SteveMc

I've met @Jay Still need to make the trip to meet @Nick Parker

Any of y'all meeting up before tonight's concert? Not sure I can make a late night get together, but I don't want to miss out all chances to mingle.

At H2 in the Lowes lobby if anyone wants to hang. On the couches.

H2 Kitchen and Bar is like within walking distance to the Bowl. Seems a well regarded spot, kitchen open until closing. Might be there on Friday night with a friend after the concert. Place is open until 12. Jameson's pub is just a stone's throw from there, open until 2. Also a couple of karaoke spots around.

I'll look up some nearby spots. I'm down for heading out again Sunday night too.

I'll be at the Friday night concert! Would love to meet up and chat.

i look awful on camera, but have recently embraced it

we are still doing this?

Can't wait to hear the recording when it comes out!

In the late 70s she became one of the most famous people in the UK. She indeed did not show up on America's radar until Hounds of Love in 1985.

Bush was actually approached to sing the title track for Moonraker but passed on it, thinking she was not suited for the song. Her sensuous late 70s style would have been perfect for where the franchise was stylistically at the time.

saw this today at the theater, decided to give it a go, being a casual admirer of Bernstein's WSS, despite not caring at all for the 1961 movie. I was one of 3 there. I understand why the movie is not doing well. 1. "regular" audiences are pretty dense. 2. this movie is not really geared towards musical fans and 3. it is too big and mainstream for the cineastes. All that does not change the fact that this is probably Spielberg's best movie since Catch Me If You Can and just maybe even since Schindler's List. It may be a "movie no one wanted or needed" but he put his heart, soul, and genius into this one. I'll go more at length elsewhere.

Tributes! (For Seiji!) (1999) This is a mature occasional piece that is substantial in length, postmodern-accessible in character, and virtuosic in nature, to the point of being described by some as almost a concerto for orchestra. Written to commemorate Seiji Ozawa's 25th year with the Boston Symphony, it is one of Williams's most interesting concert work achievements. It seems to blend some of his concert sensibilities with his 90s action style and a touch of 70s era grandeur. The work consists of sections that highlight different segments of the orchestra, in a celebration of the form and how it interacts with its surroundings, all culminating in more false endings than can be numbered! Some program notes by Williams for the piece can be read here: http://www.jw-collection.de/classical/seiji.htm Here is a concert recording of the BSO performing it. I believe a CSO concert recording boot also exists, hopefully it surfaces on YT.