Valentine's Day, Sunday, February 14, 2010 at 10:20 am

I discuss this in my final Talking Herrmann below at the end of this blog. SoFilmus-L is literally history now. Even right now I attempted to access archives that mayhave been reinstated or redirected somewhere, but there is no such link. Since I wasalerted about the site being closed to new messages a week before January 29, I decidedto cut & paste more Filmus-L posts in case the archives would go kaput—which they did.I had already done a lot over the years and put into some Word files but I decided to goover the archives a bit more thoroughly in case I missed anything. I enjoyed the “old”Filmus-L during its heyday far than Lukas Kendall’s Film Score Monthly MessageBoard. In fact, I never posted on the FSM discussion board. I had a beef withmanagement, so to speak, and wanted nothing to do with the site in terms of personalparticipation. Besides Talking Herrmann was already here since 1999, and that was a farmore apropos site for my participation. But Filmus-L had a certain scholarly qualityabout it, especially in the earlier years (before the big flame wars started and thesoundtrack enthusiasts dominated the talk).The first cut & paste I did for my files was:Subject: Cape Fear; Stravinsky; music in adsDate:Tue, 30 Mar 1993 14:34:27 ESTThe poster was David Neumeyer. He is currently involved with three others on aninteresting project:http://www.hearingthemovies.net/HomeYou should especially go to the authors’ blog:http://hearingthemovies.blogspot.com/It is updated frequently—even today in fact. The main contributor there appearsto be Jim Buhler. He was posting on Filmus-L in the early months but not everybody washappy with his comments for whatever reasons. One poster in late December 1993commented that 90% of what Buhler wrote on the list was not worth reading! So I guessthere were mini-flame wars even back in the early days of Filmus-L or heartydisagreements! Scholars can be quite opinionated. Herrmann of course was a highlyflammable, opinionated, passionate soul!There was certainly a lot of Horner bashing going on at Filmus-L especiallyregarding “borrowing” from other composers in his own works. Lukas Kendall in mid-May 1993 stated that Robert Schumann's 3rd Symphony, the opening Movement, becamepart of Horner's Willow. I have never personally substantiated this. I was too busy withHerrmann’s self-borrowings! Moreover he claimed (and others) that in Honey I Shrunkthe Kids he “ripped off” Nino Rota's Amarcord note for note, and Raymond Scott's"Powerhouse" used in the Warner cartoons composed /arranged by Carl Stalling. Ibelieve there was a settlement on the Scott piece later but I’ll double-check the futureFilmus-L posts. That Sunday's Chicago Tribune mentioned the similarity as well. ….Yes,Stephen in January 1997 stated that the “wacky” mechanical bass line of the "Honey"theme sounded like Raymond Scott's "Powerhouse,” and that Disney settled with the21