were placed on Frewer, such as when the Trashcan Man is burned by an oil factory explosion, a really hot desert sun, and radiation from an atomic bomb. Facial hair The growing facial hair effect seen on the extras was done by Camille Calvetty through a technique involving electrostatic charges; on each actor, she would first put adhesive all throughout the face, then trim the hair "to the right length" for it to be placed in a device that grows the hair through an electric charger. While this technique had been done on past films and television series, The Stand was the first ever production that involved it being applied to several extras. The varying amount of loose hair and make-up on each extra complicated the process according to Johnson: "You don't have a lot of control. So it takes an incredible amount of maintenance and a lot of patience to keep it looking good." Releases Original broadcast Soundtrack Credits and personnel Music composed by W. G. Snuffy Walden Executive producer: Robert Townson Produced by W. G. Snuffy Walden Music recorded and mixed by Ray Pyle and Avram Kipper at O'Henry Studios, Devonshire Studios and Taylor Made Studios Music editor: Allan K. Rosen Synclavier programming by Mark Morgan Orchestrations by Don Davis and John Dickson Scoring contractors: Paul Zimmitti and Debbi Datz Principal musicians: Guitar: W. G. Snuffy Walden and Dean Parks Piano: Randy Kerber Percussion: Michael Fisher Woodwinds: Jon Clarke Violin: Charlie Bisharat Broadcast ABC aired the highly anticipated miniseries in May 1994 for two reasons: it was a sweeps month, and it was the earliest month that didn't have new episodes of Monday Night Football and Roseanne in the line-up. All four parts were viewed by approximately 19 million homes, with Part 1 receiving a rating/share of 21.0/32, Part 2 receiving 21.0/32, Part 3 receiving 20.1/31, and Part 4 receiving 20.0/31. Reception On The New York Observer's 2014 list of the best Stephen King miniseries, The Stand ranked just behind the number-one pick, It (1990), the source praising the miniseries' performances. The miniseries was met with generally positive reviews. John J. O'Connor at The New York Times wrote, "A great deal of time and money has gone into this production, and it's right up there on the screen... The nagging problem at the heart of The Stand is that once the story settles early on into its schematic