Here are reversals of language-like utterances from a recently released video of Diana talking with her voice coach in 1992. Here is a transcript of the recording https://www.thesun.co.uk/news/4141886/publish-full-transcript-diana-tapes-channel-4-documentary/
The reversals show the currents swimming around in Diana’s subconscious mind.
There is a danger in speech identification when there is audio noise, such as in this recording. It increases the chance of hearing something that is not there. This is also the case when speech is spontaneous. The chances of erring is high. And with Reverse Speech, one has to identify apparent speech from gibberish, as well as coincidental sounds that appear to be language. One should know what is really happening both at the macro level of the speech and at the smaller speech unit level, and compare what is occurring in reverse with what is directly occurring at that point in the forward speech. One needs to know what is right about it and what is imprecise, ambiguous etc about it, and then make a decision whether to claim it as likely reversed speech.
RS: ‘n I’m a/(to?) slaughter; the (p)rophecy
FS: (It was the fact that an older man), um, who was in a prominent position liked me, and wanted to have me around.
‘n I’m a/to old[er man] [m] comes from FS [m]. There is a slightly perceivable [n] from ma[n]. There is no [t] in the RS – it like the vowel [a], a general listening just gives a sense of [to].
slaughter [an old] [n] creates the [t]; [old] creates [slau] with [d] becoming a sibilant.
prophecy [it was the fact] the initial sound in uncertain, and tends to run straight to the vowel – it is just easy to hear [pr] in it, so whether it is meant to be this is a subject for debate; [ph] comes from [f]act; [e] comes from th[e] while the [th] disappears into the sibilant at [c]y; [cy] comes from [it was] where [t w] are lightly articulated and largely disappear in the RS
Before the reversal starts, the is the sounds of merc with an [s] sound as the final. We generally use the word with a [k] sound final for mercedes, or a short for for mercenary (I am uncertain if mercenary also has a final [s] alternative. As a slang word, it can mean to kill ruthlessly (but maybe with a [k] ending?). Anyway, the car in which Diana was killed in was a mercedes, and the sounds are the first half of the word, whether that means anything or not.
Sounds like a part of her subconscious believed that it was her fate to be butchered.
RS: Big liar was I when he was/I was seeking it. Game off, s(t)ea(d)y on roo! Shower!
FS: [Wrong word. Whereupon he leapt upon me, he started kissing me and everything, I thought rahh you] know, you know, this is not what people do and he was all over me for rest of the evening, he followed me around …
big liar [rahh you] The consonants are not in the FS speech. However, perception permits their possibility, with possible sense of [g l] occurring in the transition from [rahh] to [you], and [b] at the labialised close of FS [you]. [iar] occurs at [rahh]
was I ev[erything, I thought] rounded vowel creates [w]. [th] creates [s], [erything] was articulated quickly and weakly leaving a lengthened sense of [I].
when I was/he was ki[ssing me and ev]erything [w] comes at [v], [n] comes at [n], an uncertain pronoun occurs at m[e a]n’ (I or he), [w] comes at the release of FS [m], [s] comes at [ss].
seeking it s[tarted kiss]ing sense of [ing] comes from , The voice coach vocalises over Diana and the final word is unknown and can only be guessed. It is possible that [it] is the word behind the interruption of the interviewer.
game off [upon me] sense of [g] occurs at release of [me], [m] comes from [m] with FS [n] assiilating to [m], FS [p] permits a sense of [f].
s(t)ea(d)y on roo! [whereupon he leapt] roo is from [where], Sense of [n] in [on] occurs at the [p] in [upon] while the [n] in [upon] seems to disappear, [he] comes from [y], RS [d] is actually [l], however, and there is a [p] that is perceivable. This word is distorted. However, in the overall scheme of things it may be worthwhile including as a potential.
shower The sibilance of [d] produces [sh], [w] comes from [w]ord, [r] comes from w[r]ong, [ng] disappears.
In regard to ‘he was seeking it’, we may have Charles seeking a sexual encounter or romance, or Diana admitting to seeking it herself. Big liar was I, indicates Diana was playing a game, and not being truthful about everything. Game off, steady on roo indicates Charles should back off as he was coming on too strong. A surface level listening gives the perception of steady, however, this word has phonemic issues. If roo is a part of it, it may come from kangaroo, and simply mean fella, so steady on fella! Shower would mean that she wants to wash herself after being ‘pawed’ by Charles.
RS: Where does he get this arrangement
FS: And Charles said to me that he was killed in a motorcycle accident [and that was the biggest blow] in my life I must say, that was a real killer.
Where does he [bigg[est blow] [w] comes from [w], [ere] comes at b[lo]w, a sense of [d] occurs at [b], [s] comes from [s], [e] creates [he]
get [bigg]est – [b] reduces enough to give a sense of [get].
this wa[s th]e
arrangement [and that wa]s Neither the FS or RS is clear and precise. There is a [g] sound happening in the FS at the point of onset of [th]at. Following [g], there is, of course the [n] following, but one can easily place in there [ment]. We have to bear in mind that FS is not always clear, and need to assess whether what we are hearing is possible. The [n] comes from the release of [th]at, [rr] comes from [w]as. The lack of audio quality probably helps us to hear this word in it. It is interesting, though, the [zh] sounds unexpectedly turns up in the FS, otherwise the word would not be possible.
Obviously this statement is aided somewhat by the inferior audio quality; however, here are many characteristics of the target sentence, and it may be worth considering.
Charles springs a surprise on Diana that the security guard (Barry Mannakee) whom Diana felt deeply for dies in a motorcycle accident. Diana here would be thinking how Charles can ‘arrange’ for this kind of thing to happen.
RS: Ban the men who I know I met
FS: I think he was bumped off but um [there we are I don’t … we’ll never know].
ban [know] Release of [know] at the labial creates sense of [b].
the (m)en we[‘ll never] [m] is actually [v]; it is a generally listening that one may get a sense of [men].
who[m] I know [I don’t w]e’ll [w] creates [w], a sense of who[m] occurs due to the do[n’t], [kn] comes from [d]on’t. [ow] comes from [I].
I met [there we are] [I] comes from w[e are], perception of [m]et comes from [we], though one can perceive it as [w] also, and m[et] comes from [the]re.
Diana is revealing suspicions she harbours that Barry Mannake, who she felt deeply for, was murdered. One can treat the relative pronoun as [who] or [whom]. The reversal is reasonably sound, apart from the [v] sound on closer listening in [men]. One may place ‘that’ or ‘whom’ within the sentence to understand it better – Ban the men whom I know that/whom I met – so, ban the men that I met, and whom I know. This is likely Diana thinking that other men are not allowed in her life.
RS: Is she upset? See her
FS: I was like a little girl in front of home the whole time. Desperate for [praise. Desperate].
is she deper[ate] The [t] produces [sh], its FS release helps give a sense of [is], and at the vowel [a] we get a sense of sh[e].
upset [desper]ate This is quite clearly seen from the FS sounds.
see her [praise] The [p] disappears in the RS leaving [see her]
This sounds like a subconscious aspect of Diana asking if Diana is upset. Diana is referred to in the 3rd person. The aspect seems unsure if she is upset or not. An example of a possible literal interpretation of words is found further below.
RS: My love/life go out. Miss/This’s the end. Mum miss such number. This naughty girl
FS: I used to have really disturbing dreams about him. He was very unhappy, [wherever he’s gone to]. And so I went [and laid some … I went and found ou]t where he’s buried [and went to put some um flowers on his] grave.
my [out] There is some sense of a labial consonant occurring at the initial.
love/life [find] The [n] produces a sense of [l] in the RS. The word could be [love] or [life].
go [went ‘n] The two [n] disappear and sense of [g] occurs where the [e] is released and the tongue is raised to produce the [nt ‘n] in the FS.
miss/this’s [some] Although there is [m] in the FS, there is some ambiguity, and it is possible that it may be something else such as this’s the end.
end [‘n l]aid The [l] assimilates with the [n] in the RS.
mum so[me um]
such [t’ put s] [t’] comes out as [ch] in the RS as it does in the FS, the release of [t] in the FS helps produce sense of stop before [ch] in the RS, [p] disappears in the RS, [s] comes from [t] and [s].
number [n went] [n] from [n], [m] from [w]. There is an acceptable sense of [number] here.
this [to] [s] comes from FS [t], a sense of [th] comes from the frication of the vowel.
naughty wherev[er he’s gone] [er he] produces perception of [y], he[‘s] produces perception of [t], [n] from [n].
girl [wherev]er The combination of [r] and [v] help to give perception of [g]. And the combination of [r] and [w] help give perception of [rl].
Diana is talking about the death of Barry Mannakee. Before mum miss such number, there is what is like parent suicide. Of course ‘apparent’ is close to the word, but it does not seem to indicate that. [sui] is actually like [siu] and the ending of parent disappears; however, in normal speech, that can occur also. Parent suicide – Mum miss such number occurs behind “I went to put some flowers on his grave”. Her words could be triggers for subconscious thoughts about suicide and her mother. Saying that her mother missed such number, may mean she missed that particular fate.
go out may mean to be extinguished. Therefore if my love go out, then her love could refer to Barry Mannakee’s death, and it ‘died’ at that time. Or it may refer to the dying of her love for her husband. If my life go out, then it may refer to a loss of will in living due to the circumstances that occurred. This’s the end would then follow on from that. If miss the end, we would need to know what the end refers to. Does it refer to not being there for Mannakee’s end, or something else?
This naughty girl comes behind “wherever he’s gone to”. There may be a naughtiness felt by Diana in suggesting this.
RS: An’ I appear for her days; gonna offer their prevention/An’ I fear for her days; gonna offer their prevention.
FS: [And I should never have played with] fire when I [did and I got very burnt].
An’ I appear/An’ I fear/ [very burn]t There is a bilabial occurring in reverse ([b] or [p]) from the FS [b]. [n] in [An’] comes from bur[n]. The [r] in appear/fear occurs at ve[r]y. Although there is a bilabial occurring, one may also get a sense of [f] in fear. It can sound like other phrases – An’ up here/Enough here.
for her [‘n I got] [n] disappears in the RS, [h] can be perceived, at [g]ot, [f] can be perceived on the release of the vowel in got just before [v] occurs in the FS (go[t] is not articulated in the FS).
days – [did] One might also consider that the word is meant to be death
gonna [when’ I] a [y] sound occurs, however, some perception of [g] can be had here,
offer w[ith fire]] [th] assimilates to the [f] to produce [ff].
their p[layed] [th] from [d].
prevention [an’ I should never have p]layed [n I] creates [ion], [should nev] creates [venti], [er p]layed creates [pre]
Diana is talking about the unfortunate outcome of her feelings for Barry Mannakee, where Mannakee ended up dying in a vehicle accident. gonna offer their prevention occurs when she says I should never have played with fire. It sounds more like ‘their’ than any other pronoun. So, if this, who or what is their? Prevention of what or who? Is it a referent to ‘fire’ where it is using a plural pronoun to refer to the possibility of more than one fire? Is it an aspect of Diana that interprets literally (she mentioned ‘fire’, so there should be fire prevention?) Or, does it refer to offering prevention for these kinds of situations which Diana might find herself in?
I appear for her days (death?) or I fear for her days (death?) occurs when she says I got very burnt. It could be argued that her refers to Diana; therefore who is I? This would indicate a part of Diana that is at least semi-autonomous. If An’ I appear for her days, then we would have to consider what ‘her days’ refers to. If, on the chance, it is meant to be ‘death’, then it may refer to something that will make itself known at her death. If An’ I fear for her days/death, then it would be just that – a part of her that holds that fear. Again, is it a literal part of her that feared because Diana said she got burnt, and is interpreting that literally? Or, does it fear for Diana in other ways – her dalliances, the dangers of her position etc. It is uncertain whether ‘gonna’ is there. But it does seem to point to prevention.