Nick Parker

You're probably right, but I'm sick of the nostalgia force driving so many movies, video games, music etc. over the last decade or so. "By fans, for fans". So many things seem to be a tribute, or homage, or love letter. 
 
It's natural to be inspired by something, especially from a young age, and desire to tap into that in your own efforts. That's the path of human endeavor. George Lucas' inspirations for Star Wars are famous and abundant. But when you watch the final result, the way he channeled those inspirations and influences, it's something very much his own. What do I get when I see something like Super 8? A dude who loved Spielberg films growing up trying to make a Spielberg film, and it comes out like a milquetoast derivative of E.T.
 
Why are people savaging Solo? Because of its own downfalls as a film, or is it some nebulous attack on Star Wars the same way The Last Jedi was?

Here is Han Solo and the Princess, from my recording of the stream, I wasn't able to get Adventures of Han.
 
 

Hey, a dude's alright when stuff like this is on his worst!
 
 
 
The main theme actually reminds me as a cousin of stuff like The Fury and Seven Years in Tibet, interesting that you find it funny. Is it the harpsichord thing at the beginning? It has a little Italian flair to me.

True story: I bought this CD about ten years ago when I was in high school, and was listening to it on the school bus one day when a stoner kid sat down next to me. Even through my headphones I could hear thrashing music blaring out of his earbuds. He looked me and asked what I was listening to. I gave my headphones to him and played track 10, which begins with that beautiful piano solo. The kid absolutely loved it, and from that day we became very good acquaintances throughout the rest of high school.
 
John Williams talks about the surprise of people still going to concerts to listen to Star Wars, but he never talks about random high school kids becoming friends over a Razzie nominated score!

Perhaps this is a point that has been made in this thread if not years prior, but I find it so strange that when Williams (or apparently other composers like Powell) uses certain devices in recent years, or does things with a certain economy, some immediately launch into the belief that they have been stricken with the "RCP virus" and that their writing has been "tainted". Especially considering that some of these Williams has been using for decades!
 
Is it really so much a stretch, for example, to believe that No Man's Land was written by the man who wrote On The Tank? Or that the man who wrote Munich also wrote Black Sunday thirty years prior? If anything, I find it very inspiring that a composer with the magnitude of John Williams, after decades upon decades of experience in fields of music that can be very dense and complex, still tries to find the Occam's Razor of what makes a piece of music "speak" to a listener and/or filmgoer.

No, it was Alice in Wonderland that healed the rift between Elfman and Raimi.  Upon seeing Burton's film for the first time, Elfman realized that his other longtime collaborator wasn't so bad after all, and was desperate to bury the hatchet.

Read this text that I'm sending to the Internet to your eyes: it ruined Star Wars, ruined it! Never mind that the original was very different from what people expected and The Last Jedi followed that tradition by offering something new, it was a complete betrayal of Star Wars!

Read this text that I'm sending to the Internet to your eyes: it ruined Star Wars, ruined it! Never mind that the original was very different from what people expected and The Last Jedi followed that tradition by offering something new, it was a complete betrayal of Star Wars!

Broadcast starts in a couple of hours!
http://classicalwcrb.org/post/film-night-boston-pops#stream/0 
 

If you'll permit me, I'd like to share my first recordings I ever made, about five years ago. These were from a session I did with one of my best friends. We took a couple video game tunes we enjoyed and decided to do a free improvisation on them. Here's the first, from the NES game Startropics. It took us a little bit to warm up, so to speak, so I prefer it to start around this time. I might also recommend that you end at 6:57. I like the material that comes after, but I'm concerned it runs too long.
EDIT: Crap, the time URL on the first video isn't embedding properly for some reason. In that case, please start at 3:38.
 
 
 
And here's one from Ocarina of Time.
 
 
These were fun to do, and I hope you enjoy these performances!
 
(And now you know my dark secret...Nick Parker isn't my actual name....)
 
 

Word!

"Hey man, we gotta go back to base."
"You serious? We about to pull the biggest haul in our lives, whachu need from base right now?"
"C'mon, man, you know."
"For real, those damn Hello Kitty phones?"
"C'mon, man, you know I can't pull anything without my Hello Kitty phones."
"Yeah man, I feel you. While you're in there, grab me mine, aight?"
 
This post is not sponsored or endorsed by Beats or any affiliated company.

Uh oh, you ain't gonna flex that rhetoric muscle, are you? There's a composer thread in General Discussion where your piano doodling would be most eagerly awaited by me.
 
 
This line of reasoning reminds me of this (the first minute or so):
 
 

Perhaps this is a point that has been made in this thread if not years prior, but I find it so strange that when Williams (or apparently other composers like Powell) uses certain devices in recent years, or does things with a certain economy, some immediately launch into the belief that they have been stricken with the "RCP virus" and that their writing has been "tainted". Especially considering that some of these Williams has been using for decades!
 
Is it really so much a stretch, for example, to believe that No Man's Land was written by the man who wrote On The Tank? Or that the man who wrote Munich also wrote Black Sunday thirty years prior? If anything, I find it very inspiring that a composer with the magnitude of John Williams, after decades upon decades of experience in fields of music that can be very dense and complex, still tries to find the Occam's Razor of what makes a piece of music "speak" to a listener and/or filmgoer.

True story: I bought this CD about ten years ago when I was in high school, and was listening to it on the school bus one day when a stoner kid sat down next to me. Even through my headphones I could hear thrashing music blaring out of his earbuds. He looked me and asked what I was listening to. I gave my headphones to him and played track 10, which begins with that beautiful piano solo. The kid absolutely loved it, and from that day we became very good acquaintances throughout the rest of high school.
 
John Williams talks about the surprise of people still going to concerts to listen to Star Wars, but he never talks about random high school kids becoming friends over a Razzie nominated score!

True story: I bought this CD about ten years ago when I was in high school, and was listening to it on the school bus one day when a stoner kid sat down next to me. Even through my headphones I could hear thrashing music blaring out of his earbuds. He looked me and asked what I was listening to. I gave my headphones to him and played track 10, which begins with that beautiful piano solo. The kid absolutely loved it, and from that day we became very good acquaintances throughout the rest of high school.
 
John Williams talks about the surprise of people still going to concerts to listen to Star Wars, but he never talks about random high school kids becoming friends over a Razzie nominated score!

True story: I bought this CD about ten years ago when I was in high school, and was listening to it on the school bus one day when a stoner kid sat down next to me. Even through my headphones I could hear thrashing music blaring out of his earbuds. He looked me and asked what I was listening to. I gave my headphones to him and played track 10, which begins with that beautiful piano solo. The kid absolutely loved it, and from that day we became very good acquaintances throughout the rest of high school.
 
John Williams talks about the surprise of people still going to concerts to listen to Star Wars, but he never talks about random high school kids becoming friends over a Razzie nominated score!

True story: I bought this CD about ten years ago when I was in high school, and was listening to it on the school bus one day when a stoner kid sat down next to me. Even through my headphones I could hear thrashing music blaring out of his earbuds. He looked me and asked what I was listening to. I gave my headphones to him and played track 10, which begins with that beautiful piano solo. The kid absolutely loved it, and from that day we became very good acquaintances throughout the rest of high school.
 
John Williams talks about the surprise of people still going to concerts to listen to Star Wars, but he never talks about random high school kids becoming friends over a Razzie nominated score!

Uh oh, you ain't gonna flex that rhetoric muscle, are you? There's a composer thread in General Discussion where your piano doodling would be most eagerly awaited by me.
 
 
This line of reasoning reminds me of this (the first minute or so):
 
 

- See below

True story: I bought this CD about ten years ago when I was in high school, and was listening to it on the school bus one day when a stoner kid sat down next to me. Even through my headphones I could hear thrashing music blaring out of his earbuds. He looked me and asked what I was listening to. I gave my headphones to him and played track 10, which begins with that beautiful piano solo. The kid absolutely loved it, and from that day we became very good acquaintances throughout the rest of high school.
 
John Williams talks about the surprise of people still going to concerts to listen to Star Wars, but he never talks about random high school kids becoming friends over a Razzie nominated score!

True story: I bought this CD about ten years ago when I was in high school, and was listening to it on the school bus one day when a stoner kid sat down next to me. Even through my headphones I could hear thrashing music blaring out of his earbuds. He looked me and asked what I was listening to. I gave my headphones to him and played track 10, which begins with that beautiful piano solo. The kid absolutely loved it, and from that day we became very good acquaintances throughout the rest of high school.
 
John Williams talks about the surprise of people still going to concerts to listen to Star Wars, but he never talks about random high school kids becoming friends over a Razzie nominated score!

True story: I bought this CD about ten years ago when I was in high school, and was listening to it on the school bus one day when a stoner kid sat down next to me. Even through my headphones I could hear thrashing music blaring out of his earbuds. He looked me and asked what I was listening to. I gave my headphones to him and played track 10, which begins with that beautiful piano solo. The kid absolutely loved it, and from that day we became very good acquaintances throughout the rest of high school.
 
John Williams talks about the surprise of people still going to concerts to listen to Star Wars, but he never talks about random high school kids becoming friends over a Razzie nominated score!

True story: I bought this CD about ten years ago when I was in high school, and was listening to it on the school bus one day when a stoner kid sat down next to me. Even through my headphones I could hear thrashing music blaring out of his earbuds. He looked me and asked what I was listening to. I gave my headphones to him and played track 10, which begins with that beautiful piano solo. The kid absolutely loved it, and from that day we became very good acquaintances throughout the rest of high school.
 
John Williams talks about the surprise of people still going to concerts to listen to Star Wars, but he never talks about random high school kids becoming friends over a Razzie nominated score!

Perhaps this is a point that has been made in this thread if not years prior, but I find it so strange that when Williams (or apparently other composers like Powell) uses certain devices in recent years, or does things with a certain economy, some immediately launch into the belief that they have been stricken with the "RCP virus" and that their writing has been "tainted". Especially considering that some of these Williams has been using for decades!
 
Is it really so much a stretch, for example, to believe that No Man's Land was written by the man who wrote On The Tank? Or that the man who wrote Munich also wrote Black Sunday thirty years prior? If anything, I find it very inspiring that a composer with the magnitude of John Williams, after decades upon decades of experience in fields of music that can be very dense and complex, still tries to find the Occam's Razor of what makes a piece of music "speak" to a listener and/or filmgoer.