Many blessings to everyone and especially to anyone cultivating friendship, peace, freedom, and wisdom — especially when it gets hot (inside and outside).
Stay hydrated & be kind, y’all!
For Those Who Missed It: The following is a compilation of excerpts from 2021 and 2023. The first and final portions are based on a First Friday Night Special practice.
Date related information, some formatting, and links have been updated.
I. Reflect + Remember
“Your thoughts are happening, just like the sounds going on outside and everything is simply a happening and all you’re doing is watching it.
Now, in this process, another thing that is happening that is very important is that you’re breathing. And as you start meditation. You allow your breath to run just as it wills. In other words, don’t do at first any breathing exercise, but just watch your breath breathing the way it wants to breathe. And the notice a curious thing about this. You say in the ordinary way, I breathe. Because you feel that breathing is something that you are doing voluntarily just in the same way as you might be walking or talking. But you will also notice that when you are not thinking about breathing, your breathing goes on just the same. So, the curious thing about breath is that it can be looked at both as a voluntary and an involuntary action. You can feel on the one hand I am doing it, and on the other hand, it is happening to me. And that is why breathing is a most important part of meditation, because it is going to show you as you become aware of your breath, that the hard and fast division that we make between what we do on the one hand and what happens to us on the other is arbitrary. So that as you watch your breathing you will become aware that both the voluntary and the involuntary aspects of your experience are all one happening.”
— quoted from “2.5.4 Meditation” by Alan Watts
Our breath is a symbol of our life, a symbol of our life-force, and a symbol of our spirit. I say something to that affect almost every day. Yet, when that first part is combined with the perspective offered by Alan Watts, it takes on a slightly different (maybe even deeper connotation): Life is happening. Life is happening to us. Life is happening all around us. Life is a happening…whether we are engaged in it or not. But, before we start rushing off to do…life (or anything else); I just want to pause for a moment and consider the three parts of the breath.
Just breathe. Do that 90-second thing. Let your breath naturally flow in and naturally ebb out. Notice where you feel the breath; where it naturally goes — where there is awareness and presence, where it’s happening. Also, notice where there is resistance — where maybe you need to cultivate awareness, where something different is happening.
One thing you may notice, if you practice, is that pretty much every type of “breathing exercise” is an exaggeration of a natural breathing pattern. There are situations when we are breathing deeply, richly. The mind-body is focused and relaxed. Other times, we may find ourselves panting, short of breath. The mind-body may still be focused, but in this second case it is also agitated. There are times when our inhale is longer than our exhale and still other times when our exhale is longer than our inhale. There are moments in life when we find we are holding our breath — retaining the inhale or the exhale — and other times when we sigh a heavy breath out. And every one of these natural breathing patterns occurs because of something that happens in/to the mind-body.
Remember: What happens to the mind happens to the body; what happens to the body happens to the mind; and both affect the breath. In turn, what happens to the breath affects the mind and the body. In our practice, we harness the power of the breath in order to harness the power of the mind and body.
To actively and mindfully harness the power of the mind-body-spirit we have to cultivate awareness. The thing is, when you take a moment to focus, concentrate, meditate — even become completely absorbed by the breath — you may start to notice that just cultivating awareness changes the way you breathe (just as cultivating awareness can change the way you sit or stand, walk or talk). Bringing awareness to how you breathe in certain situations — or even when thinking/remembering certain situations — can give you insight into what’s happening to your mind-body. That insight provides better information for decision-making. So that you can respond in the most skillful way possible, instead of just reacting.
In other words, sometimes the best thing we can do is pay attention to our breath — and figure out what we need to do to keep breathing. Because that’s what we do: We breathe.
Remember: As long as we are breathing, we are alive; as long as we are alive, we have the opportunity to live, learn, grow, love, and really thrive. So, the first question(s) to ask yourself in a stressful and challenging situation is: What’s happening with my breath and what do I need to do, in this moment, to keep breathing?
A key element to practicing svādhyāya (“self-study”) is to observe what happens to your mind, your body, and (yes) your spirit/breath when you are in certain situations. You may notice what thoughts and/or emotions come up when you hear passages from sacred text. You may notice how your body reacts to certain music/sounds. You may notice how your breathing changes in certain poses and/or sequences. You may notice how your mind-body-spirit reacts when you imagine yourself (figuratively) walking in the footsteps of a historical or fictional person. You may notice any other combination of the above. You can also practice this important niyama (internal “observation”) by bring awareness to what happens when you remember a moment in (your) history.
Maybe the memory is something that seems to randomly pop up in your mind when you’re practicing or maybe, like with Marcel Proust, when you bite into a biscuit.
II. Reflecting & Remembering + Cause & Effect
“We are able to find everything in our memory, which is like a dispensary or chemical laboratory in which chance steers our hand sometimes to a soothing drug and sometimes to a dangerous poison.”
— quoted from The Captive, Volume 5 of Remembrance of Things Past (or In Search of Lost Time) by Marcel Proust
Despite the yoga sütras and lojong statements (from Tibetan Buddhism) that instruct us to cultivate and practice joy, not all practice themes are joyful. Some practices are about reflecting and remembering, recognizing cause and effect, and healing. Reflecting and remembering can be healing tools. Recognizing cause and effect can help us notice patterns so that we don’t repeat the things that create suffering. Recognizing cause and effect and noticing patterns can also assist us in repeating the things that alleviate suffering.
The thing is, we cannot do any of this work without the stability/steadiness, ease/comfort/joyfulness that allows us to focus on our breath and also on a moment. We can not practice self-study without having a mind that is at ease enough (joyful enough) to appreciate the suffering of others — or even ourselves.
There are moments in history that are brutal and horrific. Today is one of those days in history when things get worse before they get better. But, they do get better. It just takes work. It takes all of us to do the work.
“As you practice today, hold a neighbor in your hearts and minds with friendship and kindness. Offer your efforts, no matter how small, as a token of that friendship and kindness. As so many people suffer due to current events, may we take a moment to remember those who are still suffering due to our shared past. Let us not forget those who are still grieving and healing from past wounds. May our efforts bring us all closer to peace, harmony, and benevolence.”
— quoted from my blog post for August 5, 2020
Warning: The “memories” below were originally posted in 2021 and reference to slavery, World War II, and the COVID pandemic.
The timeline has been updated and slightly revised.
For most people, reading through the list below will be a different experience than hearing each one in turn. Still, take your time. Also, give yourself time to not only breathe, but to notice the breath in the mind and in the body.
This is not about thinking about these situations or creating/telling the story. It’s about noticing how you feel and how that translates into a breathing pattern. Then, the practice becomes about noticing what changes through observation. Yes, you can engage the breath (by controlling it, even sighing). However, I encourage you to just let the breath naturally flow in and freely ebb out — and just watch what happens as you watch it. Don’t force anything. Go with the flow. If you find yourself holding on (to anything), your breath and awareness are the tools you use to let go before moving on to the next item.
Four years ago this week, my mother passed. Like so many other people who have experienced an unexpected loss of a loved one, the anniversary brings certain feelings, emotions, thoughts…vibrations. There is still sadness and grief — among other things/sensations that are part of life.
Take a moment, especially if you have experienced such a loss, to notice what happens when you continue to breath — i. e., to live. Consider that grief comes not because we loss someone (or something), but because we loved and were loved. Let all of that wash over you.
Four years and a few months ago, George Floyd was killed and his murder was a watershed moment in the United States and in the world. Everyone had and continues to have a different experience around what happened in Minneapolis on May 25, 2020 (just as many people had and continue to have different feelings around what happened in Central Park on the same day).
Take a moment to notice how you feel, right now, as your remember, the moments between then and now. Is there any tightness? Any resistance? What happens when you notice the tightness and/or resistance? What happens when you don’t notice tightness and/or resistance? Let any judgement wash over you.
Nearly four and a half ago years ago — almost 5 years ago for some people outside of the United States — the world started shutting down in response to the COVID-19 pandemic.
Take a moment to notice how you feel as you think about that? What’s happening with body, your mind, your breath? How does it feel to be where you are in the ever-changing process that is life given this global health crisis (and that fact that we are all in different places/stages related to it)? What do you need to do to keep breathing? Maybe, this is a good time to sigh a breath (or two) out.
59 years ago today, President Lyndon B. Johnson signed the Voting Rights Act of 1965 into law. The law came about after protests and marches — and so much violent resistance directed at those peacefully resisting. It also came about after private citizens implored President Johnson to take action and after he spoke, passionately, to Congress.
The act has been amended at least five times, to close legal loopholes and reinforce the rule of law. Yet, to this day, the Voting Rights Acts are still being challenged and still being defended.
What comes up for you when you think about all the efforts that led up to the Act and all that has transpired in the meanwhile? How are you breathing?
79 years ago today, on August 6, 1945, at 8:15 AM (local time), the United States Army Air Forces’ Enola Gray dropped the atomic bomb designated “Little Boy” on Hiroshima, Japan. Buildings and trees were destroyed. Approximately 80,000 people were killed on impact. Another 35,000 died over the next week and an additional 60,000 over the next year. Thousands more suffered for the rest of their lives. Three days later, at 11:01 AM (local time) on August 9th, the United States Army Air Forces’ Bockscar dropped a second atomic bomb (designated “Fat Man”) on Nagasaki and thousands more died.
You may have learned that the bombs were dropped in response to or in retaliation of Japan’s attack on Pearl Harbor. You may have learned that the U. S.’s attack on Japan helped to end World War II and the Holocaust, thereby saving thousands of lives. Around the world, these historical events are taught in very different ways. So, you may or may not have learned that some people say the war was already ending. You may or may not have learned that Nagasaki was not initial target for the second atomic bomb and that, in fact, the flight crews on the bomber and its escorts had already started the contingency plans that involved dropping the bomb in the ocean — which would have saved thousands of lives.
What happens when you remember what you already knew? What happens when you think of something you didn’t previously know or remember? What do you need to do, in this moment, to take a deep breath in and a deeper breath out?
163 years ago today, President Abraham Lincoln signed the Confiscation Act of 1861, which allowed Union forces to seize Confederate property during the Civil War. This “property” included enslaved people and one of the intentions of the act was to free people who were in any way attached to the rebellion. Freeing enslaved people was also part of the intention of the Confiscation Act that Congress passed on July 17, 1862 — which allowed the federal government to free the “property” of any member of the Confederacy (military or civilian) who resided in territory occupied by the Union Army but who had not surrendered within 60 days of the Act passing. President Lincoln wasn’t sure of the legality or the ultimate effects of the Confiscations Acts of 1861 and 1862, but he signed them into law anyway; thereby laying a foundation for the legal emancipation of all enslaved people within the Union.
What do you feel and/or think when you consider these Acts of Congress and President Lincoln? Is there any difference in sensation when considering the enslaved people and/or the people of the Confederacy? Do you experience any tightness and/or resistance around this being mentioned? Is any of the tightness and/or resistance connected to thoughts that arose related to other steps taken to ensure emancipation? What are you feeling with regard to steps taken to deny emancipation?
Take a deep breath in. Sigh it out. Spend some time just breathing (through your nose) and observing the breath. You can repeat the 1:1 and 1:2 prānāyāma (using a 4-count base), which is a great practice before, during, and after stressful encounters. Finally, take another few minutes to allow the breath to naturally flow in and freely ebb out.
Obviously, there are even more “memories” related to this date. Some of them may have come up for you. Some of them may have been interwoven with the events above. In any case, take another moment to consider those “neighbors” — near and far — who are also processing past events, on and off the mat. Take a moment to consider what happens when we remember that we are all in this together.
“[Shinichi Tetsutani] did not survive that night. He was ten days short of his fourth birthday.
The next day, Shin’s father buried him in the backyard along with his friend Kimi and his beloved tricycle.
Forty years later, Shin’s father decided to move his son’s remains to the family gravesite. When his parents dug up the little bodies, Shin’s father was surprised to find the tricycle. He had completely forgotten about it. As he gently lifted Shin’s tricycle, his father thought, ‘This should never happen to children. Maybe if enough people could see Shin’s tricycle, they would remember that the world should be a peaceful place where children can play and laugh.’
The very next day, Shin’s father donated the tricycle to the Peace Museum in Hiroshima where it remains as a powerful symbol and a bitter reminder of the horrors of nuclear warfare.
Shin’s story was brought to light through a children’s book titled Shin’s Tricycle by Tatsuharu Kodama published in 1992.”
— quoted from the article “Shin’s Tricycle” by Kaushik Patowary (dated FEB 13, 2019)
Please join me today (Tuesday, August 6th) at 12:00 PM or 7:15 PM for a yoga practice on Zoom. You can use the link from the “Class Schedules” calendar if you run into any problems checking into the class.You can request an audio recording of this practice via a comment below or by emailing myra(at) ajoyfulpractice.com.
Tuesday’s playlist is available on YouTube and Spotify. [Look for “08062022 Cause + Effect”]
Extreme heat (and hard memories) can not only make people lethargic and unmotivated, they can also lead to extreme agitation and anxiety-based fear. We may find it hard to think, hard to feel (or process our feelings), and/or hard to control our impulses. If you are struggling in the US, help is available just by dialing 988.
If you are thinking about suicide, worried about a friend or loved one, or would like emotional support, you can dial 988 (in the US) or call 1-800-273-TALK (8255)for the Suicide and Crisis Lifeline. You can also call this TALK line if you are struggling with addiction or involved in an abusive relationship. The Lifeline network is free, confidential, and available to all 24/7. YOU CAN TALK ABOUT ANYTHING.
White Flag is a new app, which I have not yet researched, but which may be helpful if you need peer-to-peer (non-professional) support.
In the spirit of generosity (“dana”), the Zoom classes, recordings, and blog posts are freely given and freely received. If you are able to support these teachings, please do so as your heart moves you. (NOTE: You can donate even if you are “attending” a practice that is not designated as a “Common Ground Meditation Center” practice, or you can purchase class(es).
Donations are tax deductible; class purchases are not necessarily deductible.
Many blessings to everyone and especially to anyone observing the Second Eastertide, Counting the Omer, and/or working as a force of peace, freedom, and fulfillment (inside and outside).
“Myself when young did eagerly frequent Doctor and Saint, and heard great argument About it and about: but evermore Came out by the same door where in I went.”
“With them the seed of Wisdom did I sow, And with mine own hand wrought to make it grow; And this was all the Harvest that I reap’d– “I came like Water, and like Wind I go.”
— XXVII and XXIX from The Rubáiyát by Omar Khayyám
The excerpt below is from a 2022 post about how Omar Khayyám (born today in 1048) and George Strait (born today in 1952) share more than a birthday. Click on the title or picture to read more.
“And there’s a road, a winding road that never ends
Full of curves, lessons learned at every bend
Goin’s rough unlike the straight and narrow
It’s for those, those who go against the grain
Have no fear, dare to dream of a change Live to march to the beat of a different drummer
And it all might come together
And it all might come unraveled
On the road less traveled”
— quoted from the song “The Road Less Traveled” by George Strait (written by Dean Dillon / William Brock)
Please join me today (Saturday, May 18th) at 12:00 PM for a yoga practice on Zoom. You can use the link from the “Class Schedules”calendar if you run into any problems checking into the class. You can request an audio recording of this practice via a comment below or (for a slightly faster reply) you can email myra(at) ajoyfulpractice.com.
Saturday’s playlist is available on YouTube and Spotify. [Look for “05182021 Omar’s Strait Road”]
Thank you to everyone who Kiss[ed] My Asana!
We surpassed the overall fundraiser goals & one of my personal goals!!! Whether you showed up in a (Zoom) class, used a recording, shared a post or video, liked and/or commented on a post or video, and/or made a donation — you and your efforts are appreciated! Thank you!!!
In the spirit of generosity (“dana”), the Zoom classes, recordings, and blog posts are freely given and freely received. If you are able to support these teachings, please do so as your heart moves you. (NOTE: You can donate even if you are “attending” a practice that is not designated as a “Common Ground Meditation Center” practice, or you can purchase class(es).
Donations are tax deductible; class purchases are not necessarily deductible.
Many blessings to everyone, and especially to anyone observing Great Lent on Great Tuesday! “Chag Sameach!” to everyone celebrating Passover and/or Counting the Omer! “Happy Riḍván!” to those celebrating “the Most Great Festival.” Happy National Poetry Month & International Jazz Day!
“‘And this is how you shall eat it: your loins girded, your shoes on your feet, and your staff in your hand; and you shall eat it in haste it is a Passover sacrifice to the Lord.’”
— Shemot / Exodus 12:11
The following excerpt is from the 2022 “renewed” version of a 2020 post:
“Every year, as we approach the end of Passover, I think about the first Passover Seder. What would that have been like? How would have felt to celebrate freedom? How would it have felt to give thanks to G-d for that freedom? Charlie Harary points out that while it is natural to think the first Passover Seder occurred a year after exodus, it actually happened the night before exodus. That’s right: G-d commanded the Jewish people to celebrate their freedom and give thanks for being delivered out of Egypt before they were even free — even before they knew their freedom was guaranteed.
Can you imagine doing that? Can you imagine how it would feel? Can you imagine the faith it would take to sit in the middle of your suffering, in the middle of your family and friends as they suffer, and give thanks for what’s to come?
There is a history of this kind of observation in the Hebrew Bible….”
“The study of scripture is another way of putting the principle of self-study into practice…. Elaborating on the concept of svādyāya, Vyasa emphasizes that only those texts that embody indisputable knowledge showing us the path to ultimate freedom are an essential component of self-study. In other words, svādyāya entails the study of spiritual texts that are authentic, contain experiential knowledge, and are infused with the energy to guide us on the path of inner freedom.”
— commentary on Yoga Sutra 2:1 in The Practice of the Yoga Sutra: Sadhana Pada by Pandit Rajmani Tigunait, PhD
Please join me today (Tuesday, April 30th) at 12:00 PM or 7:15 PM for a yoga practice on Zoom. You can use the link from the “Class Schedules”calendar if you run into any problems checking into the class. You can request an audio recording of this practice via a comment below or by emailing myra (at) ajoyfulpractice.com.
Tuesday’s playlist is available on YouTube and Spotify.[Look for “04142020 Envisioning Freedom”]
In the spirit of generosity (“dana”), the Zoom classes, recordings, and blog posts are freely given and freely received. If you are able to support these teachings, please do so as your heart moves you. (NOTE: You can donate even if you are “attending” a practice that is not designated as a “Common Ground Meditation Center” practice, or you can purchase class(es).
“Chag Sameach!” to everyone celebrating Passover and/or Counting the Omer! Happy Riḍván!” to those celebrating “the Most Great Festival.” Many blessings to everyone, and especially to anyone observing Great Lent! Happy National Poetry Month!
“Everybody knows a hundred stories, you know, a thousand stories — the question is: Why does this story pick on you? Why this story and not that story? My guess is now this: the story or poem you find to write is the story or poem that has some meaning that you haven’t solved in it, that you haven’t quite laid hands on. So your writing—it is a way of understanding it, what its meaning, the potential meaning, is. And the story that you understand perfectly, you don’t write. You know what the meaning is; there’s nothing there to nag your mind about it. A story that’s one for you is the one you have to work to understand.”
— quoted from “A Conversation” (with John Baker, 1989) in Talking with Robert Penn Warren, edited by Floyd C. Watkins, John T. Hiers, and Mary Louise Weeks
A portion of the following is a revised and updated version of a 2023 post:
Today, April 24th, is a day when I always tell a story…or two (or three). Or, sometimes, I tell an old favorite in a slightly different way. For instance, in 2020, I focused on telling the story of the Library of Congress, which was established today 1800, and preserves by (and about) people like including Anthony Trollope (b. 1815), Carl Spitteler (b. 1845), Robert Penn Warren (b. 1905), Sue Grafton (b. 1940), Eric Bogosian (b. 1953), and Kelly Clarkson (b. 1982). In 2021, I focused on telling the story of Robert Penn Warren. I sometimes reference holy and auspicious stories (as I did in 2022 — and will today). I have been known to tell the story about telling stories (as I did in 2023).
In every case, however, the practice is an opportunity for svādyāya (“self-study”) and is all about how our minds and bodies tell stories.
Whether we realize it or not, we are constantly telling stories. We tell stories verbally, visually, and viscerally. We tell stories in the ways we move and, also, in the ways we don’t move. We tell stories about where we’ve been, where we are, and where we’re going — and we do this on and off the mat. Whether we realize it or not. On the mat, the storytelling is done through the poses and sequences. Since our bodies are different, we can each tell (and understand) the same “story” in different ways. Since our bodies change over time, we can learn different things about ourselves each time we tell the “story.”
“Social tensions have a parallel in the personal world. The individual is an embodiment of external circumstances, so that a personal story is a social story.”
— Robert Penn Warren quoted from “A Conversation with Robert Penn Warren [with] Frank Gado / 1966 (From First Person: Conversations on Writers and Writing, by Frank Gado” as printed in Conversations with Robert Penn Warren, edited by Gloria L. Cronin and Ben Siegel
Today, I am sharing some auspicious and holy stories, stories that are sacred in one or more religious tradition. They are stories about suffering and the desire for one’s suffering to be alleviated. For some people they are simply that and nothing more: just some of the over 168 million items, in over 460 languages, that can be found in the Library of Congress. For some people, however, these stories are very personal stories. They are they stories that give people hope. They are the stories that give people strength and inspire them to work for a kinder, more peaceful, loving, and cohesive world.
“The asking and the answering which history provides may help us to understand, even to frame, the logic of experience to which we shall submit. History cannot give us a program for the future, but it can give us a fuller understanding of ourselves, and of our common humanity, so that we can better face the future.”
— quoted from The Legacy of the Civil War by Robert Penn Warren
Please join me today (Wednesday, April 24th) at 4:30 PM or 7:15 PM for a yoga practice on Zoom.You can use the link from the “Class Schedules”calendar if you run into any problems checking into the class. You can request an audio recording of this practice via a comment below or (for a slightly faster reply) you can email myra(at) ajoyfulpractice.com.
Wednesday’s playlist is available on YouTube and Spotify. [Look for “04242024 PRGL Stories”] Music Notes: One track in the before/after music is different on each platform, because I was unable to find the track below on Spotify.
“Chag sameach!” to those who are able to celebrate Tu BiShvat. Peace and blessings to everyone!!
For Those Who Missed It: This is the second part of “Doing: Lessons in unexpected, ridiculously inconvenient, unplayable things (& ‘impossible’ people).” Some content has been added. A version of the following was originally posted in 2022 (and reposted, in a different context, in 2023). You can click on the aforementioned years to find the previous contexts.
“Thus svadhyaya means ‘to study, examine, and reflect on ourselves, our internal states, the objects of our senses, and the current condition of our body and mind, as well as on the thoughts, feelings, and options that are so dear to us.’ For the sake of simplicity, we can translate svadhyaya as ‘self-study.’ Self-study requires that we make an inventory of our physical and mental resources and assess the vitality of our body and the rate at which we are expending it. It also requires that we remain vigilant and avoid dissipating the power of our mind with unwholesome activities.”
— commentary on Yoga Sūtra 2.1 from The Practice of the Yoga Sūtra: Sadhana Pada by Pandit Rajmani Tigunait, PhD
How do you react when things don’t go your way? What happens when you are very specific about what you want and/or what you need, but then you don’t get either? Are you quick to anger? Or, do you get “hangry” when you haven’t eaten and you have to deal with irritating situations? Do you “see red” at the drop of the hat or the blink of an eye? If so, there are (obviously) practices for that.
There are also handy tips (even if you don’t have a mindfulness-based practice). For instance, it’s ideal to get a good night sleep, eat when you need to, and — as much as you are able — avoid situations and people that push your buttons. Of course, just to be on the safe side, you could just not leave your house on days where you might be easily irritated.
But, what if people are not only expecting you leave your house, they are expecting you to travel across the ocean and put on a show?
And, what if it was a show that had never been performed before?
“You always want to make it as good as it can be, but… But when you have problems that you can’t do anything about, one after another, you start forgetting what you’re actually doing, until it’s time. And that’s one of the secrets….”
— Keith Jarrett in a 2007 interview about his (01/24/1975) Köln Concert
In the 1970’s, 15-year old Vera Brandes started organizing jazz concerts and tours. At around 17, the German teenager started organizing the New Jazz in Cologne concert series. The fifth concert was scheduled for 11:30 PM on January 24, 1975, and it was going to be the first jazz concert at the 1,400-seat Cologne Opera House. The concert would feature a twenty-nine year old jazz pianist named Keith Jarrett, performing improvised solo piano pieces. Yes, that’s right, he was going to make it up as we went along — and the sold out concert would be recorded. (According to last.fm, the tickets were 4 DM [Deutsche Mark] or $5; Wikipedia indicates the 4 DM equaled $1.72.)
Here’s a few other salient details about the American pianist: He has perfect pitch and garnered some international attention (as a classical pianist) when he was in high school in Pennsylvania. He started playing gigs in Boston while attending Berklee College of Music and moved to New York City after about a year. In the Big Apple, he started making a name for himself, playing with jazz greats like Art Blakey and the Jazz Messengers, Jack DeJohnette, and the Charles Lloyd Quartet. By the mid-to-late 1960’s, he was playing and recording with his own trios and that’s around the time that Miles Davis invited him to join his jams (alternating and/or playing with Chick Corea).
Keith Jarrett and his own band of musicians — Charlie Haden, Paul Motian, (eventually) Dewey Redman, and a handful of other similarly accomplished musicians (including Sam Brown) — recorded over a dozen albums for Atlantic Records from 1971 to 1976. In that same time period, one iteration of the quartet recorded an album for Columbia Records; but then the label dropped him — theoretically so they could promote Herbie Hancock. Right around the same time the Columbia-door closed, another two others doors opened: Keith Jarrett and his quartet got a contract with Impulse! Records and he was contacted by Manfred Eicher, a German record producer and co-founder of ECM Records.
ECM stands for “Edition of Contemporary Music” and the label is known for high quality jazz and classic music – and musicians who give the side-eye to labels. It was a great creative dwelling place for musicians like Keith Jarrett and Steve Reich, whose music I have also used in some practices. The professional relationship between Keith Jarrett and Manfred Eicher led to the “European quartet” collaborations, solo piano albums, and, eventually, to that legendary concert in Cologne, Germany.
Here’s another important thing to know about Keith Jarrett: He has a reputation for being very, very particular about concert conditions. He doesn’t like audience distractions, especially when he is improvising, so — at the height of his career — audience members were given cough drops during winter concerts and he would sometimes play in the dark to prevent people from taking pictures. He is known for vocalizing while he plays jazz (but not, notably, when he plays classical music) and reportedly led people in group coughs.
Now, imagine you are a musician like this — one who knows their stuff and is also very particular about the instruments you play — and you are presented “the unplayable piano” just hours before you’re meant to play a groundbreaking concert. What if you were also hungry, tired, and sick?
Would you see red? Or would you “accidentally” find goodness?
“KJ: When I was a teenager, my youngest brother had a lot of issues, and didn’t go to school. He couldn’t go outside, so he couldn’t have friends, so he was basically a prisoner in my mother’s house. There was an upright piano there. And occasionally, my brother, knowing zero — meaning really zero — about piano, would work out anger or frustration, which he must have had gobs of, by going to the keyboard and just playing some shit. He didn’t know what notes he was hitting or what would come out. But I realized there were moments that were so good and they came from his ignorance. I’m not sure he even knew they were good moments. But I found myself thinking: how would a pianist ever — how do you approach that if you know the instrument?
DS: How do you find the accidental goodness?”
— Keith Jarrett in response to David Shenk’s question about having a willingness or eagerness to fail, in “Keith Jarrett, Part II: The Q&A” by David Shenk (published in The Atlantic, October 13, 2009)
Keith Jarrett is known for eschewing electronic instruments and equipment. Obviously, he appreciates the “need” for recording equipment and he has recorded music while playing electronic instruments. But, it’s not his jam — and it’s definitely not the kind of thing he would request for a solo piano concert in an opera house in 1975. No, someone like Keith Jarrett, at that point in his career, for that concert, would request the piano equivalent of a Rolls-Royce. And that’s exactly what he did; he requested a Bösendorfer Model 290 Imperial, also known as the Imperial Bösendorfer or just as the 290.
The 290 is Bösendorfer’s flagship piano. It is an exquisitely beautiful concert grand piano with an equally memorable sound. In fact, it was specifically designed to be grander than any other piano on the market in 1909. And I mean that in every sense of the word grand. It has 97-keys and a full 8-range octave. For 90 years, it was the only concert grand piano of it’s kind. In 1975, it was easily recognizable by any professional pianist… but probably not by random stagehands (who hadn’t had any reason to deal with such a piano) and possibly not by a teenage concert organizer (who also hadn’t had any reason to deal with such a piano).
Keith Jarrett, however, immediately knew that something was off when he arrived at the Cologne Opera House to find a Bösendorfer baby grand on the stage. To make matters worse, he was tired after traveling and not sleeping for two days, his back hurt, and he was suffering from food poisoning. To add insult to injury, the piano was badly out-of-tune and basically broken. Some of the keys and the foot pedals, one of the distinguishing features on the 290, didn’t work properly. It was simply a rehearsal piano or something someone had put in a backstage corner to warm up their hands before the curtain went up. It was too late to find and move a new piano. Even if they could find what had been requested — or something close, like the Bösendorfer (which would have been 5 keys shorter) — it was raining and Vera Brandes was warned that moving such an instrument in that type of weather would make it impossible to tune in time for the concert.
“Don’t play what’s there. Play what’s not there.”
— Miles Davis
Improvisation – in comedy and in music – is known for things like not breaking the flow (so, not saying “no”); and the concept of “yes, and…;” staying present; and being open to change. But, Keith Jarrett had made up his mind. He said no to that baby grand piano. He declared it categorically “unplayable” and said the concert needed to be canceled. And there’s no indication, anywhere, that he was being a diva. He was just being realistic given his history and his frame of reference. The fact that he was sick and tired just made everything worse.
But the indomitable Vera Brandes had a different history and a different field of possibility. She convinced him that she could find someone to tune (and repair) the piano onstage, which she did. She sent Keith Jarrett and Manfred Eicher to a restaurant to grab a quick bite to eat. In some interviews, Keith Jarrett has said that they didn’t eat much because (a) he wasn’t feeling well, (b) there was a mix-up at the restaurant and their meal was delayed, and (c) they had to get back to the theatre. At some point along the way, they decided to keep the recording engineers — because they were going to get paid no matter what — and record what the musician expected to be a horrible and embarrassing disaster of the first order.
But it wasn’t. It wasn’t not even close.
Instead, the three improvised movements, plus the encore of “Memories of Tomorrow,” became the best selling solo album in jazz history and one of the best-selling piano albums. In the Spring 2019 issue of Daedalus, Dr. Gerald Lyn Early, who has consulted on several Ken Burns documentaries (including Baseball and Jazz), pointed out that Keith Jarrett’s solo concerts changed the sound and people’s understanding of jazz (not to mention, who played it); “…made solo piano playing commercially viable by showing that there was a considerable audience for it[;]” and “…proved that the public was willing to take such records seriously….”
From the very first notes, which sound like the warning tones the audience heard in the lobby before the show, Keith Jarrett carried the audience on a sonorous piano journey unlike anything they had ever heard. The album has been praised by musicians, critics, and publishers alike. It was included in Robert Dimery’s book 1001 Albums You Must Hear Before You Die. Eventually, much to the composers dismay, parts of the composition became movie soundtracks. Many wanted Keith Jarrett to transcribe and publish a score of the concert, which he finally, begrudgingly, agreed to do in 1990. The transcribed score, however, came with a very intentional caveat.
“For instance, on pages 50 and 51 of Part IIa there is no way to obtain, on paper, the real rhythmic sense of this section. There is much more going on on the recording, but this “going on” does not always translate into notes on paper. Many notes are inferred by the rhythmic sense; others depend on the harmonics or attack of the previous note(or notes). So, writing down all the notes would give more of a false view of the sense of this section than selecting some notes. And yet, even this selection cannot reveal the real sense of this section as an improvisation, where listening is what determines the music’s strength.
So – we are at, let us say, a picture of an improvisation (sort of like a print of a painting). You cannot see the depth in it, only the surface.
As a result of all of this, I am recommending that any pianist who intends to play THE KÖLN CONCERT use the recording as the final-word reference.
Good luck!”
— quoted from the “Preface” to THE KÖLN CONCERT: Original Transcription, Piano by Keith Jarrett
Please join me today (Wednesday, January 24th) at 4:30 PM or 7:15 PM for a yoga practice on Zoom. You can use the link from the “Class Schedules”calendar if you run into any problems checking into the class. You can request an audio recording of this practice via a comment below or (for a slightly faster reply) you can email myra(at) ajoyfulpractice.com.
**HEADS UP: Houston is experiencing severe storms and power outages.**
Wednesday’s playlist is available on YouTube and Spotify. [Look for “0123-24/2022 Doing: Lessons in…”]
[NOTE: If it is accessible to you, please consider using the Spotify playlist (or this link with a Premium YouTube account) for the original music referenced in the practice. Even better, if you already have the album!
An authorized original recording is not available on YouTube (in the US) without a “Premium” membership and, after listening to several different “interpretations” — which do not / cannot include the vocalizations — I decided the Fausto Bongelli sounded the closest to the original. Sadly, one movement is missing and so I used a recording by Tomasz Trzcinkinski, who was the first person to record the music using the transcription. There are also now transcriptions for other instruments — which I didn’t sample, even though I think some of them would be lovely. There are also “covers” using electronic instruments, which I’m considering a hard pass (even if it seems contradictory to the theme), out of respect for the composer. ]
You can, as I did, also listen to the Cautionary Tales with Tim Harford episode entitled, “Bowie, Jazz and the Unplayable Piano” where ever you get your podcasts. My 2022 post includes a little information about how I came across the episode. NOTE: The related quote below is from a different episode of that same podcast.
“[Charles Lim is] a neuroscientist a surgeon a jazz saxophonist and one of very few people whose actually, studied the improvising brain. Lim researches people as they improvise inside brain scanners called FMRI machines…..
Through these experiments Lim and other neuroscientists have been discovering hints of what goes on in an improvising brain. There’s a distinctive pattern in the prefrontal cortex — which seems to be the seat of consciousness, memory, morality, humor, and even the sense of self. But, the pattern isn’t that the prefrontal cortex is lighting up during improvisation; on the contrary. Broad areas of it shutting down: the dorsolateral areas, either side of the top of your forehead, and the lateral orbital areas behind your eyes. Improvisers are escaping their internal restraints. They’re letting go.
Most of us go through our days holding back our mental impulses to swear or lash out. All this requires a degree of self-control; so that filtering is a good thing. But you can have too much of a good thing, says Charles Lim. Too much filtering can squash our creativity. Improvisers shut down their inner critics and allow new ideas to flow out. The improvising brain is disinhibited — although, not so crudely as the drunk brain. That is why improvisers can produce flashes of pure brilliance. It’s also why improvisation feels so risky….”
— quoted from the Cautionary Tales podcast episode “Martin Luther King Jr; the Jewelry Genius; and the Art of Public Speaking” by Tim Harford
In the spirit of generosity (“dana”), the Zoom classes, recordings, and blog posts are freely given and freely received. If you are able to support these teachings, please do so as your heart moves you. (NOTE: You can donate even if you are “attending” a practice that is not designated as a “Common Ground Meditation Center” practice, or you can purchase class(es). Donations are tax deductible; class purchases are not necessarily deductible.)
Breathe in… and savor the best parts of your life. Breathe out… and let go of something that keeps you from savoring the best parts of your life.
This is the first part of “Doing: Lessons in unexpected, ridiculously inconvenient, unplayable things (& ‘impossible’ people).” A version of the following was originally posted in 2021 (and reposted, in a different contexts, in 2022 and 2023). Click here for that philosophical 2021 post in it’s entirety.
“From a practical standpoint then, svadhyaya is the process of employing the power of discernment and maintaining a constant awareness of who we are, what we are trying to become, and how the objective world can help us accomplish our goal.”
— commentary on Yoga Sūtra 2.1 from The Practice of the Yoga Sūtra: Sadhana Pada by Pandit Rajmani Tigunait, PhD
The Yoga Sutras offer a detailed explanation of the dysfunctional/afflicted thought patterns that create suffering. Patanjali described those thought patterns as ignorance, the false sense of self, attachment (rooted in pleasure), aversion (which is attachment rooted in pain), and a fear of loss/death. He established ignorance (avidyā) as the root of the other four and stated that this groundwork is established no matter if the ignorance is dormant, attenuated, disjointed, or active. He then broke down the different ways avidyā manifests in the world — which basically goes back to the ways in which we misunderstand the nature of things — and how the other four afflicted thought patterns rise up.
We can find examples of how avidyā and the other four dysfunctional/afflicted thought patterns manifest all around us. There are, therefore, also examples of how the sources of our ignorance can be the path towards freedom, fulfillment, and more clarity. One example of this is how some people view those that are not considered “able bodied.” Think about the activist Edward V. Roberts, for example.
“I fell in love, like many people do. We do that as well. And it became ridiculously inconvenient to have my attendant pushing me around in my wheelchair with my girlfriend. It was an extra person that I didn’t need to be more intimate. I learned how to drive a power wheelchair in one day. I was so motivated to learn something that it changed in many ways my perception of my disability and of myself. She jumped on my lap and we rode off into the sunset or to the closest motel.”
— Ed Roberts in a 60 Minutes interview with Harry Reasoner
Known as the “Father of the Independent Living” movement, Mr. Roberts was born today in 1939. By all accounts, he spent his formative years as a “regular” boy. Then, at the age of fourteen, he contracted polio — this was in 1953, two years before the vaccine ended the polio epidemic. The virus left the active, “sports-loving” teenager paralyzed from the neck down, with mobility only in two fingers and a few toes. It also (temporarily) crushed his spirit. He initially spent most of his days and all of his nights in an 800-pound iron lung. When he wasn’t in the iron lung, he used “frog breathing” — a technique that uses the facial and neck muscles to pump air into the lungs.
Now, if you have not interacted with someone with a disability, you might think — as Ed Roberts initially thought of himself — that he was a “helpless cripple.” You might, like him and one of his early doctors, back in 1953, think that there was no point to his life. You might think that he couldn’t do yoga; couldn’t get married (and divorced); couldn’t have a child; and definitely couldn’t do anything to change the world. You might think that he wouldn’t be celebrated.
But, if you think any of that — just as he initially thought that — you would be wrong.
“There are very few people even with the most severe disabilities who can’t take control of their own life. The problem is that the people around us don’t expect us to.”
— Ed Roberts in a 60 Minutes interview with Harry Reasoner
Just to be clear, to my knowledge Ed Roberts didn’t practice yoga. However, he did practice Shotokan karate. Also, it is interesting to note that (a) the glottis (which includes the true vocal chords and the rima glottidis or empty space at the back of the throat) that we engage to practice Ujjayiprāņāyāma, is the same area he would engage to breathe without the iron lung and (b) once he changed his understanding of himself — let go of his “false sense of self” — he was able to change the world.
Even though he could attend school by telephone, Zona Roberts, Ed Roberts’s mother, insisted that he attend school in-person one day a week. for at least a few hours. She also encouraged him to think of himself as a “star” and to advocate for his own needs. So, when he was in danger of not graduating from high school, because he hadn’t completed driver’s education or physical education, he pushed back on those who would limit him.
After graduating from high school, he attended the College of San Mateo and the University of California Berkeley — even though one of the UC Berkeley deans wanted to reject him because someone else had had an unsuccessful bid at college and the dean viewed all people with disabilities as a monolith. At Berkeley, Mr. Roberts pushed to have on-campus housing that would accommodate his needs and, once that was established, pushed the university to admit and provide the dormitory experience to other people with “severe disabilities.” The Cowell Residence Program became a model for universities around the world.
Mr. Roberts and some of the other students in the Cowell Residence Program referred to themselves as the “Rolling Quads.” They were very active in changing people’s perceptions and understandings and, therefore, they were able to change policy and infrastructure. “Curb cuts,” the ramped opening between a sidewalk and street, are one of the changes that resulted from their activism. After Ed Roberts graduated with a Bachelor’s and Master’s in Political Science, he went on to teach at an “alternative college.” He also served as Director of the state organization that had once labeled him too disabled to work and eventually co-founded the World Institute on Disability (at Berkeley). His activism — including protesting at the San Francisco offices of the Carter Secretary of Health, Education, and Welfare and testifying before Congress — led to the creation of the Americans with Disabilities Act (ADA, 1990).
“And I literally went from like 120 pounds to 50 pounds. I also discovered how powerful the mind is, when you make up your mind.”
— Ed Roberts in a 60 Minutes interview with Harry Reasoner
If I remember correctly, I first dug into Ed Roberts’s story because someone on the internet mentioned him and his birthday. Maybe this was in 2017, when there was a Google Doodle to honor him. Or, maybe I made a note to myself when I saw the Google Doodle and then incorporated it into a class the following year. Either way, I had time to dig in.
Perhaps, since some of my themes are date-related and I do keep an eye out for such things, one might not consider my heightened awareness of Ed Roberts as being overly synchronistic or serendipitous. This is especially true considering that my annual participation in the Kiss My Asana yogathon is one of the many things that predisposes (or conditions) me to pay attention to stories about accessibility. If anything, I could kind of kick myself for not digging into his story sooner.
But, we only know what we know and we don’t know what we don’t know. The odds are pretty high, though, that I would have eventually come across his story and his legacy — which provides a lot of reminders about how to move through the year in a way that brings change that makes the world better than we found it.
“My bottom walk-away experience that I believe I carry with me every day is that my father never settled for anything and always fought for everything. And he always, always followed his gut, followed his passion, went with it no matter who was against him, and oftentimes there was more people against him than it was for him.
So I’ve always followed my gut and followed my passion. And in so many different speeches, he would always encourage that person to look within themselves, find their passion, follow it. You can’t… You can’t go wrong with your gut. You can’t go wrong with your passion. Don’t ever settle. He never settled. I’ll never settle. I carry that with me every day, and if there’s anything he loved to pass on, it’s just go for it.”
— quoted from “A Day in the Life of Ed Roberts: Lee Roberts Talks About His Father, Ed Roberts” by Lee Roberts
Please join me today (Tuesday, January 23rd) at 12:00 PM or 7:15 PM for a yoga practice on Zoom. You can use the link from the “Class Schedules”calendar if you run into any problems checking into the class. You can request an audio recording of this practice via a comment below or (for a slightly faster reply) you can email myra(at) ajoyfulpractice.com.
Tuesday’s playlist is available on YouTube and Spotify. [Look for “07112020 An Introduction”]
In the spirit of generosity (“dana”), the Zoom classes, recordings, and blog posts are freely given and freely received. If you are able to support these teachings, please do so as your heart moves you. (NOTE: You can donate even if you are “attending” a practice that is not designated as a “Common Ground Meditation Center” practice, or you can purchase class(es). Donations are tax deductible; class purchases are not necessarily deductible.)
Errata: This post has been updated to more accurately describe the anatomy related to “frog breathing.”
May all of us together be safe and protected / May we be peaceful and happy.
For Those Who Missed It: This slightly revised “missing” post for Monday, October 30th, was originally posted in 2022. Some formatting, syntax, and links have been revised. A picture* has been added.
You can request an audio recording of a related practice via a comment belowor (for a slightly faster reply) you can email me at myra (at) ajoyfulpractice.com.
In the spirit of generosity (“dana”), the Zoom classes, recordings, and blog posts are freely given and freely received. If you are able to support these teachings, please do so as your heart moves you. (NOTE: You can donate even if you are “attending” a practice that is not designated as a “Common Ground Meditation Center” practice, or you can purchase class(es). Donations are tax deductible; class purchases are not necessarily deductible.
“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 how we find balance in the world. I often reference this paradigm when I talk about how the chakra system 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:
— “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 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. 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 that thing 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.
In the sacred texts, 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 is also 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 they 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 first listening 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
Normally, it wouldn’t matter if someone missed the first announcement, ran to the bathroom during the intermission and missed the next two announcements. It also wouldn’t normally matter if someone 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: According to the 1940 census, the township’s total population was 2,160, and Grovers Mill is a tiny portion of that.) Another change in the content 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. On the other hand, 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 show’s 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 then Orson Welles requested interlude music to be played in longer stretches, as if the station was stretching out the time as they for waited 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 PM and returned at 8:36 PM — 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 that 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 Mercury Theater on the Air theatre, they stood at 42nd and Broadway, the intersection known for the performing arts, and saw the headline ticker on the New York Times building proclaiming, “ORSON WELLES CAUSES PANIC.” They didn’t know, at the time, that an unrelated blackout in Washington state contributed to some people’s confusion. Neither could they know that Jack Paar, the announcer for Cleveland’s CBS affiliate WGAR, who would go on to host The Tonight Show, 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 how many 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 (of 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 [… and 2023].
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 for 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”
There is no playlist for the Common Ground Meditation Center practices.
The playlist for previous years is available on YouTube and Spotify. [Look for “10302021 Out of Our Worlds”]
*NOTE: Yes, that’s been there all my life and I just didn’t pay any attention to it until last week.
May all of us together be safe and protected / May we be peaceful and happy.
For Those Who Missed It: The following was originally posted in 2022. It includes history related to the next three (3) days/nights/practices. Class details (and some formatting) have been updated.
“Violence is clearly destructive. It springs from fear, one of the fundamental afflictions. According to this sutra, the practice of non-violence requires us to arrest our violent tendencies by cultivating thoughts opposite to violence.”
— quoted from the commentary on Yoga Sūtra 2.33 from The Practice of the Yoga Sutra: Sadhana Pada by Pandit Rajmani Tigunait, PhD
By all accounts, it started off simply and innocently enough. Just a few childish pranks at the end of Thanksgiving: knocking at the door that opened to reveal no one; random, unexplained noises, cabbage being uprooted and then tossed around; patio furniture inexplicably shifting and moving to a neighbor’s porch. You know, things that ghost, goblins, and devils might do when the veil between worlds was lifted. It was so simple and innocent, in fact, that in 1790, a headmaster at Saint John’s College in Oxford even ended a school play with a little encouragement: “an Ode to Fun which praises children’s tricks on Mischief Night in most approving terms.”
Mischief Night, the night before Halloween, is also known as Hell Night, Cabbage Night, Gate Night, Moving Night, Devil’s Night, and a variety of other names throughout the United Kingdom, Canada, and the United States. It was just supposed to be a little “trick” before the treats. References to Devil’s Night and Mischief Night in Michigan can be found as early as the 1910’s — when college students reportedly started bonfires and then handed cigars to the firefighters who came to put out the flames. However, the vandalism and arson increased in the 1930’s and 1940’s. By the 1970’s, the simple and innocent pranks in Detroit turned into criminal mischief and started extending into October 29th. From the 1970’s through the 1990’s, there was serious vandalism and arson that resulted in thousands of dollars worth of damage. In 1983, over 550 fires were reported. In 1984, the number of reported fires was more than 800. Some officials started theorizing that some people were using the reputation of Devil’s Night to commit insurance fraud. And, speaking of that reputation, by the mid-1980’s, people were not only driving into town from other states to watch the fires, they were flying in from other countries.
“Fire buffs, newspeople and just plain gawkers came to watch Detroit burn Wednesday night.
They even came all the way from Tokyo.
Director Nobi Shigemoto was here with an eight-person crew from Asahi national TV network. The crew planned to follow fire trucks Wednesday night and do a live shot from in front of Highland park fire headquarters before returning to Japan.”
“Shigemoto said Detroiters ask him why he is ‘looking at bad things.’
His reply:
This is the truth. US (is a) most rich country. When you look at Detroit, it looks nothing like rich.’”
— quoted from the Detroit Free Press article “Keeping the watch – Reporters, fire buffs, gawkers come to track night’s events” by Bill McGraw (printed in the “Devil’s Night” section, dated 31 Oct 1985, Thu)
In the mid-1980’s, then-Detroit mayor Coleman Young and city officials created the “No More Devil’s Night” campaign, which included a dusk-to-dawn curfew for teenagers, neighborhood watches, the opportunity to “adopt” empty properties, and a coordinated “patrol” effort by police officers, firefighters, and miscellaneous city workers. Over 11,000 volunteers participated that first year — and the number of reported fires was cut in half. Local cable television offered free access to premium channels so that more people would stay home. News outlets agreed not to air footage that might glamorize arson and/or encourage copycats — and the number of fires dropped. The number of volunteers rose (to ~17,000) in 1987, and again the number of reported fires dropped.
Detroit’s “No More Devil’s Night” campaign was so successful that when Dennis Archer was elected mayor, in January of 1994, he decided his predecessor’s official campaign was no longer needed. People warned him he was wrong. Unfortunately, those people were right. According to a New York Times article (dated November 1, 1994), there were 40,000 volunteers working to combat the arson and other criminal mischief in 1993 versus 8,000 in 1994. That difference in volunteers reflected a trend well established in previous years: more volunteers resulted in less arson and criminal mischief; less volunteers meant more arson. While there were significantly less fires in 1994 than there had been in 1984, one of those fires — set on October 30, 1994, in the same suburb Nobi Shigemoto filmed nine years earlier — resulted in the death of 1-year old Destiny Wilson and the serious injury of several others, including Destiny’s mother, 3-year old sister Ivory, and two older siblings. Then-mayor Archer and other city officials rebranded the original campaign and got more serious about cultivating the opposite energy; being angels instead of devils.
“However, if the process of non-violence is to be effective in counteracting violence, we must first describe and outline it clearly and methodically. Because violent thoughts always precede a violent act, an act of non-violence will be effective only if it is preceded by non-violent thoughts. Violence is an active phenomenon, whereas non-violence is mistakenly thought to be passive — simply the absence of violence. Non-violence must be as active as violence itself.”
— commentary on Yoga Sūtra 2.33 from The Practice of the Yoga Sutra: Sadhana Pada by Pandit Rajmani Tigunait, PhD
The rebranded Angels’ Night(s) encouraged volunteers to do what they could to actively combat the violence with non-violence, from October 29th – 31st. It was based on the idea that if everyone cared, everyone could do something to make a difference. Some people volunteered to patrol their neighborhood with flashing amber lights on their vehicles. Others agreed to wear orange ribbons and participated in neighborhood watches — even adopting an “empty” property. Still others agreed to leave their lights on and to enforce — or honor — the curfew. Official activities were organized at recreation and community centers. Bottom line, there was a way for everyone, regardless of age or ability, to stay alert and stay connected. In 1995, 40,000 – 50,000 volunteers agreed to be “angels.” As before, arson and vandalism steadily declined.
While there was a spike in arsons around Halloween 2010, the overall decline in “devilish” activity continued through the 2000’s and 2010’s. In 2005, official “Angels’ Night” activities were cancelled as the entire city mourned the death of Rosa Parks. In 2015, there were “only” 52 fires (with 24 appearing to be arson). Interestingly, this steady decline around Halloween was paralleled by a slight increase in fires around the 4th of July. In 2018, there were only three reported fires and the city officially ended the campaign. Citizens, however, continue to be angels.
“The earliest recorded instance of someone saying ‘Hurt people hurt people’ appears in the Feb. 26, 1959, edition of a local Texas newspaper, the Amarillo Globe-Times, in its review of a lecture program put on by the Parent Teacher Association of Fannin Junior High School. The Globe-Times attributes the line to a speaker named Charles Eads, who, judging from the article’s description, spoke in the manner of vaudeville satirist and cowboy Will Rogers:…’”Hurt people hurt people.’ So, maybe before I wound someone next time, I’ll stop and think if it’s because I’ve been hurt, myself.’”
— quoted from the article “The History of ‘Hurt People Hurt People’ – The adage has been credited to everyone from pastors to self-help gurus to Andrew Garfield. It’s much older.” By Matthew Phelan (posted on slate.com, Sept 17, 2019)
We’ve all been hurt. We all suffer. According to the Yoga Philosophy, dysfunctional/afflicted thought patterns create suffering. The question – which is also addressed in philosophies like Buddhism, and even in the major religions – is, “What do we do with our own suffering?” Do we alleviate it? That’s the next question, because the philosophies say that we have the ability to alleviate our own suffering? Of course, there’s always the flipside, where our hurt/suffering becomes the foundation for more suffering and “devilish” behavior?
To answer the questions, take a moment to do a little svādhyāya (“self-study”) or discernment — what some might call “metacognition.” Consider your own reaction to the aforementioned Devil’s Night, especially with regard to the arson and vandalism. Consider, who you think was responsible — not only for the problem, but also for the solution. Are you keeping in mind that the initial fires, even in Detroit, were set by college students? Have you thought about what was happening in the world when the arson first increased? Did you remember that the Wilson family lived in the suburbs?
Consider how you feel when you take it all in and then consider how those feelings translate into thoughts that precede your words and then your deeds. Given the opportunity to counteract violence and destruction, would your active response to the “devilish” behavior be functional and skillful – or would it be just another form of damage?
In the first section of the Yoga Sūtras, there are several different ways in which we can achieve transparency of mind. One way is to focus on the breath. (YS 1.34) Another way is to “focus on someone who is free from all desire.” (YS 1.37) This is what people are ostensibly doing when they ask themselves, “What would … do?” Of course, the commentary indicates that in the absence of resonating with some great figure — from religion, philosophy, or mythology — we could focus on the best version of ourselves: What would we do/say if we were free from desire? What would we do/say if we were not attached to a particular outcome?
“Then concentrate upon [the] heart. Try to imagine how it must feel to be a great saint; pure and untroubled by sense-objects….”
— quoted from the commentary on Yoga Sūtra 1.37 from How To Know God: The Yoga Aphorisms of Patanjali translated and with commentary by Swami Prabhavananda and Christopher Isherwood
Another method for achieving clarity of mind, according to Patanjali’s Yoga Sūtras, is to offer friendliness to those who are happy, compassion to those who are suffering, happiness to those who are virtuous, and indifference/non-judgement to those who (we consider) are non-virtuous. (YS 1.33) I personally love this idea, but I also know it can be challenging. Different parts may be challenging for different people — and under different circumstances — but the part that is usually challenging for me is the last part: offering indifference/non-judgement to someone (I consider) non-virtuous — or whose actions are not virtuous. Sure, ideally, we could ignore those non-virtuous people/actions and they would go away or stop their “devilish” behavior; but, life doesn’t always work that way. Sometimes we have to directly engage and actively combat the violence in a non-violent way.
My non-violent way is logic. While I often believe that (my) logic will resolve conflict and/or get people to do what I think is right, that is not actually how the world works — because that’s not how the human mind works. Remember, according to Yoga Sūtra 2.20, we can only see/comprehend what our mind-intellect is ready to show us. This is not an idea restricted to the people we think are wrong in their thinking; this also applies to each and every one of us.
Don’t get me wrong. I’m not saying that logic doesn’t work. I’m saying that if someone we consider to be non-virtuous, or acting in a way that is non-virtuous, were to think (and feel) the way we think (and feel) they would speak and act the way we do. So, applying our own logic on someone else does not work. They have to apply their own logic. While we may be able to help someone apply their own logic, we can only do so with a clear mind.
In other words, to truly alleviate suffering, we have to turn inward. We have to understand our own feelings and thoughts and how those become our words and deeds. In turn, we have to understand the impact/effect of our words and deeds. It is only then that we can effectively, as Patanjali said in Yoga Sūtra 2.44, be in the company of angels.
“No, don’t give up
I won’t give up
‘Cause there must be angels”
*
— quoted from the song “Angels” by Tom Walker (written by Emma Davidson-Dillon / James Eliot / Thomas Alexander Walker)
Please join me for a 65-minute virtual yoga practice on Zoom today (Sunday, October 29th) at 2:30 PM.Use the link from the “Class Schedules” calendar if you run into any problems checking into the class. You can request an audio recording of this practice via a comment below or by emailing myra (at) ajoyfulpractice.com.
Sunday’s playlist is available on YouTube and Spotify. [Look for “10292022 Angels, Devils, Mischief, Cabbage”]
2023 NOTE: This playlist has been updated in a way that may slightly change the timing when paired with previous practices.
In the spirit of generosity (“dana”), the Zoom classes, recordings, and blog posts are freely given and freely received. If you are able to support these teachings, please do so as your heart moves you. (NOTE: You can donate even if you are “attending” a practice that is not designated as a “Common Ground Meditation Center” practice, or you can purchase class(es). Donations are tax deductible; class purchases are not necessarily deductible.)
Peace within you; peace all around you; peace to and from everything and everyone you encounter.
“People who look for the first time through a microscope say now I see this and then I see that and even a skilled observer can be fooled. On these observations I’ve spent more time than many will believe, but I’ve done them with joy, and I’ve taken no notice those who have said why take so much trouble and what good is it?”
— Antonie van Leeuwenhoek
Antonie van Leeuwenhoek, known as the “Father of Microbiology, was born today in 1632. The internationally acclaimed Harry Houdini performed his last show today in 1926.
Please join me today (Tuesday, October24th) at 12:00 PM or 7:15 PM for a yoga practice on Zoom. You can use the link from the “Class Schedules”calendar if you run into any problems checking into the class. You can request an audio recording of this practice via a comment below or (for a slightly faster reply) you can email myra(at) ajoyfulpractice.com.
Tuesday’s playlist is available on YouTube and Spotify. [Look for “10202020 Pratyahara”]
In the spirit of generosity (“dana”), the Zoom classes, recordings, and blog posts are freely given and freely received. If you are able to support these teachings, please do so as your heart moves you. (NOTE: You can donate even if you are “attending” a practice that is not designated as a “Common Ground Meditation Center” practice, or you can purchase class(es). Donations are tax deductible; class purchases are not necessarily deductible.)
“From a practical standpoint then, svadyaya is the process of employing the power of discernment and maintaining a constant awareness of who we are, what we are trying to become, and how the objective world can help us accomplish our goal.”
*
– commentary on Yoga Sūtra 2.1 from The Practice of the Yoga Sūtra: Sadhana Pada by Pandit Rajmani Tigunait, PhD
How do you react when things don’t go your way? What happens when you are very specific about what you want and/or what you need, but then you don’t get either? Are you quick to anger? Or, do you get “hangry” when you haven’t eaten and you have to deal with irritating situations? Do you “see red” at the drop of the hat or the blink of an eye? If so, there are (obviously) practices for that.
There are also handy tips (even if you don’t have a mindfulness-based practice). For instance, it’s good to get a good night sleep, eat when you need to, and – as much as you are able – avoid situations and people that push your buttons. Of course, just to be on the safe side, you could just not leave your house on days where you might be easily irritated. You know, like today, the third day of the Lunar New Year when some people will absolutely stay home and go to bed early.
Some portions of the following were previously posted.
“恭禧发财 Gong Xi Fa Cai [Congratulations and Prosperity!] Gong Hey Fat Choy [Congratulations and Prosperity!]
– A common New Year’s greeting in Hanzi [Chinese characters], Mandarin and Cantonese pīnyīn [“spelled sounds”], and English
According to some Chinese creation mythology the third day of the Lunar New Year is the birthday of all boars. As I mentioned yesterday, some people will spend this third day of the Year of the Rabbit/Hare visiting the temple of the God of Wealth. Others associate this day with the “marriage of mice” and – in addition to providing treats as a “dowry” for the mice – they will go to bed early to ensure the mice have a peaceful ceremony. The belief is that if the mice have a peaceful ceremony, they will not pester humans during the rest of the year. In Vietnam, where people are celebrating the year of the Cat, this third day is a day to honor teachers.
Another reason people may go to bed early on the third night of the Lunar New Year is that, in certain parts of China, this third day is the “Day of the Red Dog” or “Red Mouth” Day and there is a greater danger of conflict on this day. People may also stay home and avoid anyone outside of their primary family circle in order not to say the wrong thing in anger – as a Chinese word for “red dog” is also a description for the “God of Blazing Wrath.” Some people also associate the tendency to say the wrong thing on the third day with the demon (or monster) Nian.
The Hanzi (Chinese character) for Nian also means “year” or “new year.” According to the legends, the monster Nian would come out of the sea or the mountain once a year looking for crops, animals, or villagers to eat. All the villagers would hide at this time of year, but one time an elderly gentleman was outside during the time Nian came to visit the village. One version of the story says that the man was a Taoist monk (Hongjun Lozu) who, like Br’er Rabbit, was a bit of a trickster. He some how convinced the monster that he would taste better if he could take off his outer clothing. In the version I tell in class, there is a big chase and the monster rips the man’s outerwear with his sharp teeth and claws. Either way, when the gentleman’s bright red undergarments are revealed Nian freaks out, because he is afraid of the color red (and loud noises). Therefore, it became auspicious to start the New Year (or even a marriage) wearing red; placing red throughout the village or town; and making a lot of noise.
“You always want to make it as good as it can be, but… But when you have problems that you can’t do anything about, one after another, you start forgetting what you’re actually doing, until it’s time. And that’s one of the secrets….”
– Keith Jarrett in a 2007 interview about his (01/24/1975) Köln Concert
In the 1970’s, 15-year old Vera Brandes started organizing jazz concerts and tours. At around 17, the German teenager started organizing the New Jazz in Cologne concert series. The fifth concert was scheduled for 11:30 PM on January 24, 1975, and it was going to be the first jazz concert at the 1,400-seat Cologne Opera House. The concert would feature a twenty-nine year old jazz pianist named Keith Jarrett, performing improvised solo piano pieces. Yes, that’s right, he was going to make it up as we went along – and the sold out concert would be recorded. (According to last.fm, the tickets were 4 DM [Deutsche Mark] or $5; Wikipedia indicates the 4 DM equaled $1.72.)
Here’s a few other salient details about the American pianist: He has perfect pitch and garnered some international attention (as a classical pianist) when he was in high school in Pennsylvania. He started playing gigs in Boston while attending Berklee College of Music and moved to New York City after about a year. In the Big Apple, he started making a name for himself, playing with jazz greats like Art Blakey and the Jazz Messengers, Jack DeJohnette, and the Charles Lloyd Quartet. By the mid-to-late 1960’s, he was playing and recording with his own trios and that’s around the time that Miles Davis invited him to join his jams (alternating and/or playing with Chick Corea).
Keith Jarrett and his own band of musicians – Charlie Haden, Paul Motian, (eventually) Dewey Redman, and a handful of other similarly accomplished musicians (including Sam Brown) – recorded over a dozen albums for Atlantic Records from 1971 to 1976. In that same time period, one iteration of the quartet recorded an album for Columbia Records; but then the label dropped him – theoretically so they could promote Herbie Hancock. Right around the same time the Columbia-door closed, another two others doors opened: Keith Jarrett and his quartet got a contract with Impulse! Records and he was contacted by Manfred Eicher, a German record producer and co-founder of ECM Records.
ECM stands for “Edition of Contemporary Music” and the label is known for high quality jazz and classic music – and musicians who give the side-eye to labels. It was a great creative dwelling place for musicians like Keith Jarrett and Steve Reich, whose music I have also used in some practices. The professional relationship between Keith Jarrett and Manfred Eicher led to the “European quartet” collaborations, solo piano albums, and, eventually, to that legendary concert in Cologne, Germany.
Here’s another important thing to know about Keith Jarrett: He has a reputation for being very, very particular about concert conditions. He doesn’t like audience distractions, especially when he is improvising, so – at the height of his career – audience members were given cough drops during winter concerts and he would sometimes play in the dark to prevent people from taking pictures. He is known for vocalizing while he plays jazz (but not, notably, when he plays classical music) and reportedly led people in group coughs.
Now, imagine you are a musician like this – one who knows their stuff and is also very particular about the instruments you play – and you are presented “the unplayable piano” just hours before you’re meant to play a groundbreaking concert. What if you were also hungry, tired, and sick?
Would you see red? Or would you “accidentally” find goodness?
“KJ: When I was a teenager, my youngest brother had a lot of issues, and didn’t go to school. He couldn’t go outside, so he couldn’t have friends, so he was basically a prisoner in my mother’s house. There was an upright piano there. And occasionally, my brother, knowing zero — meaning really zero — about piano, would work out anger or frustration, which he must have had gobs of, by going to the keyboard and just playing some shit. He didn’t know what notes he was hitting or what would come out. But I realized there were moments that were so good and they came from his ignorance. I’m not sure he even knew they were good moments. But I found myself thinking: how would a pianist ever — how do you approach that if you know the instrument?
DS: How do you find the accidental goodness?”
– Keith Jarrett in response to David Shenk’s question about having a willingness or eagerness to fail, in “Keith Jarrett, Part II: The Q&A” by David Shenk (published in The Atlantic, October 13, 2009)
Keith Jarrett is known for eschewing electronic instruments and equipment. Obviously, he appreciates the “need” for recording equipment and he has recorded music while playing electronic instruments. But, it’s not his jam – and it’s definitely not the kind of thing he would request for a solo piano concert in an opera house in 1975. No, someone like Keith Jarrett, at that point in his career, for that concert, would request the piano equivalent of a Rolls-Royce. And that’s exactly what he did; he requested a Bösendorfer Model 290 Imperial, also known as the Imperial Bösendorfer or just as the 290.
The 290 is Bösendorfer’s flagship piano. It is an exquisitely beautiful concert grand piano with an equally memorable sound. In fact, it was specifically designed to be grander than any other piano on the market in 1909. And I mean that in every sense of the word grand. It has 97-keys and a full 8-range octave. For 90 years, it was the only concert grand piano of it’s kind. In 1975, it was easily recognizable by any professional pianist… but probably not by random stagehands (who hadn’t had any reason to deal with such a piano) and possibly not by a teenage concert organizer (who also hadn’t had any reason to deal with such a piano).
Keith Jarrett, however, immediately knew that something was off when he arrived at the Cologne Opera House to find a Bösendorfer baby grand on the stage. To make matters worse, he was tired after traveling and not sleeping for two days, his back hurt, and he was suffering from food poisoning. To add insult to injury, the piano was badly out-of-tune and basically broken. Some of the keys and the foot pedals, one of the distinguishing features on the 290, didn’t work properly. It was simply a rehearsal piano or something someone had put in a backstage corner to warm up their hands before the curtain went up. It was too late to find and move a new piano. Even if they could find what had been requested – or something close, like the Bösendorfer (which would have been 5 keys shorter) – it was raining and Vera Brandes was warned that moving such an instrument in that type of weather would make it impossible to tune in time for the concert.
“Don’t play what’s there. Play what’s not there.”
– Miles Davis
Improvisation – in comedy and in music – is known for things like not breaking the flow (so, not saying “no”); and the concept of “yes, and…;” staying present; and being open to change. But, Keith Jarrett had made up his mind. He said no to that baby grand piano. He declared it categorically “unplayable” and said the concert needed to be canceled. And there’s no indication, anywhere, that he was being a diva. He was just being realistic given his history and his frame of reference. The fact that he was sick and tired just made everything worse.
But the indomitable Vera Brandes had a different history and a different field of possibility. She convinced him that she could find someone to tune (and repair) the piano onstage, which she did. She sent Keith Jarrett and Manfred Eicher to a restaurant to grab a quick bite to eat. In some interviews, Keith Jarrett has said that they didn’t eat much because (a) he wasn’t feeling well, (b) there was a mix-up at the restaurant and their meal was delayed, and (c) they had to get back to the theatre. At some point along the way, they decided to keep the recording engineers – because they were going to get paid no matter what – and record what the musician expected to be a horrible and embarrassing disaster of the first order.
But it wasn’t. It wasn’t not even close.
Instead, the three improvised movements, plus the encore of “Memories of Tomorrow,” became the best selling solo album in jazz history and one of the best-selling piano albums. In the Spring 2019 issue of Daedalus, Dr. Gerald Lyn Early, who has consulted on several Ken Burns documentaries (including Baseball and Jazz), pointed out that Keith Jarrett’s solo concerts changed the sound and people’s understanding of jazz (not to mention, who played it); “…made solo piano playing commercially viable by showing that there was a considerable audience for it[;]” and “…proved that the public was willing to take such records seriously…”
From the very first notes, which sound like the warning tones the audience heard in the lobby before the show, Keith Jarrett carried the audience on a sonorous piano journey unlike anything they had ever heard. The album has been praised by musicians, critics, and publishers alike. It was included in Robert Dimery’s book 1001 Albums You Must Hear Before You Die. Eventually, much to the composers dismay, parts of the composition became movie soundtracks. Many wanted Keith Jarrett to transcribe and publish a score of the concert, which he finally, begrudgingly, agreed to do in 1990. The transcribed score, however, came with a very intentional caveat.
“For instance, on pages 50 and 51 of Part IIa there is no way to obtain, on paper, the real rhythmic sense of this section. There is much more going on on the recording, but this “going on” does not always translate into notes on paper. Many notes are inferred by the rhythmic sense; others depend on the harmonics or attack of the previous note(or notes). So, writing down all the notes would give more of a false view of the sense of this section than selecting some notes. And yet, even this selection cannot reveal the real sense of this section as an improvisation, where listening is what determines the music’s strength.
So – we are at, let us say, a picture of an improvisation (sort of like a print of a painting). You cannot see the depth in it, only the surface.
As a result of all of this, I am recommending that any pianist who intends to play THE KÖLN CONCERT use the recording as the final-word reference.
Good luck!”
– quoted from the “Preface” to THE KÖLN CONCERT: Original Transcription, Piano by Keith Jarrett
Please join me today (Tuesday, January 24th) at 12:00 PM or 7:15 PM for a yoga practice on Zoom. You can use the link from the “Class Schedules”calendar if you run into any problems checking into the class. You can request an audio recording of this practice via a comment belowor (for a slightly faster reply) you can email me at myra (at) ajoyfulpractice.com.
Tuesday’s playlist is available on YouTube and Spotify. [Look for “0123-24/2022 Doing: Lessons in…”]
[NOTE: If it is accessible to you, please consider using the Spotify playlist as it contains the original music referenced in the practice. Even better, if you already have the album!
The original recording is not available on YouTube (in the US) without a “Premium” membership and, after listening to several different “interpretations” – which do not / cannot include the vocalizations – I decided the Fausto Bongelli sounded the closest to the original. Sadly, one movement is missing and so I used a recording by Tomasz Trzcinkinski, who was the first person to record the music using the transcription. There are also now transcriptions for other instruments – which I didn’t sample, even though I think some of them would be lovely. There are also “covers” using electronic instruments, which I’m considering a hard pass (even if it seems contradictory to the theme), out of respect for the composer. ]
You can, as I did, also listen to the Cautionary Tales with Tim Harford episode entitled, “Bowie, Jazz and the Unplayable Piano” where ever you get your podcasts.
In the spirit of generosity (“dana”), the Zoom classes, recordings, and blog posts are freely given and freely received. If you are able to support these teachings, please do so as your heart moves you. (NOTE: You can donate even if you are “attending” a practice that is not designated as a “Common Ground Meditation Center” practice, or you can purchase class(es). Donations are tax deductible; class purchases are not necessarily deductible.)
Errata: The spelling of Tim Harford’s name has been corrected.
A Joyful Practice 