Mini-musings

A’ole Pilikia?!?!

Nico — Thu, 12 Jan 2012 06:54:00 +0000

The City & County of Honolulu passed Bill 54 in order to make it illegal to store personal property on public thoroughfares and in public spaces like parks. Unfortunately, Bill 54 does nothing to combat Oahu’s illegal dumping issues and ridiculous amounts of bulky items waste that accumulate without attention. Unlike the homeless who cart their loot from place to place, illegal dumpers trash neighborhoods and are never held accountable. Not only is this particular dumpsite a nasty eyesore right by H-1 (Hey there APEC delegates and tourists!) but it’s a health hazard.

Dear Reader, you’ve been spared a picture of three maggot-infested dead rats that are now a part of the pothole-riddled roadway. I called my councilman as well as the Dead Animal Pick-up line and yet I still see these nasty bits every day. Now my neighborhood must wait for the bacteria and fungi to breakdown these dead’uns…

There was a time when I thought a mouse or a rat gave me street cred as a city slicker.

The answer that some folks have given me is, “Well this isn’t Kahala.” And they’re right: It’s Kalihi. However I would not deign to believe that my neighborhood deserves rats, trash, and maggots strewn about.

There are little kids in my ‘hood too poor for rubbah slippahs.

Ars Gratia Artis

Nico — Tue, 10 Jan 2012 21:59:21 +0000

Yesterday while biding my time before a board meeting I decided to stop by one of my favorite gallery-tiques (<–coined just now for gallery/boutiques) called hi (shortform for “human imagination”). Every First Friday, creative director and founder of hi, Rhandy Tambio displays handpicked artwork on his linen white walls. This month’s showcase features bold portraits sketched-n-etched by the students from Kawananakoa Middle School. The inspiration was simply to answer: Who is your role model?

Two things impressed me:

1) I was impressed by Rhandy Tambio’s chutzpah to provide the wall space for these incredible sketches. By giving a public forum to these students, Tambio reinforces the fact that innate creative talent can translate beyond notebook doodles and scrawls under the freeway. My own baby cousin is a burgeoning graphic artist with a taste for street art, but his school has done little to nurture and hone his skills into what could become a viable career in graphic design. However budget cuts to arts education probably means that his teachers have no idea what he can create. What a shame considering that the State of Hawaii wants to diversify our output with a push towards the creative industries.

2) After a brief chitchat with a hi employee, I learned that Rhandy’s brother Ojay is the “teach” who led his students to a new level of imaginative learning. What we have here is a perfect example of what education should really be: creative, engaging, and expressive. This hearkens back to the early 1930s Japanese pedagogy of Tsunesaburo Makiguchi, an educator who developed theories on soka, or the creation of value, the happiness of the individual, the prosperity of society at large, and their interrelationships in practice. How apropos that the Tambio brothers used their human imagination to create an impactful experience for the students at Kawananakoa Middle School.

From Abe Lincoln to Skrillex, each portrait gives a glimpse into the life of the role model and, more importantly, the student. As I gazed upon each sketch, I found myself imagining what that student-artist might be like and why he or she chose the role model before me. Then came the reflexive: Who is my role model?

Ah, the power of ars gratia artis.

We are The Descendants

Nico — Wed, 28 Dec 2011 15:10:06 +0000

I’m writing this personal assessment of Alexander Payne’s “The Descendants” knowing that I will evoke the same brand of local provincialism that I’ve eschewed upon my return home to Honolulu after a stint on the East Coast. In the summer of 2004, during a celebration of my high school graduation, my tutu’s sister took me aside, looked me dead in the eyes and said, “Never forget who you are and where you are from.” At the time, I refused to believe that 18 years of island upbringing had produced the final portrait of the person I would be for the rest of my life. This can’t be it, I thought. So I left for college in New Jersey followed by a ten-year plan in New York. However my ten-year plan had eight years hacked off and all of a sudden I found myself back in Honolulu emotionally marooned in familiar surroundings. As would please my tutu’s sister, my reaction to “The Descendants” stems from my kama’aina upbringing, family ties, and relationship with this placed called Hawai’i. Still, I hope these homegrown insights will illuminate emotions so expertly conveyed in cinema that the palette of Paradise pales against the color-wheel of our basic human condition.

“Just saw The Descendants. Thought of you. Greek pathos. I understand you better now,” read a text from a San Franciscan friend whose unspoken praise of Payne’s life-like rendering sparked my curiosity as well as my suspicions. After all, the canon of Made-in-Hawaii films includes such titles as “Blue Crush” (which I care not to see) and “Forgetting Sarah Marshall” (which I enjoyed). Still, the words “I understand you better now” warranted my attention so I decided to investigate.

Could the slick Danny Ocean ever be a convincing kama’aina attorney named Matt King?

Trained to never waste a New York minute on sub-standard anything, I cross-referenced movie reviews from various sources including, but not limited to, the New York Times, The Wall Street Journal, and the ever-accurate Rotten Tomatoes. Save for a few dissenters on Clooney’s hype, each review glowed like a mahealani moon across the water. “If there’s something fundamentally wrong with The Descendants, I can’t find it,” said Peter Travers of Rolling Stone. Even the Stone is convinced?! Perhaps my friend’s enthusiasm for the film went beyond his personal zeal for the work of his fellow Greek (Payne is the Anglicized version of Papadopoulos).

I learned that an unpublished manuscript by a Hawaii-expatriate named Kaui Hart Hemmings rolled across the desk of Payne’s producing partner who quickly passed the gemstone along to his friend. Initially limiting his role to that of producer, Payne eventually decided to adapt and direct the film, a pleasant surprise for Hollywood given the seven-year pau hana since “Sideways.” I vowed to see the movie for the sake of Payne’s craftsmanship and decided that I could overlook the need for local accuracy in the name of entertainment.

While waiting for the opening date in Honolulu, I received a slew of texts, emails, and Facebook messages from friends fortunate to live in major cities graced with early openings of the film. To my surprise, all were pleased with the storytelling.

When the movie finally opened, my island living got in the way. The hours that needed to be “put in” at the day job. The myriad of “soul” projects requiring slow and steady progress during the off-hours. The LAX-style traffic. The quality time with my only living grandparent and sporadic moments with my sister when she wasn’t working. The semblance of a social life when not asleep. The attempt, albeit feeble, to assist with various household duties including the kitty litter dedicated to the cats whom I often forget to pet. The occasional consideration of uprooting to the Bay Area.

Then on a Tuesday, a friend asked if I wanted to see the film that evening after work. Normally, I decline any weekday activities that might cause me to snooze past my 5AM alarm. However, I knew that if I didn’t go that evening, I would never see the film. So off we went.

Wow.

The attention to detail, buttressed by a close working relationship between Payne and Hemmings, delivered one of the most connective viewer experiences I’ve ever had with a film. A high school friend living in Seattle described the film as “the most true-to-real-Hawai’i major motion pictures,” and I had to agree. Payne showed island life as I’ve know it. In one scene, Matt King takes his youngest daughter Scottie to a classmate’s home to apologize for a social infraction. Though I’ve never been to that particular home, I’ve been to one just like it: the lived-in home of a local Japanese family with a host of modern electronics contrasted by traditional Japanese art on the wall and furniture from another era. In another scene, King frantically races to a friend’s home and although he is distracted by the breaking news of his wife’s infidelity, Payne made sure King removed his rubbah slippahs before entering the house. Then there was the ‘umeke bowl used to capture the votes of King’s family members regarding the entrusted land. Central to island life, gatherings of family and friends were aptly portrayed as events grounded by an abundance of food. So true to life, even the Kama’aina Pest Control truck made a cameo. While non-locals might’ve marveled at the pidgin used sparingly or delighted in the way Aloha attire makes our downtown Honolulu business district look like a box of colorful jimmies, I simply sat back and watched my life on the big screen.

As a moviegoer, I appreciated Payne’s artful balancing act between realism and subdued satire, allowing me to laugh at Sid, the Punahou stoner kid (which some pals from Iolani School made sure to point out to me), while empathizing with Alex, King’s eldest daughter, on the truths of having a grandmother with dementia. As an audiophile, I relished the musical selections that trimmed each scene with its own flavor. One of my favorite moments paired the jovial yodel of a local three-piece band in contrast to the wrenching realization that King’s affairs with the family land and his wife’s historical infidelity were oddly intertwined. The take-home message: The islands really are that small. I laughed and I listened.

I even cried.

…though not during those typical moments when one might expect to well up, but during a scene when a cousin takes King and his daughters to view the family’s vast tract of unspoilt land up for sale. While King and family gaze upon the panorama of mountainous verdancy that pours into the ocean blue, Alex comments that she and her mother used to camp down there on the sandy strip of beach. King’s cousin slings a few lines about a potential buyer’s plans to build a golf course, a luxury hotel, and probably a shopping mall. Concerned that she might be missing out, Scottie pleads, “I want to camp there!” And there it was:

Silent but steadfast, the land itself brought forth an examination of the past, the present, and the future—a blank psychological canvas that cued a curious turn inward. What to do?

Without oversimplifying, King’s dilemma is something of a standard conversation across various industries in Hawai’i. Do we develop? Do we preserve? Do we innovate? Is this an improvement? An impediment? What do we have to gain? What do we have to lose? To really lose? What is the right choice? Local fatalists might scoff and say that those with real power the likes of Matt King are not asking such questions. If the naysayers are correct, then I say we have a serious problem.

When I moved back to Hawai’i in October 2010, I lamented that almost nothing had changed. Sure, two periodicals were merged into one newspaper and a favorite Mexican restaurant named Compadres had evaporated some time before. Chinatown came as the biggest surprise with its bar scene, enclave of hipsters, and minute roster of scenesters. “Hawaii has…#hipsters?” I tweeted to a friend. I never imagined flannel and skinny jeans on Hotel Street, which is noticeably devoid of tranny hookers these days.

In those first few months back, I yearned —nay, I ached— for a life elsewhere. I missed the energy of the Lower East Side, the plethora of museums, the glut of galleries, the insta-runway on the streets and, most of all, my healthy consumption of live music concerts. I also missed the existence of a mass transit system that wasn’t socially demoted to be “just for homeless people,” as expressed by some local folks. “How will you survive without a car?!” everyone asked. It seemed to me that Hawai’i was still on Hawaiian time, years behind other U.S. cities and, most certainly, the world’s metropolises.

In some respects, it is accurate to say that Hawai’i is a few years behind other locales. However, I was wrong to say that Hawai’i isn’t changing. After a gig with the Finance Committee of the Hawai’i State House of Representatives, I realized that Hawai’i is currently on a unique pivot point turning, albeit slowly, towards its future. Mandates for more sustainable utilities portfolios, renewable energy startups, plans for expansion at the new-ish medical school, the State’s first-ever elected Board of Education, buzzings about turning agricultural land into developments, and a bulbous contract between the City & County of Honolulu and an Italian firm for a steel-on-steel rail system. These represent just a few of the seedlings planted over the last few years.

As a young modern state, Hawai’i is like Matt King in that early scene standing on the precipice of the present, looking out towards the future. Unlike the fate of King’s family land, Hawai’i’s future will be largely determined by institutions: the Government, the Private sector, the Public sector, and the People. It’s easy to hide within an institution and invoke the typical local ethos that “If can, can. If no can, no can.” One thing I’ve relearned during my time at home is that few people present new thinking against the grain of conventional views because it is considered unbecoming and will likely put one in direct conflict with a cousin’s mother-in-law’s best friend’s nephew (we laugh at the concept of six-degrees of separation here). Given the co-dependence inherent to island living, every decision made by our institutions has and will affect every single one of us living here.

However we forget that every institution is comprised of individuals and, as pointed out in the film, Hawai’i’s institutions are intricate tapestries woven together by business relationships, friendships, and family ties—categories that span generations and merge often. Through the story of Matt King, Payne and Hemmings remind us that life is rarely easy and that our decisions often hold greater implications than we could ever imagine. This film brought on my genuine consideration that perhaps Hawai’i doesn’t need to alter itself so drastically. Given that I’ve spent the last year thinking about how Hawai’i needs to change, I was arrested by the latter realization. Yet change is inevitable whether by nature or by statute, thus we are presented with the opportunity to make Hawai’i the very best Hawai’i it can be. But what is “the very best Hawai’i”?

I don’t know.

Watching Matt King contemplate the future as personified by the land before him reminds us that it is on the level of the individual that we make the most important decisions of all. We are reminded that we are the descendants of our own decisions.

Are you satisfied?

Not all men are created equal

Nico — Mon, 19 Dec 2011 05:36:00 +0000

Whoa! Don’t freak out.

I’m talking about gingerbread men. I prepared the cookies in advance yesterday and then ice-iced (baby) these gents. Some of them came out looking sharper than their compatriates. Truth be told, I enjoy baking holiday cookies not because I like eating them (though I do, trust), but because I like giving them to friends and family (that is if my family doesn’t eat them all first! Love!). Though disappointed in her life choices, I did use a Martha Stewart recipe. A Nico-approved recipe for Royal Icing is below.

Royal Icing
1 egg white
1 cup confectioner’s sugar
1/4 tsp. Cream of Tartar

Whip ingredients in a medium bowl with electric mixer on low. Then crank it up to a medium speed. Mix ingredients until smooth, shiny, and viscous.

*Nico-note: use food coloring as desired.

Young expatriates hold key to building a better Hawaii

Nico — Mon, 19 Dec 2011 04:48:56 +0000

Below is an article graciously written by David Shapiro, a sharp journalist at the Honolulu Star-Advertiser. This all came about because I emailed Mr. Shapiro to get his thoughts on the Brain Drain after having read one of his quips about young people being one of Hawaii’s largest exports; I knew he would have an opinion. After a brief email exchange, he sent me one last email that read, ”I directed some attention toward you and your issue in my column in tomorrow’s paper. Go get ‘em.” I certainly did not expect this but I’m stoked and I am very appreciative of Mr. Shapiro’s support. Though partially a shameless shoutout , this is also a call to ACTION for the young and young at heart.

p.s. I should mention that I don’t think that only expatriates or the young people “hold the key.” You don’t have to actually leave Hawaii in order to make a difference. You also don’t need to be fresh out of college. However, you do have to care enough to build a better Hawaii. To “care” is a non-negotiable regardless if you left, stayed, moved for the first time, or returned.

p.p.s. The comments from the online version are also included. Quite interesting. Some inspiring. Some provincial. All important to consider.

______________________________

Young expatriates hold key to building a better Hawaii

By David Shapiro

POSTED: 01:30 a.m. HST, Oct 26, 2011

The future belongs to the young, and I’m always encouraged to see them grab for it in our island society in which the old jealously cling to most of the power.

Which is why I was happy to get an email from Nicole Velasco, a Kalihi product and 2008 Princeton graduate, trying to rekindle a discussion about Hawaii’s brain drain — the exodus of some of our brightest young talent to the mainland for better career opportunities and a higher standard of living.

In particular, Velasco wants to talk about those who are coming home to contribute to a better Hawaii, as she did a year ago when she gave up a good job in TV post-production in New York City to return home.

“We’re highly educated, we’re well rounded, we’ve been able to live other places, but we want to move back,” she said in a recent radio interview.

She was partly motivated to return by the news of Furlough Fridays in local public schools, which Hawaii expatriates on the mainland saw as a huge embarrassment for their native state.

“Given that I am 25 years of age, I’m old enough to know that things need to change and young enough to believe that it can while I’m still alive,” she says.

Velasco, whose personal passion is innovative music education, is convinced that Hawaii has the talent to overcome our toughest problems but needs a boost in creative energy — especially opening ourselves to new ideas that didn’t necessarily originate here.

Her email sent me digging for a 1999 Star-Bulletin series, “Hawaii’s Brain Drain,” by Lavonne Leong, then an Oxford student from Hawaii (archives.starbulletin.com/specials/braindrain.html).

Leong’s stories and the responses from Hawaii expatriates struck themes we still see today: They want to come home but are frustrated by a stifling two-industry economy of tourism and government employment, a gaping divide between rich and poor, rampant parochialism, a substandard public school system, a lackluster state university and a political system that keeps rewarding those who don’t get the job done.

I noted then that Hawaii’s last political and social revolution was led by young Japanese-American soldiers of the 442nd, who came back from World War II with a broader worldview and a determination to build a better Hawaii.

I expressed hope that our army of expatriates would find their way home as a modern 442nd bringing the initiative, courage and leadership to get our state back on course.

Who knows if Velasco and others like her will be part of the answer or if they’ll become frustrated and end up back on the mainland, but I choose to be optimistic that our young people have what it takes.

Velasco’s blog on the brain drain is at why-hawaii.tumblr.com.

Reach David Shapiro at volcanicash@gmail.com or blog.volcanicash.net.

_________

Comments from the online article at StarAdvertiser.com

Ken_Conklin wrote:Let’s remember that expatriates have sometimes been successful in producing revolutions in the place of their birth. Perhaps the best example is Sun Yat-sen, who came to Hawaii as a child, got educated here, and traveled all over the world gathering money and recruits for his revolution which toppled centuries of monarchial government in China.
on October 26,2011 | 05:46AM

popoki wrote:AMEN!
on October 26,2011 | 07:10AM

allie wrote:Agreed. We need new leadership here. Not just in government but ine ducation, business, non-profit management, entrepreneurialism, etc.
on October 26,2011 | 07:48AM

aiea7 wrote:Why do we need expatriates to come back to build a better Hawaii? We already have many intelligent young people living in Hawaii who are able to build a better Hawaii. I would rather have someone who lives here and is committed here to build a better Hawaii. We already have sufficient number of intelligent young people who can help. Expatriates like leong are quick to criticize what is wrong with Hawaii and these are the reasons for their living on the mainland. They are trying to justify their selfish refusal to come back and help Hawaii. Sorry, if you don’t want to come back, fine, we really do need you.
on October 26,2011 | 08:25AM

LemonySnickets wrote:Bring to Hawaii 3rd world thinking. We already have transplants with no thinking at all.
on October 26,2011 | 10:12AM

LemonySnickets wrote:Niseis have proven themselves but there are other nationalities who just come here with no good intent but to work and not worry about Becoming American Citizens. Niseis did and above all with honors.
on October 26,2011 | 01:48PM

KekoaBradshaw wrote:World War II vets from the 442nd came back to a Hawaii where they actually had a future. Hawaii back then had a balanced economy and the vets worked hard to open opportunities in all aspects of the economy to people regardless of racial background. Hawaii today has a severely UNBALANCED economy—-tourism is our one and onlky business. What opportunities are there today for young, highly educated young people? Not many.

smith2650 wrote:Try wait!!! Come on lets stop waiting for the messiah or the returning expat. Hawaii will improve only when the voters decide to vote for improvements. The voting patterns of Hawaii voters (only about 1/3 of eligibile voters actually vote) mean that 15 to 20% of eligibile voters decide who we get in the Leg. and Gov. positions. This is the reason unions and one party have so much power; they only have to have 20% of the population vote for them to win every time.
on October 26,2011 | 05:43PM

WayneHarrison wrote:Well said.
on October 26,2011 | 09:22PM

MC96816 wrote:Good ideas can come from anywhere and everywhere. People tend to be provincial and think their (i.e., the local) way is best, and also feel intimidated by outsiders. Open your minds, open your hearts. Judge ideas on their merits, not whether they come from some local guy or from someone who was born on the mainland or in another country.

Stemming the Brain Drain through Local Commitment

Nico — Mon, 19 Dec 2011 03:53:18 +0000

Through a chance meeting at a local style send-off for a mutual friend returning to New York City, I met Professor Christine R. Yano of the Department of Anthropology at UH-Manoa. I shared my story as a kama’aina fresh back to the island after nearly a seven-year stint on the east coast of the U.S. mainland. Over live Hawaiian music and pupus, a dialogue about the experience of returning “home to Hawaii” highlighted benefits like reconnecting with family, spending time with old friends, and enjoying the good weather. However, Professor Yano could sense that the return to my birthplace has not been wholly paradisaical.

Keen to further explore, Professor Yano invited me to be a guest on “Thinking Out Loud: Talking Issues, Taking Action”, a radio talk show Yano hosts Monday evenings on KZOO-AM 1210. Presented by the Japanese Cultural Center of Hawaii, the show is the only English-speaking program on the station.

The topic curated by Professor Yano for the August 2011 guest spot was “Stemming the Brain Drain Through Local Commitment.”

The audio may be streamed here (Chrome is ideal)

Asobi Seksu: “Flourescence”

Nico — Tue, 23 Aug 2011 05:18:33 +0000

Brooklyn-based duo Asobi Seksu’s latest album Flourescence is a dodecahedron that just won’t fit into any one category. Whether in the name of experimentation or hipster irony, Yuki Chukidate and James Hanna weave threads from shoegaze, 60s psychedelia, J-Pop, 90s grunge, and noise pop into a tower of cotton candy that leaves lots of sweet but little substance. Hyper-processed guitar riffs press up against light polyphonics while indiscernible heavy-breath utterances temper high-pitched peeps. While variety may be the rouge of life, the duo’s capriciousness often leaves the listener feeling wan.

Tracks like “Perfectly Crystal” and “Coming Up” save with catchy hooks and compositions one can actually hold onto. Most of the album feels too kitchen-sink, at once bombarding the listener with pink noise (yes, there is such a thing) and guitar grit, then dropping off into a minimalist chasm. Maybe this is just an example of musical flourescence: each track emitting whatever genre the duo shines upon it.

postscript: I also found the Painted Palms remix of “Trails” to be better than the actual track.

Jamaica me crazy

Nico — Thu, 14 Apr 2011 16:36:26 +0000

Treasure Island Music Festival 2010 was crazy cold. Yet no such off-the-water wind chill could stop Jamaica from serving eager fans the musical equivalent of a hot toddy: a warm baseline spiked with gritty guitar. Fueled by Frenchmen Antoine Hilaire and Flo Lyonnet, this clever duo makes a set of parallel bars out of rock music and electronic influences, and dallies between the two better than a 12-year old Romanian gymnast.

Jamaica’s recent album titled “No Problem” is an 11-track sugar cube delightfully packaged by Justice’s Xavier De Rosnay and Daft Punk’s Peter Franco. Go on, be giddy. So without further ado, and without telling you how they sound like some band you might not know anyway, let’s have a witty word or two with Jamaica…

1) What spurred the transition from Poney Poney to Jamaica?

A: I started Poney Poney as a solo act ages ago, on the side of my high school band then Flo joined and Sam too, a drummer. We spent a few years playing together then Sam left right at the time when we decided we should record an album, exactly when Xavier was available to help us with it. We thought it was time to get rid of a name that sounded a bit embarrassing for us: too many animal named bands those last few years, we wanted a more universal and timeless name.

2) How did Jamaica beat out all the other Caribbean countries for the band name?

A: Bermuda is really cool but reminds more about pants right? Guadeloupe or Martinique sound odd. Jamaica reminds more of music than the others too. We talked about it yesterday with a dreadlocked guy who was working at a festival and who tours with a lot of Jamaican acts: he knew right away we were not a reggae band because it would be the worst name ever if we played this genre and no band would be so blunt. Pun intended on “blunt”.

3) Thoughts on the progress of the digital music industry and its technological advances? Any effects on the creation of your music?

A: We started recording on computers, we almost never jammed in a studio. It allowed us to make a full album without further financial help, it’s absolutely priceless in our work. Not even to mention the direct to fans promo it allows us to do. God bless the Interwebs.

The downside of course is when you think about how sales could have been in the ancient industry, even only 5 years ago. I could buy a Gibson J45 for instance, my new far too expensive fantasy.

But why bother with fading things like record sales? At least we are lucky enough to tour the world and make a living. Starving musicians are more interesting most of the time anyway. If you see us, don’t feed us please.

4) Any dream venues or festivals Jamaica would like to play in the future?

A: Is Coachella still cool to play? It looks really nice from afar and we are really good live in dry weather.

I dreamt about playing at the Brixton Academy in London and we are about to do it in May with DFA1979. The Olympia in Paris would be nice to pack. So would be the MSG. We saw Phoenix there last year and by the look on their faces during and after the show, it’s a decent place.

5) And on that note, what’s in the future for Jamaica? 5yrs? 10yrs?

A: A second album and a second big tour for sure as soon as possible but especially as good as possible. That should cover the next 2 to 3 years.

At a longer extent, I just know that I’ll be writing and performing music as much as I can.

Oh and in 10 years, I really hope we’ll both have our driver’s license.

6) With such widespread success, how does the U.S. market compare to the European counterpart? I just saw you at the Treasure Island Festival in San Fran in Oct. 2010 and people were in love with y’all.

A: I loved that show, it felt so good to play our first festival in the USA in such a great spot. I think there’s a little room for us there, some sides of our work which can sound a bit strange for French ears for instance are fundamentals for American audiences. Referring to Todd Rundgren for instance: this guy actually is still played on your nostalgia radios and is part of your DNA. In France, the mainstream is really different.

To use a limping metaphor, if Jamaica were a guy with countries as lovers I’d say Europe is already more or less our girlfriend, we already had a few dates and even made out. Japan would be our most passionate and faithful lover. North America has already given us a dirty look and looks extremely hot. Let’s see what happens when we take its clothes off during the next few months – reading that again, it makes us sound like man sluts, hahaha.

7) Fave show ever played? Why?

A: A lot come to mind: our first packed headline show in Paris, our last Lyon gig, Rotterdam’s Rotown, our first Amsterdam one, Treasure Island, CMJ at Webster, Koko in London, Liquid Room in Tokyo, Barcelona at 4 in the morning with a crazy audience, new year’s in Melbourne…

A great memory happens for various reasons, whether people go nuts and invade the stage, or we play our asses off or one of our friend in the audience gets a huge wound on his arm because the ceiling falls off on him.

Top 3 go-to sources for creative inspiration?

A: Random humming in the street, thinking about great songwriters and wanting to belong to their club, and feeding off of everyday experiences.

Watching, listening, reading can be motivating. Lately, I listen to random tracks when I’m taking showers with the running water covering most of the actual melodies and I sing nonsense on top of it and usually something cool comes out of it. I do believe Keith Richards, songs are floating and we just have to catch them. Even with soap in the eyes.

9) What’s the #1 thing you request on your rider?

A: Vodka. I wish we said “yoga teachers” or “hard drugs” but we are not that boring.

10) Three words to describe your sound.
A: Clubby grunge pop. Or slick smart rock. Or French accent dope. Or modern chromed jazz.

Super mahalos to @DEKOsound for assisting with the questions.

THE GREEN @ Aloha Tower

Nico — Wed, 26 Jan 2011 08:24:00 +0000

On January 16, 2011, those in-the-know filled the beer garden at Gordon Biersch in The Aloha Tower Marketplace to toss back some green bottles (mainlanders call it ‘Heineken’) and enjoy the musical tendings of Hawaii’s breakout reggae band, The Green, to support of a local athletic club’s “fund-ragah” (maindlanders call it a ‘fundraiser’ or ‘benefit’). The “ragah” revved up when The Green took the stage and roused the crowd with the roots rhythms of “Wake Up” and “Runaway Train.”

While enjoying the tunes, a fellow reveler turned to me and commented on how proud he was that the band took top honors in 2010 with the “#1 Reggae Album on iTunes.” Though replete with reggae and jawaiian bands (those merging reggae and Hawaiian music), Hawaii has not produced a reggae band with as much online sales and national touring success as The Green. From gigs in notable New York venues to much anticipated shows in the South Pacific, The Green reigns at the top of the crop.

In addition to a healthy dose of stage presence, the band’s success is grounded in the collective yet eclectic expertise of its four founding members. Caleb Keolanui is a seasoned singer-songwriter since the age of 16 years, making a name for himself on the local stage and radio airwaves. Caleb’s lead vocals and astute harmonic compositions are bolstered by fellow vocalist and keys guru Ikaika Antone, whose homegrown influences keeps The Green’s sound inherently rooted in Hawaiian music. Whether behind the mic, the guitar, or the boards, J.P. Kennedy complements with his training as an audio engineer; an essential contribution resulting in the masterful production of songs with subtle notes of both roots and rock. Guitarist and vocalist Zion Thompson rounds out the founding quartet with tremendous touring experience and an affinity for soul music. Also keeping this wa’a on an even keel is Leslie Ludiazo on drums, BW on bass, and Lucas Hom on keys. A true tour-de-force, it’s no surprise that The Green also scored a spot on Billboard’s “Top 10 Reggae Albums of 2010.”

One truth about Hawaii is that success is often determined by island pride, in lieu of national recognition. Fortunately for these reggae soldiers, Hawaii’s kama’aina are right behind them, singing every lyric of hits such as “Love I” and “What Will Be Will Be.” As the fund-ragah drew to a close, the band thanked the audience for coming out and ended with “Jah Love.” Yet in typical Hawaii fashion, the “Hana hou!” (mainlanders say “Bravo”) shook the Aloha Tower and the band satiated the crowd with one last dose of “Rootsie Roots.”

With 2010 being such a great year for the band, the future is bright and we stalwart fans look out to the horizon, waiting for the green flash.

www.thegreen808.com

SF REdux

Nico — Wed, 08 Dec 2010 21:58:25 +0000

I miss San Francisco. That city was the perfect halfway point between my crazed Empire State of Mind and my Polynesian Paralysis. Here’s a short-list of the places I enjoyed:

Food:
Gracias Madre (organic Mex. Hollah at tha Horchata and git the Ginger Ale…it’s gingery)
Cafe Gratitude (I order “I Am Elated,” waiter replies “You Are Elated.” Love the Crunch.)
Ti Couz (holy crepe)
Hot Cookie (Do like I did in 2007: Buy a pair of Hot Cookie underoos, put it on, take a picture to put on the wall, and get a free cookie)
Bi-Rite Market (Bi a sandwich, a bevvie, then take it to the park for pranzo al fresco)
Bi-Rite Creamery (Treat yourself to a hearty scoop for having made it back down the hill from the park)
Flour+Water (not great for walk-ins, great for food and ambiance)
BarTartine (you’ll walk by and say, “What the eff? How come all the hipster left Billyburg?”)
Tartine Bakery (Get the bakery goodies early as they run out…hipsters actually eat in CA)
El Farolito (biggest burrito for the buck. best conversations from clientele which span reputable folks to dirtyazz crackheads)
Nick’s Crispy Tacos (Taco Tuesdays rock…not there on Tuesday? Sad face, but the Horchata is good and you gotta go just to see a taco shack tucked away in a bar/lounge…awkward and awwwwmazing…get it deep fried, Nick Style)

Ferry Building is also great for buying produce and having lunch with a view.

Coffee/Tea:
Atlas Cafe (wifi+open early=where Nico hangs out at 6:30AM)
CoffeeBar (chichi clientele but good brew)
Philz Coffee (original spot in the Castro. Yerba Mate tea is good. I got the Philharmonic, also…duh
Uncle Gee’s Vital Leaf (he’ll give you a ton of tea to try…and make fun of you. Entertainment. Everyone buys Lychee Black)
Samovar Tea (near SF Zen Center, where you can have Sunday Tea)

Parks/Etc.:
Dolores Park (Full House!)
CityLights Bookstore (Beats, Books, Brainyness)

Dranks:
Cha Cha Cha (*tapas to make you sloppy, dranks to make you sloppier)
Bourbon & Branch (did Sasha Petraske move to SF? No. But the speakeasy trend did. Make a reservation)
Rickhouse (jah bless for the handcrafted cocktail, gets busy)
W Hotel SF (two bars, one above lobby has better seating)
Lush Lounge (deese decor and environment, fun prepprep clientele and good drinks)
Vertigo (*opens the latest, shows Vertigo all night, makes you ill if not for the drinks)

Yoga:
Mission Yoga (*also went to early morn saturday tai chi)
Yoga Mayu (nice lunchtime yogs)

Japantown:
SEE A MOVIE @ Redford’s Theatre Kabuki (gorgeous place and you can drink in the spot, grab a pre-movie bite next door at Suzu)

Other tips:
-Call Cabs exactly 10-20 before you need it. (and don’t miss/cancel it because they’ll put you on a block list…like me)
-Avoid going higher than 24th Street.
-Walk down Mission Street for random finds and cool little shops.
-Marina is boring…except for brunch.
-Run Golden Gate Bridge to Sausalito.
-Try the pupusas in the Mission. Didn’t get a chance.
-ENJOY ALL OF THE SWEET MURALS IN THE MISSION (particularly the Women’s Building, top of blog post)

Big ups to the Beats.