'An Unforgettable Performance' 9S15F/FMUR9/AY1D9

9S15F/FMUR9/AY1D9
Status	Renting
Demand	High
Value	180000 USD/142000 GBP (Per rental); 700000 USD/550000 GBP (Per purchase)
Availability	Established Supply Chain
Identifier	An Unforgettable Performance
Description	1/4" reel-to-reel master tape recordings of concerts by 'Masked Mayhem', an AWCY? backed anmusic group. When played, immerses the listener in a multi-sensory, sense-modifying, full-body experience for a 20 minute duration. After the end of a session, users are able to remember the 'experience' itself, but cannot recall the content of the concert in any way.
Marshall, Carter and Dark, LLP

Initial Report
Author	Leonard Mitchell	Date	July 05, 2004
Interest	Medium	Identifier	An Unforgettable Performance
At our recent anart exhibition in The Three Portlands, I attended an AWCY? backed show titled "A show you'll never remember, a night you'll never forget". While it's properties inherently make it hard to describe, it really was an amazing experience. I got a hold of one of the musicians after the performance, and he explained that the music immerses those who hear it into a full-body, multi-sensory experience in order to "redefine the way they experience music". I was able to get one copy of the performance from the aforementioned performer, if we could produce or procure more we could make a killing renting these out to interested buyers. The fact that you forget the exact details of it while still remembering how it made you feel means it would be trivially easy to get consistent, repeat business as well. We would have to negotiate something with AWCY? to get another performance done that we could record ourselves; personal experimentation has shown that making copies of my tape results in significant degradation of the experience, likely because my copy is a cassette tape- they said the experience does not manifest in digital copies or recordings. Of course, this is no problem- it would be trivial for us to create a 1/4", 50 IPS "master tape" for our purposes. I also acquired a copy of the original project proposal through the performer I mentioned earlier, I've attached it below.
File Opened Under:		9S15F/FMUR9/AY1D9
Marshall, Carter and Dark, LLP

External Report 01
9S15F/FMUR9/AY1D9
Organisation	Are We Cool Yet?	Acquired	July 05, 2004
Method of Acquisition	Acquired from band member by associate.███████████████████████████
Document (See Below)
Marshall, Carter and Dark, LLP.

External Document 01

Name: Lock Edwards and Melany Lopez

Title: A Night You'll Never Remember, A Show You'll Never Forget

Material Requirements:

• 1 clarinet and 1 clarinet player (provided as Lock Edwards¹)
• 1 bass and 1 bass player (provided as Melany Lopez)
• 1 trumpet and 1 trumpet player (provided as Gavin Sun)
• 1 saxophone and 1 saxophone player (provided as Ezzie What)
• 1 piano and 1 piano player (provided as Gerald Quartz Conner South)
• 5 sets of earplugs, to protect all the musicians from the piece (provided)
• A stage on which to perform, with enough space for the aforementioned materials
• An audience, preferably one with full auditory capabilities for maximum enjoyment
• Custom anomalous music (provided)

NOTE: A letter was sent during the duration of the exhibition, addressed to the exhibition committee, and requested for an edit to be made to the material requirements. The request reads as follows:

We apologize for the inconvenience presented on the third day of the exhibition, in which one of our material requirements was rendered inoperable. Fortunately, no other casualties or major injuries occurred, and we have a replacement for this and can continue demonstrating the power of music. If possible, please update the material requirements to reflect our changes. Once again, we are sorry for what happened; we had no idea that Gerald had no self-control and we believed that he was aware of the dangers present.

Thank you for your time.

Lock Edwards

Abstract: A Night You'll Never Remember, A Show You'll Never Forget is a live musical performance, enmeshed with both music anomalous in nature and music spontaneous in creation. It is composed of typical instruments found in a jazz bandstand, and will be played by five musicians (mentioned above), who will be playing the piece in question everyday during the duration the of the exhibition at regular intervals, with breaks for warm-ups, food, drink, sleep, and the occasional Q&A.

Every performance will begin with the same music, which lasts for around one minute and thirty seconds. This initial section is the anomalous part of the musical composition: Once played, it should make listeners suffer from what the doctors might call sensory deprivation and short-term amnesia, remembering only emotions and minor details, or what some prefer to call "a Tuesday all-nighter at the bar." In reality, the piece creates a sort of sensory transference, where people are no longer able to sense the outside world in its full form, and are instead given an opportunity where, for the most part, they are able to sense only music through all of their senses. Everything else in the world—sight, touch, smell, taste—is supplanted by hearing and sound. Instead of seeing lights onstage and smelling popcorn from nearby stands, they see music, smell it, taste it, smell it, and, obviously, hear it for what it is. It also increases the human brain's susceptibility to the natural effects of musical patterns, and its ability to comprehend those patterns. This process leads to a minor "overload" when many patterns are played at once, which is what we will be hoping to achieve during the exhibition. After the initial pattern, a solo by one of the musicians onstage will infuse emotion into the audience, and this will be followed by more improvisation by the band for the duration of the performance. The initial section may be repeated more than once during a show to maintain the desired effect.

During the time of the performance, things may prove a little surprising, if not, exciting for the audience, but there should be no fear: there might be some yelling at the start, and there might be dancing, but we are absolutely sure, from our previous run-throughs, that no serious injuries will present themselves throughout the duration of the event. and if any dangers present themselves, either to the audience or the musicians, we will stop immediately once we notice. Danger may specifically arise from the musicians falling under the influence of the piece, which is why the importance of earplugs should be stressed to any other musical groups that may want to perform this work or create anything similar.

Intent: Contrary to what the title might suggest, we're not aiming to make a musical substitute for clubbing. We don't even go clubbing ourselves, by most people's definition.

Instead, we want to address another issue: music and people. More often than not, you'll hear in English classes all the time that students need to "read in between the lines", or follow some other worthless piece of advice similar to that. More often than not, you'll also see that most of the students also have earbuds in their heads every single time and aren't paying any heed—and their ability "read in between the notes", per se, is just as shameful, except for the students in a music class—and even they may not pick up on all the patterns. People in general, not just students, don't usually understand the full scope of the meanings and connections between notes, lyrics, instruments, vocals, and song titles—or even a different group of musicians and their background, and you would think that our society today based on superficial traits, like skin color or clothing, would really pick up on that one.

They just don't get it more often than not, but really, they don't need to, do they?

You don't need to learn how to play the piano twice—just once to know how to play; you don't need to eat overpriced fried whale everyday—just once to try it; and you certainly don't need to experience an airplane crash twice—just once, because you probably won't be able to try it, or anything else, ever again. The same principle applies here: you don't need to get the musical experience of a lifetime seven times, though you definitely could—you just need it once, even if you don't remember it and/or get slightly hurt in the process. And that's our goal in making this piece.

Footnotes

1. For identity safety purposes, all names provided are stage names.

Inventory Information
9S15F/FMUR9/AY1D9
Owner	Quantity	Comments
Marshall, Carter, and Dark, LLP	15	Additional tapes can be made on demand
Are We Cool Yet?	~8	Personal copies
Customers	9	Limited sale of master copies
Marshall, Carter and Dark, LLP

Incident Report 01
9S15F/FMUR9/AY1D9
Author	Leonard Mitchell	Date	October 11th, 2005
While rentals have largely been running smoothly for the past year, we've begun having problems with some of our repeat customers complaining that the experience is no longer "potent enough". We've had multiple requests to either modify or somehow intensify the experience- modifying the tape after it's been recorded is impossible as far as we know, and as such so is intensifying it, so I suggest wrangling AWCY? to make some new recordings, to change things up. If we don't do anything, I'm concerned that our sales could drop off sharply as customer interest wanes.
Marshall, Carter and Dark, LLP

Memo 01
9S15F/FMUR9/AY1D9
Sender	Russell Sutherland	Recipient	Leonard Mitchell
I've contacted our friends at AWCY? and they have agreed to come into the studio to record once again in order for us to make a couple new master tapes. For this run, we're just going to do a standard performance, only slightly tweaked. We're refreshing our offering, not remaking it.
Marshall, Carter and Dark, LLP

Memo 02
9S15F/FMUR9/AY1D9
Sender	Leonard Mitchell	Recipient	Russell Sutherland
Our repeat customers are still complaining that the content is "stale" despite refreshing our tapes- it's possible we'll have to try something more creative and drastic if we want to recapture our longstanding customers. This is becoming a matter of increasing importance; we're getting more complaints every day. We've already lost a few renters, and even one client who had lined up to purchase a copy for himself.
Marshall, Carter and Dark, LLP

Memo 03
9S15F/FMUR9/AY1D9
Sender	Auguste Renaud	Recipient	Russell Sutherland
While modifying the performance isn't off the cards, with how "direct" the effects on the participants are, any changes could have unforeseen and potentially very messy consequences. I'll talk to the band members, but unless they already have something in the works, I doubt we can come up with something in the time frame you need. We're anartists, not miracle workers, despite what some may think.
Marshall, Carter and Dark, LLP

Memo 04
9S15F/FMUR9/AY1D9
Sender	Lock Edwards	Recipient	Russell Sutherland
Hey, so you said we need to change some things up with the performance? Well, we've had a few things we've been toying with, and the next tapes you receive should have some brand new music. Conner's solo particularly should enhance the performance—in fact, if you want, bring in some friends or clients or whatever you call them, the experience is always stronger first hand. Remember to tell anyone who's opting out to put in their earplugs firmly. I got a strongly worded email from one of your suits about a week ago after they experienced the show's full effects unexpectedly. How'd they get my email address anyways?
Marshall, Carter and Dark, LLP

Incident Report 02
9S15F/FMUR9/AY1D9
Author	Russell Sutherland	Date	January 3rd, 2006
As a special offer, we sold a limited number of tickets to the Masked Mayhem performance we were originally intending to simply record. This ended up being a very successful promotion, and all available tickets were sold in a little under two days. The show began smoothly, but during the short solo portion played by Conner South his earplugs became dislodged, exposing him to the effects of his own music. Now, the proposal document obtained from AWCY? says that this had actually occurred once before, and that they had protocol in place to deal with this. For whatever reason, this protocol wasn't successfully enacted, allowing Conner's music to self-amplify, the effects of the music causing him to play more intensely, thus amplifying the effects of the music, and so on. The sharp increase in intensity caused an overload of the senses, leading to minor brain damage in 68% of those attending, and severe brain damage in a further 12% of the audience, as well as one guard who's earplugs became dislodged in the commotion. A majority of the members of Masked Mayhem made their escape after the incident; we are currently attempting to force AWCY? to turn over the remaining members, but they have so far been uncooperative. Soloist Conner South was found on the scene in a state of delirium, and was handed over to the proper authorities after his recovery.
Marshall, Carter and Dark, LLP

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"'An Unforgettable Performance' 9S15F/FMUR9/AY1D9" by Avelon21 and Pokemonprime, from the SCP Wiki. Source: https://scpwiki.com/an-unforgettable-performance-9s15f-fmur9-ay1d9. Licensed under CC-BY-SA.

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