Tuesday, July 18, 2017

Serenity Gardens (07.17.17)

Every other Monday, you'll find me on this lovely stage at Serenity Gardens.

It's been awhile since I had a "regular" gig in Second Life like I do now at Serenity Gardens. In the world of music and other forms of entertainment, a regular gig simply means that there's a venue where one does repeating performances on a schedule. For Serenity Gardens, it's every other Monday evening that I make my appearance and do the things I do. Here's a coincidental point: looking back over ten years of playing live music in SL, my other regular gigs have also been on Monday evenings. I guess I'm Mr. Monday, and I like it.

Here's why: for a lot of people, Monday is a challenging day. It's the first day of a typical business work week (or school week). You've just spent a weekend doing things you presumably want to do, and now are back in a mode of doing things that you have to do. I have to give credit to the various venues who, purposefully or otherwise, brought me in to handle live music on Monday nights. I'm a pretty good guy for that slot. If you're like most people, your Mondays leave you in a mode where it's good to have something to take your mind off the stress of the day, and my form of entertainment is, if nothing else, light. Even when I'm performing "serious" songs, the overall vibe of my show is pretty breezy and fun. I like to imagine someone getting home after a rough day, filled with meetings and deadlines, dealing with traffic and so on, and then sitting down in front of their computer, maybe pouring a beverage of some sort, and turning up the volume. What do they want to hear at that point? Personally, I'd like some entertainment that took me out of that mode of serious responsibility, and let's face it: my shows are never billed as a serious evening of music. I try and make things fun and relaxing, which I think is what most people like on Monday nights.

Everything Old Is New Again
As per my mission of the past few shows, I filled last night's performance with songs that were deeper in my musical repertoire that what I'd been doing for awhile. A couple of examples: the last time I did "Sister Golden Hair" was in September 2012, while my last attempt at Neil Young's "Alabama" was in February 2014. It's not been a conscious decision to not play those songs, I promise. Like anything else, music is something that becomes a routine, and once something falls out of the regular rotation, you find that out of sight does equal out of mind. Unless I make the conscious effort to go deeper into my list of 400-plus songs, they remain buried in there. I'm happy that people seem to enjoy these songs; my fan base fluctuates enough that some people who come to see me often now probably have never heard me do some of those tunes at all.

One song that absolutely no one had heard me do previously -- since I'd never done it before -- was the live debut of "Box by the Cliff", a little ditty written by my pal and bandmate Bunny Knutson for the next They Stole My Crayon album. We actually originally intended "BBTC" to be on the first Crayon album, but it wasn't quite ready to take into the studio at that point, and it's only been recently that we resumed the process of refining it. As a result, it was on my mind, and I worked out an acoustic guitar arrangement that was good enough to get the vibe of the song across to an audience. So I did, and it went well.

I thought this was super cool. The official Second Life Twitter feed re-Tweeted my promo notice for this show to their 50,000+ followers. I have to say, especially in recent years, I've found the folks at Linden Lab (the makers of Second Life and other virtual worlds) to be tremendously supportive of my musical activities in world. Many thanks to them.

Serenity Gardens set list...
Waterloo Sunset (The Kinks)
Sister Golden Hair (America)
*Box by the Cliff (They Stole My Crayon)
Alabama (Neil Young)
Fade Away (Zak Claxton)
Save Me (Aimee Mann)
Swing Low Magellan (Dirty Projectors)
Sour Girl (Stone Temple Pilots)
On a Plain (Nirvana)
Pulling Mussels from a Shell (Squeeze)
Things Behind the Sun (Nick Drake)
It’s Good to be King (Tom Petty)

*Indicates the first time I've performed this song in SL.

Huge thanks to all who came out to my Monday night show at lovely Serenity Gardens, with a special tip o' the Zak Hat to the following who helped support it!
ScarlettSabina Resident, Turn Pike, RoxxyyRoller Resident, Kenzliie Resident, Richy Nervous, RansomTalmidge Resident, Tyche Szondi, Christine Haiku, my terrific manager Maali Beck, and Serenity's fantastic management team of Tilly Rose and Ilsa Wilde.

Monday, July 10, 2017

Triana's Music Trivia 12th Anniversary Special (07.09.17)

Friends and fun, every Sunday night at Triana's Music Trivia. Photo by Kat Claxton.

I've told this story before; I'll almost certainly tell it again.

Back in 2006, my lady Kat (aka Christina) was living in Seattle and I was down here in the LA area. On October 12 of that year, my pal Mike Burns called and mentioned a virtual world called Second Life, which I told Kat about, and we joined that very evening while on the phone together. We checked it out and thought it was pretty cool, especially by 2006 standards. But frankly, there didn't seem to be a lot do actually do there. We explored a bit, learned about building our own content, and so on. It was fun being able to "hang out", which we couldn't do in a long distance relationship except for the times we could physically visit each other. But it's pretty likely we would have abandoned SL relatively quickly if not for finding a social event that we both enjoyed a lot. It was called Triana's Music Trivia, and was held each Sunday evening at 7PM local/SL time. Right from the start, it became part of our weekly routine.

Skip ahead to 2017. Triana has been hosting her TMT events now for 12 straight years (and in fact had just turned 13 years old in Second Life, ancient by the virtual world standards). Every year going back to 2007 or so, I've done a live performance at her special event to celebrate TMT's anniversary, and that's what I did once again last night.

My shows for Triana are different than my usual shows. In fact, heh heh, I'm pretty sure I wouldn't want someone to hear my set for the first time and assume that all of my shows were similar to my TMT performances. They're certainly not. First, I often have at least one song that's done in a silly fashion that I know Triana herself will find funny. In the past, that's been things like a version of Steely Dan's "Deacon Blues", but sung by Elmer Fudd. Or, I've claimed that Bob Dylan has joined me in my little studio, and created songs about Triana with the pseudo-Dylan singing them. Other songs, while performed seriously, are those that I know Triana finds annoying, and I do them to purposefully tease her. However, not everything I do at TMT anniversary shows are a joke. I often will put together a little musical theme which forces me to find songs to debut, and it's often that the songs I first perform at TMT will find their way into my regular set list.

Rocking a bunch of new tunes. Photo by Kat Claxton.

The lovely Triana Caldera, flanked by TMT regulars Alchemy Epstein and Nakira Tennen. Photo by Kat Claxton.

Playing house parties takes me back to my youth, when those were the only kinds of gigs I could get. Photo by Kat Claxton.

For last night's show, we ended up with a good crowd at the event, which is held in Triana's SL home. I think of it like a house party, which it essentially is. The trivia event is held downstairs, while the music portion of the evening happens in her upstairs attic area. It's intimate and fun, and we had a combination of my Zakster fans and regular TMT attendees in the audience. In addition to messing with Triana via her detested song by Hootie & The Blowfish and doing a short, rather silly acoustic folk version of "Baby Got Back", I decided to continue my '90s theme -- being the era where Triana was in high school and college -- and did a ton of songs I'd not played before, along with a few I do only rarely (including Triana's namesake tune). I'd say it went really well, and was fun for people who were familiar with my repertoire and got to hear a set made up almost entirely of stuff I hadn't done before.

One final note: in the past few days, we've been hit by a wave of humidity here in SoCal, and it was at 99% while I was doing my show. Needless to say, while I sweat a lot while performing music even under nice weather conditions, I was an absolute mess by the end of this show. I wrapped up, put down my guitar, and went immediately into the shower.

Sweaty Zak is sweaty.

TMT 12th Anniversary set list...
*Only Wanna Be With You (Hootie & The Blowfish)
I Like You (Zak Claxton)
*Hand In My Pocket (Alanis Morissette)
Bag of Nothing (They Stole My Crayon)
Bein’ Green (Kermit the Frog)
*Low (Cracker)
You’re Like a Cloud (Zak Claxton)
*Possession (Sarah McLachlan)
Bunny You Got It Goin’ On (FOTC)
*Trippin’ on a Hole in a Paper Heart (Stone Temple Pilots)
*Baby Got Back (Sir Mix-a-Lot)
Shame Chamber (Kurt Vile)
Triana (Zak Claxton)

*Indicates the first time I've performed this song in SL.

Many thanks to all of my great friends from our Sunday night fun times at TMT, and everyone else who came to the show, including the following who helped support it!
Nakira Tennen, Alchemy Epstein, Tyche Szondi, Samantha Poindexter, Kat Claxton, TheaDee Resident, and of course, most of all, my wonderful friend for life, Triana Caldera.

Saturday, July 8, 2017

Feed-a-Smile 7th Anniversary (07.08.17)

Strumming some songs, feeding some smiles. Photo by Kat Claxton.

The first time I played live music for Brique Zeiner's "Feed-a-Smile" charity was in September 2011. At the time, I really didn't think it much different from any of the other charitable organizations I'd played for, which ranged from the American Cancer Society to the Kidney Foundation to benefits for animals, autism, and more. But as time went by, I began to develop a better understanding of what Feed-a-Smile and the Live and Learn in Kenya foundation that Brique helps run are all about. One thing I like very much is that there's no middleman; Brique physically goes to Kenya and works with the children, and makes arrangements for their feeding and educational facilities. But, somewhat selfishly, it was the second or third time I'd played there, and was surprised by a set of photos showing the kids eating the meals that my show had provided, and a blackboard drawing of me in avatar form with thanks given from the kids, that I really began to think of Feed-a-Smile as something special.

The other nice thing about it is that it's a super easy concept to understand. L$100 (the equivalent of about $0.40 USD) buys one meal for one kid. Want to donate enough for ten kids to get hot meals? That's L$1000, or about four bucks. Easy. People who visit Lavender Field where the Feed-a-Smile events are usually held think of their donations in terms of numbers of meals, and the charity does very well with their fundraising via Second Life as a result.

My view from the stage. Photo by Kat Claxton.

Joined by my buddy Lyndon Heart as I wrapped up my set. Photo by Kat Claxton.

A happy and generous crowd makes for a good day at Lavender Field. Photo by Kat Claxton.

This show happened to be the seventh anniversary of Feed-a-Smile, and two of my fellow performers who are managed by Maali Beck -- Taunter Goodnight and Lyndon Heart -- were scheduled before and after me, which always makes for a fun day. We enjoy each other's material a lot, so it's great to have a good reason to hang out and hear each other's shows. We all had nice-sized crowds during our respective sets, and from what I could tell, the donation kiosks were lighting up pretty constantly during the three hours we played.

Feed-a-Smile set list...
Low Key (Tweedy)
If You Could Only See (Tonic)
California (Joni Mitchell)
I Am a Child (Neil Young)
Teach Your Children (CSNY)
Bertha (Grateful Dead)
Cat's In the Cradle (Harry Chapin)
Thank U (Alanis Morissette)
Every Day I Write the Book (Elvis Costello)
Redemption Song (Bob Marley)
Across the Universe (Beatles)
*Lyndon Heart is a Beautiful Man (Zak Claxton, improv)

Massive thanks to the people who generously donated to the cause during my show, and all year 'round. You are awesome heroes.

Tuesday, July 4, 2017

Serenity Gardens (07.03.17)

The Zak Shows keep getting better at Serenity Gardens. Photo by Kat Claxton.

Last night, after I wrapped up my third bi-weekly Monday evening show at Serenity Gardens in Second Life, my manager commented about it on Facebook.

Maali Beck:
SO fun! What a great crowd!
Zak Claxton:
Truly!
Zak Claxton:
I think I'm having an SL comeback.


I wasn't really being serious, although my recent shows have seemed particularly well attended. As most SL musicians will tell you, different days and different venues will have different crowds, and it's every bit as silly to take some meaningful measurement of popularity based on one good show as it is to despair over another show with a small audience. As people who are close to me know well, I really don't measure the success of a show based on how many people were there. I've had fantastic SL shows for an audience of 7-8 people, and really terrible shows at places where the sim was maxed out at 80+.

But I will say that after a few performances, I seem to have hit my stride at Serenity Gardens. It's a good combination of things; I feel very comfortable playing there, and we seem to have developed a very steady, good-sized crowd of people who like to see me there every other Monday evening. I'd be happy if this trend continues.

Music, Friends, and Fun
I can be pretty objective about myself as a musician and live performer. Let's imagine an alternate universe where my shows are musically identical to the ones I do today, but where I don't spend any time engaging with my audience. I arrive, I do every song that I do now in the same level of skill, but there's no chatter in between the songs, and I don't notice or acknowledge people in the crowd and so on. I have no false modesty; I know I'm a competent (though not outstanding) guitar player and singer, and a pretty interesting songwriter occasionally. I'm capable of being entertaining purely as a musician. But a huge part of a Zak Show is what happens on a separate level from the music itself.

If you're not having fun at my show, I'm doing something seriously wrong. Photo by Asimia Heron.

Being the day before Independence Day here in the USA, people were enjoying the virtual sparklers provided by the venue/host. Photo by Kat Claxton.

In real life, Kat was having to frequently leave the room due to coughing and sneezing from her cold. In SL, she kept dancing away, and didn't light her hair on fire, which is nice. Photo by Asimia Heron.

People come to my shows because it's a good time. My SL shows were described early on by someone who said that they were more like a situation with friends sitting around a campfire, or chilling with an acoustic guitar at a house party. People are free to talk, to be silly, to have fun. It's not a serious situation where 100% of your attention needs to be focused on the performer, and I am certainly not out to be super impressive with my playing or singing skills. My only goal is for people to enjoy themselves, and it's very rare that I don't get that feeling of people having fun while experiencing my show. Many of the people who come to my shows have subsequently become friends of mine, and friends with each other. It's a good feeling to be aware of that. On the biggest picture, if music is something that can make the world a better place in which to live, then my shows use music as one element that helps people (including myself) enjoy life a little more for a little while. What more could I ask for?

Yeah, Serenity Gardens is working out just fine. Photo by Kat Claxton.

Reaching Deeper
As I recently mentioned here on this very blog, I am trying to challenge myself more to play material that is less easy and familiar for me, and that I play less often as a result. I think doing that is to everyone's benefit. Last night's show was the first opportunity to head down this path, and I'm happy to say that I did. Of the entire set list, there are only a couple of songs that I've played at all in recent times. Last night's show included a couple of songs that I'd only played once or twice before in the last 10+ years of doing SL shows, and one tune that I'd never played before at all. I'd really like to continue doing that more often at subsequent shows.

Me, being me. Photo by Kat Claxton.

Serenity Gardens set list...
This Afternoon (Zak Claxton)
Accidents Will Happen (Elvis Costello)
Bull Black Nova (Wilco)
*One Headlight (The Wallflowers)
Cassidy (Grateful Dead)
I’ve Been Waiting for You (Neil Young)
Peaceful Easy Feeling (Eagles)
Leggy Blonde (Flight of the Conchords)
Jane (Barenaked Ladies)
Doin’ Time (Sublime)
Tribute (Tenacious D)
Loser (Beck)

*Indicates the first time I've performed this song in SL.

Many thanks to all who help make my shows at Serenity Gardens excellent, including the following who helped to support the show.
go2smoky Resident, RoxxyyRoller Resident, Alex Zelin, RansomTalmidge Resident, Asimia Heron, Tyche Szondi, Lacey MacMoragh, Aurelie Chenaux, ErikKottzen Resident, Kat Claxton, TheaDee Resident, my great manager Maali Beck, my fill-in host Sharky Shark├┤nnya Rhode, and Serenity's excellent management, Tilly Rose and Ilsa Wilde.

Wednesday, June 28, 2017

Ever Feel Like Starting Over?

Here are the lyrics to every song I've ever performed live as a solo artist. Every so often, I want to set it on fire.

Look at that photo above. Look at it. It's a pile of paper, and on each of the sheets comprising the pile are words, and those words are the lyrics of songs that I've performed live as a solo artist. Some are songs I've written; most are not. Most -- in my subjective opinion -- are good songs. The earliest one in this pile was written by Irving Berlin in 1926 ("Blue Skies"), and the most recent was written in 2017, most likely by me or one of my bandmates in They Stole My Crayon.

It's quite the collection. There are well over 400 songs there. Classic '60s rock by the Beatles, Stones, and Doors. Mellow gold from the '70s by Seals & Crofts, James Taylor, and Harry Chapin. Some '80s pop tunes by Madonna, Elvis Costello, and The Police. Lots of '90s grunge by Nirvana, Soundgarden, and Stone Temple Pilots. There's a ton of alternative and indie music from the '00s and '10s from artists and bands a lot of you have never heard of, like Kurt Vile, Unknown Mortal Orchestra, Connan Mockasin, and Midlake. They all have enough value to me that at some point, I chose to learn the songs and perform them in front of people.

That having been said, from time to time, I feel like taking this pile, dousing it with lighter fluid, and throwing a match onto it to watch it turn to ashes.

Why?
There's an old saying that goes, "Familiarity breeds contempt." Part of my occasional negative outlook toward these great songs is simply due to the fact that I've done so many of them, over and over, for the past 10+ years (and in some cases since I was a high school student in the mid-80s) that while there's a degree of comfort in being able to perform them with little effort, I can get burned out on them. Example: let's say your favorite meal was filet mignon, garlic mashed potatoes, and asparagus. Now eat that same meal every single night for a month, and tell me how much you'd look forward to tasting something new. You get the idea.

But that's probably not the main reason I am, from time to time, in hate with the music I play.

Comedian Louis C.K. told a story while speaking at a memorial service for George Carlin, and it affected me. He explained that he'd developed a comedy routine over a period of 15 years, and kept doing it over and over, and eventually grew to hate it. At the same time, he was understandably frightened to throw it all away and start fresh. But that's exactly what he did, and it's become his pattern ever since... create new material, hone it over the course of a live tour, have it culminate in the form of a big special, and then... toss it. Even if it was great. Perhaps especially if it was great.


Louis did the same routine for 15 years, and then threw it in the trash. I admire that. It's terrifying, but I know where he was coming from.

You're Going To Throw Away All Of Your Songs???
What are you, nuts? No, of course not. Music is different from comedy, or any other art form for that matter. There's nothing wrong with the songs I've been performing, in some cases for most of my life. But if I have a goal for my live performances, it's going to be to continually add more material, both originals and covers, and keep expanding my repertoire. It's going to be to not give in to the understandable desire to play it safe.

An important note: this has nothing to do with musical styles or genres, or keeping up with "new" music. I could give a shit whether a song was created in 2017 or 1817 or 1317, or any time in between. I have zero concern about trying to sound like whatever is playing on people's Internet streams and car radios right now. If anything, I'm even further removed from that kind of effort. My only inspiration is to stay inspired, and I'd rather accept the nervousness of performing fresh material than face the inevitable burnout of only doing the stuff that's so easy for me to do.

You'll continue to hear the stuff that you enjoy, I promise. But there will also be more and more stuff you haven't heard me do before. You might like some of it, and you might hate other parts of it, but either way, we'll all get to walk that tightrope together. That pile may look big right now, but as far as I'm concerned, I haven't even scratched the surface of what might be possible if I stay open and try out stuff that you'd never imagine some guy with his acoustic guitar turning into an enjoyable and memorable listening experience.

Saturday, June 24, 2017

Second Life Music Festival at SL14B (06.23.17)


A huge crowd listens to me performing on an amazing build at SL14B's Second Life Music Fest. Photo by Thea Dee.

It's funny, the way things go.

As Robert Burns once wrote, "The best laid plans of mice and men often go awry." My plans, as of a week ago, were to do four shows in six days. I'm happy to say that I made it through three of them, and each of those was outstanding. And then I awoke today feeling horribly sick, and had to cancel the fourth and final show, which was to be at Elysium City of Templemore. Neither my voice nor -- perhaps more importantly for my kind of show, my energy level -- was nearly up to the task. However, I'm not here to dwell on the one show that didn't happen. Instead, let's talk about yesterday's excellent gig for the Second Life Music Fest at SL14B.



Some background: a couple of years ago, in 2015, I performed at the first official Second Life Music Fest. I found it to be a really cool experience. A couple of months ago, I got a message from Xiola Linden, the lead community manager for Linden Lab. She wanted to know if I'd be interested in performing at this year's event as part of the SL14B festivities.

It's interesting because as most of you know, I'd been performing less in Second Life over the past year or so than any time going back to my start in 2006. The reason was simply that I have limited time to devote to musical activities, and creating my band They Stole My Crayon's debut album had chomped up many of the hours that I could have previously used to do live shows in SL and otherwise. When Xiola sent her invitation, I had to think twice as to whether or not I was a good choice to represent Second Life musical artists at this big show.


Me, performing live at Second Life Music Fest. Photo by Thea Dee.

By happenstance, I'd recently told my manager Maali Beck that we could start gradually ramping up my shows in SL. The band's album was successfully released last year, so I was cool with getting back into playing more frequent SL gigs. Well, who knows why these things happen, but it was shortly after Xiola contacted me that Maali booked some new venues for me, and other things started popping up to the point that I suddenly had four shows in six days lined up. So, any concern I might have had about about my validity as a proper representative of SL music was kind of out the window.

None of this matters, by the way, because I'd accepted Xiola's invitation immediately on the spot, and all that other crap was just floating around my head for awhile.



As you can see from the pictures, the build for the area was outstanding. I really expect nothing less of those folks, but they never fail to impress me. The Music Fest portion of the event was held on their Stage Left build. It was so massive that I barely was able to visualize it in its entirety, but the huge work of art itself was titled "The Guardian", created by artist Walton F. Wainwright (known in SL as Faust Steamer). The stage was perched on top. To get there, they'd set up an interesting teleport mechanism. People rezzed at the bottom of a nearly vertical set of steps, and then would go into a little pool and pop up near the performance area.


"The Guardian" structure at SL14B. You can see the large stage area on top, being dwarfed by the overall structure. Photo by Triana Caldera.

Exactly three minutes after I strummed my first note, an alert went out that we SL musicians enjoy hearing, when we rarely do...

[14:03] Laura Polke shouts: LADIES AND GENTLEMEN! THE MESMORIZED SIM IS FULL! PLEASE DO NOT ATTEMPT TO ENTER


For any non-Second Life people reading this, that message means that the area of Second Life where I was performing was so packed with attendees that it could literally not accommodate another person. Think of it like a server that's hit its limit in data storage. In real life terms, it's the equivalent of a venue selling out and hitting its maximum capacity. For any person to get in at that point, it meant someone else had to leave. My show remained filled to capacity for the entire hour. Much of that is due to the fact that these events are promoted far and wide. The night before, an email blast about the Music Fest had gone out to literally millions of Second Life users, with my name as the headliner for day one. If I couldn't get a maximum crowd under those circumstances, there was no other situation that would be more promising.


Doing my Zak Rock for a big and presumably happy crowd. Photo by Triana Caldera.



The only challenge involved for this show was choosing a set list. It's not as easy as it seems. In total, I've got somewhere in the range of 400 songs that I am comfortable and prepared to perform live as a solo artist. Some of these are originals (both from my solo work and my band), and the rest are covers that span many different genres, eras, and vibes. For an event like this, where people from all areas of the world and all walks of life are represented, I tend to try and meet a number of goals:

1. Play the stuff that I can do well.
2. Make sure to use the opportunity to expose people who haven't heard me before to my (and my band's) original music.
3. Play songs that people are familiar with so they can relate to and enjoy the performance.
4. Don't be afraid to perform some cool music that perhaps most people haven't heard, but might like once they hear it.

It's not easy to hit each of those goals with just 12-13 songs possible in a one hour time slot. Compounding the task was the fact that, disturbingly, I was feeling a scratchiness in my throat not long before I was to start my show, which further removed my confidence that I'd be able to perform at my best level. Had my SL14B Music Fest show been slated for today or tomorrow, there's no way I'd have been able to go on. But since I was apparently just on the verge of getting sick as I obviously am now, I got through the show pretty well.

Second Life Music Festival at SL14B set list...
Airport Bar (Martin Courtney)
This Afternoon (Zak Claxton)
Never Run Away (Kurt Vile)
America (Simon & Garfunkel)
Blew the Dust Away (They Stole My Crayon)
Carey (Joni Mitchell)
Ashes to Ashes (David Bowie)
Carry Me Ohio (Sun Kil Moon)
Falling Down (Zak Claxton)
Fire & Rain (James Taylor)
After The Goldrush (Neil Young)
Pigs On The Wing - Parts 1 & 2 (Pink Floyd)

One of the great things about playing an event like SL14B is the chance to have a bunch of people who'd never heard me before to listen to my performance. There was a nice, big crowd for the whole show. Photo by Triana Caldera.

Xiola, the enthusiastic lead community manager for Second Life maker Linden Lab, surrounded by my friends and fans. Photo by Thea Dee.

I always enjoy each opportunity to show the world how Second Life remains a remarkable platform for live music performance. Photo by Thea Dee.



Thanks so much to all the people involved in Second Life Music Fest and SL14B, with special mention of the following people who helped support my show!
strum Diesel, Agadir Flanagan, LadyNyah Resident, Isadoradean Rossini, Asimia Heron, Luriel Lykin, Kathleen Blachere, Lampithaler Resident, Triana Caldera, Jennytryit Resident, TheaDee Resident, stage/stream managers CB Axel and Laura Polke, SL14B leads Diana Renoir and Doc Gascoigne, and the amazing Xiola Linden!

Thursday, June 22, 2017

The Islands of New England (06.21.17)

Enjoying a great crowd made up of great friends at The Islands of New England's "Superhero/Supervillain Night".

Photos for this post courtesy of Triana Caldera, Aurelie Chenaux, and Asimia Heron. Thank you!

Continuing my "June 2017 Mini-Tour" of Second Life, I hit my second stop at The Islands of New England on Wednesday night. It's funny how these things come together. Most of my shows are booked by my manager Maali Beck. While most SL musicians are probably screaming at their management to get them more shows, my instructions to Maali over the past year or so have been the opposite: do NOT overbook me. My life has been way too busy to devote the amount of time and preparation it takes to do live shows properly, and what little time I'd had to spend on music-related activities had mostly been dominated by working on the They Stole My Crayon album.

But now things are mellowing out a bit, and I let Maali know that she could slightly ramp up the number of Second Life shows to which I can commit. That having been said, last night's show at New England came about with a little conversation between friends. Back in May, I was chatting on Facebook with Christine Haiku, who manages the live music events for the venue, and my friend and fellow SL music performer Sassy Nitely. We were reminiscing about some of the many fun shows we've done where Sassy and I play back to back, and decided then and there to schedule another such event. I didn't know at the time that I'd be doing four shows in the same week, but in a way I'm glad... if I'd thought I'd be too busy, I'd have missed what ended up being one of the most fun nights of live music I've experienced in... well, ever.

Superheroes and Supervillains
We decided to make the night a themed event. It's weird for me, because I'm very much a "come as you are" kind of performer. I don't like giving my audience restrictions on what they can do, what they have to wear and so on. That having been said, the crowd was freaking awesome, full of people in outfits depicting Wonder Woman, Deadpool, Iron Man, and many other heroes of the fictional world. After spending some time looking around for an outfit for myself and coming up with jack shit, I put on my handy Star Trek TNG uniform and performed as Captain Jean-Luc Claxtard of the Federation Starship Enterbutt. It worked.

Speaking of butts, I have to relate a little tale. As I looked down from the stage while performing, Sassy was dancing away in an excellent Harley Quinn outfit with its pair of ultra-short shorts. I -- being pretty much unable to filter anything that is coming out of my mouth at any time -- started making lascivious comments about Sassy's ass. This happened three or four times during my show. It's also a sort of tradition for me at New England that if the performer after me is a close friend and I have a minute or two left in my set, I'll improv a little song for them to welcome them to the stage. So, long story short, that's why my last tune of the night is called "Sassy's Ass".

I can tell you, it's every bit as much fun for me being up on the stage as it is when I'm in the audience for a great show like this one.

The Islands of New England is always a great place to perform, mostly because the people who come there really appreciate good times and good live music.

Can you really blame me for being somewhat ass-obsessed at this event?

The Islands of New England set list...
Save It For Later (English Beat)
Something Else (Zak Claxton)
Free Man in Paris (Joni Mitchell)
Summer Breeze (Seals & Crofts)
Northern Sky (Nick Drake)
Starman (David Bowie)
Linger (The Cranberries)
It's Easy Like Walking (The Sadies w/Kurt Vile)
Blew the Dust Away (They Stole My Crayon)
Tea in the Sahara (The Police)
Thanks Anyway (Zak Claxton)
Pretty Pimpin (Kurt Vile)
*Sassy’s Ass (Zak Claxton improv)

*Indicates the first time I've performed this song in SL. Probably the last too, in this case.

Big thanks to the excellent crowd who came out the the Zak and Sassy Superhero show, with special kudos to the following folks who helped support my set!
Ericc Arkright, Hogan Baily, Turn Pike, Aely Witte, Triana Caldera, RoxxyyRoller Resident, RansomTalmidge Resident, Asimia Heron, Sesh Kamachi, Triana Caldera, Tyche Szondi, Aurelie Chenaux, TheaDee Resident, my excellent manager Maali Beck, my wonderful and talented friend with the great ass Sassy Nitely, and -- most of all -- the always amazing Christine Haiku for having me back on her stage so many times over many years. Thank you all!