Bayesian

Back in May 1979, each JWFan post was meticulously crafted using punch cards, which were then transcribed to computers with enormous tape reels.    
 
I remember it well because everyone was bitching about the 8-Track of ALIEN missing that romantic music from the ending, as well as the acid dripping music. 

John is modest enough to avoid even the slightest sense of self-importance when writing for the concert hall. During the recent interview with Gramophone, he even said that he does not consider the Violin Concerto No.2 very much like a traditional concerto, but more like a suite for violin and orchestra, causing the interviewer to remark that the piece is absolutely a concerto in its fullest sense.
 
I think form is absolutely important for Williams, but he never constraints himself, especially when writing for the concert hall. Sure, anyone might say if it makes sense to write a traditionally styled symphony in the 21st century, as much as it does writing a piano concerto. As you said, Williams thinks first about the person he's writing to before anything else (if he would ever tackle a symphony, he might do it by writing for a group of people he knows intimately well, like the BSO or the LA Phil), but it's also a chance for him to stretch a different set of muscles, so he would also think about what he might contribute in terms of style, substance, form and expressiveness, like he always does when writing concert music.
 
 
It could be anything and he might call it whatever he prefers, in my book. I'd just love to hear a multi-movement symphonic piece where his imagination can go unbridled as far as he wants, without worrying of edits, sound fx or dialogue. I think Soundings is indeed the closest to such a thing.
 
 
 
It's not about value, but it's about a chance of expressing yourself in a different context, where music is the first and solely thing that matters.  Personally, I'm not of the camp who sees any piece of music as a vehicle for storytelling. Music can exist just for the sake of itself, i.e. an organized collection of sounds driven by the intellect of somebody who wants to express an idea or an emotion through a specific language. We can listen to Beethoven's Pastoral Symphony and picture "scenes of country life" as marked on LvB's score. But we can also just focus on the sounds and get inside the music without associating an image in our head, as much as Beethoven did when he wrote it. That's the beauty of music, it can express multitude of things at the same time. The Quidditch Match is a terrific, exciting and fanciful piece of music, constructed with the greatest sense of drama, architecture and musical coherence. I believe it can be performed in concert as is without changing too much. But it's a piece that was meant to fulfill a very specific need, i.e. accompany the scene of a film. Virtually all of what you hear was dictated by something that wasn't decided by the composer, but by the film itself. It's a different thing, and again, it's not about aeshetic/artistic value per se. It's about context and purpose.

Vivaldi jokes are seasonal; Haydn, timeless.  

I cannot wait to watch this!

In Québec's typography there's no space before and after the "/".
 
I don't know the rule in plain American. I think you don't even have a rule for that. After all, if it's not in your Const... Whoops, sorry...
 

Oh man I have to put spaces around the forward slash or it drives me crazy.
 
”Main Titles/Arrival” has to be “Main Titles / Arrival” or I won’t be able to sleep.

I am in the very same OCD boat as you (and Smeltington). The inconsistencies in album metadata compelled me to wrangle a new system sui generis over a decade ago. Since I use iTunes, er, Apple Music, my system is based on the metadata fields Apple gives me access to. (Some fields, like Release Date, appear uneditable, so I ignore those.)
 
First, I should mention my primary organizing principle is every track of music belongs to an album and every album is also a playlist. That means I have no mixtapes. Also, in my library, singles like the JW's Obi-Wan Kenobi or Galaxy's Edge become albums/playlists with a single track to them.
 
Second, I organize albums/playlists into nested playlist folders. At the top level is genre: classical, scores & soundtracks, jazz & vocal jazz, musicals, and non-classical (ie, everything else). Within each of these genre folders is a series of playlist folders. For the soundtracks genre folder, I have about three dozen playlist folders, each one named for a composer I like, plus a "Various composers" folder. (For me, luckily, Vangelis is the last named composer folder, so my Various folder falls naturally at the bottom of the list.) Inside each composer playlist folder are individual playlists. Each score gets its own playlist (remember, album = playlist). Some composers might have four or five playlists because I only like four or five of their scores. Others will have over a hundred.
 
Now, then. For each score = album = playlist, I have to make sure my "Album Artist" info is identical for every track that is found in that score/album/playlist. This field appears to be the primary way that Apple can tell apart albums. Once Album Artist has been batch-renamed inside Apple Music, I turn to the other fields. In short: Title, Artist, Album, Composer, Genre, Year, Track, and Disc Number are always 100% filled in for every track. I also add the highest quality artwork I can find for each and every album. (This was to make sure my Cover Flow experience was perfect; remember Cover Flow??)
 
In terms of spelling and formatting: I separate two-part track titles with slashes (so "Main Titles and Arrival" becomes "Main Titles/Arrival"). I capitalize all words except conjunctions, making exceptions as the situation warrants -- unless the title is written in French, whereupon I use sentence case. I replace ampersands with "and". In the Composer field, arrangers are denoted "(arr. John Doe)". For album titles, expanded editions are denoted with "[Expanded Edition]" after the movie title. On the topic of expanded releases, I use the Grouping field to batch-edit a group of tracks that represent "Original soundtrack", "Additional music", or something like that.
 
Literally every one of the ~73,000 tracks in my library has been critically reviewed in this manner--sometimes several times--over the last decade. If I were somehow to start a library from scratch today, I'd want to say fuck it and let Apple or Gracenote handle all the metadata, but the truth is I'd still be just as OCD as I am now.
 
You don't want to know the shit I put myself through to make my classical albums consistent.
 
While my system may sound like madness to many, it does have some benefits. For one thing, there is no possibility whatsoever of finding a duplicate album in my library. It's also dead simple to navigate my folder tree to find any score (or classical album) you're interested in.

I think Avatar 2 will succeed for the same kinds of reasons Top Gun Maverick is succeeding in theaters now—it’s a refreshingly different adventure experience from the MCU and its ilk, and it’s something people will say needs to be experienced in theaters. Word-of-mouth is going to drive asses into IMAX seats this December and beyond, just like it did for the first one.
 
Will it top the all-time box office? Who knows? TGM wasn’t supposed to do its level of business, yet look at its legs. Plus, Cameron has experience making sequels widely considered to be superior in every way to their predecessors (i.e., T2:JD).
 
Avatar 2 is going to earn boatloads of money and to that I say, good. Let it join TGM in proving the studios can make money from IP that isn’t built around superheroes or comic books. 

I think Avatar 2 will succeed for the same kinds of reasons Top Gun Maverick is succeeding in theaters now—it’s a refreshingly different adventure experience from the MCU and its ilk, and it’s something people will say needs to be experienced in theaters. Word-of-mouth is going to drive asses into IMAX seats this December and beyond, just like it did for the first one.
 
Will it top the all-time box office? Who knows? TGM wasn’t supposed to do its level of business, yet look at its legs. Plus, Cameron has experience making sequels widely considered to be superior in every way to their predecessors (i.e., T2:JD).
 
Avatar 2 is going to earn boatloads of money and to that I say, good. Let it join TGM in proving the studios can make money from IP that isn’t built around superheroes or comic books. 

A film score is not a symphony. Williams certainly wrote symphonically for many films (Star Wars, Superman, Harry Potter), but a film score is inevitably subjugated to a series of preconditions that put musical structure underneath the film's needs. The film is always king. This doesn't mean that a film score is necessarily inferior to a symphony from a pure musical standpoint, of course. We can talk about the importance (or not) of form and structure all day long, but a symphony is generally an opportunity for a composer to unleash all of his/her musical imagination and knowledge without boundaries or preconditions, save for the ones that are set by the composer. I would really love to hear JW tackling a symphony and despite I will treat this item just as a wild rumor, I would not be surprised if he's thinking of writing one. I mean, he just announced he's finally writing a piano concerto at 90, so why not a proper symphony as well?

Don't you dare give studios another way for us to buy the same movie for the umpteenth time!

I’ve been turning to digital purchases more and more lately, especially for current film releases - but I’m gonna miss seeing my Discogs collection value rising.
 

 
When I die, please don’t let my spouse go to Goodwill

bring it on. I buy everything I love physically. Refuse to trust streaming. And filling shelves is nice.

Nobody is forcing anybody to rebuy anything.
 
A popular title sold out, and is now back in print for anyone who missed out to get a chance to own.
 
They could have released the same identical discs as before, but instead Mike and I spent a bunch of time together to make this as comprehensive as possible.  Would you have preferred these film versions sat unreleased forever instead?

I love the Clear and Present Score. One of my favorite Horner scores (which is saying something given how many great movies he composed). 
 
I actually worked on the sound edit for about a week in June of 1994, moonlighting from Sony in the evenings to help a friend of mine get all the dialogue finished. I worked on the scene where the drug lord bad guy is in the batting cage and switches from Spanish to English dialogue. It was a lot of fun to be on the Paramount lot and to help on the movie in some small way.

Some little bits of footage from the concert (plus new interview footage with Yo-Yo Ma and a recycled JW interview clip from 2014). Nice tribute.

So far we've had complaints that:
A new version is released at all "shortly" after the previous one, which is out of stock, when people have already been complaining that they missed out on the old one and that this score should always be in print. The new version is (possibly) an improvement over the previous one. Whenever there's only one small detail that's not perfect about a release, there's usually a big shitstorm. Yet there's inevitably another shitstorm whenever they actually have a chance to correct mistakes or otherwise improve a release as well. That the previous version has been marketed as having "great sound" when the new version might have better sound - see previous point. Should they refrain from further improving a new release when they could just so that people who have the old one don't complain that what they have is no longer the best version? Shouldn't they have not released the box set in the first place, because there was already an OST album when the film came out? That the new version has two CDs when the previous one also had two, and you couldn't fit the entire score with album alternates (only a few of which were on the previous set) on one disc anyway. That the labels are only doing this to make money. But the labels are businesses, and if they don't make money, they won't be able to release anything. We should be lucky that what drives them when deciding what to release and how to release it is not a mere business decision (see all the other threads with complaints about Disney and and SW scores) but actually done because they care about the music and want to preserve and make available as much of it as well as they can - and can afford to.  
…and I think I've still forgotten about a few I wanted to mention.
 
I for one am happy that the score will be available again, and that LLL may turn more profit from it to fund other stuff down the line. Whether I'll buy it myself will depend on how it differs from the versions I already have.
 
Except that it was already very popular even before Spielberg turned it into a film. And it's probably a safe bet to say that far more people have read it than are even aware that LLL exists.
 
I've read it twice. The book is much better than the film.

JW's auditioning for the gig. 
 
Natalie Holt is presenting her demos next week. 

They recorded a huge finale cue with 208 piece choir, 314 piece trumpet section, and an 18 minute end credits suite conducted by Gustavo Dudamel.
 
Anne Sophie Mutter and Yo-Yo Ma performed a Raiders March duet with accompanying nose flute, while Steven Spielberg brought everything full circle by performing as principal clarinetist.
 
Williams extended an olive branch to Giacchino, allowing him to adapt the new theme in over a dozen cues, then shredded every page of music in front of the orchestra.

I don't want Matessino to focus his attention on education, healthcare, wars, economy, etc. I want him fully focused on expanding every single score John Williams has written/will write.
 
However, I do think Hans Zimmer could be a fine president. He certainly spends a lot of his free time complaining posting about politics on his Facebook page. Also, he'll surely let his RC team do all the work for him anyway.

Only explanation is he's on holiday.
So...lets talk politics!😜

Why do folks say " I hate double dipping!"  and then go ahead and double dip?
 
" We do what we're told...
Told to do.."

Did we really make it to page 2 of this thread without somebody photoshopping the teeth out of the cover art?