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Time's are changin'. It's time to move on.


BLUMENKOHL

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Many years ago, at the height of John Williams rule I created an image that carried with it the full sense of power this man had in our forums and in our world. This image captured the spirit of our forums.

IASIp.jpg

But this image, despite it's brilliance, no longer quite applies. Our hero is no longer one who can stand shoulder to shoulder with giants like Darth Vader, Captain Kirk, the Spanish Inquisition, or the Salem Witch Trials.

No...he is a humbler, weaker, frailer, and liarer man.

So I present a new image that better capture's the new John Williams of the 2010s, and the spirit of his influence on these forums...

0DhyC.jpg

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Time's are changin'. It's time to move on

0DhyC.jpg

This is the classic "I'll try" attitude of a genuine JWFan!

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I hope you're not going to tell us that 'before' was when you were 15 and the year was 1993.

No. I came to a realisation just in the last month. Tintin was to be the one and possibly last exception in an otherwise introspective and conservative approach to scoring the maestro has evolved into. That's perfectly fine, but I personal prefer a more audacious and unrefined sound.

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I listened to Jerry Goldsmith's Star Trek: The Motion Picture on the way home last night instead of John Williams' Always. Does this mean since I didn't choose John Williams, my life is forfeit?

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There might be special regulations for beloved Goldsmith scores. The sentence is reduced to having daily orgasms while listening to Shawn Cassidy singing A STAR BEYOND TIME.

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Now that you mentioned Goldsmith, there is a parallel. Listen to the majestic beauty of Star Trek: The Motion Picture and compare that to the more matured, technically adept- but underwhelmingly less robust scores for his last two Star Trek efforts, Insurrection & Nemesis (which I consider his last complete effort). What we see in current JW is strikingly similar. Both composing titans had a sweeping, flourishing sound some 25-35 years ago- but their latter works just didn't energize with the same bombast like it used to.

It seems JW is almost afraid to use crescendo anymore when it was a trademark sound for many of his most successful scores in the years after SW/Jaws. I don't think he ever recovered that same sound since Jurassic. It's like Schindler was a turning point in his scoring style that evoked more in style than substance where technical accuism become a more dominant feature than flair & bombast. The last Indiana Jones and SW prequels could have been a return to his old style, but they just weren't. He's matured past the kind of writing I heard growing up in the '80s. It's okay. I'm still a fan. It's too bad that he doesn't write things like "TIE Fighter Attack (SW:ANH)" "Parade of the Slave Children (IJ:TOD)" "Asteroid Field(SW:ESB)" "Bicycle Chase (ET)" anymore.

His writing has evolved beyond that and has become something more than the films they are typically written for. As an artist, I can appreciate that and heartily respect the growth he has achieved...would be artistic stagnation if he hadn't. But as a fan of those great '80s scores- it's kind of disappointing knowing those days are indeed long gone.

Mr. K

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I lied. I didn't listen to Star Trek. I started with a Fleetwood Mac album and switched over to William Shatner's latest album.

the Shat makes everything better.

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Now that you mentioned Goldsmith, there is a parallel. Listen to the majestic beauty of Star Trek: The Motion Picture and compare that to the more matured, technically adept- but underwhelmingly less robust scores for his last two Star Trek efforts, Insurrection & Nemesis (which I consider his last complete effort).

I like Insurrection more than First Contact, but it's not up there with Goldsmith's great scores. However, late Goldsmith had The Mummy and Hollow Man, and those I rank among his first rate scores.

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Now that you mentioned Goldsmith, there is a parallel. Listen to the majestic beauty of Star Trek: The Motion Picture and compare that to the more matured, technically adept- but underwhelmingly less robust scores for his last two Star Trek efforts, Insurrection & Nemesis (which I consider his last complete effort).

I like Insurrection more than First Contact, but it's not up there with Goldsmith's great scores. However, late Goldsmith had The Mummy and Hollow Man, and those I rank among his first rate scores.

Mummy was pretty good. I can't remember Hollow Man though....Kevin Bacon movie, wasn't it? I'll have to give it a listen.

Mr. K

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I hope he is a dentist. I asked him once if it's better to floss after or before brushing, and he said after. And I've stuck to that because of him.

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KM's sworn oath and self-imposed circumscription forbids frivolous life pursuits until the holy grails come into his possession. The elusive scores are both his gaoler and his salvation.

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King Mark is a dentist. The only one I actually like.

My own dentist looks like a cross between John Malkovich and the serial killer from Michael Mann's Red Dragon.

Every time he examines me I think he wants to kill me so he can "collect" my teeth....

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