Wikipedia:Reference desk/Archives/Entertainment/2009 August 5

= August 5 =

Number one in UK most times by different artists
What song has been the number one single the most times in the UK by different artists (I know "Spirit in the Sky" has been number one three times by different artists)? I can't seem to find this on UK Singles Chart records. --AdamSommerton (talk) 11:57, 5 August 2009 (UTC)
 * I don't know if this sets the record, but Unchained Melody beats that by one - Jimmy Young (1955), Righteous Brothers (1990), Robson & Jerome (1995) and Gareth Gates (2002). Bettia   (bring on the trumpets!)  14:34, 5 August 2009 (UTC)

I've just been traipsing through List of number one singles (UK) and, apart from Unchained Melody, I've come up with this list. Basically, it seems Unchained Melody is the song which has got to number one the most times by different artists. The list, in no particular order and by no means complete, is: Hope this helps. If anyone else knows of a song I missed, please feel free to add it! Bettia  (bring on the trumpets!)  14:49, 6 August 2009 (UTC)
 * Seasons in the Sun - Terry Jacks (1974), Westlife (2000)
 * Uptown Girl - Billy Joel (1983), Westlife (2001)
 * Eternal Flame - The Bangles (1989), Atomic Kitten (2001)
 * Mambo No.5 - Lou Bega (1999), Bob the Builder (2001)
 * Something Stupid - Nancy and Frank Sinatra (1967), Robbie Williams and Nicole Kidman (2001-2002)
 * The Tide Is High - Blondie (1980), Atomic Kitten (2002)
 * Spirit in the Sky - Greenbaum (1970), Doctor & the Medics (1986), Gareth Gates & The Kumars (2003)
 * Do They Know It's Christmas? - Band Aid (1984-1985), Band Aid II (1989-1990), Band Aid 20 (2004) <- same band but with different members each time
 * Against All Odds - Westlife & Mariah Carey (2000), Steve Brookstein (2004)
 * What a Wonderful World - Louis Armstrong (1968), Katie Melua & Eva Cassidy (2007)
 * Dizzy - Tommy Roe (1969), Vic Reeves & The Wonderstuff (1991)
 * Take A Chance On Me (ABBA (1977), Erasure (1992, as part of their Abba-esque EP)
 * Twist & Shout - The Beatles (1964), Chaka Demus 7& Pliers (1994)
 * Without You - Harry Nilsson (1972), Mariah Carey (1994)
 * Baby Come Back - The Equals (1968), UB40 & Pato Banton (1994)
 * I Believe - Frankie Laine (1953), Robson & Jerome (1995)
 * You'll Never Walk Alone - Gerry & The Pacemakers (1963), The Crowd (1985), Robson & Jerome (1996)
 * Lady Marmalade - All Saints (1998), Christina Aguilera, Lil' Kim, Mýa, and Pink (2001)
 * Tragedy - Bee Gees (1979), Steps (1998)
 * When the Going Gets Tough, the Tough Get Going - Billy Ocean (1985), Boyzone (1999)
 * I Got You Babe - Sonny & Cher (1965), UB40 & Chrissie Hynde (1985)
 * With A Little Help From My Friends - Joe Cocker (1968), Wet Wet Wet (1988), Sam & Mark (2004)


 * There is a cover of Mambo No. 5 by Bob the Builder, and it was number 1? Adam Bishop (talk) 16:02, 6 August 2009 (UTC)
 * Yes, it was a true facepalm moment for music lovers everywhere. Bettia   (bring on the trumpets!)  18:35, 6 August 2009 (UTC)
 * Notice how many times artists managed by Simon Cowell, Louis Walsh or Pete Waterman are listed above. It's almost as if they were cynically encouraging their charges to cover songs that had already been Number One as a surefire method of getting a hit... Malcolm XIV (talk) 18:28, 6 August 2009 (UTC)
 * OK, thanks a lot for going to all that trouble Bettia! --AdamSommerton (talk) 21:36, 6 August 2009 (UTC)

Not Safe For Work
Is the left most model Mike Power?174.3.103.39 (talk) 13:05, 5 August 2009 (UTC)
 * You already asked this question on the 18th of July (archived at Reference_desk/Archives/Entertainment/2009_July_18) and we answered to the best of our ability then. Please don't repost questions. Exxolon (talk) 21:31, 5 August 2009 (UTC)
 * The question is different. The post that was related to this one was removed.174.3.103.39 (talk) 06:47, 6 August 2009 (UTC)


 * I don't think anyone has actually answered the question yet - ie Yes or No.83.100.250.79 (talk) 13:24, 6 August 2009 (UTC)

Mike Power
Is the person in the left most picture Mike Power in the blog post at Thursday, August 06, 2009? The reason I had to post again is because I could not find wikiproject pornography. But also because I want audiences of opinion.174.3.103.39 (talk) 07:07, 6 August 2009 (UTC)
 * I've merged this repeat question. AlmostReadytoFly (talk) 07:51, 6 August 2009 (UTC)


 * The OP is correct. This has been asked three times.  It has not been answered with a "yes", "no", or "maybe".  That does not mean that people are withholding an answer.  It may simply mean that nobody here knows what Mike Power looks like. --  k a i n a w &trade; 14:33, 6 August 2009 (UTC)

I've compared the picture with a google image search for Mr. Power (I'm not easily shocked :-) ) and they do seem very similar. So while I can't be sure (the Banner ad is too small and appears to be more interested in genitalia than faces), it does seem likely. Fribbler (talk) 16:21, 6 August 2009 (UTC)

What is "wikiproject pornography"?Popcorn II (talk) 17:38, 6 August 2009 (UTC)
 * WikiProject Pornography 83.100.250.79 (talk) 17:54, 6 August 2009 (UTC)

Another no doubt irritating music theory question
Sorry to keep asking these kinds of questions here, just really trying to get to grips with this sort of thing. I noticed the follow chords in the pre-chorus of a song, with the last chord being the first of the chorus:


 * A, D/G, D/F#, E7sus, E, Esus4, D7sus, Dm9, C5, D5, G5

Now, I know when you're in a key you can work out what chords work through intervals etc. but how do you know which types of chords fit into your key? For example if I was writing a song and I thought A, D/G, D/F# sounded good, I wouldn't immediately think that E7sus is a good choice of chord. Are there any formulas which state when suspended, augmented chords etc. fit in with the given key? Sorry if this doesn't make much sense, I'm just typing thoughts out. Regards, --— Cyclonenim | Chat 14:35, 5 August 2009 (UTC)


 * As I'm sure you know, the D/G notation etc. tells you which note to play in the bass. Note that there's a bass line in the first three chords: A -> G -> F# which is heading for E. The oddest chord among the first four isn't the E7sus, but the D/G (which is almost the same as G maj 9 - i.e. a G maj 7 with a ninth, the third missing). An unexpected chord can make a chord progression more interesting, but there needs to be some logic in the choice of chord, it can't be totally erratic. D/F# and E7sus have two tones in common - D and A - this makes the transition feel natural. Augmented chords are often used when the melody (or one of the instruments) moves chromatically, such as
 * C C+ C6 C7
 * There's a voice in there going G -> G# -> A -> Bb. John Lennon used this chord progression in "Isolation". Also, the C5 etc. notation is slightly unusual, is it supposed to mean C without the third - a power chord? edit: I suppose it is - the notation is used in the article I linked to. --NorwegianBluetalk 19:30, 5 August 2009 (UTC)
 * Thanks, that's pretty helpful :) However my main query comes with your comment that it can't be totally erratic. If that's the case, how do you know what is logical? Is it simply when they share the majority of their tones, such as the example of D/F# to E7sus, or is there another thing to keep in mind? Thanks again. Btw the C5 chord was definitely a power chord like this: x355xx Regards, --— Cyclonenim | Chat 22:00, 5 August 2009 (UTC)
 * There generally needs to be something to tie the chords together, or it sounds odd. As noted, the "Walking bassline" in your first few chords makes it work, even with the extra G note, which is not often played in D chords.  Plus, the chords themselves are the I-IV-V progression (ADE) of a standard A major key, which is pretty friendly on the ears.  Since you're first chord in the chorus is the G power chord, it looks like the C-D-G progression at the end of your prechorus is an attempt to modulate the song from the key of A to the key of G; if so why not do it D-C-G instead, since the D is a more natural "pivot" chord to perform the modulation around, being in both keys.  IIRC, a similar A-G modulation was done in Metallica's One.  I remember reading something about it in some guitar mag or something.  -- Jayron  32  03:48, 6 August 2009 (UTC)


 * How do you know what is logical? Well, if you're writing a song, you're the one who decides. Trust your ear. If you like what you've created, that's because it somehow makes sense to you. If others like what you've created, then it's because it makes sense to them too. What will make sense to people is of course highly genre-dependent. With traditional western harmony, it is helpful to think of the tones that make up a chord as if they were voices. If all the voices have to do awkward intervals in order to move from one chord to the next, the chord progression is unlikely to make sense to people. If some voices stay put, and others move to tones nearby, yet create an unusual chord, it is more likely to work.
 * If you want to approach this from a theoretical point of view, here are some of the articles you might want to read: circle of fifths, cadence (music) (note especially the part about the deceptive cadence), modulation (music).


 * Some additional points, with examples from Beatles songs:


 * Unusual chords create tension, tension wants to be resolved.
 * Example: If you're in the key of F major, then going straight from F to e minor is rather unusual, and creates tension. But then if you follow the circle of fifths to A7, and then to d minor, the tension is released ("Yesterday").


 * Internal consistency is important, i.e. if you do something unusual, repeat it, perhaps slightly altered, to convince the listener that you really mean it.
 * Example - opening riff of "Something"

beat:         /    /     /   /     / lead guitar:    A  c  A  Bb  B     c   chords:        F          Eb  G7/D  C


 * In the repetion, before the bridge, it goes

beat:         /    /     /   /     / lead guitar:    A  c  A  Bb  B     c#   chords:        F          Eb  G7/D  A


 * Thereby modulating to A.


 * Consistency between the chords and the lyrics is of course also a good thing. Take the most famous chord ever - the opening chord of "A hard day's night". Would it have worked as the opening chord of "Martha My Dear" or "Maxwell's Silver Hammer"? --NorwegianBluetalk 18:05, 6 August 2009 (UTC)
 * Thanks guys, that really clears things up :) I tend to write songs by ear anyway, but I was just curious to see how others come up with such random (or at least as it appears to me) combinations of chords. Thanks again. Regards, --— Cyclonenim | Chat 19:05, 6 August 2009 (UTC)

Identifying a comic book from the 1970s
Hi, I'm trying to identify a children's comic book annual that I fondly remember from the 1970's. I live in the UK and do not know if it was published more widely. It contained mainly (if not entirely) stories and comic strips relating to magic and the mysterious. The cover was predominantly black and purple. The only character that I can remember was a magician/wizard who I believe was called "Sylvester". He had a pronounced widow's peak hairstyle or a black pointed skull-cap. The book was approximately A4 in size (12 inches by 8 inches approx). It may have been published by "Fleetway" or I could just be assuning this because so many annuals at that time were. Any help you can give would be appreciated. Thanks.194.176.201.29 (talk) 15:24, 5 August 2009 (UTC)
 * According to this, there was a comic called Lion which featured a strip called Sylvester and the Touchstone. Is that it? Bettia   (bring on the trumpets!)  15:45, 5 August 2009 (UTC)


 * Bettia, you are a genius! That's the character I remember. It helped me find some more info at this website so it seems that the book in question was called "The Valiant Book of Mystery and Magic". Now I just need to find a copy! Thanks very much for your super-speedy help. —Preceding unsigned comment added by 194.176.201.27 (talk) 16:31, 5 August 2009 (UTC)

There's a couple on eBay.Popcorn II (talk) 21:18, 5 August 2009 (UTC)


 * Thanks. I found one on Amazon and it's winging its way to me now!

Thrash metal
Hi! I'm looking for the name of an old thrash band. English, I think, and one of their album covers featured a green goblin or orc. Difficult question, but thanks in advance. 80.203.69.221 (talk) 22:41, 5 August 2009 (UTC)


 * Erasing the Goblin has a green goblin on the cover, though it's from Australia and is from 2006. Do you remember whether it's a full-body goblin, or more of a headshot?  Tempshill (talk) 04:07, 6 August 2009 (UTC)


 * Green Jelly maybe? —Preceding unsigned comment added by 62.172.58.82 (talk) 07:41, 6 August 2009 (UTC)

Greenslade..hotclaws 06:51, 10 August 2009 (UTC)
 * The Greenslade I remember were jazz/folk rock not thrash... just a tad different!--TammyMoet (talk) 16:37, 12 August 2009 (UTC)

Golden Globe Award for Best Director
Hello. I have a question about the number of women who won or nominated for the award. It's not written in the article, and the same question about the BAFTA Award for Best Direction. thanks. Shirooosh (talk) 23:37, 5 August 2009 (UTC)


 * Have you considered reading that article, which is in list format, and adding up the names that sound female? Tempshill (talk) 04:08, 6 August 2009 (UTC)
 * Yeah I tried, but I gave up cus of a few reasons. first of all, I think there are a few mistakes in the artical, for exampel: Barbra Streisand won the golden globe award in 1991, but in the artical it's written that, Oliver Stone did. Second of all I'm not an English speaker, and I'm afraid that, if I'll check the list, I may not notice if the name is belong to a woman. --Shirooosh (talk) 06:37, 6 August 2009 (UTC)
 * The Hollywood Foreign Press Association disagrees with you, and thinks it gave the 1991 Directing Golden Globe to Oliver Stone. . DJ Clayworth (talk) 13:35, 6 August 2009 (UTC)
 * Ok. that's weird. maybe I didn't read right. --Shirooosh (talk) 17:26, 6 August 2009 (UTC)
 * A quick look through the list finds only Barbra Streisand, Jane Campion, Sofia Coppola; none were winners Only Streisand won. But I may have missed some . DJ Clayworth (talk) 13:40, 6 August 2009 (UTC)
 * Thanks for the check, but don't you think there is a place, maybe at the home site of the award? That's written there? you know, something like: no woman won the award, and only 3 were nominated. whould you mind to check for me? I would do it by myself, but I find it difficult, to search in English.. (I hope that you understood what I wrote) thanks a lot. --Shirooosh (talk) 17:26, 6 August 2009 (UTC)


 * Google is your friend. Click on the first link. DJ Clayworth (talk) 17:46, 6 August 2009 (UTC)
 * Interestingly there do turn out to be errors in our article. Streisand didn't win in 1991, but she did win for Yentl in 1983. We had Terms of Endearment. I've fixed it. DJ Clayworth (talk) 18:09, 6 August 2009 (UTC)
 * ..and a glance at the BAFTAs reveals an even shorter list - Sofia Coppola. DJ Clayworth (talk) 18:13, 6 August 2009 (UTC)
 * WOW!!! thanks a lot. You really helped me. thanks again --Shirooosh (talk) 19:14, 6 August 2009 (UTC)
 * I think you should write about this in the artical. you know, as a superlativ. --Shirooosh (talk) 19:47, 6 August 2009 (UTC)