who broadened the doctrine of philosophy of language

In the early 19th century, the Danish philosopher Søren Kierkegaard insisted that language ought to play a larger role in Western philosophy. He argues that philosophy has not sufficiently focused on the role language plays in cognition and that future philosophy ought to proceed with a conscious focus on language:

Philosophy of language

Philosophy of language explores the relationship between language and reality. In particular, philosophy of language studies issues that cannot be addressed by other fields, like linguistics, or psychology. Major topics in philosophy of language include the nature of meaning, intentionality, reference, the constitution of sentences, concepts, learning, and thought.

The topic that has received the most attention in philosophy of language has been the nature of meaning, to explain what "meaning" is, and what we mean when we talk about meaning. Within this area, issues include: the nature of synonymy, the origins of meaning itself, and our apprehension of meaning. Another project of special interest to philosophers of language is the investigation into composition, or the question of how meaningful units of language are composed of smaller meaningful parts, and the meaning of the whole is derived from the meaning of its parts.

Secondly, they seek to better understand what speakers and listeners do with language in communication, and how it is used socially. Specific interests may include the topics of language learning, language creation, and speech acts.

Thirdly, they would like to know how language relates to the minds of both the speaker and the interpreter. Of specific interest is the grounds for successful translation of words into other words.

Finally, philosophers of language investigate how language and meaning relate to truth and the world. They tend to be less interested with which sentences are actually true, and more with what kinds of meanings can be true or false. A truth-oriented philosopher of language might wonder whether or not a meaningless sentence can be true or false, or whether or not sentences can express propositions about things that do not exist, rather than the way sentences are used.[citation needed]

It has long been known that there are different parts of speech. One part of the common sentence is the lexical word, which is composed of nouns, verbs, and adjectives. A major question in the field – perhaps the single most important question for formalist and structuralist thinkers – is, "How does the meaning of a sentence emerge out of its parts?"

Many aspects of the problem of the composition of sentences are addressed in the field of linguistics of syntax. Philosophical semantics tends to focus on the principle of compositionality to explain the relationship between meaningful parts and whole sentences. The principle of compositionality asserts that a sentence can be understood on the basis of the meaning of the parts of the sentence (i.e., words, morphemes) along with an understanding of its structure (i.e., syntax, logic).[1] Further, syntactic propositions are arranged into 'discourse' or 'narrative' structures, which also encode meanings through pragmatics like temporal relations and pronominals.[2]

It is possible to use the concept of functions to describe more than just how lexical meanings work: they can also be used to describe the meaning of a sentence. Take, for a moment, the sentence "The horse is red". We may consider "the horse" to be the product of a propositional function. A propositional function is an operation of language that takes an entity (in this case, the horse) as an input and outputs a semantic fact (i.e., the proposition that is represented by "The horse is red"). In other words, a propositional function is like an algorithm. The meaning of "red" in this case is whatever takes the entity "the horse" and turns it into the statement, "The horse is red."[3]

Linguists have developed at least two general methods of understanding the relationship between the parts of a linguistic string and how it is put together: syntactic and semantic trees. Syntactic trees draw upon the words of a sentence with the grammar of the sentence in mind. Semantic trees, on the other hand, focus upon the role of the meaning of the words and how those meanings combine to provide insight onto the genesis of semantic facts.

Generally speaking, there have been at least seven distinctive explanations of what a linguistic "meaning" is. Each has been associated with its own body of literature.

Other theories exist to discuss non-linguistic meaning (i.e., meaning as conveyed by body language, meanings as consequences, etc.)[16]

Investigations into how language interacts with the world are called theories of reference. Gottlob Frege was an advocate of a mediated reference theory. Frege divided the semantic content of every expression, including sentences, into two components: sense and meaning. The sense of a sentence is the thought that it expresses. Such a thought is abstract, universal and objective. The sense of any sub-sentential expression consists in its contribution to the thought that its embedding sentence expresses. Senses determine reference and are also the modes of presentation of the objects to which expressions refer. Referents are the objects in the world that words pick out. The senses of sentences are thoughts, while their referents are truth values (true or false). The referents of sentences embedded in propositional attitude ascriptions and other opaque contexts are their usual senses.[17]

Bertrand Russell, in his later writings and for reasons related to his theory of acquaintance in epistemology, held that the only directly referential expressions are, what he called, "logically proper names". Logically proper names are such terms as I, now, here and other indexicals.[18][19] He viewed proper names of the sort described above as "abbreviated definite descriptions". Hence Donald J. Trump may be an abbreviation for "the current President of the United States and husband of Melania Trump." Definite descriptions are denoting phrases (see On Denoting) which are analyzed by Russell into existentially quantified logical constructions. Such phrases denote in the sense that there is an object that satisfies the description. However, such objects are not to be considered meaningful on their own, but have meaning only in the proposition expressed by the sentences of which they are a part. Hence, they are not directly referential in the same way as logically proper names, for Russell.[20][21]

On Frege's account, any referring expression has a sense as well as a referent. Such a "mediated reference" view has certain theoretical advantages over Mill's view. For example, co-referential names, such as Samuel Clemens and Mark Twain, cause problems for a directly referential view because it is possible for someone to hear "Mark Twain is Samuel Clemens" and be surprised â€“ thus, their cognitive content seems different.

Despite the differences between the views of Frege and Russell, they are generally lumped together as descriptivists about proper names. Such descriptivism was criticized in Saul Kripke's Naming and Necessity.

Kripke put forth what has come to be known as "the modal argument" (or "argument from rigidity"). Consider the name Aristotle and the descriptions "the greatest student of Plato", "the founder of logic" and "the teacher of Alexander". Aristotle obviously satisfies all of the descriptions (and many of the others we commonly associate with him), but it is not necessarily true that if Aristotle existed then Aristotle was any one, or all, of these descriptions. Aristotle may well have existed without doing any single one of the things for which he is known to posterity. He may have existed and not have become known to posterity at all or he may have died in infancy. Suppose that Aristotle is associated by Mary with the description "the last great philosopher of antiquity" and (the actual) Aristotle died in infancy. Then Maryâ€™s description would seem to refer to Plato. But this is deeply counterintuitive. Hence, names are rigid designators, according to Kripke. That is, they refer to the same individual in every possible world in which that individual exists. In the same work, Kripke articulated several other arguments against "Frege-Russell" descriptivism.[13]

It is worth noting that the whole philosophical enterprise of studying reference has been critiqued by linguist Noam Chomsky in various works,[22]

"[W]e find that human language appears to have no reference relation, in the sense stipulated in the study of formal systems, and presupposed – mistakenly I think – in contemporary theories of reference for language in philosophy and psychology, which take for granted some kind of word-object relation, where the objects are extra-mental. What we understand to be a house, a river, a person, a tree, water, and so on, consistently turns out to be a creation of what 17th century investigators called the "cognoscitive powers," which provide us with rich means to refer to the outside world from certain perspectives. The objects of thought they construct are individuated by mental operations that cannot be reduced to a "peculiar nature belonging" to the thing we are talking about, as David Hume summarized a century of inquiry. There need be no mind-independent entity to which these objects of thought bear some relation akin to reference, and apparently is none in many simple cases (probably all). In this regard, internal conceptual symbols are like the phonetic units of mental representations, such as the syllable [ba]; every particular act externalizing this mental entity yields a mind-independent entity, but it is idle to seek a mind-independent construct that corresponds to the syllable." [p. 27].[24]

Some of the major issues at the intersection of philosophy of language and philosophy of mind are also dealt with in modern psycholinguistics. Some important questions are How much of language is innate? Is language acquisition a special faculty in the mind? What is the connection between thought and language?

There are three general perspectives on the issue of language learning. The first is the behaviorist perspective, which dictates that not only is the solid bulk of language learned, but it is learned via conditioning. The second is the hypothesis testing perspective, which understands the child's learning of syntactic rules and meanings to involve the postulation and testing of hypotheses, through the use of the general faculty of intelligence. The final candidate for explanation is the innatist perspective, which states that at least some of the syntactic settings are innate and hardwired, based on certain modules of the mind.[25][26]

There are varying notions of the structure of the brain when it comes to language. Connectionist models emphasize the idea that a person's lexicon and their thoughts operate in a kind of distributed, associative network.[27] Nativist models assert that there are specialized devices in the brain that are dedicated to language acquisition.[26] Computation models emphasize the notion of a representational language of thought and the logic-like, computational processing that the mind performs over them.[28] Emergentist models focus on the notion that natural faculties are a complex system that emerge from simpler biological parts. Reductionist models attempt to explain higher-level mental processes in terms of the basic low-level neurophysiological activity of the brain.[29]

An important problem which touches both philosophy of language and philosophy of mind is to what extent language influences thought and vice versa. There have been a number of different perspectives on this issue, each offering a number of insights and suggestions.

Linguists Sapir and Whorf suggested that language limited the extent to which members of a "linguistic community" can think about certain subjects (a hypothesis paralleled in George Orwell's novel Nineteen Eighty-Four).[30] In other words, language was analytically prior to thought. Philosopher Michael Dummett is also a proponent of the "language-first" viewpoint.[31]

The stark opposite to the Sapirâ€“Whorf position is the notion that thought (or, more broadly, mental content) has priority over language. The "knowledge-first" position can be found, for instance, in the work of Paul Grice.[31] Further, this view is closely associated with Jerry Fodor and his language of thought hypothesis. According to his argument, spoken and written language derive their intentionality and meaning from an internal language encoded in the mind.[32] The main argument in favor of such a view is that the structure of thoughts and the structure of language seem to share a compositional, systematic character. Another argument is that it is difficult to explain how signs and symbols on paper can represent anything meaningful unless some sort of meaning is infused into them by the contents of the mind. One of the main arguments against is that such levels of language can lead to an infinite regress.[32] In any case, many philosophers of mind and language, such as Ruth Millikan, Fred Dretske and Fodor, have recently turned their attention to explaining the meanings of mental contents and states directly.

Another tradition of philosophers has attempted to show that language and thought are coextensive â€“ that there is no way of explaining one without the other. Donald Davidson, in his essay "Thought and Talk", argued that the notion of belief could only arise as a product of public linguistic interaction. Daniel Dennett holds a similar interpretationist view of propositional attitudes.[33] To an extent, the theoretical underpinnings to cognitive semantics (including the notion of semantic framing) suggest the influence of language upon thought.[34] However, the same tradition views meaning and grammar as a function of conceptualization, making it difficult to assess in any straightfoward way.

Some thinkers, like the ancient sophist Gorgias, have questioned whether or not language was capable of capturing thought at all.

There are studies that prove that languages shape how people understand causality. Some of them were performed by Lera Boroditsky. For example, English speakers tend to say things like "John broke the vase" even for accidents. However, Spanish or Japanese speakers would be more likely to say "the vase broke itself." In studies conducted by Caitlin Fausey at Stanford University speakers of English, Spanish and Japanese watched videos of two people popping balloons, breaking eggs and spilling drinks either intentionally or accidentally. Later everyone was asked whether they could remember who did what. Spanish and Japanese speakers did not remember the agents of accidental events as well as did English speakers.[36] In another study, English speakers watched the video of Janet Jackson's infamous "wardrobe malfunction", accompanied by one of two written reports. The reports were identical except in the last sentence where one used the agentive phrase "ripped the costume" while the other said "the costume ripped." The people who read "ripped the costume" blamed Justin Timberlake more.[citation needed]

Russian speakers, who make an extra distinction between light and dark blue in their language, are better able to visually discriminate shades of blue. The Piraha, a tribe in Brazil, whose language has only terms like few and many instead of numerals, are not able to keep track of exact quantities.[37]

In one study German and Spanish speakers were asked to describe objects having opposite gender assignment in those two languages. The descriptions they gave differed in a way predicted by grammatical gender. For example, when asked to describe a "key"—a word that is masculine in German and feminine in Spanish—the German speakers were more likely to use words like "hard," "heavy," "jagged," "metal," "serrated," and "useful," whereas Spanish speakers were more likely to say "golden," "intricate," "little," "lovely," "shiny," and "tiny." To describe a "bridge," which is feminine in German and masculine in Spanish, the German speakers said "beautiful," "elegant," "fragile," "peaceful," "pretty," and "slender," and the Spanish speakers said "big," "dangerous," "long," "strong," "sturdy," and "towering." This was the case even though all testing was done in English, a language without grammatical gender.[38]

In a series of studies conducted by Gary Lupyan, people were asked to look at a series of images of imaginary aliens.[39] Whether each alien was friendly or hostile was determined by certain subtle features but participants were not told what these were. They had to guess whether each alien was friendly or hostile, and after each response they were told if they were correct or not, helping them learn the subtle cues that distinguished friend from foe. A quarter of the participants were told in advance that the friendly aliens were called "leebish" and the hostile ones "grecious", while another quarter were told the opposite. For the rest, the aliens remained nameless. It was found that participants who were given names for the aliens learned to categorize the aliens far more quickly, reaching 80 per cent accuracy in less than half the time taken by those not told the names. By the end of the test, those told the names could correctly categorize 88 per cent of aliens, compared to just 80 per cent for the rest. It was concluded that naming objects helps us categorize and memorize them.

In another series of experiments [40] a group of people was asked to view furniture from an IKEA catalog. Half the time they were asked to label the object - whether it was a chair or lamp, for example - while the rest of the time they had to say whether or not they liked it. It was found that when asked to label items, people were later less likely to recall the specific details of products, such as whether a chair had arms or not. It was concluded that labeling objects helps our minds build a prototype of the typical object in the group at the expense of individual features.[41]

A common claim is that language is governed by social conventions. Questions inevitably arise on surrounding topics. One question is, "What exactly is a convention, and how do we study it?", and second, "To what extent do conventions even matter in the study of language?" David Kellogg Lewis proposed a worthy reply to the first question by expounding the view that a convention is a rationally self-perpetuating regularity in behavior. However, this view seems to compete to some extent with the Gricean view of speaker's meaning, requiring either one (or both) to be weakened if both are to be taken as true.[31]

Some have questioned whether or not conventions are relevant to the study of meaning at all. Noam Chomsky proposed that the study of language could be done in terms of the I-Language, or internal language of persons. If this is so, then it undermines the pursuit of explanations in terms of conventions, and relegates such explanations to the domain of "meta-semantics". Metasemantics is a term used by philosopher of language Robert Stainton to describe all those fields that attempt to explain how semantic facts arise.[3] One fruitful source of research involves investigation into the social conditions that give rise to, or are associated with, meanings and languages. Etymology (the study of the origins of words) and stylistics (philosophical argumentation over what makes "good grammar", relative to a particular language) are two other examples of fields that are taken to be meta-semantic.

Not surprisingly, many separate (but related) fields have investigated the topic of linguistic convention within their own research paradigms. The presumptions that prop up each theoretical view are of interest to the philosopher of language. For instance, one of the major fields of sociology, symbolic interactionism, is based on the insight that human social organization is based almost entirely on the use of meanings.[42] In consequence, any explanation of a social structure (like an institution) would need to account for the shared meanings which create and sustain the structure.

Rhetoric is the study of the particular words that people use to achieve the proper emotional and rational effect in the listener, be it to persuade, provoke, endear, or teach. Some relevant applications of the field include the examination of propaganda and didacticism, the examination of the purposes of swearing and pejoratives (especially how it influences the behavior of others, and defines relationships), or the effects of gendered language. It can also be used to study linguistic transparency (or speaking in an accessible manner), as well as performative utterances and the various tasks that language can perform (called "speech acts"). It also has applications to the study and interpretation of law, and helps give insight to the logical concept of the domain of discourse.

Literary theory is a discipline that some literary theorists claim overlaps with the philosophy of language. It emphasizes the methods that readers and critics use in understanding a text. This field, an outgrowth of the study of how to properly interpret messages, is unsurprisingly closely tied to the ancient discipline of hermeneutics.

In continental philosophy, language is not studied as a separate discipline, as it is in analytic philosophy. Rather, it is an inextricable part of many other areas of thought, such as phenomenology, semiotics, hermeneutics, Heideggerean ontology, existentialism, structuralism, deconstruction and critical theory. The idea of language is often related to that of logic in its Greek sense as "Logos", meaning discourse or dialectic. Language and concepts are also seen as having been formed by history and politics, or even by historical philosophy itself.

The field of hermeneutics, and the theory of interpretation in general, has played a significant role in 20th century continental philosophy of language and ontology beginning with Martin Heidegger. Heidegger combines phenomenology with the hermeneutics of Wilhelm Dilthey. Heidegger believed language was one of the most important concepts for Dasein. Heidegger believed that language today is worn out because of overuse of important words, and would be inadequate for in-depth study of Being (Sein). For example, Sein (being), the word itself, is saturated with multiple meanings. Thus, he invented new vocabulary and linguistic styles, based on Ancient Greek and Germanic etymological word relations, to disambiguate commonly used words. He avoided words like consciousness, ego, human, nature, etc. and instead talked holistically of Being-in-the-world, Dasein.

With such new concepts as Being-in-the-world, Heidegger constructs his theory of language, centered on speech. He believed speech (talking, listening, silence) was the most essential and pure form of language. Heidegger claims writing is only a supplement to speech, because even a reader constructs or contributes one's own "talk" while reading. The most important feature of language is its projectivity, the idea that language is prior to human speech. This means that when one is "thrown" into the world, his existence is characterized from the beginning by a certain pre-comprehension of the world. However, it is only after naming, or "articulation of intelligibility", can one have primary access to Dasein and Being-in-the-World.[43]

Hans-Georg Gadamer expanded on these ideas of Heidegger and proposed a complete hermeneutic ontology. In Truth and Method, Gadamer describes language as "the medium in which substantive understanding and agreement take place between two people."[44] In addition, Gadamer claims that the world is linguistically constituted, and cannot exist apart from language. For example, monuments and statues cannot communicate without the aid of language. Gadamer also claims that every language constitutes a world-view, because the linguistic nature of the world frees each individual from an objective environment: "... the fact that we have a world at all depends upon [language] and presents itself in it. The world as world exists for man as for no other creature in the world."[44]

Paul Ricœur, on the other hand, proposed a hermeneutics which, reconnecting with the original Greek sense of the term, emphasized the discovery of hidden meanings in the equivocal terms (or "symbols") of ordinary language. Other philosophers who have worked in this tradition include Luigi Pareyson and Jacques Derrida.[45]

Semiotics is the study of the transmission, reception and meaning of signs and symbols in general. In this field, human language (both natural and artificial) is just one among many ways that humans (and other conscious beings) are able to communicate. It allows them to take advantage of and effectively manipulate the external world in order to create meaning for themselves and transmit this meaning to others. Every object, every person, every event, and every force communicates (or signifies) continuously. The ringing of a telephone for example, is the telephone. The smoke that I see on the horizon is the sign that there is a fire. The smoke signifies. The things of the world, in this vision, seem to be labeled precisely for intelligent beings who only need to interpret them in the way that humans do. Everything has meaning. True communication, including the use of human language, however, requires someone (a sender) who sends a message, or text, in some code to someone else (a receiver). Language is studied only insofar as it is one of these forms (the most sophisticated form) of communication. Some important figures in the history of semiotics, are Charles Sanders Peirce, Roland Barthes, and Roman Jakobson. In modern times, its best-known figures include Umberto Eco, A.J. Greimas, Louis Hjelmslev, and Tullio De Mauro.[45] Investigations on signs in non-human communications are subject to biosemiotics, a field founded in the late 20th century by Thomas Sebeok and Thure von Uexküll.

One issue that has troubled philosophers of language and logic is the problem of the vagueness of words. The specific instances of vagueness that most interest philosophers of language are those where the existence of "borderline cases" makes it seemingly impossible to say whether a predicate is true or false. Classic examples are "is tall" or "is bald", where it cannot be said that some borderline case (some given person) is tall or not-tall. In consequence, vagueness gives rise to the paradox of the heap. Many theorists have attempted to solve the paradox by way of n-valued logics, such as fuzzy logic, which have radically departed from classical two-valued logics.[46]

One debate that has captured the interest of many philosophers is the debate over the meaning of universals. One might ask, for example, "When people say the word rocks, what is it that the word represents?" Two different answers have emerged to this question. Some have said that the expression stands for some real, abstract universal out in the world called "rocks". Others have said that the word stands for some collection of particular, individual rocks that we associate with merely a nomenclature. The former position has been called philosophical realism, and the latter nominalism.[47]

The issue here can be explicated if we examine the proposition "Socrates is a Man".

From the radical realist's perspective, the connection between S and M is a connection between two abstract entities. There is an entity, "man", and an entity, "Socrates". These two things connect in some way or overlap.

From a nominalist's perspective, the connection between S and M is the connection between a particular entity (Socrates) and a vast collection of particular things (men). To say that Socrates is a man is to say that Socrates is a part of the class of "men". Another perspective is to consider "man" to be a property of the entity, "Socrates".

There is a third way, between nominalism and radical realism, usually called "moderate realism" and attributed to Aristotle and Thomas Aquinas. Moderate realists hold that "man" refers to a real essence or form that is really present and identical in Socrates and all other men, but "man" does not exist as a separate and distinct entity. This is a realist position, because "Man" is real, insofar as it really exists in all men; but it is a moderate realism, because "Man" is not an entity separate from the men it informs.

Many philosophical discussions of language begin by clarifying terminology. One item which has undergone significant scrutiny is the idea of language itself. Those philosophers who have set themselves to the task ask two important questions: "What is language in general?" and "What is a particular, individual language?"

Some semiotic outlooks have stressed that language is the mere manipulation and use of symbols in order to draw attention to signified content. If this were so, then humans would not be the sole possessors of language skills.[45] On the other hand, many works by linguist Noam Chomsky have emphasized the role of syntax as a characteristic of any language.[48]

More puzzling is the question of what it is that distinguishes one particular language from another. What is it that makes "English" English? What's the difference between Spanish and French? Chomsky has indicated that the search for what it means to be a language must begin with the study of the internal language of persons, or I-languages, which are based upon certain rules (or principles and parameters) which generate grammars. This view is supported in part by the conviction that there is no clear, general, and principled difference between one language and the next, and which may apply across the field of all languages. Other attempts, which he dubs E-languages, have tried to explain a language as usage within a specific speech community with a specific set of well-formed utterances in mind (markedly associated with linguists like Bloomfield).[49]

Another of the questions that has divided philosophers of language is the extent to which formal logic can be used as an effective tool in the analysis and understanding of natural languages. While most philosophers, including Frege, Alfred Tarski and Rudolf Carnap, have been more or less skeptical about formalizing natural languages, many of them developed formal languages for use in the sciences or formalized parts of natural language for investigation. Some of the most prominent members of this tradition of formal semantics include Tarski, Carnap, Richard Montague and Donald Davidson.[50]

On the other side of the divide, and especially prominent in the 1950s and 60s, were the so-called "Ordinary language philosophers". Philosophers such as P. F. Strawson, John Langshaw Austin and Gilbert Ryle stressed the importance of studying natural language without regard to the truth-conditions of sentences and the references of terms. They did not believe that the social and practical dimensions of linguistic meaning could be captured by any attempts at formalization using the tools of logic. Logic is one thing and language is something entirely different. What is important is not expressions themselves but what people use them to do in communication.[51]

Hence, Austin developed a theory of speech acts, which described the kinds of things which can be done with a sentence (assertion, command, inquiry, exclamation) in different contexts of use on different occasions.[52] Strawson argued that the truth-table semantics of the logical connectives (e.g.,

∧

{\displaystyle \land }

,

∨

{\displaystyle \lor }

 and

→

{\displaystyle \rightarrow }

) do not capture the meanings of their natural language counterparts ("and", "or" and "if-then").[53] While the "ordinary language" movement basically died out in the 1970s, its influence was crucial to the development of the fields of speech-act theory and the study of pragmatics. Many of its ideas have been absorbed by theorists such as Kent Bach, Robert Brandom, Paul Horwich and Stephen Neale.[9]

While keeping these traditions in mind, the question of whether or not there is any grounds for conflict between the formal and informal approaches is far from being decided. Some theorists, like Paul Grice, have been skeptical of any claims that there is a substantial conflict between logic and natural language.[54]

Translation and interpretation are two other problems that philosophers of language have attempted to confront. In the 1950s, W.V. Quine argued for the indeterminacy of meaning and reference based on the principle of radical translation. In Word and Object, Quine asks readers to imagine a situation in which they are confronted with a previously undocumented, primitive tribe and must attempt to make sense of the utterances and gestures that its members make. This is the situation of radical translation.[55]

He claimed that, in such a situation, it is impossible in principle to be absolutely certain of the meaning or reference that a speaker of the primitive tribe's language attaches to an utterance. For example, if a speaker sees a rabbit and says "gavagai", is she referring to the whole rabbit, to the rabbit's tail, or to a temporal part of the rabbit. All that can be done is to examine the utterance as a part of the overall linguistic behaviour of the individual, and then use these observations to interpret the meaning of all other utterances. From this basis, one can form a manual of translation. But, since reference is indeterminate, there will be many such manuals, no one of which is more correct than the others. For Quine, as for Wittgenstein and Austin, meaning is not something that is associated with a single word or sentence, but is rather something that, if it can be attributed at all, can only be attributed to a whole language.[55] The resulting view is called semantic holism.

Inspired by Quine's discussion, Donald Davidson extended the idea of radical translation to the interpretation of utterances and behavior within a single linguistic community. He dubbed this notion radical interpretation. He suggested that the meaning that any individual ascribed to a sentence could only be determined by attributing meanings to many, perhaps all, of the individual's assertions, as well as their mental states and attitudes.[7]

Linguistic speculation in India is attested since the Vedic period (Iron Age), beginning with the deification of vāk "speech" and the role of language (utterance, shabda) in ritual. Sanskrit grammatical tradition gives rise to linguistic philosophy beginning in the final centuries BC and early centuries AD, notably in the philosophical schools of Nyaya and Mimamsa.

In the West, inquiry into language stretches back to the 5th century BC with Socrates, Plato, Aristotle, and the Stoics.[56] Both in India and in Greece, linguistic speculation predates the emergence of grammatical traditions of systematic description of language, which emerged around the 5th century BC in India (see Yāska), and around the 3rd century BC in Greece (see Rhianus).

In the dialogue Cratylus, Plato considered the question of whether the names of things were determined by convention or by nature. He criticized conventionalism because it led to the bizarre consequence that anything can be conventionally denominated by any name. Hence, it cannot account for the correct or incorrect application of a name. He claimed that there was a natural correctness to names. To do this, he pointed out that compound words and phrases have a range of correctness. He also argued that primitive names had a natural correctness, because each phoneme represented basic ideas or sentiments. For example, for Plato the letter l and its sound represented the idea of softness. However, by the end of the Cronic, he had admitted that some social conventions were also involved, and that there were faults in the idea that phonemes had individual meanings.[57]

Aristotle interested himself with the issues of logic, categories, and meaning creation. He separated all things into categories of species and genus. He thought that the meaning of a predicate was established through an abstraction of the similarities between various individual things. This theory later came to be called nominalism.[58] However, since Aristotle took these similarities to be constituted by a real commonality of form, he is more often considered a proponent of "moderate realism".

The Stoic philosophers made important contributions to the analysis of grammar, distinguishing five parts of speech: nouns, verbs, appellatives (names or epithets), conjunctions and articles. They also developed a sophisticated doctrine of the lektón associated with each sign of a language, but distinct from both the sign itself and the thing to which it refers. This lektón was the meaning (or sense) of every term. The lektón of a sentence is what we would now call its proposition. Only propositions were considered "truth-bearers" or "truth-vehicles" (i.e., they could be called true or false) while sentences were simply their vehicles of expression. Different lektá could also express things besides propositions, such as commands, questions and exclamations.[59]

Medieval philosophers were greatly interested in the subtleties of language and its usage. For many scholastics, this interest was provoked by the necessity of translating Greek texts into Latin. There were several noteworthy philosophers of language in the medieval period. According to Peter J. King, (although this has been disputed), Peter Abelard anticipated the modern ideas of sense and reference.[60] Also, William of Ockham's Summa Logicae brought forward one of the first serious proposals for codifying a mental language.[61]

The scholastics of the high medieval period, such as Ockham and John Duns Scotus, considered logic to be a scientia sermocinalis (science of language). The result of their studies was the elaboration of linguistic-philosophical notions whose complexity and subtlety has only recently come to be appreciated. Many of the most interesting problems of modern philosophy of language were anticipated by medieval thinkers. The phenomena of vagueness and ambiguity were analyzed intensely, and this led to an increasing interest in problems related to the use of syncategorematic words such as and, or, not, if, and every. The study of categorematic words (or terms) and their properties was also developed greatly.[62] One of the major developments of the scholastics in this area was the doctrine of the suppositio.[63] The suppositio of a term is the interpretation that is given of it in a specific context. It can be proper or improper (as when it is used in metaphor, metonyms and other figures of speech). A proper suppositio, in turn, can be either formal or material accordingly when it refers to its usual non-linguistic referent (as in "Charles is a man"), or to itself as a linguistic entity (as in "Charles has seven letters"). Such a classification scheme is the precursor of modern distinctions between use and mention, and between language and metalanguage.[63]

There is a tradition called speculative grammar which existed from the 11th to the 13th century. Leading scholars included, among others, Martin of Dace and Thomas of Erfurth.

Linguists of the Renaissance and Baroque periods such as Johannes Goropius Becanus, Athanasius Kircher and John Wilkins were infatuated with the idea of a philosophical language reversing the confusion of tongues, influenced by the gradual discovery of Chinese characters and Egyptian hieroglyphs (Hieroglyphica). This thought parallels the idea that there might be a universal language of music.

European scholarship began to absorb the Indian linguistic tradition only from the mid-18th century, pioneered by Jean François Pons and Henry Thomas Colebrooke (the editio princeps of Varadarāja, a 17th-century Sanskrit grammarian, dating to 1849).

If the claim of philosophers to be unbiased were all it pretends to be, it would also have to take account of language and its whole significance in relation to speculative philosophy ... Language is partly something originally given, partly that which develops freely. And just as the individual can never reach the point at which he becomes absolutely independent ... so too with language.[64]

Hence, language began to play a central role in Western philosophy in the late 19th century, especially with Port Royal in France, and in the English-speaking world and other parts of Europe. The foundational work was Ferdinand de Saussure's Cours de linguistique générale, published posthumously in 1916.

The philosophy of language then became so pervasive that for a time, in analytic philosophy circles, philosophy as a whole was understood to be a matter of philosophy of language. In the 20th century, "language" became an even more central theme within the most diverse traditions of philosophy. The phrase "the linguistic turn" was used to describe the noteworthy emphasis that modern-day philosophers put upon language.[65]


what is the first file used in the boot process of windows vista

In this article, unless otherwise specified, what is said about "Windows Vista" also applies to all later NT operating systems. For Windows Vista, the boot sector loads the Windows Boot Manager (a file named BOOTMGR on either the system or the boot partition), accesses the Boot Configuration Data store and uses the information to load the operating system. Then, the BCD invokes the boot loader and in turn proceeds to initiate the Windows kernel.

Windows Vista startup process

The startup process of Windows Vista, Windows Server 2008 and their successors differs from the startup process part of previous versions of Windows.

Windows Vista introduces a complete overhaul of the Windows operating system loader architecture.[1] The earliest known reference to this revised architecture is included within PowerPoint slides distributed by Microsoft during the Windows Hardware Engineering Conference of 2004 when the operating system was codenamed "Longhorn." This documentation mentions that the Windows operating system loader would be undergoing a significant restructuring in order to support EFI and to "do some major overhaul of legacy code."[2] The new boot architecture completely replaces the NTLDR architecture used in previous versions of Windows NT.[1]

Boot Configuration Data (BCD) is a firmware-independent database for boot-time configuration data. It is used by Microsoft's new Windows Boot Manager and replaces the boot.ini that was used by NTLDR.

Boot Configuration Data are stored in a data file that has the same format as Windows Registry hives and is eventually mounted at registry key [HKEY_LOCAL_MACHINE\BCD00000][3] (with restricted permissions[4]). For UEFI boot, the file is located at \EFI\Microsoft\Boot\BCD on the EFI System Partition. For traditional BIOS boot, the file is at \boot\BCD on the active partition.[5]

Boot Configuration Data may be altered using a command-line tool (bcdedit.exe), using Registry Editor[3] (regedit.exe), using Windows Management Instrumentation, or with third-party tools such as EasyBCD, BOOTICE,[6] or Visual BCD Editor.[7]

Boot Configuration Data contain the menu entries that are presented by the Windows Boot Manager, just as boot.ini contained the menu entries that were presented by NTLDR. These menu entries can include:

Boot Configuration Data allows for third-party integration, so anyone can implement tools like diagnostics or recovery options.

The Windows Boot Manager invokes winload.exe—the operating system boot loader—to load the operating system kernel executive (ntoskrnl.exe) and core device drivers. In that respect, winload.exe is functionally equivalent to the operating system loader function of NTLDR in prior versions of Windows NT. In UEFI systems, the file is called winload.efi and the file is always located at \windows\system32\boot.

If the computer has recently hibernated, then bootmgr will instead invoke winresume.exe. The only difference is the alternate boot mode and the splash screen displaying "Resuming Windows". In UEFI systems, the file is called winresume.efi and is always located at \windows\system32\boot.

With the advent of the new boot manager in Windows Vista, many components have been changed; one is the Advanced Boot Options menu that provides options for advanced boot modes (i.e. Safe Mode). Due to the implementation of Hybrid Boot in Windows 8 and up, access to the Advanced Boot Options menu has been disabled by default. However, access is still possible with a BCD modification. These are the possible boot modes:

The ABO menu is accessible by pressing rapidly or holding the F8 key before Windows boots.


what cities are in east county san diego

East County does not have an official geographic definition. It commonly includes the four cities east of San Diego and South Bay—El Cajon, La Mesa, Santee, and Lemon Grove—as well as suburban unincorporated communities such as Lakeside, Spring Valley, Jamul, and Alpine. Many sources also include vast swathes of the backcountry of San Diego County also known as the Mountain Empire, including communities along Interstate 8 such as Pine Valley and Descanso, and communities along the rural section of California State Route 94 such as Potrero, Boulevard, and Jacumba.[1] Other sources consider communities within the entire eastern two-thirds of the county to be East County, thereby encompassing places like Ramona, Julian, and Borrego Springs,[2][3]  The Ramona urban area—Ramona, San Diego Country Estates and Barona Mesa—is often considered part of inland North County due to its association with Poway, Rancho Bernardo, Escondido and other North County Inland communities.[4]

East County, San Diego

East County is a region of San Diego County, California east of San Diego.

The populace of East County primarily dwells in the interior valleys east of San Diego proper while some development encroaches the coastal foothills.

A broader definition of East County exists that includes the Cuyamaca Mountains, Laguna Mountains, and Palomar Mountain, as well as the desert area of Anza-Borrego State Park.[5] Yet, this definition, when used by SANDAG, excludes the East Suburban centers.[6]

Prominent geologic formations include El Capitan, a large dome-shaped mountain overlooking Santee and Lakeside.

East County is the fourth most populous region in the San Diego metropolitan area, though its population is almost equivalent to that of South Bay.

Populations listed are 2010 Census populations

East County is served by Santee School District, Grossmont Union High School District, Cajon Valley Union School District, Lakeside Union School District, Lemon Grove School District, and La Mesa-Spring Valley School District.

Grossmont College and Cuyamaca Community College are two community college's located in El Cajon. San Diego Christian College is located in Santee.

Important landmarks in East County included Gillespie Field, Old Poway Park, Poway Tony Gwynn Statue, El Capitan, Mt. Helix, Santee Lakes, Sweetwater Reservoir and Lake Cuyamaca.


who sang the song message in a bottle

"Message in a Bottle" is a song by English rock band The Police. It was released as the lead single from their second studio album, Reggatta de Blanc (1979). Written by the band's lead singer and bassist Sting, the song is ostensibly about a story of a castaway on an island, who sends out a message in a bottle to seek love. A year later, he has not received any sort of response, and despairs, thinking he is destined to be alone. The next day, he sees "a hundred billion bottles" on the shore, finding out that there are more people like him out there. American rock band American Hi-Fi performed a cover of the song for the 2003 film Rugrats Go Wild.

Message in a Bottle (song)

The song was the first of their five UK number one singles.[1] Rolling Stone ranked it number 65 on its list of the "100 Greatest Guitar Songs of All Time".

According to the band's guitarist, Andy Summers, the guitar riff that "Message in a Bottle" is centred around was originally used for a different song.[2] During the band's first American tour, however, he reworked the song and slightly altered the riff, becoming the final version of the song. In addition to the core riff, Summers came up with, as Sting described, "lovely arpeggiated shiver" during the break prior to the third verse.[2] Sting praised this addition saying, "He'd [Summers] do that â€“ the song would be quite raw and he'd just add these lovely colours."[2] The song was recorded at Surrey Sound Studios as part of the sessions for the Reggatta de Blanc album. Stewart Copeland's drumming, praised as his "finest drum track" by Summers, was "overdubbed [from] about six different parts."[2]

The Police debuted the song on live television on the BBC's Rock Goes to College, filmed at Hatfield Polytechnic College in Hertfordshire, England.[3] The Police donated all money earned from the show to the college.

The song was released as the first single from Reggatta de Blanc in September 1979. The song was a massive success in Britain, becoming The Police's first number one hit in the UK Singles Chart.[4] The song also topped the charts in Ireland and reached number 5 in Australia. Despite its popularity in the UK, the single only reached number 74 in the United States. An alternative "classic rock" mix is available on Every Breath You Take: The Classics.

The song's B-side, "Landlord", was written by Sting (lyrics) and Copeland (music). Sting said of its inspiration, "I wrote that after Frances and I were thrown out of the house we were renting in London. I hated the idea of somebody fucking my life up like that. Stewart [Copeland] wrote the music."[2] The song originally featured lyrics by Copeland, but they were replaced by Sting's.[2]

"Message in a Bottle" is also a personal favourite of the members of the band. In addition to saying it was his favourite song in an interview with Jools Holland of the BBC, Sting described it as a "good song", and also said that he was "very proud" of it.[2][5] Copeland said it was "one of our [The Police's] best moments in the studio and always great on stage."[2] Summers described the track as a personal favourite in his book One Train Later, and said, "For me, it's still the best song Sting ever came up with and the best Police track."[2]

'Message in a Bottle' is a good song. That can move me. I like the idea that while it's about loneliness and alienation it's also about finding solace and other people going through the same thing. The guy's on a desert island and throws a bottle out to sea saying he's alone and all these millions of bottles come back saying, So what So am I! I like the fact that the whole deal is clinched by the third verse. It makes a journey.

The Police performed at Live Earth, a 2007 charity concert to raise awareness of global warming and other environmental hazards, and performed "Message in a Bottle" as the US finale, with John Mayer playing guitar with Andy Summers and Kanye West performing a rap verse over the chorus of the song.

The song exemplifies the reggae/post-punk style of early Police. It is composed in the key of Câ™¯ minor with a chord progression of C#m9-Amaj9-B7-F#m.

A&M / AMS 7474


when does rebel in the rye come out

The film had its world premiere at the Sundance Film Festival on January 24, 2017, and was released by IFC Films on September 8, 2017.

Rebel in the Rye

Rebel in the Rye is a 2017 American biographical drama film directed and written by Danny Strong. It is based on the book J. D. Salinger: A Life by Kenneth Slawenski, about the life of young writer J. D. Salinger during and after World War II. The film stars Nicholas Hoult, Zoey Deutch, Kevin Spacey, Sarah Paulson, Brian d'Arcy James, Victor Garber, Hope Davis, and Lucy Boynton.

The life of author J. D. Salinger from his youth to the World War II era, including his romantic life and the publication of his debut novel The Catcher in the Rye.[3][4]

On April 29, 2014, it was announced that screenwriter-actor Danny Strong would make his directorial debut with biographical film Salinger's War, based on the non-fiction book J. D. Salinger: A Life by Kenneth Slawenski, about the life of young author J. D. Salinger during the early 1940s.[5] Strong bought the book with his own money and adapted the film's script, which Black Label Media would finance, while Molly Smith, Trent Luckinbill, and Thad Luckinbill would produce the film along with Bruce Cohen, Jason Shuman, and Strong.[5] On August 31, 2015, Nicholas Hoult was cast in the biopic to play Salinger, and the film was re-titled as Rebel in the Rye.[6] On January 19, 2016, Kevin Spacey joined the film to play Whit Burnett, a lecturer at Columbia University, editor of the Story magazine, and a mentor of the young Salinger.[7] On February 12, 2016, Laura Dern, Brian d'Arcy James, and Hope Davis signed on to star in the film for unspecified roles.[8] On March 9, 2016, Zoey Deutch joined the film to play the playwright Eugene O'Neill's daughter Oona O'Neill, who had a beautiful relationship with Salinger,[9] and following her, Victor Garber also joined the film on next day to portray the role of Salinger's father, Sol Salinger.[10] On April 7, 2016, Lucy Boynton joined the film for an unspecified role,[11] and following her Sarah Paulson was cast in the film on April 26 to play Dorothy Olding, the loyal agent who supported the young Salinger throughout his career.[3] In May 2016, it was revealed that James Urbaniak had been cast as Gus Lobrano.[12]

Bear McCreary composed the film's score.[13]

Principal photography on the film began on April 26, 2016 in New York City.[4][3]

The film had its world premiere at the Sundance Film Festival on January 24, 2017.[14] Shortly after, IFC Films acquired distribution rights to the film.[15] It was theatrically released on September 8, 2017.[16]

Rebel in the Rye had a limited release in four theaters in its first week which was expanded to 45 more screens in second week. In its first week of release, the film made $44,280 (an average of $11,070),[17] and in its second week, it grossed $101,118 in the 49 theaters, with a cumulative total of $154,326.[18]

On review aggregation website Rotten Tomatoes, the film has an approval rating of 31% based on 59 reviews, and an average rating of 4.7/10.[19] On Metacritic, which assigns a normalized rating to reviews, the film has a weighted average score 46 out of 100, based on reviews from 29 critics, indicating "mixed or average reviews".[20]

Jordan Hoffman of The Guardian gave three stars out of five, saying, "J. D. Salinger drama catches attention but sinks into cliche".[21]


how many episodes are in season 5 of the blacklist

The fifth season of the American crime thriller television series The Blacklist premiered on NBC on September 27, 2017, with a timeslot change from Thursday at 10:00 PM to Wednesday at 8:00 PM.[2] The season was produced by Davis Entertainment, Universal Television and Sony Pictures Television, and the executive producers are Jon Bokenkamp, John Davis, John Eisendrath, John Fox, and Joe Carnahan. The season is scheduled to consist of 22 episodes that will contain the series' 100th episode.[1]

The Blacklist (season 5)


was the town that dreaded sundown based on a true story

The film is loosely based on the actual crimes attributed to an unidentified serial killer known as the Phantom Killer; it claims that "the incredible story you are about to see is true, where it happened and how it happened; only the names have been changed." The actual Phantom attacked eight people between February 22 and May 3, 1946 in or near the town of Texarkana, Texas, which is on the Texas border with Arkansas. Most of the murders occurred in rural areas just outside Texarkana, in Bowie County, Texas, while the film has them occurring in Arkansas. However, the general outline of the murders largely follows reality, with mostly minor artistic license taken. As in the film, the real killer was never identified nor apprehended.

The Town That Dreaded Sundown

The Town That Dreaded Sundown is a 1976 American horror film by producer and director Charles B. Pierce, who also co-stars as a bumbling police officer named A.C. Benson, also known as "Sparkplug". Pierce's fifth film is narrated by Vern Stierman, who had previously narrated Pierce's 1972 film The Legend of Boggy Creek. Ben Johnson stars as Captain J.D. Morales, the fictionalized version of real-life Texas Ranger Captain M. T. "Lone Wolf" Gonzaullas. Dawn Wells (Mary Ann of Gilligan's Island) appears as one of the victims. Cindy Butler (Pierce's girlfriend at the time) plays Peggy Loomis, the trombone victim. The Phantom is played by Bud Davis, who later worked as stunt coordinator on films such as Forrest Gump, Cast Away, and Inglourious Basterds. The film was mostly shot around Texarkana, and a number of locals were cast as extras. The world premiere was held in Texarkana on December 17, 1976, before its regular run in theaters on December 24.[4] The film is an early example of a slasher film, having been released two years before Halloween (1978), and just two years after Black Christmas (1974), a film considered as one of the earliest in the genre.

The film is loose enough with the facts that one family member of a victim filed a lawsuit in 1978, over its depiction of his sister. The fabricated facts in the film have also caused rumors and folklore to spread for generations around Texarkana. The film's tagline claims that the man who killed five people "still lurks the streets of Texarkana, Ark.", causing officials of that neighboring city to threaten Pierce over the ads in 1977; however, it remained on the posters. A meta-sequel with the same name was released on October 16, 2014.

Before the "Phantom-attacks", which occurred about eight months after World War II, Texarkana was pleasant and citizens were preparing for a good future. On the night of Sunday, March 3, 1946, Sammy Fuller and Linda Mae Jenkins park on a lovers' lane. Soon, the hood of the car opens and closes and a man with a bag over his head with holes cut out for his eyes is seen holding wires he had yanked from the engine. While Sammy tries starting the car, the man breaks his window and pulls him out, cutting him on the broken glass. The man then gets inside the car with Linda.

The next morning, Linda is found on the side of the road barely alive. While at the crime scene, Deputy Norman Ramsey reports that both victims are still alive. He leaves a message for Sheriff Barker to meet him at Michael-Meagher Hospital. At the hospital, a doctor tells Sheriff Barker that Linda was not raped but that her back, stomach, and breasts were "heavily bitten; literally chewed." At the police station, Barker suggests to Police Chief Sullivan to warn teens and college students from parking on lonely roads.

On March 24, while investigating a lovers' lane in heavy rain, Ramsey hears gunshots and finds Howard W. Turner dead in a ditch and the corpse of his girlfriend, Emma Lou Cook, tied to a tree. Ramsey spots the hooded man escaping in a car. Panicked, the town sells out of guns and other home safety equipment. Sheriff Barker calls in help and tells Ramsey they are getting the most famous criminal investigator in the country, the "Lone Wolf" of the Texas Rangers, Captain J.D. Morales. After arriving, Morales explains he will be in charge of the investigation and calls the unidentified attacker a Phantom. Ramsey is assigned to assist Morales, and Patrolman A.C. "Sparkplug" Benson is to be his driver.

At the barber shop, Ramsey explains to Morales his theory that the Phantom attacks every 21 days. The next attack falls on the day of a high school prom, and decoys are set up on the edges of town. After the dance, on April 14, trombone player Peggy Loomis leaves with her boyfriend Roy Allen. Despite her worries, they go to Spring Lake Park in the middle of town. When they leave, the Phantom jumps on the driver's door and pulls Roy out of the car, causing Peggy to crash. She flees as the Phantom beats Roy, but he catches her and ties her hands around a tree. Roy awakens, but is shot to death while attempting to escape. The Phantom attaches a pocket knife to the distal end of the slide of Peggy's trombone and kills her while "playing" the instrument by repeatedly projecting the slide-with-knife forward into her back while she is tied to the tree.

Morales and other officers meet with psychiatrist Dr. Kress at a restaurant, where he explains that the Phantom is a highly intelligent sadist with a strong sex drive, between the ages of 35 and 40. As Kress expresses his doubts about their chances of capturing the Phantom, the Phantom's shoes are shown, revealing that he had heard the entire conversation. At the station, a man named Johnson says that he was robbed and forced to drive a man to Lufkin at gunpoint. While on the road, Ramsey receives a report about an armed suspect, and a brief chase ensues. The suspect, Eddie LeDoux, at first denies everything, then confesses to being the Phantom, but Morales is unconvinced. Johnson identifies him as his robber.

On May 3, Helen Reed is seen by the Phantom leaving a grocery store. At home that night, Helen asks her husband Floyd, who is sitting in front of a window in his armchair, if he hears somebody walking outside. After he replies that he does not, the Phantom shoots him through their window. Helen inspects and sees Floyd dying. As she uses the telephone to call police, the Phantom breaks through the screen door and shoots her twice in the face. Despite her wounds, she drags herself out of the house and into a cornfield while the Phantom inspects Floyd's body. The Phantom stalks her with a pickaxe, but leaves when she gets help at a nearby house. News of this attack causes the town to panic, and people begin boarding up their windows.

Later, Morales and Ramsey receive a report about a stolen car that matches the one from the Turner and Cook murders. While investigating a sand pit, they encounter the Phantom. Morales shoots at him but misses, causing him to run into the woods. The Phantom escapes by jumping past a moving train, but is shot in the leg. While the officers are waiting for the train to pass, the Phantom escapes. They continue their search, but never find him. Years later during the Christmas season of 1976, the film The Town That Dreaded Sundown premieres in Texarkana and the shoes of the Phantom are seen on someone standing in line.

Principal photography began on Monday, June 21,[5] in the very hot summer of 1976 for about four weeks.[2] Locations included Scott, Arkansas, Shreveport, Louisiana, Garland City, Arkansas, and Texarkana, Texas. The last scene filmed was the first attack, which was shot in front of Pierce's home in Shreveport.[2] About 19 Texarkana locals starred in the film along with several extras.[6]

Pierce called Dawn Wells on July 8, 1976, to star in his film. She arrived by plane in Texarkana before noon the next day. She stayed in Texarkana for six days, but completed her scenes in the first two. While filming the cornfield scene, Wells was almost attacked by a bulldog, but the crew scared it away by shooting at it.[7] Wells wanted to talk to the real-life survivor of her role, Katie Starks, but Katie refused. The Town That Dreaded Sundown was Wells' fourth film and her second time working with Pierce.[8] During her stay, she did not read the script; she relied on the director, instead. She said that was the way she wanted it. Wells explained, "Acting-wise, it's an extremely emotional role. I didn't want to pattern my interpretation after anything. I wanted to go on my own feelings."[8] Being shot was a new experience for the actress. "They planted a charge in the receiver, so I was standing there holding the phone, shaking, expecting the receiver to blow up in my face."[8]

Andrew Prine, who played Norman Ramsey, wrote the last fifth of the film because it had no ending.[9] Both Ben Johnson and he were hung over while filming the train scene after partying the night before.[9] During the rain scene with Ramsey, a snake made its way on the set. Crew members were yelling at Andrew that it was a moccasin, but Prine wanted to finish his scene without reshooting, so the crew killed the snake afterwards.[9] The last shot of the film where the killer is seen standing in line at the movie theater was Pierce's wife's idea.

The film's poster art was painted with acrylic by a graphic illustrator named Ralph McQuarrie, then an unknown. McQuarrie had painted the poster for Pierce's The Legend of Boggy Creek, then later for his films Bootleggers (1974), Winterhawk (1975), and Winds of Autumn (1976). McQuarrie became recognized for his talent and went on to paint posters for Creature from Black Lake (1976), Battlestar Galactica (1978), Close Encounters of the Third Kind (1977), Back to the Future (1985), and the original Star Wars trilogy. His concept art was used to help convince 20th Century Fox to fund Star Wars.[10] The advertising department placed the controversial phrase, "In 1946, this man killed five people...today he still lurks the streets of Texarkana, Ark." on the poster. After Texarkana city officials threatened to sue, Pierce tried having the statement removed. The last part of the phrase was censored or removed in advertisements, but it remained on several posters.[11]

The film was released theatrically in the United States by American International Pictures on December 24, 1976,[12] and internationally in Sweden (1977), West Germany (1978), and the Philippines (1979).[13] It was played at drive-ins until the end of 1977 and made its television debut by June 1978.[14] It was released on VHS in 1983 by Warner Home Video, which then rereleased it in 1988. Good Times Video also released it on VHS on May 15, 2001. The Turner Classic Movies cable channel occasionally airs widescreen versions of this film, with the most recent showing scheduled for March 14, 2015. The film finally had a digital release on May 21, 2013, when Shout! Factory released it on a Blu-ray/DVD combo pncluding Pierce's 1979 film The Evictors.[15]

Larry Fisher, a film critic for the Delta Democrat-Times, gave the film a three-star rating out of five. He said Ben Johnson gave a superb performance as Captain J.D. Morales, and, "Although the picture lacks a strong ending, Pierce does one of the most credible jobs of engineering the tense, horrifying murder scenes."[16] Mark Melson, Shreveport Times Amusement editor, claimed that it "may prove interesting to some viewers for one reason or another", but was "ultimately unsatisfying."[17]

William Whitaker of the Abilene Reporter-News gave the film a negative review, stating, "where I was expecting a dramatic retelling of the mysterious case concerning the phantom killer and his bizarre murders, I was greeted with an extremely uneven picture, collapsing into the most sickening, blood-weltering scenes one minute and then lapsing into some incredibly bad comedy relief the next."[18] He continued, "Such vivid contrasts in the film's approach to its subject lead to its downfall. Any effect the disgustingly boring and extremely brutal murder scenes have go to waste seconds later when director Charles B. Pierce leads the picture into some of the type of poor comedy relief that one is used to seeing in budget pictures of the '60s. As a result, the film is unable to conjure up any mood or suspense." He concludes with, "All in all, the picture is an unpleasant little film and Pierce, after going overboard on the blood and gore scenes, never seems to be able to decide as to how serious the picture should be," and that "both mature and immature minds should avoid the film." A reporter in El Paso, Texas, gave it a mixed review, writing that "this mixture of humor with fact saved 'The Town...' as it wakes the audience when things begin to lag."[19] He goes on to write, "All things considered, the movie is entertaining and would appeal to those who savor unsolved murder mysteries."[19]

Scott Weinberg from FEARnet gave it a positive review by claiming it is, "Arguably the most accomplished feature from the late Charles B. Pierce," and "while the movie offers a slightly stodgy 'voice-over' narration and some moments that seem plucked straight out of '1970s police procedural 101', including a few painful moments of cop-related comic relief, it also delivers some legitimately effective atmosphere, several cool character actors doing fine work, and a handful of sincerely creepy moments."[20]

Bloody Disgusting gave the film five "skulls" in a review by Patrick Cooper, who wrote that it is "a hugely entertaining atmospheric thriller," and that "the only parts that fumble a bit are the regrettable comedic moments... these well-intentioned bits sharply interrupt the serious ambiance of the film, but at least they're few and spaced far enough apart that they don't ruin the whole thing."[21]
Film review aggregator Rotten Tomatoes reported an approval rating of 50%, based on eight reviews, with a rating average of 5.3/10.[22]

The beginning of the film states that the first attack occurred on Sunday, March 3. In real life, the attack happened on Friday, February 22nd. Jimmy Hollis (portrayed as "Sammy Fuller") was not pulled out of the window. The girl, Mary Jeanne Larey (portrayed as "Linda Mae Jenkins") was told to run. She was then chased down and sexually assaulted with the attacker's gun. She soon escaped and received help at a house.[23] In the film, the doctor claimed that she was bitten and chewed, but Mary Larey only had a cut on her head from being beaten.

The next attack in the film claims that it happened on Saturday, March 24; in 1946, March 24 was on a Sunday. In the film, "Howard Turner" and his girlfriend, "Emma Lou Cook", were found dead outside of the vehicle. Emma Cook was shown tied to a tree with bite marks. In real life, both victims were found inside of the vehicle, shot to death. The character "Deputy Ramsey" was patrolling the area and found the bodies. Afterwards, he saw the Phantom getting into a car and leaving. On the real morning of March 24, a passing motorist spotted a car and found the bodies of Richard Griffin and Polly Ann Moore inside before calling the authorities. By the time the officers were on the scene, the killer was long gone.[24]

The film states that locals soon started buying guns and locks, but this did not happen until two months later in May.[25] The characters in the film then brought in Captain J.D. Morales of the Texas Rangers. Truthfully, "Lone Wolf" did not come to Texarkana until after the second double-murder near Spring Lake Park.[26] The film has Morales naming the killer a phantom, but the naming of the killer did not come until after the murders in April, and by the executive editor of the Texarkana Gazette.[27]

The film then shows a high school prom with the character "Peggy Loomis" playing a trombone. The officers were setting up decoys in an attempt to capture the Phantom. Betty Jo Booker, who played saxophone (not a trombone) was playing at a Veterans of Foreign Wars (VFW) social event (not a prom), and officers did not set up decoys until after her friend Paul Martin and her murders. In the film, "Peggy" and "Roy" are a couple, but Booker and Martin were only friends in real life.  Martin and she were shot to death, and her saxophone was missing for six months.[28] In the film, "Deputy Ramsey" collects the victim's instrument as evidence.

In the film, "Helen Reed" sees the attacker before being shot. However, Katie Starks was shot through the same window as her husband and did not see her attacker until he tried crawling through the kitchen window.[29] Mrs. Starks ran out of the house, but was not chased. At the end of the film, the officers chase the Phantom and shoot him in the leg, but the real Phantom was never chased or shot at all.

In February 1977, Texarkana city officials voted to file a lawsuit against the ad campaign. When city officials visited Washington, DC, they were kidded about the film's tagline. Mayor Harvey Nelson explained: "The ad is too much; that's just not true. There's objection that this whole thing will be spreading fear in the community. There are relatives of the victims still living here, and this is very unpleasant to them."[11] Pierce worked with American International Pictures to remove the "still lurking" statement, but it remained on the posters.

In 1978, Mark Melton Moore, the brother of real-life victim Polly Ann Moore, took Pierce to court for $1.3 million for invading his privacy. He claimed his sister, who was portrayed as "Emma Lou Cook" in the film, was depicted "as a high school dropout and a woman with loose and low morals; when in fact none of such was true." In real life, Polly Ann Moore graduated high school at the age of 16. The court denied his claim in 1979.[11] Mr. Moore filed again in 1980 to the Texas Supreme Court. The Sixth Court of Civil Appeals in Texarkana agreed again that the film's producers did not invade his privacy and that he was not entitled to any money.[30]

On March 15, 1978, Gerald Gedrimas, a teenager, shot and killed his high school friend James Grunstra. In court, Gedrimas stated that he thought of his plan to be an "outlaw" like Jesse James (the infamous legendary outlaw of the Wild West) while watching The Town That Dreaded Sundown.[31]

In Texarkana (where the story is based), this film is shown to the public at Spring Lake Park near Halloween. It is the last film shown for "Movies in the Park", which plays a film on each Thursday during May and October. The showing of the film, which has been a tradition since 2003, is a free event sponsored by the Texarkana, Texas Department of Parks & Recreation.[32]

The Town That Dreaded Sundown is mentioned by a character in the 1996 film Scream.[33] In Seven Psychopaths (2012), a short scene shows a couple who kill the "Texarkana Moonlight Murderer" like the one in this film.[34]

A follow-up metasequel by Ryan Murphy and Jason Blum was released on October 16, 2014, in select theaters and then on Video on Demand the following day. The director, Alfonso Gomez-Rejon, directed a script by Roberto Aguirre-Sacasa. Addison Timlin plays the lead role and is supported by Gary Cole, Ed Lauter, and Veronica Cartwright.


does the kia sorento have 4 wheel drive

The 2007 Sorento received upgrades, such as the transition from the 3.5L Sigma to the 3.3L with 235 hp 226 lb·ft, and the 3.8L Lambda, boosting horsepower to 263 and torque to 257 lb·ft and increased tow capacity from 3500lbs[1] to 5000lbs. Projector beam head lamps were added, along with new tail lamps. The 5-speed manual transmission was no longer available; the 5-speed Sportmatic tip-tronic automatic transmission was made standard for all vehicles. The EX trim had full-time AWD and 4x4 Low modes; The LX had a part-time system with 2WD High (rear wheel drive), 4WD High (not for dry pavement[2]) and 4WD Low modes. The 2007 Kia Sorento earned a five-star crash safety rating, the highest rating possible, for all seating positions in frontal and side impact crash tests conducted by the National Highway Traffic Safety Administration (NHTSA).[3] [4] The tail lights and front end were upgraded, but the two-box design stayed.

Kia Sorento

The Kia Sorento is a mid-size crossover SUV (compact SUV until 2009) produced since 2002 by South Korean manufacturer Kia Motors.

Debuting in 2002, the first generation Sorento was a traditional truck-based body-on-frame SUV. All American Sorentos also came with dual front airbags and dual side-curtain airbags in the front and rear. An optional four-wheel drive system with low range received praise for adding to the vehicle's off-road ability.

It had two transmission options, a 5-speed manual or 4/5-speed automatic (pre-2005 models have a 4-speed automatic, whilst 2005 Sorentos came with a 5-speed tip-tronic style automatic). First generation Sorentos are equipped with a Hyundai-manufactured 3.5L 24-valve DOHC V6 engine producing 192 hp (143 kW) at 5500 rpm, and 217 lb⋅ft (294 N⋅m) of torque at 3,000 rpm.
Common features of the first generation Sorento were 4-wheel disc brakes (standard on all models), optional anti-lock braking system (ABS), and a 21.1-gallon (79.9 litres) fuel tank.

There were two trim levels available for the Sorento: either the base LX or the up-level EX. Both models included an AM/FM stereo with a single-disc CD player and an eight-speaker audio system, dual front airbags and front and rear side-impact SRS airbags (side-impact front and rear SRS airbags for North American-market models ONLY), cloth seating surfaces, a power-adjustable front driver's seat, air conditioning, power door locks and windows, tinted windows, aluminum-alloy wheels, keyless entry, wood interior trim accents, a split-folding second-row rear bench seat, and monotone exterior paint as standard equipment. Features such as satellite radio (on later models), leather-trimmed seating surfaces, heated front seats, a ten-speaker premium audio system, cassette and CD players, an in-dash CD changer, power front bucket seats, seventeen-inch (17") aluminum-alloy wheels, a power sunroof, two-tone exterior paint, and a security system were available regardless of trim level choice.

The Kia Sorento received another grille facelift, and went on sale in August 2008 in Canada.  The facelifted 2009 model did not begin American sales until April 2009.

The 2003 Sorento received Poor to Average ratings from the Insurance Institute for Highway Safety (IIHS).[5] The 2007 facelifted version had improved safety ratings for moderate overlap front crashes and head restraints & seats, but retained its Poor side impact rating.[6]

A redesigned Sorento (codename XMA) was launched in South Korea in 2009 as a 2010 model. The second generation was Kia's first model to be manufactured in the United States, in Kia's new US$1 billion West Point, Georgia, factory (which also builds the sister vehicle to the Sorento, the Hyundai Santa Fe). The second generation used Kia's corporate Tiger Nose grille, and was the first Kia vehicle to offer Kia UVO.[8][9] The vice president of marketing for Kia Motors America said that Kia initially considered changing the name due to the radical change in the Sorento's body style.[10]

The second-generation Sorento introduced Kia's new design language, and introduced new features and technology that would later become available on other Kia models.

The four-cylinder model returned to the lineup for North American models after being absent between 2007 and 2010. The engine was transverse, and the suspension all-independent. The change in body construction as well as the loss of a low-ratio transfer case made the Sorento 475 pounds less than the old one model for model, to gain in performance and economy.

The second generation Sorento was originally available in 4 models, the Base, LX, EX and top of the line SX models. The SX is only available with the 3.5L 276 hp (206 kW) V6. The Base and LX both come standard with the 2.4L straight-4 175 hp (130 kW) and EX has the GDI version of the same engine which is rated 191 hp. The V6 is available as an upgrade for both the LX and EX.  The SX Limited model became available in 2012.

The Sorento received a mid-cycle refresh for the 2014 model year, unveiled in 2012 at the Los Angeles International Auto Show, and went on sale in first quarter of 2013.[11] Major changes included a revised instrument panel, front and rear end with new tail lights modeled after the Optima, as well as several other mechanical and interior changes.

For 2015, the six-speed manual transmission option, previously only available on the Base and LX models, was discontinued, leaving the six-speed automatic transmission as the only transmission option for the Sorento.

The Kia Sorento was available in several different trim levels during its production run between 2011 and 2015, and each offered its own level of standard and optional equipment:

Base: The Base was the least expensive model of the Sorento. It offered the following standard features: a 2.4L Theta II Inline Four-Cylinder (I4) gasoline engine, a six-speed manual transmission, cloth seating surfaces, an AM-FM stereo with SiriusXM Satellite Radio, a single-disc CD/MP3 player, Bluetooth for hands-free phone and wireless stereo audio streaming, iPod/USB and auxiliary inputs, manually-adjustable dual front bucket seats, five-passenger seating, seventeen-inch (17") aluminum-alloy wheels, keyless entry, and power windows and door locks. There were no additional options for this trim level, and this trim level was available exclusively with Front Wheel Drive.

LX: The LX was the "value-oriented" model of the Sorento. It added the following standard features to the Base: a six-speed automatic transmission (standard for 2015 models ONLY) and tinted windows. Additional features for this trim level included the Kia UVO touch-screen infotainment system with 4.3-inch color touch-screen display, a power-adjustable front driver's bucket seat, seven-passenger seating, a 3.3L Lambda II V6 gasoline engines, heated front seats and steering wheel, and a rear-view backup camera system. This trim level was available with either Front Wheel Drive or All Wheel Drive.

EX: The EX was the luxury model of the Sorento. It added the following standard features to the LX: a six-speed automatic transmission, the Kia UVO touch-screen infotainment system with 4.3-inch color touch-screen display, eighteen-inch (18") aluminum-alloy wheels, leather-trimmed seating surfaces, dual power-adjustable front bucket seats, security system, and heated front seats and steering wheel. Additional options on this trim level included a 3.3L Lambda II V6 gasoline engine, heated second-row seats, a power sunroof, third-row seating, a rear-view backup camera system, a GPS navigation system, an Infinity premium amplified audio system with subwoofer, and keyless access with push-button start. This trim level was available with either Front Wheel Drive or All Wheel Drive.

SX: The SX was the top-of-the-line model of the Sorento. It added the following standard features to the EX: eighteen-inch (18") polished aluminum-alloy wheels, perforated leather-trimmed seating surfaces, third-row seating, a 3.3L Lambda II V6 gasoline engine, a GPS navigation system, an Infinity premium amplified audio system with subwoofer, keyless access with push-button start, a power sunroof, and a rear-view backup camera system. There were few options availabnle on this trim level, except for the buyer's choice of either Front Wheel Drive or All Wheel Drive.

SX Limited: The SX Limited model became available in 2013, adding more luxury features to the SX, such as: memory seating, remote start, unique perforated leather-trimmed seating surfaces, unique polished aluminum-alloy wheels, exterior color-keyed lower body accents, a 3.5L Lambda II V6 gasoline engine, and unique exterior and interior color options. This trim level was only available with All Wheel Drive.

The 2011 Sorento received a "Top Safety Pick" rating from the Insurance Institute for Highway Safety (IIHS).[12]

The 2011 Sorento was awarded the maximum five-star safety rating from the crash safety experts, European New Car Assessment Programme (Euro NCAP) and Australasian New Car Assessment Program (ANCAP).[13] The XM Sorento awarded 'Top Safety Pick' from Insurance Institute for Highway Safety (IIHS) in the United States.[14]

The second generation Sorento was awarded New Zealand Autocar magazine SUV of the Year, "great looker, does absolutely everything as it should. Engine is world class".[15] The Kia Sorento EX V6 model earned an “Excellent” overall score by American magazine Consumer Reports’ July 2010 issue.[16]

As part of 2014 Sorento market launch in the US, a campaign titled "It has an answer for everything" was unveiled during Super Bowl XLVII. "Space Babies" (directed by Jake Scott) commercial was premiered in the fourth quarter, featuring the existence of a faraway planet known as "Babylandia" and follows infant boys, girls, dogs, pandas and more on their journey to Earth to join their new families. After taking it all in, the curious child begins to offer an alternative theory passed on by a friend but his quick-thinking father calls upon UVO's voice-activated jukebox feature to hurriedly change the subject and survive another day in the adventures of parenthood.  "Tight Space" (directed by Peter Darley Miller and Colin Jeffery) showed two of the CUV's available features – power-folding mirrors and power liftgate – help a determined father make the slimmest parking garage space manageable while his skeptical wife and children look on.[17][18]

Front (LX; US)

Rear (LX; US)

Front (US)

Rear (Si; Australia)

Kia Motors revealed the third generation Sorento in South Korea on August 28, 2014. The vehicle later made its European debut at the 2014 Paris Motor Show. The third generation Sorento shares a platform with the 2015 Kia Carnival, and is available in either 5-seater or 7-seater, depending on configuration. It is 95mm longer than the previous generation, but lower for better handling. Kia claims a rigidity strengthening of 14% on its high tensile steel and the Sorento scored good evaluation in small overlap crash test by IIHS. In the U.S., the Sorento continues to be produced at the West Point, Georgia, assembly plant.

Available engines are a 290 horsepower 3.3L Lambda II V6, the existing 190 horsepower 2.4L GDi I4 that will make the same output as the outgoing engine, and the new  240 horsepower 2.0 turbo I4. A 2.2L CRDi diesel engine with variable geometry turbocharger (VGT) is also available.

The third generation Sorento comes equipped with a six-speed manual transmission or six-speed automatic transmission. Drivetrains are front-wheel drive or all-wheel drive, the latter only being available with the automatic transmission.

In the United States, the 2016 Kia Sorento is offered in five models:

The L is a new model, and base model, for 2016. It offers a 2.4L GDi I4 engine that makes 190 HP with a six-speed automatic transmission, and is only available with front-wheel-drive. Standard features include an A/M-F/M radio with single-disc CD player and six speakers, and input jacks for an auxiliary audio device, as well as an iPod or other USB device, and can be controlled from the Sorento's radio, and Sirius XM Satellite Radio is also standard, as is Bluetooth and A2DP stereo audio streaming. Also included are alloy wheels, cloth seating surfaces, and keyless entry.

The LX was previously the base model, and is now an upgrade from the base model for 2016. It builds off of the L model, and also offers a 3.3L Lambda V6 engine that makes 290 HP, and is available with front-wheel-drive or all-wheel-drive. A Popular Package is offered that adds a touchscreen Kia Uvo radio, heated front seats, a sunroof, and front fog lamps.

The EX is the midlevel model, and offers a standard 2.0L turbocharged I4 engine that makes 240 HP (the V6 engine is also available). The UVO radio comes standard, and there are leather seats as standard equipment. Third-row seating is also available. Alloy wheels with black-finished inserts are standard equipment, as are fog lamps and heated seats. An EX Premium Package adds such features as an Infinity sound system, navigation system, HD Radio, and more.

The SX begins the upper range, and comes with the V6 engine as standard.[20] The navigation system comes standard, as does HD Radio and the Infinity sound system. Push-button start with a smart key comes standard.

The Limited, previously known as the SX Limited, offers the same I4 engine as standard and the V6 engine as optional in the EX and SX models.[clarification needed] Nappa leather seating surfaces are standard equipment, as are heated and ventilated front seats, and heated rear seats. A panoramic sunroof is also standard, as are chrome alloy wheels.
For 2017 the 5 passenger SX Limited is discontinued.

The SXL is the top-of-the-line model, and offers the V6 engine as the only option. Loaded with Autonomous Braking, heated and cooled seats, Lane Departure Warning, HID Headlights, LED Front Fog Lights.
19" Alloy Wheels, UVO eServices with Navigation, 8" Color Touch-Screen Display, SiriusXM® Traffic, HD Radio™, Android Auto™ and Apple CarPlay™, Infinity® 10-Speaker Audio w/ Clari-Fi™, External Amplifier & Subwoofer, HD Radio all as standard. Rear-Camera Display, Rear Parking Assist System (RPAS), Surround View Monitor (SVM), Blind-Spot Detection (BSD), System Rear Cross Traffic Alert (RCTA), Advanced Smart Cruise Control (ASCC), Forward Collision Warning System (FCWS) [21]

In 2018, Kia announced that the Kia Sorento will receive a new front grille with refreshed headlamps and tail lamps with similar design cues derivied from the 2019 Kia Forte and the 2018 Kia Cadenza for the 2019 model year. The L, LX, EX, and SX trim levels will receive refreshed projector beam headlamps with LED positioning lights. The SXL trim levels will receive new LED headlamps with LED Daytime Running Lights, LED Amber Turn Signal and positioning lights, and LED tail lamps. The Sorento SX trim is also available with LED headlamps as an option with the SX Touring Package. The EX and SX trim levels feature projector beam foglamps and SXL trim level has Full LED foglamps, the LED foglamps are also available on the SX trim level with the SX Touring Package. Other changes include new exterior colors, new wheels, third row seating now standard on all trim levels with all engine types, driver attention warning system added to all trim levels, and a 2.4 liter engine will replace the 2.0 liter engine on lower trim levels. The 2019 Kia Sorento will feature a 3.3 liter V6 engine on higher trim levels. Five trim levels will be offered L, LX, EX, SX, and SXL. The trim levels are available with All Wheel Drive except for the base L trim level which is only available with Front Wheel Drive.[22]

The 2017 Sorento received a "Top Safety Pick" rating from the Insurance Institute for Highway Safety (IIHS).[23]

In November 2014, Kia Motors collaborated with 20th Century Fox to create a Wolverine-themed Sorento to promote the home media release of X-Men: Days of Future Past. The custom Sorento made its debut at the 2015 Australian Open, with a series of videos featuring Rafael Nadal teaming up with the X-Men to save the tennis event from the Sentinels.[24]

In January 2015, Kia Motors released their Sorento Super Bowl XLIX commercial featuring Pierce Brosnan.[25]


kansas city chief player who is a doctor

Laurent Duvernay-Tardif MDCM (French: [lɔʁɑ̃ dyvɛʁne taʁdif]; born February 11, 1991) is a Canadian physician and football guard for the Kansas City Chiefs of the National Football League (NFL). He was drafted by the Chiefs in the sixth round of the 2014 NFL Draft. He played college football at McGill University, Montreal Canada.

Laurent Duvernay-Tardif

Duvernay-Tardif is a Canadian citizen and was born in Mont-Saint-Hilaire, Quebec and grew up in Montreal. He played football as a child, but did not play in high school. His native language is French.[1]

Duvernay-Tardif attended McGill University, where he was member of the McGill Redmen football team from 2010 to 2013. As a senior, he won the J. P. Metras Trophy, recognizing the Most Outstanding Lineman in the Canadian Interuniversity Sport (now U Sports) system, and was named an All-Canadian for the second consecutive season.[2]

He balanced college football with his studies in medicine. In a 2014 article in Sports Illustrated, Joan Niesen said that he "was practicing just once a weekâ€”and he was still the best college player in Canada."[3]

On December 12, 2013, it was announced that Duvernay-Tardif had accepted his invitation to play in the 2014 East-West Shrine Game.[4] On January 18, 2014, Duvernay-Tardif played in the 2014 East-West Shrine Game and was part of Jerry Glanville's East team that defeated the West 23-13. His performance at the East-West Shrine Game helped improve his draft stock.[5] Duvernay-Tardif did not receive an invitation to the NFL Scouting Combine. On March 27, 2014, Duvernay-Tardif held a personal pro day in Montreal that was attended by nine NFL teams and four Canadian Football League (CFL) teams.[6] He attended pre-draft visits with multiple teams, including the San Francisco 49ers, Seattle Seahawks, Miami Dolphins, Kansas City Chiefs, Buffalo Bills, and Green Bay Packers. He also participated at a private workout for the Philadelphia Eagles.[7] At the conclusion of the pre-draft process, Duvernay-Tardif was projected to be drafted anywhere from the third to fifth round by NFL draft experts and scouts. He was ranked as the 12th best offensive tackle prospect in the draft by DraftScout.com.[8]

In the CFL's Amateur Scouting Bureau final rankings, Duvernay-Tardif was ranked as the best eligible player for the 2014 CFL Draft, a position he held throughout the entirety of the season.[10] However, due to the uncertainty as to his availability as a result of his selection in the NFL Draft, he fell in the draft. He was drafted by the Calgary Stampeders in the third round (19th overall).[11]

The Kansas City Chiefs selected Duvernay-Tardiff in the sixth round (200th overall) of the 2014 NFL Draft. Duvernay-Tardiff was the 15th offensive tackle drafted in 2014.[12] Since the inception of the NFL Draft, Duvernay-Tardif is the tenth player to be chosen from a Canadian university.[13]

On May 14, 2014, the Kansas City Chiefs signed Duvernay-Tardif to a four-year, $2.34 million contract that includes a signing bonus of $100,300.[14][15]

Throughout training camp, Duvernay-Tardif competed to be a starting guard against Zach Fulton, Jeffrey Linkenbach, Rishaw Johnson, Mike McGlynn, and Rokevious Watkins.[16] Head coach Andy Reid named Duvernay-Tardif the fifth offensive guard on the depth chart to start the regular season, behind Jeff Allen, Zach Fulton, Jeff Linkenbach, and Mike McGlynn.[17]

On September 13, 2015, Duvernay-Tardif made his first career start for the Chiefs in the season opener against the Houston Texans. He went on to play all 16 games with 13 starts for the Chiefs in 2015.

In the 2016 season, Duvernay-Tardif started all 14 games he played in at right guard for the Chiefs.

On February 28, 2017, the Kansas City Chiefs signed Duvernay-Tardif to a five-year, $42.36 million contract that includes $20.20 million guaranteed and a signing bonus of $10 million.[15][18]

Duvernay-Tardif started the first five games of the 2018 season at right guard before suffering a fractured fibula in Week 5.[19] He was placed on injured reserve on October 9. Chiefs head coach Andy Reid said he will not be out for the season and we will reactivated at some point later in the season.[20]

Duvernay-Tardif is the fourth active NFL player to have become a physician.[21] He graduated from McGill's medical school in May 2018. He primarily studied during the off-season prior to mandatory off-season workouts.[22] He had the support of the Chiefs coaching staff, especially head coach Andy Reid, whose mother also graduated from the McGill medical school.[23]

During the 2018 offseason, Duvernay-Tardif worked as a feature reporter for the CBC during its coverage of the 2018 Winter Olympics.[23]

Duvernay-Tardif has been working with the developers of Shockbox, a device that is placed inside of football helmets to measure the impacts received on the field. He says that he hopes that his work will help to prevent concussions in football.[13]

Duvernay-Tardif is the grandson of former Quebec cabinet minister Guy Tardif.[24]


who sang i've got the key i've got the secret

"The Key The Secret" is a song originally released in 1993 by British band Urban Cookie Collective with vocals by British singer Diane Charlemagne. The song is widely regarded as one of the biggest dance anthems of the '90s and has been remixed several times.

The Key the Secret

"The Key The Secret" was very successful globally. It was originally a track written at home by Rohan Heath in a soul and hip hop vein. It was released on the tiny Unheard Records label. After a subsequent re-mix provoked a massive club response it was picked up by the Pulse 8 record label and released in July 1993.[1]

It peaked at number 2 with 16 consecutive weeks on the UK Top 75 singles charts, at number 2 in the Netherlands and at number 4 in Ireland and Australia. It was the best-selling Dance song of 1993.

When asked in an interview about how "The Key The Secret" came up, songwriter Rohan Heath said:

"It pretty much came off the top of my head. I've always had a real interest in songwriting and it just happened to be at the better end of a million ideas I had. I tend to put one hand on my keyboard, play a chord and see what comes out of my mouth. 'The Key The Secret' was actually about taking magic mushrooms, which a lot of people never really realised at the time."[2]

In 1996, the track was remixed and again entered the UK charts peaking for 1 week at number 52. It was remixed again in 2004, this time peaking at number 31 in 2005.[3] An uptempo Eurodance remix was also made by DJ Dougal and Mickey Skeedale for Dancemania Speed in 1998.

A remix of the song was also included in episode 2 of the second series of Channel 4's drama series Queer as Folk in 2000.

The music video of "The Key The Secret" was directed by Lindy Heymann.[4]

"The Key, The Secret" was more recently covered by Phobos & Deimos. In 2000, the German pop singer Jasmin Wagner heavily samples the chorus and the beat of the song in the German version as "Er ist so süß", which was released on her fourth studio album Die Welt gehört Dir.