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Showing content with the highest reputation on 01/10/20 in all areas

  1. 4 points
  2. 3 points
    "Parents" and "Coming Together" are incredible tracks. I hope the FYC releases in lossless sometime soon.
  3. 3 points
    And the examples he doesn't ignore, he gets wrong! I mean, Darth Maul has a motif, but it's not Duel of the Fates, which is an action set-piece -- an apocalyptic one, for sure, but not an explicit portrait of "evil." Maul's actual theme is a growly chromatic thing that is thoroughly Western in compositional sensibility. As are all the themes for all the other main villains: Vader, the Emperor, the Death Star, the Imperial Motif, the Droid Army, Gen. Grievous, Kylo Ren, the First Order, and on and on. The only villain to get a vaguely exotic-sounding theme is Jabba, and his musical characterization is probably more saliently made by his source music, which is a twisted Baroque minuet, than his tuba theme! If anyone is interested in actual good film music cultural criticism, there's plenty out there. In particular, if you want an essay on how good & evil are conveyed stylistically in this series, the standard is still James Buhler's 2001 article "Star Wars, Music & Myth." It was written pre-prequels, and there are parts you may disagree with, but on the whole it's the model for sensitive, musically-literate analysis of the broader social and political implications of Williams's music.
  4. 2 points
    Here's my analysis of the new themes in The Rise of Skywalker (beware: spoilers present!) http://www.filmmusicnotes.com/new-themes-and-their-meaning-in-the-rise-of-skywalker/ Enjoy!
  5. 2 points
    https://estonianworld.com/culture/arvo-part-was-the-worlds-second-most-performed-living-composer-in-2019/
  6. 2 points
    Thinking the media is in cahoots to deceive you, the only person who knows the real truth, rather than just being an industry full of frequently dumb people who live in a bubble because they all come from the same socioeconomic background, is a form of faux-wokeness unto itself. And I don’t mean that as an excuse to not read things critically.
  7. 2 points
    Even as a liberal, I find the practice of heavily reading into works of art to find minute "problematic" meanings to be utterly stupid and anti-art.
  8. 2 points
  9. 2 points
    (in response to original article) Huh? Which part any of the SW scores is 'expressed in the vocabulary of Chinese, Indian and Middle Eastern music'? Last time I checked, Imperial March sounded pretty Western to me.
  10. 2 points
    I have no problem with this type of cultural criticism when it is well thought out. This article just selectively overlooks counter examples like the Imperial March to make a point, and that’s unacceptable.
  11. 2 points
    Ha, ha.....some crazy times we're living in if this kind of drivel gets published in a reputed newspaper like the Washington Post. Unbelievable. In a similar vein, let's refute the use of a cymbal in orchestral music, because if you put the cymbal horizontally, it kinda looks like a traditional Chinese straw hat. Racist!
  12. 2 points
    He forgot to mention how John Williams is racist because his themes for Lando, Rose and Finn never get re-used in subsequent films. Karol
  13. 2 points
    I love how he just completely ignores the fact that "The Imperial March"—arguably the most famous "bad guy" theme in history—is written in the European symphonic tradition. EDIT: It's ironic that such a stupid article about Williams' music for villains would come from the Washington Post, so soon after @Falstaft (hiatus til TROS) just wrote them a really great one about Williams' music for villains...
  14. 2 points
  15. 1 point
    Tracks on JW OST albums that are 100% recorded just for the album: Checkmate The entire album Diamond Head The entire album How To Steal A Million The entire album Not With My Wife, You Don't! The entire album Penelope The entire album other than the title song Fitzwilly The entire album Earthquake The entire album Jaws The entire album The Missouri Breaks The entire album Star Wars Princess Leia's Theme The Fury The entire album Superman - The Movie March of the Villains Love Theme from Superman, though this also plays in its entirety in the end credits of the film after the End Credits cue The Empire Strikes Back The Imperial March Yoda's Theme E.T. The Extra-Terrestrial Abandoned And Pursued E.T. And Me E.T.'s Halloween Flying Over The Moon Monsignor The Meeting In Sicily At The Forum Return of the Jedi Luke And Leia Parade Of The Ewoks Lapti Nek (Jabba's Palace Band) The Forest Battle The River Growing Up The Pony Ride Love Theme from The River The Ancestral Home From Farm to Factory Young Friends Farewell Home Alone Star Of Bethlehem (Orchestral Version) Have Yourself A Merry Little Christmas - this special version of the song specifically recorded for the album; the 2015 La-La Land edition premiered the actual film cue version Home Alone 2 Somewhere in My Memory Star of Bethlehem Christmas Star Schindler's List Jewish Town (Krakow Ghetto - Winter ’41) Amistad Cinque’s Theme The Phantom Menace Anakin's Theme, though this also plays in the end credits of the film after the End Credits cue Angela's Ashes Angela’s Prayer Plenty Of Fish And Chips In Heaven The Lanes Of Limerick Harry Potter and the Sorcerer's Stone Prologue (see more information about the Children's Suite below) Fluffy's Harp (see more information about the Children's Suite below) Attack of the Clones Across The Stars Harry Potter and the Chamber of Secrets Fawkes The Phoenix The Chamber of Secrets Dobby The House Elf Revenge of the Sith Battle of the Heroes Memoirs of a Geisha The Chairman's Waltz Indiana Jones and the Kingdom of the Crystal Skull Call Of The Crystal The Adventures of Mutt Lincoln The People's House With Malice Toward None Freedom's Call Elegy With Malice Toward None (Piano Solo) The Book Thief Max and Liesel The Force Awakens Rey's Theme The March of the Resistance Scherzo For X-Wings The BFG Overture The Last Jedi The Rebellion is Reborn The Rise of Skywalker The Rise of Skywalker Anthem of Evil Tracks on JW OST albums that combine film cues with album-only recordings : The Return of the Jedi Han Solo Returns (At The Court Of Jabba The Hutt) is in actuality a portion of the film cue 3M2 The Big Thaw [0:00-2:47] combined with a portion of the album-only concert arrangement Jabba The Hutt [2:47-end]. The actual full recording of Jabba The Hutt remains unreleased to this day Ewok Celebration and Finale is in actuality the album-only recording Ewok Celebration [0:00-1:56] & the film cue End Credits [1:56-end] Home Alone Home Alone Main Title ("Somewhere In My Memory") is in actuality the film cues 1M2 Home Alone (Main Theme) [0:00-1:04] & 2M2 Banished to the Attic [1:04-1:32] & the album-only recording Somewhere in My Memory (Album Intro) [1:32-2:31] & the film cue 11M4B End Title Part II [2:31-end]. The 2015 La-La Land expansion finally presented just Somewhere in My Memory (Album Intro) & 11M4B End Title Part II together without the 1M2 & 2M2 bits as Somewhere In My Memory, disc 1 track 1. Jurassic Park Theme From Jurassic Park is in actuality the album-only 3M2 Record Intro & the film cue 3M2 The Dinosaurs & the album-only 3M2 Wompi Ending Harry Potter and the Sorcerer's Stone Diagon Alley and The Gringotts Vault is really a portion of Children's Suite track Diagon Alley & the film cue 2M4 Diagon Alley Hogwarts Forever! and The Moving Stairs is really the film cue 4M5 The Moving Stairs & Children's Suite track Hogwarts Forever Harry Potter and the Prisoner of Azkaban A Window To The Past is in actuality a unique recorder solo & portions of the film cues 7M12 End Credits & 4M3+4 New Woods Walk and Birds Flight & 7M2 Insert A.I. Artificial Intelligence The Search For The Blue Fairy is in actuality a portion of 7M1+2 (Vocal Version) Finding The Blue Fairy [0:00-2:28] & a portion of Theme #2 CD version [2:28-end] Catch Me If You Can The Float is as combination of the album-only 7M4 Front Extension with the film cue 7M4 Frank and Carl with the album-only 7M4 End Extension Recollections (The Father's Theme) is possibly also a film cue with album extensions? Memoirs of a Geisha The Journey to the Hanamachi is in actuality a portion of 1M1 Alt The Opening [0:00-1:58] & an album-only recording called Theme [1:58-end] War Horse Learning The Call seems to combine a portion of 1M7 Learning the Call [0:00-0:43] with album-only material [0:43-1:56] with a portion of 1M8 Whistling Montage [1:56-2:28] with more album-only material [2:28-end] The BFG Dream Jars is in actuality a series of album-only flute pieces and some of 4M37 Flute Sweeteners [0:00-2:18] followed by a most of the film cue 2M18 Dream Jars [2:18-end] The Post Mother and Daughter seems to combine the film cue (as heard on the FYC album) with unique album-only material afterward The Presses Roll seems to combine the film cue (as heard on the FYC album, though the ending of Setting The Type is tracked over the end there) with unique album-only material afterward Notes on other OST tracks that look like concert arrangements, or got published for concert performance, etc... but are actually 100% film cues: Star Wars Main Title is in actuality 1M2 Main Title & 12M2 End Titles Superman - The Movie Theme From Superman (Main Title) is in actuality 1M1 Main Title & End Title 1941 The March From 1941 is an edit of 14M2 End Credits Swing, Swing, Swing is a film cue, 7M4 Swing, Swing, Swing Finale is 14M2 End Credits without edits The Empire Strikes Back Han Solo and the Princess is a film cue, 5M4/6M1 Solo And The Princess Raiders of the Lost Ark Raiders of the Lost Ark is 12M2 End Credits Part 2 Marion's Theme is in actuality two film cues, 10M4 En Bateau & 4M2 To Cairo The Raiders March is an edit of 12M2 End Credits Part 2 Indiana Jones and the Temple of Doom Short Round's Theme is a film cue, 3M3/4M1 The Elephant Ride SpaceCamp SpaceCamp is the end credits The Witches of Eastwick The Dance of the Witches & End Credits (The Dance of the Witches Reprise) are both identical presentations of End Credits Indiana Jones and the Last Crusade Scherzo For Motorcycle And Orchestra is the film cue 7M2 Keeping Up With The Joneses is the film cue 9M2 Schindler's List Theme From Schindler's List is in actuality 20M3 Placing The Stones Remembrances is in actuality 20M4 Alt End Credits Remembrances (With Itzhak Perlman) is in actuality 20M4 End Credits Theme From Schindler's List (Reprise) is in actuality 20M4 Piano & 20M4 Extension Rosewood Rosewood is in actuality 1M1 Rosewood & End Credit The Lost World The Lost World is The Lost World (End Credits) Finale & Jurassic Park Theme is a portion of 14m2 The Saving Dart & a new recording of a concert arrangement from the first movie (not recorded during that film's sessions) Saving Private Ryan Hymm To The Fallen & Hymm To The Fallen (Reprise) are identical presentations of 17M2 Hymm To The Fallen The Phantom Menace Duel of the Fates is actually 7M3 End Credits Angela's Ashes Theme From Angela's Ashes and track Angela's Ashes Reprise are identical presentation of the end credits The Patriot The Patriot is End Credits with the ending missing The Patriot Reprise is End Credits with the ending intact A.I. Artificial Intelligence Abandoned in the Woods is in actuality Opening End Credits Harry Potter and the Sorcerer's Stone Harry's Wondrous World is 9M3 End Credits Part 1 Hedwig's Theme is 9M3 End Credits Part 2 Minority Report Minority Report is in actuality 8M2 End Credits Sean's Theme is in actuality 8M1 Alt Piano Version A New Beginning is a repeat of the second half of 8M2 End Credits, with a loop inserted. The Terminal The Tale Of Viktor Navorski is in actuality End Credits Jazz Autographs is in actuality End Credits Part II "Destiny"... "Canneloni"... and the Tale of Viktor Navorski (Reprise) is in actuality 7M4 Destiny... Cannaloni & a repeat of End Credits (edited) A Happy Navorski Ending! is a portion of 5M4 Amelia (already heard in OST track 2) & End Credits Tango Ending (unique to this track) Indiana Jones and the Kindgom of the Crystal Skull Irina's Theme is really just portions of 1M4NR Irina Spalko & 3M28 Russians Reappear & 7M56 End Credit The Adventures of Tintin The Adventures of Tintin is in actuality Tinker-Tin Rev (the third Main Title cue attempted) Snowy's Theme is in actuality Snowy's End Title The Secret of the Scrolls is in actuality a bunch of film cues edited together The Adventure Continues is in actuality Dueling End Title Not yet factored into this list / I've never analyzed these albums at all: Cinderella Liberty The Eiger Sanction The Accidental Tourist Born on the Fourth of July Presumed Innocent JFK Sabrina Sleepers Nixon Seven Years in Tibet Stepmom Munich Factored in to this list, but are 100% film cues with no ambiguity so I had nothing to say about them: Images The Towering Inferno Close Encounters of the Third Kind Jaws 2 Dracula Empire of the Sun Always Stanley & Iris Hook Far and Away War of the Worlds The rest of the film scores JW composed had no OST album, so everything released when the specialty labels got to them was recorded for film use as far as we know.
  16. 1 point
    The article in question. I had dearly hoped that this grandfatherly 87-year-old genius would be able to live out the rest of his life without being a target of the woke brigade, but I guess even John Williams music is now "problematic" to these loonies. Relevant paragraphs quoted below:
  17. 1 point
    Oops... What's more surprising to me is how I watched the whole of Mad Men without realising this chap was the lead in Clash of the Titans.
  18. 1 point
    This article is an example of someone coming to and running with a conclusion before they have all the evidence. What the author failed to miss are all the non-European influences that have been used for "good guys." What about the horn the Gungans use in TPM? I don't know what country the actual instrument played originated in, but I'm fairly certain it was a country where the majority of the population wasn't white Europeans. What about all the music for the Ewoks? It sounds African or Caribbean to me. I'm making big generalizations here, but my point is that there are plenty of examples of JW writing music for "good guys" that wasn't influenced by European music. That being said, otherism does harm the world, but I don't think Williams has contributed anything toward continuing otherism. Obviously I'm biased because I'm a fan of his, but I also consider myself a liberal. The author of the article needs to spend more time going through all of Williams' work on Star Wars--and I'd like to see if their conclusion changed then.
  19. 1 point
    How can it even be perceived racism? Using another culture's musical style more than likely means you have respect for the culture, not that you think it's inferior. This is more an issue of people being stupid, than an issue of racism. I mean, if a white composer using Asian music is racist, how long is it until we've got someone claiming that a white director making a movie using Asian actors, is also racist? Heck, maybe people shouldn't be able to even make films/art that features people or a culture having to do with any skin color or gender other than their own! /s See what I mean? Where will it end? Where is the line drawn? This is not about actual racism; we've lost any semblance of the dictionary definition ages ago. This is about people being stupid and trying to tear down that which has come before, in order to score a few points in their social circles. Just because someone slaps the word "racist" or "problematic" on something, doesn't mean it actually is. This author ignores all examples to the contrary, just to further the narrative they are presenting. It's bad journalism.
  20. 1 point
    I honestly think both Into Darkness and Beyond are stronger, more well-rounded scores than ST09, with better themes. For Into Darkness, check out London Calling and Ship to Ship from the OST album, and Ode To Harrison and Ode To Vengeance available only on the expanded album For Beyond, check out Night On The Yorktown and Crash Decisions from the OST album, and Jaylah's Theme and Yorktown Theme available only on the expanded album
  21. 1 point
    That was the first thing I thought of. (yes I know Forrest Gump isn’t woke either)
  22. 1 point
  23. 1 point
  24. 1 point
    The main theme of Kingsman is killer - specially when it explodes with full orchestra backing. Would be awesome to have something like that for Bond for the actions scenes.
  25. 1 point
  26. 1 point
    Civil War was at least a fun, orchestral score, I think the biggest orchestra of Jackman's career. And I like the End Credits suite: A much better score than the infamous Winter Soldier.
  27. 1 point
    I like how the author takes a dig at Lucas and by extension Disney for hiring old white guy Williams for the ninth time, hoping more diverse composers could've somehow edged their way in for the final score.
  28. 1 point
    I think it’s more likely there is just increased media scrutiny on these properties in general during awards season rather than some conspiracy. I’m not saying that’s never happened, but I think it’s more likely just people are taking a closer look at those who are nominated for awards than some sinister plan. Like, JW was not gonna win for TROS anyways, and he’s not gonna lose because of a single opinion piece. Beyond that, you kind of defeat your own point by using examples for a film that won a bunch of awards anyways...
  29. 1 point
    Crikey....whenever marginally political threads pop up here, I'm shocked and scared to discover that a great many members here -- whom I consider fairly reasonable in film music discussions -- come from the deep, dark undercurrent of the radical right.
  30. 1 point
    Fixed even more.
  31. 1 point
    The goal of this article is to utterly destroy the entire career of John Williams , regardless of how baseless it is . I feel deeply hurt and offended by this article. All this politically correct woke bullshit has gone completely out of control. No doubt the Hollywood elite eats that shit up and any chance of JW getting an Oscar for TROS is gone .And if I were John Williams I'd just say fuck it and retire.
  32. 1 point
    Like I said, if it is tracked, it's been pitch adjusted up a minor third for no clear reason. The statement in Falcon Flight is in Bb major, the statement after "they fly now" is in Db-maj. Extremely hard for me tell whether it's a new performance/arrangement beyond the difference in key, given the quality of the recordings we have.
  33. 1 point
    Robert Middleton is a completely forgotten mid-century American composer. Like quite a few others, he studied under Boulanger and Piston in the '40s and then toiled in academic obscurity until retirement (in Middleton's case he spent his career as a professor at Vassar). But I think his first String Quartet from 1950 is just completely alive and wonderfully expressive. Very much in that Bostonian neoclassicist style I love so much that was practiced by Piston and his students. I highly recommend it. https://archive.org/download/cd_chamber-music-of-robert-middleton_robert-middleton/disc1/03. Robert Middleton - String Quartet %231.mp3
  34. 1 point
    Fucking ridiculous article. Music breaks down these cultural barriers through embracing cultural appropriation and creative expression.
  35. 1 point
  36. 1 point
    That's one of the problems in this century: people seem more concern in finding political meaning to art than appreciating the art itself; and it doesn't make sense. Also, I hate when people just assume that Europe, which is quite diverse because is a fucking continent, is jus a big place full of only white people...
  37. 1 point
    Washington Post, along with The New York Times and several other "big names," are among the worst propaganda newspapers in existence today. Rivals Goebbel's propaganda in Nazi Germany, and that's no joke. If you are totally ignorant and clueless, you might believe the opposite. That said, I didn't even finish reading the quote about JW. No thanks!
  38. 1 point
    Anyone else pick up on the 'Alliance Assembly' vibes in 'They Will Come'?
  39. 1 point
    I love the timpani roll/hit at 1:18 when the Friendship theme drops down in the second phrase....it's just a simple fill but somehow always sticks out to me.
  40. 1 point
    Not a minifig, but I'm sure I'll make an Oma Tres mod for my Williams Brickhead at some point, when the full clip is available in good quality for reference.
  41. 1 point
    I just want a LEGO minifig.
  42. 1 point
    King Mark

    John Williams signed Jaws card

    John Williams doesn't remember scoring Jaws 2
  43. 1 point
    I think next up would be some John Williams expansions that come to mind A.I. Artificial Intelligence added so much crucial music that wasn't on the OST, like the many cues that setup the Blue Fairy theme before it pays off at the end, and a much longer time spent in the first act at the Swinton household really helps set up everything that happens at the end of the score Harry Potter and the Sorcerer's Stone certainly had a lengthy OST, but when you factor in how it was a hybrid of concert arrangement and film cues, when you separate them out you end up with a nice, lengthy film score presentation with so much more going on than you could hear on the OST album, like a lot more Voldemort theme and a lot of nice underscore instead of just set pieces, plus the entire Children's Suite is so nicely listened to as its own little mini-album as a bonus instead of chopped up and mixed between random film cues. Harry Potter and the Chamber of Secrets had a lengthy OST too, but I'd say the wrong cues were chosen to represent the full score on it. The amazing Chamber theme only appears in the concert arrangement on the album, when the film score features fantastic develops of it through and not a single one of those cues made the OST, nor did some other cues of completely original material, with the OST instead sometimes featuring cues that straight-up reprised HPSS arrangements for some reason. The new main program is just so much more satisfying. Harry Potter and the Prisoner of Azkaban again had a pretty lengthy OST, not as long as the others if you factor out the repeated material at the end, and there is just such a variety of different ideas that no 75 minute presentation could ever hope to cover them all. The OST doesn't include some of the most memorable aspects of the whole score at all, like the harpichord for Peter Pettigrew, or Sirius's rescue at the end. The expanded release really makes all the work JW did for this film shine brightly
  44. 1 point
    I've said it before and I'll say it again: These two themes are some of my favorite themes I've heard from JW in years. Ever since I first heard the Victory Theme (via the trumpet rendition in the FYC track of "Approaching the Throne"), I've been hooked. And "We Go Together" was only track 3 on the FYC, but even on my first listen-through of the album, I had to put it on repeat a few times before moving onto track 4—the theme was just so good. Couldn't be any happier than to get both these themes packaged in one arrangement. I know many people here are deeply in love with "Rey's Theme" (also a great one, don't get me wrong), but this one knocks that out of the water, for me.
  45. 1 point
    Holko

    STAR WARS general thread

    Found my new favourite video.
  46. 1 point
    Loert

    John Williams YouTube tributes thread

    Here's my piano arrangement of the glorious track "The Rise of Skywalker": I tried to respect the various orchestral subtleties, though listening back to it now I think I may have over-egged it in places!
  47. 1 point
    Skyfall is probably the best-looking Bond flick of them all.
  48. 1 point
  49. 1 point
    Okay, I'm watching the movie in 9 hours. This is a special moment. The end of the saga, perhaps the last of John Williams' great epic scores. I haven't listened to FYC because I think it's worth being patient. I think I'll write here about my feelings about the music in the movie after the screening.
  50. 1 point
    I did this suite once. It should give you enough to decide. http://www.dailymotion.com/video/xb75dy_jerry-goldsmith-fk-suite_music
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