Podcasts about Castilian Spanish

Do you dream about leaving everything behind and moving to a Spanish-speaking country?

Spanish Phrases and Verbs (Castilian Spanish/English). Learn Spanish With Pablo Subscribe & access all content: https://podcasters.spotify.com/pod/show/learn-spanish-with-pablo/subscribe Download more than 250 videos at https://www.patreon.com/spanishvideos

Muslims lived in the Iberian Peninsula for best part of a millennium before their final expulsion of the early 1600s. During those nine centuries, there flourished a rich literary culture, not only in Arabic but also in Aljamiado—a version of Castilian Spanish that was written with the Arabic script. In this episode, we explore the fascinating Quran manuscripts—in Arabic and especially Aljamiado—written in the last few centuries of Moorish life in Iberia. We'll learn how these rare manuscripts survived—sometimes hidden for centuries in the walls of old houses—and what they tell us about the people who wrote them, and the form of Islam they followed. In so doing, we'll learn about a long-forgotten chapter in European literary as much as religious history: the only surviving complete Quran in Aljamiado Spanish was written at exactly the same time as Cervantes' Don Quixote. Nile Green talks to Nuria de Castilla, author of “The Qur'an: Production, Transmission, and Reception in the Mudejar and Morisco Communities,” in The Qur'an and its Handwritten Transmission (Brill, 2024).

Imagine your late grandmother appearing in a dream and urging you to learn a new language. For Regina from Bold Spirit Travel, this dream set her on an extraordinary path of personal transformation. Regina shares her immersive experience in Costa Rica, where she overcame language barriers and thrived in a non-English speaking environment. Her journey took her from Costa Rica to Guatemala and finally to Barcelona, where she had to master both Castilian Spanish and Catalan. Moving to Barcelona marked a pivotal point in her life. It was there that she met her husband and advanced her career as a journalist and travel blogger. Regina also explores the challenges and beauty of being multilingual in a cosmopolitan city like Barcelona. She reflects on her ongoing efforts to learn Catalan and navigate a diverse linguistic landscape. Her passion for adventure led her to create all-women travel groups, fostering a sense of community and connection among travellers. Her story is about the courage to step out of one's comfort zone and embrace solo travel, language learning, and community engagement. Regina Winkle-Bryan founded Bold Spirit Travel, a company that connects women through adventure. She leads many Bold Spirit Travel trips along with a team of talented guides. Bold Spirit Travel persevered through the COVID-19 pandemic by transitioning to online travel experiences with global guides and chefs. Regina has visited over 35 countries and currently calls Washington state home.This episode is packed with tales of bold moves, cultural adaptation, and the creation of lasting bonds through travel.Let's enjoy her story. To connect with Regina/ Bold Spirit Travel https://www.boldspirittravel.com/Send BEHAS a text. Support the Show.To Share - Connect & Relate: Share Your Thoughts and Shape the Show! Tell me what you love about the podcast and what you want to hear more about. Please email me at behas.podcats@gmail.com and be part of the conversation! To be on the show Podmatch Profile Thank you for listening - Hasta Pronto!

Marvels like enchanted rings and sorcerers' stones were topics of fascination in the Middle Ages, not only in romance and travel literature but also in the period's philosophical writing. Rather than constructions of belief accepted only by simple-minded people, Michelle Karnes shows that these spectacular wonders were near impossibilities that demanded scrutiny and investigation. Medieval Marvels and Fictions in the Latin West and Islamic World (U Chicago Press, 2022) is the first book to analyze a diverse set of writings on such wonders, comparing texts from the Latin West—including those written in English, French, Italian, and Castilian Spanish —with those written in Arabic as it works toward a unifying theory of marvels across different disciplines and cultures. Karnes tells a story about the parallels between Arabic and Latin thought, reminding us that experiences of the strange and the unfamiliar travel across a range of genres, spanning geographical and conceptual space and offering an ideal vantage point from which to understand intercultural exchange. Karnes traverses this diverse archive, showing how imagination imbues marvels with their character and power, making them at once enigmatic, creative, and resonant. Skirting the distinction between the real and unreal, these marvels challenge readers to discover the highest capabilities of both nature and the human intellect. Karnes offers a rare comparative perspective and a new methodology to study a topic long recognized as central to medieval culture. Michelle Karnes is professor of English and the history of philosophy and science at the University of Notre Dame. She is the author of Imagination, Meditation, and Cognition in the Middle Ages and the coeditor of Studies in the Age of Chaucer. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube channel. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Marvels like enchanted rings and sorcerers' stones were topics of fascination in the Middle Ages, not only in romance and travel literature but also in the period's philosophical writing. Rather than constructions of belief accepted only by simple-minded people, Michelle Karnes shows that these spectacular wonders were near impossibilities that demanded scrutiny and investigation. Medieval Marvels and Fictions in the Latin West and Islamic World (U Chicago Press, 2022) is the first book to analyze a diverse set of writings on such wonders, comparing texts from the Latin West—including those written in English, French, Italian, and Castilian Spanish —with those written in Arabic as it works toward a unifying theory of marvels across different disciplines and cultures. Karnes tells a story about the parallels between Arabic and Latin thought, reminding us that experiences of the strange and the unfamiliar travel across a range of genres, spanning geographical and conceptual space and offering an ideal vantage point from which to understand intercultural exchange. Karnes traverses this diverse archive, showing how imagination imbues marvels with their character and power, making them at once enigmatic, creative, and resonant. Skirting the distinction between the real and unreal, these marvels challenge readers to discover the highest capabilities of both nature and the human intellect. Karnes offers a rare comparative perspective and a new methodology to study a topic long recognized as central to medieval culture. Michelle Karnes is professor of English and the history of philosophy and science at the University of Notre Dame. She is the author of Imagination, Meditation, and Cognition in the Middle Ages and the coeditor of Studies in the Age of Chaucer. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube channel. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Marvels like enchanted rings and sorcerers' stones were topics of fascination in the Middle Ages, not only in romance and travel literature but also in the period's philosophical writing. Rather than constructions of belief accepted only by simple-minded people, Michelle Karnes shows that these spectacular wonders were near impossibilities that demanded scrutiny and investigation. Medieval Marvels and Fictions in the Latin West and Islamic World (U Chicago Press, 2022) is the first book to analyze a diverse set of writings on such wonders, comparing texts from the Latin West—including those written in English, French, Italian, and Castilian Spanish —with those written in Arabic as it works toward a unifying theory of marvels across different disciplines and cultures. Karnes tells a story about the parallels between Arabic and Latin thought, reminding us that experiences of the strange and the unfamiliar travel across a range of genres, spanning geographical and conceptual space and offering an ideal vantage point from which to understand intercultural exchange. Karnes traverses this diverse archive, showing how imagination imbues marvels with their character and power, making them at once enigmatic, creative, and resonant. Skirting the distinction between the real and unreal, these marvels challenge readers to discover the highest capabilities of both nature and the human intellect. Karnes offers a rare comparative perspective and a new methodology to study a topic long recognized as central to medieval culture. Michelle Karnes is professor of English and the history of philosophy and science at the University of Notre Dame. She is the author of Imagination, Meditation, and Cognition in the Middle Ages and the coeditor of Studies in the Age of Chaucer. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube channel. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/islamic-studies

Marvels like enchanted rings and sorcerers' stones were topics of fascination in the Middle Ages, not only in romance and travel literature but also in the period's philosophical writing. Rather than constructions of belief accepted only by simple-minded people, Michelle Karnes shows that these spectacular wonders were near impossibilities that demanded scrutiny and investigation. Medieval Marvels and Fictions in the Latin West and Islamic World (U Chicago Press, 2022) is the first book to analyze a diverse set of writings on such wonders, comparing texts from the Latin West—including those written in English, French, Italian, and Castilian Spanish —with those written in Arabic as it works toward a unifying theory of marvels across different disciplines and cultures. Karnes tells a story about the parallels between Arabic and Latin thought, reminding us that experiences of the strange and the unfamiliar travel across a range of genres, spanning geographical and conceptual space and offering an ideal vantage point from which to understand intercultural exchange. Karnes traverses this diverse archive, showing how imagination imbues marvels with their character and power, making them at once enigmatic, creative, and resonant. Skirting the distinction between the real and unreal, these marvels challenge readers to discover the highest capabilities of both nature and the human intellect. Karnes offers a rare comparative perspective and a new methodology to study a topic long recognized as central to medieval culture. Michelle Karnes is professor of English and the history of philosophy and science at the University of Notre Dame. She is the author of Imagination, Meditation, and Cognition in the Middle Ages and the coeditor of Studies in the Age of Chaucer. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube channel. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/middle-eastern-studies

Marvels like enchanted rings and sorcerers' stones were topics of fascination in the Middle Ages, not only in romance and travel literature but also in the period's philosophical writing. Rather than constructions of belief accepted only by simple-minded people, Michelle Karnes shows that these spectacular wonders were near impossibilities that demanded scrutiny and investigation. Medieval Marvels and Fictions in the Latin West and Islamic World (U Chicago Press, 2022) is the first book to analyze a diverse set of writings on such wonders, comparing texts from the Latin West—including those written in English, French, Italian, and Castilian Spanish —with those written in Arabic as it works toward a unifying theory of marvels across different disciplines and cultures. Karnes tells a story about the parallels between Arabic and Latin thought, reminding us that experiences of the strange and the unfamiliar travel across a range of genres, spanning geographical and conceptual space and offering an ideal vantage point from which to understand intercultural exchange. Karnes traverses this diverse archive, showing how imagination imbues marvels with their character and power, making them at once enigmatic, creative, and resonant. Skirting the distinction between the real and unreal, these marvels challenge readers to discover the highest capabilities of both nature and the human intellect. Karnes offers a rare comparative perspective and a new methodology to study a topic long recognized as central to medieval culture. Michelle Karnes is professor of English and the history of philosophy and science at the University of Notre Dame. She is the author of Imagination, Meditation, and Cognition in the Middle Ages and the coeditor of Studies in the Age of Chaucer. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube channel. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/folkore

Marvels like enchanted rings and sorcerers' stones were topics of fascination in the Middle Ages, not only in romance and travel literature but also in the period's philosophical writing. Rather than constructions of belief accepted only by simple-minded people, Michelle Karnes shows that these spectacular wonders were near impossibilities that demanded scrutiny and investigation. Medieval Marvels and Fictions in the Latin West and Islamic World (U Chicago Press, 2022) is the first book to analyze a diverse set of writings on such wonders, comparing texts from the Latin West—including those written in English, French, Italian, and Castilian Spanish —with those written in Arabic as it works toward a unifying theory of marvels across different disciplines and cultures. Karnes tells a story about the parallels between Arabic and Latin thought, reminding us that experiences of the strange and the unfamiliar travel across a range of genres, spanning geographical and conceptual space and offering an ideal vantage point from which to understand intercultural exchange. Karnes traverses this diverse archive, showing how imagination imbues marvels with their character and power, making them at once enigmatic, creative, and resonant. Skirting the distinction between the real and unreal, these marvels challenge readers to discover the highest capabilities of both nature and the human intellect. Karnes offers a rare comparative perspective and a new methodology to study a topic long recognized as central to medieval culture. Michelle Karnes is professor of English and the history of philosophy and science at the University of Notre Dame. She is the author of Imagination, Meditation, and Cognition in the Middle Ages and the coeditor of Studies in the Age of Chaucer. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube channel. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

Marvels like enchanted rings and sorcerers' stones were topics of fascination in the Middle Ages, not only in romance and travel literature but also in the period's philosophical writing. Rather than constructions of belief accepted only by simple-minded people, Michelle Karnes shows that these spectacular wonders were near impossibilities that demanded scrutiny and investigation. Medieval Marvels and Fictions in the Latin West and Islamic World (U Chicago Press, 2022) is the first book to analyze a diverse set of writings on such wonders, comparing texts from the Latin West—including those written in English, French, Italian, and Castilian Spanish —with those written in Arabic as it works toward a unifying theory of marvels across different disciplines and cultures. Karnes tells a story about the parallels between Arabic and Latin thought, reminding us that experiences of the strange and the unfamiliar travel across a range of genres, spanning geographical and conceptual space and offering an ideal vantage point from which to understand intercultural exchange. Karnes traverses this diverse archive, showing how imagination imbues marvels with their character and power, making them at once enigmatic, creative, and resonant. Skirting the distinction between the real and unreal, these marvels challenge readers to discover the highest capabilities of both nature and the human intellect. Karnes offers a rare comparative perspective and a new methodology to study a topic long recognized as central to medieval culture. Michelle Karnes is professor of English and the history of philosophy and science at the University of Notre Dame. She is the author of Imagination, Meditation, and Cognition in the Middle Ages and the coeditor of Studies in the Age of Chaucer. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube channel. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/european-studies

Marvels like enchanted rings and sorcerers' stones were topics of fascination in the Middle Ages, not only in romance and travel literature but also in the period's philosophical writing. Rather than constructions of belief accepted only by simple-minded people, Michelle Karnes shows that these spectacular wonders were near impossibilities that demanded scrutiny and investigation. Medieval Marvels and Fictions in the Latin West and Islamic World (U Chicago Press, 2022) is the first book to analyze a diverse set of writings on such wonders, comparing texts from the Latin West—including those written in English, French, Italian, and Castilian Spanish —with those written in Arabic as it works toward a unifying theory of marvels across different disciplines and cultures. Karnes tells a story about the parallels between Arabic and Latin thought, reminding us that experiences of the strange and the unfamiliar travel across a range of genres, spanning geographical and conceptual space and offering an ideal vantage point from which to understand intercultural exchange. Karnes traverses this diverse archive, showing how imagination imbues marvels with their character and power, making them at once enigmatic, creative, and resonant. Skirting the distinction between the real and unreal, these marvels challenge readers to discover the highest capabilities of both nature and the human intellect. Karnes offers a rare comparative perspective and a new methodology to study a topic long recognized as central to medieval culture. Michelle Karnes is professor of English and the history of philosophy and science at the University of Notre Dame. She is the author of Imagination, Meditation, and Cognition in the Middle Ages and the coeditor of Studies in the Age of Chaucer. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube channel. Learn more about your ad choices. Visit megaphone.fm/adchoices

Marvels like enchanted rings and sorcerers' stones were topics of fascination in the Middle Ages, not only in romance and travel literature but also in the period's philosophical writing. Rather than constructions of belief accepted only by simple-minded people, Michelle Karnes shows that these spectacular wonders were near impossibilities that demanded scrutiny and investigation. Medieval Marvels and Fictions in the Latin West and Islamic World (U Chicago Press, 2022) is the first book to analyze a diverse set of writings on such wonders, comparing texts from the Latin West—including those written in English, French, Italian, and Castilian Spanish —with those written in Arabic as it works toward a unifying theory of marvels across different disciplines and cultures. Karnes tells a story about the parallels between Arabic and Latin thought, reminding us that experiences of the strange and the unfamiliar travel across a range of genres, spanning geographical and conceptual space and offering an ideal vantage point from which to understand intercultural exchange. Karnes traverses this diverse archive, showing how imagination imbues marvels with their character and power, making them at once enigmatic, creative, and resonant. Skirting the distinction between the real and unreal, these marvels challenge readers to discover the highest capabilities of both nature and the human intellect. Karnes offers a rare comparative perspective and a new methodology to study a topic long recognized as central to medieval culture. Michelle Karnes is professor of English and the history of philosophy and science at the University of Notre Dame. She is the author of Imagination, Meditation, and Cognition in the Middle Ages and the coeditor of Studies in the Age of Chaucer. Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube channel. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/christian-studies

In this episode of “How do you Say That?!”, Andy B Robinson joins Mark and guest-host Liz Drury to talk about wearing you pants outside your trousers for a superhero commercial read, and how using emotes and humanisation can bring your gaming characters to life!Our VO question this week is all about keeping your voice in shape! So what kind of vocal warm-ups do you do?We'd love you to join in and send us your version of one of the reads in today's show – just pop it onto an mp3 and send it to podcast@britishvoiceover.co.ukScript 1Drips & Leaks are your plumbing superheroes on the South Coast! We have over 20 years experience in saving you from annoying leaky taps right through to complex drainage repairs and efficient leak detection!And with our preventative maintenance services, we act as your shield from future damage and costly repairs down the line.Drips and Leaks take pride in providing the highest quality service to our customers, ensuring that your home or business is always safe from water disasters.Call on our team of professionals and enjoy the peace of mind of being free from plumbing problems.Visit dripsandleaks.comScript 2Breandan:Aren't you aware that taking the Temple was the worst possible idea? This will only quicken Kamelot's intervention. If they send Galahad...Why? Because you don't like the All-Mother? Or was this meant to be a provocation to warrant Kamelot's invasion?Don't tell me you're that naive. Do you know how he got the moniker “The Pure”? He somehow got it into his thick head that evil is rampant everywhere, and that it's best to purify it with fire.So he goes around setting everything on fire. Sure, sure, it's “pure” afterwards. Because there's nothing left. ----------------- Listen to all of our podcasts here ------------------About our guest: Andy B Robinson is an award-winning British voiceover artist known for his authoritative, natural, and reassuringly confident voice. With nearly a decade of vo experience, he has worked with numerous high-profile clients like Amazon, Coca-Cola and Mercedes. Although he specialises in corporate and commercial projects such as explainer or company videos, as well as radio/TV commercials, he is also comfortable working in a variety of other fields, including video games, podcasts, audio dramas, audio guides, e-learning, and narration. While his natural speaking voice resembles soft or modern RP, he is particularly skilled at regional UK accents, and even Castilian Spanish, which he has recently started voicing in.Andy B's Website @androb001 on Instagram Andy B's Facebook page Resources: The warm up app that Liz mentioned is Activate Your Voice by Elaine Clarke: Mark's demos & contact details: https://linktr.ee/britishvoiceovermarkLiz's contact details: Liz's Website

Spanish Lessons With Pablo Compilation 1. Learn the Castilian Spanish language from English to Spanish with phrases, verbs, adverbs,subjunctive and more! fownload more than 250 videos at https://www.patreon.com/spanishvideos Subscribe for all content on Spotify/Anchor: https://anchor.fm/learn-spanish-with-pablo/subscribe Visit https://www.learnspanishwithpablo.com for more. My Youtube channel: https://www.youtube.com/c/freespanishtutorials --- Send in a voice message: https://podcasters.spotify.com/pod/show/learn-spanish-with-pablo/message

Amazon Book I have great love for preserving and retelling unwritten history that my great-grandparents, grand-parents, parents, and I have lived to tell about. I have great ambitions to save our culture and to retell stories of how our ancestors lived. I believe that among the things that shape our lives, perhaps our history is the most significant. I have always had a dream that someday I would be given the opportunity to be able to retell the stories of our ancestors. I have great hopes that you can help me get this book, The Penitentes, published so many of our people can read this and imagine what our lives were like. I believe this book should be published because what is written is exactly what I witnessed as a child and young adult. I have written what my grandparents and parents shared with me about the way of living that actually was the government of this small villages. That is exactly how they learned to live and follow rules in a civilized world. I have never read a book written about the Penitentes, where the author actually saw and or experienced their way of living. Our language and culture has been preserved for hundreds of years because of this secret society. They are the ones that brought the Castilian Spanish to our area. The purpose of this book is to share how our culture, morals, and values were being developed in a very low profile way of living, and their way of living by their strong ways still exists in our small rural communities. This book can be read by many different people who have a wide variety of interests. They may be interested in the area, or they may want to learn a very different way of how a village functioned many years ago, how the villages were formed, and the purpose and responsibility of everyone in their individual village. I believe our culture has been denied or our real way of living for hundreds of years was wrongly described. I believe my book will attract different people who have interest in culture, ethnics, history, and how the real Hispanics lived hundreds of years ago, a totally different form of government that worked just fine for the people who lived in these areas. I believe my book is unique and very culturally related to all Hispanics.

Quick tips to sound more Spanish! Luke Nicholson takes you through his top tips for improving your accent in Castilian Spanish. Luke explains the difference between a voiced alveolar tap and trill with exercises to help your accent on its way! If you want to take your learning to the next level, we have a special offer here to start your language learning journey: https://www.rosettastone.co.uk/lp/s3/?cmp=mtw&utm_source=youtube&utm_medium=sm&utm_campaign=mtw13&utm_content=sl See omnystudio.com/listener for privacy information.

Watch as VIDEO PODCAST WITH TEXT on Spotify ❗✅ : https://open.spotify.com/show/5t3ji68wvuThDd9zlCpOBP - Basic Spanish Phrases For Beginners Part 3 Learn Spanish With Pablo. VIDEO PODCAST. Castilian Spanish Lesson / Podcast. Subscribe for all and extended content on Spotify/Anchor: https://anchor.fm/learn-spanish-with-pablo/subscribe Download more than 250 videos at https://www.patreon.com/spanishvideos My Youtube channel: https://www.youtube.com/c/freespanishtutorials --- Send in a voice message: https://anchor.fm/learn-spanish-with-pablo/message

Watch as VIDEO PODCAST WITH TEXT on Spotify ❗✅ : https://open.spotify.com/show/5t3ji68wvuThDd9zlCpOBP Asking Basic Spanish Questions Part 2. Learn Spanish With Pablo. VIDEO PODCAST. Castilian Spanish Lesson / Podcast. Subscribe for all and extended content on Spotify/Anchor: https://anchor.fm/learn-spanish-with-pablo/subscribe Download more than 250 videos at https://www.patreon.com/spanishvideos My Youtube channel: https://www.youtube.com/c/freespanishtutorials --- Send in a voice message: https://anchor.fm/learn-spanish-with-pablo/message

This episode is a special treat as Happy speaks to Sheila Gillette as she channels the 12 archangels known as the collective, Theo! You can find Theo at https://www.asktheo.com https://www.facebook.com/asktheo/ A pioneer in channeling, Sheila Gillette, began direct voice mediumship with THEO before the term channeling was born. With raw courage and the assistance of THEO, she began channeling in the early 1970s. Having been tested by leading physicists early on, and witnessing the positive transformation THEO's guidance created in her life and the lives of her clients, she gained the confidence to remain steadfast in sharing THEO's wisdom, and they have been a beacon of light ever since. THEO's teachings and Sheila's experience and knowledge have assisted many people across the world, including Esther Hicks (channel of Abraham), open to their natural intuitive abilities, stand in the light of their soul's truth, and nurture their ability to connect with the guidance about them. Sheila is an author (books published by both Simon & Schuster and Tarcher/Penguin), leader, speaker, and teacher who has witnessed waves of people awaken to their multidimensionality and says the time we're currently living in enlivens her because this is the time of grand transformation we've all been waiting to experience, the 5th dimension. While comprised of twelve archangelic beings, THEO speaks through Sheila in a single voice. THEO has never been embodied, but rather speaks to us from higher dimensions. Paramount to THEO's teachings is Soul Integration™ which leads to a stronger sense of self-love, and what many conceive of as enlightenment. The individual and collective challenges people face, as well as the dreams and ambitions they aspire to, can be met through learning how to become integrated. In this way, the Law of Attraction takes on new meaning as desired vision becomes less cerebral and more fully integrated in mind, body, and spirit. The following is a detail of Sheila's timeline for anyone that is interested. 1969 - Sheila's near death experience after the birth of her 3rd child, pulmonary embolisms, experience with Jesus and miraculous healing. Medical professor used her x-rays in teaching and when students would review her case study, they would surmise she died and were always surprised she survived. This launched a variety of psychic experiences including automatic writing (some in Castilian Spanish and she doesn't know Spanish, info on Watergate 2 years before it happened, she was able to verify later) and a variety of other things that led to direct voice channeling. Sheila channeled Orlos first, they said they were preparing her body for the higher teachers of THEO, whose stronger energy came through later. Sheila was invited and attended the July 25th, 1976 psychic conference at the University of Miami where physicists, engineers, anthropologists, and parapsychologists met and determined psychics and psychic phenomena valid and promising subjects for serious scientific inquiry. One of the lead physicists that tested Sheila was Dr. Evan Harris Walker, originator of the observational theory in parapsychology and author of The Physics of Consciousness. In 1984 Sheila held her first Psychic Workshop in Glenwood Springs, Colorado and invited Dr. Walker, Russel Targ, Stephan Schwartz and other speakers. She spoke at the Aspen Institute Design Conference, and worked with John Denver and the Windstar Foundation Sheila hosted her own events and was a guest speaker at a variety of events over the years. THEO's wisdom draws people from around the world from all different occupations. Sheila and THEO supported Dr. Elisabeth Kübler-Ross, psychiatrist, pioneer in near-death studies, internationally best-selling author of 'On Death and Dying' where she first discussed her theory of the five stages of grief, also known as the "Kübler-Ross model". She was a central figure in the hospice care movement. Sheila and THEO supported Virginia Satir, psychotherapist known for her pioneering work in the field of family reconstruction therapy and was honored with the title "Mother of Family Therapy.” Sheila has done hospice support in hospitals and homes. She assisted many suffering from Aids in the 1980s in Dallas/Ft. Worth and Santa Fe, NM 1988 Simon & Schuster published The 5th Dimension: Channels to a New Reality 1989 She spoke at the Los Angeles Whole Life Expo 2000 Sheila and husband Marcus Gillette started a terrestrial radio show that later moved to VoiceAmerica internet radio and iTunes podcasts. 2007 launched new AskTHEO website which led to the creation of the THEO Group membership 2008 Tarcher/Penguin published The Soul Truth: A Guide to Inner Peace co-authored with husband Marcus Gillette. 2011 Launched THEO mentorship programs via teleseminar technology. 2012 moved mentorship programs to live video online interactive webinars. Dec 21, 2012 hosted online, live collaborative ‘2012' event with other new thought leaders. THEO began speaking about 2012 and the 5th Dimension before José Argüelles 2015 Launched THEO's Soul Integration™ Certified Facilitator program. 2016 Spoke at the United Nations 2016 Oct - transitioned AskTHEO Live Radio show to AskTHEO Live Interactive Internet TV to include live video. 2017 launched THEO spiritual travel events - have taken clients to Kauai, the south of France, the Riviera Maya – and going to Egypt fall 2022. Mentorship programs have grown into 9 different programs ranging from 2 ½ day live retreats to full year mastermind experiences. Later this year Sheila and her team are launching the new Art of Relationship book, video teaching and evergreen product.

After holding the first ever #VOBOSS Bilingual Audition Challenge, Anne & Pilar welcome the winners onto the show. Joe Lewis, Milena Benefiel, and Ramesh Mahtani share the process behind their winning entry, what stood out to Anne & Pilar when judging the contest as well as what it means to be a bilingual voice talent in today's industry. Transcript >> It's time to take your business to the next level, the BOSS level! These are the premiere Business Owner Strategies and Successes being utilized by the industry's top talent today. Rock your business like a BOSS, a VO BOSS! Now let's welcome your host, Anne Ganguzza. Pilar: Hola, BOSS Voces. Bienvenidos al podcast con Anne Ganguzza y Pilar Uribe. Anne: Hey, hey. Hey everyone. Welcome to the VO BOSS podcast. I'm your host Anne Ganguzza, and today we have a very, very special episode planned for you. Not only am I here with my awesome special guest co-host Pilar Uribe -- woohoo Pilar! Pilar: Hi, Anne. Anne: Thanks for being here. We are so honored to be here with our VO BOSS bilingual audition challenge winners. So a huge welcome to our English audition winner, Joe Lewis. Yay! Joe: Hello. Ramesh: Hello, Joe. Anne: And our Spanish audition winner -- Pilar: Milena Benefiel. Anne: Yay! Hey Milena. Milena: Hi. Anne: And then our best English and Spanish audition, Ramesh Mahtani. Yay! So first of all, congratulations, everybody, on your wins. Joe: Thank you. Milena: Thank you, gracias. Ramesh: Gracias. Anne: It's very exciting. For those BOSSes that are just joining us and have not joined us before now, Pilar and I ran a bilingual audition challenge contest, which featured a Toyota commercial in both English and Spanish. And this was about, I'm gonna say, three to four weeks ago, and we had a number of submissions. I think it was over what, Pilar, like 130 or something like that? Pilar: Yeah. Anne: Or close to 130. Pilar: Yeah. Anne: And so first of all, everybody did a wonderful job, but we are so, so incredibly excited to have the winners with us today to talk about being bilingual in the industry today and what it takes. So let's start with our English winner, Mr. Joe Lewis. Yay, Joe. Joe, tell us a little bit about yourself and then I wanna play your winning audition. Joe: Okay. Well thank you for having me here. First of all, it's great to be with you all. I am a bilingual voiceover and voice actor, born in the US, Spanish father, American mother. And basically I've been back and forth in the States to Spain and from Spain to the States at different points of my life. And it's been a trip or several trips. You learn to adapt where you are and you do as the Romans do. And you learn a lot of stuff because you have to leverage two cultures, two languages. It's a thing. Anne: Yeah, absolutely. So first of all, let's play your winning audition. And I wanna tell you a little bit about the specs. Our specs indicated that the voice should be confident, knowledgeable, optimistic, never take themselves too seriously, but at the same time, never come off as sarcastic either, warm human down to earth, playful spontaneous, conversational, relatable, and above all else, nothing that is typical commercial sounding, movie trailer, or announcery at all. So. Milena: All the things, all the things. Anne: All the things. Pilar: In other words, the kitchen sink. Anne: All the things. Totally. And I want to give a big shout out to the queen bee herself, Liz Atherton, and CastVoices for her sponsoring this contest and offering our winners a year pro membership to CastVoices. You guys, castvoices.com, go and get yourself an account. Liz is amazing and always has the voice talents' backs. I'll tell you what, she's amazing. So thank you Liz for that. So let's go ahead and play the warm, human, down to earth, playful, not typical commercial sounding, movie trailer or announcery English winning submission by Joe. Here we go. Joe: Beep. Beep. That is the sound of me signaling that this is a car commercial while being considerate of the fact that you may be on the road. It's exactly this kind of consideration that lets you know, you can trust Toyota and our all new 2022 Highlander SUV to get you where you need to be faster and more reliably. Beep beep beep beep beep. Oops. Sorry. I think my burrito's done. Anne: I love it. Joe: Thank you. Anne: I think that that really took every single spec into consideration. Joe, did you have any particular strategy when you were doing this audition or what is it that you do to prepare for an audition? Because we had so many submissions, but yours just kind of really stood out from the get-go. Joe: Well, thank you so much for that. I really appreciate it. As far as strategy, if it's automotive, I take it extra seriously because it's a big genre. So no matter what it is, even if it's a dealership, you know, it could turn into a long-term gig. So you take it seriously. It's always a challenge, uh, to see if it's a soft sell or if it's a harder sell, more promotional. At the same time, as you say, there's lot to consider in the styles or the trends that we work with today, uh, which are very different from 10, 15, 20 years ago. And that's as far as in general or as far as English. As far as Spanish, obviously my origin is of Castilian Spanish, uh, from Spain. So knowing that this would be for the American market, I tried to modulate that and go to a more neutral read and, and taking the specs into consideration as much as I could and have fun, have fun with it. Anne: Yeah. I think that's so important that you have fun with it. Pilar, comments about why we love Joe so much. Pilar: Listening to it again, I think what, what I really liked about it, this is probably not the right word. It wasn't folksy, but I really felt like I was listening to you, and I was listening to a real person rather than somebody reading it. Anne: Yeah, I agree. Pilar: Like, and just the small pauses, the little giggle -- there were some amazing entries, but what I found so interesting about yours was that you had this attitude from the beginning. You weren't serious, and then you went to the punchline. You had this sort of upbeat throughout the entire read. That's what really stood out for me. Anne: Yeah. Really, really warm smile, I think overall. Joe: Thank you so much. Anne: I just felt like. Pilar: Yeah, yeah. Anne: I felt like we were just longtime friends, which we are, but listening to, I felt like we were, and it really, really stood out from the beginning. So congratulations, Joe, again -- Joe: Thank you so much. Anne: -- on that. Joe: I appreciate it. Anne: So onto our winner in the Spanish division, Milena. Milena: Hi. Anne: Tell us a little bit about yourself and where you're located and your VO journey so far. Milena: All right. Well Saludos, hola, hi. Milena Benefiel. I am currently located in Orlando, well, near Orlando, Florida. I am the first generation born here in the US. Both of my parents came over from Cartagena, Colombia, woohoo and they insisted that I learned Spanish as a child, and I never understood why. Why would I ever need this other language? And look at me now, right? My background was actually in television. I worked part-time as a TV host for a Telemundo affiliate in Spanish and did a lot of commercial acting while also being an ER nurse and ICU nurse. I came from entrepreneurial parents who had multiple careers, multiple jobs, 'cause they had to, right, coming from another country. So I don't know how to not have too much on my plate. So this was kind of my side hustle. And after COVID I, I took it from part-time to full-time. I, I was kind of burnt out in the hospital, and yeah, I had the ability to go from sounding very middle America English, as you can hear in my, in my accent to speaking [Spanish] speaking in Spanish that's very neutral. It kind of like people are like, are you Colombian or Cuban or from where? So I've been very fortunate in that that I've been able to provide both sides for my clients. So it's been a really fun journey. Ramesh: Super. Anne: Yeah. Let's have a listen to the winning entry. Here we go. Milena: Bip bip. Ese es el sonido que uso para señalar que este es un comercial de autos mientras que usted podría estar conduciendo en la carretera. Este tipo de servicio es lo que le permite saber que puede confiar en Toyota y en nuestra nueva SUV Highlander 2022 para que se transporte de un lugar a otro de la manera más rápida y confiable. Bip bip bip bip bip. Vaya, lo siento, creo que mi burrito está listo. Yay! Ramesh: Super. Anne: Congratulations again, such a wonderful, warm sound. That's what I really got. And I love how, when we said have fun with this or somebody that doesn't take themselves too seriously, I really felt that in the places where you could -- it opened up to have fun, the more conversational like, "oops, I think my burrito's done." I love the way that you guys brought life to that and brought fun to that that wasn't even as expected. Pilar, your thoughts, Pilar: You had me from the beginning Milena. This was to me displayed so much warmth and reassurance. I felt like when I listen to it, you're taking me by the hand, and you're reassuring me as a consumer that it's gonna be okay. And it's like, oh yeah, I'll do whatever she says. Milena: Wow. PIlar: So that's what I got from this read. It was really, yeah, it was, it was really good read. You just, you got me. Milena: Oh my goodness. Thank you so much. I am so grateful for that feedback. That's kind of my MO when it comes to anything that I do in VO. I just, I, I wanna be warm and caring and reassuring. That's kind of my, my thing. So that you heard that feels so good because it makes me feel like, wow, okay. I'm, I'm doing what I'm supposed to do. So thank you so much. Anne: I wanna kind of tag on to what Pilar said. Like for me, I do not speak Spanish, but I could hear the story. If I listen, I could hear your story in there. And when we talk about trusting Toyota, I felt that, and I really felt that you took the words beyond just what was on the page, and really you were in the scene. And like I said, for me to not even speak Spanish but to listen and to be able to hear your storytelling, I thought that that was, that was just really wonderful. So yeah. Milena: Wow. Thank you so much. Such a huge compliment from two women that I admire very much. So this is a very surreal moment for me. So thank you so much. Anne: well deserved. Well deserved. Milena: Thank you. Anne: Okay. So onto our English Spanish combination winner. Ramesh Mahtani yay. Congratulations. Ramesh, tell us a little bit -- Ramesh: Well, thank you very much. Anne: Yeah. Tell us a little bit about yourself and your journey. Ramesh: Yeah, well, I suppose like most of us over here, very, very varied background. I mean, I was born in Karachi, Pakistan to Indian parents who perhaps were a bit disgruntled with the way things were going out over there, and they decided to move to the Canary Islands. Why, I have no idea, but that takes me back to when I was about four. So I came over here to the islands, speaking a combination of Sindi, of Hindi, of Urdu. Of course I had to learn Spanish rather quickly. And my parents always wanted me to speak English because they knew that English is the lingua franca, and you wouldn't get anywhere in the world without it. So I grew up in an American school over here in the canaries, and I was shipped off to a horrible concentration camp sort of boarding school in England, which was a nightmare. Um, I would spend four long miserable years there, which is I suppose, where I picked up the sort of vestige of an English accent. And then I went to America to do my university degree, which was a lot of fun. And I saw what the real world was like. And I didn't, I suppose, switch on to the American accent because wherever I spoke to were like, oh my God, your accent's so cool. Where are you from? Well, I'm originally from -- Oh my God. Keep on speaking. We just love your accent. So, um, no, I didn't pick up an American accent, I suppose. I just veered towards what, what I call international or neutral. So that's my story. And in voice, I I've always played around with my voice. I love switching accents between -- I speak to my parents with a bit of an -- well, my mom. My father passed away -- with an Indian accent. So it changes depending who I talk to, if it is very strong Indian community, well, it becomes Indian, otherwise it's what I speak now. And then of course, in Spanish and English and French and all these sort of, you know, weird voices going on in my head, it was but natural that I followed a voice over career. So that's what brings me here today, basically. Anne: Wow. Well now you did something interesting with your auditions. You did two takes for both English and Spanish. And so one of the things that stood out to Pilar and I were the fact that you did two different takes for each. And so let's go ahead and play now. Um, I'm gonna click on this one. I'm not sure if this is the English or the Spanish. So hang on one second because the name is, is long. So it's kind of running off my little table here. Ramesh: Sure. Anne: It could be either one. Let's put it that way. There we go. Ramesh: Beep. Beep. That is the sound of me signaling that this is a car commercial while being considerate of the fact that you may be on the road. It's exactly this kind of consideration that lets you know, you can trust Toyota and our all new 2022 Highlander SUV to get you where you need to be faster and more reliably. Beep beep beep beep beep. Oops. Sorry. I think my burrito's done. Beep. Beep. That is the sound of me signaling that this is a car commercial while being considerate of the fact that you may be on the road. It's exactly this kind of consideration that lets you know, you can trust Toyota and our all new 2022 Highlander SUV to get you where you need to be faster and more reliably. Beep beep beep beep beep. Oops. Sorry. I think my burrito's done. Anne: I love it. I wanna just make some comments before we played your Spanish entry. I thought, first of all, you had two completely different takes, and now I understand where the accent came from because you were living in the UK. So I get that now. I was not aware of that, but I really loved it because it really wasn't something that felt to me like it was obviously forced or something that wasn't natural to you. And the fact that you did completely different reads shows just some tremendous acting ability, which I think is any good casting director that can hear that knows immediately that they would be able to direct you to do anything really. And so that was, I thought was really strong about your English entry. And I also liked you had a different reaction and a different emotion about the burrito, which stood out to me, even though it was like a nuanced change. You're like, oh I think my burrito's done. Or Ooh, I think my burrito's done. It really lent a lot to the different reads and the different aspects and the showcasing of your acting abilities. Pilar. Pilar: Yeah. I felt like you were talking to two different people in the two different reads and that was really significant. And it's funny because I didn't realize it, but they were two different accents, and I was like, they sounds so different, and it's, it's like, oh yeah, duh, because he's so versatile. But that also colored the read because one was a little bit more business-like. The other one was a little bit sort of more off the cuff, more warm. And so it was really interesting to see them together, but they are very different reads, so yeah, that's great. Ramesh: Well, thank you. Thank you very much. I suppose one of the underlying elements is that I try and make sure that I'm not trying to sell in this case, sell the car, but just say, tell the story, uh, as something that we will often talk about in voiceover direction. As soon as it sounds sort of salesy, you know, you're going the wrong direction. So spice it up, you know, conjure up some magic, just make it sound as if as Pilar said, you know, you're just basically off the cuff having a conversation with someone, without sell, buy this car sort of thing, you know, which we definitely do not want to go there. Anne: And you know, I don't know if you guys noticed, but in the middle of that script, the sentences were a little bit long. You know how we always get a script and if it's a really lovely, wonderfully written script, we're like, oh yes, it's so easy to voice. We gave you something specifically that may not have been so easy to voice in navigating a long sentence. So. Ramesh: Ah, you did it purposely. Anne: Yeah. All of you handled that so well, so kudos on that. I mean, I'm used to doing that because you do a lot of long format narration and coaching my students, there's always unwieldy sentences. And to make it sound truly conversational and you know, as if you're talking to one person or talking to us, you gotta know your rhythm, you gotta kind of know, you gotta put yourself in the scene and understand where those pauses, where the commas are, even if they don't exist. Ramesh: Yeah. I realize, I thought, my gosh, who's written this, because it is, there was a part where it got really wordy and thought, you know, you have to navigate that. Pilar: Those were the traps and none of you fell into it. Anne: Yes. You know, we are teachers . Exactly. Yes. Always a teacher, just saying so, so congratulations. All right. So let's play, uh, the Spanish entry, which again, you did two reads, which were different. So here we go. Ramesh: Soy Ramesh Mahtani. Bip bip. Ese es el sonido que uso para señalar que este es un comercial de autos mientras que usted podría estar conduciendo en la carretera. Este tipo de servicio es lo que le permite saber que puede confiar en Toyota y en nuestra nueva SUV Highlander 2022 para que se transporte de un lugar a otro de la manera más rápida y confiable. Bip bip bip bip bip. Vaya, lo siento, creo que mi burrito está listo. Bip bip. Ese es el sonido que uso para señalar que este es un comercial de autos mientras que usted podría estar conduciendo en la carretera. Este tipo de servicio es lo que le permite saber que puede confiar en Toyota y en nuestra nueva SUV Highlander 2022 para que se transporte de un lugar a otro de la manera más rápida y confiable. Bip bip bip bip bip. Vaya, lo siento, creo que mi burrito está listo. Anne: Yay. Ramesh: I suppose I'll just caveat, uh, the accent there. I mean like Joe, I live in Spain and sometimes if my client's in mainland Spain, I would do a Castilian accent, but I put on a sort of neutral and general Latin American accent for those, which is similar to the Canarian accent. Anne: Yeah. I was gonna just ask you about that. And one thing that I wanted to point out, which I thought was super strategic, because you did the two takes, you immediately went into your second take to call the attention of like -- Pilar and I listened like, oh my gosh, I think it took us a weekend, right, at least, uh, one after the other one after the other. Pilar: Several times too. Anne: Exactly. And the fact that even though, I didn't know, you were having two takes immediately going into that second take was like brilliant because I didn't stop listening. You know, I was just getting ready. Okay. He's finished -- oh no, here he comes with the next one, which I thought was really strategic. And I think if I know you, Ramesh, that was on purpose Ramesh: Would it have been the alternative to have said, take one? Pilar: No. Most people leave a space. Anne: A lot of space. Yeah. Pilar: You don't let the listener down for a second. There's no lag time. Ramesh: Right. Pilar: And that is brilliant. I mean, I'm using that in my auditions now as well. Ramesh: Okay. I've I've always done it that way. Anne: That's smart. Ramesh: I, I seldom send off an audition unless I do two. Pilar: It's wonderful. Ramesh: I usually always do two takes. Anne: Yeah. Ramesh: And I just do them back to back. So as you said, so they don't have a chance to hit the next button. Yeah. Milena: I typically call it out in my slate if I'm going, do two takes, which -- Anne: And that's good too. Milena: -- for most auditions I would do two. Yeah. But I like this. You give them no choice. Give 'em no choice. Anne: Right, right. Just go right into it. I love it. And you went right into that second character too, which I thought was great for that. Now did you have a strategy English versus Spanish? I know you just mentioned that you did more of a neutral Spanish. What was your strategy for those two different reads? Ramesh: For the two Spanish reads? Anne: Mm-hmm, mm-hmm. Ramesh: Um, just, just variation really. Anne: Yeah. Ramesh: I mean, I just, I would loathe for them to sound similar so the director would've said, ah, you know, this guy's obviously reading the same thing twice in the same way. I, I just do not wanna fall in that trap. So whatever I could do to spice it up or color it to just make them sound different and believable, relatable and conversational, keeping away from the salesy. Anne: Sure. So then let me ask you what's happening in your brain? What's happening? What's the process? Are you putting yourself in a different scene maybe? Ramesh: I've got a different audience and I'm somebody else. Anne: Okay. Ramesh: So either I'm a young sort of rich, youthful sort of business dude, or I'm an older person just wanting to sort of have a nice car. So I, my whole persona changes, maybe it helps being a Gemini. I could switch from one, from one personality to the other, but yeah, definitely. I've gotta change the audience and change the speaker. Both of them. Anne: Oh good. That's a really good tip. I like that. I've always changed the scene, but not necessarily who I was, because I always wanna be conversational and, and tell this story and, and not be salesy as well, but I never thought about changing, let's say I'm a younger Anne, which that would be nice. I like that. Milena: Your voice can be as young as you wanna be. Anne: That's it. There you go. Yeah. I like that. Ramesh: I guess ever since I was a young kid and, and having been moved around so many different places, I perhaps, and this is for something very personal and intimate, and I, and now that it comes up in context, I don't mind sharing it, but I've, I've often struggled to have a proper identity as an -- sometimes I don't even know who I am because I've had to switch and I do often switch, you know, when I speak, as I said, I speak to my mom, I speak to in an Indian sort of way. I speak to the local Canarian dudes out in the street and become totalmente canario; it's a totally different accent. So I'm always switching, switching, switching, switching in the end, to think, you know, oh my gosh, existential crisis, you know, who am I? Anne: That's a, that's really an interesting point. Yeah. Joe: You're a chameleon, Ramesh. Ramesh: I'm a bit of a chameleon. Anne: Absolutely. Ramesh: I'm not Spanish and I'm not English, you know? So it's really weird. Anne: That's very interesting. I always equate that, and again, I'll get maybe a little into it, but I grew up with three brothers. And so being the only girl in the family, I didn't have to share necessarily, but I also didn't have like a sister to kind of like play dolls with or whatever I was gonna be doing. Milena: Same. Anne: So I got really good at my imagination. Ramesh: Yeah. Anne: And playing with my dolls and teaching and talking to them and really putting myself in different scenes with them. And I think that carries through the adulthood. Right, Milena, you mentioned the same thing? Milena: Oh yeah, absolutely. I didn't have a sister growing up. And I also just think like with my parents having the multiple jobs, they were both performers. My whole life has been a performance, and I kind of do the same in my two takes. I go into my lower register in that warm, buttery, soft, like my first take will be -- or exactly what the specs ask for, I'll give you in the first take, and then the next one, I'll kick it up to a little bit of a higher pitch, make myself a little bit younger and I'll be a little wackier, like a little more fun, a little more conversational, and just get a little more crazy with it. Just to add some adlibs and some different things too, just for range. Anne: I think that's great. Do you have more than two personas? I always have two in my pocket, but do you spend time developing, let's say, a third read or a third persona that can give you a different read? I think that's good for the artist in us. Joe: I mean, I, what captivated me about this piece was the invitation to do effects. You don't usually see that in copy, so I thought that was like, ooh, this is gonna be fun. Anne: Yeah. Joe: And then I tried to add layers, do several takes and sort of warm up and then listen to them and see if I can be sprinkling, uh, or adding something. But I do agree that when you kick into another language, it's another dimension of tools and, and tricks that you have. I wasn't privileged to have brothers or sisters. So being lucky enough to grow up with a, a parent of either side, you know, you, you kind of take it for granted when you're a kid, and then you, you grow up and you're like, wow, this is pretty powerful to switch on and off, switch the languages, you know, with all the cultural and the contextual things that come along with each particular one. Totally there with Ramesh on the strange dichotomy that happens and not really knowing who you are or when it's the, uh, what secret service did you say you worked for again? Pilar: No, comment. Milena: I love how he's silent. He's like -- Joe: He's a pro. Milena: If I tell you I'll have to kill you. Ramesh: Well, sorry. Did I, did I talk about a secret service? Joe: I was asking you what secret service you work for, my friend. Anne: I love it. Milena: Crickets, crickets. Anne: Crickets. Secret service. Pilar: Speaking of which, that was one of the things that really struck me about Ramesh's Spanish read is that I heard someone speaking in Spanish with the Spanish language rhythms rather than a translation. And that to me was so important because that not being your first language, and I think that that's really important because like Milena, I mean, I was born in this country, but my parents spoke to me for the first five years of my life in Spanish, but it's technically not the language that, you know, I speak English all the time. So there's something, there's always that strange sort of divide. Like who are you? Are you this? Are you that? And what I really liked about your read was that it was like, I was listening to a Spanish person speaking, not a translation. And that's so important. Everyone is always so concerned with the accent. That really kind of falls by the wayside. Because if you believe in what you're saying, and it has to do with acting, if you're really acting it, how well you speak or how much of an accent you have doesn't really matter. It all falls by the wayside. So that's what to me, what made a very successful bilingual audition. And that's why we picked you, one of the reasons why we picked you as the bilingual audition winner. Ramesh: Oh, thank you. I'm privileged. Thank you very much. Anne: And again, I'll just kind of tack onto what Pilar was saying is both of the Spanish versions of your audition, I could hear the story that you were telling. And again, I listened very carefully, especially in the unwieldy sentences, because that's what I do every day with my students. I'm working on these crazy, long format narration scripts that aren't always written well. And so I would really be listening carefully throughout all the entries for that navigation. And I still felt the story. I felt the rhythm, and I felt the words that needed to come be a little more present in my ear that were important, like the brand name, the fact that you trust Toyota on all of your reads. Believe it or not, listening to all of the entries, that was kind of a key I was listening for, to trust Toyota. And I wanna feel that trust as opposed to trust Toyota. And I really wanted to feel that little nuance of emotion or trust. And I think every single one of you in every one of your English and Spanish gave me that trust feeling and that warm feeling and that kind of having fun with it, especially at the end, and the beeps too. I mean, I like the fact that we gave this script out because of the beep beep and what people did with the beep beep was really telltale, especially in the beginning, if you did something that maybe wasn't a traditional beep beep or you had fun with it, or you just kind of smiled at yourself. I think Joe, you're, right off the bat, you're kind of chuckling a little bit and it just was so warm and I fell in love with that from the beginning and all of your interpretations of the beeping at the front end of that and the back end of that, I loved it. You know, you had fun with it like we asked in the specs. Joe: Well, I was just gonna say Road Runner, you know, I mean, it was irresistible to me. It was irresistible. Ramesh: Absolutely, absolutely. Milena: Yes, that's exactly what I pictured in my head too. Ramesh: Yeah. Milena: That's funny. Ramesh: I think after doing this for, I mean, you know, you're speaking to people who are super professionals. I have great respect for Joe and Milena and Pilar and yourself, Anne, of course. I mean, when you listen to somebody who's just started off and doesn't have much training, that's when you realize, oh my gosh, this is a poorly done audition. But after a while it just becomes intuitive, I think, plus the script lend itself, the beeps, the mic proximity that you can, the burrito whole thing. I mean, what does the burrito have to do with the car sale, for God's sake? So you can do so much with that. You know, you can just, as you said, have fun and the more imagination you have, and the more years of experience you have tucked under your belt, you can do crazy things within parameters, of course. I often don't overthink it because that's usually when it doesn't usually work. It's usually my first and my third take, which are good. Uh, the first one, because I'm just off the bat, I'm fresh and I'm just being really spontaneous. The second seems to be similar to the first ,and the third, usually I've had a bit more time to imagine nuances, and those come out quite magically. So, but yeah, the script was nice. It lent itself to, to having fun and being creative. Milena: I completely agree with that, the instincts, I know Anne, you had asked earlier, you know, what was your method? How did you attack this script? How did we look at the script? And I actually will do a read prior to even reading the specs, just to get my natural inclination of like, okay, I'm looking at the script without overthinking it. Let me just do a read. And then of course looking at the specs, and then kind of picking apart, you know, I listened back to my read and picking apart, what words do we wanna highlight? Like you said, trust, right? The brand, faster and safely, getting there fast and safely. Those are important things, right? Joe: Exactly. Milena: So then I go through with it, but I completely agree with Ramesh, it typically is my first read. And then maybe my third or my fourth. The second one always sounds like the first one, or it's like, so off the wall that it's like, why did I go totally left field on that one? But yeah. I completely agree with you, when you just go with those once you've been doing it for a while, when you try to be someone you're not, it's not authentic. Ramesh: Exactly. Milena: And you can hear it in your read. Joe: Yeah. By family tradition, my parents came from the academic and the publishing world. So script analysis, I put at the top of the list, you know, the top three, because the burrito for example was what invited me not to do it in Castilian. And that was my choice. I thought it was great that you did two takes of each, Ramesh. I, I shied away from the Castilian because I just wanted to have a burrito and, and that's Mexican, and I just -- and it's international by now., yes, but it's traditionally and originally Mexican. And I wanted, I wanted to go there. If you told any person in Spain, you know, burrito just stand alone, they might not get it. If it's contextual, they'll be, oh yeah, yeah, Taco Bell, you know, whatever, but, or Mexican restaurant, but that's, that's the reason I, I shied away from Castilian and I, I made an attempt at my best neutral Spanish. Milena: I had no choice. I don't do Castilian You don't wanna hear me trying to do Castilian accent. Anne: So that brings an interesting question, which I had asked of Pilar early on in our series, about when specs come in for Spanish, is there a strategy? Are specs clear? Do you sometimes have to say, well, is there a particular dialect that you're looking for? What do you guys do? Joe: First and foremost is the market. What market is it hitting? Because if it's a state, it's gonna be 99.9% neutral Spanish. It's very exceptional to do Castilian. I've spent many years living in Spain, and sometimes they call me to do Spanish and Catalan. And for many years they wanted an American accent, even though I don't really have one when I speak normally. So I, I had to kind of impose, impose an accent like this or something like that. You know, you know what I'm saying? Milena: I love it. Being in the US, I think it's kind of less of a question for me. I know Ramesh and Joe are overseas. For me here in the US, typically my specs are always gonna say either neutral Spanish or Latam Spanish, Latin American Spanish. That's 99%. I think I have gotten a couple auditions that have asked for Catalan or Castilian Spanish. And it's very rare, but I am pretty upfront with them that I'm like, you're not gonna be happy with my read, if you want me to try to pull one of those off. But yeah, I think for me over here in the States, it's almost always, it's gonna be neutral or, or Latin American Spanish, which is what I do. And I can put a little bit more of that Paisa, you know, Colombian accent on it, if they're asking specifically for Latin American, but yeah. Ramesh: I've had a very strange situation with many of my castings in Spanish. I've booked jobs. And then they come to me and say, you're not Spanish, are you? I said, they say, you sound very Spanish, but by your name, we had doubts. And a few times they're, they're brave enough to say that. Anne: Yeah. Ramesh: They're like, your name sounds Indian or Pakistani. I'm like, well, it is. What you want do about it? Milena: What you want? Ramesh: You bookedme. You, you booked me, you liked my audition, but are you just curious? You just wanna start a conversation over here? And, and I struggle with that. And the same thing with my English, like, oh, this guy's Indian. He probably, he doesn't have a proper English accent. I'm like, well, so I stopped trying to be very British at one point, and I said, well, I'm international English. I mean, what can I say? Yes, I'm Indian. I can't, I could change my name. And at one point I tried to go as Robert Martin, but I thought it just sucks. Joe: No, you should be Pepe Mahtani. Ramesh: Pepe Mahtani de las islas canarias... so, yeah. So that's another sort of strange one, but like Joe's, But I mean, I also do a lot of times they, they ask you to do a span with the English accent. So you have to do what they, what the client wants and you hope they're happy. Joe: You have to. You have to. Ramesh: You have to. Pilar: You have to. Ramesh: Yes. Milena: Oh my goodness. Ramesh: Without a doubt. Milena: Ramesh, that did strike me. Remember, our first conversation. That's what I said. I said, I'm completely blown away. As soon as I saw your name, I was like, well, he's not Spanish or American. [indistinct] Ramesh: No, I totally understandable, yeah. It's like, where are you from? [speaking Spanish] Milena: Cómo puede ser, pero no entiendo. [banter in Spanish] Joe: For me, it's the same, Joe Lewis. Right? You know, talking in Spanish, like, come on. This is -- Pilar: You could be José Luís. Joe: Ridiculous, ain't it? Milena: José Luís. Joe: José Luís, exacto. Ramesh: Whenever I speak to Joe, whenever I, the first thing I tell him, when we get on the phone is like, hello, Mr. Joe Lew-is. . Joe: I try to do my best Southeast Asian for Ramesh because I love him so much. Ramesh: Listen, all my white friends who try and do an Indian accent are just terrible at it. You guys suck big eggs because you cannot do an Indian accent. Even Mr. Peter Sellers, who I have great respect for in the movie "The Party," he also did not pull out a decent Indian accent. I'm sorry. It's crap. Joe: A thousand apologies. But I do -- I do this with, with love. I do this with love. I promise you. Ramesh: Joke around. Anne: Oh my goodness. Ramesh: You can joke around because we are good friends, but your Indian accent, I'm sorry, is not very convincing. Joe: Totally. Totally agreed. Anne: Oh my goodness. Well, you guys -- Milena: Friends don't let friends go around with terrible accents. Anne: There you go. There you go. Joe: Precisely. Anne: So I wanna ask each of you, what would be your best tip? Like how do you market yourself as -- like people that are coming in to the industry now, if they're bilingual, what best tips can you give us to market yourself as a bilingual voice talent? Joe: I've spent many years trying to equate both. I have them at the same level, both languages. It was a thing of responsibility. That's a big R word, responsibility. And this was instilled through my parents directly and indirectly. So I was very lucky with that. It all went astray when, uh, a number of years ago, I started to get requests from clients to do accents that are not my natural accents. Oh, I wait, are you sure? I'm like, yes, no, please. And then you do it and they love it. And like, Hmm, well, maybe there's something here. Maybe, maybe it's a thing. So you can never sleep in your laurels. You can never get too comfortable. You can never get too overconfident because it's like music. I come from music. It's ultimately unattainable. You're not gonna finish it. Just keep on pumping. That's what you can do. That's my best advice. Keep on pumping. Ramesh: 100%. Milena: I guess before this interview, we talked about this a little bit. I actually shied away from doing Spanish when I first started, despite me literally being on Telemundo, right? like having my own segment in Spanish. I always was a little bit insecure about my Spanish, and I would get requests to do things both English and Spanish, and producers kept telling me like, you've got something here. You've gotta do -- when you can offer both sides, it's more efficient. It's mutually beneficial for you and the client. You've really gotta push this. And I did. So I try to -- and I'm trying to get better at it -- I try to, when I'm posting things, say to social media, or, you know, whenever I'm doing things, I'm trying to do more showing the spots that I do in English and in Spanish so that people can see both sides, especially right now. There's this huge shift in the last few years here, that is this huge push for diversity, huge push for bilingualism, especially with Spanish in the US. And I don't know if you guys are seeing things over there too, or internationally, 'cause of course I just know here in the US, but there's this really big push. So I've been very, very fortunate in that everyone that I connect with, as soon as I mention that I'm bilingual, they then mention that to somebody else. So my biggest tip would be let people know. Don't do what I did for the first, you know, five years and shy away from that. Practice it. And if you don't feel as confident in that second language, which I didn't, start reading books out loud, watching movies, speaking -- I told my parents do not speak to me in English. We're speaking in Spanish, and I would read technical things so that it would be more difficult, you know, words that I didn't use in conversation, and just let people know, but plaster it everywhere and make sure everyone knows. Anytime I send an audition on say Voice 123, 'cause I do use that as a pay to play in addition to my agents and other things, anytime, even if it's an English audition only, I always, always, always write, hey, and if you ever think about hitting the Hispanic market, I also speak neutral Spanish. Please go to my website and here's my stuff. Even if it's only an English spot, I always let people know. And you know what? 50% of the time, they come back to me and say, you know what? We posted a separate for the Spanish. We'll just go with you for both of them. So whatever language that is that you're in, use it. And even if you don't think they'll ever use you in -- let people know, 'cause they're not gonna know unless you tell them, right? So that is my biggest piece of advice is just brag on yourself, man. Let 'em know. Joe: And if I may quote Jaco Pastorias, the great late bass player, it ain't bragging if you can back it up. Milena: Heyo. Ramesh: Absolutely. Anne: Ramesh, your thoughts? Ramesh: Yeah. Well, I think in my case, I was speaking to Joe about this actually a few, a few days back, it, it's very market specific. I mean I live in Spain and I don't really market myself to Spanish clients in Spanish, I suppose because I know there's, there's a whole plethora of Spanish voice artists here. Why would they necessarily go to me? So they come to me for English and as Milena said, once they come to me for English, then I'd bring out the Spanish. I'm like, here you go. I can do it in Spanish for you. Oh great. That saves us so much trouble and hassle finding somebody who can do it in Spanish. And likewise with international clients that I book in English, you know, I tell them I, I can do the Spanish, but I think you, as Milena said, you have to let it be known that you can do both and do whatever you're good at. If you're good at corporate, well, sell yourself at corporate and be even better at corporate, and then perhaps branch out to something that you may want to aspire to. If you wanted to do some animation in Spanish, you've never done that before, get coaching, but focus on your strengths and build your strengths and be really confident that my strong piece is this. And I can promote that openly and confidently, because confidence is, is 90% of the game. If they see that you say I can do Spanish for you as well. And you know, you don't have a belief in yourself, it's gonna seep through. I mean, I do French voicing, but I tell the clients, I'm not a native French speaker. I've got a very good accent, but it's not native. And I try and pull it off because I have confidence that I can do it. Joe: I totally agree. We don't read minds. And I, I was in a corporate multinational advertising agency for a while, and bilingualism in the States is a really important thing. I mean, I don't know what you think, Ramesh, if you agree with me, but for certain reasons, I think there's more of a bilingual ambient in the States than there is in Spain. 'Cause Spain is too busy with politics and they're busy with co-official languages. They're not dialects, they're official languages like Catalan, Gallego, or Galician and, and Basque. And the, the thing is that, uh, because of the way English is taught in Spain and, and because of dubbing, this is the reason why English is not a second nature, uh, language in Spain. So you always have to have client education in mind in the good sense to try to explain to them because they may not read your mind. They may not understand to what level you are in the other language. It's not easy. I mean, it's, we live in a world that is very multiplied because of social media. And you know, I see this from the musician standpoint, again, you know, the advent of pop star. You do a 3000 line casting. You, you get in, you're on TV, it's instant stardom. I mean, there's a lot of ways to get known really quickly and dramatically in this world. And a lot of people are strutting their stuff. So it's a complicated thing to market yourself effectively. It's not just marketing, and here I would like Anne to take over on the marketing thing because you're a master at this, but it's a really important question, what you ask. How do you market yourself in English and Spanish effectively and be taken seriously? You know? Anne: Well, I mean spoken by the guy who has the bilingualvoiceover guy.com, right? I mean me@thebilingualvoice -- so that I'll tell you, right in your URL, you're advertising, and you've got multiple URLs. And I know that, you know, all of you on your websites are focusing or you have the fact that you are bilingual. And I think that's number one, I mean, in this online world and Pilar, I know does an exorbitant amount of not just bilingual voiceover, but also dubbing. So Pilar, any specific, additional tips that we haven't talked about that maybe you could offer as advice to, let's say, bilingual voiceover talent that are coming into the industry now? Pilar: Um, well a lot has been said about it. When I first started in the industry, in voiceover, I was encouraged not to do a bilingual voiceover demo for example by a very, very well known coach here that Anne and I both know who shall remain nameless who said, absolutely. You never mesh the two together. Milena: I've been told that too. Pilar: You have Spanish on one side and English on the other. So I did, not with them. And so then I, I was like, okay. So I went with somebody else. I did it, Spanish, English, fine. And then I thought, no, I'm gonna go ahead and do a bilingual voiceover demo. And I did, and that is one that's booked me so many jobs. The other one is really good. The other two that I did, the Spanish and English and it, my agents prefer me separating them. So that's fine. But the Spanglish one is what has booked me so many jobs. And so for somebody starting out, I think it's just important to keep at it, just to keep putting yourself out there. And also you never know what the client's gonna ask. I just, I find it so hysterical that I get booked for something. We'll do it in English. We'll do it in Spanish. And then they'll say, well, can you just give us a little accent? I'm like, you're kidding, right? And I don't have an accent in either. I mean, in Spanish, I always think I do, but I don't. I know I don't, it's just, it's so minuscule, but they're like, can you just make it a little bit more for us? And then in English, can you just give us a little bit more, a little thicker? I'm like, okay, fine. If that's what the client wants, that's what the client gets. So I think that the key is to be elastic and to say, yes, I can do this. I can do this. Never say no. A lot of times I've come up against artists who sit there, and they say, oh, well, I passed on that because I can't do it. And I was like, well, why can't you do it? Well, I didn't, I didn't think I could. Well, if you don't think you can, then you're not gonna be able to. Right. Exactly. So always be available and let the person who is casting see if you're right for it or not. And you know, keep putting yourself out there, no matter what. Milena: I wanted to ask, 'cause this is the question that I have and I think maybe some that are coming in would appreciate an answer to this -- in the US, the majority of my buyers are speaking English, right, whether they want Spanish or not. Now I do work with buyers that speak Spanish, but the majority of them are in English. So I've struggled with the decision to make my website, do a Spanish website, all Spanish website, or just an all English website. So I've chosen to do an all English website that says I'm bilingual and I'm gonna have an about me page that's just in Spanish, just my about me page. And I just wanted to get your feedback on that, 'cause I think that's a question that a lot of people have coming in as well. Like do I need to have these two separate entities like I have for my demos? Or like I said, for me, the majority of my buyers speak English regardless whether their client is or they -- their primary language may be Spanish, but my buyers are usually in English. Pilar: So this might sound a little radical. Milena: I like it. Anne: Already. Pilar: I'm not thinking about who my buyers are. I'm thinking about me. And if I go, and I did this, 'cause I had two separate websites 'cause I actually followed what this person said to me at first, and I had an English website and I had a Spanish website. And all that does is dilute you. That does nothing for your SEO, does nothing for the persona. And if you're talking about branding, for me, this did not work. It might work for other people, but I just park everything in one place and I have different categories. That's just me. Milena: Perfect. I like it. Pilar: And that has worked better. I think it's worked better in consolidating everything because at one time I had like three different websites. It was just crazy. And it just diluted -- Milena: It's a lot to manage. Yeah. Pilar: Exactly. Joe: I mean, Milena, you could put a tab -- you could have your website in English and then put a little tab of in Spanish and then they can click, and then they'll, they'll go to that same site, and you'll have it all translated into Spanish. What I'm not an expert is an SEO and how it behaves looking at a, at a site in one language and if it can complement SEO ratings on the same site. So just because I could, I have the Bilingual Voiceover Guy, but I have both Voces Bilingue, and right now I'm redirecting them. But the idea is to have Voces Bilingue in Spanish and then have it linked to the English one. Anne: And then Joe, you have a page on your, the Bilingual Voiceover Guy, English that also is translated in Spanish, correct? Joe: Yes, because I hadn't had this thing that I just talked about yet. That, that, that was a sort of a patch in the meantime. And funny enough, that page is what's ranking. Anne: I was just gonna say that, if you have that page, if it's all in Spanish, because if somebody doesn't speak English, and they're typing a search term in Spanish, that would match your page, your landing page. And it still comes to your central, you know, I call it the central website, but you've just got another page. Yeah, a separate tab, a landing page. And I think that's a really good strategy that you'll be able to capture the best of both SEO worlds. Yeah. Pilar: Yeah. The tab is essential. Joe: Yeah. The tab, mm-hmm. Anyway, I mean, my thing is work in progress too, but the way I choose to think is that there's 2 billion English speakers, and there's 600,000 Spanish speakers. So that's a market of 2.6 billion. Anne: Yeah. Joe: For each one of us. And sky's the limit. Pilar: Absolutely. Anne: Ramesh, how do you work your website? Do you have a special page dedicated? Ramesh: I just have it in English actually. I think that's, that's definitely something I need to work on to see how I can, but I've -- to be absolutely honest, I'm quite happy with the level of work that I've got right now. So -- Milena: If it ain't broke. Ramesh: -- smooth sailing, I don't wanna sound arrogant, but I'm comfortable. So I, I could perhaps do all these lovely suggestions that you guys have come up with, but perhaps another time. Anne: Well, I don't have another language page, but I have literally four other genre specific pages like website, because I specialize in corporate narration or I specialize in e-learning. So I have the e-learningvoice.com. I have medical-narration.com, phone voice. And so even though I may not get a ton of activity on those sites, the words on those sites get indexed, and it contributes to my SEO. And each of those sites also maps back to my core site, which I think is my core brand of AnneGanguzza.com in addition to my VO BOSS and VO Peeps brands. So I handle probably 11 sites. Pilar: That's next level marketing. Go to AnneGanguzza.com for next level marketing, that's, that's that's our next, our next job. Anne: But yeah, it just helps to be found and it kind of just works on its own. And every once in a while I do have, as a matter of fact, I'm looking to refresh those pages just to make sure they keep generating people, pointing at my website. And again, it's a wonderful position to be in. If you have a, a good amount of work, I think that's amazing. Then things are working for you. And so that's why your advice and everything we're talking about today is so valuable for people that are coming into this industry. So we thank you, guys, so much for joining us. Milena: Thank you for this contest -- Joe: Thank you for having us. Milena: -- and this swag. Hello! Ramesh: Thank you for having us. Anne: I know. So yeah, I do wanna mention the swag. So not only did you guys get, uh, thank you again to Liz Atherton, but also you guys got BOSS swag, which Pilar and Milena are wearing right now. Ramesh: Yeah. Mine's on the way. It'll be here in about next -- Anne: Which it is on the way. As a matter of fact, I will tell you because you're on that little island there, Ramesh, it might take a little longer to get you. Milena: It's gonna come by carrier pigeon. Ramesh: Keep on looking at the skies to make sure the drones are dropping in. Anne: I can't wait to see pictures of you in that t-shirt. Ramesh: Oh, I will. Anne: And Joe with your mug. That's awesome. So. Ramesh: I love it. Super. Anne: You guys, amazing job. Thank you so much. It's been, this has been so wonderful, and we thank you for sharing your wisdom with us, and yeah, I wanna do this like now every six months. Milena: Down for it. Anne: Think we should -- Joe: -- amazing. Anne: You know, right? Ramesh: It would be pleasure. Anne: So what's been going on in six months in the bilingual world? So yeah. Awesome. Well guys, I'm gonna give a great big shout-out to our sponsor, ipDTL. You guys can connect and network like we have on ipDTL. Find out more at ipdtl.com. And also I will say that this was recorded today with Riverside. So I'm extremely happy to have given this a try, and thanks for the wonderful video and audio tracks that we're going to get. And one more sponsor, 100 Voices Who Care. If you want to use your voice to make an immediate difference and give back to the communities that give to you, find out more at 100voiceswhocare.org. Thanks, guys, so much for joining us again. It's been amazing and we'll see you next week. Ramesh: Thank you very much. Joe: It was lovely. Milena: Thank you. >> Join us next week for another edition of VO BOSS with your host Anne Ganguzza. And take your business to the next level. Sign up for our mailing list at voBOSS.com and receive exclusive content, industry revolutionizing tips and strategies, and new ways to rock your business like a BOSS. Redistribution with permission. Coast to coast connectivity via ipDTL.

This week on the BFG Week In Review podcast, editor Neal Pollack and film critic Stephen Garrett sound the alarm about Michael Bay's ‘Ambulance.' Actually, Stephen liked this big, dumb loud action flick pretty well and the segment includes the added bonus of hearing our contributors try to pronounce the word “ambulance” in Castilian Spanish.Sharyn Vane is back on the show to talk about “book challenges” and “soft censorship,” two terms that we wish we didn't have to put into quotes. Regardless, mid-list authors, particularly young-adult novelists, are facing all kinds of resistance from school districts and conservative political groups as they try to get their work out to their audience. BFG will cover this issue as long as it's going on, so probably forever.Meanwhile, Scott Gold and Neal spent plenty of time the last couple of weeks watching ‘Moon Knight'on Disney+ and reading old Moon Knight comics, and a supremely nerdy conversation about a pretty good superhero show results. Come for the praise of Ethan Hawke, stay for a mockery of Oscar Isaac's Cockney accent.Enjoy!

Spanish Vocabulary & Phrases Episode 19. Learn Spanish With Pablo. Subscribe for all content on Spotify/Anchor: https://anchor.fm/learn-spanish-with-pablo/subscribe In this Spanish lesson for beginners we are going to we are going to continue our alphabetical vocabulary and phrases from English to Castilian Spanish. Visit https://www.learnspanishwithpablo.com for more. --- Send in a voice message: https://anchor.fm/learn-spanish-with-pablo/message

Spanish Vocabulary & Phrases Episode 18. Learn Spanish With Pablo. Subscribe for all content on Spotify/Anchor: https://anchor.fm/learn-spanish-with-pablo/subscribe In this Spanish lesson for beginners we are going to we are going to continue our alphabetical vocabulary and phrases from English to Castilian Spanish. Visit https://www.learnspanishwithpablo.com for more. --- Send in a voice message: https://anchor.fm/learn-spanish-with-pablo/message

Spanish Vocabulary & Phrases Episode 17. Learn Spanish With Pablo. Subscribe for all content on Spotify/Anchor: https://anchor.fm/learn-spanish-with-pablo/subscribe In this Spanish lesson for beginners we are going to we are going to continue our alphabetical vocabulary and phrases from English to Castilian Spanish. Visit https://www.learnspanishwithpablo.com for more --- Send in a voice message: https://anchor.fm/learn-spanish-with-pablo/message

Subscribe for all content on Spotify/Anchor: https://anchor.fm/learn-spanish-with-pablo/subscribe In this Spanish lesson for beginners we are going to we are going to continue our alphabetical vocabulary and phrases from English to Castilian Spanish. Visit https://www.learnspanishwithpablo.com for more --- Send in a voice message: https://anchor.fm/learn-spanish-with-pablo/message

Visit https://www.learnspanishwithpablo.com for more Spanish lessons. In this Castilian Spanish lesson for beginners we are going to look at expressions with the verb TENER to express our feelings & more. --- Send in a voice message: https://anchor.fm/learn-spanish-with-pablo/message

Visit https://www.learnspanishwithpablo.com for more Spanish lessons. In this Castilian Spanish lesson for beginners we are going to take a look at three popular colloquial expressions: estar como un tomate, estar hecho polvo & estar en el quinto pino. --- Send in a voice message: https://anchor.fm/learn-spanish-with-pablo/message

Bruno Rosich, a professional hunter and outfitter since 1995, is passionate about delivering the ultimate big game hunting experience for those seeking an elusive, European trophy.Bruno is not just the owner and CEO of Trophy Hunting Spain; he is an avid hunter too. Since 1995, Bruno has served the hunting industry with excellence and integrity, proving to be one of Europe’s elite hunting professionals, racking up numerous awards and achievements including:2017 Houston Safari Club Foundation Professional Hunter of the Year AwardTen-time nominee for the SCI International Professional Hunter of the Year AwardGuided the current Beceite Ibex World Record HolderGuided six top-ten Beceite Ibex Record HoldersOfficial Measurer for SCILifetime member of SCI, WSF, DSC, HSCF and IPHAFounding member of APTCE (The Spanish Professional Hunter Association) where he is also member of the Ethic & Awards CommitteeHowever, his success does not mean that he sits in an office all day. Bruno personally and passionately guides expeditions all year-long to ensure top-notch quality for each of his clients. Aside from his expertise in the hunting industry, Bruno holds a degree in Tourism. This, coupled with his friendly demeanor, enables Bruno to share Spain’s rich history and cultural diversity with meaning and clarity as he travels with his clients throughout the various regions of Spain. In addition, he is fluent in English, Castilian Spanish, French and his native Catalan.

Visit https://www.learnspanishwithpablo.com for more Spanish lessons, videos and transcripts. Learn Spanish With Pablo. English to Castilian Spanish Phrases For Beginners, Episode 5. Learn Spanish With Pablo.

Visit https://www.learnspanishwithpablo.com for more Spanish lessons, videos and transcripts.Questions And Answers From English to Spanish Part 3 - Learn Spanish With Pablo.

Do you dream about leaving everything behind and moving to a Spanish-speaking country? If you're thinking about taking the leap, then you'll want to hear Kai Cesaire's story. Kai runs a YouTube channel called Kai's Foreign Adventures where you can find out anything you need to know about moving to and living in Spain from the experience of an African-American. Kai has been living in Spain for the past 3 years and he speaks Castilian Spanish.In part 1 of our conversation he shares why he decided to move to Spain and how he was able to meet people in different regions of the country. Kai also explains how to find job opportunities and which language is in highest demand if you want to work in Spain. We also touch on the cost of living and his experience with the Spanish healthcare system after he became very ill when he first moved there, and I think you'll be surprised by what happened when he checked out of the hospital. Show Notes: https://www.learnspanishconsalsa.com/95LinksYouTube: Kai's Foreign Adventures: https://www.youtube.com/channel/UCReR2McEojtntPJbBIBDmPQInstagram: @Kaic1983GIVEAWAY: Sign up to be a show supporter by October 31 and get a FREE Spanish lesson with a native speaker. Select the option that works for you at learnspanishconsalsa.com/support>>> Rate & Review Join our list

Visit https://www.learnspanishwithpablo.com for more Spanish lessons, videos and transcripts. Learn Spanish Adverbs Of Place With Phrases From English to Castilian Spanish! 

Welcome to StoryLearning Spanish! Follow the transcript below as you listen. Ready to take your Spanish to the next level? Register for our next StoryLearning Challenge at: http://www.storylearning.com Todos estaban alrededor de la fogata, desayunando y charlando con Djiby, un joven senegalés que Alex había invitado. Djiby acababa de contarles que hablaba cinco idiomas. —¡Cinco idiomas! —exclamó Sandra—. Eso es impresionante. Yo solo hablo castellano y euskera… el idioma vasco. Alma también habla un poco de alemán. —Solo un poco —dijo Alma—. Mis abuelos paternos eran alemanes y mi padre me hablaba mucho en alemán cuando era pequeña, pero casi nunca lo uso. Todos vosotros habláis muchos idiomas, ¿verdad? —Bueno, no muchos —dijo Bianca—. Yo hablo español porque mi madre es de Uruguay e inglés porque mi padre es inglés y crecí en Inglaterra… Y, además, estudié varios años de chino porque… no sé, porque me gusta. —¡Eso no es poco! ¡Son los tres idiomas más hablados del mundo! —exclamó Alex—. Sabiendo esos tres idiomas, puedes recorrer todo el mundo sin problemas… y no me refiero al Google Maps. Bianca se sonrojó. —Tú debes hablar créole, ¿verdad, Alex? —le preguntó entonces ella a él, para cambiar de tema. —Sí, ¡exacto! Realmente sabes sobre las culturas del mundo —respondió Alex. —¿Qué es el creole? —preguntó Nora. —Es el idioma que hablan en Haití —explicó Alex, y añadió, para Djiby:— Mis padres son de Haití, pero yo crecí en Francia… O sea, que hablo creole, francés, inglés y español… Es mucho, pero no puedo superar a Djiby. —Bueno, no es una competencia —dijo Djiby. —Si fuera una competencia, lo lamento, pero la ganaría mi hermana —dijo entonces Louis—. Yo hablo alemán, español y un poco de inglés, pero Nora… ¡Nora habla siete idiomas! Todos miraron a Nora, que se estaba comenzando a poner tan roja como Bianca. Glossary charlar: to chat, to talk. invitar: to invite. contar: to tell. castellano: Castilian Spanish. alemán: German. abuelos paternos: grandparents on the father’s side. chino: Chinese. recorrer: to travel, to tour. cambiar de tema: to change the subject. superar: to defeat. Follow this link to give us a review: https://podcasts.apple.com/us/podcast/storylearning-spanish/id1527159764

During this episode, we're going to be talking about the Spanish language. By Spanish language, I mean Castilian Spanish. With Mexican grandparents, a Spanish grandmother whose friends are Colombian, and a Nicaraguan aunt, I was exposed at a young age to the dialectical diversity of Castilian Spanish. Aware of the manner in which phonetic discrepancies correspond to geographic differences, I have done extensive research on the varieties of Spanish dialects and pronunciation. This episode includes only a small amount of the linguistic research that I have amassed, however, I hope that this condensed presentation serves to be extremely informative.

Visit https://www.learnspanishwithpablo.com for more Spanish lessons, videos and transcripts.Questions And Answers From English to Spanish Part 3 - Learn Spanish With Pablo.

How to express the present, past and future in Castilian Spanish. Learn Spanish with Pablo.Visit https://www.learnspanishwithpablo.com for more Spanish lessons, videos and transcripts.

En la traducción audiovisual siempre son muchos los factores que ponen a prueba al traductor. Además de los retos frecuentes a los que se enfrenta, como el límite de caracteres, pueden surgir desafíos adicionales, ¡como que el personaje sea Deadpool! En este episodio, Pablo Fernández Moriano nos cuenta cómo fue el proceso de traducción para doblaje de Deadpool 2, traducción por la que fue premiado. Él es licenciado en Traducción e Interpretación y tiene un posgrado en Traducción Audiovisual. Traduce del inglés, francés, italiano y alemán al español, y cuenta con 19 años de experiencia profesional como traductor y revisor, durante los cuales se ha especializado en la traducción de películas, series y documentales para subtítulos y doblaje. Ha sido galardonado con dos premios ATRAE: uno en 2018, por la traducción de los subtítulos de El caso Sloane y otro este mismo año, por la traducción para doblaje de Deadpool 2. Pablo trabaja con diversos pares de idiomas, pero el que más utiliza es el de inglés a español porque, al menos en lo que es traducción audiovisual, es la combinación en la que más demanda hay. Ha tenido oportunidad de traducir de los otros idiomas documentales y algunas películas para festivales de cine. Y, si bien no tiene el mismo volumen de trabajo con todos, para él saber varios idiomas es una gran ventaja, ya que ayuda a entender y poner en contexto muchas más cosas. En las películas, por ejemplo, siempre hay un personaje que habla en otro idioma. En cuanto a su traducción para doblaje de Deadpool 2, comenta que fue particularmente desafiante porque tenía muchísimos coloquialismos, referencias culturales, referencias sexuales y expresiones inventadas. El Urban Dictionary le fue de mucha ayuda, aunque reconoce que hay que usarlo con extrema precaución. Al tratarse de un doblaje para España, pudo utilizar muchos coloquialismos y expresiones regionales que hicieron que el resultado sea verdaderamente gracioso. “Es una pena que en Latinoamérica tenga que ser todo una cosa neutra y sosa…” En la disertación que realizó en la conferencia de la ATA, titulada Deadpool 2: Translating an R-Rated Film from English into Castilian Spanish, explicó como es el proceso de doblaje en España. En EE.UU prácticamente no se dobla y no mucha gente sabe de qué se trata. Además de comentar cómo fue concretamente el proceso en el caso de Deadpool 2, habló sobre las dificultades con las que un traductor se puede encontrar en una traducción audiovisual y que aparecían en Deadpool: juegos de palabras, referencias culturales, referencias a otros textos, etc. En cuanto a su visión del traductor del futuro, Pablo cree tendremos que aprender a usar la tecnología para nuestro beneficio. Necesitaremos mucha capacidad de adaptación y de aprendizaje, y familiarizarnos con todo tipo de programa gestión, memorias de traducción, bases terminológicas y corpus.

On this episode of This a Podcast, Mek talks with Anguesomo about moving around as a kid, going through some pretty rough times, loving music, and so much more. In two and a half hours, you’ll hear about: - spending her first few years in several African countries and getting the better of a racist bully in South Africa - her time in Switzerland and the Congo and the process for learning a new language - the difference between Castilian Spanish speakers and Spanish speakers from Latin America - writing her first song at six years old (and getting treated to a short serenade on the show!) - the danger of playing the comparison game and appreciating where you’re at now - the business side of music and entertainment, “practice makes better,” and how her songwriting has changed over the years - a turning point that found her homeless and suicidal only a year ago and how she dug herself out of that situation - how a concert with Mek and his buddies led to the creation of this podcast - Anguesomo being real and honest AF about how she deals with the stuff she goes through - communication expectations between friends and romantic partners and different ways of dealing with anger - social media daily check routines and having a love/hate relationship with or addiction to it - her surprising (or not) view of the U.S. before and after she moved here and her favorite subjects in school - microscopic writing and other school cheating tactics and a viral clip that encapsulates the African parents who live to brag about their kids - Anguesomo interviewing Mek for a few minutes about taking on family business obligations - the fictional book character she relates to, her definition of what success really is, and healing through song as her superpower - her billboard message to the world she wished she’d been told while growing up - introvert power and the encounter with a librarian that led Mek to discover his own, and more. Bio Anguesomo, (a.k.a. Ana Maria) is a singer, songwriter, and producer who comes from the country of Equatorial Guinea, the only Spanish-speaking nation in Africa. She also speaks French and teaches dancing. You can follow her on Instagram @Anguesomx, as well as on Facebook and Soundcloud. Links ItsNation TV - itsnation.tv/ Persepolis: The Story of a Childhood by Marjane Satrapi - www.goodreads.com/book/show/9516.Persepolis Quiet: The Power of Introverts in a World That Can’t Stop Talking by Susan Cain - www.goodreads.com/book/show/8520610-quiet

Kathryn Woolard is Professor Emerita and Research Professor of Anthropology at the University of California, San Diego. She has authored seminal works on language ideology and the sociolinguistic situation in Catalonia, including the present book Singular and Plural: Ideologies of Linguistic Authority in Twenty-First Century Catalonia (Oxford University Press, 2016) which won the 2017 Society for Linguistic Anthropology Edward Sapir Book Prize. Bringing together two of her longstanding areas of research interest in this book, Woolard develops a framework for analyzing ideologies of linguistic authority and applies it to the evolving political situation in Catalonia. In this interview, Woolard discusses the key theoretical and contextual elements of the book, broadly following its three-part structure. First, the concepts of linguistic authenticity, anonymity, sociolinguistic naturalism are introduced, and Woolard sets out the changing ideological grounding of linguistic authority there over the course of twenty years of fieldwork in Catalonia. Next, Woolard's theoretical framework is applied to the case of a popular satirical television program which catalyzed the sociolinguistic rehabilitation of a Catalonian president whose Castilian Spanish was better than his Catalan. Finally, Woolard discusses her early and recent fieldwork in a Catalan-medium high school, and her experiences of following up on research informants first interviewed twenty years ago. This is a typically rich and fascinating volume from a pioneer of linguistic anthropology. Positioned as a corrective against the banal nationalism of mainstream media discourse about Spain and Catalonia, the book calls on us to rethink our ideologies of language, nationalism and cosmopolitanism, which have become so polarized in the West in recent years. Kathryn Woolard wrote a post for Indiana University's Communication, Media and Performance Anthropology blog (08/14/2017) in which she discusses ideas we talked about in the podcast. You can find it here. John Weston is an Yliopistonopettaja (Associate Lecturer) at the Department of Language and Communication Studies at the University of Jyvaskyla. His research focuses on the relationships between language variation, knowledge and ethics. He can be reached at j.weston@qmul.ac.uk.   Learn more about your ad choices. Visit megaphone.fm/adchoices

Kathryn Woolard is Professor Emerita and Research Professor of Anthropology at the University of California, San Diego. She has authored seminal works on language ideology and the sociolinguistic situation in Catalonia, including the present book Singular and Plural: Ideologies of Linguistic Authority in Twenty-First Century Catalonia (Oxford University Press, 2016) which won the 2017 Society for Linguistic Anthropology Edward Sapir Book Prize. Bringing together two of her longstanding areas of research interest in this book, Woolard develops a framework for analyzing ideologies of linguistic authority and applies it to the evolving political situation in Catalonia. In this interview, Woolard discusses the key theoretical and contextual elements of the book, broadly following its three-part structure. First, the concepts of linguistic authenticity, anonymity, sociolinguistic naturalism are introduced, and Woolard sets out the changing ideological grounding of linguistic authority there over the course of twenty years of fieldwork in Catalonia. Next, Woolard’s theoretical framework is applied to the case of a popular satirical television program which catalyzed the sociolinguistic rehabilitation of a Catalonian president whose Castilian Spanish was better than his Catalan. Finally, Woolard discusses her early and recent fieldwork in a Catalan-medium high school, and her experiences of following up on research informants first interviewed twenty years ago. This is a typically rich and fascinating volume from a pioneer of linguistic anthropology. Positioned as a corrective against the banal nationalism of mainstream media discourse about Spain and Catalonia, the book calls on us to rethink our ideologies of language, nationalism and cosmopolitanism, which have become so polarized in the West in recent years. Kathryn Woolard wrote a post for Indiana University’s Communication, Media and Performance Anthropology blog (08/14/2017) in which she discusses ideas we talked about in the podcast. You can find it here. John Weston is an Yliopistonopettaja (Associate Lecturer) at the Department of Language and Communication Studies at the University of Jyvaskyla. His research focuses on the relationships between language variation, knowledge and ethics. He can be reached at j.weston@qmul.ac.uk.   Learn more about your ad choices. Visit megaphone.fm/adchoices

Kathryn Woolard is Professor Emerita and Research Professor of Anthropology at the University of California, San Diego. She has authored seminal works on language ideology and the sociolinguistic situation in Catalonia, including the present book Singular and Plural: Ideologies of Linguistic Authority in Twenty-First Century Catalonia (Oxford University Press, 2016) which won the 2017 Society for Linguistic Anthropology Edward Sapir Book Prize. Bringing together two of her longstanding areas of research interest in this book, Woolard develops a framework for analyzing ideologies of linguistic authority and applies it to the evolving political situation in Catalonia. In this interview, Woolard discusses the key theoretical and contextual elements of the book, broadly following its three-part structure. First, the concepts of linguistic authenticity, anonymity, sociolinguistic naturalism are introduced, and Woolard sets out the changing ideological grounding of linguistic authority there over the course of twenty years of fieldwork in Catalonia. Next, Woolard’s theoretical framework is applied to the case of a popular satirical television program which catalyzed the sociolinguistic rehabilitation of a Catalonian president whose Castilian Spanish was better than his Catalan. Finally, Woolard discusses her early and recent fieldwork in a Catalan-medium high school, and her experiences of following up on research informants first interviewed twenty years ago. This is a typically rich and fascinating volume from a pioneer of linguistic anthropology. Positioned as a corrective against the banal nationalism of mainstream media discourse about Spain and Catalonia, the book calls on us to rethink our ideologies of language, nationalism and cosmopolitanism, which have become so polarized in the West in recent years. Kathryn Woolard wrote a post for Indiana University’s Communication, Media and Performance Anthropology blog (08/14/2017) in which she discusses ideas we talked about in the podcast. You can find it here. John Weston is an Yliopistonopettaja (Associate Lecturer) at the Department of Language and Communication Studies at the University of Jyvaskyla. His research focuses on the relationships between language variation, knowledge and ethics. He can be reached at j.weston@qmul.ac.uk.   Learn more about your ad choices. Visit megaphone.fm/adchoices

Kathryn Woolard is Professor Emerita and Research Professor of Anthropology at the University of California, San Diego. She has authored seminal works on language ideology and the sociolinguistic situation in Catalonia, including the present book Singular and Plural: Ideologies of Linguistic Authority in Twenty-First Century Catalonia (Oxford University Press, 2016) which won the 2017 Society for Linguistic Anthropology Edward Sapir Book Prize. Bringing together two of her longstanding areas of research interest in this book, Woolard develops a framework for analyzing ideologies of linguistic authority and applies it to the evolving political situation in Catalonia. In this interview, Woolard discusses the key theoretical and contextual elements of the book, broadly following its three-part structure. First, the concepts of linguistic authenticity, anonymity, sociolinguistic naturalism are introduced, and Woolard sets out the changing ideological grounding of linguistic authority there over the course of twenty years of fieldwork in Catalonia. Next, Woolard's theoretical framework is applied to the case of a popular satirical television program which catalyzed the sociolinguistic rehabilitation of a Catalonian president whose Castilian Spanish was better than his Catalan. Finally, Woolard discusses her early and recent fieldwork in a Catalan-medium high school, and her experiences of following up on research informants first interviewed twenty years ago. This is a typically rich and fascinating volume from a pioneer of linguistic anthropology. Positioned as a corrective against the banal nationalism of mainstream media discourse about Spain and Catalonia, the book calls on us to rethink our ideologies of language, nationalism and cosmopolitanism, which have become so polarized in the West in recent years. Kathryn Woolard wrote a post for Indiana University's Communication, Media and Performance Anthropology blog (08/14/2017) in which she discusses ideas we talked about in the podcast. You can find it here. John Weston is an Yliopistonopettaja (Associate Lecturer) at the Department of Language and Communication Studies at the University of Jyvaskyla. His research focuses on the relationships between language variation, knowledge and ethics. He can be reached at j.weston@qmul.ac.uk.  

Kathryn Woolard is Professor Emerita and Research Professor of Anthropology at the University of California, San Diego. She has authored seminal works on language ideology and the sociolinguistic situation in Catalonia, including the present book Singular and Plural: Ideologies of Linguistic Authority in Twenty-First Century Catalonia (Oxford University Press, 2016) which won the 2017 Society for Linguistic Anthropology Edward Sapir Book Prize. Bringing together two of her longstanding areas of research interest in this book, Woolard develops a framework for analyzing ideologies of linguistic authority and applies it to the evolving political situation in Catalonia. In this interview, Woolard discusses the key theoretical and contextual elements of the book, broadly following its three-part structure. First, the concepts of linguistic authenticity, anonymity, sociolinguistic naturalism are introduced, and Woolard sets out the changing ideological grounding of linguistic authority there over the course of twenty years of fieldwork in Catalonia. Next, Woolard’s theoretical framework is applied to the case of a popular satirical television program which catalyzed the sociolinguistic rehabilitation of a Catalonian president whose Castilian Spanish was better than his Catalan. Finally, Woolard discusses her early and recent fieldwork in a Catalan-medium high school, and her experiences of following up on research informants first interviewed twenty years ago. This is a typically rich and fascinating volume from a pioneer of linguistic anthropology. Positioned as a corrective against the banal nationalism of mainstream media discourse about Spain and Catalonia, the book calls on us to rethink our ideologies of language, nationalism and cosmopolitanism, which have become so polarized in the West in recent years. Kathryn Woolard wrote a post for Indiana University’s Communication, Media and Performance Anthropology blog (08/14/2017) in which she discusses ideas we talked about in the podcast. You can find it here. John Weston is an Yliopistonopettaja (Associate Lecturer) at the Department of Language and Communication Studies at the University of Jyvaskyla. His research focuses on the relationships between language variation, knowledge and ethics. He can be reached at j.weston@qmul.ac.uk.   Learn more about your ad choices. Visit megaphone.fm/adchoices

Kathryn Woolard is Professor Emerita and Research Professor of Anthropology at the University of California, San Diego. She has authored seminal works on language ideology and the sociolinguistic situation in Catalonia, including the present book Singular and Plural: Ideologies of Linguistic Authority in Twenty-First Century Catalonia (Oxford University Press, 2016) which won the 2017 Society for Linguistic Anthropology Edward Sapir Book Prize. Bringing together two of her longstanding areas of research interest in this book, Woolard develops a framework for analyzing ideologies of linguistic authority and applies it to the evolving political situation in Catalonia. In this interview, Woolard discusses the key theoretical and contextual elements of the book, broadly following its three-part structure. First, the concepts of linguistic authenticity, anonymity, sociolinguistic naturalism are introduced, and Woolard sets out the changing ideological grounding of linguistic authority there over the course of twenty years of fieldwork in Catalonia. Next, Woolard’s theoretical framework is applied to the case of a popular satirical television program which catalyzed the sociolinguistic rehabilitation of a Catalonian president whose Castilian Spanish was better than his Catalan. Finally, Woolard discusses her early and recent fieldwork in a Catalan-medium high school, and her experiences of following up on research informants first interviewed twenty years ago. This is a typically rich and fascinating volume from a pioneer of linguistic anthropology. Positioned as a corrective against the banal nationalism of mainstream media discourse about Spain and Catalonia, the book calls on us to rethink our ideologies of language, nationalism and cosmopolitanism, which have become so polarized in the West in recent years. Kathryn Woolard wrote a post for Indiana University’s Communication, Media and Performance Anthropology blog (08/14/2017) in which she discusses ideas we talked about in the podcast. You can find it here. John Weston is an Yliopistonopettaja (Associate Lecturer) at the Department of Language and Communication Studies at the University of Jyvaskyla. His research focuses on the relationships between language variation, knowledge and ethics. He can be reached at j.weston@qmul.ac.uk.   Learn more about your ad choices. Visit megaphone.fm/adchoices

Kathryn Woolard is Professor Emerita and Research Professor of Anthropology at the University of California, San Diego. She has authored seminal works on language ideology and the sociolinguistic situation in Catalonia, including the present book Singular and Plural: Ideologies of Linguistic Authority in Twenty-First Century Catalonia (Oxford University Press, 2016) which won the 2017 Society for Linguistic Anthropology Edward Sapir Book Prize. Bringing together two of her longstanding areas of research interest in this book, Woolard develops a framework for analyzing ideologies of linguistic authority and applies it to the evolving political situation in Catalonia. In this interview, Woolard discusses the key theoretical and contextual elements of the book, broadly following its three-part structure. First, the concepts of linguistic authenticity, anonymity, sociolinguistic naturalism are introduced, and Woolard sets out the changing ideological grounding of linguistic authority there over the course of twenty years of fieldwork in Catalonia. Next, Woolard’s theoretical framework is applied to the case of a popular satirical television program which catalyzed the sociolinguistic rehabilitation of a Catalonian president whose Castilian Spanish was better than his Catalan. Finally, Woolard discusses her early and recent fieldwork in a Catalan-medium high school, and her experiences of following up on research informants first interviewed twenty years ago. This is a typically rich and fascinating volume from a pioneer of linguistic anthropology. Positioned as a corrective against the banal nationalism of mainstream media discourse about Spain and Catalonia, the book calls on us to rethink our ideologies of language, nationalism and cosmopolitanism, which have become so polarized in the West in recent years. Kathryn Woolard wrote a post for Indiana University’s Communication, Media and Performance Anthropology blog (08/14/2017) in which she discusses ideas we talked about in the podcast. You can find it here. John Weston is an Yliopistonopettaja (Associate Lecturer) at the Department of Language and Communication Studies at the University of Jyvaskyla. His research focuses on the relationships between language variation, knowledge and ethics. He can be reached at j.weston@qmul.ac.uk.   Learn more about your ad choices. Visit megaphone.fm/adchoices

Kathryn Woolard is Professor Emerita and Research Professor of Anthropology at the University of California, San Diego. She has authored seminal works on language ideology and the sociolinguistic situation in Catalonia, including the present book Singular and Plural: Ideologies of Linguistic Authority in Twenty-First Century Catalonia (Oxford University Press, 2016) which won the 2017 Society for Linguistic Anthropology Edward Sapir Book Prize. Bringing together two of her longstanding areas of research interest in this book, Woolard develops a framework for analyzing ideologies of linguistic authority and applies it to the evolving political situation in Catalonia. In this interview, Woolard discusses the key theoretical and contextual elements of the book, broadly following its three-part structure. First, the concepts of linguistic authenticity, anonymity, sociolinguistic naturalism are introduced, and Woolard sets out the changing ideological grounding of linguistic authority there over the course of twenty years of fieldwork in Catalonia. Next, Woolard’s theoretical framework is applied to the case of a popular satirical television program which catalyzed the sociolinguistic rehabilitation of a Catalonian president whose Castilian Spanish was better than his Catalan. Finally, Woolard discusses her early and recent fieldwork in a Catalan-medium high school, and her experiences of following up on research informants first interviewed twenty years ago. This is a typically rich and fascinating volume from a pioneer of linguistic anthropology. Positioned as a corrective against the banal nationalism of mainstream media discourse about Spain and Catalonia, the book calls on us to rethink our ideologies of language, nationalism and cosmopolitanism, which have become so polarized in the West in recent years. Kathryn Woolard wrote a post for Indiana University’s Communication, Media and Performance Anthropology blog (08/14/2017) in which she discusses ideas we talked about in the podcast. You can find it here. John Weston is an Yliopistonopettaja (Associate Lecturer) at the Department of Language and Communication Studies at the University of Jyvaskyla. His research focuses on the relationships between language variation, knowledge and ethics. He can be reached at j.weston@qmul.ac.uk.   Learn more about your ad choices. Visit megaphone.fm/adchoices

    Four times was Genesis 15:6 quoted in the New Testament. It is insinuated a number of other times. This verse is especially important in the epistles of Paul. Just as Abraham “believed God, and it was accounted to him for righteousness” (Romans 4:3, 9, (v.23 is a partial quotation), Galatians 3:6, and James 2:23 NKJV). Two major doctrines of the New Testament are stated in that verse: believing and righteousness. These are BIG theological words, and we want to look at them briefly.    Righteousness  Righteousness is a gift through trust and faithfulness (faith) in Jesus’ blood (His sacrificial and substitutionary death on our behalf). Many will agree with that statement. Though the above is true, many will reject the notion that righteousness, from Genesis to Revelation, refers to righteous living. Righteousness includes righteous behavior according to God’s Word, dictates, and commandments. There is no such thing in Scripture as being only righteous on the inside (spiritually) without also being righteous in one's actions (physically). Internal-only-righteousness is a fantastical and imaginary doctrine taught by pulling verses out of context and reinterpreting Paul’s teaching according to a relatively modern theology! That may be contrary to what you have believed and heard taught, but don’t be so quick to dismiss it. Read the next paragraph and look up the Scripture references. Convince yourself if it is true or not. Internal and external righteousness are inseparable in the Bible. Bible righteousness refers to relationship, both with God and with others. There are vertical and horizontal dimensions to righteousness in Scripture. Paul and John taught both and so should we! Look at the following verses in the New English Translation (and others) to begin to get a picture of Biblical righteousness-justification. You will see doing, practicing, and living in righteousness as well as receiving the gift of righteousness. These are two sides of the same coin, and they are inseparable! See Matthew 3:15, 6:1, 11:19; Romans 3:25-26, 4:22-25, 5:17, 6:12-23; 2nd Corinthians 6:14; 1st Thessalonians 2:10; Titus 2:11-12; James 2:20-26; 1st Peter 2:24; 2nd Peter 2:21; 1st John 2:29, 3:7, 10; Revelation 22:11, Deuteronomy 9:4-6; Ezekiel 18:1-32, and there are many more. [1] Please read the notes. Some are quick to reply, “But Brother Dan, it is by believing in the heart that we come into righteousness. Paul said, “With the heart man believes unto righteousness, and with the mouth confession is made unto salvation” (Romans 10:10). I agree with that verse fully, but I am telling you that our interpretation has been incomplete and we need some exposition-interpretation.   Why so much interpretation? Recently on my Facebook feed, one pastor stated (maybe as a rebuke?), “Some want to give you Biblical interpretation instead of just accepting what the Bible says.” It was written in another language, so that is my loose version. The pastor’s statement sounds spiritual, but it’s not. It shows huge ignorance concerning Biblical language studies. If you were only dealing with modern English or Spanish, then the pastor’s statement could be applicable. When you are dealing with ancient languages and texts written thousands of years ago, that is when you are confronted with issues of interpretation. Let me give you some examples from the English and Spanish languages. Sometimes if you look at things in more familiar terms, it may help. Before I refer to older texts, I have been to places in the world where the English of the region was like hearing an unknown foreign language! Even in the U. S., when I first heard the people in the Appalachians speak in the mid 1960’s, I couldn’t understand ¾ of their words! I was in the car with my parents in 1964. We got lost in the mountains, so my dad stopped along a mountain road and called to a man plowing his field. When the man began to speak in answer to my dad, we were shocked. It sounded like a foreign language. Once the man finished, my dad politely thanked him, and got back into the car. My mother asked him, “Do you have any idea what he said?” Dad answered, “Wha wha wha to the right, and wha wha wha to the left.” That was all he understood after about a minute or two! We needed an interpretation! Have you tried to read English or Spanish documents from a few centuries ago? Please try it. Suddenly, you will be faced with the fact that the language, spelling, and grammar were different than they are today. Sometimes these will be so drastically different that you will not be sure what you are reading. For the modern English or Spanish speaker, in order to get a proper “interpretation” of the text, they must go beyond reading and simply accepting the text the way it’s written. We must go further or we will misinterpret and misunderstand the text unless we find out what the words meant in their historical setting. Unless you are an 11th or 12th century student or scholar of ancient Spanish, the oldest known poem in Castilian Spanish, El Cantar del Mio Cid, will leave question marks all over your face. Here is an excerpt: “De los sos ojos tan fuerte mientre lorando tornava la cabeça y estava los catando vio puertas abiertas e uços sin cañados alcandaras vazias sin pielles e sin mantos e sin falcones e sin adtores mudados sospiro mio Çid ca mucho avie grandes cuidados fablo mio Çid bien e tan mesurado grado a ti señor padre que estas en alto esto me an buelto mios enemigos malos” I am fluent in Spanish, but it doesn’t look much like it. The poem had no punctuations in the original text. That alone is a problem, but what in the world is, “uços sin cañados” or “adtores mudados”? Even if one could translate most of this poem, would their interpretation be correct? Probably not without quite a bit of study! How about in English? Do you know the words euene, forsothe, weren, borun, watris, or erthe? They are very unfamiliar, aren’t they? All those words are in a familiar portion of Scripture from the 1395 A. D. Middle English translation in the Wycliffe Bible: In the bigynniyng God made euene and erthe. Forsothe the erthe was idel and voide, and derknessis weren on the face of and derknessis weren on the face of depthe; the Spyrit of the Lord was was borun on the watris. That is Genesis 1:1-2, but if you read an original copy, get ready for a real chore! The lettering style Wycliffe used is h-a-r-d to read. Do you see all the strange words I was telling you about? If you were not familiar with the text, would you have understood it? I don’t think so. I know I would be scratching my head. I would need interpretation! A more drastic need for interpretation applies to ancient languages that existed long before Jesus walked the earth! The further back you go into the history of any language, the more you will need to study and interpret. Some words and phrases in the ancient texts make no sense to the modern reader unless you have interpretation AND historical context.   Misunderstood words and phrases The idiomatic peculiarities of a language can be translated word for word, but unless they are explained, or interpreted, you will misunderstand the word or phrase. One short list of Hebrew idioms is found on the website: Ancient Hebrew Research Center. Here are the idioms mentioned on their list from Psalms and Proverbs. In the parenthesis to the right, I added what these idioms are not referring to. You would be surprised at the funny ways people often misinterpret these idiomatic expressions. Some I have heard are roll-in-the-floor funny! Ps 3.7 Break teeth make powerless  (not a reference to losing teeth in a fight!) Ps 4.1 Enlarge space set free  (not a reference to getting a bigger space!) Ps 5.9 Their throat is an open grave they speak deceitfully Ps 6.7 Eye is consumed vision is blurred Ps 7.3 Iniquity in my hands guilty Ps 7.9 Hearts and kidneys thoughts and emotions  (not a reference to your blood pump or kidneys!) Ps 10.5 Snorts scoffs Ps 11.6 the portion of their cup their destiny Ps 12.2 double heart duplicitous Ps 17.8 Little man of the eye pupil Ps 24.4 Clean hands act purely  (not a reference to hygiene after toilet use!) Ps 25.1 Lift up my soul pray  (not a reference to coming out of depression!) Ps 27.8 Seek my face seek me  (not a reference to seeking the face as opposed to the hands!) Ps 33.18 Eyes are upon watches over Ps 41.9 Lifted heel against turned against  (not a reference to kicking someone!) Ps 73.9 Tongue struts through the earth arrogantly order everyone  (not a reference to gossip or slander!) Ps 75.5 Lift horn defy God  (not a reference to becoming great without God!) Ps 89.13 Right hand might  (not a reference to being right-handed!) Ps 89.22 Son of wickedness wicked person Ps 90.12 Number days use time wisely  (not a reference to length of life!) Ps 94.9 Planted created  (not a reference to being solidly built on a foundation!) Ps 102.2 Hide your face refuse to answer  (not a reference to being ashamed!) Ps 121.1 Lift up eyes look up toward  (not a reference to vision!) Ps 124.3 Swallowed alive killed  (not a reference to eating something that’s still alive!) Pro 17.22 Dries bones drains strength  (not a reference to osteoporosis!) Pro 22.9 Good eye generous  (not a reference to good or clear eyesight, good luck, or wishing goodness on people!) Pro 23.6 Bad/Evil eye stingy  (not a reference to being single-minded, bad luck, or putting a curse on someone!) Pro 18.20 Fruit of the mouth what someone says Pro 24.20 lamp will go out will die  (not a reference to a lack of light at one’s house!) Go to the link and read the idioms from the other books of the Hebrew Bible. There are hundreds more idiomatic expressions that are not included in that list. Any of these could be easily misunderstood unless explained. Did you know that many words in English meant one thing years ago that today mean something completely different? Nice used to mean silly, foolish, and simple. Silly was something worthy or blessed. Something awful was something worthy of awe, and naughty used to be one that had nothing! Gay used to mean light-hearted and joyous! My, my, my, how gay has been highjacked and misrepresented! To be a husband originally meant you owned a house or land and had nothing to do with marital status. To broadcast was the way you swept your hand to sow your seeds in the field! Buxom was not related to female anatomy, but meant that someone was meek and obedient! The list could go on for many pages! [2] If you only look at the English language in the last few hundred years, you will see that word order, grammar, definitions, and punctuations have changed. New words have been added, and many words have gone into disuse. Some words from 1960’s and 70’s have disappeared! Do you remember words like: groovy, having a gas (nothing to do with passing gas!), bug, crash (nothing to do with automobile accidents!), pad (not a reference to your iPad!), and far out. Did you ever get the question, “What’s your bag, man?” Did you hear the expression, “What a bummer”? If you remember any of these, then we dated you! Most reading this need interpretation from just 40 or 50 years ago! How much study and interpretation do you think we would need for languages 2 to 3 thousand years old? It is ludicrous to believe you need to accept the text as it is written without explanation or interpretation. If you follow the logic of the pastor that thought interpretation was not necessary, and that we should take the verses as they are written, then many Scriptures could be misinterpreted.   When the New Testament Quotes or Alludes to the Old Testament Besides reading and studying ancient texts in their historical, cultural, and linguistic context, we must look at verses in the right context when they are alluding to other passages of Scripture. Here is an example that will hit you like a ton of bricks because of the implication for dearly held evangelical ideas: “For this commandment which I command you today is not too difficult for you, nor is it out of reach. It is not in heaven, that you should say, ‘Who will go up to heaven for us to get it for us and make us hear it, that we may observe it?’ Nor is it beyond the sea, that you should say, ‘Who will cross the sea for us to get it for us and make us hear it, that we may observe it?’ But the word is very near you, in your mouth and in your heart, that you may observe it (Deuteronomy 30:11-15).  First, did you notice that God’s commandments were not too difficult? That flies contrary to Christian teaching that says that the law of God was difficult, harsh, or cruel! Paul quoted part of this portion of Scripture in Romans 10:6-10. But the righteousness based on faith speaks as follows: “Do not say in your heart, ‘Who will ascend into heaven?’ (that is, to bring Christ down), or ‘Who will descend into the abyss?’ (that is, to bring Christ up from the dead).” But what does it say? “The word is near you, in your mouth and in your heart”—that is, the word of faith which we are preaching, that if you confess with your mouth Jesus as Lord, and believe in your heart that God raised Him from the dead, you will be saved; for with the heart a person believes, resulting in righteousness, and with the mouth he confesses, resulting in salvation (NASB). Generally, people think that our salvation in Christ is only based on believing it and saying it alone. They miss Paul’s intended and fuller meaning. The complete passage reveals something more than believing and speaking alone. Paul’s statement about believing in the heart and confessing with the mouth was also stressing that God’s moral commandments were within reach of every covenant person. God’s moral commandments were not burdensome, harsh, or cruel. (See 1st John 5:2, 3 in different translations.) They were not too difficult or out of reach, as stated in the context of Deuteronomy 30:11-15! Come on, let’s read the context! It was as close as a word spoken in the heart or by the mouth, so that you may observe it or do it. The Word wasn’t in your heart and mouth for the purpose of agreement with Church dogma, or so that others may call you a Christian. “Believing in the heart that God raised Jesus from the dead and confessing Jesus as your Lord with your mouth” was emphasizing obedience to the Gospel of Christ, and receiving His Lordship over your life (see Romans 10:16).   The Lordship of Jesus over our Lives Jesus taught us concerning the meaning of having His Lordship over our lives, and it is not based on spoken words alone! “Why do you call Me, ‘Lord, Lord,’ and do not do what I say? Everyone who comes to Me and hears My words and acts on them, I will show you whom he is like: he is like a man building a house, who dug deep and laid a foundation on the rock; and when a flood occurred, the torrent burst against that house and could not shake it, because it had been well built” (Luke 6:46-48 NASB).  Speaking or confessing Jesus as your Lord, and even doubling up on it (“Lord, Lord”), is incomplete. Note the three things Jesus mentions as those that truly are under His Lordship: You come to the Lord Jesus. You hear His words. You act on His Word, or you DO it! Notice that all three parts stated together. It is a threefold cord, if you would, that cannot be broken. Confessing His Lordship over our lives was always a reference to OBEDIENCE to Him whom is Lord! It always meant obedience to His Word and will. His message to the Gentiles was that, through the gospel of Christ, they were to be brought into the obedience of faith (Rom. 1:5, 16:26). “Not everyone who says to me, ʻLord, Lord,ʼ will enter into the kingdom of heaven - only the one who does the will of my Father in heaven” (Matthew 7:21 NET). Just as important, we must understand that practicing the things that are in opposition to God’s Word (commandments) is a denial of His Lordship over our lives.  “On that day, many will say to me, ʻLord, Lord, didnʼt we prophesy in your name, and in your name cast out demons and do many powerful deeds?ʼ Then I will declare to them, ʻI never knew you. Go away from me, you lawbreakers!ʼ” (Matthew 7:21, 22 NET)  Others translate lawbreakers as “workers of iniquity.” Another translation says, “those that practice lawlessness.” For us in Christ, the lawbreakers are the ones who rebel against God’s Word and His will, and live based on some past work of God in their lives. Disobedience and rebellion are at the very core of lawlessness. Frankly, even if you were at one time used by, or had a relationship with God, if you have fallen away, only repentance will bring you back (2nd Peter 3:9; Luke 13:3, 5).  Those that live in the obedience of faith in Christ right now will not hear those terrible words, “I never knew you”, and “go away from me, you lawbreakers”! Thank God! Those that live in disobedience and rebellion will hear them. It will be a horribly bad day for those that were once believers, but now live in lawlessness. Don’t get angry with me over this. I didn’t say it. Jesus said it, and I am only a messenger repeating what He said. Look at few verses down from Romans 10:9-10, and notice the connection between believing and obedience in verse 16. But not all have obeyed the good news, for Isaiah says, “Lord, who has believed our report?” (NET)  To obey the good news is to believe the report! Did you get that? Paul made the connection, and so should we.   Abraham “believed” If you look at the Greek word επιστεσευσεν [3] translated as "believed" in Romans 4:3, it is defined as; to think to be true, to be persuaded of, to credit, place confidence in, to place trust in Jesus or God, and so on. It would be incomplete to think believe means only that Greek definition because the quote came from Genesis 15:6. As we saw in previous articles in this series, Paul usually quoted from a Greek translation of the Hebrew Scripture known as the Septuagint (LXX). The Septuagint was a word-for-word translation that kept the original Hebrew word order. Therefore, to stop with a Greek definition of a word in the Septuagint or New Testament that quoted from it is to partially interpret the Scripture. Actually, it is worse than that because sometimes the Greek and Hebrew are opposed to each other. Their concepts were often worlds apart. That is why looking at the Greek alone can be VERY misleading.[4] Paul was not thinking pisteuo alone. If he was thinking believing alone, then why quote Genesis 15:6, a Scripture reference from a Hebrew source- the Old Testament? What was the word in Hebrew? What was running through Paul’s heart and mind as he used this Greek word pisteuo? He was quoting the Greek Septuagint translation of the Hebrew text, but he knew what the Hebrew text said and meant. The Hebrew word translated believed in Genesis 15:6 is heemin, from the Hebrew root word aman.[5] It does not mean Christian beliefs or to believe alone. The word is used in the sense of support, confirm, be faithful, uphold, be established, be firm, sure, lasting, confirmed, sure, verified, reliable, to trust, and to believe- in the sense of trusting that what someone has said can be relied upon as the truth. The word faithful means loyal, constant, staunch, steadfast and resolute. [6] These Hebrew concepts and definitions are at the center of Paul’s teaching and interpretation of believing in Romans 4 and Galatians 3. Let’s not forget the exposition of James 2. After looking at the emphasis in Hebrew in comparison to Greek-only definitions, these questions must be asked of every follower of Jesus after studying the definitions. I got them after reading the synonyms for the word faithful and the powerful synonym discussion on the Merriam-Webster dictionary site: Are you a support to the cause of Jesus, the kingdom, and the Father in Heaven? Do you have the Lord’s interest in your mind and heart, or are you after your own way and will? Is it your will be done or is it His will that you want for your life? Are you faithful to God’s Word and His moral commandments? Are these a description of your life since you declared your sworn allegiance to Jesus as your Lord? Or are you the kind of “Christian” that says “Lord, Lord” but refuses to do what He says (Matthew 7:21-23)? If you love Him, you will obey His Word/commandments (John 14:15, 21, 23, 1John 2:5)! Are you firm, sure, and lasting in the things of God and the Lord Jesus or are you an indecisive (or wishy-washy) Christian with no moral backbone? Are you one day an upright example of Christian moral principles according to the New Testament, and the next day you act like a heathen with your words or actions? Can the Lord depend on you? Are you reliable? Can the Lord expect you to live according to His Word and obey His dictates for your life? Do you trust (rely fully) in Jesus and His sacrifice for you? Do you have an assured reliance on the character, ability, strength, or truth of God and His Word? There is much more to discuss, but this should reveal that to believe in Jesus or the Gospel is not to have a mere belief, conviction, assurance, or credence. It is much more than believing alone! I often summarize what I have learned about this pregnant word by saying it is better defined by trust, faithfulness, loyalty, and obedience to the Lord and His Word. Like righteousness, it is a covenant term used of the faithful, loyal and obedient, and it describes relationship with God and with others. There is no believing without trust. There is no believing without faithfulness and loyalty. Don’t say you believe the Gospel and yet disobey and rebel against the Lord and His Word because these are completely incompatible! The obedient to God and His Word/commandments are the ones that truly believe. All others are pretenders and need to repent! Notes: [1] For “a fresh look at the old doctrine of justification by faith”, see Dunn and Suggate, The Justice of God (W. B. Eerdmans: Gran Rapids; 1993) pgs. 31-42. I will email you a 22-page PDF on this subject by James D. G. Dunn. Request it at dr@danalanrodriguez.com. There is no charge for the PDF. [2] Read an interesting article, Is English Changing? ; https://www.linguisticsociety.org/content/english-changing. Also see: http://mentalfloss.com/article/54770/15-words-dont-mean-what-they-used; and http://www.mirror.co.uk/news/uk-news/words-literally-changed-meaning-through-2173079 [3] From πιστευω- See Strong’s Exhaustive Concordance, G4100- pisteuo; Thayer’s Greek-English Lexicon 511a. [4] If you can handle a scholarly, difficult, and sometimes boring book, see Thorleif Boman: Hebrew Thought Compared to Greek, (SCM Press LTD, 1960) for further study. The differences between these two languages and their ways of thinking are truly monumental! For the benefit of any detractors; I am not saying that Hebrew is to be preferred above Greek as a language, or that Hebrew is in general better than Greek. The Greek language brought us science, mathematics, philosophy and many other things. Greek has value in its proper place. It would be ridiculous to deny the clear influence and contribution of Greek culture to most of the world. In these studies, I am only referring to the importance of the Hebrew language insofar as Biblical interpretation goes. In the case of Biblical thought and interpretation, Hebrew is highly preferred, and should be primary. If you haven’t done it, read the previous articles in this series. [5] H539- See Brown, Driver, Briggs- אמן [6] See the definition for faithful, the synonyms, and the synonym discussion at: http://www.merriam-webster.com/dictionary/faithful.   Please listen to the short audio message: Living Healthy vs. Living in Anxiety. Be mightily blessed!

How to say DECEMBER - DICIEMBRE In Spanish. Learn Spanish With Pablo. Subscribe for all content on Spotify/Anchor: https://anchor.fm/learn-spanish-with-pablo/subscribe In this Spanish lesson for beginners we are going to we are going to continue our alphabetical vocabulary and phrases from English to Castilian Spanish. Visit https://www.learnspanishwithpablo.com for more --- Send in a voice message: https://anchor.fm/learn-spanish-with-pablo/message

How to say OCTOBER - OCTUBRE In Spanish. Learn Spanish With Pablo Subscribe for all content on Spotify/Anchor: https://anchor.fm/learn-spanish-with-pablo/subscribe In this Spanish lesson for beginners we are going to we are going to continue our alphabetical vocabulary and phrases from English to Castilian Spanish. Visit https://www.learnspanishwithpablo.com for more --- Send in a voice message: https://anchor.fm/learn-spanish-with-pablo/message

How to say MAY - MAYO In Spanish. Learn Spanish With Pablo. Subscribe for all content on Spotify/Anchor: https://anchor.fm/learn-spanish-with-pablo/subscribe In this Spanish lesson for beginners we are going to we are going to continue our alphabetical vocabulary and phrases from English to Castilian Spanish. Visit https://www.learnspanishwithpablo.com for more --- Send in a voice message: https://anchor.fm/learn-spanish-with-pablo/message

How to say MONDAY - LUNES In Spanish. Learn Spanish With Pablo. Subscribe for all content on Spotify/Anchor: https://anchor.fm/learn-spanish-with-pablo/subscribe In this Spanish lesson for beginners we are going to we are going to continue our alphabetical vocabulary and phrases from English to Castilian Spanish. Visit https://www.learnspanishwithpablo.com for more --- Send in a voice message: https://anchor.fm/learn-spanish-with-pablo/message

How to say FRIDAY - VIERNES In Spanish. Learn Spanish With Pablo. Subscribe for all content on Spotify/Anchor: https://anchor.fm/learn-spanish-with-pablo/subscribe In this Spanish lesson for beginners we are going to we are going to continue our alphabetical vocabulary and phrases from English to Castilian Spanish. Visit https://www.learnspanishwithpablo.com for more --- Send in a voice message: https://anchor.fm/learn-spanish-with-pablo/message

How to say WEDNESDAY - MIÉRCOLES In Spanish. Learn Spanish With Pablo. Subscribe for all content on Spotify/Anchor: https://anchor.fm/learn-spanish-with-pablo/subscribe In this Spanish lesson for beginners we are going to we are going to continue our alphabetical vocabulary and phrases from English to Castilian Spanish. Visit https://www.learnspanishwithpablo.com for more --- Send in a voice message: https://anchor.fm/learn-spanish-with-pablo/message

Castilian Spanish is our focus this week, with Basque soprano Vanessa Goikoetxea. Our texts for today are the Zarzuela tenor aria "No puede ser" and the Obradors song "Al amor". This time we are concentrating on the S, C and Z, and the LL in Castilian Spanish. The text for "No puede ser" can be found here, as well as a brief history of Zarzuela and a short biography of the composer, Pablo Sorozábal. The text to "Al amor" can be found at the Lied and Art Song Texts Page, and I found the original Catullus poem that it's based on, as well as a blog in Spanish that compares the two poems, and includes another modern translation of the Latin. The Basque language (Euskera) pre-dates Indo-European languages, and is considered a language isolate, since it has no grammatic connection to the languages that surround it. The Basque composer Vanessa mentioned were Jesús Guridi and Aita Donostia, and I found a few Youtube clips for both of them: the Finale of El Caserio and the song Alla arriba en equella montana by Guridi and choral pieces Adios Ene Maitea for men's choir and Agur Maria for women's choir by Donostia. As always, please feel free to contact me with and questions or comments here, on the Facebook page, or directly at ellen@ellenrissinger.com

Think about this: hosts Phil Thompson and Eric Armstrong are delving into the sounds represented by the spelling “th” this week. In the course of it, they’ll chat about how the sound is rare in the world’s languages, how it’s formed in various varieties of English around the world, and its use in Spanish. Show Notes:The show starts with an Audio Comment from Erik Singer re barred i and they guys’ response."th" soundsIn the world's languages, they are fairly rare. 40 languages appear on the WALS "Presence of Uncomon Consonants" map for the /th/ sounds.Dental, interdental, variability in amount of tongue. Culturally different. Maddieson & Ladefoged in "The Sounds of the World's Languages" studied Americans and Brits, and 90% of the US speakers made interdental articulations, while 90% of the British speakers made dental articulations. Jespersen suggests (in Maddieson/Ladefoged) that articulations are dictated partly by dentition: if you have gaps in your teeth (or none) you may articulate differently.• "showing the tongue" to aid lip reading in emphatic speech.IPA Symbol ð: Eth is used in Old English, Icelandic, Faroese, and Elfdalian. In most languages it represents the voiced dental fricative. Symbol is called [ɛð], while Eth [ɛθ] is a woman's name.Voicing: voicedPlace: Dental or InterdentalManner: FricativeOccurrence: is far more common in English, due to the high frequency of function words with ð sounds in English, such as then, the, they, their, those, etc.IPA Symbol θ:Theta symbol is the lowercase Greek letter, which represents the voiceless dental fricative in Greek. Voicing: voicelessPlace: Dental or InterdentalManner: FricativeHistory: Though the sounds are Germanic in their "roots", almost all Germanic languages have lost /th/ sounds. Only English and Icelandic retain it. /th/ is part of Castilian Spanish. Known as "Ceceo" [θeθeo] it contrasts with "seseo" . Urban Legend of "Prestige Borrowing"; however, it's not true, as the person credited with documenting the lisp wrote about it 200 years before the use of /θ/ began. la casa "the house" la caza "the hunt"distinción /la ˈkasa/ /la ˈkaθa/ceceo /la ˈkaθa/ /la ˈkaθa/seseo /la ˈkasa/ /la ˈkasa/Variationsth-Fronting /f/ and /v/ like in Cockney and other working class accents of Southern English English, AAVE finallyth-Alveolarization /s/ and /z/ like in Parisian French English, African Englishes, Th-debuccalization /h/ in Scots English (mainly in Glasgow) "three" becomes "hree"Th-stopping /t/ and /d/ like in Quebecois English, Caribbean English, Nigerian English, and Liberian English, AAVE initiallyBUT NOT really in Hiberno-English, some Newfoundland English, NY/NJ English, Indian English, where /th/ becomes more dentalized, so "den/then" aren't homophones.Icelandic and Danish have lamino-alveolar non-sibilant fricative allophones with teeth fairly far apart. (Sibilance is created "downstream" of the constriction where the turbulence strikes structures beyond the point constriction (e.g. the gum ridge and/or teeth). IPA θ̠ ð̠Speech Disorders: Dental/interdental Lisp, as an allophone of /s/ and /z/. "Ethel Thayer; thounds like I'm lithping" —On Golden Pond.