No, not actually terrified. Just excited about this great pop song. I heard it for the first time during the Hollywood week auditions on American Idol when Top 12 finalist Didi Benami sang it. Although it has been out for a while, a release from former AI contestant, Kat McPhee's latest album.
It's a genuinely good song, written by AI judge Kara Dioguardi. Often times I hear a song, read the lyrics and wish I could have had half the talent to write the words and melody. This is one of those songs.
I'm a little bummed that my music service has not sent me this song. I think it would make a great first dance song. Enjoy these various versions of it.
March 23, 2010
March 17, 2010
Dear American Idol Audience ... No clapping during the performance
In the greatest – and probably the only – pro-Thanksgiving song ever created, Adam Sandler begins to play and sing the first few lines of “The Thanksgiving Song” as his audience “assists” him by clapping to the beat. The clapping was unsolicited, and Sandler stopped singing about five seconds into it. In a gentle manner, he said:
“That clapping’s messing my head up, man,” he said in his scared little boy voice. “I appreciate it. But I was trying to think of the next line and all I hear is clapping. Thanks anyway.”
He continued and the crowd didn’t clap again until the song was over, this time in appreciation of the comedian’s interesting observation of turkey day. It was genius and perhaps one of the few times a performer has asked the audience to stop their nonsense.
This nonsense is a weekly occurrence on American Idol and it needs to stop.
Don’t get me wrong, I’m a fan of audience participation. Some of the most moving musical moments I’ve seen have involved the audience.
Take for instance, Garth Brooks’ concert in New York’s Central Park. During “Unanswered Prayers” he was visibly choked up when the crowd essentially sang the entire song to him.
About a year ago, I watched a video of Lady Gaga tearing up when her audience sang along to an acapella version of “Poker Face.”
I was at a Coldplay concert, when, at the climax of “Viva La Vida,” I along with 20,000 others stood like a church choir and clapped and sang along.
And when prompted to the words “everybody clap your hands with me,” I’ve clapped along.
But the key word here is “prompted.” Can you imagine if it was just you and your guitar, and maybe some other percussion to supply the back beat. You’re concentrating, you start your song, and then all of sudden a jumbled mess of hands clapping crescendo in?
American Idol audiences have the worst etiquette. They clap during EVERY upbeat song. They wave their hands from side-to-side during EVERY slow song. They boo the judges on EVERY negative comment, even though it’s usually accurate.
The contestants are at the mercy of the audience at home and in the auditorium that they could not dare say “that clapping’s messing up my head.” And yet, I’m sure it does and it’s extremely annoying.
Typically the unsolicited clapping starts with a spackling of a few people and then the rest of the crowd joins. But on AI, everyone immediately jumps in at the slightest hint of a beat. The natural progression of the song might have the beat drop out for when the vocals begin and then there is the awkward clapping that is too loud and then quickly fades. But then the chorus comes around and everyone starts clapping again. All the while the contestant, nervous as all hell, has to deal with this sensory overload.
On another note, can we also send a memo to audience members to please refrain from waving their hands, kumbaya-style, when someone sings a song with less than 90 beats per minute. This type of audience participation reminds me of the infamous “wave” at sporting events.
I witnessed a wave for the first time in 1984 at a soccer match during the Summer Olympic Games in Los Angeles. It was amazing, a spectacle that I had never witnessed. Nearly 30 years later, when a drunk college kid is screaming “let’s do the wave” and it’s only the first inning of a San Diego Padres game, I’m a little reluctant to participate.
My point is this: the wave was once done at climactic moments. Now it’s just, been there done that. The same goes for the “concert wave.”
I recall Michael Jackson’s performance at Motown 25 when the J-Five performed “I’ll be there.” As the song reached it’s repetitive chorus toward the end, he said “put your hands up” as he waved his from side-to-side. “You’re beautiful,” he said. And it was. It was one of the most historic live performances on TV.
But now, here we are, subjected to watching a studio audience wave their hands during a reggae version of, “Under my Thumb.”
To borrow from Randy Jackson, “Ya know dawg, it’s just not working for me.”
“That clapping’s messing my head up, man,” he said in his scared little boy voice. “I appreciate it. But I was trying to think of the next line and all I hear is clapping. Thanks anyway.”
He continued and the crowd didn’t clap again until the song was over, this time in appreciation of the comedian’s interesting observation of turkey day. It was genius and perhaps one of the few times a performer has asked the audience to stop their nonsense.
This nonsense is a weekly occurrence on American Idol and it needs to stop.
Don’t get me wrong, I’m a fan of audience participation. Some of the most moving musical moments I’ve seen have involved the audience.
Take for instance, Garth Brooks’ concert in New York’s Central Park. During “Unanswered Prayers” he was visibly choked up when the crowd essentially sang the entire song to him.
About a year ago, I watched a video of Lady Gaga tearing up when her audience sang along to an acapella version of “Poker Face.”
I was at a Coldplay concert, when, at the climax of “Viva La Vida,” I along with 20,000 others stood like a church choir and clapped and sang along.
And when prompted to the words “everybody clap your hands with me,” I’ve clapped along.
But the key word here is “prompted.” Can you imagine if it was just you and your guitar, and maybe some other percussion to supply the back beat. You’re concentrating, you start your song, and then all of sudden a jumbled mess of hands clapping crescendo in?
American Idol audiences have the worst etiquette. They clap during EVERY upbeat song. They wave their hands from side-to-side during EVERY slow song. They boo the judges on EVERY negative comment, even though it’s usually accurate.
The contestants are at the mercy of the audience at home and in the auditorium that they could not dare say “that clapping’s messing up my head.” And yet, I’m sure it does and it’s extremely annoying.
Typically the unsolicited clapping starts with a spackling of a few people and then the rest of the crowd joins. But on AI, everyone immediately jumps in at the slightest hint of a beat. The natural progression of the song might have the beat drop out for when the vocals begin and then there is the awkward clapping that is too loud and then quickly fades. But then the chorus comes around and everyone starts clapping again. All the while the contestant, nervous as all hell, has to deal with this sensory overload.
On another note, can we also send a memo to audience members to please refrain from waving their hands, kumbaya-style, when someone sings a song with less than 90 beats per minute. This type of audience participation reminds me of the infamous “wave” at sporting events.
I witnessed a wave for the first time in 1984 at a soccer match during the Summer Olympic Games in Los Angeles. It was amazing, a spectacle that I had never witnessed. Nearly 30 years later, when a drunk college kid is screaming “let’s do the wave” and it’s only the first inning of a San Diego Padres game, I’m a little reluctant to participate.
My point is this: the wave was once done at climactic moments. Now it’s just, been there done that. The same goes for the “concert wave.”
I recall Michael Jackson’s performance at Motown 25 when the J-Five performed “I’ll be there.” As the song reached it’s repetitive chorus toward the end, he said “put your hands up” as he waved his from side-to-side. “You’re beautiful,” he said. And it was. It was one of the most historic live performances on TV.
But now, here we are, subjected to watching a studio audience wave their hands during a reggae version of, “Under my Thumb.”
To borrow from Randy Jackson, “Ya know dawg, it’s just not working for me.”
A North Island Wedding Thank You
Justin Kanoya went the extra mile to make our wedding day special.
Justin is an excellent DJ. During the planning phase, he was very quick to respond to our emails and called to follow-up. At the reception, he was very outgoing to all of our guests. He did his homework by memorizing the wedding party's and family member's names. He even pronounced them correctly! Justin played great music and even joined the dance floor a couple of times. We've never seen a DJ do that. It felt great that he was joining in the fun instead of it just being a job for him. Many of our guests commented on how great the DJ was.
As you know, when planning special events, and especially a once in a lifetime wedding, it is so important to hire true professionals who do their jobs well. It is even better when the professionals go beyond their required duties.
Sincerely,
Andy & Kristie
Justin is an excellent DJ. During the planning phase, he was very quick to respond to our emails and called to follow-up. At the reception, he was very outgoing to all of our guests. He did his homework by memorizing the wedding party's and family member's names. He even pronounced them correctly! Justin played great music and even joined the dance floor a couple of times. We've never seen a DJ do that. It felt great that he was joining in the fun instead of it just being a job for him. Many of our guests commented on how great the DJ was.
As you know, when planning special events, and especially a once in a lifetime wedding, it is so important to hire true professionals who do their jobs well. It is even better when the professionals go beyond their required duties.
Sincerely,
Andy & Kristie
January 25, 2010
Free Engagement Photo Session - Act Now
I'm always on the lookout to help out fellow vendors and here's a great contest for the newly engaged. An engagement photo session with Sean Loring Schofield Photography. Check out the contest details at the Bridal Inquirer.
January 5, 2010
Three For Three
Well if the holidays weren't crazy enough with Christmas parties, potlucks and family visiting from out of town, I had the pleasure of adding three weddings into the mix. Yep, from December 26 through January 2, I entertained at three weddings. Each unique, each a great party and each a first for me working at the venues.
The day after Christmas I was at the Santaluz Golf Club for Susanne and Matt's wedding. This is an exclusive North San Diego County club and the room was beautifully designed. Of course decorated by Karen Tran. The coordinator was Catherine Bachlier Smith and I worked along side Darin Fong for about the 20th time this year (and I mean that in a good way). Modern 8 Films, a unique videographer that shoots in Super 8 film captured the evening on, well, film of course.
Rather than working a massive New Years Eve party, I was settled in at the U.S. Grant Hotel in downtown San Diego. I worked with with Karen, coordinator Emily Smiley, photographer Tim Otto and Modern 8 again. This was no ordinary wedding, not only were we celebrating the nuptials of Sarah and Jason, we were ringing in the new year. I brought the wedding party into the room with a remixed version of Metallica's "Enter Sandman." The bride and groom were ushered in with a custom mix of Auld Lang Syne that flowed seamlessly into The Black Eyed's Peas' "I Gotta Feeling." Thirty minutes before midnight, a 50-inch TV was brought on stage and we watched and danced as the clock grew closer to midnight. When it did, we counted down as we watched the ball drop in Times Square. At midnight I played a classic version of Auld Lang Syne and kicked off 2010 with Prince's "1999." It's been a bit of a tradition for me to play this tune as my first song of the new year. It may be 2010 but we can party like it's nineteen ninety nine!
Finally, on January 2 I drove 120 miles north to Pasadena for a wedding at the Huntington Langham hotel. This was probably the nicest hotel I have ever gigged in. I was impressed. Anna and James did not have the highest expectations for their guests in terms of being a dancing crowd. But soon after dinner I couldn't get them off the floor. But, as with every party, there is a bit of a lull. A shot of Lady Gaga certainly cured that as the dance floor filled once again to the beat of "Just Dance." About 20 minutes later, when the dancing was a little slow, I tossed on "Bad Romance" and people swarmed back. Clearly Gaga was King (or should I say Queen) of this dance floor. There was about 20 minutes left in the party and I announced that I was gonna play a 20 minute Gaga Medley just for them. So I mixed in "Poker Face", a custom version of Rihanna and Nelly Furtado with a Gaga base beat and added in some "Paparazzi." At the end of the night Anna was pleasantly pleased and surprised with all the dancing.
And I was home at 1 a.m., from L.A. Which wasn't so bad, considering my New Years Eve gig just a few nights early had not even ended yet.
The day after Christmas I was at the Santaluz Golf Club for Susanne and Matt's wedding. This is an exclusive North San Diego County club and the room was beautifully designed. Of course decorated by Karen Tran. The coordinator was Catherine Bachlier Smith and I worked along side Darin Fong for about the 20th time this year (and I mean that in a good way). Modern 8 Films, a unique videographer that shoots in Super 8 film captured the evening on, well, film of course.
Rather than working a massive New Years Eve party, I was settled in at the U.S. Grant Hotel in downtown San Diego. I worked with with Karen, coordinator Emily Smiley, photographer Tim Otto and Modern 8 again. This was no ordinary wedding, not only were we celebrating the nuptials of Sarah and Jason, we were ringing in the new year. I brought the wedding party into the room with a remixed version of Metallica's "Enter Sandman." The bride and groom were ushered in with a custom mix of Auld Lang Syne that flowed seamlessly into The Black Eyed's Peas' "I Gotta Feeling." Thirty minutes before midnight, a 50-inch TV was brought on stage and we watched and danced as the clock grew closer to midnight. When it did, we counted down as we watched the ball drop in Times Square. At midnight I played a classic version of Auld Lang Syne and kicked off 2010 with Prince's "1999." It's been a bit of a tradition for me to play this tune as my first song of the new year. It may be 2010 but we can party like it's nineteen ninety nine!
Finally, on January 2 I drove 120 miles north to Pasadena for a wedding at the Huntington Langham hotel. This was probably the nicest hotel I have ever gigged in. I was impressed. Anna and James did not have the highest expectations for their guests in terms of being a dancing crowd. But soon after dinner I couldn't get them off the floor. But, as with every party, there is a bit of a lull. A shot of Lady Gaga certainly cured that as the dance floor filled once again to the beat of "Just Dance." About 20 minutes later, when the dancing was a little slow, I tossed on "Bad Romance" and people swarmed back. Clearly Gaga was King (or should I say Queen) of this dance floor. There was about 20 minutes left in the party and I announced that I was gonna play a 20 minute Gaga Medley just for them. So I mixed in "Poker Face", a custom version of Rihanna and Nelly Furtado with a Gaga base beat and added in some "Paparazzi." At the end of the night Anna was pleasantly pleased and surprised with all the dancing.
And I was home at 1 a.m., from L.A. Which wasn't so bad, considering my New Years Eve gig just a few nights early had not even ended yet.
September 5, 2009
Josef and Jamie Say Thanks
DJ Kanoya,
Thank you so much for making wedding so memorable! People cannot stop talking about how great it was and how everyone was having a blast on the dance floor! Even though it was completely hot that day, everyone still had the energy to party. We're recommending you to all our engaged friends!
Sincerely,
Josef and Jamie Ebiya
Thank you so much for making wedding so memorable! People cannot stop talking about how great it was and how everyone was having a blast on the dance floor! Even though it was completely hot that day, everyone still had the energy to party. We're recommending you to all our engaged friends!
Sincerely,
Josef and Jamie Ebiya
July 22, 2009
Three Years Later
Three years ago, right around this time, I was one hour away from polishing off an amazing wedding. It was the celebration for Christine and Pat. It was a great party, but it was what happened earlier in the day that seemed to make it all the more special.
On the morning of the July 22, 2006, my daughter, Marissa Natsumi Kanoya was born. And while the post-birth activity is usually a time to hang out in a hospital room and absorb all the love and adulation from a newborn, I hardly had a chance to practice swaddling before I needed to get to the Estancia in La Jolla for the wedding.
I was beat, mentally and physically. Since my wife had checked into the hospital the previous day, and was essentially in labor for 24 hours, I had been awake since 6 a.m. July 21st. But I fought through the lack of sleep the seemingly 110 degree temperature and mustered up everything I had to make the gig special.
It's hard to explain why it was special. Maybe if I had not been a part of bringing a life into the world earlier that day it may not have been. Or maybe that just made it all the more better. I know I made friends that day. It was the first time I had worked with Mike and Paula Luna , two of San Diego's best wedding photogs. We've run into each other a couple of other times since then. The coordinator was Jennifer Molloy of Amore Events, whom I had always wanted to work with. And I later DJ'd Pat's sister's wedding.
At the end of the night, the father of the groom thanked me for making the night memorable. He handed me a tip and asked that I buy something nice for Marissa. It was a nice gesture from one father to another and I'll always remember that.
Happy Birthday, my little princess!
On the morning of the July 22, 2006, my daughter, Marissa Natsumi Kanoya was born. And while the post-birth activity is usually a time to hang out in a hospital room and absorb all the love and adulation from a newborn, I hardly had a chance to practice swaddling before I needed to get to the Estancia in La Jolla for the wedding.
I was beat, mentally and physically. Since my wife had checked into the hospital the previous day, and was essentially in labor for 24 hours, I had been awake since 6 a.m. July 21st. But I fought through the lack of sleep the seemingly 110 degree temperature and mustered up everything I had to make the gig special.
It's hard to explain why it was special. Maybe if I had not been a part of bringing a life into the world earlier that day it may not have been. Or maybe that just made it all the more better. I know I made friends that day. It was the first time I had worked with Mike and Paula Luna , two of San Diego's best wedding photogs. We've run into each other a couple of other times since then. The coordinator was Jennifer Molloy of Amore Events, whom I had always wanted to work with. And I later DJ'd Pat's sister's wedding.
At the end of the night, the father of the groom thanked me for making the night memorable. He handed me a tip and asked that I buy something nice for Marissa. It was a nice gesture from one father to another and I'll always remember that.
Happy Birthday, my little princess!
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