Auntie Genoa Keawe Aloha to Aloha Grill Mp3, Flac, Wma

Total Page：16

File Type：pdf, Size：1020Kb

Auntie Genoa Keawe Aloha To Aloha Grill mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Folk, World, & Country Album: Aloha To Aloha Grill Country: US Style: Pacific MP3 version RAR size: 1816 mb FLAC version RAR size: 1608 mb WMA version RAR size: 1544 mb Rating: 4.7 Votes: 297 Other Formats: RA DXD AIFF AAC APE MMF AC3 Tracklist Hide Credits Maunaloa A1 –Genoa Keawe And Trio* Written-By – Helen Parker E Kuu Morning Dew A2 –Sam Aiko Written-By – Eddie Kamae, Larry Kimura* Hula Lolo A3 –Leilani*, Aggie*, Violet* Written-By – Augie Auld Chickadee A4 –Violet P. Lilikoi* Written-By – Melvin Paoa A5 –Genoa Keawe And Gary* E Maliu Mai Piha Hauoli A6 –Violet P. Lilikoi*, Genoa* & Pua Rogers Written-By – Halemanu Hawaiian Lullaby B1 –Pua Rogers Written-By – Hector Venegas, Peter Moon Hoonanea B2 –Genoa Keawe Written-By – Lena Machado Canadian Girl B3 –Sam Aiko Written-By – Al Nobriga Alika B4 –Genoa*, Pau* , & Violet* Written-By – Charles Kaapa –Genoa Keawe And Her Hawaiians With Friends Of Hawaii Aloha B5 Aloha Grill Written By – Lorenzo Lyons Companies, etc. Recorded By – Soundcraft Inc., Honolulu, Hawaii Credits Co-producer – Bob Nelson Design – Douglas Rankin Engineer – Brian Lester , Willy Martin Engineer [Assistant] – Billie Ann Sabala Liner Notes – Billie Ann Sabala Mastered By – Brian Lester , Willy Martin Mixed By – Brian Lester , Willy Martin Producer – Genoa Keawe Other versions Category Artist Title (Format) Label Category Country Year Auntie Genoa Aloha To Aloha Grill Genoa Keawe GKCD 108 GKCD 108 US Unknown Keawe* (CD, Album, RE) Records Related Music albums to Aloha To Aloha Grill by Auntie Genoa Keawe John K. Almeida And His Hawaiians / John K. Almeida With Genoa Keawe's Hula Maids - Hanohano Hanalei / Nani Kaala Julia Nui's Kamaainas With John Almeida's Hawaiians, Genoa Keawe With Julia Nui's Kamaainas - Hula Lolo / Ka Anoi Hula Gene Roland / Genoa Keawe & Her Hula Maids - Hawaiian Teenage Girl / There Goes Kealoha Genoa Keawe - Party Hulas Genoa Keawe And Her Hawaiians - Surf 'N Sand Under Hawaiian Skies Joe Keawe And The Lei Momi Sweethearts With John K. Almeida's Hawaiians / Genoa Keawe - My Yellow Ginger Lei / Maile Swing John K. Almeida With Genoa Keawe's Hula Maids / Benjamin Rogers - Hukilau / Steel Guitar "C" Jam Blues Genoa Keawe Et Son Groupe Folklorique - Hawaï, Ile De Rêve.

Copy Link

Recommended publications

Music and Identity Ofthe Cultural Renaissance of Hawai·I A
-022.\ CONNECT BACK TO DIS PIACE: Music and Identity ofthe Cultural Renaissance ofHawai·i A '!HESIS SUBMITTED TO '!HE GRADUATE DIVISION OF '!HE UNIVERSI1Y OF HAWAI·I IN PARTIAL FULFILLMENT OF '!HE REQUIREMENTS FOR '!HE DEGREE OF MASTER OF ARTS IN PACIFIC ISLAND STUDIES MAY 2005 By Andrea A Suzuki Thesis Conunittee: Kater1na Teaiwa. Chairperson George Teny Kanalu Young Jonathan K. 050110 Acknowledgements First and foremost I have to thank my parents. especIally Daddy MIke for the opJX>rtun1ties that they have gtven me and their sUpJX>rt gtven to my endeavors. I have to also thank Daddy Mitch for hIs sUPJX>rt and h1s stortes about "h1s days". I want to especIally thank my mom, an AM.A 1n her own rtght, for all ofher devoted time and sUPJX>rt. Secondly, I would l1ke to gIve my deepest thanks to Mel1nda Caroll wIthout whom th1s jOurney would have been a lot more d1ff1cult. Thankyou for your suggestions, your help, and your encouragement. I would also l1ke to thank my comm11tee, Katertna Tea1Wa, Kanalu Young, and John Osorto for their sUpJX>rt and theIr efforts 1n the completion ofth1s project. I'd l1ke to thank all ofthose that gave their time to me, tell1ng me their stortes. and allowtng me to share those stortes: Jeny Santos, Owana Salazar, Aunty CookIe, Uncle Cyr11. Hemy KapollO, John Demello. Gaylord Holomal1a, Keaum1k1 Akut. Peter Moon, and Joe Atpa. I'd l1ke to gIve my appreciation to the Pac1ftc Island StudIes Program that guIded me every' step ofthe way. F1nallly. I'd 11ke to thank all my frIends for their encouragement and tolerance ofmy 1nsan1ty, espec1ally Kamuela Andrade, for gJ.1nn1ng and beartng It and Kau1 for beIng my personal cheering section.
[Show full text]
09 1Bkrv.Donaghy.Pdf
book reviews 159 References Bickerton, Derek, and William H. Wilson. 1987. “Pidgin Hawaiian.” In Pidgin and Creole Lan- guages: Essays in Memory of John E. Reinecke, edited by Glenn G. Gilbert. Honolulu: Uni- versity of Hawai‘i Press. Drechsel, Emanuel J. 2014. Language Contact in the Early Colonial Pacific: Maritime Polynesian Pidgin before Pidgin English. Cambridge: Cambridge University Press. Massam, Diane. 2000. “VSO and VOS: Aspects of Niuean Word Order.” In The Syntax of Verb Initial Languages, 97–117. Edited by Andrew Carnie and Eithne Guilfoyle. Oxford: Oxford University Press. Roberts, [S.] J. M. 1995. “Pidgin Hawaiian: A Sociohistorical Study.” Journal of Pidgin and Creole Languages 10: 1–56. Amsterdam: John Benjamins Publishing. Romaine, Suzanne. 1988. Pidgin and Creole Languages. London: Longman. Hawaiian Music and Musicians (Ka Mele Hawai‘i A Me Ka Po‘e Mele): An Encyclopedic History, Second Edition. Edited by Dr. George S. Kanahele, revised and updated by John Berger. Honolulu: Mutual Publishing, 2012. xlix + 926 pp. Illus- trated. Appendix. Addendum. Index. $35.00 paper ‘Ōlelo Hō‘ulu‘ulu / Summary Ua puka maila ke pa‘i mua ‘ana o Hawaiian Music and Musicians ma ka MH 1979. ‘O ka hua ia o ka noi‘i lō‘ihi ma nā makahiki he nui na ke Kauka George S. Kanahele, ko The Hawaiian Music Foundation, a me nā kānaka ‘ē a‘e ho‘i he lehulehu. Ma ia puke nō i noelo piha mua ‘ia ai ka puolo Hawai‘i, me ka mana‘o, na ia puke nō e ho‘olako mai i ka nele o ka ‘ike pa‘a e pili ana i ka puolo Hawai‘i, kona mo‘olelo, kona mohala ‘ana a‘e, nā mea ho‘okani a pu‘ukani kaulana, a me nā kānaka kāko‘o pa‘a ma hope ona.
[Show full text]
Pacific Islands Program
/ '", ... it PACIFIC ISLANDS PROGRAM ! University of Hawaii j Miscellaneous Work Papers 1974:1 . BIBLIOGRAPHY OF HAWAIIAN LANGUAGE MATERIALS AT THE UNIVERSITY OF HAWAII, MANOA CAMPUS Second Printing, 1979 Photocopy, Summer 1986 ,i ~ Foreword Each year the Pacific Islands Program plans to duplicate inexpensively a few work papers whose contents appear to justify a wider distribution than that of classroom contact or intra-University circulation. For the most part, they will consist of student papers submitted in academic courses and which, in their respective ways, represent a contribution to existing knowledge of the Pacific. Their subjects will be as varied as is the multi-disciplinary interests of the Program and the wealth of cooperation received from the many Pacific-interested members of the University faculty and the cooperating com munity. Pacific Islands Program Room 5, George Hall Annex 8 University of Hawaii • PRELIMINARY / BIBLIOGRAPHY OF HAWAIIAN LANGUAGE MATERIALS AT THE UNIVERSITY OF HAWAII, MANOA CAMPUS Compiled by Nancy Jane Morris Verna H. F. Young Kehau Kahapea Velda Yamanaka , . • Revised 1974 Second Printing, 1979 PREFACE The Hawaiian Collection of the University of Hawaii Library is perhaps the world's largest, numbering more than 50,000 volumes. As students of the Hawaiian language, we have a particular interest in the Hawaiian language texts in the Collection. Up to now, however, there has been no single master list or file through which to gain access to all the Hawaiian language materials. This is an attempt to provide such list. We culled the bibliographical information from the Hawaiian Collection Catalog and the Library she1flists. We attempted to gather together all available materials in the Hawaiian language, on all subjects, whether imprinted on paper or microfilm, on tape or phonodisc.
[Show full text]
Puana 'Ia Me Ka 'Oko'a: a Comparative Analysis of Hawaiian
Vol. 5 (2011), pp. 107-133 http://nflrc.hawaii.edu/ldc/ http://hdl.handle.net/10125/4494 Puana ‘Ia me ka ‘Oko‘a: A Comparative Analysis of Hawaiian Language Pronunciation as Spoken and Sung Joseph Keola Donaghy University of Hawai‘i at Hilo and University of Otago, New Zealand In this paper I argue that the differences between spoken Hawaiian and vocal perfor- mance of western-influenced “traditional” Hawaiian music are representative of the linguistic diversity found within the Hawaiian language. It contains a comparative analysis of Hawaiian Language Pronunciation as Spoken and Sung, using transcriptions of recorded examples by John Kameaaloha Almeida, a native speaker of the Hawaiian language and a prominent composer, singer, and instrumentalist. It will provide a pho- nemic analysis of notable and predictable variations heard in Hawaiian language vocal performances that are not heard in spoken Hawaiian. Further, it will show that rhythmic arrangement of morae over strong beats in the musical measure is largely analogous to accent in spoken Hawaiian, with some predictable exceptions. The paper also documents how, during his vocal performance, Almeida added three non-lexical vocables not heard in spoken Hawaiian. I argue that these characteristics and variation are indicative of the linguistic diversity found within the Hawaiian language and, as such, are worthy of the same attention and scholarly scrutiny as spoken Hawaiian. The second goal of this applied research is to present the results in a manner that is accessible to practitioners of Hawaiian language performance. 1. INTRODUCTION.1 One day during my time as an undergraduate student in the Hawaiian Studies program at the University of Hawai‘i at Hilo, I was listening to a record- ing of Rev.
[Show full text]
Ka Wai Ola O
I College Scholarships for Native Hawaiians VOLUME 14, NUMBER ii, U/ater NOWEMAPA(NOVEMBER) 1997 Scholarship money is available for native Hawaiians to attend college within the state of Hawai'i. Qualifying institutions include the University of Hawai'i system (Manoa, Hilo, West O'ahu and community colleges), H awai'i Pacific University, Chaminade University and Brigham Young University-Hawai'i. General eligibility requirements * .:. Hawaiian descent .:. Hawai'i resident (required for some scholarships) .:. Satisfactory academic performance .:. Classified full-time enrollment in an eligible post-high institution *Various other eligibility requirements may apply to individual scholarships. Apply for 1998-99 Deadline for receipt of applications is March 1, 1998. Applications available beginning January 1998 from the KSBE Financial Aid Office, 1887 Makuakane Street, Honolulu, Hawai'i 96817. For more information, please call 842-8216. (f) KAMEHAMEHA S CHOOLS BERNICE PAUAHI BISHOP ESTATE KSBE's policy to give preference to Hawaiians as permitted by law has been ruled non-discriminatory by the IRS. Ka Wai Ola 0 OHA, Office of Hawaiian Affairs 711 Kapi'olani Blvd., Suite 500 Honolulu, Hawai'i 96813-5249 "Beloved 'elders Hawai'i" OHA honors kupuna, the foundation of our lahuL VOLUME 14, NUMBER 11, NOWEMAPA (NOVEMBER) 1997 ... REORGA OHA board changes leadership, makes call for inclusiveness approachable, to be fair and careful about how we "Let there be no mistake," said DeSoto, as her eyes B y Ryan M. M i elke approach our responsibilities - so that our people will scanned the board room, "the Office of Hawaiian Affairs A new leadership was ushered in at the Office of not be at the table begging while we spend extraordinari- will be ready for the challenges and the opportunities that Hawaiian Affairs Oct.
[Show full text]
Waikiki Wiki-Wiki Wire
Volume VII, No. 18 Waikiki Improvement Association May 4, 2006 — May 11, 2006 Waikiki Wiki-Wiki Wire Waikiki by Moonlight — Vintage Meets Vogue In the summer of 2005 the Waikiki Improvement hula of Ka Leo O Laka I Ka Association began a journey. WIA sought a way to Hikina O Ka La , led by Kumu present Waikiki to both visitors and residents in all Hula Kaleo Trinidad. her glory, an event that would portray the Following that tribute to the uniqueness of the host culture as well as the beauty ancient foundations of and history of this unique place. Through the Hawaiian culture, the generous contributions of key members and the audience will be treated to tireless efforts of their staff, as well as WIA’s friends the classic styling of the one and associates, that journey ends on Friday, May and only Aunty Genoa 12th, with the arrival of Waikiki’s new signature Keawe & Kupuna Halau. event, Waikiki by Moonlight — Vintage Meets From there we take a break Vogue! from music and dance to view the Vintage Meets Under the nearly full moon of a tropical night, Henry Kapono Kalakaua Avenue near the Duke Kahanamoku Vogue Fashion Show statue will become a place of music, dance, cuisine presented by Hilo Hattie. and fashion. Gifted entertainers, top-flight chefs, Thereafter, the live music picks up again as Jeff and contemporary fashion Apaka pays tribute to the great star of the 40’s, leaders will all use there Alfred Apaka. Henry Kapono brings us up through immense talents to pay that heyday of the baby boomer generation, the tribute to the bygone eras of 70’s.
[Show full text]
5 MB HSFCA Annual Report for FY 2003-2004
HAWAI‘I STATE FOUNDATION ON CULTURE AND THE ARTS Annual Report Fiscal Year 2003-2004 The Hawai‘i State Foundation on Culture and the Arts mission is to promote, perpetuate, preserve and encourage culture and the arts, history and the humanities as central to the quality of life of the people of Hawai‘i. The Hawai‘i State Foundation on Culture and the Arts (HSFCA) was founded in 1965 as the official arts agency of the State of Hawai‘i. The HSFCA stimulates, guides, and promotes culture, the arts, history, and the humanities throughout the state. The HSFCA office is on the second floor of the historic No. 1 Capitol District Building at 250 South Hotel Street in downtown Honolulu, just Ewa of the Capitol Building. This building is also the home of the Hawai‘i State Art Museum which opened on November 1, 2002. The HSFCA, through its programs, offers biennium grants to support funding for projects that preserve and further culture, the arts, history, and the humanities; administers a public visual arts program for state public places; conducts an apprenticeship program to perpetuate folk traditions; grants fellowships to encourage artists; collaborates with organizations and educational institutions on arts in education projects; conducts workshops; and provides staff resource assistance. The HSFCA Commission is composed of nine members, each appointed by the Governor of Hawai‘i for a four-year term according to Section 9-2 (b), Hawai‘i Revised Statutes. From these members, who serve without compensation, the Governor appoints a chairperson. The HSFCA is a part of the Executive Branch of the State of Hawai‘i and is attached to the Department of Accounting and General Services for administrative purposes.
[Show full text]
DOCUMENT RESUME ED 262 131 UD 024 468 TITLE Hawaiian
DOCUMENT RESUME ED 262 131 UD 024 468 TITLE Hawaiian Studies Curriculum Guide. Grade 3. INSTITUTION Hawaii State Dept. of Education, Honolulu. Office of Instructional Services. PUB DATE Jan 85 NOTE 517p.; For the Curriculum Guides for Grades K-1, 2, and 4, see UD 024 466-467, and ED 255 597. PUB TYPE Guides - Classroom Use - Guides (For Teachers) (052) EDRS PRICE MF02/PC21 Plus Postage. DESCRIPTORS *Cultural Awareness; *Cultural Education; Elementary Education; *Environmental Education; Geography; *Grade 3; *Hawaiian; Hawaiians; Instructional Materials; *Learning Activities; Pacific Americans IDENTIFIERS *Hawaii ABSTRACT This curriculum guide suggests activities and educational experiences within a Hawaiian cultural context for Grade 3 students in Hawaiian schools. First, an introduction discussesthe contents of the guide; the relationship of classroom teacher and the kupuna (Hawaiian-speaking elder); the identification and scheduling of Kupunas; and how to use the guide. The remainder of thetext is divided into two major units. Each is preceded byan overview which outlines the subject areas into which Hawaiian Studies instructionis integrated; the emphases or major lesson topics takenup within each subject area; the learning objectives addressed by the instructional activities; and a key to the unit's appendices, which provide cultural information to supplement the activities. Unit I focuseson the location of Hawaii as one of the many groups of islands in the Pacific Ocean. The learning activities suggestedare intended to teach children about place names, flora and fauna,songs, and historical facts about their community, so that they learnto formulate generalizations about location, adaptation, utilization, and conservation of their Hawaiian environment. Unit II presents activities which immerse children in the study of diverse urban and rural communities in Hawaii.
[Show full text]
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.
[Show full text]
Hawaii Stories of Change Kokua Hawaii Oral History Project
Hawaii Stories of Change Kokua Hawaii Oral History Project Gary T. Kubota Hawaii Stories of Change Kokua Hawaii Oral History Project Gary T. Kubota Hawaii Stories of Change Kokua Hawaii Oral History Project by Gary T. Kubota Copyright © 2018, Stories of Change – Kokua Hawaii Oral History Project The Kokua Hawaii Oral History interviews are the property of the Kokua Hawaii Oral History Project, and are published with the permission of the interviewees for scholarly and educational purposes as determined by Kokua Hawaii Oral History Project. This material shall not be used for commercial purposes without the express written consent of the Kokua Hawaii Oral History Project. With brief quotations and proper attribution, and other uses as permitted under U.S. copyright law are allowed. Otherwise, all rights are reserved. For permission to reproduce any content, please contact Gary T. Kubota at [email protected] or Lawrence Kamakawiwoole at [email protected]. Cover photo: The cover photograph was taken by Ed Greevy at the Hawaii State Capitol in 1971. ISBN 978-0-9799467-2-1 Table of Contents Foreword by Larry Kamakawiwoole ................................... 3 George Cooper. 5 Gov. John Waihee. 9 Edwina Moanikeala Akaka ......................................... 18 Raymond Catania ................................................ 29 Lori Treschuk. 46 Mary Whang Choy ............................................... 52 Clyde Maurice Kalani Ohelo ........................................ 67 Wallace Fukunaga ..............................................
[Show full text]
Waikiki Hula Conference
Volume VIII, No. 47 Waikīkī Improvement Association Nov 22, 2007 — Nov 29, 2007 Waikīkī Wiki Wiki Wire Inaugural International Waikīkī Hula Conference a success! The Inaugural International Waikīkī Hula songwriting, philosophy and implement-making. Conference concluded at the Hawaii Convention Nine ho'ike (recital) hula shows were presented Center this past weekend, November 15~17. The around Waikīkī at sponsor hotels and shopping theme of the conference was "Hula in the land of its centers. birth." Approximately 550 hula practitioners and Opening ceremonies on the first day began aficionados attended the conference. Approximately auspiciously with a blessing by master chanter 330 traveled from Japan. The remainder were from Kaupena Wong, and included a welcome by Mayor Hawaii (including neighbor islands), mainland U.S., Hannemann, Waikīkī Improvement Association's Polynesia, Europe, and S. America. Eric Masutomi and Rick Egged, hula by Nalani Over three days, 35 kumu hula and teachers Keale and Hālau Kaulakahi Hawaii, and concluded presented a total of 80 workshops on hula and with a musical tribute to King David Kalakaua and hula-related topics, including Hawaiian language, his composer siblings — Na Lani Eha — by Kuuipo Kumukahi and the Hawaiian Music Hall of Fame Serenaders. Maile Loo of the Hula Preservation Society ( www.hulapreservation.org) presented four special events in the lecture section, which featured noted elders Nona Beamer, Joan Lindsey, George Naope, Queenie Ventura Dowsett, Kent Ghirard and the Hula Nani Girls, as well as Tip Davis' film on 'Iolani Luahine. The final night featured a concert celebration by the sea, under the stars, at the Kuhio Beach Hula Mound.
[Show full text]
Mormon Influences on the Waikiki Entertainment Scene
Mormon Influences on the Waikīkī Entertainment Scene by Ishmael W. Stagner, II Before we can discuss the influence of Mormon Hawaiians on the Waikīkī music scene, we need to understand a few things about the development of Hawaiian music and its relationship to things developing in Waikīkī. It is normally thought that the apex of Hawaiian entertaining is being able to entertain on a steady basis in a Waikīkī showroom, or venue. However, this has not always been the case, especially as this relates to the Waikīkī experience. In fact, we need to go back only to the post World War II period to see that entertaining in Waikīkī, especially on a steady basis, was both rare and limited to a very few selected entertainers, most of whom, surprisingly, were not Hawaiian. There were a number of reasons for this, but the main reason for the scarcity of Hawaiian, or Polynesian entertainers in Waikīkī in any great number, goes back to the history of Waikīkī itself. At the turn of the 20th century, Waikīkī was still mostly a swamp, filled with taro patches, rice paddies and fish ponds. We have only to look at the pictures of Ray Jerome Baker, the great photographer of early 20th century Honolulu, to see that Waikīkī was, first and foremost, a bread basket area whose lowlands were the delta areas for the run-off waters of Mānoa, Pauoa, and Pālolo streams. As such, Waikīkī fed much of what we call East Oahu, and rivaled the food production and water-storage capacities of better-known farming areas such as Kāne‘ohe, Kahalu‘u and Waiāhole.
[Show full text]