You can hear their first single at: http://www.youtube.com/watch?v=puLLgTr1O3c

Uiha! E ho”o”aka”aka ana kau mele ia”u! He ka maika”i loa kau mele!

Mahalo,
Julia

I read nothing in Krash Kealoha’s statement that suggests that Hawaiian music should be privileged. But then, if HARA doesn’t champion Hawaiian music, who will? Our experience with the Grammies teaches us the perils when NARAS members informed about Hawaiian music (regardless of place of residence) are overwhelmingly outnumbered by NARAS voters who vote on what they know rather than on how excellence might be determined within a given category.

It is extremely problematic when excellent Hawaiian music is being produced outside of Hawai’i now. Although many such musicians do obtain local distribution, because they are in effect pitching to a local market, that the same musicians are then excluded from Na Hoku Hanohano eligibility because of their residence. The Katchafire syndrome is going to become more and more of a conundrum unless the Board finds some way of recognizing that “Music in Hawai’i” and “Hawaiian music” both need to be supported, but in different ways.

na’u no,
amy k. stillman

I know from previous analysis that more traffic to Nahenahe comes from out-of-state visitors than those reside in Hawai‘i, which probably explains the high percentage of people who want to have non-Hawai‘i acts eligible in all categories.

The other major issue is if we open up more categories to non-residents, what about membership? Right now people can have their releases entered through local distribution, even if they cannot be regular members. That’s another can of worms!

Mahalo again,

Keola

Quite an interesting topic. I’m a bit torn with this topic as I’m an artist and a member of HARA and I lean more towards having the majority of the awards limited to artists living and residing in the state of Hawaii with some very limited recognition for artists playing Hawaiian music outside of the state.

In the first paragraph of the Na Hoku Hanohano website it states …

“The Academy is a nonprofit organization formed in 1982 to stimulate interest in the local recording industry and the music of Hawai’i.”

“The local recording industry” to me sounds very specific to within the state. Upon reading further on the website, the concept came up because of Krash Kealoha … “Kealoha envisioned a formal recognition and celebration of recorded musical excellence in Hawai‘i—so long ignored by mainland awards programs.” To me this is very specific to the state as well as to why the original concept was developed.

This just brings up alot of questions for me … what is the goal of HARA to recognize when giving out a Hoku:

1) Acknowledging excellence of local artists and the music they have recorded?
2) Acknowledging artists creating Hawaiian music both in and out of state?
3) Both?

If the answer is #1 then all the acknowledgements should be specific to residents and those living in Hawaii. With that said the awards should encompass more than the limited categories that are offered. There are wonderful solo artists and groups that sing more then just the musical genres offered (reggae, Hawaiian, rock, pop, Island Music, jazz). I think this issue takes more precedence than whether or not an artist resides within or out of state. There’s great folk, punk, alternative, acoustic, and even miscellaneous “world” groups, etc. that really have no category to fit into. Perfect example, (and yes I know biased) Mighty J – we have no real category that we fit into. We don’t fit in any of the categories above, but we meet the criteria to submit our recording for review. Unfortunately, where are we placed by stepping out of musical genres? Just food for thought …

If the answer is #2 then we are already in this scenario acknowledging all artists with any local tie whether through location or distribution of course with some limitation.

If the answer is #3 then the goal of what the Na Hoku’s stand for previously and now needs to be re-vamped and stated so in its documentation.

The issue with slow and stifling music distribution is a worldwide problem not just locally here in Hawaii. Everyone is affected with the change in the way music is offered in hard copy CD form and via internet download. The thought of distribution has to change …. In method and delivery and scale … think creatively outside the boxes of old school distribution mentality .. .that’s the only way a distribution company can survive and find success in the future … unfortunately, I have no suggestions on how this can be accomplished….

Thank you for the post! Mahalo again Keola!

Tiki

I HAD THE OPPORTUNITY TO LISTEN TO THE BROADCAST FROM THE RADIO STATION AND IT MOVED ME TO TEARS. I HAVE A KEIKI THAT PLAYS FOR NA KOA. AFTER HEARING THAT PHONE CALL IT MOVED ME TO TRY MY BEST TO KOKUA THIS TEAM TO GET THE NECESSARY TRAINING EQUIPMENT NEEDED FOR THE BOYS TO BE SUCCESSFUL.

….I WOULD LUV FOR OTHER HAWAIIANS TO COME OUT AND SUPPORT ANUENUE, THE FIRST HAWAIIAN IMMERSION FOOTBALL TEAM.

AS YOU MAY KNOW, BEING A NEW TEAM TO THE OAHU INTERSCHOLASTIC ASSOCIATION, DOES REQUIRE THAT THIS TEAM BE READY AND EQUIP TO PLAY. OIA PROVIDES ONLY A SMALL PORTION OF FUNDING TO EACH SCHOOL. THIS FUNDING DOES NOT MEET THE NEEDS OF THE ENTIRE PROGRAM.

…. IT HAS BEEN A CHALLENGE FOR QUITE SOME TIME NOW TO GET A TEAM TOGETHER,BUT MORE IMPORTANTLY SO, THE EQUIPMENT NEEDED FOR THESE BOYS TO TRAIN AND CONDITION.

FROM THE DREAM OF ONE STUDENT TO CREATE A HAWAIIAN IMMERSION FOOTBALL TEAM NA KOA EVOLVED INTO THE FIRST HAWAIIAN SPEAKING FOOTBALL TEAM. THESE BOYS AND COACHES HAVE TO OVERCOME MANY CHALLENGES. WHEN STARTING A TEAM FROM SCRATCH, A LOT OF EQUIPMENT IS NEEDED THESE BOYS IN ORDER TO GET IN SHAPE AND BE WARRIORS ON THE FIELD. THEY HAVE SOME USED CONDITIONING EQUIPMENT TO TRAIN WITH BUT NOTHING BUILDS PRIDE LIKE TRAINING WITH THE BEST. OUR BOYS ARE NOT HO’OKANO, THEREFORE THEY DO THEIR BEST WITH WHAT IS PROVIDED.

IF YOU OR SOMEONE U KNOW OR EVEN A BUSINESS OR ORGANIZATION THAT WOULD LIKE TO BE A PART OF THIS GREAT PROGRAM AND MAKE A DONATION. ALL DONATIONS ARE GREATLY APPRECIATED.

PLEASE REMEMBER THAT ANUENUE DOES NOT HAVE A HOME FIELD TO PLAY ON, SO THIS ALSO CREATES ANOTHER CHALLENGE FOR THESE BOYS TO PLAY FOOTBALL. SINCE THIS IS THE CASE, WHERE EVER THE BOYS PLAY AT (WHATEVER SCHOOL BECOMES THE HOME FIELD), WE STILL CANNOT USE THEIR FACILITIES TO SHOWER. THIS MEANS OUR BOYS SHOWERS AT THE NEAREST PUBLIC PARK, WITH COLD WATER AND NO LIGHT. OUR VERY HA’AHA’A TEAM, WITHOUT COMPLAINT WILL SHOWER WHEREVER THE PUBLIC PARK IS LOCATED. SANDY BEACH WAS USED 3X DUE TO 3 GAMES BEING HELD AT KAISER HIGH SCHOOL.

IF YOU ARE ABLE TO HELP NA KOA, PLEASE KOKUA…….
PLEASE CALL ANUENUE AT 733-8465. THE HEAD COACH IS KEALOHAMAKUA WENGLER.
ALL DONATIONS ARE GREATLY APPRECIATED. BE APART OF THIS GREAT PROGRAM.

IF YOU HAVE ANY QUESTIONS REGARDING THIS POSTING, YOU MAY REACH ME AT KUMUPIEPER@GMAIL.COM
ALOHA
KAIULANI

Thank you for the head’s up that Kenneth will be on the West Coast. What a treat to be able to see him in Santa Cruz!

With aloha,
Carol

Mahalo again for your thoughts…

Furthermore, any changes made that substantially alter the work would require a derivative license. An instrumental arrangement would definitely be considered a derivative work. Changing lyrics, chord progression, rhythm or the overall interpretation more than likely would call for a derivative work license, it would depend upon how aggresively the copyright proprietor wants to administer the property rights.

PM

I am sad to hear this news, but I certainly understand that it is much easier to listen to the podcasts than to generate them. Thank you SO much for sharing your time, effort and thoughts with us these past few years – it has been greatly appreciated!

me ke aloha,

Debbie B

Mahalo piha iā ʻoe i kāu hana, he hana poʻokela nō ia. ʻO au hoʻi kekahi mea hoʻolohe ma iTunes. Lana ka manaʻo i ka lilo ou i kahi pāhana hou, he pāhana ia e hauʻoli ai ʻoe, ʻaʻole ia he hana, he nanea wale aku…

ʻO au me ka ʻoiaʻiʻo,
Liko

Listened to the Soundcheck program this morning. I live near Santa Cruz, CA which is the home of Dancing Cat Productions and living here we do get to hear a lot of slack-key Hawaiian musicians. In the past year and a half, I have heard Kohala (Charles Brotman, etc.), Daniel Ho, Keoki Kahumoku, Herb Ohta Jr, Cindy Combs, Owana Salazar, and a number of others. When I finally made it to Hawai’i in 2003 (my first time), I remember grabbing a cd at the airport as I wanted a musical memory of Hawai’i. When I got home, I was kinda disappointed as the cd sounds were not representative of what I thought Hawaiian music was. I went to the Kona Hawaiian music conference last year as I had read the question “What is Hawaiian music?” In the Soundcheck interview, Daniel Ho, read what the goal of the Grammy’s were and admitted that slack key is not as popular on the Islands as other Hawaiian music. The Brothers Cazimero and Keali’i Reichel were mentioned by Gary Chun of the Star Bulletin as being more representative. I am a big fan of Keali’i Reichel and on my second trip to Hawai’i, I had no clue of his popularity … I listened to a number of cd’s and just really fell in love with his voice and his music. I am a beginner hula dancer and you cannot have hula without the mele. As I so loved Keali’i Reichel’s voice … I had to hear him in person and have had the opportunity three times and watched his hula dancers two times. Going back to the question, “What is Hawaiian music?” Though I am a native Californian, I would say Hawaiian music is that which embodies the cultural aspects of the Hawaiian Islands melding together the language and culture. English-only songs sung by musicians that happen to be from Hawai’i does not constitute Hawaiian music. I went to a Na Leo Pilimehana concert with a friend and my friend turned to me and said … I came to hear Hawaiian music and this is not Hawaiian music. Fortunately, Keali’i Reichel, was singing next and that is who we both really came to see and hear. And, he did not disappoint. As I don’t know the Hawaiian language, I said at the Kona conference that for me those cd liner notes were important which not all musicians include. The poetry of the Hawaiian music is so very beautiful as it embodies the culture and beauty that is Hawaii. The cd’s that have won the grammy were good, but not representative of traditional Hawaiian music that embodies the culture, language and beauty that is Hawai’i. Thank you for giving us a head’s up on the Soundcheck program from NYC. Tonight, I am going to see HAPA and wonder if Barry heard the program. At last year’s Santa Cruz concert, he was making some sarcastic comments on stage about slack-key. He kept repeating, “slack key, slack key, slack key, slack key” and he wasn’t in the best of moods later.

…Carol Arao, Capitola, California