Entertainment desk
< June 5	<< May \| June \| Jul >>	Current desk >

Welcome to the Wikipedia Entertainment Reference Desk Archives
The page you are currently viewing is an archive page. While you can leave answers for any questions shown below, please ask new questions on one of the current reference desk pages.

June 6[edit]

What about the pope did Sinead O'Connor not like?[edit]

What about the then-pope did Sinead O'Connor not like enough to tear up his picture and say "fight the real enemy"?75.75.42.89 (talk) 01:44, 6 June 2014 (UTC)[reply]

There's an interview with O'Connor about that incident in The Guardian where she explains why she did it. She had altered the lyrics to the song she was performing to reference child abuse within the Catholic church, and the tearing up of the pope's picture was as he was head of the church hierarchy to which she had a general antipathy towards rather than that particular pope (John Paul II). Also, she was inspired by Bob Geldof on Top of the Pops who tore up a picture of Travolta and Newton-John in Grease and she thought it would be provocative to do the same with the pope's picture. --Canley (talk) 03:34, 6 June 2014 (UTC)[reply]

Music used in an episode of NCIS: Los Angeles[edit]

What is the song played during the highway shootout scene in Series 2, Episode 16, "Empty Quiver"? Roger (Dodger67) (talk) 17:10, 6 June 2014 (UTC)[reply]

The only song listed in IMDb for that episode is "Running Up That Hill" by Placebo. Is that it? Clarityfiend (talk) 04:20, 7 June 2014 (UTC)[reply]

Yes it is! Thanks. Wonder why I didn't think of looking at IMDb. Hey look WP has an article about it, which mentions it's use in the NCIS:LA episode. Roger (Dodger67) (talk) 08:45, 7 June 2014 (UTC)[reply]

And thus a placebo is the cure for your problem ... Clarityfiend (talk) 08:48, 8 June 2014 (UTC)[reply]

Frank Zappa- Just Another Band From L.A. credits[edit]

Sir(s), Madam(s), It should be noted that the highly skilled Sherman Barrymore Keene was the recording engineer for this live album. Sherman is a friend. He recorded the show using two mic's. That's right, you heard right, TWO MICROPHONES. They were flown over the stage and Sherman explained top the band members that if they wanted to hear "more (or less) of their particular instrument" in the mix, they had to get a roadie (probably "Dunt") to move their amps closer to or farther away from the mic(s). The album is an engineering masterpiece. Sherman also worked for Ike Turner at Bolic Sound in L.A. and a bunch of other places. He's a swell guy and should get a mention in the credits. Something/anything like, Sound Engineer: Sherman Barrymore Keene.

Best, Arthur Harding

Eureka, Ca. — Preceding unsigned comment added by 23.126.180.234 (talk) 22:11, 6 June 2014 (UTC)[reply]

Hello. Wikipedia articles are created and edited by ordinary people like you and me. If you have a reliable published source which names Keene as the recording engineer for the album, then you are welcome to edit the article and add him (referencing the source - see referencing for beginners). If you have not, I'm afraid that your personal knowledge is not enough as a source, because a random reader has no way of checking it. If you don't feel confident editing the article, or if you have not got a source, but you think somebody else might be able to find one, you could put your suggestion on the talk page of the article. --ColinFine (talk) 10:39, 8 June 2014 (UTC)[reply]

I am the recording engineer Sherman Barrymore Keene. What Arthur Harding wrote is correct. Instead of asking the record label for recording studio time, Frank asked them to buy him a (professional) Scully four track recorder. I used track 1 for my stage left mike, track 2 for my stage right mike, track 3 for a mike I aimed backwards to pick up what was being reflected from the hall (and the audience reaction) and track 4 to record a line-level signal of vocals ONLY from the show's live sound console. To accomplish the mix I adjusted the individual player's instrument amplifiers in a live mix with the drums. With Frank's permission, I told the band, "Do NOT change your volume. If you need to hear more or less of your sound motion to a rodie to move your amp. If you change your volume, you will ruin the mix for the album."

Later at Ike Turner's studio (during the 4-to-2 mix) I saw the bassist (Jim Pons of the Turtles) getting all emotional. From the mixing console I asked Jim what the matter was. He said he was hearing the most beautiful bass sound he had ever heard in his life and he couldn't understand it when there was no mike within 20 feet of his bass amp!

I would like to add that, in addition to "Just Another Band From LA," I was also the recording engineer for "Two Hundred Motels" (the movie sound track, single and album || "Overnight Sensation" || "Live At The Filmore East" || and "Apostrophe." These (and two more) appear here: http://ohmladmusic.com/Ohm_Lad_Music/Recording_Engineer.html

Although never given credit as a producer, there were MANY nights when Frank and I were alone in the recording studio, Frank at the microphone and me at the console. One of my more notorious inventions was the night I sped up the tape to record Frank and then, when I slowed the tape back down, it gave Frank the "round mound of sound" voice. A similar sound is heard on the Yello song "Oh Yeah."

I have photographic evidence that I was, for a time, also in Frank Zappa's band, playing my blonde, 3/4 size, John Lennon Rickenbacker 6 string here: http://www.ohmladmusic.com (in the Bands page).

All the best—Sherman Barrymore Keene — Preceding unsigned comment added by OhmLad (talk • contribs) 18:00, 19 January 2016 (UTC)[reply]