Free Clarkesworld Anthology 2012 by Wyrm Publishing Page A

Earth Stood Still (1951)
    In 1919, a Russian scientist named Lev Termen invented one of the earliest electronic instruments, which came to be called after the anglicized version of his last name: the theremin. (Termen himself has a history at least as fascinating as his instrument: After emigrating to the U.S. where he scandalously married an African-American ballet dancer, he was kidnapped by Soviet secret police and repatriated to the USSR, where he worked on espionage tech including one of the first bugging devices.) Although its ethereal sound is now practically synonymous with ’50s SF movies, the theremin made its way into cinema 20 years earlier, first via Russian composers like Dmitri Shostakovich, then as a background element in 1933’s King Kong and 1935’s Bride of Frankenstein . In 1945, the theremin’s weird warble was used in a pair of thrillers, Alfred Hitchcock’s Spellbound and Billy Wilder’s The Lost Weekend , to illustrate the emotional chaos of their amnesiac and alcoholic protagonists. But the theremin was first used as a major foreground soundtrack element in the alien-contact classic The Day The Earth Stood Still . Composer Bernard Hermann put two theremins at the center of his score to highlight both the wise and gentle alien ambassador Klaatu and his deadly robot Gort. For a decade after, the theremin was de rigueur for any movie about alien creatures, showing up in It Came from Outer Space , Operation Moon — and much later in Tim Burton’s retro-futuristic Mars Attacks .
    Forbidden Planet (1956)
    Perhaps ironically, the theremin is absent from the first major movie to feature a totally electronic soundtrack, the SF-meets-Shakespeare space drama Forbidden Planet . Husband-and-wife composing team Louis and Bebe Barron got their start as avant-garde musicians in the orbit of the radical composer John Cage, but they made a stab at the more lucrative land of studio soundtrack work with Planet . They hand-built their own circuitry to create the phenomenally eerie music accompanying Leslie Nielsen and company’s journey through space. The main device in the Barrons’ toolkit was a tone-generating circuit called a ring modulator (famously used later by the BBC for the distorted squawks of Doctor Who ’s Daleks), which they manipulated with reverb, delay, and other effects. Crucially, they didn’t see their music merely as mechanical sound, instead treating their instruments as actors whose job was to produce an emotional response. Though their soundtrack was hugely innovative and influential, the experience was a mixed success for the Barrons: Because they weren’t members of the musicians’ union, their score was classified not as music but as “electronic tonalities,” denying them a well-deserved shot at an Oscar and effectively ending their Hollywood career.
    The Tornados, “Telstar” (1962)
    The first British group to score a number-one hit in America wasn’t The Beatles, but an instrumental surf-rock band called The Tornados — thanks to a song written by their producer, the decidedly eccentric electronics wizard Joe Meek. Named after the first successful communications satellite to achieve orbit around Earth, “Telstar” captured the early-’60s fascination for the space age with a jaunty, buzzy keyboard-driven melody that incorporated bleeps and whooshes alongside a soaring background vocal. The main instrument here was a clavioline, an electronic keyboard that was a precursor to modern synths, but much of the magic came in post-production via Meek’s jerry-rigged assembly of tape machines, compressors and other devices in his home-built London studio. Meek’s own career was less stratospheric: Though the song sold five million copies and was covered by dozens of other bands, a plagiarism lawsuit (almost certainly groundless) ensured that Meek never saw a dime from it during his lifetime, and mounting pressure from his business problems, his drug use, and his (then-illegal)