Episodi
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Welcome all listeners out there to the new year and also to the inaugural episode of 2024! To launch into this new year, in this episode I am accompanied once more by perennially popular soundtrack album producer and editor Neil S. Bulk, to continue our conversation in recapping his standout projects from the prior year, in this instance 2023. His work can be heard on album releases from the La La Land, Quartet and Varese Sarabande record labels. As always, I appreciate when Neil can spend time to share the details and experiences on these albums!
Below are the films and composers represented here, with time index for helpful reference:
Intro - 00:00:00
GORKY PARK (1983) (James Horner) - 00:02:36
DAD (1989) (James Horner) - 00:13:15
SNEAKERS (1992) (James Horner) - 00:20:01
THE MASK OF ZORRO (1998) (James Horner) - 00:26:01
MULAN (1998) (Dolby Atmos album releases, score by Jerry Goldsmith, songs by Matthew Wilder and David Zippel) - 00:38:12
LIVE AND LET DIE (1973) (music by George Martin, title song by Paul McCartney & Wings) - 00:45:34
OCTOPUSSY (1983) (music by John Barry, title song "All Time High" by Barry and Tim Rice) - 01:00:00
Stay safe out there, take care of yourself and each other!
Albums discussed now available at:
La La Land Records
Quartet Records
Connect with the podcast on Facebook and Twitter:
www.facebook.com/ascoretosettlehttps://twitter.com/score2settlepodEmail the show at [email protected]
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Welcome back, everyone! To close out 2023, I’m concluding with an episode of the Now Playing sub-series of the podcast to spotlight notable film scores throughout the calendar year. This year provided some surprise blockbusters, such as BARBIE and OPPENHEIMER, along with new entries from major franchises like INDIANA JONES, CREED and THE FAST & THE FURIOUS - with memorable music from many. Enjoy music from a cavalcade of composers - John Williams, Lorne Balfe, Christophe Beck and Hans Zimmer, among others!
Below are the films and composers represented here, with time index for helpful reference.
Title playtime index:
ANT-MAN AND THE WASP: QUANTUMANIA (Christophe Beck) - 00:01:37
SHAZAM: FURY OF THE GODS (Christophe Beck) - 00:06:12
CREED 3 (Joseph Shirley) - 00:10:09
TETRIS (Lorne Balfe) - 00:17:29
DUNGEONS & DRAGONS: HONOUR AMONG THIEVES (Lorne Balfe) - 00:24:06
THE SUPER MARIO BROS MOVIE (Brian Tyler/Koji Kondo) - 00:34:09
FAST X (Brian Tyler) - 00:38:24
INDIANA JONES AND THE DIAL OF DESTINY (John Williams) - 00:42:33
BARBIE (Mark Ronson and Andrew Wyatt, "What Was I Made For?" by Billie Eilish) - 00:53:00
OPPENHEIMER (Ludwig Göransson) - 01:04:02
THE CREATOR (Hans Zimmer) - 01:10:50
THE MARVELS (Laura Karpman) - 01:19:01
Stay safe out there, take care of yourself and each other!
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Episodi mancanti?
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Hello and welcome back to the podcast! In this episode, prepare to be transformed as I continue my mini-series entitled “TV Goes To The Movies” and now explore the music for THE TRANSFORMERS franchise. As before, my focus is musically what was or was not carried over from the television episodes of a particular series to its respective theatrical feature, such as the main TV theme or scoring style.
During its near 40 year history, from the original 1984 syndicated cartoon series, to the animated and live action movies, the Japanese-only series and more, music for the THE TRANSFORMERS has been remarkably varied. The vocal and score tracks have often reflected current or trendy musical approaches, leading to elements of lush symphonic strains, synth pop, hard rock and jazzy funk all being heard in various incarnations. Now, hold on to your crankshafts and let's transform and roll out!
Title playtime index:
Intro - 00:00:00
THE TRANSFORMERS (US, 1984 cartoon series, theme by Anne Bryant & Ford Kinder, score by Johnny Douglas and Robert J. Walsh) - 00:06:17
TRANSFORMERS: THE MOVIE (US, 1986 animated theatrical film, songs by Stan Bush, Lion & Spectre General, score by Vince DiCola) - 00:16:45
THE TRANSFORMERS: HEADMASTERS (1987), TRANSFORMERS: SUPER-GOD MASTERFORCE (1988) and TRANSFORMERS: VICTORY (1989) (Japan, songs & score by Ishida Katsunori, Toshiya Igarashi, Michiaki Watanabe) - 00:31:45
TRANSFORMERS (2007), TRANSFORMERS: DARK OF THE MOON (2011), BUMBLEBEE (2018) and TRANSFORMERS: RISE OF THE BEASTS (2023) (US, live action theatrical films, song "What I've Done" by Linkin Park, scores by Steve Jablonsky, Dario Marianelli and Jongnic Bontemps) - 00:38:18*
*This segment also contains an excerpt from BATMAN BEGINS (2005), composed by Hans Zimmer and James Newtown Howard
Additional tracks heard but not referenced -
"Calling You", Theme from TRANSFORMERS: SUPERLINK (Japan, 2004), by Takayoshi Tanimoto
"Time Limit", from TRANSFORMERS: LEGEND OF THE MICRONS (Japan, 2002), composed by Hayato Matsuo
Stay safe out there, take care of yourself and each other!
Connect with the podcast on Facebook and Twitter:
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Welcome all to the podcast! In this episode, I continue my mini-series entitled "TV Goes To The Movies", a topic in which I intend to explore TV shows that migrated over to the big screen. As expected, my focus is musically what was or was not carried over from the television episodes of a particular series to its respective theatrical feature, such as the main TV theme.
This time I open Channel D to examine "The Man From U.N.C.L.E." - a popular spy series which aired on NBC from 1964-1968. Its musical template was initially set by legendary composer Jerry Goldsmith, while still early in his career, and subsequently experienced many unexpected tonal shifts. Afterwards I discuss the eight "Man From U.N.C.L.E." "movies", each built from 2-part TV episodes and primarily released theatrically internationally, and lastly wrap up with the 2015 feature film, directed by Guy Ritchie, starring Henry Cavill and Armie Hammer, with music composed by Daniel Pemberton.
Title playtime index:
Intro - 00:00:00
THE MAN FROM U.N.C.L.E. Theme (Concert Version) (Jerry Goldsmith) - 00:03:59
THE MAN FROM U.N.C.L.E. Theme (Season One broadcast version) (Jerry Goldsmith) - 00:06:15
Early Jerry Goldsmith TV & Film works - DR KILDARE (TV, 1961), CITY OF FEAR (Film, 1959), THE PRIZE (Film, 1963) - 00:07:10
THE MAN FROM U.N.C.L.E. (TV, Season One) (Jerry Goldsmith, Morton Stevens, Lalo Schifrin) - 00:15:50
THE MAN FROM U.N.C.L.E. (TV, Season Two) (Gerald Fried, Robert Drasnin) - 00:28:28
THE MAN FROM U.N.C.L.E. (TV, Season Three) (Gerald Fried, Robert Drasnin, Nelson Riddle) - 00:39:11
THE MAN FROM U.N.C.L.E. (TV, Season Four) (Richard Shores) - 00:50:40
THE MAN FROM U.N.C.L.E. "movies" (released theatrically internationally) (Gerald Fried) - 00:56:22
THE MAN FROM U.N.C.L.E. (Film, 2015) (Daniel Pemberton) - 01:02:49
Stay safe out there, take care of yourself and each other!
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Hello everyone! With this episode of the podcast, I begin a new sub-series entitled "TV Goes To The Movies", a topic intended to explore TV shows which migrated over to the big screen.
In mapping out a potential plan for the podcast this year, I felt motivated to explore this scenario in terms of musically what was and was not carried over from the television episodes of a particular series to its respective theatrical feature. For example, was the TV series' main theme referenced? Was the style of episodic scoring repeated? Was the series composer, or composers, hired on for the cinematic adventures? My plan is to feature music released officially on album from a selected TV series, followed by the films and see if we can identify recurring attributes.
The initial episode in this sub-series is fraught with danger and intrigue... that being MISSION: IMPOSSIBLE!
Title playtime index:
MISSION: IMPOSSIBLE (TV, 1966-1973) (Lalo Schifrin, et al) - 00:00:00
MISSION: IMPOSSIBLE (TV, 1988-1990) (Lalo Schifrin, Ron Jones) - 00:36:28
MISSION: IMPOSSIBLE (Film, 1996) (Danny Elfman) - 00:44:15
M:I 2 (aka MISSION: IMPOSSIBLE 2) (Film, 2000) (Hans Zimmer) - 00:55:37
MISSION: IMPOSSIBLE 3 (Film, 2006) (Michael Giacchino) - 01:05:47
MISSION: IMPOSSIBLE - GHOST PROTOCOL (Film, 2011) (Michael Giacchino) - 01:10:03
MISSION: IMPOSSIBLE - ROGUE NATION (Film, 2015) (Joe Kramer) - 01:22:27
MISSION: IMPOSSIBLE - FALLOUT (Film, 2018) (Lorne Balfe) - 1:34:22
Stay safe out there, take care of yourself and each other!
Connect with the podcast on Facebook and Twitter:
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Happy New Year to all listeners out there and welcome to the first new episode of 2023! In this inaugural episode of the new year, I am accompanied by popular soundtrack album producer and editor Neil S. Bulk, in what has become a perennial, (hopefully) entertaining and often “inside baseball” type of discussion. Neil and I recap his standout projects from the prior year, 2022, for the venerable soundtrack record labels La La Land Records, Quartet Records and Varese Sarabande. As always, I appreciate when Neil can spend time to relay the details and experiences on these albums!
Below are the films and composers represented here, with time index for helpful reference:
FIRST BLOOD (1982), RAMBO: FIRST BLOOD PART II (1985), RAMBO III (1988) (Jerry Goldsmith) - 00:00:00
MARY, QUEEN OF SCOTS (1971) (John Barry) - 00:15:39
CHAPLIN (1992) (John Barry) - 00:19:10
DR SEUSS' HOW THE GRINCH STOLE CHRISTMAS (2000) (James Horner) - 00:26:09
TOMORROW NEVER DIES (1997) (David Arnold) - 00:33:43
THE GODFATHER (1972) (Nino Rota) - 00:44:54
PRESUMED INNOCENT (1990) (John Williams) - 00:55:00
DEATH BECOMES HER (1992) (Alan Silvestri) - 1:01:02
L.A. CONFIDENTIAL (1997) (Jerry Goldsmith) - 1:08:09
THE BURBS (1989) (Jerry Goldsmith) - 1:15:50
Stay safe out there, take care of yourself and each other!
Albums discussed now available at:
https://lalalandrecords.com/
https://www.quartetrecords.com/
https://www.varesesarabande.com/
Connect with the podcast on Facebook and Twitter:
www.facebook.com/ascoretosettlehttps://twitter.com/score2settlepodEmail the show at [email protected]
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Welcome back to the show! In an effort to wrap up 2022, I’m concluding with an episode of the Now Playing sub-series of the podcast. This is following on from the previous Now Playing installment (episode 47) in which I primarily covered the first half of the year, including THE BATMAN and TOP GUN: MAVERICK, with additional notable highlights from late 2021. In this episode, enjoy music from John Williams, Lorne Balfe, Junkie XL, Alexandre Desplat among others! Below are the films and composers represented here, with time index for helpful reference:
Title playtime index:
THOR: LOVE AND THUNDER (Michael Giacchino & Nami Melumad) - 00:00:00
NOPE (Michael Abels) - 00:10:29
THREE THOUSAND YEARS OF LONGING (Tom Holkenborg aka Junkie XL) - 00:18:53
THE WOMAN KING (Terence Blanchard) - 00:27:18
THE LOST KING (Alexandre Desplat) - 00:34:41
BLACK ADAM (Lorne Balfe) - 00:42:30
BLACK PANTHER: WAKANDA FOREVER (Ludwig Göransson) - 00:53:07
THE FABELMANS (John Williams) - 1:03:57
Stay safe out there, take care of yourself and each other!
Connect with the podcast on Facebook and Twitter:
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Welcome back to the podcast! In this episode, I present and examine the music composed for the PREDATOR film franchise, from the 1987 original through to the latest installment, PREY, released via the streaming service Hulu in August 2022. My goal is to identify the themes, motifs, instrumentation and approach applied by composer Alan Silvestri (BACK TO THE FUTURE, MOUSE HUNT, THE AVENGERS) to PREDATOR (1987) & PREDATOR 2 (1990) and how this symphonic model was subsequently interpreted in the sequels and spin-offs (or not). Later, PREY eschews much of the previous musical language and charts new sonic territory, with a subtle nod to Silvestri. Additional composers represented in this pulse-pounding episode include John Debney, Brian Tyler, Henry Jackman, Harald Kloser and Sarah Schachner.
Title playtime index:
PREDATOR - 00:00:00
PREDATOR 2 - 00:26:25
ALIEN VS PREDATOR - 00:37:10
ALIENS VS PREDATOR: REQUIEM - 00:44:36
PREDATORS - 00:51:52
THE PREDATOR - 1:04:48
PREY - 1:19:23
Stay safe out there, take care of yourself and each other!
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Welcome, everyone, to the next episode of the podcast! In this episode, I revisit a sub-series of the show called "Now Playing", during which I showcase recent soundtrack albums to which I’ve been listening. This can include music for both current film releases and classic scores newly issued on album. Below are the titles (and artists) that I present, mostly from the end of last year and the first half of 2022:
VENOM: LET THERE BE CARNAGE - Marco Beltrami
ARMY OF THIEVES - Hans Zimmer & Steve Mazzaro
THE KING'S MAN - Matthew Margeson & Dominic Lewis
DEATH ON THE NILE (2022) - Patrick Doyle
UNCHARTED - Ramin Djawadi
DOCTOR STRANGE IN THE MULTIVERSE OF MADNESS - Danny Elfman
THE BATMAN & JURASSIC WORLD: DOMINION - Michael Giacchino
TOP GUN: MAVERICK - Harold Faltermeyer, Lady Gaga, Hans Zimmer & Lorne Balfe
FIRESTARTER (1984) - Tangerine Dream
Stay safe out there, take care of yourself and each other!
Connect with the podcast on Facebook and Twitter:
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Hello again and welcome back to the podcast! In this somewhat "super-sized" installment of my multi-part trek through the music of Science Fiction cinema, I attempt to close out the decade of the 1980's. The previous installment in this series focused on titles from the years 1980-82. Here, I cover the remaining years of the decade with examples of the competing and sometimes collaborative film music trends - pop & electronic and orchestral.
The 80’s were a peak time of musical surprises, somewhat akin to the 1960’s when we heard a mix of traditional orchestral scores, jazz, pop & rock-based colors as well as avant garde music derived from concert techniques. Following its revival, the large scale orchestral approach continued reigning over much of cinematic Science Fiction, now bolstered by electronic and choral elements. Parallel to this were the experiments in synth and pop styles, connecting the genre to present day (for the time) musical trends. To help identify these unique sonic qualities, I'll sample music from TERMINATOR (Brad Fiedel), 2010 (David Shire), ENEMY MINE (Maurice Jarre), KRULL (James Horner), SPACEHUNTER: ADVENTURES IN THE FORBIDDEN ZONE (Elmer Bernstein) and THE ABYSS (Alan Silvestri), amid more!
*Correction - During this episode, I mistakenly attributed the theme song for the TV series "Cheers" to composer Craig Safan. In fact, while Safan provided the series bumpers and underscore cues, the theme was composed by Gary Portnoy and Judy Hart Angelo.
Stay safe out there, take care of yourself and each other!
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Welcome to the next new episode! I am pleased to be joined once more by soundtrack album producer and editor, Neil S. Bulk. As heard in previous years, which long-time listeners may recall, I’ve invited Neil back to reflect on his notable projects from the prior year, in this case 2021, for the various soundtrack record labels such as La La Land Records and Varese Sarabande. Topics range from work continuing during lockdown, rescores, film score presentations vs original albums and guessing as to what was happening in 1989 with recorded cues now missing. Titles discussed in this episode include:
THE NEXT KARATE KID (Bill Conti/William Ross)
STAR TREK II: THE WRATH OF KHAN, GLORY, FIELD OF DREAMS (James Horner)
STRIPES (Elmer Bernstein)
CABOBLANCO, THE STRIPPER, S*P*Y*S, TORA! TORA! TORA!, ACE ELI AND RODGER OF THE SKIES (Jerry Goldsmith)
THE TIME TUNNEL (1960's TV series) (John Williams, various)
THE DIARY OF ANNE FRANK (Alfred Newman)
LOVE ACTUALLY (Craig Armstrong)
DANTE'S PEAK (James Newton Howard/John Frizzel)
Stay safe out there, take care of yourself and each other!
Albums discussed now available at:
https://lalalandrecords.com/
https://www.varesesarabande.com/
Connect with the podcast on Facebook and Twitter:
www.facebook.com/ascoretosettlehttps://twitter.com/score2settlepodEmail the show at [email protected]
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Welcome to 2022, everyone! In this first episode of the year, my multi-part journey into the music of Science Fiction cinema and its evolving soundscape through the decades continues. We’re now crossing over into the 1980’s, following on from the seismic shift in film scoring which occurred with the unexpected arrival of STAR WARS in 1977 and its John Williams-penned symphonic score, hearkening back to the sounds of the classical Hollywood era.
This symphonic shadow loomed large over Sci-Fi movies of the 80's, as heard here in music composed by James Horner (BATTLE BEYOND THE STARS, STAR TREK II), John Scott (THE FINAL COUNTDOWN) and Elmer Bernstein (SATURN 3, HEAVY METAL). However, the incorporation of synthesizers into soundtracks increased, both combined with large orchestras and also in solo efforts, such as John Carpenter's ESCAPE FROM NEW YORK (1981) and the inimitable Vangelis score for BLADE RUNNER (1982).
Stay safe out there, take care of yourself and each other!
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Greetings everyone! In this new episode of the podcast, my sonic journey through the music for Science Fiction cinema through the decades continues, by closing out the 1970's. This will focus on titles from the 1977-1979 years, and more specifically STAR WARS and the ripples created by that seismic shift of its musical score composed by John Williams. The electronic and avant garde sounds of the genre heard during the early Seventies found themselves supplanted by the return of those of the Golden Age of Hollywood, being the more traditionally symphonic soundscapes.
John Williams features prominently as expected, by way of not only STAR WARS but both CLOSE ENCOUNTERS OF THE THIRD KIND and SUPERMAN: THE MOVIE, along with titles by Jerry Goldsmith (DAMNATION ALLEY, ALIEN, STAR TREK: THE MOTION PICTURE), John Barry (STARCRASH, THE BLACK HOLE), Laurence Rosenthal (THE ISLAND OF DR MOREAU, METEOR), Brian May (MAD MAX) and others...
Stay safe out there, take care of yourself and each other!
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Hi again everybody! In this episode of the podcast, my multi-part deep dive into the malleable soundscape of Science Fiction cinema continues, with the focus today being the 1970’s. Well, to be more specific, this episode focuses on the first half of the 1970's. It was a period when the sweeping symphonic sound of the Golden Age had briefly faded, mostly supplanted by either pop inflected scores and songs, tracked in classical works or experimental, often electronic tones. Sci-fi film scores (and composers) represented here include COLOSSUS: THE FORBIN PROJECT (Michel Colombier), THE OMEGA MAN (Ron Grainer), SILENT RUNNING (Peter Schickele), SOYLENT GREEN (Fred Myrow), LOGAN'S RUN (Jerry Goldsmith) and a suite of music from the four PLANET OF THE APES sequels.
Stay safe out there, stay cool, take care of yourself and each other!
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Welcome back to the podcast! In this episode I continue on to the next chapter of a multi-part deep dive, into the evolving music of Science Fiction cinema through the decades, with my focus today being the 1960’s. Thus far, we’ve journeyed through the 1950’s scores which were brimming with electric violins, theremins, Novachords, jarring stinger chords and harsh onslaughts of brass and percussion.
Now, as we advance into the 1960's, we'll hear sumptuous symphonic scores for THE TIME MACHINE (1960) and MASTER OF THE WORLD (1961), pop and jazz influences in PANIC IN YEAR ZERO! (1962) and BARBARELLA (1968) and avant garde concert techniques expressed in the music for FANTASTIC VOYAGE (1966) and PLANET OF THE APES (1968). Composers featured here include Bernard Herrmann, Jerry Goldsmith, Les Baxter, Russell Garcia, Akira Ifukube - plus vocal crooning by Frankie Avalon! I also include samples of Alex North's original, unused score for the Stanley Kubrick directed, game-changing 1968 classic 2001: A SPACE ODYSSEY.
Stay safe out there, take care of yourself and each other!
Small correction: I mistakenly attribute the score for 1954's 20,000 LEAGUES UNDER THE SEA to Paul Sawtell and Bert Shefter, but it was composed by Paul J. Smith. Thanks to my attentive listeners!
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Beginning with this episode (the 40th!) of the podcast, I plan to present a multi-part analysis into a specific cinematic genre, that being the music of science fiction through the years. The 1950's is often considered the initial Golden Age of Science Fiction, when the genre showcased its own distinctiveness onscreen and gained notoriety in part due to films such as THE DAY THE EARTH STOOD STILL (1951), CONQUEST OF SPACE (1955) and INVASION OF THE BODY SNATCHERS (1956). Music from this decade's theatrical entries is where my listening journey starts, including selections composed by Bernard Herrmann, Leith Stevens, Herman Stein and Nathan Van Cleave.
Of course, this isn’t meant to be an exhaustive or definitive overview in any sense of the word, consisting instead of my own observations of how music for science fiction movies, those involving outer space, invading aliens and time travel, developed its own personality and evolved over time. With luck, my reach won't exceed my grasp and I will endeavor to produce an episode for each decade at least up until the 1990's. As a teaser, I've created a special suite of musical selections from various Sci-Fi film scores from the 50's to the 90's.
Stay safe out there, take care of yourself and each other!
Connect with the podcast on Facebook and Twitter:
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Hello again, everyone! On this episode of the podcast, I am joined by the brilliantly skilled composer Benji Merrison. Benji is based in London and has provided music across a wide spectrum of media, from TV to film, documentaries and art installations. His background includes both formal music schooling as well as music production and engineering. Some of Benji Merrison's previous projects include TV series for BBC 1 such as FORCES OF NATURE, DYNASTIES and GREEN PLANET. Today, I have welcomed him to my podcast to talk about his latest feature film score, for the action thriller SAS: RED NOTICE, directed by Magnus Martens. The soundtrack for SAS: RED NOTICE is available from Lakeshore Records.
Stay safe out there, wear a mask and take care of yourself and each other!
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Welcome back to the podcast! Marvelously proficient composer, arranger and songwriter Matthew Head joins me on this episode to discuss his background and diverse career. Matthew's soundtracks have garnered Grammy, Emmy, Peabody and NAACP awards and nominations, all while working from his home in Marietta, Georgia. His notable projects include TV series such as GREENLEAF (on OWN), Boomerang (on BET), THE FAMILY and P-VALLEY. Here I talk with Matthew about composing and arranging score and songs for the new Lifetime feature, ROBIN ROBERTS PRESENTS: MAHALIA, which details the life of gospel music legend Mahalia Jackson, starring Danielle Brooks and directed by Kenny Leon.
The soundtrack for ROBIN ROBERTS PRESENTS: MAHALIA, produced by Matthew Head, including both score and songs with performances by Danielle Brooks, is available from ABKCO Music & Records.
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Hello all! In this new episode of the podcast, I am joined by the wonderfully innovative composer Grant Fonda. Grant has contributed music to various multi-media projects, including notable documentaries such as THE DATING PROJECT and the award-winning DOWN THE FENCE, and is graciously taking time to talk about his score for the new documentary feature film entitled THE HOUSE THAT ROB BUILT, which premiered in February 2021. THE HOUSE THAT ROB BUILT was directed by Jonathan Cipiti and Megan Harrington and focuses on the formation of women’s collegiate basketball in the state of Montana, specifically the Lady Griz basketball team as coached by Rob Selvig. Grant Fonda’s music is now available to purchase through the major streaming music services.
Stay safe out there, wear a mask and take care of yourself and each other!
Connect with the podcast on Facebook and Twitter:
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Welcome back, everyone! In this new episode, I talk with multi-talented composer Enis Rotthoff. Born in Berlin, Enis is a well established and distinct musical voice in German cinema and in recent years has been been cultivating a similarly impressive reputation here in the United States. He has composed music for diverse films such as GUNS AKIMBO and THE SUNLIT NIGHT and I'm pleased to welcome Enis to the podcast to discuss his latest feature, LOVE SARAH. Released in January 2021, LOVE SARAH was directed by Eliza Shroeder and is now available on all major streaming platforms. Rotthoff collaborated closely with director Eliza Schroeder on the score, recording the music with the Budapest Art Orchestra and also blending electronic sounds with acoustic instruments.
Stay safe out there, wear a mask, take care of yourself and each other!
Connect with the podcast on Facebook and Twitter:
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