Pictures from The Outsiders March 22nd Show

If you click the link below, it should take you to the Facebook page of Web Sass, whereon you will find a wonderful album of pics from The Outsiders show last night, Wednesday, March 22nd at the LEA7 Fortunate Sons sim.  Thank you Webby for talking the time to take so many pics and upload them for us!  Please give her a like and a thank you if you enjoy these pics.

https://www.facebook.com/web.sass/media_set?set=a.1366875616704727.1073741839.100001469052604&type=3

 

Honouring Vietnam Vets: The Outsiders at LEA7 Fortunate Sons

Dance Troupe— The Outsiders

Wednesday, March 22nd at 6pm SLT

USO-style show in honour of Vietnam Veterans, focusing on uplifting and supporting our Veterans.

This entire project is dedicated to the people of Vietnam – Indochina – and the Military that served there during the 1950s – 1970s.  Entertainment similar to USO shows.  LEA7 Fortunate Sons, the sim is open for your exploration.

March 17, 2017 St. Patty’s Day!

YAY it was Friday!  Which could only mean, it was Elysium Cabaret.  Welcome to the weekend!  Plus it was St. Patrick’s Day, one of the most popular international holidays.  Considering St. Patty’s Day requires no shopping or gifting, but instead only drinking and eating but mostly drinking, what is not to love about it?  Just wear green so you don’t get pinched, and maybe you might catch a leprechaun or find a pot of gold at the end of the rainbow.  Many of our audience showed up in their greenest finery and enjoyed green beer, green champagne, green cupcakes, and more… all courtesy Jilley.  Paul looked splendid in his green tuxedo complete with beard.  DJ Gunner was spinning the tunes, warming up the audience as the talent were stretching out and warming up their muscles backstage.

Sebastain with Storm, Ray, Jo, Lily and Mona
Firedance – Edit

This dance was so incredibly complex, I suppose I will start at the beginning.  It started with a magical golden curtain that had orbs of golden light floating gently.  Through the translucent curtain we could make out the shadows of dancers as they started to move.  The curtain fell away and the dancers, revealed, gambolled forward.  Three vibrant dancers doing lively step-dancing, then joined by three very handsome men.  The men and women each took turns dancing for each other then freezing in pose as the other returned the challenge to move, until all were dancing together.  The mover work on this had to be such a nightmare, as the precision of the couples dancing was so exacting, even having the female dancers dancing in a circle around the male dancers.  This performance was visually stimulating, the colour scheme dazzling.

Sebalicious said he picked this particular music because it is Celtic, but off the beaten traditional Irish green path, having been performed in real life by Maria Pages and Michael Flatley.  Seb said this is one of his favourite dances that he has choreographed.  “It is a LOT of fun.  I like anything Celtic, being a descendant, and I really like the mix of Spanish and Celtic in this dance.”  We like it too!  It is a unique and refreshing take on Celtic presentation.

Nara with Gracie
Guardians of the Woods (Celtic music)

Two beautiful fairies in an enchanted world of mushrooms, sparkling fireflies, lush green grasses, and a backdrop of a mystical waterfall.  The fairies danced with elegance and grace, drawing in their audience to delight them with lithe ballet, moving in the eloquence of fantasy.  This was an exquisite dance that finished with the two fairies rising and flying off into the waterfall.  Very clever mover work to accomplish that!  The song, like the set, costumes and choreography was gorgeous.  I especially loved the delicate wings which were translucent and beset with delicate sparkles.

Nara commented that she has always loved Celtic music.  “I can feel myself absorbed into the tones. It is easy to let creative juices flow just listening to that genre of music.”  She found perfecting the flying part of the dance to be most challenging.  She did a great job with it, I will saying, making flying smooth and having the dancers flying in the right direction and position is not easy.  As beautiful as this dance was, it is not Nara’s favourite that she has created.  She said, “I do not consider this one of my best acts, as I am truly not inspired to create ballet-type ones.  I will leave that, in future, to those who are so talented in that field.. *grins* But will add … I loved building the set.  Oh and blame the music hahaha.”

Special thanks to Tristan Lyonesse for the pics of Nara’s dance.

Jo with Sebastain, Winnie, Kyshra and Melvis

Dock of the Bay – Otis Redding

We love this song.  And Jo created a dock on a bay with ships and boats and seagulls, and people sitting, soaking in the sun, and simply enjoying the day on the dock of the bay watching the tide roll away.  I love the pelican!  Each person then got up in turn and joined in the dance.  The choreo was just perfectly suited to the music.  As the dance continued, the day time sky changed to a glorious deep yellow sunset.  It was a beautiful transformation.

It was jolly good fun to hear of the challenges this dance faced Jo with, and how she dealt with them.  She said this dance was cursed, and everything that could go wrong did.  “I keep ambient sounds off at my build platform so it took me a while to discover there were issues.  The sea lion barked intermittently, and for the life of me I couldn’t stop him.  He was descripted, scrubbed and I even put a sound file called “silence” in him, all to no avail.  Even one of the top sound experts in SL who I consulted couldn’t help me fix him, so he was replaced by a seal which I did manage to muzzle.  My flying seagulls squawked so they had to be replaced by soundless birds.  But the static seagull on the deck has to be silenced with a HUD, and as soon as I rez the set I have to turn his sound off manually.

“By now most of the set was linked, and I packed the various bits into the Stage Manager rezzer.  Done.  Ok, time to rez and check it.  What the heck?  A few pieces appeared but not the houseboat, anything linked to it or the set template.  In edit mode I saw them there but the whole thing had turned 100% transparent.”  OMG I have had that happen to me on a set!  SO frustrating!  Jo continued, “I edited that, and they appeared.  But every time I rezzed the set they came out transparent.   I finally found the culprits: 9 transparent objects, each named mesh plane that were part of the houseboat.  They seemed to have no use that I could see, even though they were scripted for seating, so I carefully unlinked  them one by one from the linkset and deleted them.  Now it worked and that was the end of the set creating disasters, thank goodness.”  Sometimes linking to a prim that contains a certain script can make all your prims invisible or can even change the texture.  That leads to baldness.

About the dearly-loved ever-popular classic song, Jo had this to say: “This song is a classic of the sixties, a beautiful, mellow song, written and sung by a very talented young man who sadly died far too soon.  I’ve always loved it, and the wonderful images of the San Francisco Bay he evokes with the lyrics.  I hope the dance is entertaining and fun but yes, it is more than that to me. ”

Eva with CowGrl, Dyhann Gibbs, Misha, Nadi, Rose and Tia Henhouse
In My Head – Techno Remix

Eva once again proves what a clever little sorceress she is, with her stage magic.  This dance started out with gals in white dresses dancing.  Their party was then crashed by a rival group of hiphop dancers, who came to liven things up and show the ‘nice girls’ how it is really done.  The white dresses color-changed more than once, which I love.  That is so cool!  One of these days I will have to learn how to do that cause it looks like fun so is a must-try.  The dancers all had a dance-off, and then all came together and danced as a team.

What was Eva’s greatest challenge with this dance?  “The choreo!  I spent days and days and days on the choreo – I think more than I have on any other dance.  I try to stretch myself, what I’m comfortable with – and this dance did that.  It had sexy, it had street – and the remix has an amazing beat.  It’s a good thing I’ll be performing it again for the matinee, because this dance isn’t done talking to me… still needs to be developed.  One reason I chose it?  I think I’m firmly on the ‘good girl’ list at Elysium… going to shake that up sometime!”  OH EVA!  Shivers me timbers… I have goose skin!  Can’t wait for the earthquake, to see what you do next!  Going to be a naughty girl?  *rubs hands together and grins wickedly in anticipation*

Nadi with Eva Harley, Usher Piers, Jo Balogh and Sebastian.
Mike Oldfield – To Be Free

Sweet!  I loved this song, and just love the stags to each side of the set.  Nadi came from the back, dancing to the front, and joined with her dancers in such lovely, gentle and precise choreography.  It was a pleasure to watch the refined movement.  The colour scheme of white, pink and blue complimented the palace in the background, and was so soothing on the eye.  The performance was relaxing and spiritually uplifting.

Nadi said that she fell in love immediately with this song the first time she heard it on YouTube.  “Sometimes music puts ideas in my head, and I have to write a dance to the melody or the words inspire me.”  The words “To be free” touched her imagination, and she found the dance very easy to put together because of this.  Nadi hoped the audience listened to the words of the song, and were entertained by her interpretation of it.  “That is always my wish when I dance.”

Jilley
Celtic Fairy Music – Emerald Fairies

Oh, what an enchanting world Jilley drew us into with this dance!  Everywhere you looked, there was something for the eyes to feast on, including Jilley herself.  She was a little dancing flower spirit, a beautiful flower fairy, and her use of particles and colour in this dance was mesmerising.  I would love to smoke a fatty then sit back and watch this dance, but I don’t suppose that is necessary because the movement and sparkles and ripples and shimmers and waves of colour were enough that no smoking was needed to absorb completely into this performance.

Jilley told me she did not like this dance, and had nothing to say about it.  Well, I think she is her own worst critic because I loved this dance, and so did everyone else.  It was fascinating, like stepping into a dream of moving colour.  So creative.  And her costume was absolutely gorgeous.

Babypea with Gunner, BB, Pan and Kyshra
Psy Vs. Takeo Ischi

Absolutely insane.  Some of the craziest fun I have had on stage in at least a week.  While going about me searches for some Irish music, I got to searching for polkas which led to yodelling (I have a massive passion for yodelling) and then well I happened upon this totally awesome amazing twisted bizarre song.  It was Gangnam Style meets Takeo Ischi, a Japanese yodeller who can sing in chicken bawks and make them sound simply amazing.  The result of blending these two songs was absolutely delightful, and called for salty Irish maids, chickens, and of course a leprechaun.  Together, we oppad Gangnam style and combined that with Irish step dancing for a really fun, silly and totally hilarious St. Patty’s Day celebratory dance that was at least as much fun for us as it was for the audience.  Complete with particle rainbow and pot of gold at the end!

Jilley with the Audience
Gaelic Storm – Irish Party in Third Class + John Ryan’s Polka
The Dubliners – Whiskey in the Jar
Flogging Molly – Devil’s Dance Floor

We greatly appreciate our audience… our friends and family who come out to share in our creative expression of music.  I call them our frams.  We thank them for their applause, their kind and generous tips, and their supportive IMs.  Part of how we say thank you is by inviting them up on stage to dance with us at the end of our shows.  This week, our crowd dances were brought to us by Jilley.  She created the most fabulous St. Patty’s Day set, complete with heaps of clover and lots of Irish charm.  The dances were a riot!  Such fun choreography, that saw us all falling down drunk by the end!  What a blast… thank you Jilley!  Everyone danced and had a wonderful time, then adjourned to Paul’s secret venue, The Ram… an Irish pub… for two more hours of partying and dancing, featuring DJ Gunner playing the crowds’ requests.  A really great time, and what a fun way to celebrate the holiday!

Fridayyyyyyyyy! 03.10.17

Thank God for Fridays.  In the frigid northeast US I was enduring a 6 inch snowfall in sub 20 degree weather so I was soooooo happy to head to the Empire Room…with all those nice snug chairs and little bottles of booze and Gunner’s super great music to warm up to!  Ok…I layed off the booze until after I danced…I swear….*I had nametags turned off, so if there were replacements in sets, I will fix ASAP*

The inimitable Babypea took to the stage to get all of our guests revved up for an evening of amazement.  She came out to the strains of Fiona Apple’s “Criminal” and did a split screen set…one where she got in trouble and one where she got out of it…courtesy of getting out of her teensy outfit which was apparently far too restrictive *grins*.  Clean up for drool in aisle 5!!

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I chose a set that I did a few weeks ago at a memorial dance for Cyan Magic.  Cyan was known to many of us, both through dance and Gor.  I met her right here at the Empire Room and enjoyed sharing the review with her as well as just chatting and hanging out.  She had a love of dance and we shared that love and the joy we found in it.  I danced with Jo to a cover of “Smile” by Emily Rex.

win and jo 2

Anu and the Muse Dancers were our guest dancers this week and Anu chose “Buttons” by The Pussycat Dolls.  Anu was joined by Star, Ekaterina, Edward Bollinger, Joy Canadeo and Ginin Tonic (OMG great name!).  They were soooo sexy in the urban scene that graced the stage and then….when the chairs faded in…holy cow, even sexier!   We even got a little bit of mancandy for this set.  I totally love those little details onstage like the drunk girl passed out…it cracks me up 🙂

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The sexy group set idea was carried on by Lina who was jointed by Jayden Xevion, Aidenchase, Daddy Merriman, Vixenb and Muhrdur to Duffy’s “Mercy”.  Not a whole lot of mercy going on here with sexiness and cages and an awesome dance floor and abs abs abs!  The ladies on the other hand had enough latex on to open a surgical suite 🙂  That stuff is NOT breathable folks….and it was HOT on that stage *winks*.

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Wiz brought us a thoughtful and beautiful set to a cover of “Black Hole Sun” by Nouela.  If you haven’t heard this version I encourage some youtubing because it’s amazing.  Wiz is a master at understatement and he wore beautiful particles in front of his huge black sun and moving backdrop, and the particles made gorgeous patterns that reminded me of sun flares with their golden color against the black.  The ballet dances were perfect, allowing the particles time to really create the effects.  Two words…simply stunning!

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Jilley created another type of solar flare to The Rolling Stones’ “Start Me Up”.  Jilley, Babypea and Lina roared onstage on their cars with graphics flashing and some buns a-flashing in their super sexy see through skirts.  Note….I may have been a little distracted by the ladies to give the set the observation it deserves, but with a little nod to a certain Whitesnake video…WOW did they make an entrance and no one took their eyes off of them for the remainder of the set!  Superhot Hotwheels of Smexy.

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Corri was up and she had the remedy for all this sexiness with a great set to Porcelain Black’s “Favorite Drug”.  A rockin’ song with a big syringe and some other questionable mushrooms and bottles…doesn’t look at all like my medicine cabinet…nope! Dream and Gemma were cool pshychedelic dancers on the mushrooms while Corri took the dangerous road near the end of the hypodermic.  I’ve been in the hospital a lot folks and thank heavens Corri wasn’t my nurse because I’d still be trying to find my husband 🙂

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Eva took us to the crowd dances on a wonderful spaceship ride in the sky.  There were 4 poseballs per platform, but what I didn’t notice at first is that they were jet propelled platforms and at somepoint she fired them all up and we all rotated around the stage on our little rocket pads.  TOO FREAKING COOL!!  She danced us to Thirty Seconds to Mars “Closer To The Edge”, Queen’s “Flash” and Rick Springfield’s “Human Touch” and if I may make a tragically bad pun..it was a blast!

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What a way to start off the weekend…and the perfect antidote to another long work week.  Thanks for coming out and sharing in the fun with us, and thanks to Paul, Wiz, Jilley, Baby and Gunner for another awesome week at the Empire Room!!

Elysium Interview with Babypea von Phoenix

Babypea Christmas 2016

Dance is transformation. Motion. Passion. And no other Elysium dancer embodies this better than Babypea von Phoenix. She is a mentor, a monster, a servant, a director and a den mother. Excellent at all these things and confined to no one thing, she is a true artist. Like the best of artists, she is kind, even when she’s commanding Hell’s legions or conducting twisted experiments. She was kind enough to open her heart to us in this Elysium Interview. 

What and who inspire the ideas for your dances?

Originally, I was inspired by my other half.  I made all my dances solely for him, and as long as he was pleased by them I was happy.  I am inspired by music; hearing a song that excites and captivates me.  I can’t sing or play any instruments, so dance is how I express my love of music.  I am also, at times, inspired by a picture or texture that I will see, something that captures my imagination and holds my attention.  I often create dances that start with textures.  Every now and then, I find a costume that is so outrageous, I think, “I must create a dance for this.”  That is what happened with “Cover Girl.”  I saw Mona in this sea shell costume and cracked up laughing.  I said, “We must dance in this!”  So that entire dance was inspired by a silly, fun outrageous costume.  We were sea shells and were all legs!  It was so much fun!  I love Ru Paul.  But that dance happened because of Mona.

I will share one of my best creation secrets.  Really, it is no secret; I have written about this in a “Lost Your Muse” article that I participated in.  When I have a song I want to make a dance for, I go to Google and type in key words that relate to that song.  I then peruse Google Images, seeing many fabulous pictures and textures that give me ideas for sets.  I have advised other people to try this.  It is a great way to get off the beaten path and create dances that are not predictable.  It certainly gives you fresh ideas and inspires you to try approaching dance creation from a completely different angle.  This is one of my best ways of getting unstuck on creating a dance that I am struggling with.

What first inspired you to pursue dance in Second Life and what was your very first dance?

It was my other half that inspired me to start dancing in SL!  He is my everything… Husband, Best Friend, Master, Lover, Confidante.  He loved Gorean dance so much and was so impressed by it, that I decided to make a dance for him to please him and make him happy.  He has been a huge help to me, especially with Gorean dance.  Anytime I would be stuck with a dance and having trouble with it, I would go talk about it with him, and he would help me sort it out.  He has done nothing but encourage me in mainstream dance as well, and anytime I get frustrated and talk about giving it up, he is the person who encourages me to stay with it.  He really is the wind beneath my wings.  I would not be a dancer were it not for him.

My very first dance was a Gorean chain dance called Eternal Connection.  My first mainstream dance was Stray Cat Strut followed immediately by Puttin’ On the Ritz.  I still love all of them.  My dances are like my children or chapters in my Book of Dance Journeys.

Your dances are the most surreal in their artistry. What influences inspire the bizarre visions you create?

I love metaphor, mystery and surprises, which is why I love art.  I think when a person looks at art, they will draw their own interpretation of it based on their own experiences and value systems.  I love Impressionism because it leaves so much up to the viewer’s interpretation.  A hundred people can look at one work of art and each see something different in it.  That is because the viewer puts a piece of their own experience, their own soul into the viewing.  A connection is thereby formed between the artist and the viewer.  It is a human bond.  And the viewer becomes a part of the art as they contribute their own interpretation to the shared experience.  It is a shared journey of sorts.  I know people don’t always ‘get’ my dances.  But they don’t have to get my interpretation, I would rather they fill in the blanks with their own.  This allows them to be a part of the creation experience.  I don’t need them to understand me or see me through my creations, what I want is for them to see a piece of their own selves, or something they relate to in some way.  I simply want to make them feel something, and when that happens, it is very satisfying.  Only then does one of my dances feel finished.

When I am creating a dance, I often approach it metaphorically, and I decide to not tell the audience or show them everything directly.  I did “Bohemian Rhapsody,” and people either loved or hated that dance.  It all came down to the chicken.  People who ‘got’ the chicken loved the dance.  People who did not ‘get’ the chicken hated it.  The chicken was symbolic of the futility of our justice system.  So you see, I bypass the realistic at times and go for the metaphoric, thereby leaving room for viewer interpretation.  Not always, of course.  I would die of exhaustion if every dance I created was some meaningful artistic expression.  I also do ‘fast food’ dances which are just plain fun; just me having a good time.  I do love comedy as well as metaphor, and I love to have silly fun with some of my dances.  It all just depends on the song.  It is always about the song and what images they inspire in my head.  My sense of humor does come out to play on stage.

What’s your typical work routine and what part of preparing your sets and dances challenges you most?

There are four primary elements of a dance: the song, the costume, the set, and the choreography.  I usually start with the song, then build the set.  If I am starting with the costume, I then try to find a song to suit it.  Every now and then, I build a set cause it just feels good, then again I try to find a song to suit it.  Usually, I prefer to have the set built before starting the choreography.  Once I have the set, I can make informed decisions on mover work, where to start, where to move to, where to finish.  I can then create the choreography, and adjust the timing on the movers so that I am not scooting when moving.  As a rule, costuming comes last in my dances, unless it is a dance that is starting with an inspirational costume.  I enjoy costuming the least, partially because I hate to shop.  No one in the world hates shopping more than I –  in both lives.  That is why I don’t like Christmas – all the shopping.  I enjoy building sets the most because I love to decorate and create environments.  Choreography can be a lot of fun, but sometimes it is very challenging to find animations that work with the music.  The hardest part of dance creation for me is always picking that first animation to start a dance.  It usually takes me as long to pick that first animation as it does to pick all the ones that follow.  I go through dozens of animations, trying one after another, just to find the right one to begin a dance.  It can be like finding a needle in a haystack.  But once found, it is usually clear sailing for the rest of the choreography.  Once I have my song, set, and choreography, I decide on costuming and then,  I look the set over, watch the dance, and think if it is feasible to add in special effects or particles.  These are the pretty bows on the package, so I save them for last.

I have started and finished dances in one day, even elaborate ones like “Rewired” which, yes, I started and finished in the same day.  And I have had dances that took 140 hours to create.  It just depends on the dance, and on what effects I want to use.  Some give me trouble.  Sometimes I want to do things that aren’t possible, so I spend a lot of time experimenting to find a way to do what I want to do.  Sometimes elements of a dance will give me fits, and sorting them out can be very time-consuming.  Costume hunting is massively time consuming.  And boring, waiting for things to rez or loading page after page on MarketPlace.  I also, at times, have had dances take over and go places I had not intended.  They do seem to take on a life and mind of their own – a spirit, of sorts.  This is sometimes great, because I finish up with something that surprises even me.  But sometimes the surprise is not a good one, as I have, on occasion, finished up with a dance I did not like.

How do you overcome the personal doubts and distractions that challenge all artists?

Every now and then I feel that pressure creeping in – that nothing is good enough and how am I going to make this or that dance spectacular because every dance has to be more than just a dance, right?  It has to be spectacular so that people are entertained.  That is when I am flinching and feeling I do not want to work on dances.  I don’t like that pressure.  It is not fun.  So, then I go and read Elysium’s charter, and remember why I wanted to start Elysium: so that I could have a place to dance where I could do anything I wanted.  Yes, dance should be entertaining, and many of us delude ourselves into thinking that we are so incredibly entertaining that other people could not possibly get bored from watching one of our dances.  Yes, I have to keep the entertainment factor in mind.  However!  If I am not having fun, there is no reason for me to be doing this.  So, I read the charter and remember why I am doing this above all: fun and friendship.  I often say, dance is how I socialize with kindred spirits.  Not every dance I make is going to be spectacular.  Sometimes they will be cute or funny or bizarre.  There is room for all.  When I am balancing the ‘fun and friendship’ aspect of dance with the pressure of having to produce something that will entertain others, it is a lot easier for me to create free from the personal doubts.

As for distractions!  They are a serious problem for me.  I often get hammered in IMs.  Because of this, it can take me five hours to get one hour of work finished.  I actually started dancing on an alt, because she has few friends, gets few IMs, and I get more done on her in one hour than I do in five hours on Babypea.  I haven’t worked out how to get around all the distractions on Babypea.  At least my other half understands and does his best to give me space and let me work when I need to work.  I am blessed that he is so supportive of my dancing.

One thing that is a really bad bad thing to do, and will destroy a dancer’s spirit, is comparing yourself to others.  If you do that, you will be miserable.  You will either feel inferior and never good enough or you will feel superior and be looking down your nose at other dancers, rather than enjoying and appreciating the pieces of their souls they are sharing with you.  So, my advice to anyone who dances and doesn’t want to feel miserable and encumbered with self-doubt is to never compare your dances to those of other creative souls.  If you are comparing, you are self-doubting and that is something you might want to think about.  Maybe ask yourself why, and what can you do to concern yourself with feeling satisfied with what you create.

What does being a part of Elysium give you, as a dancer and choreographer?

Chest pains, knots in my stomach, and PTSD!  Being an Owner sucks in some ways.  People can be so hypersensitive, taking offense very easily, and it is stressful trying to balance everything.  Trying to make everyone happy when everyone wants different and often opposing things – it is futile.  And frustrating.  I wish I could make everyone happy all of the time, but it is just not possible.  But overall, I think Elysium is lucky.  Most of our people are good-natured and benevolent souls, and most of them are a joy to work with.  Most of them make Management’s job pretty easy, and they make dance fun.  They make me smile and laugh.  Fortunately, most of the difficult ones (the divas, which come in both female and male form) leave sooner or later, and usually when they do, I find myself exhaling in relief.  I think I am lucky cause so many who have stayed make me feel so happy when I am dancing with them.  They make up for the occasional bad eggs, and I am very grateful to them.

As a dancer and choreographer, what Elysium gives me is a place where I can dance anything I want.  I have creative freedom there.  We have few rules, so there is plenty of room for me to try different things.  I love variety, love to experiment, and love to have new dance adventures.  That’s why I wanted to start Elysium.  I wanted a place where I could dance anything, from burlesque to gospel, hip hop to ballet, jazz and tap to country and even comedy.  I also love having a stage that is large enough to accommodate big acts or I can box it down for smaller acts.  I can fit almost anything there.  Another thing I get from Elysium is a chance to meet a lot of dancers from other troupes, through our guest performances.  I really enjoy meeting them and seeing what they do.  I also enjoy promoting them, because they are part of our extended dance family.  It makes me feel happy to welcome dancers from all over Second Life to our stage.

What principles do you live your life by and how does that assist your creative powers and imagination?

I have a very strong work ethic, I am a hard worker in both lives.  When I commit to something I will go to the outer limits to fulfill my commitment.  Yes, real life comes first, but if I commit to something in Second Life, I consider that as important as a real life commitment.  I am very well organized and like to stay on top of my work load by finishing things ahead of schedule.  So, I start early and am very dedicated.  I am also a bit OCD, so a bit of a perfectionist but not to the point of being impossible to live with.  This all helps me to take my dancing seriously and to really focus on it with passion.

The human element is important to me, and peoples’ feelings mean more to me than ‘things’ so I try to be encouraging of others.  I don’t lie and am not insincere, but I don’t go tearing apart things other people create.  I try to keep in mind, a dance is a piece of a person’s soul, they are sharing it with me, and I should be appreciative of their gift.  I’m not one to sit and look for everything that is wrong.  This helps me to be humble so that hopefully I don’t embarrass myself by letting my ego get out of hand.  It helps me to consider ways that my dancing could improve.

I tend to look on the bright side, and prefer to bask in positive energy.  I am often reminding myself I am among friends, and that helps me relax so that I can function as a creator.  I have my share of haters, and I consider them extended fans.

Babypea snorts.

My sense of humor above all sustains me.  My gratitude for what I have keeps me bubbly and happy.  And then there is bliss.  Joseph Campbell said, “If you follow your bliss, doors will open for you that you never even knew were there.”  So, I try to keep that in mind as well.  Follow your bliss.  Have fun with it.  Take chances, make mistakes, get messy – I love Ms. Frizzle.  She so rocks!

What are your goals as an artist? Tell us what’s coming next for your fans!

Not much.  I am very tired and want to take a year or two off.  I have a lot going on in RL and want to be more focused on it.  For my dancing, I want to spend more time on simpler, intimate dances.  I am sick to death of scene changes, and am shying away from them to a point.  I am growing weary of gimmicks and trickery.  I just really feel like I want to focus more on choreography and less on flash.  I know you can have both, of course, but sometimes I think the flash distracts from the choreography.  I am moody so I suppose what I do with my dances will depend on my mood.

The magic of those moods commands the emotions of the audience, every week at the Elysium Cabaret. Horror, joy, sorrow and the sublime – all these powers of human experience are woven into the elegant forms of Babypea’s art. And they inhabit the genius of each Elysian, as you’ll discover in our continuing series of Elysium Interviews.

Photo courtesy of Babypea von Phoenix.

March 3, 2017 Show – Photo Gallery

Please click on a picture to enlarge.  The acts are:

  1. Babypea with Corri dancing to Andrea Corr – Take Me I’m Yours
  2. Moni with Jo and Lina dancing to Jessi J – Bang Bang
  3. Devlin with Ariel dancing to After Dark
  4. Christina Aguilera – Save me from Myself
  5. Winnie with Queenie, Jo, Seb, Jorgio and Pan dancing to Taiko Drum Song
  6. Gunner with Baby dancing to Muse – Dead Inside
  7. Jilley dancing to Phil Collins – True Colours
  8. Babypea with the crowd dances:
    Backstreet Boys – Everybody
    Deee-Lite – Groove Is In The Heart
    Run DMC – Its Tricky

Elysium Cabaret Honouring Vietnam Veterans at Fortunate Sons

Friday March 10, 2017 at 9:00 PM – 10:00 PM

Dance Troupe— Elysium Cabaret Dancers

A dance show in USO style dedicated to Vietnam Veterans, to honour them, show them appreciation and respect, and to provide uplifting entertainment featuring the music of 1965 – 1975 presented in an elaborate stage show.  Intricate sets, period costuming, choreography sequenced to the music.  With thanks to Linden Endowment for the Arts, for granting us a full sim dedicated to this project.  This entire project is dedicated to the PPL of Vietnam – Indochina and the Military that served there during that time. Entertainment similar to USO shows. LEA7 Fortunate Sons.

http://maps.secondlife.com/secondlife/LEA7/100/129/23

Another Friday Night to Remember

Another great weekend has come and there is no better way to start it than Friday night at the Empire Room with the Elysium dancers. Such a hot show and another full sim this week as we honored Black History Month with a variety of styles a different as all of our unique dancers. With Paul and Jilley at the door with their welcoming smiles and Gunner and Wiz getting ready, the energy in the air was sizzling hot as the night began.

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First up was Jilley, stunning the crowd as always with her style. Tonight she was joined on stage with Dream and Baby as they danced to Nat King Cole and “Smile.” A gorgeous interpretation of this song as Jilley, dressed as a sad clown and her dancers behind windows dressed as wooden mannequins. Her dance was perfect and beautifully done as always as the show opened beautifully with her heartfelt performance.

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Anu was second on stage tonight with a stage full of talented dancers including some very scantily clad men wearing nothing other than what could be described as strategically placed thongs. Her sizzling hot version of Bootylicious including a huge caste with Babypea, Ginty, Star, Electra, Ferdinand Scarmon, Edward Ballinger, Gunner von Phoenix, Sebastian Borne, Si Di Brit and Keith Ringgold had the crowd going wild and cheering as her act paid tribute to Queen B in the style that she deserved.

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Wiz and Ariel were next in a romantic style retro tribute as they danced the night away to All She Wants to Do is Rock by Wynonie Harris. The dance moves and costumes just perfect as they slipped back in time and danced the night away with spectacular moves and bringing cheers once again from our audience as the night just continued to got hotter.

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Kyshra was next to prowl onto the stage with her dancers dressed as some of the sexiest felines I have ever seen. Dressed being the questionable world as their feline costumes left nothing to imagination. Joined onstage by Ame, Baby, CowGrl, and Queenie and they livened up an already wild jungle set to a mix that included everything from Tone Loc’s wild thing, Kiss, fingers and more as they had tongues hanging out all over the room including one audience member who called out that they would be worth risking a hairball for.

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Next I took the stage with two of my favorite dancers, Josie and Queenie. Straight out of the rain forest as we danced to Janet Jackson’s “Moist.” Janet’s soft voice and falling waters drenching us as we enticed the crowd, slipping into the water and teasing as the storm of colors and water swirled around us. This act brought me a bit out of my comfort zone a little as I showed that softer side of me most don’t get to see onstage.

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Eva never fails to stun us with her style and talent as she followed me up with Melanie Martinez – Carousel. Everything was perfect in her act from her costume and animations to her particle effects that were purely stunning. She started her act with a magical carousel and continued on with a lighting spectacular that would rival the fourth of July. An act that could be easily loved by all as she left me wanting to see more.

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Baby was the finale with Grand style tonight worthy of her own show on the Vegas Strip. She took with stage with a huge flurry of colorful teal and purple feathers as she danced her solo to Louis Armstrong – The Mardi Gras March. Perfect for the theme of the night and Mardis Gras as all eye were on her. Doing it all with the pizzazz and class that Miss Baby Pea always brings to the stage. She wowed everyone in the place as she danced and strutted for us all and I do not think there was one man in that audience that was not ready to pluck her feathers!

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Bringing the night to an end in true Empire Room style, Ame and the Elysium dancers welcomed the crowd on stage to pay tribute to Black History Month in true Motown style. Fun dances and a wild set closed out the night as everyone danced to such classics as The Four Tops – It’s The Same Old Song, Martha Reeves & The Vandellas – Dancing In The Street, The Supremes – Come See About Me.