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George Kuo Aloha No Na Kupuna - "Love for the Elders"
LINER NOTES George Kuo Aloha No Na Kupuna - "Love for the Elders" George Kuo was born November 17, 1955 but his beautiful slack key guitar style dates back a generation or two earlier. "My feeling is in the older way of playing from the 1940s," he says. "For me, the old tunings with real loose strings and a real prominent bass have a lot of chicken skin (goose bumps)." George's feeling for the older style extends beyond technique to the more subtle area of attitude. "I like to play a nice relaxed, easy style," he says. "Not too much fancy stuff, keep it within the melody. Simplicity is really my style. I try to keep it simple but blend in the right notes. It's more delivering a message than playing runs." George first took up guitar in elementary school and ki ho'alu in high school. He learned by being around friends such as Richard Rathburn and Antone Gabriel, who liked to get together and jam. Antone played in the style of his grand uncle, Albert Kawelo, who had taught slack key legend Raymond Kane in the early 1930s. "When I heard Antone," George says, "I said to myself that's how I want to play...the old style." George's family was very supportive of his music. "My granduncle and aunt liked to hear that style too," he says, "and they really encouraged me." For a young person attracted to old style ki ho'alu, the 1970s were heaven in Hawai'i. A wide– ranging revival of traditional culture was in full bloom. -
Whiskey River (Take My Mind) I
whiskey river (take my mind) i introduction 00 Bush rev pg proofs 000i-xxiv i i 12/11/06 9:58:38 AM THIS PAGE INTENTIONALLY LEFT BLANK whiskey river (take my mind) iii The True Story of Texas Honky-Tonk by johnny bush with rick mitchell foreword by willie nelson University of Texas Press, Austin introduction 00 Bush rev pg proofs 000i-xxiv iii iii 12/11/06 9:58:39 AM iv copyright © 2007 by the university of texas press All rights reserved Printed in the United States of America First edition, 2007 Requests for permission to reproduce material from this work should be sent to: Permissions University of Texas Press P.O. Box 7819 Austin, TX 78713-7819 www.utexas.edu/utpress/about/bpermission.html ∞ The paper used in this book meets the minimum requirements of ansi/niso z39.48-1992 (r1997) (Permanence of Paper). library of congress cataloging-in-publication data Bush, Johnny. Whiskey river (take my mind) : the true story of Texas honky-tonk / by Johnny Bush with Rick Mitchell ; foreword by Willie Nelson. — 1st ed. p. cm. Includes discography (p. ), bibliographical references (p. ), and index. isbn-13: 978-0-292-71490-8 (cl. : alk. paper) isbn-10: 0-292-71490-4 1. Bush, Johnny. 2. Country musicians—Texas—Biography. 3. Spasmodic dysphonia—Patients—Texas—Biography. 4. Honky-tonk music—Texas— History and criticism. I. Mitchell, Rick, 1952– II. Title. ml420.b8967a3 2007 782.421642092—dc22 [B] 2006033039 whiskey river (take my mind) 00 Bush rev pg proofs 000i-xxiv iv iv 12/11/06 9:58:39 AM Dedicated to v John Bush Shinn, Jr., my dad, who encouraged me to follow my dreams. -
The Pleasures and Rewards of Hawaiian Music for an 'Outsider'
12 Living in Hawai‘i: The Pleasures and Rewards of Hawaiian Music for an ‘Outsider’ Ethnomusicologist Ricardo D . Trimillos Foreword I first met Stephen Wild at the 1976 Society for Ethnomusicology meeting in Philadelphia. Since that time we have enjoyed four decades as session- hopping colleagues and pub-crawling mates. In regard to the former, most memorable was the 1987 International Council for Traditional Music meeting in Berlin, where, appropriate to our honoree, one of the conference themes was ‘Ethnomusicology at Home’. It is this aspect of Stephen’s service that I celebrate in my modest effort for this festschrift. In 2006, the journal Ethnomusicology produced its ‘50th Anniversary Commemorative Issue’, which contained the essay ‘Ethnomusicology Down Under: A Distinctive Voice in the Antipodes?’ (Wild 2006). It was an informative and at times prescriptive account of the trajectory for ethnomusicology in Australia. I found the essay a most engaging exercise in personal positioning by an author within a historical narrative, one in which personality and persona were very much in evidence. Inspired by the spirit of that essay and emboldened by its novel approach, I share 335 A DISTINCTIVE VOICE IN ThE ANTIPODES observations about ‘doing ethnomusicology’ where I live—in Honolulu, Hawai‘i. This brief and personal account deliberately draws parallels with our honoree’s experiences and activities during a long career in his ‘homeplace’ (Cuba and Hummon 1993). The pleasures of Hawaiian music in California My first encounters with Hawaiian music were not in Hawai‘i but in San Jose,1 California, locale for the first two decades of my life. -
HOS Transcript 12/16/02
Heart of the Sea -Transcript RELL: A lot of grand-parents come up with the name before you're even in your mom. They have a dream and they tell your mother, well you’re going to have another girl and her name’s going to be: Kapolioka’ehukai, that means Heart of the Sea. COMMENTATOR (WOMAN): Next up is a native of Hawaii: Rell Sunn COMMENTATOR (MAN): She grew up at Makaha and really knows these waves well. Look at her maneuver here. Look right there, Andrea, that’s a nose ride, you don’t see many of them anymore, it’s an extremely different maneuver to perform on these small boards. Looking at in slow motion, you’ll notice she pulls herself up high in the wave, drops her weight back, stalls her board into the critical section and simply walks to the front of the board...plants herself on the nose and rides the wave; extremely difficult, it’s going to score. RELL: Before I could read, I could read the ocean. I knew the tides , I could read the wind on the ocean, I thought I knew everything I ever needed to know just from being on that beach every day, everything. I started surfing when I was four. It’s like you’re four and you’re having a revelation; you can’t quite articulate it but you know the feeling. And my dad was like a beach boy. And he used to surf all the time and so of course that was going to be a part of our lives. -
Military Sun Press, Published Twice Edition of the Military Sun Press, Treat- HAWAII MARINE Is Not Published
NOTICE TO HAWAII MARINE READERS We hope you will enjoy this special readers during the holiday season when The Military Sun Press, published twice edition of the Military Sun Press, treat- HAWAII MARINE is not published. each year, is in no way connected to the ed especially for HAWAII MARINE U.S. Marines or the U.S. government. Hawaii Marine WEEK OF JANUARY 5-11, 1995 Military Sun Press BRIEFLY Recycling: Veterans Day honor Military families The Golden Dragons of Task Force 5th Bat- participate in new talion, 14th Infantry celebrated Veterans Day Nov. 10 with a ceremony performed at South Camp, near Sharm El Sheik, Sinai, Egypt. garbage program The ceremony was conducted at the South Camp amphitheater and began with the familiar The recently closed Waipahu sounds of Lee Greenwood's "God Bless the incinerator has created a need to USA." recycle more refuse, and military The Task Force Chaplain, Charles Ha Ilin, personnel coming to the rescue. delivered the invocation and led the group in Roughly one-half of military fami- the " Lord's Prayer." Sgt. 1st Class Jeffrey Stray- lies who live in government quarters er, operations non commissioned officer in now participate in active recycling charge, read the 23rd Psalm. programs. Thanks to an Army initia- Presiding over the ceremony was the Task tive, all 20,151 quarters will be ser- Force Executive Officer, Maj. John A. Kardos, viced by a new refuse and recycling who delivered the keynote address. system by early this year. In his address, Kardos called on the attendees The new system encourages the to "remember the tragedies of war, the promise military's 70,000 family housing resi- of peace and those who served so selflessly." dents to recycle and will also save The audience was asked to remember those money spent on refuse removal and who lost their lives during their service with the disposal. -
Honolulu Advertiser & Star-Bulletin Obituaries
Honolulu Advertiser & Star-Bulletin Obituaries January 1 - December 31, 2001 E Therese K. "Rusty" Easley, 75, of Kahului died Saturday Mar 10, 2001 in Maui Memorial Medical Center. She was born in Fort Lauderdale, Fla. She is survived by husband Henry O., daughter Terry, sister Helen Kolego, and a grandson. Memorial services: 10 a.m. Saturday at Christ the King Catholic Church. Aloha attire. FOREVER LOVE EASLY-MEMEA, 1-day-old daughter of David Memea and Raina Harmony Easly, of Ka'a'awa, died Jan. 3, 2001. Also survived by brother, Lee Memea; sister, Kim Memea. Private service. Arrangements by Williams Funeral Services. [Adv 7/6/2001] DAVID SCOTT EASTON, 51, of Los Gatos, Calif., died Aug. 17, 2001. A woodworking artist, music lover and gourmet cook. Survived by wife, Shelly; sons, Scott and Tony; mother, Beatrice Wilkinson; father, William; brother, Steven; sisters, Tina Bondalid, Judy and Margaret Leroux. Service 2:30 p.m. Thursday at Los Gatos Memorial Park, 2255 Los Gatos Almaden Road. Burial at the park. No flowers. Memorial donations to the David Easton Memorial Fund to benefit Scott and Tony Easton, Bank of the West, account # 01726741, 2395 Winchester Blvd., Campbell, CA 95008. Arrangements by Borthwick Mortuary. Adv 25/8/2001] SALLY "AUNTY SALLY" "SALLY LYONS" KALALA ALOHIKEA TOKO EBANEL, 64, of Hawaiian Ocean View Estates, Hawai'i, died Sept. 12, 2001. Born in Kawaihau, Kapa'a, Kaua'i. An entertainer and dancer with Hulihe'e Palace Dancers. Survived by husband, Earl; son, Edward Phipps; daughters, Nohea Kutzen, Jacklinn Kalani, Kathleen Ahlo, Jeanine Akiona, Ruth Choi, Yuki Alapai and Lily Wong; hanai mother, Hilda Keanaaina; hanai sons, Harold Akiona, Daniel Kailiwai, John Kailiwai, Gary Lewi, Ike Kaleiki and David Kutler; hanai daughters, Michelle Amaral and Lisa Vicar; 15 grandchildren; four great-grandchildren. -
Read Liner Notes Here
LINER NOTES Martin Pahinui Ho'olohe One of Hawaiian music‘s most gifted vocalists, John Martin Pahinui has performed with a host of top performers, including his father‘s legendary Gabby Pahinui Hawaiian Band, The Peter Moon Band, The Pahinui Brothers, Nina Kealiçiwahamana, Bill Kaiwa and slack key super group Hui Aloha (with slack key guitarists George Kuo and Dennis Kamakahi). The youngest child of Gabby Pahinui (1921-1980) and Emily Pahinui, Martin grew up surrounded by music— not only the amazing kï höçalu (slack key) in his family home but also the many other styles floating on the wind in Waimänalo, where he grew up and still lives. Like many children of famous musicians, Martin is keenly aware of a double responsibility: to honor his family‘s musical legacy and to always be himself. ―My daddy is a very big influence on all of us,‖ Martin says, ―but he always did things his own way, and he taught us to trust our own instincts too. He loved Hawaiian music but he wasn‘t afraid to change something if he felt it was the right thing to do. Some people would grumble, but he‘d say, ‗So what, some people grumble no matter what you do.‘ He always said to respect the song and the composer and the people who taught you, but never be afraid to express your own feelings when you play.‖ Recently, when the local rap group Sudden Rush asked the Pahinui family for their blessings to use a recording of Gabby‘s classic rendition of Hiçilawe, Martin supported them. -
Sophomore Seminar Kï Höÿalu: the New Renaissance of a Hawaiian Musical Tradition Sano, Fall 2005 3 Units Course Syllabus
Sophomore Seminar Kï höÿalu: The New Renaissance of a Hawaiian Musical Tradition Sano, Fall 2005 3 units Course Syllabus Originally, a style of guitar playing developed in the Hawaiian Islands during the 1830's, kï höÿalu, or Hawaiian slack key guitar, is an art form that is currently experiencing newfound exposure and popularity in Hawai‘i and worldwide. The rise in popularity of this art form coincides with the increased awareness, dissemination, and growth of political activism directly relating to Hawaiian culture. In this course, we will explore the musical, cultural, historical, and political perspectives of Hawaiian music in general, and kï höÿalu in particular, through hands-on experience, readings, class discussion, and a workshop with a visiting master kï höÿalu artist. With kï höÿalu, as the focal point, we will learn about Hawaiian music and history, and explore the relationship between performance, cultural expression, community, and identity. COURSE REQUIREMENTS Musical Autobiography (5%) Analysis Paper (10%) Master Class with Ozzie Kotani (10%) Midterm (written and practicum) (20%) Final (practicum) (15%) Practicum Progress (15%) Participation (25%) •Musical Autobiography (2 page minimum). Give a brief account of your musical experiences (including Hawaiian ones) as an infant, pre-teen, high school, and Stanford student. Indicate your specific interests for taking this course and how your prior musical experience influences these interests. Due Week 2: Monday, 3 October. •Reaction Paper: Listening Analysis (3-4 pages). Compare/contrast the performances of two different kï höÿalu artists by listening to recordings drawn from the listening list. Address issues of repertoire, instrumentation, vocal/instrumental application, style. Due Week 10: Monday, 28 November. -
Honoring the Best of Traditional Hawaiian Music and Hula!
MEDIA RELEASE FOR IMMEDIATE RELEASE Thursday, April 9, 2015 Honoring the best of traditional Hawaiian music and hula! Contact: Ann Shinsato 808-392-3649 (HMHF Admin. Assistant) WHO: The Hawaiian Music Hall of Fame (HMHF) WHAT: Lei of Stars 2015, a gala event honoring our 2014 class of inductees: , Sonny Chillingworth, Edith McKinzie, Puakea Nogelmeier, Beverly Noa, Lani Custino and the Hawaii Calls radio program. Includes dinner, induction ceremony and tribute performances. WHERE: Pomaika’i Ballrooms (in the Hökülei Ballroom) at Dole Cannery (735 Iwilei Rd.) WHEN: May 1, 2015, Friday. Doors open at 4 pm; dinner served at 5 pm; concert begins at 5:45 pm. TICKETS: Tickets are $125/person for dinner and concert. For more info, call Admin. Assistant Ann Shinsato at 392-3649. Also see website at www.hmhof.org. ENTERTAINERS: Beverly Noa, Nina Kealiÿiwahamana, Haunani Apoliona, Kuÿuipo Kumukahi, Auntie Edith’s hula girls, Natalie Ai Kamauu, Aaron Sala, John Rodrigues, Ian Custino, and much more! Emcee: Kimo Kahoano. SPECIAL MÖÿÏ SPONSOR: Princess Abigail Kinoiki Kekaulike Kawänanakoa. SUSTAINING SPONSOR: ‘Ölelo Community Media will broadcast Lei of Stars live on ‘Ölelo Channel 53. Inductee Background Information: Sonny Chillingworth: A master slack key guitarist whose first hit recording was in 1964 playing “Waimea Cowboy.” In the 1970’s with the Hawaiian Renaissance, Sonny became part of the Gabby Pahinui Hawaiian Band for both album recordings and live performances. During this time, Sonny also began to share his knowledge with the next generation such as George Kuo and Ozzie Kotani and many more who were influenced by his recordings. -
Stardigio Program List
STAR digio 100 チャンネル:473 HAWAII 放送日:2004/5/10~5/16 「番組案内(4時間サイクル)」 開始時刻:4:00~8:00~12:00~16:00~20:00~24:00~ 楽曲タイトル 演奏者名 ウクレレ親子競演 On a Coconut Island Ohta-San To Make You Love Me Kuuipo Ohta-San He Punahele No Oe Ohta-San My Tane Ohta-San Manuela Boy Ohta-San Dancing Under The Stars Ohta-San Mapuana Ohta-San LOVE SONG OF KALUA / カルアの恋唄 HERB OHTA "OHTA SAN", YUKI "ALANI" YAMAUCHI SOPHISTICATED HULA / 月の夜は Ohta-san "Herb Ohta" E MALIU MAI Ohta-san "Herb Ohta" HE'EIA HERB OHTA "OHTA SAN", YUKI "ALANI" YAMAUCHI SWEET SOMEONE Ohta-san "Herb Ohta" HE ALOHA NO O HONOLULU HERB OHTA, JR. HONOLULU CITY LIGHTS HERB OHTA, JR. PUA ANELA HERB OHTA, JR. 現代を生きるクム・フラ、フランク・ヒューイット KAUA'I HEMOLELE I KA MALIE KAWAIKAPUOKALANI HEWETT PUA MOKIHANA KAWAIKAPUOKALANI HEWETT KAULANA NI'IHAU KAWAIKAPUOKALANI HEWETT HANALEI IN THE MOONLIGHT KAWAIKAPUOKALANI HEWETT O KA HOLOLIO KAWAIKAPUOKALANI HEWETT LEI ANA NI'IHAU KAWAIKAPUOKALANI HEWETT NI'IHAU KA HEKE LA EA KAWAIKAPUOKALANI HEWETT Ola I Ka Poi FRANK KAWAIKAPUOKALANI HEWETT Ka La O Ka Haku FRANK KAWAIKAPUOKALANI HEWETT Ke Kuini O Na Pua FRANK KAWAIKAPUOKALANI HEWETT Kamehameha Nui FRANK KAWAIKAPUOKALANI HEWETT 'O 'Oe Ka Ua Kea O Hana FRANK KAWAIKAPUOKALANI HEWETT Ka Lehua Kea FRANK KAWAIKAPUOKALANI HEWETT Sweet Lahaina Night Kawaikapuokalani K. Hewett Lei Ana O Maui Kawaikapuokalani K. Hewett Lahaina Ku'u Home Kawaikapuokalani K. Hewett Kaulana Na Cowboy Kawaikapuokalani K. Hewett ハワイアン・スタンダード・ナンバー (再) Beyond the Reef Marlene Sai and the Invitations Waikiki Andy Cummings Keep Your Eyes on the Hands CHARLES KAIPO and HIS HAPPY HAWAIIANS HAWAIIAN WEDDING SONG Genoa Keawe & Gary Aiko Blue Hawaii BUDDY FO Hukilau CHARLES KAIPO and HIS HAPPY HAWAIIANS Lei Aloha, Lei Makamae BARNEY ISSACS & JERRY BYRD MY LITTLE GRASS SHACK Joe Keawe and his Harmony Hawaiians SWEET LEILANI Joe Keawe, Lei Momi Sweethearts & John K Almeida LITTLE BROWN GAL The Singing Surfriders ON THE BEACH AT WAIKIKI John K. -
The Steel Guitar from Hawaii to the Honkytonk
| January 2011 IN FOCUS COMMENTARY THE MEANING OF MUSIC country music honky-tonks, the steel guitar is both Making a Film about a Sound an electro-mechanical and sign-producing machine. This duality corresponds to the iconic and index- The Steel Guitar from Hawaii to the Honky-Tonk ical forms of musical signification that Feld describes: “Music is the most stylized social form iconically linked J H discrete object of modern contemplation, abstraction, to cultural production of local identity, and indexi- P U replication and commodification (Sterne 2003). Across cally linked to contexts and occasions of commu- the increasingly insulated “soundscape of modernity” nity participation” (1995). Emphasizing Bosavi sound- This essay refers to the author’s eight-and-a-half-minute from built spaces to individual listening, sound isola- scapes, he analyzes how resemblances between sound film sample at www.princeton.edu/~jhimpele/steelmovie/ tion diminishes exterior noise and interior reverbera- icons and their referents enable a “non-arbitrary” affili- anthronews.html. tions to enable capitalist production and consumption ation between them to be naturalized, in both senses to be carried out more efficiently (Thompson 2002). (1994). In Hawaiian soundscapes, the fluid and undu- Starting Points Rather than replicating or excluding these powerful lating sounds of steel guitars summon images of trop- The fluid twang of the steel guitar sound: You have forces and domains, our project situates the steel guitar ical beaches, leisure, tranquility and hula dancing. heard it in music ranging from Hawaiian to swing, from within them by using film as a single, but multisen- In country music, the pedal steel evokes rural land- folk to 1960s and 1970s pop, from country to rock, and sory and compound, representational form to index scapes where the steel guitar cries with a singer’s lone- in TV cartoons from Looney Tunes to liness or exhilaration. -
The Legend Inspires. the Promise Continues
THE KAHALA 2013-2014 VOL. 8, NO. 2 the legend inspires. the promise continues. December 2013-june 2014, VOL.8, NO.2 OAHKA_131200_AdsPlaced.indd 1 10/22/13 4:44:46 PM OAHKA_131200_AdsPlaced.indd 2 10/22/13 4:45:08 PM OAHKA_131200_AdsPlaced.indd 3 10/22/13 4:45:19 PM CONTENTS Volume 8, Number 2 Features 13 The Kahala Experience A memory lasts a lifetime. Guests and staff reminisce about their favorite moments, from celebrity encounters to family vacations, and what makes The Kahala special. 18 Five Decades of Aloha With its opening on January 22, 1964, The Kahala established itself as the epitome of style and comfort, from its mid-century modernist design to its celebrity-studded ON THE COVER guest list to its gracious hospitality—a reputation that has The Kahala celebrates its Golden Jubilee endured for 50 years. with effervescence. Story by Thelma Chang 30 A Majestic Soundscape The gentle strum of a slack-key guitar, a beautiful falsetto, a lilting ‘ukelele jam session—Hawaiian music in all its variety has taken center stage at The Kahala for 50 years. Story by Eliza Escaño-Vasquez ©SHUTTERSTOCK 4 OAHKA_131200_AdsPlaced.indd 5 10/22/13 4:45:34 PM CONTENTS Volume 8, Number 2 Features 36 Evolution of Hawaiian Cuisine From traditional filet Wellington to quick-fried ahi musubi to the hotel’s own Kahalasadas, The Kahala’s cuisine has not only kept pace with the Islands’ changing dining scene, but for much of the time has led it. Story by Mari Taketa Photography by Carin Krasner 42 The Architecture of Optimism The visionaries who designed the hotel created a building that epitomized the modernist aesthetic and the reach-for-the-sky optimism of mid-20th-century America.