SaveMe Oh has been doing her valiant best to bring edgy art to Second Life It's valiant because there's surprising conservatism in that world. One subject of large builds is often large cities from the real world and that's cool but it's not even close to the edge.
Don't be thinking that leaves room for building a Starfleet Academy ... someone already did and it must have been quite a few of them because it was a huge build. This kind of build gets more novel but it's still not out on the edge.
With SaveMe Oh, there are no edges and she blows any conception of such things away. The things she does become all-encompassing and that frosts some venue owners who get to thinking they're the real stars so who is this upstart. The owners are spending what's likely right wing money into paying performers because it would take substantial cash to field a rack of performers every night. This doesn't create an economy because that money isn't typically spent within SL but rather is cashed-out by the performers. That leaves the venue owners looking like the bank and they get a wee bit carried away with that.
These aren't sour grapes as I was making loads of Lindens in SL until I met my musical Darth Vader and everything disintegrated. Telia and I were blowing those Lindens all over SL and this was the rock god part. Designers knew who we were, we would be recognized, they'd give me stuff just to wear it on-stage, and, yah, this was grand (larfs). Also, Telia had the most killin' set of fireworks you could find in Second Life. She could blow up the Universe during my show with zero difficulty and that was one peach of a time.
The fireworks are all toward making it an overwhelming experience, just as with the best of the real concerts, because it's not something people will usually forget. SaveMe Oh goes even beyond that because the visuals give a multidimensional perspective which is fascinating but is not destructive to the vibe of the music.
For some acts, musical purity is required and it wouldn't be appropriate to go Peter Max on them. For example, Voodoo Shilton is a favorite reference for musical excellence and he seems to be conjuring deliberate images, maybe now of a flamenco player in a Spanish cafe or later a baby elephant wandering around the Serengeti. He doesn't tell you these images and good artists rarely will but I do believe conjuring in that way is part of what he hopes to do. He is already extremely good at it so I question whether any kind of augmentation would be positive.
SaveMe Oh won't be coming to Save you unless she thinks you can be Saved. That might even be good as maybe she sees you have already been artistically redeemed. It might also mean you cover Frank Sinatra songs and there's no hope of redemption.
SaveMe has been trying for some while to Save one particular venue owner who intently resists Salvation because the owner sat on a pogo stick and it went all the way to the guttywuts. It should be seen as flattery that SaveMe even tries with the owner when that owner copies much of what plays from elsewhere. You couldn't get more distant from the edge if you were in Des Moines yet SaveMe keeps on trying.
Silas was at first resistant to SaveMe because I regarded her more as a distraction than an augmentation and was thus more self-serving than it was art ... but that isn't true. Everything SaveMe does is directly driven from the music and it goes beyond augmentation to being an adjunct to the only experience in music which goes beyond being in a concert hall. This isn't possible any other way and definitely not in any other medium except Second Life.
Welcome to Salvation, my brother!
Silas can happily report he has been saved and thank you, SaveMe Oh, and I wonder what happens when you really follow what she's doing and play directly to it. If you think she brings it up too high, maybe back down a chop or two and see what happens. It seems to me it should be relatively easy to jam with her if you're not playing from a chart. I've never played from a chart so if there's a next time then let's see what happens.
Don't be thinking that leaves room for building a Starfleet Academy ... someone already did and it must have been quite a few of them because it was a huge build. This kind of build gets more novel but it's still not out on the edge.
With SaveMe Oh, there are no edges and she blows any conception of such things away. The things she does become all-encompassing and that frosts some venue owners who get to thinking they're the real stars so who is this upstart. The owners are spending what's likely right wing money into paying performers because it would take substantial cash to field a rack of performers every night. This doesn't create an economy because that money isn't typically spent within SL but rather is cashed-out by the performers. That leaves the venue owners looking like the bank and they get a wee bit carried away with that.
These aren't sour grapes as I was making loads of Lindens in SL until I met my musical Darth Vader and everything disintegrated. Telia and I were blowing those Lindens all over SL and this was the rock god part. Designers knew who we were, we would be recognized, they'd give me stuff just to wear it on-stage, and, yah, this was grand (larfs). Also, Telia had the most killin' set of fireworks you could find in Second Life. She could blow up the Universe during my show with zero difficulty and that was one peach of a time.
The fireworks are all toward making it an overwhelming experience, just as with the best of the real concerts, because it's not something people will usually forget. SaveMe Oh goes even beyond that because the visuals give a multidimensional perspective which is fascinating but is not destructive to the vibe of the music.
For some acts, musical purity is required and it wouldn't be appropriate to go Peter Max on them. For example, Voodoo Shilton is a favorite reference for musical excellence and he seems to be conjuring deliberate images, maybe now of a flamenco player in a Spanish cafe or later a baby elephant wandering around the Serengeti. He doesn't tell you these images and good artists rarely will but I do believe conjuring in that way is part of what he hopes to do. He is already extremely good at it so I question whether any kind of augmentation would be positive.
SaveMe Oh won't be coming to Save you unless she thinks you can be Saved. That might even be good as maybe she sees you have already been artistically redeemed. It might also mean you cover Frank Sinatra songs and there's no hope of redemption.
SaveMe has been trying for some while to Save one particular venue owner who intently resists Salvation because the owner sat on a pogo stick and it went all the way to the guttywuts. It should be seen as flattery that SaveMe even tries with the owner when that owner copies much of what plays from elsewhere. You couldn't get more distant from the edge if you were in Des Moines yet SaveMe keeps on trying.
Silas was at first resistant to SaveMe because I regarded her more as a distraction than an augmentation and was thus more self-serving than it was art ... but that isn't true. Everything SaveMe does is directly driven from the music and it goes beyond augmentation to being an adjunct to the only experience in music which goes beyond being in a concert hall. This isn't possible any other way and definitely not in any other medium except Second Life.
Welcome to Salvation, my brother!
Silas can happily report he has been saved and thank you, SaveMe Oh, and I wonder what happens when you really follow what she's doing and play directly to it. If you think she brings it up too high, maybe back down a chop or two and see what happens. It seems to me it should be relatively easy to jam with her if you're not playing from a chart. I've never played from a chart so if there's a next time then let's see what happens.
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