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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. -
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. -
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. -
Ka Wai Ola O
Preschoolers learn by playing. That's why Kamehameha Schools Bishop Estate's Traveling Preschools take a wide variety of developmentally balanced activities to more than 30 parks and other gathering places in neighborhoods statewide. Kids have fun while they develop some important skills. At each site, for two hours a day twice weekly, grass mats become learning stations where two- and three-year-olds can do fun things like paint, stack blocks, sort colors and shapes. Play. And learn. ' Learn how much fun learning can be. Call 842-8462 for more information on Kamehameha Traveling Preschools and the other services offered as part of the Kamehameha Schools Bernice Pauahi Bishop E tate Pre-kindergarten Educational Program. KAMEHAMEHA SCHOOLS B ERNICE PAUAHI B1 SHOP ESTATE Ka Wai Ola 0 OHA BULK RATE OFFICE OF HAWAIIAN AFFAIRS U.S. POSTAGE PAID 711 Kapi'olani Blvd., Suite 500 Honolulu, Hawai'i Honolulu, Hawai'i 96813-5249 Permit No. 298 Ke'anae loan fund Na Koa live recipient an early Hawaiian tradi- Roots" video · participant in suc- tions and strive for teaches about tra- ; cessful loan fund lokabi. ditional rural val- program. ues. pages 1()'1l page 12 page 20 OFFICE OF HAWAIIAN AFFAIRS Volume lune Eleven, (June) Number 1994 Six a al• la 66TH E LIVING WATER OF OHA " It's a wrap Legislature finishes on mixed note for Hawaiians by Patrick Johnston The 1994 Legislature wrapped up it bu ine s May 2, passing some important bill for Hawaiian . rejecting many other, and, in the confu- sion of the final da , nearly forgetting to sign legislation critical for the cleanup of Kaho'olawe. -
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. -
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. -
'The Role of Hawaiian Guitar in the Present Context of Hindustani
KARNATAK UNIVERSITY DHARWAD ‘The Role of Hawaiian Guitar in the Present Context of Hindustani Classical Music – A Practical Analysis’ A thesis submitted to the Karnatak University, Dharwad for the award of the degree of ‘Doctor of Philosophy’ in performing arts Research Student PRAKASH SONTAKKE Research Guide Dr. Smt. MEERA SHIVSHANKAR GUNDI Associate Professor (Retd.) MA Sangeetha & Phd P G Department of Music and Fine Arts Karnatak University, Dharwad January 2015 Sculpture depicting Lord Ganesha playing the ancient Indian slide veena CONTENTS Acknowledgments ................................................................................................................................ vi Certificate ............................................................................................................................................ ix Declaration ........................................................................................................................................... x Introduction .......................................................................................................................................... 1 1. The Hawaiian Guitar .................................................................................................................. 11 1.1. The History of the Hawaiian Guitar .................................................................................. 11 1.2. The Development of the Hawaiian Guitar as a Main Instrument ..................................... 15 1.2.1. Arrival of the Electric -
Films About the Pacific Islands
A GUIDE TO 'FILMS ABOUT THE PACIFIC ISLANDS Compiled by Judith D. Hamnett Workinl Paper Series Pacific bland. Studies Pro,ram Center for A.ian and Pacific Studies Univeraity of Hawaii at Manoa This guide to films about the Pacific was developed out of a sense that such an item was sorely needed. The chore took longer than anticipated, and it was completed only with a major effort and considerable patience on the part of Ms. Judith D. Hamnett. We intend to update the guide periodically, and we urge readers to pay special attention to the last paragraph of Ms. Hamnett's introduction. New items, corrections, and other relevant information received from readers will be incorporated into future editions. We intend to keep the guide in print and available for the asking, and such input will be appreciated and help improve its quality. Robert C. Kiste, Director Pacific Islands Studies Program Center for Asian and Pacific Studies University of Hawaii at Manoa Honolulu, Hawaii A GUIDE TO FILMS ABOUT THE PACIFIC ISLANDS Compiled by Judith D. Hamnett Pacific Islands Studies Program University of Hawaii 1986 TABLE OF CONTENTS Introduction. • • • • • • • • • • • • • • • • • • • Lending Collections ••••••••••••••••• 3 Abbreviations Used for Producers/Distributors •••• 8 Section I.: Films and Videocassettes about the Pacific Islands, Excluding Hawaii ••••••• 14 Section II. Films and Videocassettes about Hawaii ••• . • • • 59 Section III. Films about the Pacific Islands Available Outside of the U.S •••••••••••• 110 1 A GUIDE TO FILMS ABOUT THE PACIFIC ISLANDS INTRODUCTION This gUide to films about the Pacific Islands was prepared during the summers of 1985 and 1986. During that period a number of important films were added to the University of Hawaii's film collection and are included here. -
Section Viii
Dancing Cat Records Hawaiian Slack Key Information Booklet, SECTION VIII: ACKNOWLEDGMENTS AND ADDENDUM 1. For information about the tuning of a song that is not listed, or any other questions, you can e-mail Dancing Cat at [email protected], or write to Dancing Cat Productions, P.O. Box 4287, Santa Cruz, California, USA, 95063, attn: Dept. SKQ, and we will try to help. 2. Dancing Cat Records plans to produce more solo guitar based Slack Key recordings of the late Sonny Chillingworth, Ray Kane, the late Leonard Kwan, Keola Beamer, Led Kaapana, Cyril Pahinui, George Kuo, Ozzie Kotani, Bla Pahinui, Martin Pahinui, George Kahumoku, Jr., Moses Kahumoku, Cindy Combs, Malaki Kanahele, and Patrick Cockett, and others. Also planned are more recordings of pure duets of Slack Key guitar with acoustic steel guitar, including the late Barney Isaacs playing acoustic steel guitar duets with Slack Key guitarists George Kuo, Led Kaapana, and Cyril Pahinui; and Bob Brozman on acoustic steel with Led Kaapana and with Cyril Pahinui. 3. Mahalo nui loa (special thanks) to the following people who contributed in many various ways to make this information booklet possible: Leimomi Akana, Carlos Andrade, Haunani Apoliona, Kapono Beamer, Keola & Moanalani Beamer, Nona Beamer, Kapono Beamer, Reggie Berdon, Milan Bertosa, the late Lawrence Brown, Bob Brozman, Kiki Carmillos, Walter Carvalho, the late Sonny Chillingworth, Mahina Chillingworth, Patrick Cockett, Cindy Combs, Michael Cord, Jack DeMello, Jon DeMello, Cathy Econom, Ken Emerson, Heather Gray, the late Dave Guard, Gretchen Guard, Gary Haleamau, Uluwehi Guerrero, Keith Haugen, Tony & Robyn Hugar, the late Leland “Atta” Isaacs, Jr., the late Barney Isaacs & Cookie Isaacs, Barney Boy Isaacs, the late Winola Isaacs, Wayne Jacintho, Howard Johnston, J.