Hawaii's Underground : Local Music | Art | Tattoos | Independent Businesses
A Printed and Online Publication
Issue 6 Articles
Mana Maoli - A Hawaiian and Reggae Superstars Benefit Concert and CD
The Art, Motivation, and Perserverence of Breaking
Interview - Demune's Illogical Hunger
Q+A With Jason Miller of 808 Shows
Review - Swampa Z.Z.
Show Review - Benoit Jazzworks
Show Review - Bluezilla
Mana Maoli – A Hawaiian and Reggae Superstars Benefit Concert and CD
Article by Katie Whitman
On August 26th, some of Hawaii’s best Hawaiian and reggae artists will play in support of the Halau Ku Mana Public Charter School. The concert, dubbed “Mana Maoli” (loosely translated as “true power” or “essence”) will feature artists such as John Cruz, Robi Kahakalau, Jeff Rasmussen, Guy Cruz, O-shen, Ooklah the Moc and many others.
In addition to the concert, the Halau Ku Mana Public Charter School has released their double CD compilation album, also entitled Mana Maoli. Volumes II, “InnoNative,” and III, “Change is Coming,” include performances from over 200 students and backyard and professional artists. Let’s do a little name dropping here. How does music from John Cruz, Jack Johnson, Paula Fuga, Mama T, O-shen, Sashamon, and a whole bunch more sound? Well, I got to take a listen and it definitely sounds good to me. In fact, some of the Hawaiian chants actually gave me chills. This eclectic mix of Hawaiian, folk-rock, and reggae has something for just about everybody.
Why is the success of the Mana Maoli Concert and CD so important? The Halau Ku Mana Public Charter School has to vacate its current location due to lack of financial resources and has yet to find another one. Also, despite state laws, public charter schools are not provided facilities and receive far less funding per child than mainstream public schools.
What makes charter schools different that the standard public schools? Charter schools provide an alternate method of education, focusing on project-based learning that incorporates all scholastic subjects (Language Arts, Math, Science, and Mo`olelo or Social Studies). Students are also taught Hawaiian studies, Hula, and participate in community-lead electives that develop career and life skills.
Taking matters into their own hands, the Halau Ku Mana Public Charter School got creative and created the Mana Maoli CD and Concert to generate funding. 100% of the proceeds go to support all twelve culture, community, and ‘aina-based charter schools, collectively known as Na Lei Na’auao.
To purchase a CD, visit www.halaukumana.org. Concert tickets are available at the UH Campus Center, Hungry Ear, Jelly’s, Halau Ku Mana, and other O’ahu charter schools. Come out and support great music and a good cause all in one shot! Everybody wins!
The Halau Ku Mana Public Charter School writes this on their website:
Our primary core values illuminate and guide our thoughts, feelings, and actions:
Aloha - love, compassion, and "the intelligence for how life can be experienced." Aloha involves being in each other's presences, or alo , and sharing ha , which can be described as breath, energy, voice, and all the ideas, mana, love, and support contained within.
Makawalu - 'Eight eyes'; There are many truths and perspectives. Rather than perceiving two-dimensional, 'black and white' dichotomies, one can explore things from many angles with an open mind and develop a well-rounded, colorful understanding of the world that fits well with one's 'truth'.
Malama - A reciprocal relationship with the land and all its inhabitants; To care for, cherish, respect, preserve, and perpetuate.
Kupono - Striving to always be in a state of pono (balance, harmony, fairness). To stand, walk, think, talk, and act in a way that feels pono.
Each ‘opio at HKM spends four days per week (9:15AM-2:45PM) on Place and Project Based Learning (PPBL). Each project integrates all core content areas (Language Arts, Math, Science, and Mo`olelo or Social Studies) and is committed to meeting both academic & cultural standards. Projects also integrate ola kino, technology, values, environmental stewardship, and real world skills.
`Opio also spend 2-3 hours per week each learning `olelo Hawai`i and Hula, engage in ola kino activities 2-4 hours per week (mental, emotional, and physical health, nutrition, and fitness), and community-led electives (culture, career, and life skills) 90 minutes per week.
The Art, Motivation, and Perserverence of Breaking
Article by Lila Metzger (pictured above, www.kuga808.com)
First off Breaking isn't for everyone. In a way it is for a "special chosen" type of people. We like weird music, we put our bodies in weird positions, and we work for hours on getting better at something that 98% of us don't make money at. Yes, it has become mainstream and commercialized. It is now looked at as a cool and hip thing to do, but just because you think it is cool doesn't cut it when it comes down to doing. Basically all types of people love to watch it, but only the few will not just do it but "be" it. I personally am new to the b-boy scene, but from experience I have watched people come and go on a weekly basis. It might be because new comers think that it is easy, that you can just get by throwing yourself around the floor and if you bust a yoga or gymnastic move then you are breaking. Once they find out that isn't true then discouragement comes on and it becomes more work then was expected and they are out. The reality of it is that there is so much involved, so much technique, so much physical strength, body awareness, and coordination required. This isn't to say that if you don't have these things you can't do it, but it means work, dedication, & repetition. Here comes the catalyzing factor.... So far all of this sounds like all work and no fun, right? That is not the case for the "special chosen" type of people. This hard work is the fun part! There is a sick enjoyment in pushing your body to the limits, conquering your frustrations, and seeing progress as you practice.
Then there is the whole world of Battling. Ah, Battling... this revelation has just come to me the beginning of this year. B-boys have individual routines called sets. They practice their sets! I did not know this. It should have been a given, but I didn't know. Before February of this year I never battled. So... I started making up sets. When you go to a battle you plan on using your sets that you have practiced over and over again. The clencher is will you remember your sets in the heat of battle when spectators are watching and your opponents are mouthing off. You can freestyle in a battle if you wanted to make it up as you go along, but it is always better to know ahead of time where you are going. B-boys who pull out there sets and make it look a freestyle are amazing and that is serious skill. In a the setting of a battle your comfort zone is infiltrated with noise, pressure, and all kinds of distractions so what might be easy at practice is all foreign in a battle. This just comes with time and experience. The more you expose yourself to the battle setting the better you will perform and over time be more comfortable. In a battle it is all based on performance. Do you rock with the music, are you incorporating the fundamentals, are you adding your own flare and style to make it your own, and are you executing the moves you are attempting? Breaking in and preparing for my first battle was like starting all over again. It was like surfing in a wet suit for the first time! Here is where we go back to another quality of the "chosen few." Finding the pleasure in putting yourself in a high pressure situation and seeing if you can pull it off and perform. I love to battle regardless who I am battling, because "what doesn't kill you only makes you stronger", and in this case a better breaker!
When I first started breaking I watched more than I wanted to. I six stepped, six stepped, and six stepped more than I wanted to!! Madroc, G-man, and Boogie-D taught me everything I know. At practice I would watch them and be excited or discouraged, because I would see things I would never be able to do, and it would make me want to give up. The great thing that I have been learning as a b-girl is that I am not them. I am not a guy, I haven't been doing it for 10 years, and they can teach me everything they know, but if I don't make it my own and do it for myself then I will go nowhere. This is what I love about breaking! You are encouraged and pushed to be you. We all learn and respect the fundamentals of breaking, so in reality we are all doing the same moves, but what keeps it alive and fresh is that God made people different, we all have a STYLE of our own and in breaking that is HUGE! I want to keep practicing and getting down because I want to see what it will look like when "LILA" does it. Yeah, I can't do what these guys are doing, but I can modify it to my style and work with my strengths and presto breaking is evolving and I am having fun! I have been blessed to learn from these guys and have them push me along the way. It s a MUST to find people to practice with. It will keep you motivated and pull out of you what you never knew was inside.
Interview - Demune's Illogical Hunger
Interview by Katie Whitman
You used to live on Maui and set up shows?
I’m from Maui and California. I was born on Maui and my dad’s family is on Maui. So I’ve been going back and forth since I was 5 years old. I got into hip-hop when I was actually in Maui. I listened to hip-hop before like Run DMC and United, old skool cats. But I wasn’t a hip-hop head, I was more like a metal head. Sepultura, Megadeth. Long hair, black shirts… Around ’93, I got into hip-hop, in Hawaii of all places. Coming from Long Beach, you know.
Why? What was it that made you get into hip-hop here?
I liked the people. It was the people, actually. There was this group of kids that were from either California or Arizona or from here that liked NWA… that’s when gangsta rap was coming out, as far as commercial stuff goes. There was all this really good underground hip-hop and that’s kinda like olden rap hip-hop now, but no one had heard of it back then. Guys that are big like Nas, but his first album nobody gave a shit about until 5 or 6 years later. There were all these guys and they were really popular, but only underground. Back then all they had were mix-tapes or four track stuff… There was all this really good stuff and it got me into it. I liked the whole culture. Basically Maui had underground music and it brought me into the community. Then seven years later, eight years later, in 2001, when I came back again, I got into throwing shows because there weren’t that many shows happening…. Maui really needed it. Because I talked to a lot of the old-heads, and even a lot of the old-heads here, they [said] that in the 80’s, the late 80’s, there was a lot of hip-hop going on here. A lot of organization going on. I guess a lot of the more popular promoters now doing the bigger shows got their start doing hip-hop shows. And I was like, “Wow, that would be really cool if we had a scene over on Maui. Because there’s artists there that are really good hip-hop heads.” We did a few battles. We did a lot of smaller shows. From abstract hip-hop to regular hip-hop.
So did people go? Were people excited about it?
It was really good. It kind of reminds me of when I went to Kauai. Sometimes it was just teenagers, but the first Represent we threw had a lot of families come in. Young kids, old kids, parents. 400-500 people came from every age range… It was more like a community event… This was in 2002 or 2003. Then I moved back to Long Beach.
What do you want to do now? You’re moving to California. Do you want to keep trying to build up being an artist?
Yeah. My goal is to make it self-sustaining. As far as being able to record albums, my own album, help other artists. What I want to do now is build up enough of a fan base so I can sell CDs, merch with my name on it – underwear, socks. They’re not very expensive and everybody needs them.
Do you have any of that stuff yet?
I got a lot of dirty socks.
With “Demune” on them?
In funk. In smell. [laughs]
…
So basically, the new album that I released will be my first real solo album – “Crossbreeding and Grafting.” My friend and I started the record label “Ponowai Flora.” Right now, we got it for sale online...
How did you record your album?
In my room. I love that people that you can do that now! People can record CDs at home and sell them online. It’s such a musicians market, not like it was a few years ago… That’s why hip-hop and indie punk get along so well – it’s all the do-it-yourself mentality. It’s cool, it’s so affordable now, too. I remember in the late 90’s, I was buying a 4-track and you gotta buy a drum machine and then you can’t afford a mic. But now with a computer you have everything. You do it yourself for long enough and you catch what’s going on. I was lucky enough that I went to trade school for recording. Then I worked there afterwards. I actually got fired because I was there too much.
Because you took advantage?
Well, it was a give and take thing. Everyone knew people took advantage, but it was accepted except that the catch was you couldn’t get caught by the boss. I got caught by the boss. At like six in the morning after I had been there eight or nine hours after work. [I laugh] Whatever! I couldn’t afford equipment! Okay. Ponowai. Back to Ponowai. Do you know what Ponowai is? No. OK. There’s lots of cane fields and lots of pineapple fields. So there are water catches. Call them wastewater ditches. That’s called a ponowai. So plants growing in the ditches - ponowai flora. It’s like the lotus out of the mud kinda thing.
[Here we have a brief discussion about Tom Cruise and Scientology spurred by a bad headline in some newspaper on the table.]
When did you come over to Oahu?
I actually came here because my lady is here. I came here for November through December. I was living on Maui, working hard on my album, grinding away. I had to go back to California. I had never really traveled, so I went to Colorado to visit a friend. Then I came out to visit my lady and I was supposed to catch the airplane back, but I didn’t. It was cool that Nabahe and two other cats let me sleep on his couch. So you’ve really only been on Oahu for a few months. Oahu, yes. On Oahu, I’m a new kid. I’m meeting new people everday. I’m leaning a lot about the scene every time I go out.
You were immediately inserted into the scene. I was thinking, how did I miss this Demune guy? He’s so big. How did I not know about him?
It was really good. It was a blessing. For one, I knew the right people. They knew me from Maui. It’s kind of like I was in, but I wasn’t in. I knew the right people at the right time. I really gotta give it to Nabahe and Unity Crayons.
[We then muse about the success and continuous growth of Unity Crayons. And somehow get on to Pinky and the Brain.] A discussion of the Anamaniacs’ “States” song leads to talk about high school and education.
I went to Reed in Long Beach... On Maui, I went to Maui High… I spent most of my time either writing in my tablets or drinking. Then I got over drinking, which is good. I just drunk myself into a stupor for a while, then after that, I was like “OK, this isn’t really that cool. This is not really where I want to go.” What were you writing about? Random shit. That’s one thing that I really miss. I was really grateful for the culture. It was so hard for me to express myself at that time in my life that all I wanted to do in my life. Also, I was so impressed with how some emcees could just have that delivery. They could just convey a message. I would skip school and spend seven to eight hours writing lyrics… It was really amazing and I always try to find that again. That’s why I like working with younger generations of emcees. They have that illogical hunger.
You’re not quite as driven anymore?
I got jaded. I’ve been in so many groups that it kinda killed the vibe for me for a long time. There’s not that magic. It’s hard to get that magic back. I’m 26 now. I’ve been doing it since I was 14. It gets monotonous. You go to punk shows, hear hip-hop heads, go to metal shows and just look at the way they do things and for me – that world, since I’ve been out of it for so long, it’s like I’m learning things all over again.
Q&A With Jason Miller of
In a message dated 7/10/2006 3:41:11 A.M. Hawaiian Standard Time, EditedForPrint@SorryCharlie.com writes:
Hi, I had some questions, regarding music promotion here in Hawaii.
I'm really interested in someday doing similar work in the mainland, but have no idea where to get started. How do you begin to get experience working at shows and such?
It seems to be such an inaccessible, small, elite group here in Hawaii, well that is from the public stand point. So I suppose my key question is, how do you get your foot into the door of Hawaii's rock music scene? I'm not trying to start a band or anything, but rather am interested in promoting shows, working shows, meeting bands, whatever it may be. I am in love with the rock music scene and would really like to know how it works.
I am currently employed at the local Hot Topic store, and it just really makes my day to tell people about my favorite bands, to tell people about upcoming shows that I'm waiting for, or to swap stories about shows that we've been to. It's a great job for me, but someday I hope to be doing something a lot more hands on in terms of the music scene. If you have the time, I'd really appreciate any advice you could give. Much Mahalos, thanks and all the good stuff.
- ANONYMOUS -----------------------------------------------
Hello... I'm always happy to answer people and I hope the following reply helps you out. As long as you have the desire, you should be able to make it happen, and it sounds like you've already gotten started. Working at Hot Topic may not seem like much but it does expose you to a lot. Sucks to hear that you think things in Hawaii seem elitist, but sadly this isn't the first time I've heard that, and in many respects I can see why some people feel that way...
All I can say is that most people would be glad to meet you and accept your help in spreading the word about shows, organizing a show, and/or helping to make shows run smoothly. Best thing to do is approach them at a show and offer a hand, or send them a message on myspace.com, etc. Not to say that you don't already know this or haven't tried, but friendships have to start somewhere, so take the initiative and see what happens. I'd be surprised to learn that the vast majority wouldn't welcome you with open arms, even if it currently seems a little uninviting, from the outside looking in.
As for the quote about getting your foot in the door... here's how I did it: I had the good fortune of growing up and hanging out with some neighborhood kids that are now well known musicians so music has always been a part of my life. When I was in college I became a DJ and worked at a record store to have a little fun and support the 'underground' bands that I liked. Eventually it helped me meet local bands by being able to offer to play their music on the radio (and later I made t-shirts for them too). After a while I just tried other things... organizing my own shows, booking mainland tours, putting out records, whatever interested me... and you can do the same. You already work in music-friendly retail and it seems like you're a natural born promoter. Perhaps it's time to take the next step and host a show?
It just takes time and effort. Getting specific would turn this reply into a novel but if you have focused questions, write to me again. For now here's a brief summary: Find out who keeps track of the calendar at your favorite club, find out the terms of hosting an event there, see about taking an open day & time, meet some bands and invite them to play, then spread the word, see how it goes, learn from the experience so you can make changes the next time, and do it again!
If you'd rather not do that just yet, especially if there's money involved and you don't want to risk losing any... I would suggest that you go to as many shows as you can and track down the people or group responsible for putting it together and ask if they need any help that night or in the future. For example, while I usually don't need any new helpers with my shows, I love it when people add links to 808shows.com to their websites because it shows me that they appreciate what I do and it more importantly, it helps support all the people and bands that are out there providing entertainment options to our small community.
Bottom line, I think the best plan is to just do something you love and explore opportunities as they come up. Maybe you could start a zine and pass it out at your store? Maybe you can become a college radio DJ at some point, maybe you want to become a volunteer at your favorite commercial radio station and see where that leads, or contact your favorite band or record label and see if they have a "street team" program... it's really just up to you and if it's fun / rewarding then it's got to be a good thing!
Regardless, don't expect to make a lot of money in music though (in Hawaii at least) because I've been at it for a lot of years now and I work 3 jobs in order to pay my bills and cover the costs of working in music (since it often amounts to a loss... especially if I were to add up all the hours I spend on the computer volunteering my time) but again, I'm happy to do it. Hopefully you'll give something a try, enjoy whatever it is you choose to do, and perhaps even find a way to earn a living at it one day! Did that help? Did it make any sense? Hope so... if not, write again. okay, have fun and good luck!
- Jason James Miller ------------------------------------------------------------------------
About Jason Miller... - Former DJ at college radio: KTUH FM (Honolulu) and KZSU FM (Stanford). - Former promotions director: KTUH FM (Honolulu) and KZSU FM (Stanford). - Worked for Goldenvoice Hawaii concerts off and on for over a decade. - Started Hawaiian Express Records in 1995 and www.808shows.com in 2001. - Has worked with a wide variety of bands and venues in many different capacities.
Review - Swampa Z.Z.
Article by Katie Whitman, Photos by Niles Star
I’ve seen Swampa Z.Z. twice. The first time I happened across them in rRed Elephant and a friend urged me to stay and watch. I only caught a couple of songs, but I was so intrigued by their lyrics, music, and style that I sought them out again at Bonsai Sushi on the North Shore.
Swampa Z.Z. comes in two flavors. One is an acoustic, percussionless (well, foot tapping and guitar slapping do the trick), jam band-style duo/trio. The other is a multi-piece, electronica-acousto-xylophonic-funk band. I’ve only tasted flavor #1 in person. I got a titillating sampler of flavor #2 from the excellent recordings on myspace (myspace.com/swampazz).
Front man, Toni, is the core of Swampa Z.Z. His poetic lyrics are definitely front-and-center with the music built to complement the message and create a mood. Toni’s lyrics often focus on love and sex, coming from pretty much every angle: Sung sweetly - “There’s nothing that a French kiss can’t solve.” Poppy electro-jazzy – “Beautiful girl, you couldn’t save me from myself.” A hip-hop breakdown – “From the L to the O to the V to the E.” To the explicit– “I got high on cocaine/I got drunk on booze/baby, if I had to choose/your pussy is the only drug I’d do.”
Swampa Z.Z. definitely loves their raunch, but that doesn’t mean they have nothing else to say. Their song, Clone, urges us to resist the messages that the mass media sends flooding into our heads every. The rapped, drum&bass backed “Psychic attack on all sides/keep your free thinkers down/ because you’re uniform, must conform/… they’re keeping you average/ and fashion is their tool… Don’t let MTV turn you into a clone/Don’t let CNN turn you into a clone/Don’t let George Bush turn you into a clone.”
Whichever flavor you happen to catch, Swampa Z.Z.’s quirk, amiable attitude, delivered in style, and backed by jazzy, funky, grooves will leave a good aftertaste in your mouth.
Show Review - Benoit Jazzworks
article and photo by Katie Whitman
Over on Maui for work, I left the cold summit of Haleakala and drove to Mulligan’s on the Blue, a beautiful Irish Pub that hosts a variety of music (seemingly jazz oriented) every night of the week. Tuesday nights, Benoit Jazzworks graces the small red, green, and yellow lit stage admidst wooden pub tables.
It was an intimate crowd. A pair of 40-something newly weds sat across the stage while a hip looking 20-something couple sat behind me.
On the stage were Phil Benoit, playing an acoustic electric guitar, Tom Conway on a classy electric guitar, and Angela Benoit in a killer black evening dress and sparkly high heels. Angela’s voice was clear, smooth and effortless, easily singing flavorful Brazilian tunes in Portuguese, slow old classics, and deep and sultry nightclub jazz.
The guitarists referred to sheet music every now and again as a loose guide for their expert solos. Their clean, chill complementary styles played off of each other filling the room with a calm, too cool, or chesire cat grin ambiance. Tom and Phil also play in Gypsy Pacific. These folks undoubtedly create some of the best jazz on Maui. benoitjazzworks.com
Show Review - Bluezilla
article by Katie Whitman
Chatty crowd. Good food. A view overlooking the water at Aloha Tower. And sweet blues music setting the soundtrack for it all. Bluezilla graced the Gordon Biersch stage, entertaining the dinner-going crowd.
Obviously veteran musicians, Bluezilla was sometimes smokey, sometimes swingy, hitting us with harmonica solos that made you close your eyes and feel those blues deep in your soul.
They kept things upbeat for most of the night, playing rock ‘n’ roll infused blues that instigated dancing in front of the stage. Bluezilla ripped it up on stage while they ripped open the unhealed wounds in our hearts.
Okay, a little dramatic but in all honestly, Bluezilla is a band worth checking out. I mean, how can you resist a blues song about rubber slippers or a swing song about a wookie (yes, the Star Wars kind)?
Contact Rick Sneider at rick@eventsint.com for more info.
