text:
7 (Prince song)
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For other uses, see 7 (disambiguation).
"7"
Single by Prince and The New Power Generation
from the album Love Symbol Album
B-side
"7" (acoustic version)
Released
November 17, 1992
Format
7" single
12" single
Picture disc
Cassette single
CD single / maxi-single
Recorded
Paisley Park Studios, September 1991 to March 1992
Genre
Pop rock
Length
7" edit: 4:23
Album: 5:09
Label
Paisley Park/Warner Bros.
Songwriter(s)
Prince
Lowell Fulson (as Lowell Fulsom)
Jimmy McCracklin
Producer(s)
Prince
Prince and The New Power Generation singles chronology
"My Name Is Prince"
(1992) "7"
(1992) "Damn U"
(1992)
Prince (UK) singles chronology
"My Name Is Prince"
(1992) "7"
(1992) "The Morning Papers"
(1993)
"7" is a song by Prince and The New Power Generation, from the 1992 Love Symbol Album.[1] It was released in late 1992 as the third single from the album, and became the most successful in the United States. It features a sample of the 1967 Otis Redding and Carla Thomas duet, "Tramp".
"7" is composed of heavy drums and bass in an acoustic style. It has a distinct Middle Eastern theme, and an opera-like chorus which features Prince's multi-tracked vocals. The song received positive reviews and peaked within the top forty of many of its major markets.
Contents
[hide]
1 Music video
2 Chart performance
3 Track listings
4 Charts
4.1 Weekly charts
4.2 Year-end charts
5 References
Music video[edit]
The video was shot on February 27, 1992. It begins with Mayte whispering "imagine" in Prince's ear, in the position they are in on the single cover. A scene from 3 Chains o' Gold is shown as well. It features Mayte belly-dancing. The video set is pictured on the album cover, along with a still shot from the video. In the video, Prince symbolically "kills" incarnations of himself who are trapped inside glass chambers. There are little girls wearing yellow belly-dancing outfits almost identical to Mayte's and little boys wearing black outfits and eyebands identical to Prince's. Throughout the performance, the girls dance with Mayte and the boys dance with Prince. This video is also notable for Mayte dancing with a sword on her head, which she would later do in live performances; the video featured her playing the role she played in 3 Chains o' Gold as an Egyptian princess who befriends Prince and enlists his help to find the men who assassinated her father. The video, directed by Sotera Tschetter, was nominated for an MTV Video Music Award for Best R&B Video.
Chart performance[edit]
The most successful single from the album in the US, "7" was most successful on the Top 40 Pop/Mainstream chart, where it earned a No. 3 placement, and coincidentally the single peaked at No. 7 on the Billboard Hot 100. It performed respectably on the Rhythmic charts (No. 19). However, it was less popular with R&B/Hip Hop radio, stalling at No. 61. On the Canadian RPM chart the song peaked at No. 12.
The single performed well in the UK, rising as high as No. 27, but falling short of the success of the previous two releases, "Sexy MF" and "My Name is Prince", which had become top 10 hits.
Track listings[edit]
7" single / CD single
"7" (LP version) – 5:13
"7" (acoustic version) – 3:54
12" single
"7" (LP version) – 5:13
"7" (acoustic version) – 3:54
"7" (After 6 Long Version) – 5:15
12" maxi-single / CD maxi-single
"7" (LP version) – 5:13
"7" (After 6 Edit) – 4:20
"7" (After 6 Long Version) – 5:15
"7" (acoustic version) – 3:54
"7" (album edit) – 4:23
"2 Whom It May Concern" – 4:01
US CD promo single[2]
"7" (album edit) – 4:23
"7" (After 6 Edit) – 4:20
"7" (LP version) – 5:13
"7" (acoustic version) – 3:54
"7" (After 6 Long Version) – 5:15
"7" (Mix 5 Long Version) – 4:56
"7" (Mix 5 Edit) – 4:06
Charts[edit]
Weekly charts[edit]
Chart (1992–93)
Peak
position
Australia (ARIA)[3]
25
Belgium (Ultratop 50 Flanders)[4]
32
Canadian RPM Singles Chart
12
Germany (Official German Charts)[5]
77
Netherlands (Single Top 100)[6]
34
New Zealand (Recorded Music NZ)[7]
12
Switzerland (Schweizer Hitparade)[8]
28
UK Singles (Official Charts Company)[9]
27
US Billboard Hot 100
7
US Billboard Hot R&B/Hip-Hop Songs
61
US Billboard Top 40 Mainstream
3
US Billboard Rhythmic Top 40
19
Year-end charts[edit]
Chart (1993)
Position
Canada Top Singles (RPM)[10] 97
US Billboard Hot 100[11] 52
References[edit]
Jump up ^ "Prince And The New Power Generation* - 7 at Discogs". Discogs.com. 2004-10-16. Retrieved 2011-09-07.
Jump up ^ "Track Listing". Aprilsnow045.ueuo.com. Retrieved 2011-09-07.
Jump up ^ "Australian-charts.com – Prince & The New Power Generation – 7". ARIA Top 50 Singles. Retrieved May 2, 2016.
Jump up ^ "Ultratop.be – Prince & The New Power Generation – 7" (in Dutch). Ultratop 50. Retrieved May 2, 2016.
Jump up ^ "Offiziellecharts.de – Prince & The New Power Generation – 7". GfK Entertainment Charts. Retrieved May 2, 2016.
Jump up ^ "Dutchcharts.nl – Prince & The New Power Generation – 7" (in Dutch). Single Top 100. Retrieved May 2, 2016.
Jump up ^ "Charts.org.nz – Prince & The New Power Generation – 7". Top 40 Singles. Retrieved May 2, 2016.
Jump up ^ "Swisscharts.com – Prince & The New Power Generation – 7". Swiss Singles Chart. Retrieved May 2, 2016.
Jump up ^ "Prince: Artist Chart History". Official Charts Company. Retrieved May 2, 2016.
Jump up ^ "RPM 100 Hit Tracks of 1993". RPM. Retrieved November 23, 2017.
Jump up ^ "Billboard Top 100 – 1993". Archived from the original on 2006-11-10. Retrieved 2010-08-27.
[hide]
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1990s
"The Future"
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"Gett Off"
"Cream"
"Diamonds and Pearls"
"Money Don't Matter 2 Night"
"Insatiable"
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"Sexy MF"
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"7"
"Damn U"
"The Morning Papers"
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"Nothing Compares 2 U"
"Peach"
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"Letitgo"
"Space"
"Purple Medley"
"I Hate U"
"Gold"
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"Betcha by Golly Wow!"
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"Somebody's Somebody"
"The Truth"
"Extraordinary"
"The Greatest Romance Ever Sold"
2000s
"U Make My Sun Shine" (with Angie Stone)
"When Will We B Paid?" (with Audio Stepchild)
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"The Work, pt. 1"
"Days of Wild"
"Musicology"
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"Controversy (Live in Hawaii)"
"S.S.T."
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"Black Sweat"
"Fury"
"Guitar"
"F.U.N.K."
2010s
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Promotional
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"Erotic City"
"Nothing Compares 2 U"
"Love Sign" (with Nona Gaye)
"Somebody's Somebody"
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Airplay-only songs
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text:
Piano pedals
From Wikipedia, the free encyclopedia
Jump to: navigation, search
Piano pedals from left to right: soft pedal, sostenuto pedal and sustain pedal
An overview of the piano pedals, which are placed under the keyboard of the piano
Piano pedals are foot-operated levers at the base of a piano which change the instrument's sound in various ways. Modern pianos usually have three pedals, from left to right, the soft pedal (or una corda), the sostenuto pedal, and the sustaining pedal (or damper pedal). Some pianos omit the sostenuto pedal, or have a middle pedal with a different purpose such as a muting function also known as silent piano.
The development of the piano's pedals is an evolution that began from the very earliest days of the piano, and continued through the late 19th century. Throughout the years, the piano had as few as one modifying stop, and as many as six or more, before finally arriving at its current configuration of three.
Contents
[hide]
1 Individual pedals
1.1 Damper pedal
1.2 Una corda pedal
1.2.1 Half-blow pedal
1.3 Sostenuto pedal
1.4 Other pedals
1.4.1 Novelty pedals
1.4.2 Janissary or Janizary pedals
2 Development
2.1 Hand stops
2.2 Knee levers
2.3 Pedals
3 Beethoven and pedals
4 Pedal piano
5 Location
6 Recent development in pedal configuration
7 References
Individual pedals[edit]
Damper pedal[edit]
Main article: Sustain pedal
The damper pedal, sometimes called the sustaining pedal, is used more often than the other pedals, and is placed at the right of the array of pedals, most conveniently accessible to (mostly right-footed) players. The damper pedal raises all the dampers off the strings so that they keep vibrating after a key on the keyboard has been released. In effect, the damper pedal makes every string on the piano a sympathetic string, creating a rich tonal quality; it is probably this effect that lies behind the common saying that the damper pedal is "the soul of the piano".[1] The damper pedal has the secondary function of allowing the player to connect into a legato texture notes that otherwise could not thus be played.
Una corda pedal[edit]
Main article: Soft pedal
The una corda mechanism, invented by Bartolomeo Cristofori, was the first stop invented to modify the piano's sound. This function is typically operated by the left pedal on modern pianos. The common name many use today for the una corda is the soft pedal. Neither name is an entirely accurate description of the pedal's function. The una corda primarily modifies the timbre, not just the volume of the tone.[1]
Soon after its invention, the una corda was integrated on pianos of all makers as a standard fixture.[2] On Cristofori's pianos, the una corda mechanism was operated by a hand stop, not a pedal. The stop was a knob on the side of the keyboard. When the una corda was activated, the entire action shifted to the right so that the hammers hit one string (una corda) instead of two strings (due corde).[3]
Dominic Gill says that when the hammers strike only one string, the piano "produces a softer, more ethereal tone".[4]
By the late 18th century, piano builders had begun triple stringing the notes on the piano. This change, affecting the una corda's function, is described by Joseph Banowetz:
On the pianos of the late eighteenth to early nineteenth centuries, the pianist could shift from the normal three-string (tre corde) position to one in which either two strings (due corde) or only one (una corda) would be struck, depending on the depth to which the pedal was pressed. This subtle but important choice does not exist on modern pianos, but was readily available on the earlier instruments.[2]
The sound of the una corda on early pianos created a larger difference in color and timbre than it does on the modern piano. On the modern piano, the una corda pedal makes the hammers of the treble section hit two strings instead of three. In the case of the bass strings, the hammer normally strikes either one or two strings per note. The lowest bass notes on the piano are a single thicker string. For these notes, the action shifts the hammer so that it strikes the string on a different, lesser-used part of the hammer nose.[5]
Edwin Good states,
On the modern piano, the timbre is subtly different, but many people cannot hear it. In that respect, at least, the modern piano does not give the player the flexibility of changing tone quality that early ones did.[6]
Beethoven took advantage of the ability of his piano to create a wide range of tone color in two of his piano works. In his Piano Concerto No. 4, Beethoven specifies the use of una corda, due corde, and tre corde. He calls for una corda, then "poco a poco due ed allora tutte le corde", gradually two and then all strings, in Sonata Op. 106.[2]
Half-blow pedal[edit]
On the modern upright piano, the left pedal is not truly an una corda, because it does not shift the action sideways. This cannot happen because the strings "run at such an oblique angle to the hammers that if the action were moved sideways, the hammer might strike one string of the wrong note".[7] A more accurate term for the left pedal on an upright piano is the half-blow pedal. When the pedal is activated, the hammers move closer to the strings, so that there is less distance for the hammer to swing.[8]
Sostenuto pedal[edit]
The last pedal to be added to the modern grand was the middle pedal, the sostenuto, which was inspired by the French. By using this pedal, a pianist can sustain selected notes, while other notes remain unaffected. The sostenuto was first shown at the French Industrial Exposition of 1844 in Paris, by Boisselot & Fils, a Marseille company. French piano builders Alexandre François Debain and Claude Montal built sostenuto mechanisms in 1860 and 1862, respectively. These innovative efforts did not immediately catch on with other piano builders. In 1874, Albert Steinway perfected and patented the sostenuto pedal.[9] He began to advertise it publicly in 1876, and soon the Steinway company was including it on all of their grands and their high-end uprights.[10]
Other American piano builders quickly adopted the sostenuto pedal into their piano design. The adoption by European manufacturers went far more slowly and was essentially completed only in recent times.[11]
The term "sostenuto" is perhaps not the best descriptive term for what this pedal actually does. "Sostenuto" in Italian means "sustained".[1] This definition alone would make it sound as if the sostenuto pedal accomplishes the same thing as the damper, or "sustaining" pedal. The sostenuto pedal was originally called the "tone-sustaining" pedal.[10] That name would be more accurately descriptive of what the pedal accomplishes, i.e. sustainment of a single tone / group of tones. The pedal holds up only those dampers that were already raised at the moment that it was depressed. So if a player: (i) holds down a note or chord, and (ii) while so doing depresses this pedal, and then (iii) lifts the fingers from that note or chord while keeping the pedal depressed, then that note or chord will not be damped until the foot is lifted, despite any subsequently played notes being damped normally on their release by the fingers. Uses for the sostenuto pedal include playing transcriptions of organ music (where the selective sustaining of notes can substitute for the organ's held notes in its pedals), or in much contemporary music, especially spectral music. Usually, the sostenuto pedal is played with the right foot.
It is common to find uprights and even grand pianos that lack a middle pedal. Even if a piano has a middle pedal, one cannot assume it is a true sostenuto, for there are many other functions a middle pedal can have other than that of sostenuto. Often an upright's middle pedal is another half-blow pedal, like the one on the left, except that the middle pedal will slide into a groove to stay engaged. Sometimes, the middle pedal may only operate the bass dampers.[6] The middle pedal may sometimes lower a muffler rail of felt between the hammers and the strings to mute and significantly soften the sound, so that one can practice quietly (also known as a "Practice Rail").[8] True sostenuto is rare on uprights, except for more expensive models such as those from Steinway and Bechstein. They are more common on digital pianos as the effect is straightforward to mimic in software.[citation needed]
Other pedals[edit]
Among other pedals sometimes found on early pianos are the lute stop, moderator or celeste, bassoon, buff, cembalo, and swell. The lute pedal created a "pizzicato-type sound".[12] The moderator, or celeste mechanism used "a layer of soft cloth or leather ... interposed between hammers and strings to give a sweet, singing and muted quality".[4] According to Good, "[the piece of leather or cloth was] graduated in thickness across its short dimension. The farther down one pushed the pedal, the farther the rail was lowered and the thicker the material through which the hammer struck the strings. With the thicker material, the sound was softer and more muffled. Such a stop was sometimes called a pianissimo stop."[13]
The moderator stop was popular on Viennese pianos, and a similar mechanism is still sometimes fitted on upright pianos today in the form of the practice rail (see Sostenuto pedal, above). Joseph Banowetz states that for the bassoon pedal, paper or silk was placed over the bass strings to create "a buzzing noise that listeners of the day felt resembled the sound of the bassoon".[14] The buff stop and cembalo stops seem to be similar to each other in method of manipulation and sound produced. The buff ("leather") stop[13] used "a narrow strip of soft leather ... pressed against the strings to give a dry, soft tone of little sustaining power".[4] The cembalo stop pressed leather weights on the strings and modified the sound to make it resemble that of the harpsichord.[15] Johannes Pohlmann used a swell pedal on his pianos to raise and lower the lid of the piano to control the overall volume.[16] Instead of raising and lowering the lid, the swell was sometimes operated by opening and closing slots in the sides of the piano case.[15]
Often called "the father of the pianoforte",[by whom?] Muzio Clementi was a composer and musician who founded a piano-building company, and was active in the designing of the pianos that his company built. The Clementi piano firm was later renamed Collard and Collard in 1830, two years before Clementi's death. Clementi added a feature called a harmonic swell.[citation needed]
"[This pedal] introduced a kind of reverberation effect to give the instrument a fuller, richer sound. The effect uses the sympathetic vibrations set up in the untuned non-speaking length of the strings. Here the soundboard is bigger than usual to accommodate a second bridge (the 'bridge of reverberation')."[17]
The Dolce Campana pedal pianoforte c. 1850, built by Boardman and Gray, New York, demonstrated yet another creative way of modifying the piano's sound. A pedal controlled a series of hammers or weights attached to the soundboard that would fall onto an equal number of screws, and created the sound of bells or the harp.[18]
The Fazioli concert grand piano model F308 includes a fourth pedal to the left of the traditional 3 pedals. This pedal acts similarly to the "half-blow" pedal on an upright piano, in that it collectively moves the hammers somewhat closer to the strings to reduce the volume without changing the tone quality, as the una-corda does. The F308 is the first modern concert grand to offer such a feature.
Novelty pedals[edit]
In the early years of piano development, many novelty pedals and stops were experimented with before finally settling on the three that are now used on the modern piano. Some of these pedals were meant to modify levels of volume, color, or timbre, while others were used for special effects, meant to imitate other instruments. Banowetz speaks of these novelty pedals: "At their worst, these modifications threatened to make the piano into a vulgar musical toy".[2]
Janissary or Janizary pedals[edit]
During the late 18th century, Europeans developed a love for Turkish band music, and the Turkish music style was an outgrowth of this. According to Good, this was possibly started "when King Augustus the Strong of Poland received the gift of a Turkish military band at some time after 1710".[19] "Janissary" or "janizary"" refers to the Turkish military band that used instruments including drums, cymbals, and bells, among other loud, cacophonous instruments. Owing to the desire of composers and players to imitate the sounds of the Turkish military marching bands, piano builders began including pedals on their pianos by which snare and bass drums, bells, cymbals, or the triangle could be played by the touch of a pedal while simultaneously playing the keyboard.[20]
Up to six pedals would control all these different sound effects. Alfred Dolge states, "The Janizary pedal, one of the best known of the early pedal devices, added all kinds of rattling noises to the normal piano performance. It could cause a drumstick to strike the underside of the soundboard, ring bells, shake a rattle, and even create the effect of a cymbal crash by hitting several bass strings with a strip of brass foil".[20] Mozart's Rondo alla Turca, from Sonata K. 331, written in 1778, was sometimes played using these Janissary effects.[21]
Development[edit]
Hand stops[edit]
The sustaining, or damper stop, was first controlled by the hand, and was included on some of the earliest pianos ever built. Stops operated by hand were inconvenient for the player, who would have to continue playing with one hand while operating the stop with the other. If this was not possible, an assistant would be used to change the stop, just as organists do even today.[22] Johannes Zumpe's square piano, made in London in 1767, had two hand stops in the case, which acted as sustaining stops for the bass strings and the treble strings.[22]
Knee levers[edit]
The knee lever to replace the hand stop for the damper control was developed in Germany sometime around 1765.[2] According to David Crombie, "virtually all the fortepianos of the last three decades of the eighteenth century were equipped with a knee lever to raise and lower the dampers ... ".[23]
Sometime around 1777, Mozart had an opportunity to play a piano built by Johann Andreas Stein, who had been an apprentice of Gottfried Silbermann. This piano had knee levers, and Mozart speaks highly of their functionality in a letter: "The machine which you move with the knee is also made better by [Stein] than by others. I scarcely touch it, when off it goes; and as soon as I take my knee the least bit away, you can't hear the slightest after-sound".[24]
The only piano Mozart ever owned was one by Anton Walter, c. 1782-1785. It had two knee levers; the one on the left raised all the dampers, while the one on the right raised only the treble dampers. A moderator stop to produce a softer sound (see Other pedals, above) was centrally above the keyboard.[25]
Pedals[edit]
Although there is some controversy among authorities as to which piano builder was actually the first to employ pedals rather than knee levers, one could say that pedals are a characteristic first developed by manufacturers in England.[26] James Parakilas states that the damper stop was introduced by Gottfried Silbermann,[3] who was the first German piano builder.[27] Parakilas, however, does not specify whether Silbermann's damper stop was in the form of a hand lever, knee lever, or pedal. It is of importance to note here that many successful English piano builders had apprenticed with Silbermann in Germany, and then left for London as a result of the disturbances of the Seven Years' War in Saxony. Among those who re-located to England were Johannes Zumpe, Americus Backers, and Adam Beyer.[28] Americus Backers, Adam Beyer, and John Broadwood, all piano builders in England, are credited as being among the first to incorporate the new feature. Americus Backers' 1772 grand, his only surviving instrument, has what are believed to be original pedals, and is most likely the first piano to use pedals rather than knee levers.[29] A square piano built by Adam Beyer of London in 1777 has a damper pedal, as do pianos built by John Broadwood, ca. 1783.[1]
After their invention, pedals did not immediately become the accepted form for piano stops. German and Viennese builders continued to use the knee levers for quite some time after the English were using pedals. Pedals and knee levers were even used together on the same instrument on a Nannette Streicher grand built in Vienna in 1814. This piano had two knee levers which were Janissary stops for bell and drum, and four pedals for una corda, bassoon, dampers, and moderator.[30]
Beethoven and pedals[edit]
Throughout his lifetime, Ludwig van Beethoven owned several different pianos by different makers, all with different pedal configurations. His pianos are fine examples of some experimental and innovative pedal designs of the time. In 1803, the French piano company Erard gave him a grand, "[thought to be] the most advanced French grand piano of the time .... It had ... four pedals, including an una-corda, as well as a damper lift, a lute stop, and a moderator for softening the tone".[31]
Beethoven's Broadwood grand, presented as a gift to him from the Broadwood company in 1817, had an una corda pedal and a split damper pedal — one half was the damper for the treble strings, the other was for the bass strings.[32] In an effort to give Beethoven an instrument loud enough for him to hear when his hearing was failing, Conrad Graf designed an instrument in 1824 especially for Beethoven with quadruple stringing instead of triple. Graf only made three instruments of this nature. David Crombie describes this instrument: "by adding an extra string, Graf attempted to obtain a tone that was richer and more powerful, though it didn't make the instrument any louder than his Broadwood".[33] This extra string would have provided a bigger contrast when applying keyboard-shifting stops, because this keyboard shift pedal moved the action from four to two strings. Crombie states, "these provide a much wider control over the character of the sound than is possible on Graf's usual instruments".[33] This piano had five pedals: a keyboard shift (quad to due corde), bassoon, moderator 1, moderator 2, and dampers.[33] A different four-string system, aliquot stringing, was invented by Julius Blüthner in 1873, and is still a feature of Blüthner pianos. The Blüthner aliquot system uses an additional (hence fourth) string in each note of the top three piano octaves. This string is slightly higher than the other three strings so that it is not struck by the hammer. Whenever the hammer strikes the three conventional strings, the aliquot string vibrates sympathetically.
As a composer and pianist, Beethoven experimented extensively with pedal. His first marking to indicate use of a pedal in a score was in his first two piano concertos, in 1795. Earlier than this, Beethoven had called for the use of the knee lever in a sketch from 1790–92; "with the knee" is marked for a series of chords. According to Joseph Banowetz, "This is the earliest-known indication for a damper control in a score".[34] Haydn did not specify its use in a score until 1794. All in all, there are nearly 800 indications for pedal in authentic sources of Beethoven's compositions, making him by far the first composer to be highly prolific in pedal usage.[35]
Pedal piano[edit]
Along with the development of the pedals on the piano came the phenomenon of the pedal piano, a piano with a pedalboard. Some of the early pedal pianos date back to 1815.[10] The pedal piano developed partially for organists to be able to practice pedal work away from the organ. In some instances, the pedal piano was actually a special type of piano with a built-in pedal board and a higher keyboard and bench, like an organ. Other times, an independent pedal board and set of strings could be connected to a regular grand piano.
Mozart had a pedalboard made for his piano. His father, Leopold, speaks of this pedalboard in a letter: "[the pedal] stands under the instrument and is about two feet longer and extremely heavy".[25]
Alfred Dolge writes of the pedal mechanisms that his uncle, Louis Schone, constructed for both Robert Schumann and Felix Mendelssohn in 1843.[36] Schumann preferred the pedal board to be connected to the upright piano, while Mendelssohn had a pedal mechanism connected to his grand piano. Dolge describes Mendelssohn's pedal mechanism: "The keyboard for pedaling was placed under the keyboard for manual playing, had 29 notes and was connected with an action placed at the back of the piano where a special soundboard, covered with 29 strings, was built into the case".[36]
In addition to using his pedal piano for organ practice, Schumann composed several pieces specifically for the pedal piano. Among these compositions are Six Studies Op. 56, Four Sketches Op. 58, and Six Fugues on Bach Op. 60.[37] Other composers who used pedal pianos were Mozart, Liszt, Alkan and Gounod.[38]
The piano, and specifically the pedal mechanism and stops underwent much experimentation during the formative years of the instrument, before finally arriving at the current pedal configuration. Banowetz states, "These and a good number of other novelty pedal mechanisms eventually faded from existence as the piano grew to maturity in the latter part of the nineteenth century, finally leaving as survivors of this tortuous evolution only today's basic three pedals".[14]
Location[edit]
The location of pedals on the piano was another aspect of pedal development that fluctuated greatly during the evolution of the instrument. Piano builders were quite creative with their pedal placement on pianos, which sometimes gave the instruments a comical look, compared to what is usually seen today. The oldest surviving English grand, built by Backers in 1772, and many Broadwood grands had two pedals, una corda and damper, which were attached to the legs on the left and right of the keyboard.[29] James Parakilas describes this pedal location as giving the piano a "pigeon-toed look",[3] for they turned in slightly. A table piano built by Jean-Henri Pape in the mid-19th century had pedals on the two front legs of the piano, but unlike those on the Backers and Broadwood, these pedals faced straight in towards each other rather than out.[18] A particularly unusual design is demonstrated in the "Dog Kennel" piano. It was built by Sebastien Mercer in 1831, and was nicknamed the "Dog Kennel" piano because of its shape.[39] Under the upright piano where the modern pedals would be located is a semi-circular hollow space where the feet of the player could rest. The una corda and damper pedals are at the left and right of this space, and face straight in, like the table piano pedals. Eventually during the 19th century, pedals were attached to a frame located centrally underneath the piano, to strengthen and stabilize the mechanism. According to Parakilas, this framework on the grand piano "often took the symbolic shape and name of a lyre",[3] and it still carries the name "pedal lyre" today.
Recent development in pedal configuration[edit]
See also: Innovations in the piano
Although the piano and its pedal configuration has been in its current form since the late 19th century, there is a possibility that sometime in the future the pedal configuration may change again. In 1987, the Fazioli piano company in Sacile, Italy, designed the longest piano made until this time (10 feet 2 inches [3.10 m]). This piano has four pedals: damper, sostenuto, una corda, and half-blow.[8]
References[edit]
^ Jump up to: a b c d Siepmann, J. (1996). The Piano: The Complete Illustrated Guide to the World's Most Popular Musical Instrument, Hal Leonard & Carlton Books, 17.
^ Jump up to: a b c d e Banowetz, J. (1985). The Pianist's Guide to Pedaling, Bloomington: Indiana University Press, 5.
^ Jump up to: a b c d Parakilas, J., et al. (1999). Piano Roles: Three Hundred Years of Life with the Piano, New Haven and London: Yale University Press, 48.
^ Jump up to: a b c Gill, D., ed. (1981). The Book of the Piano, Ithaca: Cornell University Press, 27.
Jump up ^ Williams, J. (2002). The Piano: An Inspirational Guide to the Piano and Its Place in History, New York: Billboard Books, 45.
^ Jump up to: a b Good, E. (1982). Giraffes, Black Dragons, and Other Pianos: A Technological History From Cristofori to the Modern Concert Grand, Stanford: Stanford University Press, 22.
Jump up ^ Good 1982:22.
^ Jump up to: a b c Crombie 1995:94.
Jump up ^ Williams 2002:26.
^ Jump up to: a b c Banowetz 1985:4.
Jump up ^ For a reference describing the lack of sostenuto pedals on European pianos as of 1982, see Good 1982:22. The websites of Bechstein, Bösendorfer, Petrof, and Fazioli as of 2015 all describe their top-of-the-line instruments as including the sostenuto, and for Grotrian it is an available option.
Jump up ^ Good 1982:74.
^ Jump up to: a b Good 1982:110.
^ Jump up to: a b Banowetz 1985:5-6.
^ Jump up to: a b Banowetz 1985:6
Jump up ^ Crombie 1995:18-19).
Jump up ^ Crombie 1995:31.
^ Jump up to: a b Gill 1981:248.
Jump up ^ Good 1982:111-112
^ Jump up to: a b Dolge, Alfred. (1911). Pianos and Their Makers: A Comprehensive History of Development of the Piano, New York: Dover Publications, 35.
Jump up ^ Crombie 1995:26.
^ Jump up to: a b Good 1982:48
Jump up ^ Crombie, D. (1995). Piano: A Photographic History of the World's Most Celebrated Instrument, San Francisco: Miller Freeman Books, 19.
Jump up ^ Bie, O. (1899). A History of the Pianoforte and Pianoforte Players, London: J. M. Dent & Sons, Ltd, 136.
^ Jump up to: a b Williams 2002:35.
Jump up ^ Good 1982:62.
Jump up ^ Kennedy, Michael. (1980). The Concise Oxford Dictionary of Music, 3rd ed., New York: Oxford University Press, 598.
Jump up ^ Good 1982:40-42.
^ Jump up to: a b Williams 2002:21.
Jump up ^ Good 1982:79).
Jump up ^ Williams 2002:36.
Jump up ^ Crombie 1995:37-38.
^ Jump up to: a b c Crombie 1995:36.
Jump up ^ Banowetz 1985:144.
Jump up ^ Banowetz 1985:143-144.
^ Jump up to: a b Dolge 1911:191.
Jump up ^ Williams 2002:40.
Jump up ^ Banowetz 1985:3-4.
Jump up ^ Crombie 1995:42.
[hide]
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Father of Invention
From Wikipedia, the free encyclopedia
Jump to: navigation, search
Father of Invention
Theatrical release poster
Directed by
Trent Cooper
Produced by
Jared Ian Goldman
Kevin Spacey
Ken Barbet
Dana Brunetti
Kia Jam
Jonathan D. Krane
Jason Sciavicco
Written by
Trent Cooper
Jonathan D. Krane
Starring
Kevin Spacey
Camilla Belle
Heather Graham
Johnny Knoxville
Anna Anissimova
with Craig Robinson
and Virginia Madsen
Music by
Nick Urata
Cinematography
Steve Yedlin
Edited by
Heather Pearsons
Production
company
Trigger Street Productions
Distributed by
Anchor Bay Films
K Jam Media
Release date
February 15, 2010 (2010-02-15) (Berlinale)
October 14, 2011 (2011-10-14) (United States)
Running time
120 minutes
Country
United States
Language
English
Father of Invention is a 2010 American comedy-drama film directed by Trent Cooper, and stars Kevin Spacey, Camilla Belle and Johnny Knoxville.
Contents
[hide]
1 Synopsis
2 Cast
3 Reception
4 References
5 External links
Synopsis[edit]
Robert Axle, a New Orleans-based infomercial guru, loses it all when one of his inventions maims thousands of customers. After eight years in a maximum-security prison, Axle is ready to redeem his name and rebuild his billion-dollar empire. But first he must convince his estranged daughter to let him live with her and her quirky, over-protective roommates.
Cast[edit]
Kevin Spacey as Robert Axle
Virginia Madsen as Lorraine
John Stamos as Steven "Steve" Leslie Thurmond
Johnny Knoxville as Troy Coangelo
Camilla Belle as Claire Elizabeth (formerly Axle but dropped the last name after her father went to prison.)
Heather Graham as Phoebe
Michael Rosenbaum as Eddie
Anna Anissimova as Donna
Craig Robinson as Jerry
Rhoda Griffis as Penny Camp
Jack McGee
Danny Comden as Matt James
Marc Macaulay as Grocery Store Clerk
Audra Marie as Businessman's Date
Mary Elizabeth Cobb as Sheila
Julia Lashae as Lily’s Mother
Reception[edit]
The film currently has a 0% critic rating on Rotten Tomatoes and a 27% audience score.
References[edit]
Honeycutt, Kirk (February 16, 2010). "'Father of Invention' proves strikingly uninventive". Reuters. Retrieved July 28, 2010.
External links[edit]
Official website
Father of Invention on IMDb
Father of Invention at Rotten Tomatoes
This article about a 2010s comedy–drama film is a stub. You can help Wikipedia by expanding it.
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The Goose That Laid the Golden Eggs
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"Golden Egg" redirects here. For other uses, see Golden Egg (disambiguation).
"To kill the Goose That Laid the Golden Eggs" is an idiom used of an unprofitable action motivated by greed. It refers to one of Aesop's Fables, numbered 87 in the Perry Index, a story that also has a number of Eastern analogues.
Contents
[hide]
1 The story and its moral
2 Eastern instances
3 Use in the arts
4 See also
5 References
6 External links
The story and its moral[edit]
Avianus and Caxton tell different stories of a goose that lays a golden egg, where other versions have a hen,[1] as in Townsend: "A cottager and his wife had a Hen that laid a golden egg every day. They supposed that the Hen must contain a great lump of gold in its inside, and in order to get the gold they killed [her]. Having done so, they found to their surprise that the Hen differed in no respect from their other hens. The foolish pair, thus hoping to become rich all at once, deprived themselves of the gain of which they were assured day by day."[2]
The Goose That Laid the Golden Eggs, illustrated by Milo Winter in a 1919 edition
In early tellings, there is sometimes a commentary warning against greed rather than a pithy moral. This is so in Jean de La Fontaine's fable of La Poule aux oeufs d'or (Fables V.13),[3] which begins with the sentiment that 'Greed loses all by striving all to gain' and comments at the end that the story can be applied to those who become poor by trying to outreach themselves. It is only later that the morals most often quoted today began to appear. These are 'Greed oft o’er reaches itself' (Joseph Jacobs, 1894)[4] and 'Much wants more and loses all' (Samuel Croxall, 1722).[5] It is notable also that these are stories told of a goose rather than a hen.
The English idiom "Kill not the goose that lays the golden egg",[6] sometimes shortened to "Killing the golden goose", derives from this fable. It is generally used of a short-sighted action that destroys the profitability of an asset. Caxton's version of the story has the goose's owner demand that it lay two eggs a day; when it replied that it could not, the owner killed it.[7] The same lesson is taught by Ignacy Krasicki's different fable of "The Farmer:"
A farmer, bent on doubling the profits from his land,
Proceeded to set his soil a two-harvest demand.
Too intent thus on profit, harm himself he must needs:
Instead of corn, he now reaps corn-cockle and weeds.
There is another variant on the story, recorded by Syntipas (Perry Index 58) and appearing in Roger L'Estrange's 1692 telling as "A Woman and a Fat Hen" (Fable 87): A good Woman had a Hen that laid her every day an Egg. Now she fansy’d to her self, that upon a larger Allowance of Corn, this Hen might be brought in time to lay twice a day. She try’d the Experiment; but the Hen grew fat upon’t, and gave quite over laying. His comment on this is that 'we should set Bounds to our Desires, and content our selves when we are well, for fear of losing what we had.' Another of Aesop's fables with the moral of wanting more and losing everything is The Dog and the Bone.
Eastern instances[edit]
An Eastern analogue is found in the Suvannahamsa Jataka,[8] which appears in the fourth section of the Buddhist book of monastic discipline (Vinaya). In this the father of a poor family is reborn as a swan with golden feathers and invites them to pluck and sell a single feather from his wings to support themselves, returning occasionally to allow them another. The greedy mother of the family eventually plucks all the feathers at once, but they then turn to ordinary feathers; when the swan recovers its feathers they too are no longer gold. The moral drawn there is:
Contented be, nor itch for further store.
They seized the swan – but had its gold no more.
North of India, in the formerly Persian territory of Sogdiana, it was the Greek version of the story that was known. Among the 8th-century murals in Panjakent, in the western Sugdh province of Tajikistan, there is a panel from room 1, sector 21, representing a series of scenes moving from right to left where it is possible to recognize the same person first in the act of checking a golden egg and later killing the animal in order to get more eggs, only to understand the stupidity of his idea at the very end of the sequence. A local version of the story still persists in the area but ends differently with the main character eventually becoming a king.[9]
In the Mahabharata a story is recounted of wild birds that spit gold, and were discovered by a man who soon strangled them "out of greed".[10]
Use in the arts[edit]
The French text was set as the fourth of Rudolf Koumans' Vijf fabels van La Fontaine for children’s choir and orchestra (Op. 25 1968). Yassen Vodenitcharov (1964-) has created a chamber opera from the story (2004).
The majority of illustrations of "The Goose that laid the Golden Eggs" picture the farmer despairing after discovering that he has killed the goose to no purpose. It was also one of several fables applied to political issues by the American illustrator Thomas Nast. Captioned Always killing the goose that lays the golden eggs, it appeared in Harpers Weekly for March 16, 1878.[11] There the picture of the baffled farmer, advised by a 'Communistic Statesman', referred to the rail strike of 1877. The farmer stands for the politically driven union members whose wife and children sorrow in the background.
See also[edit]
Jataka tales
References[edit]
Aesop's Fables, a new translation by V. S. Vernon Jones (London: W. Heinemann, 1912), p. 2.
Jump up ^ "The Man And The Golden Eggs". Mythfolklore.net. Retrieved 2011-10-17.
Jump up ^ "Mythfolklore.net". Mythfolklore.net. Retrieved 2011-10-17.
Jump up ^ "Oaks.nvg.org". Oaks.nvg.org. Retrieved 2011-10-17.
Jump up ^ "Mythfolklore.net". Mythfolklore.net. Retrieved 2011-10-17.
Jump up ^ Available on Google Books, pp.228-9 books.google.co.uk
Jump up ^ Marvin, Dwight Edwards (1922). The Antiquity of Proverbs: Fifty Familiar Proverbs and Folk Sayings with Annotations and Lists of Connected Forms, Found in All Parts of the World. G. P. Putnam's Sons. pp. 188–189.
Jump up ^ "Mythfolklore.net". Mythfolklore.net. Retrieved 2011-10-17.
Jump up ^ "Sacred-texts.com". Sacred-texts.com. Retrieved 2011-10-17.
Jump up ^ See Matteo Compareti's description of the murals at vitterhetsakad.se
Jump up ^ Mahabharata 2.55.10, Buitenen translation vol. 2, p. 132
Jump up ^ "View online". Sophia.smith.edu. Retrieved 2011-10-17.
External links[edit]
15th-20th century book illustrations online
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Gun laws in Michigan
From Wikipedia, the free encyclopedia
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This article relies too much on references to primary sources. Please improve this by adding secondary or tertiary sources. (December 2015) (Learn how and when to remove this template message)
Location of Michigan in the United States
Gun laws in Michigan regulate the sale, possession, and use of firearms and ammunition in the U.S. state of Michigan.[1][2]
The State of Michigan has numerous laws concerning the ownership and the carrying of firearms. Generally, federal, state, and local law enforcement agencies, and agents thereof acting in an official capacity, are exempt from Michigan's firearms regulations. The Constitution of Michigan of 1963[3] Article 1, Section 6 reads, "Every person has a right to keep and bear arms for the defense of himself and the state."
A complete listing of Michigan's firearms laws can be found in the publication "Firearms Laws of Michigan."[4] This publication is dated October 2013 and does not yet reflect recent changes to the laws.
Contents
[hide]
1 Summary table
2 "Firearm" defined
3 Purchasing firearms
4 Concealed carry
5 See also
6 References
Summary table[edit]
Subject/Law
Long Guns
Handguns
Relevant Statutes
Notes
Permit to purchase required? No Not from FFL Permit required for purchase from an individual if purchaser does not have a CPL or an FFL and the transaction is not processed through an FFL dealer.
Firearm registration? No Yes Handgun sales are required to be registered to local law enforcement.
Owner license required? No No
Carry permit required? No Yes MCL 28.452b Michigan is a "shall issue" state for concealed carry.
Open carry permitted? Yes Yes Open carry is generally permitted.[5] Carry in a vehicle requires a license.[6]
State preemption of local restrictions? Yes Yes MCL 123.1102 City or Charter Township may restrict the discharge of firearms (see MCL 123.1104).
Assault weapon law? No No
Magazine capacity restriction? No No
NFA weapons restricted? No No Short barreled shotguns, short barreled rifles, automatic weapons, AOW's, and silencers/suppressors are allowed if in compliance with federal law.
Background checks required for private sales? No Yes MCL 28.422a A person acquiring a handgun must have either a handgun purchase license or a license to carry a concealed handgun. A background check is required to obtain either of these licenses.
"Firearm" defined[edit]
"The word 'firearm', except as otherwise specifically defined in statute, includes any weapon which will, is designed to, or may readily be converted to expel a projectile by action of an explosive. "[7] Michigan's Attorney General has ruled that the definition of "firearm" includes a Taser.[8] As of August 6, 2012, under essentially the same laws applicable to pistols in Michigan, private citizens may purchase and use Tasers (a portable device that uses electro-muscular disruption technology).[9]
According to the State of Michigan's Penal Code, a pistol is defined as "a loaded or unloaded firearm that is 26 inches or less in length, or a loaded or unloaded firearm that by its construction and appearance conceals itself as a firearm";[10] A person who knowingly sells a pistol without complying with MCL 28.422, is guilty of a misdemeanor, punishable by imprisonment for not more than 90 days, or a fine of not more than $100.00, or both; Michigan Penal Code pg. 386 Sec. 223 (1). A person 18 years of age can legally purchase a pistol from a private seller, but first must obtain a purchasing permit which is good for 30 days.
Purchasing firearms[edit]
At the age of 18 or up, it is legal to buy a pistol with a purchase license from a private seller, at the age of 21, it is legal to buy a firearm from a Federally licensed (FFL) dealer. No purchase license is required to purchase a long gun (a firearm that is more than 26 inches long) in Michigan. According to state law, a long gun may be purchased by anyone aged 18 or over who is not subject to restrictions based on criminal history, mental health history, or other disqualifying factor. A person must be at least 18 years old to purchase a long gun from a federal dealer or a private seller under Michigan law.
Only Michigan residents may purchase pistols (meaning firearms that are 26 inches or less in length) in Michigan. Residents of any state may purchase long guns in Michigan [11] and Michigan residents may purchase long guns in any state [12]
NON-CPL Holders Only that are buying a pistol from a private seller:[13] An individual must apply to their local police or sheriff's department for a purchase license before obtaining a pistol from a private seller. The police authority will check the applicant's criminal history and for disqualifying factors such as whether the person has been ordered to undergo involuntary mental health treatment or is subject to a restraining order for domestic violence.
As of December 18, 2012, no purchase permit is required for purchases from a Class 1 FFL Dealer.[14]
Purchases from a private party will require a purchase permit that can be acquired at any police or sheriff's office statewide.
A License to Purchase a Pistol is valid for 30 days from a private party.[15] The buyer and seller must both sign the license and may each keep one copy for his or her records. An individual must return to the local police department within 10 days of purchasing the pistol to return the remaining two copies of the license. Some agencies require all unused license-to-purchase forms to be returned to them for record-keeping purposes.
CPL Holders:[16] A License to Purchase is not needed for anyone with a valid Michigan Concealed Pistol License even when buying from a private seller. Someone with a valid Michigan Concealed Pistol License must, however, complete a Pistol Sales Record when purchasing or acquiring a pistol (http://www.michigan.gov/documents/ri-060_6454_7.pdf).
Pawn shops, second hand dealers, and junk shops are not allowed to accept a pistol in Pawn, and must be FFL dealers to buy & sell.[17]
Concealed carry[edit]
Michigan's concealed carry law is "shall issue," meaning that anyone 21 or older may obtain a license to carry a concealed pistol, so long as the person is not prohibited from owning a firearm, has not been found guilty of any felonies or certain misdemeanors within a time period of either 3 or 8 years dependent upon the charge, and has completed state-approved firearms training. Concealed Pistol License (CPL) holders are not required to obtain a license to purchase a pistol; however, they must fulfill the registration requirement (a sales record of the pistol acquisition). Under Michigan law, carrying a concealed pistol under a CPL constitutes implied permission for chemical testing for illegal drugs or alcohol; and it is strictly forbidden for someone with a concealed pistol license to carry a pistol while under the influence of drugs or alcohol.
Individuals licensed to carry a concealed pistol by Michigan or another state are prohibited from carrying a concealed pistol on the following premises: schools or school property, public or private day care center, public or private child caring agency, or public or private child placing agency, sports arena or stadium, a tavern where the primary source of income is the sale of alcoholic liquor by the glass consumed on the premises, any property or facility owned or operated by a church, synagogue, mosque, temple, or other place of worship, unless the presiding official allows concealed weapons, an entertainment facility that the individual knows or should know has a seating capacity of 2,500 or more, a hospital, a dormitory or classroom of a community college, college, or university, and casinos. "Premises" does not include the parking areas of the places listed above. Openly carried firearms by CPL holders in most of these locations is generally lawful.[18]
State requirements for obtaining a Concealed Pistol License in the State of Michigan
1. Be at least 21 years of age
2. Be a citizen of the United States or an alien lawfully admitted into the United States
3. Be a resident of the State of Michigan for at least 6 months prior to application. An applicant is a state resident if one of the following applies. The applicant possesses a valid, lawfully obtained Michigan driver’s license or state identification card. The applicant is lawfully registered to vote in Michigan. The applicant is on active duty status with the United States Armed Forces and stationed outside of Michigan, but Michigan is the home on record. The applicant is on active duty status with the United States Armed Forces and is permanently stationed in Michigan, but the home of record is another state.
4. Have successfully completed a pistol safety training course
5. Not be subject to the following. An order requiring involuntary hospitalization or alternative treatment. An order finding legal incapacitation. A finding not guilty by reason of insanity.
6. Not to be subject to a conditional bond release prohibiting the possession of a firearm
7. Not be subject to a Personal Protection Order (PPO)
8. Not be prohibited from possessing, using, transporting, selling, carrying, shipping, receiving, or distributing a firearm under MCL 750.224f
9. Have never been convicted of a felony in Michigan or elsewhere
10. Have no felony charges pending in Michigan or elsewhere
11. Have not been dishonorably-discharged from the United States Armed Forces
12. Have not been convicted of one of the following misdemeanors in the last eight years immediately-preceding the date of application: Failing to stop when involved in a personal injury accident, MCL 257.617a, Operating while intoxicated, seconded offense, MCL 257.625(9)(b), Drunk driving, commercial vehicle, MCL 257.625m(4), Reckless driving, MCL 257.626
13. Have not been convicted of one of the following misdemeanor in the three years immediately preceding the date of application: Operating under the influence, MCL 257.625, Embezzlement, MCL 750.174, Larceny MCL 750.365, Malicious destruction of stolen property, MCL 750.377a, Second degree retail fraud, MCL 750.356d
14. Have not been found guilty of any crime and has not offered a plea of not guilty of, or been acquitted of, any crime by any reason of insanity
15. Have never been subject to an order of involuntary commitment in an inpatient or outpatient setting due to a mental treatment
16. Have not had a diagnosed mental illness at the time the application is made, regardless of whether he or she is receiving treatment
17. Not be under a court order of legal incapacity in this State or elsewhere
18. Not be detrimental to the safety of his or her self or any other person
- As issued by the Michigan State Police “Concealed Pistol License Guide” RI-012 (02/2009)
A pistol is subject to immediate seizure if the CPL permit holder is carrying a concealed pistol in a "pistol-free" area. Open carry with a CPL in state defined "pistol-free" areas is legal. Please refer to Michigan AG opinion No. 7097 and Michigan State Police Legal Update #86.
An individual licensed to carry a concealed pistol who is stopped by a police officer (traffic stop or otherwise) while in possession of a concealed pistol shall immediately disclose to the police officer that he or she is carrying a concealed pistol either on their person or in their motor vehicle.[19]
On March 29, 2001, per Administrative Order 2001-1 of the Michigan Supreme Court: "Weapons are not permitted in any courtroom, office, or other space used for official court business or by judicial employees unless the chief judge or other person designated by the chief judge has given prior approval consistent with the court's written policy."[20]
There are few places where open carry is expressly prohibited by federal or state law. Discharging a firearm remains illegal in many cities and charter townships (and such an ordinance is not preempted by state law).[21] In addition, there are laws regulating how firearms may be transported in motor vehicles, which must be followed. By its express terms, the criminal prohibition in section 227(2) does not apply to a person licensed to carry a pistol, provided that the pistol is carried in a manner or place consistent with any restriction upon that license. This conclusion is further supported by section 425c(2) of the Concealed Pistol Licensing Act, MCL 28.425c(2), which expressly authorizes a concealed pistol licensee to "[c]arry a pistol in a vehicle, whether concealed or not concealed, anywhere in this state." Moreover, section 231a(1)(a) of the Penal Code, MCL 750.231a(1)(a), provides that the prohibition against carrying a concealed pistol in a motor vehicle does not apply to a person holding a valid license to carry a concealed pistol, provided that the pistol is carried in conformity with any restrictions appearing on the license. A person who is not licensed to carry a concealed pistol must keep the pistol either in a box that can be locked and safely stored in the trunk out of arms reach or if however the motor vehicle does not have a trunk, the pistol must then be safely placed in a box that is specifically designed to carry a firearm in-which can be locked in present view, or with its specified holster unloaded with the pistol itself in present view and magazine separated having one or the other, or both locked in the glove compartment and or furthest in the back seat out of arms reach.
No one is allowed to bring a firearm, concealed or openly, onto the property of a correctional facility, under a law prohibiting weapons that could help prisoners escape.[22] If someone who is carrying openly, who is not on their own private property, puts a coat on over his firearm or otherwise hides it, even temporarily, and he or she does not have a concealed pistol license, he or she has committed the felony crime of carrying a concealed weapon without a license. The Michigan Attorney General has released an opinion stating that open carry is not considered reasonable suspicion of a crime,[23] but there are no Michigan court decisions definitively ruling on this point. In addition, the Michigan Attorney General has released an opinion that "a reserve police officer" who carries a visible, holstered pistol is neither brandishing it nor disturbing the peace.[24] Michigan formerly did not allow ownership of NFA firearms, though the Attorney General has issued an opinion, 7183, that allows machine guns to be legally-transferred to Michigan residents who comply with federal laws. A 2011 opinion by Attorney General Bill Schuette allows the possession and transfer of suppressors in Michigan.[25] Armor-piercing ammunition for handguns is illegal in Michigan.
Michigan prohibits the possession of Tasers or stun guns by private citizens, unless they have a concealed pistol licence, and have taken the proper Taser safety course.
See also[edit]
Law of Michigan
References[edit]
Jump up ^ "State Gun Laws: Michigan". National Rifle Association Institute for Legislative Action. Retrieved December 31, 2012.
Jump up ^ "Michigan State Law Summary". Law Center to Prevent Gun Violence. Retrieved December 31, 2012.
Jump up ^ "Michigan Legislature". Legislature.mi.gov. Retrieved September 6, 2008.
Jump up ^ "Firearms.pdf" (PDF). Retrieved August 2, 2015.
Jump up ^ "Michigan Open Carry - FAQ". Michigan Open Carry, Inc.
Jump up ^ "MCL 750.227". Michigan Legislature.
Jump up ^ "Michigan Legislature". Legislature.mi.gov. Retrieved August 2, 2015.
Jump up ^ Michigan Attorney General Opinion No. 4950: "Applicability of Michigan statutes regulating firearms to 'Taser Public Defender' device"
Jump up ^ Act No. 122 & 123 - Public Acts of 2012. Approved by Governor Snyder May 8, 2012. EFFECTIVE: August 6, 2012. ENROLLED SENATE BILL No. 30 & No. 29)
Jump up ^ "Michigan Legislature". Legislature.mi.gov. Retrieved August 2, 2015.
Jump up ^ MCL 3.112 as amended by Public Law 378 of 2012
Jump up ^ MCL 3.111 as amended by Public Law 378 of 2012
Jump up ^ MCL 3.111–3.112
Jump up ^ http://www.legislature.mi.gov/documents/2011-2012/publicact/pdf/2012-PA-0377.pdf
Jump up ^ MCL 28.422(4)
Jump up ^ http://www.michigan.gov/msp/0,4643,7-123-1586_27094-10953--,00.html
Jump up ^ MCL 750.229
Jump up ^ "So, it's legal to carry a loaded gun into a Michigan school?". MLive.com. Retrieved 2017-10-31.
Jump up ^ "Proper Conduct During Encounters with Police". Michigan State Police. Retrieved September 6, 2008.
Jump up ^ "– Pistol Free Areas". Michigan State Police. Retrieved September 6, 2008.
Jump up ^ MCL 123.1104
Jump up ^ MCL 800.283(3)
Jump up ^ "Opinion #7183". Ag.state.mi.us. Retrieved September 6, 2008.
Jump up ^ "Opinion #7101". Ag.state.mi.us. Retrieved September 6, 2008.
Jump up ^ "Opinion #7260". Ag.state.mi.us. Retrieved October 16, 2011.
[hide]
v
t
e
Gun laws in the United States by state
Alabama
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Retrieved from "https://en.wikipedia.org/w/index.php?title=Gun_laws_in_Michigan&oldid=816004868"
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That Girl (Stevie Wonder song)
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"That Girl"
Single by Stevie Wonder
from the album Stevie Wonder's Original Musiquarium I
B-side
"All I Do"
Released
December 30, 1981
Format
7" single
Recorded
Fall 1981
Genre
Electropop, R&B
Length
5:13
Label
Tamla
Songwriter(s)
Stevie Wonder
Producer(s)
Stevie Wonder
Stevie Wonder singles chronology
"Happy Birthday"
(1981) "That Girl"
(1981) "Do I Do"
(1982)
"Happy Birthday"
(1981) "That Girl"
(1981) "Do I Do"
(1982)
"That Girl"
Stevie Wonder's "That Girl" from Stevie Wonder's Original Musiquarium I
Problems playing this file? See media help.
"That Girl" is a song by American R&B singer and songwriter Stevie Wonder. The song was the leading single from Wonder's album-era greatest-hits compilation, Stevie Wonder's Original Musiquarium I, as one of four newer songs from the collection. The song spent nine weeks at number one on the Billboard R&B singles chart and reached number four on the Billboard Hot 100.[1] The song would later be sampled by rapper 2Pac on his song, "So Many Tears" and covered by R&B singer Joe. The song was sampled by Queen Latifah on her album Order in the Court on the non-U.S. track "Let Her Live". A cover version appears on UK band Hue and Cry's 1992 album "Truth & Love". MJG, one half of the hip-hop duo 8Ball & MJG also sampled the song of the same name on his 1997 solo debut No More Glory.
Contents
[hide]
1 Charts
1.1 Charts
2 References
3 External links
Charts[edit]
Charts[edit]
Chart (1982)
Peak
position
UK Singles Chart 39
U.S. Billboard Hot 100 4
U.S. Billboard Adult Contemporary Tracks 19
U.S. Billboard Hot Hip-Hop/R&B Singles 1
References[edit]
Jump up ^ Whitburn, Joel (2004). Top R&B/Hip-Hop Singles: 1942-2004. Record Research. p. 636.
External links[edit]
Lyrics of this song at MetroLyrics
Preceded by
"Call Me" by Skyy Billboard's Hot Soul Singles number-one single
February 20, 1982 - April 17, 1982 (Nine weeks) Succeeded by
"If It Ain't One Thing, It's Another" by Richard "Dimples" Fields
[hide]
v
t
e
Stevie Wonder
Studio albums
The Jazz Soul of Little Stevie
Tribute to Uncle Ray
With a Song in My Heart
Stevie at the Beach
Up-Tight
Down to Earth
I Was Made to Love Her
Someday at Christmas
Eivets Rednow
For Once in My Life
My Cherie Amour
Signed, Sealed & Delivered
Where I'm Coming From
Music of My Mind
Talking Book
Innervisions
Fulfillingness' First Finale
Songs in the Key of Life
Hotter than July
In Square Circle
Characters
Conversation Peace
A Time to Love
Ten Billion Hearts
When The World Began
Gospel Inspired by Lula
Live albums
Recorded Live: The 12 Year Old Genius
Stevie Wonder Live
Live at the Talk of the Town
Natural Wonder
Soundtracks
Stevie Wonder's Journey Through "The Secret Life of Plants"
The Woman in Red
Jungle Fever
Compilations
Looking Back
Stevie Wonder's Original Musiquarium I
Song Review: A Greatest Hits Collection
At the Close of a Century
Ballad Collection
The Definitive Collection
20th Century Masters
The Complete Stevie Wonder
Top ten singles
"Fingertips - Part 2"
"Uptight (Everything's Alright)"
"Blowin' in the Wind"
"A Place in the Sun"
"I Was Made to Love Her"
"I'm Wondering"
"Shoo-Be-Doo-Be-Doo-Da-Day"
"For Once in My Life"
"My Cherie Amour"
"Yester-Me, Yester-You, Yesterday"
"Never Had a Dream Come True"
"Signed, Sealed, Delivered I'm Yours"
"Heaven Help Us All"
"If You Really Love Me"
"Superstition"
"You Are the Sunshine of My Life"
"Higher Ground"
"Living for the City"
"He's Misstra Know-It-All"
"You Haven't Done Nothin'"
"Boogie On Reggae Woman"
"I Wish"
"Sir Duke"
"Send One Your Love"
"Master Blaster (Jammin')"
"I Ain't Gonna Stand for It"
"Happy Birthday"
"That Girl"
"Do I Do"
"Ebony and Ivory"
"I Just Called to Say I Love You"
"Love Light in Flight"
"Part-Time Lover"
"That's What Friends Are For"
"Go Home"
Other singles
"Hey Harmonica Man"
"Hey Love"
"I Don't Know Why"
"Never Dreamed You'd Leave in Summer"
"Superwoman (Where Were You When I Needed You)"
"Don't You Worry 'bout a Thing"
"As"
"Another Star"
"Lately"
"Ribbon in the Sky"
"Overjoyed"
"Faith"
Other songs
"You and I (We Can Conquer the World)"
"I Believe (When I Fall in Love It Will Be Forever)"
"They Won't Go When I Go"
"Knocks Me Off My Feet"
"Pastime Paradise"
"Isn't She Lovely"
"Black Man"
Collaborations
"Ebony and Ivory"
"We Are the World"
"Just Good Friends"
"California Roll"
Related articles
Discography
Lula Mae Hardaway
Syreeta Wright
KJLH
Wonderin'
"Wonder-ful"
Book
Category

This 1980s single-related article is a stub. You can help Wikipedia by expanding it.
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Retrieved from "https://en.wikipedia.org/w/index.php?title=That_Girl_(Stevie_Wonder_song)&oldid=793649210"
Categories:
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1982 singles
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Stevie Wonder songs
Songs written by Stevie Wonder
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This page was last edited on 3 August 2017, at 03:02.
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