Showing posts with label music. Show all posts
Showing posts with label music. Show all posts

go west/south

Jim recently (ish) wrote to ask me about this line he read in Magpie Murders by Anthony Horowitz:


At the time, I hadn’t completed a deal with the BBC and the whole thing could have gone west.



Jim wondered about that gone west, which seemed to be equivalent to AmE gone south

Twenty-some years in the UK, and I hadn't knowingly encountered that meaning of go west. But it's definitely out there.


Cambridge Dictionary
 gives the sense that Horowitz probably intended, and marks it as "UK informal".

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fudge

In The Prodigal Tongue I wrote quite a bit about how differences in prototype structures for word meanings can lead to miscommunication between BrE and AmE speakers, and I've written about such differences here on the blog with reference to soup and bacon sandwiches. This past week I was faced with an example I'd never considered before: fudge

I'm sure I've never considered it because I have no interest in eating the stuff. I don't even really like walking by the fudge shops in Brighton with their sickly smells pouring out onto the (BrE) pavement/(AmE) sidewalk. But then Welsh-linguist-in-the-US Gareth Roberts ran this Twitter poll and I thought "Oh, yeah. That's true, isn't it?"

f someone said they had a box of fudge for you, would you expect it to (most likely) be chocolate-flavoured?  Where are you from?  Feel free to comment to add nuance. And please retweet if you're interested in the results. Yes; from  Flag of United States / Flag of Canada   44.4% No; from  Flag of United States / Flag of Canada 4.9% Yes; NOT from  Flag of United States / Flag of Canada 7.6% No; NOT from  Flag of United States / Flag of Canada 43.1%

First thing to note: fudge in its food sense is an Americanism, and it seems to have been mostly chocolate at the start. The OED's first citation for it comes from a Michigan periodical in 1896 and reads "Fudges, a kind of chocolate bonbons." Wikipedia notes that a recipe for "Vassar chocolates" (made at the college/university in the 1890s) was actually vanilla fudge—which seems to say that fudge could be considered to be the poor student's chocolate, no matter the flavo(u)r.

At least some of the North American 'no' votes were Canadians laying a claim for maple fudge, but other Canadians agreed with most Americans that in North America fudge can be assumed to be chocolate unless otherwise specified, while BrE respondents mostly said it was vanilla unless otherwise specified. As a result, chocolate fudge turns up more in BrE than in AmE:

I should note that 20 of the 41 UK hits for chocolate fudge are followed by cake and a few more are followed by other nouns like frosting or biscuits. There's only 1 chocolate fudge cake in the AmE data, but if you look for fudge cake there, you get double fudge cake, which (I'm willing to bet) any American would interpret as an extra chocolatey cake. (The BrE data include no double fudge cakes but one double fudge chocolate cake, underscoring that you need to mention chocolate because fudge doesn't mean chocolate in BrE.)

Now, we've seen something like this, but a bit different, before: BrE use of chocolate brownies. In the case of fudge, Americans (like UKers) have many, many flavo(u)rs of fudge these days. But because the prototypical (and original) American fudge is chocolate-flavo(u)red, Americans tend to only specify a flavo(u)r where it's contrary to that prototype. 

For BrE speakers, chocolate is contrary to the prototype, and so needs specification. Looking for fudge recipes on BBC Good Food, the 'classic fudge recipe' (pictured right) and plain ol' fudge are flavo(u)red with vanilla only.

the actual jar, 2014

AmE also has hot fudge, which is a thick chocolate sauce that needs to be heated to make it pourable. One of my best blogger moments was when a US reader came to see me talk in Reading (England) while she was on her holiday/vacation. Knowing she would see me and knowing that I went to college/university in western Massachusetts she brought me a jar of hot fudge from Herrell's, a Northampton, MA ice cream shop that happened (she didn't know this) to be in the same building as where I held my first full-time job. I think I heated up one bit of it for an ice cream (orig. AmE) sundae. The rest I ate spoon by spoon straight out of the fridge over the next few months. Hot fudge is not literally heated fudge, but instead fudge here "Designat[es] sweet foods having the rich flavour and dense consistency associated with (esp. chocolate) fudge". The OED marks that definition as "Originally and chiefly U.S."

Back in the UK, Cadbury Fudge is bar of chocolate-coated fudge in the BrE sense. They typically come in a small size and are the kind of thing that children with not-too-much pocket money might get after school.


This led me to wonder if fudge is used differently as a colo(u)r name in the two places and sure enough, this is what happens when you search for "fudge paint color" in the USA:


I couldn't find as many brands offering fudge-colo(u)red paint in the UK, but the one that does seems to go in the vanilla fudge direction:



So, if you're travel(l)ing to another country and need to describe yourself to the person who'll be picking you up from the airport, I'd advise against saying you'll be the person in the fudge-colo(u)red jacket.

A few more fudge facts:

  • The meaning 'to do in "a clumsy, makeshift, or dishonest manner"' (OED) is over 200 years older than the food meaning. That came from an earlier word fadge, and it's thought that the vowel alteration was symbolic: people fudged the pronunciation to indicate they were talking about something fudged.

    Fudge the food might well get its name from the fact that it was a way to make candy/sweets at home, "fudging" the usual processes for making fancy chocolates and the like.

  • The exclamation Oh fudge! similarly predates the candy/sweet. I'm sure many people these days think of it as a minced way of saying another word that starts with fu, but the first interjection use of fudge in the OED in the 1700s predates their first use of that other word as an interjection (and the one in Green's Dictionary of Slang) by nearly 200 years. The original use of fudge as an interjection meant something more like "Nonsense!"

  • The usual BrE mnemonic for the high notes of the treble clef is Every Good Boy Deserves Favour. In AmE I learned Every Good Boy Does Fine, but a more recent AmE version is Every Good Boy Deserves Fudge. Click here for an n-gram chart, showing the rise of fudge.


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choirs and preaching to them

I'm feeling a bit of pressure to put nice pictures at the start of my blog posts because the new homepage layout features whichever picture is first. Corpus tables make boring pictures, so I am using this as an excuse to share with you a delightful animation, Choir Tour:


CHOIR TOUR from Atom Art on Vimeo.

So, with that out of the way, @gwynf has asked me about preach to the choir versus preach to the converted, which was a nice coincidence because I'd recently looked it up myself. Either phrase means 'pointlessly make an argument to those who already agree with your point of view'. I felt like I've always said converted and that I'd learned choir in the UK. I think the first of those feelings is accurate (I do believe converted is what my mom said and it is what I say), the second probably isn't, since choir is clearly the preferred American phrasing:
From GloWBE corpus

Preach to the congregation is also found in BrE, but in much, much smaller numbers. (In this corpus: three!) A related BrE expression is sing from the same hymn sheet i.e. 'share an opinion or position'. Both AmE and BrE also have sing the same song/tune. (Thanks for pointing that out @UnexpectedBag.)

Maybe (and I know I'm going to make enemies here) I like converted better because I mostly really don't care for choral music. (Sometimes it's less the music that's the problem than the choir.) I don't want to preach to the choir because if I pay them too much attention they might guilt me into going to their charity concert at Christmastime and sitting miserably through it, thinking "I could die later today and I will have wasted my last hours here." I know I shouldn't admit to not liking choirs. They're like mobs. They could (orig. AmE) beat me up.

Anyhow, the word choir is worth discussing too. In BrE there are choirs all over the place. Many of my friends (who will soon be beating me up) are in them. And many, many of them are non-religious. Community choirs they're called, and they do everything from classical to indie music to gospel (for the music, not necessarily for the gospel). BBC (BrE) programmes Last Choir Standing, The Choir, and The Naked Choir give an inkling of the popularity of choral singing as a secular activity.

In the US, choir is more associated with church-affiliated groups and maybe some classical ones. My school didn't have a choir, it had a chorus. Other terms like chorale and glee club give a sense that the group is singing works that are not necessarily choral in origin. (At least, that's the sense they give me--but there's nothing to stop a chorus from singing non-choral works either. My school chorus memories are of a bunch of kids belting out cheesy Christmas songs at the tops of our lungs with no attention to cooperation or harmony.) Various websites out there argue about the differences between these various terms. The fact that they have to argue probably means that the terms aren't being used in any consistent way. I would take chorale and glee club to be much more old-fashioned terms.

A look at statistically-strongly-American (pay attention to the green ones) versus statistically-strongly-British words before choir in the Corpus of Global Web-Based English shows that choir gets more of a (orig. AmE) workout in BrE:


But then there's (AmE) show choir, a type of non-religious school singing-and-dancing group that was brought to the world's attention by the television (AmE) show Glee. I've written about that before--so please see/discuss at that old post.

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Before I (AmE) go hide (BrE/some AmE go and hide) from the angry singing mobs, I'll just note that I'm on BBC Radio 3's The Verb this Friday (11 Nov) at 22.00 (UK time). It's available online for a month afterward. I think we'll be talking about words for the generations, so to speak.

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hokey-cokey, hokey-pokey

Thursday's British referendum on EU membership (let's not talk about the result) has given American readers cause to wonder about the hokey-cokey (thanks for pointing this out, Emma). Americans know the song-dance as the hokey-pokey. On referendum day, it was a hashtag on Twitter, with gems like these:





 (Click here for a barbershop referendum hokey-cokey.)


Various sources tell origin stories for the song/dance. It may be based on an old British or Irish children's song/game, but it definitely became popular (as hokey-cokey) in British music hall entertainment in the 1940s. The Hokey Pokey Dance was copyrighted in the US in the 1940s, and recorded in the 1950s as the Hokey Pokey.  And of course there were legal battles.  I'll refer you to Fraser's Phrases on BBC America's Anglophenia for more of the story.

Sometimes it's also known as The Hokey-Tokey. Maybe particularly in New Zealand where Hokey-Pokey is a flavo(u)r of ice cream.

The tune is the same, but the lyrics (and therefore actions) may differ a bit.  I can only tell you about where I grew up in the US and where my child is growing up in the UK, and there might be local variations.

Here's a Hokey Pokey:




And here's a Hokey Cokey:

The differences in these are in line with my experience, that the "knees bent, arms stretched, rah-rah-rah" part is not used in the Hokey-Pokey, but is generally found in the Hokey-Cokey.

Any other good #hokeycokey tweets or jokes to share? Or school dance horror stories? I need some cheering up...
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playing (the) musical instruments

John Wells wrote to ask:
Have you discussed BrE playing the piano/violin vs. AmE playing piano/violin?
Not really, John, and it turns out that it's one of those things that's (all together now!) more complicated than you might think! 

The Corpus of Contemporary American English (COCA) has 689 play* the piano to 309 play* piano. (The * there used as a wildcard in corpus searches; so play* gets us play, playing, played, etc.) That's more than two arthrous (fancy word for having a the) cases for every anarthrous (fancy word for not having a the) one--in American English.

But those numbers need a bit more checking because any dialect would have playing piano music without a the. To get a better comparison, I looked at cases where piano is followed by an adverb (e.g. play [the] piano beautifully/well/loudly/tonight...) so that we can be sure that piano is a noun on its own and not a noun modifying another noun. Doing that, there are 53 arthrous cases and 23 anarthrous ones in COCA. So, pretty much like it was when I didn't take those sane, linguisticky precautions. The British National Corpus, in comparison, has 14 arthrous cases and 1 anarthrous. (But keep in mind that the data from BNC is 20 years older than that in COCA.)

The moral of that part of the story: it would not be right to say that  play piano is AmE for BrE play the piano. Instead, play piano is a lesser-used AmE variant of General English play the piano. The image here, from pianoplayingadvice.com, illustrates both variants living happily together.


Personally, I could say either, but prefer it with the the.  A bit more rooting around in the Corpus of Historical American English shows a bit of anarthrous piano-playing throughout the 20th century, but it really gets going in the 1970s, when the proportions are like those in COCA.

But hold your horses. If we look at other instruments, it gets more complicated.  (I'm rounding the numbers, unless they're <2 .="" comment-2--="">
  • Violin: In COCA, the is favo(u)red 3:1.  In BNC, 5:1.
  • Harp: In COCA, the 4:1. BNC 8:0.
  • Guitar: Ziggy played guitar. Maybe the Spiders from Mars made him do it without the the, but in 1990s UK, the British were following suit and, like 2010s Americans, using play guitar twice as much as play the guitar. 
  • Bass: Looks like a reversal! COCA 2:1.  BNC: 1:5.
    I tried discounting cases like playing (the) bass line/notes, but taking them out made no real difference.
  • Trumpet: COCA1.4:1. BNC 5:2. 
  • Flute: COCA 4:1. BNC 8:1.
  • Drums: Play drums outnumbers play the drums in both dialects. Is it because it's plural? But what about...
  • Spoons: Tiny numbers, but more the in AmE and equal numbers of both in BrE.
I could go on looking for more instruments, but I won't. (Report your findings in the comments if you wish.) It looks like BrE eschews the more often for stereotypical rock instruments than for others -- guitar, bass, drums (Bowie's fault? American rock'n'roll's fault?). I don't see a clear pattern to the US preferences--but in general it's not completely unusual to have anarthrous ones. Bass is the interesting one for its anarthrousness in BrE.

Is it just with play, though? No. Going back to sticking with piano, COCA has half as many practic(e*) piano as practic(e*) the piano. BNC has four practis(e*) with the and one without.

On piano is also common in COCA (about 1/3 as many as on the piano). BNC has 20 on piano to 73 on the piano--very much the same. In this case, some of the on the pianos will have been about particular, physical pianos, as in I stubbed my toe on the piano. There's no possibility of I stubbed my toe on piano. But if a singer were giving credit to her band, she could say ...and Lynne Murphy on piano! or ...and Lynne Murphy on the piano!  (Not me, of course, I only had a year of lessons.) I'm waiting for one of you to go out and listen to dozens of concerts with British and American singers to tell me if they all say on drums! on bass! 

Finally, the why questions.

Why do we put a the before instruments? It's a funny thing. If I lie and say I play the piano, it's not a particular piano that I am playing. It's that I have the potential to play any piano. (Whereas if I say I've draped myself over the piano, it is a particular piano.) It's kind of like the bus in I ride the bus to work. In that case, it's not the particular physical bus we're talking about--that can vary. It's the whole package that goes with bus-riding. I ride a bus that travels along the route between my street/road and my workplace. There's a package that goes along with pianos too. I'm not just playing the instrument, I'm playing music on the instrument. The music that I know how to play on any "the piano" is kind of like the routes that I travel on any "the bus".

In spite of all that, there's no pressing semantic reason for the the. We don't play the cards or play the dominoes even though similarly, if I say I know how to play dominoes, I'm saying that I know the rules for playing on any instrument of that type (any set of dominoes). [Yes, dominoes are the instrument, not the game--though people who only know one domino game tend to call it 'dominoes'. I am particularly fond of Mexican Train.] So why do we usually have a the with musical instruments, but not with game equipment? (The answer: because that's what we learned to do.)

The arthrous version is unhelpfully ambiguous, so maybe that is a contributor to the rise of the anarthrous alternative. If I say I play the piano I could be trying to point out that I know how to play a piano (so invite me to play at your wedding), or it could be saying that I play a particular piano habitually (so don't get rid of it). I play piano doesn't seem to have that ambiguity, so could be seen as more communicatively efficient. The play + bare-noun construction is familiar, since we say things like I play tennis, I play jazz, I play goalie.


If you want to carry the conversation toward(s) other cases of (an)arthrous variation in AmE and BrE, have a look at the past posts with the 'determiners' label. I've written about some of the famous ones already, and your comments on them would be most welcome at those old posts (which are still regularly read). And you're most welcome to carry on the conversation about musical instruments (and games) on this post, of course!
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in the middle of our street/block

When I don't know what I want to blog about, I stick a virtual pin into the email inbox and choose the first do-able request/suggestion that I find. This is supposed to be a fair method, though perhaps not as fair as 'first come, first served'. Truth be told, many of the oldest ones in the inbox are in the 'may not be doable' or 'may not be a real difference' category, so I have come to avoid them a bit. At any rate, my 'fair' method might not seem fair this time, since the suggestion I've clicked on is from the same requester as the last blog post.

So, thank you Ben Zimmer for putting another interesting and pop-culture-related suggestion in my inbox. Ben noted the use of in the middle of our street in the Madness song 'Our House', and asked: "Have you talked about this one? I don't think it's possible in AmE for a house to be in the middle of a street."

Yes, that's an interesting one.  But so is the rest of the song.  It's Saturday night--let's do the whole thing!




I should start by noting that this is the only Madness song that made it to the Top 20 singles chart in the US, whereas in the UK they were HUGE, having 20 singles in the Top 20 in the 1980s (more if you count re-issues). So, for British people of my generation, mention Madness and they're as likely (if not more likely) to wax nostalgic about 'Baggy Trousers' or 'House of Fun' as about 'Our House'. Still 'Our House' has had  a lot of attention in the UK. It won the 'Best Song'  in the Ivor Novello Awards, became part of the advertising campaign for Birdseye frozen foods (video) with frontman Suggs, and was the title of a Madness-based West End musical. Unlike some other pop/rock-band-based musicals, like Mamma Mia and We Will Rock You, the Madness musical did not transfer to Broadway or tour the US.

I loved 'Our House' as an American teenager, particularly for its wordplay, but I have to wonder how much I missed in my pre-UK days.  So, for the benefit of my teenage self, here's a stanza-by-stanza playback:

Father wears his Sunday best
Mother's tired she needs a rest
The kids are playing up downstairs
Sister's sighing in her sleep
Brother's got a date to keep
He can't hang around
In my day job, antonyms are my special(i)ty, so I am particularly fond of the juxtapositon of up/down here. However, I don't think that in my youth I understood that this wasn't just a little lyrical nonsense.  To play up is informal BrE for behaving irritatingly or erratically. One's lumbago can play up, the computer might play up, and certainly one's children can play up.  (Late addition: BZ has pointed out the AmE equivalent: act up.)
Our house, in the middle of our street
Our house, in the middle of our ...
The chorus, and the point of BZ's original query. To my young American ears, this sounded intentionally funny.  The house is in the middle of the street! Like where the manholes should be! No, no, no.  This is the BrE equivalent of in AmE in the middle of our block. This is a originally AmE use of block to mean 'the length of a street between cross-streets' or 'one side of a square of land with buildings, bounded by four streets'. This sense is not often found in BrE, though most BrE speakers I know are aware of it. Still, they find it odd when Americans apply it to British places since (a) there are rarely regular blocks in British towns ([BrE] Have/(AmE) take a look at this map of Camden Town, London [home of Madness], for instance) and (b) block has a more prominent residence-related BrE sense: 'a building separated into units', e.g. an office block or a block of flats. This sense of block is not marked as dialectal in the American Heritage Dictionary, but do Americans actually say it much? In AmE, I'd always say office building or apartment building.  (For another difference in UK/US use of street, see back here.)

But even if it weren't in the middle of the street, 'our house' would still be in our street, because in BrE addresses can be in the street or road. John Algeo, in British or American English?, writes:
For specifying the position of something relative to a street, British generally uses in and American on. When the street in question is noted as a shopping location, British uses on or in.
Algeo's corpus has equal numbers of in/on the High Street (i.e. the main shopping stree—akin to AmE Main Street, at least, before the Walmartification of American towns). A Google search of British books shows a clear preference for in in this case, however.  (Click here to see the ngram view.)
Our house it has a crowd
There's always something happening
And it's usually quite loud
Our mum she's so house-proud
Nothing ever slows her down
And a mess is not allowed
House-proud is the piece of BrE I remember learning through this song. The meaning is fairly transparent. To be house-proud is to take particular pride in the upkeep and decoration of one's house.  The expression reminds me of Kate Fox's discussion of the English relationship to their homes in her book Watching the English. A related newspaper piece by Fox can be found here—but I really recommend the book. Again.  (Click on the link for mum—I've discussed it on an earlier occasion.)
Father gets up late for work
Mother has to iron his shirt
Then she sends the kids to school
Sees them off with a small kiss
She's the one they're going to miss
In lots of ways

This verse has no glaringly specific BrEisms, but does allow us to note British male predilection for comedic cross-dressing, evident in the video above.

The last unrepeated verse has nothing particularly non-AmE about it either, but I include it here for completeness, and because I like how I can hear the words being delivered as I read them.
I remember way back then when everything was true and when
We would have such a very good time such a fine time
Such a happy time
And I remember how we'd play simply waste the day away
Then we'd say nothing would come between us two dreamers

The song ends with the chorussy bit repeated, with variations, including this one: 
Our house, was our castle and our keep
Our house, in the middle of our street
We can't say that castle and keep is non-AmE; if we needed to talk about castles and keeps, those are the words we'd use. But since we don't have medi(a)eval castles, many Americans might not know this sense of keep. Call me a philistine (you probably won't be the first), but I  didn't know it (despite hearing it in the song repeatedly) or other castle-part terms until I moved to England and started visiting castles. Here's a guide to castle parts for those who want to know.

And in case I haven't already thoroughly shown my age, I'll say this: I was so lucky to be a (orig. AmE) teenager and (AmE) college/(BrE) university student in the 1980s.* At least when I'm going senile and just want to sing songs from my prime, I'll be ok. Oh wait, I just had a Lionel Richie flashback. I'm doomed.



*Whether it was cool to like Madness in the 1980s is another matter, especially for my English generation-mates, such as Better Half. At the time, he tells me, one couldn't like both the ska-inspired London music that included Madness (though Madness were definitely ska-lite) and the New Romantics. But age works wonders on taste, and now we find ourselves nostalgic for music that we were too cool for then. But I am still embarrassed to have done so much dancing to Lionel Richie.
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pantomime

How I've managed to blog through nearly five Christmas seasons without doing this one, I don't know. But here I am, finally tackling (BrE) panto, as suggested by Strawberry Yoghurt (in 2008!) and @MarianDougan via Twitter last week. 

So, you know, there's this thing called pantomime, right? Marcel Marceau did it. Man trapped in an invisible box and all that. Yes, that meaning of pantomime is found across dialects of English, though it's not what usually comes to mind in the UK. 

But it's probably not what a British person means if they say pantomime this time of year.  Instead, they are referring to (and I'm quoting the Oxford English Dictionary here):

Chiefly Brit. Originally: a traditional theatrical performance, developing out of commedia dell'arte, and comprising a dumbshow, which later developed into a comic dramatization with stock characters of Clown, Pantaloon, Harlequin, and Columbine; = harlequinade n. a (now chiefly hist.). Now usually: a theatrical entertainment, mainly for children, which involves music, topical jokes, and slapstick comedy, and is based on a fairy tale or nursery story, usually staged around Christmas; this style of performance as a genre. (Now the usual sense.)

The now-traditional English pantomime developed in the 19th cent. and was originally limited to a short opening scene to the earlier harlequinade in which Harlequin was handed his wand. Its popularity led to its extension into a full dramatized story with the harlequinade first relegated to a short scene at the end and then disappearing altogether. This process was accompanied by the development of a new set of conventional characters, typically including a man in the chief comic female role (see pantomime dame n. at Compounds 2), a woman in the main male role (see principal boy n. at principal adj., n., and adv. Special uses, and an animal played by actors in comic costume (see pantomime horse n. at Compounds 2).Recorded earliest in pantomime entertainment at Compounds 1.


This use of pantomime derives from the original sense of the word (again the OED):

Originally: (Classical Hist.) a theatrical performer popular in the Roman Empire who represented mythological stories through gestures and actions; = pantomimus n. Hence, more generally: an actor, esp. in comedy or burlesque, who expresses meaning by gesture or mime; a player in a dumbshow.

The 'man trapped in invisible box' and the 'fairytale play with cross-dressing' senses of the word are distinguished in BrE by the way they are clipped.  The former, as in AmE, is also called mime, while the latter is a pantoPantos are a Christmas tradition. Across the UK, most siz(e)able towns' theat{re/er}s at this time of year are taken up with traditional pantos, such as Cinderella, Aladdin, and Dick Whittington and His Cat.  The panto stories have their own characters above and beyond the traditional tales, for example Buttons in Cinderella and the Widow Twankey in Aladdin. These days, pantos are generally meant for children, but there is a parallel, newer tradition of 'adult panto' full of proper drag queens--this year  Brighton (the 'gay capital of Britain') has Dick Whittington and his Pussy.

Here are a couple of televised examples for the uninitiated.  I've only used television ones because the recording quality is miles ahead of the phone-videos from proper stage shows.
This one is from CBeebies, the television channel for preschoolers, and has a little explanation about pantos at the start.  I think it's a pretty decent example of the genre.
This one is from Paul O'Grady's (orig AmE) talk show/(BrE) chat show, and is a bit more in the 'adult' vein (as much as one can be on daytime television--before the watershed). O'Grady is the performer formerly known as Lily Savage.  It's peopled with a cast of household names in the UK who will be completely unknown in the US (including my university's chancellor) and it's studded with cultural references that will pass unnoticed by a non-UK audience.
The OED entry above gives some of the vocabulary that one needs regarding the traditional roles in a pantomime (particularly the cross-dressing roles of the dame and the principal boy). There is also an unwritten law that any conversation about pantomimes must go something like this, in imitation of some of the traditional audience-participation parts of the panto:

A:  I'm going to a panto.
B: Oh no, you're not!

A: Oh yes, I am!

B: It's behind you!!

Now, it is to my shame that I have never attended a traditional panto, even though there's more than one available to be seen in my area each Christmas time.  (The fact that I spend alternate Christmasses in the US bears some of the blame for this sad situation.)  I have, however, been in two original pantos, staged by my always-up-for-fun colleagues in my former school, COGS (Cognitive and Computing Science).  This was before university reorgani{z/s}ation put Linguistics into the School of English, where their idea of holiday fun is a staff performance of The Waste Land (I kid you not. This was our Christmas party this year. You know, "April is the cruellest month". Just the thing to send you to the bottom of a bottle for the holidays.)  Back in COGS, we did two pantos before we were cruelly torn asunder, with the Blinder as the main creative force, but, being geeks, we had our own ideas about what constituted a "traditional tale".  The first was based on the film A.I. (itself based on the Brian Aldiss story "Super-Toys Last All Summer Long").  In that one, I played the love interest, ELIZA, an early chatbot. In the second, Harry Potter and the COGS Phoenix*, I played Gnome Chomsky. I could have had proper career development as a linguistic parodist, had I not been sent to the humanities. I'm only slightly bitter. grrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrr

Returning to that other clipping, mime, its use differs somewhat in BrE and AmE as well.  I've been very aware of this lately, as Grover (soon-to-be three years old) is (thanks to her dad) completely obsessed with Singin' in the Rain. For those who don't know the story (which is to say, SPOILER ALERT), it takes place just as the first talking pictures are being introduced, and the (AmE-preferred) movie/(BrE-preferred) film studios are faced with the problem that some of their stars have horrible voices. So, in order to save an already-filmed picture, its soundtrack is recast with Debbie Reynolds' character singing and speaking Jean Hagen's character's parts. At the end of the première, the audience calls for a sung encore, so Reynolds stands behind a curtain and sings 'Singin' in the Rain' while Hagen ______.

How do you fill in that blank?  Better Half (and now Grover) always says mimes, while I would say lip-syncs.  And I see that the OED has the definition:

c. trans. To pretend to sing or play an instrument as a recording is being played; esp. to mouth the words of (a song) in time with an accompanying soundtrack. Also intr., with to, along with, etc.

...while none of the US dictionaries I've consulted have that specific sense.  BrE has lip-sync--in fact my sister-in-law belongs to a choir whose name plays on this term, but in everyday use, the verb mime seems to be preferred. The British National Corpus has 11 definite cases of mime='to mouth words' in its first fifty hits for the verb, and two cases of lip-sync* (*=any characters after), whereas the Corpus of Contemporary American English (which, we must note is 4.1 times bigger) has 179 lip-sync*s and only two mime='mouth words' in the first fifty hits.

Before I go... It's your last chance to nominate words for BrE-to-AmE import of the year or AmE-to-BrE import of the year on the SbaCL Words of the Year page.  I'll be announcing my picks in the next day or two.

* Inside joke: COGS Phoenix was the serious attempt by stalwarts of the school to keep the mission of the school going once it had been wiped out.
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glee clubs, with asides on club-joining and barbershops

Still active on the Twitter feed, but having a hard time re-introducing myself to the world of blogging.  I am starting to think that the internet, with its 140-character limits, 60-second games, and instant 'friend'ship, has robbed me of my attention span. But since I keep writing books (have I mentioned that this is the year [August to August] of three book deadlines?), I must have some attention span left.  It just gets used up on the day job.  (And why do I call it my "day job" when it doesn't seem to let me get any work done till night?)

At any rate, my attention span held out for several tweets on a single topic tonight, and that's just cheating.  That's trying to make Twitter do what the blog does, and doing it a lot worse.  So, in true blogger spirit, I hereby embark on a long exposition on something I know almost nothing about.  I'm back!!


I'm disqualified from writing this one on at least three levels:  
  1. I have never seen the (AmE) TV show/(BrE) programme Glee.
  2. I have never voluntarily belonged to a choir.  ('Chorus' class in school was my living purgatory.)
  3. I have consistently found excuses to leave early when required to attend choir concerts.
  4. I hated that Journey song the first time (a)round, and I hate it even more now that it's re-released in a form that is mind-bendingly more over-earnest than the original.  
Oops, that was four.  I got a little carried away there.  I might very well like Glee —several people whose taste I respect are addicted to it— but I'm not a choral music person and I just can't afford a new television addiction at the moment (see paragraph one, parenthetical comment one).  But I assure you: I could never like it enough to get over my horror at the Journey cover.  Never ever.

At any rate, my interest was piqued by this Guardian article about Glee, which includes the line (emphasis added): 
The comedy-musical show charts the story of a group of teenagers in a US high school show choir, or glee club.
Not knowing a lot about the subtypes of choirs, I had to look these things up.  Wikipedia (best that I could do) said this about show choir:
A show choir (originally called 'swing choir') is a group of people who combine choral singing with dance movements, sometimes within the context of a specific idea or story.
Show choir traces its origins as an activity in the United States during the mid-1960s, though cultural historians have been unable to determine the date and location of the first "true" show choir group [...]. Two groups of touring performers, Up with People and The Young Americans, traveled extensively throughout the country in the 1960s, performing what could be called the show choir concept. When students and directors of the day saw these organizations, they would, in turn, start similar groups at their high schools.
So, show choir is original to AmE, but used in BrE now too.  But the definition of show choir didn't particularly sound like the glee clubs that I remember from my school and (AmE) college/(BrE) university days.  In particular, I don't remember them dancing.  So I looked up glee club.  The OED says:
glee-club, a society formed for the practice and performance of glees and part-songs
Wikipedia expands on this a bit:
A glee club is a musical group, historically of male voices but also of female or mixed voices, which traditionally specializes in the singing of short songs—glees—by trios or quartets.
And that's what I remember. The Wikipedia article goes on to say:
Although the term "glee club" is still used in some places, including the American TV series Glee, glee clubs have largely been replaced by the show choir in schools throughout the United States. Show choirs tend to be larger and more complex than the traditional glee club.
What I'm less clear on —and I'm sure you Gleeks out there can help me— is (a) whether it's ever called a show choir on Glee and (b) whether the meaning of glee club shifted pre-Glee to mean something more like a show choir.  (I suspect not--Glee is a really good title for television, so I would think it might be an opportunistic appropriation of the term.)  

The meaning of glee club has certainly shifted now in the UK at least, since schools (see the Guardian article) are leaping on the Glee bandwagon and re-naming their choirs glee clubs (or is that Glee clubs?). What's interesting (to word-nerdy dual citizen me, at least) is that although the Guardian felt the need to explain the term glee club to its UK readership, it is an originally BrE term. Here's Wikipedia again:
The first named Glee Club was founded in Harrow School, in London, England, in 1787.[1] Glee clubs were very popular in the UK from then until the mid 1850s but by then they were gradually being superseded by choral societies. By the mid-20th century, proper glee clubs were no longer common. However, the term remained (and remains) in use, primarily for choirs found in Japanese and North American colleges and universities, despite the fact that most American glee clubs are choruses in the standard sense and no longer perform glees.
The term didn't entirely die out in the UK, but the only recent pre-Glee uses of it that I can find are figurative uses or plays on the term (referring to the emotion glee, rather than the song type).  For example, the headline of a 2001 Simon Hoggart column, "Two-party disharmony with the Tory glee club", describes this group of Conservative Members of Parliament:
John Redwood rocked gently with happiness. Eric Forth's tie, a modest effort of only six or seven colours, seemed to wink at us as he too rolled about in pleasure. And Ann Widdecombe does a wonderful fake laughter turn. She throws back her head, waves her arms in the air, and opens her mouth as wide as you do at the dentist, in order to imply that she might otherwise implode with the sheer effort of keeping all that hilarity inside.
Now it's back in UK consciousness, but with a different meaning again.

As a cultural side note, I was thinking about the fact that I've known several adults in England and South Africa who belong to non-church choirs.  In the US, I  was never aware of non-church, non-school choirs, with the exception of gay choirs (and I never lived in a city big enough to sport one of those).  I've also been known to opine that clubs are more popular in  England than the US.  (In a small city in Texas, I had to travel 90 miles to get to a Scrabble club. In England, I moved to a not-large city that had two.) And I'm not alone in that--commentators on Englishness like Jeremy Paxman and Kate Fox have noted this tendency, since there seems to be a clash between Englishpeople's "obsession with privacy and [their] 'clubbability" (Fox, Watching the English). Kate Fox has this to say about English club-joining:
If you do not have a dog, you will need to find another kind of passport to social contact. Which brings me neatly to the second type of English approach to leisure [...] — sports, games, pubs, clubs and so on. All of these relate directly to our second main method of dealing with our social dis-ease: the 'ingenious use of props and facilitators' method. (Watching the English)
So, I was wondering whether there seem to be more choirs here because choral music is more popular here (it definitely is in South Africa and Wales) or because there's a greater tendency to join organi{s/z}ed groups. And then it hit me.  It's that non-church bit.  It's not that Americans don't join things.  They do. They join churches (and other religious groups, but mainly churches), and with that comes all sorts of activities, clubs, and committees.  UKers are less likely to  organi{s/z}e their hobbies and social needs around a church, because they're less likely to go to church, and it's generally more socially acceptable not to go to church in the UK.  (This site has church attendance at 44% in US and 27% in UK. According to this site, 53% of Americans consider religion to be very important in their lives, versus 16% of Britons.)  It may be that gay men's choirs became so strong in the US because of a need for joinable singing groups among people who were less likely to turn to the community church to fulfil(l) that need.  The rest of the US population might dip into church to satisfy their need to sing, but in the UK there are plenty of other outlets.  (In fact, my old reflexologist belonged to a non-religious Gospel choir--they just like the style of singing, not the religious message.)

Come to think of it, I do know Americans who belong to non-religious community singing groups, but these are (orig. AmE) barbershop quartets.*  Am I wrong about community choir-joining?  Should barbershop quartets count as choirs, when the things I'm thinking of in the UK have far more singers?  Let me have it in the comments...

*OED notes that barber(-)shop as a name for a haircutting establishment is not originally AmE, but is "chiefly North American" nowadays.  I'm not quite sure whether there's a replacement in the UK--Better Half just talks about going to the barber's and we both marvel all the time that yet another hair-cutting place is taking over yet another place that used to be a nice shop.  Do other people in Brighton get their hair cut every two weeks? Do people travel for miles for a Brighton haircut?  How can the population possibly support this many hair stylists?
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musical notes

Sorry I've been quiet--was trying to finish a book before coming on holiday. So, 'hello' from the US, where Grover is getting reacquainted with her cousins and I only have a little editing to do in order to finish the book. (I think my honeymoon was the only non-working holiday I've had in years...)

In the interest of not distracting myself too much from that editing, I'm going to pull together some info that readers have sent me about musical terminology in the two countries. Since my years of childhood music lessons did not result in any usable skills, I've never applied myself to the making of music in the UK, and so my exposure to the terminology has been slight. But reader darcherd kindly sent me a list that he's encountered in his reading, which I reproduce here. The first item of each pair is BrE and the second AmE.

  • Breve - A note of two bars' length (a count of 8) in 4/4 time (no AmE equivalent of which I'm aware)
  • Conservatoire - Conservatory
  • Crotchet - Quarter note
  • Minim - Half note
  • Quaver - Eighth note
  • Semiquaver - Sixteenth note
  • Demisemiquaver - Thirty-second note
  • Hemidemisemiquaver - Sixty-fourth note
  • Semibreve - Whole note
  • Semitone - Half step
I'm assuming that darcherd is correct about all these. (Use the comments if you'd like to correct or expand on any of this, please.) I haven't checked all the notes terminology, but I did look up conservatoire, about which the OED says:
A public establishment (in France, Germany or Italy) for special instruction in music and declamation. (The French form of the word is commonly used in England in speaking not only of the Conservatoire of Paris, but also, with less propriety, of the Conservatorium of Leipzig, and the Conservatorios of Italy, and is even sometimes assumed as the name of musical schools in England. In the U.S. the anglicized form conservatory is used.)
Conservatory tends to be used in BrE in a deviation from this sense (also from the OED):
A greenhouse for tender flowers or plants; now, usually, an ornamental house into which plants in bloom are brought from the hot-house or green-house.

The deviation is that the conservatories people tend to speak of are glass-enclosed extensions on their homes, which allegedly raise the value of the property, but always seem to be too hot to sit in, thus requiring very elaborate systems of window blinds. (See photo, from here.)


But back to music...David Young wrote some time ago to point out this bit from the March 2009 issue of Classical Guitar magazine:
Without being too rigorous about it, Classical Guitar has generally preferred the word 'rendering' to the word 'rendition' to describe a performance of music, considering it to be American usage only. However, I discovered the word 'rendition' in an English review published in 1906. So it's been around for at least 103 years, though it lost some respectability recently, when it came to mean removing suspected terrorists to a remote country where they could be tortured without too much danger of the details being picked up by the international media.

But 'rendering' can bring to mind a coat of plaster, and is only fractionally better.[Colin Cooper, Editorial Consultant]
The dangling participle there is driving me a little (AmE) crazy/(BrE) mad, but massive quotation is the way to go if one wants to blog quickly!

One last musical note, which came up in a conversation with friends recently, is that pop music has a much broader application in BrE than in AmE. In my American high school and (AmE) college/(BrE) university, it was deeply uncool to like 'pop' music, one had to like (orig. AmE) rock or (orig. AmE) R&B or, later, (orig. AmE) indie music. (Or jazz or classical, but not pop!) But many of the British acts that we thought were cool would have been defined (or would have defined themselves) as pop in Britain. A key difference may be the fact that the British charts don't categori{s/z}e music in such strict ways. Whereas the American Billboard magazine publishes a load of genre charts each week (giving rise to the AmE phrase crossover artist for someone who charts* in more than one genre), the UK Singles Chart is not genre-specific and did not start having genre-specific versions until the 1990s.

Googling the phrase "I'm just a pop star", we find it attributed to David Gilmour of Pink Floyd and Björk--but in my American days I would not have described either of them in that way (especially not Pink Floyd). I would have limited its use to Britney Spears and 'N Sync or whatever the (orig. AmE) tweenies were listening to at the time. I had thought that the uncoolness of pop was what made Pop Idol into American Idol when it moved across the Atlantic--but Wikipedia tells me it was legal restrictions instead. Younger Americans can tell us if pop has redeemed itself in recent years (comments, please!).

*This verb sense of chart hasn't made it into the OED yet, so I'm not sure where it originated.
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bogy, bogey, boogie, booger

I had a house-guest this week, and since I'm a bit behind in things, I was thinking I'd answer a really simple query. So, heading back to the April correspondence, I found Doug of Colorado writing about boogers in my inbox. I thought, 'oh, I'll do bogy and booger, that'll be quick!' But even as I began to write the title for this post, I reali{s/z}ed that this is going to get out-of-hand very quickly.

So, we start with snot. (Which just reminds me of Chiffon margarine ads from my American childhood: When you think it's butter, but it's not, it's Chiffon! That jingle writer did not have a good ear for potential mondegreens. We eight-year-olds thought it was hilarious.) Bits of fairly dry nasal mucus (you know what I mean) are colloquially called bogies (or bogeys) in BrE and boogers in AmE. The first vowel in the AmE version is generally pronounced like the oo in book. This is also the vowel that is found in the usual AmE pronunciation of the originally-AmE word boogie ('to [disco] dance'), though many BrE speakers pronounce it with a long /u/ sound, so that the first syllable is like the sound that a cartoon ghost would make (Boo!). In fact, the OED has only the boo! pronunciation, while the American Heritage has both, with the book-vowel one listed first. The long /u/ is also used for both oos in the usual BrE pronunciation of (orig. AmE) boogie-woogie, while AmE uses the book vowel for both.

It was only when I looked up bog(e)y in the OED that I discovered that one of the golf senses for bogey, 'a score of one stroke above par for a hole' (OED), is (or possibly was) AmE. The first (BrE) definition in the OED, 'The number of strokes a good player may be reckoned to need for the course or for a hole', seems to me to mean 'par'. I don't know a lot about golf (and I count myself lucky for that), but I only knew the AmE meaning. (American golfers, do you know the more 'par-like' meaning?) For the verb bogey ('to complete (a hole) in one stroke over par'), the OED lists this as 'orig. U.S.' It's a bit hard to believe that the verb has come over here, but not the noun. UK golfers, what's your experience?

(Apparently bogey is also Australian slang for a bath, and bogie is a Northern English--particularly Newcastle--dialectal word for 'A kind of cart with low wheels and long shafts'. But now I'm just getting distracted by the OED.)

And then there's the bogeyman. American Heritage lists four alternative spellings for this: bogeyman, boogeyman, boogyman, boogieman. OED has only bogyman (listed under bog(e)y) plus an example with the e: Bogey man. The capital B in some examples reflects bog(e)y's origin as a 'quasi-proper name' (OED) for the Devil. The AmE variations in spelling reflect the fact that it has many pronunciations in the US (probably regional in nature). In the order the AHD presents them, they are:
  1. with the book vowel: bʊg'ē-măn'
  2. with the long /o/, as in the golfing term bogey
  3. with the long /u/, as in boo! or BrE boogie
Myself, I grew up (in western New York state) with the first pronunciation, and would naturally use the last AmE spelling, but somewhere along the line I became conscious of bogeyman as the 'correct' spelling. That didn't affect my pronunciation of it.

I have a tangentially related (because there's an oo involved) anecdote from this week. Our house-guest was an American linguist who lives in Japan. Predictably, there were BrE/AmE conversations, particularly about water. But the best part (for me, at least) was when she noted that the café called Moorish Brighton wasn't particularly 'Moorish'. I'd claimed before we went there that it was Moroccan, but we found that it had all sorts of Mediterranean foods. It was only when she pronounced the café's name that I reali{s/z}ed it was a pun. I'd been pronouncing the oo with a /u/-ish vowel (which is typical in BrE or AmE) and just not getting the joke. She pronounced it with an /o/-like vowel (which the OED lists as a BrE alternative, oh well). Eureka! Moorish Brighton is (BrE) moreish!
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flannel and washcloth

Recyclist continues to let me know about bits of BrE that have confused her during her stay here. A recent one was flannel (in its longer form, face flannel), which is the BrE translation for AmE washcloth. Face flannels are so-called because they were once made from flannel fabric, but these days they're (AmE) terrycloth/(BrE) terry. If you stay in European (including UK) hotels or bed-and-breakfasts, you are less likely to be supplied with a washcloth/flannel than you would be in an American hotel (where I've never not been given a washcloth/flannel). You will, of course, be given towels. My understanding (though you can read other understandings here) is that this is because facecloths are considered too personal to share. People who use them bring their own when they stay away from home. Cotton flannel fabric (originally flannel was wool(l)en) is sometimes called flannelette--moreso (in my experience) in BrE than in AmE. So, Better Half talks about our flannelette sheets, and I talk about our flannel sheets.

It was a couple of weeks ago that Recyclist encouraged me to write about flannel, and she's asked me since if I've covered it yet. I replied that the stated mission of my blog was to cover the bits of cross-Atlantic English that everyone wouldn't already know about, and that flannel/washcloth is kind of like elevator/lift--the kind of difference that anyone with the slightest bit of cross-cultural knowledge would know. She insisted that it wasn't. I figured out later, when I discovered that Recyclist also hadn't heard of Brixton, that I just assume that any (slightly Anglophilic) American of my generation would know certain BrE words from certain songs. I must have learned flannel from Squeeze's 'Tempted':
I bought a toothbrush, some toothpaste, a flannel for my face
Pyjamas*, a hairbrush, new shoes and a case
I said to my reflection
Let's get out of this place
*This site spells it pyjamas, most other music-lyric sites spell it pajamas. I don't know how Chris Difford spelled it, but it was probably with the y.

So, for those of you who didn't listen to Squeeze, I've now done flannel/washcloth. Now go and download Eastside Story to complete your education.

(Brixton I knew about from the Clash--but I've got(ten) to know it better because BH used to live there. Not as scary as the song.)
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proms

It must be school dance season, because two people have written to me about (AmE) proms. This is usually translated into BrE as school dance, but a prom is a specific kind of school dance--a formal dance (that is, the clothes are typically formal, not the dancing) that happens in high school in either the senior year (i.e. the final year) or the junior year (i.e. the penultimate year). These may be called senior prom and junior prom, respectively. (For discussion of all those school terms, please see back here.) Proms involve various traditions, such as the election of a prom king and queen, drinking too much and engaging in irresponsible sexual activity. Not that I'd know. I wasn't invited to my prom. And the bitterness has almost worn off.

The term comes from promenade (perhaps because the dancers promenade in their nice clothes), and if you look it up in the OED, it says:
1. U.S. = PROMENADE n. 2c.
...leading you to the definition under promenade, which is kind of silly, as NO ONE calls it a promenade (dance), and the last AmE quotation they have for promenade in this meaning is from 1933. Rather than saying that prom is a shortening of promenade in this case, I think we should say that prom is historically related to promenade--by abbreviation, sure, but the abbreviation happened long ago and was forgotten about.

Paul wrote a while ago to point out that this meaning of prom seems to have made it into BrE, as is evident in this BBC News story. Prom is more usually found in the plural in BrE, as (the) Proms, which the OED records as:
2. = promenade concert (s.v. PROMENADE n. 4b); the Proms, the Henry Wood Promenade Concerts, now given annually at the Royal Albert Hall, London (also in sing.).
Follow that cross-reference and you get to:
promenade concert, a concert at which the audience walk about instead of being seated or at which a proportion of the audience stands.
The Proms are all over the place now, not just in the Royal Albert Hall. To get a taste of the scope and history of the Proms, see the BBC Proms website.

The other e-mail I got about proms was from new reader Julie, following other discussions of the on the blog. She says:
A recent "the" usage caught my ear. In the late 60s outside Philadelphia, I went to the prom. (Actually, I didn't, but if I had, I would have said "the"...definitely.) My 16-year-old daughter & her friends are going (really!) to prom. No "the", ever. I have no idea if this represents a temporal change or regional difference.
I've taken an instant liking to Julie, since she was promless (oh, let's be positive--prom-free!) in high school too, so we'll ignore the fact that this isn't really a BrE/AmE query. Prom versus the prom seem to be in free variation in many young people's (American) English, judging from the places Google took me--the same person within a single web discussion would call it both, though with a stronger tendency (it seemed to me) to capitali{s/z}e Prom when it had no the. It's my impression that this is a generational difference, not a regional one (and certainly not an AmE/BrE one, since they're only starting to get the hang of [orig. AmE] calling dances proms here). There's a discussion with a vote on the subject over here [link now dead], but I suspect that many of the voters in that poll are not of prom-going age. On this site, there's someone who seems to think that the prom/the prom variation is a rural/urban thing. In the discussion here, someone thinks it's regional--but no one's identified the region. There was quite a bit of discussion of this last year on the American Dialect Society list (you can search the archives here), but I couldn't find any reference there to a particular regional origin.

An ex-sweetheart used to say when leaving the house, I'm off like a prom dress! I say this in the UK every once in a while, and only I chuckle. But that's a feeling I'm used to. Probably indicative of why I didn't get to go to (the) prom.
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Abbr.

AmE = American English
BrE = British English
OED = Oxford English Dictionary (online)