text:
Reichenbach im Vogtland

Reichenbach im Vogtland is a town in the Vogtlandkreis district of Saxony in eastern Germany. With a population of 20,108, it is the second-largest town in the Vogtlandkreis after Plauen. It is located close to the A72 between Plauen (at c. 18 km) and Zwickau (at c. 19 km).

History
The town of Reichenbach im Vogtland dates back to a settlement of the Franks and owes its early growth to its privileged situation in a valley close to Mylau Castle. In 1212, it was officially named Richenbach, possibly because of the many wetland basins (German: Bächen) located in what is today the old town. Reichenbach was granted town privileges around 1240 and mentioned in a 1271 decree as "civitatis richenbach", a town with autonomous rights to self-defence, trade, and municipal elections. Much of the Reichenbach history was lost in the town fires of 1720, 1773, and 1833. The foundations of the Ss. Peter and Paul parish church still date back to the 12th century.

The rise of industrialisation allowed the town to grow further, again promoted by its accessibility. Sewing and weaving were Reichenbach's main trades, but in the 19th century the metal working industry settled in the city and in the early 20th century, there was a rise of the pulp and paper industry and printing works. Some of Reichenbach's most remarkable structures date from this era, including its town hall (1837–1839), the railway station (1846), and world's largest brick bridge, the Göltzsch Viaduct (1846–1851).

Reichenbach im Vogtland has had a rather insignificant role in World War II. The town was the cremation site of many prisoners of various nationalities, who died in the subcamp of the Flossenbürg concentration camp located in nearby Lengenfeld. On March 21, 1945, American bombings killed 161 citizens and destroyed or damaged many buildings. Against the orders of the National Socialists, Mayor Otto Schreiber capitulated the town on April 17 without a fight. The town was occupied by American troops, who handed over control to the Red Army on July 1. About 120 innocent youth aged 15 and 16 were taken in custody and transferred to the Soviet Union's secret service (predecessor of the KGB), hoping all other citizens would be spared.

After Germany was split up, Reichenbach im Vogtland became part of East Germany. The population has since declined from nearly 35,000 to little over 20,000 today. As was the case with many former East German industrial cities, the 1991 German reunification caused many workers to lose their jobs and they started to move away. Many initiatives have since been deployed to rebuild the local economy. There are still many industrial buildings in Reichenbach with a high historic value, but with little appeal.

The administrative district of Reichenbach has grown since the early 20th century to include the quarters and villages of Brunn (1994), Cunsdorf (1924), Friesen (1994), Mylau (2016), Obermylau (2016), Oberreichenbach (1908), Rotschau (1996), and Schneidenbach (1999), and has had a collaborative relationship with Heinsdorfergrund since 2000. Schneidenbach joined on 1 January 1999, and Mylau on 1 January 2016.

Historical population
• 1834 - 5,165

• 1869 - 10,200

• 1871 - 12,942

• 1875 - 14,620

• 1880 - 16,509

• 1885 - 18,320

• 1890 - 21,496

• 1910 - 29,685

• 1925 - 30,862

• 1933 - 32,276

• 1939 - 31,661

• 1946 - 34,708

• 1950 - 32,320

• 1960 - 29,598

• 1964 - 29,535

• 1971 - 28,545

• 1981 - 25,458

• 1984 - 25,033

• 1990 - 25,036

• 1998 - 24,251

• 1999 - 23,831

• 2000 - 23,469

• 2001 - 23,096

• 2002 - 22,923

• 2003 - 22,729

• 2004 - 22,371

• 2005 - 22,082

• 2007 - 21,210

• 2008 - 20,746

• 2009 - 20,449

• 2010 - 20,146

• 2011 - 19,836

• 2012 - 19,087

• 2013 - 18,879

• 2014 - 18,743

• 2022 - 20,018

Sites of interest

 * Reichenbach is home to the Göltzsch Viaduct, the world's largest brick bridge, located about 4 km (2.5 mi) west of the town center spanning across the Reichenbach district of Mylau and the adjacent town of Netzschkau.
 * The Neuberinhaus is a local historical and theatrical museum, named after the town's most famous citizen, actress Friederike Caroline Neuber (1697–1760), nicknamed "the Neuberin". Permanent expositions include her life and work, 18th century German theatre and the town's history.
 * The Park der Generationen (Park of Generations), the gardens of the 5th Saxon Landesgartenschau (horticultural show) held between May 1 and October 18, 2009.

Communications
Reichenbach im Vogtland also has a telecommunication tower of Deutsche Telekom erected out of concrete, which includes a VHF broadcasting station for among others Vogtlandradio. It is not to be confused with the tower in Reichenbach (Oberlausitz) which transmits MDR Info at 1,188 kHz.

Education
The Westsächsische Hochschule Zwickau - University of Applied Sciences Zwickau teaches architecture at bachelor and master level and Textile- and Leather Craftsmanship. The town also has a gymnasium, a middle school, three primary schools, and a special school for the physically and mentally challenged. Middle school students also attend schools in the surrounding towns.

Twin towns – sister cities
Reichenbach im Vogtland is twinned with:

 * 🇫🇷 Althen-des-Paluds, France
 * 🇵🇱 Jędrzejów, Poland
 * 🇨🇿 Karlštejn, Czech Republic
 * 🇮🇱 Ma'alot-Tarshiha, Israel
 * 🇮🇹 Montecarlo, Italy
 * 🇩🇪 Nordhorn, Germany
 * 🇨🇿 Ročov, Czech Republic
 * 🇩🇪 Waldenbuch, Germany

Notable people

 * Josef Bachmann (1944–1970), activist
 * Richard Benz (1884–1966), historian
 * Karl Böttiger (1760–1835), archaeologist and classicist
 * Fedor Flinzer (1832–1911), author, educator, and illustrator
 * Willy Rudolf Foerster (1905–1966), engineer and industrialist in Japan who rescued Jews during the Holocaust
 * Jürgen Fuchs (1950–1999), author and dissident
 * August Horch (1868–1951), automobile pioneer
 * Rudolf Krause (1907–1987), racing driver
 * Johann Friedrich Krause (1770–1820), theologian
 * Georg Lenck (1685–1744), musician
 * Friederike Caroline Neuber (1697–1760), actor and director
 * Karl Nitz (born 1938), judoka
 * Henry Stöhr (born 1960), judoka

title: Reichenbach im Vogtland


text: Category:1670s books

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Category:1670s books


text:
Kalyves

Kalyves (Καλύβες) is a large village in Crete, Greece, the main village in the municipal unit of Armenoi. It is now a popular tourist resort that has maintained its Cretan character.

It is said that the Kalyves took their name from the makeshift accommodation (huts) built by the Arab pirates, when they invaded in 828 AD and occupied the area of Sarakinos near the village. Another version is that the name comes from the huts that the farmers built near their estates to stay in the summer, without having to return to their village every night.

Description

Kalyves is a picturesque, seaside village of Apokoronas, 19 km east of Chania, and is connected to the highway which links all four prefectures of Crete. Kalyves, Almyrida, and Plaka consist of the most popular resorts on Cape Drapanos, very well known for their sandy beaches. Apokoronas is also known as one of the greenest areas of Chania, popular for its amazing scenery, combined with hills, trees, mountains, beaches, and traditional architecture. Kalyves is built in an amphitheater form which, actually, hugs its coastline. Also known as a fishing village, it offers a big variety of natural activities, such as fishing, kayak, windsurfing, hiking, etc. The village is divided into two aspects by the river Xydas, lovely scenery with trees, ducks which make it a perfect wetland. Thanks to River Xydas and another river, Kyliaris, which flows west of the village- Kalives is located in a fertile valley and is full of green and surrounded by olive trees. The natural benefit of that is that during summer instead of the heat, the climate is mild.

According to its natural and geographical advantages, the village of Kalyves was inhabited centuries ago. From the ancient years, there are many excavations that prove its strategical significance considering also the fertility of the soil, thanks to the rivers. It borders from the west with the ancient town of Aptera.

title: Kalyves


text:
Masbateño language

Masbateño or Minasbate is a member of Central Philippine languages and of the Bisayan subgroup of the Austronesian language family spoken by more than 724,000 people in the province of Masbate and some parts of Sorsogon in the Philippines. Masbatenyo (sometimes written as Masbateño) is the name used by the speakers of the language and for themselves, although the term Minásbate is sometimes also used to distinguish the language from the people. It has 350,000 speakers, with 50,000 who speak it as their first language. About 250,000 speakers use it as their second language.

Masbatenyo is closely related to Capiznon, with 79% lexical similarity, and Hiligaynon, with 76% lexical similarity. Waray language is closely related and significantly similar to Masbatenyo as well. It is also closely related to Waray Sorsogon language, the language of Sorsogon. This is because Masbate was once part of Sorsogon Province and was governed from Sorsogon City until the 1920s. It has three major dialects: the western dialect centered around the town of Balud on the western coast which is close to Capiz, the southern dialect centered about the town of Cataingan in the southeastern part of Masbate, and the northern dialect covering the whole northern half of Masbate and centered on Masbate City.

Etymology
There are several accounts on the origins of the word Masbate. One account says that it came from the words masa 'to mix' and batî 'to beat'. The other account says it came from mas batî 'heard better' as in Lumúsad kamó kag umapíke agúd mas batî an íyo ginasábi 'Get down here and get closer so that we can hear better whatever you're saying.' Another account further says that it came from the term that Cebuano migrants used to describe the place, mas batí, which means 'a place where living condition is worse'.

According to a certain Fray Martin de Rada, Masbate took its name from Masbat or Basbat which means 'having many gold mines'. Another claims that the name Masbate came from Masbad. The term Masbad possibly originated from Masbaranon, a barrio that used to be part of the jurisdiction of the Municipality of Placer but is now under the Municipality of Esperanza. This barrio used to be called Surosimbahan because it looks like a church. Its name was then changed Agoho from the tree called agoho. Then, for the third time, its name was changed to Masbaranon because of the supposed abundance of small fish called masbad.

Dialects
Wolfenden identified three major dialects of Masbatenyo: the western dialect centered around the town of Balud on the western coast which is close to Capiz, the southern dialect centered about the town of Cataingan in the southeastern part of Masbate and the northern dialect covering the whole northern half of Masbate and centered on Masbate City, the capital.

Masbatenyo and its neighboring languages
Wolfenden reported that although Sorsogon (the southernmost province of Bicol) and Masbate are very much closer to Bicol Peninsula, Sorsoganon and Masbatenyo shared the same grammatical systems which are rather closer to those of Waray and Hiligaynon, the trade languages in the Visayas, rather than that of Bicol.

The presence of competing grammatical and lexical subsystems in the language is the most striking characteristic of Masbatenyo. This has probably been brought on by the influx of settlers from surrounding major language groups who mixed in elements of their language with and alongside of the Masbatenyo. This results to a number of semantic concepts that can be expressed by two to five alternate different words for a single concept.

This led Wolfenden to think that Masbatenyo is unique in the sense of its being a mixed-up language. Speakers of the language often thought that their language is just a mixture of its neighboring languages which are Bikol, Waray-Waray, Cebuano, Hiligaynon and Tagalog. There are still who refer to their own speech as 'Bisaya'.

Masbatenyo shares different types of mutual intelligibility with its neighboring languages. Speakers of Masbatenyo can easily and conveniently converse with speakers of the neighboring languages using their own language. However, speakers of Cebuano, Waray or Hiligaynon would sometimes find it difficult to understand Masbatenyo because of its lexicon. Furthermore, Zorc considered Masbatenyo, together with Kinaray-a, Bulalakaw, Hiligayon, Waray, and Surigaonon, as "linking dialects" because they serve as "centers of dialect complexes".

McFarland presented different views on the classification of the language spoken in Masbate. One view excluded Masbate and the southern part of Sorsogon from the Bikol area on the grounds that the language spoken in these areas was not Bikol. The other view considered the language as dialect of Bikol.

Other claim on the language of Masbate was that 'the language and dialects of Masbate are basically Visayan, with the major influence being Cebuano.' Zorc made a subgrouping and reconstruction of the Bisayan dialects and included Masbatenyo in his work. He stated that while it is true that there are immigrants from the areas that speak Bikol, Cebuano and Hiligaynon languages, the "native dialect" throughout the island is Masbatenyo.

Zorc presented four types of intelligibility among the Bisayan languages and dialects: a) natural or primary intelligibility, where speakers of different dialects can communicate freely, even they never hear the other dialect before (e.g. Bulalakawnon and Ratagnon, Capiznon and Hiligaynon); b) learned or secondary intelligibility, where speakers can adjust to another dialect in a matter of time (e.g. Bulalakawnon and Aklanon); c) sesquilingualism, whereby a speaker is fluent in his native language (dialect), but can only understand (not speak) another (Waray and Cebuano, where speakers of both languages can understand both perfectly but speakers of Cebuano understand Waray poorly); and d) one-way intelligibility, whereby A understands B but B does not understand A.

Masbatenyo speakers in the town of Masbate belong to the fourth kind. The residents of the town can readily understand the speech of the outsiders but the outsiders cannot understand the speech of the local residents. Speakers can understand Sorsoganon, Capiznon, Hiligaynon, and Cebuano but the latter experience varying degrees of difficulty in understanding Masbatenyo.

Regarding the duration of the Bisayan occupancy of the Central Philippines, Zorc reported that there are no pre-Hispanic writings that would account for their existence in the area. Zorc stipulated that current speakers of many of the Bisayan languages and dialects could have given up their original languages long ago in favor of an intrusive or more prestigious language, or in favor of the language already spoken in the region that they invaded and conquered.

Orthography
In 2016, researchers from the Dr. Emilio B. Espinosa Sr. Memorial State College of Agriculture and Technology (DEBESMSCAT) together with the members of newly established Minasbate Language Society, composed of various stakeholders from Masbate, developed a working orthography on the language based on the discussions in the 1st Minasbate Orthography Congress.

The Minasbate Working Orthography distinguishes between the native Minasbate orthography and the extended working orthography.

Native Minasbaté Orthography

 * 1) The following symbols are used in the native Minasbaté orthography:
 * Aa, Bb, Dd, Gg, Hh, Ii, Kk, Ll, Mm, Nn, NGng, Pp, Rr, Ss, Tt, Uu, Ww, Yy, ` (for glottal stop)
 * 1) Minasbaté has three phonemic vowels (V): Aa, Ii, Uu and 16 consonants (C): Bb, Dd, Gg, Hh, Kk, Ll, Mm, Nn, NGng, Pp, Rr, Ss, Tt, Ww, Yy, ` (for glottal stop).
 * 2) The glottal stop is a distinct consonant sound in Minasbaté and part of its alphabet. The grave accent ( ` ) will be used to represent the glottal stop.
 * 3) * The glottal stop may occur between a C and V, e.g pus`on, bag`o
 * 4) * It may also occur in the final position of the word, e.g. túro`, pakó`
 * 5) * The glottal may also occur between two V, e.g. ti`il, di`in, gu`ol,
 * 6) * The glottal stop is also the obligatory onset of the written syllable that begins with a vowel. It will be symbolized when the word begins with a vowel, e.g. `adlaw, `ako, `amó`
 * 7) The syllable pattern of Minasbaté words is CV and CVC, e.g. ba.láy = CV.CVC.
 * 8) * All Cs can occur in the beginning of a word (onset) or ending (coda). Examples: pahá` 'thirsty,' dakóp 'to catch'
 * 9) * All Vs are used to form a syllable nucleus. Examples:ba.láy, `a.kó
 * 10) In writing stress or accent, the acute accent ( ' ) above the V is used, e.g. buháy, 'alive', dakó`, 'big', ribók 'noise'.
 * 11) * A stressed non-final syllable is usually lengthened. For example, in the case of búhay 'life' vs buháy 'alive', the syllable bú in 'life' is longer than the syllable bu in 'alive'.
 * 12) * It is possible to have more than one stress in a word, e.g. hámabáw, `ámamáknit.
 * 13) * The stress is symbolized by the acute accent ( ' ) if it falls on the last syllable, e.g. hubág, sulód. The stress may not be symbolized if it falls on the penultimate syllable, e.g. gab`i 'night', kiray 'eyebrow'.

Extended Orthography
The inclusion of borrowed terms in native Minasbaté vocabulary has resulted in the change in the structure of the language. There is a need to develop an extended orthography to accommodate these words.

8. Consonant clusters exist in both native and borrowed words in Minasbaté.
 * 1) The extended orthography will consist of the following:
 * Aa "ey", Bb "bi", Cc "si", Dd "di", Ee "I", Ff "ef", Gg "ji", Hh "eych", Ii "ay", Jj "jey", Kk "key", Ll "el", Mm "em", Nn "en", Ññ "enye", NGng "en ji", Oo "o", Pp "pi", Qq "kyu", Rr "ar", Ss "es", Tt "ti", Uu "yu", Vv "vi", Ww "dobol yu", Xx "eks", Yy "way", Zz "zi", ` (for glottal stop)
 * 1) All Minasbaté words (native and borrowed) use a, i, e, o and u. The "i" and "e" are indistinct and alternate in written native words and so are/do "o" and "u." The alternation rules are explained below. The "i" and "e" are distinct in borrowed words (e.g. misa vs. mesa).
 * 2) The use of the back vowels "u" and "o":
 * 3) * If the word has only one back vowel sound that occurs in the ultimate position, o is used. Examples: pitó, lisód, li`og, didto, `amó, itóm, nano, ka`aralo. Exceptions: kun
 * 4) * If the word has more than two back vowels, u is used in the second or third to the last syllable and o is used in the final syllable. Examples: kudkód, bukbók, gu`ól, pumuluyo`, burubaruto, `uru`adlaw, alu`alo, tudló`, katuninungan
 * 5) * O in borrowed words is retained in writing. Example: ospital, obra, oro
 * 6) The use of front vowels "i" and "e":
 * 7) * All Minasbaté words with an "i" sound will be written as i. Examples: kilmi`, di`ín, didí, silhig, `ikog, tindog, `iní, sin
 * 8) * e in borrowed words will be retained in writing. Examples: eroplano, ahente, karné, `onse, dose, nwebe, kwento; i will be used to represent the front vowel ("i") that is added in the original form of borrowed words. Examples: `istorya for storia, `isponsor for sponsor, `ismagol for smuggle
 * 9) The hyphen will be used in the following instances:
 * 10) * Reduplication of full words, e.g. tawu-tawo 'toy', balay-balay 'little house', kalan-kalan 'improvised stove'
 * 11) * Compound words, e.g. tagúm-matá 'conjunctivitis', supa`-tulon 'very easy', atras-abante 'indecisive'
 * 12) * Affixation of borrowed words that are proper names, e.g. pa-LBC, pa-Manila
 * 13) * Time expressions, e.g. `alas-dose, `ala-una, `alas-diye
 * 14) The hyphen will be used in the following instances:
 * 15) * Partial reduplication of the word, e.g. burubaruto, not *buru-baruto; burubugsay, not *buru-bugsay
 * 16) * Affixation of native root words, e.g. ginaka`on, not *gina-kaun; ginsusog, not *gin-susog
 * 17) * Affixation of borrowed verbs and nouns, e.g. magtext, not *mag-text; pamerkado, not *pamerkado
 * 18) * Linkers, duha ka bilog, not duha ka-bilog.
 * 19) In writing borrowed words, the equivalent sounds in the native Minasbaté will be used to represent the borrowed sounds. The following symbols are used to represent the borrowed sounds:
 * In representing the off-glides or the sequence of u and w, and i and y, the vowels are dropped and the w and y are used, e.g. pwede instead of puwede, sya instead of siya, kwento instead of kuwento.

9. The apostrophe symbol ( ' ) is used in contracted words. The particles san and sin are often contracted to the immediately preceding word if it ends in either a glottal or vowel sound. The unstressed vowel can also be deleted in fast speech.
 * {| class="wikitable"

 * damó` sin kwarta || damo'n kwarta
 * wara` sin tawo || wara'n tawo
 * darahán || dar'hán
 * nano man || na'man
 * `idto `an || `idto'n
 * sadto san || sadto'n
 * `ina` `an || `ina'n
 * }
 * `idto `an || `idto'n
 * sadto san || sadto'n
 * `ina` `an || `ina'n
 * }
 * `ina` `an || `ina'n
 * }

Phonology
Masbatenyo has 19 segmental phonemes: 16 consonant sounds and three vowel sounds. Post-alveolar sounds are also present as a result of loanwords. has the mid front unrounded, lax vowel (written orthographically as e) as its variant;  has the mid back rounded lax  (written orthographically as o) as its variant. The sound only appears in loan words from English and Spanish and occurs in free variation with. Similarly, the sound is a variant of  and its occurrence might have been brought by the interaction with the Tagalog language and the incorporation of Spanish and English loan words in Masbatenyo language.

The glottal stop is the conventional onset of the orthographically vowel-initial words, thus vowels cannot occur in initial position. They only occur in medial and final position.

There are two major syllable patterns in Masbatenyo, namely, open syllable /C(C)V, (C(C)VC)/ and closed syllable /CVC/. Most root words in Masbatenyo are disyllabic (they are composed of two syllables) and follows the CV(C).CV(C) pattern. There are monosyllabic words; however, most of them are functors that have no lexical meaning. Most of the disyllabic words contain an affix, reduplicated or compound.

Masbatenyo also has a suprasegmental phoneme, the stress, which is characterized by vowel length. The acoustic analysis of stress correlates using Praat showed that duration is the most consistent factor that characterizes stress. Stressed syllables are longer than their unstressed counterparts.

The diphthongs in Masbatenyo are: in sabaw 'soup',  in agiw 'soot',  in balay 'house', and  or  in baboy 'pig'.

Consonant clusters are non-native to Masbatenyo phonology. Their occurrence in the language is brought by the entry of borrowed words from Spanish and English.

The form of a morpheme can change when they are combined to form words or phrases. Such changes are called mophophonemic changes. Among these changes are: vowel deletion; contraction of particles san and sin, assimilation, metathesis, epenthesis and degemination.

Word formation
Masbatenyo provides support for the claim that root words are pre-categorial or neutral by themselves. Take the following examples: Dakó 'big (size, abstract)' is a root which can express a property or state, as seen in: Dakó an baláy niya 'His house is big'. But it can also be combined with certain affixes to form a process verb in: Nagdaragkó na an atáman 'His pet has grown already.' It can also combine with a determiner, an, to form a noun in the context: Dilí ko nakita an pagdakó san báta niya 'I didn't see his child growing up.'

Dalágan is considered a verb when used in command form: Dalágan! 'Run!' But it can be analyzed as a noun in forms such as Malúya an dalágan san trak niya. 'His truck runs slowly.'

Masbatenyo employs the following operations in deriving new words:

 * 1) Affixation, the process to which an affix is attached to a root or an 'intermediate stem; e.g. karaút + m- > maraút 'ugly';
 * 2) Reduplication, the repetition of word or part of word to form a new word; e.g., barúto + PWr reduplication > baru-barúto 'mini boat';
 * 3) Stress shift, e.g., báyad 'pay' > bayád 'paid'

However, the existence of bare root forms of modifiers (adjectives and adverbs) in Masbatenyo can also provide evidence that root forms also have lexical properties. Examples of this are lab`as 'fresh (fish)' versus lúb`ok 'rotten', hilaw 'raw' versus lutô 'cooked'.

Noun and noun phrases
Proper and common nouns are distinguishable from each other because they have their respective determiners; proper nouns are marked by si/sinda, ni/ninda, and kan/kanda while common nouns are accompanied by an, san/sin, and sa.

In Masbatenyo, there is a subgroup of common nouns that can be inflected as imitative. The imitative affix can be the reduplicative or the Curu- 'imitative/diminutive'. The reduplicative affix – the reduplication of the whole word – is applicable to a stem that is disyllabic and has open penult (CV). Regardless of the original position of the stress, the stress of the reduplicated form is always in the penult, such as in táwu 'man' > tawu-táwu 'toy'

The Curu- is attached to a stem that has more than two syllables. It also attaches to a stem that has a close penult (CVC). The stress does not shift after reduplication. An example of this is barúto 'boat' > burubarúto 'mini-boat'

Temporal nouns can also be reduplicated and affixed with Curu-. The meaning, however, is no longer imitative. It means 'every …' as illustrated in adláw 'day' > uru`adláw 'everyday'.

Nouns can also be derived from other word classes by adding nominalizing morphemes or voice affixes.

Masbatenyo employs three types of possession strategies:
 * 1) possessive clauses (may and igwá and oblique phrases sa/kan)
 * 2) lexical noun phrases (ni and san/sin constructions)
 * 3) genitive case pronouns (personal and demonstrative pronouns)

Verbs
Masbatenyo verbs, like verbs in other Philippine languages, are marked for their voice, aspect and modality. Further, as Nolasco observed in Philippine languages, voice and tense/aspect/mode often interact and it is sometimes difficult to tease them apart.

Aspect
Masbatenyo is marked for aspect to show the condition of the action; whether it has begun or not, and whether it is viewed as a process or in a static state. What is important to the speakers is not a temporal relation of the activity to the moment of speaking, but the internal stages of the activity. It is not marked for tense since its action is not correlated with time.

Masbatenyo has the five aspects: infinitive or neutral, perfective, imperfective, prospective and recent perfective.

Mode
Mode describes the speakers' attitude toward a situation, including the speakers' belief in its reality, or likelihood (Payne 1997). It describes the view of the speaker as to how the action is done. The term mode, mood and modality are often used interchangeably. There are at least six types of mode that occur in Masbatenyo:
 * 1) indicative
 * 2) imperative
 * 3) aptative/abilitative
 * 4) reciprocal/social
 * 5) causative
 * 6) distributive

Modifiers
In Masbatenyo, the so-called "adjectives" and "adverbs" are similar morphologically; hence, there exists no persuasive reasons for separating the modifiers of verbs and non-verbs.

Modifiers can either occur in their root forms or they can be inflected by affixes. The first type belongs to a class of unaffixed form of statives. These forms denote that the properties they exhibit are not derived from a process or those that are possessed innately by the thing being described. Examples are lab`as 'fresh (fish)' versus lúb`ok 'rotten', hilaw 'raw' versus lutô 'cooked'.

Affixed forms of the statives are classified according to the affix that attaches to their root forms. There are three types of affixed forms in Masbaenyo:

 * m- type
 * The subtype inflected for by the m- replacive affix expresses the state or attribute of the referent or entity being described, e.g., madulom 'dark'.

 * hi-/ha- type
 * The second subtype, which is inflected for by the hi-/ha-, is used to describe measurements (depth, height, length), e.g., harayo 'far'; hitaas 'high'.

 * those with voice affix.
 * The third subtype is affixed with voice affix.
 * {| class="wikitable"

!Affix !Lexical Base !Gloss !Examples !Stem/Root
 * +Voice affixes deriving stative verbs
 * -an
 * N, V
 * personal character
 * talawán 'coward'
 * tálaw 'cowardice'
 * V
 * person performing action
 * kawatán 'thief'
 * káwat 'to steal'
 *
 * N
 * manner
 * Minásbaté 'Masbatenyo style'
 * Masbáte 'Masbate'
 * ma- + -on
 * V
 * mental or physical qualities
 * malangáson 'joker'
 * langás 'joke'
 * maka-V1r
 * Stative
 * making one become
 * makaarálo 'embarrassing'
 * álo 'shame'
 * -(a)-n-on
 * N
 * state /human modifier
 * langitnón 'heavenly'
 * lángit 'heaven'
 * -on
 * N, V
 * quality; description of a person
 * buwáon 'liar'
 * state /human modifier
 * langitnón 'heavenly'
 * lángit 'heaven'
 * -on
 * N, V
 * quality; description of a person
 * buwáon 'liar'
 * buwáon 'liar'

tibíhon 'person suffering from tuberculosis'
 * búwà 'lie'

tíbi 'tuberculosis'
 * para-
 * V
 * fond of
 * fond of

habitual action Masbatenyo modifiers are inflected by means of affixes for four degrees of intensity: basic, comparative, superlative, and intensive.
 * paralángas 'joker'
 * langás 'to joke'
 * }

 * Mabuot na bátà si Chai. 'Chai is a kind child.' (Basic)
 * Mas maganda si Benj. 'Benj is more beautiful.' (Comparative)
 * Pinakamadagmit si Karl. 'Karl is the fastest.' (Superlative)

In Masbatenyo, intensive degree is expressed by the affix ka- accompanied by the non-obligatory particle man attached to bare forms (roots), e.g. Kaganda san boses ni Tinne. 'Tinne's voice is so beautiful.'

Intensive degree may also be expressed by Curu reduplication. ka- intensification also co-occurs with the Curu intensification. Katurutam`is saní na biko. 'This rice cake is very sweet.'

Adverbial properties in Masbatenyo are rather expressed by clitic particles such as na 'already', pa 'still', ngáni 'really', kunó 'reportedly', etc.

Pronouns
In Philippine-type languages, pronouns replace the full noun phrases in a clause. Pronouns, however, do not take the place of nouns in most expressions (e.g. an bata > siya, not an siya), but do so in oblique phrases (e.g. sa batà 'to the child' > sa iya 'to him/her').

There are five important types of pronouns in Philippine languages: personal pronouns, interrogative pronouns, demonstrative pronouns, reflexive pronouns and indefinite pronouns.

Personal pronouns refer to entities already mentioned in the discourse or known to the hearer. They are classified according to person, case and number.

Demonstrative pronouns or deictics refer to entities in relation to distance, and space and also refer to their location on a timeline. In discourse, demonstratives are also used to track reference across clauses. They sometimes take the place of third personal pronouns.

Interrogative pronouns are those that take place of the nouns in questions. Interrogatives are used when a concept is being questioned and to elicit information so that an item can be identified. The interrogative pronouns are sin`o 'who', náno 'what', pan`o 'how', san`o 'when', pirá 'how much', háin 'where', and diín 'where'.

Nano kay 'why' differs from the rest of interrogative words since it does not replace a noun phrase but an entire clause. It consists of the interrogative pronoun náno and the reason particle kay.

Reflexive pronouns are special words which refer to the same referent in a construction. It is made up of the word sadíri plus the relevant pronoun, as in the phrase sa sadíri niya or sa iya sadíri.

Indefinite pronouns refer to entities, persons, places or times which cannot be clearly established. The indefinite pronouns can either be expressed in two ways:
 * 1) by the same form as the interrogatives plus the particle man
 * 2) by the use of the connectors bísan 'even, including', máski 'even though' or kun 'if' plus interrogative word

Amó is a general pro-form that can be used to replace any noun, verb, modifier, or even whole clauses. Wolfenden refers to amó as the universal substitute. Amo is also used to track an antecedent in a previous sentence.

Numeral terms
Masbatenyo has native terms for numbers. However, in the domain of money and time, Spanish terms are used. Numerals typically go with nouns to specify the number of items talked about. They can also modify verbs and other predicates to indicate degree and quantity of action.

Basic mathematical operations
The following are basic mathematical operations in Masbateño:
 * one plus one equals two           (1 + 1 = 2)    –  An usad gindagdagan san usad, duha/duwa ka bilog
 * two times two equals four         (2 x 2 = 4)    –  An duwa ginpilô san duwa na bes, nagin upat
 * eight minus five equals three     (8 – 5 = 3)    –  An walo gin-ibanan san lima, tulo an nabilin
 * nine divided by three equals three (9 ÷ 3 = 3)   –  An siyam ginbarahin sa tulo, tig-turulo

Advanced algebraic operations
The following are advanced algebraic operations in Masbateño:
 * x raised to the power of y, or in symbols, (x^y). In Minasbate, an x piluon sa y na beses.
 * square root of x, or in symbols, sqrt(x). In Minasbate, an ikaduha na gamot san x o an numero na pinilo sa duwa na beses na nagin x.
 * x over y, or in symbols, x/y. In Minasbate, x kada y.
 * one and a half plus two and one-fourth equals three and three-fourths, or in symbols, 1 1/2 + 2 1/4 = 3 3/4. In Minasbate, an usad kag katunga gindagdagan san duha kag kaupat, tulo kag tulo-kaupat tanan.

Common phrases

 * I hate you! – Badli ako sa imo! / Habo ko sa imo!
 * I love you. – Namomo-ot ako sa imo. Namumot-an ta ikaw. (Bicolano-influenced)
 * I love you. – Palangga ta ikaw. (Masbate Mainland)
 * Let's talk. – Mag-istoryahan kita.
 * Can I join? – Pwede ako kaintra?
 * Pleased to meet you. – Malipay ako na nagbagat kita.
 * How you doin'? – Matiano ka dida?
 * Please let me know. – Ipaaram la sa akon.
 * Please help me. – Buligi man ako.
 * Can you teach me? – Pwede mo ba ako matukduan? Pwede magpatukdo?
 * I want to learn Masbatenyo. – Gusto ko makaaram mag-istoryahan san Masbatenyo.
 * Good morning! – Maayo na aga!
 * Good afternoon! – Maayo na hapon!
 * Good evening! – Maayo na gab-i!
 * Good night! – Turog maayo.
 * Let's eat. – Karaon na kita.
 * You're (really) beautiful. – Kaganda mo (gayud).
 * Please call me. – Tawagi tabi ako.
 * Can I ask you a favor? – Pwede mangayo pabor (o bulig)?

Literary works
Pulong Ko Yadto

Pulong ko yadto mato-od kag tunay An imo sa akon tuga na pagmahal Nano an nangyari kay imo guin bayaan Mga pangako mo san nag-agi na adlaw Mili kay sugad an akon kamotangan Imo guin bayaan, imo guin bayaan Nagtios sin labi na kasakitan Kay gusto mo ada na ako mamatay Kon dili pa lamang an akon paglaom Sa imo binilin na mga surmaton Di kunta nagios inin tagipusu-on Di kunta nasayang inin lawas nakon.

title: Masbateño language


text: Category:1680s books

title: Category:1680s books


text:
Roselle Park High School

Roselle Park High School is a four-year public high school located in Roselle Park, in Union County, in the U.S. state of New Jersey, operating as the lone secondary school of the Roselle Park School District. Since 2007, Roselle Park High School serves students in ninth through twelfth grades. The school has been accredited by the Middle States Association of Colleges and Schools Commission on Elementary and Secondary Schools since 1928.

As of the 2022–23 school year, the school had an enrollment of 630 students and 50.5 classroom teachers (on an FTE basis), for a student–teacher ratio of 12.5:1. There were 209 students (33.2% of enrollment) eligible for free lunch and 67 (10.6% of students) eligible for reduced-cost lunch.

Awards, recognition and rankings
The school was the 191st-ranked public high school in New Jersey out of 339 schools statewide in the New Jersey Monthly magazine's September 2014 cover story on the state's "Top Public High Schools", using a new ranking methodology. The school had been ranked 122nd in the state of 328 schools in 2012, after being ranked 190th in 2010 out of 322 schools listed. The magazine ranked the school 2008 out of 316 schools. The school was ranked 156th in the magazine's September 2006 issue, which surveyed 316 schools across the state.

Schooldigger.com ranked the school tied for 104th out of 381 public high schools statewide in its 2011 rankings (an increase of 92 positions from the 2010 ranking) which were based on the combined percentage of students classified as proficient or above proficient on the mathematics (88.3%) and language arts literacy (94.5%) components of the High School Proficiency Assessment (HSPA).

History
Upon the incorporation of the Borough of Roselle Park in 1901, the municipal school district assumed control of Livingston School, which had been constructed in the late 19th century. As the borough population grew, it was decided to construct a new school building at the corner of West Grant Avenue and Locust Street. Ground breaking for the new school, to house students from kindergarten through grade 12, was held on August 8, 1908, and the building opened to students in September 1909. The building contained 11 classrooms, three recitation rooms, rooms for domestic science and manual training, a laboratory, a library, a gymnasium, an assembly hall, and offices. The original building remains in use as the Robert Gordon Elementary School.

In 1919, the high school moved to a new building formerly occupied by the Hercules Munitions Company and located at the corner of West Clay Avenue and Locust Street. However, industrial arts and physical education classes continued to meet in the previous school building. During this time, students from the surrounding municipalities of Garwood, Kenilworth, and Springfield attended Roselle Park High School on a tuition basis.

On April 30, 1931, the cornerstone was laid for a new building for the high school to be located on West Grant Avenue adjacent to the Robert Gordon School that was to be constructed at a cost of $350,000 (equivalent to $ million in ). This building remains in use as the Roselle Park Middle School.

In January 1961, Roselle Park voters rejected a proposal for the construction of a new high school that would have cost $2.5 million to build (equivalent to $ million in ). The current high school building opened to students in September 1963. In 1993, a new wing was constructed, adding three additional classrooms.

Athletics
The Roselle Park High School Panthers compete in the Union County Interscholastic Athletic Conference, which comprises public and private high schools in Union County and was established after a reorganization of sports leagues in Northern New Jersey by the New Jersey State Interscholastic Athletic Association (NJSIAA). Prior to the NJSIAA's 2009 realignment, the school had participated in the Mountain Valley Conference, which included public and private high schools in Essex County, Somerset County and Union County. With 434 students in grades 10-12, the school was classified by the NJSIAA for the 2019–20 school year as Group I for most athletic competition purposes, which included schools with an enrollment of 75 to 476 students in that grade range. The football team competes in Division A of the Big Central Football Conference, which includes 60 public and private high schools in Hunterdon, Middlesex, Somerset, Union and Warren counties, which are broken down into 10 divisions by size and location. The school was classified by the NJSIAA as Group I North for football for 2022–2024, which included schools with 184 to 471 students. The school's Athletic Director is James Foy.

Sports at Roselle Park High School include fall, winter, and spring seasons:

Fall sports: Football coached by Terry Hanratty, Boys' Soccer coached by Patrick Pietro, Girls' Soccer coached by Anthony Trezza, and Volleyball coached by Dennis Dagounis.

Winter sports: Boys' Basketball coached by Jon Bergbauer, Girls' Basketball coached by Richard Suchanski, Bowling coached by Vicent Fucci, and Wrestling Coached by Ryan Rooney.

Spring sports: Baseball coached by Nick Agoglia, Softball coached by Fran Maggio, Golf coached by Bruce Coultas, and Track and Field coached by Glenn Grieco and Shannon Smith.

The boys' basketball team won the Group III state championship in 1928 (defeating Garfield High School in the final round of the tournament), won the Group II title in 1945 (vs. Carteret High School) and 1952 (vs. Burlington City High School), and won the Group I title in 1950 (vs. North Arlington High School).

The baseball team won the Group I state championship in 1972 (defeating Pitman High School in the tournament final) and 1987 (vs. Kingsway Regional High School). The 1972 team finished the season with a 19-5 record after winning the Group I title with a 9-6 victory in the championship game.

The football team won the North II Group I state sectional championship in 1979, 1992 and 1993. An 11-0 season in 1992 culminated with a 27-6 win against Butler High School in the North II Group I state sectional championship game. The 1993 finished the season with an 11-0 record and won its second consecutive North II Group I title with a 10-7 victory on a field goal in overtime against Summit High School in the championship game. The school has had a longstanding football rivalry with Abraham Clark High School in Roselle, with Roselle Park leading the series with an overall record of 51-40-8 through 2017. NJ.com listed the rivalry as 31st best in their 2017 list "Ranking the 31 fiercest rivalries in N.J. HS football".

The wrestling team won the North II Group I state sectional title in 1980–1991, 1993, 1997, 1998, 2002, 2003, 2010, 2014 and 2018, and won the Central Jersey Group I title in 2004–2006, 2008, 2009 and 2011. The team won the Group I state championship in 1982 and 1997 (as co-champion with Paulsboro High School). The program's 22 sectional titles are tied for fourth-most among schools in New Jersey In 2018, Roselle Park High School became just the fourth high school in the United States to accumulate 1,000 wins in dual meets, joining Granite City High School (in Illinois), Vacaville High School (in California) and Paulsboro High School (in New Jersey) in the elite 1,000-win club.

The boys track team won the indoor track Group I state championship in 1980.

The boys' track team won the Group I indoor relay state championship in 1982.

The girls tennis team won the Group I state championship in 1986 (against Mahwah High School in the final match of the tournament) and 1997 (vs. Montgomery High School).

The softball team won the Group I state championship in 2003 (defeating Gloucester City Junior-Senior High School in the playoff finals) and 2018 (vs. Gloucester City). The team won the 2018 Group I title with a 4-3 win in extra innings against Gloucester City in the championship game before losing to eventual-champion Steinert High School in the quarterfinal round of the Tournament of Champions to finish the season with a 27-3 record.

The boys bowling team won the Group I state championship in 2016.

Clubs and organizations
Clubs and organizations at RPHS include Crisis Center, Dads Club, Ecology Club, ESL Club, National Honors Society, and Peer Leadership.

Administration
The school's principal is Sarah Costa.

Notable alumni

 * Valentino Ambrosio (born 2000), American football placekicker who played for the Tulane Green Wave football team
 * Michael Ausiello (born 1972), television industry journalist, author, and actor, who wrote the 2017 memoir, Spoiler Alert: The Hero Dies
 * Rick Barry (born 1944), former professional basketball player
 * Frank R. Burns (1928-2012, class of 1945), American football player and coach, who was head coach of the Rutgers Scarlet Knights from 1973 to 1982
 * Keith Loneker (1971-2017), former NFL player, actor
 * Chris Ostrowsky (born c. 1970), college football coach who has been offensive coordinator and quarterbacks coach for the Yale Bulldogs football team, since 2023

title: Roselle Park High School


text:
Talk:Gospel music

White Gospel
While the two schools of gospel--white and black--are still quite distinct, I hate to compound the century-old pattern of segregation by breaking this article into two. As anyone can see, however, I know next to nothing about the white variety. I also hope others will fill in the links to groups such as The Swan Silvertones and import some suitable images to ornament this page and others.

~ Italo Svevo ~ The article mentions that some of the gospel music crossed over between black and white churches. Can anyone list some of the songs that crossed over? And what groups may have sang them. I would like to compare and contrast the two different styles using the same songs, hopefully during the same era, ie: 40's and 50's. Thank you.

Does anyone know which gospel music crossed over between black and white churches?

 * Examples of Contemporary Christian (white Gospel) and Gospel (black Gospel) artists that have crossed into both types of congregations would include Israel Houghton and the New Breed, Martha Munizzi, Mary Alessi, Ron Kenoly, and Clint Brown. I don't really know of any Southern Gospel crossovers.  I do agree that the breakout of black and white is inaccurate because of the appeal of both styles to people of each race.  The blending of music styles, much like the blending in popular culture music, has made such distinctions obsolete.  At some point the members of Wikipedia may want to address Christian music as a genre and then break it into subgroup based on style (traditional hymns, worship music, rap, jazz, Christian pop, etc.).  All of these styles exist in today's Christian music, but appeal to people of different races. Both the Gospel music and the Contemporary Christian music articles may need some rework.  Absolon S. Kent 19:53, 18 January 2007 (UTC)

Southern Gospel
My understanding is that "southern gospel" is a subset of "white gospel." I don't claim any expertise in this area; someone who actually knows the field should clear up this confusion and expand this part of the article.

Lining out
The claim that tracing gospel to Celtic traditions of "lining out" is racist is strange. African-American culture, gospel included, was created from African slaves' and their African-American descendents' confrontation with white-dominated society. The fact that their cultural forms took more from that society and did not preserve the sort of clearer African lineage in the U.S. that African slaves did in Cuba and elsewhere does not make them any less authentic here in the U.S. Nor does it insult African-Americans or their culture to point out the practices they borrowed, then adapted.

And gospel took as much from white culture—starting with the Methodist hymns of Dr. Watts and other eighteenth century composers, the theology of the Great Awakening, the ecclesiastical structures of Baptist and Methodist churches and all of the other aspects of religious culture which their masters allowed them to participate in—as any other aspect of black culture in the U.S., even when being sung by blacks for blacks in black churches. While it's fair to say that gospel music became "blacker" with the advent of the Holiness churches in the early twentieth century—an outgrowth of the Pentecostal movement, interracial at the outset but quickly segregated—even then black gospel music maintained some tenuous, mostly one-way connections with white gospel music; Dorsey wrote songs that became standards for white gospel singers, black gospel groups appeared in secular white venues.

The subject of precursors to modern gospel music and the mix of European and African traditions is an interesting one. I hope this is just the start of a fuller discussion. --Italo Svevo 18:59, 22 Mar 2005 (UTC)

Still waiting
I removed the gratuitous and unhelpful statement "But that can be written off as nothing but politically correct fluff." We do, however, need someone to contribute to this section, since the article presently jumps from the eighteenth century to 1920, which is preposterous. --Italo Svevo 05:34, 3 May 2005 (UTC)

Gospel choirs appearing in other genres
Seriously, it would be really cool to have a list of songs in other genres which feature a gospel choir.

I'll get us started:

 * Downfall by matchbox twenty
 * I'm Alright by Jars of Clay
 * All These Things That I've Done by The Killers

--AlanH 23:39, 15 April 2006 (UTC)

 * Added to the main page.

--AlanH 23:53, 15 April 2006 (UTC)

Not sure why someone removed it
discuss it first, ok? Reverted that section. --AlanH 01:44, 10 October 2006 (UTC)

gospels
the gospels was sing bye the black people in the hard work,how they have to do!one people was sing and the oder sing second him or her!so gospelmusic have there origin from the plantation where the blackpeople have worked!

by Renate

What the....  Racist troll or ESL? Laggard

Methodist hymnal
Unsure of the following statement from the article:

 * "While the separation between the two styles was never absolute both drew from the Methodist hymnal and artists in one tradition sometimes sang songs belonging to the other"

Can someone provide references or documentation on the Methodist hymnal part. If not it will be removed. Absolon S. Kent 18:08, 12 March 2007 (UTC)

Alternate theory of origin
Looking at the references provided for this section, I'm not sure if they meet the Wikipedia test for reliable sources. Unless someone else can provide a more creditable source I will remove this section NLT December 1. Absolon S. Kent (talk) 03:14, 26 November 2007 (UTC)
 * Absolon, the issue of black gospel is a touchy subject. However, the information given in this article is not correct. Gospel as we know it did not originate from slavery. The music that came from slavery was known as Metered Hymn. This was music that was put to a meter and sung as a group of beats. It was sung in those beats as a form of communications between the slaves. If the boss was coming the meter got faster and if it was safe it was slow and that also gave those slaves that were tired a chance to lay down in the fields and rest for a while. So, in conclusion, I do not agree with this section and feel it needs to be removed or at minimum corrected to show correct information. Junebug52 13:36, 26 November 2007 (UTC)
 * June, I have no problems with any changes you have or might suggest. I would definitely support an entire rewrite with accurate information. I have noticed for a long time that this article is really lacking in references. In the past, I think the various editors wrote from their own ideas about the development without citations. Since there is a disagreement on the issue of origin/development, it may be prudent to focus the article on the differences in the sub-genres unless someone can find solid sources to answer the history/development questions. Absolon S. Kent (talk) 15:18, 26 November 2007 (UTC)

I originally put in the reference for the possible Gaelic origins of gospel singing. It is a theory proposed by Professor Willie Ruff, an Arican American and reouned musicologist. If you are looking for a credible source then look at the Yale University site.

http://www.yale.edu/music/linesinging/

I am currently living in Scotland myself (as an Irishman) and saw a T.V. show in Scottish Gaelic about the Gaelic origins of gospel. The show had prominent African American citizens discuss the theory and the reaction was quite positive. Perhapse you should contact Professor Willie Ruff directly as he is an expert in the subject anmd as an African american himself could better discuss and talk about the subject with sources. Regards, Slan Leat Celtic Harper (talk) 21:37, 4 December 2007 (UTC)
 * As I mentioned earlier I have no problem with the correct information being included. Feel free to add what you like. As June mentioned above the subject of urban contemporary gospel is a "touchy" one because the common belief is that it developed out of slavery, so some people will hold that no matter what evidence is presented. I would only caution you to provide multiple sources if possible (a "theory" by one professor will most likely be disputed) to help avoid potential edit wars. Absolon S. Kent (talk) 14:04, 5 December 2007 (UTC)

 * I agree whole heartedly with Absolon on this issue. The issue of Gospel music originating out of slavery is a touchy issue. I think if you are going to chime in on this subject, it would be a good idea to educate yourself in the ways of Metered Hymn singing (which is original slave music or communications)and shape note origins (Used after slavery). These areas are not where Gospel Music originated from. Juilliard has vast amounts of information with regards to origins and placement, however, due to their classical influences, I would not deem them as experts either. I am on their board and I can assure you that even with their reputation, they lack in this area! There is a book entitled, "Close Harmony a History of Sounther Gospel" by James R. Goff Jr. This book is one of the most detailed reads that I have found on this subject. One might want to get a copy and read it for ones own reference. As I said before, Metered Hymn singing was the first and most primative form of gospel music. It was used as a form of communications between the slaves while in the fields. As time progressed and slavery was no more; the shape notes came into play and was used to write gospel music that we all know and love today. Of course as yet more time went, shape notes disappeared and along came traditional note writing and chording charts. So, in conclusion, in order to correctly write this article, one will need to not rely on the facts of one researcher, but get a braod view of the subject through the eyes of many. Please feel free to contact me should you have any questions. I will caution editors chiming in with edits though. I will monitor the article and when I get a chance I will add verbiage to it's content, but in the mean while, if I see information being added that is not sourced or is POV I will remove it immediately. We do have to preserve the integrity of this article. Thank you Junebug52 15:59, 5 December 2007 (UTC)

 * Thank you for the reply to my post, I am aware about the “touchy” subject material and resentment the African American community feels against America and the slave trade. I understand the common belief is that gospel singing developed out of slavery, so some people will hold that. Although popular culture itself has a POV and is no way helpful from a musicologist stance or that of an accademic one. The popular viewpoint itself is just a theory and providing multiple sources from Professor Ruff (a renouned musicologist and African American himself) proposed and discussed this in the latter part of 2007 at Yale University. Even one valid source, especially from an institution as prestegoius as Yale and an expert on the subject does have creedence in this article even if it speaks against the “slave origin” theory of gospel music. I suggest we wait till there is a published peer review of his work as deleting his research will only fule another type of POV. Remember he is the expert and we are just the writers. Furthermore if you have issue with his research as I suggested before deleting anything and taking you’re own stance, you should contact Professor Ruff to discuss the finer points of his research. Junebug, I can see you are very passionate on the subject and I understand how raw you must feel (if you are an African American) Slavery has impacted on all cultures throughout the world for centuries. But for good or bad, there was a celtic-african influence and even an Anglo-African one. Metered Hymn singing was the first and most primative form of gospel music, yes even Professor Ruff states this, but who taught the slaves to sing in this European form of music? Gaels were there for good and bad and influenced African American culture. This was a two way process, just because this research doesn’t fit with popular culture doesn’t mean to say it isn’t valid. If you have a passion for gospel singing then take this study as a cutting edge topic as it was discussed at Yale University in 2007. Regards Slan Leat Celtic Harper (talk) 19:15, 6 December 2007 (UTC)

 * I would vote for inclusion of all theories of development until definative proof of one over the other is found (which may be impossible). That way we avoid edit wars. We definitely need a rewrite because the current read make it seem as if one (origin in slavery) is true, and the others are just theory. I welcome any thoughts anyone may have on the subject.

 * On a separate note: It’s always dangerous to ascribe a thought or idea based upon race (stereotyping). I don’t think only African Americans believe that Gospel music originated in slavery. I think Americans of all races and backgrounds believe this because that is what we have been taught. I’m sure if we research the various types of music that have developed over time in the U.S. we would find that many commonly held beliefs are in error. Not pointing fingers, I just don’t want any misunderstanding about motives if things get hot during the rewrites. Absolon S. Kent (talk) 20:17, 6 December 2007 (UTC)

Celtic Harper, I am not an African American, but I do have a pssion about making sure that things are written with accuracy. As I stated, "I am a historian of these issues and I am called upon to lecture in regards to musical and theatrical origins." I feel the contacting Prof. Ruff would not give us the answers but may only lead us to original research which as you know is against wikipedia guidelines. We need citable material. I am not opposed to leaving things in as long as there is a considerable rewrite to the existing information which I believe Absolon would agree with. I also can appreciate you passion and I applaud you for that. I feel we need more editors with that passion. I also think you will agree that as editors, we have a responsibility to insure the readers that what they are reading is researched, cited and sourced without POVs. Let's get this puppy done! Junebug52 00:09, 7 December 2007 (UTC)

 * I agree with you, of course we need more editors with that passion, and to insure the readers that what they are reading is researched cited and sourced without POVs. Its refreshing to see editors who want to improve wikipedia, as long as the articles balanced then no problem. Thank you once again for you're comment. Slan Leat Celtic Harper (talk) 16:31, 7 December 2007 (UTC)

There are definitely clear African influences to the style. But the style is also influenced by European sources. So it's not impossible that the Scottish influence is accurate. I think the appropriate thing to do would be to balance the information according to how well the general academic community views it. If the Scottish influence is a fringe theory then it should be discussed in a smaller proportion to other theories. Right now it looks like everything is tied to this one individual. If not for the Washington Post article I'd say can it altogether. But they lend credibility to it. CJ (talk) 23:41, 7 December 2007 (UTC)

 * Part of the confusion may be a matter of perspectives (if that makes any sense). The influence of Shape note and Metered Hymn may be stronger in some sub-genres than others. As I suggested earlier on this page in another discussion perhaps the right way to go is to simply do a trace of development of the subgenres. I really think it will be too hard to simply say "X" is the source of all gospel music. Each subgenre will have a different path of development. Thoughts? Absolon S. Kent (talk) 12:36, 9 December 2007 (UTC)

Proposed revision of History section
Perhaps we should consider the following as a starting point for the discussion on revising the history section. Instead of talking about the various places the different styles developed they could all be discussed based upon the time period. Sections could include:

 * History
 * Ancient times - discussion of early church as related to gospel
 * European Renaissance (or proper time period) - discussion on Metered Hymn and Shape note?
 * American establishment (or proper name for period) - discussion of Gospel or Christian music in early America
 * African slave trade - discussion of music styles brought to America by African slaves
 * American reconstruction (or proper name for period) - this is probably where the major split among genres began ????
 * 20th Century - major period of Gospel music industry development.
 * International expansion - discussion on the spread of Gospel music from America to other countries and the development of the distinctive styles.
 * Genres and subgenres
 * Southern Gospel
 * Progressive Southern Gospel
 * Christian country music
 * Urban contemporary gospel
 * Jubilee quartet
 * Christian hip hop
 * Mass choirs
 * Contemporary Christian music
 * Christian pop
 * Christian rock
 * Christian metal
 * Christian punk
 * Business (or Industry)
 * Gospel music marketing - production and development
 * Gospel /Christian record companies
 * Gospel music media
 * notable Gospel media sources - TV networks, radio companies\

This is just a suggested starting point. Feel free to comment. Absolon S. Kent (talk) 15:53, 14 December 2007 (UTC)

 * Let's just do it! LOL Junebug52 14:29, 15 December 2007 (UTC)

 * I would also suggest mentioning Thomas A. Dorsey in the history section. Mr. Dorsey is often refered to as the Father of Gospel Music and is credited with coining the term "gospel" as a reference to this type of music. I was surprised that he wasn't mentioned in the article. Optimistmb (talk) 22:57, 16 December 2007 (UTC)

 * I know Dorsey was a major figure in the subgenre that became urban contemporary Gospel. Perhaps we should look at his inclusion on that page more so on the Gospel music article. Absolon S. Kent (talk) 14:08, 17 December 2007 (UTC)

Revisions on 8 January 2008
I rewrote the lead to bring it more in line with the Christian music article. I also hid the History section until we can find a better way to word it. I think the article reads alot better without as much detail. Please comment. Absolon S. Kent (talk) 18:38, 8 January 2008 (UTC)
 * I was shocked at how little information this article currently contains, and was just about to tag it before I read this discussion. There needs to be a history section in there - not hidden - which refers to both the African origins of large elements of the music, plus the melodic (at least) contributions from the European folk and classical traditions.  Sorry, but I don't believe it's that impossible to draft a section that meets all the concerns and, if there are disagreements, explains what they are.  Ghmyrtle (talk) 15:08, 1 March 2008 (UTC)
 * Ghmyrtle, I certainly agree with you in regards to there being little to no information on this page for history. I do believe that we are in the research stages of trying to find what verbiage would be the appropriate to use for inclusion. This has at times been a really heated debate on origins and history. I think with some help and a little time, we will get it together. Thank you for your input. Canyouhearmenow 15:15, 1 March 2008 (UTC)
 * My only suggestion is that it is much easier, and more correct in WP terms, to write an article that says "this happened", "then that happened", "meanwhile this was going on..." etc., rather than seeking to hypothesise that one thing caused or led to another. At the very least, there should be a statement in the article of what is agreed factually to be the case in terms of the history (eg, perhaps, Dorsey's role) with a side section on areas which are not agreed (eg the Scots influence). Ghmyrtle (talk) 15:27, 1 March 2008 (UTC)
 * The problem, as mentioned earlier, is that no editor could provide a well referenced statement of origin. The compromise, as discussed at the Christian music wikiproject, was to keep the major genre articles brief and generic, and expand the various subgenre articles with information. Articles like Christian music and Gospel music are purposely left general (basically without much detail on history, representative artists, etc) and articles like urban contemporary gospel, Southern Gospel and Christian metal are given much more detail. I think this has been good because it has helped keep a lot of the random edits and misinformation out of the articles. Absolon S. Kent (talk) 17:40, 1 March 2008 (UTC)
 * I have rewritten the history section, providing extensive reference notes. The real problem is that the term "Gospel music" is used in the literature for two separate types of music without any indication as to which the author is talking about. Go to any library and look at the books on the subject. Books will be about black gospel or white gospel, and the authors, even scholarly authors, assume that the type they are writing about is the only "Gospel music." Unfortunately, this is a persistent problem, and reflects the racism that endures in our society. In my rewrite of the history section, I tried to be fair to both types of music. Richard E. Davies (talk) 22:06, 9 May 2009 (UTC)Richard E. Davies

Genre Assignment
Since there are editors for various genres of Christian music, might I suggest that each editor take the genre that they have knowledge of and act as a lead editor for that genre. Then at some point we can change genres at the request of said editor and add and check each others work to make sure that we are not leaving factors out. This way we are not double working and running over each others edits which could lead us into an edit wars at some point. Does anyone have any input about this suggestion? Junebug52 05:15, 8 January 2008 (UTC)

I will be happy to start with Christian country music since that is an article I started and have knowledge of the artists involved. Junebug52 05:18, 8 January 2008 (UTC)

Moving discussion
I'm transferring your question and comment to the Christian music portal and copying to the new Christian music WikiProject. Absolon S. Kent (talk) 05:37, 8 January 2008 (UTC)

Much of current content is in error
The history of Gospel music is well documented and what is shared here is not the accepted history. What is represented here is but one of gospel's offshoots. Thomas Dorsey is commonly called "The Father of Gospel Music." Perhaps we culd include one of the standard timelines from a neutral source to write a proper chronology. —Preceding unsigned comment added by 98.165.234.96 (talk) 03:23, 29 December 2009 (UTC)

External link removal
I removed the link www.musicgospellyrics.com from the external link section because it violates WP:SONG and Copyrights. Please do not readd this link. Absolon S. Kent (talk) 16:53, 29 February 2008 (UTC)
 * I did not add the link, but I did wikify the link after it had been added. I did not pay attention to its whereabouts. I hope you can find it in your heart to forgive me! Canyouhearmenow 21:13, 29 February 2008 (UTC)

All Genres?
If Gospel music is music that is written to express either personal or a communal belief regarding Christian life, as well as (in terms of the varying music styles) to give a Christian alternative to mainstream secular music, should it not include ALL genres that conform to this criteria (e.g. modern genres such as Christian Rock)? D van Eeden (talk) 13:03, 20 March 2008 (UTC)
 * Short answer: Yes. All forms of Christian music general proclaim the Gospel of Christ. Longer answer: American record companies and media outlets have typically created categories for the various styles of music to differentiate their markets. While the basis for Gospel music is the same as Christian music, categories have been created (i.e. Christian rock, Christian metal, Southern Gospel, etc.) based solely upon style. Absolon S. Kent (talk) 13:08, 20 March 2008 (UTC)
 * Let is also be said that mainstream marketing also dictates to what degree a song should delve into Christian content. Most of the songs that are hitting radio today are what they classify as "middle of the road" These songs could go secular or Christian, ie. "I Can Only Imagine", "Butterfly Kisses" and "Drop that Rock". There are also the typical cookie cutter songs. Meaning that they really have no depth but good beats and a little bit of praise content. This was a movement we saw with Amy Grant and David L Cook in the 80's. So, therefore as Absolon pointed out, we have created all of these sub genres to appeal to different markets. Canyouhearmenow 14:09, 20 March 2008 (UTC)

List of legends
I removed this listing because it adds nothing to the article and has the potential to become an out of control listing of personal favorites. If someone can come up with a verifiable listing of artists we can readd it. Otherwise it would simply be a listing of original research. Absolon S. Kent (talk) 19:52, 30 April 2008 (UTC)

Fundamental problem with the article
There seems to me to be a fundamental problem with this article, which is that it reflects the religious views of a few editors, and is not neutral. I would guess that those who seek to manage the article are Christians, living in the USA. They have valid opinions, and no doubt in many cases have a great depth of valuable knowledge which should be passed on. However, most people do not share the same beliefs, and do not live in the USA. Nonetheless, gospel music may still be of interest to them, and they may wish to read an informed article about it. My personal interest in gospel music is as a genre of African-American music from the early to mid 20th century. I'm well aware of the belief systems behind that, and to some extent its precursors and later development, but I would like to find out more. The article doesn't let me do that, and to my mind that is unfortunate. Ghmyrtle (talk) 11:03, 1 May 2008 (UTC)
 * PS - My apologies for reindenting this and previous comments incorrectly - previously all seemed to stem from comment 8, but I obviously haven't done it quite right - hope someone else can correct it! Ghmyrtle (talk) 11:13, 1 May 2008 (UTC)
 * Please review the above discussions for the rationale behind the current status of this article. Gospel music is not just music of African-American traditions. Gospel music (like Christian music is a major classification covering many styles of music (all of which carry a common theme). As you have also stated, Gospel music is not just music of the USA. The compromise (made by a group of editors) was to make this article very general in scope and provide more detail in the various subgenres of Gospel music (see Urban contemporary gospel, Southern Gospel, etc. Hope this provides the information you seek. Absolon S. Kent (talk) 17:12, 1 May 2008 (UTC)
 * I note and understand your points. Unfortunately, however, you and fellow editors seem to be approaching this from the perspective of what you would like (or can agree) to say, rather than considering the perspective of those who come to the site in order to gain more information.  Subdividing the subject into sub-genres, without a full and discursive background which explains their history and (if necessary) different perspectives on them, is not particularly helpful, in my opinion.  I know that I know much less about the subject than you and others - that is why I would like a fully explanatory (and neutral) article here.  Ghmyrtle (talk) 20:31, 1 May 2008 (UTC)
 * You are welcome to propose the type of information you would like to see contained in the article. I would encourage you to look at the article history and see what information was originally contained within and removed (with the supporting rationale). You may also wish to address your concerns with the Christian music WikiProject. Good luck. Absolon S. Kent (talk) 02:17, 2 May 2008 (UTC)
 * I disagree on two grounds. (1) It should not be the general reader's responsibility to "look at the article history" in order to recover information in which they might be interested.  It would not necessarily be clear whether material has been removed because it is inaccurate, or simply because it offends the opinions of another editor.  (2) In this case, the idea that the development of African-American gospel music in the early/mid 20th century can wholly be explained within the context of "Christian music" - itself a highly POV concept, in my view - is simply inadequate.  Unfortunately, the underlying attitude here seems to be that knowledge should be tightly controlled by editors with a POV agenda (that is, motivated by a particular set of religious beliefs) rather than being open to all, including those with different perspectives.  Ghmyrtle (talk) 09:11, 2 May 2008 (UTC)
 * I guess I'm confused on what your point is. What exactly do you feel is missing from this article? Gospel music is defined and the subgenres are listed. If the reader "wants more" they can view the subgenres which give history, development, style, etc. Could you define exactly what you think is missing? Absolon S. Kent (talk) 15:35, 2 May 2008 (UTC)
 * Essentially, it seems to me that, in this article, there needs to be more historical background, or story of the gradual development of the music and its different sub-genres. As it stands, it's not clear to me which of the sub-genres, if any, I (or any casual but interested reader) should look further into. The article is short (12K) compared with, for instance, Blues (a featured article, 60K), Jazz (41K), Rock and roll (27K), etc.  (Apologies if you are unhappy with these comparators.) Brevity has some advantages, but to my mind the article as it stands gives insufficient basic and neutral information.  But, unless others want to make similar points, I'll leave it there - I certainly don't intend to do any editing here myself.  Ghmyrtle (talk) 16:07, 2 May 2008 (UTC)
 * Again, I encourage you to read the previous discussions regarding the history of Gospel music. Removing the history section was a compromise to maintain neutrality. Because it is so diverse no single definative origin could be agreed upon by multiple editors. Which origin should be included (shape note, negro spiritual, celtic, American Southern Gospel)? I personally have given up on content management/update of this article and have simply maintained it on my watchlist because of the constant vandalism, so if you don't intend to add information I guess it will remain as currently written. Absolon S. Kent (talk) 16:50, 2 May 2008 (UTC)
 * The simple answer as to which references to origin to include, in my view, is all of them. Ghmyrtle (talk) 21:16, 2 May 2008 (UTC)

History: Correction needed to 'first published use of "Gospel" to describe this kind of music....'
Gospel Songs (1874) by P. P. Bliss actually came before any of the Gospel Hymns series. The story of how Sankey and Bliss combined their Gospel Songs and Sacred Songs and Solos efforts into what was subsequently published as Gospel Hymns and Sacred Songs (Gospel Hymns no. 1) is pretty well documented. The cited Malone source is either wrong or misquoted - easy to confirm just by checking the publication dates on worldcat or elsewhere. However, a good explanation may also be found on page 486 of Benson's The English Hymn which is available on-line at: http://books.google.com/books?id=0FQuAAAAYAAJ&pg=PA486

Didn't change it myself because I'm not sure that Gospel Songs (1874) is even the first use; I just know it came before Gospel Hymns(1875). Thanks! Rostdo (talk) 04:48, 30 May 2009 (UTC)

help request
This decoration would go well on a page near here, but where? The lyrics are 16th century, the music was recorded with this traditional tune in 1979 and performed by a dozen artists and now available on a similar commons license to wikipedia, is it gospel or christian or ancient or contempoary?

Edit needed under "2.1 20th Century"
The paragraph under "20th Century" on Thomas A. Dorsey has a few problems with both grammar and NPOV. I've never edited anything here, and I also know very little about the subject, so I'll just point out the section so someone can look it over.

"He had many trials in his life that he overcame concerning his health and his wife died. He dedicated all of his musical talent to the service of the LORD. Thomas gained knowledge of his religion from his father who was a Baptist minister and took up on piano from his mother who was his teacher. He started working with lack blues pianist when they moved to Atlanta."Z0X0X (talk) 19:14, 31 August 2012 (UTC)

 * I have improved it. Thanks for bringing it to our attention. --Musdan77 (talk) 16:58, 1 September 2012 (UTC)

Choosing of a song
I don't think the choice of Yolanda Adams is the right one. It is clearly more contemporary jazz oriented than gospel. There must be better music exemplifications that are free of licensing. — Preceding unsigned comment added by ASDLR (talk • contribs) 11:55, 14 May 2013 (UTC)

External links modified
Hello fellow Wikipedians,

I have just added archive links to 1 one external link on Gospel music. Please take a moment to review my edit. If necessary, add after the link to keep me from modifying it. Alternatively, you can add to keep me off the page altogether. I made the following changes:
 * Added archive https://web.archive.org/20150225093800/http://www.countrygospelmusic.com/platinumheart.htm to http://www.countrygospelmusic.com/platinumheart.htm

When you have finished reviewing my changes, please set the checked parameter below to true to let others know.

Cheers. —cyberbot II  Talk to my owner :Online 07:03, 30 August 2015 (UTC)

Gospel Music Style
Gospel is a style of music. The “First Gospel songs” that are mentioned in this wiki were just Christian hymns that were adapted to thr Gospel style. Black Church music has a distinct style. When the songs that are mentioned were first song they did not sound likr gospel music. If you need a cultural example, think of the movie “Sister Act”. A Catholic hymn was repurposed into a gospel song.

White Christian music and African- American Christian music sound nothing alike. The slaves used their master’s songs and words in their style. Now like every other Black Genre the style has been appropriated, but not duplicated. — Preceding unsigned comment added by 136.26.101.23 (talk) 05:16, 4 May 2018 (UTC)

Just visit a Negro Church and you will hear the difference..
Side note Elvis frequented Negro Churches. Also, Negroes do not adopt or embrace white culture. Any adoption is always very limited. For example, Country Music, Slang.... The cultural sharing is VERY uneven. Many minority groups are this way... This wiki makes many claims without citations. It implies that Blacks have a choice in sharing their culture and that their is mutual collaboration. Black Music, Dance, Slang and all Culture is very distinct. There is not collaboration. There is condemnation, the acceptance and then appropriation. This has been done over and over again. — Preceding unsigned comment added by 136.26.101.23 (talk) 05:28, 4 May 2018 (UTC)

A Commons file used on this page has been nominated for deletion
The following Wikimedia Commons file used on this page has been nominated for deletion: Participate in the deletion discussion at the. —Community Tech bot (talk) 14:06, 17 July 2019 (UTC)
 * 20100209 Yolanda Adams - How Great Thou Art at the White House.ogv

A Commons file used on this page has been nominated for deletion
The following Wikimedia Commons file used on this page has been nominated for deletion: Participate in the deletion discussion at the. —Community Tech bot (talk) 14:36, 17 July 2019 (UTC)
 * 20100209 Yolanda Adams - How Great Thou Art at the White House.ogg

Origins
In regards to the origins of gospel music with the definition presented "christian lyrics" what about the biblical psalms and song? Do they not fall under the category. Yes there is no understood beat pattern, but lyrically it can be studied to represent earlier accounts of "gospel music" what more authentic than the songs written within the time of the man Christ himself? Closure53 (talk) 07:20, 24 February 2020 (UTC)
 * "Christian" does not mean anything after Christ, it means any that is interpreted though the lens of Christianity. Psalms definitely fall into the category. Walter Görlitz (talk) 12:23, 24 February 2020 (UTC)

Something is not right. Gospel music is supposed to be a form of Christian music, but some songs labeled under the genre (like Prince's Purple Rain) seem to have nothing to do with Christianity. — Preceding unsigned comment added by 2601:C7:C201:C640:99F2:E5DC:E424:D432 (talk) 03:43, 8 December 2020 (UTC)

Ethiopian
Gospel 196.188.245.240 (talk) 09:02, 15 July 2022 (UTC)

Jesus
Hana 196.188.174.21 (talk) 03:12, 8 November 2022 (UTC)

Wiki Education assignment: Black American Music
— Assignment last updated by Isha0323 (talk) 19:31, 27 November 2023 (UTC)

title: Talk:Gospel music


text:
User talk:Drron

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title: User talk:Drron


text:
Football Federation of Belarus

The Football Federation of Belarus (BFF; Беларуская федэрацыя футбола; Белорусская федерация футбола), also known as Belarusian Football Federation, is the governing body of football, beach soccer and futsal in Belarus. It organizes the Belarusian Premier League, Belarusian national football team and the Belarus women's national football team. It is based in Minsk.

History
The Belarusian Football Federation was founded in 1989. In 1992, the FIFA Federation won the right to participate in the World Cup. In 1993, she joined UEFA, which allowed the national team to participate in the European Championships, and Belarusian clubs to participate in the European Cups.

In June 2021, UEFA suspended the Belarusian Football Federation from holding any events and competitions under its auspices. The UEFA national teams and clubs will not play in UEFA tournaments, and previously scheduled UEFA Mini Football Champions League 2021 and UEFA Congress 2021 will be moved to other countries. Previously, the 2021 UEFA European Under-19 Championship, which was planned to be held in Belarus, was cancelled due to the COVID-19 pandemic.

After the 2022 Russian invasion of Ukraine, FIFA and UEFA, the European governing body for football, temporarily suspended Belarusian national and club teams from international competitions, which was later reversed, and UEFA banned Belarus from hosting international competitions.

Presidents

 * Evgeny Shuntov (Yawhen Shuntaw, 1989–1999)
 * Grigory Fedorov (Ryhor Fyodaraw, 1999–2003)
 * Gennady Nevyglas (Henadz Nevyhlas, 2003–2011)
 * Sergei Rumas (22 April 2011 – 2019)
 * Vladimir Bazanov (Uladzimir Bazanaw, 2019–2023)
 * Nikolay Sherstnyov (since 2023)

title: Football Federation of Belarus


text:
Lift hill

A lift hill, or chain hill, is an upward-sloping section of track on a roller coaster on which the roller coaster train is mechanically lifted to an elevated point or peak in the track. Upon reaching the peak, the train is then propelled from the peak by gravity and is usually allowed to coast throughout the rest of the roller coaster ride's circuit on its own momentum, including most or all of the remaining uphill sections. The initial upward-sloping section of a roller coaster track is usually a lift hill, as the train typically begins a ride with little speed, though some coasters have raised stations that permit an initial drop without a lift hill. Although uncommon, some tracks also contain multiple lift hills.

Lift hills usually propel the train to the top of the ride via one of two methods: a chain lift involving a long, continuous chain which trains hook on to and are carried to the top; or a drive tire system in which multiple motorized tires (known as friction wheels) push the train upwards. A typical chain lift consists of a heavy piece of metal called a chain dog, which is mounted onto the underside of one of the cars which make up the train. This is in place to line up with the chain on the lift hill.

The chain travels through a steel trough, and is normally powered by one or more motors which are positioned under the lift hill. Chain dogs underneath each train are engaged by the chain and the train is pulled up the lift. Anti-rollback dogs engage a rack (ratcheted track) alongside the chain to prevent the train from descending the lift hill. At the crest of the lift, the chain wraps around a gear wheel where it begins its return to the bottom of the lift; the train is continually pulled along until gravity takes over and it accelerates downhill. The spring-loaded chain and anti-rollback dogs will disengage themselves as this occurs.

Intamin cable lift
The Intamin cable lift is a type of lift mechanism that was first used on Millennium Force at Cedar Point in Sandusky, Ohio. This type of lift has also been used for Kings Dominion's Project 305, Holiday Park's Expedition GeForce, Walibi Holland's Goliath, Djurs Sommerland's Piraten (Europe's only "Mega-Lite"-model coaster by Intamin), Tokyo Dome City's Thunder Dolphin, Hersheypark's Skyrush, Flying Aces at Ferrari World, and Altair at Cinecittà World. Currently, there are only two wooden roller coasters that utilize a cable lift hill: El Toro at Six Flags Great Adventure and T Express at Everland.

The cable lift utilizes a cable that is attached to a catch car that moves up and down the lift hill in a separate channel between the track rails. On several coasters the catch car rolls into the station and latches to the front cars of the train to carry it up the lift hill. This requires the lift hill to be positioned directly in front of the station. El Toro was the first coaster to incorporate a turn between the station and the cable lift hill and was the first (and so far only) of this type to engage the catch car while the train is moving. Once the train engages the catch car, the speed is increased and the train is quickly pulled to top of the lift. Because a cable is much lighter than a chain, cable lifts are much faster than chain lifts. A cable also requires far less maintenance than a chain. Another advantage to park guests is that a cable lift is very quiet, partly because the main drive winch is located directly beneath the top of the lift, a location which will normally be relatively far from guest-accessible areas.

Ferris wheel lift
The Ferris wheel lift is a type of lift based on the rotating circular design of a ferris wheel. Created by Premier Rides, it existed on 'Round About' (formerly Maximum RPM) which operated at Freestyle Music Park in Myrtle Beach, South Carolina prior to being dismantled and moved to a park in Vietnam only to never operate and was later dismantled again. It uses a Ferris Wheel like motion to lift the cars to the top, as on a Ferris Wheel. The cars are then released onto the track.

Elevator lift
The elevator lift is typically used on a single car or a short, double-car train. The vehicle moves into position on a piece of track that is then lifted vertically, along with the vehicle, operating very similar to a passenger elevator. Several of these systems use a single shaft and a second piece of track in the opposite position serves as the counterweight. With the single shaft the rail may curve to the left or right as the two tracks pass each other at the halfway point. The first coaster to use an elevator system with a counterweight was Batflyer at Lightwater Valley. It is believed that those same designers then founded Caripro, which then constructed nine vertical lift suspended coasters between 1997 and 2001. The Mack Rides-built Matterhorn Blitz at Europa Park was the first to use a two-track system with a single shaft.

Friction wheel lift
A friction wheel lift is a type of lift mechanism in which two wheels are placed in either a horizontal or a vertical position. These are commonly used for brake runs, lifts, storage and more. The train has a small vertical lip, where the two friction wheels meet at each side. The wheels pull the train up slowly, while making a jet-like noise. An anti-rollback system is not needed, as the wheels are tight against the lip.

Tilt lift/thrill lift section
A tilt lift is a new way to elevate coasters. The tilt lift is essentially an elevator lift, but the elevator lift rotates 90 degrees so that the train is now vertical, with the nose of the train facing the ground. This design has not been made yet; the only places where this occurs are in the video games RollerCoaster Tycoon 3, Thrillville Off the Rails and Coaster Crazy. However, there are coaster designs that use the tilting aspect of this lift already. The first operating tilt coaster in the world is Gravity Max at Lihpao Land in Taiwan. The coaster was built by Vekoma. In this coaster, after going up a chain hill, the train is held on a horizontal section of track, which then tilts forwards, to become a vertical section, which then leads into a vertical drop accelerated by gravity. The Chinese company Golden Horse has made several unofficial recreations, each featuring a less than vertical drop and significantly different track elements.

Anti-rollback device
The familiar "click-clack" sound that occurs as a roller coaster train ascends the lift hill is not caused by the chain itself. The cause for this noise is actually a safety device used on lift hills—the anti-rollback device. The anti-rollback device is a standard safety feature, typically consisting of a continuous, saw-toothed, section of metal, forming a linear ratchet.

Roller coaster trains are fitted with anti-rollback "dogs," essentially heavy-duty pieces of metal that fall and rest in each groove of the anti-rollback device on the track as the trains ascend the lift-hill. This makes the "clicking" sound and allows the train to go upwards only, effectively preventing the train from rolling back down the hill should it ever encounter a power failure or broken chain.

This feature was derived from the similar feature originally used on the Mauch Chunk Switchback Railway in Pennsylvania, starting in 1846. Under the power of a stationary steam engine, railway cars were drawn up two uphill planes that had two slightly different early forms of this anti-rollback device. The entire concept of the modern roller coaster was also initially inspired by this railroad.

title: Lift hill


text: Category:1690s books

title: Category:1690s books