twilight zone! You may not believe it but we have a twilight zone right here in West Virginia. Actually, thousands of them spread throughout the eastern mountains of the state, mainly in limestone areas. I’m not referring to the science fi ction phenomenon shared by millions of television viewers in the past, but the wonderful, unique caves of West Virginia. Caves provide not only recreational opportunities and natural scenic beauty for residents and nonresidents to enjoy, they make up one of the most interesting habitats that contain some of the largest assemblages of rare species in the state. When understanding caves and cave habitats it is important to keep three things in mind: the zones of the cave, the species present, and the energy fl ow in cave systems. The fi rst thing to consider when looking at caves is the different zones of the cave. The three main zones that exist within all caves are the light zone, the dark zone and the twilight zone. The light zone is the area at the entrance that still receives daylight throughout most of the day. The dark zone is the area further back in the cave that never receives light. The twilight zone, however, receives indirect lighting from the sunlight outside the cave. When you are in a cave, this light often appears as a soft bluish glow around the corner or further down the passage. Each of those zones listed above can vary greatly in the organisms present and pose a unique opportunity when investigating cave habitats. Although most rare species occur in the dark zone, it is in the twilight zone where outside organisms and some cave dwellers share the cave habitat. This overlap leads to an important exchange of energy between the outside environment and the cave environment. The diverse biota present within caves can be divided into a few main categories. For terrestrial species these categories are accidentals, troglobites, troglophiles and The TWILIGHT ZONE

The twilight zone.

Theater of the Mind: Imagination, Aesthetics, and American Radio Drama

History of University Patronage in the United States” by Sally Banes, and “Never Enough Is Something Else: Feminist Performance Art, AvantGardes, and Probity” by Kristine Stiles. Banes begins chronicling the largely untold history of university theatres’ relation to and support of avant-garde artists; discussion of this not-alwayscomfortable relationship between artists and academe (influences, shared history, interaction) deserves wider expansion. Stiles’s essay combines personal narrative with criticism; she describes her own experience as a critic in a specific confrontation with avant-garde artists and curators who, she believes, had allowed radicalism to become an institution unto itself. As a result, she analyzes avant-garde precepts with new scrutiny, drawing a distinguishing line between “radicalism” and “radical” (defining avant-gardes as the latter), and calls upon avant-garde artists to become accountable and responsible to their commitments by approaching their work with greater probity.

http://muse.jhu.edu/journals/theatre_journal/v056/56.2hill.pdf

Theatre of Sound: Radio and the Dramatic Imagination (review)

The reuse of storylines from radio dramas on early television was not uncommon; indeed, much of the television programming of this period consisted of repurposed radio scripts. The scores for these...

From the Brooklyn Bridge to Pennsylvania Highway 11: Bernard Herrmann’s score for “the Hitch-Hiker” from radio drama to The Twilight Zone

In July 2017 The Verge reported that popular streaming music service Spotify was employing a handful of musicians to produce over fifty tracks to fill out the company’s “Peaceful Piano,” “Calm Vibes,” and “Music for Concentration” in-house playlists.1 Other news outlets soon followed suit with articles such as “Are Spotify’s ‘Fake Artists’ Any Good?” and “Spotify Is Accused of Creating Fake Artists—but What Is a Fake Artist?”2 Since 2013 Spotify has featured playlists that the company curates for users throughout the platform as part of the company’s branding. They are often the first thing that a user sees when opening the app and also appear in searches and in recommendations based on search results. They range widely from influential lists based on genre (e.g., “Rap Caviar”) to innocuous lists based on time of day, season, or mood (e.g., “Throwback Thursday” and “Late Night Vibes”). These playlists are so popular, in fact, that many in the record industry view placement on them as the equivalent of being featured on a top terrestrial radio show in the late twentieth century.3 Like prominent placement on a top radio station, placement on a popular playlist translates to immediate income via increased exposure and listening royalties, especially important factors for middle-class and struggling musicians. The artists named as “fake” by various music news outlets had no internet presence apart from Spotify, with vague, abstract artist logos

The Long History of the 2017 Spotify “Fake Music” Scandal

The re-use of storylines from radio plays on early television was not uncommon; indeed, much of the television programming of the 1950s and early 1960s consisted of repurposed radio scripts Columbia Presents Corwin 'Moat Farm Murder' (Bernard Herrmann, 18 July 1944) was among the many radio programmes from the 1940s that had music featured in The Twilight Zone  Of the radio plays to feature music in the series, 'Moat Farm Murder' provided more cues than any other CBS radio score Cues from 'Moat Farm Murder' are found in eleven episodes of The Twilight Zone (CBS, 1959–1964) The use of music from radio dramas and their re-uses in television has thus far not been examined This essay looks at the composition of the 'Moat Farm Murder' radio score and Corwin's collaboration with Herrmann in it, as well as the re-use of radio music in The Twilight Zone  Through this case study of 'Moat Farm Murder', better knowledge of how the CBS Stock music library was used, in tandem with the way in which other similar network and production company cue libraries worked

/pdf/music-for-murder-machines-and-monsters-moat-farm-murder-the-3ijgj0k3y4.pdf

Reba A. Wissner

Papers

Music for Murder, Machines, and Monsters: 'Moat Farm Murder', The Twilight Zone, and the CBS Stock Music Library