#including Cockney and West Country

[sins-of-the-sea]

//I do have one thing you won't EVER see me do whenever I write my historical muses: Have them speak the Queen's English no matter what language they're actually speaking.

[raptorfae53]

Monster High Reimagined

Toralei stripe character bio/redesign

Toralei Stripe (they/he/she)

Harimau Jaidan daughter of the Stripe family (Chinese Malaysian-British)

(Transforms on the full moon into a malayan tiger)

(Lesbian)

A bad tempered,mistrustful weretiger adopted by a wealthy family of cat Yokai living in Britain, Toraleis had it rough. Abandoned as a young child they've been cycled through the foster system more than they can think and feel detached from their foster mother Caterina Stripe and her standoffish family as a result,being inducted into monster high on caterina’s father's warning of it being a last chance for the girl before being shipped off to a reform school. Toralei personally express their own feelings regarding all of their baggage through playing loud punk music with his band,the Hissfits (consisting of toralei themself on vocals and guitar and their cousins purrsephone and meowlody on bass and drums) much to the dismay of the half of the campus able to hear it.

Likes: punk subculture and music, playing guitar in her band,drama ,taking catnaps (often in class) and dairy products.

Dislikes: crates and enclosed spaces,people trying to tell him how to live his life,being short (5’3),digital only media and his adoptive grandfather and family (bar purrsephone and meowlody, misfits gotta stick together after all)

Killer style: Toralei's mother always insisted on her dressing "properly" to fit in with her family's smart image,since joining monster high however toralei has been rejigging these old clothes into something more "her style", that being punky Sukeban-inspired looks bound to irk her mum's sensibilities.

Familiar: Sweetfangs, a huge orange tomcat that toralei befriended during her childhood as a street kitten,who bears a passing resemblance to a sabretooth tiger and hates everybody but toralei,who in return spoils him.

Pet Peeve: Their adoptive mother, Ms Stripe's insistence on their education being top-priority. Toralei just doesn't know why she even bothers. They've never done well in school,and no students or teachers either human or monster ever put much stock in them either. In a few years both will be out of each others lives anyway,reform school or not,so why even care?

Freaky Flaw: Their self loathing. To say toralei has issues is an understatement,and said issues have manifested into a frustratingly self defeating look on life. To toralei though it's just how it is,she's had to be on their own for most of their life and fight to get what she wants without anyone helping,planting the idea early that it was simply because he wasn't worth helping,and regardless of the changes in her life recently she expects it all to be the same at monster high. After all,if the people who insisted they were there to help never did anything for toralei,why shouldn't this be true for this new lot?

Spooky Secret: Toralei has a very pronounced West Country accent (having grown up in devon) that he masks for fear it makes him sound too “farmer-y” with a pseudo-cockney one, regardless it tends to slip in times of high emotion,including during when they sing,but the fact that they're attending an American school means few are the wiser.

Dream job: Rocking out on the underground punk circuit and touring around the British isles when they're done with school,despite her Foster mothers disapproval and insistence on studying. Although another,more personal reason for this dream lifestyle being that through it toralei hopes to meet other Harimau Jaidan in the UK as well as maybe track down her birth parents on the road in-between shows.

Five Fearsome facts

Harimau Jaidan and by extent other types of werecat are a rare type of monster,even more so outside of their native Malaya and toralei has spent much of her life regardless of setting with this gnawing feeling of isolation. Even if she now has purrsephone and meowlody she's still the only one of her species at monster high,so the feeling of being alone in a crowd remains...

Toralei has a marked dislike for a lot of modern pop music,considering it too corporate and without any genuine message for her liking compared to punk and rock. (Although when their cousins aren't around he does listen to a few of his cousins Jpop CDs,don't tell anybody though…)

Aside from punk subculture,Toralei's other great love is dairy products, and beguiling their hard-edged image,ice cream,boba tea and other sweet treats rank among their all-time favourites. Toralei is also ragingly lactose intolerant but this doesn't stop him.

On top of singing and playing guitar for the Hissfits, toralei makes all of their bands merchandise ranging from badges and stickers to screen printed shirts and posters,and often incorporates some of it into her day-to-day outfits, arguing that actually the printing is intended to be wonky (it's not) and it wouldn't be properly punk if it weren't a little asymmetrical.

As a result of distrusting the model of digital only music distribution, toralei uses a lot of physical media to enjoy their music, using a physical CD player and distributing the hissfits music via burned CDs sold with the bands other merchandise. Toralei also uses said skills in making mixtapes for the people he cares most for in their life and casual Internet piracy.

Hello again everyone, I'm back with another one of these finally (and of one of my favourite monster high characters of all no less) + I'm also very close to finishing another profile so I doubt it'll be long before the next one of these is up,but anyways as usual, an explanation for my design choices:

Having previously drawn my version of toralei,whose design you can see here (hope to do more art of them and the rest of my monster high designs in the future btw) you probably already know that I've changed her monster type from a plain old werecat to a Harimau Jaidan, a were-tiger from Malayan folklore (Inspired by @jdoodlin amazing toralei design,who first introduced me to the Harimau Jaidan concept)

To keep it short, I never liked the "werecat" label, it felt a bit too artificial and I knew that there were multiple sorts of cat monsters from mythologies across the world that would make for much more interesting designs than just plain old cat people,hence why toralei is the only one of the 5 werecats to actually remain a werecat (well,weretiger). As for the others well, you'll just have to watch this space,as I have a whole smorgasbord of ideas for the twins,Catty and Catrine I can't wait to share with you all eventually in art and writing.

Anyways,hope you like this character bio,see you for the next one.

[demiboy-dean-winchester]

can you rate 1-10 how accurate my friend is of their description of England? i love them, i think they are crazy though because they forgot who made beans on toast a thing.

Also, how would you describe being british/do you like england? idk fun asks and stuff

thats pretty accurate. i would say 8/10. i dont smoke so idk if cigs are that mushy here.

im with you on the beans on toast thing!!! i dont like beans

being british has its ups and downs tbh. i like my city. i like being northern and how friendly other northerners are. i like that the weather is usually pretty cold, but british summers are actual hell because of the humidity

i hate the government. i hate the current political climate. i hate the rising rates of racism and transphobia.

also you should ask your friend "which little accent" because we have like 100000000 regional accents lmao. do you mean scouse? brummie? yorkshire? cockney? west country?

and thats just england! great britain includes scotland and wales, and the uk includes northern ireland too. i think people forget that while we are a small nation we are quite varied in culture and dialect. there is no "british accent".

[english-lessons-bolzano]

The trap–bath split is a vowel split that occurs mainly in Southern England English (including Received Pronunciation), Australian English, New Zealand English, Indian English, South African English and to a lesser extent in some Welsh English as well as older Northeastern New England English by which the Early Modern English phoneme /æ/ was lengthened in certain environments and ultimately merged with the long /ɑː/ of palm. In that context, the lengthened vowel in words such as bath, laugh, grass and chance in accents affected by the split is referred to as a broad A (also called in Britain long A). Phonetically, the vowel is [ɑː] ⓘ in Received Pronunciation (RP), Cockney and Estuary English; in some other accents, including Australian and New Zealand accents, it is a more fronted vowel ([ɐː] ⓘ or [aː] ⓘ) and tends to be a rounded and shortened [ɒ~ɔ] in Broad South African English. A trap–bath split also occurs in the accents of the Middle Atlantic United States (New York City, Baltimore, and Philadelphia accents), but it results in very different vowel qualities to the aforementioned British-type split. To avoid confusion, the Middle Atlantic American split is usually referred to in American linguistics as a 'short-a split'.

In accents unaffected by the split, words like bath and laugh usually have the same vowel as words like cat, trap and man: the short A or flat A. Similar changes took place in words with ⟨o⟩ in the lot–cloth split.

The sound change originally occurred in Southern England and ultimately changed the sound of /æ/ ⓘ to /ɑː/ ⓘ in some words in which the former sound appeared before /f, s, θ, ns, nt, ntʃ, mpəl/. That led to RP /pɑːθ/ for path, /ˈsɑːmpəl/ for sample etc. The sound change did not occur before other consonants and so accents affected by the split preserve /æ/ in words like cat. (See the section below for more details on the words affected.) The lengthening of the bath vowel began in the 17th century but was "stigmatised as a Cockneyism until well into the 19th century". However, since the late 19th century, it has been embraced as a feature of upper-class Received Pronunciation.

Like all accents, RP has changed with time. For example, sound recordings and films from the first half of the 20th century demonstrate that it was usual for speakers of RP to pronounce the /æ/ sound, as in land, with a vowel close to [ɛ], so that land would sound similar to a present-day pronunciation of lend. RP is sometimes known as the Queen's English, but recordings show that even Queen Elizabeth II shifted her pronunciation over the course of her reign, ceasing to use an [ɛ]-like vowel in words like land. The change in RP may be observed in the home of "BBC English". The BBC accent of the 1950s is distinctly different from today's: a news report from the 1950s is recognisable as such, and a mock-1950s BBC voice is used for comic effect in programmes wishing to satirise 1950s social attitudes such as the Harry Enfield Show and its "Mr. Cholmondley-Warner" sketches

Gupta's study of students at the University of Leeds found that (on splitting the country in two halves) 93% of northerners used [a] in the word bath and 96% of southerners used [ɑː] However, there are areas of the Midlands where the two variants co-exist and, once these are excluded, there were very few individuals in the north who had a trap–bath split (or in the south who did not have the split). Gupta writes, 'There is no justification for the claims by Wells and Mugglestone that this is a sociolinguistic variable in the north, though it is a sociolinguistic variable on the areas on the border [the isogloss between north and south]'.

In some West Country accents of English English in which the vowel in trap is realised as [a] rather than [æ], the vowel in the bath words was lengthened to [aː] and did not merge with the /ɑː/ of father. In those accents, trap, bath, and father all have distinct vowels /a/, /aː/, and /ɑː/.

In Cornwall, Bristol and its nearby towns, and many forms of Scottish English, there is no distinction corresponding to the RP distinction between /æ/ and /ɑː/.

In Multicultural London English, /θ/ sometimes merges with /t/ but the preceding vowel remains unchanged. That leads to the homophony between bath and path on the one hand and Bart and part on the other. Both pairs are thus pronounced [ˈbɑːt] and [ˈpɑːt], respectively, which is not common in other non-rhotic accents of English that differentiate /ɑː/ from /æ/. That is not categorical, and th-fronting may occur instead and so bath and path can be [ˈbɑːf] and [ˈpɑːf] instead, as in Cockney.

Silvio Pasqualini Bolzano inglese ripetizioni English

[apilgrimpassingby]

American views of British people are always funny to me. It really depends what accent you're using. They'll sound natural in an RP accent (that's the one American's think of as a British accent; mine is a mild version of this) or a Northumberland accent like this guy. Put these phrases in Essex or Brummie and it'll be a side-splitter.

(Aside, I find it either very annoying or very funny when Americans talk about "the British accent". There is no such thing as a "the British accent"; there are many, and all are region-specific and most are class-specific. A fairly conservative count of accents in the UK: Cornish, West Country, RP, Cockney, Essex, Norfolk, Brummie, Leicester, Welsh, Yorkshire, Lancaster, Geordie, Northumberland, Border, Glaswegian, Highland, Hebridian, Northern Irish. Without including Irish accents. And I'm almost certainly missing a bunch of them. Not to mention that Welsh and Yorkshire have a bunch of sub-varieties).

[mazur5s]

NOW PRESENTING: JONATHAN MAZUR5! captain of west ham united.

firm but fair. large and in charge. captains a team like a conductor leads a symphony. legacy player. trying to be different from his dad, whilst only wanting to be his shadow.

JONATHAN MAZUR. Oct 7th 1995. 28. West Ham’s strongman. 

Be more like your dad! His mother had always squawked at Jonny, her Polish accent more thick with pride when talking about Filip Mazur. He and Bethany came to London as eighteen year olds with big dreams, having met back in Poland. They got engaged, married and had kids quickly, raising them to speak both English and Polish, to respect where they came from; heritage was important.

His father had, at one point, been the absolute best of the best on the pitch. A legend. He was loved by the team he played for (an Arsenal man through and through), loved by the nation (when he made his first appearance for Queen and country, Old Wembley’s stands shook) and loved by the pundits. He had records young footballers could only dream of, but it didn’t make him untouchable.

In 2017, he did retire, at an eye watering age of forty two – something utterly unheard of in that world. He left with a wealth of accolades for Arsenal under his belt, a whole load of records - including oldest goal scorer in the Premier League. 

Jon, the Mazurs’ first born, had worked through Chelsea Academy as a kid - he didn't get to have a Bar Mitzvah because of his incredibly busy schedule, though he put his all into his sisters’ so that he could be a big part of it - and stayed with the Blues all the way through to seniors, making his debut in 2012, after Chelsea won the Champions League the year before. He was a Chelsea lad to his very core, playing (eventually) alongside Roy. Fucking. Kent. A man he should objectively hate given that he’d once tried to absolutely KO his dad in a match, but hey - what wouldn’t anyone give to kick a ball around under that man’s captaincy. He helped shape Jon into the player he is today and he’ll be grateful for it for as long as he’s able to play and beyond.

In 2015, Jon was snapped up by West Ham United, a move he found difficult to come to terms with, but one he thought would give him the freedom to pursue his individuality - his ability to truly be his own man and not just his father, but in blue. East London. He would fit in with the cockneys, he thought. 

Of course WHU wanted him; he was in high demand; not only was he the second-tallest player in the Prem which made him a beast to go up against but he was known as an incredibly flexible player who had the ability to move from defence positions to the midfield right up to being in front, playing the 9. He had a kick like his dad, though in truth they were not that similar. That Mazur, though outspoken and bold off the grass, was patient and calm on the pitch, sharing his whippet speed and skill with his son. This Mazur had a relatively short temper and wasn’t afraid to use his elbows.. Though, this was something Jon has worked on over time, instead becoming known for his level headedness and dedication to the sport. He doesn’t fight referees, he doesn’t pick fights with the little shits on lower table teams, he’s an artist on the pitch. 

In 2015, aged twenty, Jon made his debut for the Three Lions, the England team, legacy number 1207.

Now he’s as beloved by West Ham fans as his father was (is) by Arsenal’s. He was named their captain in July of 2017, the same year his father stepped away from the game. It’s a role he takes seriously, trying to pave the way for the younger Hammers, showing them how to act and how to better themselves just as Roy Kent had done for him those years ago. 

On Nov 15th 2018, Jon was given the captain’s band for England for a game against USA, something his own father had never quite managed. He had wanted to step out of Fil’s shadow and this was just another challenge to take up in order to prove himself even more… to who, he wasn’t entirely sure. 

He captained the England team through the 2016 Euros, the 2020 Euros and the 2022 World Cup, he’s got 221 goals for West Ham under his belt, 62 for England and in 2023 he led West Ham to victory, winning the Europa Conference League in Prague.

The man is a true testament to himself and his game. It was no shock to the people that really knew him to find out that he was nominated for the Ballon d’Or, let alone when he won the thing (he, though, was sitting with his jaw agape before being roused from his seat). The biggest surprise of all was the moment his father walked out on stage to hand him the trophy - some people slammed the move from the older Mazur man, but it was perhaps the most touching moment of young Mazur’s life so far.

Sitting in his hotel room with the buzz of champagne in his body and the ringing of partying still in his ears was the moment, the first real moment, he started to doubt his place at West Ham. It was true that the team had helped him elevate his game, that he’d forged some strong bonds there, and he had a lot to thank the clarets for, but Champions League players they were not. He was running out of time. Could he really turn his back on such a team? Did he have it in him to turn his back on another team that’d raised him?

[queer-cosette]

“u don’t sound Glaswegian” well maybe that’s because of the prejudice against the working class and all things associated with it including the dialects and as a result I’ve trained away my Glaswegian accent in order to be taken seriously by people in positions of authority, have you ever considered that ye fuckin numpty

[esoanem]

It really isn't the King's English though

King Chaz is the first monarch we have recordings of who's actually spoken like other very posh people of their era. All the others have had a bunch of weird idiosyncrasies

The reason for this is the reason that RP exists at all:

Boarding schools

Since the first public schools (prestigious private boarding schools) started, they became the go-to form of education for most of the upper class, rapidly replacing personal tutors and governesses

They also brought children from across the country together during their formative years

RP is heavily influenced by the accent of middle class Londoners*, but it achieved its position in society because it was the accent of the boarding schools (whose teachers were largely drawn from middle class Londoners)

This had the effect of making posh people sound the same across the country, and for aspirational people to adopt some elements of that speech, resulting in the RP-ification of the middle classes

What does this have to do with King Chaz? Well, the royal family took a lot longer to abandon the idea of tutors and governesses than the rest of the aristocracy and he's the first monarch to have attended school (and it was, of course, a boarding school)

Today ofc the position of Standard Southern British English (the term Geoff Lindsey uses for the modern accent that occupies a similar sociolinguistic position to RP, but has diverged significantly enough to warrant a new name in his eyes) is maintained through its hegemonic status in the media moreso than through boarding schools, although it's definitely more common to hear regional accents on TV than it used to be

Simon Roper on youtube has a lot of well researched videos on both the history of RP and the speech of historical monarchs. Geoff Lindsey also has videos on the speech of the (late) Queen, King Chaz, and the other current royals, including some of the ways the Queen's speech assimilated to more standard RP (and even SSBE) over time from its earlier peculiarities

* Note: London, not the City of London. The City is a square mile district within London that today is largely the financial district, but historically has often been associated with Cockneys (a traditional definition of Cockney was anyone born where you could hear the sound of the bells of St Mary-le-Bow, a church in the City), rather than the more prestigious accents of the West End (which is not part of the City of London, but instead the City of Westminster, which is itself part of London)

Standard dialects don't exist. Newscasters don't all sound the same. Educators don't all teach the same pronunciations. Ask a Standard American English speaker from each state and you'll hear 50 different accents. Less than 5% of England's pop speaks the standard British dialect.

Who gets to decide the standard way to speak a language? Have you ever gotten a survey in the mail asking for your input. No! You're not powerful enough to decide on the ideal form of a language bc its only purpose is to help the powerful determine which speakers also have power.

source

[oumaheroes]

hii its bougie <3 if you're still taking hc requests, i was wondering if you'd have thoughts on something that's been on my mind for a while. i was interested in the nuance to english culture due to regional differences. eg.,dinner being called "tea" in the north of england, rugby being more popular in the south, the difference in how scones with jam and cream are enjoyed in Devon and Cornwall?? or how certain english accents are perceived as... "less attractive" i guess (the black country accents are unpopular apparently?) -- you'd probably know more about these particularities than me ;u;

i was wondering how these cultural differences might map onto hws England's character, and how they might influence his attitudes and behaviours. because there's such a clearly defined stereotype of the english that i think shape people's expectations of what the english are like, i usually think that Arthur usually consciously acts according to what counts as positive interpretations of himself. however, i love nuanced and somewhat subversive interpretations of his character, and am very curious if you might have any ideas on how these kind of internal regional differences might shape him.

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

Bougieeeeeeeeeeeeeeeeeee <3

I’m not gonna lie this sent me down a RABBIT HOLE of thoughts, so hang on tight cos we're gonna get messy.

Accents:

Let’s start with my personal favourite, so excuse me whilst I geek out for a second. I’ve gone into this area already in this headcanon, but I personally see England being a very proud little dragon regarding English accents, those both native and non-native to the British Isles. Focusing just on accents within England for this post, the way Arthur himself sees them, (regarding class and general preference), comes a lot down to how I see him feeling about language and the unification of England in general.

England is a tiny country. It’s really teeny, compared to some, and yet holds an incredible number of regional accents and dialects (from digging about the internet for a good source, I keep finding numbers ranging from 37 to 43). There are a number of reasons for this, but the one that I love the most is that accents are influenced by the previous/ influential other languages spoken in a given area. Accents on the East of England are more influenced by Viking invaders, both phonologically and via the dialectal words used, and accents/ dialects in the West are more influenced by Welsh, for example.

Accents and dialects tell the history of a place, all who ever came there and influenced it to some degree. The map of English accents is a patchwork quilt of old cultures and people now lost to time, but their ways of speaking have been preserved in the modern tongue. The old English kingdoms might now be mere counties- Kent, Essex, Sussex, East Anglia, etc- they may not have their own influence or language these days as they used to, but their old ways have been imprinted on their people of today whether they know it or not and they carry pieces of the past in their words and how they speak them. Older speakers of the Northern English dialects liek the Yorkshire dialect still use ��thou/thee’ where this has fallen out in other areas, the Midlands and parts of the South-East still keep the ‘-n’ ending for possessive pronouns (‘yourn’ instead of ‘yours’, ‘ourn’ instead of ‘ours’), and there’s even some linguistic research into how Brittonic, the ancestor of Modern Welsh, influenced English structure and phonology (for references, see notes at the end).

Back to England the person (to contain myself slightly), his regional accents are a story of himself, his history being kept alive in all of its variety every day. He doesn’t hold a classist view of a ‘good’ or ‘bad’ accent because he knows why they’re all there- what languages and people influenced them and how these events affected him- the older generations now lost and forgotten being kept alive in the smallest of phonemes.

Every dialect, every accent, and every language tells the story of a people, from the smallest phonological marker right up to a language as a whole and England takes comfort and pride in his dialects and accents’ longevity and variety. He is as much of the North as he is the South, as much of the East as the West and a patchwork man born of patchwork cultures it makes no sense for him to favour one particular accent over another.

That being said, he is aware that there is a common cultural stance on accents as well as an opinion regarding ‘ugly’ ones, ‘common’ ones, and ‘classy’ ones, but he himself doesn’t partake in these ideas. I like to think that a nation takes on the speech of the people and the area they’re in, matching the person they speak to or the area they visit to relate to their people. So, for me a Chav Arthur exists as much as a Brummie one does, or a Scouser, or a Geordie, or a Cockney. They’re all English, and thus they’re all a part of him.

Class

I have to include this one, if only to touch on it lightly regarding accents and dialects. Class does influence which words you speak, arguably just as much as which accent (this is known as a sociolect). Although I said that England adopts the accent of whatever area he’s in, or whomever he’s talking to if they’re English, the class people are will also affect which words he choses to use.

Here’s a short example from here:

'It is pudding for the upper class. Dessert is sometimes used by upper middles, but afters and sweets very clearly put you below stairs.'

Have some more!

Upper class: Spectacles, Lavatory or loo, Die, Napkin, Sofa

Middle class: Glasses, Toilet , Pass on, Serviette, Settee or couch

(Working class is a mix but harder to find sources for).

This is where England treads a fine line. It could be that he again adopts more of a class lexicon regarding who he is speaking to, matching his people word for word. However, England is not unaware of the affects of class, regardless of how he himself feels, and also although class snobbery and divide frustrate him, he cannot deny using this understanding to benefit himself, which also conforms to how his own people behave. (I myself have, many times, diluted and filtered my speech to be seen as ‘better’).

Want to be seen as more reliable and powerful? Want to be taken more seriously? RP and Estuary English (a lot more so these days), hold undeniable sway and England is not above adopting a manner of speaking to come across ‘better’ or more polite, or a more ‘common’ accent to fit in with the working classes. I think of England as leaning more towards a working-class mindset- he’s very hands on, very up for and used to manual labour and this particular English class has always made up the bulk of his population. It makes no sense for a nation, who represents all of their people, to have a snide view or a preference for a particular group and England as a person I see is someone who does not enjoy the foppery and false airs of aristocracy.

That being said, England is an intelligent man. He knows how to work a room and use a crowd to his advantage, knows what must be done and what he needs to do to achieve a goal and if this entails courting the upper classes for a time then he will do so. He’s adepts at switching himself like a chameleon, blending his behaviours, accent, and dialect to match who he’s talking to to achieve a goal or to fit in with someone’s perception of him, or to gain influence or prestige. He also doesn’t hate his upper classes- they are of him too, and the middle and working class have their own prejudices and ideas against the others. But he doesn’t adopt a stereotypical distain of lower classes because to him, it really doesn’t make much sense.

Abroad, this need to cultivate a particular perception defiantly comes under greater pressure. RP and Estuary English are more well know, more heard and taught, and more recognisably ‘British’, and so these are what he uses when speaking English to other nations or foreigners, either wanting to uphold an image of himself (more so in the Victorian/ Edwardian period than nowadays) or just for the ease of being understood.

Regional Differences

Okay, this one is a lot more fun. Does England put in his milk first or last when making tea? Does he put jam first, or clotted cream when having a scone? Does he have chips with gravy, or curry sauce? Does he have dinner at 6, or 9? To marmite, or not to marmite.

Ah, that is the question, and England does not know the answer. Does he do what he does because that’s what he likes, or because that’s what his people do? He didn’t grow up with these habits, after all, they’re all relatively recent in his lifetime, and so these habits are defiantly things he cultures for a particular audience.

I’m not really sure if the above preferences are class based, (well, milk first when making tea is argued to be, but I can't find any sources I'd consider entirely credible. I put the ones I did find in the notes below, in case any one's interested), so it’s hard to get a sense of which one to use. Overall, it doesn’t matter which you do and neither is right or wrong, but the English feel strongly about them, one way or another, and often Arthur the man isn’t sure at all which one he himself actually thinks is better.

Food in another sense though is something he can be surer of. A Cornish pastie not from Cornwall is not worth eating, nor is a Bakewell tart outside of Bakewell. England can be very particular about this sort of thing and enjoys maintaining and supporting the ‘original’ flavour or recipe of a thing where he can, considering this to be the ‘best’. Sally Lunn Buns from Bath, Gypsy tarts from Kent, Eccles Cakes from Eccles.

England wants to preserve his food and culture and has what could be considered a snobbish view on the ‘best’ way of creating or eating his national foods. Some things he is more lenient with: he will eat cheddar cheese, whether or not it is from Cheddar, same from Cumberland sausages not from Cumbria. But he certainly has a preference and he is not afraid to voice this when asked for his opinion.

Okay, we're done

Phew! This had me digging out my old linguistic student brain. To anyone who has made it this far down, gosh golly miss molly thank you for reading! I hope you enjoyed the ride, and especially @prickyy who was kind enough to want to hear my opinions about all of this <3

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Notes:

Brittonic influence on English:

https://en.wikipedia.org/wiki/Brittonicisms_in_English

https://scholar.google.co.uk/scholar_url?url=http://journals.mountaintopuniversity.edu.ng/English%2520Language/Celtic%2520Influences%2520in%2520English%2520A%2520Re-evaluation.pdf&hl=en&sa=X&ei=2ohDYdq3BoWImwHn6oWQAg&scisig=AAGBfm29zTF0FBCpd1KqDiAbjM-0X7nfoA&oi=scholarr (PDF)

https://scholar.google.co.uk/scholar_url?url=http://www.oppi.uef.fi/wanda/unicont/abstracts/14ICEHL_MF.pdf&hl=en&sa=X&ei=2ohDYdq3BoWImwHn6oWQAg&scisig=AAGBfm3UvOXbJEb0b51J73eBnTJvgGaQOA&oi=scholarr (PDF)

Sociolects and class distinction within language in English:

https://languageawarenessbyrosalie.weebly.com/social-dialects.html

https://www.grin.com/document/313937

https://en.wikipedia.org/wiki/U_and_non-U_English

Milk in tea first and the potential class reason:

https://www.theteaclub.com/blog/milk-in-tea/

https://qmhistoryoftea.wordpress.com/2017/05/11/milk-in-first-a-miffy-question/

[azvolrien]

OC Trivia - Accents and Voices

I don’t have ‘voice actors’ in mind for most of my characters, but nevertheless I do generally have some idea of what their voices sound like. This got a bit longer than I’d originally intended, so I’ll put it under a cut. So here goes:

Stormhaven:

I’ve established on several occasions that Stormhaveners sound Welsh, though as with Wales itself there are regional variations.

Wygar (like most people from the city of Stormhaven) has a fairly gentle South Wales accent. I actually imagine him as sounding similar to Tom Jones, but with a somewhat lighter, higher voice, more of a tenor than a baritone (and he’s not as good a singer).

Calburn’s accent is very similar to Wygar’s, but he has a deeper, more gravelly voice.

Rhona has more of a North Wales accent; her family are from a farm out in the countryside and she never visited the city until starting her apprenticeship at the College. She’s spent enough time in the city since to have picked up some of the accent but still sounds different enough to tell she’s not a native. In terms of pitch and timbre she has a fairly middling voice, not noticeably high or deep.

Kiraan:

The Kiraani Empire is huge and accordingly includes a vast variety of different accents, so let’s take ‘Kiraan’ to here mean the Imperial City itself and its immediate surroundings. Basically they sound like Londoners, with all the class variations that implies - the only two Kiraani who’ve spent much time in the spotlight are middle- to upper-class, but I expect Kiraani from a more working-class background definitely have a certain Cockney edge to their accents.

Zar, being the Emperor and expected to do a lot of public speaking, was put through all sorts of rigorous elocution lessons growing up. Accordingly he speaks with your very clipped BBC-style Received Pronunciation (like David Attenborough), but with a deep voice to go with it. I’m talking Keith David-deep, the kind of voice you feel in your bones. So not like David Attenborough.

Asta also sounds fairly upper-middle-class Londoner, sort of ‘generic English’ but not quite as formal as full RP. She has quite a high voice, but not squeaky or shrill unless she’s extremely worked-up about something. She doesn’t do much singing but she’d be in the soprano range.  

The Sea Loch Country:

The Sea Lochs, as you might have guessed from the map, are a kind of amalgam of Scotland and Scandinavia (Scotlinavia?) and have the accents to go with that. The people of Loch Deas to Loch Dubh sound Scottish; the people of Bjarnafjord to Myrkfjord are more Norwegian. Though as you might expect, the transition is more of a spectrum than a hard boundary.

Roan: Naturally she sounds Scottish. She doesn’t, however, sound Glaswegian; she has a much gentler West Highland/Hebridean accent with a definite Gaelic lilt. She has a moderately low voice for a woman, squarely in the alto range, with a bit of a purr to it. Asta could listen to it all day.

Daro, eldest son of an aristocratic clan, has a very posh Edinburgh accent. Kind of like Maggie Smith as Miss Jean Brodie, only a man. Similar tenor range to Wygar, I’d say.

And finally:

Fayn:

She gets a section of her own because frankly your guess is (almost) as good as mine. She grew up living feral in the Darkwald buffer zone between Stormhaven and the Empire and, other than a few informal vocab lessons as a six-year-old, learned English Imperial by spying on travellers making their way through the forest. A lot of those travellers were from Stormhaven so she probably does have the odd Welsh inflection, but ultimately has a weird, unidentifiable hybrid accent made up of dozens of others she’s heard. She’s of mezzo-soprano range, but years of living as an animal have left a bit of a growl in her voice.

[havatabanca]

Is Eddie Grant the true inventor of Soca?

by Jo-Ann Greene

 Eddy Grant stands among an elite group of artists as one who has not just merely moved successfully across the musical spectrum, but has actually been at the forefront of genres and even created one of his own. From pop star to reggae radical, musical entrepreneur to the inventor of ringbang, the artist has cut a swath through the world of music and made it his own.

Born in Plaisance, Guyana, on March 5, 1948, the young Edmond Grant grew up on the sound of his homeland, tan singing, an Indo-Caribbean vocal style whose roots lay in South Asia and are the backbone of modern chutney. Then in 1960, the Grant family emigrated to England, taking up residence in the working-class Stoke Newington area of London. The young teen's musical horizons swiftly expanded, embracing the R&B, blues, and rock that percolated across his new island home.

In 1965, Grant formed his first band, the Equals, and long before the days of 2-Tone, the group was unique in being the first of Britain's multi-racial bands to receive any recognition. The West Indian contingent comprised Jamaican-born singer Lincoln Gordon, with his twin brother Derv and Grant both on guitar, while the rhythm section of bassist Patrick Lloyd and drummer John Hall were native-born white Englishmen. Like most of the teenaged bands roaming the capital at the time, the Equals cut their teeth on the club and pub circuit and finally inked a label deal with President Records in early 1967. Their debut single, "I Won't Be There," didn't crack the charts but did receive major radio support. This, alongside an expanding fan base wowed by their live shows, pushed their first album, Unequaled Equals, into the U.K. Top Ten. At the request of his label, Grant had also been working with the Pyramids, the British group who had backed Prince Buster on his recent U.K. tour. Besides composing songs for the band (and one for Buster himself, the rude classic "Rough Rider"), Grant also produced several tracks, including the band's debut single and sole hit, "Train to Rainbow City." In 1968, the Equals scored their own hit with "I Get So Excited," the group's debut into the Top 50. Although their follow-up album, Equals Explosion, proved less successful than its predecessor, as did the next single, the quintet's career was indeed about to explode. "Hold Me Closer" may have disappointed in the U.K., where it stalled at a lowly number 50, but in Germany, the single was flipped over and "Baby Come Back" released as the A-side. It swiftly soared to the top of the German charts, a feat repeated across Europe. Later that spring, a reissued British single finally received its just due and reached number one. Even the U.S. took notice, sending the single into the lower reaches of the Top 40. Sadly, this turned out to be a flash in the pan. The Equals' follow-up single, "Laurel and Hardy" died at number 35; its successor did even worse, while their new album, Sensational Equals, didn't even make the charts. New hope arrived when "Viva Bobby Joe" shot into the Top Ten in the summer of 1969, but its follow-up, "Rub a Dub Dub," just scraped into the Top 35. Understandable, considering the Equals' roller coaster of ups and downs, Grant now turned his attention elsewhere.

In 1970, he started up his own specialty record label, Torpedo, concentrating on British reggae artists. He also utilized the label as a home for a brief solo career under the alias Little Grant, releasing the single "Let's Do It Together." But the artist hadn't given up on the Equals yet, and good thing too. Later that year, their new 45, "Black Skinned Blue Eyed Boys," slammed the group back into the Top Ten. And then, the unimaginable happened. On New Year's day in 1971, Grant, all of 23 years old, suffered a heart attack and a collapsed lung. If lifestyle played a part, it wasn't because he drank, took drugs, smoked, or ate meat; it was due to Grant's only vice -- a hectic schedule. He quit the group at this point and the Equals soldiered on into the shadows without him. He sold Torpedo as well and with the proceeds opened up his own recording studio, The Coach House, in 1972. Grant continued to produce other artists and release their records through his newly launched Ice label, but his own musical talents were seemingly left behind. It wasn't until 1977 when Grant finally released a record of his own, the Message Man album. It was three years in the making and a stunning about-face from his previous pop persona, even if "Black Skinned Blue Eyed Boys" had suggested a change was imminent. Tracks like "Cockney Black," "Race Hate," and "Curfew" were politicized dark masterpieces laced with aggression and anger.

But the album also included some lighter moments, including "Hello Africa," which featured a sound that the media hadn't even invented a word for yet. Grant dubbed it "kaisoul," an amalgamation of kaiso (the traditional word for calypso) and soul. Caribbean legend Lord Shorty, the acknowledged inventor of this new crossover hybrid, labeled it solka. Neither term stuck, however, once the Trinidad and Tobago press came up with their own label: soca. But regardless of what it was called, the style was just one of many hybrids that Grant was entertaining.

Message Man may have proved a commercial failure, but that didn't dim the artist's vision for one second.

Two more years passed while Grant wrestled with its follow-up in the studio, composing, producing, and performing virtually the entire album himself. The end result was 1979's Walking on Sunshine, one of the greatest albums of the decade. While the B-side featured a clutch of seminal musical hybrids, the centerpiece of the album's A-side was "Living on the Frontline," a dancefloor classic that blended tough lyrics with an electronic sheen, a sense of optimism, and a funk-fired sound. Released as a single, the song roared up the British chart, while becoming a cult hit in U.K. clubs. Inexplicably, the album itself didn't chart at all, nor did its follow-up, 1980's Love in Exile. However, in the next year, Grant finally cracked the market wide open with Can't Get Enough, which finally breached the Top 40. His singles' success had continued uninterrupted across "Do You Feel My Love," "Can't Get Enough of You," and "I Love You, Yes I Love You." A phenomenal live album, Live at Notting Hill, was recorded in August 1981 during London's Notting Hill Carnival. The following year's Killer on the Rampage slew its way into both the British and American charts, where it landed at number ten. The album spun off "I Don't Wanna Dance," which topped the chart in the U.K., while the exhilarating "Electric Avenue," from his next album, Going for Broke, landed at number two on both sides of the Atlantic.

Nothing else would equal these dizzying heights. Three more singles followed by the end of 1984, but none managed to break into the Top 40. In the U.S., only one, "Romancing the Stone," actually made the chart, charming its way into a respectable berth just outside the Top 25. That was his final showing in the U.S. On both sides of the Atlantic, 1987's Born Tuff and the following year's File Under Rock were passed over by the record-buying public. However, the British gave the artist one last Top Ten hit in 1988 with "Gimme Hope Jo'anna," a highlight of his 1990 Barefoot Soldier album. Unfortunately, its 1992 follow-up, Painting of the Soul, went the way of its last few predecessors. 

By then, the artist had long ago left the U.K., having emigrated to Barbados a decade earlier. Even as his own career had taken off back in England, Grant was spending much of his time mentoring a new generation of soca talent. He opened a new studio, Blue Wave, and lavished most of his attention on it, which explains the gap in his output between 1984 and 1987. By the time "Jo'anna" had fallen off the chart, Grant was well on the way to creating his own mini-empire. Besides giving new stars-to-be a helping hand, Grant also moved into music publishing, specializing in calypso's legends. Over the years, Ice has thrilled the world by making the back catalog of multitudes of stars available: Lord Kitchener, Roaring Lion, and Mighty Sparrow, to name a few. And almost uniquely among Caribbean artists, Grant has maintained control over his own music, and Ice, of course, has kept it available. Across Grant's solo career, the artist has continued to experiment with different styles in ever-changing combinations. Pop, funk, new wave, reggae, Caribbean, African, and even country have all been melded into his sound. 1992's Painting of the Soul was heavy with island influences, while the next year's Soca Baptism is a collection of covers, from hits to obscurities, all dosed with a modern sound.

By this time, Grant was hard at work in the evolution of yet another hybrid style: ringbang. Many of the genre's elements are easily found in the artist's earlier recordings, from African rhythms to military tattoos, alongside soca itself and dancehall rhythms, many of the latter influenced by Grant's own previous work. The new style debuted in 1994 at the Barbados Crop Over festival. Since then, the style has continued to intrigue, but has yet to create the international success that it's always threatened. Much of this can be laid at Grant's own door, through a simmering dispute with other artists and the legal ramifications of the genre's trademark. A vociferous supporter of artists' rights, Grant first ran into trouble in 1996 when he demanded his label's artists receive adequate copyright fees from Trinidad and Tobabgo's Carnival. A heroic stance that infuriated the festival's organizers, this was quickly overshadowed by the public outcry over soca itself. As far as T&T was concerned, the inventor of soca was island native Lord Shorty, who announced its birth in 1978 with the Soca Explosion album. However, Grant insists otherwise, crediting his own "Black Skinned Blue Eyed Boys" as the first-ever soca record. Needless to say, his public proclamations of this fact continue to infuriate T&T and other Shorty supporters. But politics aside, the greater factor may be in ringbang's trademark. Once Grant filed it, the word could no longer be used by other artists without express permission. A perusal of any soca, calypso, or chutney hits collection shows the importance of the use of the genre term to the actual song, and just how many titles feature the term. By preventing artists from using the word ringbang, few outside the Ice stable were willing to explore the genre.

Even so, Grant managed to organize the Ringbang Celebration 2000 as part of T&T's millennium festivities. The event, which went off without a hitch, created further ill will due to its price tag, a whopping 41 million (6.5 million dollars in U.S. currency). The artist himself performed two songs at the event.

In the new year, he recorded a new version of one of them, "East Dry River," while in Jamaica, appropriately enough in a ska style. The previous year, the artist released the Hearts & Diamonds album, with Reparation following in 2006. Grant continues to make an impact on both sides of the studio, with his music always an intriguing concoction of sound and his studio work equally innovative. Ice itself is equally instrumental in the music world, both in its preservation of past legacies and its attention to new artists.

via island mix backchat http://www.islandmix.com/backchat/threads/is-eddie-grant-the-true-creator-inventor-of-soca.247725/

[back-and-totheleft]

“I’m not sure I’ve modified my thinking”

“It’s a strange place, England,” Oliver Stone informs me at the start of our Zoom call. “You’ve managed to make it worse than it was,” he says, speaking from his home in Los Angeles. “You’ve turned it into World War Two with your attitudes over there. The English love punishment, it’s part of their make-up.”

You sure know how to break the ice, Mr Stone. It’s a slightly galling accusation, given that he has hitched his wagon to Russia, hardly a paragon of enlightenment. The New York-born writer-director has never shied from ruffling feathers, though. Stone has taken on the American establishment to thrilling effect in his movies, from Platoon to Born on the Fourth of July, JFK to W, Salvador to Snowden, and still emerged with three Oscars. And he has admiringly interviewed a string of figures whose relations with Uncle Sam have rarely been cosy, including Fidel Castro, Hugo Chávez and Vladimir Putin. Those had more mixed receptions, as has his support for Julian Assange.

Yet at 74 he is still a thorn in the side of the military-industrial complex and is set to remain one for some time, having just had his second shot of Covid vaccine. This being Stone, he got his jab in Russia. A recent trial showed the Sputnik V vaccine he was given to have 92 per cent efficacy and he’s palpably delighted. Angry too, of course. “It’s strange how the US ignores that. It’s a strange bias they have against all things Russian,” he says. “I do believe it’s your best vaccine on the market, actually,” he adds, sounding weirdly Trump-like.

If his bullishness is still intact, Stone reveals a more vulnerable side in his recent memoir, Chasing the Light. The book, which he discusses in an online Q&A tonight, goes a long way to explaining his distrust of government, society and, well, pretty much everything. There are visceral accounts of him fighting in Vietnam, and fighting to get Salvador and Platoon made. “The war was lodged away in a compartment, and I made films about it,” he says. “Sometimes I have a dream that I’ve been drafted and sent back there.”

The crucial event in the book, though, is his parents’ divorce when he was 15. Stone realises now that his conservative Jewish-American father and glamorous French mother were ill-suited. Both had affairs. What really stung was the way he was told about their split: over the phone by a family friend while he was at boarding school. “It was very cold, very English,” he says. “I say English because everything about boarding school invokes the old England.” He’s really got it in for us today.

With no siblings, he says, “I had no family after that divorce. It was over. The three of us split up.” His world view stemmed from his parents being in denial about their incompatibility, he writes in the book: “Children like me are born out of that original lie. And nobody can ever be trusted again.”

That disillusionment took a few years to show itself. “All of a sudden, I just had a collapse,” Stone says. He had been admitted to Yale University but his father’s alma mater suddenly felt like part of the problem. He felt suicidal and sidestepped those thoughts by enlisting to fight in Vietnam, putting the choice of him dying into other hands.

The Stone in the book was described by one reviewer as his most sympathetic character. “It’s true probably because it’s a novel,” he says. Well, technically it’s an autobiography, but it’s a telling mistake. Fact and fiction can blur in his work, from the demonisation of Turks in Midnight Express (he wrote the screenplay) to the conspiracy theories in JFK.

Writing the book allowed him to put himself into the story, something he says he’s never been able to do in his films. He has tried. He wrote a screenplay, White Lies, in which a child of divorce repeats his parents’ mistakes, as Stone has. “I had two divorces in my life [from the Lebanese-born Najwa Sarkis and Elizabeth Burkit Cox, who worked as a “spiritual advisor” on his films] and I’m on my third marriage, which I’m very happy in.” He and Sun-jung Jung, who is from South Korea, have been together for more than 25 years. They have a grown-up daughter, Tara, and he has two sons, Sean and Michael, from his marriage to Cox.

White Lies is on ice for now. “It’s hard to get those kinds of things done,” Stone says wearily. Will he make another feature? It’s been documentaries recently, the last two on the Ukraine. “I don’t know. It’s a question of energy. In the old days, there would be a studio you’d have a relationship with, and they’d have to trust you to a certain degree. And that doesn’t exist any more.”

He thinks back to the big beasts of his early years. Alan Parker, who directed Midnight Express; John Daly, who produced Salvador and Platoon; Robert Bolt, who taught him about screenwriting. “Those three Englishmen had a lot to do with my successes,” he says. I think he feels bad about all the limey bashing. “John was a tough cockney, but I liked him a lot.” He liked him more than Parker, whom he describes as “cold” with a “serious chip on his shoulder.” He smiles. “Sure. Alan did a good job with Midnight Express, though.”

You wonder if Netflix could come to Stone’s rescue. They have given generous backing to big-name directors, from David Fincher to Martin Scorsese, Stone’s old tutor at NYU film school. Surely they would welcome him? “Well, that’s why you’re not in charge! Netflix is very engineering driven. Subject matter such as [White Lies] might register low on a demographic.”

Isn’t he also working on a JFK documentary, Destiny Betrayed? That could do better with the Netflix algorithms. “I’m having problems with that too. Americans were so concerned with Trump, I don’t know that they wanted to hear about some of the facts behind the Kennedy killing. They don’t recognise that there’s a connection between 1963 and now, that pretty much all the screws came loose when they did that in ’63.” He smiles. “I know you think I’m nuts.”

Well no, but you do wonder at his unwavering conviction that there was a conspiracy to murder Kennedy, probably involving the CIA. JFK is a big reason why a majority of Americans believe in a conspiracy and, according to Stone, led to the establishment of the Assassination Records Review Board, which he claims is “the only piece of legislation in this country that ever came out of a film.”

Yet several serious studies, including a 1,600-page book, Reclaiming History, by the former prosecutor Vincent Bugliosi, conclude that Lee Harvey Oswald acted alone. That book accused Stone of committing a “cultural crime” by distorting facts in JFK. “I feel like I’m in the dock with Bugliosi. I didn’t like his book at all,” Stone says. “Believe me, you cannot walk out of [his forthcoming documentary] and say Oswald did it alone. If you do, I think you’re on mushrooms.”

Stone knows whereof he speaks regarding psychedelics. On returning from Vietnam he was “a little bit radical” in his behaviour, he says: drugs, womanising, hellraising. He recently took LSD for the first time in years. “It was wonderful,” he says. He hallucinated that he was “moving from island to island on a little boat”.

What was radical in the Seventies can be problematic now. He has been accused of inappropriate behaviour by the model Carrie Stevens and the actresses Patricia Arquette and Melissa Gilbert. “As far as I know I never forced anyone to do anything they didn’t want to do,” he says. Has he modified the way he behaves around women? “Oh sure, no question.”

At the same time, he is disturbed by “the scolding going on, the shaming culture. I don’t agree with any of that. It’s like the Chinese Cultural Revolution. It scares the shit out of me. I do think the politically correct point of view will never be mine.”

He’s not a slavish follower of conspiracy theories — QAnon “sounds like nonsense”, he says, as was the theory that Donald Trump was “a Manchurian candidate for the Russians. That was a horrible thing to do and it hurt that presidency a lot. I’m not an admirer of Trump by any means, but he was picked on from day one.”

What does he make of Joe Biden? “I voted for him, not because I liked him, but as an alternative to Trump’s disasters. He’s got a far more merciful humanitarian side. But he also has a history of warmongering.” Fake news, he says, has “always happened”, in the east and west, on the left and the right. “I mean, back in the Cold War, the US was saying Russia was lying and Russia was saying the US was lying. Each one of these wars the US has been involved in was based on lies.”

It sounds as if Stone has been on the Russian Kool-Aid himself. He is making a documentary, A Bright Future, about climate change that advocates pursuing nuclear power in the short term, and has visited some Russian nuclear plants. They are “very state-of-the-art,” he says. “The US is not really pursuing the big plants, the way Russia and China are. I believe in renewables, but they’re not going to be able to handle the capacity when India and Africa and all these countries come online wanting electricity.”

Putin liked the interviews Stone did with him in 2017, he says. “I think they contributed to his election numbers.” Wasn’t he too easy on the Russian leader? “That’s what some say. But I got his ire up. I did ask him some tough questions about succession. ‘I think you should leave’ — that kind of stuff. The pressure that Russia is under from both England and the US is enormous,” he adds. “Unless you’re there I don’t know that you understand that. Because you take the English point of view, and they have been very anti-Soviet since 1920. You talk about fake news — I feel that way about MI5 and MI6.”

You can’t help but admire Stone’s conviction. If he’s modified his behaviour that’s probably a good thing, but as he says, “I’m not so sure I’ve modified my thinking. I express myself freely. I don’t want to feel muzzled.” Whatever you think of him, be grateful he hasn’t been.

-Ed Potton, “You talk about fake news. I feel that way about MI5 and MI6,” The Times of London, Feb 8 2021 [x]

[ariesrps]

in honor of a recent rise in roleplays set in the uk, coinciding with the recent global success of the new british netflix show sex education, i was inspired to create this guide to roleplaying british characters. as a british kid myself i love seeing these characters in rps, but have often had friends in the rpc tell me that they struggle to write them due to the differences in popular culture, dialect, slang, media etc.

of course, accuracy isn’t TOO important when it comes to this, since british people generally aren’t a marginalized or oppressed group. however i do think this is a guide a lot of people will find valuable. in a poll with 43 respondents, the highest percentage of roleplayers were from north america (72.1%) compared to only 9.3% coming from the united kingdom (all info correct at time of posting). with the assumption that people mostly write characters that are from the country they’re most familiar with, there aren’t a lot of british characters in tumblr rp. if this guide can provide non-UK-based rpers with the info they’re seeking to pen a british muse, then my job here is done!

DISCLAIMER: if you were looking for a guide written like an essay or report, this ain’t it! this is mostly a collection of external resources you may find useful when writing your characters, as opposed to written instructions.

PLEASE, LIKE OR REBLOG THIS IF YOU FOUND IT USEFUL IN ANY WAY!

GEOGRAPHY — where will your character be from?

as a british person who isn’t exactly the most well-traveled, there are definitely inaccuracies in my knowledge of other countries’ geography. i wouldn’t be surprised if some people struggle with the same issue, but regarding the united kingdom. if your character is from the UK, it’s important to know that their characterization should differ depending on which part they’re from.

map of the british isles

map of england

map of scotland

map of wales

map of northern island

the difference between the UK, great britain, and england: explained

why is the republic of ireland not a part of the united kingdom?

NOTE: this guide will not include info on how to write characters from the republic of ireland, as that identity is one of its own and is not classified as part of the uk!

SOCIAL CLASS — what kind of socio-economic background will your character have?

class is an important issue in the UK, in some ways more-so than the US. the first bullet point of this section is an interesting article which explains why this is, but to summarize: the american dream – though flawed, is a reality to an extent. there is no such concept in the UK, making the class situation and socio-economic divide a little different.

“in the uk, i’m working class, but said goodbye to that title in america” article

the seven social classes of 21st century britain — where do you fit in?

POLITICS — what kind of stance will your character take?

just like in any country, politics is extremely important in the UK. just like in america, the country is extremely divided between left and right. if political views is something your character views as important, or you think that their politics defines their characterization in any way, this section should be helpful!

parliamentary (UK) vs. presidential (US) democracy, explained

the uk’s many political parties, explained ( NOTE: this video is slightly outdated. the prime minister, and leader of the conservative party, is now theresa may, not david cameron. but you probably already knew that. )

uk political spectrum

2017 uk general election map

brexit, explained

to summarize the two main parties: labour = left-wing = good. conservative = right-wing = bad.

ETHNIC DIVERSITY — what kind of ethnic background will your character have?

similarly to the US, the UK (though dominated by caucasian people aka white british) encompasses many different cultures. according to the UK gov “87% of people in the uk are white, and 13% belong to a black, asian, mixed or [from] other ethnic group[s], according to the combined 2011 censuses.” while non-white ethnicities are a definite minority, it’s so important not to erase their existence.

a chart illustrating the uk’s race / ethnicity breakdown

britain’s most racially diverse areas

2011 census reveals most ethnically diverse city

IDENTITY — what kind of cultural identity will your character have?

ask a scotsman for a handful of reasons he’s different from an englishman, and he’ll talk for hours. within england alone, ask a londoner how they’re different from a mancunian and they’ll talk for even longer. different parts of the uk have different identities, and it’s important. something we want to avoid is the “posh”, well-spoken, crumpet-eating stereotype or, on the other end of the spectrum, the modern-day oliver twist. expand your horizons!

stereotypes americans have about british people that aren’t actually true

10 differences between brits and americans

what does it mean to be british?

ENGLAND

how is the south of england different to the north? (spoiler: very)

north-south divide wikipedia

culture of england wikipedia

SCOTLAND

our scottish culture: so much more than kilts and bagpipes

scottish culture and traditions guide

culture of scotland wikipedia

WALES

wales history, language and culture

welsh culture: facts and traditions

culture of wales wikipedia

NORTHERN IRELAND

northern ireland – cultural life

northern ireland history and culture

culture of northern ireland wikipedia

LANGUAGE, DIALECT, ACCENT, SLANG — how will your character speak?

here’s where the fun parts start! there are so many different variations of accents, regional dialects, area-specific slang and colloquialisms throughout the uk. sometimes i see british characters being written with little to no use of any of these, nothing at all differentiating them from american characters and it’s such a waste in my opinion. even if you don’t like writing with a an accent (some people don’t!) the dialect and slang words along can make your character so much more authentic.

how are british english & american english different?

everyday american words we don’t use the same in the UK

america vs british english – 50 differences

NOTE: resources for the north of england are higher in quantity than the midlands and south of england due to wider variations of accents within the region.

ENGLAND (NORTH)

a tour of northern english accents

a - z of northern slang (GENERAL NORTHERN)

northern slang with blossoms (GENERAL NORTHERN)

a - z of mancunian slang (MANCHESTER)

mancunian: english like a native (MANCHESTER)

scouse: english like a native (LIVERPOOL)

scouse slang (LIVERPOOL)

geordie slang (NEWCASTLE)

mackem slang (SUNDERLAND)

yorkshire slang (YORKSHIRE)

the yorkshire accent (YORKSHIRE)

sheffield slang (SHEFFIELD)

arctic monkeys slang lessons (SHEFFIELD / YORKSHIRE / GEN. NORTHERN)

ENGLAND (MIDLANDS)

how to speak birmingham (BIRMINGHAM)

a brummie accent (BIRMINGHAM)

7 things said in nottingham (NOTTINGHAM)

black country dialect (BLACK COUNTRY)

ENGLAND (SOUTH)

10 common british/english slang expressions & phrases (NON-SPECIFIC)

cockney (LONDON)

cockney rhyming slang: english like a native (LONDON)

roadman slang vs cockney slang (LONDON)

london street slang, translated (LONDON)

west country: english like a native (WEST COUNTRY / SOUTH WEST)

essex slang (ESSEX)

mark watson on bristol slang (BRISTOL)

slang of the south - portsmouth (PORTSMOUTH)

WALES

welsh people on welsh slang (GENERAL WELSH)

taron egerton talks welsh slang (GENERAL WELSH)

common welsh sayings (GENERAL WELSH)

luke evans on welsh slang (GENERAL WELSH)

25 words and phrases you’ll always hear in cardiff (CARDIFF)

swansea slang (SWANSEA)

20 welsh colloquialisms (GENERAL WELSH)

29 words that have a totally different meaning in wales (GENERAL WELSH)

welsh language wikipedia

SCOTLAND

how to speak & understand glaswegian (GLASGOW)

gerard butler teachers you scottish slang (GENERAL SCOTTISH)

glasgow slang words (GLASGOW)

most used scottish slang words & phrases (GENERAL SCOTTISH)

doric from around aberdeen (ABERDEEN) note: definitions in description

edinburgh dialect words (EDINBURGH)

trainspotting slang explained (GLASGOW / GENERAL SCOTTISH)

scottish words glossary (GENERAL SCOTTISH)

glossary of scottish slang & jargon wikipedia (GENERAL SCOTTISH)

handy scottish words to know (EDINBURGH / GENERAL SCOTTISH)

28 great scottish sayings and slang phrases (GENERAL SCOTTISH)

use of gaelic in scotland wikipedia

NORTHERN IRELAND

jamie dornan teaches you northern irish slang – vanity fair (GENERAL N. IRISH)

jamie dornan does northern irish slang – bbc (GENERAL N. IRISH)

28 sayings from northern ireland (GENERAL N. IRISH)

northern irish words (GENERAL N. IRISH)

16 slang phrases you’ll need to know in northern ireland (GENERAL N. IRISH)

17 words and phrases you’ll always get in belfast (BELFAST)

a list of belfast sayings (BELFAST)

derry slang words 1 (DERRY)

derry slang words 2 (DERRY)

use of gaelic in northern ireland wikipedia

SURROUNDINGS — what’s it like where your character grew up, or where they live now?

whether your character comes from one of these places OR lives there now (or both!) it might be interesting to incorporate some of their surroundings into their characterization. this section isn’t classified by country/region, because if i were to start going into that much detail here, this guide would go on forever!

10 incredible historical towns in the uk

where are the largest cities in britain?

a guide to the english countryside

the 15 most stunning places in the uk outside of london

top 50 areas for quality of life in the uk

10 best party cities in the uk

10 best student cities in the uk

10 of the uk’s most creative towns & cities to live, work & play

cities with the youngest vs oldest age population

map of stereotypes in the uk

google autocomplete map of the uk “why is [city]...”

POP CULTURE / MEDIA — what does your character like? what are they consuming?

us brits are very proud of our own british-made media. our television, our music, our cinema, etc. if you’re somebody who is interested in including the things a character likes in their characterization, it would be unrealistic not to give a british character some favourites from the place they’re from.

uk map showing where tv shows are set and filmed

uk map showing the origins of famous bands/musicians

the uk’s most popular tv shows according to IMBD

10 best british rock bands of the 21st century

the ultimate reference guide to british pop culture

LASTLY, HERE ARE SOME RESOURCES ON WRITING BRITISH CHARACTERS:

making british characters realistic as an american writer

tips from a brit for writing british fictional characters

another ‘writing british characters’ guide by @thewritershelpers​

another ‘writing british characters’ guide by @writeworld​

another ‘writing british characters’ guide by @rphelper

how to write dialogue for british characters

writing black british characters by talkthepoc on wattpad

of course, this is overkill. there’s no way on earth you’ll ever need all of these resources, but they’re here and i hope you find some use out of this guide! please forgive any inaccuracies or mistakes, this is my first time writing a guide. you’re welcome to leave me feedback on this here. last but not least, HAPPY WRITING!

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Weekend Football

Welcome to my first blog. I’ve chosen an incredibly original subject to write about, that being men’s association football, seeing as nobody ever talks about it and it’s seldom seen on TV.

 However, despite this, I am going to try and look at it from a different angle including TV coverage. I’d like to use the word ‘irreverent’, but this just reminds me of an irritating, try-hard ‘comedian’ who’s just got his (or her) own vacuous show on some late-night slot on BB3 (RIP) or ITV2.

 A little about the author. I’m a cantankerous, cynical sports fan, born in the 80s, a misty-eyed romantic, harking back to ‘the good old days’ of football in the 90s, when players like Shearer, Gazza, Baggio and Weah were my heroes. When social media and being ‘woke’ wasn’t a thing; players weren’t trying to make side careers in broadcasting, making clothes, giving themselves nicknames like ‘J.Lingz’ or being cool and looked like the supporters on the terraces.

 And so, as you’re losing the will to live, onto the football. The weekend started (for me, at least) with the lunchtime kick off at the Olympic Stadium for West Ham vs. Tottenham. Of course, all the talk was about Jose’s return, and I’ve a feeling he took the Spurs job simply because the first game was the welcoming prospect of facing West Ham; like returning from holiday and getting a hug off your mum, this was as nice a comeback as is possible.

 The downside of the lunchtime kick-off is that we’re forced to watch the game on BT Sport. From the annoying, smarminess of the presenter Jake Humphries, a man who’d probably show you his bank balance on a night out, to the twee, cockney geezer analysis of Joe Cole. How appropriate that this match featured the ‘Ammers, because the latter always reminds me of a member of Albert Square.

 The game itself was as underwhelming as Joe’s hairline, with West Ham playing up to their ‘mumsy’ role and allowing a Spurs team with only one away Prem win in the last 12 months to romp into a 3-0 lead, before showing some sort of commitment and getting a couple of late goals back. In truth, 3-2 flattered West Ham, who were so bad in the opening 45 minutes, that it prompted the pundits to laud Dele Alli, who is now apparently ‘back’, a conclusion that was drawn primarily from one on-the-floor back flick to Son which brought about the second goal, and not much else in the way of hard evidence.

 Accordingly, Mourinho had a part to play with a fantastic bit of man management in which he supposedly asked ‘Dele’ if he was the real person, or if it’d been his brother playing for the past year. With insight like this, why is ‘The Special One’ (I hate that nickname, so please read it with the highest level of cynicism humanly possible) wasting his time managing Tottenham and not involved in the Brexit negotiations or middle east peace negotiations? It baffles me.

 Fast forward past Gillette Soccer Saturday, which is now becoming trite given that Charlie Nicholas and Phil Thompson are still on our TVs every week. With a similar, baffling level of ubiquity, they’re like a football version of Ant & Dec, but without any of the wit, charm or entertainment value. Nicholas still thinks he’s living in the 80s with his poncey haircut and daft earring, and Thommo is just annoying, spitting out heavy clichés with his guttural scouse accent for six hours each and every grinding Saturday afternoon.

 Saturday tea-time brings us the delights of crisis club (again, find that sarcasm level and ramp it up to 11) Man City at home to Chelsea, who, as many before me have remarked, have become weirdly likeable. I guess when John Terry isn’t involved with a club, they immediately become 1,000 times more affable and it feels acceptable to not hate them.

 The game itself was dull, with not much to talk about except the disallowing of Raheem Sterling’s goal because his armpit was offside. Thank God for VAR, otherwise the heinous, egregious error to award Sterling that goal would've stood. What a time to be alive and how grateful we should all be that this fantastic piece of technology has been brought in to 100% improve the world's greatest sport. Truly joyous. As is probably obvious, I hate, hate, HATE VAR. It’s sucking the life out of football, with its sanitation and cleansing of passion. I’d rather see 100 incorrect decisions per season that be forced to spend five minutes watching the fun police disallowing a goal because a striker’s pubic hair is beyond that of the last defender.

 Talking of fun police, in the studio are Roy Keane and Jamie Redknapp, a couple of pundits whose opinions are polar opposite in terms of validity. Keano could tell me that Primark made the world’s best garments, and I’d believe him. On the other hand, Redknapp would, for me, struggle to sell water to a man dying of thirst. He should be put out to pasture now, free to pursue his interests, which no doubt include heading into town after the match to see how young a woman he can pull (to be clear here, I’m not suggesting he’s the new Adam Johnson, just more that he’s probably a bit of an old sleazebag) and trying on as much aftershave as possible.

 Saturday ends with Match of the Day, which is still the only way to watch Premier League highlights. If you don’t enjoy watching and listening to the obvious dad jokes of Lineker, then you’re probably someone who votes for the Brexit party and can’t see past your right-wing views. On the other side of that weird, low table they have are Danny Murphy and Alan Shearer.

 Murphy, for me, always looks like he’s just stepped out of Burton’s menswear but is annoyed at himself for once more going back in after being disappointed with his previous purchases. I heard a BBC commentator/presenter once say that Murphy is ‘hilarious and great company’. That same commentator also spent some time in a correctional facility in the early 2000s, so his gauge of fun and good company might be somewhat skewed. Shearer is Shearer. As a Blackburn fan, I won’t say a bad word against him, and his punditry has drastically improved over the years, but he does have a habit of, have a habit of repeating himself, which is his idiosyncrasy that I find quite endearing.

 As I’m writing this, Sheffield United are playing Man United. In the studio, Graeme Souness and Brian Deane are both dressed like country gents who are about to go shooting pheasants and grouse at Sandringham (with Prince Andrew and Jamie Redknapp, perhaps?), and on the field, another Blackburn connection is Phil Jones, the gift that keeps on giving, handing the Blades the lead with a fantastic piece of misjudgement that allowed the striker Lys Mousset the opportunity to pull the ball back and give his team the lead. The final 25 minutes was chaos, with two mid-table sides scrapping it out to a 3-3 draw with awful defending getting the assists.

 That’s all I can muster this week. If you managed it, congratulations on getting to the end. What will football bring us next week? I can hardly contain my excitement at the prospect.

[bbclesmis]

Daily Mail: 'Les Misérables is a songless triumph'

DEBORAH ROSS: 19 years for bun theft? You’d be misérable too

Andrew Davies’s six-part adaptation of Les Misérables, Victor Hugo’s 1862 novel, which runs to around a million pages or something, has been necessarily distilled. There are no songs but, and I know this will come as a surprise to some, there weren’t any in the book either. Still, it is odd. What is the point of Fantine if she doesn’t get to sing one great song before she dies? And dream a dream? Yet, having said that, it isn’t too distilled. If it were too distilled we’d all see it for what it is, which is, surely, just a lot of fuss about a minor parole offence. So it is distilled just right. It is brilliantly distilled, even. A triumph. Although I may feel different when everyone songlessly gathers at the barricades, obviously. I don’t even know what songless barricades would look like, to tell the truth.

The first episode deftly introduced us to all the main players, including our protagonist, Jean Valjean (Dominic West), who is breaking rocks in a Toulon prison while serving the last 12 months of his 19-year sentence for stealing a loaf of bread. West’s Valjean is Hulk-like, magnificently bearded and magnificently boiling with hatred and defiance, as can happen, one supposes, if you’re going to get 19 years for stealing a bun. David Oyelowo plays his nemesis, Javert, the prison guard. Some viewers complained that there was no way Javert would be African, but as we are watching English people playing French people who happen to be speaking English, those who wish to have arguments about ethnicity are on thin ground.

Davies, who adapted Phwoar & Peace, and that wet-shirted Pride And Prejudice, is famed for homing in on erotic content and making these adaptations ‘sexy’, so tell me: when Valjean had to strip for Javert on his release from prison, that look Javert gave him? Homoerotic? Is this why Javert returns Valjean’s magnificently boiling hatred? Because he’s attracted to him and can’t face up to that? You may or may not buy this, but you can’t say Davies isn’t making us think about the characters afresh.

Meanwhile, across town, so to speak, the young grisette Fantine (Lily Collins) and her friends have fallen in with that trio of rich boys. The friends had warned her not to get in too deep with her own particular beau, Felix (Johnny Flynn) – he’s just amusing himself before returning home to marry someone posh – but he is different, she keeps hoping. Fantine can come across as a fool, but here Collins brings her innocence and sweetness to the fore, although why she speaks like she’s been to Roedean when her friends are all Cockney, I don’t know. Felix does abandon Fantine, and that scene in the restaurant when the letter arrives to say he’s gone was truly heartbreaking. Indeed, in such circumstances, there may be no sadder a PS than: ‘The meal is paid for.’

As we left it, Valjean had been freed from prison and set on the path to good by Bishop ‘take my candlesticks’ Myriel (played by a wonderfully scene-stealing Derek Jacobi), and even though this is a story I already know, it feels reborn. Also, there is still Olivia Colman to come.

Davies, now 82, is the greatest television adaptor of all time, but if you were looking for any true insights they weren’t to be found in Andrew Davies: Rewriting The Classics. The talking heads largely said what we already know. He is brilliant at taking what’s important from an original source and discarding the rest. He offers ‘a fiercely clear attitudinal take’. He visited his old school and his childhood home but this profile only perked up when he mentioned he started writing as a means of understanding his mother, who was ‘a complicated woman’, but no one then asked him about that. I was screaming at the television: ask him about his mother, ask him about his mother, for God’s sake, what was it with his mother? It may be he didn’t want to talk about his mother, but they should have had him say that. In short: a better understanding of character was not achieved in this instance.

[amsaro]

Americans are also the only people I’ve ever heard say “he has an accent.” 

Like ... that is an incomplete sentence. It’s like describing someone by saying “he had hair.” What hair? Long? Short? Black? Brown? Curly? Straight? 

What accent?

Among international English speakers, that might be English, Scottish, Irish, Welsh, Canadian, American, Australian, Kiwi, South African?

Even just in England, nobody would say “an accent.” It would be Cockney (or Estuary), Brummie, West Country, Mancunian, Scouse, Geordie. And these are just the broadest strokes. Manchester and Liverpool are less than 40 miles apart and their accents are wildly different. Newcastle (Geordie) and Sunderland (Mackem) are even closer together, yet there are marked differences. People talk about a Welsh accent, but north and south Wales are worlds apart.

Given how London/southeast-centric England is, it wouldn’t surprise me if estuary speakers referred to anything else as “an accent” but they don’t. It’s a meaningless phrase. Because, as OP says, everyone has an accent.

And it’s not as if the US is accent free. I guess by “an accent” you’d include the generic southern accent, of which there are dozens of variations. What about New York? That’s about as centre-of-the-universe as you get, but even to a foreigner it’s a distinctive accent. Most people can pick up a Boston accent, but there are variations across New England. Many people can pick up a “Minnesota” accent, but to a non-native the entire upper-Midwest sounds the same. 

Everyone has an accent.

So I’ve recently become aware that some Americans (I hope not all) do not think they have an accent. Like, they just think how they speak is like “the normal” and everyone else has an accent... no. Americans, you have an American accent. When you speak I, as a non-American, immediately learn you are from America because you have an American accent. And perhaps, if it’s very strong and distinctive, I may even be able to tell what part of America you’re from, from your accent. In short, EVERY SINGLE PERSON has an accent!