Asking a driver for their license and registration is common procedure from police officers during traffic stops. There’s another practice that was once standard across the force but is more of a mystery to the people being pulled over: While approaching a driver’s window, officers will sometimes touch a car's taillight. It's a behavior that dates back decades, though there's no reason to be concerned if it happens at your next traffic stop.
Before cameras were installed on the dashboards of most police cars, tapping the taillight was an inconspicuous way for officers to leave behind evidence of the encounter, according to The Law Dictionary. If something were to happen to the officer during the traffic stop, their interaction with the driver could be traced back to the fingerprints left on the vehicle. This would help other police officers track down a missing member of the force even without video proof of a crime.
The action also started as a way for officers to spook drivers before reaching their window. A pulled-over motorist with a car full of illegal drugs or weapons might scramble to hide any incriminating materials before the officer arrives. The surprise of hearing a knock on their taillight might disrupt this process, increasing their likelihood of getting caught.
Today the risks of this strategy are thought to outweigh the benefits. Touching a taillight poses an unnecessary distraction for officers, not to mention it can give away their position, making them more vulnerable to foul play. And with dash cams now standard in most squad cars, documenting each incident with fingerprints isn’t as necessary as it once was. It’s for these reasons that some police agencies now discourage taillight tapping. But if you see it at your next traffic stop, that doesn’t mean the officer is extra suspicious of you—just that it’s a hard habit to break.
Leave the gun, take these facts about Francis Ford Coppola’s masterpiece adaptation of Mario Puzo’s gangster novel, which premiered in New York City 46 years ago (on March 15, 1972).
1. FRANCIS FORD COPPOLA WAS AT RISK OF BEING FIRED DURING PRODUCTION.
Francis Ford Coppola (who got the job because of his previous movie, The Rain People) wasn’t the first director Paramount Pictures had in mind for The Godfather. Elia Kazan, Arthur Penn, Richard Brooks, and Costa-Gavras all turned the job down. And after filming began, executives didn’t like the brooding, talky drama that Coppola was shooting.
The studio wanted a more salacious gangster movie, so it constantly threatened to fire Coppola (even going so far as to have stand-in directors waiting on set). Coppola was reportedly getting the ax until he shot the scene where Michael kills Sollozzo and McCluskey, which the executives saw and loved.
2. COPPOLA FOUGHT TO KEEP THE FAMOUS LOGO.
The studio originally wanted to scrap the now-iconic “puppet strings” logo (which was first created by graphic designer S. Neil Fujita for the novel’s release) with Puzo’s name above the title for the movie release, but Coppola insisted on keeping it because Puzo co-wrote the script with him.
3. HE ALSO FOUGHT TO KEEP THE STORY AS A PERIOD DRAMA.
As a cost-cutting measure, Paramount asked Coppola to modernize the script so the action took place in 1972 and to shoot the movie in Kansas City as a stand-in for the more expensive New York City. Coppola convinced them to keep the story in a post-World War II New York setting to maintain the integrity of the film.
4. FAMILY DINNERS HELPED EVERYONE GET IN CHARACTER.
Coppola held improvisational rehearsal sessions that simply consisted of the main cast sitting down in character for a family meal. The actors couldn’t break character, which Coppola saw as a way for the cast to organically establish the family roles seen in the final film.
5. PARAMOUNT DIDN’T WANT MARLON BRANDO FOR THE ROLE.
When Coppola initially mentioned Brando as a possibility for Vito Corleone, the head of Paramount, Charles Bluhdorn, told Coppola the actor would “never appear in a Paramount picture.”
The studio pushed the director to cast Laurence Olivier as Vito, before eventually agreeing to pursue Brando under three stringent conditions: 1) Brando had to do a screen test; 2) if cast, Brando would have to do the movie for free; and 3) Brando would have to personally put up a bond to make up for potential losses caused by his infamously bad on-set behavior.
Coppola surreptitiously lured the famously cagey Brando into what he called a “makeup test,” which in reality was the screen test the studio demanded. When Coppola showed the studio the test they liked it so much they dropped the second and third stipulations and agreed to let Brando be in the movie.
6. PACINO WASN’T THE FIRST CHOICE TO PLAY MICHAEL, EITHER.
The studio wanted Robert Redford or Ryan O’Neal to play Michael Corleone, but Coppola always wanted Al Pacino. Other actors, like Martin Sheen and James Caan (who would go on to play Sonny), screen tested for Michael.
7. ROBERT DE NIRO AUDITIONED FOR SONNY.
Robert De Niro auditioned for the role of Sonny, but Coppola thought his personality was too violent for the role. De Niro would later appearas the young Vito Corleone in The Godfather: Part II, and win a Best Supporting Actor Oscar for his work.
8. COPPOLA LET THE WEDDING PLAY OUT AND SHOT IT GUERILLA-STYLE.
To add a sense of reality to the wedding scene (and because he only had two days to shoot it), Coppola had the cast freely act out and improvise in the background. He then shot specific vignettes amongst the action.
9. COPPOLA TOOK ADVANTAGE OF MISTAKES.
Lenny Montana, who played Luca Brasi, was a professional wrestler before becoming an actor. He was so nervous delivering his lines to a legend like Brando during the scene in the Godfather’s study that he didn’t give one good take during an entire day’s shoot. Because he didn’t have time to reshoot the scene, Coppola added a new scene of Luca Brasi rehearsing his lines before seeing the Godfather to make Montana’s bad takes seem like Brasi was simply nervous to talk to the Godfather.
10. THE CORLEONE COMPOUND WAS A REAL LOCATION ON STATEN ISLAND.
The residence was put up for sale in 2014 for just under $3 million. That’s a price we can probably refuse.
11. THE GODFATHER’S CAT WAS A STRAY.
During his daily walks to the set, Coppola would often see a stray cat, and on the day of shooting the scenes in Vito’s study, Coppola took the cat and told Brando to improvise with it. The cat loved Brando so much that it sat in his lap during takes for the whole day.
12. PACINO WAS THE ARCHETYPICAL METHOD ACTOR.
He really had his jaw wired shut for the first part of the shoot after his character is punched in the face.
13. THE INFAMOUS HORSE’S HEAD WAS REAL.
The horse head in the movie producer’s bed wasn’t a prop. The production got a real horse’s head from a local dog food company.
14. THE “TAKE THE CANNOLI” LINE WAS IMPROVISED.
The line in the script only had actor Richard Castellano as Clemenza say “Leave the gun” after the hit on the mobster who ratted on the Corleones. He was inspired to make the addition after Coppola inserted a line in which the character’s wife asks him to buy cannoli for dessert.
15. THERE WAS ORIGINALLY SUPPOSED TO BE AN INTERMISSION.
The 175-minute movie is long by Hollywood standards, and an intermission was going to be included just after the Solozzo/McCluskey shooting scene—but the idea was scrapped because the filmmakers thought it would ruin the momentum and take the audience out of the movie.
In 2011, NBC published a guide on how employees could "read the riot act" to their subordinates. Professional footballer Stéphane Mahé was once "read the riot act" after fouling a rival player so hard he needed four stitches. In Bibb County, Georgia, a Superior Court Judge "read the riot act" to a group of wayward teens in an effort to curb their bad behavior.
The idiom, which has been in use for centuries, is generally thought to mean the admonishment of a person or persons who have committed an error in judgment. But the origin of the term "riot act" concerns a very particular wrongdoing—an unlawful public assembly that peace officers of the 16th century fought with a pre-written warning to disperse or face serious repercussions. Like death.
Atlas Obscura reports that the riot act was first passed by British Parliament in 1714 and took effect on August 1, 1715. At its core, the Act served as what linguists refer to as a speech act: a word, phrase, or order that carries real weight. (Think of an ordained minister pronouncing a couple husband and wife.) If confronted with a rowdy crowd, an authoritarian would arrive and—this was crucial—read the Act aloud in order to serve formal notice that the parties involved were overstepping their bounds.
The Act was passed in haste because supporters of the Catholic Jacobite political movement had been voicing their disapproval of King George I. A "riot" was any group of 12 or more people that was engaged in public disharmony. Typically, the raucous formation would be given 60 minutes to take a hike. If not, their just punishment would be prison, labor, or death. If the peace officer believed danger was imminent, he wouldn't have to wait the whole hour: He could deputize citizens to try and break up the gathering.
To enforce the Act and any punishments, the officer had to punctuate the reading by shouting, "God save the King!"
Scholars have wondered how successful such orators were in scolding a large assembly of angry protestors. In 1768, the answer was: not very. People opposing the imprisonment of radical John Wilkes ignored the Riot Act and suffered shots of musket ball, which killed seven.
The Riot Act was officially repealed in England and Wales in 1967 as part of some legislative housekeeping. Today, it's almost always used as a figure of speech, although Belize still recognizes it as a meaningful method of crowd dispersal. In 2017, police officers drew criticism for launching tear gas into a People's United Party protest without first reading them the Riot Act.
Questioned by a reporter, assistant commissioner of police Edward Broaster said that the incident didn't "meet the threshold" for busting out the paperwork.