Thanks for all the info on – different bands singing: “Red sails in the sunset”.

I’ll go + try to find videos of these sings.

If you like hearing folk-songs, + US songs from US history, There is the singer named, Burl Ives.

He had a singing career, + movies career, from the 1940s through the 1980s, I think.

Here’s a Wikipedia page that lists [most of, I think], the songs sung, + recorded, by Burl Ives:

https://en.wikipedia.org/wiki/List_of_works_by_Burl_Ives

I just wanted to tell you about his songs, if you like those genres of songs.

Cheers.

p.s.- Sorry that I didn’t reply to you, earlier. I’ve had a busy week. 🙂

Also- Burl Ives’ songs, Rudolph the red nosed reindeer, + “Have a holly, jolly Christmas”, are still being played on USA radio stations, each year.

I’ve noticed this especially if you watch an old movie and a modern “remake” (or take-off).
“Ocean’s Eleven” was an especially noticeable contrast, and the one which brought my attention to the phenomenon.
IMO – a middling pace would be preferable: not so slow, not too fast.

Tjj300 — So that means bees can now be eaten on Fridays during Lent.

BWAAAAhahahhaa…

“Only if you’re in Cali, though.”

OK, they may have heard it, but it may have been unbearable for them to watch.

Allow me to explain that, I’m not dissing it:

I have noted (and mentioned it before) — film breaks down into five major areas, with a key “event” separating the movies before and after.

The first one is just flat out obvious: Sound.

The movies before sound and the movies after are very very different, and, in fact, many actors were unable to make the transition, either because they had poor voices (you could squeak like a mouse and no one would know on silent films) or because their voices did not work well with their acting (e.g., perhaps they spoke in a natural monotone).

The next transition was “Method Acting”. Starting with Brando in “A Streetcar Named Desire” and “On the Waterfront”, actors ACTED. Prior to that, they tended to be cast based on their “look” — most notably, the good girls were blondes, the bad girls were brunettes. This even led to the term “casting against type” — From Here To Eternity is a notable example, the good girl is a brunette, the bad girl was a blonde.

The main thing is, there was a lot more acting involved in films after Brando.

The Third transition event was the MPAA.

Prior to the MPAA, all movies were made under rules referred to as The Hayes Code, which had all kinds of different limitations on what could be depicted on-screen. For example, two people could not be depicted on or in a bed unless each had one foot sitting on the floor. This even extended to actor-couples, such as Hepburn and Tracy, who were married in real life. It’s one reason why married couples depicted back then always had twin beds. You could not depict homosexuality at all, though there were euphemisms for it.

After the MPAA, you could do anything, it just affected the rating it wound up with. Much more violence was possible, as was directly frank sexual discussions including homosexuality and prostitution (e.g., Midnight Cowboy).

The funny thing here is that they trademarked all the ratings EXCEPT “X”, figuring that, anyone could reject getting rated at all by putting an X onto their film.

The newly developing porn industry quickly co-opted it and made “XXX” the standard. This unfortunately associated “X” with porn, and thus most theater chains would not even book a film with an “X” rating. So it was defacto abandoned, and, if they did not want to accept edits needed for an “R”, they then released it as “entirely unrated” (rare — many theater chains still would not book). Possibly the most critically noted not rated film was “The Cook, The Thief, His Wife, and Her Lover”.

They attempted to fix this later with the NC17 rating, which was same as the “X” but trademarked, and had to be “given”.

Unfortunately, most theater chains still refused to book NC17 films, so it also became rather moribund, with only one major release, a biopic about erotica author Henry Miller, titled “Henry and June”.

The final breakpoint, so far, was, oddly enough. MTV — “music television”.

With the advent of music videos, an entire generation of young viewers were fed a steady diet of fast-paced, visually rich storytelling. In concert, you had an entire generation of young “up and coming” directors taught to utilize fast-paced, visually rich storytelling, AND collectively they developed a lot of shorthands which the viewers grew familiar with.

As those young directors graduated to film, their style of fast-paced, visually rich directing came with them, and movies became the same.

This dichotomy is very evident in movies before 1980 and movies after 1990 (movies from the 80s could go either way, depending on the director’s being pre-1980 in development or after, and their flexibility in adopting the newer style).

But as a result, older movies seem much slower, much more talky and less stimulating, while newer ones are more frenetic, more “bam! bam! bam!”.

So older audiences (fewer than ever, as we are now talking people in their 60s and older today) often complain that the newer movies are all “zoom zoom zoom” and filled with explosions… While younger audiences are going, “WTF? These two have been talking for 2 minutes! Is anything ever gonna happen??”

Older audiences need to learn to “speed up” (or not, but they have to stick to old movies, which may be fine by them).

Younger audiences need to learn to be more patient with older films — or not, but they do lose out this way on being able to watch several thousand older movies which are well worth the effort.

An example of this would be the 1970s Three Musketeers/Four Musketeers — it is far and away the best filmed version of the story, BUT, it feels definitely slower than it originally did, and suffers as a result.

It would almost be interesting, in cases where there is a lot of the old footage still in archives (no idea how much unused footage is actually kept), having a young director/editor with talent go in and re-edit to a faster, more modern pacing. Yes, in some circles this is “sacrilege!” but frankly, if it makes it more accessible to modern watchers, that’s not that big a deal. You can think of it as a re-shoot of the movie, if you like.

==========
In general, this is why I say it might be “unbearable for them to watch” — not because it is not an awesome movie, but because they just haven’t been trained in their expectations to deal with the older, slower visual pace of movies.

https://mobile.twitter.com/ArthurSchwartz/status/1532190213858009088?cxt=HHwWgICxlba4t8MqAAAA

miguel cervantes:

The real dope, or so I have read, is that “rosebud” was actually Hearst’s pet name for his wife’s clitoris.

Which would make the film even more insulting to Hearst and perhaps had something to do with Welles’ later career difficulties.

Welles really pissed off quite a lot of people with “Kane” for good and bad reasons.

AesopFan:

Whoa! That linked up with a fave Procol Harum song, “Magdalene (My Regal Zonophone).” I thought Zonophone was a bit of nonsense the Procol Boys, or at least lyricist Keith Reid, came up with.

In fact Regal Zonophone was a defunct record label from the time of your link, which was revived in 1967 for sixties Brit musical acts such as Procol Harum, Joe Cocker and Tyrannosaurus Rex.

https://en.wikipedia.org/wiki/Regal_Zonophone_Records

Still not sure why Procol used the label in a song title then. It was 1967…