Hawaiian Rainbow (1988) - full transcript

(singing in Hawaiian)

* Hawaiian ripple

* And the summers

* Reached out and
paint the flowers

* We love the colors

* Straight from heaven

* They are a joy to see

* (singing in
Hawaiian) from Maui

* (singing in
Hawaiian) from Oahu

* (singing in
Hawaiian) from Kawaii

* (singing in
Hawaiian) from Hawaii



* Snow white gingers

* And pikake

* (unrecognizable)
and jasmine too

* Bright red hibiscus

* Green kukui

* We'll make kale for you

* Hawaiian rainbow

* After showers

* Reach down and
paint the flowers

* We love the colors

* Straight from heaven

* They are a joy to see

* (singing in
Hawaiian) from Maui

* (singing in
Hawaiian) from Oahu



* (singing in
Hawaiian) from Kawaii

* (singing in
Hawaiian) from Hawaii

* Snow white gingers

* And pikake

* (unrecognizable)
and jasmine too

* Bright red hibiscus

* Green kukui

* We'll make kale

* For

* You

(cheering and applause)

- And be careful.

Got lots of color on
the left-hand side.

This nice stuff is liko,
but it's over-picked,

so be careful.

But we needed it up on the top.

Picking up color
(unrecognizable)

and don't pull out the roots.

Can you reach that one?

Without breaking the branch?

Just the tip.

Yeah, there you go.

Okay.

This part is what is called
the liko, or the bud.

This is an ohia lehua tree,

and ohia lehua tree is a
symbol of the goddess Laka,

and the flowers and the
ferns that are associated

with the mountain are
dedicated to the goddess, Laka,

who is the goddess of the hula,

and all of these things
are placed on the altar,

or okuahu, as it is called,

in the process of
studying the hula,

the dance of the
Hawaiian people.

(singing in Hawaiian)

There's a legend that
talks about two lovers,

and Pele, the goddess
of the volcano,

got angry because
she was in love

with the male, and he loved
this beautiful, young woman,

and so she turned
him into the tree,

and the lehua

is the symbol of the woman,

and the ohia is the
symbol of the man,

and every time you pick a
lehua, it's supposed to pour,

so I've already picked a lehua.

We should expect
some rain shortly.

(singing in Hawaiian)

- Our musical origins go
back to our primal past,

probably back to Indonesia
and Southeast Asia,

and beyond, from whence
our kupuna arrived,

thousands of years ago.

In the pre-Cook period,

our music was essentially

that heard from the pahu,

or the drum,

from the uli uli,

or the bamboo rattle,

from, in short, our
percussion instruments.

Obviously, we did not have
Western tonal systems,

or harmonics, or
things like that,

so out of that primal
musical heritage

came the mele and the uli,

that is the chants
for which Hawaiians

have been famous for.

- The idea of chant was
to make the word sounded,

or make the word as a
living communication,

so that the word was
extremely important,

and many times the actual poetry

was thought to have mana,

or some kind of
cosmological power,

that was an important
part of the communication.

It was for that
reason, probably,

that the first kinds
of Hawaiian music

were single-line chants,

that is, just
melody, no harmony,

so that you could hear
the word very clearly.

Even the hula, the dance,

which we think is so
very important today,

in the past, was
only supposed to be

a way to further illustrate or
enhance the idea of the word.

- Those chants tell

about the most important
myths and legends of our past,

and those legends
or myths in turn

tell about our
view of the world,

and our feelings
towards the cosmos,

towards our purpose on
earth and in the universe,

so it was through
the mele and the uli

that our forefathers were
able not only to explain,

but also to retain their
knowledge and understanding

of life on this planet.

(singing in Hawaiian)

(chanting in Hawaiian)

(drums)

And then came Captain Cook,

and with Captain Cook
came enormous change,

not only in our social and
political and economic life,

but also in our philosophical
or musical life as well.

- The principal
difference, I guess,

was that the missionaries
introduced harmony,

that is singing in
parts with chords,

which the Hawaiians
called himene,

which comes from the
English word, hymn.

Besides the influence of
the missionaries, however,

there were also the influences
coming from the whalers,

who also used harmony and
instruments like guitar,

and even accordion to
accompany themselves,

so that as some
people have said,

the Hawaiians got from Western
music the best and the worst,

in terms of the kind of music
that they were going to have.

(singing in Hawaiian)

- The chant that we
did earlier was written

for King Kamehameha I,

and it reflects a
blending of the society.

You find that there's
harmony in it,

and there's a call and response

type of chanting

that was part of the influence

of the foreigners
and the missionaries.

The text itself
is very, very old.

It comes from the
time of Kamehameha,

but the, it had
been put to music,

and it's been adapted
to Western-style song,

and so it's a blend
of the two cultures,

a blend of the old Hawaiian,

and the introduction of
the missionary hymnal type

three-part harmony.

- The idea of himene
soon became applied

not just to church hymns,

but to general parts singing,

so that you could
have secular songs

about things like a
beautiful waterfall,

or a home, a particular home,

that was also known as a himene.

This kind of music was
usually accompanied by guitar,

and ukulele, so that you had
both a harmonic accompaniment,

and, also a rhythmic
accompaniment

coming from the same instrument.

- We had thought of the ukulele
as a Hawaiian instrument,

but the fact of the matter is

that it was imported

by the first Portuguese
immigrants to Hawaii,

who landed here in the 1870s,

and the ukulele became popular,

because it was a small,
convenient instrument

that was easy to learn,
and the Portuguese

were pretty good at it,

and they were also
good musicians.

One of the Hawaiians

who took a real
liking to the ukulele

happened to be the
king, King Kalakawa,

who liked it so much that he

hired Portuguese ukulele makers

to make these ukuleles,

and also allowed them to
use his royal insignia

as a trademark where
the first ukuleles

that were manufactured.

Hawaiians became so
adept at playing it

that I think they soon
acquired the ukulele

and made it part of the
Hawaiian musical heritage.

- Now, here's a song,

a Hawaiian song,

that was first Hawaiian song
that made a national hit

in the USA,

written by William Kailimai,

who played at the San
Francisco World's Fair,

played it in the mainland
for the first time,

in 1916.

Some of you may remember your
grandparents singing this.

(ukulele)

(singing in Hawaiian)

* Sweet brown maiden said to me

* As she gave me
language lessons

* On the beach at Waikiki

(singing in Hawaiian)

* She repeated playfully

* Oh, those lips
were so inviting

* On the beach at Waikiki

(singing in Hawaiian)

* You have learned it perfectly

* Don't forget what
I have taught you

* On the beach

* At Waikiki

- The term ukulele

has a rather picturesque origin.

They said that it
was called ukulele

because it reminded
them of the uku,

that is a flea, because the way

in which the performer
used his fingers

was looking like a flea jumping
around on the instrument.

- There's another
song that was written

way back in 1875,

but is very much
appreciated by the musicians

who play music in
the Hawaii today.

It's called (speaking Hawaiian)

by Mekia Kealakai,
written in 1875.

(singing in Hawaiian)

- Hawaiians have also
contributed a style
of guitar-playing

called slack-key, or kihoalu.

Slack-key is a style
of playing the guitar

which uses various
kinds of keys.

The keys are slacked,

and the resulting style

with the type of rhythm,

and with the type of
songs that are played,

is now known as slack-key,

but how that came about
is not very clear,

but it most likely developed

when the vaqueros, or
the Spanish cowboys,

came to Hawaii,

and brought with
them their guitars,

and in time,

the vaqueros not only taught
their Hawaiian counterparts

how to ride and lasso cattle,

but also how to play the guitar,

must have taught them
that and from there,

Hawaiians adapted
the steel guitar,

that is the slack-key
guitar method.

- Raymond Kane is the recipient

of the National
Folk Heritage Award.

We're awfully
proud of that fact,

because only 11 people
in the United States

win this award.

(cheering and applause)

It's comparable to that of the
Congressional Medal of Honor,

so, without further ado,

one of our own sons of Hawaii,

master of the kihoalu,
ladies and gentlemen,

Raymond Kane!

(cheering and applause)

(speaking Hawaiian)

- Represent each and
every one of you,

not only for myself,
but for Hawaii,

the state of Hawaii, for each
and every individual here.

Remember, I go and
represent you all.

Aloha.

Now, at this time, we got these
hula girls coming up here,

and I'm gonna sing
a song in slack-key,

and the song is (unrecognizable)

Every time I hear this song,

it reminds me of Gabby Pahinui,

who was one of the
greatest slack-key players,

and believe me, when
I sing this song,

it reminded me of Gabby Pahinui,

and, well, he was
my good friend.

What can I say?

He should speak for itself,

and I go to Washington
thinking of him, too, as well.

He was the greatest of them all,

Gabby Pahinui.

(applause)

(guitar)

(singing in Hawaiian)

(guitar)

(cheering and applause)

Well, slack-key started
about 150 years ago,

and,

Vancouver came from England,

he brought some
cattles over here,

and he gave it to
King Kamehameha I,

so Kamehameha, so,

he told King Kamehameha to
put a taboo on the cattles,

that it grow,

you see,

so there be more
cattles in the future,

so when he died,

the taboo wasn't lift,

so until King Kamehameha
III took over,

and the cattle

began to ruin the crops,

and the land,

and going into
(unrecognizable) patches,

so the people started
to sort of grumble,

you know?

And making a big fuss
about these cattles,

and it was getting dangerous,

and the children,

they were invading
in their land,

and their yards, where
the children played,

so it would be pretty dangerous,

you know, for the
cattle to be there,

so King Kamehameha III,

he went to the mainland,

so maybe he could
find some, you know,

try to see if there's anybody

that could handle the cattles,

so he went up there and
he went to a rodeo show,

and during that time,

there was a lot of Mexican
boys, and vaqueros,

and Spanish cowboys,
mixed with Spanish,

so he was very impressed

with how they were handling
the cattles, you know,

and roping the cattles, and
stuff like that, you know,

and whatever,

so he hired all those
people, you know?

Asked them to sign a
contract, to come over here,

and see if they can round
up the cattles over here,

so they all came over here,

and they all round up the
cattles and everything.

During that time, they
brought their guitars over,

and after their work, you know,

they sit down by campfire,

and they start playing
some music, you know,

and they were teaching the
Hawaiians how to do cowboy work,

so they were doing fine,

so all of a sudden,

the Hawaiians were very
impressed with that guitar.

It's the first
time they seen it,

so they usually had
two guitars, you know,

and one play, and the other
one come together, see,

helping the melody while
the one just picking

on one guitar, and the other
guitar is strumming along

with the melody, so,

and the Hawaiians were,

they really enjoyed
the type of songs,

and music,

was very pretty,

so, then the time came

when they had to go
back to the mainland,

so some stayed, and some left.

Some, they met some
good Hawaiian fellows,

and were in good people,

so they gave the guitars
to the Hawaiians,

so all they had was
just one or two guitars,

but, you see, they were
on different islands,

when they received
these guitars,

and like I said, the
cattle, they running wild,

on every island, almost,

so this Hawaiian guy,

he sort of played

this slack-key guitar.

That's when the slack-key guitar

started to be popular, you know,

started be created
into the guitar,

so they had their songs,

so,

they started like this,

they tune it down,

from the standard tuning now.

This is the standard tuning,

and so the Spanish
used this tuning.

Okay, now,

the Hawaiians, they
really enjoyed that,

they liked that, the
sound, it was beautiful,

so he couldn't do that, so,

he tune his guitar
down the way he think

is suit for himself.

The Hawaiian songs were
a little different.

So, they started off like
this, with the melody only.

(singing in Hawaiian)

(guitar)

(humming)

But, you see, there
was nothing there,

so one day this guy started
messing around with the bass,

hey, and he started
going all the way down

to the last string.

Hey, they got something, here,

so they put it together, see?

(singing in Hawaiian)

(guitar)

(humming)

See, the bass added
to the melody,

makes it complete, and with
the voice go along with it,

it's just, that's what
slack-key is all about.

By having a bass and
the melody together,

in one, instead of separate,

that's what make
slack-key guitar.

This is how (unrecognizable)
used to play.

(unrecognizable) my grandfather.

Old, you know,

but he remembered
his old friend,

he used to play this song,

way back when he was a cowboy.

(guitar)

(applause)

(applause)

Is that wonderful?

Just two strings, up and down.

- The idea of slack-key is to
get a very melodious sound,

and a rather intimate sound,

so that slack-key is
not as good a music

for large, outdoor concerts.

It's much more what we
call back porch music,

sitting around with a primo,

that is a kind of local
Hawaiian beer in your hand,

listening to this music,

and sort of just relaxing.

(guitar)

(singing in Hawaiian)

With part singing
in Hawaii, that is,

this himene style,

it became customary
for the groups

to be all male or all female.

We're not sure whether
this was the influence

of the missionaries,

or just the way Hawaiians
liked to do things,

but it resulted in the unique
singing style being developed.

That is, in order for,

for example, an all-male group

to sing the soprano
and alto parts,

they had to sing very
high in falsetto,

which became known in
Hawaiian as leo kiekie.

This style of male
falsetto singing

used a lot of breaks, or
sort of cracks in the voice,

because a lot of times,

men can't hold that
falsetto that long.

There is a kind of a
natural break in the voice,

but this was then incorporated
as part of the style.

Well, the women also got
interested in singing

in this rather unique fashion,

so that now we
have female singers

also singing falsetto style,

and it's a rather
curious situation,

where you have women

copying men singing like women.

- Another peculiar feature
of Hawaiian vocal styles

is yodeling,

which was probably introduced
into the islands in the 1890s

by a music teacher who taught
at the Kamehameha schools,

named Theodore Richards,

who learned it as a member
of his college chorus,

but yodeling took in Hawaii,

because of the popularity
of paniolo songs,

that is, cowboy songs,

and yodeling

may have also been close

to the kinds of music or songs

that the vaqueros,
the Spanish cowboys,

may have sung on the
big island in Waimea,

or the Parker Ranch,

when they first
came in the 1830s.

(cheering and applause)

(singing in Hawaiian)

(yodeling)

(cheering and applause)

- [Announcer] Ladies
and gentlemen,

the (unrecognizable) brothers!

- Tin Pan Alley
was a great period

in the development
of Hawaiian music,

because through Tin Pan Alley,

Hawaiian music exerted
a profound influence

on at least American
perception of Hawaiian music.

Tin Pan Alley music was
what American composers

thought Hawaiian
music was all about,

and Wiki Waki Woo, for example,

was just the way they
thought Hawaiians did it,

and Hawaiian music was
popularized as a result of that

by 1920, 1925,

Hawaiian music records sold
more than any other kind

of record in the United
States record market,

believe it or not.

- Even later, when the cruise
ships brought large numbers

of tourists by ship, the
old Lurline cruise ships,

to Hawaii, there also developed
a tradition of singing

that used a combination of
English and Hawaiian text,

referred to now as hapa haole,

which means half white,
or half foreign singing.

Now, these kinds of songs were
very accessible to tourists

who didn't really understand
Hawaiian language,

so even though the
language had changed

to at least half English,

it was still accomplishing
the same important idea

of communication.

- This lady, a very dynamic
personality in her own right,

is a top musician,
singer, entertainer.

Would you put your
hands together

and welcome Auntie Violet Pahu.

(applause)

(singing in Hawaiian)

(guitar)

- [Announcer]
Auntie Violet Pahu.

- An interesting
juncture at this point

is the invention of
the steel guitar,

or the acoustic guitar,

which happened in
about the 1880s,

when a young lad from
a town called Laie

attending the
Kamehameha schools,

the schools set aside by
Princess Bernice Pauahi,

for the education of
Hawaiian children,

accidentally hit upon
the idea of using a bar

and running it over
guitar strings,

and out of that,

eventually evolved the
steel guitar, as we know it.

- This vocal-like
sound of sliding,

which was developed
here in Hawaii,

was "exported" to the mainland,

and was very popular,
became very popular,

with country western groups.

Of course, it underwent
its own developments

among country western musicians,

because we don't really
have the pedal steel here.

That was developed
on the mainland,

and then re-imported
back to Hawaii,

so that you have a lot
of common links, now,

between country
western steel playing,

and Hawaiian steel playing,
and many of the performers,

like Billy Hew Len, for example,

can go back and forth,

can play Hawaiian
steel Hawaiian style,

and Hawaiian steel
country western style.

Whatever the market desires.

- On the steel
guitar, undoubtedly,

the best that Hawaii
has right now,

Billy Hew Len.

(steel guitar)

(cheering and applause)

- [Announcer] Thank
you so much, Billy.

- By the 1940s,

Hawaiian music was
well-established in
the United States.

Indeed, it was well-established
around the world,

because internationally,
Hawaiian music was probably

one of the most important
ethnic musics around the world.

Indeed, there were Japanese,

German, Dutch, English,

French, and Indonesian
Hawaiian music bands,

who not only performed in
their national circuits,

nightclub circuits,

but who also produced and
sold Hawaiian music records.

Hawaiian music took decline

after the Second World War,

and has not been able to recover

its status ever since.

(speaking Hawaiian)

- Aloha.

- [Announcer] Boy,
it's nice to have you,

to talk to us about a subject
that is not easy to define,

but what, in your impression,

is Hawaiian music?

Let's start with that
very general statement.

- Well, first of all,

Hawaiian music is
beautiful sounds,

and if you understand the words

of a song,

that people have
sung for many years,

you understand the
meaning of the words,

you can sing it with
that inner feeling,

and it just comes out, just
flows out so beautiful.

- You say that the
beautiful sounds

of Hawaii stem
from this art form

that you call Hawaiian music.

Now, a lot of people have said
that this particular art form

is going out the window.

It's like going the
way of the dinosaur,

becoming extinct.

What do you think about
that when people say that?

- Well, when they say
that, all I can say to them

is that as long as I'm alive,

Hawaiian music will
still be alive.

- [Announcer] That's wonderful.

(ukulele)

(singing in Hawaiian)

(yodeling)

(cheering and applause)

- [Announcer] The good lord
take good care of all of you,

and keep you safe.

(shouting)

- Hawaiian music came
precariously close to dying out,

or so we thought,
in the early 1970s,

when we could count
on our fingers,

the number of steel
guitar players,

when we could listen to
only one radio station

that played Hawaiian
music of any kind,

when it was very difficult
to find Hawaiian music

being played in Waikiki,
in other places,

so a few of us organized the
Hawaiian Music Foundation,

in a deliberate attempt
to revive the music,

and this was, I think,

a fascinating experiment
in deliberately

reviving a culture,

because out of our efforts

came the Hawaiian
Renaissance in large part.

- Young Hawaiians were
becoming more aware

of their heritage,

trying to go back to
discover their language,

and their customs,

and also became quite activist,

in trying to regain
their Hawaiian lands,

so that it was not just
an artistic movement,

but it was also a
very important social

and political movement as well.

- In the late '60s
and early '70s,

when I graduated
from high school,

and started playing music,

I was looking for
things to play music

that interested me,

and those things took me
away from the islands,

and traveled,

and it was upon
returning back home,

in early 1971,

that I touched upon what,

for me, was a very
good realization,

and that was I could sing music,

but in order to sing
music from the heart,

it had to deal with
the environment that
I was living in.

- Hawaiian music has always
been a part of my life,

growing up here in Hawaii,

and actually attending school,

and really never living
away from Hawaii.

The family started the
Hawaiian music appreciation,

and it continues
through my life today,

and I think I'm part
of a generation,

a fortunate generation that
has had the opportunity

to learn the music,
enjoy the music of those

that have gone before,

(speaking Hawaiian)

and perpetuate what
they have started.

The music, for us,
our group, Olu Mana,

and myself, has given
us an opportunity

to meet and delve
back into those things

which are Hawaiian,
which those things

that are fundamental
to life in Hawaii,

and that is the
protection of the land,

and the natural things
that are so much

a part of Hawaiian culture.

For us, that is, trying
to keep it alive,

by bringing thoughts
of it into the music.

- And I think, whatever
we can do as musicians

and performers and composers

to bring to those that
are not living in Hawaii,

the spirit and Aloha of Hawaii,

then that is our mission,

and that's what we enjoy doing,

(speaking Hawaiian)

(guitar)

* It's there, in the air

* Can you feel it

* Hawaii

* Is calling

(guitar)

* Come to me gently

* Rest here beside
me for a while

* It's there, in the air

* Can you feel it

* Hawaii

* Is calling

* Come to me gently

* The wind

* Spurs in the trees

* It's there

* In the clouds of the sunlight

* Hawaii is calling

* Come to me gently

* Come inside of me

* Come to me gently

* Hawaii is calling

* Come to me gently

* Come inside of me

* Come to me gently

* Hawaii is calling

* Aloha

(singing in Hawaiian)

* Remember, be
sure, and be there

* Remember, be
sure, and be there

* Hawaii is calling

(speaking Hawaiian)

- One of the earliest chants

talks about the
Polynesian migration,

between the Hawaiian islands.

It's called Ea Hawaii,

and it tells of the Hawaiians,

as they first sighted
the islands of Hawaii,

and it says, "Here is
Hawaii, the island."

(speaking Hawaiian)

"I am a man.

"I am the person that hath come

"to settle on these islands."

(singing in Hawaiian)

"I am a child of
(speaking Hawaiian)

"I'm a child of my
far-off ancestors

"And I have come to
settle these lands."

(guitar)

* Who came first to Hawaii

* All of the kanakas

* Now, who came first to Hawaii

* All of us kanakas

* And how come us kanakas

* We no own the island

* And how come us kanakas

* We only like fight one another

* We only want to pretend

* And be like the greedy man

* Don't want to give back

* Don't want to share

* Don't even want
to try to understand

* I said, now,

* How can you sit back

* While they're
desecrating the land

* And how can you sit back

* While they're
desecrating the ocean

* And how can we fight back

* We got to read, research, vote

* And work the land

* And how can they desecrate

* And tell us that they
still love this land *

- This place is called Ka'ala.

In Hawaiian it means
"the way," "the path,"

and for many Hawaiians
it represents so much

about our past, but it also
connects us to our future.

Here, we grow (unrecognizable)

which is the ancient
and sacred plant.

Here, we grow tea leaf,

which is a medicinal plant.

This place was a place
of the first music,

of the water feeding the loi,

of the birds,

of the people working.

This whole place,

the land, the aina.

Aina means "that which feeds,

"that which nourishes,"

but much more than just
in a physical sense.

It's a place that
feeds your soul.

It's the thing that
keeps us living.

It's the thing that is
celebrated in music.

I have a poem that I
would like to share.

It's called "choosing my name."

When I was born, my mother
gave me three names,

Cristobel, Oshie,

and Kuanani.

Cristobel was my English name,

my social security card name,

my school name,

the name I gave when teachers
asked me for my real name.

It was a safe name.

Oshie was my home name,

my everyday name,

the name that reminded
my father's family

that I was Japanese,

even though my nose,
hips, and feet were wide,

the name that made me acceptable

to them that called my
Hawaiian mother kuroi, "black."

It was a saving name.

Kuanani was my chosen name.

It's my piko name,
connecting me to the aina,

and the kai, and
the (unrecognizable)

It's my blessing, my burden,

my amulet, my spear.

* Who came first to Hawaii

* All of the kanakas

* Now, who came first to Hawaii

* All of us kanakas

* Then how come us kanakas

* We no own the aina

* And how come us kanakas

* We only like fight one another

* We only want to pretend

* And be like the greedy man

* Don't want to give back

* Don't want to share

* Don't even want to
try to work the land

* I say, now how
can you sit back

* While they
desecrating the land

* And how can you sit back

* While they
desecrating the ocean

* And how can we fight back

* We got to read, research, vote

* And understand

* And how can they desecrate

* And tell us that they
still love this land *

(guitar)

- At present,

the Hawaiian music scene
is really quite complex.

Because of the
younger generation's
interest in the past,

you have the preservation
of older styles,

and older repertoire
as one aspect

of that rebirth or re-interest.

You also have new
pieces being composed

in the old style, and,

on top of that,

you have pieces which
are being composed

and performed that
partake of rock,

and jazz, and even
country western,

that are really part
of the mainstream idea

of Hawaiian and American
mainland music together.

- [Voiceover] This
land of Aloha.

- [Voiceover] Our amazing feat,
21 years of Hawaiian music.

- [Voiceover] We
are KCCN Honolulu.

- [Voiceover] Hawaiian radio.

- It's about 12
minutes now to 3:00,

KCCN's afternoon club.

I'm Brick Wood, and it's
Hawaiian radio at its finest.

Special guest here today.

A good buddy of mine.

A fellow colleague,
Hawaiian style,

Israel Kamakawiwo'Ole

Aloha, brother.

Ho!

You know what we
want to talk about.

Let's talk about the
beautiful angelic voices

of the Makaha Sons of Ni'Ihau.

You guys got a style

that is hard to duplicate,

but here and again,

I hear that style in
church choirs a lot.

- Through the years,
we've grown musically,

we've exploited the outer
boundaries of Hawaiian music,

meaning not only Hawaiian music,

but,

we'll say, what,
contemporary, country,

rock, reggae, calypso, Cajun,

you know, you name it,

and we utilize all of these

into one certain,

you know, structure.

Like you said, church
chorale, from the hut.

This next song I'd like to
do, ladies and gentlemen,

is written by a
very close of ours.

Comes from the big
island of Hawaii.

Those of you that
don't know where it at,

that's over there.

(laughing)

That way.

Song written by a
brother, Miki Awani.

Song he wrote

during the time in our movement.

Songs called Hawaii '78,
and it goes like this.

Here we go.

(guitar)

(humming)

(cheering and applause)

(singing in Hawaiian)

* Just for a day,
our king and queen

* Would visit all these islands

* And saw everything

* How would they feel
about the changes

* Of our land

* Could you just imagine

* If they roll out

* And saw highways on
their sacred grounds

* How would they feel
about this modern city life

* Tears would come
from each other's eyes

* As they start to realize

* That our people are in
great, great danger now

* How

* Would they feel

* Would their smiles

* Be content by their crying

* Crying for the thoughts

* Crying for the people

* Cry for the land
that was taken away

* And then yet
you'll find Hawaii

* Could you just imagine
if they came back

* And saw traffic lights
and railroad tracks

* How would they feel
about this modern city life

* Tears would come
from each other's eyes

* As they start to realize

* That our land is in
great, great danger now

* All the fighting
that the king has done

* To conquer all these islands,
now there's condominiums

* How would he feel if
he saw (unrecognizable)

* How

* Would he feel

* Would his smile be content

* Cry for the crops

* Cry for the people

* Cry for the land
that was taken away

* And then yet you'll find

* Hawaii

(singing in Hawaiian)

(cheering and applause)

- One of the questions for
young Hawaiian musicians is:

Can you make a
living doing this?

And the question is a
rather qualified yes,

because financially,

for example, the
recording market in Hawaii

is rather small,

that the local
recording industry

is distributed only
here in Hawaii,

so many of these artists
don't have any kind

of mainland exposure at all,

or the opportunity to sell
lots and lots of records.

The same thing
happens with singers

who are going to tour.

They tour mostly around
here in the state,

and often, maybe to California,

or to Washington,

where there are large
Hawaiian populations,

but not much more than that.

The idea of publishing
music in Hawaii

has not been a
big industry here,

so that yes, you can
make it financially,

but most of the very
fine Hawaiian musicians

all hold day jobs
somewhere else.

Another aspect of this is that
often the Hawaiian musician

is expected to share
his music for free,

and it is a little bit
hard to tell your auntie,

"No, I don't want to
play for your baby luau

"unless you pay me."

That's not very Hawaiian,
so a lot of the music

is given away for free,

and all those free
sharings of music

also mean that the
Hawaiian musician

doesn't get paid for his job,

so that's one of the dilemmas
for Hawaiian musicians.

To be Hawaiian means to share,

but to be a musician
means you also have

to make a living at it,

so there are, how
do you do this?

One of the ways is to
go work for another job,

and then come back and play
Hawaiian music at night.

(cheering and applause)

- Please help me welcome to
Hula's the San Bernard Trio,

with (unrecognizable) on bass,

Sam Bernard on the ukulele,

and Clyde Lono on the guitar.

- Hello everybody,

and we're going to feature
our cousin, Sam Bernard,

at this time.

A song from his album
entitled Kuhio Beach.

It's a beautiful song that
reminisce long, long ago,

back in the days of
the '30s and '40s.

Picture, yourself,

when there were no
high rises in Waikiki,

and see the beautiful torches,

as they're lit one
by one in the evening

for the beautiful
luaus that happen,

as we reflect on the ocean.

Our cousin at this
time, and Kuhio Beach.

(guitar)

(yodeling)

* Where the moon
shines on the sand

* And the beach boys

* Surfing in with the tide

* To the shore

* With girls side by side

* All the sun

* You'll hear music

* And the beach boys are
now playing and singing

* All day

(singing in Hawaiian)

* Singing in the moonlight

* Under the palm trees

* Down on the

* Thinking and dreaming

* Wining and dining

(yodeling)

* Where the moon shines on us

* And the beach boys
under the palm trees

* Where music lingers on

* Singing in the moonlight

* Under the palm trees

* Down on the sun tonight

* Thinking and dreaming

* Wining and dining

(yodeling)

* Where the moon
shines on the sand

* And the beach boys
under the palm trees

* Where music lingers on

* Under the palm trees

* Where music

* Lingers

* On

(cheering and applause)

- Mr. Sam Bernard, yeah!

Beautiful song, Kuhio Beach.

Mahalo, thank you.

- Not enough people can
hear the type of music

that you saw today.

It's a very special
type of Hawaiian music

that the tourist
doesn't get to see

when they come to Hawaii
unless they come to Hula's,

because, frankly,
there's no place else

to see this type or
style of presentation.

Any place else in Waikiki.

There used to be a couple
of places on the beach,

but they're no longer there.

Without this big,
magnificent banyan tree

that we have here,

we probably wouldn't
be doing it either,

so we always say mahalo
to the banyan tree, too.

- Aloha, yeah,

and here, we got our
lovely young ladies,

(unrecognizable)

known as (unrecognizable)

from Lehua Dance Company,

and they share with you a song,

Pua Mamane.

(guitar)

(yodeling)

(cheering and applause)

(singing in Hawaiian)

The ladies of Lehua
Dance Company.

Thank you, ladies. Mahalo.

- To try to define
Hawaiian music

is very difficult,

because there are as many
definitions, I suppose,

as there are people.

My own concept of
what is Hawaiian music

revolves, again,
around the language.

It should be in
Hawaiian language,

or mostly in Hawaiian language,

and if it's going to be

of the so-called
himene type of music,

it has to have, from
my point of view,

the feeling of Hawaii,

which means love of the land,

celebration of people.

The text has to have some
kind of an honoring quality

about it,

and the music, the sound
of the music, itself,

usually means a fairly
rhythmical kind of music,

that if not danced too,

at least you can gesture to,

or nod your head to,

or maybe even tap
on your beer bottle,

if that's what you're up to.

- Aloha Kawaii, a song
written by (unrecognizable)

And we feature the
beautiful voice

of Mr. Sam Bernard, Mr.
Clyde Lono, and myself,

as we share this
special song with you.

(yodeling)

(guitar)

So we say to you,
Aloha, from Kawaii.

My beautiful island, oldest
princess in our island chain.

For she said, "Here at Luana,

"you may sit, relax, enjoy,

"as it welcomes strangers,

"and (unrecognizable)

"So we say, this is
the end of my story

"of a beautiful love song
for this beautiful island,

"name that is forever
called Kawaii."

(yodeling)

(guitar)

(cheering and applause)

Ah, thank you, ladies.

Mahalo.

We would like to close us
out with a special song

from the island of Maui,
featuring cousin Sam again,

once again, on
behalf of Hula's bar,

ladies down in
our backyard bash,

to all of you,

thank you for joining
us this afternoon,

Mr. Clyde Lono on guitar.

This is Sam Bernard
on the ukulele.

I'm (unrecognizable)

(applause)

(guitar)

(yodeling)

(cheering and applause)

Aloha, everybody!
Mahalo, thank you!

(cheering and applause)