Showing posts with label television. Show all posts
Showing posts with label television. Show all posts

UK-to-US Word of the Year 2022: fit

Having let the year run its course, I'm now am ready to declare the Separated by a Common Language Words of the Year for 2022. As ever, there are two categories: US-to-UK and UK-to-US.  To be a SbaCL WoTY, the word just needs to have been noticeable in some way that year in the other country. 

For past WotYs, see here. And now...

The 2022 UK-to-US Word of the Year is: fit

Now, of course the word fit is general English when we use it in contexts like The shoes fit or I'm going to get fit this year. But those fits are not my UK-to-US Word of the Year. The fit I'm talking about is the informal British usage that means 'attractive, sexy'. A close (orig.) AmE synonym is hot

Ben Yagoda, on his Not One-Off Britishisms blog, first noticed this sense of fit in an American context back in 2013, but it seems to have taken hold in the US in the past couple of years. I assume this is due to the international popularity of the British television (BrE) programme/(AmE) show Love Island

Here's a clear example of this sense of fit from another UK reality series, Made in Chelsea.*


I like that video just because it's clearly fit meaning 'hot' rather than 'healthy and/or muscular', but if you'd like to hear it said on Love Island, then you can hear it here at 1:38 (though the YouTube automatic subtitling mishears it as fair).

 

This use of the word is new enough to the US that it's included in glossaries for American Love Island fans, like this one and this one. The Oxford English Dictionary added it in 2001:

  British slang. Sexually attractive, good-looking.

1985   Observer 28 Apr. 45/1   ‘Better 'en that bird you blagged last night.’ ‘F—— off! She was fit.’
1993   V. Headley Excess iv. 21   ‘So wait; dat fit brown girl who live by de church ah nuh your t'ing?!’ he asked eyebrows raised.
1999   FHM June (Best of Bar Room Jokes & True Stories Suppl.) 21/1   My first night there, I got arseholed, hit the jackpot and retired with my fit flatmate to her room.
2000   Gloucester Citizen (Nexis) 14 Feb. 11   I would choose Gillian Anderson from the X-Files, because she's dead fit.

Green's Dictionary of Slang has one 19th-century example, but notes that "(later 20C+ use is chiefly UK black)." 

I can't give statistics on how often this fit is use in the US because (a) the word has many other common meanings, making it very difficult to search for in corpora, and (b) this particular meaning is not likely to make it into print all that often. (Slang is like that.) Ben Yagoda considers fit "still an outlier" in AmE. But Ben's probably not in the right demographic for hearing it. 

An anonymous blog reader nominated it, and it struck me as apt for 2022—the popularity of "Love Island UK" (as it's called in the US) was hard to miss on my visit to the US this summer. I got to hear my brother (whose [AmE] college-student daughter loves the show) imitating the contestants, throwing in words like fit. I can easily find young US people using and discussing 'sexy' fit on social media (though I won't share their examples here because those young people didn't ask for the attention). And it made it onto Saturday Night Live, in a sketch about Love Island. You can hear proper fit at 1:11:




So Happy New Year to you! I wrote this post after watching the fireworks (on tv) at midnight. Now I'm (BrE humorous) off to Bedfordshire, so I'll leave the other WotY for tomorrow. Stay tuned for the US-to-UK WotY! 


*Update: I'm told that the Made in Chelsea video does not play in the US. Here's a quick transcript of the relevant bit:

Scene: Two male cast members on a sofa, commenting on this video shot of a female cast member:

M1: God, she's fit. 

M2: She is so hot.

M1:  So fit.

 

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2017 US-to-UK Word of the Year: (television) season

It's that time of year again. The time when everyone's too busy doing fun things in real life to read blogs. Yet I persevere in announcing my Words of the Year here at the butt-end of the year because I don't want to be unfair to December. (And, of course, I'm doing too much teaching to even think about it any earlier.)

As ever, the point of the SbaCL Words of the Year is to note the riches (or rags) that American and British English bring to each other. A SbaCL WotY is not a new word, and it may not even be a newly borrowed word, but it's a word from one of my countries that has been particularly relevant to the other of my countries in that year. Sometimes they're in the news, sometimes they've been building up a presence for years and just needed a little acknowledgement.

The finalists (in my mind) for this year's US-to-UK WotY were of each of these types. The loser is mugwump: a now-obscure Americanism briefly lifted out of the shadows when lexical dilettante (that's the nicest phrase I have for him) Foreign Secretary (that's the most preposterous phrase I have for him) Boris Johnson called the head of the Labour Party "a mutton-headed old mugwump". Since that's not the word I've chosen, I'll leave you to go and read (or watch a video) about it elsewhere.

But the winner, which has been building up some steam for years, will hang around longer than Johnson's antique epithet. It is:

 season 


...to refer to a group of broadcast program(me)s released under the same title in a particular time period. It's tricky to define without using the word series, but one must, because that is the word (or one sense of it) that season competes with in BrE.

Now, I have written about the difference between AmE season versus BrE series before, so I won't do it all again and I encourage you to click on the link to read a more detailed post. To cut a long difference short, the British way would be to say "I haven't seen the second series of Stranger Things (so no spoilers, please!)", but in AmE that doesn't quite make sense because Stranger Things is the series, and the part of it that is 'second' is a season of that series. To unnecessarily throw in some terms of my trade, in AmE season is a meronym of AmE series (it is in the 'part-of' relation), whereas in BrE, AmE season is used as a synonym for BrE series.

British television-watchers (that is to say, almost everyone on this island) have long been familiar with the American sense of season—after all, lots of American television program(me)s are imported to UK television. But what's tipped it into WotY territory are the streaming services, especially Netflix, which often releases an entire season/series of a (AmE) show at one time, enabling serious binge-watching. And on Netflix, they are called seasons. Even when they're BBC products like Uncle here.  (Can you see the '2 Seasons' there under the title on Netflix?) Meanwhile on BBC iPlayer, it's on 'Series 3'. (It's also a lovely comedy and if you like lovely comedies you might want to give it a chance.)

The reasons for calling it a season are rather irrelevant in the days of streaming--when 12 episodes show up on a single day, rather than unfolding over months. But the nice thing about season is that it avoids the ambiguity that arises from the two possible interpretations of series.
 
The AmE term is showing up more and more in British newspapers--including the Telegraph (one of the papers that publishes a lot of complaints about Americanisms). This chart shows how 'ordinal-number+season of' (which, on this corpus's tagging system includes last season of and next season of) has been faring in UK news websites (via the NOW corpus).

The charts look similar for other searches like 'season+cardinal number+of". Of course, there are other types of seasons besides television seasons in these data, but the television ones predominate, as can be seen from this sample of the 2017-B section of the corpus (click to biggify it):


Sports seasons come up once in a while, but the instances of season are mostly about television seasons.

I should note here that Netflix is an equal-opportunity word-spreader. Only a couple of years ago, it was being blamed for Americans saying queue.


So there we go. The first SbaCL WotY of 2017! Many thanks to @eahird for nominating it. Stay tuned for the UK>US WotY. As soon as I decide what it is!

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Is Americanization speeding up?

Today I got to hear myself on BBC Radio 4's Word of Mouth talking with host Michael Rosen and anti-Americanism-ist Matthew Engel.

This is just a picture. Click HERE for the program(me)!
Biggest regret: that I completely blanked on the fact that sidewalk is originally a British word. Had to go home and read about it in my own book manuscript. I also regret that they cut a bit I said about British music artists singing in their own accents. (So please read this instead. I think the producer/editor might have thought that the reference to grime music would be too much for the Radio 4 [orig. AmE] listenership.)

But listening now to Engel repeatedly saying that American English influence on British is constantly increasing, I wish I'd pointed out this:

The 20th Century is often called "The American Century". The 21st Century is looking a lot less American. To be sure, it's not looking like the British century either. That came the century before.

American culture (and words) could easily spread in the 20th century because it was hard to produce and distribute recorded entertainment, but the US had the capacity and the economy and the marketing savvy to do so [And I mustn't forget the Marshall Plan, which my colleague just mentioned to me.] America was inventing and manufacturing all sorts of things and putting names on them and selling them everywhere. Two world wars and the cold war had Americans stationed all over the world using their slang in the presence of young recruits from other countries. The 21st century is looking rather different.

The 20th century brought us talking pictures and television. Radio, the most affordable form of broadcast, remained a more local proposition--though the recorded music could be imported. (Though the word radio, well that's an Americanism.) The 21st century is the time of the internet and of personali{s/z}ed entertainment. The popular songs are less universally popular, because people have more access to more different kinds of music on download. Instead of two or three or four choices on television, there are hundreds. And if you don't like what you're seeing you can go on YouTube or SoundCloud (or other things I'm too old and [orig. AmE] uncool to know about) and find all sorts of people doing all sorts of things. People go on the internet and meet each other and talk to each other, meaning that there's more opportunity than ever for there to be exchange of words between people, rather than just reception of words from the media. The slangs that young people use are sometimes local to their school or area and sometimes particular to an international online gaming community or music fandom. The notion of community, for many people, has internationali{s/z}ed. Language is moving in different ways now than it ever had the chance to move in the 20th century.

In the meantime, all indications are that the US is becoming politically more isolationist and more of an international pariah. Are its words going to flow so freely abroad? Will there be a taste for them?

The American century has happened. I don't know whose century this will be (please, please not Putin's), if indeed it will be any nation's century. (Better a nation's century than a virus's century, though.) American words will continue to spread to other parts of the world, but I can't see the evidence of Engel's strong claim that the imbalance between US and UK word-travel is increasing faster than ever.

At the start of the 21st century, British words seem to be entering America in greater numbers than they were a few decades ago. Much of this has to do with journalism and how international that's become. The online versions of the Daily Mail and the Guardian are extremely popular in the US. There are more US fans of Doctor Who now than in its Tom Baker days. Harry Potter is the single most important thing that's happened to children's publishing in the English-speaking world in my lifetime, and though the editions sold in the US are translated into American to some extent, it's actually only a small extent. Americans are reading and hearing more British English than they have in a long time.

The scale(s) is/are still tipped in American vocabulary's favo(u)r. But as far as I can see, there's not a lot of reason to believe that the degree of the imbalance is rapidly increasing. Yes, the number of American words in British English constantly increases, but there's more westward traffic now, more UK coining of managementspeak, and new local youth cultures making their own words in Britain. The tide hasn't turned, but there is (mixed metaphor alert) (orig. AmE) pushback.

And if English continues to be popular as a global lingua franca (due to its momentum, rather than the foreign and cultural policies of the UK and US), then more words may be coming from other places altogether.
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2014 US-to-UK Co-Word of the Year: 'bake-off'

As we've already established, this was an indecisive year for me, and I've already announced two Words of the Year, both adjectives:  US-to-UK awesome and UK-to-US dodgy. Of course, many words go back and forth between the two countries each year, and these have been building up usage in their non-native lands for years, but they felt 'of 2014' for various reasons discussed in their posts.

Another word with American origins was bigger than ever in the UK in 2014, and a UK-to-US noun had a very good case made for it for timeliness. So to the adjectives we add the Nouns of the Year. First off, the US to UK:

bake(-)off

As in the BBC's:




Before you say "but that's two words", I refer you to the hyphen above.  On every linguistic test, it is one word, a noun. But the British establishment has a higher tolerance than Americans do for what we in the word business call 'open compounds' (as alluded to in this old post).

As Nancy Friedman wrote, when she nominated the word:

The term has been common in the US since at least 1949, when Pillsbury introduced its national Bake-Off contest; it was later adopted [...] as programmer lingo to mean a contest between competing technologies.
She also noted that Collins dictionaries short-listed it as one of their Words of the Year.  Here's what it looks like in the OED (note the hyphen!):

The cook-off to which the entry refers is an earlier Americanism (dating to 1936), and that entry refers to play-off as another American inspiration for nouns ending in off. Play-off derived from the phrasal verb play off (as in They played off for the championship), but bake-off and cook-off look like they were formed as nouns first, on ([BrE] an) analogy with the noun play-off.

But (I hear you muttering) the Great British Bake Off had its fifth television (AmE) season/(BrE) series in 2014, so why make it a Word of the Year now? I'll quote Wikipedia on its ratings:

The series started with its highest ratings for its opening episode after its move to BBC One, with over 7 million tuning in according to overnight figures.[40] This is adjusted to 8.5 million for its 7-day final viewing figure, making this its second most-watched episode after previous year's final.[41] In the fourth episode, 8.1 million watched the original broadcast,[42] but the "sabotage" controversy gained the show a further 2 million viewers on the BBC iPlayer catch-up service, giving the show the biggest ever audience with 10.248 million viewers for the episode.[43][44] The final of the show gained an overnight viewing figure of 12.29 million, then the highest viewing figure for a non-sporting event of the year on UK TV.[45] Series 5 had a consolidated average of 10,039,400 viewers.
The controversy mentioned above was also known as "bingate" (mixing the BrE bin with the orig. AmE -gate suffix) involved a contestant getting fed up with his Baked Alaska and throwing it away, then showing the judges the (BrE) rubbish bin when asked to display his work. It was alleged that another contestant had moved his ice cream from the freezer to make room for her own.

It was all over the papers. I liked this review of the phenomenon from Stuart Heritage in the Guardian:
Pity the historians of the future. They’re the ones who will have to put the hysteria surrounding last week’s episode of The Great British Bake Off into some kind of context. And that’ll be much harder than it sounds, because the main trajectory of the news this summer has basically been: horror, horror, misery, horror, misery, man putting a pudding in a bin, misery.

“Why did everyone lose their minds about a man putting a pudding in a bin?” they’ll wonder. “Why, with everything else going on in the world, did that make the Sun’s front page? Why did the Guardian devote 11 separate news stories to it? It was just a man putting a pudding in a bin”. Finally, exasperated at their ridiculous ancestors and exhausted from trying to figure out what the hell a “bincident” is, they’ll give up, cut their losses and simply torch the archives. It’ll be the Library of Alexandria all over again.
The irony of the Americanism in a "Great British" institution is not something that's regularly pointed out, but it's becoming a great British tradition too: note the Americanism in BBC's The Great British Sewing Bee.

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anchorman and news reader

I'm reading the Guardian Weekend magazine, as I often do on a Saturday afternoon, and within the first paragraph of Simon Hattenstone's interview with Piers Morgan, I'm so distracted that I need to blog. This is what happens when I read UK articles about things in America. So very often things are not quite right. And, of course, the lesson to take from this is that probably most news articles about other places are not quite right.

The problem for me was Hattenstone's question of how Morgan came to be "CNN's leading anchorman". Morgan isn't an (AmE) anchorman. An anchorman is the equivalent of a BrE news reader or news presenter. The person who is an 'anchor' for all the correspondents filing reports from other places, who sits at a desk and reads the news. (In the UK, though, a lot of them seem to stand these days. Has this also changed in the US? The problem with this is that they then have nothing to anchor them. And they have no where to hide the ream of photocopying paper they picked up on the way to the studio.)

It's not actually the case that anchor(man) isn't used in the UK. As the OED entry for anchor indicates (below), it's 'chiefly' AmE, but also found in the UK. (For instance, in the Independent's story about the ream-of-paper incident uses anchor.)


The OED entry uses a word one rarely hears in AmE: compère. In AmE, one is more likely to use emcee (or Master of Ceremonies). I find both a little odd in the news context; both words are more suited to (BrE) light entertainment.

But back to the Piers Morgan interview, the question is: does Hattenstone have a broader use of anchorman than I, as an AmE user of the term, have? Or has he just never watched the program(me) to know that Morgan is not a news reader? Morgan is, in AmE terms, a talk show host. As discussed a bit before here, the American understanding of talk shows is broader than the BrE notion of chat shows. American use talk shows for serious, newsy interviews and topics as well as for entertainment. 


In other news, I'm doing an Untranslatables October on Twitter again. If you have any suggestions of AmE or BrE words or expressions for which there's no real equivalent in the other dialect (and which I haven't covered in the previous Octobers), please let me know. I'll post a list of the 'untranslatables' after the end of the month.

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Not One-Off Britishisms

I don't usually review other websites here, and I don't really want to start now. But I'd be interested to read what you think of Ben Yagoda's site Not One-Off Britishisms.

Yagoda is a journalism professor at the University of Delaware and author of many things. I first became aware of his worries about BrEisms in AmE in an article for the Chronicle of Higher Education called "The Elements of Clunk." There he bemoaned "a whole new strain of bad student writing."* To quote from that:
Another manifestation [of clunky student writing] is a boom in Britishisms: not only the weirdly popular "amongst," but also "amidst," "whilst"—I actually have gotten that more than once in assignments—and "oftentimes." (In a parallel move, the stretched-out and unpleasant "off-ten" has become a vogue pronunciation among youth, as has "eye-ther.") In spelling, "grey" has taken over from the previously standard "gray." I haven't seen "labour" yet, but the day is young.
Not One-Off Britishisms is kind of a blog, but what it is really...well, I'll let Yagoda explain. From the sidebar at the site:
Over the last decade or so, an alarming number of traditionally British expressions have found their way into the American vocabulary. This page offers a growing list of Britishisms that have been widely adopted in the U.S.–that is, they are not “one-offs.”  Each entry offers a definition/American equivalent, followed by quotes representing the first and most recent American usages I’ve found.
Some entries include a link to a Google Ngram. This is a nifty tool that allows you to search for the frequency with which a word or phrase was used year to year. The link provided here compares the use of the Britishism and the traditional U.S. equivalent in the “American English” corpus between 1990 and 2008, with a “smoothing” level of 0. (Don’t ask.) In some cases–e.g., advert, bits–Ngram data is not applicable because the word or phrase can be used in two or more different ways.
For each entry, readers are ask to vote on their opinion of the Britishism in an American context. By “over the top,” I mean that the word or phrase (still) comes off as mannered or affected. In my humble opinion, the key factor in this is whether there’s an equally good American equivalent. [...]

Yagoda's project is a perfect (although not as loud) counterpoint to the oft-heard British complaint that Americanisms "permeate, pervade and pollute British English" (Hardeep Singh Kohli, Sunday Times, 7 Nov 08--and if you like that one, I can give you plenty more), and it gives me some comfort to know that not every American is a victim of American Verbal Inferiority Complex.


Now, the longer I live in the UK (it's been more than 11 years now), the more out-of-touch I am with what Americans (other than my nearest and dearest) are saying--but some of the BrEisms that Yagoda picks out as "widely adopted" strike me as not so. For one thing, some of them are things that Americans have sent me puzzled emails about. For another, the sources Yagoda cites are very often New Yorkers, if not The New Yorker, and most come from the NY-DC corridor. The Google Ngrams show general trends in publishing, but I would be willing to bet that a fair number of US-published books are written by New Yorkers, if not British expats. I'm having a hard time finding out how many of the 685,000 British expats in the US are in New York, but many commentators seem to agree with  A.A. Gill that "The British have colonized Manhattan". And an awful lot of them seem to be in publishing. So, it could be a trend in a certain milieu. But if you're watching FOX** instead of reading Vanity Fair, it might not affect you too much. I'm not saying that all the BrEisms are coming from UK expats; I have no trouble believing that Americans in their milieu are easily influenced by chic-sounding British words. And if that continues, those words may make their way into general American English. But my impression from non-NYCers is that these words are far from "widely adopted."

There's also much reason to be suspicious of the Ngram data. Looking at the first ten 2007-08 sources for chat show in the Ngram that Yagoda presents, one finds that four are about British television (I haven't bothered to look into their authors' backgrounds), two are from Cambridge University Press dictionaries (offering it as a synonym for AmE talk show), one is by an Oxford-educated professor in the US (possibly UK-born) , and two are by (orig. AmE in this sense) faculty at UK universities whose university webpages show no educational experience outside the UK. So that's 90% that seem to be appropriately British in the American English "corpus". The remaining one is by a Brooklyn-born journalist who lives in Washington, DC.

On the other hand, if you look at the relationship between chat show and talk show in British English using an Ngram, you'll see that AmE talk show has overtaken chat show in the UK (supposedly) in the same period. And looking at the data comparatively in the allegedly AmE books, chat show barely figures in comparison to talk show.

I also note that some of the things that Yagoda mentions in the Chronicle article have been in variation in AmE for a long time--for example, the pronunciation of either. And his description of often sounds like how I started pronouncing it as a child. Can we conclude that recent fashions from them are due to British influence? Are Americans even aware of these as being "more British"? (He goes in that article to try to tar the spelling advisor with the British brush--until he discovers that it's regarded as an AmEism. Click on the link for my discussion of it.)

So, in the end, I think it's the kind of site that would interest readers of this blog and so I point it out and hope you'll visit it (particularly if you're American). But I'd also like your feedback on whether you think that the "Britishisms" that Yagoda notices are indeed widespread in AmE.

As a final note--why Britishisms?  What's wrong with the good old word Briticism? I give you the Ngram for American English:



Britishism (red) has outnumbered Briticism (blue) only since 1990.  As long as we have a good old standard word for it, why use a new one?  (And no, it doesn't seem to be because of the British people in NY.)



* In hono(u)r of Yagoda, I'm using American punctuation, rather than my usual indecisive mishmash.
** Please, stop.
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migraine, Miss Marpleisms, and linguistic imperialism

Last week I had two emails from fans of the recent British-made television versions of Miss Marple mysteries, which are apparently playing in North America at the moment.  As is often the case with British costume dramas and mysteries (those things that a certain class of American anglophiles like[s]), it is co-produced by British (ITV) and American (WGBH Boston) television companies.  (In a reversal of the stereotype of the original-series-producing television channels in the two countries, the British ITV is a commercial channel, while WGBH is part of the US's Public Broadcasting System.)  WGBH has a long history of Anglophilia; it is the home of Masterpiece Theatre (now just 'Masterpiece') and Mystery! (rebranded as 'Masterpiece Mystery!').  The former was originally introduced by 'Letter from America' broadcaster Alistair Cooke, and the latter by Vincent Price, and they are iconic program(me)s in the States to the extent that Sesame Street created a long-running parody, Monsterpiece Theatre (hosted by Alistair Cookie) and a parody mystery program(me) hosted by Vincent Twice Vincent Twice.  Of course, the only reason I mention this is to have the excuse to post one:



But that has nothing to do with Miss Marple, does it?  Both of my Miss Marple correspondents (American Judy and @mikcooke) have lived in the UK, but watched Miss Marple in North America and were surprised by apparent Americanisms and anachronisms in the script.  Apparently these recent re-tellings of the Miss Marple stories are known for playing fast and loose with the original Agatha Christie texts.  From Wikipedia:
The show has sparked controversy with some viewers for its adaptations of the novels. The first episode, The Body in the Library, changed the identity of one of the killers and introduced lesbianism into the plot; the second episode explored Miss Marple's earlier life; the third episode contained a motive change and the fourth episode cut several characters and added affairs into the story and emphasized a lesbian subplot that was quite discreet in the original novel. The second series also saw some changes. By the Pricking of My Thumbs was originally a Tommy and Tuppence story, while The Sittaford Mystery was also not originally a Miss Marple book and the identity of the killer was changed. The third series has two adaptations that were not originally Miss Marple books: Towards Zero and Ordeal by Innocence. The fourth series continues the trend with Murder is Easy and Why Didn't They Ask Evans?. The fifth series does the same, with The Secret of Chimneys and The Pale Horse.

@mikcooke points out the following:
  • Jane Marple phoned the local police station and asked for "Detective X" (AmE) and would have asked for "Inspector X" [This inspired a 'Difference of the Day' tweet last week--ed.]
  • She spoke about a man who took the bus from the "train station" (AmE) instead of "station" (BrE)
  • The village vicar was in traditional black attire but wore a grey trilby (inappropriate)
  • Various characters used current casual parlance (if not outright Americanisms, sorry, AmE) "not to worry", "waste of space"
  • A man lent another "half a million pounds (c. 1950)" which would be about a billion pounds c. 2010 (a foolish updating, which is never done in the Poirot series)
And Judy queried the pronunciation of migraine, which was pronounced "in the American way" by one of the English characters.  This is how the OED represents--and comments upon--it:
Brit. /'mi:greIn/, /'m^IgreIn/, U.S. /'maIgreIn/   
In other symbols, the BrE pronunciations are 'me grain' or 'my grain', whereas the AmE pronunciation is always 'my grain'.  The symbols are a bit different for the 'my grain' pronuniciations because the OED represents the diphthong represented by the 'y' in 'my' differently for the two dialects--claiming a slight difference in where in the mouth the diphthong starts.

But not everyone agrees that there's a distinction between the two pronunciations of my. For instance,  this dialect coach represents the 'price' vowel (for that's what phoneticians tend to call it) as being the same in the two dialects.  It's represented the same in this chart in Wikipedia, too.  The OED uses a scheme developed by Clive Upton that makes this and a few other distinctions that aren't universally made.  John Wells, writing about the advantages and disadvantages of Upton's system, says:
Price. The standard notation might seem to imply that the starting point of the price diphthong is the same as that of the mouth diphthong. In practice, speakers vary widely in how the two qualities compare. In mouth people in the southeast of England typically have a rather bat-like starting point, while in price their starting point is more like cart. In traditional RP the starting points are much the same. Upton's notation implicitly identifies the first element of price with the vowel quality of cut -- an identification that accords with the habits neither of RP nor of southeastern speech (Estuary English), and strikes me as bizarre.
I'm going to go with Wells on this one.  This means that American 'my grain' pronunciation is a known variant in BrE.  And in fact I've heard 'my grain' so much in England that I was beginning to wonder whether 'mee-grain' was just a South Africanism (since that was where I was first introduced to the pronunciation).

The OED also has a historical note on the pronunciation that first discusses whether the second vowel is pronounced as it would be in French (from which the word came to us--about 500 years ago) or whether it's "naturalized" to the English pronunciation of the spelling 'ai', as in grain.  It also says that two American dictionaries from around the turn of the 20th century listed the pronunciation as if the first syllable had the vowel in mitt and the stress on the second syllable--but that it later turned to the 'my' pronunciation that we know today.  It's unclear here whether the 'my' pronunciation started in the US and spread to the UK, or whether it might have been invented in both places.  To me, it doesn't look like the most natural way to pronounce that spelling--if I saw the word for the first time, I'd probably go for the abandoned /mI'greIn/ (mih-GRAIN)--so, how it turned to 'my grain' I don't know...


At any rate, the English character in Miss Marple could have naturally come upon that pronunciation, but I'm betting that it's anachronistic, like many of the things that @mikcooke noted.  So, has Miss Marple been updated or Americanized?  Probably a little of both.


Now, I've been feeling a bit down about all of the anti-Americanism-ism that's been going on in the UK press these days--everything from The Economist to our local property-listings magazine seems to have a feature or a series that urges its readers to defend the Mother Tongue against (in the words of the latter example) "ghastly, overblown, crass, managerial Americanisms".  It's not infrequent that the alleged Americanisms are (a) long-standing non-standard (or formerly standard) Briticisms, (b) management jargon that didn't necessarily start in the US and that is reviled in the US as much as in the UK, or (c) Australianisms.  

Why does all this make me uncomfortable?  It's not that I think Americanisms should or shouldn't be imported, it's just the vehemence and bile with which the (often unresearched) claims are made--the apparent assumption that if it's American, then it's crass and unnecessary.  (The Economist doesn't like gubernatorial because it "is an ugly word."  Is that the best you can do, Economist?)  One could point out many Americanisms that have found very comfy homes in BrE, and which no one complains about.  


But the implicit anti-Americanism in the anti-Americanismism becomes more understandable when one thinks about the American resistance --at an institutional level-- to importing British voices and words.  In addition to producing globali{z/s}ed versions of Miss Marple, British (pop-)cultural products tend to be remade (many would say [orig. AmE] "dumbed down") in some way or another for the American market--whereas the British take their American media mostly (AmE) straight-up.  So, a generation of British youth spout the slang of Friends, while Americans watched re-planted American versions of Coupling and The Office (and lots more).  In the case of The Office, the re-potting has been so successful that the American version is shown in the UK.  In the case of Coupling, oh I feel embarrassed for my homeland.  (See this wonderful compare-and-contrast video to see just how broad and--how can I say this? oh yeah!--terrible American comic acting can be.)  But it's not just changing the situations of situation comedies.  When I heard my American family talking about "Oprah Winfrey's Life on the Discovery Channel", I told them they should watch the David Attenborough series by the same name.  Then I realized it was the David Attenborough series, re-voiced by Oprah.  (You can read this discussion on which is better.  Apparently Sigourney Weaver has re-voiced previous Attenborough series.)  The American television programming that keeps British voices is on the channels that 'intellectuals' are supposed to watch: PBS, BBC America and some co-productions on premium cable channels (HBO, Showtime).  And while there have recently been lots of British actors speaking in American accents on American television (American-columnist-for-UK-newspaper Tim Dowling rates them here), for British characters it's not uncommon to have a North American speaking with a non-authentic accent--see most of the "English" characters (save Giles) on Buffy the Vampire Slayer, for example.


Of course, ask Americans, and they'll usually say that they love the English (the rest of the UK doesn't really get a look-in) and would love to see more of them.  But that's not what they're getting--and for the most part, they don't seem to mind.  And this is why there usually are ten times as many candidates for AmE-to-BrE Word of the Year as BrE-to-AmE candidates. And why many of its speakers feel that British English is 'under attack' from an imperialistic America.  (But a country that prides itself on its sense of irony should eat that up, eh?)
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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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    watershed and prime time

    This post is inspired by the following quotation from darling, two-year-old daughter Grover:
    "Bastard.  (BrE) Mummy said it!"
     Before she (orig. AmE) outs me as a (orig. AmE) potty mouth at her (AmE) daycare/(BrE) crèche (or nursery), I'll have to take the matter into hand and save my sparkling wit (in response to Better Half's all-too-accurate parodies of me) for (BrE) after the watershed.

    Because it's late at night (or early in the morning), I'll let Wikipedians do the work for me:

    United Kingdom

    According to Ofcom, the watershed on standard television in the UK starts at 9:00 p.m., and finishes at 5:30 a.m. the next morning. Programmes that are 15+ are shown during this period. However, some 12+ shows can be shown before 9:00 p.m., such as The Simpsons, Malcolm in the Middle and Doctor Who. On premium film or pay-per-view services requiring a subscription, the watershed starts at 8:00 p.m. However, 12, 15 and 18 rated films can be shown on PIN protected channels (such as Sky Movies) at any time of the day. Viewers are required to enter their PIN to view. There should be a gentle transition to adult material, and 18-rated material is not allowed to be shown before 9:00 p.m.
    See also for the UK: The Ofcom Broadcasting Code - Section 1

    United States

    The term "watershed" is not used in this context in the United States. In the US, the "safe harbor" for "indecent" programming begins at 10:00 p.m. and ends at 6:00 a.m. the next morning (all time zones). However, content that is considered "obscene" (including explicit human sexual intercourse) is never allowed by the FCC rules for broadcast stations. Those content rules only apply to channels broadcast terrestrially and not those only available on cable. Consequently, restricted-access networks (like the premium channels HBO and Showtime and adult channels Playboy TV and Spice) have taken advantage of considerably more leeway in their programming.
    The term is an extension of other uses of watershed:  'the ridge or crest line dividing two drainage areas; water parting; divide' (which some dictionaries list as 'Chiefly BrE') and later ' an important point of division or transition between two phases, conditions, etc.' (Late addition, June 2017: Michael M has pointed out that World Wide Words has a good account of the AmE/BrE difference in the watery kind of watershed.)

    If I needed an equivalent for after the watershed in AmE, I think I'd say not in prime time, which isn't exactly the same thing.  The watershed is a dividing line between the times when stricter and looser 'decency' codes have to be followed, whereas prime time is the part of the evening in which television networks expect to have the most viewers and therefore where they put their choicest programming (8:00 to 11:00 or 7:00 to 10:00, depending on the time zone).  It's also when they charge the most for advertising time.  In BrE, this is more commonly known as peak time, though since the major broadcaster (the BBC) is (orig. and principally AmE) commercial/(BrE)advert-free, it's less directly about advertising revenue.  While prime time is not the only time when children might be watching, not in prime time is often used to mean 'not appropriate for a general audience'.  This gives a double meaning to the name of Saturday Night Live's original troupe, the Not Ready for Prime Time Players.

    On American (chiefly AmE) network television (i.e. distributing programs to local affiliates; not cable/satellite), the rules are fairly restrictive at all times, so I was surprised when I first moved to the UK and saw things like Something for the Weekend (which was really horrid) or The Sex Inspectors (experts watch couples getting it on and give them pointers on improving!  The website describes it as post watershed), right there on free TV at a time when the equivalent US stations are showing the nighttime news.  (Did the US ever import this format?)  The reason why most of the good American television comes from HBO and Showtime is that those, as pay channels, do not have the same content restrictions as their free broadcast counterparts (and they've decided to use that power for good rather than evil).

    At any rate, either Better Half will have to wait until the watershed from now on before he points out my pedantries and hypocrisies, or I'll have to rein in my tongue-in-cheek responses. Or else Grover will be teaching the entire pre-nursery room some choice AmE phrases.    I think I know which one is most likely.
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    Sesame Street

    While Grover takes/has her nap, a little reflection on her bi-dialectal language acquisition. She's six weeks short of being two, and (orig. AmE) talking up a storm. I'd wondered whether she'd get any Americanisms from me, but (a) I tend to use BrE words when in the UK and (b) I'm just her mother. It's not me she's going to get Americanisms from. It's Elmo.

    So, she says (BrE) nappy and cot and loo and peebo (that one is the creche's influence, I think). I've had a little influence on her (and her father) with (AmE) washcloth and bathtub (as opposed to BrE bath). But I took it upon myself to sing the ABC song with (BrE) zed, which led me to entertain myself by making up new endings for the sake of rhyme:
    ...double-you, ex, why and zed
    Now I know my ABCs...

    ...and it's time to go to bed
    ...next time you can sing instead
    ...and a zombie is undead
    ...you're a Grover born and bred
    ...can you get that in your head?
    In fact, when rocking her to sleep I'd entertain myself by changing the last line each time. But all my zed training was all for (BrE) nought/(AmE) nothing, since this came into our lives:



    Now the ABC song bring cries of "Elmo, Elmo!" and Grover sings it beautifully and Americanly. (Her rendition/rendering of it is the ringtone on my (BrE) mobile/(AmE) cellphone.) I was also being very good about saying (BrE) ladybird, not wanting her to be the odd one out for saying ladybug, but then we started singing this song, and the more transparent compound won:



    Which is to say that Sesame Street is running our lives. And you know what? I don't really mind all that much. It's much better than Barbie or the Teletubbies or Thomas the Tank Engine, in my book. First, it has a great aesthetic--largely due to the Muppets. Second, it has a great sense of humo(u)r that speaks to child and parent on different levels. I mean, have you seen their Mad Men parody? Or the reggae joy that is Do de Rubber Duck? (And I'm always secretly thrilled/shocked when Hoots the Owl says near-taboo things like "Don't be a stubborn cluck".) Third, the songs are good enough to listen to even when your child is napping, and you just can't say that about the Wiggles. A lot of that is, again, the humo(u)r. I also think that the fact that the (BrE) programme/(AmE) show is made in the mother-city of the musical comedy helps. I also like that it is grounded in a kind of reality (where one has to brush one's teeth and learn to share)--it's not about a dream space like In the Night Garden (which is the drug of choice for toddlers in the UK at the moment, and which I just (BrE) can't get on with aesthetically or interest-wise). And Sesame Street is made by a production company that is all about children. Any profits it makes go toward(s) projects for children around the world.

    What makes me reflect on all this is the fact that Sesame Street is celebrating its 40th anniversary (which means that I was 4 when it first started--part of their original demographic), and the BBC website published a piece called "Why did Britain fall out of love with Sesame Street?", which was interesting reading. Grover gets her Street fix in a number of ways. She was introduced to it by an animatronic Elmo doll, a gift from her American Papa. Then we got a CD of Sesame Street songs and now we have probably about five 20-minute sessions with SesameStreet.org each week. (Grover: "Puter. Elmo. Turn it on. Apple puter."*) The shop in our library (yes, our library has a shop, like a museum) sells Elmo and Ernie dolls, but the library holds no Sesame Street books or DVDs, strangely.

    One British television executive is quoted in the BBC piece as "The style of the programme is a tad out-dated - there are very few puppet shows around now. Perhaps LazyTown, but that's a very different tempo". Um/Erm, who cares? Does my toddler really need something with a faster tempo? Wouldn't it be nice to encourage a longer attention span in children? And what's wrong with puppets? Children go to bed at night with cuddly toys, not two-dimensional animations.

    Unlike in the rest of the UK, Sesame is enjoying a renaissance in Northern Ireland, where a franchise version, Sesame Tree, is produced locally, with funding from several peace and reconciliation organi{s/z}ations.

    I do wonder a bit if different preferences for children's literature and television in the two countries reflect different ideas about childhood. The things that I know and love from childhood are (orig. AmE) wacky. The characters are brash and outgoing. Americans in the 1950s had Howdy Doody, but the British had the Flower Pot Men on Watch with Mother. The British program(me)s seem to have a lot more narration than American ones, which seem to have more direct interaction between characters and children. From the Flower Pot Men to Clangers to the Teletubbies, there are many British children's television characters who don't speak in discernible language, whereas American children's television is extremely focused on verbal humo(u)r (click on any of the Sesame Street or Howdy Doody links above). Of course, there are plenty of exceptions to these generali{s/z}ations, but they stand out when I reflect on the children's television that adults talk about.

    I was prompted to think about this even more after I posted a status update to Facebook yesterday, in which I proclaimed (too hastily) that there should be a law that all children's picture books should rhyme. I take that back, but I will say that any children's book with text is not a very good one if there isn't some joy to be found in the use of language. An American friend in Japan responded that:
    A British friend of mine in Japan HATES Dr. Seuss, and says his kids didn't like it either. Sounds like a blog topic to me....
    So here we are. First thing to note about Dr. Seuss is that the British tend to pronounce it as Doctor [sju:s] or sometimes even Doctor [zju:s] (we've looked at the reason behind that before), whereas for Americans, it's Doctor [su:s]. But after that point has been made, there are certainly lots of people in the UK who like Dr Seuss, but, like my friend in Japan, I've heard British people say he's overrated (and have never heard an American fault the stories--though not everyone loves his drawing style). And I do wonder whether that is because Americans are looking for brash humo(u)r and language play in their children's stories, while the British are looking for calm and comfort.

    I expect that this is the type of topic that's going to touch nostalgic nerves, so fire away! I'm in the (AmE) home stretch before a big deadline, so please excuse me if I go a bit quiet for the next couple of weeks. I hope I've given you plenty to talk among(st) yourselves about.


    *An aside: It's a little scary how many brand logos Grover already knows before the age of two. We're not (BrE) label-Mabels, and she doesn't watch commercial television, but having flown on Delta four months ago, she still points at triangle-chevron-type things and says "Airplane!" We were in a cafe the other week and she was pointing out the window saying what sounded to me like "Books, books!" Then I reali{s/z}ed it wasn't books but Boots--she knows the logo and the name of the (BrE) chemist's/(AmE) drug store chain where we buy her nappies/diapers. Today she went to the door with glee, exclaiming "Ocado man!" (Indeed, it was.) And pointed at their logo with interest, saying "Ball". Of course, she's learn{ed/t} the Sesame Street brand too, not to mention Maisy, Charlie and Lola, and Miffy, which are brands of a type too. The most embarrassing thing is when she sees the Coca-Cola logo and says "Mummy". I really thought I'd hidden that dirty habit.
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    bowls

    I'm embarrassed by how much television I've been watching lately. On further reflection, perhaps that's not true--maybe I'm just embarrassed by how much television I've found myself admitting to watching. But it does raise lots of bloggable issues, so here I go again with the admitting.

    Better Half came home tonight to find me watching The Big Bang Theory with a sleeping baby on my lap. (My excuse: I was stuck--I couldn't very well disturb the baby, who hates to nap and so must be tricked into doing it on my lap. So, nothing to do but power up the remote control.) In this episode, the boys are preparing for the "Physics Bowl". When they started practi{c/s}ing for the Bowl with physics quiz questions, BH said, "Oh, that's what they're doing! I couldn't figure out why physicists would get so excited about bowling!"

    The AmE bowl in Physics Bowl is the same as the more general College Bowl--a contest between (usually) students in which they answer (usually) academic questions. The UK equivalent to the College Bowl is University Challenge, a television program(me) in which students from different universities (or colleges within the Oxbridge/London universities) compete on television. (Perhaps some Americans will have seen this in the book/film Starter for Ten--if it was released over there...) University Challenge was based on the College Bowl, but it has overtaken its ancestor in terms of popularity. The College Bowl was televised in the US from the 1950s until 1970, but University Challenge is a television institution that's still very popular today. My own bowl experience was to be in the History Bowl when I was in the 8th grade. In that case, it was a county-wide competition for which I had to learn much more than I ever wanted to know about the Erie Canal. (I stayed home on the day of the final, insisting that I was [AmE-preferred] sick/[BrE-preferred] ill, but I think my mother was right in insisting that it was just butterflies. Oh, the regret.)

    I'm fairly certain that the name of these kinds of contests (which hasn't made it into the OED or American Heritage) is derived from the use of bowl to refer to certain post-season football (=BrE American football) games, such as the Rose Bowl, which are played between (AmE) college (= BrE university) teams. (Plus the Super Bowl, which is played between professional teams.) They are so-called because of the bowl shape of the stadiums (or stadia, if you prefer--the spellchecker doesn't) in which they were first played.

    The kind of bowl(ing) that Better Half was imagining is generally called bowling in AmE, but ten-pin bowling in BrE. (In AmE bowling can also refer to variants like candlepin bowling. You can look these things up if you'd like to know the difference! The social class implications of bowling in America are noted in the comments of a recent post.) This distinguishes it from the game more traditionally played in England, (lawn) bowls, which is closely related to the continental games boules/pétanque and bocce (which is the more familiar game in America, thanks to Italian immigrants). Another kind of bowling found in the UK (more than the US), particularly in the Southwest, is skittles, the game from which modern indoor bowling is derived. This provides me with an excuse to post one of my photos of the Children's Parade in the Brighton Festival. This year the theme was favo(u)rite games, and one school chose skittles. (It's not the best photo I took, but I've suddenly had qualms about posting a photo of other people's children.) In the US, I imagine most people would associate skittles with a (AmE) candy/(BrE) sweet.

    (...which compels an anecdote. I was at a party in Waco, Texas once and met a man who told me he was in Research and Development at M&M/Mars, one of the bigger employers in town. I asked what he'd developed. His wife proudly put her arm in his and beamed, "He invented Skittles!" As you can see, one meets Very Important People in Waco. And I should join Anecdoters Anonymous.)

    The verb to bowl is used to describe what one does with the projectile in all of these games, but is also used to describe how the ball is delivered (or not) to the bat in cricket--and hence the person who does that delivering is the bowler. The closest thing in popular American sports is the pitcher, who pitches a baseball.

    Going further afield, another bowl that differs is found in the (AmE) bathroom/(BrE informal) loo. While AmE speakers clean the toilet bowl, BrE speakers stick their brushes into the toilet's pan. I'm not absolutely sure that BrE speakers don't also use bowl in this sense (do you?), but it jars whenever I hear people speak about the toilet pan, as it makes me imagine something very shallow.

    Those are the bowl differences I've noticed myself, although the OED also gives a special Scottish English sense: a marble. Their only example is from 1826, so you Scots will have to tell us whether it's current!
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    The book!

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    Abbr.

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