Monthly Archives: March 2015

Carrcasses 07

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“The cat’s out of the bag, Carrcassonnee.”

Carr.:

Partially. I am the 3rd. 3 in 1 and 1 in 3. I am…

bb:

Inland Empire.

Carr.:

Yes.

bb:

A woman in trouble.

Carr.:

Yes? Where’s my cow?

bb:

But you’re 12 Oz Mouse also.

Carr.:

Yeah. Kerch keeps calling me. He’s declared war in essence. Forest against forest. Woods pitted against woods. Alice tells me just to ignore him and he’ll calm down. I say to start giving him his medicine again, but she says that decreases his sex drive and she doesn’t like that. I say well what about this war. That’s what it is Alice, I say. War I reinforce. Battles and war. Alice admits that he conceived the idea of Norubi and sent the tank. Turtle… tank. Skillet was a bomb. Your dream was true even though it was false.

bb:

Carrcassonnee, if this is war, what is the reason? Jealousy?

Carr.:

Insanity. Kerchal is insane. Has been for a long time. Mainland madness. It affects[ all of us deities] eventually. I’m next. That’s why it was so important to get married to a good head. I have a head now and can see pretty well… one eye. I see you. I see Spider. Who’s a good Spider, *who’s* a good Spider?

(Carrcassonnee leans over and pets Spider, then, surprisingly, pets me on the head through Baker Bloch.)

bb:

So Alice is married to Kerchal and you are married to Perch. But you’re not named after a sim[ like Alice and Kerchal]. You’re not Rubi.

Carr.:

Am I not? And is Perch not Minoa? I think it is similar.

bb:

So you are the woods… the woods bordering the town.

Carr.:

Yes. In a manner. (she winks at me, or is she just blinking her one eye?)

bb:

Marriage( between Carrcassonnee and Perch) solidified the place of Collagesity next to this forest.

Carr.:

Yes. The forest is alive. Lucas numbers.

bb:

But before I was warned not to focus on the forest, and that I might become a Frozen Head( because of it) like Jack at the end of The Shining.

Carr.:

Correct. (pause) Balance.

bb:

Outdoors is coming up soon, Carrcassonnee. I plan to refocus on Tile Creek over in Herman Park.

Carr.:

That is swell well.

—–

Carr.:

I have no one waiting outside tonight to share wisdom with next so I’ll allot you more time, baker b. Baker Bloch, I mean. Are you in there baker b.?

bb:

Yes. I’ve been speaking to you (through Bloch) all of this time. That’s the only way he can talk.

Carr.:

I remember. I forgot and then I remembered. Memory. A thing to be happening all the time.

bb:

About Tile Creek…

Carr.:

The hole?

bb:

Well… maybe.

Carr.:

The Ditch? I know all about these things, baker b. Baker Bloch. They are extensions of here. They are extensions of me.

bb:

Does Kerchal know about Tile Creek?

Carr.:

Not really. He’s not that far ranging. That gives me a decided edge. In fact a total edge. I know this( Second Life?) is not real. He’s stuck here. I can get out. I can go the super market over in Frogtown and purchase green tea tonight if I wished. I can take the oldsmobile out to Liar’s Leap and tell tales with the best of ’em. Old man tales. I am 417 years old tomorrow. Saturday, I mean.

bb:

Well happy birthday Carrcassonnee. It’s my mother’s birthday Saturday as well.

Carr.:

No, I meant Friday. Friday’s my birthday. Not Saturday.

bb:

My mother’s pretty old as well.

Carr.:

The bug beats the bird.

bb:

How old’s Perch?

Carr.:

55. Kerchal is 243. Alice is 929. There’s a deity over in Frogtown — I mean, Nautilus — oh, I can’t remember… memory. Rememory. You better go now young man.

bb:

Thank you.

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Carrcasses 06

I deleted my last post about The Rainbow Sphere, SID’s 1st Oz, etc. (I saved it to my blog, however). I’m going to attempt to tie theories more into information from existing posts here, and also material in the newer podcasts. Karl has the most exhaustive theories and reviews so far. Thank you Karl for continuing to be such a strong supporter for the film/album synchronicity phenomenon. It seems we kind of have a shared canon of works coming from the early 2000’s. I would definitely include Being Geddy Lee in this mix even though it is highly manipulated, and I’m looking forward to Dave’s upcoming, reshaped podcast as previously stated.

I was going to make a couple of comments about Karl’s “Simultaneity II” post, but I don’t think we can progress much further than we already have until some future podcasts are cleared. Afterwards we might have a better perspective for moving forward. I would greatly urge Karl to create a new podcast as well — it would help shape and refine his theories on a/v synching, allowing others to better understand what he’s attempting to convey.

An idea popped in my head while thinking about this whole synchronicity vs. synchronization debate: a “looking glass” particle linking the two. On one side you have the viewer and on the other side the creator. But there’s a blend or continuum between the two; they’re not separate entities. And the viewer can shape what is being viewed — become part of the creator — and visa versa. How about that theory? Any thoughts? What do you think Karl Tune, Mirror Living? This would be akin to the quantum physics idea of viewer/viewed interaction on a sub-atomic level. The basis would be heightened emotions. It’s very interesting how strongly we are affected by certain synchronicities. This would apply to group viewings (of the same synch) and group creations as well. We must better define the creator, the created, and the viewer.

Some of the speculation on this would sound a little crazy. I’ll give an example. Is it possible that Randy and I were subconsciously affecting each other across time through a “shared” synch involving “Sing’n in the Rain”? Look at the components, and how we were drawn to similar, matching tracks for similar reasons. We both found “wow moments” and backtracked to a beginning cue. We both let it stand as is otherwise (the “1 drop synch” — great term again!). Was it fate at this point in time that this matching was found? What is it saying; what are the deeper implications? Or is this just a randomly occurring confluence, deserving no additional attention?

We can see this particular configuration as a triangle:
Sing’n in the Rain (shared video segment; top of triangle) – Dancing with Myself (Randy’s audio) – Standing in the Rain (my audio).

I’m going to add one more thing here. The concept of tiling as I’ve been practicing it for over a decade now absolutely *shatters* any a/v synching theory based exclusively on synchronization. There’s no turning back from this.

Then a follow up in the same thread:

Additional note: I’m on for a new podcast. Karl, like I said… just do it. I’ll have an example work to demonstrate the process of tiling and high oddness without possible “synchronization”. πŸ™‚ If you would like to see this work, actually a 2 parter composed of 1 hour mixes each, let me know and I’ll drop you some links. This 1st part is called Empire Strikes Brak, and the second half is Uncle Meatwad. It’s a mixture of funny and tragic. I’ll also give out a blog post link on the subject soon. I’ll also catch up on all the podcasts asap. Look at websites, etc.

So the cats kind of out of the bag now. πŸ™‚

Empire Strikes Brak = Carrcass+0
Uncle Meatwad = Carrcass-0

These audiovisual synchronicities work either together or as separate pieces. The second begins where the first ends (“into the light”). I’ll have more details about these works soon. They’ve been referred to quite a lot on this blog lately, and that’s why I thought they’d be good candidates as example synchronicities in my projected podcast coming up. Many characters from Collagesity also appear in the synchs (and visa versa of course), or, more specifically, Carrcass-0/Uncle Meatwad. Here are some pictures of what I’m talking about. Excitement!

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Carrcasses 05

Facebook:

Merk Coolie Brighton posted in Film Album Synchronicities.

I’m not sure I want to create the “posts” here but now that I understand you can preview 15 minutes of *any* synchronicity that’s on a DVD through dropbox, I can explain “tiling” in a much more comprehensive and understandable manner. I’ll soon share a link with one of the four sections of SID’s 1st Oz for demonstration, probably part 2 of 4, and perhaps contrast it with the neighboring part 3 of 4. At this point I would call SID a “historic” synch, since it is over 12 years old. It didn’t have quite the impact I imagined when I first found it, and part of this is that I don’t think about half of the tiles in part 1 of 4 were properly aligned — made a bad 1st impression on some — and also because it came after the demise of the Film/Album Synchronicity Board and members of the synching community were starting to really drift away from each other… creatively at the least. Tape trading was becoming increasingly rare. Also I think people were getting a little tired of Floyd based synchronicities in any shape and form, and that would include me (kind of ironically). And on top of this, Return to Oz is not a classic classic movie, although I would consider it the truest follow-up to The Wizard of Oz that we have. Still in looking back and analyzing our golden age of synching, or the period of maybe 1999-2003, I see SID as my most original if misunderstood synchronicity contribution, along with The Rainbow Sphere, which I also want to talk about somewhere soon… probably sooner than SID. Both of these works were mentioned in my 2007 podcast. According to the front to back flow of the Oz/Floyd Paradox document (2003), SID is a kind of logical output of The Rainbow Sphere seed idea — the alpha and omega of the delineated paradox.

I’ll begin with The Rainbow Sphere asap. TRS presents us with the seeming conundrum that The Wizard of Oz *synchs with itself* and does not need “outside” help from Dark Side of the Moon. This also seems to mirror the original album/audio vs. movie/video tension, and the question about which claims the upper hand (silver vs. gold tiling in other places). Dark Side of the Rainbow is an album oriented synch. An e.t., say, armed with just the 1 play version of DSotR, would have to guess about the remainder of The Wizard of Oz movie while having complete knowledge of the album. The Rainbow Sphere is purely a movie synch, since no album of any kind is involved. The same e.t. watching this and deciphering it as 2 signals fused into 1, would be able to understand the movie in a considerably more complete manner than even just with the unmixed, full video, I feel, and also would need no prerequisite knowledge of DSotM.

Does any of this sound interesting to others? πŸ™‚

The Rainbow Sphere concept is about 17-18 years old.

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Carrcasses 04

From facebook again:

In tune with Karl’s “Simultaneity II” post presently just below this one, I’m going to throw out some ideas that may represent a replacement for a new podcast. However, unlike the 2007 podcast I think I can share some digital synchs this go around, and if so that makes the prospect more attractive. Various people seem drawn to the idea of my “tiling” so I’ll have a go at that again.

Resonance is so important. I was reading up today a bit on Randy T.’s theories about setting up synchs…

http://viralmediaart.blogspot.com/…/viral-media-art-what-is…

Randy synchs the famous Sing’n in the Rain sequence with Billy Idol’s Dancing with Myself. He calls it a 1 Drop Synch, “in other words, like “The Dark Side of Oz” it has only one start point and runs the continuous length of the piece.”

In my terminology, when I talk seriously about synching every once in a while, this can be called a tile, with one cue point — the one degree of manipulation (cuing music with video) that creates or reveals the synchronicity. One can call this a tile because it can be fitted into a larger concept composed of several or even many such cued regions. For example, I’ve also created a tile using Gene Kelly’s dance in the rain, a “1 Drop Synch” (drop… rain… good one Randy!). The track is ELO’s Stand’n in the Rain, and I found it about a year and a 1/2 ago after some experimentation with the Sing’n in the Rain movie as a whole down through the years now. It’s one that I knew would work even before I mashed them together in reality. It’s also a tile in the relative middle of a larger work of tiles — central in several ways.

Randy also talks about centerpoints in discussing his Sing’n in the Rain synch: “Like most of my syncs I have what I call a center point and my ultimate goal is to edit the video or music as little as possible. I look for a major “wow moment” where both mediums connect into something more than just a random moment of coincidence and line them up in my video and backtrack from there. In the case of what I call “Dancing In The Rain” the center point comes near the beginning just as Gene opens his arms in that big Ta-da moment and as Billy Idol’s song hits the 1st title chorus… “Dancing With Myself.” A true 1-drop sync, no editing just that one start point, wind it up and watch it go!”

I believe this is a natural way to cue up these 1 Drop Synchs or straight synchs as Karl may call them. These natural cues can come at the beginning, the end, or anywhere in-between in the tile or “cued region”.

So let me go back to DSotR (aka Dark Side of Oz) since that’s the one people will be familiar with. The standard cue for this most popular of all a/v synchronicities is the 3rd roar of MGM mascot Leo the Lion. However, to me if we look at it closer we have a nifty internal cue (this is what I’d call a “”wow moment” to use Randy’s word turn) where the bike riding Gulch appears right as the cacophony of bells begin in the DSotM track “Time”. If DSotR was crafted on purpose, this seems like the primary cuing point.

So is Leo’s 3rd lion roar just a kind of random element that someone traced back to or backtracks from Gulch-Bells to properly align DSotM with TWoO? This appears *not to be the case*, and that’s where we can pass from conscious creation by the syncher (or possibly the musician or group of musicians who consciously created the synch, if you’re using that angle) into something else. Logically a tile does not have 2 natural cues or 2 degrees of manipulation. It has one: “1 drop”.

From here we can go into the differences between synchronicity and synchronization.To me, tiling is still synchronicity through and through. Each tile is a “1 Drop”, but also linked to others to create a kind of *rain* of drops. There — I figured out where *that* was going.

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Carrcasses 03

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Carr.:

At least you will have one synch at a time, at least, for others to see.

bb:

I’ve got it figured out. From the old ones we’ll have The Rainbow Sphere, Messiaen Trek, Piper’s Nightmare Christmas, Full of Secrets, MessiaenSphere, Pink Vertigo, Walt SIDney’s Fantasia 2000, Horton Hears The Who, and The Point of The Wall.

Carr.:

Good. How can I help?

bb:

Just keep on keeping on.

—–

[15 minutes earlier]

Carr.:

Kerch, no you can’t have Skillet since I have Spider now. (inaudible talk) Oh… you already have Skillet. (inaudible talk) Had him since Wednesday, eh. (inaudible talk) Ransom?! How much?? (inaudible talk) That’s more than all the prims in Collagesity, Kerch. Now come on Kerch. Just give him back. What will Alice think when she returns? (inaudible talk). No Kerch, Alice isn’t dead and you didn’t kill her. I just talked to her before you rang up. She warned me about some of this. Not the ransom — and, oh look, there’s Skillet, just walking into the temple. So you have a clone or something. (inaudible talk).

The temple blew up, and Baker Bloch wakes up. He’s in the Small Gothic Castle still. On the floor. Sweating.

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Collagesity Changes

Small Gothic Castle comes to Collagesity.

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Great views within. Had to be here for now.

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World of Collage formerly occupying the spot moved to where the Sam Parr Library and Gallery use to be, since deleted. Yes, the college appears to be no more. Instead the official gallery for the Sam Parr collage series will be the Red Umbrella (basement). The gallery is shopping around for a good dehumidifier.

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Smaller but important changes. And around 300 prims still to play around with now (!).

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Carrcasses 02

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[joined in progress]

Carr.:

… good to have that off your shoulders. Or potentially. How’s the wife?

bb:

She’s fine. I’ll work on the woods.

Carr.:

Do that. Kerchal’s been ringing me up each and every hour inquiring about a move.

bb:

Well, that’s not going to happen Carrcassonnee. Not if I can help it.

——-

Earlier that day, Baker Bloch revisited the sim sized Kerchal forest on Sansara, the oldest Second Life continent. He was drawn to the number of trees. “Maybe Kerchal *is* a superior woods to Rubi,” he thought, countering his last judgment.

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He was surprised to find the 3 “Uranus” cubes still within, since he thought he remembered owner Torley Linden saying these were deleted several years back. And right after Carrcassonnee compared herself to Uranus in the present.

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Back to the present, then:

—–

Carr.:

That’s where the curse started for poor white and pink Baker Blinker. The noise.

bb:

And where it ended, as I recall. 12 Oz Mouse. Carrcass-1. You.

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—–

Abominable, 2

I also wanted to talk about Burning Life. My theory, Hucka D., is that Burning Life is represented by Jay Cutler [likewise standing in for John Elway β€” see below], and the burning car in his hand is the central sun or Burning Man of that event. Now at his *feet* we have the marble that represents the planet Uranus, the most distant planet depicted on the roller coaster [starting with Mercury, which is the same as the roller coaster cart directly below the burning car/sun]. So my new theory is that Uranus is found in the Kerchal forest. Just like the Uranus planet you can *just* make it out on the map if you know where to look. And this Uranus is 3 cubes, 1 being transluscent. They’re set at full glow. *Barely* make it out, [just like Uranus is barely discernable to the naked eye, if you know where to look.]

http://www.maineskies.org/uranus.html

Hucka D.:

You think this is the opposite of Burning Life, then. Brightest verses the very opposite, so dim it lies on the very edge of perception. This is a contrast of opposites.

bb:

That’s right.

Hucka D.:

Hand high and feet low. Hilo.

—–

Carr.:

I cannot be just one forest, sorry. Kerch calls me all the time. He proposed last week, even though I was already married. He forgot he was also wedded to Alice. They’ve been touching each other for a long time. Since near the beginning.

bb:

Kerch or Kerchal is mad.

Carr.:

Yes. Looney bin mad. Kerch was Shakenstein. The real one, and not that fake propped up over there [Carr. points to Master Shake in the north cove of the temple].

bb:

Now the carrcasses are going to be explose, perhaps. The positive ones. The negative ones will remain hidden for a while, like Uranus and beyond.

Carr.:

That is correct my friend. Excitement in synch land. Sunklands. That’s where you end Your Second Lyfe.

bb:

Thank you.

Carr.:

Shakenstein will return.

—–

Chance Upon Bushes

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Shake ‘N Bake, I suppose

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Carrcasses 01

First off, the synch is Carrcass-1.

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Carr.:

Yes I am 12 Oz Mouse. But reborn. I have Spider instead of Skillet. I have one eye instead of two. I’m not drunk… as much. I am larger. And, most importantly, I am *you*.

Baker Bloch:

Meaning baker b.

Carr.:

Switch.

bb:

There.

Carr.:

Okay. I can see you!

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bb:

Spooky!

Carr.:

First, I am also Don. I stepped outside. It felt good to be alone. Peanut goes away. Golden Joe. Just me and Skillet left. That was about the last of me as 12 Oz Mouse. The conversion happened. I returned… in Sunklands. Carrcass-1 instead shows a loop. I return to the beginning. Can I help *you*, ha. But back to toward the end. We have Greenup and Yellow Down. This was in a recent collage. Pull up the pic… could be important.

bb:

Sure.

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Carr.:

The cyan horse emerges from the hole, as 12 Oz Mouse, me, looks on. This is in the desert of[ Episode] 21. Osmos… you know that too. You knew it then, I mean.

bb:

Yes. The country called Osmos which was half desert, half mirage. Siwel on the border between the two. This is where Greenup starts and yellow downs. Ends, I mean.

Carr.:

The hole was in Wallace in Greenup, but Wallace is also on the edge of Brownie which is a buffer zone between Greenup and Yellow Down in the Land of Green Oz. I put the hole there. And the dragonfly. And I was the light at Face Rock. Is that what you called it?

bb:

Unsure without checking, Carrcassonnee.

Carr.:

So I see the weakness, the Achilles heel that is the Achilles hole. Will you fall through?

bb:

No. Not now.

Carr.:

Make sure of that.

bb:

I will.

Carr.:

Because I don’t want to have to tell you again, you see.

bb:

I see.

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Carr.:

So… the cyan horse is Don, me, again. And Rhoda in 12 Oz Mouse. Rhoda appears in Carrcass-1 too. The song Rhoda appears along with Rhoda. That’s synchronicity. That’s me again.

bb:

You created Carrcass-1.

Carr.:

Yes. The first. The first of mine. I took over from Pierre, who died in Piers Gill, England in the Lake District. A tragedy. But he will[ also] be reborn in Gills Pier, Michigan.

bb:

In, let’s see, 2052.

Carr.:

Thereabouts.

bb:

Carrcassonnee, we have so much to talk about in Carrcass-1.

Carr.:

T-ford is a promoter. You are not use to that. Karl is afraid he will not like your work, but he likes you. So he keeps a distance. It’s understandable, you see. He is not comfortable with you being a syncher as well. He wishes you to be an administrator still. To be a stable hub. Like Town Hall. He does not want a gallery from you, let alone 5 (smiles). But he’ll like Carrcass-1 nonetheless. It has Tangerine Dream, it has Close Encounters. He just posted about these. He’ll like.

bb:

I would think so. I would *hope* so.

Carr.:

But even if he didn’t, it doesn’t matter. I am Maria von Trapp.

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bb:

Those are from 2006 I believe. Several years before Carrcass-1. I foresaw (!).

Carr.:

Yes. What do you have at the bottom of the roller coaster, that blue marble?

bb:

That’s Uranus (!)

Carr.:

Right. That’s the planet that’s on the edge of visibility. That is the first of me. Uranus, Neptune, Pluto. Limit. Edge. Rudolph.

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bb:

Spider is Spider in 12 Oz Mouse, playing the piano and playing Booger Hayes. Old Booger Hayes. *That* is sooo weird.

Carr.:

It doesn’t come from this world. Tonal to atonal. Outside. Extraterrestrial. Booger Haze.

http://www.adultswim.com/videos/12-oz-mouse/piano-music/

spiderscream
Spider scream

Carr.:

Thank you for coming back. So Boger Haze. This is Rutherford B. Hayes, the first president…

bb:

… to never be president, yes. He was part of a triangle. 333 perhaps divided into 3 111’s. Triumvirate. This is the hole into another dimension. Rat trap.

Carr.:

Rat trap? Those are my lines!

bb:

Sorry.

Carr.;

Apologies accepted. What times are it?

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Norubi Turtle waits patiently outside to speak next with Carrcassonnee.

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Carrcasses 00

I posted this to an audiovisual synchronicity related Facebook group today. Yes, my planned weekend vacation in Second Life is already over… which didn’t happen in the first place of course. My cabin is real enough, however.

I’m back after a shorter than expected vacation. The starfish was tough, the everpresent sun hurt my eyes, and the water tasted like air. I couldn’t sleep on my hard, virtual mattress, so I just decided to abort the thing. I think I’ll be alright in Real Life now as long as I stay indoors the remainder of the weekend and don’t look through the windows at all the white outside. And be thankful that at least I don’t live in a place named Whitehorse or Yellowknife.

I’m very excited about recent progress here in synch or sync world and I hope we can get to know each other better in the coming months and years. I personally haven’t made a decision about doing an updated podcast. I’m certainly looking forward to Dave Bytor’s upcoming one, as I enjoyed his 2007 (2008?) entry so much. I think Karl should do a new podcast — it seems he still has a lot to say and challenge us with after all. πŸ™‚

One thing that I think would benefit all of us is to find some way to post synchronicities online in a group pool for potential sharing. Karl and I recently discussed Dave’s Being Geddy Lee, and I think that one would be a target for such a pool. I have a feeling Dave would agree.

If we don’t have access to the work that others are doing — at least *one* work πŸ™‚ — then the group will fail, or at least be severely limited, even in comparison to the old days of tape trading. So I think this is our main challenge, and it may be up to the more technically savvy of us to figure out a solution (hint: this is *not* going to be me, har). And I don’t feel *just* samples of synchs are going to be enough.

Good work all, once more! I’ve thoroughly enjoyed listening to all the new podcasts, with still a couple to go. I still plan to work on a group history and help save at least the transcripts of the old podcasts, which I enjoyed very much as well. Ideally, I’d like to have transcripts of the new ones, but that may be too much work for someone — we’re all limited in time and have other interests pulling on us. I think the first batch are important to retain because when we did them, we were considerably closer temporally to the excitement of the original, sharing process, which probably culminated around 2002 I suppose, or about the time of Shared Fantasia.

Group energy is very important.

Here’s a link to the the older set of podcasts mentioned about. These are all my “syncher” friends. I’ve made some new ones in the last half year, but it takes time to build trust. I’m baker b., obviously.

Interviews, Etc.

—–

So here’s my follow-up comment to the above post coming several hours later:

I haven’t read the latest comments but I’m figuring stuff out. Just got up from watching a synch and a number of things just clicked into place. Details soon hopefully. Thanks all!

So what happened?

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