text:
Talk:Car Talk

Vandalism
I've reversed the edit by 111.69.234.134 on 31 October 2010 that added the comment "Following the removal of speed limits in Montana, the two made hysterical denunciations of the reasonable choices of traffic engineers in that state." — Preceding unsigned comment added by Meservy (talk • contribs) 09:15, 27 December 2010 (UTC)

graduation
According to The Cartalk FAQ, "Tommy graduated with a degree in Chemical Engineering, class of 1958. Ray barely graduated with a degree in General Science. He was MIT class of '70... '71... and '72." Clearly there's some jesting going on with the FAQ, but I'd believe the official FAQ's version of what degrees they earned over "humanities" and "economics" which as far as I know had never been confirmed and may have been jokes in the first place. --ABQCat 06:12, 12 Oct 2004 (UTC)

Doug Berman biography

copyright for credits?
The list of (humorous) credits seems to be from the cartalk web page http://www.cartalk.com/content/about/credits/credits.html. Is this fair use?
 * I would argue that this particular list may not be, however, what if I were to listen to the radio program (broadcast on the public airwaves) and transcribe the list of credits read at the end? I think at that point, you start pushing the limits of fair use.  Cartalk would own the copyright to the list, but it's fair use to list the credits as read on-air.  --ABQCat 01:34, 3 Apr 2005 (UTC)

 * The broadcasts are also copyrighted. Being broadcast over "public airwaves" in no way diminishes the copyright of the owners of that content. If you list a few examples of the the credits as a representative sampling, THAT might qualify as fair use, but using the entire listing, whether taken from the website or transcribed from a broadcast would be a bit more difficult to justify as fair use. older ≠ wiser 03:12, Apr 3, 2005 (UTC)

 * Personally I think that talk of copyright is ridiculous in this case as it is billed as "credits", regardless of whether they are fictional or not. We certainly wouldn't claim that an alphabetically ordered list of characters from "The Simpsons" was subject to copyright restrictions such that it would be unlawfull to reproduce it. Furthermore the effect of this is most likely beneficial to the ostensible holder of the copyright, and not for profit, which heavily leans this publication towards fair use. Furthermore the website suggests that it is listeners who submit the names for the credits, and thus cartalk has no claim on copyright, and submitters acknowledge permision of use by submitting. Nevertheless I have emailed "Car Talk" and will have explicit permission probably within a day or two. Certainly Bkonrad could have done the same instead of yanking it.
 * Catskul 03:31, 2005 Apr 4 (UTC)
 * This was an interesting convo 13 years ago, but it rather missed the point. The impediment to reproducing the credits wasn't a copyright issue, it was that without a reliable third-party source for the information the inclusion constitutes original research. Anything personally experienced by a Wikipedia editor that can't be sourced to an impartial observer is original research. Using the credits as listed on the website is using a primary source. Copyright only becomes an issue here if you are trying to claim their words as your own. Canonblack (talk) 14:30, 23 September 2018 (UTC)

Video of Car Talk guys
There is a free video of Car Talk guys that I put on some of the hydrogen related pages. I have never seen a TV show about them even after hearing them on the radio for so long. I'm putting this link here so you too can see what they long like and maybe learn a little about hydrogen cars:
 * NOVA scienceNOW - A 14 minute video of the NOVA broadcast about hydrogen fueled cars that aired on PBS, July 26, 2005. Hosted by Robert Krulwich with guests, Ray and Tom Magliozzi, the Car Talk brothers. -Hyad 07:44, August 2, 2005 (UTC)

Pronunciation thingies
I always thought I heard a slight "r" sound in the word "Tappet", so it sounds a little like "tar pit". Makes a little more sense. « alerante ✆ ✉ » 15:01:58, 2005-08-20 (UTC)
 * They've got a pretty thick Boston accent, but it is indeed "Tappet." The copyright notice from their website:
 * CAR TALK, DEWEY, CHEETHAM & HOWE, SHAMELESS COMMERCE, and WARPED DISCS and are registered trademarks of Tom and Ray Magliozzi and/or Tappet Brothers Associates d/b/a Dewey, Cheetham & Howe.

A 'tappet' is a rocker arm...part of the valve train in a car engine. It's a word that is falling into disuse - but this is certainly what Click & Clack are referring too. Furthermore, I would speculate that since poorly adjusted tappets make 'clicking and clacking' noises, that this explains the whole "Click and Clack the Tappet Brothers" thing. SteveBaker 18:16, 26 February 2006 (UTC)

I live near Cambridge and I noticed this window in Harvard Square that says "Dewey, Cheetham & Howe." I think it is their office for the radio show or something because I looked it up in the phone book and they gave me a phone number and an address in Harvard Square. I called it and I got an answering machine with them on it. I just thought you guys would like to know this, they aren't lying when they say they have an office in Havard Square. BenWhitey 01:01, 11 January 2006 (UTC)

I live in the Boston area, and it sounds to me like they've totally lost their Boston accent. In fact, I noticed that all hosts on WBUR programs speak with that neutral Standard American Broadcasting English. I'm almost certain that they got trained in the standard, when the show went national. I and most of my relatives still have a heavy Boston accent, so I can tell the difference.

Speaking of pronunciation, I question the spelling pun names in this article. I hear "Marge N. O'Vera" and "Heywood U. Buzzoff." —Preceding unsigned comment added by 76.199.139.77 (talk) 20:26, 21 February 2011 (UTC)

Theme song
According to this page on NPR.org the composer of the theme song is BJ Liederman, not David Grisman. Car talk's web site states David Grisman is the composer as stated in the article and does not mention BJ Liederman. While I listen to the show fairly regularly it's hard to say who is behind the music. Can anyone with more knowledge than me clarify? JohnCub 13:33, 20 February 2006 (UTC)
 * I think the theme song is taken from Dawgy Mtn, but I could be wrong. That is, Grisman wrote the song and Liederman arranged it? Or did the song used to be different? I used to never pay attention to the show, so I only have a clear memory of the song from the last 7 years. -- Ipstenu ( talk | contribs ) 15:35, 8 June 2006 (UTC)
 * I've seen the same discrepancy and either they used to have an NPR theme song (BJ does NPR themes, not bluegrass) and now use Dawgy Mtn, or they are just wrong and nobody's bothered to fix it. The mandolin song at the beginning is definitely Dawgy Mountain. Gaviidae 14:37, 24 June 2006 (UTC)
 * Update, BJ does the music for "Stump the Chumps."  and the bluegrass is Grisman.  This link also talks about two other songs which I don't think I've heard: a Randy Newman song and a song called "Plastic Banana." Gaviidae 08:36, 26 June 2006 (UTC)

Good News Garage
I believe only Ray is involved with the day-to-day operation of the Good News Garage, while Tom's day job is consulting. Somebody please verify.
 * I recieved the Best and Second Best of Car Talk, a double CD, after donating to NPR. It states inside the cover that indeed only one of them still runs the garage-- I can't remember which one, but I thought it was Raymie. Gaviidae 14:38, 24 June 2006 (UTC)

Puzzler guy
What happened to the guy who developed many of the puzzlers. They thought he was dead but then his son came on and said he was still alive. --Gbleem 01:45, 25 May 2006 (UTC)

 * Martin Gardner (but he was never affiliated with the show). AnonMoos 20:24, 11 June 2006 (UTC)

 * Like Generalissimo Francisco Franco, Martin Gardner is still dead. —Preceding unsigned comment added by 69.171.176.234 (talk) 10:37, 19 July 2010 (UTC)

Early history & interlude music
As I recall, when the show was originally produced at WBUR, the Puzzler was started in order to assess the listening audience size. It also provided a way to publicize The Good News Garage, which was announced as the mailing address for responses. Furthermore, in the mid-80s I think, listeners were invited to mail in car-related songs and music, which were then used to introduce the half-time break.

Apparently, these measurements of audience size led to the decision to establish the program as a more substantial business, and its transition away from WBUR to a separate production company independent of of the station. Any thoughts on how to verify this?? JXM 19:34, 17 June 2006 (UTC)

 * Phone up and ask? SteveBaker 21:04, 17 June 2006 (UTC)
 * I think that would count as publishing original research (see WP:NOR), unless the org. change is reliably documented somewhere. JXM 01:03, 18 June 2006 (UTC)

canned laughter / editing?
What is the point of the paragraph about adding laughter via loop? The program is clearly edited like any other professionally produced radio show. Barring any specific detail about the production of the show (like when (and where) it is taped, when it airs, etc) it sounds less like an impartial statement of fact and more like an editorial comment. You'd might as well say "the jokes are regardess as funny by some listeners, but recognized for what they really are by smarter people."

On the same topic, has anyone seen or heard any background info on the production details? I'm curious about how (periodically) someone like a Magliozzi family member or an MIT "friend of the show" will call in seemingly in response to a comment made on the air earlier in the same show.

1963 Dodge Dart and citation
The "1963 Dodge Dart" joke has been mentioned hundreds of times over the years. Is the citation needed for this or just the "Dartre" part? BTW, this should cover the first part: http://www-tech.mit.edu/V114/N42/cartalk.42n.html --Og-emmet 16:31, 21 November 2006 (UTC)

Sponsorship?
Though the article says that listeners are encouraged to write the answers to Puzzler questions "on a $20 bill" or on nonexistent objects, lately the trend seems to be to suggest REAL objects -- typically expensive power tools -- complete with detailed descriptions of the features of those products. I have often wondered whether this is a form of sponsorship of the show, where companies pay to have their products described. Does anyone know? 71.198.65.9 17:53, 8 April 2007 (UTC)

 * I haven't listened to the full show within the past few months, but I think they gave both the monetary and object options. — AnnaKucsma   (Talk to me!) 16:04, 12 April 2007 (UTC)

Fair use rationale for Image:Car Talk.gif
Image:Car Talk.gif is being used on this article. I notice the image page specifies that the image is being used under fair use but there is no explanation or rationale as to why its use in Wikipedia articles constitutes fair use. In addition to the boilerplate fair use template, you must also write out on the image description page a specific explanation or rationale for why using this image in each article is consistent with fair use.

Please go to the image description page and edit it to include a fair use rationale. Using one of the templates at Fair use rationale guideline is an easy way to insure that your image is in compliance with Wikipedia policy, but remember that you must complete the template. Do not simply insert a blank template on an image page.

If there is other other fair use media, consider checking that you have specified the fair use rationale on the other images used on this page. Note that any fair use images uploaded after 4 May, 2006, and lacking such an explanation will be deleted one week after they have been uploaded, as described on criteria for speedy deletion. If you have any questions please ask them at the Media copyright questions page. Thank you.BetacommandBot 06:14, 2 June 2007 (UTC)

fact?
"In May 2007, the program, which had only previously been available digitally as a paid subscription from Audible.com, became a free podcast distributed by NPR after a two month test period where only a 'call of the week' was available via podcast."

This can't be true -- I listened to this show for free online (which is obviously "digitally") going back to 2001, maybe 2000.

Maybe it wasn't available in *podcast* form before 2007?

69.3.238.172 08:43, 7 October 2007 (UTC)

Case for separating end credits
The Car Talk Official Staff Credits (seen here) run to several pages. My personal opinion is that some of them require explanation, especially for readers or listeners whose first language is not American English, are not regular listeners of NPR, younger than thirty years of age, etc. I would like to create a separate article listing and annotating the entire list, with links to referenced persons, explanations of idiomatic expressions, and links to people associated with unusual names, e.g. Clare Booth Luce for Turner Luce. Cstaffa (talk) 16:59, 8 March 2008 (UTC)

 * I'm in favor Catradar (talk) 07:30, 13 April 2008 (UTC)

Bias?
Suggestion to add something to the effect that Car Talk is the greatest radio program in the history of the world. I have no verifiable, third-party reference to support this, but I'd be glad to post such references somewhere else on the web and site them in the article.

Thoughts? (Gwopy (talk) 22:47, 22 September 2008 (UTC))

"Strong Boston Accent"?
They certainly don't have a stereotypical "Pahk the Cah in Hahvahd Yahd" or Kennedy-Quimby family accent; I doubt whether many people without first-hand Boston experience would be able to identify them as being from Boston based on their speech patterns alone... AnonMoos (talk) 00:55, 4 October 2008 (UTC)
 * Actually, that's "Pahk the Car in Hahvid Yahd." The 'r' in car is pronounced because it comes before a vowel in the following word. The 2nd 'a' in Harvard is unstressed, so it becomes a sound close to short 'i'.Bostoner (talk) 00:47, 9 December 2009 (UTC)
 * As a west coast person, I think they definitely sound at least New England, if not Boston accented. 24.21.10.30 (talk) 19:35, 23 March 2009 (UTC)
 * I think they are about as Boston-accented as it comes for people who have college degrees. Softlavender (talk) 04:11, 19 July 2009 (UTC)
 * Why would a college degree change your regional dialect? I have a degree and a key, and I have a very noticeable Boston accent.Bostoner (talk) 00:47, 9 December 2009 (UTC)

Are they back live on the air again?
I had understood that the Car talk guys had retired, as it says in this article. But when I look at the Car Talk web site, it lists the date that shows were first broadcast, and there are dates in 2013 and 2014. Furthermore, they still broadcast the call-in number. Wouldn't they have a disclaimer or something to say that the number no longer works? Davidb0229 (talk) 16:45, 25 January 2014 (UTC)
 * They're definitely still doing the show (I listen every week), but I can't find any RS saying "Hey, they're back!"...-- Brainy J  ~ ✿ ~ ( talk ) 15:49, 6 February 2014 (UTC)
 * As the article already states, the current broadcasts are recompilations of previous segments from the archives. Also, @Davidb0229, I'm not sure why you think it'd be necessary to state that the call-in number no longer works. In my part of the world anyway, the outgoing msg simply directs callers to the various website resources. Is that not the case elsewhere? jxm (talk) 18:18, 6 February 2014 (UTC)

re-mixed shows continue to be produced and broadcast
Please add more details to the article about the production and broadcast of the ongoing re-mixed shows (as of the end of 2015).

These are sort of re-runs, yet not at all plain ordinary traditional simple re-runs. These are a small taste of the coming media future of famous people living on indefinitely in an eerie, ghostly way. Past recordings, including material never before broadcast, are being expertly re-mixed, perhaps with current fresh contributions from Ray, such that even tho the listeners know that Tom has been dead for years, it seems vividly that he is still here with us now, happily cackling away...

How are these shows produced, how are listeners experiencing this, what do media critics think, what other shows are moving in this direction, what is the technology and legal structure for keeping actors alive after death?-71.174.188.32 (talk) 18:48, 26 December 2015 (UTC)

Third Half
I'm fine with "Third Half" redirecting to this Car Talk article; I think the boys would be proud to make such an important contribution to our culture...

But it seems to me that folk not already familiar with the connection/explanation might be puzzled. Should there be more of an explicit linkage between the topnote and the relevant content, for the perplexed?-71.174.188.32 (talk) 18:57, 26 December 2015 (UTC)

External links modified
Hello fellow Wikipedians,

I have just added archive links to 3 one external links on Car Talk. Please take a moment to review my edit. If necessary, add after the link to keep me from modifying it. Alternatively, you can add to keep me off the page altogether. I made the following changes:
 * Added archive http://web.archive.org/web/20140912074149/http://shop.npr.org/wear/clothing/car-talk-unencumbered-latin-t-shirt to http://shop.npr.org/wear/clothing/car-talk-unencumbered-latin-t-shirt
 * Added archive http://web.archive.org/web/20070403211725/http://www.cartalk.com:80/content/faq/faq-straight.html#17 to http://www.cartalk.com/content/faq/faq-straight.html
 * Added archive http://web.archive.org/web/20110725155344/http://articles.boston.com/2011-03-29/ae/29360749_1_wizard-bitterness-magliozzis to http://articles.boston.com/2011-03-29/ae/29360749_1_wizard-bitterness-magliozzis

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External links modified
Hello fellow Wikipedians,

I have just modified 2 one external links on Car Talk. Please take a moment to review my edit. If you have any questions, or need the bot to ignore the links, or the page altogether, please visit this simple FaQ for additional information. I made the following changes:
 * Corrected formatting/usage for http://www.google.com/hostednews/ap/article/ALeqM5jOCGFHXdRDFYjEtqQss6Z1jiCmtg?docId=a86195c0202f48b7962a89b1807dbd4f
 * Added archive https://web.archive.org/web/20120713071358/http://www.cartalk.com/content/help-us-help-henry-2010-1 to http://www.cartalk.com/content/help-us-help-henry-2010-1

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"car talk" the play
When I search for "Car talk" on the Wikipedia app (on iOS 11), I am taken to what looks like the Car Talk entry on en.wikipedia.org, but the first line under the "Car Talk" title is displayed as:

"car talk" the play

Then the correct text appears, currently beginning with:

Car Talk is a Peabody Award-winning ...

The line that says "car talk" the play should not be there. When I have found incorrect text like this displayed on Wikipedia pages, I have generally been able to remove it. But when I click to edit the page and search for the string "the play", I see a paragraph down in the middle of the article, with the text "The play was not officially...". I don't see where a lower-case "the play" could come from.

Essentially the same thing happens on iOS 11, using the Safari or Chrome browser, opening a Wikipedia page, and searching for "Car talk". It shows articles you can click on, the first of which is Car Talk, and the second line just says

"car talk" the play

The second article is Tom and Ray Magliozzi, and its second line is correctly shown as:

"Car Talk" co-hosts

Somehow, the string "car talk" the play seems to be associated with the Car Talk article and may be treated as a sort of synopsis of the content of the article.

I have looked for a redirect or something that might cause this to happen, but at this point I am stumped. I just asked Alexa "What is car talk?", and got the expected response (the first sentence of the Car Talk article), so at least Alexa doesn't seem to be fooled into thinking she needs to tell us about "the play".

There's a lot I don't know about transclusion and other fine points of Wikipedia, and I know this doesn't seem like any sort of a big deal, but I consider this

"car talk" the play

to be spurious content that should not appear.

Any ideas what's going on here? NameIsRon (talk) 18:35, 22 September 2018 (UTC)
 * OK ... I think I figured it out. I used Inspect, located the wikidata entry for Car Talk and changed it from

 * "car talk" the play

 * to

 * NPR talk show

 * I'm not sure that's 100%-correct, but at least I think it's less misleading than what was there before. NameIsRon (talk) 00:06, 23 September 2018 (UTC)

Looking for small 4door truck withcab cover 47.138.232.168 (talk) 21:41, 25 August 2023 (UTC)

references needed
This section needs references -Classicfilms (talk) 20:22, 5 November 2023 (UTC)

Features
The show originally consisted of two segments with a break in between but was changed to three segments. After the shift to the three-segment format, it became a running joke to refer to the last segment as "the third half" of the program.

The show opened with a short comedy segment, typically jokes sent in by listeners, followed by eight call-in sessions. The hosts ran a contest called the "Puzzler", in which a riddle, sometimes car-related, was presented. The answer to the previous week's "Puzzler" was given at the beginning of the "second half" of the show, and a new "Puzzler" was given at the start of the "third half". The hosts gave instructions to listeners to write answers addressed to "Puzzler Tower" on some non-existent or expensive object, such as a "$26 bill" or an advanced digital SLR camera. This gag initially started as suggestions that the answers be written "on the back of a $20 bill". A running gag concerned Tom's inability to remember the previous week's "Puzzler" without heavy prompting from Ray. During a tribute show following Tom's death in 2014 due to complications of Alzheimer's Disease, Ray joked, "I guess he wasn't joking about not being able to remember the puzzler all those years." For each puzzler, one correct answer was chosen at random, with the winner receiving a $26 gift certificate to the Car Talk store, referred to as the "Shameless Commerce Division". It was originally $25, but was increased for inflation after a few years. Originally, the winner received a specific item from the store, but it soon changed to a gift certificate to allow the winner to choose the item they wanted (though Tom often made an item suggestion).

A recurring feature was "Stump the Chumps," in which the hosts revisited a caller from a previous show to determine the accuracy and the effect, if any, of their advice. A similar feature began in May 2001, "Where Are They Now, Tommy?" It began with a comical musical theme with a sputtering, backfiring car engine and a horn as a backdrop. Tom then announced who the previous caller was, followed by a short replay of the essence of the previous call, preceded and followed by harp music often used in other audiovisual media to indicate recalling and returning from a dream. The hosts then greeted the previous caller, confirmed that they had not spoken since their previous appearance and asked them if there had been any influences on the answer they were about to relate, such as arcane bribes by the NPR staff. The repair story was then discussed, followed by a fanfare and applause if the Tappet Brothers' diagnosis was correct, or a wah-wah-wah music piece mixed with a car starter operated by a weak battery (an engine which wouldn't start) if the diagnosis was wrong. The hosts then thanked the caller for their return appearance.

The brothers also had an official Animal-Vehicle Biologist and Wildlife Guru named Kieran Lindsey. She answered questions like How do I remove a snake from my car? and offered advice on how those living in cities and suburbs could reconnect with wildlife. They also would sometimes rely on Harvard University professors Wolfgang Rueckner and Jim E. Davis for questions concerning physics and chemistry, respectively.

There were numerous appearances from NPR personalities, including Bob Edwards, Susan Stamberg, Scott Simon, Ray Suarez, Will Shortz, Sylvia Poggioli, and commentator and author Daniel Pinkwater. On one occasion, the show featured Martha Stewart as an in-studio guest, whom the Magliozzis twice during the segment referred to as "Margaret". Celebrities and public figures were featured as "callers" as well, including Geena Davis, Ashley Judd, Morley Safer, Gordon Elliott, former Major League Baseball pitcher Bill Lee, journalist Farhad Manjoo, and astronaut John M. Grunsfeld.

Space program calls
Astronaut and engineer John Grunsfeld called into the show during Space Shuttle mission STS-81 in January 1997, in which Atlantis docked to the Mir space station. In this call he complained about the performance of his serial-numbered, Rockwell-manufactured "government van". To wit, it would run very loud and rough for about two minutes, quieter and smoother for another six and a half, and then the engine would stop with a jolt. He went on to state that the brakes of the vehicle, when applied, would glow red-hot, and that the vehicle's odometer displayed "about 60 million miles". This created some consternation for the hosts, until they noticed the audio of Grunsfeld's voice, being relayed from Mir via TDRS satellite, sounded similar to that of Tom Hanks in the then-recent film Apollo 13, after which they realized the call was from space and the government van in question was, in fact, the Space Shuttle.

In addition to the on-orbit call, the Brothers once received a call asking advice on winterizing an electric car. When they asked what kind of car, the caller stated it was a "kit car", a $400 million "kit car". It was a joke call from NASA's Jet Propulsion Laboratory concerning the preparation of the Mars Opportunity rover for the oncoming Martian winter, during which temperatures drop to several hundred degrees below freezing.

Click and Clack have also been featured in editorial cartoons, including one where a befuddled NASA engineer called them to ask how to fix the Space Shuttle.

Humor
Humor and wisecracking pervaded the program. Tom and Ray are known for their self-deprecating humor, often joking about the supposedly poor quality of their advice and the show in general. They also commented at the end of each show: "Well, it's happened again—you've wasted another perfectly good hour listening to Car Talk."

At some point in almost every show, usually when giving the address for the Puzzler answers or fan mail, Ray mentioned Cambridge, Massachusetts (where the show originated), at which point Tom reverently interjected with a tone of civic pride, "Our fair city". Ray invariably mocked "'Cambridge, MA', the United States Postal Service's two-letter abbreviation for 'Massachusetts"', by pronouncing the "MA" as a word.

Preceding each break in the show, one of the hosts led up to the network identification with a humorous take on a disgusted reaction of some usually famous person to hearing that identification. The full line went along the pattern of, for example, "And even though Roger Clemens stabs his radio with a syringe whenever he hears us say it, this is NPR: National Public Radio" (later just "... this is NPR").

At one point in the show, often after the break, Ray usually stated that: "Support for this show is provided by," followed by an absurd fundraiser.

The ending credits of the show started with thanks to the colorfully nicknamed actual staffers: producer Doug "the subway fugitive, not a slave to fashion, bongo boy frogman" Berman; "John 'Bugsy' Lawlor, just back from the ..." every week a different eating event with rhyming foodstuff names; David "Calves of Belleville" Greene; Catherine "Frau Blücher" Fenollosa, whose name caused a horse to neigh and gallop (an allusion to a running gag in the movie Young Frankenstein); and Carly "High Voltage" Nix, among others. Following the real staff was a lengthy list of pun-filled fictional staffers and sponsors such as statistician Marge Innovera ("margin of error"), customer care representative Haywood Jabuzoff ("Hey, would ya buzz off"), meteorologist Claudio Vernight ("cloudy overnight"), optometric firm C. F. Eye Care ("see if I care"), Russian chauffeur Picov Andropov ("pick up and drop off"), Leo Tolstoy biographer Warren Peace ("War and Peace"), hygiene officer and chief of the Tokyo office Oteka Shawa ("oh, take a shower"), Swedish snowboard instructor Soren Derkeister ("sore in the keister"), law firm Dewey, Cheetham & Howe ("Do we cheat 'em? And how!"), Greek tailor Euripides Eumenades ("You rip-a these, you mend-a these"), cloakroom attendant Mahatma Coate ("My hat, my coat"), seat cushion tester Mike Easter (my keister) and many, many others, usually concluding with Erasmus B. Dragon ("Her ass must be draggin'"), whose job title varied, but who was often said to be head of the show's working mothers' support group. They sometimes advised that "our chief counsel from the law firm of Dewey, Cheetham, & Howe is Hugh Louis Dewey, known to a group of people in Harvard Square as Huey Louie Dewey." Huey, Louie, and Dewey were the juvenile nephews being raised by Donald Duck in Walt Disney's Comics and Stories. Guest accommodations were provided by The Horseshoe Road Inn ("the horse you rode in").

Classicfilms (talk) 20:22, 5 November 2023 (UTC)

title: Talk:Car Talk


text:
Craccum

Craccum is the weekly magazine produced by the Auckland University Students' Association of the University of Auckland, New Zealand. It was founded in 1927. The name originated from the scrambled acronym of "Auckland University College Men's Common Room Committee".

Craccum is the largest student magazine in New Zealand, with a weekly distribution of 10,000–12,000 copies.

The magazine has at times been controversial, with stories on how to shoplift, the drawbacks of various methods of committing suicide, drug use guides, recipes for illegal drugs and drug rape guides. Craccum is also a popular proving ground for New Zealand mainstream media, with many of its alumni moving on to publications such as The Listener, The New Zealand Herald, The National Business Review and Metro magazine.

In 1989 the publication was re-branded "Torso" for the final issues of that year, an event noted in the mainstream media. However the original name was re-established the following year.

In 2005, the rights to the front cover of the sellout-themed issue of Craccum were auctioned on TradeMe. Salient, the student magazine for Victoria University of Wellington, won the auction. In 2011 the rights to the front cover of the women's rights-themed issue were again auctioned on TradeMe, with proceeds going to Women's Refuge; the auction was won by the Tertiary Education Union (TEU).

Craccum is a member of the Aotearoa Student Press Association (ASPA). In 2007, Craccum won the award for Best Publication at the ASPA Awards for the first time. It was awarded runner-up for Best Small Publication in 2016 and runner-up for Best Publication in 2017. In 2022, Craccum won the award for Best Publication at the ASPA Awards for the second time.

Editors
The Craccum Editor was an elected position between 1986 and 2019. Before 1986, the Editor was appointed each year by the Craccum Administration Board. This practise was reinstated in 2019, following the introduction of a new AUSA constitution. The election for Craccum Editor was held in the second semester, on the same ballot as the AUSA portfolio elections.

Former Craccum Editor Tim Shadbolt (1972) became Mayor of Waitemata City and later Mayor of Invercargill. Mike Rann (1975) was Premier of South Australia 2002 to 2012. Peter Gray, Mark Roach, Simon Holroyd (Interim); Mark Roach, Wendy Newton, Peter Gray (Jun–Dec) Michael Lamb (May–Dec) Miriam de Graaf, Carl Fagan, Simon Holroyd (Mar–Jun); Miriam de Graaf, Simon Holroyd (Jun–Dec) George De Bres and Michael Volkering (Jun–Dec) Mike Morrissey (Jun–Dec) John Anderson and Geoff Fuller (Aug–Dec) Gerald Utting and M. Lovegrove (Mar–Dec) Peter Cape (Sept–Dec) Avenal Holcombe (Mar–Dec) J. A. E. Mulgan (Jun–Aug)
 * 2024 – Kieran Panui and Kala Burgess (Deputy Editor)
 * 2023 – Mairātea Mohi and George Brooker
 * 2022 – Flora Xie and Naomii Seah
 * 2021 – Eda Tang and Brian Gu
 * 2020 – Cameron Leakey and Daniel Meech
 * 2019 – Bailley Verry
 * 2018 – Jasmin Singh and Helen Yeung (Feb to July), Caitlin Abley, Mark Fullerton and Samantha Gianotti (July to August), Andrew Winstanley (August to October)
 * 2017 – Samantha Gianotti and Catriona Britton
 * 2016 – Mark Fullerton and Caitlin Abley
 * 2015 – Matthew Denton and Jordan Margetts
 * 2014 – Ana Lenard and Kit Haines
 * 2013 – Aditya Vasudevan and Calum Redpath
 * 2012 – Thomas Dykes
 * 2011 – Spencer Dowson and Rhys Mathewson
 * 2010 – Dan Sloan
 * 2009 – Matthew Harnett and Valentine Watkins
 * 2008 – Dan Sloan
 * 2007 – Simon Coverdale and Matthew Backhouse
 * 2006 – Ryan Sproull
 * 2005 – Alec Hutchinson and Stian Overdahl
 * 2004 – Allan Swann and Hannah Jennings-Voykovich
 * 2003 – Christopher Garland
 * 2002 – Colin Mitchell and Susan Edmunds
 * 2001 – John Marshall
 * 2000 – Ben Thomas and James Cardno
 * 1999 – Gareth Elliot and Thomas Shadbolt
 * 1998 – Alistair Bone
 * 1997 – Martyn 'Bomber' Bradbury
 * 1996 – Tim Mullins and Anton Pichler
 * 1995 – Martyn 'Bomber' Bradbury and Stewart Gardiner
 * 1994 – Penny Murray
 * 1993 – Peter Malcouronne and Vangelis Vitalis
 * 1992 – Jo Mackay
 * 1991 – Jo Mackay
 * 1990 – Steve Amanono and Sarah Murray (Jan–May);
 * 1989 – Aidan-B. Howard (Jan–May);
 * 1988 – Miriam de Graaf, Carl Fagan, Simon Holroyd and Wendy Lawson (Jan–Mar);
 * 1987 – Rachael Callender, Derek Craig, Kerry Hoole, Ewen Smith, Patrick Stodart, Victoria Turner and David Ward
 * 1986 – Peter Boys
 * 1985 – Pam Goode and Brigitta Noble
 * 1984 – Neil Morrison and Rangi Chadwick
 * 1983 – Louise Rafkin
 * 1982 – David Faulls
 * 1981 – David Kirkpatrick
 * 1980 – Katherine White
 * 1979 – David Merritt
 * 1978 – Louise Chunn
 * 1977 – Francis Stark
 * 1976 – Allan Bell
 * 1975 – Mike Rann
 * 1974 – Brent Lewis
 * 1973 – Stephen Ballantyne, Bob Kerr, and Bob Hillier (from January to July)
 * 1972 – Heather McInnes, Tim Shadbolt and Gordon Clifton
 * 1971 – Stephen Chan, Robert Wellington
 * 1970 – Ted Sheehan
 * 1969 – Mac Price
 * 1968 – George de Bres
 * 1967 – Geoff Chapple (Mar–Jun);
 * 1966 – Lei Lealulu and Dave Fleming (Jan–Jun);
 * 1965 – C. A. Moir
 * 1964 – John Sanders
 * 1963 – Dick Johnstone
 * 1962 – Francis J. Lillie
 * 1961 – Adrienne Rhodes
 * 1960 – Felicity Maidment
 * 1959 – Jonathan Hunt
 * 1958 – S. E. Cox and D. R. Taylor
 * 1957 – R. W. Armstrong
 * 1956 – D. J. Stone and R. W. Armstrong
 * 1955 – Jim Traue and David Stone
 * 1953 – Brian Smart and Peter Boag
 * 1952 – Gerald Utting (Jan–Aug);
 * 1951 – NO RECORD
 * 1950 – Peter Timm, David Grace and Roderick Smith (Jan–Mar);
 * 1949 – Peter Cape
 * 1948 – John Ellis (Jan–Sept);
 * 1947 – Nora Bayly
 * 1946 – J. A. Nathan
 * 1945 – R. I. F. Pattison
 * 1944 – Travis Wilson
 * 1943 – Betty Belshaw (née Sweetman)
 * 1942 – NO RECORD
 * 1941 – G. I. Cawkwell
 * 1940 – P. W. Day
 * 1939 – P. W. Day (Jan–Mar);
 * 1938 – A. O. Woodhouse
 * 1937 – Eric H. Halstear
 * 1933–1936 – NO RECORD
 * 1932 – J. A. E. Mulgan
 * 1931 – Eric Harold Blow
 * 1930 – P. L. Soljak (Jan–Jun);
 * 1928–1929 – NO RECORD
 * 1927 A. K. Matthews, Nigel Wilson and Winifred McNickle

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

title: Craccum


text:
Wikipedia:Articles for deletion/The psilocybin solution

The psilocybin solution
Advertising for a non-notable book, IMO. Mandel 06:14, Oct 12, 2004 (UTC)
 * Abstain, This is obviously not a mass market John Grisham novel, is it notable in the psilocybin crowd? — siro  χ  o  09:13, Oct 12, 2004 (UTC)
 * Advert, delete - I've broken the external link in the article while it's in VfD. - TB 09:17, 2004 Oct 12 (UTC)
 * Delete: Ad. The psilocybin crowd may never answer us: too busy staring at their hands. Geogre 15:10, 12 Oct 2004 (UTC)
 * Delete. Book is unpublished. It remains a set of pages on lycaeum.org.   — Gwalla | Talk 16:14, 12 Oct 2004 (UTC)
 * Delete, but may be suitable as a reference for the psilocybin article Sietse 17:49, 12 Oct 2004 (UTC)
 * Done --Viriditas 00:38, 13 Oct 2004 (UTC)

 * Delete, advertising, even if the book is freely, feely, really, and, like, oh wow, man, those colors seem to be like vibrating in a scintillating scotoma of mutable consciousness. And dig the collection of "positive quotes from publishers who nonetheless turned down the book". [[User:Dpbsmith|Dpbsmith (talk)]] 02:15, 14 Oct 2004 (UTC)
 * Delete advertising. Fire Star 21:02, 15 Oct 2004 (UTC)


text:
Wikipedia:Articles for deletion/Trojan Condom

Trojan Condom
Advertising or something like it. Mandel 06:15, Oct 12, 2004 (UTC)
 * The company would deserve an article, but it would need to be moved to the actual name of the corporation and rewritten into a decent stub. As I can't do this, delete unless improved. [[User:Meelar|Meelar (talk)]] 06:17, Oct 12, 2004 (UTC)
 * After Siroxo's edit, change to keep. Nice save. [[User:Meelar|Meelar (talk)]] 14:34, Oct 12, 2004 (UTC)
 * I have to agree with Meelar: the content of this article is very lacking, although the company is certainly notable. delete unless improved ClockworkTroll 06:19, 12 Oct 2004 (UTC)
 * Weak keep, provided this is expanded before VfD expires. Topic is valid but one-line articles don't really add any value to Wikipedia. jni 06:44, 12 Oct 2004 (UTC)
 * Keep, I did a little expansion. — siro  χ  o  08:59, Oct 12, 2004 (UTC)
 * Keep. Didn't see it before but looks good now.--Tomheaton 12:33, 12 Oct 2004 (UTC)
 * Keep, a famous brand; in case there isn't one now there should be a disambiguation at Trojan that points to this. Probably ought to move to Trojan condom.  Didn't they build a giant one of these to end the Trojan War?  Smerdis of Tlön 14:15, 12 Oct 2004 (UTC)
 * Keep now: The Trojans lost the war because they never had any children.  Geogre 15:09, 12 Oct 2004 (UTC)
 * Keep as improved, notable company. --Goobergunch 20:55, 12 Oct 2004 (UTC)
 * Keep: The article could be expanded but deserves to stay. DCEdwards1966 21:37, Oct 12, 2004 (UTC)
 * Keep in present form. (What I'd really like to see is an article that traces fads and fashions in product names. Obviously there was an era of Homeric names (Ajax cleanser). Ramses and Sheik, other condom brands, seem to be playing off of--what? the King Tut craze? "Acme" is now mostly a Roadrunner cartoon joke, but there must have been a vogue for them in the thirties; by the fifties the Yellow Pages were still full of Acme this and Pinnacle that and Peerless the other. And there must have been a time when names ending in -ola and -eeta were popular. The fifties and sixties brought a lot of -Ramas. The seventies, This World and That World and The Other Thing world. [[User:Dpbsmith|Dpbsmith (talk)]] 01:54, 13 Oct 2004 (UTC)

 * Well, the reason for the Acme isn't so faddish. If you really want business, name yourself something that comes first in the Yellow Pages.  "Acme" was just page rank boosting for the print age.  In Athens, GA, there was A. Aaronson Bail Bondsmen.  They had matchbooks they passed out at bars that said, "A. Aaronson Bail Bondsmen:  Where it's always spring time."  Gotta love it. Geogre 05:03, 13 Oct 2004 (UTC)


text:
Dependency grammar

Dependency grammar (DG) is a class of modern grammatical theories that are all based on the dependency relation (as opposed to the constituency relation of phrase structure) and that can be traced back primarily to the work of Lucien Tesnière. Dependency is the notion that linguistic units, e.g. words, are connected to each other by directed links. The (finite) verb is taken to be the structural center of clause structure. All other syntactic units (words) are either directly or indirectly connected to the verb in terms of the directed links, which are called dependencies. Dependency grammar differs from phrase structure grammar in that while it can identify phrases it tends to overlook phrasal nodes. A dependency structure is determined by the relation between a word (a head) and its dependents. Dependency structures are flatter than phrase structures in part because they lack a finite verb phrase constituent, and they are thus well suited for the analysis of languages with free word order, such as Czech or Warlpiri.

History
The notion of dependencies between grammatical units has existed since the earliest recorded grammars, e.g. Pāṇini, and the dependency concept therefore arguably predates that of phrase structure by many centuries. Ibn Maḍāʾ, a 12th-century linguist from Córdoba, Andalusia, may have been the first grammarian to use the term dependency in the grammatical sense that we use it today. In early modern times, the dependency concept seems to have coexisted side by side with that of phrase structure, the latter having entered Latin, French, English and other grammars from the widespread study of term logic of antiquity. Dependency is also concretely present in the works of Sámuel Brassai (1800–1897), a Hungarian linguist, Franz Kern (1830–1894), a German philologist, and of Heimann Hariton Tiktin (1850–1936), a Romanian linguist.

Modern dependency grammars, however, begin primarily with the work of Lucien Tesnière. Tesnière was a Frenchman, a polyglot, and a professor of linguistics at the universities in Strasbourg and Montpellier. His major work Éléments de syntaxe structurale was published posthumously in 1959 – he died in 1954. The basic approach to syntax he developed seems to have been seized upon independently by others in the 1960s and a number of other dependency-based grammars have gained prominence since those early works. DG has generated a lot of interest in Germany in both theoretical syntax and language pedagogy. In recent years, the great development surrounding dependency-based theories has come from computational linguistics and is due, in part, to the influential work that David Hays did in machine translation at the RAND Corporation in the 1950s and 1960s. Dependency-based systems are increasingly being used to parse natural language and generate tree banks. Interest in dependency grammar is growing at present, international conferences on dependency linguistics being a relatively recent development (Depling 2011, Depling 2013, Depling 2015, Depling 2017, Depling 2019 ).

Dependency vs. phrase structure
Dependency is a one-to-one correspondence: for every element (e.g. word or morph) in the sentence, there is exactly one node in the structure of that sentence that corresponds to that element. The result of this one-to-one correspondence is that dependency grammars are word (or morph) grammars. All that exist are the elements and the dependencies that connect the elements into a structure. This situation should be compared with phrase structure. Phrase structure is a one-to-one-or-more correspondence, which means that, for every element in a sentence, there is one or more nodes in the structure that correspond to that element. The result of this difference is that dependency structures are minimal compared to their phrase structure counterparts, since they tend to contain many fewer nodes.

 * Wearetryingtounderstandthedifference (2).jpg

These trees illustrate two possible ways to render the dependency and phrase structure relations (see below). This dependency tree is an "ordered" tree, i.e. it reflects actual word order. Many dependency trees abstract away from linear order and focus just on hierarchical order, which means they do not show actual word order. This constituency (= phrase structure) tree follows the conventions of bare phrase structure (BPS), whereby the words themselves are employed as the node labels.

The distinction between dependency and phrase structure grammars derives in large part from the initial division of the clause. The phrase structure relation derives from an initial binary division, whereby the clause is split into a subject noun phrase (NP) and a predicate verb phrase (VP). This division is certainly present in the basic analysis of the clause that we find in the works of, for instance, Leonard Bloomfield and Noam Chomsky. Tesnière, however, argued vehemently against this binary division, preferring instead to position the verb as the root of all clause structure. Tesnière's stance was that the subject-predicate division stems from term logic and has no place in linguistics. The importance of this distinction is that if one acknowledges the initial subject-predicate division in syntax is real, then one is likely to go down the path of phrase structure grammar, while if one rejects this division, then one must consider the verb as the root of all structure, and so go down the path of dependency grammar.

Dependency grammars
The following frameworks are dependency-based:

 * Algebraic syntax
 * Operator grammar
 * Link grammar
 * Functional generative description
 * Lexicase
 * Meaning–text theory
 * Word grammar
 * Extensible dependency grammar
 * Universal Dependencies

Link grammar is similar to dependency grammar, but link grammar does not include directionality between the linked words, and thus does not describe head-dependent relationships. Hybrid dependency/phrase structure grammar uses dependencies between words, but also includes dependencies between phrasal nodes – see for example the Quranic Arabic Dependency Treebank. The derivation trees of tree-adjoining grammar are dependency structures, although the full trees of TAG rendered in terms of phrase structure, so in this regard, it is not clear whether TAG should be viewed more as a dependency or phrase structure grammar.

There are major differences between the grammars just listed. In this regard, the dependency relation is compatible with other major tenets of theories of grammar. Thus like phrase structure grammars, dependency grammars can be mono- or multistratal, representational or derivational, construction- or rule-based.

Representing dependencies
There are various conventions that DGs employ to represent dependencies. The following schemata (in addition to the tree above and the trees further below) illustrate some of these conventions:

 * Conventions.jpg

The representations in (a–d) are trees, whereby the specific conventions employed in each tree vary. Solid lines are dependency edges and lightly dotted lines are projection lines. The only difference between tree (a) and tree (b) is that tree (a) employs the category class to label the nodes whereas tree (b) employs the words themselves as the node labels. Tree (c) is a reduced tree insofar as the string of words below and projection lines are deemed unnecessary and are hence omitted. Tree (d) abstracts away from linear order and reflects just hierarchical order. The arrow arcs in (e) are an alternative convention used to show dependencies and are favored by Word Grammar. The brackets in (f) are seldom used, but are nevertheless quite capable of reflecting the dependency hierarchy; dependents appear enclosed in more brackets than their heads. And finally, the indentations like those in (g) are another convention that is sometimes employed to indicate the hierarchy of words. Dependents are placed underneath their heads and indented. Like tree (d), the indentations in (g) abstract away from linear order.

The point to these conventions is that they are just that, namely conventions. They do not influence the basic commitment to dependency as the relation that is grouping syntactic units.

Types of dependencies
The dependency representations above (and further below) show syntactic dependencies. Indeed, most work in dependency grammar focuses on syntactic dependencies. Syntactic dependencies are, however, just one of three or four types of dependencies. Meaning–text theory, for instance, emphasizes the role of semantic and morphological dependencies in addition to syntactic dependencies. A fourth type, prosodic dependencies, can also be acknowledged. Distinguishing between these types of dependencies can be important, in part because if one fails to do so, the likelihood that semantic, morphological, and/or prosodic dependencies will be mistaken for syntactic dependencies is great. The following four subsections briefly sketch each of these dependency types. During the discussion, the existence of syntactic dependencies is taken for granted and used as an orientation point for establishing the nature of the other three dependency types.

Semantic dependencies
Semantic dependencies are understood in terms of predicates and their arguments. The arguments of a predicate are semantically dependent on that predicate. Often, semantic dependencies overlap with and point in the same direction as syntactic dependencies. At times, however, semantic dependencies can point in the opposite direction of syntactic dependencies, or they can be entirely independent of syntactic dependencies. The hierarchy of words in the following examples show standard syntactic dependencies, whereas the arrows indicate semantic dependencies:

 * Semantic dependencies.png

The two arguments Sam and Sally in tree (a) are dependent on the predicate likes, whereby these arguments are also syntactically dependent on likes. What this means is that the semantic and syntactic dependencies overlap and point in the same direction (down the tree). Attributive adjectives, however, are predicates that take their head noun as their argument, hence big is a predicate in tree (b) that takes bones as its one argument; the semantic dependency points up the tree and therefore runs counter to the syntactic dependency. A similar situation obtains in (c), where the preposition predicate on takes the two arguments the picture and the wall; one of these semantic dependencies points up the syntactic hierarchy, whereas the other points down it. Finally, the predicate to help in (d) takes the one argument Jim but is not directly connected to Jim in the syntactic hierarchy, which means that semantic dependency is entirely independent of the syntactic dependencies.

Morphological dependencies
Morphological dependencies obtain between words or parts of words. When a given word or part of a word influences the form of another word, then the latter is morphologically dependent on the former. Agreement and concord are therefore manifestations of morphological dependencies. Like semantic dependencies, morphological dependencies can overlap with and point in the same direction as syntactic dependencies, overlap with and point in the opposite direction of syntactic dependencies, or be entirely independent of syntactic dependencies. The arrows are now used to indicate morphological dependencies.

 * Mophological dependencies 1.png

The plural houses in (a) demands the plural of the demonstrative determiner, hence these appears, not this, which means there is a morphological dependency that points down the hierarchy from houses to these. The situation is reversed in (b), where the singular subject Sam demands the appearance of the agreement suffix -s on the finite verb works, which means there is a morphological dependency pointing up the hierarchy from Sam to works. The type of determiner in the German examples (c) and (d) influences the inflectional suffix that appears on the adjective alt. When the indefinite article ein is used, the strong masculine ending -er appears on the adjective. When the definite article der is used, in contrast, the weak ending -e appears on the adjective. Thus since the choice of determiner impacts the morphological form of the adjective, there is a morphological dependency pointing from the determiner to the adjective, whereby this morphological dependency is entirely independent of the syntactic dependencies. Consider further the following French sentences:

 * Morphological dependencies 2'.png

The masculine subject le chien in (a) demands the masculine form of the predicative adjective blanc, whereas the feminine subject la maison demands the feminine form of this adjective. A morphological dependency that is entirely independent of the syntactic dependencies therefore points again across the syntactic hierarchy.

Morphological dependencies play an important role in typological studies. Languages are classified as mostly head-marking (Sam work-s) or mostly dependent-marking (these houses), whereby most if not all languages contain at least some minor measure of both head and dependent marking.

Prosodic dependencies
Prosodic dependencies are acknowledged in order to accommodate the behavior of clitics. A clitic is a syntactically autonomous element that is prosodically dependent on a host. A clitic is therefore integrated into the prosody of its host, meaning that it forms a single word with its host. Prosodic dependencies exist entirely in the linear dimension (horizontal dimension), whereas standard syntactic dependencies exist in the hierarchical dimension (vertical dimension). Classic examples of clitics in English are reduced auxiliaries (e.g. -ll, -s, -ve) and the possessive marker -s. The prosodic dependencies in the following examples are indicated with the hyphen and the lack of a vertical projection line:

The hyphens and lack of projection lines indicate prosodic dependencies. A hyphen that appears on the left of the clitic indicates that the clitic is prosodically dependent on the word immediately to its left (He'll, There's), whereas a hyphen that appears on the right side of the clitic (not shown here) indicates that the clitic is prosodically dependent on the word that appears immediately to its right. A given clitic is often prosodically dependent on its syntactic dependent (He'll, There's) or on its head (would've). At other times, it can depend prosodically on a word that is neither its head nor its immediate dependent (Florida's).

Syntactic dependencies
Syntactic dependencies are the focus of most work in DG, as stated above. How the presence and the direction of syntactic dependencies are determined is of course often open to debate. In this regard, it must be acknowledged that the validity of syntactic dependencies in the trees throughout this article is being taken for granted. However, these hierarchies are such that many DGs can largely support them, although there will certainly be points of disagreement. The basic question about how syntactic dependencies are discerned has proven difficult to answer definitively. One should acknowledge in this area, however, that the basic task of identifying and discerning the presence and direction of the syntactic dependencies of DGs is no easier or harder than determining the constituent groupings of phrase structure grammars. A variety of heuristics are employed to this end, basic tests for constituents being useful tools; the syntactic dependencies assumed in the trees in this article are grouping words together in a manner that most closely matches the results of standard permutation, substitution, and ellipsis tests for constituents. Etymological considerations also provide helpful clues about the direction of dependencies. A promising principle upon which to base the existence of syntactic dependencies is distribution. When one is striving to identify the root of a given phrase, the word that is most responsible for determining the distribution of that phrase as a whole is its root.

Linear order and discontinuities
Traditionally, DGs have had a different approach to linear order (word order) than phrase structure grammars. Dependency structures are minimal compared to their phrase structure counterparts, and these minimal structures allow one to focus intently on the two ordering dimensions. Separating the vertical dimension (hierarchical order) from the horizontal dimension (linear order) is easily accomplished. This aspect of dependency structures has allowed DGs, starting with Tesnière (1959), to focus on hierarchical order in a manner that is hardly possible for phrase structure grammars. For Tesnière, linear order was secondary to hierarchical order insofar as hierarchical order preceded linear order in the mind of a speaker. The stemmas (trees) that Tesnière produced reflected this view; they abstracted away from linear order to focus almost entirely on hierarchical order. Many DGs that followed Tesnière adopted this practice, that is, they produced tree structures that reflect hierarchical order alone, e.g.

 * Dg-new-1.jpg

The traditional focus on hierarchical order generated the impression that DGs have little to say about linear order, and it has contributed to the view that DGs are particularly well-suited to examine languages with free word order. A negative result of this focus on hierarchical order, however, is that there is a dearth of DG explorations of particular word order phenomena, such as of standard discontinuities. Comprehensive dependency grammar accounts of topicalization, wh-fronting, scrambling, and extraposition are mostly absent from many established DG frameworks. This situation can be contrasted with phrase structure grammars, which have devoted tremendous effort to exploring these phenomena.

The nature of the dependency relation does not, however, prevent one from focusing on linear order. Dependency structures are as capable of exploring word order phenomena as phrase structures. The following trees illustrate this point; they represent one way of exploring discontinuities using dependency structures. The trees suggest the manner in which common discontinuities can be addressed. An example from German is used to illustrate a scrambling discontinuity:

 * Dg-new-2.jpg

The a-trees on the left show projectivity violations (= crossing lines), and the b-trees on the right demonstrate one means of addressing these violations. The displaced constituent takes on a word as its head that is not its governor. The words in red mark the catena (=chain) of words that extends from the root of the displaced constituent to the governor of that constituent. Discontinuities are then explored in terms of these catenae. The limitations on topicalization, wh-fronting, scrambling, and extraposition can be explored and identified by examining the nature of the catenae involved.

Syntactic functions
Traditionally, DGs have treated the syntactic functions (= grammatical functions, grammatical relations) as primitive. They posit an inventory of functions (e.g. subject, object, oblique, determiner, attribute, predicative, etc.). These functions can appear as labels on the dependencies in the tree structures, e.g.

 * Syntactic functions 1.png

The syntactic functions in this tree are shown in green: ATTR (attribute), COMP-P (complement of preposition), COMP-TO (complement of to), DET (determiner), P-ATTR (prepositional attribute), PRED (predicative), SUBJ (subject), TO-COMP (to complement). The functions chosen and abbreviations used in the tree here are merely representative of the general stance of DGs toward the syntactic functions. The actual inventory of functions and designations employed vary from DG to DG.

As a primitive of the theory, the status of these functions is very different from that in some phrase structure grammars. Traditionally, phrase structure grammars derive the syntactic functions from the constellation. For instance, the object is identified as the NP appearing inside finite VP, and the subject as the NP appearing outside of finite VP. Since DGs reject the existence of a finite VP constituent, they were never presented with the option to view the syntactic functions in this manner. The issue is a question of what comes first: traditionally, DGs take the syntactic functions to be primitive and they then derive the constellation from these functions, whereas phrase structure grammars traditionally take the constellation to be primitive and they then derive the syntactic functions from the constellation.

This question about what comes first (the functions or the constellation) is not an inflexible matter. The stances of both grammar types (dependency and phrase structure) are not narrowly limited to the traditional views. Dependency and phrase structure are both fully compatible with both approaches to the syntactic functions. Indeed, monostratal systems, that are solely based on dependency or phrase structure, will likely reject the notion that the functions are derived from the constellation or that the constellation is derived from the functions. They will take both to be primitive, which means neither can be derived from the other.

title: Dependency grammar


text:
Julio Rosado del Valle

Julio Rosado del Valle (1922 - September 20, 2008), was an internationally known abstract expressionist.

Early years
Rosado del Valle was born in Cataño, Puerto Rico and as a young child would always be drawing or painting. In his primary school his teachers recognized his artistic talents. After graduating from high school, Rosado del Valle enrolled in the University of Puerto Rico, where he took art classes under guidance of Cristobal Ruiz.

In 1946, Rosado del Valle went to New York where he attended "The New School for Social Research" and studied under the guidance of the Cuban painter Mario Carreño and the muralist Camilo Egas. A year later in 1947, Rosado del Valle moved to Paris, France where he visited museums and art exhibitions. He later went to Italy where he attended "The School of Fine Arts" in Florence.

"Puerto Rican Arts Center"
In 1949, Rosado del Valle returned to Puerto Rico, where he worked in the Division of Community Education. He was also named resident artist of the University of Puerto Rico. In 1950, he was the co-founder, along with Torres Martino, Lorenzo Homar, Felix Rodriguez Baez and Rafael Tufino, of the "Puerto Rican Arts Center".

In 1952, he won a gold medal for mural painting in New York, sponsored by the Architectural League of New York and in 1957, Rosado del Valle was awarded a scholarship from the Guggenheim Memorial Foundation. In 1965, Rosado del Valle won a gold medal for his art work, from the "Friends of Puerto Rico Society of New York". His work has been categorized as abstract expressionism and has been recognized locally and internationally.

Exhibitions
In 1967, Rosado del Valle represented Puerto Rico in the "Latin-American Art Exhibition" celebrated in the Palace of Beautiful Arts in Mexico. In 1998, he won the art and culture award from the "New York State Puerto Rican Hispanic Task Force Conference." Rosado del Valle has had many international and local exhibits, including in the Museo de Arte de Ponce (1982), The Museum of Contemporary Art (1988) and The Luigi Marrozzini Gallery (1993) in San Juan, Puerto Rico, and in the United States and Europe.

Later years
In the year 2002, a fire completely destroyed a warehouse in Carolina in which he had stored hundreds of his paintings. The University of Puerto Rico bestowed upon him an honorary Doctorate Degree in Humanities in 2004. Until he was no longer able, Julio Rosado del Valle got up every morning and painted in his house, which was located in Guaynabo, and then he went to his paint shop in Cataño to work.

He died from Kidney failure in San Juan, Puerto Rico in September 2008. A retrospective of his work opened at the Museo de Arte de Puerto Rico (MAPR) in late 2008.

title: Julio Rosado del Valle