When I’m not awesomeing it up all over the Internet, I’m mixing live bands for money. I have what’s referred to as a “house gig.” I don’t tour. I work in one venue, and bands come to me. Sometimes they’re well-known national acts, other times, they’re smaller regional acts. The bigger bands usually come with their own crew, and I just tell them where they can plug in and how to use the sound board. The smaller acts, I usually have to mix them. The following lists happens in both instances, but with the larger acts, I’m not the one who has to deal with it. On the smaller acts, it effects my job directly.
The Person Who Plays the Tambourine
There are two people who play the tambourine: The guy who has nothing to do during this song, and the girlfriend of the lead singer who wants to join him on tour, so she knows he’s not sleeping with the groupies. (Trust me – if I’m mixing you, you have no groupies.) Either way, you’re not helping the song. You’re just shaking the shit out of a bunch of metal plates near a microphone. That becomes the loudest, and most grating part of the song. And then, right afterwards, you step up to the mic to say something, so if I take the mic out so I don’t have to hear the tambourine, it’s still out when you speak, and now you know I wasn’t putting the tambourine through the P.A. And now you’re pissed, because nobody could hear the complex rhythms you were playing that like, totally made the middle eight of the song. If I’m lucky, you’ll mention this on mic so everyone can hear, which brings us to number 2:
The Band that Calls the Mix from the Stage
Don’t stand on stage and tell me how it could sound better. The speakers I use aren’t pointing at you. You really have no idea how it sounds. You’re getting the low end from the back of the cabinets, and then the reflection off the back of the venue. Of course you think it sounds like crap. Don’t start telling me how to fix it, because you are going to be wrong. Then we’re going to get into an argument and I’m going to look like a stubborn dickhead house sound guy who doesn’t know how to do his job. And, for the love of God, if you decide to poll the audience on the sound, I will shut you off. No audience has ever collectively decided that the reverb time is too long or anything else that might be slightly helpful. All they want is LOUDER. And if you take that to mean that I should turn it up, and tell me to do so on mic in front of everyone, you’re not going to get what you want. Barring some freak of physics, you’re loud enough. Probably too loud. And I have to do this shit for a living. If it becomes too loud, I will walk away. I have to listen to loud volumes for extended periods of time, and unlike the douches who are hanging out right next to the subs, I care about my ears. I put a lot of time and money into educating them. They are how I pay my rent. If I break them, I have to find something else to do for money. Four hundred drunk guys on the dance floor yelling “LOUDER!” are not worth my livelihood.
Keep Your Fucking Family Members Away from Me
That’s your brother playing guitar? Great. I’m not turning him up. I can hear him fine. I don’t need the whole night to be about him picking around on some chords. There’s also some guy singing. That part of the song is pretty important, too. If you keep coming up to me and telling me you can’t hear him, and each time I don’t turn him up, guess what? I’m not fucking turning him up. Nine times out of ten, this results in family member getting pissed, and then telling the guitar player it sounded like shit and they couldn’t hear him. Then I’m the jackass.
People Who “Do the Sound” at their Church
Please don’t come up to me with mix notes, or want to talk about gear. I haven’t been to your church, but I’m guessing you’re back in the corner with a tiny console, and you mix by telling the band that plays those super-awesome Jesus Rock songs to turn up their amps. You also probably read Mix Magazine and pour through Guitar Center catalogs searching for new gear. First off, Guitar Center sells crap. They’re the Best Buy of music. Second, my work buys my shit, and unless it breaks and can’t be repaired, it’s not getting replaced. I don’t keep up on the latest models of effects units because I ain’t getting one. When it’s time to buy a new one, I’ll spend the two hours it takes to research them, and then buy the one I want. I don’t need to study up on that stuff monthly. Also, unless your church is run by Rick Warren, what I do is on a completely different level than what you do. You have one guy speaking, I have five or more guys all doing loud shit. It’s very different.
The Audience
You see this big, expensive-looking thing with a bunch of lights and knobs on it? IT”S NOT A FUCKING COASTER. If your drink gets anywhere near it, I will send that Malibu pineapple off in the opposite direction. And, no, I’m not buying you a new one. Also, don’t stand right in front of me. I have to see when the guitar player decides to play an acoustic guitar on this song.
Tone Freak Guitar Players
My venue isn’t that big. We seat around eight hundred maximum. When I get a guitar player who needs to have his amp up all the way to get his tone, and can’t live with it facing away, or in another room with a mic in front of it, that means the show is going to suck. It’s going to be the an evening of trying to get everything up to the same level as your amp, until I just give up because, like I said earlier, I need my hearing. Then, I’m going to get a bunch of people telling me the guitar is too loud, and they’re going to be right. But I won’t be able to do anything about it. I hate these nights.
Bands that Screw Around During Sound Check
I’m good at my job. Really fucking good. I see a lot of acts and listen to a lot of mixes, and 80% of the time, I can put together a better mix. I don’t tell them that, because it’s not nice. (You know who has a great sound guy? Asleep At The Wheel. That guy doesn’t do sound check, and within the first half of the first song, has put together one of the better mixes I have heard.) I will make your band sound good. But I can’t just pull it out of my ass. I need like four songs, and I need you to play all your instruments. I also need you to play at something close to show volume. Most of the time, everyone walks through soundcheck, half-assing everything, and then come showtime, everything is different. The guitars are all louder, and the drummer is beating his kit like it owes him money. That means soundcheck was a complete waste of time. It’s always fun to un-mute the console and find out your mix isn’t working at all.
Most of the time, I love my job. Once in a while, I have to deal with these people. Then, I don’t love my job. Whatever. At least I’m not touring.
Two Buff Orphingtons. These friendly, gentle birds are dual purpose — meaning good egg layers and good eating, but we will only use them for eggs. They aren’t flighty and are good egg layers. The only unfortunate thing about them is that their pretty buffed copper color really stands out on my lawn. It makes these trusting fowl a major target for hawks and other predators. The one I had last year, Gigi, bit the dust in the great fox massacre of 2010.
One Easter Egger. This is a hybrid variety of the Araucana breed that Martha Stewart made so famous. They lay blue, green or even slightly rose colored eggs — thus the name. When fully grown, they can look very different from each other. The distinguishing feature they all have is pale green legs. That is unique in the bird world.
Two Salmon Faverolles. I’m very excited to be getting these beautiful birds. Very shy and sweet-natured, I’m going to have to watch out that these two don’t get picked on by the others. I will probably keep them under the heat lamp far longer than the others I am bringing in this week. Beautiful salmon colored feathers with some white lacing make these hens out to be some serious eye candy for the backyard. They are prolific layers of light brown to cream eggs.
Two Silver Cuckoo Marans. Another breed I am excited to add to the flock. These beauties lay dark chocolate brown-colored eggs. The eggs taste the same as all the others, but are stunning to behold.The birds are good natured and good layers.
Three Speckled Sussex. Great layers of brown eggs and they are good cold weather layers. They tend to get heavy so they end up not being too flighty. Very curious in nature and will often come right up to you to ‘beg’ for a treat. Their speckled plumage offers protection from predators.
Two Wild Cards. Although I am a planner, I love surprises too. So I choose an assorted rare breed where My Pet Chicken gives me what’s available from a rare breed list. I’m hoping I don’t get a 









Not only have we lost a great actress, a timeless beauty, and a consummate humanitarian, we are ever more witnessing an end to an era. An end to women who never stepped outdoors without their white gloves, or a delicious hatpin, a red, red, lip, or hair so coiffed and perfect that it was an institution. And along with all these glamor trappings, we’re seeing the end to the bawdy dame who mastered refined, regal chic while simultaneously bantering with any man in the room, making him feel as though he is the only one there, whispering conspiratorially with the women in attendance, and turning the heads of just everyone with an infectious laugh, and a well placed hand on an arm. These are things that are not taught, they simply are.
Elizabeth’s movies were sumptuous and luscious, full of zeal, verve, and gumption. As Maggie the Cat in Cat on a Hot Tin Roof, you felt every word she spoke, a sultry denizen who held Paul Newman’s Brick in her lustrous gaze, challenging him to love her, despite himself. Butterfield 8‘s Gloria Wandrous was unflappable, desirous, and wore that slip like a powerhouse, rendering us all speechless with the daring topic, and Elizabeth’s delivery. As Who’s Afraid of Virginia Woolf’s, Martha, Elizabeth’s boozy anger, obstinate angst, and treacherous tongue gave as good as she got, undeniably. Her Cleopatra was stunning, classic, omnipresent, and lavish, only a role the Queenly Elizabeth herself could execute. Today, actresses would be hard-pressed to find such varied and dynamic roles, and be able to play them in the same unforgettable way. Simply, there will never be another Elizabeth Rosemond Taylor, two-time Oscar winner, screen royalty, and film legend.
When you’re the most beloved Hollywood star in existence what will you do with your retirement? Collect more jewels? Well, maybe. Obtain rare works of art? Certainly. How about found an organization that helps millions of people? Well, if you’re Elizabeth Taylor, naturally. She helped raise more than $100 million to fight AIDS, and after the death of her former costar and friend, Rock Hudson, she co-founded amFAR the American Foundation for AIDS Research, and created her own AIDS foundation, the Elizabeth Taylor Aids Foundation. In 2006, she also commissioned a 37-foot “Care Van” equipped with examination tables and X Ray equipment and donated $40,000 to the New Orleans AIDS task force, a charity designed for the New Orleans population with AIDS and HIV. And remember what I said about being a bawdy dame, yes well, in March 2003, Taylor declined to attend the 75th Annual Academy Awards, due to her opposition to the Iraq war. She publicly condemned then US President George W. Bush for calling on Saddam Hussein to leave Iraq, and said she feared the conflict would lead to “World War III.” Simply, a woman who knows our own heart.
For me, when I think of Elizabeth Taylor I also think of that time in Hollywood that was golden and beautiful and full of real movie stars, not the hackneyed, overnight sensations we often find littering Hollywood films today, but women who were sassy and proud, beautiful and fierce, with names like Betty, Lana, Katherine, Audrey, Ava, Rita, Grace, Natalie, and of course, Elizabeth. I adore this time, and watching all of these ladies light up the screen, even in their not so famous roles. My introduction to Elizabeth Taylor wasn’t in National Velvet, it was her turn as sister Amy in 1949’s Little Women, a story I was fascinated with as a young woman. My next favorite was Father of the Bride starring Elizabeth as Kay and Spencer Tracy as Stanley Banks. In addition to her better known, and bigger received films, watching some of the others was like watching her grow into the accomplished actress she became in a career that spanned decades and generations. It’s hard to believe that she was only 79! She has been a fixture in the world for much longer so it seems.
