text:
Talk:Crimean Gothic

vocabulary in Busbecq's letter:

[305] 19      Broe. Panis. 20      Plut. Sanguis. 21      Stul. Sedes. 22      Hus. Domus. 23      Wingart. Vitis. 24      Reghen. Pluvia. 25      Bruder. Frater. 26      Schvveſter. Soror. 27      Alt. Senex. 28      Wintch. Ventus. 29      Siluir. Argentum. 30      Goltz. Aurum.

[306] 1      Kor. Triticum. 2      Salt. Sal. 3      Fiſct. Piſcis. 4      Hoef. Caput. 5      Thurn. Porta. 6      Stein. Stella. 7      Sune. Sol. 8      Mine. Luna. 9      Tag. Dies. 10      Oeghene. Oculi. 11      Bars. Barba. 12      Handa. Manus. 13      Boga. Arcus. 14      Miera. Formica. 15      Rinck. ſiue. 16      Ringo. Annulus. 17      Brunna. Fons. 18      Waghen. Currus. 19      Apel. Pomum. 20      Schietê. Mittere ſagittâ. 21      Schlipen. Dormire. 22      Kommen. Venire. 23      Singhen. Canere. 24      Lachen. Ridere. 25      Eriten. Flere. 26      Geen. Ire. 27      Breen. Aſſare. 28      Schvvalth. Mors. 29   Knauen tag erat illi Bonus dies: Knauen 30   bonum dicebat, et pleraque alia cum no/ſtra

[307] 1      Kor. Triticum. 2      Salt. Sal. 3      Fiſct. Piſcis. 4      Hoef. Caput. 5      Thurn. Porta. 6      Stein. Stella. 7      Sune. Sol. 8      Mine. Luna. 9      Tag. Dies. 10      Oeghene. Oculi. 11      Bars. Barba. 12      Handa. Manus. 13      Boga. Arcus. 14      Miera. Formica. 15      Rinck. ſiue. 16      Ringo. Annulus. 17      Brunna. Fons. 18      Waghen. Currus. 19      Apel. Pomum. 20      Schietê. Mittere ſagittâ. 21      Schlipen. Dormire. 22      Kommen. Venire. 23      Singhen. Canere. 24      Lachen. Ridere. 25      Eriten. Flere. 26      Geen. Ire. 27      Breen. Aſſare. 28      Schvvalth. Mors. 29   Knauen tag erat illi Bonus dies: Knauen 30   bonum dicebat, et pleraque alia cum no/ſtra

[308] 1    Iuſſus ita numerabat. Ita, tua, tria, 2   fyder, fyuf, ſeis, ſeuene, prorſus, ut nos 3   Flandri. Nam vos Brabanti, qui vos Ger/manice 4   loqui factis, hic magnifice vos ef/ferre, 5   et nos ſoletis habere deriſui, ac ſi 6   iſtam vocem pronunciemus rancidius, quam 7   vos Seuenffertis. Proſequebatur deinde, 8   Athenyne, thiine, thiinita, thunetua, thu/netria, 9   etc. Viginti dicebat ſtega, triginta 10   treithyen, quadraginta furdeithien, centum 11   ſada, hazer mille. Quin etiam cantilenam 12   eius linguæ recitabat, cuius initium erat 13   hujuſmodi: 14      Wara Wara ingdolou: 15      Scu te gira Galizu. 16      Hœmiſclep dorbiza ea.

sada, hazer?
does that make it a Satem language? ;) dab (ᛏ) 17:12, 12 April 2006 (UTC)

more interestingly, is there a translation to the song fragment? Wara Wara ingdolou: Scu te gira Galizu. Hoemisclep dorbiza ea. dab (ᛏ) 17:13, 12 April 2006 (UTC)
 * No. Rursus 14:38, 23 February 2007 (UTC)

 * Appears CG borrowed several numerals. Busbecq didn't give a translation for the song lyrics, frustating the tokhes off modern scholars left with bare nothing else to analyze the syntax of the language. 惑乱 分からん 13:57, 15 April 2006 (UTC)

 * By all appearances, sada and hazer are borrowings from (Scythian/Sarmatian/)Alanic (compare Ossetic). I remember reading that the song has been interpreted as Turkic, which sounds anything but far-fetched, but I can't remember where at the moment. --Florian Blaschke (talk) 22:23, 20 September 2010 (UTC)

Austrian-Gothic connection
I have heard the storry from a hungarian count that some of the gothic may have come to middle europe with them and where settelt together with jews ( chasars ?) on the eastern border of hungary, today the middle part of Lower Austria and Styria. It would explain why the bavarian colonialisation in this area was going so smoothly without wars. The Austrian would than be a bavarian gothic mixture and the background of jiddisch ,witch i as Austrian can understand very easely, would rather be gothic and not german, as the Chasar inhabited the former gothic areas. It would explain too, why their is no genetical evidenz of the chasars in the jewish genes.

Thinking of this a prooved my own Austrian dialect to the gothic words and i must say that 60 % is very close some words only exist in Austrian. So ist the Austrian word for speaking angrily "meutern" witch is close to the gothic word of speaking. I am not a linguist, but I dont know any german dialect witch uses this word like this. The concept of the articels is close to the Austrian dialect witch use "te" (e like ending) for women and plural and "tea" (a like bar )for man. All other wordforms can at least exist in forms of the Austrian dialect.

J.

 * Never heard it before, it sounds dubious, and without any linguistic background to back it up, it'd anyway classify as original research. 惑乱 分からん 01:16, 21 December 2006 (UTC)
 * Meutern sounds similar to English "mutter" of roughly similar meaning, btw. 惑乱 Wakuran (talk) 00:57, 6 August 2010 (UTC)

East Goths: The lost Swedes of Russia and the Ukraine
The East Gothic/Crimean Gothic language may been extinct for two centuries, until recent times has ethnic anthropology accepted the idea of East Goths survived well into the 20th century. The question of how the Estgotes came to Eastern Europe and thrived with their language, a relic of the once-existent East Gothic tribes of the 1000's AD, would remain unknown and theorized until the answer is discovered.

There was speculation of the "lost Swedes" of western Ukraine (as well in Estonia, Belarus, Russia and the Crimea under Greek rule) are direct descendants of the Vikings or Scandinavians whom managed to retain a separate ethnocultural identity, but in small villages and isolated from the Slavic linguistic majority until the late 1800's. In Gotland, there are Lutheran church bells that actually came from the Ukraine in 1913 or 1914 serves as a reminder of a people whom returned to their ancestral homeland.

I've read the National Geographic August 1973 article Gotland, Sweden's treasure island had a brief mention of a few thousand Gotlander Swedes arrived to their "homeland" from the former USSR in the 1920's. In the 1921 Soviet census, about 900 Swedish-Russians (or Ukrainians) lived in one village, Gammalsvenskbi (Gamelsvinsk) became abandoned in World Wars I and II, when the Soviets expelled the "German" inhabitants who happened to be Swedish-speaking of East Gothic descent.

Gammalsvenskbi was settled in 1780 by a small wave of "Estegote" settlers from Estonia and northwest Russia. Due to ethnic conflict in the 19th and early 20th century, the village's residents disliked introducing themselves to their Russian and Ukrainian neighbors, whom would call them "bloody Germans". But when they say "I'm an Estgote Swede", they get insults on how the great Russians defeated King Charles VIII in the battle of Poltava and threatened the "barbarian Goths" to leave the country.

If any remnants of Estgotes, Swedish-Russians and Crimea Goths are around in the 21st century may get never known, but their language is well documented and preserved in writing for research in Crimean Gothic myths, stories and notes on their daily lives. The Soviet Union's policy of history denial and misinformation of ethnic and national minorities, and the "Russification" of Tsarist Russia followed by an equally intolerant "Sovietization" forced an doctrine of assimilation that killed many languages and ethnic identities across the large country, the Crimean Goths were the policy's victims. + 63.3.14.1 18:47, 18 January 2007 (UTC)
 * This seems like a mixup of goths and gutar. 惑乱 分からん 13:14, 29 January 2007 (UTC)
 * Exactly. The Swedes in Ukraine, many of whom emigrated to Gotland, have no connection to the Crimean Goths. Another language, another people and another history. While the text by the user is of interest regarding the Gammelsvenskby, it has no relevance whatsoever to this article. JdeJ 00:11, 10 February 2007 (UTC)

 * Or possibly a mixup of goths and geats. The Charles that the Russians knocked the sh*t out of in the battle of Poltava, was more probably Charles XII, an infamous Swedish king that was shot to death at the battle at Fredriksten ... to the relief of many peoples, including the Swedes themselves. Said: Rursus ☻ 19:45, 27 November 2007 (UTC)

 * In which case, JdeJ's point remain valid. 惑乱 分からん * \)/ (\ (< \) (2 /) /)/ * 11:57, 4 December 2007 (UTC)

crimean gothic as busbecq recorded, clearly much more similar to continental germanic dialects than swedish. so i don't think they are swedes. i am crimean tatar though never lived in crimea. but my family told about many different ethnicities in crimea, including volga germans though not goths or any unidentified group which could be them. most likely, crimean goths were assimilated into other ethnicities before 19th. century. —Preceding unsigned comment added by 88.238.204.165 (talk) 04:20, 8 January 2011 (UTC)

Writing system?
Should we really mention an alphabet? 1st, it seems uncertain that Goths would write in runes at that time, 2nd, there's no attested (native) Crimean Gothic writing, anyway, so the information seems to be pure speculation. By checking out relevant Wikipedia articles, it seems Arabic writing was common in the area at the time, so it doesn't seem too improbable guessing that Crimean Gothic would occasionally be written in that script. 惑乱 分からん * \)/ (\ (< \) (2 /) /)/ * 07:02, 30 April 2007 (UTC)

 * People tended (even into the 20th century) to use alphabets according to their religious affiliation. Thus Turkish-speaking Christians used the Greek (if Greek Orthodox) or Armenian (if Armenian Orthodox) alphabets even when writing Turkish. Similarly, Jews used the Hebrew alphabet even when writing German, Spanish, Arabic (ultimately incorporating Hebrew grammar and vocabulary and leading to Yiddish, Ladino, and Judeo-Arabic, among others). It is very unlikely that Christian Crimean Goths wrote in the Arabic alphabet. Briangotts (Talk) (Contrib) 19:53, 30 April 2007 (UTC)

 * I think Busbecq related to the Crimean Goths as illiterate. Sadly. Said: Rursus ☻ 19:34, 27 November 2007 (UTC)

 * Aah. That's another possibility. Should be easy to find a citation for, if somebody knows Latin. Anyway, my main point was that an explicitly mentiond alphabet wasn't necessary, particularly if the only source claims the people to be illiterate. 惑乱 分からん * \)/ (\ (< \) (2 /) /)/ * 11:55, 4 December 2007 (UTC)

busbecq also mentioned, the goth man he encountered wasn't very good at his native tongue and speaks greek better. a greek man who was with him knows gothic better. probably, crimean goths were bilingual and lived in interaction with greek co-religionists. so they probably write with greek letters if they write at all in their native tongue. most likely they used greek as literary language. it is a probablity that they may eventually assimilated to crimean greeks or urums. —Preceding unsigned comment added by 88.238.204.165 (talk) 04:09, 8 January 2011 (UTC)

 * The article now mentions Biblical Gothic inscriptions found in Mangup, Crimea. The reference given is in Russian or German, which I can't read. I don't know if the reference links these inscriptions to later Crimean Gothic. --Error (talk) 18:49, 8 September 2021 (UTC)
 * I have looked up the paper in German. The authors describe the language in these inscriptions as essentially the same as classical Biblical Gothic. They do not even attempt to make a link to the language recorded by Busbecq. Their main point is that a Gothic literary tradition apparently survived among the Gothic population of Crimea until at least the 9/10th century (based on their dating of the text). Up to now, consensus has been that the vernacular of the Crimean Goths only served as a spoken language, while Greek was their sole literary language.
 * So actually, this material should be mainly discussed in Gothic language, and only referenced as background information here. I don't know much about Gothic, so maybe we should start a discussion in the talk page of Gothic language about whether the research of Korobov and Vinogradov is due for detailed inclusion there per WP:EXCEPTIONAL. As of now, there is just a very brief mention in the section Gothic_language. –Austronesier (talk) 20:25, 8 September 2021 (UTC)
 * Zeitschrift für deutsches Altertum is a very respected and good journal - I think it satisfies any claims that might be made about being "exceptional" - however the information is better discussed at Gothic language.--Ermenrich (talk) 21:01, 8 September 2021 (UTC)
 * Then we can't affirm anything about the Crimean Gothic writing system. Busbecq wrote in the Latin alphabet with his own idiosyncrasies and his informants were very familiar with Greek. The purported Harfindel was written in Hebrew. We don't know if the language was ever written outside the travellers accounts. --Error (talk) 00:04, 9 September 2021 (UTC)

Stub class
I assess this article to the stub level. I think the article contains all necessary to be rised to the start level, except proper headings to make it easy to read. If you disagree, then edit the uppermost on this page to your liking. Said: Rursus (☻) 09:33, 10 November 2008 (UTC)

 * Or add headings and improve the article to your liking. Said: Rursus (☻) 09:34, 10 November 2008 (UTC)

 * There is very little attestation of the language, itself. Except for a vocabulary listing, how much more could be added without refraining to guesswork? (Of course, we could always source others' guesswork.) 惑乱 Wakuran (talk) 19:17, 14 December 2009 (UTC)

Razn
What's the source for "razn" being loaned from Crimean Tatar? Razn is indeed found in Wulfila's Gothic:  惑乱 Wakuran (talk) 15:44, 11 September 2010 (UTC)
 * Indeed, razn is considered an inherited Germanic word, compare Old Icelandic rann with the same meaning. The entire paragraph is a highly dubious and wholly unsourced IP addition of no discernible merit (to phrase it politely). It seems unsalvageable given that the IP is not likely to return and provide a source ( and just in the event they should really return after all, they can simply enter the information anew, or complain on the talk page; thanks to the revision history, nothing is lost anyway, after all ). I've gone and removed it. --Florian Blaschke (talk) 22:49, 20 September 2010 (UTC)
 * Or would the editor mean that razn has been loaned into Crimean Tatar? Anyway, it would probably need sourcing, anyhow. 惑乱 Wakuran (talk) 12:32, 21 September 2010 (UTC)

i know crimean tatar and i didn't heard a word like "razn". it is inompatible with kypchak phonetics and even if loaned from gothic, it would have transformed into another vocalization. —Preceding unsigned comment added by 88.238.204.165 (talk) 04:13, 8 January 2011 (UTC)

'Malthata' and its cognates
In the second table, no Dutch or German cognates are listed for malthata, 'said'. Malthata looks remarkably similar to the first and third person singular preterite of the verb melden, "to announce", which appears as meldete in German and as meldde in Dutch. Are there any specific reasons why these forms are not listed? Iblardi (talk) 02:07, 30 December 2010 (UTC)

 * It wouldn't do any harm to recheck these cognates, but I think the answer to this specific question is that melden is not a cognate - Kluge gives the source as a WGmc root *meld-, which cannot be cognate with a Gothic form in -th-. --Pfold (talk) 11:26, 30 December 2010 (UTC)

 * Thanks. I now see that malthata is usually linked to Gothic mathljan. Iblardi (talk) 21:55, 30 December 2010 (UTC)
 * In the oldest Dutch sentence to date; maltho thi afro lito, maltho is the primordial form of modern Dutch melden. I don't see why a West Germanic root ending in -d (note its apparent absence in some Old Dutch conjugations) cannot share an earlier form with an East Germanic root ending in -th. Kleinsma80 (talk) 20:08, 9 January 2013 (UTC)
 * The ONW has maltho, malthon derived from *mathlon. Melden is not mentioned. Iblardi (talk) 21:48, 9 January 2013 (UTC)
 * In any case then, at least malthata and maltho/mathlon seem to be cognates. "modern lemma" is given as malden, though. Kleinsma80 (talk) 15:33, 10 January 2013 (UTC)
 * The German cognate also has -d-, not the -t- which you'd expect from earlier -d- because of the High German consonant shift. So German actually requires original -þ- and excludes original -d- as a possibility. CodeCat (talk) 21:16, 9 January 2013 (UTC)
 * The German word is derived from meld- in all dictionaries, never melþ--. And there's at least one other Old High German word that has -ld- for expected -lt-: sculd from PG *skuldi-, which is only attested in this form. This is due probably due to early irregular revoicing triggered by the preceding liquid. — Preceding unsigned comment added by 93.206.132.131 (talk) 13:41, 4 September 2015 (UTC)

Influence of Busbecq's native language/dialect
Concerning the statement that "there is the possibility that Busbecq's transcription was influenced by his own language" (which has gone unsourced thus far), it is probably more accurate to speak of Flemish (as a Dutch dialect) rather than Dutch in general. This is based on the results of a simple Google Book search (I know, an imperfect method): The author notes that the current spellings, to be sure, are based on a printed edition, not on Busbecq's original handwriting, which is not extant.
 * "Some CG forms could have been influenced by either German or Netherlandic orthography" (MacDonald Stearns, Crimean gothic. Analysis and etymology of the corpus (1978))
 * "Flemish or German"; although the term "néerlandais" is also used, the article concentrates especially on the phonetics of the region Busbecq came from (Hugo Ryckeboer, "Le flamand de Busbecq et ses interférence avec le gotique de crimée", in: André Rousseau (ed.), Sur les traces de Busbecq et du gotique (1991), p. 167-178)
 * "the interpretation of Busbecq's spelling conventions is difficult, as he uses Flemish and German orthographic conventions" (Jonathan West, in Encyclopedia of the Languages of Europe (2000), p. 107)
 * Also note that Busbecq makes a point of opposing his own Flemish dialect to Brabantian here:, stating that Crimean Gothic seuene corresponds exactly to his own Flemish seuene, whereas they, the allegedly more "Germanic" Brabantians, who use to ridiculize the Flemish for their odd forms, have seuen.

 * Iblardi (talk) 10:34, 31 December 2010 (UTC)

 * The material on the dificulties of interpreting B's account is summarised from Stearns. --Pfold (talk) 12:33, 31 December 2010 (UTC)
 * Without presuming and assuming too much, the problem is as followed. Busbeke was an educated man who would have commanded multiple languages. The idea that his native language/dialect might have influenced his transcriptions of Crimean Gothic, is possible and suggested as a possibility by the sources above. However the assumption that Busbake would have been able to speak Latin and French but would only be able to express himself in West Flemish natively ... is quite far fetched in my opinion. He would have also been able to speak the 'High Dutch'/cultuurtaal of his age; which was highly influenced by Western Brabantian. Ask yourself the question: If I'd encounter a foreign language and sought to describe it (for 'the people at home')... would I use my native dialect or use the standard form?

 * In truth, we cannot be sure if he based his transcriptions on contemporary West-Flemish, High Brabantian, or a mix of both. Therefore, it is most accurate (or in any case, safe) to state that his transcriptions might have been influenced by Dutch; which covers all possibilities, as opposed to specifying which we cannot (ever) know for sure. G.Burggraaf (talk) 15:23, 31 December 2010 (UTC)

 * All this would be fair enough if it were up to us to decide this, but it isn't -our job is to reflect the literature. The statement at issue is taken directly from Stearns, as far as I remember. You may personally believe Stearns can't be right, for the reasons you've given, but none of us here has the standing to alter it on that basis - second guessing one of the few experts on the subject on the basis of what "must have been" is not our job. The only basis for changing "Flemish" to "Dutch" here is if you can show that the article's statement does not accurately represent the preponderant view in the scholarship. --Pfold (talk) 17:34, 31 December 2010 (UTC)
 * From the literature provided above, I cannot know with certainty what is meant with 'Flemish'. Is it West-Flemish? East-Flemish? West- + East-Flemish? Southern Dutch? Dutch? It is impossible, at least not with the current sources. To use Dutch, is the safest solution. G.Burggraaf (talk) 18:10, 31 December 2010 (UTC)

 * The correct solution is to use the terms found in the literature, anything else is presumption. And if you think "Flemish" is too non-specific, "Dutch" is rather obviosuly even more so! --22:41, 31 December 2010 (UTC)

Translations
To CodeCat: Why did you revert my translations? I made them clearer and more correct. I'm also a speaker of Swedish so I know a thing or two about my language. --Shandristhe azylean 14:49, 30 May 2015 (UTC)

Geen
This is a bit muddled, but it seems that the two different roots for "go, walk" aren't etymologically related (despite similarities in appearance); Gmc. *gangan (or similar) could be derived from PIE *ghengh- (step), while W. Gmc *gaian is derived from PIE *ghe- (release, let go). The Scandinavian form "gå" seems to have been borrowed from Middle Low German, and it's likely that "geen" would come from a West Germanic source, as well. 惑乱 Wakuran (talk) 09:30, 24 July 2015 (UTC)

Two alternatives
Quote: “There are two alternative solutions: that Crimean Gothic presents a separate branch of East Germanic, distinct from Ulfilas' Gothic; or that Crimean Gothic is descended from the dialect of West Germanic settlers who migrated to the Crimea in the early Middle Ages and whose language was subsequently influenced by Gothic.”
 * First of all: It's quite likely that Crimean Gothic would not have developed from Wulfila's dialect. It could be considered a coincidence if it had. BUT: What is the evidence for this? Just because he wrote reghen and schvvester? And vvurt? This is no proof for anything. It can easily be influenced by German or Dutch. And even if not: Maybe -i- had a lowered pronunciation that could be heard as [e]. And maybe vaurt was later shifted back to vurt. Who knows? No one knows. There dozens of possibilities, not two alternatives. — Preceding unsigned comment added by 93.206.132.131 (talk) 13:57, 4 September 2015 (UTC)
 * PS: The introduction from Austin University says this: The words so transmitted are similar enough to those of the Biblical Gothic (BG) of Wulfila's translation that scholars are in general agreement that the language in question is indeed Gothic, but there are some differences which suggest it may not be the later surviving form of BG itself. They say “suggest that it may not”. Much different from what this Wikipedia article says. Quote: "it is accepted that Crimean Gothic is not a descendant of Biblical Gothic." — Preceding unsigned comment added by 93.206.132.131 (talk) 14:18, 4 September 2015 (UTC)

Crimean Gothic "malthata" (said) still has cognates in German and Netherlandish
The Crimean Gothic verb form 'malthata' (said) is cognate to German 'meldete' as well as Netherlandish 'meldde' from the verb 'melden' meaning to tell or to report. This verb occurs in a more ancient form in a well known Salian Frankish fragment from the Lex Salica "Maltho thi afrio lito."; Salian Frankish is considered to be a kind of "Old Dutch".Amand Keultjes (talk) 01:12, 9 October 2016 (UTC)
 * They seem to be false cognates. See the earlier discussion on this page, the ONW entry on malthon (from ma(t)hal, "gerechtsplaats") and the article on melden (from meldō-, "aangifte, verraad") in Philippa et al. Iblardi (talk) 06:46, 9 October 2016 (UTC)

Sorry but I am slightly annoyed because of this salon science opinion. The etymologiebank.nl article clearly show that the position of the d/th is arbitrary; the d/th can even completely disappear. I have taken the effort to look more closely to the associated Balto-Slavic cognate words. I have found an etymological Lithuanian article on the mentioned Lithuanian word maldýti, which shows that the Balto-Slavic language group the position of the 'd' before or after the 'l' can change and that the 'd' can disappear as well. Common sense actually already does not leave any doubt beforehand, as basically 'meld' en 'malth' are as cognate as possibly can be and are almost impossible candidates for false cognates since their meanings are almost identical as well.

PS I am not going to start up an editing war: there are too many wrong and missed etymologies anyhow! (For instance Holland<Holtland, where it is next to Zeeland: Halland and Seeland are neighbouring regions around Copenhagen.) Amand Keultjes (talk) 23:13, 15 November 2016 (UTC)

 * I think you're missing the point: no amount of argument (and certainly no appeal to "common sense"!) can replace the need for an authoritative source in support of your claim. Kluge's very substantial entry on melden, for example, discusses the the uncertainties of its etymology in detail, but does not even mention any root with th or a cognate in Gothic. Find a source - anything else is a waste of time. --Pfold (talk) 10:18, 16 November 2016 (UTC)

East Germanic at lede?
I think we shouldn't be directly identifying Crimean Gothic as an East Germanic language in the lede as it is contested by numerous authors as explained in Classification section. --Gogolplex (talk) 22:32, 17 March 2022 (UTC)

The found texts from Crimea
The more recently discovered Gothic graffiti from Crimea do not appear to be the same language as "Crimean Gothic," but rather new examples of Bible Gothic. Shouldn't they be mentioned over there rather than here? , do you have an opinion?--Ermenrich (talk) 16:57, 20 November 2023 (UTC)

 * Not off-hand as I haven't looked at the literature on this as yet. But I would say that it should be on the main Gothic page by default - until there's a clear consensus to the contrary. --Pfold (talk) 13:16, 21 November 2023 (UTC)
 * It strikes me that there's enough information here that they could possible be there own short article (since that level of detail doesn't belong on the main Gothic article). But given the description as "imitating" Bible Gothic, the difference in age, etc., I don't think it belongs here.--Ermenrich (talk) 13:58, 21 November 2023 (UTC)
 * I've been trying to look into this; most stuff on Google Scholar that mentions them is written by the original discovers, who do identify the find as The graffiti, datable to between about 850 and the end of the 10th century, exhibit words in Gothic known from Wulfila’s Bible translation, the script used being an archaic variant of Wulfila’s alphabet and the only specimen of this alphabet attested outside Pannonia and Italy. . Via de Gruyter online, I did find:
 * 1) this encyclopedia article though that discusses them in the context of Crimean Gothic : In jüngerer Zeit sind Zeugnisse des (Krim-)got. aufgetaucht, die in die Zeit zwischen 850 und 1000 datiert werden (Korobov/Vinogradov 2016; Vinogradov/Korobov 2015; Vinogradov/Korobov 2018). Fünf got. Graffiti, die in einer frühbyzantinischen Kathedrale in Mangup-Kale auf zwei Spolien geritzt wurden, weisen Wörter auf, die auch aus Wulfilas Bibelübersetzung bekannt sind. Diese Inschriften belegen ein Überleben der got. Sprache auf der Bergkrim bis ins 9. oder 10. Jh. in Koexistenz mit dem Griech. Da keine wesentlichen Unterschiede zwischen der Sprache der Mangup-Graffiti und der got. Bibel erkennbar sind, ist Kontinuität anzunehmen, zumindest im Hinblick auf dieses in religiösen Kontexten verwendetes Idiom. Die mögliche Vokalkürzung von got. wei > wi in den Inschriften I.2 und I.4 (wina[gards] 'Weingarten' und wi[hins]) 'Priester', und die Vereinfachung des Konsonantenclusters -rht - > -rt- in der Genitivform frawaurtis (got. frawaúrhts 'sündig') können nicht zweifelsfrei als Veränderungen im Lautstand der Sprache interpretiert werden.
 * 2) this article comparing Crimean and Bible Gothic : In what amounts to no less than sensational new evidence, significant light has now been shed on these two important questions. In a recently published paper (2016) the Russian scholars Maksim Korobov and Andrei Vinogradov present five newly dis-covered Gothic  graffiti  scratched  on  two  reused  fragments  from  an  early  Byzantine  cornice from the basilica of the Crimean rock town-stronghold of Mangup (see map in Kokowski 2013, p. 76), graffiti which for archaeological and other reasons may safely be  dated  to  between  c.  850  AD  and  the  beginning  of  the  10th  century.  Nearly  all  the  words evidenced by the five graffiti are familiar to us from what is extant of Wulfila’s Bible translation. The longest of the Mangup texts contains a quotation from Psalms 77:13–14 (76:14–15 in the Hebrew Bible), an Old Testament passage not recorded else-where in Biblical Gothic. As for the remaining graffiti, two represent Byzantine invo-cations,  one  is  perhaps  a  commemoration  with  a  formula  of  modesty,  and  one  has  just barely survived. The script used is an archaic variant of Wulfila’s alphabet, and this is the first and only attestation of this alphabet outside Pannonia and Italy (where Wulfila’s script barely survived the middle of the 6th century). The five graffiti suggest that in the second half of the 9th century Gothic served not just as a spoken medium in the Crimea but as a written one as well (in diglossia with Greek).  The  evidence  available  does  not  show  any  marked  differences  between  the  idiom of the five Mangup texts and Wulfila’s Biblical Gothic. (The paper later uses the inscriptions to argue for the East Germanic affiliation of Crimean Gothic).
 * It seems that, due to their location, the graffiti are relevant to the debates of Crimean Gothic without being Crimean Gothic themselves. All relevant papers seem to identify the graffiti as in the Bible Gothic language.--Ermenrich (talk) 17:50, 21 November 2023 (UTC)
 * I've removed the mention - it will probably come back (not with the text of the graffiti) when I add a section on the history of the language.--Ermenrich (talk) 16:20, 25 November 2023 (UTC)
 * The Russian refs which I added a while back (and which are currently not in the article) said Crimean Gothic. Both are academic or sci-pop sources. Ymblanter (talk) 06:48, 28 November 2023 (UTC)
 * I’ve added an English version of the paper that says it’s Biblical Gothic. It’s certainly not the same language as this one here, even if it’s related to it as an earlier stage.—Ermenrich (talk) 12:45, 28 November 2023 (UTC)

malthata
you are surely going to be better informed than me but it is surprising that "malthata" is not being associated with this extremely similar looking word *melþōdā which is also close in meaning [. I can see how that connecting it to *maþlijaną is good for the Gothic connection argument but I can't see who made that proposal or whether it was ever doubted. If you have a source handy it might be good to insert it. Interesting. [[User:Andrew Lancaster|Andrew Lancaster]] (talk) 15:01, 24 November 2023 (UTC)

 * Hi Andrew, they’re actually two separate roots. Melden is from this root whereas the malthata root is related to “Gemahl” (spouse) . The etymological dictionary here doesn’t mention any connection between the two roots.—Ermenrich (talk) 15:21, 24 November 2023 (UTC)
 * Yep, I looked it up, but I am wondering why one the one which superficially looks the same is not the proposed origin of the Crimean word, and that made me wonder what sort of literature there is about those proposals we are giving. If that's not something you have to hand then no problem, but it looked strange at first sight.--Andrew Lancaster (talk) 17:19, 24 November 2023 (UTC)
 * I think the "melden" root isn't found in Gothic - but you're right, that could be a problem. I think the article in general needs quite a bit of work - most is currently uncited. We have nothing about proposals of CGoth phonology or grammar, etc. Just some stuff heavily reliant on an article from 1989 about whether its East or West Germanic, which appears to have become a mostly moot question since most scholars agree its *probably* East Germanic.--Ermenrich (talk) 17:29, 24 November 2023 (UTC)
 * To be more clear, all the examples we give actually look Low German (which would be an interesting language to add to the comparisons), and only look like Gothic when Gothic is like Low German? I see you added some more sources, but it is difficult to follow how anyone could use such a small amount of written evidence to know for sure that this is not West Germanic? Probably I am missing something, but then I guess other readers might have similar questions.--Andrew Lancaster (talk) 17:28, 24 November 2023 (UTC)
 * There are a few reasons. The word "ada" for eggs cannot possibly be West Germanic, and neither can "fydur" for four, for instance. Also, the words show a nominative case ending -s, like Gothic. We give Low German-looking words because those are the ones that Busbecq identified as Germanic, presumably (and also may have altered to look more like his native Flemish). The article is currently a mess.--Ermenrich (talk) 17:32, 24 November 2023 (UTC)
 * The full list of words can be found here: I think we can use that as a source for the article actually. Cases of potential nominative -s: If we are correct in interpreting both s and schas representations of CG /s/, then several words may show that CG retained the PGmc nominative singular masculine ending -z as CG /s/. Consider the following examples: CG VVintch 'wind' (if a misprint for *VVintsch, cf. BG winds), CG Fers 'man' (cf. BG faírƕus), CG Rintsch'mountain', CH Borrotsch 'desire'. also: Among adjectives, CG Ieltsch 'healthy' may employ the transcription sch to reflect a strong nominative singular masculine ending CG /s/, and is thus equivalent to BG háils.. There’s also other evidence for lacking rhoticism in some words.—Ermenrich (talk) 19:09, 24 November 2023 (UTC)
 * , I've rewritten the article. I think it should be clearer now. I've removed the problematic vocab lists, which always attract OR. I'll continue working on it (we need a section on history and I think the Oxford Gothic Grammar will have more information on some linguistic aspects when I can get my hands on it).--Ermenrich (talk) 16:21, 25 November 2023 (UTC)
 * Thanks for your work Ermenrich. It is an interesting topic and other articles link here.--Andrew Lancaster (talk) 21:27, 26 November 2023 (UTC)
 * Indeed, great work! –Austronesier (talk) 19:44, 27 November 2023 (UTC)
 * The Oxford Gothic Grammar has only two pages on Crimean Gothic, much of it listing vocab. The only major thing it has which is missing from this article (yes, good work, Ermenrich) are two paragraphs on (possible) non-Germanic vocab., which you can see in the extract available on Google books (p. 4ff).--Pfold (talk) 22:36, 27 November 2023 (UTC)
 * , they’re mentioned in the last sentences of the “corpus” section - I was originally going to list each one but it wasn’t always clear what the source language was.—Ermenrich (talk) 23:57, 27 November 2023 (UTC)
 * We could probably add something on pronouns (ich and tzo + the theory that -ta is a clitic for "it") and maybe verb forms ("Tzo warthata and Ies warthata suggests a single ending for the second and third person forms). It will involve digging through some old sources though. Some statements about the nominative -s ending and maybe adjective endings (two adjectives seem to show neuter -ata) might be nice too.--Ermenrich (talk) 00:10, 28 November 2023 (UTC)

I see the word "Trümmersprache" mentioned a fair bit in the secondary literature. Do we cover that aspect? I am possibly influenced by the fact that I find some of the neater explanations a bit too neat (and relying more upon strong assumptions about the transmitter's mistakes than linguistics as such). I for one find the idea of de Busbecq using "sch" for "s" really very strange. I can't imagine any Flemish person doing that. It would be a bit like an English diplomat using gh for an f sound. (They know it is an exceptional spelling because they learn it that way. It may only happen in certain positions.) And if Greek was one of the key languages being used I also can't imagine that anyone would use "th" to mean something other than the th sound in English and Greek, and tz instead, which is also used in Greek transcription, but not for the th sound. Of course I am not a linguist, but none of this is linguistics. Is there really no criticism of these assumptions? I do appreciate that you added that remark about Erasmus already. Very interesting. I am not making any concrete proposals here I know, just wondering.--Andrew Lancaster (talk) 15:40, 29 November 2023 (UTC)

 * 'sch' as 's' is not strange at all! The spelling -sch was used for -s in Dutch until the 20th century, I believe. "visch," "duitsch" etc. There are places in Crimean Gothic that match this usage exactly: "wintsch" and "ielsch," for instance. As to why he would do it: why did Germans write the word "Kampf" as "Kampff" or "Tal" as "Thal" and "tun" as "thun" or "Finsternis" or "Finsternüß", or "Wolkenhaus" as "Wolckenhauß" (with ß being a ligature of s and z)? This was the Baroque, people spelled things in overly complex ways in pretty much every vernacular language. Busbecq was not a modern linguist who was trying to record sounds in an overly accurate way.
 * And the word for 'you' is tzo in Crimean Gothic - tz is used where you would expect th, usually. This can because Busbecq misheard the word, but Jellinek quotes Eramsus as saying that the Greek theta was pronounced "ts". "Th", on the other hand, was a pretty standard way of spelling the sound "t" during this time in German at least, "Thir" ("Tier") "Thal" ("Tal"), "Rath" ("Rat"). And indeed, it usually appears in Crimean Gothic where we would expect a "t" or "d".
 * "Truemmersprache" is, as far as I can figure out, a bit of unuseful jargon. It's referenced in discussions of Crimean Gothic because it was included in a volume called "Truemmersprachen." It just means a poorly attested language.
 * In any case, we have a statement of WP:RS/AC that most scholars consider the language East Germanic. It's not really our place to question that. I'm waiting for Stearns and Gronvik's monographs to flesh some things out, but I don't think there's anything controversial currently stated in the article.--Ermenrich (talk) 17:16, 29 November 2023 (UTC)
 * This is what Gothic Online has to say about tz: Consider the following examples: CG Goltz 'gold' (cf. BG gulþ), CG Statz 'land' (cf. BG dat. sg. staþa, OS stað, OHG stad, stado 'shore'), and CG Tzo 'thou' (cf. BG þu, OE þu, ON þú). [...] This digraph only occurs in places where one expects PGmc *þ, though *þ also appears as t, th, and d. It could of course be a misprint, but the correspondences with *þ are not chance, so that this is not likely. As mentioned above, Busbecq may have misunderstood [þ] as [ts] and thus written tz. On the other hand, he may have been attempting to transcribe the voiced fricative [ð]. But since the informant would have distinguished [ð] and [þ], he may have pronounced [ð] in CG Tzo 'thou', but it is less likely in Goltz and Statz. In the end, Busbecq likely heard CG [þ] correctly, but was confounded in how to transcribe it. Perhaps tz was his solution to this dilemma.--Ermenrich (talk) 17:50, 29 November 2023 (UTC)
 * I might also add, Andrew, since you mentioned using "gh" for "f", that English borrowed the Dutch word "verlof" in the 1620s with the spelling "verloffe", but it was respelled "furlough", with the "gh" initially standing for an "f" sound .--Ermenrich (talk) 18:38, 29 November 2023 (UTC)

 * Stearns, Macdonald J. R.. " Das Krimgotische[*] ". Germanische Altertumskunde Online, edited by Sebastian Brather, Wilhelm Heizmann and Steffen Patzold. Berlin, New York: De Gruyter, 2010. https://www-degruyter-com.wikipedialibrary.idm.oclc.org/database/GAO/entry/RGA-E03_12/html. Accessed 2023-11-29.
 * Thanks Ermenrich. Indeed if no other sources say anything else, then this is what we need to report. Just checking. BTW (OT) -sch is still used in some words in Dutch (e.g. fantastisch), and still recognized as a way of making a word look old fashioned (e.g. Vlaamsch for Vlaams). --Andrew Lancaster (talk) 19:56, 29 November 2023 (UTC)
 * nl:Krim-Gotisch also comes to mind :) –Austronesier (talk) 21:11, 29 November 2023 (UTC)

title: Talk:Crimean Gothic


text:
Saratoga and Schenectady Railroad

The Saratoga and Schenectady Railroad was incorporated on February 16, 1831. The founders were Henry Walton, John Clarke, William A. Langworthy, John H. Steele, Miles Beach, Gideon W. Davison, and Rockwell Putnam. The line was opened from Schenectady to Ballston Spa on July 12, 1832, and extended to Saratoga Springs in 1833 for a total of 20.8 mi. The Rensselaer and Saratoga Railroad leased the line on January 1, 1851, and the lease was reassigned to the Delaware and Hudson Canal Company on May 1, 1871.

Initially, most of the business of the line was passenger travel in the summer. It lost money until the Rensselaer and Saratoga Railroad and the Saratoga and Washington railroad linked it into a continuous line between the Hudson River and Lake Champlain by 1848.

Rail trails
Much of the original right-of-way has been abandoned and adapted for recreation.

 * The Ballston Veterans Bike Trail runs for 3.5 mi along the west shore of Ballston Lake in the town of Ballston.
 * Since 2005, the James Tedisco Fitness Trail follows the route of the Saratoga and Schenectady for approximately .5 mi through the village of Ballston Spa from Front Street to Prospect Street.
 * The Railroad Run trail in Saratoga Springs runs for .5 mi between West Circular Street and Congress Avenue.

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

title: Saratoga and Schenectady Railroad


text:
Embassy of the United Kingdom, Washington, D.C.

The British Embassy, Washington D.C. (alternatively in the US, Embassy of the United Kingdom, Washington, D.C.) is the British sovereign's diplomatic mission to the United States of America, representing the interests of the United Kingdom and British Government. It is located at 3100 Massachusetts Avenue NW in Washington, D.C. The embassy compound includes the chancery offices, as well as the British Ambassador's residence.

Consulates
Outside Washington, the British Foreign, Commonwealth and Development Office (FCDO; often commonly known simply as the Foreign Office) also maintains consulates-general in Atlanta, Boston, Chicago, Houston, Los Angeles, Miami, New York City, and San Francisco, headed by consuls-general. There are also British Consulates called (instead) the UK Government Offices in Denver, and in Seattle, headed by consuls.

Area
The embassy is situated in a compound that includes the ambassador's residence, as well as the old and new chanceries. The residence was designed by Sir Edwin Lutyens to resemble an English country manor, with the old chancery facing the street. By the 1950s, the old chancery was deemed too cramped, and the new chancery, designed by chief architect Eric Bedford was constructed from 1955 to 1961, with Queen Elizabeth II laying the foundation stone on 19 October 1957. Part of the old chancery was converted into staff quarters, and the rest is currently occupied by the offices of the British Council. The British government was the first nation to build an embassy in the area that would later become known as Embassy Row.

Outside the British ambassador's residence stands a statue of Sir Winston Churchill. One of the statue's feet is inside the marked embassy grounds; the other is within the District of Columbia. The embassy's website states that this symbolizes Churchill's Anglo-American parentage (his father was British, his mother American) and his status as an honorary citizen of the United States.

The gardens of the ambassador's residence were planted by Elizabeth Sherman Lindsay. Lady Lindsay was a landscape gardener and wife of Sir Ronald Lindsay, the British ambassador to Washington from 1930 to 1939.

Staff
The embassy is one of the largest in Washington, employing 210 diplomats and approximately 250 additional staffers. Dame Karen Pierce was appointed on 7 February 2020 following the resignation of her predecessor, Sir Kim Darroch, due to a diplomatic row between the US and UK as a result of a leaked memo describing President Donald Trump as "inept". Dame Karen was accredited by the State Department and formally took office on 23 March.

Events

On June 8, 1939, the embassy, hosted by Ambassador Sir Ronald Lindsay, held a garden party for King George VI and Queen Elizabeth, the first time that reigning British monarchs had visited the United States.

On February 11, 1964, a reception was held there for The Beatles, who had played their first concert in America earlier that day at the Washington Coliseum.

On July 7, 2005, the United States Army Band played "God Save the Queen" outside the embassy in remembrance of the victims of the 7 July 2005 London bombings. This mirrored the Band of the Coldstream Guards' unprecedented performance of "The Star-Spangled Banner" during the Changing of the Queen's Guard at Buckingham Palace on September 13, 2001 in remembrance of the victims of the September 11 attacks in the United States.

On September 9, 2022, when Queen Elizabeth II died at the age of 96 at Balmoral Castle, the embassy opened a condolence book. President Joe Biden and First Lady Jill Biden visited the embassy and its staff, including Dame Karen, delivered flowers and were the first to sign the condolence book. Secretary of State Antony Blinken was among those who also signed.

In July 2023, the British Embassy held a reception for the Barbie film, which was filmed primarily in the UK, with director Greta Gerwig.

Film depiction
The embassy was depicted in fiction in the 2006 BBC Television miniseries The State Within.


text:
Rensselaer and Saratoga Railroad

The Rensselaer and Saratoga Railroad was a railway company that operated in the states of New York and Vermont in the 19th century. At its peak it controlled a 150 mi network. The Delaware and Hudson Railway leased the company in 1871 and formally merged it in 1945.

History
The Rensselaer and Saratoga Railroad was chartered on April 14, 1832. It completed 25.2 mi between Troy and Ballston Spa on March 19, 1836.

The railroad was largely conceived and built by businessmen of Troy in response to Albany's construction of the Mohawk and Hudson Railroad and the extension to Saratoga called the Saratoga and Schenectady Railroad. Despite its name, the railroad only reached to Ballston Spa and relied on the Saratoga and Schenectady to give it access to Saratoga Springs, New York. When an agreement was not forthcoming, investors seized an opportunity to buy up Saratoga and Schenectady stock and take control of the railroad.

Later acquisitions included trackage to Whitehall, New York and a line of steamers that plied Lake Champlain, allowing tourists to travel from Troy to Canada entirely by steam conveyance for the first time. The last expansion before the merger with the Delaware and Hudson Canal Company involved building new sections of track between Green Island and Watervliet that linked Albany and Troy for the first time. All of the leases, purchases, and road construction carried out by the Rensselaer and Saratoga resulted in a little railroad empire consisting of 175 miles of track and control of the Upper Hudson and Champlain Valleys.

The Green Island Shops were built in 1871. The Delaware and Hudson Canal Company leased the line on May 1, 1871, and it was consolidated into the Delaware and Hudson Railroad effective January 30, 1945.

title: Rensselaer and Saratoga Railroad


text:
Comics Scene

Comics Scene was a magazine published in three volumes by Starlog Group Inc. Its original 11-issue run lasted from January 1982 through September 1983 and the second volume was published between 1987 and early 1996, lasting 56 issues (this second series was published from bi-monthly at its initial start, to monthly frequency for its final years). The third volume, also known as Comics Scene 2000, was published in 2000 for three bi-monthly issues.

The primary focus of the magazine was coverage of the adaptation of various comic book properties into movies and television shows, but it also occasionally carried articles about the comic book industry itself.

Comics Scene was, like its sister magazines Starlog and Fangoria, distributed via the newsstand system and was widely available in drug stores and grocery outlets.

title: Comics Scene


text:
Armed and Dangerous

Armed and Dangerous may refer to:
 * Armed & Dangerous (Razor album), a 1984 album by Razor
 * Armed and Dangerous (EP), a 1985 EP by Anthrax
 * "Armed and Dangerous", a song by Anthrax from Spreading the Disease
 * "Armed & Dangerous" (song), a 2020 song by King Von
 * "Armed and Dangerous" (song), a 2018 song by Juice Wrld
 * Armed and Dangerous (1986 film), a 1986 film by Mark L. Lester starring John Candy, Meg Ryan, Eugene Levy and Jonathan Banks
 * Armed and Dangerous (1977 film), a 1977 Soviet western film
 * Armed and Dangerous (video game), a 2003 computer and Xbox game by Planet Moon Studios
 * Armed and Dangerous (comics), a comics series
 * "Armed and Dangerous" (Batwoman), an episode of Batwoman
 * Armed and Dangerous, an expansion for the board game RoboRally
 * Eric S. Raymond's (born 1957) blog

title: Armed and Dangerous


text:
Category:Tourist attractions in Merseyside

See also Category:Tourist attractions in Liverpool


text:
User talk:216.153.214.94/archive4

 * User talk:216.153.214.94/archive1
 * User_talk:216.153.214.94/archive2
 * User_talk:216.153.214.94/archive3

All entries prior to 04.01.05 have been archived (see above).

216.153.214.94 23:26, 1 Apr 2005 (UTC)

Blocked
I've blocked you for 48 hours due to repeated violations of remedy 4.1 in your arbitration. You should know by now that adding uncited information and reverting John Kerry will continue to result in blocks. I see you're trying to keep this page clean - e-mail me if you want, and I'll archive this comment. Rhobite 07:21, Apr 4, 2005 (UTC)

title: User talk:216.153.214.94/archive4


text:
Sol–gel process

In materials science, the sol–gel process is a method for producing solid materials from small molecules. The method is used for the fabrication of metal oxides, especially the oxides of silicon (Si) and titanium (Ti). The process involves conversion of monomers in solution into a colloidal solution (sol) that acts as the precursor for an integrated network (or gel) of either discrete particles or network polymers. Typical precursors are metal alkoxides. Sol–gel process is used to produce ceramic nanoparticles.

Stages
In this chemical procedure, a "sol" (a colloidal solution) is formed that then gradually evolves towards the formation of a gel-like diphasic system containing both a liquid phase and solid phase whose morphologies range from discrete particles to continuous polymer networks. In the case of the colloid, the volume fraction of particles (or particle density) may be so low that a significant amount of fluid may need to be removed initially for the gel-like properties to be recognized. This can be accomplished in any number of ways. The simplest method is to allow time for sedimentation to occur, and then pour off the remaining liquid. Centrifugation can also be used to accelerate the process of phase separation.

Removal of the remaining liquid (solvent) phase requires a drying process, which is typically accompanied by a significant amount of shrinkage and densification. The rate at which the solvent can be removed is ultimately determined by the distribution of porosity in the gel. The ultimate microstructure of the final component will clearly be strongly influenced by changes imposed upon the structural template during this phase of processing.

Afterwards, a thermal treatment, or firing process, is often necessary in order to favor further polycondensation and enhance mechanical properties and structural stability via final sintering, densification, and grain growth. One of the distinct advantages of using this methodology as opposed to the more traditional processing techniques is that densification is often achieved at a much lower temperature.

The precursor sol can be either deposited on a substrate to form a film (e.g., by dip-coating or spin coating), cast into a suitable container with the desired shape (e.g., to obtain monolithic ceramics, glasses, fibers, membranes, aerogels), or used to synthesize powders (e.g., microspheres, nanospheres). The sol–gel approach is a cheap and low-temperature technique that allows the fine control of the product's chemical composition. Even small quantities of dopants, such as organic dyes and rare-earth elements, can be introduced in the sol and end up uniformly dispersed in the final product. It can be used in ceramics processing and manufacturing as an investment casting material, or as a means of producing very thin films of metal oxides for various purposes. Sol–gel derived materials have diverse applications in optics, electronics, energy, space, (bio)sensors, medicine (e.g., controlled drug release), reactive material, and separation (e.g., chromatography) technology.

The interest in sol–gel processing can be traced back in the mid-1800s with the observation that the hydrolysis of tetraethyl orthosilicate (TEOS) under acidic conditions led to the formation of SiO2 in the form of fibers and monoliths. Sol–gel research grew to be so important that in the 1990s more than 35,000 papers were published worldwide on the process.

Particles and polymers
The sol–gel process is a wet-chemical technique used for the fabrication of both glassy and ceramic materials. In this process, the sol (or solution) evolves gradually towards the formation of a gel-like network containing both a liquid phase and a solid phase. Typical precursors are metal alkoxides and metal chlorides, which undergo hydrolysis and polycondensation reactions to form a colloid. The basic structure or morphology of the solid phase can range anywhere from discrete colloidal particles to continuous chain-like polymer networks.

The term colloid is used primarily to describe a broad range of solid-liquid (and/or liquid-liquid) mixtures, all of which contain distinct solid (and/or liquid) particles which are dispersed to various degrees in a liquid medium. The term is specific to the size of the individual particles, which are larger than atomic dimensions but small enough to exhibit Brownian motion. If the particles are large enough, then their dynamic behavior in any given period of time in suspension would be governed by forces of gravity and sedimentation. But if they are small enough to be colloids, then their irregular motion in suspension can be attributed to the collective bombardment of a myriad of thermally agitated molecules in the liquid suspending medium, as described originally by Albert Einstein in his dissertation. Einstein concluded that this erratic behavior could adequately be described using the theory of Brownian motion, with sedimentation being a possible long-term result. This critical size range (or particle diameter) typically ranges from tens of angstroms (10−10 m) to a few micrometres (10−6 m).

 * Under certain chemical conditions (typically in base-catalyzed sols), the particles may grow to sufficient size to become colloids, which are affected both by sedimentation and forces of gravity. Stabilized suspensions of such sub-micrometre spherical particles may eventually result in their self-assembly—yielding highly ordered microstructures reminiscent of the prototype colloidal crystal: precious opal.
 * Under certain chemical conditions (typically in acid-catalyzed sols), the interparticle forces have sufficient strength to cause considerable aggregation and/or flocculation prior to their growth. The formation of a more open continuous network of low density polymers exhibits certain advantages with regard to physical properties in the formation of high performance glass and glass/ceramic components in 2 and 3 dimensions.

In either case (discrete particles or continuous polymer network) the sol evolves then towards the formation of an inorganic network containing a liquid phase (gel). Formation of a metal oxide involves connecting the metal centers with oxo (M-O-M) or hydroxo (M-OH-M) bridges, therefore generating metal-oxo or metal-hydroxo polymers in solution.

In both cases (discrete particles or continuous polymer network), the drying process serves to remove the liquid phase from the gel, yielding a micro-porous amorphous glass or micro-crystalline ceramic. Subsequent thermal treatment (firing) may be performed in order to favor further polycondensation and enhance mechanical properties.

With the viscosity of a sol adjusted into a proper range, both optical quality glass fiber and refractory ceramic fiber can be drawn which are used for fiber optic sensors and thermal insulation, respectively. In addition, uniform ceramic powders of a wide range of chemical composition can be formed by precipitation.

Polymerization
The Stöber process is a well-studied example of polymerization of an alkoxide, specifically TEOS. The chemical formula for TEOS is given by Si(OC2H5)4, or Si(OR)4, where the alkyl group R = C2H5. Alkoxides are ideal chemical precursors for sol–gel synthesis because they react readily with water. The reaction is called hydrolysis, because a hydroxyl ion becomes attached to the silicon atom as follows:
 * Si(OR)4 + H2O → HO−Si(OR)3 + R−OH

Depending on the amount of water and catalyst present, hydrolysis may proceed to completion to silica:
 * Si(OR)4 + 2 H2O → SiO2 + 4 R−OH

Complete hydrolysis often requires an excess of water and/or the use of a hydrolysis catalyst such as acetic acid or hydrochloric acid. Intermediate species including [(OR)2−Si−(OH)2] or [(OR)3−Si−(OH)] may result as products of partial hydrolysis reactions. Early intermediates result from two partially hydrolyzed monomers linked with a siloxane [Si−O−Si] bond:
 * (OR)3−Si−OH + HO−Si−(OR)3 → [(OR)3Si−O−Si(OR)3] + H−O−H

or
 * (OR)3−Si−OR + HO−Si−(OR)3 → [(OR)3Si−O−Si(OR)3] + R−OH

Thus, polymerization is associated with the formation of a 1-, 2-, or 3-dimensional network of siloxane [Si−O−Si] bonds accompanied by the production of H−O−H and R−O−H species.

By definition, condensation liberates a small molecule, such as water or alcohol. This type of reaction can continue to build larger and larger silicon-containing molecules by the process of polymerization. Thus, a polymer is a huge molecule (or macromolecule) formed from hundreds or thousands of units called monomers. The number of bonds that a monomer can form is called its functionality. Polymerization of silicon alkoxide, for instance, can lead to complex branching of the polymer, because a fully hydrolyzed monomer Si(OH)4 is tetrafunctional (can branch or bond in 4 different directions). Alternatively, under certain conditions (e.g., low water concentration) fewer than 4 of the OR or OH groups (ligands) will be capable of condensation, so relatively little branching will occur. The mechanisms of hydrolysis and condensation, and the factors that bias the structure toward linear or branched structures are the most critical issues of sol–gel science and technology. This reaction is favored in both basic and acidic conditions.

Sono-Ormosil
Sonication is an efficient tool for the synthesis of polymers. The cavitational shear forces, which stretch out and break the chain in a non-random process, result in a lowering of the molecular weight and poly-dispersity. Furthermore, multi-phase systems are very efficient dispersed and emulsified, so that very fine mixtures are provided. This means that ultrasound increases the rate of polymerisation over conventional stirring and results in higher molecular weights with lower polydispersities. Ormosils (organically modified silicate) are obtained when silane is added to gel-derived silica during sol–gel process. The product is a molecular-scale composite with improved mechanical properties. Sono-Ormosils are characterized by a higher density than classic gels as well as an improved thermal stability. An explanation therefore might be the increased degree of polymerization.

Pechini process
For single cation systems like SiO2 and TiO2, hydrolysis and condensation processes naturally give rise to homogenous compositions. For systems involving multiple cations, such as strontium titanate, SrTiO3 and other perovskite systems, the concept of steric immobilisation becomes relevant. To avoid the formation of multiple phases of binary oxides as the result of differing hydrolysis and condensation rates, the entrapment of cations in a polymer network is an effective approach, generally termed the Pechini process. In this process, a chelating agent is used, most often citric acid, to surround aqueous cations and sterically entrap them. Subsequently, a polymer network is formed to immobilize the chelated cations in a gel or resin. This is most often achieved by poly-esterification using ethylene glycol. The resulting polymer is then combusted under oxidising conditions to remove organic content and yield a product oxide with homogeneously dispersed cations.

Nanomaterials, aerogels, xerogels

If the liquid in a wet gel is removed under a supercritical condition, a highly porous and extremely low density material called aerogel is obtained. Drying the gel by means of low temperature treatments (25–100 °C), it is possible to obtain porous solid matrices called xerogels. In addition, a sol–gel process was developed in the 1950s for the production of radioactive powders of UO2 and ThO2 for nuclear fuels, without generation of large quantities of dust.

Differential stresses that develop as a result of non-uniform drying shrinkage are directly related to the rate at which the solvent can be removed, and thus highly dependent upon the distribution of porosity. Such stresses have been associated with a plastic-to-brittle transition in consolidated bodies, and can yield to crack propagation in the unfired body if not relieved.

In addition, any fluctuations in packing density in the compact as it is prepared for the kiln are often amplified during the sintering process, yielding heterogeneous densification. Some pores and other structural defects associated with density variations have been shown to play a detrimental role in the sintering process by growing and thus limiting end-point densities. Differential stresses arising from heterogeneous densification have also been shown to result in the propagation of internal cracks, thus becoming the strength-controlling flaws.

It would therefore appear desirable to process a material in such a way that it is physically uniform with regard to the distribution of components and porosity, rather than using particle size distributions which will maximize the green density. The containment of a uniformly dispersed assembly of strongly interacting particles in suspension requires total control over particle-particle interactions. Monodisperse colloids provide this potential.

Monodisperse powders of colloidal silica, for example, may therefore be stabilized sufficiently to ensure a high degree of order in the colloidal crystal or polycrystalline colloidal solid which results from aggregation. The degree of order appears to be limited by the time and space allowed for longer-range correlations to be established. Such defective polycrystalline structures would appear to be the basic elements of nanoscale materials science, and, therefore, provide the first step in developing a more rigorous understanding of the mechanisms involved in microstructural evolution in inorganic systems such as sintered ceramic nanomaterials.

Ultra-fine and uniform ceramic powders can be formed by precipitation. These powders of single and multiple component compositions can be produced at a nanoscale particle size for dental, biomedical, agrochemical, or catalytic applications. Powder abrasives, used in a variety of finishing operations, are made using a sol–gel type process. One of the more important applications of sol–gel processing is to carry out zeolite synthesis. Other elements (metals, metal oxides) can be easily incorporated into the final product and the silicate sol formed by this method is very stable. Semi-stable metal complexes can be used to produce sub-2 nm oxide particles without thermal treatment. During base-catalyzed synthesis, hydroxo (M-OH) bonds may be avoided in favor of oxo (M-O-M) using a ligand which is strong enough to prevent reaction in the hydroxo regime but weak enough to allow reaction in the oxo regime (see Pourbaix diagram).

Applications
The applications for sol gel-derived products are numerous. For example, scientists have used it to produce the world's lightest materials and also some of its toughest ceramics.

Protective coatings
One of the largest application areas is thin films, which can be produced on a piece of substrate by spin coating or dip-coating. Protective and decorative coatings, and electro-optic components can be applied to glass, metal and other types of substrates with these methods. Cast into a mold, and with further drying and heat-treatment, dense ceramic or glass articles with novel properties can be formed that cannot be created by any other method. Other coating methods include spraying, electrophoresis, inkjet printing, or roll coating.

Thin films and fibers
With the viscosity of a sol adjusted into a proper range, both optical and refractory ceramic fibers can be drawn which are used for fiber optic sensors and thermal insulation, respectively. Thus, many ceramic materials, both glassy and crystalline, have found use in various forms from bulk solid-state components to high surface area forms such as thin films, coatings and fibers. Also, thin films have found their application in the electronic field and can be used as sensitive components of a resistive gas sensors.

Controlled release
Sol-gel technology has been applied for controlled release of fragrances and drugs.

Opto-mechanical
Macroscopic optical elements and active optical components as well as large area hot mirrors, cold mirrors, lenses, and beam splitters can be made by the sol–gel route. In the processing of high performance ceramic nanomaterials with superior opto-mechanical properties under adverse conditions, the size of the crystalline grains is determined largely by the size of the crystalline particles present in the raw material during the synthesis or formation of the object. Thus a reduction of the original particle size well below the wavelength of visible light (~500 nm) eliminates much of the light scattering, resulting in a translucent or even transparent material.

Furthermore, microscopic pores in sintered ceramic nanomaterials, mainly trapped at the junctions of microcrystalline grains, cause light to scatter and prevented true transparency. The total volume fraction of these nanoscale pores (both intergranular and intragranular porosity) must be less than 1% for high-quality optical transmission, i.e. the density has to be 99.99% of the theoretical crystalline density.

title: Sol–gel process


text:
Beulah Park racetrack

Beulah Park was Ohio's first thoroughbred racetrack and premier event center, offering live thoroughbred racing from October through to early May. The track also offered Quarter Horse racing on select days throughout the season, with the most notable races occurring in mid-October with three AQHA graded stakes. Located seven miles outside Columbus, Beulah Park was open seven days a week for simulcast wagering. It was also known for the Beulah Park Twins (Katie and Jenna), who were the simulcast hosts from 1997 to 2009.

History
Beulah Park opened in Grove City, Ohio, a suburb of Columbus, in 1923. It was the first thoroughbred racetrack in Ohio. At its close it was one of only three tracks in Ohio to offer live thoroughbred racing, the others being Thistledown in North Randall and River Downs in Cincinnati. In 1983, Beulah Park was the first Ohio track to offer simulcast wagering on the Kentucky Derby.

Beulah Park was owned in part or whole from 1923 to May 1983, sixty years, by the Robert Dienst Family. Robert J. Dienst owned and operated the track until his death on August 19, 1959. Robert J. Dienst was most famous for the 1956 and 1957 American Champion Sprint Horse, Decathlon. Robert J. was a bit of a showboat and made gambling fun to the public. After his death, his son, Robert Y. Dienst who was conservative, took over and rebuilt the track, especially the backside when a fire broke out circa 1959. He poured the profits right back into the track, making it a showplace, not just for the general public but for the horsemen. Around 1959, an all wood barn with 40 horses perished in a night time blaze. Because of this, Robert Y. Dienst built almost all concrete block with tin roof barns from then on—having a full-time construction crew just for that purpose. Horsemen and Horsewomen appreciated the care that was taken towards their horses. He had a small stable, River Divide Farm, of about a dozen horses that he raced with the guidance of Trainer & Starter Don Rose up until his death on Nov. 7, 1996 (when Robert Y. was hours shy of his 80th birthday). Robert Y. Dienst's son, "Bob M." Dienst, left working at Beulah in the Spring of 1981 because of a management style disagreement with the then general manager, Mr. Houser (this was during 1981). Bob M. Dienst now resides in Albuquerque, New Mexico doing real estate. Robert Y. Dienst's son-in-law, Thomas E. Heinl worked in charge of Parimutuels (from 1975 to 1986) -- computerizing the Totalization equipment, the first to do so in the eastern part of the United States. Tom Heinl revolutionized the way parimutuel tickets are sold even today.

The track was sold to George Gaulding in May 1983 for about $4.5 million. The name was changed to Darby Downs for two years, and it appeared that some interesting things happened under that new regime: for example like two decades of racing records disappeared. In 1985 the track was resold to Charles Ruma, a building developer, (for just over $6.5 Million) and the name was returned to Beulah Park. Ruma poured millions into the track making it better for the general public. The track was resold to Penn National in May 2010 for approximately 37 million dollars, about four million shy of what Penn National paid also at the same time for Thistledown (Race Track) in Cleveland.

In 2011, Penn National Gaming, the owner of Beulah Park, announced plans to relocate the track and all operations to Dayton, Ohio. The new track would come at a cost of $200 million and create over 1,500 jobs in Dayton. Construction was contingent on video slot machine approval by the state. Penn National decided to transfer the license of Raceway Park in Toledo to the new Dayton facility instead.

In 2013, the transfer of the Beulah Park license was approved for a new facility in Austintown, Ohio, a suburb of Youngstown. The $125 million facility will be called Hollywood Gaming at Mahoning Valley Race Course, and will create approximately 1,000 jobs. As with the Dayton facility, video lottery terminals were approved. The new racino was scheduled to open in 2014.

Starting in May, 2013, Beulah Park served as the temporary home for River Downs 2013 horse racing season while a new casino/race track was constructed at River Downs Cincinnati location. The facility will close after 2013 as River Downs returns to Cincinnati, and the Beulah Park license transfers to Youngstown. The final day of live racing at Beulah Park was May 3, 2014.

Beulah Park was bought by developer, Pat Kelley of Falco, Smith & Kelley Ltd.. The plans include single households, condos, apartments, townhouse-style condos and a 102-unit senior luxury independent living facility and 75-unit assisted living building. The plans will also include office and retail space and a 60-acre park or green space.

Grove City Planning Commission gave the development plans a green light at their Dec. 4, 2017 meeting.

Kelley plans groundbreaking in the spring of 2018. In 2021, the first residents began occupying the 220 acre development that was previously Beulah Park.

Other events
During the off-season, Beulah Park is home to concerts and fireworks displays. The park is the host to the second largest Mud Volleyball tournament in the world, with more than thirty courts. The Epilepsy Foundation annually hosts the event on the Beulah Park grounds.

title: Beulah Park racetrack


text:
Arkose

Arkose or arkosic sandstone is a detrital sedimentary rock, specifically a type of sandstone containing at least 25% feldspar. Arkosic sand is sand that is similarly rich in feldspar, and thus the potential precursor of arkose.

Components
Quartz is commonly the dominant mineral component, and some mica is often present. Apart from the mineral content, rock fragments may also be a significant component. Arkose usually contains small amounts of calcite cement, which causes it to effervesce (fizz) slightly in dilute hydrochloric acid; sometimes the cement also contains iron oxide.

Colouration and presence of fossils
Arkose is typically grey to reddish in colour. The sand grains making up an arkose may range from fine to very coarse, but tend toward the coarser end of the scale. Fossils are rare in arkose, due to the depositional processes that form it, although bedding is frequently visible.

Formation process
Arkose is generally formed from the weathering of feldspar-rich igneous or metamorphic, most commonly granitic, rocks, which are primarily composed of quartz and feldspar (called 'grus' as a sand). These sediments must be deposited rapidly and/or in a cold or arid environment such that the feldspar does not undergo significant chemical weathering and decomposition; therefore arkose is designated a texturally immature sedimentary rock. Arkose is often associated with conglomerate deposits sourced from granitic terrain and is often found above unconformities in the immediate vicinity of granite terrains.

Uluru
The central Australian inselberg Uluru (Ayers Rock) is composed of late Neoproterozoic/Cambrian arkose, deposited in the Amadeus Basin.

title: Arkose


text:
Wolfgang Reitherman

Wolfgang Reitherman (June 26, 1909 – May 22, 1985), also known and sometimes credited as Woolie Reitherman, was a German–American animator, director and producer and one of the "Nine Old Men" of core animators at Walt Disney Productions. He emerged as a key figure at Disney during the 1960s and 1970s, a transitionary period which saw the death of Walt Disney in 1966, with him serving as director and/or producer on eight consecutive Disney animated feature films from One Hundred and One Dalmatians through The Fox and the Hound.

Career
While Reitherman was studying at Chouinard Art Institute, his paintings had attracted the attention of Philip L. Dike, a drawing and painting instructor. Impressed with his artwork, Dike showed them to Disney, after which Reitherman was invited to the studio. He initially wanted to work as a watercolorist, but Walt Disney suggested he should be an animator. Reitherman was hired at Walt Disney Productions on May 21, 1933, and his first project was working as an animator on a Silly Symphonies cartoon, Funny Little Bunnies (1933). Reitherman continued to work on a number of Disney shorts, including The Band Concert (1935), Music Land (1935), and Elmer Elephant (1936). He animated the Slave in the Magic Mirror in Snow White and the Seven Dwarfs (1937). His next assignments were animating Monstro in Pinocchio (1940), the climactic dinosaur fight in Igor Stravinsky's "Rite of Spring" segment of Fantasia (1940), and several scenes of Timothy Q. Mouse in Dumbo (1941).

In 1942, Reitherman left the Disney studios to serve in World War II for the United States Army Air Forces, earning the Distinguished Flying Cross after serving in Africa, China, India, and the South Pacific. He was discharged in February 1946, having earned the rank of Major. Reitherman rejoined the studio in April 1947, where he animated the Headless Horseman chase in The Legend of Sleepy Hollow section in The Adventures of Ichabod and Mr. Toad (1949).

Around this time, he claimed he was instrumental in helping Walt Disney commit to producing Cinderella (1950). Upon looking at rough storyboards, Reitherman recalled, "I just went in his office, which I rarely did, and I said, 'Gee, that looks great. We ought to do it.' It might have been a little nudge to say, 'Hey, let's get going again and let's do a feature'." On Cinderella (1950), he was the directing animator of the sequence in which Jaq and Gus laboriously push and pull the key up the stairs to Cinderella. On Alice in Wonderland (1951), he animated the scene in which the White Rabbit's home is destroyed by an enlarged Alice. On Peter Pan (1953), he animated the scene of Captain Hook attempting to escape the crocodile. For Lady and the Tramp (1955), Reitherman animated the alley dog fight sequence and Tramp's fight with the rat in the nursery room.

During the late 1950s, Reitherman served as the sequence director of Prince Phillip's climactic fight against Maleficent as a dragon in Sleeping Beauty (1959). He next directed the "Twilight Bark" sequence for One Hundred and One Dalmatians (1961). Beginning with The Sword in the Stone (1963), he became the first sole director of a Disney animated feature, which was in direct contrast to the usual practice of having several directors over an animated feature. Animator Ward Kimball claimed it was because Reitherman's work compatibility and willingness to accept any project "with a smile". Animator Bob Carlson stated Disney trusted Reitherman's decision-making before he would embark on a film project. He continued to direct such features as The Jungle Book (1967), The Aristocats (1970), Robin Hood (1973), and The Rescuers (1977). Additionally, he directed several animated shorts such as Goliath II (1960) and the first two Winnie the Pooh shorts, Winnie the Pooh and the Honey Tree (1966) and Winnie the Pooh and the Blustery Day (1968), which won the Academy Award for Best Animated Short Film.

While directing The Jungle Book (1967), Reitherman followed the procedure to keep production costs low, in which he recalled Disney advising him to "keep the costs down because [feature cartoons are] going to price themselves out of business." During his tenure, he allowed for "recycled" or limited animation from prior animated films to be used. Some presumed that this practice was done to save on time and production costs, though it was in fact more labor-intensive. Floyd Norman, an animator who had worked under Reitherman, explained that it was actually easier and less time-consuming for character animators to create original drawings. Nevertheless, Reitherman's use of recycling animation proved to be controversial within the studio, as animator Milt Kahl despised the method: "I detest the use of—-it just breaks my heart to see animation from Snow White used in The Rescuers. It kills me, and it just embarrasses me to tears." Despite the similarities in technique, this animation process is not the same as rotoscoping.

Following The Rescuers (1977), Reitherman was initially slated to direct The Fox and the Hound (1981), but following creative conflicts with co-director Art Stevens, he was taken off the project in 1979. Reitherman later moved on to several undeveloped animation projects such as Catfish Bend, based on the book series by Ben Lucien Burman, and Musicana, a follow-up project to Fantasia (1940) which he co-developed with artist Mel Shaw. In 1980, he developed an adaptation of the children's novel The Little Broomstick by Mary Stewart, but work was discontinued due to the studio's desire for ambitious films such as The Black Cauldron (1985). In the following year, he retired.

Personal life and death
Born in Munich, German Empire, Reitherman moved with his family to America when he was a child. After attending Pasadena Junior College and briefly working as a draftsman for Douglas Aircraft, Reitherman returned to school at the Chouinard Art Institute, graduating in 1933.

Following his discharge from the Air Force, he married Janie Marie McMillan in November 1946. All three of Reitherman's sons—Bruce, Richard and Robert—provided voices for Disney characters, including Mowgli in The Jungle Book, Christopher Robin in Winnie the Pooh and the Honey Tree, and Wart in The Sword in the Stone.

Reitherman died in a single-car accident near his Burbank, California home on May 22, 1985. He was posthumously named a Disney Legend in 1989.

title: Wolfgang Reitherman


text:
Schenectady and Duanesburgh Railroad

The Schenectady and Duanesburgh Railroad, incorporated in July 1873, was a predecessor of the Delaware and Hudson Railway that owned the 14.2 mi line between the Saratoga and Schenectady Railroad at Schenectady and the Albany and Susquehanna Railroad at Delanson. It was incorporated on December 27, 1869, as the Schenectady and Susquehanna Railroad, and opened in about August 1872, always leased to the Delaware and Hudson Canal Company. The property was sold under foreclosure on July 10, 1873, and conveyed to the Schenectady and Duanesburgh Railroad on July 12. The company was merged into the Delaware and Hudson Company on August 4, 1903.

title: Schenectady and Duanesburgh Railroad


text:
Darby Conley

Darby Conley is an American cartoonist best known for the newspaper comic strip Get Fuzzy.

Biography
Conley was born in Concord, Massachusetts, in 1970, and grew up in Knoxville, Tennessee.

While in high school in 1986, he won a student cartooning competition. During his senior year at Doyle High School (now South-Doyle High School) in Knoxville, Conley was voted 'Most Talented' by his graduating class. Conley was a member of Amherst College's a cappella group, the Zumbyes.

Conley cited the Tintin books as the strongest visual inspiration for his work.

Get Fuzzy
Comics syndicate United Media agreed in 1999 to publish Conley's new strip Get Fuzzy about an anthropomorphic cat, Bucky, and dog, Satchel, living with their single young-male owner, Rob Wilco, which premiered on September 6, 1999. The idea for Bucky's character came from a friend's Siamese cat.

Without explanation, Conley stopped drawing daily Get Fuzzy strips in 2013. For some time after he drew Sunday strips only, though the last known new Sunday installment was on February 3, 2019. Repeats of the strip are still offered to newspapers today.

Awards

 * 2002, National Cartoonists Society Award for Newspaper Comic Strip.

Controversies
On October 30, 2003, the city of Pittsburgh served as the punch line of a strip about tourism destinations based on smells. Offended residents of the area deluged the author with negative feedback that included death threats.

A May 13, 2005, strip portrayed Boston-area sports reporter Bob Lobel as a drunk, prompting Lobel to file libel lawsuits against Conley and his syndicate. The parties announced in November 2005 that they had reached a settlement, although terms of the settlement were not disclosed. Due to this controversy, that particular strip was removed from the collection Take Our Cat, Please! and the treasury The Potpourrific Great Big Grab Bag of Get Fuzzy.

title: Darby Conley


text:
File:Lyla (song) album cover.jpg

Summary
Art direction by Noel Gallagher & Simon Halfon. Photography by Lawrence Watson.

Fair use rationale for Lyla (song)

 * 1) Depiction of album cover, used to illustrate the single or album.
 * 2) Album cover is for the main subject of the article.
 * 3) Low-resolution image is used; not the original resolution for the image and cover artwork.
 * 4) No free use substitute for the album cover is available.

title: File:Lyla (song) album cover.jpg


text:
Talk:.dd

Untitled 2005 topic
Small number of hosts means? —The preceding unsigned comment was added by 85.176.123.87 (talk • contribs).
 * I don't know. That was all the information I could find when I wrote the original article. Why don't you do some research and see if you can find out? :) RenesisX

This article makes no sense. First it says that .dd was never put in the root. Then it says that it was later "taken out of use". How can it be taken out of use if wasn't ever in use? (For what it's worth, I tried several years ago to determine if .dd, like .cs, had ever existed. I came to the conclusion that it hadn't, although I was never 100% certain about this.) --Zundark 14:39, 21 February 2006 (UTC)

.dd existed. SushiGeek 12:28, 20 June 2006 (UTC)

 * That's a list of language subtags, as is clearly stated in the URL itself and is obvious from the content of the page. --Zundark 13:50, 20 June 2006 (UTC)

 * .dd is not listed in the Root-Zone Whois Information of the IANA. Are there anyone able to contact IANA about this question? -- AnyFile 08:57, 24 August 2007 (UTC)

E-mail server
The Usenet discussion this article points to, mentions rz.uni-jena.dd as an e-mail server connected to the net in the DDR - and that the Humboldt University and Freie Universität in Berlin was connected by a 9.600 kbps modem. Was DDR ever connected to the Internet?

title: Talk:.dd


text:
Talk:Volatile substance abuse

Shouldnt this article be merged with inhalant? --Arm

No -- Hoss

title: Talk:Volatile substance abuse


text:
Talk:The String Cheese Incident

Band Name
Anyone know how this band got its name? its something that I've always wondered about and considering how odd the band's name is, if the origin is known, it should be included in the article. -Drdisque 02:29, 22 October 2005 (UTC)

The Bill Waterson cartoon Calvin and Hobbes has several references to "The String Cheese Incident". Calvin will say something like "Yea, I have to sit by myself ever since the string cheese incident." I don't know which came first though, the band or the cartoon. —The preceding unsigned comment was added by 4.254.92.5 (talk • contribs) May 7, 2006.

^It was the "noodle incident" in Calvin and Hobbes, not a string cheese incident. —Preceding unsigned comment added by 216.76.60.162 (talk) 19:26, 28 November 2008 (UTC)

There is a very old FAQ (from 1999) on the band and its history - scroll down to item number 4.5 for info about the band name origin. Perhaps there is more information on this page that can be included on the wiki page. Not sure if that page is relevant enough to include in "External Links."

On a site, i believe friendsofcheese.com, it was said that the band name was choosen because it was the most absurd thing they could think up at the time. originally it was the blue cheese quartet, then the blue string cheese, then, only for a week, the string cheese conspiricy, and after that they became the string cheese incident

They took the name "String Cheese Incident" as a parody of the Guns n Roses album, "The Spaghetti Incident. —Preceding unsigned comment added by 134.193.94.242 (talk) 20:52, 26 October 2010 (UTC)

 * The introduction of this article states the origin of the name is unknown. Then below there is a detailed story about how the name came about.  Which is it? UselessToRemain (talk) 20:51, 18 July 2012 (UTC)

 * Just an anecdote, but I was told by a band member that initially, before Kyle joined the band, they considered themselves a "string band", and were forced by necessity to play what they considered "cheesy" music, at weddings and other such functions. So the "String Cheese" name came from combining those two concepts. I have no verifiable source for this so of course it can't go in the article. CodeTalker (talk) 18:58, 24 November 2020 (UTC)

Naming a leader
I disagree about naming a "de facto" leader of SCI. I would say that Michael Kang would be a much more suitable candidate for the title. Although Nershi contributes most of the original songs, it usually is quite obvious that Kang leads the group musically.

agree
but there's really no need to decide a leader anyhow.

Bad reputation
Seems like this is mostly POV. Someone should clean it up.. there's some info in there that's factual, though. CryptoDerk 00:34, May 27, 2005 (UTC)
 * Would be nice if the anons in the revert war would sign their edits and start discussing here. -- Dave C. 23:43, 7 Jun 2005 (UTC)

 * Someone added a "Bad reputation" section again.. is this the same section from May? It accuses SCI of copying Phish, buying their own concert tickets and albums to inflate numbers, etc. Needs to be verified or removed. I tagged it as POV and removed some of the more opinionated statements. Rhobite 17:20, 19 October 2005 (UTC)

 * Further, it says "Michael Kang adjusted his guitar tone ..." when to my knowledge (and indeed the information presented in this very article) guitar is not an instrument Kang even plays.

Propaganda
The "Bad Reputation" nonsense is completely subjective and boils down to trash talking that has no place in an encyclopedia. Wikipedia needs to remove this "editorial"

the bad reputation bit is pure venomous opinion, as are most of the comparisons to phish. None of it belongs here. Having interviewed the band, I'd say Nershi was kinda sorta the almost leader in the early days, but the band has evolved into much more of a democracy in recent years.

Questionable Tone?
While i will agree that the "tone" of this article sounds vaguely promotional, i think it's just the wording, and i don't mind anyway. The actually writing could be modified to be more "document-ative" or simply informational, but i don't have time for that now, maybe some other time; nonetheless, i'm glad that this band has a listing, and i can't disagree with anything in it. i haven't "registered" here, so this is just a generic, "public" opinion, i didn't write the article to begin with.

This entire article seems both propagandist and skewed. It told me nothing I wished to know about this band, from the history to its current incarnation, which was featured on NPR National today.

The whole article needs cleanup.

I agree with whoever posted the above. "The improvisational nature of the music allows for a totally different experience each night, so it is never like seeing the same thing over and over." That sounds like marketing to me. (Sign your posts!!!) Centrisian (talk) 16:46, 3 March 2008 (UTC)

Edit conflict?
I’m assuming that User:66.80.165.226’s change was an edit conflict with my change that he resolved by not resolving it. Anyway, I’ll re-edit, and if it was an intentional reversion, please consult WP:MoS. —Fleminra 04:48, 10 November 2005 (UTC)

Proposal on categorizing "Taper-friendly bands"
Hi, I've created a proposal for categorizing "taper-friendly bands", aka "bands that allow taping" within Wikipedia, and I wanted to invite people interested in this article to offer comments and feedback, since SCI are one of the more prominent bands in the category. The proposal is at User:Xtifr/BTAT, and I'd be very interested to hear what people have to say about my suggestions. Let me know whatcha think. Thanks, Xtifr 11:12, 16 September 2006 (UTC)
 * Well, I've gone ahead and added a couple of categories, and am back to add SCI. It's a start. :)  Xtifr tälk 07:36, 11 November 2006 (UTC)

Origins
Was the band created in Crested Butte or Boulder, like the All Music Guide says? angular  ( discuss·contribs )  01:51, 19 December 2006 (UTC)
 * I say go by the AMG reference until another source can disprove this. Of course, there is nothing on the official webpage or any of the fan pages =/ -- moe.RON  Let's talk  04:08, 19 December 2006 (UTC)

Tracking an Album
would anyone possibly know where cheese played a live show with bill summers from the headhunters?

Member List
Considering "reinstating" Jason Haan as a current member. The band hasn't played together in a year -- why assume he's out of the band? Is there any support for the recent change by Addionne? Oblivy (talk) 01:50, 18 July 2008 (UTC)

Ticketmaster Settlement
"The settlement between SCI ticketing and Ticketmaster was not well publicized. The outcome was favorable enough for SCI to stay in the ticketing industry, though their company name was eventually changed to Baseline Ticketing, and the band occasionally attempts to avoid booking "incidents" with Live Nation, formerly Clear Channel Communications."

I agree. The details of the lawsuit are fairly well documented. E.g., Mother Jones Nov/Dec '03 at http://www.madisonhousepublicity.com/midpages/copypages/sci.copypages/sci.clips.motherjones.html. I wasn't able to find anything about the settlement except blogs, but I think that reflects how little information is public. The other stuff is pretty speculative, especially since the band isn't touring.Oblivy (talk) 04:29, 21 September 2009 (UTC)

External links modified
Hello fellow Wikipedians,

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title: Talk:The String Cheese Incident


text:
J. Allen Boone

J. Allen Boone (17 February 1882 – 17 June 1965) was an American author of several books about nonverbal communication with animals in the 1940s and 1950s. He wrote much on his friendship with Strongheart, a film star-German shepherd, who he credits with teaching him how to achieve deeper bonds through extrasensory perception, a "silent language" that can be learned.

Boone was an early film producer and correspondent for the Washington Post. His friendships in Hollywood led to his care-taking of Strongheart.

Works

 * Letters to Strongheart (Prentice Hall, 1939; Robert H Sommer, 1977, ISBN 0-933062-19-2; Tree of Life Publications, 1999, ISBN 0-930852-34-6)
 * You are the adventure! (Prentice-Hall, 1943; Robert H Sommer, 1977, ISBN 0-933062-20-6)
 * Kinship with All Life (Harper and Row, 1954; HarperCollins, 1976, ISBN 0-06-060912-5)
 * Language of Silence: Heartwarming True Experiences That Reveal a Wonderful World of Communication Between Human Beings and Animals edited by Paul and Blanche Leonard, (Harpercollins, 1970, ISBN 0-06-060911-7; Harper & Row, 1976, ISBN 0-06-060913-3), republished, with editing by Bianca Leonardo, as Adventures in Kinship with All Life (Tree of Life Publications, 1990, ISBN 0-930852-08-7; 3rd edition, 1990, ISBN 0-930852-27-3)

title: J. Allen Boone


text:
Tivoli Hollow Railroad

The Tivoli Hollow Railroad was chartered in 1893. It was completed 1.23 mi in the Tivoli Hollow section of the City of Albany, New York prior to 1903 (exact date not known). It was merged into New York Central and Hudson River Railroad in 1913.

title: Tivoli Hollow Railroad


text:
Glyka Nera

Glyka Nera (Greek: Γλυκά Νερά, meaning "sweet waters", named after an underground water source) is a suburb in the northeastern part of Athens Metropolitan Area. Since the 2011 local government reform it belongs to the East Attica regional unit and is part of the municipality Paiania, of which it is a municipal unit. The municipal unit has an area of 9.238 km2.

Geography
Glyka Nera is situated on the eastern slope of the northernmost part of the forested Hymettus mountain. It is 11 km east of central Athens, and 11 km northwest of the Eleftherios Venizelos International Airport. Adjacent towns are Gerakas to the northeast and Paiania to the south. Motorway 64 passes north of the town.

title: Glyka Nera