Naama Kates has had better shows. It wasn’t anything that
any one person did. The music sounded fine, and the atmosphere was perfect. For
one reason or another, the whole thing just didn’t click on Friday night. Judging
by Naama’s expression at the end of the set, it was clear that she felt the
same way.
Room
5 in West Hollywood was bustling as Kates and her band rushed to set up their
equipment, late for their set from the outright. Perhaps the venue was too bustling,
because by the time Kates made it to the opening lines of her first single, “King for a Day,” hardly anyone was listening to the music.
There
was no break between the pre-show, setup calamities, and the actual set. The
band should have vacated the stage, or maybe Kates should have addressed the
crowd with more command.
Regardless of how it could have been better handled, the music started
in competition with the conversational roar of every other person in that
venue. Kates’ opener was lost amidst the rumble of voices, and the first half
of the set sort of careened from there.
The
drummer left for a song, right after the opener. It was a huge showstopper and
left Kates struggling to find a way to fill time. For him, it was a pretty
unprofessional move, not to mention the fact that he left the rest of his group
just hanging there. Things eventually picked up when he finally made it back to
his set, but the increase in energy had nothing to do with him.
Kates’
set picked up energy as she approached her last four or so songs, because she
started to find her own rhythm. As the set went on, the crowd quieted down, and
Kates could actually hear herself. It also helps that the majority of her more
melodic songs are budgeted at the end of her set list.
These
are the songs that she should be boasting, especially as she is getting on her
feet as a vocalist. Songs like her single, “King for a Day,” are complex, jazzy
tracks with an emphasis on staccato and a very narrow appeal. Her more
melodious tracks are the actual ear catchers, and they have a much more
universal appeal to listeners. Perhaps she could plan for those to be right out of the
gate next time.
Naama Kates is just getting her legs
underneath her, and the next few years of her career are not doubt going to be
exciting to watch. She has all the makings of an act that will truly stand out.
There is just a little bit of work that needs to be done before it can all be adequately communicated on stage. In time she’ll find her voice, her drummer
will learn to stick behind his kit, and her live shows will be much, much
better.
Last night in Hollywood, W Hotels hosted the next installment of its ongoing music series, Symmetry Live, at Drai’s Private Lounge (the hotel's posh and exclusive venue) to kick off IMS Engage, a one-day event to engage the electronic music world with the wider industries of technology, finance, hip-hop and the arts.
The night crackled with energy as UK singer Foxes (pictured, right) took to the stage with a soulful acoustic performance and revelers closed out the night as the DJs spun for partygoers.
The night was hosted by W Hotels’ Global Music Director Michaelangelo L’Acqua at W Hollywood.
Notable appearances of the night included Jessica Lowndes and Michael Steger from 90210 (below).
If you think bingo is for old ladies in church halls with tacky sweatsuits and even tackier nails, then you obviously haven't played the game in West Hollywood.
Hamburger Mary's, the place for a good burger and a killer martini, will be the place to be this week as Legendary Bingo (a.k.a. Drag Queen Bingo) celebrates its 15th Anniversary with a bevy of stars from shows like Suburgatory, Smash, and Golden Boy calling out numbers for a festive crowd of players. The three-night celebration continues tonight, and table reservations will be going as fast as the masacara running down a crying queen.
Founder Jeffrey Bowman (pictured above, center) will be on hand, emceeing the night, interacting with some of L.A.'s most famous drag performers, and making sure everyone is having a grand old time.
Join us, won't you? 8288 Santa Monica Boulevard in the 90046.
Wanna feel what it's like to be a terrorized character in a Friday the 13th flick? Then listen up...
Horror fans are about to get one big, bloody, and interactive treat this summer when the producers of the Los Angeles Haunted Hayride put on an overnight experience that is guaranteed to scare the living crap out of guests: Great Horror Campout.
Located in the Los Angeles Historic State Park near Dodger Stadium, ticketholders will be given one-night accomodations (8pm - 8am) inside 4-person tents, watch horror movies by the campfire, enjoy a buffet-style dinner, and -- oh yeah -- be stalked by axe-wielding maniacs and other unspeakable horrors in the dark. "This isn't your 9-year-old son or daughters' camp," they promise. In fact, this intense event is for those 18 and over.
Also included in the package is a "Hell Hunt," during which campers will race against time to find certain objects to "survive" the night (the winner receives a golden ticket to the 2013 Haunted Hayride).
Tickets have yet to go on sale, but the website is showing a price of $149 with an option to attend either the night of June 7 or June 8.
In an era where cynicism and criticism rules all, it is a rarity when someone overtly gushes over something like a second grader with a crush. You are considered cooler and more intelligent if you dissect everything down to its core to find the existence of any kind of flaw. Consider this is the exception.
I was lucky enough to attend opening night of For The Record: Scorsese The Concert at the newly renovated Rockwell Table & Stagein Los Feliz. To say I was excited about the show beforehand is a bit of an understatement. I've always revered Martin Scorsese as my all time favorite filmmaker. His films show an understanding of the darker side of the world. He does so with masterful camera work, drawing phenomenal performances, unique editing techniques, and inspired soundtracks. Scorsese's choices of music in his films are so expertly placed that your mind immediately transports you to a scene when you hear certain songs. Ok. Enough of my bromance with Scorsese. It's time to talk about the show.
I was definitely skeptical going into this show. I had no idea what to expect. Would they butcher my memories and love for Scorsese's films and soundtracks? The answer to that question was an unequivocal no. Scorsese: The Concert was the most entertaining night I have spent in the city of Los Angeles since I moved out here five years ago. The show opens with Anderson Davis (also the show's director) on stage playing Bill the Butcher from Gangs of New York. It is not long before the cast of characters fill the stage and the band begins jamming out to Shipping Up to Boston by the Dropkick Murphys. Davis does a masterful job crafting the show and balancing the musical numbers with sprinkling in iconic scenes and dialogue. The pacing of the show is exquisite with the Act One focusing mostly on Goodfellas, The Departed, Raging Bull, Taxi Driver, and Mean Streets. Act Two predominantly features songs from Casino and The Aviator as well as The Color of Moneyand Cape Fear to a lesser extent. Be prepared for a rendition of Michael Jackson's Bad in there as well that tears the roof off the joint.
The cast is nothing short of superb. (Can you tell I am running out of synonyms to describe how fantastic this show is?) The show features a number of scene stealers. Von Smith portrays the roles that Leonardo DiCaprio made famous. Von Smith was a contestant on the eighth season of American Idol and most recently opened for Lady Gaga in Australia. His rendition of "House of the Rising Sun" forces you to not just listen to the music but rather feel it. You surrender yourself and feel every note in a spiritual way.
Lindsey Gort gracefully performs one of the show's most obscure songs from one of Scorsese's most obscure films: "Rainbow Sleeves" from The King of Comedy. The song is a beautiful ballad that is rare to find in the violent world of Scorsese, and Gort beautifully delivers. The performance is the most revealing and emotional of the entire show. For a few moments, we escape the male dominated world of organized crime (as fun as it is) and all eyes focus on this gorgeous blonde woman singing her heart out. Gort shows great restraint in her vocals and conveys an honest fragility and pain that makes us feel like we are alone with her as she pours her heart out. It will bring tears to your eyes.
Next on the list of scene stealers is Danielle Monet Truitt who appears onstage in full Bob Dylan wardrobe singing "Like A Rolling Stone."Enough credit cannot be given to Shane Scheel, Christopher Lloyd Bratten, and Anderson Davis for the musical arrangement of this number. The song showcases Truitt's strengths while still giving respect to the original song. Truitt 's soulful sound delivers a rendition of Bob Dylan's classic that is one of a kind.
Speaking of one of a kind, Jason Paige takes on the roles of Joe Pesci and delivers some of the most entertaining numbers in the show. You may not know Jason Paige, but you definitely know his work. Remember the catchiest cartoon theme song of all time? The theme song from Pokemon. Yeah, that's his voice. In Scorsese: The Concert Paige delivers some of the most guttural songs such as "Layla, Well Well Well,"and "Bad." Paige is a joy every time he's onstage. He may not have the same amount of stage time as others, but he is one of the most memorable aspects of the show. The sound of his voice is incredibly unique and his performance is incredibly intense right down to his eyes as he stares down the audience. He is exemplary in every way.
Have I sold you yet? I have never seen a show in Los Angeles that deserves a money-back guarantee more than Scorsese The Concert. What's the best part? The best part is seeing this amazing show while sitting at a table sipping on your cocktail (Jameson on the rocks if you are like me) and being able to order appetizers, dinner, or dessert off the Rockwell's menu by Executive Chef Martin Gonzalez.
Still not sold? Luckily, many of the performances I saw have been uploaded to YouTube for promotional purposes. Check them out, but I promise you that they do not do the show justice.
Ticket prices range from $20-$40. So for the price of seeing a show at the Pantages Theatre, you can go to the Rockwell Table & Stage and experience drinks, dinner, a show, and the time of your life. For the Record -- Scorsese The Concert is currently running Thursdays through Sundays. Buy your tickets at http://fortherecordlive.com/scorsese/ before it is too late!
Richard Greenberg's Tony Award-winning play, Take Me Out, opens in Burbank this weekend, and this latest production promises to deliver a performance unlike others L.A. audiences may have experienced in the past.
Directed by Katherine DePangher and Jay Triggs, the gripping and timely drama explores the camaraderie within a baseball team and the emotional repercussions of a single life-changing decision. Moving past the stereotypes of its star, Darren Lemming (played by Michael Hudson, below), and vilifying the
antagonist, Shane Mungitt (Josh Martin), the play also takes a deep look into the emotional complexities
behind each character and how they influence one another.
Tickets
for all performances are $15 at the door, but you can get yours online HERE or by calling 1-800-838-3006.
Synopsis: Darren Lemming is the star center fielder for the world champion New York Empires. He comes from a middle-class, bi-racial family but has never faced any sort of prejudice in his life. An extraordinary athlete, Darren's abilities and confident presence fill both fans and teammates alike with awe. However, when he makes the matter-of-fact announcement that he's gay, he throws his team into turmoil and confusion, ultimately resulting in tragedy.
Executive produced by Garrett Johnson and Matt Emert, Richard Greenberg's 2003 Tony Award-winning hit studies the varying dynamic between male sports players and offers some insight on America's favorite pastime and issues of masculinity, identity and friendship in the 21st century.
*Note: The play contains nudity, adult language, and adult themes.
The fandemonium has begun, and thanks to a few friends we have at the Staples Center in downtown L.A., we're offering you a glimpse of the craziness that's building up.
What will take home the big Moonman of the night? While you sit on that, let's take a trip back in time and school you in some VMA history:
Our very own Garytt Poirier is starring in a new musical-comedy (ours is a talented lot here at HIH).
DISASTEROID! tells the tale of Alfred Edgley, a career tax auditor who's given a shot at some excitement when astronomers at the local observatory trick him into thinking the end of the world is rapidly approaching. Naturally, he runs off and travels the world with the wealthy philanthropist, Mabel Bellcoat, much to the chagrin of his boss. His co-worker, Petty, meanwhile, dreams only of finding a nice backyard. Featuring music and lyrics by the vivacious and charming one-man band, The Bicycats.
The show opened this past weekend, and if you have a pulse, you'll want to check it out before it closes on Sunday.
From the talented Mr. Poirier: "Opening night. It came ever so quickly. The nerves run through you like butterflies before a first date. It's good to have butterflies. The butterflies mean you care. It means you have a 50/50 cocktail of anxiety and excitement. Just two months ago, we were all strangers wondering if this script would eventually transform into an actual show that audiences would enjoy. The process can be arduous for the lead actors and sometimes tedious for the supporting players practicing in a white room with folding chairs lit by florescent lights, watching the same scenes being rehearsed time and time again. You practice songs with the musical director and an acoustic guitar. You attempt to follow the choreography for the first time while trying not to trip over your feet. You imagine what your prop or costume will look and feel like. You can flub your lines and laugh about it. It still isn't real. It's all fantasy.
Fantasy gets a swift kick into reality when tech week arrives. Finally it has come together. Eight weeks ago, we were not sure what would become of DISASTEROID! The Musical. With a snap of our fingers it's opening night and we have all contributed to a show that we're proud of. Strangers have become family, and this is our baby."
DISASTEROID! now runs through August 19 at The Underground in Holllywood.
He was the d-bag frat boy who mocked Rumer Willis in the Anna Faris comedy The House Bunny. He was the cute guy (and father of a future president) who hops onto a train to sit next to the girl of his dreams in that nifty, flashback-in-time AT&T commercial. And he's currently the star of one of Hulu's first original series, Battleground, the workplace dramedy that's changing the landscape of original web content. As we speak. Seriously.
He's Jay Hayden, a name you'll want to remember because, if his list of credits is any indication, the dude's recent wave of success is only going to get bigger.
Touted as The-Office-meets-The-Ides-of-March, Battleground centers on Tak Davis (Hayden), the manager of a senatorial campaign who has to balance his professional and personal life while overseeing a ragtag group of volunteers in their Wisconsin headquarters. Created by JD Walsh and executive-produced by Marc Webb (The Amazing Spider-Man, 500 Days of Summer), the show manages to woo both fans and non-fans of politics, each 22-minute episode capturing the chaos and last-minute decision-making that goes into backing a public official.
Taking advantage of a gorgeous Saturday morning in L.A., Hayden and I meet at Larchmont Bungalow to chat (we converse on Tom Hanks's most memorable roles), catch up (we have several friends in common - such is Hollywood), and drool over some red-and-blue velvet pancakes (just pretend they're low-cal). And as we shoot the shit and talk shop -- we both admit to crying during 50/50 -- I learn a few things about the actor and his multicultural upbringing (Dad's "a military guy," Mom's Korean).
After living in Los Angeles for nearly a decade, he fondly remembers his New England childhood: "My dad would pull me out of school early to go to a Red Sox or Celtics game...I grew up loving Boston." While taking a year off from the University of Vermont he worked every horrible job imaginable: "I did manual labor until I figured out what I wanted to do. I did construction, replaced chicken wire under buildings to keep skunks out, and I was a bagel maker." And now, happily assuming the role of husband and father to a 3-year-old, his perspectives have changed: "Whereas as an actor, you were like, 'Oh I can just live in a cardboard box and be happy.' And suddenly you're like, 'Now I have to pay for college...and private school.'"
He's hopeful that things will continue to pay off, and there's no doubt they will as his plate is fuller than the dish that has just been served to him (an omelette and fruit cup, if you're wondering). We both toy with the idea of indulging in one of the Bungalow's trademark desserts, but we resist temptation. Don't get him wrong; Jay does enjoy a cheat day every so often. But how does he manage to stay in tip-top, actor shape? He plays soccer: "I play in two different leagues...and I also have a weight trainer who kills me every day."
But back to that starring role...
HIH: Has working on Battleground made you more political? Do you tune into CNN and pretend you're a pundit now?
JH: If by "more political" you mean do I turn on Crossfire, stand in front of the TV, and start yelling non-sequiturs, then yes. Yes, much more political.
HIH: Did you have to load up the DVR with cable news and read the Constitution to prepare for your role or what?
JH: I watched a couple episodes of The West Wing and Spin City, and the entire first season of Game of Thrones to fully prepare for the role. Unfortunately they ended up cutting the scenes where I kill dudes with my broad sword.
HIH: How did you fall into acting? (loaded question, we know) Or did it fall into you?
JH: I was walking by the University of Vermont Theatre Department when I first arrived on campus my freshman year. There was a casting notice for a one-act play. I thought to myself: "I just want to see if I'm good enough to do something like this." I got the part. Been acting ever since.
HIH: Who would you thank in your Oscar acceptance speech?
JH: There's a lot of people on that list. But I'd definitely make sure to thank all the people that DIDN'T believe in me. All the people that told me I wouldn't make it, or wasn't good enough. Those people helped drive me even harder.
HIH: What''s the best piece of advice you've ever received?
JH: "It's hard enough knowing what the f**k you ACTUALLY wanna do in this life. If you're lucky enough to figure it out, don't you DARE let anyone tell you if you can succeed at it or not. You go f**king do it. And keep doing it because why the f**k do anything other than what you want to do? And when you're kicking ass later, they can kiss it." - Lee Hasey.
HIH: Who would you love/kill/backstab to work with?
JH: I'd love to work with JD Walsh. Again. On the second season of Battleground...I hope Hulu is reading this.
HIH: Word association time! What comes to mind when we say the following words...
Comedy-- JD Walsh L.A.-- Traffic Fear-- Audition Audition-- Fear Red Carpet -- NOT fun Emma Stone -- Yep. I would. Childhood -- Vermont Cocktails -- Are awesome and delicious. Justin Bieber -- He's the kid with the hair, right? Battleground -- It's a good show dammit!!!
HIH: Finally, what do YOU think is Hotter in Hollywood?
JH:The Hunger Games. The book was sick. Movie looks like it's gonna be sick. Totally sick…er…hot, I mean.
New episodes of Battleground premiere every Tuesday on Hulu. You can follow Jay on Twitter @jayhayden00. And be sure to catch him in the current issue of our affiliate, BELLO Mag (available in the App Newsstand!).
When a celebrity dies, especially those superstars who are recognized across the globe, the world stops for a moment. And when his or her death occurs under bizarre and mysterious circumstances, especially after years of public struggles and making questionable decisions, the world starts to analyze the crap out said famous person's life. Topics brought up by the media hounds are immediately discussed, tweeted, speculated, and debated in the days that follow. What could have been done to avoid this?...This was bound to happen...Let's remember her for her talent and not her troubles...Why do celebs think they live by a different set of rules and standards?...
This is NOT one of those nit-picking pieces.
Instead, what I'd like to focus on is a particular reaction fans (and anyone with an iTunes account) have as a result of a celebrity's (notably a popular singer's) demise.
When Michael Jackson passed away nearly three years ago, his stock in music went up, so to speak. His greatest hits collections sold out in stores. His name instantly soared to the top of the iTunes charts. Radio stations put him on heavy rotation. And clubs and bars blared his discography throughout the night (I had been in San Francisco at the time and couldn't escape "Thriller").
I am guilty of immediately hitting iTunes shortly after I heard the news about Whitney Houston (My where-were-you-when moment: I was at the gym attempting to burn off a pizza dinner and did a double take when I walked past a jogger's TV screen on his treadmill). I wanted to fill in any blanks I had in my music library. Shockingly, I didn't have her boffo single, "I Will Always Love You" (on sale for 69 cents) or "How Will I Know," taken from 1985 debut album.
When you get down to it, it's simply a matter of Don't Know What You Got Till It's Gone. When someone who has given us so much -- someone who has been associated with certain aspects of our childhoods or adolescences -- is suddenly ripped out of existence, we rush to collect all the things that remind us of who they were, what they meant to us. We resort to our younger selves, waxing nostalgic on times we now cherish in hindsight.
I'd like to think that I certainly knew what I had before it went away. Every once in a while I'd press play on "So Emotional" while huffing and puffing on the elliptical machine or add "I'm Your Baby Tonight" to a party playlist so that my friends could get their 1990 on. And thanks to the 13 Going 30 soundtrack, I had fallen in love with "I Wanna Dance With Somebody" in 2004 all over again. Whitney was always there, even up until the fall of 2009 when I was blaring "Million Dollar Bill" from her last album, I Look To you.
Now, listening to "Run To You," "I'm Every Woman," and "Queen of the Night" the morning after The News made me, like most of you, revisit snapshots from my pre-teen years. And with such reminiscing comes the realization of just how distant those memories have become and how damn old we've gotten. Inevitably, we're also briefly getting a glimpse of our own mortality - definitely a moment to stop and think.
And with that, I leave you this (a very telling moment comes in at the 2:10 mark):
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