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  1. 32 points
    Hi everyone, I just attended an open rehearsal of tomorrow's Boston Pops concert (with the maestro himself conducting!). It's going to feature the world premiere of "The Adventures of Han," as well as Pops premieres of "Rebellion is Reborn" and the new "Han Solo & the Princess" arrangement. I've got a lot to say about the new Solo piece, which I'm sure we'll all be poring over soon enough. But I thought I'd just share this much -- you're going to love it. It's complex, substantial, and memorable. There's some impossibly virtuosic trumpet writing in the middle that is especially impressive, very much in the vein of "Rey's Journey" from TLJ, only even more elaborate. In fact, the whole piece feels like a hybrid of straight-forward character themes (themes--yes, there's two) and action set-piece. I noticed some welcome shades of the ostinatos from "I Can Fly Anything" and the little recurring octatonic motif from "The Battle of Crait." If it's using this thematic material, I imagine Powell's score should be a real barn-burner!
  2. 20 points
    The Five Tones

    John Williams Autograph

    I'd just started working in a small classical CD boutique in Toronto in summer 1993, when Williams walked in alone. He asked for the Vaughan Williams section (lol), specifically wanting a good version of The Lark Ascending. I'm not sure what he wanted to do with it, review some of the elder's composing technique or demonstrate some idea to someone on his team. He said he was in town scoping out the Toronto Mendelssohn Choir for possible work on a score he was doing with Spielberg. Someone out there might be able to confirm some of the chronology concerning the score work for Schindler's. It seems late for him to still be considering who would record the choral segments, but there you go. Obviously with the VW CD he had writing for solo violin and orchestra top of mind. My encounter with Williams wasn't at a concert but during the day, just the two of us in the store, him dressed *almost* casually, chatting while he wasn't in a rush. Getting to let him know how much I'd paid attention to his work and how CE3K was my all time fav was of course rewarding, memorable, etc. Little did I know this was the big year it would be for him. We had a small number of JW titles on hand including JP, but I chose something from the delete rack for him to sign - cheeky of me. I explained how my dad and I had shared listening to Pops on the March and watched many of the concert broadcasts, so it seemed appropriate. It also saved another piece of cutout stock, and how.
  3. 20 points
  4. 18 points
  5. 16 points
    Han (Hero) "Meet Han" 0:10 "Corellia Chase" 0:05; 0:26; 1:33 "Flying with Chewie" 1:34 "Train Heist" 4:10 "Marauders Arrive" 1:28 "Is This Seat Taken?" 0:10; 0:25; 1:20; 1:45 "Mine Mission" 2:27; 3:21 "Break Out" 1:23; 1:51; 3:13 "The Good Guy" 2:43 "Reminiscence Therapy" 0:35; 3:54; 4:12 "Into the Maw" 1:07; 1:53; 3:57 "Savareen Stand-Off" 4:03 "Testing Allegiance" 0:42; 1:45 "Dice & Roll" 1:31 Han (Searching) "Meet Han" 0:48; 1:25; 1:50 "Corellia Chase" 0:47; 1:57; 2:43 "Spaceport" 0:06; 0:14; 0:25; 3:17 "Train Heist" 3:49 "Marauders Arrive" 4:41 "Break Out" 2:12 "Into the Maw" 2:02; 4:31 "Dice & Roll" 1:18 Gang "Flying with Chewie" 0:39; 0:57 "Train Heist" 1:46; 2:31; 2:54; 3:53; 4:23 "Marauders Arrive" 3:12; 3:26; 4:30 "Is This Seat Taken?" 0:36 "L3 & Millennium Falcon" 2:26 "Break Out" 2:32; 3:49 "The Good Guy" 1:51 "Into the Maw" 1:38; 2:13; 2:43; 2:56 "Testing Allegiance" 0:21 Love Theme "Spaceport" 1:56; 2:08; 2:43 "Lando's Closet" 0:18; 0:52; 1:26 "The Good Guy" 0:21; 1:11; 3:21 "Into the Maw" 1:39 "Savareen Stand-Off" 3:46 "Good Thing You Were Listening" 1:17 "Testing Allegiance" 2:11; 2:36; 3:27 Chewie "Flying with Chewie" 0:10; 1:11; 2:15 "Train Heist" 0:46 "Marauders Arrive"Â 4:07 "Mine Mission" 2:05 "Break Out" 0:43 "Reminiscence Therapy" 2:53 "Good Thing You Were Listening" 1:45 L3 "L3 & Millennium Falcon" 0:03; 0:26 "Mine Mission" 0:00; 1:57; 2:31 "Break Out" 0:11; 4:10; 4:53 "Reminiscence Therapy" 1:10; 5:23 "Into the Maw" 1:43 Enfys Nest "Marauders Arrive" 0:00; 0:46; 0:57; 4:33 "Is This Seat Taken?" 0:44 "L3 & Millennium Falcon" 2:46 "Savareen Stand-Off" 0:33; 2:30 -Cloud Riders action theme "Marauders Arrive" 0:23; 2:16 "The Good Guy" 4:54 Secrets "Meet Han" 0:00 "Spaceport" 3:39 "Lando's Closet" 1:05 "The Good Guy" 0:46; 2:59; 3:19; 3:38; 4:08 "Savareen Stand-Off" 3:19 "Good Thing You Were Listening" 0:52 "Testing Allegiance" 3:45 Coaxium "Train Heist" 2:45 "Mine Mission" 3:44 "Break Out" 5:40 ------------------------------------------ Rebel Fanfare "Is This Seat Taken?" 1:59 "L3 & Millennium Falcon" 1:59 "Reminiscence Therapy" 0:49; ("Here They Come!": 1:55; 2:08); 3:20; 4:35 "Into the Maw" 4:18; 4:36 "Dice & Roll" 0:57; 1:10 Main Theme "Corellia Chase" 3:14 "L3 & Millennium Falcon" 1:38 "Reminiscence Therapy" 3:14; 4:44 "Into the Maw" 3:47; 4:08 Imperial Motif "Train Heist" 3:34; 4;03 Death Star Motif "Reminiscence Therapy" 0:02 "Mouse Robot and Blasting Off" "Reminiscence Therapy" 0:06 "Attacking a Star Destroyer" "Reminiscence Therapy" 0:26; 0:38 "Here They Come!" "Reminiscence Therapy" 1:42 "The Asteroid Field" "Reminiscence Therapy" 2:39; 3:33
  6. 15 points
    Ok, I saw Solo yesterday. I liked it very much, although I rate TFA, TLJ and RO a bit higher. At least for now. Music is great! Above all, John Williams rules in this film! His two Han Solo themes (or two parts of one theme, I don’t know) appear in many places, usually separately. One is more marching, although it is not a march - think about the very beginning of Rey's Theme on light steroids - and the other is very heroic - a bit in the mood of the Poe's theme. Older music also appears in different arrangements, especially in the second part of the movie. Of course, we hear and , but also a bit of ... . However, there is a lot of Powell in this movie. And he put a lot of work and heart into it! The nostalgic dimension of one of the themes is not very far from his How to Train Your Dragon scores. Another theme has a very romantic feel, reminds me of Golden Age scores. And there is also a theme that sounds like a Avatar and Adiemus mixture, due to the vocalization, but it is much more wild, crazy. There are also some choirs. It's a pity that music, unlike in TLJ, loses a bit in battle scenes with sound effects, but in more intimate moments it sounds powerful. There's a lot going on here, it's hard to remember everything after watching a movie once. I can’t wait for the CD and look forward to seeing the movie again!
  7. 14 points
    I think The Adventures of Han is a delightfully fresh and fun piece that achieves quite a lot of different things at once, and in subtle ways. Connective tissue and seemingly throwaway moments actually hearken back (or is that forward?) to a lot of the action writing in the OT, but just in quick glimpses/foreshadowings. It's a sort of in medio res piece, and might seem less tightly constructed than it actually is, which is a rather apt way of having form serve as a kind of characterization. The piece is structurally who Han is as a character: Someone who suddenly finds himself in the middle of a (mis)adventure. On the surface, it's music of impulse, whim; it's designed to feel rhapsodic, even though, as has been pointed out, it's actually a kind of rondo. On the other hand, it's Williams also showcasing his less romantic, more modern style. The motivics are more concerned with rhythmic twists than long-lined lyricism. It's a less heroic, more haphazardous take on the elements that constitute Luke's theme. A sort of curveball Luke in minor mode. It's clever and catchy, and bridges the old and the new in a very elegant way.
  8. 14 points
    Lmao the one person trashing the score still thinks it’s an improvement over Rogue One
  9. 14 points
    Just came here to say: HOLY SHIT @ Reminiscence Therapy. What a mindblowing, bonkers track, like a remix of the OT scores on steroids! Absolutely mops the floor with Rogue One in 6 minutes flat! Who'd have Star Wars scores would sound vastly superior with layered orchestration and a mix that resembles a virtuosic orchestra in a symphony hall, rather than sounding submerged underwater! Williams and Powell work gloriously together and all the reinterpretations of Han's Theme threaded through the score are fantastic. It's actually quite fun hearing Williams reinterpreted through the lens of modern writing by a composer who understands symphonic writing and clearly understands Williams' classical sensibilities. The orchestrations are absolutely top-notch, very worthy of a Williams Star Wars score IMO.
  10. 13 points
    I don't actually find the opening tracks fatiguing at all. They feel like a joyous exuberant outpouring of Star Wars music, Powell-style.
  11. 13 points
    The movie was released today in France. I just saw it. I won't say anything else. NO SPOILER here. About the music, the movie is mixed so loud on the sound effects that it's hard, very hard, to hear the music, except for few scenes. For example, scenes where the love theme, very Korngoldian, can be heard -- and the opening scene, with the probable first exposition of what John Williams wrote for "The Adventures of Han". I can't wait to be able to listen to the CD. I was waiting for more reprises from the material Williams wrote over the years but there are just smart quotes, at the right moments (I can't say more now). I would say it's a more modern SW score, but still in the codes of the saga, musicaly speaking. John Powell has done a superb job, tipping his hat to Williams' work, bringing his own signature in terrific ways (of the Force). And yes, the movie is good!
  12. 12 points
    So yeah, I went to a Jurassic Park concert of the "Orchestre à vents de musiques de films" in Montreal and after the concert was done, they decided to play another piece recently composed by John Williams... I was so happy!
  13. 12 points
    And yet another quick quote from Powell (from FSM interview): He also says they didn't really follow the temp as it didn't seem right. The Reminiscence Therapy is Powell's idea. Karol
  14. 12 points
    Nick Parker

    "Monsignor"

    True story: I bought this CD about ten years ago when I was in high school, and was listening to it on the school bus one day when a stoner kid sat down next to me. Even through my headphones I could hear thrashing music blaring out of his earbuds. He looked me and asked what I was listening to. I gave my headphones to him and played track 10, which begins with that beautiful piano solo. The kid absolutely loved it, and from that day we became very good acquaintances throughout the rest of high school. John Williams talks about the surprise of people still going to concerts to listen to Star Wars, but he never talks about random high school kids becoming friends over a Razzie nominated score!
  15. 11 points
    Well, I know what I'm doing this afternoon...
  16. 10 points
  17. 10 points
  18. 10 points
    Kitten, What's the matter? Did I bruise your ego? Is that why you needed to Mansplain to me? Have you been ranting The Last Jedi is anti-capitalist tripe and how Kathy Kennedy has turned Star Wars into an SJW fest to the same fanboys club for so long that when I came along and challenged you with actual facts from the novels and the film itself you felt threatened? Is this why you needed to put silly little me in my place? I know I should probably of asked my husband's permission to come here and speak my mind but seeing I don't have a husband to think for me maybe I should just put my trust in you for now. You can think for me on the important ramifications of an SJW Star Wars so all I will have to worry about is what to make for dinner. What a relief this will be for me. I feel liberated already knowing Canto Bight is nothing more than a Social Justice moment that has no place in a Star Wars movie. A MAN just told me that a Star Wars movie displaying a corrupt group of illegal arms dealers who are shown being apathetic towards a casino that beats animals and enslaves children for the purposes of forced child labor is nothing more than SOCIAL JUSTICE WARRING! How dare they? Does Kathy Kennedy not realize this is the type of moral judgement that makes men like Mattris uncomfortable? Or does she just not care? The blurred lines between good and evil are unbearable. I feel embarrased for having tried to think on my own when DJ said to Finn that good guys and bad guys are all the same. I never realized I wasn't supposed to try and read between the lines to recognize DJ was a morally ambiguous character whose so-called wisdom or mantra shouldn't be trusted. I am so glad that Mattris was here to correct my thinking on this. I now clearly see that Rian Johnson was using that moment to say unequivocally there is no difference between good and evil. Thank you, Mattris. Thank you for correcting me. I would go on further to say how Luke's representation in TLJ works perfectly in the context of Joseph Campbell's The Heroes Journey....but who am I kidding? I need to get back to the kitchen and reavaluate myself over a hot stove.
  19. 10 points
    It is the finest SW score of 2018 and also the best one since The Last Jedi. I also rank it among my top 10 feature SW scores of all time. Karol
  20. 10 points
    Oh, by the way, another quote from Powell on Williams' instructions (from the said interview): "Don't be so honourable to the material. Do your own thing. I'm interested to see what you'll do with it. I'm interested to see what you can add to it. The sounds I don't do, the things I don't do, the way I don't do it." Karol
  21. 10 points
    On the Here They Come with percussion - maybe I'm just young, or have no taste, or haven't listened to any RCP scores so I can't be tired of it, but I like it. It adds a different texture to it, a different flavour that makes it a bit more fresh instead of another straight-up rehash (I loved it in Battle of Crait, but this is way too close to it in time). This is not Episode IX, people, this is just a spinoff. I've no problem with it moving away from the Williams sound a bit here and there. It still does it enough that it feels like the same universe.
  22. 10 points
  23. 10 points
    I’m watching Last Jedi for the 7th or 8th time tonight. I hope Domhnall Gleason gets the opportunity to really up his ham game in IX. He’s such a campy fun part of this movie. And that Dreadnought commander is such a good quick character. Makes a great impression for his 2 minutes of screen time Love leaky Finn. Everything on Ahch’To is fantastic. Luke throwing the saber makes me smile every time. The whole vibe of the village and the guardians, the weird local animals. All great strange world building Adam Driver smolders off the screen. Riveting performance. The movie sets up how Snoke is overplaying his hand a bit right from the start in terms of nakedly manipulating Kylo. Rey’s little smile to the thala siren is the highlight of the whole movie Love the Supremacy action sequence. The action scenes are sooooo good. Forget the haters, Leia in space makes the hair stand up on my neck every time. Magical. The music is perfect. Captain Big Nose Lady has an instant classic character actor in Star Wars look. Looks like someone who would’ve been in the original trilogy. Love Holdo’s slightly haughty aristocratic air but you totally buy her confidence as a military leader Finn’s reading of “May the Force be with you” to Rose is very funny. I find each main character’s arc of maturing in their own needed way very elegant. The conversations between Kylo and Rey are the actual highlight of the movie. I like how the long distance ones are done without any needless special effect. Can’t wait for the weird little monocle alien on Canto Bight to get his own spinoff movie in 2055 after Tesla buys Disney or whatever. “Old man Snoke’s boudoir”
  24. 10 points
    Richard

    the mstrox thread

    That's your social life ruined, then Peeps, I thought I'd update everyone on the job situation. I've just survived my first week at work. It feels so strange after seven months of clicking my heels. The job is good, really good, in fact it's a little embarrassing to say how much I enjoy this job. I've found a place that wants me as much as I want it. I can't tell you what that means to me. I actually look forward to driving to work, now, and not hate it. Thanks for all the support and kind words, when I was unemployed. Its good to be back in the saddle.
  25. 9 points
    TGP

    Williams vs Zimmer

    When will they stop doing cringey shit like that at these concerts?
  26. 9 points
    In response to several posts, I'm taking the liberty of creating this thread as a response to a problem plaguing a number of members here: SWD, Star Wars Disenchantment. It's a common problem, but one that need not dominate your life, or that of your friends and family. This thread serves multiple purposes: as a place for people with SWD to air their grievances, find solace and community with fellow sufferers, and for those without SWD to air their own voice, if they're so inclined. We're all about tearing down walls here. If you suffer from SWD, or know someone who suffers from SWD, please refer them to this thread, where their voice can be properly heard. Thank you all, I wish you all a great day.
  27. 9 points
    I am announcing the publication of my new website The John Williams Piano Collection. It gathers information on all the piano sheet music by John Williams ever published, which I have been collecting for many years. At this moment, the Folios and Anthologies pages are complete. The piano solos (sheet music singles) will be added in a few weeks. This page will inform pianists, musicologists, collectors, and John Williams fans about this gigantic repertoire. Pieces from around 80 films scored by John Williams have been published, totaling 300 pieces, more than any other film composer. In some cases, the piano sheet music remains the only source of Williams' unrecorded works. I will not share or sell any of the sheet music listed on the website. However, I am more than happy to share more information about certain pieces than what I list online. I will also gladly receive comments, suggestions or updates. I hope this website can be useful for some of you and that it leads to some interesting discussions among the musicians on this forum.
  28. 9 points
  29. 9 points
  30. 9 points
    That's a fascinating insight into Williams' mindset, really. That he was more interested in a younger, contemporary composer not being slavish to the style of the original scores, but finding ways to integrate his thematic material using more contemporary techniques, makes perfect sense. Doubly so if you believe the rumours about his frustration with Giacchino's Rogue One, which ultimately comes across as a modern composer imitating the style of a classically-trained composer by imitating a classically-written Star Wars score, resulting in an amateurish pastiche. It clearly didn't work. This score, on the other hand, fully retains Powell's voice as a composer, modernizes it with techniques Williams generally eschews, while rooting itself firmly within the Star Wars musical tapestry. He's achieved quite the feat, if I do say so myself.
  31. 9 points
    Something that I love about the "Searching" theme from TAOH is that it has great rhythmic flexibility. Consider these three different approaches of accentuating the notes in the melody: Pattern #1 is based on how the music is actually notated and conducted. It is also how JW introduces it for the first time in TAOH, from 0:37 (focus on the bass). Pattern #2 is the "naive" beat - it is what the naive listener would hear when listening to the melody on its own. Pattern #3 is a natural extension of #2 and is what I would call the "disfigured 2/2" where rather than 1:1 you get a 4:5 ratio between the beats. They are three different beat patterns yet they all work naturally with the melody. And you can easily create more, e.g. by removing the 2nd beat of pattern #1, or the third beat from pattern #2. In the same way that Han is searching for a sense of fulfillment in his soul, this theme is "searching" for a sense of rhythmic stability. And Powell does end up playing with some of these rhythms in the score, particularly in Corellia Chase. For instance, that awesome transition from 2:07 is to me just an exploitation of pattern 3: And what's more, Powell also exploits pattern #2 as a counter-beat in some of his cues, i.e. whenever the Searching theme is played as a counter-melody, by virtue of its implicit "naive" beat generation. For example, if you listen from 1:58, the mere inclusion of the Searching theme in the background (played by strings, accentuated by trumpets) adds another layer of rhythm to the music which is independent, by the way, of the underlying drum rhythm which, all things considered, goes something like : | U o o U U U U o o | ('U' indicates an accented note, 'o' is unaccented, '|' is a bar line. The important point here is that it is not | U o U o U U U o o |). In short, the Searching theme yields a whole plethora of rhythmic possibilities AS IT IS, which is atypical of the usual Williams theme. EDIT: Here's something else that's cool: Looking at pattern #2, you can see that the first 3 beats are identical in rhythm to the whole of pattern #1. That is, if you take the first three beats of pattern #2 and stretch them out 1.5x, to fill a whole 9/8 bar, you get pattern #1. Well, this is exactly how Powell transforms the Searching theme, at 2:24:
  32. 9 points
    This whole movie/score/album is a triumph. This is literally the best thing a JWFan could hope for in the continuation of the Maestro's musical legacy in the franchise. Powell veers a bit into RCP percussion, but I think it usually works for the vibe of the movie, and he brings the melodies so much more satisfyingly then Giacchino did in Rogue One (though, for the record, I still think Gia has a great Star Wars score in him if he gets more than three weeks to write it). And then there's JW's contribution, which grounds the movie in a perfect Star Wars sound while dovetailing nicely with Powell's themes. This is amazing. I just wish the could have made it onto the album. I'm still thinking I hallucinated that entire scene. What a great ride. If we could carry on this system of Williams supervision for as long as it can last, I'd be a happy camper. If not, just give Powell the keys.
  33. 9 points
  34. 8 points
    Mrs. Pilgrim was going to listen to it at work today - just got this in a text from her.
  35. 8 points
    Indianagirl is Leia.
  36. 8 points
  37. 8 points
    John Williams conducted the Boston Pops in a performance of this Wednesday May 23rd and Thursday May 24th in Boston last week, and WCVB radio broadcast it online yesterday. Here is @Faleel's recording of the internet stream. Enjoy!
  38. 8 points
    Here is Han Solo and the Princess, from my recording of the stream, I wasn't able to get Adventures of Han.
  39. 8 points
    At 1:17 in "Break Out", are those the opening fanfares from the Main Title?
  40. 8 points
    This isn't really related to the new theme, but rather how the old themes are incorporated in the movie. I don't really consider this spoiler territory, but just in case... Jeez, who'd have thought that about ol' JW... ?
  41. 8 points
    The only bad Star Wars score.
  42. 8 points
    Having listened to the OST twice through now, this is easily the most successful JW score follow up by a different composer that I can recall. There are very few pastiche moments and Powell integrates JW's music very well with his own style. I'm not sure he succeeds 100% in his attempt to create the same kind of "flow" JW has in his music, but it's pretty close.
  43. 8 points
    It pleases me to no end that John Williams sees the need to release those who will follow him from the need to ape his style. Powell has succeeded at what he set out to do, and what Williams wanted him to do. This is a great Star Wars score, rooted in the franchise's rich musical tradition and yet different enough to help the franchise evolve. It's just right. It's not too far out. It keeps what works, sheds what's anachronistic, and brings just enough of individual voice to work and work well.
  44. 8 points
    L3 theme is one of the obvious one, in regards to Powell's materials. It's also connected with a plot point in the movue L3 theme variations First heard in its "warming up" mode in this track at 00:04-00:15 then transitioned into a introductory mode at 00:26 - 00:35 But i think both aforementioned statements are not the original note I think this is the original one, at 00:01 - 00:14 and then it changes into a full millitary style march in "Mine Mission", a fugue on its own, and yes it's connected to the plot. You get the sense of rebellion because that what it is, at 00:26 onward and then goes into its glory mode at 00:12 - 00:18 in "Break Out" and then in its "hurry" mode at 4:10 - 4:18 and then changes into its sad mode, and by this point, you get the idea of whats going on in the plot 4:54 - 5:12 and then later on, in Reminscence Theraphy, you get to hear it in its Searching mode at 5:23 - 5:45. I love tis quiet arrangement with the flute. And yes this is tightly connected with the plot at this point
  45. 8 points
    Did anyone else catch the cameo of EpIV Imperial motif in "Train Heist"? Nice touch, imho: Also, nice cameos/lifts of two not-so obvious moments from ANH ("Blasting Off") and TESB ("Attack Position") in the cue "Reminscence Therapy": I also liked a lot the Holst-like harmonic texture in the strings in a couple of action moments, a nice throwback to Williams' Planets pastiche for the original film:
  46. 8 points
    One of the things I love about Powell is how he can appeal to classic orchestral score enthusiasts without ever once being a “throwback.” He is just himself.
  47. 8 points
    I don't think it's always necessary to lean on cognitive bias to proclaim anyone's ability to judge a piece of music. In this specific case, I think Williams' own specific stylistic traits are well recognizable just by listening to the piece even without knowing it's him. Of course it's perfectly understandable to dislike it, or to think the Maestro has done better for compositions like this one. I happen to like it a lot, but I don't think it makes me automatically biased since I knew already it was JW. I like how the piece moves and develops, I like how it's orchestrated and how it keeps being always interesting for the whole duration. It's a lovely symphonic miniature, much like a Shostakovich overture or a Prokofiev dance piece.
  48. 8 points
    A wonderfully cogent point (no surprise) by Frank here … context is everything when defining what, precisely, constitutes a theme. Even extra-musical context can play a role. Incidentally, the word “theme” is thrown around a lot in The Music of the Lord of the Rings because, honestly, it’s the most efficient way of relating to readers. Constantly juggling “theme,” “motif,” “motive,” etc. was exhausting in early drafts … especially as each instance then required some sort of disclaimer relating to the innate subjectivity of it all. And that was before getting into musical context, composer intent, and so on. It was word soup! At some point, it’s cleaner to think of it all as “the material.” It reads horribly, but it’s much truer to most composers’ mindsets.
  49. 8 points
    Listen to good music again and again. Truly good music will only get better with repeated listens. Don't listen to music all the time, you'll go numb. Don't listen to good music while doing other things. Listen to it when you can really listen to it. Don't listen to dark music on sunny days and don't listen to cheery music on rainy days. Heighten the experience by matching music to the weather. It'll take you to another level. Listen to pre-17th century music from time to time, there's something magical there. Fuhget about sound quality, sometimes the best recordings really are the older recordings with the terrible fidelity. The rainier the weather, the older the music you need to listen to. Save the pop, electronic, and new-fangled stuff for when you want to listen to music and do other stuff (work, exercise, etc.) "Turn-down" music at home is awesome before bed. Find something relaxing, set a low volume, turn off the screens and enjoy. For the ultimate listening experience: wait till night, preferably a little before you get tired. Grab your best headphones, turn out the lights, close your eyes, lie down and listen to one album of your choice. No rewind, no fast forward, just listen. A glass of red wine before hand heightens the experience. Don't get too analytical listening to the music. You'll ruin music for yourself. Quietly humming along to music (especially the basses/lower end instruments) heightens your "feel" for the music. Never listen to music before having a serious listening session. Let the silence drive you mad with anticipation. Nothing tastes as good as water after being in the desert, and no music sounds as good as what you listen to after abstaining. Decently performed live music > amazingly performed recording. Angry music will make you angry, dark music will make you dark, and optimistic music will make you optimistic. Own a musical instrument of some kind, and fiddle around with it from time to time. Older music is better for the soul: there is an optimism, even in its darkest moments, that propels you in your life. Newer music is too real for its own good. Take your streaming playlists, shuffle mode, etc. and flush them down the internet toilet. Make a deliberate choice about what music you listen to and why, however broad or specific your goal, don't let some playlist make that choice for you. Don't carry around more than a dozen albums. One album listened to intensely for a week is better than 12 albums hopping from album to album and with half your attention. If you really need to work and listen to music, loop a single track until you're done. That way you don't lose the zone. Do not let music become your proxy for feeling emotions. Real experiences > music.
  50. 8 points
    It’s almost as if the film was playing with the shades of grey of leadership roles in a deliberate attempt to highlight the characters’ various flaws. The point wasn’t that either Poe or Holdo were right, it was that their respective prejudices towards each other prevented them from communicating effectively and finding the right solution. Unfortuantely we we live in a very partisan society so a lot of this subtlety was really lost in translation.