Many blessings to those observing Allhallowtide y Día de (los) Muertos!

This is a “missing” post for Sunday, October 30th. You can request an audio recording of a related practice via a comment below or (for a slightly faster reply) you can email me at myra (at) ajoyfulpractice.com.

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“Lt. Daniel Kaffee (portrayed by Tom Cruise): I want the truth!
Col. Nathan R. Jessup (portrayed by Jack Nicholson): YOU CAN’T HANDLE THE TRUTH!”

– quoted from the movie A Few Good Men, written by Aaron Sorkin and directed by Rob Reiner

How dedicated are you to seeking the truth? Actually, before you answer that, let’s establish how equipped you are at knowing the truth when you encounter it. How capable are you at recognizing the truth when you see it, hear it, and/or experience it? Most people might automatically say – or at least think – that they can easily tell the difference between something that is the truth and something that is not. But, is that even true?

Consider, for a moment, that our ability to identify the truth – and, therefore, our ability to identify what is not the truth – is predicated by how we feel and how we think (which is also partially based on how we feel). Additionally, how we feel and think is partially based on where we come from (i.e., where we started in life and how we were raised); the people that surround us (and who form our echo chamber); and how each of us feels about our self; as well as how we interact with the world and we find balance in the world. I often reference this paradigm when I talk about how the chakra system found in Yoga and Āyurveda can symbolically and energetically be a system through which we gain understanding about our lives and our lived experiences. It’s a system that allows us to see how things are connected and gain some insight about why, as Patanjali stated, we can only see/understand what our mind shows us:

Yoga Sūtra 2.20: draşțā dŗśimātrah śuddho’pi pratyayānupaśyah

– “The Seer is the pure power of seeing, yet its understanding is through the mind/intellect.” [Translation by Pandit Rajmani Tigunait (for comparative analysis), “The sheer power of seeing is the seer. It is pure, and yet it sees only what the mind shows it.”]

One way to look at Yoga Sūtra 2.20 is that the our subconscious and unconscious mind only shows us what it thinks we are ready to consciously comprehend – or at least consider. And, while all of the aforementioned elements play a part in what we are ready to comprehend or consider, there are times when how we feel, on a very visceral level, holds the heaviest weight.
For instance, let’s say you are deathly afraid of something and you think you are coming into contact with that something. Fear is an emotional response to a perceived threat and the emotion activates the sympathetic nervous system, which in turn prepares your whole being to do the thing(s) you need to do in order to survive. In that moment, when the the fight/flight/freeze (or collapse) response kicks in, it doesn’t matter if the threat is real: it only matters that the fear is real. And remember, there is some part of us that viscerally responds to fear of loss (especially as the result of a change in circumstances) in the same way we would respond to fear of physical death. So, the fear kicks in, the sympathetic nervous system kicks in, and (for many people) that means our ability to know/comprehend the truth diminishes – especially if we are not actively dedicated to the pursuit of truth.

Classic texts from India philosophies often use the example of someone walking through the woods and seeing (what appears to be) a snake. The snake is humongous and appears to lying in the sun, directly in your path. If you have ophidiophobia and are deathly afraid of snakes, it may not matter that you also know giant snakes, like anacondas and pythons, are not indigenous to your region. You have no intention of getting a little closer – even in a mindfully safe way – to see if it really is a constricting snake. Similarly, it may not even occur to you to look through the binoculars hanging around your neck. After all, if there is one, there might be more, and you’re better off just fleeing the area.

According to sacred texts, however, the truth is that the “snake” is actually a giant hunk of rope. Of course, in this example, the way one feels and thinks, combined with one’s previous experiences and other factors (like if you are alone or with someone who also is afraid of snakes) means that you may never know the truth. Another example of this kind of phenomenon occurred on Mischief Night 1938.

“At most terrestrial men fancied there might be other men upon Mars, perhaps inferior to themselves and ready to welcome a missionary enterprise. Yet across the gulf of space, minds that are to our minds as ours are to those of the beasts that perish, intellects vast and cool and unsympathetic, regard this earth with envious eyes and slowly and surely drew their plans against us. And early in the twentieth twentieth century came the great disillusionment.”

– quoted from “Book I: The Coming of the Martians – Chapter 1. The Eve of the War” in War of the Worlds by H. G. Wells

“‘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. Business was better. The war scare was over. More men were back at work. Sales were picking up. On this particular evening, October 30th, the Crossley service estimated that 32 million people were listening in on radios…'”

– quoted from Orson Welles introduction at the beginning of the radio adaptation of The War of the Worlds

On October 30, 1938, at 8 PM ET, The Mercury Theater on the Air started broadcasting its Halloween episode on Columbia Broadcasting System (CBS) Radio and its affiliates. The show was a live radio series created and hosted by Orson Welles, who had recently turned 23 years old. Starting on July 11, 1938 with Bram Stoker’s Dracula, a company of actors had presented dramatizations of great novels, plays, and short stories accompanied by Bernard Hermann’s dramatic musical scores. The works selected were, by and large, already familiar to the people who tuned in. Maybe everyone hadn’t read all of Charles Dickens’s serialized novels or seen a production of John Drinkwater’s play about Abraham Lincoln, but the 1938 audience for sure knew about about A Tale of Two Cities and Oliver Twist, just as they knew about President Lincoln and his life. Similarly, people would have been familiar with the novel selected for the 17th episode of the radio show: H. G. Wells’s 1898 novel War of the Worlds, a story about Martians invading Earth.

Sunday newspapers ran charts of what was scheduled to air on any given day and, in this case, very clearly listed the title and author. The broadcast began, as those broadcasts typically did, with an announcement that the radio play was a fictional, dramatization of the novel – again, indicating title and author. Similar announcements were made, as the typically would be, before and after the intermission and at the end of the broadcast. In fact, at the end of the broadcast, Orson Welles even reinforced the idea that the broadcast had simply and innocently been a little bit of Halloween fun.

Alas, the announcements turned out to be like binoculars around a scared person’s neck. Some people apparently missed the first announcement. Maybe they were preoccupied, rushing to finish something before they sat down to listen. Maybe they were in the habit of listening first to The Chase and Sanborn Hour with Edgar Bergen, over on NBC Radio Network, and then flipping over to CBS during a musical interlude. Maybe they just weren’t paying attention because they were in the habit of tuning out the radio stations “commercials.” Either way, some people thought Martians really were invading. Others thought, given the timing, that the Germans were invading.

“Ham Radio Operator (portrayed by Frank Readick): 2X2L calling CQ, New York. Isn’t there anyone on the air? Isn’t there anyone on the air? Isn’t there… anyone?

[SILENCE]

Radio Announcer, Dan Seymour: You are listening to a CBS presentation of Orson Welles and The Mercury Theatre on the Air, in an original dramatization of The War of the Worlds by H. G. Wells. The performance will continue after a brief intermission. This is the Columbia Broadcasting System.”

– quoted from The Mercury Theater on the Air live radio broadcast of The War of the Worlds

It wouldn’t normally matter if someone missed the first announcement, ran to the bathroom during the intermission and missed the next two announcements, and also turned off the radio as soon as the final announcement was being made. Normally, there would be all kinds of clues to let the audience know they were listening to actors – who could be described as professional liars – creating a scenario that someone made up for their entertainment. Normally, they might hear the very words they had previously read about their favorite characters and scenarios and think, “Oh, this is my favorite part!” But, the broadcast on Mischief Night 1938 was not exactly normal.

One of the things that made the Mischief Night radio production different was that the adaptation by Howard Koch moved the alien invasion from the beginning of 20th century England to mid-20th century United States. Specifically, the radio play set the action in Grovers Mill, New Jersey, an unincorporated rural area in West Windsor Township. (NOTE: The townships total population on the 1940 census was 2,160 and Grovers Mill is a tiny portion of that.) Another change was that at the beginning of the novel, H. G. Wells kind of breaks the “fourth wall” and reminds readers that they are, in fact, reading… a book. The creators of the radio play actually went out of their way to reinforce the “fourth wall.”

A day and a half before the rehearsals began, Mr. Koch and his secretary Anne Froelick called the shows producer, John Houseman, to say that the adaptation wasn’t going to work. The three got together and reworked the script. Unfortunately, when Orson Welles heard a mock recording, he thought it was boring. He wanted the dramatization to sound like the evening news being interrupted by a “breaking news” report, complete with eyewitness accounts and remote correspondents.

Associate Producer Paul Stewart joined the original trio in another late night effort to re-work the script. The group added details to make the radio play more dramatic, more intense and more realistic. When the legal department reviewed the script, 2 days before the broadcast, they said it was too realistic and wanted some details tweaked and some deleted. Music and sound effects were added – and Orson Welles requested interlude music to be played in longer stretches, as if the station was stretching out the time as they awaited more updates. All the changes in format ended up meaning that the typical midway intermission break got pushed back a little; further convincing the audience that the broadcast was real news. Additionally, only the final act of the radio play sounded and felt like a radio play.

“Question: Were you aware of the terror such a broadcast would stir up?
Welles: Definitely not. The technique I 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?
Welles: H. G. 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.”

– quoted from the 1938 Halloween press conference regarding The Mercury Theater on the Air live radio broadcast of The War of the Worlds

According to John Houseman’s autobiography, Run-Through: A Memoir, Executive Producer Davidson Taylor left the studio to take a phone call at 8:32 and returned at 8:36 – this was the first indication that something had gone wrong. They station was being ordered to halt the broadcast and announce, again, that it was all fake. They were so close to a break they decided to continue. Shortly thereafter, one of the actors noticed police officers arriving. More police officers followed, as well as radio attendants and executives. More phone calls came in. Journalists from actual news stations showed up and/or called the station and their affiliates.
When the actors left the The Mercury Theater on the Air theatre, they stood at the intersection known for the performing arts, 42nd and Broadway, and saw the headline ticker on the New York Times building proclaiming, “ORSON WELLES CAUSES PANIC.” They wouldn’t know, at the time, that an unrelated blackout in Washington state contributed to some people’s confusion. Neither could the know that Jack Paar, who would go on to host The Tonight Show and was the announcer for Cleveland’s CBS affiliate WGAR, was having a hard time convincing people that the show was just a Halloween “trick.” People were already convinced that they knew the actual truth – the aliens, or the Germans, were coming. Jack Paar, and anyone else who said otherwise, were all part of an elaborate cover-up.

“‘The world is not coming to an end. Trust me. When have I ever lied to you?'”

– Jack Paar, announcing for WGAR, October 30, 1938

Some people who have studied the events of October 30, 1938, have said that the journalists of the time exaggerated how many people were actually fooled and actually went into a panic. Some people have said that the degree to which “panic ensued” has become an urban myth. That, rather than millions, the number of people who actually thought the Martians, or Germans, were invading New Jersey (off all places) was a few hundred thousand… or maybe just a few thousand. Some people might even say that a post like this is part of the problem.

What no one disputes, however, is that some people did panic.

And, the truth is, I don’t know how much the number of people who were a little confused and/or who completely panicked matters. I’m not even sure I care if a (presumably) drunken resident of Grovers Mill shot at the water tower – that had been there all of his life – because he thought it was an Martian spaceship or if someone had to talk him out of shooting at the water tower. (That, again, had been there all of his life.) What’s important to me, in this moment, is how the human mind works and the fact that how it worked in 1938 is the way it works today, in 2022.

According to the Yoga Philosophy, suffering is caused by avidyā (“ignorance”), which is an afflicted/dysfunctional thought pattern. Patanjali’s Yoga Sūtras outlines different examples of avidyā and also explains that ignorance is the bedrock of the other four types of afflicted/dysfunctional thinking – including fear of loss/death. So, what’s important to me is that how we feel and think affects what we say and do and if what we feel and think leads us to untruths, we will say and do things that create suffering.

It’s easy to look at someone else, someone who believes something we “absolutely know is not true,” and pass judgement. It is easy to disparage their character and describe them in negative ways. It’s takes a little more effort to question why they believe what they believe what they believe; to go a little deeper. It takes even more effort to do a little svādhyāya (self-study) and question why we believe what we believe. Do the work.

Question 1: Is it true?
Question 2: Can you absolutely know its true?”
Question 3: How do you react—what happens—when you believe that thought?
Question 4: Who would you be without the thought?
Bonus: Turn the thought around.

– Byron Katie’s “4 Questions” from “The Work”

Sunday’s playlist is available on YouTube and Spotify. [Look for “10302021 Out of Our Worlds”]