Get Zorched

Crazy people have bad ideas

2011-02-22T17:01:00.000-08:00

Okay, I've said I might be crazy. But technically, I don't think I am. I'm pretty sure that my thoughts and actions conform to something that might just work in reality. Yes I'll admit, I see things as they might be and say “Why not”. But that makes me a visionary.

Today I want to share something with you that actually left me dumbfounded. It was so steeped in CRAZY, that my sane mind could hardly grasp how demented you would have to be to think this is a good idea.

I've in the past suggested that “Music Not Politics” (the ironic joke name), AKA MNP (more appropriate, what do you think those letters stand for), or more to the point MNP's founder and Leader (That is Moody for all you playing at home) are CRAZY.

I've also suggested that Moody is dangerous, because she sells her demented concepts to people whom embrace “Magical thinking”. When a suggestion fits your desired world view, you accept it no matter how unreasonable it might be, you are a magical thinker.

Today somebody directed me to the Music Not Politics marketing page. It is probably the most demented thing I've ever seen posted on the internet.

Let me share a bit of the insanity that passes for business plan with MNP (Mostly Nutty People).

Incredibly expensive banner ads.

* The following is copied and pasted from the MNP Marketing web site, in other words I'm not making this up *

Offer 7 WEBSITE BANNER - this your company logo banner posted on the website with a link to your site and a brief description of your company, product or service
(All fees are monthly)
MUSIC NOT POLITICS Website (up to 1,000 views daily) $100.00
MUSIC NOT POLITICS Records Website (up to 500 views daily) $25.00
Artist Website (up to 150 views daily) $15.00

*End Copy and paste *

Now I don't know if you have every shopped for online advertizing. But the business model is you are charged for each impression and more for each click through. So you pay for what you get. Most the time the fee is something along the line of 00.001 (one tenth of a penny) for an Impression (your ad was displayed on the web page when somebody visited it, they may have noticed it or not). You get charged more when people click though. This means somebody saw your ad, and clicked on it. Even that is less then a penny. Most ad revenue is driven by the fact the web site gets significant traffic. MNP does not have significant traffic.
You might be impressed by the 1,000 views a day... but it doesn't say that. It says “UP TO” 1,000 views. It also does not differentiate between views and unique views. In other words, sit at your computer, load your web site up and hit refresh 1.000 times you have 1,000 views.

Okay time for math. If the MNP web site got 1.000 unique views every day for a 30 day month, at the standard fee of 00.001 per impression it would cost you 30.00$ a month. The flat fee for hosting your ad for a month is 100.00 $ and that makes it more then three times more expensive then the standard model rate.

I feel I should mention it's very unlikely that The MNP web site gets 1,000 views every day.

You'll notice it's cheaper to host an ad at the MNP Records web site and according to the MPN price sheet it gets “UP TO” 500 views per day. However... if you look up MNP Records on Google, there isn't any web site listed for Music Not Politics records. I'm not saying the web site doesn't exist, I'm just saying it's flying way under Goggles radar.

I did find a Reverb Nation page for Music Not Politics Records, and frankly I'm surprised to see they actually have a recording available. Just one mind you, and it's by Mike Majesty featuring Kevin M Thomas. For those of you not aware of the fantasy history of MNP records, There debut release was suppose to be a Kevin M Thomas project. I guess this is it.

Probably not what people were expecting, but I am frankly surprised to see anything at all.

Mike's Reverb Nation page (Not the MNP Reverb Nation page) shows he has 402 fans (Way to go Mike) and 18 plays. Wait a minute.... that doesn't sound right... but numbers don't lie. Seems Mike gains 22.33333 fans for each play of a song. Man... he must be A-FREAKING-MAZING.

You could write all this off as Moody's lack of experience in real world advertizing. If you don't know what other people charge how do you know if your prices are a tad high? That would make her incompetent, and naive, but not CRAZY.

So how about this?

* The following is copied and pasted from the MNP Marketing web site, in other words I'm not making this up *

Offer 1 ON MIC PLUG - Our artist will plug your company, service, product during his live performance(s) based on the level you choose
(All fees are monthly)
1 Time a month $50.00
7 Times a month $300.00
14 Times a month $550.00
21 Times a month $800.00
28 Times a month $1,000.00

*End Copy and paste *

This is a shout out that cost 50$ if you do it once. The average fee most musicians charge is around 20$ for an hour. This makes it more profitable to just sit behind a mic and give shout outs. Should a musician turn themselves into a pitch man to make MNP rich? Should MPN make more money per-show then the artist?

I'm sure Moody thinks so. But I'm inclined to believe if MNP makes any money at all, it all gets spent on gummy bears and Cheer-wine.

But it does get even more CRAZY. Check this out.

* The following is copied and pasted from the MNP Marketing web site, in other words I'm not making this up *

Offer 4 SPECIAL ATTIRE - performer will wear specially designed outfits including your company logo and website or telephone number at his live shows
One Time Set Up Fee $300.00
(All fees are monthly)
1 Time a month $55.00
7 Times a month $310.00
14 Times a month $560.00
21 Times a month $820.00
28 Times a month $1,000.00

*End Copy and paste *

Wow, the set up fee is 300$. when was the last time you spent 90,000 L$ on an outfit? I could say more, but do I have to? These people are out of touch. These people are CRAZY.

If you need to check it out (there is more) head over to http://musicnotpoliticsmarketing.com/The_Right_Plan_For_You.html

A strange tale

2010-10-18T11:12:00.000-07:00

I've been relatively well behaved lately. I've managed to keep my mouth shut about all kinds of bullshit and I fully intend to maintain my “No comment” demeanor about a variety of subjects transpiring in Second Life. However, I do love spinning a good yarn and one happened the other night. I'll give you the story without involving the names of the Villains or victims. On the other hand Heroes get full credit.

It's Saturday night, I've got two shows to play and I log in. shortly after my arrival I get an IM from someone we'll call “Hostess girl” asking me if I can help her out. It seems she has a cancellation and she is wondering if I can cover for that show. I tell her I would be free to cover the show, but wasn't sure I would be allowed to do so, because I had a bit of history with the Sim owner and a while back he had kicked me off the Sim.

Now I feel I should point out in my defence, when I was kicked off the Sim, I was totally minding my own business, just listening to music and IM-ing a friend. I was kick simply because of something I did a long, long, long time ago...... I get a wistful far away look, the blog page starts to wobble and we fade into a scene pre-historic. Cue the pterodactyl “SCREEEEEEEEEEEE”.

I'm a younger, more optimistic Zorch, playing a show at Guthrie's. I still believe mankind is fundamentally good, and not all hot women are crazy. In step Splat Wonderoos, no that isn't his real fake name because I never use people's real fake names. The primary reason being nobody knows who these people are anyway, so why start the clock on their 15 second of fame?

Anyway... Splat starts shouting in the room, “I'm going to have a music award thingy and everybody can join my web page... for free... and I'm going to save the music scene in Second Life”. Had he done this once, it would have been awkward, but he just kept pimping his lame ass award thingy... that was going to save the music scene in second life, and asking people to join his web site for free. I received several messages suggesting I tell him to shut the fuck up over the stream. So I did that. Splat didn't even blink, he just kept spamming the room. He kept droning on “I'm going to save music in second life and my penis isn't really small it's just very cold in here”.

Judging by the number of messages I received, he was annoying people, and disrupting my show. I did the responsible thing and had him booted from the venue. Nothing personal Splat, but don't pimp your lame ass shit at my show. The people attending the show did so to hear the rock star, not the latest in a series of self appointed music scene saviors.

Simply stated, when people are disruptive and do not stop after warned to do so, they should be forcibly ejected from the venue.

The blog page starts to wobble again, we fast forward to last Saturday night, the pterodactyl morphs into a Jet plane with red, white and blue streamers behind it... “USA,USA,USA”!!!!

I'm a more mature, still sexy, more cynical Zorch, and after the better part of two hours, hostess girl has finally talked to the venue owner and it seems I have the green light to play the show that will help hostess girl fill the gap in her schedule. Yeah... the good guys win... or do they.

It's 10;30 PM and the show is suppose to start at 11 PM SLT. I make a point to be on site a half an hour before the show, but as I attempt to get to hostess girls event, it seems I can't. I get a message that I'm banned from the Sim.

It seems the Venue owner and the Sim owner are not on the same page, and the Sim owner is (cue ominous pipe organ chord) Splat Wonderoos.

Oh bother.

I'm sure any other musician would have just left hostess girl to her own devices and mumbled something about it not being his or her problem. But I'm NOT any other musician, I'm one particular musician. I AM ZORK.... fuck.... I mean I AM ZORCH. Fuck with me at your own peril.

I told hostess girl not to worry I would talk to Splat and sort this all out. I figured since I've grow more mature and sexy during the intervening years, I was sure Splat had done so as well.

Well... not the sexy part, just the more mature part. But I was wrong.

I told Splat, “you really aren't screwing me over on this, Joy hasn't shown you any disrespect, so why don't you let me on the Sim tonight, and we'll all know better in the future, She's having a rough time with cancellations. Let's not give her another one”

Splat just insisted I apologize.

I told him I couldn't give him a sincere apology, would an insincere one suffice?

Okay, being reasonable wasn't working. Does being reasonable ever work? But if we have learned anything from “The Village People” and Olympian “Bruce Jenner”, it's “YOU CAN'T STOP THE MUSIC”.

I tell hostess girl I'll play the show remotely. She could just put my stream in the the parcel media, and I would play the show from a Sim I could get on. I would be playing for her venue, but from another location.

Lexie went over to the Sim to be my eyes on the grown, and the Proxy Zorch standing on stage playing guitar. She put on a tag that said “I am Zorch Boomhauer”. Noma Falta did the same. I told you I would mention the heroes.

The show went on for 30 minute before Splat figured out what was going on. People were flocking the venue to see this curious Lexie/Noma/Zorch hybrid. I'm sure that is what peeked Splat's interest, it's safe to say the self appointed savior of the music scene doesn't even listen to the stream at the venue that happens to be on his Sim.

Splat pulled the stream, and banned hostess girl. But before he could pull the plug, we did get the SLURL for the actual location I was playing at up in public chat. People just poofed to the new location.

Since I could not be on the Sim, I could not rez my tip jar. But I did suggest people attending the concert while it was at the remote location tip the venue. It's not the venue owners fault I can't be there.
I provided a good show in spite of the petty mandates of Splat Wonderoos. I did my job. I played the show as best I could and when Splat tried to stop it, we just moved to another location.

So I ask you this. Who was disruptive? Who was petty? Who really deserves to be banned?

Now when I write a blog like this, people assume I do so in order to address or change something. That isn't the case at all. This is just a grand tale of intrigue and and futile gestures. Bad men doing nasty things and the good people rising up to moon him and run away giggling madly.

And in the end, the hero attends his blog and has a tale to tell.

And moderator powers over the comments section.

BOOOOOOOSH

And then I woke up

2010-10-14T12:47:00.000-07:00

I feel I've just woken up from a zombie like existence, and while it's been a “Long strange trip”, it's been quite educational.

Lesson one learned is Friends are where you find them.

There is a very popular myth that “Internet friends” are patently fake, and the people you can count on you meet in “Real Life ™ ”. Currently, my “Chips” are down, and the people coming to my aid are both friends I've met online, and a dear long standing friend I've met in real life. Conversely, one of my most damaging relationships I've ever experienced was started in real life.

Lesson two learned is when idiots agree with you it's time to re-evaluate your position.

I'm sure I've mentioned this before, but in case you didn't know the comments posted on this page are moderated. That means before it goes public, I get to read it and make sure I want it posted on my Blog. Some seem to think this is an unfair policy but I don't really care what they think. I don't delete comments because people disagree, but I do pull the ones posted by retards.

Recently a retard submitted a post saying I was right, Second Life is a waste of time, and that he wished me luck in my real life adventures. He also mentioned how shocked he was none of my fans had posted a comment. Hey, I don't need to approve comments when I'm not updating the blog.

Now since a retard agreed with my former conclusion I've revised my opinion about Second Life music.

Second Life music scene overview revised.

People listen to music for any number of reasons. This is true both online and offline. People attach value to music for a variety of reasons as well. While it's true that the more socially adept people seem to do better in Second Life, In Camden SC, “The Pound” plays shows at the Arts Center, not because they are good (or anything even remotely artistic) , but because they are locally popular.

Harrie once told me, “Popular people are popular for a reason”. She is absolutely right. However that reason is hardly ever musical superiority... or even competency. Life isn't fair no matter how much you bitch about it.

However, what I do musically does have some worth even if it's not a popular commodity. And while I'm not a Sim crasher, nor likely to become one, that does not mean Second Life is a waste of time for me. If I play a fist full of shows per-week, and pick up 3 fans a week, at the end of the year I have 156 new fans. While that would not make me mainstream in any way, for me as an truly independent artist, it's a significant boon. I basically work up 156 at a time until I have over 1,000. My best tact is maintaining and servicing the fan base I build.

Recently there has been a fellow on Second Life who jumped up into “The Biggest Thing On Second Life”. He was solid draw, pulled in lots of people, made a lot of noise. Good on him, however, his momentum is already showing signs of diminishing. His number while still vastly superior to mine are starting to sag. Now I'm not picking on this guy, or naming names, pointing fingers or any other appendages, but to quote Gary Numan, “It's a lot easier to become famous then to stay famous”.

I'm not famous, I'm not popular, but I have supporters that have been with me for well over two years. Looking back, had I promoted myself with a bit more ambition I could have had more supporters.

I'm on a new path, got a new attitude and most importantly, the Mojo is back. I'm into the Second Life Music Scene because there are people in it that enjoy music. I'm going to find those people. I'm also endeavoring to find more Offline musical bookings because there are people there that are interested in music as well.

End of Revised overview

I did mention my chips are down, but when you hit at least somewhere close to rock bottom, you start to realize what matters. What matters to me is my Daughter and my Music. Yeah, I'll never be a star, but I'm secure in the knowledge my music as value. And off I go, down the Harper's Road, be it online or offline. In the end, the love a child gives me something to hold on to, and the Music sustains me.

With a grateful heart I thank all the very good friends I have in my life. I love you all so very much. Not because my heart is wise, but because it is only right I should do so.

Zorch is Dead?????

2010-09-13T10:26:00.001-07:00

What a provocative title. I remember as a child reading DC comic books, and every month it seems either Superman or Batman would be dying in the very next issue. Of course, they never really did kill off either hero at that time. But it was upsetting to me as a small impressionable child. After a while, the shock value dissipated and I no longer cared.

Zorch, much like Superman and Batman can't really die. He never lived, he's just a cartoon character on your computer screen. An expression of an identity employed to share some music. Oddly enough, I am Zorch, and not Zorch at the same time. Welcome to my existential quagmire.

I'm sure some people are jumping to conclusions, and while I don't want to be a party pooper, I'm not quitting Second Life. I do treasure the people that appreciate my effort in Second Life, and while they are few in number, they are all quite dear to me. Even if I someday get to the point where I can support myself outside of Second Life, I'll still Play shows now and then for the faithful few.

For the record, I'm not even close to cutting back on shows in Second Life yet. It is my sole source of income at this point. But I'm looking for other opportunities, and frankly any McJob would provided me with more money per month then Second Life does.

This is my last “Get Zorched” Blog. There will be no further Zorch Boomhauer Mp3 collections. Once again, I'm not quitting just moving on. I've come to learn a career based on the music scene in Second Life is not quite the best thing for a performer like myself. I don't play the game well, and just between you and I, while Zorch might not be dying Second Life might be.

Last Friday afternoon, there were 50,000 people online and come Friday evening, there were only 58,000. Use to be about 80,000 online last year this time. Fall use to herald the seasonal rebirth of Second Life after a long drab Summer. However it doesn't seem to be rebounding this year. For someone that is an acquired taste like myself the numbers matter. I only interest a very small percentage of people involved, so I need to move on to a larger population. .000001 % of 58,000 isn't a very big share. However .000001 % of 7 billion is significant.

I'm going to invest more time and effort in my Real Life music adventures and frankly I don't know what will happen. I'm still playing Show in Second Life, but that is were my involvement stops. Much thanks to everybody that supported this blog. Maybe you can follow my next one.

2010-09-12T21:02:00.001-07:00

2010-09-09T13:24:00.000-07:00

I'm pissed off

2010-09-08T03:08:00.000-07:00

Some say it's better to be pissed off then pissed on. But... if somebody was pissing on me, I could just kick the shit out of them (a reasonable thing to do considering their misdeeds) and feel better about life in general. When you are pissed off, the only reasonable thing to do is sit there and seethe.

What I'm massively pissed off about is peoples general disregard for fucking me over. Let me set the stage for you.

Monday, a holiday in the good old USA, I'm booked to play a show. When the person that booked me set the date and time, I wrote it in on my calendar. When I got to the show, somebody else was scheduled to play “My slot” and I wasn't featured on the schedule at all. Remember how I told you Monday was a Holiday? Well I was at a party to commemorate the holiday and I had to leave early because I had a show.... or so I thought.

I sent the venue operator a note card asking when it was they had me scheduled to play, and a day later I still haven't gotten an answer.

Tuesday was NOT a holiday at all. But on my calendar was a early morning show, so I set my alarm clock and made sure I was good and awake. Once again... somebody else was booked in my slot.

While I didn't have to leave a party, I did get up way before I wanted to in order to play the show.

My next show was booked at Melodies and thank you Twiz for being so freaking reliable. You rule dude.

My last show of the day was a really late show. While I did get up early for my morning “no show”. I did stay up late for what turned out to be my late night “no show”. With less then an hour before show time, the owner sends me a note card informing me the venue was closed until further notice.

Now I feel I should mention, before I logged off of Second Life after the Melodies shows, I checked the Live Music Events Listing, and the late show was listed. So somewhere between 4 PM in the afternoon, and 10:03 PM, the venue closed.

I did contact the guy that sent me the note card. I expected a little... commiseration. Perhaps even an apologetic posture. Of course that didn't happen. The guy blew me off saying, “My booking manager told me that the show was canceled three weeks ago”. Way to pass the buck venue owner. When I told him I was a bit upset about the late notification, he didn't say anything. I guess once the buck is passed he doesn't have to deal with it any longer.

You know, a few sympathetic platitudes could have basically fixed things. But the general feeling of just being dismissed left a bitter taste in my mouth.

There are some great venue owners in Second Life, but the sad fact of the matter is just about anybody can rent a parcel of land, sling a few prims around and start booking people.... for tips only of course. These venues seem to last until the ill informed owner grasps the fact that Live Music Venues require a good deal of effort.

You may not think so, but I work my ass off during a show. I do what I can to promote the show and frankly, that's not even my job. I'm suppose to show up, and play the best show I can play, and if somebody is coming on after me, I need to respect their time and get off stage in a timely manner.

I do understand that stuff happens. But I'm not so upset about people constantly letting me down. I'm upset about the fact they don't even seem to care I'm upset about it.

I feel I should suggest that venue owners are NOT doing me a favor by having me play their venues for tips. I do play for tips because I respect the money spent by venue owners to provide a place for me to basically “Roll the dice”. Some times I win, sometimes I'm a bit disappointed, but I always suggest those enjoying my show, demonstrate their appreciation by tipping the venue. If the venue owner receives 1 L$ during my performance, they have profited from my labors. The reason they profit is because I didn't incur the expense of a fee.

I've known some venue owners for a very long time. There are some very devoted music supporters in Second Life, more the willing to undertake all the work required to have a good live music venue. Salute to those that get it right. And to those that mean well, but don't do well.... at least they mean well. Just say you are sorry when you fuck things up. People really just want to know you care about their itty bitty hurt feelings.

And when you waste somebody's entire night because they think they have a show, but your venue is actually closed, pretend for just a moment, you are not a festering anal pustule with no manners or breeding. Be a....well I guess asking you to be a MAN might be expecting too much. But act like a grown up, and apologize.

And in case you are wondering, my itty bitty feelings aren't hurt at all. I'm just pissed off.

Things aren't going as well as they could

2010-08-30T11:26:00.000-07:00

I know few if any people like to hear me whine, and frankly I've not been updating simply because things have not been going as well as I hoped they would and it's kind of hard not to whimper a little bit.

But I do see the value of this page as a venting forum and I'm sure people that don't like me will get a chuckle out of my situation.

First off, “Emotion and Reason” might be the last Zorch Boomhauer recording ever. The ASIO interface I use to make recordings is dead, and I can't afford to replace it at this point. And even if I could, just between you and I, “Emotion and Reason” is not selling as well as I hoped. I feel it's the best sounding collection I've ever made, and has a very strong set of songs included. However, sales are really, really disappointing. 23 Copies of the collection have been downloaded this month (it's release month) and while some might think that is pretty good, on the day I released “Shadow and Light” it sold 60 copies on day one.

Mp3 collection sale in general have slumped. This month I'm just about scratching my way over one gig downloaded, compared to 2-4 gigs I've sold in the past.

Second Life is notoriously slow in Summer, but this has been the most grim summer I've ever had to endure.

Compounding the problem is my increased need for money. The Person I live with had a double by pass surgery, and could not work for three months. She is back to work now, but we are both so far behind we find ourselves neck deep in soul crushing poverty.

Tips are way down, but that seems to be the case in Second Life at this time. When other artist have tips jars that display totals, I find I do better then they do in most cases, but my better total is still pretty grim. If I said I'm averaging 1,500 L$ a show, I think that might be a bit high. Putting that in to perspective, it's about 6.00 $ USA, per-show. While you might call that an hourly wage, I actually invest more then an hour in every show. I do show up for show 30 minuets early so each show is about 90 minutes of my time.

I am quite discouraged, but I'm far from quitting. Remember I'm too stupid to quit. And besides, what else can I do that would not drive me crazy? I'm a musician, I'm a songwriter. I honestly believe I'm one of the great songwriters in the world today. I'm not going to ditch it all because I'm starving. I'm not about to start flipping burgers to make a few bucks. I should, in a more perfect world make a decent wage for what I do. But until that happens I just have to tough it out.

I'm looking into other avenues of making a few bucks with music, and keeping my fingers crossed. The biggest problem I have with this grinding poverty... outside of paying bills, is I really have limited options. Just about anything I might want to explore requires some kind of investment up front. Example, there is an acoustic rivalry contest going on at the White Mule, and I would figure I've got as good a shot to win it as anybody. However, I don't have the gas money to get to down town Columbia.

I also understand part of my problem in Second Life is my unwillingness to “Play the game”. I'm not fun, I'm not sociable and I don't do anything to make people feel comfortable. However, I don't see that changing. That isn't who I am, and I'm somewhat socially retarded. So in the end, I endeavor to persevere.

Live Video

2010-07-27T21:47:00.000-07:00

Looking back and looking forward

2010-07-26T10:13:00.000-07:00

It's been a while since the last update, and the reason for that is basically my unfathomable sloth. There is also the motivation of me not wanting to seem like a constant whiner. With that in mind, I whine less by posting less. Are things that grim? Well... they could be considerably better.

Back in 2004 I started my own record company called “ColaRolla”. From year one I've managed to turn a profit releasing records or recordings. The simple fact I made a penny of profit means working as my own publisher I've made money. I've been “signed” twice in my life and never made a dime being a signed artist. When you work for a record company, the guy that sweeps the floors gets paid before the artist does. Whey you own the record company you get all the profits and you also sweep your own floors.

In 2005, ColaRolla adopted the motto, “Doing things the Cowboy way since 2004”.

If you've ever seen the band, “Riders in the sky” you know there are two ways to do things. The easy way, or the Cowboy way. And while ColaRolla put a few pennies in my pocket, it wasn't making me rich. One of the downsides of the Cowboy way is it's not likely to make you rich. But I really don't need to be rich. I just need to dig myself out of poverty. Digging out of poverty is very Cowboy.

The vast catalog of recording made by my identity Zorch Boomhauer is just a continuance of my endeavors with ColaRolla Records.

The very first ColaRolla release was pretty embarrassing at least by my estimation. But I was learning everything at once. Not just recording the music, but creating artwork, and placing it on the inter-web for sale. If you had the name of the CD and or the name I recorded it under, you could still buy it on the inter-web. But I hope nobody does.

Recording has always been important to me as an artist. Yeah, I love playing live, but the recorded song is something someone takes home and adopts as part of their lives. This is why I bother to write and record songs.

I'm constantly getting better at writing and recording. But an odd thing is happening. Seems as the quality goes up, the sales go down.

Of course, I'm probably to blame for that. Perhaps has my efforts in quality music increases, I let the marketing side slide a bit. Second Life is very socially driven, and I spend less and less time online. I show up a half an hour before a show to drop notice, play my show, and log off. I'm possibly the least sociable performer on all of Second Life.

I could probably be more successful by just hanging out more, but hanging out more seems like it should be more of a waste of time. It's probably not, but it seems like it should be.

I play the best shows I can, and put out the best records I can, and that should be enough. That should qualify me for success. But I'll be the first to concede, thinking you should be successful because you warrant it is very “Cowboy thinking”.

The upcoming release, “Emotion and Reason” is probably the best sounding, and best collection of songs I've ever put out. I'm fully expecting it not to sell as well as it should. Of course I'm told that doing the same thing over and over, and expecting a different result is the text book definition of crazy. With that in mind... I need to do different things or check in to the nervous hospital.

Friends indeed

2010-07-02T04:09:00.001-07:00

Since I'm sure some are waiting with baited breath. The total for “Save Zorch” is.... (drum roll please)

749,51 $

While this is not the full 750 $, I think I can find enough change to make up the difference.

With heartfelt gratitude I thank those handfuls of people that made a huge difference in my life.

I protest (!?!?!?!?)

2010-06-27T20:13:00.000-07:00

Recently there was a rather... interesting reaction to the removal of an art instillation at Second Life's 7th birthday party.

It seemed this work of art featured some doll like nudity and there is no nudity allowed at this function. Some seemed to feel this was censorship, and protested.

I found out about the protest because it was mentioned on the Second Life forum, and for the record I'm not here to defend or attack the work of art. What I really want to talk about is the reactions from the forum monkeys. The broke rather neatly into two camps. One defending the work of art, and the other mumbling something to the effect of, “It's Linden Lab's party they can do what they want”.

The “Defense” camp is wrong because art does not need defense.

But the utterly clueless camp would be the “Do what they want camp”.

The whole point of protest is simply because “the powers that be”, do what they want anyway. You don't have to be happy about it and you can protest. Some call it bitching, but that is a poor choice of words. If you just sit there and take it... then you are “The Man's” bitch.

Protesting, while mostly pointless is if nothing else somewhat satisfying... unless you actually expect it to change things.

The grand design of nature is such that you are intended to protest, or decent. Want proof? Well hold your hands out in front of you. On each hand, between the ring finger and the index finger is a handy digit that's sole reason for existence is to protest, and out of all the fingers you have at your disposal, that finger, and only that finger is referred to as “THE Finger”.

Those suggesting it's pointless to protest should hang their heads in shame. What they are actually saying is what upsets other people is really stupid and they should grow up and accept whatever indignities those in power choose to lay upon their shoulders.

Those in power are always right... until they do something that upsets those whom suggest those in power are always right. At that point the most staunch supporter becomes... protester-ish.

Those protesting the WTO got attacked by police and stripped of their civil liberties.

Those protesting an oppressive regime in china stood before tanks.

Buddhist Monks immolated themselves to protest the Vietnam war.

I don't think any of those protesting expected things to change. But they most certainly did make a point.

While all these things are more relevant than anything going on in Second Life, it does not diminish people right to be upset. Those of you not particularly upset should just quietly smirk to yourself.

WTF????

2010-06-20T21:22:00.000-07:00

You know I'm confused as hell. Seriously, no kidding, why aren't I the biggest thing on Second Life?

I should be so big on Second Life, I'm TOO BIG for Second Life. But I'm not big on Second Life at all, I'm tiny. Why is that?

I know you might think I'm being sarcastic, but I'm not. Allow me to try and twist your head around to see things from my perspective.

On June 20th, I played a two hour set of all original music at the Jester Inn. During that two hour set I didn't even come close to scraping the bottom of the barrel. It was a solid two hours of amazing songs.

Now I know there are “ROCK STARS” that do three hour shows, but most of those draw music from a decades long career. My two hour show comprised of music written during my musical adventures in Second Life. How many songwriters could pepper a two hour set with nothing but original music collected over a two year three month period and have it be all amazing tunes?

By the by, I'm about to play my 1,600 show online in the next few days. It's not like I haven't been working my ass off. I've recorded an impressive number of MP3 collections and all this falls between March 16th 2008 and now.

I'm prolific, hard working and fooking brilliant. Why isn't that enough to be mega successful?

I'm well aware I don't play by the rules, but really, isn't being a musical visionary enough to get you a slice of the pie? Are people so use to the mediocre and mundane that talent makes them uncomfortable?

Now I'm sure there are a few out there reading this wondering what my state of mind is. Am I depressed, discouraged, suicidal, ready to chuck it all. Well stop wondering, what I am is confused.

I feel I should state that I'm not questioning my musical talent. My music is freaking amazing. What I do is totally iconic. And I know that makes people uncomfortable, but if I was prone to doubting I would be doing something else by now.

You know what? I could use some help. Not advice, actual help. But what are the odds on that happening? I could use a real life brake about now. I've been working hard, and I'm ready to make the most of any opportunity that comes my way, provided I can afford to take advantage of that opportunity.

So consider this a cry for help, and not advice. If you have something for me, feel free to drop me a line at zorchboomhauer at gmail dot com. I already check my email about 100 times a day hoping to find something promising. Perhaps you can provide it.

In the mean time I'll just keep on keeping on. I've got nothing better to do.

Money

2010-06-18T08:50:00.000-07:00

The title should warn you, I'm about to broach a controversial subject. I'm probably as uncomfortable writing about it as you might be reading about it, but the situation is such I feel letting it slide just exacerbates the problem.

At the outset I would like to say I'm well aware there are people that attend live music events that are broke. They really don't have a lot of money to spend on anything, and I don't have a problem with those people. I personally have no discretionary money... or more to the point I'm effectively broke as well. All moneys earned in Second Life, go to paying for my stream rental (my one in world expenditure) and buying groceries and paying bills in real life.

But I'm not here to talk about the nickel and dime matters of my personal life because I think we both agree that is my problem.

What I am here to talk about is the compensation live music artist should get. Basically, I'm trying to make it clear why a performance is different from buying a pair of virtual shoes. The economic of the difference.

The content provider.

Now when somebody sets about to create a virtual product for Second Life, they invest their time, and yes they deserve compensation for that time. But the investment is very different. When you make a virtual item, you invest time in it and then sell copies.

If it take them four hours to create that flashy thing-a-ma-bob, if they sell one for 300 L$, they make 300 L$ for those hours.

That is not much for an hourly wage, but every time they sell another copy Their hourly wage goes up.
If they sell ten thing-a-ma-bobs they make ten times as much money for the hours invested. The hours invested never change, but the amount they get compensated for those hours goes up with every sale.

Part of my economy uses this paradigm.

When I make an MP3 collection, the amount of time invested in the recording of those songs never goes up, so every collection I sell increases the value of the time invested. I can afford to sell my music for half of what a third party aggregator might sell them for, because once it's done, any money made is profit.

The Live event content provider.

Here is where it gets grim. If I play a one hour show, whatever I make during that hour is all I'm ever going to compensated for that hour. The next show is not a copy of the last show but a whole new hour invested. I only have so many hours in my life, when you sit there and enjoy my labors but withhold compensation you are not only stealing an hour of my time, but stealing an hour of my life.

I hope I'm not being overly dramatic, but I'm trying to make a point. Everything is cheap in second life, you can buy a house for about 2 $ American. But it's not a real house. You can't live in it, but you can pay real money (Lindens do equate to real money) on buying a copy.

Live music in Second Life serves all the purposes live music does in real life. While the delivery is different, the effort involved in performance (provided it's real live music and not the Karaoke or Guitar-eokie version) is identical. When I do play live in real life, I play the same music I play in Second Life and get considerably more pay for it.

When you sit and listen for an hour and tip me 20 L$, you are basically tipping me 0.13 $. Thirteen cents? Really, would you watch a street performer and throw a dime and three pennies in his guitar case? If you sat there for an hour and did that, the guy would probably slap you in the face.

Now once again, I mention, if you are short on cash I understand, but this is not really addressed to the broke, but rather the cheap. I understand it take an hour of your life to listen to my hour long show and as I have said in the past, I do appreciate the attention.

If you enjoy the music, and have the cash to spend, simply support the musicians with a reasonable tip. Remember, lots of people are freeloading, either because they are short on finances or just cheap bastards. Make a difference. TIP.

Now you may ask what a reasonable tip might be. Well for the record, 269 L$ is about a one American dollar. 500 L$ is about two bucks and about half what you would spend on a cover charge if you went to a bar. What do you think it reasonable?

I do earn my crust of bread on Second Life and recently it's been quite a hardship. I'm use to a Spartan life style, but lately it's taken a swing toward the catastrophic. In the last four months, earning have dropped 300$ real life dollars.

Now in my defense, I'm not expecting Venue owners to start paying me humongous fees, as I've always been a champion of those that pay the bill for all the music scene in Second life. The Venue owner pay significant tier fees just to have a place for live music to happen, so while I do appreciate any fee offered I do not demand a fee to show up and play. Perhaps if I did, I would not be writing this blog, but in my personal estimation, it would be wrong of me to demand money from the people paying freight on the whole shebang.

I'm not making any unreasonable demands at all. All I ask for is what is fair. If you attend the shows and have some discretionary funds, don't be cheap. If you enjoy the artist, any artist, tip them and tip them well. 250L$ (around a buck) 500 L$ (around two bucks) 1,000 L$ ( around four whole dollars, remember, not everybody can tip, and some people are being cheap bastards) would be peachy, reasonable and fair.

You can't make the music scene better, or give it more visibility, but you can make it more fair. You have the power and only you know if you are being cheap. If you are being cheap... stop that.

One more thing I would like to address. A while back I played a show behind an incredibly popular performer in Second Life. I know what he charges for an hour show and the venue owner booked me for tips because, he really couldn't afford to pay a fee. Some would say this is good and fair as well because Venue owner can pay what they wish. This is true, but don't tell me you can't afford a fee then hire Joe Popular for 10,000 L$ per-hour. My hour has the same amount of seconds in it as Joe Popular's hour. If the venue owner want to pay for an audience, pay me one quarter the fee, for one quarter the audience, that is fair. But do not exploit me and shower riches on those favored by the unwashed masses.

When all is said and done, I feel the donation based economy can work. People just have to compensate those involved fairly. If you have money, and if you are having a profound enough of an listening experience to invest an hour of your time in... don't be a cheap bastard.

If you think about it, if you do have thousands of Lindens in your account, and sit there for an hour listening, and only tip 20L$, what are you saying about the value of your time?

The fear of becoming Perry-Grim

2010-06-14T12:06:00.000-07:00

The last two entries in this blog were remarkable similar. Imagine that, I must have something on my mind. But let me talk about something shockingly personal. Something that has been on my mind for a long time.

Once upon a time, there was a musician in Second Life. Let's call him “Perry-grim”. That is not his real fake name, but close enough. I'm not picking on him, and I'm not pointing at him, but those that can make the tenuous connection will understand.

Speaking bluntly, Perry-grim was one of the most brilliant musicians I've ever heard. He was, “The Real Deal ™ ” . In a world full of posers, musical ideas sprung forth from Perry-grim's guitar like water from an open fire hydrant.

Perry-grim was a genius, but sometimes the greatest gifts come in broken packages. Suffice it to say he had serious physiological issues. He was openly paranoid and even the kindest words could be interpreted as slanderous from his point of view.

Of course, his musical career ended... unpleasantly. He freaked out and made a point to alienate every single person that ever offered him a hand in friendship. I'm not saying he misspoke, or made a gaff. He attacked those that cared most for him, pointing out every inadequacy real or imagined, and then twisted any supportive statement towards him as some kind of counter attack.

I often wonder if he could have continued his musical adventures in Second Life. Was it inevitable that he would explode into an emotional fire ball?

Given his condition, you might think he would, but there are bunches of mentally ill people functioning on Second Life. So what drove him to self destruction?

Your guess is as good as mine, but here is my guess in case you are interested.

It takes a huge emotional toll to cast your pearls before swine.

I remember watching him follow some mediocre “Popular dude”, and before his first song was over the majority of the audience had poofed. He was iconic, original, and brilliant, those three things can clear a sim faster then a re-start notice.

I can understand how someone with a bent towards paranoia might read something into that. He knows he's good. He might even be aware he's great. Something must be going on. Somebody MUST be derailing his efforts. But in the end, the only one that could prevent his success was him, and eventually he set his own playhouse on fire and watched it burn.

I can really understand how he must of felt. I've seen Sims clear before my first song was over after following some cookie cutter balladeer. No matter how well grounded you are it does sting. It feels like people aren't even giving you a chance. In most cases they don't. They already have plans for what they are going to do after Mr. Cookie Cutter ends his set, and it's pointless to take it personally.

Recently a so-called friend of mine informed me of this new guy I've never heard of being the next BIG THING in Second Life. I'm glad she's impressed. But I've heard of Justin Biber, and I haven't heard of this guy. I don't measure myself against tweener singing idols so why would I give a rats ass about the next big thing in Second Life. I'm not a big thing in second life at all. But I'm well aware I should be.

Some would suggest I'm bitter, but it's more of a case of swallowing a bitter pill. It's better to be lucky then smart and it's better to be popular then talented. I'm not lucky or popular, and unlike Perry-grim, there are people that stick pins in their Zorch voodoo dolls every day. I know I have enemies not because I imagine them, but because I've been told I have them. Of course I expect to have a few Ellsworth Tooheys.

But I'm not inclined to quit, and you want to know why? Plain old fashion stupidity. I'm too stupid to quit. Although I'm well acquainted with the facts, and I know the world hates a genius, I soldier on. A few people get me, and they get me on my terms. I've every reason to expect the worse, but I won't cave in. Quitters never stand atop the Wynand building.

In the end, the story of Perry-grim is a cautionary tale. It exposes the dread consequence of having a gift the vast majority of people don't understand, and caring what they think. Seeking validation in the eyes of others. If you have a vision stand by it. If you have a gift be a diligent steward of that gift. When you are true to yourself, those that “Get you” do so for the right reasons and you will be rewarded.

I'm aware of the rules, I just choose to break them

2010-06-13T08:43:00.000-07:00

A while back a friend of mine need to speak to me about how I was destroying my career. About another week later, yet another friend took me aside and seemed to be reading off the same page, predicting soon, nobody would book me and if anybody did book me, nobody would come to the show.

I think both of these friend were under the impression I was not paying attention and a Second Life Music Career(?) is basically just part of the game. Games have rule, break the rules and you lose the game.

Let me break down the rules and if you choose to follow them, in about three months you'll be doing far better then I am.

Rule #1 COVER SONGS

The vast majority of people don't give a rats ass about music. Most of these people make up the community of people that come to see show. While that might seem contradictory, it's not. People in general would rather hear a horrible cover song they KNOW, than a perfectly played original song.

The real cardinal point to this rule is it must be a song EVERYBODY knows. No obscure Johnathan Colten songs.

It's a good idea to have a song list people can request songs from. Try to make the show much like a McDonals drive through window.

Performer: Welcome to my show, may I take your order please?

Listener: Yes, I'd like …. ummm... “Wish you were here”.

Performer: Would you like “Halleluiah” with that?

Listener: I don't know, I'm trying to cut down.... oh... yeah sure give me a side order of “Halleluiah”.

Fun fact about 1# : Most people are blissfully unaware they are musically retarded. Quite a few of them are performers on Second Life.

Rule #2 Piss in the ocean of mediocrity

Always praise the performer before you and hype the performer coming on after you regardless of talent. Of course doing this means your opinions are meaningless, but why should your opinions have meaning when you music doesn't?

It's also a good idea to suggest the person following you is way better then you are. This makes you seem “Humble” and humility is very appealing to the average musical retard because they have nothing of worth to offer, so why should you be arrogant?

Your mantra should be, “Everybody is super great... except me, I suck”. Don't worry, people will be shouting out how great you are... even if you actually do suck. They have emotes all cued up just to do that.

Rule # 3 Greet people the moment they enter the sim.

All the mega popular people do this. It doesn't matter if you are in the middle of a song, just slip it in there. “Baby baby don't get... Hello Keplerdangle welcome to the show...hooked on me”.

While you might think this interrupts the song, don't worry about that, everybody KNOWS the song (see rule #1) and will wait for you to return to it. What is important is that each and every person is welcomed.

The reason you greet people is the same reason you play songs they know. You want them to feel as welcome as possible and make attending the show as effort free as... well not attending the show.

They went though all the trouble to click a link to get there, cut them some slack and make them feel welcome.

Rule # 4 Hang out

Second Life is all about being social. So make sure you show up at other peoples shows with your “I am a Second Life Muso” tag on display. For those of you wondering “Muso” is accepted Second Life slang for Musician.

In most cases, even if the performer has never even heard of you, much less heard you play, they will probably give you a shout out. While that might strike you as odd, it's in compliance with rules 2 and 3. In many cases they will tell everybody how superior you are to them and how everybody should catch your show.

Of course you should already be emoting wildly. “Dude you RAWK”.

Rule # 5 Build your group

When it comes to groups, size matters. Get some kind of doohickey that auto invites people to your group and let it work it's magic. If you play somewhere with a bunch of newbies you can build your group quickly because they click yes on everything.

Big groups allow you to demand big fees, and in the end, it's all about your fees.

Rule #6 The game is more fun when more people play

Anybody that can play a few chords and or has some back up tracks is a performer on Second life. While this is a lot of people, Those that don't wish to learn to play a musical instrument and or buy back of tracks should not be excluded from the fun.

Think of it this way, if every performer in Second Life had a “Manager”, that would double the number of people playing the music scene game. Some performers have a staff, more then one person tagging along on their participation coattails.

While you can't say how great you think you are, your staff has no limitations to how great they can say you are. You can stand on stage and whine about how much you suck, and they can emote like crazy monkeys about how you are the second coming.

Rule # 7, the hang out to perform ratio should be 15:1

Seriously, you should attend 15 shows for every show you actually play. It's far more important for you to “Be seen” then “Be heard”. Music doesn't matter in your Second Life Music scene game. What matter is your involvement in the scene.

While this might leave you playing two shows a week, they will be well attended providing you follow all the rules to the letter.

The less available you are, the more value your show have. In other word, if you only play 2 PM on Thursday, people that want to see you must be at your show at 2 PM Thursday.

Bringing it all together

You've been seen everywhere, you been promoting not your talent, but your humility. You've been participating, and supportive. You've developed your group, and you have integrated whatever staff you can cobble together.

It's Thursday at 2 PM and the show is on. Before you start you have one of your staff send a notice, remember you can't say you are great, but they can. Put a staff member between you and your announcement.

As the show starts take a moment to mention by name the people already there. This won't take long because in most cases people don't make it to be start of a show. Your staff will be there, be sure to say how indispensable they are and mention them each by name. Then mention the Venue staff and compliment them on what a great job they are doing (the show hasn't even started yet, but they are doing a GREAT job).

Be sure your auto group invitation device is in place.

As you play the first song, be sure to greet everybody that pops in. Not only will this make them feel welcome, but it will probably keep them from Popping out. People feel obligated when you notice them and mention them by name.

Speaking of obligation, because you have been hanging out so much, other musicians will be attending your show. Be sure to pick them out of the crowd and mention how GREAT they are. Remember they are padding your numbers and working on their “Hang out to perform ratio”. Be sure to mention what a kick ass show they put on and recommend that people attend their next show.

Be sure to mention your song list so people can request songs. Forget all about format, and or pacing, just take orders and be sure to dedicate the songs properly.

Watch the clock, mention how great the performer coming up after you is, finish the last song, collect your fee... be sure to act somewhat sheepish about collecting it.

There you go, you want to play the game, play by the rules. Second Life is so simple people with no discernible talent can thrive. They do it every day, and because most people don't give a shit about music... it works.

This might seem a bit cynical. But I'm not here to underline how disingenuous this all is. All I'm doing is making it clear, I'm aware of what the rules are. I know how the game works.

I choose to be a failure at the game because I choose not to play it. A handful of people care about my music. But those that do, do so for the right reasons. I make ridiculous demands upon the listener, but I also do a freaking transcendent show. Those willing to listen, those willing to hear song they are not instantly familiar with are rewarded.

It's more then entertainment or a social centerpiece. It's a bit of my soul.

I am the bastard son of Howard Roark. Could you expect me to conform to the standards of those whom make a game out of the profession I consider my calling?

The Devaluation of Real

2010-05-28T07:11:00.000-07:00

A while back I was playing a show and the act before me was one of those Karaoke acts. As Karaoke acts goes... this guy was absolutely horrible. Not only was pitch a much hoped for dream, his song selection left much be desired. Lots of people were there, he drew an impressive audience. But after a while, I noticed a trend.

This talentless hack had a huge support staff. A Management team.

During the course of the show, several “Staff members” left. As each Staff member poofed out, a sizable chunk of the audience would vanish. By the end of the show, just Karaoke dude, his girl friend (is girl friend a staff position?) and her friend were the audience. By this time, they were dancing on stage behind the misguided crooner to an audience that comprised of... well me.

I wasn't a bit entertained. But then I actually like music.

While this whole experience was unpleasant to say the least, it was informative.

I've learned if you have a support/management team of say.... six people at your show, and they invite a few friends to hang out with them, you can put a bunch of green dots on the map. I'm inclined to believe the “Invited friends” don't have the stream on long, and spend most of their time at the event IM-ing other friends on site, or even off site.

There are those that insist Second Life is not a game, and they are right. From a design stand point it's not a game at all. But a good deal of the “Second Life Music Scene ™ “ is a game, and for those of you out there wondering how it's played, let me give you the rules.

Labor is cheap

Back in my short lived MNP days, they use to send a MNP Host to every show I played. Moody would pay them, I think about L$ 300 per-show, to hang out, spam, invite their friends to hang out with them while they worked, and to keep the chat screen moving.

Now I think I should point out, L$ 300 breaks down to little more then one dollar American per-hour. Labor is cheap.

Labor is sometimes Free

Some people will show up and work towards your goal for a title. Most people are bored and if you make them part of the entertainment industry they are “Living the Dream”. Most people with a management tag don't get paid anything. In most cases it's somebody's Girlfriend.

Venue operators are sometimes just as clueless as you suspect they might be

I'm not picking on Venue operators, I appreciate the fact they pay the bill on the whole music scene. But many will book any act that plays for tips just to keep things hopping all day long. Consider for a moment a venue featuring Six acts a day, five days a week. Of those 30 acts a week, how many are worth listening to?

While many venues close due to lack of funds, most close due to simple burn out.

It's a lot of work, a lot of money, and more to the point, a lot of time.

Because there are so many venue, there are sometimes as many at 70 live music events going on at the same time. Perhaps five of those events are worth attending, so why are the other 65 even happening? Because it's all part of the game.

People are pretending to be rock stars.

People are pretending to be rock star managers.

People are pretending to be part of the rock star managers staff.

People are supporting their friends.

People are filling the schedule at their venue.

People are working for a little more then a dollar an hour.

People are working for a title.

People are plotting.

People are being.... polite.

The game thrives, and while the game thrives, talent languishes.

I've commented before, the Management types are a cancer on the music scene in Second Life. But while they are a blight for real music, they are the back bone of the Game. They work day and night to make sure, the insecure dreamers they represent color your impressions of what Live Music is in Second Life.

The management types make sure the music sucks.

All honor to venues that book talent. All honor to those that listen and decide. All honor to those that have the stream on. All honor to those who's politeness is manifested in not saying anything rude, rather then puffy meaningless compliments.

There is good music in Second Life, however it seems to operate in the margins. The stuff that is most aggressively marketed is done so to support “The Game”.

Now I wish I could say something profound like “DEATH TO THE GAME”, but remember when I commented good music operates in the margin? Well the page on which that margin exist is the page the game is written on. The basic bottom line is each listener decides their level of participation in the game aspect of the music scene.

So in conclusion..... I'll take Original music for 1600 $ Alex.

He claims to be the Pope of Rock and Roll, and the future of Music on the Grid.

BUZZZZZZ

Who is Zorch Boomhauer?

Why do I need Second Life on my I-pod?

2010-05-12T12:43:00.000-07:00

A while back I was playing a show at some venue and after I mentioned my MP3 collections are for sale, some fellow, in an attempt to be witty remarked, “Why do I need Second Life on my I-pod”?

His attempt at wit was of course a dismal failure, but attempting wit when you actually have none is a fool's errand. Wit is something you have in real life and express in Second Life.

Wit is real, and music, at least LIVE music is real as well.

Why should you BUY an MP3 from a Second Life artist (ummmm.... me actually)?

Because unlike everything else you could spend money on in Second Life, the music is a REAL LIFE™ commodity. While you buy it in Second Life (or my web page), you don't have to be doing the Second Life thing to enjoy your purchase.

Your Second Life house, car, yacht, clothes, and yes, even you genitalia of of no use to you outside of Second Life. But recorded music goes with you anywhere recorded music can go, and at this time that is just about anywhere.

So in effect, recorded music is probably the most actually useful purchase you could make in Second Life.

But... there is more, much more.

If people were inclined to BUY recordings, it could be the answer to the age old question of “How do we make money with music in Second Life without exploiting anybody”?

I have mentioned before the vast majority of my shows are for tips. I actually have two shows a month that regularly pay a fee, but I should mention the fee involved is less then what most ask for as a minimum. Yet I make enough to pay my bills.

This is due to the generosity of the good people that do tip, my even more generous core fan base, and MP3 sales. Simply stated, the money earned from MP3 sales offsets any short fall due to my lack of fee collecting.

Can you dig it?

I should point out, my motivation for playing live is different from most people. As far as I can tell, the majority of performers develop a fan-base, and then limit their performance schedules in order to to maximize the turn out at their shows. If you like Bob and Bob only plays Thursday at 3 PM, you have to be where Bob is at that time and date to see him, or suffer the rest of the week Bob-less.

When Bob contacts a Venue owner he suggest his shows are packed, and if the venue owner checks it out they will find this to be true. Bob ask for a fee, and the venue owner see's it as reasonable because Bob can pack his or her Venue... Thursday at 3 PM.

Bob isn't selling music, he's selling a packed venue. The venue owner isn't buying music, he's buying a packed venue. While this is all good and fine for the primaries involved (Bob and the Venue operator), but it is the main reason music sucks so often in Second Life.

When I play music, I'm building a fans base as well. But not in order to pack a venue on some limited time table. I'm not trying to convince a venue operator my performance will pack their venue and because of that I'm worth paying a hefty fee for. I'm simply trying to expose my music to people that have not heard it yet. I'm sure if they are paying attention they will like it, and perhaps want more.

Yes, I love tips, and I love really generous tips even more. But the real fans are the ones that buy my recordings. They do attend the shows, thank you very much, and most of them tip as well as they can. But the real connection is their familiarity with my music. They know the old stuff, they know the new stuff and often prompt me to get on with recording the next collection.

So buying music is good for you, good for the music scene, and good for... well my pocket book.

In summation, why do you need Second Life on your I-pod?

Well... you don't need Second Life on your I-pod at all, but if you discover great music while wondering the grid, why would you not want to drag it in to your real life?

Scam, scam, scam, scam (Sung to the tune of the Monty Python Spam sketch)

2010-05-10T07:42:00.000-07:00

In a rare moment of inter-web based wackiness, I logged in to Second Life this morning and found not one, but two Scam-o-grams.

The first being a second hand Scam-o-gram from a fellow performer asking everybody he or she knew to vote for her. I really have to wonder what the prize might be in this scam in order for somebody to throw their dignity in the trash can.

The second Scam-o-gram was one of those “Fill in the blank-Idol” things. The prize being inclusion in some compilation record that would bring you from Second Life, to REAL LIFE!!!!!

I've come to embrace the opinion the inter-web is both a blessing and a curse to musicians. To the intelligent well grounded artist the inter-web is a myriad of opportunities, however to the clueless dreamer sure that fame and fortune is just one lucky break away is an ocean of quick stand waiting to swallow them up.

For those of you new to the realities of the music biz, there is no such thing as the Lucky break that makes you rich and famous. Say you got discovered tomorrow and signed to a real record contract, you would have a 90% probability of never earning back your advance. Of course, and write this down if you have to, that 10% chance at success is NOT a matter of luck. It's a matter of hard work, good planing, picture perfect execution and then … luck.

It's safe to say any offer you get from a resident of Second Life to enhance your real life music career is nothing but smoke and mirrors. I'm relatively sure they mean well, but can't do well. Oddly, it seems those in Second Life operating scams are as much clueless dreamers as the people they pray upon.

Pointing fingers at those self imagined “Movers and Shakers” in the “So-called” Music scene in Second Life is pretty easy. But they are not the most exploitative scam artist on the inter-web.

One of the most heinous of exploiters would have to be “I-tunes”.

I-tunes claims to have over 750,000 independent artist listed among their Files for sale. While this may seem like a supportive move on I-tunes part, almost altruistic, it's actually quite a scam, and a really profitable scam. They actually are betting the artist listed won't ever make enough in sales to require I-tunes to cut them a check. Each MP3 aggregation has a minimum amount the artist must earn in royalties before they get paid. The vast majority never earn enough to get paid, but most do mention they have MP3s available on I-tunes.

Let say 50,000 independent artist do make enough to get paid, that leaves 700,000 that that do not get paid. Lets say those 700,000 artist make 5 sales each (Friends and relatives “Bob has a song on the I-Tunes), This means I-tunes make millions... and more to the point, keep the other millions they should have paid the artist.

The bet against the success of the independent artist and even when they lose that bet... I-tunes still gets paid. Why don't they cut a check for even one sale? Because they don't have to. People allow themselves to get ripped off so I-tunes gladly oblige them.

I started my own record company in 2004, “ColaRolla records” and since year one I've made a profit. Each month I make money selling recorded music, and do so without handing a slice of the pie to some third party leach. I have in the past sold actual CDs at Live shows, but for the last two years I've been selling nothing but MP3s and making enough money to make it worth my while.

I'm not rich, I'm not famous.

But everyday I do what I love doing and manage to keep the lights on. Compromise is not a prominent feature on my artistic landscape. I live primarily on tips and MP3 sales.

I see every so-called break as nothing more then a tool to further my ends. Every opportunity is just a step towards the goal of living a life of artistic fulfillment. I rise and fall on my ability and talent.

Reflections on an MP3 release party

2010-04-21T09:27:00.000-07:00

Last Sunday was a momentous occasion in Zorch History as are all the release events. It was well attended and MP3 sales were brisk. People were actually showing up 40 minuets before show time to get first crack at buying it. For the record, Chantal beat out Gargravar by a mouse click to earn the honor of first sale. While the show was two hours plus change in length, the crowd was consistent.

Over all, a win for the team.

Thanks to Harrie Skjellerup for hosting and Fox Reinsch for simulcasting the event on Indie Spectrum Radio. Much thanks to all the people that showed up and made the event memorable.

That being said, permit me to ramble on about the relevance of recording sales in Second Life.

Of course I can only speak from my experience and won't pretend to be an expert, but I feel the fact I actually sell a few MP3 gives me an informed opinion.

I personally have a very small core audience that buys MP3s collections. I'm relatively sure they all own more then one collection. This seems to indicate to me, their first MP3 collection purchase was an enjoyable experience, and something they felt was worth the purchase price.

Most collections are sold release day. I suspect many of the following sales are simply people that could not attend the release event, and wanted the collection anyway. I do have a rare occasion where somebody “Runs the board” and buys everything I have available, and while that is very cool, it's very rare.

Now if you factored the time invented in creating an MP3 collection and the money earned it would seem a rather unprofitable venture. But MP3 collection do more then make money. They create an interest in the music.

I did mention my small core audience a while back, but what I didn't mention is they are a very devoted core audience. When I see a familiar face in a crowd, I know they have a few collections sitting on their hard drive. Most are very interested in the new songs presented and wondering when the collection featuring them will be available.

Live music is great, but recorded music is part of people's lives.

I know of two supporters that drive to work listening to my music. Gargravar mentioned he's got my music on his I-pod and often invites people to have a listen. These are just stories shared, I'm sure there are more excursions into real life I don't know about. As a matter of fact, if you have an anecdote about where you listen to your Zorch MP3 collections please feel free to share on on the comments section.

I am an original artist and as such it's of great benefit to me to release my songs to the public. Familiarity with the material give that material more resonance. I suspect a goodly number of my supporters sing along in their homes at my shows. They know the songs, and they know who plays those songs.

A while back some goober suggested I call myself “The Selfish Bastard”, but I'm not selfish I'm arrogant. And while I am arrogant, I am a servant to my supporters. Every collection is an attempt to deliver a product they will want to take home with them, and make it part of their lives. The more often I provide a product they enjoy and ascribe value to, the more my cache as an artist grows. When I get it right, I'm rewarded. Not just with a monetary gain, but a more developed supporter base.

I feel more original artist would benefit with a more refined promotion of their recorded material. Why should I care what other artist do? Well I've often suggested a high tide raises all boats, and to a large extent, the vast majority of music supporters are not inclined to purchase MP3s. It isn't part of their Second life musical experience.

Most artist release recorded material as an ancillary effort to their live show. Yeah, it's available on CD baby, but how many make the jump from the show to CD baby? How many want to deal with all the bullshit of ordering from CD baby and then wait a week for the CD to show up at their house?

There are third party MP3 vendors in Second Life, but simply put, they require instructions and reading instructions should not be part of the product purchase experience. There is a product called “MP3 by Me” that is incredibly unreliable, complicated, and the object actually pays it's creator and then sends your cut back to you. I did use one when I started out, and it magically vanished from my inventory.

There is also the Second Life CD, while not nearly as grim as “MP3 by Me”, it still uses Second Life as a delivery platform and frankly speaking, that is a very weak link. Most that use it are just to intimidated by looking for another solution to do it themselves.

So far with hundreds of sales, I've managed a 100% delivery rate. My system is simple to use, reliable and best of all free to use.

Allow me to sum up why it's so cool to buy MP3s from independent artist.

Every time you buy music from an independent artist you make a big, fat, talentless music business leach cry.

Support Independent music.

Make a Fat Boy Cry.

The Joys of independence

2010-04-17T08:30:00.000-07:00

I find it somewhat ironic in the real world there is nothing more corporate then indie music and nothing more mainstream then alternative rock.

I'm sitting here on “Me and My Monkey” release day eve, and hammering out the details of the release. While I defiantly do have help (thanks Harrie), I do an amazing amount of work besides playing shows.

This morning was spend finding and implementing a solution to my web sites play list problem. While I thought I had a solution, it seems Playlist.com would not stream music from my web site to listeners outside the boarders of the USA. A goodly number of my supporters live outside of Mc America, so the situation needed to be addressed. Thanks to the good people at “Groove shark”, my music is once again a global phenomena.

Solutions RAWK!!!!!

I build the web sit, I write the press releases (typos included), do the recordings, prepare the downloads, do the art work, Build the vendor, write the blog, and when time allows I play a show.

I also write the songs.

While it is a lot of work, it's quite rewarding. Sometimes I make a little money, but if money were all that mattered I would do just about anything else. I would probably be a greeter at Wal-mart. Those guys are so wicked cool. But the anticipation of a release is an intoxicating thing. Sometimes I get it right and sometime not so right. I hope to learn from the less then stellar release events and do it better the next time.

Win, lose or draw, I'm the captain of my own destiny. Sometimes I probably work against my own best interest, but that is okay. I'm not taking money out of anybody's pocket but my own. At the end of the day I get it my way.

Yes it's a lot of work, but the work is just part and parcel of the Joys of independence.

"Me and My Monkey" press release

2010-04-15T08:38:00.000-07:00

Sunday April 18th, 2010 11:00 AM SLT at Pixel Hill's Water Stage

Call the Neighbors , wake the children Zorch's latest MP3 collection is on the way.

Me and My Monkey

A voice and guitar re-interpretation of 21 Zorch Classics.

1:16 AM
Dance with me
Dream of Kellswater
Everything
Hold back the wind
If I had a song
Johnny boy
A short song about Hell and Heaven
Sweet taste of home
The conversation wasn't over
The hero, the fool, the king and the poet (aka the Poetry song)
The Passion of me
The popes of redemption
The play
the way you love
The yelling man
Twisted Love song
Walls of love
Wanting you is EZ
We all fall down
You talk a lot of shit for a one eyed fat man

The release party will start 11:00 am slt Sunday, April 18th, 2010. The Venue, Pixel hill's Waterstage.
Zorch will perform all the songs from the collection live, and time permitting maybe a few new songs. Note, the play time for the collection is 1:24:46, So expect two hours of EPIC Zorchtastic goodness.

Concurrent with the release date, ZorchBoom.com will be featuring the full play list from “Me and My Monkey”. Feel free to preview before you buy. The collection is also available for purchase at ZorchBoom.com, as well as in world.

Imaginary Frequently Asked Questions about “Me and My Monkey”.

Q. Since all these songs are already available, isn't this a scam?

A. Well you could look at it that way, and I'm sure some will. But the collections featuring the older songs is about to go... out of print (?). “Black and White” and “White and Black” will both be deleted from the Zorch Catalog.

There are several reasons for this deletion. They both have classic songs, and what has been proven over time as superfluous songs. When I say superfluous, I simply mean I don't feature them in the live show very often. The performances have changed over time, and over time my live sound has improved dramatically. “Me and My Monkey” is in essence a live recording with out an audience listening during the recording.

The value of “Me and My Monkey” is it give the listeners a chance to own better recordings of some of the songs that have managed to stay part of the live show for in some cases two years.

Many people are actually unaware of the vast number of collections available at the Zorch Center. I try to keep the number of available collections I carry with me from show to show manageable. Even still I have to wonder how many people feel overwhelmed by the the choices on my humble click pile.

To sum it up. Classic songs, the classic “Zorch sound”, inspired performances and price that factors in around L$100 per-song.

If that is a scam... I'll buy in. But I already have a copy of “Me and My Monkey”.

Q. Are there any new songs on “Me and My Monkey”?

A. Suffice it to say there are two songs that have never been available on any collection. They aren't chronologically speaking new, and have been part of the live show play list for a while.

Fuck you

2010-04-10T09:04:00.000-07:00

Wait perhaps that title might seem a bit negative.

Goodness, what will people think? What will people say?

There is an old saying, “Keep your friends close, and you enemies closer”. Most people smile knowingly when this is said, but they are really missing the point. That point being your closer enemies provide you with a protective cushion from the relentless daggers of those whom insist they are friends, and you won't feel all that bad when one of you enemies takes a misdirected blade.

The other day a “So-called” friend informed me she had something to talk to me about. What she really meant was, “We need to talk”. Had she said “We need to talk” I would have been properly warned and avoided her until something shiny distracted her. I would have been living in that more perfect world I long for.

When we finally started communicating (one sided), she had informed me that EVERYBODY in the music community hates me. My friends think I'm an asshole, and I'm too negative.

Gee thanks friend, but you forgot, “I hope you die of aids”.

Of course it might seem like everybody in the music community hates me, because I say a the majority of performers in Second Life suck, and most are so well aware of their short comings they KNOW I'm talking about them.

I also insist most of the self proclaimed experts are full of shit. The movers and shakers in Second Life music are nothing more then fart bubbles in a very small pond.

As for my friends thinking I'm an asshole... well sometimes I am. When it comes to friendship, I'm open to the concept. But I've given up on trying to provide people what they expect from our friendship because I'm never sure what they expect, and some expectations are unreasonable. They are quite welcome to what I have to offer, but expecting more will leave them disappointed.

Am I too negative? Hell no. Sometimes I'm quite positive, but I do negative songs as well. It's called being well rounded. Being honest. Being an artist.

I feel I should state emphatically, I've never intended to become more Popular then the quality of my music could make me. Unnamed people speaking evil of me either have never heard my music, or don't care about the quality of music.

I show up on time, play the best show I can every time, and even when it's not my BEST show it's still vastly better then 98% of the crap posing as music on Second Life. I treat venue owners with courtesy and suggest people stay to watch the act following me no matter how bad they are. I encourage people to tip and vote for the venues and have a pretty solid working relationship everywhere I play.

My more controversial opinions are only expressed on this blog, and perhaps on the Zorch-cast. I'm not a forum troll and I don't start fights in group chats.

I don't even hang out in Second Life, I come to get ready for shows and then play them, then it's back to the warm comforting embrace of real life.

Why do I elicit such strong emotions from people I don't even know? And why do “So-called Friends” insist on telling me that EVERYBODY in the Second Life Music Community hates me? And most important of all..... why do I just not care?

I don't care because it doesn't matter. It doesn't matter because it doesn't effect the music. My music is great and I'm sure when I die everybody will talking about just how great it was. Of course I won't hear them saying that, but I don't need to. I already know how great it is.

As for now, people that do love my music are welcome to attend as many shows as they like. Those that find me an abomination to all they love and hold dear are welcome to avoid me in droves. Hey if you really hate me, you can join my group and avoid me with pin point accuracy.

I sit around writing songs, I sit around playing musical instruments, but I've never sat around wondering how to make people like me. Music is all I have to offer. Great music. And if that is not enough.... Fuck you.

Musing

2010-04-09T08:51:00.000-07:00

Today there is no overall arch to the blog, just thinking out loud.

Is less more?

My last few MP3 collections have been pretty big. Nine songs on “Ashes and Dream” and 10 songs on “Shadow and Light”. But the first MP3 collection, Get Zorched had only four songs on it, and it was great. As a matter of fact, “Get Zorched” is one of my all time favorites.

Shorter collection take less time to produce, they cost less to the consumer, and most importantly, they really FOCUS the song selection. I'll admit, there are songs on “Songs in the Key of Green”, “The Sound of Red” and “Shades of Blue” some might consider “Filler”. Yes, they are song I've written, but they are not songs I've played live. I felt at the time as if I was providing people with a more rounded vision of my music. But I don't think they are what the listener was expecting.

The most positive response I've ever gotten from a collection was elicited by “Shadow and Light”. All the songs were performed live, and people had a familiarity with them. “Shadow and Light” also came out in a timely manner so people were not burned out of hearing the songs over and over.

What am I saying here? Well to sum it up, I might be releasing shorter collections but more frequently. Yesterday I overheard somebody commenting they were looking forward to the MP3 collection that had “Sweet Taste of Home” and “Mo Anam Cara” on it. “Sweet taste of home” will be on the upcoming “Me and My Monkey” collection and “Mo Anam Cara” will be on the collection following, tentatively entitled “Emotion and Reason” The Monkey should drop before the end of this month.

Me and my big mouth

I hope I'm not letting the cat out of the bag, but speaking in the broadest of terms, a certain SL Artist web based radio show is considering letting me host a call in radio show. In case you are wondering how that would work, no, my phone number will not be part of the program, you would have to call via Skype.

The owner of this web based radio station seems to think I'm funny. Frankly, I've never seen myself at particularly funny, but maybe I'm not paying attention.

Would anybody listen? Would anybody call? And more importantly, would I say something that will get a lot of people pissed off? About the only thing I'm sure of is it would be entertaining... in a train-wreck kind of way.

When a crazy person tells you to duck... you might want to duck

I've been doing a lot of thinking about the way things work, and while Moody is out of her mind, she has figured out at the most superficial level how the Second Life music scene works. Of course the part she understand has more to do with “scene” then with “music”.

Each passing day I care less and less about the trappings of Second Life music. I don't need to puff up my group numbers, and I don't need to write spiffy notices. I'm not suggesting these things are unimportant, but I am suggesting I don't care about doing them.

In my little fantasy world, I come to a venue, turn on the stream and try my best to do the kind of show that makes people hard core believers. And while I'm sure I'm converting a few, faith is a fleeting thing.

Tips matter

It's been reported to me that one long time supporter was belly aching, “Zorch isn't about fun any more, it seems all he cares about is the amount of his tips”. Of course this grumbler said this after attending a show where the artist playing insisted on how he was all about the fun and he was not worried about the tips. That artist was getting a fee... so he could concentrate on the fun.

I have 12 shows booked this week. Only one pays a fee, and that fee is less then half of what most artist charge in Second Life.

If I were a hobbyist as so many Second Life artist are, things would be different. But just different in how it effects my real life. In other words, if I had a Mc Job, and didn't need tips to pay the rent, Tips would still matter.

Why?

Am I some kind of money grubbing freak?

No, simply put, tips are the most genuine display of appreciation an artist can get. Your wicked cool emotes are nothing more then chatter.

When I get to the half way point of a show and look at my tip jar and see L$ 384 there, I'm not feeling very appreciated.

When tips are good, I don't worry about the tips. I feel the love and attempt to give more of myself. Simply put, the better the tips the better I play. I always play the best show I can, but working against the distraction of people under valuing my efforts makes this quite difficult indeed.

When I play live in real life, I make a lot more money then playing in Second Life. In most cases, I'm haired as incidental music. People enjoy it, but they are eating, or drinking, or trying to make a good impression on their date. In Second Life I'm a musician with an international following. I have an impressive discography, and I get a good deal of play on the web based radio stations.

I'm not looking for some magic solution to my situation here, and I'm not trying to guilt anyone in to giving me better tips. But I am saying, Tips matter. They are the most profound way you can show your appreciation of someones efforts.

To those whom tip me very well, thank you and bless you.

Attendance matters

While tiny tips are distracting, audience or one are even more so.

To those of you that don't have a lot of money to spend in Second Life, let me tell you, when you show up it still makes my day. Once again, when I am playing for “Just the host”, I still try to play the best show I can. But it's hard, real hard. Last week, Thursday I played for a audience of one, and Saturday I played for an audience of 78. It's very hit or miss for me. I never seem to turn the corner.

But to those of you that do show up time after time. Thank you and bless you.

It LIVES!!!!!

2010-04-07T08:28:00.000-07:00

Okay things have been somewhat quiet at the old Blog, but when you are up to your ass in alligators it's hard to remember the original job was to drain the swamp.

For the longest time I've intended to update the ZorchBoom.com web site. The last update was concurrent with the release of “Shadow and Light”. Gotta keep things fresh right? Well freshness aside, a while back Imeem, the providers of my playlist sold out to the EVIL that is MySpace, and deleted anything that was not part and parcel of the MUSIC BIDDNESS... meaning my songs. A music page with no music is kind of a waste of time.

I've been diligently been laboring to create my own Flash driven player, but while each version worked, it took a few minuets to load. Nobody wants to wait about. Web sites are all about “Provide me what I want NOW”. So my humble attempts were of no use to me. I was banging my head against the wall and I desperately needed a third party application that would work as Imeem did.

I found such a device via the helpful folks at Google by typing in, “Works like Imeem”. They provided me with several links that were all but useless. But after an few hours of fruitless effort I came across,”Playlist.com”, which seems to have solved my problem.

I spent the better part of this morning creating playlist, uploading songs to my website, and linking them to the players. Bottom line.... the songs are back. Hey, even the Zorch-cast is back.

The website is updated with a fresh new look, and the songs are back, and for the most part I am a happy camper.

Now on to the next project.

I've been working sporadically on my next MP3 collection, a voice and guitar epic entitled, “Me and My Monkey”. This is basically going to be a re-recording of the better songs from “Black and White” and “White and Black”. There will also be two songs I've played for a while live, but never got around to recording included in the collection.

I'm also writing new material for my recording project after “Me and My Monkey”.

Things are moving forward at glacier speeds, but they are moving forward. Expect great things.

Considering heresy

2010-03-30T08:21:00.001-07:00

The things I'm going to talk about here are so unlike what I normally say you may suspect somebody else is writing it. I assure you it's me.

I remember reading something Derrick Silvers said, and keep in mind I'm paraphrasing here. He suggested, your life, your career is more like High School then College. The Popular people do better. People do business with people they know and like. In High School it's all about the social circle you belong to. In college, you gotta work hard to get somewhere.

In other words, if you want to get ahead in life, smile and nod a lot. Hard work is for suckers and while it won't kill you, it won't do you much good.

For a while now I've been a proponent of the concept if people were exposed to good music they would embrace that music. This may be a case where I'm totally wrong.

I've also talked at length about “Unknown factors”, but I could be dealing with an unrecognized factor. That factor being, it's all about the Clique, and while I have stated previously the Second Life music scene is primarily a social phenomena, I now revise that concept with the over arching relevance of the Clique.

In other words, it's not the popularity of an artist that make them sim crashers, it's the appeal of the Clique that has sprung up around them.

Please note I'm not using the word Clique pejoratively here. Just an observation, no judgment inferred.

I'm not saying the Cliques are totally independent of the music involved, however, the music is only part of the equation.

What does this mean for me? Well I'm basically screwed. I'm not appealing Clique fodder. I could work harder but it won't do me any good. No matter how EPIC the show, no matter how profound the performance, it's all for naught. I'm already bigger then I should be.

If it were a matter of hard work, I could be as big as my talent warrants, because I do work hard. But in the big popularity war, I'm showing up with a pointed stick.

Does this sound defeatist? I sincerely hope not. If you are wondering if I'm thinking about quitting, rest assured I'm way too stupid to quit. I'm just lowering my expectations. While I still insist I am the future of music on the grid, I probably won't be appreciated until I'm dead.

How big does “BIG” have to be?

2010-03-20T09:06:00.001-07:00

There is a mindset in Popular music that says big is what you shoot for. You try with every fiber of your being to “Make it”. Get on the Mtv's, the VH1's, the radio, and sell millions of recordings. If you don't sell out stadiums you are just a duffer.

What is popular is good. If it appeals to millions it in and of itself is valid.

This isn't true, never has been. Frank Zappa is a genius, Michael Jackson is a pop star. But even referencing Frank is kind of cheating. How about this, Chance Wayne is the world best Electric guitar player. Have you ever heard of Chance Wayne? Probably not. The people that put hundreds of thousands of dollars worth of promotion money behind “Talent (?)” wouldn't touch him with a 10 meter pole. He's not hip, he's not cool, he's just light years ahead of anybody I've ever heard.

Chance make his living playing venue after venue, and leaving audience dumbstruck. But the simple fact is, without the support of the music industry infrastructure, he'll probably spend the rest of his career doing just that.

But the world is changing, and it's time to re-evaluate just how big, “BIG” needs to be.

But I'm not here to talk about Chance Wayne. I'm here to talk about me.

I have a pretty simple dream. To make a comfortable living doing something I love. Now when I say comfortable living, I'm probably thinking of a number far lower then most people would imagine. I came up with this low number figuring if a man has enough to pay his bills and buy the things he really want by saving up for them, He should be content. If you do something you love, you are already rich.

I don't need to be “BIG”, I just need to be big enough to reach my goals.

I'm currently pulling down an amount which is just shy of halfway to my goal amount. In theory I need become twice as profitable as I am now to make my goal. I'm not sure of the mechanics to do this, but I do understand I need to get a little bit Bigger.

But if there is a point to this entry it would be I don't need to be “BIG” to be successful. I'm not the most popular performer on Second Life, nor am I willing to do the things that might cause that to happen. But I am still the future of music on the grid. Seriously... if you can achieve your goals and avoid doing so by extorting money from people, you've found the goose that lays the golden egg.

Of course, doubling my profitably is a daunting task. But I believe it's attainable without resorting to selling my soul to any kind of Music biz infrastructure. Play a few more Real life shows, find some new listeners to play for, sell a few more MP3 collections and I'm set.

In the end, “BIG” is not as big as it use to be. And that suits me fine.

The sad pathetic tale of “Yet another Lewzer”

2010-03-18T08:38:00.000-07:00

It's safe to say that Second Life has some Quirky people involved with it. It's also a fact that some of the residence are a bit more then quirky, or eccentric, or some other euphemism for not quite right. Some are deeply disturbed.

What is the difference between Quirky and Disturbed? Well disturbed people commit antisocial acts in order to do harm to others. I'm not talking grifers here, they just want to piss on everybody and get a reaction. While annoying most are not sociopaths. The subject for today's story is a full blown sociopath. In a more perfect world this jack ass would already be warming a nice padded room. But I'm not here to editorialize, I'm here to tell a story.

The sad pathetic tale of “Yet another Lewzer”

Now Second Life has Karaoke types, Guitar-e-Okie types, but there is yet another category I've not shared with you. These being the “Grind and Grunters”. To clarify, they play a little gee-tar and sing a bit. They get most of the chords right, remember most of the lyrics and can approximate the melody of any number of shopworn cover songs. On a Grind and Grunters best day, they aspire to mediocrity. Some make it and to others... it remains a dream. Now some Grind and Grunters are very popular, but only with people that don't really give a shit about music. They just want to hear something they recognize, something they are comfortable with.

“Yet another Lewzer” falls into the Grind and Grunters category, at least sometimes. He quits the Second Life music scene frequently, only to return like nothing ever happened. What a tease.

Now I'm not going to use “Yet another Lewzer” Second Life name because I refuse to give him any publicity. Besides, it's not who he is that is important, it's what he's done that make him so sad and pathetic. Frankly if I told you, the vast majority of my reader would have never heard of this guy.

However, just calling him “Yet another Lewzer” could cause you to suppose I'm talking about any number of people. So lets narrow it down a bit by using part of his real life name. His first name is Richard... so let's just call him what he is, a DICK.

I first ran across DICK when he was playing a show before me. I listen for a bit... a very short bit then wrote him off as yet another lewzer, and shut the stream off. As I took the stage I extended to him the kindness I extend to all lewzers and said nothing at all about his performance. If I can't say anything nice I don't say anything at all. I played my normal brilliant set, and then ambled off to the next show thinking nothing at all had transpired out of the ordinary. But something had. I had made an enemy. How did I do this? Well by not lavishing praise on DICK I servilely injured his tender feelings. He vowed REVENGE!!!!

Please note this is true story and I'm not making this shit up.

The second time I saw DICK he was following a rather good musician, and he managed to get small portion of a song down stream before I could react. The song in question, “I touch myself”. At that point he went from being a talentless abortion to a retarded talentless abortion. I snapped off the stream, stood in front of his avatar and poofed out right in front of him. I wasn't being mean, just using my well honed skill of non-verbal communication. The act was my way of saying, “Hey dude, you suck”.

Now merely sucking does not turn you from a Richard to a DICK. You have to work at it, and while he's accomplished nothing significant with his musical pursuits he's managed to prove himself quite a DICK.

Now I feel I should broach the subject of DICK's attempts at REVENGE. I've developed the kind of un-career that is all but revenge proof. God knows I shoot myself in the foot at least a couple times a day. I've made lots of Enemies, most of the time without breaking a sweat. But the people that love my music are not marginal supporters. They put up with my eccentricities because I give them something they access value to, and no matter how bad things get, I soldier on. I'm too stupid to quit, and in the end I'm the only one that can end my musical adventures.

However (and isn't there always a however lurking near by), DICK and I had a friend in common. Notice that is past tense. DICK decided that she could either be DICK's friend or my friend but not both, and when pressed she sided with the person not making ultimatums, me. This further fueled DICK's rage. I had stolen his friend. How dare I? The friend we had in common went from being a friend to being a target, and because of that, I'll simply call her Target from here on out.

DICK is the kind of guy that gets his jolly's tormenting women, and Target had it coming. He bombarded her with hateful threatening message. She responded by putting him on mute, banning him from her land, and sending his e-mail right to the spam box. DICK countered these precautions by creating dozens of Alternative Second Life accounts, and generating new Email account. In each case Target would mute/ send to Spam, only to have yet more accounts generated.

DICK then upped the ante by cobbling together some hateful attack songs and having them posted on “Indie-Spectrum radio”. Nobody but DICK would bother to request them... and he did. It all ended when Fox actually listened to theses songs, and decided the production value was not up to snuff with what he wanted on his radio station. The songs weren't meant to be good, they were just meant to hurt the feelings of his Target.

Now the most current attack on target is as follows. DICK registered her Second Life name as a dot com domain and posted a web site in order to attack her. Target acted with far more maturity then I would have. She just wrote his web host and pointed out the web site was an attack on her and also used several of her songs without permission. In both cases, a violation of terms of service. This cause the offending site to be removed.

What evil did Target do to deserve this kind of harassment?

None whatsoever. She simply decided to ignore the existence of a Male human (I would never call such a person a man, regardless of his age or gender) that proved what a petty spiteful and heinous person he actually is.

Multiple alternative Second Life accounts, numerous Email accounts, posting attack songs and registering a domain name for somebody's avatar are the kind of acts only a seriously disturbed person would do. All these acts to attack a person that has done them no harm, no evil.

And I'm not attacking DICK personally. Just saying these acts are a profound statement on just what kind of person he is. He's sick, deranged, and just between you and I, potentially dangerous.

If I were to disclose DICK second life monicker, most would just say, “who”? But if you did know him, you would be quite shocked. The mask he wears is one of kindness, compassion and he's always willing to give you “Wise counsel”. However, actions speak louder then words. He's a sociopathic nut job that is out of control.

I'm quite sad now. Not because of this tale of woe, but because it's probably more common then it should be. How many fucktards are out there doing this kind bullshit? When all is said and all is done, it's just another sad pathetic tale of “Yet another Lewzer”.

Zorch 3:16 part 2... this time... it's personal

2010-03-15T09:27:00.000-07:00

Well it's one day before my Rez day and to be honest I can't say there is any major event planned to celebrate it.

However, no big deal in Zorch's world is a HUGE deal to anybody else.

Tomorrow marks the release of “Zorch: Retrospective vol 1”, and it's quite a massive collection.
Total running time is 1:43:56 and it requires two CDs should you decide to burn it all to disk.

The song come from 5 previously released collections so if you have been a longstanding Zorch fan there is nothing new here. However, is you are new supporter, and feel a bit overwhelmed by the shear number of collections available this is a good place to catch up.

The songs are as follows.

If I had a song
Real love
Deciding
Pop song one million
One eyed fat man
The Passion of me
The Pipes of redemption
Underground
The Plan
Looking for the cure
Stoopid Rock song
Find myself in sleep
The Hell in my hello
Turn to dust
The Stubborn old man
I'm in Love with Jennifer Wells
Uncle Dan
Howard Roark and Me
Falling from grace
Accident of fate
Close your eyes
Pay no attention
Knave of Hearts
Different
This is the place
So into you
Marital bliss

The songs come from the following collections. “Get Zorched”, “Songs in the key of Green”, “The Sound of Red”, “Shades of Blue” and, “Shadow and Light”.

You may be wondering why songs from “Black and White” and “White and Black” are not included.

Well I plan on re-recording the songs from those collections that have withstood the test of time. That project, a voice and guitar collection entitled “Me and my monkey” will be released in short order. The major reason it won't be ready on 3:16 is because I haven't recorded it yet, and I have a horrible cold. However, as soon as I can sing, I'll be working on it.

While I do consider myself the future of music on the grid, I'm also a rich part of it's legacy. The songs on “Retrospective vol 1” represent a major inroad into selling music via Second Life.

I invite you to stand on the shoulders of a giant and look back for a moment. Then continue to expect great things.

So.... what's the new idea

2010-03-09T09:35:00.000-08:00

A very good friend of mine was talking to another very good friend of me. The one friend said, “I've read Zorch's blog, and I don't see the new idea”. Then she continued, “So.... what is the new idea”.

I think the problem here is she is confusing this project with ones that have happened in the past. Allow me to differentiate.

About three days after I arrived in the wonderful world of Second Life, an organization called, “Music Not Politics” hosted a big huge “Music awareness weekend”. After it was over, the insane women that pushes “Music Not Politics” around like a rusty wheelbarrow full of rancid gopher dung declared the event a smashing success.

She cobbled together some numbers to substantiate the blistering super nova that was the event's glory, but these numbers turned out to be 28% substandard math skills, 23 % fabrication, 43% wishful thinking, and 7% bald face lies. I did make those numbers up and they do add up to 101% but my imagination falls between + or – 1% of “Da Troof”.

Now maybe I'm being a bit harsh calling it an dismal failure. But if the intention was to rise the awareness of live music in Second Life, it was in fact a dismal failure. It did kind of pull the factions in the music community together, kind of.. for a weekend. There were lots of people milling about, and a lot of act performing (???), but a week later, it was business a normal.

Now, the “Music awareness weekend” doesn't have to be a failure, just change the name to the “Music awareness weekend experiment” and you have a resounding success because we have gleaned valuable information on what doesn't work. Of course when you leave a crater the size of “Music awareness weekend”, it can take a while to find the “Black Box”.

So let's compare and contrast the “Music awareness weekend experiment”, with my proposals for “Iconica”.

The “Music awareness weekend experiment” was HUGE. It lasted a weekend (imagine that) and featured every blip on the Second Life music radar. A few were good, most were horrible. Yes it was an accurate reflection of music in Second Life, perhaps that is why so few cared a week later.

Iconica would be good deal shorter, 3 to 4 hours max. Only acts that are Iconic would be featured. This means not only original music, but music that has an unique signature sound. I feel I should point out, the name Iconica refers to the Iconic nature of the music and NOT the Icon status of those performing. Most making the roster are not as popular as they should be. But this is due to the social nature of the Second Life music community, the scope of Iconica is not pandering to the music community, but providing the best possible live music to people that are actually interested in live music outside of the music community.

FUN FACT: Almost every person on the planet enjoys music. Most people love live music, so why it is so marginal in Second Life? Because the vast majority of Second Life music is amateurish, uninteresting, and devoid of talent. Some of the most popular acts in Second Life fall into that amateurish, uninteresting, and devoid of talent category, so when many people stumble into a big event they see a mob of well wishers drooling over some dullard that is going, “ah...ahhhh...ahhhhhhhh.... Stuff”, and figure it's a waste of time.

The “Music awareness weekend experiment” was a big huge media blitz. Ad boards were pimping it all over Second life. People were passing out note cards and packets. They Marketed the crap out of it, then scooped up the crap and sold that as fertilizer. Pump enough pablum and some of it sticks. This gave the event quite a high profile with people already involved with the Second Life music community. But seriously, what is your reaction to spam? Unless it's something you are already interested in, you click the button that makes it go away.

Iconica is promoted via a grassroots collection of Iconic music supporters. The plan is to have 25 “Outreach Liaisons” that simply invite two “Growth Candidates” to the event. A “Growth Candidate” is any person unaware of live music in Second Life, or a person that has decided music in Second Life is a waste of time.

When spam pops up you close the window. When your friend says hello you answer. It's personal. It's NOT a media blitz. Our “Outreach Liaisons” also know the taste and proclivities of their friends. They only have to bring two out to see the show, and we put up the banner that says “Mission accomplished”.

The “Music awareness weekend experiment” was based on a flawed premise, founded firmly in the realm of “Wishful thinking”. It was thought that by performing the proper rote actions, everybody would become aware of music and because music is cool, once they were aware, they would embrace it.

The music scene would BOOM. The event would be a mile stone that all Second Life musical history would reference itself by. It would be the silver bullet that fixes everything.

I don't think I'm founding Iconica on “Wishful thinking”.

I realize that when all is said and done, unless more is done, momentum will die quickly.

But at the very least it's a pro-active step forward. Taking charge rather the sitting by passively and whining about how badly things suck.

The scale of the project is reasonable. The goals I believe are attainable. I'm also convinced a program designed to expand the listener base is what is needed. Even if just one person become excited and involved in Iconic music, that is the first step on a journey of a million miles.

If we should fall, let us fall forward.

Iconica..say it with me

2010-03-06T09:13:00.000-08:00

Iconica is my vision to stimulate listener interest in Second Life. Because it is a vision it's very hard to write about. But I'll take my best shot.

When a Karaoke crooner, or Guitar-e-okie wanker starts a Second Life career, what they do is only possible because of Second Life's proclivity towards embracing a proxy reality. It's not real, it's only a shadow of real talent. It's value is it's “Second Lifeness”. There are even acts that feature no real performance at all. They just play recordings and pretend to be some famous band. I would not call any of this Entertainment, rather more of a diversion. Some “Okie” performers have quite a following, but this is always due more to their ability to be sociable then any actual talent. People are showing support for their friend rather then seeing an act that will enrich their lives at some level.

The next phylum up is the “Lounge singer”. These are generally competent musicians that you might catch at the airport lounge. Their bread and butter consist of playing songs people know and love and not mangling them horribly. Some lounge singer scatter a few original songs in their set. But this is something the listeners indulge rather then enjoy. Lounge singers are pure entertainment. They don't rely on Second Life gimmicks to earn a few Lindens.

The top of the food chain are those performers that are Iconic. Please don't confuse this with performers that drop by and do a 30 minute set at “The Originals”show, some of those playing are Iconic, but scattered in are lounge singers looking for a little validation. Iconic performers not only write their own music, but they have crafted a signature sound and if there were an infrastructure to support in Second Life, they would be the Rock Stars. As a matter of fact, I believe with a little ambition, most could leave Second Life and actually groom success in real life.

While there is entertainment value in Iconic performers, there is something far more profound about them. They create something utterly unique. They are not “Select one from Column A and one from Column B”. They are distinct, original, and talented enough to express the vision they've been gifted with.

The Iconic performers are the future of music in Second Life. They are the real among the fake. The Diamonds among the marble. They are the people that can convince people, Music in Second Life is worthy of their attention.

Bob Dylan, Lou Reed, U2, Frank Zappa, Jimi Hendrix, Hank Williams, Johnny Cash and John Prine are Iconic.

POL Arida, Senjata Witt, Blindboy Gumbo,Strum Diesel, Carmel Daines and Zorch Boomhauer are Iconic as well.

While some might suggest the more popular artist are Iconic, I disagree. Those whom are popular just have a better social structure behind them. They are the big fish in the small pond of Second Life. Few people outside of the social circle care about that social circle. But quite a few people enjoy great music and this is what the Iconic performers have to offer. Those few Iconic performers have what it take to generate excitement and interest in Second Life music with those for whom it's a big fat joke. I would suggest those Iconic few are the edge on the sword towards significant growth in the listener base.

Iconica... say it with me.

What is Iconica? Here is the thumbnail sketch for you.

Iconica is a musical event. The objective of this event is to draw new listeners, or people that have written off music in Second Life as joke into the listener base. The outreach will be preformed by those whom are currently Listeners/Fans of live music in Second Life.

The Iconica event will feature a staff of 25 Listeners/Fans that will operate as “Outreach Liaisons”. Their mission will be simple. They are responsible to bring two “Growth Candidates” to the show. They can bring more if they wish, but the goal is for each Liaison to host two Growth Candidates.

Each Artist will be asked to provide 5 Liaisons, their goal, is to bring two Growth Candidates as well.

This is a variation of the old “Invite a friend to church” gambit.

Iconica is also an Honor. Not like, “It's an Honor to play”, but rather bestowed honor. Any artist of worth can be considered for an Iconica honor. To put it another way, perhaps more understandable, an Honor is like an award, however there are no losers, only winners. And Categories are not exclusive. Example “POL Arida, Outstanding songwriter honoree” and “Senjata Witt, Outstanding songwriter honoree”.

I feel the honor system is more equitable to those deserving honor. Award are for the Popular, honors of for those deserving honor.

I'm well aware what an undertaking this would be. It requires massive effort from a lot of people. But I feel the long range benefit is worth the effort. We need to stimulate listener interest in Second Life, and a larger listener base benefits everybody.

The question now is... whom is up to the task? Who will join in this crusade?

Iconica... say it with me.

What is and what needs to be

2010-03-05T08:47:00.000-08:00

I'm quickly approaching my second Rez day in Second Life, and I've been observing what has been going on for a while. I think I have a good concept of what is going on and what needs to go on.

Everyday new venues open... and then close. Everyday new “Artist (???) show up, and fill the ranks of the open mic venues. The number of live music events in most time slots is well over 40 events (night time push that number up to 80+ events). Just for the record, 10 PM SLT seems to slow down significantly, most of the time you have 3 or 4 events, and some of them are simply mislabeled as “Live music”.

You might think the numerous event might indicate a thriving music scene, but it's just the opposite. This is scene on the path to extinction. The Multitude of Clueless venue operators booking musicians that have nothing to offer an audience are turning the Second life music scene into the Special Olympics of online activity.

I use to think the split between the professional musician and the embarrassing wannabe was about 10/90 %. I currently see it more like 2/98 %. And while things are sliding down the Quality Assurance hill, people that don't and real world marketable skills keep plotting ways to extort money from either the venue owners or there fan base.

And speaking of the fan base, everyday it diminishes as the Diva-esque tirades of people like Manhood Wanker make the concept of supporting live music less and less appealing.

Wrap you mind around this concept for a moment. It's far more appealing to cease an activity that cost you money, then abandon an activity that makes you money. This is why the community supporting Live music is shrinking, and the glut of musical abortions is just about to achieve critical mass.

What needs to happen is a large scale musical evangelism event. We need an event where we can showcase just how good the talent can be in Second Life. Then we need those involved in the community to go forth on to the highways and byways and invite those who are unaware of the music scene, or those that have written it off as a waste of time to give it a shot.

I'm sure minds could be informed. People would get excited, they would want more.

Of course, I'm not interested in Supporting the Second Life Music community as a whole. I can't in do that, most of it sucks ass. But there are artist I would be interested in both presenting and supporting under a brand.

If what I'm suggesting seems sort of elitist to you... you understand me perfectly. I'm interested in presenting the best, most iconic performers in Second Life.

In the Special Olympics everybody plays, everybody wins. In the Un-Special Olympics, only the best of the best play, everybody goes for the gold. The whole world watches.

More to come....

Starting over... Again

2010-03-03T21:46:00.000-08:00

This blog is my attempt to get back in the habit of blogging. I've had my hands full in “Real Life ™ “ for the last few month and I really need to get back on the blogging horse.

Frankly my Un-career in Second Life Music is not going as well as it once did. Most would point to varying factors as you why things are slowing down. But it's clear a good deal of this slump is my own doing. Or more to the point... my lack of doing.

It took me six months to get “Ashes and Dreams” to market. I have a handful of excuses, but no matter what the reason, what ever momentum “Shadow and Light” created was totally dispersed by the time my more current release saw the light of day. Simply put you snooze you loose.

The lack of update on this blog have probably caused it to drop off most people radar. The blog is a valuable asset to my Un-career because it allows me to express my thoughts in the least oblique fashion and gives people a feeling they know the man behind the cartoon (or even music).

ZorchBoom.com is a mess, the music section doesn't work as it once did, and I need to address that. Time for a redesign perhaps.

Tips are down, about half what they use to be, and fee shows are welcome... but far and few between. Of course I don't troll around looking for shows to play. But that is also a matter of sloth. The few fee shows I play are for sum far lower then most in Second Life. I do pay my bills and feed myself with the money I make in Second Life. I seem to be getting ends to meet, but it's always tight and I have no illusion of security.

When looking for ways to improve my situation, there is one area I don't think I can improve much upon, and that is the music/performances. My show is so tight it squeaks. This should be a good thing, however talent or professionalism as a musician mean little if you don't have the machinery in place that turn musical brilliance into money.

One thing I am doing to improve my situation is playing a show in real life. While it's not a HUGE MONEY show it is money, and frankly between you and I, I'll make more in one real life night then I've made this week in Second Life. However I'm not giving up on Second Life, I'm just diversifying my performance opportunities.

I must do the things that need to be done. I've been letting things slide too long, and this is a major part of my “Job”. I've gotta get good at playing the promotion game. I need to keep interesting things happening around me. I need to get better at working with people.

Now if I do all the things outlined above things will improve and in time get back to where they once were. But where they once were, is still not very lucrative. There is a more profound task before me. One I'll begin to outline in the next blog entry.

Mad schemes, crack pot dreams and I do update the blog now and then

2009-12-21T04:12:00.000-08:00

Okay the blog has been a little bit dormant as of late, but all volcanoes erupt eventually (I'm looking at you Vesuvius). I figured it would be a good time to get everybody up to speed on what I've been up to and what I plan to be up to.

Frankly I've not been up to much. I'm a bit mind locked and going though a lot of personal change/growth. I do manage to make my shows... most of the time. But I've been a little bit depressed and not feeling all that ambitious. My personal life has been a train-wreck, but it's improving slowly but surely.

I do have a new collection in the works. But work is crawling along. It it very hard to work in the shadow of my last collection. In my humble and correct opinion “Shadow and Light” is my best work to date, yet I hope to surpass it.

Because people seem to be interested in what songs will be included on the next collection, let me give you the line up.

Lament of Ashes
Am I dreaming
Hell hounds on my trail
Starting over
Dance of the Edge of a Sword
Da Troof
The Path
Snake Charm Dance

In other news. I'm also planning a “Retrospective” release for 2010. This will include songs from, “Get Zorched”,”Songs in the Key of Green”, “The Sound of Red”, “Shades of Blue” and “Shadow and Light”. This will give new comers to the Zorch Experience a chance to get up to speed. If you are wondering why no songs from “Black and White” and “White and Black” are being included, well... let me give you the skinny on that.

I plan on yet another release, in which I re-record the songs from “Black and White” and “White and Black” that have evolved in to repertory standards. These will be just voice and guitar. But I feel both my sound and performances of these song has improved to the point a newer version is warranted. Once the new recording is available “Black and White” and “White and Black” will be deleted from the Zorch Catalog and no longer available for purchase

I also need to start playing some real life shows, and while I'm looking into local venues open to my kind of performances, odds are I'll end up on the road from time to time and perhaps I could end up in a city near you.

1,000 show and counting

2009-10-22T13:18:00.001-07:00

In all honesty this entry is a bit late. Last night was show number 1,004. However, a single show is not as important as what it represents.

The New Epoch of Zorch.

Things are about to change drastically and this is not due simply to the number of shows I've played. My life... my real life is in a state of flux, and I'm finding my way to the path I will take. While I do intend to continue my musical adventures in Second Life, I am leaning I was correct in my estimation that one could not earn a living playing on Second Life.

Now for the record, I do mange to feed myself and keep a roof over my head, but who want to live the rest of their lives that way.

I'm looking into way of doing some limited touring, and playing house concerts or listening room. While on the road, I intend to maintain my online presence in Second Life and play shows online when I'm not playing them in real life.

Sort of a Hybrid tour.

The reason the touring is going to be limited is because I do plan to be home for each and every weekend I can spend with my Daughter. She is the priority in my life.

So with any luck, I may be coming to a town near you. Hope you can come out and enjoy a show in person. This is not an immediate development, and I won't be hitting to road tomorrow morning, but the wheels are already turning.

I will be continuing playing shows in Second Life, I'll be releasing my next collection in November, but I am looking toward the future and moving with purpose. I thought I would take a moment to share my plans with you, and I thank you for all the support thought out the first Epoch of Zorch.

And then the story gets WEIRD

2009-10-12T23:22:00.001-07:00

I put a lot of hard work into my name.

As I write this entry, I've Logged 983 shows in Second Life, released seven mp3 collections (not including live, compilation, and story teller collections), and manage to write a somewhat amusing blog about my musical adventures in Second life.

I work hard to bring value to my name, and because of that investment I deserve to reap the benefits of my name. I'm the one that made it worth something.

The People at “Stream Scene” (cue laugh track), seem to think they can use anybodies name however they see fit to make a few Lindens. This is fundamentally wrong, Ethically reprehensible, and actually illegal.

Now let me say this. If they were just having a popularity contest it would be lame. But when you charge people to both nominate and vote for people, it's a scam.

THE STREAM SCENE AWARDS ARE A SCAM.

This is all about squeezing a few Lindens out of the small but excitable music community, and since this is all about COMMUNITY (Yippy wholesome family values) they seem to feel they have Cart Blanche to do whatever they see fit.

I sent Twisted Ruggles a Note card asking to be removed. She informed me THEY didn't nominate me the COMMUNITY did. Then she told me what a hateful personality I had and yadda yadda blah blah. Suffice it to say, she said they would remove my name from the list.

Expected and yeah... that's good.

Then it gets WEIRD.

Then... I get a note from the “BIG WIG” at Lame ass inter-web broadcasting and he informs me, There is no way to know what avatar nominated me, so there was no way to refund their money. This is how I found out nominations were paid for.

I wasn't nominated by THE COMMUNITY at all. Some faceless Avatar nominated me, and paid good money to do so.

I would like to thank Faceless Avatar for their considerations, but if you want to tell me you think I'm spiffy just give me a tip. I'll thank you for that as well.

Since my blog about the subjects, some heavy hitters have been nominated. Like Miles Davis.. and Satan. Crap... how did they find out my real life identity.

Of course Stream Scene accepted the nominations and the fees those nominations incurred.

Currently one of the nominees is sending out a note card to the other nominees, informing them about their nomination and inviting them to consider opting out. No... it's not me.

Now let me ask you this. If they don't know who nominated me... or anyone else. What kind of validation are they going to have during the voting?

Probably none whatsoever and all that really matters is the money coming in. I'm sure every vote will be paid for.

Hey, doesn't the term “Every vote paid for” give you a really bad feeling?

I predict there will be an award given. Not everyone will opt out simply because many of the people in second life require the validation an award... or even a nomination brings.

I'm very sure Manhood Wanker will activate his drones to lead him to GLORIOUS VICTORY. Because he's the kind of guy that needs “Stream Scene Music Award Winner” on his resume to make him feel like he has a dick.

I already have a dick, I have great music and to some people I'm one of their Favorite Second Life musicians. I never pretend to be mainstream or popular. But what I have, I've earned the hard way, but working for it.

And one of my proudest possessions is my name.

I am Zorch and I am the future of music in Second Life... and so humble.

It's a slap in the face just to be nominated

2009-10-11T16:42:00.000-07:00

For those of you that are new to this Blog, allow me to inform you on my stance toward Music awards doled out in Second Life. They are all bullshit. They have nothing to do with determining the best and have everything to do with establishing an orthodoxy.

Of course all awards are about establishing orthodoxy. Even the Noble Prize says they get to determine whom made the most significant advances in a given field, and frankly those in the know are pretty suspect of endorsement of the Noble Prize committee.

Currently a Unknown (for the most part), web show, The Stream Scene is hosting awards, and by some fluke, I seem to be nominated for “Favorite Pop Artist”. How that happened I don't have a clue. I could classify my music by many labels but POP would not be one of them. I would not have known about this nomination if I was not informed by a nominee for “Favorite Folk Artist”,and I've never heard her sing one folk song.

I did check out the nominee page and found it to be full of errors.

Peregrine Singh is nominated for several categories. However Peregrine, in a fit of drama deleted his account moths ago. WTF?

Favorite Band features “Friendly Fire” Nominated twice in the same category. Very professional.

Favorite Song writer/composer lacks the inclusion of Second Life's best songwriter... Me, and includes Von Johin whom as far as I know, only plays covers.

Favorite Reggae Artist includes Russell Eponym, and I can't imagine why. I've seen Russell's show a bunch of times and I've never heard any Reggae. Even if he did one reggae song while I was not looking, would that make him a reggae artist?

Manhood Wanker is nominated for everything he's remotely qualified for, and frankly I think he'll win. Not because he's good mind you, but anybody stupid enough to support Manhood Wanker is stupid enough to spend 30 L$ per vote to show their LOVE.

Yes... it cost money to vote.

So when they put my name on their list, they are using my cache to put linden in their pockets. That is exploitation, they do not have my permission to use my name.

The Stream Scene is an embarrassment to anybody interested in music. Their show consist of the worse kind of fluff from people that don't have a clue what journalism is, or what is entertaining to watch. The Stream Scene takes all that is banal about Second Life music and passes it though a bland filter. Yes I was featured on the show once, I agreed to do it before I realized what I was agreeing to, and the end results was, “Zork (yes they called me Zork the whole time) has a clear bright voice and dresses like a pirate”. I changed my look drastically after that show in hopes people would think they were actually talking about some guy named Zork.

I intend to get my name off the list if I can. If they refuse, I'll get my lawyers on it. And if you support me DO NOT vote for me. This is probably the biggests indignity visited upon me during my Non-career in Second Life music.

A call to ACTION... or another crack pot scheme

2009-09-20T11:34:00.000-07:00

Action is required to solve a problem, nothing fixes itself.

Allow me to define the problem. Not enough of the resident in Second Life are interested in Live music. This is, in my very correct opinion the primary problem impeding the growth of the live music scene.

The ratio between performers and audience is wildly disproportionate. Just about anybody can be a performer in Second Life, just go to the average “Open Mic” even and marvel at how low the bar is set.

There are long standing performers that absolutely suck ass. Some ever even popular but not because they are good, it's because they have lots of friend and “Play the game” well. Now when I say Popular, I'm talking about 100 or 200 people popular.

This is a rather myopic form of popularity. If you play on a sim with a limit of 45 avatars, you can seem like freaking Elvis with 100 die hard supporters. But to create a boom economy that would support the more mercenary schemes some people seem to hatch would require a larger market, or more simply put, more residents interested in Live Music.

What action must be taken to build a lager population of music supporters ?

If it where possible for one person to make a difference I would already be taking steps to change things. But no single person has the resource to raise the profile of live music in Second Life. Allow me to suggest steps that can be taken to improve our visibility, and address them to the group that must take the steps.

Listeners

Believe it or not, listeners are the most influential and populous arm of the music community. The Listener to performer ratio is about 8 to 1, and the vast majority of Venue operators also fall into the Listener category. What can listeners do?

Invite a friend.

I mention this at every show I play. Notices, note card, bios, are all a bunch of bullshit compared to the power of an individual sending an IM saying, “You gotta check this act out”. I know I have a new group member that is very excited about my shows and invites her friends. I know about this because one of the friends she invited told me she had invited him. This actually works, and so much effort is spent on rituals like spam that do almost nothing. If you invite a friend, and they invite a friend... and so on.. and so on.. things grow.

Go public with your passion.

I've seen a few venues spamming, “if you love live music write about it on your Face book/ MySpace/Blog”. This is a freaking brilliant idea. I personally love underground media. Most of the more established outlets on music reportage in Second Life are frankly a waste of bandwidth. Lot of coverage is people that are POPULAR rather then good. Traci Nubalo has a Blog called “The Word” and it's one of the best written and passionate Blogs I can think of.

http://tracinubalo-theword.blogspot.com/

Tip and Vote

The majority of the mercenary hub-bub revolves around money and support. Any tip is better then no tip at all. I've personally never had a show that I walked away from without something in the tip jar (unless it was a charity show), the way some people carry on you might think they can't say that.

When I say, “Tipping the venue is supporting Live music in Second Life” I mean every syllable. Tier Fees are a real, and every L$ you give means a little less of a bite out of the venue operators pocket.

If you have Lindens, please tip and if you don't please click on the “Vote” box. Hey even if you do tip the venue it doesn't hurt to click the vote box. Show some support.

In my case, I pay my meager bills with meager Second Life earnings. Simply put, if you tip me well I eat better. I have one supporter that tips me 13 L$ every show, and I'm remarkably grateful for it. While I would not mind larger tip... it all adds up.

The Venue Operators

First off let me state my policy concerning fees. If someone ask me what my fee is, I tell them whatever they find reasonable I'm comfortable with. I don't turn away shows that are tips only.

That being said, when a show is “tips only”, for goodness sake, it's the venue operators responsibility to do everything possible to ensure the largest audience possible for the Performer that is taking a gamble on the generosity of the crowd.

The simplest and most effective way of drawing a crowd is to post the event in “Live Music Events” at the Second Life web site. This ends up in world and most people browse the events listing to find a show to attend. If you don't list the event, it's like it's not even happening to most people in Second Life.

The word “Professional” get bounced around a lot in Second Life. But before we get to the realm of “Professionalism” we need to come to grips with competency.

Operating a venue in theory is easy. Let the performer do his or her job, and make sure the people that want to be there can be there and enjoy the show. Of course in practice, it can get a little complicated. But keep at it and your rewards will be great... I think.

The Performers.

While the Listeners make up the biggest part of the music scene, performers bare an awesome responsibility for making the scene grow.

Don't suck.

Seems simple, but some guys just can't get their heads around this idea. I could point fingers and name names, but if you are a performer and are wondering if I'm talking about you... quit. Something inside you is already telling you that you suck. People lack confidence because they have nothing to be confident in.

I never for a moment doubt the worth of what I do. But I also constantly strive to move forward as an artist.

When a performer sucks and continues to perform, he takes a slot on “Live music events” and due to some fluke of fate, somebody ends up at a concert and decided the whole music scene in Second Life is a waste of time.

Speaking of quitting, if you quit... stay quit.

You were right, you don't belong here or anywhere else in music. I'm not talking about people that take a break. That is understandable. One of the all time GREATS in Second life music took a break, and came back breathing fire. That is a world away from the lewzer that quit because they get their panties in a wad, then come back.

Lots of people need to quit in order for the probability of some one ending up at a concert that might convince them Second Life music is worth their attention.

Build a following one listener at a time.

There are so many harebrained schemes for building a following you gotta wonder what the fuck people are thinking. The old fashion way is playing your ass off. When you get in front of a pair of fresh ears be ready to “make them a believer”.

Every show brang it.
If there are two people there, brang it.

I know you want a shortcut, but there isn't one. Impress the new listeners and challenge the veteran listeners.

Take risks

I know one hack that has been playing the same songs since I first saw him over a year ago. He's been grinding away on Second Life forever so he's got a lot of friends. But he bores the crap out of me. When you play the same shit over and over you are going to get bored, and people don't find boredom very interesting.

Be a ROCKSTAR

I'm a ROCKSTAR on Second Life. I act like one. Perception is reality. If you don't have much talent, be everybody's friend. But if you have something of worth, be a Second Life ROCKSTAR.

Please note I'm not saying be a DICK, but rather be a ROCKSTAR.

Put yourself in the shoes of somebody that is attending his or her first live music event in Second Life.

“Everybody's friend” is playing, and he's going “Stuck in the middle with... hey Sally how you doing..You.. thank you for the tip BigEnoch... Stuck in the middle of my second life with... Hey Marko how is your foot feeling... with YOOOOOUUU”.

Yes the people on the “Inside” feel accommodated but to the new potential listener, they are thinking “Everybody's friend” is a goofball.. if you are lucky.

The same potential listener at a ROCKSTAR'S show, hears a song done front to back played well, No personal greetings mid song and tips are acknowledged between songs. To put the audience first a ROCKSTAR puts the music first.

Talent, passion, drive, and a massive ego are the building blocks of a ROCKSTAR, and frankly people are more impressed with ROCKSTARS then with Everybody's friend.

I personally attempt to be accessible while being a ROCKSTAR, and that accessibility is a large part of the charm of Second Life.

And finally put the music first.

There is so much bullshit going on in Second Life. So much drama it almost seems like drama season. To keep you head screwed on tight, keep your focus on the music.

I came here to play music. I wish to see the music scene blossom. Personally I'm putting music first and I suggest any performer worth their salt do the same.

Action can address the problem... or we can do what we are doing now. Things that don't work.

A call to reason... or another nut-job manifesto

2009-09-09T00:18:00.000-07:00

Everybody talks about the weather but nobody does anything about it.

I've been poking holes in the fantasies of the “whiny ass bitches” for a few days now. As fun as that may be, it's not very productive. It's easy... and fun to point and mock, but unless you provide an alternative to the madness, and give the crazies a target to point at and mock , it kind of rings hollow.

I feel I should mention at the outset, I'm not a socialist or an altruist, or some mad bohemian burning my precious manuscript to keep warm in the bitter winter. I do support myself via the money I earn in Second Life. I've committed to this and intend to do all I can to be successful.

Let's take a moment to speak of the madness of Manhood Wanker and his merry band of fucktards.

The basic drift of their scheme is to extort more money out of the existing population of music supporters. While this may seem like a huge oversimplification of their proposal... it's not. That is in in a nutshell.

The reason it seems to have so much support is simply because it's a plan that many wish would work. Performers, venue operators and management types all wish they could make enough money off this Second Life music stuff to live like Rock stars in their first life.

However the plan... hell it's not really a plan it's more like wishful thinking, has no basis in practical application.

Manhood Wanker seems to think if you call something “Quality” and or “Professional” and then charge money for it people will line up to give you, and anybody involved in your pixie dust fueled enterprise mega money.

While only in the Hyperbole/Bullshit stage, it has already managed to fragment the tiny Second Life music community. While the people in fantasy land, expecting a big pay off support it, the long standing supporters of live music, whom have willing supplied attention and money are feeling somewhat disenfranchised.

I understand that feeling. I have to wonder why Manhood Wanker and his merry band of fucktards can't?

Let me share two numbers with you. I've heard and estimate that there are about 2,500 active music supporters in Second Life. I've also been told there are about 300 “Acts”. I'm inclined to think both numbers are reasonable reflections of the situation. This basically breaks down to a Performer/Listener ration of 8.33 to 1.

When you talk about supply and demand, does less then nine consumers to every supplier sound like a booming economy?

Of course, most of the 300 performers are not “Quality” or “Professional”. So lets say 100 performers have either talent or a personality that can draw a crowd. This makes the Performer/Listener ratio 25 to 1. Not even enough to max out a sim.

While I admit all these figures are abstractions, they still represent a very concert truth. The population of music supporters is not big enough to underwrite a supply and demand economy.

It's madness.

Now lets talk about reason.

The most prudent course of action is to take steps to build the numbers of residents interested in Live music in Second Life.

Lets imagine for a moment, 10,000 music supporters in Second Life. Suddenly the Performer/Listener ratio is 100 to 1. Suddenly the Avatar Limit on Sims becomes a deciding economic force. Only 40 people can get it, you can insist of a cover charge. And the 60 listeners that could not get into one show can enjoy another.

So how do we make the listener population grow?

Filters and Brands.

The lack of Filters in Second Life have hamstrung the growth of the community at least as long as I have been here. Lots of questionable talent gets booked due more to Social connections they actual worth.

In real life, you audition for the bar owner down the street, he doesn't care who you know, or what indignities life has brought your way. All he cares about is, can you sell beer? If you suck you'll drive costumers out the door. He doesn't even really care if you are good, all he cares about is making money off your talent.

He has an agenda. Sell beer, make money.

We need to have an agenda. Present music, get people interested in Live music.

Our filter needs to direct us towards our agenda if we want to grow. However Filters have a auxiliary function. Establishing a brand.

Coke-a-cola, Metallica, Adult Swim, Playboy, MTV are all brands. Just the name means something. All have use filters to develop those meanings.

What does Coke taste like?

What kind of Music does Metallica play?

What are you going to see in the middle of Playboy Magazine?

Consistent filtering establish a brand.

A great example of a brand that has used Filtering to become successful in Second Life would be “The Originals”. Once a month, you get a full schedule of originals songs, presented life. It is so successful that some lewzer is trying to steal it. The real “The Originals” with Harrie the rock chick running the show is a SMASH hit and proof that Brands work when they mean something.

The Originals is chocked full of Brands. It was started by POL Arida (the man, the myth, the kilt wearing vodka swilling Icon of Second Life music) then taken over by Harrie THE rock chick, Skjellerup of pixel hill fame, with a live broadcast provided by Indie Spectrum Radio yet another Second Life Brand.

The show is consistently compelling and draws a HUGE crowd.

The filter is simple enough. 30 minuet set of all original material. People know what to expect and have no reason to request “Wonderwall”.

While I'm not addressing how we jump the gap to reach those new listeners, I do know the filters and brands need to be in place before we are even ready to approach that issue.

Keep in mind, brands and filters don't need to revolve around one kind of music or performance. You can have a “Quality/Professional” brand, a “Guitar-raoke” brand, and a “Not very talented but nice guys” brand.

Once people understand what the filters provide and know the brands that use those filters, it's a simple matter to reach the audience that seeks the performance each brand provides.

Allow me to sum up my argument with a little pseudo algebra.

Money+ because I want money= failure and damage to the community that already supports live music.

Growth + Filters+ Brands= a boom economy, more money for those that have what the market demands, and only enriches the community that already supports live music.

Don't mean a thing but a chicken wing

2009-09-07T21:51:00.001-07:00

I open my mail box today and got a bunch of weirdness in the form of offline messages from Second Life. More cancellations of shows (seems to be a rash of cancellations, not just me...whole dates blacked out). Then a inventory offer for Live Venue Owners Meeting parts 1-3.

Awww crap.

This was one of those Copy and paste Chat text, while I did log on to find out what it was, I didn't read it. The reason I didn't read it was because I know how I feel after reading things like that. I find it hard not to view people as enemies trying to destroy the best way I've ever found to make money playing music.

The personality driving this conversation is a fellow named “Mankind Tracer”. Holy crap Zorch mentioned a name!!! Yeah, this is going to get personal and I'm going to take sides.

I've never heard the music of Mankind Tracer, and I've never wanted to. The first time I became acquainted with the name was during an anecdote a music super fan related to me. Seems she was attending one of Mankind's shows and some fellow gave him a tip and Mankind the amount of the donation insulting. So he publicly berated the errant tipster.

Now for the record, I have said “Thank you for the tip, now my mom can get that operation” before. But that is still thanking someone for their tip * smirk *.

The super fan that related the story decided after that display she didn't need to give any further attention to Mankind Tracer... and I saw that decision so reasonable I've avoided his shows as well.

The second time I heard about Tracer, was while viewing one of those Internet TV shows about the Second Life music scene. The cartoon lady informed me “Tracer plays his guitar with precision and his voice was making all the women melt. He's got a new CD coming out that will feature his songs and some of his more popular covers”.

The fact he was going to release a CD with covers on it says so very much about him. He doesn't have the confidence or material to fill a single CD? What a lewzer.

I have to wonder if Tracer paid the mechanical rights for the songs he covered to the people with talent that wrote the songs?

But to put things in perspective, Mankind Tracer is a worthy target of open hostility. He's become the bloated twisted personification of every whiny fucktard that has bitched about the amount of money they DON'T make in Second Life. But as bad as that is, he's managed to transform himself with a gesture into... The Anti-Zorch.

He is the flaccid disease ridden dimple dick to my glorious erect MEGA WANG. I am the creative genius to his parasitic looter. He is the Ellsworth Toohey to my Howard Roark. He is a arrogant bastard and I am THE Arrogant Bastard. I am the artistic visionary seeking to elevate my art and enrich people lives through song and he is the greedy fucktard seeking to shake a few more pennies out of the people with musical taste stunted enough to consider him listenable.

Now some people have a “Can't we all just get along” mentality and I'm sure they are upset now. But let me make it clear I don't hate Mankind Tracer, I just hate what he's chosen to stand for. And because I hate what he stands for, I hope he gets a rabid badger lodged in his anus.

But lets step back from the personalities for a moment and get some perspective on this issue.

People have been plotting ways to extort money (or maybe I should say more money because I've never started a stream without some money being earned) from people for live, or semi live performances since I came to Second Life. None of them work because it's a free system an as long as people choose to play for tips and an occasional fee, there are going to be options for listeners.

Those screaming the most about their value constantly threaten to go back to real life if people don't compensate them as they see fit. This is bullshit, plain and simple. Streaming music on Second Life is very profitable even if you play only for tips. I could not book my act in real life with out major concessions (read cover songs), I get paid to play the music I love every day and my overhead is almost non-existent.

The people making the most noise seem to feel they in a position to dictate terms. They aren't. The simple fact is even in Second Life, people have to find value in what you do in order to get paid for it. Talent doesn't call the shots, Listeners do.

In time this will all fade away. The rules are in place, and changing the rules is not playing fair.

Footnote: PLEASE don't send me Copy and Paste conversations. I've heard all the vapid arguments ad infinitum and see no valid points being made. It's all magical thinking.

Slaves vs. Freemen

2009-09-06T15:56:00.000-07:00

A while back, an artist know as “Prince” became “The artist formerly known as Prince”. Some speculate the reason for him changing his name to an unpronounceable symbol was to protest the treatment his record company inflicted upon him.

During one press conference he appeared with the word “Slave” written on his cheek (the one on his face thank you very much). While he didn't comment on the reason for placing that word on his face, most got the meaning loud and clear.

But wait... isn't Prince and or The artist formerly known as Prince some kind of millionaire? Yes indeed he is. But he was upset because while he generated a huge amount of money for his company he only got a small percent of that money.

Price was only a millionaire because he generated billions of dollars for the industry he is involved with. Da Music Biz.

Simply stated, the music industry (the real music industry NOT what passes for a music industry in Second Life) is quite possibly the most exploitive industries devised by man. The average percentage for a piece worker in a sweat shop is higher then standard boiler plate recording contract most new artist sign.

Nine out of ten new artist fail to earn back the advance on their first recording. But even the failures, people that never see one dime from sales earn on average 80,000,000$ for their record company (these figures reflect Major recording industries artist not “Indie” record companies).

If you think I'm making this stuff up, I recommend the book “Confessions of a record producers”. It's a very detailed expose of where the money goes, and hardly any of it ends up in the artist pocket.

Now you may wonder why I bring this up in a blog about Second Life music.

Simple. What passes for a music scene in second life is nothing at all like the real music business. Just about every venue operates at a loss, and most musicians get to keep all they earn.

We performers in Second Life are freemen in a world of slaves. And while I can't speak for everybody, the donation economy works well for me. I also release my own recording and get to keep every penny I earn. I've covered all my operating overhead via my musical adventures in Second Life, and at this point support myself via my tips,fees and sales.

Now the people contending to create a new more profitable music industry in Second Life suggest they are somehow more skilled and professional then this humble song smith. In their eyes I'm a enthusiastic amateur. But why is the enthusiastic amateur thriving in his donation based economy? Because people find value in what I do. The people that choose to pay me a fee find value in what I do as well.

The performers in Second Life have dodged a bullet by not really being profitable enough to exploit.

FREEEEEEEEEEEEEDOM!!!!!!!!!!!!!!!!!!

The Folly of Co-op thinking

2009-09-04T22:37:00.000-07:00

Hey, Cooperation is a beautiful thing. You scratch my back, I scratch yours. It's all good in the hood and don't forget the reach around. Of course something that can be beautiful can also be a grim and twisted effigy of itself.

Recent developments have touted a NEW SYSTEM, where a Co-Op of Performers, Venues and Management types will band together to FORCE people to pay money for musical events. While it didn't mention it specifically, I'm sure pixie dust in a major component of this plan.

Now wait, it gets weirder.

Seems this Co-op is going to Share the imagined wealth from their pixie dust fueled enterprise.

There are a few flaws (actually a plethora of major gaffs) in this gem of an idea.

Aren't the management types suppose to strong arm venues in to paying fee? What the hell do the management types do in this hippie commune of love? Why are they getting a cut? For fucking venue owners over in the past? Is it some kind of Legacy payment?

Aren't all the people involved Prima donna? Don't all ventures centered on self serving retards end in political back biting and grand theatrics?

Don't Co-ops provide the most benefit to the mediocre? Why would Joe MEGA STAR want to share his money with Pete Kind-of-okay? He won't. It's a cut in his paycheck and he's going to wonder off the moment he figure that out. How well will the Co-op do without exceptional talent? Well you can see mediocre everyday for free, so why would you want to pay for it? Perhaps... Pixie dust???

What can a venue offer the a concert attendee that is worth paying for? A bazillion Prim Lights? Free T-shirts? Quality fake sound system? MORE Marshal Stacks? Group messages every 30 seconds till show time? Wait.. you can get all that and more at free venues.

Isn't the primary building block of the current music scene social? And how are the Fan friends going to feel when their performer friends tell them, “You can't hang out with me any more unless you pay me”?

You might accuse me of taking the low road here by poking holes in this idea. But frankly it's a lot of work. Kind of like poking holes in Swiss cheese. Hard to find a place that isn't already a hole.

While I'm confident this can only end in tears for the people involved, I am concerned about how it may color people perceptions of good honest hard working performers like myself.

I'm not a money grubbing bastard. I am arrogant, but you are welcome to listen to my music and tip me as you see fit.. or can afford. When offered fees I accept them, but the majority of my shows are for tips and I don't find issue with that. My supporters are generous and I do make enough to live off from my musical adventures in Second Life.

I'm am not an aberration, as all the people I count as peers find no reason to try and compel payment from their supporters.

Cooperation is a beautiful thing. If people were pulling together to better develop the music scene in Second Life I would support that without hesitation. But to pull together for no other reason then to try to make a few bucks just seems sad and selfish.

These people don't give a shit about music. They only care about what their ego demands.

Repetition is the key to effective communication

2009-09-03T11:40:00.000-07:00

I've said it before and I'm going to say it again, and again, and again until it catches on.

The key to growth in the Second Life music scene is significant penetration into the general population of residents.

The mechanism to facilitate this significant penetration is quality music.

You'll get more blood out of an elephant then a mouse, but so many dreamers seem to be willing to invest a lot of time Imagineering just how to best bleed a mouse.

The logic behind my supposition is so solid, I'm dumbstruck that people seem to NOT understand it.

Right now they are trying to develop a method to force people to pay for a service that the vast majority of the residents show no interest in when it's free. Does this encourage growth? No. It's a major impediment to growth.

Another analogy would be, imagine a guy tossing some seeds around on the ground. Some take root and produce fruit. Most die on the ground. But the guy is so happy with the three or four tomatoes he gets he shouts “I is a farmer”!

Of course, if he tilled the soil, use fertilizer and cultivated his crops, he would have enough to feed his family and a surplus to sell off for “Real money money”. He would be a real farmer.

I'm convinced the donation based economy could be viable. The reason it's so hit or miss now is simply because it lacks quality. Lack of quality turns the venture into the haven of an isolated community. That is what we have now... and that does not support growth.

The best example I could give you for a venue that works would be the Jester Inn. It's probably the most reputable music brand in all of Second Life. Why? Because Harrie only books artist she likes or in my case Loves (in a non-creepy way).

When Harrie took over “The Originals”, the project grew to a major event. Harrie is organized, intelligent and committed to great music. Harrie is, as a venue owner and event organizer what so many people pretend to be. A force for change and growth in Second Life music. Her success is not due to her desire to make a lot of money off music in Second Life. Her success is due to the fact she cares about good music and work so hard to get it in front of people.

Quality music is the mechanism for significant penetration into the general population of residents.

Quality music is the mechanism for significant penetration into the general population of residents.

Quality music is the mechanism for significant penetration into the general population of residents.

Next Blog... the folly of Co-op thinking in the Second life music scene.

The Bigger picture

2009-08-27T20:16:00.000-07:00

On the 27th of August, a bold and stupid experiment was preformed. Somebody implemented a “Cover charge” system. Of course the boldness of this experiment is somewhat diminished by the fact the cover charge was only one linden.

A journalist friend of mine asked me what I think about this, and I'm pretty sure if you have ever read this blog you already know my feeling on this matter. It's a stupid idea. She did attend the show because the... profiteer/musician running it was going to talk about his bold new plan. When she came back I asked her for any salient details and she said, “He really didn't address the big picture”.

Of course he didn't address the bigger picture. He can see the bigger picture because his head is up his ass. I of course am more then willing to address the grand issues of this matter, but who listens to me? I'm just some eccentric nut job with a blog.... or am I?

Let put the first stone on the table here. Established fact one. Popular does not mean good.

Any Popular artist in Second life is only actually popular with the uber tiny demographic that gives a shit about the music scene in Second Life. The vast majority of residents have already written live music off as a whole. They went to an event and saw some Bozo singing a Karaoke version of butterfly kisses, or some Gee-tar wanker, or some dude who's band was going nowhere so he thought he would give Second life a shot (Hey I know why your band is going nowhere buddy) and said to themselves,”Why bother”.

Why indeed?

Most people don't give a rats ass about the personalities that are held near and dear by the mavens of the Second life music scene.

Second stone on the table, the really good artist don't need a mechanism to separate music lovers from their money.

Maximillion Kleen is SUPER POPULAR. He's a sweetheart of a guy and he's actually good at playing music. Max doesn't mind playing tips only shows. I'm sure he could hold out for fee paying shows but the fact is, Max's fan base is more the willing to tip him. I'm not anywhere near as popular was Max, but my fans do right by me too. I have some fans that are broke and I don't mind that a bit. Enjoy the music and tip me when you can.

Stone three, considering the small slice of the pie the music supporters make up, it's unwise to limit their ability to see you.

Consider also the “Metallica vs Napster” effect. If you appear to be a money grubbing bastard out to squeeze your fans for every penny you can get, you'll lose fans. Nobody in Second Life is as wicked cool as Metallica so I can only see dire consequences.

Now lets count the stones on the table..... three stones... now throw them on the floor because they mean nothing. Instead of stones lets talk about the Bigger Picture.

The real path to actually growth and financial viability is attracting more residents to the music scene. This is something every mad scheme to pry a few Lindens from the faithful over looks. Music is a part of almost every human beings life. Why is it so marginal in Second Life?

Because most people go to a music event and it sucks ass.

The worse thing you could do is put impediment between potential listeners and good quality music. A Fee or cover charge is exactly the kind of roadblock major growth doesn't need. People don't come when it's free what in the world makes you think they are going to check it out if they have to pay?

Every performer with a fan base big enough to think they warrant a cover charge should consider this. Where would you be without the support of the people that came to your shows and tipped you generously? You are basically saying to them “Thanks for the support, I would not be here without you, now PAY UP MOTHER FUCKERS!!!!!”

The real hub of interest for this topic is based around people that feel they deserve more money for what they do. It's not about music,and not about what is good for music in Second Life. It's all about some whiny prick that finds it's so hard to sit in front of their computer a play some music.

This whole thing is magical thinking. If you want something bad enough it's going to happen. Some people need to grow up.

Starting over and continuing

2009-08-25T10:03:00.000-07:00

A while back my personal life was reduced to ash. I'll spare you the details as they are not relevant to the theme of this blog.

I have a new life in a new place and more time to devote to musical matter then I can ever recall before in my life. However I've been spending a lot of time in a mental haze. Adjusting to such a sudden and drastic change can disorient the best of us.

While I might not have my feet under me just yet, I recognize the need to move in that direction. It's time to employ a bit of discipline and work toward furthering my music goal. Perhaps even redefine them.

I plan to start woodsheding on the other instruments I play. Keyboard, Banjo, Dobro, and (Gasp)the electric guitar. While I don't intend to alter the nature of my show to include these instruments, it's good to keep yourself immersed in musical thinking.

I'm also considering a bold experiment in broadcasting a live video show. More information of that as I come up with a reasonable way to go about it.

I'm plotting some wild musical collaborations, but that is tip top secret until the details are hammered out.

The new music collection (remember fall is coming) is already percolating in the back of my mind. The title of the next MP3 collection will be “Ashes and Dreams”.

There has even been talk of an official “Zorch the band” release.

Lots of good ideas and perhaps even time to make some of them happen. All I need to do is settle down a focus. My first step toward getting more done is being more disciplined about updating the blog. So make a habit of checking back.

Signal to Noise

2009-08-22T10:20:00.000-07:00

I'm not referring to a technical specification here,but rather expanding upon a concept in the last entry I made (Tale of Two Quitters).

Perhaps a better tag for this phenomena would be "The Talent to trash ratio".

I'm personally very invested in the Second Life Music scene. While I would never refer to myself as a member of the (Mythical) all inclusive music community, I am one of the performers available to book.

People often sit around and talk about the music scene exploding, and how to go about lighting the fuse. The sad fact of the matter is the majority of people refused to acknowledge the major impediment to significant growth.

The problem really is not a lack of talent as many would suggest. The problem is the glut of questionable talent that swell the ranks of the talent pool. Add to this a never ending cavalcade of clueless venue owners that will book anybody, and you have the musical equivalent of the Special Olympics.

Of course there are people that support the Special Olympics, but you never see updates about it on ESPN.

The only real area of growth is to make inroads toward the general population of residents in Second Life. Just about every human being on earth has an interest in some kind of music. But you'll find there is only a very tiny demographic that loves Crap music. People want something of value even if all they are investing is there time. When you start talking about "Real money money", the value must be greater.

There is incredible talent in Second Life. People that bring to much to every performance. However if you look in the "Live Music Events" section of search, you find a litany of musical turds mixed in with the diamonds.

The path to significant growth is more talent less trash, more signal less noise.

The Tale of Two Quitters

2009-08-21T09:11:00.000-07:00

Once upon a time there were two quitters in the Second life music scene. I'm sure there are more then two, but this is the tale of just two.

Rather then bring personalities into this, let's just call one "Psychotic Genius Quitter" and the other "Psychotic Joe Average Quitter".

They both have so much in common. Both are Psychotic, both bail the moment their itty bitty feelings get hurt and both are such drama Queens they may actually be drama Empresses.

When they come out of retirement... and they always come back, the only difference is you realize you wished the "Psychotic Genius Quitter" could get his shit together because the music is actually good.

When Psychotic Joe Average Quitter make his comeback, and then quits again, outside of the few friends he's managed to embroil in his own personal drama, nobody cares. There is plenty of average to go around.

I wish both quitters, instead of staring at their guitar on it's stand and pondering if the resident of Second life deserve a second, third or fourteenth chance to bask in their musical gifts, would just hone their quitting skills to the point where when they go they stay gone.

While this might sound harsh, and it probably is, I only say it because it's best for the people that actually try and accomplish something interesting in the Second Life Music Scene.

These in and out and then back in again types only ad static to the signal. People that wasted time at either one of the quitters comeback performances would be better served attending the concert of somebody with the balls to keep at it.

So much going on

2009-07-17T07:26:00.000-07:00

The old blog as been kind of quite this month. This is due in part to the fact fewer people are really pissing me off, but the major reason is because I'm so freaking busy. Yes I'm playing a lot of shows, but that is normal for me. The real center of activity is the upcoming release of my next collection of songs.

Shadow and Light

While all my "Collections" have been freaking awesome, this one is defiantly raising the bar. How much better can it be? Well I'm listening to the "Roughs" right now, and even with out "Mixing" and "Mastering" it's awe inspiring.

Before somebody accuses me of hyperbole, let me assure you there are two good reasons for the vast improvement.

My last collection was released on March 16th, my rez day, This is the largest gap between collections ever. In the interim, I've had the opportunity to play theses song live dozens of times. Seems every time I play them I'm doing pre-production in my head.

The secondary reason for the vast improvement in this project is the interaction with other musicians recording it. The re-interpretation of musical ideas can lead to fascinating results.

Great songs with great arrangements make for a great recording. The massive groove is palpable even in the most laid back song. Mark your calendar for August 1st, the release date for "Shadow and Light". It will change your opinion on what music can be in Second Life.

Here is the List for song to be included.

This is the place
Close you eyes and Dream
Accident of Fate
Pay no attention
So into you
Rubber Sky
Different
Knave of hearts
Cynical bastard
Marital Bliss

Of course "Different" has been on the list before and not made the final product. But I think it's ready this time. There are also a few songs I'm thinking about adding if time permits. But for now they are a secret.

This is the first collection planned to be released as a CD, in addition to an MP3 collection. While I have been critical of the business reasoning behind CDs, I'm doing this simply because I can and if I don't sell one, I can absorb the cost of my mistake and still maintain profitability.

The great steam powered air armada.

I have a crazy dream. A while back I built a Venue/Home that is suppose to be a steam powered airship. I call it the "HMS Arrogant Bastard". Shortly after building the big version, I created a smaller version you can actually fly. I've been Flying it around North Norway and having a great time, but I can't help but imagine the sky full of "Mini bastards" and I want to make my dream come true.

On August 1st I plan to stage a fly over of north Norway with as many "Mini bastards" in the air as I can sortie.

Mini bastards are not that hard to fly, and I have no idea how many people would be interested in such and event, but the coolness factor is so high I've gotta give it a shot. I would like to get a video of the fly over, and have "Ride of the Valkeries" playing in the background.

While August 1st will be a busy day, to prepare for it requires a lot of work in July. So if the blog is a bit quieter then normal, don't panic.

I'll have plenty to write about in August.

Some people need a new hobby

2009-07-03T08:11:00.000-07:00

Got a comment submitted today, looked at the entry is was commenting about, could remember writing a entry with the subject title, but I could not remember what the entry was about for the life of me. So I looked for it.

Scroll down the front page... not there. Page back, page back, page back...... (hummm)... page back... ahh September of 2008, and there it is. That is like eleven months back.

Now for someone to have issue with something I said almost a year ago, one of two things had to happen. Either they read backwards every entry until they found something worth bitching about, or some intermediary did that.

I'm inclined to think it's an intermediary because this is not the first time someone has taken issue with a blog entry from antiquity. This means some bored individual has no better motive to read my blog then to report back to people I may have been critical of.

For the record I stand by my criticisms and feel anybody offended by them take a moment to think about my comment.

Lately I've not been naming names and pointing fingers. Just talking about the activity that bug the crap out of me and allowing people to jump to their own conclusions. Most the time those guilty of the offense never see their face in the mirror, so while nobody is "Older but wiser", nobody bothers to post a comment I have to reject.

For the record, the comments are moderated and I won't let anybody make and ass of themselves. That is what public forums are for. Feel free to have a dissenting opinion, but state it intelligently.

Oddly, the majority of crack pot comments come from "Music Management types" (AKA Fucktards). So cutting to the chase, all you guys (and gals, lets not forget ThroughTheseWalls Loony.... er Moody) are a waste of pixels and everybody's time.

Better (!?!?!)

2009-06-25T04:05:00.000-07:00

Sometimes warm fuzzy platitudes get accepted as fact when they are not based in any form of reality. The United States of America is founded on such piffle. "All men are created equal".

Ummmm pardon me, but they are not.

All people are created different, and unless you deny the value of anything they are not equal. Some are stronger, some are smarter, and some are born severely handicapped. There is a massive spectrum of potentials locked up in every individual but please keep in mind this is a spectrum.

Michelangelo was an artist for the ages.

Leonardo Da Vinci was also and artist for the ages, an inventor, an anatomist, and the creator of the shroud of Turin.

Leo's pallet of accomplishments were a bit more diverse then Mike's. He had a broader spectrum of potential and seems to employ most of it.

They are not equal at all, but who is better? That depends entirely on the criteria you use to judge worth. Please keep in mind, it' artistic matter the criteria used is very subjective.

You can if you wish, quote me when I say I'm vastly better then most. I honestly believe that, but keep in mind I'm using my criteria not yours. Your criteria probably has a "Humility" slot my criteria lacks.

Why do I have the arrogance to claim superiority? Because on my scale of worth, I rate very well. There are others that do well held up to my criteria, so it's not as egocentric as some seem to think.

So what attributes to I assign value to?

Originality

Simply stated a cover artist is just a musical functionary. They can be replaced by a DJ on a whim. Cover artist appeal to people that don't really like music, they just want to hear something they know, something they are comfortable with.

Original music has value because it comes from one source, the creator of that music. It is the artistic vision of the creator and as such has a greater artistic cache.

Voice

Not the voice you sing with mind you, but the sound of the music. Some have a unique pallet of sounds. While most my readers are familiar with my favorites, Suffice it to say POL Arida, Senjata Witt, Blindboy Gumbo, Lanrete Moonite, Lexie Luan, and The Rails all have their own sound. Keep in mind I'm not talking about a singular sound, but referring to the pallet of sound each uses.

I have heard some very popular act play thier own songs... and for the most part, they sound like the songs they cover. Originality is a matter of content and style.

Depth of Catalog

Every month there is an "Originals" show. A bunch of act come out and play the songs they write. Good on them, I don't have a problem with that.

However doing a 30 minute set doesn't make you a mover and shaker in the world of Original music. It's a start, but just a start.

The real deal Original music commando has a very deep sack of songs to choose from and is always creating new material.

The intangibles

These are attributes hard to quantify, but present. Integrity, vision, drive, and perhaps, "Star Quality". All my favorites have that little extra something that instills value in what they are doing.

On a side note, I remember once seeing a video of a Second Life performer showing how he did what he dose on second life in "Real Life". He used a Looper, and was plugging in a geetar, then a bass, Looping, looping, and yes even more Looping. Plugging Unplugging, and then more looping. It was interesting to watch, until I realized what he was doing was far more interesting then the music he as making. The music actually sucked.

If how you do what you do is more interesting then the music you make, you are not a musician you are a potential "Gong Show" contestant.

Looking at my personal criteria you can probably understand why I'm so impressed with myself. It seems in a world fraught with mediocrity I am.... Better.

The need to vent

2009-06-17T00:27:00.000-07:00

It's great to be Zorch. It takes a whole lot of hard work and dedication, but when you stand on the mountain top, the view is breathtaking.

Yesterday I played three Epic shows. I don't always pull that off, even though it might seem that way to the causal observer. I was in the zone. The new songs are working, my pacing was spot on and I was tapping into the deep emotional center of each song.

I was in my glory, the glory of Zorch.

So why do people have to fuck with that? Can't you just leave me alone and let me be great?

The first Epic show I have some person of questionable intelligence asking me NOT to play "Howard Roark and me". She spent the whole show whining "don't play Howard". It seems for some reason she HATE Howard Roark. How could anybody in their right mind HATE Howard? She must be some kind of crazy person. Howard is the fictional embodiment of personal integrity. A man with a vision he will not deny. He is to me an inspirational character, and as such, a feature in a song I find personally empowering.

Asking a person that would write a song like "Howard Roark and me" not to play "Howard Roark and me" is an exercise in futility.

Unless I was a hypocrite, and I try to avoid that whenever possible.

So I come to the end of the set, launch into "Howard Roark and me", and the whining fucktard poofs off in a huff. I feel I should point out, I play "Howard Roark and me" in every show. It's almost my personal anthem (Anthem is the title of another Ayn Rand book).

I end the show with "The passion of me" and "The pipes of redemption". It's classic, each song is impressively performed and the show is just fooking amazing. As I'm getting off stage and basking it the well deserved accolades, a fellow musician sends me an IM, to the effect, "I love your stuff and you sound great, but maybe you would do better if you were more friendly".

Not naming names here.. but he really harshed my mellow.

I just sat there for a moment pol-axed. Then mustered up the best response I could think of, "Yeah probably". But just between you and I... I didn't mean it.

You might have trouble understanding how stunned I was. How in the world could I have done better?

Great set.

Great songs.

Amazing performance.

Good crowd.

Really good tips (above average, and I mean above pre-frost average).

Good guys win... woot.

How could I do better then that?That is pretty much what I'm here to do.

I'm not very good at being friendly. I try to be polite and personable, but I don't really think I have "friendly" in me. It's almost like finding the one flaw in a masterpiece. Why does he feel the need to ruin my moment? Just leave me be and let me be the musical genius I am. Okay I'm not a warm fuzzy person, but there are so few musical geniuses you should cut me a little slack.

Show number two for the day went down without incident. Yes it was a great fooking set, but it was just part one of a back to back show. The second show is fraught with opportunities to moof up. However I managed to transcend that hurtle and play a near flawless set. Once again all the elements came in to play and people got the kind of show I love to play.

I'm basking in the glow of a show well played when another killjoy shows up. Ahhhh fuck.

This one went from petty annoyance to seriously pissing me off. I get an IM from this woman that had booked me into a venue. It's a new place, I've played two shows there and I'm not going to play any more. She starts "Can I have a moment of your time" and I'm ready to log off, get some food, and maybe a nap. But in an attempt to be a little more "Friendly" I say "Yeah sure". I'm already dreading what she has to say. God knows I'm not permitted to enjoy my little moments.

She says, "well there seems to be a problem with the review of your last show".

I say, "Review???"

She says, "Well some of the VIPs at the club have an objection".

Ohhh an objection. If you know me at all, you know I don't really care. But I'm trying to be more friendly here, so I say, "And what is the nature of the objection"?

She says, "I don't really have that information, you'll have to talk to the boss".

So now I'm officially pissed off. This woman booked me, had me booked into the next month, and she doesn't even know what the problem is. The dude that pulls her chain told her, "Get that Zorch fellow in my IM box... NOW".

Hey, if he's got an issue, he need to look me up in the people search. He doesn't need to send his flunky to tell me to speak to him. I play for tips , he don't pay me enough to treat me like an employee. Actually, he doesn't pay me at all... remember I work for tips?

Now I tell the woman, "you know what, I really don't care what the objection is. and I don't want to talk to your boss. You can't please everybody all the time and I don't even pretend to try. It would be simpler to just cancel the shows".

She says, "Okay the shows are canceled" and I say "Okay".

I don't want to talk to the boss, I know how that conversation always ends. "Do you know who I am"??? No, I never know who they are. They seem to think they are really, really important, but to me they are just guys that pay tier fees.

Now please don't get me wrong. I appreciated the fact they pay those fees and give me a place to work my trade. But I show my appreciation by playing the best show I can, for tips only, and drawing my supporters to his venue and encouraging them to tip the venue.

The two shows I played at that venue featured many familiar faces that would not be there if I was not playing. I know them well enough to know they are inclined to tip the venue if they have Lindens.

I made him money, and he sees fit to treat me like his bitch? Send his flunky to call me on the carpet? Some of his VIPs (hey, get real, the VIPs in these clubs are nothing important. Hell they don't even pay tier fees, they just join a group) have objections? I'm actually quite pissed off about this. Can you tell?

I made about 14,000 some odd Lindens today. I earned every penny, but I deserved more. I deserved my moment to just enjoy a job well done.

I play the best songs I can, and the people that enjoy them seem to enjoy them very much. Don't tell me what NOT to play.

I do the best shows I can every time. I never just "Phone it in". Don't ask me to be friendly, I'm not good at it, and that is not why I'm here.

I support the venues that support me as best I can. But if you offer me up for review by your VIPs don't be surprised if some of them have objections. What I do is not simple entertainment. It means a lot to me, and it means a lot to the people that love what I do.

My name is Zorch, I do what I do, and I do it very well. You'll never have to guess what I'm thinking, and I'll offer up my best in the sincere hope you enjoy it, and choose to give me a tip. Yes, I do accept fees when offered, but it is, in the end about the music. It is harder work then you might think, but it is a labor of love.

Now shut up and let me enjoy my moment.

Preach it Howard.

Don't you know who I am?

The over arching narrative???

2009-06-16T08:47:00.000-07:00

The experts continue to babble on about how this whole Second Life Music Thang works, with certainty only matched by their cluelessness. Hypothesis abound, but lets move beyond the perfumed hyperbole and tell some stories.

A few weeks back I was playing a show at Guthrie's and a face from my past popped up. It was a face I never expected to see at any of my shows. Without naming names, suffice it to say the person that pronounced me too arrogant to be a vital part of the Second Life music scene showed up at my gig.

I was even more surprised when she tipped me.

After the show, she sent me a note card explaining she was sorry for calling me to arrogant to be a vital part of the Second Life music scene. She had been quite upset at the time and perhaps spoke too harshly. Then she went on to inform me she was leaving the music business and going back to college.

Good and more good. I'm a giant of grammar.

Once again, no names being mentioned, this woman was also suppose to be a Vice President in MNP Records, and was chipping away at her unemployment, and then savings waiting for her ship to come in. Big money in the Second Life music biz.

The fact she is getting out of the music business, and going to college says a lot about the situation at MNP (what the hell does that stand for anyway???). I bear her no ill will and hope she does well in her new endeavor.

For those of you new to this blog, you may be unfamiliar with the MNP records saga. A short recap, a nut job named ThroughTheseWalls Moody figured she could run a record company featuring Second Life musicians, if she convinced legitimate businesses it would be a profitable method of promoting their products, and through the power of corporate sponsorship she could run a record company that really doesn't sell many recordings.

I predicted it would not work months ago, and the projected start up time frame was mid June. It's mid June now. Anybody heard anything about the big MNP Records launch? I haven't. Maybe it's a big secret. Or maybe it didn't really work...just as I predicted.

I'm not psychic, I'm just paying attention.

While some might write off the magical thinking of people like Moody as harmless, it seems people put a lot of stock in these fantastic ramblings. When you say what people want to hear they are very inclined to believe you. Sometimes people take action, or fail to take action based on the promises of music business wealth. This can have detrimental effect in people's real lives.

But not all stories are sad stories. Some are stories of Heroes.

Norge and Nya are the Dynamic duo behind the North Norway Sim. Back when I first started out one of my very first regular bookings was at the Artic circle Dock. Norge basically said any time you want to play just let me know. It became quite a beehive of musical activity.

Norge had a dream, but he was not a magical thinker. He wanted to build a place where music flourished and had no grand scheme for making money off it. However, due to a personal set back he had to close down the Artic circle dock, and scale his Sim way back.

As small as the scaled back Sim was, he still managed to make room for quality music oriented venues to operate in.

When I was homeless, Nya asked Norge if he could give me a bit o land for my personal use, and he gave me a home. When Norge opened a mall, he gave me a shop. All at no cost to me. What a sweet guy.

Norge and Nya had a dream, and now it seems that dream is coming true.

I was standing on my front porch the other day. As I looked to the right, I saw the base camp for the Lost Continent Music venue. Across the water I can see my shop, and the Note Shack, another venue I play at. To my right was a new compound being built by POL Arida. Just beyond POL's place is the new Melodies/Harmony mall. A place I play several shows at per week. To the left of Melodies is the new "Hotspot Exstream" location, the place I rent my stream from.

Of course to the left of my little shack, just over the bridge is Nya's house. This is becoming a neighborhood, and quite a nice one thank you very much.

At this point, it seems the good guys are winning. I love that so very much.

It's possible, even likely there is no grand over arching narrative to the saga of Second Life's music scene. But there are stories. There are heroes and villains, success and failure, darkness and light.

The world, even a virtual world is defined by decisions and actions. What do you decide, what actions do you take?

All it takes is money

2009-06-13T04:27:00.000-07:00

For the most part I love venue operators. Most of them are dedicated and organized. But I'm really coming to grips with the simple fact to do anything in second life, all you need is money.

I've seen a Buddhist retreat run by a guy that is not even a very nice person. His claim to spiritual enlightenment is simply his ability to pay his tier fees.

I've seen people start up music management operations with nothing more then investing in a group tag. Of course it grows from there in to a freakish bloated scam, but that is another blog.

To open a venue, once again pay your tier fees and take a stab at it. You don't have to know what you are doing because... well you don't.

Now please keep in mind, for the most part I deal with people that Love music, understand how it works in Second Life, and are all over the details like ugly on an ape, but the other day I had an interaction so bizarre that my mind was actually blown.

I'm playing a show at "The Unwinding hour" the other day, much as I have every Friday for over a year now. Some "Un-named" person contacts me about playing their venue after about the third song. This is not unusual at all, they ask me to get in touch with them after the show and I save the IM for later.

After the show I ask the "Un-named" person how I can help them, and they ask to book me, and then fill me in on all the details of their sim...that isn't actually finished yet. They tell me they are planning the lunch for July 4th, and seem oblivious to the fact this is a major holiday in the USA. One of the few that seem to revolve around outdoor activities. Hey I don't go outside for nothing baby, the big fiery ball is waiting for me to pop my head out the door to reduce me to a pile of ashes. Not going to happen sparky... not today.

Then they start blathering about how they are going to feature all kind of genres of music to serve all the peoples of Second Life. Then they ask me what genres I covered.

I informed them I don't do genres, I play songs I write. Then suddenly this woman started acting as if I was asking her for help and she was far too busy to help me at this time.

What the fuck?

"I really don't have time to help promote you" she moaned. Hey sweetheart, you asked to book me, and frankly you don't have to promote me, I've been doing this for a while now and have a few supporters. Probably... and I'm just guessing here, a few more then you have in your group considering the fact your sim isn't even done yet.

How did that conversation go from, "I want to talk to you about a booking" to, "I don't have time to help promote you".

I predict this venue won't be around long, I can't even figure out her motivation for attempting to run a venue.

I wonder if she even understand, venues are not the draw, the performers are. She seems to be willing to pay fees, and she mentioned she had hired a quite famous Second Life artist for the show, so I'm sure there will be lots of bodies at the big opening, at least for an hour.

When you have deep pockets you can operate for a long while in Second Life with no compantancy at all.

But unorganized people don't often have deep pockets.

A very good thing

2009-06-07T01:36:00.001-07:00

I spend a lot of time talking about what is wrong. This is mostly because I’m somewhat of a cranky old man and that is what cranky old men do. However, in a world where people spend so much time praising crap, it’s only responsible to point out the emperor has no clothes.

It is also responsible to point out the good things, and a rare privilege to point out the very good things.

In the Second Life music scene, there is a simple rule of thumb for a “Good thing”, and that is simply it’s about music first.

A very good thing happens when it’s about music first, the people playing have something wonderful to offer and every detail is covered. The Audience, performers and venue all have a great time and for one bright and shining moment you think, “Wow”.

In my mind there is one consistent “Very good thing” you can count on it Second Life. That being… drum roll please.

The Originals.

I was on the bill at the first “The Originals” show, making me, as I like to point out, one of the original originals. And it’s grown every single show to be more significant than the show before. Second Life music Iconoclast POL Arida started it all and that in and of itself is a good beginning. But a while back he put Harrie (the ROCK chick) Skjellerup in charge and things really started to come together.

POL was the visionary, but Harrie is the architect. Frankly Harrie is one of the most amazing people I’ve met in Second Life. She is organized, creative, and passionate about music. Her venues at Pixel Hill are the venues I point to when suggesting a model for other venue operators to emulate. She supports the music she loves, and I’m so very glad she loves my music because she’s done more for me then any of the other self proclaimed movers and shakers.

I’ve been involved with a few of the MEGA events held in Second Life and most of them are poorly run, have line ups consisting of whoever answered the note card first. The originals started out as a simple dream and grew in stature to be one of the most impressive shows in Second Life.

I remember a time when I came in with my all original set list and people would tell me, “You should really do covers, nobody is going to book all originals”. But it seems “The Originals” proves that wisdom quite out of date. Hundreds of people show up to listen to original music and then come back next month to hear more.

At this point, Indie Spectrum Radio is making the music from “The Originals” available live to people that can’t log on to Second Life but can get on the interweb.

I can’t help but look at what is going on here and think, this means more then it seems. This is more than just an entertaining show. This is the place where things coalesce. The real future, if there is one for music in Second Life is original artist. The dude and chick singers will always have place to play and people to listen. But the artists are going to make the biggest impact. We are the ROCK STARS.

Of course I might be a little bit biased.

Things are really just starting to come together. Thanks POL for starting it all. Thanks Harrie for making it grow. Thanks all good listeners and artist for making it matter.

The Orgininals… a very good thing indeed.

Bad venues

2009-06-06T02:50:00.000-07:00

I’m a big support of the people that make the music scene happen, the venue operators, however, not all venues are operated equally. Some venues are “Bad Venues”, this is why I never agree to a long term booking until I’ve played a venue once and given it a test drive. Keep in mind, anybody can open a venue, all it takes is money. But just because somebody has the money to open a venue does not imply they are smart, organized or even sane. Simply put some are, and some aren’t.

There is a simple three step litmus test for a good venue.

First they should list the event in “Live Music Events”. If they don’t list the show it affects the crowd and if the performer is playing for tips this can be very detrimental to their cash flow. This is the very least a venue can do to support a performer. Some send notices to a bunch of music groups, and some do not. But the bare minimum promotional effort should be a notice in Live Music Events.

The venue operator is responsible for getting the stream to their parcel and should have any information they need to do that before hand. Once the performer starts the stream it should be playing in world. Personally I make sure venue operators have my stream info as early as possible, and double check to make sure we are clear. However some manage to fuck it up even after I spend time holding their hand. This is why you hear artist saying, “Let me know if you hear me”?

The artist should have any tags they need to rez their stage props well before the show starts. How many times have you heard and artist lament they could not rez their tip jar? This is a fuck up by the venue operator.

Now very good venues cover all these things and do much more to support the artist. I love these guys, and support them as well as I can. But you would be amazed how many venues can screw up the three little things and basically equate to baseline competency.

No incase you think I’m pissed off about this because I’ve been recently burned, that is not the case. As a matter of fact I’m having a very good streak with new venues. But a friend of mine asked me to catch a show she was doing. It was at midnight my time, but I wanted to be supportive so I set my alarm clock and logged on a few minutes before her show.

I don’t belong to any of her groups, so I had to look in “Live Music Events” to find the show. It was not listed. So I had to ask for a lift from my friend that was probably getting ready to play a show.

Bad venue… you didn’t list the show in Live Music Events.

Then time comes to get on stage. No stream. Na-da. People are going, “I don’t hear anything” and the host is going “Could you send me that stream info again”? My friend told me she made sure they had the info and she’s played enough shows that I’m sure she did. After nine minutes there was a stream. While it might not seem like a bit deal, nine minutes are three songs that won’t get played that show.

Bad Venue… no stream on parcel.

Of course I was pretty pissed off. I had gotten up to see this show, and it was taking forever to start. I did tactfully comment, “Where is the fooking stream”? And then, “I guess any retard can open a venue here”.

Then when the stream was up, my friend was apologizing for not having a tip jar out and asking for a tag that would allow her to rez. This is about 12 minutes into the show.

Bad venue… any tags or information about rezzing stage props should be covered before the show starts.

With almost a quarter of the show wasted on things that any decent venue operator would have covered, she managed to get under way. She did a commendable show in spite of the lack luster performance of the people running the show.

Good show… bad venue

On to the drama now.

Seem the fucktard that owned the Sim took offence to my comments about “Where is the fooking stream” and “I guess any retard can open a venue here” and assaulted me with a series of questions marks. I responded with a series of exclamation points. Then things got really stupid.

Kind of the Blah, blah, blah/fuck off dialog I’m getting way too use to in Second Life. It always seems to end with the fucktard in question inquiring if I know who they are.

Funny thing about fame, it loses some of its cache if you have to inform people how famous you are.

I ended the conversation with the observation I didn’t know who he was, but I knew what he was.

He was quite the rest of the show, and I got to hear my friend play about ¾ of a set.

After the show, I was killed.

I didn’t know you could get killed in Second Life, but it seems you can be. The overall effect is you get sent home, no loss of XP and you don’t have to find your body to get your stuff back. I was changing strings at the time and didn’t actually see myself get dispatched. Just heard a bit “QUWANG” and saw the TP screen and popped up home with a little green notice that I had been killed. The sad fact of the matter is it probably made him feel like he was powerful. Almost like he was… a man.

But you’ll notice I don’t even bother to print his name. His name doesn’t matter a whit. He’s just another ubiquitous jack ass that manages to pay tier fees and can’t run the venue he pays for with baseline competency.

Support the good venues, ignore the bad ones. Especially musicians. We should support the people that do so much to support us back.

The frost of 2009

2009-06-01T13:19:00.000-07:00

Hey wait, this is the first day of June… a summer month. Why am I talking about frost?

I was talking to one of my “Peeps” the other day, and she had mentioned the fact she’s spoken to several musicians in Second Life, and they all recounted tales of diminishing audiences and meager tips. This phenomena might be the reason there is such an upturn in conversations of “Sticking it to venue owners”.

Now I feel I should mention, my attendance is not been affected at this point. Tips are down about 30% and while I’m not happy about that, I’m not unduly concerned. This is an economic frost. A downturn in fortune caused by unfavorable economic factors. While this might shock the crap out of some people, but when the real world economy melts down it’s going to impact the cash flow in Second Life.

When some Mullet head laments the frugality of the venue owners and how he’s got expenses to cover, I can’t help but think, “Hey dude, people are losing their jobs… get real”.

Of course this could have a very positive effect. Frost kills off the weak pants, so perhaps the people fixated on the easy money aspect of Second Life music will split and try some other scam. Perhaps it might also cause a repurposing of the music community (whatever that might be) as well. Second Life music really has little appeal outside of those already involved with it. It’s pretty incestuous and frankly, being one of the more lazy practitioners of the promotion thang, even I see the need to make deeper impact in the mainstream population of Second Life.

I do predict fees becoming scarce, venues closing, and a bunch of the more mercenary musicians storming off in a huff. However, I do see the place where the rainbow goes after the current economical inclemency is over.

I can afford to wait it out. Mind you, not financially afford it, because every penny I get here helps, but the simple fact is I really enjoy playing my music, so smaller tips don’t really affect my desire to play. And when the sun does come out, and it will, I’ll be better situated to enjoy the prosperity.

The frost kills the weak plants. But I’m not weak… and I’m not a plant either.

Moving forward embracing the change

2009-05-31T02:41:00.000-07:00

Okay, a vision is appearing before me now. First a bit of explanation may well be in order.

When I first started playing music on Second Life, I tried very hard to entertain people. That was the focus. Now it’s not the focus at all. I’m seeking a more profound experience with the listener then simple entertainment. Sharing my song, a bit of my soul, with every show might well be entertaining at some level, but I think the reason people come back time after time has more to do with emotional gestalt. The song bleed, they come from a real place.

The focus of my Un-career is not to become the biggest name in Second Life, but rather to bring my music to people and see if they embrace it. For those that do find worth in it, I do my best to bring them the best content I can.

In other words, build an audience and then service that audience.

While “real money, money” is part of the plan, it’s not the driving force. I’ll never insist on money I didn’t earn, and am quite content to allow the listener to determine the value of my music within the parameters of what they can afford. While I don’t turn down fees, I do explain the option to have me play for tips only is available.

This Blog is also part of the Zorch experience, and is centered on content and not entertainment value. While it seems some find it entertaining, the point here is expressing my ideas. Once again, I build a readership, and then service that readership.

Realizing these things has caused me to rethink the way I approach the “Zorch-cast”. I’ve been hung up on the “Production bits”, and then came to the realization they were so hard to do because they are not what I do. Yes people found them entertaining, but that is not the point of what I do.

Future Zorch-cast will have less production work in them and revolve around music, commentary, news, and I’m toying with the idea of dialog, meaning having a guest on the show to chat with. I believe this will make a better and more consistent show.

Other grand plans in the works.

I’ve come up with something I think will prove to be interesting. The other night I was sharing links with a friend of You Tube videos of my sorted past musical adventures. They found it fascinating. Later I thought, “Hey, you can put You Tube videos in Second Life. Perhaps others would find this interesting as well”.

Now I’m trying to figure out a way to promote “Story and Song Vol. 1” and I’m thinking perhaps a video retrospective of my past musical adventures might make for an interesting event. A thematic reason to do this is because these videos are also part of the story of my life. I’m thinking, a few people will come just out of morbid curiosity. People often wonder what the man behind the curtain looks like. This will be their chance. This will also give people a better idea of the scope of my musical pallet.

I’ve finally come up with the concept behind the next MP3 collection. It will be titled “Shadow and Light” and as the title implies, will be a collection of contrast.

For the record, the music industry despises contrast. They want things in a neat little format where every track is deeply reflective of the last. However, being a really Independent artist gives me the leeway to do really stupid things, and it’s a very thin line between stupid and brilliant.

So there is my agenda for change. I hope you enjoy my new direction.

The great Dot Com Boom… and Crash remembered

2009-05-30T01:45:00.000-07:00

Gather round children and let me tell you of times of old, when nerds were bold and the new fangled interweb would bleed rivers of money for any one daring enough to wade in.

Now once upon a time, the king of the really excitable people proclaimed, “hey, this interweb is going to be a freaking marketing bonanza. Better step up… or be left lifeless in a heap at the side of the road of 20th century commerce”.

Many reputable businesses headed the words of the King of the really excitable people and dumped tons of money into start up web site. Secure in the knowledge that that people seeking information about a panorama of pop culture piffle would soon be charging there way, brain washed by a constant barrage of banner ads, money in hand.

Now in order to start this brave new anon, start up web sites needed “Writers” to contribute “Content” so people would have a reason to come under the ultra persuasive spell of the banner ads. A few real writers jumped in, but the nature of the new fangled interweb was more directed towards niche markets. Comic books, Role playing games, Movies, Anime, and of course computer games were more likely targets of searches then a over arching architectural review.

This meant a lot of nerds that weren’t really writers got jobs. I was one of those nerds. Times where good for those of the nerdish way, and thanks to the connectivity of the interweb, we didn’t even have to leave Mom’s basement to go to work. The nefarious plans of the great fiery ball in the sky to reduce us to ash were foiled.

About 18 months after the boom started, reputable businesses suddenly remembered why the king of the excitable people was the King of the excitable people.

They considered the viability of investing some 22k$ a month into a site that, as far as they could tell, might have generated 4.27$ in sales. The great interweb raging river of money was quickly damned up and thousands of nerds were out of work.

For the record, this nerd went to work for an actual newspaper. Well… it was kind of like a newspaper. But I continued to get paid for typing up my witty Bonn Motts and observations.

There was a great influx of unemployed nerds flocking to interweb forums to brainstorm ideas on how to actually get paid for writing about their own personal fetishes. Some suggested Subscriptions, or a reworking of the banner ad idea. But really all that happened was a bunch of masturbatory scheming. Whine, whine, whine, “I’m a professional writer, I should be getting paid for my content”.

Putting things in historical perspective, while they might have been “Writers” in practice, they never were professionals in any sense of the word. They may have made professional money doing job professionals do, but they never crossed that transcendent line to true professionalism.

Professional writers write things people want to read… even when it’s not free. Professional writers generate money for their employers. Cha-ching bitches.

Now you may be wonder why I’m writing about the Dot Com crash in a blog about the Second Life music scene.

In the last few days I’ve been informed some malcontents are trying to start a musicians union to wrest more money from those wicked venue owners. Then I got another copy and paste of a diatribe by more mullet heads in another music group’s group IM box.

The same shopworn arguments were made; the same lame ass solutions were suggested. It’s so amazingly self serving I’m astounded people call me arrogant. It honestly makes me sick to my stomach to read this shit. But I read it anyway.

But then I think, hey, this is just a twist on the elaborate schemes of the unemployed nerd writers of the Dot Com crash.

Those that whine about fees are not really professional musicians. Remember that transcendent line? Professional musicians play music people want to hear and make money for their employers. Those that whine loudest and scheme the most abstractly should see how much money they can get from the local bar owner. Go sell some beer hotshot.

There is money to be made making music; however, Second Life is not a reasonable career path at all. Real money, professional money is made in the real world where the “Artist” is just a cog in the wheel of commerce.

Putting things in further historical context, it’s far more likely venue owner will stop paying fees then be bullied in to paying them. There is no reason to pay fees because I’ll play for tips and I’m actually vastly superior to most charging fees anyway. A goodly number of very talented musicians will play for tips (yes most the time they get a fee, but they don’t seem to make an issue of it). Maybe when venue operators think about it, they’ll stop adding to the financial burden of their monthly expenses by taking money out of their own pocket to stroke the massive ego of some sub-standard musical functionary.

Every time I play for tips, every L$ in the venue tip jar goes toward covering the cost or operating the venue. I’m playing music people want to hear, and making money for my employer. I’ve crossed that transcendent line and am…professional. Hell I even make a little money while being professional.

I no longer see myself at odds with the Second life music community. I’m good with venue owners, I adore the people kind enough to attend my shows, and I get along just fine with some musicians. But these whiny scheming self serving bastards actually sicken me.

I hope you all get what you deserve, and that is nothing.

I blame me

2009-05-28T06:19:00.001-07:00

The odd thing about wallowing in your success is you have to wallow in your failure as well.

Yes, things are starting to slide south and I’m not happy about it. While I’m not happy, I take comfort in knowing this is a problem I can address, and I’m to blame for things sliding anyway. I’ve made the mistake of thinking just showing up for gigs and playing the best show I can is enough. It’s not, not by a long shot.

Unique visits to the web site are down about a 100 from last month. This is the first non-growth month since the site opened. MP3 sales are slumping as well. At this point I’m showing 463.41 Megs downloaded. While this does represent about 154 MP3 downloads, for me, it’s quite dismal. The release of “Show 507 LIVE” did not do as well as I had hoped. Of course, when you consider the rather small investment in time involved with the project, it’s a smashing success, but contrasting it to actual releases it’s a dismal failure.

Of course there are factors to consider. Second Life does slow down a bit in the summer months. I experienced it last year, but didn’t really notice it so much because at that time I was pretty close to the bottom of the barrel anyway. I had commented the traffic numbers had gone down about 15,000. But that is quite in-line with the traffic numbers last year in the summer months.

Another factor is, while I don’t really operate in the prime American time slot, a healthy number of my supporters are Americans and America is having a bit of an economic meltdown. I do believe this factor will effect Second Life, how profoundly only time will tell.

While there are extenuating factors, I can’t hide behind them. I’ve been quite slack in the promotion department. I’ve let the turmoil of my personal life effect my ability to campaign effectively in Second Life. I’ve gotten lazy and complacent.

When opportunities are scarce is when you must be on the top of your game. So I need to get back to the business of doing business.

Sick of it all

2009-05-26T01:29:00.000-07:00

The other day in the Live Music Enthusiast group a venue owner made a horrible mistake. He offered to pay musicians to play at his venue. While that might seem like you or I as a quite generous act, the problem is he offered to pay them L$ 1,000 for their performance.

The reaction was as if he took a crap in their outstretched hand. It was not NEARLY enough for the self-proclaimed professionals of Second Life.

The odd thing is, if they were all that professional they would have just ignored the offer. But the reaction was more like a public pillory. How dare he?

He also asked that people responding to the offer play live music and not use backing tracks. Once again the Karaoke crowd lamented his snobbishness.

Then the unwashed mob started the grand dance of bullshit. Some venue operators boasted how much they paid artist. Some artist bitched about their expenses. Karaoke types whined about being some of the best voices in Second life. Some former venue owners told the sad tale of how they had to close down because they could no longer afford to stay open. Then some mullet head pipes in with, “Venue owners need a better business model” and of course, “Maybe we should charge admission”.

Now let me say, I’m sick of all you whiny bastards.

To the Karaoke types, try booking your show in real life. Nobody running a real world venue would bother because even if you voice is amazing, the real draw of Karaoke is the fact any fucktard can get on stage and humiliate themselves.

To the Guitar-aoke type, shut the fuck up. I’ve seen two amazing guitarist in second life, and both of them managed to make valid musical statements without the aid of backing tracks. It’s supposed to be “LIVE MUSIC”, playing with backing tracks is one step short of a recording. So why not just make a recording?

As to the matter of fees, when I play a show in Second Life, I’m not missing work. I play in my free time (or the time I can wrest free). So if I make one dollar that is one more dollar then I would have made then if I sat around surfing for porn.

To people that insist you get what you pay for. I feel I should point out you are saying because I choose to play for tips (Money I actually earn because people asses value to what I do) I’m somehow inferior to your mercenary self. Ummm pardon me but FUCK YOU. I’ve seen most the people that bitch and whine about fees, and most of them are mediocre at best, some actually suck. I play an all original set, play two to four shows a day and manage to draw an audience every time. I make good money playing for tips and for the record I have one fee paying gig each week. I’ve offered to play the show for tips only, but the owner insists of paying me. She also shows up at my shows at other venues so I think she is a fan.

To the venue operators, I love you guys. You ROCK. You pay the freight on the whole Second Life music scene. If you support me, I’ll support you. If you choose to pay a fee, bless you for your generosity. But I feel I should comment some are taking advantage of you and feel entitled to the fee you pay them. Every time I put out a tip jar I make money. Sometimes I don’t even put out a tip jar, offering to just play a show for free and people still tip me.

I’m so fucking sick of the whiners, and I’m happy to be too arrogant to be a vital part of the Second Life Music Scene. I’m arrogant enough to play for tips, I’m arrogant enough to play my music, and I’m arrogant enough to call you all a bunch of prima donna.

The venue operator that offered L$ 1,000 was directed by a friend to my show. He offered me a gig and yeah, I took it. I’ll have two fee paying shows this week, and I’ve been tipped L$ 1,000 before so I really don’t have an ethical problem with accepting the fee.

As a footnote, one of the whiners mentioned when people offer him a show he informs them he charges L$ 4,000 for a show and they seem shocked. On the other hand, I have venue owners that are hesitant to approach me because they assume I charge more than they can afford. What does that say about, “You get what you pay for”?

What’s the point?

2009-05-24T02:18:00.000-07:00

Now when most people ask, “what’s the point” they are throwing in the towel and writing the entire endeavor off as futile. That is not what I’m asking. I really want to know what people think the point is.

My attention has been directed to two Items posted on the interweb. I got this from an anonymous source (winks).

"If enough SL musicians submit CDs to http://hounddogradio.net (url pointless, the entire comment is no longer there) he'll do an SL Segment on the station. You must have product on the market".

Now I’m not going to dwell on how freaking pointless such a segment would be on some interweb radio station, but I will ask the question, what does PRODUCT have to with MUSIC?

Now I do have product available, but featuring my music on a radio show because I do have something to sell kind of misses the point. Lots of goobers on Second Life have stuff to sell. Most of it doesn’t sell because either it sucks, or they don’t market it right. But shouldn’t a radio show be interested in music that would be of value to the listener even if there was no product available?

Is music only serious if the artist seeks to be grist for the music industry mill? I don’t think so. But lots of people see it just that way. While I care very deeply about my music, I don’t care at all about the music industry.

The second post was in “Sweet SL Music”, a blog posted by a dear supporter of mine, Sweetmunster.

“What is really going to become of all the musicians here in sl? Is this a stepping stone to the big bad world of rl stardom or will it all become a little too comfortable? It is easy to lose sight of your initial goals here.”

This really got me thinking. Second Life fits in with my goals remarkably well. I play music for people that reaching in the real world would be prohibitively expensive. So many of my supporters live in either the UK or Europe that the odds of them ever finding my music without the aid Second Life are astronomically small.

I’ve seen a lot of very talented musicians in Second Life, and only a very select few could ever stand a hope in hell of becoming anything significant in a real world setting. But that is okay, you is what you am, and if your music finds an audience anywhere the musician is well served, music is well served and the people that enjoy that music are well served.

Frankly I’m a bit tired of people treating Second Life as some kind of inferior outlet for half assed music. Yeah, a lot of it is pretty bad, but some of it is quite good. I’m freaking brilliant, and I play on Second Life. The music is good or not so good because it either has or lacks merit. The setting is irrelevant to the quality of the music.

So what is the point? To have product available? To seek the approval of the “Music Biz”? To use Second Life as a stepping stone to REAL LIFE STARDOM? I can only really answer for myself. The point to me is to write great songs, play great shows and make great recordings. To reach the people I can reach and make a stab at wresting a few dollars out of the system along the way. I could do all this in “Real Life™” or Second life.

When all is said and done, the point is the music to me.

It’s in my mind to ramble

2009-05-19T01:23:00.000-07:00

Welcome to the first blog generated from my new computer. I must comment this new computer really makes a difference in my efforts in Second Life. It’s much like the difference between walking to work and driving to work. Now ever feature seems to work as it should… at least when Second Life is working when it should.

Of course the set up seems to take forever with a new computer. Yes, you are up and running in short order but the real work of a new computer is finding all your program disks that you’ve not use in years and getting all your tools as you like them.

One benefit of starting clean is you really get to evaluate your tools. Especially when it comes to my DAW (Digital Audio Workstation). I really had collected a bunch of stuff that I hardly (if ever) used. I use to be a big fan of browsing the VST plug in sites and picking up all kinds of free piffle. Most of it worked, and some of it even sounded good. But time after time I found myself going back to the commercial versions of programs that seem to get the job done with consistency.
The current set up… for those that care, consist of Sonar Producer version 7 (I don’t plan on upgrading), Reason version 4 (God help me I love it so), and Ozone for the mastering (out of everything you could buy… get this).

I do have one hardware issue I need to address at some point. Back when I was using my Laptop computer I plugged in a 19 inch CRT monitor as a second monitor. I’ve been using two monitor since window supported the feature. As it stands now I’m using one monitor and it’s driving me a bit nuts. I really can imagine working with the DAW and one screen. I tend to keep the mixer up in the second monitor at all times so I know what the signal routing is at a glance.

Speaking of software… let’s talk about what I’m retiring. I have a copy of Sound forge somewhere. I’m not going to dig it up; because I had it installed on the laptop and didn’t ever use it. In its place I’ve been using Audacity. A free program that seems to have a vastly superior work flow compared to Sound Forge. Perhaps I should qualify that a bit, a better work flow for what I use it for. Sound Forge is feature rich, but do most of my feature intensive work in Sonar.

Also not making the install is my trusty version one Sample Tank. Simply speaking, it doesn’t sound quite as good as it should, and I had become quite use to using it, in spite of its 16 bit samples. All future sample playback will be handled via Reason’s NNXT advance sampler.

Wow, this may be the most boring blog I’ve ever written. But it’s what is on my mind.

I do have the “Story and Song Vol. 1” project ready to ship. I just need to find time to have an event for it.

I do plan on doing another Zorch-cast soon as well.

That about covers it for now. Thanks for reading if you’ve made it this far.

Time is my enemy

2009-05-13T07:08:00.001-07:00

Crap, it’ hard to get anything done with all the stuff I’m getting done. I know that sounds contradictory, but keep in mind I do have two lives. One in the real world where I’m a semi-responsible adult with a fist full of children to deal with daily, and my other life as a virtual rock star.

Of course the semi-responsible adult gig gets top priority.

While I do make it to the vast majority of my shows, it’s the other stuff that is damn near impossible to find time for. Also, my show calendar is remarkably tight. If I wanted to do something different at this point it would be hard to find time for it.

Projects and status report.

The next Zorch-cast. Ummm, if it was just a matter of turning on the mic and yacking I could probably get it done. But the production work involved is kind of time consuming, and I would not put one out that didn’t have a bit of polish on it.

“Story and Song vol. 1”, waiting on the artwork from Talia, but even if I had the artwork I would be hard pressed to have a release party.

The Summer MP3 collection release, for the first time… I’m visionless. I don’t have a working title or even a release date in mind. I do have new songs, but not much time for pre-production.

New computer, well there is an end in sight for this project. I’ve got the hardware ordered and it should be here Friday. By weekend, I should be moved into a new computer. Of course I’ve gotta find all my program and driver disks. But this is kind of a top tier project. I’ve been working on this laptop for well over a year now and it’s not really getting the job done. Frankly, I’m not mobile enough to need a Laptop computer. I feel this is a keystone project.

In other news…

For the first time since it’s start, Zorchboom.com is not showing good numbers. The trend on unique visits while respectable is not looking promising for exceeding the unique visits from last month.

MP3 sales are slumping as well. So far only 360 Megs of downloads. While that represents about 100 MP3s, it’s way off the normal pace.

Group membership is bleeding off as well. Last time I checked it was about 270 members.

Side note… the number of people online in Second Life is also markedly off. About 15,000 less per time zone.

Am I slipping into the gaping maws of failure? Not likely. But I want to report the good as well as the not so good.

I sometimes wonder if my inabilities to attend the many ancillary tasks of my un-career are affecting my results.

Of course, when you are up to your ass in alligators it’s hard to remember the initial job was to drain the swamp.

Perhaps I’ll find some time to get my ducks in a row and get things moving forward again.

Economics and Imagination

2009-05-05T08:38:00.000-07:00

I’ve always been a fan of imagination. Every thing that is, was once a dream. You are probably sitting in a building as you read this. Take a quick look around and think for a moment, once there was no building there. Then somebody said, “hey, maybe I should put a building here, and there will be a door over there and a room here and a hallway”. Before anything exists, it’s a simple dream.

It’s almost like magic… except it takes a lot of work to make dreams come true.

I spent most of this morning working on my next MP3 collection, “Story and Song vol. 1”, and it really got me thinking about my long-term business plan.

I think I’ve been pretty up front about my interest in making “real money money” in Second Life. However, I don’t want to extort it from some venue owner. I’m good with tips because people listening decide if and how much they will tip. They assign a value to what I do and pay me accordingly. I can’t really manipulate how much they will tips. It’s a crapshoot; some days are good, some days not so good. But regardless of the bottom line… it’s money earned.

At this point I’m learning there are only so many shows I can play before I start to fall apart. At first I figured this limit was defined by mental fatigue, but I’m learning there is a physical toll to pay as well. During a particularly busy week, I found my right arm became quite sore. While it’s okay now, I’m aware there are only so many shows I can play. So playing 400 shows a week is not an option for growth. So how do I grow?

Recorded music seems to be the answer.

During the show/listening party I earned as much from sales as I would have if I played four shows for tips, and frankly the sale from that show were not spectacular. For some other artist they might have been, but when I released “Shades of Blue”, between sale and tips for that show I cleared 30,000 L$. Keep in mind that is one show, and I’m still making money off “Shades of Blue”.

Of course selling recorded music is part of the answer, but the methodology of selling it is the big question. My vendors seem to work well. So far I’ve not gotten a single costumer service issue in well over one hundred sales. So the infrastructure is in place to get the job done. So now the issue is marketing the recorded music.

So far release parties seem to do landmark business. 80% of all sales come from release day events. Leaving 20% for impulse purchases at shows. However, this is a short-term perspective. It’s hard to say what old collections will continue to sell and how much. So in time that percentage may become inverse.

The bold new step is the Zorch Center. A shop that sells my MP3 collections 24/7,offers previews, offers group membership and a venue for impromptu shows. The first show proved to be profitable. But since this is brand spanking new, it’s kind of hard to measure the long-term benefit from it.

I’ll admit to groping in the dark as to how to market things. This is probably the major difference between the self-appointed experts and myself. Well… that, and I have some measure of success.

As of now, my best guess as to moving forward is keeping things dynamic.

I remember hearing an interview with Brian Epstein once (The manager of the Beatles) and he said the reason the Beatles did so well is because they were that band that was either in your ear or between them. When you weren’t listening to the Beatles you were thinking about them.

The more you think about someone or something the more invested you get in it.

Frankly this Blog is a shameless marketing tool. As is the Zorch-cast, and the Interactive listening party. Even the MP3 collections are a Marketing tool. Every show is a marketing tool.

You might be saying right now, “Hey Zorch… I thought it was all about the music”?

Well in the end it is. All the effort and planning work toward the end of getting the music I love in front of people that will love it almost as much as I do.

But money does matter. Money allows you to buy your time back and invest it in what you love to do. Money gives the artist a means to practice his or her art. How you earn that money should always be an issue. I present music and people choose to tip me for a performance, and or buy the recorded music. I’m developing an actual market for what I do. I don’t have my hand in anybody’s pocket. And the music is freaking amazing.

Imagination, talent and hard work… what a combination.

I love…success

2009-05-02T06:45:00.000-07:00

You try things and sometimes they work. Of course, the person claiming to achieve it often defines success.

Perhaps this is the case here.

The show at the Zorch Center the other day was well attended. As far as I know only a group notice was sent and still some twenty odd people showed up. Of course a Live show seems to be a draw, but I was a bit nervous about how the “Listening party” after the live show would go.

The “Interactive listening party” is an idea that as far as I know has never been tried before. I was kind of wondering if it was uber lame and if anybody at all would want to be involved it in.

But in retrospect it was a quite a success. It was well attended, and the people there stayed though the whole thing, being exposed to new music, and… it was fun. Lots of fun. So much fun… a few people asked if we could do it again, and I don’t see any reason why not.

The real boon here is I tried a new way to present music to listeners and it seems to work marvelously. Oddly, I didn’t sell any DAP collections during the show, but sold quite a few before the show. Some might suggest this means the “Interactive listening party” was a dismal failure. But I would have to disagree. The fact that a few collections were bought says there is a interest in my music, and exposing more people to that music can only raise my profile as an artist.

And besides… it was FUN.

Economics and reason

2009-04-25T00:19:00.000-07:00

There are at least a few dozen theories on how the music scene should evolve in Second Life. Most of these theories are based on wishful thinking. There are also some well-established paradigms that really don’t work. I contend nobody is an expert regardless of what they might tell you. Allow me to make a few observations, and then offer a conclusion based on those observations. While I may be wrong in my conclusions I think you will find the observations valid.

Venues close due to economic shortfall.

I’ve seen it time and time again. Great venues that support artist just vanish. The venue operators can simply not afford the overhead to stay open.

Venues can break even or perhaps turn a profit.

I know of two venues I play at that are covering overhead and turning a small profit. Both of these venues feature artist that play for tips only, and only feature quality music. Footnote, they both use the extra money to tip musicians.

Venue operators pay for the music scene in Second Life.

People want to listen to live music, and musicians want to present live music. Without venues the two parties could not get together.

Music management types do much harm and no good at all.

I’m sure some slimy schemer demanded the first fee from some struggling venue owner; confident the Second Life music scene was about to explode. There are a few kind-hearted people trying to help out a friend and I commend them for their assistance. But the management organizations suck rancid sweaty moose ass. Their main job is to fill everybody’s heads with all kind of wild ideas based on… wishful thinking.

Some musicians need to have more realistic expectations.

You won’t get rich and famous playing in second life. You are deluded if you think in the current state of development you can make a living playing in second life.

Fees kill venues.

There are some venues that have a budget and this budget included money for fees. However, in over 550 shows, I’ve never seen venue tips equal even the most meager fee. When an artist plays for “Tips only” every L$ in the venue tip jar goes towards covering the cost of operation. Even if it’s only L$ 1, that is still a sum towards overhead.

Listeners need to be more altruistic

I see a couple of guys that have been to at least a dozen of my shows and never tip me. They don’t tip the venue either. They hang out, chat it up and leave when the show is over. In the real world, entertainment cost money. You really should tips something, each according to their ability seems fair enough. If you live in your Mom’s basement, don’t have a job and Mom won’t give you money for no dang computer game… then a kind word goes a long way.

Show some support to the people that work so hard to entertain you.

And the most important observation of all… Love is the fuel that runs the big Music scene engine.

People that run venues LOVE music, the musicians LOVE playing music and the many wonderful supporters of both Musicians and venues LOVE being involved with the scene they’ve created.

While this is a wonderful thing, it does have a dark side. Love sometimes creates unrealistic expectations.

Some venue owners figure when the music scene EXPLODES, they’ll be right in the middle of it… moving and shaking

Some musicians quit their day job and try to eek out a living streaming their music.

Some listeners decided they know what they are doing, love music, and want to start a record company, or management agency.

There are my observations, so what are my conclusions.

We operate in a donation-based economy. People assign worth to music and venues and donate as they see fit.

Demanding a fee for performance is not fair, considering that fee only generates debt for the venue operator.

Quality should be a major concern for musicians and venue operators alike. People find more worth in something good then something that sucks. If a musician has a consistent quality show, and venues book quality acts, both can expect to thrive in a donation based economy.

Not every act that plays for “Tips only” is worth booking. When a venue gets a reputation as an OPEN MIC scene, real music fans avoid it. Open mic crowds come to support friends and tip their friend very well, but seem to ignore the needs of the venue. They are not very interested in improving the situation for live music.

Some seem to feel their needs to be a huge sophisticated infrastructure in place in order for the music scene to grow. A good, or bad example of this is Trax music resource center. Quite a set up they have there and I’m sure they are full of good intentions… but it doesn’t do shit. The most salient point toward growth is an influx of great music and efficiently operated venues. As it stands now you are more likely to see a horrible act then a good one.

In a more perfect world, the music management types would be publicly ostracized, but in our less then perfect world they should be simply ignored. They are a cancer on the music scene.

And the most profound conclusion…

When the music comes first a lot of things are going to fall into place. Love the music, listen to the music, and support the music. Embrace the passion, get lost in the moment. But don’t get swept up in magical thinking.

When established quality brands, both as musicians and venues arise, this will be the major inroad to a greater impact on the general public.

Is it live or is it Memorex?

2009-04-22T20:49:00.000-07:00

I’m probably dating myself using that reference, but odds are… you remember that question as well.

What I want to talk about today is the value of actual live music verses somebody singing over recorded backing tracks.

If you go into a bar and somebody is singing over recorded back up tracks it’s called “Karaoke night”, and the real fun of that, is anybody can get up and make and ass of themselves. The entertainment value of Karaoke has nothing at all to do with good music. Even if somebody has a fooking amazing voice, they are devaluated by the forum they are operating in.

Another place where pre-recorded backs up tracks are prevalent is church. Christian’s lub to sing about Jesus with the full glory behind them. It’s cheap and cheesy, and perfectly okay when somebody that doesn’t have a lot of talent, but has a good heart, wants to bless the congregation with the gift of song.

Close your eyes and nod Timmy it will be over soon.

I’ve thought about it quite a while now and I’ve come to the conclusion the reason pre-recorded back of up tracks are the keystone of musical banality is because the tracks were never recorded to be the musical bed for a horrible singer. They were recorded by professional musicians to be sung over by a professional singer, with the vocals compressed and Eq’ed, and composited to perfection.

When uncle Bob plugs the CD player in to a line level mixer and run the radio shack “Realistic” mic into the cheesy 40$ spring reverb unit he got at Mr. Reeds garage sale, dutifully patching his voice into the mixer with LOT O’ VERB, and starts to sing “Butterfly kisses”… perhaps things can go awry.

Karaoke is the audio equivalent of having a beautiful airbrush painting rife with detail and taking a crap right in the middle of it. Trust me, people notice the turd. The only real difference being the turd would not have TOO MUCH REVERB.

Now let talk about the doctrine of appropriate technology developed by the Peach Corp.

A while back, some brilliant hippy figured out if you give some third world villager a state of the art John Deer tractor, you are not really going to improve his crop yield. He’s probably using a stick pulled by a mule to plow his field and may have never seen machine more complex then a water pump. The maintenance of a tractor would overwhelm him and he would probably just go back to the stick and mule system he’s comfortable with.

But… if you gave him an iron plow, he would understand it’s use and it would be a vast improvement over the old school stick. Progress is achieved and people gets to eat.

This is why live music works so well. The voice and instrument are coming from a real audio space. It’s an iron plow you can stick in your ear. It blends easily together because it is quality consistent.

Does that mean it’s a turd on a turd?

No… because it is quality consistent. This means there is not huge gap between the quality of the music and voice. While it may not sound… in theory, as good as a studio recording, the listener scales and filters what they hear. If the performance is of reasonable quality, and the emotional content is intact, it can be far more compelling then any recorded performance.

Am I suggesting all Karaoke performers quit performing in Second Life?

Well I could suggest that, but I doubt they would do it. However, a more reasonable solution would be for them to either learn to play an instrument, or find an accompanist. An advantage of finding an accompanist would be most musicians would not want to play with somebody that sucks.

If you talk Bill Ray down the street into coming to your house and picking a few toons on his geetar while you sang… and he smashes his geetar and runs from the room jabbing frantically at his ears with an ice pick, you might not be as good a singer as you think you are.

That being said… let’s address the Guitar-aroke types.

If you are the Guitar God you think you are, start a freaking band. I find musicians love to play with other great musician and most do it will little hope for compensation.

For music to make a deeper impact on the general public in Second Life, it has to be good and it has to be live.

Is it live or is it Memorex? Everybody can tell.

Zorch-cast vol 1

2009-04-18T09:02:00.000-07:00

Zorch cast

I just figured it out

2009-04-16T08:07:00.000-07:00

For the longest time a common Second Life phrase has had me quite stumped. That phrase being…“Real Life musician”.

I think I understand what they are implying, however, the meaning is far different then the implication.

They are trying to say, “I am not a Second Life musician”, or perhaps, “I’m not JUST a Second Life musician”.

Second life is full of simulations. Simulated houses, simulated Motorcycles, simulated romance, and when you boil is all down… the simulation is only as profound as the person experiencing its need for the simulation.

Say you want to own a big house on a private island. That is your “Dream house”. If you create an approximation of that dream house in Second Life, while still technically a dream house, some need is met.

Some would say this is quite sad, but I don’t agree. If your approximation cost 1% of the real thing, and gives you 10% of the enjoyment, what is the harm? Life is grim, fun matters and expending time and energy to make life a little more enjoyable is probably better then walking around suffering.

When I hear a new musician is takes me less then one song to figure out how “Real Life” they are. Seems to me the ones that feel the greatest need to underscore their “Real Life Creds” are the ones that aren’t even technically musicians to begin with.

Have you ever noticed how many BIG NAME musicians in Second Life play primarily at night? The odd fact of the matter is if they were “Real Life” musicians, it seems to me they would be plying their trade in the “Real World” at night.

Of course this moment of clarity doesn’t really affect much at all unless I look at my own musical adventure. Maybe I need to go out and find some real people that can hurl real tomatoes at me if I suck.

Hummmmm…..

I’m I a simulated Rockstar?

The Music is real regardless of the environment.

Independence = Cha-ching!!!!

2009-04-14T16:31:00.000-07:00

A fellow blog writer made an entry today about the loneliness of independence. It really got me thinking. Not about what they were writing about (the wonder of a minuscule attention span), but rather about independence as a working musician.

In Second Life independence and the lack of an actual music business give the clever musician a plethora of opportunities the real world lacks.

That being said, the worse thing that could happen to musicians in general is if some kind of music “BUSINESS” managed to actually appear in Second life.

Yes there are schemers, but thank goodness they never really stumbled across an effective way to exploit musicians. If they did, in a very large part the game would be over.

In the so-called real world, the music business on all levels exist to support the growth of the music business. Bar owners hire musicians to sell beer, record companies sign band to generate product. The bottom line, you favorite rock star may have millions of dollars but in order to achieve that, they first had to generate billions of dollars for the music industry.

As long as there is a recording industry, the great emancipator didn’t free all the slaves.

Now I am in no way suggesting you can get rich, or even make anything close to a decent living from your second life earnings.

But…

Things can be quite profitable for you. Speaking for myself, my entire overhead as an operating businessman (kind of creepy when you put it that way) is covered by my earnings in second life.

My earnings in Second Life cover my web site, stream, and any incidental promotional expenses. This may seem like a small thing, but in fact operating capital is a large deal of the leverage used by the music business in the real world. In Second Life, I basically own the store.

This ownership gives me a lot of “Wiggle room”. I’m underwriting my own musical adventure and because of that I can afford to be as wise or reckless as I desire. Either mode of operation can prove to be profitable or disastrous. Nobody really has a grip on what the mechanics of success are yet.

This “Wiggle room” allows me to experiment.

Somebody told me playing too many shows would be a “Very bad thing™”. It would diminish my draw and make myself less attractive to fee paying venues. But I don’t seek fees, and every show I play seems to be well attended (unless I play at night).

Somebody told me releasing too many collections would effectively cause me to be “Competing with myself”. So far that is not the case. Old collections sell as well as the new collections and every now and then somebody runs the board and buys them all at once.

I also remember when somebody told me I was too arrogant to be a vital part of the Second Life Music Scene. Yet I seem to have an affect even thought I’ve been banished.

The bottom line is, the adults are away, and we can be as crazy as we want to be. With any luck we’ll make a few dollars, but far more important then that, perhaps we’ll achieve some powerful emotional gestalt with music.

To sum it up

Music vs. Product… Music

Rich and famous vs. in control and content… in control and content.

Independence vs. servitude… Independence = Cha-ching

Explaining the Paradox

2009-04-09T08:48:00.001-07:00

The other day I was discussing plans for a music distribution network for original musicians in Second Life with a friend of mine. She remarked I was a delightful paradox and I didn’t think much of it at the time.

But now I am thinking about it. What did she mean? Did she find it paradoxical I could be so willing to incline a cynical eye towards the elaborate schemes of other, and still pony up the chutzpah to propose my own grand vision?

Perhaps she did, perhaps she did not. But if anyone finds that somewhat paradoxical, allow me to tell you the difference between the random dreamers of Second Life and myself.

I’m simply proposing what works for me will work for others. If I can sell hundreds of MP3s a month, why can’t other quality original music artist? I don’t see any reason why I should be the exception to the rule. And I’m inclined to think those music lovers need to be basically trained to buy MP3s. It’s currently not part of the program for most music aficionados.

Now I’m going to speculate on what it is I’m doing right. While I might be wrong on what I’m doing right… I must be doing something right because in the first three months of 2009 I’ve averaged over one gigabyte of downloads each month.

Quality. I write good songs and seem to be able to create recordings with decent production values. I also seem to be able to make these recordings in a reasonable (read profitable) amount of time. I’ve heard one artist mention it takes him 100 hours to make a finished recording of a single song. Perhaps he was trying to impress on people how professional he is, but I don’t think I have 100 hours invested in any collection I’ve released.

Promotion. I put new songs in heavy rotation in my shows. People come to know and love the new material and when they see it listed in the new collection they are quite interested in buying it. Example, one of my supporters really loves the song “Howard Roark and me”, she even asked for the lyrics before the song was released as part of a collection. The day of the release party, she was there while I was setting up to be first in line to purchase the collection with her favorite song in it.

Events. Each collection has a release party. While I’ve throttled back the pre-release hysteria the last time out, it didn’t affect sales at all. Everybody that looks at my performance schedule sees the upcoming release party date and time. They are all well aware that something new is coming, and they do show up to buy the collection the day it’s released.

Cross promotion. While new collections sell the most, every month I sell old collections as well. The more people hear, the more they seem to want to hear. Each collection sells other collections. I’ve had very profitable days where someone runs the board and buys all the collections.

Preview. Odd terminology actually, but the fact each collection is available on my web site to listen to in it’s entirety allows people to make and informed opinion about their potential purchase. One of the nice things about administrating my own web site is I get the stats, I know what pages people are looking at and how much time they are spending there. 23 visitors spent one hour or more viewing the site. What do you think they were doing? I think they were listening to music.

Collections. I seem to be the only guy catching on to this, but reasonably priced collections sell better then the “songs ala carte system” so popular on the interweb today. I’ve tried selling single song and found it a lot of bother to administer, and it seemed to be too much of a bother for the consumer as well. Once I ditched the singles altogether things started to move. The simple fact is people are interested in Zorch as an artist and in most cases don’t want just the “HIT SONG”. They go to concert after concert and have come to realize I have a strong catalog and they want as much of it as they can get.

Price point. L$ 100 per song is a good deal less then what I-tunes charges for a download. Some might think I’m short changing myself, but I don’t see it that way at all. Each sale nets me a small sum of money, but the money is not what has real value. The real value is getting my music in the hands (and ears) of listeners. This promotes my live show (more money), sell more collections (more money) and creates interest in further releases (in time… more money).

But it’s not really about the money primarily it’s about the music.

But, no kidding, money matters. I’ve been a musicians all of my adult life, and I’ve spent most of that time trying to figure out a better way to work my craft and make a living.

Currently, I make a daily amount of money equivalent to working in a bar band with out the overhead or major effort required. Unlike a bar band I work more days per-week (seven days a week if you are counting), so I’m already doing better then if I pitched in with some goobers doing Garth Brooks covers.

As a matter of full disclosure, I play one fee paying show per-week, and I’ve offered to play that show for tips only, but the owner insist on paying me. All other monies are made via tips.

But I do sell MP3 collections. The monies made from that would probably come close to covering any shortfall due to lack of fees.

Is the music scene in Second Life about to blow up? I don’t think so. But there are sufficient numbers of interested people to support this musician dreams. I do think there is room for growth. Not BLOW UP type growth. But I can see things becoming more profitable for me.

One of the things that would make things even more profitable for me is the growth of the original music community as a whole. If more people were in the habit of buying MP3s, there would be more people buying mine.

Before you pass me off as some money grubbing bastard, I feel I should point out I work very hard. I play lots of shows, write lots of songs and release a collection every season.

But then… if you are doing something you love you never work a day in your life.

Marketing principals for musicians 101

2009-04-04T13:21:00.000-07:00

If you never went for your MBA, you knowledge of business is very limited. If you do have your MBA, you knowledge of music marketing would still be kind of sketchy. Today I’m going to try and give you a primer on how to get a little attention. The following axioms seem to work even as the paradigm of selling music changes.

A marketing campaign is a lot of work.

The word campaign is it’s more common usage refers to a series of battle in a war. A marketing campaign is not much different. There are those that say, “work smarter, not harder”, but the sad fact of the matter is you have to work both smart and hard. Campaigning operates on a three-stage drill. Plan, execute, and adjust.

Plan: figure out your goal and devise a method to achieve it.
Execute: employ the methodology of your plan.
Adjust: figure out what went right, what went wrong and where you are now. Even a smashing success that achieves your goal leaves you with an adjustment. That being where do you go from here. One battle won; there are more to fight.

Perception is reality.

In marketing, this is the golden rule… or at least one of them. Whatever product or act you have, you wish to instill in your marketing target a perception. In music that perception would be, “This music is worth you attention”. In Second Life people see a glib, personable, poet, rock star named Zorch. In reality I’m just a guy with a guitar singing some songs I wrote. But reality is not what marketing is about, it’s about perception.

WARNING. Do not claim to be a Rock Star and expect people to accept it as so. You often see goober claiming to have 1,000 members in their group, or claiming to be Billboard magazine’s most promising new talent of 2008. This can only prove to backfire because people will be predisposed to think it’s a lie (and in all likelihood it is), and be exceptionally critical of your performance. What you want to do is give them the clues you are something special and let them draw their own conclusions.

People need to hear things three times before it sticks.

Get your name in front of people as often as possible, In theory it only takes three times to be remembered, but more never hurts. This leads to a “Rule of Thumb”. In music if more people have heard of you then have actually heard you, then you marketing is working.

This is one of the reason I insist venues post my shows in “Live Music Events”. Even if people don’t come to the show, they will see the name. I play at least two shows a day at this point. If every venue owner list me that is 60 views of my name per-month. Sooner or later, people tend to come check it out.

The Six “P” principal.

Learn it, Live it, and all will be well with you. The Six “P”s are, Proper preparation prevents pitiful poor performance. Every show should be the best it can be, always bring you “A” game. I know that is a tall order and we all have off days, but the more prepared you are the better you’ll do.

Dare to be different.

You have to stick out to get attention. I know of one guy that wears women’s clothing. He is a crossdressing (male avatar in female clothing) musician. His act is pretty lame but he gets attention. If you act isn’t lame… do something different to get attention.

WARNING. Don’t be a furry. Even if you are into that crap, it just makes you look retarded. As people watch your show they’ll be thinking “Fucking furry”, and not listen to a note you play.

Actually the best thing you can do to be different is something musically different. But that is a lot more work then slapping on a frock and some bunny ears.

WARING PART 2. Don’t stand in crowds. There are tons of place that feature musicians advert boards. Click on them get some info. I don’t recommend you do this because you take on the drab patina of all the other losers that imagine themselves to be musicians.

Once again this is just a primer, not intended to be a book. So good campaigning to all you talented souls. And if you aren’t talented, do the opposite of everything outlined in this entry.

Theory vs. Practice

2009-04-03T08:26:00.000-07:00

Probably the biggest impediment to growth in the Second Life music scene is its fascination with theory.

In theory, we are all one big happy musical family. In practice we aren’t.

In theory, venue operators make a return on their investment. In practice they don’t.

In theory, MP3 should sell. In most cases they do not.

In theory the music scene is about to blow up “BIG TIME ™”. In practice it might blow up, but not in a good way.

There is some fantasy that the next MEGA event will turn the corner, when in practice, it just caters to those already interested in the Second Life music scene.

Let’s talk about what has transpired and really get a perspective of what the big picture might actually be.

The big happy family? If this were in anyway true, my Un-career would be over. I’ve pissed off a few that entertain the fantasy they are lynchpins in the Second life music pantheon, and still manage to play more gigs then is healthy for me.

In practice, the music scene is both fragmented, and quite contentious. When I was banished from the music scene by one faction, it only caused me to be embraced by another faction.

Is this a bad thing? Hell no. Imagine how fucking boring things would be if an artist had to appease the centralized tastemakers. Everyone would sound like “The Popular kids” and there would be no room for actual artist.

Venues turning a profit? Not commonly viable in the current state of affairs. First off, artist demanding a fee do significant harm to venues seeking to break even. I suspect the lions share of good venues operate simply because they enjoy music and want to be involved with it. God bless them they volunteer to pay the freight for the whole music scene.

MP3 sale for Second Life artist? Most do not do well at all. I’ve heard on fellow boast he sold 23 MP3s that month. That month I hosted 550 MP3 downloads.

Now I feel I should comment, I feel that MP3 sales make a better economic bedrock for the original artist then the reliance of fees or even tips. The day I released “Shades of Blue” I made 100 $ US in one show. The vast majority of that money was from MP3 sales.

What am I doing right? Why do MP3 sales work for me?

Well part of it is the quality of my music. People like it, they want to own it.

Frequency of releases. I put out a collection every season. I can do this because I’m prolific, and most cannot.

I play original music 99.99% of the time. Every show is promotion for “My music”. People attending my shows are interested for the most part in “My music”.

What are other artist doing wrong?

Reliance on third party vendors. There are Virtual CDs that some are promoting, that revolve around keeping the transaction “In World”. This is a huge error in my estimation. The less your distribution interacts with the Second Life client the better.

Playing covers. Many artists are under the impression they must play covers to work. You will probably get a bigger audience faster playing covers then original music. BUT… you become just another lounge singer. You big audience will tolerate your originals, but they are really waiting patiently for you to crank up another cover. They are there for entertainment; you are more like a jukebox then an artist.

Lack of good songs. I’ve seen some songwriters that have one or two good songs and a bunch of piffle they have also written. Bigger quality catalogs sell more MP3s.

And finally…

The music scene in Second Life is about to blow up? There are a lot of people devoted to believing this. But they fail to take into account the fact that Second life over all is a very small thing on a planet with billions of people on it, and in the tiny world of Second Life, music is more of a footnote then a major factor.

To illustrate this, allow me to suggest more people know what “Xcite” refers to then know any of the names on the LAME music award nominee list.

Some will pout and say, “Hey Von jon got a record deal from playing on Second Life”. Yeah and now Von jon is a household name. Oh wait… he’s not. He is a phenomenal blues player and scored a record deal with an “Indie” company. He’s a niche artist that got signed to a niche label.

I get a handful of recording contract offered to me each year. Most are scams trying to make a few bucks off my talent or gullibility.

The biggest impediment to the Second Life music explosion is the fact it’s not ready to go BOOM just yet. The music for the most part is hit or miss. Maybe I should say hit, or miss, miss, miss, miss. Few involved with “Moving and Shaking” understand even the most fundamental principals of marketing. It is no wonder things linger in the imagination end of the success pool.

However, I do see glimmers of life. Something that might someday make an impact. These are pockets of organically grown communities that are growing in sophistication every day.

The major hamstring to the whole shebang is people in general have gone from thinking in the box to thinking in the coffin. Stuff that doesn’t work is used over and over again, with the unshakable belief that someday it will pay off.

When communities committed to good music finally manifest themselves, I’m inclined to think we will be prepared to make more profound inroads to the general population of the tiny world of Second Life.

When the music scene is more about music and less about fees, return on investment, and hijacking authority to establish orthodoxy, perhaps we will make some progress.

Dreaming vs. Magical Dreaming

2009-04-02T05:52:00.000-07:00

I received an offer to be involved with some kind of interview based radio show the other day (not real radio, but the internet kind of radio). Now I’m not mentioning names of parties involved simply because I don’t have any personal issues with these people. But I don’t agree with their point of view about music/music economy in Second Life. I feel I should point out a lot of people share the point of view I find objectionable, and the only reason I object to it is because it’s based on Magical Dreaming.

The personality behind the interview show sent me a long notecard about his or her thoughts on a musical career in Second life. His or Her basic thrust was how can a professional original music artist make a living in Second life when venue owner pay such small fees?

Her or she then went on to catalog the many virtues of original music, and then whined about how much musical gear cost to buy.

If wishes were horses, beggars would ride. When is the last time you saw a ridding beggar?

The elephant in the room is the fact it cost money to run a venue in Second life. The vast majority of venues run at a loss every month. Venues close all the time because the operators simply can’t afford the overhead. When a musician puts his or her hand out for a fee, they only add to the monthly overhead, metaphorically punching a hole in a boat that is already taking on water.

Now there was a time I was becoming comfortable with accepting a fee to pay. The primary reason behind that was so many people were telling me that was how it worked. But when I pause to consider venues operate on a donation-based economy, I find it unconscionable to request a fee.

If I charge a venue owner 1,000 L$ to play an hour, they would have to collect at least 1,000 L$ in tips to cover my fee, and the odds of a venue collecting 1,000 L$ in tips in the course of an hour show is pretty unlikely. So the fee becomes part of the growing debt of running a venue in Second life.

I know I’ve talked about this before, but I feel quite passionate about this and I’m more then willing to give the drum a few more whacks in effort to make my point.

Should a musician expect to make a living off his or her efforts in Second Life? Well if they are doing so expecting fees… basically a patronage system to pay their bills, they should be prepared to be disappointed.

In the real life music business, musicians could make millions of dollars, but only do so after generating billions of dollars for the music industry. Musicians only generate debt in Second Life.

I’m not against dreaming, because everything that is was once a dream.

I don’t expect my Un-career in Second Life music to pay my bills. I do make money, and when I sit and do the math, it’s pretty comparable to what I would make playing in a bar band three sets a night. The major difference being, I play more shows then any bar band I know of per-week, so that is a lump sum gain.

I also get to play an all-original show, and not have to deal with the personalities that make up a band.

I get to sell MP3s and make actual money on that too. I sell over 200 MP3s a month and every dime of the sales ends up in my pocket. I don’t need I-tunes or any third party brokering the sales for me.

I’m also free of the restraints of management or any other industry type. I’m operating about as independently as I can.

I view venues and the people that operate them as empowering agents that allow me to present something of value to the listener. I play the music I love; the listener enjoys the music and rewards me with tips. They also choose to purchase my MP3 collections because they see them as something of value worth owning.

The way I operate seems to be economically sound, reasonable, and best of all it works. While I am part of an organic community, that seems to grow in sophistication every day, I’m not in any way linked to some all encompassing Second Life music community. So my success is not based on the success of that imaginary beast.

I dream and then I work hard to manifest those dreams. On the other hand, to expect people to patently underwrite your career in music is childish magical thinking. I suspect the people the whine the most about how cheap venue operators are, are probably the one with the least to offer musically. If they were pulling good crowds and making good tips the lack of a hand out from the venue operator would not affect them so drastically.

Maybe she’s a dreamer… but it’s more likely she’s just crazy

2009-03-31T17:51:00.000-07:00

I have a subscription to Skeptic magazine. While I don’t see myself as cynic, I am inclined to bouts of skepticism. One of the more popular topics in the magazine is cataloging the many predictions made by the psychically gifted that don’t seem to pan out.

I’m well aware that most predictions don’t prove out, but I’m about to make one. Note the date; note the time this entry was posted.

In mid June of the 2009, “MNP records” is supposed to be established. Once again, what MNP stands for is a matter of debate. I’m predicting it either won’t happen, or if some twisted fantasy version of a record company does happen it won’t live to see 2010 and will end in scandal.

I’m not basing this prediction on any extra sensory gift. I’m simply paying attention to what is being suggested and noticing it won’t work. Let me share my observations and see if you come up with the same conclusion.

I do have a sorted past with MNP, and you might think this is sour grapes. But even when I was involved, I made it clear I was not interested in participating in any record company Moody might cobble together.

Even though I didn’t seem interested, Moody, being the dreamer she is (see the title) was more then willing to tell me all about her master stroke. She’s not letting a small detail like the minuscule number of people actually interested in Second Life music in anyway deter her from her from pursuing her dream. I remember one of the MNP act boasting, “I’ve sold 26 MP3s this month”. Well I’ve sold 30 collections of MP3s this month, and I’m not starting a company.

Moody’s work around for not being able to actually sell music is corporate sponsorship. In her little dream world, some company would pony up major bucks to support a business that won’t make a dime for… promotional exposure.

Promotional exposure????

Hey, there are less there are between 20,000 and 90,000 online at any given time. While you could look at monthly log ons for a bigger number, almost everybody knows that number is bullshit. The majority of log ons come from recovering from a crash here.

While the over all numbers are pretty small. The live or semi-live music scene here reflects smaller numbers.

Most Sims have a occupation limit of about 40 avatars on the same parcel at the same time. While there might be 20 music events going on in an hour, if all of them hit the limit, it would only be 800 people in attendance.

Further dreaming, if you had 20 events, 24 hours a day, and all were just packed out you would have at the end of the day 19,200 people enjoying live music in Second life.

If we could keep this perfect attendance for a full month, 576,000 People would have been enjoying live music in Second Life. That is over a half a million people. Kind of… actually it would only be almost a half a million people if different people viewed every show.

But the scenario played out above is pure fantasy. The actual promotional impression sponsoring a record company in Second Life would generate is mathematically negligible.

I imagine Moody is trying to stir things up in hopes that something breaks loose for her. Frankly a lot of musicians like the idea of getting signed to a record contract due to their popularity in Second life. A lot of people in the “So-called” music community like the idea as well. It supports their point of view that the music scene in Second Life is vital and about to BLOW UP big time.

For the record, the music scene in Second Life is still very early in its development cycle. It’s not ready to be anything more then what it currently is, because the music scene more about Second Life then it is about music. There are some very talented musicians here, but the majority of popular acts are better at being sociable then playing music.

Now you may question my motives in posting about this topic. Part of the reason is to have something interesting to post on the Blog. But the bigger reason is because this is a scam and people get hurt in scams.

While there currently is no MNP records, it already has two Vice Presidents. I’ll not name names, but I know one of them is on un-employment, and waiting for Moody’s company to support her. At this point she may even be spending her meager savings just waiting for that ship to come in. There is no ship, so it’s never coming in.

Musicians are also being scammed. Musicians are by nature dreamers. And most dream of that magic someone that will usher them to “THE BIG TIME”. When someone says those five little words “I can get you signed”, all reason goes out the window.

In my short association with Moody, I came to the conclusion she is lying about her credentials as a music professional. She doesn’t have any fundamental understanding of business, and much less the music business. I once asked her about Harry Fox, and she said, “I don’t know any Harry Fox”. Harry Fox… or Harry Fox agency… or Harry Fox money is a common expression in the Music Biz. It’s in every record contract, either directly or by inference (also referred to as Mechanicals).

She also commented, “Good recording studios have “Sure mics”. Now I feel I should point out this is true, but really good recording studios have coffee makers too, and I’m convinced those coffee makers get more use then the “Sure mics”. Frankly, most bedroom studios have “Sure mics”, and the coffee maker is all the way in the kitchen. How can anybody work like that?

Now I don’t think Moody is evil. She is full of shit, and most people are at some level. She gets a lot of attention by pretending to be a mover and shaker in music. Her schemes get her even more attention, but people inclined to believe this crap are going to be crushed when it all turns to dust.

Further underlining the scamboogery of this whole deal, Moody’s two vice presidents in waiting have no experience at all in the music biz out side of their experiences in Second Life. Perhaps two years of running a venue in Second Life would get you an internship at a real record company, but why would a self proclaimed “Real life music professional” like Moody even consider installing two clueless buddies as Vice President? Because she’s not a real life professional anything and this is all make-believe.

But in the end… the disappointment of those involved will be quite real.

You can’t spell LAME with out L.E.M.A.

2009-03-30T11:17:00.000-07:00

I feel I should point out two things at the outset of this entry. One, I’m pissed off, and two I have been officially deemed too arrogant to be a vital part of the Second Life music scene by a self-appointed arbiter of who gets to participate and who does not.

That being said… let talk about the L.E.M.A. or let’s just call it the “Lame music awards”. Have you heard about it? Lots of the “Ohhhhhh community types” are all atwitter about it… but frankly they spend most of their time being atwitter about something.

Now, I feel I should mention I was more the willing to look the other way on this bullshit, but even my outsider status does not insulate me from intrusion of those seeking to establish orthodoxy, and promote their own authority.

I’m playing a show today, and some jackanapes shows up with a “Lame music award” tag floating over his noggin. My initial reaction is one of “Oh fuck”. But then I say to myself, “Self, he must be interested in music. Perhaps he’s just here to enjoy the show”. But it turns out “Oh fuck” was the right answer. He was there to promote his agenda.

Shortly after the show, Lexie tells me this guy was talking to her about some kind of web page. Curious. I don’t know what she is talking about, but shortly I find out. He IM’s me with the same message. IM spam… how tacky. Seems the Lame music awards has a web site and it has a slide show of venues and performers at the bottom of the page. ANYBODY can be included in this slide show for free.

It sounds up front like free publicity. But that is not what it is.

It’s a puffy cat.

Have you ever seen a cat arch it’s back and poof out its fur? What that cat is trying to do is appear bigger then he really is.

This is what the Lame music awards are doing with their slide show. Trying to appear as if the whole community is underwriting their authority to bestow awards.

You see, “Oh fuck” was the right answer.

I told him I thought the Lame music awards were a joke and as the exchange of witty rejoinders came to a close, he gave me the oddly traditional chorus of, “Good luck with that attitude buddy” line.

I feel quite fortunate to have actual talent, because my attitude seems to be a sticking point with so many people. I don’t like to play along to get along, and if you like my music fine, and if you don’t fuck off. I don’t need an award to tell me my music is good, if I was unsure of the quality I would probably have management and write a blog about what I had for lunch.

The listeners and venues that support me are all the award I need, and in my point of view, the most valuable thing in Second Life.

Second life co-existing with reality

2009-03-26T05:32:00.000-07:00

The title of this entry makes my head hurt. But I do have something to say and I’m going to “Spill it” even if it does give me that vertigo feeling you get when you contemplate the infinite.

Second life is a fantastic place. I don’t mean that as in “so good it’s fantastic” but rather anything you can imagine you can approximate.

People that can’t balance their check books run music venues, people with very questionable musical talents are virtual rock stars, and everybody’s personal ethstetic is reflected however they wish.

People willingness to embrace approximations is a great deal of Second Life’s charm. You can own a big house, a Harley Chopper, and have a crazy hot significant other. They aren’t real but they are real enough to enjoy.

This willingness to embrace approximations also reduces the music scene to little more then a social construct for the most part.

However there is a place where reality comes in and hollers “Booga booga booga”. At some level it takes “Real Money ™” money for Second Life to happen, and most the time that “Real Money ™” money comes from a place called… wait for it… real life.

If I didn’t see the possibility to make some “Real Money ™” money in Second Life I probably would not be involved. I’m not suggesting I’m driven by the collection of money, it really is music first for me, but to me “Real Money ™” money does matter.

I’ve got lawyers to feed.

I’ve spent most of my life trying to make a living with the skill set I’ve developed and that skill set revolves around music. Sometimes I do well, sometimes not so well. It’s not pure abstraction for me to look at Second Life and wonder, “How can I pry some “Real Money ™” money out of this thing”?

Of course it’s not just the money. I’m really seeking a situation that suits me ridiculously well, and for the most part, I’ve got it.

I play the music I write and love.

I play at least once a day.

I tour without leaving my home.

I get an approximation of “Rock star” attention and I’m addicted to attention.

I get to sell MP3s. I’m a recording artist without the need to please some monkey in a suit.

The music is real, the enjoyment people get from it is real, and yes… at the end of the day the “Real Money ™”money is real. My Second Life rock stardom dovetails nicely with my real life and real job, being a Daddy.

I’m aware… and at times it seems as if I’m to only one that is, that Second Life is not the next big pop culture phenomena.

It’s a very small pond, and I’m one of the tiniest fish in that pond. In spite of that, I’m a very happy tiny fish. There is plenty of tiny fish food… yummy.

Welcome to my Un-career

2009-03-22T13:15:00.000-07:00

Ever since the departure of my Show tech, group membership is dropping. It’s doing what I like to call “Bleeding out”. Since you can only have 25 groups, there comes a time in each Second life’s resident life where they have to drop a group or two to make room for new groups they wish to belong to.

It’s normal and part of Second life’s questionable charm.

I’m sure the hardcore Zorch fans are still members and manifold blessing upon them. I love you guys. But those on the bubble are drifting away. That is actually cool. Because while from a career viewpoint it’s bad… it doesn’t seem to affect the shows I play. They are still well attended.

As a matter of fact, there is this theory the more you play the less you draw. However I can play three or four shows a day and have them all well attended.

There is also a school of thought that says you should play as many different venues as possible to get your music in front of new ears. I tend to play the venues I know, and give others a shot now and then. And while it defies conventional wisdom, I seem to be picking up new fans all the time.

So how is the “un-career” going?

Well I play a lot of shows, they are well attended, I make good tips, and manage to sell about a gig and a half of MP3s a month.

Another prominent feature of my “un-career” is my willingness to play “Tips only” shows. It seems the point of most careerist, is to get to a point they can demand a large fee and be well compensated for their time. I feel the compensation I get via Tips and MP3 sales are sufficient. Besides, I like playing. Every show a do is another chance to get it right and getting it right feels really good.

The more I think about it, the more having an “un-career” RAWKS.

I don’t have to play strip clubs for a fee.

I do get to play for venues that love to have me out and actually help them defray the cost of operation.

I don’t need somebody “Tag Nagging”.

But I do get to enjoy the people that consider group membership in the Zorch Nation worth one of their precious 25 slots.

I don’t have to play “Venue roulette” and hope the people that hired me to draw a crowd to their venue don’t “Harsh my buzz”.

I do get to play for venue owner that allow me to put on the best show I can with no petty bullshit to deal with.

The very best thing about having an “un-career”, is it can really be all about the music, and that is all I really value anyway.

This is MY blog

2009-03-19T08:21:00.000-07:00

I write this blog alone. I don’t have a staff, or editors or advertisers to answer to. I don’t ever pretend to be fair or journalistic in my approach. While it seems people do read it, I don’t write it with the expectation that people will read it. Sometimes I write just to get something off my chest and in a large part that is why I’m writing today.

If you hate it when I do that… stop reading now.

I really feel IM’s that come along in Second Life should have a crazy meter on them. Something to warn you how whacked out the person sending you the IM actually is. If they had this feature I would have gotten fair warning as to the nature of cat Boucher’s… oh wait,

I better not user her real “fake name”, that might seem personal. Let’s call her Cat Blowhard.

If they had this feature I would have gotten fair warning as to the nature of Cat Blowhard’s “crazygram™” the other day.

Seems Cat was up set because I posted about some personal issue I have with Pere…oops, better use another fake “fake name”…. Let’s call him Pere-grim Sigh.

Cat is supposedly running some kind of charity thing and asked me to be involved. But my inability to keep private matters private made her think it would be better if we didn’t work together.

I agreed because I was setting up for a show, and wished her luck.

Then she went on and on, droning about how it’s all about the music and doing something for a good cause… blah blah blah. At this point… I’m pissed off.

For the record I don’t have issues with Pere-grim. He’s got enough of his own issues. The man has been wondering around second life lately making damn sure anybody that gave a rat’s ass about him no longer bothers.

The only thing I’ve posted about Pere-grim is awarding him a Zorchie as “The best instrumentalist that leaves Second Life forever about three times a day”. If he took offense at that, it’s his problem. Being a humorless prick is a problem.

Of course he’s got far more serious problems… but that is not my problem.

Now if I’m not mistaken, wasn’t it Cat’s public dumping of Pere-grim that caused him to move from his comfortable two bed room apartment in Eccentric-ville to a refrigerator box on the mean streets of Whacko-city? So in effect, I’m being dragged into the middle of Cat and Pere-grim’s psychotic apache dance in the name of Charity.

In the beloved words of American humorist Mark Twain, “Fuck that shit”.

I try to be a nice guy; I try to help out charitable causes. But there is a limit to my willingness to be exploited in the name of charity.

I’ve really gotta learn to put people on mute. There are some people I never want to hear from again.

Best rez day party evaaar

2009-03-18T06:02:00.000-07:00

Wow, took me a while to get around to writing about this because I was simply so blown away by the fantastic time I had. My brain is still a bit fried honestly.

If there were a theme to the event, it would be “Community is where you find it”.

It was such a pleasure to be surrounded by my “Peeps”. There was so much positive energy that is was almost impossible to imagine the bullshit that seems so much part and parcel of the Second Life experience. For a moment I felt absolutely successful, and that is a very good feeling indeed.

Harrie did and outstanding job, as always, decking the place out with the proper decor. The supreme moment of decoration brilliance were the balloons that said, “I love you in a non creepy way”.

The release of “Shades of Blue” was remarkable as well. Not meaning to brag, but between sales and tips I made over 100$ American for the event. Did I mention that original artist should sell MP3s? They should. It seems to be a very viable alternative to hitting the venue operator up for a fee.

When I’m comfortable I play a great show, and there is at this point no place I feel more comfortable then at Pixel hill. While my set was stellar, I have to say every performer really brought their “A” game to the event. Even POL, who had already played one show and was totally tired and drunk, played the kind of set I admire him for. The fire, the passion. He really is the best. Everybody flat out RAWKED.

Of course, just about everybody won a Zorchie award, and really earned it that day. The really nice thing is people seem genuinely touched but the award. It is a patent token of my affection. The simple fact is, everybody involved already knew I thought they were the best of the best.

In retrospection, it’s been a profitable year for me in Second Life. I’ve seen a community grow before my eyes, and I feel great things lay ahead. We’ll not get rich and famous playing music in Second Life. But we can inspire, touch, and affect in a positive way so many with the gift of great original music.

In the glossy haze of good feelings it’s easy to say, “Second Life is Good”. But to keep my Second Life good is going to take a lot of work on my part. Of course I seem to have lots of help and support.

Thank you all so very much.

It’s award time baby…. Woot

2009-03-16T08:42:00.000-07:00

Welcome to the first of many prestigious Zorchie awards ceremonies, held… on this blog because the Zorchies are nothing if not CUTTING EDGE.

The official Zorchie award committee picked all the winners and their decisions are final and binding. In other words, if you are really upset about this, your only option is death.

On to the categories and their winners.

Best support group in all of Second Life… and the winner is…. (envelope please)

The Zorch Nation

Bet you didn’t see that coming.

Best Singer Songwriter, guitar thumper, foot stoomper, kilt wearing vodka swilling, iconoclast. … and the winner is…. (envelope please)

POL Arida

Best Singer Songwriter, slide guitarist, parcel passing, pseudo blues man who is probably stealing POL’s car as we speak … and the winner is…. (envelope please)

Blindboy Gumbo

Best three act line up in all of Second Life history … and the winner is…. (envelope please)

The Axis of Ego (POL Arida, Blindboy Gumbo, and Zorch Boomhauer)

The Best venue operator hosting Zorch release/rez day parties… and the winner is…. (envelope please)

Harrie Skjellerup

The Best virtual coffee provider … and the winner is…. (envelope please)

Nya Raymaker

The Best supportive hugger… and the winner is…. (envelope please)

Kenton Morgath

The Best Angel kisses… and the winner is…. (envelope please)

Teara Roux

The best photographer/graphic designer of blue theme Zorch MP3 collections… and the winner is…. (envelope please)
Talia Fournier

The best venue operator/ musician that floats all over the place like a crazy pixie… and the winner is…. (envelope please)

Senjata Witt

Best new female performer whose first name kind of rhymes with “Sexy” … and the winner is…. (envelope please)

Lexie Luan

The Best actual band… meaning more the one person in the same room playing music together, not a dude playing a song, shooting it down the stream for some other dude to play some tasty licks over…anyway… and the winner is…. (envelope please)

The Rails

Best double stream not including tasty lick played over a repeating chord pattern… and the winner is…. (envelope please)

Zorch/Senjata

Best instrumentalist that leaves Second Life forever about three times a day… and the winner is…. (envelope please)

Peregrine Singh

Best Blog about the Second Life music scene … and the winner is…. (envelope please)

Get Zorched

Best web site covering the Zorch Boomhauer Experience. … and the winner is…. (envelope please)

Zorchboom.com

Best Blog readership in the whole world … and the winner is…. (envelope please)

Go look in the mirror, you’re a winner baby.

And the winner is… who cares???

2009-03-14T07:48:00.000-07:00

People tend to come to me when they have a scandal they want to blow the lid off. I really don’t know why. Because of this odd phenomenon somebody buttonholed me and started telling me about some kind of Live music award and all the political shenanigans going on …dunt dunt daahhhh… behind the scenes.

I told them I’m not interested in the details thank you very much.

I’m not trying to be ruder then normal so I hope it does not come across that way. However, telling me there are politics involved in some lame ass award is much like telling me shit stinks.

Putting this all in perspective, all awards do more to validate the authority of the presenting organization then honor the winner. They are establishing the orthodoxy again…. well, they aren’t so much establishing it as much as hijacking it.

Should I be upset? Should I do something about this? Naaaah. Frankly giving this a point-by-point expose of the hypocrisy would be more attention then it deserves.

But it seems to me some grand artistic gesture needs to transpire. Some metaphorical mooning must take place. The bird must be flipped with vigor at the posturing jackasses.

Okay….

I’m announcing the “The Zorchie awards”.

The awards will be given out on… March 16th, and to find out who won what, drop by the old blog. While I’ll admit the award committee consists of just me, I think you’ll find the winners quite deserving.

Keep your fingers crossed, I think I have a good chance at winning “Best Blog about Zorch written by Zorch”.

Oh this could be fun.

Getting tired of the “CRAZY”

2009-03-10T22:49:00.000-07:00

Today I was enjoying a show when somebody I’ve never even heard of IM’ed me and informed me how out of line I was about what I had posted about them.

I’ve never heard of this person, what could I have posted about them?

Then he or she informed me, they were a LIVING LEGEND in second life.

I pointed out I had never heard of them, and they just dismissed me as being new.

Now I may well be new… kind of, but I have been paying attention. One thing I’ve noticed is that people tend to want to believe things are a lot more developed then they really are.

They most popular act in all of second life is known by name by less then 1% of the total population. And while there are more people online at any given time then are wondering around my living room, if Second life were a town it would be a small town, with a population between 40,000 and 80,000 people.

The biggest event attendance wise, I’ve ever seen was 86 people, on the same Sim at the same time. This is not even enough people to have the fire marshal close down a bar in Five Points.

Live music in Second life is a very small fish in a very small pond. And for the record, I’m a very tiny fish in a very small pond. I’m not as delusional as many seem to think I am. I do think I’m amazingly talented and probably one of the very best original musicians Second life has to offer, but my appeal is limited and this is a very small pond.

Playing the music I love for an hour for 20-35 people, works for me. I make a little money and sell a bunch of MP3s. My music becomes part of somebody’s life. One of my critics suggested only 40 some odd people really care about my music at all. This was meant to put me in my place, how ever, the fact that people care is far more important to me then the number.

Music in Second life as it stands is not a cultural force. It’s a social construct that sometimes actually revolves around music.

Zorch 3:16 in bounding … tracking done

2009-03-08T12:25:00.000-07:00

Well I’ve come to my favorite part of recording. Tracking is done. This means all the performances are recorded and I know what is going to be on the collection. Would you like to know what to expect? I thought you might.

I’m In Love With Jennifer Wells
Falling From Grace
Tiny Town
The Stubborn Old Man
Candy Cane
Hide Your Tears
Uncle Dan
Howard Roark and Me
Everything You Know
Rock is Dead

That is ten songs for 1,000 Linden Dollars… wait… 999 Linden Dollars. Lets make it a wobbly number. WHAT A BARGAIN!!!!

Now I’m sure somebody is commenting, “hey Zorch I thought you were going to put 12 songs on this collection you lazy bastard”. Hey… I’m an arrogant bastard not a lazy one. And there will actually be more then 12 songs in this collection. I’m including something I refer to as “The oddity bin” with this collection just to peg the fun meter.

What is in the oddity bin? Well read on if you want to ruin the surprise.

Gay Bananas
Bad Men Do Nasty Things
Sadness
Bad Haircut

These songs are kind of… different. Maybe you’ll dig them, maybe you won’t. Did I mention they are in the oddity bin?

Of course I’m also having a shindig at Pixel Hill, with some of my friends, and I have a bit of a change with that. Originally, Peregrine was suppose to play, but he’s been having some personal issues and seems to leave Second Life forever at least once a day. Filling the gap left by Peregrine will be Lexie Luan, kicking off her debut at Pixel Hill. Should prove interesting.

Why all the hub-bub? Couldn’t we do with a little less bub, perhaps less hub? Nay says I, it’s my very first rez day and it’s been a freaking eventful year. Many cool things have happened and there has been plenty of drama unfolding. It’s only right to have a blow out.