Marquette Music Scene

Tag: marquette music scene

  • A Record, A Memory, A Farewell

    Mike Walker’s Journey from Bogue to Closure

    Bear/Marquette Music Scene

    I had the privilege of meeting Mike Walker not long after he moved back to the U.P. — some years ago. We’ll go with that, because I honestly don’t remember exactly what year it was at the Upfront & Company, and that place has been closed for almost 13 years now. What I do remember is meeting this cat who clearly knew a thing or two about heavy bands. After a short conversation outside, Mike looked at me and said, “We need to be friends.” And we have been ever since.

    Sure, the Upfront is long gone, but some memories are still sharp. We did some cool things before the club was abruptly — and stupidly — taken away from us.

    Of course, I’m not just Mike’s friend. I’ve been a fan of just about everything I’ve seen him do musically. So when I heard he was bringing a 20+ year-old demo back to life, I couldn’t have been more excited. The release got delayed — unfortunately for him, but fortunately for us — into a time when we’re both active again. I had the absolute privilege of sitting down with my friend this week to talk about the release and about an era where I can only fill in the blanks with stories from the people who lived it.

    Origins of Bogue

    Bear: So you weren’t with the band from day one. How did it start, and how did you end up joining?

    Mike Walker: Matt and Danny formed the band in late ’99. I was working at the Gold Dollar — tiny rock club in Detroit. They played their first show there. I knew Dan from P.W. Long’s Reelfoot and stuff like that. When they played as a two-piece, I immediately knew: I need to be in that band. They needed it, and I needed it. We spoke the same musical language.

    We found out we lived next door to each other. One day I was taking out the trash, he said hey, we ended up at the bar, then two hours later, we were in the practice room. Just like that.

    Bear: Do you think you changed the sound?

    Mike Walker: Yeah, I’d say so. Dan and I had that Keith Richards/Brian Jones “ancient art of basket weaving” thing. Two guitars working together. It just gave things more beef, more thickness.

    Bear: You were in Gravatar before Bogue. Very different sound. Did you carry anything over?

    Mike Walker: I don’t write music thinking, “Today I make this style.” In Gravatar, we loved free jazz and the Melvins — and it shows. I still love both. With Danny, we naturally leaned more toward Booker T. and the MGs meets Jesus Lizard. No conscious style shift — just different chemistry.

    I played the same guitar, amp, and pedals in both bands. Just different results.

    The Detroit Scene

    Bear: What was the Detroit scene like at that point?

    Mike Walker: Huge city, huge music town. Even with millions of people, you end up seeing the same 150 folks at shows. There were overlapping circles — garage rock, noise, punk, metal — all at the same bars. Gold Dollar wasn’t just garage or noise, it was everything.

    When people talk about that era now, they name White Stripes, Electric Six, Von Bondies, Dirtbombs. We played with all of them. The Henchmen, Rocket 455 — everybody was influencing everybody. No one was copying, but we all had the same Kinks records and Zeppelin albums. Same roots, different flowers.

    Bear: There was definitely a kind of abrasiveness to Bogue’s sound that set you apart from other Detroit acts of the time — You all had the same Kinks records, but it seems that you wore the more obscure deeper experimentation of those bands on your sleeve in comparison to bands that are now looked at, maybe, as more radio friendly from Detroit in that era. What’s your take on that?

    Mike Walker: True. Nobody thought they’d get rich doing this. If you wanted that, you left Detroit. It wasn’t until Jack and Meg [White] were on Conan that anyone thought, “Maybe this could work.”

    Bear: What was a Bogue show like?

    Mike Walker: Sweaty. Fast-paced. No rambling between songs. Just run it and keep people moving.

    Bear: The crowd?

    Mike Walker: Good vibes. No mosh pits. At a friend’s wedding on Belle Isle, someone from the Yacht Club said it looked like an Austin Powers-themed event — not because of any actual costume theme, just the wild mix of vintage clothes and garage rock flair people showed up in. That was our scene. Total Nuggets-comp energy.

    Recording the Album

    Bear: The record was done at Ghetto Recorders, right? What were the sessions like? Chaotic? Focused?

    Mike Walker: Yeah, Jim Diamond’s place. Old chicken processing plant behind the Fisher Theatre. Cinder block building. Jim knew what he was doing. He had some leftover tape and a day so he said, “Let’s make a demo.”

    We were tight as hell, practiced constantly. Tracked 14 songs, mixed vocals — all in a day. We thought it was just a demo to shop to labels.

    Bear: So chaotic focus?

    Mike Walker: Exactly. Lots of cocaine and alcohol. But we knew how to operate.

    Loss & Perspective

    Bear: Sadly, working in and around music death is just a part of it. Dan and Matt are both gone. How did that shape how you look back?

    Mike Walker: I’ve lost a lot of people. Dan’s death — suicide — hit me, but I don’t think I processed it until years later. Matt died a couple years after that. Heart attack behind his drums.

    I buried it. Buried myself. More booze, more coke. When I got sober a few years ago, my uncle randomly found the Bogue demo. I hadn’t heard it in 15 years. I cried.

    Those guys were my best friends. No one else on Earth really shares that history with me.

    I thought: maybe someone out there remembers and cares. I reached out to friends in Electric Six, Rocket 455, others — they all said, “Let’s get it out.”

    So yeah, this release? It’s closure. I need it out in the world to move forward.

    Chaputa! Records and the Vinyl Release

    Bear: The original vinyl plans fell apart. How did Chaputa get involved?

    Mike Walker: First label screwed me. Lied. Lawyered up. Picked up the pieces with help from friends. I reached out to every label I could remember — then found Chaputa in Portugal.

    I emailed the demo. Escar, who runs it, responded within an hour: “Let’s do this.” It was 4 a.m. over there.

    He’s been amazing. Transparent, honest, helped with U.S. distro. Their catalog is full of weird fuzz bands, Scandinavian stuff, and all with beautiful packaging. Total care and craftsmanship.

    Vinyl, Streaming, and Distribution

    Bear: Is it a remaster or something else?

    Mike Walker: Just a straight remaster. Jim pulled the tapes. No overdubs, no touch-ups. Just cleaned it up. When he sent it back, I could hear things I hadn’t noticed before. Mastering is black magic.

    Bear: Is that the end of the musical story?

    Mike Walker: Yep. Maybe some live tapes out there, but I don’t have them. That’s it.

    Bear: Where can people get it?

    Mike Walker: Bandcamp U.S. distro is Get Hip Recordings. Chaputa Records. Locally: The Emporium, Jim’s Music, Yooptone Music and this weekend at the Ore Dock [Brewing Company]. Geoff & Jon’s Record Show all weekend long — they’ll have copies.

    Bear: Appreciate your time, man.

    Mike Walker: Absolutely. Thanks for digging into this with me.

  • Strong Drinks, Heavy Hearts & Queer Country: The Bootstrap Boys Hit Marquette

    As Marquette rolls into Pride Month, it’s only fitting that The Bootstrap Boys are rolling into town with their outlaw brand of Queer Country grit and soul. Kicking off June with a heavy dose of heart, harmony, and honky-tonk, the band brings their Heavy Hearts Honky-Tonk Tour to the Ore Dock Brewing Company just as the country starts flying its rainbow flags.

    Bear caught up with them for a quick e-mail Q&A ahead of the show to talk grief, grit, road life, and the stories behind the songs:

    Bear: The Heavy Hearts Honky-Tonk Tour — that name hits with some weight. I know you lost someone close last year… has the tour been a way of carrying that memory forward?

    Jake Stilton: We have been no strangers to grief and great loss in this band, but this was one of our own founding members, and it hit real hard. We go on because there is no other option that honors his memory or the years of hard work and dedication that we, as individuals and a group, have poured into this project. Yes, it is with very heavy hearts, but we do go on.

    Bear: You’ve always blended tradition with grit — where would you place The Bootstrap Boys on the country music map? Closer to Cash, or just way out in the woods on your own?

    Jake: Out in the woods on our own is how it feels, but I honestly don’t know if that sentiment translates to the gen pop or not. Johnny Cash is definitely still spinnin’ on the record player.

    Bear: Songs like Poverty Line and ’57 Chevy paint vivid pictures. Can you share the story or inspiration behind one of those — or a newer one?

    Jake: ’57 Chevy tells the story of my father buying a car from a guy — before he shipped off to Vietnam — that didn’t think he would be returning. He bought it for $10 and then took it out in a field and rolled it, just for kicks. That’s the story as I remembered it when I wrote the song, anyhow.

    Poverty Line is semi-autobiographical and the first song I wrote for this project, back somewhere in a blurry 2012–14 range of time.

    Bear: You’ve hit a lot of rural spots across Michigan. How does playing in places like Marquette or Grayling compare to more metro crowds in other states?

    Jake. We find the weirdos wherever we go. It’s like some invisible bat signal or something goes up, and the people that are tuned into that frequency just show up. It’s like, “Oh, you don’t fit in? Come say hi!” Or, “Oh, your friend group thinks you’re strange? Well, we think they’re strange! Get over here!”

    The main difference is more about the time you get to spend with a smaller town’s more intimate crowd, versus sometimes being rushed with a larger metro crowd at a venue that’s ready for the next act as soon as you’re finished.

    Bear: Touring can be both exciting and exhausting. How do you keep the energy up and the camaraderie strong on the road — or do you just fight it out in the van and hug it out later?

    Jake: We have become adept at blowing off a little steam and then getting over it immediately. At this juncture, we mostly know what buttons not to push. I love a good view when traveling, and the drummer loves a good nap. Lil Mama likes to curate songs, and the bass player likes to game with headphones on. We give each other as much space as five adults rambling around in a 30-year-old RV can give each other, I would think. We also have a healthy inside joke catalog to draw from, and humor helps everything.

    Bear: For someone hearing you for the first time at Ore Dock, what’s the one song they have to catch — and what does it say about The Bootstrap Boys?

    Jake: Apropos to the tour name, Strong Drinks for Heavy Hearts is a song that’s resonating a lot with me right now. I suppose that’s saying we like to drown our sorrows. Inasmuch — come out and cheers us! Don’t make us drink alone. We’ll do it, but we’d prefer to cheers y’all back.

  • Make-Believe Spurs: Swamps, Songs, and Sparkle

    Make-Believe Spurs: Swamps, Songs, and Sparkle

    Bear | Marquette Music Scene

    If you’ve spent any time near live music in the Upper Peninsula over the last few years, chances are you’ve found yourself in front of The Make-Believe Spurs.

    This Marquette County-based trio has made their mark the old-fashioned way—through relentless gigging, heartfelt songs, and a whole lot of sparkle. Bars, houses, festivals, street corners, you name it—they’ve probably played it. And we’re lucky for that, because these three are the real deal.

    Their debut album A Thing With Feathers drops June 11, and I couldn’t be more excited to see it shared with the world. Last week, I got to hang out with them at my office for an afternoon—talking music, regional roots, a bit of activism, and the delightful weirdness of life as a hard-touring band in this wild corner of rural America.

    The Beginning

    Bear: Let’s start at the beginning—how did you all end up coming together as a band? I saw it sort of unfolding online, but what’s the official story?

    Brian Wallen: It’s a fun story.

    Molly Wallen: (To Brian) You’re already smiling.

    Brian: Molly and I are married—we’ve been playing music together since 2017 as a duo. We moved to the U.P. about three and a half years ago. One of our good friends, Mavis, kept telling us about each other. She’d say, “I think you guys would really hit it off.” We’d see each other at parties or around town, and I’d always tell her, “Anytime you want to sit in or jam, let me know.” She always said, “Okay, I’ll think about it.” That went on for about a year and a half.

    Then one night she came to one of our gigs. I gave her the same invite, and this time she just said, “I’ll start tomorrow.” She showed up at the next gig—and we’ve been a band ever since.

    Molly: And the wild part? We’d never actually heard her play before.

    Mavis Farr: That’s what made it fun. Total leap.

    Bear: That’s awesome. I’ve seen it happen before—my uncle (MMS HOFer George Bengtson) joined a band the same way. He just pulled up a piano at a bar one night, started playing, and they (MMS HOFer Kurt Gronvall) couldn’t shake him after that. Still the best piano player I’ve ever seen.

    What’s in a Name?

    Bear: So, the name—Make-Believe Spurs. There’s something pointed but playful about it. What’s the story behind that?

    Mavis: I wrote a novel called Make-Believe Spurs during NaNoWriMo. We’d been texting back and forth trying to come up with a band name—two weeks of ridiculous ideas. Then I remembered that one. I’d basically been sitting on a band name for 16 years without realizing it.

    Bear: Honestly, I expected something deeper—but that still tracks. The name hits a certain tone, especially with, y’know, the atmosphere out there right now.

    Brian: Funny you say that. You’re the second person this week to ask if it’s a Trump reference—like, “Make-Believe Spurs,” a twist on “Make America Great Again.” Totally unintentional, but I kind of love that it can be read that way.

    Bear: Well, I wasn’t actually quite thinking of the “bone spurs,” but that is pretty hilarious.

    Sounds and Sparkle

    Bear: Now, genre-wise—I know labels are imperfect, but I do think they help create a kind of universal language to describe sound. So for someone just discovering you, how would you describe your sound?

    Molly: Our business cards say “sparkly alt-folk.” But that only kinda scratches the surface.

    Brian: Yeah, we say “alt-folk” mostly because we’re not strictly a traditional folk band. We’re not country, not bluegrass. We’ve got elements of all that, but we don’t want to fully commit to any one lane.

    Mavis: Yeah, it’s more like…

    Molly: We just want people to have fun. We pick songs that let you escape for a little while. And we’re always sparkly.

    Bear: You’re definitely sparkly sitting here. You try, and it works.

    Swamps, Birds, and Feathers

    Bear: Alright, let’s talk influences. Not just bands—but songs, scenes, maybe even non-musical stuff. What’s shaping the way you write and perform?

    Brian: Swamps.

    Mavis: And birds.

    Brian: Swamps and birds, for sure. We all love nature. Mavis has been deep into birding and swamp-walking for a long time, and she pulled us into that world too.

    Molly: Or “Here’s every bird I saw on my drive today.”

    Bear: That sounds a lot like my messages with my partner lately.

    Have you seen the wolf-corgis?

    Molly: What?

    Bear: They’re these wolf-looking dogs, but they’re corgis. I just saw a picture today. Little corgi butts, big wolf faces. It’s ridiculous.

    Brian: We love dogs, and drifting around looking at dogs. It’s a whole vibe.

    On Hope and the Album

    “People are struggling to find hope right now… and birds don’t give a f***. That’s inspiring.” —Brian

    Bear: Since we’re already talking birds—does that tie into your album title, A Thing With Feathers?

    Brian: Absolutely. It’s a double reference—to birds, obviously, but also to the Emily Dickinson poem. People are struggling to find hope right now, and birds… well, they just don’t give a f*ck. That’s inspiring.

    Molly: That’s what we’re working toward. Just… being in nature, staying light, letting it fly.

    Bear: I could use a little more of that in my life. I like to tell myself I have more of it than I do.

    Road-Tested Tracks

    Bear: The album really caught me off guard, in the best way. It kind of blew me away. If the right person hears it, they’re going to wonder why this isn’t on New West or something. You all are out there working your asses off, and it shows….

    Molly: We have. We really have.

    Bear: That’s why I think there’s a real shot here. You’re not tied down by businesses or brick-and-mortar career obligations. A lot of people I know with great records aren’t in a position to run with it, but you just might be.

    So, are you playing most of these songs live now?

    Brian: Yeah, most of them.

    Bear: Has anything surprised you once you started playing them out? Maybe a song that came together unexpectedly, or one the audience latched onto in a way you didn’t expect?

    Molly: I’m trying to think—we usually play our songs live for a while before recording, so they really settle. But it has been a minute since some of them were written.

    Brian: One that stands out is our first single, “Crow.” I literally wrote that while walking around our neighborhood in Ishpeming… He said, “What if you gave it some drive? Make it more Black Crowes.” That changed the whole energy of the song.

    Mavis: That “crow energy.”

    Brian: Exactly. First time we played it live, people really responded. And that’s when I knew—okay, this one’s a keeper. It ended up being our first single.

    Roots and Reach

    Bear: Your lyrics are pretty rooted in the region. Do you ever worry that might limit your reach? Or do you think people outside the U.P. will connect with it the same way folks connect with music from-about Appalachia or the Delta?

    Molly: I actually think that kind of specificity makes it more powerful. People up here are used to feeling overlooked. Having music that speaks directly to this place matters—and we have people all over the country who’ve followed us and really connected with that.

    “These songs are like chapters in a bigger book.” —Brian

    Brian: I just write what I see around me. That’s how I’ve always written—whether it’s the Southwest, Indiana, or the U.P. I guess I’d call myself an observational songwriter. These songs are like chapters in a bigger book.

    Molly: It’s kind of autobiographical, in that way.

    Activism and Identity

    Bear: So switching gears a bit—you’ve been visibly involved in some anti-fascist organizing around here. How does that activism blend into your music? Are the two always connected?

    Brian: At first, I thought they were separate. But it didn’t take long to realize they aren’t. I started writing songs that were more directly political, and when you’re standing in front of a crowd at a protest with TV6 filming, you’re going to be associated with that. We had a talk about it as a band, like—are we okay with that? And it took about five seconds to say yes. Because it’s the right thing.

    Molly: There was a little hesitation at first, because we were worried about losing gigs.

    Brian: Yeah, but the reality is—we still have to pay the bills. We were worried, but we haven’t lost much. We’re not out there preaching every night. We’re just being us.

    Molly: And we’re pretty good at reading the room. We want people to have a good time.

    Brian: Right. We play the songs that feel right, and people take from them what they want.

    Community Rising

    Bear: Have you noticed other local acts starting to get more outspoken lately?

    Brian: Yeah, actually. There was an event at Ore Dock Brewing Company recently—kind of a soft protest with the theme “music by the people, for the people.” The Knockabouts, Union Suits, Cold Spring… great lineup.

    Molly: We had a solid crowd. Everyone was supportive.

    Mavis: I’ve done tons of shows like that, and this was the first time I’ve ever seen every band stick around to watch the others. Nobody bailed. That felt special.

    Bear: That’s the heart of it.

    Freeform Flow

    Bear: You hate setlists, huh?

    Mavis: We hate setlists. The adventure of not knowing what we’re going to play is half the fun.

    Brian: Sometimes I’ll launch into something brand new without warning. Mavis just rolls with it. Molly scrambles for lyrics.

    Molly: He’s a creative handful.

    Mavis: We treat it a little like the Dead—never the same twice.

    The Chaos Chronicles

    Bear: Alright—fun question time. If your band had a spirit animal?

    Brian: Crow.

    Molly: Crows. Or maybe two wolves and a bunch of crows.

    Mavis: Or an alpaca in a crow hat.

    Molly: …or yeah, we can’t decide.

    Bear: So all of them?

    Molly: Yeah

    Bear: I can accept that. What are you listening to right now that would surprise your fans?

    Molly: I’ve been listening to Taylor Swift’s new album. Again.

    Brian: That might surprise some people.

    Mavis: SZA and All the Yes records up through 1981.

    Brian: Also SZA. And a lot of Springsteen lately.

    Bear: I don’t really believe in “guilty pleasures” myself: I mean I like black metal and No Doubt.

    Bear: Touring rural America always brings out some chaos—got any best, worst, or weirdest gig stories?

    Brian: Oh yeah. There was the guy who randomly started chanting “Trump!” at a show. Totally unprompted. We were about to play a Dolly Parton song, and I was just talking about how much I admire her. Out of nowhere, he yells that the only place Dolly belongs is in the kitchen or my bed—and then just starts yelling “Trump!”

    Molly: He kept trying to get me to drink so I’d dance more. Definitely one of the worst.

    Mavis: That was one of the few shows where I was like, “Molly, I’m not leaving your side tonight.”

    Brian: Then there was the haunted band shell in Manistique. Dead bird inside. Windy as hell. When we got home, Mavis’ daughter’s bed was literally on fire. And her mom almost got blown off the porch by the wind.

    Molly: It was chaos. That was the night our car blew up right there too.

    Brian: Oh yeah, we had to drive Mavis’ car home.

    Mavis: Yep, that was a wild night…

    Brian: But the best nights? Playing outside at Blackrocks in the summer. People dancing, weather’s perfect—it just clicks.

    Bear: That’s the dream.

    Molly: Except for the noise ordinance kicking in at 9 p.m. and everyone yelling at us to keep going.

    Bear: Classic.

    Start Listening

    • Whippoorwill – three-part harmony (Jason Molina cover)
    • Crow – swamp rock with energy
    • Lady Superior – part of the rock set
    • Late September Dreaming – a slow burner

    Find The Make-Believe Spurs

    themakebelievespurs.com
    Instagram & Facebook: @themakebelievespurs
    Streaming on: Spotify, Apple Music, etc.

    Bear: Perfect. I think that’s a wrap. Thanks for the stories—and the sparkly vibes.

  • Live Music & Laser Shows!

    Some of the laser capabilities at Shiras Planetarium in Marquette. Not Quite Canada will be featured LIVE October 26 at 8 pm!

    Yesterday I got an urgent (frantic?) message from the director of the Shiras Planetarium, Becky LeBrecque. She and I are friends, and we’ve talked a bit about Marquette Music Scene eventually collaborating with the planetarium on their spectacular laser light shows. If you haven’t been out to one of these yet, you are DEFINITELY missing out.  Anyhow, this message yesterday was about progressing from using recorded music for the laser shows to doing it with a live band: local/regional eclectic rockers Not Quite Canada. Now, as I said, we’ve discussed this in the past so I wasn’t too shocked that it was about to happen, so why was this message so “urgent”? This “first of a lifetime” opportunity is happening THIS SATURDAY!

    Fortunately, with the gig occurring on such short notice I was able to catch up with both Becky and Josh Dallas Carlson of Not Quite Canada.

    Hey guys! Thanks for doing this on such short notice. Let’s just get into the meat of what’s happening here. This is pretty short notice for a show like this, especially something this groundbreaking. How did this show come about?

    Josh: We were supposed to play the Boot Lake Music Festival this coming weekend which was unfortunately canceled. Many of us in Not Quite Canada are full time musicians and a canceled gig is like a missed paycheck. Sometimes in these scenarios we have to act fast to make sure we aren’t going to be coming up short that month, and we had been talking with Becky in the past about doing a live show with a visual mash-up. As deeply saddening as the cancellation of the Boot Lake ‘fest was I took it as a sign that we should turn this dream into a reality.

    Becky: Yep. As Josh said we had been talking about it in the past, and when he reached out after their gig was canceled it just seemed like too good of an opportunity to pass up. We pretty much jump at any good opportunity to make headway on our fundraising goals, and we’ve come to an agreement where the planetarium is guaranteed to come out ahead Saturday (The goal is $500k to replace the projection system that went down in 2014, over $100k has been raised so far).

    Yeah, the U.P. music scene can be very fickle these days when it comes to festivals and national level entertainment, but it seems like you guys (Not Quite Canada) are definitely making the best of it AND helping out an amazing organization/venue at the same time.

    Now, Josh, Not Quite Canada is already a pretty eclectic group. How do you feel playing in this environment is going to add to your show?

    Josh: We already play a style of rock and roll that is unique in itself, but this collaboration will create a visually stimulating environment that would take the listener on a journey with every song. With only 55 seats in the dome, this is a very intimate show, but we wouldn’t want it any other way. I expect it to feel somewhat like a spaceship and its crew talking off on a psychedelic, Halloween themed, music adventure through space and time.

    …and it’s not just going to be Not Quite Canada on Saturday?

    Josh: That’s right, and I couldn’t be more excited about this. This is going to be a collaborative effort with Shiras Planetarium, Not Quite Canada, Hyroglyfic Collective and GrooveMQT. Between us we have all key pieces and players to put on not only a show but truly a piece of art that is new and fresh and something Marquette has not seen yet.

    So in other circumstances we could consider this a “once in a lifetime” opportunity, but since we’re hoping this is just the start of something really cool, we’ll call it, as I did earlier in the interview, a “first of a lifetime” opportunity.

    Josh & Becky: (Laughing) Yeah.

    Alright, lets talk a little about the production side of this spectacle. Becky, what has it been like preparing for this show, especially on such short notice. Is this like an all-hands on deck moment where everybody who is capable of working the system needs to be there because you’re trying to be creative in the moment? Or have you had a little time to try to flesh it out with the band and get some pre-programmed effects?

    Becky: Well, we’ve never done this before, but we have our new Kvant laser system and Pangolin Beyond software so we are prepping a little this week, using songs from NQC’s website, and we expect to do a lot live. My laser tech Jacob Phillips and I have been doing our best to build some pre-programmed effects, but the majority of the production will happen live. We don’t have a setlist or anything so it’s definitely not going to be as choreographed as our traditional music shows.  There will definitely be a lot of experimenting. In our eyes, the focus will still be on Not Quite Canada, but…

    …lasers!

    As a production cat myself I imagine it will be fascinating to watch from both a technical perspective and as a fan enjoying the show.

    Finally, Becky, obviously, we’re going to be anxiously watching to see how this turns out, but at this point what do you think this show means for the future of the Shiras Planetarium?

    Becky: Well, for MAPS and the planetarium, we are ready to explore new avenues for student experiences and public offerings. Eventually we will have student designed laser shows. For now, Jacob and I are still learning the software and system.

    Is there anything else either of you would like to get out there?

    Josh: With only 55 seats available we highly recommend buying one pre-sale as soon as possible. A portion of the ticket sales goes back into the planetarium, which we have a deep respect and love for, and love everything they do for our amazing community.

    We are going to blow some minds in that dome though. It’s gonna be a blast!

    Becky: As you said this is going to be a “First of a lifetime” opportunity, and from what I’m hearing from the bands, and seeing what Jacob and I are putting together you aren’t going to want to miss this one. It’s probably going to sell out so get your ticket NOW!

    Thanks so much for your time. This is really cool. I wish you the best for sales, and am looking forward to watching the planetarium grow in both the unique educational and entertainment opportunities we’re so blessed to have available to us in our rural locale.

    Tickets for this VERY LIMITED event are $18, and available HERE. This really sounds like something you DO NOT WANT TO MISS!!!

    Not Quite Canada – Blast Off (Official Video)