Maybe this was addressed earlier in the thread, but does David Shire's propulsive The Taking of Pelham One Two Three score qualify as "bustling"?
Not to me. Pelham dates from the era in which New York had become a cesspool. The bustling city cue suggests Madison Avenue executives wearing Brooks Brother suits and riding commuter trains to their homes in the Cheever-esque Connecticut suburbs.
Completely different aesthetic. Listen to some of the tracks that I posted upthread as examples.
That said, "Pelham" is a favorite score of mine, but it belongs in your disillusionment in 70s sun drenched cinema thread.
Maybe this was addressed earlier in the thread, but does David Shire's propulsive The Taking of Pelham One Two Three score qualify as "bustling"?
Not to me. Pelham dates from the era in which New York had become a cesspool. The bustling city cue suggests Madison Avenue executives wearing Brooks Brother suits and riding commuter trains to their homes in the Cheever-esque Connecticut suburbs.
Completely different aesthetic. Listen to some of the tracks that I posted upthread as examples.
That said, "Pelham" is a favorite score of mine, but it belongs in your disillusionment in 70s sun drenched cinema thread.
Yes, this is why I was wondering. There seems to be a wrenching transition sometime between 1960 and 1970. And I guess there can be "neo-bustling" music for depictions of New York in films made from the late 1970s-onward which emphasized the city's glamor with neo-Gershwinisms and light jazz.
Maybe this was addressed earlier in the thread, but does David Shire's propulsive The Taking of Pelham One Two Three score qualify as "bustling"? Or is it too extraordinary action-oriented compared to the everyday bustle of cars and people with hats quick-stepping along the gray sidewalks?
Onya explains it perfectly, but I would add that Pelham has a 1970s city sound I described (poorly) as the “Hustle and Jive of the City.” Lalo’s “Potrero Hill” from Magnum Force conveys a sleazy city atmosphere that is worlds away from the positive Bustling City of this thread.
Maybe this was addressed earlier in the thread, but does David Shire's propulsive The Taking of Pelham One Two Three score qualify as "bustling"? Or is it too extraordinary action-oriented compared to the everyday bustle of cars and people with hats quick-stepping along the gray sidewalks?
Onya explains it perfectly, but I would add that Pelham has a 1970s city sound I described (poorly) as the “Hustle and Jive of the City.” Lalo’s “Potrero Hill” from Magnum Force conveys a sleazy city atmosphere that is worlds away from the positive Bustling City of this thread.
Both approaches are equally fascinating to me.
I'm trying to imagine a 1959 rooftop chase between Don Draper and Lee Garner, Jr., with Laurie Johnson's "Shopping Spree" playing underneath.
“Bustling City” cues remind me how certain elements attempted to tear down the MidCentury Modern era as being relentlessly conformist, yet I always viewed —and heard—the time as joyously optimistic; I’m sure I’m of the minority opinion.
“Bustling City” cues remind me how certain elements attempted to tear down the MidCentury Modern era as being relentlessly conformist, yet I always viewed —and heard—the time as joyously optimistic; I’m sure I’m of the minority opinion.
As usual.
I agree with you! When I hear the music in the examples I posted in this thread, I hear futurism, a belief in science, and a better-living-through-technology ethos.
Some may roll their eyes at that sort of thing now, but I feel like the US could use a heavy dose of that optimism right now.
Save Don the legwork and just have Betty blast Lee Garner, Jr; Betty was a pretty great shot! 