The First Thanksgiving Propoganda

pilgrim1.JPGI hesitate to write about political and religious topics on my blog because there will always be someone offended; but I cannot resist.

When I was in grade school around Thanksgiving time we would wear black and white pilgrim hats we made from construction paper. We wore them proudly as we sang in concert “This land is your land, this land is my land….” – And we had images of Indians sitting with the pilgrims at the first Thanksgiving enjoying each other’s company. The Indians helped the pilgrims to survive, which was a good thing since the European settlers were much more advanced in their culture. We know those settlers started colonies that would later overtake the primitive Indian culture, but that was the way it had to be since the Europeans had a more advanced culture and theology. The Pilgrims were able to save many of the Indians, which was a good thing since most of the Indians were doomed to hell for not being Christian. The Indians had spent thousands of years in America, but had done nothing with it. They had their time and squandered it. We made America into something the primitive Indians could not acheive, saved their souls and gave the tribes land to continue their culture if they wished – which would be a mistake, but if they want to continue being backward, then that’s their choice. We can’t help it they didn’t advance. Still to this day Indians cry in their beer over it. Oh well, maybe you should have advanced rather than building wigwams and shooting deer for two thousand years.

And THAT was my childhood understanding of the roots of American culture. How twisted and offensive is that?

The reason this all comes back to me is from a CNN article last week, where some teachers are teaching Thanksgiving to children in a different fashion. They are walking up to children’s desks and taking a pencil off it, then a book, then a child’s shoe, then a coat – when the children complain the teacher responds “But I discovered it.” The children cry, then the teacher explains early American history from a Native American perspective. This has drawn complaints from many, as well as praise. For my vote, I praise it.

History has shown us that when a more advance culture comes in contact with one that is less advanced; the more advanced culture will over-run the other culture. This might be a comment on the dark side of human nature. If you want to extrapolate that fact out, let’s hope that if an alien culture comes in contact with Earth at some point in the future they do not share this human characteristic.

The modern Native American nation as far as I can see is not bent on revenge, but they are finally in a position to stand up and claim their cultural homestead. The stereotype of Native Americans living on the dole while drunk on the reservation is giving way to organized groups of Native American attorneys and professionals guiding the funds of the “Indian Casinos” to reinstating their culture, what is left of it, for future generations.

Why didn’t they do this before? My understanding is that the Indian Nation was given sovreign rights under the Reagan administration, which allowed the building of casinos. This idea took a while to catch on – but the financial success of these spread like wildfire. I would be as you’re reading this, you know of an Indian Casino in your vicinity that has been build within the last 10 years. Yes? Ka-ching.

So what changed my perspective? I think I am just in the wave with everyone else, a slow change in social consciousness, a paradigm shift. What was once our pride and joy of an expanding nation, some of us now look on as the decimation of an entire culture. And yes, a culture that had a great deal to teach us about many things, but our forefathers were not in a place to listen.

Sometimes I think years of performing in bars and casinos impeded my sense of the world. But I DID get a chance to spend a lot of time on reservations. While playing in country bands I was in Flagstaff for several weeks and that was my first conversations directly with Native Americans. They gave me “Bury My Heart at Wounded Knee” to read – a horrific account of the destruction of the Native Americans, very different from How The West Was Won. I would suggest this book to anyone to read; if you are white I think it will break your heart, as it did mine. It might be the only book I’ve read that actually made me cry.

Then almost ten years playing with Freddy Fender we spent quite a bit of time playing in Indian casinos. Because Freddy was a name act, we were often treated to behind the scenes tours of the reservations and got the inside scoop from a Native American perspective. There was a comraderie I think because Freddy was Hispanic, and we weren’t vied as a “white” group.

I recount this just to let you know the deep, deep pain present in the Native American communities. Maybe I’m stating the obvious, but as a child I had the understanding these things were from a different age; all taken care of and done in the 1800’s – and we lived in a different world. No, we live in the same world, and the repercussions from those actions are still very present – albeit seemingly dormant.

So I’ve wandered from Pilgrims to the late 1800’s. What’s my point? My point is to be aware that our history is strewn with propoganda, and what we think may be true, may be quite a spin. I like very much the new attitude toward the teaching of history – I do not see the heavy propoganda with current school children like I experienced as a child. Thank God for the History Channel and the internet, which have both provided us with more information than the black and white History class films of our youth.

I don’t have any answers to what could have been done differently – for that I fall short. And I admit I like my Thanksgiving celebrations with family, and I like American culture, grassroots Christianity and our way of life. But I keep a thought at all times in the back of my mind – to realize that the world around me may not be how I see it, and that the glasses I wear give a different view than someone elses. I could very well be wearing the wrong glasses at any time.

And my note to missionaries, which I don’t pretend will be received with warmth: I think a world of good would be realized to immerse yourself in a foreign culture to understand and absorb that culture, without the predetermination that you are their to change and enlighten it.

I hope that’s a thought for all of us to consider.

MORE READING
Pilgrim Hall Museum

Wikipedia on Thanksgiving

History Channel – First Thanksgiving
This is a great documentary if you can watch it
IMPACT OF BOOK – BURY MY HEART AT WOUNDED KNEE

It is difficult to overstate the impact of the book. Prior to its publication in 1970, the dominant images of the period were of noble settlers threatened by savage Indians and defended by the 7th Cavalry. The book brought to the public’s attention the other side of the story: that the original owners of the land were systematically massacred, betrayed and forced onto only those scraps of land that the more numerous and technologically superior conquerors disdained.

One strength of the book is its strong documentation to original sources. Its message may not have been a welcome one, but it came loaded with facts. The other strength is that each chapter forms a story, compelling as any fiction and far more interesting than academic treatises.

THE MAYFLOWER COMPACT
Signed by Pilgrim Leaders

In the name of God, Amen. We whose names are under-written, the loyal subjects of our dread sovereign Lord, King James, by the grace of God, of Great Britain, France, and Ireland King, Defender of the Faith, etc.

Having undertaken, for the glory of God, and advancement of the Christian faith, and honor of our King and Country, a voyage to plant the first colony in the northern parts of Virginia, do by these presents solemnly and mutually, in the presence of God, and one of another, covenant and combine our selves together into a civil body politic, for our better ordering and preservation and furtherance of the ends aforesaid; and by virtue hereof to enact, constitute, and frame such just and equal laws, ordinances, acts, constitutions and offices, from time to time, as shall be thought most meet and convenient for the general good of the Colony, unto which we promise all due submission and obedience. In witness whereof we have hereunder subscribed our names at Cape Cod, the eleventh of November [New Style, November 21], in the year of the reign of our sovereign lord, King James, of England, France, and Ireland, the eighteenth, and of Scotland the fifty-fourth. Anno Dom. 1620.

Sarah Simmons in Anything Goes by Cole Porter

sarah-simmons.jpgRedmond, WA – Sarah Simmons is currently in Anything Goes by Cole Porter, Guy Bolton, P.G. Wodehouse, Howard Lindsay & Russel Crouse presented by Second Story Repertory Theater in Redmond, WA. She says we should all go see it so it must be a good show. We have a group going up to see her show this Friday if anyone is interested.

I’ve worked with Sarah in Annie Get Your Gun and saw her performance in OLIVER. In both she was a real standout. A true master of character development.

PLOT:

Billy Crocker is a busy guy. He’s gotta take care of his boss, convince his long lost love not to marry another man and hide from the FBI while singing his way stateside in this timeless Cole Porter musical set on an Atlantic ocean liner.

Performances:
Fridays and Saturdays at 8:15 pm: November 3, 4, 10, 11, 17, 18, 24, 25, December 1,2

Sunday Matinees at 2:15 pm: November 19, 26 at 2:15

Saturday 2 for 1 Performance*: November 4
Thursday Performance at 8:15 pm: November 30

Special Fundraising Performance on November 12 at 5:30.

Email Q&A – General Music Production Questions

Dear Conrad,

After reading your biography, I can appreciate your work ethic and “rules to live by”.

My wife and I have successfully raised two children through high school and college and we’re proud to say we have two degreed, positive, productive citizens to our credit; a school teacher and a civil engineer.

I played jazz acoustic bass and electric guitar in my musical past I was also a radio air personality by trade for many years and I love what music does for me daily; good movie soundtracks, radio, or my favorite artists. I want to build a retirement lifestyle that I enjoy and motivates me.

If you would be kind enough to outline your view of basic recording/production studio equipment I would appreciate your guidance.Â

My questions are;

1.     Are you a standard mixing console guy or laptop with recording & production software?
2.     If you use laptops, do you recommend Apple or MS?
3.     What is you preferred choice of microphones?
4.     Do you play instruments during or in accompaniment to your artist productions?
5.     A&R; do you just supervise, mix and master your artists?

Regards,

Jeffrey

****************

Hi Jeffrey,

First of all, my disclaimers: I consider myself a feeble pawn in a world of enormous talent, this is just my input to your questions and not necessarily “the way things should be done.”
1.     Are you a standard mixing console guy or laptop with recording & production software?

Both. I recorded analog for ten years before switching to digital. Recording tracks analog is great, but for editing I prefer digital. For mastering a combination of analog and digital gives you the best of both worlds. For editing, I can accomplish in two hours on ProTools what used to take me DAYS on analog. When I look back on all the hours I spent editing analog for dance and electronica tracks before digital, I could just cry.

2.     If you use laptops, do you recommend Apple or MS?

Have you seen the latest invasion of Apple ads? MAC will let you run Mac software AND MS software, so for all my future computers I would go with Mac. I currently own 12 PC’s and one MAC, but times are changing, Mac is back. (Which is ironic since I now live about 40 miles from Microsoft). My understanding is you can have both operating systems running, and just flip between them.

3.     What is you preferred choice of microphones?

What’s the application? For vocals I like the Neumann TLM103 or a good tube mic like Groove Tube, but not for every vocals. Vocals are a precarious animal because for some vocals a Sennheiser 421 is the best pic, which defies logic. For vocals on a serious track, I try 5 different microphones with the vocalist – then listen to them blind and pick my favorite by ear. If I pick the same one 3 times in a row, then that’s what I use. For other instruments and applications there are ones I gravitate towards, but would be too long a list without knowing the specific instrument.

4.     Do you play instruments during or in accompaniment to your artist productions?

Depends on the project. As producer my job is to get the artist/artists to a finished product. If that calls for keyboard tracks, midi layers and sampling – then yes I do those tracks. If it’s a style that I’m not strong on then I would call in a session player, but for most styles I’m the strongest player I know – so I do the tracks. I will bring in guitar players, solo instrumentalists, background singers and percussion on most projects.

5.     A&R; do you just supervise, mix and master your artists?

If I’m producing and mixing, then I have someone else master. If someone else did the mixing, then I’ll master projects that come my way. It’s important in the mastering process to have a fresh set of ears. By “supervise” do you mean promoting the artist and guiding them in concerts? No. The reason is that I consider this a very scam oriented side of the industry that I really can’t stomach – in addition I can’t guarantee results like I can with my audio production work. I have really never understood the whole concept of artists getting managers right out of the gate; from what I’ve seen it usually ends in disaster. I feel strongly that artists should perform A LOT, and don’t worry about looking for managers and promoters until you need them. Artists often use managers and promoters as scape goats, like they will magically make everything happen. When an artist talks to me about management before they’re project is done I don’t take it as a sign they are thinking long term – I take it as a sign they are not focused on their art.

And with all this remember that I don’t yet have a Grammy award on my mantle, so it’s quite possible I am a bumbling idiot and my counsel should be avoided at all cost.

🙂

Conrad

Peter Pan Audio FX Sound Design Effects

Here are sound effects I created for Peter Pan for use in live stage productions. These were layered live to the stage action using a laptop computer with a virtual synthesizer triggered from a midi keyboard. Some of the effects, like the overture, are left sparse in sections to allow layers of other sounds over the top.

Most of the sounds layer well together even if tracks are in different keys. For instance, the Peter Pan flute theme can play over the top of most samples, as well as the bell melodies.

Peter Pan Fairy BKG Chimes MP3
Background shimmering chimes with lullabye music box. Segues and backdrop for happy flying sequences to layer with other sounds. Also a good “safety” that will fit any scene.

War – Indian Drums MP3

will finish post later

Ria Peth Stunnning in Hello Dolly

hello-dolly-ria-peth.gifLa Conner Schools and Community Presents Hello Dolly! November 17-19, 2006.

“Stunning” is the word for Ria Peth’s role as Dolly in this production of Hello Dolly. She came out on stage with energy at TEN and stayed there through to the final bow. Ria is very versatile, but this role of Dolly simple “is” Ria Peth. Her delivery was so natural it did not feel like watching a show.

She was well supported by the cast – with many of them standouts in their own right. Steve Burks as Horace Vandergelder also seemed made for the role, his acting ability is on par with any equity performer in my opinion.

John Baker as Cornelius Hakl and Luc Van Pelt as Barnaby Tucker were solidly cast as the well meaning, good hearted, bumbling dynamic bachelor duo. Both roles were very believable and they played off each other like seasoned vaudeville performers.

The Maitre D’ was side splittingly funny – I apologize I don’t know the name of that role. It was a great surprised to have such a strong actor appear in the second half of the show.

My hat is off to pianist Ramon Hayes. I never heard a moment where music was off from the singers, he guided well and has a seasoned commanding presence at the piano. Bravo!

I’ve only lived in Skagit County now for 8 months, but this is the funniest show I’ve seen up here yet. NO dead spots in the show.

Ria, you are incredible – the room was full of your fans this evening (myself included!) and deservedly so.

Hello Dolly Cast

hello-dolly-cast.jpg

Ria Peth as Dolly

hello-dolly-ria-peth.gif

Dolly Gallagher Levi – Ria Peth
Horace Vandergelder – Steve Burks
Cornelius Hackl – John Baker
Barnaby Tucker – Luc Van Pelt
Minnie Fay – Courtney Blunt
Irene Molloy – Jacqueline Monaghan
Ambrose Kemper – Justin Woods
Ermengarde – Kendall Dubuque
Ernestina – Sara Harlan
Rudolph Reisenweber – Lawrence Welk
Stanley – Dave Hedlin
The Waiters – Dave Ehman, Jon Skifflington, Dick Painter, Ed Markus, Steve Vanderpool

Cook – Sally Dixon
Judge – Brendon Huddleston
Policeman/Paperhanger – John Markus
Court Clerk – Mary Hedlin
Mrs. Rose – Jan O’Leary
Townspeople – Linda Nelson, Mary Hedlin, JoAnne Mason, Turine Higgins, Gail Bruce, Dave Hedlin, Ed Markus, Steve Vanderpool, Dick Painter, Brendon Huddleston

Children – Bailey Cunningham, Patrick Filler, Anna Bruce, Cydney McFarland, Alex Wirth, Kyle Wirth, Dylan Watkins, Ashley Watkins, Shane Berrios, Aubrey Stewart, Sam Dixon, Jack Dixon, Grace Malcomson, Morgan Harlan, Emily Markert

THE CREW

Producer – Tim Bruce
Director – Maureen Harlan
Music Director – Shegay Vanderpool
Pianist – Ramon Hayes
Stage Manager – Jennings Hart
Choreography – Cyndee Meister
Seamstress – Mary Ann White
Dressers – Anne Van Pelt and Debbie Blunt
Hairdress – Marianne Meyer
Set Construction – Charles Talman, Lyle Johnson, Marty Chamberlain, Mike Holt, Bob Coe, Bob Strickert, Mit Harlan, Michael Harlan

Lights – Vicki Jones, Charles Talman, Susan Erickson
Program and Publicity – Sara Harlan, Leah Chamberlain