Leaderboard

I made these covers last year if anyone wants something closer to the original key art. I've updated them to include the director credit but I've left off the Williams credit for consistency's sake (and it's only there for legalistic reasons... none of the World scores had it).

Apparently it's Bouzereau's phone

I liked the lack of hyping this time. We get very wishful when we're just given info on # discs and price points. Also shipping before December is extremely welcome

To be honest, for me, the speculation stuff is fun for about 5 minutes but it always gets out of control and into the magical thinking realm and takes up too much bandwidth (I know you can ignore it, but then there's the risk of missing something interesting in amongst the "this will definitely be a 200 CD boxed set of every time JW coughed while conducting the prequel scores" predictions). I'd much rather have a surprise in my inbox about 3 scores I'm thrilled to get in expanded form covering a couple of different eras and some very fine, and diverse composers. Sorry (not sorry) if that makes me boring, but frankly seeing this email pop up while walking along the mean streets of Guernsey on my way home was a lovely treat.

Cue by Cue: The Music of John Williams - #1.33.5 10m1 Ben's Death Addendum: Cue by Cue: The Music of John Williams - #1.34.5 10m2 Here They Come Addendum: Cue by Cue: The Music of John Williams - #1.35 11m1 Stand By (Wook link)

For me it’s all about the releases. Give me cool new film score releases any time of the year. I’ve got a lot of other annoying shit to worry about on Thanksgiving anyway.

The original Godfather II LP had rather bad artwork. Who is that? Michael? Why is he standing like that? Is that in the film? It doesn't look like him or anyone in the film.

It's like that opening blast to Star Wars.

I liked his golf swing.

I always thought the rumour going around that Elfman torpedoed Spider-Man 3 getting a soundtrack release was absurd, and for that very reason that he didn't own the material. Honestly, Sony going 'welp, soundtrack CDs just don't make us money' sounds about right.

CDs are digital.

Yeah although I've noticed Samantha going to these things more lately. I think it's probably a privacy thing and maybe some embarrassment since the doc is more of a tribute to his legend with occasional glimpses into the man himself. It was probably a whole discussion where they just decided between themselves which family members were the most comfortable. She got a Special Thanks credit so she was obviously helpful in other ways, even if just for her patience lol.

I believe it was that or he wrote both and Spielberg picked the one he liked best as the “main” theme. I seem to recall that, however it came about, JW’s preference was Remembrances. I can kind of see why, it’s more introspective and subtle than the main theme. I mean they are both beautiful and genuinely haunting pieces of music. I often say that one of his great, but less recognised talents, is writing secondary themes for scores that if they were by most other composers. they would be near enough the best thing they ever wrote.

5M9 and 5M10 were combined into a single cue (called "5M9/10 Aunt May Packs") during recording. The old bootleg simply calls it "Aunt May Packs and Sells Spidey", which is the same length as the track on the LLL set.

I have always preferred the 1976 version of King Kong. Even before the PJ remake, I collaborated with the late founder of the 1976 movie fansite Kingdom Kong, which is still hosted in his honor, and made a gif with a stolen copy of Photoshop that he tributed to me back in 2005. You're welcome. This is internet history. https://www.pulpanddagger.com/canuck/kongpage.html

And a small detail I noticed on his phone: he has the LLL version of E.T., which surely demonstrates how big a fan he is.

Regarding the health situation, here's Jennifer on the red carpet, saying he's doing great and will "be back on the road very soon". Take it for what it's worth: By the way, I think Spielberg has had a few pre-premiere drinks. He looks tipsy!

It is very easy to forget these.

Actually I had totally forgot about the Jaws sequels... but I guess that, like Harry Potter, it's only really the theme that gets used in those. I'd have to given The Revenge another listen to be honest! Either way, it was evidently not striking enough in its use for me to remember so I'll stand by my original choices! OK, I listened to the end credits as a sample and yeah, some nice arrangements of the original Jaws themes there.

I am still wondering what the true story is behind the intro music to the Pteranodon Habitat. It appears to not be included, so I am hoping someone who worked on it can finally confirm once and for all if it was by Don Davis or not. Maybe that information will be provided in the liner notes, but in case it isn't, I hope we at least get the story provided here.

That's more conspicuous. Now, let's engage in wild speculation.

They're obviously a very private family, Williams didn't want to allow a biography or documentary about him for years - but of course, if his wife doesn't feature in it, it must be because he's having an affair with ASM, or because of 40+ years of unquenched resentment against his first wife…

What about "Jaws - The Revenge"? I never conciously listened to that one. But I seem to remember, it had quite some of Williams' original material.

I've come to love Spider-Man 3. Its flaws are plenty, but its sincerity really makes it hold up and stand out. I love everything about Sandman. I especially love how Raimi conceived the 'big bad' of the finale of the trilogy to be a guy who's decent at heart and is ultimately 'defeated' by... being forgiven. Corny? Sure, but I like that its unashamed to hang its heart of its sleeve, and it's far more satisfying than having the conflict resolved by who can throw the bigger punch. (Raimi did something similar in MoM by having Wanda 'defeated' by...getting what she wanted and being consoled by herself.)

I personally like SM3, but it does have its flaws. Christopher Young’s score is excellent but with a different feel from the first two films. I hope that score finally gets released officially and given the same treatment as the Elfman scores. It would bring some closure for this score and the Raimi SM scores.

I like the movie but Venom never should've been apart of it, and Raimi didn't want him in it because he said he didn't understand the character, or something to that effect.

Another glorious!🥹, but sadly short, new sneak peek of Powell’s score in this new Instagram reel. Here I extracted the audio: ReelAudio-3636.mp3 https://www.instagram.com/reel/DB4Gf0qvnAg/?igsh=MWxsbzMwM3FoNHIyNw== Truly, this is gearing up to be a new Powell’s masterpiece! —— Someone pointed out in the comment that the tune heard in this sneak peek is from the original Wizard of Oz, “Follow The Yellow Brick Road”, hear it below: That tune was, presumably, adapted by Stephen Schwartz for the tune of “Thank Goodness” song from the original Wicked broadway, here:

I don't think Elfman has any control - he doesn't own the material. We know that because we could use it without his input or involvement. It was Raimi who wanted the original material used and Chris said the themes needed to be flushed out further but preferred creating new themes than existing ideas that weren't full themes. There was a CD master made but my recollection is Sony determined not to make a soundtrack because the landscape was shifting and some other big budget film flopped (I just can't remember what it was...were all the Pirates movies huge successes?) so Sony felt that and a shift away from soundtracks to download was happening AND the film wasn't well received by fans. So the production company shelved the soundtrack back then. Chris was very excited to release the album and I remember seeing it as a single CD around 65 minutes in duration, but it was only the master that was submitted and the release squashed. They just didn't feel it was going to be sufficiently profitable at that time.

I worked on that film with Young. Yes he wrote the whole score except the inserts that used Danny's music from Spidey 2. For example, the main title theme, Chris wrote his music then the music stopped for 18 bars (or whatever it was for the insert) that were just inserts of Danny's theme. We had access to all of Danny's material and could just insert but like any composer hired to score a film, you would want to do that as little as possible so you can produce your vision of the material. That happened wherever Danny's theme came in straight as written from prior films. Then got behind due to reshoots and revisions/reedits and there are loads of alternate cues. Eventually it got bad enough that he needed extra help though he had written material for scenes. There was a few times that his cue was rejected, and the alternates were used just like what happened in Spidey 2. This is for many reasons, there were tons of producers involved and each had opinions and contradicted each other and this applied to the film and score. Some preferred Young's cue, some preferred Debney's or whoever, etc. Some lamented wishing Elfman was the composer instead.

As I've commented on several occasions, I would consider JPIII to be the best sequel score to a JW film using JW's music, with perhaps only Superman IV being in close contention*. DD manages to use JW's themes in ways that JW never would, but that work superbly well, while adding his own stamp on it, while somehow keeping it impressively coherent. Sure, Davis' action writing is a bit busy on occasion, but it's clearly written by a composer with a superb grasp of the orchestra that it never feels busy for its own sake. Ironically, the family theme (or whatever you want to call it) is possibly too far the other way in being a touch simplistic, but it's a nice enough theme and doesn't sound out of place alongside the bustle. Only real disappointment is that it doesn't include the 30 minute extended version of Randy Newman's Big Hat, No Cattle which I know everyone here was craving. *The other two original Superman sequel scores are more just adaptations of JW's material so I would discount them and, much though I like Superman Returns, Ottman's score just isn't as technically accomplished or coherent. I would also exclude the later Harry Potter scores as they aren't really adapting much of JW's material beyond brief quotes of the main themes. Solo is more its own thing as a semi-collaborative effort, although if I did include it, I'd probably put it above JPIII, albeit not by a huge amount. They are both great. Giacchino's Jurassic World scores are fine, but Giacchino sort of flattens out JW's material so it feels like it's lost all the nuance and his own music is a much less good impression than he did in his Medal of Hono(u)r scores which channel JW far more effectively.

I'm definitely very happy I won't have to play the usual "will it arrive on my last week at work or on my week at home, where do I order, ugh they're slower than expected now I'll have to change it" game!

What is heard seems to be a read through from one of the Boston Globe articles about what was going on at the time. Back then, and even years later, when asked Williams provided very little information on the topic. Lack of discipline and respect from orchestra members was the main reason, and there is a television interview from around that time where he is seen complaining with the orchestra during the rehearsal of Varsity Drag. But what apparently broke the camel's back was indeed that kind of attitude during the rehearsal of his own piece. By the way, back in 1984, several musicians were supportive of Williams. And at least one BSO veteran, while praising Williams for his artistry at the podium, tried to deflect any responsibility from the orchestra, making it sound that he just wanted to get out of the job. Should be mentioned that, by the time the contract was first revised, in 1982, rumour was that Williams wanted to leave the Pops for a more serious and prestigious conducting position.

Intrada doesn't need to recognize some fake lower class American event where nutjobs trample each other for shitty discounts on Chinese junk.

Intrada doesn't do Black Friday

My favourite such moment was when he recounted previewing the Jaws theme for Spielberg. Favourite moments from other participants: Kate Capshaw on hearing the Schindler's List theme for the first time (made me tear up), and Chris Martin fanboying over E.T. (made me smile). And me applauding.

Eddie Brock/Venom being summed up with 'I like being bad; it makes me happy," feels so incongruous with the very human and personal drama of Sandman and Harry. He just doesn't belong. I also think Raimi's original plan of for Peter to become cocky/angry without the conceit of the black suit is far more compelling, but I guess that was never going to fly. I flip flop between enjoying the first or second more. I'd say I prefer the first thirty minutes of SM1 to anything in SM2, but SM2 is overall just tighter. It's one of the only big budget sequel I can think of that manages to feel bigger and more intimate at the same time. Both are great, though. On another note, here's Steve Bartek on what happened with Spider-Man 2: The Danny/Sam Raimi controversy seemed fairly simple from my perspective: Sam abandoned ship for the week of recording [Spider-Man 2]. Much like I had said how great it was recording without the director on my low budget film score, with Danny he lost his director on Spider-Man 2 and it was not good. Sam showed up the first day, then disappeared to a vacation with his family. Then he came back with a list of notes that he wanted changes. While we were recording without him, we were trying to second-guess what he wanted. Sam had been listening to the temp score so much that he wanted a parts of the score to be more like temp. No matter what you of him or what relationship you have with him good or bad, it's the director’s film and it's he who decides what is going to be in the movie. You have no real control of how your music is used. As the composer you need to satisfy the director’s needs and with Sam Raimi disappearing, we had no chance of satisfying what he wanted. Having a director involved with your work may be painful but the film will be better for it. https://neumation-music.com/blogs/news/a-composer-in-conversation-steve-bartek?srsltid=AfmBOoonmSWIndHFy9sYYY96z7sJ-yDMlyhir9-pg9aKjS1q2sExeyFu

So John Williams considers Yoda's Theme one of his best work. Couldn't agree more, it's a magical piece, and so great that he loves it so much. JW was at his absolute best 1975 to 1984, everything he wrote during that period is fantastic, especially Star Wars (and Indiana Jones, Superman, E.T. and CEotTK)).

It’s okay. The way the footage was edited and the lead up to what you knew was coming (the fanfare blast) … Well, I’ll put it this way. I cried. And I remembered for the first time in a long time that I actually love Star Wars. That part of the doc (even with the sped up Star Wars logo) shot me right through the chest.

As was the case with "WandaVision", where some members here took it upon themselves to chronologically breakdown and re-order (where necessary) the score to the show... I have been doing the same with "Agatha All Along". Or at least, I have been trying my best within my iTunes library, also combining and inserting in the pop songs and other miscellaneous tracks that were not included in any of the various official soundtrack releases so that I have a fuller soundtrack all contained in one album in my library. I have also split the tracks up as different "disc" numbers to separate them per episode. For the most part, it seems the tracks do relatively go in sequential order except for a few exceptions, however, as with "WandaVision" some tracks either appear out of order on purpose (such as "Agatha's Theme") for the original album's decided listening arrangement, and some tracks (like "Rio") are a combination of two music cues that will require splitting apart and adding fade-ins and outs and reordering). I also noticed tracks ("Spirits Be Known") that are an amalgamation where the beginning of the track will play as normal within the episode, but then a chunk will be missing, and then suddenly crossfade into a music cue a bit later in the scene). Then of course, there are just score sections (even large portions!) within the episodes themselves that are just left out of the albums altogether and are missing. Which, unfortunately, I believe is pretty normal for incomplete score releases. So, anyway, below I have outlined everything I have come up with so far. I may be missing elements here or there, so if anybody catches anything or would like to further assist with any changes or fixes, feel free! Anything that appears in square brackets beside the track info are my personal notations, giving additional context about something. I have also attached a piece of album cover art for anybody who likes to combine and clean up these releases into one tidy album with a main piece of album art for the whole series. Alright then, here's what I've got thus far: E01: Seekest Thou the Road 1. Agatha All Along (Dave Audé Remix) (2:01) – Dave Audé, Eric Bradley, Gerald White, Greg Whipple, Jasper Randall, Robert Lopez and Kathryn Hahn [just included as a fun album opener track since it was released as a single in early September, before the show premiered, not actually featured in show] 2. Jane Doe (2:34) – Christophe Beck and Michael Paraskevas 3. The Ballad of the Witches’ Road (True Crime Version) (1:43) – Matthew Mayfield 4. The Night is Ours (2:31) – David Gerard Lawrence and Charles Morton [can be found online] 5. Nicky (1:43) – Christophe Beck and Michael Paraskevas 6. Let's Find Out, Pt. 1 (2:53) – Christophe Beck and Michael Paraskevas 7. All Along (3:34) – Christophe Beck and Michael Paraskevas 8. Coochie Coochie Coo (4:10) – Christophe Beck and Michael Paraskevas 9. Season of the Witch (4:58) – Donovan [can be found online] E02: Circle Sewn with Fate / Unlock Thy Hidden Gate 1. The Coven March (1:17) – Christophe Beck and Michael Paraskevas 2. On My Mind (2:34) – Blackhand [can be found online] 3. Karakoram (3:05) – Kulwant Singh Bhamra [can be found online] 4. Visions (4:21) – Plastic People Karakoram [can be found online] 5. The Gallery (5:06) – Wild Signals [can be found online] 6. All Odds (2:54) – Wild Signals [can be found online] 7. There's a Road (2:50) – Kinney [can be found online] 8. The Ballad of the Witches' Road (Sacred Chant Version) (3:18) – Kathryn Hahn, Sasheer Zamata, Patti LuPone, Ali Ahn and Debra Jo Rupp 9. Salem's Seven (2:49) – Christophe Beck and Michael Paraskevas 10. The Ballad of the Witches' Road (Score Version) (1:42) – Christophe Beck and Michael Paraskevas 11. Agatha's Theme (End Credits from "Agatha All Along") (2:11) – Christophe Beck and Michael Paraskevas E03: Through Many Miles / Of Tricks and Trials 1. Wine & Die (0:57) – Christophe Beck and Michael Paraskevas 2. Lucid Spellbound Divination (4:12) – Christophe Beck and Michael Paraskevas 3. Sous Vide (3:20) – Christophe Beck and Michael Paraskevas 4. Out of the Brew (4:01) – Christophe Beck and Michael Paraskevas 5. Heads Will Roll (3:43) – Yeah Yeah Yeahs [can be found online] E04: If I Can't Reach You / Let My Song Teach You 1. Three of Pentacles (2:39) – Christophe Beck and Michael Paraskevas 2. Rio, Pt. 1 (0:40) – Christophe Beck and Michael Paraskevas [the track "Rio" is backwards in sequential order and will need to be split up at 2:20 in and be labelled as Part 2, and then the cue tagged on at the end that begins at that point and lasts about 0:40 at the end of the track will need to be labelled as Part 1 and placed in this chronological location] 3. Old Ass Curse (3:45) – Christophe Beck and Michael Paraskevas 4. Play it Rite (2:12) – Christophe Beck and Michael Paraskevas 5. The Ballad of the Witches' Road (Cover Version) (4:40) – Kathryn Hahn, Sasheer Zamata, Patti LuPone, Ali Ahn, Joe Locke and Aubrey Plaza 6. Three of Swords (2:14) – Christophe Beck and Michael Paraskevas 7. Rio, Pt. 2 (2:20) – Christophe Beck and Michael Paraskevas [this is the 2:20 first split up portion of the track "Rio" placed here, with the remaining 0:40 cut off and placed chronologically in the track #2 position) E05: Darkest Hour / Wake Thy Power 1. Broomhaha (3:30) – Christophe Beck and Michael Paraskevas 2. Spirits Be Known (2:47) – Christophe Beck and Michael Paraskevas 3. Séance in a Blood Moon (2:32) – Christophe Beck and Michael Paraskevas 4. Knight of Wands (5:43) – Christophe Beck and Michael Paraskevas 5. Heavy is the Head... (2:23) – Christophe Beck and Michael Paraskevas 6. You Should See Me in a Crown (3:02) – Billie Eilish [can be found online] E06: Familiar by Thy Side 1. Rite of Passage (1:20) – Christophe Beck and Michael Paraskevas 2. No Need to Try (2:34) – Blackhand [can be found online] 3. Hava Nagila (5:04) – Brothers of the Baladi [can be found online] 4. Black Night (3:16) – Clementine & The Galaxy [can be found online] 5. Shadower (3:30) – Cody Page [can be found online] 6. Home Sweet Home (3:54) – Christophe Beck and Michael Paraskevas 7. Billy Kaplan (1:38) – Christophe Beck and Michael Paraskevas 8. Dead of Night (4:01) – Orville Peck [can be found online] 9. The Ballad of the Witches' Road (Lorna Wu's Version) (4:41) – Seomoon Tak 10. Hooligan! (2:04) – Christophe Beck and Michael Paraskevas 11. Let's Find Out, Pt. 2 (4:24) – Christophe Beck and Michael Paraskevas E07: Death's Hand in Mine 1. Tricks & Trials (3:25) – Christophe Beck and Michael Paraskevas 2. Magic Castle (3:08) – Christophe Beck and Michael Paraskevas 3. Queen of Cups (3:48) – Christophe Beck and Michael Paraskevas 4. The Tower (Reversed) (3:36) – Christophe Beck and Michael Paraskevas 5. Time in a Bottle (2:27) – Jim Croce [can be found online] E08: Follow Me My Friend / To Glory at the End 1. Liminal Space (2:57) – Christophe Beck and Michael Paraskevas 2. Do Not Pass Go (1:51) – Christophe Beck and Michael Paraskevas 3. High Priestess (3:31) – Christophe Beck and Michael Paraskevas 4. One More Breath (4:52) – Christophe Beck and Michael Paraskevas 5. A Seed Resown (2:34) – Christophe Beck and Michael Paraskevas 6. Fisticuffs (5:43) – Christophe Beck and Michael Paraskevas 7. Kiss of Death (2:48) – Christophe Beck and Michael Paraskevas 8. Flowers (2:48) – Christophe Beck and Michael Paraskevas 9. Going Through the Motions (5:05) – Christophe Beck and Michael Paraskevas E09: Maiden Mother Crone 1. Maiden Mother Crone (3:03) – Christophe Beck and Michael Paraskevas 2. From Birth (1:30) – Christophe Beck and Michael Paraskevas 3. Salem, 1756 (2:30) – Christophe Beck and Michael Paraskevas 4. The Ballad of the Witches' Road (Nicky's Version) (0:49) – Abel Lysenko 5. Down the Windy Road (2:58) – Christophe Beck and Michael Paraskevas 6. Hold Your Hand in Mine (2:39) – Christophe Beck and Michael Paraskevas 7. To Death (2:00) – Christophe Beck and Michael Paraskevas 8. The Ballad of the Witches' Road (Agatha Through Time Version) (2:36) – Kathryn Hahn, Sasheer Zamata, Patti LuPone, Ali Ahn and Debra Jo Rupp 9. One Door Opens (3:35) – Christophe Beck and Michael Paraskevas 10. The Ballad of the Witches' Road (Pop Version) – Japanese Breakfast And that's about it for what I have come up with! There are a few tracks that can be identified from the show’s credits/IMDb listings that cannot seem to be found anywhere online that I’ve been able to locate myself. They are “On My Mind” and “No Need to Try” by Blackhand (courtesy of The Math Club) as well as “The Road to Happiness” by Natalie Poole. I'd appreciate it *A WHOLE LOT* if some savvy internet-searching sleuths out there could dig up these elusive tracks! Again, if anyone has any catches, corrections, or updates... please share! Hope this helps other fans!!

When JW and Ken Wannberg are looking at the moviola or when JW is playing the piano (composing) during the Star Wars (1977) segment, is from The Making of The Empire Strikes Back 1980 BBC documentary. Bouzereau was using what footage he had quite freely.

I'd say the march on its own isn't comedic, rather jolly.

And I'm pretty sure all three of these approvals happened *before* the "health concern".

It's impossible to verify of course, but I find it a fun exercise to identify pivot points in Williams's career. For example, without his barely orchestral country score for Sugarland Express, we might never have gotten his collaboration with Spielberg, and therefore no Star Wars. In its own way, that score probably had a massive impact on the world of orchestral and classical music for the past four decades - and more than that, on the whole world, if you consider that with a different score, Star Wars might very well not have had the impact it did. Tough as it sounds, maybe the death of Barbara Ruick was another event that has quite notably affected the lives of perhaps millions of people who haven't even heard of her.

Hopefully they will be able to fit a mostly coherent program, including film versions, intended versions, alternates, etc., into 3 CDs. Have we ever get a 4 CD release of a score for a single movie? I mean, besides those 50s and 60s epics by Miklós Rósza and Alex North. Expanded releases for the first three Pirates of the Caribbean films would also be great. Who knows, maybe this AFM thing being resolved Intrada could convice Disney to let them do it, like Dinosaur.

The CE3K musing is also now my all-time great example why this man should have been interviewed at a piano at all times. Obviously impractical but there's really not enough footage of him stationed behind the keys demonstrating how he thinks about this stuff. He's clearly having more fun and it's so much clearer than when he's just trying to describe why a 7th chord in third inversion sounds more sinister for bad guys or referencing "thump thumps" or whatever. It's also why it's so hard to talk about music on here without just embedding YouTube videos.

Yes, alternate takes and all. Maybe around 3 or 4 hours of music was recorded but much of it was just alternate takes. Like playing the love theme as written then playing it again but without the cued instruments then playing it again with maybe the piano sitting out type of thing. What ended up in the movie might be part of each so you have 3 different recorded cues, were two others rejected or were none rejected because they were all edited together? That's actually very common in film scores especially on huge budget films. Pirates 3 was being made at the same time and competing with musicians but similarly went through rounds and rounds of rescore and re-records. Stuff like that that I wasn't involved in as I only worked on the music and some spotting meetings. One other thing worth mentioning, sometimes (often) the filmmakers don't know what they want and ask two or more composers to score the same scene in different ways and then decide which they'll use. That happened too. So one shouldn't interpret that as the composer missed the mark because they might not have known of the other direction. It just gives filmmakers options, and they are still making the film so might like options especially on the big or important scenes. It is good for the composer to not be too married or have too much ownership of their work for film because they might find out during the premiere that half their biggest cue was dropped and replaced by something from someone else and they weren't aware of it.

Old age sucks. However, we have literally volumes and volumes of music from him to listen to. He has given his all, and we are all grateful. I think the piano concerto will be the career apex--as I am sure it will be in his less accessible concert mode, it will not be appreciated as such by mass audiences. But, his instrument of choice, his timeframe, his vast composing experience in one final massive work-it is a storybook ending. But, yes, like everyone else, I hope he lives and writes for years to come.

I'm sorry guys. What happened is serious. the second one anyway that stemmed from the first. He's the only living idol I have left, you think I don't want him to recover and live till 345? I truly hope he does (recover). I've seen him in London and I've seen him here in LA more times than I can count. I would love to still see him conduct. Just remember, injuries that we sustain when we are younger are different to the same ones we sustain when we are older, let alone in one's 90s. What kept him and any other person his age going is the body's ability to walk and do things and his brain to be stimulated by writing and playing. When all of that goes out of the window the body starts collapsing and other things happen. I truly hope what I heard from the inside sources is wrong, but do you guys think that having the premiere of "Music by John Williams" be in our hometown of LA and the fact that Williams could not simply come and sit in the audience but instead it was his daughter Jenny there... Do we not think that as telling at all? Bear in mind, this came second hand to me, so I cannot 100% guarantee what happened but one of the people in the chain was Jenny Williams..... But also, that does not mean he will not recover, right? So I'm hoping for the best but getting ready for the worst. UPDATE: OK, I made a call. I know some of you will think I am making this up but trust me, ask any longtime member including Ricard, I am not. So I called my friend and he didn't have any new info but then he said let me make a call. He just called me back, he IS doing better.

.