What’s a “LIFTr” and what does it have in common with Buffy? Why are you interrupting my day to talk about this? Shouldn’t you be eating tacos or something? I thought I unsubscribed to this blog!?

These are all good questions.

I’m expanding the style of my blog and the post content a bit. It’s not all about me.  Well, indirectly, it’s always about me.

LIFTr

A few years ago, before I wrote & published the Fail Whale Book, I wrote a series of articles for a company called LIFTr, about social media marketing for small business. They were designed as a walk-through for people who needed some guidance in self-marketing and navigating the worlds of Twitter & Facebook. I’ve decided to reprint them here as a series, in the hopes that they can be of use to others new to the world of social media. These are written in more of a textbook-style, so my trademark humor is missing. Some of you might find that refreshing. To those people, I say [insert appropriate insult here]

Buffy the Vampire Slayer

One of my earliest influences in the world of film scoring is composer Christophe Beck. Beck does feature films now (including The Hangover 1 & 2), but he started as the composer of Buffy, which is the show & score that led me down the path I’m on now (there’s a whole post I need to write about concerning how I found Christophe Beck and why Buffy, of all shows, is the defining moment in my scoring career).

Back in 2005, a friend of mine, Ian Davis, who, at the time ran the only site dedicated to Chris Beck, was looking for someone to help him with reviews of the Buffy Season 3 scores. Season 3 was the year I started watching Buffy, so it was an appropriate spot for me to begin. Basically, I took the episode and broke down the score cue-by-cue, and analyzed what Beck was doing musically in conjunction with the story, and included musical examples from the episode. I’ve decided not only to republish them here, but continue where I left off and finish out the season.  These posts won’t be for everyone; but if you’re a Director, Producer or musician interested in the process of scoring and how we music-types think, then this might be an interesting read.

Don’t worry, I’ll still be posting the other crap that spews from my mouth you’re so accustomed to reading.