Miss On-Scene is Back On-Scene (Part 2 of 4): Miss On-Scene hits the stage...and gets to sit at the fun table!

Hey beautiful people, I'm back again with the second installment of my "look at me, I'm back and better than ever!" blog.  And boy, am I better than ever.  So many wonderful things have happened, even since my last blog, posted almost two weeks ago.

I am happy to tell you that since my last blog about my job at Station Bar & Lounge and its weekly open mic night, Honolulu Weekly magazine released their 2012 Best of Honolulu issue and named Station "Best Place to Catch Promising Musicians at an Open Mic."  I couldn't be more proud.  You can read the nice little blurb the Weekly wrote about us here.

And now it's time for my second blog installment!

Part 2:  Miss On-Scene hits the stage...and gets to sit at the fun table!

As many of you may know, I am a bit of a part-time thespian.  In 2004 I was bitten by the acting bug when I took my first acting class at Leeward Community College and saw their mainstage production of Mary Zimmerman's Metamorphoses, directed by the beloved and much-missed Paul Cravath.  Since then I'd had the privilege of acting in several LCC productions, both on the mainstage and in the lab theatre, and last year finally broke through my LCC box and made my Hawaii Shakespeare Festival debut.  It was through the Hawaii theater community that I made friends with local director, actor and playwright, Troy M. Apostol.

Back in June I received an email from Troy with the subject line, "Hitting the Stage." The first paragraph of Troy's email went as follows:

Given your experience and enthusiasm towards theatre, blogging, and reviews, I would like to invite you to be a contributing writer for our new peer-to-peer theatre review site, Hitting The Stage. The site is slated to go live very soon, and we're looking for good, forthright writers and reviewers to express their mana'o about Hawaii's plays, theatres, and theatre community."

Needless to say, I was excited to come on board.  I have to admit I was a little intimidated at first; as Troy had also brought on such Hawaii theatre heavy-hitters as Stu Hirayama, Jason Taglianetti and Dusty Behner.  But even though my contributions to HTS.com have been minimal so far, it's an honor to be a part of something that our community has needed for decades now:  a peer-to-peer review site providing more than just one voice for theater in Hawaii.  That's about as much as I can say without going in to detail about what urged Troy and webmistress Kylie Coonse to start HTS.

Thanks to Troy and HTS, I had the honor of attending my first Po'okela Awards ceremony!  For those who don't know, the Po'okelas is an annual ceremony that the Hawaii State Theater Council holds to honor the best of the theater season.  Not quite on-par with the Na Hoku Hanohano Awards, but still a fun, glamourous and pseudo red-carpet event in my book.  Troy and I planned on bringing swag to the party, dressing up as a pimp-and-ho.  Now that's class!

Troy and myself, and former Poki winner Tafa'i Silipa at the Po'okelas.  Photo courtesy of Troy Apostol.

The ceremony took place at the Ko'olau Ballroom located on the beautiful Windward side of Oahu.  With banquet-style seating, themed centerpieces, and catered food and drinks, it felt a lot like high school prom.   Most of the attendees were dressed in evening gowns and suits, although Troy and I were not the only outlandishly-dressed ones there.  A few Poki veterans reassured me that I was indeed not dressed inappropriately, and that this ceremony seemed "tame" in comparison to previous years.  We are, after all, a bunch of crazy thespians!

The theme of this year's ceremony was "Stars' Night Out," and we sure felt like a bunch of stars that night.  I got to eat food, drink wine, schmooze it up with a bunch of people in the theater community, from old friends, to people I had only heard of and was honored to meet for the first time.  I did not personally win any Pokis that night, but Hawaii Shakespeare Festival did take home a few awards for Henry IV.2, my first non-LCC play.  One significant thing that made this year's Pokis different from all the ones before is that two more theater companies had just been adjudicated this year, Kumu Kahua Theatre and UH-Manoa's Kennedy theatre.  

Myself, Hawaii Shakespeare Festival director Tony Pisculli, and just a few of his awards.  Photo courtesy of Troy Apostol.

I jumped and screamed with joy as my friends and fellow actors' names were announced, including fellow LCC-born actress Elexis Draine, when she was honored for Best Lead Female in a Play for her breakthrough performance in Kumu Kahua's Saturday Night at the Pahala Theatre.  

I may not have taken home any plaques, but I did get to take home half a centerpiece, great memories, and this amazing lesson:  always try to sit at the fun table in the banquet hall of life.  Like prom and other similar events, it's not about whether you win an award, be it a Po'okela or the title of Prom Queen.  What matters is that you had a great time, saw all your friends, and it doesn't hurt to get a little belligerent and loud either.  Do you really want to be the cheerleader spending the entire night worrying about your hair and whether or not you'll win the crown, or would you rather be the guy who hired a high-class escort to be your date, spiked the punch, and left during the principal's boring speech to get high behind the gym?  I'd personally prefer the latter, but even if you don't go all the way, the point is just to have a great time with all your friends, laughing, eating, drinking, and cheering, and not caring about pomp and circumstance.  Always be at the fun table:  the table that laughs the loudest, looks the happiest, and gets everyone else to say, "I wanna be at that table."  And in my own world, the Hawaii theatre community IS the fun table, and  many thanks go out to Troy Apostol, Paul Cravath, Tony Pisculli, and everyone else that invited me to sit with them. :)

Links:
hittingthestage.com
HTS's complete list of 2012 Po'okela Honorees
Honolulu Pulse feature on the 2012 Po'okelas

Miss On-Scene is Back On-Scene! (Part 1 of 4)

I promise to start blogging more often...so that my posts are less like this.

I know it's been awhile, and hopefully you miss me!  Haha.  I think the funniest thing about blogging is the more you have to write about, the less time you have to write.  But before I get even busier, I thought I'd give you all a quick update on what's been going on with me, and of course, with the Hawaii scene! This blog will be coming to you in 4, hopefully not-too-spaced-apart installments, the first one about my new gig at Station Bar & Lounge, the second about my new (unpaid) gig as a writer for hittingthestage.com, the third about this awesome new show I'm rehearsing for, and the 4th to update you all on my ongoing adventure with Brandon Apeles, Sing the Body, the whole Alternative HI/Amakua Records ohana. :)

Part 1:  How a Guy Named Blane Gave Me the Best Job Ever

Back in May, my friend Blane Nishizawa, owner of Station Bar and Lounge (which was already my favorite local venue) brought me on board as a barback.  Opening up back in December 2011, Station has still been going strong as a live venue and night spot.   Having roots deep in the local rock scene (anyone remember Soundhouse?), Station has now its weekly event schedule to include everything from acoustic showcases, DJ nights, free karaoke and of course, rock shows with full lineups--there's something going on practically every night!

Besides sweeping floors, cleaning toilets and washing glasses, I've learned the basics of running sound, lighting, and event promotion...all things I've wanted and needed to learn for the longest time!  But the biggest learning experience for me at Station has been hosting our Monday Open Mic nights.  Station had previously been running weekly open mics long before I ever became employed there...because why not; the bar is fully equipped with a P.A. system great acoustics and usually an experienced sound tech.  When I first started working in May I asked Blane how the open mics were going.  Sadly, he said that they had recently discontinued it.  At the time, turnout was low and there was no one available or willing to host or run the event.  I expressed interest in bringing it back and a few weeks later, he asked me to host for the first time.  Basically, I had to do the job of a promoter, emcee and sound tech all at once, not to mention the possibility of playing a few songs myself as filler if the turnout was low.  Seemed scary at first, but I had the help of some experienced Station staff and regulars, and an unmeasureable amount of support.

The first couple of weeks were a little intimidating, with only a few performers each time.  But with the power of social media and old fashioned word-of mouth, it got better and better every week.  And even when the number of performers was low, the amount of talent and originality never was.  If you know anything about open mic nights, it's that it can often be hit-or-miss.  Well, in my book, it was never a miss.  Even with varying degrees of experience and talent, every single person that got on my stage was entertaining, talented, and captiviating.  Not once have I had any bad performers on stage.  Not once have I had that awkward task of tactfully having to kick anyone offstage because they were crazy or just plain sucked.  Thank god!

Perhaps my best Open Mic night so far was just two Mondays ago, on July 30th.  I actually thought that particular night would bomb.  At the time I had no access to a computer or the internet, not even a smartphone, and social media is pretty essential to my job.  I confirmed with Blane that I could still do my job as a host, but that I could not do much to promote.  I did, however, text everyone I could using my archaic flip phone that I had at the time.  Among the people I texted was my friend, the multitalented actor, singer/songwriter and comedian Harold Wong.

"Open Mic tonight at Station.  If can,"  was the text I sent him.

"Just made an FB post," he texted back instantaneously.

My spirits were instantly lifted and I knew it was going to be a good night, if for nothing else, because I knew at least one exceptionally talented performer would be there.

That night, for the first time in my month-and-a-half or so of hosting Open Mic, we had our first performer come in and sign up before 8pm!  A gentleman on vacation from New Jersey with his lady friend from South Korea, who had walked in on our acoustic showcase the week before, thinking it was an open mic night.  We told him to come back on Monday, and I was pleased that he actually did.  He kicked the night off with some soulful Al Green and Bill Withers covers, and equally soulful originals.  During downtime I talked to him and his lady, got to know them a little and shared a few stories or my own.  They were absolutely pleased with everything about their vacation, the bar, and Station's unique version of Hawaii hospitality.

Besides my new friends, we also had another walk-in performer, two of our Open Mic regulars (Jay Wolf and Isaac Waters,) and of course Harold.  And if that didn't make me happy enough, a bunch of my friends from college theatre came to show their support.  Many songs were sung and many rounds were bought.  I haven't had a night that good or better yet, but all other nights have been pretty darn close.

(Backwards Shaka performing at Station Open Mic Night.  Photo by Malia Baloyot.)

What I love the most about running these open mics is being able to see local talent when it's still new, raw, and the artists are still starting out and hungry for exposure.  It is especially an honor to feel partly responsible when they do indeed become successful.  Sing the Body got their start at Ong King's open mic night, and Sweet Corn and Peanut (look out for them!) played just a couple of our open mic nights before we booked them for an actual gig.  My inner hipster will admit to beaming with pride when I say, "I saw them before they were cool."

Blane didn't just give me a job, he gave me the biggest opportunity of my life.  I feel with Station Bar & Lounge, Nishizawa has given Honolulu's artists the perfect venue and platform from which to move forward to bigger and better things...I just hope they all continue to come back!

Open Mic nights held at Station Bar & Lounge every Monday night.  Happy hour from 6-8, Open Mic portion of the night starts at 8, with signups starting at 7:30.  For more info, message Station Hawaii on Facebook.

My open letter to HARA: Why Sing the Body deserves to perform at the Na Hoku Hanohano Awards

Dear members of the Honolulu Academy of Recording Arts

I am a friend and fan of the local group and first-time Na Hoku Hanohano Award nominee Sing the Body.  I am writing this open letter to explain why I feel Sing the Body should perform live at the 35th Annual Na Hoku Hanohano Awards ceremony.

Sing the Body, with their unique sound, immense talent, and energetic live performances, have already made a name for themselves in the local music scene. Over the last year alone, they have generated a huge local following, even on the island of Maui, where they opened for The Airborne Toxic Event at the Maui Arts and Cultural Center in January, and will be returning to later this month to open for the Shins. Most recently, they won the local finals round of Hard Rock Cafe's Hard Rock Rising: Global Battle of the Bands. They beat 9 other local bands and have been chosen to represent Hawaii in an international competition against 86 bands all over the world for a chance to perform in London's historic Hyde Park. Through preserverance and passion, Sing the Body has seen their most successful year so far and they deserve recognition for it.

But my reasons for wanting them to perform at the Na Hoku Awards go beyond just being a friend and supporter of the band or a fan of their music. By performing at the ceremony, Sing the Body would be representing something even bigger: the rise of alternative music in Hawaii. Hawaii has had a thriving alternative music scene for decades, but up until recently it has remained mostly underground. Understandably so, when Hawaii's music industry is still dominated by Hawaiian, Island and Reggae music. But through passion, perseverance, and with the support of their communities, Hawaii's alternative artists have emerged into the spotlight, and it has truly been an exciting and revolutionary year for them. Local bands and artists have been hard at work, recording and releasing albums, and playing more and more live events. Popular local publications such as the Honolulu Pulse and Midweek have been giving the scene much more press coverage. March 2012 alone has seen some of the biggest leaps in Hawaii alternative music history. Mountain Apple Recording Company, Hawaii's largest and oldest recording company, released Alternative HI, a compilation CD showcasing 18 local bands and artists, including Sing the Body. Radio station Star 101.9 recently started a weekly show called Unsigned Hawaii, featuring songs from local independent bands. Unsigned Hawaii started only two weeks ago and has already been met with lots of positive feedback.

It is becoming all the more apparent that the future of music in Hawaii is changing, and I personally am very optimistic and excited about it. Local music should be recognized as all music created by the people of Hawaii, and not be synonymous with Hawaiian, Island, or any specific genre of music. As long as the music you create comes from the heart, that Aloha spirit will shine through, whether you play Slack Key, Roots Reggae, or Punk Rock. To me that is what makes Hawaii's music different from music from anywhere else in the world. That being said, this musical revolution that is taking place right here in the islands is something that deserves to be formally recognized. The British Invasion in the 60's, the rise of Grunge in the 90's, and the mainstreaming of Electronic Dance music today are examples of musical trends that became revolutionary and changed the face of music forever, and it's never long before the rest of the world acknowledges and embraces it. Take for example the 2012 Grammy Awards ceremony, which featured a live performance by DJs David Guetta and Deadmau5 alongside rock band Foo Fighters and R&B singer Chris Brown, as a tribute the rise of Electronic Dance Music. Perhaps the recent rise of Alternative music in Hawaii will forever change the way we, not just in Hawaii, but the rest of the world, see local music. I can't see why the Hawaii Academy of Recording Arts would not want to pay tribute to something so revolutionary. And I feel that Sing the Body, with their passion, talent, and following would be the best band to represent what is, indeed, a musical revolution in the islands.

Malia Baloyot
Aiea, Hawaii

Blog 2: Things you missed, and things you don't want to miss (a product of procrastination)

It's been a couple of weeks since my last (and first) blog, and my biggest regret about that is I missed the chance to share information about then-upcoming events with you!  I enjoyed a weekend jam packed with live music from some of Hawaii's most promising independent alternative artists at the Hard Rock Cafe in Waikiki, and two stage plays UH Manoa's Kennedy theatre; all of which, sadly, are now history.  But the good news is there are always future events, and I'll be sure to keep everyone posted on as many of them as I can.  Here are a few of the events I am looking forward to in the next month:

The Vagina Monologues

RaKuen and Honolulu V-Day 2012 present this award-winning play by Eve Ensler this weekend at the Arts at Marks Garage.   This production is part of the Honolulu V-Day Campaign as well as a benefit for the Domestic Violence Action Center

The Vagina Monologues began in 2000 as an off-Broadway show and gave way to the V-Day Campaign, a global movement to raise funds and awareness to end violence against women.  Additional pieces have since then been added to the original script, and the monologues have been performed countless times all over the world.  

Local directors Terri Madden (Playbuilders Hawaii,) Tony Pisculli (Hawaii Shakespeare Festival,) Lola Love, Michelle Poppler, Katharine Rita, and Mish Umipeg (Cherry Blossom Cabaret) bring this play to life once again, along with a diverse cast of women, including yours truly!  Not all of Ensler's monologues will be performed in this presentation, but there will be a variety of pieces, both light and humorous, and dark and tragic.  All, however, are equally important and share a common theme of women embracing their vaginas--both literally and metaphorically.

The Vagina Monologues runs this weekend only, opening on Friday, February 17th at 7:30, and continuing on Saturday, February 18th with two shows, one at 7:30, and one at 9:30.  Official afterparty follows at RaKuen; purchase a Peach V-Tini and $1 of the proceeds benefits V-Day Honolulu.  Tickets are $20 presale and $25 at the door.  This show is expected to sell out so presale ticket purchases are strongly encouraged! Available at brownpapertickets.com.  (Links below.)

Hard Rock Rising 2012

Hard Rock Cafe presents Hard Rock Rising Global Battle of the Bands.  Over the past month, bands all over the world participated in an online pre-qualifying competition, where fans voted for their favorite bands by downloading a song from them on the Hard Rock Rising Facebook app.  Today, the voting ended and Hard Rock Cafe announced the bands that are to preform at preliminary battles at their local Hard Rock Cafes.

Ten local bands including Sing the Body, Mano Kane, Any Given Chance and Prevail, will compete over the next three Saturdays (February 18, February 25, March 3) in qualifying battles at the Hard Rock Cafe Waikiki, with a final battle on March 10.  Finalists will then compete for a chance to perform at Hard Rock Calling 2012 at Hyde Park in London.

There is no cover for this 21+ event.  Audience participation determines winners so be sure to rock hard for your favorite bands!  Oh, and if you decide to get a bite to eat, ask for Jamie--she's an awesome server.  

CAKE (and other BAMP Project concerts!)

It seems like only yesterday I used to complain about the lack of big-name concerts in Hawaii.  But local promoters BAMP Project has been on a roll lately, bringing some of the biggest names in rock today to the islands.  February 24th marks the long-awaited return of quirky alternative-rock veterans Cake.  I last saw these guys on my birthday (how appropriate) back in 2010 and I can honestly say it was the most fun I ever had at the old Pipeline Cafe; now I'm curious to see what they bring the the Aloha Tower Waterfront.

Other upcoming BAMP shows to look forward to are Foster the People (March 18,) The Shins (April 17,) and the opening of BAMP's new venue, The Republik (TBA.)

Wasn't there something going on this Tuesday?  I'm not sure, but I've never been one to caring about celebrating an occasion on the day of.  Whether you're celebrating Valentine's Day or Single's Awareness Day, why not do something a little different.  This year you have the opportunity to honor the gender (and bodypart) that brought you into this world, support the local bands you love the most, or you can have your cake (and eat it too!)

LINKS:

Hard Rock Rising 2012 on Facebook

The Vagina Monologues on brownpapertickets.com

CAKE concert info on BAMPproject.com

Album Review: Sing the Body - "Invent"

There's been quite a buzz around the island about this local indie-garage duo; especially now after their biggest gigs to date--opening for The Airborne Toxic Event on Maui and in Honolulu. I have been a huge fan and personal friend of the band for quite some time now, which may make me a little biased, but community response speaks for itself:  check out the comments on their Facebook page, or the reviews on iTunes.  You don't know how many times I've heard the words "favorite new local band," and "most talented guys on the island" after their live shows.

Sing the Body is an innovative songwriting and music-creating duo with a unique sound and even more unique setup that can best be appreciated live.  They have the DIY garage-rock feel of the White Stripes and Black Keys, with an indie-pop sound that fans of Pinback and Deerhunter would appreciate.  Onstage, they rely heavily on looping and effects pedals like El Ten Eleven, or local roots-reggae sensation Mike Love--perhaps to make up for the lack of bodies onstage, but also because they are constantly pushing the boundaries and discovering new ways to create sound.  Some of my favorite bands have always been duos--Steely Dan, Zero 7, Simon and Garfunkel, even Flight of the Conchords.  Sing the Body is just another one to add to my list; they really enforce my theory that "less is more."

When you have a band whose main selling point is their live performance, recording a solid EP can be problematic.  But Sing the Body managed to pull it off, recording 7 of their best-loved songs at Soul Sound Studios in Kaneohe.  The result? A legitimate album that will please local fans as well as hopefully introduce mainland indie music fans to Hawaii's talent.

The album opens up with "Make it Up," a feel-good, fan favorite formerly named "Eli's Hair."  It's a solid opening track that makes you feel like you're on a drive the the North Shore for shave ice on a hot summer afternoon.  People listening to the recorded track for the first time will probably think, "Hey, this is fun!  Reminds me of Mumford & Sons."  But anyone who's previously seen this song performed live may feel like their missing something.  The truth is, they are. Here's a sneak peek:

Track 2 is "Sour," the album's first unofficial single and perhaps their most popular song.  Definitely the hardest rocker on the album, featuring guitarist/vocalist Zack Shimizu using a steel slide for the ultimate blues-rock feel.  Listeners will definitely hear the White Stripes/Black Keys influence on this one.  What I like about the song is that its simplicity makes for a very good foundation for them to build on and get creative with.  People who see this live may be treated to an experimental intro featuring Eli's mini-Korg keyboard, a gritty, dirty, hard-rocking outro (the closest you will get to replicating dubstep with live instruments,) or even a stripped-down bluesier version (especially if their friend SABRINA is in town!)  Well, on the album version you get none of that.  What you do get is a solid, studio-recorded single featuring Max Benoit of Kings of Spade on bass.  It's okay, though.  It leaves the fans wanting more when they see them live.  Sounds something like this:

After the first two songs, Sing the Body tones it down some, with "Yama."  "Yama" is Japanese for "mountain," and that's exactly what you feel as you listen to the song:  scaling a majestic mountain, watching the sun rise over head and looking down at the rest of the world below.  This track features an ethereal vocal intro and beautiful slack key guitar work and harmonics by Shimizu, all of which add to the feel of the song. 

Things get fun again with track 4, "Looking for You Once."  A cute song about old love back when it was still young and innocent ("well some years have passed us by/since the days we couldn't drive/since they days we couldn't lie down.")  Scat singing, a walking bass line, people screaming "Oh! Ho! Hey!" in the background...it's impossible not to smile when listening to this track.

"Ruby Sun" follows.  This song is one of my personal favorites.  It was the first song I ever heard them play live, and unlike "Sour," this song hasn't changed much over it's lifetime.  I would call this track the most definitive Sing the Body song--the one song I would play for someone I was trying to sell the band to.  It's got a great post-punk indie feel, anthem-worthy lyrics about living in the moment, a great buildup to an epic chorus featuring a distorted acoustic guitar, and the best part of all: Oguma's kick-pedal tambourine.

The album slows down siginificantly with "Never Thought," a beautiful ballad and standout track on the album.  It's a bittersweet song about impending loss of love ("Time will pass and I will be gone, you see/and all I've done and ever did is memory/so please don't forget about me...").  Anyone who's ever been afraid to eventually lose someone they love can relate to Shimizu's honest lyrics, and you can hear the plaintive pain and inflection in his voice...almost enough to make you cry.  After the guitar solo comes a catharsis of sound, a moment of silence, and a wonderful fingerpicking bit and new vocal part that sounds a little more optimistic...kind of like seeing the silver lining after the storm.  You feel yourself marching out of the darkness with your head held a little higher as Oguma's drum beat leads you out of this 8-minute journey through love, loss of love, and finally, hope of being okay again.

"Invent" finally closes with "The Hunt," a song inspired by a Twilight Zone episode of the same name. This song is different from the rest in the sense that it tells a story (that has already been written) from the third person, but it's an excellent narrative about man's eternal loyalty to his canine best friend. Featuring Shimizu on the ukulele, (this is the second time on the album the band gets to showcase their Hawaii roots) Benoit on the bass again, backing vocals by Sabrina, and piano by Mike Love, this song makes for the perfect album-ender, leaving listeners wanting more.

Speaking of wanting more, there are several ways fans and would-be fans can get their Sing the Body fix.  "Invent" is now available on iTunes (link below,) and the band can be found performing around town quite often.  Their official EP release party is scheduled for Saturday, February 10 at the Hard Rock Cafe in Waikiki.

Links

"Invent" on iTunes
Sing the Body on Facebook
Booking - Bran Apeles Management