34:06 - TikToks 01:45:53 - Chernobyl Or Hungarian Hospital? Redux 01:49:07 - Closing Song - "How You Say Cucumber" by Micah Akervold Learn more about your ad choices. Visit megaphone.fm/adchoices

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