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Hello everyone; The older members will remember me from days past (I hope) . However, I haven't posted in a looooooooong time. It's nice to be back after lurking around for a while. I'm glad that I do not come empty handed upon my return. I recently discovered this version of the Superman theme on You Tube, and, I wanted to share it where I thought it would be appreciated. I have no idea of it's validity, but I offer it to you anyway. http://www.youtube.com/watch?v=kfIdI7a8ERk Hope you enjoy it and have a happy Monday. BKL: still wearing boogie oogie boogie woogie dancing shoes!

As I predicted, they are no longer referring to the 8 episodes that aired in 2012 as "Season 5 Part 1", it's just "Season 5". The 8 episodes airing this July-Aug are "Season 6". Here's the press release for the Season 5 DVD/Blu Ray! (There are no spoilers within for Season 5 or 6)

What a difficult film to evaluate. I thought I was going to be deeply moved but that was actually not the case. Is Haneke's approach (no sentimentalism) too clinical? The film boasts two incredible performances (Trintignant and Riva) and many scenes keep lingering in my mind. Most call it Haneke's masterpiece but for now I can't give it more than 7/10. Alex

Oblivion looks very interesting. love the bomb crater inside the courtyard of the pentagon.

Apparently, both William Shatner and George Takei are now in the new movie.

Yet again very interesting and thorough examination of one of the most beloved themes by the Maestro. And the first appearance of the Dinosaurs theme is indeed one of the major moments in the film itself where the images and the music are a perfect marriage (I could say that about the whole Journey to the Island). The religioso reverence that is depicted by the hymn styled theme not only catches the on screen action, the movement and pacing so well in its majestic slow progression but also Williams does what he often does best, illustrates in an exultant manner the sheer wonder and amazement , which seems to have almost spiritual dimension here. It is also yet again shows the pains and work on Williams' part that he makes it feel so inevitable, like the music is the natural second half of that moment that couldn't exist without it.

Here's a commission I got on a webseries. He said "the show should have its own theme!" So here it is.

I think this is my TOP 10: 1. (CE3K)2. (Last Crusade)3. (Last Crusade)4. (Last Crusade)5. (Last Crusade)6. The Child Returns (The Temple Of Doom) 7. More Sacrifice (The Temple Of Doom) 8. The Rescue Of Sirius (The Prisoner Of Azkaban) 9. The Trouble With Dennis (Jurassic Park) 10. Revisiting Padme (Revenge Of The Sith)

This is cool news. Or would be, if only they wouldn't ban me from buying it. And not just because of the US only thing, but because I'd have to buy Windows or an Apple computer to access the store. Imagine if Amazon stopped their website and instead required you to install an application on your computer to buy books from them. iTunes is evil. Give me a physical CD, or at the very least a DRM free download (preferrably lossless) in a standard web based store.

I can't bring myself to complain about what they haven't released, or might not release, or the quality of what they have released, on a day like today. If someone had told you people on Monday you'd be swimming in eleven minutes of unreleased JP music on Wednesday, you'd have pissed yourself with glee. I'm thrilled with this—and somehow the fact that they didn't trumpet its imminence for a month ahead of time makes it even better. Think about it: we always hear about upcoming releases these days. We're constantly ticking off the days until we're able to pre-order a new release. How great is it to wake up and find one of our grails, something we've been waiting years to get our hands on, right there in arm's reach? That alone has enhanced this experience. It leaves me that much more grateful to the folks who put this together. I think the remastering is instantly apparent, and the sound quality is fantastic. I love the new music . . . and somehow, today, it almost seems like the "old" music has a new feel to it. Maybe that's just because I'm so happy to be getting this. Whatever. I'll enjoy this as it was meant to be enjoyed, as the Maestro clearly intended his audience to enjoy it. Thank you, John. - Uni

This is such a difficult choice. I won't go on a long discussion on the individual merits of these different passages but I have to say that every time I try to choose, some track from another section pops into my head and I want to choose that section of the score instead. The variety and different dynamics of the score are enormous. I would have chosen Prologue if that would have been an option but now I choose Rivendell. Shore combines there antiquity and serenity with lyricism and melancholy beauty. Throughout the score Shore captures the setting and mood so well in his scores and in Rivendell the relief of brief respite is joined by the shadows darkening outside this haven. Dark thematic ideas lurk in the corners of the serene, learned Elven music, regret, horrors and the Ring all weaving in and out of the material. Even the dusky down cast version of Weakness and Redemption motif in Rivendell's theme at Aragorn's moments of inner conflict is a thing of beauty, sweetened by Arwen's optimism and faith in him. Also the first appearance of Gondor (in Decline) is something I consider one of the finest moments in the score. Shore really captured the long faded glory of the South Kingdom in his theme, which is noble, ancient sounding, simple and direct and planted a seed for its prominence in RotK. The Council of Elrond sequence in its entirety is well scored, accentuating the moods but also constantly juggling thematic ideas to express the plot elements and subtext. And finally there is the first triumphant rendition of the full Fellowship theme that ends the sequence with a resoundingly satisfying dramatic note. In the end I would choose everything if I could. Very well put and mirrors what Shore was trying to do with the music scale-wise. The scope of the story widens and the music widens accordingly.