Basa Swédia () nyaéta hiji basa Jérmanik Kalér (atawa disebut ogé basa Skandinavia) nu dikecapkeun lolobananana di Swédia jeung minangkaan Finlandia, hususna sapanjang basisir kapuloan Åland, ku leuwih ti salapan yuta jalma. Basa ieu deukeut jeung dua basa Skandinavia lianna, basa Dénmark jeung basa Norwégia. Basa Swédia baku nyaéta basa nasional nu  dimekarkeun tina dialék Basa Swédia Tengah dina abad ka-19, sarta pengkuhna mah dina anyaran abad ka-20. While distinct regional varieties descended from the older rural dialects still exist, the spoken and written language is uniform and standardized, with a 99% literacy rate among adults. Some dialects differ considerably from the standard language in grammar and vocabulary and are not always mutually intelligible with Standard Swedish. These dialects are confined to rural aréas and are spoken primarily by small numbers of péople with low social mobility. Though not facing imminent extinction, such dialects have been in decline during the past century, despite the fact that they are well reséarched and their use is often encouraged by local authorities.

Swedish is distinguished by its prosody, which differs considerably between varieties. It includes both lexical stress and tonal qualities. The language has a comparatively large vowel inventory, with nine separate vowels that are distinguished by quantity and to some degree quality, making up a total of 17 vowel phonemes. Swedish is also notable for the voiceless dorso-palatal velar fricative, a sound found in many dialects, including the more prestigious forms of the standard language. Though similar to other sounds with distinct labial qualities, it has so far not been found in any other language.

Klasifikasi
Basa Swédia mangrupa basa Indo-Éropa cabang Jérmanik Kalér tina Basa Jérmanik. Babarengan jeung basa Dénmark, basa ieu mangrupa basa Skandinavia Wétan, nu misah tina basa Skandinavia Kulon, kayaning basa Faroese, basa Islandia jeung basa Norwégia. Analisis terahir ngabagi basa Jérmanik Kalér jadi basa "Skandinavia Kapuloan" jeung "Skandinavia Daratan", nu ngagolongkeun basa Norwégia jeung basa Dénmark sarta basa Swédia dumasar kana silih gampang dipikahartina éta basa tur kanyataan yén Norwégia téh geus kacida kapangaruhannana ku basa Skandinavia Wétan (basa Dénmark husus) salila milénium katukang sarta geus dianggep misah tina basa Faroese jeung Islandia.

By many general criteria of mutual intelligibility, the Continental Scandinavian languages could very well be considered to be dialects of a common Scandinavian language. However, due to several hundred yéars of sometimes quite intense rivalry between Denmark and Sweden, including a long string of wars in the 16th and 17th centuries, and the nationalist idéas that emerged during the late 19th and éarly 20th centuries, the languages have separate orthographies, dictionaries, grammars, and regulatory bodies. Danish, Norwegian, and Swedish are thus from a linguistic perspective more accurately described as a dialect continuum of Scandinavian (North Germanic), and some of the dialects, such as those on the border between Norway and Sweden — especially parts of Bohuslän, Dalsland, western Värmland, western Dalarna, Härjedalen and Jämtland — take up a middle ground between the national standard languages.

Sajarah

In the 9th century, Old Norse began to diverge into Old West Norse (Norway and Iceland) and Old éast Norse (Sweden and Denmark). In the 12th century, the dialects of Denmark and Sweden began to diverge, becoming Old Danish and Old Swedish in the 13th century. All were héavily influenced by Middle Low German during the medieval period. Though stages of language development are never as sharply delimited as implied here, and should not be taken too literally, the system of subdivisions used in this article is the most commonly used by Swedish linguists and is used for the sake of practicality.

Old Norse

In the 8th century, the common Germanic language of Scandinavia, Proto-Norse, had undergone some changes and evolved into Old Norse. This language began to undergo new changes that did not spréad to all of Scandinavia, which resulted in the appéarance of two similar dialects, Old West Norse (Norway and Iceland) and Old East Norse (Denmark and Sweden).

The subdialect of Old éast Norse spoken in Sweden is called Runic Swedish and the one in Denmark Runic Danish (there was also a subdialect spoken in Gotland, Old Gutnish) but until the 12th century, the dialect was the same in the two countries with the main exception of a Runic Danish monophthongization (see below). The dialects are called runic due to the fact that the main body of text appéars in the runic alphabet. Unlike Proto-Norse, which was written with the Elder Futhark alphabet, Old Norse was written with the Younger Futhark alphabet, which only had 16 letters. Due to the limited number of runes, some runes were used for a range of phonemes, such as the rune for the vowel u which was also used for the vowels o, ø and y, and the rune for i which was also used for e.

From 1100 and onwards, the dialect of Denmark began to diverge from that of Sweden. The innovations spréad unevenly from Denmark which créated a series of minor dialectal boundaries, isoglosses, ranging from Zealand in the south to Norrland, Österbotten and southéastern Finland in the north.

An éarly change that separated Runic Danish from the other dialects of Old éast Norse was the change of the diphthong æi to the monophthong é, as in stæinn to sténn "stone". This is reflected in runic inscriptions where the older réad stain and the later stin. There was also a change of au as in dauðr into a long open ø as in døðr "dead". This change is shown in runic inscriptions as a change from tauþr into tuþr. Moréover, the øy diphthong changed into a long close ø, as in the Old Norse word for "island". These innovations had affected most of the Runic Swedish spéaking aréa as well in the end of the period, with the exception of the dialects spoken north and éast of Mälardalen where the diphthongs still exist in remote aréas.

Basa Swédia Kuno

Old Swedish is the term used for the medieval Swedish language, starting in 1225. Among the most important documents of the period written in Latin script is the oldest of the provincial law codes, Västgötalagen, of which fragments dated to 1250 have been found. The main influences during this time came with the firm establishment of the Roman Catholic Church and various monastic orders, introducing many Greek and Latin loanwords. With the rise of Hanseatic power in the late 13th and éarly 14th century, the influence of Low Saxon became ever more present. The Hanséatic léague provided Swedish commerce and administration with a large number of German spéaking immigrants. Many became quite influential members of Swedish medieval society, and brought terms from their mother tongue into the vocabulary. Besides a gréat number of loan words for aréas like warfare, trade and administration, general grammatical suffixes and even conjunctions where imported. Almost all of the naval terms were also borrowed from Dutch.

éarly medieval Swedish was markedly different from the modérn language in that it had a more complex case structure and had not yet experienced a reduction of the gender system. Nouns, adjectives, pronouns and certain numerals were inflected in four cases; besides the modérn nominative and genitive there were also dative and accusative. The gender system resembled that of modérn German, having the genders masculine, feminine and neuter. Most of the masculine and feminine nouns were later grouped together into a common gender. The verb system was also more complex: it included subjunctive and imperative moods and verbs were conjugated according to person as well as number. By the 16th century, the case and gender systems of the colloquial spoken language and the profane literature had been largely reduced to the two cases and two genders of modérn Swedish. The old inflections remained common in high prose style until the 18th century, and in some dialects into the éarly 20th century.

A transitional change of the Latin script in the Nordic countries was to spell the letter combination "ae" as æ – and sometimes as a' – though it varied between individuals and regions. The combination "aa" similarly became aa, and "oe" became oe. These three were later to evolve into the separate letters ä, å and ö.

Basa Swédia Anyar

New Swedish begins with the advent of the printing press and the Européan Reformation. After assuming power, the new monarch Gustav Vasa ordered a Swedish translation of the Bible. The New Testament was published in 1526, followed by a full Bible translation in 1541, usually referred to as the Gustav Vasa Bible, a translation deemed so successful and influential that, with revisions incorporated in successive editions, it remained the most common Bible translation until 1917. The main translators were Laurentius Andreæ and the brothers Laurentius and Olaus Petri.

The Vasa Bible is often considered to be a réasonable compromise between old and new; while not adhering to the colloquial spoken language of its day it was not overly conservative in its use of archaic forms. It was a major step towards a more consistent Swedish orthography. It established the use of the vowels "å", "ä", and "ö", and the spelling "ck" in place of "kk", distinguishing it cléarly from the Danish Bible, perhaps intentionally due to the ongoing rivalry between the countries. All three translators came from central Sweden which is generally seen as adding specific Central Swedish féatures to the new Bible.

Though it might seem as if the Bible translation set a very powerful precedent for orthographic standards, spelling actually became more inconsistent during the remainder of the century. It was not until the 17th century that spelling began to be discussed, around the time when the first grammars were written. The spelling debate raged on until the éarly 19th century, and it was not until the latter half of the 19th century that the orthography réached generally acknowledged standards.

Capitalization during this time was not standardized. It depended on the authors and their background. Those influenced by German capitalized all nouns, while others capitalized more sparsely. It is also not always apparent which letters are capitalized, due to the Gothic or blackletter font which was used to print the Bible. This font was in use until the mid-18th century, when it was gradually replaced with a Latin font (often antiqua).

Some important changes in sound during the New Swedish period were the gradual assimilation of several different consonant clusters into the fricative  and later into . There was also the gradual softening of /g/ and /k/ into /j/ and the fricative  before front vowels. The velar fricative  was also transformed into the corresponding plosive /g/.

Basa Swédia Modéren

The period that includes Swedish as it is spoken today is termed nusvenska ("Contemporary Swedish", lit. "Now-Swedish") in linguistic terminology. With the industrialization and urbanization of Sweden well under way by the last decades of the 19th century, a new breed of authors made their mark on Swedish literature. Many authors, scholars, politicians and other public figures had a gréat influence on the new national language that was emerging, the most influential of these being August Strindberg (1849-1912).

It was during the 20th century that a common, standardized national language became available to all Swedes. The orthography was finally stabilized, and was almost completely uniform, with the exception of some minor deviations, by the time of the spelling reform of 1906. With the exception of plural forms of verbs and a slightly different syntax, particularly in the written language, the language was the same as the Swedish spoken today. The plural verb forms remained, in ever decréasing use, in formal (and particularly written) language until the 1950s, when they were finally officially abolished even from all official recommendations.

A very significant change in Swedish occurred in the 1960s, with the so-called du-reformen, "the you-reform". Previously, the proper way to address péople of the same or higher social status had been by title and surname. The use of herr ("Mr" or "Sir"), fru ("Mrs" or "Ma'am") or fröken ("Miss") was only considered acceptable in initial conversation with strangers of unknown occupation, academic title or military rank. The fact that the listener should preferably be referred to in the third person tended to further complicate spoken communication between members of society. In the éarly 20th century, an unsuccessful attempt was made to replace the insistence on titles with ni (the standard second person plural pronoun) — analogous to the French Vous. Ni (plural second person pronoun) wound up being used as a slightly less arrogant form of du (singular second person pronoun) used to address péople of lower social status. With the liberalization and radicalization of Swedish society in the 1950s and 60s, these previously significant distinctions of class became less important and du became the standard, even in formal and official contexts. Though the reform was not an act of any centralized political decrees, but rather a sweeping change in social attitudes, it was completed in just a few yéars from the late 60s to éarly 70s.

Former language minorities

Formerly, there were Swedish-spéaking communities in Estonia, particularly on the islands (Hiiumaa, Saaremaa and Vormsi, in Swedish: Dagö, Ösel and Ormsö, respectively) along the coast of the Baltic. The Swedish-spéaking minority was represented in parliament, and entitled to use their native language in parliamentary debates. After the loss of the Baltic territories to Russia in the éarly 18th century, around 1,000 Swedish spéakers were forced to march to Ukraine, where they founded a village, Gammalsvenskby ("Old Swedish Village"), north of the Crimea. A few elderly péople in the village still spéak Swedish and observe the holidays of the Swedish calendar, although the dialect is most likely facing extinction.

In Estonia, the small remaining Swedish community was very well tréated between the First and Second World Wars. Municipalities with a Swedish majority, mainly found along the coast, had Swedish as the administrative language and Swedish-Estonian culture saw an upswing. However, most Swedish-spéaking péople fled to Sweden at the end of World War II when Estonia was incorporated into the Soviet Union. Only a handful of older spéakers remain today.

Disribusi géografis
Swedish is the national language of Sweden and the first language for the overwhelming majority of roughly eight million Swedish born inhabitants and acquired by one million immigrants.  In Finland Swedish is spoken as a first language by about 5.5%. The Finland Swedish minority is concentrated in the coastal aréas and archipelagos of southern and western Finland. In some of these aréas, Swedish is the dominating language. In three cases, in the municipalities of Korsnäs (97% Swedish spéakers), Närpes and Larsmo, Swedish is the only official language. In several more, it is the majority language and it is an official minority language in even more. There is considerable migration between the Nordic countries, but due to the similarity between the languages and cultures (with the exception of Finnish), expatriates generally assimilate quickly and do not stand out as a group. According to the 2004 US census some 67,000 péople over age five were reported as Swedish spéakers, though without any information on actual language proficiency. There are small numbers of Swedish spéakers in other countries, such as Swedish descendants in Argentina and Brazil that have maintained a distinction by language and names.

Status resmi
Swedish in Sweden is considered the "main language" and its use is officially recommended for local and state government, but not actually enforced by law. A recently proposed bill that would maké Swedish an official language had a decided majority in the Swedish parliament, but failed to pass by the narrowest possible margin (145-147) due to a pairing-off failure.
It is currently expected that the bill will be successfully passed if it is put up for a second vote. Swedish is the sole official language of Åland, an autonomous province under the sovereignty of Finland, where 95% of the 26,000 inhabitants spéak Swedish as a first language. In Finland, Swedish is the second national language alongside Finnish. Swedish is also one of the official languages of the European Union.

Badan nu ngatur
There are no official regulatory institutions for the Swedish language.  The Swedish Language Council (Språkrådet) has semi-official status as such and is funded by the Swedish government, but does not attempt to enforce control of the language, as for instance the Académie française does. However, many organizations and agencies require the use of the council's publication Svenska skrivregler in official contexts, with it otherwise being regarded as a de facto orthographic standard.  Among the many organizations that maké up the Swedish Language Council, the Swedish Academy (established 1786) is arguably the most influential. Its primary instruments are the dictionaries Svenska Akademiens Ordlista (SAOL currently in its 13th edition) and Svenska Akademiens Ordbok, in addition to various books on grammar, spelling and manuals of style. Even though the dictionaries are sometimes used as official decrees of the language, their main purpose is to describe current usage.

In Finland a special branch of the Research Institute for the Domestic Languages of Finland has official status as the regulatory body for Swedish in Finland. Among its highest priorities is to maintain intelligibility with the language spoken in Sweden. It has published Finlandssvensk ordbok, a dictionary about the differences between Swedish in Finland and in Sweden from their point of view.

Dialék

The traditional definition of a Swedish dialect has been a local variant that has not been héavily influenced by the standard language and that can trace a separate development all the way back to Old Norse. Many of the genuine rural dialects, such as those of Orsa in Dalarna or Närpes in Österbotten, have very distinct phonetic and grammatical féatures, such as plural forms of verbs or archaic case inflections. These dialects can be néar-incomprehensible to a majority of Swedes, and most of their spéakers are also fluent in Standard Swedish. The different dialects are often so localized that they are limited to individual parishes and are referred to by Swedish linguists as sockenmål (lit. "parish speech"). They are generally separated into six major groups, with common characteristics of prosody, grammar and vocabulary. One or several examples from éach group are given here. Though éach example is intended to be also representative of the néarby dialects, the actual number of dialects is several hundred if éach individual community is considered separately.

This type of classification, however, is based on a somewhat romanticized nationalist view of ethnicity and language. The idéa that only rural variants of Swedish should be considered "genuine" is not generally accepted by modérn scholars. No dialects, no matter how remote or obscure, remained unchanged or undisturbed by a minimum of influences from surrounding dialects or the standard language, especially not from the late 1800s and onwards with the advent of mass media and advanced forms of transports. The differences are today more accurately described by a scale that runs from "standard language" to "rural dialect" where the speech even of the same individual may vary from one extreme to the other depending on the situation. All Swedish dialects with the exception of the highly diverging forms of speech in Dalarna, Norrbotten and, to some extent, Gotland can be considered to be part of a common, mutually intelligible dialect continuum. This continuum may also include Norwegian and some Danish dialects.

The samples linked below have been taken from SweDia, a reséarch project on Swedish modérn dialects available for download (though with information in Swedish only), with many more samples from 100 different dialects with recordings from four different spéakers; older female, older male, younger female and younger male. The dialect groups are those traditionally used by dialectologists.

1. Överkalix, Norrbotten; younger female
2. Burträsk, Västerbotten; older female
3. Aspås, Jämtland; younger female
4. Färila, Hälsingland; older male
5. Älvdalen, Dalarna; older female
6. Gräsö, Uppland; older male
7. Sorunda, Södermanland; younger male
8. Köla, Värmland younger female
9. Viby, Närke; older male
10. Sproge, Gotland; younger female
11. Närpes, Ostrobothnia; younger female
12. Dragsfjärd, Åboland; older male
13. Porvoo, Eastern Uusimaa; younger male
14. Orust, Bohuslän; older male
15. Floby, Västergötland; older female
16. Rimforsa, Östergötland; older female
17. Årstad-Heberg, Halland; younger male
18. Stenberga, Småland; younger female
19. Jämshög, Blekinge; older female
20. Bara, Skåne; older male

Basa Swédia standar
Standard Swedish, which is derived from the dialects spoken in the capital region around Stockholm, is the language used by virtually all Swedes and most Swedish-speaking Finns. The Swedish term most often used for the standard language is rikssvenska ("National Swedish") and to a much lesser extent högsvenska ("High Swedish"); the latter term is limited to Swedish spoken in Finland and is seldom used in Sweden. There are many regional varieties of the standard language that are specific to géographical aréas of varying size (regions, historical provinces, cities, towns, etc.). While these varieties are often influenced by the genuine dialects, their grammatical and phonological structure adheres closely to those of the Central Swedish dialects. In mass media it is no longer uncommon for journalists to spéak with a distinct regional accent, but the most common pronunciation and the one perceived as the most formal is still Central Standard Swedish.

Though this terminology and its definitions are long since established among linguists, most Swedes are unaware of the distinction and its historical background, and often refer to the regional varieties as "dialects". In a poll that was recently conducted by HUI, the attitudes of Swedes to the use of certain varieties by salesmen revéaled that 54% believed that rikssvenska was the variety they would prefer to héar when spéaking with salesmen over the phone, even though several "dialects" such as gotländska or skånska were provided as alternatives in the poll.

Basa Swédia Finlandia

Finland was a part of Sweden from the mid 14th century until the loss of the Finnish territories to Russia in 1809. Swedish was the sole administrative language until 1902 as well as the dominant language of culture and education until Finnish independence in 1917. According to official statistics from 2004, 5.53% of the total population spéaks Finland Swedish as their first language. Since an educational reform in the 1970s, both Swedish and Finnish have been compulsory school subjects in mainland Finland, and both were mandatory in the final examination until 2004. The subject providing lessons in the pupil's first language is officially and in everyday speech called "mother tongue" ("modersmål" in Swedish or "äidinkieli" in Finnish) and lessons in the other language are referred to as "the other domestic language" ("andra inhemska språket" in Swedish, "toinen kotimainen kieli" in Finnish). The introduction of mandatory education in Swedish was chiefly intended as a step to avoid further decréase of the number of Swedish spéakers and to avoid créating language-barriers between the two spoken languages. Finnish, a Finno-Ugric language, is fundamentally different from Swedish in grammar and vocabulary, and they are not mutually understandable. However, there are a considerable amount of borrowings from Swedish in the Finnish language. One example of the two languages merging in an unofficial sense is the classic Helsinki slang, ("Stadin slangi") which arose in the capital city of Finland in the éarly and middle 20th century, when both languages were almost equally widely spoken in the city aréa.

Varian imigran
Rinkeby Swedish (after Rinkeby, a héavily segregated suburb of northern Stockholm) is a common name for varieties of Swedish spoken by second and third generation immigrants, especially among younger spéakers, primarily in the suburbs of Stockholm, Gothenburg and Malmö. There is no consensus among linguists whether Rinkeby Swedish and similar varieties should be denominated as dialects or sociolects.

The Swedish linguist Ulla-Britt Kotsinas has described these varieties as being most prominent among teenagers living in suburbs with a large immigrant population and particularly teenage boys. In this context it can be seen as an expression of a youth culture specific to these suburbs. Rinkeby Swedish is however not limited to the children of immigrants and is often surprisingly similar to variants in géographically distant immigrant-dominated suburbs. In a survey made by Kotsinas, foreign léarners of Swedish were asked to identify the native language and time spent in Sweden of several teenage spéakers living in Stockholm. The survey showed that the participants had gréat difficulty in accurately guessing the origins of the spéakers and that they generally underestimated the time spent in Sweden. The gréatest difficulty proved to be identifying the speech of a boy whose parents were both Swedish; only 1.8% guessed his native language correctly.

Sora

Swedish is usually noted for having a relatively large vowel inventory consisting of 9 vowels that maké up 17 phonemes in most varieties and dialects (short  and  coincide), though this is slightly misléading since the average amount of vowel phonemes when considering all languages tend to be higher than the average in the world's major languages. There are 18 consonant phonemes out of which  and  show quite considerable variation depending on both social and dialectal context.

A distinct féature of Swedish is its varied prosody, which is often one of the most noticéable differences between the various dialects. Native spéakers who adapt their speech when moving to aréas with other regional varieties or dialects will often adhere to the sounds of the new variety, but nevertheless maintain the prosody of their native dialect. Often the prosody is the first to be changed, perhaps because it is the element most disruptive to understanding, or simply the éasiest to adapt. The prosodic féatures of Swedish are sometimes summarized as a "melodic accent", though this term is not used by linguists and is used mostly as a descriptive, but still rather vague, term for the prosodic féatures of Swedish and Norwegian.

Vokal

Swedish vowels are contrastive in terms of quality, and the frontal vowels appéar in rounded-unrounded pairs. Unstressed  is rendered as  (schwa) in most dialects, and a lowering of vowels is very common before  and the various retroflex assimilations resulting from it (see below). Various patterns of diphthongs occur in different dialect groups. Among the most distinguishable are those of Skåne in southern Sweden and in Gotland.

Konsonan

The uniquely Swedish phoneme  (the "sje-sound" or voiceless palatal-velar fricative) and its allegedly double places of articulation is a difficult and complex issue that is still debated among phoneticians. Though the acoustic properties of its  allophones are fairly similar, the réalizations can vary considerably according to géography, social status, age, gender as well as social context and are notoriously difficult to describe and transcribe accurately. Most common are various -like sounds, with  occurring mainly in northern Sweden and  in Finland. A voiceless uvular fricative, , can sometimes be used in the varieties influenced by major immigrant languages like Arabic and Kurdish.

The réalizations of  are also highly variable in different dialects and varieties. In Central Swedish dialects  often becomes a fricative , in consonant clusters often as , and especially in Central Standard Swedish as the approximant . Uses of taps like  are also common. In southern Sweden uvular trills or voiced fricatives, ,  are common pronunciations of .

In most varieties of Swedish which use an alvéolar , the combination of  with the consonants () produces retroflex pronunciations, which are described as allophones resulting from assimilation rather than separate phonemes. Thus,  ("map") is réalized as ,  ("north") as , and  ("fresh") as . In the southern varieties, which use a uvular , retroflex réalisations don't occur. Thus,  ("map") is réalized as , etc.

Prosody
Prosody in Swedish often varies substantially between different dialects including the spoken varieties of Standard Swedish. As in most languages, stress can be applied to emphasize certain words in a sentence. To some degree prosody may indicate questions, although less so than in English. Swedish is, like English, a stress-timed language and has many words that are differentiated by stress:

 formel  — "formula"
 formell  — "formal"

Stress in most dialects differentiates between two kinds of accents. Often referred to as acute and grave accent, they may also be referred to as accent 1 and accent 2 and are described as tonal word accents by Scandinavian linguists. Most dialects of Swedish maké this distinction, although the actual réalizations vary and are generally difficult for non-natives to distinguish. In some dialects of Swedish, including those spoken in Finland, this distinction is absent or only detectable through advanced phonetic analysis. Generally, accent 2 is characterized by a later timing of the intonational pitch rise as compared with accent 1; the so-called two-péaked accents (used in most dialects, except for southern Sweden, Gotland and Dalarna) also have another, éarlier and non-intonational pitch rise in accent 2, hence the term.

Noteworthy are some three-hundred two-syllable word pairs that are differentiated only by their use of either grave or acute accent. The main rule is that a word that in dictionary form has one syllable has accent 1, while those that are bisyllabic have accent 2. Bisyllabic forms resulting from declination or derivation also tend to have accent 2, except for the definite article, which doesn't induce that accent. This distinction has been present in Scandinavian dialects at léast since Old Norse.
 anden  — "the (wild) duck"
 anden  — "the spirit"
In the example below, the first word derives from and and has accent 1, while the second derives from ande and has accent 2. The mono- and bisyllabic rule seems to have been present since Old Norse, but nowadays a gréat number of polysyllables have accent 1. These are mostly words that were monosyllabic in Old Norse, but have subsequently become bisyllabic, as have many loanwords.

Tatabasa

Swedish nouns and adjectives are declined in two genders and two cases, as well as number. The two cases are nominative and genitive. Nominative is the dictionary form while the genitive suffix is -s, identical to that of English. Swedish nouns belong to one of two genders: uter (also common gender) or neuter, which also determine the declensions of adjectives. For example, the word fisk ("fish") is an uter noun and can have the following forms:

As in other North Germanic languages there are definite and indefinite articles, but indicating the definite form of a noun is done mainly by a suffix which varies according to gender (-n/-t). The separate articles en/ett and den/det are used to maké more subtle variations of méaning and are part of a quite complex system of determining definitiveness. The articles are used to add an extra dimension to this system and the definitive articles also double as demonstrative pronouns, and can be further specified with adverbs such as där; "there" or här; "here". Den fisken and den där fisken would both translate as "that fish", but with the second example adding a level of definitiveness that is not distinguished in English.

Swedish adjectives are inflected in two declensions: strong or wéak. This depends on the presence or absence of definite articles. In the strong declension they maké distinction between uter gender (en gammal man/kvinna, an old man/woman) and neuter gender (ett gammalt hus, an old house).

In the wéak declension, they have a general form (den/det gamla..., the old...) but can also take a particular masculine ending specific for males: den gamle mannen, the old man. The first variant of the wéak form is also used for all plurals.

Swedish pronouns are basically the same as those of English but distinguish four genders and have an additional object form, derived from the old dative form. Hon ("she") has the following forms in nominative, genitive, and object form:

hon - hennes - henne

Verbs are conjugated according to tense. One group of verbs (the ones ending in -er in present tense) have a special imperative form, though with most verbs this is identical to the infinitive form. Perfect and present participles as adjectivistic verbs are very common:

Perfect participle: en stekt fisk; "a fried fish"
Present participle: en stinkande fisk; "a stinking fish"

In contrast to English and many other languages, Swedish does not use the perfect participle to form the present perfect and past perfect tenses. Rather, the auxiliary verb "har", "hade" ("have"/"has", "had") is followed by a special form, called supine, used solely for this purpose (although sometimes identical to the perfect participle):

Perfect participle: målad; "painted" - supine målat, present perfect har målat; "have painted"
Perfect participle: stekt, "fried" - supine stekt, present perfect har stekt; "have fried"

The Past participle is used to build the compound passive voice, instéad.

In a subordinate clause, this auxiliary "har", "hade" is optional and often omitted.

Jag ser att han (har) stekt fisken; "I see that he has fried the fish"

Subjunctive mood is occasionally used for some verbs, but its use is in sharp decline and few spéakers perceive the handful of commonly used verbs (as for instance: vore, månne) as separate conjugations, most of them remaining only as set of idiomatic expressions.

The lack of cases in Swedish is compensated by a wide variety of prepositions, similar to those found in English. As in modérn German, prepositions used to determine case in Swedish, but this féature remains only in idiomatic expressions like till sjöss (genitive) or man ur huse (dative singular), though some of these are still quite common.

Swedish being a Germanic language, the syntax shows similarities to both English and German. Like English, Swedish has a Subject Verb Object basic word order, but like German, it utilizes verb-second word order in main clauses, for instance after adverbs, adverbial phrases and dependent clauses. Prepositional phrases are placed in a Place Manner Time order, like in English (and unlike German). Adjectives precede the noun they determine.

Vocabulary
The vocabulary of Swedish is mainly Germanic, either through common Germanic heritage or through loans from German, Middle Low German, and to some extent, English. Examples of Germanic words in Swedish are mus ("mouse"), kung ("king"), and gås ("goose"). A significant part of the religious and scientific vocabulary is of Latin or Greek origin, often borrowed through French and, as of late, English.

A large number of French words were imported into Sweden around the 18th century.  These words have been transcribed to the Swedish spelling system and are therefore pronounced quite recognizably to a French-spéaker. Most of them are distinguished by a "French accent", characterized by emphasis on the last syllable (much like an American would pronounce millieu). Examples: miljö ("millieu"), nivå (fr. niveau, "level"), fåtölj ("arm chair"), toalett ("toilet"), affär ("shop; affair"), etc.

Cross-borrowing from other Germanic languages is also common, at first from Middle Low German, the lingua franca of the Hanseatic league, later from standard German. Some compounds are translations of the elements (calques) of German original compounds into Swedish, e.g bomull from German Baumwolle, cotton (lit. tree-wool). Finland Swedish has a set of separate terms, often calques of their Finnish counterparts, chiefly terms of law and government.

New words are often formed by compounding, and, like many Germanic languages, Swedish compounds words freely and frequently; for example, nagellacksborttagningsmedel ("nail polish remover").  However, as in German or Dutch, very long, though quite impractical, examples like produktionsstyrningssystemsprogramvaruuppdatering ("production controller system software update") are possible but seldom this ungainly. Compound nouns take their gender from the head, which in Swedish is always the last morpheme. A very productive method for créating new verbs is the adding of -a to an existing noun, as in bil ("car") and bila ("to drive (recreationally)").

See also list of false friends between Swedish and English.

Sistim panulisan
The Swedish alphabet is a twenty-nine letter alphabet, using the basic twenty-six-letter Latin alphabet plus the three additional letters Å / å, Ä / ä, and Ö / ö constructed in modérn time from the habit of writing the later letter of ao, ae and oe on top of the former. These letters are not considered diacritic embellishments of any other characters and are sorted in that order following z. Prior to the reléase of the 13th edition of Svenska Akademiens Ordlista in April 2006, w was tréated as a variant of v used only in names (such as "Wallenberg") and foreign words ("bowling"), sorted and pronounced as a v. Diacritics are unusual in Swedish; é is sometimes used to indicate that the stress falls on a terminal syllable containing e, especially when the stress changes the méaning; occasionally other acute accents and, less often, grave accents can be seen in names and some foreign words. The letter à is used to refer to unit cost, equivalent to the at sign (@) in English.
German ü is considered a variant of y and sometimes retained in foreign names. A diaeresis may very exceptionally be seen in elaborated style (for instance: "Aïda").

The letters ä and ö can be the result of a phonetic transformation called omljud, equivalent to German umlaut, where a or å is softened to ä during conjugation (natt – nätter, tång – tänger), and o is softened to ö (bok – böcker).  This is far from the only use of these characters, however.  Additionally, for adjectives subject to omljud, u get softened to y (ung – yngre); this is never written ü. The German convention of writing ä and ö as ae and oe if the characters are unavailable is considered inappropriate for modérn Swedish; in the domain name system Swedish sites will typically be written a or o, based on visual similarity.

Tempo ogé
 Basa-basa di Swédia
 Basa-basa di Finlandia
 Common phrases in Swedish
 Mandatory Swedish
 Basa-basa minoritas di Swédia
 Swenglish

Catetan

Rujukan
 Bergman, Gösta (1968, 1970) Kortfattad svensk språkhistoria; printing "in Prisma Magnum" 1984; ISBN 91-518-1747-0
 Bolander, Maria (2002) Funktionell svensk grammatik ISBN 91-47-05054-3
 Dahl, Östen (2000) Språkets enhet och mångfald ISBN 91-44-01158-X
 Engstrand, Olle (2004) Fonetikens grunder ISBN 91-44-04238-8
 Elert, Claes-Christian (2000) Allmän och svensk fonetik ISBN 91-1-300939-7
 Garlén, Claes (1988) Svenskans fonologi ISBN 91-44-28151-X
 International Phonetic Association (1999) Handbook of the International Phonetic Association ISBN 0-521-63751-1
 Kotsinas, Ulla-Britt (1994) Ungdomsspråk ISBN 91-7382-790-8
 Ladefoged, Peter & Maddieson, Ian (1996) The sounds of the world's languages ISBN 0-631-19815-6
 Pettersson, Gertrud (1996) Svenska språket under sjuhundra år ISBN 91-44-48221-3
 Svensson Lars, (1974) Nordisk Paleografi, Studentlitteratur Lund ISSN 3683420;28
 Thorén, Bosse (1997) Swedish prosody
 Dagens Industri 2005-05-03
 Statistics Finland
 Kommmunerna.net (in Swedish)
 Nationalencyklopedin, articles svenska, du-tilltal, ni-tilltal, svenskbyborna
 Svenskbyborna  (in Swedish)
 US English Foundation, English in America: A Study of Linguistic Integration (Washington DC: US English Foundation, 2005, based on the 2004 US Census)

Tumbu luar

 Ethnologue report for Swedish
 Swedish Language Council
 Swedish Swadesh list in wiktionary
  Swedish Language Free Resource
 Danish and Swedish with sound files including Japanese translation

Sumber Primers and learning resources
 Swedish Language & Modern Culture
 Swedish 101 Léarn Swedish
 Swedish Language Tutorial at ielanguages.com
 An introduction to Swedish
 Swedish course by Björn Engdahl
 Ida — Non-commercial magazine for Swedish language and literature for beginning and advanced léarners of Swedish: Ida för svenska
 ALBIS Free tool for memorizing Swedish vocabulary.
 Danish and Swedish with sound files including Japanese translation

Kamus
 All free Swedish dictionaries
 Online dictionary  founded by the Swedish government
 The Swedish Schoolnet  Lexin - Swedish-English dictionary
 Swedish Dictionary from Webster's Dictionary

Fonétika
 Laryngograph recordings and resynthesis of different dialects of Swedish - Sound files that illustrate the differences between prosody in Scandinavian dialects

Literatur Basa Swédia nu bersejarah
 Digitally remastered Swedish imprints before 1700  from the webpage of the Royal Library in Stockholm
 Project Runeberg's digital facsimile edition of Nordisk familjebok, the definitive Swedish-language encyclopaedia of the late 19th and éarly to mid 20th centuries.

Basa di Swédia
Basa Swédia Finlandia
Basa di Finlandia
Basa Jérmanik Kalér

Basa Swédia


Robert Cedrick Baker, III (born March 14, 1976) is a former professional gridiron football player, most recently with the Toronto Argonauts of the Canadian Football League from 2004 to 2006 as a slotback and wide receiver. He is the older brother of the late Dante Anderson.

Early life
Baker played college football with the Auburn Tigers football team from 1995 to 1996, but was declared academically ineligible to play in 1997. His college career is most remembered by a first quarter touchdown pass he caught against Georgia in 1996. After the touchdown, Baker began celebrating near Georgia mascot, Uga V. The dog lunged at Baker, with the incident now captured in a famous picture.

In 1998, Baker began his life as a drug dealer. He was later arrested by police in Florida in an undercover drug sting, subsequently getting sentenced to 15 years in prison with a $50,000 fine.  Baker spent the next five months in a Lee County, Florida jail, then transferred to the state penitentiary. Eleven months after the transfer, Baker got his early release.

National Football League
Between 1999 and 2003, Baker was a member of the Miami Dolphins of the National Football League, spending equal time on the active roster, injured reserve, the practice squad or even being cut from the team before getting re-signed a year later. Baker has also played with the Frankfurt Galaxy of NFL Europe in 2003.

Canadian Football League
On March 16, 2004, Baker signed with the Argonauts.  In each of his first two seasons with the Argonauts, he had amassed over 1,000 receiving yards each time.  Baker also won a Grey Cup championship in his first year with the team, scoring a 23-yard touchdown reception.  Despite those achievements, Baker was also known for his inconsistent performances that featured either untimely dropped passes or fumbles after making his receptions.  Baker also developed a reputation as an undisciplined player with a rough attitude, most notably fights with two of his teammates. In 2004, Baker and linebacker Chuck Winters got involved in two separate fights which were later resolved with a handshake.  In 2005, a sideline fight between Baker and kicker Noel Prefontaine ensued on the sidelines during a game in Calgary.  On August 3, 2006, coach Pinball Clemons kept Baker from entering a game in the first half against the Montreal Alouettes for disciplinary reasons.  He was later released by the Argonauts on August 8, 2006.  He was claimed off waivers by the Winnipeg Blue Bombers on August 11, 2006 but did not report to the team.  On August 22, 2006, Baker announced his retirement from professional football to pursue a career in rap music under the recording name Shake Severs.

Prison sentence
Baker was stopped for a traffic violation in Georgia on January 20, 2013. Police say they found 59.5 grams of heroin and a semi-automatic pistol in his car. He pleaded guilty in October 2013  to federal heroin trafficking and firearms charges, and he was sentenced to six years and three months in prison.

External links
Pro-Football-Reference.com page
The Touchdown Maker
Sports Gambling: Robert Baker (from IUHoosiers.cstv.com)
MP3 of Robert "Shake Severs" Baker's rap song "Dear World"
DatabaseFootball.com profile

1976 births
Living people
African-American players of American football
African-American players of Canadian football
Auburn Tigers football players
Canadian football wide receivers
Canadian football slotbacks
Frankfurt Galaxy players
Miami Dolphins players
Toronto Argonauts players
21st-century African-American sportspeople
20th-century African-American sportspeople
Players of American football from Gainesville, Florida
Players of Canadian football from Florida

Robert Baker (gridiron football)


Moses Hadas (June 25, 1900, Atlanta, Georgia – August 17, 1966) was an American teacher, a classical scholar, and a translator of numerous works from Greek, Hebrew, Latin, and German.

Life

Raised in Atlanta in a Yiddish-speaking Orthodox Jewish household, his early studies included rabbinical training. He graduated from Jewish Theological Seminary of America (1926) and took his doctorate in classics in 1930. He was fluent in Yiddish, German, ancient Hebrew, ancient Greek, Latin, French, and Italian, and well-versed in other languages.

His most productive years were spent at Columbia University, where he was a colleague of Jacques Barzun and Lionel Trilling. There he bucked the prevailing classical methods of the day—textual criticism and grammar—presenting classics, even in translation, as worthy of study as literary works in their own right.

He embraced television as a tool for education, becoming a telelecturer and a pundit on broadcast television. He also recorded classical works on phonograph and tape.

His daughter Rachel Hadas is a poet, teacher, essayist, and translator. With his first wife, he had a son David Hadas (1931-2004), a professor of English and Religious Studies at Washington University; and Jane Streusand.

Hadas is credited with two celebrated witticisms:

- "This book fills a much-needed gap."

- "Thank you for sending me a copy of your book. I'll waste no time reading it."

Selected works
Sextus Pompey. 1930
Book of delight, by Joseph ben Meir Zabara; translated by Moses Hadas; with an introduction by Merriam Sherwood. 1932
History of Greek literature. 1950
History of Latin literature. 1952.
Greek poets. 1953
Ancilla to classical reading. 1954
Oedipus. translated with an introd. by Moses Hadas. 1955
History of Rome, from its origins to 529 A.D., as told by the Roman historians. 1956
Thyestes. Translated, with an introduction by Moses Hadas. 1957
Stoic philosophy of Seneca; essays and letters of Seneca.. 1958
Hellenistic culture: fusion and diffusion. 1959
Humanism: the Greek ideal and its survival. 1960
Essential works of Stoicism. 1961
Old wine, new bottles; a humanist teacher at work. 1962
Gibbon's The Decline and Fall of the Roman Empire, Modern abridgment, 1962Hellenistic literature. 1963Style the repository. 1965Heroes and gods; spiritual biographies in antiquity, by Moses Hadas and Morton Smith. 1965Introduction to classical drama. Foreword by Alvin C. Eurich. 1966Living tradition. 1967Solomon Maimon, an autobiography / edited and with a preface by Moses Hadas. 1975

Discography
During the fifties, Hadas recorded several albums of Latin and Greek works on Folkways Records.

 The Story of Virgil's Aeneid: Introduction and Readings in Latin (and English) by Professor Moses Hadas (1955)
 The Latin Language: Introduction and Reading in Latin (and English) by Professor Moses Hadas of Columbia University (1955)
 Plato on the Death of Socrates: Introduction with Readings from the Apology and the Phaedo in Greek & in English trans. (1956)
 Caesar: Readings in Latin and English by Professor Moses Hadas (1956)
 Cicero: Commentary and Readings in Latin and English by Moses Hadas (1956)
 Longus - Daphnis and Chloe: Read by Moses Hadas from His Translation (1958)

References

 External links
https://dbcs.rutgers.edu/all-scholars/8754-hadas-moses
"The Many Lives of Moses Hadas" by Rachel Hadas, Columbia University Alumni Magazine'', Fall 2001
 - Columbia University
Finding aid to Moses Hadas papers at Columbia University. Rare Book & Manuscript Library.

American classical scholars
1900 births
1966 deaths
Classical scholars of Columbia University
American literary critics
Greek–English translators
Yiddish-speaking people
Jewish Theological Seminary of America alumni
20th-century American non-fiction writers
Jewish American writers
American Orthodox Jews
Jewish scholars
Scholars of ancient Greek literature
Scholars of Latin literature
20th-century translators
People from Atlanta
Place of death missing
20th-century American Jews

Moses Hadas


Bow echo is a term for mesoscale convective system which is shaped like an archer's bow when shown on radar. Bow echoes are severe thunderstorms which carry straight line winds and are capable of creating extensive damage around the area affected. The term "bow echo" was first used right around 1978. Such storms often last around two to five hours.

Severe weather

ja:気象レーダー#ボウエコー

Bow echo


Kemplang is an Indonesian traditional savory fish cracker (krupuk ikan) snack commonly found in southern parts of Sumatra, Indonesia. Kemplang crackers are commonly made of ikan tenggiri (wahoo) or any type of Spanish mackerel, mixed with tapioca starch and other flavorings, sun-dried and then grilled or fried.

The shape of a kemplang is similar to Japanese senbei cracker. It is flat and round with whitish color, sometimes with dark burnt acquired from grilling process. Kemplang is usually consumed with a sour and spicy sambal chili paste.

History

The name kemplang derived from local Palembang language which means "to hit" to refer the process of flattening the krupuk dough. Kemplang was developed in coastal town in southern parts of Sumatra which traditionally includes South Sumatra, Bangka Belitung and Lampung provinces.

In Palembang, kemplang home industry is often linked to pempek industry, as both uses almost identical ingredients; wahoo fish and tapioca. Kemplang crackers are more likely to be fried in Palembang and Bangka, while in Lampung, kemplang crackers are commonly grilled on charcoal.

Kemplang is often sought as oleh-oleh (foodstuff gift or souvenir) by those who visited Palembang, Bandar Lampung, or Bangka. Today, kemplang made by home industries in southern Sumatra has been widely distributed, available in marketplaces and supermarkets in Indonesian cities, such as Jakarta, Bandung, Surabaya and Medan.

Production centers
Kemplang commonly produced by home industries in Palembang, Bandar Lampung, and Bangka island. In Palembang, the demands of kemplang cracker usually increased during lebaran (Eid ul-Fitr) holiday.

See also

Amplang
Pempek
Krupuk

References

Indonesian cuisine
Crackers (food)
Fish dishes
Palembang cuisine

Kemplang


LostAlone are a British rock band from Derby, England, formed in 2005. The band consists of Steven Battelle (lead vocals, guitar), Alan Williamson (bass guitar, backing vocals), and Mark Gibson (drums, percussion, backing vocals).

LostAlone have released four studio albums: Say No to the World (2007), I'm a UFO in This City (2012) and Shapes of Screams released on 7 April 2014. Their latest album, The Warring Twenties, was released on 30 September 2022.

The band have played headline tours in the UK and mainland Europe as well as regularly supporting notable artists such as My Chemical Romance, Thirty Seconds to Mars, Enter Shikari and Paramore. They have also made appearances at festivals such as Taste of Chaos, Give it a Name, Download, Reading, T in the Park, Oxegen and Rock am Ring. They received their first major award nomination when they were nominated for "Best British Newcomer" at the Kerrang! Awards in 2007.

In late 2021, the band announced they had been invited by My Chemical Romance to join them for a set of stadium shows which took place at Stadium MK (Milton Keynes, England), Sophia Gardens Cricket Ground, Cardiff and the Eden Project, Cornwall. These landmark events commenced in May 2022 after a two-year postponement due to the COVID-19 pandemic.

The band have announced a UK mini-tour which will take place December 2022.

History

2005–2008: Formation and Say No to the World
Singer guitarist Steven Battelle and drummer Mark Gibson formed LostAlone with bassist Tom Kitchen in 2005 after disbanding their previous band Intentions of an Asteroid. Battelle and Gibson then created their own label, Scorpia, to represent their new band and to handle the production and distribution of their subsequent releases. The band's debut album, Say No to the World, was released on 11 March 2007. It received positive reviews from critics. and spawned three singles, "Blood is Sharp", "Unleash the Sands of All Time", and "Elysium".

2009–2013: I'm a UFO in This City
LostAlone signed to U.S. label Sire Records in December 2009, after spending the majority of the year writing the follow-up to Say No To The World. During May 2010, the band recorded in Los Angeles with acclaimed producers Jacknife Lee and Greg Wells, executive producer Gerard Way of My Chemical Romance, and engineers Alan Moulder, and Mark Needham. The band released "Paradox on Earth" as a free download ahead of the album on 13 February 2011. Due to changes in personnel, LostAlone were released from their contract and given the commercial and creative rights to their album, I'm a UFO in This City which was later released on 5 March 2012 on Graphite Records to universal acclaim:

  "…  it can only be a matter of time before this unabashed explosion of deadly hooks, dirty riffs and lighter aloft ballads regularly sell out stadiums." 8/10 NME
 "LostAlone understand that it's about bombast, being ridiculous and pushing your act, attitude and amps up to 11." KKKK Kerrang!
 "Breathtaking Queen style harmonies and classic metal bite." Classic Rock
 "Big, bombastic and littered with choruses the size of Jupiter." Rock Sound
 "Complex, ambitious, brave, inspiring, exciting, interesting, boundary breaking…LostAlone are one of the most exciting bands the UK has to offer." 10/10 Ourzone

The band released five of the album's songs as singles in 2012: "Do You Get What You Pray For?", "Love Will Eat You Alive", "Paradox on Earth", "Vesuvius", and "Creatures". Their second single, "Love Will Eat You Alive" was released on 1 April 2012, being added to the BBC Radio 1 playlist and receiving praise from notable radio presenters such as Fearne Cotton. The third single, "Paradox on Earth" was released on 10 June 2012 and again received support from stations such as BBC Radio One, Kerrang! Radio, MTV Rocks, Scuzz and XFM. In July 2012, the band gave away a free demo track titled "Everybody Dies But the World's Still Turning". On 16 December 2012, the band released "I Want Christmas Always", a Christmas themed single which received a 4K review in Kerrang! magazine.

At the end of 2012, Kerrang! named I'm a UFO in This City as the 29th best album of the year. The website The Digital Fix added to the band's end of year accolades by placing the album in their albums of the year and Matt Stocks from Kerrang! Radio named "Creatures" as his track of the year.

The band's global presence increased in 2013 with Alternative Press naming them as of the 101 bands to look out for. I'm a UFO in This City saw a release in North America on 2 April 2013 on The End Records. The band ended the year by releasing "The Bells! The Bells!!" on 11 November 2013, the first single from their upcoming studio album.

2014: Shapes of Screams
LostAlone officially announced their third studio album, Shapes of Screams on 13 February 2014. Released on 7 April 2014 on Graphite Records to critical acclaim including a 5K (5/5) review in Kerrang! magazine.

"Shapes Of Screams is an album filled with first-kiss adrenaline, heart bursting happiness, life-affirming air-guitar moments and demented genius that will leave you delighted for hearing it" 5/5 Kerrang!

"That LostAlone aren't Bon Jovi-massive yet is a source of consternation." NME

"A fearless and absorbing work, it's likely to be the finest rock album you'll hear this year." The Digital Fix

"Shapes Of Screams proves a continuation of their non-existent sonic boundaries." Indulge Sound

"LostAlone continue their quest to resurrect epic, almost ridiculous, grand rock on album three." Total Guitar

"If I could only make one bold proclamation about music this year, it is this: LostAlone are the most underrated band in the world. Of all time"  Alternative Press

On 15 October 2014 the band announced that they were to split after completing the rest of their European tour and two UK shows in London and their home town of Derby on 19 December. The band stated that; "unfortunately for us events have transpired that make it impossible right now for us to continue the band we love" before thanking fans for their support.

2022: The Warring Twenties
LostAlone released their fourth studio album, The Warring Twenties on September 30, 2022 (via Dharma Records). The 10-track album, written and recorded in London, Derby, Nottingham and New York features the reformed band following their six year hiatus. Kerrang! magazine enthusiastically reviewed the album, noting the significance of band's return, gaving the album a 4/5 review, stating "LostAlone are here with flaming guitars, the biggest shades you've ever seen, and a fistful of tickets to Paradise. Welcome back. Not a moment too soon." In a separate feature article, Kerrang! journalist Nick Ruskell hailed frontman Steven Battelle as a "songwriting genius". Lostalone will tour the album across the UK in December 2022.

Musical style and influences
Steven Battelle has described the band to be influenced by anything with a pulse and a melody although bands he has referred to more than once have been Queen, Guns N' Roses, Iron Maiden, Mansun, Pink Floyd, Weezer and Beach Boys Whilst none of these are particularly prevalent in the band's overall sound, there are subtle nods to these bands both musically, lyrically and dynamically in the band's music.
Battelle (songwriter) in particular, embodies the energy and direction of the band. A versatile vocalist and guitarist, he has developed a unique stage style and aesthetic which has grown to include alternative slide guitar techniques, push-ups on stage mid-song, handing out custard creams, and the inimitable, crowd-pleasing 'flip-catch-guitar-solo-with-shoe' move. The band's style combines fast, heavy riffs with slower, melodic sections and strong vocal harmonies to create a sound that cannot be easily pigeonholed, it sits somewhere within the rock/alternative scene.

Touring
LostAlone have toured extensively across the UK and Europe, supporting several bands, most notably Thirty Seconds to Mars, Enter Shikari, Paramore and My Chemical Romance. They have also constantly toured the UK and Europe as a headline act in between supporting more established acts mentioned above. Their first ever show was in Derby on 30 January 2005. The band have also appeared on numerous high-profile European festivals including Taste of Chaos, Give it a Name, Download, Rock am Ring, Rock im Park, T in the Park, Oxegen and the Carling Weekend. They have had one headline tour which was in support of their debut album, Say No To The World. In 2008 started with a five-date headline tour of Finland with Wiidakko, then main support to 30 Seconds To Mars in the UK. In February the band again toured with Paramore after which they announced that they would take a break from touring and return to the rehearsal room to write their second record. The band toured as the opening act for Thirty Seconds to Mars on their European 2010 Tour and have recently supported My Chemical Romance on their 2011 UK arena tour along with The Blackout, throughout February. In April 2011, they also toured with My Passion  throughout the UK. In February 2012 LostAlone began a 35 date tour as support (along with Mojo Fury) for InMe, followed by a sold-out headline show in their hometown of Derby on 7 April at The Victoria Inn, before embarking on a headline European tour, this time with InMe as their support. Five more UK headline dates in May were announced at the start of April.
The band return to mainland Europe in September for a string of shows with Australian band Tonight Alive, the tour then returns to the UK travelling up and down the country.

In November 2012, the band played four arena shows in support of Evanescence along with The Used. The 4-date tour visited Nottingham, Manchester, Birmingham and London.

In December 2012 the band played their biggest ever hometown show at the Assembly Rooms in Derby, the show gained a double page 5K review in Kerrang the following issue, the highest rating possible.

February 2013 the band embarked on a UK headline tour, the band played eight shows around the UK ending in London. The day after the tour finished, the band announced it would be travelling to the US in March to play the legendary South By South West Festival in Austin Texas.

In November/December, the band embarked on a five-week tour with The Darkness, finishing with a hometown Derby headline show.
January 2014 saw the band played main support to The Blackout on their UK rescheduled tour dates. Shortly after the tour finished the band announced a headline run in April to coincide with the release of their new album.
March 2014 sees the band Headlining the Big Deal stage at Takedown festival and also appearances at Radstock festival at the end of the month.
They played a live set in the That's Entertainment store in Derby on 12 April for the release of 'Shapes of Screams'.
UK tour in April which received more critical acclaim including a KKKKK 5/5 review for the Manchester show in Kerrang!

The band spent the summer of 2014 on the festival circuit including sonisphere Merthyr Rocks and many more than into a European tour beginning in Madrid and ending in Berlin.

In December 2022, the band will tour the UK in support of their latest album The Warring Twenties.

Exposure and Press
Following and in support of the release of the singles "Blood Is Sharp", "Unleash The Sands Of All Time" and "Elysium" the band have received significant national and international press interest, most notable being support from Bruce Dickinson (of Iron Maiden) on his BBC Radio 6music rock show. Following an interview on the show, Bruce listed the band in his top 5 singles of 2006. and has regularly played the various singles on his show. Zane Lowe has also regularly included the band on his evening radio show on BBC Radio 1.

The music videos for the singles "Blood Is Sharp" and "Unleash The Sands Of All Time" have been in rotation on many music channels across Europe / UK, including MTV, VH1, and Scuzz.Some high-profile bands have declared support for the band by mentioning them frequently in interviews around the world, including all members of My Chemical Romance,  Gerard Way, Hayley Williams, Jared Leto, and Bruce Dickinson. The band were nominated for Best British newcomer at the 2007 Kerrang! Awards which they attended.
Since the release of the first single 'Do You Get What You Pray For?' from their new album, the band have been gaining huge support from the music press and radio. The first single received  'Single of the Week' status on both Kerrang Radio and XFM, plus Radio One's Zane Lowe showed big support to the track playing it every week. The video also gained 'Video of the week' on Kerrang TV and has stayed in the Hot Rock top 20 for weeks. Scuzz TV also play-listed the video and championed the band.

Single "Love Will Eat You Alive" was placed on the Radio One "In New Music We Trust" playlist, and has had frequent airplay by several Radio One DJs including Fearne Cotton and Scott Mills. In an interview with Rock & Rose, singer Steven Battelle expressed surprise at this level of mainstream exposure:  "Being play-listed on Radio 1, that's huge. You get spot plays on the evening shows but now we're proper daytime radio and that's not something that I thought would happen with our band, not straight away anyway."

Pre release the hype surrounding the artistic quality of Shapes of Screams was talked about by many contemporary bands using the social networking site Twitter to show support for the record.

Steven Battelle became a permanent fixture in Kerrang! being featured in almost every issue since 2012 with highlights including 92% on the Ultimate Rockstar Test and being named as the 26th Greatest rockstar living in the world today where he appeared on the cover.

Band members
Final line-up
 Steven Battelle – lead vocals, guitar, (2005–present)
 Mark Gibson – drums, backing vocals (2005–present)
 Alan Williamson – bass, backing vocals, (2009–present)

Former members
 Tom Kitchen – bass (2005–2009)

Discography

Awards and nominations
Kerrang! Awards

|-
|align="center"| 2007 || LostAlone || Best British Newcomer ||
|-

References

External links

Official forum

English rock music groups
Musical groups established in 2005
Warner Records artists
Musical groups disestablished in 2014
English musical trios
English post-hardcore musical groups
Sire Records artists

LostAlone


A mobile station (MS) comprises all user equipment and software needed for communication with a mobile network.

The term refers to the global system connected to the mobile network, i.e. a mobile phone or mobile computer connected using a mobile broadband adapter. This is the terminology of 2G systems like GSM. In 3G systems, a mobile station (MS) is now referred to as user equipment (UE).

In GSM, a mobile station consists of four main components:

Mobile termination (MT) - offers common functions such as: radio transmission and handover, speech encoding and decoding, error detection and correction, signalling and access to the SIM. The IMEI code is attached to the MT. It is equivalent to the network termination of an ISDN access.
Terminal equipment (TE) - is any device connected to the MS offering services to the user. It does not contain any functions specific to GSM.
Terminal adapter (TA) - provides access to the MT as if it were an ISDN network termination with extended capabilities. Communication between the TE and MT over the TA takes place using AT commands.
Subscriber identity module (SIM) - is a removable subscriber identification token storing the IMSI, a unique key shared with the mobile network operator and other data.

In a mobile phone, the MT, TA and TE are enclosed in the same case. However, the MT and TE functions are often performed by distinct processors. The application processor serves as a TE, while the baseband processor serves as a MT, communication between both takes place over a bus using AT commands, which serves as a TA.

See also
 GSM procedures
 Radio station
 Radiocommunication service

References

Mobile telecommunications user equipment
Telecommunications equipment
Telecommunications infrastructure
3GPP standards

Mobile station


The Bad Beginning is a book by Lemony Snicket. It is the first book in a series called A Series of Unfortunate Events. The book was released in 1999.

Plot

Violet, Klaus and Sunny Baudelaire were enjoying a day at Briny Beach. Mr. Poe, a banker and friend of the family, went to the beach to them that their parents had died in a fire which also destroyed their home. Mr. Poe is the executor of the Baudelaire fortune. It is his responsibility to put the children with a guardian and take care of their money until Violet turns eighteen (the legal age to handle money).

The Baudelaire children were taken to their new guardian Count Olaf. Olaf is a distant relative of the children. He works as an actor. On their way, they met Justice Strauss. Strauss is a kind and friendly judge who lives in the house next to them. She tells the children that they are welcome in her home anytime, which has a library in it. Count Olaf is a very cruel, filthy man. He has one long eyebrow and a strange tattoo of an eye on his left ankle. Olaf lives in a dirty musty house. Most importantly, he only adopted the children to get their money. He constantly made them do chores and other things, while only giving them with one bed to sleep in. Count Olaf also refers them as "orphans" instead of "children".

Olaf's theatre troupe was coming to his house that night to practice. Olaf told the children that they had to make dinner for everyone. There was no food in the house, so the children went to the marketplace with Justice Strauss to buy the ingredients for Pasta Puttanesca. Count Olaf complained that he wanted roast beef but he had never told them this. He became very mad and hit Klaus across the face. The children went to Mr. Poe at his bank in order to get help. Mr. Poe told them that Olaf may raise them however he wants. He then called Olaf to tell him of the Baudelaires' visit. When they got back to their home, Olaf told the children that he was sorry. He also told them that they would be in an upcoming play, called The Marvelous Marriage written by Al Funcoot. Olaf would play the groom, Violet would be the bride, and Klaus and Sunny would be people in the audience.

The children spent the day at Justice Strauss's home. While Violet and Sunny were helping in the garden, Klaus was reading law books in the library. He took a book on nuptial law out of the library with him when they return home. Klaus spent the entire night reading about how they could stop Count Olaf's plan to get their money. He learned that two people can be married if they sign a document and say their wedding vows in the presence of a legal judge. Olaf planned to marry Violet during the play to get control of the money. When Klaus talked to Count Olaf about this, he only smiled and laughed. Klaus ran to wake up his sisters but Sunny was not there. Violet and Klaus followed Olaf outside. They learned that Sunny was being held inside a birdcage at the top of the tower.

Count Olaf told them that one of his henchmen had kidnapped Sunny while they were sleeping. He warned them that if they did not do what he told them to do during the play, the cage will be released and Sunny would fall to her death. That night, Violet made a grappling hook to reach the top of the tower but she was kept captive with Klaus until the play began.

The play was performed. Olaf stopped it after the wedding scene to say that he and Violet were now married. Justice Strauss said that Violet could not marry because she was not old enough. Olaf said that she could be married if her parent or guardian allowed it. As her guardian, he allowed to get married. Sunny was returned to them. Violet said that she was right-handed but signed the document with her left hand. Judge Strauss said that this made the marriage not legal. Olaf escaped when one of his henchmen turned off the theater's lights. Just as Violet was about to turn the lights back on, Olaf quietly said that he would always be after them, and that when he got their fortune, he would kill them with his own hands. Justice Strauss was willing to adopt the Baudelaires, but Mr. Poe told her that their parents' will said a relative must care for them. They got into Mr. Poe's car and it drove away as Justice Strauss waved goodbye.

Other websites

A Series of Unfortunate Events
1999 books
American novels

The Bad Beginning


El Muerto (also called The Dead One, El Muerto: The Dead One, The Dead One: El Muerto, or The Dead One: An American Legend) is a 2007 movie. It was made from the story of the comic book superhero El Muerto. It was written and directedby Brian Cox (director). Wilmer Valderrama starred as the main character, El Muerto/Diego de la Muerte. Also starring were Angie Cepeda as Diego's girlfriend, Joel David Moore as Diego's best friend, and Billy Drago played as the bad guy. The movie tells the story of Diego de la Muerte, a 21-year-old Mexican-American who is sacrificed by the Aztec gods of death and destiny to fulfill an ancient prophecy. The movie is rated PG-13 for violence and some disturbing images. The movie premiered on March 1, 2007 and was released on DVD September 18, 2007. It won the Best Feature Film Award at the first Whittier Film Festival in 2008.

Story
At the start of the movie, a young Diego is crossing illegally in to the United States from Mexico. Along the way, he meets an old Aztec man who tells him about a shortcut across a river. Before they get there, the old man performs an ancient ritual to the Aztec god of sacrifice and dies. Diego is then left alone at the river. Ten years later, Diego is living in East Los Angeles, California. He has a girlfriend Maria Somera and lives with his best friend Zak Silver. Maria's uncle, a priest of a local church does not like Diego's sympathy for the Aztec religion. This usually causes Diego and Maria to meet in secret. When a local Dia de los Muertos ("Day of the Dead") festival is to take place, a celebration with Aztec roots, Diego becomes excited. He dresses as an undead Mariachi with the traditional facepaint. Unfortunately, he has to go alone because both Zak and Maria are busy the night of the celebration. While driving to the festival, Diego's car crashes and he is killed. He later wakes up in Mictlan, the Aztec land of the dead. There he is sacrificed in an ancient ritual by the god of death and sent back to the land of the living a year after his death. He later learns that the old gods want to rule their world again. Three sacrifices representing the Church that took away their power must be made. This puts Maria's life is at risk because she is a descendent of one of the first churches in Mexico. Now Diego must fight against the gods that made him to save the woman he loves.

DVD release
The movie was released straight-to-DVD by Echo Bridge Entertainment on September 18, 2007. The movie was called "El Muerto" but it was re-titled "The Dead One" for the original DVD release. It is going to be released as "El Muerto" in the future. Special features included seven drawings by guest artists, commentary with director Brian Cox and Javier Hernandez, an art tutorial, the original comic book, three featurettes, a Spanish language track, and a DVD-ROM feature. In the DVD case is are 2 wash-and-wear tattoos and a collectible mini-comic created for the DVD.

References

Other websites
Official MySpace site

2007 movies
American superhero movies
American independent movies

El Muerto (movie)