fiction film soundtracks and executive album producer Neil Norman had proclaimed the film (and the soundtrack) his favorites. Not everyone was happy with the score. Louis and Bebe did not belong to the Musicians' Union. The original screen credit for the film, which was supposed to read "Electronic Music by Louis and Bebe Barron", was changed at the last moment by a contract lawyer from the American Federation of Musicians. In order to not upset the union, the association with the word music had to be removed. The Barrons were credited with "Electronic Tonalities". Because of their non-membership in the union, the film was not considered for an Oscar in the soundtrack category. Later works The Barrons did not know what to call their creations; it was John Cage, working with the Barrons in their studio for his earliest electronic work, who convinced them that it was "music". The Musicians' Union forced MGM to title the Forbidden Planet score "electronic tonalities", not "music". And seeing the handwriting on the wall, used that excuse to deny them membership in the 1950s; the union's primary concern was losing jobs for performers rather than the medium itself. As a result, the Barrons never scored another film for Hollywood. As the years passed, the Barrons did not continue to keep up with technology, and were perfectly content to make their music in the way they always had. However, modern digital technology is now imitating the rich sounds of those old analog circuits. Bebe's last work was Mixed Emotions in 2000, from raw material collected at the University of California, Santa Barbara studio. It sounds remarkably like the Barrons' earlier material. In 1962, the Barrons moved to Los Angeles. Although they divorced in 1970, they continued to compose together until the death of Louis in 1989. Bebe Barron was a founding member and the first Secretary of the Society for Electro-Acoustic Music in the United States from 1985 to 1987. They awarded her with a lifetime achievement award in 1997. In 2000, she was invited to create a new work at University of California, Santa Barbara, using the latest in sound generating technology to collect sounds there. From October through early November 2000, she did all the actual composing in Jane Brockman's Santa Monica studio with Brockman serving as recording engineer. The sounds collected at UCSB were imported into Digital Performer on a Macintosh computer