That_Bloke

Ok, well before I get into it, let me first say that you did a great job of including every major argument for why these scores need to be redone. So definite kudos for that!
 
 
Right off the bat, I'd drop "the people at" and just address it directly. I think this sounds more serious and professional.
 
 
I completely understand what you're going for here, but if you want normies to keep reading, you need to grab their attention immediately and keep it. You don't want them to skim and you don't them to click away. I'd have one sentence describing the importance of the Star Wars scores and then jump straight into a very quick description of the flaws in previous releases. Like 2 sentences quick.
 
 
Excellent points, but I'd save them for the end so they'll be the last thing readers think about.
 
 
A couple of things here. Your first mention of Mike in the petition immediately connects him to the 1997 Special Editions. If you want to build up Mike's resume, I would focus on more recent examples of his best work, especially on high profile non-Lucasfilm projects like Close Encounters, Harry Potter and The Sound of Music. I believe that if an executive were to actually read this paragraph as written, their very first thought would be "This guy has already done his best on this project, how much better would he really do today? And also why should I pay for Mike to work on these scores again when I can just reissue his previous work?"
 
Further, the phrase "If given another chance" reinforces the implication that the Special Editions were highly flawed, but I believe it would also lead an executive to directly associate Mike's name with shoddy workmanship. What the petition needs to do here instead is quickly and succinctly instill complete confidence in Mike's abilities. I think you realized this and that's why you pivoted to "His involvement guarantees that this music will sound as good as it sounded on the day it was recorded." Good idea here. That said, the promise you make is arguably hyperbolic. The music probably can't sound as good as it did "on the day it was recorded" because the recordings themselves aren't especially great. This is just my opinion of course, but I'd back away from such strong language and instead just emphasize how far restoration techniques have advanced and that new albums from Mike would have the best sound that modern mastering technologies can provide.
 
Your final sentence in this paragraph does a fabulous job of stating why we need Mike. I'd trim some of the fat preceding it and let that last sentence do more of the heavy lifting.
 
 
 
I see the first part of this paragraph as basically redundant. Also, the final promise is weakened by the phrase "could also potentially" and while the idea to entice executives with the possibility of profit is sound, I think they're well aware that soundtracks don't sell millions of units anymore, even Star Wars. I'd drop all of this entirely.
 
 
Great wording! The only reason I would change anything here is because it mostly appeals to the soundtrack fans and the die-hards who are already convinced new releases should happen. If we really want to get signatures from a large number of people, I feel what we really need to push are the arguments that promote buy-in from the normies and the executives. For that reason, I would end on a broader argument along the lines of "Let's preserve these beloved classics so that they can continue to be enjoyed for generations to come."
 
For reference/comparison, here's the complete argument I made in my Reddit and FSM posts. It doesn’t flow perfectly, my sentences are probably a little too dense and I may have listed too many of Mike's recent accomplishments, but I still think it benefits greatly from being more concise. That said, there’s probably a happy medium to be found between the stripped down appeal I wrote and the lengthier one you did.
 
 
Anyway I don't know if you'll find them helpful, but those are my thoughts. You're more than welcome to use any of my wording in your efforts going forward or to just completely ignore my advice if you prefer your own wording. Either way, I think it's great that you made the effort to organize this petition and I hope it at least continues to get more signatures and spark more conversations.

I’m more of an action figure guy myself but I would absolutely love a JW Funko Pop.  Hey they just made the Spielberg figure in the JP line of toys. 

I suspect Mike would want the wording of the petition a bit more polished and tightened, but it would be really amazing to get his support on this either way.
 
Now who wants to sign a petition to get an official John Williams Funko Pop made?

And Maurizio. And Eric. And David Collins. And any other podcasters of film music. 

You know, that's a good idea! Why don't we send the petition to Matessino? He has some clout with producers, studios, composers, etc., so if he signs it it might send a nice message.
 
Honestly, don't know why we didn't think of it before. Matessino's signature is worth a lot more than those randos on reddit!

they're too busy buying funko pops and asking questions about stuff everyone has known for half a century

Sharing privately is of course allowed. 

"Hey John, would you be willing to talk us through a history of Hollywood music--we will feature some of your music?"
"Are you including Star Wars?"
"Of course, don't be silly."
"Then no."
"Oh, well, how about this...."  

I did a piano arrangement of the entire Jane Eyre suite for my personal use, but I'm not sure I can legally share it or if I even want to. Part of the fun is making the arrangement itself and fine-tuning it to my own skills and preferences. I've never done anything with Heidi but that would be a fun project, and possibly easier than Jane Eyre.

Seriously. There are plenty of OST edits where I'm like, Okay, yeah, I prefer to have all the music, but I have to admit it flows better without. This is not one of those times. The entire missing section is superb, and it just gets superb-er with that Gothic passage with the chimes. Spine-tingling.

Someone made a blend of the normal and alternate versions of Rescuing Sarah and put it on youtube synced to the scene
 
 
No matter how many times I hear this cue, those tolling bells for when the two dinosaurs show up is amazing every time.  What a thing to cut for the OST album

You like having sex with sharks?  You are one sick dude.  

To crush your enemies, see them driven before you, and to hear the lamentations of their women.
 

Just stop listening to his music. Problem solved.

"Come Tuesday" was newly recorded for this set and was a private song Williams and the Bergmans wrote for the late Barbara Ruick.
Also, a few songs were never available on CD/digitally, just on vinyl. And the disc 20's previous released stuff came from all over the place, most surely there will be something one didn't already have.
 
As for the Sinfonietta, this is actually a new transfer from the original master source, instead of using the Japanese transfer from some 15 years ago.

Based on the image, the creator may have thought the same.

Williams's ode to southern breakfast food?

The new arrangements are awesome, in my personal opinion. Scherzo just blew me away!
The Schindler's List Trio and the Duel duo concertante were already performed before as mentioned elsewhere, but what a joy to have a proper recording of those.
 
On a side note, I really don't understand what's the problem. Pay a one month subscription and enjoy the concert. Musicians and labels are entitled to have a living... and they do because we are their clients. I gladly pay for my discs and on-line concerts and will continue doing so. Occasionally, some are for free, others aren't, and that's just fine.

Why would anyone want to do that? You don't like this version, you have a few others to enjoy.

It's called a cadenza.

Emanuel Ax is a close musical partner of Yo-Yo Ma, and a fixture at Tanglewood. Williams and Ax are likely good friends.

Brief update in The Times interview today when they asked him what’s next: https://www.thetimes.co.uk/article/john-williams-maestro-of-the-melodic-spark-0w6mbp5fm
 
“Most imminently there's a piano concerto to be written for Emanuel Ax ("I finished the first movement yesterday")”

I like what he said in an interview about at least trying to surpass Steven's dad Arnold Spielberg, who was active in various capacities until his death at 103. He seems to be serious about it.
 
Meanwhile, there are many other older film composers around that he can stretch towards, the oldest being Johnny Pate at 100.