How (and Why) Are Black and White Films Colorized?

iStock/Grassetto
iStock/Grassetto

Anyone who spent time flipping channels and watching movies on cable during the 1980s and early 1990s probably remembers screening a few colorized films. The films, which had originally been shot in black-and-white, didn’t look quite the same as “real” color movies, but they seemed a bit more familiar than the old black-and-white prints. How did that colorization process work, though? Let’s take a look at the controversial technique.

Early film colorization dates back to the beginning of the 20th century. These processes were decidedly low-tech, though; artists would hand color copies of films before sending them to theaters.

The computerized colorization process with which we’re familiar didn’t come into play until former NASA engineer Wilson Markle invented it in 1970. Markle’s first project involved adding color to the original moon landing footage, but he gradually turned his eye to commercial projects and founded Colorization, Inc. in 1983.

Markle’s process required a lot of technology, but its underlying concept was simple and fairly elegant. His technicians would make a copy of a film and feed it into a computer that would determine the precise shade of gray of every object in a scene. The technicians then used a palette of over 4,000 shades of color to color the first frame in each scene. For each successive frame, technicians only had to recolor any pixels that had moved.

The process wasn’t completely digitized, though. The technicians had to figure out what color to assign to certain objects in each scene. As the Museum of Broadcast Communications notes, some objects would get their colors assigned via common sense (e.g. the ocean is usually blue), but others required technicians to engage in a bit of movie archaeology. Studio photographs of productions and romps through studio costume shops often helped determine what color a prop or costume really was. If those methods failed, technicians could fall back on coloring items at their own discretion. As you might expect, this process wasn’t cheap; it set producers back upwards of $3,000 per minute of film.

Why did studios and copyright holders go to all the trouble of colorizing films? It was an easy way to breathe new life into their back catalogs. Audiences didn’t want to watch old black-and-white films, but they would show up in droves for colorized versions. The Museum of Broadcast Communications cites a 1988 Variety report that estimated the cost of colorizing a feature film was somewhere around $300,000. The average revenue generated by re-releasing the films topped $500,000, though.

It’s easy to see why studios loved colorization. What business wouldn’t like a little trick where it could nearly double its investment just by dusting off an old product it had sitting on the shelf? Filmmakers weren’t as crazy about it, though. They had spent hundreds of hours painstakingly crafting their films, and they didn’t want anyone mucking around with their visuals.

Ted Turner was perhaps the most visible proponent of colorizing films throughout the 1980s. Turner International owned a gigantic library of old films, and Turner reasonably saw these old movies as a potential cash cow.

This position didn’t endear Turner to directors, though. In 1985, Turner announced that he was considering colorizing Citizen Kane. Orson Welles was in failing health by then, but just a few weeks before he died he asked a friend, “Don’t let Ted Turner deface my movie with his crayons.” Turner eventually opted not to touch Citizen Kane.

Other filmmakers had tougher sledding in battles over colorization. In 1988, Turner International licensed the French broadcast rights to John Huston’s 1950 film noir masterpiece The Asphalt Jungle to La Cinq. Huston had died the previous year, but his daughter, actress Anjelica, was horrified at the thought of her father’s dark heist film being colorized. She sued in France to stop the airing of the colorized version of the film.

Huston initially won a lower court ruling, but after a series of appeals her case ended up in front of the French Supreme Court. Finally, in 1991, the court ruled in favor of Huston by saying that creators and their heirs had a “moral right” to determine the ultimate fate of their works of art. (It’s worth noting that not all artists loathed the colorization process; Cary Grant was said to be a big fan of the 1985 re-release of his 1937 comedy Topper.)

By the early 90s, though, film colorization had pretty much burned out as a hot-button Hollywood issue. Audiences stopped clamoring for colorized versions of classics, and such an expensive process needed strong, steady demand to remain lucrative. Colorized versions of movies still pop up occasionally – Legend Films released a new colorized DVD of It’s a Wonderful Life in 2007 – but the raging debate from the 80s is all but dead.

16 Soothing Facts About Muzak

Keith Brofsky/iStock via Getty Images
Keith Brofsky/iStock via Getty Images

Whether you know it as background music, elevator music, or, as Ted Nugent once called it, an “evil force causing people to collapse into uncontrollable fits of blandness,” Muzak has ruled speakers for the better part of a century. Press play on your favorite easy-listening album and scroll on for some unforgettable facts about the most forgettable genre of music.

1. Muzak is a brand name.

Much like Chapstick, Popsicle, and a certain type of vacuum-sealing plastic food container, Muzak is a registered trademark. It began as the name of the company that first produced the easy-listening instrumental tunes that played in factories, elevators, and department stores. As its popularity grew, people started to use Muzak as a generic term for all background music.

2. Muzak was invented by a U.S. army general.

Major General George Owen Squier
Library of Congress // Public Domain

During World War I, Major General George Owen Squier used electrical power lines to transmit phonograph music over long distances without interference. He patented this invention in 1922 and founded Wired Radio, Inc. to profit from the technology. The company first devised a subscription service that included three channels of music and news and marketed it to Cleveland residents for $1.50 per month. When Squier and his associates realized their product was a little too close to regular (free) radio, they started pitching it to hotel and restaurant owners, who were more willing to pay for a steady broadcast of background music without interruptions from radio hosts or advertisements.

3. The name is a portmanteau of music and Kodak.

In 1934, Squier changed the name of his business from Wired Radio to Muzak, combining the first syllable of music with the last syllable of Kodak, which had already proven to be an extremely catchy, successful name for a company.

4. Muzak has been releasing instrumental covers of pop songs since its inception.

The first-ever original Muzak recording was an instrumental medley of three songs performed by the Sam Lanin Orchestra: “Whispering,” by John and Malvin Shonberger, “Do You Ever Think of Me?” which was covered by Bing Crosby, and “Here in My Arms,” by Lorenz Hart and Richard Rodgers from the 1925 Broadway musical Dearest Enemy.

5. Muzak was briefly owned by Warner Bros.

The sound of Muzak was wafting across the country by the end of the 1930s, which caught the ears of Warner Bros. The company bought Muzak in 1938, fostered it for about a year, and then sold it to three businessmen: Waddill Catchings, Allen Miller, and William Benton (Benton would later publish the Encyclopaedia Britannica and serve as a U.S. senator for Connecticut).

6. Muzak was designed to make factory workers more productive.

Muzak manufactured soundtracks, based on a theory called “stimulus progression,” that consisted of 15-minute segments of background music that gradually ascended in peppiness. The method was meant to tacitly encourage workers to increase their pace, especially during the productivity lulls that often occurred during the late morning and mid-afternoon.

7. Muzak helped calm anxious elevator passengers.

Since more advanced electric elevators diminished the need for elevator operators in the mid-20th century, passengers were often left alone with an unsettling silence that made them all too aware that they were hurtling upward or downward in a steel box. Soft, calming Muzak played through speakers offered the perfect distraction.

8. There’s a reason Muzak's tempo is slower in supermarkets.

Just like factory workers might move faster while listening to fast-paced tracks, you might slow down while shopping to slower-tempo Muzak—which is exactly what supermarket owners want you to do. The more time you spend in a store, the more likely you are to toss a few extra snacks in your cart. (It's unclear whether the slower music might inhibit the productivity of supermarket workers.)

9. More than one U.S. president endorsed Muzak.

Muzak was installed in the White House during Dwight D. Eisenhower’s administration, but he was arguably only the second biggest presidential fan of the genre. Lyndon B. Johnson actually owned Muzak franchises in Austin while serving as a U.S. Senator from Texas.

10. Andy Warhol was also a fan of Muzak.

Andy Warhol
Graham Wood/Evening Standard/Hulton Archive/Getty Images

Pop culture aficionado Andy Warhol supposedly said, “I like anything on Muzak—it’s so listenable. They should have it on MTV.”

11. Ted Nugent offered to buy Muzak for $10 million to “shelve it for good.”

In 1986, the Whackmaster put in a bid to purchase Muzak from parent company Westinghouse just to shut it down. According to the Ottawa Citizen, he called it an “evil force” that was “responsible for ruining some of the best minds of our generation.” Westinghouse rejected the bid.

12. Muzak didn’t formally introduce vocals until 1987.

As part of a rebranding campaign to modernize Muzak, the company started adding voice-accompanied tunes in 1987. Before that, Muzak broadcasts had only featured voices twice. The first was an announcement that Iran had freed American hostages in 1981, and the second was as part of a worldwide radio broadcast of “We Are the World” in 1985.

13. 7-Elevens blared Muzak in parking lots to chase off loiterers.

7-Eleven storefront at night
Mike841125, Wikimedia Commons // Public Domain

In 1991, 7-Eleven parking lots in Southern California became well-trafficked watering holes for youth who evidently had no place else to go. To deter them from loitering with skateboards, beer, and lots of teen angst, the stores blared Muzak—and it worked. “It will keep us away,” one young loafer told the Los Angeles Times. “But they’re torturing themselves more than us because they have to sit inside and listen to it.”

14. Seattle is the capital of Muzak.

Though it's well known as the birthplace of grunge, Seattle also had a thriving elevator music scene. Muzak based its corporate headquarters there in the 1980s, and three other leading background (and foreground) music corporations opened in the city over the years: Yesco Foreground Music, Audio Environments Inc., and Environmental Music Service Inc.

15. Kurt Cobain wanted Muzak to cover Nirvana songs.

When an interviewer told the Seattle-based rock star that Muzak didn’t recreate Nirvana tracks because it found them too aggressive for its purposes, an amused Cobain said, “Oh, well, we have some pretty songs, too. God, that’s really a bummer. That upsets me.”

16. It’s no longer called Muzak.

In 2013, an Ontario-based sensory marketing company called Mood Media acquired Muzak. The company, which provides music, smells, signs, lights, and interactive displays to businesses to achieve a certain mood, consolidated all of its services under the Mood brand, effectively killing the Muzak name (at least officially).

The History Behind 7 New York City Street Names

deberarr/istock via getty images
deberarr/istock via getty images

Modern life means constantly rushing to get places, especially in New York. Whether it’s the daily grind to get to work or the rush to hit happy hour, residents are probably concentrating more on getting somewhere than carefully considering the details of their surroundings.

But next time you're in New York—or if you're a resident already—try looking up from your phone to take a peek at the street names above you. Along with your more common numbered designations and things like "Park Avenue," you’ll notice the city has some pretty strange denominations. Here are seven of the more eye-catching, and the brief history behind their names.

1. Asser Levy Place

Tucked between the generically named 23rd and 25th streets, Asser Levy Place stands out like a sore thumb. Located not far from Stuyvesant Town, this unassuming street bears the name for a pretty prominent historical figure.

Said to have been born in what is now Poland and Lithuania, Asser Levy was one of the first Jewish settlers to land in the predominantly Dutch New Amsterdam. The governor at the time, Peter Stuyvesant, was “violently opposed” to the freshly emigrated Jewish community, unhappy at the fact that they were now allowed to trade and reside within the area [PDF]. Levy was not only the first kosher butcher in the land but also the first Jew to gain rights of citizenship in the country. Additionally, Levy donated funds to help New York fight the British Crown, and eventually took up arms against the British himself.

2. Maiden Lane

The history behind Maiden Lane’s designation is just as picturesque as it sounds. Known to Dutch settlers as Maagde Paatje (or “maiden path”), this portion of land once ran alongside a brook where women and girls would wash clothing. There are darker associations with the area too, though: Maiden Lane also saw a brutal slave revolt in 1712.

Today the street is one of many centers of commerce for the city, although the concrete still holds remnants of the city’s more ornate past. Passersby can take a look at the Barthman Clock, a 19th-century timepiece embedded into the intersection of Maiden Lane and Broadway.

3. Mott Street

Located primarily in the heart of Chinatown, Mott Street’s modern associations aren’t the most flattering. Once the site of multiple crime scenes and illegal activities, the street has garnered a somewhat seedy reputation over time.

But before it became affiliated with the seedy underbelly, Mott Street had patriotic associations. Joseph Mott, the street’s namesake, owned a tavern used as headquarters for General George Washington in 1775. His descendants proved dedicated to equally worthy causes, with Dr. Valentine Mott rising to prominence as one of America’s most influential surgeons.

4. Pearl Street

Before the concrete jungle fully took over, the streets of New York were dominated by oysters. Due to their bountiful number, the shells of shucked clams would pile up into what archaeologists call middens—large piles of domestic waste that have survived the centuries. One particularly large heap was located on the modern-day Pearl Street, giving rise to the mollusk-related moniker. Oddly, however, these oysters were not the pearl-producing kind—although they dominated a good portion of the New York market for quite some time.

5. Minetta Lane

Speaking of water-related items, did you know a once-babbling creek was paved over by one of the city’s more famous streets? That’s right: Known to the Dutch as Mintje Kill or “small stream,” Minetta Brook was “[a] brisk little brook full of trout,” according to one 19th century source, that was covered by the city’s expansion around the 1820s. It was also where a community of “half free” African Americans resided in the 17th century—former enslaved people that were allowed to live on the land by paying annual fees.

6. MacDougal Street

MacDougal Street is known for its vibrant nightlife and for hosting the early days of Bob Dylan’s career. But it also holds claim to a not-so-well-known spelling error.

The street was named for one Alexander Mcdougall, a Scotsman who emigrated to what would become the United States as a child in 1740 and settled in New York. Mcdougall made a name for himself in the mercantile trade and shipping business and was an early defender of American independence. He openly voiced his opinions against British rule, and was even imprisoned for passing out revolutionary pamphlets. His colorful life saw him commissioned as a colonel in the First New York Infantry during the Revolutionary War, become a member of the Continental Congress, and rise as the first president of the Bank of New York. However, how or why the second L in his name was dropped in the naming of the street remains a mystery.

7. Margaret Corbin Drive

Located at the city’s far northern tip, Margaret Corbin Drive is named for a young Pennsylvanian woman whose tough life molded her into a tougher lady. Her childhood saw the death of her father by Native Americans and her mother’s capture soon after; years later, the British killed her husband during the Battle of Fort Washington. Margaret, who was standing by his side at the time, quickly took his place in the conflict by handling his cannon—receiving several bullets as a result.

The U.S. government recognized her bravery by providing her disability compensation (as well as rum and whiskey rations) for many years. Although sometimes remembered as a “haughty and disagreeable eccentric,” the affectionately called “Captain Molly” is forever memorialized by the street running along the site where her brave acts took place.

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