The War of the Worlds (radio drama)
Orson Welles tells reporters that no one connected with the broadcast had any idea it would cause panic (October 31, 1938)
|Running time||60 minutes|
|Home station||CBS Radio|
|Host(s)||The Mercury Theatre on the Air|
|Exec. producer(s)||Davidson Taylor (for CBS)|
|Narrated by||Orson Welles|
|Recording studio||Columbia Broadcasting Building, 485 Madison Avenue, New York|
|Air dates||since October 30, 1938|
|Opening theme||Piano Concerto No. 1, by Pyotr Ilyich Tchaikovsky|
"The War of the Worlds" is an episode of the American radio drama anthology series The Mercury Theatre on the Air. It was performed as a Halloween episode of the series on Sunday, October 30, 1938, and aired over the Columbia Broadcasting System radio network. Directed and narrated by actor and future filmmaker Orson Welles, the episode was an adaptation of H. G. Wells' novel The War of the Worlds (1898). It became famous for allegedly causing mass panic, although the reality of this mass panic is disputed as the program had relatively few listeners.
The first two thirds of the one-hour broadcast was presented as a series of simulated news bulletins, which suggested an actual alien invasion by Martians was currently in progress. Compounding the issue was the fact that the Mercury Theatre on the Air was a sustaining show without commercial interruptions, adding to the program's realism. Popular legend holds that some of the radio audience may have been listening to Edgar Bergen and tuned in to "The War of the Worlds" during a musical interlude, thereby missing the clear introduction that the show was a drama, but recent research suggests this only happened in rare instances.:67-69
In the days following the adaptation, there was widespread outrage in the media. The program's news-bulletin format was described as deceptive by some newspapers and public figures, leading to an outcry against the perpetrators of the broadcast and calls for regulation by the Federal Communications Commission. The episode secured Welles's fame as a dramatist.
- 1 Production
- 2 Broadcast
- 3 Public reaction
- 4 Authorship
- 5 Legacy
- 6 See also
- 7 Notes
- 8 References
- 9 Further reading
- 10 External links
H. G. Wells's original novel tells the story of an alien invasion of Earth. The novel was adapted by Howard E. Koch for the 17th episode of the CBS Radio series The Mercury Theatre on the Air, broadcast at 8 p.m. EST on Sunday, October 30, 1938.:390, 394 The program's format was a simulated live newscast of developing events. The setting was switched from 19th-century England to contemporary Grover's Mill, an unincorporated village in West Windsor Township, New Jersey in the United States.
The first two-thirds of the hour-long play is a contemporary retelling of events of the novel, presented as news bulletins interrupting another program. "I had conceived the idea of doing a radio broadcast in such a manner that a crisis would actually seem to be happening," Welles later said, "and would be broadcast in such a dramatized form as to appear to be a real event taking place at that time, rather than a mere radio play. This approach was similar to Ronald Knox's satirical newscast of a riot overtaking London broadcast by the BBC in 1926, which Welles later said gave him the idea for "The War of the Worlds". A 1927 drama aired by Adelaide station 5CL depicted an invasion of Australia via the same techniques and inspired reactions similar to those of the Welles broadcast.
He was also influenced by the Columbia Workshop presentations "The Fall of the City", a 1937 radio play in which Welles played the role of an omniscient announcer, and "Air Raid", a vibrant as-it-happens drama starring Ray Collins that aired October 27, 1938.:159, 165–166 Welles had previously used a newscast format for "Julius Caesar" (September 11, 1938), with H. V. Kaltenborn providing historical commentary throughout the story.:93
"The War of the Worlds" broadcast used techniques similar to those of The March of Time, the CBS news documentary and dramatization radio series. Welles was a member of the program's regular cast, having first performed on The March of Time in March 1935.:74, 333 The Mercury Theatre on the Air and The March of Time shared many cast members, as well as sound effects chief Ora D. Nichols.:41, 61, 63
Welles discussed his fake newscast idea with producer John Houseman and assistant director Paul Stewart; together they decided to adapt a work of science fiction. They considered adapting M. P. Shiel's The Purple Cloud and Arthur Conan Doyle's The Lost World before purchasing the radio rights to The War of the Worlds. Houseman later wrote that he suspected Welles had never read it.:45 :392[a]
Howard Koch had written the first drafts for the Mercury Theatre broadcasts "Hell on Ice" (October 9), "Seventeen" (October 16):164 and "Around the World in 80 Days" (October 23).:92 Monday, October 24, he was assigned to re-script "The War of the Worlds" for broadcast the following Sunday night.:164
Tuesday night, 36 hours before rehearsals were to begin, Koch telephoned Houseman in what the producer characterized as "deep distress". Koch said he could not make The War of the Worlds interesting or credible as a radio play, a conviction echoed by his secretary Anne Froelick, a typist and aspiring writer that Houseman had hired to assist him. With only his own abandoned script for Lorna Doone to fall back on, Houseman told Koch to continue adapting the Wells fantasy. He joined Koch and Froelick and they worked on the script throughout the night. On Wednesday night the first draft was finished on schedule.:392–393
On Thursday associate producer Paul Stewart held a cast reading of the script, with Koch and Houseman making necessary changes. That afternoon, Stewart made an acetate recording, with no music or sound effects. Welles, immersed in rehearsing the Mercury stage production of Danton's Death scheduled to open the following week, played the record at an editorial meeting that night in his suite at the St. Regis Hotel. After hearing "Air Raid" on the Columbia Workshop earlier that same evening, Welles viewed the script as dull. He stressed the importance of inserting news flashes and eyewitness accounts into the script to create a sense of urgency and excitement.:166
Houseman, Koch and Stewart reworked the script that night,:393 increasing the number of news bulletins and using the names of real places and people whenever possible. Friday afternoon the script was sent to Davidson Taylor, executive producer for CBS, and the network legal department. Their response was that the script was too credible and its realism had to be toned down. As using the names of actual institutions could be actionable, CBS insisted upon some 28 changes in phrasing.:167
"Under protest and with a deep sense of grievance we changed the Hotel Biltmore to a nonexistent Park Plaza, Trans-America to Inter-Continent, the Columbia Broadcasting Building to Broadcasting Building," Houseman wrote.:393 "The United States Weather Bureau in Washington, D.C." was changed to "The Government Weather Bureau", "Princeton University Observatory" to "Princeton Observatory", "McGill University" to "Macmillan University", "New Jersey National Guard" to "State Militia", "United States Signal Corps" to "Signal Corps", "Langley Field" to "Langham Field", and "St. Patrick's Cathedral" to "the cathedral".:167
On Saturday, Stewart rehearsed the show with the sound effects team, giving special attention to crowd scenes, the echo of cannon fire and the sound of the boat horns in New York Harbor.:393–394
To create the role of reporter Carl Phillips, actor Frank Readick went to the record library and played the recording of Herbert Morrison's radio report of the Hindenburg disaster over and over.:398 Working with Bernard Herrmann and the orchestra that had to sound like a dance band fell to Paul Stewart, the person Welles would later credit as being largely responsible for the quality of "The War of the Worlds" broadcast.:195
Welles wanted the music to play for unbearably long stretches of time.:159 The studio's emergency fill-in, a solo piano playing Debussy and Chopin, was heard several times. "As it played on and on," Houseman wrote, "its effect became increasingly sinister—a thin band of suspense stretched almost beyond endurance. That piano was the neatest trick of the show.":400
Dress rehearsal was scheduled for 6 p.m.:391
"Our actual broadcasting time, from the first mention of the meteorites to the fall of New York City, was less than forty minutes," wrote Houseman. "During that time men travelled long distances, large bodies of troops were mobilized, cabinet meetings were held, savage battles fought on land and in the air. And millions of people accepted it—emotionally if not logically.:401
- Announcer … Dan Seymour
- Narrator … Orson Welles
- Studio announcer … Paul Stewart
- Meridian Room announcer … William Alland
- Reporter Carl Phillips … Frank Readick
- Professor Richard Pierson … Orson Welles
- Second studio announcer … Carl Frank
- Mr. Wilmuth … Ray Collins
- Policeman at Wilmuth farm … Kenny Delmar
- Brigadier General Montgomery Smith … Richard Wilson
- Mr. Harry McDonald, vice president in charge of radio operations … Ray Collins
- Captain Lansing of the Signal Corps … Kenny Delmar
- Third studio announcer … Paul Stewart
- Secretary of the Interior … Kenny Delmar
- Officer 22nd Field Artillery … Richard Wilson
- Field artillery gunner … William Alland
- Field artillery observer … Stefan Schnabel
- Lieutenant Voght, bomber commander … Howard Smith
- Bayonne radio operator … Kenny Delmar
- Langham Field radio operator … Richard Wilson
- Newark radio operator … William Herz
- 2X2L radio operator … Kenny Delmar
- 8X3R radio operator … William Herz
- Announcer from roof of Broadcasting Building … Ray Collins
- Stranger … Carl Frank
"The War of the Worlds" starts with a paraphrase of the beginning of the novel, updated to contemporary times. The announcer introduces Orson Welles:
We know now that in the early years of the twentieth century this world was being watched closely by intelligences greater than man's and yet as mortal as his own. We know now that as human beings busied themselves about their various concerns they were scrutinized and studied, perhaps almost as narrowly as a man with a microscope might scrutinize the transient creatures that swarm and multiply in a drop of water. With infinite complacence men went to and fro over the earth about their little affairs … In the thirty-ninth year of the twentieth 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 thirty-two million people were listening in on radios. …:394–395
Detailed descriptions of an alien invasion are placed within a framework of long and dull musical interludes making up the first two thirds of the program.
After a period of silence comes the voice of announcer Dan Seymour:
You are listening to the CBS presentation of Orson Welles and the Mercury Theatre of the Air in an original dramatization of The War of the Worlds, by H. G. Wells. The performance will continue after a brief intermission.
The last third of the program is a monologue and dialogue. Welles returns as Professor Pierson, describing the aftermath of the attacks. The story ends, as does the novel, with the Martians falling victim to earthly pathogenic germs, to which they have no immunity.
After the play, Welles assumes his role as host and tells listeners that the broadcast was a Halloween concoction: the equivalent, he says, "of dressing up in a sheet, jumping out of a bush and saying, 'Boo!'" Popular mythology holds this disclaimer was hastily added to the broadcast at the insistence of CBS executives as they became aware of panic inspired by the program. In fact, at the station break network executive Davidson Taylor attempted to prevent Welles, who had added the speech at the last minute, from reading it on-air, because it could have opened the network up to legal liability, but Welles delivered it anyway.:95-96
Radio programming charts in Sunday newspapers listed the CBS drama, "The War of the Worlds". The New York Times for October 30, 1938, also included the show in its "Leading Events of the Week" ("Tonight — Play: H. G. Wells's 'War of the Worlds'") and published a photograph of Welles with some of the Mercury players, captioned, "Tonight's show is H. G. Wells' 'War of the Worlds'".:169
Announcements that "The War of the Worlds" is a dramatization of a work of fiction were made on the full CBS network at four points during the broadcast October 30, 1938 — at the beginning, before the middle break, after the middle break, and at the end.:43 The middle break was delayed ten minutes to accommodate the dramatic content.:94
Another announcement was repeated on the full CBS network that same evening at 10:30 p.m., 11:30 p.m. and midnight: "For those listeners who tuned in to Orson Welles's Mercury Theatre on the Air broadcast from 8 to 9 p.m. Eastern Standard Time tonight and did not realize that the program was merely a modernized adaptation of H. G. Wells's famous novel War of the Worlds, we are repeating the fact which was made clear four times on the program, that, while the names of some American cities were used, as in all novels and dramatizations, the entire story and all of its incidents were fictitious.":43–44
Producer John Houseman noticed that at about 8:32 p.m. ET, CBS supervisor Davidson Taylor received a telephone call in the control room. Creasing his lips, Taylor left the studio and returned four minutes later, "pale as death". He had been ordered to interrupt "The War of the Worlds" broadcast immediately with an announcement of the program's fictional content, but by that time actor Ray Collins was choking on the roof of Broadcasting Building and the break was less than a minute away.:404
Actor Stefan Schnabel recalled sitting in the anteroom after finishing his on-air performance. "A few policemen trickled in, then a few more. Soon the room was full of policemen and a massive struggle was going on between the police, page boys and CBS executives, who were trying to prevent the cops from busting in and stopping the show. It was a show to witness."
During the sign-off theme the phone began ringing. Houseman picked it up and the furious caller announced he was mayor of a Midwestern town where mobs were in the streets. Houseman hung up quickly: "For we were off the air now and the studio door had burst open.":404
The following hours were a nightmare. The building was suddenly full of people and dark-blue uniforms. Hustled out of the studio, we were locked into a small back office on another floor. Here we sat incommunicado while network employees were busily collecting, destroying or locking up all scripts and records of the broadcast. Finally the Press was let loose upon us, ravening for horror. How many deaths had we heard of? (Implying they knew of thousands.) What did we know of the fatal stampede in a Jersey hall? (Implying it was one of many.) What traffic deaths? (The ditches must be choked with corpses.) The suicides? (Haven't you heard about the one on Riverside Drive?) It is all quite vague in my memory and quite terrible.:404
The telephone switchboard, a vast sea of light, could handle only a fraction of incoming calls. The haggard Welles sat alone and despondent. "I'm through," he lamented, "washed up." I didn't bother to reply to this highly inaccurate self-appraisal. I was too busy writing explanations to put on the air, reassuring the audience that it was safe. I also answered my share of incessant telephone calls, many of them from as far away as the Pacific Coast.:47–48
Because of the crowd of newspaper reporters, photographers and police, the cast left the CBS building by the rear entrance. Aware of the sensation the broadcast had made but not its extent, Welles went to the Mercury Theatre where an all-night rehearsal of Danton's Death was in progress. Shortly after midnight one of the cast, a late arrival, told Welles that news about "The War of the Worlds" was being flashed in Times Square. They immediately left the theatre and, standing on the corner of Broadway and 42nd Street, they read the lighted bulletin that circled the New York Times building: ORSON WELLES CAUSES PANIC.:172–173
Some listeners heard only a portion of the broadcast and, in the tension and anxiety prior to World War II, mistook it for a genuine news broadcast. Thousands of those people rushed to share the false reports with others, or called CBS, newspapers, or the police to ask if the broadcast was real. Many newspapers assumed that this large number of phone calls, and scattered reports of listeners rushing about or even fleeing their homes, proved the existence of a mass panic, though such behavior was never widespread.:82-90, 98-103
Future Tonight Show host Jack Paar had announcing duties that night for Cleveland CBS affiliate WGAR. As panicked listeners called the studio, Paar attempted to calm them on the phone and on air by saying: "The world is not coming to an end. Trust me. When have I ever lied to you?". When the listeners started charging Paar with "covering up the truth", he called WGAR's station manager for help. Oblivious to the situation, the manager advised Paar to calm down, saying it was "all a tempest in a teapot".
In Concrete, Washington, phone lines and electricity suffered a short-circuit at the Superior Portland Cement Company's substation. Residents were unable to call neighbors, family, or friends to calm their fears. Reporters who heard of the coincidental blackout sent the story over the news-wire, and soon Concrete was known worldwide.
Welles continued with the rehearsal of Danton's Death (scheduled to open November 2), leaving shortly after dawn October 31. He was operating on three hours of sleep when CBS called him to a press conference. He read a statement later printed in newspapers nationwide, and took questions from reporters::173, 176
- Question: Were you aware of the terror such a broadcast would stir up?
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.:174
Within three weeks, newspapers had published at least 12,500 articles about the broadcast and its impact,:61 although the story dropped off the front pages after a few days. Adolf Hitler referenced the broadcast in a speech in Munich on November 8, 1938.:161 Welles later remarked that Hitler cited the effect of the broadcast on the American public as evidence of "the corrupt condition and decadent state of affairs in democracy".
Later studies indicate that many missed the repeated notices about the broadcast being fictional, partly because The Mercury Theatre on the Air, an unsponsored CBS cultural program with a relatively small audience, ran at the same time as the NBC Red Network's popular Chase and Sanborn Hour featuring ventriloquist Edgar Bergen. At the time, many Americans assumed that a significant number of Chase and Sanborn listeners changed stations when the first comic sketch ended and a musical number by Nelson Eddy began, thereby tuning in "The War of the Worlds" after the opening announcements. But historian A. Brad Schwartz, after studying hundreds of letters from people who heard "The War of the Worlds" as well as contemporary audience surveys, concluded that very few people frightened by Welles's broadcast had tuned out Bergen's program. "All the hard evidence suggests that The Chase & Sanborn Hour was only a minor contributing factor to the Martian hysteria," he wrote. "...in truth, there was no mass exodus from Charlie McCarthy to Orson Welles that night.":67-69 Because the broadcast was unsponsored, Welles and company could schedule breaks at will rather than arranging them around advertisements. As a result, the only notices that the broadcast was fictional came at the start of the broadcast and about 40 and 55 minutes into it.
A study by the Radio Project discovered that fewer than one-third of frightened listeners understood the invaders to be aliens; most thought they were listening to reports of a German invasion or a natural catastrophe.:180, 191 "People were on edge", wrote Welles biographer Frank Brady. "For the entire month prior to 'The War of the Worlds', radio had kept the American public alert to the ominous happenings throughout the world. The Munich crisis was at its height. … For the first time in history, the public could tune into their radios every night and hear, boot by boot, accusation by accusation, threat by threat, the rumblings that seemed inevitably leading to a world war.":164–165
CBS News chief Paul White wrote that he was convinced that the panic induced by the broadcast was a result of the public suspense generated before the Munich Pact. "Radio listeners had had their emotions played upon for days … Thus they believed the Welles production even though it was specifically stated that the whole thing was fiction".:47
Historical research suggests the panic was far less widespread than newspapers had indicated at the time. "[T]he panic and mass hysteria so readily associated with 'The War of the Worlds' did not occur on anything approaching a nationwide dimension", American University media historian W. Joseph Campbell wrote in 2003. He quotes Robert E. Bartholomew, an authority on mass panic outbreaks, as having said that "there is a growing consensus among sociologists that the extent of the panic … was greatly exaggerated".
This position is supported by contemporary accounts. "In the first place, most people didn't hear [the show]", said Frank Stanton, later president of CBS. Of the nearly 2,000 letters mailed to Welles and the Federal Communications Commission after "The War of the Worlds", currently held by the University of Michigan and the National Archives and Records Administration, roughly 27% came from frightened listeners or people who witnessed any panic. After analyzing those letters, A. Brad Schwartz concluded that although the broadcast briefly misled a significant portion of its audience, very few of those listeners fled their homes or otherwise panicked. The total number of protest letters sent to Welles and the FCC is also low in comparison with other controversial radio broadcasts of the period, further suggesting the audience was small and the fright severely limited.:82-93
Five thousand households were telephoned that night in a survey conducted by the C. E. Hooper company, the main radio ratings service at the time. Only two percent of the respondents said they were listening to the radio play, and no one stated they were listening to a news broadcast. Ninety eight percent of respondents said they were listening to other radio programming — The Chase and Sanborn Hour was long the most popular program in that timeslot — or not listening to the radio at all. Further shrinking the potential audience, some CBS network affiliates, including some in large markets like Boston's WEEI, had pre-empted The Mercury Theatre on the Air in favor of local commercial programming.
Ben Gross, radio editor for the New York Daily News, wrote in his 1954 memoir that the streets were nearly deserted as he made his way to the studio for the end of the program. Producer John Houseman reported that the Mercury Theatre staff was surprised when they were finally released from the CBS studios to find life going on as usual in the streets of New York.:404 The writer of a letter the Washington Post published later likewise recalled no panicked mobs in the capital's downtown streets at the time. "The supposed panic was so tiny as to be practically immeasurable on the night of the broadcast", media historians Jefferson Pooley and Michael Socolow wrote in Slate on its 75th anniversary in 2013; "Almost nobody was fooled".
According to Campbell, the most common response said to indicate a panic was calling the local newspaper or police to confirm the story or seek additional information. This, he writes, is an indicator that people were not generally panicking or hysterical. "The call volume perhaps is best understood as an altogether rational response ..." Some New Jersey media and law enforcement agencies received up to 40 percent more telephone calls than normal during the broadcast.
Newspaper coverage and response
What a night. After the broadcast, as I tried to get back to the St. Regis where we were living, I was blocked by an impassioned crowd of news people looking for blood, and the disappointment when they found I wasn't hemorrhaging. It wasn't long after the initial shock that whatever public panic and outrage there was vanished. But, the newspapers for days continued to feign fury.— Orson Welles to friend and mentor Roger Hill, February 22, 1983:53
As it was late on a Sunday night in the Eastern Time Zone, where the broadcast originated, few reporters and other staff were present in newsrooms. Most newspaper coverage thus took the form of Associated Press stories, which were largely anecdotal aggregates of reporting from its various bureaus, giving the impression that panic had indeed been widespread. Many newspapers led with the AP's story the next day.
On November 2, 1938, the Australian Age characterized the incident as "mass hysteria" and stated that "never in the history of the United States had such a wave of terror and panic swept the continent". Unnamed observers quoted by the Age commented that "the panic could have only happened in America."
Editorialists chastised the radio industry for allowing this to happen. This response may have reflected newspaper publishers' fears that radio, to which they had lost some of the advertising revenue that was scarce enough during the Great Depression, would render them obsolete. In "The War of the Worlds", they saw an opportunity to cast aspersions on the newer medium. "The nation as a whole continues to face the danger of incomplete, misunderstood news over a medium which has yet to prove that it is competent to perform the news job," wrote Editor & Publisher, the newspaper industry's trade journal.
William Randolph Hearst's papers called on broadcasters to police themselves lest the government step in, as Iowa Senator Clyde L. Herring proposed a bill that would have required all programming to be reviewed by the FCC prior to broadcast (he never actually introduced it). Others blamed the radio audience for its credulity. Noting that any intelligent listener would have realized the broadcast was fictional, the Chicago Tribune opined that "it would be more tactful to say that some members of the radio audience are a trifle retarded mentally, and that many a program is prepared for their consumption." Other newspapers took pains to note that anxious listeners had called their offices to learn whether Martians were really attacking.
There are few contemporary accounts outside newspaper coverage of the mass panic and hysteria supposedly induced by the broadcast. Justin Levine, a producer at KFI-AM in Los Angeles, wrote in a 2000 history of the FCC's response to hoax broadcasts that "the anecdotal nature of such reporting makes it difficult to objectively assess the true extent and intensity of the panic. Bartholomew sees this as yet more evidence that the panic was predominantly a creation of the newspaper industry.
In a study published in book form as The Invasion from Mars (1940), Princeton professor Hadley Cantril calculated that some six million people heard "The War of the Worlds" broadcast.:56 He estimated that 1.7 million listeners believed the broadcast was an actual news bulletin and, of those, 1.2 million people were frightened or disturbed.:58 Media historians Jefferson Pooley and Michael Socolow have since concluded, however, that Cantril's study has serious flaws. Its estimate of the program's audience is more than twice as high as any other at the time. Cantril himself conceded this, but argued that unlike Hooper his estimate had attempted to capture the significant portion of the audience that did not have home telephones at that time. Since those respondents were contacted only after the media frenzy, Cantril allowed that their recollections could have been influenced by what they read in the newspapers. Claims that Chase and Sanborn listeners who missed the disclaimer at the beginning when they turned to CBS during a commercial break or musical performance on that show and thus mistook "The War of the Worlds" for a real broadcast inflated the show's audience and the ensuing alleged panic are impossible to substantiate.
Apart from his admittedly imperfect methods of estimating the audience and assessing the authenticity of their response, Pooley and Socolow found, Cantril made another error in typing audience reaction. Respondents had indicated a variety of reactions to the program, among them "excited", "disturbed," and "frightened". Yet he included all of them with "panicked," failing to account for the possibility that despite their reaction they were still aware the broadcast was staged. "[T]hose who did hear it, looked at it as a prank and accepted it that way," recalled researcher Frank Stanton.
Bartholomew grants that hundreds of thousands were frightened but calls evidence of people taking action based on their fear "scant" and "anecdotal". Indeed, contemporary news articles indicate that police were swamped with hundreds of calls in numerous locations, but stories of people doing anything more than calling authorities mostly involve only small groups. Such stories were often reported by people who were panicking themselves.
Later investigations found much of the alleged panicked responses to have been exaggerated or mistaken. Cantril's researchers found that, contrary to what had been claimed, there were no admissions for shock at a Newark hospital during the broadcast; hospitals in New York City similarly reported no spike in admissions that night. A few suicide attempts seem to have been prevented when friends or family intervened, but there was no record of a successful one. A Washington Post claim that a man died of a heart attack brought on by listening to the program could not be verified. One woman filed a lawsuit against CBS, but it was soon dismissed.
The FCC also received letters from the public that advised against taking reprisals. Singer Eddie Cantor urged the commission not to overreact, as "censorship would retard radio immeasurably." The FCC not only chose not to punish Welles or CBS, it barred complaints about "The War of the Worlds" from being brought up during license renewals. "Janet Jackson's 2004 'wardrobe malfunction' remains far more significant in the history of broadcast regulation than Orson Welles' trickery," wrote media historians Jefferson Pooley and Michael Socolow.
Meeting of Welles and Wells
H. G. Wells and Orson Welles met for the first and only time in late October 1940, shortly before the second anniversary of the Mercury Theatre broadcast, when they both happened to be lecturing in San Antonio, Texas. On October 28, 1940, the two men visited the studios of KTSA radio for an interview by Charles C. Shaw,:361 who introduced them by characterizing the panic generated by "The War of the Worlds": "The country at large was frightened almost out of its wits".
Wells expressed good-natured skepticism about the actual extent of the panic caused by "this sensational Halloween spree. Are you sure there was such a panic in America or wasn't it your Halloween fun?"
Welles appreciated the comment: "I think that’s the nicest thing that a man from England could say about the men from Mars. Mr. Hitler made a good deal of sport of it, you know … It's supposed to show the corrupt condition and decadent state of affairs in democracy, that 'The War of the Worlds' went over as well as it did. I think it's very nice of Mr. Wells to say that not only I didn’t mean it, but the American people didn’t mean it."
When Shaw interjected that there was "some excitement" that he did not wish to belittle, Welles asked him, "What kind of excitement? Mr. H. G. Wells wants to know if the excitement wasn't the same kind of excitement that we extract from a practical joke in which somebody puts a sheet over his head and says 'Boo!' I don't think anybody believes that that individual is a ghost, but we do scream and yell and rush down the hall. And that's just about what happened."
"That’s a very excellent description," Shaw said.
"You aren’t quite serious in America, yet," said Wells. "You haven’t got the war right under your chins. And the consequence is you can still play with ideas of terror and conflict. … It's a natural thing to do until you're right up against it."
As the Mercury's second theatre season began in 1938, Orson Welles and John Houseman were unable to write the Mercury Theatre on the Air broadcasts on their own. They hired Howard E. Koch, whose experience in having a play performed by the Federal Theatre Project in Chicago led him to leave his law practice and move to New York to become a writer. Koch was put to work at $50 a week, raised to $60 after he proved himself.:390 The Mercury Theatre on the Air was a sustaining show, so in lieu of a more substantial salary Houseman gave Koch the rights to any script he worked on.:175–176
A condensed version of the script for "The War of the Worlds" appeared in the debut issue of Radio Digest magazine (February 1939), in an article on the broadcast that credited "Orson Welles and his Mercury Theatre players". The complete script appeared in The Invasion from Mars: A Study in the Psychology of Panic (1940), the book publication of a Princeton University study directed by psychologist Hadley Cantril. Welles strongly protested Koch being listed as sole author since many others contributed to the script, but by the time the book was published he had decided to end the dispute.:176–179
Welles did seek legal redress after the CBS TV series Studio One presented its top-rated broadcast, "The Night America Trembled" September 9, 1957. Hosted by Edward R. Murrow, the live presentation of Nelson S. Bond's documentary play recreated the 1938 performance of "The War of the Worlds" in the CBS studio, using the script as a framework for a series of factual narratives about a cross-section of radio listeners. No member of the Mercury Theatre is named. The courts ruled against Welles, who was found to have abandoned any rights to the script after it was published in Cantril's book. Koch had granted CBS the right to use the script in its program.
"As it developed over the years, Koch took some cash and some credit," wrote biographer Frank Brady. "He wrote the story of how he created the adaptation, with a copy of his script being made into a paperback book enjoying large printings and an album of the broadcast selling over 500,000 copies, part of the income also going to him as copyright owner.":179
The book, The Panic Broadcast, was first published in 1970. The best-selling album was a sound recording of the broadcast titled Orson Welles' War of the Worlds, "released by arrangement with Manheim Fox Enterprises, Inc." The source discs for the recording are unknown. Welles told Peter Bogdanovich that it was a poor-quality recording taken off the air at the time of broadcast — "a pirated record which people have made fortunes of money and have no right to play." Welles received no compensation.
Initially apologetic about the supposed panic his broadcast had caused (and privately fuming that newspaper reports of lawsuits were either greatly exaggerated or totally fabricated), Welles later embraced the story as part of his personal myth. "Houses were emptying, churches were filling up; from Nashville to Minneapolis there was wailing in the streets and the rending of garments," he told Peter Bogdanovich years later.:18 CBS, too, found reports ultimately useful in promoting the strength of its influence. It presented a fictionalized account of the panic in a 1957 episode of the television series Studio One, and included it prominently in its 2003 celebrations of CBS's 75th anniversary as a television broadcaster. "The legend of the panic," according to Jefferson and Socolow, "grew exponentially over the following years ... [It] persists because it so perfectly captures our unease with the media's power over our lives."
The New Jersey Township of West Windsor, where Grover's Mill is located, commemorated the 50th anniversary of the broadcast in 1988 with four days of festivities including art and planetarium shows, a panel discussion, a parade, burial of a time capsule, a dinner dance, film festivals devoted to H. G. Wells and Orson Welles, and the dedication of a bronze monument to the fictional Martian landings. Howard Koch, an author of the original radio script, attended the 49th anniversary celebration as an honored guest.
The 75th anniversary of "The War of the Worlds" was marked by an international rebroadcast with an introduction by George Takei, and an episode of the PBS documentary series American Experience.
Notable re-airings and adaptations
Since the original Mercury Theatre on the Air broadcast of "The War of the Worlds", there have been many re-airings, remakes, reenactments, parodies and new dramatizations. Many American radio stations, particularly those that regularly air old-time radio programs, re-air the original program as a Halloween tradition.
An updated version of the radio drama aired several times between 1968 and 1975 on WKBW radio in Buffalo, New York. On the 50th anniversary of the radio play in 1988, National Public Radio aired a remake produced and directed by David Ossman starring Jason Robards, Steve Allen, Douglas Edwards, Scott Simon and Terry Gross. It was nominated for a Grammy Award for Best Spoken Word or Nonmusical Recording. In 1994, L.A. Theatre Works and Santa Monica, California public radio station KCRW broadcast the original play before a live audience. The cast included Leonard Nimoy, John de Lancie, Dwight Schultz, Wil Wheaton, Gates McFadden, Brent Spiner, Armin Shimerman, Jerry Hardin, and Tom Virtue. De Lancie directed. It was accompanied by an original sequel called "When Welles Collide" co-written by de Lancie and Nat Segaloff featuring the same cast as themselves.
Notable international radio broadcasts include a Spanish-language version produced in February 1949 by Leonardo Paez and Eduardo Alcaraz for Radio Quito in Quito, Ecuador. The broadcast set off panic in the city. Police and fire brigades rushed out of town to engage the supposed alien invasion force. After it was revealed that the broadcast was fiction, the panic transformed into a riot. Hundreds attacked Radio Quito and El Comercio, a local newspaper that had participated in the hoax by publishing false reports of unidentified objects in the skies above Ecuador in the days preceding the broadcast. The riot resulted in at least seven deaths, including those of Paez's girlfriend and nephew. Paez moved to Venezuela after the incident.
- Biographer Frank Brady claims that Welles had read the story in 1936 in The Witch's Tales, a pulp magazine of "weird-dramatic and supernatural stories" that reprinted it from Pearson's Magazine.:162 However, there is no evidence that The Witch's Tales, which only ran for two issues, or its accompanying radio series ever featured The War of the Worlds.:33
- Welles, Orson, and Peter Bogdanovich, edited by Jonathan Rosenbaum, This is Orson Welles. New York: HarperCollins Publishers 1992 ISBN 0-06-016616-9
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- Welles, Orson, and Peter Bogdanovich, This is Orson Welles. HarperAudio, September 30, 1992. ISBN 1-55994-680-6 Audiotape 4A 6:25–6:42. Welles said, "I got the idea from a BBC show that had gone on the year before [sic] when a Catholic priest told how some Communists had seized London and a lot of people in London believed it. And I thought that'd be fun to do on a big scale, let's have it from outer space—that's how I got the idea."
- Invasion Panic This Week; Martians Coming Next, Radio Recall, April 2013.
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In Newark, in a single block at Heddon Terrace and Hawthorne Avenue, more than twenty families rushed from their houses with wet handkerchiefs and towels over their faces to flee what they believed a gas raid. Some began moving household furniture. Throughout New York, families left their homes, some to near-by parks. Thousands of persons called the police, newspapers, and radio stations here and in other cities of the United States and Canada, seeking advice on protective measures against the raids.
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- Koch, Howard, The Panic Broadcast: Portrait of an Event. Boston: Little, Brown and Company, 1970. The radio play "Invasion from Mars" was now copyrighted in Koch's name (Catalog of Copyright Entries: Third Series; Books and Pamphlets, Title Index, January–June 1971, page 1866). Hadley Cantril's The Invasion from Mars, including the radio play (titled "The Broadcast"), was copyrighted in 1940 by Princeton University Press.
- "War of the Worlds". WorldCat. Retrieved 2014-10-28.
- "Orson Welles – War of the Worlds". Discogs. Retrieved 2014-10-28. The jacket front of the 1968 Longines Symphonette Society LP reads, "The Actual Broadcast by The Mercury Theatre on the Air as heard over the Columbia Broadcasting System, Oct. 30, 1938. The most thrilling drama ever broadcast from the famed HOWARD KOCH script! An authentic first edition … never before released! Complete, not a dramatic word cut! Script by Howard Koch from the famous H. G. Wells novel … featuring the most famous performance from The Mercury Theatre On The Air!"
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In 1949, when Radio Quito decided to translate the Orson Welles stunt for an Ecuadorian audience, no one knew that the result would be a riot that would burn down the radio station and kill at least 7 people.
- "War of the Worlds radio broadcast, Quito (1949)". Retrieved 2008-04-24.
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- Gosling, John (2009). Waging The War of the Worlds: A History of the 1938 Radio Broadcast and Resulting Panic. Jefferson, NC: McFarland. ISBN 0-7864-4105-4.
- Holmsten, Brian; Lubertozzi, Alex, eds. (2001). The Complete War of the Worlds: Mars' Invasion of Earth from H.G. Wells to Orson Welles. Naperville, IL: Sourcebooks MediaFusion. ISBN 1-570-71714-1.
- Schwartz, A. Brad (2015). Broadcast Hysteria: Orson Welles's War of the Worlds and the Art of Fake News. New York: Hill and Wang. ISBN 0-8090-3161-2.
- The Martian Panic Sixty Years Later: What Have We Learned? from CSICOP
- The Martian Invasion at the Wayback Machine (archived July 21, 2011) describes instances of panic, outcry over the panic and the responses by the FCC and CBS
- BBC report on the 1926 Knox riot hoax
- The Mercury Theatre Online With downloadable MP3 of the 1938 broadcast.
- Mp3 download from the Internet Archive
- War of the Worlds Invasion: The Complete War of the Worlds Website (John Gosling)
- mp3 of King Daevid MacKenzie's "Echoes of a Century" 2005 program which contains sections of the Chase & Sanborn and Mercury Theatre broadcasts of October 30, 1938, edited together in a manner approximating the sequence believed to have generated the reported panic
- Who's Out There? NASA film with commentary on the 1938 broadcast and extraterrestrial life (1975)