This is a somewhat "touchy" topic with many bigfoot enthusiasts. However, despite what many believe; I know first-hand that bigfoot have a language both spoken and pictorially depicted. Pictorially, mainly through "glyphs" and carvings mainly on cave and rock carvings. This was further identified by
Janice Carter, co-authored and published in the book
50 years With Bigfoot: Tennessee Chronicles of Co-Existence many years ago. A book which is sadly no longer in print.
Al Berry and
Ron Moorehead also released "Sierra Sounds" years ago and the DVD sets include many vocalizations containing many supposed "bigfoot verbal communications" dating back to the 1970's. A very comprehensive accomplishment by both of these gentleman and other researchers namely Robert Morgan. Though this post will be quite lengthy and somewhat hard to follow, you owe it to yourself to check it out in detail. This could be a pivotal point in your research with what you've recorded and heard up to this point.
Janice Carter has the great priviledge of "deciphering" some of what has been said by the bigfoot on the "Sierra Sounds" DVD's. Remarkably, cryptolinguist Scott Nelson has stated that "Janice" was "dead-on" on her interpretations. At the permission of Mr. Scott Nelson; I'll
first post his introductory letter in it's original email form that describes what it is he is trying to convey to researchers.
Secondly, I'll give the actual email that includes the syntax and pronunciations hidden within the bigfoot recordingcontained on the "Sierra Sounds" DVD audio. Through this collection of verbal communications, Scott and Janice over the years have happenchanced upon a great "breakthrough" in my opinion.
Thirdly, I'll present companion Janice Carter's interpretations of a few of the "Sierra Sounds" recordings.
Scott Nelson's Letter of Intent (Part I):
Fm: R. Scott Nelson
To: Sasquatch Research Community
Re: Sasquatch Phonetic Alphabet (SPA) (attached)
Since I became involved in Sasquatch research a little over two years ago, I have received dozens of e-mails from around the country involving first-hand witness accounts, many containing recorded audio files, of perceived Sasquatch Language.
Virtually all of these have included an attempt to spell out Sasquatch “words” using Standard English. This is of little value to the language researcher, since English is notoriously non-phonetic and is subject to widely-varied local dialects.
Since our ultimate goal is the recovery of Sasquatch Language, I have found it necessary to establish a phonetic alphabet and transcription standard (based on the transcription of the Berry/Morehead tapes), by which the contrast and comparison of all
future suspected language can be facilitated. To this end, as an invaluable tool in the future of Sasquatch Language research, I am
requesting that the attached standard be published on research web-sites and that it be copied and distributed freely. With this, I am also requesting that local investigators begin using this alphabet as soon as possible to accurately document any perceived
Sasquatch Language.
This standard should not be limited to first-hand witness accounts or recordings from North America, but should be used by investigators world-wide, since most languages have many of the same non-phonetic characteristics as English. The work is written in the style of a military SOP (Standard Operating Procedure).
It is my belief that there is nothing more important, at this early stage of Sasquatch Language study, than to standardize the documentation of evidence.
With highest regard for all those engaged in the work of Sasquatch recognition;
R. Scott Nelson
20 June 2010
Perceived Sasquatch Phonetic Language (SPA) by Scott Nelson (Part II):
Sasquatch Phonetic Alphabet and Transcription Standard
Submitted by R. Scott Nelson
The Sasquatch Phonetic Alphabet (SPA) will alternately be known by the more formal denomination, Unclassified Hominid Phonetic Alphabet (UHPA), until such time as the subject Being is scientifically classified, or documented linguistic contact has been established. “Sasquatch” is used here as a generally accepted term for the subject Being.
A variation of the English Reformed Phonetic Alphabet is used, as transcribed from the Berry/Morehead Tapes (BMT).
The existence of the Sasquatch Being is hereby assumed, since any creature must exist before his language. Any argument for the existence of Sasquatch or his language should be given outside of this standard and outside any transcription endeavor that uses this standard. Transcripts should stand alone as tools for the language researcher; whereas SPA transcripts and excerpts should be freely used in other works to support linguistic.
The purpose of this is to standardize all future transcription of suspected Sasquatch Language and to facilitate comparison of language articulations by future researchers; the ultimate goal being the recovery of Sasquatch Language.
Sasquatch Language is spoken approximately twice as fast as any known language in most analyzed recordings, therefore it must be slowed down to be transcribed accurately. 50% of real-time will be the standard; transcription at any other speed will
be noted, e.g. (75%). Real-time will be noted as (rt). Tape-time hacks will be given as
minute:second.1/100thsecond, e.g. 17:23.54.
Since this is an unknown language, transcribed for the first time, the grammar and syntax of it, likewise, cannot be known. Therefore, to differentiate between small and capital letters is useless and misleading. Sasquatch articulations will be transcribed using capital letters, human voices are to be transcribed by the standards of the language that is spoken (proper English, Russian, etc.). This eases reading of the transcripts when human and Sasquatch voices are mixed or alternating. Since words cannot be known, and only suspected in cognates, Sasquatch utterances will be given as individual morphemes (or syllables). An umlaut (Ä) is used rather than a macron (-) to avoid confusion with the English use of the same symbol.
Small letters within parenthesis will be used, in accordance with military transcription standards, to abbreviate specific notes, e.g. (2-3m) to mean (two or three words or morphemes are missing or inaudible here). Untranscribable vocalizations such as grunts
or screams will be noted with capital letters within parenthesis, e.g. (G) or (SC). An
abbreviation key follows the phonetics key.
Any document using this alphabet should be labeled (SPA) or (UHPA).
Use in first-hand witness accounts:
This alphabet is not intended to be used solely for the transcription of recorded language, but will be highly useful in first-hand witness accounts of Sasquatch phenomena where the witness perceived spoken language. Researchers, when
documenting witness accounts, should endeavor to transcribe each Sasquatch utterance as accurately as possible using this alphabet.
As an invaluable aid to the language researcher, several questions should be asked of the witness to correlate with the utterances of the Sasquatch Being:
- What was occurring at the moment of each specific utterance?
- How many Sasquatch Beings do you believe were present; how many were speaking?
- Did you feel that the Sasquatch Beings were speaking to each other or to you (the
- What do you think the Being was trying to communicate?
- What do you feel was the emotional state of the Being (for each specific utterance)?
- Was there interrogative inflection in the utterance (did it sound like a question)?
- Was there imperative or command inflection in the utterance (did it sound like the Being was telling you or another Sasquatch to do or not do something)?
This alphabet is expected to grow as additional verified recordings of Sasquatch Language are collected and analyzed, and new extra-human articulations are documented.
For example; the well-documented howls, whoops, growls, screams and whistles of Sasquatch may someday be found to have linguistic meaning; wood- and rock-knocking or tooth-popping may be found to be encoded. It should not be discounted
that manipulated tree, limb and stick formations could be graphic expressions of Sasquatch Language, much like runic or pictographic human writing systems.
Since auditory perception is subject to the same limitations of all human perception, review and revision of any transcript by other qualified Crypto-Linguists or voice-transcription experts should be welcomed. With the recovery of Sasquatch Language
being the anticipated outcome, cooperation and consensus between language researchers should be the first rule of this study.
The first two pages of Berry Tape I transcription are attached as an example of the
prescribed usage of this alphabet.
- Ï = i in machine, ee in meet
- J = y in yes, i in union
- K = k in kite, c in cut
- Rr = rolled r, as in Spanish or in Scottish Brogue
- Ü = u in plume, oo in boot
- U = u in run, o in union
- Z = z in zebra, s in is
- c = tongue click, not evident in BMT
- > = phoneme drawn out
- Compound Phonemes
- ÄÏ = i in like, y in my
- JÜ = as in you, u in fume
- KH = ch in Scottish loch, x in Spanish Quixote, x in Russian (khah)
- ZJ = z in azure, s in treasure
- DZJ = j in jail, g in age
- Δ (Greek Delta) = th in then
- Θ (Greek Theta) = th in thin
- (rt) = transcribed at real-time
- (75%) = transcribed at a speed other than 50%
- (h) = human vocalization
- (1-2m) = one or two words or syllables are missing or inaudible here
- (int) = interrogative inflection
- (dr) = Inflected as a direct response
- (imp) = imperative inflection
- (q) = very low audibility, quiet, almost imperceptible at normal speeds
- (im) = human imitating a creature
- (ma) = possible male Sasquatch Being
- (fe) = possible female Sasquatch Being
- (ju) = possible juvenile Sasquatch Being
- (G) = grunt, growl or grumble, possible language
- (W) = whistle or squeak, possible language
- (SN) = snarl, possible language
- (SC) = scream, possible language
- (TP5) = tooth pop, number in sequence, possible language, not evident in BMT
- (WK3) = wood knock, number in sequence, possible language
- (RK4) = rock knock, number in sequences, possible language
- BERRY TAPE I
- Transcribed by R. Scott Nelson
- Utterance
- (W) (W)
- (W) (W) (W)
- RAM HO BÄ RÜ KHÄ HÜ
- WAM VO HÜ KHÖ KHU′
- NÖ U PLÄ MEN TI KHU
- NÄR LÄ
- NA GÖ KÜ STEP GÄ KÜ BLEM
- Ü KÜ DZJÄ
- FRrÄP E KHÜK LE
- ÜN Ï KÜ O GÜ AKH (int)
- DÖ WÄÏ NÖ (dr)
- MÜ Ï FWI KÖ PÏ KHU′ SJ΄
- (ma) HU Ö NÖ> KHÄ HÜ
- PLEN DÜTSJ TISJ
- SÏ DZJAÖ GLÖ PÜ MËKH
- PÄ KHÏ KÖ DÜ TÜ SEKSÏ
- WA HEP DÜ TSJE DÜ FU HEP
- (ma) FI KÜ ÄÏ> KHÜ′
- FÄ LIP ÄBÄSJ KHU′
- NE VER GÖ ΄ ÖM KHU′
- FÖ WÄ Ï>
- WA KHU΄ KVÄM
- ITS KÄÏM VÄR US FO RI ZIS TENS
- MÖ> FER BÏ KEN JÄ Ä VÄÖN SÏ RYK MI RO GHAP –
- GÏ GO WYP
- MÏ WÄTSJ FYD PLËN FYD NÜ AÖ> KHE KHU′
- NÖ ÄÏ ÄKHSJ HÜ
- (h) Come on, boy.
- (h) Come on, let’s eat.
- BÏ KAER FYL NAÖ PRÖS GYD
- NÖÄ Ö JA LET KHE
- MÖÏ PISJ FE KHE KHU′
- (h) Come on.
- KHU BEK
- KHËÄ KHU′
- Ä LÄF
- MÖ VE KHÜ
- LAF KHU′
- NÖ KHÏÄ
- KHÖ VË ÄER ZÏ RÄ KIL WÄ KÜ ′ÜSJ
- BÜ GÄ TÄÏSJ KHU′
These are the translations presented of The BMT's by Ms. Janice Carter with appropriate calendric dates of translation and interpretations:
Track Three (BMT): (12.28.2007)
Female: "Who", "Who", "Who", 'Who" are you, "Who, who, "
Male: "Ronock told them what a good boy I am though". And then he mumbles something I cannot make out right here on this part of the recording.
Female: "Who are you all, Who are you all"
.
Female: "Their so funny looking". and laughs with the male, "Who!" " Watch this". "Who are you all". After Ron answers back kind of in Chinese to them, she ask the male; "Why's he doing that?"
Male: "Oh because he put the paper down. Good one".
Female: "Who are you all?"
After Ron says: It sounds like their laughing at us. The male and female are mumbling something I cannot hear well enough to understand.
Male "Oh Ronock told me what a good boy I am"
.
Female: Lightly calls, "Who are you all". "Want good will?" "Want good will?" "Ya want ta?" "Nawk. Want Nawk? Nawk?"
Ron answers again trying to imitate what he hears, and She ask the male "What's he doing?"
*Please notice that Nazari/The Old Man/Biggie kinda knew what Ron's name was, Nazari just added a bit to it.
also from BMT Track Three (12.28.2007):
In this one Wahump, the female has found the toilet seat fascinating and is banging the lid on it. Ron and someone else is talking in most of it. At the end is where you hear the adult male talking.
Nazari calls:
"Wahump, Come on. Listen. Put it back.".
Now I don't know if Wahump the female made off with the new toilet seat or not , but Nazari thinks she has or is fixing to do so. So he tells her to Come on. He is probably out there watching for the men to come out and catch her in the act.
I do find this recording of such fun, I can just imagine Wahump out in the outhouse trying to find herself a good knocker that she doesn't always have to hit so hard to make a locater knock with. Then her hubby Nazari makes her leave her new found pretty flowered knocker and come on. Bet he got blessed out over that. Wahump is really the boss in the family, Nazari just thinks he is boss. She is quite the argumentative gal.
I have only posted two of Janice's translations. There are many more but for the sake of one scrolling into infinity; I will post other translations that should be used in conjunction with Scott Nelson's SPA.
....definitely more to come on this subject.