For as long as I could remember, I’ve done everything in my power to live a productive life that allows me to pursue a lasting inner peace. And after my last checkup, I was given a clean bill of health. I then awake as refreshed and recharged as a newborn child, ready to take on the day’s challenges. Sweet dreams are the usual result of this. It’s always coupled with 20 minutes of stretching to decompress from the long workday. Before bed, I drink a warm glass of milk. I’m always in bed by 11 PM, and I make it a point to get no less than 8 hours of sleep each night. I don’t like smoking, but do enjoy the occasional drink. After a long day’s work, I return home no later than 8 PM. In order to make a living, I work for Kame Yu department stores. Not that you’d care, but I reside in northeast Morioh’s villa district. Although, if I were to fight I wouldn’t lose to anyone. That is how I deal with society, and I know that is what brings me happiness. I take care not to trouble myself with any enemies, like winning and losing, that would cause me to lose sleep at night. I’m trying to explain that I’m a person who wishes to live a very quiet life. I was told there were no issues at my last check-up. Just like a baby, I wake up without any fatigue or stress in the morning. After having a glass of warm milk and doing about twenty minutes of stretches before going to bed, I usually have no problems sleeping until morning. I’m in bed by 11 PM, and make sure I get eight hours of sleep, no matter what. I work as an employee for the Kame Yu department stores, and I get home every day by 8 PM at the latest. My house is in the northeast section of Morioh, where all the villas are, and I am not married. It is too long for its own good, except from the standpoint of Herrmann completists, who will love it.– My name is Yoshikage Kira. The recording is excellent, and the performance perhaps a bit too serious, which is ironic since, as a substantial body of music, this lengthy set doesn't hold up. It is possible, listening to this material, to discern his further use of such works as Gustav Holst's "The Planets," whose influence could be felt in his music for Alfred Hitchcock's The Trouble with Harry, and it's easy to admire the man's inventiveness and creativity. Much of the rest, although often very interesting, is simply not that good as music - Herrmann did as bidden and created very effective, surprising, even otherworldly scores for "Little Girl Lost" and "Living Doll," using instruments such as harps, guitars, and bassoon with great facility, but these still aren't remotely of the quality of his film scores of the same era. Of all the music here, Herrmann's score for the episode "Walking Distance" holds up the best, a sweetly elegiac ode to passing youth and passing time that stands on its own. During the 1980s, anyone suggesting such an idea to most record labels would have been shown the door in a less than polite manner, but Herrmann's music seemed to sell as the 20th century drew to a close, and the continuing interest in The Twilight Zone didn't hurt. One is grateful for the very notion that a 1990s recording was made of seven of Bernard Herrmann's scores for the Twilight Zone series from the early '60s.
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