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Transcripts from the 2005
Albuquerque Retreat and Reunion:
Dominique Moralez
Dominique:
I would like to begin with acknowledging Stella and Norman,
thanking them both for their generosity in sharing with me all
that they have learned and all that they have to offer through
the work that they have done with the Urantia Foundation, and I
am looking out at all these faces. I never imagined, having
found Stella’s book, I would have found myself here with all of
you, but Thank You! Thank you for having me.
Dolores: There’s more of us.
Dominique: That’s what I hear. I hear that. So, just to give you
a little introduction of who I am, but oftentimes the answer to
that question ends up sounding like a historical reference to a
person that’s not really in the room. “I did this, I was born
here, I went there, I went…” I have done a lot of that but who I
truly am, if you were to ask me who I am, is a stand for a
humanity unified. And what I have discovered through this
relationship with Stella and through an initial beginning
understanding of the Urantia Foundation is that this community
is one where we can have the conversation of what I just heard
in that intro, the extraordinary, and what’s possible for us in
a world where humanity is unified.
So, about a year ago I was kind of coming to the end of a large
chapter of my life where I had spent 20 years … well, that time
it was 19 … if you can imagine. I know I probably look like I’m
12, but I spent about … just under 20 years traveling the world
in the entertainment industry. And my work has been primarily
within the music industry.
I started out as a boy soprano and began touring at age 9 and by
age 10 I was working for a company, an opera company, working in
the children’s chorus, and at the time, I mean even for someone
my age, even an adult would have felt it was a great part-time
job, so I kept doing it, but I followed music throughout my life
and I had lived abroad for a number of years and had some
extraordinary experiences, and about a year ago at this time I
was bringing a large part of that to a close. I decided that I
wanted to start to work on some projects that I myself was
interested in bringing to other people – productions, exactly.
And Stella asked me the other day, “How is it that you came to
focus on the book of revelations?” Well, I woke up one morning
and I started getting what I like to call -- (and I only tell my
close friends) – “messages” because when you tell people you’re
getting messages, they’re like, well, something’s wrong with
you. (Group laughter) So I feel safe. Nobody’s going to get
crazy on me, okay?
Stella: You’re safe here.
Dominique: So I woke up and I called my colleague and I said, “I
heard this voice. This voice told me that I’m supposed to read
the Book of Revelation. I was the last person on the face of the
planet to be reading the Book of Revelation, and quite frankly,
that was that. So she said, “Okay, well what can we do?” And I
said, “Well, I think I need to start studying.” So I started
studying the Book of Revelation and what I got, almost right off
the bat was that the message that I wanted to hear out of the
Book of Revelation was a message of love and hope for humanity.
And so if you know the King James’ Version of the Book of
Revelation, you know that there’s a lot of talk about
seven-headed beasts and, you know, fire-brimstone-people dying,
all craziness, very little talk about love and hope for
humanity.
And so I spent the summer … I was working – traveling and
singing – and I was in Steamboat Springs, Colorado, and I was
sitting and trying to, if you will, for lack of better words,
you know, squeeze blood from a stone, to get the message that I
wanted so that I could share this vision that I could share of
Apokolypsis – what I call Apokolypsis, or Revelations – and I
wasn’t getting it. So I set it aside and about two weeks later I
was in Boulder, Colorado, and I happened to be downtown, well,
the mall area, and I went to the Boulder Bookstore, and when I
walked through, I was on a mission.
I said, “I am going to find a book today that’s going to help me
translate and understand what is possible in the Book of
Revelations.” And so I walk in, go upstairs, go to the far end
of this place, walk down to the farthest corner. It was stuck
all – I didn’t tell you this -- it was stuck all the way back
around in the farthest corner, and I walk up to the bookshelf
and there’s this book looking me right in the face that says,
“The Secret Revelation – Unveiling the Myth of the Book of
Revelation” and I was like, “Well, that’s been waiting for me”
(Laughter) “for about six months now. All I had to do was come
to Boulder, Colorado and find it!”
So I picked it up and sat down and started reading the book and
about four hours later I called my colleague in Santa Fe and
said, “My God, I found this book. You can’t believe it; it’s
amazing! There’s all this discussion about one possible version
of what the Book of Revelations could mean, and they talk about
this person and this person and I don’t know who this Corelli
person is, but John’s in here,” and she says, “Wait! Wait!
Wait!”
So I went back to Santa Fe the next week and we immediately
contacted the publisher who put us in touch with the contact for
Stella, and I think it was maybe a week and a half later or so,
two weeks later, and I flew out Anaheim and, well, we’re sitting
in front of each other at a hotel and talking about this vision
for “Apokolypsis” and what could be possible for humanity if the
true message of John … or what I believe, and share a vision
with Stella … as to be the true message of John, through the
Book of Revelations, which is love and hope for humanity.
So there we were, and several months later we kind of back
burnered Apokolypsis. There was a lot of other projects going
on, and I got a phone call from Stella saying that it just so
happens that the Urantia Foundation folks are going to land in
Albuquerque and here you all are. So, by no great coincidence I
am really grateful that you are all here and I can share this
possibility with you. So with that said, it gives you a little
bit of a story about Apokolypsis and how we’ve come to be here.
I think I’ve given you a general overview of what the history of
my experience within the entertainment industry end, but it’s
really also been … the history of my 30 years on the planet, has
really been in music, and for all the trials and tribulations of
a young kid growing up in foster care, graduating high school
and being set out on the world to fend for myself, I think I’ve
done pretty darned well, so that is also part of my history and
I wanted to share that with you.
Now, what I’ve prepared today … There’s a surprise in here, so
if you fall asleep during the power point, which is only about
three minutes, know that there is a surprise afterward, so the
power point that I’ve prepared – for some of you this is going
to be like sitting in the back of the airplane and trying to
watch a movie at the front, with the little screen, because I
don’t have anything other than this to show you, but what I’d
like to do is move it up on top of here, actually, so that you
can see it, but I would consider this power point more of a
concept map of introduction, if you will, to what the
Apokolypsis production is about, and you – unfortunately you’re
not the first group to see it. Stella and Norman had a private
viewing the other day at CD Café in Santa Fe.
So I will get this started and I’ll narrate while we’re
watching. Can everyone see? If you can’t, try to get a good
place. It’ll be as large as the screen here in a minute. (Pause)
“As the story of humankind continues to unfold,
“One question reigns supreme:
“Will we continue to live the story of our past?
“A past scarred by hate…
“A past scourged by fear …
“Or will we create the future possibility of humanity unified
“By following the example and teaching of the Eternal Son?
“Here our new story begins.
“Apokolypsis is a new story of what is possible for all in a
future humanity unified.
“Apokolypsis is presented in the Soft Stage Production format,
“Created by Dominique Moralez.
“Inspired by the text of Stella Religa, the voice of John, and
on being a stand for humanity unified through music, this sacred
collaboration will provide a powerful vehicle for the delivery
of John’s lost vision that will leave all those who experience
Apokolypsis touched, moved and inspired.”
And this quote is a quote from Stella’s book and it says,
“This world is on the threshold of a golden age, an age of light
and life.”
And Stella shared with me the other day that this is a quote
that she believes originally spoken by Jesus.
Stella: It’s in the Urantia Book.
Dominique: “This gift is offered to all in preparation of a
worldwide transformation of humankind into the age of light and
life, for ours is a God of love, a God of hope. Through
Apokolypsis, John’s lost vision will be known – is a vision of
love and hope for humanity.
“Apokolypsis is presented as a multi-media audience interface
fully staged music production.
“Apokolypsis is an engaging and introspective depiction of the
historically controversial book from the Bible that communicates
victory of love over fear and hope over despair. “Apokolypsis is
a celebration of John’s lost vision expressed through dance,
song, recitation, collaborative music, solo music, fixed and
displaced artwork, costumes, set design, lights and film -- all
seamlessly integrated.”
And that’s the end of the introduction to Apokolypsis.
[Applause!!!!!!] So that’s the end of the introduction, and what
I really would call more of a concept map, if you will, or an
idea of where this is going. Now, the surprise! Now, I have yet
to try this little surprise, and I’m glad that there is as many
people here as there are, because we’ll need every single one of
you.
Now, I know that there is perhaps some anticipation or great
expectation that I’m going to bust a tune up here, you know,
some big operatic aria, and although that more than likely is
not going to happen, what I would like to do is share with you
the introduction of this piece.
Now, if I can paint a big of a picture in your mind of a basic
outline of the progression of the show, the very beginning of
the show begins with what I’d like to call “A March Toward
Destruction,” so this is a picture – a three minute picture --
told through both music and visually, of the story that we’ve
written in our past about the Book of Revelations and what it is
supposed to mean, and that story is a story of destruction; it’s
a story of, as we said before, fire and brimstone; it’s a story
of all the suffering. But at the end of the first three minutes,
there is a complete silence, and we have what is a clearing, and
an introduction to John as a timeless figure. Because the
message of John has miraculously traveled all the way from his
little cave in Patmos, across oceans, through many, many
different languages, into different parts of different religions
and different books, into this room today and to little old me
to share with you what I think his vision means. So in that way,
being timeless.
Now, what I love about the first three minutes of the show is
that it’s almost like a purging, because in order to create a
future possibility, you have to have this clearing. And in order
to have the clearing, you have to finish the story of the past.
So what we do is we have this emotional, visual, musical
experience that’s just this unbelievable upheaval for the first
three minutes of the show, in order to create the space for John
to come into the room, and for this character to be introduced
and for the true message to have that opportunity to be heard.
Without it, we’re mixing messages, or mixing stories and I don’t
want to retell the same story we’ve all heard a thousand times.
So! As you can see, unless they are here in spirit, I have no
orchestra with me today. So you all are going to be my
orchestra, and I’m going to try and demonstrate with you what
the march toward destruction at the beginning of the show sounds
and feels like, by asking you to help me in this demonstration.
So, now, you’re all sitting in pretty good format for an
orchestra. It’s okay. And Stella didn’t know I was going to do
this, so if you’re sitting there cringing in your chair, it’s
okay Stella. It’ll be fine. I promise.
So what I have is … you know, just about every morning when I
wake up, there’s about a thirty minute time period that I know
really nothing other than just being a receiver is going to
occur. I wake up, I get some messages for me, some messages for
other people. And usually the messages I get for other people,
I’ll write them down and then I’ll call them later and say,
“Hey, you, someone’s supposed to tell me you told me this and
dadada,” and they’re like “What? How’d you know that?” And the
messages I get for me, I write down.
A lot of what I get in the morning is the music and the vision
of this show. And there is one song in particular that I get and
the name of that song is “When Michael Spoke to Me,” and it is
something of a ballad that introduces the character of John to
our audience, and it is literally a telling of what occurred
when Christ Michael spoke to John while he was in Patmos and
sharing this vision of Revelations or Apokolypsis.
So that is one of the things that I have gotten recently, and
I’ll share just a little piece of that with you later. What I’d
like to do is create the March with you, so if you’re all game,
for those of you who are not, just kind of pretend and you’ll
get into it, I know you will. So I wasn’t sure how many
instruments I was going to have available to me. We have like
enough instruments for several sections in each group, so what
I’m going to do is just kind of give you a sense of, you know
what is the March. Well, it sounds somewhat traditional in its
basic format, but to try and share with you the occurring of the
many different parts all at one time, just with me, it’s almost
impossible, even in my mild autism I can’t quite get everything
going all at the same time and sing for you and everything, so I
would say that you’ll really be able to help me here.
The first thing is that we get that each individual instrument
represents a telling. It is an illustration, if you will,
through sound, of something in our world, something within our
individual character, something with us as a society, something
in the story of our past that can be illustrated through music,
and so in order to understand why it is a March, I would start
with what is the bass drum. So usually, it’s right around where
you’re sitting. So, I don’t know if that back row, 1-2-3-4-5
people want to be the bass drum. I don’t know about you guys.
The guys in the back. Yeah, you’re the cymbals, great! Because I
need some of those. So you two will be the cymbals, and you five
in the back will be our bass drum. Now our beat’s really simple.
It’s nothing complicated, and I’m not going to make it difficult
for you, and if I hear that it’s gone awry, I will jump in and
help you.
So, the bass drum… why does it come first? Well, it is the march
of humanity, and it doesn’t stop, throughout the entire first
three minutes of the show, as we get this March Toward
Destruction, there’s this march of humanity toward that story
which is this horrible end. What a catastrophe! So, it’s such a
wonderful story. It’s so dramatic and so everyone gets all
crazy! But your job is to keep that beat. And keep it constant.
So your beat is just going to be “Bum. Bum. Bum. Bum. Bum. Bum.
Bum. Bum.” That’s going to be your beat, so keep that in your
mind, I’ll rehearse you in a second. You got it? (Yeah) Everyone
gone it? (Yeah) Okay just demonstrate for me that last row real
quick, once. Follow my hand so .
Drums: Bum. Bum. Bum. Bum. Bum. Bum. Bum.
Okay. They got the easy job. Easy yet critical. Quite critical.
So what comes after that first – once that base is established –
you know, what leads up to it is this sound. It’s a sound almost
beyond an explosion, and what you end up doing, just “Bum. Bum.
Bum” is actually a subdivision of that sound. Or, you know,
cutting it in half. Doing it twice. So if we have this explosion
sound, larger than life explosion sound at the beginning, we
hear it like three or four times and then we start to hear it
subdivided. So that’s you guys. “Bum. Bum.” So what we might
hear before it is “Bom. … Bom. … Bom … “ and then we get you
guys, “Bum. Bum. Bum. Bum” and humanity starts to march toward
us.
What we get very soon after that is the sound of a snare drum.
Does everyone know the sound of a snare drum? So you hear
Chooooook Choooooook. Choooooook. So you hear this rattling,
rattling, rattling and then Choooook on the snare drum, you have
the stick and you hit the side of the (Bop) like that. The side
of the drum, like that, and it makes this Clunk sound, right?
What do you think that represents? It’s finality. It’s
execution. It’s death. It’s all of those things. It’s what you
hear before the guillotine falls over your head. So you hear
Drum Roll, Please! Choooook Clunk! Done. So we get the March of
Humanity: Bum. Bum. Bum. Bum Choooook Choooook Bum. Bum. Bum.
Bum. Chooook Choooook.
So you start to get this very overwhelming sense that something
very ominous is occurring. Something bad is happening. So I need
snare drums. So who is going to be … usually they’re back there
somewhere. Unfortunately I can’t have you both be the cymbals.
One of you has to be the cymbals and one of you have to be the
snare drum. Angus, you look more like the cymbal guy, because
you gotta have some … to get those suckers going, so why don’t
you be the snare drum. Can you do it? Who wants to help him be
the snare drum? Ken, you look like a great snare drum.
Ken: I don’t know yet. (Laughter)
Dominique: Okay, how about you two go back with him and the
three of you will be our snare drum. This won’t take much
longer, don’t worry. We’re getting somewhere. Don’t worry. So
now to demonstrate to you, if you guys can just – as three
people, try to make that sound for me once really quick. Just go
ahead.
Snare drums: What is it again?
Dominique: It’s almost like you’re saying “cheese” but you’re
blowing air through your teeth so you go Cheeeooook. SO say, “Cheeeooook!”
Yeah, longer. There ya go. So when you’re in the orchestra,
you’re watching the conductor and he points at you, that means
you better play. Something’s going on. So. What we’re gonna do
is we’re gonna have the basses – we’re gonna have the bass drum
start its beat, and when I point to you, you’re going to play.
Right? SO when I point to you, even if I’m over here and I’m
looking at these guys, and I go (point) that’s YOU. Because
there’s like 60 people in the orchestra, and I can’t always be
like … “Okay, now you guys.” So I point at you, you go.
So let’s hear the bass drum now, real quick. I’ll give you the
beat and I’ll tell you when to start. Ready.
Bum. Bum. Bum. Bum. Bum
Cheoook. Cheooook. Cheooook.
That’s right. Okay. You can stop. [Applause]
Now everyone’s getting excited, like, “What am I going to get to
do?” Well, some of you aren’t going to be as happy, because
those are like the easy jobs. So … (mayhem in the room, having
fun, laughing) … we’ve established, then, those first two pieces
and since the cymbalist is back there, I’m going to throw him in
now as well. So, you missed the demonstration but now you’re
going to get to do it again, so don’t worry. Let me just hear
you demonstrate your cymbals once. I want to hear sound comes up
with.
Angus: “Kwissssssssh.”
Dominique: That’s close. Do it again?
Angus: “Kwissssssssh.”
Dominique: “That’s good. Can you do it even louder?
Angus: No. [Laughter!!!]
Dominique: Right on. Okay. So, you understand the rules. If I
point at you, it’s time to play.
Angus: Yeah.
Dominique: So, basses, get ready. Ready? Basses, you’re always
the ones that starts, okay?
Basses: Bum. Bum. Bum. Bum. Bum.
Snares: Cheeooook. Cheeoooook.
Dominique: You gotta keep going. If I’m still pointing at you.
You guys were great last time, so just keep doing what you did.
So, if I don’t point at you, don’t play. If I point at you, you
play. You guys always play, unfortunately.
** We just keep bumming along?
Dominique: Just keep bumming along. [Laughter] Cause ain’t that
what we do anyway? We just keep bumming along. And then along
comes the Urantia Book and we go Eyiaa!
Okay. So go ahead, do your thing again.
Basses: Bum. Bum. Bum. Bum. Bum.
Snares: Cheeooook. Cheeeoooook Cheeoooook.
Basses: Bum. Bum. Bum. Bum. Bum.
Dominique: Okay. That’s fine. That’s good. You guys’ section
sounding not bad. And quite frankly, I’m not the best conductor
on the face of the planet. But, you know, we’ll get it. So we
have our section back here. What do you think the cymbal means
for us? What do you want to make the cymbal mean in this case?
** A dramatic scene.
Dominique: Yeah, it’s a crisis, a crash. It’s all the pieces
just falling apart. There’s nothing to do anymore. Now, if you
close your eyes for a minute and you just hear … go ahead. Close
your eyes. (I’m not going to steal anyone’s purse, don’t worry.)
(Giggles) If you close your eyes for a minute, and you imagine,
you can hear that bass beat. Bum. Bum. Bum. Bum. Cheeoooook.
Cheeooook. Cheeooook. Bum. Bum. Bum. Bum. You can open your eyes
now. Some of what you might see are colors. Some of what you
might see are bodies are moving around the stage. You might see
the groping of humanity trying to cling onto something, as the
whole world’s falling apart.
Whatever it is you see, like, I see madness, up in my head, but
that’s just me! But what you get is that this foundation that
we’re marching toward, this destruction is what’s happening. Now
it wouldn’t be the orchestra without all of the string section.
So, strangely enough, there are a lot of – the people I see over
here, they look like the string sections. (Laughter) So, what
I’m going to do is, I’m going to give you what’s going to be our
main theme. What we’re going to hear. Okay? (okay) So, our main
theme is going to sound a little bit like this. Is this little
guy plugged in, real quick? (Dunno.)
Well, anyway, your main theme is going to be: “Dahdeedum,
dahdeedum, dahdee dahdee dahdeedum.”
Strings: “Dahdeedum, dahdeedum, dahdee dahdee dahdeedum.”
Dominique: That’s right. So you guys are so good, (laughter),
I’m just going to test something out here in a minute. You guys
are the first chairs. You got dahdeedum dahdeedum dahdee dahdee
dahdeedum. Okay, now, so the second violins, unfortunately, have
it a little more difficult. I don’t know how this is going to
work. It might not work, and that’s okay too.
Gerdean: Dorenda knows music.
Dominique: So I want you, the second row, to say with me, really
quick … actually, how about the five of you. You guys. Five of
you together. I just want you to say for me once really quick,
one two three four five six. One two three four five six. One
two three four … 1-2-3-4-5-6. 1-2-3-4-5-6. 1-2-3-4…
Second Violins: 1-2-3-4-5-6. 1-2-3-4-5-6. 1-2-3-4…
Dominique: Yeah, now just sing: Da-da-da-da-da-da.
Da-da-da-da-da-da. Da-da-da-da… Just four at the end. Okay?
Okay, let’s try it in two sections together. So let me hear the
first section, just by itself once.
First violins: “Dahdeedum, dahdeedum, dahdee dahdee dahdeedum.
Dominique: Okay, you know your part? You guys clear? Front row,
let’s hear you.
First violins: “Dahdeedum, dahdeedum, dahdee dahdee dahdeedum.
Dominique: You guys are coming in a second. Get ready.
1-2-3-4-5-6. 1-2-3-4-5-6.
Second violins: “Da-da-da-da-da-da. Da-da-da-da-da-da.
Da-da-da-da…”
Dominique: I know it’s difficult. We won’t hear very much of it
in the actual orchestra when it’s playing, but it needs to be
there because it came to me and that’s what it’s going to be.
(Laughter) So let’s try this little orchestra. And I’m going to
help the second violins. I know it’s very difficult and they’re
going to be playing pizzicato and they’re going to be ticked
off. They’re going to be like “tic tic tic tic tic” so let’s go
ahead and put these parts together. We’re almost there. Everyone
gets a little something. Don’t worry, you guys are coming up. So
lets hear the bass
Basses: Bum. Bum. Bum. Bum. Bum.
Dominique: Follow my hand.
Snares: Cheeooook. Cheeeoooook Cheeoooook.
Dominique: Keep going.
Basses: Bum. Bum. Bum. Bum. Bum.
Cymbals: Kwissssssssh.
First violins: “Dahdeedum, dahdeedum, dahdee dahdee dahdeedum.
Dominique: Keep going. Pick it up! Here we go. 1-2-3-4-5-6.
1-2-3-4-5-6. 1-2-3-4.
Second violins: “Da-da-da-da-da-da. Da-da-da-da-da-da.
Da-da-da-da…”
Dominique: Okay, stop! Again, it’s a little bit of madness.
** It is!
Dominique: And when you can start to hear what’s happening, you
hear that the bass … it’s not stopping! It’s just going to keep
going! It’s like when it’s 12:05 and it gets to be 12:07,
they’re not going to go back to 12:05. It just keeps going, with
or without you. So the time keeps moving forward, and the march
keeps moving forward. So, I gave you guys the most difficult
part and thank you for sticking in there and trying. I
appreciate it.
Okay, so now I need three or four very high voices. Those would
be ladies. SO now you know who you are. You’re one of the
basses, so why don’t we take you and put you in the high B
trumpet group, which I think is going to be, I think, these
three here.
Virginia (from very deep): I am not a very high …
Dominique: Oh, Lord! [Laughter] Okay, so you guys … gentlemen.
Yes. You don’t have a high voice. I need a couple of high, kind
of trippy voices.
Dolores: How high?
Dominique: That’s good! I like that one. It’s high enough. But
it’s not strong. Why don’t you come over here.
Dolores: I am, a second soprano.
Dominique: You’ll beef it up. You’ll give it that resonance and
body that we need. Okay? So you guys are the high B trumpets.
Does everyone know what a high B trumpet is? (No) It’s that
long, skinny one, that goes out like that and goes out to the
end that you see like when the queen comes. They’re like
“put-putter tut tut tut” really high and really chirpy. So,
what’s going to happen. I don’t think we’re going to have a
flute section because, quite frankly, that part’s really
difficult.
** Oh, thank you.
Dominique: But you guys will be the high B trumpets. So you
part’s really easy. You just go: Ta-Ta-Ta-Tum.
Trumpets: Ta-ta-ta-tum.
Dominique: So as high B trumpets, unfortunately, it has to be
really, really crisp. So .. Ta Ta Ta Tummmm.
Trumpets: Ta Ta Ta Tummmm. Ta Ta Ta Tummmm Ta Ta Ta Tummmm
Dominique: That’s right. Now who wants a really easy job?
** Everybody.
** All that’s left.
Dominique: So why don’t the four of you – this little quad right
here -- be the chimes. And what you are going to do is you’re
just going to do: Dong. Dong. Dong. Dong. That’s it. You stand
there with a little rubber hammer and you go Ping. Ping. Ping.
Ping. So. What I’m going to do is practice these two groups
here. SO let me hear your chime. Follow my hand.
Chimes: Tum. Tum. Tum. Tum.
Dominique: Let me hear your part.
** We forgot.
Trumpets: Ta Ta Ta Tummmm. Ta Ta Ta Tummmm Ta Ta Ta Tummmm.
Dominique: There you go. Okay, that’s fine.
Trumpets: Ta Ta Ta Tummmm. Ta Ta Ta Tummmm Ta Ta Ta Tummmm.
Dominique: It’s just for demonstration. Don’t worry. We’re not
in the London TV Orchestra. Okay, let me hear the chimes.
Chimes: Tum. Tum. Tum. Tum.
Dominique: Okay, now let’s hear the two together. So. I’m going
to point to you and you’re going to play. I’m going to point to
you and you’re going to play. Ready? So, 1, 2, 3, 4 –
Trumpets:
Ta Ta Ta Tummmm. Ta Ta Ta Tummmm Ta Ta Ta Tummmm.
Ta Ta Ta Tummmm. Ta Ta Ta Tummmm Ta Ta Ta Tummmm.
Ta Ta Ta Tummmm. Ta Ta Ta Tummmm Ta Ta Ta Tummmm.
Dominique: Whoa! Let me give you an idea of what that’s supposed
to sound like. (Laughter) No, because sometimes that helps!
(Laughter) So if you have the others “Dahdeedum, dahdeedum,
dahdee dahdee dahdeedum.” “Ta Ta Ta Tummmm. Ta Ta Ta Tummmm Ta
Ta Ta Tummmm.” And in the background you hear, “Dahdeedum,
dahdeedum, dahdee dahdee dahdeedum.” “Dum, Dum, Dum, Dum.”
Chimes: Tum. Tum. Tum. Tum.
Dominique: Don’t play this other part. We gotta clean it up.
(Laughter) I’m going to give you guys the this and you guys the
that. So, (pointing)
“Dahdeedum, dahdeedum, dahdee dahdee dahdeedum.”
“Ta Ta Ta Dummmm. Ta Ta Ta Dummmm. Ta Ta Ta Dummmm.”
Dominique: It’s madness. You know what? I’m pretty satisfied.
But I’d like to hear all the parts played together, just once,
for my pure enjoyment (Laughter), and then what I’m gonna do is
I’m just going to tell you what else there is. Because I think
it’s important that you know some of the other things that are
going on here. So we have high B trumpets, we have chimes, we
have cymbals, we have the snare drums, we have the bass drum, we
have the violins, we have the pizzicato, second violin, we have
the cymbal in the back, I said, and then we have the cello,
which is doing “TaTaTaTaTaTaTaTa Tuuum Tuum. TaTaTaTaTaTaTaTa
Tuuum Tuum.” And then we have the trombones.
**We do have a cello player right here.
Dominique: Oh, please come forward! (Laughter) Why are you
hiding in the back? You should be up here conducting! So that’s
what we’ve got the cellos doing. And the trombones, we have on
top of that. You have a lot of percussive stuff within these
different parts right now and what you don’t hear is a lot of
line with the exception of the first violins, so when the
trumpets come in, we hear this WahWahWahWahWah – it’s like
really ugly sounds. Like “Wlaugch” (laughter) and then we get
the flutes on top of that, so we’ve got this WahWahWah, LaLaLa,
Gong, Gong, Gong, Kwisssssh. Bum Bum. Bahdahday, 1-2-3-4-5-6,
all that’s going on, craziness -- how would you like to be in my
head? – and you got the flutes which are coming on top of that
which … our cellist will understand, ascending and descending
scales at quite a fast rate, so it’s it like Yadadedadade,
Yadadedadade, Yadadedadade, Yadadedadade we have WahWahWal
Yadadedadade, Yadadedadade, Gong Gong, Skwisssssk. All at the
same time!
So then the last little piece is actually the little piece that
I’m sticking in which I think is kind of like … it’s the secret.
It’s the hidden feature. It’s the part that you really have to
listen to the orchestration in order to hear, because it’s not
an instrument that really sticks out at us. It’s the bassoon.
And so the bassoon kind of sounds a lot of time like a duck.
Well, a sick duck, with like bronchitis. It’s like, “Bruop.
Braup. Broup. Braup.” And that’s kind of like, to me, that’s
kind of like, you know, humanity with all of its story, with all
of its illness, with all of its weakness, hobbling. You know, if
it had one leg that was short and the other was long, it would
be like “Broup Braup Broup Braup” so that’s kind of in the
bottom also following along and that all culminates into this
massive sound that at the end of the three minutes it all stops.
And as our stage has been completely covered in human bodies
dancing, writhing, visual images on the screen of the story of
our past of the Apocalypse in Revelations, we’re inundated. It’s
this purging out of all of this story, all of a sudden it all
becomes completely clear, the stage is empty and we see total
white in front of us. White floor. White background. And we see
nothing. And then we see John, our character, emerges and there
is no music in this section. It’s total silence. And part of
what I did was I took from the Book of Revelations in the King
James’ Version and said, Okay, well, this is representative of
the 30 seconds or this time period, whatever it was, of silence
on heaven and earth.
And so we get this silence in order to create that clearing to
introduce John, our character, on the stage. John, our
character, comes onto the stage and what I really would like to
do in the show is create a simplicity to what it is that we
experience from that point forward, because the message is
simple. And the reflection of that message in our staging, in
our character, is also very simple. If it’s not, there is not
the complexity that there is in the … all that stuff. All the
story that we make up about revelations, so. What follows is
timeless John. Then we hear the voice of the Eternal Son. We
hear the message. And then we get a vision of a future humanity
unified and what is available to us as a result. Things like
peace, love, union, tolerance, hope, joy, abundance, paradise on
our planet. And this becomes a representation of a vision of the
age of light and life.
And the final scene of the show is a celebration of love and
hope for humanity, and it takes on a very contemporary feel. It
is youthful. It is dance electronica. It is lights. It is people
just absolutely in the spirit of what it is to be love and hope.
And what I see then after the show is the possibility of you
people being able to go out and share and then also respond and
different things around that, as well.
So, thank you for letting me absorb and gobble up part of your
afternoon today. I’m absolutely totally grateful for you
allowing me this opportunity, and I just wanted to finish my
opening and asking if anyone has any questions or comments about
what I’ve shared with you today. Did I frighten you? (Laughter)
No. I’m kidding.
Gerdean: Did I see that’s going to be produced in Santa Fe in
2005 or 2006? Is it … earmarked for presentation yet?
Dominique: Well, I tell you, I’ve established myself in this
community. I went to school here for a couple of years before I
went away. I’m giving you the roundabout answer for a reason. So
I am not in a hurry. I am not in a place where I have to say,
“This has to happen next month.” Everything that’s happened with
this project has come in the absolutely perfect time and I have
a vision. Part of the continuation of this project is that I’m
planning a trip to Patmos. I’m going to be out in L.A. next week
and I’m going to meet, hopefully, another individual that Stella
knows who is a young woman who is doing film work on Apokolypsis,
and so I know that organically this will come to be. It’s not
difficult for me to get a venue. It’s not difficult for me to be
able to put together what it would look like. I have a large
community and existing network of friends, colleagues,
throughout the world who always want to be a part of something
that I’m throwing – whatever little party’s going on. So I am
committed to Apokolypsis being real in life for all of us and I
know that it will come to be when it is intended to be, so that
could be in the next six months, could be in the next nine, but
I keep hearing 9 months is like the gestation period. Because
this has already been a year. So, within the next year, yeah,
and I would love for the first production to be in Santa Fe.
Gerdean: We would love to have a Teaching Mission event or a
Urantia Conference around it so that we could all come and see
you and …
Dominique: And play in the orchestra! [Laughter] Well, you’ve
heard all the parts! Come on! That would be wonderful. So does
anyone else …?
Gerdean: So stay in touch.
Dominique: Yeah, I will.
Eugenia: We want ample notice.
Joan: I’m sort of disappointed. I mean, I wish you would have us
do this all together. I mean, you’ve had us do the sections.
JoiLin: Yeah, we haven’t heard the whole story!
Dominique: Do you think you’re up for it?
Group: Sure!
Dominique: Well, if you’re up for it, we’ll try it once. Who
wants to be the bassoon? It’s an easy part but it’s really
important. Who wants to be the wump wump?
Group: Wah, wah, wah, wah.
Dominique: Okay. Norman?
Norman: Brump. Bromp.
Dominique: No, you gotta go down and up, so Wamp, Wump. Wamp,
Wump. That’s right. So, what are you doing?
Stella: I’m over there with the WahWah’s.
Dominique: Oh good. Okay. You know your part? You’re with the
second violins. You remember? Will you scoot up to the front row
and be the first chair of second violin? The second violins need
some help.
Leoma: Yeah, we do.
Dominique: So we will give you your rhythmic infrastructure. So
let’s hear the first violins. Go ahead.
First Violins: “Dahdeedum, dahdeedum, dahdee dahdee dahdeedum.”
Dominique: Yeah, pick it up a little.
Second violins: “Ta Ta Ta Dummmm. Ta Ta Ta Dummmm. Ta Ta Ta
Dummmm.”
Dominique: You know, I’m going to make it easier. That’s what
I’m going to do. So do, “Bum-Bum Bum-Bum Bum-Bum Bum-Bum Bum.
Let me hear you rehearse it on your own once.
Second violins: “Bum-Bum Bum-Bum Bum-Bum Bum-Bum Bum.”
Dominique: Good. So now let’s do it together. So why don’t you
guys start first, cause you’re the rhythmic.
First Violins: “Dahdeedum, dahdeedum, dahdee dahdee dahdeedum.”
Second violins: “Ta Ta Ta Dummmm. Ta Ta Ta Dummmm. Ta Ta Ta
Dummmm.”
Dominique: Got it? (Laughing) Okay stop. You guys are really
good! (Laughter) Does everybody know their part?
Norman: Mugwump.
Dominique: Okay, I’m going to start you off and then I’m gonna
leave. (Laughter) No, I’m kidding. Why don’t we start with our
basses, since that really is where the march starts. Does
everyone know, you’re a frog, you’re a this, you’re a that.
You’re all good.
Dolores: And we’re only going for three minutes.
Dominique: Oh, we probably won’t make it that far. (Laughter) We
can sure try!
Edith: We’re all union, now to do this. Orchestras are all
union, so we’re all union!
Dominique: Are you trying to tell me it’s almost time for a
break? (Laughter) Because I know that. You’re right. We do have
to be in union. So let’s start the bass drum. You guys ready?
Bass: Bum. Bum. Bum. Bum. Bum. Bum. Bum. Bum. Bum.
Snare Drums: Cheeooook. Cheeeoooook Cheeoooook.
Basses: Bum. Bum. Bum. Bum. Bum.
Cymbals: Kwisssssh. Kwisssssh.
First Violins: “Dahdeedum, dahdeedum, dahdee dahdee dahdeedum.”
Second violins: “Ta Ta Ta Dummmm. Ta Ta Ta Dummmm. Ta Ta Ta
Dummmm.”
Bassoon: Wamp, Wump. Wamp, Wump
Bass: Bum. Bum. Bum. Bum. Bum. Bum. Bum. Bum. Bum.
Snare Drums: Cheeooook. Cheeeoooook Cheeoooook.
Basses: Bum. Bum. Bum. Bum. Bum. Bum Bum Bum
Cymbals: Kwisssssh. Kwisssssh. Kwisssssh. Kwissssh.
First Violins: “Dahdeedum, dahdeedum, dahdee dahdee dahdeedum.”
Second violins: “Ta Ta Ta Dummmm. Ta Ta Ta Dummmm. Ta Ta Ta
Dummmm.”
Bassoon: Wamp, Wump. Wamp, Wump
Dominique: Whew! [Applause!!!!] You all got together. That was
very exciting! Thank you very much.
Group: Thank YOU!
Dominique: Thank you very much, again, and I will keep you all
informed as developments occur.
[Applause]
Helen: the light bringers, right?
Group: What? What?
Helen: Forget I mentioned it. There just aren’t enough light
bringers on this planet. I’ll talk to you when they are throwing
marshmallows at you after your production.
Dominique: Who?
Helen: You! Them.
Dominique: Who’s them?
Helen: Them march. The guys that have given their whole lives
over to the death …
Dominique: Oh, yeah. Well, I was concerned about that, and
that’s the reason I didn’t talk to any of the people within the
Catholic Church community that I was a part of, as a Cantor. I
mean, I go and cantor there; I’m not a practicing catholic, but
I was very concerned at the beginning because I thought, you
know, this is … is this rewriting it? Is this saying it’s
totally something else? That you’re wrong. You know, what is
this? And are you going against up against an institution? Well,
you know, I’m in Santa Fe, so it’s not a very place to gauge
whether or not what it is that I’m saying and what I’m getting a
response from the nuns that I’ve been speaking with is – because
they’re really quite liberal and they’re quite open – but yeah,
you’re right. I get that. I got that. But it’s okay.
Dolores: I don’t think you’ll get it from the Catholics so much.
You’re gonna get it from the conservative Christians.
Helen: That’s right.
JOYce: Catholics don’t do much with Revelations.
** Yeah, the left behinds.
Dominique: It’s interesting because within the Latino community,
it was so long used as a tool of control. With fear.
Revelations. You know, all this stuff. And so a part of it for
me is also part of that. You know, bringing a new story to my
community, as well.
Dolores: Just tell them it’s a new interpretation.
Dominique: Yeah, a new interpretation.
Barry: The important thing is, this is what you are doing. It’s
your mission. Don’t worry about them. Don’t concern at all.
Dominique: I know they’ll come with their tomatoes, but that’s
okay. We’ll just cook them afterwards. (Laughter) Thank you!
Thank you. [Applause]
Angus: Dominique Morales and his trained animal act. (Laughter)
Let’s all take a break for about 10 minutes and then we have
some presentations. Norman’s got a presentation coming, so …
let’s get back here at 2:30, okay?
There is also T/Ring going on in the chapel. If there is any
healing that needs to be done, that’ll be going on in the map
room. Discussions a cross the hall also, in the library.
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