Remeber that time that you were going through a particularly rough patch? Remember how that one song reflected what you were feeling, and it made you feel SO much better to crank it up and sing along? Sometimes, music does what nothing else on earth can do....It reaches in and gives us just what we need to make life easier to deal with.
The Juliette Opry offers that....
This locally-owned venue is open the first Saturday night of the month, March through November.
Local musicians gather up and jam on the front porch starting around 6 p.m. and then the featured act is inside on stage at 8 p.m. The venue generally features country, bluegrass and gospel, sometimes even a little Allman Brothers (Midnight Rider with a dobro is one of the most awesome things I have ever heard).
The venue is free but donations are accepted and needed for both the Artist and venue. They offer light refreshments, sodas, popcorn and homemade cupcakes at very low cost.
In today's ridiculous economy free is a good thing but they need folks and donations to keep this venue running. If you try them once I promise that you will come back .
The Juliette Opry cuts out all the fog and commercialism that distracts from the music. So, if at any point in your life a song has grabbed you by the heart.... You can relive those moments in Juliette.... at the Opry.
You can email us: Julietteopry@yahoo.com
This is just one of the featured acts you'll find at the Juliette Opry!!
http://forsythmonroe.13wmaz.com/news/arts-culture/69897-catherine-kimbro-juliette-opry
Friday
Thursday
Guitar Construction 101
So, surviving the music scene is alot like wilderness survival, isn't it? You've got to be experienced with the tools of the trade. You've got to find ways to eliminate waste, and to work as efficiently as you can.To survive at anything you must cut out the luxuries as much as possible to make room for the necessities.
At one point, I determined that I NEEDED a personalized, handcrafted guitar. I thought that it was the only thing holding me back from all the gigs I wasn't booking. It seemed to me that I was one bad-ass guitar away from success.
I had an old guitar neck that I figured I could just attach to a personalized body. So I went to one of those builders' supply places and found some nice squares of medium density fibreboard. It was all I could afford because I wasn't gigging; my focus was on my 'image'.
I bought a dremel tool set and went to work. I cut the body from two pieces and sandwiched them together. At this point, all it needed was a nice finish.
I spray-painted the body a deep blue. It was pretty, but I wanted beautiful. A deep clear coat, it seemed, was in order.
When I was young, I had seen these countertops or tables with a thick, plastic-like coating that had been poured over the wood and allowed to dry. I figured it could only be polyurethane and they had that at the hardware store nearby.
I carefully poured the polyurethane to give the thick shine I wanted. Suddenly, an epiphany: on serious paint jobs, don't they apply heat to 'cure' the finish?
My oven was the perfect size for this. I laid my hand crafted guitar body on an old pizza box (in case the polyurethane dripped, duh) and placed it in the oven. The heat should cure the finish nicely and I would be the proud owner of one bad ass guitar!
I turned the oven to broil because it didn't make sense to me to heat it from the bottom. I also decided to leave the door open because baking polyurethane in a CLOSED oven at 500 degrees seemed unsafe, somehow.
Things were looking good. The polyurethane was hot and it had leveled out nicely.
When I noticed the polyurethane smoking, I took a piece of cardboard leftover from the box to determine if it had hardened. Nope. Still liquid. It was at this point I decided that this was a bad idea and I should remove the guitar body before....
Too late.
The guitar body burst into flames, and being a batchelor I had no pot holders or gloves. I got a beach towel and grabbed the cardboard box. The box collapsed and suddenly, I had a flaming guitar body in the middle of my kitchen floor. I tried kicking it toward the back door and found that it had already melted the linoleum. It was stuck.
I kicked harder and broke it free. All the while spraying the cabinets with flaming polyurethane with each kick. Some of this ignited the can of polyurethane sitting on the floor.
I opened the back door and kicked the blazing guitar body out into the yard. The misty rain that prevented me from doing this work outside, hopefully would put out the fire. I threw the beach towel over the fire on the kitchen floor and poured a whole box of salt into the polyurethane can ... No good. I tried baking soda from the fridge. Again, nothing. Finally, I realized that I would have to smother it. I saw an old plastic gym bag and threw it on top of the can. I thought it might smother out the flames before it melted. I was wrong. The gym bag just gave it more fuel and by this time I was able to use the beach towel to get ahold of the can and smother the flames. I took it outside.
The flaming guitar body from hell was still burning and melting the underpinning of the mobile home (could you have guessed?). I kicked it around a bit and the flames went out. Exhausted, frustrated and feeling a little stupid, I made sure all the fires were out and laid on the couch. I fell asleep.
The next morning I surveyed the damage. A small rug would cover the huge burnt linoleum in front of the oven. A little sanding would eliminate the burns in the cabinets from the flaming spray. I could wipe down the ceiling to get the soot off.
I went outside and found the guitar body. I had kicked it through all the leaves and rain and pine straw in order to put the fire out.
Some of the leaves and pine needles had stuck to the body and were encased under the polyurethane. The blue paint had blisters from the heat and the whole guitar was rock hard. Small water spots were under the dried polyurethane, too. But the finish wasn't as deep as I wanted. So I fished the pieces of plastic out of the can and poured the remainder of polyurethane over the guitar-I had forgotten about the salt and bakingsoda that was in it.
None of that mattered- It looked REALLY cool. The finish was thick and 3D even. Leaves under the finish looked bigger than they actually were and the water droplets looked like rings of little pools.
And THAT is how you build one bad-ass guitar.
Two weeks later it was stolen.
At one point, I determined that I NEEDED a personalized, handcrafted guitar. I thought that it was the only thing holding me back from all the gigs I wasn't booking. It seemed to me that I was one bad-ass guitar away from success.
I had an old guitar neck that I figured I could just attach to a personalized body. So I went to one of those builders' supply places and found some nice squares of medium density fibreboard. It was all I could afford because I wasn't gigging; my focus was on my 'image'.
I bought a dremel tool set and went to work. I cut the body from two pieces and sandwiched them together. At this point, all it needed was a nice finish.
I spray-painted the body a deep blue. It was pretty, but I wanted beautiful. A deep clear coat, it seemed, was in order.
When I was young, I had seen these countertops or tables with a thick, plastic-like coating that had been poured over the wood and allowed to dry. I figured it could only be polyurethane and they had that at the hardware store nearby.
I carefully poured the polyurethane to give the thick shine I wanted. Suddenly, an epiphany: on serious paint jobs, don't they apply heat to 'cure' the finish?
My oven was the perfect size for this. I laid my hand crafted guitar body on an old pizza box (in case the polyurethane dripped, duh) and placed it in the oven. The heat should cure the finish nicely and I would be the proud owner of one bad ass guitar!
I turned the oven to broil because it didn't make sense to me to heat it from the bottom. I also decided to leave the door open because baking polyurethane in a CLOSED oven at 500 degrees seemed unsafe, somehow.
Things were looking good. The polyurethane was hot and it had leveled out nicely.
When I noticed the polyurethane smoking, I took a piece of cardboard leftover from the box to determine if it had hardened. Nope. Still liquid. It was at this point I decided that this was a bad idea and I should remove the guitar body before....
Too late.
The guitar body burst into flames, and being a batchelor I had no pot holders or gloves. I got a beach towel and grabbed the cardboard box. The box collapsed and suddenly, I had a flaming guitar body in the middle of my kitchen floor. I tried kicking it toward the back door and found that it had already melted the linoleum. It was stuck.
I kicked harder and broke it free. All the while spraying the cabinets with flaming polyurethane with each kick. Some of this ignited the can of polyurethane sitting on the floor.
I opened the back door and kicked the blazing guitar body out into the yard. The misty rain that prevented me from doing this work outside, hopefully would put out the fire. I threw the beach towel over the fire on the kitchen floor and poured a whole box of salt into the polyurethane can ... No good. I tried baking soda from the fridge. Again, nothing. Finally, I realized that I would have to smother it. I saw an old plastic gym bag and threw it on top of the can. I thought it might smother out the flames before it melted. I was wrong. The gym bag just gave it more fuel and by this time I was able to use the beach towel to get ahold of the can and smother the flames. I took it outside.
The flaming guitar body from hell was still burning and melting the underpinning of the mobile home (could you have guessed?). I kicked it around a bit and the flames went out. Exhausted, frustrated and feeling a little stupid, I made sure all the fires were out and laid on the couch. I fell asleep.
The next morning I surveyed the damage. A small rug would cover the huge burnt linoleum in front of the oven. A little sanding would eliminate the burns in the cabinets from the flaming spray. I could wipe down the ceiling to get the soot off.
I went outside and found the guitar body. I had kicked it through all the leaves and rain and pine straw in order to put the fire out.
Some of the leaves and pine needles had stuck to the body and were encased under the polyurethane. The blue paint had blisters from the heat and the whole guitar was rock hard. Small water spots were under the dried polyurethane, too. But the finish wasn't as deep as I wanted. So I fished the pieces of plastic out of the can and poured the remainder of polyurethane over the guitar-I had forgotten about the salt and bakingsoda that was in it.
None of that mattered- It looked REALLY cool. The finish was thick and 3D even. Leaves under the finish looked bigger than they actually were and the water droplets looked like rings of little pools.
And THAT is how you build one bad-ass guitar.
Two weeks later it was stolen.
Lane Richardson
I met Lane at an open mic recently, and found him to be VERY talented. He is young, in his early twenties, but he has the soul of an old man. His songs paint vivid portraits of heartache and pain, stained with the ironic relationship of love and hate and with a paintbrush dipped in influences of Irish folk, and American country.
He has many originals (which are totally worth the cover charge) but he can also fill the night with covers ranging from Hank Williams and Johnny Cash all the way to Mumford and Son's.
Find out more about him and his schedule on Facebook!
He has many originals (which are totally worth the cover charge) but he can also fill the night with covers ranging from Hank Williams and Johnny Cash all the way to Mumford and Son's.
Find out more about him and his schedule on Facebook!
Labels:
Alternative music,
Americana,
blues,
Columbus,
Country music,
Macon,
Middle Ga.,
Motown,
Pop music,
Warner Robins
Saturday
Secret to Booking- 20's Pubs and Subs
The trick to booking 20's is all in the Monday night audition....Here's how it works:
First of all- DON'T bother trying to call to book it. Teresa is the one you want to talk to, and she will not talk to you about it over the phone. So the best time to catch her is 3-6 on Mondays. Or between 10 a.m. and 5 p.m. Tuesdays Thursdays and Fridays. She takes off Wednesdays (when she takes off). Any other time could still be good, but there is just a better chance of her being busy or short of time.
If you are playing somewhere else nearby, let her know and if she can slip away, she'll go to see you. She will be judging whether or not you play the music the crowd likes but also HOW you do it. She is not being critical of your talent or performance. She is judging your "fit" with her patrons.
Teresa will not book you until she has heard you play. If you are not playing anywhere nearby; she will ask you to play an 'audition gig' on a Monday night. Talk to her, book it, show up, and play your best stuff. Their crowd likes to dance and if you play the stuff that she believes their crowd will like, she will put you on the calendar for a weekend spot.
Granted , you may not be playing to a big crowd on that Monday, but at least you are being judged on your performance, and not your salesmanship. Also, What else are you doing on the average Monday night?
I like this because it puts things back into the perspective that we all want: We are paid to entertain their crowd- Although bringing a crowd is encouraged; we are NOT expected to kidnap people and drag them in.
Another plus: they pay all bands a flat fee. That's right; everyone who plays there gets paid the same thing.
There is no bargaining or trying to sell yourself. No competing with fee. Which means the only way that you could compete with another band is by making the crowd happier, which COULD result in playing more often.
I really like this way of doing things. It puts the focus on pleasing the crowd; and I think that is VERY important. Thoughts?
First of all- DON'T bother trying to call to book it. Teresa is the one you want to talk to, and she will not talk to you about it over the phone. So the best time to catch her is 3-6 on Mondays. Or between 10 a.m. and 5 p.m. Tuesdays Thursdays and Fridays. She takes off Wednesdays (when she takes off). Any other time could still be good, but there is just a better chance of her being busy or short of time.
If you are playing somewhere else nearby, let her know and if she can slip away, she'll go to see you. She will be judging whether or not you play the music the crowd likes but also HOW you do it. She is not being critical of your talent or performance. She is judging your "fit" with her patrons.
Teresa will not book you until she has heard you play. If you are not playing anywhere nearby; she will ask you to play an 'audition gig' on a Monday night. Talk to her, book it, show up, and play your best stuff. Their crowd likes to dance and if you play the stuff that she believes their crowd will like, she will put you on the calendar for a weekend spot.
Granted , you may not be playing to a big crowd on that Monday, but at least you are being judged on your performance, and not your salesmanship. Also, What else are you doing on the average Monday night?
I like this because it puts things back into the perspective that we all want: We are paid to entertain their crowd- Although bringing a crowd is encouraged; we are NOT expected to kidnap people and drag them in.
Another plus: they pay all bands a flat fee. That's right; everyone who plays there gets paid the same thing.
There is no bargaining or trying to sell yourself. No competing with fee. Which means the only way that you could compete with another band is by making the crowd happier, which COULD result in playing more often.
I really like this way of doing things. It puts the focus on pleasing the crowd; and I think that is VERY important. Thoughts?
Labels:
booking gigs,
gig advice,
gigs,
music business advice,
venues
Friday
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