This year - for the first time ever – I am participating in a free, and hopefully very entertaining fantasy college basketball league. The draft was an online affair and I decided to let the computer do the picking for me with no pre-ranking. When the draft was completed, I expected to see some big names from big schools. OK – or at least some recognizable names from recognizable schools.

Instead my team of 14 has not one player I’ve heard of. Granted, I am a Big 12 homer and will freely admit to such, but this makes me feel basketball dumb. So, here I am – thinking of revamping the team before our league games have even begun. And what do I find out? My team is good – like really good – even though I don’t know a bit about any of these apparently fine young basketball players.

Because of this, I’m going to share my talent pool and give some of these young men some props (that I’m guessing they’re not necessarily receiving on a regular basis).

My team of 14 players can consist of anywhere from one to four centers, two to eight forwards and two to eight guards. The computer suited me up with three centers, six forwards and five guards with which to begin the season and here they are:

At center – Keith Benson (Oakland), William Mosley (Northwestern State), Antwan Carter (Longwood)

Benson is a 6′11″, 225 lb. junior from Farmington Hills, MI that averaged 47.42 fantasy points last year – the second most on my team. Mosley is a sophomore from Shreveport, LA measuring 6′7″, 220 lb who grabbed 32.8 points last year on average. Carter, another sophomore, is 6′6″, 225 lb. from St. Petersburg, FL who netted a respectable 28.23 fantasy point average last year.

At forward – Mike Smith (East Tennessee State), Jonathan Rodriguez (Campbell), Gana Lawal (Georgia Tech), Ben Stywall (North Carolina-Greensboro), John Williams (North Carolina-Ashville), Julian Boyd (Long Island University-Brooklyn)

The forwards are laden with upperclassmen, with half of my six being seniors, one a junior and two sophomores. Smith – from Vandalia, MO, Rodriguez – a Miami, FL native, and Stywell - of Charlotte, NC are the seniors and all are about the same height and weight. Smith, at 6′6″ is one inch taller and 10 pounds heavier than the other two, who both come in at 6′5″ and 210 lbs. 

Lawal is the largest forward on the roster, a 6′9″, 234 lb. junior from Norcross, GA. The forward spots are rounded out by two sophomores, Williams (6′4″, 215 lb. from Raleigh, NC) and Boyd (6′7″, 225 lb. from San Antonio, TX). Smith happens to be the squad’s 2008 fantasy points average leader, with 48.08.

At guard – Ryan Tillema (Wisconsin-Green Bay), Mac Hopson (Idaho), Cameron Wells (Citadel), A.J. Slaughter (Western Kentucky), Sylven Landesberg (Virginia)

More senior presence is seen at guard, with three more making their presence known on the roster. Tillema is 6′8″, 215 lb. from Randolph, WI, Hopson measures 6′2″, 185 lb. and hails from Portland, OR and Slaughter comes in at 6′3″, 180 lb. from Eddyville, KY. Wells is a 6′1″, 195 lb. junior from  Houston, TX and Landesberg is the underclassman of the guard bunch, a 6′6″, 207 lb. sophomore from Flushing, NY.

Again – when I compare my team to that of my fellow league participants, this bunch of men from schools I probably couldn’t locate on a map averaged 38.23 fantasy points last season. My competition roster averages range from 39.59 (and two freshman) all the way down to 30.8 points, with just two out of the 16 teams in the league falling above me. Sure – I’m no spring chicken – I get that you can’t go by last year’s numbers in a fantasy sport and expect to win in the current year. BUT – this little team that could just might do it. So, before I cut the roster and load up with bigger conference players, I’m going to be proud of my small-school guys. Who knows, I just might keep ‘em all and root for the unknown.

The following is a response by one of our readers to a friend’s question regarding deflation vs. inflation and the impact on the gold price:

Hi Kevin,

Thank you for sending over that report by Nick Guarino. He makes some great points and I believe he is right in many cases although I have some contrary opinions on gold. I have not looked at his oil or stock scenario. I’ve listed his arguments below with my responses to each of them. I also recommend listening to the following audio interview with John Williams of ShadowStats.com where he specifically addresses the inflation/deflation debate:

John Williams Interview
http://wp.me/pHQmz-68

I also recommend listening to the radio interviews with Jim Willie (mentioned below).

1. Nick says: “IMF has plenty of gold to sell into the market.”

Response: This is true. But the real question is will there be sufficient demand to absorb it? I say yes. India bought the 200 tons (which is money they spent on gold instead of U.S. Treasuries). China has continued to buy and plans to continue. This is being referred to as the “Beijing Put” (http://tinyurl.com/n3nvrs). Sri Lanka just recently announced a major purchase of gold and Russia has stated its intention to buy more gold too (http://en.rian.ru/russia/20091119/156903575.html).

2. Nick says: “Prices are in deflation not inflation.”

Response: Yes, prices are down but they are down primarily in financial assets which were previously “inflated” with easy credit. These debt-financed assets will continue to fall in price as defaults rise and lending shrinks. Prices in consumer goods and services will begin to rise as the dollar drops.

It is important to note that the proper definition of inflation is “an increase in the money supply”. Rising prices are only a result of an increase in the money supply and these rising prices may not show up right away or they may show up in specific assets over others (gold and stocks versus houses).

3. Nick says: “Collapsing credit is deflationary”.

Response: Not necessarily. When a debtor defaults on his debt, the money that was lent stays in the financial system. It is not taken out. These debt defaults show up on the financial statements of the banks (more on this later). The pay-down of debt does shrink the money supply but most people can’t pay off their debt because they owe more than the assets securing these debts are worth. This will continue to cause defaults.

4. Nick says: a.) “The dollar and the U.S. Government are too big to fail; b.) If the dollar fails the world will be thrust into an economic Dark Age therefore foreign governments will not let it happen; c.) Foreign governments must buy every dollar of U.S. Government debt otherwise they will be wiped out first; d.) Demand for U.S. Debt is at an all-time high evidenced by low rates.”

Response: I will Respond to these individually:

a.) “The dollar and the U.S. Government are too big to fail” They are not too big to fail. Yes, this would create a lot of pain but at some point foreign lenders will cut off the credit card. There is a point when creditors realize that they will never be repaid and it no longer makes sense to throw good money after bad. Of course, foreign governments can’t do this all at once without hurting themselves so they play a risky game of slowly and quietly diversifying out of dollars hoping not to spook others and create a stampede out of the dollar – hence, the steady dollar decline and relentless gold rise. This is hard to do safely and will likely fail as the dollar flight accelerates. China has been buying every resource company they can get their hands on which is another way of dumping/trading their dollars for these real assets (http://tinyurl.com/y8jby2z).

b.) “If the dollar fails the world will be thrust into an economic Dark Age therefore foreign governments will not let it happen.” In addition to the response in “a.” above, foreign governments must choose between some pain now or more pain later. As they diversify out of dollars and buy gold they hope to be the first ones out of the burning theater. It is their intent to offset dollar losses with gold gains. This will likely turn into a stampede. Yes, a Dark Ages will happen but the longer they wait the worse it will be.

c.) “Foreign governments must buy every dollar of U.S. Government debt otherwise they will be wiped out first.” Same responses as “a” and “b” above.  Also, they are going to be wiped out anyway so they might as well get rid of their dollars as fast as they can while they still can.

d.) “Demand for U.S. Debt is at an all-time high evidenced by low rates.” Yes and no. The demand is high but unsustainable for the reasons stated above. There is also substantial speculation that the Fed is already buying these treasuries (Quantitative Easing) through back door foreign intermediaries (Jim Willie: Systemic Crisis: audio interviews http://tinyurl.com/ydakvlw). Could this be one reason why they don’t want an audit?

5. Nick says: “Foreign Countries are taking coordinated steps to stabilize the dollar. China, Japan, Philippines, Middle East, Singapore, Malaysia, South Korea.”

Response: This is mostly all talk. I’ve already shown above how several of these countries are slowly diversifying out of the dollar in favor of gold. What most countries fear is their currency strengthening against the dollar causing their exports to become expensive and “bad for business”. To combat this, they can either buy dollars or devalue their own currency. Many are simply choosing to devalue their currency. This causes their currencies to devalue against the one currency that cannot be devalued: Gold. Gold is resuming its supreme role as a currency (not just a commodity). Gold is the oldest form of currency and has been around since biblical times – longer than any other currency. (see “What is Money?” http://tinyurl.com/y8ay3y4).

6. Nick says: “M3 money supply is not growing, global liquidity and credit are collapsing…there is no freakin’ money.”

Response: Yes, M3 has slowed but this is only temporary. Here’s why. Banks’ excess reserves have exploded from 2 billion in July, ‘08 to 1.06 trillion today (Money Supply chart: [http://tinyurl.com/yfv54aq] and Dr. Reisman article: http://tinyurl.com/yfnv4rn). These excess reserves are funds that have not been lent out and have not created additional credit expansion. In my opinion, the reason is that the banks are still experiencing (and expecting) horrendous losses and are looking to restore their balance sheets. At some point their insolvency and inability to resume lending will frustrate the government (due to the continued cratering of the economy) and the banks will be nationalized. This will give the government, as the new owners, the ability to begin lending again which has the potential to increase the money supply by an additional $132 trillion! (see Reisman: http://tinyurl.com/yfnv4rn). Of course, the FED can be forced into QE beforehand if foreign governments dramatically slow their treasury purchases.

The lack of cash, or as Nick says “there is no freakin’ money”, is due to the incredible leverage before the crash. Instead of saving more, folks found it more profitable to invest most of their cash and borrow multiples on top of it. When the leveraged investments failed, their equity and cash holdings were wiped out.

Conclusion:

In dollar terms, if someone is short gold it means that they are long the dollar. I see no reason to have any confidence whatsoever in the dollar. I tell people to look at the dollar as the “common stock” of the USA – just like you would look at the stock of a corporation. When valuing a stock you would look at the management and balance sheet of the corporation to determine what you would pay for the the stock. When I apply this same analysis of the USA I conclude that the dollar is not a “stock” that I would want to own. Sure, the government can increase revenue because they have the power to tax but even a 100% tax is not enough to correct the problem (source: ShadowStats.com Hyperinflation Special Report: http://www.shadowstats.com/article/hyperinflation).

If you are still unsure as to which scenario to believe, it might make sense to put half of your assets in cash and the other half in gold.  Any drop in purchasing power in one would likely be offset by the increased purchasing power in the other and your original purchasing power will likely be preserved.

I’m not sure how this one slipped by me as a kid.  I’m sure it played on television when I was a youngster–local Portland station Channel 12 was obligated by law to play John Wayne movies every weekend, I think–but I don’t ever remember watching it.  If I did, I blocked it from my memory.

Oh, what a little fool I was.

Having been on a bit of a John Wayne binge of late, I rented the Blu-Ray edition of this and hoped for the best.  I don’t think I’m giving anything away by writing that the film is notorious and legendary in equal measure for being the one where Duke is shot in the back by a dastardly long-haired villain, played by the great Bruce Dern.  It was a jolt back in 1972 and plenty of kids, no doubt, were scarred by seeing the movie icon go down in such a brutal manner.  It’s still a jolt to watch today.

But how was I to know any of it was good?  Most reviews that I’d come across over the years treated it as mediocre late period Wayne.  And people I’ve spoken with who had seen it loved the film, though I suspected they were blinded by childhood nostalgia.

I have to admit it’s a really splendid film, from Mark Rydell’s assured direction to (egads!) John Williams’ appropriately majestic yet lyrical score to the performances from all the kids (half of ‘em non-actor rodeo boys) to the stand-out roles by Dern and the great Roscoe Lee Browne, the latter as Nightlinger the chuck wagon man who accompanies the cattle drive.

And then there’s Wayne.

His work with John Ford will always be my favorite–primarily the Westerns–but Wayne’s performance here as rancher Wil Andersen seems the perfect culmination to his long career.  The Shootist (1976) would end up being Wayne’s final performance, of course, but I like the Duke here more.  A bit world-weary but not tainted with cynicism, Wayne seems genuinely comfortable acting opposite the gaggle of cowpokes he’s saddled with, striking just the right balance of obstinacy, fatherly protectiveness, and gentleness we want from our aging cowboy icon.  He wears his heart on his sleeve, but not with the bathetic hard-sell one would expect.  It’s quintessential classic Wayne charisma we get in The Cowboys, but tempered with the wisdom and offhandedness that only a pro can pull off effectively.  There’s insight in them eyes… and when Wayne goes down, it’s crushing.

Me he permitido el lujo de seleccionar los más populares y representativos compositores cinematográficos de todos los tiempos. Desde los más antiguos hasta los más actuales, todos tienen una gran importancia, pero quizá los diferentes premios obtenidos o la asimilación de las diferentes melodías en las mentes de los espectadores, marquen diferencias entre ellos. En general, todos y cada uno de los compositores han hecho posible que a través de una melodía, una película sea para siempre única y espectacular en nuestra memoria.

MIKLOS ROZSAEste húngaro nacido en 1907 hizo de su vida una melodía. El estallido de La II Guerra Mundial en Europa fue la culpable de que Rozsa se instalara en Hollywood de por vida. Sus primeras composiciones para la compañía de Alexander Korda fueron “El ladrón de Bagdad” (1940) y el “Libro de la Selva” (1942), ambas nominadas por la Academia. Tras ser expulsado de la Paramount por introducir ciertas asperezas de ritmo y armonía que causaron consternación en ciertos sectores de Hollywood, la Metro-Goldwyn Mayer se interesó en su trabajo. Para esta productora escribió grandes epopeyas históricas como “Quo Vadis” (1951), “Ivanhoe” (1952), “Julio César” (1953), “Ben-Hur” (1959), “Rey de reyes” (1961) o “El Cid” (1961). Fue nominado al Premio Óscar en 17 ocasiones, obteniéndolo en 3 ocasiones por “Recuerda” (1945), “Doble vida” (1947) y “Ben-Hur” (1959).
Tras su muerte en el año 2004 Miklos Rozsa descansa bajo las colinas de Hollywood, pero su legado musical ha ido trascendiendo más y más con el paso de los años. Nuevas generaciones de amantes de la música pueden hoy día descubrir las creaciones de aquel gran maestro del lirismo que se destacó, sobre todo, por la elegancia y sofisticación de sus melodías.

ENNIO MORRICONE
Su larga carrera artística incluye una amplia gama de géneros de composición, trabajando como orquestador y director de orquesta en el campo de la grabación, y luego como compositor para teatro, cine y radio.
La carrera como compositor de música de película comenzó en 1961 con la película “Il Federale”, dirigida por Luciano Salce, pero se hizo famoso en todo el mundo con los westerns de Sergio Leone: “A Fistful Of Dollars” (1964), “Por unos dólares más” (1965), “El bueno, El Feo y El Malo” (1966), “Once Upon A Time In The West” (1968) y “A Fistful Of Dynamite” (1971).
Desde 1960, Morricone ha marcado más de 400 películas de las cuales las más famosas son: “La batalla de Argel”, “Sacco y Vanzetti”, “Cinema Paradiso”, “La Leyenda de 1900”, “Malena”, “Los intocables”, “Érase una vez en América”, “La Misión” y “U-Turn”.
En su larga carrera, Ennio Morricone ha recibido el León de Oro y en 2006 el Oscar de Honor en reconocimiento a su magnifica y multifacética contribución al arte de la música en el cine. Pero también ha obtenido: 8 Nastri d’argento, 5 Bafta, 5 nominaciones al Oscar, 7 David di Donatello, 3 Globos de Oro, 1 Premio Grammy y 1 European Film Award.

BERNARD HERRMANN
En 1911 nació en EE.UU un genio creativo, un musicólogo indiscutible, que a pesar de su muerte en 1975 recibió nominaciones póstumas de mano de la Academia en 1976 por “Taxi Driver” y “Obsesión”.
Tan complejo como cualquier personaje de las películas ningún compositor ha contribuido más a las películas que Bernard Herrmann, que en más de cuarenta Films ha enriquecido el trabajo de directores como Orson Welles, Alfred Hitchcock, François Truffaut, y Martin Scorsese. Desde su primera película “All that Money Can Buy”, galardonada con un Oscar, hasta su pasado con “Taxi Driver”, Herrmann fue un maestro en la evocación de los matices psicológicos y la tensión dramática a través de la música, a menudo utilizando inaudita combinaciones de instrumentos para adaptarse a las necesidades dramáticas de una película.
Sus partituras se encuentran entre las más distinguidas que se han escrito en la historia de la música cinematográfica, que van desde lo fantástico (“Fahrenheit 451″, “El Día de la Tierra se detuvo”) A la romántica (“Ciudadano Kane”, “Obsesión”, “El fantasma y la señora Muir”) A la terrible (“Psycho”). Además dirigió la orquesta de la CBS en varias ocasiones promocionando melodías de jóvenes músicos.

ALEX NORTH
Alex North nació en Chester, Pennsylvania, el 10 de diciembre de 1910 y el 8 de septiembre de 1991 murió conocido como un gran innovador musical. Compositor polifacético, escribió para televisión, cine, teatro, orquesta, incluso para documentales de guerra.
La versión de la película de Tennessee Williams “Un tranvía llamado deseo” (1951) marcó por primera vez en la historia la integración plena de una melodía de jazz en un film. Es probablemente el compositor más complejo y más original de la historia, el cual revoluciono todo el panorama musical. Tuvo la oportunidad de demostrarlo en sus películas mas destacadas como “Espartaco” (1960) o “Cleopatra” (1963), o con la creación de canciones entrañables como “Unchained melody” bastante recordada y utilizada como fue en la película “Ghost”.
A pesar de crear más de 50 películas, de las cuales 15 fueron nominadas por la Academia, Alex North nunca recibió ningún premio en activo. No fue hasta 1985 cuando recibió su primera estatuilla a modo de Premio Honorífico, en reconocimiento de su arte brillante en la creación de música memorable para una serie de imágenes en movimiento distinguido.

JERRY GOLDSMITHCuando la vida del legendario compositor de radio, televisión y cine, Jerry Goldsmith, se “apagó”, en 2004 dejó un vacío enorme en el mundo de la música de la película, pero su legado de más de 50 años de música nos ha dejado un huequito en nuestros corazones.
Gracias a las enseñanzas de Miklos Rozsa y Alfred Newman su vida ha sido un ir y venir entre la pequeña y gran pantalla. Ejemplo de ello es citar que ha sido nominado nueve veces en los Globos de Oro y dieciocho veces por la Academia de los Oscars, pero sólo en 1976 con la música original de “The Omen” ha obtenido la codiciada estatuilla. También obtuvo cinco nominaciones a los Grammy, y las diecisiete nominaciones por los Saturn Awards, en los cuales ganó uno por Star Trek: The Motion Picture en 1980. Su contratación en la 20th Century-Fox le sirvieron para hacer producciones cómo “Freud”, “Un retazo de azul”, “The Sand Pebbles”, “El Planeta de los Simios”, “Patton”, “Papillon”, “Chinatown”, “El viento y el león”, “Logan’s Run”, “Islands in the Stream”, “Capricornio Uno”, “Alien”, “Star Trek: The Motion Picture”, “Gremlims”, “Under Fire”, “Poltergeist”, “L.A. Confidential”, “Basic Instinct”, “Mulán” y “La Momia”.
Bajo la tutela de la CBS o de la Revue Studios consiguió 4 premios Emmy con producciones musicales para la televisión cómo “Star Trek: Voyager”, “QB VIII” (1974), “Babe” (1975), “Masada” (1981).

JOHN WILLIAMS
En la ciudad de Nueva York, un 8 de febrero de 1932 nació una estrella condenada al éxito. Aunque en la actualidad es uno de los compositores cinematográficos mas prestigiosos, su carrera profesional comenzó en series televisivas como “La Isla de Gilligan” o “Perdidos en el Espacio” para la Fox. Pero el salto a la gran pantalla, tras varias nominaciones, le proporciono su primera estatuilla en 1971 en la 44ª edición de los Oscars por la adaptación original de “El violinista en el Tejado”.
No es un error decir que gran parte de su música ha traspasado la pantalla para asentarse en la cultura popular en el cine de los últimos 35 años y es que cinco premios de la Academia, 17 Grammys, tres Globos de Oro, dos Emmys y cinco Premios BAFTA de la Academia Británica de Cine y Artes de la Televisión confirman su talento. Grandioso compositor y director de orquesta, John Williams es el motivo de que muchos teman meterse en el mar tras ver “Tiburón” (mejor banda sonora original en la 48ª Edición de los premios Oscars en 1975) o de hacernos llorar amargamente viendo “La lista de Schindler” (mejor banda sonora original en la 66ª Edición de los Oscars en 1993 y un Grammy). Es el responsable de la inolvidable y casi perfecta partitura para el más famoso extraterrestre del séptimo arte “E.T” (mejor banda sonora original en la 55ª Edición de los Oscars en 1982), o sin ir más lejos de la composición más paradigmática de la profesión, alzada por el American Film Institute como la mejor en la historia del cine: “La Guerra de las Galaxias” (mejor banda sonora original en la 50ª Edición de los Oscars en 1977).
Hay que destacar que Williams ha hecho recurrente el uso del leitmotiv identificando a personajes tales como Superman, Indiana Jones o a Darth Vader con la “Marcha Imperial”. Pero también son destacables composiciones para películas como “Jurassic Park”, “Solo en casa” o “Salvar al Soldado Ryan” que siempre tendrán un hueco en nuestros corazones.

HANS ZIMMER
Hoy día es considerado uno de los compositores más sobresalientes e innovadores de Hollywood, apodado por gran parte de la crítica como “el omnipresente Zimmer” por sus numerosas apariciones, ya sea como compositor principal o como colaborador con uno de sus múltiples discípulos.
Este compositor alemán nacido en el 57, es el padre de la integración de la música electrónica con arreglos orquestales tradicionales en el género cinematográfico.
El punto de inflexión en la carrera de Zimmer llego cuando en 1988 “Rain Man” ganó el Oscar a la Mejor Película del Año y Zimmer ganó su primera nominación al Oscar como Mejor Banda Sonora Original. Pero sin duda la obra maestra del compositor fue la banda sonora de “El Rey León” en 1994, ya que ha vendido alrededor de 15 millones de copias hasta la fecha, un Oscar por Mejor Música Original, un Globo de Oro, un premio American Music Award, un Tony y dos premios Grammy. En total, el trabajo de Zimmer ha sido nominado a 7 Globos de Oro, 7 Grammys y siete premios Oscar por “Rain Man”, “Gladiator”, “El Rey León”, “As Good As It Gets”, “La mujer del Predicador”, “La Delgada Línea Roja”,” El Príncipe de Egipto” y “El Último Samurai”.
Entre otras composiciones también nos ha emocionado con “Pearl Harbor”, asustado con “The Ring”, divertido con “Piratas del Caribe y “Madagascar” o ensimismado con “Matchstick Men”, “Hannibal”, “Black Hawk Down” o “Thelma y Louise”, estas cuatro dirigidas por Ridley Scott.

JAMES HORNER
Este californiano de cincuenta y seis años es actualmente uno de los compositores más populares de la música clásica.
Su primer proyecto de gran dimensión fue la música para Star Trek: The Wrath of Khan (1982), que daría lugar a numerosas ofertas cinematográficas y las oportunidades de trabajar con artistas de clase mundial tales como la Orquesta Sinfónica de Londres, George Lucas, Steven Spielberg, James Cameron, Oliver Stone, Y Ron Howard.
La sinfonía, es de lo que se nutre su estilo, al igual que Jerry Goldsmith y John Williams, pero también se atreve con el sintetizador, siendo un gran virtuoso en este estilo e integrándolo perfectamente en la gran orquesta.
Obviamente ha sido nominado al Óscar en el apartado a la mejor Banda Sonora en 7 ocasiones, como también lo fue en los Grammy o en los Globos de Oro, con películas como “Aliens: el regreso” (1986), “Campo de sueños” (1989), “Braveheart” (1995), “Apolo 13″ (1995), “Titanic” (1997), “Una mente maravillosa” (2001), “Casa de arena y niebla” (2003), consiguiéndolo doblemente con “Titanic” tanto en el apartado a la mejor música como a la mejor canción. “La leyenda del zorro”, “Gloria” o “El nombre de la rosa” fueron también grandes composiciones de Horner.

Last week, Tomás sent off three versions of an important cue  for “Ravana’s Game” to director David Eblan. He likes all three, and has narrowed it down to two.   The reason this cue is being called ‘important’ is simply because it is one of the main characters themes, and every time throughout the film, when we see this character, there will be a version of this theme around or under him. It may be featured, it maybe underscore, but  it will be there. Consequently, it is important that both the  Director and the Composer are happy with the cue.

This is the fifth ‘important’ cue insofar as establishing main characters themes.  All of these have been in Reel One.  There are new characters we meet in subsequent reels who will have their own personalized themes written. These themes make up the whole of the score.

Before Tomás can go on to Reel Two, and while David makes his final pick, Tomás has to go through every character’s theme, and start the dreaded “organizing”, a combination of Music Editing,  assisting, and Composer assisting.  The Composer is assisting…..himself.  It almost has an “X” rated feel to it.

No such luck.  It is lots of paperwork, cue organization via melody, harmony, instrumentation and elements.  It requires a completely different head space than writing, and is often much more exhausting without the creative reward.

In a nutshell, Tomás would much rather be writing than doing this, however, this is absolutely necessary for the score to start flowing at a nice clip, with no need to suddenly be interrupted because something is ‘missing’, and the piles and piles of  paperwork, and hundreds and hundreds of banks of sounds do not need to be searched through.  Everything is in it’s place, and this is essential for optimal creativity and productivity.

Still, it is the drudge work, and the little I can do to speed things along, I do, but ultimately, it is his style of organizing, his office, his space, and his computer.  As much as I wish I could wave the magic wand and have it be finished, it is his composers studio, and only he knows how he wants it organized.

I spent enough years assisting composer John Williams and his editor Ken Wannberg to know there came a point where there was nothing I could do to help them through the ’slosh pile’.  I could only turn my attention to my own.

With Tomás, I am doing the same – dealing with my own piles of desperately needed organization, and remembering that I make a mean cup of coffee, a mean sandwich, and a mean scowl when I hold out a handful of vitamins to get him through the day.

Upward and Onward!

MCA Records 2088 – United States – 1975

Diesmal – wieder verspätet, wieder wegen dem PC-Absturz - ein Soundtrack, der zwar nicht jedermanns Sache ist, jedoch zu meinen Favoriten zählt: Star Wars: The Clone Wars vom Szenenneuling Kevin Kiner. In der Tat ist es schwierig, in die Fussstapfen von Krösus John Williams zu treten und auch ich habe zuerst die Nase ab den neuen Tönen gerümpft. Doch mittlerweile gefällt mir der Sound so gut, dass ich mich schon riesig auf den Soundtrack zur Serie selbst freue. Wenn denn einer kommt. Denn der Anklang war leider nicht so gross.

Der Komponist

Über Kiner ist im Internet wenig zu finden. Gerade mal sein Palmarès an Kompositionen ist auffindbar. So hat er unter anderem den Soundtrack zu Star Trek: Enterprise und CSI: Miami komponiert und fokussiert sich vermehrt auf TV-Produktionen. Kiner ist ziemlich neu im Business. Dafür ist seine Musik dann doch sehr gewagt. Denn Kiner schwört nicht nur auf die Instrumente des klassischen Philharmonie-Orchesters, sondern spielt oft auch Instrumente aus fremden Kulturen ein, die sich aber perfekt ins Ensemble einpassen.

Der Soundtrack

Mit 32 Titeln verfügt der Soundtrack über selten viele Titel, die dafür selten länger als zwei Minuten sind. Zum Teil handelt es sich dabei um Cliffhanger, also Titel, die nahtlos in einander übergehen. Man merkt auch, dass mit diesem Soundtrack bei Star Wars musikalisch ein neuer Wind weht. Weg von den feinen, sanften Symphonie-Klängen von John Williams hin zu den pompösen Tönen von Kiner. Das Titellied “Main Theme & A Galaxy Divided” verkündet den Neuanfang. Mit vielen Bläsern und Trommelschlägen beginnt das Stück – man merkt: Hier herrscht Krieg! Die martialische Linie zieht sich durch das ganze Album, doch Kiner bedient sich auch sanfter Musik, vorallem für die Szenen, die die Meister-Padawan-Beziehung zwischen Anakin und Ahsoka darstellen. Die Schlachtszenen wiederum sind heftiger gezeichnet. So fügt der Komponist nicht selten auch E-Gitarrenriffs ins Stück ein, die das Ganze noch intensiver erscheinen lassen. Das Stück “Battle of Teth” zählt dadurch zu den meistgespielten Titeln auf meinem iPod, da Kiner dort gekonnt zwischen Kriegsmusik und – ich tippe mal – asiatischen Klängen switcht. Beachtlich ist auch, wie Kiners Soundtrack einem doch das Star-Wars-Feeling verleiht. Und hie und da klingt auch eins von Williams bekannten, alten Themen durch. Für die Szenen in Ziros Grotte hat sich Kiner swingender Titel bedient. Das Stück “Ziro’s Nightclub Band” beispielsweise ist durch und durch ein Swing-Titel. Damit knüpft Kiner dort an, wo Williams mit der “Cantina Band” u.Ä. aufgehört hat.

Fazit

Man würde kaum sagen, dass Kiner ein verhältnismässiger Neuling ist, wenn man es nicht besser wüsste. Kiner merzt die Grenzen, die Williams gesetzt hat gekonnt aus, und bietet einen abwechslungsreichen Soundtrack. Von westlichen Klängen mit Rock-Elementen hin zu fremder asiatisch/afrikanischer Musik – Kiner bietet fast alles. Manchmal missfällt dem Hörer eben gerade diese Vielfalt, die Williams eher weniger bot, doch ich finde sie einfach nur genial. Und das nicht nur, weil ich Star Wars-Fan bin. Sondern auch weil ich Fan von guten Soundtracks bin.

by Dylan Tucker

The Kansas Jayhawks didn’t really surprise anybody with their 31-17 defeat at the hands of the Nebraska Cornhuskers last Saturday. It was yet another winnable game that KU let slip through their fingers due to several costly mistakes. A team that once had so much promise continues to spiral downward and leave Jayhawk fans thankful for hoops season. One question remains: where does Kansas football go from here?

2009 will, for several years at least, be looked at as a season that “could have been” for old KU. Untimely turnovers, dropped passes, missed tackles, and wasted opportunities have been the theme for much of the season and fans now wonder who to point the blame at. It has to be somebody’s fault, and somebody has to pay for it, right? Well, I don’t know about that.

There has been much public outcry about the failures of Mark Mangino and his coaching staff in 2009. The argument is that Mangino had one fluke season in which the Hawks rode an easy schedule to a 7-1 conference record. In every other Mark Mangino season? Only once has he gone .500, and that was last year.

Personally, I don’t know what to think of Mangino at this point. He certainly shares some of the blame for 2009’s flaws and follies. But, the bottom line is that the players made a lot of mistakes, no, boatloads of mistakes. And they often came from the least likely suspects:

Todd Reesing finally succumbed to the pressure of being the guy that has to win every game by himself.

Dezmon Briscoe has turned in fairly solid campaign, but often couldn’t come up with catches in the clutch.

Kerry Meier is on his way  to a 100 catch season, but his two fumbles this year may have cost KU two wins.

Jake Sharp looked explosive in the non-con, but then was reminded that he’s simply too small, and got hurt.

Darrell Stuckey made occasional plays, but hasn’t turned in the All-Conference season that was expected of him.

I’m under the opinion that KU is simply in need of a fresh start; a new set of team captains to wash away the disappointment of the 2009 year.

Fortunately, KU has a solid set of young talent:

Toben Opurum has performed admirably, and while he’s not a dominant runner yet, he fights for yards and is phenomenal in pass protection.

Bradley McDougald has flashed his versatility as he’s made an impact at times on both sides of the ball.

Lubbock Smith has arguably been the team’s best tackler since he took over as starting free safety.

Huldon Tharp looks like he could be a very good Big XII linebacker once he puts on a little muscle.

John Williams has impacted the DLine, and should help KU generate more pressure on the QB in the future.

So, it’s not all doom and gloom. The schedule loosens up next year, and KU returns almost everyone on the two-deep roster on both the offensive and defensive lines, as well as some highly talented skill position players.

Mark Mangino will be facing a lot of questions in the off season, and I think that if he wins three or less Big XII games in 2010, KU should be calling up Boise State and thinking about a coaching change.

Yesterday, I traveled to a long time ago, in a galaxy far, far away.

One of my friends and I are big Star Wars fans, and even more enthusiastic John Williams fans. What better than to go to Star Wars: In Concert?

John Williams’ music for the Star Wars trilogies is consistently fantastic. Even in the prequels, the music is spectacular. The concert highlighted it, along with exhibiting props from the various movies (and part of Williams’ score). I totally geeked out seeing Han Solo frozen in carbonite and one of the Darth Vader costumes.

I love orchestras. They have such a grandeur and texture that five piece rock bands lack. The Royal Philharmonic Concert Orchestra performed yesterday. I kept having to remind myself that the music was live.

And so I leave you with an amazing a cappella homage to both Star Wars and John Williams.

Started talking about this on MSN and seeing that Harry Potter films seem to come up in conversation far too often, I might as well copy it to here and link to it in the future. Saves the lazy me having to type it again.

• First one is good for being a happy/cheery kids movie. Magical really, especially with the introduction of the awesome John Williams score.
• Second one was ok, it’s always been my least favourite book, but the character of Myrtle was captured well enough for me to not dislike the film completely.
• Third one was too arty. Far too obvious it’s a different director and set and some of the parts, like Lupins changing into the werewolf after they leave the Shrieking Shack and Sirius attacking him felt cheap. Could have been the lighting. I did like how they did the time travel and the evolution of Hermione’s character though.
• The fourth one concentrated far too much on the bloody Triwizard tournament and wasn’t faithful enough to the books. That dragon egg sequence seemed to last forever and it wasn’t clear on how the world’s opinion of Harry changed. Plus Dobby is even more annoying than the books!
• Fifth one, Umbridge, was good and my fave one. Showed change and how no one believed Harry and it replicated the overal powerlessness I felt when reading the book. And it introduced Luna which is such a brilliant actress.
• Last one changed far too much to the book and shows how some actor may have been miscast. Like Ginny Weasely who has zero chemistry with Harry or Ron/Hermione who also don’t really have much going for each other. Plus I disliked how they changed the end with Snape killing Dumbledore which was entirely different in the book.

RSO/Polydor NWZ 8113/4 – Japan – 1980

RSO 28MW 0031 – Japan – 1983

Corey Vidal

Para quem é fã de cinema, música (e, em especial, Star Wars e John Williams), o link para “‘Star Wars (John Williams Is The Man)’ medley – a cappella tribut”, por Corey Vidal, dublando o grupo a capella Moosebutter (na verdade, “a video of Vidal lip-syncing to a song written in 1999 and recorded in 2002 by a cappella comedy troupe Moosebutter”, segundo o Wikipedia):

http://www.youtube.com/watch?v=lk5_OSsawz4

Sites do Moosebutter:
http://www.moosebutter.com/
http://www.moosebutter.com/orders/index.php
Ficha de John Williams no IMDB:
http://www.imdb.com/name/nm0002354/

Moosebutter

Sobre Corey Vidal:

Corey Vidal (born December 7, 1986) is a Canadian online video content provider. His YouTube videos have been seen over 26 million times, and he has 120 videos, as of November 1, 2009. He is ranked as one of Canada’s “Most Viewed” Partners[1] and “Most Subscribed” users of all time.[2] He is also Canada’s “#1 Most Subscribed Guru”.[3] His main channel has been viewed over 1 million times. In December 2007, Vidal was one of the first Canadians to join the YouTube Partnership Program.[4] Vidal has over 75,000 subscribers.

Leia mais clicando aqui.

Sobre o vídeo, no mesmo Wikipedia:

A recent success is one of his latest videos, a Star Wars a cappella tribute to John Williams, a video of Vidal lip-syncing to a song written in 1999 and recorded in 2002 by a cappella comedy troupe Moosebutter. The video was featured on YouTube Canada’s homepage on November 3, 2008, and then again on the Worldwide homepage three days later. It appeared on the homepage of MSN.com, and was featured by MSN Videos and StupidVideos.com. As of June 1, 2009, the video has been viewed over 5 million times since its upload on October 27, 2008. The video quickly became Canada’s #1 Top Favorited (All Time) Entertainment video, and now has many other All Time Honors both in Canada and Worldwide.[13]

Where has 2009 gone? It’s already November and looking at my reading list, I’ve only finished 41 books, which is a paltry sum when compared to last year’s 73, which is still miserable compared to people who read 2 or 3 books a week. I blame it partly for the shorter commute which has reduced my free time to read. I should not be complaining about it because it is no fun to be stuck in a jam for hours on end despite having a book with me. The incessant buzz from the television, yes the horrible mobile tv, especially in the evenings is enough to drive anyone crazy. True, I can alway zone out with my iPod (possibly the greatest invention of all time), but sometimes the sound from the telly overpowers the head phones and noise cancellation head phones are out of my league.

Should I buck up and read like mad for the next month and a half. True there will be a two week break over Christmas and the New Year, but that will be filled with hours of lazing around at home, playing with a dog, eating, and hopefully popping out to meet up with people. Or maybe I should enjoy the pace that I’m proceeding at currently, thanks to some wonderful picks from New York Reviews Books Classics. (Yes I’m a sucker for nicely packaged books, hence the Neil Gaiman splurge, which I must admit makes the whole Sandman experience much better.) But if I don’t rush off and read like mad, my opportunity to read will be dramatically reduced next year as my courses begin. Ah, the dilemma.

Potential reads over the next month and a half include the following:

1) Coraline and Other Stories by Neil Gaiman

2) Hard Rain Falling by Don Carpenter

3) The Complete Fiction by Francis Wyndham

4) A High Wind in Jamaica by Richard Hughes

5) Butcher’s Crossing by John Williams

6) American Psycho by Brett Easton Ellis (gotta read it to return it)

7) A Malayan Trilogy by Anthony Burgess (gotta finish this one)

Wuthering Heights by Emily Brontë

9) Colony by Hugo Wilcken

10) Number 9 Dream by David Mitchell (in anticipation of his new work in 2010)

I think there will be more as the weeks past, but I think 10 is a good starting point. If I’m feeling bold I might try and tackle Anna Karenina over the holidays. Another other suggestions?

Yo siempre he sido, bueno, de esas personas, ustedes ya comprenden. De esas personas que cuando era incluido como tema de una conversación ajena siempre era a través de la formula “es taaaaan inteligente, es una lástima que esté hecho un lío”, a lo que el interlocutor  siempre contestaba en tono justificatorio “ya, ya, pero cuando encuentre lo que realmente le gusta, va a ser muy bueno”. Jajajaja… pero eso era antes. Y cuando digo “antes” me refiero a ese “antes” que representa el día de ayer a las ocho de la tarde, unos minutos antes de descubrir que mi verdadera vocación es ser… ¿tañedor?… ¿rasgador?… ¿pulsionador?… vamos, tocar el Stylophone. El stylophone es un sintetizador en miniatura operado por un Stylus, vamos, los primeros palitos electrónicos que luego evolucionarían a los de  las PDA y los Iphones. Al principio, y como corresponde a todo buen instrumento, el Stylophone fue inventado como un diabólico juguete para niños que tenía el único propósito de enloquecer a los padres. Pero éstos, viendo que podían sacarle también jugo al asunto, sobre todo si se operaba tras una ingesta masiva de drogas ya que el Stylophone fue inventado en 1967, hicieron del aparatito todo un éxito de ventas y de público, de crítica especializada y de fervor popular. Pero, a pesar de que el artefacto chirriante fuera utilizado por lumbreras de la música como David Bowie, en nada más ni menos,  “Space Oddity” o por Kraftwerk en su canción “Pocket Calculator”, por no citar a la mariquitería más moderna como Erasure, mi encuentro con El Aparato fue mucho más prosaico y pertenece a la segunda tanda de stylophones que fueron fabricados a partir de 2007, en un revival del mismo. Descubrí ese fantástico e hipnótico sonido que produce el Stylophone a través de una versión de una canción de Lagy Gaga llamada “Poker face”, persona muy admirada en mi domicilio sito en la calle Cadiz, ya que como bien dicen en el video de Molly Llewis “es una mezcla perfecta entre una persona genérica de los 80s y un personaje de los Muppet Show”. La versión de Molly es fantástica, muy creativa y divertida, y une para mi placer y el suyo el  increible stylophone con el obligatorio ukelele (¡¡bieeeeeeeeen!!):

Pero, sin querer ofender al instrumento rey de Palomitas, el gran ukelele, adentremos un poco más en el fascinante mundo del ruido electrónico que emana del Stylophone, veamos que puede dar de sí un instrumento que nació con el mismo propósito que “Operación” de MB o de aquel juego que consistía en colgarle cosas a la cola de un burrito:

A lo que ustedes se preguntarán ¿hacía falta recurrir a la Toccata en D menor de Bach interpretada en este caso por la Stylophone Orchestra of Great Britain para justificar a ese instrumento?. Pues miren, sí,  y al mismo tiempo, pues no, porque aunque en mi delirio de convertirme en un gran stilophonista sueño con escribir para ese instrumento un “Lamento por la muerte de un Infante” y tocarlo en la catedral de la Almudena, con toda la familia Real venga de llorar, y todo lleno de crespones negros, y yo arrancándole aullidos metálicos al aparato en una elegía electrónica llena de sentimiento y dolor… que miren, me emociono de solo pensarlo. Pues eso, aunque yo sea una persona con delirios de grandeza, el Stylophone es también un instrumento de andar por casa, vean sino el próximo video, donde un virtuoso de la cosa que nos ocupa ejecuta “I Just Called To Say I Love You”. Del video fíjense, no tanto en la apasionada interpretación que suple una cierta carencia técnica, como en la actitud del ejecutante, en la magia que se produce cuando un ser humano hace música con un palito:

Vamos que el tío está un sábado por la tarde aburrido de cojones y en vez de recoger la habitación, que buena falta le hace porque está de mierda hasta las paredes, se pone a tocar el  Stylophone y se convierte, por la magia de la música, en un hombre del Renacimiento, un árbitro de la moda en el plano musical. Y es lo que tiene el Stylophone que siempre ennoblece, nunca envilece y que por sus características tanto técnicas como de coste de producción está al alcance de amplios sectores de población. No hace falta ser ducho en la música para ejecutar este instrumento, es más, si me apuran, cualquier conocimiento o sensibilidad en este terreno no haría más que entorpecer una ejecución brillante. Si acaso… si acaso… está el pequeño hándicap de reconocer los números básicos, es decir, aquellos que van del 1 al 10, pero si usted ya ha superado primaria y conserva alguna enseñanza de ese periodo de su formación intelectual, está listo para ser todo un stylophonista. Porque cuando yo les recito está lista de números “7,7,7,4.5,8.5,7,4.5,8.5,7,11,11,11,11.5,8.5,6.5,4.5,8.5,7”ustedes no entienden nada, pero un buen stylophonista sabe que tras ellos se esconden la música de las esferas, la música de las galaxias…

Creo, y es sólo una intuición, que en el anterior vídeo el ejecutante ha elegido, de manera muy sabia, cambiar el sonido “Standard” del Stylophone por la opción “Vibrato” que pega más con el leit motiv que John Williams creó para Darth Vader, por cuestiones cuyo análisis está alejado del propósito de este artículo  Pero el Stylophone no sólo ofrece esas maravillosas e inmensas posibilidades sino que además es trendy, es cool, y encima mola de verdad. Muchas son las personas que estamos trabajando por el reconocimiento social de este clavicordio para jóvenes del segundo milenio que es el Stylophone, pero pocas están poniendo tanto de su parte, se están jugando tanto en este asunto como este joven de 26 años de Leeds, que es Brett Domino y que demuestra que bien tocado y bailado, el instrumento nunca queda feo. Disfruten del obligatorio meddley de los 80s… me encanta la parte de Mariah Carey y cuando le suena el timbre del horno:

Junto a él está la bellísima virtuosa e imaginamos un tanto maligna, Little Boots que es la que se ha elevado sobre la gran cantidad de nerds feísimos interesados por los juguetitos, y que son, no nos engañemos, el principal target del Stylophone, como decía, se ha elevado sobre éstos y ha acabado haciendo “stylophone music mainstream”, es decir, ha convertido el stylophone en algo para todos los públicos. Aunque hay un precioso video de ella stylophonando en casa (¿por qué son tan fascinantes las mujeres en ropa de ir por casa?), pongo el vídeo de una gala, para que veáis que a la chica esta me la llevan a las teles, y que la cosa tiene su interés…

Este artículo quedaría sin embargo cojo si no hago referencia a uno de los instrumentos valencianos por antonomasia, la Dolçaina (también conocida como Dulzaina, Xirimita o Gralla), cuya sonoridad y cuyos efectos de estupor, angustia y terror físico a ser lastimado se asemejan sorprendentemente a los del Stylophone. Sin querer prolongar mucho más las similitudes, pues uno se remonta a los mesopotámicos (y ha sobrevivido hasta nuestros días para hacernos la vida imposible) y el otro fue inventado por un bebedor de té inglés (un producto de la Pérfida Albión), ¿no podríamos imaginar un futuro en el que uno hubiera sustituido al otro?. ¿Un futuro en el que se hubiera descartado la dolçaina por obsoleta y donde las falleras mecánicas dirigidas por el Consell bailaran al ritmo del Stylophone?. Un futuro cyborg pero muy valenciano donde sobre un tabalet convertido en pista de ritmo sonara el  Stylophone ejecutando esta bonita y tradicional canción…

So I realize this is not really a game but Star Wars ties into many amazing games and chances are if you like games you also like Star Wars and the incredible music by John Williams.
Last night I had the chance to go to the concert in Bridgeport, CT. After fighting traffic to get there and making the required stop at the merchandise stand I went to take my seat wrapped in my appropriate Dark Jedi robe (Geek I know).
On that note I was surprised to see there weren’t that many people dressed up. Maybe there aren’t as many geeks as I thought, and I know Bridgeport isn’t the MSG but still I thought the hordes like NY Jedi would show up (though they may go to the concert in Nassau or New Jersey).
Also, lest I forget, before walking into the concert hall you can look at several costumes and props from the movies that are on display. I tried to take some pictures but let’s just say my crappy iPhone didn’t do the best job. But I digress.

The first thing that I felt was that this was a once in a lifetime experience. Considering its success they might, like Play!, decide to do this again but it is no sure thing and as a fan… you had to be there.
That being said the movies and the music are amazing on their own so you have to make something really original in order to make you feel like you couldn’t get this experience from the comfort of your living-room couch. And it becomes clear pretty quickly that you couldn’t.

From the moment the orchestra plays the THX tune (yes it is the orchestra playing it!) you’ll enjoy a blast of a ride through the saga.
Throughout you have footage from the movies edited in a sort of trailer-like fashion playing on a big screen while the orchestra plays with great skill and feel. I particularly like how sometimes they catch you by surprise for example putting a scene from Episode I when the theme of the chapter is mostly related to Episodes III and IV. The way they tied the music with the theme of the chapters was thrilling because instead of bending the music to the footage they did the right thing in letting the score sing in its own voice and matching the video and laser shows to it (these are particularly well used at one point during the concert).

One great addition to this package is the ever-faithful Star Wars representative, Anthony Daniels (C-3PO). Daniels narrates with great bravado in-between each chapters and even has a great moment (at least i felt so) which I wouldn’t spoil in case you go see it.

The way the show is presented is fairly simple but very well executed, it retells the story of the six movies chronologically in chapters, each chapter more or less being a specific tune. So as you can tell it starts with the Star Wars fanfare and then you have “Dark Forces Conspire” which tells the story of the rise of the Empire with the ever-thrilling Duel of the Fates being played so on and so forth.
Sometimes they inject tidbits of dialogues from the movies perfectly. These really gave me goosebumps at times, hearing Obi Wan wail “you were the chosen one!!” on Battle of the Heroes is just….indescribable.

It is hard to talk at length about an experience that is essentially musical and express what you felt but the way they tied the footage to the music is great. Not always perfect but at times brilliant.
There were times when I felt the music and the footage were off by just a fraction of a second but this is really nitpicking and it might just have been my imagination (by the way don’t take the YouTube videos as a sign of this because this is most likely simply bad footage).
On the other hand at times it was really transcendental, seeing the Imperial Cruiser crash vertically with the flames rising up along with the music at the end of “A Sanctuary Moon” was awesome!

Here’s a breakdown of the chapters:

Chapter 1: “A Long Time Ago” – 20th Century Fox Fanfare/Star Wars Main Title Theme
Chapter 2: “Dark Forces Conspire” – Duel of the Fates
Chapter 3: “A Hero Rises” – Anakin’s Theme
Chapter 4: “A Fateful Love” – Across the Stars
Chapter 5: “A Hero Falls” – Battle of the Heroes
Chapter 6: “An Empire Is Forged” – Imperial March
Chapter 7: “A Planet That Is Farthest From” – The Dune Sea of Tatooine
Chapter 8: “An Unlikely Alliance” – Binary Sunset/Cantina Band
Chapter 9: “A Defender Emerges” – Princess Leia’s Theme
Chapter 10: “A Daring Rescue” – Ben’s Death/The Fighter Attack
Chapter 11: “A Jedi Is Trained” – Yoda’s Theme
Chapter 12: “A Narrow Escape” – The Asteroid Field
Chapter 13: “A Bond Unbroken” – Luke and Leia
Chapter 14: “A Sanctuary Moon” – The Forest Battle
Chapter 15: “A Life Redeemed” – Light of the Force
Chapter 16: “A New Day Dawns” – Throne Room/Finale

And with this Finale I bid you Peace, and may the Force be with you!

All videos were taking randomly from YouTube.

20th Century-Fox FMW 37/8 – Japan – 1977

Jag hittade den här sammanställningen av de 100 bästa klippen från YouTube. Visst saknas några (som Star Wars (John Williams is the man) och Weapon of choice med Christopher Walken), men de flesta andra finns där. Och några jag inte sett tidigare också, naturligtvis.

Warner Bros. BS-2840 – United States – 1974