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    • Jay

      Donation time at JWFan   01/16/18


      For those who may not know, JWFan relies entirely on donations to keep running.  Donations pay for our server bills, as well as keeping our domain and Invision Powerboard fees.
      As an incentive to donate, I am offering a series of free CDS to anyone who donates over a certain amount!   Last time this was a modest success, where I raised $500 of our desired $1,000 and mailed out 3 free CDs to lucky JWFanners.  This time I'll be doing the raffling a littler different!   Our goal is $1000 once again, and I will have four tiers of free CDs you can win once again.  But this time, the more you donate, the more entries into each raffle you'll get!   Each $10 you donate gets your name put into the raffle mug once for the $10 pool, twice for the $20 pool, thrice for the $30 pool, and five times into the $50 pool.  Here is the list of CDs you can win - and I have more to add at a later time when I get a little more organized (I'll post what they are by Friday at the latest)   The $10 pool (Every $10 you donate gets you one ticket into this pool) - will be drawn as soon as we hit $250 donated Tyler Bates - God of War; Ascension (OST, La La Land Records) Danny Elfman - Planet of the Apes (OST, Sony) Danny Elfman - Taking Woodstock (OST, La La Land Records) Christopher Lennertz - Identity Thief (OST, La La Land Records) Christopher Lennertz - Medal of Honor: Rising Sun (OST) Michael Giacchino - Mission: Impossible - Ghost Protocol (OST, Varese Sarabande) Dave Holmes & Various - Ocean's 11 (OST, WB Records) Joel McNeely & Various - Hollywood '94 (Varese Sarabande) Joe Kraemer - Jack Reacher (OST, La La Land Records) John Williams - Born on the Fourth of July (OST, MCA Records)   The $20 pool (Every $10 you donate gets you two ticket into this pool, must donate at least $20 to be eligible) - will be drawn as soon as we hit $500 donated John Barry - First Love (La La Land) Jerry Goldsmith - The Challenge (La La Land) Jerry Goldsmith - In Harm's Way (2009 Intrada edition) Jerry Goldsmith - The Red Pony (Varese) Alan Silvestri - Dutch (La La Land) Shirley Walker - Willard (La La Land) John Williams - Family Plot (Varese Sarabande) or, any of the above CDs if you prefer   The $30 pool (Every $10 you donate gets you three ticket into this pool, must donate at least $30 to be eligible) - will be drawn as soon as we hit $750 donated James Horner - Gorky Park (OOP Kritzerland Edition) James Newton Howard - Outbreak (2CD, Varese Deluxe Edition) Laurence Rosenthal - Clash of the Titans (2CD, Intrada) John Williams - The Fury (2CD, La La Land) John Williams - Jane Eyre (OOP, La La Land) or, any of the above CDs if you prefer   The $50 pool (Every $10 you donate gets you five ticket into this pool, must donate at least $50 to be eligible) - will be drawn as soon as we hit $1,000 donated Jerry Fielding - The Wild Bunch (3CD, FSM) Ira Newborn - The Naked Gun trilogy (3CD, La La Land) Shirley Walker and Various - Batman: The Animated Series Volume 3 (4CD, La La Land) or, any of the above CDs if you prefer     All shipping will be paid by me to anywhere in the world!   I will pull names from a hat for each pool, and you get to pick whatever CD set you want if I pull your name!   To be eligible, leave your JWFan username in the comments area of your donation.  If you want to donate but not be in the running for a free CD, mention that in the comment.   Use this link or the link on the mainpage.       Thank you!   Jason, Ricard, and Andreas.


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igger6 last won the day on November 11 2013

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  1. Preach it. I agree 100 percent. This is a masterpiece that could sit comfortably next to "Cadillac of the Skies" or just about anything from the '80s. We need a music-only release!
  2. Williams confirms EPISODE IX !!

    I didn't mean to kick a Shornet's nest, but I don't think the LOTR scores' impact is anywhere near those of Star Wars, either, and I love them dearly. Star Wars has two platinum-certified soundtracks and two gold-certified (1 million and 500,000 copies respectively), while LOTR has only one platinum and two gold. But beyond raw numbers, the Star Wars soundtracks have penetrated pop culture and transformed the field of film scoring in a way that few would argue is true for the LOTR soundtracks, even if the latter are denser, deeper, more complex, more cohesive, or more consistent as a multi-part work. An honorary Oscar for Williams' work on the Star Wars series would be recognizing the depth, breadth, and consistency of his achievement over the latter half of a lifetime in creating a musical work that transcended its source material and helped expand the reach and footprint of movies in general in the process. (Everyone in America over seven years old can hum the Main Title or the Imperial March, and that's not just a function of marketing; it says something about the work itself. The Fellowship theme may have enjoyed that status for five minutes in 2003, but it's nowhere near the same cultural achievement.) Moreover, it would acknowledge that Williams has made a unique commitment to these films, working with three (four if you count Ron Howard, which we probably shouldn't) different directors to maintain a consistent level of quality and integrity. But now that I know how liberal the Academy has been with honorary Oscars in general, it mystifies me that Williams hasn't gotten one. Maybe this will be his year? I mean, we can debate whether he deserves a franchise-score-specific statuette more than Shore, but does anyone want to make the case that Williams' contributions to Hollywood have failed to meet the standard of Angela Lansbury and Steve Martin (2013)?
  3. Williams confirms EPISODE IX !!

    Actually, if Williams makes it to February 2020 (or even if he doesn't), I think this is exactly what they should (and maybe even will) do. This achievement is without peer. Shore's work is more motivically dense, sure, but the LOTR films' impact on Hollywood is one-tenth that of Star Wars, and they had fifty years' worth of preexisting fans from the novels, and six films in 14 years is not comparable to nine films over 42 years. Heck, they gave Lucas the Thalberg award after only two iconic trilogies, and they used to pass out honorary Oscars like candy in the early decades. (Actually, correction: they still pass them out like candy. James Earl Jones and Jackie Chan, but no JW? Come on. http://www.oscars.org/governors/honorary) I notice no one has brought up Bill Conti's five Rocky scores as a comparable achievement...
  4. Williams confirms EPISODE IX !!

    It’s funny that I actually felt a little pang of deprivation at that phrase about his major work of 2018 not being for film. How accustomed I’ve become to the manifold and unexpected blessings of the past ten years. What is it, eight scores, two of them Star Wars?! Not a single synapse in my brain came within a mile of imagining this. Then, a second later, I remembered the Solo theme is coming, too, and even the voracious, score-grubbing ingrate side of me was placated. P.S. It’s “IN-ter-STISH-uhl,” meaning occurring between the major sections of a larger work of some sort, usually having a connective quality.
  5. I think there's a sort of "Quasimodo" category for half-formed themes. Some themes don't have as many sections as Rey's or the Imperial March, but they still aren't mere phrases like either one of Kylo's. I'd say Sophie and Poe both fall into that category. They don't have stanzas like the big ones, but they definitely have multiple lines.
  6. One of those all-purpose motifs that only appears when a single character does something heroic?
  7. Meh. The defined-language thing makes it a little better, but I still say too thin.
  8. On second thought, I misused the word "grandfathered" and forced into the form of a disingenuous question what should have been a simple criticism of that lift. As someone on the SoundCast said recently, that flute line felt like a part of ANH, and it didn't seem right to suddenly quote it at the opening of the eighth film when there was no precedent for callbacks in that spot. ("Gotcha!" —Rian Johnson) If this were the final film (as Johnson occasionally seemed to think he was writing), it would have been awesome, but sticking it in randomly in the middle of the saga didn't make sense to me. Also, I haven't read every single page of the discussion, but has anyone pointed out that there's just enough original, memorable melodic material in "The Fathiers" for it to qualify as a one-off setpiece a la "Into the Trap" or "TIE Fighter Attack"? I'd love to see that expanded into a TLJ concert suite, and I don't think it would take much doing. I. The Rebellion is Reborn II. Canto Bight III. The Fathiers (Concert Version) IV. The Spark/The Last Jedi (Concert Version) We can dream!
  9. Three random questions now that I've put away my Christmas music and am digging into this score in earnest for the first time since the day I saw the movie: Is this the in-film debut of that slithery, rising low-strings melody that introduces Kylo Ren's theme in the TFA End Titles? It appears in "Revisiting Snoke" at least once, but I'm not sure it appeared at all in the body of the TFA score. Has the piccolo/flute solo they lifted from the opening of ANH (hard to imagine that being Williams' idea) now been grandfathered in as a required part of every opening cue? I guess we only have one more score in which to find out! I agree that the movie didn't afford that many opportunities for new themes, but I still think DJ and neo-Luke were missed opportunities (the island theme hardly qualifies as a character theme, given how it's used). Even BB-9E or Hux could have gotten a little nod, and Holdo's theme is loud but almost studiously unmemorable. Think there's any chance that, in keeping with his modus operandi of thumbing his nose at the existing conventions of Star Wars, Rian Johnson actually instructed Williams to keep new themes to a minimum? Useless speculation, I know, but there's no "bad feeling about this," no limb loss (Snoke doesn't count), no proper corporeal lightsaber duel, no Jedi mind trick. Maybe Johnson's bold new vision for the franchise has less room for bold new melodies. If so, I say, "Ptooey!" as I do to most of the tediously repetitive "gotcha" innovations of this film. (Reading back over that, I realize I'm probably just venting frustration at the movie, but it sure felt good. Doing the opposite of what is expected, after the third or fourth instance, just turns into doing what's now expected.)
  10. Poe’s Theme is the most heroic-sounding music the Maestro has written in years, and it’s arguably the greatest hooky earworm in TFA (with the possible exception of Kylo’s evil fanfare, which is much shorter and simpler than Poe’s). I find it so thrilling and uplifting that I’m actually shocked to learn it’s in a minor key. If JW serves up something in that vein for Han, I’ll be over the moon. Any chance we’ll get a pre-release concert premiere in Chicago in April? It’d be a great PR move, Disney! Screen Rant would publish three clickbaity articles about the new theme before the Maestro put his baton down on Friday night.
  11. I love that the sequel trilogy publisher is Utapau Music. All Star Wars Story themes should be Jedha Music, and themes for Rian Johnson's next trilogy can be D'Qar Music (if only to give that dumb, unspoken planet name a purpose beyond sounding dumb).
  12. No, it's five notes, and I'm sure I know them, originally played on low strings somewhere in the golden age of Williams, I think the original trilogy, I think ANH, I think on Tatooine. In my inexpert plunking, I think it's G—higher C—Bb—A—lower C, with the Bb and the second C held longer. My memory of this melody adds three more notes at the end that don't appear in the "Peace and Purpose" version: a D-Eb-D sequence where the first two notes are quick and the last one is held for longer. Anyone? Anyone?
  13. The Rey lightsaber practice cue was a classic Star Wars "silent movie" moment, where everything falls away and it's just a character and music. Plus, it was a nifty interpolation of an old and new theme. I can't believe that didn't make it to the OST. Also, I posted this in the album forum and no one took the bait, so can anyone tell me where we've heard this passage before? Interspersed between Force theme statements during Luke's final scene is this melody that I'm sure was part of A New Hope somewhere. Does anyone recognize it?
  14. Doesn’t the new survivalist-Luke material play in sort of back-and-forth with Rey’s theme in that scene?