Abandoning Paradise

Chapter Two     Leaving Greece

Silas Turns on the Lights at the MusikCircus One Last Time

Silas Scarborough (i.e. me) came back to Cat's Art MusikCircus last night to play the last show before taking the adventure on the road into Europe. The MusikCircus is the only place I play and the only place I want to play, in large part because of Cat's spirit of giving to music. She takes nothing from Second Life beyond satisfaction in helping performers make their music happen.

I have no intention of making this the last time I ever play at Cat's Art MusikCircus but it's not predictable when I will be able to do it again.  So it's the last, for now, until I can reconnect from somewhere else which I will do as soon as possible.

Here's what it looked like from the stage as I was working with Cat to get the lights set up correctly. Sometimes we talk about lemurs also as we have enjoyed raising those as well.

From the start the show felt 'on' to me or, more accurately, I felt 'on' as I was trying for the first time live the acoustic emulation of the Godin xtSA.  I didn't know at the time if the difference was so technical that it wouldn't be audible but I talked to Cat after and she said she could tell the difference.

From my side, I hear a crispier sound and, for some reason, it makes me more inclined to strum chords, something I would otherwise keep to a minimum as my thumb (the one I busted while skiing with Lotho) screams bloody murder when I do it.  Last night it wasn't too bad and maybe the explanation is that I wasn't so much playing barre chords which require quite a bit more strength to finger them correctly.  No need to get all scientific, tho, as it just felt good to be doing it.

I haven't yet gone through the recording of the show but Cat said something in there was right on it.  There was no way she could say which one as nothing I was doing had a name; it was all a matter of playing whatever sounds right, feels right, and sings.


Listening to the recording is a discipline I recommend to everyone and it applies just as much to me as anyone else.  Hopefully I will uncover something good and I will then put it out on the Ride the Dragon podcast.

It's a lovely thing when people come to your show but it's best of all when they don't leave before it's over and that's how it went last night.  What really sets the MusikCircus apart is that people don't come there trolling for dates or simply to watch the spectacle while they talk in private Voice or whatever as the audience really does listen.  I'm not the only one who will tell you this as I've heard other MusikCircus performers say exactly the same thing.

As always, the set blew by faster than I could believe and something that surprised me was that I hadn't used any back tracks at all.  I didn't even use the Boss RC-50 looper that much either.  You bet I was doing loops but they were all on the Boss GT-100.  The looper memory isn't as long on that one but it doesn't put an arbitrary rhythm track on you and that gives a lot of freedom.  What that means for the road is that possibly I wouldn't even set up the RC-50 if space and electrics are limited.

The show went out to an hour and fifteen or so and I had hoped to go longer than that but I was really finished.  I tried sitting for a bit with the weight of the guitar off my shoulder but once I settled a bit it was really over.  Unfortunately, that was when I got a message from Sister Julie to ask if I was done yet and I was sorry to tell her I was much more than done.

However ...

There are still almost twenty-four hours before I leave so maybe there will be an opportunity somewhere in there to play some more.  All that needs to be done tomorrow is to ride to Patras.  That's about a hundred kilometers which isn't that far.  The boat doesn't leave until 17:00 so there's plenty of time to get there.

Much love to everyone who was at the show and I hope to play for you again very soon.

Cat was out there looking beautiful.

You could never guess by looking at her but she has given a huge part of the last seven years of her life to Second Life music. In that giving, she has been instrumental in setting a standard as she keeps progressive and experimental music alive, more so than anyone ever has in Second Life. I know this for sure as I have played there for just as long.

Never in my life have I met anyone who loves music more or who does more to support those who make music. You hear sometimes about people who don't have much money but are rich in spirit. Well, meet Cat.

Discussing the relationship isn't going to happen but it's a big part of the story that I want to take Cat with me as much as possible to share what comes. In telling it to you, it's a story I can tell her without being all mushy-gushy about it. Mushy-gushy doesn't mean much but doing it means a lot so let's go off to see Europe, lady.

Yevette Nishi sent me a highly-cute pic in which she and Cat are framed together. Yevette has no shoes because it's Second Life, man, you don't need shoes.  It never gets cold and no-one drops bubble gum on the floor.

Yevette is a tremendous supporter of music but it's localized as there is one deadbeat musician she has given a place to crash many times (i.e. me). The coolness of that is she doesn't like the really hard-core stuff and likes better to turn off the distortion and lighten things up. So, I do that sometimes.

She also hardly ever tells me to turn it down and that's tremendous coolness for someone who has heard little else during my 'career' in music. There isn't much need to ask me to turn it down as I try to be as considerate as I can and I wait for times when it would be ok to blast it.

You can't see too much what Yevette does but she has been an enormous help.

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