Salon 1/11/15 – Pictures at an Exhibition by Mussorgsky

We’re back!  After a few weeks off for the holidays, our annual Handel’s Messiah salon (see previous blog posts for that write up!), and a guest presentation by Erehwon Yoshikawa on Power Pop, we are back with our traditional Salons!


Pictures at an Exhibition

Modest Mussorgsky

Victor Hartmann was a close friend who shared Mussorgsky’s ideals in his own field of architecture and painting.

When Hartmann died in 1874, aged only 39, Mussorgsky was devastated. In abject bitterness, he wrote: “Why should a dog, a horse, a rat live on and creatures like Hartmann must die?” But soon his incomprehension took a more constructive tack. The following year saw a memorial exhibit of 400 Hartmann works, including sketches, watercolors and costume designs. Mussorgsky was deeply moved. Seized with inspiration, he quickly reacted to the exhibition by writing a suite of ten piano pieces dedicated to the organizer.

The work opens with a brilliant touch – a “promenade” theme that reemerges throughout as a transition amid the changing moods of the various pictures. By alternating 6/4 and 5/4 time, its regular metric “walking” pace is thrown off-balance and cleverly suggests the hesitant gait of an art-lover strolling through a museum, attracted by upcoming pleasures but hesitant to leave the object at hand without a final glance at a telling detail.

The ten pictures Mussorgsky depicts (interspersed with the Promenade) are:

  1. Promenade
  2. The Gnome – a gnome-shaped nutcracker;
  3. Promenade
  4. The Old Castle – a troubadour plaintively singing outside an ancient castle;
  5. Promenade
  6. The Tuileries – children vigorously playing and quarrelling in a park;
  7. Bydlo – a lumbering wooden Polish ox-cart;
  8. Promenade
  9. Ballet of the Unhatced Chicks – a ballet of peeping chicks as they hatch from their shells;
  10. Samuel Goldberg and Schmuyle – an argument between two Warsaw Jews, one haughty and vain, the other poor and garrulous;
  11. Limoges, the Market – shrill women and vendors in a crowded marketplace;
  12. Catacombae (sepulchrum romanum) &
  13. Con Mortuis in Lingua Mortua  –   the eerie, echoing gloom of catacombs beneath Paris;
  14.  The Hut on Fowl’s Legs – the hut of a grotesque bone-chomping witch of Russian folk-lore;
  15.  The Gate of Kiev – a design for an entrance gate to Kiev.


Mussorgsky clearly chose these subjects for the variety of moods they invoked and the opportunities they presented for a wide array of musical depictions.

Alcoholism and severe depression not only cut short Mussorgsky’s life but plagued his most creative years and prevented him from advocating his work, which succumbed to the dismissive attitude of the cultural gatekeepers. Fame came only after his early death at age 42, when well-meaning admirers indulgently undertook to edit his operas in order to correct what they perceived to be artistic flaws, lapses of inspiration and overall carelessness. Only in more recent times have the originals been revived to display their frank elemental power.

The Pictures at an Exhibition met a similar fate. The score remained unpublished until 1886, five years after Moussorgsky’s death. But then, almost immediately, an amazing phenomenon began – while the original version generated little interest among pianists, over two dozen composers were seized by a compulsion to orchestrate it.

By far the most famous was by Maurice Ravel. Commissioned by Serge Koussevitzky in 1922, his was a propitious choice – Ravel’s version strongly underlines the mood of each piece, from the woodwind chirping of the chicks through the reverberant, dark brass of the catacombs, the percussive terror of the witch and especially the blazing brass and pealing carillons of the finale. Koussevitzky was not only a great conductor but a wise businessman – his deal with Ravel included in five years of exclusive performance rights.




Come see more of Sakura!

A friend of mine named Odessa Ibanez has published a monthly SL all pictorial magazine since August 2008 called Crush Magazine.   (Warning: NSFW).  Odessa has been a friend of the House of Sakura probably since its beginnings in 1987 as well.

For her July 2014 issue, Odessa has done an extra full issue (100+ pages) on the girls of Sakura.  To celebrate this, we are holding a cocktail party to unveil the magazine!!  The magazine will be on sale (and will only be on sale here for a bit until it is released to the general public), there will be sample pictures shown, and most of the girls in the magazine will be at the party to chat or dance with!

Erehwon Yoshikawa will be spinning some tunes and, as always at Sakura, there will be intelligent conversation (and perhaps some silly conversation as well.)  All adults are welcome, since some of the sample pictures may be a bit revealing.

If you have ever looked for a place in SL that is designed to be a relaxing refuge, with flirtatious and intelligent people, no drama, good eclectic music and great conversation, come check Sakura out!






Sakura Salon at Mondrago 10/20/13 Rimsky-Korsakov’s Scheherazade



This coming Sunday 10/20 at 7:30pm SLT Sakura will sponsor its first Salon in a while (due to my crazy RL).  This Salon will not be held at Sakura but in Mondrago, to support the anniversary celebrations going on there.   And in honor of Mondrago and it’s Magistrate, Erehwon Yoshikawa, the piece will be Nikolai Rimsky-Korsakov’s Scheherazade. 

Instead of posting my notes after the Salon, I have decided to post them beforehand.  Let me know if you have any comments.


Scheherazade, Op. 35, is a symphonic suite composed by Nikolai Rimsky-Korsakov in 1888. Rimsky-Korsakov described Scheherazade as “an Oriental narrative of … varied fairy tale wonders.”

The literary inspiration for this orchestral masterpiece is a collection of folk tales from Egypt, India and Persia that includes stories dating back over 1,000 years. In 1704, French translator Antoine Galland began publishing the Tales of the Arabian Nights in a series of installments, which included the now well-known sagas of Sinbad the Sailor, Ali Baba and the 40 Thieves, and Aladdin and his magic lamp.

Before we talk about this work, does anyone know of the distinction between ‘program music’ and ‘absolute music’?

Quite simply, ‘program music’ is music inspired by a nonmusical idea, which is usually indicated in the title and sometimes by introductory remarks or even running comments in the score.  It has something non-musical that directs the listener a certain way in how they perceive the music.  By definition, most vocal or choral music with words is program music because the text itself provides, in varying degrees, a program.

‘Absolute music’ is music that is free of overt extramusical implications. Its comprehension depends solely on its musical structures, not on any narrative, pictorial, or other nonmusical ideas. Absolute music typically is identified not by a descriptive title but by the name of a musical form, such as symphony, sonata, quartet, concerto, invention, toccata, or fugue.

Therefore, Scheherazade is program music, and by way of explaining the title, Rimsky-Korsakov wrote a brief introduction to be printed in the score and in the program for the work’s premiere:


“The Sultan Schariar, convinced that all women are false and faithless, vowed to put to death each of his wives after the first nuptial night. But the Sultana Scheherazade saved her life by entertaining her lord with fascinating tales, told seriatim, for a thousand and one nights. The Sultan, consumed with curiosity, postponed from day to day the execution of his wife, and finally repudiated his bloody vow entirely.

Many wondrous things were related to the Sultan Schariar by the Sultana Scheherazade. For her tales she took verses from the poets and words from the songs of the people, and intermixed the former with the latter.”

Beyond that, Rimsky-Korsakov provided no specific “program,” and did not even affix titles to the respective movements.  The titles commonly used now were suggested to him by his colleague and student Anatoly Liadov; Rimsky accepted them at first, but later eliminated them from the score.  However, they have remained attached to the work ever since.

About the piece –   The first thing to remember is that the melodies were a 19th century Russian composer’s evocation of what was ‘Oriental’ (the term Oriental being used at the time as the Middle East, not the Far East) and not true Middle Eastern melodies or harmonies.  A true European Romantic orchestra was used, with western harmonies befitting the times.

However, a couple of things make this piece stand out musically.  At first, Rimsky-Korsakov was strictly an amateur composer, a naval officer with little formal musical training. Nevertheless, in 1871 his reputation for “ultra modern”(?) music brought an offer of the Professorship in Practical composition at St. Petersburg Conservatoire. He claimed that, at the time, he “could not harmonize a chorale, had never done any exercises in counterpoint, had no idea of strict fugue, and could not even name the chords and intervals.” More significantly, he knew little of instrumental techniques and capabilities. Still, he accepted, bluffing his way through, teaching himself one step ahead of his students, eventually becoming acknowledged as the finest composition teacher Russia had ever produced.

A couple of things that I love to listen for, so these are my opinions…..

  • Scheherazade has a rhythmic vitality often missing from other big orchestral pieces of the period, which were often overblown and melodramatic (in my opinion).
  • Rimsky-Korsakov taught himself orchestration, and became one of the masters of the art.  That mastery is on full display here.  Listen for the instrumental colors, and to how he weaves solo instruments throughout the work.  This piece, while lush, almost shimmers in its scoring.

Lastly, a note on one thing that really has enhanced my enjoyment of the piece, if you are into the programmatic nature of the piece.   When I was first introduced to this piece long ago, I took the titles of each piece and tried to hear how each movement told the story.   I liked it but was in some ways disappointed that, well to a teen, I couldn’t really hear the story as much as I would have liked given the nature of the piece.

Then I read that Rimsky-Korsakov took the titles out, and instead preferred to consider the work as a musical kaleidoscope of ‘Oriental’ images.  This would imply a non-narrative type of story – yet even here I began to disagree, at least that it is non-narrative.

Finally it hit me over the head.  There is a narrative here, but the story is not one of Sinbad, or the Kalendar Prince, or even an unnamed young prince and princess.  The story to listen for is that of a brave young woman, a master storyteller, using her mind and her charisma every evening to save her life and the lives of countless other women.  She mesmerizes, beguiles and seduces a stern Sultan every night using every means at her disposal.  We hear the stories as she weaves them in the marriage bed, we hear his reactions and her charm, until finally he – and us – fall under the spell of Scheherazade.


The first movement, titled The Sea and Sinbad’s Ship, begins right away with the two themes that dominate all four sections of the suite and link them together.


The commanding theme that opens the work is the voice of the Sultan demanding his entertainment, followed by the sinuous solo violin melody that is Scheherazade herself as she begins her tales.  Scheherazade recedes, and a swaying melody enters in barcarole time on the strings, swelling like the sea. Brass accents occasionally cause the sea to crash and storm, and sweetly scored interludes suggest island dalliances, but the movement ends with a quiet depiction of what must be calm seas and steady wind.


The Story of the Kalender Prince concerns a prince who disguises himself as a beggar and searches for wisdom. His melancholy theme first appears in solo woodwinds, then enters the strings and quickens as the Prince sets out on his journey. Rimsky-Korsakov suggested that “one might see a fight” when a martial variant of the Sultan’s theme enters, surrounded by nervous string oscillations, while a later section with fluttering woodwinds and pizzicato string chords suggests “Sinbad’s mighty bird, the Roc.”


The voluptuous slow movement is a tale of The Young Prince and the Young Princess explores an unnamed Eastern palace; the Prince appears as a sensual, langorous string theme, the Princess as a relaxed arc of flute melody.


Nevertheless, the beginning of the fourth movement finds the Sultan in an irascible mood, and Scheherazade tries to appease him by describing the restless energy of The Festival at Baghdad. From there, the action moves out to The Sea, where the weather has worsened. Brass cry out, winds sweep up and down, and the music grows to a massive climax topped by a frightening bitonal crash depicting The Ship Goes to Pieces on a Rock Surmounted by a Bronze Warrior. The storm subsides, and finally the themes of Scheherazade and the Sultan mingle, as the character of the Sultan is utterly transformed at the end of the work, from the unyielding sternness with which the sequence began to a warm expansiveness born of the thousand and one nights with his incomparable story-teller.



A wonderful moment

Last night I witnessed something in Second Life that truly made me cry with happiness. It was one of those rare moments when things just seem right.

First a little background. I have been inworld for close to seven years now, and as most people know, people come and go in your SL but there are some very few that stick with you forever. I am lucky in that two of them – Ahnyanka (who introduced me to SL way back when) and Erehwon – are still a major part of my SL, my very best friends even now.

The next two would be Eris and Kate. And even though Eris is not technically a part of this story, it all starts with her.

I can’t remember if I met Kate or Eris first. I think it was at swing dance I used to go to every week run by a DJ named Zef Vaughn (I think) in my first year of SL. But it was Eris that I became instant friends with. She was kind, smart and filled with love for everyone (one of the most loving and kind people I have ever met) but especially her two partners in what was the first ‘triad’ I ever saw in SL – Eris, Kate and Andr3. Eris taught me so much about SL, probably instilled in me the love of SL shopping that I have to this day, and was a dear, dear friend that I miss every day.

Then there was a Kate, one of the most wickedly intelligent people I have ever met in SL, and to me a reminder of the days when SL was new and exploratory. She had a wonderful blog (I am sure she won’t mind a link to it, even though it is old now, ), and opened up one of the most clever gathering places I still have ever seen inworld, the Diversionarium.

I became very close to both of them, two of my favorite people ever in SL, and I was honored when they let me into their group as a best friend – the fourth in their triad, so to speak, but as a friend.

One of the things that was a common thread between them was how much they missed Andr3, who had left SL shortly before I met them. I had never met Andr3, but wished I had.

So time passed, as time is wont to do, and Eris left SL and has not been back since March of 2011. Kate’s time slowly diminished due to RL (and in my opinion, missing her two loves) and now pops in every six to ten months. When she does, I grab her, we spend time together and I try to convince her to come back. I miss her!

So last night was one of those nights, Kate came inworld. I grabbed her and sat down at Sakura to catch up, Erehwon logs in and she joins us – turns out that she and Kate were acquainted! – and Kate makes the comment that I am probably the oldest friend she ever sees anymore inworld. I am honored and flattered, and tell her that I had never left her group because it had meant so much to me. So I pull up the group for old times sake, and see the four people in the group. Eris, not in since 3/11, Kate – Online, Lynn – Online, Andr3 – Online.

I re-read… WHAT? Andr3 – Online?? And based upon what Kate had just said, she had no idea. It had been so long, possibly they both had cleaned out their friends list…. I don’t know…. so a quick IM to Andr3 hoping she doesn’t think I am some blithering idiot, “Hi, you don’t know me but I know of you and we have a very old friend in common who I know would love to see you….” (I was encouraged that Andr3 still had the group with her, Eris and Kate in her picks).

She tps in, her only words were “OMG” and she starts crying, and Kate starts crying and they are in each others arms, and I can only cry with happiness watching them. Andr3 later told me she never ever thought she would see Kate again….

We may all be avatars, but… the people are real, the emotions can be real… and it is much easier to disappear here, leaving holes in people’s hearts. So – Ahnyanka Delphin and Erehwon Yoshikawa, Kate Amdahl and Eris Fallon (wherever you are), and Seraphine Khorana (wherever you are), and Sabbrinna Sinatra – I love you all.


Part 1. Queen of the Nile

Lynn Mimistrobell, Queen of the Nile and Daughter of Egypt, lounged indolently on the soft, luxurious  bed.  The heady scent of incense wafted throughout the room, while the light from a single lamp flickered softly, casting a warm glow to the sweaty evening.

Her eyes, heavily darkened with kohl, gazed around the room, at the soft silks and other accoutrements and libations needed for this evening.  She took a deep breath to compose herself, and smoothed her features to look as regal and as sophisticated as was expected but, since this was a first meeting, she could not completely still the nervous flutter in her stomach.

Queen of the Nile

Queen of the Nile

Her gaze turned then to her appearance.  Gold encircled her arms and fingers, a heavy choker lay on her throat and a single delicate circlet sat on her forehead.  Her lips were colored a deep carmine; makeup accentuated her high cheekbones.  Her dress itself was simple, white…. virginal.  It was also not quite opaque, hinting, more than hinting, at her charms.  With this, she took courage.  She knew her talents, she knew she could convince this man to save her home.  She could do this.

The others had been dismissed from the room.  Alone, she waited.

Finally, a noise.  An older man stepped in, sweating with the heat, clad in the ornate armor of a Roman general.  He looked around the room, unusually hesitant for a man of his position. Slowly, she extended one delicate arm out of the bed’s silken canopy, stilled the quaver in her voice, and uttered a single word.


Part 2.  A New Life

So this was Steelhead.  It looked as good a place as any to start up a new life.  It wasn’t like she had much choice; she didn’t have the means to return back east anyway.

Besides, it was probably for the best.  Her little sister wasn’t little anymore, and Lynn was worried that she soon would begin to make connections that Lynn didn’t want her to make; not yet anyway.  The little nest egg she had left behind for Delilah would cover at least the first year of university if not more, and by the time that ran out she should be set up well enough to begin sending more money back, along with vivid accounts of the roles that she was playing.

Well, at least the ones on stage.

It wasn’t that she was ashamed of what she did.  After their parents had died within months of each other, she’d done what she’d needed to do, to survive and to provide for herself and for Delilah.   And she was damn good at it, too.

Her mind raced with ideas as she pulled up to the front of the Town Hall; ideas on how she could get set up and back in business.  It would be different than it was back east, of that she was certain.

She remembered her first ‘break’, when the theatre owner had personally selected her for the role of Cleopatra in his popularized music-hall version of ‘Anthony and Cleopatra’.  She’d done well enough on stage, but she’d done even better at the additional duties that were required of the actresses, reprising their roles in private showings for men the theater owner needed favors from.    Even now she laughed to herself remembering the City Councilman sweating in his Roman costume and then later, sweating while out of it.  But he’d signed the theater’s zoning papers the next day, and the owner had rewarded her well.

How was he to know that her talents would soon outgrow his little establishment?  Intelligence, wit, flirtation, talent and discretion had served her well.  Oh, yes, and the costumes.  As time went on, her roles and performances in the bedroom got better reviews than those on the stage (and they certainly paid more), and her name slowly got around within the higher social circles of the city

But it was probably best to leave town before her sister made any connection between Lynn Mimistrobell, stage actress, and Lucia Candela, the most notorious courtesan in Philadelphia, the courtesan who could be ‘anyone’ you wanted.   She chuckled wryly, she would miss using that name.

Arriving in Steelhead

Arriving in Steelhead

She took a breath as she stood before the Town Hall.  Perhaps the elegant lady would play well in this building.  Elegant, but not imperious.  Approachable, yes, definitely approachable.   Straightening her back as she entered the building, she approached the clerk, giving him a coy yet distant smile.  “I am interested in renting some property here in Steelhead and, oh…”, she leaned forward just a tad intimately, lowering her voice and giving him the slightest of pouts, “… can you tell me where the theater is?”  After he stammered out the requested information, she thanked him, lightly touching his arm, letting her fingers linger just a bit, before strolling slowly out the door.  You never knew which important people a town clerk may know.

Back on the sidewalk, she took a deep breath as she looked around, and exhaled slowly before smiling to herself.

Ah, Steelhead – a new stage.

Part 3.  The Baron’s Dinner, and perhaps another opportunity….

It had been an interesting evening.  She had finagled an invitation to the Baron’s dinner party, and sat between Miss Zanya and Mr. Brear.  Both had seemed very friendly, though a bit lacking in the social graces.  Mr. Brear seemed a bit uncomfortable with ‘high society’, and she had once caught Miss Zanya cutting her food with something that looked appallingly like a bayonet.

It had been good though, meeting various  people from all over the Steamlands.  The Baron and Frau Lowey had been quite gracious, and the others had all been quite kind.   Mrs. Ortega had been glowing after her recent nuptials, and Lynn had been happy to make the contacts that she had there.

Of course, there was also the unpleasantness that went on, such a bother.  Frau Lowey had been attacked, and extremely sensitive notes had been stolen.   These notes had been kept in, of all places, the Frau’s bodice.   Lynn of course would never keep sensitive notes there, too many people had access, but then of course not everyone was quite like her.

Lynn had helped with the search for missing equipment and supplies needed to brew up the cure for the Frau, and in fact had found one or two of the items required.  One item had required her climbing down an ice wall, not an easy task in her gown.  A gown that was one of her favorites, a form fitting red gown with a plunging back.  She also had a temporary tattoo on her back and a small veil – for effect, of course, and for the literary reference it gave.   And her hair, it had been done up quite nicely in an elegant updo.   It was a bit daring, and she wondered if anyone would understand the reference and what it meant.

At the Dinner

At the Dinner


But to climb in those heels….?

Oh yes, the unpleasantness.   Luckily they had found the items in time to save the Frau – such a nice lady she was – and then faced the unfortunate task of discerning which of the attendees was the culprit.  Mrs. Ortega showed herself to be quite shrewd, and then others had found footprints that matched the evil doer’s feet.  Of course, the prints had not matched a pair of exquisite Italian stilettos, so no one had suspected Lynn.

The miscreant had tried to escape, but Miss Zanya proved to be quite the markslady, killing him with a single shot to the heart.  Quite impressive.  In Lynn’s line of work, you never knew when you may need a bodyguard, and Miss Zanya appeared to be an excellent choice.

Speaking of hiring, one last item arose out of the dinner.   One of the guests had indeed realized the statement, the literary reference that she had made with her attire, and had discreetly approached her after the dinner.  Of course a rendezvous was available.  After arranging the details, including the crassness of financial ones, all was agreed upon.  Lynn would need to travel a bit, and perhaps a new outfit was in order.  She did hear that sand had a tendency to get ‘everywhere’.

4. Marrakesh Mondrago

Well, the sand wasn’t as bad as she had thought, and her business transaction, or should she say transactions, had gone quite well.  In addition, she found herself actually loving Marrakesh Mondrago – the quiet peacefulness, the perfume of citrus, the gorgeous sunrises and sunsets – and even the people.    She could live here, quite easily, and found herself continually delaying her return to Steelhead.  She wondered about living here permanently, but Mondrago did not seem to need a woman of her talents.  How could she make a living here?

But still, she continually found herself delaying.  She attended some dances in the aptly named Elephant Square (aptly named due to the huge statue of the elephant *in* the square, although she hadn’t quite figured out its significance), and enjoyed picking up a lot of desert wear.  She thought it looked divine on her and, besides, she needed the ‘props’!

In Mondrago

In Mondrago

Then things changed.

Early one evening, she was summoned to meet the Magistrate of Mondrago, a djinni woman named Erehwon Yoshikawa.  She didn’t understand the whole ‘djinni’ thing yet (she assumed the appelation explained the different looking ears, but was too diplomatic to ask), but the woman was exquisitely beautiful and seemed kind and honorable, if a bit reserved.  After a period of polite courtesies, the Magistrate had begun to ask some probing questions about Lynn’s roles and abilities.  Of course, Lynn answered all of her questions about the various roles she played – on stage at least – and had also mentioned the various props she kept – well, the costumes and makeup anyway.   She had also intimated about some of her other abilities, but she wasn’t sure if the woman had understood those, at least in the way Lynn had meant.

The Magistrate had asked some interesting questions, however, and after a fairly long pause at which she had almost seemed to study Lynn’s face – luckily Lynn was used to such scrutiny and used the time to study the other woman as well, and her office (there was an interesting looking bottle on a bookshelf in there that was quite noticeable) – she finally got to the point.

It seemed that Mondrago did not have a theater company at the time, which Lynn knew.  However, the Magistrate was very interested in Lynn’s varied abilities, and how these abilities could be used in Mondrago’s interests in other ways.   Arching an elegant brow, the actress nodded for the Magistrate to continue.

Ms.Yoshikawa wanted Lynn to set up a studio in the city, and she would send some of her most trusted advisors to take lessons from her.  True acting lessons, of course…  lessons in costuming / disguise, how to fit into scenes and roles discreetly, how to become the role.  The Magistrate herself would also take some private lessons in these areas.

“Of course, being in Mondrago and representing our city, the studio would be completely discreet, would it not, Miss Mimistrobell?”   The Magistrate gazed at her with her penetrating eyes, causing Lynn to arch a brow, her mind awhirl, wondering what was up the Djinni’s sleeve.

“Oh dear, of course, Magistrate…”, she managed to say, her eyes meeting the Magistrate’s.

The other woman nodded, her eyes still on Lynn’s.  “Good.  This is an acting studio, you are an actresss who will run it, and teach there.  For the good of Mondrago. “

Lynn simply nodded, her thoughts racing.

Then a slow smile slowly played across the Magistrate’s lips, and Lynn realized then that she had sorely underestimated this woman.  “Of course, Miss Mimistrobell, I have had my people investigate you, and I realize that you are an actress of peculiar and … shall we say…. varied talents and, by all accounts, a master of your particular art.  I would never deny an artist her art.”

The Magistrate paused then, and gave Lynn an indecipherable look.  “Indeed, some roles outside the studio could be in the interests of Mondrago and of her Magistrate.  Therefore, which roles you wish to pursue on your own, you are free to do so.  Perhaps, say….  even a role similar to one Lucia Candela?”

Moving to Mondrago

I have taken down my backstory posts, but I will add to the story and probably repost them soon, but the big news is that I have moved to Marikesh Mondrago, a wonderful desert steampunk sim.  Mondrago is a desert port city, based somewhat on the Al Andalus cities but with steampunk twists.

It is quite pretty, has wonderful people, and is run by one of the nicest people I know, Erehwon Yoshikawa.   Its a great place for pictures, and there are often dances with Eastern music and bellydancers.    

There are also parcels available, and I would encourage any of you to check it out, and also – if you are interested in Eastern music – to just come to some of the dances there.  IM or PP me for further details, or go visit and check out the event listings.

The picture here is of an outfit I absolutely adore, and was a gift from a wonderful friend in SL.    Though I have just recently changed skins, I wanted to post this pic anyway.   First the closeup, then in my home in Mondrago.



*Outfit – ~Sa~eela~  Charang Salwar, this is partially mesh and I am wearing (believe it or not) the modest top.

*Skin – League Isla

*Hair – TRUTH Adeline

*Earrings – Earthstones

*Pose – (I need to look this up)

*Home – Marrakesh Oasis by Barnesworth Anubis