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September 14[edit]

Need help identifying a Paul Mauriat composition[edit]

The theme song of the 1982 Hong Kong TV series 痴情劫 [1] (a.k.a. Love with Many Phases) was, I believe, composed by Paul Mauriat. Some suggested that it was specially composed for that theme song. On the other hand, comments on YouTube identified the music as a 1977 work entitled "Taste of Sorrow". I did some Web searches but I couldn't find any 1977 albums by Paul Mauriat that includes a track with that title. The references I found about "Taste of Sorrow" say it was released in 1983 and the composers were Paul Mauriat and Gérard Gambus.

My questions:

  1. Is the melody of the 痴情劫 theme from the composition "Taste of Sorrow"? (Clips of the 痴情劫 theme song can be found on YouTube.)
  2. Who composed the melody for the 痴情劫 theme song and when was it written?
  3. Was the melody originally composed for the theme song?

Thanks. --96.227.60.125 (talk) 16:04, 14 September 2014 (UTC)

Double sharps and double flats[edit]

Two questions:

  1. When was the first use of a double sharp??
  2. When was the first use of a double flat??

The reason these questions are so interesting to compare is that while the double sharp double sharp has a special symbol; the double flat double flat is just 2 flat signs. I can easily conclude from this non-sequitur that the double flat is a newer invention. Georgia guy (talk) 17:46, 14 September 2014 (UTC)

Apparently, they came about at the same time -- with the development of equal temperament. The main proponent of the saltire double-sharp symbol was Johann Mattheson; Leopold Mozart preferred an upright cross, and existing practice had been simply to use the note above. Mattheson also wanted to use β for the double flat, but it didn't catch on. --jpgordon::==( o ) 18:27, 14 September 2014 (UTC)
Simply using the note above might also have taken some time to die out – you can find it as late as the slow movement of the Emperor Concerto (though I find this really inexplicable, given that by this time the double sharp was completely standard, and even more strongly because double sharps appear in the finale of the fourth concerto!) Looking at Beethoven piano concerto scores it looks as though he refrains from using double accidentals in the orchestral parts, but not in the piano part. May be composer-dependent though, because I haven't seen a single Mozart(!) work that avoids the double accidental when it is needed. Double sharp (talk) 13:43, 15 September 2014 (UTC)
Oh my, I'm now completely absorbed in that "Extremes" site. Thanks. --jpgordon::==( o ) 14:08, 15 September 2014 (UTC)
Thank you: it had the same effect on me when I first found it! :-P You might like this too, from the same site. Double sharp (talk) 14:24, 15 September 2014 (UTC)
The last two posts confused the heck out of me, until it finally dawned on me that JPGordon was thanking Double sharp for a link provided at the bottom of this question. Occupational hazard of being left-brained, I guess. Note to self: Must become less imperfect and more gestalt-oriented. -- Jack of Oz [pleasantries] 19:59, 15 September 2014 (UTC)
Ektually, I'd meant to put it on the very bottom and when I noticed it was in the wrong place, double sharp had already replied. --jpgordon::==( o ) 15:44, 16 September 2014 (UTC)
Oh, so it's all his fault, eh. Yeah, yeah. .... -- Jack of Oz [pleasantries] 21:54, 16 September 2014 (UTC)
Never before has my username been this appropriate! :-D I would have liked to have the awesome username 𝄪 (if you can't see it, it's meant to look like double sharp), but (1) that would have been problematic (I can't even see it on my screen, so how can I expect anyone else to?) and (2) for those who could see it, it would be confusing, looking too much like an "x". Double sharp (talk) 14:37, 17 September 2014 (UTC)

Something I'd really like to know, though, is: when was the first use of a triple sharp? A triple flat? The earliest triple sharp I know of is in Anton Reicha's 36 fugues (No. 34; Ctriple sharp, b. 56, LH), published in 1803. The earliest triple flat I know of is in Nikolai Roslavets's first piano sonata (Btriple flat; this wonderful resource helpfully informs me that it is in bb. 152–3), published in 1914. But the huge gap of over a century between these two seems improbable. Double sharp (talk) 13:53, 15 September 2014 (UTC)

Arguably not a modern double sharp, but Benedetto Marcello's La stravaganza (SF A321) uses the modern "x"-like symbol on B's and E's repeatedly (see for example p.5 onwards; the top staff is in the soprano clef). However, the tonal context seems to indicate that the intended notes are just B and E, and are just written this way because there is no key signature: the actual key seems to be, unbelievably, A-sharp minor, but with lots of enharmonic usage of B-flat minor to avoid true double accidentals (e.g. see beat 2 of bar 10 on p.5, where Cdouble sharp would need to be written if not for the enharmonic flip!). Double sharp (talk) 14:29, 17 September 2014 (UTC)

(P.S. The piece is in quintuple meter (though it's not clear whether it's 5
4
or 5
2
). At 1710 and clearly using modern Western musical notation, this piece then beats the current record listed on Don Byrd's "Extremes of Conventional Music Notation" site that I linked to above. Contributions are invited, so anyone who wants to can bring this example to his attention...he already knows about this piece, but seems to have missed that it would be a record.) Double sharp (talk) 14:29, 17 September 2014 (UTC)

Ah, yes, A-sharp minor. I've been on a quest to collect (at least the titles of) all pieces written in this mysterious key, and it's a vanishingly small list. The real mystery, to me, is why it's considered so mysterious as to be totally ignored by virtually all composers, ever. Even those who composed Music written in all 24 major and minor keys hardly ever considered it worthy of a guernsey. Most people dismiss it churlishly with "It's equivalent to B-flat minor, which has 2 fewer accidentals, so why bother". But that argument has never been used to stop people writing in C-sharp major, which has 2 more accidentals than its enharmonic equivalent D-flat major. There has be a deeper reason than that. Any clues? -- Jack of Oz [pleasantries] 22:45, 17 September 2014 (UTC)
Unreferenced guess. Part of the reason might be simply that the base note, B-flat, is such a common note. In German it's even only one letter, b (English B is h in German. "b" is the only odd one out. It's never called "hes", nor is h ever called "bis").
Instruments added to the symphony orchestra during and after the classical period included a number of transposing intruments tuned in B-flat and E-flat, and a lot of marching music and other brassy music favored these keys (which read as C or G to the trumpet players and alto clarinetists respectively). In German too, the word "ais" (A-sharp) is uttered almost as rarely as "eis" (E-sharp).
There may be other and hopefully less prosaic reasons, but I do thin that A-sharp's unfamiliarity when compared to B-flat has something to do with it. ---Sluzzelin talk 23:03, 17 September 2014 (UTC)
That explanation works for orchestral instruments, but not at all for the keyboard, which is unbothered by issues of transposition. A-sharp figures in the key signatures of B, F-sharp and C-sharp, both major and minor, making 6 in all (taking the accidentally raised leading note into account in the case of B minor). True, the keys involving up to 4 sharps were traditionally far more favoured than those with 5 or more, but the 5-and-ups were certainly far from unknown. Except A-sharp minor. Keyboard composers show no general disinterest in G-flat major (7 flats) even though its equiv F-sharp major has one fewer accidental. What is it about 7 sharps that makes C-sharp major fair game but A-sharp minor fit only for the dustbin? -- Jack of Oz [pleasantries] 23:46, 17 September 2014 (UTC)
Well, I think you got my point, but that's no reason not to try to drive it home ;-) The difference is that C-sharp and D-flat are roughly at the same place on the familiar/unfamiliar or regular/arcane or unmysterious/esoteric scale while B-flat clearly is somewhere completely different than A-sharp. The example of orchestral instruments was merely an illustration. B-flat just is a note you encounter early (in your education) and everywhere in music, A-sharp isn't. C-sharp and D-flat lie somewhere in between, and are of roughly equal significance.
I'll concede the G-flat point. Perhaps there is a bias toward flats (which I would support arduously as someone who never quite mastered immediate in-the-head transposing when sight-reading non-transposed sheet music to be played on an E-flat instrument). ---Sluzzelin talk 23:55, 17 September 2014 (UTC)
G-flat major has 6 flats, and F-sharp major has 6 sharps. That one does seem to be evenly split. But I think there is a bias towards flats for minor keys especially, because (1) G-sharp, D-sharp, and A-sharp minor will need double sharps even in diatonic passages and (2) G-sharp, D-sharp, and A-sharp minor need a key signature change to flats if you're going to move to the parallel major and want to be legible. In major keys the need is less.
I reckon Sluzzelin is right about B minor vs A minor: B-flat is just that much more common. Also, A-sharp will need E-sharp as dominant, the second-most important note in the scale, when that could be expressed simply as just F! Even Alkan, who was famously rigorous about spelling notes correctly, made an exception specifically to avoid A-sharp minor in Op. 35 No. 9 (the key is C-sharp major, with some modulations into the relative minor, but these get written in B-flat minor, complete with an unbelievable torrent of flats and double-flats neutralizing the entire key signature twice over). (Maybe this isn't conclusive, though, because he has no qualms about entering A-sharp major for some time in Op. 33.) Double sharp (talk) 08:57, 18 September 2014 (UTC)
Is C-sharp major so much more common than A-sharp minor generally speaking? There's this example and a few others such as the two prelude and fugue from the 48 but what else besides? In any case the rarity of one enharmonic key over the other (within reason: we're talking keys with no more than 7 accidentals: why B-flat major is always used and not A-sharp major requires no explanation), could partly result from a historical accident. Why is D-sharp minor so much more uncommon than E-flat minor? (Oddly in book 1 there's one prelude and fugue where the prelude is in E-flat minor while the fugue is in D-sharp minor: any idea why that would be? In book 2 both prelude and fugue are in D-sharp minor). If few works are written in a given key to begin with then that key doesn't acquire a well defined character or "color" and so even fewer composers will choose it and so on. Some 19th c. writers on music attempted to associate adjectives and keys in order to describe the feel of a key and for some keys (presumably for those keys that had been too rarely used to have acquired a definite character) they seem to have been at a loss for words. For example the four keys Albert Lavignac (in his work La musique et les musiciens) is unable to describe in this way are C-sharp major, C-flat major, A-sharp minor and (not A-flat minor which he describes as "lugubre, angoissé" but) D-sharp minor.
Contact Basemetal here 17:04, 18 September 2014 (UTC)
C major is definitely much more common than A minor. Here's a list of 48 works in C-sharp major. (If you're curious, this collection contains 61 in A-flat minor, 48 in C-sharp major, 10 in C-flat major, and 2 in A-sharp minor.) There's also some works that pass through C-sharp major (even using the key signature): e.g. Liszt's sixth Hungarian Rhapsody, Schubert's sonata D.960 (II), Haydn's(!) C-sharp minor sonata (III).
My guess re D minor is that it would need double accidentals more frequently than its enharmonic equivalent. Double sharp (talk) 06:01, 19 September 2014 (UTC)
@Basemetal:: Does he describe F major differently from G major? G minor from A minor? Double sharp (talk) 10:15, 19 September 2014 (UTC)
@Double sharp:: G-sharp minor and A-flat minor are described in somewhat similar terms: G-sharp as "très sombre" and, like I said, A-flat as "lugubre, angroissé". But F-sharp major and G-flat major are described in diametrically opposite ways, the first as "rude" (rough) and the other as "doux et calme". Incidentally this list is in the Albert Lavignac Wikipedia article. That article mentions that Berlioz and Gevaert also have such lists in their respective works about orchestration but I'm not familiar with them. You can browse through Lavignac's work here or here. The particular list we're talking about is page 424. The Gevaert and Berlioz works mentioned can also probably be found on the web. Contact Basemetal here 10:52, 19 September 2014 (UTC)
@Basemetal: The F-sharp/G-flat distance is perhaps a bit psychological as well (raising vs. lowering), and may have made even more sense before equal temperament. I personally like F-sharp major better, as it makes the parallel minor realm less unreadable, and the relative minor still tolerable. Off the top of my head, the only pieces in D minor I can think of are that infamous Scriabin étude (Op. 8 No. 12), the second of Lyapunov's set of transcendental etudes, and Alkan's Op. 33, second movement (which ends in F major). It's really not commonly used, but as uncommon as A-sharp minor. It seems as though A-flat minor is the most-used of the seven-accidental keys, perhaps because its enharmonic requires a double sharp for a diatonic note (Fdouble sharp). A-sharp minor would compound this with both Fdouble sharp and Gdouble sharp, and maybe that's another reason why almost nobody ever uses that. Double sharp (talk) 12:56, 19 September 2014 (UTC)

Rock drummers[edit]

This may be two questions but here goes. Who is the black drummer who plays with rock bands such as Dave Gilmour, Paul McCartney and who isn't Abe Laboriel? Or if anyone is watching the Jeff Lynne concert on BBC/Proms in the Park, who's the drummer? TammyMoet (talk) 19:44, 14 September 2014 (UTC)

Just for clarification, you're looking for a drummer who plays with Gilmour and/or McCartney but is NOT Abe Laboriel, Jr.? --Jayron32 19:49, 14 September 2014 (UTC)
Donavan Hepburn was on the drums for Jeff Lynne at Hyde Park and also Children in Need 2013. He's a session musician who has worked with Take That, Olly Murs, Adele, Cheryl Cole, Robbie Williams, Alesha Dixon, James Morrison amongst others. Nanonic (talk) 20:03, 14 September 2014 (UTC)
Donovan Hepburn looks like the guy I am seeing when watching some videos of recent Jeff Lynne performances. Being large with dark skin, he's also easy to confuse (at a quick glance) with Laboriel Jr. Perhaps that's who Tammy is looking at. --Jayron32 20:07, 14 September 2014 (UTC)
He's also a Yamaha sponsored artist along with McCartney and others which could explain them working together occasionally. Nanonic (talk) 20:09, 14 September 2014 (UTC)
The other thought I had was Carter Beauford, another African American rock drummer; though I'd not ever seen him play with McCartney, Gilmour, or Lynne. I do think Nanonic has it right; I think the drummer definitely is Hepburn. --Jayron32 20:10, 14 September 2014 (UTC)
Yes I think Donovan Hepburn is the one I was looking at. Thank you all so much. And that's the explanation for what I remembered about McCartney et al - would never have guessed that. --TammyMoet (talk) 14:05, 15 September 2014 (UTC)


September 15[edit]

Invisible man like series[edit]

Does anyone remember a series in the 90s/2000s that dealt with invisibility? It was a British series about a guy that whenever he was splashed with water would turn invisible. Two particular scenes I remember for some reason is first he is walking to a pub and whilst out in the street there is a huge puddle in the street. Inevitably he gets splashed either by a black cab or another car.

The second random scene I remember is that he is speeding down a track on a motorbike with a female friend on the back, possibly in her dressing gown. Something causes him and the bike to turn invisible leading to a comedic scene where some onlookers watch as there is a screaming woman at speed floating through the air down the track and passing by.

I could have sworn this was called The Invisible Man. Could anyone suggest which drama this could have been? Difficultly north (talk) Simply south alt. 01:50, 15 September 2014 (UTC)

There was an American show The Invisible Man (2000 TV series) in that time period. Rmhermen (talk) 02:49, 15 September 2014 (UTC)
I think you're remembering the UK series The Vanishing Man. Our article mentions the bit about becoming invisible "shortly after coming into contact with water". Deor (talk) 12:46, 15 September 2014 (UTC)

Meital Gal and other Israeli actresses of Mizrahi and Sephardic origin[edit]

What is Meital Gal's origin? Is she Ashkenazi or Sephardic or Mizrahi? How many actresses are Mizrahi and Sephardic? Thanks. — Preceding unsigned comment added by 70.29.33.138 (talk) 15:37, 15 September 2014 (UTC)

Wikipedia does not have any article on Meital Gal. IMDb does but it is VERY short, and does not indicate her ethnic origins. As far as the second question, it is likely unanswerable. That does not sound like the kind of statistic that anyone would have ever bothered to count. --Jayron32 23:04, 15 September 2014 (UTC)

I've missed these questions about the ethnic origins of various Israelis. Almost. --Dweller (talk) 12:40, 17 September 2014 (UTC)

September 16[edit]

Do you know the titles of the two songs whose music was used in these two separate Cinder Calhoun sketches on SNL?[edit]

If you're familiar with the late 1990s SNL character Cinder Calhoun (played by Ana Gasteyer), I'm looking for the titles of two songs whose music she used in two separate sketches she did namely Sausage Of Pain (aired Sep 27 1997) and Xmas Chainsaw Massacre (aired Dec 05 1998). Contact Basemetal here 00:31, 16 September 2014 (UTC)

I don't really understand your question. She says the titles of the songs, and you even quote them in your post. If you're saying that she's putting new lyrics to someone else's music in those songs, and you're asking what music that is, I think you're wrong – she's just strumming chords and singing along to them. --Viennese Waltz 08:31, 16 September 2014 (UTC)
Obviously I meant the latter namely that she set new words to the tunes of two pre-existing songs. The tunes she used sound vaguely familiar to me. In fact the one she uses for "Christmas Chainsaw Massacre" sounds very much like a well known Christmas carol, but I'm just not able to recall its title. The tune of the first song also sounds familiar. These are not original tunes. Contact Basemetal here 10:10, 16 September 2014 (UTC)
Those links are blocked in the US. Can you find other sources? ←Baseball Bugs What's up, Doc? carrots→ 22:54, 16 September 2014 (UTC)
I found some transcripts:"Sausage of Pain", "Christmas Chainsaw Massacre". The "Christmas Chainsaw Massacre" lyrics include a line that says "O Tannenbaum, your life is gone" and the meter of the lyrics could be sung to "O Tannenbaum" / "O Christmas Tree". --Bavi H (talk) 01:01, 18 September 2014 (UTC)
@Viennese Waltz: I agree to the extent it is possible they are not straight parodies. She may have done more than just taken a tune and set different words to it. One song she sang (with Sarah McLachlan) does have an original tune, namely Basted In Blood which I suppose was written by McLachlan. But as for the other two when I heard them the first time they immediately rang a bell.
@Baseball Bugs: I looked for other links but no luck. How ridiculous of SNL to shut out the biggest group of SNL fans. Can't see a reason for it.
@Bavi H: Though she does refer to Tannenbaum to me the tunes are different. I was thinking of an English Christmas carol. Leaving aside how familiar the tune sounds, the words start: "For unto us a tree was born / She cried and no one heard her / The only gifts the Wise Men brought / Were Frankincense and murder". This obviously spoofs words that would be something like "For unto us a child was born [blah blah] gifts the Wise Men brought were frankincense and myrrh". Unfortunately "For unto us a child was born" is taken from Isaiah 9:6 and is used in so many places. I tried to Google for a Christmas carol that would contain those words, but, as far as a piece of music, I only get the famous chorus from Handel's Messiah (not exactly a Christmas carol) whose music doesn't sound at all like what she sings.
Contact Basemetal here 19:29, 18 September 2014 (UTC)
The meter sounds like "I Saw Three Ships" from what I'm reading. This institution I'm in at the moment bans YouTube so I can't access that, but could that be it maybe? ~Helicopter Llama~ 20:27, 18 September 2014 (UTC)
The Christmas one is not Tannenbaum, neither is it I Saw Three Ships. Does have a familiar ring to it tho'. DuncanHill (talk) 14:30, 20 September 2014 (UTC)
I don't know whether it's their own composition. There are two or three similarities to "God Rest You Merry, Gentlemen", both melodically and structurally, but then there are parts that sound more like a modern folk song, but I can't place which one. In any event I don't think I've ever heard that exact tune before. ---Sluzzelin talk 14:38, 20 September 2014 (UTC)

September 17[edit]

name of the latin song in despicable me 2[edit]

What is the name of the song where Margo was wearing and eating taco hat and gru froze antonio with the freeze ray? — Preceding unsigned comment added by 70.29.34.175 (talk) 01:38, 17 September 2014 (UTC)

Possibly Echa Pa'lla (Manos Pa' Arriba) by Pitbull. John M Baker (talk) 16:14, 20 September 2014 (UTC)

Trying to find a freeware platform game[edit]

Hi all,

I'm trying to find a freeware platform game that I played a few years ago. It was a Metroid-type game - the type of game where you often find your progress blocked and have to find an item that lets you double-jump, or jump higher, or something like that. It came with several independent levels - in one you had to rescue your daughter, in other you had to descend underground and turn off a machine that was making the world all dark and gloomy. You played a woman with long hair. Nearly all the power-ups were in the form of coloured balls with a little icon indicating what it did (e.g. the double jump ball had two little upward pointing arrows).

If anyone else played it they've hopefully recognised what I'm talking about know. Anyone know what it's called? --77.102.114.99 (talk) 14:09, 17 September 2014 (UTC)

I'm not familiar with that one, but this genre is now widely known as Metroidvania, less commonly castleroid, as a portmanteau of Castlevania and Metroid. Those links go to a section of platform game, but we should probably have at least a stub for the genre... Anyway, here's some lists and discussion of games in that genre, maybe one of these links mentions the game, or will help you in your searches: [2] [3] [4] [5] [6]. If you haven't already tried it, I highly recommend Cave Story, there is a freeware PC version, and also a paid version for Wii and Steam. SemanticMantis (talk) 17:28, 17 September 2014 (UTC)
Also Gungirl 1 or 2 might be it [7]... SemanticMantis (talk) 17:32, 17 September 2014 (UTC)
Knytt Stories by Nicklas Nygren --Bavi H (talk) 23:59, 17 September 2014 (UTC)
That's it - thanks Bavi H! And for everyone else's help as well. I almost said in my post "and I think its name began with N"... good thing I didn't, although my mind was phonetically right if not actually right. --93.152.83.69 (talk) 08:26, 18 September 2014 (UTC)

Using An Existing Song Article As A Template For Another Song[edit]

Is it possible to use an existing article for a song as a 'template' to create a new article for a song that I want to submit? See my request for the song "It Makes Me Crazy" by the band "10 Speed" here (It does not currently exist in Wikipedia, and is a very popular song):

https://en.wikipedia.org/wiki/Wikipedia:Requested_articles/music/Songs#I

I'm sure I could create it from scratch, but can you start from another article that is already set up the way you want it to look, and edit it for the new song, and then 'Save As' the new song without affecting the original song article you started with as a 'template'?

I don't want to affect anything else negatively which is why I'm asking before I try it. I was thinking, though, that it would be a good idea to have a standard basic template for all new song submissions since there are still many, many songs to be added to Wikipedia, and all songs on here are basically set up the same. The only differences between articles on songs appears to be much more info included with songs with vast popularity and awards.

Sincerely, hdpeng. — Preceding unsigned comment added by Hdpeng (talkcontribs) 22:31, 17 September 2014 (UTC)

I don't see why not. Just try to avoid leaving any facts from the previous article, or you might confuse the readers. ←Baseball Bugs What's up, Doc? carrots→ 23:01, 17 September 2014 (UTC)
It might be easier to start from scratch, beginning with an {{infobox song}} or {{infobox single}} template. Use a similar example article as more of a "guide".   —71.20.250.51 (talk) 23:55, 18 September 2014 (UTC) — I might be misunderstanding your question. If you are intending to create a new template, then Wikipedia:Village pump would be a better place for advice, I suspect.  —71.20.250.51 (talk) 00:17, 19 September 2014 (UTC)

September 18[edit]

Nutbush City Limits & Motorcycles?[edit]

Hello chaps and ladies! I wonder if anyone could shed some bally light on a conundrum that's been confounding my old noggin recently? The young miss Tina Turner released this little ditty about her hometown quite a ways back and I've always been a little curious about the line "motorcycle not allowed in it". I don't know much about the USA's road regulations but her in Blighty you can limit vehicles by weight (No vehicles over 7.5 tons except for deliveries) or prohibit motor vehicles completely (again possibly exceptions for required access) from roads but I've never come across a road where cars, vans and lorries can drive down it but motorcycles are prohibited. Doesn't seem to ring true with the old "land of the free" moniker you know! Any of our esteemed American contributors able to shed a little light here? Thanks awfully! Quintessential British Gentleman (talk) 22:09, 18 September 2014 (UTC)

I assume disallowing motorcyles would be intended more as a way of keeping bikers out. Contact Basemetal here 22:29, 18 September 2014 (UTC)
We do have some laws restricting particular vehicle types in the UK, for instance no Motorcycle under 50cc can travel on the Motorway (thus excluding Mopeds) and neither can cycles, agricultural vehicles or mobility scooters. In the US, local ordinances or codes (similar to UK Bylaws) can be enacted in a particular municipality/county that only apply within its confines. The most well known of these are those relating to Dry Counties. Here is a 2003 County Ordinance from Queen Anne's County, Maryland banning the use of 'dirt bikes, minibikes and similar vehicles' from being used on any Public or Private property or road as an example. Nanonic (talk) 22:47, 18 September 2014 (UTC)
Relating to the song lyrics, I suspect "motorcycle not allowed in it" is simply poetic license. The "City" in question is Nutbush, Tennessee, which is actually an Unincorporated community. Therefore, not having its own local governing body, would not be able to outlaw motorcycles (or anything else) independent of higher governance (Haywood County in this case). Although vehicles are licensed per state laws, local municipalities can have their own laws that apply within their own jurisdiction and could theoretically outlaw motorcycles within "city limits", but Nutbush being a "non-city" could not. I am totally unfamiliar with the song, but guess that it is intended as an ironic in-joke (?).  —71.20.250.51 (talk) 00:01, 19 September 2014 (UTC)
So would it also be true to say that, as a non-city, Nutbush has no City Limits? HiLo48 (talk) 00:05, 19 September 2014 (UTC)
Yep! Thus the "in-joke"?  —71.20.250.51 (talk) 00:07, 19 September 2014 (UTC)
In-jokes aside, anyone who claims to be "totally unfamiliar with the song" Nutbush City Limits basically doesn't deserve to exist. Sorry, Friend 71.20.250.51, but your time is up. -- Jack of Oz [pleasantries] 20:56, 19 September 2014 (UTC)
  • It is also important to note that music is not journalism. Songs are written to be entertaining and musically interesting first. Prosody and musical considerations take precedence over accurately reporting facts. --Jayron32 12:02, 19 September 2014 (UTC)
To add perhaps unnecessary clarification, I think the idea is to communicate de facto banning of motorcycles, not de jure. Similar to signs that crop up on small businesses that say "[X group] not served here" -- in fact that declaration itself is probably illegal in many jurisdictions, but it happens anyway. SemanticMantis (talk) 14:24, 19 September 2014 (UTC)

September 19[edit]

Live and Let Die (film)[edit]

In the early minutes of the film, when the dead agent's body is swallowed by the coffin, is the actor still inside, or was the frame cut and the coffin empty? Thanks! 213.106.130.210 (talk) 16:01, 19 September 2014 (UTC)

Is there a visible edit between the actor going into it and whatever happened next? ←Baseball Bugs What's up, Doc? carrots→ 17:17, 19 September 2014 (UTC)
IIRC, in the scene in question, the agent is murdered, then the "pallbearers" place the coffin on the ground, covering him up. Presumably (as the fiction goes), the bottom of the coffin was open and then closed beneath him, allowing the pallbearers to pick it up and proceed as if nothing had happened (dozens of witnesses and nobody saw a thing). There doesn't appear to be a cut/edit of any kind. Found the clip on YouTube to confirm ... The agent is stabbed and his killer directs the body into the street. The camera cuts to the funeral procession for a moment. Next, the camera is on the ground, looking down the street with the agent's head in the foreground. The coffin covers the agent and then is lifted up with nothing left behind in one smooth motion. Most likely, the "agent" was a dummy or similar special effect that would have been much lighter than the actor. --McDoobAU93 17:39, 19 September 2014 (UTC)
Yes. I had a bet on for a pack of smokes on it being not two different takes. I'll take what you've said as a confirmation. Thank you! 213.106.130.210 (talk) 20:57, 19 September 2014 (UTC)
If you get additional cigarettes as a prize, have you actually "won"? ←Baseball Bugs What's up, Doc? carrots→ 22:04, 19 September 2014 (UTC)
I was talking about these! >.> 213.106.130.210 (talk) 00:08, 20 September 2014 (UTC)
OK, good. As long as you don't inhale. ←Baseball Bugs What's up, Doc? carrots→ 01:18, 20 September 2014 (UTC)

September 20[edit]

Looking for a particular science fiction book[edit]

I started reading a book once, stranded where it was lying around, but I couldn't finish it before leaving. It was written in German, but I don't remember whether it was a translation or originally in German. The outset was a group of people visiting CERN, and some huge accident happened resulting in the visitors, individually and as a group, being caught in some bubble, and experiencing the rest of the world as standing still (or going at such a slow speed that it was about as perceptible as the movement of an hour hand). Like The New Accelerator, but an entire book of around 300 pages. I remember they split up and wander around the world (i.e. Western Europe). I think there's a moment where the world starts moving again for a split second, but immediately stops. I don't remember a lot, though this was only about 7 years ago. The jacket was yellowish, I think. I didn't find it in CERN's "In popular culture" section. Any clues? ---Sluzzelin talk 15:07, 20 September 2014 (UTC)