Spectrum Hawaii; Molokai Book, Art Exhibit, Maori; "Marlene Sai interview Ed Kinney, Fran Kirk, Milton Carter"

The following program is a production of h e t in Honolulu Hawaii Public Television the following program has been funded in part by grants from the Hawaii State foundation on culture in the arts and the people of Chevron in Hawaii. Today on spectrum. We will examine the display of art gathered together for the express purpose of honoring what is Japanese contract labor. After a brief interlude in the East-West Center's Japanese garden we turn to an example of New Zealand's Maori culture. But first we witness the creation of a limited edition book Willow cut. You and I have been doing time.

By photographer Richard Cook contends his use of this island as result of a 20 year study. Maloka I live in the hallway and archipelago remote and rural the place of grasslands in the West and towering cliffs in the East. Well OK an island entire. Place with meeting for photographer Richard good. When I think about what. Why is Hawkeye special to me. The first thing comes up to me doesn't make any sense is that more cause my mother. And. I think more and nurtured me more chi. Really enable me to be comfortable with the outdoors with the adventures of my life. Gave me my strength and it's a lovely nurturing quality. And yet it has tremendous power. Richard Cook husband 22 years of his life. Capturing the images of Molokai.

The red soil of the man the elusive dear hiding in the grass no the crash of the waves. And the people. Photographing. The. People. The thing that I want him to do. Is to share. With them and yet capture their spontaneity of life. That that freedom. To be living in all natural means and to be living with the land. And for me the challenge is to be there as a photographer and out of the way I very much love and present. This. Is really the power of the place comes from. The power of Richard Cook's photographs caught the imagination of Mr.. Richard Cohen of Portland and longtime friend and fellow photographer Robert Goodman.

Together they publish Cook's photographs for the beyond words publishing company as part of the Earth song collection. The Earth-Sun collection. Is a series of books which celebrate life on Earth. And what we look for is a publishing company. Is to find a photographer and author who have an obsession in life. To approach a subject in such depth that no one else would have ever done it that way. What I found when I found out in my own work is. When I was. In the business itself was it. There were certain things that drew me back again and again and certain motifs in. Life out there that I. Almost irresistible for me and. I would take up my camera and photograph them and I would look at them again and again and what I saw one day when we were looking at the possibility of doing within a rainbow. See this movie is about. What is that. This really was the song. The photographer was singing with his life. That it was. That way. It was in every sense and every

song is a song of the earth. The involvement I just couldn't stay away. I knew the more I was mine I was going to be the person to cover it. All along. There was this little book. Completely covering the place I held most in the world. And just coming back to it and covering a little bit more of what we were talking about doing was not just a normal book we're talking about doing a book that costs a half million dollars and not many people have that much money to put into a coffee table book. But I still held on to this dream. It was during this time that Bob Goodman creator of the book the Hawaiians approached Richard Cook about a book on Molokai. He also introduced cook to the National Geographic magazine which subsequently published his eyelids images in 1981 for a year. Richard and his wife Bronwyn wrote the text and code down 80000 images into 166.

In addition to the commercial printing the decision was made to also produce a special volume. Because of the quality of the photographer's work. We decided to honor our work in a collectors limited edition. Almost as fine art. The limited editions of the Earth song collection. Synthesize the technology of photography and printing with a hand crafts of local artists. The core box is crafted by wood makers Martin and MacArthur. The paper for the covers is by Marcy Morris and the addition itself is designed and bound by his two centuries. His great grandfather was a bookbinder and so were three generations that followed. Now living in Honolulu. Hey Sanchez carries on the tradition which he began at the age of six when I was a kid back home down from Mexico City.

My father was a pioneer has a shop and he had lots of kids. So I name all hiring employers. Is just teaching us an early edge. And ways to help them in the shop issues continued his education after college repairing rare books for the Vatican and the library of Paris. He has traveled extensively studying bookbinding techniques 92 steps are taken to produce each volume of the limited edition. The first and most important is the sewing. Using a thread of pure linen is Rousseau's together the folded sheets of printed text called signatures. The ability of a hand phone book is considered ten times stronger than one soon by machine or glued. And then historians can certainly decide this time with a romance with. Just. Leather straps and leather. Threats to sell the

papers together. And it was not till the middle ages when the people start developing a certain item the sewing of the box. Using a specialized five or six like cotton and linen. This step is so important that many boundaries have skilled soldiers who do only this and no other part of the body. A characteristic of the spine of a handmade book is its rounded shape. This is achieved first by numerous coats of glue over the sewn edges then by the ancient art of pounding. When you around in books you are stretching a sign that one can read more consistency and Hyginus to the spine. So when you open the book you won't have

signatures on. Those. Machines and they have a very sophisticated equipment to stop or work to write. I don't know anything. I can do it as well as perfect as they have mind. Besides lending the color mobilizing the edges of the pages also keeps out dust and moisture issues brought Lessig Zelinsky and his brother from Poland to Hawaii to work on the book because of their skills. Here let's look at oil based printing inks to a out of water. The water has been treated to enable the craftsman to create a pattern on the surface right. The book is dead and when dried. The marble colors will appear.

The Molokai book uses colors and materials that reflect qualities of the island. The color is rust depicting the red soil of the land. The binding is Nigerian goatskin from England especially dyed for the addition. The leather is made pliable with coats of glue and then stretched over the spine which has been prepared with Ribby the cover paper use for the limited edition is dyed the soil of Malakai and uses Pili grass as one of its fibers. There is a lot of activity on the mainland publishing books like this I think is the

first time that something of this scope and caliber has been done here. A paper maker. Might feel more. It. Uses the finest materials available. For men. To. Be. This is Malakai earth. Very red. Volcanic soil and it's really this that provided the color inspiration for the paper at this point it's been sifted several times but it does have to be ground even more finely before it can be used as a pigment for the paper. This is the Puni grass that's been called and cut and has been soaking in water and methyl cellulose just to soften it and make it more pliable. I add this to the bucket of pigmented pulp and again stir it in so that it's

well distributed. Something about the sense of something coming to light that we had only a glimpse or hope for in planning for the for the paper in the book. That sense of seeing the materials combined to seeing the individual efforts and work. Made tangible weewee was very special. The con Yaku I mean Centennial art exhibition at the Contemporary Art Center is an exhibit with an honorary function of the works of 12 eminent Hawaii artists of Japanese ancestry were chosen for the purpose of paying tribute to the dignity of Japanese immigrants and to the achievements of their descent. Distinguished members of Honolulu's art community were on hand to discuss the nature of this

election. That's always exciting to see 12 artist of exceptional talent together in one place. Aside from the fact that that they happen to be japanese of Japanese ancestry in this case it's very exciting to see them together. But it does point out the tremendous importance that the Japanese have played in the development of art in the islands and the talent pool that's there. It's a continuing tradition. It's very much a part of the island and I think that sometimes we lose sight of that contribution. This unique exhibition road together for the first time in many years the works of tall to be bumpy. You saw me boy. More Kimora David Gura Oka Hiroki. Which he kubo. Jerry Okamoto Alice could go parrot the dashi up. Toshiko Tucker is you. And Rachel she.

Didn't do it just because they wanted to achieve fame as an artist. But it brought them recognition because they persevere and self-worth and later were recognized for their artistic achievements. Think Hawaiian landscape has influenced strongly many of the artist works here and just watch this radical artist and no matter what shot the imagery on the hot surfaces handled rocket firing obviously is something that is as Japanese in origin but there is that landscape that I think a very put down to enforce that landscape despite the fact that many of the artists go to the mainland and they always come back to Hawaii and they use. The natural environment as they are things back to those were are Robby's who are quite evident and you see

you. Cause. Some to work that's because you go fishing alone. I was aware of the environment Soto Ravis the same thing. You know when he gets his inspiration from Mom trees and the environment. And you have a whole cycle of works that starts from the seed. From the. Food going up to make the complete cycle. But in contrast you get to see people like Alice go non-parent she's gone away to New Mexico after training here and her approach is quite different. She reflects in her artwork the New Mexico scene and yet she has retained some of the kinds of information she needs for dies her need buys and she uses a lot of natural materials that she gathers from Hawaii and all over.

And so it comes back to the roots in Hawaii. What. Keeps circling back in my mind is when people come here and they're always surprised at people all the painters here don't paint landscapes you know and the ocean and you know and they're surprised at how much abstraction and sort of international painting goes on. And as time goes on there is a gradual loss the media connection. Lester is you know the individual retains that immediate connection unless he immerses himself and his cultural roots. There's a tendency to be able to see from my observation any way any connection because people become international. That the artists have also taken that sense of place from Hawaii and. Made it a more universal. Kind of imagery. And I think for us and I'm Japanese born and raised in Hawaii. And I think when we look at the whole centennial and the larger

picture it gives us sort of a sense of where we are as a people and as a culture going to different places and. The kinds of people that we can become. And contributions that we make in other places. The Maoris are a Polynesian people who have occupied the southern most border of Polynesia New Zealand for over 600 years. Recently a contingent of Maori tribal elders visited Hawaii for a unique rendezvous. What we saw today was a coming together to polynesian coaches

who are separated by the vast Pacific Ocean and separated by several centuries. And if you look at the map of the Polynesian triangle you even realize Hawaii is at one point of it and we're at the other point today the two points meet we came together in what was a very exciting moment for both. Parties. In the gathering which enables the people to meet. The people of the land. From here. It is always something to look forward to by our elders who are with us. And so we've had a large numbers of Maori people. Come to Hawaii. But I believe this is the first time. That we have met. The. What I might

describe as the real people is a wine. That is made the chiefly families from all the different island groups. They have come in to meet us and to give us the pleasure of seeing them. And I can assure you that it was a great pleasure for our elders for our whole group to look at all of the people who are here today Tang got the Maori vision of man child of the God the master of the world was the theme of the Maori carvings photograph by master photographer Brian break. It was held in conjunction with the 50th anniversary of Sir Peter H but directorship of the Bishop Museum 1936 to 1951 book was a distinguished anthropologist who was known by his fellow Maoris as came here to the heavens lit up with the rays of the sun. The exhibition focuses on the Maori culture of New Zealand in the period

1830 to 1930 a time of transition brought on by increased contact with the Western world. You Honorable Mrs. Lee threw a tear across the name of a member of the New Zealand Parliament since 1967 reflects upon the pattern of Maori culture and its future possibilities. We have here from New Zealand a young group. They have been appointed by government as cultural ambassadors. Their average age is 15. In fact the youngest is 10 years. I have just talked with them. Their appreciation of today's ceremony. And I was fascinated. Firstly they saw. A very close similarity between the culture and culture and some of them foreign language and I understood. Quite a lot of that. I don't think they had realized how closely the

viewpoint they have registered had like about this. There is a belief among them that we should have cultural exchanges before they are so delighted to find others who speak a similar language look similar who have similar interests and another also very similar. And understand the people we are all. The same. Origin. What is unique about Mali is to come to you at. All. Through. Design the design. You do not find is with pre-Colombian or with Greek and I think this is a distinction with. Mariotte but they continue today many different pulls with fabric. Whether the Nephrite Jade sculpture

wood sculpture. Weaving we have continued the full use over hundreds of years adapting them indeed but nonetheless continuing the basic design. And this I understand is a distinction among many ancient tools to remove Maori cultural art director of the Polynesian Cultural Center of a rainforest his ancestral knowledge of Maori history and tradition. And this one it gives the migration of people from a place called. The ancestral place we call the whole way. He. Says before we left the gathering place of ancestors we. Offered up our prayers to our God. To direct us across the Pacific in our canoes to land south. We would follow the stars and the moon by and by the sun. The migratory routes of the birds and the currents of the seas by day. It was the eyes of a woman that first

saw evil. And she mistook it for a cloud. On the horizon. When the first canoe came. And so. The reason for New Zealand being called. By a Maori people. Because it means. Translated through the eyes of a woman. Land. Of the long white cloud. Taken from the stars. They wept many tears when they arrived. Why. Had crossed the great lonely Pacific and yellow. Taste of love was. Behind them how white and. Black. Not everybody made landfall. As they crossed the world a. Guardian of the sea to us. Polynesia. And so they would chant the stories. Like with me. He became the way home made to. Why you more lucky thought

you poor my mother. But he knew the terror he came that way. But the people who are. All in stories like that. That's just one verse of many verses of a lullaby that ties in with a kind of story to do with his tongue. But that's the way he kept the stories long. By chapter. In you and you have two dimensions of. The carving was one. Painted pectoris one another. And the woven pommels. Mother. And. And you usually find them even more. Among those are the front of the media houses all the cab and media houses. And you'll find them all over New Zealand. And. Where these

buildings stand. They have of them the histories of people of the territory. The descendants of the clues. The genealogy you know recorded inside. Because. The patterns and the carvings are not. There to make the buildings look prettier or to automate. They either do look or made. Right. There. Because this is the way people recorded. Themselves in the history. And so used to they spoke. Through the coverage because they are symbols. And there is now a renaissance in the country of what is learning. Multi-tenant. Or modern culture and. To have these go on the rails with it now teaching children. Preschoolers. In school. And I personally myself I think. I think they left a. Little bit too late. Because I've heard a lot people can learn to speak.

From. Textbooks. And for me this is just my own personal feeling. What's left out is the poetry of the magic. That went with the spoken language. Because people spoke all the time as I say to them boy it. Is. You know when people would say good luck was going by. That they would use something to say that it was all folk or my customers. Like if I was say goodbye to you or say good luck in the future that I would probably do it like this. A whole lot of money. Difficult fall in love with them or. Get that it occurred to me to really to. Let the come be widespread. I let the secrets like Jane. But maybe the shipment of summer dance. Oh.

Oh oh oh oh. Oh. Oh. Oh. Oh oh oh my spectrum was funded in part by grants from the people of Chevron in

Hawaii and the Hawaii State foundation on culture and the arts. The following program is a production of h e t in Honolulu Hawaii

Public Television the following program has been funded in part by grants from the Hawaii State foundation on culture in the arts and the people who Chevron in Hawaii. Do. You. Today on the spectrum we are privileged to have singer and actress and recording artist Marlene side. Currently president of the Academy of Recording Arts. Miley incise joined by fellow recording artist and Broadway actor Ed Kenney as well as the president of all these musicians. Milton Carter and the director of entertainment for the Outrigger hotels friend Kirk. Together they approach the subject of entertainment in

Hawaii today. Here's my latest. Hello and welcome everyone. It's nice to be here with you today to share some thoughts and ideas of what we enjoy talking about most entertainment in our hallway. It's nice to have these friends with me and Fran Melton. Now let's get started and talk about our wonderful industry entertainment. I'd like to ask you one on how the entertainment industry emerged from the Hawaiian backyard party. Ed you'd like to. Well I don't know how it do. And if it did it must have done in a transition period in the 30s 40s 50s where it got through the cellophane and take a picture and send it home to mom during the war and then much of that kind of. Moon June Blue Lagoon all that kind of thing was a period went through there. So then it left the backyard seemingly to the

people who didn't know our way. Meantime whenever we got away from whatever they were taking pictures of us looking at these funny little natives walking around the streets or playing music that was still in the back yard. That was the best place. I mean look it was the same no matter what they had to do to it. Yes. Now I think as has progressed. Everyone seems to feel that that's where the music has its firmest base. The more natural they are whether it's be amplified or acoustic Either way any of the music or costumes or not costume the more real the bass they have to come from the better the music. Yes. So it's really come full circle and I think it will stay that way that we realize now that we're going to get the honesty out of everybody. If we give them the way to be on set the backyard entertainment is still there there. Yeah it will always be because you are an hour away because so many of our performers and entertainers and musicians you know that's where they all started from I know as a youngster I remember our parties family

parties many of them were backyard type and they were enjoyable they're fun. You know I'm very relaxed. And I'm sure Milton you've experience joyous things of that sort with your family and you know as we grew up here in Hawaii you know but the influence of the backyard is very evident I think in a lot of the entertainment that we have on stage today. You have you different people like the cast and Cecilia Kapono you know the Beamer's. I think there's a sense of joy sense because I look at how they look at it. Yes. And you have the natural kind noise like that that kind of a relaxed. But then when you have something like a production stage production type of show which is similar to what we've done in the past you know this is a format that show the idea of that to make it look natural and simple and easy was it was difficult. It was the thought of concentration the attitude had to

be portrayed. And there are times that you know we've been to different productions to see them perform that. Sometimes concentrating heavily on what they are what they are to do and what they've rehearsed this year you know a couple of weeks ago they had a tribute to Gabby and and Arthur Isaacs down at the McCoy pavilion and they had ROW the slack key guitar players started at 5 and it went to 10. That was fantastic. I listened to everyone and they had it on On. Yes it was some of the see and a place was just packed with people typical of the backyard and it was a banjo. That's what I was. Yeah. Yeah. It's something quite different and it might be totally totally irrelevant. But you know I look at any boom a time and when you see him doing comedy the attitude and the spirit that he fosters He's like a kid in the back outside the schoolyard telling stories to school schoolmates and

that's how he presents himself Zachary. Exactly. And then when when the backyard influence you know as as we continue this back influence when we are quote unquote amateurs and we started to decide that we want possibly venture into the professional world of entertainment. Therefore going out and performing and nightspots then look at it today. Our entertainment scene in Waikiki and throughout our day today we have you know you have the lounges you have the different show rooms but doesn't seem like we have enough of them for a lot of good entertainers that we have here. I know I have been fortunate in performing for a number of years and I remember even then how back a few years ago or how we had entertainment directors that we would hire and bring in and know the rooms that they have to book

into. They would go and see the entertainers whereas today we don't have entertainment directors. We don't have enough of them. We have a friend Kirk who is entertainment director of the Rigaud hotels. And Fran as when I first met friend she was the she was managing the society of seven. And so now she has stepped into this wonderful position as entertainment director. She knows the business and she knows the rooms. So therefore we have people like Frank KIRK But they are very very few. We have the entertainment directors which are the food and beverage people of today and the different hotels. But you wonder why maybe friend you could you could possibly give us a little input on that. All of us do a little thing called the bottom line. Food and Beverage directors control the budget. And so they'll have to figure out exactly what it is they can afford. Well that's one

musician or two and then either they would work through a reliable agent to find the duo of the true or whatever they need whatever they can afford. And so it's evolved to that sort of stage. Many of the hotels now do not have large food and beverage operations the concession them up and so more and more you will find this individual type of restaurant manager food and beverage manager who steps into that role. Well as entertainment director you know the rooms that you book you know for your outward hotels. So when you go out to hire or to seek a performer for the possibility of filling that slot you take into consideration. I'm sure a number of things for instance with the atmosphere the room and what you feel you were life. Take for instance you have the Prince Kahil hotel now with Ari Cumorah in the ginger lounge you know. How did you come to that point in

filling that slot. Well I think when you look at booking anything the first thing you have to look at is what kind of audience are you going to have. In that room. And if you do not match the clientele and the entertainer with the room then it's not going to work in a hotel lobby you going to have transient guests so you know a piano player or piano player. That's very apropos in a place like ginger where they have the Protel with fine dining I think Audie is just wonderful. I mean it's just been the best combination so far that we have been able to find and say and sometimes that takes you know that takes time and try to find the right combination the right you know thing to to work out. You know it's a traditional Hawaiian music has survived many outside influences and. Thank God. I know I know. But do you think you

can survive the onslaught of the rock and roll the contemporary of today. Well you know I have I had the fortune misfortune to be a disc jockey for the first time in my life. On the station. I'd never done that before. I heard you. Well I I have one. I had a wonderful time and I've been in this business for good. I think very much I've been in this business for quite a long time and I didn't realize that long because suddenly I was pulling out these records and these voices and the young lady here and somebody walked in they didn't know. Where did that story come from that goes with that person. And how come the shuttle sings version other than this version. Did she really write that song. I thought she did. And all these stories are going on. I simply you know. I was born here in the Capitol maternity and ecological hospital. But I was raised in Hawaii. Yes. So that's 50 some odd

years ago. And all of that stuff then comes back because music background music there are people who are able to sing and perform they listen with an unusual voice or unusual styles drumming and tone tuning. They were all invented here so that when I play these records whether they were new ones or old ones. All those stories kept coming out and I'm going to remember that. So I do believe. That those values will continue as these new talents come and they hear that the sound of the backyard or yesteryear whichever way you want to call it or accepted them right from wrong and suddenly it will be the circle again and start again and we'll have the same old tradition that we've had before and never lose it. But the arrangements the musical arrangements may differ. Oh yeah right. Peter Bone isn't exactly the most authentic traditional traditional yet but it is very excited that he has his share of the

zlotys and also voice of those guys. They have something that is very exciting to see. So it's what they have learned as youngsters and and also even on whether the coin and their application of that to the sound of today you have to merge in our contemporary and our Hawaiian music and not always when you are have a gathering of any kind. Many do but some of the parties luaus or family gatherings whenever they are do not have acoustical equipment so they don't have that kind of thing and then the guitar will have to come out and play the way the guitar sounds great as well as sound as that acoustic non amplified concert took place here. Oh yes I would but they can't use a microphone and they can't use any acoustical equipment whatsoever and the identified ones are all acoustic and they all have to yes. And they had to do it that way and I guess I wanted to come on. Yeah.

To hear what a voice sounds like. Without a microphone. Yeah but you know to that end in our industry there are so many performers entertainers musicians singers who are not performing on a regular basis. So a lot of them do. What we call casual gigs. We do Convention work. We do fill in for someone else who has to get sick or take your vacation and or we travel and we do out of Reiland circuits sometimes going to the mainland and doing conc at work and then working our way back here and or even to the Orient and down at the South Pacific area. But there you know that the rooms here and especially here in Waikiki and throughout our Hawaii I feel maybe you should be taking another look should be taken as to what is there you know a lot of places could have entertainment where we could put in maybe a

guitarist or pianist whether with a singer and or with that you know something of that sort because there are so many performers that are not working today. You know so many of them and then disaster. Well I was going to tell you it's it's a funny thing that I'm involved in the tour industry very heavily so. And I think that what is happening the visitors that are coming here now are our own natural beauty of Hawaii is competing with our entertainers. And there are so many events day events. Our island tours and activities scuba diving that they want to go to that they spend on these daytime activities and perhaps they don't just really come from the night things anymore and they don't have enough and their in their pockets to do. And I think I feel there's a conflict it's just reality that we have probably the most highly developed optional tours of any place that I've I that I know here well

possibly when they go to the briefings in through the group briefings maybe that's where we end that that's where all the wires are sold. You know the scuba diving as you said this or that or whatever. Maybe that's where they can make their presentation and that's a process. Some of them do. Of course you really to promote their show to promote their their gig as to where they're out of the loop. The latest thing is these are sunset cruises. At night there must be five or six catamaran boats that are going on. And I'm delighted to know that all they have to tell you now that I think that's great because it's our people our work and our people working. And Jennifer you know there's also the other side of the coin too because you know there are the entertainers and you have your image and you have your and your name in here and how you've worked at it. Then you have these if I may touch basis with you people on the constant calls that we get

to donate our service to this fundraiser and donate donate our service to this benefit and this beer bust et cetera et cetera et cetera because when you do things like telethons and benefits and things of that sort. I've been a stickler about this for. Quite some time now. You know they have to advertise it to get the viewers interested in what is happening and or if it's not just the viewers. It's the listening public to promote this benefit and they're going to be using a name so when they approach you they say oh Marleen what you like to do this benefit. Give you great exposure or it would you please come down swing a couple of numbers and blah blah blah but then you know I'd like to get your views. I think I'd like to start with you Mel. Well that name is everywhere. If we get hit by phone calls and letters

can we please have a group perform free for this or that. Well we were against it as a union we are against it. But you know most musicians really love to perform. Exactly. A lot of them will just perform free because we enjoy it. That's right. It's not like. A carpenter who you know oh most musicians are musicians probably because the only thing they really love to do. And so if they get called upon they will perform. We'll try to hold it down but it happens every week. All you have to do is read the newspaper. It tells you where all the big buzz and everywhere you go. And the musicians should should be careful about it because if he gets overexposed in an area that's not that big he's not all that big and people won't want to pay for them. And the most successful acts are very very careful. They might do one or two a year and that's it. Right. That's right. I'm sure with as manager former manager of

this side of seven an entertainment director I'm sure you too have been called many times for all of your performers. Yes many times and not just by charitable institutions by other organizations. Literally anybody who's seeking to fundraise. Yes. We've had calls and it's been really difficult to refuse them at times. Sometimes there's some really good causes and then there's some who really make the entertainer feel like they have to do it. Yes. And it becomes very very difficult. And you have to choose carefully. Yes. Would you like to give me your kiss. Well I haven't been able to reach me because they can't find me. I know they call me to get there and I have to find out that there was a contact with some of these people. Do you happen to know somebody is number and if they do find me then if I'm free and I feel that the charity or the fundraiser or whatever the benefit is

is worthy of what they're trying to accomplish it isn't just some get together because if it's a black party will invite me to the party and I'll sing anyway. Know that doesn't make any difference. That happens too. Sure. You know I'm sure there's a lot of time we all get in fights because because I know clearly and you say if you're here illegally or whatever and you know it and you can jump on a bass and piano or whatever and play and so hey invite Merlene. And so I thought so because you know that's about it. Well that's the fun part about going to the party because everybody will do it and enjoy sharing it with that partner. But when it comes to a benefit thing if you're going to contribute your services to helping them raise whatever is necessary for ever whatever they need it for them has to be something that you feel really is something that should contribute. And so when I asked I hear what it is. Well I would like to think about American if I made a decision then I will say yes I will be there. And fortunately I'm going to be busy.

By the way Bill Ferber 11th. Is going to have a big black magic and we're going to have a bandstand. Yeah yeah yeah. It's going to be the first time and. We can't sing we're not. No this is not all members are invited to any of you want to come. We came up with an idea the other day she was in my office she says you know I was playing at a funeral and I noticed that the only time we see our friends is at a funeral because they'll go out to play. And I said yes she says can we be more happy. So she said how about a picnic. I said will you be the chairman. She said you should give me your committee you know. Violet Pahu. So it's going to happen. I went down to the reserved magic island for November 11 o'clock. You invited like a smart thing. But we're going to set up a stage for fun.

Oh of course. Because we really don't see one another as often as we'd like. It's just going to be a fun thing. No no no I we're doing it for ourselves right. That's what that's terrific. That's terrific. But I thought you were going to say I got to say to you. So Milton how much am I getting paid. It's a fundraiser. No deal. Just for fun. All right very good at getting back to the entertainers being asked to donate their time and their talent. People have a tendency to forget that entertainers whether to be musicians singers or whatever have to prepare themselves when they go out to perform whether it be this telethon for this benefit et cetera et cetera et cetera. I would never walk in without any makeup and my hair not done. And you know so therefore I have to have my hair done my nails done and everything to look presentable you know and that all takes money you know. And one of us is the way we make a living and it is just our way of living it

is it is a profession you know and they have a tendency to say if we could get them for free. Oh how terrific. But you know the Federation has the balance for all benefits not benefits of a TV telephone telephones. They have a minimum and we have adopted that here. All all musicians who perform have to get a minimum fee and if they want to make a check out give it to the telephone that's their business. But that whole idea of them you know Elton is we get paid we should get paid for what we do because we when we perform and do these different benefits and telethons et cetera you know we don't get the tax write off so therefore we don't benefit by everyone else's benefit. And you have your camera crews or whoever is there they're all getting paid. And it is it is a known fact. So therefore why not us. We get paid and after we get our check

from whatever we're doing we make a deposit and then we write our own personal cheque as a donation if we see fit for you know to donate that I believe is the right way to do it. You know both are clearing houses like that for telephones and events on the mainland. We just do not have an organization here the strong arms that kind of thing and Musicians Union has already agreed to do that. Now after work put that into effect then everyone will have to be a member of after dues paid member and then there will be a set minimum on television for performing artists. Maybe that will be too far away because after the. SAG they've rented offices from the music to Sheridan and so is Piazzi the stagehands. So we all down there at the musicians union. So all that said this the musicians union down there well that's the music that's all about building.

And then I will have sag in their screen actors guild so an actor. After after they will be sure and consideration television and radio artists artist and Piazzi that's still. That's for this. Do they have an office. No. I think it's terrific. I mean it's something that's needed for a long while and then you'll have to bring back the American killed a variety artists because those that the that's the control and my club. That's right. Then the same building they can you know they can help each other out. I think that's the idea of them. And I think that's why Concert Artists are in another one. So they've got all these performing artists and different units that they have to belong to some of them. Yes yes yes. Marlene Yes. If I could perhaps we could give a word of advice to all musicians out there when they get this call from the charity your organization wanting to raise money. The first question you ask is how to play it that way.

That's a very good question because when we ask What is your budget you know the budget. Oh my heavens. I mean that's the last thing they think of when they're speaking to a performer and entertainer musician. The last thing they think. So when they asked to donate your time and your service I would you know to make the general public aware of this to realize that you know it is our bread and butter for a lot of us you know. I mean I I joked with you earlier about you know if we're not singing if we're not playing an instrument or performing anywhere on a regular basis. I mean we have to go down and go on and say paper for sale and sell our newspapers. But this is our passion. The nice thing about it is that even with all we do want to progress today the spirit of lot still is within us anyway. Yes. That album that that song that all the entertainers got to go all the way a beautiful way of love. That's right. It was beautiful Africa

right. That was great to see. And when when we all kind of call to do that we were excited because we collectively have all the need at our time and our talent including the engineers and including the people in advertising. I mean everyone took part in this. That was super all donated their time. So it was it was a wonderful father. Yes wonderful. And so therefore here we're giving of ourselves. And you must give back you know and we all know that you must get back a little. So if the entertainers could select one or two fundraisers or as we call them benefits to do within a year's time and I know that there are different performers that will just concentrate on one non-profit organization and donate their time and energy to that through my professional career. And likewise with yours and I'm sure you know we have selected different ones and at

different times. And I would just concentrate on that for that year two years or whatever. You know like with American Cancer Society you have different organizations but donate that time and then when you're called upon to to give yourself then ask what is your budget or really is tell that the bottom line is you're just saying if they give you that bottom line then by all means you have the ability to return it if you like. That's right. So no matter what you do you will always have a stake in it. That's right. And then if you want to get back three times that stock then it's up to you. That's up to you. And you you use your own discretion and that at this time just goes by so fast and it's always when you're enjoying yourself the most. And it's always nice to be with friends. This has been an enjoyable spectrum for me and I'd like to thank you. Ed Kenni friend Kirk. And Milton Carter to be with me here on spectrum. Marlene Sai I'd like to say hello and Mahalo. God bless.

You. Do. You do. Do you do you. Spectrum was funded in part by grants from the people of Chevron in

Hawaii and the Hawaii State foundation on culture and the arts.