RANGERAVER presents QUEASY LISTENING XMAS 2008

RANGERAVER

presents

AN AUDIO CHRISTMAS PRESENT JOINT

................................... 

QUEASY LISTENING 2008

"AN APPALLING SELECTION OF BAD TASTE 

MUSICAL PERFORMANCES 

AND PIG IGNORANT TUNES"

...................................

.....................................

" the musical equivelent of getting that really bad tie

or socks and underpants or that horrible ornament from your

auntie or being given your grandmother's cat wrapped up - 

'cause she's demented"

TELLY SAVALAS - WHO LOVES YA BABY

DJ ZINC v THE FUGEES - READY OR NOT

KEITH WEST - EXCERPT FROM A TEENAGE OPERA

MARY J BLIGE - FAMILY AFFAIR

THE ROULETTES - BAD TIME

MEIKO KAJI - THE FLOWER OF CARNAGE

ELECTRIC 6 - GAY BAR

MANHATTAN TRANSFER - ROUTE 66

JOHN FAHEY - DANCE OF DEATH

MARK RONSON & AMY WINEHOUSE - VALERIE

EDITH PIAF - MILORD

RUN-DMC - MY ADIDAS LIVE NYC 84'

CHICK COREA'S ELEKTRIC BAND - ALAN CORDAY

MING TEA & AUSTIN POWERS - BBC

CAT EMPIRE - CHARIOT

INNER CITY - BIG FUN

SPENCER DAVIS GROUP - MR. SECOND CLASS

K-JEE - K-JEE

JOHNNY CASH - COCAINE BLUES

LORETTA LYNN - DON'T COME HOME A-DRINKIN'

THE DOORS - ROADHOUSE BLUES

AZUL AZUL - LA BOMBA

MOTT THE HOOPLE - ALL THE YOUNG DUDES

YELLOW MAGIC ORCHESTRA - BEHIND THE MASK

WAYNE TOUPS - TWO-STEP MAMOU

GEORGE BENSON - BREEZIN'

INSANE CLOWN POSSE - MURDER GO ROUND

ROCKAPPELLA - SWING LOW, SWEET CHARIOT

JUNIOR CARTIER - WOMEN BEAT THEIR MEN

DILLINGER - COCAINE IN MY BRAIN

UB4 -DAS BOOT

EDDIE GRANT - ELECTRIC AVENUE

LOU MONTE - LAZY MARY

1200 TECHNIQUES - BATTLEMASTER

GROOVE ARMADA - IF EVERYBODY LOOKED THE SAME

PETER & GORDON - LADY GODIVA

GARY NUMAN - WE ARE GLASS

OSCAR PETERSON - VOLARE

TOMMY McCOOK AND THE SUPERSONICS - LIQUIDATOR

CHELO - CHA CHA

EDITH PIAF - L'ACCORDIONISTE

KEVIN 'BLOODY' WILSON - DON'T TOUCH YOUR SISTER

BILL EVANS & JIM HALL -JAZZ SAMBA

3 AMIGOS - 25 MILES

JOE STRUMMER & THE MESCANEROS - MONDO BONGO

ALICE DEE-JAY - NA NA NA

LIQUIDO - NARCOTIC

LOLETTA HOLLOWAY - LOVE SENSATION

VANESSA PARADIS - JOE LE TAXI

THE STRANGLERS - SEE ME COMING

MINT ROYALE - THE SEXIEST MAN IN JAMAICA

THE HOLLIES - STOP STOP STOP

THE 2 LIVE CREW - FU*% MARTINEZ

BRUCE DERAIGPONT - ARCADIE DE LA LOUISIANA

AMY WINEHOUSE - CUPID

DROPKICK MURPHEYS - WALK AWAY

WILLIAM SHATNER - COMMON PEOPLE

FEDDE LE GRAND - PUT YOUR HANDS UP 4 DETROIT

JEF JAISON - FRIENDLY NEIGHBORHOOD NARCO AGENT

1200 TECHNIQUES - THE THEME

WARNING!

THIS COMPILATION MAY CONTAIN 

BAD WORDS

AND COULD SERIOUSLY DAMAGE YOUR

 MUSICAL TASTE!

RR_-_QUEASY_1.zip

RR_-_QUEASY_2.zip

RR_-_QUEASY_3.zip

ORSON WELLES AND THE MERCURY THEATER ON THE AIR - WAR OF THE WORLDS

ORSON WELLES

and

THE MERCURY THEATER

"on the air"

presents

"WAR OF THE WORLDS"

 It happened the day before Halloween, on Oct. 30, 1938, when millions of Americans

 tuned in to a popular radio program that featured plays directed by, and often starring, 

Orson Welles.

 The performance that evening was an adaptation of the science fiction novel

 The War of the Worlds, about a Martian invasion of the earth. But in adapting the book 

for a radio play, Welles made an important change: under his direction the play was written

 and performed so it would sound like a news broadcast about an invasion from Mars,

 a technique that, presumably, was intended to heighten the dramatic effect.

As the play unfolded, dance music was interrupted a number of times by fake news bulletins 

reporting that a "huge flaming object" had dropped on a farm near Grovers Mill, New Jersey. 

As members of the audience sat on the edge of their collective seat, actors playing news 

announcers, officials and other roles one would expect to hear in a news report, described

 the landing of an invasion force from Mars and the destruction of the United States. 

The broadcast also contained a number of explanations that it was all a radio play, but if 

members of the audience missed a brief explanation at the beginning, the next one didn't 

arrive until 40 minutes into the program.

At one point in the broadcast, an actor in a studio, playing a newscaster in the field, described

 the emergence of one of the aliens from its spacecraft. "Good heavens, something's wriggling out

 of the shadow like a gray snake," he said, in an appropriately dramatic tone of voice. "Now

 it's another one, and another. They look like tentacles to me. There, I can see the thing's body. 

It's large as a bear and it glistens like wet leather. But that face. It...it's indescribable. I can hardly

 force myself to keep looking at it. The eyes are black and gleam like a serpent. The mouth is V-shaped

 with saliva dripping from its rimless lips that seem to quiver and pulsate....The thing is 

raising up. The crowd falls back. They've seen enough. This is the most extraordinary 

experience. I can't find words. I'm pulling this microphone with me as I talk. I'll have to 

stop the description until I've taken a new position. 

Hold on, will you please, I'll be back in a minute."

As it listened to this simulation of a news broadcast, created with voice acting and 

sound effects, a portion of the audience concluded that it was hearing an actual news 

account of an invasion from Mars. People packed the roads, hid in cellars, loaded guns, 

even wrapped their heads in wet towels as protection from Martian poison gas, in an 

attempt to defend themselves against aliens, oblivious to the fact that they were acting 

out the role of the panic-stricken public that actually belonged in a radio play. People 

were stuck in a kind of virtual world in which fiction was confused for fact.

News of the panic (which was conveyed via genuine news reports) quickly generated a 

national scandal. There were calls, which never went anywhere, for government regulations of broadcasting to ensure that a similar incident wouldn't happen again. The victims were also subjected to ridicule, a reaction that can commonly be found, today, when people are taken in by simulations. 

"All unwittingly, Mr. Orson Welles and the Mercury Theater of the Air have made one of the most fascinating and important demonstrations of all time," she wrote. "They have proved that a 

few effective voices, accompanied by sound effects, can convince masses of people of a totally unreasonable, completely fantastic proposition as to create a nation-wide panic.

"They have demonstrated more potently than any argument, demonstrated beyond 

a question of a doubt, the appalling dangers and enormous effectiveness of popular 

and theatrical demagoguery....

"Hitler managed to scare all of Europe to its knees a month ago, but he at least had an 

army and an air force to back up his shrieking words.

"But Mr. Welles scared thousands into demoralization with nothing at all."

HERE IS THAT RARE PIECE

OF RADIO HISTORY - ENJOY

WAR_OF_THE_WORLDS_-_AUDIO_BOOK.mp3