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User talk:Zopwx2

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ArbCom elections are now open!
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Proposed deletion of Hella / Four Tet

The article Hella / Four Tet has been proposed for deletion because of the following concern:
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Proposed deletion of Live Dilute & Hella Split

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Proposed deletion of Acoustics (Hella EP)

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Proposed deletion of Bitches Ain't Shit but Good People

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Proposed deletion of Falam Dynasty

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Proposed deletion of Leather Diamond

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Proposed deletion of There's No 666 in Outer Space

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Proposed deletion of The Devil Isn't Red

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Nomination of Bitches Ain't Shit but Good People for deletion
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Proposed deletion of Church Gone Wild/Chirpin Hard

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Proposed deletion of Total Bugs Bunny on Wild Bass

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Proposed deletion of Concentration Face/Homeboy

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title: User talk:Zopwx2


text:
Wikipedia:Articles for deletion/John Valby

John Valby
This appears to be an advert. Note the near identity between the page contents and the external link.Mwanner 00:24, Dec 5, 2004 (UTC)
 * Delete: Ad for a non-notable performer. A clubber. Geogre 05:51, 5 Dec 2004 (UTC)
 * Delete. Ad, vanity, and doing off-colour versions of covers isn't notable. Wyss 19:52, 5 Dec 2004 (UTC)
 * Delete. Same reasons as above. Spangineer 04:48, Dec 10, 2004 (UTC)
 * Delete See above. BenS 05:12, 10 Dec 2004 (UTC)
 * Delete The reasons that some of the others have said [[User:Squash|Squash (Talk)]] 06:35, Dec 10, 2004 (UTC)
 * Keep Believe it or not, I've heard of this guy outside Wikipedia. A tape of his was the hit of my summer camp cabin when I was 12 years old. He seems to have a cult following (possibly limited to 12 or 13 year old boys, admittedly, but still notable.) A google turns up 17,600 hits for "John Valby" and a Google groups search turns up a fair amount of discussion of him and his lyrics. Note that the user who created this page has a history that extends before and after the creation of the John Valby page, which indicates that it was not a vanity account. (Assuming that the IP number of this non-registered user has not actually been used by multiple people.) I agree that the entry is just a copy of the info from his web page, but that seems to argue more for a cleanup than a deletion. --Jacobw 12:18, 11 Dec 2004 (UTC)

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


text:
Dither

Dither is an intentionally applied form of noise used to randomize quantization error, preventing large-scale patterns such as color banding in images. Dither is routinely used in processing of both digital audio and video data, and is often one of the last stages of mastering audio to a CD.

A common use of dither is converting a grayscale image to black and white, so that the density of black dots in the new image approximates the average gray level in the original.

Etymology
The term dither was published in books on analog computation and hydraulically controlled guns shortly after World War II. Though he did not use the term dither, the concept of dithering to reduce quantization patterns was first applied by Lawrence G. Roberts in his 1961 MIT master's thesis and 1962 article. By 1964 dither was being used in the modern sense described in this article. The technique was in use at least as early as 1915, though not under the name dither.

In digital processing and waveform analysis
Dither is utilized in many different fields where digital processing and analysis are used. These uses include systems using digital signal processing, such as digital audio, digital video, digital photography, seismology, radar and weather forecasting systems.

Quantization yields error. If that error is correlated to the signal, the result is potentially cyclical or predictable. In some fields, especially where the receptor is sensitive to such artifacts, cyclical errors yield undesirable artifacts. In these fields introducing dither converts the error to random noise. The field of audio is a primary example of this. The human ear functions much like a Fourier transform, wherein it hears individual frequencies. The ear is therefore very sensitive to distortion, or additional frequency content, but far less sensitive to additional random noise at all frequencies such as found in a dithered signal.

Digital audio
"In an analog system, the signal is continuous, but in a PCM digital system, the amplitude of the signal out of the digital system is limited to one of a set of fixed values or numbers. This process is called quantization. Each coded value is a discrete step... if a signal is quantized without using dither, there will be quantization distortion related to the original input signal... In order to prevent this, the signal is 'dithered', a process that mathematically removes the harmonics or other highly undesirable distortions entirely, and that replaces it with a constant, fixed noise level."

The final version of audio that goes onto a compact disc contains only 16 bits per sample, but throughout the production process, a greater number of bits are typically used to represent the sample, this must be reduced to 16 bits to make the CD.

There are multiple ways to do this. One can, for example, simply discard the excess bits – called truncation. One can also round the excess bits to the nearest value. Each of these methods, however, results in predictable and determinable errors in the result. Using dither replaces these errors with a constant, fixed noise level.

Examples

Take, for example, a waveform that consists of the following values:

1 2 3 4 5 6 7 8

If the waveform is reduced by 20%, then the following are the new values:

0.8 1.6 2.4 3.2 4.0 4.8 5.6 6.4

If these values are truncated it results in the following data:

0 1 2 3 4 4 5 6

If these values are rounded instead it results in the following data:

1 2 2 3 4 5 6 6

For any original waveform, the process of reducing the waveform amplitude by 20% results in regular errors. Take for example a sine wave that, for some portion, matches the values above. Every time the sine wave's value hit 3.2, the truncated result would be off by 0.2, as in the sample data above. Every time the sine wave's value hit 4.0, there would be no error since the truncated result would be off by 0.0, also shown above. The magnitude of this error changes regularly and repeatedly throughout the sine wave's cycle. It is precisely this error that manifests itself as distortion. What the ear hears as distortion is the additional content at discrete frequencies created by the regular and repeated quantization error.

A plausible solution would be to take the 2 digit number (say, 4.8) and round it one direction or the other. For example, it could be rounded to 5 one time and then 4 the next time. This would make the long-term average 4.5 instead of 4, so that over the long-term the value is closer to its actual value. This, on the other hand, still results in determinable (though more complicated) error. Every other time the value 4.8 comes up the result is an error of 0.2, and the other times it is −0.8. This still results in a repeating, quantifiable error.

Another plausible solution would be to take 4.8 and round it so that the first four times out of five it is rounded up to 5, and the fifth time it is rounded to 4. This would average out to exactly 4.8 over the long term. Unfortunately, however, it still results in repeatable and determinable errors, and those errors still manifest themselves as distortion to the ear.

This leads to the dither solution. Rather than predictably rounding up or down in a repeating pattern, it is possible to round up or down in a random pattern. If a series of random numbers between 0.0 and 0.9 (ex: 0.6, 0.1, 0.3, 0.6, 0.9, etc.) is generated and added to the 4.8, two times out of ten the result will truncate back to 4 (if 0.0 or 0.1 are added to 4.8) and eight times out of ten it will truncate to 5. Each given situation has a random 20% chance of rounding to 4 or 80% chance of rounding to 5. Over the long haul, these results will average to 4.8 and their quantization error will be random noise. This noise is less offensive to the ear than the determinable distortion that other solutions would produce.

Usage
Dither is added before any quantization or re-quantization process, in order to de-correlate the quantization noise from the input signal and to prevent non-linear behavior (distortion). Quantization with lesser bit depth requires higher amounts of dither. The result of the process still yields distortion, but the distortion is of a random nature so the resulting noise is, effectively, de-correlated from the intended signal.

In a seminal paper published in the AES Journal, Lipshitz and Vanderkooy pointed out that different noise types, with different probability density functions (PDFs) behave differently when used as dither signals, and suggested optimal levels of dither signal for audio. Gaussian noise requires a higher level of added noise for full elimination of audible distortion than noise with rectangular or triangular distribution. Triangular distributed noise also minimizes noise modulation – audible changes in the volume level of residual noise behind quiet music that draw attention to the noise.

Dither can be useful to break up periodic limit cycles, which are a common problem in digital filters. Random noise is typically less objectionable than the harmonic tones produced by limit cycles.

Noise distributions
Rectangular probability density function (RPDF) dither noise has a uniform distribution; any value in the specified range has the same probability of occurring.

Triangular probability density function (TPDF) dither noise has a triangular distribution; values in the center of the range have a higher probability of occurring. Triangular distribution can be achieved by adding two independent RPDF sources.

Gaussian PDF has a normal distribution. The relationship of probabilities of results follows a bell-shaped, or Gaussian curve, typical of dither generated by analog sources such as microphone preamplifiers. If the bit depth of a recording is sufficiently great, that preamplifier noise will be sufficient to dither the recording.

Noise shaping is a filtering process that shapes the spectral energy of quantization error, typically to either de-emphasize frequencies to which the ear is most sensitive or separate the signal and noise bands completely. If dither is used, its final spectrum depends on whether it is added inside or outside the feedback loop of the noise shaper. If inside, the dither is treated as part of the error signal and shaped along with actual quantization error. If outside, the dither is treated as part of the original signal and linearises quantization without being shaped itself. In this case, the final noise floor is the sum of the flat dither spectrum and the shaped quantization noise. While real-world noise shaping usually includes in-loop dithering, it is also possible to use it without adding dither at all, in which case quantization error is evident at low signal levels.

Colored dither is sometimes mentioned as dither that has been filtered to be different from white noise. Noise shaping is one such application.

Which noise distribution to use
If the signal being dithered is to undergo further processing, then it should be processed with a triangular-type dither that has an amplitude of two quantization steps so that the dither values computed range from, for example, −1 to +1, or 0 to 2. This is the lowest power ideal dither, in that it does not introduce noise modulation (which would manifest as a constant noise floor), and eliminates the harmonic distortion from quantization. If a colored dither is used instead at these intermediate processing stages, then frequency content may bleed into other frequency ranges that are more noticeable and become distractingly audible.

If the signal being dithered is to undergo no further processing – if it is being dithered to its final result for distribution – then a colored dither or noise shaping is appropriate. This can effectively lower the audible noise level, by putting most of that noise in a frequency range where it is less critical.

Digital photography and image processing
Dithering is used in computer graphics to create the illusion of color depth in images on systems with a limited color palette. In a dithered image, colors that are not available in the palette are approximated by a diffusion of colored pixels from within the available palette. The human eye perceives the diffusion as a mixture of the colors within it (see color vision). Dithered images, particularly those using palettes with relatively few colors, can often be distinguished by a characteristic graininess or speckled appearance.

Dithering introduces noise or a pattern into an image, and often the patterning is visible. In these circumstances, it has been shown that dither generated from blue noise is the least unsightly and distracting. The error diffusion techniques were some of the first methods to generate blue-noise dithering patterns. However, other techniques such as ordered dithering can also generate blue-noise dithering without the tendency to degenerate into areas with artifacts.

Examples
Reducing the color depth of an image can have significant visual side effects. If the original image is a photograph, it is likely to have thousands or even millions of distinct colors. The process of constraining the available colors to a specific color palette effectively throws away a certain amount of color information.

A number of factors can affect the resulting quality of a color-reduced image. Perhaps most significant is the color palette that will be used in the reduced image. For example, an original image (Figure 1) may be reduced to the 216-color web-safe palette. If the original pixel colors are simply translated into the closest available color from the palette, no dithering will occur (Figure 2). However, typically this approach will result in flat areas (contours) and a loss of detail and may produce patches of color that are significantly different from the original. Shaded or gradient areas may produce color banding which may be distracting. The application of dithering can help to minimize such visual artifacts and usually results in a better representation of the original (Figure 3). Dithering helps to reduce color banding and flatness.

One of the problems associated with using a fixed color palette is that many of the needed colors may not be available in the palette, and many of the available colors may not be needed; a fixed palette containing mostly shades of green would not be well-suited for an image of a desert, for instance. The use of an optimized color palette can be of benefit in such cases. An optimized color palette is one in which the available colors are chosen based on how frequently they are used in the original source image. If the image is reduced based on an optimized palette the result is often much closer to the original (Figure 4).

The number of colors available in the palette is also a contributing factor. If, for example, the palette is limited to only 16 colors then the resulting image could suffer from additional loss of detail, resulting in even more pronounced problems with flatness and color banding (Figure 5). Once again, dithering can help to minimize such artifacts (Figure 6).

Applications

One common application of dithering is to more accurately display graphics containing a greater range of colors than the display hardware is capable of showing. For example, dithering might be used in order to display a photographic image containing millions of colors on video hardware that is only capable of showing 256 colors at a time. The 256 available colors would be used to generate a dithered approximation of the original image. Without dithering, the colors in the original image would be quantized to the closest available color, resulting in a displayed image that is a poor representation of the original.

The very earliest uses were to reduce images to 1-bit black and white. This may have been done for printing even earlier than for bit-mapped video graphics. It was common for making images to display on 1-bit video displays for X and Apollo and similar Unix workstations. The dithering was usually pre-computed and only the dithered image was stored; computation and memory were far too limited to compute it live.

An example home computer users may have seen was emulation of lower resolution CGA 4 color graphics on higher resolution monochrome Hercules graphics cards, with the colors being translated to ordered dither patterns.

Some liquid-crystal displays use temporal dithering to achieve a similar effect. By alternating each pixel's color value rapidly between two approximate colors in the panel's color space, a display panel that natively supports only 18-bit color (6 bits per channel) can represent a 24-bit color image (8 bits per channel).

Dithering such as this, in which the computer's display hardware is the primary limitation on color depth, is commonly employed in software such as web browsers. Since a web browser may be retrieving graphical elements from an external source, it may be necessary for the browser to perform dithering on images with too many colors for the available display. It was due to problems with dithering that a color palette known as the web-safe color palette was identified, for use in choosing colors that would not be dithered on systems capable of displaying only 256 colors simultaneously.

But even when the total number of available colors in the display hardware is high enough to properly render full-color digital photographs, banding may still be evident to the eye, especially in large areas of smooth shade transitions. Modest dithering can resolve this without making the image appear grainy. High-end still image processing software commonly uses these techniques for improved display.

Another useful application of dithering is for situations in which the graphics file format is the limiting factor. In particular, the commonly used GIF format is restricted to the use of 256 or fewer colors. Images such as these have a defined color palette containing a limited number of colors that the image may use. For such situations, graphical editing software may be responsible for dithering images prior to saving them in such restrictive formats.

Dithering is analogous to the halftone technique used in printing. For this reason, the term dithering is sometimes used interchangeably with the term halftoning, particularly in association with digital printing.

The ability of inkjet printers to print isolated dots has increased the use of dithering in printing. A typical desktop inkjet printer can print, at most, just 16 colors as this is the combination of dot or no dot from cyan, magenta, yellow and black print heads. To reproduce a large range of colors, dithering is used. In densely printed areas, where the color is dark the dithering is not always visible because the dots of ink merge producing a more uniform print. However, a close inspection of the light areas of a print where dots are further apart reveals dithering patterns.

Algorithms
There are several algorithms designed to perform dithering. One of the earliest, and still one of the most popular, is the Floyd–Steinberg dithering algorithm, which was developed in 1975. One of the strengths of this algorithm is that it minimizes visual artifacts through an error-diffusion process; error-diffusion algorithms typically produce images that more closely represent the original than simpler dithering algorithms.

Dithering methods include:
 * Thresholding (also average dithering ): each pixel value is compared against a fixed threshold. This may be the simplest dithering algorithm there is, but it results in immense loss of detail and contouring.
 * Random dithering was the first attempt (at least as early as 1951 ) to remedy the drawbacks of thresholding. Each pixel value is compared against a random threshold, resulting in a staticky image. Although this method does not generate patterned artifacts, the noise tends to swamp the detail of the image. It is analogous to the practice of mezzotinting.
 * Patterning dithers using a fixed pattern. For each of the input values, a fixed pattern is placed in the output image.  The biggest disadvantage of this technique is that the output image is larger (by a factor of the fixed pattern size) than the input pattern.
 * Ordered dithering dithers using a dither matrix. For every pixel in the image, the value of the pattern at the corresponding location is used as a threshold. Neighboring pixels do not affect each other, making this form of dithering suitable for use in animations. Different patterns can generate completely different dithering effects.  Though simple to implement, this dithering algorithm is not easily changed to work with free-form, arbitrary palettes.
 * A halftone dithering matrix produces a look similar to that of halftone screening in newspapers. This is a form of clustered dithering, in that dots tend to cluster together. This can help hide the adverse effects of blurry pixels found on some older output devices. The primary use for this method is in offset printing and laser printers. In both these devices, the ink or toner prefers to clump together and will not form the isolated dots generated by the other dithering methods.
 * A Bayer matrix produces a very distinctive cross-hatch pattern.
 * A matrix tuned for blue noise, such as those generated by the void-and-cluster method, produces a look closer to that of an error diffusion dither method.
 * Error-diffusion dithering is a feedback process that diffuses the quantization error to neighboring pixels.
 * Floyd–Steinberg (FS) dithering only diffuses the error to neighboring pixels. This results in very fine-grained dithering.
 * Minimized average error dithering by Jarvis, Judice, and Ninke diffuses the error also to pixels one step further away. The dithering is coarser but has fewer visual artifacts. However, it is slower than Floyd–Steinberg dithering, because it distributes errors among 12 nearby pixels instead of 4 nearby pixels for Floyd–Steinberg.
 * Stucki dithering is based on the above, but is slightly faster. Its output tends to be clean and sharp.
 * Burkes dithering is a simplified form of Stucki dithering that is faster, but is less clean than Stucki dithering.
 * Error-diffusion dithering (continued):
 * Sierra dithering is based on Jarvis dithering, but it is faster while giving similar results.
 * Two-row Sierra is the above method but was modified by Sierra to improve its speed.
 * Filter Lite is an algorithm by Sierra that is much simpler and faster than Floyd–Steinberg, while still yielding similar results.
 * Atkinson dithering was developed by Apple programmer Bill Atkinson, and resembles Jarvis dithering and Sierra dithering, but it is faster. Another difference is that it does not diffuse the entire quantization error, but only three quarters. It tends to preserve detail well, but very light and dark areas may appear blown out.
 * Gradient-based error-diffusion dithering was developed in 2016 to remove the structural artifact produced in the original FS algorithm by a modulated randomization, and to enhance the structures by a gradient-based diffusion modulation.
 * Dithering methods based on physical models:
 * Lattice-Boltzmann Dithering is based on Lattice Boltzmann methods and was developed to provide a rotationally invariant alternative to Error-diffusion dithering
 * Electrostatic Halftoning is modeled after the principles of Electrostatics, which has a low approximation error and creates few visual artifacts

Other applications
Stimulated Brillouin scattering (SBS) is a nonlinear optical effect that limits the launched optical power in fiber optic systems. This power limit can be increased by dithering the transmit optical center frequency, typically implemented by modulating the laser's bias input. See also polarization scrambling.

Phase dithering can be used to improve the quality of the output in direct digital synthesis. Another common application is to get through EMC tests by using spread spectrum clock dithering of frequency to smear out single frequency peaks.

Another type of temporal dithering has recently been introduced in financial markets, in order to reduce the incentive to engage in high-frequency trading. ParFX, a London foreign exchange market that began trading in 2013, imposes brief random delays on all incoming orders; other currency exchanges are reportedly experimenting with the technique. The use of such temporal buffering or dithering has been advocated more broadly in financial trading of equities, commodities, and derivatives.

title: Dither


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Acadie–Bathurst Titan

The Acadie–Bathurst Titan are a Canadian junior ice hockey team in the Quebec Maritimes Junior Hockey League (QMJHL) based in Bathurst, New Brunswick. They are members of the Maritimes Division, and play their home games at the K. C. Irving Regional Centre. The Titan won the 2018 Memorial Cup and have two President's Cup championships in franchise history: 1999 and 2018.

History
The franchise was granted in 1969–70 as the Rosemont National. In 1971, they moved from Rosemont to Laval to become the Laval National, and later the Laval Voisins. In 1985, they became the Laval Titan, and in 1994, they became the Laval Titan Collège Français following a merger with the Verdun Collège Français, and then in 1998, they moved to Bathurst. The "Acadie" term in the team name refers to the city's surroundings, where the Acadian population is a majority.

The franchise has won five President's Cups, one of which (in 1999) came during the team's tenure in Bathurst. In the Memorial Cup that year, the team finished winless in the round-robin. The most famous player that has come through the organization would undoubtedly be Mario Lemieux, who was drafted in 1984 by the Pittsburgh Penguins of the National Hockey League (NHL). Lemieux played for the team during its tenure in Laval. Other famous franchise alumni include Mike Bossy, Gino Odjick and Vincent Damphousse. Notable NHL alumni from Bathurst include Patrice Bergeron, François Beauchemin, Bruno Gervais and Roberto Luongo.

In the 1999–2000 season, the Titan had the first female to be drafted by a QMJHL team, Charline Labonté, a 17-year-old Quebec goaltender who spent parts of two seasons with the team.

In 2018, the team won its first Memorial Cup championship, defeating the Regina Pats in the centennial edition of the tournament, coached by Mario Pouliot.

The Titan play in the smallest market in the Canadian Hockey League. With a population of 13,424 residents, the city of Bathurst is smaller than Swift Current, Saskatchewan, home of the WHL's Swift Current Broncos. After their Memorial Cup win in 2018, coach Mario Pouliot made this comment: "'Being the smallest market in the entire CHL, it's a huge accomplishment for us. Four years ago we started from the bottom and we ended up tonight with the Memorial Cup...'"

Relocation speculation
On February 7, 2009, the Titan franchise was given a 30-day relocation application extension by the QMJHL Board of Governors. Morrissette decided to sell the team to his daughter Annie Morrissette-Hébert and his son Stéphane Morrissette. At the end of the 2009–10 season, Léo-Guy Morrissette bought back control of the team from his children at their request. He retained ownership of the team through to April 2013. Local investors including NHL player Sean Couturier purchased the team. At the time of the sale, the team was reported to be worth just over $3 million.

Retired numbers
List of retired numbers from 1969 to present.

 * 1 Roberto Luongo (Acadie–Bathurst Titan, 1998–1999)
 * 10 Claude Lapointe (Laval Titan, 1987–1989)
 * 17 Mike Bossy (Laval National, 1972–1977)
 * 19 Neil Carnes (Laval Titan, 1988–1989)
 * 21 Vincent Damphousse (Laval Voisins, 1983–1985 / Laval Titan, 1985–1986)
 * 22 Martin Lapointe (Laval Titan, 1989–1993)
 * 28 Thomas Beauregard (Acadie–Bathurst Titan, 2002–2007)
 * 30 Gino Odjick (Laval Titan, 1988–1990)
 * 37 Patrice Bergeron (Acadie–Bathurst Titan, 2001–2003)
 * 66 Mario Lemieux (Laval Voisins, 1981–1984)

NHL alumni
The following players have played in at least one National Hockey League (NHL) game as of the 2023-24 season:

 * Ramzi Abid
 * François Beauchemin
 * Patrice Bergeron
 * Patrick Bordeleau
 * Guillaume Brisebois
 * Mathieu Carle
 * Jean-Philippe Côté
 * Noah Dobson
 * Jonathan Ferland
 * Giovanni Fiore
 * Ryan Flinn
 * Bruno Gervais
 * Jonathan Girard
 * Simon Lajeunesse
 * Hendrix Lapierre
 * Roberto Luongo
 * Daniil Miromanov
 * Mathieu Perreault
 * German Rubtsov
 * Janis Sprukts
 * Jeffrey Viel

NHL first round draft picks
List of first round selections in the NHL Entry Draft:

Regular season
QMJHL season standings. OTL = Overtime loss, SL = Shootout loss

Memorial Cup
The Memorial Cup is contested annually by the champions of the Ontario Hockey League (OHL), Quebec Maritimes Junior Hockey League (QMJHL), and Western Hockey League (WHL), as well as a predetermined host team. The competition consists of a round-robin, a semifinal game, and a final game. Below are the results of every game the Acadie–Bathurst Titan have competed in.

title: Acadie–Bathurst Titan


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Israeli hip hop

Israeli hip hop refers to hip hop and rap music in Israel. Israeli hip hop artists have mainly emerged from the populations of Mizrahi Jews, Ethiopian Jews, and Israeli-Arabs, though there have also been numerous artists from Israeli Ashkenazi Jews especially Hasidim. Israeli hip hop artists enjoy wide popularity in Israel and have succeeded in appealing to international markets particularly the United States.

The genre began gaining popularity in Israel during the 1990s, influenced by global hip hop trends. However, traces of native Hebrew hip hop can be found as early as the mid-1980s. Yair Nitzani, then a member of the Israeli rock group Tislam, released an old-school hip hop parody album under the name "Hashem Tamid". This early work was influenced by New York's hip hop scene. In 1993, Nigel Haadmor and Yossi Fine produced the album "Humus Metamtem", further establishing the genre in Israel. Haadmor, born Yehoshua Sofer, brought a unique sound influenced by his Caribbean roots and Jewish heritage.

A significant milestone in Israeli hip hop was the establishment of the radio show "Esek Shachor" (Black Business) in 1995 by Quami De La Fox (Eyal Freedman) and DJ Liron Teeni on Galgalatz, the Israeli Army's radio station. This show played a mix of Hebrew, Arabic, and English hip hop and became highly popular, significantly influencing the Israeli hip hop scene. Teeni is credited with encouraging artists to rap in Hebrew, thus making the genre more authentic to Israeli culture and accessible to the local audience.

The first notable Israeli hip hop group, Shabak Samech, began rapping in Hebrew in 1995, inspired by the Beastie Boys. Initially, their music was met with resistance, but they persevered and eventually found success. Israeli hip hop often addresses themes unique to the country's social and political landscape, including the struggles of growing up in Israel, spirituality, and politics.

History
Although Native Hebrew hip hop gained popularity only during the 1990s, stemming from global influences, traces of it could be found during the mid-1980s. Yair Nitzani, then a member of the Israeli rock group, "Tislam", released an old school hip hop parody album under the name "Hashem Tamid". Nitzani was mainly influenced from New York old school Hip Hop. In 1993, Nigel Haadmor and Yossi Fine, influenced by Eric B & Rakim and Flame-3 of the TPA Crew and other late 1980s Hip Hop, produced the album "Humus Metamtem", which was released by Yair Nitzani. Yossi Fine later immigrated to New York, where he played as a bassist with artists such as David Bowie, Naughty by Nature and Lou Reed. Nigel Haadmor is the pseudonym of Yehoshua Sofer, a Jewish-Jamaican Broslov Hasidic Jew who was born in Jamaica and raised in Jamaica, the U.S., and Israel. Influenced by his mother, who listened to Jamaican ska at home, Haadmor produced a unique sound based on his Caribbean roots living in the Jewish state.

In 1995, the Beastie Boys toured Israel and were interviewed by Quami de la Fox (Eyal Freedman) on Galgalatz, the Israeli Army's radio station and most popular radio station of that time. After the interview, Quami de la Fox created a Hebrew parody of their song “So What’cha Want” to promote their tour in Israel. Later that year Quami de la Fox collaborated with DJ Liron Teeni, also a host on the Galgalatz station, to produce Esek Shachor (Black Business) – the first all hip hop radio show in Israel. Playing a mix of Hebrew, Arabic and English hip hop, by 2000 Esek Shachor “was the most popular program on Galgalatz and today remains a leader in Israel’s hip-hop world.”

Just as Kool Herc is credited in America as being a founding father of hip hop, DJ Liron Teeni is given similar credit as the pioneer of Israeli hip-hop. His major role in the process of making Israeli hip hop the popular genre it is in Israel today was the transformation of the lyrics to the mother tongue of Hebrew. Kids would come on his show on the army radio station in order to showcase their rapping skills, but when they would start rapping in English, he would make them translate it into Hebrew. Because rappers began to rap in English, it was seen as an American export which was not authentic to the music of Israel.

Popular rock band Shabak Samech is credited with being the first Israeli hip hop group, and began rapping in Hebrew in 1995. Influenced by the Beastie Boys, their lyrics did not have any specific political or social message and were mostly party lyrics. Israeli listeners initially rejected their music. Chemi Arzi, one of the band members, recalls, “‘They said you just can’t rap in Hebrew; it doesn’t sound good.’” Shabak Samech continued to produce Hebrew-language rap songs in efforts to promote this new style of Hebrew and Mediterranean hip hop. The band was initially marginalized due to the belief of Israeli DJs that their audiences would be lost, but they eventually reached success.

While Israeli hip hop may be seem to have common underlying themes with US hip hop and they share the main elements of hip hop, mainstream hip hop in Israel tends to deal mainly with the situation in the country, spirituality, or politics. Israeli rappers talk about more personal issues such as the struggles of growing up in Israel. Most Jewish Rappers tends to disregard the political situation between Arabs and Jews, yet they refer frequently to the economic situations in the country. Since 2001, with the rising of new Hip Hop acts, most issues are dealing with creation, essence of Hip Hop, street culture, drugs, hedonism, etc.

Some of the songs also gear towards more religious themes since many of the rappers are Jewish or Muslim. Israeli hip hop has such a motivational theme behind it that local governments support the Hip Hop movement that has exploded among Israeli youth. The government has even supported Hip Hop groups who travel to other countries, viewing it as a good outlet for the rest of the world to view them through. Israeli Hip Hop is creating several positive movements among the people of the country that will continue to grow and become even more popular. Some of the things the Israeli rappers rap about can tend to be controversial as well. As far as media exposure of artists who address real issues like child abuse or the future of the state of Israel is concerned, Israeli artists seem to have the same problems getting heard as artists in America; they address current issues but don't get much attention from the radio stations that play popular music or television stations. Before Hip Hop was considered a genre in Israel, pop and disco music were the only genres being played on the radio. When Hip Hop songs started becoming popular, the radio stations refused to play them. They felt that Hip Hop didn't make people feel good so they would not play it. The songs spoke of everything from terrorism and religion to children speaking up about abuse in their home. And as far as the ongoing conflict between the Arab population and the Jewish population, hip hop music seems to document this more accurately from various viewpoints than any other popular music or news medium in Israel. Even the conflict between Arab and Israeli rappers is documented in films such as Channels of Rage which showcases Subliminal and an Arab-Israeli named MC Tamer Nafer whose friendship ended due to political tension.

"Black Business" radio show
Black Business (Hebrew: עסק שחור "Esek Shakhor") is a hip hop radio show, started in 1996, by Liron Teeni and Quami De La Fox. The show broadcast on Galgalatz, the sister-station of Galei-Zahal — the Israeli military radio station. Back in the '90s, young Israeli rappers, such as cynical-parodic Jerusalem rapper Kodman who was still a kid at the time, as well as most of today's esteemed/famous rappers, all started their career on the show. The rappers started coming on his show in order to showcase their live freestyle and rhyme skills, to be heard rapping. Some rappers such as Subliminal were rapping in English, and Tenni and others wanted Israeli rap to be in their native language of Hebrew since there were thousands of American groups rapping better in English.

Hip hop for Ethiopian-Israeli youth
Since the 1990s, Ethiopian-Israeli teenagers used the rising reggae and hip hop scenes as a means of forming a community and a sense of belonging. Tel Aviv nightclubs proved to be places of social gathering for Ethiopian-Israeli teenagers, giving them a space to gather and form a collective identity. Teenagers and young adults were able to identify with the black struggle of the music and felt reggae and rap reflected their own experiences. Through identification with historically black American musical styles, Anthropologist Malka Shabtay writes, Young Ethiopians living in Israel have… transformed their collective and personal experiences of alienation, both real and imagined, into an ideology identifying themselves as the blacks in Israeli society and attributing the relatively poor achievements of Ethiopians and their sense of inferiority and failure to racism. Their language of disappointment, disillusionment and hostility is addressed to those they hold responsible for their situation. They believe Israelis to be prejudiced towards them and see in them the reason that their chances of achieving integration are low: ‘You feel betrayed and are called ‘n-gger’. You made it to Israel and it doesn’t work.’

Identification with the African-American struggle, mainly through music, formed a sense of community and identity among Ethiopian-Israeli teenagers. “Their search for a home is temporarily satisfied by reggae and rap… This encounter with black musical genres is a matter not only of musical taste, but of self-image and image in the eyes of others.” Ethiopian-Israeli reggae and rap, reflecting struggles and racism of daily life of these teenagers, provides a sense of community and identification among Ethiopian-Israeli youth. Ethiopian Israeli hip-hop groups, and artists like Cafe Shachor Hazak, Axum, Jeremy Cool Habash, and others have become very popular amongst all Israelis, and are growing in popularity as Ethiopian Jews integrate into mainstream Israeli society.

Strong Black Coffee ("Café Shahor Hazak"; קפה שחור חזק) is an Ethiopian-Israeli hip hop duo. The duo were a nominee for the 2015 MTV Europe Music Awards Best Israeli Act award.

Hip hop as a method of globalization
Though hip-hop has been adopted by numerous countries throughout the world, Israel remains as a prime example of the manifestation of “glocalization” in the musical realm. Originally hailing from the Japanese business world, this concept was introduced to the Western world by British sociologist Roland Robertson in the early 1990s. As explained by Hartwig Vens in his article in the World Press, the idea of globalization describes the “rising appearance of artistic hybrids that blend the global and the local” which accurately portray the interplay between these seemingly conflicting scenes. By recognizing the dual nature of glocalization, hip-hop's role within Israeli society can be revealed to show its nature of meshing opposing forces to form a creative and original product. Consistent with Vens’ claim, Israeli hip-hop is thus an imitated art, largely globalized and affected tremendously by the United States, while still displaying distinct characteristics specific to Israeli society and culture.

Many of Israel's hip-hop artists thus reflect upon the integration of global and local influences into their music. Global forces have thus proven to be powerful in affecting and shaping hip-hop in Israel. Even the beginnings of rap music in Israel portray the dominant and significant nature of the Western world on global music. Even once it was first presented on the show, the performers still maintained hip-hop's American origins by rapping solely in English. Only once hip-hop expanded to include other music artists was Hebrew utilized as a language to spread person opinions and beliefs of society. Even then, English was still used as an effective means of rapping and reaching audiences, and many Israeli hip-hop songs today incorporate some aspects of English lyrics or colloquial terms into their content.

Though numerous examples are available, one specific music video exemplifies this phenomenon of language thoroughly. In his video for the song, “Bababa,” Subliminal incorporates various musical elements into his performance, including the talents of Miri Ben-Ari on violin. The first thirty seconds of lyrics rapped are entirely in English and could easily be mistaken for a hip-hop song written and produced in America. Such lyrics as “all my real” and “one is for the money, two is for the show…five for that flow” reveal the immense effect American hip-hop has on music produced halfway around the globe. The music video additionally displays other elements of Americanization including the mention of the Grammys and the presentation of the actors as stereotypical members of the hip-hop subculture. One such African-American man is shown wearing a New York Yankees baseball cap, and scantily clad women dancing throughout the video is representative of the stereotypical American hip-hop culture. Within another one of his music videos, “Toro,” Subliminal further expresses qualities of the Western world. Not only is the video reminiscent of hip-hop in the United States, but it holds some elements of reggaeton and Hispanic roots, especially when explicitly mentioning the word “dinero” in the chorus (Spanish for “money”).

Therefore, throughout Israeli hip-hop music, the borrowing from America is quite apparent in the common usage of English language and slang terms in lyrics, as well as through the incorporation of certain American hip-hop culture elements such as break dancing and specific clothing. Not only has Israel maintained a relationship with the United States in its Americanization and adoption of Western qualities, but it has dispersed its own artifacts to America. Though it surfaced only a decade ago, Israeli hip-hop has successfully spread to the United States, primarily through the fan base of young Jewish Zionists living in America. Specific artists, especially Hadag Nachash and Subliminal, have accumulated fans in America and often travel worldwide (and primarily to the US) on tours to further promote their music. Strong connections are present between America and Israel, mostly due to the grounds upon which Israel was established. Since its creation as a state was a result of the Zionist movement, many Jewish Zionists living in the United States feel a strong sense of pride and personal relationship with their religious homeland. Zionist youths primarily are therefore very involved in the current political and social situations occurring in Israel. Furthermore, they are extremely receptive to any cultural artifacts being produced and released by Israel's music industry, so the hip-hop music of Israeli artists easily thrives within the American Jewish youth population. Thus, many are thrilled when Israeli hip-hop artists come to America to perform and often sing the lyrics along with the performer.

Just as Israeli hip-hop portrays the global trends present in the current times, situations and qualities personal to this specific country are inherently incorporated into the songs and lyrics. As issues such as politics and religion are being fought through the usage of hip-hop, Israeli rap artists display a wide range of opinions being offered and performed. Just as explained by Liron Teeni, the radio DJ who first introduced American hip-hop to America, this variety of perspectives merely reflect the true reality, since “rappers are taking sides on the issue..hip-hop is about being brave, telling the truth like it is and not looking for excuses…just talking about the real stuff.” Discussions of this “real stuff” portrayed in Israeli hip-hop vary from political divides to social tensions and religious fights. Though the music has been maintained as a space for stratified opinionated beliefs, perhaps it holds the power of ultimately uniting those involved in some of these divisions.

One song commenting on the political, religious, and social tensions in Israel is Hadag Nachash’s “Shirat Hasticker,” literally meaning, “The Sticker Song,” has proven to be one of the most popular rap songs, both in Israel and the United States. Unique in its content, the song is entirely composed of various bumper stickers found on cars in Israel. Since bumper stickers are very popular in Israel and are often placed on cars to display the driver's political, religious, and social stances, Hadag Nachash accurately portrays the country's numerous perspectives on all localized issues. By collecting a variety of these bumper stickers and listing them as lyrics in the song, opinions as broad as the citizens within Israel are effectively expressed in the one song alone.

While discussing the relationship between global and local influences on Israeli hip-hop to create the effect of “glocalization,” one music video in particular precisely reveals this phenomenon. “Halayla Zeh Ha’zman,” (or “Tonight is the Time”) performed by Alon De Loco and Gad Elbaz, effectively presents the manner in which glocalization has encompassed Israeli hip-hop. Opening with a seeming stand-off between Palestinians and overtly religious Orthodox Jews, the video begins with obvious influences from American hip-hop, primarily in the break dancing performed by both groups and the clothing reminiscent of American style (such as the Puma shirt and the “bling”). The song continues to illustrate glocalization through the incorporation of Middle Eastern sounding beats and rhythms, and the chorus is sung in a voice reminiscent of many Israeli musicians and singers. Thus, the music video acts as a clear representation of how elements derived from global and local sources are utilized in Israel, so as to create a unique hip-hop subculture.

BOCA
BOCA was born in 1991 in the Soviet Union, and immigrated to Israel at the age of 1 month. In 2004, he moved with his parents to Bucharest, Romania. He started participating in hip hop competitions for the first time when rap was still a hobby for him. Boca returned to Israel in 2006 and continued to rap. His song "Lod Bypass" was recognized in different countries and was played on radio stations in Israel. In 2010 he released his first mix tape "7 Days" which contained six songs that were created in seven days. A little later, he released the club hit "Della Bocca"with DJ Braindead. His second mixtape "My World Your World" contained 14 tracks. On January 6, 2011, he issued the album I.H.H.A - Israeli Hip Hop Airlines, which contained 9 tracks.

Hadag Nahash
Hadag Nachash (Hebrew: הדג נחש, English: "The Snake Fish”) formed in 1996 was one of the first rap groups to hit the mainstream in Israel. A sprouting Palestinian scene grew alongside them. Their sound consists of a mixture of Funk, Jazz, world music and western pop. They have been compared frequently to the American hip hop group The Roots since they use a live band instead of a DJ for their backup music. In contrast to the patriotic "Zionist" hip-hop of artists like Subliminal (see below), Hadag Nakhash's music is often satirical and sometimes comes from a left-wing perspective. Two examples for that would be their songs "Gabi & Debi" (Hebrew) which spoofs right-wing Zionist rap music, and "Little man" (English) depicting the despair from the religious collisions in the city of Jerusalem".

Subliminal
Kobi Shimoni, more commonly known as Subliminal (Hebrew: סאבלימינל), is among the most popular rappers in Israel. He has been described as "Israel's Eminem". The album “The Light and the Shadow” with partner The Shadow has sold 80,000 Records in Israel which is a double Platinum Album. Subliminal was born in Tel Aviv, Israel. He started performing music at age 12, and at age 15 met Yoav Eliasi, who would later become his performing partner under the name "The Shadow" (Ha'Tzel). The two quickly became friends as a result of their mutual love of hip-hop. In 1995 the two began performing in Israeli clubs wearing baggy clothes and gold chains. They quickly developed a following among the nation's youth, and put out their first album, "The Light From Zion". After the outbreak of the violent uprising in 2000 they wrote patriotic songs. They became known as creators of "Zionist hip-hop". In further contrast to the generally rebellious, "outlaw" nature of most hip-hop, they also praise army service and eschew drugs and smoking. With occasional Arabic lyrics and songs like "Peace in the Middle East", their stance is described as desirous of a better future but unapologetic about the present. Subliminal and Ha'Tzel also helped discover the Palestinian rapper Tamer Nafar; they collaborated but eventually fell out over political differences. The bitter end of their musical relationship is chronicled in the documentary Channels of Rage.

SHI 360
Shai Haddad was born in Haifa, Israel and then moved to Montreal, Canada when he was eleven. He was very resistant to the move and didn't like the change. When attending a public school he was faced with a lot of Antisemitism. He also perceived a lot of friction within the local Jewish community. He was seen as an outcast to them because his friends were mostly black and Hispanic. The Canadian hip-hop scene helped jump-start his rap career. He would go to open mic nights and he also recorded his first vinyl single, "Linguistiks," through his own label, IntelektMusik, in Montreal. In 1996 Haddad returned to Israel to pursue his rap career. This time he went under the name SHI 360 (Hebrew: שי 360). SHI stands for Supreme Hebrew Intelekt and 360 represents his return to Israel from Canada. SHI 360's lyrics reflect political and social themes as opposed to the feel-good pop that dominates the Israeli radio. In the song “Break the silence” he talks to kids speaking up about abuse from home life. He considers himself a conscious MC. SHI 360 hopes to change the view on how radio is supposed to sound in Israel.

After a few years rapping, he met Israeli rapper Subliminal who at the time was known as “Caveman.” Haddad suggested the name Subliminal and he took that name as his stage name. Subliminal and David Levy started the T.A.C.T. Entertainment group.

DAM

Though many Jewish Israeli rappers are present in the country's pop culture, fewer Palestinian hip-hop groups have surfaced, though one has gained widespread popularity. The group's name, DAM, is the Arabic verb for "to last forever/eternity" (دام) and the Hebrew word for "blood" (דם), but can also be an acronym for "Da Arabian MCs." DAM could be argued to be the polar opposite of Subliminal’s right-wing stance. Formed in 1998, DAM is noted as the first Arab-Israeli hip-hop group and consists of three Palestinian men who hold Israeli citizenship as well: Tamer Nafer, his brother Suhell, and a friend, Mahmoud Jreri. Though the rappers mostly sing in Arabic, they do write songs in Hebrew and English as well, to ensure that they reach all of their intended audiences. The content of their songs is largely focused on the many conflicts existent between Israel and the Palestinians, including the issue of Palestinians feeling like second-class citizens of the country. DAM often challenges Zionism with their lyrics and accuses the Israeli government of racism and inequality. Many of their songs demand treatment equal to that offered to the Jewish citizens of Israel. According to lead rapper Nafer, “our message is one of humanity- but it’s also political- we make protest music.” DAM's first single of 2001, “Meen Erhabe?” (or “Who’s the Terrorist?”) was not even released by an official recording label, but was still downloaded from online by over one million visitors. Their latest rap single, “Born Here,” is written and performed in Hebrew to further expand their audience. Nafar has also stated that the reasoning for the transition to Hebrew lyrics is to be able to transmit the messages of the injustices to the Israelis very clearly. Nafar has said that his position is to replace politicians; “Politicians don’t talk to our generation. But politics is the way of our life, so I’m bringing the way of our life in their language.” In November 2006, DAM ultimately released an official album, titled “Dedication.”

Sagol 59
Sagol 59 (Born Khen Rotem, October 1, 1968) is a Jerusalem based hip-hop MC. Raised on a Kibbutz in Israel. After his required 3-year stint in the Israeli Defense Forces, Sagol turned to music, beginning his career in blues, funk and rock before moving on to hip hop in the Mid 1990s. Shortly after, he relocated to Jerusalem. Sagol was picked up by the city's seminal (and now defunct) indie label, Fact Records. He was later signed to major label NMC Records.

With 5 full-length albums to date, plenty of musical collaborations with diverse artists and many live shows in Israel and overseas (U.S, Europe)Sagol has anticipated Israel's current Rap boom and cemented his position as one of its leaders.

Within the last decade, Sagol has participated in many events alongside Palestinian and Arab musicians, and has performed alongside many well-known artists and overseas: Matisyahu, DJ Spooky, Kenny Mohammed The Human Orchestra, Remedy, Killah Priest, Sole of Anticon, Spearhead's Michael Franti, Yitz Jordan aka Y-Love, Taskforce, and Israeli artists such as Hadag Nachash, Coolooloosh, Mook-e, Teapacks, Yossi Fine and many others.

In 2001 he received critical praise for his groundbreaking collaboration “Summit Meeting"(feat. Tamer Nafar of DAM & Shaanan Streett of Hadag Nachash), the first-ever collaborative recording featuring both Israeli and Palestinian MCs. He regularly hosts the Corner Prophets series, a cultural initiative meant to unite the diverse cultural communities located in Jerusalem through a shared interest in hip-hop. By working with Corner Prophets, Sagol's goal is to inspire a new generation of Israelis and Palestinians that turn to art, not violence, as a means to find a common ground.

Notable Israeli hip hop crews and rappers

 * Fishi Ha-Gadol
 * Strong Black Coffee
 * Marvin Casey
 * Itay Lukach
 * Ron Nesher
 * Shabak Samech

title: Israeli hip hop


text:
Turoyo language

Turoyo, also referred to as Surayt , or modern Suryoyo , is a Central Neo-Aramaic language traditionally spoken in the Tur Abdin region in southeastern Turkey and in northern Syria. Turoyo speakers are mostly adherents of the Syriac Orthodox Church, but there are also some Turoyo-speaking adherents of the Assyrian Church of the East and the Chaldean Catholic Church, especially from the towns of Midyat and Qamishli. The language is also spoken throughout diaspora, among modern Assyrians/Syriacs. It is classified as a vulnerable language. Most speakers use the Classical Syriac language for literature and worship. Turoyo is not mutually intelligible with Western Neo-Aramaic, having been separated for over a thousand years; its closest relatives are Mlaḥsô and western varieties of Northeastern Neo-Aramaic like Suret.

Etymology

Term Ṭuroyo comes from the word ṭuro, meaning 'mountain', thus designating a specific Neo-Aramaic language of the mountain region of Tur Abdin in southeastern part of modern Turkey (hence Turabdinian Aramaic). Other, more general names for the language are Surayt or Suryoyo.

Term Surayt is commonly used by its speakers, as a general designation for their language, modern or historical. It is also used by the recent EU funded programme to revitalize the language, in preference to Ṭuroyo, since Surayt is a historical name for the language used by its speakers, while Turoyo is a more academic name for the language used to distinguish it from other Neo-Aramaic languages, and Classical Syriac. However, especially in the diaspora, the language is frequently called Surayt, Suryoyo (or Surayt, Sŭryoyo or Süryoyo depending on dialect), meaning "Syriac" in general. Since it has developed as one of western variants of the Syriac language, Turoyo is sometimes also referred to as Western Neo-Syriac.

History
Turoyo has evolved from the Eastern Aramaic colloquial varieties that have been spoken in Tur Abdin and the surrounding plain for more than a thousand years since the initial introduction of Aramaic to the region. However, it has also been influenced by Classical Syriac, which itself was the variety of the Eastern Middle Aramaic spoken farther west, in the city of Edessa, today known as Urfa. Due to the proximity of Tur Abdin to Edessa, and the closeness of their parent languages, meant that Turoyo bears a greater similarity to Classical Syriac than do Northeastern Neo-Aramaic varieties.

The homeland of Turoyo is the Tur Abdin region in southeastern Turkey. This region is a traditional stronghold of Syriac Orthodox Christians. The Turoyo-speaking population prior to the Syriac genocide largely adhered to the Syriac Orthodox Church. In 1970, it was estimated that there were 20,000 Turoyo-speakers still living in the area, however, they gradually migrated to Western Europe and elsewhere in the world. The Turoyo-speaking diaspora is now estimated at 250.000 In the diaspora communities, Turoyo is usually a second language which is supplemented by more mainstream languages. The language is considered endangered by UNESCO, but efforts are still made by Turoyo-speaking communities to sustain the language through use in homelife, school programs to teach Turoyo on the weekends, and summer day camps. Today only hundreds of speakers remain in Tur Abdin.

Until recently, Turoyo was a spoken vernacular and was never written down: Kthobonoyo (Classical Syriac) was the written language. In the 1880s, various attempts were made, with the encouragement of western missionaries, to write Turoyo in the Syriac alphabet, in the Serto and in Estrangelo script used for West-Syriac Kthobhonoyo. One of the first comprehensive studies of the language was published in 1881, by orientalists Eugen Prym and Albert Socin, who classified it as a Neo-Aramaic dialect.

However, with upheaval in their homeland through the twentieth century, many Turoyo speakers have emigrated around the world (particularly to Syria, Lebanon, Sweden and Germany). The Swedish government's education policy, that every child be educated in his or her first tongue, led to the commissioning of teaching materials in Turoyo. Yusuf Ishaq thus developed an alphabet for Turoyo based on the Latin script. Silas Üzel also created a separate Latin alphabet for Turoyo in Germany.

A series of reading books and workbooks that introduce Ishaq's alphabet are called, or "Come Let's Read!" This project has also produced a Swedish-Turoyo dictionary of 4500 entries: the Svensk-turabdinskt Lexikon: Leksiqon Swedoyo-Suryoyo. Another old teacher, writer and translator of Turoyo is Yuhanun Üzel (born in Miden in 1934) who in 2009 finished the translation of the Peshitta Bible in Turoyo, with Benjamin Bar Shabo and Yahkup Bilgic, in Serto (West-Syriac) and Latin script, a foundation for the "Aramaic-Syriac language". A team of AI researchers completed the first translation model for Turoyo in 2023.

Dialects
Turoyo has borrowed some words from Arabic, Kurdish, Armenian, and Turkish. The main dialect of Turoyo is that of Midyat (Mëḏyoyo), in the east of Turkey's Mardin Province. Every village have distinctive dialects (Midwoyo, Kfarzoyo, `Iwarnoyo, Nihloyo, and Izloyo, respectively). All Turoyo dialects are mutually intelligible with each other. There is a dialectal split between the town of Midyat and the villages, with only slight differences between the individual villages. A closely related language or dialect, Mlaḥsô, spoken in two villages in Diyarbakır, is now deemed extinct.

Alphabet
Turoyo is written both in Latin and Syriac (Serto) characters. The orthography below was the outcome of the International Surayt Conference held at the University of Cambridge (27–30 August 2015).

Attempts to write down Turoyo have begun since the 16th century, with Jewish Neo-Aramaic adaptions and translations of Biblical texts, commentaries, as well as hagiographic stories, books, and folktales in Christian dialects. The East Syriac Bishop Mar Yohannan working with American missionary Rev. Justin Perkins also tried to write the vernacular version of religious texts, culminating in the production of school-cards in 1836.

In 1970s Germany, members of the Aramean evangelical movement (Aramäische Freie Christengemeinde) used Turoyo to write short texts and songs. The Syriac evangelical movement has also published over 300 Turoyo hymns in a compedium named Kole Ruhonoye in 2012, as well as translating the four gospels with Mark and John being published so far.

The alphabet as used in a forthcoming translation of New Peshitta in Turoyo by Yuhanun Bar Shabo, Sfar mele surtoṯoyo – Picture dictionary and Benjamin Bar Shabo's Alice's Adventures in Wonderland.

In the 1970s, educator Yusuf Ishaq attempted to systematically incorporate the Turoyo language into a Latin orthography, which resulted in a series of reading books, entitled [toxu qorena]. Although this system is not used outside of Sweden, other Turoyo speakers have developed their own non-standardized Latin script to use the language on digital platforms.

The Swedish government's "mother-tongue education" project treated Turoyo as an immigrant language, like Arabic, Turkish, Kurdish, and began to teach the language in schools. The staff of the National Swedish Institute for Teaching Material produced a Latin letter-based alphabet, grammar, dictionary, school books, and instructional material. Due to religious and political objections, the project was halted.

There are other efforts to translate famous works of literature, including The Aramaic Students Association's translation of The Little Prince, the Nisbin Foundation's translation of Cinderella and Little Red Riding Hood.

Phonology
Phonetically, Turoyo is very similar to Classical Syriac. The additional phonemes (as in judge),  (as in church)  (as in azure) and a few instances of  (the Arabic ẓāʾ) mostly only appear in loanwords from other languages.

The most distinctive feature of Turoyo phonology is its use of reduced vowels in closed syllables. The phonetic value of such reduced vowels differs depending both on the value of original vowel and the dialect spoken. The Miḏyoyo dialect also reduces vowels in pre-stress open syllables. That has the effect of producing a syllabic schwa in most dialects (in Classical Syriac, the schwa is not syllabic).

Vowels
Turoyo has the following set of vowels:

Morphology
The verbal system of Turoyo is similar to that used in other Neo-Aramaic languages. In Classical Syriac, the ancient perfect and imperfect tenses had started to become preterite and future tenses respectively, and other tenses were formed by using the participles with pronominal clitics or shortened forms of the verb hwā ('to become'). Most modern Aramaic languages have completely abandoned the old tenses and form all tenses from stems based around the old participles. The classical clitics have become incorporated fully into the verb form, and can be considered more like inflections.

Turoyo has also developed the use of the demonstrative pronouns much more than any other Aramaic language. In Turoyo, they have become definite articles:
 * masculine singular: u malko (the king)
 * feminine singular: i malëkṯo (the queen)
 * plural common: am malke (the kings), am malkoṯe (the queens).

The other Central Neo-Aramaic dialect, of Mlahsô and Ansha villages in Diyarbakır Province is somewhat different from Turoyo. It is virtually extinct; its last few speakers live in Qamishli in northeastern Syria and in the diaspora.

Syntax
Turoyo has three sets of particles that take the place of the copula in nominal clauses: enclitic copula, independent copula, and emphatic independent copula. In Turoyo, the non-enclitic copula (or the existential particle) is articulated with the use of two sets of particles: kal and kit.

title: Turoyo language


text:
User talk:Dens

Welcome!

Hello,, and welcome to Wikipedia! Thank you for your contributions. I hope you like the place and decide to stay. Here are a few good links for newcomers: I hope you enjoy editing here and being a Wikipedian! Please sign your name on talk pages using four tildes (~~); this will automatically produce your name and the date. If you need help, check out Where to ask a question, ask me on my talk page, or place  on your talk page and someone will show up shortly to answer your questions. Again, welcome! --Flockmeal 00:22, Dec 5, 2004 (UTC)
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Hi Dens, thanks for taking the time to become a registered Wikipedian. I see you have taken the article that you have recently created, Hydroinformatics, directly from. Unless you are the author of that web site, this is against the Wikipedia rules since it probably violates Copyrights. Please take the time to produce an original article if you want to make an article. Also, please do not upload copyrighted images without telling where you got it from, and what permission you have to upload it. Thank you. Euphoria 00:30, 5 Dec 2004 (UTC)

Hydroinformatics article
Dear Euphoria,

please be assured that I am allowed to place this article as a definition of hydroinformatics. At least because I work together with people who invented it. Hope this definition will be placed on Wikipedia.

Regards, Serge

Serge@hydroinformatics.com

title: User talk:Dens