Podcasts about Linguistics

What if one of the simplest tools for helping your child connect, communicate, and regulate is already in your voice? In this episode, I talk with music therapist, musician, author, and mom Vered Benhorin, about how everyday singing can support connection, language development, transitions, and co-regulation with babies and toddlers. We explore why repetition, rhythm, movement, and that naturally sing-songy way we talk to babies can be so powerful for early learning. Vered also shares simple ways parents, caregivers, and educators can create their own songs for everything from diaper changes and bedtime to calming big feelings. Most importantly, we talk about why you don't need to be a great singer—or even consider yourself musical—to use music as a joyful way to connect with the little humans in your life.  Vered Benhorin, LCAT, is a board-certified music therapist, psychotherapist, parenting author, recording artist, and family connection expert whose work brings together attachment theory, music, mindfulness, and play. She studied music therapy and clinical psychology and has spent nearly two decades helping parents strengthen connection with their babies and young children through Baby in Tune. Learn more about the work she does here. Interested in a Toddler Tribe Community full of resources and connection? ⁠⁠DM⁠ ⁠me "Community" on ⁠⁠Instagram⁠ ⁠so we can connect! October 1, 2026Episode 351Sing to Your Baby from Birth. The Connection Power of Music with Vered BenhorinAbout Your Host:Cara Tyrrell, M.Ed. is a mom or three, early childhood author, parent educator, and founder of⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Core4Parenting⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠.⁠⁠⁠⁠⁠⁠ ⁠⁠⁠A former preschool and kindergarten teacher with degrees in ASL, Linguistics, and Education, she created the Collaborative Parenting Methodology™ to help parents, caregivers, and educators understand the power of intentional language in shaping a child's identity, confidence, and future success.As host of the top-ranking podcast Transforming the Toddler Years, Cara blends science and soul to show adults how to “talk to kids before they can talk back,” turning tantrums into teachable moments and everyday challenges into opportunities for connection. She is also the author of the new book⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠T⁠alk to Them Early and Often⁠⁠⁠⁠,⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠a guide for raising emotionally intelligent kids who thrive in school and life.⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Want to book Cara for your next speaking event? Find all the details⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠here⁠⁠⁠⁠⁠⁠⁠!⁠⁠⁠⁠⁠⁠⁠⁠⁠

This week, Alex and Emily are joined by Keoni Mahelona of Te Hiku Media to discuss Indigenous language technology. They discuss problems that arise when Big Tech tries to bring its "solutions" into this space, and best practices for research and development that center the expertise, cultural norms and goals of Indigenous communities.Keoni Mahelona is the CTO of Te Hiku Media and a Native Hawaiian from the island of Kaua'i. He's a driving force behind the development of sovereign digital technologies that aim to protect and promote Indigenous languages, knowledge, culture, and now democracy.References:Microsoft/IDB paper: "The Performance of Artificial Intelligence in the Use of Indigenous American Languages"Also referenced:Kaitiakitanga LicenseJoanna Radin paper on Indigenous data collectionFresh AI Hell:"Apple Watch's new always-on don't-call-it-transcription feature"Nevada County prosecutors use "AI" and insert errors into criminal casesUW Grand Rounds: "If AI Can Write the Note, Who Does the Thinking?"The "Pro-Human Assembly"Check out future streams on Twitch. Meanwhile, send us any AI Hell you see.Find our book The AI Con here, and MAIHT3k merch here.Subscribe to our newsletter via Buttondown.Follow us!EmilyBluesky: emilymbender.bsky.socialMastodon: dair-community.social/@EmilyMBenderAlexBluesky: alexhanna.bsky.socialMastodon: dair-community.social/@alexTwitter: @alexhannaMusic by Toby Menon.Artwork by Naomi Pleasure-Park. Production by Ozzy Llinas Goodman.

What if the best way to keep your toddler entertained is to stop trying to entertain them? In this episode, I unpack the idea of “don't solve a problem you don't have” and share why giving children space to be bored, observe, explore, and come up with their own ideas is an important part of building autonomy. I share stories from traveling with my own young children and explain how over-preparing can sometimes get in the way of their opportunity to practice entertaining themselves. We'll look at how to recognize when your child truly needs something from you—and when the most helpful thing you can do is simply give them the space to figure it out. Whether you're traveling, at home, or out and about, this episode offers a simple shift that can help you step back while still supporting your child's learning and development.  

In this episode, Helen talks to Leandra Dias Meddings, who reflects on her 25-year ELT career from classroom teaching to teacher training, materials writing, and academic management, exploring her journey from rigid, anxiety-driven teaching to a flexible, learner-centred approach shaped by Delta Module 2 and supportive mentors. She discusses key changes in ELT, including greater recognition of non-native teachers and needs-based learning, and shares future ambitions to teach young learners, pursue a PhD in linguistics, and continue combining writing with teaching. Leandra on LinkedIn: https://uk.linkedin.com/in/leandra-meddings-42a7aaa2To find the complete archive of Developod episodes, go to tdsig.org/developod-tdsigs-podcast 

1223. This week, Valerie Fridland steps in for Mignon and sits down with linguist Allison Burkette of the Linguistic Atlas Project at the University of Kentucky. They look at what "lightwood" and "chifforobe" reveal about landscape and colonial contact, how "kindling" gave us "Kindle" and "Tinder," and the 380-plus recorded terms for cornbread. Then they look at why words rarely truly "die," even when the practices behind them fade.A hearty thank-you to our Keepers of the Commas and one Immortal on Patreon. We appreciate your support!Larry RosenblumMahala RussellGeorge WilsonLaurel PaulLinda CoxBirna Anna BjörnsdóttirMarlen RuizKate Wade

Do you call it a trolley, a buggy, or a cart? Soda, pop, or coke? On this episode of Childproof we discuss language quirks, regional dialects, and, just for a little bit, remember this is a parenting podcast and somehow pigeonhole our random off-topic wanderings back into the parenting communication sphere. If your kid is developing an accent, do you teach them a neutral pronunciation anyway? We want to hear from you! Do you have questions, comments, jokes, or anything else you want us to know? Email us: Childproofmail@gmail.com ⁠Join our Patreon for pre-show bonus content⁠ Video version of ⁠Childproof available on Youtube ⁠ Be sure to check out our other show ⁠⁠Founded⁠⁠ Learn more about your ad choices. Visit megaphone.fm/adchoices

Piccarda Donati doesn't stop her monologue with the cryptic line about her life after the convent. She turns to another figure in the lunar landscape: Constance I of Sicily, the Holy Roman Empress and mother of Frederick II, the stupor mundi.Piccarda offers Constance a parallel life to her own. The problem is, Piccarda's account doesn't match the historical record.But maybe Dante has other fish to fry. Maybe he's more interested in Constance's son, the Holy Roman Emperor that many are insistent on calling “the anti-Christ.”Join me, Mark Scarbrough, as we work through the final lines of Canto III, the shortest canto of PARADISO.Here are the segments for this episode of WALKING WITH DANTE:[01:22] My English translation of PARADISO, Canto III, Lines 109 - 130. If you'd like to read along or drop a comment about this episode, please find its entry on my website, markscarbrough.com.[03:02] Linguistic and poetic details at the end of Canto III: shades, dark spots in redemption, Narcissus, line rhythms, and a seal in the wax.[10:24] Constance I of Sicily, the mother of Holy Roman Emperor Frederick II and the grandmother of Manfred (PURGATORIO, Canto III).[14:17] Parallels with the Donati family in COMEDY and a possible rehabilitation for Frederick II.[17:17] The sphere of the moon, a community of women (only women?)[20:10] When they vanish, where do they go?[21:36] Rereading the passage: PARADISO, Canto III, lines 109 - 130.

New research from Durham University has found that women tend to prefer men with a moderate-pitched voice of around 95Hz, with voices similar to the former President Barack Obama, or actors such as Gerard Butler and Jason Momoa are said to hit the so-called “sweet spot” when it comes to attractiveness.But, what is it about the way we speak that makes one accent more appealing than another?Joining Ciara to discuss is Dr Stephen Lucek, Assistant Professor in Linguistics at UCD.

Alexinomia is the aversion to saying people's names. Psychologist Thomas Ditye explains what it means to have this condition - in some cases not even saying your spouse's name during 25 years of marriage - and the research he and colleague Lisa Welleschik are doing to learn more about it. Find their work (and tell them about your alexinomia, if you have it) at alexinomia.org.For more info and a transcript of this episode, visit theallusionist.org/alexinomia.Sign up at theallusionist.org/donate to fund the continuing existence of this independent podcast. For $5/month or above, get the ad-free version of the show; donors at all levels can join me for regular livestreams where I read relaxingly from my ever-expanding collection of vintage dictionaries, plus you get bonus written content including behind the scenes info about every episode, membership of the Allusioverse Discord community, and watchalong parties for films and TV shows: together we'll watch the 2026 season of Great British Bake Off and you get my drawings of Paul Hollywood in the style of medieval marginalia.Find the Allusionist at youtube.com/allusionistshow, instagram.com/allusionistshow, facebook.com/allusionistshow, @allusionistshow.bsky.social… If I'm there, I'm there as @allusionistshow. Our ad partner is Multitude. If you want me to talk compellingly about your product, sponsor an episode: contact Multitude at multitudeshows.com/ads. The Allusionist is sponsored by:• Jones Road, modern-day makeup tfor effortless routines. Shop at Jonesroadbeauty.com and use code ALLUSIONIST at checkout to get a free full-size mascara.• Squarespace, your one-stop shop for building and running your online forever home. Go to squarespace.com/allusionist for a free trial, and get 10 percent off your first purchase of a website or domain with the code allusionist.• Quince, luxurious clothing and homewares without the markup. Go to quince.com/allusionist for free shipping on your order and 365-day returns.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

What if teaching toddlers to say “please” and “thank you” isn't really about manners at all? In this episode, I explore how we can move beyond forcing polite words and instead help children develop genuine gratitude, connection, cooperation, and humility from the inside out. You'll learn how music, repetition, modeling, and playful prompts can teach manners without shame, blame, or coercion. I also share a sweet story that demonstrates how a simple song can help toddlers naturally remember to say “thank you.”

Dr. Verónica Pérez Rodríguez is an Associate Professor of Anthropology at the University at Albany, State University of New York (SUNY). Verónica is an archaeologist and anthropologist who is interested in studying people and life in cities over time. Through her work, she examines how people lived many years ago, what brought them to cities, what made them stay, what were the tradeoffs, and what were the environmental impacts. Her work focuses on the highlands of the Mixteca Alta in the southern Mexican state of Oaxaca. When she's not working, Verónica loves relaxing at home, watching movies, and hiking with her children and husband. She also loves running outdoors, knitting, and reading fiction books in her free time. She earned a B.A. in Anthropology as well as a B.A. in Linguistics from the University of Texas at El Paso. Verónica then attended graduate school at the University of Georgia where she was awarded her Ph.D. in Ecological and Environmental Anthropology. She served on the faculty at Northern Arizona University before joining the faculty at the University at Albany, SUNY in 2013. In our interview, Verónica shares more about her life and science.

John Jandayan is Founder at Ascribo.AI. Ascribo.AI is an AI-powered translation workbench designed to make multilingual communication faster, more flexible, and easier to manage in one place. It allows users to translate text, documents and PDFs, speech, and website content while providing workflow-aware controls for tone, terminology, and specialized contexts such as business, education, medical, legal, and other professional applications. Developed by Filipino emerging-tech startup BrightPath Technologies, Ascribo.AI is built to support individuals, teams, and organizations with practical, repeatable translation workflows and scalable tools such as interpreter capabilities, API access, and team-oriented features. This episode is recorded live at the 2026 Regional Science, Technology, and Innovation Week in Caraga at Robinsons Butuan in Butuan City.In this episode:00:00 Introduction01:47 Ascribo.AI07:32 Problem Being Solved12:25 Product/Service23:10 Stories Behind the Startup44:41 Vision47:32 Motivation49:44 Milestone52:04 Challenges01:02:29 Lessons Learned01:06:14 Contact & informationASCRIBO.AIWebsite: https://ascriboai.appFacebook: https://facebook.com/profile.php?id=61587899439457THIS EPISODE IS CO-PRODUCED BY:Symph: ⁠⁠⁠⁠https://symph.co⁠⁠⁠⁠OneCFO: ⁠⁠⁠⁠https://onecfoph.co⁠⁠⁠⁠Yspaces: ⁠⁠⁠⁠https://knowyourspaceph.com⁠⁠⁠⁠ (5% discount on virtual office, meeting rooms, and event space! Code: YSPACESSUP)Vition Consulting and Workshops: ⁠⁠⁠⁠https://ksfinancialsph.com⁠⁠⁠⁠Twala: ⁠⁠⁠⁠https://twala.io⁠⁠⁠⁠GigGenius: ⁠⁠⁠⁠https://gig-genius.io⁠⁠⁠⁠SkoolTek by Edfolio: ⁠⁠⁠⁠https://skooltek.co⁠⁠⁠⁠Red Circle Global: ⁠⁠⁠⁠https://redcircleglobal.com⁠⁠⁠⁠CHECK OUT OUR PARTNERS:Enactus Philippines: ⁠⁠⁠⁠https://enactus.ph⁠⁠⁠⁠SoftPhil AI: ⁠⁠⁠⁠https://softphil.com⁠⁠⁠⁠Multibook Philippines: ⁠⁠⁠⁠https://multibook.com.ph⁠⁠⁠⁠Ask Lex PH Academy: ⁠⁠⁠⁠https://asklexph.com⁠⁠⁠⁠ (5% discount on e-learning courses! Code: ALPHAXSUP)Pahatid PH: ⁠⁠⁠⁠https://pahatid.ph⁠⁠⁠⁠Digital Workforce Group: ⁠⁠⁠⁠https://digitalworkforce.com⁠⁠⁠⁠Nascent Batteries: ⁠⁠⁠⁠https://nascentbatteries.com⁠⁠⁠⁠Level Up Talent Solutions: ⁠⁠⁠⁠https://lvluptalentsolutions.com⁠⁠⁠⁠Agile Data Solutions (Hustle PH): ⁠⁠⁠⁠https://agiledatasolutions.tech⁠⁠⁠⁠CloudCFO: ⁠⁠⁠⁠https://cloudcfo.ph⁠⁠⁠⁠ (Free financial assessment, process onboarding, and 6-month QuickBooks subscription! Mention: Start Up Podcast PH)ArkoTech: ⁠⁠⁠⁠https://arkotechspacesolutions.com⁠⁠⁠⁠DVCode Technologies Inc: ⁠⁠⁠⁠https://dvcode.tech⁠⁠⁠⁠Argum AI: ⁠⁠⁠⁠http://argum.ai⁠⁠⁠⁠PIXEL by Eplayment: ⁠⁠⁠⁠https://pixel.eplayment.co/auth/sign-up?r=PIXELXSUP1⁠⁠⁠⁠ (Sign up using Code: PIXELXSUP1)School of Profits: ⁠⁠⁠⁠https://schoolofprofits.academy⁠⁠⁠⁠Hier Business Solutions: ⁠⁠⁠⁠https://hierpayroll.com⁠⁠⁠⁠START UP PODCAST PHYouTube: ⁠⁠⁠⁠https://youtube.com/startuppodcastph⁠⁠⁠⁠Spotify: ⁠⁠⁠⁠https://open.spotify.com/show/6BObuPvMfoZzdlJeb1XXVa⁠⁠⁠⁠Apple Podcasts: ⁠⁠⁠⁠https://podcasts.apple.com/us/podcast/start-up-podcast/id1576462394⁠⁠⁠⁠Facebook: ⁠⁠⁠⁠https://facebook.com/startuppodcastph⁠⁠⁠⁠PIXEL: ⁠⁠⁠⁠https://pixel.eplayment.co/dl/startuppodcastph⁠⁠⁠⁠Website: ⁠⁠⁠⁠https://startupnetwork.ph⁠⁠⁠⁠This episode is edited by the team at: ⁠⁠⁠⁠https://tasharivera.com⁠

This bonus content is a reading from Platypus, the CASTAC Blog. The full post by Fatima Tariq can be read at https://blog.castac.org/2026/09/time-virtuality-and-the-digital-sacred/. About the post: The above scene from Ramy (Season 2, Episode 7) depicts an absurd yet moving moment featuring characters Mo and Ahmed performing umrah through VR headsets. As Mo embraces the virtual Ka'aba, he tearfully breaks down; we see a performance of embodied devotion through his digitally mediated umrah experience. While VR pilgrimages remain niche and laughable to many, their use by some travel agencies and religious groups to practice for actual pilgrimage highlights how digital technologies are reshaping sacred journeys. This project attempts to interrogate how digital mediation transforms spatiotemporal logics of religious practice particularly through the lens of chronotope (Bakhtin 1981, Agha 2007), the co-constituion of time and space in narrative and interaction. Linguistic anthropology's concept of chronotope may help us unpack this tension.

What happens when we stop seeing challenging behavior as a problem to fix and start seeing it as a developmental need to understand? In this episode, Danielle—a mother, educator, and doctoral researcher—joins the conversation to explore how adult expectations, reactions, and past experiences can shape children's behavior and how proactive, relationship-based approaches can create more successful environments for young children. We discuss the importance of play, developmentally appropriate expectations, and giving children the space to be messy, explore, and learn rather than focusing too heavily on academic readiness. Together, we explore alternative care settings, the importance of emotional and relational safety, and why sharing what we know about our children with their teachers can help build the relationships and support children need to thrive.Dr. Danielle Dushane is a former teacher and early interventionist. She is a mom of three and former foster parent. She has a Ph.D. in education and a Master's in Special Education and her research focuses on preschool and childcare expulsion. She is passionate about helping educators partner with families to support their children.September 17, 2026Episode 348Understanding Challenging Preschool Behaviors with Dr. Danielle DushaneAbout Your Host:Cara Tyrrell, M.Ed. is a mom or three, early childhood author, parent educator, and founder of⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Core4Parenting⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠.⁠⁠⁠⁠⁠⁠ A former preschool and kindergarten teacher with degrees in ASL, Linguistics, and Education, she created the Collaborative Parenting Methodology™ to help parents, caregivers, and educators understand the power of intentional language in shaping a child's identity, confidence, and future success.As host of the top-ranking podcast Transforming the Toddler Years, Cara blends science and soul to show adults how to “talk to kids before they can talk back,” turning tantrums into teachable moments and everyday challenges into opportunities for connection. She is also the author of the new book⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠T⁠alk to Them Early and Often⁠⁠⁠⁠,⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠a guide for raising emotionally intelligent kids who thrive in school and life.⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Want to book Cara for your next speaking event? Find all the details⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠here⁠⁠⁠⁠⁠⁠⁠!⁠⁠⁠⁠⁠⁠

The fantastic Julia Ebner, researcher and author, returns to the True Spies Debrief to discuss with host Morgan Childs her latest findings - how proper analysis of the online language of radicalized individuals can help predict violent terrorism before it happens. From SPYSCAPE, the home of secrets. A Cup And Nuzzle production. Series producer: Joe Foley. Produced by Morgan Childs. Learn more about your ad choices. Visit megaphone.fm/adchoices

What if one of the most powerful skills we can give our children is the ability to think creatively when no one is there to entertain them? In this episode, we explore the important difference between creative thinking—the ability to imagine possibilities, solve problems, and generate ideas—and creative play, which is how children put those ideas into action. We discuss why boredom and independent play are essential opportunities for children to strengthen their “creative thinking muscle” and why adults can sometimes unintentionally limit imagination by insisting on what is real. Through a powerful story about a family on a device-free dinner outing, we explore the importance of nurturing children's expansive imaginations while also eventually teaching them when to distinguish fantasy from reality. The episode ends with a simple challenge for parents and educators: encourage creativity by asking two powerful questions—“What if?” and “I wonder.”

Em parceria com o Observatório Rússia-América Latina (Ruslat), Daniela Vieira Secches (PUC Minas/Ruslat) recebe Leonardo César Souza Ramos (PUC Minas), fundador do Grupo de Pesquisa sobre Potências Médias, e Jarbas Souto Dufour (PUC Minas/Ruslat) para discutir o conceito de desordem internacional e suas implicações para a Rússia, a América Latina e o Brasil. A conversa passa pela trajetória histórica russa entre integração e ruptura com a ordem liberal ocidental, pelos dilemas de uma política externa brasileira mais autônoma diante da pressão dos Estados Unidos sobre a região e pelas tensões entre multipolaridade e dependência que marcam hoje a aproximação entre Rússia e China. No boletim mensal, Leonardo Henrique Alves de Lima Nascimento (PUC Minas/Ruslat) recupera os principais acontecimentos de agosto de 2026 envolvendo a Rússia, da escalada de ataques em profundidade contra a Ucrânia às tensões marítimas com a Europa, passando pela relação ambígua com Washington e pelos bastidores da cúpula da Organização para Cooperação de Xangai. Para encerrar, no quadro Outros Olhares, Laura Schneider de Lima (PUC Minas/Ruslat) conversa com os dois Leonardos sobre punk rock e heavy metal como formas de contestação política, da crise do capitalismo dos anos 1970 ao metal soviético e às disputas contemporâneas em torno da guerra na Ucrânia. Aperte o play! Quer apoiar o Chutando a Escada? Acesse chutandoaescada.com.br/apoio Mande um café usando nossa chave PIX: perguntas@chutandoaescada.com.br Comentários, críticas, sugestões? Escreva pra gente em perguntas@chutandoaescada.com.br Participaram deste episódio: Daniela Vieira Secches (PUC Minas/Ruslat), Leonardo César Souza Ramos (PUC Minas), Jarbas Souto Dufour (PUC Minas/Ruslat), Laura Schneider de Lima (PUC Minas/Ruslat) e Leonardo Henrique Alves de Lima Nascimento (PUC Minas/Ruslat). Escute também no Spotify, no YouTube ou Apple Podcasts. Citados no episódio HAZLE, Dawn. “Delusions of Grandeur? Producing Authentic Metal Music in the Soviet Union”. In: VALIJÄRVI, Riitta-Liisa; DOESBERG, Charlotte; DIGIOIA, Amanda (Orgs.). Multilingual Metal Music: Sociocultural, Linguistic and Literary Perspectives on Heavy Metal Lyrics. Bingley: Emerald Publishing, 2020. DOI. ARIA. Entrevista concedida por Vladimir Kholstinin. Abaddon Magazine. Disponível em: https://www.abaddon-magazine.com/interviews/interview-aria/. RATOS DE PORÃO. Necropolítica. São Paulo: Shinigami Records, 2022. MUQUETA NA OREIA. Brasileiros. 2021. A playlist de metal russo citada no episódio está disponível aqui. Capítulos: 00:00 — Introdução 03:00 — O conceito de desordem na ordem internacional 06:00 — A trajetória da Rússia entre integração e ruptura com o Ocidente 12:00 — América Latina e Brasil diante da desordem global 15:00 — Rússia, multipolaridade e dependência em relação à China 20:00 — Boletim Ruslat: Rússia em agosto de 2026 29:00 — Outros Olhares: punk, metal e contestação política The post Do Kremlin aos Trópicos: uma cartografia da desordem global appeared first on Chutando a Escada.

Historically, what are the main influences on English fashion vocabulary?And how does clothing linguistics differ abroad? Kelly Higgins-Devine reveals all with the Lord of Language Professor Roly Sussex, and Senior Lecturer in Fashion at QUT, Dr Tim Lindgren. 

'Phobia' gets used for anything from a mild aversion to a debilitating anxiety response to various forms of bigotry. Deboki Chakravarti and Sam Jones of the podcast Tiny Matters join to consider the term from its comedic origins with one of the founding fathers of the USA, via rabies and Greek deities, to its role in their lives today.CONTENT NOTE: we're not trying to stoke anyone's phobias, but we do discuss some common phobia-inducers, including snakes, germs and small holes, and there's a brief mention of tarantulas. There's also talk about OCD and rabies.For more info and a transcript of this episode, visit theallusionist.org/phobia.There's a social meetup in Vancouver on Sunday 13 September, to watch the annual zucchini races. All are welcome. Information is at theallusionist.org/events.Sign up at theallusionist.org/donate to fund the continuing existence of this independent podcast. In return, you can join me for regular livestreams where I read relaxingly from my ever-expanding collection of vintage dictionaries, plus you get bonus written content including behind the scenes info about every episode, membership of the Allusioverse Discord community, and watchalong parties for films and TV shows: together we'lll watch the 2026 season of Great British Bake Off and like last year there'll be some particularly chaotic bonus content. For $5/month or above, get the ad-free version of the show.Find the Allusionist at youtube.com/allusionistshow, instagram.com/allusionistshow, facebook.com/allusionistshow, @allusionistshow.bsky.social… If I'm there, I'm there as @allusionistshow. Our ad partner is Multitude. If you want me to talk compellingly about your product, sponsor an episode: contact Multitude at multitudeshows.com/ads. The Allusionist is sponsored by:• Jones Road, modern-day makeup tfor effortless routines. Shop at Jonesroadbeauty.com and use code ALLUSIONIST at checkout to get a free full-size mascara.• Squarespace, your one-stop shop for building and running your online forever home. Go to squarespace.com/allusionist for a free trial, and get 10 percent off your first purchase of a website or domain with the code allusionist.• Quince, luxurious clothing and homewares without the markup. Go to quince.com/allusionist for free shipping on your order and 365-day returns.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Happy New Year! אַ גוט געבענטשט יאָר Highlights: Rabbi Nasan Maimon discusses Rosh Hashona generally and with the Breslever Chassidim in particular. We reached him on Tues., Sept. 8, via WhatsApp in Bucharest, Romania, which he was passing through on his way Uman, Ukraine. Maimon’s website, Breslov Torah, features his and others’ teachings on Breslov Chassidus. Sholem Beinfeld gives his historian’s perspective on Rosh Hashona, marking the 25th anniversary of the Sept. 11 attacks as well as more recent events. Sholem is a regular contributor to the Yiddish Voice, co-Editor in Chief of the Comprehensive Yiddish-English Dictionary and Professor of History, Emeritus, Washington University, St. Louis. Sholem spoke to us by phone from his home in Cambridge on Weds, Sept. 9. Adi Mahalel talks about his new post teaching Yiddish studies at Harvard, and also about his recent books, including Boom and Chains: A Yiddish Novel Set in Israel/Palestine, for which he wrote the introduction and translated from the original written in Yiddish by Hanan Ayalti. STUDENTS: it’s not too late to register! Contact the teacher: amahalel at fas.harvard.edu We spoke to Adi at his home in Cambridge via Zoom on Tues., Sept. 8. Emma Breslow talks about her new post teaching Yiddish at Brandeis, and also about her academic research on Yiddish as a minority language, which you can find on her website www.emmabreslow.com. STUDENTS: it’s not too late to register! Contact the teacher: ebreslow at brandeis.edu We spoke to Emma at her home in the Boston area via Zoom on Weds., Sept. 9. Dovid Braun gives a warm greeting for the new year, while also marking the sad passing of Motl Murstein, a friend of the show and frequent guest, whose funeral was yesterday. Dovid also talks about Yiddish at Yivo, where he teaches Yiddish and serves as Academic Advisor in Yiddish Language, Pedagogy and Linguistics. We spoke to Dovid in person during his visit to the Boston area on Weds., Sept. 9. Rosh Hashona Announcements and well-wishes for the new year from sponsors and friends: Mary Erlich and Tania Lefman, Holocaust survivors, for the American Association of Jewish Holocaust Survivors and Descendants of Greater Boston, announcing the annual Yizkor Memorial Service, Sunday, Sept. 20, 2026, 10:30 AM, at Brandeis University, Statue of Job, near Berlin Chapel. Eli Dovek, late proprietor of Israel Book Shop (from 2009) Gitl Schaechter-Viswanath, chair of the board of the The League for Yiddish/די ייִדיש-ליגע Libe Gritz for Bostoner Arbeter-Ring Music Instrumental music: DEM HELFANDS TANTS, an instrumental track from the CD Jeff Warschauer: The Singing Waltz Air date: September 9, 2026

The Deseret Alphabet is one of the most fascinating, original orthographies to come out of American history. But little research has been done into the exact origins of the alphabet, its religious and cultural significance, and its evolution in the digital era. Linguist Ryan Shosted and computer language designer Neal Davis deliver the most comprehensive study of the Deseret Alphabet's history and functionality in their 2026 book The Deseret Alphabet: A Fixed and Unalterable Sound. Shosted and Davis join host Nicholas Shrum on this episode of Scholars & Saints to discuss the contested historiography of the alphabet, probe it's phoneticization of English and the nature of linguistic representation, explain the orthography's revival in the digital era, and explore the cultural significance of the alphabet's use for Mormons, Utahans, and the American West more broadly.Ryan K. Shosted is a Professor of Linguistics and the Director of the Chin-Woo Kim Phonetics Laboratory at the University of Illinois Urbana-Champaign where he studies phonetics, phonology, Hittite and Cuneiform, as well as the Deseret Alphabet. Neal Davis is an educator, engineer, and computer language designer. He has previously taught computer science at the University of Illinois Urbana-Champaign and worked as a developer and software engineer for organizations like the Urbit Foundation and Zorp Corp. 

What if understanding toddler behavior—not controlling it—is the key to better communication, cooperation, and connection? In this special listener-inspired episode, I explore the biggest challenges facing parents, caregivers, and early childhood educators, including toddler tantrums, big feelings, emotional regulation, challenging behaviors, transitions, routines, and learning how to communicate with young children. I reveal that what adults truly want isn't simply better behavior or obedience, but stronger relationships, emotional intelligence, relational intelligence, and practical tools for communicating with toddlers and young children. Whether you're parenting a toddler, working in early childhood education, or caring for young children, this episode offers a powerful reminder that emotional safety, connection, and intentional communication are the foundation for cooperation, positive relationships, and lifelong learning.Interested in the Sign to Speak - The Communication Bridgeon-demand course that teaches you how to communicate effectively with your baby as they learn to talk? Get it now! September 8, 2026Episode 346The Hardest Thing About Parenting Toddlers (And it's not what you think)About Your Host:Cara Tyrrell, M.Ed. is a mom or three, early childhood author, parent educator, and founder of⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Core4Parenting⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠.⁠⁠⁠⁠⁠ A former preschool and kindergarten teacher with degrees in ASL, Linguistics, and Education, she created the Collaborative Parenting Methodology™ to help parents, caregivers, and educators understand the power of intentional language in shaping a child's identity, confidence, and future success.As host of the top-ranking podcast Transforming the Toddler Years, Cara blends science and soul to show adults how to “talk to kids before they can talk back,” turning tantrums into teachable moments and everyday challenges into opportunities for connection. She is also the author of the new book⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠T⁠alk to Them Early and Often⁠⁠⁠⁠,⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠a guide for raising emotionally intelligent kids who thrive in school and life.⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Want to book Cara for your next speaking event? Find all the details⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠here⁠⁠⁠⁠⁠⁠⁠!⁠⁠⁠⁠⁠

Season 2 of our Horizons podcast series, Beyond the Machine: AI in the World, explores the intellectual, ethical, and societal implications of artificial intelligence through a range of disciplinary perspectives. In this first episode, Mark Trodden, Dean of Penn Arts & Sciences and Thomas S. Gates, Jr. Professor of Physics & Astronomy, sits down with Charles Yang, Professor and Chair of Linguistics. They discuss the history of large language models and explore how humans and machines learn and use language.The Horizons podcast, a production of Penn Arts & Sciences, presents Trodden in conversation with faculty experts about the big issues shaping our world and higher education.Learn more about Horizons, a vision that will help the School of Arts & Sciences navigate a changing world, visit web.sas.upenn.edu/horizons.

Australians love a good simile, but how did we invent them? 

Ever looked at the wallpaper and suddenly thought: hang on, who chose THAT? Language can be a bit like wallpaper: it surrounds us so completely that we stop noticing it. In episode 33, we get out the metaphorical "scraper". We revisit Covid metaphors, watch misleading headlines get crossed out and rewritten, hear what it's like to live somewhere between academia and activism (jogging bottoms included), and ask that most important of academic questions: so what? From reflecting to reframing to acting, this is an episode about noticing the linguistic wallpaper around us... and perhaps doing a little redecorating.   From our blog https://wordsandactionspodcast.wordpress.com/   Early on, Veronika introduces the water metaphor: language is to its users what water is to fish – we are surrounded by it to an extent that we don't notice it anymore. The metaphor is explained further in this position paper:  Darics, E., Staschen, O., Drury, M., Chojnicka, J., Mazzoli, M., Olthof, J., Serafis, D., & Wildfeuer, J. (2025). Critical language awareness as a future imperative: seeing the 'water'. Frontiers in Communication, 10, 1623193.  As a first example of language activism, Veronika talks about the #ReframeCovid project that started life in the spring of 2020. The team behind the it wrote about it in this article: Olza, I., Koller, V., Ibarretxe-Antuñano, I., Pérez-Sobrino, P., & Semino, E. (2021). The# ReframeCovid initiative: From Twitter to society via metaphor. Metaphor and the Social World, 11(1), 98-120.  Our first interview guest, Zoë Papaikonomou. In her academic persona, our second interviewee, Kelly Vossen, has, among other topics, written about criticisms of the media coverage of the Covid pandemic – that global crisis was a prime case for critical language awareness: Lits, B., Patriarche, G., Tant, C., Vossen, K., & Wiard, V. (2021). Négocier des «choix de société» dans l'espace public: Les critiques publiques sur la couverture médiatique de la crise de la COVID-19. In Journées d'étude Du confinement au monde d'après. Quelles réponses des sciences humaines?. Brussels.Our third guest, Joanna Chojnicka, gives some insights into how to develop an online course on critical language awareness. The free three-week online course "Critical Language Awareness in Action: Change the World One Story at a Time" is available on FutureLearn.  And finally, remember that Words & Actions is on both Bluesky and Facebook.   

Our speaker is Valerie Fridland who is a Professor of Linguistics at the University of Nevada at Reno. She is the author of the new book entitled Why We Talk Funny: The Real Story Behind Our Accents.I want to learn from Valerie why accents develop and if there are rhyme and reason for their differences. I grew up in Chicago and I don't think I have an accent, yet I hear that the Chicago accent is the most difficult to understand. How is that even possible. Get full access to What Happens Next in 6 Minutes with Larry Bernstein at www.whathappensnextin6minutes.com/subscribe

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What if you could hand off the endless mental checklist of family life and finally be more present with the people you love? In this episode, Diliani Kahawala unpacks the invisible mental load parents carry—from meal planning and school forms to schedule changes, reminders, and constantly anticipating what everyone needs next. We explore how Anna, an AI-powered personal assistant, can help parents offload that behind-the-scenes project management by connecting with calendars, email, messaging apps, and family schedules. Diliani also shares how Anna is designed with privacy and security in mind, while helping parents manage both their family responsibilities and professional lives. Most importantly, this conversation is about using technology intentionally to give parents back time, reduce overwhelm, and create more space for connection, presence, and meaningful family memories.Dilani Kahawala, co-founder and CEO of Anna, a truly autonomous AI assistant designed to help busy parents reduce their mental load and stay on top of family life. As a parent of three, she understands firsthand the challenge of balancing family, work, and everything in between. Before founding Anna, Diliani led product management teams at companies including Meta and Etsy, bringing her experience in technology and product development to building a tool that gives parents back time and mental space.Try out Anna today with a FREE 30 day trial! Use code LAUNCHSeptember 3, 2026Episode 345How to Reduce Your Mental Load during the Back to School Transition with Dilaini co-founder of AnnaAbout Your Host:Cara Tyrrell, M.Ed. is a mom or three, early childhood author, parent educator, and founder of⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Core4Parenting⁠⁠⁠⁠⁠⁠⁠⁠⁠.⁠⁠⁠⁠⁠ A former preschool and kindergarten teacher with degrees in ASL, Linguistics, and Education, she created the Collaborative Parenting Methodology™ to help parents, caregivers, and educators understand the power of intentional language in shaping a child's identity, confidence, and future success.As host of the top-ranking podcast Transforming the Toddler Years, Cara blends science and soul to show adults how to “talk to kids before they can talk back,” turning tantrums into teachable moments and everyday challenges into opportunities for connection. She is also the author of the new book⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠T⁠alk to Them Early and Often⁠⁠⁠⁠,⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠a guide for raising emotionally intelligent kids who thrive in school and life.⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Want to book Cara for your next speaking event? Find all the details⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠here⁠⁠⁠⁠⁠⁠⁠!⁠⁠⁠⁠

In this episode of the Language on the Move Podcast, Brynn Quick chats with Dr. Nicole Marinaro, a sociolinguist and postdoctoral researcher at the University of Hamburg. Her work explores how language policies shape people's experiences of accessing healthcare and other public services. Dr. Marinaro's research focuses on linguistic justice, examining how communication barriers affect patients who speak a language other than the majority language and how these barriers can lead to unequal access to care. Today she and Brynn discuss her 2025 paper "Operationalising linguistic unease for the evaluation of language policies in healthcare". In this paper, Dr. Marinaro expands on the concept of "linguistic unease" as a practical framework for evaluating whether healthcare language policies truly meet patients' communication needs. Through her research, Dr. Marinaro aims to help policymakers and healthcare organizations create more inclusive systems that ensure everyone can communicate confidently and receive equitable care. References Gazzola, M., & Marinaro, N. (2022). Sprachenpolitik und Integration in Ausländerbehörden und Krankenhäusern: Der Fall Berlin und Leipzig. Jahrbuch der Gesellschaft für Interlinguistik, 2022, 57–84. Marinaro, N. (2025). Operationalising linguistic unease for the evaluation of language policies in healthcare. Revista de Llengua i Dret (84), 73–93. DOI here For additional resources, show notes, and transcripts, go here. 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

In this episode of the Language on the Move Podcast, Brynn Quick chats with Dr. Nicole Marinaro, a sociolinguist and postdoctoral researcher at the University of Hamburg. Her work explores how language policies shape people's experiences of accessing healthcare and other public services. Dr. Marinaro's research focuses on linguistic justice, examining how communication barriers affect patients who speak a language other than the majority language and how these barriers can lead to unequal access to care. Today she and Brynn discuss her 2025 paper "Operationalising linguistic unease for the evaluation of language policies in healthcare". In this paper, Dr. Marinaro expands on the concept of "linguistic unease" as a practical framework for evaluating whether healthcare language policies truly meet patients' communication needs. Through her research, Dr. Marinaro aims to help policymakers and healthcare organizations create more inclusive systems that ensure everyone can communicate confidently and receive equitable care. References Gazzola, M., & Marinaro, N. (2022). Sprachenpolitik und Integration in Ausländerbehörden und Krankenhäusern: Der Fall Berlin und Leipzig. Jahrbuch der Gesellschaft für Interlinguistik, 2022, 57–84. Marinaro, N. (2025). Operationalising linguistic unease for the evaluation of language policies in healthcare. Revista de Llengua i Dret (84), 73–93. DOI here For additional resources, show notes, and transcripts, go here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/medicine

In this episode of the Language on the Move Podcast, Brynn Quick chats with Dr. Nicole Marinaro, a sociolinguist and postdoctoral researcher at the University of Hamburg. Her work explores how language policies shape people's experiences of accessing healthcare and other public services. Dr. Marinaro's research focuses on linguistic justice, examining how communication barriers affect patients who speak a language other than the majority language and how these barriers can lead to unequal access to care. Today she and Brynn discuss her 2025 paper "Operationalising linguistic unease for the evaluation of language policies in healthcare". In this paper, Dr. Marinaro expands on the concept of "linguistic unease" as a practical framework for evaluating whether healthcare language policies truly meet patients' communication needs. Through her research, Dr. Marinaro aims to help policymakers and healthcare organizations create more inclusive systems that ensure everyone can communicate confidently and receive equitable care. References Gazzola, M., & Marinaro, N. (2022). Sprachenpolitik und Integration in Ausländerbehörden und Krankenhäusern: Der Fall Berlin und Leipzig. Jahrbuch der Gesellschaft für Interlinguistik, 2022, 57–84. Marinaro, N. (2025). Operationalising linguistic unease for the evaluation of language policies in healthcare. Revista de Llengua i Dret (84), 73–93. DOI here For additional resources, show notes, and transcripts, go here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/anthropology

In this episode of the Language on the Move Podcast, Brynn Quick chats with Dr. Nicole Marinaro, a sociolinguist and postdoctoral researcher at the University of Hamburg. Her work explores how language policies shape people's experiences of accessing healthcare and other public services. Dr. Marinaro's research focuses on linguistic justice, examining how communication barriers affect patients who speak a language other than the majority language and how these barriers can lead to unequal access to care. Today she and Brynn discuss her 2025 paper "Operationalising linguistic unease for the evaluation of language policies in healthcare". In this paper, Dr. Marinaro expands on the concept of "linguistic unease" as a practical framework for evaluating whether healthcare language policies truly meet patients' communication needs. Through her research, Dr. Marinaro aims to help policymakers and healthcare organizations create more inclusive systems that ensure everyone can communicate confidently and receive equitable care. References Gazzola, M., & Marinaro, N. (2022). Sprachenpolitik und Integration in Ausländerbehörden und Krankenhäusern: Der Fall Berlin und Leipzig. Jahrbuch der Gesellschaft für Interlinguistik, 2022, 57–84. Marinaro, N. (2025). Operationalising linguistic unease for the evaluation of language policies in healthcare. Revista de Llengua i Dret (84), 73–93. DOI here For additional resources, show notes, and transcripts, go here.Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/language Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

In this episode of the Language on the Move Podcast, Brynn Quick chats with Dr. Nicole Marinaro, a sociolinguist and postdoctoral researcher at the University of Hamburg. Her work explores how language policies shape people's experiences of accessing healthcare and other public services. Dr. Marinaro's research focuses on linguistic justice, examining how communication barriers affect patients who speak a language other than the majority language and how these barriers can lead to unequal access to care. Today she and Brynn discuss her 2025 paper "Operationalising linguistic unease for the evaluation of language policies in healthcare". In this paper, Dr. Marinaro expands on the concept of "linguistic unease" as a practical framework for evaluating whether healthcare language policies truly meet patients' communication needs. Through her research, Dr. Marinaro aims to help policymakers and healthcare organizations create more inclusive systems that ensure everyone can communicate confidently and receive equitable care. References Gazzola, M., & Marinaro, N. (2022). Sprachenpolitik und Integration in Ausländerbehörden und Krankenhäusern: Der Fall Berlin und Leipzig. Jahrbuch der Gesellschaft für Interlinguistik, 2022, 57–84. Marinaro, N. (2025). Operationalising linguistic unease for the evaluation of language policies in healthcare. Revista de Llengua i Dret (84), 73–93. DOI here For additional resources, show notes, and transcripts, go here. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Could that endless chorus of “Mama, mama, mama” actually be an important milestone in your toddler's language development?In this episode, we explore why toddlers repeatedly say a parent or caregiver's name before nearly every sentence as they practice the connection between attention, communication, and relationships. Rather than a behavior meant to frustrate you, this repetition is a developmental learning phase that helps children build confidence and strengthen the neural pathways involved in expressive language. We also discuss how responding with connection-based phrases like “Yes, love” instead of the automatic “What?” can support your child's communication while reducing frustration for both of you. Tune in to learn how small changes in the words and tone you use can nurture connection and help your toddler's language truly explode. Take my two-minute survey! Win a Free Class!Tell me your struggles and the resources you're using to help you move through them so that I can do a better job of creating tools for you. As a thank you, everybody who fills it out will get entered in to win a free class of mine. It is an American Sign Language class called Sign to Speak, the communication bridge designed for you, the caregivers of babies and toddlers. Take the survey now!September 1, 2026Episode 344Why Your Toddler Says "Mama" 400 Times a Day (And What to Say Back)About Your Host:Cara Tyrrell, M.Ed. is a mom or three, early childhood author, parent educator, and founder of⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Core4Parenting⁠⁠⁠⁠⁠⁠⁠⁠⁠.⁠⁠⁠⁠ A former preschool and kindergarten teacher with degrees in ASL, Linguistics, and Education, she created the Collaborative Parenting Methodology™ to help parents, caregivers, and educators understand the power of intentional language in shaping a child's identity, confidence, and future success.As host of the top-ranking podcast Transforming the Toddler Years, Cara blends science and soul to show adults how to “talk to kids before they can talk back,” turning tantrums into teachable moments and everyday challenges into opportunities for connection. She is also the author of the new book⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠T⁠alk to Them Early and Often⁠⁠⁠⁠,⁠⁠⁠⁠⁠⁠⁠⁠ ⁠a guide for raising emotionally intelligent kids who thrive in school and life.⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Want to book Cara for your next speaking event? Find all the details⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠here⁠⁠⁠⁠⁠⁠⁠!⁠⁠⁠

Send us Fan MailGreg Banks is a playwright, actor, and director.For tickets to Pinocchio at the Children's Theatre Company in Minneapolis, visit - https://childrenstheatre.org/whats-on/pinocchio/#bookWebsites and socials for James Elden, Punk Monkey Productions and Playwright's SpotlightPunk Monkey Productions - www.punkmonkeyproductions.comPLAY Noir -www.playnoir.comPLAY Noir Anthology –www.punkmonkeyproductions.com/contact.htmlJames Elden -Twitter - @jameseldensauerIG - @alakardrakeFB - fb.com/jameseldensauerPunk Monkey Productions and PLAY Noir - Twitter - @punkmonkeyprods                  - @playnoirla IG - @punkmonkeyprods       - @playnoir_la FB - fb.com/playnoir        - fb.com/punkmonkeyproductionsPlaywright's Spotlight -Twitter - @wrightlightpod IG - @playwrights_spotlightPlaywriting services through Los Angeles Collegiate Playwrights Festivalwww.losangelescollegiateplaywrightsfestival.com/services.htmlFor tickets to Pinocchio at the Children's Theatre Company in Minneapolis, visit - https://childrenstheatre.org/whats-on/pinocchio/#bookWebsites and socials for James Elden, Punk Monkey Productions and Playwright's SpotlightPunk Monkey Productions - www.punkmonkeyproductions.comPLAY Noir -www.playnoir.comPLAY Noir Anthology –www.punkmonkeyproductions.com/contact.htmlJames Elden -Twitter - @jameseldensauerIG - @alakardrakeFB - fb.com/jameseldensauerPunk Monkey Productions and PLAY Noir - Twitter - @punkmonkeyprods                  - @playnoirla IG - @punkmonkeyprods       - @playnoir_la FB - fb.com/playnoir        - fb.com/punkmonkeyproductionsPlaywright's Spotlight -Twitter - @wrightlightpod IG - @playwrights_spotlightPlaywriting services through Los Angeles Collegiate Playwrights Festivalwww.losangelescollegiateplaywrightsfestival.com/services.htmlSupport the show

Can you actually learn Arabic from an app, or are you just spinning your wheels? In this episode of Tips for Learning Levantine Arabic, Jennifer breaks down the pros and cons of popular language apps like Duolingo and Pimsleur when it comes to learning spoken Arabic dialects.She addresses why starting with Modern Standard Arabic (MSA) might send you down the wrong path, how gamified apps slow down your vocabulary acquisition, and why learning through the lens of English can stunt your conversational growth. Plus, learn why human-to-human interaction, structured spoken Arabic classes, and cultural context are absolute must-haves if you want to achieve fluency.Whether you are deciding between an app or a professional language coach, or an Arabic course, this episode will help you decide where to invest your time towards reaching your goals.Ready to take your skills further? Check out our Levantine Arabic online classes and begin the journey to speaking Arabic with confidence.

Thousands of languages are used around the world today, and this linguistic diversity is a precious part of our human heritage. But it's also more than that. Linguistic diversity provides clues—a vast crazy quilt of clues—about how language works, about how history has unfolded, about the dynamics of culture, and about the nature of the human mind. My guest today is Dr. Damián Blasi. Damián is an ICREA Research Professor based at the Center for Brain & Cognition at the Pompeu Fabra University in Barcelona. Over the last decade or so, Damián's emerged as one of the most innovative researchers in the study of language and linguistic diversity. He's been widely recognized for this work, and most recently was awarded the 2026 FABSS Early Career Impact Award from the Cognitive Science Society. In this conversation, Damián and talk about why scientists should care about linguistic diversity. We do a bit of linguistic diversity 101—how many languages there are, how we can enumerate them, how they vary from another. We discuss a recent paper in which Damian and his colleagues reconstructed the explosive rise and precipitous fall of human linguistic diversity over the last 12,000 years. We talk about the factors that drive language change. And we discuss how cognitive science relies too much on English and English speakers—and how this may be holding the field back. Along the way, Damián and I touch on the Tower of Babel, a golden age of linguistic diversity, the human bite configuration, scientific aesthetics, whether children shape language, polygenetic theories of language evolution, the pace of language change, schooling, linguistic inequality and behemoth languages, and why Damián thinks that possibility space of human language might be bigger and wilder than we currently imagine. This is a special episode of the Many Minds podcast. As I mentioned, Damián is this year's winner of an award from the Cognitive Science Society, in recognition of his outstanding early-year contributions to the field. He recently gave a keynote at the society's annual conference in Rio de Janeiro, and we've partnered with the Cognitive Science Society to feature this conversation about his work. I'll also mention that this wasn't my first time chatting with Damián—he's an alumnus of the Diverse Intelligences Summer Institute (DISI), the sponsor & incubator of this podcast. We met there a couple years ago, and so it was all the more fun to reconnect with him here. Alright friends, without further ado, on to my conversation with Dr. Damián Blasi. Enjoy!   Notes 10:00 – The UNESCO page on multilingualism and linguistic diversity. 17:00 – The Ethnologue database. 20:00 – For examples of Dr. Blasi's work on "behemoth languages" and on how languages are not represented equally in terms of technological and development investment, see here and here. 26:00 - For the paper in which Dr. Blasi and colleagues introduced Grambank, see here. For the database itself, see here. 29:00 – For Dr. Blasi's earlier work on sound-meaning associations across languages, see here. 33:00 – For discussion of Darwin's views on monogenesis vs polygenesis and race, see our recent episode. 36:00 – For more about pronouns—and how they do and do not vary across the world's languages—see several chapters in the World Atlas of Language Structures. 39:00 – The paper—'Babies aren't persons'—by David Lancy. 41:00 - For Dr. Blasi and colleagues' recent Science paper on the rise and fall of human linguistic diversity, see here. 59:00 – For a recent study of linguistic diversification, including discussion of so-called schismogenesis, see here. For an example of Cristina Moya's work on ethnic identity in the Andes region, see here. 1:00:00 – For an example of Dr. Blasi's work on how ecology shapes language—a topic not discussed in this conversation—see here. 1:01:00 ­– For the study by Dr. Blasi and colleagues about changes in human bite configuration and how these changes have shaped sounds systems, see here. 1:14:00 – For the recent paper by Dr. Blasi and colleagues about the (non-)role of children in language change, see here. 1:22:00 – The paper by Dr. Blasi and colleagues about the over-reliance on English in the cognitive sciences (and how it hinders the field). 1:24:00 – See here for work by Aitor Egurtzegi, in collaboration with Dr. Blasi and others, on ergativity and gaze patterns across languages. 1:27:00 – For the preprint—'Which humans?'—led by Mohammed Atari (and including Dr. Blasi and others), see here. 1:30:00 – For a recent argument that psychology needs to overcome its "ahistorical" bent, see here.   Recommendations A Myriad of Tongues, Caleb Everett The Secret of Our Success, Joseph Henrich Linguistic Diversity in Space and Time, Johanna Nichols   Tile art credit: Painting by Pieter Bruegel the Elder (detail)   Many Minds is a project of the Diverse Intelligences Summer Institute, which is made possible by a generous grant from the John Templeton Foundation to Indiana University. The show is hosted and produced by Kensy Cooperrider, with help from Assistant Producer Urte Laukaityte and with creative support from DISI Directors Erica Cartmill and Jacob Foster. Our artwork is by Ben Oldroyd. Subscribe to Many Minds on Apple, Stitcher, Spotify, Pocket Casts, Google Play, or wherever you listen to podcasts. You can also now subscribe to the Many Minds newsletter here! We welcome your comments, questions, and suggestions. Feel free to email us at: manymindspodcast@gmail.com. For updates about the show, visit our website or follow us on Bluesky (@manymindspod.bsky.social).

What do you call yourself if you're a part-time vegetarian? What petty linguistic things would you change? And what do you do if people gripe at you if you say that you are bi or pan? To answer these questions from the Allusionist mailbag are esteemed alumsionists: Hrishikesh Hirway and Samin Nosrat of Home Cooking podcast; academic and author Alex Ketchum; lexicographer Kory Stamper; and linguist Lauren Gawne of Lingthusiasm podcast.For more info and a transcript of this episode, visit theallusionist.org/vega.Sign up at theallusionist.org/donate to fund the continuing existence of this independent podcast. In return, you can join me for regular livestreams where I read relaxingly from my ever-expanding collection of vintage dictionaries, plus you get bonus written content including behind the scenes info about every episode, membership of the Allusioverse Discord community, and watchalong parties for films and TV shows: together we're watching the 2026 season of Great British Sewing Bee. For $5/month or above, get the ad-free version of the show.Find the Allusionist at youtube.com/allusionistshow, instagram.com/allusionistshow, facebook.com/allusionistshow, @allusionistshow.bsky.social… If I'm there, I'm there as @allusionistshow. Our ad partner is Multitude. If you want me to talk compellingly about your product, sponsor an episode: contact Multitude at multitudeshows.com/ads. The Allusionist is sponsored by:• Squarespace, your one-stop shop for building and running your online forever home. Go to squarespace.com/allusionist for a free trial, and get 10 percent off your first purchase of a website or domain with the code allusionist.• Quince, luxurious clothing and homewares without the markup. Go to quince.com/allusionist for free shipping on your order and 365-day returns.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

How important is compromise with your child? In this final episode of our five part series on the four Cs of collaborative discipline, learn to transform the way that you connect with kids, problem solve with them and completely avoid power struggles. ⁠Download the free 4 C's of Collaborative Discipline PDF now! ⁠Looking for more 1:1 help? ⁠Book your complimentary connection call⁠ and we will explore together what it would look like to put together a one-on-one package for you. August 25, 2026Episode 343The Fourth C of Collaborative Discipline - The Art of Compromise About Your Host:Cara Tyrrell, M.Ed. is a mom or three, early childhood author, parent educator, and founder of⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Core4Parenting⁠⁠⁠⁠⁠⁠⁠⁠⁠.⁠⁠⁠⁠ A former preschool and kindergarten teacher with degrees in ASL, Linguistics, and Education, she created the Collaborative Parenting Methodology™ to help parents, caregivers, and educators understand the power of intentional language in shaping a child's identity, confidence, and future success.As host of the top-ranking podcast Transforming the Toddler Years, Cara blends science and soul to show adults how to “talk to kids before they can talk back,” turning tantrums into teachable moments and everyday challenges into opportunities for connection. She is also the author of the new book⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠T⁠alk to Them Early and Often⁠⁠⁠⁠,⁠⁠⁠⁠⁠⁠⁠⁠ ⁠a guide for raising emotionally intelligent kids who thrive in school and life.⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Want to book Cara for your next speaking event? Find all the details⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠here⁠⁠⁠⁠⁠⁠⁠!

A poem about a map opens North and South, the first collection of the great twentieth century poet Elizabeth Bishop, and since, maps have been associated with her poetic vision—at once telescoping and binocular—and with the polarities and preoccupations of her work. The map's privileged, sweeping, bird's eye view of the earth is also hand-held, man-made, intimate. Depending on its level of minuteness or obsession, it can contain the tiniest details as well as, let's say, the whole enchilada. And though it purports to be scientific and objective, it is representational and therefore subjective, particular, imaginative, and personal. For several episodes, Wes & Erin will be reading a selection of some of Bishop's most anthologized poems, starting with “The Moose” as expressions of, among other things, her map-like imagination. Upcoming Episodes: Nolan’s adaptation of “The Odyssey”; more Elizabeth Bishop poetry: “First Death in Nova Scotia,” “One Art.” Pre-order Erin’s forthcoming book “Avail” here: http://subtextpodcast.com/avail For bonus content, become a paid subscriber at Patreon or directly on the Apple Podcasts app. Patreon subscribers also get early access to ad-free regular episodes. This podcast is part of the Airwave Media podcast network. Visit AirwaveMedia.com to listen and subscribe to other Airwave shows like Good Job, Brain and Big Picture Science. Email advertising@airwavemedia.com to enquire about advertising on the podcast. Follow: Twitter | Facebook | Website Transcript 0:11 Erin: Welcome to part two of our discussion of the poems of Elizabeth Bishop. We are currently about. Oh, I'm okay. I'm proud of us. We're just about halfway through the Moose. That's not bad compared to our usual record. We're not halfway through stanza one. We're going. You know, it's about a bus trip. It's encouraging us to pick up the pace a little bit and get to our next stop. So we were just going to pick up with the woman in stanza 13 climbing into the bus. 0:41 Wes: Before you say that, I just want to make one little observation. 0:44 Erin: Oh, sure. 0:45 Wes: Just that we get right as soon as the light goes out, it's then that we get the barking of a dog and the smell of salt. First it's the smell of salt hay and then it's the barking of a dog. So smell is introduced. And is that the first time sound is really introduced in any. You know, we get the bus starting and all that, but I think that's right. It's very visual up to that point, I think. And then as soon as we lose the light, we get these new sensory modalities. The collie just supervised this dog, gives us a nice bark, and presumably we can't even see him. We just hear him. So I just love that. I just. I love the transition into darkness. It's so. 1:26 Erin: Yeah. 1:26 Wes: I don't know how else to say it. 1:28 Erin: Yeah. 1:28 Wes: And it's then that we. This really is the midpoint of the poem because now we're going to make this transition into the world of the bus, I guess. As the woman climbs in, we have 1:41 Erin: the ship's port lantern, as you said, being an indication that it's now nearly or fully dark outside. 1:47 Wes: She says red light swims through the dark. 1:50 Erin: Yeah. I'm assuming that at this point a bus would have some form of illumination, at least for when it's stopped and the doors open for people getting on and off the bus. Right. It would. It would light up on the inside interior. Yeah. 2:03 Wes: Yeah. 2:03 Erin: Or at least maybe it would stop, certainly if it were stopping at a station or a little, you know, whatever those things are called. Those little. Yeah, there's a word for it. 2:14 Wes: We need something to see the freckles by. 2:16 Erin: Right. We need something. Exactly. But wherever they would be stopping would have some form of street light illumination or something of that order. Anyway. 2:26 Wes: But it's interesting you say this, because I didn't picture a bus station at any point in this. And I just imagine people along the side of the road. 2:34 Erin: Right. But if it were a course, it 2:38 Wes: couldn't be that way. 2:39 Erin: Well, I don't think it's a station. I think it would be a stop with a. You know, like a lean to. You know, what are those things that just. 2:44 Wes: Yeah, sure. 2:45 Erin: That just protect you from the elements. 2:47 Wes: Yeah. Bust down. 2:48 Erin: Right. 2:48 Wes: Yeah. 2:49 Erin: And that would probably have at least a street light. But anyway, then we get the moonlight. Maybe my favorite. Oh, it's so hard to say, but maybe my favorite image in the poem is the hairy, scratchy, splintery moonlight and mist caught in them like lambswool on bushes in a pasture. Just. There's nothing. There's no image greater than that. That's unbelievable. 3:13 Wes: There's kind of a more wildness to this. Right. The image now, the hairiness and scratchiness and splinteriness. It's a bit less Domesticated, I guess, than the previous part of the poem. 3:27 Erin: That's a really good point. I hadn't thought of that. Even a suggestion of danger, like the lamb running. 3:34 Wes: I just thought, this is where the hobbits are entering Fangorn Forest. 3:39 Erin: Yes. Yeah, yeah, the New Brunswick. 3:41 Wes: But you go a little bit more. It's a little wilder and more primal. I think once you. Even if you're on a bus, once you get into the woods, there's something different about it. 3:52 Erin: That's right. 3:53 Wes: But yeah, you're right. The idea that the moonlight could get caught in that. That's a great image. 3:59 Erin: Something giving chase to the lamb would cause it potentially to get a little ensnared in the chase. 4:06 Wes: It's as if Lambswool has, you know, a lamb is brushed up on the bramble or whatever and left its will so that. So the moonlight, instead of making this cosmic journey and landing on articulating the environment, has been subordinated to the environment. Right. It's become. It's been captured by these hairy woods. It's caught on it and, you know, a piece of it has come off from being caught on something that's scratchy and splintery. So that. That. Yeah, this is the great reversal. And that's the place where you can really get some good sleeping. Yes, right. 4:44 Erin: Yes. And where dreamy things can happen. 4:47 Wes: Divagation. Yeah, wanderings. 4:51 Erin: I looked that up. Wandering, straying or digressing from a main course, path or topic. So like a digression as long as 4:59 Wes: the bus stays on track. 5:00 Erin: Yeah, that's right. 5:01 Wes: You do whatever you want with your mind. 5:02 Erin: That's right. And the night. I just looked on Google Maps while I was writing my little notes in the margins. And if you were to take a bus today from Great Village to Boston, it would take like 10 hours. So it definitely is a, yikes, full course of the night on this night bus. So I love what happens in stanza 16, which begins in the creakings and noises, an old conversation not concerning us, but recognizable somewhere back in the bus. So I really love that it's grandparents voices, she says, uninterrupted talking. This is where the I becomes an us. And this is a characteristic of a bishop. I think she's rather reluctant to use an I, capital I in a poem. She's more likely to use a we or an us. And here it's as if they're all part of the same family now in the bus and the adults. It's almost like everybody on the bus who isn't a grandparent is a child and the adults in the back are talking and we are all, oh, that doesn't concern us. Just go to sleep. It's none of your business. Just stop eavesdropping on us. Right, so there's some community that's been formed already by the people who are not the grandparents talking. Do you get that impression? 6:20 Wes: Yeah, it's a bit confusing. So, yeah, let's try to figure it out. Because it. So it begins. A dreamy navigation begins in the night. She doesn't say, I started dreaming or they started dreaming or we started dreaming. Although it seems almost like it's collective. Right. So that the bus is dreaming or everyone on the bus is dreaming together, which kind of lines up with the not concerning us later on, the gentle auditory slow hallucination. So that's a very interesting idea. Right. The dream is usually associated with subjectivity. Right. The cogito and Descartes. Right. The dream tells us that we might have trouble distinguishing reality from what's in our own minds. And we in our own minds are very potentially cut off from reality. But it's a. It's an alienated individual position here. The dream is. Seems to be collective. And perhaps it's collective because it's partly real. Right. Is that the conversation? I thought, okay, there's a conversation going on in the back of the bus and it is old people talking. But as you're lying back, you could sort of. You can't hear exactly what they're saying. And you might have that kind of half dream, Right. Where you're. The dream is kind of lined up with or intertwined with what's going on in reality. So she's hearing in the conversation of the old people, her grandparents voices. Is that the way you took this? Or. Or they, they're hearing the grandparents voices or. Yeah. How do we, how do we interpret this? 7:54 Erin: I interpreted it as, you know, people of the age of grandparents having a real conversation. But the idea that one could be having an auditory. I mean, we are given the word auditory slow hallucination. So the idea that there could be an auditory hallucination or kind of half dream of one's own grandparents having a conversation, or it may be superimposed on a real conversation kind of inaudible going on on the bus. I never noticed this before. The G in grandparents is capitalized. So it does seem to sit to suggest the speaker's particular grandparents rather than. 8:30 Wes: Oh, I was going to. I thought you were going to say archetypal grandparents. 8:34 Erin: Oh, yeah, I suppose it could be yeah, it could be read that way, too. I think all of these things are true, right? 8:40 Wes: Yeah. 8:40 Erin: I mean, the image works because of the, shall we say, universal particularity of this experience. 8:47 Wes: The ordinary way to write the poem would be to. And a much simpler way would be to put this in her point of view and not try to put it into a collective point of view. But that seems to be what she's doing. 8:59 Erin: Yes. The effectiveness, though, I think is the. And it could just be the speaker's perception of it, but the atmospheric quality, because everyone on the bus is going to share an experience shortly, but already they are sharing an experience and a kind of atmosphere that they're all listening to the hum and having that. You know, when you're in the car and you. Maybe when you're a kid and you put your ear up against, like, the. The car door or the window or something, and you hear orchestral music. I don't know if you ever had that. I used to always hear classical music when I would put my head up. 9:38 Wes: Yeah, I don't think I have that. 9:40 Erin: All kinds of. And I always think, like, I should write this down. But you always have, like, a hallucination of an orchestra playing songs. Different songs. Sometimes like fantastical songs. Yeah. You know, my particular experience maybe doesn't quite get at the. Yeah. The sense that this is shared. 9:57 Wes: Well, you're put into a kind of dreamy state, and yet you're getting at the auditory hallucination part. I mean, for me, I think, as a child, and this, I think, is very evocative of childhood. It's something about being half asleep or falling asleep. You're on a journey and there are adults in the car and there's some. Maybe some sense of safety, I think is very relevant to this poem. But being ensconced in the world of adults and not quite alone when you do this thing, which is potentially very lonely, which is go to sleep. And of course, a lot of kids don't want to go to sleep because that loneliness factor. But it's a much different experience if you're traveling. You're all on the way to something together. And of course, you're with people who are awake and, you know, are going 10:45 Erin: to be awake, maybe because the kids are falling asleep. Their. Their voices are lowered and softer. And maybe that also contributes Right. To the. The way in which. That lulls the children in the back simply because they're aware of not wanting to talk too loudly. Certainly that would be the case on a bus like this, where they're Having a conversation where they're talking in. In lower voices and maybe actually inducing that calm and hum for sleep in the people, the other people in the bus who aren't talking. 11:15 Wes: And the question is, what are the adults doing with their talk? Right. It's not going to work if your parents are just fighting. In this case, it's the grandparents. Voices are clearing things up and I guess bringing certain things to resolution, coming to terms with these losses. But a lot of it does sound a bit gossipy and not necessarily like the most comforting. 11:39 Erin: Yes. Yeah. 11:39 Wes: Sort of talk we could imagine. Yeah. 11:41 Erin: Well, you know, in a situation like this where you might be a child in this car, could be that you're coming back from whatever, like a, like a late night and then the adults in the car are working through whatever has just happened over the course of the night. And. Oh no, she was the one who had that long. Yeah. Who had the criminal record because of that thing, remember where they. Oh, yeah, yeah. That was like 20 years ago. So you sort of get that. But for an entire family history going back ages and ages, talking in eternity. Deaths, deaths and sicknesses. The year he remarried, the year something happened. Oh, yeah, what year was that? Right. Something about the journey afterwards or maybe away from home. If these people are also. If their home is Nova Scotia and they're departing it, you know, then there's that backwards looking quality where something about the idea of the journey and moving away from the place is giving the opportunity to then take stock and look back. So there's this sort of like dual action happening in the poem where the further the bus goes, the further back they're kind of looking from deaths and sicknesses to then remarriage and then childbirth. Son lost when the schooner found her. 12:58 Wes: These are all very blue collar tragedies, right? 13:00 Erin: Yes. 13:01 Wes: He was arrested for insider trading. 13:04 Erin: No, but I mean, you know, there's a reverse order to what's happening, you know, so we get. We have death, then sickness, then remarriage, then dying in childbirth. So there's a rewind is what I mean. Yeah. 13:17 Wes: Well, we come back in the end to death. The way it's all summed up. 13:20 Erin: Insider trading. Sorry. 13:23 Wes: Huh? 13:24 Erin: Sorry, Just insider trading. That really is funny. 13:31 Wes: And he had an affair. No. A sharp indrawn breath. Half grown, half acceptance. That means life's like that. We know it. Also death, you know, and then the question, what does also death mean there? Death knows it, we also know death. But it, you know, it made me wonder at various points I wondered. Well, Is this an element here of a journey to the underworld or to the afterlife? Maybe it's a job not claiming that that's strong thematic part of this, but maybe a hint of that type of thing. Because the journey, I mean, and it does seem like journeys are good places for this or like when I travel, it produces in me a very different state of mind. And I do find it very calming in a way, you know, especially actually being on the train or something like that, because you're in between two different locations and you maybe you're not caught up in the expectations or the constricting qualities of any particular location. If I'm at home, I have to do this and that work, or if I'm at a destination, then I'm dealing with relatives or I have to be a tourist or something like that. But there's something liberating about being in between two locations. So it does seem like a place for this type of dreamy hallucination or this reflection or this clearing of things up. It's almost like therapy. Right? That's what all of this sounds like. People are talking through their problems, but where is it that they get to in the end here? The half grown, half acceptance. So it's not fully acceptance. It sums things up with this, maybe a degree of resignation. So yeah, I don't know. What do you make of the stanza? 15:15 Erin: Well, they're traveling west significantly. Right. I do take a lot of this to be a kind of, say, pre figurement of death, even though at the same time the fact that they're in the woods, the fact that not to jump ahead too much, the fact that the moose will come out of the woods and appear notably in the middle of the road, there is a suggestion of middle age or middleness, or midway in the journey of our life, I found myself within a dark forest. So I think it works both ways, or perhaps it's working in several ways simultaneously for the various passengers. So maybe the speaker is experiencing something more akin to the Dante esque middle of the journey on the bus. And something about the bus journey is also, symbolically speaking, a kind of final bus journey for some of the other passengers. And that intersection seems significant, but I don't know how, just in the sense that there's a retrospective quality happening or maybe even a reversion to childhood that goes on for the speaker and the other people in the bus by virtue of the propinquity to these old people at the end of their life's journey. Because there is very little about middleness Here, come to think of it, other than the moose appearing in the middle of the road. Right. It seems that the other people on the bus are like children and the grandparents are the adults. 16:50 Wes: I mean, I think part of what's comforting when we're children is that feeling that adults know the answers and that adults know how to cope with all the dangers and have experience doing that and therefore can protect us. The reality, of course, as we realize as we get older, is that that's not true. So what they may have is more of this acceptance that's sort of highlighted in this stanza, which is potentially a good thing, but maybe a double edged sword because it does seem to be a form of dying. It does seem to be a form of the very thing that we want to be protected from. 17:30 Erin: There's also, though, that. What I used to call my mom, the external hard drive. I used to say back before she. 17:42 Wes: She liked that. 17:44 Erin: I think now it would make her sad because she'll say, you know, very openly that she. Her memory is gone. But it used to be that she knew all the, you know, you could ask her who said that at that one. You know, there's that kind of. I mean, that's a sort of jokey, gossipy scorekeeping thing that she would keep tabs on. But there's also just the idea of long memory being the history keeper, the record keeper, the, you know, and there's sort of settling accounts over the course of this conversation. Oh, right, it was that year. Okay. And then this happened and then, then that happened. And that's important too, I think, for, you know, it situates children in a context. Not just say this idea of death that you're referring to, but also how to situate oneself in a life. 18:34 Wes: Right. 18:34 Erin: There's a. There's a sort of frame that the grandparents or the elder relatives have that whole history up until you enter the narrative and where you fit within that. We mentioned in part one a little bit about Bishop's family history just to kind of prefigure the types of story that she inserts, I think very significantly into the poem, particularly about poor Amos who just wouldn't stop praying in the store and had to be. Had to be put away. Right. Of course she does a gender swap, but yeah, we all have family stories like this, of this kind of unruly behavior or madness of some kind or other or some sort of family drama. 19:19 Wes: Yeah. So it's universal. But the way she captures it is very clever with this talk that we don't quite know whether it's just the conversation of the people, the old people at the back of the bus, or whether it's her dream or whether it's both or somewhere in between. They're interlaced, those two things. And that. That interlacing gets at this aspect of universality. Although I think by the time we get to the stanza where she's fantasizing about the grandparents and the featherbed, this, it start. Seems to become inescapably personal, which is why I think of the. The point of view is getting more and more focused. Right. With. With time. Yeah. And potentially it's still universal, but it seems almost like a personal memory. Right. So talking the way they talked in the old feather bed. Right. The way they. Her. Her grandparents presumably in the old feather bed, peacefully on and on. Dim lamp light in the hall, down in the kitchen, the dog tucked in her shaw. Shawl. Yeah, get another. And get another dog here. 20:28 Erin: I love this. 20:29 Wes: The collie, the barking dog. And. Yeah, so this, this stanza is wonderful. And it gets at exactly this thing that you've been talking about, which is the, like, comfort of being a kid overhearing adults talking. It really, despite this talk of death. Right. A reconciliation with death. This is the point. Seems to be the point of view of a child who finds this very comforting. And. Right. She'll say in the next stanza, now it's all right now even to fall asleep, just as on all those nights, the way in which the adult world and the safety of protective figures can make sleep okay to do. And then suddenly that's interrupted. 21:07 Erin: But I love too. I mean, yes, it's so particular, but it also just in this one stanza does so many things in miniature that the poem is doing all along, this telescoping in again to a scene which. Which even as a child, if it were her childhood in particular that she's referencing, she couldn't possibly know or see. She wouldn't be able to see the grandparents in their featherbed. She would have to be picturing them in the featherbed and she wouldn't be able to see the dog in the hall. And also I wonder if this. If the stanza in its operation is kind of doing. I mean, this is just occurring to me now, but maybe it's doing that kind of hallucinatory work that has prior been described where we actually get a remix of, you know, this is the third dog in the poem. But it's also the elements in the stanza are a kind of recapitulation of the light, the red light swimming, the port Lantern becomes the lamp light in the hall. We get the dog barking now becomes the dog curled up in the shawl. And then maybe even because we also get kitchen, maybe the shawl is even a kind of transposition of the table, tablecloth shook out. Right. So there's something actually in the stanza which has that hallucinatory quality that she's describing where these three elements swim in the imagination and then become the lamplight and the dog and the shawl in this half asleep kind of dream space. Maybe that's pushing things too far, but it does seem to be. It's the dreamiest stanza perhaps in the whole poem. Maybe the following one. Now it's all right now even to fall asleep. But this gets interrupted that next stanza. So this one, I think is the real depth of the dreamy or borderline dreamy or hallucinatory moment. 23:00 Wes: Yeah, this is great because it really underlines the way deviation creates the capacity for stasis or for comfort. So the deviation of a bus trip or of the dreaming. Right. Which is movement, which is dynamic and has that momentum, forward momentum that we were talking about, sort of underwrites or grounds this ability to. For stasis, for stopping, for going to sleep, for feeling comforted as a child and safe, I think. And I keep repeating that word because of the. What's going to happen. The use of the word that's going to happen in this poem later. But yeah, I'm not sure if you were saying that explicitly, but that's what came to mind my mind as you were talking. This. The way in which this journey, devigation, motion can ground something that's going to be more static or stationary, which is what we're going to get in the moose. Because it interrupts the. It explicitly interrupts the motion of the bus and the external line of the poem in a way that parallels the comfort that's produced by the dreaming. 24:08 Erin: Yeah. In stanza 22 is where we have that break that you're describing. The moose finally appears. Well, the moose doesn't appear until stanza 23 finally appears. 24:21 Wes: We've been waiting for you. 24:22 Erin: We've been waiting for you. The title has promised that you would come and then here you are. It is foretold of your coming. 24:29 Wes: Comes through the curtains, takes his bow. Right. 24:32 Erin: We get nights, just as on all those nights. And then the moose's appearance, the lights turn on. And that rhyme you get, I mean, it's a very basic, simple rhyme. Right. But there's that sort of sudden jolt which is then also visualized where in the middle of night we have this appearance, this bright because of the headlights on it. Appearance of the moose. And it looms and sniffs at the bus's hot hood, which I'm assuming means that it thinks that the bus might be a boy moose. 25:06 Wes: No. Well, it's a very hot bus, I'll say that. 25:10 Erin: Ow. Ow. 25:14 Wes: That enamel. And it's dented and, you know, depends on if you like bad buses. No, just kidding. 25:21 Erin: Dented from its last encounter with a girl bus. 25:25 Wes: Yeah. It's funny because I wrote in my notes, but was just reading it stanza by stanza. And the previous stanza I'd said, okay to sleep, even with death looming. Looming for all of us, you know, all day one. You know, one day we all die. Blooming in that sense. And then suddenly the moose is looming, standing there, looming. And I thought, whoa, that's really interesting 25:45 Erin: that I. Oh, yes, chose. 25:48 Wes: Chose that word before I even got to the next stanza. Not to give some, you know, obvious rote sort of identification of the moose with death or the experience of the moose as having something to do with that. But obviously they're coming into contact here with something quite primal and important. It's not just, oh, look, there's a nice moose, but is he sniffing or she's sniffing the buses hot hood because she thinks it might be another moon. That hadn't actually occurred to me. 26:21 Erin: I must have been infected with that reading at some point that this was a frisky moose, that it otherwise doesn't seem frisky at all. It seems pretty. Like a pretty staid, respectable moose. 26:34 Wes: But frisky and ditzy. 26:39 Erin: That's right. Hello. 26:41 Wes: What? 26:41 Erin: Oh, look, I seem to be in the middle of the road. Pardon me. 26:46 Wes: So, towering, antlerous, high as a church, homely as a house. We're safe as houses, a man's voice assures us. Perfectly harmless. Which you presume, right, that the. The man making that assurance is. Precedes the idea of it being homely as a house and safe as houses. Even though. So. So she interestingly puts the associations before her associative responses before the actual stimulus. Right. I don't think she's the one who is thinking about how they must be safe and. And he's saying something. I mean, as far as I know. I don't know back then. But you were warned about bison and mooses, right? Or is it mooses or moose? I think we're warned because they don't. They. They seem harmless, but they're not. And so I was quite surprised by this stanza. And I thought this idea, okay, safe as houses. Well, yeah, houses ought to be safe, but they're not always safe. The bus, the moving container of the bus turns out to be, in a way safer and more conducive to reverie and dreaming and all of that. 27:59 Erin: No matter how you slice it, whether you see the moose as harmless, truly, or not so harmless, this has got to be just a little bit of a wink, right? A man's voice assures us. 28:09 Wes: I mean, I think we're definitely meant to be skeptical. 28:12 Erin: Yeah. 28:13 Wes: This perfectly harmless line, it's not there for us to nod our heads in agreement. 28:20 Erin: Oh, yeah, he's right, right, right. I think it's more like, oh, here's another mansplainer. 28:26 Wes: He's moose splaining. 28:28 Erin: Mooseplaining this woman moose to moose splaining. Just out for a good time, having her existence commented upon by another man's voice. Probably a podcaster. One of those male podcasters has a manosphere podcast. 28:45 Wes: Girl mooses are. 28:49 Erin: Then we get these childish again. The passengers are like children and having this childlike response to the appearance of the moose, including. It's awful, plain sad. So much judgment of women's bodies. 29:04 Wes: I mean, they're not good looking creatures. Let's just. They're, you know, put that on the table. Come on. They are in an ugly sort of way. 29:11 Erin: Yeah. I mean, okay, I guess they don't follow, you know, classical proportions. They don't represent the golden mean. 29:21 Wes: They're not into beauty society societal beauty standards. All right. 29:28 Erin: They are like cartoon characters. 29:29 Wes: They're miss Positive is what they are. 29:35 Erin: Well, what I love though, about the description, you know, we get several, I suppose. Yeah. Contradictory descriptions of the moose in a way, because we get homely as a house or safe as houses. We get awful plane. But then she looks the bus over grand otherworldly, so she has some gravitas. She's like a great character actress who. Who may not be beautiful in that leading lady way, but she's Kathy Bates. Yes. Yeah, well, that's maybe a bit insulting to Kathy Bates, who I do think is a very attractive woman, but. 30:19 Wes: Sorry, Kathy. 30:20 Erin: I know, I love her. 30:21 Wes: Come on the show sometime, please. 30:24 Erin: Oh my gosh, I would die. I love Kathy Bates anyway. And then we get curious creatures. Well, first we get the idea that it inspires joy and then we get curious creatures. So there's a. The joy is then immediately undercut by a kind of ambivalence. Right. So there's just all of these descriptions of the moose combine to create a kind of ambivalent portrait, such as it is, of the animal. 30:47 Wes: Are we going to be able to answer this question? Why? Why do they feel the sweet sensation of joy? I mean, I think I would probably feel it. 30:57 Erin: Why? Why do we all feel it? I mean, they have. Well, they've successfully done what I couldn't see a moose in real life. So they're like one up on Erin. Can't wait to go back and tell her we saw moose. Yeah, I've seen certain things. I can't think of a specific example of this, but I've had plenty of instances. Whether it is a wild animal or, I don't know, like a sunset or a really spectacular natural event of some kind or other. You do get that feeling of joy, kind of excitement. 31:28 Wes: Yeah. Unfortunately, most of my encounters with large animals are at zoos. I did see a bear once. I was going to the bathroom. My mom had a house in Front Royal, Virginia, at the beginning of the Appalachian Mountains. And it was up high on a. We called it a mountain, but it was, I guess, more of a hill. But so it was out, you know, it was kind of. There was a bear on the mountain, let's just put it that way. And, yeah, I was going to the bathroom one day and looking out the window. There's a window right. You know, above the toilet. And suddenly there's bear's face looking at me. Wow. What the. So, but that, you know, and. And that was majestic. No, just kidding. That it was. I. It was surprising. 32:13 Erin: Yeah. 32:14 Wes: And there's an element of fear that involved. Even if you're, you know, even if, you know, black bears are harmless and there's a wall between you. Some. Something scary about it. I didn't have time to feel like it's majestic. Yeah. You know, like you have had these experiences in. In nature, but I can't think of a encounter like this. But it. I seem sure that if I had an encounter like this, I would feel exactly the same way. So. Yeah. What is otherworldly about it? What is majestic about it? It's a big, dumb beast. And I say that with love, without any criticism in the sense that. Right. It's an encounter with something primal. And I think we have to take into account the size of the animal as well. I mean, it is interesting to run into a fox or something like that, but it's also a matter of scale here. But. Yeah. What is otherworldly about it? I mean, I think the most. The most obvious part of this is that you know, we have lost something in our humanity and becoming language using creatures and becoming self conscious creatures. And sometimes when we're confronted with an animal like this, we're confronted with that loss. We're not as connected to the environment because of the intermediation of something like language, which poetry of course tries to overcome. It tries to put language into a disintermediating. Sorry to use these business terms. I don't know why this is happening. Into a disintermediation. 33:46 Erin: Actualize. Yeah, yeah. 33:49 Wes: When it. Yeah, right. Synergize it's agenda. Often where language might put distance between us and the world. Poetry, I think, can undo that distance. Like I was saying, with the very vivid imagery, I can undo that distance with figurative language. And maybe that distance is also undone to some extent by the dreaming or the half dreaming hallucinatory state that she was in. And the comfort of that, the return to childhood, which is also a simpler time. I don't know. I'm thinking out loud here. But yeah, I wanted to try to get more at this, you know, the otherworldly status of the moose and the joy that comes from encountering it. 34:34 Erin: I was thinking to myself, is the moose's gaze really clearly encapsulated? And then I thought, yes, she regards us amicably. And then I was like, no, no, that's the passenger who gets on the bus. 34:44 Wes: Right. Does the moose have freckles? Yeah, that'd be an interesting twist, right? 34:50 Erin: But yeah, but there is one. 34:51 Wes: Turned her into a moose. 34:53 Erin: Well, I would think that this would be a more garden variety animal encounter and maybe even a more, to use a word, I don't like, problematic poem in terms of its relationship with the animal. If it were to focus on the gaze of the animal. Because I think that is the thing which is often at the core of these interactions with animals in which we project or hope to have a kind of meaningful encounter. You want to meet the gaze of the animal and in so doing understand it. Right. And of course you don't realize that you're just projecting onto it a kind of maybe mutual regard. She regards us amicably. That you are seeing it and it is seeing you. And there's an acknowledgement and there's this, you know, spiritual encounter that you have with this animal. And all of that, of course, is often quite silly. It's often quite reductive and fanciful and unrealistic. But I am thinking of an encounter that springs to mind is in Utah. I hiked the same trail almost every day. And I Would often hike it late in order to escape the full heat of the desert sun. Which is a little dangerous, right? Because sometimes the sun would be setting and then all kinds of things come out. And one time I was trying to get back to my car before it got completely dark. And what I thought was a wolf, but what must have been a coyote. And the coyotes in Utah are huge. They look like wolves and completely white. Came out from over a hill, crossed my path, turned, looked at me in the eyes for a very long time, turned and went over on the other side of the hill. I mean, curiously, then, of course, I got to the car and I actually found out that a beloved family member, an elderly family member of mine, had passed away. And I said, I think I just saw her. You know, I had this feeling of, like. I don't know, the sense of this connection, inherent connection between these two. This woman who was dear to me and this encounter. But, of course, that's all silliness. And the idea that I was having a sort of interaction through the gate. Some sort of reciprocal. Right. Interaction with this animal was also entirely just my own projecting onto the animal. However, I will say that that's an instance in which I felt fear. But then there was also this, like, joy at the encounter, I think fear because it was dark. Because I wasn't actually sure if this was a wolf because it blocked my path. It was far enough away that I didn't feel as threatened as I might have. But it was definitely a mixed perception. 37:28 Wes: You didn't shoot it and then hang it around your neck. No, because I was thinking. I just suddenly thought of the albatross poem. 37:37 Erin: Rime of the Ancient Mariner. 37:38 Wes: Rime of the Ancient Mariner. And that sort of relationship to the natural world where. I mean, I forget what we said about it, but maybe I said something about envy and wanting to kill the albatross for. Because of its freedom or something like that. I don't. I don't know. But I think it's important because, yeah, this is part of something about the encounter with the natural world. Whether it's a big moose or something else. Yes. Is otherworldly. Strangely enough, it's otherworldly to us, even though it's where we come from. It's uncanny, maybe. And Freud actually, in the German, I think uncanny is sort of like unhomelike is what the German sounds like. And Freud made a lot out of this. I think it's home, but it's a home from which we've become alienated. We're animals, we're something more than animals. And so that primal encounter brings us back to that foundation, that natural foundation in us, but we can't fully come to terms with it. And I think the other aspect of this, I think the death. Right. So there is a link to death. Just. And I was thinking about that when you described thinking of it as seeing. As seeing your departed loved one. Because if we could regress to that animal state, it would be a kind of death. I think that the association with the movement to the pre. Linguistic, natural foundation is something like the movement towards dying, but there's something comforting. 39:07 Erin: Yes. 39:07 Wes: Right. And we encounter that when we encounter the gaze. To have a. Have a gaze returned by an animal like that usually like, like our internal. Our entire psychological structure, what makes us self. Self conscious is the internalization of a human gaze. Right. To the extent that we. We get an animal gaze, I think we are returned to that more primal part of ourselves. And it does seem to me to have something to do with being reconciled to mortality. Right. Which is part of what the function of that dialogue between the elderly people is doing. 39:44 Erin: You're leading me into the one, say, reading of the moose that I wanted to get to. And I just want to say that I think the great thing about Bishop and about this poem and all her poems is that the moose is a moose. It's not a symbol. I hesitate to offer any kind of 40:03 Wes: direct reading, but that's her job on this podcast, though. 40:05 Erin: I know, I know. It's. Yeah. In the letters with Robert Lowell when he's writing to her about her poem at the fish houses, he says, alas, all my fish just become symbols. 40:16 Wes: Ah, very good. 40:17 Erin: I hesitate to reduce. I think what you've just said makes me think that it's the maternal, the mother. 40:25 Wes: Which also brings us back to the house. 40:28 Erin: Yes, the house. Yeah. It's something that comes like the clapboard churches, like clamshells seem to arise out of the ground, if you will, or are directly compared to these native creatures. The houses are then in turn used as comparisons for the moose, the maternal. The idea that this is something that returns us to nature, that this is the encounter that we would have presumably upon death. It's the loved one that is somehow comforting, maternal, and is a female moose. It's moose mom. I don't know. I don't know. Something going on there. 41:04 Wes: Moose mom. 41:05 Erin: Natural and strange at the same time, not us. And I guess that's why I. That's why I mentioned that the story of my grandfather at the beginning, because I don't know why I wanted so badly to see a moose right after my grandfather's death. But there was something, like, logical about it to me. And I was familiar with this poem, but I very much did not have. You know, it was not something that was the forefront of my mind at all. But I think there is this inherent connection, and it's silly. You know, I kind of can't believe I'm saying this, but I do. I do think there is this kind of connection between this desire that I felt to see this animal. Like the particular kind of primordial itch that the moose in particular seems to be scratching for me in that moment. For Bishop, in this poem, something that is at once safe and comforting and from another world, natural in that kind of elemental way. 42:00 Wes: Yeah. 42:01 Erin: That all kind of coalesce in that image. 42:04 Wes: Very good. 42:05 Erin: Okay. I think that's it, Wes. All we're left with is the dim smell of moose and an acrid smell of gasoline. 42:12 Wes: Oh, you know, we should have talked about that. Maybe we can start with that on our next Bishop recording. We'll. We'll begin with the smells, the smells and the significance of that image at the end. 42:25 Erin: Nice. 42:25 Wes: That smellage at the end. 42:26 Erin: Smellage. All right. Thank you. 42:29 Wes: Thank you.

Why did French become the universal language of high gastronomy across international royal courts and professional kitchens?

“What if we could have an academic program that combines linguistic knowledge with engineering knowledge?” Kelsey Kraus is a computational linguist, data scientist, and educator. received her PhD in Linguistics from the University of California, Santa Cruz in 2018, where she worked on the semantics and pragmatics of intonation and discourse particles in English and German. She joined the linguistics faculty at San Jose State University in 2026 after working in Silicon Valley as a Linguist and Senior Data Scientist at Google, Amazon, and Cisco. Kelsey was a featured speaker at Linguistics Career Launch 2021, presenting a session on Human Language Technology (HLT) Industry Jobs. Kelsey Kraus on LinkedIn Kelsey Kraus on github Kelsey Kraus at SJSU Kelsey Kraus’ blog at Cisco Kelsey Kraus at LC 2022: “Human Language Technology (HLT) Industry Jobs” (audio and video) Linguistics at SJSU Topics include: – syntax – informational interviews – LinkedIn – Cisco – voice UI – LLMs – chat agents – computational linguistics – corpus linguistic – return to academia If you'd like to support this show, we've got a Patreon! Listen to Lingthusiam, our patron! The post Episode #91: Kelsey Kraus first appeared on Linguistics Careercast.

How important is collaborating with your kids?In this episode, I discuss the third C of Collaborative Discipline: Collaboration.   I share that it's the togetherness is where you problem solve. Let's turn the daily tantrums into teachable moments that align with your core values as you raise whole kids in my ⁠⁠Transforming the Toddler Years Course⁠⁠.The course is six modules and it dives deep. It gives you many resources to team up with your kids to get to the promised lands that you want to get to without all the typical parenting drama that is very popularized on the internet and social media. Check it out ⁠⁠⁠here⁠⁠.⁠ ⁠August 18, 2026Episode 342The Third C of Collaborative Discipline - Collaborate to Problem SolveAbout Your Host:Cara Tyrrell, M.Ed. is a mom or three, early childhood author, parent educator, and founder of⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Core4Parenting⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠.⁠⁠⁠⁠⁠ ⁠A former preschool and kindergarten teacher with degrees in ASL, Linguistics, and Education, she created the Collaborative Parenting Methodology™ to help parents, caregivers, and educators understand the power of intentional language in shaping a child's identity, confidence, and future success.As host of the top-ranking podcast Transforming the Toddler Years, Cara blends science and soul to show adults how to “talk to kids before they can talk back,” turning tantrums into teachable moments and everyday challenges into opportunities for connection. She is also the author of the new book⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠T⁠⁠alk to Them Early and Often⁠⁠⁠⁠⁠,⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠a guide for raising emotionally intelligent kids who thrive in school and life.⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Want to book Cara for your next speaking event? Find all the details⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠here⁠⁠⁠⁠⁠⁠⁠!⁠⁠⁠⁠⁠⁠

AI is transforming not only the way students work but also the way they read. It summarizes readings for students, changing the way they engage with texts, form judgments, and—perhaps—develop cognitively. On this episode of The Report Card, Nat Malkus speaks with Naomi Baron about these changes and more. Naomi Baron is Professor Emerita of Linguistics […]

This is the Tranquillusionist, in which I, Helen Zaltzman, say a series of words to relax your mind, replace a hectic interior monologue, maybe lull you to sleep, hopefully quell the mental uproar just for a little while. Today: nicknames for woodlice, and a list of cheeses from Great Britain and Ireland. If you need to skip the woodlouse content, go to the 5 minutes 45 seconds mark, whereupon the cheese begins.Note: this is NOT a normal episode of the Allusionist, where you might learn something about language and your brain might be stimulated. The Tranquillusionist's purpose is to soothe your brain and for you to learn very little - perhaps just a couple of facts about woodlouse urination and a 9th-century saint.Visit theallusionist.org/cheesy-cheesybobs for a transcript and more information about cheese and woodlice.There's a collection of other Tranquillusionists at theallusionist.org/tranquillusionist, on themes including champion dogs, Australia's big things, gay animals, ex-constellations and more.Sign up at theallusionist.org/donate to fund the continuing existence of this independent podcast. In return, you can join me for regular livestreams where I read relaxingly from my ever-expanding collection of vintage dictionaries, plus you get bonus written content including behind the scenes info about every episode, membership of the Allusioverse Discord community, and watchalong parties for films and TV shows: together we're watching the 2026 season of Great British Sewing Bee. For $5/month or above, get the ad-free version of the show.Find the Allusionist at youtube.com/allusionistshow, instagram.com/allusionistshow, facebook.com/allusionistshow, @allusionistshow.bsky.social… If I'm there, I'm there as @allusionistshow. Our ad partner is Multitude. If you want me to talk compellingly about your product, sponsor an episode: contact Multitude at multitudeshows.com/ads. The Allusionist is sponsored by:• Squarespace, your one-stop shop for building and running your online forever home. Go to squarespace.com/allusionist for a free trial, and get 10 percent off your first purchase of a website or domain with the code allusionist.• Quince, luxurious clothing and homewares without the markup. Go to quince.com/allusionist for free shipping on your order and 365-day returns.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

What if stones were never silent? Ancient people used stone to send messages—but what if that technology never disappeared? From megaliths and linguistics to perception, resonance, and even emails transmitted through stone, we follow a bizarre communication technology hiding in plain sight. Stone. Signal. Language. #LOOKITUP.CODEGAS CODEX OF CURIOSITIES CRYPTID WOMANS SOCIETY DUDES LIVES MATTER T_SHIRT -USE CODE #LOOKITUP BUY THE LIMINAL TREES BOOK NOW ☂️☂️☂️ALERT OPERATIONS: CRYPTID WARFARE // // GET 15% OFF AT CHECK OUT USING "PARANOI" at FLAVORS OF THE FORESTTHE TREBLES SHOWStay humble but don't you dare be invisible. 

Learn how the ASHFoundation is stepping up amidst research funding cuts.Earn 0.10 ASHA CEUs for this episode with Speech Therapy PDWatch on YouTubeIn this special live episode of First Bite, Michelle Dawson, MS, CCC-SLP, CLC, BCS-S, FNAP, is joined by Sharon E. Moss, PhD, CCC-SLP, CAE, Executive Director of the ASHFoundation, along with past funding recipients Katherine M. Trice, BA, and Ryan McCreery, PhD, to celebrate the ASHFoundation's 80th anniversary.If you've been watching the news and wondering how research funding cuts might impact our field, take a breath. The ASHFoundation is stepping up. Together, they discuss how innovative funding initiatives, including the Need-Based Emergency Funding Program, are supporting students, early-career investigators, and the future of communication sciences and disorders. Katherine and Ryan also share their personal experiences, highlighting the impact of Foundation support on their research and professional journeys.About the Guests:Dr. Ryan McCreery, PhD, is the Vice President of Research at Boys Town National Research Hospital in Omaha, Nebraska. He also serves as a Senior Scientist and Director of the Audibility, Perception, and Cognition (APC) Lab.Sharon E. Moss, PhD, CCC-SLP, CAE, became the executive director of the American Speech-Language-Hearing Foundation in October 2022. Moss is responsible for the ASHFoundation's leadership and management, fundraising, and mission-related program activities which include scholarship, research grant and special project initiatives.Katherine M. Trice earned her BA in Linguistics from the University of Rochester and completed her PhD in Psychology from Northeastern University this July. She currently works as a postdoctoral associate in the Gabrieli Lab at MIT.Show Notes:www.ashfoundation.orgASHFoundation on Instagram: @ashfoundationcsdASHFoundation on LinkedIn Sign up for the ASHFoundation 7th Annual Virtual Walk/RunJoin the First Bite Team: "First Bite Fun Runners"

Let's say you're chatting away with AI — perfect grammar, great vocabulary. Then, boom: a random word in another language! That's the topic for today's “Uncanny AI.” Those moments where it becomes really clear that AI doesn't think like us. Janelle Shane, who writes the AI Weirdness blog, helps explain why AI chatbots do this.More on this:“ChatGPT users flummoxed after AI bot starts inserting Arabic into responses” from The New York Post“ChatGPT is mixing languages or Answers are Wrong!” from OpenAI Developer Community

Let's say you're chatting away with AI — perfect grammar, great vocabulary. Then, boom: a random word in another language! That's the topic for today's “Uncanny AI.” Those moments where it becomes really clear that AI doesn't think like us. Janelle Shane, who writes the AI Weirdness blog, helps explain why AI chatbots do this.More on this:“ChatGPT users flummoxed after AI bot starts inserting Arabic into responses” from The New York Post“ChatGPT is mixing languages or Answers are Wrong!” from OpenAI Developer Community