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slot 2 has panicked For other uses, see.
It was performed and broadcast live as a Halloween episode at 8 p.
The episode became famous for allegedly causing panic among its listening audience, though the scale of that panic is disputed, as the program had relatively few listeners.
The War of the Worlds Orson Welles tells reporters that no one connected with the broadcast had any idea that it would cause panic October 31, 1938.
The one-hour program began with the theme music for the Mercury Theatre on the Air and an announcement that the evening's show was an adaptation of The War of the Worlds.
Orson Welles then read a prologue which was closely based on the opening of H.
Wells' novel modified slightly to move the story's setting to 1939.
For about the next twenty minutes, the broadcast was presented as a typical evening of radio programming being interrupted by a series of news bulletins.
The first few news flashes occur during a presentation of "live" music and describe a series of odd explosions observed on Mars, followed by a seemingly unrelated report of an unusual object falling on a farm in.
The musical program returns briefly before being interrupted by a live report from Grover's Mill, where link officials and a crowd of curious onlookers have surrounded the strange cylindrical object that fell from the sky.
The situation escalates when Martians emerge from the cylinder and attack using a heat-ray, which the panicked reporter at the scene describes until his audio feed abruptly goes dead.
This is followed by a rapid series of increasingly alarming news updates detailing a devastating alien invasion taking place around the world and the futile efforts of the U.
The first portion of the show climaxes with another live report from a Manhattan rooftop as giant Martian war machines release clouds of poisonous smoke across New York City.
The reporter on the scene describes desperate citizens fleeing as the smoke approaches his location until he coughs and falls silent, after which the program took its first break.
During the second half of the show, the style shifts to a more conventional format and follows a survivor played by Welles dealing with the aftermath of the invasion and the ongoing Martian occupation of Earth.
As in the original novel, the story ends with the discovery that the Martians have been defeated by microbes rather than by humans.
Welles's "War of the Worlds" broadcast has become famous for supposedly tricking some of its listeners into believing that a Martian invasion was actually taking place due to the "breaking news" style of storytelling employed in the first half of the show.
The illusion of realism was furthered because the Mercury Theatre on the Air was a sustaining show without commercial interruptions, and the first break in the program came almost 30 minutes after the introduction.
Popular legend holds that some of the radio audience may have been listening to with and tuned in to "The War of the Worlds" during a musical interlude, thereby missing the clear introduction indicating that the show was a drama; however, contemporary research suggests that this happened only in rare instances.
The program's news-bulletin format was described as deceptive by some newspapers and public figures, leading to an outcry against the broadcasters and calls for regulation by the.
Nevertheless, the episode secured Welles's fame qt call function a dramatist.
The novel was adapted for radio bywho changed the primary setting from 19th-century England to the contemporary United States, with the landing point of the first Martian spacecraft changed to ruralan unincorporated village in.
The program's format was a simulated live newscast of developing events.
The first two-thirds of the hour-long play is a contemporary retelling of events of the novel, presented as news bulletins interrupting programs of dance music.
A 1927 drama aired by Adelaide station 5CL depicted an invasion of Australia via the same techniques and inspired reactions similar to those of the Welles broadcast.
He was also influenced by the presentations "", a 1937 radio play in which Welles played the role of an omniscient announcer, and "Air Raid", a vibrant as-it-happens drama starring that aired October 27, 1938.
Welles was a member of the program's regular cast, having first performed on The March of Time in March 1935.
They considered adapting 's and 's before purchasing the radio rights to The War of the Worlds.
Houseman later wrote that he suspected Welles had never read it.
Koch said he could not make The War of the Worlds interesting or credible as a radio play, a conviction echoed by his secretarya typist and aspiring writer whom Houseman had hired to assist him.
With only his own abandoned script for to fall back on, Houseman told Koch to continue adapting the Wells fantasy.
He joined Koch and Froelick and they worked on the script throughout the night.
On Wednesday night, the first draft was finished on schedule.
That afternoon, Stewart made an acetate recording, with no music or sound effects.
Welles, immersed in rehearsing the Mercury stage production of scheduled to open the following week, played the record at an editorial meeting that night in his suite at the.
After hearing "Air Raid" on the Columbia Workshop earlier that same evening, Welles viewed the script as dull.
He stressed the importance of inserting news flashes and eyewitness into the script to create a sense of urgency and excitement.
Friday afternoon, the script was sent to Davidson Taylor, executive producer for CBS, and the network legal department.
Their response was that the script was 'too' credible and its realism had to be toned down.
As using the names of actual institutions could beCBS insisted upon some 28 changes in phrasing.
That piano was the neatest trick of the show.
And millions of people accepted it—emotionally if not logically.
The announcer introduces Orson Welles: We know now that in the early years of the 20th century, this world was slot 2 has panicked watched closely by intelligences greater than man's and yet as mortal as his own.
We know now that as human beings busied themselves about their various concerns, they were scrutinized and studied, perhaps almost as narrowly as a man with a microscope might scrutinize the transient creatures that swarm and multiply in a drop of water.
With infinite complacence, people went to and fro over the earth about their little affairs, serene in the assurance of their dominion over this small spinning fragment of solar driftwood which by chance or design man has inherited out of the dark mystery of Time and Space.
Yet across an immense ethereal gulf, minds that are to our minds as ours are to the beasts in the jungle, intellects vast, cool and unsympathetic, regarded this earth with envious eyes and slowly and surely drew their plans against us.
In the 39th year of the 20th century came the great disillusionment.
It was near the end of October.
More men were back at work.
Sales were picking up.
On this particular evening, October 30th, the estimated that 32 million people were listening in on radios… : 394—395 The radio program begins as a simulation of a normal evening radio broadcast featuring a weather report and music by "Ramon Raquello and His Orchestra" live from a local hotel ballroom.
After a few minutes, the music begins to be interrupted by several about strange gas explosions on.
An interview is arranged with reporter Carl Phillips and -based Professor of Richard Pierson, who dismisses speculation about life on Mars.
The musical program returns temporarily but is interrupted again by news of a strange meteorite landing in.
Phillips and Read more are dispatched to the site, where a large crowd has gathered.
Philips describes the chaotic atmosphere around the strange cylindrical object, and Pierson admits that he does not know exactly what it is, but that it seems to be made of an extraterrestrial metal.
The cylinder unscrews, and Phillips describes the tentacled, horrific "monster" that emerges from inside.
Police officers approach the waving abut the invaders respond by firing awhich incinerates the delegation and ignites the nearby woods and cars as the crowd screams.
Phillips's shouts about incoming flames are cut off mid-sentence, and after a moment ofan announcer explains that the remote broadcast was interrupted due to "some difficulty with our field transmission.
A shaken Pierson speculates about Martian technology.
The New Jersey declares and attacks the cylinder; a captain from their field headquarters lectures about the overwhelming force of properly-equipped infantry and the helplessness of the Martians, until a rises from the pit.
The tripod obliterates the militia, and the studio returns, now describing the Martians as an invading army.
Emergency response bulletins give way to damage and evacuation reports as thousands of refugees clog the highways.
Three Martian tripods from the cylinder destroy power stations and uproot bridges and railroads, reinforced by three others from a second cylinder that landed in the nearas gas explosions continue.
The addresses the nation.
A live connection is established to a battery in the.
Its gun crew damages a machine, resulting in a release of poisonousbefore fading into the sound of coughing.
The lead plane venetian slot november 2020 a wing of bombers from broadcasts its approach and remains on the air as their engines are burned by the heat ray and the plane dives on the invaders.
Radio operators go active and fall silent.
Although the bombers manage to destroy one machine, the remaining five are spreading black smoke across the into.
He reads a final bulletin stating that Martian cylinders have fallen all over the country, then describes the smoke approaching down the street until he has a coughing fit and falls silent, leaving only the sounds of the city under attack in the background.
Finally, a operator is heard calling, "2X2L calling CQ, New York.
Isn't there anyone on the air?
Isn't there anyone on the air?
The performance will continue after a brief intermission.
This is the Columbia Broadcasting System.
The last third of the program is a monologue and dialogue.
Professor Pierson, having survived the attack on Grover's Mill, attempts to make contact with other humans.
In Newark, he encounters an opportunistic militiaman who holds fascist ideals in regards to man's relationship with the Martians, and intends to use Martian weaponry to take control of both species.
Declaring that he wants no part of "his world", Pierson leaves the stranger with his delusions.
His journey takes him to the ruins of New York, where he discovers that the Martians have died — as with osrs chest slot novel, they fell victim to earthlyto which they had no.
Life eventually returns to normal, and Pierson finishes writing his recollections of the invasion and its aftermath.
After the conclusion of the play, Welles reassumed his role as host and told listeners that the broadcast was a Halloween concoction: the equivalent, he says, "of dressing up in a sheet, jumping out of a bush and saying, 'Boo!
In fact, at the station break, network executive Davidson Taylor had attempted to prevent Welles, who had added the speech at the last minute, from reading it on air for fear of exposing the network to legal liability, but Welles delivered it anyway.
The New York Times for October 30, are slot racing rally apologise, also included the show in its "Leading Events of the Week" "Tonight — Play: H.
Wells' 'War of the Worlds'" and published a photograph of Welles with some of the Mercury players, captioned, "Tonight's show is H.
Wells' 'War of the Worlds'".
Wells' famous novel War of the Worlds, we are repeating the fact which was made clear four times on the program, that, while the click at this page of some American cities were used, as in all novels and dramatizations, the entire story and all of its incidents were fictitious.
The New York Times headline from October 31, 1938 Producer John Houseman noticed that at about 8:32 pm ET, CBS supervisor Davidson Taylor received a telephone call in the control room.
Taylor left the studio and returned four minutes later, "pale as death", as he had been ordered to interrupt "The War of the Worlds" broadcast immediately with an announcement of the program's fictional click here />However, by the time the order was given, the program was already less than a minute away from its first scheduled break, and the fictional news reporter played by actor was choking on poison gas as the Martians overwhelmed New York.
Soon, the room was full of policemen and a massive struggle was going on between the police, page boys, and CBS executives, who were trying to prevent the cops from busting in and stopping the show.
It was a show to witness.
Houseman picked it up and the furious caller announced he was mayor of a Midwestern town, where mobs were in the streets.
Houseman hung up quickly: "For we were off the air now and the studio door had burst open.
The building was suddenly full of people and dark-blue uniforms.
Hustled out of the studio, we were locked into a small back office on another floor.
Here we sat incommunicado while network employees were busily collecting, destroying, or locking up all scripts and records of the broadcast.
Finally, the Press was let loose upon us, ravening for horror.
How many deaths had we heard of?
Implying they knew of thousands.
What did we know of the fatal stampede in a Jersey hall?
Implying it was one of many.
The ditches must be choked with corpses.
Haven't you heard about the one on Riverside Drive?
It is all quite vague in my memory and quite terrible.
The haggard Welles sat alone and despondent.
I was too busy writing explanations to put on the air, reassuring the audience that it was safe.
I also answered my share of incessant telephone calls, many of them from as far away as the Pacific Coast.
Aware of the sensation the broadcast had made, but not its extent, Welles went to the Mercury Theatre where an all-night rehearsal here Danton's Death was in progress.
Shortly after midnight, one of the cast, a late arrival, told Welles that news about "The War of the Worlds" was being flashed in.
source immediately left the theatre, and standing on the corner of Broadway and 42nd Street, they read the lighted bulletin that circled the New York Times building: ORSON WELLES CAUSES PANIC.
Thousands of those people rushed to share the false reports with others or called CBS, newspapers, or the police to ask if the broadcast was real.
Many newspapers assumed that the large number of phone calls and the scattered reports of listeners rushing about or even fleeing their homes proved the existence of a mass panic, but such behavior was never widespread.
As panicked listeners called the studio, Paar attempted to calm them on the phone and on air by saying: "The world is not coming to an end.
When have I ever lied to you?
Oblivious to the situation, the manager advised Paar to calm down and said that it was "all a ".
In a 1975 interview with radio historianradio actor recalled being one of several actors recruited to answer phone calls at CBS's New York headquarters.
Inphone lines and electricity suffered a short circuit at the Superior Portland Cement Company's.
Residents were unable to call neighbors, family, or friends to calm their fears.
Reporters who heard of the coincidental blackout sent the story over theand soon, Concrete was known worldwide.
Welles takes questions from reporters at a press conference the day after the broadcast, on October 31, 1938 Welles continued with the rehearsal of Danton's Death scheduled to open November 2leaving shortly after dawn October 31.
He was operating on three hours of sleep when CBS called him to a press conference.
He read a statement that was later printed in newspapers nationwide and took questions from reporters: : 173, 176 Question: Were you aware of the terror such a broadcast would stir up?
The technique Please click for source used was not original with me.
It was not even new.
I anticipated nothing unusual.
Question: Should you have toned down the language of the drama?
Welles: No, you don't play murder in soft words.
Question: Why was the story changed to put in names of American cities and government officers?
Wells used real cities in Europe, and to make the play more acceptable to American listeners we used real cities in America.
Of course, I'm terribly sorry now.
However, late on that Sunday night, CBS contacted KOY and KTUC owner Burridge Butler and instructed him not to air the program the following night.
Within three weeks, newspapers had published at least 12,500 articles about the broadcast and its impact, : 61 but the story dropped from the front pages after a few days.
Bob Sanders recalled looking outside the window and seeing a traffic jam in the normally quieta crossroads of Cranbury and Clarksville Roads.
Causes Radio Digest reprinted the script of "The War of the Worlds" "as a commentary on the nervous state of our nation after the " — prefaced by an editorial cartoon by Les Callan of The Toronto Star February 1939 Later studies indicate that many missed the repeated notices about the broadcast being fictional, partly because The Mercury Theatre on the Air, an unsponsored CBS cultural program with a relatively small audience, ran at the same time as the NBC 's popular featuring ventriloquist.
At the time, many Americans assumed that a significant number of Chase and Sanborn listeners changed stations when the first comic sketch ended and a musical number by began and then tuned in "The War of the Worlds" after the opening announcements, but historian A.
Brad Schwartz, after studying hundreds of letters from people who heard "The War of the Worlds", as well as contemporary audience surveys, concluded that very few people frightened by Welles's broadcast had tuned out Bergen's program.
As a result, the only notices that the broadcast was fictional came at the start of the broadcast and about 40 and 55 minutes into it.
A study by the discovered that fewer than one third of frightened listeners understood the invaders to be aliens; most thought that they were listening to reports of a German invasion or of a natural catastrophe.
The was at its height.
For the first time in history, the public could tune into their radios every night and hear, boot by boot, accusation by accusation, threat by threat, the rumblings that seemed inevitably leading to a world war.
Thus they believed the Welles production even though it was specifically stated that the whole slots empire city was fiction".
Radio had siphoned off advertising revenue from print during the Depression, badly damaging the newspaper industry.
The newspaper industry sensationalized the panic to prove to advertisers, and regulators, that radio management was irresponsible and not to be trusted.
Joseph Campbell wrote in 2003.
He quotes Robert E.
Bartholomew, an authority on mass panic outbreaks, as having said that "there is a growing consensus among sociologists that the extent of the panic.
That position is supported by contemporary accounts.
Of the nearly 2,000 letters mailed to Welles and the after "The War of the Worlds," currently held by the and theroughly 27% came from frightened listeners or people who witnessed any panic.
After analyzing those letters, A.
Brad Schwartz concluded that although the broadcast briefly misled a significant portion of its audience, very few of those listeners fled their homes or otherwise panicked.
The total number of protest letters sent to Welles and the FCC is also low in comparison with other controversial radio broadcasts of the period, further suggesting the audience was small and the fright severely limited.
Only 2% of the respondents said they were listening to the radio play, and no one stated they were listening to a news broadcast.
About 98% of respondents said they were listening to other radio programming The Chase and Sanborn Hour was by far the most popular program in that timeslot or not listening to the radio at all.
Further shrinking the potential audience, some CBS network affiliates, including some in large markets such as 'shad pre-empted The Mercury Theatre on the Air, in favor of local commercial programming.
Ben Gross, radio editor for thewrote in his 1954 memoir that the streets were nearly deserted as he made his way to the studio for the end of the program.
Producer John Houseman reported that the Mercury Theatre staff was surprised when they were temple of slot released from the CBS studios to find life going on as usual in the streets of New York.
According to Campbell, the most common response said to indicate a panic was calling the local newspaper or police to confirm the story or seek additional information.
That, he writes, is an indicator that people were not generally panicking or hysterical.
Newspaper coverage and response Publicity photo of Welles distributed after the radio scare 1938 What a night.
After the broadcast, as I tried to get back to the St.
Regis where we were living, I was blocked by an impassioned crowd of news people looking for blood, and the disappointment when they found I wasn't hemorrhaging.
It wasn't long after the initial shock that whatever public panic and outrage there was vanished.
But, the newspapers for days continued to feign fury.
Most newspaper coverage thus took the form of stories, which were largely anecdotal aggregates of reporting from its various bureaus, giving the impression that panic had indeed been widespread.
Many newspapers led with the Associated Press's story the next day.
The of pointed out that the situation could have been even worse if most people had not been listening to Edgar Bergen's show: "Charlie McCarthy last night saved the United States from a sudden and panicky death by hysteria.
Unnamed observers quoted by The Age commented that "the panic could have only happened in America.
The response may have reflected slot 2 has panicked publishers' fears that radio, to which they had lost some of the advertising revenue that was scarce enough during thewould render them obsolete.
In "The War of the Worlds," they saw an opportunity to cast aspersions on the newer medium: "The nation as a whole continues to face the danger of incomplete, misunderstood news over a medium which has yet to prove that it is competent to perform the news job," wrotethe newspaper industry's trade journal.
Others blamed the radio audience for its credulity.
Noting think, genting casino slots card this any intelligent listener would have realized the broadcast was fictional, the opined, "it would be more tactful to say that some members of the radio audience are a trifle retarded mentally, and that many a program is prepared for their consumption.
Few contemporary accounts exist outside newspaper coverage of the mass panic and hysteria supposedly induced by the broadcast.
Justin Levine, a producer at in Los Angeles, wrote in a 2000 history of the FCC's response to hoax broadcasts that "the anecdotal nature of such reporting makes it difficult to objectively assess the true extent and intensity of the panic.
Bartholomew sees this as yet more evidence that the panic was predominantly a creation of the newspaper industry.
Research In a study published in book form as The Invasion from Mars 1940Princeton professor calculated that some six million people heard "The War of the Worlds" broadcast.
Its estimate of the program's audience is more than twice as high as any other at the time.
Cantril himself conceded that, but argued that unlikehis estimate had attempted to capture the significant portion of the audience that did not have home telephones at that time.
Since those respondents were contacted only after the media frenzy, Cantril allowed that their recollections could have been influenced by what they read in the newspapers.
Claims that Chase and Sanborn listeners, who missed the disclaimer at the beginning when they turned to CBS during a commercial break or musical performance on that show and thus mistook "The War of the Worlds" for a real broadcast inflated the show's audience and the ensuing alleged panic, are impossible to substantiate.
Apart from his admittedly-imperfect methods of estimating the audience and assessing the authenticity of their response, Pooley and Socolow found, Cantril made another error in typing audience reaction.
Respondents had indicated a variety of reactions to the program, among them "excited", "disturbed", and "frightened".
However, he included all of them with "panicked", failing to account for the possibility that despite their reaction, they were still aware the broadcast was staged.
Bartholomew grants that hundreds of thousands were frightened, but calls evidence of people see more action based on their fear "scant" and "anecdotal".
Indeed, contemporary news articles indicate that police were swamped with hundreds of calls in numerous locations, but stories of people doing anything more than calling authorities involved mostly only small groups.
Such stories were often reported by people who were panicking themselves.
Later investigations found much of the alleged panicked responses to have been exaggerated or mistaken.
Cantril's researchers found that contrary to what had been betfair slots, no admissions for shock were made at a Newark hospital during the broadcast; hospitals in New York City similarly reported no spike in admissions that night.
A few suicide attempts seem to have been prevented when friends or family intervened, but no record of a successful one exists.
A Washington Post claim that a man died visit web page a heart attack brought on by listening to the program could not be verified.
One woman filed a lawsuit against CBS, but it was soon dismissed.
The FCC also received letters from the public that advised against taking reprisals.
Singer urged the commission not to overreact, as "censorship would retard radio immeasurably.
Meeting of Welles and Wells and Orson Welles met for the first and only time in late October 1940, shortly before slot nedir second anniversary of the Mercury Theatre broadcast, when they both happened to be lecturing inTexas.
On Lotro vip character slots 28, 1940, the two men visited the studios of radio for an interview by Charles C.
Shaw, : 361 who introduced them by characterizing the panic generated by "The War of the Worlds": "The country at large was frightened almost out of its wits".
Wells expressed good-natured skepticism about the actual extent of the panic caused by "this sensational Halloween spree," saying: "Are you sure there was such a panic in America or wasn't it your Halloween fun?
Hitler made a good deal of sport of it, you know.
It's supposed to show the corrupt condition and decadent state of affairs in democracy, that 'The War of the Worlds' went over as well as it did.
I slot 2 has panicked it's very nice of Mr.
Wells to say that not only I didn't mean it, but the American people didn't mean it.
Wells wants to know if the excitement wasn't the same kind of excitement that we extract from a practical joke in which somebody puts a sheet over his head and says 'Boo!
And that's just about what happened.
And the consequence is you can still play with ideas of terror and conflict.
It's a natural thing to do until you're right up against it.
As the 's second theatre season began in 1938, Advise ipad sim card slot answer Welles and John Houseman were unable to write the Mercury Theatre on the Air broadcasts on their own.
They hiredwhose experience in having a play performed by the in Chicago led him to leave his law practice and move to New York to become a writer.
The complete script appeared in The Invasion from Mars: A Study in the Psychology of Panic 1940the book publication of a study directed by psychologist.
Welles strongly protested Koch being listed as sole author since many others contributed to the script, but by the time the book was published, he had decided to end the dispute.
Hosted bythe live presentation of 's documentary play recreated the 1938 performance of "The War of the Worlds" in the CBS studio, using the script as a framework for a series of factual narratives about a cross-section of radio listeners.
No member of the Mercury Theatre is named.
The courts ruled against Welles, who was found to have abandoned any rights to the script after it was published in Cantril's book.
Koch had granted CBS the right to use the script in its program.
The book, The Panic Broadcast, was first published in 1970.
The best-selling album was a sound recording of the broadcast titled Orson Welles' War of the Worlds, "released by arrangement with Manheim Fox Enterprises, Inc.
Welles told Peter Bogdanovich that it was a poor-quality recording taken off the air at the time of broadcast — "a pirated record which people have made fortunes of money and have no right to slot 2 has panicked />Welles often invokes "The War of the Worlds" as host of Who's Out There?
It presented a fictionalized account of the panic in "", a 1957 episode of the television seriesand included it prominently in its 2003 celebrations of CBS's 75th anniversary as a television broadcaster.
The New Jerseywhere is located, commemorated the 50th anniversary of the broadcast in 1988 with four days of festivities including art and planetarium shows, a panel discussion, a parade, burial of a time capsule, a dinner dance, film festivals devoted to H.
Wells and Orson Welles, and the dedication of a bronze monument to the fictional Martian landings.
Howard Koch, an author of the original radio script, attended the 49th anniversary celebration as an honored guest.
The 75th anniversary of "The War of the Worlds" was marked by an international rebroadcast with an introduction byand an episode of the documentary series.
Additionally, and perhaps accidentally, this also qualifies as an early alternate reality project, as, aside from the introduction, was played as a real event, with little self awareness and asking the audience to accept what it was presenting as a form of reality.
Awards On January 27, 2003, the Mercury Theatre broadcast of "The War of the Worlds" was one of the first 50 recordings made part of the of the.
Notable re-airings and adaptations See also: Since the original Mercury Theatre on the Air broadcast of "The War of the Worlds", many re-airings, remakes, re-enactments, parodies, and new dramatizations have occurred.
Many American radio stations, particularly those that regularly air programs, re-air the original program as a Halloween tradition.
Police and fire brigades rushed out of town to engage the supposed alien invasion force.
After it was revealed that the broadcast was fiction, the panic transformed into a riot.
Hundreds attacked Radio Quito and El Comercio, a newspaper that had participated in the hoax by publishing false reports of unidentified objects in the skies above Ecuador in the days preceding the broadcast.
The riot resulted in at least seven deaths, including those of Paez's girlfriend and nephew.
Paez moved to after the incident.
It was nominated for a for Best Spoken Word or Nonmusical Recording.
Most of the cast for this production had appeared in one of more incarnation ofincluding,, and.
It was accompanied by an original sequel called "When Welles Collide" co-written by de Lancie and Nat Segaloff featuring the same cast as themselves.
In 2003, the parties were sued for by Koch's widow, but settled under undisclosed terms.
The music was composed bycommissioned by thedirected byand narrated by.
Written by Kate Worley and Jerry Stearns.
Performed live at Minicon.
A half-hour produced by Scott Dikkers and written by Jay Rath.
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And I thought that'd be fun to do on a big scale, let's have it from outer space—that's how I got the idea.
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Some began moving household furniture.
Throughout New York, families left their homes, some to near-by parks.
Thousands of persons called the police, newspapers, and radio stations here and in other cities of the United States and Canada, seeking advice on protective measures against the raids.
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